News & Updates

  • Deadline Hollywood and Why It’s Dead

    Posted by on March 26, 2015

    Axel Caballero for Latino Rebels

    Perhaps it was just a matter of time. Perhaps it was merely the representation of an old Hollywood system waking up to a new and cumbersome reality. Perhaps it was just pissed-off entitlement ready to take a massive media White Flight. Whatever it was, earlier this week Deadline marked its official and unequivocal demise as a source of anything valid. Yes, with a stroke of a few ridiculously backward paragraphs, and veiled and not so veiled reverse racism at its finest, Deadline TV editor Nellie Andreeva made sure that the Hollywood portal looked as dated and as zombie-like as the WordPress website it sits on.

    Andreeva

     

    Here is just a sample of Andreeva’s piece:

    But, as is the case with any sea change, the pendulum might have swung a bit too far in the opposite direction. Instead of opening the field for actors of any race to compete for any role in a color-blind manner, there has been a significant number of parts designated as ethnic this year, making them off-limits for Caucasian actors, some agents signal. Many pilot characters this year were listed as open to all ethnicities, but when reps would call to inquire about an actor submission, they frequently have been told that only non-Caucasian actors would be considered. “Basically 50% of the roles in a pilot have to be ethnic, and the mandate goes all the way down to guest parts,” one talent representative said.

    In one instance, after a number of actors of different ethnicities tested for two roles in a pilot this year, two Caucasian actors ended up being the top choices for the two remaining regular parts. However, because of a mandate from the studio and network, one of the roles had to diverse, so the pilot could only cast one of the top choices and pass on the other to fulfill the ethnic quota. “They need to say the best man or woman wins,” one rep suggested.

    Because of the sudden flood of roles for ethnic actors after years of suppressed opportunities for them, the talent pool of experienced minority performers — especially in the younger range — is pretty limited. That has led to a feeding frenzy, with a number of straight offers locking in ethnic talent before they could be snatched by another pilot.

    Later in her post, she writes this:

    A lot of what is happening right now is long overdue. The TV and film superhero ranks have been overly white for too long, workplace shows should be diverse to reflect workplace in real America, and ethnic actors should get a chance to play more than the proverbial best friend or boss.

    But replacing one set of rigid rules with another by imposing a quota of ethnic talent on each show might not be the answer.

    So, maybe Deadline will still linger around for a few more years, publishing innocuous recycled updates and aged Tinseltown obituaries, but one thing will remain clear: Who can really take the site seriously?

    Anyone who can claim with a straight face and an actual attempt at an argument that “too much diversity” in TV and media is a problem has to be suffering from segregation era withdrawals. For decades, the media establishment has misrepresented the cultural landscape in front and behind the scenes. The stories told and images depicted have often oscillated between stereotypical and borderline animations. It has perpetuated a dementia that mandates casts and crews must be monotonous and monochromatic. This has translated into pop culture, and buying and believing that this is the American mainstream. Nellie Andreeva not only drank the Kool-Aid, she pretty much did a million laps in it. Her reality, her belief system is one in which “ethnic” (her words used over 20 times) representation should be kept in check and controlled.

    LatinoMedia

    The worst part of it all? Andreeva probably does not even realize the mental mess she has created. To question and to denounce the expansion of diverse representation in media can be equated to demanding certain communities go to the back of the bus. It points to a systematic failure by those that purport being the gatekeepers of culture to realize that the mainstream has never been about them and has always been about all of us.

    According to The Latino Media Gap, a 2014 NALIP commissioned study, Latinos represent 17% of the population yet it would take 60 years for Latinos to fill 17% of lead roles in the top 10 features or shows. Even by then, the Latino  population would have doubled and it would need to be further ahead to accurately represented. In other words Ms. Andreeva, sorry we are here to stay—get used to it.

    You will see many more “ethnic” roles.

    You will see many more “ethnic” shows and scripts.

    You will see many more “ethnic” executives and decision-makers.

    The sooner you accept it, the sooner you realize it, the easier it will be for you to remain gainfully employed in this business and the faster you can turn around the sinking Deadline ship.

