Showing posts with label TV. Show all posts
Showing posts with label TV. Show all posts

Thursday, March 16, 2023

What happens when you stop watching television? by #KylePhoenix

 

Whoooooohoooooooooooooooo!

Life changes dramatically in first your attention span and patience. The Dali Lama said that the world would be radically shifted if more people learned to sit quiet for 15 minutes alone.

So I often meditate, alone, quietly. Most times I read, 5 books a week, a lot on subways as I’m traveling to and fro. But other times I simply sit calmly, hands folded and listen to my music, simply BE for the trip.

Often roommates have nervously complained, my parents did too, okay lovers as well—-that they couldn’t tell when I was home, in my bedroom, because I’m pretty quiet. It’s not like I’m tiptoeing I’m just generally writing—-I hand write all of my books first, or typing up hand written notes or reading or reading stuff online.

When I do watch Netflix or Amazon or Hulu, I tend to watch it with the subtitles on. Now, I know I’m not going deaf but I don’t like lots of loud noises, sounds, etc. and the constant barrage of music in things as well as the dubbing and sometimes speed which people speak makes reading along easier. Plus I often get a deeper meaning from the film. I also use this as a very specific, layered teaching method when I use videos in class—-it forces people to detach from becoming mentally lost or absorbed into a video. And to concretely absorb the ideas, point. Plus with undereducated folk, it shows them words, the spelling and usage and grammar or words and sentences, passively, fast. I have my students do it at home with their regular entertainment and their reading and comprehension scores skyrocket. It’s like the brain is both seeing, reading and comprehending.

That’s what I do without regular TV, people always ask——like how did you get through the war without a gun?

TV has become most people’s God. When I’m sitting on those trains, not reading sometimes, I now watch right hands full of small screens—-not even silly games as much—-watching videos—-TV as soon as they have a moment TV watching while walking. It’s got a different name——videos, streaming, etc. but it’s the same—-penis, dick, schlong—-we know what we’re talking about.

One, just as propaganda I can hear, especially as teacher, when a person watches too much TV. They sound like sound bites. They talk too fast. They’re emotions are—-stunted. I think what is happening is being fed so much information, technically more than the human brain can handle at 28 bits per second—-I have a TV show, I often contemplate experimenting with the structure of the content because sometimes I’m editing down to the half second. Yup, I could put something in that your brain would absorb but your eye wouldn’t “see”.

I think about that power and then I think about folk who would just do it…..for billions of dollars.

Two, the distorted information I see of TV when I do see snippets—-it goes too fast, they talk to fast, the speed of commercials is upsetting. But to distortion, the constant reinforcement of hegemony, of racism or misogyny of classism of hyper-consumerism. See when you watch it, you think it’s par for the course—-in faster than you can filter—-which is another reason why I use subtitles, it’s an artificial filter to the brain—-so you simply dump truck it into your mind.

When you don’t watch it, purposefully ignore it and then look at it, it’s like a scream, a structured scream. Maybe because I also have a TV show for 14 years now where I go into a studio and me and others construct this TV show and it broadcasts—-I see the sausage being made from Gertie the pig slaughtered on the farm to Gus the ripe smelling butcher stuffing casing in the back——having never washed his hands——to the rat that fell into the grinder that the Quality Control Team associate was shocked but said nothing about——so TV to me looks like a cacophony, a slow motion mind rape. It’s loud, screaming false, distorted values and does so faster than your biological brain can filter it.

Three, the ability to question it as you watch it or stop it and consider. You watch and essentially even if you disagree with the context, you’re agreeing to the insertion of the content into your mind. It’s like disagreeing to baseball as a game but playing baseball with friends. A book you can put down, highlight, research. A film online you can even pause it, check it out, think about it—-sometimes I look a thing up on Wikipedia—-especially long series to just nutshell it for me and allow my imagination to complete watching Season 7 thru 15. (Who will ever watch 20 seasons of Supernatural? lol)

Four, you’re paying for the dreams of others. I often point out to students that when you watch TV you’re looking at an actress, say Jennifer Aniston for insanity’s point. She’s living out her dream. She likes her work and she’s paid amazingly well for it. She’s now at a point where she has more control and freedom. She’s living the Jennifer Aniston career dream which includes fame and money. And you’re sitting on your couch in a studio, eating Cheetos, watching yet another dullard episode of Friends before you doze off to go to a job you hate. You’re watching someone else live out their dreams——and paying streaming or cable or even electricity rates for the privilege of doing it (being a battery in the Matrix.)

