Posts Tagged ‘networks’

Why Terry Bradshaw Doesn’t ‘Tweet or Twit’

October 29, 2014  |  Media Week  |  No Comments

Specs Who Terry Bradshaw Age 66 Claim to fame Co-host of Fox NFL Sunday ; former NFL quarterback and member of the Pro Football Hall of Fame Base Aubrey, Texas, and Love County, Okla. What’s the first information you consume in the morning? The first thing I do is gather all the sports information that I can get. I turn on the television set, go to Fox Sports 1, then I’ll go online and read The Dallas Morning News, and then I’ll read USA Today online. Are you on Twitter or any other social media? No. Absolutely not. I don’t tweet, twit or anything. I want nothing to do with it. I don’t have any desire to express my opinions on social media, and I certainly don’t have this idea that people are curious about what Terry Bradshaw is doing. I find that you can get yourself in quite a bit of trouble, too, if you’re too honest or not careful on there. Fox tried to get me to do it; I just said, nah. So no posting selfies for you. No, no selfies. I just found out what a selfie is! And I’m glad because I would have had to ask, “What is that?!” Do you have an iPhone or an iPad? I have an iPhone 4 which everyone laughs at because they say that it’s so outdated. And I do have an iPad, which is really important for me because I travel so much. I’ve always just thought of iPhones as a way for people to text me because they always say, “I can’t get you on the phone.” Well, I don’t keep a phone with me! My phone always stays charging on a windowsill.

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TV’s Worst Prime-Time Debuts, From 2000 to Present

October 27, 2014  |  Media Week  |  No Comments

Canceled: Oct. 24, 2014 after four episodes Two unlikable New Yorkers (Analeigh Tipton and Jake McDorman) start a relationship, with voiceovers that reveal their innermost thoughts (spoiler: she like purses; he likes sex).

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Why Did It Take So Long to Cancel Manhattan Love Story?

October 27, 2014  |  Media Week  |  No Comments

As the fall TV season kicks off, the networks usually have itchy trigger fingers when it comes to killing off their new shows that flop out of the gate. But not this season: it took more than a full month before fall's first cancellation: Manhattan Love Story. ABC pulled the plug on the (alleged) comedy late Friday, Oct. 24, after four episodes had aired. It's the longest the networks have gone into the season without canceling a new show since 2003, when Fox waited until Oct. 28 to axe the Luis Guzman sitcom Luis, which lasted five episodes. By this same point last fall, four shows had already bitten the dust — ABC's Lucky 7, CBS's We Are Men and NBC's Welcome to the Game and Ironside — with a fifth (ABC's Back in the Game) just a week away from joining them. And over the past several years (see The Worst TV Shows of The Century, So Far ), networks usually made their first moves in late September or early October, after just two or three episodes had aired. How DVRs and On-Demand Changed The Rules This season, networks have been emphasizing the need to wait for delayed viewing ratings (live-plus-three and live-plus-seven) as viewers caught up with shows via DVR or VOD. "The growing truth is that picking winners today isn't as simple as looking at the overnight ratings," CBS Entertainment chairman Nina Tassler said this summer. And unlike last year, when the networks paid that idea lip service but still quickly moved to cancel several low-rated shows, they've actually been practicing what they preach. That's because those delayed viewing bumps can be considerable. How to Get Away With Murder doubled its already hefty series premiere rating in adults 18-49, from 3.8 to 7.5, after two weeks of DVR, VOD and online viewing. And the wait-and-see approach has helped buoy Fox's Red Band Society, which saw a 82 percent increase in live-plus-seven ratings in 18-49 for its second episode, from 1.1 to 2.0; the following week jumped 73 percent, from 1.1 to 1.9. Bigger Bets and Slower Cancelations Manhattan Love Story — airing at 8:30 p.m. ET Tuesday, one of TV's worst time slots —received only a 15 percent lift in live-plus-seven, the lowest for a scripted series this fall. And its final episode last Tuesday fell to an unsustainable 0.7 rating in 18-49, with just 2.62 million total viewers

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US TV Networks Seek to Grow By Expanding Internationally

October 13, 2014  |  Media Week  |  No Comments

On the eve of network TV executives’ annual pilgrimage this week to Cannes, France, for the global programming bazaar known as Mipcom , Viacom announced last Wednesday it will launch men’s channel Spike in the U.K. this spring—with plans for a wider international rollout. Viacom already has a global foothold for a number of its brands. The group, including MTV, Comedy Central and Nickelodeon, is distributed to 200 countries in 37 languages and has grown steadily. Overseas operations have experienced revenue percentage growth in the mid to high teens annually over the last five years, reports Bob Bakish, president, CEO of Viacom International Media Networks. That growth looks even more impressive, given that Viacom overall will experience a 0.4 percent revenue dip in fiscal 2014, to about $13.7 billion, reports S&P Capital IQ. “The growth opportunities are greater in other parts of the world because the U.S. market is more mature,” explained John Sanders, a principal of the media valuation and consulting firm Bond & Pecaro. “Anyone who would ignore that would do so at their own peril.” And Mipcom is where content buying and selling achieves critical mass. Of course, deals are struck year-round.

