Posts Tagged ‘people’

Orange Is the New Black Star Reveals Her Favorite ‘Guilty Pleasure’ TV Shows

April 12, 2016  |  Media Week  |  No Comments

Specs Age 26 Claim to fame Stars as Taystee on Netflix's Orange Is the New Black; currently appearing as Sofia in The Color Purple on Broadway Base New York Twitter @thedanieb Adweek: What's the first information you consume in the morning? Danielle Brooks: Most of the time, it's Twitter. It's an easy way to get the news and know what's going on in the world. There's also this newsletter called theSkimm that I read. I love it because their headlines are so up to date with my generation [laughs], and it talks about really complicated subjects but in terms that I understand. And then after that, I'll hit Instagram. Who do you follow on Instagram? I love following plus-size models like Precious Lee , Ashley Graham and Tess Holliday . I also follow a lot of pages about fitness or detoxing and healthy eating because that's kind of where I am right now with spring, summer coming [laughs]. I follow all my girls from Orange. And I love BeBeautifulLA , who posts beautiful pictures of black women showing off stretch marks or wearing full African garb or naked, but done tastefully. She also posts beautiful poems about loving yourself and your body.

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FX CEO Says ‘Human Curation’ Is Still More Important Than Data

April 5, 2016  |  Media Week  |  No Comments

Just a month into upfront season, and the buzz around data has already become deafening. But at least one company, FX Networks, is making the case to advertisers that their upfront buys should be based on more than just audience targeting. "I think something's really getting missed in the focus on data, which is the quality of attention," FX Networks CEO John Landgraf told Adweek. "It doesn't really matter how well you can target people. You need to give them something valuable enough to really command their attention, and not only the attention to engage with your content but the advertising associated with that content." Landgraf said FX's slate—which includes shows like American Horror Story, The People v. O.J. Simpson: American Crime Story and Fargo—has value to advertisers that is "vast orders of magnitude greater than anything you can get from somebody watching 30 seconds or a minute of amateur content [online]." The CEO argued that getting a consumer to engage with a show for 30 minutes, the average time spent viewing FX's digital programming, "is way more valuable than associating a commercial with a short, disposable clip which the viewer will not remember five minutes after she sees it [on Facebook or YouTube]." "Year after year, we work really, really hard to try to make things of extraordinary value to the audience on the theory—and I think it's a valid theory—that it creates extraordinary value for advertisers," Landgraf said. "So you can have all the sophisticated data and targeting in the world, and you can put an ad in front of a specific viewer. But if you don't provide them with a piece of content they love, you can't get them to watch the commercial." It was a point the network drove home last week when it kicked off its annual upfront bowling party (now in its seventh year) at New York's Lucky Strike Manhattan by screening the riveting finale of The People v. O.J. Simpson, which airs tonight

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How FX Bids for New Series Without the Big Budget of Netflix

March 22, 2016  |  Media Week  |  No Comments

As streaming services like Netflix, Amazon and Hulu snap up original series away from linear networks, as well as lure creators with big paydays and promises of creative autonomy, their competitors have had to alter their approaches to bidding for new projects. One of those is FX, which lost out on the bidding for Aziz Ansari's comedy Master of None and the upcoming drama The Crown. Both of those shows went to Netflix after the streaming service "overwhelmed us with shock and awe levels of money and commitment," FX CEO John Landgraf told reporters in January . He also used a "Moneyball" analogy when comparing FX to Netflix, explaining, "Basically, we're competing against payrolls, if you will, a la the Oakland A's and New York Yankees, that are three or four times ours." Because he can't match Netflix dollar for dollar, Landgraf has shifted the focus of his pitches, highlighting other attributes of the network when bidding for shows. Landgraf highlights his marketing team, which has been named PromaxBDA's In-House Marketing Team of the Year for five consecutive years. "I think the talent appreciates that," he told Adweek. Landgraf also emphasizes the personal touch and attention he can give FX's shows versus Netflix, which now has 100 series in the pipeline—55 for adults, 45 for children. "Our network is more of a bespoke organization than a factory. We're at about 18 shows, and that's the most that I can personally pay attention to," said Landgraf. While he could maybe do as many as 20, "I'm at the max in terms of being able to read scripts, watch rough cuts, have a thoughtful input and dialogue." And that's important, even when the network doesn't have much creative feedback in terms of notes for producers. Landgraf said that his deal with Louis CK for Louie specified that the network wasn't able to give him notes.

