NATPE - National Association of Television Program Executives

NATPE 2009 Offers Digital Briefings

Wed, 31 Dec 2008 18:03:37 +0100

With the goal of providing a clear understanding of the technologies and transformations that are impacting the television production and distribution business models of the past, NATPE has organized a series of Digital Briefings that will help you to navigate current and future opportunities. Each day during the NATPE Market & Conference in Las Vegas, NATPE will present Digital Briefings that examine the companies leading the charge into the digital and broadband age as well as introduces you to key decision-makers from technology and new media sectors. Whether it’s cutting-edge research, formal overviews, in-depth case studies or stimulating discussions, each Digital Briefing provides an opportunity to leverage content in new and exciting ways.

Steve Cooperman, product line business manager for Panasonic Broadcast and Television Systems’ P2 HD Systems, gets the Digital Briefings started on Tuesday, January 27, at 11 a.m. with a how-to session on Creating High Quality, Cost-Efficient Network Pilots with the Panasonic P2 HD system.

Following Panasonic, Adobe will be raffling off a copy of its Production Premium CS4 software during its Digital Briefing on New Ways to Create and Monetize Video for Multiple Screens at 11:45 a.m. Citing the successes of media companies using Adobe’s integrated tools, the briefing will give real-world examples of how to reach the widest possible audiences by utilizing faster, more efficient workflow from planning to playback with unmatched creative control, including support for tapeless workflows, speech to text conversion and XMP metadata.

At 12:30 p.m. Capgemini, a global leader in consulting, technology and outsourcing services, presents findings and recommendations on innovative applications for drama on original and cross-media platforms during its Reinventing Television: The Future of TV Drama. Delivering the data straight from writing creatives and leading network, studio and production company drama executives are Katrina Wood, founder and CEO of MediaXchange Ltd., a media consultancy assisting media professionals in the development of effective knowledge, contacts and business in the international marketplace; and Theodore Garcia, strategy and advisory lead for Capgemini America’s Media & Entertainment division.

MicrosoftTV looks Beyond the Entertainment Network: The Lifestyle Package during its Digital Briefing at 1:15 p.m. Shari Barnett, director of marketing for Microsoft, examines how the business of TV as well as the screen itself is evolving as part of the consumer’s connected universe.

Teradata Corporation’s principal industry consultant James Semenak and Capgemini’s strategy and business transformation lead James Rooke consider Reinventing Television: Audience Collaboration – New Revenue and Funding Opportunities at 2 p.m. Analyzing consumer behaviors and preferences has created an opportunity for those who can match the right advertising and content to the right audience sector, resulting in an effective means for monetizing production and distribution.

George Winslow, contributing editor of HD Update, leads Douglas A. Lee, EVP worldwide digital media at MGM, and Maryann Baldwin, VP of Frank N. Magid Associates, through a discussion on Synergizing the High Definition Explosion at 3:30 p.m. Citing recent consumer studies on HD TV purchases, the trio examine how telcos, retailers and HD programmers can work together to educate consumers.

On Wednesday, January 28, Kirk Kopic, president of Vimation, a video interactive media firm that has developed an interactive video and rich media platform called VIM, will present three case studies demonstrating how content publishers, advertisers and consumers are engaging and interacting with content on the VIM platform during Monetizing Premium Content for the Online Environment at 9:30 a.m.

For those interested in knowing Who Is Funding Who? catch the Digital Briefing slated for 9:30 a.m. on Thursday, January 29, to find out.

Entertainment and media companies hoping to drive growth over the next five years will need to accommodate dramatic changes in devices, market and consumer behavior through striking strategic business alliances, according to PricewaterhouseCoopers’ Global Entertainment and Media Outlook: 2008–2012, released last month.

The report also underscores the importance of continuing to extract revenues from traditional business segments while emerging technologies continue to solidify their consumer position. The highly anticipated annual report pegs global compound annual growth rate (CAGR) at 6.6% for the sector, anticipating it reaching $2.2 trillion in 2012.

“We’re seeing a new business model solidify for entertainment and media companies,” said Marcel Fenez, managing partner, Global Entertainment & Media practice, PricewaterhouseCoopers. “Some, such as the film industry, have dabbled in this in the past, but those will be small movements compared to what lies ahead. No single company will be able to successfully go it alone over the next five years. The challenges are too significant and the demand for innovation too complete.”

