CONTENT MATTERS IDEAS IMPACTING THE CONTENT COMMUNITY 2016 Q3 ISSUE #6 Culled from the headlines of the TV Industry’s Trade Press, CONTENT MATTERS is a Bi-Monthly Newsletter curated and contextualized by KATZ Content Strategy’s Bill Carroll.
1. Magid Research looks at the Power of Sitcoms on local broadcast schedules Warner Brothers commissioned the report on the genre exploring the role and the potential long term benefits of these perennial comedies to the over-the- air broadcast marketplace.
2. Can Late Night become Reality TV’s Savior? At a time when it appears that reality is rehashing formats, originality on late night segments like LIP SYNC BATTLE and CARPOOL KAROKE are becoming the basis for new reality offerings. Is this a positive trend?
3. The Pareto Principle, which if you don’t know, is the 80/20 rule Here is how it is now being applied to how reach and advertising Impact are related in the Nielsen Total Audience Report and what it might ultimately mean 5 for broadcasters. INSIGHTS 4. Welcome to the Zoo. Or Call It Prime-Time TV Can broadcast networks successfully breakthrough TO KNOW with audacious even experimental comedies in primetime? We are finding out this season.
5. Is the Fall TV Season a Played-Out Tradition? Is it Time to Move On? Let’s face facts: Many tell us that the “new” fall TV season is an antiquated concept or, to be more accurate, a non-concept to Millennials and, increasingly, the older folks who love them. 1 CONTENT MATTERS IDEAS IMPACTING THE CONTENT COMMUNITY 2016 Q3 ISSUE #6
In a report presented by Warner Brothers always know what I’m getting.” Those at the recent PROMAX conference, THE were the underlying traits for comfort POWER OF SITCOMS was reviewed. Here is and reliability. Reliability engendered a condensed and excerpted version of the comments like: “Characters are like old Magid research report and some of its key friends.” And, “no matter how old I am, findings. As outlined in their introduction, I can always relate.” They were talked Magid set out with the goals of exploring about as “palate cleansers from my the role and the long term benefits of heavy, suspenseful dramas.” “Satisfying comedies on local broadcast stations. and light after serious news.” And The survey dealt with understanding finally the “easy” nature of sitcoms was the emotional connections and motivations indicated by the assertion that you “can for viewing these programs. It also looked drop in and out and not miss anything.” to strengthen viewing habits and loyalty. While with “stand alone episodes, I can The report dealt with all programs in watch out of order.” the genre including animation and did Other findings included that 86% not exclusively look at Warner Brothers will stay tuned if they see that a sitcom syndicated series. they want to watch is airing after the The focus group that took part in the local news. You can recruit viewers, 89% April 2016 survey was comprised of over state if their local station starts airing 2,000 Adults between 18 and 54 years sitcoms they like to watch, they are old. Among the key benefits outlined by more likely to watch that station. 74% this group were that sitcoms provide “me- are more loyal to the local station that time”, while also at the same time providing airs their favorite comedies. Habits are reliability and comfort. The series were created as 72% watch the same local “easy” to watch, relatable and could be a station all the time, because they air palate cleanser from the day’s activities. their favorite sitcoms. On the flip side, Drilling down the findings in each 81% could be lost to SVOD, if the favorite characteristic, in the category of “me- sitcom is not on their local station, or time”, it was said they “help me shut off 82% would probably start watching my mind for a while”, “melting away the other stations or cable networks. And stress of the day.” At the same time stating more alarmingly, if the local station stops among the other characteristics, that “these airing a favorite sitcom, they would shows are like comfort food”, dependable-I probably stop watching that station.
CONTENT IN CONTEXT In a more encouraging statistic for who watched a sitcom for the first time broadcasters, the report states that 54% on SVOD, 36% then watched on local of sitcom viewers turn to broadcast first. television. While, 72% of Millennials who With 27% choosing cable and a combined tried a sitcom for the first time on SVOD, 19% (18% SVOD and 1% AVOD) are the first it was found that 30% then watched the choice for sitcom viewers. 55% of those sitcom on a local station.
