I returned to Squawk Alley — and the New York Stock Exchange — today to talk about yesterday’s Quartz story on how Netflix is saving sitcoms, starting with Unbreakable Kimmy Schmidt. I also was able to touch on my reporting for my Adweek cover story on the state of network comedies.
It was a fun segment as always, and you can watch it here. (As usual, they’ve superimposed the CNBC logo over the Kimmy Schmidt clips they apparently aren’t allowed to stream.)
What was NBC to do when the network — which has forgotten how to launch and nurture new comedies — found itself with one of the best midseason series, Unbreakable Kimmy Schmidt? The only logical thing to ensure the show’s survival: give it to Netflix. As I wrote at Quartz,
As Netflix continues to change the way viewers watch TV, in the process evolving from a niche outlet to one that wants to be all things to all people, the streaming service has also done something unexpected: it’s helping to save the network sitcom.
While many new sitcoms are canceled long before they have time to hone their comedic voice and tailor the show to the strengths of its actors, Netflix’s two-season commitment to Kimmy Schmidt ensures the sitcom will get the breathing room it needs to find its comedic bearings. And while Netflix’s binge-loving audience gravitates toward serialized dramas like Breaking Bad, Kimmy Schmidt proves that this can also be an ideal method to watch comedies as well:
And while Kimmy Schmidt episodes might not end with a traditional cliffhanger designed to carry you over to the next episode, like Netflix’s dramas ordinarily do, the show boasts plenty of comedic momentum. Out of the first six episodes I’ve seen, each ones gets stronger and stronger, as Fey and co-creator Robert Carlock build out their world and slowly layer in more laughs. The fourth episode is by far the funniest, packed with uproarious pop culture riffs and a disturbing yet riveting turn from guest star Martin Short. In a normal broadcast environment, many viewers would have thrown in the towel long before that point.
There’s much more in my Quartz story, including an explanation why NBCUniversal ends up the biggest winner in the show’s migration to Netflix, and an explanation from Netflix chief content officer Ted Sarandos as to why this is such an “interesting turning point” for the industry. It’s somewhat of a companion piece to last month’s Adweek cover story on the not-so-funny state of network sitcoms.
Unbreakable Kimmy Schmidt debuts tomorrow on Netflix. Make sure you watch; every episode gets better and better!
Netflix’s newest debut proves it might be the modern sitcom’s last hope
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.
It’s been three months since TV & Not TV launched, and we couldn’t be more thrilled by the response from all of you. We’re celebrating today with this delicious ice cream cake from our friends at Häagen-Dazs in NYC. If you’re in Manhattan and need a cake, check them out!
Thanks to all of you for reading us and helping us grow over these past three months. And if you haven’t done so already, be sure to follow us on Twitter and like us on Facebook.
I was on WCCO News Radio 830 in Minneapolis today to talk about my Daily Beast story on series finales. Adam Carter and I had a great chat about some of the best and worst finales of all time, as well as this week’s fantastic Parks and Recreation finale. And we even touched on House of Cards a bit at the end. I can’t embed the audio, but you can find it here. Enjoy!
Playing an iconic Hollywood role can be both a blessing and a curse, but Star Trek’s Leonard Nimoy, who died at 83 on Feb. 27, of end-stage chronic obstructive pulmonary disease, made the most of the gift that was Mr. Spock. While at first resisting his association with the cult phenomenon, he managed to leverage that fame into other worthy opportunities, as I wrote at Quartz:
My first non-Spock exposure to Nimoy was as the host of the fantastic hit ‘80s Nickelodeon TV show, Standby: Lights, Camera, Action!, which took kids like me behind the scenes of movie productions. I learned so much from that show—I can still recite verbatim the segment where Nimoy explained what movie trailers were, screening the one for Scarface as an example, and why they were called “trailers” even though they came before the film. With that show, Nimoy helped educate and inspire a generation of movie lovers.
Spock’s signature phrase was “live long and prosper.” Nimoy took those words to heart and was able to do just that. He embraced one of the most famous rolesof all-time, and made it a blessing instead of a burden. RIP.