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Q&A: Director of The Jinx Says ‘Making a Murderer’ Left Him With a Terrible Feeling

February 26, 2016  |  Media Week  |  No Comments

Producer-director Andrew Jarecki says he continues to follow the subject of his most celebrated project, The Jinx, but he's not sure what a follow-up might look like. The 2015 HBO true-crime docuseries concluded in stunning fashion when Robert Durst, the black sheep of a high-powered New York real-estate family, effectively confessed to a series of murders. After pleading guilty to felony gun charges this month, Durst will be transferred to Los Angeles to stand trial for the murder of Susan Berman, one of the three victims chronicled in the HBO series. Adweek caught up with Jarecki after his keynote Friday afternoon at Social Media Week in New York, where the director discussed his plans for following Durst's trial and his take on Netflix's Making a Murderer. Adweek: How much are you planning to follow Durst's trial? Are you planning a follow-up to The Jinx? Andrew Jarecki: I don't have a concrete plan, but we're always filming stuff; we're always following up on stories. We're still trying to capture things that are happening. So at least we have the option on making something if it's interesting. How do you see Durst's trial playing out? I think he'll get convicted of murdering [Susan Berman], but there's no guarantee.

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Was This the Moment Larry Wilmore Lost Stephen Colbert’s Intellectual Appeal?

February 18, 2016  |  Media Week  |  No Comments

Has Comedy Central's late-night talk lineup lost some of its intellectualism since the departures of Jon Stewart and Stephen Colbert? Yes, according to quite a few viewers on Reddit, and they can tell you the exact moment they noticed the change. On Wednesday, The Nightly Show host Larry Wilmore dropped by Reddit for an AMA (Ask Me Anything) session, promoting the return of new episodes next Monday. While participants raised a wide array of topics, there was one recurring theme: Disappointment. According to several commenters, Wilmore too often falls back on vapid pop culture commentary or race relations in America for his punchlines and segment focuses, abandoning the humorous-but-heartfelt championing of science and reason that was a recurring theme for The Daily Show's Stewart and Wilmore's predecessor, Colbert. One specific clip seemed to be a rallying point for those disappointed with the tonal shift

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Squarespace Celebrates Leon Bridges’ Meteoric Rise to Nominee in Grammys Ad

February 15, 2016  |  Media Week  |  No Comments

It would be unfair to call the rise of Leon Bridges a Cinderella story. The talented young soul singer has worked far too hard to explain it away to miracles and magic. And yet, the arc of the first part of his career has been nothing short of miraculous and magical. A little over a year ago, Bridges was washing dishes at a Tex-Mex restaurant in Fort Worth, Texas, and playing open mics after every Tuesday shift. But tonight, he'll be under a different spotlight in Los Angeles, where he's up for best R&B album at the 58th Annual Grammy Awards . To celebrate the achievement, website design platform Squarespace and Austin, Texas-based agency Preacher have partnered with Bridges—a longtime Squarespace customer—to recreate the past year in the form of a 30-second spot that will air during the awards show. An extended version of the commercial can be seen online, with a short documentary also in the works. "It's so surreal being in that same place and having no idea I'd be here now," Bridges told Adweek. "If you would have told me I'd be playing to a crowd of thousands, I would have run the other direction, you know? I would have been like, 'No, you're lying, you're lying, you're lying.' It's pretty crazy to look at that video and reflect on how everything happens." It wasn't all that long ago that Bridges was just playing coffee shops. (Last March, he was playing to a crowd of 200 or so at a college cafe in Western Tennessee.) But things are different now: When his new tour schedule was released Friday, more than half of the shows sold out by the end of the day. The history of Bridges and Squarespace date back to his early coffee-shop days

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Spike’s Upcoming ‘Caraoke Showdown’ Is Hitting the Wrong Notes With ‘Carpool Karaoke’ Creators

February 12, 2016  |  Media Week  |  No Comments

It looks like Spike's upcoming special, Caraoke Showdown, is going to lead to a real showdown between the cable network and the team behind The Late Late Show with James Corden's Carpool Karaoke. Spike's Caraoke Showdown, which the network announced last week, is set in a car and includes a celebrity host, celeb guests and lots of singing along to tunes. In other words, the show sounds a lot like Carpool Karaoke, the popular segment on Corden's late-night CBS show that has become a viral sensation thanks to videos featuring Adele, One Direction and Justin Bieber. And that's not sitting too well with The Late Late Show's executive producers. "We're disappointed with that. We're disappointed that our idea would be taken by somebody else," said Late Late Show executive producer Ben Winston.

