We all know Warner Brothers as one of the major film studios that has produced thousands of pictures including Argo, The Dark Knight trilogy and the Harry Potter series. But, Warner Brothers has many subsidiary companies involved in television, interactive entertainment, animation, home video and music. Now known as Time Warner, Warner Brothers Entertainment Inc. was once an independent and thriving production company started by four brothers named, you guessed it, Warner. So, how did four brothers from Pittsburgh break into the movie business in Hollywood and later become a major force in television with The WB and the CW television networks? Let’s find out.

The Warner brothers were actually four in number; Harry, Albert, Sam, and Jack. Their real name was Wonskolaser, changed to Warner after the family immigrated to North America from Poland following the take-over by Russia of their home region. Sometime around the turn of the 20th century, the three older brothers (Jack was the youngest) got their hands on a movie projector and traveled around the mining towns of Pennsylvania and Ohio, showing films to the miners. One of the first pictures they showed was The Great Train Robbery, the first motion picture to tell a definite story.

With the profits from their traveling movie show, in 1907 they converted a small store into a nickelodeon movie house in New Castle, Pennsylvania which they named the Cascade Theatre. The brothers did everything; sold the tickets, ran the hand-crank projector, and even got their sister, Rose, to play piano and sing songs during the intermissions. Within a year, the Warner brothers had opened two more theaters in New Castle. In a short amount of time they had acquired about 200 different film titles and began to distribute films around the Ohio River Valley under their newly formed company, the Duquesne Film Exchange. As business grew, they expanded their distribution network to include Norfolk, Virginia and Atlanta, Georgia.

Not satisfied just to show movies, or even distribute them, Harry Warner (the oldest) decided to get the brothers into the movie making business; a bold move for immigrant brothers from Poland. He established a film production company, which he called Warner Features, and the brothers were off to Hollywood. Their first full-scale picture premiered in 1918, a film called My Four Years in Germany, which was based on the best-selling book by America’s German ambassador. The film grossed an amazing $1.5 million (around $30 million today).

Over the next decade, Warner Brothers expanded and established itself as a complete film company, showcasing both successful commercial and artistic properties. They produced F. Scott Fitzgerald’s The Beautiful and Damned, and hired Fitzgerald to adapt his novel for the screen. They also produced Beau Brummel, which starred the great stage actor John Barrymore. In 1924, they created the world’s first animal superstar, Rin Tin Tin, whose popularity would always bring money into the studio. They also hired the famous German director Ernst Lubitsch as head director, and his movies The Marriage Circle and Kiss Me Again brought critical acclaim to the studio.

Despite all of these successes, the Warners were still unable to be seen as equals to the other Hollywood powerhouse studios. That all changed when they produced The Jazz Singer. Released in 1927 and starring Al Jolson, The Jazz Singer was the first “talking picture” to be released to the public, and was an instant blockbuster, playing to standing-room-only crowds throughout the country. The Warners quickly followed up with the first “all-talking” movie and their first “talking” gangster film, The Lights of New York. By late 1928, all of the other studios were scrambling to get in on the sound craze, and the Warner Brothers were well out in front.

Warner Brother’s television story began in 1955 when the studio decided that they had to be in the new arena and debuted a show called Warner Bros. Presents; which featured a rotating series of shows based on three of the studio’s film successes, Kings Row, Casablanca and Cheyenne. The company expanded Cheyenne into a one hour TV show and began the era of television Westerns with such later hits as Maverick, Sugarfoot, Bronco, Colt .45, and Lawman. By the 1960’s Warner Brothers television began producing a series of popular private detective shows beginning with 77 Sunset Strip, followed by Hawaiian Eye, Bourbon Street Beat and Surfside Six.

By the 1970’s, Warner Brothers created another innovative concept when they were at the fore-front of a new genre of television programming–the mini-series. The studio produced some of television’s most-watched and most-honored productions, including Roots, The Thorn Birds, North & South and Alex Haley’s Queen. In the late 1980’s, Warner acquired entertainment powerhouse Lorimar Studios, a highly regarded production company that had created such Emmy Award-winning series as The Waltons and Dallas, as well as a number of other noteworthy series, including Knots Landing, Falcon Crest; Eight is Enough, Full House, and Family Matters. The new consolidated network went on to produce such giant hits as ER, Friends and The Drew Carey Show.

