Time Warner – Page 2

February 27, 2013February 27, 2013

Stuck Between Old and New Media

Allen & Company retreat, Ari Emanuel, Barry Diller, Ben Silverman, Bob Iger, Carol Bartz, DumbDumb, Electus, Eric Schmidt, Gina Bianchini, Herb Allen, Herb Allen Sun Valley Conference, Herbert Allen, Jeff Bewkes, Jeff Weiner, Jeff Zucker, Jeffrey Immelt, Jerry Yang, Khan Manka, Lady Gaga, Leslie Moonves, Lloyd Grohl, Manka Bros., Marissa Mayer, Mark Pincus, Mark Zuckerberg, Peter Chernin, Phillippe Dauman, Reid Hoffman, Richard Parsons, Ricky Van Veen, Rupert Murdoch, Sergey Brin, Sheryl Sandberg, Steve Jobs, Sun Valley Retreat, Sun Valley Retreat 2010, Terry Semel, World's Largest Media Company, Chase Carey, James Murdoch, Elisabeth Murdoch, Lachlan Murdoch, Jim Gianopulos, Joel Klein, Jon Miller, Steve Burke, Michael Angelakis, Leslie Moonves, Philippe Dauman, Jeff Bewkes, John Martin, Howard Stringer, Rob Wiesenthal, Michael Lynton, John Malone, Greg Maffei, Haim Saban, David Zaslav, John Hendricks, Mike White, Edgar Bronfman, Len Blavatnik, Tim Armstrong, Peter Chernin, Tom Freston, Carol Bartz, Jerry Yang, Mark Pincus, Owen Van Natta, Brian Roberts, Jason Kilar, Wayne Willich, Reid Hoffman, Harvey Weinstein, Diane Von Furstenberg, Andrew Mason, Jason Kilar, Ben Horowitz, Gina Bianchini, Mark Pincus, Ali Pincus, Robert Wiesenthal, Tom Freston, Bing Gordon, Bill Gates, Chris Christie, Martin Sorrell, Eric Lefkofsky, Oprah Winfrey, Jeff Bezos, Tim Cook, Cory Booker, Michael Bloomberg, Joel Klein, Lachlan Murdoch, James Murdoch, Bobby Kotick, Marc Andreessen, Peter Thiel, Dick Costolo, Ross Levinsoh, Paul Sagan, Leslie Moonves, Tim Armstrong, Glenn Britt, Donald Graham, Kazuo Hirai, Howard Stringer, Jae-Yong Lee, Bryan Lourd, Ron Meyer, Brad Grey, Edmund Lee, Anthony Palazzo, John Malone, Chris Silbermann, Jim Berkus, Roger Goodell, David Stern, Chris Christie, Julius Genachowski, Erin Burnett, Charlie Rose, Becky Quick, Todd Davidson, Reed Hastings, Terry Semel, Jerry Yang, Ken Allen, Laurene Powell Jobs, Jean-Bernard Levy, Lucian Grainge, Jonathan Boyar, Mark Pincus, Michael Lynton, Mandy Tavakol, Mario Monti, Dave DeVoe, John Martin, Brian Roberts, David Zaslav, Mel Karmazin, Carol Bartz, Scott Thompson, Jason Kilar, King Abdullah II, Queen Rania, Queen Noor, #sv12, #Sunvalley2012, #allenco, Robert Johnson, Anne Sweeney, Brian Grazer, Michael Ovitz, Hiroshi Mikitani, Owen Van Natta, Don Mattrick

Hollywood is stuck.

New York is stuck.

Silicon Valley is stuck.

No one can really do anything too exciting because old media is still hanging around – refusing to give up the crown.

Don’t get me wrong – OLD MEDIA IS DYING – but they’re not dead yet.

DVDs are dying – but they’re not dead yet.

We can assume that digital downloads and streaming will be the format of choice in the future – but we don’t know how it will all be quantified. Will people buy digital movies and store them in the cloud using UltraViolet and iTunes or just rent from Redbox and subscribe to Netflix?

