As a sidebar to my Mark Burnett cover story in this week’s Adweek, I also spent time with his wife and producing partner, Roma Downey, who talked about transitioning from starring in Touched by an Angel to producing faith-based projects like A.D. The Bible Continues, The Bible and next year’s Ben-Hur reboot alongside her husband. As I wrote,

Downey and Burnett have proven to be an ideal match in business as well as in life, perfecting their own version of good producer/bad producer. “My husband is great at kicking doors down, and sometimes that’s an extraordinarily useful skill. But sometimes a gentle knock on the door is the preferred method of entry,” Downey explains. “And so we’re a good team. Mark is very noisy, and I have a much quieter approach.”

They are quite a formidable duo, and it was a pleasure spending time with them.

Roma Downey’s Journey From TV Star to Subtly Superpowered Producer

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I don’t start at Adweek until Monday, but in the interim I’m back in this week’s issue with my second cover story: an interview with Mark Burnett, TV’s most powerful producer, who is responsible for Survivor, The Voice, Shark Tank, Celebrity Apprentice, A.D. The Bible Continues and many, many more shows. As the British Burnett points out to me, “there’s two things that built America: the Bible and free enterprise. And now I do both. I do A.D. and I do Shark Tank.”

He also knows what viewers want to watch. In the past month alone, his shows have won the night in adults 18-49 (the most important demo for advertisers) on Sunday (A.D.), Monday (The Voice), Tuesday (The Voice), Wednesday (Survivor) and Friday (Shark Tank) — that’s five nights and three different networks.

I’d previously spoken with Burnett for my Parade cover story on Shark Tank, but this time around we talked about all of his shows, his upfront memories (he was on the cover of Adweek’s upfront issue, after all), his surprising OTT plans for his own version of Netflix and the career path not (yet) taken:

“If I wasn’t doing what I’m doing, I would honestly love to run an ad agency. I love the idea of making commercials. I love the idea of winning. Imagine if you’re clever enough to create a campaign and stuff flies off the shelves. That’s why I love The Apprentice. I’d love to be more in the advertising business.”

With more than a dozen shows under his domain, plus movies like next year’s big Ben-Hur reboot, how does Burnett stay focused on a single project when so many others demand his attention?

“It’s not always easy to do, but the correct way to approach everything is like we’re sitting here right now: This is it. So whatever I’m working on is where my focus is. And I can work on three things in a day, but when I’m there, I’m there. The definition of a loser is someone who takes a nap and then feels guilty about it. Do what you’re doing. If you’re going to take a nap, take a nap. If you’re going to work, work.”

And yes, we also talk about that epic beard of his. It was a fantastic, illuminating interview, so I hope you read the rest of it.

How the Reality TV King Created 11 Popular Shows and Counting

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The networks will play a variety of pop hits during their TV upfront presentations next month, but the only song that really should be part of the soundtrack that is The Lego Movie’s “Everything is Awesome.” After all, each of the the network executives who take the stage will be full of optimism that their new crop of shows will finally be the ones that take them to the top.

But as I wrote at Adweek, everything is not awesome, even for the top network in adults 18-49 (which will again be ABC). Before we hear a new batch of (at least partially) empty upfronts promises, I looked back at the five worst predictions from last year’s presentations. Among them: then Fox Entertainment president Kevin Reilly’s declaration that Jump of the Century and Hieroglyph will be airing soon on the network:

Reilly was far from the only one to disappear from Fox shortly after the upfronts. He touted two programs to advertisers that were canceled before they ever made it to air: straight-to-series pickup Hieroglyph (Fox pulled the plug a month later) and Jump of the Century, in which two rival stuntmen would attempt Evel Knievel’s failed jump across Idaho’s Snake River Canyon (it was scrapped last July). “The power of broadcast really shines through when there’s urgency to view,” Reilly said of Jump of the Century. Of course, it also really shines through when the shows are actually broadcast.

There’s a lot more silly predictions where that came from, so sure to read the rest of the story.

5 Predictions From TV Networks Execs Last Year That Were Way Off

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Showtime’s David Nevins wasn’t the only network president I interviewed at TCA’s winter press tour. I also had some time with ABC Entertainment President Lee, which I turned into this Adweek story about how things are finally looking up for ABC after a decade of dwelling in, or near, the 18-49 ratings basement.

