OK, so maybe my life isn’t exactly a Miley Cyrus song. But, as someone on the television industry, despite my roots in Connecticut, it’s hard to not feel the SoCal buzz as soon as you step off the plane. Heck, if you’re in entertainment, LA is the mecca. And kudos for Brunico and Realscreen for making factual entertainment a headline in this city.

The Factual Entertainment Forum kicked off on Wednesday afternoon with a jam-packed schedule of panels, sessions, networking opportunities, and of course, Realscreen’s exclusive 30 MInutes With panels with network executives. In attendance are independent producers, network execs, agents, and anyone who has a stake in factual entertainment.

Undeniably, there is a sense of celebration of factual programming the air. There’s a unique understanding that this kind of programming is good, and can do good, and that we can all, in a sense, change the world. On a panel called Reality TV Can Be Good For You, some of the top execs and programmers from across the industry shared the challenges – and the incredible outcomes – of what television programs like INTERVENTION and THE BIGGEST LOSER, have had. These shows have helped destigmatize addiction, and brought issues to the forefront of people’s minds, and have served to show people just how dangerous a path they might be on. If there was ever a reason to celebrate reality television, and the good it can do for the world, it was noted in this incredible panel.

And though this convention celebrates factual programming, it never ceases to truly be about passionate people telling stories about which they are passionate. Here in LA, that is most definitely the case. More tomorrow from the Factual Entertainment Forum!

Click above to watch the video interview

Eli Lehrer is Vice-President of Development and Production in New York, where he is responsible for the development of Bravo’s original programming on the East Coast and also oversees a number of series as an executive producer. Lehrer developed some of the network’s most buzzed about programming including “Flipping Out,” “The Real Housewives of New York City,” “The Rachel Zoe Project” and “Tabatha’s Salon Takeover”, “The Millionaire Matchmaker” and “Watch What Happens Live” – all three of which he also executive produces.

Lehrer joined Bravo from VH1 where he held the position of Manager, East Coast Development. He helped oversee the production of specials and series, including “Driven Presents: Stage Moms,” “I Married,” “True Spin,” “Totally Obsessed” and “Fortune Files.”

Prior to VH1, Lehrer held posts as the Executive Assistant to Michael Ovitz at Artists Management Group and as Executive Assistant to George Stephanopoulos at ABC News, during his coverage of the 2000 election and 9/11.

Lehrer has a B.A. in American History from Columbia University.

CableU.tv is honored to bring you this exclusive interview with Paul Buccieri, President and CEO of ITV Studios. Buccieri heads up a team of talented producers in the U.S. on both the West and East coasts, in developing the company’s U.S. business interests through the creation of new series and formats. He is also responsible for the exploitation of other ITV formats created in the company’s production centers in the UK, Germany and Australia.  Buccieri has a seat on the board of Jaffe Braunstein Entertainment, ITV Studio’s partner in the scripted business in U.S. He is based in the company’s Los Angeles headquarters.

Prior to joining ITV Studios, Mr. Buccieri had a three year stint at FOX/Twentieth Television as President of Programming, Production and Development.

Where do you find inspiration for a new show idea?

At ITV Studios new ideas most often result from collaboration. Our development teams here and in New York are staffed by people from different cultures, backgrounds and age groups – all bring their unique gifts. In addition, ITV Studios operates production centers in the UK, Germany, Australia, France, Spain, and Scandinavia. This adds a critical global perspective in shaping product that can succeed across all borders on all platforms.

What kind of research do you do before you go in and pitch a show?

Our research is ongoing and is primarily a function of our relationships with buyers. The pitches we present are tailored to showcase programming that we’ve developed that best fits their brand or that might give them the opportunity to attract some new audience segments with shows that compliment their existing core programming.

What advice do you have for a producer trying to get their foot in the door?

Aspiring producers need to possess and exhibit a passion for their ideas. Passion is contagious in the creative community. Practically speaking, they need to attach themselves to established executive producers that have earned the trust and confidence of the cable networks in their ability to execute and deliver programming that will have the best chance to succeed for them.

Is there a show you wish you had produced?

One of my favorite shows of all time is American Idol. Not only for the pure entertainment, but for real drama. Seeing dreams fulfilled has universal appeal and the Idol producers are masters at showcasing the aspiration and raw determination that drives people.

What type of projects interest you the most and why?

I like shows that tell stories of real people striving to achieve their goals and dreams. Hell’s Kitchen, for example, presents aspiring chefs willing to endure the brutal honesty of Gordon Ramsay. First Love, Second Chance follows the journeys of people who want to reunite with a lost love. First 48 captures the real-life drama of police officers determined to bring justice to families of murder victims.

