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But “The Simpsons” was locked into an unusual — and now vintage — deal. The show was first sold into syndication in 1993. While an enormous hit for Fox, “The Simpsons” always stood out because it was animated. When Fox tried to place live-action comedies adjacent to it, they never really worked.

So the stations paying hefty rights fees insisted on maintaining exclusivity — meaning no sale to a cable network for as long as they were buying new seasons of reruns. “The Simpsons” — with a cast that never visibly aged — kept making new episodes on Fox, and the syndication contracts kept going.

http://www.nytimes.com/2013/11/16/business/media/simpsons-reruns-sold-to-fxx-in-first-cable-deal.html?ref=todayspaper

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One decade after “Saturday Night Live” began in 1975, it added the first black woman to its primary cast. Danitra Vance, a gifted downtown actress and Second City veteran, lasted just one season.

“Saturday Night Live” later cast Ellen Cleghorne (1991-95) and Maya Rudolph, a biracial star who left in 2007. And that’s it. In this context, it’s no wonder that the cast member Kenan Thompson set off a debate this month when he explained the show’s dearth of black women this way: “It’s just a tough part of the business,” he told TV Guide. “Like in auditions, they just never find ones that are ready.”

Let me state the obvious: That “Saturday Night Live,” once home of the Not Ready for Prime Time players, has hired only three black women for its main cast— in addition to Yvonne Hudson, a featured player in 1980 — in four decades says more about the show than about the talent pool. That doesn’t mean that the show’s executive producer, Lorne Michaels, discriminates so much as he doesn’t put a premium on this kind of diversity.

http://www.nytimes.com/2013/10/30/arts/television/for-snl-cast-being-diverse-may-be-better-than-being-ready.html?ref=todayspaper

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The common misconception is that your cable company is responsible for raising your bill. Look, I hate Comcast just as much as the next guy, however, price increases generally come from the TV networks. If Fox News raises their price, the cable provider cannot all of a sudden stop carrying it. Customers would not only complain but also immediately look to other providers for service. Instead, they eat the price increase and eventually pass it on to the consumer. This is what leads to our exploding cable bills.

When a cable company decides to carry a channel like Comedy Central, they must pay the TV network a subscription fee for every one of their customers. Subscription fees are important because they show us how expensive one channel is relative to another. The fees vary greatly based on the demand of the channel. For example, The History Channel costs roughly 22 cents/month. ESPN you might be wondering? That comes out to $5.13/month, making it by far the most expensive cable channel out there.

https://medium.com/editors-picks/1d7043ed024b

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But there is no valid reason why Netflix should have placed a blind, $100 million bet on a new series. Of all the distributors of television programming, Netflix is in the best position to develop more lean and nimble proofs of concept and to serve them to the right audience.

Unlike a traditional TV network, Netflix has the unique ability to put content in front of millions of targeted, interest-based viewers in incredibly short order. It has better taste profiles and matching algorithms than AMC, ABC, or big advertisers could ever dream of. Why, for instance, couldn’t Netflix buy scripts – or hell, get into the blind script business with established writers – and then test them out before fully committing to them?

http://priceonomics.com/the-economics-of-a-hit-tv-show/

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But you know what separates the “good” from the “significant”? Exposure. Not just initial exposure, like the hoopla surrounding the relatively unpopular Girls, but endured attention and familiarity. Viewers of broad ages and classes and tastes watching. Syndication used to do some of this work for us: that’s how I consumed M*A*S*H, My Three Sons, The Brady Bunch, I Love Lucy, classic Saturday Night Live, original Star Trek, and even MacGyver. It was MTV reruns, for example, and not ABC, that made My So-Called Life a cultural touchstone: the two words “Jordan Catalano” stand in for a host of dude-related agonies and ecstasies. Granted, you could watch Sex and the City on TBS, and The Wire on BET. But those were Frankenstein edits of the originals — and what little extended cable this generation does watch, it’s generally new content.

