Total Pageviews

After Super Bowl Success, a New Local Ad for \'Dunder Mifflin\'

A new technique for gaining attention during the busy Super Bowl advertising season is to do the opposite of spending many millions of dollars to run a commercial nationally during the game: Spend a small sum to run a spot in a handful of local markets, perhaps even in only one such market.

And if the spot is deliberately silly, so much the better to generate discussion, as has been proved by brands like Old Milwaukee beer, which featured the comedian Will Ferrell in oddball commercials that appeared in local markets during the 2012 and 2013 Super Bowls.

Now, another advertiser that was noticed for pursuing that strategy during Super Bowl XLVII on Feb. 3 â€" the Quill.com division of Staples  â€" plans to do it again taking advantage of a different venue for so-called big-event television, the Academy Awards.

Quill.com licenses the name Dunder Mifflin - the make-believe paper company on the sitcom “The Office” - for a real-world line of office products that includes paper, sticky notes and markers.  During the Super Bowl, the company ran a commercial in a single market: Scranton, Pa., where Dunder Mifflin is based on “The Office.”

The spot, created through a crowdsourcing competition overseen by a company named Tongal, spoofed the idea of office workers using office supplies to wage workplace fights. The commercial cost less than $15,000 to run and appeared on WYOU, a station that is the Scranton affiliate of CBS, the network that broadcast Super Bowl XLVII.

“The Super Bowl spot wa! s extremely successful for us,” said Paul Bessinger, director for innovation at Quill.com in Lincolnshire, Ill., “so successful that we wanted to do it again.”

With another big-event TV show, the Academy Awards, coming up, it seemed the perfect follow-up, he added.

The twist this time would be to run a different commercial about an office-products office war - also created through the same Tongal crowdsourcing competition - during the Oscars broadcast in Scranton and in Utica, N.Y., Mr. Bessinger said.

Utica was being added because, on “The Office,” it is the home of a Dunder Mifflin branch office that is an archrival of the Scranton headquarters.

But the commercial was turned down, Mr. Bessinger said, by WNEP, the Scranton affiliate of ABC, the network broadcasting the Oscars on Sunday, on the grounds that it helped promote “The Office,” which is on NBC.

The ABC affiliate in Utica, WUTR, agred to accept the spot, Mr. Bessinger said, and it is scheduled to run there.

Quill.com is cautious about going to the well once too often. “We’re going to look and see” how the commercial does on Sunday, Mr. Bessinger said.

“If it continues to be a successful strategy and enjoyed by the fans, it’s something we’d continue,” he added.

The Quill.com stunt will be amplified online as the new commercial will be available for viewing in social media like YouTube as well as on the quill.com Web site.



After Super Bowl Success, a New Local Ad for \'Dunder Mifflin\'

A new technique for gaining attention during the busy Super Bowl advertising season is to do the opposite of spending many millions of dollars to run a commercial nationally during the game: Spend a small sum to run a spot in a handful of local markets, perhaps even in only one such market.

And if the spot is deliberately silly, so much the better to generate discussion, as has been proved by brands like Old Milwaukee beer, which featured the comedian Will Ferrell in oddball commercials that appeared in local markets during the 2012 and 2013 Super Bowls.

Now, another advertiser that was noticed for pursuing that strategy during Super Bowl XLVII on Feb. 3 â€" the Quill.com division of Staples  â€" plans to do it again taking advantage of a different venue for so-called big-event television, the Academy Awards.

Quill.com licenses the name Dunder Mifflin - the make-believe paper company on the sitcom “The Office” - for a real-world line of office products that includes paper, sticky notes and markers.  During the Super Bowl, the company ran a commercial in a single market: Scranton, Pa., where Dunder Mifflin is based on “The Office.”

The spot, created through a crowdsourcing competition overseen by a company named Tongal, spoofed the idea of office workers using office supplies to wage workplace fights. The commercial cost less than $15,000 to run and appeared on WYOU, a station that is the Scranton affiliate of CBS, the network that broadcast Super Bowl XLVII.

“The Super Bowl spot wa! s extremely successful for us,” said Paul Bessinger, director for innovation at Quill.com in Lincolnshire, Ill., “so successful that we wanted to do it again.”

