CBS handed full season orders to The Neighborhood and God Friended Me?!?
Fox did the same for The Cool Kids??!!
A very emotional Shark Tank last night. Click here to see for yourself.
Netflix has canceled Luke Cage.
Netflix has renewed Disenchantment.
I’m really struggling to get through episodes of season 2 of Making A Murderer. I am finding season 2 boring and at this point, do not think I’ll get all the way through it. Nevertheless, more below.
“The Daily Show’s Trevor Noah is heading to Netflix next month with a brand-new stand-up special. The Comedy Central late-night host announced today that the special, titled Son of Patricia, will make its Netflix debut just a few days before Thanksgiving on Tuesday, November 20. Son of Patricia, which will touch on ‘racism, immigration, camping and more,’ marks Noah’s second comedy special for the streaming network; his first special, Afraid of the Dark, premiered back in early 2017.”
Amy Schumer had this to say about the NFL and the Super Bowl: “I wonder why more white players aren’t kneeling. Once you witness the truly deep inequality and endless racism people of color face in our country, not to mention the police brutality and murders. Why not kneel next to your brothers? Otherwise how are you not complicit? I think it would be cool if @maroon5 backed out of super bowl like @badgalriri Did. I personally told my reps I wouldn’t do a Super Bowl commercial this year. I know it must sound like a privilege ass sacrifice but it’s all i got. Hitting the nfl with the advertisers is the only way to really hurt them. I know opposing the nfl is like opposing the nra. Very tough, but don’t you want to be proud of how you’re living? Stand up for your brothers and sisters of color. And the hottest thing a guy can do is get down on one knee. Not to propose but to reject the treatment of his teammates by this country. Anyone who says its disrespectful to our military please read up on the fact that a lot of veterans are proud of what @kaepernick7 is doing and fully support him. What are your thoughts?”
My thoughts are that you should STFU. No one cares what you have to say.
“Facebook Watch has ordered a property series from British production company Barcroft Media. The digital platform is to launch five-part series Most Incredible Homes in a deal that is thought to be the first original commission for a UK indie. Most Incredible Homes, which consists of 12-minute episodes, will launch on the service on November 3 with episodes dropping weekly. The show reveals astonishing dream homes from around the world. Each episode visits three incredible real-life homes to meet their owners. From the luxury jungle tree house in tropical Costa Rica to the car-shaped home created by a petrol-head in Austria, the series travels the globe to experience the world’s most unique and extraordinary properties. Additionally, each week, the Most Incredible Homes community on Facebook Watch will get the chance to vote for their favourite property at the end of the show with viewers ultimately deciding which is their favorite via Facebook’s new video polling feature.”
“AMC’s Charlie Collier will run entertainment for ‘New Fox’ following the close of 21st Century Fox’s sale of film and TV assets to Disney. Collier’s title will be CEO of entertainment. He had previously served as president and general manager for AMC Networks, presiding over AMC’s reinvention into a scripted drama powerhouse on the strength of Emmy darlings like Mad Men and Breaking Bad and the striking ratings of The Walking Dead.”
Per Deadline, “Matthew Broderick is set to star in Daybreak, Netflix’s upcoming high school apocalypse dramedy series. Additionally, the two-time Tony winner has been tapped for a high-profile guest arc on ABC’s Roseanne spinoff The Conners as a love interest for Jackie, and also will recur on the upcoming season of FX’s praised comedy Better Things.
“Co-created by Aron Eli Coleite and Brad Peyton based on Brian Ralph’s graphic novel, the 10-episode Daybreak finds 17-year-old high school outcast Josh searching for his missing girlfriend Sam in post-apocalyptic Glendale, CA. Joined by a ragtag group of misfits including a pyromaniac 12-year-old Angelica and Josh’s former high school bully Wesley, now turned pacifist samurai, Josh tries to stay alive amongst the horde of Mad Max-style gangs (evil jocks, cheerleaders turned Amazon warriors), zombie-like creatures called Ghoulies, and everything else this brave new world throws at him.