    The first step to recovery is acceptance. You don’t need to apologize. You shouldn’t be ashamed, Ms. Andreeva—you just didn’t know any better. Just in case and to make it crystal clear: we were and we continue to be the mainstream.

    How about instead of questioning how your head is exploding with so much “ethnicity” around you, you embrace it and integrate it in your work. If you get to know us, you might actually like us. So come on over, we are having a big bad “ethnic” bash in June: Latinos taking over Hollywood. We will discuss this and many other exciting “ethnic” issues. You might learn a thing or two, Ms. Andreeva. Then you can take it back to your colleagues and try to revive your defunct Deadline site.

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    Axel Caballero is the Executive Director of the National Association of Latino Independent Producers (NALIP). You can follow Axel on Twitter @axelwcaballero.

     

    Check this Out on www.latinorebels.com

     

     

  • Control Issues: How Media Moguls Keep a Tight Grip on Their Empires

    Posted by on March 25, 2015

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    Managing Editor: Television 

    The parlor-room drama surrounding the fates of Viacom and CBS Corp. has only reinforced how thoroughly Sumner Redstone has exerted control over his media empire for decades.

    And Rupert Murdoch’s succession plans at 21st Century Fox and News Corp. has all the intrigue of royal-court maneuvering among heirs to the throne held by an iron-willed king.

    All those companies are publicly traded entities, but their respective boards and shareholders won’t call the shots when the time comes for big decisions such as succession. Redstone and Murdoch, like a number of their peers in media and entertainment, own so much voting stock in their companies that they can rule, and overrule, as they see fit, in many instances. So does Brian Roberts, chairman-CEO of Comcast, whose pending merger with Time Warner Cable has sparked the latest round of debate on the “how big is too big” question for media behemoths.

    In fact, most of the major U.S. media congloms are among the small percentage of large publicly held U.S. firms that are tightly controlled by a single dominant shareholder. Cablevision, Liberty Media and Discovery Communications and others also operate with a dual-class stock structure that allows for some to hold preferred shares with expanded voting rights and benefits compared with the shares that are sold to the public. The Walt Disney Co. and Time Warner are the exceptions, with no single uber-shareholder able to sway decision-making.

    Preferred shares tend to be held by company insiders and their family members, particularly founders such as Murdoch or architects such as Redstone, who orchestrated the acquisition of Viacom in 1987 and CBS in 2000 through his National Amusements holding company, a private entity. Such shares are typically issued at the time of incorporation or initial public offering, and in some cases cannot be purchased via public markets. (Fox and News Corp.’s Class B voting shares are publicly traded, and a company rep emphasizes that the boards of both companies, not shareholders, will make the decisions on CEO succession.)

    “Dual-class stock structures are not particularly well liked by investors,” said Richard Greenfield, media analyst for BTIG Research. Yet Greenfield noted that bifurcated voting rights have pluses and minuses for companies.

    With federal regulators still sizing up the pros and cons of Comcast’s $45.2 billion expansion bid, it’s worth noting that control of the company still rests with its founding family, the Roberts clan of Philadelphia. Brian has a firm grip on the conglom through ownership of preferred shares that account for 33.3% of voting rights — a stake that will not be diluted if the TW Cable acquisition is completed.

    By all accounts, Roberts has done a masterful job of expanding the once-tiny cable company his father founded in 1963. Since he took the reins as president in 1990, Comcast has outperformed the S&P average by more than 1,100 percentage points. Still, those preferred voting shares mean the company’s common-stock shareholders would have a hard time forcing him out if they ever decided they didn’t like what he was doing.

    As the Justice Dept. and the FCC prepare make-or-break decisions on the antitrust and public-interest ramifications of the TW Cable deal — which is now expected by mid-year after lengthy delays — consumer groups and some competitors are howling about the deal’s potential to turn Comcast into the “gatekeeper” for content delivered via the Internet, by expanding the firm’s broadband footprint. There’s been less focus on the fact that an enlarged Comcast would still be effectively controlled by one family, as it has since the company went public in 1972 with a dual-class structure.