The Lego Movie was an unexpected smash last year, grossing $468.8 million worldwide and captivating parents and kids alike — everyone, it seems, except Oscar voters (grrr). A year later, the film’s writing-directing duo, Chris Miller and Phil Lord (who also wrote and directed 21 Jump Street and 22 Jump Street), are tripling down on their “Everything is Awesome” gamble, overseeing not one but three different Lego Movie sequels and spinoffs.
First up is Ninjago, a spinoff based on Lego’s popular Masters of Spinjitzu line of sets, which will be out Sept. 23, 2016. That will be followed on May 26, 2017 by a Lego Batman spinoff, with Will Arnett returning as Batman, directed by Chris McKay. Finally, 2018 will bring The Lego Movie Sequel, directed by Community and The Mindy Project director Rob Schrab, with Miller and Lord producing and writing the script.
I spoke with Miller (above, right) — who along with Lord (left) is also executive producing the innovative, hilarious new Fox comedy, The Last Man on Earth, debuting March 1 — for my recent Adweek cover story on the not-so-funny state of broadcast comedy. (“To do something that’s going to get people’s attention,” he told me of Last Man on Earth, “my theory is you have to do something that feels unique and special and gets people talking: ‘Did you see this thing?’ We wanted to do something that didn’t feel like anything you’ve seen before, because otherwise, what’s the point?”) But he also talked to me at length about how he and Lord were able to successfully rebrand a pair of beloved franchises, and how they’ll (hopefully) do it all over again with the upcoming three Lego films:
Between Lego Movie and the Jump Street films, how were you able to take these brands that people have known and loved for years, and…
And make something new out of them? Well the first thing is to take it very seriously and to think about whatever you’re talking about and find the love and the joy in it. And to try and be smart about it, and not just do the most common denominator. When we were doing The Lego Movie, our big fear was it was going to feel like a giant toy commercial. And that was the last thing we wanted to do, ever. So I think by making it feel like it was just a piece of personal expression that was using the bricks as a medium to tell a story made it feel like oh, this is something that somebody made, not something that came from corporate, on high.
I feel like people can sniff that stuff out. When a corporation is trying to make a viral video, and everyone in it is drinking Dr. Pepper or something, you’re like, ‘Oh, you’re trying to sell me Dr. Pepper here, man!’ And people don’t like to feel like they’re being sold something. So we just don’t ever let a choice be made for that reason. Then in the end, it ends up being, you know, good!
After you pulled off 21 Jump Street, did that make tackling Lego Movie less daunting?
That was a crazy risk, obviously, turning that into a weird, self-aware comedy. That was mostly born out of our embarrassment about knowing that rebooting television shows is a morally bankrupt approach to making movies. But we loved the concept of guys getting a second chance to go back to high school and I enjoyed the original show, so it seemed like it was mostly us apologizing. Like, “We know this is a crazy idea for a TV show, but we know it and we’re trying to make it good. So just be on our side on this!” So one of our things is trying to get the audience on your side and going, “Hey, we’re all in this together, let’s have a good time.”
How do you replicate your Lego Movie success with the next three films?
Yeah, there’s three so far. The key is hiring different filmmakers for each one who can make the tone their own. They can’t all feel like the same exact thing. So, the Ninjago one has a very distinct tone of its own. It feels like a comedy Kurosawa movie or something. And the Batman one has got some of the most crazy action you’ve ever seen. Each one has its own voice and it feels true to the thing that we made, but it also feels like again it’s a filmmaker making something and using this as a medium to tell a fun story.
You talked before about being worried The Lego Movie would seem like a commercial. It would seem that’s even more of a concern now.
That’s the danger there, exactly!
Because now, Lego is probably saying to you, “Come up with this so we can sell even more Legos!”
Exactly. Part of doing Lego 2 was saying, we want to make everybody nervous again like they were the first time. We want to make the Lego group nervous, and we want to make Warner Bros. nervous. And if we’re not making them nervous, then we’re not pushing it far enough and we’re not doing our job.