How important is an online component in this environment?

Online viewing is obviously growing, but television is still at this time the best way to reach a mass audience. Our primary goal is to produce programs that excel as pure television that will attract large numbers of viewers and fans. New media is a valuable promotional tool and is increasingly important compliment to the shows as it provides fans with more ways to enjoy and interact with them.

How often do you attend the industry conferences and festivals, and which are the most important for your business?

We attend NATPE, MIPCOM, MIP-TV, Realscreen, the Edinburgh Television FEstival, AFM and others every year. We’re in a global business and there is tremendous value in the personal interaction that is only possible at these events. I personally enjoy participating in (and learn from) the panels, workshops and informal networking that goes on. It helps maintain the sense of excitement and opportunity that got us into this business in the first place.

Bio (continued):
ITV Studios

With offices in Los Angeles and New York, ITV Studios is one of the largest international producers for the US market and a major force in acquiring, developing and producing reality and scripted programming for US networks.

Since launching in 2004, ITV Studios (formerly Granada America) has become a leading producer of reality and scripted programming in the US with a slate of successful formats in production with major US networks, including “Hells Kitchen” and “Kitchen Nightmares” for FOX, “Chopping Block” for NBC, “Nanny 911″ for CMT, “WCG Ultimate Gamer” for Syfy, “Celebrity Fit Club” for VH1, “Room Raiders” for MTV, “First 48 and “Steven Seagal-Lawman” for A&E, “First Love Second Chance” for TV Land, “Bought & Sold” for HGTV.

CableU.tv is honored to bring you this exclusive interview with Elaine Frontain Bryant, Vice President of Non-Fiction & Alternative Programming for A&E and BIO, in July of 2007. Frontain Bryant is responsible for overseeing the development and production of A&E’s real life series. She has served as executive producer on several critically acclaimed and hit real life series including “Criss Angel Mindfreak,” “Paranormal State,” Psychic Kids,” The Exterminators,” and “Paranormal Cops.”

What is the key element that makes a program right for your network?

If I have to pick one, it would be authenticity – from “Intervention” to “Hoarders,” “Paranormal State” and “The First 48,” we are all about documenting a real experience.

What programs and/or genres are you looking for in the next year?

We are looking to build on the successes that we currently enjoy: shows that complement our Monday night block of real life drama – the “Interventions” and “Hoarders.” More Paranormal shows to complement “Psychic Kids” and “Paranormal State.” Crime and Justice that complements The “First 48,” Real life on the job type shows like “Steven Seagal: Lawman,” “Dog the Bounty Hunter” and “The Exterminators.” Celeb real life comedy that complements “Gene Simmons Family Jewels”. But in addition to finding shows that will build off of current successes, we look for producers to bring us what is fresh and new. We are always looking for the next hit that could be right for us.

How important are other platforms like broadband and mobile applications in the initial pitch?

Its good to know a producer has considered the extensions of a property, but for us as programmers, its got to be good tv first. Once we have that, A&E has a great team of people to blow out the full 360 plan.

What’s the best way for a producer to pitch you?

Happy to take an email inquiry, and if it sounds like it could be promising for us, set up a phone or in person pitch. If it doesn’t come through an agency, there is a release form to sign.

What do you look for in a first-time producer besides a great idea?

Passion about their idea, and a knowledge of the network they are pitching to.

What mistakes do producers make when pitching you?

Not being educated about our programming, and therefore not understanding how their show could be right for us. Also, I really dont like it when producers don’t possess a clear vision for what they want their show to be, but look to me to shape it for the network. I think its lazy development. Be collaborative, but do the work first.

What’s the best advice you’ve ever received?

When I was just out of college, and nervous to move to LA, my father said “Hey, just go and try it. You can always come home.” I went, and never came home, but just knowing I could helped me take the leap.

What’s the best advice you’ve ever given?

I have passed my dad’s advice on to interns and assistants who worked for me – go for it. You dont have to see the map of your whole career as you start out.

Who in this industry do you most admire and why?

As a working mother, I really admire working moms. AETN is filled with them, from the most senior position down. Its very inspiring to see these women do such focused work by day, knowing they go home to another job. No offense, dads…..

What’s the smartest programming decision you have ever made?

Bringing the paranormal genre to A&E.

What’s the dumbest programming decision you have ever made?

Passing on The Biggest Loser (not as a buyer but as a branded entertainment exec).

In all of television, which classic program should be revived?

Mr Ed. My daughter would love it.

Should NEVER be revived?

Barney and Friends -oh wait that’s still on.