Strategic Alliances Will Replace Vertical Integration
Several critical technologies are now reaching tipping points that will deeply influence both the pace and direction of entertainment and media growth over the next five years. Broadband penetration continues to accelerate globally. Mobile is gaining ground quickly – adding subscribers and upgrading infrastructure to enable the next wave of mobile expansion, driven by Internet access, advertising and television. Modern movie houses, digital cinemas and 3-D upgrades are enhancing the cinema-going experience, while high-definition television subscriptions and a resolution of the high-definition DVD format wars will invigorate digital living rooms. The impetus behind these new technologies is rarely established companies. The global broadband boom continues unabated, fuelling overall growth, and more than doubling again to 661 million households in 2012, a 16.4% compound annual increase.

While digital and mobile are driving growth, established and traditional business segments will continue to dominate revenues, with the exception of recorded music, where digital distribution will surpass physical distribution in 2011. Although digital and mobile distribution comprised only 5% of global entertainment and media spending in 2007, these revenues will account for 24% of all growth throughout the industry during the next five years. By 2012, digital and mobile revenues will account for just 11% of total entertainment and media spending, or $234 billion of the $2.2 trillion global market.

Health of Media Driven by Net Generation and Maintained by Consumers 50+
The Net Generation continues to set the pace and direction of change in the entertainment and media industry while exhibiting an influence that is driving new business models that are revolutionizing the relationship between companies and their customers. As they make these technologies regular components of their everyday lives, the Net Generation is also driving the technology engagement of prior generations, connecting older generations with the latest trends in emerging media technology.

This is truly a global phenomenon that companies are increasingly paying attention to. Consider:

In the BRIC countries, people under the age of 25 comprise at least 31% of the countries’ total populations – 43% in Brazil, 31% in Russia, 50% in India and 38% in China. Meanwhile, in the United States, people under the age of 25 represent 34% of the total population. The imperative, then, is that companies must expand their global reach to young people who will propel spending on Internet access and digital entertainment and media during the coming years.

Consumers over the age of 50 are creating a balance in the industry by devoting significant amounts of attention to the more traditional media of their generation as the Net Generation drives growth in digital and mobile entertainment. In every region of the world except EMEA, the 50+ population will see double-digit growth rates, and globally this population will increase from 1.1 billion to 1.25 billion, a 13.1% rise through 2012. This growth will help sustain traditional formats even as this generation becomes increasingly interested in the platforms embraced by their children and grandchildren.

Over the next five years, Asia Pacific and Latin America will be the fastest-growing regions. Double-digit increases are expected in each region for Internet advertising, Internet access spending, TV subscription and license fees, casino and other regulated gaming and video games. Latin America will total $85 billion in 2012, up from $51 billion in 2007, advancing from a relatively small base at 10.6% CAGR. Meanwhile, spending in Asia Pacific will average 8.8% CAGR, the second highest of any region, increasing from $333 billion in 2007 to $508 billion in 2012.

EMEA, the second largest market, will expand at a 6.8% CAGR to reach $792 billion in 2012. Central and Eastern Europe and Middle East/Africa will fuel growth in this territory. Internet advertising, Internet access spending and video games will continue to average double-digit compound annual increases during the next five years.

The U.S. currently remains the largest but slowest-growing entertainment and media market, growing at a 4.8% compound annual growth rate and reaching $759 billion in 2012. Internet advertising and Internet access spending will be the only two segments with double-digit growth during the next five years, boosted by continued growth in broadband.

“In the U.S., consumers are taking a preference for free, or heavily discounted, ad-supported content and services in the new digital and mobile environment,” said Jim O’Shaughnessy, global chairman, Entertainment & Media practice, PricewaterhouseCoopers. “This ensures that the importance of advertising will continue to grow – both to entertainment and media companies themselves and to their customers.”

As the trend toward globalization in the entertainment and media industry continues, Brazil, Russia, India and China will remain important sources for growth throughout the entire sector, driven by rising disposable incomes and an increasingly urbanized middle class. In addition, a large and diverse group of countries are also breaking away from the pack. Entertainment and media markets across 15 countries will expand at double-digit annual rates during the next five years, with Saudi Arabia and the Pan-Arab region experiencing the fastest growth. Vietnam will be the world’s fastest-growing television subscription and license fee market over the next five years – growing at 29.3% CAGR.

Colombia will be the fastest-growing entertainment and media market in Latin America. The Internet access market in Saudi Arabia and the pan-Arab states will grow at 30.1% CAGR, rising to $13.8 billion in 2012, surpassing Russia and rivaling France. Internet advertising, Internet access spending and TV subscriptions will lead the industry expansion in these territories – the broadband household universe will expand at more than 20% CAGR.

Growth Is Driven by the Rising Value of Online and Mobile Opportunities
While Internet advertising growth will moderate from that in recent years, it will see the most robust growth, at 19.5% CAGR through to 2012. Internet access (12.1% CAGR), video games (10.3% CAGR) and television subscriptions and license fees (10.1% CAGR) will all experience double-digit growth.

