2. NA TV
The Closer do TNT exibiu seu finale esta semana, com 9MM de audiência… Altíssimo número.
Jon Stewart, sempre ótimo, foi o primeiro a ter Robert Pattison como entrevistado. A fila para o teatro para assistir a gravaçao era gigantesca. E só meninas, claro. Jon Stewart obviamente fez disso uma comédia, tomando sorvete com Pattison como “two gals” afogando as mágoas no Ben & Jerry, e foi elegantíssimo. A entrevista foi reproduzida por todos os jornais e programas de variedades ad infinitum e uma das maiores audiências do Daily Show. No dia seguinte, eles ainda se divertiam com o fato: ao noticiarem as desventuras políticas dos americanos, apareciam um gráfico com “Não nos deixem! Aqui está uma foto de Taylor Lautner!”
Guerra das manhãs: Today Show com musica todos os dias ao vivo no Rockfeller Plaza. E ABC, com seu elenco alegre e engraçado (sem Robin Roberts, que está doente). Quarta teve Robert Pattison no GMA, enquanto Today foi de Carrie Underwood. Hum, interessante.
Elenco completo de Dancing with the Stars All Stars anunciado. Estréia em 24/Sept com um episódio de 2horas (é muito comum, e muito bom, quando grandes estréias acontecem sem intervalos comerciais ou com 2 episodios back-to-back). Elenco: Kirstie Alley and Maksim Chmerkovskiy; Pamela Anderson and Tristan Macmanus; Helio Castroneves and Chelsie Hightower; Joey Fatone and Kym Johnson; Shawn Johnson and Derek Hough; Drew Lachey and Anna Trebunskaya; Gilles Marini and Peta Murgatroyd; Kelly Monaco and Valentin Chmerkovskiy; Apolo Anton Ohno and Karina Smirnoff; Bristol Palin and Mark Ballas; Melissa Rycroft and Tony Dovolani; and Emmitt Smith and Cheryl Burke.
Na sexta o episódio final de duas horas da novela, La Que No Podia Amar (The One That Couldn’t Love) na Univision alcançou 8 milhões, com méida de 5.8. Impressionante.
Este programa é uma bobagem, mas líder de audiência entre mulheres 18-49 quartas 10 da noite: Here Comes Honey Boo Boo. É um spin off de Toddlers and Tiaras e acompanha a insuportável e desbocada mini estrelinha Alana de 6 anos, com sua família no interior da Georgia. Mais redneck impossível. http://tlc.howstuffworks.com/tv/here-comes-honey-boo-boo/honey-boo-boo-ratings.htm
3. IDEIAS E ESTRATEGIAS
Travel Channel estréia dois eps de Airport 24/7: Miami dia 2 de Outubro. A série vai behind the scenes para mostrar o que acontece nas entranhas do aeroporto internacional de miami. É uma das entradas mais movimentadas dos EUA, 40 million passengers each year, e por lá o TSA tem que achar terroristas, drogas, papagaios e periquitos (sério, gente da maérica Latina tenta entrar com pássaros)
Nossa, demorou, mas Nickelodeon lança em 1º de Outubro no seu primetime um bloco de 4h patrocinado para mães, Nick Mom. Tem um tagline de Mother Funny, conteúdo sobre “como é divertido ser mãe”, com talk shows, stand up comedies, docu-series e curtinhos. O website é fofo. http://www.nickmom.com
Os quatro programas de estreia são:
Parental Discretion with Stefanie Wilder-Taylor 26 eps entrevistas, video commentary,monólogos, painéis, sketch comedy and more taking an irreverent viewpoint about being a mom from the perspective of author and comedienne Stefanie Wilder-Taylor.
MFF: Mom Friends Forever 20 eps um docu-coméida sobre duas mães de St. Louis, Judi Diamond and Kate Frisina-White.
NickMom Night Out com 26 eps stand-up comedy.
