Posts Tagged ‘networks’

How Do You Find the Right Scream for an Angry Goat in Your Ad?

April 8, 2014  |  Media Week  |  No Comments

Getting the right scream for an angry goat in a Doritos crowdsourced Super Bowl spot was just part of the job for the musicians at Tunewelders, a 5-year-old music production company in Atlanta. The shop specializes in customized music and sounds for brands and programming, ranging from goofy to solemn, such as a patriotic melody underlining NFL players reading the Declaration of Independence—another promo Tunewelders did for this year’s Super Bowl audience. Guitarist Ben Holst is co-founder, producer and creative director of Tunewelders. He and co-founder Jeremy Gilbertson work with Jason Shannon and Vic Stafford to tap into what he calls the backlash against “overcomputed, overprocessed” music and the movement toward “organic and authentic” sounds coming from real instruments. What makes your music studio different from the legion of others out there? We do emotional Americana using instruments like acoustic guitars and Hammond organs. We play and record real instruments, and we do music by hand. How is the role of music and sound changing in ads and branded content? Music has traditionally been treated as an afterthought in making an ad.

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NBCU’s Steve Burke Declares Victory

April 7, 2014  |  Media Week  |  No Comments

“We don’t want you to think that we were trying to hide or conceal anything but we didn’t want to talk about what we were doing. [We wanted] instead [to] talk about what we had done,” said NBCUniversal CEO Steve Burke in his introductory remarks to press this afternoon at a lunch at 30 Rock. The executive touted the company’s performance in recent months, saying that, for the first time in 10 years, NBC was going to be on the top of the broadcast heap at the end of the season. Burke allowed that the Olympics had helped boost performance, but noted that “even four years ago in Vancouver, we weren’t at the levels we are now.” Per Nielsen live-plus-same-day data, NBC's coverage of the 2014 Sochi Winter Games averaged

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Dead Air: Zombies or No Zombies, Sunday Broadcast Ratings Continue to Slump

April 7, 2014  |  Media Week  |  No Comments

Now that The Walking Dead has staggered off for its customary six-month between-seasons break, broadcasters last night may have hoped to regain some of their lost potency in the Sunday 9 p.m. time slot. Didn’t happen. According to Nielsen fast national data, the three regularly-scheduled broadcast series that had previously gone head-to-head with AMC’s zombie apocaypse drama were either down or flat versus last week. On ABC, the supernatural drama Resurrection averaged 7.54 million viewers and a series-low 2.1 in the dollar demo, down 13 percent from a week ago. Fox’s Cosmos: A Spacetime Odyssey was flat with a 1.5 rating, while NBC’s midseason drama Believe continued to drop, notching a series-low 1.0 in the demo. (Since bowing to a torrid 3.8 rating on March 9, Resurrection has lost 45 percent of its target demo.) Instead of a new episode of The Good Wife , CBS at 9 p.m. aired the second hour of the 49th Academy of Country Music Awards. The middle third of the broadcast delivered 14.7 million viewers and a 3.6 rating, doubling the 1.8 rating served up by last week’s installment of The Good Wife.

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Pharrell Williams Joins NBC’s The Voice

March 31, 2014  |  Media Week  |  No Comments

Grammy-winning singer-songwriter Pharrell Williams is bringing his talents to NBC’s The Voice . The 40-year-old Neptunes linchpin and recent Daft Punk collaborator

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Resurrection Falls Back to Earth

March 31, 2014  |  Media Week  |  No Comments

After a splashy debut in which it more than doubled its time slot predecessor’s average deliveries, ABC’s Resurrection has fallen back to earth. According to Nielsen fast national data, the fourth episode of Resurrection last night averaged 8.18 million viewers and a 2.3 rating among adults 18-49, marking an 8 percent decline from the previous week’s preliminary draw. Strikingly, when compared to the 3.8 final live-plus-same-day rating notched by the March 9 premiere, last night’s installment was down 40 percent in the dollar demo. Although the show’s decline is of some concern for ABC, Resurrection still handily defeated its 9 p.m. competition, outgunning Fox’s Cosmos: A Spacetime Odyssey (1.5) and NBC’s Believe (1.1). An NCAA Elite Eight overrun delayed CBS’ The Good Wife by 20 minutes; if the ratings hold (1.7), the pivotal episode will have tied for the second highest-rated episode of Season 5. While the ratings for the lip-smacking season finale of AMC’s The Walking Dead won’t be tallied until later this afternoon, it’s all but certain that the zombie apocalypse drama will have beaten the Big Four broadcast networks’ combined demo score. UPDATE: It did. And how. Through the first 15 episodes of Season 3, The Walking Dead remains the top-rated scripted series on television, averaging a staggering 6.7 in the demo; by comparison, the No. 2 show, CBS’ The Big Bang Theory , is drawing a 5.2 through 18 episodes. Over at NBC, the network’s first stab at launching a Sunday night drama franchise since March 2009 is faltering. Ratings for Believe have plummeted 59 percent from its special Monday night preview on March 10, while dropping 27 percent versus its time-slot debut (1.5). Meanwhile, the 10 p.m.