More established segments – television advertising (5.9% CAGR), theme parks (5% CAGR), casino gaming (6.5% CAGR), filmed entertainment (5.3% CAGR) and sports (6.5% CAGR) – are all set to grow at between 5% and 7% compounded annually.

The publishing segments including Newspapers (2.2% CAGR), Consumer Magazine (3.5% CAGR), Consumer & Educational books (2.8% CAGR), Business-to-business publishing (3.2% CAGR) as well as recorded music (-0.6% CAGR) face the stiffest challenges, where the declines in physical distribution are at their most significant and growth in digital distribution – although rapid – is struggling to make up for the shortfall.

“Companies are rapidly embracing new and emerging technologies in the entertainment and media industry, while adapting to the demands of the Net Generation. And rightly so, because it will help to drive their business forward and remain competitive in a marketplace driven by innovation. However, they must also remain focused on managing their traditional businesses, a key component and driver of their revenues. By effectively managing emerging and traditional business lines, they will be able to identify opportunities they can exploit so they can migrate to the new digital environment and meet the demands of the Net Generation,” added Marcel Fenez.

PricewaterhouseCoopers’ Global Entertainment and Media Outlook: 2008–2012, the ninth annual edition, contains in-depth analyses and forecasts of 15 major industry segments across five regions of the globe – the United States, EMEA (Europe, Middle East, Africa), Asia Pacific, Latin America, and Canada – plus a Global Overview. It is available in hard copy or electronically (PDF) for US$995 at Global Entertainment & Media Outlook: 2008–2012[http://www.pwc.com/extweb/pwcpublications.nsf/docid/5AC172F2C9DED8F5852570210044EEA7?opendocument&vendor=none]. The Global Overview is available separately for US$95 in hard copy or electronically, and individual segment chapters are also available for US$95 in electronic format only.

About PricewaterhouseCoopers
PricewaterhouseCoopers[http://www.pwc.com/], the network of member firms of PricewaterhouseCoopers International Limited, each of which is a separate and independent legal entity, provides industry-focused assurance, tax and advisory services to build public trust and enhance value for its clients and their stakeholders. More than 146,000 people in 150 countries across its network share their thinking, experience and solutions to develop fresh perspectives and practical advice.

Fiona Scholes Tel: +44 (0) 20 7804 2695 email request reference number PWCK55N3FI14

What to Expect Mid-Season

Wed, 10 Dec 2008 19:54:27 +0100

As the final tally from November’s primetime sweeps register, the nation’s five broadcast networks are readying their schedules for mid-season. Although a new president and a promise of change have filled many with hope and excitement, a slowing economy and predictions of a lean advertising year ahead have already prompted significant layoffs across media companies nationwide. In spite of less than optimistic expectations, here are the network programming changes we can look forward to in 2009…

ABC

First in adults 18-49 for the fourth consecutive November sweeps period, ABC averaged a 3.2 rating/9 share while amassing 10.53 million viewers for a second place finish in total viewers behind CBS.

The network will be introducing four new shows to its mid-season lineup, including Monday night’s reality competition True Beauty, which will end in March, opening the time period for Castle on March 9.

True Beauty, from executive producers Tyra Banks (The Tyra Banks Show, America’s Next Top Model) and Ashton Kutcher (Punk’d, Beauty and the Geek) redefine the concept of beauty on Monday, January 5 at 10 p.m. Hosted and judged by Vanessa Minnillo (former host of TRL and Entertainment Tonight), along with former supermodel Cheryl Tiegs and fashion expert Nolé Marin, the series will determine the inner beauty of six stunning females and four handsome males who live together in a spectacular Los Angeles mansion as they undergo a series of challenges to determine who is truly the most beautiful.

For Tuesdays, Primetime: What Would You Do? will debut January 6 followed in the time period by the drama series Cupid beginning March 24. In the 8 p.m. time slot, Homeland Security USA, formerly titled Border Security, replaces a one-hour block of According to Jim on January 6.

Seres Premiere

Cupid, which had a 15-episode run on ABC during the 1998-99 season, returns with Bobby Cannavle (Will & Grace) playing Pierce, who may be the Roman god of love. The romantic dramedy, created by Rob Thomas, is set to air on March 24, 2009, at 10 p.m. and is produced by ABC Studios with Sony Pictures Television and Slave Rats.