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To Thrive in the Era of Peak TV, HBO Is Turning Subscribers Into ‘Addicts’

February 11, 2016  |  Media Week  |  No Comments

Are you hooked on HBO? The network sure hopes so. As the premium service competes with an ever-growing number of broadcast, cable and digital competitors, including streaming services like Netflix, the network has developed an interesting approach to keeping subscribers coming back for more each month: turning them into "addicts," according to HBO CEO Richard Plepler. HBO has 32.3 million U.S. subscribers as of the third quarter of 2015, according to SNL Kagan. Time Warner doesn't release HBO-specific figures but said Wednesday that HBO and Cinemax added 2.7 million subscribers in 2015

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How Pizza Hut Ended Up In The People V. O.J. Simpson

February 10, 2016  |  Media Week  |  No Comments

The Ford Bronco was front and center during last night's episode of FX's hit miniseries The People v. O.J. Simpson: American Crime Story, which covered Simpson's efforts to flee authorities in pal Al Cowling's Bronco, setting off what became the most watched police chase in U.S. history. But another prominent brand also was on display in the show's second episode: Pizza Hut. As 95 million people are glued to their TVs watching the day-long ordeal culminate in a 2-hour police pursuit, the episode cuts to a scene in a Pizza Hut, which shows the restaurant has been so inundated with pizza orders that they have run out of their cheese supply, and are unable to make anymore pizzas. Scott Alexander and Larry Karaszewski's script for that episode, called "The Run of His Life," initially set the scene in a different pizza chain. "It was originally Dominos, but we ended up getting permission to use Pizza Hut," said Nina Jacobson, the show's executive producer. "The idea was that the most popular pizza places ran out of cheese." Although Pizza Hut okayed its appearance in the miniseries, the company did not provide the production team with any 1994-era logos or material. "Our production designer put that together," said Jacobson. Adweek responsive video player used on /video

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Symphony Brushes Off Netflix Attacks on Its Ratings Metrics

January 19, 2016  |  Media Week  |  No Comments

If Netflix was hoping to intimidate Symphony Advanced Media into submission when it blasted the company's data —which, for the first time, revealed how many viewers are watching Netflix's original series —it is going to have to switch to Plan B. Symphony Advanced Media told Adweek today it is standing by its metrics, which Netflix's chief content officer Ted Sarandos derided as "remarkably inaccurate data" that "doesn't reflect any sense of reality of anything that we keep track of." Despite Sarandos' scoffing, "we have confidence in our data," said Laura Bernstein, Symphony's svp of client solutions. She said that Symphony's multiplatform measurement tool, VideoPulse, also measures broadcast and cable programming, and the company's partners and clients—which include NBCUniversal, A+E Networks and Viacom—have said Symphony's numbers echo the data they receive from other ratings sources like Nielsen. "There's some variation—there's different methodologies to data collection—but for the most part, we're very in line with other published numbers and with what our clients would expect. So our methodology is where people would want it to be on the broadcast and cable, where there is a comparison, which gives us a lot of confidence in what we're seeing in the streaming originals," said Bernstein. NBC kickstarted Symphony's battle with Netflix last Wednesday, when NBCUniversal's ratings guru Alan Wurtzel shared Symphony's Netflix data with reporters during the Television Critics Association's winter press tour. Wurtzel claimed Netflix doesn't yet pose a "consistent" threat to broadcasters. To make his point, Wurtzel incorporated data from Symphony Advanced Media, which has been tracking Netflix ratings metrics for the notoriously tight-lipped streaming service with VideoPulse, the multiplatform measurement tool Symphony unveiled last September . (Symphony does that by using automatic content recognition, or ACR, software embedded on a mobile app to recognize and match a program's audio files, as well as URL matches for streamed content. The company also sends a targeted survey to its panelists twice a week, asking which platform they watched specific programs on, to determine whether a show like Quantico was viewed via Hulu, VOD, ABC.com or DVR.) Among the Symphony data that Wurtzel shared: Each episode of Marvel's Jessica Jones averaged 4.8 million viewers in the 18-49 demographic within 35 days of its November premiere. Master of None drew 3.9 million in the demo and Narcos was third with 3.2 million. Sarandos returned fire on Sunday, blasting Symphony's methodology and data. "It's a bold statement for them to make," said Bernstein of the company's response. "We've never had a conversation with Netflix, so I'm not even familiar with what they know of our methodology." And while Sarandos argued that the 18-49 demo "means nothing" to Netflix, Symphony counters that the demographic is in fact incredibly important to the industry. "It's the demo that matters to the people who are selling advertising, so I do think that makes it an important demo," she said.

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