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Hot Off The Press: The Latest TV News and Information - Page 2487

post #74581 of 87866
Quote:
Originally Posted by DoubleDAZ View Post

Hope this isn't considered bickering, but that is kind of silly, isn't it? I wish more companies would just be satisfied with a decent profit and not try to extract every dime they can regardless of the economy. Yes, I understand supply/demand and pleasing shareholders, but IMHO that is what we lost with the demise of mom/pop shops. Most mom/pop shops just wanted enough to live a nice life, now it's all about corporate greed, or at least it seems that way.

I think there is a misconception about how pricing a product or commodity works. You price your product based on the market, not based on how much it cost to make it, plus a "decent profit." What it cost you to make it has nothing to do with pricing. Price it too high and no one will buy. Price it too low and you lose money. The trick is finding the sweet spot which is where profit is maximized. Again, it has nothing to do with the cost to produce the product, and everything to do with the market.


Quote:


Isn't that a little harsh? I don't like the cost of new cars either, but I may need one eventually. Does that mean I can't complain about their high cost? I still think cable/sat is a good enough deal for me to keep paying for it, but I also think it is higher than it needs to be and I blame that on it's lack of competition and the power of the Disney's of the content world. If we don't complain, what incentive is there for them to hold the line or find new ways to market their product that makes more sense?

Let me answer your question with a question. If you DO complain, what incentive is there for them to hold the line or find new ways to market their product that makes more sense?

The cable company is not going to hear one of their customers say "I really like cable but the cost is just way too high" and then think, "Oh, we should lower the price, because Joe Subscriber says the cost is too high. As long as Joe Subscriber continues to subscribe at the current price, there is NO incentive for them to change. Complaining will get you nothing. Of course we all have the right to complain - I'm just pointing out that it doesn't do anything to change things. I dunno, maybe people are complaining in the hopes that other people (not them) will hear them and then go cancel their subscriptions so cable will get the message?

Quote:
Originally Posted by MRM4 View Post

We'll see. There are plenty of people out there like me that will not give in to internet access for TV viewing until PQ improves greatly across the board.

Of course. But what if I told you that with a 20Mb internet pipe, I could sell you a set top box that will connect via Ethernet to my Internet-based "cable" company. I allow you to buy channels one at a time (a la carte) and I also have a few package deals. You will pay me a monthly access fee and then the price per channel or package. Your set top box will function just like a cable/satellite box that you're used to, including DVR functionality. The picture quality will match or exceed what you get from cable.

This technology exists today and someone could start this company tomorrow. It's only a matter of time.

Quote:
Originally Posted by VisionOn View Post

A few years? You greatly overestimate not only the number of people who use streaming services but those who have an antenna.

Cable dominates in urban areas, especially inner city areas where multiple dwellings are wired for cable and nothing else. A huge number of people do not want to install an antenna and large numbers of mid-older generation have little interest in trying to figure out how to stream something, learn new hardware and keep a network running when things go wrong.

I don't think the people you describe here would have a problem with a company such as what I described just above.

Quote:


Cablecos will be around for a long time. Especially when they literally own the internet in some areas and are fighting tooth and claw to ensure that what you plan to do with their connections gives them more money.

As recently as Monday TWC were still planning for just that scenario:
[CFO Irene] Esteves believes usage-based pricing for Time Warner Cable broadband will become a reality sooner or later. Charging “heavy users” more would already be familiar to consumers used to paying higher prices for heavy use of other services, and she claimed light users would have the option of paying less.

But despite favorable reception to the idea of usage pricing by Wall Street, Esteves acknowledged the company’s past experiments in usage pricing didn’t go as planned, and she suggested the company will introduce usage pricing “the right way rather than quickly.”

Cable companies will be around, yes. But, they'll be around as Internet providers - the conduit if you will. They may continue to be a source of content for a while as well, but more and more options for that will open that can use the conduit that is in place. Satellite has no chance because they can't adapt into a data service provider because of how their technology works.

We've seen how well usage based pricing has worked in the past (it has not). Consumers want to know what the monthly cost will be. I'm not sure what plans they have in mind to be able to change that consumer mindset, but I doubt they will be successful.
post #74582 of 87866
Nielsen/Critic's Notes
'Teen Mom 2' biggest premiere ever, but PTC protests sex-obsessed MTV girls
By James Hibberd, EW.com's 'Inside TV' Blog - December 7th, 2011

The second season premiere of MTV's Teen Mom 2 launched to the biggest ratings in the franchise's history, while a conservative parent group took aim at the show.

Teen Mom 2 delivered 4.2 million viewers, up 17 percent from the series debut back in January. The MTV release notes that the Centers for Disease Control announced the U.S. teen birth rate declined 9 percent in 2010 and is now at the lowest level ever reported. In other words: We're not glamorizing teen pregnancy so get off our backs already!

But the folks over the the Parents Television Council say the show is harmful to young women nonetheless, launching a well-timed press release this morning admonishing Teen Mom and other MTV series:

After many years of pursuing equality for women, the findings of today's study suggest a glamorized, but grossly distorted view of what it means to be feminine, says PTC president Tim Winter of his organization's research. Compared to men, women were far more denigrating to themselves and other females With MTV reality stars' as celebrity role models, teens are learning that outlandish behavior is rewarded, and that degrading, sexualized language is not only accepted, it is encouraged.

The thrust of the PTC's argument is that MTV reality stars on shows like Teen Mom, Real World and Jersey Shore are setting a bad example they're insecure, mean and sex obsessed. Females talked about sex acts more than men, talked about sex more graphically than men, mentioned sexual body parts more than men, and talked about intercourse and foreplay more than men, wrote the PTC. Only 24% of what females said about themselves was positive.

Of course, the reason these shows are hits is because there's plenty of viewers who want their reality stars acting insecure, mean and sex obsessed. How else are we going to feel superior to them? Do we really want spent 10 p.m. watching a sober JWoww study for her midterms?

The saddest commentary is how ultimately these media themes and images serve to paint a very vivid picture of low expectations, Winter says.

Which is precisely right. But isn't it that we have low expectations for the reality performers on the shows, not for ourselves? The question comes down to whether you believe reality stars serve as detached entertainment, or your believe reality stars function as role models whether they're meant to or not. What do you think?

http://insidetv.ew.com/2011/12/07/teen-mom-2-premiere/
post #74583 of 87866
TV/Nielsen Notes
Can Streaming Cure the CW's Ratings Woes? (And Save 'Community,' Too?)
By Tim Molloy, TheWrap.com - December 8th, 2011

The CW is down in the ratings this season -- and it has something to do with the fickleness of its young audience.

The question is whether its viewers are fickle about the CW's shows, or just how they watch them. It's a question that resonates for anyone who wonders about the future of television viewing.

The CW, born five years ago from a union of Warner Bros.' WB and CBS's UPN networks, targets 18-to-34 year old women with a mix of fun, fashion and melodrama.

This season, every one of its returning shows is down -- and they dominate TheWrap's list of fall's biggest ratings losers (see chart, below).

Are CW viewers just getting older, and losing interest in who hooks up with who after five seasons of "Gossip Girl"? Or -- as the CW argues -- are they making that mass transition you've heard so much about, eschewing television for the internet?

The only network born in the digital age is betting big on the latter, staking its future on streaming deals that it says are already paying off.

To support its case that its audience is migrating from the old screen to new ones, the CW notes that at any time 7 percent of its viewers watch shows on its website, CWTV.com.

The streaming deals, announced in October with Netflix and Hulu, have added to the network's financial stability and made it less reliant on ratings. The Netflix deal alone is expected to earn the CW up to $1 billion, providing a fresh revenue source beyond advertising.

