Posts Tagged ‘networks’

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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Marketing Predictions for Season 18 Cast of Dancing With the Stars

March 17, 2014  |  Media Week  |  No Comments

By David Schwab, Octagon First Call Season 18 of Dancing With the Stars kicks off Monday night with some big changes—most notably, Erin Andrews is the new co-host, replacing Brooke Burke. Like Burke, Andrews is a past competitor—she finished third on Season 10. Andrews has a strong (mostly male) fan base from her days on ESPN and current gig with Fox Sports, so this new role should make her more of a household name with women. She is already busy in the endorsement space, with current and past deals including Reebok, TruBiotics, Diet Mountain Dew and Ticketmaster. It's also worth noting that Burke is still incredibly relevant and popular with brands, especially with her ModernMom.com platform reaching women 25-54. Here's a look at our marketing predictions for the new cast: Drew Carey : Carey has been a TV mainstay for two decades, most recently as the host of The Price Is Right. His endearing humor and nice-guy image will garner him much fanfare and show success. Carey's awareness level among adults 25-54 is twice as much as the average celebrity comedic personality, and DWTS will only increase that. His inspiring 80-pound weight loss over the last few years was a big media draw and gives Carey added relevance in the health and wellness space. As DWTS draws back the curtain on Carey's off-screen life and interests, look for opportunities with brands and organizations in the photography (he is an amateur photographer), health/nutrition and literacy (he is a strong advocate for libraries) spaces. Candace Cameron Bure : Bure played DJ on the ABC show Full House and has made several appearances in television and film since the show ended in 1995. A devout Christian and mother of three, she has written two books about her approach to juggling motherhood; her most recent sparked a minor controversy in regards to her family structure. Still, she will be of interest to wholesome, family-targeted programs, and there are always plenty of mom-driven PR campaigns popping up. Working in her favor is the fanfare surrounding Full House after John Stamos, Bob Saget and Dave Coulier reunited for an Oikos Super Bowl commercial.

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Anne Sweeney Is Leaving Disney

March 11, 2014  |  Media Week  |  No Comments

The Walt Disney Co. on Tuesday announced that Anne Sweeney is leaving the company, effective January 2015, so that she may devote time to directing. An 18-year Disney veteran, Sweeney currently serves as co-chair of Disney Media Networks and president of the Disney/ABC Television Group. John Skipper is the Mouse House’s other co-chair, and he also is president of ESPN. Sweeney joined Disney in 1996, signing on as president of Disney Channel and evp of Disney/ABC Cable Networks. Before that, she was president and CEO of FX Networks. Sweeney broke the news to The Hollywood Reporter . Shortly, after that story went live, Disney issued an official press release. “I’ve been a part of an amazing evolution in our business and our industry, and have achieved far more than I ever thought possible,” Sweeney said, by way of announcing her decision to move on. “But as wonderful as the experience has been, there has always been a nagging voice in the back of my head pushing me to step out of the comfort zone of the executive ranks and more directly into the creative arena that enticed me to TV in the first place.” Sweeney went on to add that while her plan to walk away from corporate life to pursue a discipline in which she is untutored may seem a bit peculiar, directing a TV series would prove to be the culmination of “a long realized dream.” She then thanked Disney chairman and CEO Bob Iger for his “leadership, guidance and his friendship over the years,” before saying that Iger had offered her an extension on her contract. Sweeney will remain in place through the end of the year, where she looks to “position the TV Group for even greater success.” For his part, Iger credited Sweeney with growing Disney Channel into a global powerhouse while making ABC “a strong, successful content creation engine.” He went on to “applaud Anne for knowing what she wants out of life and for having the courage to follow her dream.” While a short list of executives is rumored to be in line to succeed Iger when he steps down in June 2016, Sweeney’s name is rarely listed among them

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Solid Sampling for NBC’s Believe

March 11, 2014  |  Media Week  |  No Comments

In a night dominated by ABC’s Bachelor postmortem, a special preview of NBC’s new Sunday drama series Believe drew a fair amount of sampling. According to Nielsen fast national data, the 10 p.m. airing of Believe delivered 10.7 million viewers and a 2.7 in the adults 18-49 demo, marking a 4 percent increase versus the spring premiere of Revolution a year ago. Believe was flat when compared to the most recent installment of the regular time slot occupant, The Blacklist , which scared up 11 million viewers and a 2.7 in the dollar demo on March 3. Believe retained 73 percent of the lead-in supplied by The Voice, which tied a season low with a 3.7 rating. Half-hour retention was strong, as the 10:30 p.m.-11 p.m. segment averaged a 3.7, or 95 percent of the 3.9 Believe drew in the front half. Upon shifting to its regular Sunday 9 p.m. slot on March 16, Believe will lead into another new midseason effort, the Gillian Anderson-Dermot Mulroney thriller Crisis .

