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Univision and ABC News Give Details of Cable Channel Aimed at Latinos

As part of the race to reach English-speaking Hispanics, Univision and ABC News, a division of The Walt Disney Company, on Monday revealed details about their joint-venture cable channel aimed at second-generation Latinos.

The Miami-based channel, called Fusion, will premiere late this summer and feature 24-hours of news, lifestyle and entertainment programming designed to resonate with Latino viewers. Cablevision, Charter, Cox Communications, AT&T U-Verse and Google Fiber have agreed to distribute the channel to more than 20 million homes nationwide.

The 50-50 jointly owned channel underscores the growing influence of a burgeoning population over media companies, marketers and politicians. In 2010, there were 50.5 million Hispanics living in the United States, up from 35.3 million a decade ago, according to the 2010 census. That number is expected to grow by 167 percent by 2050, compared to an estimated 42 percent growth rate for the total United States population. Latinos voted in record numer in the 2012 presidential election and helped sway the results in Barack Obama’s favor.

“The level of growth of Hispanics in the United States is huge and that growth is not coming from immigration,” said Isaac Lee, the president of Univision News.

In the crowded television landscape, creating a new 24-hour cable channel for a relatively narrow audience is a risky proposition. Studies show English-speaking Latinos watch the same types of programs as non-Hispanics. “This audience identifies as Americans first,” said said Larry Lubin, co-founder and president of Lubin Lawrence Inc., a brand consultancy that advised both companies. He also stressed that the venture needs to broaden its appeal. “The brand will be a failure if it only appeals to Latinos.”

Univision has rapidly expanded lately to meet growing demand, expanding in the past several years from three channels to 12 channels in 2013, including cable channels devoted to sports and t! elenovela marathons. Fusion represents its first English-language effort.

“This community is exploding from a size and influence perspective, but also from a diversity perspective,” said Cesar Conde, president of Univision Networks. “And we’re going through an explosive period in our evolution.”

In March 2011, Univision and Disney executives first sat down to discuss a joint venture channel aimed at Latinos. For Univision, Fusion represents a chance for the largest Spanish-language network to break out of its image as the home of imported Mexican soap operas, soccer and variety shows.

Nearly half of all Latinos in the United States speak more or an equal amount of English at home, a shift Univision has had to adapt to. “They watch English shows,” said Mr. Lubin, adding that they might watch Univision “maybe if they’re at their grandmother’s house.”

For Disney, the cable channel represents a broader corporate effort to appeal to marketers hoping to reach Latino vewers. Nielsen projects the buying power of Hispanics, estimated at $1 trillion in 2010, to grow to $1.5 trillion by 2015. In 2010, advertisers spent $4.3 billion to reach Hispanics, up from 14 percent in 2009, according to the Association of Hispanic Advertising Agencies. : Unlike NBC with MSNBC, ABC doesn’t have a cable news channel.

Univision spearheaded the channel’s programming and staffed its Miami-based headquarters. Disney, which has leverage with cable and satellite providers because of ESPN, handled distributing the channel. A spokeswoman for ABC News said additional distribution deals are in the works and that the existing ones make Fusion available in states with the largest Hispanic populations, including Texas,California, Florida and Illinois.



Reality Show Cast Member Who Died in Crash Was Special Forces Veteran

The reality television show cast member who died in a helicopter crash in Southern California on Sunday was an Army Special Forces veteran who had served four tours of duty in Iraq, family members said Monday.

The cast member, Michael Donatelli, 45, “was going to show off a lot of his military skills” on the show, which was in production for the Discovery Channel, said one of his nieces, Venessa Vega.

Mr. Donatelli’s father, William, said that production had started just a few days before the crash. “They were supposed to do six episodes,’’ he said in a telephone interview on Monday. “They were working on the first one.’’