The need to provide Netflix and Hulu new episodes gives co-owners Warner Bros. and CBS an impetus to make more episodes, even if their ratings disappoint.

Like many younger-skewing networks, the CW considers itself a 21st century product at the mercy of 20th century ratings tracking.

Many beloved series -- the CW's "Supernatural" and NBC's "Community," among them -- boast fervent online followings that don't translate into TV viewers. (NBC just forged a Hulu deal of its own for "Community.")

The CW says it reaches out to viewers wherever they are, from their TVs to their iPhones, even if Nielsen doesn't track them.

"This new audience watches things where they want and when they want," said Rick Haskins, the CW's executive VP of marketing and digital programs. "Very early on with the CW, we decided to go where the consumer is."

In a painful irony, this season is filled with thriving network comedies, led by young women. And though it aims at that precise demographic, the CW hasn't benefited from the trend -- because it doesn't offer any sitcoms.

Instead, it focuses on dramas at a time when many aging dramas are down.

One reason the CW dominates TheWrap's list of ratings losers this season is that the young network's ratings were so low to begin with: Small changes are reflected as huge percentage-point losses and gains.

But there's no questioning the downward pattern. TheWrap looked at the start of the season through the week of Nov. 13 and found that every returning CW show was down from the same time period last season, including "The Vampire Diaries," the network's highest-rated series.

"You just wonder how long the network can sustain itself," said Brad Adgate, Horizon Media senior VP of research. "It's headed in the wrong direction, for sure. These are cable numbers."

Fortunately for the CW, the new deals mean less ratings pressure. CBS Corp. CEO Les Moonves told the Los Angeles Times last month that the Netflix deal "essentially makes the CW a profitable enterprise."

Speaking Tuesday at the UBS Annual Global Media and Communications Conference in New York, Moonves said he was reluctant to make similar streaming deals for first-run CBS shows -- or as he called them, "the family jewels."

The deals make more sense for a smaller network that sells against a prime internet-using demo, Moonves said.

The CW's Netflix deal allows streaming of past CW seasons over the next four years. Wells Fargo Securities analyst Marci Ryvicker said it could be worth close to $1 billion, a number confirmed by a person close to the deal who spoke on condition of anonymity.

The same person said Netflix will pay for individual episodes on a sliding scale, topping out at $600,000-$750,000 for the longest-running shows on the network, such as "Gossip Girl." The CW will receive less for new episodes of less proven series.

The CW declined to discuss the terms of the Netflix or Hulu deals, but said the Hulu agreement has already grown its audience.

The five-year agreement allows Hulu Plus subscribers to watch new episodes on Hulu Plus. The shows are available on the free, ad-supported regular Hulu service soon after they appear on the subscription site.

Since the deal was announced, Hulu shows have already had a high number of streams, said Haskins, who declined to go into specifics.

Significantly, he said, the number of Hulu streams didn't cut into TV viewership or streams on CWTV -- indicating the shows are gaining new viewers.

Just not television viewers.

hhttp://www.thewrap.com/tv/article/c...ommunity-33405
post #74584 of 87866
Quote:
Originally Posted by scorpiontail60 View Post

People seem to take the Fox News crew seriously so why wouldn't they take Seacrest seriously?

Quote:
Originally Posted by EJ View Post

Touche.

And here we go again, sigh.........You guys just can't help yourselves, can you?
post #74585 of 87866
TV Notes
For NBC's 'Community,' an uncertain fate
The low-rated sitcom is off the network's midseason schedule
By Louisa Ada Seltzer, Media Life Magazine - December 8th, 2011

Third-year sitcom "Community" was glaringly absent from the midseason schedule that NBC released a few weeks ago, raising questions about whether it will be back next year.

The show, which airs its Christmas episode tonight at 8 p.m., is undeniably funny and has more off-the-wall plotlines than any other comedy airing on broadcast, including tonight's spoof of hit Fox show "Glee."

The problem is that its ratings just aren't good.

They're actually pretty bad, even by fourth-place NBC's standards, never mind that the show has a huge social media following.

"Community" is averaging a 2.1 adults 18-49 rating this season, according to Nielsen live-plus-seven-day-DVR-playback data, ranking No. 66 on broadcast and lowest-rated out of NBC's four Thursday comedies.

In what's seen as a bad sign for the show's future, it will go on an indefinite hiatus next month, when veteran comedy "30 Rock" returns to the schedule following a long break for star Tina Fey's pregnancy. "Rock" will take over the 8 p.m. Thursday timeslot and will undoubtedly pull better ratings than "Community."

Assuming NBC decides to keep the new Thursday lineup intact for fall, without "Community," the best hope for the show is that NBC continues this year's attempt to build a comedy block on Wednesday and moves the show there. It would be a good fit for the veteran show, and its small but loyal audience would likely follow.

http://www.medialifemagazine.com/art...rtain-fate.asp
post #74586 of 87866
Thread Starter 
Business Notes
Cable TV networks feel pressure of programming costs

By Meg James, Los Angeles Times, December 8, 2011

Call it a cable squeeze play.

Cable television networks may be the most lucrative divisions of many large media companies, but the networks are beginning to feel the pinch of dramatically higher programming costs.

In 2006, TV sports giant ESPN spent $3.5 billion on programming for its flagship channel. This year, the channel's content costs have mushroomed to $5.2 billion — a nearly 50% jump from five years ago, according to consulting firm SNL Kagan.

Programming expenses for Time Warner Inc.'s TNT channel have soared 55% since 2006 to $1.1 billion this year, propelled by sports rights fees for NBA and NCAA basketball as well as a lineup of original dramas including "The Closer" and "Falling Skies." History Channel, which previously concentrated on history documentaries, has seen its programming costs increase by more than 50% to $283.5 million this year from 2006. It is now a top-five cable channel with gritty reality shows including "Pawn Stars" and "American Pickers."

Inflation in programming costs is the new reality for cable networks. No longer able to simply stock their channels with reruns of "Seinfeld," "Golden Girls" and old movies, cable programmers have ratcheted up spending in the last five years to distinguish themselves with marquee franchises such as ESPN's "Monday Night Football" or provocative original shows including AMC's "Mad Men" and FX's "Sons of Anarchy."

But while the spending increases are staggering, cable channels remain the most profitable divisions of many media conglomerates, including Walt Disney Co., NBCUniversal, News Corp. and Time Warner. ESPN, for example, is Disney's biggest profit engine and News Corp.'s cable channels deliver more than half of that company's operating income. Viacom Inc.'s children's network, Nickelodeon, has the industry's highest cash flow margin — a measure of how efficiently a company converts its sales dollars to cash — at nearly 65%, SNL Kagan's report found. The margin for financial news network CNBC approaches 60%.

"Even during the recession these cable networks have done surprisingly well," said SNL Kagan senior media analyst Derek Baine. "These channels are trying to poach viewers from the broadcast networks. And the way to do that is to invest in high-profile programming."

Cable TV networks collectively spent $20 billion in content costs last year, according to SNL Kagan's recent report. Over the last five years, programming expenses industrywide have increased at an annual rate of nearly 9%.

The networks that televise marquee sports, including ESPN, TNT and TBS, have set the pace for the galloping costs. Programming expenses for Comcast Corp.'s sports channel Versus have expanded 120% from 2006 levels, in large part because of a recent $200-million-a-year deal with the National Hockey League.

ESPN's programming expenses soon will soar even more. In two years, ESPN will begin paying the National Football League $1.9 billion a year for professional football — a 72% increase over the network's current fee. That's part of the reason ESPN, with its pricey lineup of sports properties, has a lower cash flow margin of about 25%.

The media industry is bracing for the next big hit as CBS, Fox and NBC negotiate their new NFL deals, contracts that could cost each network as much as $1 billion a year — a 60% hike over the current agreements.

