Strategic Communication Efforts Surrounding American Idol's Loss
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Volume 1 2012 www.csscjournal.org ISSN 2167-1974 Is Breaking Up Hard to Do?: Strategic Communication Efforts Surrounding American Idol’s Loss of Paula Abdul Sarah MacDonald Pepperdine University Emily S. Kinsky Kristina Drumheller West Texas A&M University Abstract The reality show American Idol has made its way to the top of television ratings in nearly all of its 11 seasons to date. However, a challenge came with the departure of original Idol judge Paula Abdul after unsuccessful contract negotiations in 2009. During the crisis, social media were filled with rumors and comments from disgruntled Abdul fans. This case study examines the strategic communication efforts of American Idol producers during this crisis. Image restoration methods by the producers are examined and suggestions are made for future similar crises. Keywords: reality television; Fox; Paula Abdul; American Idol; Twitter; social media; image restoration; celebrity; strategic communication The boom of reality television is, for the most part, a product of the new millennium. These productions are unpredictable, providing enough intrigue to keep viewers watching for an entire season (Consoli, 2001). It is a market known for the outrageous, volatile, and unpredictable contestants typically chosen by producers to draw a mass audience. Producers, hosts, and even scriptwriters welcome any media attention toward the contestants, regardless of the negative light commonly shed on these unassuming participants. To producers and promoters, any publicity that gets people talking about the show is good publicity. But what To cite this article MacDonald, S., Kinsky, E. S., & Drumheller, K. (2012). Is breaking up hard to do?: Strategic communication efforts surrounding American Idol’s loss of Paula Abdul. Case Studies in Strategic Communication, 1, 107-126. Available online: http://cssc.uscannenberg.org/wp-content/uploads/2013/10/v1art7.pdf MacDonald, Kinsky & Drumheller Is Breaking Up Hard to Do? happens when it is one of the show’s permanent personalities, one who is supposed to be a calm and constant force, who becomes the center of a storm? How should organizational communicators respond when a major figure from the program becomes immersed in corporate politics? American Idol and its host network, Fox, had to address these questions when Paula Abdul, one of Idol’s three original judges, announced that, because of a salary disagreement, Season 8 of American Idol would be her last (Finn, 2009). This case study examines the strategic communication efforts of Fox and American Idol in this incident and addresses the effectiveness of those efforts. Background Since its first season in the U.S. in 2002, American Idol has been a nationwide hit and is typically the most watched show, or among the highest rated shows, each year (Herbert, 2010). Although the ratings decreased from its peak in the sixth season, “it’s still one of the biggest TV audiences around” (Kerwin, 2010, para. 4). During the eighth season – Paula Abdul’s last – an average of 26.3 million viewers tuned in per episode (Snyder, 2009). American Idol is produced by multiple entities. Because the program airs on Fox’s network, however, Fox is the most recognizable face of American Idol producers to U.S. viewers. Other production entities include London- based FremantleMedia, which describes itself as “one of the world’s largest and most successful creators, producers, and distributors of outstanding entertainment brands” and responsible for placing an Idol show in more than 45 countries (“About Us,” 2009). A third entity associated with the production of American Idol is 19 Entertainment, a television show and music production company. Idol contestants who are chosen to be in the Top 12 sign a contract with 19 Entertainment and have included notable artists such as Kelly Clarkson, Clay Aiken, and Carrie Underwood. Like most reality television shows, American Idol has endured its share of controversy from racy past photos of contestants to phone voting problems (Morris, 2011; “Tech-savvy Viewers,” 2002). In addition, Paula Abdul drew controversial, and sometimes negative, attention herself. Although she was generally known “as the show’s consistently kindest judge” (Gliatto, 2009, para. 1), she was also known to be emotional, as Case Studies in Strategic Communication, 1 | 2012 108 MacDonald, Kinsky & Drumheller Is Breaking Up Hard to Do? many contestant performances moved Abdul to tears (Wyatt, 2009a). Abdul also made some confusing statements both on the show and in interviews (Rocchio, 2008; Wilson, 2008; Wyatt, 2007), some of which included slurring and other behaviors which led to “widespread speculation” of possible drug or alcohol abuse (Wyatt, 2007, para. 1) that Abdul has consistently denied (Eng, 2009; “Paula Abdul Claims,” 2007; Soriano, 2005). To some, the bickering between Abdul and co-judge Simon Cowell branded