Broadcast Networks ARE dying – but they’re not dead yet.

Will YouTube become a go to destination for entertainment on par with broadcast and cable channels? OK, that’s easy – YES – and soon.

Will Netflix realize its dream and become another HBO? Probably not. Just because “House of Cards” sort of works doesn’t mean the next five or ten shows will.

Printed books are dying – but they’re not dead yet. Will eBooks be enough to sustain an entire industry? (And Gay Moroccan Poetry definitely isn’t going to turn things around.)

Magazines are dying – YEP, they’re pretty much dead. And the online future of magazines isn’t bright at all.

Same with printed newspapers. And newspapers online will not be able to cover the costs at their current levels – so look for further contraction of that industry.

Theatrical Distribution of movies and events is most likely here to stay when many thought a couple of years ago that the format would die (though 3D WILL die).

Even Facebook and LinkedIn feel like old school media companies that are wearing out their welcome. They’ll eventually go out of business. In the meantime, they’ll just stick around and be as boring as ever.

How crazy is it that the Music Industry almost seems relatively healthy (after a decade of torture and pain)? As horrible as was, at least they’ve made the transition to digital – and now, though smaller, they’re actually growing again. But for how long? Nobody knows.

It’s limbo.

We can’t see what the future will be because the past won’t go away.

Too many unanswered questions.

With everything so completely up in the air, it’s a terrible time to be in the media business.

Jill Kennedy – OnMedea

February 8, 2013February 12, 2013

NBC Is Saved!

OK – I know NBC has been on a really bad run lately – but things are definitely looking up!

I just received an email alert from the Hollywood Reporter announcing that Christina Ricci has agreed to star in…

wait for it…

GIRLFRIEND IN A COMA

After 87 years, NBC finally has a show to be proud of.

Bob Greenblatt has proven his brilliance and I can’t to hear what’s next:

Could it be – “My Boyfriend’s Got A Nail In His Head”?

“Dad’s Bleeding From The Ass… Again”

“What’s That Thing On Molly’s Face?”

The possibilities are endless.

All joking aside… Here’s who is really in a coma:

Jill Kennedy – OnMedea

December 18, 2012December 23, 2012

2013: Endgame For Moguls

Old Hollywood just got another year older and closer to death.

In fact, it’s getting harder and harder for Old Hollywood to get out of bed in the morning.

Food doesn’t taste as good. Hangovers are a daily occurrence.

In short, Old Hollywood is not well.

And with each passing year, as movie studios and broadcast networks become increasingly irrelevant, my thoughts are about real estate.

What is going to happen to all those soundstages and sprawling campuses scattered around Los Angeles and the world when no one needs them anymore?

Soundstages built in the early 20th century by visionaries from Poland, Hungary, New York and Kansas City.

Clearly they won’t be used as much in the future as production costs for high quality content continue to drop and new visionary kids from everywhere else in the world are able to compete head-to-head with the best Hollywood writers and directors.

Perhaps they will be torn down and apartments built. But apartments in those areas are for young writers and actors who move to L.A. to chase that Hollywood dream.

They don’t have to move here anymore.

Perhaps one studio will be turned into a museum of what Hollywood used to look like.

It’s a lot of land, man, and the shopping mall business isn’t so good these days either.

It’s going to be a real problem one day.

As I said earlier this year, YouTube’s Original Content Strategy Is Working and that should put every remaining media mogul on high alert.

The 1975 when millions of families crowded the television on a SATURDAY NIGHT to watch one of the three networks is over.

Now, in all likelihood, a family of five is watching or doing five different things on a Saturday night (and the rest of the week for that matter).

And this has been true for a few years.

In 2013, another profound and symbolic pillar will crumble in the epic story of the Decline and Fall of the Hollywood Empire.

The Mogul.

2013 will see most of the remaining media moguls pathetically fade away from relevance with little fanfare. And that’s sad.

WHO IS LEAVING?