General entertainment and news channels — including Nickelodeon, Disney Channel, History Channel and Fox News Channel — also have experienced huge inflation in programming costs.

So far, rising costs have been offset by rising returns. Over the last decade, cable networks have increased their advertising revenue an average of 9% a year, according to SNL Kagan, which reported that annual programming expenses over the last five years have risen at the same rate. Last year, cable networks collected $22.3 billion in ad revenue and nearly $25 billion in fees from their affiliates and cable and satellite television operators such as Time Warner Cable and DirecTV.

That brought cable networks' total revenue in 2010 to nearly $48 billion.

But Wall Street is concerned that the media industry will be unable to sustain its high margins. Last month, Nomura Equity Research downgraded the entire U.S. media sector to "neutral" from "bullish."

Some major cable TV channels, including TBS and Nickelodeon, have experienced lower ratings this year despite the increased investment in programming.

Another worrisome trend: home construction, which can mean new cable households, is down since the recession. Competition has been increasing too. Telecommunication providers such as AT&T and Verizon offer bundles of TV channels along with phone and high-speed Internet service. Netflix, Amazon.com and Hulu provide TV shows for free or through a subscription that is a fraction of the cost of a monthly cable bill.

"Cable networks are more challenged than they have been in the last five to 10 years," said Michael Nathanson, a prominent media analyst with Nomura. "You have these rising programming costs, and the other core issue is that there are fewer new TV households being formed."

That may mean that viewers at home will end up paying more to keep cable companies profitable.

"Consumers have been getting the short end of the stick because there has been little effective competition in the cable industry," said Corie Wright, an attorney for the Washington-based consumer advocacy group Free Press.

Noting that cable companies have, since 1996, increased cable TV prices at twice the rate of inflation, Wright said, "They are going to have to see the writing on the wall and give people more choices instead of continuing to pile on all the channels and services that people don't want and can't afford."

http://www.latimes.com/business/la-f...99,print.story
post #74587 of 87866
I'd be very surpised if Seacrest goes to "Today". He is a west coast guy.
post #74588 of 87866
I do wonder about all the streaming hype.

There are too many variables.

Before the new Update of xBox I had crystal clear Netflix and Huluplus. Now I don,t get that with either. I no longer get a good stream, 3 Dots on Netflix and just 2 Bars on Huluplus. Yet, on the same Network Switch, my Roku and AppleTV (yes, I like gadgets) are still terrific.

This makes me wonder about the Verizon Tv channels are are coming shortly. My experience with their VOD is not great and recently I discovered their current STB system will not allow two shows at the same time over two different STBs - at least for me that is.
post #74589 of 87866
Quote:
Originally Posted by Elvis Is Alive View Post

I'd be very surpised if Seacrest goes to "Today". He is a west coast guy.

Really? When did Atlanta move to the west coast? That is where he grew up.
post #74590 of 87866
Quote:
Originally Posted by EJ View Post

Sorry, I just can't picture Seacrest doing those high pressure interviews of serious news makers and world leaders. Would anyone take him seriously?

Who says he would, or needs to? Ann Curry can do them. She's a serious journalist. And for the really big ones, Brian Williams usually does them anyway.
post #74591 of 87866
Quote:
Originally Posted by dad1153 View Post

quoting Louisa Ada Seltzer's article in Media Life Magazine from December 7th, 2011,

In tonight's episode, Flynn buys Richardson a dishwasher for Christmas.

So Seltzer not only uses the actors' names to refer to the characters, but she also flubs Heaton's name, confusing her with Patricia Richardson.

Does not inspire confidence.
post #74592 of 87866
WEDNESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media INsight's Blog.
post #74593 of 87866
Quote:
Originally Posted by scorpiontail60 View Post

People seem to take the Fox News crew seriously so why wouldn't they take Seacrest seriously?

Well your mom is their biggest fan.
post #74594 of 87866
Nielsen Overnights (18-49)
CBS edges ABC and Fox on Wednesday
Averages a 3.1 in 18-49s, with other two right behind
By Toni Fitzgerald, Media Life Magazine - December 8th, 2011

ABC had the night's highest-rated show Wednesday evening, but CBS managed to pull off a tight win.

CBS averaged a 3.1 adults 18-49 rating and 8 share for the night, according to Nielsen, just ahead of ABC and Fox, which tied for second at 3.0/8.

ABC's "Modern Family" was once again the night's top show, averaging a 5.0 rating at 9 p.m. But no other ABC show managed more than a 2.9.

CBS had the more consistent schedule, with two shows above a 3.0, including "Criminal Minds," which placed second for the night with a 3.4 at 9 p.m.

That was just ahead of Fox's "The X Factor," the night's No. 3 show with a 3.3 from 8 to 9:30 p.m.

Fox's new sitcom "I Hate My Teenage Daughter" took a hit in week two. It fell 25 percent from last week's 2.8 for its debut to a 2.1 last night, losing 36 percent of "Factor's" lead-in.

Meanwhile, on the CW, the season finale of "America's Next Top Model" drew the show's best viewership since last April, 2.35 million total viewers, though it was still one of the veteran reality program's lowest-rated cycles.

With CBS, ABC and Fox well out ahead, Univision and NBC tied for fourth in primetime at 1.6/4, the CW was sixth at 0.8/2 and Telemundo seventh at 0.7/2.

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won't be available for several weeks. Forty-two percent of Nielsen households have DVRs.

At 8 p.m. CBS and Fox tied for the lead at 3.3, CBS for "Survivor" and Fox for "Factor." ABC was third with a 2.8 for "The Middle" (2.8) and "Suburgatory" (2.8). Univision and NBC tied for fourth at 1.6, Univision for "Una Familia con Suerte" and NBC for "Up All Night" (1.8 for an original at 8, 1.4 for a "Night" repeat at 8:30). Telemundo was sixth with a 0.7 for "Una Maid en Manhattan" and CW seventh with a 0.5 for a repeat of "Model."

ABC took the lead at 9 p.m. with a 3.9 for "Family" (5.0) and "Happy Endings" (2.9), with CBS second with a 3.4 for "Criminal Minds." Fox was third with a 2.8 for the end of "Factor" (3.4) and "Daughter" (2.1), Univision fourth with a 1.9 for "La Fuerza del Destino," NBC fifth with a 1.2 for "Harry's Law," CW sixth with a 1.0 for a new "Top Model" and Telemundo seventh with a 0.6 for "Flor Salvaje."

CBS was first at 10 p.m. with a 2.5 for "CSI," while ABC slipped to second with a 2.4 for "Revenge." NBC was third with a 1.9 for "Law & Order: Special Victims Unit," Univision fourth with a 1.3 for "Rosa de Guadalupe" and Telemundo fifth with a 0.7 for "La Casa de al Lado."

Among households, CBS finished first for the night with a 7.1 average overnight rating and an 11 share. ABC and Fox tied for second at 5.3/8, NBC was fourth at 4.0/6, Univision fifth at 1.8/3, CW sixth at 1.2/2 and Telemundo seventh at 0.9/1.

http://www.medialifemagazine.com/art...-Wednesday.asp
post #74595 of 87866
TV Notes
Waiting for HBO Go
TWC subscribers don’t have service
By Claire Atkinson, New York Post - December 8th, 2011

HBO Go... away?

Despite promising that a deal is at hand, Time Warner Cable is still haggling with HBO over whether to offer the HBO Go service for Web and mobile viewing to its cable customers.

Sources familiar with the talks said Time Warner Cable, the second-largest cable operator, is worried that streaming demand will upend its current pay-TV business model and is looking to protect itself from every possible eventuality.

The cable company is also said to be irked that HBO customers don’t have to go through the cable company’s branded application to access the HBO Go service.