The 1990s were critical for the Studio, starting with the 1990 merger of Warner Communications, Inc. and Time Inc. to form Time Warner, Inc., one of the world’s largest communications and entertainment companies. In 1995, Time Warner launched The WB Network, finding a niche market in teenagers. The WB’s early programming included an abundance of teenage fare like Buffy the Vampire Slayer, Smallville, Dawson’s Creek, and One Tree Hill. The WB also helped launched the careers of such writer/producers as Joss Whedon, who was able to get Buffy on the air because the fledgling WB network was eager for innovative programming.

Two dramas produced by Spelling Television, 7th Heaven and Charmed also helped bring The WB into the spotlight, with Charmed lasting eight seasons and “7th Heaven” surviving eleven seasons and being the longest running family drama and longest running show for The WB. In 2006, Warner and CBS Paramount Television decided to close The WB and CBS’s UPN and jointly launch The CW Television Network.

So, the company that began one hundred years ago became a dominant force in the production of movie megahits and first-run syndicated programming. Adding to the innovations that Warner brought to light was the early adoption of the internet as a promotional tool and outlet for original content, and they led the development and the launch of both DVD format and now Blu-ray. Pretty amazing accomplishments for four Polish immigrant brothers who started with a movie projector in Pittsburgh.

 

http://en.wikipedia.org/wiki/Warner_Bros.

http://www.warnerbros.com/

http://www.warnerbros.com/studio/about/company-history.html

 

Pittsburgh has a rich film history. Scores of films have been shot in the region, and now there’s a book that documents it all. John Tiech of Charleroi, Pa., has written “Pittsburgh Film History” – a project that developed over a decade of writing and research.

We spoke with Tiech to find out what makes filming in Pittsburgh an attractive proposition for filmmakers. Read our entire interview with Tiech below:

NSS: Is there a specific film that made you want to write the book?

JT: Two films actually. ‘The Silence of the Lambs’ and the 1990 remake of ’Night of the Living Dead.’

NSS: What is the strangest movie shot in Pittsburgh?

JT: I never thought about it. Most of the people I’ve interviewed talk about one of the dozens of indie horror movies made in Pittsburgh. So, I’ll just take their word for it.

NSS: What is your favorite Pittsburgh film location?

JT: It WAS the old (Morganza) Western Center Administration building in Canonsburg. Sadly, it’s gone now. It was such an iconic building. Gov. Rendell’s office gave me permission to photograph the building several years ago, and I was so grateful that they did. I was able to go inside the building and take pictures of Dr. Chilton’s office and a hallway Jodie Foster’s Clarice Starling traveled down. It’s very surreal to be on such an iconic movie set or location. Knowing that Anthony Heald and Jodie Foster made ‘Silence’ in the same room and hallway that I stood in is just mind blowing! Gary Streiner has been trying to save the Evans City Cemetery Chapel for a year or so now, and I respect the hell out of his efforts in trying to preserve a piece of Pittsburgh cinematic history. The best part of Gary’s efforts – he’s going to do it!

NSS: What is your favorite film set in Pittsburgh?

JT: If I had to choose one, I’d say ‘The Silence of the Lambs.’ I love ‘Creepshow’ and ‘The Dark Knight Rises,’ too.

NSS: What was the most surprising thing you learned while researching for your book?

JT: How much history there actually is [in Pittsburgh]. So many movies and television shows have been made in the Pittsburgh region. I never expected this during my initial research.

NSS: Who was your favorite person to interview?

JT: No real favorite. Every person I interviewed had something to offer. I talked to Tony Todd, Patricia Tallman, Russ Streiner, Bill Moseley, Tom Savini, and Chuck Aber to name a few. All of them are great people.

NSS: Did you get to meet any personal heroes?

JT: Anyone who contributed to this book is a hero to the Pittsburgh film community. Several people even contributed their personal set photos. They are my heroes for making this book what it is with their stories, information and pictures.

NSS: What (if anything) can you tell me about “Blood Sucking Pharaohs in Pittsburgh”?

