Category Archives: Quartz

How Amazon Built a Studio That’s Finally Challenging Netflix

transparent

As Amazon prepares to launch its third pilot season, I had a lengthy chat with Amazon Studios director Roy Price about his company’s strategy, measuring success, his terrific new series Transparent and competing with Netflix. He answered so many of my questions about Amazon, including what defines a successful series for them:

The main thing we’re focusing on is making Prime fantastic. And one of the things people really respond to is original new series, so we’re paying attention to, are people engaged with the show? Does it add value to the service as a whole? So it’s about views, and talking about the shows, and if you watch the whole season, how did you rate the show…Basically, do people really seem to value the show as part of the service?

Last year, we premiered Alpha House and Betas, and they premiered at, and hung around at, the number one and two series for awhile, so that’s very encouraging, because it shows that people are really getting into it and heavily sampling the shows. That’s the kind of thing we want to see, that it becomes a meaningful part of the value that the service provides. Ultimately, you’d like to see more people joining the service, and you’d like to see that people who watch the shows and enjoy the shows renew their subscription.

Price, who was a terrific interview, also talked about Amazon’s rationale for not disclosing ratings, how the public pilot process really works and whether Amazon considered picking up beloved-but-canceled shows like Community and Enlisted.

How Amazon built a studio that’s finally challenging Netflix

How Robin Williams Shared the Spotlight to Forge a Beloved Hollywood Career

robin williams

I was in the middle of vacation yesterday when I heard the shocking news about Robin Williams, who died of an apparent suicide. So I paused my family fun to I write this Quartz appreciation of Williams, who had seemed to crack the code for career longevity in Hollywood.

But Williams wasn’t content to just coast on comedy. He honed his dramatic skills in not-just-comedic films like Good Morning, Vietnam. That led to full-fledged dramatic roles in movies like Dead Poets Society, Awakenings and 1997’s Good Will Hunting, for which he won an Academy Award for Best Supporting Actor. Note the word “supporting”—even then, Williams was happy to accept smaller roles and cede the spotlight to others. That certainly wasn’t something his fellow comedy superstars like Eddie Murphy, Tom Hanks, Billy Crystal and Jim Carrey were doing then—or now—with any regularity.

Even as he brought his career circle last year, returning to TV in The Crazy Ones, Williams went in another unexpected direction, generously ceding many of the show’s funniest lines to his costars. CBS had canceled the show in May, and now, sadly, we’ll never get the opportunity to see how the actor would have reinvented himself next.

How Robin Williams shared the spotlight to forge a beloved Hollywood career

Have We Reached the Saturation Point for Quality American TV Shows?

saturation point for quality

Given the already overwhelming amount of quality TV, does anyone really want to dig deeper into their pockets to pay for even more of it? We’ll start to find out this weekend, as Cinemax premieres The Knick and Starz unveils Outlander. As I wrote at Quartz,

While the series are generating enthusiastic reviews (The Knick in particular), they will likely have a much tougher time drawing audiences than they would have just a couple years ago. Because both Starz and Cinemax are premium channels, sampling those shows means shelling out even more money each month to do so. And for those already on the hook for cable fees—for basic cable, HBO and Showtime—as well as payments for Netflix, Hulu Plus and Amazon Prime, it will be hard to justify the additional expense, particularly given that these networks have little to offer those new audiences beyond that single show.

Even those of us who write about TV for a living can no longer keep up, so it’s hard to believe that too many others can make the time — and find the money — for even more original content. Time is money, and when it comes to quality TV, do we have enough left of either? Starz and Cinemax certainly hope so.

Have we reached the saturation point for quality American TV shows? 

Charts: How We Watch TV on the Internet

how we watch tv on the internet

TCA summer press tour ended more than a week ago, but there was still one story left for me to finish up (along with several others that I’ve banked for the fall): this companion piece to my earlier look at how we watch TV now. For this story, I delved into the ratings data from a separate press tour briefing given by Alan Wurtzel, NBC’s head of research and media development, about how audiences are using their smartphones, tablets and personal computers to watch and download TV content.