A spokeswoman for the cable company declined comment, as did reps for HBO.

Time Warner Cable and Cablevision are the only big pay-TV providers in the nation that don’t already give their HBO subscribers access to HBO Go. HBO is part of Time Warner, which used to own Time Warner Cable before spinning it off.

Time Warner Cable and its former corporate sibling have come close to a deal several times since the HBO Go application launched in May but have yet to hammer out terms. Meanwhile, sources said Cablevision will likely wrap an agreement by the end of the year.

HBO wants to offer all its 28 million subscribers free mobile access to movies and original shows as part of a corporate strategy known as “TV Everywhere,” which is aimed at keeping users paying for cable and satellite packages by allowing them to watch on the Web and elsewhere at no extra charge.

The HBO Go app has been downloaded 5 million times and has logged 98 million streams. HBO subscribers can access HBO Go through a host of devices, such iPhones, iPads, Roku boxes and Xboxes.

http://www.nypost.com/p/news/busines...M30cevs6ISwsiK
post #74596 of 87866
Quote:
Originally Posted by dcowboy7 View Post

Well your mom is their biggest fan.

Thinking that one's not going to go unnoticed.
post #74597 of 87866
Critic's Notes
Polone's Four-Step Plan for Saving NBC
By Gavin Polone, New York Magazine's 'Vulture' Blog - December 7th, 2011

Gavin Polone is an agent turned manager turned producer. His production company, Pariah, has brought you such movies and TV shows as Panic Room, Zombieland, Gilmore Girls, and Curb Your Enthusiasm.

The fantastic ratings in key demos registered by AMC's The Walking Dead and other cable offerings this year could be looked at as the death knell of broadcast television. Look at the weakest of the broadcast nets, NBC: Dead's weekly audience of 4.35 million 18-to-49-year-old viewers is bigger than many of NBC's prime-time offerings; however, instead of fearing AMC, FX, and the other upstarts, NBC should use them as an example. After all, if AMC with its lower audience penetration (available in only 84 percent of television households vs. 100 percent for NBC) and smaller outlays for production and promotion can put together a schedule that is competitive when up against with the broadcasters, why couldn't NBC? Here are my suggestions for how to reinvigorate NBC prime time, and make it once again a ratings and profit leader.

Forget about putting the word 'broad' in broadcast.

In reality, there are no broadcasters anymore, in the sense that no one appeals to a wide audience. There is nothing wrong with programming toward a niche, as long as the niche is deep enough to justify the investment. This may seem anathema to a major network but, when you look at the data, the other broadcast networks have already chosen their niche: women and old people. CBS's audience is 60 to 40 female to male with an average age of almost 56, ABC's is 64 to 36 with an average age of just under 54, and Fox's is 55 to 45 and 43.5 years of age. If you take out NBC's prime-time football, their audience breakdown would be right in there with the others, though with far fewer overall viewers. Looking at all of this, it would seem pretty obvious that older people and women are overserved by NBC's main competitors and they need a new target.

Hit 'em where they ain't.

There are only a few non-sports networks that focus on men, while Lifetime, ABC Family, WE, TNT, TLC, TV Land, VH1, Oxygen, E, Bravo, and all the broadcast nets are pretty estrogenic. If NBC's competition doesn't want to cater to men and younger viewers, that is an opening. The network shows that do best with men, other than sports, are the Fox animated shows, like Family Guy and The Simpsons. South Park also does great with males. These shows also skew younger, so they serve two key ignored audiences. If Fox can make animation work, why can't NBC? And in the one-hour drama arena, it isn't difficult to figure out that adventure, violence, and sci-fi/fantasy are doing great on cable, as with Sons of Anarchy, Game of Thrones, and Warehouse 13.

One of NBC's true assets is the ability to promote its new shows on NFL Sunday, the only programming they have that gets a big male audience. But if they want to get men to watch and stay with their shows, they have to commit to giving men what they want thematically and not water it down in an attempt not to alienate potential female viewers. The Playboy Club might have reached a male audience (as the original club did), but instead of making the show a titillating male fantasy set at a time when Hugh Hefner's lifestyle was heroic rather than clownish, the network steered the show toward mystery and female empowerment stories. The result felt neither here nor there and didn't attract either audience. Women are more tolerant in terms of what they'll watch than men are. If a character is boorish, sexist, and violent but is written with integrity and is in a vehicle for interesting plots, women will watch: The Sopranos was a great example of this. But no matter how well done Drop Dead Diva may be, no straight guy will watch it. When I was first producing Gilmore Girls, I remember testing it and hearing the males in the test audience say that they thought the show was quite good but that they'd never tune in.

Push the limits of acceptable content.

I've previously discussed my disgust with broadcast standards and practices in this column and here's an example of why testing the boundaries of decency makes sense: When ABC first aired NYPD Blue in 1993, there was loud protest from moralists about the fleeting nudity, violence, and obscene language the show offered. Some advertisers initially pulled out. But the hoopla created great attention and the show was a big hit, running twelve years and 261 episodes. Though the FCC fined ABC $1.4 million for one particular episode, the U.S. Court of Appeals overturned that decision and the fine was never paid. Today, it would be even more difficult for the FCC to take a stand against content on NBC, since the raw language and subject matter seen on Comedy Central, FX, and other cable networks can be viewed in most every household that also gets NBC. Loosening up on these restrictions wouldn't only be a marketing ploy; it would also make their shows more real and, therefore, better. NBC should make it clear to writers and producers that they are looking for shows that you wouldn't be able to see on ABC, CBS, or Fox and that they won't be as bridled as before when it comes to language, nudity, and violence, especially at 10 p.m. This would lead to a marketing campaign that communicates a less limited and more exciting vision for their product, akin to Showtime's brace yourself.

Spend less.

If The Walking Dead were on NBC, it would be the most successful and least expensive show on the network. All of the basic cable hits, in the early years of their runs, cost way less to produce than those on the networks. This isn't only because they have concepts they can realize more economically; they also don't cast big stars, they pay less to those making the shows, and they have tighter production schedules. The average viewer doesn't see a qualitative difference between NBC's shows and those on FX, but the latter pays its producers less and shoots at least one fewer day per episode. And if you're going for a younger audience, you're most likely not going to cast actors with big quotes, since those are usually burnt-out feature-film stars or former cast members from past network hits, none of whom mean anything to people under 35. Lowering the cost of goods for the network would benefit the bottom line and take the pressure off during the transition to a new creative paradigm, making it easier to take more programming risks. My experience is that network shows cost about $3 million per episode, while basic cable shows go for $500,000 to $1 million less. That kind of savings across a schedule is significant: The struggle is in showing the will and leadership to get it done.

With difficult circumstances usually comes opportunity. NBC has a great opportunity to be remade, if for no other reason than that they're in such desperate shape. But the good news is that they have the right guy to do it in network chairman Bob Greenblatt. Bob is a terrific executive who reshaped Showtime from an also ran into a true competitor for HBO with its edgy and unique series, and he was an executive producer on Six Feet Under, one of the most loved and original shows ever. He's only been in the job one season, so this year's performance may not be indicative of anything, other than the fact that there is no winning with a better version of what his predecessors were doing. Maybe I'm wrong about the above strategy, but if I can be sure about one thing, it's that more of the same approach to programming will only lead to more of the same audience and profit erosion.

http://nymag.com/daily/entertainment...aving-nbc.html
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TV Notes
The Future is Online
Barry Diller brought us the ABC Movie of the Week, was at the helm at Paramount during the Raiders of the Lost Ark years, and helped shape The Simpsons while at Fox. But the media mogul is not looking back.
By Jim Motavalli, SuccessMagazine.com - December 8th, 2011

Barry Diller, the billionaire media mogul who chairs the IAC/InterActive Corp. (IAC) web conglomerate, has had a pretty good decade. For the 10 years ending in 2010, his compensation was approximately $1.14 billion from IAC and Expedia.com, making him the second-highest-paid public company executive in the world. He has only Larry Ellison of Oracle to envy, but even ocean racer Ellison doesn't have the keys to the world's largest private sailing ship. Diller not only owns the $100 million 305-foot Eos, he pays $2,000 a day to dock the three-masted craft at Chelsea Piers in Manhattan.

