DOCSLIB.ORG

Broadcast Programming Techniques Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Broadcast Programming Techniques Pdf Broadcast programming techniques pdf Continue based on hypothetical survey results obtained using the appropriate methods that you learn in Chapter 9. PROGRAMMING STRATEGIES As you prepare to schedule a program for your station, strategy is one of the first things you want to consider. Basically, it's the planning and direction of your programming schedule; the big picture. At this point, you consider all the variables, including things like audience survey, selection of software materials, putting programs in the appropriate time slot for a specific target audience, and so on. The two most important strategies in programming are compatibility and audience flow. Compatibility One of your goals in programming is to schedule your material to match what people do all day long. Your schedule should be compatible with the cyclical nature of people's day-to-day activities. At the beginning of the day, most working people do not have time for entertainment programs, but arcs are interested in what happened overnight in the news. An example of how networks meet this need are morning programs like Today and Good Morning America. During the day, as people change, your programming should change. An example of this is the early lull in the afternoon, when shows with adult female appeal, such as soap operas, are popular. Later in the afternoon, when children do not go to school, popular programs with youth appeal, such as cartoons. Another consideration for you to keep in mind is that television is a free time activity and your program schedule should reflect this fact. It would not be good programming for you to schedule your most popular programs when everyone is at work or asleep. The air shows people want to see at a time when they can see them. Programming your schedule to be compatible with this loop is known as dayparting. We'll look at dayparting later in this section. For the principle of compatibility to work, you need to consider who the audience is available and what they are doing. You have to learn how the audience lives to determine not only the planning, but also what type of program to use, thereby creating a flow to the programming that meets the needs of different types of audience throughout the day. Audience polling is the best way to achieve this (see chapter 9). Audience Flow In commercial broadcasting, the programmer tries to keep the audience flowing from one program to another. His job is to maximize the number that flows from one program to another, and the amount that flows from other stations while minimizing the number that flows. As programmer, you're concerned about the flow of the audience, but only in the sense that you're trying to create a stream of programming that keeps the audience tuned in. As your audience changes throughout the day, your pro-gramming should coherently flow with that change. Again we will use the afternoon clock as an example. You programmed soap operas earlier in the day for a predominantly adult female audience. Your decision to do so is based on survey information providing preferences for adult women's programs. Later, when the children return home from school, the activity around the house begins to increase, and the adult female audience is significantly reduced. School-age children increase their viewing during these hours, and your programming should reflect this with children's programming. Later in the afternoon, the family viewing is raised and the programming is adjusted accordingly. The software material available from AFRTS is the best of the current commercial pro-grammar. The AFRTS Broadcasting Center (AFRTS-BC) offers military programmers more than 90 percent of the entire prime- time schedule of major American television networks, almost all A.C. Programs with the highest Nielsen rating. With so many popular programs, developing the flow into your schedule becomes much easier. It's important to remember that programming should be scheduled for a thread with a target audience. It doesn't do you any good to schedule prime-time shows at a time when most people are unable to watch. For example, if a survey shows that most of the crew on your ship didn't work by 1600 and finished eating and taking a shower by 1800, it would be good for you to start your prime-time programming then. Programming your station with the audience stream in mind ensures that your schedule has a structure, not just a random mix. 8-4 All radio and television shows that have been broadcast over a period of time should not be confused with the radio program. The radio programmer redirects here. For other purposes, see Radio Programming. Television programs redirects here. For the content itself, see Broadcasting programs is the practice of organizing and/or ordering (planning) media broadcasts, usually radio and television, on a