    The Roberts clan had an even tighter hold on the company prior to its 2002 acquisition of AT&T’s cable systems — the $48 billion deal that made Comcast the nation’s largest cable operator. As a condition of that acquisition, Roberts agreed to reduce his preferred shares down from 87% of all voting rights.

    Roberts and Comcast’s management team have long received high marks for accountability and for engaging with investors. But the prospective scope of the company’s reach into America’s living rooms, with a service that has become a household utility, has stirred enough vociferous opposition to raise doubts about the feds approving the transaction.

    “I think the only thing we can say for certain is that the result of (the TW Cable merger) will not be more competition,” said Robert McChesney, a professor of communications at the U. of Illinois at Urbana-Champaign, who has written extensively about media consolidation. “What we’ve learned from the Internet in the past decade is that it’s not a force for competition. It’s a force for disruption, but it’s creating more companies with virtual monopolies.”

    The use of the dual-class stock structure in public companies has long been a polarizing issue among investors, economists and corporate governance watchdogs. Some argue that the principle of “one share, one vote” should be the rule for all public companies. Opponents of the dual-class stock system say it allows dominant shareholders and their chosen managers to become insulated from accountability.

    “When you separate a company’s economic interests from its voting interests, you create all kinds of potential problems. It basically emasculates the board,” said Charles Elson, professor of finance at the U. of Delaware. “The counterargument is that people knew about the structure when they bought the stock. But the problem is that when these companies fall on hard times, it’s the public shareholders who have to help clean up the mess.”

    Proponents of dual-class systems counter that allowing different levels of voting can shield business leaders from the pressure to deliver quarterly earnings and rising share prices at the expense of risk-taking, R&D spending and strategic investments.

    Murdoch is the poster-CEO for this argument. His visionary moves in the 1980s and ’90s might well have been thwarted at times by pushback from risk-averse shareholders.

    “(Control) allows you to take bold bets in the way that Rupert was able to go out and try to buy Time Warner (last year),” Greenfield said. “You look at the Roberts’ family control allowing Comcast to do the NBCUniversal deal no matter whether investors at the time thought it made sense. On the flip side, you have situations like Viacom where you wonder if it could have been sold several years ago when the assets were in their prime vs. now when they are struggling.”

    The insulating power of preferred voting shares was evidenced in 2011, when what was then News Corp. faced a backlash from shareholders because of the phone-hacking scandal that enveloped the company’s British newspapers. James Murdoch was in the line of fire as the head of the U.K. and Euro businesses at the time. At the company’s October 2011 annual meeting, James and his older brother, Lachlan, would not have received enough support to remain on the board of directors were it not for their father’s voting power.

    Last year, a majority of Cablevision’s public shareholders voted at the company’s annual meeting in favor of a resolution to convert the company to a single-class stock structure. But the shareholder proposal was easily defeated through the votes wielded by chairman Charles Dolan and his son, CEO James Dolan. The Dolan family controls 72% of the voting power in the company, founded by Charles.

    Eli Noam, professor of finance and economics at Columbia U. and author of “Who Owns the World’s Media?” says that consolidation of power can be a positive for a business intially. “In the early stages of a company, you have a dynamic and visionary leader, which is good to have when shaping (its) culture,” he says. “If investors trust the leader, they’ll go along with the idea of ‘You’ll get the dividends and let me run the ship.’ ” But it can be awkward if the next-generation CEO messes up. “They’re very hard to fire, and presumably, it creates less ability for those who are inside the company to disagree with management.”

    The spike in dual-class stock organizations in the IPOs of technology companies over the past few years has renewed debate over the practice. Investors, particularly large institutional funds, often frown on their use.

    In 2012, leaders of CalPERS, the nation’s largest pension fund, talked up plans to boycott any IPO with a dual-class structure. The Washington, D.C.-based Council of Institutional Investors has stepped up its lobbying of the NYSE and Nasdaq to shun listings for dual-class companies. But observers note that a dual-class offering has rarely been a deal-breaker as long as the company comes to the market with sizzle.

