Category Archives: Adweek

Can NBC Create Another Real-Time Sensation With Peter Pan Live?

peter-pan-live

At Adweek, I had a terrific chat with NBC Entertainment chairman Robert Greenblatt, who admitted that he went to bed last Dec. 5, after watching The Sound of Music Live!, he was steeling himself for low ratings the next morning.

“I was thinking, ‘I’m praying for a 2 rating, because I could defend a 2,'” he told Adweek. “And then I thought, ‘Oh God, I could probably spin a 1.7 or 1.8 to probably being almost a 2.’ I really was hoping it would be a 2.”

Instead, the final 18-49 rating was almost triple that number, which is why Greenblatt is doubling down this year, with Peter Pan Live! Greenblatt talked with me about why Sound of Music ended up being so success, his other plans for live TV on NBC and which musicals he is — and isn’t — considering putting on the air going forward.

Can NBC Create Another Real-Time Sensation With Peter Pan Live? 

#TBT: A Look Back at TV’s Must-Watch Thanksgiving Promo Leftovers

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I put Throwback Thursday on hold this week for something more holiday-appropriate: Throwback Thanksgiving! I reached beyond the usual TV promos for this week’s Adweek #TBT column, because this 2001 ad with Robert De Niro dressed as a pilgrim and Billy Crystal as a turkey was too good to resist:

I unearthed plenty of other bizarre Thanksgiving promos from over the years, including ones featuring Jay Leno and “Weird Al” Yankovic. Happy Thanksgiving!

#TBT: A Look Back at TV’s Must-Watch Thanksgiving Promo Leftovers

Why Broadcast TV is So Thankful for Thanksgiving

macy-parade

No matter what your Thanksgiving plans are tomorrow, chances are you’ll be spending at least part of the day in front of a TV. As I wrote at Adweek,

Macy’s iconic parade and three Turkey Day football games ranked among the 30 most-watched network programs last fall. The whole holiday has become a testament to the drawing power of live TV—and captive audiences—as friends and families gather for the meal and end up riveted to their TV sets all day long.

I also spoke with Brad Lachman, who is executive producing his 21st Macy’s Thanksgiving Day Parade, about the program’s enduring appeal, and why it had its highest ratings ever last year.

Why Broadcast TV is So Thankful for Thanksgiving

TV’s 10 Worst Time Slots, Revisited

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One month ago today, I published my first Adweek story, TV’s 10 Worst Time Slots. Since then, four shows that occupied those time slots this season have already been canceled: Manhattan Love Story, Utopia, A to Z and The Millers. In related news, I think my first month writing for Adweek went pretty well!

#TBT: Who Shot J.R.? This Classic ‘Dallas’ Promo Convinced 83 Million Viewers to Find Out

who-shot-jr

Holy cliffhanger! It’s been 34 years since an astounding 83 million tuned into Dallas on Nov. 21, 1980, to find out “Who Shot J.R.?” The episode, “Who Done It,” is the U.S.’s second most-watched non-sports program of all time. Despite mounting a masterful marketing campaign over the summer, CBS seemed to stumble as it reached the finish line, putting together this underwhelming promo for the episode, which is this week’s Throwback Thursday for Adweek.

There are a few other Dallas-related promos and clips in the story, so be sure to check them all out.

#TBT: Who Shot J.R.? This Classic Dallas Promo Convinced 83 Million Viewers to Find Out

How Bill Cosby Went From TV’s ‘Most Persuasive’ Pitchman to Its Most Radioactive

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Once of the biggest head-scratchers during my many, many years at People was the shockingly muted reaction to what I thought was an incendiary investigative piece we published in 2006, speaking with five women who had accused Bill Cosby of sexual assault. It was one of the rare times that we were going after a beloved celebrity, but after the story was published, everyone just seemed to shrug and move on, if they even noticed it at all.

So you could say that it took almost a decade for Cosby’s career to fall apart overnight. At Adweek, I look at how Cosby went from TV’s “most persuasive” pitchman, as he was known in his Cosby Show ’80s heyday, to its most radioactive one in the past week. As I wrote,

Putting the horrific allegations aside …. Cosby is in this predicament largely because he and his team demonstrated a surprising lack of media savvy for a performer who for decades has had audiences—and advertisers—in the palm of his hand.

Writing this story also gave me a chance to publicly credit the great Kate Aurthur from Buzzfeed, for almost single-handedly keeping this story afloat this year. Even if it took eight years after that People story, I’ve glad this is finally coming to light, and I’m shocked at how ill-prepared Cosby and his team have been to finally face the music.

