San Francisco -- Big video usage numbers continue to come to the digital video industry -- even if things have tapered off a bit. In speaking at the OMMA Video conference in San Francisco, Dan Piech, senior product management analyst of comScore, says the business is now firmly established and mature. After some major growth in 2006, Piech says stats have leveled to 180 million visitors watching videos per month. That comes to 85% of all Internet consumers, 200 videos per person and around 13 hours per month. Key for some major TV networks and their TV shows -- also known as "premium video" -- comScore says there has been a shift of regular TV networks' customers viewing video online on a consistent basis: 4% in 2009, now 8% in 2010. Seventy percent of people say the biggest reason for watching a TV show online is to watch a missed episode. The next reason -- for 57% of Internet customers -- is convenience. In third place, 56% of digital viewers want to see a past episode. Most revealing is the fourth reason. Piech says 42% of people watch online because there are less ads versus on traditional TV. He says the data indicate consumers now want fewer digital ads versus a year ago. In 2010, comScore says consumers' limitations are around five and half minutes to six minutes per episode of a TV show. The year before, consumers would allow around six to seven minutes messaging. Good news for premium TV digital sellers, says Piech, is that the business still delivers on average less than 5 minutes of digital video messaging per episode.
Federal approval for the proposed Comcast-NBC deal came in as expected -- taking just over a year to complete and with a number of long-term restrictions. On Tuesday, the Federal Communications Commission and the Justice Department approved Comcast Corp.'s deal to acquire control of NBC Universal from General Electric Co for $13.8 billion in cash and assets. The vote among the commissioners was 4-1, with Democratic FCC Commissioner Michael Copps voting against it. Copps has been a major opponent of increased media consolidation. As expected, the FCC imposed a variety of conditions on the deal designed to prevent Comcast from denying NBC programming to multiple TV channel cable, satellite and digital retailers. The approval also prevents Comcast's regional sports networks from restricting the selling of programming to Comcast's pay-TV and online competitors. In the interest of protecting independent cable network programmers, Comcast agreed to set aside a specific number of channels on its cable systems. Finally, it agreed to keep NBC network programming on free over-the-air TV stations. Comcast will offer more children's programming, as well as restricting interactive TV ads targeted to kids. Opponents also worried about Comcast growing Internet business. Comcast says it would offer a stand-alone Internet service for $49.95 a month, plus agree to offer $10-a-month Internet service and subsidized computer equipment to low-income Americans who have children in the federal school-lunch program. Comcast has 17 million high-speed Internet customers and 23 million cable system video subscribers. Most of these concessions were already made by Comcast in an attempt to move along the approval process. Many public interest groups opposed the deal; they worried that it would contribute to growing media consolidation and higher pricing for TV and Internet content, and hinder independent producers and programmers. The deal, in which Comcast agreed to acquire 51% control of NBC Universal's television and movie business from GE, was announced last December and was expected to have a 12-month to 18-month approval process. The newly merged conglomerate's executive structure makes Steve Burke NBCU's new CEO. Current CEO Jeff Zucker will leave, along with NBCU Television Entertainment chairman Jeff Gaspin, Zucker's top communications executive, Allison Gollust, and ad sales and marketing chief Mike Pilot.
Robert Bakish has been promoted to president and CEO of Viacom International Media Networks. Prior to his appointment, he served as president of MTV Networks International. Reporting to Viacom president and CEO Philippe Dauman, Bakish will take charge of company properties operating outside the U.S., such as MTVN International, BET, Comedy Central and non-premium Paramount nets. Dauman stated that the 14-year Viacom vet's "experience across geographic regions and his understanding of the complexities of global markets" will be vital in future expansion plans. Bakish will retain his current role as chairman of Viacom 18, a joint venture with India, and remain a member of the boards of Viacom's ventures with BSkyB and Telecom Italia Media. "The development of our international business is a major priority," added Dauman, "and Bob is the ideal choice to lead the global charge." Viacom International Media Networks comprises 145 television channels in 160 countries and territories, as well as related digital properties and consumer products businesses.