Little is known about the military-themed series, which hadn’t been announced by Discovery, or even given a name yet. Discovery and the production company behind the show, Eyeworks, declined to comment on Monday. But they said on Sunday that production was shut down after the crash, which occurred around 3:30 a.m. on Sunday at Polsa Rosa Movie Ranch,about 30 miles north of Los Angeles, a popular filming location for TV shows and movies.

The pilot of the helicopter, David Gibbs, and the show’s cinematographer, Darren Rydstrom, were also killed, making the incident one of the deadliest for the California production community in many years. The National Transportation Safety Board is conducting an investigation, but a preliminary report is not due out for a week or two.

A biography of Mr. Donatelli on the Web site of AMJ Security, where he worked on a contract basis, describes more than 20 years of military service. In Iraq he was a member of the Army’s elite counterterrorist unit Delta Force. He retired from the military about five years ago and lived in Indiana, Pa., an hour east of Pittsburgh.

Mr. Donatelli’s family members said Monday that they didn’t know much about the television show, and they weren’t sure how much they wer! e supposed to share with the media. They didn’t raise any immediate concerns about safety precautions taken by the producers.

His niece, Ms. Vega, said she didn’t think the series was a competition like “Survivor” or “The Amazing Race.” His father said “it was his military expertise that was being used.”

Reality shows about combat and survival strategies have become more prevalent lately; NBC ran a competition called “Stars Earn Stripes” that simulated military training exercises last summer, and Discovery has televised a documentary show called “Dual Survival” since 2010.

A cast member on “Dual Survival,” Joseph Teti, a the former Army Special Forces Green Beret, recruited Mr. Donatelli for the untitled series, William Donatelli said Monday. After the crash Mr. Teti wrote on Facebook, “Words can not express the pain I am feeling right now, as I have lost my best friend to a tragic accident that I can not understand.”



\'Walking Dead\' Sets Ratings Record for AMC

Shattering records for entertainment programming on cable television, AMC’s “The Walking Dead” returned Sunday night with a record audience that could - appropriately in this case - be labeled a monster: 12.3 million total viewers.

Even more impressive, “Dead” pulled in 7.7 million in the category most sought by advertisers, viewers between the ages of 18 and 49. That is again the best in cable history and bigger than most entertainment series on the broadcast networks.

All of this was achieved against exceptional competition, with the Grammy Awards on CBS. The ratings represent a jump from the previous record set by “Dead†last October, a total audience of 10.9 million.

The number of viewers in the 18 to 49 category beats the average for almost every entertainment show on network television, though at least one series,  CBS’s “Big Bang Theory,” does on occasion attract more viewers in that category. Its last episode pulled in 7.84 million and its top episode in January averaged 8.15 million.



Digital Notes: The Scorecard on Social Media\'s Grammy Predictions

Like any major awards show, the Grammys inspire no shortage of clairvoyants who claim to know how the Recording Academy’s fickle (yet conservative) voters think. They are often wrong, of course. One example: Two years ago virtually every expert was sure that Eminem would sweep the major categories; he won none of them.

The social media age has brought lots of new indicators of potential Grammy success, and this year Shazam, Spotify and Mashable, among others, made guesses based on user data and online chatter. But did these fare better than the human experts this year

Not much, perhaps because, as Grammy watchers frequently point out, the industry insiders who vote on the prizes are not always aligned with popular â€" or critical â€" tastes.

In the four major award categories â€" album, record and song of the year, and best new artist â€" the most successful crowd-sourced prediction was by Shazam, the song-identifying app, which looked to how many times songs were “tagged” on the service. Its choices were correct three times: Fun., for song (“We Are Young”) and best new artist, and Gotye’s “Somebody That I Used to Know” for record of the year. (Record of the year is for a single’s performers and producers; song of the year is for songwriters.)

But Shazam was off the mark with album of the year. It favored Fun.’s “Some Nights” by a huge lead, but the prize went to Mumford & Sons’ “Babel”   â€" a distant fourth on Shazam’s list. (In other categories, like rock song, rap song, and gospel, Shazam was also on target.)