Homeland Security USA, made up of 13 hour-long episodes shot entirely on location throughout the United States, is based on a popular Australian series now in its fifth season. Produced by Oscar® and Emmy winner Arnold Shapiro (Scared Straight, Big Brother), the series has been given unprecedented access to the agencies of the Department of Homeland Security and has the full cooperation of CBP (Customs & Border Protection) including CBP’s Border Patrol; ICE (Immigration & Customs Enforcement); TSA (Transportation Security Administration); USCG (United States Coast Guard); and USCIS (United States Citizenship & Immigration Services). Each episode will take cameras and viewers into situations never before seen on television, covering eight or more locations on the front lines where the officers and agents work each day. Paul J. Coyne is supervising producer, and Gigi D’Amore is coordinating producer. Homeland Security USA is a Nate and Lil Production.

On Wednesdays, ABC will premiere The Goode Family at 8:30 p.m. Life on Mars continues in January and will be followed by The Unusuals from Sony Pictures Television beginning April 8 at 10 p.m.

The Goode Family is a new animated series from Mike Judge (King of the Hill) about a family that is obsessed with doing the “right” thing whether it’s environmentally, politically or socially. Unfortunately their efforts often have unintended comic consequences. Voiced by Mike Judge as Gerald, Nancy Carell as Helen, Dave Herman as Ubuntu, and Linda Cardellini as Bliss. Executive producers for The Goode Family, produced by MRC and 3 Arts Entertainment, are Mike Judge, David Krinsky, John Altschuler, Michael Rotenberg and Tom Lassally.

The Unusuals is a new drama series about an NYPD vice detective who is unexpectedly transferred to the homicide division. It premieres on Wednesday, April 8 at 10 p.m. The series is written by Noah Hawley and directed by Stephen Hopkins.

CBS

Leading in total viewers (live + same day) with 11.74 million for the November sweeps period, CBS finished second to ABC in adults 18-49 with a 3.1 rating/8 share.

CBS will bring in the new Game Show in My Head from Ashton Kutcher on Saturday, January 3 at 8 p.m. for a one-hour block, Flashpoint returns on January 9 at 9 p.m., with mystery drama Harper’s Island on April 9 at 10 p.m. CBS also ordered five more episodes of Eleventh Hour from Jerry Bruckheimer and Warner Bros. Television. To date, the drama has averaged a 3.3/9 among adults 18-49.

Game Show in My Head is a hidden camera game show that asks ordinary people to perform extraordinary tasks on an unsuspecting public to win up to $50,000. Under the watchful eye of host Joe Rogan, each contestant performs five outrageous, embarrassing and hilarious tasks worth $5,000 each. In a no-holds-barred bonus round, each contestant has the chance to double their money up to $50,000. From fox21, Game Show in My Head is produced by Hat Trick Productions and Katalyst Films. Executive producers are Jimmy Mulville & Leon Wilde and Ashton Kutcher, Jason Goldberg, Karey Burke and Michael Binkow.

Flashpoint, which enjoyed a successful summer run, returns to Friday nights at 9 p.m. on January 9. Starring Enrico Colantoni, Hugh Dillon, Amy Jo Johnson, David Paetkau, Michael Cram, Sergio Di Zio, Ruth Marshall and Mark Taylor, the series depicts the emotional journey into the tough, risk-filled lives of a group of cops in the Strategic Response Unit (inspired by Toronto’s Emergency Task Force). Produced by Pink Sky Entertainment in association with CBS Paramount Network Television, Bill Mustos and Anne Marie La Traverse are executive producers.

Billed as a 13-episode mystery event, Harper’s Island premieres Thursday, April 9 at 10 p.m. and concludes Thursday, July 2. The mystery drama series follows a group of family and friends who travel to a secluded island for a destination wedding. As the wedding festivities begin, friendships are tested and secrets exposed as a murderer claims victims, one by one, transforming the wedding week of fun and celebration into a terrifying struggle for survival. Jon Turteltaub (Jericho) and Jeffrey Bell (Alias, The X-Files) are executive producers for CBS Paramount Network Television in association with Junction Entertainment. Karim Zreik (Jericho), Dan Shotz (Jericho) and Tyler Bensinger (Cold Case) are co-executive producers and Ari Schlossberg (Hide and Seek) is co-executive producer and creator.

NBC

Placing third in both adults 18-49 (2.8 rating/8 share) and total viewers with 7.70 million, NBC announced a new hour-long The Office which premieres in the coveted spot immediately following Super Bowl XLIII on February 1 at 10:30 p.m. In addition, NBC has scheduled the two-hour series finale of ER for Thursday, March 12 at 9 p.m.

The original movie event XIII, starring Val Kilmer and Stephen Dorff, will air on Sunday, February 8 and 15 at 9 p.m. both nights. Then beginning on March 1, special two-hour episodes of Celebrity Apprentice begin at 9 p.m.