“In his first TV series regular role, Broderick will play Burr, the cheerful, upbeat principal of Glendale High. Principal Burr knows the name of every kid in school and their favorite character to play in Overwatch. In a hashtag-filled world of #metoo and #blacklivesmatter and #timesup, Burr is genuinely trying to be part of the solution: a good guy, an advocate and ally for all. But let’s face it, kids can be monsters. Executive producing the series are Coleite, who serves as showrunner, Peyton, who directs, and Jeff Fierson.
“This marks a return to a high school setting for Broderick who rose to fame as the star of classic 1986 feature comedy Ferris Bueller’s Day Off. He also starred as a high school teacher in Alexander Payne’s 1999 indie Election.
“On ABC’s The Conners, Broderick will play Peter, a love interest for Laurie Metcalf’s Jackie. He will make his first appearance in the Halloween episode, titled “There Won’t Be Blood,” which is slated to air October 30. The subject of a lot of anticipation and heavy scrutiny following the dramatic cancellation of Roseanne, The Conners got off to a solid ratings start this week.
“On the upcoming third season of Pamela Adlon’s FX comedy series Better Things,Broderick will play a counselor. Details about the storyline are being kept under wraps. The series has earned Adlon two lead actress in a comedy series Emmy nominations.”
From The Hollywood Reporter: “Co-creators Moira Demos and Laura Ricciardi talk with THR about the next round of 10 episodes in the sequel to their docuseries.
“It has been nearly three years since the first season of Netflix's mega-hit documentary series, Making a Murderer, turned everyone and their grandmother into a true-crime obsessed sleuth. After becoming a watercooler hit for the streaming giant, the decades-long investigation into Teresa Halbach's slaying and sexual assault took on a new life, reframed around an alleged setup and shady maneuvering done by local officials to bring a case against defendants Steven Avery and his nephew Brendan Dassey.
“In Part Two of the docuseries co-creators Moira Demos and Laura Ricciardi examine the impact their series had on the case and its latest developments. Below, Demos and Ricciardi talk with The Hollywood Reporter about their continued investigations, telling more of Halbach's story and why, regardless of how the case ends, no one really wins:
How much of part two came about because you wanted to follow the story versus Netflix responding to having a breakout hit on its hands?
Ricciardi: We brought the prospect of part two to Netflix. We were aware that, at the end of part one, we were leaving viewers with lingering questions and we knew that Steven's new advocate and Brendan's advocates Laura Nirider and Steven Drizin were continuing to fight to overturn their convictions and their sentences. We saw an opportunity there to shine a light on the new phase of the process. It'll be the same story; it will follow the same characters with some new ones, but it'll be a new phase of the process that we believed our viewers would be far less familiar with — the post-conviction phase. We thought it was an exciting opportunity to offer something new.
Steven and Brendan's cases both became the focus of insane global media coverage after season one. What do you think season two achieves that hasn't already been covered in the press thus far?
Demos: So much. We're always interested in the journey; you can arrive in Los Angeles or New York, but I guarantee you, if you take a train across America, you're going to learn a lot more about America than if you fly. The headline of the outcome or a certain decision really doesn't offer you very much about how you got there or what that decision even means. We believe the journey and the experiences are what documentary and longform storytelling offer, because in this world, we each only have so many experiences. It's up to artists and storytellers to bring other experiences into people's lives and help them understand people that might not be exactly like them.
What was it about the post-conviction process that you felt was important for the audience to see?
Ricciardi: A number of things. There was just this general question of, "What happens next?" Because at the end of part one, our main character, Steven Avery, is vowing to fight on and at that point he'd been representing himself for a number of years, getting his case file boxes and sifting through them in his prison cell. And he's, at best, semi-literate. So [when he got] a new advocate in Kathleen Zellner, we thought that it would be very interesting to film her as she was advocating for Steven.
