Posts Tagged ‘network’

Why CBS Is Slotting Stephen Colbert After Super Bowl 50

November 11, 2015  |  Media Week  |  No Comments

CBS has invested a lot of promotional to its revamped late-night lineup this year, but next February, both Stephen Colbert and James Corden will get their biggest push yet. The network said today that it would air a live episode of Stephen Colbert's Late Show directly following its broadcast of Super Bowl 50 on Feb. 7, 2016, the first time a late-night show will get the plum post-Super Bowl slot. Following Colbert and the local news, CBS will then air a special Super Bowl episode of James Corden's Late Late Show, as the network looks to take advantage of the massive audience that the Super Bowl provides. Last year, NBC ran a special live episode of The Tonight Show, which followed an episode of The Blacklist and local news.

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CBS Is Bringing Back Star Trek, But It Won’t Air on TV

November 2, 2015  |  Media Week  |  No Comments

CBS is bringing back Star Trek, but the new series will boldly go where no previous iteration of the show has gone before: on a digital platform. In a first for CBS, the network announced this morning that a new Star Trek series will premiere in 2017 on the broadcast network before moving exclusively to subscription-on-demand service, CBS All Access. This will be the first series that CBS is producing solely for its digital platform, which launched in 2014. CBS All Access, which runs $5.99 per month, currently includes the entire library of every Star Trek television series. CBS Studios International will distribute the series to other TV networks and digital platforms around the world. Though CBS owns the show, and original creator Gene Roddenberry had initially developed it for CBS, it aired on NBC for three years from 1966-1969. The short-lived series spawned a massive pop culture franchise, which has included 12 feature films—with a 13th, Star Trek Beyond, due next year—and multiple spin-off shows. The new series will be developed by executive producer Alex Kurtzman, who co-wrote and produced the rebooted film franchise, beginning with 2009's Star Trek and continuing with 2013's, Star Trek Into Darkness. CBS said the new show is not related to the upcoming Star Trek Beyond film and will feature new characters and settings. "We've experienced terrific growth for CBS All Access, expanding the service across affiliates and devices in a very short time," said Marc DeBevoise, evp and general manager, CBS Digital Media. "We now have an incredible opportunity to accelerate this growth with the iconic Star Trek, and its devoted and passionate fan base, as our first original series." The move to put the new Star Trek exclusively on a digital platform comes as the broadcast industry is looking for ways to bring in elusive millennial viewers who often eschew traditional television. CBS successfully launched Supergirl last week with an eye toward younger viewers. But overnight Nielsen ratings—especially among the adults 18 to 49 demographic that advertisers covet—have been down so far this season. Nielsen will begin to roll out its new Total Audience Measurement tool to count viewers across multiple platforms next month. Star Trek continues the trend of cable and broadcast networks banking on reboots or remakes of known properties that come with built-in fan bases. This season alone has seen TV versions of the films Minority Report and Limitless, as well as a revival of another decades-old TV show: The Muppets.

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How Trevor Noah Is Making The Daily Show His Own, Without Changing It Completely

November 2, 2015  |  Media Week  |  No Comments

On Sept. 28, the final piece of the recast late-night lineup clicked into place with the debut of The Daily Show With Trevor Noah . Replacing an icon like Jon Stewart after 16 years would be a daunting task for anybody, much less a relative unknown like the 31-year-old South African comedian. But Noah started strong ("Assured, handsome and with a crisp delivery, Mr. Noah was a smoother presenter than Mr. Stewart," proclaimed The New York Times), and he has improved markedly every night since. When Stewart announced in February that he was stepping down as Daily Show host, Comedy Central offered the job to big names like Amy Schumer before settling on Noah, who started as a Daily Show contributor last December. The network is betting on Noah's long-term potential to reach millennial audiences (see " In Just Nine Months, Comedy Central Reshaped Late Night—and Kept Advertisers Happy "), and so far, so good. While ratings have dipped versus Stewart (which Comedy Central anticipated), more than half of the show's 18-34 audience is new to the show under Noah, according to the network. Meanwhile, advertisers have stayed loyal. According to SQAD NetCosts, The Daily Show with Trevor Noah boasts the second-highest 30-second ad rates in late night, behind only The Tonight Show with Jimmy Fallon. After wrapping his first few weeks in the chair, Noah sat with Adweek to talk about easing into his role, what he thinks about brand integrations, plus the crazy consumerism that has come to define the holidays in America and the world. Adweek: Some worried that you would completely overhaul The Daily Show, but it was clear from your first night that this was the same program that audiences knew and loved. What was behind that choice?

