Why Broadcast Television is Loosing Viewers?
It is a very simple question with a very simple answer. The networks aren’t providing a new programming that appeals to a majority of the viewers.
The networks continue to focus on teens and tween as they did during the early years of television, ignoring the fact that age demographic has changed. No longer are the tweens, teens and twenty-somethings the largest demographic. While the birth rate has decreased since the 1950’s. At the close of the 1950’s, the birth rate averaged 3.69, while the birth rate of 2008 averaged 2.10. At the same time, the average life span has in creased to 78.10 year. According to the CIA World Factbook, the median age has risen to 37.7 with largest increases being in the 50-54 and 45-49 age brackets.
Known as the baby boomer generation, those born from 1945-1959, were the largest generation to date. They were also the ones who originally made television successful. They were the ones who talked their parents into at least one TV in every home. From black and white TV’s and the choice of three-four stations if the viewer was lucky to the hundreds of channels and HD TV, the boomers were known as the television generation. Never knowing or caring to remember what life was like without television, they have remained completely loyal to the venue. Yet the industry has reward their loyalty by over looking not only their viewing needs but their spending power as well. For the first time in generations, the current generation has not financially done better than their parents. With less debt and with more stable incomes, those 35 and older are the least courted when it comes to programming and advertisers.
An undeniable fact of life is that generations relate to their own age group and those who are older. While teens are able to relate to older characters as siblings, parents, grandparent, the reverse is seldom true. A 40-something doesn't connect with the life experiences of tweens, teens, or 20-somethings. They’ve been there and done that; they want to know what is coming up for them as they grow older instead of looking back at their youth and daydreaming about going back.
Many of the new shows titillate with T & A, but no longer develop the characters or plots, which made the show interesting. As long as the girls look good in a bikini and the guys have eight-pack abs, it doesn’t matter who they are or what they are doing; the shows are made cheaply both in casting and sets. Many producers and networks aren’t simply willing to pay salaries for quality talent, so they stick with the cheaper unknowns, claiming that the older talent no longer attract an audience. Favorite actors and actresses have aged along with the viewers who originally make them popular. Tom Selleck may not attract a teen, but to women over the age of consent still think he looks pretty damn good. Jacqueline Smith is still an angel to most men. Both started as sex symbols, yet they worked to become well rounded masters of their craft.
Programming, which includes a balanced age demographic, have always been the most successful. The top ten longest running prime time scripted shows included:
1: Gunsmoke (1955-1975)
2: Lassie (1954-1972)
3: Death Valley Days (1952-1970)
4: The Adventures of Ozzie and Harriet (1952-1966)
5: Bonanza (1959-1973)
6: The Simpsons (1989-????)
7: Law & Order (1990-????)
8: My Three Sons (1960-1972)
9: Dallas (1978-1991)
10: Knots Landing (1979-1993)
However, with the recent two year renewal, The Simpsons have taken over the longest continuously running series title. Until February 7, 2010 the final episode of MASH was the most watch show ever when Super Bowl XLIV over took the position.
.
The following list are the programs, which listed with the highest average ratings by year.
1950–1951 Texaco Star Theater NBC
1951–1952 Arthur Godfrey's Talent Scouts CBS
1952–1955 I Love Lucy CBS
1955–1956 The $64,000 Question CBS
1956–1957 I Love Lucy CBS
1957–1961 Gunsmoke CBS
1961–1962 Wagon Train NBC
1962–1964 The Beverly Hillbillies CBS
1964–1967 Bonanza NBC
1967–1968 The Andy Griffith Show CBS
1968–1970 Rowan and Martin's Laugh-In NBC
1970–1971 Marcus Welby, M.D. ABC
1971–1976 All in the Family CBS
1976–1977 Happy Days ABC
1977–1978 Laverne and Shirley ABC
1978–1979 Three's Company ABC
1980–1982 Dallas CBS
1982–1983 60 Minutes CBS
1983–1984 Dallas CBS
1984–1985 Dynasty ABC
1985–1989 The Cosby Show NBC
1989–1990 (tie) The Cosby Show NBC
(tie) Roseanne ABC
1990–1991 Cheers NBC
1991–1993 60 Minutes CBS
1993–1994 Home Improvement ABC
1994–1995 Seinfeld NBC
1995–1997 ER NBC
1997–1998 Seinfeld NBC
1998–1999 ER NBC
1999–2000 Who Wants to Be a Millionaire ABC
2000–2001 Survivor CBS
2001–2002 Friends NBC
2002–2004 CSI CBS
2004–2009 American Idol Fox
With the exceptions of the game (Survivor and American Idol are just the latest incarnation of game shows) and news shows, these programs are well crafted scripted shows, whose characters were portrayed by many generations of actors.
The tread continues into 2010 Top Ranking Shows of the 2009-2010 Season Through Feb. 7, 2010
Rank Program Name Net
1 UNDERCOVER BOSS CBS
2 AMERICAN IDOL-TUESDAY FOX
3 AMERICAN IDOL-WEDNESDAY FOX
4 NCIS CBS
5 SUNDAY NIGHT FOOTBALL NBC
6 DANCING WITH THE STARS ABC
7 NCIS: LOS ANGELES CBS
8 THE MENTALIST CBS
9 DANCING W/STARS RESULTS ABC
10 CSI CBS
11 CBS NFL NATL POST GAME CBS
12 DESPERATE HOUSEWIVES ABC
13 CRIMINAL MINDS CBS
14 TWO AND A HALF MEN CBS
15 GREY'S ANATOMY ABC
16 SUNDAY NIGHT NFL PRE-KICK NBC
17 THE BIG BANG THEORY CBS
18 60 MINUTES CBS
19 CSI: NY CBS
20 HOUSE FOX
According to TV Guide The Most Popular TV Shows Rank
TV Show Next On Network
1 American Idol Tue, Feb 23 08:00 PM ET FOX
2 The Bachelor Mon, Feb 15 08:00 PM ET ABC
3 NCIS Mon, Feb 15 06:00 AM ET USA
4 Real Housewives of
Orange County Thu, Feb 18 10:00 PM ET BRAVO
5 Dancing with the Stars Not airing in the next 14 days
6 24 Mon, Feb 15 09:00 PM ET FOX
7 Criminal Minds Sat, Feb 13 12:01 AM ET A&E
8 Keeping Up with
the Kardashians Mon, Feb 15 10:00 PM ET E!
