Posts Tagged ‘networks’

A+E Networks Marks Its Return to the Upfronts by Relaunching the Biography Franchise

March 21, 2017  |  Media Week  |  No Comments

After sitting out last year's big upfront events, A+E Networks is back in the game this year. But that wasn't the only big return to tradition for the company, which also announced that it's relaunching its Biography franchise this spring. The company used its Tuesday night New York event, held at Jazz at Lincoln Center's...

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YouTube Announces Its Own Streaming Alternative to Cable TV

February 28, 2017  |  Media Week  |  No Comments

YouTube announced today it will soon launch its own answer to DirecTV Now and other subscription-based TV services. The company called it "live TV for the YouTube generation," in its announcement. YouTube TV will cost around $35 per month and provide access to ABC, NBC, CBS and FOX in addition to many other networks and...

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Sony Pictures Television Networks Acquires British Channel truTV

February 16, 2017  |  Variety  |  No Comments

Sony Pictures Television Networks has acquired British channel truTV, which launched in 2014 and reaches on average 3.9 million viewers a month. More to follow.

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ABC Won’t Rest Until Everyone Knows Scandal (and TGIT) Is Finally Back Tonight

January 26, 2017  |  Media Week  |  No Comments

After an excruciating eight-month hiatus for ABC, the network tonight finally gets to welcome back its TGIT lineup of Shonda Rhimes-produced Thursday-night dramas: Grey's Anatomy, Scandal (which was delayed until midseason due to Kerry Washington's pregnancy) and How to Get Away With Murder. And ABC's marketing department is making sure its viewers, who abandoned the network on Thursdays at 9 p.m. during the fall, return. ABC's fall replacement for Scandal, freshman drama Notorious, flopped immediately, averaging just a 0.9 rating in the 18-49 demographic, which is less than half of the 2.1 that Scandal brought in last season. It also drained the network's usually robust Thursday-night ad revenue.

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Why CBS Is Airing Its First Saturday Drama Series in 13 Years

January 13, 2017  |  Media Week  |  No Comments

For decades, Saturday was an essential component of each broadcast network's prime-time schedule, but in recent years the networks have thrown in the towel on the night, which has the week's lowest HUT (homes using television) levels. That includes CBS, which for years has programmed two hours of drama repeats—called Crimetime Saturday—and newsmagazine 48 Hours to fill the evening. But this winter, CBS is doing something it hasn't attempted in 13 years: airing an original drama, Ransom, on Saturdays. The series, about a crisis and hostage negotiator who tackles kidnappings and ransom cases, is a Canada-France co-production, from independent studio eOne, and cost CBS a fraction of what the network usually spends on its dramas. "We're always looking for opportunities to improve the numbers on the schedule," said CBS Entertainment president Glenn Geller. "Crimetime does just fine, but we had a unique opportunity with Ransom, because it was an international production, and we said, let's see what we can do on Saturday nights." Traditionally, "The night is the last priority for most networks as you're setting your schedule," said Kelly Kahl, senior evp of CBS Primetime. While CBS has used Saturdays to burn off remaining episodes of canceled shows like Made in Jersey and Three Rivers, the network hasn't scheduled dramas on Saturday since the 2003-04 season, when Hack (starring David Morse and Andre Braugher) and The District (with Craig T. Nelson) aired on the night. More recently, CBS tried airing a comedy on Saturday, programming the David Spade sitcom Rules of Engagement there in 2011. But the network abandoned the experiment after just a few weeks, shifting Rules to Thursday to replace the DOA sitcom How to Be a Gentleman (which was burned off on, yes, Saturdays). Because CBS audiences responded to freshman fall series Bull, Kevin Can Wait, Man With a Plan and The Great Indoors, "we're sitting pretty good the other nights of the week," said Kahl. "Every night of the week counts, and as you look at your weekly numbers, an hour on Saturday counts exactly the same as an hour on Monday. So we saw an opportunity there for us." CBS gave Ransom a Sunday launch on Jan. 1, where it drew 6.7 million viewers, and a 0.8 rating in the adults 18-49 demo. Last week, in its first regular airing on Saturday at 8 p.m

