Posts Tagged ‘hollywood’

Author Susan Silver Recalls Her Experiences With Mary Tyler Moore, Bill Cosby and Jim Morrison

April 26, 2017  |  Media Week  |  No Comments

Ever since I got my advance copy of Susan Silver's new book Hot Pants in Hollywood: Sex, Secrets & Sitcoms, I have spent every spare moment reading it. Talk about a page turner! At her book party last Wednesday, hosted in the Garden Room at Michael's by Silver's "closest platonic male friend" John Demsey, she...

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Ryan Gosling Says Social Media Is Still in Its ‘Bambi on Ice’ Phase

March 22, 2017  |  Media Week  |  No Comments

Ryan Gosling doesn't think people fully understand the emotional, connective power of social media. Speaking today at the Adobe Summit in Las Vegas, the Hollywood darling and sometimes star of internet memes talked on stage with Adobe chief marketing officer Ann Lewnes, explaining how his own uses of platforms like Twitter and Vine have led...

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How Donald Trump’s Win Made Pollsters, Pundits and Journos All Big Losers

November 11, 2016  |  Media Week  |  No Comments

On MSNBC's Morning Joe, just hours after the election of Donald Trump as the 45th president of the United States, the show's co-hosts and panelists sat around a table in 30 Rock's famed Studio 8H. The home of Saturday Night Live was packed with a live audience—and yet, this was a quiet room. The conversation bounced from how Trump pulled off his historic upset to how the media missed the story of the century entirely—an analysis that would go on to dominate the conversation in the days that followed. "The media was all in on this narrative," co-host Joe Scarborough told his audience. "Everybody was marching in lockstep: Clinton is going to win, Clinton is going to win." In fact, just 24 hours earlier, the chatter on Morning Joe and most other news programs was centered around Trump's narrow path to 270 electoral votes. When Donald Trump pushed back during interviews, including two Election Day call-ins to Fox News, he insisted that journalists were missing the story, that the huge crowds at his rallies were a sign his support was larger than pollsters were predicting. Those voters, MSNBC analyst Mike Barnicle admitted the day after the election, "were ignored by pollsters, they were ignored by media, and they showed up yesterday in astounding numbers." Careful polling, analyzed by network "decision desks," played into the reporting—and networks' underlying planning for coverage of the campaign and election night. But the underlying data was flawed. Worse, suggestions that Trump could outperform his polling—or perhaps that the polling simply had the story wrong—were met with, at times, hostility. Clinton was always shown as reliably in the lead. So why did the media never seriously consider a Trump upset a very real possibility? "Many news outlets never took Trump seriously as a candidate because they covered him as a circus act ," says University of Georgia journalism professor Chris Shumway.

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Facetime: Parties, Premieres and Festivals

November 8, 2016  |  Media Week  |  No Comments

Fast Company drew luminaries including Cher for its second annual Innovation Festival in New York, while Hollywood bigwigs like Brian Grazer and Ron Howard celebrated the premiere of National Geographic Channel's new series Mars. Scroll down to check out more highlights from last week's party circuit.

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Why Having a Vision Is the Key to Arnold Schwarzenegger’s Success

October 26, 2016  |  Media Week  |  No Comments

It takes a certain set of skills to successfully transform one's career not just once or even twice, but over and over again. No one has been more successful at achieving new, seemingly unattainable goals than Arnold Schwarzenegger. From conquering the world of body building, taking on Hollywood and eventually achieving his political ambitions, Schwarzenegger is a true Brand Visionary. Accepting the 2016 Adweek Brand Visionary award at the Rainbow Room in New York on Tuesday night, Schwarzenegger let the room in on a few keys to his continued success and why it was so important for him to accept his award in person. Over the past 14 days, Schwarzenegger said he was working on a film with Jackie Chan in China, but had a hard stop on Oct. 25

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Film Review: Tim Burton’s ‘Miss Peregrine’s Home for Peculiar Children’

September 26, 2016  |  Variety  |  No Comments

Not since “Sweeney Todd” have the studios found such a perfect match of material for Tim Burton, Hollywood’s most iconic auteur.

