Posts Tagged ‘time’

Jon Stewart Is Leaving The Daily Show

February 11, 2015  |  Media Week  |  No Comments

Jon Stewart is leaving Comedy Central's The Daily Show. It's a little hard to fathom, frankly. Stewart is as familiar among young consumers of news as any of the broadcast anchors—probably more so in many cases—and his brand of media criticism has changed the face of the journalism industry over the course of the last 16 years. And now he's going away.

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Netflix Is Now Officially Streaming in Cuba

February 9, 2015  |  Media Week  |  No Comments

Here's hoping House of Cards has a Havana episode next season. Netflix today is officially welcoming its first subscribers in Cuba.

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Key and Peele Spoof Odd Football-Player Names Just in Time for the Super Bowl

January 28, 2015  |  Media Week  |  No Comments

Well, it was inevitable: Key & Peele has yet another skit about inventively named (and coifed!) college football players, and they've taken the opportunity of the upcoming Super Bowl to promote it. And rather than simply featuring the comedians sporting a series of ridiculous wigs and accents, Comedy Central has tapped honest-to-God football players to fill in some of the spots. The pantheon of fabulous names so far has included such gridiron luminaries as "Donkey Teeth" and "X-Wing @aliciousness," so the two have their work cut out for them this time around. Will the nation's supply of absurd names run dry before the end of the sketch? (Spoiler: No. No, it will not.) Key & Peele, Drunk History and Inside Amy Schumer are probably Comedy Central's highest-profile successes from several years of commissioning and airing sketch comedy at an incredible rate—for a while it accounted for almost everything on the network in primetime. Now the pendulum is swinging back toward full-blown scripted half-hours, such as Review (one of our best shows of the year ) and the upcoming Duty (recently ordered to pilot ). Key and Peele give the actual football players some of the less auspicious monikers in the bit below... wait, no, there's an actual player named Ha Ha Clinton-Dix , and all the others! The effect is very funny indeed. Check out the new promo and the last two editions under that. The show's third season premieres Friday, Jan. 30, at 10 p.m.

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ESPN’s Music Focus: How Athletes and Artists Are Learning From Each Other

January 26, 2015  |  Media Week  |  No Comments

In recent years, ESPN's music focus has come to rival that of MTV. The cable network uses songs from diverse artists to bolster its sports coverage—and makes music a regular feature of its glossy magazine to entice readers and ad dollars. ESPN The Magazine's third "Music Issue" dropped last Friday, once

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Why the Super Bowl Halftime Show Has Become the Best Ad of All

January 26, 2015  |  Media Week  |  No Comments

For brands that know the score, music and sports can be a winning combination—and nowhere more than the Super Bowl halftime show, the height of music, sports and culture on the world's ultimate stage. "They're a natural pairing," says Angela Natividad, international account director at social agency Darewin. "Sports and music are both highly emotional and moment oriented," she adds, and their union can help advertisers reach consumers in meaningful and memorable ways. "They align themselves extremely well," says Joe DiMuro, president of Frukt North America, a unit of sports and entertainment agency Octagon, and can work in tandem to "expand the ability of a brand to have relevancy," notably among millennials. "Music and sports are the key to youth passion," adds Omar Johnson, CMO of Beats by Dr. Dre. Brands that successfully fuse the two stand to "keep up with the speed of culture." Leveraging the music-sports nexus goes beyond booking bands to play at athletic events or licensing songs for ads. Today, savvy marketers are creating compelling live experiences matched with powerful campaigns. They're "generating an aesthetic and culture," says author and entertainment expert Patricia Martin

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Why the Super Bowl Halftime Show Has Become the Biggest Ad of All

January 26, 2015  |  Media Week  |  No Comments

For brands that know the score, music and sports can be a winning combination—and nowhere more than the Super Bowl halftime show, the height of music, sports and pop culture on the world's ultimate stage. "They're a natural pairing," says Angela Natividad, international account director at social agency Darewin. "Sports and music are both highly emotional and moment oriented," she adds, and their union can help advertisers reach consumers in meaningful and memorable ways. "They align themselves extremely well," says Joe DiMuro, president of Frukt North America, a unit of sports and entertainment agency Octagon, and can work in tandem to "expand the ability of a brand to have relevancy," notably among millennials. "Music and sports are the key to youth passion," adds Omar Johnson, CMO of Beats by Dr. Dre. Brands that successfully fuse the two stand to "keep up with the speed of culture." Leveraging the music-sports nexus goes beyond booking bands to play at athletic events or licensing songs for ads. Today, savvy marketers are creating compelling live experiences matched with powerful campaigns. They're "generating an aesthetic and culture," says author and entertainment expert Patricia Martin. Ultimately, it's a lifestyle play, with advertisers seeking more vibrant roles in areas where consumers forge and reinforce their identities. The most notable music-sports integration of the year will ignite screens across the planet on Feb. 1, when pop princess Katy Perry takes the halftime stage during Super Bowl XLIX. Her glitzy, 12-minute set, sponsored by PepsiCo, will be broadcast by NBC to a television audience expected to exceed 110 million in the U.S. alone.