JT: I have some cool stories in the book for ‘Pharaohs’ along with some good info.

NSS: What do you think is the biggest factor in Pittsburgh going from a town that hosted movies like “Sudden Death” and “Striking Distance” to blockbusters like “The Dark Knight Rises,” etc.?

JT: When they announced ‘The Dark Knight Rises’ coming to Pittsburgh and that they weren’t receiving any benefits from the film tax credit, it felt very nostalgic to me. Christopher Nolan came to Pittsburgh for our look and the film tools we had available. That is the same reason many of the filmmakers used to come to Pittsburgh, so it was cool seeing that again. ‘The Dark Knight Rises’ is arguably the biggest movie to come to Pittsburgh. It’s still fresh, so it’s still interesting to see what it will do for our film community. I’m not sure if we’ve felt the immediate effects or if we even know what those effects will be.

NSS: What makes Pittsburgh attractive to filmmakers?

JT: Right now, it’s our geography and appearance as well as our cheapness. We have every ‘look’ for filmmakers.

NSS: How did you find the lady who owned the farmhouse for the “Night of the Living Dead” remake?

JT: The farmhouse is right outside Washington, PA, in a little place called Buffalo, PA. I knew the production used the Upper Buffalo Presby Church for makeup and all that, so I got in touch with the church and received her contact information that way. She was very, very nice. The house is currently owned by a local English teacher.

NSS: What else can you tell me about your research surrounding Romero films?

JT: It was a lot of fun. Over the years, I interviewed all of these people who contributed to those films. They were very nice people. I used a few books that were also key to certain facts – Joe Kane’s ‘Night of the Living Dead’ book, John Russo’s ‘Night of the Living Dead’ film book and Paul Gagne’s Romero book.

NSS: What must Pittsburgh do to continue being a film draw/improve our draw?

JT: Continue to be cheaper. More money needs to be invested into the film tax credit — somewhere between $100 million to $150 million. Plain and simple, the film tax credit only generates revenue for the state; the state loses no money. Example: If a movie production comes to Pittsburgh and spends $10 million, they get taxed, which generates revenue for the state. If a movie production comes to Pittsburgh, spends $10 million and receives a tax break, then they save 25-percent and the state still receives revenue. It’s a win-win situation. The state’s income doesn’t factor in movie productions. Whenever a movie comes to Pittsburgh, the state makes money no matter what. If we didn’t have the film tax credit, the state would actually pay more for our film community to receive unemployment. During a time of such political discord in our country, Democrats and Republicans have agreed to keep the film tax credit in place.

John Tiech’s “Pittsburgh Film History” is published by The History Press and is available at Barnes & Noble and Amazon.com.

There are high-grossing movies (see Avatar at nearly $2.8 billion), then there are very profitable movies. Profitable movies are more appealing to studios because their budgets are low and their box-office receipts are high. Below are the most profitable movies of all time, according to CNBC.com.

 

15. “The Lord of the Rings: The Return of the King” (2003)

Return on investment: 1008%

Budget $111 million (inflation-adjusted)

Gross revenue $377 million

Peter Jackson’s three-part epic retelling of J. R. R. Tolkien’s novel of the same name was shot simultaneously – a risky proposition if the first film turned out to be a bust. Well, it wasn’t, and the New Zealand-shot “Lord of the Rings” franchise went on to gross $2.9 billion.

 

14. “Mrs. Doubtfire” (1993)

Return on investment: 1160%

Budget $38 million (inflation-adjusted)

Gross revenue $441 million

“Hellllloooooooooo!” profits. When three of your main characters are played by Mara Wilson, Lisa Jakub and Joey Lawrence’s brother Matthew, you are probably not breaking the bank with your budget. The movie’s cash-cow: a cross-dressing Robin Williams, and Twentieth Century Fox Film Corporation laughed all the way to the bank with this 1993 hit.

 

13. There’s Something About Mary (1998)

Return on investment: 1194%

Budget $31 million (inflation-adjusted)

Gross revenue $370 million

The Farrelly Brothers couldn’t miss in the mid- to late ‘90s. With movies like “Dumb & Dumber” and “Kingpin” already on their resume, the Farrellys were seasoned veterans at turning raunchy jokes into money-making machines. Apparently, you don’t need an “Avatar”-sized budget to make fart jokes hilarious.

