Monday, September 4, 2017

The Real Campus Scourge (from The New York Times):

The Real Campus Scourge
Frank Bruni SEPT. 2, 2017 (From The New York Times)

Across the country, college freshmen are settling into their new lives and grappling with something that doesn’t compete with protests and political correctness for the media’s attention, something that no one prepared them for, something that has nothing to do with being “snowflakes” and everything to do with being human.
They’re lonely.
In a sea of people, they find themselves adrift. The technology that keeps them connected to parents and high school friends only reminds them of their physical separation from just about everyone they know best. That estrangement can be a gateway to binge drinking and other self-destructive behavior. And it’s as likely to derail their ambitions as almost anything else.
Brett Epstein felt it. “I spent my first night in the dorm and it hit me like a pile of bricks: It’s just me here,” Epstein, a 21-year-old senior at the College of Charleston, told me about his start there three years ago. “I was completely freaked out.”
Clara Nguyen felt it, too. “It’s a lot more difficult to make friends than people make it out to be,” Nguyen, a 19-year-old sophomore at U.C.L.A., told me about her experience last year. “I didn’t know how to be someone new while at the same time being who I always was.”
The problem sounds so ordinary, so obvious: People in an unfamiliar location confront dislocation. On their own two legs for the first time, they’re wobbly. Who would expect otherwise?

Well, most of them did, because college isn’t sold to teenagers as just any place or passage. It’s a gaudily painted promise. The time of their lives! The disparity between myth and reality stuns many of them, and various facets of youth today — from social media to a secondary-school narrative that frames admission to college as the end of all worry — worsen the impact.
Harry Rockland-Miller, who just retired as the director for the Center for Counseling and Psychological Health at the University of Massachusetts at Amherst, told me the emblematic story of a freshman he treated:
“He was 18. He came to school and was invited to a party his first weekend, and he didn’t know anybody. So he started to drink. He drank way too much and ended up lying on a bench in his residential hall, feeling very sick. Nobody stopped and said, ‘How are you doing? Are you O.K.?’ And he felt so isolated. When he came in to speak with me the next day, the thing that struck him — what he said — was, ‘There I was, alone, with all these people around.’ ”
Alone, with all these people around. In a survey of nearly 28,000 students on 51 campuses by the American College Health Association last year, more than 60 percent said that they had “felt very lonely” in the previous 12 months. Nearly 30 percent said that they had felt that way in the previous two weeks.
Victor Schwartz, the medical director of the Jed Foundation, which is one of the nation’s leading advocacy groups for the mental health of teenagers and young adults, said that those findings were consistent with his own observation of college students today. “While they expected that academics and finances would be sources of stress,” he told me, “many students were lonely and thought this was sort of unique to them, because no one talked about it.”
Their peers in fact do something that mine couldn’t back in the 1980s, when I attended college: use Facebook and Instagram to perform pantomimes of uninterrupted fun and unalloyed fabulousness. And these “highly curated selves,” as the U.C.L.A. psychologist Elizabeth Gong-Guy called them, “amplify the fact that you’re sitting in your residence hall alone.”
Gong-Guy runs her university’s Campus and Student Resilience program, which helps students with emotional struggles and exemplifies many schools’ intensifying efforts to address loneliness, among other mental health issues.
Extended, elaborate freshmen orientation schedules are another intended prophylactic against loneliness, which is a common reason for dropping out. And as Lawrence Biemiller recently noted in an article in The Chronicle of Higher Education, there’s even a push to place and design freshmen dormitories so that solitary time is minimized and interaction maximized.
Three new residence halls at Goucher College, one of which opened last fall and two of which are nearing completion, typify this trend. Goucher’s president, José Antonio Bowen, said that the center-of-hall situation of bathrooms, the glass walls of laundry rooms and even the speed of the wireless connection in common areas — much faster than in the rooms — are deliberate pushbacks against forces that can isolate students.
“Students are arriving on college campuses with all of their high school friends on their phones,” Bowen told me, referring to the technological quirks of today. They too easily substitute virtual interactions for physical ones, withdrawing from their immediate circumstances and winding up lonely as a result.
That’s why the solution isn’t hourly messages from concerned moms and dads, whose stubborn attentiveness, no matter how well meant, can leave their children psychologically frail. Mental health experts and college administrators recommend a more thoughtful organization of campus life and more candid conversations about the tricky transition to college.
Nguyen, the U.C.L.A. sophomore, said that in her Vietnamese-American family in Southern California, all the talk was of doing well enough in high school to get to college and not about the challenges college itself might present. Epstein, the College of Charleston senior, said that his popularity in high school in the suburbs of New York City perhaps distracted him from any awareness that “I was going 700 miles away and being dropped in a place of 10,000 people and wasn’t going to know anybody.” What followed, he added, was “a long battle with anxiety and depression.”