    Bloomberg News in 2012 dubbed the tech-sector trend “the Zuckerberg grip.” Facebook founder and CEO Mark Zuckerberg ensured that he would retain unfettered control of the company after its IPO by giving himself preferred shares that command 10 votes to every one vote afforded to common stockholders. Groupon, Zynga, Zillow and LinkedIn have fielded IPOs with dual-class structures in recent years. Twitter stuck with a single-class setup with its 2013 public offering, but the company reserved the right to issue preferential shares down the road.

    Even more than Silicon Valley firms, media titans favor the dual-class structure. Media congloms accounted for 16 of 114 such firms in a 2002-2012 survey of companies in the S&P 1500 index conducted by the Investor Responsibility Research Center Institute. In the S&P 100 index of the nation’s largest public firms, however, only 9% of companies across all sectors were dual-class, according to a 2004-2014 survey by the Silicon Valley law firm Fenwick & West.

    Conventional wisdom among economists is that companies with dual-class stock generally trade at a lower price than single-class companies, as investors exact a discount in exchange for limited voting rights. The Investor Responsibility study found that in the media sector, CEOs of dual-class firms are paid more, and boards are more populated with insiders.

    There are, of course, fiduciary responsibilities and legal guidelines in force even for preferred shareholders. Enhanced voting power doesn’t mean owners have the right to loot company coffers or disavow the will of the board of directors.

    The uncertainty surrounding the future for Viacom and CBS Corp. after the death of Redstone, who will be 92 in May, underscores how control can be maintained through family trusts for generations.

    Redstone’s holdings will be managed by the five-member board of a trust designed to benefit his grandchildren. There are plenty of questions about what decisions that board will make regarding the best way to manage assets. Companies with broadly dispersed ownership would face pressure from investors to spell out in greater detail a long-term management plan.

    Murdoch’s empire has clearly been more shareholder-friendly since the hacking scandal, taking steps to strengthen its corporate governance and returning cash to shareholders. And after weathering that storm, James Murdoch’s stature is rising again (and he and Lachlan have easily won re-election to board posts by common shareholders for the past three years). “He’s increasingly been more visible, and built a level of respect with investors over the past few years,” Greenfield said of the younger Murdoch, who is seen as the heir apparent.

    Investors may grouse about unequal voting rights, but industry observers don’t see anything changing for dual-class stock media congloms. And public shareholders can always vote with their feet.

    “Everybody who invests in Fox should know that Rupert’s children will eventually run the company,” Greenfield said. “If you don’t like that idea, you shouldn’t buy the stock.”

    Check this out at Variety.com

  • NALIPsters Highlight the 15th Annual Cultural Insights Forum

    Posted by on March 23, 2015

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    At this years 15th Annual Cultural Insights Forum, an event shedding light on how Millennials’ viewing habits are shaping the media industry, NALIPsters Rosa Alonso and William D. Caballero highlight a full-days schedule that will be addressing what the industry is doing to engage this influential generation.

    A panel on engaging multicultural, multiplatform Millennials, catch NALIP Board Member Rosa Alonso, Founder, Rosa Alonso Digital moderate Bradley Bredeweg, Executive Producer and Co-Creator, ABC Family’s “The Fosters”; Sara Chen, Partner, Senior Director, Digital – AT&T, MEC; Rodrigo Mazón, Director of Content Acquisition, Hulu; Erin Mills, COO, the michael alan group; and Kristin Russo, Co-Founder of Everyone Is Gay and Host of PBS Digital's "First Person" to explore what it means to program for and market to Millennials. Central to this conversation will be the importance of telling authentic stories that reflect the diversity Millennials recognize as normal.

    This year’s Emerging Voices Showcase features NALIP Member and NALIP American Graduate Digital Project Recipient William D. Caballero, filmmaker and video artist, GRAN’PA KNOWS BEST (www.wilcab.com).

