Basic Cable – Page 2

October 15, 2012October 15, 2012

NICKMOM – R.I.P.

Adam Townsend, Alan Ruck, Amy Baer, Angeline Straka, Anthony Ambrosio, Ari Emanuel, Arnold Kopelson, Brendan Fraser, Bruce S. Gordon, Bruce Tobey, Carl Folta, Carla Santos Shamberg, CBS Films, Charlie Gifford, Chase Carey, David Andelman, David Poltrack, Debbie Miller, DebManka Bros., Diego Velazquez, Doug Morris, Fred Salerno, Gary Countryman, Geeta Anand, Gil Schwartz, Harrison Ford, Harvey Weinstein, Jared Harris, Jeff Weiner, Jill Kennedy, Jordana Glick-Franzheim, Joseph A. Califano, Joseph Ianniello, Josh Rothstein, Jr., Keri Russell, Khan Manka, Leonard Goldberg, Les Moonves, Linda Griego, Louis Briskman, Manka Bros., Martin Franks, Meredith Droeger, Michael Shamberg, Nan Morales, News Corporation, OnMedea, Patrick Bauchau, Phillippe Dauman, Reid Sullivan, Richard Jones, Rik Toulon, Rob Friedman, Robert Nelson Jacobs, Rupert Murdoch, Sam Hall, Shari Redstone, Stacey Sher, Steven Friedlander, Summit Entertainment, Sumner Redstone, Terry Semel, The Weinstein Company, Thomas Dooley, Tom Vaughan, Viacom, Wade Davis, William S. Cohen, CBS Films is dead

It’s very possible Nickmom will set the record for the world’s shortest running network.

There is no other option for this laughable disgrace than a total cancellation.

In fact, there are only three absolute certainties in this life:

1) The sun will rise in the east;

2) July 4th will occur every year on… July 4th; and

3) Nickmom will be shut down.

Such a complete creative and business abomination cannot possibly survive.

The tombstone graphic here may be a bit premature but it’s guaranteed to be accurate.

So, for the readers who have no idea what I’m talking about – what is this Nickmom that is almost universally hated by parents (mostly Moms)?

Nickmom is a primetime adult-skewing programming block (airing on the same channel as Nick Junior) designed for exhausted moms looking for a laugh or some edgier entertainment after the kids go to bed.

What’s wrong with that, Jill?

What do you have against exhausted moms looking for a laugh?

Absolutely nothing. I’m a proud exhausted mom myself who loves HBO.

But when you make a corporate decision to put on a programming block of comedians talking about sex and cocktails, shows called “Moms Night Out,” etc. etc. right after “Dora The Explorer” signs off, you clearly do not understand how the media landscape works.

Nickmom starts airing at 4pm in Hawaii for God’s sake! And 7PM in California (which is definitely before my daughter’s bedtime).

The biggest problem I have with Nickmom is not a content issue (though it’s really awful – painful to watch). The biggest problem I have with Nickmom is that it is a stupid idea badly executed.

And the ratings are bearing that out as noted by the Wall Street Journal (this is becoming a national story) – 74% decline in two weeks.

There is also a website that has been launched by angry parents – CancelNickMom.com.

Hey Viacom – are you hearing any of this?

People hate it. Drop it. Bring back “Bubble Guppies!”

I always wonder how these epic fails in business happen. This one is stunning.

Nickmom is an idea obviously hatched by out-of-touch corporate executives who think whatever they throw up on the screen (‘throw up’ being key words) will be gobbled up by the masses. They probably imagined their in-boxs filling up with “Thank yous” from weary, under-entertained moms from around the country.

They probably sat there at lunchtime brain-storming sessions falling off their seats with laughter when the suggestion for a tagline came up… “What about ‘Motherfunny’?” “‘Motherfunny’? Oh, my God, that is fucking hilarious! It sounds like “mother fucker” but it’s actually “motherfunny!”

The room cannot stop laughing for several minutes. The coldcuts, fruit plates and cookie platters just sit there as middle-aged men (and a lucky female or two including the female VP in charge of Nickmom) howl with laughter at how awesome they are.

And then a branding exec chimes in: “But it’s perfect for what we’re trying to accomplish. We’re making mothers laugh.”

Another exec: “And no one needs laughs more than mothers!”

A marketing exec chimes in to make it all relevant: “And ‘motherfunny’ gives it that edge we’re looking for. These aren’t your father’s mothers anymore. Advertisers are going to eat this shit up!”

I’m not going to pound the point anymore and this isn’t a cry from a concerned parent who is worried about the moral fabric of our country – I know how to keep bad stuff away from my daughter, thank you.

But, face it, this is a horrible idea and it needs to killed.

And… it will be. Soon. Guaranteed.