Lee walked me through some of the network’s successful (and not-so-successful) moves this season, including the brilliant move to brand Thursday’s all-Shonda Rhimes lineup as TGIT:

Lee’s most successful play this season was handing over his Thursday night lineup to Rhimes: Grey’s Anatomy and Scandal, both of which she created, and How to Get Away with Murder, which she executive produces. Most critically, he branded the night TGIT (Thank God It’s Thursday), an ode to the TGIF Friday night comedy block that was a ratings hit in the ’90s.

“We took a brand that my boss Bob Iger invented [in 1989], TGIF, and we burnished it. It was very sweet to take a dormant brand and reinvent it on Thursday as something that was just as fresh today as that was then,” said Lee.

But as successful as TGIT has been, Lee isn’t sure he can replicate it on another night. “A brand has to match the shows that are there. It has to be extremely high quality. It has to capture the mood of the nation. So it’s very difficult,” he said. “It takes time to build them, and it takes extraordinary quality and patience.”

The network still has a long way to go, but my talk with Lee was a good reminder that thanks to Rhimes and several other big swings this season (including freshman hits Black-ish and Fresh Off the Boat), ABC is finally figuring itself out.

 How ABC Got Its Groove Back (Only Partly Because of Shonda Rhimes)

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Back at TCA’s winter press tour, I sat down with Showtime Networks President David Nevins for an Adweek Q&A that I banked for April, closer to when his spring shows — particularly Showtime’s new comedy, Happyish — were premiering. As April approached, I made arrangements for a quick followup interview with Nevins, to update a few topics we had discussed, including Showtime’s OTT plans.

Then, a couple days before our interview, David Lynch announced he had left Showtime’s Twin Peaks revival. Nevins briefly addressed the status of the project in our interview, and as a result, my Adweek Q&A has Nevins’ only public comments to date on Lynch’s departure:

It’s either a negotiation, or he’s had cold feet. But I am hopeful.

In addition to our Twin Peaks talk, Nevins also gave me a timetable on when Showtime will launch its standalone streaming service, talked about sticking with Happyish after last year’s death of original star Philip Seymour Hoffman and explained why he’ll never leave for a broadcast job like his predecessor, Robert Greenblatt. It’s a great, and unexpectedly newsy, interview; check it out!

Showtime’s Boss Talks About the Twin Peaks Avalanche

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Each month, 18 million U.S. viewers access the Sony-owned, advertising-supported streaming network Crackle. But despite popular shows like Jerry Seinfeld’s Comedians in Cars Getting Coffee, Crackle still has a it of an identity crisis as it looks to make a name for itself among the likes of Netflix and Amazon.

That’s the challenge for Crackle’s general manager Eric Berger, who is making his loudest statement yet by moving Crackle out of the NewFronts, held primarily for digital enterprises, and into the upfronts, generally reserved for the major TV networks, on April 14.

At Adweek, I spoke with Berger about a number of topics, including his bold upfront movie, why Crackle didn’t stream The Interview last December and why he didn’t pick up the Sony-owned Community when it was looking for a home last summer:

It’s a great show. It didn’t fit in our slate at the time. Everything that we’ve done on the scripted series side to date has not been comedy. They’ve all been action, drama and thrillers. Features are different—with Joe Dirt, obviously, but the other features are action, horror and zombie type of stuff that fares really well for us.

There’s a lot more from Berger, who hopes to finally put the “What’s Crackle?” question to bed once and for all.

Why Crackle Wants You (and the Industry) to See It as a Mainstream TV Network

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One of my favorite things about writing for Adweek is the opportunity to find all these fascinating advertising angles in stories about the TV industry. My most recent Adweek story, about Sarah Gertrude Shapiro, is a great example of this. She’s the co-creator of UnREAL, Lifetime’s upcoming drama that goes behind the scenes at a Bachelor-like reality dating competition program. And it’s all due to the time she spent as a content producer at ad agency Wieden + Kennedy, which gave her a fresh start in 2005 after she literally fled her reality TV job on The Bachelor:

“Part of how I got out of my contract was leaving the state,” said Shapiro, who drove to Oregon where she planned to “drop out and be a kale farmer or embroider tapestries.” But the Portland-based W+K had other plans for her. The agency reached out, asking her to work on Battlegrounds, a docuseries featuring NBA star LeBron James it was making with MTV. “It was like a moth to the flame,” said Shapiro, who joined as a content producer.

While working for Wieden, she developed the idea for Sequin Raze and cornered DeSipio when she arrived at W+K in 2011 after 20 years as a TV executive and producer. Thanks to DeSipio’s outsider perspective, “she was naïve enough to say, ‘Why not? Why can’t we do it?'” said Shapiro. “Sally became my total champion from that time forward.”