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As was reported by the HOLLYWOOD Despite some who have concerns REPORTER and summarized here, viral that these and other similar announced segments are being launched into full offerings may be cannibalizing the series on broadcast, cable and streaming concepts, others believe that such shows platforms. The most talked about include are breathing new life into the reality segments from James Cordon’s LATE LATE genre. That category of programming SHOW on CBS with CARPOOL KAROKE, has struggled of late to launch new hits. the internet sensation, along with DROP And for the late night series, these off- THE MIC leading the way as a stale genre shoots are providing an additional revenue looks for a needed jump start. stream. Coming soon could be the headline The most successful test of this for MEAN TWEETS, the show. That trend, so far, has been Spike cable’s LIP segment would come on the heels of the SYNC BATTLE, hosted by model Chrissy recent announcements by the folks at TBS Teigen and rapper LL Cool J. The concept cable that they are developing a singing was born and continues on THE TONIGHT competition DROP THE MIC, which has SHOW starring JIMMY FALLON. With already found an important place in the viral record ratings for SPIKE and receiving an ecosystem. It is the latest example of the EMMY nomination, the network is prepping unscripted TV’s newest and some would say a kid-centric spin on the program. They most promising pipeline; namely late night. are also preparing an unaffiliated take on Earlier, the LATE LATE SHOW production Cordon’s carpool bit entitled CAROKE company sold CARPOOL KAROKE, another SHOWDOWN. popular segment, as a standalone show to Over at the ABC broadcast network, Apple TV. In an interview, TBS/TNT senior they have created a back door pilot for a VP of unscripted series, Michael Bloom, series titled BIG FAN. The program would told reporters that “Late night has been a be hosted by Conan’s sidekick Andy proving ground for great ideas, and now Richter. Coming from LIP SYNC Executive enhanced by the digital exposure they’re Producer Casey Patterson, it is based on getting, it’s no wonder audiences want the JIMMY KIMMEL LIVE! segment called more.” Bloom has ordered 16 episodes of WHO KNOWS …? With all these projects, DROP THE MIC in which four celebrities will Patterson believes “the trend is a welcome engage in a rap battle. James Cordon will be relief”. “It’s fresh, original material coming involved as an Executive Producer, but will to reality TV, versus old relaunched not host either series. formats.”
CONTENT IN CONTEXT Certainly the creativity shown by Cordon, would not be exploited as standalone Fallon and Kimmel has revitalized the series. Unlike those who are sure that late night space for the broadcast this is not cannibalization, we do have networks. It is inevitable, especially concerns of potential over reach. Fresh after the successful transfer to the LIP ideas are positive, but imitation my not SYNC BATTLE, that the other viral hits be truly fresh.
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According to the Nielsen Total Audience quarter 2016 Nielsen Total Audience report, the average U.S. consumer has report, we investigated the impact of the added an hour of daily media usage top 20% of users for each medium to see over the past two years. This analysis is just how much of the total time spent with excerpted and condensed for NIELSEN each platform they contributed. INSIGHTS. As the media world changes When charting the percentage the patterns and tendencies of consumers of usage contributed by the top 20% everywhere, we’re finding more and more of users, it was found that 52% of examples of why it’s important to judge total minutes are contributed by the each platform by the three basic cross- top 20% of TV users, 48% (radio), 71% platform tenets: how many people use each (connected devices), 76% (internet on platform, how often do they do so and how PC), 87% (stream on PC) and 83% of long do they stay. the smartphone videos. Two things stand Keeping track of consumers’ media out from this analysis. First, it’s clear diets is a daunting challenge for any that larger, more widespread behaviors marketer. Thankfully it’s less challenging (those that simply reach more people) when media consumption can be sliced are less concentrated among the heaviest and diced across multiple platforms to see users. There are simply more overall how Americans are spending their media users, so the impact of the top group is days in an age of overwhelming choice. And not as evident. And conversely, smaller the astounding choice is actually driving behaviors (those that reach less people) increased media consumption. done by fewer people tend to be more More so than other factors, these concentrated among the heaviest users. three basic elements (which can also be But secondly–and most importantly categorized as reach, frequency and time for advertisers considering the right spent) affect how engagement on each media mix–this data hints at the platform looks when it’s gauged by the implications of placing a campaign on discerning eye of deep-dive analysis. one particular platform over another, and This can be especially enlightening who will be affected by that message. For when you scale your analysis according live and time-shifted television as well as to the “Pareto Principle,” which, in the AM/FM radio (the top two platforms for media realm, states that 20% of the monthly reach), the top group of users media-consuming public drives 80% of drive a much lower percentage of the consumption. For example, for the first- total usage.
CONTENT IN CONTEXT Simply stated 20% of the media-consuming smartphone where smaller groups will public drives 80% of consumption.It likely be reached again and again. This is important that as broadcasters we is in contrast to the large number of remind everyone that a message seen on impressions on broadcast television TV will reach more individual consumers that can be achieved using our mass- overall, as compared to online or on a appeal medium.