9 Grey's Anatomy Tue, Feb 16 06:00 PM ET LIFE
10 Desperate Housewives Mon, Feb 15 03:00 PM ET LIFE
11 Bones Sat, Feb 13 06:00 PM ET WGNAME
12 House Sat, Feb 13 06:00 PM ET BRAVO
13 Bad Girls Club Sat, Feb 13 09:00 AM ET OXYGN
14 Smallville Fri, Feb 19 08:00 PM ET CW
15 Vampire Diaries Thu, Feb 18 08:00 PM ET CW
16 Days of Our Lives Tue, Feb 16 01:00 PM ET NBC
17 Biggest Loser Not airing in the next 14 days
18 Secret Life of the
American Teenager Mon, Feb 15 08:00 PM ET ABCFAM
19 One Tree Hill Mon, Feb 15 08:00 PM ET CW
20 Damages Mon, Feb 15 10:00 PM ET FX
21 The Game Sat, Feb 13 12:30 PM ET BET
22 Nip/Tuck Wed, Feb 17 10:00 PM ET FX
23 Big Bang Theory Mon, Feb 15 09:31 PM ET CBS
24 iCarly Sat, Feb 13 12:00 PM ET NIK
25 Chuck Not airing in the next 14 days
26 Lost Tue, Feb 16 09:00 PM ET ABC
27 Supernatural Mon, Feb 15 09:00 AM ET TNT
28 Ghost Whisperer Sat, Feb 13 01:00 AM ET WE
29 Wizards of Waverly Place Sat, Feb 13 04:00 PM ET DISNEY
30 Family Guy Sun, Feb 14 09:00 PM ET FOX
31 Young and the Restless Mon, Feb 15 12:30 PM ET CBS
32 90210 Tue, Feb 16 08:00 PM ET CW
33 Brothers & Sisters Sun, Feb 21 10:01 PM ET ABC
34 Gossip Girl Wed, Feb 17 09:00 PM ET CW
35 Oprah Winfrey Not airing in the next 14 days
36 Law & Order:
Special Victims Unit Sat, Feb 13 11:00 PM ET USA
37 Hannah Montana Sat, Feb 13 11:00 AM ET ABC
38 Legend of the Seeker Sat, Feb 13 04:00 PM ET WGNAME
39 The Office Sat, Feb 13 06:30 PM ET TBS
40 Fringe Not airing in the next 14 days
41 Friday Night Lights Not airing in the next 14 days
42 CSI: Miami Sat, Feb 13 07:00 PM ET A&E
43 Glee Not airing in the next 14 days
44 Eastwick Not airing in the next 14 days
45 Heroes Not airing in the next 14 days
46 Two and a Half Men Mon, Feb 15 09:00 PM ET CBS
47 The Mentalist Thu, Feb 18 09:00 PM ET CBS
48 Teen Mom Sat, Feb 13 02:00 PM ET MTV
49 The Good Wife Tue, Feb 16 10:00 PM ET CBS
50 Jersey Shore Sat, Feb 13 08:00 PM ET MTV
51 The Unit Sun, Feb 14 03:00 AM ET BET
52 Burn Notice Thu, Feb 18 10:00 PM ET USA
53 How I Met Your Mother Mon, Feb 15 01:00 AM ET LIFE
54 Private Practice Thu, Feb 18 10:01 PM ET ABC
55 Sons of Anarchy Not airing in the next 14 days
56 Medium Sat, Feb 13 12:30 AM ET LIFE
57 Dr. Oz Show Not airing in the next 14 days
58 General Hospital Mon, Feb 15 03:00 PM ET ABC
59 Law & Order Sat, Feb 13 06:00 AM ET TNT
60 Ugly Betty Sat, Feb 13 07:00 PM ET TVGN
61 America's Next Top Model Sat, Feb 13 08:00 AM ET BRAVO
62 White Collar Sun, Feb 14 01:00 AM ET USA
63 Castle Mon, Feb 15 10:00 PM ET ABC
64 Phineas and Ferb Sat, Feb 13 08:00 AM ET DISXD
65 Army Wives Not airing in the next 14 days
66 Modern Family Wed, Feb 17 08:00 PM ET ABC
67 NUMB3RS Sat, Feb 13 04:00 AM ET TNT
68 Cold Case Sun, Feb 14 10:00 PM ET CBS
69 Dateline NBC Not airing in the next 14 days
70 Project Runway Sat, Feb 13 10:00 AM ET LRW
71 All My Children Mon, Feb 15 01:00 AM ET SOAP
72 Masterpiece Sun, Feb 14 09:00 PM ET PBS
73 True Blood Not airing in the next 14 days
74 Human Target Wed, Feb 17 08:00 PM ET FOX
75 Make It or Break It Mon, Feb 15 09:00 PM ET ABCFAM
76 Bold and the Beautiful Mon, Feb 15 01:30 PM ET CBS
77 CSI: Crime Scene
Investigation Sat, Feb 13 01:00 AM ET SPIKE
78 Scrubs Sat, Feb 13 01:00 PM ET COMEDY
79 Leverage Sat, Feb 13 10:00 AM ET TNT
80 Cops Sat, Feb 13 08:00 PM ET FOX
81 The Deep End Thu, Feb 18 08:00 PM ET ABC
82 Spartacus: Blood and Sand Fri, Feb 19 10:00 PM ET STARZ
83 Dora the Explorer Mon, Feb 15 08:00 AM ET NIK
84 Dollhouse Not airing in the next 14 days
85 Mad Men Not airing in the next 14 days
86 NCIS: Los Angeles Tue, Feb 16 09:00 PM ET CBS
87 20/20 Fri, Feb 19 10:00 PM ET ABC
88 Big Love Sun, Feb 14 09:00 PM ET HBOe
89 Life Unexpected Mon, Feb 15 09:00 PM ET CW
90 Saturday Night Live Not airing in the next 14 days
91 The Pregnancy Pact Not airing in the next 14 days
92 Suite Life on Deck Sat, Feb 13 01:30 AM ET DISXD
93 Mercy Not airing in the next 14 days
94 Girls Next Door Sat, Feb 13 01:00 AM ET E!
95 Extreme Makeover:
Home Edition Sun, Feb 14 09:00 PM ET ABC
96 The Middle Wed, Feb 17 08:30 PM ET ABC
97 Doctor Who Sat, Feb 13 11:00 PM ET PBS
98 Law & Order:
Criminal Intent Sat, Feb 13 06:00 AM ET USA
99 So You Think
You Can Dance Not airing in the next 14 days
100 Cougar Town Wed, Feb 17 09:30 PM ET ABC
Quality programming, which has to multi-generational appeal, has proven for decades to not only to be big rating winners, but also the longer lasting shows. In addition, these same shows have become popular syndication favorites by expanding their fan base into the ever growing world of cable networks.
Yet networks continue to produce programming specifically targeted toward the tweens, teens and twenty-somethings. Advertisers still consider the same age group as preferred target. They simply fail to comprehend that by casting a wider net by including all age groups, they also catch the not only the teeny boppers, but also their older family members. The catch is that talent, who have a successful track record of producing quality work and being able to attract viewers, yet the like all masters of crafts, they also cost more, which is a price most producers and networks are unwilling to pay. By cutting costs and quality, they have turned away the viewing demographic, which not only made the television popular, but who now have the disposable income to make it successful. Instead of watching the new shows, older viewers are turning to older TV shows, either on DVD and the increasing number of nostalgia networks. TV Land may have started the trend, but they are hardly the last to see the value in bringing back the old favorites.
The simple fact is that technology continues to give viewers continue more options. They are no longer limited to the three local broadcast station. In fact, television has become a land without borders. If the viewers don’t like what the networks are presenting, they can simply channel surf, rent or search the net until they find something that appeals to them.
