• As earning seasons reporting continued, NewsCorp came out on the winning side of the ledger, with profits up 11 percent in the past quarter with the picture for broadcast turning around. "The best results we've seen in seven quarters," is how Rupert Murdoch described the broadcast numbers. The company's dark cloud in the cheer: MySpace, which is failing to meet the deliverables in its deal with Google. "With MySpace, we are in a state of transition," was how NewsCorp's CEO described the once mighty social networking site's search for a new raison d'etre. And you know how those states of transition go online...[Variety]

• Taking those numbers with others from this earnings season, The Wrap is ready to call it a "media rebound." [The Wrap]

• Just when he seemed to be getting a head of steam on a good post-Oscar win bout of paralysis and indecision, one of Hollywood's finest traditions, director Danny Boyle has cut the party short by announcing his next film. And what could be a more obvious story to tell than 127 Hours, the true tale of a hiker trapped under a boulder who eventually cuts his arm off to escape? [Variety]

• The troubled pre-season of The Tourist may now have a A list team attached. Johnny Depp is in talks to star opposite Angelina Jolie in the film. Earlier star Sam Worthington and director Florian Henckel von Donnersmarck both removed themselves from the project over "creative differences." [Variety]

• Continuing the Jackson watch, the movie has thus far brought in $125 million internationally. [The Wrap
]

• Disney has settled the lawsuit brought against it by the makers of the Luxo Jr. lamp that has become the Pixar trademark. Rather than celebrating the celebrity brought to it by its high profile association, the Swedish company that manufactures Luxo sued for trademark infringement after Pixar included copies of the lamp in special editions of the Up dvd's, saying Pixar's unauthorized use of their product would "cause devastating damage to Luxo and dilute the goodwill which Luxo has built up." [Hollywood Reporter]

• In the first big pick-up of the Toronto Film Festival, The Weinstein Company came out on top after an "all night negotiating session" over the rights to designer Tom Ford's directorial debut A Single Man. For the newly contractually-joined pair, it was all a beautiful dream. Ford told Variety "Harvey and I have talked about a collaboration for years, in fact, since our first meeting more than 10 years ago." [Variety]

• Weinstein denied rumors, however, that the release of the Rob Marshall musical Nine is being pushed off until next year, a move which would have knocked it out of the Oscar race. The scuttlebutt started when when Weinstein pushed back the release of The Road, landing it on the same date as Nine had been booked to bow. The change would have shaken up an already wide-open Oscar race but Weinstein declared yesterday that we can handle two releases on one day just fine, thank you very much. [Hitfix]

• At Goldman Sachs' Communicopia in New York, Rupert Murdoch thrilled attendees with his plan to save big media by charging for NewsCorp content, starting with the Wall St. Journal Blackberry edition. Jeff Zucker for his part declared NBC's Jay Leno was blazing a trail to the future with his 10 PM show. Asked about a possible Vivendi deal to buy NBC from GE, Zucker was coy saying the company has been "a great partner." [Variety]

• If you worried that we were running low on ideas after Battleship—the A-Team film is moving forward. Jessica Biel and Sharlto Copley are in talks to star. [Hollywood Reporter]

• Red hot quirky comic Zack Galifianakis is in talks to star in the new film by writer-directors Ryan Fleck and Anna Boden. The movie "It's Kind of a Funny Story" will also star Emma Roberts and is described as a "coming of age dramedy.' [Hollywood Reporter]

Nevertheless, the reports in The Wrap and Variety say it's true: Carey is apparently close to a deal to become vice chairman at News Corp., replacing longtime number two Peter Chernin, who left the media conglomerate back in February. Murdoch's son James had long been considered the odds-on favorite for Chernin's job.

Murdoch is still widely expected to pass control of News Corp. to one of his children, giving Carey a limited future at the company. His work is also likely to be constrained by the direct lines of control Murdoch has established at News Corp. in the wake of Chernin's departure. Murdoch's involvement is now sufficiently extensive that the chairman was expected to personally screen new shows for Fox TV this past spring.

The image associated with this post is best viewed using a browser.If things don't work out with Murdoch, Carey will can always fall back on his role as the Pringles mascot, as Seth Abrmovitch notes over at Movieline. After all, the tasty snacks can officially be called "chips" now, making the Procter & Gamble brand more respectable than ever.

In a lengthy overview of Fox's new power structure after the elevation of Fox Searchlight chief Peter Rice and Fox Networks Group president Tony Vinciquerra to fill the vacuum left by Chernin, Variety drops this nugget:

If there's any question mark to the new setup, network execs wonder how active Murdoch plans to be in the pilot screenings this year. In recent years the mogul hasn't played much of a role in Fox's programming decisions, but with Chernin out of the picture, some wonder if Murdoch will feel the need to have more of a say this spring as the net plots its upfront presentation.