In addition to tracing UnREAL’s unusal genesis, I also look at Lifetime’s position as it enters this year’s upfronts, and talk about A+E Studios, the in-house production company that produced UnREAL. The show doesn’t premiere until June 1, but I was very happy to contribute this story to Adweek’s Women’s Issue.

A Filmmaker Gets an Opportunity of a Lifetime

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Game of Thrones isn’t the only highly anticipated returning premium cable program based on a hugely popular book series with a rabid fan base. On April 4, Starz rolls out the second half of Outlander’s debut season. As I wrote at Adweek, the show — based on Diana Gabaldon’s historical/fantasy/romance novels — has finally brought a large female audience to the premium cable network, whose programs have tended to skew male.

And as Starz CEO Chris Albrecht notes, that highly engaged new audience has mobilized into a social marketing army for the network:

“If you go for a certain demo, then you have an audience that not only is going to come to watch the show, but they’re going to be the best marketing and promotional arm you could have,” said Albrecht, who had similar results last summer with Power, which is targeted to African-American viewers. “Because with social media, they’re talking about the show all the time to their friends, trying to get their friends to watch. So Outlander proved one more time that a core group of fans that are pleased are going to be a really powerful tool for the successful evolution of the show.”

The show’s popularity has also helped Starz grow to 23.3 million subscribers, and leapfrog Showtime to become the No. 2 premium network behind HBO.

The Breakout Hit Outlander Is Finally Attracting Women to Starz

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The only thing that could stop Empire’s continued meteoric rise, it turns out, was the hip-hop soap opera’s 12-episode Season 1 duration. As the drama ends its first season tonight — likely with one final week of record ratings — Fox needs to figure out how to keep Empire’s viewers engaged, and hopefully still tuned in, between Thursday and whenever the show returns for Season 2. As I wrote at Adweek,

In the interim, there are several opportunities for the network to capitalize on Empire’s massive audience and goose the network’s ratings, without tarnishing the still-expanding brand before it has a chance to realize its full potential.

I came up with eight feasible suggestions, including one of my favorite ideas:

Launch an Empire-centric hip-hop competition

In addition to maintaining Empire’s momentum, Fox would also love to find a new fall music competition to replace The X Factor, which bowed out in fall 2013. That’s one reason that Walden and co-chairman Gary Newman have been meeting with Simon Cowell about creating a new competition show.

Now, its best opportunity for not only a new competition show, but also one that doesn’t just feel like a Voice/American Idol clone, has just fallen into the network’s lap. Taking another page from Glee, Fox should mount a truncated version of Oxygen’s The Glee Project in the fall, in which aspiring hip-hop artists show off their vocal skills and compete for a featured role in Empire Season 2.

The network could run it in early fall, well before Empire’s second season, sprinkle in Empire cast guest appearances every week and tease new footage from the upcoming season. One essential element: the involvement of Timbaland, the show’s executive music producer.

This … is American Hip-Hop Idol!

There are plenty more where that came from, so make sure you read the whole story!

8 Ways Fox Could Keep Empire’s Momentum Going After the Season Finale

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Dana Walden received a baptism by fire when she and Gary Newman took over as co-chairmen and co-CEOs of Fox Television Group last summer. But after enduring a brutal fall, the network is back on trick thanks to Empire, one of the biggest new hits in decades. Walden sat down with me for this Adweek profile about her rollercoaster first year on the job. She talked to me about the good, the bad and — going to back to last fall — the ugly:

Yes. Going in, Gary and I always anticipated that this was going to be a really tough fall. We were encouraged by Gotham, encouraged by Sunday night. I felt like our job as the new leaders was to stay focused on the positive momentum and point to things that establish what we wanted to do in the future. That was a far better approach than being mired in how demoralizing the overnights can be.

And now that Empire’s ratings keep soaring (seven consecutive weeks of ratings increases and counting!), she says the show’s success has restored her faith that mass hits are still possible:

Yes. I’ve had so many conversations with my peers at other networks in broadcast and cable, and over and over again the sentiment is, this is just great for the business. It has sent a wave of enthusiasm and optimism through our business that you can create a scripted show, something that’s not a live event, and you can still eventize it in a way that a lot of people are going to make it appointment watching.

Walden also talked about juggling her network and studio hats, Empire’s second season order, standing by Backstrom, taking a big swing with The Last Man on Earth and how Empire has affected her thinking about what shows to pick up next season.

Fox Is Rebuilding Its Slate, One Hit at a Time

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