Magna Global predicts the U.S. ad economy will grow at a 3.1% rate this year, about on par with 2010. The estimate labors to use an apples-to-apples comparison by excluding the impact of political and Olympic revenues last year. The revenue forecast predicts that traditional TV and older forms of digital media will continue to soar. "We expect TV advertising to rise by 6.3% on a normalized basis during 2011 and digital display to grow by 11.6%," Magna noted. As Magna offered its 2011 estimates, the firm said that growth remains hampered by "continuing weakness in unemployment ... the absence of a meaningful pick-up in the overall economy and constrained deployments of capital among businesses of all kinds." Total ad expenditures in 2011 are estimated to come in at $173 billion. That's below 2003 -- which pre-dates the mid-2000s boom. One reason could be that auto spending may have been much higher back in 2003, even though the category is experiencing a recovery now. Magna's 2011 forecast includes the continuing dynamic of a suffering print industry versus a thriving online and digital segment. The two tend to have offsetting effects on each other during overall ad revenue projections. Also, Magna projects that the broad print segment with newspapers, magazines and direct mail will decline by 2.9% in 2011. But, for example, out-of-home is booming: Digital display advertising will grow by 11.6%, while online video will rocket 26.8%. Mobile advertising should soar by 60.1%. Paid search is estimated to be up 11.1%.
Following a contentious stint at the helm of AOL, Randy Falco is back to doing what he knows and does best: overseeing the TV stations, ad sales and marketing for leading Spanish-language media company Univision. His appointment as Univision's COO comes nearly two years after his departure as CEO at AOL, where he eliminated $2.5 billion in costs, $1.6 billion in strategic acquisitions and advertising business development necessary for the Internet giant to be publicly spun off from Time Warner. Falco was succeeded by former Googler Tim Armstrong, who still struggles with ways to turn around AOL's fortunes. "I have tried everything and taken a lot of chances here, which is the only way you can manage through change. I have been willing to make the changes and the tough decisions amid all the criticism," Falco said at the time. "No one appreciates how profound a change it is to take a company and completely re-pivot this way, from a subscription business into an ad-supported Web business." Falco joined AOL in November 2006 after a long career at NBC, where he rose to become president and COO at NBC Universal Television Group, overseeing affiliate relations, business development, broadcast and cable television distribution and Telemundo, a secondary rival to Univision. Under a five-year contract at Univision, Falco will have similar responsibilities in the newly created position of COO. He will heighten Univision's outreach to advertisers and agencies, which have underestimated the strength of Spanish-language television and the 46 million Hispanic Americans who comprise 15% of the country's population. Hispanic Americans are expected to comprise twice that, or 30% of the U.S. population, by 2050. "The explosive growth of mobile devices provides enormous opportunity for Univision to expand its offerings in news, sports and entertainment," Falco said in an interview. "The opportunity for advertisers is to turn Hispanic viewers into interactive consumers using e-commerce," he said. Univision merged its online and mobile operations into the newly formed Univision Interactive Media in 2009, when it also launched Univision Studios. Much of that progress will ride on Univision's rights to World Cup Soccer and other popular sports. Falco said he intends to make the most of integrating Univision cable, online and broadcast TV and radio presence. Falco said his priorities are to increase Univision's ad sales and support, launch new partnerships, new interactive media and mobile revenue streams and leverage Univision's underplayed strength as the fifth-most-popular broadcaster behind the four traditional networks. Univision also dominates the much sought-after 18-34 prime-time viewers throughout the calendar year, he said. That can lead lucrative news, sports and entertainment partnerships with major media players such as CNN and ESPN also seeking to capitalize on Spanish-language growth. "With the economic recovery underway and Hispanic population growing, Univision's future is incredibly bright. Broadcast TV is here to stay as the place where core content brands and advertising relationships are built out to mobile, online and other interactive media," Falco said. He will report to Univision president and CEO Joe Uva, formerly president and CEO of OMD Worldwide. Univision was taken private in 2007 by Broadcasting Media Partners, an investor group that includes Thomas H. Lee Partners, Madison Dearborn Partners, Providence Equity Partners and Saban Capital Group, despite shareholder lawsuits. At the time of his unceremonious departure from AOL, Falco said: "I don't think there are too many traditional media guys who really understood what the new digital media is about. Having spent two years at AOL, I would love to be able to go back to that industry knowing what I know, and I think I would be able to help the traditional media side to better understand what is coming at them -- how to deal with it. There are a lot of misconceptions about what to do about digital media."