Bio (continued): Prior to joining A&E Network, Elaine Frontain Bryant served as Vice President, Creative development and Productions at Magna Global Entertainment, overseeing the creation and production of original television programming funded by Interpublic Group’s Fortune 100 clients. She was an Executive Producer on TNT’s original movies “The Wool Cap” and “14 Hours,” on CBS’s Humanitas Award nominated film, “Saving Milly.” She was c0-executive producer for the first two seasons of Bravo series “Blow Out.” Prior to joining MAGNA Global Entertainment, Frontain Bryant directed and produced two seasons of The N’s teen non-scripted series “Girls vs. Boys” and produced more than 15 episodes of the Peabody Award-winning “A Walk in Your Shoes,” also for The N.

Frontain Bryant also produced the independent feature film “The Farmhouse,” starring Blythe Danner.  Prior to that, she served as director of creative affairs for Fred Berner Films.  Films produced during her tenure include Louis Malle’s “Vanya on 42nd Street,” A&E’s “Murder in a  Small Town” and Ed Harris’ “Pollock.” Also as Fred Berner Films, Frontain Bryant associate-produced ABC’s Emmy-nominated prime time special “About Us: The Dignity of Children,” Hosted by Oprah Winfrey.

Frontain Bryant is a graduate of Texas Christian University and lives in New York with her husband and daughter.

• Touch Productions, Malcolm Brinkworth – ” …we were looking for ways of decoding the world; showing it in a new light.”

• ETV Media Group, James Penfold – “Instead of the time-worn approach of ‘here’s my TV format, which broadcaster can I get to fund it?’; program-makers need need to think along the lines of ‘here’s the idea: how many existing and emerging platforms can I use to find its audience and make a buck along the way?”

• Neat idea here, from Summer Films: a strand of factual entertainment docs following a British celebrity who lives with their all-time idol for awhile.

• PBS, John WIlson: Confining itself to programs that are “really vital to the schedule. We cannot afford nice-to-have programming; it has to be must-have programming.”

If you have any feedback or additional insights, leave a comment.

And then there’s Sci Fi Channel.  Sci Fi Channel’s been around for awhile, we’ve all known her since kindergarten.  She’s always been on the outskirts, just a bit, you know, beating to her own drum. She had blue hair for a while, and rumor has it, got a tattoo when she was 13.

Anyway, she went away for the summer, and came back to school in the fall as a total hottie.  Now all the jocks are posting messages of adoration on her facebook wall and she’s bound to be crowned prom queen.

Or is she?

When the Sci Fi Channel announced the name change to Syfy, effective July 7, 2009, it seems like many of her old friends were left lost, confused, and feeling, well, kind of dissed.  This is clearly evident in the over 100 comments left by disgruntled fans in TV Week’s announcement of the change.

Understandably, the choice of changing the name seems to have more to do with copyright issues than it does with a true rebranding (Sci Fi channel wants to make sure that they’re identified with any of the several new ventures they have – new international networks, games, kids nets, etc.)  But Syfy?  No one even seems to know how to pronounce the odd combination of letters, let alone comprehend what this change might mean for network programming.  With BATTLESTAR GALACTICA over and done, the network’s newest original series seems to skew more younger and have more of an MTV-vibe.  Programs like SCARE TACTICS and EXTREME CHAMPIONSHIP WRESTLING don’t quite fit the realm of Sci Fi, and even the high-performing GHOST HUNTERS seems to take flack from the die-hard traditionalist fans.

But clearly, Syfy has her new friends now.

The April 15 episode of GHOST HUNTERS was the season’s highest rated program, delivering a 2.0 Household rating, 2.9 million total viewers, 1.8 million Adults 18-49 (all season highs) and 1.8 million Adults 25-54.  (From Sci Fi Press.)  And, visitors to the Sci Fi channel website, scifi.com were up nearly 50% from February to March (the month in which the name change announcement was made.)  So, love Syfy or hate it, it’s definitely generating buzz.

But what really will happen come July 7, 2009?  With a reaffirmed commitment to more broad-based programs, will the die-hard Trekkies and Sci Fi fans be forced to find a new friend?  Will other networks be able to step in and fill her shoes as yet another niche network succumbs to peer pressure and runs to play with the cool kids?  Will she be crowned prom queen?  Find out on next week’s episode of THE HILLS… oh wait, that’s MTV.  I keep getting them confused!

Basically, Rand believed some art is more valuable than other art — the highest form being romantic art and the artistic movement of romanticism. In an article written for The Objectivist magazine in 1968 she defines romanticism as follows:

“Romanticism is the conceptual school of art. It deals, not with the random trivia of the day, but with the timeless, fundamental, universal problems and values of human existence. It does not record or photograph; it creates and projects. It is concerned—in the words of Aristotle—not with things as they are, but with things as they might be and ought to be.”

