Marijuana in America

PBS AND INNOVATIONS IN MEDICINE PRESENT

“MARIJUANA IN AMERICA”

LAUNCHING 1st Quarter of 2019 – ON PBS
Part of a 13-Week Syndicated PBS National Series
TO AN AUDIENCE OF
MORE THAN 110 MILLION VIEWERS (46 MILLION U.S. HOUSEHOLDS)

The Production

In the tradition of PBS’ award-winning Downton Abbey and unforgettable documentaries like Ken Burns’ The Civil War, Windsor Broadcast Productions–the producers of Innovations in Medicine and The American Health Journal, a PBS network staple for more than 18 years—in association with Public Television Productions announces the production of MARIJUANA IN AMERICA.

This 3O-Minute network Special Documentary leading off a 13-week syndicated PBS National Series takes an in-depth look at the exceptional successes being achieved in the new and exploding world of medical and pharmaceutical cannabis. The show will air on PBS affiliates across the United States. Productions that have aired nationally on PBS affiliates reach syndicated audiences in excess of 100 million viewers—with multiple airings (historically airing on the network for more than 18 months). This documentary will receive extensive network promotion prior to (and after) launch.

For 2 decades PBS has been at the cutting edge of science and social issues. In 2015 The American Health Journal on PBS took a first look at the medical benefits of cannabis in a segment featuring a study done at LA BioMed at UCLA evidencing that marijuana use was associated with lower death rates in patients with traumatic brain injuries. Under the direction of Executive Producer, Roland Perez and Producer, Gary Bernstein, MARIJUANA IN AMERICA, will present a comprehensive evaluation of the current cannabis phenomena with a specific emphasis on its remarkable medical uses and applications.

Program HIGHLIGHTS:

The program will include on location filming and interviews including Dr. Ascher Shmulewitz, a legendary entrepreneur in the biomedical technologies, working out of Tel Aviv on the science behind cannabinoids and their application in the areas of pre-dementia; Dr. Michael Bloch in New Haven, CT at Yale University Medical School addressing its application with motion disorders, Tourette and Parkinson’s Disease and the actual patient reversals and results being achieved; we visit Robert Davidson, CEO of Cure Pharmaceutical in Oxnard, CA who discusses the new dosages being created and the development of dosing patches; in Sherman Oaks, CA an interview with Tracy Ryan, the CEO of Cannakids regarding their use of cannabinoid oil in the treatment of children’s seizures; in Brooklyn, NY we visit David Goldstein, CEO of Potbotics, a cutting-edge company regulating every aspect of dosages using vapor smokers and computers, and many more industry revelations.

Windsor Broadcast Productions

Windsor Broadcast Productions is a long running television producer, with over 18 years of syndicating programming and content on PBS weekly. Windsor currently has 28 shows running on the Public Television Satellite and has won more than 100 national and international awards for broadcast and production excellence.

Roland Perez, CEO of Windsor Broadcast Productions and Executive Producer for MARIJUANA IN AMERICA has produced and directed more than 700 – 30 minute television shows in his career; but his interest and love of film started during his years at Hollywood High School and continued during his early days as an NBC Network page. Philanthropically, Mr. Perez is one of the founders of Hollywood Heritage, an organization raising funds for the Hollywood Film Museum and Hollywood Premier.

Gary Bernstein of Public Television Productions and Producer for MARIJUANA IN AMERICA has been in the film industry for decades, working with more than 200 international celebrities, among them Elizabeth Taylor, Sophia Loren, Farrah Fawcett, Paul Newman and Rock Hudson and Jay Leno. Mr. Bernstein is a contributor to many charities including AMFAR and The Elizabeth Taylor AIDS Foundation.

Underwriting (Sponsor) Opportunities for MARIJUANA IN AMERICA

The remaining Underwriting Opportunities (sponsor spots) for MARIJUANA IN AMERICA are 3 – 20-second spots at the end of the program.

They are offered at a cost of $40,000 per spot on a first come first served basis (only one spot per sponsor is allowed).  All underwriting spots are shot in broadcast HD audio and video incorporating the underwriter’s corporate logo (and/or stock symbol), a slogan and description, special graphic effects (FX) and the underwriter’s company web address (the URL). In addition, each underwriter will receive a copy of the finished program which may be used by the underwriter for all purposes (for example, use on corporate websites, brochures, online streaming, email drops, social media placement, local display, trade shows, etc.) except for re-broadcast rights on network or cable television.  Note: The acceptance of underwriter(s) is solely up to the discretion of the program producers and the network.