With another big-event TV show, the Academy Awards, coming up, it seemed the perfect follow-up, he added.

The twist this time would be to run a different commercial about an office-products office war - also created through the same Tongal crowdsourcing competition - during the Oscars broadcast in Scranton and in Utica, N.Y., Mr. Bessinger said.

Utica was being added because, on “The Office,” it is the home of a Dunder Mifflin branch office that is an archrival of the Scranton headquarters.

But the commercial was turned down, Mr. Bessinger said, by WNEP, the Scranton affiliate of ABC, the network broadcasting the Oscars on Sunday, on the grounds that it helped promote “The Office,” which is on NBC.

The ABC affiliate in Utica, WUTR, agred to accept the spot, Mr. Bessinger said, and it is scheduled to run there.

Quill.com is cautious about going to the well once too often. “We’re going to look and see” how the commercial does on Sunday, Mr. Bessinger said.

“If it continues to be a successful strategy and enjoyed by the fans, it’s something we’d continue,” he added.

The Quill.com stunt will be amplified online as the new commercial will be available for viewing in social media like YouTube as well as on the quill.com Web site.



Fox Broadcasting Partners With YouTube Channel

Big television networks are sometimes portrayed as being on one side of an invisible boundary, with Web video firmly on the other side. But that’s becoming less and less accurate, as an announcement on Tuesday by Fox Broadcasting and a YouTube channel called WIGS demonstrates.

WIGS, which was conceived last year as a channel for female-friendly dramas on the Web, is being taken under Fox’s wing. Fox will help sell advertising on the WIGS YouTube channel and distribute the channel’s videos to more people. WIGS will be an incubator for show ideas, with the expectation that some of its YouTube series could evolve into prime-time dramas.

Fox depicted the arrangement as an alternative â€" though not an outright replacement â€" to the traditional TV pilot process. Kevin Reilly, the chairman of entertainment for Fox roadcasting, has publicly criticized the process for being expensive and seemingly inefficient as it crams what could be many months’ worth of careful show development into a short period of time in the late winter and early spring. Of the many pilot episodes each network commissions, only a few become bona fide hits each year.

Mr. Reilly and other television executives have wondered for some time now if the Web could be a better way to develop new shows. There are already a few franchises that have made the leap, like Lisa Kudrow’s “Web Therapy,” an online series which Showtime reformatted for TV, and “Annoying Orange,” which the Cartoon Network picked up last year. Some other efforts have flopped. But barely a week goes by without an announcement about another: also on Tuesday, for instance, the cable channel AMC annou! nced a development deal with Nerdist Industries, the producer of “All Star Celebrity Bowling,” to potentially bring that Web series to TV.

WIGS is unique because Fox’s parent company, the News Corporation, made an initial investment in the YouTube channel when it was conceived last year. So did YouTube, which has seeded dozens of professionally-produced channels with millions of dollars in upfront financing. The companies declined to specify the amount of the investments, but the money helped attract well-known actresses to WIGS’s Web series. Julia Stiles was a star of one such show, called “Blue;” Jennifer Garner was a star of another, called “Serena;” and Virginia Madsen was a star of a third, called “Jan.”

Now WIGS has over 100,000 subscribers to its channel, a threshold that many other channel creators are still trying to reach. The channel has counted 22 million video views to date. But it hasn’t achieved much mainstream recognition yet, which Fox hopes to change.

The initial investment came from the News Corporation Digital Media Group, a division that has been dissolved as digital media becomes more important to the bottom line of every part of the company. In essence, the relationship between WIGS and the News Corporation is now being transferred to Fox, and then expanded. Fox on Tuesday called it a “programming, marketing and distribution partnership.” One might also call it educational, since WIGS has come up with ways to produce videos that look like TV without spending anywhere close to what Fox does.

In a news release, Fox said: “Under the terms of the partnership agreement, Fox will assume a collaborative role in developing and marketing the channel to grow its base of female viewers, with an eye toward building content that can be programmed on Fox and/or other channels.” Fox and YouTube will jointly sell ads for the channel.