1. Sumner Redstone – Many would say he has already left (despite his attempt to look youthful with that shocking sprayed on orange hair). Sumner has desperately clung to power just as he clung to the side of the hotel ledge years ago to survive a fire. Sumner will be the first to leave in 2013 either by death or senility (though many would argue he has been dead and senile for the past 25 years).

2. Rupert Murdoch – Enough with this guy and his phone tapping and continued interest in buying newspapers. He’s done. There is an outside chance the family empire could continue if Rupert appointed his daughter Elisabeth to the top job (I would buy the stock if that happened). But his continue insistence on giving his idiot sons top jobs will, no doubt, destroy all that he spent his entire life building.

3. Barry Diller – Barry Diller is just tired of it all. Does anyone really think he is excited about owning Ben Silverman’s ridiculous company or CollegeHumor or The Daily Beast or Zwinky or Sports Pickle? Sail away, Barry. The media world no longer needs you. You had a good run. Now go get drunk.

4. Jeffrey Katzenberg – The last mogul standing of DreamWorks SKG (one of the last valiant attempts made to build a true media empire like the old days), Katzenberg will sell DreamWorks Animation for a few billion less than he would have hoped and leave the Hollywood scene. He will go on to become equally annoying in the Art Collection scene.

CLINGING TO POWER

1. The Weinstein Brothers (Harvey and Bob) – Despite several high profile movies (Silver Linings Playbook, The Master, Django Unchained) that will probably win quite a few awards this season, the Weinsteins are working with a business model from 1985. Attempted diversification into TV, publishing and interactive nearly cost them everything a few years ago. What they know is how to buy, market and get Awards for small to medium sized movies. And we know where that business is headed.

2. Ryan Kavanaugh – Calling him a mogul is generous (to say the least). Attempted mogul more like it. For some reason people keep giving him money. Hopefully, that stops soon and he is forced to land his helicopter not in Beverly Hills but somewhere out in Palmdale where he can live out his existence with a few other characters from “Day of the Locust.”

WHO IS STAYING?

Khan Manka, Jr. – Despite horrible performances year-over-year in both film and television (and publishing and music, etc.), Khan Manka, Jr. remains firmly at the top of the world’s largest media company. Even though he publicly states how much he hates the job and would rather be at his house in the Seychelles, he continues to stay year-after-year and I don’t see that changing anytime in the near or far future.

2. Thomas Tull (Legendary) – Even though Legendary is more of a high-end financing and production outfit than a media empire, Tull is eyeing much larger things and has the money to do it. How far he actually takes the media empire concept is the question. Is Legendary a new DreamWorks or actually something that will be successful?

3. Hed family of Rovio (Angry Birds) is the closest thing we have these days to a new generation media mogul (and I wish Raj, Mikael and Niklas Hed nothing but the best. DON’T SELL – BUILD!). Like Walt Disney and George Lucas before them, the Heds have a real chance to build an empire from a single group of characters. Their passion and ambition is infectious and they see enormous potential while others laugh in their face. The perfect scenario for global conquest.

—————–

So, 2013, endgame for moguls.

The big ones will fall.

Some smaller ones may rise (on a lower scale).

It will never be the same.

Where is Ted Turner when you really need him?

Jill Kennedy – OnMedea

P.S. – John Malone and Brian Roberts may be considered moguls in today’s terms. I just find them too boring to write about.

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

May 3, 2012May 3, 2012

Is Hollywood Funding Chinese Propaganda?

Manka Bros., Khan Manka, OnMedea, Jill Kennedy, Hollywood in China, China, Mao Zedong, Tiananmen Square, Chinese Propaganda, Jeffrety Katzenberg, Bob Iger, Disney, Legendary East, Ang Lee, Zhang Ziyi, Rich Gelfond, Silicon Valley, Paul Graham, Oriental Dreamworks, China Film Group, China Mainstream Media National Film Capital Group Hollywood Group, The Long March, The Great Proletariat Cultural Revolution

Hollywood is so desperate to grow their businesses in China they would almost do anything.

Look the other way while the Chinese government continues to abuse the basic human rights of its citizens? Check.