Showing posts with label Jeffrey Immelt. Show all posts
Showing posts with label Jeffrey Immelt. Show all posts
Saturday, February 13, 2010
Tuesday, April 21, 2009
Writer Seeking Agent With Contacts in Film and Television
Theresa (Chaze) Pachesny
4366 North Curry Drive
Traverse City MI 49684
I am looking for an agent to represent my work in both the television and film venues. Although my primary genre is fantasy, I intertwine romance, suspense, and humor to create well rounded and multi-dimensional projects. My characters are well developed and flawed enough to be unique, yet realistic. Currently I have two screenplays available. In addition, I have written script for Days of Our Lives, treatment for a prime time TV show and three novels with a fourth on the way.
Screen plays
Winning the 2006 International Gloria Film Festival and placing in the Greenlight Project, Never Can Say Good-bye is a paranormal romance that connects the present with the logging industry of the 1900. To help a friend, Elizabeth agrees to teach a writing course at a small college. She expects to find a sleepy town with a long history, but instead she finds herself dealing a violently jealous wife and the past mistakes she is only beginning to remember. Arriving in town, she finds it uncomfortably familiar. As the controlling President of the college, Judy Olson, shows her around, Elizabeth begins to realize that she has made a mistake and begins looking for excuses to leave. After meeting the famous historian, Michael Scott and his irrational wife, Shane, Elizabeth finds the past becoming more real than the present as the death of a small boy decades earlier reignites an old treachery, which could destroy the entire town. When love leads to vengeance, it is best to say good-bye.
Eye of Ra is an occult horror film that is based on Egyptian mythology. When Isis stole power from Ra, she initiated a guardian who not only had the strength to be the focal point for this great power, but who also had the ability to protect its secrets from those who would abuse them. Jealous of her grandmother and daughters’ spiritual gifts, Sandra takes her youngest daughter, Rikki and disappears. Seeking power, she searches the world for the Eye of Ra; when she finds it, it is Rikki not her that the Guardian chooses. Enraged, Sandra makes a pact with the Dark Ones; if they help her destroy her own daughter, she will use the Eye in their name. Sandra attacks in the middle of the initiation ceremony. The Priestess is killed before it can be completed. Barely escaping with her life, Rikki returns to the small town of her birth. Her physical wounds have healed, but the guilt and self-doubt keeps her from seeing the truth of her life. Sandra follows Rikki to finish what she started, bringing the evil of the Dark Ones with her, and a small northern Michigan town learns the black secret that had been buried among them for generations.
Novels
Awakening the Dragon -- Book One of the Dragon Clan Trilogy--Rachael moves to Coyote Springs to find a home and open her bookstore. Instead, she becomes the catalyst in exposing a murder and the target of a violent cult. She is forced to awaken her dragon spirit prematurely to save herself and all the ones she loves. Will she be able to control the power of the dragon as it rises giving her the power to save all she loves or will the flames from within destroy her?
Dragon Domain -- Book Two of the Dragon Clan Trilogy--Cheyenne and Celeste came to Coyote Springs to save a child; instead, Cheyenne found a home. With the help of their new friend, Jane, they created a spiritual sanctuary. But when Celeste stopped running, her past caught up with her. Dominic arrived with promises of love and passion. Instead of love, he reawakened Celeste’s dark side, turning her against those she loved the most. With the aid of the dragons, Cheyenne was barely able to ward off their first attack. With each soul they bound to them, Celeste and Dominic’s greed and hatred grew until they would not settle for less than totally destroying Cheyenne and all she loves. How do you protect yourself from someone who knows how to steal your soul?
Nict For Ure Selfe (Not for Ourselves)--A paranormal suspense novelette that ties the present with the past as karma awakens an old blood feud. Alyssa attends a local Pagan festival, only to become the target of the local deputy's bigotry and hatred. Unable to understand why she was singled out, she performs a ritual asking Bridget for her help. Instead of gaining wisdom, her spirit is transported back to a time before the Celtic Goddesses and Gods gave way to the Christos and when clan traditions could mean life or death. It will be paired with the novelette, Sisters of Avalon when it is completed.
Days of Our Lives
I had been a fan of Days of Our Lives for three decades: when the writing became unbearable, I started writing alternative storylines for the show and posting them on the NBC boards. What started as a protest, turned into a long term project as fans told me that they liked what they were reading better than what they were seeing on the screen. Not only was I able to remain true to the characters and the show’s history, but I also ended each posting with a cliffhanger.
The link to the thread on the NBC board and later my blog has been shared with people around the world. Not only did they encourage me to keep the ghost story going until the end, but they also gave me the courage to apply for the head writing gig. I was able to find the unlisted phone numbers to on executive producers home and the private office number to the other. Unfortunately, I used an outdated format so they didn’t take me seriously. In addition to the ghost story, I wrote to other partial storylines to prove that I could write other plots besides than paranormal. All three storylines are listed on my site at www.theresachaze.com.
Current projects
Operation Home Base is a nationwide non profit organization with local chapters that gives support to military families, veterans, wounded warriors, and active duty military personnel by working with existing programs and organizations. This project has been submitted to Donald Bellisario for consideration as a spin off to NCIS.
Avalon Sisterhood--Alyssa astral travels to the past to a small island off the coast Britannia to a time when she and her sister priestesses made an agreement with the Earth Mother. Their souls were scattered on the wind; they were to learn the needs and wants from all the cultures of the world, so that when Prophecy is fulfilled, they would be ready to support the transition into the new era. An agreement was made with a small group of Templar Knights. In exchange for safe haven on their Sisterhood’s isle, they would make a soul oath to protect the sisters throughout their karmic travels as well as keep safe their treasures and heritage. As the time of the Prophecy draws near, the sisters awaken only to find the heirs to the knights have claimed the Avalon Sisterhood’s power and wealth as their own. One sister has already been murdered. The rest have become targets as they race to claim what is theirs in time for the cosmic transition.
Graduating from Michigan State University with Bachelor of Arts degrees in English and Video Production with a minor in Theatre, I have worked as a writer, director, producer and all around tech. Recently, I started my own digital production service for authors, publishers and public relations firms. I write, produce, and distribute book videos, which are also called book trailers.
4366 North Curry Drive
Traverse City MI 49684
I am looking for an agent to represent my work in both the television and film venues. Although my primary genre is fantasy, I intertwine romance, suspense, and humor to create well rounded and multi-dimensional projects. My characters are well developed and flawed enough to be unique, yet realistic. Currently I have two screenplays available. In addition, I have written script for Days of Our Lives, treatment for a prime time TV show and three novels with a fourth on the way.
Screen plays
Winning the 2006 International Gloria Film Festival and placing in the Greenlight Project, Never Can Say Good-bye is a paranormal romance that connects the present with the logging industry of the 1900. To help a friend, Elizabeth agrees to teach a writing course at a small college. She expects to find a sleepy town with a long history, but instead she finds herself dealing a violently jealous wife and the past mistakes she is only beginning to remember. Arriving in town, she finds it uncomfortably familiar. As the controlling President of the college, Judy Olson, shows her around, Elizabeth begins to realize that she has made a mistake and begins looking for excuses to leave. After meeting the famous historian, Michael Scott and his irrational wife, Shane, Elizabeth finds the past becoming more real than the present as the death of a small boy decades earlier reignites an old treachery, which could destroy the entire town. When love leads to vengeance, it is best to say good-bye.