Jill Kennedy – OnMedea

August 1, 2012August 1, 2012

AMPAS Looks To The Future

Manka Bros., Khan Manka, Producers Guild of America, 2011 nominations, Steven Spielberg, Mark Gordon, Hawk Koch, Gary Lucchesi, Hayma "Screech" Washington, Shuler Donner, Gale Anne Hurd, John Hadity, Marshall Herskovitz, Jeffrey Lerner, Chris Thomes, Amy Jacobson Kurokawa, Darla K. Anderson, Fred Baron, Jerome Calimeri, Bruce Cohen, Kathleen Courtney, Maureen Dooling, Tracey Edmonds, Shoshanna R. Ezra, James Fino, Tim Gibbons, Richard Gladstein, Gary Goetzman, Brian Grazer, Sarah Green, Vanessa Hayes, Rachel Klein, Christina Lee Storm, Megan Mascena-Gaspar, Chris Pfaff, David Picker, Lydia Dean Pilcher, Judy Race, Alison Savitch, Paula Wagner, Stephen C. Grossman, George A. Sunga, Dana Kuznetzkoff, Mark Marabella, David Fox, Jeff Gomez, John Hoffman, Nelle Nugent, Amy Robinson, Peter Saraf, Roger Birnbaum, Ian Bryce, Donald DeLine, David Friendly, Ali LeRoi, Lori McCreary, Erin O'Malley, David Picker, Lydia Dean Pilcher, Cathy Schulman, Josh Schwartz, Karen Spiegel, Mike Tollin, Paula Weinstein, James Fino, Kendall Allen, Michael Bellavia, Dina Benadon, Laurent Bouzereau, Mariana Danilovic, Jeanette DePatie, Shawn Gold, John Heinsen, Derek Hildebrandt, Charlotte Huggins, Sophia Kim, Cindy Pound, Marc Scarpa, Deborah Todd, Chris Williams, Felicia Wong, Susan Zwerman, Jeff Lerner, Kimberly Austin, Christina Lee Storm, Suzette Brown, Jerome Calimeri, Carrie Certa, David Hartle, Susan Sherayko, Rebecca Graham Forde, Terra Abroms, Derek Bartholomaus, Wendy Wallace, Maureen Dooling, Jen Haire, RJ Hume, John Peterman, Mitchell Ferm, Allen Maris, Vance Van Petten, Chris Green, Nikki Livolsi, Kyle Katz, Jo-Ann West, Bryce Averitt, Diane Salerno, Erik Bogh, Will Bryan, Scott Bengston, Mitzie Rothzeid, Patrick Gerety, Ben Silverman, Colin Firth, Harrison Ford, Jake Gyllenhaal, Laura Linney, James McAvoy, Mo'Nique, Julianne Moore, Christoph Waltz, Colleen Atwood, Milena Canonero, Betsy Heimann, Judianna Mokovsky, Ha Nguyen, Ken Adam, Rick Carter, Lilly Kilvert, Rusty Smith, George DeTitta, K.C. Fox, nancy Haigh, Leslie Pope, Sandy Reynolds Wasco, Russ Alsobrook, Robbie Greenberg, Julio Macat, Hiro Narita, Amelia Vincent, Wes Anderson, Roger Corman, Lasse Hallstrom, Mike Leigh, Errol Morris, Lone Scherfig, Joe Berlinger, Liz Garbus, Alex Gibney, Mark Lewis, Julia Reichert, Michael Barker, Peter Chernin, Camela Galano, Brad Grey, Lisa Henson, Bill Mechanic, Robert Shaye, Patrick Wachsberger, David Brenner, Lisa Zeno Churgin, Lynzee Klingman, Michael Tronick, Billy Weber, Lois Burwell, David Marti, Montse Ribe, Ve Neill, Aldo Signoretti, Kazuhiro Tsuji, Bryan Adams, Eric Clapton, The Edge, Michael Giacchino, Suzana Peric, Dean Pitchford, Arthur Cohn, Eric Fellner, Samuel Goldwyn, Charles Roven, Jennifer Todd, Suzanne Todd, Duncan Clark, Therese Curtin, Rob Friedman, Nancy Utley, Jochen Alexander Freydank, Martin McDonagh, Dean Parisot, Signe Baumane, Sharon Calahan, Pete Docter, Chris Landreth, Bill Plympton, Wendy Tilby, Chris Wedge, Karen Baker Landers, Willie Burton, Benjamin Burtt, Anthony Ciccolini, Mary Jo Lang, Virginia Cook-McGown, Dean Zupancic, Eric Brevig, John Frazier, Michele Moen, Mark Stetson, Hoyt Yeatman, Hossein Amini, Judd Apatow, Guillermo Arriaga, Diablo Cody, Geoffrey Fletcher, Christopher Hampton, Robin Swicord, Grover Crisp, Ray Dolby, Sarah Halley Finn, Ron Stein, Beverly Joanna Wood, Peter Dinklage, Jennifer Hudson, Wes Studi, Michelle Williams, Pedro Almodovar, Lisa Cholodenko, Christopher Nolan, John Singleton, Kathleen Bennett, Bono, T Bone Burnett, Pablo Helman, Van Ling, Helena Packer, Lynzee Klingman, Demian Bichir, George Clooney, Jean Dujardin, Gary Oldman, Brad Pitt, Kenneth Branagh, Jonah Hill, Nick Nolte, Christopher Plummer, Max Von Sydow, Glenn Close, Viola Davis, Rooney Mara, Meryl Streep, Michelle Williams, Berenice Bejo, Jessica Chastain, Melissa McCarthy, Janet McTeer, Octavia Spencer, Alain Gognol, Jean-Loup Felicioli, Fernando Trueba, Javier Mariscal, Jennifer Yuh Nelson, Chris Miller, Gore Verbinski, Robert Gould, Stuart Craig, Stephenie McMillan, Dante Ferretti, Francesca Lo Schiavo, Anne Seibel, Helene Dubreuil, Rick Carter, Lee Sandales, Guillaume Schiffman, Jeff Cronenweth, Robert Richardson, Emmanuel Lubezki, Janusz Kaminski, Lisy Christl, Mark Bridges, Sandy Powell, Michael O'Connor, Arianne Phillips, Michel Hazanavicius, Alexander Payne, Martin Scorsese, Woody Allen, Terrence Malick, Danfung Dennis, Mike Lerner, Marhsal Curry, Sam Cullman, Joe Berlinger, Bruce Sinofsky, Wim Wenders, Gian-Piero Ringel, TJ Martin, Dan Lindsay, Richard Middlemas, Robin Fryday, Gail Dolgin, Rebecca Cammisa, Julie Anderson, James Spione, Daniel Junge, Sharmeen Obaid-Chinoy, Lucy Walker, Kira Carstensen, Anne-Sophie Bion, Kevin Tent, Kirk Baxter, Angus Wall, Thelma Schoonmaker, Christopher Tellefesn, Martial Corneville, Lynn Johnston, Matthew Mungle, Nick Dudman, Amanda Knight, Lisa Tomblin, Mark Coulier, J. Roy Helland, John Williams, Ludovic Bource, Howard Shore, Alberto Iglesias, Bret McKenzie, Sergio Mendes, Carlinhos Brown, Siedah Garrett, Thomas Langmann, Jim Burke, Jim Taylor, Scott Rudin, Brunson Green, Chris Columbus, Michael Barnathan, Graham King, Letty Aronson, Stephen Tenenbaum, Michael De Luca, Rachael Horovitz, Kathleen Kennedy, Patrick Doyon, William Joyce, Brandon Oldenburg, Enrico Casarosa, Grant Orchard, Sue Goffe, Amanda Forbis, Wendy Tilby, Peter McDonald, Eimear O'Kane, Max Zahle, Stefan Gieren, Terry George, Oorlagh George, Andrew Bowler, Gigi Causey, Hallvar Witzo, Lon Bender, Victor Ray Ennis, Ren Kylce, Philip Stockton, Eugene Gearty, Ethan Van der Ryn, Erik Aadahl, Richard Hymns, Gary Rydstrom, David Parker, Michael Semanick, Ren Klyce, Bo Persson, Tom Fleischman, John Midgley, Deb Adair, Ron Bochar, David Giammarco, Ed Novick, Greg Russell, Gary Summers, Jeffrey Haboush, Peter Devlin, Gary Rydstrom, Andy Nelson, Tom Johnson, Stuart Wilson, Tim Burke, David Vickery, Greg Butler, John Richardson, Rob Legato, Joss Williams, Ben Grossman, Alex Henning, Erik Nash, John Rosengrant, Dan Taylor, Swen Gillberg, Joe Letteri, Dan Lemmon, R. Christopher White, Daniel Barrett, Scott Farrar, Scott Benza, Matthew Butler, John Frazier, Nat Faxon, Jim Rash, John Logan, Grant Heslov, Beau Willimon, Steven Zaillian, Aaron Sorkin, Stan Chervin, Bridget O'Connor, Peter Straughan, Annie Mumolo, Kristin Wiig, J.C. Chandor, Asghar Farhadi