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Fox Cancels Raising Hope

March 10, 2014  |  Media Week  |  No Comments

Fox on Monday said “nope” to a fifth season of Raising Hope . The network will air a two-part series finale on Friday, April 4, thereby bringing an end to the peripatetic Greg Garcia comedy. Since debuting in September 2010, Raising Hope has occupied no fewer than six different time slots. In its first three seasons, Hope ping-ponged across Fox’s Tuesday night schedule before being shifted to Thursday for its Season 3 finale … which aired a full month after its most recent original broadcast date. When Fox in advance of this season moved Hope to Fridays, the writing was on the wall for the daffy family comedy. Fox stacked back-to-back episodes of Hope for five weeks, whereupon it was paired with the freshman sitcom Enlisted . Season-to-date, Hope is averaging 2.16 million live-plus-same-day viewers and an anemic 0.7 in the adults 18-49 demo.

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Turner, CBS Outdoor Tip Off NYC Subway Media Play

March 10, 2014  |  Media Week  |  No Comments

In what’s being billed as the biggest underground digital out-of-home network to date, CBS Outdoor and Turner Broadcasting System have teamed up to bring a little dazzle to the New York City subway system. Under its recently launched Ignite: Innovations Lab initiative, CBS Outdoor has installed 10 big video screens in some of Manhattan’s busiest commuter hubs, including the MTA stations at Times Square, Herald Square and Columbus Circle. Standing 66 inches, or five-and-a-half feet high, and about three feet wide, the new video installations have been deployed ahead of CBS and Turner’s joint March Madness coverage. While Turner will use the screens to promote the NCAA Division I Men’s Basketball Championship , it will also stream promos for its entertainment and news programming on TNT, TBS, truTV, Adult Swim and CNN. While the screens have been set up to maximize impressions in advance of March Madness, the deal will keep the units lit through at least March 2015. According to Dennis Camlek, svp, Turner Media Group, the subway screen loops are about five minutes in duration, and all content is fed to the displays from the Atlanta campus. Camlek said that content can be swapped out practically in real time, with a lag of 30 seconds at the most. While the colors and images displayed on the screens are particularly dynamic, there is no associated audio feed. “That was something we went back and forth on,” Camlek said. “But because the MTA’s safety messages are of the utmost importance, we thought we’d hang back on the audio.” Camlek added that while the 10 screens will be seen by a great number of TV viewers—approximately 7 million commuters walk through the NYC subway turnstiles every day—the number of media buyers and other agency personnel that will pass the displays is a nice bonus. “It’s both consumer- and industry facing,” Camlek said

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A Look at What the Broadcast TV Networks Have in Store for 2014-15

March 10, 2014  |  Media Week  |  No Comments

“Time is a flat circle. Everything we’ve ever done or will do, we’re gonna do over and over and over again.” —Rustin Cohle While his musings have more to do with Nietzsche than Nielsen, True Detective’s nihilist ex-cop just as easily could have been inveighing against the infernal hamster wheel that is broadcast TV’s development process. Two-thirds of the way through another unremarkable season, the pilots designed to replace the failures of 2013-14 are a familiar stew of cop shows, bland comedies and spinoffs. And yet, hope springs eternal … Poised to win its first seasonal ratings crown in 10 years, NBC is still struggling with its Thursday night comedy lineup. All three newcomers have been shuttered, but with 19 sitcom pilots in the hopper, the Peacock has plenty of options. The twin comedy suns that light NBC’s corner of the universe are represented in Tina Fey’s Tooken and Amy Poehler’s Old Soul ; along with a Craig Robinson vehicle and Rob Lowe’s turn as a tennis hustler. These are the only projects that deviate from the cookie-cutter relationship comedy template. On the drama front, the resurrected CBS pilot Babylon Fields could bring NBC’s Wednesday 8 p.m. slot back from the dead. Speaking of CBS , the Eye Network once again has few weak spots to shore up, as it is expected to renew the vast majority of its lineup. (As CBS Corp. CEO Les Moonves said last week, “The problem with our new development is, where do you put it all?”) Having secured the rights to the new Thursday Night Football package , CBS has a powerful new vehicle with which to promote its ailing Monday 10 p.m. slot. Look for Vince Gilligan’s Battle Creek and an untitled Wall Street drama from Taylor Elmore (Justified) and John Cusack to help level the playing field. Fox entertainment chairman Kevin Reilly has made good on his promise to scrap the insanely inefficient custom that is pilot season, jumping straight into seven series orders. Among these are the Batman prequel Gotham, which could make for a nice fit on Monday nights with the returning Sleepy Hollow , and the Rainn Wilson detective strip, Backstrom. Seth MacFarlane, John Mulaney and Fey have comedies in the works for next season when Fox will have as many as six-and-a-half hours to fill each week.

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