ESPN failed to launch regional sports networks when the market was ripe. Recently, it has tried to avoid making the same mistake with locally targeted Web sites. Now, it may look to persuade multiple universities to launch their own sports networks. ESPN said it has a 20-year deal with the University of Texas and marketing arm IMG College to operate a 24/7 (still-unnamed) network dedicated to UT. Content will include the exclusive broadcast of at least one UT football and eight basketball games a year. Included in the deal is the launch of a broadband offering covering Texas high-school sports from El Paso to Beaumont, including football and basketball. The UT channel will debut in September, presumably with wall-to-wall coverage of the UT football program's journey back to respectability after a miserable 2010. ESPN said the channel will include a slew of women's basketball games, which will make up many of the 200-plus events a year on the network. They will also be in the "Olympic sports" segments, including softball and track and field. In addition, a broadband offering will include the coverage of live events when two take place at once. Like the Big Ten Network, the UT channel will have programming focused on "academic and cultural happenings" at the university, ESPN said. The University of Texas has an agreement with the Big 12 Conference, where its teams compete, allowing it to have its own outlet. Not all conferences would allow a single school to do that, although ESPN may look to try a similar arrangement elsewhere. Earlier, ESPN ceded the ground on the regional sports networks to Fox Sports Net and others. Thus, it would not want to miss out if there is a trend in university-dedicated channels. Perhaps having learned from the regional sports loss, ESPN has launched dedicated Web sites covering sports in five markets.
In today's economy, with many more people looking for work than there are jobs, it helps to have an edge. In a new advertising campaign, TheLadders.com asserts that it is the place to give professionals seeking the most desirable (i.e., those earning $100,000 or more) positions that edge. The new ad campaign, which was created to coincide with seekers' New Year's resolutions to find new jobs, positions TheLadders.com as a site that will make applicants more attractive to potential employers through services such as providing one-on-one guidance through a personalized Job Search Advisor, resume reviewing or access to professional recruiters. The television commercials, which will air during different flights throughout the year, depict decidedly average-looking professionals (actual members of TheLadders who applied to be in the commercials, the ad agency says) striking model poses in office environments. The theme: Make Yourself More Attractive to Employers. "The creative is a metaphor," David Sigel, director of account management for Fallon, the ad agency behind the campaign, tells Marketing Daily. "All of these things add up to make you a better candidate to employers." The new commercials represent a shift in strategy for the company, Sigel says. Previous commercials set up the site's top distinction -- that it featured only top-paying positions -- and how that would appeal to job seekers. An introductory spot depicted a professional tennis match being overrun by fans from the stadium, with the message that when other sites let everyone in, "the best can't stand out," Sigel says. But as TheLadders built its brand and online search has taken over as the main resource for job seekers, the brand needed to expand its message and services, Sigel says. "There's no problem finding jobs online. The real problem is finding the ones that are valid," he says. "And once [people] find them, what they need is help. The online job search world doesn't work as well as it did three years ago."
