Posts Tagged ‘networks’

Mind the Gap: NBCU’s Burke Looks to Make Waves in the Upfront

April 22, 2014  |  Media Week  |  No Comments

After spending the better part of the last 10 years at the very bottom of the broadcast ratings hierarchy, NBC is on pace to claim victory for the 2013-14 TV season. As such, the network fully expects to make a killing during the spring/summer upfront bazaar . Speaking to investors during Comcast’s first quarter earnings call, NBCUniversal CEO Steve Burke said the Peacock’s ratings turnaround was unprecedented in the annals of modern television. “We’re going into the upfront with the best position we’ve had in over a decade, primarily driven by NBC,” Burke said. “Last year, NBC was 17 percent behind the leader, which was CBS ; this year, we’re estimating that we’ll finish in first, about 12 percent ahead of No. 2 [Fox]. So … it’s a 29 percent swing. Which, we’ve gone back to the beginning of people meters [and] we can’t find any network that’s swung that much in a year.” Through the first 30 weeks of the season, NBC is in first place with an average 18-49 rating of 2.8, up 17 percent from the year-ago period. Fox is in second with a 2.6, up 4 percent, while CBS is down 20 percent with a 2.4. Heading into the final month of the campaign, ABC will once again finish last among the Big Four, averaging a 2.1 in the demo (down 5 percent). Although it’s only two-tenths of a ratings point, NBC’s lead over Fox is probably insurmountable. That said, a blockbuster performance by Fox’s 24: Live Another Day , which premieres May 5, could make things interesting. While next season falls on a non-Olympic year, NBC will reap the benefit of hosting the Super Bowl in February. Manageable declines for Sunday Night Football and The Voice should allow NBC to raise its CPMs on its franchise properties, although pricing on its Thursday night comedies are likely to continue to lag. Burke said NBC’s growth spurt should serve it well in the upfront marketplace

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Valerie Bertinelli Set To Join Food Network Daytime Lineup

April 22, 2014  |  Variety  |  No Comments

Scripps Networks International’s flagship Food Network will unveil 20 new series across primetime and daytime in the months to come, enlisting Valerie Bertinelli for a new daytime series and expanding its “Chopped” franchise to a new teen-oriented format. “Increasing our development slate to satiate the audience demand for entertaining and informative programming has been our... Read more

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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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Aereo vs. Broadcast TV: The Case That Could Change Everything

April 21, 2014  |  Media Week  |  No Comments

On April 22, attorneys for Aereo and the broadcast TV networks will face off before the Supreme Court in American Broadcasting Companies Inc. v. Aereo . The closely watched case could change the course of broadcast television and determine the future of the emerging over-the-top video marketplace. With so much on the line, Aereo—fighting to stay in business—and the broadcasters that want to shut it down have enlisted the services of a couple of big-name Washington attorneys with deep ties to the high court. The Supreme Court decision , which could come in late summer, will end two years of legal battles that began just prior to Aereo’s launch in New York. What Aereo calls a technology that gets it around the copyright law to deliver over-the-air TV stations on the Internet broadcasters call a legal gimmick and a clear violation of copyright. As Aereo rolled out in other cities, broadcasters sued. Aereo won in New York and Boston but lost in Utah. When broadcasters petioned the Supreme Court last October to hear the case, the response of Aereo, knowing it faced an endless series of expensive lawsuits, was: Bring it on. The question before the court Whether a company “publicly performs a copyrighted television program when it retransmits a broadcast of that program to thousands of paid subscribers over the Internet.” What’s at stake for Aereo? If it loses, Barry Diller, Aereo’s financial backer, has said the startup is toast

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Aereo vs. Broadcast TV: The Case That Could Change Everything

April 21, 2014  |  Media Week  |  No Comments

On April 22, attorneys for Aereo and the broadcast TV networks will face off before the Supreme Court in American Broadcasting Companies Inc. v. Aereo . The closely watched case could change the course of broadcast television and determine the future of the emerging over-the-top video marketplace. With so much on the line, Aereo—fighting to stay in business—and the broadcasters that want to shut it down have enlisted the services of a couple of big-name Washington attorneys with deep ties to the high court. The Supreme Court decision , which could come in late summer, will end two years of legal battles that began just prior to Aereo’s launch in New York. What Aereo calls a technology that gets it around the copyright law to deliver over-the-air TV stations on the Internet broadcasters call a legal gimmick and a clear violation of copyright. As Aereo rolled out in other cities, broadcasters sued. Aereo won in New York and Boston but lost in Utah. When broadcasters petioned the Supreme Court last October to hear the case, the response of Aereo, knowing it faced an endless series of expensive lawsuits, was: Bring it on. The question before the court Whether a company “publicly performs a copyrighted television program when it retransmits a broadcast of that program to thousands of paid subscribers over the Internet.” What’s at stake for Aereo? If it loses, Barry Diller, Aereo’s financial backer, has said the startup is toast

