Gossip Girl and The CW: defining a new network. (You’re nobody until you’re talked about)
Keywords:The CW, Gossip Girl, post-network era, audience commodity, feminist television criticism
AbstractThis paper analyzes how the teenage soap Gossip Girl was crucial to the gendered strategy by which The CW (2006-2012) defined itself in the post-network era. The CW relied on narrowcasting, branding, and transmedia to attract and keep a very specific share of the audience in order to create a viable fifth network. Analyzing The CW’s early years through Gossip Girl casts light on the evolutions that shaped US television industry’s during this period, from the renewed interest in female audiences to economic and technological convergence.
Adalian, Josef (2007). “'Chuck' vs. the ITunes.” Variety (Online). http://variety.com/2007/tv/news/chuck-vs-the-it-29502/ (last accessed 21-08-14).
Andreeva, Nellie (2010). “CW’s Dawn Ostroff Expected To Leave At The End Of Season.” Deadline. https://deadline.com/2010/12/cw-entertainment-president-dawn-ostroff-expected-to-leave-at-the-end-of-season-92234/ (last accessed 08-09-18).
Atkinson, Claire (2006). “CW’s Dawn Ostroff on Luring Those Elusive Young Adults.” Advertising Age. http://adage.com/article/media-people/cw-s-dawn-ostroff-luring-elusive-yound-adults/107829/ (last accessed 06-09-18).
Bruce, Leslie, and Lacey Rose (2012). “'Gossip Girl' Cast and Producers Reflect on the CW Drama’s Road to 100 Episodes.” The Hollywood Reporter (Online). http://www.thrfeed.com/news/gossip-girl-100-episodes-leighton-meester-285716 (last accessed 22-08-14).
Carter, Bill (2006a). “UPN and WB to Combine, Forming New TV Network.” The New York Times (Online). http://www.nytimes.com/2006/01/24/business/media/24cnd-network.html?bl&_r=0> (last accessed 08-11-14).
——— (2006b). “Not WB Nor UPN.” The New York Times (Online). http://www.nytimes.com/2006/05/02/business/media/02network.html?pagewanted=all (last accessed 20-11-14).
——— (2008). “For CW, a New Plot: Improved Ratings.” The New York Times (Online). http://www.nytimes.com/2008/10/25/arts/television/25cwnet.html?pagewanted=all (last accessed 20-11-14).
Goldsmith, Jill (2012). “Warner Bros. TV Group Buys Alloy Entertainment Topper Leslie Morgenstein to Stay on to Run Company.” Variety Magazin. http://zmclp.com/news/warner-bros-tv-group-buys-alloy-entertainment-topper-leslie-morgenstein-to-stay-on-to-run-company-variety-magazine/ (last accessed 26-04-18)
Grego, Melissa (2010). “Q&A: The CW’s Dawn Ostroff on Growing Up Fast”. Broadcasting & Cable (Online). http://www.broadcastingcable.com/news/programming/qa-cws-dawn-ostroff-growing-fast/36076. (last accessed 22-08-14).
Grossman, Ben (2008). “Dawn Ostroff on the CW’s Pivotal Fall.” Broadcasting & Cable (Online). http://www.broadcastingcable.com/news/programming/dawn-ostroff-cws-pivotal-fall/33476 (last accessed 22-08-14).
Ivie, Devon (2017). “What 6 Seasons of Gossip Girl Posters Tell Us About the Show.” Vulture. http://www.vulture.com/2017/09/gossip-girl-posters-explained.html (last accessed 26-04-18)
Jenkins, Henry (2008). Convergence Culture: Where Old and New Media Collide. New York and London: New York University Press.
Johnson, Catherine (2012). Branding Television. Florence: Routledge.
Johnson, Derek (2013). Media Franchising: Creative License and Collaboration in the Culture Industries. New York: NYU Press.
Johnson, Naomi R (2010). “Consuming Desires: Consumption, Romance, and Sexuality in Best-Selling Teen Romance Novels.” Women’s Studies in Communication 33(1): 54–73.
La Monica, Paul (2006). “The CW Makes Its Pitch to Advertisers.” CNN Money https://money.cnn.com/2006/05/18/news/companies/tv_cw/ (last accessed 08-09-18)
Le Fèvre-Berthelot, Anaïs (2015). “La franchise Gossip Girl : réputation et consommation au cœur des nouveaux modèles d’expériences sérielles.” Revue française d’études américaines special 145(4): 78–88 https://doi.org/10.3917/rfea.145.0078.