We wanted to know what it would look like for someone who has been convicted of the most serious of crimes, who has spent years serving a life sentence and is fighting for freedom and to clear his name. What's involved in the process of challenging this conviction and sentence and Brendan's? What are the obstacles in their way? How much time does something like this take? And certainly, the emotional toll it would take on others who were touched by this.
Kathleen Zellner in part two goes to incredible lengths to cast doubt upon a lot of the evidence. Could she make a difference? What do you think about her methods?
Demos: The one thing we know for sure about Kathleen Zellner is that she is the winningest private post-conviction attorney in the U.S. She has made a difference in many cases. In fact, she overturned the convictions of two other individuals in the time we were filming with her. Yes, her methods are unconventional — they are certainly nothing like any other attorney that you see in the series, but she has a track record. It's fascinating to watch her work and to learn from her through the choices she's making and why she's making them. Because clearly there's a reason for her methods: she learns from a process that's very scientific. When she does an experiment, she learns something. It directs her to the next thing. By watching [all the attorneys] work, and see what they're discovering, you end up learning quite a bit about part one and what you witnessed there. It's all coming full circle.
You're paying more attention to Halbach's story in the four episodes provided to journalists ahead of the debut. Is that the case throughout the rest of the season? Do you feel as though the family's fight has changed amid the #MeToo and Time's Up movements given that there is a sexual assault involved in this case?
Demos: As in part one, we cast a wide net to find anybody who had first-hand experiences that they could share; anybody who was personally touched by this story. And as in part one, the Halbachs declined that invitation, a decision that we not only understand but also entirely respect. We were very grateful that one of Teresa's college friends, Chris Nerat, agreed to sit down with us and gave us a very thoughtful interview so that we could hear more about the person she was, and hear about the experience of the loss and the pain of that — and the pain that continues and is exacerbated by the post-conviction process, digging things up again.
As the series progresses, you see it's not only people in Teresa's life that care about her and are inspired by her life, it's also people that you might consider to be "in Steven's camp," who you will learn they're doing what they're doing because they feel like they owe it to Teresa, that she deserves to have a thorough investigation. The questions are, in fact, an action of respect. It's not so binary and adversarial at that point, it's driving for justice, striving for answers and truth.
After season one, some viewers were critical of the way the less savory details against Avery were left out —
Ricciardi: With respect to Steven Avery, we were documenting a legal process and his experience as an accused, as well as the emotional toll it took on people involved. He stood accused of crimes that could carry mandatory life, and the prosecutor in the case [Ken Kratz] tried to offer so-called firebrand evidence to the court. The judge ruled it irrelevant. It is certainly not our place as filmmakers to put that sort of information, which is pure accusation, out there. We included all of his prior convictions in part one, but we are not going to include theories of pure accusation that have never been substantiated, crimes with which he was never charged. It would be irresponsible to do that. Especially when the person stands accused of crimes that can put them away for life.
What did you think of those criticisms? How do you address them in season two?
Demos: The criticisms that we read or heard were from people that had missed the point in the series — they were having a different conversation, a conversation about guilt and innocence, which was never a conversation that we were a part of or invested in, so it was irrelevant to how we approached part two.
What do you hope viewers take away from part two of the series?
Demos: Much of part one was focused on the experience of an accused. He's awaiting trial. Now what? ... Part two is a process of looking back. Kathleen, Laura and Steve are doing this and not only does it offer viewers this lesser-known phase of the process, it also — by watching them work and learning what they're discovering — we end up learning a lot of insights about part one and what you witnessed there. It's all coming full circle.”
“Here’s more proof that you won’t have to wait six years for the next season of Curb Your Enthusiasm.