Murdoch has reason to believe that he has the programming touch in his blood. The last time he intervened into the affairs of Fox Broadcasting, it was to force then-TV chiefs Sandy Grushow and Gail Berman to put American Idol on the air at the recommendation of his daughter Elizabeth. That decision has to inspire confidence in his meddling abilities. And since, as we pointed out last week, Rice is a Murdoch loyalist whose father was an old friend of Rupert's—not to mention that he has no television experience—he's unlikely to stand up to the boss' suggestions about the lead-in to House.

As always with Murdoch, personal loyalty trumps business. The biggest loser in the reshuffle is Peter Liguori, who's been pushed out as the entertainment chairman of Fox Broadcasting, overseeing the Fox prime time schedule. It was Chernin who put Liguori in the job in 2005, promoting him from the job overseeing the FX cable network.

Replacing him is the Brit ex-pat Rice (on the left with Danny Boyle), and currently the head of specialty film label Fox Searchlight. For a studio exec, Rice is well-liked and affable enough. Also, Searchlight has been one of the only companies to consistently profitably play the Oscar game, backing this year's Slumdog Millionaire and last year's Juno.

But he struggled to succeed outside that boutique business. When Rice was approached in 2006 to take over Paramount's specialty business, Murdoch was so set on keeping him that he let him launch a whole new film division, Fox Atomic, which was meant to court young men. But the venture quickly proved to be a bust; its first film, a remake of Revenge of the Nerds was cancelled in the middle of production. Last year, the unit was scaled back dramatically, and today's memo doesn't bother mentioning it.

What Murdoch's memo also doesn't mention is that Rice's father was a friend and business partner of Murdoch's back in England and it was that connection that landed Rice his first Fox job back in 1989. Murdoch writes in his memo, "Peter has the vision, creativity and determination to grow and remodel our television network." Rice has never worked in TV, so who knows? But Murdoch has always been more comfortable running News Corp. as a family business than the conglomerate that it is. Apparently, he still is.

Chernin's contract expires in June, and he has a clause that allows him to become a well-paid producer on movies for the Fox studio he currently oversees. (The company now confirms his exit, as well as his plans to start a production company.) A convenient out for an untenable situation: Murdoch has always made it clear that he wanted to put one of his children in charge.

Why settle things now, with June some months away? It might have something to do with a story in today's New York Times questioning Murdoch's devotion to the newspaper business. News Corp.'s print holdings have weighed down results even as Chernin's Hollywood empire have steadily produced cash. It's not too difficult to read the story as an argument for why the Chernin (profitable) half of News Corp. is being dragged down by the Murdoch (sentimental) part.

Also, pointing out the dodgy performance of News Corp.'s newspapers is a veiled dig at the current dynastic frontrunner, James Murdoch. The 35-year-old executive oversees News Corp's businesses in Asia and Europe, including a large collection of newspapers, where he's been cutting costs in the name of "editorial efficiency."

Could the elder Murdoch have taken offense? If a squabble over the story was a factor, it can't have been the only one. But in a family business, work is always personal. And no media company inspires speculation about palace intrigue like News Corp.

Aside from her unofficial role as her husband's consigliere, Deng is the chief strategist of MySpace China. So it's hardly unusual for her to show up at the office. Indeed, since MySpace China's CEO abruptly quit last September and still hasn't been replaced amid ongoing boardroom drama, she might as well be running the show.

Yet MySpace China is more or less a failure, with less than 10 million users at last count, against rival Chinese services with more than 100 million users in the country.

Meanwhile, there is what looks like an ongoing smear campaign suggesting that MySpace CEO Chris DeWolfe and Deng, who both serve on MySpace China's board, had an affair — one that some claim is spread by Roger Ailes, a rival executive at News Corp. We have to wonder: If MySpace China had a business worth talking about, would anyone be dwelling on this rumor?

So come the whispers from inside, including this today to Jeffrey Wells: "Agents all say they're the studio of last resort, they don't pay money, and Rupert Murdoch has said they're all on a lifeboat and there are going to be radical changes there. He's unhappy, and when he gets this way he fires people. [Chernin's contract] "has been up for weeks and he still hasn't renewed it. I think he and Tom Rothman might leave." Brutal! Now Rothman will never get his Emmy. [Hollywood Elswehere]

The rumor itself is actually at least 18 months old — we first heard it last year after a reporter at a major business magazine got the News Corp. nuclear treatment when he rang up the flacks to ask whether they had made out at a party — largely spurred by Deng being named the "chief of strategy" at MySpace China last summer, putting her in close (business) contact with DeWolfe. And then there were reports that DeWolfe was using his friendship with Deng in his negotiations for a new compensation package with News Corp.

