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The Joey Fatone Experiment



Ahh the archives of telly.

A few years ago in John Safran's Music Jamboree the SBS star had a bit to say about N'Sync. They'd had a few hits by then. Justin Timberlake still wasn't a soloist. And Joey Fatone? Well it was years before The Singing Bee was ever thought of.

In his inimitable style, Safran was at pains to work out Fatone's talent.

"From what viewpoint, from what perspective, in which parallel universe is this guy good looking enough to be in a boyband?" asks Safran. "Tell me there aren't 17 people living in your block of flats better looking than him? And don't give me this skin-deep shit. He doesn't even write any of the songs. If you're in a boyband and you're not good looking, what are you?" Read more...

Scorecard: Fast-tracked shows

So we're an average of 4 - 6 weeks into "fasttracking / direct from the US / streaming direct" depending on which network spin you listen to.

And how are they faring?

There are about twelve major dramas and comedies on our screens on quick turnaround (discounting chat shows). As a relatively new exercise in Australian programming there have been some tough-love lessons for networks. Viva Laughlin would never have aired and fallen over if Nine was programming the old-fashioned way. Damages fumbled through too many encores. Californication has attracted right-wing protests. Bionic Woman isn't getting the word-of-mouth it might have enjoyed.

After all is said and done what's the lay of the land?

TV Tonight has assessed the batch based on the turnaround time between US - Australian airing, the critical reception, local audience ratings, reviewed how sensibly the networks have programmed shows and stuck by the audience, and thrown in a "wow" factor - whether the show has its own intangible buzz.

Each show has been scored out of 25 points.

HOUSE (TEN)
Screening turnaround: 4
Critical reception: 4
Audience ratings: 5
Network commitment: 5
Wow factor: 4
TOTAL: 22
Dr Cranky only misses top marks because he’s without his sidekicks and TEN waited 3 weeks before launching it.

CALIFORNICATION (TEN)
Screening turnaround: 4
Critical reception: 4
Audience ratings: 3
Network commitment: 4
Wow factor: 5
TOTAL: 20
TEN has stuck by this candid, sometimes shocking, drama amid a wall of criticism, only occasionally dropping the ball. A drama about apathy and the disintegration of the American family.

MY NAME IS EARL: (Seven)
Screening turnaround: 4
Critical reception: 3
Audience ratings: 5
Network commitment: 4
Wow factor: 3
TOTAL: 19
Consistently funny with a loyal following in a generous timeslot. But we actually started with the tail end of the last series.

LIFE (TEN)
Screening turnaround: 5
Critical reception: 4
Audience ratings: 2
Network commitment: 5
Wow factor: 2
TOTAL: 18
Good reviews for Jason Lewis haven’t yet locked in local audiences yet. But Wednesday nights have been a nightmare for hot competition.

BIONIC WOMAN (Seven)
Screening turnaround: 5
Critical reception: 3
Audience ratings: 3
Network commitment: 5
Wow factor: 2
TOTAL: 18
Everyone came to the party, but they have been disappointed by cliché dialogue and soapie storylines. Losing ground fast and potentially a missed opportunity.

HEROES (Seven)
Screening turnaround: 5
Critical reception: 3
Audience ratings: 2
Network commitment: 5
Wow factor: 3
TOTAL: 18
Season 2 is slow-going with lots of unresolved and elongated plots. The series equivalent of a superhero changing outfits in the phone-booth.

K-VILLE (Fox8)
Screening turnaround: 5
Critical reception: 3
Audience ratings: 1
Network commitment: 5
Wow factor: 2
TOTAL: 16
If it wasn’t for the fact that this cop show was set in post-Hurricane Katrina New Orleans it would be just another cop show. Foxtel dabbles with fasttracking while everyone waits for Gossip Girl.

PRISON BREAK (Seven)
Screening turnaround: 4
Critical reception: 3
Audience ratings: 2
Network commitment: 3
Wow factor: 3
TOTAL: 15
The show that re-packages itself every season is struggling in Season 3. Off air this week while Seven plays catch-up.

SUPERNATURAL (TEN)
Screening turnaround: 3
Critical reception: 2
Audience ratings: 3
Network commitment: 5
Wow factor: 2
TOTAL: 15
Teeny spook show that plays it safe and sexy. Hard to pick the difference from the last season.

