Thursday, January 11, 2007

4GM: Nobody gets Rich, Everybody Gets Paid

I think it's worth pulling some of the comments out of the last post and using them to springboard forward. I'm still beating one last rewrite into the ground, so this essay'll be a bit rambling. Apologies in advance.

First off, let's not think that the digital storage TV is going to be an immediate replacement -- it'll be a long, loooong side-by-side evolution with whatever the hell else will occur in the medium. I mean, look, it was only this year that there are more DVD players than VCR players in American homes. Barely. Like you, when I saw that stat, I pulled a full-on Jon Stewart "WHAAAA?" And those are two techs that are -- from the consumer standpoint -- practically identical.

So much of this, of course, is personal perception. While I don't think that most people care about DRM, Doctor Memory and Kirk raise good points -- most people don't care about DRM until it bites them in the ass, and then they care a lot.

I would counter that a.) they don't seem to have cared enough to stop Apple from hitting one billion downloads and b.) I think you'll see DRM taking some heavy hits in the industry, as fewer jobs depend on defending old models. A fairly big part of the industry's change will come from the changing nature of the online entertainment execs in the studios as time passes. DRM that interferes with standard (and I say standard) consumer usage is inefficient, and as a good capitalist I believe in markets. The abandoned Microsoft "Play-for-Sure" example given as a mark against Microsoft success is actually, I believe, illustrative in the opposite direction. Even Microsoft couldn't cram cripplingly bad DRM into the entertainment system.

Chester, Impworks and Dan raise questions about who will pay for the new shows if broadcast networks die -- that is, without ad revenue, will everything be so low budget that our entertainment becomes all You-Tube-y?

Dan notes that television quality suffers from falling advertising revenue, but that's not quite true. Network advertising revenue has been slightly rising or flat for a while now. There was a recent, hinky embargo on announcing last year's Q4 revenues, but I'll assume things haven't catastrophically collapsed since September.

Not to hump the free market again, but I will assure you, if there's one industry that ain't going under anytime soon, it's advertising. The big advertising agencies, and the individual advertising departments of large corporations, are way, way ahead on the curve. There are a couple of New York ad agencies Who Shall Remain Nameless, who fly execs up to MIT every single month for updates and briefings on new media technology.

So regardless of whether the network middlemen stay in business, the advertising filth will still need to buy attention depending on whatever equation they're living-and-dying by this week. However they do it -- direct sponsorship or product placement or whatever model arises from stochastic tinkering -- there will still be humans paying money for eyeballs.

This is actually a good moment to break down how television actually works, as Dan's completely understandable misconception is quite common. Networks don't make shows. Networks buy shows. And they don't even buy the whole goddam thing.

Studios make shows. They usually, as I've noted before, deficit finance a show, where they pay the bulk of the production costs and the network pays a fraction of the per-episode expense. It is a symbiotic relationship -- the studio retains ownership, and so can reap the benefits of a popular show through (not so much now) syndication and (the only thing keeping Hollywood alive) DVD sales. The network got the advertising revenue, and could jack up those prices if a show was popular.

The laws changed a decade or so ago, allowing studios to own networks. This altered things in some hinky ways: NBC television, for example has a production arm, colloquially known as NBC-P, that should in theory make shows for NBC but at the same time it's really a part of the greater NBC Universal Television development in league with what was (and still is, technically) Universal studios. So their product can sell to any other network but in practice develops primarily for the NBC Universal family -- that is, not just NBC proper but SciFi, Sleuth, and USA. And vice versa, hence the flirtation with Galactica winding up on NBC this year, and the sudden appearance of Heroes on SciFi.

I have had a day with three meetings -- NBC network execs, NBC-P, and Universal -- and wound up in three different buildings. And let's just say the pecking order at any of these hybrids ...
NBC Universal/NBC
Disney/ABC
Fox News Corp(20th Century Fox, effectively)/Fox
Warner Bros. & CBS Corp/CW
.. is a bit unsettled, while only the CBS Corp/CBS chain of command is completely established. Les Moonves is chairman of CBS and president of CBS Corporation. He can also crush your head through the sheer power of his gaze.

Confused yet? Well, so are we. When your nominal buyer becomes your employee, things gets weird. We've already seen situations where a network's continued a doomed show up through 13 episodes so that the box set will recoup some expenses for the studio. Whedon's Angel very much died because the WB realized they were just advertising for 20th Century Fox's box sets. Although the network in theory has final say on what shows they pick up, there are stories in recent years about one network where the network execs weren't even allowed in the room while the studio suits did the fall schedule.