Spotify looked to the number of streams on its service for clues, and also had mixed success. It was right about Gotye for record of the year (and also for best pop duo or group performance), as well as Mumford & Sons for best album. But it was wrong in guessing the Lumineers for best new artist. (Spotify made no prediction for song of the year.)

Mashable scanned various social networks and guessed right on half the major spots. Like Spotify, it was right about album and record of the year. For best new artist, however, the social Web gave Mashable mixed signals. Frank Ocean was the clear favorite on Twitter, but Facebook gave an edge to Fun., which took the prize. For song of the year, YouTube indicated a wide lead for Carly Rae Jepsen’s “Call Me Maybe,” but Fun. took that one as well.

How did these compare to the expert handicaps About even. a href="http://www.billboard.com/articles/events/grammys-2013/1538559/grammys-2013-predictions-who-should-will-win">Billboard was two for four in the major categories: correct on album and song of the year, but incorrect on record and best new artist. Grammy wins, it would seem, are beyond even the wisdom of crowds.

Pricing Change at eMusic: One of the oldest digital music services, eMusic has survived more than a decade as a subscription download service, offering songs at lower prices than its competitors, but only to customers who pay a monthly fee. The service announced on Monday that it is dropping the subscription requirement, and selling songs to anyone who will pay for them.

“Although our focus on this audience hasn’t changed, our new business model is more inclusive and invites everyone to engage with what eMusic offers,” Adam Klein, eMusic’s chief executive, said in a statement.

eMusic, w! hich open! ed in 1998 and started its subscription service in 2000, has struggled to remain competitive in the current market. It was once one of the few services to sell downloads without copying restrictions, but those have been largely dropped by other retailers. And in addition to its longtime competition from iTunes, it has also faced new download stores from Amazon and Google as well as a new generation of popular streaming services like Spotify.

Ben Sisario writes about the music industry. Follow @sisario on Twitter.



Grammy Awards Viewership Falls Sharply

As expected, the Grammy Awards took a steep fall from the huge audience it attracted last year, when it aired just a day after the death of Whitney Houston. But the broadcast still managed to draw a total of 28.37 million viewers, the second-best Grammy performance since 1993.

While Sunday night’s show fell short of last year’s total of 39.91 million, it was up by almost two million from the year prior. The 2011 awards averaged 26.67 million viewers.

The story was the same in the audience group most important to advertisers: down from last year but still better than most recent years.

The 10.1 rating among viewers between the ages of 18 and 49 dropped from a huge 14.1 last year. But that 10.1 rating beat every other Grammy telecast since 2004. Two years ago, the show scored an even 10 rating in that group.



ABC Wins First Interview With Amanda Knox

Years of jostling between television titans for the first on-camera interview of Amanda Knox ended on Monday when ABC said it had won.

Diane Sawyer, the anchor of ABC’s “World News,” will conduct the interview of Ms. Knox, which will be televised in prime time on April 30. A book by Ms. Knox, “Waiting to Be Heard,” will be published the same day.

The case of Ms. Knox, an American college student who was convicted of murdering her Italian housemate in 2009, then freed two years later when an appeals court overturned the conviction, has been covered in painstaking detail by the American television networks. One of Ms. Sawyer’s colleagues, Elizabeth Vargas, led the coverage on ABC, which included several prime time specials.

Producers for NBC, ABC and CBS have been fighting to secure interviews with Ms. Knox for years, in part by getting to know her family members and friends. During the appeals trial, there was a dispute over whether an ABC producer “babysat” two daughters of Curt Knox, Ms. Knox’s father.

Curt Knox said the producer “was very kind to offer to let the girls stay in her hotel room during court sessions,” but did not “babysit.” Mr. Knox said that his daughters also stayed in the room of a CBS producer, and that an NBC producer offered the same treatment.

