April 23, 2024

Media Decoder Blog: Dish Network Takes to Twitter in Battle With Broadcasters Over Ad-Skipping DVR

The Dish Network’s battle with broadcasters over a tricked-out digital video recorder called the Hopper has come to Twitter.

Dish on Thursday accused CBS of telling one of the network’s stars, Kaley Cuoco of “The Big Bang Theory,” to take down a Twitter message promoting the Hopper to her 1.2 million followers. For whatever reason, Ms. Cuoco deleted the message. The odd episode gave Dish’s chief executive, Joe Clayton, a chance to say on Twitter: “It’s disappointing that CBS — once the exemplar of editorial independence and innovation — continues to use its heavy hand to hold back progress from consumers.”

Arguably CBS won the quote war though, with this statement a few hours later: “Once again, Joe Clayton demonstrates his dubious gift for hyperbole and hucksterism. No demands were made, but it’s clear that Dish’s culture of fabrication is alive and well.”

Let’s pause right there. This isn’t really about Ms. Cuoco, it’s about copyright and consumer rights. Dish and broadcasters like CBS have been in court for months now, arguing over the legality of the Hopper, a digital video recorder that allows users to automatically skip all the ads on prime-time network television shows. The newest version of the Hopper uses technology from a company called Sling that lets customers wirelessly watch recorded shows away from home.

Dish says the Hopper is a legitimate response to changing consumer behavior. The broadcasters say it’s a violation of their copyrights, and perhaps a violation of their carriage contracts with Dish, too. They have, according to Dish, refused to sell the company any advertising time to promote the device.

Mr. Clayton brought up “editorial independence” in his statement on Thursday because it came to light last month that CBS prohibited one of its Web sites, CNET, from presenting an award to the Hopper. CBS also refused to let the CNET staff disclose the details of its involvement. But the details leaked out a few days later, and Dish condemned the corporate interference. CBS said the case was “isolated and unique” and said “in terms of covering actual news, CNET maintains 100 percent editorial independence, and always will.”

With Twitter, Dish seized on another opportunity to criticize CBS. It said Ms. Cuoco’s Twitter message in support of the Hopper was a “sponsored tweet,” meaning that it paid to have the message placed there. “Amazing!” the message said, pointing to an online commercial for the device. “Watching live TV anywhere on the #Hopper looks pretty awesome!”

A Dish spokesman said that the company heard from Ms. Cuoco’s agent that CBS demanded that she delete the message. “No demands were made,” CBS said in response.

Ms. Cuoco’s show, by the way, is one of the biggest beneficiaries of the digital video recorder. On a typical week, about 17 million people watch the sitcom either live or within a few hours of a new episode’s debut. Another four million people watch the show via a DVR within a week of the debut — a gain of 24 percent. Among 18- to 49-year-olds, the gain is even bigger — 35 percent.

Broadcasters don’t object to the DVR per se — they’ve learned to live with the ad-skipping technology. Just because people can skip ads doesn’t mean they always do. But the Hopper makes it easy to skip ads automatically — and that’s what the networks fear.

Article source: http://mediadecoder.blogs.nytimes.com/2013/02/28/dish-network-takes-to-twitter-in-battle-with-broadcasters-over-ad-skipping-dvr/?partner=rss&emc=rss

In a Gloomy Economy, TV Sitcoms Are Making a Comeback

For the better part of a decade, while drama became more ambitious, and reality shows became more outrageous, comedy had the worst track record in prime time.

As recently as 2008, only two comedies ranked among the top 10 shows at this point in a new television season. Two years earlier, the total was zero.

But comedy has surged back this fall, elbowing past those other genres to reclaim supremacy among viewers. So far this season, sitcoms occupy seven of the top 10 spots among entertainment programs (not counting football) in the category of most financial importance to network executives — viewers ages 18 to 49.

Two shows, “New Girl” on Fox and “2 Broke Girls” on CBS, are brand-new hits. And new comedies have shown promising signs on both other networks: “Suburgatory” and “Last Man Standing” on ABC and “Up All Night” on NBC.

At the same time, several longer-running comedies have expanded their popularity. “Two and a Half Men” on CBS benefited from the publicity that surrounded the noisy departure of Charlie Sheen. Its ratings numbers are up 65 percent (though much came in its first two weeks.)

“How I Met Your Mother” on CBS is up 23 percent, and yet another CBS comedy, “The Big Bang Theory,” is up 8 percent. (CBS has four of those top seven comedies). And ABC’s “Modern Family,” fresh off an Emmy sweep, has improved 25 percent. In the past week, it nudged past “Men” to rank as the top-rated comedy.

In looking for a turning point in the comedy comeback, many fingers point to that three-year-old ABC comedy. Jennifer Salke, the president of NBC Entertainment, said, “ ‘Modern Family’ is at the center of it, just the sheer excellence of it.”

Kevin Reilly, the president of Fox entertainment, said that “Modern Family” seemed to “revive the confidence of the creative community — I definitely feel more vibrancy in comedy now.”

Paul Lee, the entertainment head at ABC, noted that CBS had all along had comedies that were “immensely strong” but, he said “Modern Family” took it “to another level, elevating the genre.”

Part of the reason was the way in which “Modern Family,” achieved success by coming out of nowhere. ABC was moribund in comedy until it secured the sitcom about the daily absurdities visited on three interrelated families.

The pilot was a sensation, validating ABC’s bold scheduling strategy: four new comedies on Wednesday, with “Modern Family” in the center. The show was a hit from its first episode.

That pattern rang familiar to television executives like Warren Littlefield, the former top programmer at NBC, who was around for a previous era of comedy downturn in the 1980s.

“We had come out of the era of the relevant comedies of Norman Lear,” he said, referring to the creator of “All in the Family” among many other comedy hits. “It was a comedy desert. Nobody had transitioned to the next phase. Then Bill Cosby changed all that by illuminating the family comedy with his point of view.”

Mr. Littlefield said “Modern Family” is playing the same role that “The Cosby Show” did in “examining the family, but it’s a family we haven’t seen before.”

Still, timing played a hand. As Nina Tassler, the president of CBS Entertainment, noted, it would be inaccurate to describe comedy as a desert this time, because CBS had several consistent hits, thanks largely to Chuck Lorre, who created three of them.

But as Mr. Lee described it, “comedy had lain fallow for a long time.” Mr. Reilly called the output “truly anemic, except for CBS.”

The cycle of entertainment interest shifted, starting about 2000. Drama soared; reality exploded. But, as usual, after a long run, those genres began to get played out, a trend especially notable this season.

“I feel like the appetite for reality has come down a bit,” said Ms. Salke. “And after shows like ‘Lost’ and ‘24,’ the bigger ideas for drama became harder and harder.”

Article source: http://feeds.nytimes.com/click.phdo?i=41aff164aa28e5b7421daada23fe6e8f