When the creators of a new sitcom called The Loop pitched their show to exec

游客2024-11-05 8

问题 When the creators of a new sitcom called The Loop pitched their show to executives at the Fox television network, the broadcast moneymen liked the idea of a sitcom about young guys living in Chicago. But what they loved was the fact that products on the set wouldn’t be an afterthought brought in by a prop master. Instead, viewers would see the same products every week, cleverly woven into the plot throughout the season, and characters would discuss the brands—a bit like a 13-week ad campaign. Sure enough, the network picked up the show. Co-creator Will Gluck says he wanted to capture the way guys really talk, discussing cool gadgets and brands in everyday life.
Gluck’s product-infused formula is rapidly becoming a model for network TV’s survival. Thanks in part to technologies like TiVo—which growing numbers of folks are using to blitz past commercials and watch TV on their own schedule—the ad-driven prime time business model that has existed for decades is under assault as never before. In New York City last week, broadcast execs showcased their best hopes for luring viewers back this fall, unveiling dozens of new dramas, sitcoms and reality shows. If history is any guide, most of them will flop, with shows aimed at young guys facing tough competition from video games, and cable channels eroding ever more of the networks’ share. As advertisers increasingly chase audience through nontraditional outlets as well, the major networks may be in for a lousy year.
While the gloomy financial picture may have something to do with a lack of must-see TV, it’s hard to overestimate the challenges posed by ad skipping. At least 6.4 million households now have digital video recorders (DVRS) like TiVo. Cable and satellite providers are pushing the technology hard—40% of households are expected to have DVRS by 2009—while the cable guys are also pitching video on demand (VOD), another technology consumers use to watch content on their own schedule.
No wonder some advertisers are turning off the tube. American express has slashed the TV share of its ad budget from 80% a decade ago to less than 35% .replacing commercials, in part, with online mini-films. Pepsi recently relaunched Pepsi One without any TV advertising, which execs at the firm say wouldn’t have been the case five years ago.
All the more reason advertisers want to TiVo-proof their message. Since 1999, television product-placement deals have surged in value from $709 million to $1.9 billion, according to the research firm PQ Media. Already, marketers have burrowed into reality shows like SurwVorand The Apprentice. This season also brought us a Desperate Housewife fawning over a Buick. Bernie Mac popping Rolaids, a character in According to Jim declares she only wants "the shrimp at Red Lobster" and an episode of Arrested Development set in a Burger King. "We needed as much support for the show as we could get," says Steven Melnick, a senior marketing executive at 20th Century Fox Television, which produces Arrested Development, defending Burger King’s starring role. (Typically, media buyers negotiate product placement as part of a package deal with regular ads.)
If muscling in on the development of scripted shows sounds scary, get ready for the next wave. While the networks were presenting their fall lineups last week, media buyers for Sears, for instance, were working up product-integration deals as part of their traditional ad buys. Already a big presence in ABC’s Extreme Makeover： Home Edition, Sears was eyeing new sitcoms like the WB’s Supernatural, and the company isn’t interested in providing an appliance as a background prop. "That’s not enough to make people shop at Sears," says Perianne Grignon, vice president of media services for Sears. "It’s easy to use merchandise as a prop, but we have higher standards."
But how much product integration will audiences tolerate before turning off, rea-lizing they’re essentially watching an advertorial? No one can say for sure, though ratings for one of the heaviest product-placement vehicles, The Apprentice, fell 20% this season. Mazza claims that as long as products appear "organically" in TV shows, audiences won’t mind. Under pressure from advertisers and facing rising costs for scripted shows, network execs say they have scant choice but to develop new revenue streams.
No one is predicting the demise of network television, which brought in an estimated $16. 5 billion in advertising last season. As ABC demonstrated, it takes only a few hits like Desperate Housewives to orchestrate a rebound. But network execs are already dreaming up ways to resell content on platforms like video on demand, cell phones and the Internet. "You gotta figure out a way to make money," says Alan Wurtzel, president of media development for NBC Universal. "We know the consumer is changing and expectations are changing." Question is, will the networks change fast enough too? [br] The passage aims to________.

选项 A、introduce the product-infused ad model
B、explain differences between the old model and the new one
C、question the ad-driven prime-time business
D、discuss the possibility of ad skipping

答案 A

解析主旨题。开篇介绍了一部新的情景喜剧《环》，其中最吸引福克斯电视网管理人员的是观众每星期都会在剧中看到同样的产品，这些产品被巧妙地编织到剧情中，贯穿于整个演播季，剧中人物会讨论这些品牌，这就是新的广告模式——产品注入式广告。然后具体介绍了一些网络电视的产品注入式广告方法。最后得出结论：没有人会预言网络电视将会消亡。但我们知道消费者在改变，他们的期望也在改变。问题是，网络电视改变的步伐足够快吗?可见，全文的主旨是介绍这种新的广告植入的方法，故[A]为答案。黄金时段插播广告的问题是部分内容，因此排除[C]；文章重点在介绍新方法，而不是区别新旧方法的不同，因此排除[B]；文章没有探讨跳过广告的可能性，因此排除[D]。

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