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As Genre Shows Go Mainstream, TV Execs Are Looking to Novelists for the Next Hit

September 29, 2014  |  Media Week  |  No Comments

TV network options on books have exploded. Publishers Lunch, a trade that tracks book industry deals, lists an ever-increasing number of television options over the last few years, with 2013 setting the record and this year looking good. And with massive success stories like Game of Thrones ruling the roost on cable , a disproportionate number of those books are genre fiction. Bill McGoldrick, head of programming for NBCUniversal’s Syfy network, says part of the appeal is the charge a reader gets from a good book with a thoroughly thought-out world. It captures your imagination, even if you’re using that imagination to figure out what your programming slate is going to look like. “The imagination behind the intellectual property, when you’re a producer or a writer or somebody sitting in my chair, fills out the world for you in a way that the script can’t,” he said. “You get behind the curtain in a way the script doesn’t allow you to do.” McGoldrick is overseeing his network’s adaptation of The Magicians trilogy , a fantasy cycle by Time book critic and tech writer Lev Grossman that reads a little like Bright Lights, Big City meets The Chronicles of Narnia. Everybody’s looking for “the next Game of Thrones,” as you’ll hear often from execs

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GoPro and the NHL Have Signed a Deal That Will Give Hockey Fans a Player’s POV

September 29, 2014  |  Media Week  |  No Comments

Ever wonder what’s it like to be Patrick Kane of the Chicago Blackhawks streaking in on a breakaway? Or New York Rangers goalie Henrik Lundqvist blocking a 100 mph shot? The NHL has struck a content-sharing deal with GoPro cameras to offer TV viewers exactly that kind of player point of view this season. The NHL will use GoPro’s POV footage in promo campaigns for the new season starting Oct. 8. The league’s two national TV partners—NBC Sports in the U.S. and Rogers in Canada—will also weave clips into game telecasts to illustrate the shooting, stickhandling and skating skills of NHL stars, said Bob Chesterman, NHL’s svp of programming. During the recent NHL/NHLPA Player Media Tour, GoPro techs outfitted nearly a dozen top stars with mini-cameras on their helmets, masks and jerseys at Newark’s Prudential Center. If a player filmed by GoPro scores this season, NBC or Rogers can illustrate what they saw on the play by cutting to taped footage from the commercial shoot, said Brian Jennings, NHL’s CMO. The league will also feature the POV content on NHL Network and NHL.com, while GoPro will use it on its YouTube channel. The GoPro mini-cameras capture images that were “unimaginable” before, said Jennings. “The [technology] demystifies our game—and truly shows what skill our players have,” he said. GoPro cut its teeth on action sports such as surfing. But it’s expanding with pro sports leagues such as the NHL and NFL, said Wil Tidman, GoPro’s head of production. Lundqvist, who led the Rangers to the Stanley Cup Finals, can’t wait to see the footage himself. “It can definitely help the game become even more interesting for the viewer, no question.”

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The CW’s New Shows, From Best to … Second Best

September 20, 2014  |  Media Week  |  No Comments

The CW is not a large network. Co-owned by CBS and Warner Bros., its target viewers are the teens and twentysomethings who play Minecraft, watch Netflix, work at odd hours or attend school, and so its lineup doesn't rate as highly in the 18-49 demo as the other four.

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NBC’s New Fall Shows, From Best to Worst

September 19, 2014  |  Media Week  |  No Comments

Last season, for the first time in a long time, NBC was on top. Much of that was due to The Voice, flagship drama The Blacklist and shows that struck an unexpected chord, like Hannibal. But some of it was because the competition faltered more or less across the board. Even with its #1 slot, though, the network had some retooling to do, and the result is the least consistent slate of new shows this season. It's not that the shows are uniformly bad; they're not uniformly anything. There are funny comedies and unfunny comedies, pulpy dramas and Very Serious Dramas. It feels as if it was developed by at least two different teams, and the process yields shows that will probably appeal (or not) to very different audiences. As with our previous new-show writeups for ABC , CBS and Fox , these breakdowns are based on the early episodes provided by the networks. Mostly, that just means pilots, and in one case (Bad Judge) not even that. But it's instructive for the advertising community to see what the audience's first glimpse of a show is going to be, as there's enough great material out there these days to make television a medium with near-limitless choice.

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Beyond ‘The Walking Dead’: Mining Darker Comics to Find a Hit

September 17, 2014  |  Variety  |  No Comments

Contrary to what broadcast television’s fall schedules might suggest, the revamped trend of using comicbooks as source material for TV shows has been hot for a while — even if the brains behind the networks’ programming slates have a hard time remembering that. “It’s funny — if you talk to the people at the networks,... Read more

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The New Shows on Fox, Rated From Best to Worst

September 17, 2014  |  Media Week  |  No Comments

Continuing our week-long rundown of broadcast TV's latest and greatest offerings, we now look to Fox. And Fox is in some trouble. The network lost a huge chunk of its audience last season due primarily to aging product (looking at you, American Idol), and then the powers that be gave programming head Kevin Reilly the heave-ho before the ad sales division had a chance to shift all the inventory in their new slate. That's kind of a shame, because it's a slate with some serious cojones, even if nothing is a total slam dunk. There are five new fall series on Fox, one of which (Utopia) has already begun life— ish —with three nontraditional dramas and a traditional sitcom getting ready to go in the next few weeks. It's worth noting my analysis below (as with my take on ABC's lineup ) is based on each series' pilot, and shows often change in their later episodes.

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