Diller is now 69, and even if he docks 10 yachts in Manhattan, he isn't going to run through a fortune estimated by Forbes at $1.6 billion. But Diller (who declines to confirm that Forbes is right) has been making deals for almost a half century, and he has no plans to give that up in favor of a richly upholstered armchair. Retirement? No, he tells SUCCESS. I would only retire if I no longer felt engaged. It's about still being curious, and that hasn't stopped for me. I hope it won't.

Diller's career reveals a certain restlessness, which compelled him to seek new challenges after reaching pinnacles in the television and film businesses. He wasn't the earliest Internet player or an innovator in the space like Mark Zuckerberg. But he jumped in decisively and today IAC owns some solid performers in the space, including Match.com, Ask.com and Citysearch.com. For media sizzle, if not short-term profits, he has both Newsweek and The Daily Beast.

The move to the Internet makes total sense for a programmer like Diller if you agree with his contention that the ultimate destination of family viewing is online. We're really at the beginning, he tells us. The Internet consumers use may seem fairly developed, but it's only about 15 years old, and it's just now getting the bandwidth that allows for the transfer of large files of rich data and video. It's infusing every area of our lives, and commerce on the Internet is quickly becoming the natural order. But, in terms of its technological development, it's still in its infancy. People subscribed to cable to get 100 channels or whatever it was, but the Internet is infinite.

In Diller's vision, Americans surfing cable today will trade their remote for a mouse, and troll through huge troves of Internet-based high-def content. Large-format screens won't be Internet-connected for three or four years, he says, but eventually they will be, and that means much more viewing by appointment, much more a la carte television. Modern tools will allow you to search for what you want and have it brought to you instantly. On cable, that means a lot of creative destruction' as television becomes increasingly delivered over the Internet rather than over coaxial cable.

Diller's view that traditional TV is an increasingly spent forcea conclusion he reached before most other peoplehelps explain his early move to the Internet. Time may validate that view but, at least so far, making money from online service businesses (which fill the IAC portfolio) is easier than monetizing Internet-based entertainment.

Despite the maxim that information wants to be free, Barry Diller's Internet won't be. He thinks we're movingand soon (by mid-decade)to an online universe where most quality content is behind some kind of pay wall, that no-cost content is an accident of historical moment, and that big sites will follow The New York Times in demanding a subscription price for their intellectual property.

Diller is on the board of the Washington Post Company, but he says that the newspaper's future would be dim if paper were its only medium. The future is much brighter if you define the Post as an organization of great expertise and talent in national and international news, he says. It's the newspaper of record, and its information can be delivered in a number of ways. With the wide availability of online information it no longer has a monopoly, but that doesn't mean it can't compete.

A Restless Climb

Diller's career arc is well known, but here are the bare bones. Eager to get to work, he quit UCLA after one semester (a route shared by fellow impatient executives Steve Jobs, Bill Gates and many others). He famously started out in the same William Morris Agency mailroom as his great friend and sometime rival David Geffen, then hopped to ABC. He was negotiating broadcast rights for features at the age others were graduating from college, and gets credit for launching the ABC Movie of the Week. It was a meteoric trajectory, but Diller's career was just beginning.

Back in the mailroom, Diller may not have seen how far he'd go, but he says that then and now he relies on the same inner compass. The only thing anyone should pay attention to, entrepreneur or not, is what intrigues them, what they're passionate about, he says today. That will lead to something interesting, at least to yourself, maybe not to anyone else. But that's the first stage of any kind of value-added development.

Follow your heart may not work as career advice if your abiding interest is in collecting old subway tokens, but Diller was always fascinated by movies and television. When I was starting out in the 1960s it was a different time in the extreme, he says. The thing I was interested in and curious about was the world of entertainmentthey didn't call it media then. I was lucky enough to start out on a broad path, and I found my future. The world was less complex, but I don't think it was harder or easierit just was what it was. What I had then was the same fluency that a 4-year-old now has in walking up to a TV, putting his hand on the screen and swiping itbecause that's how he thinks it works.

Diller was chairman and CEO of an on-a-roll Paramount Pictures from the mid '70s to the mid '80s, at a time the entertainment divisions turned out everything from Cheers to Raiders of the Lost Ark. But in 1984, after wanderlust called again, he jumped to take the reins at Fox and helped shape The Simpsons.

There was also a stint at MCA Universal, when that company was briefly controlled by Seagram's heir Edgar Bronfman Jr., now an IAC board member. In a complex series of transactions, Bronfmanapparently convinced that only Diller could steer the entertainment giant to successoffered his new hire a rich package of incentives. With Bronfman's help, Diller was able to acquire the No. 1 primetime cable channel, USA Network, for himself in 1997. He eventually sold it back to MCA Universal, then under the brief control of a French company, Vivendi, for more than $10 billion.

But USA turned into a cash cow worth twice what Vivendi paid, and Diller's dealseen as a windfall thenno longer looks quite as savvy. He's the first one to admit it. USA Network is making such a huge amount of money on its dual revenue stream [from cable operators and advertisers], he lamented last Sept. 16 during the Paley Center's International Conference. We undersold it by $5 billion! In hindsight, Diller might have become even richer than he is, but he became a billionaire anyway.

Diller has made missteps, but he doesn't look back in anger. He tells SUCCESS, I have endless regretsthose happen every hourbut they're little blips that are not of much concern. You might realize you missed something, but in the end you go where you go. I don't care about what I didn't do; only what I did.

Diller is nothing if not outspoken, and that's one source of regret. He sharply criticized AOL for its handling of conflict-of-interest charges involving TechCrunch founder Michael Arrington, but now says, I wish I'd been more politic about that. And with Ask.com, he has Google in his sights. Diller tells us, Given its sway over everything related to search, it's inevitable that Google would abusewell, maybe that's not the word I'd apply. But Google absolutely needs to have its business monitored so it does not in fact become a dictatorial monopoly. That regulatory oversight is beginning now, and it's good.

What's clear is that Diller is a flamethrower and a risk-taker, but he doesn'tand can'tanticipate every trend. We all make mistakes, even the best of us, and Diller is one of the best of us, notes Scott Kurnit, another entertainment executive who's succeeded in the online world. Kurnit sold About.com to Primedia for $690 million, after a career at Viacom and Warner, and an early foray into online at Prodigy. (Primedia, in turn, sold About.com to The New York Times.) Kurnit served with Diller on the board of Brightcove, a pioneering online video hosting company. He was a fantastic board member, Kurnit says. He made the transition from flat media into dimensional media.

The Move Online

Through the 1980s, Diller had followed a path worn smooth by generations of studio executives. But in 1992, Diller took a step few would have anticipatedbuying a $25 million stake in the QVC teleshopping channel.

QVC may be a bottom feeder and its fare is nobody's idea of award-winning programming. But it's clear that Diller liked its consistent, high-growth revenue model because after leaving QVC in 1995 he bought the Home Shopping Network and invested in the industry-controlling Ticketmaster Group. These acquisitions are echoed in Diller's current Internet holdingsalthough the portfolio includes Newsweek and The Daily Beast, its base consists of unglamorous but profitable businesses that provide consumer services. For the shareholders, it works.

