In the News


    This is Why We Keep Reviving Dead TV Shows (And        Why We Need to Stop)

Germar Derron, pop culture editor, attributes the success of many recent TV show reboots to their indulgent nostalgia. To put things in perspective, Fuller House has reached almost as large a viewership as The Walking Dead — and Derron says that’s because “Full House is the show of our childhood. It’s one of the very few things we agree on […] It plays hard to a simpler gentler time before we paid bills, or got that third DUI or divorce.”

Remember Fuller House: “Same house, similar shenanigans, and familiar faces,” Derron says — this revival brought back a show many of us grew up on, and it’s massively popular.
     How Radio Shuts Out Independent Artists
Today, it's almost impossible to secure a radio add (i.e. add a song to a radio station's playlist) for less than $1000. "I know of someone who tried paying what he thought was a standard $1000. It was not accepted," says Germar Derron, a former music marketer who has pitched songs to radio stations.

Germar Derron, who pitched songs to radio stations, adds: "They [record labels] come in and say things like, 'You'll want to play this Artist's song—it's huge in the clubs, and Artist  will be here next week in your studio to promote it. And we're giving you ten tickets to his concert...for your listeners.'  It can't be pay for play, which is payola and illegal, but it's as close as you can get to it."

     How BuzzFeed infected the Internet with a killer virus  

Germar Derron, founder and editor of pop-culture blog believes that the double-threat of BuzzFeed and Gawker means sites like his have no choice but to take a me-too approach: “We’ve made changes influenced by those publications and will continue to. It’s quite problematic because we’re so small, but to grow we almost have to follow their lead,” he says. More worrisome is the impact this is having on his content. “We had to buy into the numbers’ game – more writers, doing more content, equals more hits and a larger and more diverse audience,” Derron explains. “Initially I wanted high quality and less content. Our quality suffers a little now, but our ‘share’ has increased.”

When we eventually brought in the first month’s line up (Jeremiah Walton, Germar Derron, Heiko Julien, and Alexandra Naughton) I was surprised by just how well the interviews flowed. Not only were the guests captivating, but the sheen of trying to maintain a professional environment wore off pretty quickly and all parties involved treated the podcast for what it was intended to be . . . .

Why do reality TV producers tap not-so-fresh faces? For the same reason that any TV producer would hire a well-established actress. “They want proven talent,” says Derron of It’s a shortcut to success, or, at the very minimum, a shortcut to a hassle-free shoot. Producers “tend to invite back those who followed the rules, stayed out of trouble and kept up a good image,” Derron says.

“There [are also rumors that] they’re looking to make the cast more diverse, especially with women,” Mr. Derron said. “A lot of the buzz is about how the series will drift” without Mr. McConaughey and Mr. Harrelson anchoring the lead roles.

“People just wanted more closure. For me, the finale was fine I personally think that it will work well as [independent] seasons and everything will make sense at the end,” he said.

Germar Derron interviewed for Fatal Attraction on TVONE

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