her negatively; though for others, Cowell was seen as the villain (“‘Idol’s’ Cowell Voted,” 2008). Abdul had a major controversial incident in 2005. Corey Clark alleged that he and Abdul had been romantically involved two years earlier when Clark was a contestant on the show. He told ABC reporters that Abdul also coached Clark on song and wardrobe choice, as well as other tips on how to advance. Abdul denied the relationship, and Fox, FremantleMedia and 19 Entertainment supported her. At the time, Fox reported that Abdul would remain a judge on Idol for the “foreseeable future” (Consoli, 2005, p. 5). Yet another situation presented itself in 2008 when the producers allowed Paula Goodspeed to audition. Abdul pleaded with producers not to let Goodspeed try out because the woman had been stalking Abdul for years. After her audition when she was denied a spot to advance on Idol, Goodspeed killed herself by drug overdose not far from Abdul’s home. Abdul later spoke to Barbara Walters about the incident, claiming that Goodspeed was allowed to audition because it would make for good television to see Abdul stressed about being near the contestant. According to Dumenco (2009), when Walters asked why she remained with a program that treated her in this regard, Abdul answered, “I’m under contract” (p. 18). With these crises in the past, American Idol moved on to Season 8. Kara DioGuardi was hired as a fourth member of the Idol judging panel. There was speculation that her addition to the show was done in order to prevent Abdul from making larger salary demands (Rushfield & Collins, 2009), but everything seemed to go smoothly during Season 8. After wrapping up the season in May, Idol producers and personalities went to work in preparation for Season 9. American Idol wished Abdul a happy birthday on the show’s website on June 19. Along with the birthday Case Studies in Strategic Communication, 1 | 2012 109 MacDonald, Kinsky & Drumheller Is Breaking Up Hard to Do? message, the website included a three-paragraph biography of the judge (“Happy,” 2009). At this point in the summer, the media was focusing its attention on Season 8 runner-up Adam Lambert, until rumors emerged that Abdul was considering leaving the show. On July 17, 2009, the Los Angeles Times reported that Abdul was in negotiations concerning her contract. Los Angeles Times reporters Rushfield and Collins (2009) wrote that David Sonenberg, Abdul’s manager, said, “Very sadly, it does not appear that she’s going to be back on Idol” (para. 2). Rushfield and Collins (2009) said Sonenberg even declared that FremantleMedia and 19 Entertainment were being “unnecessarily hurtful…unconscionable and certainly rude and disrespectful” because they had not even presented Abdul with a proposal for a new contract (para. 4). This public statement by Sonenberg suggests a strategic effort on his part to spur the producers into cooperation with Abdul, and it began a communication crisis for the producers of American Idol. Simon Cowell responded to the claims made by Sonenberg by telling Extra that he hoped Abdul would choose to return for another season with him (Snyder, 2009). Sonenberg likely expected the timing to benefit him and Abdul by pressuring the producers just as Season 9 was scheduled to begin production. At the same time, some of the other American Idol personalities were in contract negotiations. While Abdul earned $2 million per year, Ryan Seacrest, the host of American Idol, had recently signed a $45 million deal extending his contract for three more years (Rushfield & Collins, 2009). Seacrest would earn $10 million per year plus an additional $15 million for the rights to his image and other production deals (Wyatt, 2009a). Cowell had declined an offer for $144 million to extend his contract, which would end after the ninth season wrapped. While DioGuardi had not yet confirmed a new contract at the time, she did renew her contract publicly on August 4. Jackson’s contract was already set to go through 2011. Following the news that Abdul might not return, fans began blogging and tweeting their thoughts and predictions about her participation in American Idol for Season 9 (Hannah, 2009). Some even organized a “Save Paula” Twitter campaign. A reporter from Time wrote that this provoked a heartfelt response from Abdul thanking her fans for their “kindness, love, and undying support” (Snyder, 2009, para. 5). Case Studies in Strategic Communication, 1 | 2012 110 MacDonald, Kinsky & Drumheller Is Breaking Up Hard to Do? Finally, on Tuesday, August 4, a message on Twitter confirmed what many fans and journalists had been sensing: Paula Abdul was leaving the show (Poniewozik, 2009). The news came only hours after Abdul told producers that she would be leaving (Wyatt, 2009a). Rob Silverstein, executive producer for Access Hollywood, described it as a “watershed moment” because on “the biggest show in the history of television, one of the biggest stars of the show decides to leave via Twitter” (Tanklefsky, 2009, p.