Innholdsfortegnelse for May 15, 2017 i Adweek

Even in the wide world of restaurants, there are very few places like Chuck E. Cheese’s, those caverns of mayhem where mobs of children come to play video games, crawl through Skytubes and scarf down pizza amid the cacophony of beeping sounds, screaming toddlers and the music from Chuck E.’s band powering through a set on stage. Every year, some 40 million kids pile into the restaurants to relish in this sensory overload. Which, for many other kids, is exactly the trouble. If you’re the parent of a child with autism spectrum disorder, a Chuck E. Cheese’s restaurant is the last place you’d ever want to go. Already sensitive to bright lights and noises, children on the spectrum would be greatly bothered by an average afternoon at Chuck’s. That fact…

Consumers like video. Today they have unprecedented opportunities to watch it whenever, wherever and however they want on their own terms of convenience. And they are doing just that. About 50 percent of all network traffic is video today. By 2021 it will be 75 percent. More 18-49 year olds now visit YouTube on mobile every day than any TV network. As marketers, this means we have unprecedented opportunities to serve our video advertising through addressable media, to individuals, about whom we have unprecedented levels of understanding, rather than hoping to find them in a demo. We can target not just more precisely, but more meaningfully. We know more about their path to purchase than we ever have (throw away those funnels) and can reach them with the right message,…

THIS IS US AFTER THE DRAMA’S UPFRONT TRAILER WENT VIRAL, GREENBLATT SUSTAINED THE MARKETING BUZZ THROUGH THE SUMMER, AND WATCHED ITS RATINGS GROW ALL SEASON LONG. THE WALL HE STUCK BY THE GAME SHOW’S SUDDENLY POLITICAL TITLE, AND WATCHED IT BECOME A HIT AMONG FAMILIES. SATURDAY NIGHT LIVE HE’S CAPITALIZING ON THE SHOW’S HIGHEST RATINGS IN 23 YEARS BY AIRING THE SEASON’S FINAL FOUR EPISODES LIVE ACROSS ALL TIME ZONES. THE CHICAGO FRANCHISE FIVE YEARS AFTER CHICAGO FIRE’S DEBUT, HE’S GROWN DICK WOLF’S SHOW INTO A FOUR-SERIES FRANCHISE.…

Derek Jeter, who retired from baseball three years ago amid a flurry of advertiser adulation, was back in the Bronx on Sunday to see the Yankees retire his number 2 jersey. And Budweiser was there too, with a stirring two-minute tribute ad featuring people “retiring” number 2s all around New York City. The Captain may be gone from the diamond, but he remains a fixture of the franchise—and surely won’t disappear from ads anytime soon either.…

Why is Chuck E. Cheese’s appealing to families with autistic children? As Anderson puts it, “You can’t ignore the numbers anymore.” Below, a snapshot of Chuck E. Cheese’s and its newest customers. 1 million birthday parties held at Chuck E. Cheese’s each year. 40 million kids visit a Chuck E. Cheese’s restaurant each year. 1 out of 68 children are somewhere on the autism spectrum. 3.5 million Americans live with some form of autism. 459 Chuck E. Cheese’s locations total, and … 355 now offering Sensory Sensitive Sundays.…

Late spring is in bloom across the country, bringing with it the unofficial kickoff to wedding season—but if you’ve logged on to Instagram any time in the past several weeks and been deluged with pictures of smiling brides and grooms, we probably didn’t need to tell you that. Social media is becoming an increasingly important part of the wedding experience for couples, their families and guests alike, and social marketing companies like Adaptly are helping brands get in on the action. “Paid social gives advertisers the unique opportunity to drive users through the entire purchase funnel—from before “the one” even puts a ring on it to when the couple walks down the aisle with a special hashtag for the big day,” said Adaptly vp of marketing Montse Guasch. Check out…

Some This Is Us viewers were disappointed that the season finale didn’t reveal how and when Ventimiglia’s character Jack died, which has been the subject of intense speculation all season. Those answers are coming, promises Fogelman: “It was always the plan that was going to be revealed and shown in the course of Season 2.” While NBC is expecting that episode will be one of the show’s most watched, Ventimiglia cautions fans not to get overly invested in the particulars of Jack’s death. “Don’t worry about how the man died; worry about how he lived,” he says. “That’s the bigger idea behind the show: yes, death happens, but if you’re examining and waiting for that one moment of death, you’re missing the life.”…