First Larry, now Regis. Talk-show veteran Regis Philbin, who also became the subject of national renown as host of "Who Wants to be a Millionaire" on ABC, said Tuesday he will retire sometime later this year, without citing any date. He made the announcement on "Live with Regis and Kelly." The successful daytime show will continue as distributor Disney-ABC searches for a partner for Kelly Ripa. Philbin, 79, has been on the show in national syndication -- first with Kathie Lee Gifford and then Ripa -- for 23 years, starting in 1988. "Live With Regis and Kelly" is seen by an average of 4 million viewers, according to a recent Nielsen report. Philbin's departure is yet another one among older stars in the TV world, with Larry King leaving his CNN show and Oprah Winfrey exiting her syndicated show. Winfrey will continue to appear on her eponymous OWN network. Barbara Walters continues on "The View." "I don't want to alarm anybody ... but this will be my last year on the show," Philbin reportedly said. "There is a time that everything must come to an end for certain people on camera, especially certain old people." Philbin had worked in morning TV in Los Angeles before coming to New York in 1983. "Millionaire" began in 1999 as a prime-time ABC show; it became a national phenomenon before the network ran it too many nights, which arguably led to its demise.
Liz Dolan, who led marketing at Oprah's new network prior to leaving months before its debut, has joined News Corp. as CMO of the Fox International Channels. Dolan will report to Hernan Lopez, CEO of the business unit, and will be based in Los Angeles. The post is a new one, which includes oversight of consumer and trade marketing, branding and corporate communications for the channels outside the U.S. Programming includes the National Geographic Channel and distribution of Fox-branded content. Dolan was CMO of the OWN: Oprah Winfrey Network from December 2008 to June 2010. The network launched earlier this month on Discovery. She also logged 11 years until 1997 at Nike, including a top role in global marketing. Lopez stated that Dolan has a "track record of innovation and results" and "understands what it means to bring together local passion and expertise with a broad global brand vision." Between Nike and OWN, Dolan co-hosted (with her four sisters) and executive-produced a talk show syndicated by ABC Radio. Fox International sends programming worldwide in 35 languages, and runs an international online ad program involving a "dot-Fox" (.Fox) URL.
The Outdoor Channel has renewed a deal with Bonnier Corp. to air programming carrying the iconic Field & Stream magazine brand, and the two companies will continue to offer multiplatform ad packages. The arrangement has the network, which was recently listed in 35.5 million homes, offering "Field & Stream's Total Outdoorsman Challenge" for the third year in a row. The four-part series chronicles the decathlon-like competition covering hunting, fishing and sport-shooting. The deal also includes the continuation of "Field & Stream's The Gun Nuts," presented by Smith & Wesson, which features how-to advice and tips on various sport-shooting challenges. The program debuted last year. The initial agreement was inked a year ago and remains in force for multiple years. Outdoor Channel will continue to offer video on the Web sites for both Field & Stream and fellow Bonnier publication Outdoor Life, while Bonnier publications will provide content to Outdoor Channel's Web site. Outdoor Channel will also run ads and advertorials in Bonnier publications. Field & Stream dates to 1895, while Outdoor Life debuted in 1898. Sales teams at both entities will craft cross-platform packages that can combine time on the network and various digital outlets and pages in the magazines. Outdoor Channel says the combined properties reach an audience of some 57 million.
