Posts Tagged ‘nbc’

CBS Finishes Upfront With CPM Increases Lower Than Last Year

June 13, 2014  |  Media Week  |  No Comments

This upfront season, it's all over but the shouting for CBS, according to a statement released by the organization itself today. “As we near the finish line, we are very confident that CBS has once again achieved the highest pricing and most total dollars in the upfront marketplace," said a spokesperson in a rare official statement by the network. "Agencies and clients continue to value the strength, stability and delivery that we provide as a pure-play broadcaster, and we are very pleased that in addition to C3, C7 is now playing a meaningful part in our negotiations.” It is unusual for CBS to come out and say that it's more or less done with upfront deals—but as it's the first network to cross the finish line, perhaps that's in order. It also serves to put the market on notice—things are probably going to move more quickly this year than last. The cable market just started to movie this week, as well, with budgets registered at several of the major players and momentum building at Turner, among others.

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Community Might Still Get Its 6 Seasons and a Movie on Hulu

May 29, 2014  |  Media Week  |  No Comments

Human beings rejoice: the intricate misadventures of Greendale Community College's strangest clique may not be over yet. Community, Dan Harmon's critically beloved and nearly viewer-free

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‘Hannibal’ Season Finale Proves Series Should Have Skipped Third Course (SPOILERS)

May 24, 2014  |  Variety  |  No Comments

Give showrunner Bryan Fuller and company credit for getting this much mileage out of NBC’s “Hannibal” prequel, which — given its relationship with the movies — seemed like a high-wire act from the get-go. Yet watching the second-season finale the prevailing sense was that their contortions to prolong the series have simply made all the... Read more

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A Low Note for American Idol

May 22, 2014  |  Media Week  |  No Comments

Is that a fat lady singing? American Idol did manage to beat CBS' venerable reality competition show Survivor on Wednesday night, but not by much: The show scored a 2.6 in the demo with 10.1 million total viewers—down quite a bit from last year's season finale. The day before, the show scored a mere 1.7 million demo viewers and 6.6 million total—little more than half of last season's first finale episode and an all-time total-viewer low. Not good. Part of the problem with Idol is simply that it's aging up—if you were 37 when the show first came on, you're no longer in the demo—but there's also plain old lack of interest with which to contend. The season started with 15.2 million viewers and a 4.7 rating in the demo and by Tuesday it was barely moving the needle. And there are new series to contend with—NBC's The Voice, which is only three seasons old and looks like the prettiest girl at the dance standing next to Idol, even with a disappointing 3.3 demo rating on Tuesday. The show is coming back for season 14; Ryan Seacrest will still host, Harry Connick Jr. will return, and Jennifer Lopez and Keith Urban are both expected to stick around, too. Not for nothing, but exactly one of these people is on the Billboard 100 this week (Urban, at #58). The show has tried to stack the deck with guests, some better than others (Jason Mraz? Really?), and John Legend, who sits at #1 on that chart, appeared during the show's finale, which may have helped it rally to the extent it did, but The Voice has made its mark by employing higher-profile regulars than its competitor. It may either be time to severely recast the Fox show, or to count it out. Malaya Watson & John Legend - All Of Me... by IdolxMuzic

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ABC Dips a Toe into the Programmatic Pool

May 14, 2014  |  Media Week  |  No Comments

While it executed all the expected dance moves, screening cut-downs of its fall series before letting late-night prankster Jimmy Kimmel off the leash for his annual Friar’s Club roast of the broadcast biz, ABC on Tuesday afternoon had at least one surprise up its sleeve. Speaking to media buyers and advertisers during the network’s 2014-15 upfront presentation , ABC ad sales president Geri Wang announced that her team plans to begin kicking the tires on programmatic. “We’re creating a private marketplace for our TV customers, allowing you to reserve ABC digital video using your buyer platform,” Wang said.

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NBC Renews ‘Law & Order: SVU’ for 16th Season

May 7, 2014  |  Variety  |  No Comments

NBC has renewed “Law & Order: SVU” for a 16th season after some behind the scenes wrangling with exec producer Dick Wolf. The last surviving series from the “Law & Order” dynasty had a solid year ratings-wise and there is renewed buzz about Emmy prospects for star Mariska Hargitay. But there were financial considerations that... Read more

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NBC Renews iHeart Radio Music Awards For 2015

May 6, 2014  |  Variety  |  No Comments

After broadcasting its first-ever live iHeart Radio Music Awards, NBC and Clear Channel have renewed the awards show for 2015. Over 5.5 million viewers tuned in for the event, roughly doubling the net’s prior week’s average with series programming. The show aired over 150 iHeart radio stations across the country and included performances by Pharrell, Pitbull,... Read more

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Fox Looks to ‘Sweep’ Its Rivals With 24 Reboot

May 2, 2014  |  Media Week  |  No Comments

A week of May sweeps has been burned off and yet the broadcast networks have yet to air a single tent pole event. But while it’s been business as usual at the Big Four, a flurry of high-profile miniseries, limited-run serials and Very Special Episodes are set to air in the coming weeks. Perhaps the most anticipated scripted-TV event of the spring is Fox’s two-hour premiere of Fox’s 24: Live Another Day (Monday, May 5). While much has changed since Jack Bauer last saved the world four years ago (the action takes place in London, and the CTU gang has been scattered to the four winds), the reboot bears all the hallmarks of the original. (Breakneck narrative reversals? Check. Split screens, ticking clocks and assassination plots? You bet.) Arriving nearly two months to the day after the Sept. 11, 2001 terrorist attacks, 24 was nothing if not cathartic. While the subterranean fires still blazed between Vesey St. and Liberty St., Kiefer Sutherland’s rump-punting CTU agent was a human placebo of sorts, doing his bit to alleviate the shell shock of that horrible interval with his fictional acts of derring-do, while the real-world Federales bumbled around their war rooms and command centers.