Does that mean Ms. Stiles or Ms. Garner will appear on Fox’s prime-time schedule Maybe, but not rig! ht away. ! It seems as if WIGS will remain a Web-first organization. Or as Mr. Reilly said in a statement, “Our overarching goal is to create an ecosystem where creative people and ideas can find expression independently in the online environment, but benefit from the resources that the larger platform of the network affords.”

The film director and producer Jon Avnet, one of the founders of WIGS, echoed that sentiment in his statement. “We will continue to write, direct and produce quality scripted entertainment with many of the most talented actors, writers, directors and producers in our business for our YouTube platform,” he said. “Fox will allow us to expand our horizons and offer us limitless possibilities, which we intend to fully take advantage of in all traditional media platforms, as well.”

Fox executives said there were parallels between the WIGS arrangement and two previously-announced attempts to develop shows outside the normal pilot process. The first one is known inside Fox as â€Animation Domination High Def,” a Saturday night block of short-form animated shows. The idea was announced in early 2012 but it hasn’t shown up on the network yet. Fox says it will start in July.

The other parallel is to “The FOX Short-Com Comedy Hour,” which is what it sounds like: a bunch of short, scripted comedies, probably four per hour. When the format was announced in mid-2012, Mr. Reilly said, “Our end goal is to provide distinct comedy voices with a world-class platform to experiment, grow and perfect their ideas and to hopefully build them into mainstream comedy hits in the future.” The series is supposed to have its debut on Fox sometime this summer.



Independent Booksellers Sue Amazon and Publishers Over E-Books

Three independent brick-and-mortar bookstores have filed a lawsuit against Amazon and the big six publishers, claiming that they have violated antitrust laws by collaborating to keep small sellers out of the e-book market.

In a lawsuit filed on Friday in Federal District Court for the Southern District of New York, the Book House of Stuyvesant Plaza and Posman Books, two New York-based stores, and Fiction Addiction, based in South Carolina, alleged that they and other small bookstores were being deliberately forced out of the digital market as a result of agreements between the big publishers and Amazon.

“The contracts entered into between Amazon and the Big Six,” the complaint said, constitute “a series of contracts and/or combinations among and between the defendants which unreasonably restrain trade and commerce in the market of e-books sold within the United States.”

At the heart of the lawsuit is the idea that the top publishers signed secret contracts with Amazon that allowd them to code their e-books in such a way that the books could only be used on an Amazon Kindle device or a device with a Kindle app. The booksellers want to see open-source coding that would allow readers to buy e-books from any source and download them on any device.

The booksellers argue that the proprietary coding compels consumers who own Kindles or tablets with Kindle apps to buy e-books only from Amazon. They point out that the publishers have no similar contracts with independent booksellers. In addition, the lawsuit states that Apple once used similar exclusive coding, known as DRM, in the music business, but that after a series of legal challenges, all music available on iTunes was made DRM-free.

The booksellers are seeking an immediate injunction to the practice, as well as damages.

The six publishers named were Random House, Penguin, HarperCollins, Macmillan, Simon & Schuster and Hachette. The plaintiffs said their claim was a class action on behalf of other independent! booksellers as well.

A spokesman for Random House, Stuart Applebaum, declined to comment. Amazon said it would not comment on ongoing litigation. The other publishers did not immediately return phone calls.



New York Times Company Plans to Sell The Boston Globe

The New York Times Company plans to sell The Boston Globe and other New England properties, allowing the media company to focus energy and resources on its flagship newspaper.

The Times Company announced Wednesday that it had retained Evercore Partners to manage the sale of the New England Media Group, anchored by The Globe, Boston.com, The Worcester Telegram & Gazette and GlobeDirect, a direct mail marketing company.

Mark Thompson, president and chief executive of the Times Company, called The Globe and the Worcester Telegram & Gazette “outstanding newspapers,” but in a statement he said selling the newspapers “demonstrates our commitment to concentrate our strategic focus and investment on The New York Times brand and its journalism.”

The Times Company has in recent years sold assets unrelated to The Times. In May, the company received $63 million for its remaining stake in the Fenway Sports Group, the company that owns the Boston Red Sox. Last year, the company sold its 16 regonal newspapers, including The Gainesville Sun and The Sarasota Herald Tribune, to Halifax Media Holdings for $143 million.

