Entertainment Weekly did not begin as a digital entity but as a bold experiment in print that redefined how Americans consumed pop culture. The first issue hit newsstands on the 16th of February 1990, a time when most magazines were either dry trade publications for industry insiders or glossy celebrity gossip sheets for the tabloid-obsessed. Jeff Jarvis and Michael Klingensmith, the founders, envisioned something entirely new: a consumer guide that treated movies, music, and television with the same critical seriousness as literature or theater. Unlike its sister publication People, which focused on human interest stories and celebrity profiles, Entertainment Weekly positioned itself as a bridge between the high art of criticism and the low art of entertainment. It was a magazine that could review a video game with the same rigor as a Broadway play, a strategy that initially baffled skeptics but ultimately captivated a generation of readers. The magazine's early success was not immediate; Time Inc. spent $150 million developing the title, a massive sum for the era, yet the gamble paid off when the magazine turned a six-figure profit by the end of 1996. This financial turnaround proved that a general audience was hungry for intelligent, accessible entertainment journalism, setting the stage for a publication that would dominate the cultural conversation for three decades.
The Letter Grade Revolution
Before Entertainment Weekly, movie and book reviews were often subjective essays filled with star ratings that varied wildly from publication to publication. The magazine introduced a radical system that would become its signature: the letter grade. Instead of stars, EW assigned grades ranging from A to F, complete with plus and minus modifiers, creating a standardized metric that readers could trust. This academic-style grading system was so influential that it forced other publications to adopt similar formats, and the A+ rating became a rare and coveted distinction. Only two films in the magazine's history received the perfect A+ grade: Citizen Kane and My Left Foot, a 1989 drama about a disabled man's struggle to walk. The system was not without controversy; critics argued that reducing complex art to a single letter oversimplified the experience, yet the public embraced the clarity. Longtime film critic Lisa Schwarzbaum, who left the magazine in 2013, and Owen Gleiberman, who was let go in 2014, were instrumental in shaping this voice. The magazine also began publishing scores from Metacritic, Rotten Tomatoes, and IMDb under a section called Critical Mass, blending traditional criticism with aggregate data. This approach transformed the way audiences discussed art, turning a simple review into a conversation about quality that transcended individual opinion.
Beyond the serious reviews, Entertainment Weekly cultivated a unique culture of humor and curation that resonated deeply with its audience. The Bullseye, a graphic feature on the back page, rated the hits and misses of the week's pop culture events, often using visual metaphors to convey the magazine's opinion. For instance, the 22nd of May 2009, edition placed Justin Timberlake hosting Saturday Night Live in the center of the bullseye, while the drama between Eminem and Mariah Carey was placed far off-target, labeled as very 2002. This playful approach allowed the magazine to engage with celebrity culture without being consumed by it. Complementing this was The Must List, a two-page spread that highlighted ten things the staff loved from the week, including books, movies, and songs, often featuring a pick from readers. These sections were not mere add-ons; they were integral to the magazine's identity, offering a curated experience that felt personal and timely. The magazine also featured The Hit List, a column written by critic Scott Brown that highlighted ten major events with short comedic commentaries, a tradition that began with Jim Mullen and later continued with Dalton Ross. These features created a sense of community among readers, who looked forward to the magazine's weekly take on the cultural landscape.
The Entertainer of the Year
Each year, Entertainment Weekly crowned an Entertainer of the Year, a tradition that began in 1990 and evolved to reflect the changing landscape of fame. The first winner was Bart Simpson, a cartoon character, highlighting the magazine's willingness to embrace pop culture icons beyond traditional actors and musicians. Over the years, the list included Jodie Foster, Steven Spielberg, Tom Hanks, and the cast of Friends, but the tradition also recognized writers like J.K. Rowling and directors like Taika Waititi. By 2017, the magazine expanded the award to include multiple honorees, reflecting the diverse nature of modern entertainment. The 2018 issue, for example, honored the women of Crazy Rich Asians, the cast of Black Panther, and the Fab 5 from Queer Eye, showcasing the magazine's commitment to inclusivity and representation. This annual tradition was not just a celebration of talent; it was a reflection of the cultural zeitgeist, capturing the moments that defined each year. The magazine also published the ten-best releases in theater, film, television, music, and literature, along with a five-worst list, providing a comprehensive overview of the year's cultural output. This tradition continued to evolve, with the 2022 issue honoring Jennifer Coolidge, the cast of Abbott Elementary, and the film Top Gun: Maverick, ensuring that the magazine remained relevant in an ever-changing media landscape.
The Digital Pivot and Print Death
The transition from print to digital was not a sudden decision but a gradual evolution that mirrored the broader changes in the media industry. Beginning with the August 2019 issue, Entertainment Weekly shifted to a monthly issue model, a move that signaled the magazine's adaptation to the digital age. Bruce Gersh, president of the Meredith entertainment division, announced that the cutback in print would be accompanied by deeper 24/7 digital coverage, including weekly digital covers, podcasts, and experiential offerings with stars and festivals. The magazine's final print issue was released in April 2022, marking the end of an era that had begun in 1990. Despite the cessation of print, the magazine continued to thrive in the digital space, with EW.com providing daily content, breaking news, and original video programming. The magazine also launched a Greek edition in 2021, becoming the first country outside the U.S. to host the publication. This global expansion demonstrated the magazine's enduring appeal and its ability to adapt to new markets. The transition was not without challenges; the magazine had to navigate the decline of print advertising and the rise of social media, but it managed to maintain its relevance by embracing new technologies and formats. The magazine's ability to pivot from print to digital ensured its survival and continued influence in the entertainment world.
The Critics Who Shaped the Voice
Entertainment Weekly's success was largely due to the talent of its critics and writers, who brought unique perspectives to the magazine's content. Chris Nashawaty, the primary film critic, and Darren Franich and Kristen Baldwin, who reviewed television, were instrumental in shaping the magazine's critical voice. The magazine also featured columns by notable writers such as Mark Harris, who wrote The Final Cut, and Diablo Cody, who contributed Binge Thinking, a column that offered a unique view of the entertainment business. These writers were not just critics; they were cultural commentators who provided context and analysis that went beyond simple reviews. The magazine also featured Libby Gelman-Waxer, who wrote If You Ask Me, a column that brought a personal touch to the magazine's content. The magazine's ability to attract top talent was a testament to its reputation as a serious publication that respected its readers' intelligence. The magazine also featured a section called The Monitor, which highlighted major events in celebrity lives, including weddings, illnesses, and deaths, providing a comprehensive view of the entertainment world. This attention to detail and the magazine's commitment to quality writing ensured that Entertainment Weekly remained a trusted source of entertainment news and criticism.