29 Sunset Missives

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Is your newsletter fully yours? Before starting one, consider how independent you want to be

May 8, 2020

Substack on a screen

I love newsletters. I have five subscribers to the 29 Sunset newsletter as of this writing, and, as a writer, I love that this message goes directly to your inbox, where you’re notified of its existence and can read it at your leisure on the device of your choosing.

There’s something about email newsletters that feels more personal than when I choose to visit a website and browse its offerings, perhaps because email is a deeply personal medium, a platform where I’ve been trained to think of every message as being specifically for me, because that’s how it was in 1995 when I got my first email address. Of course, I get messages from companies trying to get me to buy things, my doctors’ health network sends me updates that I can’t figure out how to stop, and I know that all the newsletters to which I’m subscribed go to many other people, too. But this feeling that each email I receive was meant for me persists.

Newsletters have been having a moment the past couple years. At a time when the journalism industry has hemorrhaged money and jobs, a whole bunch of professional writers seemed to realize at the same time that instead of trying to start independent blogs, they could cut out most of their administrative costs and energy (or take a pass on learning a new medium like podcasting) by promoting and publishing personal email newsletters that allowed them to send messages directly to readers on an ubiquitous and stable platform.

More attractive, though, is that sites like Substack and Patreon have created simple ways for individuals to charge for access, and a few people have, so far, managed to make a living on those subscription fees. Others, like Dave Pell, whose NextDraft newsletter predates the current boom, and other, more corporate-inclined publications, have sponsors for their content.

But there’s one big problem with where independent newsletters are going that I think those publishers would be well-advised to consider: Right now, under the model most of them are using, their content lives on another entity’s URL and their design is so limited as to be effectively branded by the platform. Yes, the decentralized nature of email newsletters means archives are less important because the content also lives in multiple Gmail inboxes and archives, and sharing is as easy as forwarding. However, don’t you want your publication to be as unique as you are?

Now, every night is movie night: April Media Diet

April 30, 2020


I’m not running out of things to do; I just have a lot fewer options. So goes life during the pandemic. No hanging out in the library for a couple hours in the late afternoon. No spending Saturday at the zoo. Now, I stay home with the Co-Pilot and Little One, and, invariably, we choose a movie.

Who is behind that popular YouTube channel featuring Anna and Elsa dolls?

April 24, 2020


There’s a popular YouTube channel that my Little One will watch every opportunity she can. It’s called Come Play With Me and has more than 7.4 million subscribers. A brief search suggests it’s a wildly profitable channel, with Social Blade giving a low-end estimate of $68,000 monthly income.

For the uninitiated, the channel is essentially a soap opera in the form of imaginative play acted out by two girls controlling dolls mainly from Disney toy lines. The two dolls at the center of almost every episode are the “child” versions of Anna and Elsa from Frozen, though in this universe, the children are named “Anya” and “Elsya” to distinguish them from the adult versions. Other dolls show up here and there, too — the “adult” Anna is Anya’s mother, the “adult” Elsa is Elsya’s mother, and occasionally we see Kristoff, Barbies, LOL figurines, and more.

I’m not the target demographic, but I think the show is attractive to young children because A) it features recognizable characters (the use of which would be an interesting test of fair use) and B) it’s exceptionally well-edited despite the ultra-low-budget production value.

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