Posts Tagged ‘cbs’

CBS Successfully Reinvigorated Its Morning Show by Going Back to the Basics and Covering News

May 1, 2017  |  Media Week  |  No Comments

When CBS News set out to reinvent its morning show in 2011--after years of frequent hosting shake-ups failed to move the ratings needle-- the organization went back to the basics. "The problem with the show we were doing," said CBS News president David Rhodes, "was that it was a copy of somebody else's show. We...

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YouTube Announces Its Own Streaming Alternative to Cable TV

February 28, 2017  |  Media Week  |  No Comments

YouTube announced today it will soon launch its own answer to DirecTV Now and other subscription-based TV services. The company called it "live TV for the YouTube generation," in its announcement. YouTube TV will cost around $35 per month and provide access to ABC, NBC, CBS and FOX in addition to many other networks and...

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Why CBS Is Airing Its First Saturday Drama Series in 13 Years

January 13, 2017  |  Media Week  |  No Comments

For decades, Saturday was an essential component of each broadcast network's prime-time schedule, but in recent years the networks have thrown in the towel on the night, which has the week's lowest HUT (homes using television) levels. That includes CBS, which for years has programmed two hours of drama repeats—called Crimetime Saturday—and newsmagazine 48 Hours to fill the evening. But this winter, CBS is doing something it hasn't attempted in 13 years: airing an original drama, Ransom, on Saturdays. The series, about a crisis and hostage negotiator who tackles kidnappings and ransom cases, is a Canada-France co-production, from independent studio eOne, and cost CBS a fraction of what the network usually spends on its dramas. "We're always looking for opportunities to improve the numbers on the schedule," said CBS Entertainment president Glenn Geller. "Crimetime does just fine, but we had a unique opportunity with Ransom, because it was an international production, and we said, let's see what we can do on Saturday nights." Traditionally, "The night is the last priority for most networks as you're setting your schedule," said Kelly Kahl, senior evp of CBS Primetime. While CBS has used Saturdays to burn off remaining episodes of canceled shows like Made in Jersey and Three Rivers, the network hasn't scheduled dramas on Saturday since the 2003-04 season, when Hack (starring David Morse and Andre Braugher) and The District (with Craig T. Nelson) aired on the night. More recently, CBS tried airing a comedy on Saturday, programming the David Spade sitcom Rules of Engagement there in 2011. But the network abandoned the experiment after just a few weeks, shifting Rules to Thursday to replace the DOA sitcom How to Be a Gentleman (which was burned off on, yes, Saturdays). Because CBS audiences responded to freshman fall series Bull, Kevin Can Wait, Man With a Plan and The Great Indoors, "we're sitting pretty good the other nights of the week," said Kahl. "Every night of the week counts, and as you look at your weekly numbers, an hour on Saturday counts exactly the same as an hour on Monday. So we saw an opportunity there for us." CBS gave Ransom a Sunday launch on Jan. 1, where it drew 6.7 million viewers, and a 0.8 rating in the adults 18-49 demo. Last week, in its first regular airing on Saturday at 8 p.m

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How the Unlikely Alliance of Ovation’s ‘Versailles’ and Fiat Benefits Both Brands

