TOLDJA! Bumble Ward Named EVP Publicity For Foxs Film Marketing Unit

Bumble Ward Buzzing Into Fox RP Post LOS ANGELES (August 29, 2011) — Bumble Ward has been named Executive Vice President of Publicity in Twentieth Century Foxs Domestic Theatrical Marketing Department, it was announced today by Oren Aviv, the studios President of Domestic Theatrical Marketing and Chief Marketing Officer, and Tony Sella, President, Domestic Theatrical Marketing and Chief Creative Officer. Ward will report to Aviv and Sella. Bumble has long been one of the industrys most respected publicity professionals and over the past several years she has become a top social media marketing specialist, said Aviv and Sella in a joint statement. Her wealth of experience in both traditional and cutting edge approaches will bring an exciting new dynamic to our publicity team, as we continue to innovate and evolve to maximize the opportunities presented by the rapidly-changing media landscape. Ward will oversee all aspects of the studios domestic publicity campaigns. She will join Fox on August 30. Commented Ward: There is no better word than thrilled to describe how I feel about joining Oren and Tony and the amazing Fox team. Im excited not only to be working with extraordinary and passionate filmmakers, but also that I will get to work with some of the most talented studio publicists in the industry, which was a major draw for me. I cant wait to get started. Ward ran her own entertainment public relations, marketing and communications firm, Bumble Ward & Associates, providing strategic marketing and PR campaigns for corporate, motion picture, high-tech, non-profit and individual clients in film, television and media. Her clients included Quentin Tarantino, Tim Burton, Sofia Coppola, Tony Scott, Paul Thomas Anderson, DNA Studios, Freemantle Media and USC School of Cinema and Television. In 2005, Ward closed the company to pursue her longtime interests in writing and social media marketing. Since then, she has advised various clients on developing PR and social media marketing strategies. Ward also launched a blog (MissWhistle.com), an eclectic mix of film, politics, art, books, photography, and personal memoir. Previously, Ward was an executive at the boutique PR firms, Clein + White Public Relations and Marketing, Dennis Davidson & Associates, Andrea Jaffe & Associates, and Clein + Feldman. She was a board member of BAFTA-LA, and her company was featured in a New Yorker article, This Is Going to Be Big. Ward has also contributed articles, poems and short stories to Huffington Post and numerous literary magazines. She is an honors graduate of Harris Manchester College, Oxford.

'Star Wars' Will Be Changed For Blu-Ray Release

The "Star Wars" films that hit Blu-ray on September 16 arent going to be the same movies you grew up with. Like the previous special editions director George Lucas has released, the Blu-ray releases will be tinkered with and updated to the director's liking. The Digital Bits says that most of it is small stuff that is for the better, like remedied color timing (the lightsabers now look a lot better) and edited out mistakes (say goodbye to the puppeteer's arm on the Wampa on "Empire Strikes Back"). The biggest change to the movies, however, is the switch from the puppet Yoda in "The Phantom Menace" to a new digital one that will be consistent with "Attack of the Clones" and "Revenge of the Sith." As to whether there will be any more changes to the films, well, we'll have to wait until the release to find out if Lucas left in other surprises. Check out the rest of today's film news after the jump! Ed Zwick Headed To "The Great Wall" Following the success of "Love and Other Drugs," director Ed Zwick is going to write and direct a drama about the creation of the Great Wall of China, appropriately titled "The Great Wall." It is a return to the historical epics that Zwick is best known for, like "The Last Samurai" and "Defiance." ComingSoon.net has the news that "The Great Wall" will be the first film produced under the new production company Legendary East, an offshoot of Legendary Pictures. It is unclear from the announcement what the timeline on the project is. Shawn Levy To Craft "Frankenstein" Deadline has learned that Shawn Levy is the latest director to be attached to one of Hollywood's many, many "Frankenstein"-related projects. This one is being developed by Fox, and was written by Max Landis. Deadline doesnt have any information on what route the adaptation will take, but it will be interesting to find out what sets it apart from the seven other "Frankenstein" films in production. "Taken" Sequel To Start Filming In October There hasn't been much talk about "Taken 2" in recent months, but now director Luc Besson has told ComingSoon.net that the movie will start filming in October. Turns out everyone from the original cast is back -- those who survived, at least, including Liam Neeson, Famke Jansen and Maggie Grace. The movie will start filming in Los Angeles, and then will move on to a different location. It's unclear what this means for the planned "Taken" TV series. "Scary Movie 5" Taps Writers, Asks For Original Actors It's the announcement you've all been waiting for: "Scary Movie 5" is being developed. Bloody Disgusting has the news that Dimension Films has signed Stephen Leff, John Aboud and Michael Colton to pen the fifth installment of the "Scary Movie" series. The site also learned that Dimension has asked original stars Anthony Anderson, Regina Hall and Kevin Hart to come back for latest flick. The only things that are confirmed about the project are that David Zucker is not directing it and it will hit theaters April 20, 2012. "The Expendables 2" Might Head To China The Los Angeles Times has learned that "The Expendables 2" is in talks to partner with a Chinese distributor to co-finance the movie with company Nu Image. In doing so, the Sylvester Stallone-starring flick will likely shoot several scenes in the country. With the rate the cast is growing, "The Expendables 2" will need to be filmed in another country just to fit all the A-list action stars in it. Tell us your thoughts on today's Dailies in the comments section below or on Twitter!