Former Adweek editor Michael Wolff, author of The Man Who Owns the News , a critical biography of mogul Rupert Murdoch, nonetheless has nice things to say about Barry Diller. Over the years I've gotten to know Barry very well. Of the media CEOs I've encountered, he's by far the smartest and most interesting. That is, he's innately curious and continually searching. He is about what interests him. So no doubt he's missed opportunitieswho among us hasn't? But I don't know anybody who understands the business as well as Barry, or who seems to have had as much fun in it.

Diller likes to say his IAC businesses are throwing off 20 percent growth, and what more could the Street ask for? Diller does get credit for watching the bottom line. Goldman Sachs analyst Ingrid Chung follows IAC and recently upgraded the stock, partly because she sees up to 50 percent of the company's revenue as recurring. And she notes that IAC has bought back more than 30 percent of its share base in the last two yearsand still has more than $600 million in net cash on hand. That huge bank balance will help IAC weather downturns. Chung also sees a significant opportunity for the company in turning around its recent acquisition, Meetic, Europe's largest online dating service.

Colin Gillis, who follows IAC for BGC Partners, a diversified financial services company, agrees that Diller is a good money manager. He's done an excellent job in maintaining cash flow, he says. Gillis adds, He's quietly going private and he's knocked out a third of the shares. That strategic move has bolstered IAC's stock price, and with so much cash on hand Diller can definitely afford to do it. Gillis gives Diller's Internet portfolio a mixed review, pointing out that some IAC holdings are not top-tier properties on the Internet, except for Match.com. CitySearch, for instance, is not on the cutting edge of local.

But it's not just about buzz. PopularScreenSavers.com may not be the stuff from which dreams are made, but it's far more likely to make money than The Daily Beast (which can only boast of reduced losses) in a 2011 IAC results report.

Looking Back

So IAC is well-positioned. But Diller's career was fired by a love of the entertainment world, and we wondered how closely he still follows it. Asked what film he would have green-lighted if heading a studio today, Diller paused for a long moment before citing the critical and box-office success The Help. Did he like it because it was successful? The point is that it was successful for me, and my interests are not out of the mainstream, he says with a laugh. At this point in his career, Diller seems more interested in how movies and TV get delivered to your living room than in producing content again. The movie business is giantly uninteresting, he told his audience at the Paley Center.

Diller lives in Manhattan with glamorous fashion-designer wife Diane von Furstenberg, owns a 305-foot yacht and presumably spends more time at the Metropolitan Museum and other art venues he endows than at NASCAR races. But his résumé is studded with TV shows like Laverne & Shirley and movies like Beverly Hills Copboth huge hits. At USA Network, he wasn't interested in creating a schedule that would win him backslaps at dinner parties. He hired Steve Chao as his chief programmer, a guy whose irreverence got him fired at Fox, who prided himself on meat-and-potatoes fare like Cops. If Diller wanted highbrow, he wouldn't have hired Chao. Pragmatism rulestoday, Diller's company owns CollegeHumor.com.

Last year, Diller stepped down as CEO of IAC after buying out the company's largest shareholder, John Malone's Liberty Media, in a somewhat acrimonious dispute. Diller remains the company chairman. Although he said at the time that the company needs a full-time, aggressive and aspirational executive, that doesn't mean Diller's left the building. My work hasn't changed, he tells us. I still devote much of my time to IAC, working on strategy, acquisitions and areas of investment for the company. But I have varied and multiple interests, and there was much that I thought needed to get done that I couldn't do as chief executive.

Among those interests are the Diller-von Furstenberg Family Foundation, which has given an amount in the millions to the Central Park Conservancy, Heart of Los Angeles Youth, the Natural Resources Defense Council and other organizations. There are so many worthwhile things, and a lot of your time is spent deciding what to fund, Diller says. Asked what recipient most engaged him, Diller singles out The High Line, an elevated park in Manhattan. I'm personally interested in public spaces and public art.

Diller is plunging into philanthropy, but isn't likely to walk away from business as decisively as, say, Bill Gates. He's not summing up and writing an autobiography just yet, which may be why he paused again when asked about his proudest achievement. I've never given it a thought, he says. I've been lucky, and there have been a lot of things I've been able to do. I'm not proud of everything, but I'm proud of much of it.

http://www.successmagazine.com/the-f...nel/1615201917
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TV Notes
Is Ryan the next Matt? Don't bet on it.
NBC may be talking to Seacrest about hosting 'Today'
By Bill Cromwell, Media Life Magazine - December 8th, 2011

The media world is abuzz this morning over news that Ryan Seacrest met with NBC earlier this week to discuss the possibility of replacing Matt Lauer on the network's longtime No. 1 morning show, "Today."

Immediately speculation began over whether the much-younger Seacrest would be a good fit for "Today."

That talk is extremely premature.

There may indeed be conversations going on, and NBC may indeed be serious about them. But Seacrest is likely one of a slew of candidates NBC is interviewing as part of a worst-case scenario.

The only way Seacrest would get the job is if Lauer decides to leave when his contract expires a year from now.

Lauer has hinted he may do so, but if he were to leave it would be a huge blow to NBC, and the network will do all in its power to persuade the hugely popular 53-year-old host to stay.

Lauer is the heart of "Today," and NBC can't afford to lose him at a time when "Good Morning America" has edged closer in the ratings than it's been in six years. He's been with the show since 1997, during which time "Today" has never lost a week in the ratings.

Seacrest has been at the top of NBC's wish list since last spring, when rumors first began floating that Lauer might leave.

Since then Lauer has refused to comment on his future, as has NBC.

In any case, the network will move cautiously in its search for a replacement. Hosting changes often result in ratings gains or losses, and the right chemistry can lift or sink a show.

The broadcast morning shows have been a carousel of changing personalities the past two years, with George Stephanopoulos joining "GMA" in 2009, CBS's "Early Show" replacing its entire hosting lineup last year, and Ann Curry taking over for Meredith Vieira on "Today" last summer.

"Early Show's" new format bombed, and now the show is being made over once again in January.

But Stephanopoulos has proven a great fit for "GMA," which just posted its best November sweeps audience in four years and cut the gap with "Today" to 663,000, the smallest margin since 2005.

Curry has seen mixed results.

"Today's" overall audience was up 2 percent in November, but the show was down 6 percent in adults 25-54.

The show is a cash cow for NBC. Last year it made $535 million in advertising, according to Kantar, and its ad revenue has grown consistently over the past decade.

The 36-year-old Seacrest might seem a likely choice for his ability to attract a younger audience, but in fact there would be a real risk that the "American Idol" and Top 40 radio host would turn off "Today's" older viewers.

Also, of no small import, while he has done red carpet interviews for E!, he's no journalist.

It's difficult to imagine him bantering comfortably with Curry and weatherman Al Roker, with whom Lauer has worked for a decade.

In his favor, Seacrest does have a close relationship with Comcast, owner of NBC and E!, which airs a number of Seacrest productions, including "Keeping Up With the Kardashians."

Other potential replacements for Lauer include weekend "Today" anchor Lester Holt, "Meet the Press'" David Gregory and "Morning Joe's" Willie Geist.

As for why Lauer might leave, it seems to be voluntary. The morning show grind is grueling, requiring hosts to be in the studio in the wee hours of the morning and often impacting their family lives. Lauer and his wife have three young children.

http://www.medialifemagazine.com/art...bet-on-it-.asp
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[quote=dad1153;21312661]TV Review
BBC America's 'State of Play' the best repeat you'll see all month
John Simm, Bill Nighy and Kelly Macdonald shine in 2003 journalism/political thriller
By Alan Sepinwall, HitFix.com - December 6th, 2011




Wednesday night at 10, BBC America presents a good case in point by rerunning "State of Play," a miniseries from 2003 (it first aired in America in early 2004) about a group of newspaper reporters who get caught up in a wide-reaching political conspiracy.



