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Kevin Can F**k himself EP on Sitcom Inspirations, Casting Annie Murphy

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Kevin Can F**k himself EP on Sitcom Inspirations, Casting Annie Murphy


The premise of creating Valerie Armstrong’s first series came to her in a simple and distinct sequence. A woman leaves the living room of a traditional sitcom set and enters the kitchen. The studio lights change to regular light bulbs and she can force a smile on her face. Then, “She looked straight into the camera and said, ‘I hate my husband,'” says Armstrong.

Four years later, that inspiration grew to “Kevin Can F**k Himself.” In the eighth episode, the first season is followed by Worcester Allison, Massachusetts (Emmy winner Annie Murphy), followed by a slow awakening. Her husband (the title Kevin played by Eric Petersen) is destructive and manipulative. The sitcom space is a space where Kevin can talk, do terrible things and laugh, but the story takes Alison out of that space and leads to a single-camera structure, where she and the audience can think a little harder about her sitcom husband’s actions. , a neighbor and father managed to escape for decades.

“How to make a sitcom wife a real woman in that DNA?” Armstrong talks about the show. “Recognizing that she knew how miserable she was was very important to making a pilot. For the woman to be there, she cannot know that she is miserable. She must be sure that this is where she should be. [and] Her happiness will ultimately be in her marriage because she’s been told she’s good.

“So in the pilot it was ‘Kevin is funny, Kevin is a great guy. You just have to know how to get him to work.’ Then you have to go where he understands that he’s not accidentally destructive. It may be a mask, and it may not always be completely intentional, but he manipulates her and has been like that for a while. So, frankly, I don’t think he’s getting any worse over the course of the show, but I think he’s starting to realize his behavior,” she continues.

Armstrong, who previously wrote for “SEAL Team” and “Lodge 49” while developing the show, said that every question audiences have when they sit down to watch the premiere: part of the show goes into Alison’s head, is she crazy, or is it within the show? Is there a show element, and/or if something supernatural is going on. For the record, the answer to all of this is no. “What happens in the multi-camera world is just as real as what happens in the single-camera world, and the way people in the room see the event. ” explains Armstrong.

Armstrong had to write a lot of rules about what could and couldn’t happen in each of these worlds. The crux is that when Kevin, his father Pete (Brian Howe) or neighbor Neil (Alex Bonifer) appears on screen, “it made the world a little sitcom that could air on CBS,” Armstrong says. It’s said to be a multicam catalyst, but it doesn’t give you action you won’t find in other sitcoms, nor does it include “sitcom scenes that don’t fit that episode of the sitcom. This means that if she made an episode completely Kevin-centric, it would be 42 minutes of multicam. (She doesn’t know that the show will do something like this in the future, but she admits she doesn’t do that in season 1.) The show could shift perspective to other characters like Neighbor Patty (Mary Hollis Inboden). See action in a single camera format.

When making the sitcom, Armstrong said he wants the audience to feel like they’re “alive” but immersed in a long-running show that’s familiar. Physically, she was inspired by, for example, the sets of “That ’70s Show” and “Roseanne”, and “Frasier” helped tell the sitcom what she could perform (including a five-episode French play). .

“We tried to make a sitcom that was funny on its own. And the more you learn how destructive Kevin is, the harder it is to watch as a harmless sitcom, but we always try to make you laugh despite ourselves. So in the last episode, when things are the darkest, it’s like laughing at a funeral,” she says.

The series’ setting also helped with the timeless feeling she was going with, as she laughed “Worcester sometimes feels like she’s in the ’90s”.

Although Armstrong grew up in Connecticut and said, “I wanted to write people I knew and people I grew up with, and that meant repressed New Englanders,” she decided to set the show on a more “classic sitcom Blue Collar.” She thought most people thought of Connecticut.

“Wooster [was] My brother’s college roommate came from and he had a fascinating mix of shy and unaware of all his shortcomings, yet absolutely proud of his hometown. And he had the most fantastic intonation. I couldn’t distinguish Korea from a world ‘career’ like a job,” she recalls. “There was light and darkness. It looks like a place that Kevin could be proud of, but Allison sees everything as it is.”