Hawk Koch was named President of the Academy of Motion Pictures Arts & Sciences today.

Like his aggressive name suggests, this is a bold choice from an extremely bold organization.

To have the balls to choose the old media film producer son of an old media Hollywood mogul is the kind of cutting edge change necessary to keep AMPAS relevant.

I have a feeling this is going to be one of the greatest years in the history of the Academy.

Here’s what we can expect:

There will be a double-digit increase in cocktail parties under Mr. Koch’s reign.

The words “digital transition” and “Netflix” will be officially banned from Academy headquarters.

$100 million will be raised for the AMPAS Museum (from various cocktail parties and galas to honor other old media executives) which will be a great gathering place for old media types to have cocktails and watch newly-restored prints of “Citizen Kane.”

Don Rickles (because Henny Youngman is dead) will be approached to host the Oscars. “Hey, he’s still funny! And the 18-49s love him!”

… and on and on.

Very exciting stuff.

Glad to see the giant vacuum bubble that was put in place over Beverly Hills in order to keep fresh ideas out is still secure.

Jill Kennedy – OnMedea

P.S. – Now I can see why my boss, Khan Manka, Jr., has such a problem with the organization.

July 6, 2012October 17, 2012

YouTube’s Original Content Strategy Is Working

Manka Bros., Khan Manka, OnMedea, Jill Kennedy, YouTube Original Channels, Google, Larry Page, Eric E. Schmidt, Sergey Brin, Nikesh Arora, David Drummond, Patrick Pichette, Alan Eustace, Amit Singhal, Andy Rubin, Dennis Woodside, Jeff Huber, Kent Walker, Laszlo Bock, Rachel Whetstone, Salar Kamangar, Shona Brown, Sridhar Ramaswamy, Sundar Pichai, Susan Wojcicki, Urs Hoelzle, Vic Gundotra, L. John Doerr, Diane B. Greene, John L. Hennessy, Ann Mather, Paul S. Otellini, K. Ram Shriram, Shirley M. Tilghman, Hank Green, Kim Rosen, Alex Gibney, Gilbert Gottfried, Richard Belzer, Robert Kyncl, John Green, Felicia Day, Jennifer Garner, America Ferrera, Gotham Chopra, Deepak Chopra, Jon Avnet, Amy Poehler, Rainn Wilson, Jay-Z, Rodrigo Garcia, Virginia Madsen, Julia Stiles, ClevverStyle, Fawn, HelloStyle, Look TV, The Stylish, u look haute, my damn channel, the onion, danceon, ds2dio, american hipster, awesomeness, bammo, blackbox tv, geek & sundry, mymusic, the nerdish channel, cartoon hangover, yomyomf, young hollywood network

That’s a frightening headline for the Hollywood studios.

It wasn’t supposed to work.

It was an ill-planned experiment that was supposed to fail.

Seriously, who would watch that crap?

Well… give one point to Silicon Valley in the Great Content Wars of 2012.

(This doesn’t mean I’m giving any sort of credit to that jerk Paul Graham – who issued a war on Hollywood. Graham and Y Combinator, in my opinion, represent all that is bad in Silicon Valley.)

When YouTube announced last year that they would put up $100 million dollars to fund original content channels, no one in Hollywood gave it much notice.

What most people expected was something like Paul Rudd walking around, eating Doritos and throwing out non-sequitors.

Basically, that no one would give a shit or watch – and if they did, big companies certainly wouldn’t throw any advertising money at it.

“We’re saving our big dollars for high-quality, professional Hollywood content, goddamnit!” (Imagine them saying it with big cigars in their mouths for greater effect.)

Cut to one year later and there is something real going on at YouTube – and they are just getting started (see all the “Coming Soon” labels on the left graphic of the channels yet to launch).