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In the Age of Cord Cutting, Nielsen Plots Its Overhaul of TV’s Outdated Ad Metrics

October 26, 2015  |  Media Week  |  No Comments

It's been nine years since networks and advertisers agreed on the eligibility criteria for C3 and C7 TV ratings, but given the seismic shifts in the industry since then, it feels more like 90 years. In 2006, iPhones, tablets, OTT and connected TV devices like Roku didn't even exist; networks had just begun to experiment with streaming full episodes online (Hulu and Netflix streaming were still a year away); DVRs resided in less than 10 percent of homes; and YouTube, not yet owned by Google, was in its infancy. But in our modern world of streaming, time shifting and cord cutting, "more and more, those ratings are not resembling what is actually going on in terms of consumer exposure to those assets," said Megan Clarken, evp, global watch product leadership for Nielsen. But not for long: Nielsen is trying to overhaul the industry's outdated ad metrics by next year's upfront. On Oct. 15, the company assembled 25 top execs—including network ad sales and buying chiefs—to start discussions about transitioning to a new set of criteria. Some attendees were surprised to learn that the current C3 and C7 definitions—which exclude any viewing where the ad load isn't identical to the linear telecast (i.e., almost any streaming), as well as all DVR and VOD viewing beyond the seventh day after it airs—are constrained not by Nielsen's technical capabilities, but by that 2006 industrywide agreement. "Nielsen can measure a lot more than they're given credit for, but the definition is what it is, so they're hamstrung by that, and we all have to go along with it," said David Campanelli, svp, director of national broadcast for Horizon Media. Nielsen's efforts were prompted by its upcoming total audience measurement tool, which the company shared exclusively with Adweek last week. Two years in development, total audience measurement offers what networks and buyers have spent years asking for: the ability to account for a program's consumption across all platforms (including linear, DVR, VOD, OTT, mobile, tablets, PCs, digital publishers like YouTube and connected devices like Roku and Xbox), while aligning the disparate metrics for linear and video content. Nielsen will begin sharing data with its clients in December and roll out the tool's full capabilities early next year. At last week's meeting, the company discussed "the next iteration of C3 and C7," said Clarken, as well as "a shift toward a complete change in the currency," a more complete overhaul of the current system, using Nielsen's total audience measurement. "It's important for us to understand how this thing is going to evolve over time, not just tomorrow but in future years," said Clarken. Among the challenges in changing metrics: While program and commercial ratings were essentially identical for linear TV, those numbers diverge in a linear world where because of ad targeting, audiences for the same show are receiving different ads. "The needs of the network to prove success of a show and the need of an advertiser to deliver impressions start to be two different things," said Campanelli. "C3, C7 and C30 is a horizontal view of things, and I think we need to start looking at things more vertically, and how many total impressions across different formats can ABC deliver my advertiser on Wednesday night, rather than in the Modern Family spot across 30 days." By mid-November, Nielsen will next bring together the researchers who routinely analyze the ratings data for the first meeting's attendees, before assembling both groups for a third meeting.

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ESPN’s Scott Van Pelt Says He Got His Big Break by ‘Pretending to Be Arnold Palmer’

September 24, 2015  |  Media Week  |  No Comments

ESPN's Scott Van Pelt explains that it's impossible to follow in his footsteps because his path to success isn't something that can be duplicated. Van Pelt was a young production assistant for the Golf Channel when he was asked to impersonate Arnold Palmer during rehearsals for a new show. Former Golf Channel executive producer Michael Whelan asked, "Who is this idiot that thinks he's Arnold Palmer?" The next thing Van Pelt knew, he was a reporter for the network. "I was no more a reporter than I was an astronaut," Van Pelt said. A friendship with Tiger Woods would propel his career even further, and it's a good thing it worked out for the current midnight SportsCenter host. "I'm not capable of doing anything else," he said. "The whole TV thing is just a gigantic happy accident. There is no recipe I can give you."

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With Just One New Fall Series, The CW Takes the Biggest Risk of Any Network

September 18, 2015  |  Media Week  |  No Comments

The CW concludes Adweek’s week-long fall TV preview today not with a bang, but with a whimper. While the other four broadcasters are rolling out at least five new series apiece over the next two months, The CW has only one freshman show on its schedule. That’s what happens when you only program 10 hours a week and renew your entire lineup from the previous fall , as the network did earlier this year. While the network still isn’t a factor in the broadcast battle for adults ages 18-49, it picked up significant momentum last year with The Flash, its most-watched series ever in the 18-49 demo, and Jane the Virgin, the first CW show to win a Peabody and Golden Globe. That sets a pretty high bar for Crazy Ex-Girlfriend.