Multimedia entertainment studio Electus on Tuesday announced the acquisition of Engine Entertainment. Financial terms of the deal were not disclosed. Founded in 2009 by former NBC Entertainment co-chairman Ben Silverman and Barry Diller's IAC/InterActiveCorp, Electus now plans to form an in-house global distribution arm named Electus/Engine Distribution, which will handle worldwide sales for Electus' content, including television, motion picture and digital. Engine Entertainment CEO Chris Philip will assume the role of president of Electus/Engine Distribution, which will maintain offices in London, Miami, New York and Los Angeles. "The content distribution business is changing, and I believe Chris and his team are a force in international TV distribution," Silverman said on Tuesday. As president, Philip will oversee the day-to-day operations of the division, handling distribution of Electus' programming as well as programs and formats from other third-party providers. Chris Moreton, currently the COO of Engine Entertainment, will assume the role of EVP of the new division. Prior to its acquisition, Electus and Engine Entertainment had worked together to create and distribute various programming. Announced last year, Electus and Engine co-produced and distributed "Thumb Wars," an interactive smartphone treasure hunt game show for the U.S. and global markets with sales in multiple territories. The partnership packages a hybrid reality competition format to involve network, advertising and digital integration offering a platform for advertisers and electronic applications. Since its launch, Engine Entertainment has sourced over six hundred hours of content for distribution -- including a mix of U.S. shows that aired on Fox Sports Net, Showtime, PBS, Hulu, and HGTV. It has also partnered with the creator of "Baywatch," Greg Bonann, and QED's Bill Block, for the international distribution of Greg Bonann's latest series, "Pt. Dume," which is being cleared throughout the U.S. by Twentieth Century Fox and Tribune Broadcasting. According to Silverman, Electus/Engine Distribution complements existing Electus international distribution partnerships, including one with Elisabeth Murdoch's Shine Group, which will continue international distribution of its current deals such as Cuckoo's Nest, Master of the Mix, P.I. Moms and Hiccups. As part of the partnership between Electus and Guy Hameiri's Abbot Reif Hameiri Production Company, the production company in Israel, Electus/Engine Distribution now serves as the international sales team for the company's programming.
In a rare occurrence for a TV copyright owner -- not a TV network -- the National Football League forced sponsor Toyota Motor Corp. to change a television commercial after it ran. The spot involved helmet-to-helmet football contact. The spot ran on an ESPN's "Monday Night Football" game. According to a Reuters report, the message was instantly flagged by NFL officials. In it, Toyota explained how it adapted its technology -- when it comes to automobile collisions -- to that of the collisions among football players, especially college football players. "The NFL saw it on "Monday Night Football" and the next morning we got the call," Tim Morrison, corporate marketing communications manager for the Toyota division in the United States, told Reuters. "They weren't happy." Although the spot includes video of players and computer renditions of football player collisions, it did not mention the NFL. The NFL wanted the entire commercial spot removed, but per Reuters, Toyota re-edited the commercial and removed the offending imagery. Medical issues surrounding the NFL -- and football in general -- have been a major topic over the last year, especially the long-term effects of concussions due to violent hits by football players. The league says it took new steps to protect its players from concussions.
A small group of disruptive technologists and I spent the day yesterday in Ft. Myers, Fla. where we had the chance to dine at the Edison House. Pictures of Thomas Edison and friends donned the walls, and as we all reclined there, using our iPhones and iPads to communicate and demonstrate our visions, there was something very eerie about the whole experience. Edison's awarded patents (1,093) have touched all of our lives, and I'm certain that almost nothing we did yesterday could have happened as it did, had Mr. Edison not graced us with his presence (and vision). On the drive back, some of us learned that Steve Jobs (230+ patents) was taking (another) leave of absence from Apple, again for health reasons. Foreign markets were reacting negatively to this third such event, and at the time I wrote this post, Apple stock is down close to 5%. Pundits and fans alike have started hypothesizing about the announcement's impact on future Apple devices (iPhone 5, iPad2), and the potential that Google and Microsoft could gain from Apple's loss. Ironically, over the prior week I had begun working on today's column, with an eye to providing some personal insights into how Apple might innovate the TV space over the next 24 months. Candidly, most don't recognize the impact Apple has already had on the industry -- and it's something I hope to investigate a bit more over the coming weeks. But for today, right now, it seems almost... disrespectful. Steve Jobs and his family are going through something very difficult. His departure from Apple, to focus on his health and family, means that the corporate culture and creative energies that Apple afforded him are now no longer there to distract him from the task at hand. It's difficult for many of us to even stop and empathize with the human toll posed by a reoccurring, potentially lethal disease on anyone, let alone a billionaire technology celebrity. To far too many, including myself, Steve Jobs, the human, had become Steve Jobs, the icon. Despite anyone's personal feelings about Steve and Apple, it might be good for all of us to take a deep breath, pause a moment from the task at hand, and imagine what brother Steve is dealing with right now. Today. Today provides us all with a timely opportunity to do something we have failed to do, far too often, when a true genius withdraws from public integration. And that's to say, "Thank you." Sure, much like the growing mindset we all have towards TV and the commercials that once subsidized the TV experience, the fact that many of us have paid for our Apple devices, just as we have seemingly paid for our TV services, seems to eliminate the need to say "Thank you." Indeed, many feel that no thanks are in order, particularly if we're not customers, or, if we are customers, when the price paid begrudgingly exceeded some internal value proposition. But dollars do not thanks make, and a visionary's impact on culture far exceeds the boundaries of an invoice. So, for the record, and from the heart: "Thanks, Steve."