This isn’t just about “a bunch of 25-year-olds who wear black and live in Williamsburg. It affects everybody across the country,” said Wurtzel, who shared NBCUniversal’s data with Quartz. “One size no longer fits all.”

As with my previous data-heavy story, I urge you to read the whole thing; there’s just too much great info for me to attempt to summarize it here. But I’ll wrap up with another observation from Wurtzel.

And as viewers stream in greater numbers, especially on their mobile devices, these seismic shifts will only continue. “These changes are very real,” said Wurtzel. “They’re growing unbelievably fast, and they affect the core of our business.”

Charts: How we watch TV on the internet

The Five Ways American TV Has Changed Forever

five ways american TV has changed

That’s a wrap on TCA summer press tour, which means that it’s time for one last story before I leave L.A.: a roundup of noteworthy developments from press tour, which reveal several new truths about the TV industry. Chief among them: Nothing is a ratings guarantee — except football.

Somewhere in the vicinity of 100 shows were paneled at press tour, but as CBS president and CEO Les Moonves pointed out, “When you come back next year, not all of them are still going to be on the air. Even ours. However, this is a sure thing.” He was referring to Thursday Night Football, which is moving to CBS for the first eight weeks of the NFL season (after which it will return to NFL Network, where it has aired since 2006).

As NFL commissioner Roger Goodell noted, “Sunday Night Football is now the number one franchise in all of television. Not just in sports, but in all of television.” Sunday Night Football was indeed the top-rated show on TV last season, averaging 21.5 million viewers. CBS and Fox’s Sunday afternoon broadcasts draw a similarly-sized audience, while ESPN’s Monday Night Football averaged 13.7 million viewers. And the Super Bowl is always the most-watched program each year, with a record 112.2 million viewers tuning in last February. As such, Goodell expects that Thursday Night Football will be “the biggest thing” to happen on TV this season.

There’s lots more about 3D TV, 4K TV, Hulu, Amazon, binge-watching, late-night and series based on comic books. Take a look; now that press tour is over, I’m going to sleep for several days!

The five ways American TV has changed forever 

Here’s How the New Simpsons App Will Change Your Life

simpsons app change your life

Best. App. Ever. That’s the early consensus from most of us at TCA summer press tour as FX unveiled Simpsons World, which will allow fans to stream all 552 episodes of The Simpsons, and much, much more.

While John Landgraf had previewed Simpsons World for me earlier this year, this was everyone’s first look at it — and it did not disappoint. At Quartz, I listed five reasons why Simpsons World will change your life — and one reason it might not. Among the five: instant access to every Simpsons episode and clip ever.

Until now, there has never been a way to (legally) stream previous Simpsons seasons. FXX is kicking off its Simpsons run by airing each episode (and The Simpsons Movie) chronologically in a 12-day, round-the-clock marathon. Yet every episode will be available instantly at all times on “Simpsons World,” regardless of which episodes are currently airing on FXX. “Having a space where all of the episodes can be available simultaneously is key,” said FX Networks CEO John Landgraf. (The Simpsons Movie will be available “intermittently,” said FX’s COO and president of program strategy Chuck Saftler.)

Viewers can browse episodes chronologically through each season, and Saftler said he is also working on acquiring the original Simpsons shorts that aired during Fox’s The Tracey Ullman Show back in the late ’80s. There will also be a randomizer function that allows you to “spin the bottle and get any episode you want,” said Stephanie Gibbons, president of marketing and on-air promotions, who demoed “Simpsons World” for reporters.

I cannot stress enough how impressive Simpsons World is. This thing looks like a slum dunk.

Here’s how the new Simpsons app will change your life

Charts: How We Watch TV Now

how we watch tv now

Hundreds of reporters have assembled at TCA summer press tour, but as far as I’m aware, I’m the only one who wrote a detailed story about the fascinating panel with CBS, FX, Fox and Showtime’s research gurus, who talked about how audiences actually watch TV now.