daily, weekly, monthly, quarterly or season-long schedule. The manager responsible for program selection and scheduling is sometimes the director of network programming. Modern broadcasters use broadcast automation to regularly change the schedule of their shows to create an audience for a new show, save audience, or compete with other broadcasters' shows. Most TV shows are presented weekly in prime time or daily at other dayparts, although exceptions are not uncommon. On micro-level planning, minute transfer planning is in place; that broadcast and when, ensuring adequate or maximum use of airtime. Television planning strategies are used to give shows the best chance of attracting and retaining an audience. They are used to delivering shows to audiences when they most likely want to watch them and deliver audiences to advertisers in the line-up, making their ads likely to be effective. With the rise of digital platforms and services allowing non-linear, on-demand access to television content, this approach to broadcasting has since been mentioned using retroline linear (such as linear television and linear channels). The story of the beginning of scheduled television in 1936, television programs were initially associated only with filling a few hours each evening - the clock is now known as prime time. Over time, however, television began to be watched in the daytime and late at night, as well as on weekends. As airtime increased, so did the demand for new material. With the exception of sports television, the variety show has become much more important in prime time. Planning Strategies Block Programming Home article: Block Programming Block programming is the practice of planning a group of additional programs together. Blocks are usually built around certain genres (i.e. a block focusing specifically on comedy), target audiences or other factors. The blocks also allow these programs to be promoted together under a blanket of brands (such as ABC's TGIF lineup and NBC's Must See TV). Overcoming is a practice of preventing audiences from changing channels while connecting between specific programs. This can be done primarily by airing the promo for the next program near the end of the previous program, for example, during its credits, or reducing the length of connection between the two programs as much as possible (hot switching). The host of the next program can similarly make a brief appearance near the end of the previous program (sometimes interacting directly with the host) to provide a preview; in news broadcasting, this is commonly referred to as a throw or throw. Because of both program news comedy formats, Comedy Central's program The Daily Show similarly featured toss segments to promote its spin-off and lead out, the Colbert Report, in which host Jon Stewart will engage in a comedy conversation with the host of the latter, Stephen Colbert, through a split-screen near the end of the show. The Jackie Thomas Show premiered a bridge from the presenter, Rosanna, ending her episode with a stage scene The family watches the beginning of the Jackie Thomas Show on TV in the universe, and moving on to the show itself without a connection between them. ABC commissioned a minute-by-minute Nielsen ratings report that showed that most viewers from Roseanne were saved. In some cases, the channel may intentionally allow the program to move to the next half-hour time slot, rather than end for exactly half an hour in order to dissuade viewers from surfing during traditional connection periods (since they have already missed the start of programs on other channels). This, however, can lead to failures with registrars if they are unaware of the planning (usually, digital VCRs can be configured to automatically record for a certain period of time before and after the chart of this time slot in the program's data guide to account for possible deviations). Over a period of time, TBS intentionally engaged in this practice under the Turner Time branding, planning all programs in 5 and 35 minutes after an hour, rather than exactly half an hour. It also served to attract viewers to the tune from the show, which had already started on another channel, as shifting planning made it easier to catch the start of another program. Crossprogramming Home Article: Crossover (Fiction) Crossprogramming involves joining two shows. This is achieved by expanding the storyline over two episodes of two different shows. Counterprogramming Home Article: Counterprogramming (TELEVISION) Counterprogramming is the practice of intentionally planning programming to draw viewers away from another, large program. Counterprogramming efforts often involve scheduling a contrast program of another genre or a demographic focused on viewers who may not be interested in a mainstream program (e.g., a sporting event that usually attracts a predominantly male audience, against an award-winning show that attracts a predominantly female audience).
