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Blue Ocean Strategy
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Blue Ocean Strategy
First edition cover
Author
W. Chan Kim and Renée Mauborgne
Language
English
Genre
Business Management
Publisher
Harvard Business Review Press
Publication date
2005, 2015 (expanded edition)
Media type
Print (Hardback)
Pages
240 pp, 287 pp (expanded edition)
ISBN
1-59139-619-0 978-1-62527-449-6 (expanded edition)
OCLC
56421900, 905587295 (expanded edition)
Dewey Decimal
658.8/02 22 , 658.8/02 23 (expanded edition)
LC Class
HF5415.153 .K53 2005
Website
blueoceanstrategy.com
Blue Ocean Strategy is a marketing theory from a book published in 2005 which was written by W. Chan Kim and Renée Mauborgne, professors at INSEAD and co-directors of the INSEAD Blue Ocean Strategy Institute. Based on a study of 150 strategic moves spanning more than a hundred years and thirty industries, Kim & Mauborgne argue that companies can succeed by creating "blue oceans" of uncontested market space, as opposed to "red oceans" where competitors fight for dominance, the analogy being that an ocean full of vicious competition turns red with blood.
They assert that these strategic moves create a leap in value for the company, its buyers, and its employees while unlocking new demand and making the competition irrelevant. The book presents analytical frameworks and tools to foster an organization's ability to systematically create and capture blue oceans.[1] The expanded edition of Blue Ocean Strategy was published in February, 2015.
The expanded edition updates all strategic moves in the book, bringing their stories up to the present, and adds new chapters on achieving strategic alignment and avoiding red ocean traps as well as expanding the discussion on sustainability and renewal.[2]
Contents
[hide]
1 Book layout and concepts
1.1 Proposition
2 Concept
2.1 Blue ocean vs. red ocean
3 Examples
3.1 Examples documented in the book
3.2 Recent application examples
4 Reception
5 Criticisms
6 See also
7 References
8 External links
Book layout and concepts[edit]
The book is divided into three parts: as the other scenarios differ from those mentioned below would be an entirely separate story vice versa.
1. The first part presents key concepts of blue ocean strategy, including Value Innovation – the simultaneous pursuit of differentiation and low cost – and key analytical tools and frameworks such as the strategy canvas and the four actions framework. The four actions framework aids in eliminating the trade-off between differentiation and low cost within a company. The four actions framework consists of the following;
Raise: This questions which factors must be raised within an industry in terms of product, pricing or service standards.
Eliminate: This questions which areas of a company or industry could be completely eliminated to reduce costs and to create an entirely new market.
Reduce: This questions which areas of a company’s product or service are not entirely necessary but play a significant role in your industry, for example, the cost of manufacturing a certain material for a product could be reduced. Therefore, it can be reduced without completely eliminating it.
Create: This prompts companies to be innovative with their products. By creating an entirely new product or service, a company can create their own market through differentiation from the competition.[3]
2. The second part describes the four principles of blue ocean strategy formulation. These four formulation principles address how an organization can create blue oceans by looking across the six conventional boundaries of competition (Six Paths Framework), reduce their planning risk by following the four steps of visualizing strategy, create new demand by unlocking the three tiers of noncustomers and launch a commercially viable blue ocean idea by aligning unprecedented utility of an offering with strategic pricing and target costing and by overcoming adoption hurdles. The book uses many examples across industries to demonstrate how to break out of traditional competitive (structuralist) strategic thinking and to grow demand and profits for the company and the industry by using blue ocean (reconstructionist) strategic thinking. The four principles are:
how to create uncontested market space by reconstructing market boundaries,
focusing on the big picture,
reaching beyond existing demand and supply in new market spaces
getting the strategic sequence right.
3. The third and final part describes the two key implementation principles of blue ocean strategy including tipping point leadership and fair process. These implementation principles are essential for leaders to overcome the four key organizational hurdles that can prevent even the best strategies from being executed. The four key hurdles comprise the cognitive, resource, motivational and political hurdles that prevent people involved in strategy execution from understanding the need to break from status quo, finding the resources to implement the new strategic shift, keeping your people committed to implementing the new strategy, and from overcoming the powerful vested interests that may block the change.[4][5]
Proposition[edit]
In the book the authors draw the attention of their readers towards the correlation of success stories across industries and the formulation of strategies that provide a solid base to create unconventional success – a strategy termed as "blue ocean strategy". Unlike the "red ocean strategy", the conventional approach to business of beating competition derived from the military organization, the "blue ocean strategy" tries to align innovation with utility, price and cost positions. The book mocks at the phenomena of conventional choice between product/service differentiation and lower cost, but rather suggests that both differentiation and lower costs are achievable simultaneously.
