I returned to Squawk Alley this morning, to discuss today’s debut of Marvel’s Daredevil, and my Quartz story about how terrific Marvel and Netflix’s first collaboration is. Here’s a portion of my segment (as usual, CNBC doesn’t stream the various Daredevil clips that were shown during the segment; there are placed with a big CNBC logo in the streaming footage).

I did today’s segment from CNBC’s Englewood Cliffs, N.J. headquarters, which is usually more convenient for me, but that won’t be the case for much longer. Stay tuned…

‘Daredevil’ refreshing: Quartz’s Lynch

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Marvel is no stranger to powerhouse collaborations — look at next month’s Avengers: Age of Ultron — but its most promising, game-changing partnership this year has nothing to do with Iron Man and Captain America. Instead, it kicks off tomorrow, when its new TV series, Marvel’s Daredevil, debuts on Netflix. As I wrote at Quartz,

Bringing together Marvel and Netflix, Marvel’s Daredevil, which debuts its thrilling 13-episode first season on Netflix April 10, ushers in an Avengers-level teaming up of Hollywood titans. In the past few years, no two companies have changed the entertainment landscape as much as Marvel (now every studio is pursuing its own version of the Marvel Cinematic Universe) and Netflix (which between pioneering binge-watching and creating groundbreaking shows like Orange is the New Black, has knocked every other network on its heels). Now they are at it again, devising an exciting new path for the crowded TV superhero genre.

And the series — the first of five Marvel/Netflix shows that will culminate in Marvel’s The Defenders, an Avengers-like teamup of its “street-level heroes” — is fantastic:

Unlike the other TV superhero series, Daredevil is aimed at grownups—or, at least, not the kids who watch much of Netflix’s other superhero fare. Karen Paige (Deborah Ann Woll from True Blood), the firm’s first client turned secretary, notes that after the violent events of the first episode, “I don’t see the city anymore. All I see are its dark corners.” And that is where Daredevil lives: the show employs a very dark palette (after all, Murdock doesn’t need lights). While Marvel’s Agents of S.H.I.E.L.D. and Marvel’s Agent Carter are glitzy and glossy, this one is gritty and grimy. An early episode features a brutal, gruesome decapitation; not something you’d find on any broadcast TV show.

But where Daredevil—which erases all memories of the mediocre 2003 film with Ben Affleck—really shines is in its inventive action sequences, particularly an ingeniously executed, prolonged fight sequence late in the second episode. It feels real, and brutal. You can see superheroes fighting back guys all over TV, but nowhere else does it feel this visceral.

Marvel and Netflix still have a long road ahead, but they couldn’t have asked for a better start to their partnership than Daredevil. Don’t miss the series when it debuts tomorrow!

Inside Netflix and Marvel’s titanic team up on Daredevil

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Another Friday, another new series launch for Netflix. And given that everything Netflix touches these days seems to turn to gold, developing a new series for the streaming service might appear to be a relatively easy task. But in truth, making an original series specifically for Netflix requires, as Liam Neeson might say, a very particular set of skills.

That was what Todd A. Kessler, Daniel Zelman and Glenn Kessler — who previously created Damages — discovered when they made Netflix’s latest binge-worthy series, the drama Bloodline. As I wrote at Quartz,

While some network series like Damages and Breaking Bad have proven well-suited for Netflix binge-viewing, they were conceived to be viewed on a traditional TV schedule: one episode per week. There is an art to creating a series for Netflix’s binge-loving subscribers, who frequently watch several episodes of a show in one sitting. Todd Kessler, with help from Daniel Zelman and Glenn Kessler, shared with Quartz how they tailored Bloodline specifically for Netflix’s audiences.

This was a fascinating look into the process of creating a show for a modern-day audience. Among the key points they highlighted: There’s no need to repeat key information in every episode.

“One huge thing for serialized storytelling is knowing that someone on Netflix will, as far as I understand, start at the beginning,” says Glenn Kessler. “They’re not going to tune into Week 7 because there is no “Week 7,” and as a storyteller, you know that they’ve seen everything that you wanted them to see at that point in the story.”

As a result, Netflix viewers are more engaged in every story beat. “Certainly on Netflix, people are exclusively sitting down to watch and be entertained,” says Glenn Kessler, as opposed to what happens “historically: people put their televisions on and do other things while they’re watching something.” That means the writers don’t have to worry about regurgitating basic information week after week for viewers joining in late, or who may have missed certain episodes. Instead, they can focus on fleshing out the story and the characters.

Before you start binge-watching Bloodline, make sure you read the story!

Here’s the recipe Netflix uses to make binge-worthy TV

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When I wrote about my 2015 resolutions for networks and streaming outlets back in December, I noted that “simply no room for anything less than the very best. Upstart content providers: is your new series as phenomenal as Orange is the New Black or Transparent? If the answer is no, don’t bother.”

PlayStation didn’t listen. On March 10, it launched its first original series, Powers, for its PlayStation Network. As I wrote at Quartz,

With its original series streaming plans, PlayStation Network had hoped to become the next Netflix, but given the lukewarm reception for Powers, it would have better off as the next Xbox: a brand that smartly bowed out of creating original content rather than get lost in the digital TV clutter.