Armstrong was originally looking for someone who would “surprise you just how much fun” on ‘SNL’ when casting Alison, who not only has to reliably move between the two worlds, but her worldview expands significantly as the first season progresses. they were.” Because the show “requested someone who didn’t take it too seriously. We noticed that the single-camera scene had a bad transfer. It can be tough. It can be very disappointing.” But eventually, Murphy, after spending the last six years on the Canadian sitcom “Schitt’s Creek” (who won an Emmy for comedy actor last year), got the show.

“Annie can do anything, so we went in a different direction,” Armstrong says.

Armstrong felt it was important to bring a bit of lightness and humor to the show’s single-camera world, even as Allison worked at a liquor store or reported that the car had been stolen, even as she plunges into non-luminous realities like pulling up a car. When she didn’t call him or when he didn’t come home when he expected her. She didn’t want people to feel uncomfortable watching single-camera scenes and eagerly wait to return to sitcom scenes. Especially since the single-camera scene really illuminates the system issues that both Allison and the audience must face.

“She goes through most of her first season, saying, ‘Kevin is the problem.’ She is pretty nearsighted,” Armstrong says. But “Kevin is just a symptom.”

“Kevin Can F**k Himself” airs on AMC Plus on June 13th and on AMC on June 20th at 9pm.





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Comcast Q2 Commentary: NBCU Recovery Exaggerated

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Comcast Q2 Commentary: NBCU Recovery Exaggerated


Investors overall Q2 revenue results. NBCUniversal is oTotal sales, just under $6 billion in the previous year, rose to a maximum of $8 billion in the second quarter. NSut It was the core business of the company that did the hard work.

Second-quarter results did not help much to calm M&A speculation. Anyway, that speculation reinforced the argument that Comcast could probably be a better investment without a media business. AT&T’s decision Drop streaming with WarnerMedia and focus on wireless and 5G.

The fierce competition in the streaming war has given analysts an opportunity to ask Comcast executives about the possibility of an acquisition to further expand its streaming strategy with NBCU. But, as expected, management dismissed such M&A speculation.

When it comes to streaming service Peacock, NBCU CEO Jeff Shell responded that it can be successful without additional assets. He noted that Q2 is proof of that claim. But the numbers tell a different story and suggest that Shell’s division may be more shaky than investors realize.

Comcast has reported confusion. peacock user engagement again figures. CEO Brian Roberts announced in a revenue conference call that the streaming service had 54 million subscribers as of this week and more than 20 million monthly active accounts. He also said that Peacock is “the fastest growing streaming service.”

as we mentioned It’s important to remember that for quite some time a “subscription” is not the same as a subscriber. Comcast did not report how many users are paying for its services and how much money the company is earning from users.

However, despite the metrics provided by management, Peacock is still not doing so well. One thing to consider when analyzing the number 54 million is that the company has deliberately announced that it is the most recent number as of this week. summer game. This number may experience big fluctuations at the end of the Olympics.

And as of this week, the number of monthly active accounts (MAAs) is 20 million. That represents an increase of only 6 million since the last quarter when the company reported a 14 million MAA. Although Peacock has been on the market for well over a year now, it has yet to surpass Xumo, an AVOD service operated by Comcast Xfinity with 24 million monthly active users as of October 2020.

The figure contradicts management’s optimistic narrative, which should worry investors more than Thursday morning, when stocks rose nearly 3% shortly after the market opened.


According to GetWizer Consumer Insights conducted a new study on VIP+ of nearly 1,500 Americans, and while usage of the free version of Peacock is rather high, the subscription version of Peacock Premium is rarely loved.

Only 8% of respondents aged 15-29 and 12% of respondents aged 30-44 watched Peacock Premium for at least 30 minutes in the past week. This compares to 9% of those aged 45-59 and 4% of those aged 60 and over.

While other sectors of the NBCU are making a comeback, it is important to keep in mind that year-over-year comparisons are not a perfect indicator of the current state of the business. In the second quarter of last year, the United States and most of the world closed, and the macroeconomic background was particularly difficult. A fairer comparison would be 2019.

With that in mind, consider NBCU’s theme park business, which recovered profitability for the first time since Q1 2020 and surpassed $1 billion in sales. This compares to $136 million in the same period last year and $1.46 billion in the second quarter of 2019. Roberts said Universal Studios Orlando sees strong domestic demand in both spending and attendance. And Hollywood Parks are seeing an increase in attendance every week.

