Entertainment

How Much is Too Much Television?

Published

10 years ago

February 4, 2015

This image released by Fox shows Taraji P. Henson, as Cookie, in a scene from “Empire,” an original scripted series airing on the Fox network. There were 26 original scripted series on cable in prime time and late night in 1999, and 199 last year, an increase of 665 percent. An additional 25 series were offered in 2014 on Netflix, Amazon or Hulu, services that didn’t exist as original programmers 15 years ago. (AP Photo/Fox, Chuck Hodes)

DAVID BAUDER, AP Television Writer

NEW YORK (AP) — Beth Hoppe loves television dramas. Yet even with a digital video recorder and on-demand services that enable her to watch on her own schedule, there’s not enough time to see everything on her list.

As the chief programmer for PBS, Hoppe has a business reason to stay current. So if she’s feeling overwhelmed, how can the rest of us keep up?

For all of the changes in television, none is more profound than the sheer volume of material available now. From NBC’s “About a Boy” to SyFy’s “Z Nation,” there were 352 original scripted series shown in 2014 on broadcast, cable and streaming services. That doesn’t count news, sports, talk shows, documentaries, movies or reality shows.

There were 26 original scripted series on cable in prime time and late night in 1999, and 199 last year — an increase of 665 percent. An additional 25 series were offered in 2014 on Netflix, Amazon or Hulu, services that didn’t exist as original programmers 15 years ago.

The pace is only accelerating: the number of original cable prime-time series alone has essentially doubled since 2010, according to the FX networks, which keeps count of the programs.

“The amount of competition is just literally insane,” said John Landgraf, FX chief executive.

Cable networks could once run a successful business by showing primarily movies and reruns of old broadcast shows. “That’s over,” Hoppe said.

Viewers now can order an old movie whenever they want through a streaming service and not wait for a network to air it, said Alan Wurtzel, chief researcher at NBC Universal. Despite occasional successes like “The Big Bang Theory,” the taste for past-season network reruns is also fading, in large part because of all the fresh material available. Many reruns, too, can be ordered online for binge watching.

Distinctiveness is crucial now. Networks need shows of their own to establish identities. What was AMC before “Mad Men”? IFC before “Portlandia”? FX before “Rescue Me”?

“People won’t become Lifetime fans because it ran ‘Golden Girls’ for a while,” said Tim Brooks, author of “The Complete Directory to Prime Time Network and Cable TV Shows.” ”But when you produce original shows, especially ones that pop, they come back to the network looking for the next premiere.”

Brooks and co-author Earle Marsh updated their book for a ninth edition in 2007. No more, though. There are just too many shows.

Maybe there will be a saturation point, but it clearly isn’t evident. The market doesn’t really punish failure, Landgraf said. Unsuccessful shows disappear, but networks rarely do.

For viewers, there’s almost never a lull period. There’s a series premiere, or season premiere, seemingly every week. All of the action makes true out-of-the-box hits, like Fox has achieved with “Empire” the past few weeks, more and more rare.

A decade ago a television executive could advertise a new program and take comfort that a potential audience would be motivated to watch, knowing they might miss it or miss being a part of the cultural conversation, Landgraf said.

“Now, why should you pay attention to television marketing?” he said. “Because there are too many shows. Most of them aren’t very good. The good ones are going to survive and you’ll know about them eventually. By the time you know about them, you can just go back really easily and catch up. You can save time by just being Darwinian about it. Say ‘I’m not going to pay attention to television, I’ll just wait for the fittest to survive.'”

If the crowded marketplace offers one advantage for producers, it’s that it makes executives tend to give shows more of a chance to stick. They often can’t immediately be sure if viewers have rejected a show or simply haven’t found it yet.

The competition forces creators to sharpen ideas, increasing the pressure to make something unique. NBC’s upcoming drama “Allegiance,” for example, starts with a major handicap because critics have suggested its plot about embedded Russian spies in the United States makes it sound like a watered-down version of FX’s “The Americans.”

“We’re at a world where passion rules, where social conversation is so important and where people can watch what they want to watch when they want to watch it,” said ABC entertainment president Paul Lee. “So they’re only going to watch the shows that they really love, that they’re really passionate about.”

TV executives have a phrase for it: They say the time of “least objectionable television” is dead.

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Arts and Culture

Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

Published

20 hours ago

December 18, 2024

Oakland Post

Photo Courtesy Of Promise Marks.

Special to the Post

It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks

Marks, who wrote and directed the musical, also owns PM Productions.

Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.

Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.

Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.

“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.

Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.

Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.

Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.

Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.

Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.

“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”

Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.

“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”

The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.

Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”

Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”

Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”

“I’m so proud of my daughter,” said Smith.

Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.

“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.

The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com

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Oakland Post: Week of December 11 – 17, 2024

The printed Weekly Edition of the Oakland Post: Week of December 11 – 17, 2024

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5 days ago

December 13, 2024

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Activism

Black Talk Radio Network’s Recent Podcast Offers Perspective on Nov. 5 Election

“Time for an Awakening” is a Black Talk Radio Network program that runs on Sundays from 7-9 p.m. According to the program’s website, past guests have included Dr. Molefi Asanta, BaBa Ashra Kwesi, BaBa Runoko Rashidai, Dr. Leonard Jeffies, Michelle Alexander. Boyce Watkins, State of Black Farmers series and many others.

Published

1 week ago

December 8, 2024

Oakland Post

Dr. Gerald Horne, left, Obi Egbuna Jr., right. Courtesy image.

Special to The Post

University of Houston Professor of African American Studies Professor Dr. Gerald Horne and renowned speaker and advocate for Pan-African unity, Obi Egbuna Jr, were in conversation on the podcast “Time for an Awakening” hosted by Bro. Elliott and Bro. Richard on Dec. 1.

“Time for an Awakening” is a Black Talk Radio Network program that runs on Sundays from 7-9 p.m.

According to the program’s website, past guests have included Dr. Molefi Asanta, BaBa Ashra Kwesi, BaBa Runoko Rashidai, Dr. Leonard Jeffies, Michelle Alexander. Boyce Watkins, State of Black Farmers series and many others.

With the election in the rearview mirror, Horne, a historian, and author of “The Apocalypse of Settler Colonialism” and “Jazz and Justice: Racism and the Political Economy of the Music,” raised the idea of a Black International Front Conference.

He described proposed locations and the need for independent political organizing in Black communities across the country, with a focus on local elections and alternatives to the direction of Black political leadership.

Joining the conversation in the second hour with valuable information was the External Relations officer to the Zimbabwe-Cuba Friendship Association, and former correspondent to the Herald, Zimbabwe’s national newspaper, Obi Egbuna Jr. A poet and playwright, Egbuna is most known for his passion in creating ties within and among the people and nations of the African diaspora.

He has organized chapters of the Pan African Student Youth Movement in St. Louis, Missouri, Seattle Washington, Charlottesville Virginia and Chicago, Illinois, Egbuna has also written several Resolutions to the United Nations covering a wide range of issues, including HIV/AIDS in Zimbabwe and Police Brutality issues in the United States.

To listen to the podcast, please go to https://timeforanawakening.com/?powerpress_pinw=111154-podcast.

Sources for this story include Wikipedia and Time for an Awakening media.