How Much is Newsweek Worth?

newsweekI really enjoyed reading Newsweek when I was younger–I loved the political cartoons, the quick-hit section in the front, the in-depth pieces on issues I knew nothing about.  So I’ve been watching with interest as the Washington Post Company completes the sale of the news magazine for a reported $1 dollar and assumption of debt.  Newsweek–like many print publications–has been losing money for a while, so this is not much of a surprise.

There are a lot of interesting stories going on here:  the ongoing saga of print and online media; Sidney Harmon, of Harmon-Kardon audio fame, is the buyer and has no clear media experience; and Harmon’s wife, Jane, is a U.S. Representative.  But it was the following analysis of the finances of Newsweek that really caught my interest:

http://www.cjr.org/the_audit/the_newsweek_numbers.php

Someone published a copy of the [presumably confidential] sales presentation on the web, and the revenue and cost data is fascinating:  apparently Newsweek spent around $100 million (about 60% of its annual revenue of $160 million) to produce, distribute, and manage the physical magazine.  How can a magazine, any magazine, seriously compete head-to-head with an online publication, one that can provide a similar service while avoiding $100 million in such costs?

This drastically changing industry is a good place to look at changing business and finance models.

Range Anxiety

I was talking to some friends (and one cab-driver) about electric and hybrid cars the other day, and the concept of range anxiety came up.  Consumers may very well wish to purchase electric cars, but they are apprehensive about getting stranded on long trips:  auto makers call this range anxiety.

I wonder what the average consumer’s range anxiety is (measured in, say, miles), and I wonder how that compares to the capabilities of a typical electric car.  Consumers are assumed to act with lots of information (provided by commercials and marketing, for example), but perception is often far from reality.  There could be a large gap between someone’s range anxiety and the capability of the car–range dissonance, perhaps?  In order to make sales, car manufacturers need to close that gap, through technology or marketing.

There’s a lot of interesting quantitative analysis to be done here, both of the car’s performance, and the consumer’s perception of performance.  In addition, the government–which seems interested in promoting electric car use–must understand the needs of the cars and consumers as well, as it starts to develop the geometry of “filling” stations.

How Much is Blockbuster Worth?

Blockbuster Video will always have a special place in my heart.  When a store opened up a few blocks from my childhood home, it was a big deal.  We were excited to walk over, browse the rows of VHS (and, for a short time, Beta) cassettes, and bring back a movie or two for three days / two nights.

Oh, how times have changed.  Once valued at nearly $5 billion (in 1996 dollars), Blockbuster stock is currently trading at around 17 cents a share, which means that the company is currently valued at around $37 million.

So where is this $37 million in value?  The company has dropped more than 100-fold in value, but $37 million stills seems like a lot of money.  Does Blockbuster have any significant revenue?  Do they have exclusive agreements with movie studios that have value?  Is the Blockbuster brand worth something?  Can they sell all their old VHS tapes to Panama?

Determining the value of a company is an interesting and complicated problem.  Facebook provides another good example of the complexities involved.  Recent reports suggest Facebook has a value between $10 and $20 billion, even though Facebook’s revenue is on the order of $1 billion.  How does one determine that all the non-revenue-related stuff (brand identity, user base, etc) is worth $9 billion?

One thing is for sure:  Netflix, currently valued at around $5 billion, is definitely 133 times more valuable than Blockbuster.  At least.

Measuring Mortgage Defaults

According to a recent study the default rates for mortgages over one million dollars is nearly twice as high as the default rate for mortgages under one millions dollars (14.3% to 8.3%).  A default on a mortgage essentially means that the home-owner stops making mortgage payments and the bank takes possession of the home.

There are a lot of interesting mathematical, sociological, and perhaps ethical questions here, but I wanted to point out that although the above probabilities are interesting, the number and total value of the mortgages in question are probably more relevant data to consider.

For example, if only 1/10 of all mortgages are over a million dollars, then this statistic might not be that important; on the other hand, if a good number of defaults are way over a million dollars, than this statistic isn’t telling the real story either, but in a different way.

As an aside, renting vs. owning is a general and interesting mathematical question to explore in a variety of different contexts.

More Movie Money Management

I saw a movie last night at the Brooklyn Academy of Music (BAM).  BAM shows a few movies every day–some new and some old–but it’s not their primary means of generating revenue.  Presumably that comes from local and national funding, private donations, and the like.

So how much money do they make showing movies?  Well, last night’s movie was sold out, making it easy to estimate how many tickets were sold:  11 rows x 14 seats per row = 154 seats.  The rows in the back might have had an extra seat, so let’s call it 160.  At $12 a ticket, that’s $1920 in ticket sales.  Concessions are a big winner for movie theaters–a quick search suggests that a $3 concession per capita rate is appropriate, so let’s assume that the theater generates an additional $3 X 160 = $480 in concessions.  So that’s $2400 in total revenue for what is probably the busiest showing of the week (Saturday night).

What are BAM’s costs?   Well, they have to pay to show the movie (I don’t know if this is a flat fee, a per-showing fee, a per-viewer fee)’; they must pay employees (sales, ushers, concessions, security, projectionists, janitors); and they probably lose a cut to on-line ticket brokers.   Doesn’t seem like a high rate-of-return to me, especially when they only show a couple of movies per day.

One thing is for sure:  there are people out there who are very happy that they are still generating revenue by selling the rights to show a 50-year-old movie (“Charade”) in theaters.  That’s the business to be in.

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