Channels are launching with the buzz normally generated for broadcast TV or feature film premieres – and for a lot less money.

Here’s a snapshot of the numbers (July 4, 2012). These are significant numbers.

Granted, this new “premium” content on YouTube is NOTHING EVEN CLOSE to the quality of a major studio feature film or TV series. Everything about it screams “slapped together.”

So if that’s true, then why should Hollywood be scared?

Because the generation growing up with YouTube does not distinguish between NBC, ESPN, Hulu, iPhone Apps, etc.

Eyeballs can only look so many places at one time and Broadcast Networks are asking you to keep them locked for three hours at a time (and watch the ads).

That’s fine for my mom (and, frankly, fine for me, too – though my iPhone is in my hand while I watch) but not fine for my daughter.

No chance does she one day turn to me and say “You know what, mom? I’ve become a Broadcast Network junkie. Those shows are what I love to watch the most.”

And this is true all around the world.

The kids who are playing online games, watching videos and surfing around the various social networks are not suddenly going to watch Broadcast Networks when they turn 30.

“Now that I’m older and finished with my wandering gadgets, I’m ready to settle in my easy chair and watch quality programming and check out some of the interesting advertising that happens during those shows.”

Never going to happen.

And, of course, duh, the big media companies know this is never going to happen.

But here’s the kicker: Most who grew up with the Internet really don’t care about quality. If they did, Zynga would have never become popular and MP3s would have been shunned immediately for their lack of decent fidelity.

The youth of the world have been raised not to care about such things (of course, I realize there are exceptions).

A couple of years ago, I wrote a piece called “Broadcast Networks: On Death and Dying” and regardless of the few breakout hits that do exist on Broadcast (which results in big profits from International markets and off-net syndication), it’s really expensive content to produce and it’s just not a long-term strategy.

But don’t get me wrong – studios would be foolish to give up this extremely profitable business model while the market is still there. (“Two Broke Girls” just got $1.5 million an episode from TBS – who could give that up?!)

It’s a real conundrum.

Hollywood studios can’t abandon a dying business when it’s still so profitable. But they can’t plan for the future – because the future is the death of their current business model.

And attempting to replicate what YouTube is doing would be a downright embarrassment for studios used to creating such high-priced, high-quality content.

It would be quite a step down.

Next year is crucial for content business. Trends may become irreversible and the next ten years could become crystal clear.

It is possible that both worlds can exist and make a lot of money (one with super high margins, the other with less).

The ratings for this year’s crop of Broadcast fall premieres will be heavily scrutinized. (October 17 update: Ratings have started off terrible with all networks except NBC experiencing double-digit declines without much hope for improvement.)

New shows need to emerge more than they ever have in the history of television (no platitudes here, man). Syndication pipelines need to remain full with bidding wars from multiple channels and station groups.

If that happens, old media and the current way of operating survives for another five years or so.

If not, there’s only so many more spring upfronts that advertisers will show up for.

Next year, I guarantee, the YouTube upfront presentation will get as much press as CBS’ upfront – regardless of how many more stars CBS pulls onto the stage.

Why is that?

Because it’s new. It’s exciting. And new and exciting always wins.

And, remember, this is a reality TV world (created by Hollywood) where everyone can be a star.

And now those stars don’t need Hollywood anymore.

Jill Kennedy – OnMedea

December 15, 2011December 15, 2011

The Hollywood Foreign Press Has Done It Again!

Ahmed Lateef, Aida Takla-O'Reilly, Alena Prime, Alessandra Venezia, Alexander Nevsky, Ali Sar, Ana Maria Bahiana, Andre Guimond, Aniko Navai, Anita Baum, Anke Hofmann, Ari Emanuel, Armando Gallo, Aud Berggren Morisse, Avik Gilboa, Ben Silverman, Cameron Diaz, Cher, Dagmar Dunlevy, Dierk Sindermann, Edmund Brettschneider, Elisa Leonelli, Elisabeth Sereda, Elmar Biebl, Emanuel Levy, Erkki "Erik" Kanto, Ersi Danou, Frances Schoenberger, Frank Rousseau, Gabriel Lerman, Gabrielle Donnelly, George Doss, Gilda Baum-Lappe, Golden Globes, H.J. Park, Hans J. Spurkel, Harvey Weinstein, Helen Hoehne, Helena Mar-Elia, Helmut Voss, Herve Tropea, Hollywood Foreign Press members, Howard Lucraft, Isabelle Caron, Jack Tewksbury, Janet R. Nepales, Jean E. Cummings, Jean-Paul Chaillet, Jenny Cooney Carrillo, Jerry Watson, Jill Kennedy, John Hiscock, Jorge Camara, Judy Solomon, Juliette Michaud, Karen Martin, Khan Manka, Kleo Lee, Lawrie Masterson, Lilly Lui, Lisa Lu, Lorenzo Soria, Luca Celada, Lynn M. Tso, Magnus Sundholm, Mahfouz Doss, Manka Bros., Margaret Gardiner, Maria Snoeys-Lagler, Mario Amaya, Marlene von Arx, Maureen Dragone, Max B. Miller, Meher Tatna, Mike Goodridge, Mira Panajotovic, Mohammed Rouda, Munawar Hosain, Nellee A. Holmes, Noel de Souza, Noemia Young, OnMedea, Paolua Abou-Jaoude, Patrica Danaher, Patrick Roth, Paz Mata, Philip Berk, Ramzi Malouki, Ray Arco, Ricky Gervais, Ricky van Veen, Rocio Ayuso, Ruben V. Nepales, Rui Henriques Coimbra, Scarlett Johansson, Scott Orlin, Serge Rakhlin, Silvia Bizio, The Tourist, Theo Kingma, Vera Anderson, Yenny Nun-Katz, Yoko Narita, Yola Czaderska-Hayek, Yoram Kahana, Yukiko Nakajima

OK, just admit it guys, you love movie stars and only nominate hot people you would like to ‘go to disco’ with.

