April 18, 2024

‘Tonight’ Show Expected to Return to New York, With Fallon

While the network has yet to complete a deal, it has made a commitment to Jimmy Fallon, the current host of its “Late Night” program, to have him succeed Jay Leno as the next host of “Tonight,” according to several senior television executives involved in the decision. The show would move from Burbank, Calif., back to New York, where it first started in 1954 with Steve Allen as host.

Some details remain to be worked out, including an exact timetable for the switch, though it is expected to take place by the fall of 2014 at the latest, the executives said in interviews this week.

NBC has quietly begun work on a new studio in its headquarters building at 30 Rockefeller Plaza as the home for the new “Tonight” show. The studio is part of a general reconstruction of the building being undertaken by Comcast, which this week completed a full takeover of NBC Universal.

An NBC spokeswoman declined to comment on the move, other than to say the network was building a new state-of-the-art studio for Mr. Fallon.

A move to New York would return “Tonight” to its roots, after an absence of more than four decades. Beginning in 1954 the show was broadcast every evening from New York City, first from the Hudson Theater with Mr. Allen as host, followed by Jack Paar and Johnny Carson, both of whom worked at 30 Rock. But Mr. Carson, looking for easier access to Hollywood guests, as well as a different lifestyle, moved the show permanently to Burbank in 1972.

Mr. Fallon, who made his reputation at 30 Rock as a star on “Saturday Night Live,” now occupies the studio where Mr. Carson was working in the 1960s and early ‘70s. His “Late Night” show is broadcast at 12:35 a.m. Eastern time, following Mr. Leno on “Tonight.”

Mayor John V. Lindsay of New York with Johnny Carson on The Tonight Show in 1966.

Don Hogan Charles/The New York Times.

Mayor John V. Lindsay of New York with Johnny Carson on “The Tonight Show” in 1966.

The changing of the guard on “Tonight” is one of the biggest personnel decisions in television, and has always been fraught with intrigue and backroom maneuvering. Three years ago, an effort to replace Mr. Leno with Conan O’Brien ended in recriminations and an ultimate reversal; Mr. Leno was reinstated as host after only seven months. NBC endured weeks of negative press coverage. In the early 1990s, Mr. Leno and David Letterman engaged in a heated and often acrimonious competition to replace Mr. Carson.

But NBC became concerned when ABC moved its own late-night star, Jimmy Kimmel, to go head-to-head with Mr. Leno and Mr. Letterman. Mr. Kimmel had been building his reputation as a host, generating well-received new ideas for the late-night format. He is also a generation younger than Mr. Leno and Mr. Letterman.

Many executives in the television business speculated that NBC could not afford to wait too long to promote Mr. Fallon, or it might risk having Mr. Kimmel lock up the younger-adult viewers that are the economic lifeblood of late-night television.

A New York “Tonight” show will join a metropolitan landscape already filled with late-night comedy shows, including “Late Show With David Letterman” on CBS and shows featuring Jon Stewart and Stephen Colbert on Comedy Central. One lingering question is what NBC will do with its “Late Night” franchise, which has always been a New York-based show.

Mr. O’Brien hosted that program before Mr. Fallon and it was speculated before his ascension to the “Tonight” show that he might try to keep working in New York, where he had thrived. But at the time NBC insisted “Tonight” had become a Hollywood-centric show and needed to stay in California.

Mr. Fallon quickly impressed NBC’s new management under Comcast, and his succession has been widely expected for at least a year. The only question has been when.

The potential timetable for the change — sometime within the next 18 months — has been tied to Mr. Leno’s current contract, which ends in the fall of 2014, as well as the need to sign Mr. Fallon to a new deal.

But one executive said NBC did not want Mr. Fallon to appear on the open market, where another network could try to woo him away — perhaps CBS, as a replacement for Mr. Letterman when he retired.

Given the past turbulence involved in changing hosts, NBC wants to make the transition to Mr. Fallon as smooth as possible. But the issue became both complicated and fractious in recent months.

The relationship between Mr. Leno and NBC became strained recently when the host told some jokes on his show about NBC’s poor performance in prime time, initiating a hostile e-mail exchange with Robert Greenblatt, the chairman of NBC Entertainment.

On Wednesday NBC said the conflict with Mr. Leno was being smoothed over.

Another complicating factor has been Mr. Leno’s continued success in the ratings.

When he was replaced by Mr. O’Brien, Mr. Leno was a dominant No. 1 in the late-night competition, and was unhappy to be asked to try to initiate a prime-time hour. When that show failed, and Mr. Leno was reinstated on “Tonight,” he eventually was able to regain his leadership in the ratings.

Indeed, Mr. Leno, as he often has in his career, has proved unexpectedly resilient in the ratings. In recent weeks, he has continued to finish first — always in the category of total viewers and usually among viewers between the ages of 18 and 49, the most sought-after age group for late-night advertisers.

As one of the executives involved in the planning of the shift to Mr. Fallon put it: “And then Jay manages to stay ahead of Kimmel. How often has that guy been underestimated?”