So when BBC America scheduled a repeat of the six episodes as part of its new Wednesday "Dramaville" line-up, I still hadn't seen it, and it was still new to me.


I found the 2nd episode to be played next wed but couldn't find the 1st episode at all , even @ D*TV's VOD any chance they will repeat the missed one ? they did with the Luther series ... I hate miss the 1st one, I will record them from now to the end but will not watch it if I can't get the 1st repeated . I Know sometimes it takes a few days for the dramaville shows to show up on D*TV's VOD
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Quote:
Originally Posted by dad1153 View Post

TV Notes
Waiting for HBO Go
TWC subscribers don't have service
By Claire Atkinson, New York Post - December 8th, 2011

The cable company is also said to be irked that HBO customers don't have to go through the cable company's branded application to access the HBO Go service.

That's why they charge $16 a month for HBO even if it is a lesser service than the other cablecos offer.

Got to screw the customer for as much as possible for as long as possible.
post #74602 of 87866
Quote:
Originally Posted by Fastslappy View Post

TV Review
BBC America's 'State of Play' the best repeat you'll see all month

I found the 2nd episode to be played next wed but couldn't find the 1st episode at all , even @ D*TV's VOD any chance they will repeat the missed one ? they did with the Luther series ... I hate miss the 1st one, I will record them from now to the end but will not watch it if I can't get the 1st repeated . I Know sometimes it takes a few days for the dramaville shows to show up on D*TV's VOD

Sometimes episodes of BBC America shows take a day or two (sometimes a week) to appear on my Time Warner Cable 'On Demand' System (under 'Entertainment' or 'Primetime On Demand,' not necessarily the BBC America On Demand Channel). Check out the other free On Demand Channels or wait a day or two to see if it pops up; worst case scenario is that the first episode will go online the week/day the 2nd episode of "State of Play" premieres IF (big IF) BBC America chooses to put the show On Demand. There's a chance they might not so as to not hurt the sales of DVD Box Sets of the critically-acclaimed series, but I honestly don't know.
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TV Notes
Ed Asner To Reprise Role From Original Hawaii Five-0′ In The Series' CBS Reboot
By Nellie Andreeva, Deadline.com - December 8th, 2011

EXCLUSIVE: Ed Asner is upgrading his status on Hawaii Five-0 from a guest star to recurring. In a very unusual series guest arc spanning 36 years, the multiple Emmy winner will guest star on CBS' Hawaii Five-0 reboot in the spring, reprising the role of August March, which he played in an episode of the original series in 1975.

In a first for the new Hawaii Five-0, footage from the original series will be featured in Asner's episode. It will be from the actor's first Hawaii Five-0 appearance in an 1975 episode titled Wooden Model Of A Rat, in which August March (Asner) was an up-and-coming world class smuggler. Now a reformed man after serving 30 years in prison for murder, March lives on O'ahu and is approached by the Five-0 to assist on a smuggling case. It is thrilling to, for the first time, merge the original Hawaii Five-0 and our new show by having the classic, versatile and award-winning actor Ed Asner reprise his role of August March, a character Mr. Asner first played 36 years ago, Hawaii Five-0 executive producer/showrunner Peter Lenkov said. There is no better way to form a bridge between our reboot and the original series.

http://www.deadline.com/2011/12/ed-a...es-cbs-reboot/
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Critic's Notes
Polone's Four-Step Plan for Saving NBC
By Gavin Polone, New York Magazine's 'Vulture' Blog - December 7th, 2011
Gavin Polone is an agent turned manager turned ...

1. Forget about putting the word 'broad' in broadcast.
2. Hit 'em where they ain't.
3. Push the limits of acceptable content.
4. Spend less.

Sounds like an ABC's take-down plot inspired by the show, "Revenge".
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Technology Notes
Verizon And RedBox Planning Major Partnership For Early 2012 Launch
By Devin Coldewey, TechCrunch.com - December 8th, 2011

Yesterday, it was reported that Verizon was planning a Netflix competitor and in talks with various content producers to provide the streams and downloads. TechCrunch has obtained additional information on this story that makes the concept a bit more realistic and should alleviate some of the concerns noted by critics and consumers yesterday.

Our source says that Verizon is in fact planning a major partnership with RedBox, whose fast-growing business of $1 (now $1.20) DVD-rental kiosks has made it a major player in the content distribution game. They aim to debut a TV and movie streaming and download service this coming May.

The service is called Project Zoetrope internally, and will be a subscription, streaming, and downloading service for TV and movies that will be available on a broad variety of platforms: they plan support for iOS, Android, Google TV, Xbox, Roku and other streaming boxes, and browsers. “Set-top boxes,” by which they mean more traditional digital cable boxes, are not supported; this is an internet service, not a broadcast service.



It will stream in SD or HD to all of these devices, and local storage of video will be enabled for mobile devices and tablets. It is still in talks with content providers and will be following their lead on blackouts and release timing; this won’t be a quick-release channel for new movies or live TV, for instance.

Launch is planned for May 28th, with a beta starting in late April. Pricing is expected to be monthly and credit-based, e.g. $5.95 per month for 6 credits, which could be used to rent X movies or Y shows. There will be several tiers and some will include physical disc rentals, and of course there will be ways to purchase more shows if necessary.

For those who were skeptical of yesterday’s rumors, this should come as some kind of reassurance. Verizon has little to no branding in the on-demand movies and TV world, while RedBox is immediately recognizable and synonymous with simplicity and value. Redbox, however, has little in the way of TV shows, so Verizon is probably doing much of the heavy lifting on that side, and of course on the delivery infrastructure front.

http://techcrunch.com/2011/12/07/ver...y-2012-launch/
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TV Notes
ABC pulls 'Man Up' from schedule
By James Hibberd, EW.com - December 8th, 2011

Man down!

ABC is pulling comedy Man Up from its prime-time schedule. Instead, the network will plug in repeats of the show's lead-in, Tim Allen's Last Man Standing.

The Tuesday comedy most recently delivered a decent 8.8 million viewers, but only a 1.6 rating among adults 18-49 (plus it shed 40 percent of its Last Man lead-in). ABC notes the comedy isn't officially canceled, the network might use remaining episodes to fill a hole at some point. But for all intents and purposes

http://insidetv.ew.com/2011/12/08/abc-pulls-man-up/
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TV/Nielsen Notes
Why Is 'Glee' So Down?
By Tim Molloy, TheWrap.com - December 8th, 2011

"Glee" has lost nearly a quarter of its audience this season -- more than any other show with such high ratings. Is it burning out, like so many series shows that become near-instant cultural phenomena? Or just finding its real audience after years of hype?

In its current, third season, the cultural phenomenon has tried to return to its roots after second-season gimmicks tested even some die-hard Gleeks. It's unclear whether cutting down on special guests and thematic episodes has reduced viewership this season, if some fans have given up, or if something else is at play.

The show, which centers around a high school glee club, has fallen 23.9 percent in the coveted 18-49 demographic, making it No. 10 on TheWrap's list of fall's biggest ratings losers (See chart, left). We looked at returning network shows from the start of the fall through the week of Nov. 13, compared to the same period in the previous season.

Most of the other shows on the list are on the struggling CW or Friday night, a ratings dead zone. One, "Desperate Housewives," is in its last season, and another, "Community," has been pulled from NBC's schedule.

"Glee" is doing better than any of them -- and better than most shows on television, in spite of its ratings drop. It has still averaged a 3.4 rating in the demo and 8.1 million total viewers.

Preston Beckman, Fox's executive vice president of strategic program planning and research, says "Glee" is settling into a "more realistic number" in its third season after two seasons fueled by intense media attention. Unique, unusual shows often benefit from such initial coverage, he said.