Andrea Riseborough on Brighton Rock and Why Being Picky Isn't Necessarily Bad

If it feels like Andrea Riseborough has been on the cusp of a breakout for the last calendar year, that’s probably because she has. Last year at the Toronto International Film Festival, Riseborough appeared in three films — Never Let Me Go, Made In Dagenham and Brighton Rock (out in limited release now) — and this year she’ll show up in Toronto, again, with the Madonna-directed W.E.; the life of a budding breakout actress never seems to slow down. In Brighton Rock — first-time director Rowan Joffe’s adaptation of Graham Greene’s famed ’30s-set novel — Riseborough stars as Rose, a cafe waitress who falls for small-time hood Pinkie Brown (Sam Riley) to heartbreaking results. The chipper Riseborough rang up Movieline earlier this week to discuss the new film, how director Mike Leigh taught her a valuable lesson about character, why being picky is a good thing, and the “godly” Helen Mirren. You’ve worked with a lot of directors and in a lot of genres, what specifically led you to Brighton Rock? Just the way that it always works, really. You have a meeting; you kind of chat about whether you both want to do it. Of course, if you don’t, there’s absolutely no reason to do it. (Laughs) If you do, and there’s something — initially when you get the script, you peruse the script. It was so simple with Brighton Rock. The feeling, intuitively, was there. It’s like reading a half of a whole, and you see the other half. That’s not to say that you’re destined to play every role you respond to like that, nor is it to say that you might find enough of them. But there are certain things, as an actress, that you’re interested in exploring. I was really interested in exploring Rose. It was beautiful and hard and exciting and tragic and wonderful. Were you familiar with the book beforehand? Fortunately, no. Which was fantastic! I am a Graham Greene fan — I’m just a ferocious reader, I read an awful lot when I get the time. This was one of his big ones that I hadn’t read. When I saw there was going to be an adaptation of it, I thought that was really interesting, and the time setting — thematically that all things were the same but with a different historical backdrop — I thought only added to it, in so many ways. That’s a whole other long answer about all sorts of sociological and political things, but — viscerally and emotionally — it was really brilliant that I hadn’t read it. I actually began the book before I’d gone to meet Rowan. I had a conversation with Rowan; I said, ‘Rowan, I’m reading the inner-workings of Pinkie’s brain in this book.’ I’ve already read the script, but there were detrimental knocks, in a sense — there were certain things you need not to know. Mike Leigh taught me that: there are certain things you need to know, and there are certain things you need not to know. There’s no point in fastidiously researching a whole heap of facts that your character wouldn’t be aware of. So, Rowan and I both decided that it was best that I stopped reading the book and perserve the blissful ignorance that Rose’s navet afforded her — and that would be the best way to weave through her emotional landscape, in peace. It’s a great part and it works because you and Sam have really interesting chemistry together. How much prep did you do before the shoot to really get the relationship between Rose and Pinkie down? We didn’t know each other before, but I think instantly liked each other. It was lovely. We’re very similar in our approach; we’re both incredibly instinctive. Incredibly? I don’t know. I don’t know how you quantify being instinctive. (Laughs) We both felt our characters very strongly — their internal life and their external life, in the physical way they would be presented to the world, and into their emotional