Eye of Ra is an occult horror film that is based on Egyptian mythology. When Isis stole power from Ra, she initiated a guardian who not only had the strength to be the focal point for this great power, but who also had the ability to protect its secrets from those who would abuse them. Jealous of her grandmother and daughters’ spiritual gifts, Sandra takes her youngest daughter, Rikki and disappears. Seeking power, she searches the world for the Eye of Ra; when she finds it, it is Rikki not her that the Guardian chooses. Enraged, Sandra makes a pact with the Dark Ones; if they help her destroy her own daughter, she will use the Eye in their name. Sandra attacks in the middle of the initiation ceremony. The Priestess is killed before it can be completed. Barely escaping with her life, Rikki returns to the small town of her birth. Her physical wounds have healed, but the guilt and self-doubt keeps her from seeing the truth of her life. Sandra follows Rikki to finish what she started, bringing the evil of the Dark Ones with her, and a small northern Michigan town learns the black secret that had been buried among them for generations.
Novels
Awakening the Dragon -- Book One of the Dragon Clan Trilogy--Rachael moves to Coyote Springs to find a home and open her bookstore. Instead, she becomes the catalyst in exposing a murder and the target of a violent cult. She is forced to awaken her dragon spirit prematurely to save herself and all the ones she loves. Will she be able to control the power of the dragon as it rises giving her the power to save all she loves or will the flames from within destroy her?
Dragon Domain -- Book Two of the Dragon Clan Trilogy--Cheyenne and Celeste came to Coyote Springs to save a child; instead, Cheyenne found a home. With the help of their new friend, Jane, they created a spiritual sanctuary. But when Celeste stopped running, her past caught up with her. Dominic arrived with promises of love and passion. Instead of love, he reawakened Celeste’s dark side, turning her against those she loved the most. With the aid of the dragons, Cheyenne was barely able to ward off their first attack. With each soul they bound to them, Celeste and Dominic’s greed and hatred grew until they would not settle for less than totally destroying Cheyenne and all she loves. How do you protect yourself from someone who knows how to steal your soul?
Nict For Ure Selfe (Not for Ourselves)--A paranormal suspense novelette that ties the present with the past as karma awakens an old blood feud. Alyssa attends a local Pagan festival, only to become the target of the local deputy's bigotry and hatred. Unable to understand why she was singled out, she performs a ritual asking Bridget for her help. Instead of gaining wisdom, her spirit is transported back to a time before the Celtic Goddesses and Gods gave way to the Christos and when clan traditions could mean life or death. It will be paired with the novelette, Sisters of Avalon when it is completed.
Days of Our Lives
I had been a fan of Days of Our Lives for three decades: when the writing became unbearable, I started writing alternative storylines for the show and posting them on the NBC boards. What started as a protest, turned into a long term project as fans told me that they liked what they were reading better than what they were seeing on the screen. Not only was I able to remain true to the characters and the show’s history, but I also ended each posting with a cliffhanger.
The link to the thread on the NBC board and later my blog has been shared with people around the world. Not only did they encourage me to keep the ghost story going until the end, but they also gave me the courage to apply for the head writing gig. I was able to find the unlisted phone numbers to on executive producers home and the private office number to the other. Unfortunately, I used an outdated format so they didn’t take me seriously. In addition to the ghost story, I wrote to other partial storylines to prove that I could write other plots besides than paranormal. All three storylines are listed on my site at www.theresachaze.com.
Current projects
Operation Home Base is a nationwide non profit organization with local chapters that gives support to military families, veterans, wounded warriors, and active duty military personnel by working with existing programs and organizations. This project has been submitted to Donald Bellisario for consideration as a spin off to NCIS.
Avalon Sisterhood--Alyssa astral travels to the past to a small island off the coast Britannia to a time when she and her sister priestesses made an agreement with the Earth Mother. Their souls were scattered on the wind; they were to learn the needs and wants from all the cultures of the world, so that when Prophecy is fulfilled, they would be ready to support the transition into the new era. An agreement was made with a small group of Templar Knights. In exchange for safe haven on their Sisterhood’s isle, they would make a soul oath to protect the sisters throughout their karmic travels as well as keep safe their treasures and heritage. As the time of the Prophecy draws near, the sisters awaken only to find the heirs to the knights have claimed the Avalon Sisterhood’s power and wealth as their own. One sister has already been murdered. The rest have become targets as they race to claim what is theirs in time for the cosmic transition.
Graduating from Michigan State University with Bachelor of Arts degrees in English and Video Production with a minor in Theatre, I have worked as a writer, director, producer and all around tech. Recently, I started my own digital production service for authors, publishers and public relations firms. I write, produce, and distribute book videos, which are also called book trailers.
Saturday, March 21, 2009
Days of Our Lives 3-21-09
Okay, I just finished the ghost story. There will be the final posting with the special event then I'm done unless I am hired as head writer. I have many more stories to share and adventures to send the characters on. I loved doing it and I'm grateful that you enjoyed reading it. Again the posting is at http://elfmagic.blogspot.com
I will be editing what I have into episodes and submitting them to the other soaps. There has to be one of them out there who still wants a writer who can create suspense, drama, romance and comedy, not just soft porn for teens and tweens.
I will be editing what I have into episodes and submitting them to the other soaps. There has to be one of them out there who still wants a writer who can create suspense, drama, romance and comedy, not just soft porn for teens and tweens.
Friday, February 27, 2009
GE Stock Prices: Jeffrey Immelt and Stock Holders
Today your stock lost value as did your corporation. Part of it is due to the general financial challenge that the country is working through; however, how much can be contributed to bad policy decisions? You have many good products and services available, yet your stock’s value continues to decline. Part of your issues is that not all of your divisions are working up to their full potential. NBC, under Jeffrey Zucker’s leadership, has declined as it has failed to take into account the changing viewing demographics as well as the deterioration in quality of the programming, thereby decreasing its profitability.
NBC used to be the front running not only in news, but programming that was unique and popular. It was know for the highest quality. Yet that has changed. The shows of the past have with stood the test of time. Decades later, they are still being aired in reruns on other networks and on independent stations. Their popularity was based in the quality of the show and the diversity of their appeal. However, the NBC network is no longer a synonym for quality programming. Instead, it has become known for cheap shows that appeal to the lowest common denominator and those under 20.
During the late 1950’s through the 1960’s, teens and tweens were the most important demographic; they were ones who were the motivating force in bringing television into the homes of most families. However, over the decades that has radically changed, but the marketing model of networks has not been adjusted to account to take into account the shift in median age.
According to the CDC report published in 2005, the average American life expectancy is 78 as compared to 69 in 1955. As of May 15, 2001, the US Census Bureau reported that the new median age of the US population is 35.3, bringing it to an all time high. While the 18-34 age group declined 4%, the 35-64 year old age group rose 28 %. However, the most dramatic increase was in the 45-54 age group, which increased by 49 %.
July, 2000 36.6
July, 2001 36.8
July, 2002 37.1
July, 2003 37.2
July, 2004 37.4
July, 2005 37.6
July, 2007 37.7
July, 2008 37.9
Born from 1946-1964, the baby boomer generation was the first TV generation. Most don’t remember a time when there wasn’t at least one television in the home. They also remember only having two or three stations to choose from. Television was that generation’s new toy, just blackberries and cell phones are the current generation‘s.
