As the TV ad ecosystem grows more complex, with an ever-increasing number of content creators and platforms, some of the inherent efficiency in TV ad buying has been lost. Executing a media plan can be cumbersome, particularly for last-minute changes, and it can be challenging for a company like AMC Networks -- with several hits across networks like AMC, BBC America, SundanceTV, WE tv and IFC -- to recapture that efficiency. Hence AMC's decision to form a partnership with inventory management platform MASS Exchange to offer programmatic linear TV buying.
Killing Eve is fresh, stylistic, intriguing and, above all, intoxicating. It had slipped past me, but after this BBC America series received all those nominations for this year’s Television Critics Association Awards (including Outstanding New Program, Outstanding Achievement in Drama, Program of the Year and nods to its two stars for Individual Achievement in Drama) I gave it a binge. And now, in much the same way that the two lead characters can’t stop thinking about each other, I can’t get them out of my head.
In this platinum age of television industry experts struggle with how to categorize shows. Is a program automatically a comedy because it is a half hour, a drama when it logs in at an hour? What about programs that defy labels? AMC’s Dietland is one of those series. Refusing to be pigeonholed is precisely what the show is about. There’s fantasy, darkness and animation, an admittedly strange mix, but in executive producer Marti Noxon’s extraordinarily capable hands it comes together. A welcome antidote to regressive nonsense like The Bachelor, it’s logical to think of Dietland as a result of the #MeToo era. Yet, Noxon optioned Sarai Walker’s novel before the movement ignited.