What Was Carol Brady Thinking? 26 eps é uma boa idéia. Mostra o que passava na cabeça de Carol Brady, do The Brady Bunch, ícone da TV americana, durante os episódios da série.
Em 2013 outra docu-comedy chamada My 63 Moms, com comediante Andrea Rosen que dá conselhos sobre maternidade
AMC tem dua novas unscriptseries em desenvolvimento Untitled Taxidermy Series e Venice Beach Freakshow. O primeiro é uma competição onde a cada semana os concorrentes tem de criar uma peça de arte através de taxidermia. Venice Beach Freakshow (wt), de 8 eps é um drama familiar sobre o produtor musical Todd Ray que quer ter seu própio Freakshow no boardwalk de Venice Beach, CA. AMC também renovou a série The Pitch, que é a versão reality de Mad Men. Interssante do ponto de vista de scheduling: é um reality programado logo após a ficção. http://www.c21media.net/archives/86730?utm_source=C21Media&utm_campaign=91401a762b-&utm_medium=email
In the wake of its declining ratings, CNN is apparently exploring reality show ideas, adding celebrities interested in talking politics and developing a late-night talk show, according to the New York Post. The Post has reported CNN executives are talking with top talent agencies and producers in Hollywood to gather ideas for reality programming in an effort to transform the network. Potential changes in store for CNN include: a late-night talk show hosted by a panel that is described as a late-night version of The View; five new reality shows to air on Saturday and Sunday nights which would complement the previously-announced Anthony Bourdain Sunday night show; and a search for new on-air personalities outside of traditional TV news using Bourdain as the example. These plans have not been confirmed by CNN.
Essa idéia de product integration (que no Brasil se chamava “merchandising”) é ótima. Ao invés de um comercial de Axe, a personagem “Schmidt” de New Girl tem seu webisode onde ele fala com o computador, numa espécie de video diary, parte da enorme campanha Susan Glenn (em um episodio tem Keifer Sutherland narrando como foi esnobado por susan glenn
Bob deBitetto é sensacional. Ele foi um dos meus (14) chefes no A&E e é counterpart de Nancy Dubuc. Aqui está uma entrevista recente com ele (Robert DeBitetto, President/GM at A&E Network and BIO Channel):
Thank you for speaking with us, Robert. You have been with A&E since January 2003 and under your leadership the network has transformed into a top 10-rated one. Please relate a pinnacle moment for you.
Back in the “early days” of our reinvention, 2004, we wanted to do something provocative, something unexpected that would shake it up, get the attention of the viewers and the industry and signal that everything you thought you knew about A&E was about to change. At that time, the average age of the A&E viewer was 61 (no, that’s not a typo!) which was our first great challenge. I felt I knew how to do entertainment programming, how to develop and produce shows that would appeal to a much younger audience. What I didn’t know was whether the patient was too far gone. Was the audience so old that it would be impossible to use the platform to speak to a younger generation?
Well, in summer of 2004 we made our play, and premiered two “reality” series: Dog the Bounty Hunter and Growing Up Gotti. The impact was immediate and explosive. Both series debuted to massive audiences, something like 4 times the then-average; even more important, the delivery of adults 18-49 and 25-54 was huge, multiples of what the network had ever seen. And, the median age overnight for those two shows hovered around 40 years old!
That was my “ah-ha” moment. The patient was alive, it wasn’t too late, and we never looked back. It was just like Field of Dreams… “If you build it, they will come… “
A&E was born in 1984 originally as a commercial counterpart to PBS then a shift occurred to attract younger viewers which ushered in reality programming. A renewed push back to original scripted dramas is currently underway (A&E has The Glades, Longmire and the recently announced Bates Motel). What will A&E’s programming lineup be comprised of in the next few years?
Scripted series are an important, strategic and growing part of our overall program strategy. Executed well, these shows drive CPM increases, serve as key real estate for sales packaging and smart integrations, and in success can be powerful brand builders. As we know, they usually get a (sometimes, anyway) unfair share of the media’s attention. They’re also critical to our effort to attract “blue chip” dollars away from broadcast. This has contributed to our exceptional ad sales growth in recent years. And, I love a well-written and well-acted drama!