One of the narrators of Tom Perrotta’s superb new novel, “Mrs. Fletcher,” is a former high school lacrosse star who arrives on campus “after all the endless buildup” and develops a “queasy feeling” that his world has become at once more populous and a whole lot colder. “There I was, people-watching and eating my omelet,” he says of one morning in the dining hall, “and the next thing I knew my throat swelled up. And then my eyes started to water.”

We urge new college students not to party too hard. We warn them of weight gain (“the freshman 15”). We also need to tell them that what’s often behind all that drinking and eating isn’t celebration but sadness, which is normal, survivable and shared by many of the people around them, no matter how sunny their faces or their Facebook posts.

Thursday, August 31, 2017

Summer Box Office Bombs

Summer Box Office Suffers Historic Decline in U.S.

by Pamela McClintock
From left: 'The Mummy,' 'Transformers: The Last Knight,' 'The Dark Tower'From left to right: Courtesy of Universal Pictures, Paramount Pictures and Sony Pictures
By the time Labor Day weekend wraps, summer box-office revenue in North America will end up being down nearly 16 percent over last year, the steepest decline in modern times and eclipsing the 14.6 percent dip in 2014. It will also be the first time since 2006 that summer didn't clear $4 billion.
That's according to comScore, which is predicting that revenue will come in at roughly $3.78 billion (a 15.7 percent decline). Attendance also plummeted, and is almost assured of hitting a 25-year low in terms of the number of tickets sold, according to Box Office Mojo.
The sequelitis virus that first invaded Hollywood last year only grew worse this summer. A number of franchise installments underperformed domestically, including Transformers: The Last Knight ($132 million), The Mummy ($80.1 million) and Pirates of the Caribbean: Dead Men Tell No Tales ($172 million). While Pirates 5 certainly fared the best, it paled in comparison to the previous installments.
The good news for a worried Hollywood? The international box office — which is up more than 3 percent year-to-date — helped save a number of summer event films that underperformed in the U.S. Pirates 5 has grossed $618 million overseas for a global total of $790 million, while Transformers 5 stands at $604 million globally after earning $474 million offshore. And The Mummy scared up $328 million abroad for a worldwide cume of $407.8 million.
Summer titles that all-out bombed domestically include King Arthur: Legend of the Sword, Valerian and the City of a Thousand Planets and The Dark Tower, which kicked off an especially brutal August.
Another sore point was R-rated comedies. Baywatch, The House and Rough Night all bombed despite impressive star wattage. The only film to break the R-rated curse was Malcolm D. Lee'sGirls Trip, from Universal and producer Will Packer, which has earned $108.1 million to date.
"The lesson for Hollywood this summer is that every movie counts when it comes to box office and there are no 'throwaway' titles," says Paul Dergarabedian of comScore. "At least three tentpoles missed the mark in North America as well as a handful of R-rated comedies that left audiences frowning, and the missing revenue from those failures could arguably have left a $500 million-plus void in the marketplace — enough to turn a potentially strong $4 billion-plus summer season heavyweight into a 98-pound weakling."
The tentpole winners of summer were Guardians of the Galaxy Vol. 2, which earned $389.4 million domestically and $862.8 million globally; Wonder Woman ($406.2 million/$806.2 million); Despicable Me 3 ($254.5 million/$971.7 million); and Spider-Man: Homecoming ($318.8 million/$737 million). Smaller gems include Baby Driver and Annabelle: Creation.
Year-to-date, domestic revenue is down 5.7 percent, while international revenue is up nearly 4 percent.

Wednesday, August 30, 2017

American Television System Overview

Television System Overview

There are three TV systems in the United States—

1) Commercial broadcast system;
2) Commercial cable/satellite system; and
3) Public system.

The differences between the three lie primarily with how each produces revenue.

The commercial system relies solely on advertising,

The cable/satellite system relies on a combination of subscription fees + advertising,

and the public system relies on funding from the CPB (Corporation for Public Broadcasting—a private corporation funded by tax dollars), donations from “viewers like you,” and contributions from foundations.

The dominant system over the past 50+ years has been the commercial broadcast system. This system has five components and they are:

1) networks
2) affiliates
3) studios
4) syndicators
5) advertisers

NETWORKS—
“A network is not much more than several office building in  New York and Los Angeles where highly paid executives package programs they do not own, sell commercial time over airwaves they do not possess to advertising executives they have not met, and provide the programs and ads to a nationwide audience through local stations they do not operate.”