With all the details of the Comcast-NBC Universal deal now set, a big change will affect Hulu, one of the new venture's possibly major future business areas. The Justice Department demanded Comcast give up management rights to the digital video service, rights it shares with its two other major partners, News Corp. and Walt Disney Co. Comcast executives say this isn't too much of a concern right now -- of all NBC businesses, this is the one they know the least about, according to a press call with executives on Tuesday, The DOJ's concerns are that Comcast, as a manager, could restrict programming/products: "Comcast must relinquish its management rights in Hulu, an OVD," according to a Justice Dept. release. "Without such a remedy, Comcast could, through its seats on Hulu's board of directors, interfere with the management of Hulu, and, in particular, the development of products that compete with Comcast's video service. Comcast also must continue to make NBCU content available to Hulu that is comparable to the programming Hulu obtains from Disney and News Corp." Still, Comcast retains its financial stake -- about a third of the business. In essence, the new Hulu deal put Comcast in a minority ownership position. Perhaps Comcast execs, in the back of their minds, believes this digital video destination -- albeit a successful and growing brand -- may not be the be-all, end-all of the new digital world. Things change quickly in the digital space. Remember when MySpace was the big thing when it came to social networking? In looking at a "TV Everywhere" world where Comcast believes consumers will need to pay for content to make it available in several other areas/platforms/devices, the next big wave of TV content ownership looks to be more of a "cloud" type service, rather than a single destination point. Where does this put Disney and News Corp. with Hulu? Possibly in a better position. Seemingly two partners might make for an easier future -- especially when dealing with a sometimes-complicated advertising inventory supply that has some media executives scratching their heads. This isn't the final word, however. Many of the Federal restrictions -- either from FCC or the DOJ -- are limited at most to seven years. See you in 2018 or so.
Whatever you think of the FCC approval of the Comcast-NBC merger, it seems to be giving a big wet kiss to the online video industry. In approving the marriage, the FCC defined "conditions and enforceable commitments" that Comcast/NBC universal had to abide, and the Commission went out of its way to acknowledge and include digital distribution and emerging online video business models. Chief among these commitments was ensuring "reasonable access to Comcast-NBCU programming for multichannel distribution," which ensures NBCU brands will not become proprietary to Comcast cable. But more to the point, the FCC made a special provision aimed at helping online video business models thrive. The sub-provisions are worth quoting verbatim since they will affect a number of players in the video ecosystem. These items may also signal the FCC's general perspective that could inform subsequent decisions involving online content. Hulu is singled out by name, but notice how provisions put Online Video Distributors (OVDs) on an equal footing with Multichannel Video Programming Distributors (MVPDs). The big boys of traditional media and the upstarts of digital-only media have to get an equal and fair crack at the content. The FCC is requiring that Comcast-NBCU:
A friend reminded me recently about the need to rethink even our most basic daily assumptions, as he noted the warning label on a Superman costume in a store. "Cape does not enable user to fly," it said. It was accurate, of course -- but I was amazed at the manufacturer's need to state it. We're living through a unique period in the media industry. In fact, I don't think we should refer to the "media" industry, at least for a time, until we rethink the assumptions now transforming it. It has become the mediatech industry. No element of media is unaffected by enabling technology, certainly not TV, and because tech is sexy and smart and not the core competence of most practitioners, it seems to be emerging sometimes on its own. It might need a new warning label: "Functionality does not