Article source: http://www.nytimes.com/2013/03/21/business/media/tonight-show-expected-to-return-to-new-york-with-fallon.html?partner=rss&emc=rss

Nickelodeon Hopes App Wins Hearts

That response posed a problem and an opportunity for Nickelodeon, a top-rated children’s cable channel that is home to “SpongeBob SquarePants,” “Victorious” and “iCarly.” Instead of simply making its programs available on tablets, Nickelodeon designed its first app as a noisy, colorful smorgasbord of animated clips, irreverent music videos and the occasional deluge of the network’s trademark green slime. Or, as Nickelodeon executives describe it, the app is designed to be a “ginormous grid of everything Nick.”

As fun as it is supposed to be for children, the Nick app has serious implications for its parent company, Viacom, and for the entire television distribution business. The app represents the first attempt by a Viacom channel at TV Everywhere — the concept that paying customers can stream live and on-demand shows on all devices — that many television executives hope will keep viewers tied to their cable and satellite contracts. It is expected to be available in the Apple App Store on Thursday.

The Nick app features free games, interactive polls and slide shows floating against a bright orange background. A less obvious feature also allows users to watch full-length Nickelodeon shows on tablets as long as they (or, more likely, their parents) authenticate that they are paying subscribers.

Nick arrives late to the app store. A main rival, Disney, already offers authenticated apps for the Disney Channel and Disney Junior that allow children to stream shows like “Good Luck Charlie” and “Mickey Mouse Clubhouse” and to participate in interactive “appisodes.”

Cyma Zarghami, president of the Nickelodeon Group, said she preferred to wait until the cable channel had more information about how its audience used mobile devices. Research showed children preferred to play games and watch short clips on apps, rather than catch up on complete episodes. Nickelodeon already has individual branded games available as apps.

“TV Everywhere is a given. It’s not special anymore,” Ms. Zarghami said. “Being first wasn’t important to us. We took our time to combine these two ideas” of interactive games and snippets of shows.

A brief video instructs children to “grab an adult” to enter a password that shows they subscribe to Nickelodeon before gaining access to the last five episodes of series like “Teenage Mutant Ninja Turtles,” “Big Time Rush” and “Kung Fu Panda: Legends of Awesomeness.” This fall, Nickelodeon will introduce a separate app for Nick Jr. intended to serve as an “interactive play date” for its preschool-age audience.

Nickelodeon’s strategy — based on extras rather than episodes — signals how Viacom may approach apps for its other cable channels, including MTV, Comedy Central and VH1. Until this week, Viacom had not introduced authenticated apps for its channels, unlike Time Warner’s HBO and its popular HBO Go app.

“This is a creative sandbox for kids but it’s also a creative sandbox for the company,” said Steve Youngwood, Nickelodeon’s executive vice president for digital.

The Nick app represents an evolution in Viacom’s thinking about its audience. Nickelodeon has long been a powerhouse in children’s programming, but its ratings suddenly plunged in 2011. Viacom in part blamed Nielsen for not counting children who streamed shows via “unmeasured platforms” like Netflix. (The company also conceded that it had aging series like “SpongeBob” and “iCarly”.)

Viewers who watch shows on the Nick app will not be counted in ratings data, but the cable channel can at least sell advertisements. Nickelodeon will introduce the app to marketers at its upfront next week in New York.

The introduction of the Nick app comes as the channel’s ratings are slowly climbing back after the unexpected plunge that started in 2011. A daily average of 2.9 million viewers ages 2 to 11 watched Nickelodeon this month, up 12 percent from February 2012, according to Nielsen.

Ms. Zarghami said the Nick app could help the channel develop new series and stars, based on which clips, actors and characters drew the most attention. Nickelodeon commissioned 12 short films for the app, including one called “Dance Party in a Port-A-Potty” that featured meerkats partying in a portable restroom. Nickelodeon has greenlighted five for the channel. “Our aim is to get more content faster,” Ms. Zarghami said.

Tablet use among children 11 years old and younger is projected to grow faster than almost any other age group. Half of households in the United States with children own a tablet and 70 percent have some sort of smart device, according to Nickelodeon’s research.

“The tablet has come of age particularly among our audience,” Mr. Youngwood said.

Nickelodeon has struck deals with eight cable or satellite providers including Time Warner Cable, Verizon FiOS, Cablevision and DirecTV to make the streaming feature of its Nick app available in nearly 50 million homes. The nonstreaming offerings will be available to viewers who do not subscribe to those companies.

Paul Verna, a senior analyst at eMarketer, said the authentication model could pose challenges for Viacom. He pointed to the media company’s dispute with DirecTV this last summer, which prompted the satellite provider to suspend Viacom’s channels.

“How do you explain to a little kid that your friend on Comcast can watch Nick Jr. and ‘iCarly’ on their iPad but you can’t?” Mr. Verna said.

Article source: http://www.nytimes.com/2013/02/20/business/media/nickelodeon-hopes-app-wins-hearts.html?partner=rss&emc=rss

Fox and Telemundo Win U.S. Rights to 2018 and 2022 World Cups

Fox agreed to pay more than $400 million, while Telemundo, owned by Comcast/NBC, will pay about $600 million to broadcast those two men’s World Cups, several television executives familiar with the deal said. The agreements also give Fox and Telemundo the rights to the 2015 and 2019 Women’s World Cups and other international tournaments.