Load more

Recommended publications
  • Black Women in Primetime Soap Opera: Examining Representation Within Genre Television
    Black Women in Primetime Soap Opera: Examining Representation within Genre Television by Courtney Suggs A Thesis Submitted in Partial Fulfillment of Requirements for the Degree of Master of Science in Media Studies Middle Tennessee State University December 2019 Dissertation Committee: Dr. Katie Foss, Chair Dr. Sanjay Asthana Dr. Sally Ann Cruikshank ABSTRACT Using textual genre analysis, this research studied representation in primetime soap operas Scandal, How To Get Away with Murder, and Empire. Two hundred and eighty- three episodes were viewed to understand how black female identity is represented in primetime soap and how genre influences those representation. Using Collins (2009) theory of controlling images, this study found that black female protagonists were depicted as jezebels and matriarchs. The welfare mother stereotype was updated by portrayals of black woman as hard working. Soap opera conventions such as heavy talk helped provide context to stereotypical portrayals while conventions such as melodrama lead to reactive characterization. ii TABLE OF CONTENTS CHAPTER I: INTRODUCTION……………………………………………….….....1 Background……………………………………………………...………........3 CHAPTER II: LITERATURE REVIEW.....................................................................9 Black Women in Scripted Television…...........................................................9 Television Effects on Viewers……………………………………………....14 CHAPTER III: THEORETICAL FRAMEWORK………………………………....18 Representation Theory……………………………………………………...18 Genre Theory……………………………………………………………….19
    [Show full text]
  • THE NATIONAL ACADEMY of TELEVISION ARTS & SCIENCES ANNOUNCES the 42Nd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS
    THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES The 42nd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS Live Television Broadcast Airing Exclusively on Pop Sunday, April 26 at 8:00 p.m. EDT/5:00 p.m. PDT Daytime Creative Arts Emmy® Awards Gala on April 24th To be held at the Universal Hilton Individual Achievement in Animation Honorees Announced New York – March 31st, 2015 – The National Academy of Television Arts & Sciences (NATAS) today announced the nominees for the 42nd Annual Daytime Emmy® Awards. The awards ceremony will be televised live on Pop at 8:00 p.m. EDT/5:00 p.m. PDT from the Warner Bros. Studios in Burbank, CA. “This year’s Daytime Emmy Awards is shaping up to be one of our most memorable events in our forty-two year history,” said Bob Mauro, President, NATAS. “With a record number of entries this year, some 350 nominees, the glamour of the historic Warner Bros. Studios lot and the live broadcast on the new Pop network, this year promises to have more ‘red carpet’ then at any other time in our storied-past!” “This year’s Daytime Emmy Awards promises a cornucopia of thrills and surprises,” said David Michaels, Senior Vice President, Daytime. “The broadcast on Pop at the iconic Warner Bros. Studios honoring not only the best in daytime television but the incomparable, indefatigable, Betty White, will be an event like nothing we’ve ever done before. Add Alex Trebek and Florence Henderson as our hosts for The Daytime Creative Arts Emmy Awards at the Universal Hilton with Producer/Director Michael Gargiulo as our crafts lifetime achievement honoree and it will be two galas the community will remember for a long time!” In addition to our esteemed nominees, the following six individuals were chosen from over 130 entries by a live, juried panel in Los Angeles and will be awarded 1 the prestigious Emmy Award at our Daytime Creative Arts Emmy Awards on April 24, 2015.
    [Show full text]
  • American Forces Network Radio Programming Decisions (D-2006-117)
    September 27, 2006 Information Technology Management American Forces Network Radio Programming Decisions (D-2006-117) Department of Defense Office of Inspector General Quality Integrity Accountability Additional Copies To obtain additional copies of this report, visit the Web site of the Department of Defense Inspector General at http://www.dodig.mil/audit/reports or contact the Secondary Reports Distribution Unit at (703) 604-8937 (DSN 664-8937) or fax (703) 604-8932. Suggestions for Future Audits To suggest ideas for or to request future audits, contact the Office of the Deputy Inspector General for Auditing at (703) 604-8940 (DSN 664-8940) or fax (703) 604-8932. Ideas and requests can also be mailed to: ODIG-AUD (ATTN: Audit Suggestions) Department of Defense Inspector General 400 Army Navy Drive (Room 801) Arlington, VA 22202-4704 Acronyms AFIS American Forces Information Service AFN American Forces Network AFRTS American Forces Radio and Television Service AFN-BC American Forces Network - Broadcast Center ASD(PA) Assistant Secretary of Defense (Public Affairs) OIG Office of Inspector General Department of Defense Office of Inspector General Report No. D-2006-117 September 27, 2006 (Project No. D2006-D000FI-0103.000) American Forces Network Radio Programming Decisions Executive Summary Who Should Read This Report and Why? This report will be of interest to DoD personnel responsible for the selection and distribution of talk-radio programming to overseas U.S. Forces and their family members and military personnel serving onboard ships. The report discusses the controls and processes needed for establishing a diverse inventory of talk-radio programming on American Forces Network Radio.