XIII is an adrenaline-charged miniseries that begins dramatically as the first female U.S. president is shot dead by a sniper during her Veterans Day speech. Three months later, a wounded man is found tattered in a forest with no memory of his identity. The only clue is a tattoo on his neck – XIII. Submerged in a far-reaching conspiracy that threatens to overthrow the entire government, XIII’s identity becomes the key to unraveling a complex and dangerous secret that will shock and excite. XIII is an official Canada/France co-production, developed and produced by Prodigy Pictures and Cipango in association with Power. Prodigy Pictures’ Jay Firestone, Cipango’s Edouard Vesinne and Thomas Anargyros and Power’s Justin Bodle will serve as executive producers. Directed by Duane Clark (CSI, Meadowlands), XIII is written by David Wolkove (La Femme Nikita, Relic Hunter) and Philippe Lyon (The Trail, Alive).

The Celebrity Apprentice and host Donald Trump will return with two-hour episodes and a dynamic cast of brilliant celebrity business minds as 16 new celebrities will be vying for the coveted title, using all their business savvy as they fight for causes close to their hearts. Celebrities will be subjected to long hours, grueling mental challenges, personality clashes, and intense scrutiny – and, ultimately, will face the judgment of Donald Trump and his advisors in the boardroom, which include his children (and colleagues) Ivanka Trump and Donald Trump Jr.

On March 19, a two-hour premiere of the highly anticipated drama series Kings is slated for 9 p.m., and moves to its regular time slot of Thursday night at 10 p.m. beginning March 26.

From executive producer Michael Green (Heroes), Kings is a riveting new drama about a modern-day monarchy. A contemporary retelling of the timeless tale of David and Goliath, the series is an epic story of greed and power, war and romance, forbidden loves and secret alliances – and a young hero who rises to power in a modern-day kingdom. Ian McShane (Deadwood) stars as King Silas Benjamin, the well-entrenched king of Gilboa. Silas must deal with the tensions rising between Gilboa and neighboring nation Gath. When several prisoners of war are taken, a young soldier, played by Chris Egan (Eragon), defies orders and crosses enemy lines to save them. Unknown to the young soldier is that one of the men he saves, played by Sebastian Stan (The Covenant), is the son of the king. The series is from Universal Media Studios and is executive produced by Green, Erwin Stoff (I Am Legend) and Francis Lawrence (I Am Legend), who also directed the pilot.

Premieres for additional mid-season shows – The Untitled Amy Poehler Project and The Philanthropist – will be announced at a future date.

Fox

Lagging just slightly behind NBC in adults 18-49 (2.7 rating/7 share) and total viewers (7.1 million), Fox has one drama and one unscripted series to launch mid-season and will premiere its two new animated series in the spring.

From Joss Whedon, creator of groundbreaking cult favorites Buffy the Vampire Slayer and Firefly, comes Dollhouse, Monday nights at 8 p.m. The gripping, high-action drama stars Eliza Dushku (Tru Calling) as Echo, a member of an underground group of “Actives” who have their personalities wiped clean so they can be imprinted with any number of new personas to carry out a variety of missions. The Actives don’t just pretend to be new people – they become new people, yet they are never aware they are actually pawns in someone else’s game. Produced by 20th Century Fox Television and Mutant Enemy Inc., the series is written, directed and executive produced by Joss Whedon and stars co-stars Olivia Williams as Adelle, Tahmoh Penikett as Paul, Fran Kranz as Topher, Dichen Lachman as Sierra, Enver Gjokaj as Victor and Harry Lennix as Boyd.

Secret Millionaire is a heartwarming new unscripted series that focuses on a different millionaire each week. The millionaire of the week goes undercover to some of America’s most disadvantaged areas in search of everyday heroes to possibly change their lives forever. Airing Thursday at 9 p.m., the series is produced by RDF USA with Chris Coelen, Greg Goldman and Bruce Toms serving as executive producers.

The new animated comedies joining the schedule in the spring include The Cleveland Show (working title), the story of what happens when Family Guy’s Cleveland Brown moves to Stoolbend, Virginia, to make good on a promise to his high school sweetheart. The series will air Sunday night at 9:30 p.m. The Cleveland Show is produced by 20th Century Fox Television, with Seth MacFarlane, Rich Appel and Mike Henry serving as executive producers and Henry also voicing Cleveland Brown.

Created by Emmy Award winner Mitchell Hurwitz (Arrested Development), Sit Down, Shut Up airs Sundays at 8:30 p.m. and follows a group of unconventional teachers and staff members working at a high school in a small northeastern fishing town who never lose sight of the fact that the students must ALWAYS come second. Produced by Sony Pictures Television, 20th Century Fox Television, Granada America and Tantamount, Sit Down, Shut Up is executive produced by Mitchell Hurwitz, Eric Tannenbaum, Kim Tannenbaum, Bill Oakley and Josh Weinstein.