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Josh Elliott Leaves Good Morning America

March 31, 2014  |  Media Week  |  No Comments

For the second time in the span of four months, ABC’s Good Morning America is weathering a defection in its ranks, as co-anchor Josh Elliott has left the show for a job at NBC Sports. Effective Monday, March 31, ABC News correspondent Amy Robach will assume Elliott’s GMA post, joining Robin Roberts,

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A Recent History of the Heckler’s Veto

March 29, 2014  |  Media Week  |  No Comments

The television world has weathered quite a few controversies in the last several months, all of which have one disturbing thing in common: they are fomented and sustained by people who are hurt, saddened or otherwise aggrieved and they think that gives them the right to demand that an offending television program cease production. At the risk of being blunt, I don't think this is a trend that should excite or please anyone who is serious about art or entertainment or indeed, the use of words and/or images to communicate, and the trend seems to transcend traditional liberal/conservative divisions (isn't it nice when people come together?). Following are a few examples. This weekend, we had

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Allstate’s Marketing Boss Talks Up ‘March Mayhem’

March 25, 2014  |  Media Week  |  No Comments

From the now-ubiquitous Good Hands field goal net program to the increasingly chaotic pratfalls of anarchic pitchman Dean Winters, Allstate’s Pam Hollander, senior director of integrated marketing communications, has developed some of the most highly visible marketing activations in sports. On the first big day of the NCAA Men’s Division I Basketball Championship , the Syracuse alum plots out the Xs and Os of the insurance giant’s busy March. This is Allstate’s third year as an NCAA corporate partner. What kind of activations can we expect to see from you in and around March Madness ? Things are going to evolve with our “March Mayhem” positioning, let’s put it that way. Consumers can expect to hear from Mayhem, especially on this, the day of all days, when the inevitable bracket busting begins. So it’s a full-court press on the TV front?

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Lost Cast, Creators Celebrate Show’s 10th Anniversary

March 17, 2014  |  Media Week  |  No Comments

The 10th anniversary Lost reunion panel at PaleyFest may have been short on both revelations and star power— No Jack! No Kate! No Locke! No Sayid! No Ben Linus! No Charlie ! No Claire!—but the show’s creators did offer a few definitive answers about what really happened on Smoke Monster Island. Appearing Sunday night at a packed session at Hollywood’s Dolby Theatre, executive producers Damon Lindelof and Carlton Cuse joined castaways Josh Holloway (Sawyer), Jorge Garcia (Hurley), Yunjin Kim (Sun), Henry Ian Cusick (Desmond), Ian Somerhalder (Boone), Maggie Grace (Shannon) and Malcolm David Kelley ( Walt ) in a discursive conversation about their experience on the hit ABC series. True to form, Lindelof and Cuse were rather cagey on the topic of the much-debated Lost finale. When moderator Paul Scheer first brought up the polarizing ending, Lindelof joked, “I’m going to go pee” while half-rising out of his seat. Cuse did confirm that the Losties weren’t actually dead throughout their tenure on the island, adding that the confusion about the characters’ ontological status had something to do with the misleading footage of the wreck of Oceanic flight 815 that appeared between the final scene and the last commercial pod. “We wanted to run a little buffer…between the end of the show and the commercial [break],” Cuse said. “But when people saw that shot of the plane and saw that there were no people, it exacerbated the problem.” Of course, given that the two EPs spent years trying to chase fans off the scent of the Purgatory reveal, going so far as to deny that any of the characters would be confined to that existential way station, it’s understandable that many viewers didn’t know what to believe. Cuse defended the saccharine nature of the finale, which culminated in a flash-sideways to Jack’s revelation that he “died too,” and his reunion at the church with the rest of the castaways. “Lost was metaphorically about these people looking for meaning and purpose in their lives,” Cuse said. “The ending had to be a spiritual one.” As Lindelof remembers it, the finale “answered a question the show never asked, [which is], ‘What is the meaning of life? And what happens when you die?’” For the most part, the panel was an excuse for Holloway to crack jokes with his former cast mates while the producers doled out bite-sized nuggets of Lost lore. For example: Daniel Dae Kim wasn’t terribly adept at speaking Korean (although “he eventually got very good,” according to Yunjin Kim) and Vincent the dog was actually a female.

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Resurrection Returns Strong for ABC

March 17, 2014  |  Media Week  |  No Comments

ABC on Sunday night notched a significant victory in the prime-time ratings race, as the second installment of its new supernatural drama series, Resurrection , dominated the fiercely competitive 9 p.m. time slot. According to Nielsen fast national data, Resurrection scared up 10.8 million viewers and a 3.0 in the 18-49 demo, making it the night’s top-rated program. Resurrection retained 83 percent of its inaugural delivery (3.6), thereby putting a crimp in the time-slot premiere of NBC’s Believe . (When adjusted to reflect live-plus-same-day deliveries, the Resurrection premiere drew a 3.8 in the demo.) After premiering in the 10 p.m. window behind NBC’s The Voice, the J.J. Abrams thriller Believe fell sharply upon taking up residence in its official slot. Last night’s installment of Believe lost nearly half (48 percent) of its opening rating , averaging a 1.4 in the dollar demo.

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