How Bill Cosby Went From TV’s ‘Most Persuasive’ Pitchman to Its Most Radioactive

How ‘The Simpsons’ Saved FXX

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One year after FX Networks announced its landmark deal to secure exclusive cable, VOD and non-linear rights to The Simpsons for FXX, I talked with John Landgraf about how The Simpsons helped save his company’s fledgling network. As I wrote at Adweek,

Not even Landgraf had dared to dream that his near-billion-dollar investment would pay off so quickly. “There’s literally no entertainment channel in the history of cable television that’s done anything like it,” said Landgraf, noting that FXX is still only in 75 million U.S. homes, compared to the 95 million homes that FX, and many of its other competitors, occupy. Thanks to The Simpsons, “FXX is essentially outperforming…and it will be adding 15 of those 20 million over the next two to three years. So I still believe there’s a considerable amount of upside where The Simpsons will ultimately land.”

Landgraf also talked about his risky $750 million bet, the looong rollout of Simpsons World and why (D’oh!) FXX won’t be airing another “Every. Simpsons. Ever.” marathon again.

How The Simpsons Saved FXX

#TBT: Sorry Jar Jar, the ‘Star Wars Holiday Special’ is George Lucas’s Most Embarrassing Creation Ever

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For this week’s Adweek #TBT, I revisited the single most embarrassing artifact from the Star Wars Universe (yes, even worse than Jar Jar Binks): The Star Wars Holiday Special, which aired one night only, on Nov. 17, 1978, and was never seen again (legally, anyway). As I wrote at Adweek,

It was immediately clear to anyone who tuned in on Friday at 8 p.m. ET that the show was a train wreck. If the 10-minute dialogue-free Wookiee sequence wasn’t awful enough, then the virtual-reality sex scene—which still haunts my dreams, and in which Diahann Carroll urged Chewbacca’s father, “I am your experience, so experience me. I am you pleasure, so enjoy me!”—sealed the deal.

I rewatched the whole, interminable debacle for this story, and it’s even worse than I remembered — which made it even more entertaining to write about. Here’s the promo that CBS aired the week leading up to the show’s debut:

#TBT: Sorry Jar Jar, the Star Wars Holiday Special is George Lucas’s Most Embarrassing Creation Ever

Why a Great Second Season is Often Too Late to Save a Struggling Show

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At Adweek, I got to write about an issue that’s been bugging me. Shows are improving themselves in their second season — like Marvel’s Agents of SHIELD and FX’s The Bridge — but they aren’t winning back viewers who bailed on those shows in the first season.

I spoke with FX Networks CEO John Landgraf, who had great insight (as always) about why shows can’t win back their viewers, no matter how great they get. As he told me,

The problem, FX Networks CEO John Landgraf tells Adweek, is that viewers simply have too many other options to be patient. “There will be about 350 scripted original series this year aired on linear and nonlinear services in the U.S. That’s really an unprecedented volume,” said Landgraf, whose team compiles a list of every season of scripted and unscripted series that airs. Last year’s total: 1,400 original seasons of material, with 2014’s tally looking to be even higher. “And so I think that consumers just have too many options,” Landgraf said. “Why should you ever watch anything other than something that’s the equivalent of a four-star movie or a four-star television show?”

Landgraf also talked about his agonizing decision to cancel The Bridge, a show which soared creatively in Season 2.

Why a Great Second Season is Often Too Late to Save a Struggling Show

#TBT: Johnny Depp and Matthew Perry Made This 1987 Fox Promo the Foxiest Ever

Johnny Depp Fox weekend

This was so much fun. I kicked off a new weekly column I’ll be doing for Adweek called #TBT (Throwback Thursday), in which I’ll be unearthing video of some of my favorite classic TV promos and shows. For the first one, I wanted to spotlight a promo that’s been knocking around my brain since 1987: a campaign from Fox to celebrate its then-fledgling network, which includes feature stars like Johnny Depp, Ed O’Neill, Katey Sagal and Christina Applegate. As I wrote at Adweek,

Because as Bill Hader’s SNL character Stefon would say, this promo has everything: Sagal and O’Neill strangling each other, a skinny tie-clad Perry hitting on an underage Applegate (then just 16), a man’s bare chest being inexplicably massaged, Tracey Ullman mugging for the camera, a mulleted Peter DeLuise channeling The Love Boat’s two-finger-pointing Isaac, no-longer-famous Fox stars flirting with each other, a teenage boy possibly plummeting to his death, CCH Pounder flexing her biceps, some of the highest ’80s hair you’ve ever seen and Depp literally staying above the fray.

Don’t let Fox Weekend pass you by!