I magine that the networks are kind of freaking out about Nielsen’s intent to start monitoring advertising ratings, not just the program components,” observed John Leverence, VP, awards, for the Academy of Television Arts and Sciences (ATAS). “Especially since the cost of advertising would no longer be pinned to how many people are watching American Idol but how many are watching the commercials when American Idol takes a break.”
In this regard, the 2006 field of nominated commercials for ATAS’ primetime Emmy (covered in SHOOT’s 7/7 and 7/14 editions) takes on particular relevance, according to Leverence. The spot nominees are: FedEx’s “Stick” directed by Traktor of Partizan for BBDO New York; Budweiser’s “Clydesdale American Dream” helmed by Joe Pytka of PYTKA for DDB Chicago; Ameriquest’s “Concert” directed by Craig Gillespie of MJZ for DDB Los Angeles; and Hallmark’s “Required Reading” directed by David Harner of and for Leo Burnett USA, Chicago. (Harner now directs commercials via The Institute for the Development of Enhanced Perceptual Awareness.)
Leverence notes that these Emmy nominated spots each parallel a different entertainment TV program genre. Hallmark’s “Required Reading” is a classic case in point–a two-minute-and-45-second tug-at-the-heartstrings commercial with narrative sensibilities akin to the Hallmark special movie or miniseries presentation it sponsors.
“Required Reading” tells the story of Ed, an adult who walks somewhat hesitatingly into a classroom for reading lessons. The teacher starts him with a children’s book, the title of which he can’t read. Subsequent lessons show the man slowly yet steadily making progress until he can read on his own. We then see him at home where he opens a box containing greeting cards he’s received over the years. He reads the first one: “Papa means love. I now this is true. I know it because my papa is you. Happy Father’s Day, Papa.” It is signed, “Love, Jenny.”
“A viewer buys into the Hallmark show and he or she is never going to have to leave that genre for those two hours. You don’t step out of the program and into the commercial void when there’s a break,” observed Leverence. “There’s no interruption in the type of entertainment you have committed yourself to–which in that sense is an interesting twist on product placement. You’re not putting the Hallmark card on the table in the movie. But you have the Hallmark feel as part of the commercial which is an extension of the movie or miniseries. It’s a seamless transition across that former chasm between program and commercial.”
Similarly, Leverence parallels the storyline, tone and tenor of Budweiser’s “Clydesdale American Dream” to those of a telefilm (a youth striving for excellence, with his parents helping behind the scenes), Ameriquest’s “Concert” to those of a sitcom (replete with misunderstood situations and sexual innuendo generating laughs), and FedEx’s “Stick” to those of well done sketch comedy (instead of “Stick,” it should be titled “Schtick,” quipped the ATAS VP).
“The nominated commercials this year were almost kind of a program bridge–there wasn’t a distinct separation between program and commercials,” related Leverence. “The commercials carried a high entertainment value, almost standing on the shoulders of the program they were sponsoring.” Such an approach, he conjectured, could make the Nielsen shift in audience measurement a moot point in that viewer drop-off, if any, would likely be minimal when spots are so well crafted and engaging.
“Mufasa: The Lion King” and “Sonic 3” Rule Box Office For 1st Weekend Of 2025
The Walt Disney Co.'s "Mufasa: The Lion King" claimed the No. 1 spot on the North American box office charts over the first weekend of 2025.
The photorealistic "Lion King" prequel earned $23.8 million in its third weekend, according to studio estimates Sunday. Paramount's "Sonic the Hedgehog 3," which has dominated the past two weekends, wasn't far behind.
"Sonic 3" stayed close with a 3-day estimate of $21.2 million, bringing its total domestic earnings to $187.5 million and helping the overall franchise cross $1 billion worldwide. "Mufasa's" running total is slightly less, with $169.2 million.
In third place, Focus Features' "Nosferatu" remake defied the fate of so many of its genre predecessors and fell only 39% in its second weekend. Horror films typically fall sharply after the first weekend and anything less than a 50% decline is notable. "Nosferatu," which added 140 screens, claimed $13.2 million in ticket sales, bringing its running total to $69.4 million since its Christmas debut. The film, directed by Robert Eggers, already surpassed its reported production budget of $50 million, though that figure does not account for marketing and promotion expenses).
No new wide releases opened this weekend, leaving the box office top 10 once again to holdovers from previous weeks. Several have been in theaters since Thanksgiving. One of those, "Moana 2," claimed the No. 4 spot for Disney in its sixth weekend in theaters. The animated sequel earned another $12.4 million, bumping its global total to $960.5 million.
The Bob Dylan biopic "A Complete Unknown," dipped only slightly in its second weekend, bringing in $8.1 million. With $41.7 million total, it's Searchlight's highest grossing film since Disney acquired the company in... Read More