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Still, could a commercial break in the middle of Big Love, HBO's critically acclaimed hour-long series, increase a viewer's intensity after the break ("Yes, it's back!"), thereby improving the overall experience? And what do these findings mean for the advertising industry? Will under-35 viewers, the catnip demographic for most sponsors, start ditching the DVRs so they can absorb the ads? "I'd imagine that advertisers might smile and pat themselves on the back for this," says Nelson, the report's lead author. "But it's not going to lead people to keep commercials in their...

Author: /time Magazine | Title: Do TV Commercials Make You Happier? | 2/26/2009 | See Source »

Further, when viewers watch shows with a strong narrative plot, like 24, Lost, and ad-free HBO dramas such as Big Love and The Sopranos, commercials could dampen the experience. To test this, the researchers showed viewers two different Bollywood musicals. One featured a fast-paced dance sequence in which two male Indian actors pursued the lead female actress (high stimulus, strong plot). The other involved a more languid sequence without a compelling hook (low stimulus, weak plot). When viewers were watching the more dramatic clip, two commercial breaks - one for the Jewelry Factory, the other for the illustrious Michael...

Author: /time Magazine | Title: Do TV Commercials Make You Happier? | 2/26/2009 | See Source »

...Foot Fist Way, McBride growled as a hapless martial arts instructor who never missed an opportunity to tell his students he was better than them. In Pineapple Express, he was the shotgun-toting stoner who found the strength to embrace his new-found "thug life." And with the new HBO comedy series Eastbound & Down, set to premiere Sunday, Feb. 15, McBride has teamed up with executive producer Ferrell to tell the story of a washed-up baseball pitcher who can't come to grips with the fact that his days on the mound have been replaced by days at work...

Author: /time Magazine | Title: Danny McBride | 2/12/2009 | See Source »

...five finalists are fine films. But The Reader, Frost/Nixon and Milk aren't so much movies as TV movies: sensitive explorations of major political themes, little pictures on big subjects. It's the stuff more likely to show up on HBO than at the AMC multiplex. Why does the Academy keep citing these (excellent) little movies over the (excellent) big ones, whose scope and excitement can't be duplicated on the small screen? (See the 100 best movies of all time...

Author: /time Magazine | Title: How the Oscars Became the Emmys | 2/12/2009 | See Source »

Sugar, a premier boxing writer, has penned more than 60 books and is an HBO Boxing analyst

Author: /time Magazine | Title: Ingemar Johansson | 2/5/2009 | See Source »

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