I then point out the huge thing you must always remember—-Jennifer Aniston never sits down to watch your life, no aspect of it. She would call security, drive away, slit her wrists if forced to watch your life. She is so uninterested in everything you do that we couldn’t even get her to try watching your life for more than a few minutes before, based upon even just her pay scale/hourly value alone, she found you tepid and boring, got up from the sofa and walked away. Your life has no value to the thousands of people that are on your appointment schedule of TV/videos. Maybe not Jennifer but I’m sure thousands of others, including TV executive consider you less than a blip, barely human beyond your watching of their product….because like a drug dealer, they know you’ll be back.

I’ve never done drugs.

TV, videos, films are in medium to large doses, pacifiers—-which is why there’s no revolution—-cant get folk off the sofa and the TV programs folk what to think, how to think, not to think too far. And you’re upset at so many reboots? That’s called smashing the product—-smashing a pound of heroin with a pound of aspirin and baking soda to create 3lbs that you sell at heroin prices. A little less potent but throw in a teaspoon of fentanyl and what junkie really knows the difference. Which is why you’re on your umpteenth Superman, hospital drama, cop drama (you wonder how you live in a totalitarian state and watch decades of iterations of Law & Order?), constant mayhem and vicious violence—-how many people have you and your kids seen “simulated” killed on TV? Women? Parents? And you wonder why kids going on killing sprees after decades of this?

It was designed to control people, make a profit and repeat.

I should know, I have a TV show for 14 years. The smart move is to never do the product, but keep smashing and selling. Every dealer knows that.

  • Life is quieter, my emotions less frazzled. I don’t know when I’ve been stressed longer than a few minutes.
  • I sleep better.
  • I think better—-I focus faster, easier.
  • I think deeper.
  • Sex is better.
  • Food tastes better.
  • Reality is richer because I’m not trying to supplant it.
  • I communicate better.
  • I’ve written a hundred books.
  • I like people more. I communicate in person and notice mental illness and anxieties faster in people.
  • I feel better as a human being and I’m more productive.
  • I’m thankfully, not you.

#KylePhoenix

#TheKylePhoenixShow

Tuesday, January 10, 2023

Why is it challenging for certain people to watch a long-running TV series? I believe attention span is a factor, although I could be wrong. by Kyle Phoenix

Because it tends to show strain, weariness weakness over time.

See what happens is that a show, a pilot is created, an idea is funded because it’s just like——such and such——but different enough that it isn’t such and such but will absorb some of their audience. There’s only a small fraction of the population actually supporting genres, ideas, etc..

So our Show——Reboot gets picked up for a full season 13 to 26 episodes for streaming, cable, network TV take your pick.

Season 1=Now the first season, has got to prove on its original concept. Easy enough. Exciting, new fresh, excitement form the team at working together, guaranteed paychecks. Most actors and actresses are getting $10 to$250k an episode so they’re happy, satisfied.

Season 2——now it’s been guaranteed another full season and the creative team gets to try some things out, delve into some character seeds planted in the first season. Everyone is still happy and the number are averaging—-2 to 10 million viewers will keep you on adjusted streaming, cable, network TV.

Season 3 is really solid time—-when the team has gelled, the audience is set and committed and the budget has gotten a little bump because of 50 to 75 episodes being able to be syndicated. Seasons 4 and Seasons 5 are generally guaranteed at that point.

Season 4 and 5, guaranteed, gives the whole team space to spread their wings, tell their own stories, experiment, challenge, try out some new ideas. But a shift happens due to the relative success of making it 5 seasons. Making it that far suggests that it could go farther—-6,7,8, 9 or more Seasons. Which is good and bad at the exact same time.

It’s good because a series gets to last and folk get to be paid and mortgages paid and so on.

Bad because money, fame and power shift by Seasons. Seasons 1 to 3—-are generally controlled entirely by the network/production company—-because they’re funding—-extending cash/credit, using all of their relationships to make the show a hit. And it works.

Seasons 4 and 5, it becomes about the creative team—-writers, actors, directors——the power has shifted because now the ensemble is usurping the most valued on the project.

Then Seasons 6,7, 8, 9,10+ it becomes about two things: the talent—-the actor stars and the production team——producers, writer, show runners—-who are tasked with making the show sustainable—-like a new show, maintain or increase those numbers of viewers and/or revitalize the show which means bringing in new creative folk and cast members but not abandoning the core 2 to 5 million audience that has kept the show floating to Season 6. It’s a controlled freedom that begins to cost more and more to produce—actors are generally signed to limited contracts, 1–5 years, or the midpoint so the popular ones, everyone basically has to get a bump up in salary—-especially your break out characters. The same for your creative team plus the cost of bringing in new people, new sets.