The CW
Still struggling to attract viewers, The CW finished last in both adults 18-49 (0.9 rating/2 share) and total viewers (2.03 million). The network is planning on resurrecting Reaper for a 13-episode second season following 90210 Tuesday nights at 9 p.m. beginning March 17.

But beginning at 8 p.m. on Wednesday, January 7, The CW will debut its new hybrid horror reality series 13 Fear Is Real. Produced by Magic Molehill Productions, Inc. and Warner Horizon Television Inc. in association with Jay Bienstock Productions and Ghost House Pictures, the elimination competition series follows 13 contestants as they battle to stay in the game while coming face-to-face with their deepest fears. The lone person remaining will win a grand prize of $66,666. Encore performances of the series will air on Friday night at 9 p.m.

The 2008/09 Syndication Debuts, Part II

Tue, 09 Dec 2008 00:11:36 +0100

With two months of airtime under their belts, the freshman first-run syndication strips have yet to yield a breakout hit. But as the November sweeps kicked off, viewers were settling into post-election, cold weather viewing habits just as the new hosts and judges were finding their footing…

Game

For the week of September 29, NBCU’s Deal or No Deal delivered a household average audience of 1.6 and bumped a bit up to a 1.7 for the week of October 6. And by late October, it rose to 1.9 and 2.7 million viewers, with Howie Mandell continuing to bring in women 18-49 and women 25-54. The first week of November sweeps saw Deal drop to a 1.7 but by mid-sweeps it was back at 1.9. Producers added a wheel element, reduced the role of models bearing briefcases and cut the top prize money, tightening up the show and renewing viewers’ interest.

In an interview with Television Week, NBC Universal domestic television distribution president Barry Wallach explained: “Deal or No Deal is the highest-rated new first-run show in syndication in households and all key demos. It continues to grow week in and week out and it attracts the youngest audience for any game show in syndication.”

Debmar Mercury’s Trivial Pursuit: America Plays was averaging a 0.6 for most of October and November.

Talk

CBS’ The Doctors continues to hold its own, bringing in an average audience of 1.3 for late September/early October. By October 27, the show rose to a 1.5 which it held during the first few days of the November sweeps. Mid-November, The Doctors delivered a 1.7 and in spite of some challenging time periods in key markets, the show is impressing station buyers with the level of viewer feedback it instigates as well as solid word of mouth recommendations.

The Bonnie Hunt Show, hovering at 0.8, did show significant increases in women 25-54 and women 18-34 as the charming and personable Hunt began to settle into her hosting duties. The trend continued for the week of October 27, when Hunt earned a 0.9 in households, increasing its season-to-date average by 13%, and holding steady for the first two weeks of November sweeps.

Court

Competing among 11 current court shows, Sony Pictures Television’s Judge Karen has a steady hold on her 1.0 average audience, dropping to a 0.9 at the kickoff of November sweeps. By the second week of November, Judge Karen was posting a 1.1.

Program Partners’ Family Court With Judge Penny was percolating with a 0.6 throughout October and into the November sweeps. Program Partners also announced additional clearances and time period upgrades for the show. New markets for Family Court With Judge Penny include WBFS Miami, WBKI Louisville, WNAB Nashville, KCSG Salt Lake City, KCWX San Antonio and KSTC Minneapolis. And WMLW Milwaukee, WFTX Fort Myers and WIAT Birmingham will all be having second airings of the show.

“Family Court With Judge Penny is the only new series in 2008-09 that has shown growth over week one and maintained both its lead-in and year-ago time period average among women 25-54,” said Ritch Colbert of Program Partners. “It is clearly off to a fast start, and stations are definitely paying attention.”

NATPE VideoNuze: Daily Feed

Thu, 04 Dec 2008 17:49:21 +0100

http://www.videonuze.com/atom/analysis/

The 2008/09 Syndication Debuts, Part I

Wed, 08 Oct 2008 17:55:05 +0100

The 2008/09 Syndication Debuts, Part I

Grabbing an audience has never been more challenging, as television viewers are bombarded with debates and discussions on the upcoming presidential election, the current financial crisis and wall-to-wall news coverage of it all. But daytime television is offering a welcome respite from economic and political pondering with the fall’s new syndicated fare that includes two game shows (NBC Universal’s half-hour version of Deal or No Deal and Debmar Mercury’s Trivial Pursuit: America Plays), two talk shows (CBS’s The Doctors and Warner Bros.’ The Bonnie Hunt Show) and three new court shows (Warner Bros.’ Judge Jeanine Pirro, Sony Television’s Judge Karen and Family Court with Judge Penny from Program Partners & 44 Blue).