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Resurgent NBC Sets Sights on Two Remaining Weak Spots: Thursdays and Comedies

January 18, 2015  |  Media Week  |  No Comments

When NBC entertainment chairman Robert Greenblatt started at the network in 2011, things looked bleak. NBC has now clawed its way back to first place in the 18-49 demographic, thanks to Sunday Night Football, The Voice and hits like The Blacklist. But the entertainment chairman knows his network still has two big problems to fix if it wants to remain on top: addressing the network's comedy woes and restoring luster to Thursday night, which has gone from Must-See TV to Barely Seen TV. "I think we're moving along nicely, but it's far from a done deal. We're in much better shape than we were two years ago, but we still have a lot of row to hoe," Greenblatt said at the Television Critics Association's winter press tour this week. At the top of his list: shoring up his comedy development. "We are really challenged by the comedy brand that we're trying to build on this network," said Greenblatt, who is going away from single-camera sitcoms (he already gave the network's single-cam Unbreakable Kimmy Schmidt to Netflix, to the delight of creator Tina Fey ) and back to multi-cam shows, including One Big Happy, debuting March 17. "Some of the best shows on NBC in its history were multi-cams." While the refocus on comedy will take months or years to bear fruit, NBC is taking more immediate steps to save Thursdays, which "used to be the big night of television for NBC," Greenblatt said. "It's an important night for a lot of reasons, not the least of which is it is a great, desirable night for advertising." But the network has languished on the night with low-rated, quickly canceled comedies like The Michael J. Fox Show and this season's Bad Judge and A to Z . "Putting comedies we love there and having them fail started to feel like the definition of insanity," said entertainment president Jennifer Salke. Instead, Greenblatt is making a bold but perilous gamble, moving his biggest scripted series, The Blacklist, to Thursdays at 9 p.m., where it will face-off against Scandal on ABC beginning Feb. 5. "It's a risky but necessary move for us to make," said Greeblatt, who pointed to other big Thursday-night shifts that seemed potentially disastrous at the time but paid off, including Fox's The Simpsons, CBS' CSI and most recently Grey's Anatomy, which laid the groundwork for ABC's TGIT. "The only way to really reinvigorate that night is to jumpstart it with something like The Blacklist," Greenblatt said. "If you don't start that move at some point, you'll never get there." Looking beyond those two giant holes, Greenblatt announced several projects with big-name stars. He has given a 13-episode series order to Telenovela, a Soapdish -like comedy about a diva star (played by Eva Longoria, who will also produce) that is set behind the scenes of a telenovela production. And Jennifer Lopez will star in a new drama, Shades of Blue, about a single mom and detective who is recruited to work undercover for FBI's anti-corruption task force.

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ABC’s Success With Diversity Comes From Focusing on Creators, Not Just Stars

January 15, 2015  |  Media Week  |  No Comments

ABC has changed mainstream television's diversity makeup more than any of its broadcast counterparts in recent years, and executives say the commitment is paying off not just in ratings, but also in quality. Already seeing success with shows like Scandal, How to Get Away with Murder, Black-ish and Cristela, which star a variety of minority actors and have brought underrepresented perspectives to prime-time, the network will soon add midseason series Fresh off the Boat (prime time's first Asian-American sitcom since Margaret Cho's All American Girl in 1994) and American Crime (created by 12 Years a Slave scriptwriter John Ridley). "I think it's our job to reflect America," said ABC entertainment president Paul Lee at the Television Critics Association's winter press tour this week. "I really believed from the beginning that the demographic changes in America were just as important to our revolution as the technological changes." (A skeptic could still point to ABC's dating competition shows like The Bachelor and The Bachelorette, which remain predominantly lily white. "You are going to see diversity as we go through that," vowed Lee, though this wasn't the first year he'd made that promise.)

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From Stage to Superhero: The Flash’s Grant Gustin Has Always Been on the Fast Track

January 12, 2015  |  Media Week  |  No Comments

It's the biggest show on the CW and on track to become the network's most-watched series ever. The Flash, it appears, really can outrun everything. As with any prime-time property, especially one on the vanguard of a comics-driven movement reshaping the television landscape, it is essential to get the right guy to play the lead. The network found an unlikely—but ideal—superhero in Grant Gustin, whose most recent major role had him playing a conniving villain, the backstabbing Sebastian Smythe, on Fox's Glee. In The Flash, the six-foot-plus, 24-year-old theater veteran plays a crime-fighter who hasn't quite grown into his mask yet. It agrees with him. You started out dancing before you played a superhero who runs, right? Yeah, kind of from an early age I just did what I loved to do, which, at 8 years old, became tap dancing. Why was that? Because of Gene Kelly and Singin' in the Rain, specifically, and Donald O'Connor

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History Channel Heads West With New Texas Series, Shot in Classic CinemaScope

January 10, 2015  |  Media Week  |  No Comments

Following the success of Hatfields & McCoys, History has another Western miniseries premiering on Memorial Day, this time focusing on

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