Posts Tagged ‘network’

A Year After Rebranding as Pop, the Old TV Guide Network Has Added Almost 100 New Advertisers

March 21, 2016  |  Media Week  |  No Comments

A year after rising from the ashes of the TV Guide Network, Pop is still making noise with viewers and advertisers—and the network is entering this year's upfront with a lot of confidence for a network that just turned 1. As Michael DuPont, evp of ad sales, and his team hold upfront meetings—this year's theme is "Shift to Pop"—with clients, agencies and media planners around the country, Pop has announced a new slate of shows that represent 400 hours of original programming. TV Guide Network relaunched as Pop in January 2015 , with the new network targeting "modern grown-ups" who are pop culture enthusiasts. While last year's upfront, which took place shortly after the rebrand, featured "a lot of showmanship," said Pop president Brad Schwartz, this year, "There's no more selling any hype. We get to go into this upfront confident that what we built is working." While ratings have been down across the industry, Pop—and TVGN before it—has experienced nine consecutive quarters of year-over-year growth. In Q4 of 2015, its "core sales demo" of women 25-54 was up 30 percent in total day viewers and 27 percent in prime time versus the previous year. In the 18-49 demo during the same quarter, Pop was up 27 percent in total day and 15 percent in prime time. Its main competitors, including Lifetime, Oxygen and Bravo, were down or flat in those demos during that same timeframe, said Schwartz

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ABC and Warner Bros.’ New Deal Will Make Binge Watching Easier

March 17, 2016  |  Media Week  |  No Comments

Networks and studios have been battling for years over stacking rights—the ability to offer in-season episodes via on demand or network streaming—but a new agreement from ABC and Warner Bros. Television Group signals those conflicts could be coming to an end. ABC Entertainment and Warner Bros. Television Group struck a stacking rights deal covering any series produce by Warner Bros. that debuts on ABC in the 2016-17 and 2017-18 seasons. The agreement enables ABC to offer all episodes of its Warner Bros. series launched during the next two seasons on its VOD platforms like ABC.com and Hulu, as well as VOD on MVPD partners like cable and satellite. In doing so, viewers will be able to to binge the entire current season of the show, instead of being restricted to only the last five episodes, as is currently the case for most series. Warner Bros. will retain end-of-season SVOD rights, early syndication rights, early DVD rights and day-after electronic sell-through rights to companies like iTunes. "This is a real win for network television viewers," said Jana Winograde, evp of business operations for ABC Entertainment, in a statement

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Why USA Network’s Mr. Robot Put a 100-Foot Ferris Wheel in Downtown Austin [Video]

March 14, 2016  |  Media Week  |  No Comments

USA Network's critical darling, Mr. Robot, created major buzz at last year's South by Southwest, where it premiered the show and won the festival's audience award. So it only makes sense that the network would bring the series back to Austin to get fans excited for the upcoming second season —and to do so on a grand scale. That's why, if you're at SXSW Interactive, you've probably seen a 100-foot Ferris wheel designed to look like Coney Island's famed Wonder Wheel. The four-day activation, which ends today, recreates key moments and sets from the show, like the F Society hacker den on Coney Island, to immerse fans in the Mr. Robot world.

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The CW Renews All 11 Series It Currently Airs for Next Season