The slogan for FX is “Fearless,” but that word doesn’t really apply to the network’s most prolific producer, Ryan Murphy, who refuses to take on a new project unless it terrifies him. It’s an approach that unwittingly led him in 2011 to create TV’s anthology series genre—where each season features an entirely new story and characters, with some actors returning in different roles—while early in production on American Horror Story’s first season. “I thought it could either be great, or it could be a disaster, and that’s why I wanted to do it: because it scared me. I’ve always been attracted to moving toward risk as opposed to running away from it,” he recalls of selling the network and studio on the prospect of tearing down multimillion-dollar sets each season…

THE PATTERN Vilebrequin is famed for its colorful patterns, most of them based around nautical motifs like anchors, turtles, coral and, in this case, a fishnet. THE ‘SON’ SIZE In 1995, Vilebrequin introduced its Father and Son concept, which allows little dudes as young as 6 months old to don the same style trunks as their fathers wear. Champion swimmer. Fred Prysquel (pictured above in 1972) sewed his own pair of swimming trunks (some early designs appear at left) so he’d have something comfortable to wear as he pursued his seaside paramour. Today, the standards Prysquel established (such as high-quality fabric printing and braided stitching, shown above at right) are still upheld by the company, which makes its goods in Italy, Spain and France. Fred Prysquel was a man on…

While the way we watch TV evolves, what we watch remains consistent: the hottest TV shows still have heart, soul and wit. This Is Us, our pick for both Show of the Year and Hottest Drama, is giving NBC a much-needed shot in the arm. Our pick for Hottest Sports Network, Twitter, isn’t really a network at all, but a platform for sharing and engaging. Our Creator of the Year, the prolific Ryan Murphy, reveals that fear is what motivates him. And Late Show’s Stephen Colbert, our Hottest Late-Night Host, proves outrage and laughter can coexist.…

‘We never let up. We’re really good at managing month to month and year to year.’ When he arrived at NBC in early 2011, Robert Greenblatt knew he was inheriting a fourth-place network in dire straits. But the former Showtime president wasn’t fully prepared for what awaited him. “It was worse than I thought it was going to be—and I expected it to be bad,” recalls Greenblatt, noting that “all the great shows had come and gone” and “we had no digital or social presence whatsoever.” Still, he was undaunted by the task ahead of him: “I really wanted the job, because I love that kind of challenge.” Challenge accepted—and mission accomplished. Over the next three years, Greenblatt–Adweek’s TV Executive of the Year–turned around the network from worst in the…

AMERICAN HORROR STORY MURPHY’S DECISION TO KEEP AUDIENCES IN THE DARK ABOUT LAST FALL’S SEASON 6, SUBTITLED ROANOKE, HELPED REJUVENATE THE FRANCHISE. FEUD HIS NEWEST SERIES, ABOUT INFAMOUS DISPUTES, FOCUSED ON BATTLING CO-STARS BETTE DAVIS AND JOAN CRAWFORD. AMERICAN CRIME STORY THE PEOPLE V. O.J. SIMPSON WON NINE EMMYS; THE NEXT TWO SEASONS WILL TACKLE HURRICANE KATRINA AND GIANNI VERSACE’S MURDER.…

Talk about your work as supervisor of Univision Story House, which creates scripted and unscripted content for English and Spanish TV. Story House launched about a year ago. It’s focused on finding stories which resonate with young, multicultural audiences, but also have the potential to appeal to the general market. I think we have shown in the first year of our existence an ability to work across that spectrum, whether it’s with Outpost, the unscripted English-language series we did for Fusion and HBO, or El Chapo, our first Spanish-language scripted drama we’re co-producing with Netflix. For us, it’s about storytelling. It doesn’t matter what language for what platform. How do you craft a cohesive message for advertisers considering you have so many different brands under one umbrella? This portfolio is…

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