Showing posts with label Jeffrey Zucker. Show all posts
Showing posts with label Jeffrey Zucker. Show all posts
Friday, June 05, 2009
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 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.
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