Opening Hollywood: Writers Strike Ends

The writers strike is over, but the impact is permanent well beyond payment for digital distribution. People want change, and not just the actors who will likely ask for digital distribution compensation as well.

Advertisers are hoping networks adopt a year-round television schedule as opposed to the nine-month schedule currently employed by major networks. Year-round scheduling, which has been tried and tested positive by many cable networks (which purposely avoid sweeps to launch new programming), would allow viewers to consider more new programs.

“There’s a lot of hype in September,” Charlie Rutman, chief executive for the North American operations of MPG, a media agency owned by Havas, told The New York Times. “And by November, half the shows aren’t on anymore.”

Year-Round Means Better Metrics

Such a move would require a greater overhaul of the Nielsen rating system, which relies primarily on sweep weeks for its largest gathering of ratings. Currently, only a fraction of a few million Nielsen families are counted year round.

The rating system has been a hotly debated topic by consumers since last May, when fans of the Jericho television show (which aired its first episode of the second season last night) criticized questioned its accuracy and dismissal of online DVR viewership, which some estimates put at 58 to 70 percent of all cable households. Eventually, Jericho voices were joined by the fans of virtually every cancelled show.

While Nielsen has made changes since last May, including some semblance of DVR counts and video-on-demand (VOD) analytics, it continues to draw fire from, well, everyone. Enough so that Nielsen apologized for the “systemic problems in the delivery of its national ratings data” since the beginning of the 2007-08 TV season. Enough so that CBS and TiVo have an arrangement. Enough so that everyone is looking for alternative metrics while reporters mention that the rating system is less than perfect.

A year-round season is something that some networks, like NBC, are already working toward. NBC recognizes that it would save money because fewer pilots would need to be produced in the spring for the fall. It might also mean that networks wouldn’t feel pressured to put as many shows on the bubble, simply to take a chance and make a splash with a new show line up every year.

More importantly, it works for consumers because head-to-head show competition is becoming a phenomenon of the past. Consumers simply want great content rather than relying on the old model, which was based on the idea that they would “settle for the best thing on” or spend an hour surfing.

New Media Is All Media

As mentioned in January, old media is dead because the distinction between old and new is fast becoming nonexistent. The graphite is scrawled across the wall …

• Everyone wants a rating system that counts everybody, and breaks out information across various multimedia platforms.
• Everyone wants a fair compensation for actors, creators, and distributors, regardless of how revenue is generated.
• Everyone wants better quality programming that can survive longer than three episodes before being pulled.
• Everyone wants more interaction between fans, cast, and crew because viewers are paying much more attention to their favorite shows.
• Everyone wants engagement beyond passive viewership because, well, because it’s possible.
• Nobody really minds some advertising if the content is free; and advertisers don’t mind paying for programs that people watch.

This is different, but doable. It’s less about reinvention and more about innovation to diminish the difference between what exists and what’s possible.

Even the primary reason for the conclusion of the writers strike is indicative of change. Many people are crediting Peter Chernin, president of the News Corporation, and Robert Iger, chief executive of Walt Disney, for opening sideline talks with Patric Verrone, David Young, and John Bowman. Individual conversations succeeded where group negotiations failed. Sounds almost like a social media solution.

Looking for two more positive outcomes to the writers strike? The United Hollywood blog intends to stick around. It might be a very long time before a network executive ever needs to ask for a pencil. Case closed, well, sort of.

Counting Down Jericho: Tick, Tick, Boom

There are only three full days left before many of the questions surrounding Jericho, the television series given a reprieve last year, begin to shift from speculations and to undeniable facts. Starting Feb. 12 and for the weeks that follow, CBS executives will be considering which of two second season episodes shot will air on week seven.

Will that episode wrap the fan-inspired story forever or usher in a complete unabridged third season?

It’s not the only question, but it is the one that is weighing heavily on the minds of several thousand fans who spent the last nine months talking up the show that they helped save with about 125,000 signatures, 40,000 pounds of nuts, and countless e-mails, postcards, letters, phone calls, blog posts, articles, interviews, forum discussions, YouTube videos, etc. No one really knows the answer, but there are plenty of people hoping for much more than seven installments.