The authors ask readers "What is the best unit of analysis of profitable growth? Company? Industry?" – a fundamental question without which any strategy for profitable growth is not worthwhile. The authors justify with original and practical ideas that neither the company nor the industry is the best unit of analysis of profitable growth; rather it is the strategic move that creates "blue ocean" and sustained high performance. The book examines the experience of companies in areas as diverse as watches, wine, cement, computers, automobiles, textiles, coffee makers, airlines, retailers, and even the circus, to answer this fundamental question and builds upon the argument about "value innovation" being the cornerstone of a blue ocean strategy. Value innovation is necessarily the alignment of innovation with utility, price and cost positions. This creates uncontested market space and makes competition irrelevant. The new chapters in the expanded edition of the book deal with the issues of how to develop and align the three strategy propositions of value, profit and people, how to sustain and renew blue ocean strategy at both the business level and the corporate level, and how to avoid red ocean traps that keep organizations anchored in existing market space even as they attempt to create new market space.[6] The following section discusses the concept behind the book in detail.
Concept[edit]
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (December 2017) (Learn how and when to remove this template message)
Cirque du Soleil – an example of creating a new market space, by blending opera and ballet with the circus format while eliminating star performers and animals
The metaphor of red and blue oceans describes the market universe.
Red oceans represent all the industries in existence today – the known market space. In the red oceans, industry boundaries are defined and accepted, and the competitive rules of the game are known. Here companies try to outperform their rivals to grab a greater share of product or service demand. As the market space gets crowded, prospects for profits and growth are reduced. Products become commodities or niche, and cutthroat competition turns the ocean bloody; hence, the term "red oceans".[7]
Blue oceans, in contrast, denote all the industries not in existence today – the unknown market space, untainted by competition. In blue oceans, demand is created rather than fought over. There is ample opportunity for growth that is both profitable and rapid. In blue oceans, competition is irrelevant because the rules of the game are waiting to be set. Blue ocean is an analogy to describe the wider, deeper potential of market space that is not yet explored.[7]
The cornerstone of blue ocean strategy is "value innovation", a concept originally outlined in Kim & Mauborgne's 1997 article "Value Innovation - The Strategic Logic of High Growth".[8] Value innovation is the simultaneous pursuit of differentiation and low cost, creating value for both the buyer, the company, and its employees, thereby opening up new and uncontested market space. The aim of value innovation, as articulated in the article, is not to compete, but to make the competition irrelevant by changing the playing field of strategy. The strategic move must raise and create value for the market, while simultaneously reducing or eliminating features or services that are less valued by the current or future market. The Four Actions Framework is used to help create value innovation and break the value-cost trade-off. Value innovation challenges Michael Porter's idea that successful businesses are either low-cost providers or niche-players. Instead, blue ocean strategy proposes finding value that crosses conventional market segmentation and offering value and lower cost. Educator Charles W. L. Hill proposed a similar idea in 1988 and claimed that Porter's model was flawed because differentiation can be a means for firms to achieve low cost. He proposed that a combination of differentiation and low cost might be necessary for firms to achieve a sustainable competitive advantage.
Many others have proposed similar strategies. For example, Swedish educators Jonas Ridderstråle and Kjell Nordström in their 1999 book Funky Business follow a similar line of reasoning. For example, "competing factors" in blue ocean strategy are similar to the definition of "finite and infinite dimensions" in Funky Business. Just as blue ocean strategy claims that a red ocean strategy does not guarantee success, Funky Business explained that "Competitive Strategy is the route to nowhere". Funky Business argues that firms need to create "sensational strategies". Just like blue ocean strategy, a sensational strategy is about "playing a different game" according to Ridderstråle and Nordström. Ridderstråle and Nordström also claim that the aim of companies is to create temporary monopolies. Kim and Mauborgne explain that the aim of companies is to create blue oceans, that will eventually turn red. This is the same idea expressed in the form of an analogy. Ridderstråle and Nordström also claimed in 1999 that "in the slow-growth 1990s overcapacity is the norm in most businesses". Kim and Mauborgne claim that blue ocean strategy makes sense in a world where supply exceeds demand.