I mean, I sort of know where you’re coming from – “The Ides Of March” sucked but, of course, I would rather sit at “The Ides Of March” table with George Clooney than the “Like Crazy” table with the ‘no names’ who would have sat at that table – but come on!

The Hollywood Foreign Press has become more and more of a joke every year (OK, maybe not the Pia Zadora year).

You must LIKE to be hated otherwise you wouldn’t have invited Ricky Gervais back to (hopefully) rip you to shreds again.

Please Ricky – go for a lifetime ban!

You must realize you have zero credibility in the industry. Stars, agents and executives laugh at you. Stars only go to the ceremony because stars like to go out and have free drinks and stars like to win awards. That’s just the nature of the beast – those people need to feel loved. And you’re always more than happy to oblige.

The problem is, it’s just way too obvious that you don’t want any ugly people to be invited to The Golden Globes.

You just have a mental block – like the inability to quit smoking. You just can’t do it.

If a hot chick or guy can sort of speak (and even that may not be a prerequisite – look at “The Artist”), they have a chance to get nominated for a Golden Globe.

And, once again, not one film or television show from Manka Bros. Studios gets a nod. Ever since Khan Manka, Jr. vowed to destroy your little group (and refused to pay your shake-down bribes – sorry, ten cartons of cigarettes and a case of Diddy’s vodka was just too much to pay), you have had it in for the world’s largest media company – and have never been able to see past that and judge the work on its own merit.

It’s truly disgraceful.

But there is a slight positive here – both Cameron Diaz and Scarlett Johansson were in movies this year, but you made the very difficult (I’m sure) decision not to nominate them (especially now that Scarlett is single and you all probably think you have a chance).

I’m sure there were fights and discussions to expand the categories when you couldn’t squeeze them in (but that’s why we have presenters, right?).

Deep down, I love you guys. I mean, who can resist all that hair and horrible perfume? I just wish you made more of an effort to try and fool us into believing your were a legitimate organization.

But that takes away some of the fun, doesn’t it?

Hopefully, the Academy doesn’t pay too much attention.

Jill Kennedy – OnMedea

July 1, 2011July 11, 2011

AMC Networks Had An IPO Today…

Manka Bros., Khan Manka, OnMedea, Jill Kennedy, AMC Networks, Zynga, LinkedIn, Jeff Weiner, Reid Hoffman, Mark Zuckerberg, Sheryl Sandberg, Charles Dolon, Joshua Sapan, Edward Carroll, Sean Sullivan, James Gallagher, John Giraldo, Neil Ashe, Alan Schwartz, Dr. Leonard Tow, Robert Wright, William J. Bell, Charles F. Dolan, James L. Dolan, Kristin A. Dolan, Patrick F. Dolan, Thomas C. Dolan, Brian G. Sweeney, Marianne Dolan Weber, Rob Battles, Bob Broussard, Mike DiPasquale, David Evans, John Huffman, Ellen Kroner, Steven Pontillo, Thomas Ziangas, Charlie Collier, Evan Shapiro, Jennifer Caserta, Sarah Barnett, Kim Martin, Jonathan Sehring, Arlene Manos, John Barbieri, Harold Gronenthal, Ed Palluth, Mark Pincus, Cadir Lee, Dave Wehner, Reggie Davis, John Schappert, Owen Van Natta, Dave Ko, Colleen McCreary, Mike Verdu, Steven Chiang, Bing Gordon, Brad Feld, Jeffrey Katzenberg, Reid Hoffman, Mad Men, Don Draper, Jon Hamm, internet IPO, internet bubble 2.0

… and Wall Street shrugged.

Zynga announces a $1 billion IPO and every freakin’ investment bank in New York is clambering to get in on it.

These are the very same banks that were recently slobbering all over LinkedIn and would most likely kill anyone who tries to stop them from getting in on the Facebook IPO.

What am I missing here?

AMC Networks (AMC, IFC, WE, Sundance) represents highly-regarded premium television content (Mad Men, Breaking Bad, The Killing, Walking Dead, etc.) – the kind of content Hollywood needs people to watch. The kind of content only Hollywood can make. And the kind of content people really love.

Sounds likes a win win win. And a buy buy buy.

Zynga represents little $1 digital pigs for sale in Farmville. Not what you would call premium content.

Sounds like a lose lose lose.

“Mad Men” or “Digital Pig”? AMC Networks or Zynga? Which would you imagine to be the Wall Street darling?

Cable Networks (and their two strong revenue streams) are the bread and butter of giant media corporations.

If Wall Street shrugs at a pure-play cable network spin-off like AMC Networks, what does that say about the future of old-school big media? Being an employee of old-school big media, I’m not sure I like what that says.

Should they adapt to the changing (but unproven) business models and stop distributing quality content – focusing instead on selling little digital versions of Don Draper for $1? Or should they continue to do what they best until they simply disappear because their audiences die of old age?

Personally, I blame the whole VC/Y Combinator mentally for creating this unearned enthusiasm for certain companies that are, when you really look at them and see what they produce, pretty boring, uninspired and a waste of time.

But more billionaires will be minted – and I suppose that’s ‘End Game’.

Jill Kennedy – OnMedea

April 1, 2011July 19, 2012

Broadcast Networks – On Death And Dying

For Broadcast Networks, the end is coming and it’s time for them to Accept their fate. (The 2012 Emmy Nominations only strengthen this point.)

This isn’t to say ABC, CBS, FOX, MBS, NBC, Univision and The CW (and similar Broadcast Networks around the world) are going away. They’ll just have to transform into one of the million other “Channels” out there – high profile Channels with good programming and production values – but still just another button on the Great Media Grid like ESPN, TNT, USA, Oxygen, Justin.tv (indeed), YouTube, etc.