March 11, 2016  |  Media Week  |  No Comments

The CW had been the only broadcast network to not renew any of its shows for next season, but the network has corrected that oversight in a huge way on Friday, by issuing early pickups for literally every series it currently airs. That includes freshman series Crazy Ex-Girlfriend, which is averaging just a 0.3 rating in adults 18-49, but is a critical favorite, as Rachel Bloom won a Golden Globe in January for best actress in a musical or comedy series. Midseason hit DC's Legends of Tomorrow, a spinoff of The Flash and Arrow, was also renewed, along with these nine returning series: The Flash (the network's most-watched show ever, which averages a 2.3 live-plus-7 rating in 18-49), Jane the Virgin, iZombie, Arrow, Supernatural, The 100, The Vampire Diaries, The Originals and Reign (which is the only show renewed today that is not currently airing on the network). "The CW has become home to some of the most critically-acclaimed shows on broadcast television, with a wide array of fantastic scripted series across the week, ranging from musical comedy, to superhero action, to gritty sci-fi dramas," said Mark Pedowitz, president of The CW, in a statement. "As we continue to further our strategy of more year-round original programming, picking up these 11 series for the 2016-2017 season puts us in a great position of having proven, high-quality shows to launch in the fall as well as midseason and summer of 2017." That leaves just one The CW series with its fate undecided heading into May's upfronts: new drama Containment, which doesn't premiere on the network until April 19. The renewals come as The CW has increased its male viewers to 48 percent of its audience, thanks to shows like The Flash, Arrrow and The 100. In 2011, men made up just 30 percent of the audience. Pedowitz's all-at-once renewals echo a similar move he made in January 2015, when he picked up his entire fall 2014 lineup in a show of strength. While The CW premiered one new show last fall, "we'll probably do two" in fall 2016, Pedowitz told Adweek earlier this year. "That doesn't mean that the two that aren't on the schedule, won't be on the schedule [at all]. It's just, we have really good shows now!" Series that aren't on the fall schedule will return either in midseason or summer 2017. Last week, ABC issued early renewals to 15 series: America's Funniest Home Videos, The Bachelor, Black-ish, Dancing with the Stars, Fresh Off the Boat, The Goldbergs, Grey's Anatomy, How to Get Away With Murder, Marvel's Agents of SHIELD, The Middle, Modern Family, Once Upon a Time, Scandal, Shark Tank and Quantico. But the network still left many shows hanging, including American Crime, Nashville, Dr. Ken and Marvel's Agent Carter. NBC has steadily renewing shows throughout the season, while Fox and CBS have made a few key renewals, but have yet to weigh in on several of their shows.

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After Spoofing SI’s Swimsuit Issue, FX’s Archer Wants You To Turn Off Your Cell Phones in Theaters

March 10, 2016  |  Media Week  |  No Comments

FX has been making a lot of noise with its marketing campaign for Archer's upcoming Season 7, which has already spoofed the Sports Illustrated swimsuit issue and recreated Magnum P.I.'s opening credits. But now, the network's marketing team is quieting things down for the next phase of its Archer campaign: a new PSA urging movie theaters to silence their cell phones. The spot, which will begin airing Friday in Spotlight Cinema Networks' 200 arthouse venues nationwide, features Archer and Lana, the stars of FX's hit animated comedy. It will run for three weeks, until Thursday, March 31, the day of Archer's Season 7 premiere. This is the third time that Archer's production team, Floyd County Productions, has created a "turn off your cell phone" PSA for Spotlight. "We've done different sequences each year. We change it up and have a whole new setting," said Lance Reiss, svp of marketing for FX. The previous spots were both gold winners in the PromaxBDA Awards' "Promos at the Movies" category, in 2015 and 2013. Last month, the network partnered with Sports Illustrated to feature faux swimsuit shots of its female characters in the swimsuit issue and "The Girls of Archer" branded content online. Because Archer is animated, most of the marketing requires close collaboration between Reiss' team and the show's executive producers, Adam Reed and Matt Thompson, who need to incorporate any marketing-related animation into the show's production schedule. "Yes, they are extremely busy making a show, but the great thing is I think they're marketers at heart too, because they really respond when we come to them," said Reiss. For example, Reed and Thompson came up with one of the first components of this year's campaign: the shot-for-shot remake of Magnum P.I.'s opening credits, featuring the Archer cast, which FX posted in early February to tease season 7, which finds the former spies moving to L.A. to work as private investigators. "So that's part of a collaboration of, they have an idea, can we make it part of our marketing campaign, or we have an idea for our marketing campaign, can they help us out with it? That's where it's really become such a dynamic collaboration between the network and the animation studio," said Reiss. "We help motivate each other, and in the end, I think it benefits the show and keeps the show fresh." And there's more to come, said Reiss. "We capitalized on the SI swimsuit issue, but there are other key themes and events that are going on in the marketplace—political buzz, spring break—so we decided to take our Archer-esque shot at those as well," he said. To capitalize on the country's fascination/revulsion with Donald Trump's Presidential campaign, FX is partnering with Uproxx on a feature—"Who Said It Best: Trump or Archer?"—which will run next week. "It's very timely, and it's perfect in tone with the show, as well as capitalizing on what's happening around us in society," said Reiss, who previously worked with Uproxx last year on branded content featuring "hacked" naked photos from the phone of Archer character Pam Poovey . The network has partnered with the website Total Frat Move to feature a photo submission contest centered around spring break, and Pam Poovey's 10 tips for spring break