Blue ocean vs. red ocean[edit]
Kim and Mauborgne argue that while traditional competition-based strategies (red ocean strategies) are necessary, they are not sufficient to sustain high performance. Companies need to go beyond competing. To seize new profit and growth opportunities they also need to create blue oceans. The authors argue that competition based strategies assume that an industry's structural conditions are given and that firms are forced to compete within them, an assumption based on what academics call the structuralist view, or environmental determinism. To sustain themselves in the marketplace, practitioners of red ocean strategy focus on building advantages over the competition, usually by assessing what competitors do and striving to do it better. Here, grabbing a bigger share of the market is seen as a zero-sum game in which one company's gain is achieved at another company’s loss. Hence, competition, the supply side of the equation, becomes the defining variable of strategy. Here, cost and value are seen as trade-offs and a firm chooses a distinctive cost or differentiation position. Because the total profit level of the industry is also determined by structural factors, firms principally seek to capture and redistribute wealth instead of creating wealth. They focus on dividing up the red ocean, where growth is increasingly limited.
Blue ocean strategy, on the other hand, is based on the view that market boundaries and industry structure are not given and can be reconstructed by the actions and beliefs of industry players. This is what the authors call the reconstructionist view. Assuming that structure and market boundaries exist only in managers’ minds, practitioners who hold this view do not let existing market structures limit their thinking. To them, extra demand is out there, largely untapped. The crux of the problem is how to create it. This, in turn, requires a shift of attention from supply to demand, from a focus on competing to a focus on value innovation – that is, the creation of innovative value to unlock new demand. This is achieved via the simultaneous pursuit of differentiation and low-cost. As market structure is changed by breaking the value/cost tradeoff, so are the rules of the game. Competition in the old game is therefore rendered irrelevant. By expanding the demand side of the economy, new wealth is created. Such a strategy therefore allows firms to largely play a non–zero-sum game, with high payoff possibilities.
Examples[edit]
Examples documented in the book[edit]
Some examples of companies that may have created new market spaces in the opinion of Kim and Mauborgne include ;
Cirque du Soleil: Blending of opera and ballet with circus format while eliminating star performer and animals;
Netjets: fractional jet ownership;
Southwest Airlines: offering flexibility of bus travel at the speed of air travel using secondary airports;
Curves: redefining market boundaries between health clubs and home exercise programs for women;
Home Depot: offering the prices and range of lumberyard, while offering consumers classes to help them with DIY projects;
Dyson: Cyclonic Vacuum Cleaners.
Recent application examples[edit]
Reports of businesses using blue ocean strategy concepts include:
China Mobile: China Mobile CEO Wang Jianzhou talked about China's hinterland as a classic "blue-ocean market," where the company is casting its net widely without worrying about getting tangled up with the nets of rivals.[9]
Pitney Bowes: Michael Critelli, the departing CEO of Pitney Bowes, explained how Pitney Bowes created the Advanced Concept & Technology Group (ACTG), a unit responsible for identifying and developing new products outside. Critelli cited ACTG's development of a machine, which enables people to design and print their own postage from their desktops, as an example of a blue ocean strategic move.[10]
Starwood: One group which has been exploring blue ocean thinking for the past three years is Starwood Hotels and Resorts. In an interview to INSEAD Knowledge, Robyn Pratt, Vice President, Six Sigma and Operational Innovation talks about how they are taking a step-by-step approach to implementing the concept.[11]
Wii: Rather than releasing a more technologically advanced video game console with more features as in previous generations, Nintendo released a console with innovative controls made to attract populations that are typically excluded from the target demographic for video games, such as the elderly.[12]
TATA Motors: With its recent product, the Nano car, the company has adopted a combination of differentiation and low cost.[13]
