Posts Tagged ‘networks’

‘MADtv’ Is Coming Back to Television, but Not in Late Night and Not on Fox

April 11, 2016  |  Media Week  |  No Comments

While Fox is making its own late-night sketch comedy play, its former late-night staple, MADtv, is being revived by another broadcast network. The CW, which aired Madtv's 20th anniversary reunion special in January and averaged 1.7 million viewers, said Monday it will bring back the show for eight one-hour prime-time episodes. Each episode will be hosted by one of the show's original cast members. All 14 seasons of the Fox version of the show can be found on CW Seed, The CW's digital network. (MADtv is produced by Telepictures, which is owned by Warner Bros., a co-owner of The CW.) "The MADtv franchise is as vibrant as ever thanks largely to social and digital media appealing to a fan base numbering in the millions that relates to the show's brand of authentic and irreverent cross-cultural comedy," said executive producer and showrunner David E. Salzman. "We will continue to present the hard-hitting, laugh-out-loud, wall-to-wall pop culture parody our fans expect but in a fresh, new way." Where exactly The CW will schedule MADtv remains unclear. Last month, the network renewed all 11 of its series for next season. It's the second time The CW has used its corporate connections with Warner Bros. to revive a classic comedy from another network. In 2013, it brought back improv series Whose Line is It Anyway? The fourth season of that show premieres May 23. From 1995-2009, Fox aired MADtv at 11 p.m. ET on Saturday nights. The network only recently returned to late-night sketch comedy with Party Over Here, a half-hour series produced by Lonely Island, led by former SNL cast member Andy Samberg and writer Jorma Taccone.

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Turner Hopes Investment in Mashable Makes Them Ideal Partners for the Future of TV

March 31, 2016  |  Media Week  |  No Comments

For years, the relationship between old and new media resembled that of awkward 13-year-olds at a middle school dance, standing on opposite sides of the gymnasium. But the past few years have seemed more like a glittery high school prom, as legacy media companies like NBCUniversal, Disney and A+E Networks have found their dates, investing in digitally native companies like Vice , Maker Studios , BuzzFeed and Vox . And this morning, Turner found its match in Mashable, the 11-year-old digital media outlet. The Time Warner media company led the latest round of funding for Mashable, which received a total of $15 million. Prior investors Time Warner Investments, Updata Partners, David Jones, Mike Lazerow, and R&R Venture Partners are included that in total. But Turner's investment includes more than cold hard cash. Turner's TBS and TNT networks will work with Mashable to co-develop and distribute video content and team up on cross-platform ad sales packages. Turner Entertainment also gains access to Mashable's Velocity platform, which distributes branded content; Mashable will also push out Turner programming. Kevin Reilly, chief creative officer for Turner Entertainment and president of TBS and TNT, joins Mashable's board. "Just as we are redefining these networks and continue to innovate beyond the traditional television universe, Mashable is redefining digital storytelling, making us ideal partners in today's rapidly evolving media ecosystem," said Reilly in a statement. "We're confident our partnership will increase the cultural relevance of Turner and Mashable content across all of our platforms." Mashable, which will for the first time present at the Digital Content NewFronts in May, said it will use the new funding to further expand its video offerings and enhance its proprietary technology and data platforms, as well as beef up its premium advertising offerings. Last June, the company launched Mashable Studios, which creates serialized video programming and branded entertainment. "The most exciting thing right now is the future of TV. Turner, home to the top rated cable networks, is the perfect partner to bring the best of tech and digital culture to TV in fresh ways," said Pete Cashmore, CEO and founder of Mashable. "Kevin Reilly is a creative visionary that will be a huge asset as we continue to grow as a global entertainment brand."

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NBC Rings Up $1 Billion in Ad Sales for Rio Olympics, 4 Months Faster Than London

March 29, 2016  |  Media Week  |  No Comments

Earlier this year, NBC said ad sales for this summer's Olympic Games in Rio de Janeiro were pacing ahead of London in 2012. Now NBC Sports can put a number on just how far ahead it is from four years ago: four months. NBC said this morning that it has surpassed $1 billion in national advertising sales for the Rio Olympics, four months earlier than the 2012 Games. NBC reached that mark July 25, 2012, just two days prior to the opening ceremonies. This year, NBC reached that mark with 129 days left to go until the Aug. 5 opening ceremonies. The $1 billion figure includes national broadcast, cable and digital sales. Seth Winter, evp, advertising sales, NBC Sports Group, previously stated he expects the Rio Games to be a record setting affair for NBC. "We will break revenue records here, there's no doubt about that," he said and reiterated that belief this morning, "We continue to expect to set the Olympic record for national ad sales." One of the possible reasons for the four-month lead on London: Rio's TV-friendly time zone. The Brazilian metropolis is only one hour ahead of the East Coast, ensuring much of NBC's prime-time coverage will be live. In fact, Winter stated previously this summer's Olympics will feature the most live programming that NBC has ever produced for an Olympics. For the 2012 London Games, which were six hours ahead, NBC nabbed an average of 31 million viewers during its taped-delayed prime-time coverage. More live coverage this summer should only inflate viewership after ESPN saw record viewership for its 2014 World Cup coverage from Brazil. Not including production costs, NBC is paying roughly $1.28 billion for the rights for the Rio Olympics.