According to a model developed by Elisabeth Kubler-Ross in her 1969 book “On Death and Dying”, there are Five Stages of Grief.

Over the past 20 years or so, Broadcast Networks have bounced around the First Four Stages in an effort to fight off the inevitable:

1. Denial: Broadcast Networks will always be the only place to reach a large audience. We don’t see that ever going away. No one is going to watch the shit they make on Cable. It’s nothing but George Foreman Grill infomercials and drunken Jackass teenagers riding their bikes into traffic.

2. Anger: It’s just not right! They make such crap on Basic Cable (again – see Emmy Nominations). How are they pulling in more advertising than us?! I don’t give a shit about the ratings of “Jersey Shore”, the content on Broadcast Networks is far superior and always will be. Goddamnit! And don’t you dare mention that fucking “Mad Men” to me again! And Hell will freeze over before we ever produce a series for that inferior platform. There’s no syndication value. It’s bullshit!

3. Bargaining: The playing field is not level. It’s not fair. We really need you cable and satellite operators to pay us to retransmit our signal. Don’t forget – we’re the Broadcast Networks. If you give us two revenue streams, we’ll give you really great programming with high ratings and advertising rates that are healthy for everyone. Don’t you realize there is only one place to reach a large audience?

4. Depression: Remember when Saturday night was the greatest night on television – when three networks (and three network Presidents) controlled every household? Everyone had incredible line-ups. It will never be that good again. Thursday night used to be a place where advertisers needed us to launch a new movie or car or department store sales. Those were the days. Oh well, at least we still have our beach houses and court side basketball seats.

5. Acceptance: It’s going to be okay. It’s not so bad to be equated with TBS. I mean, they have Conan O’Brien now. They are sort of like a Broadcast Network. And we’re still bigger than most of the other Channels. And we’ll get the Super Bowl back one day (after ESPN and The Food Network have their turns). It’s all good.

——————————–

The death of Broadcast Networks may not happen in the next five years but it IS going to happen and the sooner we put them out of their misery and end that painful decline, the faster the industry can heal and begin to grow again.

And even though every year in May, the upfronts always seem to break new records (and the Broadcasters will shout that fact from the rooftops in the Trades), make no mistake, nothing can be done to save Broadcast Networks.

It’s an old concept in a new world.

For old school TV executives and their Madison Avenue chronies who are accustomed to lavish Upfront Presentations at Carnegie Hall, Madison Square Garden and the International Space Station, it’s time to just let it go. The Days of Wine and Roses and Fine Dining and Muffin Baskets are over.

Broadcast Network defenders (yes, Les Moonves, this means you) are finding fewer and fewer allies in their argument. Face the facts, ESPN and Google are more valuable than CBS. It may not seem fair – but there are many new Sheriffs in town. Remember, if you’re in a business where single-digit drops in viewers is the New Growth, your business sucks.

So what are the Broadcast Networks supposed to do next? Very simple. Just accept equal footing (two revenue streams – subscription and advertising – enough with this silly Retrans business that no one can understand) and continue to run your business as just another Channel on the Grid.

In the future (and it’s coming), with a channel lineup grid that will be sorted Alphabetically and not by “importance” or “size” (and will include TV channels, websites and whatever else comes up) programming is, as it always has been, King .

And may the best programmer win.

Jill Kennedy – OnMedea

December 8, 2010April 20, 2011

Kagan’s NBCU Deal Value Allocation

Deep-down, I believe almost everything Kagan puts out is bullshit. Entertainment industry projections that are almost never right.

However, I had to give pause when I saw this chart regarding Comcast’s NBC Universal purchase. If you’re an old media mogul, this chart should scare the living piss out of you (which for Sumner Redstone may be a healthy thing).

What Kagan is saying in this chart (and what I have believed for about a year now) is that Broadcast Networks are dead. JUST LOOK AT THOSE VALUATIONS! $1.7 Billion gets you NBC AND Telemundo. WTF? (That price would get you around 30% of USA Network.)

Seriously, there is no purpose for a broadcast network anymore. It’s old media moguls trying to hold on to the old days. I hate to break to you guys… it’s over. Martinis at The Smoke House and a show with a 40 share is fantastic… but it’s over. Move on.

Steps should taken immediately to convert NBC to a basic cable channel (two revenue streams – come on, Jeff, mmmm – tasty). Do this and NBC would, overnight, become the most popular cable channel on TV (until CBS converts).

Andy Forssell, Angela Bromstad, Ari Emanuel, Arthur Block, Ben Silverman, Bob Iger, Brad Grey, Brian Roberts, Chadwick Ho, Comcast, copyrights, David Cohen, Dr. Judith Rodin, Edward Breen, Eric Feng, Fancast, Galen Warren, Gerald Hassell, Hulu, intellectual property, J. Michael Cook, James Record, Jason Kilar, Jean-Paul Colaco, Jeff Weiner, Jeff Zucker, Jeffrey Honickman, Jill Kennedy, Joe Collins, Johannes Larcher, Julian Brodsky, Kenneth Bacon, Khan Manka, Lawrence Salva, Manka Bros., Michael Angelakis, Michael Sovern, Mike Chin, Nate Haskins, NBCU Deal Value Allocation, Nick Cafferillo, OnMedea, Paul Telegdy, Ralph Roberts, Reid Nagle, Rupert Murdoch, S. Decker Anstrom, Sheldon M. Bonovitz, SNL Kagan, Stephen Burke, Sumner Redstone, Terry Semel, Theresa Torian, Tom Corbitt, Tom Fuelling, Will Pappas

What this chart says that I completely don’t believe (and DON’T WANT to believe) is that Intellectual Property is dead (film and television production and libraries). That’s insane! Does Kagan seriously think we’re heading for a future when content owners are no longer in charge?

If Disney, Warner Bros., Fox, Paramount, Universal and Sony lose the ability to further exploit, in any meaningful way, their owned, copyrighted, fully-amortized content that they’ve acquired and produced over the past several decades – these companies are basically worthless. A declining asset with no chance to recover.

