Hasta La Creative!

With two-thirds of the 2017-18 broadcast campaign on the books, the TV business is in the very thick of pilot season, the annual ritual in which fiscal improvidence and an excess of creative caution join forces to relieve the networks of around $500 million in development costs. Thus far in the process, 76 scripted projects are in the running for the upcoming season, and if precedent is anything to go by, less than half of them will be picked up to series. In other words, advertisers and media buyers in mid-May will be pitched 35 or so variations on the zany workplace sitcom, the gritty police procedural, the whimsical genre mash-up and the gratuitous nostalgia exercise that is the reboot/revival.

In between cut-downs of shows about CIA werewolves, psychic flatfoots and Dracula, DDS, the broadcast bosses will indulge in the usual amplified boasting about how splendid everything is, and somehow each and every network will have figured out a way to position itself as TV’s top banana. The PR types clustered around the theatre will punctuate even the most specious claims of ratings dominance with the sort of sustained hooting rarely heard outside an aviary, buyers and clients will roll their eyes and sigh a bit, and the members of the press who’ve been corralled at a safe remove from anyone worth speaking to will dutifully tweet their impressions of the proceedings to their followers, of whom roughly a third will be in attendance.

Pre-scripted ballyhoo aside, broadcasters in May will have little cause for celebration. Except for NBC, which last month sucked all the air (and ratings points) out of the room with its back-to-back coverage of Super Bowl LII and the 2018 Winter Olympics, broadcast impressions continue to Costanza, and three of the Big Four networks are on pace to post record seasonal lows in their respective target demos. At present, only two scripted series are averaging 3 million adults 18 to 49 or better in live-same-day Nielsen measures, and nearly 40 percent of the 78 scripted shows that have aired since the season began are delivering fractional ratings. Put another way, they reach less than 1% of the demo most coveted by TV advertisers.

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Scandinavian brands bear a stamp of open duality. They embrace the extremes of individual genius in their creation and ubiquitous benefit in their application.

The argument that YouTube is not a content creator, simply a platform, does not absolve it of responsibility for its output. The ethical problems this ad-funded ecosystem poses to advertisers and society as a whole are increasingly difficult to ignore, Nicola Kemp says.

James Page is going to stick with saying ‘cheers’ after watching Bud Light’s new campaign.

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Diesel is a lifestyle brand for rebellious and irreverent people. They challenge norms and prioritize having fun over following the rules. Our Idea is to create pint ads that will embrace the absurdity of the current news cycle.

Advertised brand:  Diesel
Advert title: Stormy News
Translation of headline to English:
Advertising Agency: Miami Ad School, NY, US
Tutor: James Wohl
Art Director: Alessandra Divizia
Copywriter: Burk Smyth

The post Diesel by Miami Ad School appeared first on DesiCreative.

Havia alguma coisa estranha naquela mulher. Sua postura era um pouco arcada, como se estivesse carregando um grande peso nas costas. Seu olhar era atento e beirava a paranoia, procurando à sua volta qualquer coisa errada. Suas palavras eram quase sussurradas, como quem conta um segredo que não deve cair em ouvidos errados. De fato, …

O post SXSW 2018: Chelsea Manning, uma radical livre apareceu primeiro em B9.

Toys “R” Us Inc. CEO Dave Brandon confirmed to employees on Wednesday that the chain will be closing its U.S. operations, according to a person with knowledge of the matter, a move that leaves the nation without a major toy-store chain.

Brandon addressed workers at the company’s headquarters in Wayne, New Jersey, laying out plans for an orderly shutdown of the business, the person said. The company will file a motion for the liquidation in bankruptcy court, according to the person, who asked not to be identified because the announcement isn’t yet public.

Bloomberg reported on Thursday that the move was imminent, following unsuccessful attempts by the company to either find a buyer or reach a debt restructuring deal with lenders. Toys “R” Us’s U.K. unit is also closing down after a bidder failed to emerge, but there’s still hope for the Canadian operations. A group led by MGA Entertainment Inc. is contemplating a bid for that business.

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Virtual reality: great for intense gaming experiences and apparently, immersive and socially important films. At least that’s what Oculus is trying to create with its VR for Good’s Creators Lab program. The company’s program pairs VR filmmakers with nonprofits to create compelling films dedicated to a cause. This year, three of the 10 films were…

Ainda assim, maioria das assinaturas são fechadas pelo computador

O post Netflix diz que 70% de seus assinantes assistem o conteúdo pela TV apareceu primeiro em B9.

United Airlines faces a deepening public outcry after a dog perished in an overhead bin on one of its planes, prompting a senator to demand an explanation for the carrier’s industry-high rate of animal deaths.

Eighteen of the 24 animals that died on a major U.S. airline last year were in United’s care, Louisiana Republican John Kennedy wrote in a letter to United President Scott Kirby on Wednesday. By comparison, Delta Air Lines and American Airlines Group Inc. each reported two deaths, Kennedy said.

The dog’s death is the latest incident putting a spotlight on United Continental management’s handling of public relations scandals. CEO Oscar Munoz drew scorn for his response last April when a passenger was forcibly dragged from a plane. Just weeks later, a giant rabbit died while in United’s care.

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