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With Its Total Audience Measurement Delayed, Nielsen Will Share More Connected TV Data

March 23, 2016  |  Media Week  |  No Comments

Networks will have to wait a few months longer for full access to Nielsen's new Total Audience Measurement data, but in the interim, the company is preparing to share more information about usage of connected TV devices like Roku and Apple TV. Nielsen announced today that beginning April 25, it will make brand-level data available from connected TV devices, including streaming video devices and game consoles—Roku, Apple TV, Amazon Fire TV, Google Chromecast, Xbox, Sony PlayStation and Nintendo Wii—as well as enabled smart TVs. This will allow clients to track how many homes across the country own TV connected devices and which brands, and how those numbers grow over time. Clients will be able to determine how much time people spend with devices overall and link program viewing to those specific devices. The company is also creating a new metric called Total Use of Television (TUT), which adds connected TV usage to linear usage for what Nielsen calls "a complete view" of TV usage. "Our device breakout data will report how much viewing to a particular network, program, episode or telecast came from a particular device type or device brand for measured content," said Sara Erichson, evp, client solutions and audience insights.

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How Quantico’s Priyanka Chopra Cultivated a ‘Personal Mafia’ on Social Media

March 9, 2016  |  Media Week  |  No Comments

Specs Age 33 Claim to fame Bollywood superstar and former Miss World; now stars as Alex Parrish on ABC's Quantico (Sundays, 10 p.m.) Base Los Angeles, New York and Mumbai Twitter @priyankachopra Adweek: You're really active on social media. Which apps do you use most? Priyanka Chopra: Twitter and Instagram. I'm a techie, and I started using Twitter when it was just about new in India. I love Instagram because I'm visual, and I like to share what I'm thinking with pictures. You've got almost 13 million Twitter followers and 5 million Instagram followers . What's your approach to managing them and keeping them engaged? I don't manage them. I don't think that's what social media should be about. Social media is me talking about what I'm thinking and what I'm feeling. I don't write what I do for attention. I'm really grateful for the followers that I have because they're like my own personal mafia! They're extremely engaged, very loving and supremely supportive. Do you have any time to watch TV? I'm obsessed with TV. When I'm sitting in glam, I don't have the patience for hair and makeup. That's when I catch up on all my TV, or at night, before I go to bed

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ESPN Responds to Erin Andrews’ Claims She Was Forced Into an Interview About Her Stalker

March 1, 2016  |  Media Week  |  No Comments

Fox Sports reporter and Dancing with the Stars host Erin Andrews was back on the stand today in her civil lawsuit against the owners of the Nashville Marriott Hotel. On Monday, Andrews broke down on the stand, describing the devastation she felt after being secretly videotaped while nude during a stay in the hotel in 2008. She also dropped a media bombshell when she accused ESPN, her employer at the time, of forcing her to go on TV and be interviewed about it all. "Because there wasn't an arrest, because we didn't know where this happened, my bosses at ESPN told me, 'Before you go back on-air for college football, we need you to give us a sit-down interview,'" she said . "That was the only way I was going to be allowed back. They were highly recommending it be GMA, because ESPN and ABC are the same, and they wanted it on GMA," she said. "Developments in the case have been interpreted by some to mean that ESPN was unsupportive of Erin in the aftermath of her ordeal," an ESPN spokesperson said this afternoon. "Nothing could be further from the truth. We have been, and continue to be supportive of Erin." A source with knowledge of the situation said that while Andrews was encouraged to do an interview, there was no ultimatum for her to do a sit-down before returning. The network's management did provide guidance for Andrews, including suggesting she go on Good Morning America. Ultimately, Andrews gave an interview to Oprah Winfrey

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The Oscars Draws Its Smallest 18- to 49-Year-Old Audience in at Least 20 Years

February 29, 2016  |  Media Week  |  No Comments

Finding out how Oscars host Chris Rock would address the #OscarsSoWhite controversy didn't prove to be enough of a draw for audiences Sunday night. Just 34.3 million total viewers tuned into the 88th Academy Awards on ABC, according to Nielsen fast nationals. The telecast pulled a 10.4 rating among adults ages 18 to 49, which translates to around 13.2 million viewers in the demo. If those numbers hold when final national ratings are released Tuesday morning, it will be the smallest 18-49 Oscars audience in at least two decades. The previous low came last year, when just under 14 million tuned in. In total viewers, the ceremony looks to be the third lowest rated Academy Awards telecast since 1974, which is as far back as Nielsen has telecast data for. Only the 2003 ceremony (33 million) and 2008 (32 million) had lower ratings. In 2005, when Rock last hosted, 42.1 million people tuned in. Last year, 37.3 million watched Birdman win best picture.