    [Show full text]
  • Dayparting in Online Media: the Case of Greece
    INTERNATIONAL JOURNAL OF COMPUTERS AND COMMUNICATIONS Volume 8, 2014 Dayparting in Online Media: The case of Greece Andreas Veglis was reasonable to hypothesize that dayparts on the Internet do Abstract— The concept of dayparting has been employed not exist since people can access the Internet from virtually for quite some time in the broadcasting industry. A daypart can anywhere at any time. For example web sites’ content, social be defined as a consecutive block of time on similar days networking posting, blog comments are available 24 hours a during which the size of the audience is homogeneous as is the day, seven days a week [2]. A portal includes news every hour characterization of the group using the medium. Until recently of the day. The headlines may change with time but the genre Internet media planning has been characterized by overall site of the web site remains constant [3]. reach, demographics and content affinity without particular Nevertheless this perspective changed when two surveys regard for how audience dynamics change by time of day. The conducted in 2002 and a third one conducted in 2007 found existence of Internet dayparts can have major implications on that dayparts are also applicable to the Internet use and more media organization that continuously update their content particularly to online media [2]-[4]. offered by internet tools and services. This paper investigates The existence of Internet dayparts can have major the existence of dayparts in the usage of various publishing implications on news web sites that continuously update their channels employed by Greek media web sites.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • THE WRITE CHOICE by Spencer Rupert a Thesis Presented to The
    THE WRITE CHOICE By Spencer Rupert A thesis presented to the Independent Studies Program of the University of Waterloo in fulfilment of the thesis requirements for the degree Bachelor of Independent Studies (BIS) Waterloo, Canada 2009 1 Table of Contents 1 Abstract...................................................................................................................................................7 2 Summary.................................................................................................................................................8 3 Introduction.............................................................................................................................................9 4 Writing the Story...................................................................................................................................11 4.1 Movies...........................................................................................................................................11 4.1.1 Writing...................................................................................................................................11 4.1.1.1 In the Beginning.............................................................................................................11 4.1.1.2 Structuring the Story......................................................................................................12 4.1.1.3 The Board.......................................................................................................................15
    [Show full text]
  • Broadcast Television (1945, 1952) ………………………
    Transformative Choices: A Review of 70 Years of FCC Decisions Sherille Ismail FCC Staff Working Paper 1 Federal Communications Commission Washington, DC 20554 October, 2010 FCC Staff Working Papers are intended to stimulate discussion and critical comment within the FCC, as well as outside the agency, on issues that may affect communications policy. The analyses and conclusions set forth are those of the authors and do not necessarily reflect the view of the FCC, other Commission staff members, or any Commissioner. Given the preliminary character of some titles, it is advisable to check with the authors before quoting or referencing these working papers in other publications. Recent titles are listed at the end of this paper and all titles are available on the FCC website at http://www.fcc.gov/papers/. Abstract This paper presents a historical review of a series of pivotal FCC decisions that helped shape today’s communications landscape. These decisions generally involve the appearance of a new technology, communications device, or service. In many cases, they involve spectrum allocation or usage. Policymakers no doubt will draw their own conclusions, and may even disagree, about the lessons to be learned from studying the past decisions. From an academic perspective, however, a review of these decisions offers an opportunity to examine a commonly-asserted view that U.S. regulatory policies — particularly in aviation, trucking, and telecommunications — underwent a major change in the 1970s, from protecting incumbents to promoting competition. The paper therefore examines whether that general view is reflected in FCC policies. It finds that there have been several successful efforts by the FCC, before and after the 1970s, to promote new entrants, especially in the markets for commercial radio, cable television, telephone equipment, and direct broadcast satellites.