“I was just thinking about those shiny new episodes that everyone has worked SO hard for. There seems to be a buzz about them, but my greatest fear is that this is the beginning of the end. We got CBS to reconsider their decision, but will the public follow?” — Jessielynne73 (fan screen name)

“The one thing that stands out the most to me is how Schumi made sure to stress that everyone’s efforts counted, and how much her daily ‘command orders’ inspired us all." — Maybei (fan screen name)

“What stood out to me were the awesome videos made by the fans to encourage and inspire us in the fight to get Jericho back. I am so glad that CBS is acknowledging them on the Jericho homepage with the fan video of the day." — DBalcer1 (fan screen name)

“I’m in Romania so the show aired here [much later]. I’ve gotten hooked on the show since … and I’ll be hooked for the rest of my life.” — Twister22 (fan screen name)

"What stood out in my mind was the commitment everyone made to make sure Jericho was not forgotten. I love that the actors have said how much they appreciate and love the show (and their fans). That's rare in TV series."— Idyoutlw (fan screen name)

“What stands out to me is what hard work it's been, but it has ultimately been worth it. I've talked to people I would probably never gotten to know otherwise, learned a lot, and made some good friends. Even if (heaven forbid) we don't get any more than these seven episodes, it was all worth it, and I'd do it again." — LisiBee (fan screen name)

For the fans, it must seem like another lifetime when the only question people asked was what would CBS executives do with 22,000 pounds of nuts?, an early estimate that was quickly eclipsed with 18,000 more.

That question was answered: the peanuts were sent to the zoo; the “Jericho nuts” were sent the promise of seven shows.

Jericho "nuts" doesn’t have as much charm as “Jericho Rangers,” as I know them, but Ken Tucker with Entertainment Weekly seems to have some doubts whether season two will have mass appeal. Although temperate in his review, he did see some promise in two performers, who he says bring “some cracked intensity into this grim fantasy.”

We shall see. Much like we’ll see the answers to many other questions even though I suspect some will never really be answered.

“Will CBS, which cancelled 20 projects during the writer’s strike, reconsider how it counts Nielsen ratings?”

“Did the three episode leak help, hurt, or have no bearing on the premiere of the second season?”

“Did the writer’s strike (which just reached a tentative agreement) help attract viewers who are starved for new non-reality show content on television?”

“Would fans have fared even better without the just-below-the-surface in-fighting among the most visible?”

“Did the fans meet those conditions uttered by CBS Entertainment President Nina Tassler that they had to 'recruit more fans?'”

“Will CBS ever learn how lightly guided consumer marketing and social media really works?”

“Does Jake fit better with Heather or Emily?”

Doubtful. Almost. Not like it could have. Probably. Maybe. Its online viewing platform certainly looks better. And last but not least, there are some fan debates you learn to stay far away from.

Personally, I just hope the fans are able to punctuate the impossible show cancellation reversal and capture enough ratings to see their efforts stick. Objectively, the ratings of season two episode one will matter less than season two episode three or four.

I also won’t be surprised if NBC or FOX pays some attention to the outcome. With more then 2,600 boxes of Rice-A-Roni (not counting individual shipments) being mailed to Jeff Zucker, NBC might find going back in time and undoing a decision is sometimes better than starting from scratch.

Wouldn’t that be something? I know a girl detective who would think so too. But for now, it’s all about the little town in Kansas that thought it could. Given that I believe consumers matter, I hope it can.

For a behind-the-scenes look at season two and some surprisingly crisp full episodes of season one, visit CBS here.

Special thanks to Jane Sweat who contributed fan comments to this piece.

Checking Reality: Writers Strike

Yesterday, the Writers Guild of America (WGA) and the Alliance of Motion Picture and Television Producers (AMPTP) began informal discussions to determine if there is a basis for both parties to return to formal negotiations. Restarting negotiations has not come soon enough.

For weeks now, the writers strike forced networks to scramble and offer an increasingly odd array of reality shows to the public. As long as people tune in, some of these quick creations might even replace a few favorites. For example, “American Gladiators” is surpassing the scripted show it replaced.

Advertisers are also discovering something about reality shows. Product placement is easier, at least according to yesterday’s story by The New York Times. And, reality shows seem well suited for “branded entertainment.”

“People are watching television; they're just not watching commercials,” said Lynda Resnick, chairwoman of Teleflora, the company that signed onto the NBC special “Teleflora Presents America’s Favorite Mom,” which is using the Internet to increase its presence. “That is the distinction.”

The concept of branded entertainment is not entirely new. Just one example that comes to mind is Mutual of Omaha’s Wild Kingdom. It is still going strong, though certainly not as top-of-mind as it was when I was growing up in a world where you had four choices as opposed to four million.

Revising branded entertainment and product placement options is one of several reasons the concept of old media seems dead to us. Not because we anticipate networks to die, but because they are acting more and more like new media.