September 26, 2016  |  Media Week  |  No Comments

There's a sexy, lavish new series coming to cable TV, set in the 17th century, that brings a distinctly modern style to the story of King Louis XIV and his royal court outside Paris. But as contemporary as Versailles may be, don't expect the Sun King to hop behind the wheel of a Fiat , though the brand is the exclusive auto partner for the 10-episode show airing on the Ovation network . The partnership between period piece and marketer is playing out in branded content and behind-the-scenes vignettes that weave together the attributes of both, with nary an in-show product placement. It's part of a trend on television where fantasy, sci-fi, period, animation and unscripted series are increasingly creating what might on the surface seem to be unlikely pairings with brands. For Versailles, which centers on the 28-year-old French ruler and his impossibly beautiful courtiers, there's a focus on design, art and fashion, along with the obligatory palace intrigue, backstabbing and bed-hopping. (Think The Tudors with less gore.) "Even though it's a period piece, there's nothing stodgy about it," said Liz Janneman, Ovation's evp, network strategy. "It's a fashion-forward modern classic with a twist for a cultured audience." As it happens, Fiat sees itself the same way, with the partners collaborating on nearly 100 pieces of content that promote both the show and the carmaker's new 500X crossover sports utility vehicle. Those will include exclusive set visits, deep dives with show creators and historical perspectives, but no Fiats ferrying corseted characters. The alliance with Fiat, which is also sponsoring the limited-commercial, two-hour premiere on Oct. 1, isn't about "the literal connection" but the thematic one, Janneman said. Putting two such bedfellows together is "more challenging, but the result is more interesting," she said. Versailles is one of many such examples where marketers might have thought there was no room for them but found instead, via some creative thinking, that even surreal-world shows can include brands. These are what Kevin McAuliffe, branded content veteran who now heads Francis Productions, calls "contextual opportunities" that match a TV property and a brand with "similar belief systems." He said, "It's been an evolution, but brands are less about integration now and more about connecting with a message. You're driving value instead of just being exposed." Geico has used costume-clad marauding men to intentionally comic effect for its recent ties to History's action drama, Vikings, and Fitbit chose an appropriately creepy zombie theme for its link with AMC's massive hit, The Walking Dead. Ford sidled up to The CW's time-traveling superhero show, DC's Legends of Tomorrow, and Fox's comic-based Gotham with commercials and digital shorts featuring the series' actors. The marriage doesn't even have to be within the same species or galaxy, said Marc DeBevoise, CBS Interactive president and COO, who noted that he's considering contemporary brands as partners for the upcoming Star Trek: Discovery. Or it could be closer to home.

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All 5 Broadcast Network Presidents Share Their Fall TV Playbooks

September 18, 2016  |  Media Week  |  No Comments

After a season where none of the five broadcast networks grew their 18-49 audience (and ABC, Fox and NBC lost viewers in that demo), they will try to reverse that trend in the 2016-17 season, which officially kicks off Sept. 19. Over the next six weeks, the nets will roll out 20 new shows, plus 61 returning series. Adweek sat down with each of the network chiefs to talk about their strategy for the new season. Adweek: What's your most improved time slot this fall? Glenn Geller, president, CBS Entertainment: We have a real opportunity this year to grow a number of time periods: Fridays at 8 [with MacGyver], Tuesdays at 9 and 10 [with Bull and the relocated NCIS: New Orleans] and Mondays at 8 [with Kevin Can Wait and Man With a Plan]. Robert Greenblatt, chairman, NBC Entertainment: Thursdays at 9. Thursday is a night that we're reconfiguring, and Chicago Med is a really strong show that I hope will bring an audience with it to that time period. It wasn't doing badly with [The] Blacklist, but with Blacklist at 10 and Chicago Med in front of it, that time period could be improved. Gary Newman, co-chairman and co-CEO, Fox Television Group: I would expect it to be Wednesdays at 8, with Lethal Weapon. Channing Dungey, president, ABC Entertainment: Wednesdays at 10, with Designated Survivor. Mark Pedowitz, president, The CW: Mondays at 8 [with Supergirl, which The CW picked up from CBS].

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As the 2015-16 Season Wraps Up, CBS Declares Victory in Total Viewers and Adults 18-49

May 24, 2016  |  Media Week  |  No Comments

The 2015-16 TV season ends tomorrow, and CBS—with a big assist from Super Bowl 50—has declared victory across the board. The network will finish this season No. 1 in total viewers (10.9 million), adults 18-49 (2.3 rating) and adults 25-54 (3.1 rating). While the network routinely wins each season in total viewers—this is the eighth straight year it has done so—this is only CBS' second season win in the coveted 18-49 demo during the last decade (see below). NBC, which won the 18-49 crown the past two years, slipped to No. 2. The network got a big assist from Super Bowl 50, which drew 111.9 million viewers in February , just as last year's Super Bowl helped NBC secure the top spot for the 2014-15 season. Leslie Moonves, CBS Corp. chairman and CEO, preemptively declared victory last Wednesday during CBS' upfront.