The Times paid $1.1 billion for The Globe in 1993 and for years the Boston daily brought prestige and profits to the company. But recently the newspaper has suffered in an industrywide decline in circulation and advertising revenue. The paper’s circulation has diminished by nearly half in the last decade to a weekday readership of 230,351, from 438,621 in 2002.

Digital subscriptions to The Boston Globe and BostonGlobe.com grew by 8 percent, to about 28,000 subscribers in the company’s fourth quarter.

The Times Company is expected to seek a purchaser in an auction, but in a press release said “there can be no assurance that any transaction will take place.”

Suitors have approached the Times Company about purchasing The Globe in the past. In 2009, the company turned down a local investment group’s bid of around $35 million and the assumption of pe! nsion obligations for The Globe and The Worcester Telegram & Gazette.



TimesCast: An Interview with Andrew Sullivan

The editor and founder of The Dish discusses how his readers, and not advertisers, are financing his newly independent blog.



Conan O\'Brien to Host White House Correspondents Dinner

The White House Correspondents Dinner has lately become a bit of a round robin on late-night talk show hosts, and now Conan O’Brien has agreed to take his turn.

According to a tweet from the organization president, Ed Henry of Fox News (lately in the news himself for protesting that President Obama has not been transparent enough with the Washington press about things like going golfing with Tiger Woods), Mr. O’Brien has signed on to be this year’s entertainer. The event is April 27.

In past gigs outside his show, Mr. O’Brien has shined, especially as two-time host of the Emmy Awards. The dinner has been a mixed bag for late-night hosts. Jay Leno got a kind of indifferent reception; Stephen Colbert was brilliant but called rude for taking on President Bush; Seth Meyers of “Saturday Night Live” won a lot of praise; Jimmy Kimmel was able to raise his growing profile with last year’s appearance.

Mr. O’Brien has already had a successful turn at the dinner’s mike. He was a ht at the 1995 dinner, only a few years into his run at “Late Night” on NBC.

Mr. O’Brien has continued to enthuse his fans - who continue to be generally young - at TBS after his ill-fated brief tour as host of “Tonight” on NBC. His ratings are stable and solid enough for TBS to extend his contract last year.

It has been a bit harder to be noticed on that cable channel, though Mr. O’Brien may enjoy a little less notice than his ultimately unpleasant “Tonight” tenure.

But one thing he brought with him from the “Tonight” days is a longer, more pointed nightly monologue, with many more topical references than he used earlier in his career at “Late Night” for NBC. Those are the kind of jokes expected at the correspondents dinner.



The Breakfast Meeting: A Children\'s App Breaks Ground for Viacom, and Essay on Royals Causes Uproar

The children’s channel Nickelodeon plans to release an iPad app Thursday that could have serious implications for its parent company, Viacom, Amy Chozick writes. It represents Viacom’s first attempt at a streaming app and could indicate how they will approach apps for channels like Comedy Central and MTV. The most interesting thing about the app is that Nickelodeon’s research indicated that 9- and 10-year-olds were more interested in associated content, like music videos, games and video clips, rather than watching full episodes on a tablet. So the app contains a lot of accessible content beyond streaming episodes of Nickelodeon favorites like “SpongeBob SquarePants” and “iCarly,” even for users who do not subscribe to a cable company that provides Nickelodeon.

The front page of Britain’s hell-raising tabloid The Daily Mail became the improbable site of literary discourse after Hilary Mantel, a celebrated historical novelist, wrote an article about the former Kate Middleton in The London Review of Books that the Mail called a “venomous attack.” Ms. Mantel was describing the 31-year-old Duchess of Cambridge based more on the idealized, objectified way she has been cast as part of the royal spectacle than who she may be as a person, John F. Burns explains. Nevertheless, the essay, which was written in an elegant but haughty style and referred to the duchess as “machine-made” and “a shop window mannequin,” created a populist furor that reached as high as Prime Minister David Cameron, who called the comments “completely ! wrong.”

Lawyers for New York City were rebuffed in their attempts to subpoena interview outtakes from documentary filmmaker Ken Burns’s movie about five men who were convicted and later cleared in the racially charged Central Park jogger rape case in 1989, Russ Buettner writes. The lawyers subpoenaed the interviews and notes from Mr. Burns as part of their defense against a federal lawsuit brought by the men. Mr. Burns fought the subpoena, calling it an assault on journalism that could have chilling repercussions, while the lawyers contended that Mr. Burns’s production company had veered from journalism into advocacy. Mr. Burns said he “jumped up and down” when he heard of the decision.