Netflix, and other forms of cheap streaming, thus takes up the role formerly occupied by second-run syndication. Only unlike the reruns of M*A*S*H I’d watch every night at 7:00 pm, these reruns are there whenever I want them and without commercials. With the rise of streaming services, we’ve avoided the term “rerun” and its connotations of the hot, bored days of summer. But apart from its foray into original programming, that’s what Netflix is: a distribution service of reruns. And as with second-run syndication, what’s available is what gets watched; what gets watched becomes part of the conversation. It’s not a question of quality, in other words, it’s one of availability.

http://blog.lareviewofbooks.org/deartv/77/

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“A sitcom essentially takes life situations and makes them less boring through unlikely, quirky, and slightly absurd twists. Something always happens in a sitcom — someone gets sick, or a miscommunication causes problems — but there is always a resolution, and in hindsight, the conflict was wholly innocuous. Sitcoms often try to depict TV life as a considerably less boring version of our lives, but that their reach is so limited often makes the shows boring in of themselves. (A county fair gone awry, Tracy Jordan is acting up again!). That our sitcoms, embroidered versions of our lives, start to feel boring is a testament to the prevalent sterility and innocuousness of our daily lives (Wake up, go to work, come home, family time, watch TV, et cetera). It’s Always Sunny in Philadelphia, if only for a mere twenty-two minutes a week, gives us a chance to enter a world without stakes; their idle schemes are the elixir for our idle generation. For those twenty-two minutes we don’t need to pretend about how boring our lives can be. We can accept it,rage against ennui, and become nihilists: throw glass bottles, blow up cars, be mean to homeless people, make fun of religion, not care about other people, try all of the drugs especially (and frequently) huffing glue, go on welfare just for the fun of it, make fun of molestation, get black-out drunk, dabble in possible incest, hang out under the bridge or in sewers, and generally just act like the stupid, selfish, destructive, children we all want to be from time to time.”

https://medium.com/editors-picks/cac888bc7f8e

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On-demand viewing behaviors, which have been reshaping television since the first TiVo DVR was shipped in 1999, are becoming more pronounced with each passing year, sometimes to the benefit of networks and advertisers and other times to their detriment.

What is notable about the start of the new fall TV season, according to network executives, is a surge in not just delayed viewing, but very-delayed viewing. Some people who might have previously time-shifted the new NBC drama “The Blacklist” by one day, for example, are now waiting longer to watch, partly because of the sheer number of shows on their mental to-watch lists.

http://www.nytimes.com/2013/10/07/business/media/dvrs-shift-tv-habits-and-ratings.html?pagewanted=1&ref=todayspaper

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Measures of posts about a TV show (“Can’t wait for ‘The Walking Dead’ to start”) are just the tip of Twitter’s iceberg, Mr. Somosi said in an interview: “The full iceberg is the extent to which people are seeing those tweets.” For example, the 225,000 posts about the Sept. 26 episode of “Grey’s Anatomy” were seen by 2.8 million distinct Twitter accounts, according to Nielsen’s algorithms.

It is impossible to say how many of those users watched the show as a result of the posts, but previous research has found that Twitter activity sometimes spurs viewership. Twitter has made collaboration with the television industry a priority as it seeks to impress investors; the prospectus for its initial public offering, published Thursday, mentioned television 42 times.

http://www.nytimes.com/2013/10/07/business/media/nielsen-to-measure-twitter-chatter-about-tv.html?ref=todayspaper

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If Aaron Sorkin’s “West Wing” represented an idealized Democratic presidency (powerful people doing good things) and inspired a swath of young viewers to enter public service, the latest generation of political television offers a more dystopian vision of the nation’s capital. The distinctly dark “House of Cards,” on Netflix, serves up powerful people doing bad things, while “Scandal,” on ABC, provides powerful people doing bad things in what they believe are in the service of good things.

But “Veep,” which is in the running for four Emmy Awards this Sunday, including one for best comedy, manages to repurpose politics as lowbrow farce, and offers perhaps the most realistic glimpse at the banal tasks, humdrum days and outsize egos that make up the daily lives of the city’s political staff members: largely powerless people doing … things.

http://www.nytimes.com/2013/09/22/fashion/veep-hits-lots-of-nerves.html?ref=todayspaper

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The popular incumbent anchor, Seth Meyers, is making his own exit in February to spend four nights a week hosting the “Late Night” show on NBC (for which Mr. Michaels is also the executive producer). So a question looming over the new season has been: Who will replace Mr. Meyers and inherit the chair that has provided an almost guaranteed ride to the next level of stardom? (Other recent occupants: Amy Poehler, Tina Fey and Jimmy Fallon.)

In an interview in his longtime office at 30 Rockefeller Plaza in Manhattan, Mr. Michaels revealed his plan for the segment’s future: Starting with the “SNL” season premiere on Sept. 28, Mr. Meyers will be joined at the “Update” desk by Cecily Strong, who emerged as a rising star last year, her first season on the show.

http://www.nytimes.com/2013/09/16/business/media/saturday-night-live-setting-its-new-cast.html?ref=todayspaper

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