enable provider to make money." A business model is a cool thing, as a successful one provides sustaining profitability for a growing enterprise. And an enterprise needs to grow, no matter what its size. But the same way that many in "media" have a peripheral understanding of real technology, let's not assume that the components of a business model are widely understood. Some of the best work done to understand what we too easily refer to as a business model comes from Henry Chesbrough and Richard S. Rosenbloom. Their work provides a set of components, a framework for thinking about how to develop such a model. First, say Chesbrough and Rosenbloom, define the value proposition from the customer perspective. (Doing that requires research, and you would be amazed at the names of companies, and the amount of the money they invested, without such basic customer research.) Next, different market segments have differing needs for products and services, so segmentation of the market is key. Which market targets have the greatest need of, place the most value on my solution? Determine the position you occupy in the value chain and what you do/will be doing to create, deliver and get paid for value. Do you provide an enhancement to the current value chain, or will you disrupt it? How do you actually generate revenue, and how much relative to costs? Who are you competing with, for which segment(s), and what is your sustainable advantage? (Remember that, particularly in the change business, the competition can be inertia.) As I've often said, language matters because it reflects what we think we know. One of the great management thinkers of the last century, William Edwards Deming, said that ultimately all value is derived from customer value. With the pace of change we continue to experience, let's remember what we know about "value," to insure that the things we create fill a defined and valuable (customer) need, that they have an explainable competitive advantage, and can generate sustaining revenue in excess of costs. If we do all that, then I believe this is the year we'll celebrate -- not just the new devices, but the new businesses in the mediatech industry.
Wait a second! Was that Golden Globes Awards Show on Sunday night a rerun? Yes, if you are going to get Ricky Gervais as host of that particular award show, you know what you are getting -- a Friar's Roast, celebrity-skewing show for the masses. You once had a drug problem? You have a current drug problem? You allegedly took a bride and became a Scientologist? Were once married to Demi Moore? All material for Gervais. This was his second time as a host -- and the second time some TV executives groaned. Since this is what Gervais has done in the past, it should not come as any surprise -- especially to big time TV advertisers paying some $600,000 for a 30-second commercial on NBC. Sometimes the Globes -- with Gervais -- seemed like a reality show for "B" rated stars where frank content may hit too close to home. Does it hurt a star's marketing power? Maybe. But it's all fleeting, at most. But like those reality shows, it's that content that sells. In some ways all this truly separates the Globes from other award shows. Perhaps NBC can make bigger marketing hay out of the event next year. Years ago, critics and big movie stars had a hard time with David Letterman hosting the Oscars. Remember? ("Uma. Oprah. Oprah. Uma."). Letterman essentially did what Gervais did here. Interestingly, some entertainment executives/talent hate Gervais, but also love late-night TV hosts like Letterman who do the same skewing in the wee hours. Is the problem that the Globes are in prime time? It shouldn't be. The Globes appear to viewers as an insider's look at what a closed party at a club in Hollywood might be like. Gervais forewarned the comedy would go right at its obvious targets. Charlie Sheen, of course, was a natural; so too was "The Tourist," the almost universally banned movie that received Globe nominations (including one for comedy?). Ah. There's an inside joke. NBC's ratings for the show posted 17 million, about the same as a year ago -- though the 18-49er crowd went down a bit, year to year. Gervais doesn't think he'll be asked next year to do the honors. But I'm betting TV advertisers wouldn't want it that way.