For all intents and purposes, the NBCU is on the rise again, but all of this, up about 17% so far this year, is already reflected in the share price. What really matters and moves the stock is the success of Comcast’s core broadband and wireless business. In the second quarter, Comcast added 354,000 high-speed Internet customers, slightly exceeding Wall Street’s estimate of 270,000.

Similar to AT&T’s sale of WarnerMedia, another major benefit of the NBCUniversal spin-off is Comcast’s additional debt reduction. Comcast’s approximately $90 billion in debt isn’t as large as AT&T’s $168 billion, but paying off its debt will put more cash in Comcast’s pockets and strengthen its revenue-generating business.

Roberts is known to enjoy working in the content business, but the future for Comcast’s non-NBCU business is much brighter. And if AT&T’s recent decision with WarnerMedia is any indication, sometimes it’s better to focus on what works to be as competitive as possible rather than trying to offer too much and risking being mediocre in the out-of-the-ordinary streaming business. that.





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Survey: What International Consumers Want from Streaming Services

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Survey: What International Consumers Want from Streaming Services


competitor to collapse inputNS NS Top tier of streaming services War can stay Been in the US for a long time. That is why HBO Max launch begins internationally input June. It is also the reason Comcast CEO Brian Roberts Reports Recently Argument Potential Streaming Partnership Viacom CBS management Help us take Peacock internationally..

HoweverAlluding to duplicating American products for an overseas audience won’t be enough. to provide Some clues that might help SVODNS Succeed outside the US, YouGov International at the end of June PollNS attitude towards streaming service Instead of Variety intelligence platform, nEarly 19,000 people 18+ across 17 countries answer.

The following are the five implications of the survey. video streaming service should draw close international expand:

1. Growth of ASia-NSPacific (APAC) Regions should be prioritized.

According to the poll, 3 out of the top 5 countries (Indonesia, India and China), when ranked according to consumer interest in paying reasonably priced Video streaming services providing localized content were located in the APAC region. NSHe said the Chinese data point is harder to act, of course, according to the instructions of the Chinese governmentlike Know what you can see online (NS rag the great Wall).

Additionally, most of the countries YouGov surveyed respondents were APAC or EMEA based, Increases the likelihood that the country in your region will emerge as an attractive region to expand through: graphic below. NSuh APAC prioritization points are giveen India and Indonesia are currently the second and fourth most populous countries in the world. July 2021, Party NS you.NS. Census Bureau.

2. Must have a healthy balance of l.localized content And Us International version of the hit video streamer.

Streaming executives must curb the urge to overwhelm the international version of SVOD with localized content. In particular, consumers in Mexico, UAE and India see great value SVOD, which provides content from famous American actors. Most of the countries were three countries. Research the respondent said A streaming service that provides content from American stars “Very important” or “Somewhat important” to them.

this goes to show The value of a streamer like HBO Max with access to a large library of cLasix (Hollywood star appearance) it can be easy Advertising In ~ House International SVOD screen. Also, Prime Video Satisfying consumers in regions such as Mexico and UAE with MGM classics such as “Too Blonde” and “Too Blonde”.unstable If the MGM acquisition is approved.

three. notable non-English speaking Countries in Asia and Europe are still English content.

while speaking english territory Naturally, it tops the list of countries where most respondents say they watch. English movies and TV shows “very often” or “slightly often”, meaningful part Consumers in unexpected places Indonesia, India, UAE and Mexico indicate interest in English video content.

NS majority of Respondents from 4 countries where English is not their first language; They said they watched movies and TV shows. input English It is marked as “very often” or “somewhat often”, with Indonesia, India, UAE and Mexico In YouGov’s survey, most respondents said SVOD, which provides content with famous American actors, is important to them.

4. There is especially high demand new Chinese content.

The top two countries were Hong Kong and China when ranked by the percentage of respondents who said there were not enough new TV shows and movies for SVOD in their native language. Video streamers can extend directly to Hong Kong by: Netflix And prime video Both were released in Hong Kong in 2016. In China, companies can still enter Hong Kong by licensing certain content to major video streamers in the region like iQiyi.