"Like any red-hot show, it becomes yesterday's news, and I don't mean that in a critical way. Press people are always running toward the flame," he said. "It's in its third season, and unlike ... procedurals or more conventional shows, these types of shows are always going to start big. And then there's the question of whether there's an audience that's going to stay with the show for four or five years."

Many risk-taking shows that capture TV critics' hearts -- from "Twin Peaks" to "Heroes" -- burn out fast in ratings. Beckman, who is certain "Glee" will return next season, says its continuing popularity proves it hasn't fizzled out.

But it may be suffering from overexposure, said Horizon Media senior vice president of research Brad Adgate. It has already spawned a live concert tour, a filmed version of that tour, an Oxygen network reality competition, and endless singles.

"'Glee' is down I think alarmingly for a third-year show," he said. "I think one reason is kind of the inconsistent writing and storylines.

Some of them, you kind of roll your eyes. And I think the show has been leveraged so much that it speeds up the fatigue for the viewer: the songs, the iTunes, the musical, the reality show. It kind of expedites the fatigue factor."

Few shows become cultural touchstones so fast: "Glee" has revived decades-old pop hits even as it addresses subjects like school bullying while offering primetime's most prominent portrayals of gay teens. It has also made scripted musicals desirable again, two decades after "Cop Rock" made them a joke. One of NBC's biggest hopes for midseason is the Broadway drama "Smash."

But some critics and even fans accused the show of going overboard last season with guest stars (including Britney Spears, Katie Couric and Gwyneth Paltrow) and thematic episodes. (One centered around Spears, and others around Lady Gaga and "The Rocky Horror Picture Show.")

Co-creator Ryan Murphy also tested fans' loyalty before the start of this season by saying in June that stars Lea Michele, Cory Monteith and Chris Colfer would leave the show after their characters' graduate this season. He then backtracked, saying they could remain.

The high school setting offers opportunities for cast additions as well as departures: The fourth season could mean new students arriving at the school, and renewed media hype. (Can't you already picture the "Meet the New Gleeks!" TV Guide cover?)

Despite the show's renewed focus on its core characters this fall, it isn't giving up on special guests or theme episodes entirely: a Michael Jackson episode is reportedly in the works, and next week's Christmas episode features a guest appearance by Chewbecca.

There's no word yet on which Britney song he'll sing.

http://www.thewrap.com/tv/article/fa...-so-down-33444
post #74608 of 87866
I've finished the second season of Glee on Blu-ray and I'm already getting tired of the series. It's just getting too repetitive. I think when 3 is released on Blu-ray it will be my last season.

This is just not the type of subject matter that lends itself to being an interesting show for very long.
post #74609 of 87866
TV Notes
On The Air Tonight
FRIDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are EDT. Network late night shows are preceded by late local news)

ABC:
8PM - Extreme Makeover: Home Edition (120 min.)
10PM - 20/20
* * * *
11:35PM - Nightline (LIVE)
Midnight - Jimmy Kimmel Live! (Shaquille O'Neal; Julia Jones; David Guetta and Usher perform)
(R - Nov. 29)

CBS:
8PM - Frosty the Snowman (Special)
(R - Dec. 7, 1969)
8:30PM - Frosty Returns (Special)
(R - Dec. 1, 1995)
9PM - Yes, Virginia (Special)
(R - Dec. 11, 2009)
9:30PM - The Elf on the Shelf: An Elf's Story (Special)
(R - Nov. 25)
10PM - Blue Bloods
(R - Sep. 23)
* * * *
11:35PM - Late Show with David Letterman (David Duchovny; comic Hugh Fink; Young Jeezy performs)
12:37AM - Late Late Show with Craig Ferguson (Richard Lewis; NeedToBreathe performs)

NBC:
8PM - Chuck
9PM - Grimm
10PM - Dateline NBC
* * * *
11:35PM - The Tonight Show with Jay Leno (Bill O'Reilly; Jackie Evancho performs)
12:37AM - Late Night with Jimmy Fallon (Charlize Theron; professional wrestler Sheamus; Aretha Franklin performs)
1:36AM - Last Call with Carson Daly (Musician Nick Waterhouse; M83 performs) SD

FOX:
8PM - Kitchen Nightmares
(R - Feb. 11)
9PM - Fringe
(R - Sep. 30)

PBS:
(check your local listing for starting time/programming)
8PM - Washington Week
8:30PM - Need to Know
9PM - American Masters: Pearl Jam Twenty (120 min.)
(R - Oct. 21)

UNIVISION:
8PM - Una Familia con Suerte
9PM - La Fuerza del Destino
10PM - La Rosa de Guadalupe

THE CW:
8PM - Nikita
(R - Sep. 23)
9PM - Supernatural
(R - Sep. 23)

TELEMUNDO:
8PM - Una Maid en Manhattan
9PM - Flor Salvaje
10PM - La Casa de al Lado

E!:
11PM - Chelsea Lately (The After Lately cast Brad Wollack, Josh Wolf, Jeff Wild and Chris Franjola; comic Kerri Kenny-Silver; comic Sarah Colonna; TV personality Ross Mathews)
(R - Nov. 29)
post #74610 of 87866
TV Notes
Friday's Highlights: 'Youth in Revolt' on Showtime
By Los Angeles Times' 'Show Tracker' Blog - December 8th, 2011

[ALL TIMES LISTED ARE PACIFIC TIME]

TEEN ROMANCE: Michael Cera embodies a young hero in Youth in Revolt, director Miguel Arteta's take on C.D. Payne's novel at 6:30 p.m. on Showtime.

SERIES

Chuck:
Chuck (Zachary Levi) reconnects with his hacker past and seeks help from Gertrude (Carrie-Anne Moss) when he tries to track down a computer supervirus while a new Buy More employee (Danny Pudi, Community) disrupts Jeff and Lester's (Scott Krinsky, Vik Sahay) friendship in this new episode (8 p.m. NBC).

Grimm: A suspected case of arson leads Nick (David Giuntoli) to a long-standing family feud and forces Monroe (Silas Weir Mitchell) to confront some characters from his past and restrain his wild side (9 p.m. NBC).

Sweet Home Alabama: After one last romantic getaway Tribble must make his decision in the season finale of the unscripted relationship series (9 p.m. CMT).

Blue Bloods: Frank (Tom Selleck) is on the spot when one of the mayor-elect's supporters is found dead and the mayor wants him to present it to the public as a random act of violence. Tony Bennett, Carrie Underwood and Tony Award nominee Kelli O'Hara guest star in this repeat (10 p.m. CBS).

Invention USA: In this new series two science and technology experts, Reichart Von Wolfsheild and Garrett Lisi, travel the U.S. looking for the next great thing in the haystack of prototypes presented to them by amateur inventors (10 and 10:30 p.m. History).

Boss: It's Election Day, and both Tom Kane and Ezra Stone (Kelsey Grammer, Martin Donovan) work to turn the wheels of power in the ever-tightening race in the season finale (10 p.m. Starz).

SPECIALS

Holiday animations:
CBS is airing Frosty the Snowman, narrated by Jimmy Durante. 8:30 p.m., followed by its modern sequel Frosty Returns, narrated by Jonathan Winters, with John Goodman as the voice of Frosty at 8:30 p.m. At 9 p.m. Beatrice Miller, Neil Patrick Harris and Jennifer Love provide the voices for Yes, Virginia and at 9:30 it's this year's The Elf on the Shelf: An Elf's Story.

MOVIES

A Princess for Christmas:
A woman (Katie McGrath) escorts her niece and nephew to spend the holidays with their grandfather (Roger Moore), an English duke in this 2011 holiday treat (8 p.m. Hallmark).


http://latimesblogs.latimes.com/show...-showtime.html
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