Starbucks: This company entered a historically crowded market place, the coffee shop industry; however, it found its way to success through the blue ocean strategy. Starbucks separated itself from the competition by combining differentiation, low cost and a customer oriented approach from the beginning of its operation. As well as this, Starbucks focused on maximising its brands exposure, rather than solely focusing on itself as just another coffee shop. In terms of differentiation, Starbucks offered a variety of products, such as smoothies, teas and a selection of coffees that no other establishment was offering. By training specialised staff, the company was operating on less staff than would usually be needed, whilst maintaining professionalism and excellent customer service, for example, personalised coffee cups. In order to maximise the customer experience, Starbucks set out to change the furnishings throughout their stores, creating a comfortable environment which convinces its customer to spend longer in store.[14]
Reception[edit]
Since Blue Ocean Strategy was published in 2005 it has been translated into 43 languages and has sold over 3.5 million copies. The book was named a bestseller by the Wall Street Journal, BusinessWeek, and Amazon.com.[15][16][17][18] It was selected as one of the “Best Books of 2005” by Fast Company magazine, won “The Best Business Book of 2005” Prize at the Frankfurt Book Fair, and achieved bestselling book of the decade status by 800-CEO-READ (2000-2010).[19][20][21] Strategy+Business magazine selected it as #1 strategy book of 2005.[22]
In 2009, Blue Ocean Strategy was selected by the China Daily and the China Research Institute as one of the 40 most influential books in the History of the People's Republic of China (1949-2009) along with Adam Smith’s ″The Wealth of Nations″ under the category of ″Economics and Finance.″[23][24] In 2010, Polish group ThinkTank selected Blue Ocean Strategy as one of the Top 20 books that have shaped Polish Leaders.[25] Blue Ocean Strategy won the Thinkers50 2011 Strategy Award for Best Business Book of the decade and in the same year, it was introduced to the Fast Company Leadership Hall of Fame.[26][27][28] In 2013, the book received the GoodBooks Award in the Management category by the Vietnamese Institute for Research on Education Development (IRED), was selected as one of the 15 Best Business Books of the last decade in Russia by the Kommersant.ru magazine, and selected as one of the top three best management books in Japan by the Diamond Harvard Business Review.[29][30][31]
The Wall Street Journal recommends Blue Ocean Strategy for the top manager.[32] Forbes calls it one of the ten business trends for 2013 and argues that "blue ocean strategies are more influential than ever."[33][34] BusinessWeek says that "Blue Ocean Strategy will have you wondering why companies need so much persuasion to stay out of shark-infested waters."[35] The Business Strategy Review said the book "challenges everything you knew about strategy", and the Business Times called on firms to "adopt blue ocean strategy to stay ahead."[36][37] Marketplace magazine recommends Blue Ocean Strategy as a book "you need to read."[38] In addition, the book has received many positive reviews from various publications that include Chicago Tribune, Daily Herald, Credit Union Journal, Vancouver Sun, Association Meetings, Strategy & Leadership, and Business First, among many others.[39][40][41][42][43][44][45]
Criticisms[edit]
While Kim and Mauborgne propose approaches to finding uncontested market space, at the present there are few success stories of companies that applied their theories in advance. One success story that does exist is Nintendo, who first applied the blue ocean strategy to create the Nintendo DS handheld game system which was the first portable gaming system to offer dual screen gaming and a touch screen in 2004. In 2006, Nintendo released the Wii, which used unique motion controls. The 3DS is Nintendo's third endeavour for its blue ocean strategy. Its first two attempts, the Nintendo DS and Wii, were wildly successful, becoming some of the biggest selling platforms in history. Nintendo revealed their Blue Ocean Strategy during an E3 press conference during the hype build-up of the Wii."[citation needed]
However, with just one case study, this hole in their data persists despite the publication of value innovation concepts since 1997. Hence, a critical question is whether this book and its related ideas are descriptive rather than prescriptive.[46] The authors present many examples of successful innovations, and then explain from their Blue Ocean perspective – essentially interpreting success through their lenses.[47]
The research process followed by the authors has been criticized on several grounds.[47] Criticisms include claims that no control group was used, that there is no way to know how many companies using a blue ocean strategy failed and the theory is thus unfalsifiable, that a deductive process was not followed, and that the examples in the book were selected to "tell a winning story."[citation needed]
Additionally, blue ocean strategy cannot be identified as true causation for success. The authors cite the strategies used by NYPD Commissioner Bratton as a key example of Blue Ocean applied in the public sector. They defined this success as a significant drop in crime in the City of New York after Bratton took office in 1994. Many social scientists would disagree that it was Bratton's policies that led to crime reduction: rather, the city was simply part of a nationwide trend in decreasing crime.
