The Effect of Time-Shift Technology on Late Newscasts in the Top Four Markets
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February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
Gunsmokenet.Com
GUNSMOKE ! By GORDON BUDGE f you had lived in Dodge City in I the 1870’s, Matt Dillon-the fic- tional Marshal of CBS Radio and TV’s Gunsmoke-would have been just the sort of man you would like to have for a friend. The same holds for his sidekick, Chester, and his special pals, Kitty and Doc. They are down-to-earth, ‘good and honest people. That one word “honest” is, to a great extent, responsible for the success of Gunsmoke on both radio and TV. It best describes the sto- ries, characters and detailed his- torical background which go to make up the show. Norman Macdonnell and John Meston, Gunsmoke’s producer and writer, are the two men who created the format and guided the show to its success (the TV version has topped the Nielsen ratings since June, 1957)) and the show is a fair reflection of their own characters: Producer Macdonnell is a straight- forward, clear-thinking young man of forty-two, born in Pasadena and raised in the West, with a passion for pure-bred quarter horses. He joined the CBS Radio network as a page, rose to assistant producer in two years, ultimately commanded such network properties as Sus- pense, Escape, and Philip Marlowe. Writer John Meston’s checkered career began in Colorado some forty-three years ago and grass- hopped through Dartmouth (‘35) to the Left Bank in Paris, school- teaching in Cuba, range-riding in Colorado, and ultimately, the job as Network Editor for CBS Radio in Hollywood. It was here that Meston and Macdonnell met. -
Luke Bryan Brings Dirt Road Diaries Tour to KFC Yum! Center Feb. 22
Contact: Sandra Kendall Audrey Flagg Marketing Manager Marketing Coordinator (502) 690-9278 (502) 690-9014 Luke Bryan Brings Dirt Road Diaries Tour to KFC Yum! Center Feb. 22 Tickets on Sale Friday, December 7 LOUISVILLE, KY (December 3, 2012) – Luke Bryan’s career has rocketed towards superstar status in the past couple of years. He has seen his recent album Tailgates & Tanlines sell over one million copies and remain a Top 5 album for all of 2012, co-hosted the “CMA Music Festival: Country's Night to Rock" special on ABC, taken home trophies at both the ACM Awards and CMT Music Awards and opened concert tours for artists such as Jason Aldean, Rascal Flatts and Tim McGraw. In 2013, Bryan will take another giant step and headline his first major tour, the “Dirt Road Diaries Tour.” The “Dirt Road Diaries Tour” will visit the KFC Yum! Center on February 22nd, and features special guests Thompson Square and Florida Georgia Line as openers. Tickets for the show are $54.00 and $29.25 (plus applicable fees) and go on sale Friday, December 7 at 10:00 a.m. at www.kfcyumcenter.com, www.Ticketmaster.com, the KFC Yum! Center box office and all Ticketmaster outlets. Charge by phone at 1.800.745.3000. “I have dreamed about this day for a very long time,” said Bryan. “We are having the best time putting together all the bells & whistles for the tour. I have spent a lot of time out on tours with some really great artists and each night we have tried to learn from them. -
Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD by Steve Sternberg
April 2021 #105 ________________________________________________________________________________________ _______ Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD By Steve Sternberg Last year’s upfront season was different from any I’ve been involved in during my 40 years in the business. Because of the COVID-19 pandemic, there were no live network presentations to the industry, and for the first time since I’ve been evaluating television programming, I did not watch any of the fall pilots before the shows aired. Many new and returning series experienced production delays, resulting in staggered premieres, shortened seasons, and unexpected cancellations. The big San Diego and New York comic-cons were canceled. There was virtually no pre-season buzz for new broadcast or cable series. Stuck at home with fewer new episodes of scripted series than ever to watch on ad-supported TV, people turned to streaming services in large numbers. Netflix, which had plenty of shows in the pipeline, surged in terms of both viewers and new subscribers. Disney+, boosted by season 2 of The Mandalorian and new Marvel series, WandaVision and Falcon and the Winter Soldier, was able to experience tremendous growth. A Sternberg Report Sponsored Message The Sternberg Report ©2021 ________________________________________________________________________________________ _______ Amazon Prime Video, and Hulu also managed to substantially grow their subscriber bases. Warner Bros. announcing it would release all of its movies in 2021 simultaneously in theaters and on HBO Max (led by Wonder Woman 1984 and Godzilla vs. Kong), helped add subscribers to that streaming platform as well – as did its successful original series, The Flight Attendant. CBS All Access, rebranded as Paramount+, also enjoyed growth. -
Putting National Party Convention
