That sounds like a) a good idea, and b) an inevitable one. Aside from Disney (and possibly HBO/HBO Max), very few companies in Hollywood stand for much of anything, a branding vacuum reiterated in their respective streaming operations, too. But if you’re too much like everyone else, and pretty much everyone’s services and shows are available everywhere, why is anyone going to watch you? 

Also read: Redbox Gets Into the Kevin Hart Business

In response to the Differentiation Dilemma, subscription services have been creating loads of pricey new originals (pandemic permitting), backed by as big a library of older stuff of their own and other outlets as possible. That’s expensive and possibly unsustainable if market growth doesn’t follow the programming expenditures.  

And ad-supported services, historically addled with modest budgets and nothing for originals, have featured even more homogenized programming, including much the same shows and channels. Now that’s changing. It’s why you’re starting to see news like the Roku Channel buying the Quibi library for a reported $75 million, Amazon buying MGM in part to flesh out IMDb TV, Tubi and Redbox doing original production deals. 

Certain demographic affinities are already surfacing, Nielsen said. More than a third of the audiences for Tubi (39%) and Pluto (36%) are Black, more than double their share of the population. More than a fifth of YouTube viewers are LatinX. And the audiences of corporate siblings Disney Plus and Hulu are overwhelmingly white (68% and 69%, respectively). By comparison, only 57% of Netflix viewers are white. 

I know from previous conversations that Tubi has leaned hard into programming that appeals to Black audiences, and that it’s paid off for the largest of the ad-supported services. Netflix has made several splashy content deals with prominent Black creators such as Shonda Rhimes and Kenya Barris. And it’s not surprising Pluto might have particular appeal to Black audiences; owner ViacomCBS also owns BET and BET Plus, and has cross-programmed and -promoted heavily between the services. 

Across all AVOD services, Black viewers account for nearly a quarter of viewing (24%), compared to just 14.7% of the U.S. population. But most of that viewing is happening online. Black audiences watched just 17% of the minutes spent on traditional linear TV. 

That could be yet another reflection of legacy TV’s long and sorry history of lily-white programming, made worse as studios shift more spending to their online outlets. Regardless, Black, LatinX and other niche audiences have a far better chance regularly finding shows that appeal to them online than they ever had on legacy TV.  

At the same time, Nielsen suggest all’s not lost for more traditional “TV,” at least not yet. After all, those old folks on linear TV still like to watch it a lot: “Linear streaming TV programming has become a media mainstay that kept the attention of TV viewers for three hours per day” in June.  

To some extent, the study calls for a far more nuanced approach beyond the mega-service mentality that has shaped early days strategy for many big platforms. The mantra has been more, more, more, and grab the biggest possible set of eyeballs as you go. But that’s not enough to win the future. 

“…there is still a notable opportunity for publishers outside of the more traditional channels seeking to engage racially and ethnically diverse viewers with unique content that reflects their unique experiences,” the study says. “Amid the sea of growing choice, content becomes a key differentiator, especially when publishers identify needs that are not being met.”

The differences are about more than race, too. Disney Plus, no surprise given its children’s programming, is overwhelmingly watched by under-18 audiences (44%), but only 9% of people over 55. Compare that with traditional linear TV, where the numbers more than flip, with 60% of viewership over 55, and less than 10% under 18. 

It’s time that services lean hard into these opportunities. The real power of connected TVs and addressable, targeted advertising will be the ability to connect brands to very specific sets of viewers, especially those who are happily seeing more programming that’s relevant and meaningful to them, not merely time fillers among a handful of bad options. 

And where the eyeballs go, the money will follow. The past year has seen a game-changing shift in mindset among brands and media buyers. Now they’re putting far more of their ad dollars into CTV, at a rate that eMarketer forecasts will hit $13.4 billion this year. 

“Importantly, TV is no longer just a tool for mass reach,” the study says. “Consumers today would be hard-pressed to find a TV that is not internet-capable, and nearly 80% of U.S. homes now have at least one enabled device…That connectivity and growing options in the streaming video space provide advertisers and media buyers the ability to engage with viewers in live, linear, on-demand and streaming environments.”

Black and LatinX audiences have long over-indexed on entertainment, i.e., consumed an outsized amount compared to their share of the population. The Nielsen study suggests that audience has now shifted enthusiastically to streaming to get that entertainment. The services need to figure out how feed that audience.

