Category Archives: Stories

Forget beating HBO: Netflix just revealed it has much bigger goals in mind

forget-beating-hbo

I was very surprised by the announcement late Friday night that Netflix had acquired NBC’s midseason comedy Unbreakable Kimmy Schmidt, one of the NBC shows I was most looking forward to this season. Two days earlier, it had picked up the high-rated but old-skewing Longmire, which A&E had canceled after three seasons. In my Quartz analysis, I noted,

Gone are the days where Netflix tried to make a splash with programming you couldn’t find anywhere else on TV, most notably Orange is the New Black. While cable networks like USA and AMC are trying to save themselves by retrenching and focusing on what they do best, Netflix is taking the opposite approach: it wants to be everything to everyone.

For years, Netflix had said its goal was “to become HBO faster than HBO can become us.” But now, it has even loftier ambitions: it wants to be all things to all people.

Forget beating HBO: Netflix just revealed it has much bigger goals in mind

TV’s 10 Worst Time Slots, Revisited

gracepoint-hed-01-2014_0

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

bill-cosby

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

Sorry, Netflix: Serial Proves That the Best Shows Shouldn’t Be Binged On

dickens-plate-serial

Like everyone I know, and more than 1.4 million others around the world, I’m hopefully addicted to the podcast Serial, fall’s most riveting show. (Episode 9 is less than 24 hours away!) As I wrote at Quartz,

It’s also captured our imagination in a way no TV show has done this fall, and has the kind of deafening buzz and rabid fan base that any series would kill for. The unlikely global phenomenon is also the strongest proof in years that taut, weekly storytelling trumps the increasingly-popular binge-watching method that Netflix helped pioneer.

While my own tweets occasionally flourish and become stories, in this case I was inspired by a tweet from someone else, Veep actor Timothy Simons:

That crystallized something I’d been thinking about myself, and gave me the perfect opportunity to finally write the anti-binging story (at least when it comes watching TV’s best shows) that I’ve been mulling for months.

Now, if you’ll excuse me, I have to go back to counting down the minutes until Episode 9 of Serial drops!

Sorry, Netflix: Serial Proves That the Best Shows Shouldn’t Be Binged On

How ‘The Simpsons’ Saved FXX

simpsons-fxx

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

star-wars-holiday-special

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 Kim Kardashian is the World’s Best Marketer

kim-kardashian

If you told me I’d be writing a story A) praising Kim Kardashian B) for Quartz C) calling her “brilliant” and admiring her “acumen,” I would have said you’d lost your mind. But I surrendered this week after she shared images from her racy Paper magazine cover, and successfully got the entire world (well, at least the internet) talking about her once again, whether people wanted or not. And then, 24 hours later, she did it all again by releasing even more explicit photos from the shoot. As I wrote at Quartz,

That’s why it’s time to stop making fun of her and start taking her seriously, if not as a reality star, than at least as a masterful businesswoman and marketer.

I’d wavered on suggesting this story — I can’t imagine her name had ever appeared in a Quartz story before today — but I’m glad that I went ahead with it. Also, this is probably the only story written about her this week that didn’t include the words “butt,” “ass,” “oil” or “full frontal” — but it’s worth a read anyway!

Why Kim Kardashian is the World’s Best Marketer 

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

marvel agents shield adweek

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

‘The Blacklist’s’ Frustrating Fall: Keen’s a Keeper, but Red Regresses

blacklist season 2

At The Daily BeastI check back in on The Blacklist, which aired its fall finale last night. I wrote last spring that James Spader was single-handedly keeping the show together with his virtuoso turn as Raymond “Red” Reddington, and the NBC drama should wipe the slate clean of his costars and reboot with a group more worthy of sharing the screen with Spader.

Amazingly, the show did almost exactly that in the offseason, but the problems still exist. As I wrote at The Daily Beast,

So why does Season 2—which just had its fall finale Monday night—feel like such a disappointment so far? Because in focusing on all those necessary fixes, producers lost sight of the show’s raison d’être: Spader. Two steps forward, two steps back.

The Blacklist’s Frustrating Fall: Keen’s a Keeper, but Red Regresses