The first time in the most recent spate of tips was in the form of an an email from someone using the Dark Knight pseudonym "Harvey Dent" and was pre-written in gossip-columnese ("What media mogul billionaire’s wife has been guilty of so many sexual escapades that she is the talk of LA?"), but it also made some amateurish mistakes, such as referring to "Wendy Deng." The second tipster came from inside a media organization that's locked horns with News Corp. plenty of times in the past. The third was the most aggressive. Their first account was that they had heard that someone with a grudge against Murdoch had hired a private investigator who had discovered that Deng was involved with "Chris DeWitt." Asked why someone was digging dirt on Rupert, they said it was "more of a personal interest."

None of the new tipsters have offered any new evidence to made us think it's true. Like the Jossip item, all leaned heavily on the detail that they're hooking up at 141 Prince St. But that's hardly a secret address. since that's where the Murdochs live when they're in New York. And as someone familiar with the Murdochs points out, they sold that apartment in 2005 and now live on Fifth Ave. So color us skeptical. Though, of course, if you know more than our previous tipsters, we're interested in that, too.

The timekeeper cites three news sources in as many weeks that have noted that the $500 million Reliance/DreamWorks deal is "a week" away from closing. The Wall Street Journal was a little more vague when breaking the story last June, reporting only that the parties were "close" to a deal. A fun theory floated at the time suggested outgoing 'Works partner David Geffen fed the story to the Journal to entice a bid from Rupert Murdoch himself, whose 20th Century Fox is on the short (if unlikely) list of potential DreamWorks distributors:

"This is what [Geffen] does really well," a studio veteran said after details of DreamWorks' new deal fanned across the film industry like a Malibu fire. On close inspection, the source explained, those details are not only weeks away from being worked into a contract, but out there in a way to stir up interest from interlopers. Even the scoop by which the deal-in-progress became public — page one, above the fold, in The Wall Street Journal — appeared orchestrated.

Our own DreamWorks digging unearthed little new news, and our Magic 8-Ball isn't much help either, with the inquiry, "Will Steven Spielberg be a free man?" first turning up the response, "Ask again later," followed by, "Outlook good." Whatever — if it's good enough for the Journal, then it's good enough for us.

• Why Is This DreamWorks-Reliance Deal Taking So Long? [The Business Sheet]

Think of how easy it might have been to understand Arianna Huffington's bloggy animus toward Tim Russert if there were a book out chronicling all the sordid details of their decade-and-a-half-long secret feud. (There is.) Every gossip-mongering gadabout should know the full backstory on every spat, falling out, and long-running mutual antagonism in media. Below are the volumes no shelf should be without.

1. The Operator: David Geffen Builds, Buys, and Sells the New Hollywood, by Tom King

The Gist: A gay Polish-Ukrainian Jew from Borough Park moves to Hollywood and enters the mail room at the William Morris Agency. After forging a letter suggesting he had a college degree when in fact he did not, Geffen rises through the ranks to become an agent, then leaves WMA and founds Asylum Records and produces albums by Jackson Browne, Joni Mitchell and Bob Dylan. Asylum is sold to Warner Communications, and Geffen becomes Vice Chairman of Warner film studios. He then retires and un-retires after a minor but erroneous health scare, founds Geffen Records, courts John Lennon and Yoko Ono (see below), produces Cats, Risky Business (see below), co-founds Dreamworks SKG, produces Saving Private Ryan, backs Bill Clinton, gives lots of money to AIDS research, falls out with Bill Clinton over one of the sleazeballs he didn't pardon, and now backs Barack Obama. Along the way Geffen throws many temper tantrums and raises his voice to the point where even Steven Spielberg asks him politely to lower it. He also shows a remarkable ability for betraying the confidences of good friends and business associates in order to charm potential clients he’s just met. The night Lennon was shot, Geffen was in bed with a male prostitute and loves to boast about it.

The Pull-Quote: “’What about my music?’ [Yoko Ono] asked. ‘Well, I’ve never heard any of your records.’ ‘Really,’ Ono said. ‘That doesn’t sound like a very good reason for me to make a deal with you.’ ‘I’m a big fan of John’s, and I have a great deal of respect for the two of you, and we do a very good job. We’re a good record company.’ ‘What do you mean you’re a good record company?’ Ono fired back. ‘You haven’t put out a record yet!’”