intensity. So, really, the pleasure of it — and the fulfillment of Sam and I working with one and other, and working with every single person in that movie — was that we could play. There was a feeling that we could go anywhere. Rowan provided such supportive structure — such a specific framework — that it meant we could play. Does that make any sense? It’s almost like when somebody draws a chalk circle on the ground. Within that realm, anything can happen. Rowan was so clear with us — each individually, emotionally, about our characters, and we had to take dual notes from him, but also separately we would ask him things that we wouldn’t talk about with the other one. He was very respectful of that and encouraged it, which I thought provided the framework I’m talking about. Was that something specific to Rowan, or have other directors you’ve worked with acted in similar fashion on set? Every time you work with a new director, there is an overwhelming and great quality to them. It’s a testament to them having gotten where they got. If that is indeed the right grammar. (Laughs) So, yes, that was one of his wonderfully, unique attributes. He’s just a great person, and he’s a great person you want to spend time with. An interesting person. Interested. I have a friend who said once to me — he actually said it to another friend and the other friend told me; it was passed on information, I’ll be honest with you. He said: It’s not how interesting people are, it’s how interested they are. I think that’s really a very shrewd observation. And Rowan is very interested in life. That’s similar to what Sam Riley said about Helen Mirren. I imagine you tried to pull every piece of relevant information out of her that you could during production? I stalked her everyday, from the moment she got in to the moment she left! I’m joking, I’m joking. (Laughs) Of course I took things away from her! With every single person you ever work with you take something away, and Helen Mirren is one of those great and godly people you take an awful lot away from. She is a wonderful human being, as much as I know of her, and she’s just… so… bloody… good. That is a joy. The other fulfilling thing beyond the joy of her being a great individual is that she was Ida and I was Rose, and that’s why she’s great. There was no need for futile anxiety about having to do a good job or match-up, but actually carrying out that job means none of that has to be on your rider. You have enough on your plate being somebody else, which is quite a big feat! (Laughs) You mentioned before about how sometimes you just don’t want to do a project. An up and coming actress like yourself must get many offers, though, so how do you reconcile being selective with worrying about your larger career? It’s really, really difficult sometimes to know. You know when it’s really difficult? When you’re tired. To totally know what is in your gut is tough. You know that feeling? Perhaps you’ve been working an awful lot — you just have to get really good, at all times, at listening to yourself. You have to open and pragmatic with your choices. I am very picky. I don’t think that’s a bad thing. I’m not really interested in doing anything — any work — that I won’t feel fulfilled by in some way. Who knows? You can’t tell what’s going to fulfill you in different stages in your life. There certainly hasn’t been a plan in that sense with me. I’ll do a love movie this year, two comedies and a period piece at the end! There’s no strategy, and I think it would be bad if there was, to be honest. Not to illiterate too much. Picky equals passionate. Which I’ve never done before but I quite like it. I like the idea of all the Ps. You can remain picky, pragmatic and passionate. Even better! And now we must part — that’s the fourth P. Until then, we’ll say goodbye!