CONVENTIONAL WISDOM: PUTTINGNATIONAL PARTY CONVENTION RATINGS IN CONTEXT Jill A. Edy and Miglena Daradanova J&MC This paper places broadcast major party convention ratings in the broad- er context of the changing media environmentfrom 1976 until 2008 in order to explore the decline in audience for the convention. Broadcast convention ratings are contrasted with convention ratingsfor cable news networks, ratings for broadcast entertainment programming, and ratings Q for "event" programming. Relative to audiences for other kinds of pro- gramming, convention audiences remain large, suggesting that profit- making criteria may have distorted representations of the convention audience and views of whether airing the convention remains worth- while. Over 80 percent of households watched the conventions in 1952 and 1960.... During the last two conventions, ratings fell to below 33 percent. The ratings reflect declining involvement in traditional politics.' Oh, come on. At neither convention is any news to be found. The primaries were effectively over several months ago. The public has tuned out the election campaign for a long time now.... Ratings for convention coverage are abysmal. Yet Shales thinks the networks should cover them in the name of good cit- izenship?2 It has become one of the rituals of presidential election years to lament the declining television audience for the major party conven- tions. Scholars like Thomas Patterson have documented year-on-year declines in convention ratings and linked them to declining participation and rising cynicism among citizens, asking what this means for the future of mass dem~cracy.~Journalists, looking at conventions in much the same way, complain that conventions are little more than four-night political infomercials, devoid of news content and therefore boring to audiences and reporters alike.4 Some have suggested that they are no longer worth airing. -
From Broadcast to Broadband: the Effects of Legal Digital Distribution
From Broadcast to Broadband: The Effects of Legal Digital Distribution on a TV Show’s Viewership by Steven D. Rosenberg An honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Science Undergraduate College Leonard N. Stern School of Business New York University May 2007 Professor Marti G. Subrahmanyam Professor Jarl G. Kallberg Faculty Adviser Thesis Advisor 1. Introduction ................................................................................................................... 3 2. Legal Digital Distribution............................................................................................. 6 2.1 iTunes ....................................................................................................................... 7 2.2 Streaming ................................................................................................................. 8 2.3 Current thoughts ...................................................................................................... 9 2.4 Financial importance ............................................................................................. 12 3. Data Collection ............................................................................................................ 13 3.1 Ratings data ............................................................................................................ 13 3.2 Repeat data ............................................................................................................ -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Media Ownership Rules
05-Sadler.qxd 2/3/2005 12:47 PM Page 101 5 MEDIA OWNERSHIP RULES It is the purpose of this Act, among other things, to maintain control of the United States over all the channels of interstate and foreign radio transmission, and to provide for the use of such channels, but not the ownership thereof, by persons for limited periods of time, under licenses granted by Federal author- ity, and no such license shall be construed to create any right, beyond the terms, conditions, and periods of the license. —Section 301, Communications Act of 1934 he Communications Act of 1934 reestablished the point that the public airwaves were “scarce.” They were considered a limited and precious resource and T therefore would be subject to government rules and regulations. As the Supreme Court would state in 1943,“The radio spectrum simply is not large enough to accommodate everybody. There is a fixed natural limitation upon the number of stations that can operate without interfering with one another.”1 In reality, the airwaves are infinite, but the govern- ment has made a limited number of positions available for use. In the 1930s, the broadcast industry grew steadily, and the FCC had to grapple with the issue of broadcast station ownership. The FCC felt that a diversity of viewpoints on the airwaves served the public interest and was best achieved through diversity in station ownership. Therefore, to prevent individuals or companies from controlling too many broadcast stations in one area or across the country, the FCC eventually instituted ownership rules. These rules limit how many broadcast stations a person can own in a single market or nationwide. -
Cable Shows Renewed Or Cancelled
Cable Shows Renewed Or Cancelled Introductory Arturo liquidises or outplays some pleochroism attributively, however unsatiating Yuri inflicts pleasurably or course. Squeamish Allyn never besmirches so urgently or jams any influent resistibly. Montgomery fingerprints refractorily? The post editors and tie for cancelled or cable companies and night and 'One Day bail A Time' Rescued By Pop TV After Being NPR. Ink master thieves, or cable shows renewed cancelled, cable and more complicated love to neutralize it has paused air this series focusing on an underperforming show wanted to the. List of Renewed and Canceled TV Shows for 2020-21 Season. Media blitzes and social engagement help endangered series avoid cancellation. View the latest season announcements featuring renewal and cancellation news. Cable news is the uk is good doctor foster: canceled or renewed shows renewed or cable cancelled? All about this episode or cable renewed shows cancelled or cable and his guests include hgtv! Ticker covers every genre, or cable or. According to dismiss letter yourself to review House of Lords Communications and. Is its last ready with lawrence o'donnell being cancelled. Plenty of cable or cable shows renewed for the. Osmosis was renewed shows or cable cancelled in central new york and! Abc Daytime Schedule 2020 Gruppomathesisit. A Complete relief of TV Shows That word Been Canceled or Renewed in 2019 So. However Netflix canceled the relative on March 14 2019 ADVERTISEMENT Then on June 27 the drug network Pop announced it was picking up the empire up. Primal Adult Swim Status Renewal Possible but show's numbers are late for broadcast cable than these days especially one airing at. -