“Ten months after its renewal, Curb Your Enthusiasm beg[an] production on a 10th season on Friday, EW has confirmed. Per usual, story details on the HBO comedy that stars Seinfeld co-creator Larry David as an exaggerated Larry David are being kept under wraps, and no timetable has been set for when these new episodes will hit the air. Season 9 ended last December with the utter destruction of Fatwa! The Musical, Larry’s ambitious theatrical production with Lin-Manuel Miranda and F. Murray Abraham. While the fatwa that was placed on Larry’s head for mocking the ayatollah had been rescinded, one Iranian seemingly wasn’t aware of this development and chased Larry down the street in the final moment of the season.
“Signs for a possible 10th season were encouraging last year, with HBO maintaining its if-Larry-creates-it-we-will-air-it policy. On the eve of the launch of season 9, David told EW he was ‘strongly considering’ doing a 10th season, and in a statement included in the season 10 renewal announcement, he quipped: ‘As I’ve said many times, when one has the opportunity to annoy someone, one should do so.’
“When the renewal was announced in December, Curb executive producer Jeff Schaffer told EW that the entire cast — which features Jeff Garlin, Susie Essman, J.B. Smoove, and Cheryl Hines — was expected to return, and hinted that they will “catch up with a few more old friends from the Curb universe.” (Season 9 guest stars included Elizabeth Banks, Lauren Graham, Nick Offerman, and Bryan Cranston, along with familiar faces such as Ted Danson and Mary Steenburgen.) Schaffer also said at the time that season 10 hadn’t been fully written yet, though he added, ‘Here’s one thing I can tell you that did not happen. Larry wasn’t killed. He does not come back like in the movie Ghost and make sweet love to Cheryl at a Brentwood Color Me Mine.’
“Curb has been nominated for an Outstanding Comedy Emmy in every season except for its first, with David nominated as Outstanding Lead Actor in a Comedy six times, including season 9. Last year, David said that the idea of churning out 10 seasons — technically one more than Seinfeld, though that show produced 180 episodes — seemed absurd at the start of this endeavor almost 20 years ago. ‘I remember talking to my agent about it and he says, “If we go 10 seasons…,”’ he recalled. ‘And I said, “10 seasons? Are you out of your f—ing mind? Ten seasons? Ridiculous! I’m lucky if I can do two or three!”’”
From The Ringer: “[t]he more basketball information that is made widely available to fans, the smaller the gap between casual consumer and coach. What used to be the stuff of film rooms and closed-door meetings is now at our fingertips. And that development has been largely for the better: More people have a deeper understanding of basketball than ever before, which has changed how we talk about the sport.
“It’s interesting to go back in time and think about how hotly debated NBA moments would have looked in today’s sports discourse. Take Game 1 of the 2006-07 Eastern Conference finals, between the Cleveland Cavaliers and the Detroit Pistons. Pundits and fans lost it when LeBron James passed up a shot in the closing moments of the game, instead dishing to Donyell Marshall. LeBron said he was making the “winning play,” but that’s not what we thought we wanted out of our stars. We were still under the influence of Kobe Bryant and hero ball. And we argued about it. A lot.
“What if there were a computer program that could settle the argument? What if there were something that didn’t change just the way we talked about basketball, it changed the way we thought about it? How would those changes affect the game?
“Wednesday, the Los Angeles Clippers and the sports technology company Second Spectrum launched Clippers CourtVision. When talking about technology, it’s easy to get lost in keywords and hyperbole, but this could be a new way of watching basketball. CourtVision uses machine learning, data visualization, and augmented reality to enhance the broadcast. It offers a variety of different camera angles and audio commentary options. You can even watch the game with in-arena sound, which makes your couch feel like a seat in the lower bowl of Staples Center.
“CourtVision can be used in several different modes—Player, Coach, and Mascot—which use live tracking stats, play charts, and graphics, respectively. It’s like mainlining an advanced statistics database, a playbook, and a video game with an actual sporting event. And it looks even cooler than it sounds.