Hot Teaser Trailer: 'The Woman In Black'

CBS Films' The Woman In Black, starring Daniel Radcliffe as a lawyer who travels to a remote English village and discovers that the ghost of a scorned woman is terrorizing the locals, opens Feb. 3. James Watkins directed a script by X-Men: First Class scribe Jane Goldman. Ciaran Hinds and Janet McTeer co-star in the horror thriller, a remake of a 1989 TV movie that was adapted from a play that was adapted from Susan Hill's novel.

From Franco to Trespass: 10 Points Worth Knowing About TIFF's Latest Invitees

A year after his 127 Hours ushered in the fall festival season’s hottest fainting sensation, James Franco is plotting his return to Toronto along with rest of the latest group of invitees to the 2011 Toronto International Film Festival. And it’s quite a list, with the likes of Franco’s partner (!) Gus Van Sant, Mr. Brainwash, Jennifer Hudson, Lynn Shelton, Rachel Weisz and (ahem) Joel Schumacher making the trip as well. Let’s parse the top 10 highlights from TIFF’s latest announcement. · Franco and Van Sant have collaborated on an art project called Memories of Idaho, a tribute/meditation on the 20th anniversary of Van Sant’s classic My Own Private Idaho. It will screen in the atrium at TIFF’s Bell Lightbox HQ; it goes like this: At the work’s core are two new films, projected sequentially, in a darkened, generic space. The first film, My Own Private River, is a feature-length chronological reassemblage of excised scenes and alternate takes from the original shoot, radically foregrounding Phoenix. The second film, Idaho, comes from one of three scripts Van Sant used to create the original film, its Super-8 texture meant to be a “ghost” of his original conception. Van Sant contributes ghosts of his own, large-format photographs of actual Portland street hustlers who appeared in, and provided inspiration and source material for, the film. · Page Eight was announced as the festival’s Closing Night selection, featuring Bill Nighy as a veteran intelligence officer embroiled in intrigue involving his dead boss’s neighbor (Rachel Weisz). “Set in London and Cambridge,” the program notes, “Page Eight is a contemporary spy film which addresses intelligence issues and moral dilemmas peculiar to the new century.” · Joel Schumacher’s mysterious, fan-tested-TIFF-approved Trespass will indeed have its world premiere in Toronto. Co-stars Nicole Kidman and Nicolas Cage are expected to walk the red carpet in support. · As presumed, Jennifer Hudson and Terrence Howard are throwing their hats in the awards-season ring with Winnie, the biopic exploring the controversial life and work of South African icon Winnie Mandela. The film will no doubt be one of the big market titles available up north, but will it be this year’s Rabbit Hole — captivating TIFF with a dynamite leading lady on the Oscar tip — or this year’s What’s Wrong With Virginia — a high-class ensemble job that nevertheless alienates the establishment and goes home without a deal? · Thierry Guetta — a.k.a. Mr. Brainwash, the street-art arbiter-turned-participant made famous in Exit Through the Gift Shop — will visit TIFF as something of an artist-in-residence: He will be engaged in multiple projects during the Festival, including a significant, multiple-piece exhibition at Gallery One. His presence will also be felt outside Roy Thomson Hall, with his spray cans towering over the red carpet, providing emergency assistance for evenings requiring additional glamour and pomp. And, finally, he will collaborate with TIFF on “Grace Kelly: From Movie Star to Princess,” our fall exhibition. His unique tribute to the style icon will be seen wildposted all over town. And of course, where Mr. Brainwash goes, Bansky never seems far behind, so watch for a graffiti bonanza in and around the festival zone. · The kick-ass Jason Statham/Clive Owen/ Robert De Niro collaboration Killer Elite will have its world premiere in the Gala section. · Also in Galas, Maggie Gyllenhaal and Hugh Dancy star in the world premiere of Hysteria, “a romantic comedy based on the surprising truth of how Mortimer Granville came up with the world’s first electro-mechanical vibrator in the name of medical science.” · Violet & Daisy — the world-premiere directing debut of Oscar-winning Precious screenwriter Geoffrey Fletcher — sounds fascinating, the kind of thing that can go massively right or wrong at any second: “The whimsical story of a teenager’s surreal and violent journey through New York City follows Oscar nominee Saoirse Ronan as Daisy; with her volatile partner-in-crime Violet, played by Alexis Bledel, the two young assassins face a series of opponents, including one unusually mysterious man (James Gandolfini), in a life-altering encounter.” · Humpday director Lynn Shelton returns to features with Your Sister’s Sister, featuring the intriguing logline: “Still mourning the recent death of his brother, a bereft and confused man finds love and direction in a most unexpected place.” · Finally, the Cuban zombie flick Juan of the Dead will finally have its world premiere, enabling viewers to determine once and for all if it’s the Edgar Wright ripoff it looks like or some bold new vision in brains-chomping horror-comedy. This is really just the tip of the iceberg in terms of the world cinema debuting this year up north; check out TIFF’s site to get lost in the rest. It’s worth it.

Breaking Bad Sneak Peek: Where's Jesse?

Aaron Paul Looks like the question Walt will be asking on this week's episode of Breaking Bad is: Where's Jesse?Viewers last saw Jesse (Aaron Paul) being driven away to an unknown destination after Mike (Jonathan Banks) shared his concern over Jesse's excessive partying and increased carelessness with Gus (Giancarlo Esposito).Check out photos of the Breaking Bad castWe certainly know where Jesse isn't: in the lab with Walt (Bryan Cranston). In the clip below, Walt quickly becomes frustrated when he has a bit of trouble maneuvering a forklift."This is a two-man job!" Walt yells at the surveillance cameras. "I can't do it alone!"Walt even gets so desperate that he vows to quit until Jesse is returned safely. "Nothing else happens until I get my partner back," he says. Don't hold your breath, Walt.Breaking Bad airs Sundays at 10/9c on AMC. Watch the full clip below:

Walking a fine line in exploiting celebs

If reality TV teaches us anything, it's that anyone can become a celebrity. The flip side of that is the reassuring notion that celebrities -- except for the entourage of agents, assistants and publicists -- are really just like you.Oh, and one more thing: Some of the companies pushing this uplifting image of stars also contribute to an environment where paparazzi peer over their fences and sift through their trash.To capture this strange relationship between media conglomerates and celebrities, think of the Don Henley song "Dirty Laundry," only with a new chorus -- something like, "Exploit 'em when they're up, exploit 'em when they're down." And if they wind up exploiting you back a bit, that's OK, too.The latest strain of unscripted celeb series showcases the warmer, fuzzier side of stardom. Examples include CBS' summer fill-in "Same Name" (where celebs temporarily swap lives with eponymous ordinary folks) and the CW's upcoming "H8r," creating a forum for personalities to meet and charm somebody who bad-mouthed them online.Exec producer Mike Fleiss explained "H8r" this way at the TV Critics Assn. tour: "For the celebrity, it's a chance for them to rehabilitate their personal image. So much is written about them and shown of them on TMZ and whatnot. So they get sort of dragged through the mud whenever anything goes wrong in their life, but this is a chance to ... show ... the other side of the person, the real person behind the celebrity."Celebrities "have feelings too," added host-producer Mario Lopez.One small footnote: "H8r" comes from Telepictures, the Warner Bros. unit that also happens to produce TMZ -- a big part of the "dragged through the mud," shove-cameras-in-their-face celebrity culture. The same TMZ, incidentally, where you can find "exclusive" details for the upcoming premiere of Warner Bros.' "Two and a Half Men."Warner Bros. is hardly the only studio guilty of contradictory behavior. Yet while such associations can become a soft underbelly for media behemoths, top-line talent seldom bothers to take a swing at it.Amid allegations of phone hacking in the News of the World scandal, there's been scant talk of retaliation against Fox.Compare that to the mid-1990s, when George Clooney grew tired of being harassed by another tabloid show, "Hard Copy," and threatened to boycott its sister Paramount series "Entertainment Tonight" unless execs called off the dogs.Paramount not only retreated but put its pledge in writing, promising Clooney, "We agree that 'Hard Copy' will not be covering you in any future stories." He made the letter public and called upon other stars to adopt a similar strategy.Because celebs remain such a marketable commodity, studios surely seem vulnerable to such pressure points. That's especially true given the hunger for unguarded access to luminaries -- such as the more lovable side "H8r" purports to represent.Clearly, celebrity news and programming is big business. Beyond Warner Bros.' multi-tentacled approach, NBC Universal is expected to redeploy its merged showbiz-news holdings -- including E! and "Access Hollywood" -- into an orchestrated force, following the recent integration of Comcast's sports channels with NBC Sports.What all these ventures share is the perceived value and power of celebrity. Even ABC's "Nightline" -- again squandering its occasional primetime platform with inconsequential fluff -- will air an hour tonight subtitled "Celebrity Secrets: Underage and Famous," promising a peek inside "the world of teenage and child stars."Thanks to the twin appetites for celebrity and inexpensive programming, certain performers appear destined to live their entire lives on camera. Take the Kardashian clan (please), with E! announcing plans to package Kim's wedding into a two-night televised event. All that's missing is the prenup negotiation. Clooney demonstrated the clout celebrities can wield if they decide to push back, leveraging studio assets against each other.Barring such orchestrated blowback, however, celebrity exaltation and exploitation will continue to go hand in hand, leaving entities like Telepictures mirroring E!'s role at Kardashian's ceremony -- trying to photograph their cake, and eat it too. Contact Brian Lowry at brian.lowry@variety.com

VIDEO: Law & Order: SVU's Diane Neal Says Season 13 Has a Nitty-Gritty Feel

Diane Neal, Law & Order: SVU When Law & Order: Special Victims Unit returns, the show will hark back to earlier seasons, Diane Neal says. "It's back on track to what the original SVU was intended to be, which is about sex crimes and crimes against children," Neal says. "It's got more of a nitty-gritty feel." NBC boss: SVU's Hargitay will remain in "every episode" Neal, who plays ADA Casey Novak, left the series after Season 9, but returned for one episode last year and will be back for more in the upcoming Season 13. She says having her and Stephanie March (Alex Cabot) back provides a familiarity for viewers now that original cast member Chris Meloni is gone. "I think they should put us in the court room together!" she says about March. Law & Order alum Linus Roache to reprise role on SVU In the interview below, Neal talks about the on-set vibe with the new detectives played by Danny Pino and Kelli Giddish and why she hopes Novak will never change. The new season of Law & Order: Special Victims Unit premieres Wednesday, Sept. 21 at 10/9c on NBC.