DAMAGES (Nine)
Screening turnaround: 2
Critical reception: 5
Audience ratings: 1
Network commitment: 2
Wow factor: 4
TOTAL: 14
The reviews have been stunning but Nine shot itself in the foot with too many encore episodes and twice-weekly premieres which only confused the audience. To do so on a complex, multi-layered thriller was a major blunder. Even the US audience has shown it’s hard enough to stay focussed without added scheduling tricks.

WITHOUT A TRACE (Nine)
Screening turnaround: 4
Critical reception: 2
Audience ratings: 2
Network commitment: 3
Wow factor: 2
TOTAL: 13
Anthony LaPaglia comes to Nine’s rescue as it bumps Damages. Otherwise it wouldn’t be here yet.

VIVA LAUGHLIN (Nine)
Screening turnaround: 5
Critical reception: 1
Audience ratings: 1
Network commitment: 2
Wow factor: 0
TOTAL: 8
Nine could have protected itself from the media flak over this if it hadn’t been aired direct to screen. It has learned the hard way there can be a downside to being so quick off the mark.
Read more...

Thursday = Strike

Only two more days to go before the Writers' Guild of America goes out on strike creating havoc in the film and television industry.

As previous reports have noted, the strike with producers and studios is over "out-dated" agreements that do not reflect new technology and writers angry they are missing out on due reimbursement. Webisodes, mobile and reality television remain a sticking point (yes reality still has writers, who concoct situations, events and dramatic arcs). Producers argue that anything streamed online is promotional only and not up for residual payments.

The last strike stretched on for 22 weeks.

Most studios have been stockpiling scripts in readiness for The Big S and have contingency plans, many of which ironically involve padding out their schedules with more Reality TV.

But if this strike lingers what are the real-term effects for viewers?

  • Late night talk shows will be the first to feel the pinch. All those introductory gags from Letterman, Leno and Conan that are penned on a daily basis? Gone. Or at least changed. This should become obvious in Australia on TEN and the Comedy Channel within the week.
  • American soaps. Within a month these would run out of fresh scripts. Aussie networks have an advantage of being further behind the US before this would be noticeable.
  • The American Awards season would be hit next. The Golden Globes due on Jan 13 would have crap Host patter (as opposed to....?).
  • 'Mid-season' season shows like 24 and Lost may need to delay their return, due in the new year.
  • Series drama would be next after their stock of completed eps and new scripts starts to trickle out in the new year. In Australia 'fasttracked shows' such as Heroes, Supernatural, Without a Trace and House would be the first to falter. Shows that are currently on air in the US but not in Oz (Desperate Housewives, Grey's Anatomy) would have a longer buffer zone.
Read more...

The science of TV marketing

The Australian Research Council is funding a research project to work out how just people hear about new TV programs.

It will be conducted by the Ehrenberg-Bass Institute at the University of South Australia which specialises in market research.

"The nightmare for programmers is the show that could have been a hit, but flops, not because it isn't a great show, but simply because people didn't know about it," said Senior research fellow Jenni Romaniuk.

Yeah, like Damages perhaps?

An interesting problem, but one which should be fairly well understood by our networks already, surely? And if not, one would hope they are helping to finance this, along with the advertising industry.

But I'll give them an answer for free: word of mouth.

Despite all the money spent on marketing in newspapers, billboards, radio, bus shelters, internet and magazines nothing has the influence over word of mouth.

And while we're at it, let's throw messageboards and blogs in there too, something Aussie networks are slow to recognise. In America every new show that is launched has a blogging toolkit on its official website so that fans can add the latest info to their wesbites, MySpace and Facebooks with ease. Ok now I'm just being biased. Back to the story at hand.

"We all miss quality programs because we fail to hear about them and end up watching some programs we wish we hadn't," Professor of Marketing Science Byron Sharp. That's pretty sharp, Professor Sharp.

And as readers of this site will tell him, if networks bothered to advertise some of their other content (Weeds), or didn't confuse audiences with encores (Damages) or didn't drop their shows (Smallville) or didn't bring them back (Veronica Mars) audiences might know where to find their favourite shows in the schedule too.

Otherwise they will find them somewhere else: on downloads.

Source: Herald-Sun.
Read more...