Brand and communication are taken for granted and do not represent a key for success. Kim and Maubourgne take the marketing of a value innovation as a given, assuming the marketing success will come as a matter of course.[46]
It is argued that rather than a theory, blue ocean strategy is an extremely successful attempt to brand a set of already existing concepts and frameworks with a highly "sticky" idea.[48] The blue ocean/red ocean analogy is a powerful and memorable metaphor, which is responsible for its popularity. This metaphor can be powerful enough to stimulate people to action. However, the concepts behind the Blue Ocean Strategy (such as the competing factors, the consumer cycle, non-customers, etc.) are not new. Many of these tools are also used by Six Sigma practitioners and proposed by other management theorists.
Many of the book's key concepts were previously covered in Competing For The Future by Gary Hamel and C.K. Prahalad, which was published in 1996.[49] The authors encouraged managers to stake out new marketing space, which they termed white space, in order to "create and dominate emerging opportunities."[49]
See also[edit]
Coopetition
Disruptive innovation
Economics of Strategy
Thinking Strategically
References[edit]
Jump up ^ Kim, W.C.; Mauborgne, R. (2005). Blue Ocean Strategy: How to Create Uncontested Market Space and Make the Competition Irrelevant. Boston: Harvard Business School Press. ISBN 978-1591396192.
Jump up ^ "Blue Ocean Strategy, Expanded Edition: How to Create Uncontested Market Space and Make the Competition Irrelevant". Harvard Business Review.
Jump up ^ Kim, W. Chan; Mauborgne, Renée (2005). "Blue Ocean Strategy: From Theory to Practice". California Management Review. 47 (3): 105-121. doi:10.2307/41166308. Retrieved May 10, 2017.
Jump up ^ "Blue Ocean Strategy Overview". Flevy. Retrieved 20 November 2012.
Jump up ^ Kumar, Ajay S. "Blue Ocean Strategy". TechnoparkToday.com. Retrieved 20 November 2012.
Jump up ^ Allen, Nathen. "'Blue Ocean Strategy' Surges in Schools". Poets & Quants for Executives.
^ Jump up to: a b "A conversation with W.Chan Kim and Renee Mauborgne" (PDF). INSEAD. 2005. Archived from the original (PDF) on 2008-12-03. Retrieved 2008-12-31.
Jump up ^ Kim, W.C.; Mauborgne, R. (January–February 1997). "Value Innovation – The Strategic Logic of High Growth". Harvard Business Review. 75: 103–112.
Jump up ^ FORTUNE. China's Mobile Maestro by Clay Chandler,31 July 2007 http://money.cnn.com/magazines/fortune/fortune_archive/2007/08/06/100156748/index2.htm
Jump up ^ World Business Interview: Michael Critelli, 9 May 2007 http://www.worldbusinesslive.com/search/article/655150/wb-interview-michael-critelli/
Jump up ^ INSEAD Knowledge: The Starwood experience "Archived copy". Archived from the original on 2008-02-20. Retrieved 2008-02-06.
Jump up ^ Williams, Mike (October 10, 2013). "Nintendo's Iwata Doesn't Fear Failure". Gamesindustry.
Jump up ^ Kim, W.C.; Mauborgne, R.; Bong, R.; Ji, M. "Tata Nano: The People's Car That Promises to Reconstruct the Automobile Industry". Harvard Business School Press. Retrieved May 10, 2017.
Jump up ^ TĂLPĂU, A.; BOŞCOR, D. (2011). "CUSTOMER-ORIENTED MARKETING - A STRATEGY THAT GUARANTEES SUCCESS: STARBUCKS AND MCDONALD'S". Bulletin of the Transilvania University Basov. 4 (1): 51-61. Retrieved May 10, 2017.
Jump up ^ "Best Selling Books". The Wall Street Journal. March 4, 2005.
Jump up ^ "The BusinessWeek Best Seller List" (PDF). BusinessWeek. November 5, 2007. Archived from the original (PDF) on May 8, 2015. Retrieved March 17, 2014.
Jump up ^ "Best Books of 2005". Amazon.com. Retrieved March 17, 2014.