Intense stuff, I know, but there is something interesting here to consider: During a serious economic recession, do viewers really want to see on television a reflection of the depression in their own lives? Or do they, instead, want to view a projection of what can be … a story about something more beautiful, more “timeless” and more inspiring?

Statistically, the data is tough to parse.  Indeed, television viewing is at a record high, but most of this month’s current analyses show strength from a variety or programming, much of which might more quickly be described as based of the “random trivia of the day” than the “fundamental, universal problems” of human existence. I’d love to be able to show you a chart that uncovers how during this economic crisis shows telling stories of resilience, ingenuity and leadership are becoming markedly more popular than stories of celebrity drunkenness but alas, the latter category of programming continues to perform.

Still, run a search through the CableU database (use the toolbar above) or on Google for “inspirational” or “aspirational programming” and observe all the mentions you get! See how many times network executives say that this what they’re looking for. The difficulty, I imagine, is that if this aspirational programming — Romanticism — is more valuable in some ways as an art form, it also seems to follow that it’s a harder genre to find stories for and produce successfully.

I mean Delacroix’s Liberty Leading the People — one of the iconic works of Romamticism — was probably slightly more challenging, time consuming and expensive to come up with and paint than Marcel Duchamp’s Fountain.  And so it seems to follow that it’s more difficult to produce shows that stir people’s imaginations, inform their intellect or initiate in them a call to action than it is to produce shows that merely record banality.

We need more Delacroix, however. In this time of hardship, not only are there business opportunities for “Romanticism” programming, there is also an important emotional need for it from viewers all over the world — and the beauty of all this is that when these two things meet the result amounts to the best of what television can be.

Now all that is needed are content providers bold enough to find these beautiful stories and bring them to air.

And if you haven’t already, and you’re looking to meet more people in the industry, check out CableU Connect.

For those non-Anglophiles, we now have a regular helping of British imports in primetime Television. What’s so insidious about this invasion is that the Brits are disguising the Queen’s English and speaking like us Colonials! My favorite example is Hugh Laurie, a great comedic actor, who I remember fondly from his BLACKADDER character. Laurie now plays the lead role on HOUSE as a grumpy American doctor. Can it be the same Hugh Laurie who played one of the inept Badden brothers in the live action 101 DALMATIONS feature?-you betcha!

Hugh’s not alone, he’s got backup. Here’s a quick rundown of the Yankee imposters you can watch every week this Fall:

• ELI STONE-Johnny Lee Miller
• PUSHING DAISIES-Anna Friel
• TERMINATOR: THE SARA CONNOR CHRONICLES-Lena Heady
• LIFE-Damian Lewis
• ELEVENTH HOUR-Rufus Sewell

Not only is the UK exporting actors, Television Formats have also become a big business. You might have heard of AMERICAN IDOL and DANCING WITH THE STARS. Cable is way into buying formats too, TLC has three Series in Primetime that are from UK formats: TRADING SPACES, 10 YEARS YOUNGER and WHAT NOT TO WEAR. Most of the hit Primetime game shows and reality competitions are British formats: HELL’S KITCHEN, GORDON RAMSAY”S KITCHEN NIGHTMARES, DEAL OR NO DEAL, WIFE SWAP and don’t forget WHO WANTS TO BE A MILLIONAIRE and THE WEAKEST LINK. Lest we not forget Mark Burnett, creator of SURVIVOR, THE APPRENTICE, ARE YOU SMARTER THAN A 5TH GRADER?, and ECOCHALLENGE is also a Brit.

The point I’d like to make is that the system in the UK encourages risk and creativity in television. The BBC’s charter as a Public Broadcaster requires them to invest a significant portion of their annual budget in the Independent Production community, which then fuels the creativity and pushes the Commercial Channels to take more risks as well. Hopefully this newest British invasion will fuel a new revolution in Television and media here in America like it did for music in the 60’s. With so many Channels and options, I’m all for infusing more ideas and creativity into the American Television landscape. Cable Networks have taken up the challenge and continue to take risks on original drama and comedy series. Reality shows have long been a staple product for Cable and continue to grow and expand their depth.

Keep your eyes open, British actors and formats are everywhere in television nowadays. Maybe your neighbor or best friend is a Brit, how do you really know? Try offering them a spot of tea in the late afternoon. If they like it with milk and crumpets, be very suspicious.

Keep watching you might be surprised or impressed. I’m off to the pub for a pint and some crisps. Cheers!