A show gets more expensive the longer it goes on.

From the Audience Perspective

In trying to serve all of those perspectives, interests and expenses, a show’s audience falls into two groups—-old and newly attracted. Particularly if say the show ended before a new audience discovers it streaming or on DVD.

I discovered Breaking Bad a few years after it had gone off of the air. I started watching it on Netflix—-I got about 2–3 seasons in. And stopped. For a couple of years. I thought it was interesting but “meh”.

My mehness had to do when a show inevitably shifts from absolute production control to trusting the creators and actors to innovate so I returned a couple of years later—-knowing that the “book ends”, the show closes out. Now they’re more dynamic, got more money, the stars are comfortable, etc.. But that comfort edges into familiarity and a creative-success laziness. Plots repeat, in jokes happen constantly, people phone in performances——there is very little new territory to go with the beloved characters.

Then you start realizing how longgggggggggggggggg a show is. And there are very few plots that can keep going that long so they start doing things to save money for bigger episodes—-like the single room episode—-where the characters are trapped in a space—-less production costs——every long running show has one or many of them. Then actors are now so expensive or want to do other things so they start limiting the amount of episodes they’ll do. That ingenue started out greedy for Season 1, 26 episodes, but by Season 6 is down to 18 a season so she can pursue a movie career.

At the same time the writers and producers change because they are more easily replaced than the faces of the show. So the stories change in tone, depth, darkness, etc. as new writers try to make an older show—-new in feeling and ideas.

A viewer cannot sustain attention and a productive human life with all of these floating pieces——which is why there re a hundred other competing shows to switch to. It’s not that our attention span is shortening for 200+ episodes of Cheers or Star Trek or Supernatural—-I would never go near Supernatural, where to start? Why to start?

What happens is I have 100 other options that might have a twist or idea or cast—-I’m partial to lots of foreign fare on Netflix—-Turkish, Spanish, Indian, Korean, Japanese——so Breaking Bad really isn’t that Avant Garde for me though I’m American. And access to foreign fare with decent budgets and unfamiliar actors, gives me that suspension of disbelief an audience is looking for.

I don’t watch TV regularly but when I do flip something on it’s for something with a finite time frame or a newness or a foreignness to it.

The psychology of not watching TV is that I’m not looking for a deep comfort from fiction or TV in that way. I’m not looking for it to fill spaces in me or illuminate new sectors of life and the world for me. I’m looking for more specific fare/interests, probably by genre and mood.

I’m watching Toy Boy now—-a telenovela from Spain about a stripper who has been framed for multiple murders. It’s slick, earnestly acted and there is a dance number in every episode, a homoerotic couple that took TEN episodes to culminate in a kiss—-I had settled on their tentative hand holding as Spain's answer to same sex fucking.

I’m 10 episodes in——mainly because the episodes tend to be over 60 minutes. But it’s taken me all of 2022 to get that far—-they have since produced a 2nd season. What holds my interest—-I watch an episode every few weeks—— is that it has slowly become more and more complex and every episode involved this stripper being arrested for a new crime (lol) but it’s so earnest. Everyone’s motives are paper thing but believable and the writing has an honest quality to it that no one can keep a secret for longer than two minutes—-they all tell each other the truth. Constantly. Too much.

But that character honesty means that each episode I’m not just caught up but moved along. It’s like a really tawdry massive book that never resolves anything in a chapter but keeps it moving to the next one. Populated by excessively sexual and pretty people. Except for the Black stripper and the short one—-who are part time gigolos. But the mute stripper gigolo bisexual-homosexual gets a lot of frustrated almost-play—-yet his stripper pals have never treated him in any homophobic/judgmental ways—-as if they could with their murdering, drug dealing ways—-but still…..these are non-judgmental, supportive stripper bros.

And I have Season 2 to look forward to in a couple more episodes. No, I’m not sure who the murderer is of the original decapitated burnt to a cinder body on the strippers boat that got this all started but I do know that a lot of folk in Spain are pretty and going to both strip clubs and sex parties. lol

I am also slightly unsure who is the murdered body, who is the decapitated body, who is the pedophile and who is the real for real, totally real villain.

But it’s not so gargantuan in episodes that I don’t think by the end of the year, I won’t have my answers that spin dry me into a whole other mess with these pretty, always half dressed, angst ridden, highly sexual people in Spain.