As touched on in comments last week, some networks are intentionally pre-releasing episodes of some shows to help drive buzz with the hope that viral marketing occurs. Yet, buzz is not a measure nor do these prerelease promotions always consider writers and producers.

“Personally, I don't think running an entire episode as a "promotional" tool is smart business for the writers or the studios. Movie studios don't run their films free of charge for two and a half weeks, in the hopes that it will translate into paying customers later,” longtime Simpsons writer Mike Scully wrote on United Hollywood. “In my opinion, promotional use should have a limit of 3-5 minutes of program content, just enough to get the viewer to sample the show. However, if an entire episode is going to be made available, it should not contain any ads and should be limited to a window of no more than 48 hours. If they are being paid for promotional use, so should we.”

I tend to agree, and encourage people to read the full post. With the exception of a season one pilot, perhaps, I still don’t see how giving away a product, week after week, makes much sense, especially as people are become increasingly Internet savvy. At the very least, they are savvy enough to find downloadable content. BitTorrent, for example, continues to double its visitor volume every six months.

Then again, maybe all of this is a short-term problem as we seem to be trending to “On Demand” everything. Watch what you want, when you want it, and where you want it.

Long term, I can only imagine that this will result in some sort of tiered pricing structure that blends commercial free programming (rent or own) at a set price and commercial-laced programming for free (prerolls, pop ups, and bars) with product placement becoming as apparent as the parody we once laughed at while watching the movie Wayne’s World.

It won’t just change media, but the advertising industry as well. Maybe our culture too.

Getting Wishes: Jericho Rangers

Fans of the resurrected television show Jericho have finally gotten their wish, but sometimes getting a wish leaves room for mixed interpretation. The television show Jericho will return to CBS at 10 p.m. on Tues. nights, starting Feb. 12, following Big Brother.

Buddy TV has been running an online poll that reveals the fan base fractures over the decision. Only 10 percent of Jericho fans like the new time slot, 67 percent don’t care (they’ll watch anytime), and 23 percent think it is a mistake.

A mere 145 people voted, which is indicative of CBS giving up its engagement with the thousands of fans that convinced them to bring it back. Equally telling is that the Jericho Season One DVD sales did not measure up, hindered by the network’s lack of the commitment to the cause. We cautioned fans to promote the DVD heavily, as if CBS would not market it.

For pointing out the obvious, we received mixed reactions to our mixed reaction. While some did promote DVD sales, many chose to wait on faith that CBS would bring the cavalry.

No cavalry came. And CBS did virtually nothing substantial to market the DVD (surprising even me). The little they did do included a “save the show a second time” message that targeted existing fans, but nothing to attract new viewers.

Marketing, once again, proved to be the blind spot for CBS, placing Jericho in peril because it seems painfully clear that this show is being left in the hands of diminished fan base of active consumers. But perhaps that is what was planned all along, as Nina Tassler, president of CBS Entertainment, pointed out last July …

"We've really said to the fans, who have been incredibly loyal and incredibly devoted. You have got to be our 'Jericho' Rangers. You've got to recruit more viewers."

The bottom line: the timeslot hardly demonstrates network support for the seven-episode season of Jericho, even with the writers strike. It also demonstrates a lack of sensitivity to the hundreds of viewers who enjoyed Jericho as a family.

It’s not the only miss either. CBS primarily made four promises to Jericho fans when they reinstated the series in June:

• Re-broadcast “Jericho” on CBS, which they did with an odd order, until the series was pre-empted by football.
• Stream online episodes and clips online, but without much marketing support for the varied platforms where you can find it.
• Release the first season to DVD on Sept. 25, which was postponed and lacked any substantial marketing support.
• Continue the story of Jericho in digital media, which they almost did but not in any real tangible sort of way.

Form a broader social media perspective, it also demonstrates that corporate think will not necessarily translate into consumer engagement. For example, while the new Blog Council says they struggle with having 2,000 employees who blog, they’re already forgetting that finding answers is not as important as asking the right questions.

For the Blog Council, the right question isn’t what to do when you have 2,000 blogging employees. It's how do you effectively communicate your message internally so it resonates out through those 2,000 employee bloggers. For CBS, the right question was not how to end a protest. It was how to retain engaged consumers so you can turn Jericho into next year’s big hit.

Ho hum. That could have been the easy part. I can only hope the fans find a way to do it for them.

Coming Soon:

*This post is brought to you by the 47 percent of media, advertising, and entertainment executives who believe writers should “pick up their pencils and get back to work.”

