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TV executive Jamie Kellner, who helped create Fox and the WB, dies at 77

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TV executive Jamie Kellner, who helped create Fox and the WB, dies at 77

Jamie Kellner, a pioneering media executive who helped expand the world of broadcast television by creating Fox and the WB networks, died Friday. He was 77.

Kellner also oversaw CNN, TNT and TBS as chairman and chief executive of Turner Broadcasting System.

He died at his home in Montecito after a long battle with cancer, according to a spokesperson for the family.

Born in Brooklyn and raised on Long Island, Kellner first made a name for himself at Orion Entertainment Group, where he spearheaded an effort with Lorne Michaels to buy the rights to original episodes of “Saturday Night Live,” which were cut into 30-minute episodes and sold in syndication.

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The lucrative partnership caught the attention of Rupert Murdoch and Barry Diller, who in the mid-’80s were plotting to launch an upstart broadcast network to rival the long-established “Big Three”: ABC, NBC and CBS. Kellner became the first president and chief operating officer of the Fox Broadcasting Co.

Launched in 1986, Fox was the first new network on American broadcast television since ABC in 1948.

Kellner poached a young NBC executive named Garth Ancier to run programming.

In a phone call Sunday, Ancier recalled Kellner as a formidable executive who “understood not just TV audiences, he also understood the entire way the TV system in the United States worked,” from affiliates to advertisers. Ancier, who also worked with Kellner at the WB, recalled flying to affiliates across the country, attempting to woo them to Fox.

At the time, few industry insiders thought Fox would have much staying power.

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“My bosses — [NBC chief executive] Grant Tinker in particular — believed there would never be a fourth network,” Ancier said. “And they said, ‘On top of that, most of those stations they’re putting together are UHF,’ as if it was like the plague. It just meant we had to be different from the other networks.”

Kellner helped shape the network’s brand identity and make it a destination for edgier content, like the bawdy family sitcom “Married…With Children” — a show that initially attracted controversy but became a long-running hit.

“One of the first tests we apply is: Would one of the three networks do this? And quite often, if the answer is ‘yes,’ then we disqualify it. There is no reason for us to exist if we are going to do what they have already done,” Kellner told the New York Times in 1986.

Fox attracted younger viewers with shows that bucked long-held industry convention, like “In Living Color,” the irreverent sketch comedy show featuring a predominantly Black cast; and “Beverly Hills, 90120,” a high school soap opera that became one of the defining shows of the 1990s.

“The whole reason we did ‘The Simpsons’ was because no one had done animation in prime time since ABC in the ‘60s with ‘The Flintstones’ and ‘The Jetsons.’”

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“The most important lessons we learned were to be different, to speak in a different voice than what was available to viewers already, and to get as young as you can get,” Kellner told The Times in 1997.

He left Fox in 1993, just as the network was expanding into a seventh night of programming and had numerous buzzy hits like the “90210” spinoff “Melrose Place.” In just seven years, Kellner had turned a “rickety string of UHF affiliates into a significant competitor,” as The Times then put it.

He soon began shopping around an idea for a fifth broadcast network. In 1995, he launched the WB, which initially made its mark with Black sitcoms including “The Wayans Bros.,” “The Jamie Foxx Show” and “Sister, Sister,” but faced stiff competition from another would-be contender, UPN. “We wouldn’t be doing this if I didn’t believe this would be as successful, or more successful, than the Fox network,” he said early in the WB’s reign.

One of the network’s first hits was the squeaky clean family drama “7th Heaven.” Throughout the late ‘90s, the network leaned into teen-centered dramas and ushered in a Golden Age for young adult programming that could be both sentimental and self-aware, with shows such as “Dawson’s Creek,” “Felicity” “Gilmore Girls” and “Buffy the Vampire Slayer.” By 2002, the network, in which he had ownership stake, was valued at $1 billion.

“I think the magic of that place came so much from his form of leadership, which was about taking bets on people,” said Greg Berlanti, who was tapped at age 28 to become showrunner on “Dawson’s Creek” and created two other shows at the WB, “Everwood” and “Jack & Bobby.” He recalled Kellner as an executive who supported creative talent and gave shows time to grow, but could also tell you “what five cities your show was most popular in.”

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“I’m so glad I met that kind of leader at that age, someone who led with curiosity and compassion and was clear-headed and honest. He imbued people around him with a sense of faith in themselves.” Berlanti believes Kellner-era WB was “the most successful YA network in the history of television,” in part because Kellner “didn’t see it as a lesser audience.”

While still at the WB, he was tapped to succeed Ted Turner as chairman and chief executive of Turner Broadcasting System, where he oversaw TBS, TNT and CNN. He angered wrestling fans in 2001 by canceling World Championship Wrestling programming on TNT and TBS. He presided over CNN during a period of seismic shifts in the news business, with increased competition from Fox News and MSNBC and the cataclysmic attacks of 9/11.

Kellner was known for fostering loyalty among his top executives, several of whom moved with him from network to network. “He gave you tremendous latitude as a boss and mentor, always empowering you to make bold, decisive decisions and never settling for what’s always been done,” said Brad Turell, who was head of corporate communications at Fox, the WB and Turner Broadcasting under Kellner.

Kellner retired from the business in 2004, when he was just 57.

“I found it hard to believe because he was so competitive, in the best sense of the word, and so vigorous. But when he was done, he was really done,” said Ancier.

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He remained busy pursuing passions like sailing and gold. He also opened a winery, Cent’Anni, in the Santa Ynez Valley, and was known for hosting Italian meals at his home.

He is survived by his wife, Julie Smith, daughter Melissa, son Christopher, and three grandchildren, Jake, Scarlett and Oliver.    

Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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