“‘As much as I love doing demos of word processors, this is a little sexier,’ Clippers owner Steve Ballmer said Wednesday to a small group of reporters at Staples Center before Los Angeles’s season opener. Second Spectrum CEO Rajiv Maheswaran joined Ballmer for the presentation.
“CourtVision merges postgame analysis with in-game action. In Player mode, acolor bar above the player changes as their effective field goal percentage goes up and down. So a 40 percent shooter from midrange will be red, but a 40 percent shooter from 3 will be green, because of the difference in shot value between each spot on the floor. The percentages will be rolling, Maheswaran said, so at the start of the 2018-19 season, for example, Tobias Harris’s numbers will be based only on last year until he accumulates enough data this season.
“Forget Monday-morning quarterbacks; this could create the Wednesday-night analyst. Had CourtVision existed in 2007, we’d have known whether James made the ‘correct’ decision. People might have still debated whether LeBron should’ve passed to Marshall, but, as Maheswaran told The Ringer, ‘It moves the conversation. It’ll be different: It would have been a way shorter debate or not have happened at all.’
“Augmented graphics existed before CourtVision. The NFL has used yellow first-down markers for three decades, and MLB has featured strike zones for nearly as long. But those graphics focus on numbers such as speed, distance, and location. Second Spectrum is using computers to process information that is far more illustrative of performance. ‘What we wanted to do required a machine to understand the game like a coach or a human, then augment it,’ Maheswaran said. ‘John Madden taught us a lot about football, and, because of the breaks in the game, he drew a lot on the screen. We want to bring the same thing to basketball.’
“The goal is to ‘dump the brain of a coach’ into the technology, Maheswaran said. Coach mode has visualizations of off-ball screens and pick-and-rolls, among other offensive actions, as well as how a team defended a pick-and-roll and whether a player is open based on their distance from a defender.
“Mascot mode seems like it’s made for children, with thunderbolts striking after made 3-pointers or a dime dropping following an assist. It’s cute, and a bit gimmicky. But I can see the appeal for adult fans who want a unique, late-night viewing experience. It’s like watching a game with a Snapchat filter on.
“CourtVision is still in the early stages of development; it’s currently only available on Fox Sports Prime Ticket, though other Fox regional sports networks can take steps toward using the technology if they choose, Ballmer said. There’s also currently a two-minute lag time between live action and CourtVision, which Maheswaran said Second Spectrum is working to cut down to tens of seconds.
“Ballmer calls it Version 1. ‘There will be a Version 2,’ Ballmer said, ‘and we’ll look back in five years and say, “Boy, that really was a Version 1. Things have really transformed.”’ In late 2014, when Ballmer and Maheswaran first met about the technology, it was an automation of rectangles and icon art on a 2-D map. It’s come a long way already, and Maheswaran said they expect the technology to evolve during this season before a major update for the 2019-20 season. There’s room to grow.
“Adam Silver and the NBA view the Clippers as a guinea pig. I asked Maheswaran whether this technology would be used by Second Spectrum’s national television partners, Turner Sports and ESPN, or the NBA by next season, and he said he would be ‘extremely surprised’ if this is the only technology out there by the end of this season.
“When asked for comment, NBA commissioner Adam Silver told me: ‘No one understands the intersection of sports media and technology better than Steve Ballmer, and every team will benefit from the pioneering work that he and Second Spectrum are doing to enhance the game experience. I look forward to seeing the results.’
“Second Spectrum’s goal is for everyone to watch sports this way. ‘There will be a day we look back and say, “I can’t believe we used to watch everything the same way at the same time,”’ Maheswaran said. ‘This is the start of that. It’s like rolling off the first car or computer. It’ll get a lot better, but the first one that ships off the factory line is super exciting.’