The Takeaway: A foolish consistency is the hobgoblin of little minds. Be enlightened and progressive on your own time, but cunning and ruthless on corporate time. Respect for others’ privacy won't make you rich and powerful. Endear yourself to those you want to impress by gossiping about people you know behind their backs. It'll smack of such poor judgment that would-be clients will assume you're either crazy or brilliant, and guess what? You are.

2. Tina and Harry Come to America: Tina Brown, Harry Evans, and the Uses of Power, by Judy Bachrach

The Gist: Gifted writer Tina Brown makes her fellow students feel small at Oxford, dates a host of famous men (including Auberon Waugh, who washes frantically after sex, Martin Amis, whom she adores, and Dudley Moore, whom she does not), deflects charges of arrivisme, and becomes editor of UK tabloid Tatler at age 25. She meets Harold Evans, then married and famously editing the The Times of London and The Sunday Times, which names her Most Promising Female Journalist. Brown and Evans marry in 1981, then move to New York three years later, whereupon Brown revives the moribund Vanity Fair by turning it into the must-read glossy on celebrity doings and the leisure class. She hires true crime reporter Dominick Dunne, photographer Helmut Newton and inaugurates a new wave of magazine journalism, operating under the assumption that "intellectuals should be read and not seen." Meanwhile, Tina and Harry are now East Coast socialites whose fiercely guarded life together aspires to shape headlines, not become them. (Their best friend is British libel law.) Brown takes over The New Yorker in 1992 and remakes that antiquated smart sheet, too, acquiring Malcolm Gladwell, Anthony Lane and David Remnick, who later replaces her as editor-in-chief. On a manuscript submitted by Yiddish Nobel laureate, Brown writes, "Beef it up, Singer," which more or less encapsulates her style of feared-but-respected-or-hated tenure. She founds Talk magazine in 1999, which folds after just two years, an over-sensationalized failure from which this unauthorized biography derives all of its rise-and-fall schadenfraude. (Bachrach is a contributing editor at the new VF, edited by Brown’s archnemesis Graydon Carter.)

The Pull-Quote: "We live in a time when infamy sells.... There is no honor, no reticence, no loyalty." Spoken by Maureen Dowd on Brown's New Yorker reign, and quoted by author to make a clichéd point.

The Takeaway: Develop a nose for future A-listers. Sleep with as many as you can all the while adopting an “amused” air about them. Overpaying the talent means you can bully them into submission, so don't be cowed by easily tossed around phrases like "national institution" or "greatest living writer." Fuck 'em if they can't take a kill-fee. Oh, and marry old men.

3. How To Lose Friends and Alienate People, by Toby Young

The Gist: Son of highbrow sociologist Michael Young, who coined the term "meritocracy," Toby Young devotes his life to testing how much strain that already weakened concept can take. He writes for the British Times, gets fired from the British Times. He founds celebrated Modern Review, which traffics in "low culture for highbrows," then shuts it down, much to the dismay of everyone else involved. Young moves to New York in the early 90's, gets hired by Graydon Carter as a contributing editor (read: sinecurist) at Vanity Fair, then proceeds overlong tenure as a piece of gum stuck to the bottom of Graydon Carter’s shoe (this is G.C.’s description of him, not ours). Young cracks dud jokes to celebrities, refers to doormen who won't let him into parties he'd end up hating anyway as "clipboard Nazis," does blow while on assignment, asks Nathan Lane if he's gay, gets fired from Vanity Fair. Now back in London (this isn't in the book), Young edits The Spectator, a conservative weekly, and boasts of his "negative charisma," probably as a way to boost paperback sales. HTLFAAP, much like Young himself, has been up and down the wicket of sadomasochistic success. A film adaptation is said to be in post-production, starring Simon Pegg and Kirsten Dunst.

The Pull-Quote: “Cool Britannia was a cry of independence, a howl of protest against the all-enveloping cultural hegemony of the United States, yet, paradoxically, it didn’t really mean anything—it hadn’t really happened—until it was noticed by the American media. That explained the schizophrenic attitude of people like Damien Hirst, Keith Allen and Alex James: they wanted to assert their indifference to the attentions of glossy, New York magazines, and yet they wanted to be photographed striking this insouciant pose in Vanity Fair. Like rebellious schoolchildren, their protest wouldn’t have counted unless it was registered by the authorities. Unfortunately, in this scenario I was cast as the toothless substitute teacher.”

The Takeaway: The memoir is a good object lesson in what not to do if you want to hang onto a job or a masthead listing, or cast the impression that deep down you really had high expectations for the world of glamour-besotted New York media. Also, it pays to be obnoxious in a way that only you find ironic.