ESPN reported Monday that Malika Andrews will handle sideline reporting throughout the Milwaukee Bucks-Phoenix Suns NBA Finals series while Nichols hosts ESPN's The Jump daily NBA show. Nichols served as ABC's sideline reporter during last year’s NBA Finals that took place in the Orlando “bubble” last fall due to the pandemic. 

The move comes after an explosive July 4 New York Times report in which Nichols was unknowingly taped during a phone conversation in 2020 saying that Taylor's appointment as NBA Countdown host was made to cover up the network’s “crappy” record on diversity. Taylor, who is Black, hosted the NBA Countdown pre-game and halftime program during the 2020 NBA Finals. 

Read Also: ABC Tips Off NBA Finals Coverage

Nichols apologized for her remarks on ESPN’s The Jump show on Monday. The show did not air on Tuesday, but is expected to return on Wednesday, according to the New York Post.

Citing the National Association of Black Journalists, the network also said it would capitalize white and brown as well when describing race, plus avoid using those as nouns, particularly singular nouns.

"We are making this adjustment after consulting our own diversity team, and after careful research into the history of language, culture, and customs," Fox News Media said.

But it also said that if the subject of a story prefers a more precise designation -- "African American," "Haitian American" -- it will use that preference whenever it can.

NASCAR’s new seven race schedule, which will feature no fans in the stands, launches with a premiere Cup Series racing event at Darlington Raceway in South Carolina -- which along with Charlotte Motor Speedway will host the current NASCAR schedule of races. Overall The NASCAR Cup Series, NASCAR Xfinity Series and NASCAR Gander RV & Outdoors Truck Series will be featured in a total of seven races running over an 11-day span, according to NASCAR. Fox broadcasting will televise the races.

“NASCAR and its teams are eager and excited to return to racing, and have great respect for the responsibility that comes with a return to competition,” said Steve O’Donnell, NASCAR executive VP and chief racing development officer in a statement. “NASCAR will return in an environment that will ensure the safety of our competitors, officials and all those in the local community.”

NASCAR said it has implemented a comprehensive health and safety plan in accordance with CDC, OSHA and state and local government recommendations that includes social distancing and personal protective equipment, along with health screenings for all individuals prior to entering the facility, while inside the facility and exiting the facility.

Fox Sports president of National Networks Mark Silverman said that the revised NASCAR schedule is a welcome return to live sports programming. Fox Sports in the interim has generated strong ratings numbers from several iRacing virtual NASCAR telecasts that launched in March. The Fox broadcasting/FS1 simulcast of the April 26 virtual Talladega Superspeedway race drew 1.2 million viewers. 

“While we are thrilled to return to the race track, the health and safety of our employees and all race participants is our top priority," said NASCAR. "We will continue working in lockstep with our partners at NASCAR and the race tracks to follow all national and local health guidelines.”

NASCAR joins the UFC as pro sports organizations that have announced a return to action. The MMA organization has scheduled its UFC 249 event on May 9 from Florida. 

— Jemele Hill (@jemelehill) September 11, 2017

Since then, ESPN has been playing defense most of the week, initially distancing itself from the outspoken Hill’s comments and saying they did not represent the network's views.

— ESPN PR (@ESPNPR) September 12, 2017

Yesterday the White House chimed in, with White House press secretary Sarah Huckabee Saunders stating that Hill’s comments were “certainly something that I think is a fireable offense.”

Hill later in the evening tweeted out another response by saying her initial Twitter comments “expressed my personal beliefs” and that her comments “painted ESPN in an unfair light.”

— Jemele Hill (@jemelehill) September 14, 2017

ESPN then released a second published statement on the matter: "Jemele has a right to her personal opinions, but not to publicly share them on a platform that implies that she was in any way speaking on behalf of ESPN. She has acknowledged that her tweets crossed that line and has apologized for doing so. We accept her apology." 

Whether or not you agree with Hill’s comments or how ESPN and the White House handled the situation, it certainly furthers a debate the country has been wrestling with recently regarding the intersection of sports and race during one of the most politically partisan, racially-charged times in the country’s history.

Should athletes and sports journalists on either side of the political aisle keep silent on social and cultural issues and just stay within the sports arena, or should they be free to participate in the discussion, regardless of how uncomfortable or controversial those comments may be to some?