Alter the content or severely edit a movie in order to pass Chinese censors? Check. (Reminder – theater owners in Utah often want to edit the content of a movie and movie studios tell them to go F themselves.)

There are even allegations (but we know it’s true) that Hollywood pays bribes to Chinese officials in return for preferential treatment when it comes to filming in China and getting their films into China.

Is 1.3 billion people and their growing disposable income really that important to major media companies around the world?

Unfortunately, yes. And it has always been this way.

Hollywood didn’t even criticize China after the Tiananmen Square massacre in which thousands of innocent protesters were mowed down by PLA tanks and guns.

That was 23 years ago and they’re still trying to crack that horribly corrupt market. (At right: Imagine the lone protester symbolizes Hollywood – the tanks are China.)

Reality check: It’s never going to happen in the way that you would like, Hollywood.

China can sign whatever contracts you want signed – but, in the end, they will not honor them and you will leave, beaten, with your tails between your legs.

Chinese officials know this and are laughing at you as you put so much pride and resources on the line time after time.

Now there is a new disturbing trend that has popped up recently. The co-funding of Chinese local language films by U.S. companies.

Does this mean, as all Chinese-made films and scripts must be approved by the Chinese Central government, that Hollywood is funding Chinese propaganda?

Of course. This is truly an amazing, laughable coup by China.

I can just imagine some of the conversations with producers about story ideas:

New film about Chairman Mao and his glorious early days on The Long March? (Hollywood: “No problem. We’ll fund half of that if you let us shoot our next superhero blockbuster in the middle of Shanghai.”)

New film about how The Great Proletariat Cultural Revolution was actually a tremendous success? (Hollywood: “Um… weren’t millions killed or persecuted? Wasn’t that a horrific–“) China: “Do you want to shoot on the Great Wall or not?” (Hollywood: “Uh… OK, I guess a few revisions to your script are fine by us but legal would like our logo taken off the finished product.”) China: Deal – can we get that check now?

Granted, it’s not quite that simplistic – but it’s not that far off either.

I worry that Hollywood is getting taken advantage of by their dumber and less savvy “partners” across the Pacific.

It’s similar to the way Silicon Valley is attempting to undermine Hollywood by just grabbing whatever high-end premium content they need (without much payment) to make their devices cooler.

The bottom line is this: Let’s take human rights and actual motives involved out of the equation and look at it from a purely business standpoint. No matter what percentages are negotiated and no matter how many movies Hollywood gets into China – China is not going to pay what they owe and contracts mean nothing.

But, in the end, it’s 1.3 billion people with growing disposable income. And an attempt must be made, I suppose. In theory, there is A LOT of money there.

So… here’s how it plays out… China is going to build the world’s largest film industry off of the creative and technical knowledge of Hollywood and then… they’re going to send Hollywood home… without a check.

