What happened? In short

What happened? In short, Amazon.com recommendations. The online bookseller's software noted patterns in buying behavior and suggested that readers who liked Into Thin Air would also like Touching the Void. People took the suggestion, agreed wholeheartedly, wrote rhapsodic reviews. More sales, more algorithm-fueled recommendations, and the positive feedback loop kicked in.

Particularly notable is that when Krakauer's book hit shelves, Simpson's was nearly out of print. A few years ago, readers of Krakauer would never even have learned about Simpson's book - and if they had, they wouldn't have been able to find it. Amazon changed that. It created the Touching the Void phenomenon by combining infinite shelf space with real-time information about buying trends and public opinion. The result: rising demand for an obscure book.

This is not just a virtue of online booksellers; it is an example of an entirely new economic model for the media and entertainment industries, one that is just beginning to show its power. Unlimited selection is revealing truths about what consumers want and how they want to get it in service after service, from DVDs at Netflix to music videos on Yahoo! Launch to songs in the iTunes Music Store and Rhapsody. People are going deep into the catalog, down the long, long list of available titles, far past what's available at Blockbuster Video, Tower Records, and Barnes & Noble. And the more they find, the more they like. As they wander further from the beaten path, they discover their taste is not as mainstream as they thought (or as they had been led to believe by marketing, a lack of alternatives, and a hit-driven culture).

The general stands and looks around the suite that his traveling staff of 10 has converted into a full-scale operations center. The tables are crowded with silver Panasonic Toughbooks, and blue cables crisscross the hotel's thick carpet, hooked up to satellite dishes to provide encrypted phone and e-mail communications. Dressed in off-the-rack civilian casual – blue tie, button-down shirt, dress slacks – McChrystal is way out of his comfort zone. Paris, as one of his advisers says, is the "most anti-McChrystal city you can imagine." The general hates fancy restaurants, rejecting any place with candles on the tables as too "Gucci." He prefers Bud Light Lime (his favorite beer) to Bordeaux, Talladega Nights (his favorite movie) to Jean-Luc Godard. Besides, the public eye has never been a place where McChrystal felt comfortable: Before President Obama put him in charge of the war in Afghanistan, he spent five years running the Pentagon's most secretive black ops.

"What's the update on the Kandahar bombing?" McChrystal asks Flynn. The city has been rocked by two massive car bombs in the past day alone, calling into question the general's assurances that he can wrest it from the Taliban.

"We have two KIAs, but that hasn't been confirmed," Flynn says.

McChrystal takes a final look around the suite. At 55, he is gaunt and lean, not unlike an older version of Christian Bale in Rescue Dawn. His slate-blue eyes have the unsettling ability to drill down when they lock on you. If you've fucked up or disappointed him, they can destroy your soul without the need for him to raise his voice.


An analysis of the sales data and trends from these services and others like them shows that the emerging digital entertainment economy is going to be radically different from today's mass market. If the 20th- century entertainment industry was about hits, the 21st will be equally about misses.