4. Spy: The Funny Years, by Kurt Andersen, Graydon Carter, George Kalogerakis

The Gist: In 1986, Graydon Carter and Kurt Andersen found the future of piss-taking journalism in the form of Spy magazine. Épater le bourgeoisie never had it so good, or so the editors – now all dressed up and fixtures of the very culture they once lampooned – are the first ones to remind you. Spy pioneers satire as a clever agglomeration of facts, and specializes in the infographic, the listicle (just like this one!) and the blurb cloud. It attempts to decipher just who, exactly, is on the New Yorker’s indecipherable masthead. It follows Anthony Haden-Guest into the dank reaches of his own nightlife. It refines hatred of Donald Trump into an art form. Features include the Liz Smith Tote Board, Separated at Birth, and Logrolling in Our Time, without which everything from The Onion to Conan O’Brien’s pre-interview fooling would be unimaginable. The self-conscious prose style is a cocktail of H.L. Mencken, A.J. Liebling and Wolcott Gibbs, and its been swigged by every glossy editor in search of a readership ever since. Once G.C. leaves, it all goes to shit. Like Studio 54, the new owners can’t make it work, ergo the justified hubris of the book’s title.

The Pull-Quote: “How easy is it to steal the sour cream?” – in a chart surveying the various Manhattan cafeteria chains.

The Gist: You need only ask yourself if you read Radar to determine whether there’s any pedagogic value to be mined from Spy.

5. Bright Lights, Big City, by Jay McInerney

The Gist: Nameless 24 year-old fact-checker for elite New York glossy (a thinly veiled New Yorker) moonlights as an aspiring novelist, or wants us to believe he moonlights as that while he’s busy Hoovering coke by the suitcaseful and partying through the vertiginous 80’s club scene with a yuppie twat called Tad Allagash. Tad calls the narrator, who writes annoyingly in the second person, “Coach.” His mother has recently passed away, so we’re shin-kicked into wondering if a life of artifice and glitz is simply an emollient for real pain. Behind the hatred there lies a plundering desire for love. Or something.

The Pull-Quote: “Just now you want to stay at the surface of things, and Tad is a figure skater who never considers the sharks under the ice. You have friends who actually care about you and speak the language of the inner self. You have avoided them of late. Your soul is as disheveled as your apartment, and until you clean up a little you don't want to invite anyone inside.”

The Takeaway: Once Tina Brown takes over Coach’s magazine, he’s fired. Sort your soul out before you move to the metropolis of infinite distractions, otherwise you, too, will wind up a shiftless anonymity with withdrawal symptoms. (Your apartment can still be a mess, however.)

6. The Devil Wears Prada, by Lauren Weisberger

The Gist: Recent Brown graduate Andrea Sacks wants to write for the New Yorker (sigh) and blankets the media world with her resume hoping to get a dues-paying job somewhere that will eventually allow her to become Larissa MacFarquhar. Whoops. She gets hired by fashion bible Runway’s bitch supreme Miranda Priestly (Anna Wintour, not even thinly veiled) as her junior personal assistant. Next thing Andrea knows, she’s chasing down lattes at Starbucks and sirloins at Smith and Wollensky instead of learning about ledes and nut grafs. Not what she had in mind but she loves the clothes and even develops a knack for being a second-string slave to a subhuman narcissist. Unlike in the film, Andrea doesn’t quit – she gets fired for saying “Fuck you, Miranda. Fuck you.” Ballsy, sure, but she does get to keep some of the Dolce and even snags an interview for a real writing position at another magazine in the same building. (N.B. Author Weisberger was Wintour’s personal assistant, so this novel is a bildungsroman, which is a word Andrea learned at Brown but seldom got to use after graduation.)

The Pull-Quote: “Fuck you, Miranda. Fuck you.”

The Takeaway: How many bright young girls have come to New York hoping to fill these Cinderella slippers, only to discover that not only is Wintour not hiring, but she’s honed her filter for confessional opportunists more interested in publishing advances than making sure her Apple Fritter is extra flaky. If you want to be a bona fide reporter, save yourself the aggro and dashed hopes and apply for an internship at the New York Sun your junior year. Also, while it’s true that some ball-breaking editors respond well to self-assertiveness, telling your boss “Fuck you” isn’t the wisest career decision.