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 21, 2011July 21, 2011

Don’t Blame Superman

Adam Fogelson, Alan Spoon, Alexander von Furstenberg, Amanda Seyfried, Andrew Chang, Angela Bromstad, Anil Ambani, Ann Daly, Anne Globe, Ari Emanuel, Arthur Martinez, Barry Diller, Beastly, Ben Silverman, Bob Iger, Brad Grey, Brian Roberts, Brothers Grimm, Bryan Lourd, Chase Carey, Clark Hallren, Comic-Con, Craig Ring, Craig Smith, Dan Satterthwaite, David Geffen, David Rosenblatt, Donald R. Keough, Donna Langley, Dreamworks Animation, Edgard Bronfman, Electus, Ezra Kucharz, fairy tale movies, Gemma Arterton, Graham Stanton, Greg Blatt, Greg Morrow, Greg Stevens, Gregg Winiarski, Guillermo Del Toro, Hans Woolley, Hansel & Gretel Witch Hunters, Harry Brittenham, Harry Sloan, Heather O'Conner, Hey Diddle Diddle, Holly Bario, Jack the Giant Killer, Jason Stewart, Jay Herratti, Jeff Sagansky, Jeff Small, Jeff Weiner, Jeff Zucker, Jeffrey Immelt, Jeffrey Katzenberg, Jeremy Renner, Jill Kennedy, Joanne Hawkins, Joey Levin, John Batter, John C. Malone, John Ferriter, John Foley, John Malone, Josh Abramson, Jr., Judson Green, Kara Swisher, Khan Manka, Lew Coleman, Louis Castle, Manka Bros., Mark Sourian, Mark Stein, Melody Hobson, Michael Eisner, Michael J. Montgomery, Michael Schwerdtman, Michael Zeisser, Nathan Myhrvold, Nikki Finke, Notional, On Medea, OnMedea, Paul Allen, Paul Telegdy, Peter Chernin, Phillippe Dauman, Pinnochio, Red Riding Hood, Reliance ADA Group, Rich Sullivan, Richard F. Zannino, Richard Sherman, Rick Finkelstein, Ricky Van Veen, Roger Enrico, Ron Meyer, Rupert Murdoch, Scott Garell, Scott Savitz, Shana Fisher, Sharon Waxman, Snow White and the Seven, Stacey Snider, Steve Burke, Steve Jobs, Steven Spielberg, Strauss Zelnick, Sumner Redstone, Terry Semel, Thomas Freston, Thomas J. McInerney, Tina Brown, Tony DiSanto, Victor Kaufman, Walt Disney

Today, I read an analyst report written by Vasily Karasyov of Susquehanna Financial Group titled “The Death of Superheroes”.

Salacious title? Certainly.

A title that would get the attention of every media executive around the world? Absolutely.

A title that’s total bullshit? Definitely.

According to this report, over the past ten years movie studios have plucked 16 superheroes (or super groups) from the obscurity of the basements of geeks and put them smack dab in the global spotlight for everyone to see.

Some have been really good, made lots of money and spawned sequels, rebirths and regurgitations (e.g., “Spider-Man”, “Batman”, “Iron Man”, “X-Men”).

Others were shit and lost a lot of money (basically the rest of them).

For the most part, that’s the way it’s supposed to work. Good = success. Bad = no success.

Over that same time, about 2,000 other movies were released to varying degrees of success. These included huge non-comic book movies like “Harry Potter”, “Lord of the Rings”, “Pirates of the Caribbean”, “The Hangover”, and, sure, even Woody Allen’s biggest hit ever “Midnight In Paris”.

So while it seems every other movie that comes out is a comic book movie, nothing could be further from the truth. But that’s not the point I want to make.

Here’s the point: People are not tired of Superheroes. You cannot blame the superhero for the failure of corporate mortals.

If every comic book/superhero movie were unbelievably great, audiences would flock to them and they would all be huge hits.

Seriously, if the studios would have put out 16 awesome, well-made, true to the source comic book movies, they would have had, guaranteed, 16 big hit, profitable movies.

But this didn’t happen and it never will happen. Why? Because movie studios always try to make good movies. Regardless of what some people think, the executives at movie studios are not trying to suck.

Every movie that is made (with all those millions of dollars at stake) start off with a single dream – to be really good and to make money (maybe not in that order). Everyone, at every level, works very hard to make these films as good as humanly possible.

But somewhere along the chain – from concept to the day of release – something happens to make them suck.

And in most cases, lots of things happen to make them suck.

The movie-making process is subjective. One person’s gold is another person’s shit.

What Hollywood IS GUILTY OF is genre rape.

Once one high-concept or genre film hits it really big (i.e., “Alice In Wonderland”) suddenly every studio in town needs to have that high-concept or genre type film in the pipeline ASAP.

Because of “Alice In Wonderland”, over the past year every studio had to have as many fairy tale scripts as they get their hands on including THREE FREAKIN’ “SNOW WHITES”!

My God, even Manka Bros. – my studio – bought the rights to “Hey Diddle Diddle” and plans to spend well over $150 million to produce something we know will fail. Sorry, boss.