“Ballmer said one of the concerns raised by Clippers head coach Doc Rivers is whether fans will someday just be looking down at their phones—or up at the Jumbotron—instead of at the live action. Doc may have a point, but this is where the future of sports broadcasting is going, one way or the other. And it doesn’t stop with the NBA. Second Spectrum has had discussions about developing similar digital interactive experiences for the National Football League, Major League Baseball, and Major League Soccer, along with each sport’s top broadcasters, Maheswaran told The Ringer. He expects soccer to be the next focus, but that’ll depend on which league or broadcaster has the appetite to move forward.
“Analytics have already changed the way basketball is played and how we watch it. Teams are shattering 3-point records, the pace is increasing, post-up play is dying off, and we’ve got pick-and-rolls coming out of our ears. It would be unfair to call the state of the game homogeneous, but the league feels like it’s moving collectively in a clear direction.
“A decade ago, it would’ve been criminal for a player to pass to a corner 3 shooter instead of attempting a layup. But it’s become the norm today. Statistics tell us this is the right way to score the most points in the most efficient way possible. But when every question has an answer, it’s not as fun to ask in the first place. If there is a right choice to make in every basketball sequence, will that kill the magic of watching a team or player offer their own solution?
“At one point during [the] presentation, Ballmer began hinting at bigger dreams: virtual-reality technology. Maheswaran interjected, saying they weren’t supposed to talk about it. But Ballmer did anyway. The Clippers owner described a future when a viewer could see the game the way individual players see it. When tracking cameras could understand which direction Patrick Beverley might be looking, and a program could make computations to project his view and put it on the screen. ‘That requires a lot more software, but it’s not something we think is 10 years out,’ Ballmer said. “We think it’s something that we hope to have before our lease runs out at Staples Center [in 2024].” Analytics are transforming the NBA, and the viewing process is next. The future is coming fast. This is the beginning.”
This article has been condensed.
And I actually tried this out over the weekend on the Fox Sports app. It’s not all I thought it was made out to be. That said, it has the potential to be very very cool as the development of the technology advances.
From The Hollywood Reporter: “Jennifer Salke revealed that Amazon Studios is still refining its film strategy while focusing on creating ‘addictive, can’t-miss global television’ that will lure Prime subscribers and retain them during a lunchtime conversation with attorney to the stars Bruce Ramer on Saturday.
“‘For us, our sweet spot is this addictive, can’t-miss, global television shows. That lives at the center of what we do. That’s going to be the most effective and getting people to come to Prime and stay with Prime,’ the Amazon Studios head said during a lunchtime keynote speech at the USC Gould and Beverly Hills Bar Association's 2018 Institute of Entertainment Law and Business at USC Gould campus on Saturday afternoon. She added, ‘And then if something comes in and you feel that it’s best suited as a movie or miniseries, you can come [make] that too. It’s harder and more financially challenging to take the big swings than on TV shows, because the financial upside is so clear.’
“The longtime television and first-time film exec said that she currently is working to ‘build on’ and ‘refine’ the company’s film program after predecessor Roy Price resigned amid sexual harassment claims last fall, at the height of the #MeToo movement. Some details about that in-progress strategy sneaked through in the conversation: Unlike Netflix, which traditionally releases select films in theaters on the day that they release on the streamer service, Salke said that select films will still be considered for a theatrical release before a streaming release, some in wide release and others in limited, while still more will go straight to streaming. She said that she sees value in ‘awards-play’ films as well as films that will appeal to a broad audience.
“‘It’s a tough business,’ she added. ‘We’re taking on what the next version of [the film business] is, and trying to figure out how we can create something that adds to our home for talent and trying to figure out how we can add to giving talent … a full plate of choices.’ (The Amazon head has stressed frequently in interviews and public appearances that she primarily intends to make Amazon Studios a ‘home for creators,’ to differentiate it from Netflix's ‘volume.’)