 

12. The Hangover (2009)

Return on investment: 1297%

Budget $36 million (inflation-adjusted)

Gross revenue $467 million

Rolling the dice on a Vegas-based, bachelor party hedonism fest isn’t a too difficult decision to make if it will only cost you $36 million. And if it doesn’t gross $467 million, producers can always put the remaining budget on black.

 

11. Jaws (1975)

Return on investment: 1308%

Budget $36 million (inflation-adjusted)

Gross revenue $471 million

Making an entire generation of tube-sock-wearing teens afraid to step in the ocean, sea-set horror “Jaws” also made Universal some big bucks.

I think we’re going to need a bigger boat (to carry all these profits).

 

10. Ghost (1990)

Return on investment: 1446%

Budget: $35 million (inflation-adjusted)

Gross Revenue: $506 million

What’s sexier than Patrick Swayze being your dance partner at a recital for rich kids? Patrick Swayze as ghost, having the ability to appear out of nowhere and help you mold a nice ashtray. Boo! “Ghost” won two Oscars for Best Writing and Best Actress in a Supporting Role.

 

9. Home Alone (1990)

Return on investment: 1590%

Budget $30 million (inflation-adjusted)

Gross revenue $477 million

You thought Kevin McCallister’s dad was rich, flying an ungrateful Uncle Frank, a snarky Buzz and the rest of the McCallister clan to France for Christmas. Well that kind of glut can’t compare to the $477 million Twentieth Century Fox Film Corporation made on their $30-million investment.

 

8. The Passion of the Christ (2004)

Return on investment: 1749%

Budget: $35 million (inflation-adjusted)

Gross Revenue: $612 million

Mel Gibson’s ultraviolent saga that chronicled the death of Jesus Christ scored big with Christians and non-Christians alike. This controversial film drew a lot of media attention, and, in turn, a lot of revenue.

 

7. American Beauty (1999)

Return on investment: 1780%

Budget $20 million (inflation-adjusted)

Gross revenue $356 million

The beauty of a plastic bag floating in the air pales in comparison to cashing in on a 1780-percent ROI. This $20-million gem also earned five Academy Awards: Best Actor (Kevin Spacey); Best Cinematography (Conrad L. Hall); Best Director (Sam Mendes); Best Picture (Bruce Cohen, Dan Jinks) and Best Writing (Alan Ball).

 

6. Star Wars (1977)

Return on investment: 1938%

Budget $40 million (inflation-adjusted)

Gross Revenue: $775 million

Written and directed by a relatively unproven young buck named George Lucas, “Star Wars” turned a $40-million budget into $775 million in gross earnings. The “Star Wars” franchise is the third highest-earning franchise of all time behind only “James Bond” and “Harry Potter.”

 

 

 

5. Grease (1978)

Return on investment: 1975%

Budget $20 million (inflation-adjusted)

Gross revenue $394 million

“Good girl Sandy and greaser Danny fell in love over the summer. But when they unexpectedly discover they’re now in the same high school, will they be able to rekindle their romance?” Sound like a recipe for a million-dollar success? Probably not. But add a disco-dancing Travolta and a bubbly, appealing Olivia Newton-John dancing around in leather. Now you’re onto something.

 

4. Pretty Woman (1990)

Return on investment: 2013%

Budget $23 million (inflation-adjusted)

Gross revenue $463 million

“Pretty Woman” treated the masses to the pitch-perfect pairing of Richard Gere and Julia Roberts. They would meet again in 1999 in the slightly more wholesome “Runaway Bride.”

 

3. Slumdog Millionaire (2008)

Return on investment: 2520%

Budget $15 million (inflation-adjusted)

Gross revenue $378 million

A Mumbai teen, who grew up in the slums, becomes a contestant on the Indian version of “Who Wants To Be A Millionaire?” The result? A cast of millionaires, millions in profits for the studio and eight Oscars.