TV Ratings: 'Teen Choice Awards' Drop 27%

Kevin Winter/Getty Images CBS won Sunday night with a strong showing of Same Name, which was up 23 percent over last week. PHOTOS: Teen Choice Awards 2011 Red Carpet Big Brother was flat with its last Sunday episode. Fox tied for second place with ABC. The Teen Choice Awards were down 27 percent in the key 18-49 demo over last summer's airing with a 1.1 rating and 3.2 million viewers. Not unsurprisingly, they performed well with teens. The show was up 8 percent among that demo, and Fox's highest-rated telecast of the summer among teens. Univision came in third with a 1.2. On NBC, which was in last, a new episode of The Marriage Ref was up 11 percent from last Sunday. Below, networks ranked with show demo and total viewers. CBS - 1.7 · 60 Minutes (R): 1.2, 8.7 million viewers · Big Brother: 2.8, 7.8 million viewers · Same Name: 1.6, 5.1 million viewers · CSI: Miami (R): 1.2, 5 million viewers FOX - 1.0 · American Dad (R): 0.7, 1.7 million viewers · Family Guy (R): 1.1, 2.4 million viewers · 2011 Teen Choice Awards (S): 1.1, 3.2 million viewers ABC - 1.0 · America's Funniest Home Videos (R): 1.3, 5.3 million viewers · Ty's Great British Adventures (S): 1.0, 3.8 million viewers · Take The Money and Run (R): 0.9, 3.1 million viewers · Body of Proof (R): 0.9, 3.6 million viewers NBC - 0.7 · Dateline (R): 0.5, 3.2 million viewers · It's Worth What? (R): 0.7, 2.7 million viewers · The Marriage Ref (S): 0.9, 3.1 million viewers · The Marriage Ref: 1.0, 2.7 million viewers RELATED: Teen Choice Awards 2011 Winners Revealed Teen Choice Awards 2011: Justin Bieber Earns Four Honors Lindsay.Powers@thr.com; @LKPE Teen Choice Awards

The Wild and the Willing

Harry Brown (Ian McShane in his introductory film role) is a somewhat rough student (the wild) at Kilminster University, who has the ability to win friends, especially the underdogs like Phil (John Hurt) who doesn't play 'rugger' and can't sink a whole pint of beer, and African student Reggie (Johnny Sekka). He also has a way with the girls (the willing), one of whom is his professors wife, who likes the students, but also her comfortable life with her boring husband more. After Harry is rebuffed, he takes up the challenge to hang a banner from the dangerously crumbling University tower. The rather weak Phil insists on being part of this escapade. This is a rather interesting film showing a University of the early 60s as a melting pot where many different rungs of society meet, and its message is still relevant today.

'Basketball Wives' Scores Slam Dunk in Social Networking Study

VH1's decently ranked Basketball Spouses was probably the most social primetime enter in This summer, according to an alternative study. The very first-ever survey examined shows on 170 of the very popular broadcast and cable systems using data from Facebook, including total comments, unique commenters and average fans per unique commenter.our editor recommendsOxygen's 'All About Aubrey' Debuts Well, VH1's 'Basketball Wives' Finishes StrongMiami Warmth Forward Chris Bosh Jams VH1's 'Basketball Wives' In Suit (Exclusive) "Comprehending the social footprint of the program is progressively vital that you systems and agencies," states Sean Casey, founder and Boss of SocialGuide, which produced the Social 100. Fox capped the network list, in front of the CW, MyNetworkTV, NBC and ESPN. Family Guy produced probably the most activity across all its airings on Fox as well as in distribution: 159,394 unique commenters and 276,320 comments in This summer. Nickelodeon's SpongeBob SquarePants, the ESPY Honours on ESPN and Discovery's Great Whitened Invasion also rated high. SocialGuide states it found and strained a lot more than 10.5 million social TV comments by a lot more than 2.six million unique customers in excess of 4,150 programs in This summer. Casey states, "We developed the Social 100 to provide comprehensive understanding of the possibility social achieve and social engagement over the U.S. television landscape." Related Subjects