Talk

Premiering on September 8, The Doctors, a one-hour talk series from the creative team that brought The Dr. Phil Show to market, provides viewers with unprecedented access to four medical professionals – Dr. Travis Stork, an emergency physician whose good looks and charm landed him on ABC’s The Bachelor; Dr. Lisa Masterson, an obstetrician and gynecologist; Dr. Andrew Ordon, a plastic surgeon with expertise in reconstructive surgery; and pediatrician Dr. James Sears.

Its debut program was the highest-rated premiere, earning a 1.6 rating/4 share weighted metered market average for all telecasts. That debut placed The Doctors 23% ahead of the second-highest-rated syndicated program, NBC Universal’s Deal or No Deal (1.3) but still slightly behind (11%) its lead-in and a bit lower than the time period average from last year. However, as noted by Mediaweek’s Marc Berman, The Doctors debuted higher in the metered markets than any premiere last season (including TMZ, which often airs in higher-profile time periods), which he reported as a “very respectable sampling.” It was also CBS Distribution’s best talk show debut since Rachael Ray launched in 2006.

Each episode of The Doctors offers fascinating insights into medical procedures, health and wellness issues and practical advice on everything from the birth process to weight loss. Viewers, who can pose questions to the doctors through the show’s website, and guests provide an added emotional engagement to the discussions of real-life medical experiences in a compelling manner that both communicates valuable information and entertains. More important, perhaps, in an age of ever-increasing health care costs, is the program’s ability to educate its viewers on the latest medical breakthroughs and cutting-edge practices and procedures, providing a valuable resource for viewers who might not have access to the most updated medical advances.

By the end of its first week, national results ranked The Doctors second in households (1.3), total viewers (1.68 million), Women 25-54 (0.8) and Adults 25-54 (0.6) behind Deal or No Deal. By week two, The Doctors was hovering in the 1.5/5 range.

In an interview with TVWeek, Jay McGraw, executive producer of The Doctors, said: “It’s a good place to start, but it’s not where we’re going to end up. We’re in a new genre of television. We’re starting from scratch here.”

Produced by Stage 29 Productions and distributed by CBS Television Distribution, The Doctors is taped in front of a live audience in Hollywood and has been cleared on 177 stations nationwide. Jay McGraw (son of Dr. Phil), Carla Pennington and Dr. Phil McGraw are executive producers.

The Bonnie Hunt Show is a refreshingly light, fun and funny talk show thanks to Hunt’s overall likeability. From the show’s opening (based on crayon drawings her niece did) to the mix of celebrity and “just plain folks” guests, Bonnie Hunt shares her perspective on topical events and anything else that pops into her head. Named America’s best talk show guest by Entertainment Weekly, she’s everyone’s best friend from college whose mid-western sensibility takes the edge off the trials and tribulations of the day. She engages her studio audience, entertains viewers and genuinely seems to be having a great time being a talk show host. Her success as a comedian, singer and actress is sure to hook plenty of celebrity guests, but it’s Hunt herself who is the show’s best draw. Produced by Bob & Alice Productions and paraMedia inc. in association with Telepictures Productions, The Bonnie Hunt Show is distributed by Warner Bros. Domestic Television Distribution.

The premiere episode of The Bonnie Hunt Show earned a 1.1 rating/4 share, on par with the time period average performance of the previous year. But with 79% retention of its lead-in, it was among the weakest of the five syndicated shows debuting on September 8.

Game

Featuring all the key elements of its hit primetime series, the half-hour version of Deal or No Deal, complete with host Howie Mandel, proved you can’t have too much of a good thing. Premiering in first-run syndication on September 8, Deal or No Deal earned the distinction of being the season’s highest-rated new series in households, total viewers and Adults 25-54. and tied with The Doctors in Women 25-54.

Maybe it’s the models, or contestants’ enthusiasm in turning down sizable cash offers from the banker because they truly believe their case contains the mother lode, but Endemol USA, executive producer Scott St. John and NBC Universal Domestic Television Distribution have found their own route to syndication gold.

With Deal or No Deal the highest-rated nationally syndicated game show in six years (since Who Wants to Be a Millionaire in 2002), NBC Universal Domestic Television Distribution president Barry Wallach was “thrilled that it is helping improve time periods across the country.”

Averaging more than 2.2 million total viewers per episode, Deal or No Deal earned a 1.6 household rating its first week in syndication and debuted with the youngest median age of any game show in syndication, according to Nielsen Media Research data. For the week ending September 21, Deal or No Deal retained its top rating, but it did decline 6% in its national household rating to a 1.5 live-plus-same-day.