Jump up ^ "Blue Ocean Strategy: How to Create Uncontested Market Space and Make the Competition Irrelevant". Amazon.com. Retrieved March 17, 2014.
Jump up ^ Lidsky, David (January 5, 2006). "Fast Company's Best Books of 2005". Fast Company. Retrieved March 17, 2014.
Jump up ^ Murray, Patricia (December 17, 2006). "Business - Widen Your Horizons - How to... Out-think Your Competition Rather Than Trying to Outdo Other's Offers or Products, Re-define the Market, Writes Patricia Murray". Sunday Tribune.
Jump up ^ "800-CEO-READ's Decade-in-Review". 800ceoread. Retrieved March 17, 2014.
Jump up ^ Lucier, Chuck. "Best Business Books 2005: Strategy". strategy+business. Retrieved March 17, 2014.
Jump up ^ "独家发布：新中国60年中国最具影响力的600本书". ifeng.com. September 30, 2009. Retrieved March 17, 2014.
Jump up ^ ""新中国60年中国最具影响力的600本书"名单". www.news.cn. September 29, 2009. Retrieved March 17, 2014.
Jump up ^ "TOP20 Książek, Które Ukształtowały Polskich Liderów". Puls Biznesu. Retrieved March 17, 2014.
Jump up ^ "W. Chan Kim & Renee Mauborgne". Thinkers50. Retrieved March 17, 2014.
Jump up ^ Ohannessian, Kevin (December 26, 2011). "The Leadership Hall of Fame". Fast Company. Retrieved March 17, 2014.
Jump up ^ Ohannessian, Kevin (July 28, 2011). "Leadership Hall of Fame: W. Chan Kim and Renee Mauborgne, Authors of "Blue Ocean Strategy"". Fast Company. Retrieved March 17, 2014.
Jump up ^ "'Nắng tháng 8', 'Biển và chim bói cá' đoạt giải Sách hay 2013". VietBao. September 22, 2013. Retrieved March 18, 2014.
Jump up ^ Fukolova, Julia (December 3, 2012). "Bestseller of all times". kommersant.ru. Retrieved March 21, 2014.
Jump up ^ "Harvard Business Review Readers Choose the Best Management Books 2013". Diamond Harvard Business Review. October 8, 2013. Retrieved March 18, 2014.
Jump up ^ "In the Lead Forum". The Wall Street Journal. April 16, 2007. p. R2.
Jump up ^ Simon, Andrea (November 2, 2013). "Ten Business Trends From The Trenches For 2013". Forbes. Retrieved March 18, 2014.
Jump up ^ Simon, Andrea (June 18, 2013). "Major Mid-Year Correction Necessary". Forbes. Retrieved March 19, 2014.
Jump up ^ "Blue Ocean Strategy". BusinessWeek. April 4, 2005.
Jump up ^ Dearlove, Des (Spring 2005). "Forever Blue". Business Strategy Review: 56–59.
Jump up ^ Huifen, Chen (October 13, 2004). "Firms Should Adopt Blue Ocean Strategy to Stay Ahead". The Business Times.
Jump up ^ Lilly, Bryan (September 5, 2005). "Explore New Markets With Seaworthy Strategy". Marketplace Magazine.
Jump up ^ Pawlak, Jim (January 31, 2005). "The Edge. New Book". Chicago Tribune.
Jump up ^ Pawlak, Jim (January 31, 2005). "Companies Hope to Sail in Profitable Blue Ocean". Daily Herald.
Jump up ^ Barlett, Michael (November 14, 2005). "Attention Next Generation! Do You Have the Passion?". Credit Union Journal.
Jump up ^ Gismondi, Anthony (January 1, 2005). "Yellowtail, Spain, Scretowps -- 2004's Top Wine Stories". Vancouver Sun.
Jump up ^ McGee, Regina (October 2006). "What's Up with Blue Ocean Buzz?". Association Meetings.
Jump up ^ Abraham, Stan (October 1, 2008). "Blue Oceans, Temporary Monopolies, and Lessons from Practice". Strategy & Leadership.
Jump up ^ "The Top 10 Business Books for April". Business First. May 18, 2007.
^ Jump up to: a b Pollard, Wayne E. (2005-12-01). "Blue Ocean Strategy's Fatal Flaw". CMO Magazine.
