MAD MEN: An Update On The Critical Darling's Future

So after numerous back-and-forth negotiations, AMC, Lionsgate, and Creator/Exec. Producer Matthew Weiner have come to a conclusion for contract negotiations for MAD MEN just this past week.  Thankfully, after some hardball on Weiner's part, the AMC critically acclaimed darling of a show has been scheduled in for a total of seven seasons (provided the numbers remain the same, of course).  But the biggest concern in the talks were the salaries and the number of series regulars cast members.  Weiner fought hard to retain the large cast and their higher salaries as the series enters it's fifth season, even willing to take a lower pay himself.  Though these arduous talks were long and tedious, some entering the wee-hours, the decision has been made, and the show is saved.  However, all this power-talk means time has been wasted while making deals.  This means that there is to be a long hiatus between season four (which concluded in the fall) and season five (which won't begin until 2012).

So, hoping to keep MAD MEN fresh and relevant (and maybe help the hype of the much-anticipated season five), Lionsgate TV and Netflix have cut a syndication deal.  Basically, Netflix now owns the exclusive rights to non-internet MAD MEN content.  By non-internet, I mean subscriber based, which is of course is what Netflix does best.  This means that starting July 27th, 2011 any Netflix subscriber can watch season one thru four thru instant streaming.  This is a huge deal and the numbers are coming in around $1 million per episode paid to Lionsgate TV.  And to make a sweet deal even sweeter, Netflix has secured the rights to the remaining seasons (five thru seven) for the next five years.  So until 2016, all MAD MEN episodes can be available via Netflix.  The only hitch (though this is not surprising) is that the seasons yet to come will only be available on Netflix after the season has concluded.

This is a major deal for both sides.  For Lionsgate TV, it gets to place MAD MEN (a coveted drama, yes, but an obscure one that may have trouble finding syndication deals in traditional routes and markets) in a syndicated arena while still maintaing TV syndication rights, just in case.  And then for Netflix, MAD MEN adds a lot to its sometimes disappointing content for instant streaming.  Sure, there's DOCTOR WHO and some other notable television shows, but really, the content is subpar.  With MAD MEN, Netflix gains some prestige in the eyes of TV and film execs since the show is so revered and thus may help to gain further content of the same quality.  All in all, MAD MEN is here to stay, and thank God cause there is finally something good to watch on TV (and Netflix).

Check out the trailer for an earlier season here:
http://www.youtube.com/watch?v=BTmIw_Ns2Gw&feature=related

And check this out, a little parody of MAD MEN.  Check out MAD MEN IN 60 SECONDS:
http://www.youtube.com/watch?v=2X654tkCvoQ&feature=related

FlashForward: The Ironically Unknown Future

FLASHFORWARD aired its second episode last night (October 1st, 2009) on ABC. This new hit television drama stars Joseph Fiennes (recognizable from Oscar winning SHAKESPEARE IN LOVE). It follows Fiennes character as he (and the rest of the world) try to piece together why a massive, worldwide blackout occurred causing everyone to lose consciousness and see their futures.

This plot is very innovative and falls under the unreal tv genre. This genre is for the supernatural aspects of television shows. To be honest, it seems as though ABC is preparing for the end of LOST (their major, and established unreal television show at present, which premieres its final season early 2010). The two shows share similar qualities, beyond the supernatural realm of their narratives. Both shows select a core group of individuals who are "destined" to solve the mystery. In LOST its the Oceanic 6 survivors, and in FLASHFORWARD its the FBI team, particularly the Fiennes character who saw the investigation in his own vision.

Secondly, the two television shows are aimed at the same demographic: the under 35 year-olds. With their sci-fi and conspiracy theory styles, this key audience is satisfied. This is a crucial demographic to win over because they are often the ones who spend more freely. If they spend more freely, the ad execs will raise their prices for ads during the show due to the high demand for this captive audience.

Thirdly, this audience is more likely to investigate alternative ways to access the show's "bible." They will take advantage of conventions, webisodes, fanfiction, message boards, facebook groups, twitter tweets, watching episodes online and the like. These will provide extra information that will give a more in-depth look at the episodes. These alternative ways to surround an audience with the show, which proved very successful for LOST, is just another way to earn more revenue from ad sales and other ancillary products.

And lastly, and most importantly perhaps, just like LOST, FLASHFORWARD has a definite expiration date. ABC chose not to bestow the curse of GILLIGAN'S ISLAND on LOST and have the Oceanic 6 live forever on the island, they knew they need (in order to make the most money through rise of anticipation of the final season) to kill the show at its peak. Similarly, FLASHFORWARD has already proven one major point at which it could be killed: once the mystery is solved, when the characters reach the day they envisioned in the blackout. This is a major concern for the execs up at ABC. Perhaps there will be curve balls to throw this off a bit, but regardless of whether that is in fact the end point or not, there is definitely going to be an endpoint for this new drama.