Speeding Messages: Fans4Writers

Most people already know that the Writers Guild of America, West, (WGAW), and the Alliance of Motion Picture and Television Producers (AMPTP) have mutually agreed to resume negotiations on Monday, Nov. 26. While Patric Verrone, president of WGAW, cautioned that returning to the bargaining table is only a start, it seems unlikely this strike will eclipse the five-month strike that occurred in 1988.

Why? The Internet, of course.

No, not because of the impending mass exodus of viewers to the Web as The Wall Street Journal might suggest to some. Forbes seems to have captured the better picture on this concept, noting that Americans tuned in to television programming more than eight hours a day last year, a record high unchanged from the previous year.

Network ratings aren’t down because people watch less television. They are down because viewers have more control over their entertainment options. Simply put, if viewers do not like what is on the major networks, there are hundreds of other channels to choose from. And, if they don’t like any of those programs, there is always the DVR list, stocked full of saved programs.

Convergence will work in other ways, but it won’t mean the death of television, only a transformation of how we see it today. Most of it will be for the better.

Why? The Internet, of course.

Passive viewers have become active consumers. And these consumers connect, organize, and take action on (and off) the Internet. Let’s take a look.

Fans4Writers, which was started by Joss Whedon (Firefly and Buffy The Vampire Slayer) fans, quickly opened to other veteran fan groups, including well-organized Jericho and Veronica Mars fans. This created a near immediate communication stream, first between all fan groups, and then between fans and writers.

It works something like this: striking writer captains upload a message on the Internet, like sending pencils to “media moguls.” This information is rapidly picked up by Fans4Writers. Unofficial representatives of various fan groups quickly relay this information to their centralized forums, which is then taken up by individual fans. The communication stream takes a few hours, maybe minutes.

In contrast, the networks are mostly communicating their case through the AMPTP, which posted its defense online and then attempted to communicate its message through mainstream media, primarily print (because network coverage of a writers strike doesn’t resonate). These messages are then filtered by journalists, some of whom are more sympathetic to the writers, who make better interviews anyway. It might take a day or days for the communication to reach the public, and there is no guarantee the message will survive. In fact, it often doesn’t.

Why? The Internet, of course.

So, there is a good chance the Internet, which caused much of the contract conflict, will likely also be the reason this strike will be short. After all, networks and studios tend to have a neutral or even adversarial relationship with their customers whereas producers and writers are becoming increasingly engaged with them.

When you think about it, this creates a significant brand shift. When today’s viewers think Jericho, they think Carole Barbee and Dan Shotz (some even think Steingberg, Chbosky, and Schaer), before CBS. When they think Firefly, they know Joss Whedon. When they think Veronica Mars, it’s Rob Thomas.

It used to be only a few creators were so well connected with fans; nowadays, it’s everybody. No wonder only 6 percent of the public support the executives and 72 percent support the writers. For fans, the brand disparity seems apparent: writers create the shows they love and the networks decide if they’ll be allowed to watch them.

Paying Peanuts: The Networks

When the Los Angeles Times asked Michael Colton and John Aboud, the writing team behind the Best Week Ever, how to shut down a television shoot, rallying Jericho fans took the number one spot, just ahead of telling a “Teamster that Jeff Zucker made fun of his mom.” Why Jericho fans?

“They brought a show back, they can take one out.”

While the top seven ways to stop a shoot was comedic (allowing Hugh Jackman to sing made the list), it might make some sense. The writers strike could be the perfect opportunity for Jericho fans to stop taking each other out on the CBS Jericho message boards, and begin to building a fan effort in support of the writers.

Such a move would only increase the exposure of the show before it returns in January by engaging all television fans about something they are passionate about. Fan crossover is somewhat proven to work. For the most part, there has been continuing cross over between the fans of Veronica Mars, Supernatural, and Jericho.

Each engagement between Jericho fans and other fans of any other show that is suddenly in the same boat might give Jericho a real shot at capturing January ratings. Yes, I said January. So far, CBS has no plans to bring Jericho back any earlier, which is good news for the fans. When I ran into BlogTalkRadio host Shaun Daily at BlogWorldExpo yesterday, he even said Jericho producer Carol Barbee was of the same thinking.

An early return of Jericho, especially in light of the writers strike, would mean immediate reinstatement on an arbitrary night and virtually no promotion. If fans focus on a January return, and perhaps help striking writers, they have two months to ramp up their show and build awareness with, well, anyone who also has a fan stake in the strike, regardless of what CBS does or doesn’t do.