    The 15th Annual Horowitz Cultural Insights Forum will be held March 25 at the Edison Ballroom in New York City. Full agenda & to register: www.culturalinsightsforum.com

     

  • Google Helps Hollywood Boost Girls-Who-Code Image

    Posted by on March 20, 2015

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    Loretta, the sister in "Miles from Tomorrowland," uses her passion for science and coding to find new worlds. (Photo: Disney Junior)

     SAN FRANCISCO — For many male scientists, the high-tech hook was set by Star Trek and Star Wars. Now Google hopes to increase the number of future female hires by counting on the appeal of a math-savvy cartoon character named Loretta and a code-loving foster kid named Mariana.

    As tech continues to fuel economic growth here and internationally, there's a growing need for employees who are fluent in the digital language of the trade. In fact, by 2020, there will be a million more computer jobs than students with that degree, according to Code.org.

    That's led to a push to get more people of color into the computer science pipeline — and women of all races into the field.

    Which is where Loretta and Mariana come into play. They're characters in two Disney-ABC Television Group shows — Miles from Tomorrowland and The Fosters — who, with Google's assistance, have embraced computer science in order to cast a positive light on girls who code.

    "Our research shows that for girls when it comes to focusing on a career, perceptions of that profession rank second in importance only to parental encouragement," says Julie Ann Crommett, who headed diversity efforts at NBC Universal before joining Google in 2013 as program manager for computer science education in media. She recently was part of a tech-meets-Hollywood panel at SXSW in Austin called Decoding Percepciones: CS, Latinos and Storytelling

    "If we want to expand the employee pipeline, we must tackle this because girls who don't see others like them in the field tend not to go into it," says Crommett. "TV can have an impact. The popularity of CSI led to a big jump in people going into forensic science, and many of them were women."

     

    Google's assistance to Disney-ABC ranged from offering advice about computer scientist personalities to helping write code sequences that would translate well on the small screen. (Random House might have used that sort of counsel before putting outa kids book last fall called Barbie: I Can Be A Computer Engineer, which featured the famous doll calling her male friends to help troubleshoot computer problems.)

    "I'd read a lot about the efforts to get girls to code" by groups such as Girls Who Code and Black Girls Code, says Sascha Paladino, creator of Disney's cartoon, Miles from Tomorrowland. "In our show, the brother is creative while the sister is scientific, and I thought if we can help boost the numbers of girls who think science is cool that would be great."

    Paladino used Google's input for an episode that features Loretta discovering a new planet thanks to coding. "I learned there's a difference between coding that's beautiful and coding that's not. The idea that there's an elegance to it was new to me."

    For Nancy Kanter, executive vice president of original programming for Disney Junior Worldwide, the idea to partner with a big tech company to help push science was a throwback.

    "So many of today's scientists say that what inspired them in part were shows such asStar Trek and movies like Star Wars," says Kanter. "We need to do what we can to help girls imagine what they can be. I took it as a great sign that the star of Gravity (Sandra Bullock) was a woman scientist."

    Check this out at USAToday.com

  • ‘Jane the Virgin’ Star Gina Rodriguez Joins Mark Wahlberg in ‘Deepwater Horizon’

    Posted by on March 19, 2015

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    IMAGE COURTESY OF JASON KEMPIN/GETTY

     Film Reporter

    “Jane the Virgin” star Gina Rodriguez is in talks to star opposite Mark Wahlberg in disaster drama “Deepwater Horizon.”

    Lionsgate, Participant Media and Lorenzo di Bonaventura are producing “Deepwater Horizon,” which details the 2010 explosion on the BP rig that resulted in the biggest oil spill in U.S. history. The film will be released on Sept. 30, 2016.

    The companies acquired feature rights in 2011 to the New York Times article “Deepwater Horizon’s Final Hour,” written by David Barstow, David Rohde and Stephanie Saul.

    The 2010 explosion of Deepwater Horizon in the Gulf of Mexico killed 11 men working on the platform and injured 17 others. The subsequent gusher wasn’t capped for three months.