Some of the producers were on the same flight as Ms. Knox when she returned to the United States in October 2011. Ms. Knox retained Bob Barnett, the Washington lawyer who represents many authors, politicians and television reporters, to negotiate a book deal and the all-important first televisi! on interview. Such interviews are seen as a critically important way to sell books.

The book deal was with HarperCollins, a subsidiary of the News Corporation. Then the bargaining with the TV networks began. At various times in 2012, when television producers were asked to name their most-sought-after interview subject, they almost uniformly named Ms. Knox.

The networks generally say they don’t pay for interviews, but they have been known to license photos, videos and other materials from interview subjects. ABC cracked down on the licensing practice in mid-2011, and a spokesman said Monday that Ms. Knox was not compensated in any way for the interview.

What ABC could and did offer, instead, was an hour in prime time; teases of the interview on “World News,” the newly-first-place morning show “Good Morning America,” “Nightline,” and ABC’s local TV and radio affiliates; and exposure on Yahoo through ABCNews.com’s alliance with that popular home page and search engine.

<>Within the television industry this is called the “package.” NBC and CBS also offered “packages” to Mr. Barnett and Ms. Knox. But she chose ABC and Ms. Sawyer, who has scored several other book-related interviews in recent years, including one with Gabrielle Giffords in 2011 and one with Jaycee Dugard in 2012.



Starz Extends Deal With Sony Pictures

The pay cable channel Starz has completed a deal with Sony Pictures Entertainment, extending an agreement for exclusive access to Sony movies through 2021.

Though the terms were not disclosed in the official news release issued by Sony and Starz on Monday morning, an executive with knowledge of the negotiations put the cost to Starz at about $2 billion over five years. The executive spoke under the condition of anonymity because terms of the deal were not supposed to be publicly disclosed.

That figure would eclipse the price tag that Netflix is thought to have paid the Walt Disney Company in December for exclusive access to its movies starting in 2016. That price was estimated at about $350 million a year.

Starz was the pay cable outlet that lost out to Netflix in that deal, and Netflix was also aggressively bidding to add the Sony movies to its growing catalog.  Because of that,securing a movie studio’s output as an anchor became more critical for Starz.

The Sony deal means the channel will continue to have first-run home television right to Sony Pictures movies. Titles that will appear on Starz in 2013 include “The Amazing Spider-Man,” “Men in Black 3” and “Zero Dark Thirty.”



Starz Extends Deal With Sony Pictures

The pay cable channel Starz has completed a deal with Sony Pictures Entertainment, extending an agreement for exclusive access to Sony movies through 2021.

Though the terms were not disclosed in the official news release issued by Sony and Starz on Monday morning, an executive with knowledge of the negotiations put the cost to Starz at about $2 billion over five years. The executive spoke under the condition of anonymity because terms of the deal were not supposed to be publicly disclosed.

That figure would eclipse the price tag that Netflix is thought to have paid the Walt Disney Company in December for exclusive access to its movies starting in 2016. That price was estimated at about $350 million a year.

Starz was the pay cable outlet that lost out to Netflix in that deal, and Netflix was also aggressively bidding to add the Sony movies to its growing catalog.  Because of that,securing a movie studio’s output as an anchor became more critical for Starz.

The Sony deal means the channel will continue to have first-run home television right to Sony Pictures movies. Titles that will appear on Starz in 2013 include “The Amazing Spider-Man,” “Men in Black 3” and “Zero Dark Thirty.”



Amazon and CBS Announce Deal on Rights to \'Under the Dome\'

Amazon.com and the CBS Corporation on Monday announced a first-of-its-kind deal for the repeat rights to “Under the Dome,” a 13-episode television series based on the Stephen King novel of the same name.

“Under the Dome” will debut on the CBS network on June 24. Episodes of the series will be replayed for free on CBS.com, as many of the network’s shows are, but for only three days. After that point the episodes will be available exclusively on Amazon’s subscriber-only Prime Insant Video service.