    [Show full text]
  • H1 2019 Trends and Opportunities What’S Trending in Social TV: H1 2019
    What’s Trending In Social TV H1 2019 Trends and Opportunities What’s Trending In Social TV: H1 2019 The state of social media for TV has been strong so far in 2019. Total Fan Growth for TV pages across Facebook, Twitter and Instagram is up 29% in the first half of 2019 compared to the second half of 2018, while social engagement increased 15% during the same time period. For Facebook, that largely means TV pages continue to recover from the algorithm changes in early 2018 that significantly limited organic reach. As TV focuses on strengthening engagement with their fanbase as opposed to just growing it, Facebook response rate and video views were up in the first half of 2019, inching back to pre-algorithm change levels. It’s a similar story for Twitter, where the TV space needed to alter their strategies following a mid-2018 purge of fake and dormant users. While the volume of tweets from TV accounts was down in the first half of 2019, the “less is more” strategy has been paying off. In Q2 2019, the average number of video views for TV hit its highest peak since the beginning of 2017. Meanwhile, the success of Instagram Stories is something TV Pages are taking advantage of in 2019. The volume of Instagram Stories published by TV accounts increased by 176% comparing Q2 2019 to Q1 2018. TV has also seen substantial growth on YouTube halfway through 2019, with fan counts and video views on the platform up 45% and 28% respectively, comparing H1 2019 to H1 2018.
    [Show full text]
  • Station Ownership and Programming in Radio
    FCC Media Ownership Study #5: Station Ownership and Programming in Radio By Tasneem Chipty CRA International, Inc. June 24, 2007 * CRA International, Inc., 200 Clarendon Street, T-33, Boston, MA 02116. I would like to thank Rashmi Melgiri, Matt List, and Caterina Nelson for helpful discussions and valuable assistance. The opinions expressed here are my own and do not necessarily reflect those of CRA International, Inc., or any of its other employees. Station Ownership and Programming in Radio by Tasneem Chipty, CRA International, June, 2007 I. Introduction Out of concern that common ownership of media may stifle diversity of voices and viewpoints, the Federal Communications Commission (“FCC”) has historically placed limits on the degree of common ownership of local radio stations, as well as on cross-ownership among radio stations, television stations, and newspapers serving the same local area. The 1996 Telecommunications Act loosened local radio station ownership restrictions, to different degrees across markets of different sizes, and it lifted all limits on radio station ownership at the national level. Subsequent FCC rule changes permitted common ownership of television and radio stations in the same market and also permitted a certain degree of cross-ownership between radio stations and newspapers. These changes have resulted in a wave of radio station mergers as well as a number of cross-media acquisitions, shifting control over programming content to fewer hands. For example, the number of radio stations owned or operated by Clear Channel Communications increased from about 196 stations in 1997 to 1,183 stations in 2005; the number of stations owned or operated by CBS (formerly known as Infinity) increased from 160 in 1997 to 178 in 2005; and the number of stations owned or operated by ABC increased from 29 in 1997 to 71 in 2005.
    [Show full text]
  • Foreign Government-Sponsored Broadcast Programming
    February 11, 2021 Foreign Government-Sponsored Broadcast Programming Overview Radio Sputnik, a subsidiary of the Russian government- Congress has enacted several laws to enable U.S. citizens financed Rossiya Segodnya International Information and the federal government to monitor attempts by foreign Agency, airs programming on radio stations in Washington, governments to influence public opinion on political DC, and Kansas City, MO. Rossiya Segodnya has contracts matters. Nevertheless, radio and television viewers may with two different U.S.-based entities to broadcast Radio have difficulty distinguishing programs financed and Sputnik’s programming. One entity is a radio station distributed by foreign governments or their agents. In licensee itself, while the other is an intermediary. DOJ has October 2020, the Federal Communications Commission directed each entity to register under FARA. Copies of the (FCC) proposed new requirements for broadcast radio and Rossiya Segodnya’s contracts with both entities are television stations to identify foreign government-provided available on both the FCC and DOJ websites. programming. FCC filings and a November 2015 report from the Reuters Statutory Background news agency indicate that China Radio International (CRI), For nearly 100 years, beginning with the passage of the an organization owned by the Chinese government, may Radio Act of 1927 (P.L. 69-632) and the Communications have agreements to transmit programming to 10 full-power Act of 1934 (P.L. 73-416), Congress has required broadcast U.S. radio stations, but independent verification is not stations to label content supplied and paid for by third readily available. parties so viewers and listeners can distinguish it from content created by the stations themselves (47 U.S.C.