^ Jump up to: a b "Multiple Critiques of Blue Ocean Strategy". 2007. Retrieved 2007-07-19.
Jump up ^ "Critique of Blue Ocean Strategy". 2007. Retrieved 2011-06-30.
^ Jump up to: a b Holt, Douglas; Cameron, Douglas (2010). Cultural Strategy. Oxford University Press. ISBN 978-0-19-958740-7.
External links[edit]
Blue Ocean Strategy book website
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Charmed (2018 TV series)
From Wikipedia, the free encyclopedia
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This article is about the 2018 CW series. For the 1998 WB series, see Charmed.
For other uses, see Charmed (disambiguation).
Charmed
Genre
Drama
Fantasy
Supernatural fiction
Based on
Charmed
by Constance M. Burge
Developed by
Jennie Snyder Urman
Jessica O'Toole
Amy Rardin
Starring
Melonie Diaz
Madeleine Mantock
Sarah Jeffery
Ser'Darius Blain
Ellen Tamaki
Rupert Evans
Nick Hargrove
Composer(s)
Will Bates
Country of origin
United States
Original language(s)
English
No. of seasons
1
No. of episodes
3 (list of episodes)
Production
Executive producer(s)
Jessica O'Toole
Amy Rardin
Jennie Snyder Urman
Ben Silverman
Brad Silberling
Howard Owens
Carter Covington
Production location(s)
Vancouver, British Columbia
Cinematography
Tami Reiker
Editor(s)
Gregg Featherman
Camera setup
Single-camera
Running time
43 minutes
Production company(s)
Poppy Productions
Reveal Entertainment
Propagate[1]
CBS Television Studios
Distributor
CBS Television Distribution
Release
Original network
The CW
Original release
October 14, 2018 (2018-10-14) – present (present)
Chronology
Related shows
Charmed (1998–2006)
External links
Website
Charmed is an American fantasy drama television series developed by Jennie Snyder Urman, Jessica O'Toole, and Amy Rardin. It is a reboot of The WB series of the same name, created by Constance M. Burge, which originally aired from 1998 to 2006. Charmed was ordered to pilot in January 2018 by The CW and received a series order in May 2018. The series, which premiered in the United States on October 14, 2018, follows the lives of three sisters—Macy (Madeleine Mantock), Mel (Melonie Diaz) and Maggie (Sarah Jeffery)—who, after the death of their mother, discover they are The Charmed Ones, the most powerful witches, and together they possess the "Power of Three". Each sister has a magical power, which they use to help protect innocent lives from supernatural demons.
Contents
1 Premise
2 Cast and characters
2.1 Main
2.2 Recurring
2.3 Guest
3 Episodes
4 Production
4.1 Development
4.2 Casting
4.3 Filming
5 Broadcast
6 Reception
6.1 Ratings
6.2 Critical response
6.3 Controversies
6.3.1 Original cast and fan reactions
6.3.2 Accusations of colorism
7 References
8 External links
Premise[edit]
Set in the fictional college town of Hilltowne, Michigan, the series begins with sisters Mel (Melonie Diaz) and Maggie Vera (Sarah Jeffery) living with their mother Marisol (Valerie Cruz), who shortly afterward is attacked and killed by an unknown demonic force.[2] Three months later, Mel and Maggie discover that they have an older half-sister, Macy Vaughn (Madeleine Mantock), who was kept a secret by their mother for years but recently moved to Hilltowne to accept a new job at the local university. After the first time the sisters are under the same roof, they unexpectedly start exhibiting new magical abilities; the eldest Macy receives the power of telekinesis, middle sister Mel can freeze time, and the youngest Maggie can hear people's thoughts. Soon afterward, their whitelighter—an advisor who protects and guides witches—Harry Greenwood (Rupert Evans) gathers all three sisters together and reveals to them that they are witches, as was their mother. Marisol had bound her daughters' powers when they were born so they could live normal lives and was in the process of unbinding those powers on the night she was murdered.[3] The sisters ultimately accept their new destiny as The Charmed Ones, the most powerful trio of witches who protect innocents and vanquish supernatural demons.[4][5]