Age group Hour per month
Viewing TV
2-11 106:37
12-17 103:48
18-24 118:28
25-34 142:29
35-44 147:21
45-54 173:00
55-64 190:40
65+ 207:29
According to Nielsen, no longer are teens and tween the primary television demographic; the 12-34 age group have been replaced by the 35 and over as the dominate viewing classification. Yet, NBC under Jeffrey Zucker’s leadership continues to program for a declining demographic, while ignoring a market base that is not only expanding in numbers, but also in financial stability. Baby boomers have started reaching retirement age, giving them more time for viewing as well as more stable incomes. Yet instead of scheduling programs that appeal the older age group, NBC promotes shows based on cost and youth appeal.
Nielsen ratings, Feb. 12-18
Rank Show title Network Viewers in millions
1.
American Idol (Tues) Fox 31.2
2.
American Idol (Wed) Fox 28.9
3.
House Fox 26.0
4.
Grey's Anatomy ABC 25.8
5.
CSI CBS 22.7
6.
CSI: Miami CBS 19.9
7.
Desperate Housewives ABC 18.5
8.
Survivor: Fiji CBS 16.1
8.
Deal or No Deal NBC 16.1
10.
Two and a Half Men CBS 15.5
11.
NCIS CBS 15.4
12.
Criminal Minds CBS 15.2
13.
Shark CBS 15.1
14.
CSI: NY CBS 14.8
15.
Heroes NBC 14.7
16.
Extreme Makeover:
Home Edition ABC 14.2
17.
24 Fox 13.7
17.
Ugly Betty ABC 13.7
19.
Rules of Engagement CBS 13.4
20.
N/A Fox 13.1
Choosing to fill its schedule with cheap reality shows, remakes of older shows, and youth based programming, while relegating the professionally produced programs to mid-season replacements, NBC continues to find itself in the bottom of the ratings. In addition, shows with loyal fan bases, such as The Tonight Show with Jay Leno, Saturday Night Live and Days of our Lives have been revamp to appeal the to younger demographic, while slashing their production budgets. The ratings prove that the current management is out of touch with the needs and desires of the viewers. Dumbed down programming and reality shows may appeal sponsors who sell to teens and tweens such as CDs, DVDs and video games, but quality programs that are professional produced appeal to those who control household budgets. Zucker doesn’t seem to realize that no matter how inexpensive a show costs, it is a waste of air time if no one is watching.
The bottom line is that viewers attract sponsors. Zucker’s programming has driving viewers to other networks, taking with them the sponsors and the profits they represent. Profits increase the value of stocks and bring in larger dividends. The stock holders need to ask themselves if they like the 6.5% devaluation of GE stock and the cut in its annual dividend? If the answer is no, wouldn’t it be a good time to rethink management personal?
NBC used to be the front running not only in news, but programming that was unique and popular. It was know for the highest quality. Yet that has changed. The shows of the past have with stood the test of time. Decades later, they are still being aired in reruns on other networks and on independent stations. Their popularity was based in the quality of the show and the diversity of their appeal. However, the NBC network is no longer a synonym for quality programming. Instead, it has become known for cheap shows that appeal to the lowest common denominator and those under 20.
During the late 1950’s through the 1960’s, teens and tweens were the most important demographic; they were ones who were the motivating force in bringing television into the homes of most families. However, over the decades that has radically changed, but the marketing model of networks has not been adjusted to account to take into account the shift in median age.
According to the CDC report published in 2005, the average American life expectancy is 78 as compared to 69 in 1955. As of May 15, 2001, the US Census Bureau reported that the new median age of the US population is 35.3, bringing it to an all time high. While the 18-34 age group declined 4%, the 35-64 year old age group rose 28 %. However, the most dramatic increase was in the 45-54 age group, which increased by 49 %.
July, 2000 36.6
July, 2001 36.8
July, 2002 37.1
July, 2003 37.2
July, 2004 37.4
July, 2005 37.6
July, 2007 37.7
July, 2008 37.9
Born from 1946-1964, the baby boomer generation was the first TV generation. Most don’t remember a time when there wasn’t at least one television in the home. They also remember only having two or three stations to choose from. Television was that generation’s new toy, just blackberries and cell phones are the current generation‘s.
Age group Hour per month
Viewing TV
2-11 106:37
12-17 103:48
18-24 118:28
25-34 142:29
35-44 147:21
45-54 173:00
55-64 190:40
65+ 207:29
According to Nielsen, no longer are teens and tween the primary television demographic; the 12-34 age group have been replaced by the 35 and over as the dominate viewing classification. Yet, NBC under Jeffrey Zucker’s leadership continues to program for a declining demographic, while ignoring a market base that is not only expanding in numbers, but also in financial stability. Baby boomers have started reaching retirement age, giving them more time for viewing as well as more stable incomes. Yet instead of scheduling programs that appeal the older age group, NBC promotes shows based on cost and youth appeal.
Nielsen ratings, Feb. 12-18
Rank Show title Network Viewers in millions
1.
American Idol (Tues) Fox 31.2
2.
American Idol (Wed) Fox 28.9
3.
House Fox 26.0
4.
Grey's Anatomy ABC 25.8
5.
CSI CBS 22.7
6.
CSI: Miami CBS 19.9
7.
Desperate Housewives ABC 18.5
8.
Survivor: Fiji CBS 16.1
8.
Deal or No Deal NBC 16.1
10.
Two and a Half Men CBS 15.5
11.
NCIS CBS 15.4
12.
Criminal Minds CBS 15.2
13.
Shark CBS 15.1
14.
CSI: NY CBS 14.8
15.
Heroes NBC 14.7
16.
Extreme Makeover:
Home Edition ABC 14.2
17.
24 Fox 13.7
17.
Ugly Betty ABC 13.7
19.
Rules of Engagement CBS 13.4
20.
N/A Fox 13.1
Choosing to fill its schedule with cheap reality shows, remakes of older shows, and youth based programming, while relegating the professionally produced programs to mid-season replacements, NBC continues to find itself in the bottom of the ratings. In addition, shows with loyal fan bases, such as The Tonight Show with Jay Leno, Saturday Night Live and Days of our Lives have been revamp to appeal the to younger demographic, while slashing their production budgets. The ratings prove that the current management is out of touch with the needs and desires of the viewers. Dumbed down programming and reality shows may appeal sponsors who sell to teens and tweens such as CDs, DVDs and video games, but quality programs that are professional produced appeal to those who control household budgets. Zucker doesn’t seem to realize that no matter how inexpensive a show costs, it is a waste of air time if no one is watching.
The bottom line is that viewers attract sponsors. Zucker’s programming has driving viewers to other networks, taking with them the sponsors and the profits they represent. Profits increase the value of stocks and bring in larger dividends. The stock holders need to ask themselves if they like the 6.5% devaluation of GE stock and the cut in its annual dividend? If the answer is no, wouldn’t it be a good time to rethink management personal?