Should those in positions of power, such as corporate media entities – afraid of alienating a portion of their viewers – all the way up to the Oval Office be able to influence and effectively advocate for the silencing of athletes and/or sports journalists over any and all dialogue revolving around race?

How we finally answer those questions will go along way toward navigating through the difficult and potent mix of politics, race and sports.

I had a chance to speak to A&E and Lifetime executive vice president and general manager Rob Sharenow about the origins of the concert as well as the company's ongoing efforts to deal with the subject of race beyond the event. An edited version of the interview appears below.

R. Thomas Umstead: How did the Shinning A Light concert come about?

Rob Sharenow: It started with [A&E and History senior vice president of publicity] Dan Silberman in the wake of the Charleston tragedy. He was very horrified by the tragedy so he sent me an e-mail asking if there was something we could do here. We came up with the idea of a benefit concert to get the message out and raise awareness of this horrible situation in our country.

It started to steamroll from there -- Ken Ehrlich came on board to produce, and Pharrell Williams and John Legend jumped in early. I think the idea really evolved from what was initially thought would be a concert into something that is quite unique. There will be musical performances, but there’s also been community outreach where artists go directly to the communities that have been most effective by racial violence and injustice. Those stories and performances will be interwoven into the concert. We needed the event to feel like it was a real engagement into the issue in a meaningful way – it’s not like the artists come on, do their hit song and then walk off.

RTU: Given the recent terrorist attacks in Paris, does the concert take on even greater significance in discussing tolerance and peace?

RS: Yes, I think the message of tolerance and unity and love are even more significant now. While our show is very specifically focused on the progress on race in America, that issue harmonizes with the kind of intolerance we’re seeing all over the world. But most of what you’re going to see and hear about is really what’s going on in our communities and trying to align and unify in a better way on that issue.

RTU: Did you have any concerns or hesitation about going forward with the event?

RS: Talking about race is uncomfortable – it’s not an easy thing for people to talk about. I think every conversation has been kind of challenging in a good way because people don’t talk about it. I’m not going to lie to you and say every conversation on all levels has been easy because it hasn’t been. I think a lot of people want to run from the conversation, but the response from the artists was amazing – it was almost instantaneous, and the level of performers is mind boggling. 

RTU: What are your expectations for the concert and how would you measure success for the event?

RS: I know it’s odd to say this but I feel like it’s already a success because you’re going to see something extraordinary for the right reasons. A+E has legacy of being an arts programmer, and I think great art stands for something and isn’t afraid to do so. This is something that gives voice to something pretty profound, so in a way I’m already declaring this mission accomplished because it’s come together in a way that I never expected it to. The message and artistry is there, and that’s what I really cared about.

This is not something I’m going to put a ratings expectation against because it really isn’t about that. This is something where I think the message and the artistry come first, and I already feel an incredible sense of pride and satisfaction for what we’ve already been able to put together.

RTU: Will there be any follow-up to the concert?

RS: Yes. We’re definitely talking to Pharrell and some of the people involved about how we can keep it going. We definitely felt like the local community level involvement was profound and powerful. I think we will try and explore how to keep the message up of Shining The Light alive in that kind of way. We don’t have any concrete plans to announce but it’s certainly something that we’re all talking about because there is such a spirit here that we don’t want to waste – we want to keep the conversation going.

USA Network tomorrow (Nov. 1) will mark the 25th anniversary of the Spike Lee-produced film Do The Right Thing with a special airing featuring limited commercials.

USA’s airing of the 1989 Academy Award nominated movie about racial tensions in America – part of the network’s Characters Unite Film Series designed to increase awareness of social injustices – will feature an introduction from the film’s lead actress Rosie Perez, according to network officials.

Do The Right Thing is the seventh film aired as part of the Characters Unite Film Series since it launched in 2012, following To Kill A Mockingbird, The Color Purple, Milk, Schindler’s List, In The Heat Of The Night, and Philadelphia.

“Do the Right Thing is one of those rare films that’s as provocative cinematically as it is socially,” said NBCUniversal Cable Entertainment Chairman Bonnie Hammer in a statement. “Spike Lee brilliantly applies his innovative visual and storytelling techniques to an exploration of race relations as resonant today as it was twenty-five years ago."