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GLOSSED OVER

Print magazines aren’t dead — in 2024, they’ve just gone premium

Advertising dollars continue to go online, but some print magazines are seeing revivals as luxury leisure products.

Millie Giles

Generation after generation have experienced the shifting sands of media. We’ve seen video kill radio; CDs kill cassettes; DVDs kill VCR, before streaming killed DVDs — and, for the last decade, we’ve watched (often from behind a screen) the digital-media boom size itself up against long-declining print publications.

According to Magna data cited by Bloomberg, at its peak in 2007, annual advertising revenues from print publications were as high as $19.5 billion in the US. Since then, the industry has turned a new page, with almost every ensuing year bringing in less advertising revenue than the one before.

Print advertising chart
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Perhaps, though, as Amanda Mull argued in an insightful Bloomberg article published last Thursday, this year has not seen print die at the hands of digital as one might have anticipated. Instead, just like film cameras, bookstores, and vinyl records, print media is seeing something of a revival, with established magazines rebranding from ubiquitous digests to more specialized luxury “leisure products.”

While the golden age of print is well behind us — the same Bloomberg piece reported that even mega-publisher Condé Nast is “no longer a magazine company,” per its CEO — an increasing number of legacy media outlets announced plans to revamp previously ditched physical print offerings in 2024, including NME, Nylon, Vice, Life, and The Onion. Moreover, some digital-born publications are now also giving print a chance, with Vox Media’s The Cut launching its first-ever Fall Fashion print issue this September.

However, keeping widespread attention isn’t the primary objective of print magazines anymore. As outlined by Mull, the success of enduring print publications (The New Yorker, Vogue, Architectural Digest, etc.) relies on their readers’ distinct interests, tastes, and intellects to sustain sales. Indeed, the rise in the number of small-scale indie publications going to print offers some proof that the value of a readership now lies in quality rather than quantity — a virtue that appeals to advertisers, who’ve grown conscious that the often more affluent, tuned-in readership of some print publications are harder to engage with online.

In fact, the print medium is now increasingly used as a marketing tool itself: according to the report, the Costco Connection is one of America’s most successful magazines today, with a monthly circulation of more than 15 million.

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Tamagotchis are making a comeback, 3 decades after first becoming a global toy craze

If you were a ’90s kid, you might remember the craze around little egg-shaped toys with an 8-bit digital screen, displaying an ambiguous pet-thing that demanded food and attention.

Now, on the brand’s 30th anniversary, the Tamagotchi the Japanese pocket-sized virtual pet that launched a thousand cute and needy tech companions, from Nintendogs to fluffy AI robots — is making a minor comeback.

Tamagotchi Google Search Trends
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Looking at Google Trends data, searches for “tamagotchi” spiked in December in the US, up around 80% from just six months prior, with the most search volume in almost two decades.

While the toys are popular Christmas gifts, with interest volumes often seen ticking up in December each year, the sudden interest might also have something to do with the birthday celebrations that creator and manufacturer Bandai Namco are putting on, including a Tokyo exhibition that opened on Wednesday.

Game, set, hatch

More broadly, modern consumers appear to have a growing obsession with collectibles (see: Labubu mania), as well as a taste for nostalgia (see: the iPod revival, among many other trends).

But, having finally hit 100 million sales in September last year, the brand itself is probably just glad to exist, giving a whole new generation the chance to experience the profound grief of an unexpected Tamagotchi death.

$5.6B

Disney could be well on its way to its third billion-dollar film of the year following a $345 million opening weekend for “Avatar: Fire and Ash.” The film’s opening gross puts the “Avatar” franchise’s total box office earnings at $5.6 billion — and counting.

The latest film, the second “Avatar” entry under Disney’s tent, earned about 75% of its total box office gross internationally — in line with previous movies in the (as of now) trilogy. Domestically, this one earned $88 million, falling short of expectations.

“Fire and Ash” was the widest Imax release ever, debuting on 1,703 screens globally and earning $43.6 million through the format. The $345 million “Fire and Ash” opening weekend was the second-highest of 2025, behind Disney’s “Zootopia 2,” which recently passed the $1 billion mark, globally.

Year to date, Disney has earned $5.8 billion globally at the box office.

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