Monday, February 09, 2009
Days of Our lives: A Gift for the Fans of the Vets
Days of Our lives: A Gift for the Fans of the Vets
This is a gift for the fans of the vets. It takes place in the future after the ghost story has ended so don't trying to match anything up with it. It is strictly to prove that a creative writer can write for the vets. These scenes would be drawn out more. Please keep this in mind when you read "The Gift"
To read the beginning of this storyline please go to http://elfmagic.blogspot.com/
This is a gift for the fans of the vets. It takes place in the future after the ghost story has ended so don't trying to match anything up with it. It is strictly to prove that a creative writer can write for the vets. These scenes would be drawn out more. Please keep this in mind when you read "The Gift"
To read the beginning of this storyline please go to http://elfmagic.blogspot.com/
Saturday, January 31, 2009
Soap Opera Fans: Speak out to Save the Genre by Boycotting NBC
Soap Opera Fans: Speak out to Save the Genre by Boycotting NBC
By
Theresa Chaze
Like so many industries, television is financially top heavy with over paid executives, who suck up the profits while giving little or nothing back. The banking industry is a prime example of how those create nothing take the lion share of the profits, while those who do produce are asked to make financial sacrifices. Instead of taking across the board pay cuts, the television executives have decided to cut the quality and the diversity of their programming. By choosing amateur based “reality” shows over, those produced by talented and creative professionals, they under cut the unions, while disregarding the viewers.
In television, this can be best seen in the rapid movement toward the cheaper talk and reality shows. Using their declining revenue as an excuse, the networks are cutting production values of shows produced by professional casts and crews until such time as they are more financially secure. It is the equivalent of Taco Bell taking tacos off their menu until they sell enough burritos to make it cost effective to sell tacos again. Replacing quality product with cheaper doesn’t increase customer-viewer satisfaction; it forces them to seek other venues of satisfaction. As in all industries, the customer is always right or they become someone else’s customer.
Soap operas have been the hardest hit, not because they have lost popularity, but simply the modern family needs two incomes to survive. Originally targeting the stay at home mothers, the soaps focused on advertisers that appealed the needs of women, hence the name soap opera. However, one would only have to look at the highly profitable industries attached to soaps to learn just how loyal the fan bases are. The conventions, interview requests, and the multitude of websites are only a small example of industries, which have spun off the genre. Fans spend millions of dollars each year supporting hotels, conventions centers, and other fan events just to meet the soap opera stars.
As more women joined the work force, the popularity of soaps seemed decline. However it is the out dated ratings system failed to compensate for modern technology. Only those who watch the show live are counted by Nielsen Media Research. The system disregards any viewer who records and watches a show later. Instead of adjusting the viewer measuring system, the executives are using it as an excuse to cut the salaries of popular actors and creative technical people. They claim poverty while doing the equivalent of Merrill Lynch spending a million dollars to redecorate an office and giving out bonuses early. Instead of finding more efficient methods of accumulating viewer data, they are choosing to use it as an excuse to cancel soaps.
What started at Days of Our Lives has already begun to spread to the other soaps. The bad writing, the firing of major stars, while replacing them with talent-less younger actors, and the cutting production values is what is costing the shows viewers not the lack of interest. Loyal viewers are turning the channel not because they don’t love their show, but because they don’t recognize it any more.
It is time for soap fan to send a clear message to the networks. As in the movie, Network--it is time to stand up and say--”We are as mad as hell and we aren’t going to take it anymore!” The across the board boycotting of NBC for it’s systematic canceling the daytime soaps on it’s network will not only sent a clear message to them, but the other networks who might contemplating the same course of action. The only way to get their attention is to make them bleed in the wallet. Sending letters, emails and making phone calls no longer makes a difference; hit them at their bottom line and you start speaking their language. The power to control is seen on the television comes from the viewers' remotes, not the executives' office. It is time to for the fans to take their power back and demand that the soap opera genre be saved.
By
Theresa Chaze
Like so many industries, television is financially top heavy with over paid executives, who suck up the profits while giving little or nothing back. The banking industry is a prime example of how those create nothing take the lion share of the profits, while those who do produce are asked to make financial sacrifices. Instead of taking across the board pay cuts, the television executives have decided to cut the quality and the diversity of their programming. By choosing amateur based “reality” shows over, those produced by talented and creative professionals, they under cut the unions, while disregarding the viewers.
In television, this can be best seen in the rapid movement toward the cheaper talk and reality shows. Using their declining revenue as an excuse, the networks are cutting production values of shows produced by professional casts and crews until such time as they are more financially secure. It is the equivalent of Taco Bell taking tacos off their menu until they sell enough burritos to make it cost effective to sell tacos again. Replacing quality product with cheaper doesn’t increase customer-viewer satisfaction; it forces them to seek other venues of satisfaction. As in all industries, the customer is always right or they become someone else’s customer.
Soap operas have been the hardest hit, not because they have lost popularity, but simply the modern family needs two incomes to survive. Originally targeting the stay at home mothers, the soaps focused on advertisers that appealed the needs of women, hence the name soap opera. However, one would only have to look at the highly profitable industries attached to soaps to learn just how loyal the fan bases are. The conventions, interview requests, and the multitude of websites are only a small example of industries, which have spun off the genre. Fans spend millions of dollars each year supporting hotels, conventions centers, and other fan events just to meet the soap opera stars.
As more women joined the work force, the popularity of soaps seemed decline. However it is the out dated ratings system failed to compensate for modern technology. Only those who watch the show live are counted by Nielsen Media Research. The system disregards any viewer who records and watches a show later. Instead of adjusting the viewer measuring system, the executives are using it as an excuse to cut the salaries of popular actors and creative technical people. They claim poverty while doing the equivalent of Merrill Lynch spending a million dollars to redecorate an office and giving out bonuses early. Instead of finding more efficient methods of accumulating viewer data, they are choosing to use it as an excuse to cancel soaps.
What started at Days of Our Lives has already begun to spread to the other soaps. The bad writing, the firing of major stars, while replacing them with talent-less younger actors, and the cutting production values is what is costing the shows viewers not the lack of interest. Loyal viewers are turning the channel not because they don’t love their show, but because they don’t recognize it any more.
It is time for soap fan to send a clear message to the networks. As in the movie, Network--it is time to stand up and say--”We are as mad as hell and we aren’t going to take it anymore!” The across the board boycotting of NBC for it’s systematic canceling the daytime soaps on it’s network will not only sent a clear message to them, but the other networks who might contemplating the same course of action. The only way to get their attention is to make them bleed in the wallet. Sending letters, emails and making phone calls no longer makes a difference; hit them at their bottom line and you start speaking their language. The power to control is seen on the television comes from the viewers' remotes, not the executives' office. It is time to for the fans to take their power back and demand that the soap opera genre be saved.
Friday, January 30, 2009
Paranormal Romance Film Seeks Producer
Written by Theresa Chaze, Never Can Say Good-bye is a paranormal romance that connects the present with the logging industry of the 1900. To help a friend, Elizabeth agrees to teach a writing course at a small college. She expects to find a sleepy town with a long history, but instead she finds herself dealing with violently jealous wife and the past mistakes she is only beginning to remember. Arriving in town, she finds it uncomfortably familiar. As the controlling President of the college, Judy Olson, shows her around, Elizabeth begins to realize that she has made a mistake and begins looking for excuses to leave. After meeting the famous historian, Michael Scott and his irrational wife, Shane, Elizabeth finds the past becoming more real than the present as the death of a small boy decades earlier reignites an old treachery, which could destroy the entire town. When love leads to vengeance, it is best to say good-bye.