PBS NETWORK DEMOGRAPHICS

Today’s PBS – America’s Largest Classroom, the Nation’s Largest Stage and the “Most Trusted Window to the World”
Every day, PBS and more than 350 member stations fulfill our essential mission to the American public, providing trusted programming that is uniquely different from commercial broadcasting, treating its audience as citizens, not simply consumers. In fact, PBS has been rated as the most trustworthy institution among nationally known organizations for 14 consecutive years.

PBS invites everyone to explore new ideas and broaden personal horizons — with content that expands the minds of children, programs that ensure the worlds of music, theater, dance and art remain available to all Americans, documentaries that open up new worlds.
PBS is a private, nonprofit corporation, founded in 1969, whose members are America’s public TV stations — noncommercial, educational licensees that operate 350 PBS member stations and serve all 50 states, Puerto Rico, U.S. Virgin Islands, Guam and American Samoa. Of the 158 licensees, 83 are community organizations, 52 are colleges/universities, 19 are state authorities and four are local educational or municipal authorities.

Strong On-Air Reach Across America

  • Over the course of a year, 82% of all U.S. television households – and 200 million people – watch PBS. The demographic breakdown of PBS’ full-day audience reflects the overall U.S. population with respect to race/ethnicity, education and income. (Nielsen NPower, 9/21/2016-9/21/2017)
  • In a typical month, nearly 100 million people watch their local PBS stations. (Nielsen NPower, 9/10/2016-9/18/2017)
  • PBS averaged a 1.43 primetime rating during the 2015-’16 season, ranking it #6 among all broadcast networks and cable networks. (Nielsen NPower, 9/21/2016-9/18/2017)
  • PBS’ primetime audience is significantly larger than many commercial channels, including A&E (PBS’ audience is 156% larger), TLC (138%), Bravo (123%) Discovery Channel (53%) and HGTV (36%). (Neilsen NPower, 9/21/2016-9/18/2017)
  • 68% of all kids age two to eight watched PBS during the 2015-’16 season. (Nielsen NPower, 9/21/2016-9/18/2017)
  • >Additional Children’s Demographics
  • A national study of parents with children ages 2-6 found TV viewing is one of the top ways that families spend time together, with 89% of parents reporting they watch TV together as a family, 74% in favor of anytime access to educational programming and 37% ranking PBS KIDS as the best use of family screen time (Maru/Matchbox, 2017)

Innovation and Growth on Digital Platforms .  Americans watched 520 million videos across all of PBS’ web and mobile platforms in DECEMBER 2016; over four-fifths (85%) of these streams were delivered on a mobile platform. (Google Analytics, 1/2016)

PBS is the Key to Delivering Your Message and Your Image

  • 43% of PBS viewers surveyed feel more positive about companies because they sponsor PBS. (as compared to 10% of broadcast television viewers and 10% of cable viewers).*
  • 36% of PBS viewers surveyed agree with the statement “Companies that sponsor PBS are more respectful of their consumers’ intelligence.” (as compared to 11% of broadcast television viewers and 7% of cable viewers).*
  • 31% of PBS viewers surveyed agree with the statement “I pay attention to sponsor messages on PBS.” (as compared to 18% of broadcast television viewers and 15% of cable viewers).*
  • 28% of PBS viewers surveyed are more likely to choose to buy a product or service from a PBS sponsor, all things being equal. (as compared to 11% of cable viewers and 7% of broadcast television viewers).*

*SOURCE: Harris Interactive. A Nielsen Company © 2016-2017

Our Viewers:

  • Are more likely to have a college education.
  • Are extremely loyal to our brand name.

Our Unduplicated Audience:                       Total Homes         Age 25-54             Age 35-64

Don’t watch Discovery                        62%                       68%                       68%

Don’t watch A&E                                  64%                       71%                       70%

Don’t watch CNN                                 70%                       79%                       77%

Usually recognized as one of the leading brands anywhere, public television provides an extraordinary opportunity for sponsors seeking to place themselves in a leadership position.  93% of PBS viewers believe that PBS sponsors provide a public service.  82% of PBS viewers believe that PBS sponsors are industry leaders.*

*Source: Cone/Roper Worldwide. PBS Image Study

For further information, please contact:

­Producer, Gary Bernstein . Email gbs90210@aol.com, Phone (production office) 310-550-6891         

PBS DISCLAIMER: Public Television is a major participant in the great tradition of a free and independent American press. Therefore, public television must protect its journalistic integrity and it must reinforce the accurate perception that it is a free and independent institution. The diversity of program funding sources is a key element in the preservation of a free and independent public television system. Therefore, these guidelines should encourage national program underwriting from all corners of the public and private sector. Editorial control of programming remains in the hands of the producer. Funding arrangements will not create the perception that editorial control has been exercised by someone other than the producer, or that the program has been inappropriately influenced by its funding sources, and that the noncommercial character of public broadcasting is protected and preserved.