Unlike the warm embrace given to Netflix’s first high-profile series, House of Cards, Powers’ reception has been decidedly mixed and far from rapturous.

One recurring criticism is that Powers looks “cheap,” which must be particularly tough for PlayStation to hear, given that the company has insisted that the show’s budget is on par with Netflix series like Orange is the New Black and House of Cards.

Sony wants Powers to sell PlayStation Plus memberships, but that’s not going to happen if consumers have no interest in watching given the show’s lukewarm reception. Netflix, meanwhile, can now safely cross another potential streaming competitor off the list.

PlayStation wants to be the new Netflix, but that will never happen

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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.)

Can Netflix save sitcoms?

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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

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For far too long, broadcast networks have programmed shows that don’t accurately reflect the cultural backgrounds of the audiences watching them. ABC has been changing that with a far more diverse slate than its broadcast counterparts. As I wrote at Adweek, the network’s entertainment president Paul Lee talked about the strides ABC has made as he met with reporters at winter press tour.

“I think it’s our job to reflect America,” said ABC entertainment president Paul Lee at the Television Critics Association’s winter press tour this week. “I really believed from the beginning that the demographic changes in America were just as important to our revolution as the technological changes.”

At the same time, Lee noted, “We didn’t pick up these shows because they were diverse, we picked them up because they were great.”

Lee addressed a variety of other topics, including anthology-style series, the death of “least objectionable television,” and why binge-watching isn’t a bad thing. He also said that he has finally gotten the message about launching music competitions after last summer’s Rising Star fared even worse than Duets two years earlier. “I don’t think we’ll try that for a little bit,” he said. “I’m sure we’ll come back to that in the future.”

ABC’s Success With Diversity Comes From Focusing on Creators, Not Just Stars

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It’s not easy breaking exclusive news when you’re alongside 200 TV journalists at press tour, but it can be done. While researching my Adweek story on the launch of Pop, I noticed that a retrospective on The Cosby Show, announced last October as part of Pop’s initial slate, had quietly been dropped from the lineup. Brad Schwartz, Pop’s president of entertainment and media, explained his decision to place the episode on “permanent pause”:

“With everything going on, why do you need to run it?” said Schwartz, whose rebranded channel, Pop, celebrates “enthusiastic fandom,” which is pretty much the opposite of how most audiences now feel about Cosby. “I’m not going to pass judgment or make a decision on who’s right and wrong, but it was a very easy decision for us to say, ‘Let’s not air it.'”

The marks at least the fourth Cosby-related program to be taken off the air in the wake of Bill Cosby’s scandal. I also asked Schwartz, who had previously pulled 7th Heaven off TV Guide Network in response to the Stephen Collins child molestation allegations, if there are any circumstances under which the show will air. You’ll have to read what he told me.

Cosby Show Retrospective Quietly Pulled From Rebranded TV Guide Network’s Lineup

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Something happened at Sunday’s Golden Globe Awards that had never occurred on a televised awards show before: one of the winners started off her acceptance speech by thanking Amazon and Jeff Bezos.

That person was Jill Soloway, who picked up Amazon’s first-ever TV award for one of 2014’s best shows, Transparent. (Jeffrey Tambor added to the tally later in the evening, with his own trophy.) As I wrote at Quartz,

The victory was especially sweet for Amazon because it triumphed over co-nominee Orange is the New Black, from its streaming competitor, Netflix. While House of Cards’ Kevin Spacey later won a Globe for best actor in a drama, giving Netflix one trophy out of seven nominations, Netflix still hasn’t broken through with a best comedy or drama series win at the Golden Globes or Emmys.

Now Amazon has beaten them to the punch. It’s not quite David beating Goliath, but for one night at least, Amazon—which still lags far behind Netflix in total streaming video usage—is the top streaming network in Hollywood.

I also talk about why the Globes victory couldn’t have come at a better time for Amazon.

For one night at least, Amazon reigns supreme over Netflix

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The first day of TCA winter press tour is in the books, and I rounded up the highlights from Netflix, ESPN and National Geographic Channel for this Adweek story.

Among the highlights: Tina Fey talked about why her new NBC sitcom, Unbreakable Kimmy Schmidt, ended up on Netflix instead:

Given the grim fate of this season’s new broadcast sitcoms (RIP, Manhattan Love Story, Selfie, A to Z and Bad Judge), Fey couldn’t be happier about her show’s unlikely new home. “All of the networks have had a little trouble launching their comedies this season,” said Fey. “I think more people will find us like this.” For ambitious comedies like Community (which migrated to Yahoo Screen after NBC canceled it last May) or Kimmy Schmidt, “it just makes more sense than broadcast.”

The sad truth: Even NBCUniversal realized that its own network wasn’t the ideal place to nurture Fey’s new sitcom. “The show is made by NBC; it’s in NBC’s best interests for the show to have its best home,” said Fey. “And rather than trying to stick it on NBC between a multicam and a drama, they agreed that this would be the right place for it.”

There’s also lots of detail on Netflix’s grand ambitions to be “something for everyone” and ESPN adding short films to SportsCenter.

NBC Ditched Tina Fey’s New Sitcom—and She Couldn’t Be Happier

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