Won the 2006 International Gloria Film Festival
To read an except go to: http://www.theresachaze.com/files/NeverSayexcerpt.pdf
Friday, January 23, 2009
Jeffrey Immelt, Jeffrey Zucker, Michael Lynton, Ken Corday
Ken Corday
Gary Tomlin
Dena Higley
Corday Productions
818-840-4968
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
212-664-4085
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
(310) 244-2626
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. When it comes to film and television, every project is a collaborative effort.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success
Betty Corday and Irna Philips created a show that was based on romance, suspense, drama and comedy. They valued the creative effort of both the cast and crew. Betty's motto, "Don't lie to the fans; Respect your talent" was one of the main pillars that made Days an icon in television history, as was Irna's steadfast determination to create the best show possible. These two women created a genre by not accepting less than the best; they bucked the system and convinced the networks to see it their way. Not only were they were able to invent a financially profitable product that lasted for decades, but they also did so in such away that the fans stayed loyal from generation to generation.
In the past two years, you have managed to destroy everything they created. You have turned Days into nothing more than soft porn. The fans didn't just leave; you drove them away with the endless triangles, lack of real story telling, and the gutting of the established characters. Instead of focusing on the veteran actors and established characters, you created new characters that were poor written. Most high school plays are not only better produced, but also have higher quality of talent than the new actors you have brought in. Let's face it your writing staff couldn't write themselves out of wet paper bag with Freddy Krueger's help.
Like most soap fans, I started watching because of my mother and grandmother. When Dark Shadows was cancelled, she switched to Days and Another World. Even when I worked at an ABC affiliate, I would record and watch both shows. When NBC cancelled Another World, I stopped watching NBC except for Days. The firing of Dee and Drake was the last straw. Not only am I done with Days, but NBC as well. The only demographics the show still appeals to are teeny-boppers and high school drop outs that have pie in the eye dreams of marrying a millionaire even though they can’t put a coherent simple sentence together. Neither of which has the buying power to sustain or attract a profitable commercial sponsorship. You have tossed away viewers who have been loyal for decades in favor of those who are insistent and unreliable as their whims change from moment to moment--fad to fad.
When Days is cancelled in a couple of months, I will take comfort in the fact that Corday, Tomlin and Higley will be forever be remembered for the destruction of a beloved icon. Only a total moron would hired them after the hack job they did on a viable profit show.
Gary Tomlin
Dena Higley
Corday Productions
818-840-4968
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
212-664-4085
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
(310) 244-2626
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. When it comes to film and television, every project is a collaborative effort.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success
Betty Corday and Irna Philips created a show that was based on romance, suspense, drama and comedy. They valued the creative effort of both the cast and crew. Betty's motto, "Don't lie to the fans; Respect your talent" was one of the main pillars that made Days an icon in television history, as was Irna's steadfast determination to create the best show possible. These two women created a genre by not accepting less than the best; they bucked the system and convinced the networks to see it their way. Not only were they were able to invent a financially profitable product that lasted for decades, but they also did so in such away that the fans stayed loyal from generation to generation.
In the past two years, you have managed to destroy everything they created. You have turned Days into nothing more than soft porn. The fans didn't just leave; you drove them away with the endless triangles, lack of real story telling, and the gutting of the established characters. Instead of focusing on the veteran actors and established characters, you created new characters that were poor written. Most high school plays are not only better produced, but also have higher quality of talent than the new actors you have brought in. Let's face it your writing staff couldn't write themselves out of wet paper bag with Freddy Krueger's help.
Like most soap fans, I started watching because of my mother and grandmother. When Dark Shadows was cancelled, she switched to Days and Another World. Even when I worked at an ABC affiliate, I would record and watch both shows. When NBC cancelled Another World, I stopped watching NBC except for Days. The firing of Dee and Drake was the last straw. Not only am I done with Days, but NBC as well. The only demographics the show still appeals to are teeny-boppers and high school drop outs that have pie in the eye dreams of marrying a millionaire even though they can’t put a coherent simple sentence together. Neither of which has the buying power to sustain or attract a profitable commercial sponsorship. You have tossed away viewers who have been loyal for decades in favor of those who are insistent and unreliable as their whims change from moment to moment--fad to fad.
When Days is cancelled in a couple of months, I will take comfort in the fact that Corday, Tomlin and Higley will be forever be remembered for the destruction of a beloved icon. Only a total moron would hired them after the hack job they did on a viable profit show.
Monday, January 12, 2009
Reality TV: Maximize Profits With Discount Entertainment
Reality TV: Maximize Profits With Discount Entertainment
In the entertainment industry, it can truly be said that everything old is new again. From the beginning of the film industry to the current contract negotiations, studio executives have attempted to keep the lion share of the profits, while denying the necessity or importance of the skilled workers and talent that make the industry possible. The movement towards reality shows is just latest in the long line of attempts to devalue industry professionals in order to keep salaries and benefits low.
The American film industry was created by pioneers who weren't thinking about changing the world, but how to make a quick buck. Nickelodeon owners quickly learned that the true money was to be made by producing films instead of just showing them. The ruthless competition between the studios eventually led to the top nine forming the Motion Pictures Patient Company, which signed an exclusive contract for the film stock produce by the George Eastman factory. The contract created a monopoly that not only controlled who could produce films, but also which films could be made and where the films could be shown. Anyone failing to meet the Trust, as the Motion Picture Patient Company came to be known, was either excluded from the industry or found themselves to be the target of violent attacks.
The strangle hold the Trust held on the business cascaded throughout the industry. Independent film producers were denied access to film stock made in the United States. Although they could buy stock from other countries, they also had additional difficulties with processing the film. In addition, the Trust was known to use strong arm tactics to shut down offices and destroy sets. In spite of public interest, on-screen talent was considered easily replaceable by the studios and was listed only by their character name in the credits. By limiting the information, studios prevented the actors from building a fan base that would give her or him financial or creative leverage. Distributors were required not only pay a fee to distribute Trust films, but they were also limited to showing only films produced by the Trust studios. To do other would bring down the Trust’s wrath. Not only would films be withheld, but their Nickelodeon would be subject to the same violence as the filmmakers. Between the anti-trust court battles and the influx of foreign film stock, the Motion Picture Patents Company was busted in 1917, clearing the way not only for independent film makers but for the actors and production staff to start receiving their due.
The independents were not only more willing to take risks on subject matter, but they saw the profit in creating a star system. They realized that in the short run it would cost more in salaries, but in the long run the profits would be much greater. Signing actors to exclusive contracts insured that their fan base would also stay loyal to the studio. Although the stars gained in notoriety, they lost independence. Morality clauses in the contracts gave the studio executive a great deal of control over their private as well as professional lives. Bound by contracts, actors were assigned roles based availability instead of desire to play the role or compatibility for the part. Contract actors received a weekly paycheck whether or not they worked; therefore, the studios used them as frequently as possible, even if the connection between role and actor had to be forced.
