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Product Portfolio Strategy: Brand Extension Versus

Brand Creation Brand Extension

The same concept discussed above concerning film applies to TV, but less frequently or less overtly. While it is easy to list a series of books translated into movies, the same task is more complicated on TV. The trend is vital for classic kids’ comics and properties (e.g., Spiderman, Batman, X-men), but far fewer adult series are spawned from books and other media. Economically, it is not apparent why this is the case;

TV could similarly benefit from a big launch bolstered by high pre-awareness of the subject. Therefore, the reason seems to lie more in the format, like TV, given its rigid periods, is inherently more formulaic and less forgiving. A compelling series with a complete story arc and punctuated cliffhangers need to be told in a repeatable pattern in 22 minutes (for a commercial half-hour slot) or approximately 44 minutes (for an hour program).

The quick pace of comedies with strong fanciful hyperbolic characters tends to lend itself to this structure. Generally, novels do The Business of Media Distribution: Monetizing Film, TV, and Video Content 40 not.

The books that do tend to be translated are those with strong characters in a genre that already works well on TV, such as a detective series. Robert Parker’s private detective was successfully brought to TV in the series Spenser:

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For Hire—yet even it seems an exception in the category. Most new TV series and the vast majority of hits are unique properties that depend more on the associated creative talent (including the cast) than on an existing brand. Table 1.4 compares some of the top movies versus TV shows from a couple of years ago, and the difference is clear.

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