Sometimes my Quartz stories migrate over its sister site, The Atlantic. That happened again today with yesterday’s Quartz piece about Modern Family’s brilliant Apple product integration, which was picked up today by The Atlantic.
The story got an excellent response yesterday (and this morning) from Quartz readers, so I’m thrilled that it will get new life today. And if you haven’t be sure to watch the “Connection Lost” episode if you haven’t already!
Product integration has become unavoidable in TV and film as advertisers desperately try to reach those viewers who routinely skip past commercials. And while viewers endure most of it as a necessary evil, every once in a great while, there’s a truly brilliant combination of product and program. And that what’s happened in tonight’s Modern Family, which features possibly the best product integration of all time: the entire episode is told through Claire Dunphy’s MacBook Pro, and the apps she uses to communicate with her family. As I wrote at Quartz,
In the context of the plot, Apple’s apps, and their familiar sound effects, are as much a part of the action as Claire and the rest of her boisterous family are. FaceTime, Messaging, Safari, iTunes, Reminders, iPhoto and even the iCloud all make appearances at one time or another, but non-Apple apps like Facebook, Instagram and Google also get some screen time. The result is an episode that’s incredibly effective and very funny, without ever actually seeming like an ad. In part, that’s because—surprise!—Apple didn’t pay a cent to be involved. Instead, the idea came from Modern Family co-creator Steve Levitan, who co-wrote and directed the episode. Levitan was inspired in part by a FaceTime chat with one of his college-age daughters. “This came from life and it made sense,” Levitan told the Associated Press.
Best of all, because there’s no quid pro quo, the episode is devoid of the usual nonsense that accompanies almost all product placement. You can read much more about the episode, and how it validates a vow that Levitan made to me last summer, here.
‘Modern Family’s’ Apple-centric episode is product placement at its best — and great TV
As Marvel’s Agent Carter wrapped its brisk, eight-episode first season in fine form last night, I spoke with Marvel’s head of television, Jeph Loeb, for this Daily Beast story about what’s on tap for the company next (five upcoming Netflix series, starting with Marvel’s Daredevil) and why Agent Carter was able to immediately connect with audiences in a way that Agents of SHIELD did not last season.
From its outset, Agent Carter received a much more enthusiastic response from audiences than S.H.I.E.L.D., which Loeb attributes to confusion over what exactly S.H.I.E.L.D. was when it premiered in fall 2013. “There were certain expectations about S.H.I.E.L.D. that people had,” he says. “Despite the fact that we had a very strong message out there which is ‘not all heroes are super,’ I still think people came to the show thinking that the Hulk was going to be in the first episode and Iron Man was going to be in the second episode and Cap was going to be in the third episode. But once they got into the show and realized, ‘Oh, look at all these characters and look at this world and look at what we’re getting out of it,’ then they were ready to get into the show and take it where it was. With Carter, there was no misinformation. It was: Here she is, this is the world that we’re in.”
And even with seven Marvel series on-air and in the pipelione, Loeb doesn’t think the market is oversaturated yet:
“There’ll always be room to expand. This isn’t about which shows we’re doing. It really is about, ‘What’s the best story?’ We’ve never chosen any of our shows based on a particular need as much as the stories that we want to tell and how they can work both to help build out the brand, and at the same time help build out the storytelling that we’re doing,” he says. “Part of the reason why the Netflix shows happened was because we’ve wanted to be able to tell the stories of the street-level heroes, and that was a better fit for that network than what we were doing over at ABC. That doesn’t mean that there aren’t other shows at either network that wouldn’t be fun and exciting to do.”
Check out the rest of the interview, in which Loeb reveals which Marvel actor is already begging for a Daredevil cameo, how Marvel keeps track of all the characters in the Marvel Cinematic Universe and which films/shows they’ve appeared on and why the company’s TV moves aren’t a response to whatever rival DC is doing.
Marvel’s TV Takeover: Television Chief Jeph Loeb on What’s Next After ‘Agent Carter’