Go down any list of genre and you’ll see one movie that started the entire feeding frenzy. “Scream” spawned hundreds of crappy horror movies. “Harry Potter” got everyone out there trying to find the next great children’s fantasy series. Vampires, zombies… it’s just a case of mass brainlessness.

But here’s the shocker. What do I think needs to be changed? Nothing.

Movies should continue to be made and they should be made as well as possible.

Some should be based on comic books because it’s really great source material.

Others should be based on the Bible, or Dickens or Broadway . Because it’s really great source material.

And yet others should be based on ideas people think up on their own (imagine that!) – because the brain is capable of coming up with a really great source material.

“Hollywood” isn’t broken and the Superhero isn’t dead (Christopher Nolan could turn any deep catalog comic book character into a franchise – even something like “Gerbil Girl”) – everyone involved in the process just needs to concentrate more on entertaining the audience and less on just filling a summer slot.

Jill Kennedy – OnMedea

P.S. – Why the hell is “Glee” at Comic-Con? If you want to talk about something that’s dead… it’s Comic-Con. And IT WAS killed by the movie studios. If you want a good laugh, read the transcript from Khan Manka, Jr.’s keynote address to last year’s Comic-Con.

April 29, 2011April 29, 2011

Unattractive Women Have Zero Chance In Hollywood…

… and New York, for that matter. And I’m talking about WRITERS!

Of course, there are some small roles in film and television that are played by unattractive female actresses (the psychotic neighbor, the diner waitress, the homeless woman, the awkward teen friend, etc.) – and we sort of understand why ‘on-camera’ talent has to have a certain look.

But writers? Why do they have to look a certain way? They just have to be able to write. Right? Quasimodo should be able to make it in this town – that is, if Quasimodo was a really good writer. Is that naive?

Being fairly new to L.A., I was shocked to learn that the new crop of budding female screenwriters (those under 30) are freakin’ hot. And, of the females out there writing (and there are millions), the hot ones seem to be the only ones getting meetings.

There is a very high profile production company down the hall from my office which receives a good amount of foot traffic from writers pitching script ideas. The males that come in are pretty much all unattractive, unkempt and fat (the standard male screenwriter uniform of baseball cap – [Cubs preferably], shorts and a giant t-shirt is a cliche… but in this case, a true cliche). [Note: If the male screenwriter becomes successful, then his body changes – he’s still unattractive but now he’s ‘kempt’ and very much in shape. Success leads to getting laid, getting laid leads to getting in shape.]

The female writers that come in are all hot. There’s not one Wendy Wasserstein in the bunch. Some wear glasses to have that ‘smart’ look – but they all accentuate their boobs and have a nice tight ass. Perhaps this current wave of new writers was influenced in some way by Scriptgirl411. Even though ScriptGirl is mostly satire, there is a certain fantasy that male producers have (and have had since Hollywood began) and she hits it right on the head.

Female screenwriters make up a extremely low percentage of screenplays written in this town (oh, let’s say 2%, though accurate data is very hard to come by) – so I suppose when male producers feel they need to hire a female to give the script a ‘certain voice’, being the shallow boys that they are, they would prefer to spend all that time with someone hot. That’s pretty much the way this town works in every area of entertainment (even catering… thank you Giada De Laurentiis!).

I do believe this is just a fad and it will change once some of the beautiful but untalented writers start to get screen credits and the movies fail at the box office. Talent will win the day – much as it did for older male screenwriters who were shut out in the 90s for younger guys right out of film school.

Today, it doesn’t seem to matter how old a male writer is, the quality of the script seems to win out. This is mainly due to the low number of projects being greenlit and the low tolerance for bad writing. Top male executives (and a couple of females) at production companies and studios can no longer take a chance on being the “cutting edge” type or “trend setting”. In today’s economy, their jobs and bonuses are very much on the line – so they’d better get it right (write).

However, it’s funny, but when it’s a hot, young, female screenwriter, film executives have an amazing tolerance for bad writing. This, too, will change.

Talent will win the day – though it’s much easier to get tits in the door than a foot.

Jill Kennedy – OnMedea