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These Are the Oscar Ads and Moments Viewers Paid Attention to the Most

February 29, 2016  |  Media Week  |  No Comments

It may not have won Best Original Song, but Lady Gaga's show-stopping performance of "Til It Happens to You" from The Hunting Ground documentary was the top moment during a politically charged Oscars Sunday night. According to TV measurement firm TVision, Gaga's rendition of her song about sexual abuse, which ended with numerous survivors joining Gaga on stage, scored the highest positive attention of any moment on Sunday. The performance, which came near the end of the roughly three-and-a-half-hour telecast, scored a 2.00 rating on TVision's Positive Attention Index, which combines the total amount of time viewers are watching the TV set with the number of times a viewer smiles per minute. Vice President Joe Biden's introduction of his "good friend" Gaga had the fourth highest score on the index with 1.47. TVision measures actual "eyes-on-screen" to provide advertisers, agencies and television networks the second-by-second data required to understand the effectiveness of television advertising and programming. The company uses computer vision technology to passively collect viewer behavior, attention and emotional affect second by second, person by person from the natural viewing environment. Kate Winslet and Reese Witherspoon introducing a pair of Best Picture nominees scored second-highest on the Positive Attention Index with 1.65, perhaps in part due to Winslet rocking a sweet pair of thick-rimmed eyeglasses, which got a lot of chatter on social media. Can we go back to talking about Kate Winslet's glasses? #Oscars pic.twitter.com/8Cnfo3wTvZ — TODAY (@TODAYshow) February 29, 2016 The other two moments to score the highest on TVision's Positive Attention Index were the Girl Scouts of Los Angeles, and Sasha Baron Coen bringing back his Ali G character. TVision also measured smiles and attention separately (smiles for moments during the show, attention for advertising). Not surprisingly, Leonardo DiCaprio winning his first Oscar after six nominations rated the highest on TVision's Smile Index with a 2.75, well above the next highest moment—Spotlight winning Best Picture (1.50). The other three were The Hateful Eight's Best Original Score win (1.47), the Minions' clip (1.26) and Sam Smith winning for Best Original Song (1.24). Cadillac's "Rewind Time" spot that aired during the 11 p.m. ET hour scored the highest on TVision's Attention Index with a 1.54. The following commercial from Kohl's ( one of four the retailer aired last night ) came in at No.

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NBC and BuzzFeed Will Replace 30 Minutes of Commercials With Branded Content

February 26, 2016  |  Media Week  |  No Comments

When BuzzFeed announced Thursday it had hired its first executive creative producer to start ramping up content for brands , we didn't think the results would come this quickly. In its first sales partnership since NBCUniversal's $200 million investment , the BuzzFeed creative team has developed branded content for American Express that will replace about 30 minutes of national ad spots during prime time Monday. The Leap Day stunt is no small feat considering a typical hour of prime time has around 16 minutes of commercial time. The stunt will begin on the Today show and continue into prime time during the return of Blindspot and The Voice. The campaign culminates on Late Night with Seth Meyers. Some of the content features Today hosts Kathie Lee Gifford and Hoda Kotb, a mini-documentary of The Voice's Season 9 winner Jordan Smith, and the cast and creator of Blindspot discussing fan theories. "We're partnering with NBCUniversal in this first-of-its-kind campaign to provide viewers with relevant, exciting content across broadcast, digital and streaming properties to reinforce our message: American Express gives you more," said Joe Bihlmier, vp, global media at American Express. "This campaign also aligns with our customer-centric approach to add more value for our customers where we know they are," he said. Along with TV spots, BuzzFeed will create shareable content for social that will live on BuzzFeed and the participating shows' websites and social media channels. The multiplatform partnership will continue through Thursday across NBC's digital platforms, including over-the-top apps.

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Why the Oscars Should End Up Being the Year’s Most-Watched Entertainment Program

February 26, 2016  |  Media Week  |  No Comments

Between the #OscarsSoWhite controversy, Leonardo DiCaprio's relentless marketing push for an Oscar and what host Chris Rock has to say about all of it, Sunday's Oscars ratings are even harder to predict than usual. But no matter what happens, ABC's telecast will likely be the most-watched entertainment program of the year, again. While Super Bowl ratings have steadily risen over the years , Oscars ratings have fluctuated wildly over the past two decades from as few as 32 million total viewers in 2008 to more than 55 million in 1998. But even during its down years, the telecast has consistently drawn one of the year's biggest TV audiences. The 2015 ceremony, which was watched by 37.3 million total viewers, was the lowest-rated Oscars telecast since 2011 but still ranked as the No. 4 most-watched program and the No. 1 entertainment program of 2015. Only a trio of NFL telecasts—the Super Bowl, the Super Bowl postgame show and the AFC Championship Game—had larger audiences last year. That's why the Academy Awards are still an all-star destination for advertisers . The average cost of a 30-second ad during Sunday's Oscars telecast is between $1.9 million and $2 million, according to Kantar Media

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