The World Wildlife Fund has launched a new public service campaign to promote awareness of the brutal poaching of wild animals without resorting to disturbingly graphic mages, Andrew Adam Newman reports. The campaign is based around print ads at places like airports, buses and bus shelters that show, for example, a close-up of a tiger above the words “I am not a rug.” The ad space is donated, and the campaign will also feature an online push via Facebook and Twitter.

Snickers is taking a new approach to their well-regarded “you’re not you when you’re hungry” ad campaign, this time in print, Stuart Elliott writes.  The new ads incorporate coupons to show that hunger affects decision-making. The first ad is intended for hungry boyfriends, husbands and significant others, with a coupon for 20 percent off a bouquet from ProFlowers. Underneath the coupon are the words “If hunger caused a delayed! reaction! to ‘Is she prettier than me’ use this coupon. But next time, eat a Snickers.” The coupons are redeemable online and are also available on social media like the Snickers fan page and Twitter account.

A new interactive graphic shows how trailers from five of the nine films nominated for best picture at the Oscars were put together, Melena Ryzik explains. Some trailers follow the chronological order of their films while others choose scenes throughout the film, and they tend to mirror a film’s tone and pace. There are also sometimes discrepancies between what appears in a trailer and what appears in a film.



Robin Roberts Returns to \'Good Morning America\'

Nearly six months after signing off of ABC’s “Good Morning America” to fight a life-threatening illness, Robin Roberts made her return on Wednesday to the top-rated morning show, describing herself as thankful and a bit relieved to be back.

The moment, promoted two weeks ahead of time by ABC, was celebrated by fans of the show, thousands of whom sent well-wishes on social networking Web sites. Many of them watch the show specifically for Ms. Roberts, who is, according to industry research, the most-liked host on any American morning news show by a wide margin.

“After 173 very long days, it’s beautiful to get back to business as usual with our full team and two more wonderful regulars,” said Ben Sherwood, the president of ABC News, in an interview before Wednesday’s broadcast. The two regulars he mentioned were Elizabeth Vargas and Amy Robach, who took turns filling in while Ms. Roberts was away. They will continue to show up regularly on “G.M.A.,” he said.

But the “GM.A.” co-host chair next to George Stephanopoulos is Ms. Roberts’ chair once again, as Mr. Sherwood pledged it would be when she signed off.

Her return on Wednesday defied the expectations of some television industry observers who predicted she’d be unwilling or unable to anchor ever again. It also gave ABC fresh optimism that “G.M.A.,” with Ms. Roberts back in her chair, can continue to beat NBC’s “Today” show, which last year was dislodged from the top spot in the morning ratings after 16 straight years.

Most of all, her return closed a chapter in a story that started almost exactly one year ago, when Ms. Roberts felt exhausted while covering the 2012 Academy Awards in Los Angeles for ABC. Subsequent tests by her doctors found that she had M.D.S., short for myelodysplastic syndromes, a rare and debilitating blood disorder, likely resulting from her treatment for breast cancer five years earlier.

Ms. Roberts was officially given t! he diagnosis on the same week in April that “G.M.A.” beat “Today” for the first time. She told “G.M.A.” viewers about the diagnosis two months later, in mid-June, and took a medical leave of absence at the end of August so she could undergo a bone marrow transplant.

Ms. Roberts told viewers she’d be back on “G.M.A.” as soon as she could. But no one knew for sure how long she would be away, if she survived at all. Nor could anyone at ABC think of any precedents for a lengthy leave of absence like hers.

“It was completely uncharted territory,” Mr. Sherwood said. The closest things to it were weeks-long maternity leaves, and the one thing ABC was determined not to repeat: a departure like that of Peter Jennings, the longtime “World News Tonight” anchor who abruptly came onto his newscast one day in April 2005, announced he had lung cancer, said “I will continue to do the broadcast,” but never came back.