Netflix license Some originals were provided to iQiyi in 2017, but that partnership ended in 2019. However, it may be easier for streamers with an overall family-friendly library like Disney+ to penetrate China directly. Tim Gong Yu, CEO of IQiyi in 2019 said THR that the streamer’s Netflix deal didn’t go as expected because many Netflix originals didn’t pass censorship in China.

5. the expectation of absorption of bsolve Overseas must tempered.

many The country is still catching up with the US in terms of SVOD. quantum: The United States was the country where the majority of survey respondents said they paid for it. 4 or more video streaming services per month. This helps explain why Digital TV Research is in June. prediction The US will be the largest SVOD market in the world by revenue in 2021.

However It is also the management new Bundles of video streaming services for specific international markets, such as: France, Singapore or Poland are especially good. Only 1% of survey respondents in that country said they pay for 4 or more SVODs per month. This suggests that bundles will not necessarily serve as a growth hack for streamers in specific international markets, even with localized pricing.





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Long-term questions about social media’s ad revenue boom

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Long-term questions about social media's ad revenue boom


The advertising recovery over the past year has been remarkable, but no one has benefited more than tech companies, especially social media platforms.

Businesses continue to pour cash into advertising on the platforms with the greatest reach, as this week’s Q2 financial results from social giants including Snap, Twitter, and Facebook show.

The total revenues of these three social enterprises, which come almost entirely from advertising, saw another divergence. Snap posted revenue growth of a whopping 116%, while Twitter’s revenue grew 74%, the highest growth since 2014.

On the other hand, Facebook’s sales growth rate was 56%, the highest since 2016, and there were advertisements to be grateful for, accounting for about 98% of total sales. The number of Facebook ads delivered increased 6%, and the social giant saw its average price per ad increase 47% over the second quarter.

This is not too surprising given the massive user engagement for these platforms. In Q2, Snap reported a total of 293 million daily active users (DAU), a 23% increase over last year, and Twitter’s monetizable daily active users (mDAU) or users viewing ads on the platform increased by 11% 2 reported 6 billion people.

And there is a giant called Facebook. It has 1.91 billion DAUs and 3.51 billion monthly users across its app suite, including Facebook’s main apps, Messenger, Instagram, and WhatsApp.

Facebook tops the older demographic for usage, according to a new study from GetWizer Consumer Insights of nearly 1,500 Americans of VIP+. The situation between the 15-29-year-olds, who more regularly and actively use various platforms, was even more interesting. They said last week they spent at least 30 minutes on Instagram, Facebook, Snapchat and Twitter.

Whatever these companies are doing now is definitely working, as advertising revenue is steadily growing at an alarming rate. However, there are concerns that the growth will not be sustained in the long term, and the recent Apple iOS 14.5 update is expected to act as a major threat to Big Tech’s advertising strategy.

Social media platforms like Facebook, Twitter, and Snap use targeted advertising to reach their audiences. Personalized experiences that have proven to be more effective at getting people to click and even buy through the ads they serve.

However, new Apple software updates give users more power and control by giving them the option to opt out of app tracking. Snap, Twitter, and Facebook are all doing their best to estimate how much impact software updates will have, but Facebook CFO David Wehner warns that if the advertising business is affected, it will be worse in Q3 than Q2.

As social giants explore the current advertising landscape, the biggest opportunities are in video and mixed reality (VR, AR, etc.). Video advertising is showing healthy growth, and Facebook COO Sheryl Sandberg said in its earnings call Wednesday that the company is seeing more than 2 billion in-stream ad-qualified videos every month. Facebook and Snap are both actively working to become leaders in VR and AR, respectively, and these moves could open new avenues to further drive ad revenue.

Facebook revealed in its earnings call that it plans to create a so-called metaverse. Zuckerberg said this will be a social and digital environment unlike anything else that exists. Building the metaverse doesn’t happen overnight, but the ultimate goal is to make money by selling virtual goods and advertising them internally.

Whether Zuckerberg’s metaverse ideas are as grandiose as he invented them, it’s true that social media companies will have to ponder and ponder for a long time to innovate and tap the next stage of growth in a rapidly evolving environment.

Advertising is the bread and butter of social, and new delivery methods will play an important role in determining who succeeds and who lags behind.





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