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FX and Sports Illustrated Feature ‘The Girls of Archer,’ Swimsuit Issue-Style

February 22, 2016  |  Media Week  |  No Comments

If this year's Sports Illustrated swimsuit issue feels a little more animated than usual, it's likely because of the characters from FX's Archer. As part of the marketing campaign for the hit animated comedy's upcoming seventh season, the network partnered with Sports Illustrated to feature faux swimsuit shots of its female characters in both the print issue and online. Last week's Sports Illustrated swimsuit issue included an ad featuring Pam Poovey, one of the characters from Archer. The prominently displayed photography and swimsuit credits—key components of swimsuit issue art—mention two of the show's male characters, Sterling Archer and Ray Gillette. The ad was one of several surprising elements in this year's swimsuit issue, which featured three separate covers and a Snickers back-cover ad with an epic Photoshop fail . Starting today, an expanded look at "The Girls of Archer" is available as branded content on SI.com's Swim Daily , part of its swimsuit section. The package includes swimsuit shots of the show's three female lead characters—Pam (voiced by Amber Nash), Cheryl Tunt (Judy Greer) and Lana Kane (Aisha Tyler)—and more information about the tie-in between SI and Archer, which has its Season 7 premiere on March 31. Images of Pam and Lana also appear elsewhere on the Sports Illustrated site to drive traffic to the branded content. "Sports Illustrated's swimsuit issue is a cultural icon, and we were thinking of fun ways we could take part," said Lance Reiss, svp of marketing for FX

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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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In Final Days Before the Super Bowl, CBS Is Still Finishing Up Its In-Game Ad Sales

February 4, 2016  |  Media Week  |  No Comments

Super Bowl 50 is only days away, but it's not too late for an advertiser to squeak into the game. CBS is still speaking with marketers about 30-second spots and might not finish those talks until hours before kickoff. "We're almost to the finish line," said Jo Ann Ross, CBS president of network sales. "We might have a two-point conversion coming soon." The last-minute strategy is part of Les Moonves' plan to wring the most money out of the network's Super Bowl ads, which sold for as much as $5 million per 30-second spot. In December, Moonves— who was named CBS Corp. chairman Wednesday, replacing Sumner Redstone —told investors that the network was holding back a few of its 30-second Super Bowl spots so it could sell them in the days before the game to advertisers who were desperate to get into the telecast. While "we could close it out tomorrow if we wanted," Moonves said at the time, the network was looking to fetch "north of $5 million a spot" shortly before Super Bowl Sunday.

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How CBS Has Spent the Past Year Trying to Get You to Watch Super Bowl 50