 

2. E.T. the Extra-Terrestrial (1982)

Return on investment: 3172%

Budget: $25 million (inflation-adjusted)

Gross Revenue: $793 million

After this blockbuster, if E.T. wanted to phone home, I’m sure the charges for his collect call would be accepted. E.T. won four Oscars, including Best Visual and Sound Effects, Best Music and Best Sound.

 

1. My Big Fat Greek Wedding (2002)

Return on investment: 6150%

Budget $6 million (inflation-adjusted)

Gross revenue $369 million

Not only does “My Big Fat Greek Wedding” hold the number-one spot for return on investment, it also holds the title for contributing the prefix “My Big Fat …” to a lot of TV shows, restaurants and newspaper headlines.

 

 

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Photo Sources: Helga Esteb / Shutterstock.com

Photo Sources: Featureflash / Shutterstock.com

The Wall Street Journal once reported on WebTV: “Zenith Electronics is planning a television set that will incorporate a microprocessor and modem, as well as technology developed by Diba Inc. that allows viewers to surf the Web via a remote control device.”  — May 10, 1996 Edition

WebTV never really caught on with consumers. The technology was ahead of its time. Without streaming video and television services prevalent at the time, WebTV was essentially an Internet browser for a TV, marketed to people who wanted the convenience of email without the inconvenience of buying a bulky desktop computer. My, how times have changed.

Forbes magazine reported in February that Internet-based TV is catching on with every viewing demographic and the trend shows no signs of slowing. “While people are still watching much more traditional TV than streaming video, our data shows we’re on a clear and irreversible course toward an IP-delivered future,” said Bismarck Lepe, co-founder and president of products for Ooyala.

The two frontrunners vying for the hearts and minds of today’s programming-hungry masses are Apple TV and Google TV.

At their cores, Apple TV and Google TV operate much like a smartphone – providing apps, so that customers can choose their viewing destiny. There are, however, subtle differences between the two services.

Both services require the customer to buy hardware that easily connects to a cable box (Google TV) or a television (Apple TV) through an HDMI cable. Apple TV hardware is made by Apple, while Google TV hardware (called the Buddy Box) is produced by a third-party (Sony and Vizio), and some newer TVs come with Google TV included.

Apple TV’s featured apps include Hulu Plus, Netflix and Vimeo apps, while also providing original programming from the Wall Street Journal and a limited amount of programming from the NBA, NHL and MLB networks (game recaps, not games). Google TV’s featured apps include HBO GO, Netflix, Amazon, Pandora and original programming from Crackle. While access to these apps is included, customers still must pay monthly for the actual services (Netflix, Hulu Plus, etc.). So while you have access to Netflix software, you still have to pay for the monthly service if you want the programming.

It’s a close race for which service is better. The technology is still too new with too few users for a clear victor to emerge. But as customers become more familiar with the benefits of these devices and more developers enter the market, it’s likely that Apple, Google or a player to be named later will dominate the Internet TV market.

 

Everyone thinks their boss is the worst in the world. Probably because we all wake up at a time we find to be too early, wear clothes we think are too uncomfortable and then answer to people who we think “make too much money.” TV has been capitalizing on the nuances of the American workplace politics for years and has produced some very memorable bosses.

David Brent (“The Office” U.K.) – British people have to work, too. A consummate professional at making employees feel awkward, David Brent (Ricky Gervais) of the original “The Office” is always looking to one-up employees, other executives or even a visiting consultant delivering a team-building exercise.

Best Quote: “What is the single most important thing for a company? Is it the building? Is it the stock? Is it the turnover? It’s the people, investment in people. My proudest moment here wasn’t when I increased profits by 17 percent or cut expenditure without losing a single member of staff. No. It was a young Greek guy, first job in the country, hardly spoke a word of English, but he came to me and he went ‘Mr. Brent, will you be the Godfather to my child?’ Didn’t happen in the end. We had to let him go, he was rubbish. He was rubbish.”

 _____________________________

Michael Scott (“The Office” U.S.) – Attention seeking, approval needing and self-proclaimed office funny man, Michael Scott is the American employee’s worst nightmare and we can’t mention David Brent without mentioning Mr. Brent’s kinda-sorta U.S version. Whether he is calling an unnecessary meeting, inadvertently sexually harassing or violating racial interaction standards, Scott finds a way to make “Office” fans simultaneously cringe and laugh, root for and root against.