(Let's leave aside the fact that currently there are a limited number of broadcast entities and owners. There is no free market for American television, really. That's a different --and generally terrifying -- conversation.)

Networks dominated because of information asymmetry and branding. That is a.) we know who makes television, and we'll select the shows worthy of your attention and b.) when you come "here" every night, you'll see the types of shows you like. Both those ideas are deader than dead Mr. Deady Deaderson, winner of the County Dead All-Dead Dead-off. (ahhh, Blackadder. How I love you so.) The networks' financial claim to prominence was, simply, ratings which were a result of this asymmetry. If you wanted to get a bunch of eyeballs on your ads or show, you had to get on network television. However, the rise of cable television has flattened out this claim. I say "flattened" for a reason. According to the Cable TV Facts from the Cable Advertising Bureau, the "networks" pulled a 27 share in '05, and all other basic cable pulled a 54 share. To put this in perspective, looking at the Nielsens for last year -- once you're out of the top 10 shows, audience share hovers between 10 and 15%. for he rest of the top 50.

The network system depends on creating hits. It's like wildcatting, with on the average 3-6 million dollars spent on each of the hundred odd pilots made every year in the desperate hope that one will be a big enough hit to justify big ad revenues for the network and a good syndication sale for the studio. But with the flattening shares, how do you even define a "hit" anymore? No, that model's always been a creaky bastard that Hollywood just can't quite seem to quit despite its ferocious inefficiency. Something like peak oil, if you get my drift.

And let's add recent psychological shifts in viewerships. People don't tolerate reruns anymore, not with a flooded market. If they break viewership habit, it can be damn hard to get them back. I think Lost's problems are deeper than the awful two-up-three-down-one up-two down stagger season they had last year, but I'll cede that their 25% drop in viewership is not unrelated to the issue.

Yet, ironically, people WANT to be committed to a show while it's on. "Content is community" is finally coming true. My mom and her friends get positively giddy waiting for 24 to come back. I got her the damn Tivo, but she insists on watching it on the very Monday night. But this attention, this more personal relationship, comes with a price. People just don't have the time, attention, or habit of hanging about for the whole damn year anymore. I've argued for 6-13 episode seasons before, and the split-seasons that the networks are adopting are basically the baby steps; the networks backing into that structure while still dragging their old habits with them, chained about their ankles.

DVD sales are the financial engine of Hollywood now, but there are problems here, too. First, how do you sell a show without network exposure first? Second, what happens when a show is the type to encourage dedicated fans who will buy the boxed set but isn't widely appealing enough to generate ratings and hence stay on the network schedule? Whose standards of success will come to dominate, the network's or the studio's? Now, the difference between myself and certain people who wear ties to work is I believe that just because we don't know the answers to these questions doesn't mean these questions don't have answers. Again, stochastic tinkering. There's nothing inherently stable about the current network situation. Remember, television as it exists is the tail end of government-leased invisible space. Network television is executive welfare.

Further complications will involve the difference between the internet, the pipes that carry yoru net, and the FCC control of the now truly mythical "airwaves." That's even headier stuff, and frankly requires far more research than I'm capable of churning out right now. But my point is, the current networks as concepts are not crucial to the studios and advertisers finding ways to make entertainment and sell things through said entertainment.


All this to get back to my point -- this Xbox play may not be the end-point transformative moment. But it's monumental, perhaps even more so than when Apple started selling videos -- no, wait, I take that back, because getting people into the habit of paying per show/movie was a crucial bit of mental conditioning. Ahem. Where was -- oh, yes. I'm one of those people who strongly believes viewers link to an "entertainment space" in their lives. People are already in the habit of having video games in their entertainment space. They're in the habit of having cable boxes in their entertainment space. They are not in the habit, yet, of setting up wireless routers to stream product into their entertainment space.

In retrospect, even the download's not all that interesting -- it's the promise of VOD. Now, download's nice, but VOD is where it's at. That's where the pipe overlords reign, and seeing that Comcast just cut a deal with Tivo is very interesting indeed. How many people just watch a show once, but want what is essentially limitless time-shifting? Why store shows or movies on your hard-drive when you have access to them in your entertainment space anyway?

So the Xbox IPTV concept alone is not transformative. But how it links several crucial elements in reshaping our perception of access to entertainment, that's the score right there.