Terms of the agreement were not disclosed. But the deal is the latest indication of Amazon’s ambitious plans for streaming video, which it currently provides as part of its $79 annual Amazon Prime membership.
Earlier this month Amazon announced an exclusive deal to stream seasons of the PBS hit “Downton Abbey.” And the company is in the process of commissioning half a dozen comedy pilots, some of which will be turned into full-fledged series.

Brad Beale, the director of digital video content acquisition for Amazon, said in a statement: “Adding a current season major network TV series like ‘Under the Dome’ to the Prime Instant Video library so shortly after its live airing enables us to increase our exclusive selection of great TV shows and give c! ustomers access how, when and where they want to watch it.”

Amazon and CBS noted in the news release that the “Under the Dome” novel was a best-seller, both in print and on its Kindle e-reader, when it came out in 2009.

CBS announced last November that it had ordered the series. Steven Spielberg‘s Amblin Television is producing the series.

Streaming services like Netflix and Amazon are mostly known for carrying past seasons of series, so the timeliness of the “Under the Dome” deal is noteworthy. For CBS, the arrangement is a way to offset some of the costs of the series and potentially attract new viewers to the television airings of te episodes.

Scott Koondel, the chief corporate content licensing officer for CBS, noted in a statement that the deal protects the three-day period of time when traditional television ratings are calculated for advertisers. This period is known as “C3.”

“With this innovative agreement, we’re giving fans more options to watch and stay current with this serialized series, and doing so in a way that protects the television network’s C3 advertising window,” Mr.
Koondel said.



New Rove Group Could Backfire on G.O.P.

The strategist Karl Rove and his allies last week announced the formation of Conservative Victory Project, a new “super PAC” designed to lend support to what they see as more electable candidates in Republican Senate primaries.

The effort makes plenty of sense on the surface. Republican primary voters nominated a series of inexperienced and extremely conservative candidates in Senate races in 2010 and 2012, often with the support of the Tea Party and other insurgent groups. It can be argued that they lost as many as a half-dozen Senate races as a result, including the contests in Delaware and Nevada in 2010 and in Missouri and Indiana last year.

But conservative groups and activists have reacted very harshly to the announcement, while some conservative candidates who are potential targets of the group, like Representative Steve King of Iowa, have already sought to raise money off the backlash to it.

An analysis of Republican Senate primaries in 2010 and 2012 suggests that money is usually the least pressing problem for the incumbents and other establishment-backed candidates whom Mr. Rove’s group might be inclined to support. Instead, some insurgent candidates won their races despite having been at more than a 10-to-1 fund-raising disadvantage heading into the primary.

The table below reflects 23 Senate races between 2010 and 2012 in which an establishment-backed candidate squared off against an insurgent candidate in a Republican Senate primary. There are some judgment calls required in selecting the races, particularly because the Tea Party consists of no one single group but instead an informal network of organizations that tend to back highly conservative candidates. In other cases, some candidates, like former Representative Pat Too! mey in the Pennsylvania Senate primary in 2010, tended to be supported by both Tea Party and establishment groups; these instances are excluded. The list includes a number of relatively obscure candidates. I do require, however, that the candidates listed were viable enough to have filed at least one fund-raising report with the Federal Election Commission.

These issues aside, the overall message from the data should be reasonably clear. The establishment candidates substantially outraised the insurgents, by an average of $4.3 million to $1.2 million based on the last Federal Election Commission reports that the candidates filed in advance of the primary. (The difference in median fund-raising totals, which reduces the influece of outliers, is just as substantial: about $3 million for the establishment candidates versus about $400,000 for the insurgents.)

And yet, the insurgent candidates won 11 of 23 races, or nearly half the contests. Joe Miller of Alaska did so in 2010 despite being at nearly a 20-to-1 fund-raising disadvantage against the incumbent Lisa Murkowski. Christine O’Donnell of Delaware defeated Representative Mike Castle that year despite having raised about $260,000 to Mr. Castle’s $3.2 million.