Best Quote: “Toby is in HR, which technically means he works for corporate, so he’s really not a part of our family. Also, he’s divorced, so he’s really not a part of his family.”

 

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Leon Carp (“Roseanne”) – Breaking TV ground as an out-of-the-closet gay man, Leon Carp (Martin Mull) was typically the brunt of employee Roseanne’s jokes for many reasons. Whether at Rodbell’s diner, where he managed Roseanne, or at the Lunch Box, which Roseanne and her sister Jackie owned, Leon was frequently the butt of many jokes.

Best Quote: “I don’t smell the co-mingled scents of sweat and Jean Naté. Can I assume that Roseanne’s not in today?”

 

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Chris Traeger (“Parks and Recreation”) – As city manager, Rob Lowe plays an ultra fit, ultra sincere, ultra annoying boss. He frequently overemphasizes the word “literally,” using it incorrectly, while imparting his carefully crafted advice to employees.

Best Quote: “And then my herbalist took this weird bee pollen paste, rubbed it around my gums, and now my mouth feels like a spaceship.”

 

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Mr. Peterman (“Seinfeld”) – A long-winded world traveler, who is never short on personal anecdotes or tedious stories about his high-end clothing line.

Best Quote: “I’m afraid it’s your urine, Elaine. You’ve tested positive for opium. That’s right. White Lotus. Yam-yam. Shanghai Sally.”

 

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Mr. Pitt (“Seinfeld”) – We can’t mention one  great “Seinfeld” boss without mentioning 2 more hilarious guys.  None of the characters on the show, including Elaine, really knew what she did for her boss Mr. Pitt. Whether being his proxy at a board meeting, tending to him at his deathbed, or just buying him socks, the interaction between the two was always magical.

Best Quote: “Oh, forget about those!”

 

AND

Kruger (“Seinfeld”) – The CEO of Kruger Industrial smoothing cares about nothing. Not even his own company.

Best Quote: “K-ooger that sounds like one of those old-time car horns, doesn’t it? K-ooger, k-oooger!”

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Bob Kelso (“Scrubs”) – Uncooperative, unforgiving and unlikeable, Bob Kelso (Ken Jenkins) torments the staff of his hospital, where he approaches life-and-death situations with calculated indifference.

Best Quote: “I’m tired of patients complaining about being called dummos, tubbos, smokers and jamokers. Whatever the heck jamokers means.”

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Mr. Burns (“The Simpsons”) – Ruthless and maniacal, Montgomery Burns holds the town of Springfield in his bony-fingered grasp. The Batman to Smithers’ Robin, the tag team makes Homer Simpson’s life of underachieving far more difficult than it should be.

Best Quote: “Excellent.”

 

Fall. Don’t mourn the end of summer, set your sights on the endless parade of television premieres that the TV Guide article below dubs Fall TV-Must Watch New Shows.

Buck up, there are 23 new shows that earn this ‘must-see’ label.

Really, 23?

Among the 23 there has to be something for everyone who has ever grasped a remote control or paid a cable bill.

You’ll find all of the usual suspects on the list: Comedy, Drama, Sci-Fi, Reality…

As well as plenty of faces – male and female – that you’ve seen before. With hospitals, suburbia, a firehouse, a courtroom, a police station, and a government agency, there are plenty of places that you’ve seen before as well.

Don’t misunderstand, shows don’t have to push the envelope and be completely, utterly different than anything that has come before to be ‘must-see!’ programming. I just happen to think that we, as a viewing audience, will be fortunate to have one of these shows end up on our own personal must-see list.

I’m hoping one of the comedy offerings does it for me. I love Matthew Perry (Friends) and adore Mindy Kaling (The Office), who I will get to see in Go On and The Mindy Project, respectively. And since I court controversy like it’s my job, I am looking forward to The New Normal, which has already been boycotted by a group of angry moms.

As a lover of comedy, I must admit I fail to give other genres their fair share in my viewing rotation. I count on all of you to sift through the sci-fi, drama, etc. to determine which shows are truly the winners among the list of 23.