Rough pencil sketch of the future. The major generic networks fade as old people who just want something on in the background die off. Branding restructures along two paths, with a.) occurring before b.), but then running parallel.

a.) networks become even more genre or style defined. SciFi, Sleuth ... even now, look at USA with its genial detectives, or FX with its gritty dramas. Some of the networks remain, but specifically as distribution arms, and not particularly effective ones. That is, CBS may still be around for decades, but the name "CBS" will have limited marketing value, if any.

Competing youth networks arise. There will be a brief problem with monopsomy behaviour -- companies like Disney control X number of channels on your cable box, and therefore control access to that market share and can deny intransigent producers broadcast opportunities. You could argue monopoly, too, but that'll change, I think. As we swing to the internet rather than cable "channel" systems, this force will self-correct. The internationalization of media will help there too, as will lowered production costs through technology. But seeing as cable is currently at twice market penetration as broadband, we'l be dealing with broadcast "artifacts" for a while.

b.) new sources of information assessment will emerge. This is right out of my ass, but as new communities form, prevalent media personalities of today and the near future will become more important as "guides" for that community.

Let's take Warren Ellis, for example. Assume Warren's dark heart improbably beats on, allowing him decades to build his awful ideological army. There will come a day when Warren will say "behold, people, this thing is good, and not at all testicle or piercing oriented. If you pay a dollar for a download of it, you will not be disappointed." Granted, the profit margins will be small, but that's the direction we're heading in anyway. The massive scores off network hits were inflated, a brief, beautiful Golden Age of Filthy Money which I doubt will naturally recur. In the future, nobody gets rich, but everybody gets paid.

Yes, I basically just said that Oprah is a neo-network. Go ahead, argue with me. Is Dick Wolf a network? JJ Abrams? Is Kiefer Sutherland? Who do you trust to entertain you?

Take this one step further. Several humans of like intellect or taste -- Warren, say Joss Whedon, maybe Charlie Stross, toss Cory Doctorow in there -- they might cut deals with producers. (Are Tarantino and Rodriguez now a "network"? Hell, how are they not?) New "networks" -- which will rarely, ever again be separate from linked production entities -- new networks will evolve in the free market. The natural aggregation points will be branded creative entities, individual creators or otherwise, who engender personal loyalty. We may well see "schools" of like-minded entertainers evolving in television, the way we had in art, or even in film in the 60's and 70's. Different (and probably unpredictable) models will evolve, but those will be the seeds.

There'll be no more consensus media, which some people even now mourn. But again -- the last fifty years were a unique moment in history. What we're looking at now is a correction. It's famously said said that one in ten Britons who could read, read Dickens when he was alive.

The most popular writer in the history of the English language ... had a ten share.

110 comments:

Anonymous said...

Yes. I think you describe much of the situation quite well. Branding is king. In one sense, it's always been the biggest weakness of the networks, they have no identity. I think the vast majority of viewers could care less what network they're watching as long as their favorite is on. Sure, scheduling carries some benefits as it may take a minute or two to find the remote (why is it always under a dog?) before switching around and looking for something else. But the more important point is, the new brands are ABC, NBC or CBS but the names, the actors, writers and producers who create things that resonate with the consumer.

One could easily liken to the music industry. With some notable exceptions (Windham Hill records in the 80's might be one of the best examples) consumers don't know or care what artist is on what label and wouldn't for a moment ponder buying a compilation from a label until they saw what artists were on it. Whereas, a p-diddy compilation would sell just because of his name.

The only thing I wanted to say, to perhaps add something on to the previous thread is, I think devices such as Appletv are going to steal the spotlight from Xbox and other consoles. I don't know if one will end up dominating and I can't predict yet but I do think there are people which will gravitate toward both concepts. The one thing I wholeheartedly agree with you on is, soon, maybe very soon, this entire, artificial broadcast structure is going to come down. People will subscribe to a program and it will be delivered to everyone, at some pre-determined time. Somewhat like broadcast but not really.

There's an entire encyclopeadia of ramifications to this but that's for another time.

fuz said...

Don't underestimate network news. Much as I (and all right-thinking people) think of them as trashy faux-intellectual edutainment, many many people watch their favorite nightly news program (and late-night talk show) every day.

Not saying your main points are wrong, just that the "NBC" name will likely continue on potentially forever, even if it's just making the nightly news and The Tonight Show.