NBC—parent company is Comcast-Universal (affiliated with Universal Studios)
CBS-- parent company is CBS Corp. (affiliated with Paramount Pictures)
ABC -- parent company is Disney (affiliated with Walt Disney Pictures)
FOX--  parent company is 21st Century FOX (formerly Newscorp) (affiliated with 20th-Century FOX Pictures)
CW—owned by CBS and Warner-Bros. (affiliated with Paramount and Warner Bros.).

Networks purchase programs from Hollywood Studios to air on their affiliate stations.  They then sell commercial time and insert those commercials into the programs they transmit to their affiliates.  The affiliate stations receive payment in two ways from the network.  They receive cash payments and they also receive payment in the form of a couple of blank commercial slots in the network programming.  They can sell these commercial spots locally to make additional money.

AFFILIATE STATIONS

 Affiliate stations-- receive much of their programming from the network.  Other programming is provided via the purchase of syndicated programming or they make their own programming (news programs, public affairs, sports specials, etc.) Affiliated stations have signed exclusive contracts with one of the TV networks.

They promise to broadcast a network's programming line-up-- including
prime time;
morning and evening news programs;
sports (some); and
late-night programming.

The programming from the networks comes with national commercials already inserted.  The affiliates receive direct payments from the networks (the amount is dependent on market size) along with some advertising spots to sell.

The U.S. has 210 television "markets" called "DMAs" by Nielsen-- "designated market areas."
You should know the top 10 markets. They are:

1. New York, NY
2. Los Angeles, CA
3. Chicago, IL
4. Philadelphia, PA
5. Dallas-Fort Worth, TX
6. San Francisco, CA
7. Washington, DC
8. Boston, MA
9. Atlanta, GA
10. Houston, TX



TV PRODUCTION HOUSES/HOLLYWOOD STUDIOS

They make TV shows… (Networks today produce their own news, newsmagazines, sports programming)…

TV Prod Houses sell/lease their shows to the networks…

Studios---  huge businesses—they’re the film studios…  their shows today dominate the market--  Disney, 20th-Century Fox, Universal, Paramount, Warner Brothers, SONY, CBS-P, Lionsgate… 

TV production houses have been known to lose money for some shows that are leased by the networks. In other words, it often costs more to produce each episode than they can recoup from the network. So why do they bother? Because if they are fortunate enough to get a show into off-network syndication, they get their investment back + enough additional revenue to bankroll all of their other projects.


SYNDICATORS—
“Middlemen”—an exclusive agent that represents a production studio's show to all the TV stations that are constantly shopping around for a product.

They get their money by
1)  a cut of the station license fee (the sum a station pays for the right to air the show); and
2) barter sales (the minute or two of commercial time syndicators sell directly to national advertisers)…

3  types of syndicated programs—

1)    first-run or original syndication (shows like Wheel of Fortune, Jeopardy, Ellen, Judge Judy, etc.)
2)    off-network syndication (shows like Friends, Seinfeld, Everybody Loves Raymond, etc.)
3)    old movies (often seen on cable networks) 

The FCC made syndication companies rich by passing the Prime Time Access Rule.  The PTAR simply states that one hour of prime-time programming each evening (with Sunday being the exception) must be non-network programming.  The networks chose to give up the 7-8 p.m. hour of prime-time.  The Prime Time Access Rule has since been disbanded, but the networks have, for the most part, decided not to air programs between 7-8 p.m., except on Sundays.



ADVERTISERS--

Advertising income finances broadcast media content and supports the commercial broadcast industry…


Dayparts—in TV, dayparts determine advertising rates. The basic dayparts are as follows:

early morning,
day,
early fringe,
prime time,
late night,
overnight.

The most expensive parts of the day for advertisers are prime time and fringe. Afternoon and overnight are the cheapest.

Types of program sales for syndicators—

            1) barter—meaning that a local station agrees to air a syndicator’s program in            exchange for some commercial slots.

            2) cash—meaning that a local station agrees to pay a syndicator cash for the rights to air a certain program.

            3) cash + barter—meaning that a local station agrees to pay some cash (less than in a cash deal) for a program + the station gets a few commercial slots. The syndicator delivers the program with national commercials already inserted (making sure to leave some empty slots for the local station).

            Cash + barter is the most common type of sale.

“O & O” stations—an affiliate that is owned and operated by the network. Networks are allowed, per FCC rule, to own a certain number of their own stations. WABC in NYC, for example, is both owned and operated by ABC.

HUT—“households using television”

Station line-up—a list of the TV markets and the individual TV stations in those markets

Upfronts—refer to when the networks invite advertisers (often media buyers) to preview their new shows in an effort to drum up advertising interest. If the advertisers like a show, they will commit to supporting that show (by buying ads) for a certain amount of episodes. For example, Modern Family was quite popular with advertisers and, consequently, ABC’s upfronts for the show were solid—all before the program aired.

