Monthly Archives: March 2011

More from the cablecasters…

Here’s some more items on American cable buyers’ shopping list. Of course, items wanted can change so make sure you look in the latest trades to see what they might have added to their development slate.

MTV

Well, we all know that Jersey Shore is the biggest hit on MTV with ratings averaging 8.8.  That isn’t surprising given that their audience is 16-year-old girls. Their main slot of programming is at 10 .p.m. but they are doing strong numbers at 11 or 11:30. Men like their Sunday night programming block.

They’ve just finished a show called cuffed about kids and cops where the kids are in a confessional in the back of the police car. They make sure that all of their productions aren’t earnest.

They really like the underdog stories where the characters are large. Taboos, like religion, really work for them as well as Middle America stories. They don’t want LA or NY stories and no Americans touring foreign countries for them. They don’t do pilots, preferring to see 15-20 minute presentations with the real arc of the story.

Right now they are looking for a love line type show – the next in the generation of sex shows.

Style

This cable network is in 66 million homes and they do 200 original programming hours with a third of them being done in-house.  Their viewer is a 38-year-old woman who is concerned with fashion and beauty – not runway models, but more a transformational focus. How can I look good like that?

Right now their big shows are Jerseylicious, and Ruby, a 700-pound woman who came to them with a show idea about herself. Every woman can relate to it. They’ve followed that show up with a show 2 Fat for 15 that focuses on kids between 11-18 who are at a fat camp.

They want shows to be 60 minutes.  That way people to tune in longer.

Bravo

They have four pillars of programming – competition/reality; docu-soaps, formats and potpourri.  The audience is 65% female, 35% male.

With their competition shows, they need a big host like a Heidi Klum for Project Runway. That show has been their template since it hit the airwaves in 2004.

Docu-soaps about rich people or people who work for them really do well in the ratings, like the Housewives series. Or shows like Million Dollar Listing and Flipping Out hit all the marks for Bravo.  They don’t commission pilots. They just look for sizzle in the characters on the reel.

They look for recurring characters in their formats – like Millionaire Matchmaker so that viewers can come in an out of a series without having to see the initial episodes.

Bravo’s potpourri category includes game shows and one called Approval where 4 people discuss the week in pop culture.

Shopping lists for buyers on American cable

Everyone wants those water cooler shows that have people talking and engaging with. Recently the cablecasters spoke about their brand (which is everything) and what’s working for them and what they maybe looking for in the future.

Lifetime

Lifetime is looking to increase their programming slate. They want to go from 2-12 reality shows; from 2-4 scripted series and from 10-15 films. Lifetime is putting great stock in reality tv since numbers show that 85% of all TV viewers watch it.

TLC

At TLC , they are very clear on their brand and make sure that all of their shows speak to Middle America. They moved American Chopper from TLC to Discovery and they know their viewers wouldn’t like the Kardashians. It’s ranked as one of the Top Ten for women but they don’t see themselves as a women’s channel.

Like all cablecasters they want shows about characters – characters in extraordinary situations like Sister Wives or ordinary people doing extraordinary jobs like their Policewomen series. That show is a winner for them because it brings in both men and women viewers. They want more of that since it really works for them.

A&E

One of the top 5 networks with Hoarders, Dog the Bounty Hunter and Gene Simmons. They want a broad audience of 18-49. They skew a little bit female. They launched Beyond Scared Straight, a teen redemption show and it did better than they thought it would. Again, the characters are key. They like justice and crime with redemption thrown in as well.

more to come…

Reality TV

There was a study done at Ohio State university on the audience who watch and enjoy reality shows a couple of years ago. People who watch 2 or more reality shows were motivated by social contact and ranked it the highest. People who are sociable and like chatting at the water cooler are more likely to watch reality TV.

They were more concerned with order and very motivated by romance.

The more reality shows a person liked, the more status-oriented the person was.

People who are motivated by status have an above average need to feel self important.

Reality viewers feel they are more important than the ordinary people portrayed on reality television shows.

Viewers like to see people like themselves or larger versions of themselves. It may not matter much if the storyline is realistic, so long as the characters are ordinary people. The fact that these are ordinary people, like themselves. allows the viewers to fantasize they too could gain celebrity status by being on TV.

Building a universe worthy of devotion

Went to hear Brent Friedman from Electric Farm Entertainment. He went through some case studies of the transmedia he has created and shared the lessons he’s learned in the process. He defined the transmedia experience as a shattered mirror – each piece is part of the whole, but unique. It’s not re-purposing the same piece of content for different platforms. Transmedia promises an immersive experience.  Advertisers love it. They want more than exposure. They want engagement. The audience has choice and lots of content to choose from.

For a universe to be truly worthy of devotion, Friedman maintains that there has to be a deep mythology, archetypal characters and binding principles like The Force in Star Wars. He cites Star Wars, Lord of the Rings and the Matrix as worlds where fans want to go deeper and deeper.

Valemont is the latest world he created with MTV and Verizon.

The  premise of Valemont is that a young woman’s brother has gone missing from Valemont University. Little does she know, it’s Hogwarts for Vampires.  The 2 minute episodes ran on MTV during the commercial breaks. Verizon sponsored the series.

Friedman maintains Valemont hit a lot of transmedia buttons. It had an intuitive hub – a watering hole or a place where people could go and talk about their experiences on the site; it had a partner for cross-marketing to assist in the promotion of the series as well as its brand; it had good internal sign posts so that the site was easy to maneuver like a ride at Disneyland and it had a mystery as the core story, a common feature in transmedia properties.

There was a Rush Week at Valemont where people could join one of five houses. This created a social game where people were jumping through hoops to become a pledge. A “puppetmaster” was employed 24/7 for the Facebook presence and to send twitter feeds for the 6 main characters.  One of the characters became so popular, she had her own blog.

Valemont exceeded all estimates of success.  Viewership more than doubled.  Verizon experienced an increase in conversion rates to its service.

Electric Farm had the rights to mobile, online and TV content. From the episodes, they created a 2 hour movie. All of the Valemont components were sold either individually or as a package internationally.

 

Transforming trailers

The trailer is absolutely the best selling pitching tool you can have. It’s worth spending the time and money on the best representation of your show.

Don’t show or post your trailer until you are positively sure it is as great as your show.

It needs to get to the heart of the story in less than two minutes. Our attention spans are shorter than ever and our eyes begin to glaze over unless the action on the screen is riveting.

A trailer is an exercise in disciplined storytelling and you will need a couple of attempts before you get it right. Get others feedback on it.

Here’s a before and after case study of Battle Castle, a great documentary series currently in production. This is the first draft of their trailer.

Battle Castle (original) from Mickey Rogers on Vimeo.

With some feedback, the producers created another version, once they had secured their host. Watch the difference.

Battle Castle – Series Trailer from Parallax Film on Vimeo.

In this trailer of Battle Castle, the host introduces the premise clearly within the first 20 seconds. The title acts as an exclamation mark – moving the trailer from the introduction into the structure. The host takes us on a tour of the action that we will see in the program – the secrets, the masterminds behind the building of the castles and the bloody wars. Of course a strong finish with a clear resolution or call to action is a must.

Post your favourite trailers. Let me know which ones work for you.

I’m also blogging for the international festival MIP, a gathering of over 10,000 people in the content business.