Anonymous said...

Link luv x2:

TV: From Black And White To Infinity
TV: From Infinity to Affinity

Anonymous said...

Whoa. Great posts. I just did a little rant on Apple TV yesterday, but I think I missed some of the finer points of the television business in my post, such as:

"Whedon's Angel very much died because the WB realized they were just advertising for 20th Century Fox's box sets."

Thanks for laying this all out.

I agree with you on the fact that advertising ain't going anywhere soon; and that this move to the one place/one face "all-in-one-box" entertainment is going to take awhile to catch on.

XBox and Apple TV are doing it now, and there's also an interesting business model that Microsoft is offering up with its MicrosoftTV by reaching out to cable providers, broadband providers and technology providers as content partners. Not totally clear on why they're cannibalizing their XBox business, but that's Microsoft for ya.

In any event, I'm glad to see that I'm not the only one excited about what's coming next for the entertainment industry.

Unknown said...

Yes wizardru -- that's what I get for typing at 3 am.

The Doctor Who example is another good one -- now I'll give anything from team Who a shot, but that doesn't mean I've become a BBC fanatic.

The news situation is interesting. I've got no real interest or experience there, but it's definitely a factor. However, we may be seeing a branding of news even now -- who has more loyalty, NBC news or Jon Stewart? If your anchor of NBC news moves, do you follow him to the new network? Would you do so for Jon Stewart?

Stranger21 said...

What does a commercial network do when that key teenage audience bypasses them to get what they want?
http://www.timesonline.co.uk/newspaper/0,,176-2488577,00.html

'more DVD players than VCRs' is misleading. The huge quality improvement of the MPEG2 DVD picture and sound quality over broadcast and VHS NTSC pretty much guaranteed it would be the convenient playback medium of choice. What I want to know is how much has iTunes DL, Cable VOD, 'encore' TV channels, TIVO ETC. have killed off VHS timeshifting and archiving. We controlled our own VHS copies but all the new 'timeshifting ' methods are controlled by the current content suppliers.

'John Rogers', 'Ken Levine' and Diane Kristine' etc. point the non-US audience to the good stuff like 'Little Mosque' and we go and get it. THey are more valuable to us than the NBC, CBS, etc. brands.

'Jon Stewart' was unknown here in the UK until torrents made his show so popular it was used to launch the UK terrestrial digital channel 'More4' http://www.channel4.com/more4/shows/d/dailyshow.html
It's screened the following night in the UK, in primetime Mon to Fri 8.30pm or you can DL http://www.channel4.com/4od/

impwork said...

I thought I ought to post something a little longer having dived in with a quick one liner to snatch the top comment on your last post…

It will be interesting to see what happens over the next few years. As I understand it the changes to the US film industry in the 1950s with the separation of production and exhibition led to the closure of many of the smaller, poverty row, studios. Apart from RKO, the major studios survived and changed focus. I’m not saying that the situation is equivalent but often the major players have deeper reserves to draw on when things get shaken up. They can take longer adapting.

While its easy to say there isn’t anything to company names (in the US the networks and here in the UK terrestrial channels) brand names it’s ignores how long term brand awareness can play in an organisations favour. Old brands can survive problems that most brands would be sunk by. If the custodians of a brand don’t panic and don’t feel the need to tinker the brand will often survive. They can come back from bad mistakes and take on new forms.

The BBC, despite treating genre TV as something that left a bad taste in the mouth for many years, has rediscovered how to appeal since the turn of the millennia. It has moved away from a schedule of house and garden makeover shows and other cheap productions to rediscover popular, prime time and post watershed drama that isn’t soap opera. It is now the home to not just the various and growing Who franchise but also Spooks, Hustle, Life on Mars, Waking the Dead and others. By and large the section of the audience that watches genre TV has forgiven it and sees the BBC logo at the very start of a show as a sign of quality again. The trust in the brand was easily restored. I doubt a younger brand would have been given the same chance.

Stranger21 said...

'Doctor Who, Torchwood are from BBCWales & BBCWorldwide. They weren't products of BBC English networks. Without support from the Canadians they wouldn't exist.

'Spooks, Hustle, Life on Mars' are all Kudos productions. You would watch whatever network carried them. The same way I would watch any 'Euston Films' or 'ITC Entertainment' product.

The BBC is moving away from 'television' towards 'Vision'
http://www.bbc.co.uk/commissioning/
It sold off the terrestrial broadcast transmitters long ago.