Does that mean there is literally no benefit to having more money in a Republican primary Not exactly; as the chart below suggests, there is a modest but positive correlation between the share of the funds that went to the establishment candidate and that candidate’s margin of victory or defeat.

However, the relationship is much weaker than it is in general elections for the Senate, when fund-raising totals have about twice as much power to predict the margin between the Democratic and Republican candidates. (The chart below reflects all Senate general elections between 1990 and 2010 in which both the Democratic and Republican candidate were viable enough to have filed at least one F.E.C. report.)

Moreover, it is not clear that the correlation implies a strong causal link. Better fund-raising totals can serve as evidence that a campaign is well-organized, or has more grass roots support, which are indicators of candidate strength regardless of hw the candidate actually deploys her financial resources. But if a candidate adds to her coffers through large one-off contributions, such as money from a super PAC or from her own savings, it may not go that far if the candidate is otherwise having a difficult time persuading voters of her merits. (Largely self-funded candidates, such as Linda McMahon of Connecticut and Carly Fiorina of California, have poor track records in recent years despite having gargantuan budgets.)

This may hold especially true in Senate primaries because they usually feature very light turnouts. (Ms. O’Donnell’s win over Mr. Castle in 2010, for example, came with a turnout of only about 58,000 voters in Delaware, representing about 30 percent of Delaware’s population of registered Republicans and less than 10 percent of Delaware registered voters of all parties.) The voters who do turn out in Republican Senate primaries are likely to be highly informed consumers of conservative-friendly news media outlets such a! s talk ra! dio, prime-time shows on Fox News and conservative magazines and blogs. They may also weigh the endorsements of prominent conservative politicians and organizations. An insurgent candidate who is presented in a favorable light in these outlets may have plenty of ability to reach her target voters, even if she is spending little or nothing on paid advertisements and outreach efforts.

Mr. Rove’s efforts could backfire, therefore, if they result in the insurgent candidate receiving more sympathetic treatment through these channels; the amount of so-called “earned media” that the insurgent receives could outweigh the extra advertisements that the establishment candidate is able to afford.

A related problem is that the insurgent candidates could seek to raise money directly in response to moves by Conservative Victory Project, as Mr. King of Iowa is attempting to do. This could be the case especially when insurgent candidates were otherwise having trouble raising funds.

My analysis of fun-raising data, in this context and others, has found that it is generally the proportion or ratio of funds raised by each candidate that has the most power to predict races, rather than the absolute amounts. This is a consequence of the diminishing returns of campaign spending: the first $100,000 of spending goes a lot further in establishing a candidate’s viability than the marginal $100,000 after she has already spent $5 million.

Suppose, for example, that the establishment candidate has raised $3 million and the insurgent candidate $500,000, a six-to-one advantage for the establishment candidate. Mr. Rove’s group intervenes and contributes $1 million to the establishment candidate, bringing him to $4 million total. In response, the insurgent candidate raises $500,000 through grass roots groups, bringing her to $1 million total. Despite the absolute difference between the candidates’ fund-raising totals having increased, the ratio has declined to a four-to-one advantage for the establis! hment can! didate from six-to-one previously, arguably leaving the insurgent candidate in better shape than before the fund-raising salvos.

The intuition is simply that it may be dangerous to raise the profile of an insurgent candidate for whom a little extra money and exposure could go a long way.

Where might Mr. Rove’s efforts be more likely to achieve their desired goals One case would be in multiple-candidate primaries where there are two or more establishment-backed candidates running against one insurgent. This eventuality has come up quite frequently in recent years, such as in the Nevada primary in 2010 and the Missouri primary last year, when the insurgent candidate was able to win with 40 percent or less of the vote. By directing money to one of the establishment candidates at the expense of the other, Mr. Rove’s group could force the insurgent candidate to win an actual or near-majority of vote rather than a mere plurality.

The money raised by Mr. Rove’s group might also be more likey to help candidates if it is directed toward functions other than advertising which have a lower public profile, although coordination rules related to super PACs can limit such efforts.