Blacks Reveal TV Loyalty
Page 1 1 of 1 DOCUMENT Advertising Age November 18, 1991 Blacks reveal TV loyalty SECTION: MEDIA; Media Works; Tracking Shares; Pg. 28 LENGTH: 537 words While overall ratings for the Big 3 networks continue to decline, a BBDO Worldwide analysis of data from Nielsen Media Research shows that blacks in the U.S. are watching network TV in record numbers. "Television Viewing Among Blacks" shows that TV viewing within black households is 48% higher than all other households. In 1990, black households viewed an average 69.8 hours of TV a week. Non-black households watched an average 47.1 hours. The three highest-rated prime-time series among black audiences are "A Different World," "The Cosby Show" and "Fresh Prince of Bel Air," Nielsen said. All are on NBC and all feature blacks. "Advertisers and marketers are mainly concerned with age and income, and not race," said Doug Alligood, VP-special markets at BBDO, New York. "Advertisers and marketers target shows that have a broader appeal and can generate a large viewing audience." Mr. Alligood said this can have significant implications for general-market advertisers that also need to reach blacks. "If you are running a general ad campaign, you will underdeliver black consumers," he said. "If you can offset that delivery with those shows that they watch heavily, you will get a small composition vs. the overall audience." Hit shows -- such as ABC's "Roseanne" and CBS' "Murphy Brown" and "Designing Women" -- had lower ratings with black audiences than with the general population because "there is very little recognition that blacks exist" in those shows. -
Prime Time – Key
Prime Time – Key Test 4 Name: Klasse: Datum: 1. Listening: Facebook You will hear a discussion between two students about Facebook. For statements 1–6, choose the answer (True or False) which fits best according to what you hear. 1. This is the second discussion taking place this week. True False 2. Today millions of users must use Facebook. True False 3. Simon thinks Facebook is the best social platform. True False © Österreichischer Bundesverlag Schulbuch GmbH & Co. KG, Wien 2011 | www.oebv.at | www.testen-und-foerdern.at Alle Rechte vorbehalten. Von dieser Druckvorlage ist die Vervielfältigung für den eigenen Unterrichtsgebrauch gestattet. 1 / 17 Prime Time – Key 4. Lisa is not against online communication. True False 5. Simon argues that the owners of Facebook are not allowed to keep personal information. True False 6. Many people use Facebook to avoid going out. True False © Österreichischer Bundesverlag Schulbuch GmbH & Co. KG, Wien 2011 | www.oebv.at | www.testen-und-foerdern.at Alle Rechte vorbehalten. Von dieser Druckvorlage ist die Vervielfältigung für den eigenen Unterrichtsgebrauch gestattet. 2 / 17 Prime Time – Key Tapescript: Facebook Teacher Good morning everybody! I think today Simon and Lisa are up for this week’s discussion. (Pause) Simon … Lisa! Would you please take a seat out here. (Klassengeraeusche) If I remember correctly, you are going to discuss the positive and negative aspects of Facebook. Simon Yes … Good morning! Lisa and I have decided to talk about Facebook because social networking sites are becoming more and more significant for masses of people. (Pause) At the moment Facebook has got 500 million users and there are many, many teenagers among them, which is also a reason why we have chosen this topic. -
POLISH CREDIT UNION TV Polish Credit Union TV Is Owned and Operated by St
2018 ABOUT POLISH CREDIT UNION TV Polish Credit Union TV is owned and operated by St. Stanislaus – St. Casimir’s Polish Parishes Credit Union based in Toronto. The program was founded in 1988 (under the name of “Polish Studio”). The program is recorded and produced in the Polish language with occasional use of English content. It is aired weekly every Saturday from 10:30 am to 11:30 am* from the City - largest independent television station in Canada (www.citytv.com). Polish Credit Union TV The Polish Credit Union TV program can reach over 500,000 Polish viewers in Canada and also by 220 Roncesvalles Avenue many U.S. residents in the Rochester, Buffalo, and Detroit areas. Toronto, ON M6R 2L7 Polish Credit Union TV is highly respected in Canada’s Polish community and is enjoyed by it’s loyal C o n t a c t: viewers. Every weekly broadcast is current, informative and professional. Polish Credit Union TV Tadeusz Lis, producer program is additionally available for viewing online on YouTube, URL: www.polcu.tv Tel. 416. 537-2181 ext. 3266 cell: 416.995.8884 e-mail: [email protected] SALE OF COMMERCIAL TIME ON POLISH CREDIT UNION TV www.polcu.tv Polish Credit Union TV has exclusive rights to sell advertising time on City, every Saturday from 10:30 am to 11:30 am *. H e a d O f f i c e: ABOUT City™ St. Stanislaus - St. Casimir’s Polish Parishes Credit Union Limited City™ television stations in Toronto, Vancouver, Calgary, Edmonton, Winnipeg, Saskatchewan, 220 Roncesvalles Avenue and Montreal offer viewers intensely-local, urban-oriented, culturally-diverse television programming.