Anonymous said...

'Doctor Who, Torchwood are from BBCWales & BBCWorldwide. They weren't products of BBC English networks. Without support from the Canadians they wouldn't exist.

That's the cost of production in the entertainment business these days - shows can't get off the ground unless you deficit finance them or pre-sell the rights to another country who takes a co-pro credit.

And you can only do that with an established production brand (Kudos) or property (Doctor Who).

And doesn't BBC Worldwide sell ALL BBC products no matter where they are produced?

Anonymous said...

As I understand it the changes to the US film industry in the 1950s with the separation of production and exhibition led to the closure of many of the smaller, poverty row, studios. Apart from RKO, the major studios survived and changed focus.

Close, but not quite. While there were several Poverty Row companies that took a hit - it was primarily due to their own financial mismanagement and TELEVISION that pulled their curtain shut.

However, there were several companies - AIP, Lippert - who took advantage of the separation of studios and theaters and were able to book their movies into these "abandoned" theaters who couldn't afford the studio movies.

While the studios during the fifties were trying CINEMASCOPE, TECHNORAMA, and a host of other gimmicks to try and get people back to the theaters, it was the indies who thrived by targeting their audience (Teens and youngsters with time and disposable cash)and making movies cheaply, excuse me, inexpensively.

The studios then went into television production and evened things out...

Anonymous said...

Isn't the Oprah Channel called Oxygen?

Ever see the documentary on the Z Channel, Los Angeles' first pay TV cable entry? The whole thing was programmed by one guy and his sensibilities and taste decided the schedule. This mix-tape approach to programming sounds close to the idea of the something like the Tarrentino/ A Band Apart Channel or the Bruckheimer Broadcast Network.

In network television we had the days of the superstar network head, when Brandon Tartikoff or Fred Silverman programmed the schedule based on their gut. Before their purchase by Warner Bros., Rhino Records was famous for the sensibility behind their eclectic box sets. And now we have Starbucks, after changing the retail music business with their middle-aged-friendly MOR point-of-purchase displays, easing into the feature entertainment business through their mastery of demographics. The Starbucks model is a mixed blessing, over-exposing some artists and leaving most behind, much like the experience of the Oprah book club authors. Maybe I'd rather have a future where a mad scientist in a basement suggests what I might enjoy watching but it's not the way to bet.

GM Doug said...

Regards the "Nobody gets Rich, Everybody Gets Paid"....

Is it just me or has the whole Television industry, Hollywood - heck the entire world - just forgotten that idea. Instead the whole system for TV and Hollywood seems hell bent on the idea of everyone trying to get rich and fast.

Every show must be a mega hit so that everyone involved can earn millions and millions.

I do think that is the main problem with most of entertainment right now - way too many actors are paid way way way too much. But then they demand those fees because they want a slice of the action that the studios are earning by trying to make millions and millions on mega hit shows and films.

Probably nothing that anyone hasn't said before.

Of course this idea of a mega hit also seeps into the culture. You aren't a success until you are a millionaire now (for example). Because that's how industry and hollywood work it seems.

I used to think that being successful was based on doing your job well enough to be paid enough to enjoy your leisure time and be able to raise your family in a safe environment. A small business which has run for years is a success.

So surely a TV show could be viewed a success by many people if it you know... breaks even after everyone gets a fair wage. This is what I think 4GM will actually deliver more than anything else.

I fear I've gone off topic here but I think the point of the current model being flawed morally and the spill over into the culture is important. 4GM brings the audience closer to the talented people (And of course I mean the writers, producers and those outstanding staff who do the lighting etc) and cuts out the demand for huge cash piles.

Anonymous said...

On the Oprah - Oxygen note:

Channel surfing late at night over the holidays I was surprised to see...

Oxygen has programs that are damn near pornos. BLISS is soft core porn with about the same level of acting and production budget to boot.

Not only did I not know this type of material was okay for basic cable, Oprah's channel was the last place I'd think would exploit it. Strange.

Kirk said...

I want to comment on a throwaway section - the bit about the DRM. The reason all those apple fans have pumped all that money in is that they've not yet been bit. As you summarized, when they get bit they get bit hard. And it flips them from tolerant to activist. I think this will create the fertile ground for your second point. It's not just the lack of dependence on old models, it's the peasants discovering that new pitchforks and torches - not to mention tar, feathers, rails, and other implements of civilized disagreement - have been delivered to their doors.