Having said that, the real backbone of A&E’s success has and will continue to be great non-fiction (“reality TV” if you like) series: Intervention, First 48, Storage Wars, Duck Dynasty, and so on, and so on. Today, the top reality series (Jersey Shore, Pawn Stars, Storage Wars) are absolutely among the top-rated original series in all of cable. And, with a cost structure and ownership model that’s far more attractive than that of the studio-produced scripted hours, you can see what a powerful part of our business these shows are.
Going forward, I expect that our prime schedule will be made up of about 90% non-fiction series, and possibly up to 10% original scripted dramas, maybe up to 4 series in any 12 month period. And, not to bury the lead, by sometime next year A&E will have gotten out of the syndicated or “rented” series business in primetime for the first time ever! We’d rather invest our dollars in original, exclusive, branded entertainment that we own and control.
We know you have a personal interest in art, especially in contemporary works. If you could take up a paintbrush how would you, figuratively speaking, interpret the landscape of commercial cable TV in the years to come? (Would it come out like Edvard Munch’s The Scream or become a more serene landscape like Monet’s Water Lilies?)
Wow… that may be the most creative question I’ve ever been asked! Sitting through some development meetings, I definitely do feel like screaming, like I’m trapped in Munch’s masterpiece!
The TV business has become incredibly dynamic; change is really the only constant. The growth of time-shifted viewing, non-linear consumption, “over-the-top” players, authentication, second screen use, watch apps and social media all present enormous challenges and stress on the traditional economic model, but also enormous opportunity. It’s definitely an exciting and creative time to be in the business, but it’s not for the faint of heart. Look at the late 15th Century masterpiece by Hieronymus Bosch, “The Garden of Earthly Delights,” which really depicts an insane version of Heaven and Hell. That’s our business today!
Robert, you graduated Phi Betta Kappa with honors from the State University of New York at Stony Brook and you also hold a law degree from the UCLA School of Law. Did you have a different career path in mind and what attracted you to television and more specifically to cable TV?
First, if I’m being honest, I never really had a career path or a “plan.” Still don’t! But, I always loved film, great writing and acting (I studied acting/drama a bit in school: actually wasn’t too terrible. It comes in handy in my job as a network head sometimes in fact!). I went to law school primarily to put off getting a real job. I suppose it was inevitable that over time I would migrate to first film and then television. I love both mediums. However, today, television can be a remarkably solid business; not sure I can say the same for the movie business right now. Cable, to me, really represents the best of what’s possible in television right now. It’s where I feel the most creative work is being done. We’re better at building brands than broadcast, and if you can marry great branding with great programming, great entertainment, you can really super-serve your fans and viewers. If you do that in a disciplined business model, the results can be lucrative as well.
“Switched at Birth”
In “Switched at Birth,” two families are forever altered when they discover their daughters were switched at birth. Life hasn’t been easy for hard-working, single mom Regina Vasquez, but along with her mother, Adriana, Regina has provided her 16-year-old daughter, Daphne — a typical teenager who just happens to be deaf — with a loving and secure home. Although she attends a school for the deaf and hard-of-hearing with best friend Emmett, Daphne’s hearing loss does not prevent her from leading a full life. In sharp contrast to the Vasquezes, Kathryn, a stay-at-home mom, and John Kennish, a retired professional athlete, lead a seemingly perfect life with their two children, Bay and Toby. But when the Kennishes learn the hospital made a grievous error and that Bay is not their biological child, their entire world is turned upside down. Regina, Kathryn and John must learn to co-exist as parents and to blend two families into one for the sake of their daughters, despite overwhelming socio-economic, ethnic and cultural differences.