Now, for the sake of my parent company, Manka Bros. Studios – The World’s Largest Media Company (thus, the company with the most to lose), I hope Kagan is wrong (like they normally are). But, if Kagan is right, and we realize a future where studio libraries cost more to manage than they bring in and broadcast networks lose more and more market share to cable networks, who among us are going to survive?

Personally, I remain bullish on content and the future of intellectual property. HOLD ON TO THOSE COPYRIGHTS, MEDIA COMPANIES!

A cable channel (even with two revenue streams) is nothing but a pipe into the home. A convenience, yes. A necessity, no. The water, not the pipe, is what sustains life.

Jill Kennedy – OnMedea

November 15, 2010August 10, 2011

TBS – Go Get Your Shinebox

What is it going to take for TBS (or any other Basic Cable channel) to get a little respect?

I watched the premiere week of Conan and thought it was fine and exactly what I expected (which is a slight disappointment, right?). (Also, why was it on at 10pm on DirecTV when every advertisement in the world says 11pm?… but I digress.)

The one thing that did stand out was the constant bashing of TBS and Basic Cable in general (I know it is a joke, I get it – I also got it in 1985 when the Basic Cable jokes started). But times have changed.

I was a proponent of Conan leaving NBC and for Jeff Zucker to be fired for many MANY reasons (including the handling of the Jay/Conan affair and for having anything to do with Ben Silverman. Please, someone wash everything Ben touched, it’s filthy!).

But, I must say, I’m disappointed with the way Conan has handled the transition to TBS. It was a very difficult decision, I’m sure, but why bash your new home?

Why is Basic Cable still struggling for any sort of respect?

It’s all very reminiscent of the scene from “Goodfellas” with Billy Batts (Frank Vincent) and Tommy DeVito (Joe Pesci) in the bar. Imagine Billy Batts is the “Broadcast Networks” and Tommy DeVito is “Basic Cable”:

Basic Cable: No more shines, Broadcast Networks.

Broadcast Networks: What?

Basic Cable: I said, no more shines. Maybe you didn’t hear about it, you’ve been away a long time. I don’t shine shoes anymore.

Broadcast Networks: Relax, will ya? Ya flip out, what’s got into you? I’m breaking your balls a little bit, that’s all. I’m only kidding with ya…

Basic Cable: Sometimes you don’t sound like you’re kidding, you know, there’s a lotta people around…

Broadcast Networks: I’m only kidding with you. I’m breaking your balls, and you’re getting fucking fresh. I’m sorry. I didn’t mean to offend you.

Basic Cable: I’m sorry, too. It’s okay. No problem.

Broadcast Networks: Now go home and get your fuckin’ shinebox!

Basic Cable: Mother fuckin’ mutt! You fucking piece of shit!

If you remember the movie, Tommy then kicked and stabbed Billy about a thousand times, threw him in the trunk of his car and buried him in some disgusting pit. I’m not saying Basic Cable will completely bury the Broadcast Networks – but it seems to be headed that general direction – so Broadcast Networks had better cut it out with the “shinebox attitude”.

And seriously, to watch Conan, you would think the year is 1985 and the only programming on TBS was really bad VHS copies of really bad 1970s movies and a few Body By Jake infommercials.

This is 2010 and Basic Cable Channels are a key driver and profit center helping to keep the Hollywood machine afloat.

So how about a little respect, Conan? I know you’re only getting $10 million from that suckass TBS that gives you “no budget” (other than a very large one) but come on!

And are you taping this show from some local station in Palmdale or in a very nice soundstage on a very nice Burbank studio lot? And do you have one blimp to promote your show or zero blimps?

And the last I checked, Mad Men on AMC (Basic Cable) won the Emmy for Best Drama; TBS just paid upwards of $2 million/episode for Big Bang Theory (among others); and the ACE Awards (which was a popular punchline for comedians about FIFTEEN YEARS AGO) haven’t been on the air for FIFTEEN YEARS!

I would also argue that with its scripted reruns and movies, TBS and the other top Basic Cable Channels have better daytime programming than any of the Broadcast Station Groups (unless you like Judge shows) and the primetime lineups are equally as creative and catching up in the ratings.

In fact, Broadcast Networks are deep into the 5 Stages of Grief from “On Death and Dying” – and they have been in denial about Basic Cable for years. Retrans is one final pathetic attempt to stay competitive.

So, Conan, I’m sorry you are stuck on lowly TBS when all your life you dreamed of being on NBC (now worth negative $690 million on NBC Universal’s balance sheet) – but the truth is, in today’s media environment, it’s not which channel you are on but the programming you produce.

Remember, even a show shot in a shack in Palmdale can be relevant (and widely seen) today.

Jill Kennedy – OnMedea

P.S. – Why doesn’t anyone ever bash MTV for being “Basic Cable”? Just wondering.

April 6, 2010April 6, 2011

TBS Gets It Right

Andrew Heller, Angela Bromstad, Ari Emanuel, Barbro Holmberg, Barry Diller, Ben Silverman, Brian Roberts, Charlie Rose, Conan O'Brien, David Letterman, David Levy, Dawn Ostroff, Deborah Wright, Frank Caufield, Fred Hassan, GE shareholder, George Lopez, Greg D'Alba, Jack Wakshlag, james Barksdale, Jay Leno, Jay Leno has Failed, Jeff Gaspin, Jeff Weiner, Jeff Zucker, Jeffrey Immelt, jessica Einhorn, Jill Kennedy, Jim McCaffrey, Jim Walton, Jimmy Fallon, Jimmy Kimmel, John Ferriter, John Kampfe, Jon Stewart, Josefin Lonnborg, Kelly Regal, Kenneth Novack, Khan Manka, Les Moonves, Louise Sams, mama's family, Manka Bros., Marc Graboff, Mark Steinberg, Mathias Dopfner, Michael Miles, Nancy Tellum, OnMedea, Paul Telegdy, Peter Roth, Phil Kent, Robert Clark, Scott Teissler, Sharon Waxman, Stephen Bollenbach, Stephen Colbert, Steven Koonin, Stuart Snyder, TCA Winter Press Tour, Terry Semel, The Office, Tony DiSanto, Vicky Lawrence, William Barr, William Morris Endeavor

So… Conan O’Brien has decided to go to TBS. Like him or not, get his comedy or not, Conan immediately brings a “hip” factor to TBS where it currently has none. Whether that will be enough to truly take the network to another level is a huge unknown at this point.