Based on the successful international format from Endemol (the show is produced in more than 50 countries), Deal or No Deal is produced by Endemol USA, a division of Endemol Holding and distributed in national syndication by NBC Universal Domestic Television Distribution. The series is executive produced by Scott St. John.

Premiering on September 22, DebMar Mercury’s Trivial Pursuit: America Plays earned a 0.7 rating/2 share, just a smidge less than its lead-in as well as ever so slightly down from the time period’s average last year.

Adding a provocative interactive twist to the popular board game, Wheeler-Sussman Productions, producers of Trivial Pursuit: America Plays, has viewers taping questions used on the show. If a viewer’s question is used, they become part of America’s team and play against the game’s studio contestants. The unique interactive format also drives local station website participation. Debmar Mercury, in partnership with Hasbro on Trivial Pursuit: America Plays, is also offering the format rights to international territories.

Court

Going almost head to head, Judge Karen and Family Court with Judge Penny squared off on September 8.

Judge Karen, from Sony Television, brings the colorful and engaging Judge Karen Mills-Francis to its new half-hour syndicated courtroom series. One of five ambitious siblings, Judge Karen worked in public welfare before graduating from the Levin College of Law at the University of Florida in 1987. Driven by the lack of diversity in the court system, Judge Karen decided to run for a judgeship in 2000, winning her first election by overthrowing a longtime incumbent and becoming the second black woman to serve on the bench in Miami-Dade County.

After twice being elected to the position of Miami-Dade County Judge, Judge Karen made it her mission to support those at risk of getting lost in the legal system. Inspired by her previous work at the public defender’s office in the juvenile division, she became known as an ardent backer of children’s advocacy programs and domestic violence prevention, regularly calling on lawyers to act as guardian for children in families of domestic violence.

Lending a sympathetic ear to those who appear before her, Judge Karen is known for going the extra mile on behalf of those both inside and outside the courtroom. And audiences seem to respond favorably. Its premiere episode earned a 0.8 rating/2 share, retaining 89% of its lead-in and 80% of the time period average from last year.

Executive produced by Rich Goldman and co-executive produced by Susan Sobocinski-Puchert, Judge Karen is directed by Bahman Samiian with supervising producers Margot Foley and Trenny Stovall.

In the first week of national results, Judge Karen earned a 1.1 in households, 1.43 million total viewers, a 0.7 among women 25-54 and 0.5 in adults 25-54.

As the only new strip to build from the year-ago time period average, with growth of 12%, Family Court with Judge Penny also brings an inspiring new perspective to the court genre, focusing on emotional, personal matters that are the foundation of Judge Penny’s court experience. Raised in an underprivileged single parent home, Judge Penny’s inspiring journey to become a nationally recognized lawyer and judge sets the tone for her common sense approach to family law. Focusing on issues of reckless parenting, custody battles and failing family relationships, Judge Penny’s life experiences and wisdom make sage advice and sound solutions the essentials of her courtroom.

The premiere episode of Family Court with Judge Penny earned a 0.9 rating/3 share, fully retaining its lead-in and improving over its time period average from a year ago. And the show continued to hold those benchmarks during its second week, earning an average 0.8/2.

Produced by Program Partners and 44 Blue Productions, Family Court with Judge Penny is directed by Hal Grant (Root of All Evil, Supreme Court of Comedy) and executive produced by Stephanie Drachkovitch (Peter Perfect, Split Ends), Rasha Drachkovitch (LA Gang Unit, Survive This), Jill Blackstone (Tony Danza Show, Divorce Court) and Judge Penny Brown Reynolds. Co-executive producer is Glenn Meehan (Peter Perfect, Little People, Big World), with Ted Bortolin, Matthew Flynn, Angela Ford, Jenny Hope, Gina Madrid and Matthew Nolan producing.

One-hour court show Judge Jeanine Pirro features the regular contributor to Fox News Channel and former Westchester County district attorney and county judge, who is recognized by viewers as both a legal commentator and author. Judge Jeanine Pirro airs at 3pm on The CW.

In its premiere performance, Judge Jeanine Pirro earned a 0.8 rating/2 share, dropping 27% off its lead-in and just slightly underperforming in its time period average from last year.

Produced by Telepictures Productions and distributed by Warner Bros. Domestic Television Distribution, the show is filmed in Chicago with Judge Greg Mathis (Judge Mathis) serving as executive consultant to the series. Emmy-nominated producer and former Telepictures programming executive Bo Banks, who currently executive produces Judge Mathis, also executive produces Judge Jeanine Pirro.