This amount is more than double the combined $425 million that ESPN ($100 million) and the Spanish-language network Univision ($325 million) paid to broadcast the 2010 World Cup in South Africa and the 2014 World Cup, to be played in Brazil. Both networks had been favored to retain the rights for upcoming World Cups.

While FIFA, soccer’s world governing body, did not release the bid figures, the record rights fees come at a heady time for the sport in the United States.

The women’s World Cup drew record ratings on ESPN this summer. Helped by a crowd of 64,140 in Seattle last weekend, Major League Soccer, the domestic men’s professional league, is expected to set a record for average attendance, about 18,000. Meanwhile, dozens of national and international matches are available to American viewers on television and online each week.

“This is what people have been talking about since the World Cup was held in the United States in 1994 — is the U.S. a soccer nation? Clearly, it is,” said Michael Cohen, who was the executive producer for Major League Soccer and its marketing arm from 2001 to 2010. “You’ve got a whole generation of kids in their 20s, 30s and 40s who have grown up with soccer. And with the influx of immigrants coming to this country, soccer is their No. 1 sport. It is the perfect storm.”

It is difficult to compare the World Cup fees with broadcast rights packages for other major sports, because the terms are dissimilar. For example, ESPN, ABC and TNT will carry the N.B.A. through the 2015-16 season under eight-year contracts worth $7.4 billion that include hundreds of regular-season games, the playoffs and digital rights. ESPN is paying $125 million per year for television, radio, digital, international and marketing rights for college football’s Bowl Championship Series from 2011 to 2014.

Rights fees for the World Cup in the United States still trail by a wide margin the fees paid for the Olympics. NBC recently paid $4.38 billion for four Olympic Games through 2020, but the growing soccer market is not that mature.

“I think there is a dichotomy of interest in soccer in the U.S.,” said Marc Ganis, president of SportsCorp Ltd., a Chicago-based sports business consulting firm. “We have a growing interest in the top level of the international game — the English Premier League, the World Cup. We have not shown a dramatic increase in interest at the homegrown level. I suspect that is because of the quality of the game.”

Still, 18 million Americans play soccer, and the sport has found a comfortable niche in the sporting landscape, especially for its biggest events. The championship matches of the past two World Cups have drawn bigger American television audiences than the average World Series viewership in the corresponding years of 2006 and 2010.

The 2010 World Cup final between Spain and the Netherlands, shown in the afternoon in the United States, drew 24 million viewers on ABC and Univision — 10 million more than the average primetime audience on Fox for the San Francisco Giants’ five-game victory over the Texas Rangers in the 2010 World Series.

This time of year, soccer is as plentiful as football via online streaming and cable and satellite television. From Friday to Monday of this weekend, about 75 soccer matches will be available for viewing in the United States, featuring American college and professional teams and some of the world’s top club teams in England, Spain, Germany, Italy, Brazil, France, the Netherlands and Mexico.

After the women’s World Cup in Germany, even casual sports fans know forward Abby Wambach and goalkeeper Hope Solo, whose crossover appeal landed her on “Dancing With the Stars.” Forward Landon Donovan of the men’s national team is featured in a national Gatorade advertising campaign, and goalkeeper Tim Howard is a spokesman for Allstate insurance.

A decade ago, with television interest in the World Cup lagging, Major League Soccer’s marketing arm bought the English-language rights to the 2002 and 2006 World Cups for $40 million, paid production costs to have the games broadcast on ESPN and split advertising revenue with the network. On Friday, Fox paid 10 times that amount. (Telemundo’s higher fee reflected the greater World Cup interest among Spanish-speaking viewers.)

“In the U.S., the game has always spoken to all the hyphenated Americans — German, Italian, Mexican, etc.,” said the ESPN.com soccer columnist David Hirshey, who has published best-selling memoirs of Mia Hamm and David Beckham as executive editor of HarperCollins. “But now it crosses demographic lines, having been embraced by high-definition-TV-watching suburban teens and 20- to 40-year-old hipsters with disposable income.”

Fox, which said it was “truly honored,” scored a coup in wresting the 2018 and 2022 World Cups away from ESPN/ABC, which has broadcast soccer’s global championship since 1994. In the bidding process on Wednesday and Thursday in Zurich, where FIFA is based, ESPN raised its bid from $350 million to $400 million, two television executives said, but Fox went higher.

The World Cup matches will be in Russia in 2018, and in Qatar in 2022.

Fox’s bid adds the sport’s crown jewel to a soccer collection on its broadcast network and a cable network, Fox Soccer Channel, that already broadcasts the European Champions League, the world’s premier club competition, along with weekly English Premier League and Italian league matches.

Gaining the World Cup should also enhance the cable distribution of Fox Soccer, which is available in 40 million American homes, compared with 100 million for ESPN.

“This reflects on Fox’s part a commitment to be the primary source for broadcasting international soccer in the U.S.,” said Ganis, the sports consultant.

Article source: http://feeds.nytimes.com/click.phdo?i=aba9421dd2fb1e93c34f5ecf02b79a09