7. Monster: Living Off the Big Screen, by John Gregory Dunne

The Gist: The story of Dunne and wife Joan Didion's attempt to transform the life of anchorwoman Jessica Savitch, who died in a car wreck after more or less proving on air in 1983, during a broadcast of NBC News Digest, that she was a drug addict. Instead of a sadder version of Network, the screenplay transforms into the Disneyfied Up Close and Personal, which makes absolutely no mention of Savitch and which even Robert Redford doesn't remember filming.

The Pull-Quote: “The purpose of such a meet-and-greet is to allow the executive to size up the supplicant. [Disney studio chairman Jeffrey] Katzenberg had not read Golden Girl, but he was aware of the less savory details of Jessica Savitch’s life. He liked the ugly-duckling idea; it was the kind of narrative he wanted, and he was also responsive to the television background against which it would be played. He did have reservations, and here I quote Joan’s notes of that first meeting: ‘Wants to know what is going to happen in this picture that will make the audience walk out feeling uplifted, good about something and good about themselves.’”

The Takeaway: Dunne is witty and disarming, especially when he quotes Jack Warner's definition of screenwriters: "schmucks with Underwoods." Interestingly, the "monster" in question is not the industry or any particular studio executive, but rather the money that governs all, including Dunne.

8. You'll Never Eat Lunch in This Town Again, by Julia Phillips

The Gist: Scandal-sponge Jewish producer reveals the vast corruption, drugs and sexual indiscretions that motor the movie industry. Phillips gets fired by Steven Spielberg on the set of Close Encounters of the Third Kind, accuses Goldie Hawn of body odor, and, on the night she becomes the first woman to win a "Best Picture" Oscar for The Sting, downs three valiums, one upper, one and a half drinks, two joints and a dash of cocaine. The book is a sprayfire indictment of practically everyone Phillips ever met in Hollywood, and it got her banned from Morton's.

The Pull-Quote: "They were really a rogues' gallery of nerds. Marty [Scorsese] was tiny and asthmatic, Steven [Spielberg] had the soft, flabby look of a typical Twinkies kid, and Brian [De Palma] never took his safari jacket off."

The Takeaway: Sour grapes ferment the best, although it's not as if anyone still believes in some West Coast Arcadia where dazzling moving pictures are made. Still, you'll hardly do better for the brutally honest story of a show biz prodigy that had to burn everything before she flamed out.

9. Autumn of the Moguls: My Misadventures With the Titans, Poseurs, and Money Guys Who Mastered and Messed Up Big Media, by Michael Wolff

The Gist: Following up on Burn-Rate (1998), which was about Wolff’s bust foray into the world of online startups, this is the nasty-minded sequel by the former New York media writer who wants badly to be the next Murdoch but can’t and decides to just insult everybody he ever envied instead—especially Fox News President Roger Ailes. Most of the stuff in here consists of Wolff's recycled columns, but it's all in one place and no true mogul ever wasted his time searching through web archives. Harvey Weinstein is obese and grotesque. The media business is "collapsing” like communism. Some of Wolff's axioms should be true even if they aren’t: “The larger and higher-profile the company, the bigger the nutcase who runs it.”

The Pull-Quote: “This was the meta thing. Meta gave both irony and gravitas to what we did. The delicious incongruity between our superficiality and our importance. The joie de vivre of self-referentialism. The stupendous, intoxicating power of being able to create the world we lived in."

Bonus Pull-Quote: “So, as I arrived for my speech, I was thinking of my relationship to the absent but always present [Fox News head Roger] Ailes. He was the greatest, but the Antichrist too.”

The Takeaway: Still fun. Like Young’s book, AOTM is a serviceable monument to failure dressed up as critical thinking. Though most of the wisdom you could just as easily cull by lunching at Michael's. Wolff went on to try and match-make the sale of his old haunt New York (he's now at Vanity Fair) to Mort Zuckerman, who in the event lost out to hedge fund wizard Bruce Wasserstein. That means more meanness is forthcoming in what promises to be the Dance to the Music of Time of inferiority complexes.

How do you Hulu? You don't have to pay anything, download a special player or even register your name or e-mail address. The site, which went up in mid-March, is free; in exchange for watching relatively brief ads, you get access to complete high-resolution episodes of top TV series such as "24" and "30 Rock," as well as impressively cataloged clips from "Saturday Night Live" and other shows.

Wow. Imagine how excited he'll be when he finds out about BitTorrent. Jests aside, Hulu may not seem like much of an innovation to anyone with more than a passing familiarity with the internet. But according to Collins, Hulu represents the next step in Rupert Murdoch's plan to rule the world. Hulu's innovation is not what it can do — it's what it can't do.