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A Year After Hitting Rock Bottom, Fox Rebounds With Several Promising New Fall Shows

September 17, 2015  |  Media Week  |  No Comments

We’ve reached Day 4 of Adweek’s week-long fall TV preview , and today we’ll be looking at Fox, which hit rock bottom this time last year: four of its five fall 2014 shows flopped immediately, with only Gotham connecting with audiences. The network tumbled to fourth place last season among adults ages 18 to 49, though it got a huge midseason boost from Empire, which became one of the most successful new series in decades but only had 12 episodes. Fox upped Empire's Season 2 order to 18 episodes and is making the show its fall centerpiece, which will give the network a big bump, no matter how its freshman series fare. But this fall's new crop boasts several shows with potential. Yes, there are a couple clunkers in the bunch, but more of Fox’s new shows work than don’t, which is a refreshing change for the network. However, quality might not be enough as Fox is gambling on an all-new Tuesday night (Grandfathered, The Grinder and Scream Queens), making it the only broadcast network to air more than two new shows on a single evening this fall. As we've been saying all week, while a pilot isn’t always the best way to judge a show’s potential, it’s often the only episode that audiences watch before making a decision about whether to stick around or cut bait, especially with all the other new and returning shows fighting for attention. With that in mind, here are Fox’s fall shows, from least promising to most promising.

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Arnold Schwarzenegger Will Take Over for Donald Trump as Host of ‘Celebrity Apprentice’

September 14, 2015  |  Media Week  |  No Comments

Arnold Schwarzenegger will be the next host of NBC's Celebrity Apprentice, the network announced. The actor turned twice-elected California governor will take over for Donald Trump, the only host the competition show has had, when it returns to NBC in the 2016-17 TV season. "I have always been a huge fan of The Celebrity Apprentice and the way it showcases the challenges and triumphs of business and teamwork," Schwarzenegger said in a statement. "I am thrilled to bring my experience to the boardroom and to continue to raise millions for charity. Let's get started!" NBC cut business ties with Trump, now the GOP presidential front-runner, in June, just as he began his run for the White House. "Arnold Schwarzenegger is the epitome of a global brand in entertainment and business, and his accomplishments in the political arena speak for themselves," said Paul Telegdy, president of NBC's alternative and late-night programming. "It was Arnold's personal passion for the format that Mark Burnett and Donald Trump built over the last decade as well as his fresh take on how to take it to new heights for today's audiences that made him the man to hire." In his seven seasons as host of Celebrity Apprentice, Trump helped raise more than $15 million for charity. Trump had also been host of the show's predecessor, The Apprentice, which debuted in January 2004. Last season's Celebrity Apprentice finale was watched by 6.1 million viewers, up from the 5.3 million who watched the 2013 finale.

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How USA’s Mr. Robot Hacked the Problem of Summer TV

September 7, 2015  |  Media Week  |  No Comments

In a summer stuffed with more TV options than ever, the most buzzed about show wasn't Orange Is the New Black or True Detective, but Mr. Robot, USA's acclaimed new hacker drama. An antithesis to USA's usual "blue skies" formula, Mr. Robot grabbed fans early on (its massive prelinear debut drew 2.7 million viewers) including Mad Men creator Matthew Weiner. Averaging 1.2 million in adults 18-49 each week in live-plus-three, it helped make USA summer's No. 1 cable entertainment network in the demo. The network also found success with another inventive experiment: a new VOD windowing strategy for Season 2 of comedy Playing House, in which each episode debuted on VOD a week before airing on USA. President Chris McCumber talked about the network's transformative summer.

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Fear the Walking Dead Premiere Devours Record Cable Audience

August 24, 2015  |  Media Week  |  No Comments

AMC's attempt to franchise its hugely profitable Walking Dead series appears to have paid off. Sunday's premiere of Fear the Walking Dead, the prequel/spinoff of cable's top-ranked series, drew 10.1 million viewers to stand as the top cable premiere of all time. The 90-minute episode also drew 6.3 million viewers in the advertiser-coveted adults 18 to 49 demographic, surpassing Better Call Saul—the Breaking Bad spinoff which debuted earlier this year with 4.4 million demo viewers—to rank as the top cable premiere in that demo as well. A special Talking Dead that led into Fear drew 4.2 million viewers, with 2.5 million in the 18 to 49 demo. To show just how far AMC's zombie franchise has come: The flagship Walking Dead premiered to 5.4 million total viewers in 2010. It has since gobbled up considerably more viewers , ranking as the most-viewed series on cable and the most-viewed in the 18 to 49 demo in all of TV. Fear the Walking Dead will run for five more episodes leading into the sixth season premiere of The Walking Dead in October. AMC has already ordered a 15-episode second season, coming next year. AMC now boasts three of the top five cable premieres ever with two Walking Dead shows and Better Call Saul. The strong debuts of Fear and Better Call Saul were huge for AMC, as the network is banking on the two to be the pillars of its post-Mad Men era. AMC also rolled out Humans this summer and will debut martial-arts drama Enter the Badlands later this year.

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