When the Supreme Court ruled that the ownership of theaters and film distribution was a violation of the Sherman Antitrust Act, the studio contracts was brought to an end. Having to compete for theatrical screens forced the studios to limit the number of movies they released a year and increase the quality of the productions. Instead, cast and crew were hired for individual projects. No longer held by the rigid contract system, actors, directors, producers and the technical crew were able to not only chose projects, but also negotiate the terms of their contracts. Whether on-screen or behind the scenes, the more popular the talent, the more control she or he has in determining the terms of the agreement.
In response to the increasing competition of networks and entertainment venues, the networks have created cheaper ‘reality” shows that do not focus on professional talent, storylines or staging. Although reality shows have been around since radio, it wasn’t until the 2000s that they became highly prolific. The shows feature ordinary people in situations that have little to do with reality; instead the shows have become a hybrid of games shows and dramas, as the participates compete against each other for prizes. Using exotic locations or sets, the audience becomes voyeurs as they are giving glimpses behind scenes. Even with million dollar prizes, these shows are cheaper to produce than those with skilled artisans.
The star system has come full circle as once again studio executives chose to use unknown players as a way of streamlining costs so that they may retain more of the profits. Instead of improving the quality of the shows to increase revenues, they chose to produce and promote entertainment shows of lower quality both in content and production values. By giving ordinary folk fifteen minutes of fame, the studios undermine the guilds and unions of the entertainment industry, thereby increasing the power of the studios to not only control but also manipulate the industry. The movement away from professional talent back to the nameless performers is a tactic taking straight from the Motion Pictures Patient Company’s hand book as they once again chose quantity over quality.
In the entertainment industry, it can truly be said that everything old is new again. From the beginning of the film industry to the current contract negotiations, studio executives have attempted to keep the lion share of the profits, while denying the necessity or importance of the skilled workers and talent that make the industry possible. The movement towards reality shows is just latest in the long line of attempts to devalue industry professionals in order to keep salaries and benefits low.
The American film industry was created by pioneers who weren't thinking about changing the world, but how to make a quick buck. Nickelodeon owners quickly learned that the true money was to be made by producing films instead of just showing them. The ruthless competition between the studios eventually led to the top nine forming the Motion Pictures Patient Company, which signed an exclusive contract for the film stock produce by the George Eastman factory. The contract created a monopoly that not only controlled who could produce films, but also which films could be made and where the films could be shown. Anyone failing to meet the Trust, as the Motion Picture Patient Company came to be known, was either excluded from the industry or found themselves to be the target of violent attacks.
The strangle hold the Trust held on the business cascaded throughout the industry. Independent film producers were denied access to film stock made in the United States. Although they could buy stock from other countries, they also had additional difficulties with processing the film. In addition, the Trust was known to use strong arm tactics to shut down offices and destroy sets. In spite of public interest, on-screen talent was considered easily replaceable by the studios and was listed only by their character name in the credits. By limiting the information, studios prevented the actors from building a fan base that would give her or him financial or creative leverage. Distributors were required not only pay a fee to distribute Trust films, but they were also limited to showing only films produced by the Trust studios. To do other would bring down the Trust’s wrath. Not only would films be withheld, but their Nickelodeon would be subject to the same violence as the filmmakers. Between the anti-trust court battles and the influx of foreign film stock, the Motion Picture Patents Company was busted in 1917, clearing the way not only for independent film makers but for the actors and production staff to start receiving their due.
The independents were not only more willing to take risks on subject matter, but they saw the profit in creating a star system. They realized that in the short run it would cost more in salaries, but in the long run the profits would be much greater. Signing actors to exclusive contracts insured that their fan base would also stay loyal to the studio. Although the stars gained in notoriety, they lost independence. Morality clauses in the contracts gave the studio executive a great deal of control over their private as well as professional lives. Bound by contracts, actors were assigned roles based availability instead of desire to play the role or compatibility for the part. Contract actors received a weekly paycheck whether or not they worked; therefore, the studios used them as frequently as possible, even if the connection between role and actor had to be forced.
When the Supreme Court ruled that the ownership of theaters and film distribution was a violation of the Sherman Antitrust Act, the studio contracts was brought to an end. Having to compete for theatrical screens forced the studios to limit the number of movies they released a year and increase the quality of the productions. Instead, cast and crew were hired for individual projects. No longer held by the rigid contract system, actors, directors, producers and the technical crew were able to not only chose projects, but also negotiate the terms of their contracts. Whether on-screen or behind the scenes, the more popular the talent, the more control she or he has in determining the terms of the agreement.
In response to the increasing competition of networks and entertainment venues, the networks have created cheaper ‘reality” shows that do not focus on professional talent, storylines or staging. Although reality shows have been around since radio, it wasn’t until the 2000s that they became highly prolific. The shows feature ordinary people in situations that have little to do with reality; instead the shows have become a hybrid of games shows and dramas, as the participates compete against each other for prizes. Using exotic locations or sets, the audience becomes voyeurs as they are giving glimpses behind scenes. Even with million dollar prizes, these shows are cheaper to produce than those with skilled artisans.
The star system has come full circle as once again studio executives chose to use unknown players as a way of streamlining costs so that they may retain more of the profits. Instead of improving the quality of the shows to increase revenues, they chose to produce and promote entertainment shows of lower quality both in content and production values. By giving ordinary folk fifteen minutes of fame, the studios undermine the guilds and unions of the entertainment industry, thereby increasing the power of the studios to not only control but also manipulate the industry. The movement away from professional talent back to the nameless performers is a tactic taking straight from the Motion Pictures Patient Company’s hand book as they once again chose quantity over quality.
Friday, January 02, 2009
Days of Our Lives 12-30-08
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
I have made a few changes. Recently I learned that that format I was using was out dated, which is why I wasn't taken seriously. It seems the industry is more concerned with what a project looks like, instead of the content.
Yesterday, I downloaded Cinergy Script Editor. I will be using it from now on, so the script will be in proper format. However, the free version doesn't have all the features, one of them being spell check so there may be errors. Normally, I don't post first drafts of projects.
I wish I would have known about the program earlier. The program makes the process so much easier. If I didn't have so many other projects, I would reformat the previous posts, but it's not a simple cut and past and I have other projects that need my attention.
As I have promised I will finish the ghost story, but there is no guarantee that I will keep it going.
Most current is at http://www.geocities.com/tirgana/days12-30-08.pdf
This is what I previously posted on the NBC Days boards
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
The last entries aren't in the proper format.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
I have made a few changes. Recently I learned that that format I was using was out dated, which is why I wasn't taken seriously. It seems the industry is more concerned with what a project looks like, instead of the content.
Yesterday, I downloaded Cinergy Script Editor. I will be using it from now on, so the script will be in proper format. However, the free version doesn't have all the features, one of them being spell check so there may be errors. Normally, I don't post first drafts of projects.
I wish I would have known about the program earlier. The program makes the process so much easier. If I didn't have so many other projects, I would reformat the previous posts, but it's not a simple cut and past and I have other projects that need my attention.
As I have promised I will finish the ghost story, but there is no guarantee that I will keep it going.
Most current is at http://www.geocities.com/tirgana/days12-30-08.pdf
This is what I previously posted on the NBC Days boards
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
The last entries aren't in the proper format.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
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