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NFL Reveals the 10 Games That Will Air on Twitter Next Season

April 15, 2016  |  Media Week  |  No Comments

The National Football League, in its attempt to remain relevant throughout the entire six-month offseason, turned the release of the 2016-17 schedule into a TV event. Thursday night, ESPN produced a 2-hour special in conjunction with the league, with more coverage on the NFL Network. The news also came in a flurry of press releases from Fox Sports, CBS Sports, ESPN and NBC Sports, which blared "THE ONLY NETWORK WITH TWO NFL PRIMETIME PACKAGES." Cord-cutting football fans also learned which games will be streamed on the league's newest media partner: Twitter. Here are the games that will be available on Twitter next season: Sept. 15: New York Jets at Buffalo Bills Sept. 22: Houston Texans at New England Patriots Oct. 6: Arizona Cardinals at San Francisco 49ers Oct

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In $8.8 Billion Deal, CBS and Turner Add 8 More Years of March Madness

April 12, 2016  |  Media Week  |  No Comments

CBS has aired the NCAA Tournament since 1982 , and today, along with Turner, it just ensured its partnership with the NCAA will reach beyond a fifth decade. CBS and Turner have extended their rights deal that covers television and digital for March Madness through 2032, adding eight years to the current pact, which was to expire in 2024. The new $8.8 billion deal allows for coverage of every game across any CBS and Turner platform, even those that haven't been created yet. Altogether, CBS and Turner have committed nearly $20 billion to the NCAA. "The NCAA Men's Basketball Championship has been a cornerstone of CBS Sports for more than three decades, and we are very pleased to extend our successful partnership with the NCAA and Turner under the same terms that have worked so well for us these past several years," said CBS Sports Chairman Sean McManus. Under the new agreement, all opening-, first- and second-round games will continue to be shown across CBS, TBS, TNT and truTV, with Turner and CBS splitting coverage of the regional semi-finals and regional finals each year. Live coverage of the Final Four semi-finals and National Championship will continue to alternate between CBS and Turner each year; Turner aired the National Championship for the first time this month . Turner and CBS Sports will maintain the existing sales partnership surrounding the NCAA Corporate Champion and Partner program, which has grown from nine to 17 members since the previous deal was announced in 2010.

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CBS Is Ready to Cash In on James Corden’s Carpool Karaoke

February 16, 2016  |  Media Week  |  No Comments

In late night, digital success has become almost as important as linear ratings, and by that measure, The Late Late Show with James Corden is the daypart's new king. On Feb. 9, less than four weeks after its debut, the CBS host's Carpool Karaoke video with Adele has become the most-watched late-night YouTube video of all time, with 68.1 million views and counting, vaulting Corden ahead of the two prior digital masters of their late-night domains: Jimmy Fallon and Jimmy Kimmel. In just 10 months, Carpool Karaoke, in which Corden drives around with some of music's biggest names as they sing along to their most iconic tunes, has become a viral sensation, racking up staggering numbers for videos with Justin Bieber (59.6 million), One Direction (41 million) and Iggy Azalea (24.8 million). Building a healthy digital presence was a big part of the Late Late Show's plan from the beginning, given that few U.S. viewers knew the British host prior to his debut last March. "We wanted to make good content for television, but the thing we have least control over is ratings. The thing we have slightly more control over is relevance. The digital world is where you can make your relevance felt," said executive producer Rob Crabbe. "If you're making good content for 12:37 a.m., it should be good content at 12:37 p.m. when you're eating lunch at your desk

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While Most Nets Are Afraid to Cancel New Shows, CBS Just Pulled Angel From Hell

February 9, 2016  |  Media Week  |  No Comments

In a season where broadcast networks are hesitant to cut bait on their lower-rated shows, CBS is standing apart from the crowd. Late Monday, just hours after celebrating its 111.9 million audience for Super Bowl 50 , the network pulled Angel From Hell from its schedule, after just five episodes had aired. A Big Bang Theory repeat will take its place this week, while 2 Broke Girls takes over the Thursday 9:30 p.m. time slot beginning Feb. 18. While CBS stressed that the show hasn't been canceled, it's a clear case of semantics, as the show won't be back unless CBS decides to burn off the remaining episodes in late spring or summer. Even star Jane Lynch knows the show is over, as she tweeted last night .

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