Why would fans want to support the writers? The way I see it, fans can listen to the case as it was made by United Hollywood on YouTube or simply consider the reality of this strike. If the strike runs too long, many shows will not be coming back or, at best, may come back on a bubble.

According to the Dallas Morning News, the biggest loser of the 22-week strike in 1988 was broadcast television. It lost an estimated 10 percent of its network viewers.

Not only were those viewers lost forever, some shows did not survive. Nowadays, 10 percent can make the difference between a hit and a miss. In fact, an 18 percent drop after a much shorter break was enough for CBS to cancel Jericho in the first place.

Besides, Jericho fans may even have the best message if they were so inclined. What’s that?

Stop paying writers peanuts.

Closing Hollywood: Writers Strike

The NBC hit The Office is one of several shows that are closing down production because some cast members and show runners are either sympathetic to or members of the WGA. In this case, Steve Carell will not cross a WGA picket line, which has effectively shut down the show despite having more scripts ready for production.

“They cleaned out my trailer and just delivered me 3 boxes of my stuff. It is pretty surreal,” writes Jenna Fischer, who plays Pam Beesly on NBC hit The Office.

“We cannot produce new episodes of The Office until the Writer's Guild strike is over.”

Fischer is one of several actors and actresses who are using their mySpace pages and blogs to focus in on one of the primary issues related to the writers strike: the Internet.

Writers are not compensated for rebroadcasts online despite the fact that the networks earn income from advertisements that accompany the content. They also do not receive compensation for downloads on iTunes or Amazon.

It’s a significant part of failed negotiations because the Writers Guild of America (WGA) already knows that the shift to all digital entertainment is the future of television. It’s also important because networks could theoretically hold off on the syndication or rebroadcast (reruns) of television shows, making them available on platforms that can generate more revenue without compensating the creators.

This issue isn’t just important to striking WGA writers. It’s important to everyone who writes on the Internet. It's important to you and me.

All too often, content distributors are screwing content creators by claiming they own all rights as part of their terms of service. I adamantly disagree with this practice.

In fact, this is one of the primary reasons I’m careful about what content I place on platforms such as Facebook, which does claim all content rights — your content, which makes them attractive to advertisers. They don't need all rights to the work of their members. They only need first electronic rights.

Even on this blog, when I hosted the Jericho Fan Fiction contest, I made it explicitly clear that any writers who submitted work only needed to grant us first electronic rights (the right to publish their stories online first). Put simply, Ray Hayton, Myles McNutt, and Nick Lynse retain all other rights. I cannot, for instance, publish a book using their work in entirety without their consent. Many social networks, online content providers, and even blogs claim that they could.

For me, this is one of the best reasons for the general public to consider supporting the WGA strike. The terms that come out of the strike could be used to prompt online content distributors to revisit their terms of service.

According to the WGA, they are still working out how the public might show support of the strike. Right now, they are inviting the public to send e-mails to show support. Some of them will be published online. You can also download the strike graphic that accompanies this post and add it to your blog or Web site.

They have also told me to "stay tuned." There is more to come.

Striking Writers: Writer's Guild Of America

Although a federal mediator has called a last minute Sunday morning meeting between major media and the Writer's Guild Of America (WGA), it seems certain that 12,000 writers will go on strike Monday.

From the network perspective, budgets are going up while ratings are going down. From the writers perspective, they want higher residuals, especially from DVDs (they are asking for eight cents per copy as opposed to three or five cents). And they are serious.

As Jericho fans know, the strike could return Jericho to the small screen much earlier than as a truncated midseason show in January. But as the old saying goes, be careful what you wish for.

Coming back as a Band Aid for CBS would mean limited promotion time prior to a start date (not that CBS seems like it would go gangbusters on it anyway). This also assumes Jericho fans and new viewers will be satisfied with some lower budget solutions that made it impossible to pick up where the season one cliffhanger left off. And, with only seven shows in the can, even if season two was a hit, fans would once again find themselves looking at yet another long wait between seasons.

From the fans' perspective, it doesn’t make sense. For Veronica Mars fans, on the other hand, a writers strike could help return it to syndication, giving new viewers a chance to see the series for the first time. You never know what might happen if that happened. Why? Because in new world of media, crazier things have, are, and will happen. Don’t believe me?

• ABC recently asked Rob Thomas to bring back Cupid, a 15-episode series that debuted in 1998.

• The Teamsters’ 4,500 truck drivers, casting directors, and location managers may join the WGA strike. ABC, on the other hand, suggested writers consider dropping or converting their WGA membership to work anyway. Yep, crazy.