Don't let me start talking about Johnny Handsome, Remarriage Desires, She or 365 Days. Perhaps with less budget, foreign products work harder to make good content that will draw you back.

Americanized/Westernized are star laden vehicles. At the end of Gray Man I expected Ryan Gosling and Chris Evans to hi five each other and yell—-”Got that check!” ( I ain’t mad at them.)

It’s not attention span, it’s quality over time and commitment to that. By the end, I think 7 years to watch a 5 year show, I still thought Breaking Bad was “meh”.

#KylePhoenix

#TheKylePhoenixShow

Sunday, October 28, 2018

What makes syndicated TV shows so profitable? Answered by Kyle Phoenix


Kyle Phoenix
Kyle Phoenix, Writer and student & Instructor at Columbia University

SynFin syndication finance is broad but simple. There are two kinds, first run and repeat. TMZ is in syndication, it is a produced show that is then shopped around to markets/affiliates by their owners -parent company independently or as part of a package.











  • Acme Production says to Nebraska Channel Five Affiliate Station: I'll rent/lease TMZ to you.
  • 500 episodes in 100 pack chunks, to air five days a week, so each pack will cover 20 weeks and you can freely repeat each 1, once, within the 20 week window.
  • A morning and late nite episode.
  • Then a rate is set, lower rate based on how many packs you purchase upfront.
  • Lets say $10k per episode, $5 million to be paid in ten payments over 100 weeks...weekly, monthly, generally within in 30-60 window because Acme might need that money to produce the episodes----Acme raised cash to cover 100 episodes but needs revenue for the additional 400.
  • The total 500 episodes might cost Acme $500 million so Nebraska, channel 5 is one of 220 affiliates we'll be selling to.
  • We still need to raise a total package of $500 mil , so that's at least 100 affiliates BUT some are part of a Network that might hold say 25-50 affiliates in its swath so there might be a manager for each affiliate but a regional manager who buys for an entire state, we don’t have to knock on 100-200 doors, maybe only two dozen.
  • There's an annual event in Vegas where everybody with a show, station/affiliate, network and stars meet to cluster fuck, schmooze and make deals.
  • There are about 250 TV affiliates in the US. (Think of them as “regions” of connected television stations.)


So in example one:
  • multiple buyers,
  • one product
  • and perhaps more stringent caveats in the contract on time,
  • allowable repeats,
  • non compete clauses with other Acme shows.
  • There's a massive board at Acme mapping the country essentially.
  • Sometimes Acme cares more for certain areas than not,
    • NY, La, Chicago, Florida for TMZ
    • but not maybe Idaho
      • (so while the profit might seem greater it might not be worth the trouble to try to get all 250 affiliate stations because Idaho maybe can't afford 500 episodes or the ratings are so low in that market for that kind of show that they'll be an incomplete purchase of maybe 200 episodes on a 500 episode contract but Acme just spent more on the show thinking another 3$ million was coming in. Better to go for ripe low hanging fruit in gold demographic areas first.)
The second kind is say:
  • Roseanne the TV show.
  • 9 seasons,
  • 190 episodes in the can for resale (pre 2018),
  • family friendly,
  • woman friendly,
  • sitcom,
  • can be repeated in multiple iterations. As much as four times a day on a channel or more.
  • So the station could have Roseanne weekends, 48 hours, close to a hundred episodes twice a month plus five times a week regularly.
  • You could damn near see her every day if the right package is purchased from Acme.
Everybody Gets Paid Differently Based Upon Their Mentors, Value and Knowledge of Deal Negotiation GOING IN
  • Now Roseanne herself says she gets about 10-20% of royalties because she was a comic with no TV syn fin experience or mentors.
  • Oprah got 50% per episode, divvied up with King World because Bill Cosby advised her to get an ownership deal of show...as an owner you now have to build or rent studio for production and pay for it out of your half but once you build or rent once, costs of operating level out.
  • Oprah had owner reinvests revenues from affiliates after paying off a four year loan to build studio.
    • Studio costs 30$ million.
    • Her show was in 230 affiliates around country ,
    • negotiated, delivered and distributed/monitored by King World.
    • So each is paying $2 million a year for 200 episodes with 1 repeat right as first run and say half for repeats generally.
    • King World gets $230 million a year,
    • Oprah gets $230 million a year.
    • Oprah then multiple times at contract re-up time re-negotiated with King World to get cash, stock to keep their distribution contract alive
    • she’s able to say instead of delivering 200 shows every year this go around it’s 190, next time 175, then 150, then 132.
    • In the beginning she had to deliver 220 episodes, by the end, 25 years later, 132---the proportional value of the shows went up and there was less cost each show by a factor of almost 50%.
Each has to maintain their operating systems and staffs but after say two years all debts are paid and $230 million+ is still coming in to just pay production/staff overhead.
Roseanne gets $23 million on the above deal, Oprah gets $230 million.
Roseanne might wear out its welcome for an affiliate in five years (1000 episode broadcast), Oprah can say every year: I'll have new fare, I won’t get stale for years...approximately 4800 episodes----hence her exclusive syndication deal with Discovery that includes new shows, half ownership etc.. She's literally her own producer and purchaser and profiteer with the Discovery deal and most importantly, she could streamline, sell facility in Chicago lease small space and still bring in company revenue without repeats of shows being the only revenue. (Which she has as of 2016 to 2018 and then the subsequent production/development deal with Apple)