“We’re in a new era of television,” said David Poltrack, chief research officer for CBS, noting that weekly TV viewing has increased 2% over the last three years, from 35 hours and 36 minutes to 37 hours and 50 minutes. “This is a golden era of television content, and the public is embracing television and engaging with television in a way that they never did before, because it is so much good programming.”

While I usually try to summarize my stories a bit here, there’s so much terrific information throughout the piece about delayed viewing lifts and multi-platform audiences that I urge you to read the whole thing yourself.

Charts: How we watch TV now

Why Most TV Shows Peak by Their Third Season

why most tv shows peak

You just never know where I great story idea is going to come from. While doing a Brooklyn Nine-Nine set visit at TCA summer press tour, I spoke with executive producer Mike Schur, who had some interesting thoughts on why most shows peak by their second or third season. I turned that into this Quartz story.

“Everyone’s favorite seasons of shows are seasons two and three, because you’ve had a year to get to know them, and then you’re still in the honeymoon period where you go, ‘This is great!’” Mike Schur, the creator and executive producer of the Fox comedy Brooklyn Nine-Nine, explains to Quartz. “And then after season three, everyone starts to go, ‘Eh, that show’s not as interesting as it was anymore.’ And it’s like, ‘Well you’ve been watching it for three years.’”

The night before, I’d spoken with Modern Family creator Steve Levitan, who is on the other side of that peak and is now dealing with a blacklash as it enters Season 6. Put those two interviews together, and you have one of my favorite TCA summer press tour stories yet!

Why most TV shows peak by their third season

‘NCIS’ is Taking Over the World—and New Orleans

NCIS taking over world

NCIS was recently named the most-watched drama in the world. Now the show is moving on to the next phrase of its global dominance, with the new CBS spinoff, NCIS: New Orleans, which the creative team discussed at TCA summer press tour. As I wrote at Quartz, while other networks might scoff at NCIS, CBS is laughing all the way to the bank:

“Our competitors may call it old-skewing. We call it a billion dollar franchise,” CBS Entertainment Chairman Nina Tassler said, adding that she is always looking to see if one of her shows can “expand to the global dominance of an NCIS. That is the Holy Grail.”

While the first NCIS spinoff, NCIS: Los Angeles, is almost as big a hit as the original, NCIS: New Orleans star Scott Bakula knows that success isn’t guaranteed: “We have to earn our place. It’s not a given.”

‘NCIS’ is taking over the world—and New Orleans

Three Decades After ‘The Cosby Show,’ Families of Color are Back on Network Television

three decades cosby show

Three decades after The Cosby Show, the broadcast networks are finally making sitcoms again that more accurately represent and reflect the diverse makeup of their audiences. At Quartz, I wrote about new fall sitcoms Black-ish and Cristela, as well as midseason comedy Fresh Off the Boat.

In doing so, the network is finally beginning to correct the embarrassing dearth of sitcoms featuring non-white families. “If you look at shows now that seem to lack diversity, they actually seem dated, because America doesn’t look like that anymore,” ABC Entertainment President Paul Lee told reporters at the Television Critics Association’s summer press tour. “People want to see voices that reflect the America that they know. … That’s not so much diversity as authenticity.”

As just as Cosby Show did 30 years ago, these three shows focus on themes that viewers of all ethnicities can easily connect with. “We love having a diverse slate, but we think these shows are deeply relatable. [When I watch them], I am one of those families,” said Lee, who admits that the new shows will hopefully appeal to international audiences as well. “We have a chance to resonate in the US and beyond. But make no bones about it, these are American stories, all of them.”

It also helps that Black-ish is terrific, and one of fall’s best new comedies. ABC’s Lee, who is leading the charge towards presenting diverse families, knows that he and his peers still have a long way to go to close the gap. But these shows represent a very promising start.

Three decades after ‘The Cosby Show,’ families of color are back on network television