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Meet Watch Awards Production Judge Fred Seibert

April 18, 2014  |  Media Week  |  No Comments

What’s the key to having a viral hit? Make sure that it’s funny, topical, sexy—and a little off-kilter, media mogul Fred Seibert explains. "I think that weird mostly works because it is novel," Seibert said. "It is a new twist on every day life that through contrast draws attention to itself." The founder and executive producer of independent animation studio Frederator Studios has worn many hats in the entertainment industry. Before his current job, he was the first creative director for MTV . He

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Mad Men Star Vincent Kartheiser Stays Away From Social Media

April 18, 2014  |  Media Week  |  No Comments

Specs Who Vincent Kartheiser Age 34 Accomplishments Stars as Pete Campbell on AMC’s Mad Men (Season 7 airs Sundays at 10/9c); voices Marsh Merriweather on the Fox animated series High School USA! Base Los Angeles What’s the first information you consume in the morning? Email. My computer is usually close at hand. If I’m going to work, the first media I probably consume is music in my car. How do you listen to music? I do Spotify. Every once in a while I’ll do satellite radio comedy channels, too. There’s a bunch of them—Comedy Central, Raw Dog, and Jamie Foxx has one. How do you get your news?

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Fargo Earns Solid Sampling in Debut

April 16, 2014  |  Media Week  |  No Comments

The series premiere of FX’s adaptation of Fargo drew some decent sampling Tuesday night, scaring up 2.65 million viewers and a 0.8 in the 18-49 demo. While the 10 p.m. deliveries weren’t exactly world-beaters—recent dramas The Americans drew 3.22 million viewers and a 1.2 in the dollar demo in its January 2013 premiere, while The Bridge last July bowed to 3.04 million viewers and a 0.9 rating—the network guarantees against multiplay deliveries. As such, the more germane number is the cume: 4.15 million viewers and a 1.4 in the demo. Time-shifted viewing will only serve to boost Fargo’s premiere deliveries. Naturally, the relevant data will align with the C3 currency , which blends average commercial minutes in each live telecast with three days of playback. Because FX has been adept at encouraging viewers to catch up via on-demand platforms in which the trick functionality has been disabled (in other words, there’s no way to zap through the commercials), its conversion from live-plus-three-day data to C3 is particularly favorable. In other words, not only are people watching the content, but they’re being exposed to the paid marketing messages that keep TV afloat. “We are incredibly proud of the towering creative achievement by [writer/producer] Noah Hawley and everyone involved with Fargo,” said John Landgraf, CEO of FX Networks and FX Productions, by way of announcing the premiere deliveries. (A tip of the hat to Landgraf for not trying to cram a stray “oh, geez!” or “you betcha!” into the canned quote.) Landgraf went on to extol the talents of the cast, which features Billy Bob Thornton as a whimsical sociopath, Martin Freeman as a henpecked insurance salesman, and newcomer Allison Tolman as a folksy, but dedicated, young police officer. “This is truly one of the best shows we’ve ever had on the network,” Landgraf said. “We’re thrilled with the initial viewership last night and really excited for audiences to see the rest of the miniseries.” The ratings rolled in shortly after FX officially announced the renewal of The Americans for a third season

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7 Stats That Spell Trouble for TV and Online Video Ads

April 14, 2014  |  Media Week  |  No Comments

Nothing beats video advertising for engaging consumers, forging emotional connections and building brand awareness. Unfortunately, the two major delivery vehicles for video ads face enormous, intractable problems due to attrition, cultural changes and flat-out fraud. Any advertiser that sinks significant money into TV and online video ads faces an uncomfortable truth: That a significant and growing percentage of dollars spent in those mediums is wasted. “ The New Reality of Digital Video Advertising ,”

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BuzzFeed Inks TV Tune-In Pacts with Bravo, IFC

April 10, 2014  |  Variety  |  No Comments

List-driven social news site BuzzFeed announced deals with NBCUniversal’s Bravo and AMC Networks’ IFC, under which the cablers are promoting BuzzFeed content on-air and online (and vice versa). The networks are the first two partners for BuzzFeed’s Social Tune In Program, which will let advertisers “leverage their content on BuzzFeed on their own platforms,” according to New... Read more

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