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Fox Sports CEO Says Super Bowl Ratings Have Become ‘Bulletproof’

January 12, 2017  |  Media Week  |  No Comments

While NFL ratings were down across the board this season, the team putting together Super Bowl LI on Fox don't expect any spillover when the game is finally played on Feb. 5. "The Super Bowl has become a little bit bulletproof," and is more reliant on the star power and matchups rather than the quality of the gameplay itself, Fox Sports president, COO and executive producer Eric Shanks said at the Television Critics Association's winter press tour in Pasadena, Calif. He noted that when Fox last broadcast the Super Bowl, in 2014, "it was not close from the opening snap." The Seattle Seahawks blew out the Denver Broncos 43-8. Shanks said he "dreaded" waking up the next morning and seeing the overnight ratings. Instead, "we set a record with that Super Bowl, but it was not close at all." That 2014 telecast was watched by 112.2 million viewers. Last year's telecast, Super Bowl 50 on CBS, was the third most-watched U.S. telecast of all time , with 111.9 million viewers. The 2015 Super Bowl on NBC drew 114.4 million total viewers. As for Super Bowl LI ratings, "it's hard to predict. The Super Bowl is now dependent on the playoffs: certain teams and how long it's been since they've been there, that really dictates whether we're at the upper end of the Super Bowl range or the bottom end of the range of modern Super Bowl ratings," Shanks said. No matter what the final ratings are, well over 100 million viewers will tune in, which means that the pressure is on Shanks to get everything right. "It's a lot more pressure because you want to make sure that you've planned for everything that could go wrong," like the power outage during the 2013 Super Bowl, said Shanks. "There's a lot of pressure because of the economic impact to Fox on that day and all the things we need to deliver perfectly for the advertisers who are investing in that day. And we also have pressure on ourselves, that we walk away thinking that we told the stories in the right way that we want to tell." Shanks noted that Fox's NFL ratings were down six percent this season, the second lowest total in recent years behind 2012, which was also an election year. "Clearly, this unique election cycle had an impact," he said. Fox's innovations for Super Bowl LI include technology that for the first time ever, take fans inside the helmet of any player on the field and show the game from their perspective. The cameras won't actually be affixed to each player's helmet, but Fox's crew will be able to simulate their perspective from cameras around the stadium. With under a month to go, Fox Sports has a handful of Super Bowl slots left , and is asking north of $5 million for a 30-second spot.

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How to Revitalize Beloved Pop Culture Brands Like Star Trek, Hannibal and American Gods

December 28, 2016  |  Media Week  |  No Comments

These days, one of the safest bets for attracting TV or movie audiences is to rely on existing brand or franchise and try to revitalize it. When it's successful—like the recent Star Wars films or Fox's X-Files revival—it brings in both diehard fans and a fresh audience. Two of the best writers involved in resuscitating beloved pop culture properties are Bryan Fuller (who breathed new life into the stale Hannibal Lecter franchise by turning Thomas Harris' novel Red Dragon into an audacious NBC series) and Michael Green (who worked on Smallville, putting a new spin on the Superman story). Now those two are teaming up for a new, high-profile adaptation, turning Neil Gaiman's acclaimed novel American Gods into a series for Starz, debuting this spring. But American Gods is just one of several major brand refreshes that Fuller or Green are overseeing in 2017. Fuller also co-created the first Star Trek series in 12 years, Star Trek: Discovery, for CBS All Access (though he has since departed the show) and is developing an updated version of the '80s anthology series Amazing Stories for NBC. Meanwhile, Green co-wrote three major franchise films: Logan (a darker, grittier spin on the Wolverine franchise), Alien: Covenant (the follow-up to Prometheus, which more directly ties into Alien) and Blade Runner 2049, which brings back Harrison Ford and whose first trailer generated enthusiastic buzz last week: As they prepare to launch American Gods in the spring, Fuller and Green sat down with Adweek to talk about their approach to breathing new life in beloved pop culture brands, and what they've learned about trying to make fans happy—or not: Adweek: What has to stand out for you when you're looking at an existing brand or a franchise, and trying to make it your own? Bryan Fuller: It has to be about something more than just its own plot, to start with. And you have to be able to isolate your own memory of what it is you loved about it. Because if you take something as broad as a superhero character, everyone came at it at a different time and a different incarnation and a different run of a different artist, and so there are different aspects of the character that are in the soul of it for you. That's the core of adaptation, is you have to be able to dive into those things and celebrate that particular aspect of it. It's about taking those core values of what the piece is and making sure that you can now re-present those things to other people, and hopefully they'll appreciate it in the same way that you did