  • Cosby gets upward of 25-50 % on all of his shows,
  • Seinfeld 25% (which is why Jerry Seinfeld is worth over $800 million and Larry David over $250 million)
  • Cheers cast/[producers 25–50%,
  • I Love Lucy Ball/Arnaz—50% at least if not more, because Lucille Ball, Mary Pickford and Oprah Winfrey are the only women so far to have owned their own production/TV/movie studios
  • Golden Girls their parent companies get about 25%. (the actors got their paychecks and would get residuals (depending on your number of episodes it could be as little as pennies or if the show is successful it could be a working/livable salary of $30-$75k a year---which is why The Cosby cast was upset at his show being pulled, it's like a form of a 401k for actors)---which is like a micro paycheck off of every time the episode they are in is replayed.  It used to be that 10 airings of the episode were all you'd get residuals for but the Brady Bunch/Gilligan's Island cast changed that after their shows were hugely successful and in constant re-run syndication and they no longer got residuals.)

Actors get residuals on each episode but only for a certain amount of repeats per deal, DVDs (Roseanne gets 25% off of the DVD sales), Video on Demand downloads of 1 to 3%, maybe ten times, maybe perpetuity. Brady Bunch and Gilligan Island cast got it ten times then never again. So they were shut out of revenue stream within a few years, hence bad reunion movies. Same thing for Star Trek. Which is why actors want big salaries up front at first because they might only get paid once and then micro checks in five, ten years. All of their syn fin money might equal the same as that first paycheck but be re years apart.
It's a process that works best as an owner but you have to have the weight to get a piece as a production partner and not talent. And then the financing to open a production facility and absorb some of the upfront costs.

An excellent book on this---you know I gots to drop the knowledge receipts---is Jeff Ulin's The Business of Media Distribution, Second Edition: Monetizing Film, TV and Video Content in an Online World (American Film Market Presents)

www.kylephoenix.com

Smile, Kyle
KylePhoenixShow@Gmail.com
#KylePhoenix
#TheKylePhoenixShow
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Friday, August 17, 2018

Joe Morton Says Some Eerily Accurate Things About White People That Is True

Dropping truth on Dinner In America, Joe Morton says some eerily chilling things about the nature of white people and describes them as being the virus of the world.
Joe Morton Says Some Eerily Accurate Things About White People That Is True
Dropping truth on Dinner In America, Joe Morton says some eerily chilling things about the nature of white people and describes them as being the virus of the world. Much truth is often stated in satire and what he said made my hairs on my arm stand up. First time in my life I have ever white people described so accurately on mainstream television.

Saturday, June 30, 2018

Kyle Phoenix Answers: What is the appeal of Dr. Phil?

Image result for dr. phil and oprah


I don't watch tv so I see him maybe once or twice a year while in hotel rooms but I think he's been able to hone his voice and attention to a fine point. I don't think he's necessarily done anything wrong though it is interesting to watch him dance around ethics and legalities. He filled part of the space Oprah occupied on free daytime and like a Venn diagram expands into areas she couldn't.
His show strikes me as more questioning of just what the hell is this person's thinking, while hers was understanding their thinking.
He's also been a solid partner to bring in revenues to Harpo during and after the show plus solidify Oprahs relationship with Viacom/CBS which through the absorption of King World, her former distributor, she's a partial owner in.
The Dr. Phil show was a leverage play against ABC/Cap Cities to renegotiate her shows contract and not leave ABC and an appeasement and expansion tool.
There are no fools on that boat.

Smile, Kyle
KylePhoenixShow@Gmail.com

#KylePhoenix

#TheKylePhoenixShow


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