Learmonth, Michael (2006). “Secret’s Out as Rivals Elope.” Variety (Online) http://variety.com/2006/scene/news/secret-s-out-as-rivals-elope-1117936727/ (last accessed 21-08-14).
Littleton, Cynthia (2016). “Strategy Needs Luck.” Variety, 21 September 2016, 100. http://search.proquest.com.distant.bu.univ-rennes2.fr/docview/1826095484/abstract/7B09F9323D55454DPQ/1. (last accessed 05-04-17).
Lotz, Amanda D. 2006. Redesigning Women: Television after the Network Era. Urbana and Chicago: University of Illinois Press.
——— (2007). The Television Will Be Revolutionized. New York: NYU Press.
Madler, Mark (2016). “CW Proves Superheroic in Adapting to TV Tastes: Streaming Video, Millennial Habits Impact Network’s Evolution.” http://sfvbj.com/news/2016/sep/19/cw-proves-superheroic-adapting-tv-tastes/ (last accessed 26-04-18).
Meehan, Eileen R. (2002). “Gendering the Commodity Audience: Critical Media Research, Feminism, and Political Economy.” In Sex and Money: Feminism and Political Economy in the Media, edited by Eileen R. Meehan and Ellen Riordan, 209-22. Minneapolis: University of Minnesota Press.
Nordyke, Kimberly (2006). “Station Identification Key to CW Game Plan.” The Hollywood Reporter (Online) http://www.thrfeed.com/news/station-identification-key-cw-game-138707 (last accessed 22-08-14).
Nussbaum, Emily (2005). “Psst, Serena Is a Slut. Pass It On.” NYMag.Com http://nymag.com/nymetro/arts/books/12058/ (last accessed 07-10-15).
Parents Television Council (2007). “Worst TV Show of the Week: Gossip Girl on CW.” Parents Television Council http://www.parentstv.org/ptc/publications/bw/2007/1119worst.asp (last accessed 26-04-18).
Pattee, Amy (2006). “Commodities in Literature, Literature as Commodity: A Look at the Gossip Girl Series.” Children’s Literature Association Quarterly 31(2): 154–75.
Prah, Pamela M. (2006). “Teen Spending.” CQ Researcher 16: 475-80. http://library.cqpress.com/cqresearcher/document.php?id=cqresrre2006052600
Rogers, Vaneta (2009). “Warner Bros. Creates DC Entertainment to Maximize DC Brands.” Newsarama https://www.newsarama.com/3804-warner-bros-creates-dc-entertainment-to-maximize-dc-brands.html (last accessed 08-09-18).
Ryan, Maureen (2016). “For Women, the CW Is Still the Gold Standard.” Variety,. 11 October 2016, 28.
Smythe, Dallas Walker (1981). Dependency Road: Communications, Capitalism, Consciousness, and Canada. Ablex Publishing Corporation.
Spigel, Lynn (1992). Make Room for TV: Television and the Family Ideal in Postwar America. Chicago: The University of Chicago Press.
Stein, Louisa (2013). “Gossip Girl: Transmedia Technologies.”In How to Watch Television, edited by Ethan Thompson and Jason Mittell, 338-46. New York: New York University Press.
Steinberg, Brian (2007). “Verizon Scores Coveted ‘Gossip Girl’ Integration Deal Four Carriers Battled to Win Role in Show’s Cellphone-Heavy Plot.” Advertising Age . http://adage.com/article/madisonvine-news/verizon-scores-coveted-gossip-girl-integration-deal/121256/ (last accessed 05-12-14).
——— (2009). “CW’s “Cwinger” Ads Debut in ‘Gossip Girl’ Unilever’s Dove Is First to Use Format That Pushes Viewers From TV to Web and Back Again.” Advertising Age. http://adage.com/article/media/cw-s-cwinger-ads-debut-gossip-girl-dove-brand/136131/ (last accessed 27-04-18).
Wee, Valerie (2010). Teen Media: Hollywood and the Youth Market in the Digital Age. Jefferson (NC): McFarland & Company.
How to Cite
Copyright (c) 2018 Anais Le Fèvre-Berthelot
Copyrights and publishing rights of all the texts on this journal belong to the respective authors without restrictions.
This journal is licensed under a Creative Commons Attribution 3.0 Unported License (full legal code).
See also our Open Access Policy.