As countless media pundits have informed us over the years, the internet has democratized media, allowing any kid with a webcam to become famous by posting video of himself humping an ottoman or crying about Britney Spears. Almost every video site from funnyordie to VEOH allows people to post their own work. Not Hulu. It's "professional" video only. No Chocolate Rain allowed here!

Its rivals think that's a bad idea. Said Dmitry Shapiro, VEOH's founder,

"That's how the Internet was built; everyone participates," Shapiro said in an interview. "That is really the complete opposite of what Hulu is based on," he added, because Hulu doesn't allow users to post their own video. "Closed systems don't work on the Internet."

The Hulu-worshipping Collins quickly revealed the fallacy of his argument, leaving Shapiro stammering.

(When I raised the example of Apple's iTunes music and video store as a type of closed system that's done quite well, Shapiro dismissed it as "an anomaly.")

Meanwhile, in his castle, Murdoch looked at Hulu's impressive stats (63 million total streams during April, good for 10th best on the Internet) and cackled with glee. He rubbed his claws together, in eager anticipation of the day when everything on the internet would be created by his minions.

• Where TV and the Web converge, there is Hulu [LAT]

Graydon Carter, Vanity Fair: Carter's clashes with Weinstein were detailed in Ken Auletta's 2002 profile of the movie mogul in the New Yorker, for which Carter supplied some unflattering quotes. But the two made up: Weinstein and his Miramax Books advanced $1 million for a hardcover history of Carter's Spy Magazine, published in 2006 (the party photo at left, featuring Weinstein and Carter, was taken at a launch event for the book). When Weinstein wed fashion designer Georgina Chapman, Carter attended. The rehearsal dinner was held at Carter's restaurant, Waverly Inn.

Rupert Murdoch, News Corp.: Not only did he attend Weinstein's December wedding with wife Wendi Deng, but his four-year old daughter served as flower girl, according to Murdoch's Fox News.

Anna Wintour, Vogue: Met with Weinstein and his then-girlfriend Chapman about possible Vogue coverage of Chapman's fashion line. The gossip, as relayed by Page Six, was that Weinstein insinuated he could provide celebrities for cover shots in exchange for Vogue coverage of Chapman's fashion line. The line appeared several times in the magazine, and a Vogue rep confirmed to Page Six that a meeting occurred and that Wintour provided advice to Weinstein's aspiring fashionista, but said no deal was struck. Wintour also attended Weinstein's wedding.

Mort Zuckerman, Daily News, US News: Joined with Weinstein and others to bid on New York magazine in 2003. Also in the syndicate were financiers Jeffrey Epstein and Nelson Peltz, among others. Zuckerman also attended Weinstein's wedding.

For a fuller sense of Weinstein's connections, check out copious coverage of the guest list at his December wedding, which in addition to Murdoch, Wintour and Zuckerman drew network chiefs Les Moonves and Jeff Zucker and Saturday Night Live producer Lorne Michaels.

The mogul also makes his power felt further down the media food chain, where he can wow reporters with Hollywood glitz. David Carr said in the opening of a 2001 New York profile of Weinstein that the celebrities surrounding the mogul made Carr feel like "I'm in — kind of, temporarily, a member of the downtown tribe of Miramax."

At Fortune, Tim Arango opened a June 2007 Weinstein profile by recreating his trip with the mogul down the French Riviera in the back of "a midnight-blue Peugot." The pair drove past movie fans in Cannes, France, apparently on their way to a movie screening.

Arango went on to detail less glamorous — and less flattering — anecdotes, starting with how Weinstein's investors had just stepped up their oversight of his new company and were worried about management misfires. Weinstein's media influence, whatever he imagines it to be, has its limits.

· Meanwhile, ABC and CBS fired some of their final first-run, scripted TV bullets at each other Thursday night, with new episodes of Grey's winning the 18-49 demo and CSI taking a victory in total viewers. [THR]
· The Devil Wears Prada's Anne Hathaway! How to Lose A Guy In 10 Days' Kate Hudson! Starring in...Bride Wars! (Two best friends, one wedding date, fatal gunfire etc etc.) [Variety]
· Realizing that only rival Sumner Redstone lives forever, Rupert Murdoch has started to hand over the reigns of New Corp to son James. [THR]

· Sundance's high-profile "Premieres" titles have been revealed, including Jack Black/Mos Def/Michel Gondry project Be Kind Rewind and Alan Ball's directorial debut, Towelhead. [Variety]
· Running out of new episodes of its scripted series, NBC is cramming three extra hours of reality shows onto its early 2008 schedule, with American Gladiators, The Biggest Loser and 1 vs. 100 filling timeslot holes caused by the strike. "We're kicking off the New Year with a craptastic, writer-free bang!" crows NBC's head of alternative programming. [Variety]
· Cameron Diaz's Christmas wish is granted as Shrek the Halls puts up "socko" (translation: huge) Nielsens Wednesday night, ensuring that future generations of children will be spending the holidays with their favorite Santa-ogre. [Variety]