After a very strong launch, ABC Family’s new comedy Baby Daddy will bypass the standard back order for a full-fledged second season pickup. Fellow freshman, ballet drama Bunheads, is getting a back-order pickup while the network also is renewing comedy Melissa & Joey for a third season and Switched At Birth for a second. “The new series have resonated with our viewers, and the combination of drama, comedy and reality brings great depth to our lineup, said ABC Family president Michael Riley. The dramas will premiere in Winter, with the comedies returning in Spring 2013. ABC Family also just announced a reunion special for its new reality series Beverly Hills Nannies to air on September 4. Baby Daddy, created by Dan Berendsen, launched as ABC Family’s #1 comedy series ever and is pacing as the #1 new cable comedy this summer in Women 18-34 and Females 12-34. It also boosted its lead-in, Melissa & Joey, to its best season to date. Amy Sherman-Palladino’s Bunheads is cable TV’s #2 series on Mondays at 9 o’clock in Women 18-34 and Females 12-34. Here is more on the newly picked up series:
“Baby Daddy” follows Ben (Bilodeau), a young man in his early 20s living the life of a bachelor as a bartender in New York City with his buddy, Tucker (Mowry), and his brother, Danny (Theler), a professional hockey player. Their lives are turned upside down when they come home one day to find a baby girl left on the doorstep by an ex-girlfriend of Ben’s. After much deliberation, Ben decides to raise the baby with the help of his friends and his protective and sometimes over-bearing mother, Bonnie (Peterman), and his close female friend, Riley (Kane), who has had a secret crush on him since childhood. Riley is hopeful that Ben will finally take notice, but she doesn’t realize that Ben’s brother, Danny, is harboring a secret crush on her.
The series stars Jean-Luc Bilodeau (“Kyle XY”), Derek Theler (“90210”), Tahj Mowry (“The Game”), with Melissa Peterman (“Reba”) and Chelsea Kane (“Dancing with the Stars,” “Jonas LA”). “Baby Daddy” is created and executive-produced by Dan Berendsen (“The Nine Lives of Chloe King,” “Sabrina, the Teenage Witch” and “Hannah Montana: The Movie”). “Baby Daddy” is a multi-camera comedy that shoots in front of a live studio audience in Los Angeles.
Executive-produced by Amy Sherman-Palladino (“Gilmore Girls”) and headlined by Tony Award®-winning actor Sutton Foster, “Bunheads” is the tale of a Las Vegas showgirl who impulsively marries a man, moves to his sleepy coastal town, and takes an uneasy role at her new mother-in-law’s dance school.
Michelle Simms (Foster) had a promising career as a classically trained professional dancer, but was drawn to the lights of Las Vegas. Now, with a dead-end job as a 30-something showgirl, she’s found the excitement of Sin City has lost its appeal, and her persistent suitor, Hubbell Flowers, is gaining it. With promises of a cushy life in his coastal town of Paradise, CA, Hubbell convinces Michelle to marry him and move away. Once in Paradise, Michelle discovers that Hubbell forgot to mention that he lives with his mother, the strong-headed, imperious Fanny Flowers, who is not pleased that Hubbell has run off and married a stranger.
A former dancer herself, Fanny runs the local dance studio, which Michelle comes upon and ends up bonding with some of Fanny’s dance students — sweet “Boo,” who would give anything to be a “bunhead” but struggles against her body type; rebellious Sasha, who possesses the classic ballet dancer’s body and talent but — distracted by family issues at home — doesn’t seem to have her heart in dancing; shapely Ginny, who is not yet comfortable in her own skin; and fun-loving Melanie, who is ready for whatever life throws at her. Michelle’s budding relationship with these girls helps her adapt to small town living and her uneasy role as a new daughter-in-law.
The series stars Sutton Foster (“Flight of the Concords”) as Michelle Simms, Kaitlyn Jenkins as Bettina “Boo” Jordan, Julia Goldani Telles as Sasha Torres, Bailey Buntain as Ginny Thompson and Emma Dumont as Melanie Segal, with guest star Kelly Bishop (“Gilmore Girls”) as Fanny Flowers.