Cable TV System
The difference between the commercial broadcast system and the cable system is how revenue is generated. Most of the revenue in cable TV comes from subscription fees. The more leverage a cable network has, the more that network can command from a cable company. When a home pays a cable bill, a portion of that money goes to the cable company, and the rest is divided among all of the networks offered. ESPN brings in more revenue than any other cable network (close to $12 billion per year). Some other cable networks bring in only pennies per month, but when multiplied by 90 million+ homes, it adds up to millions of dollars of revenue. In addition, cable networks can sell TV commercials to generate additional revenue.

All of the major cable networks are owned by the major media companies (Disney, Viacom, 21st-Century Fox, Time-Warner, Comcast-Universal, SONY). 

Why Hollywood Could Make Billions from Self-Driving Cars

Why Hollywood Could Make Billions From Self-Driving Cars



In-vehicle entertainment for passengers may translate to big business for studios: "Can the windshield be the movie screen of tomorrow?"
Illustration by: Wren McDonald
For the past 18 months, a river of money has been flowing between Detroit and Silicon Valley. In March 2016, GM spent $1 billion to acquire self-driving car startup Cruise Automation. More than 10 automakers, including Tesla, Audi and Mercedes-Benz, have set up autonomous vehicle development labs in Silicon Valley. Even Apple has its own model in the works, seen driving itself on the Cupertino streets of the new $5 billion Apple Park campus. With an estimated 21 million new connected cars (or vehicles with internet access) on the road in 2017 in the lead-up to fully autonomous vehicles hitting the streets over the next decade, it's no wonder that a 2016 Ernst & Young report projects that in-car streaming entertainment could bring $20 billion in incremental revenue to the industry.
"Our mobile lifestyle is expanding into cars — that is the next journey for entertainment. Hollywood is an important part of that discussion," says Ted Schilowitz, futurist at Paramount Pictures. He points out that while passengers will continue to use personal mobile devices, a self-driving car could deliver a more sophisticated offering of movies, TV and games as well as emerging platforms such as virtual, augmented and mixed reality. In a driverless car, "there's a lot of real estate," says Schilowitz. "If you look at the windshield and windows, they are 'screens' at the right distance to be entertainment portals. Can the windshield be the movie screen of tomorrow?"
Right now, the technology is in a development stage. Says Alex Hilliger, advanced engineer at Mercedes-Benz Research & Development North America: "We're re-envisioning the automotive experience. The vehicle could have a lounge atmosphere, and the passengers face forward or backward. If you don't need a steering wheel or driver's seat, the car can be a new space."
The broadcast industry is positioning itself for this scenario: Its next-gen broadcast standard (known as ATSC 3.0) brings together internet and live over-the-air signals with mobility for delivering video-on-demand content, Ultra HD (4K resolution) and High Dynamic Range TV. "In cars, that might mean riders view network or new types of programming," says ATSC spokesman Dave Arland. "Broadcasters are interested in conversations with automakers. ATSC 3.0 is a very big [content] pipe into the car."


The Mercedes-Benz F105 Luxury in Motion research car concept has a "lounge atmosphere" with new space for media.
Courtesy of Mercedes-Benz
The Mercedes-Benz F105 Luxury in Motion research car concept has a "lounge atmosphere" with new space for media.
Though it will be a few years before the technology is widely used, "deployment will start almost immediately," as the first version is expected in the fall, says Arland. Revenue models will be in place even sooner: "We could deliver interactive, geolocated advertising based on nearby shops, restaurants and businesses," says Dennis Wharton, executive vp at the National Association of Broadcasters.
With such capabilities, experts are wondering if in-car entertainment services — like in-flight entertainment — are on deck for driverless vehicles. Says Schilowitz: "Multiple studios are looking at this and meeting with strategic partners. I'd guess that they are all looking at it."
Viewing a movie that has been edited and packaged for in-car consumption is only the tip of the iceberg: Think content customization prompted by facial, voice and gesture recognition. "Artificial intelligence will be permeating every aspect, from monitoring what's going on outside the vehicle — making sure the road is clear and safe — to a robust in-car AI system that recognizes who is in the car via facial recognition," says Danny Shapiro, senior director of automotive at tech developer NVIDIA. "The content personalization possibilities are endless and will be based on a voice-activated and gesture-based system. The telcos, content providers, game developers and e-commerce companies will be transacting business within the car. We'll also see new types of interfaces — we can even turn the whole interior of the car into a holodeck."
This story first appeared in the Aug. 23 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.



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