But the money may be less likely to help if Mr. Rove’s group hopes to save struggling candidates through a barrage of advertisements late in the race. Republican voters have already been rejecting these candidates despite their overwhelming advantage in paid media placements, and often because they are viewed as too much a part of the Washington establishment. It will take more than a new super PAC for Mr. Rove to earn back their trust.



The Breakfast Meeting: Folk and Rock are Ascendant at the Grammys, and a Belated Focus on Drones

Blues-rock band the Black Keys and their frontman Dan Auerbach were the big winners at the Grammy Awards Sunday night, walking away with four statues, but folk-rock group Mumford & Sons won the album of the year for “Babel,” James C. McKinley Jr. writes. Belgian-Australian songwriter Gotye won three trophies, including record of the year and best pop duo, and Fun. won best new artist and song of the year for “We Are Young.” Adele became the first woman since Barbra Streisand to win the award for best pop solo performance two years in a row, Frank Ocean won for best contemporary urban album, and Kanye West and Jay-Z won three awards for their collaboration album, “Watch the Throne.” The nominations for the top four awards favored rock and folk while ignoring electronic dance music, hip-hop and country.

The Grammy Awards were an exercise in anachronism, Ben Ratliff writes, and the big winners were strummed strings, whomped drumheads and massed, inexact unisons. The awards are a perennially flawed metric for honoring popular music because the winners invariably conform to the biases of older voters who are well past their prime in the industry, Jon Caramanica gripes. If the Grammy narrative is to be believed, the last time there was musical innovation to be celebrated was in the mid-1980s. The Grammys of 2045 will probably not be any different. Think of the complaints future critics will lodge: the Grammy Awards favor familiar modes! Youthful innovation is not being rewarded!

The public and Congress did not seem engaged in debate over the Obama administration’s frequent use of unmanned drones before the confirmation hearings for John O. Brennan, President Obamaâ€! ™s prospective head of the Central Intelligence Agency. The lack of interest was not because journalists ignored the issue, David Carr writes in The Media Equation. Perhaps the reason we remain in the dark is because we want it that way â€" if the bad guys are on the run without boots on the ground, what’s not to like The government has carefully shielded the drone project every step of the way, he writes, but the fact remains that drone strikes will require a new legal framework, much like nuclear weapons in the 1940s.

NBC Universal will announce Monday that it has concluded a deal with Hearst magazines to rebrand one of NBC’s cable properties as the Esquire Network, after the magazine of the same name, Bill Carter writes. Bonnie Hammer, NBC’s top cable executive, said te channel G4, currently devoted to gaming, would be changed into a kind of “upscale Bravo for men.” The channel will not be duplicative of the magazine, though there will be some crossover. The Esquire network will feature two new original shows and will rebroadcast the comedies “Parks and Recreation” and “Party Down,” both of which star Adam Scott, who is something of an ideal for the network.

The women’s magazine Self is rebranding in hopes of reaching a somewhat younger audience, Tanzina Vega reports. Self, published by Condé Nast, is broadening its tight focus on exercise and wellness to become a more general lifestyle magazine infused with beauty and fashion, an effort that will include editorial changes, a new cover design and logo. The editorial shift is most evident in the chatty headlines for subsections of the magazine and more fashion-focused images! . The red! esign has already interested new advertisers like LeSportSac.

The Financial Times is celebrating its 125th birthday on Wednesday and, unlike many newspapers, may actually have cause for celebration, Eric Pfanner reports. The F.T. appears to have adapted to the changing media landscape â€" last year the number of digital subscribers, 300,000, surpassed the number of people who subscribe to print; subscription revenues are expected to surpass ad sales this year; and mobile devices account for one-quarter of the paper’s digital traffic. Analysts said that the boom in digital subscriptions hides the fact that online advertising has yet to catch on in a big way, which helps explain why The F.T. continues publishing a print edition to appeal to luxury advertisers.