4 CONTENT MATTERS IDEAS IMPACTING THE CONTENT COMMUNITY 2016 Q3 ISSUE #6 With a headline: Welcome to the Zoo or comedies rely on passionate fans.” Call it Prime-Time TV, the New York Times This season will bring its share of explored changes in this excerpted and old-fashioned sitcoms —Kevin James condensed article. This TV season — hidden (Kevin Can Wait) and Matt LeBlanc among the reboots and movie spinoffs (Man With a Plan) will both headline and copy-of-a-copy sitcoms — are at least new shows with time-tested bumbling- five comedies that break what has long dad storylines. For the new season, FOX been a cardinal broadcast-network rule: is throwing caution to the wind. Son Go with what has worked before. Instead, of Zorn,’ mashes together 1980s-style as they try to break through the television animation and live action: An updated glut, NBC, ABC and Fox are suddenly He-Man, returns to conservative Orange serving up audacious, almost experimental County, Calif., and tries to reconnect with primetime humor more in keeping with his ex-wife. Making History, headed for cable networks like FX and the risk-taking FOX, is a time-travel comedy that finds streaming services. its cast zapping among the centuries. The Good Place takes place in what ABC is readying Imaginary Mary, in which is essentially heaven. It’s an idyllic, flower- an invented childhood friend returns to filled town where residents are awarded offer sometimes misguided advice. A soul mates. But when a newly dead woman talking-pet show called Downward Dog is turns up — by mistake, really strange things also headed to ABC. start to happen. Another new comedy High-concept comedies are not provides Jenna Elfman with a furry, spotted, new, but they are coming back, in nonhuman B.F.F. with a big mouth. These part, because they have an immediate “high-concept” shows can be difficult to hook and premises explained in easy execute, partly because writers must walk shorthand. In an age with more than a fine line between inventive and gimmicky. 400 series annually that’s important. But they represent a new programming Rather than aiming at everyone, find an strategy for old-school primetime. audience — any audience — as long as Broadcasters are not quite throwing in the it’s a passionate one. The new entries ratings towel, but they are trying to worry are trying to distinguish themselves in less about an immediate mass audience the execution as well as the conceit — to and more about finding, at the very least, create complex characters and be about a group of core fans attracted to a strong something. And that is what networks comedic point of view —more than ever, hope will give them staying power.
CONTENT IN CONTEXT There is good and bad news in the trend The bad news is these sitcoms and ones outlined in this item. The good news could like them may reach a passionate, but not be that the broadcast networks are willing large audience. That does not successfully to look outside their comfort zone to try to feed the pipeline for future syndication. We reach an ever elusive millennial audience. have to wait for Kevin Can Wait.
5 CONTENT MATTERS IDEAS IMPACTING THE CONTENT COMMUNITY 2016 Q3 ISSUE #6 NBC made one of the smartest moves Now, however, it’s a whole new that any network has in years when it long-tail ballgame, thanks to the industry decided to keep “America’s Got Talent” changing potential of streaming services as a summer show that builds to the finals and, of more importance, the happy in September –to provide an invaluable rejection by millions of people of the promotional platform for its new fall shows, standard ways of watching television. It and anything else it wants to call attention matters not when something launches or to at a time of year when there is very little on what network it appears. They have to watch, at least on broadcast television moved beyond the behaviors of their according to this excerpted and condensed elders, who adhered to the structure of item from an article by Ed Martin in Media network imposed schedules and industry Village. imposed seasons. Anyone under 30 – Now more than ever it’s a good thing maybe older – has no interest in a “fall at least one broadcaster has something season” (or any season), or more to in place to support its fall season – not the point any understanding of what a for traditional competitive reasons, but “fall season” is, unless it involves leaves because all of the broadcast networks need changing color. all the help they can get simply to remind The networks [have blown] the the American public that a new television doors off with the usual cavalcade of new season is about to begin. To wit, thousands fall shows and returning franchises. Few of people toil tirelessly to create several people will care. Many heads will spin, dozen series that are launched within days while a few will roll. This is not because of of each other only to see most of them the quality or lack thereof of the networks’ suffer because of the intense competition freshmen series, which collectively are of the fall, when they are suddenly all above average. Rather, this will happen competing with each other for the attention because of an absence of oxygen when it and many die early deaths simply because comes to the played-out tradition of the they didn’t get noticed quickly enough. traditional TV season.
CONTENT IN CONTEXT We are not sure that we agree viewers simply maintaining knowledge completely with Martin’s conclusion that of everything that is happening on the networks really ought to follow the television today is almost as impossible. lead of cable networks and streaming With that said, we must find a reasoned services and focus more on debuting way not to have to sacrifice or individual shows rather than cobbling compromise anything that might be them together [in] the traditional TV worth keeping of a ritual that people season. We do agree that for most of our may not respond to anymore.
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