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Viacom’s Upheaval Continues With the Exit of Music and Entertainment Group President Doug Herzog

December 21, 2016  |  Media Week  |  No Comments

Viacom finally has a new CEO and isn't merging with CBS after all, but that hasn't put a stop to the company's 2016 upheaval. Doug Herzog, president of Viacom's Music and Entertainment Group, announced today that he'll be leaving the company next month. He oversees MTV, Comedy Central, VH1, Spike and Logo. In a memo sent to staff, Herzog said he'll be leaving Viacom as of Jan. 12. "It was a helluva run, and I would wish it on anyone. I loved every minute of it," he said. Just last week, Viacom's parent company, National Amusements, which owns 80 percent of the voting shares of both Viacom and CBS, decided to pull the plug on discussions of a potential merger. That same day, the company announced that Bob Bakish, who had been serving as acting president and CEO since Nov.

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With 455 Scripted Series Released This Year, ‘Peak TV’ Has Yet to Actually Peak

December 21, 2016  |  Media Week  |  No Comments

The phrase "peak TV" was coined by FX Networks CEO John Landgraf last year to describe the "overwhelming" increase in scripted series, but it seems as if the glut of scripted television shows still hasn't peaked yet. An estimated 455 scripted series aired this year on broadcast, cable and streaming services, according to FX Networks Research. "This estimate reps an 8 percent increase over just last year (421 in 2015)―but an astonishing 71 percent increase over five years ago (266 in 2011) and 137 percent over a decade ago (192 in 2006)," said Julie Piepenkotter, evp, research, FX Networks, in a statement. While the number of broadcast, premium cable and basic cables shows all fell in 2016, that decline was more than surpassed by the output from streaming services. That number doubled in one year, from 46 shows last year to 93 shows in 2016. Expect that trend to continue in 2017, as Netflix plans to double its output once again. In August, Landgraf estimated that 2016's scripted series output would probably top out at 450, while 2017 could see an astounding 500 scripted shows. That's in addition to the 750-some unscripted shows that also air. The television business is "probably unsustainable" for more than 500 scripted series, Landgraf said at the time. Landgraf, who last month was named Adweek's Television Executive of the Year, told Adweek that the number of scripted series will finally start to drop off by 2019. But despite the deluge of scripted shows, his greatest challenge is the same as when he took charge of FX in 2005. "For FX to be relevant to people as a brand—for there to be a reason for people to continue to pay attention to what we do and to seek us out—we have to give them an experience they just can't get somewhere else," he said. "You have to continually replenish your brand equity." And that requires big swings like The People v. O.J. Simpson and Atlanta, both of which became commercial and critical hits this year. "You can't just be different," Landgraf said. "You have to be different and good."

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ABC Will Create Original Series for Snapchat, Starting With a Bachelor-Themed Show

December 21, 2016  |  Media Week  |  No Comments

Yet another big media company is teaming up with Snapchat in a bid to reach millennials. This time, it's Disney-ABC Television Group, which is partnering with Snap Inc. to produce original series for the platform. The first show out out of the gate is Watch Party: The Bachelor, which debuts Tuesday, Jan. 3, the morning after The Bachelor's 21st season premiere on ABC. Watch Party will feature a rotating group of celebs, comedians, Bachelor superfans and past Bachelor and Bachelorette personalities as they watch and joke about the most recent Bachelor episode. The weekly Snapchat series, which will debut every Tuesday morning, will consist of 10 original episodes and one Live Story. Several other shows based on DATG properties will roll out on Snapchat in the coming months

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