    Wahlberg will portray an electrician on the oil rig, while Rodriguez is in talks to play Andrea Fleytas, the 23-year-old who was monitoring the oil rig’s safety systems in the moments before the explosion. She testified later that she did not immediately sound an alarm because she had not been training to deal with multiple warnings.

    Peter Berg is directing from Matthew Michael Carnahan’s script.

    Rodriguez won the Golden Globe for best actress in a comedy or musical for “Jane the Virgin.” Her feature credits include “Sleeping With the Fishes” and the upcoming drama “Sticky Notes” with Ray Liotta.

    Rodriguez is represented by APA, Primary Wave Entertainment and Jackoway Tyerman.

    The news was first reported by the Wrap.

    Check this out at Variety.com

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  • HBO Now Breaks Up the Pay-TV Bundle

    Posted by · March 19, 2015

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    LUKE BROOKES FOR VARIETY

    The pay-TV bundle is facing new threats to its existence. Two of the industry’s anchors, HBO andShowtime, are planning to cut the cord, launching over-the-top Internet services that don’t require subscriptions to a cable or satellite service — with HBO setting a date for its new offering with a powerful partner: Apple.

    Both premium cablers are trying to take pains not to upset their current partners; their services, after all, will continue to be available — and bundle-able — on the lineups of multichannel video program distributors. But inevitably, their OTT launches stand to fuel the trend of U.S. consumers dropping traditional TV subscriptions in favor of Web-video offerings.

    HBO last week announced that Apple TV would be the exclusive device launch partner for HBO Now, a standalone subscription-based streaming service priced at $14.99 per month and aimed at consumers who don’t want to sign up for cable. HBO Now will launch next month, timed to the season-five debut of “Game of Thrones” on April 12. Earlier this week, Cablevision Systems said it would offer HBO Now to broadband-only customers, with pricing to be announced — the most active effort yet by a cable TV operator to let subs avoid buying a full cable TV package.

    Also last week, CBS-owned Showtime Networks said it would soon launch a similar OTT offering. HBO had 31.4 million U.S. subs at the end of 2014, with Showtime at 22.8 million, per SNL Kagan.

    “They’re both looking at Netflix’s subscriber base and saying, ‘Wow, they got to 40 million users with an untethered offering,’ ” Wall Street analyst Michael Nathanson says. “My gut says this will be a behavioral change among younger users.”

    Cablevision, for now, is the only traditional TV provider to join the HBO Now party. The three largest pay-TV providers — Comcast, DirecTV and Dish Network — declined to comment on the HBO Now announcement. Cox Communications, which has about 6 million total customers, says it’s in talks with HBO about offering the OTT service, but adds, “The overwhelming majority of our customers prefer to access video via digital cable bundles for convenience, service quality and the unmatched value.”

    The launch of HBO Now “is a transformative moment for HBO,” chairman and CEO Richard Plepler said at the Apple event. “When you subscribe to HBO Now, you will have access to all our acclaimed original programming — past, present and future — as well as our unmatched lineup of Hollywood blockbusters.”

    HBO Now and Showtime OTT are slated to hit after Dish’s debut of Sling TV, which includes ESPN among more than a dozen other cable nets for $20 per month, while Sony’s PlayStation Vue, with multiple networks in the mix, is launching this week in New York, Chicago and Philadelphia.

    HBO Now, in addition to Apple TV, also will be available on iPhones and iPads. Apple’s exclusive rights to HBO Now cover three months, after which it could become available through devices like Roku or Google’s Chromecast.

    All told, HBO Now could hit 1.25 million subscribers by the end of 2015, according to Nomura analyst Anthony DiClemente. Every block of 1 million HBO Now subscribers, he says, would drive approximately 11¢ in earnings per share for Time Warner’s 2016 full-year results.

    If Apple demands from HBO the typical 30% fee on in-app paid subscriptions for the service, that would slice into HBO’s share, though DiClemente believes that kind of split to be unlikely.