February 3, 2016  |  Media Week  |  No Comments

When George Schweitzer was researching CBS's coverage of the very first Super Bowl as part of his preparation for the network's Super Bowl 50 marketing campaign, he made note of a Washington Post article from January 1967. "It said in the TV column, 'CBS is pulling out all the stops and promoting this game all over, using their celebrities,'" said Schweitzer. "And I was imagining, what were 'the stops' in 1967?" Whatever they were, they don't come close to the exhaustive, yearlong marketing effort Schweitzer, the president of CBS Marketing Group, and his team have concocted as they try to attract as many viewers as possible for Sunday's Super Bowl telecast. "We were there for the first one in 1967," he said of Super Bowl I, which was jointly televised by CBS and NBC. "Since then, it has really transformed into a national day of celebration." And CBS is hoping the game's 50th year will yield its biggest celebration yet. "This one is very special," said Schweitzer, who is working on his sixth Super Bowl for CBS. "The Super Bowl is the singular biggest event in our culture, in our business, in the mainstream, in everything. It has so many moving parts beyond the game. What we've learned over the years is how to activate all those other moving parts, because it attracts, obviously, people who don't watch a football game all year long." Because of that, CBS didn't waste any time in starting to promote Super Bowl 50. The network rolled out its very first promo last Feb. 2, just one night after NBC aired last year's Super Bowl (which drew 114.4 million viewers), and debuted the network's manta for the coming year: "We were there for the first. We'll be there for the 50th." Adweek responsive video player used on /video. "That was what I would call a 'plant the flag' kind of spot," said Schweitzer. "Once the other one was over, we established CBS immediately as the home of the 50th." Taking his cue from the traditional 50th anniversary color, Schweitzer created a campaign that seemed to bathed in gold. "We've embraced it in a big way," he said, "because we think it helps achieve what we want, which is to turn this into more than the event itself, and make it look like it's very coordinated and cohesive on CBS. And that went from not just the network, but our local stations, our O&O [owned-and-operated] stations, our affiliate stations, our 120 radio stations, all of our online and streaming services. Anything that isn't nailed down around here is part of our gold celebration." For the Super Bowl 50 campaign, the network shot around 40 of CBS's prime-time, news and sports celebrities in various football scenarios and traveled to a smelting plant in California, where it photographed molten gold getting poured into a mold, using that footage for promotion. The gold motif extended to CBS's fall campaign, so= even when the network wasn't specifically promoting the Super Bowl, it retained those promos' key elements. On Dec.

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Grease Live Draws 12.2 Million Viewers, Making Fox’s First Live Musical a Hit

February 1, 2016  |  Media Week  |  No Comments

Fox has chills, and they're multiplying. That's because Grease Live, the network's first foray into the live musical genre that NBC has owned since 2013, was a huge success for the network Sunday night. Grease Live attracted 12.2 million viewers and a 4.3 rating among adults ages 18 to 49, according to preliminary Nielsen numbers. That tops the 11.5 million viewers and 3.4 demo rating for NBC's The Wiz Live in December and comes close to the numbers for NBC's biggest live musical: 2013's The Sound of Music Live, which drew 18.6 million total viewers and a 4.6 rating in the demo. The show was particularly strong among younger viewers, with a 3.7 rating in adults 18-34 and teens. The teen rating was 23 percent higher than Sound of Music's numbers, Fox noted. (While the network has stopped reporting live-plus-same-day ratings , it makes exceptions for live events like Grease.) The ratings are also good news for Coca-Cola, which sponsored Grease Live with period-appropriate integrations and also ran three spots during the show. Grease Live's success is one last win for former Fox chief Kevin Reilly, who green-lit the musical in April 2014, less than two months before he stepped down. "The truth is, Grease was ordered before we came to the network. We were thrilled with it and embraced it," Gary Newman, co-CEO and co-chairman of Fox Television Studios, told Adweek last month. While there were plenty of questions leading up to last night's musical—How would the rainstorm pelting Los Angeles impact the show, part of which was set on the Warner Bros. backlot? Would Vanessa Hudgens, who played Rizzo, be able to carry on after the tragic death of her father a day earlier?—audiences were most dazzled by the technical wizardry of director Thomas Kail, who also helmed the Broadway sensation Hamilton. The show had 1.2 million tweets, with the most-tweeted minute occurring at 8:31 p.m. ET, after Boyz II Men sang "Beauty School Dropout." The most TiVo'd moment came at 9:26 p.m., when Sandy (played by Julianne Hough) stands up for Rizzo, who sings "There are Worse Things I Could Do." In addition to Kail's euphoric camera work, the show was given an energy boost by the inclusion of a live audience, which have not been a part of NBC's musicals. "It's just one of the ideas we are doing to sort of burst open the genre of a live television musical," said executive producer Marc Platt. The production took over two soundstages and half of the Warner Bros. backlot, where the finale's carnival scene took place

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