I have a feeling this announcement has taken the wind out of the sails of the “I’m With Coco” movement. For some reason, I think they wanted him to stay off TV and start some crazy live streaming Internet-only revolution from a shack in the desert. Sorry freaks. Perhaps you can steal your basic cable feed and still feel like a revolutionary.

This is a big bet for TBS but one it can certainly afford to take. Two revenue streams RULE! If it doesn’t work, they can always move “Lopez Tonight” (with its 1.0 rating) back to 11pm and put the always profitable “Ab Roller Deluxe” informercial on at midnight.

The biggest obstacle is the fact that TBS still feels (to me – and I’m not alone) like a network that airs nothing but “Mama’s Family” reruns and very low quality VHS tapes of 1980s comedies. I know this isn’t the case anymore and they actually do have some solid programming with “The Office” and “Family Guy” reruns, etc. and have had some success in original programming with all those Tyler Perry shows (What, are there 10 series now? All with 350 episode commitments?).

But adding Conan puts TBS on a different level – a network level with a big advantage – they don’t need Leno-size ratings to call it a “hit”.

Imagine the spinmeisters at Turner the day after its debut: “Late Night Cable Talk Show’s Biggest Night Ever!”; “Conan Conquers Cable!”; “The Colbert Killer!”… “2.0 in Metered Markets – 18-49”… Okay, they won’t put that one in the Trades but that’s about what we can expect on the high end. If a 2.0 late night rating is worth a $100 million investment, then TBS has made the right move.

Personally, I think it IS the right move – if anything just to improve their image. All the other shit that’s on TBS will suddenly be given a second look which may make people slow down the remote as they’re passing by on their way to USA or FX.

For Conan, I think this is also the best move. Though if he ultimately fails on TBS, his career is over (unless he is willing to take the 1:30a.m. Last Call slot from what’s his name – that guy that dated Tara Reid). Not going to Fox and being beaten badly by Jay Leno was a very smart move by Conan. And a very smart move by Fox – which doesn’t have two revenue streams (yet) and, thus, doesn’t have money to burn.

So… good luck, Conan. You have made a good match. And I can’t wait to hear all those jokes you’ll make about what a crappy network TBS is. The crappy network that is paying you $100 million dollars.

Jill Kennedy – OnMedea

January 21, 2010April 7, 2011

Letterman vs. Leno

The Conan exit deal is done – probably the largest payout in television history for someone averaging a 2.5 rating.

It is presumed he will go to Fox and get a 2.0 rating at 11:00 (my guess is reruns of The Simpsons on local affiliates do better than that).

So, with apologies to Jimmy Kimmel, Jon Stewart, Stephen Colbert, George Lopez, Charlie Rose, etc., it comes down, once again, to Letterman vs. Leno.

Who will win the ratings battle (long-term) once they resume head-to-head competition March 1, 2010?

It’s very simple:
Jay Leno wins – without a doubt.

Here’s why:

DEMOGRAPHICS: Late night talk show viewers are not the Taco-Bell-eating slacker college students that most of these hosts think they’re ‘in touch with’. That demo is watching The Daily Show, Colbert, Adult Swim or they’re online or playing video games (maybe they’re not consuming any media and are out pounding drinks and, God willing, conversing with the opposite sex). So, older viewers are watching Jay and Dave – and older viewers prefer Jay. It’s warm and safe television with Headlines and Jaywalking. Dave is ‘too edgy’ for older America, even in his advanced years.

VACATION: Jay is notorious for working 46-48 weeks a year. Dave works… less than that. Even if Dave wins the first few weeks after Jay returns in March (as expected), Jay will pick up viewers once Dave goes on his first long vacation.

WORK ETHIC: While I am not doubting that Dave works very hard to put on his show four nights a week, Jay is indefatigable. He always seems to be out with the public, doing stand-up, corporate events, car shows… almost anything the network asks him to do. Jay has a high visibility factor that Dave… doesn’t have. (Not that you need that to succeed – Johnny Carson was a painfully shy recluse and did just fine.) However, when you’re trying to win back the hearts and minds of your viewers, being visible with “your public” can go a long way.

HISTORY: Jay Leno has been a consistent ratings winner for 17 years. Yes, bad press and public sentiment has damaged that but most of Jay’s fans could care less about ‘The Tonight Show’ debacle (though, I think everyone would love to see Jeff Zucker get fired).

Finally, Jay spent 20 years in comedy clubs across the country before getting ‘The Tonight Show’ and he cut his teeth in that ruthless, back-stabbing world. If he survived the shit that went on in those clubs, he can survive almost anything.

Dave did quite a bit of stand-up in the 1970s, yes, but never really immersed himself into that world. Being a great comic was not on his radar. He has always been perceived (as he wished) as a TV guy.

Jay is a comic first and a TV guy next – which is why his fans keep watching – they simply want to hear jokes on ‘The Tonight Show’ told by a comic and not just a “funny person” doing bits.

Jill Kennedy – OnMedea

P.S. – Where were all these new Conan fans when he really needed them – over the summer when he started hosting The Tonight Show? If he had the ratings then that he has now – there is no controversy. Jay would be out and Conan would be in.