    In any case, TV subscriptions are dropping. In 2014, factoring in new household formation numbers from the U.S. Census Bureau, roughly 1.4 million American homes either canceled pay TV over the previous 12 months or never subscribed, according to MoffettNathanson. Since 2010, the industry has cumulatively lost — or failed to sign up — 3.8 million households, the firm estimated.

    Apple has sold 25 million Apple TV units, and the company announced March 9 that it’s reducing the price of the Apple TV set-top from $99 to $69.

    CBS chief Leslie Moonves said Showtime is poised to join HBO in offering a standalone online streaming subscription service “in the not too distant future.” Speaking last week at the Deutsche Bank Media, Internet and Telecom investor conference, Moonves said negotiations with digital distribs and traditional MVPDs are in full swing. “We’ve been having discussions with the normal suspects,” Moonves said. “I think the floodgates are now open.”

    Moonves acknowledged there was hesitation from some MVPDs, who are concerned about a digital-only play cannibalizing existing service. But there is no doubt OTT is joining the parade of pay-TV offerings, he said, which will only improve the underlying economics for networks.

    “Clearly, the bundle is changing,” Moonves said. “The days of the 150-channel universe in the home are not necessarily over, but they’re changing rapidly. People are slicing it and dicing it in different ways.”

    The exec wouldn’t give specifics on the subscriber numbers for CBS All Access, launched last fall for $5.99 per month. But he said the Eye is close to finalizing agreements with its affiliate stations to join in the live-streaming offering, which so far has been available in CBS O&O markets only. That would mark a significant national expansion of the “watch live” component of the service, making for a stronger selling point to consumers across the country.

    “We are the first (network) to offer our affiliates a piece of the action,” Moonves said.

     Check this out at Variety.com 

  • The Next Great American Documentary Project

    Posted by · March 19, 2015

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    Create a feature-length documentary that captures an amazing untold and unique American story. Subjects could be a cultural phenomena or movement, undiscovered histories, biographies, exposés, local heroes, underdog stories, top dog stories… any story really. As long as they’re fresh, original and would appeal to an American audience.

    This is your chance to be the next Errol Morris or Ken Burns — to make the next Jiro Dreams of Sushi or Citizenfour. We're searching for fresh, untold and original stories — cultural phenomena or movements, undiscovered histories, exposés, biographies, local heroes, underdog stories, top dog stories... fascinating real-life tales that could only happen in America. We want to unearth never-before-filmed subjects that are just begging to be brought to life on television — because that's exactly what the Tongal community's going to do! DIRECTV will provide a production budget and support to realize the vision and bring one of the films to life.

    As you can tell, this is a BIG project and it’s going to move fast – the documentary will premiere the end of this year! So please pay very close attention to details in the next few sections. We’ve also built an FAQ to answer all your questions, so be sure to check that out, too.

    The goal of this project is to create a feature length (80 to 85 minutes) documentary that captures an amazing untold and uniquely American story. Subjects could be biographies, exposés, underdog stories… any story really. As long as they’re fresh, original and would appeal to American audience.

    Your feature documentary is destined for television – which means it must be filmed on a 4K master and will need to conform to very specific broadcast specs. There are a lot of moving parts to this project and it’s going to go fast so please pay special attention to the information outlined in this section and the Details section.

    This project will be broken into four production and two voting phases. These are outlined thoroughly in the Details section but here’s a quick breakdown:

    PHASE 1 – SUBJECT (OPEN TO EVERYONE): March 17th – March 30th

    PHASE 2 - SUBJECT VOTING (OPEN TO ANYONE): April 7th – April 13th

    PHASE 3 – PITCH (OPEN TO ALL FILMMAKERS): April 14th – April 27th

    PHASE 4 – SIZZLE REEL (OPEN TO THE TWO PITCH WINNERS): May 5th – June 1st

    PHASE 5 - SIZZLE REEL VOTING (OPEN TO ANYONE): June 1st – June 5th

    PHASE 6 – PRODUCTION (OPEN TO THE ONE SIZZLE REEL WINNER): June 8th – October 16th

    For more information.