    [Show full text]
  • Enhanced TV Features on National Broadcast and Cable Program Web Sites: An
    Enhanced TV Features on National Broadcast and Cable Program Web sites: An Exploratory Analysis of What Features are Present and How Viewers Respond to Them A thesis presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Master of Science Jasmin M. Goodman August 2009 © 2009 Jasmin M. Goodman. All Rights Reserved. This thesis titled Enhanced TV Features on National Broadcast and Cable Program Web sites: An Exploratory Analysis of What Features are Present and How Viewers Respond to Them by JASMIN M. GOODMAN has been approved for the E. W. Scripps School of Journalism and the Scripps College of Communication by Mary T. Rogus Associate Professor of Journalism Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT GOODMAN, JASMIN M., M.S., August 2009, Journalism Enhanced TV Features on National Broadcast and Cable Program Web sites: An Exploratory Analysis of What Features are Present and How Viewers Respond to Them (84 pp.) Director of Thesis: Mary T. Rogus This study explores the presence of enhanced features on national TV program Web sites, and viewer response and reaction to these features. Using content analysis and focus group methods, it was discovered that fan-based features invoked a more positive response than any other feature category. The results also revealed participant motivations for visiting TV program sites. Approved: _____________________________________________________________ Mary T. Rogus Associate Professor of Journalism iii DEDICATION Lena Neal Edwards “Granny” 1930-1995 Lillie Mae Grant “Grandma Lillie” 1911-2008 Bobbie Coleman “Grandma Bob” 1937-2008 And finally to the best Granddaddy in the world, Mr.
    [Show full text]
  • Broadcast Live on Pop and Hosted by Tyra Banks
    THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES WINNERS FOR THE 42nd ANNUAL DAYTIME EMMY® AWARDS Broadcast Live on Pop and Hosted by Tyra Banks Betty White Honored with the Lifetime Achievement Award Burbank, CA – April 26, 2015 – The National Academy of Television Arts & Sciences (NATAS) tonight announced the winners of the 42nd Annual Daytime Emmy® Awards in a sold-out gala for over 1,200 attendees held at Stage 16 of the historic Warner Bros. Studios Lot in Burbank, CA. The awards presentation was broadcast live on Pop at 8 p.m. EDT/5 p.m. PDT. “What an eclectic mix of the magnificent bounty that is Daytime Television,” said Bob Mauro, President, NATAS. “So many stars lighting up the red carpet at the iconic Warner Bros. Studio Lot in addition to the indefatigable, unparalleled Betty White as our Lifetime Achievement Award honoree. This is a terrific showcase of the power of Daytime Television that will be remembered for years to come!” Tonight’s telecast was hosted by Tyra Banks and included an over-flowing lineup of television talent including Regis Philbin, Steve Harvey, Marie Osmond, Craig Ferguson, Deidre Hall, Nancy O’Dell, Shemar Moore and Alex Trebek. Also presenting are cast members from the four daytime soaps, including Daniel Goddard, Justin Hartley and Melissa Claire Egan of “The Young and The Restless,” Kirsten Storms and Ryan Paevey of “General Hospital,” Christopher Sean, Freddie Smith and Guy Wilson of “Days of Our Lives” and Jacob Young, Karla Mosley and Linsey Godfrey of “The Bold and the Beautiful.” In addition, there were special appearances by Mario Lopez, Tom Bergeron, Leeza Gibbons, Chrissy Teigen, Alan Thicke, Kevin Frazier, Vicki Lawrence, Eileen 1 Davidson and Julie Chen, Sara Gilbert, Sharon Osbourne, Aisha Tyler and Sheryl Underwood, all of “The Talk.” The 42nd Annual Daytime Emmy Awards recognize outstanding achievement in all fields of daytime television production and are presented to individuals and programs broadcast during the 2014 calendar year.
    [Show full text]