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FX Will Show America’s Uncomfortable Truths in Its People v. O.J. Followup About Hurricane Katrina

September 19, 2016  |  Media Week  |  No Comments

The People v. O.J. Simpson: American Crime Story has been more successful than even FX could have imagined. The miniseries won nine Emmys in all Sunday night, including outstanding limited series, and was watched by an average of 12.6 million people across all platforms. Now FX is shifting its focus to the second season of American Crime Story, which will focus on Hurricane Katrina and its aftermath. The decision raised eyebrows when it was first revealed in January, given that the topic would seem to be less palatable to audiences than People v. O.J. was. Yet the network has never wavered in its Katrina plans, says FX Networks CEO John Landgraf, who noted that a 10-episode miniseries focusing on the Simpson trial was met with just as much initial skepticism as Katrina was. Katrina "was our only choice from the very beginning," said Landgraf. "If we're all honest—and I'll be honest on my behalf—when we heard they're going to make something based on The People v. O.J. Simpson, it was like, 'Really? Do we really need that?' Because essentially on its face, what we had is cheesy, self-serving, profit-seeking, poor narrative built around that story. The reason we wanted to do it was that we could see from Jeff Toobin's book and from [Scott] Alexander and [Larry] Karaszewski's scripts and through our producers, that actually it was something much richer and more humane and deeper." Then, after People v.

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Ad of the Day: A Dangerous Disco Ball Ends Up With the Perfect People, Thanks to Letgo

August 17, 2016  |  Media Week  |  No Comments

We've all been guilty of going to great lengths to hang on to items with sentimental value, but a new ad for marketplace app Letgo reminds us there's always a better home out there. The spot, "Disco Ball," from Crispin Porter + Bogusky Miami, keeps up the app's marketing approach of creating ads in the style of big-budget Hollywood action films (see below in case you missed the earlier spots). This time around, the director is Craig Gillespie, best known for 2007's Lars and the Real Girl and 2011's reboot of Fright Night. While the previous ads took place mostly in one location, this time we watch as two women weave through epic car crashes—likely of their own creation—while debating the merits of keeping a massive disco ball. Luckily, the right group of friends comes along to help.

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Nashville Will Move to CMT for Season 5 After ABC Gave It the Ax

June 10, 2016  |  Media Week  |  No Comments

Nashville is back from the dead. The Connie Britton and Hayden Panettiere drama, which ABC canceled last month after four seasons, is moving to CMT for Season 5. CMT will air all 22 episodes of Nashville's fifth season (which will continue to film in Nashville), while Hulu will be the show's exclusive streaming partner, making all episodes available for streaming the day after they air on CMT. Hulu already had SVOD rights to Nashville's previous four seasons. "CMT heard the fans. The wave of love and appreciation they have unleashed for Nashville has been overwhelming," said CMT president Brian Philips in a statement. "Nashville is a perfect addition to our evolving line-up of big music specials, documentaries and original series. We see our fans and ourselves in this show and we will treasure it like no other network. Nashville belongs on CMT." So far, Nashville is the only series canceled during the 2015-16 TV season to find a new home. Last season, only one canceled show moved to a new outlet: The Mindy Project, which has continued on Hulu after Fox dropped it. Lionsgate, which produces Nashville along with ABC Studios and Opry Entertainment, had been aggressively searching for a new home. In March, the studio signed Marshall Herskovitz and Ed Zwick (executive producers of My So-Called Life and thirtysomething) to step in as showrunners of a potential fifth season. Lionsgate was so confident the show would continue that it ended Season 4 with a cliffhanger, which left the fate of Hayden Panettiere's Juliette Barnes up in the air after her plane had gone missing, instead of a happier ending. "There's a little short-term pain but ultimately long-term gain because we intend and are quite focused and are in substantive and serious conversations with multiple buyers about continuing the show on another platform," Lionsgate TV chairman Kevin Beggs told The Hollywood Reporter last month. "If we didn't feel that was going to happen, we might have gone a different way." CMT was an ideal fit for the network, thanks to its country music audience and the network's decision this year to branch out into scripted series, which represents "a quantum leap" for the network, Philips told Adweek in March. The network's first scripted series, Still the King (starring Billy Ray Cyrus as a washed-up, one-hit-wonder singer who discovers he has a 15-year-old daughter), premieres Sunday night.

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Why Next Season Could Be the New Golden Age of the Family Sitcom

May 16, 2016  |  Media Week  |  No Comments

Don't expect the classic sitcom Leave It to Beaver or squeaky-clean '90s shows like Family Matters and Perfect Strangers. But come next season, there's likely to be an abundance of new family-centric half hours on network TV. Added to returning hits like Modern Family, Black-ish and Mom, family comedies could take up more space on prime-time schedules than they have in decades. Hollywood's producers pumped out nearly 30 family-based comedy pilots during the recent development season, leaping ahead of other popular subgenres like workplace and relationship shows. This trend toward home and hearth is no accident. Several television executives made their 2016-17 schedule priorities clear in recent months, with CBS Entertainment president Glenn Geller telling The Hollywood Reporter that his must-have for next season was a "big family multicam," meaning a traditional three-camera comedy filmed in front of an audience. NBC Entertainment chairman Robert Greenblatt cited "comedy, comedy, comedy" as his focus for the year, while ABC—which has had the most recent success in the genre—has once again looked at families of all stripes for its potential comedy pickups.

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