“During her conversation with Ramer, a partner at Gang, Tyre, Ramer, Brown & Passman and attorney to Steven Spielberg, Clint Eastwood, David O. Russell and Alejandro Innaritu, Salke also addressed Netflix’s mega-deals with producers including Shonda Rhimes and Ryan Murphy; her budget at Amazon; her global strategy and her opinion on the fate of network television after her long career as an exec for NBC and 20th Century Fox.
“When asked about the Netflix’s massive deals with Rhimes, Murphy and the Obamas, Salke admitted that inflated price tags had complicated discussions with talent but did not say Amazon was preparing to compete at that financial level. ‘People are looking at these giant mega deals, and I mean mega-megas, the Shondas and Ryans and Obamas … and then there are people who have created giant hits for companies who wonder, “Where do I fall in that?” There’s this moment of trying to figure out what this middle area is,’ Salke said. ‘You have to constantly ask yourself that exact question, “Is this the investment I should be making?”’
“For her part, Salke said that she was looking to invest in creatively-ambitious talent that wanted to break out ‘in a socially-relevant way.’ Since she was named Amazon Studios' leader in February, Salke has signed talent including Jordan Peele and Nicole Kidman, who both landed first-look deals with the studio, and Blake Lively and Gillian Flynn.
“Ramer also interrogated Salke about Amazon Studios’ reported budget of $4.5 billion, though Salke stayed mum about the precise figure. Salke admitted only that she had a global budget for content and acquisitions, and said there was some wiggle room within it to invest in exciting projects. ‘I just know we have enough money for me to do what I’m here to accomplish,’ she said. (Also, she said The Hollywood Reporter’s print illustration of Salke as a Amazon warehouse employee carting boxes of cash had become a friend’s contact picture for her.)
“The $4.5 billion figure pales in comparison to Netflix’s $13 billion budget in 2018, but Salke nodded to ways that her Amazon Studios is differentiating itself from its deep-pocketed rival and other competitors. Just one day previous to her keynote at the USC Gould-BHBA Institute, Salke demonstrated Amazon’s global ambitions by promoting James Farrell to head of international originals. Farrell will head original teams in countries where Amazon already has original teams, including Japan and Brazil, and others that Amazon is said to be preparing to establish in order to compete with Netflix.
“Salke said Amazon’s global ambition was just one way in which it would be ‘different’ from others in the streaming business. ‘I want to get my arms around global talent and storytellers in a way that feels like we’re getting out of our own backyard that dovetails with our diversity efforts and things we can do as Amazon,’ she said, mentioning simultaneous global releases as one option for the company.
“Still, more competition is coming into the streaming-platform field: A little over a week after reports that WarnerMedia is prepping its own streaming service, Ramer also pressed Salke on Amazon’s plans to compete with the WarnerMedia option as well as Disney’s forthcoming streaming competitor.
“Salke responded by noting that her quote in a June New York Times interview — ‘I’m a killer, I’m ambitious and I’m going to compete’ — was made in jest and printed as if it were a serious remark. Still: ‘But yes, I am here to compete,’ she said. ‘Out of the gate, I’m going to compete in the race for talent.’ Salke added that she wasn’t going to look over her shoulders at her competitors and would instead focus on making Amazon Studios ‘the best place to work.’
“Salke also expanded on her role in commissioning diverse projects that will appeal to women since she has worked there. Before taking the job, ‘I loved Amazon but I felt like I hadn’t been invited to Prime Video to view those shows in a way that I felt I should be,’ she said. She also quoted something Kidman told her during conversations before her deal: ‘It has to have this entertaining deliciousness’ for women to get excited about shows.
“Despite the exec’s many nods to the freedom and reach that the Amazon brand offered her during the conversation, she still mounted a spirited defense for the fate of networks. When Ramer asked if they were on their ‘deathbead,’ Salke rejected the notion, saying that significant numbers of viewers were still frequenting networks for event television and amid the massive volume of streaming shows.
“‘There’s still some comfort in that brand association,’ she said. ‘They shouldn’t be underestimated in creating global hits.’”