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Show Media and Entertainment Publications

Entertainment Weekly, InStyle and four other Meredith magazines will ...

Entertainment Weekly Bids Farewell to Print: IAC Shifts Iconic Magazine to Digital-Only Future

In a move that marks the end of an era for print media enthusiasts, IAC, the parent company of Dotdash Meredith, has announced the cessation of the print edition of Entertainment Weekly (EW), a beloved staple of pop culture journalism for over three decades. This decision, revealed on Wednesday, underscores the ongoing transformation in the media landscape, where digital platforms increasingly dominate over traditional print formats. EW, which first hit newsstands in 1990, will transition to a fully digital presence, maintaining its online platform while discontinuing its physical magazine. The shift is part of a broader restructuring at Dotdash Meredith, affecting several other publications and resulting in significant layoffs, signaling deeper challenges within the publishing industry.

Entertainment Weekly has long been synonymous with comprehensive coverage of movies, television, music, books, and celebrity news. Founded by Time Inc. as a response to the growing appetite for entertainment-focused content in the late 1980s, EW quickly distinguished itself with its witty, in-depth reviews, exclusive interviews, and signature features like the "Bullseye" chart that rated pop culture hits and misses. Over the years, it became a cultural touchstone, influencing how fans engaged with Hollywood and beyond. Iconic covers featuring stars like Oprah Winfrey, the cast of "Friends," or blockbuster franchises such as "Star Wars" and "Harry Potter" not only captured the zeitgeist but also drove sales and subscriptions. At its peak, EW boasted a circulation of over 1.7 million, making it one of the most influential entertainment magazines in the United States.

The decision to end print operations comes amid a wave of changes following IAC's acquisition of Meredith Corporation in a $2.7 billion deal late last year, which merged it with Dotdash to form Dotdash Meredith. This new entity oversees a portfolio of well-known brands, including People, Better Homes & Gardens, and Southern Living. However, the restructuring has not been without controversy. Alongside EW, print editions of other magazines such as InStyle, EatingWell, Health, Parents, and People en Español are also being discontinued. This consolidation aims to streamline operations and focus resources on digital growth, where advertising revenue and audience engagement have been shifting dramatically.

Dotdash Meredith's CEO, Neil Vogel, explained in a statement that the move is driven by evolving consumer behaviors and the need to adapt to a digital-first world. "We're making these changes to better serve our audiences and advertisers in the formats they prefer," Vogel said. He emphasized that while print has been a cornerstone of these brands, the future lies in expanding online content, including newsletters, podcasts, and video series. For EW specifically, this means enhancing its website, EW.com, which already attracts millions of monthly visitors with breaking news, recaps of popular shows like "Succession" or "The Mandalorian," and in-depth analyses of awards seasons. The digital pivot is expected to include more interactive features, such as user polls, live event coverage, and multimedia storytelling, potentially reaching a broader, global audience unbound by physical distribution limitations.

The announcement has elicited mixed reactions from industry insiders, former staff, and loyal readers. Many mourn the loss of the tactile experience of flipping through glossy pages filled with vibrant photos and thoughtful essays. Social media has been abuzz with nostalgia, as fans share memories of collecting issues or discovering new artists through EW's recommendations. One Twitter user lamented, "EW was my weekly escape into the world of entertainment; holding it in my hands made it feel real." Critics of the decision argue that it diminishes the magazine's prestige, as print often carries a sense of permanence and authority that digital formats struggle to replicate.

On the employment front, the restructuring is particularly poignant. Dotdash Meredith confirmed that approximately 200 employees will be laid off as part of these changes, with about 40 from EW's team directly affected. This includes editors, writers, and production staff who have dedicated years to crafting the magazine's voice. In an internal memo, executives assured that some roles would transition to digital positions, but the layoffs highlight the human cost of media evolution. The Writers Guild of America East, which represents some EW staff, expressed disappointment, stating, "This is a devastating blow to talented journalists who have built EW into what it is today." The union is reportedly negotiating severance and support for those impacted.

To understand the broader context, it's essential to look at the declining fortunes of print media. The rise of the internet, social media, and streaming services has fragmented audiences, making it harder for magazines to sustain print runs. Advertising dollars have migrated online, where targeted ads yield higher returns. EW's circulation had already been waning in recent years, dropping to around 500,000 by 2021, a far cry from its heyday. Similar fates have befallen other publications; for instance, Teen Vogue went digital-only in 2017, and Glamour followed suit in 2018. Yet, some argue that EW's brand strength could ensure its survival in the digital realm, much like how Rolling Stone and Variety have thrived online.

Looking ahead, Dotdash Meredith plans to invest heavily in EW's digital infrastructure. This includes bolstering its podcast offerings, such as the popular "EW's BINGE" series that dives deep into TV shows, and expanding video content on platforms like YouTube and TikTok. There are also hints of premium subscriptions or membership models to monetize exclusive content, similar to strategies employed by The New York Times or The Atlantic. Executives are optimistic that this shift will allow EW to innovate, perhaps incorporating augmented reality features for virtual red-carpet experiences or AI-driven personalized recommendations for readers.

The end of EW's print era also prompts reflection on the magazine's cultural legacy. It played a pivotal role in elevating genres like superhero films and prestige TV, with groundbreaking coverage of phenomena like the Marvel Cinematic Universe or "Game of Thrones." EW's annual Entertainers of the Year issues celebrated diverse talents, from Meryl Streep to Beyoncé, promoting inclusivity in entertainment journalism. Moreover, it was a launchpad for many writers who went on to prominent careers, including critics like Owen Gleiberman and Lisa Schwarzbaum, whose reviews shaped public discourse.

As the publishing world continues to grapple with digital disruption, EW's transition serves as a case study in adaptation. While the loss of print is undoubtedly a setback for traditionalists, it opens doors to new possibilities. Fans can still access EW's signature blend of fun, insightful content online, ensuring that the spirit of the magazine endures. In an industry where change is the only constant, Entertainment Weekly's pivot reminds us that storytelling evolves, but the stories themselves remain timeless.

This development is not isolated; it's part of a larger trend where media conglomerates like IAC are prioritizing efficiency and scalability. IAC, led by chairman Barry Diller, has a history of bold moves, from spinning off companies like Match Group to acquiring Angie’s List. The Dotdash Meredith merger was touted as a way to create a powerhouse in lifestyle and entertainment content, combining Dotdash's SEO expertise with Meredith's established brands. Yet, critics question whether this focus on digital metrics—page views, engagement rates—will preserve the editorial depth that made EW special.

For longtime subscribers, the final print issue, slated for April, will be a collector's item, perhaps featuring a retrospective on the magazine's history. As one former editor put it in an interview, "EW wasn't just a magazine; it was a conversation starter, a community builder." Moving forward, that community will need to reconvene online, where the barriers to entry are lower, but the competition is fiercer.

In conclusion, the cessation of Entertainment Weekly's print edition is a poignant chapter in the ongoing saga of media transformation. It reflects economic realities, technological advancements, and shifting consumer preferences. While it may signal the twilight of print for some genres, it also heralds a new dawn for digital innovation. As EW embarks on this journey, its fans and creators alike will watch closely, hoping that the essence of what made it great—passion for entertainment, sharp wit, and cultural relevance—translates seamlessly into the pixels of tomorrow. (Word count: 1,248)

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