The rumored original programming from TV repurposer Hulu popped online yesterday. "The Morning After" is a clips compilation of the previous night or weekend's TV highlights. Two talking heads call out their favorite bits not only from TV but occasionally from Web videos as well. Funny or Die is mentioned in the first episode. Generally, however, the material available on Hulu itself seems to be in featured rotation, such as "SNL" clips, "Glee" and highlights of the Golden Globes. Hulu SVP of Content & Distribution calls this daily four minute show "a smart, daily shot of pop culture to help Hulu users stay up to date -- all in less than five minutes." I don't want to pile on, especially since this is the first show. Peter Kafka at All Things digital's MediaMemo has already pointed out that this show is anything but the old Olbermann "Big Show" it claims inspired its style. I mention this because he managed to dig out an old clip of Olbermann's way older L.A. sportscasting days. Okay, I lied. I am going to pile on. If only because the problem with this show may be systemic and deeper than just a rough start. Taking its cues more from today's unctuous Entertainment Tonight or the Insider than anything remotely witty, the highlights and commentary seem aimed at stroking TV not teasing it. Seth Meyer's barely funny anti-gun bit on Weekend Update is praised, as is the fleeting anti-bullying reference in the acceptance speech from "Glee"'s Supporting actor Golden Globe winner. Ok, we get it. TV does good deeds. But was it necessary to slap Ricky Gervais for being celeb-snarky. Don't we pay him to make the stars uncomfortable for us? Altogether, the show kicked off assuring everyone that it this was an unselfconscious celebration of TV in the grand tradition of TV self-celebration. I'm really piling on now. But perhaps it is because I am old. Just as my grandparents were shaped by the Great Depression, my parents were shaped by WWII and Korea, I remember growing up in a stultifying TV age of what was known as Least Offensive Programming (LOP). For decades the reigning principle of network TV prime time was that audiences kept the dial where it was unless motivated by something objectionable to try another channel. Then came cable to provide at least some modicum of adult sensibility and edge to the 'blandscape' of TV. If we don't nip this "The Morning After" thing in the bud, then we may be looking at the reverse trend occurring online. Web video started as a safe haven for outré and even offensive creativity. Anyone remember "Hard Drinkin' Lincoln?" Seen "Happy Tree Friends" lately? The networks and their fancy joint venture come onto the web and deliver this piece of LOP? I lived through "I Dream of Jeannie" and "Hee Haw." Not again. Please God. Not here!
Cutting the cable-cord? Maybe it's just going "off the grid", away from the traditional video programming grid. Some $1 billion is being spent on online media messaging this past year. But as Brian Monahan, executive vp and managing director of IPG Media Lab, in speaking at the OMMA Video event in San Francisco, says this pales in comparision to traditional TV for marketers. Last year some $18 billion was spent in the TV upfront -- that's a 20% year to year gain, and less than half the $40 billion that is annually spent on TV overall in a given year. "We just haven't found anything that has worked this well on this scale," says Monahan. Still, some 50 million people are either "opting out" (22 million), "cutting the cord", or viewing TV on demand (34 million) -- "on demanders", say Monahan. That's a big deal because, as Jordan Schlachter, research director of Say Media, says they are watching less traditional live TV.
Web-to-TV services looking to change the game -- Roku, Boxee, and Google TV, and will be apparent when it comes to the duration of a particular piece of content. Original programming running along side traditional TV won't look the same, from a time perspective -- different lengths of video versus the standard half-hour, hour blocks of programming. In speaking at the OMMA Video event in San Francisco, Jim Louderback, chief executive officer, Revision3, , which produces original web content says: "We are not trying to replace TV. It's as long as it needs to be. We have shows that run three minutes long, and we have shows that are an hour long." Live programming, as well, will feel different to viewers: "Live is only one to two percent our our audience," says Louderback. "But they love you the most." Not only that, but viewers can choose what commercial messaging -- all to get closer to advertisers. Kevin Stephens, Head of Device Partnerships of Boxee: "I can chose an actual experience." What are the hurdles for these companies? Other OMMA Video panelists agree it'll come from the "discovery" of new digital video content.