Mr. Jennings died four months after making the announcement and the circumstances were traumatic for viewers as well as for ABC staff members. For that reason â€" as well as for the more obvious ones involving ratings and reputation â€" ABC decided to make Ms. Roberts a part of “G.M.A.” even while she was in the hospital recuperating from the transplant. Mr. Stephanopoulos and the other co-hosts mentioned her by name at least once every half hour, and they shared her Twitter messages and photos on TV regularly.

ABC executives and producers emphasized that they were taking their cues from Ms. Roberts every step of the way, and she has said the same thing in interviews. She’s returning now, they said, only because her doctors say she is ready.

On Tuesday night, Ms. Roberts had a quiet dinner at home with her sisters, one of whom was her bone marrow donor. “We laughed and told old family stories,” she said in an early morning text message. “This is a wonderful new chapter for all of us.”

Nonetheless, morning TV is big business, a! nd there ! have been grumblings that ABC has exploited her condition for ratings gains. Last July, two weeks after NBC removed Ann Curry from “Today,” spurring a big lift in the ratings for “G.M.A.,” the “Today” show executive producer Jim Bell wrote in an internal memorandum that the competition was “using Robin’s illness and the accompanying public interest in her health as a new weapon in its arsenal.”

More recently, some media critics have censured “G.M.A.” for over-covering Ms. Roberts’ impending return; a steady stream of commercials featured a bevy of celebrities welcoming her back. But for the most part, viewers have been rooting for Ms. Roberts and for her television family, which remained No. 1 in the morning ratings race while she was away.

Among total viewers, “G.M.A.” celebrated six straight months of wins earlier this month and started to describe it as a streak, mimicking the way “Today” used to talk. Among the 25- to 54-year-old viewers that help the shows mae money, “G.M.A.” stayed slightly ahead of “Today” while Ms. Roberts was absent. Within ABC, there is a quiet hope that her return will propel the show to a firmer victory among 25- to 54-year-olds.

Mr. Sherwood ducked questions about the ratings, but said, “This experience has reminded us to take nothing for granted â€" and, like Robin herself, in many ways we feel like we’re just getting started.”

Even the most cynical “G.M.A.” producers â€" interviewed on condition of anonymity, because they were not authorized by the network to speak â€" pointed out that Ms. Roberts’ story could have ended very differently. “It doesn’t matter about ratings” on Wednesday, one such producer said in between emotional expletives. “She is alive!”

She came closer to death last year than ABC readily acknowledged at the time. For three months after the transplant, since her newly-booted immune system was like a newborn’s, she stayed in isolation, first in a New York hospi! tal and t! hen in her home.

Interviewed by People magazine, which put her on the cover last week, Ms. Roberts said she was warned that “at one point I would feel like dying.” Shortly after the transplant, that came true, she said: “I was in a pain I had never experienced before, physically and mentally. I was in a coma-like state. I truly felt like I was slipping away. Then I kept hearing, ‘Robin! Robin!’” The voice belonged to a nurse, who Ms. Roberts said was “pleading for me to stay here. And thankfully I did. I came back.”

In December, Ms. Roberts stepped out in public view, and a few weeks ago she started coming to the “G.M.A.” studio on so-called dry runs for her return to the co-host chair. She’ll re-emerge gradually, for a few days a week at first, depending on how she and her doctor feel about how it’s going, which partly explains why Ms. Vargas and Ms. Robach will remain regulars on the show.

On Tuesday afternoon, the “G.M.A.” staff were briefed by Tom Cibrowski,the show’s executive producer, about what one staff member called the “rules of Robin’s return,” which include health tips to ward off the transmission of the common cold and other illnesses. Among them: “elbow bumps instead of hugs and kisses,” the staffer said, and ample use of the hand sanitizer dispensers around the studio.

There was long and sustained applause for Mr. Stephanopoulos during the meeting. “George is really the unsung hero,” said another staff member. “He kept the team together.”

Ms. Roberts’s return was even cause for a temporary cessation of hostilities between “G.M.A.” and “Today,” at least on the “Today” show’s side. Don Nash, who replaced Mr. Bell as executive producer of “Today” two months ago, said in an e- mail on Tuesday night, “Robin is an outstanding broadcaster, a great colleague and friend to so many. All of us at ‘Today’ wish her continued good health and years of hitting the 3 a.m. snooze button!”