Anonymous said...

Both those ideas are deader than dead Mr. Deady Deaderson, winner of the County Dead All-Dead Dead-off. (ahhh, Blackadder. How I love you so.)

And you, Sir, are as cunning as a cunning fox that's just been made Professor of Cunning at Oxford University.

Anonymous said...

Wow, you talk to Joss Whendon?

Could you please tell him that if they do a film adaptaion of Wicked,he has to be at the helm. There is no one else who directs musicals. And Wicked is right up the Once more with Feeling vibe. Funny and Dark, strong female characters. etc. etc.

Anonymous said...

Wow, you talk to Joss Whendon?

Could you please tell him that if they do a film adaptaion of Wicked,he has to be at the helm. There is no one else who directs musicals. And Wicked is right up the Once more with Feeling vibe. Funny and Dark, strong female characters. etc. etc.

impwork said...

How much of the audience cares Kudos is behind Spooks? They may have heard the "from the makers of Spooks" spiel used to promote Hustle and Life on Mars. BBC Wales and all the other BBC entities are part of the same branded house that has BBC in your face at the start of the show, on the DVD package, the web site and all the other physical evidence for the shows. As the BBC moves out of London will it become less BBC and more BBC Wherever? I suspect the BBC brand will remain dominant it has done for a long time even with BBC production going on in places other than London.

I might try it out on another channel but I wouldn't have such high expectations. ITV's nearest offerings such as Ultimate Force and The Outsiders just don't play in the same league. I can't think of a genre production from Channel 4 since Ultraviolet. Channel 4 joined 5 in the rush to import US genre shows rather than make original material. Easy given the common language, not so good for our culture in the long run maybe. Most of the other UK broadcasters don’t make original genre material if they make anything original.

Reverend Peter Sears said...

Nobody gets rich. Everybody gets paid.

I want a fucking T-shirt that says this.

It occured to me some time ago that it was far easier to get rich as a novelist 10 years ago than it ever will be from now on.

It occurs to me that this egalitarian 4GM is going to be a much more violent restructuring than some suppose, simply because there are people who are going to cling to the old business model, Not out of spite, not out of massive greed, but out of habit.

I've been saying for years that digital video is the end of the studio system, they just don't know it yet.
Digital video allows you to create your films. You can cut and special effect them yourself if you have the know-how,

How long until you get clear resolution films on YouTube?

How long until film-makers can get their own sponsors and market their films themselves. Film on demand. Advertiser supported. Using YouTube or Netcast technology?

How long until you can market a boxed set of your movies/TV/Netcasts on Lulu?

The answer that is scaring the shit out of the networks and the studios is: Today.

Also: Yay!

Anonymous said...

what about Ron Moore?

And why do I think you have a Fucked up Ron Moore story somewhere?

And If you want to be a writer for (shudder) network TV and you know names like wendon, moore, et al. and you drop them like you have at one point met them...is that a blessing or a curse?

Not that I`m an aspiring writer or anything

Anonymous said...

The news situation is interesting. I've got no real interest or experience there, but it's definitely a factor. However, we may be seeing a branding of news even now -- who has more loyalty, NBC news or Jon Stewart? If your anchor of NBC news moves, do you follow him to the new network? Would you do so for Jon Stewart?

this is the bit that scares the shit out of me - what happens to news if the networks shrivel up and die? i'm a devoted reader of about a thousand blogs, but i'm not naive enough to think they can replace network news, as screwed up and awful as it is. seriously, what are we going to do - have a paypal fundraiser to embed steve gilliard with marine expeditionary force headed for baghdad?

networks are cannibalizing their news divisions as it is. it's going to be interesting to see how this shakes out.

and by interesting i mean fucking terrifying.

Anonymous said...

CBC's that important to the financial picture re: Doctor Who?

Okay. When do we start seeing episodes filmed over here? A two-parter every couple of years would be nice.

Enjoying the show in any case...

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Penyakit ini umumnya muncul karena penderita mengejan terlalu keras pada saat buang air besar. Dengan mengejan terlalu keras, maka pembuluh darah di sekitar anus dapat melebar dan pecah menimbulkan infeksi dan pembengkakan yang berakhir pada masalah wasir atau ambeien tersebut.

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Obat Ambeien Resep Dokter Ambeclear dari De Nature Ampuh Tuntaskan Ambeien Sampai Tuntas

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