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 Teen Wolf News 111814



 Shocking Stache

The most talked about thing at this weekend’s HowlerCon wasn’t the CosPlay contest or Eaddy Mays back on her “Fans First” soapbox. The hubbub of HowlerCon was all about Tyler Hoechlin’s face.



Specifically, people were buzzing about the 1980’s mustache Hoechlin is sporting for his new movie. He got called “Mario” in honor of the video game plumber and the word “pornstache” was thrown around liberally.

According to hoechlinth:


 * “there are only 3 things that hoechlin’s moustache is suitable for
 * 1.) shouting at a street kid who upset your bread cart in a thick italian accent as he flees down the cobbled streets of rural italy clutching a stolen loaf
 * 2.) leaning seductively in the doorway of a woman with big hair and even bigger breasts and saying ‘i’m here to fix your pipes’ while slow jams play in the background
 * 3.) lead singer of a queen tribute act”

As you might expect, Hoechlin’s friends also shared their thoughts.

Hoechlin joked about it himself too.

The actor grew out his stache for his role in Richard Linklater’s “And So It Goes” in which he plays a college baseball player in the 1980s. The growth is so essential to his role, Hoechlin reports having a nightmare wherein he accidentally shaved it off and had to report to set clean shaven.

The movie wraps in a couple of weeks and we fully expect Tyler will return with more conventional facial hair then.

 Teen Wolf Marketing Maven Moves On

The woman behind all those clever Teen Wolf promos is stepping down.

Lu Chekowsky joined MTV as Vice President Creative Director at the very beginning of the Teen Wolf phenomenon giving us our first glimpse of Scott McCall.



She and her team went on to produce dozens of clever teases to whet the appetites of a growing fandom between seasons.





The most impressive thing about Chekowsky isn’t necessarily the stuff we saw on screen. Her background offers inspiration for anyone looking to work in the creative arts. Her career didn’t really begin until 10 years ago.

As she describes it:
 * “I was as directionless as they come: 30 and unemployed with a résumé of never-quite-right jobs a mile long.”

She says she’d worked as a stand-up comic, a burlesque fire dancer, a relationship columnist, a telephone psychic, and a tram-driving emcee on the backstage tour at Disney/MGM Studios. In 2004, she broke up with her boyfriend, left her home in Jersey City, NJ and traveled all the way across the country to Portland, OR to try her hand at advertising classes with Wieden + Kennedy. She never looked back, staying on with WK as a Creative Director for the firm before coming to MTV.

While Chekowsky is leaving the network next month, she’s staying within the VIACOM Family. She’s moving next door to Comedy Central as the new Senior Vice President of Brand Creative.

Her exit means MTV and Teen Wolf will need new leadership in the Marketing Department. So far there’s nothing official about who will fill that pivotal role.

 Young Viewers Abandon TV

I’ve been saying it for a while; the move away from traditional television viewing is accelerating. The Nielsen Company verified what we’ve reported earlier in relation to the dip in Teen Wolf Season 4 ratings –


 * “Beginning in April, that decline (in ratings) began to accelerate to include most demos, leading broadcast and cable networks to ask questions about their missing viewers.”

The phenomenon is most obvious among the prized-by-advertisers 18-49 demographic where television ratings saw double digit declines in the most recent quarter across almost all cable groups like VIACOM and Disney. These declines, ranging from -7% for Scripps Networks to -22% for A&E, mark an acceleration of the trend.

It’s not just cable either. Young viewers are leaving most of the big network shows too.


 * ABC - Of 11 returning shows, only 3 are showing growth with younger viewers. One of those, The Goldbergs, benefited from a new lead-in as part of the network’s Wednesday comedy block. Once Upon a Time is attracting more live family viewing thanks to its Frozen plotline while Scandal just keeps on keeping on as one of the most social shows in the TV universe.


 * The other 8 ABC shows are dropping with several near total collapse in the 18-49 demo. The drop in viewers ranges from -1.49% for Modern Family to -38.38% for Resurrection.


 * CBS - It’s the same story but the decline among young viewers is even more noticeable because CBS shows skew older already. Of 14 returning shows only one, Mom, shows any growth in the 18-49s.


 * The other 13 shows dropped between -3.65% for The Good Wife to 41.25% for Two and a Half Men. CBS also has the only show that dropped in the demo but increased in overall viewers. 13.79% more viewers are tuning into The Good Wife but the show still dropped in the only demo that matters.

The trend is the same at NBC, where four of the seven returning shows dropped in the demo, and FOX where four shows from their Sunday night lineup showed growth but the rest of the network’s scripted fair is in deep decline. The CW has significant declines for all but 1 of their returning shows.

These losses are hitting networks right in the wallet because advertisers only pay for viewers in that declining young demographic. The Neilsen Ratings folk keep promising to expand the ratings to cover wherever people are watching but the company is moving far slower than the trend.

The company admitted their failures this week –


 * “Nielsen recently made smartphone and tablet viewing eligible for inclusion in the ratings. However, this does not solve the dilemma that the underlying industry trading metric has not kept pace with consumer behavior or the business models being adopted by today’s media companies.”

In response, they have a plan to correct the imbalance. They want to fundamentally change the way ratings are gathered and reported –


 * “1. Total Audience, which combines the total audience for a program or content regardless of the mode of access, including SVOD.


 * 2. Total Commercial, which includes ratings for the ad campaign regardless of where and how it's consumed, providing flexibility for dynamic ad insertion.”

This year, however, it seems decisions about shows survival are still being determined by the old system and we've seen several cancellations already based solely on abysmal 18-49 ratings numbers.