· Finding Wednesday's ShowrunnerPalooza to be a great success, the WGA has even higher hopes for this morning'smore ambitious Striking Man festival at Fox Plaza, during which between 2,000-4,000 Guild picketers, hundreds of members of the media, and countless News Corp employees idling in traffic jams will join together to form an hours-long protest community and listen to an acoustic set by Tom Morello (we were just joking about the Rage performance last time, but now it's for real). At the conclusion of the event, a 50-foot tall effigy of Rupert Murdoch constructed from surplus picket signs will be burned to the ground, a dramatic expression of solidarity that will be cheered wildly by the thousands of red-shirted strikers who tossed matches into the pyre. [THR]

· Will studios turn to the U.K., where the WGA has no jurisdiction, for stopgap screenwriting labor? Beware the Blighty Scab Menace! [Variety]
· Why They Fight, Multilingual Equine Stars Edition: "'This morning, I picketed with an 86 year writer, who wrote for 'Mr. Ed.' He said, 'It pisses me off that that fucking horse wound up speaking Italian, Polish and Rumanian, and I never made more than a nickel.'" [United Hollywood]
· TV's favorite sitcom Neanderthals should be grateful for the strike, which probably will push the show's inevitable cancellation date back a bit. [LAT]
· An anonymous producer wants to collect the names of everyone who's lost a job due to the strike, then mail it off to WGA and AMPTP presidents Patric Verrone and Nick "Why Does That Pretty TV Doctor Think I'm A Weiner?" Counter, hoping to shame them into restarting negotiations. [DHD]
· Candy Spelling makes her pitch to become a strike mediator. Also: pie sounds delicious right about now.[Scribe Vibe]

• Complete Hollywood StrikeWatch Coverage

There's also something to be said for the ingeniousness of its editorial-advertising department synergy: in one six-page (ooh, see what we did there?) feature, "Fall Fashion Picks from the Pros," the magazine actually enlists executives at five major department stores to assemble seasonal "looks" from clothes, accessories and cosmetics all entirely available at their respective employers. (Also intriguingly, the stylist on the feature appears to have been paid by the department stores themselves?) But where the magazine exercises editorial independence it falls flat: its warmed-over list of the 25 best-dressed ladies at New York Fashion Week included Teen Vogue editor Amy Astley, whom we've pictured here so you can ogle all that personal style she is exuding. Its columnists, too, are still clearly finding their voices: an item by "Socializer" columnist Kelly Killoren Bensimon contains the puzzling rumination: "You can't afford cigarettes or taxis anymore. Might as well walk outside. Might as well walk outside and inhale the toxic fumes. I look at it as the new nicotine." Huh. However, as with any middling celebrity tabloid, P6TM serves up a few little nuggets of gold blissfully un-couched by editorial commentary. Like for instance here's author Jonathan Safran Foer complaining about the movie Liev Schrieber made from his book:

"There's an old saying. Don't f—- a pig in the a— and then bitch and moan when your d—- smells like s—- the next day."

*And also, to be sure, if we hadn't been writing a miniscule item for the magazine earlier, because we have a lot of friends who work there, at least we did before we wrote this review.

Almost completely lost in the media chaos following Anna Nicole Smith's death was the fact that soon after News Corp. potentate Rupert Murdoch shocked—shocked!—the entertainment industry by bragging that his 20th Century Fox division had locked up Sacha Baron Cohen for a Borat sequel, the studio had to very delicately inform the world that while Fox loves and admires Cohen and would like nothing better than to lavish millions of dollars upon him for such a project, things were not quite as contractually finalized (the phrases "casual discussions" and "too preliminary to discuss" figured in the statement) as the boss might have erroneously hinted. Following such a public backtracking off a blockbuster announcement, it's not too hard to imagine that an embarrassed Murdoch's vague order to "Make this go away. I don't care how," being taken by an overeager underling as an opportunity to demonstrate his skill in creating the kind of media smokescreen only achievable by the mysterious and unexpected passing of a troubled celebrity.

Then again: Nah. Nothing less than a fatal Lohan mishap would be enough to impress Murdoch.

[Photo: GettyImages]

• Fox studio puts talk of "Borat" sequel on ice [Reuters]
• Rupert Murdoch Reveals Plans For 'Borat 2'; First Lawsuit From Angry Victim To Be Filed Later Today [Reuters]