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C7 Ratings to Free Up Hundreds of Millions in Hidden Revenue

April 24, 2014  |  Media Week  |  No Comments

While the broadcast networks are pressuring agencies and clients to start writing more deals against a C7 ratings currency, at first blush, it would appear that there’s little cause to rush into a paradigm shift. But nothing could be further from the truth. Based on a close examination of each broadcast series’ C3 and C7 deliveries, there would appear to be very little to gain from adding the extra four days of playback to the data stream. For the period spanning Sept. 23, 2012 through March 30, 2013, the vast majority of network shows have demonstrated no lift whatsoever upon conversion from the C3 currency to the more inclusive C7 metric. In the rare cases where the bonus playback numbers have helped goose the demo deliveries, the net gain is seemingly trivial. Of the dozen or so series that did see a boost upon conversion from C3 to C7, most inch up a mere one-tenth of a ratings point. A handful of shows gained two-tenths of a point, including ABC’s Modern Family (3.2 to 3.4) and Marvel’s Agents of S.H.I.E.L.D. (2.2 to 2.4), CBS’ The Big Bang Theory (4.6 to 4.8), Fox’s The Following (2.2 to 2.4) and NBC’s The Blacklist (3.1 to 3.3). The single biggest gainer, Fox’s freshman series Cosmos: A Spacetime Odyssey , improved three-tenths of a point, from a 2.1 in C3 to a 2.4 C7 rating. All that having been said, on a percentile basis, these conversions represent a veritable mother lode of incremental revenue. Assuming your network books $3 billion in annual ad sales revenue, even as little as a 4 percent lift would translate into leaving $120 million on the table. “That’s real money,” said one ad sales boss. “In the greater scheme of things, 4 percent seems like a trifle. But say your C7 conversion gives you a lift of 4 percent across the board. That’s an awful lot of money to leave lying around just because you’re still working with a compromised metric .” As the networks press forward with an initiative designed to wean viewers off the commercial-zapping DVR in favor of VOD platforms that don’t allow for ad-avoidance, the prevailing notion is that the C7 numbers will rise accordingly. This in turn should lead to an increase in actionable demo deliveries. “If 4 percent becomes 10 percent in three years, now you’re looking at serious cash—enough to fund three pilot seasons ,” the ad sales executive said. Interestingly enough, not a single show declined upon addition of the four bonus playback days. That is not at all the case upon converting live-plus-same-day data to C3.

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The 2014 Upfront Preview

April 22, 2014  |  Media Week  |  No Comments

Analogies are often facile things, contrivances designed to hammer home a theme when a light tap of the mallet would suffice. But in light of the fact that it’s a) set in the advertising world and b) is the most self-reflexive show on television, the prospect of using Mad Men as a lens through which to observe the broadcast TV marketplace is too alluring to pass up. In a sense, each of the Big Four networks has a near-perfect analogue in one of the beautiful losers at Cooper Sterling Draper Dead Guy Harry Hamlin Whatever. CBS is clearly Roger Sterling. Les Moonves ’ silver fox flagship is bold, cocksure and is so damned good at doing its job that it almost makes the business of broadcast look easy. A fine-tuned revenue machine—its unparalleled retransmission consent numbers and homegrown output leaves it less exposed to the vicissitudes of the ad market than its rivals—CBS is something of an impenetrable fortress. But a chest X-ray and a full cardio workup might suggest that the aging network is one highball-and-tobacco binge away from catastrophic collapse. Although it probably would rather be Peggy Olson, ABC is Joan Harris. Unapologetically feminine, assertive and absolutely devastating when in its comfort zone, the network boasts some of the very few must-watch series on the broadcast dial. Unfortunately, when men aren’t leering at Joan like a horny wolf in a Tex Avery cartoon, they dismiss her altogether. (Perhaps if she wore a football helmet around the home office the boys would take her more seriously.) And while she always appears composed and unruffled—the picture of self-possession—under the surface she’s paddling furiously like a swan on Dexedrine. (It’s a hard-knock life when you’re on track to finish last in the ratings race for the third year running.) Fox is Pete Campbell. Youngish but starting to age faster than he really should be, the glib smarmball has embraced the ephemera of Southern California after making a hash of things back East. But while many of the attributes he once relied on have all but disintegrated (looking at you, American Idol and New Girl), Pete wavers between archly gaming the system and total system collapse. Like his implacably receding hairline, his mojo is really starting to wear thin. Although he’s got a string of successes under his needlepoint belt, the account exec is going to have to make some big moves in L.A. if he’s going to get back to his A game. Which leaves NBC. No. 1 with a bullet, the Peacock’s spirit animal is none other than Don Draper

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