Choose wisely!

Until Next Time…

http://www.tvguide.com/special/fall-preview/PhotoGallery/Fall-TV-Watch-1050580/1050596

 

There’s no question that tablets, laptops and smartphones have changed the way people watch television. But the appeal of using these devices goes far beyond simply being able to watch your favorite shows anywhere. Viewers are now using what the industry is calling the “second screen” to interact with other viewers, answer trivia questions and even be clued into recurring themes within the series in real time.

Recently, Nielsen performed a study called “Double Vision – Global Trends in Tablet and Smartphone Use while Watching TV,” which found:

“Whether to check email or to look up program or product information, using a tablet or smartphone while watching TV is more common than not according to a Q4 2011 Nielsen survey of connected device owners in the U.S., U.K., Germany and Italy. In the U.S., 88 percent of tablet owners and 86 percent of smartphone owners said they used their device while watching TV at least once during a 30-day period. For 45 percent of tablet-tapping Americans, using their device while watching TV was a daily event, with 26 percent noting simultaneous TV and tablet use several times a day. U.S. smartphone owners showed similar dual usage of TV with their phones, with 41 percent saying their use their phone at least once a day while tuned in.”

This trend has not gone unnoticed by app producers and other industry players as a way to capitalize on additional screens. Second-screen Apps like Yap.tv, Unami and Miso are quickly entering the market. According to their website, Yap.tv offers these interactive opportunities for customers while they watch their favorite show: “See TV shows you have in common with your friends”; “See celebrity and fan tweet for thousands of shows”; and “Like it, comment on it, share the wow with friends.”

There’s even a dedicated network designed to place content-rich ads on second-screen devices. SecondScreen Networks has designed and built a server-side automated content recognition (ACR) platform.  With this patent-pending technology, TV advertisers now can have high-engagement digital ads served to social TV audiences synchronized in real-time with their running TV spots. “Importantly, unlike other client-side approaches, SecondScreen’s technology requires no user action or device listening; ads are simply delivered in context, automatically, to complement TV spots,” according to the SecondScreen website.

Even the networks are getting into the act. AMC has second-screen platforms for shows like “The Walking Dead” and “Breaking Bad.” AMC tempts viewers to enjoy snap polls, cool trivia and exclusive video while watching the broadcast of latest episodes.

Mac McKean, AMC’s SVP of Digital Media and Content, recently told LostRemote:

“You can use it on your computer, phone or tablet. We have optimized versions for each one. It will pop up different things. ‘Breaking Bad’ is an intricate show and there are all kinds of references from things previously in the show. If you have this viewing experience we’ll point out references. Walt might say something and you can like or dislike, and you can predict how a script situation will come out.  As you’re watching the show, as the scene is happening or just finished, pieces of content pop up. A picture of the scene that it relates to, a pole, instant replays and then as it’s going into commercial you can rewatch the scene, it’s called ‘reload.’ You can share each piece of content.”

Second screen is not a new trend, it’s simply more convenient than it once was when viewers would have to walk over to a clunky desktop computer, dial-up AOL and enter a crowded chat room to discuss Richard Hatch’s latest shenanigans on “Survivor.” And as this style of viewing becomes more and more convenient, app developers, networks and savvy TV industry execs must battle it out for a piece of the profit pie.

Internet streaming and DVD box sets have irreparably changed the way people consume television shows. Instead of waiting a week for the next episode of a show – especially shows like “Dexter” and “Breaking Bad” that specialize in tantalizing cliffhanger story arcs – many viewers prefer to watch their favorite series in marathon or “binge” formats.

MyRecordJournal.com of central Connecticut asked Time Magazine’s television critic James Poniewozik about this phenomenon. “This trend of people marathon-watching television is a change,” he said. “It’s a new thing people in the industry need to see that it’s happening and not fight it, but adapt to it,” says Poniewozik.

It may not be dire for networks to cater to this trend, as viewers still love anticipating and watching season premieres in real time. But ignoring this movement will most certainly mean networks are missing out on gaining another segment of viewers.

Fox has noticed this trend and prepared its programming accordingly. Fox will release a 10-episode season of the returning “Arrested Development” in full on Netflix, instead of airing the fourth season week-to-week.

MyRecordJournal.com reports:

“This is the way television is moving,” said Richard Hanley, associate professor of journalism and graduate journalism director at Quinnipiac University. “Many shows like ‘Game of Thrones’ and ‘Mad Men’ are a throwback to 19th century novelistic works such as Charles Dickens’, where chapters were released into magazines. Some people would read each chapter per issue, but many people would wait until they had the opportunity to read a lot at once.”

Catering to binge viewing can benefit networks in a variety of ways. One of the most important: Viewers are much more interested in a season premiere if they are already invested in the series. For viewers who haven’t seen a specific show, streaming previous seasons or watching them in gross on DVD is a way to catch up on the series. And it’s a way for the networks to get more eyes on their prime-time programming, resulting in the potential for more advertising revenue.

Networks would be amiss to ignore viewing trends. The Internet has changed the way people consume news and has significantly altered the newspaper industry. Unless TV networks want to be the next victims of the convenience that the Web provides to consumers, they must start delivering their product in a way viewers actually want to pay for it.

If you are new to binge viewing, here’s a list of ten series that’s sure to get you started!

“Be amused by me if you will — this isn’t costing me much.”

That sentenced above is kind of the essence of the Web series in a nutshell, right? You can afford to be wrong, flop or get a lukewarm response.

Of course the goal is to be good, great even, but if you aren’t quite on the mark, then no harm no foul.

Even when ‘The Jerry Seinfeld’ is the creator, that’s the approach he takes. And in his own Web series, which the link below to the New York Times details, he rides around in old cars with his funny friends and lets us ride shotgun. He thinks it’s funny. He laughs non-stop throughout.

Is it funny to the rest of us? Yes. But even if it isn’t, no skin off Jerry’s back. He’s having fun and money is no object.

The Web series, “Comedians in Cars Getting Coffee,” isn’t really about anything. Yes, it’s a Web series about nothing by a guy who brought us a hit series about nothing.

Clearly, Seinfeld has a knack for making something out of nothing. But, he’s not alone.

The phenomenon of Web-Original Programming allows just about anyone to create entertainment that’s friendly to his or her budget and put it out there for the world to see. Maybe it finds an audience, maybe not, but it’s a terrific way to share an idea and find out if it has any legs.

Seinfeld shows us funny can be simple, cheap and about anything…or nothing at all.

Until Next Time…

http://www.nytimes.com/2012/08/04/arts/television/jerry-seinfelds-online-comedians-in-cars-getting-coffee.html?ref=television

Time-shifted viewing. What?!

It sounds surreal and slightly Sci-fi to me, but it is just another buzzword that reflects the way we watch television in a TiVo DVR era.

The article I link to below explains it all in great detail. You see, ratings change when we can watch what we want…when we want.

We no longer have to choose between shows that air at the same time. We can now laugh at the notion of having to make choices. We hold all the cards, time is on our side, scheduled broadcast times mean nothing to us.

Maybe we have to tread lightly around the water cooler and demand spoiler alerts when our pesky coworkers or neighbors are gabbing about something we haven’t watched yet. But beyond that, our technology make us the bosses of the TV universe.

Life is good.

It is particularly good for the many shows mentioned in this article, as they lead the league in shows whose viewership has the highest percentage of time-shifted viewing. Popular shows that have become even more popular when time is no longer of the essence.

While speculation is dangerous in the constantly evolving and time-shifting world of TV, it occurs to me that the ability to watch anything at any time has to, in some small part, level the playing field. Two great shows in the same time slot or overlapping slots no longer have to be in direct competition.

We merely have to have a suggestion that something is worth watching and then give it a shot at our leisure. An inconvenient time slot, on a night when we are busy or engrossed in some other show, is an obstacle no more…

It makes the idea of waiting for a rerun seem rather archaic. And just maybe, thanks to time-shifting, good shows will have a better shot at capturing loyal viewership and decent ratings.

Until Next Time….

http://www.thedailybeast.com/galleries/2012/07/31/tivo-s-20-most-time-shifted-tv-shows-of-2011-12-mad-men-fringe-more.html