The reboot changes several elements from the original Charmed series, including moving the fictional setting from San Francisco to Hilltowne; making the middle sister a lesbian; giving the youngest sister the power of telepathy instead of premonition; changing the family name from Halliwell to Vera; and having all three of the sisters' alliterative names begin with M instead of P.[6][7] Additionally, the reboot has a more diverse cast with different ethnicities; Mantock is of Afro-Caribbean descent, Diaz is of Latino descent, and Jeffery is an African American and Indigenous Canadian. However, in the series they all play Latino sisters, with Mantock's character Macy being an Afro-Latina.[8][9]
Cast and characters[edit]
Main[edit]
Melonie Diaz as Melanie "Mel" Vera, the middle half-sister in the family.[10] A "strong-willed feminist" and "passionate, outspoken activist," Mel is a graduate student in the women's studies department at Hilltowne University.[11][12] She is also a lesbian in an on-and-off again relationship with Niko (Ellen Tamaki), a detective on the Hilltowne police force.[3] Mel has the power of time-freezing, similar to the original middle sister Piper Halliwell (Holly Marie Combs) from the original series.[13]
Madeleine Mantock as Macy Vaughn, the eldest half-sister.[3] She is a "practical", "driven", "shy" and "intense science nerd".[11][14] Macy has a Ph.D. in molecular genetics and initially moves to Hilltowne, Michigan to work in the university lab. Once she arrives in town, Macy discovers that she has two younger half-sisters.[11][15] Macy has the power of telekinesis, similar to the original eldest sister Prue Halliwell (Shannen Doherty) of the original Charmed series.[16]
Sarah Jeffery as Maggie Vera, the youngest half-sister.[17] She is a "bubbly", "fun-loving" and "kindhearted" freshman at Hilltowne University who is pledging a sorority.[11][18] Maggie is initially mortified to learn that she is a witch as she wants to be well-liked and fit in.[11] Maggie has the power of telepathy, the ability to read the thoughts of other people. This is one of the first differences from the original show as the original youngest sister Phoebe Halliwell (Alyssa Milano) from the original series initally had the power of premonition.[15][19]
Ser'Darius Blain as Galvin Burdette, a molecular geneticist who works at the Hilltowne University lab with Macy Vaughn. He is "outgoing" and "generous", and is the first person who befriends Macy when she moves to Hilltowne.[11][20]
Ellen Tamaki as Niko Hamada, a "smart" and "determined" detective with the Hilltowne police department. She is in an on-and-off again relationship with Mel Vera.[11][21][22]
Rupert Evans as Harry Greenwood, the sisters' Whitelighter – a guardian angel who protects and guides witches.[10] In his former life, Harry was an actor in London before being recruited into the British Secret Service, where he later died and was chosen to become a Whitelighter.[11] In the first episode, Harry initially poses as a professor and the chair of the women's studies department at Hilltowne University, until he gathers all three sisters together to reunite them of their destiny as the Charmed Ones.[4]
Nick Hargrove as Parker, a friend of Maggie Vera. He is the president of the Phi Delta Upsilon fraternity. He and Maggie become friends after he defends her from a rude customer at her waitressing job.[23]
Recurring[edit]
Charlie Gillespie as Brian, Maggie Vera's "on-again off-again" boyfriend who she went to high school with.[11][21][24]
Natalie Hall as Lucy, Maggie's sorority sister and the president of Kappa Tau Kappa sorority.
Brendon Zub as Detective Bailey, Nico's detective partner.
Guest[edit]
Valerie Cruz as Marisol Vera, the sisters' biological mother and a witch. Marisol had bound each of her daughters' powers when they were born so they could lead normal lives. In the first episode, Marisol was in the process of unbinding their powers when she was attacked and killed by an unknown demon.[3][4]
Craig Parker as Alastair Caine, CEO of Morningstar Biotech and a benefactor of the Hilltowne University laboratory, where Macy works.[25]
Episodes[edit]
No.
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)
1
"Pilot" Brad Silberling Story by : Jessica O'Toole & Amy Rardin & Jennie Snyder Urman and Constance M. Burge
Teleplay by : Jessica O'Toole & Amy Rardin October 14, 2018 (2018-10-14) 101 1.57[26]
One night, Maggie and Mel Vera come home to discover that their mother, Marisol, has been murdered after receiving a frantic text ordering them to come home. Three months later, the sisters are estranged, with Mel blaming Maggie for Marisol's death and Maggie deciding to leave their home for a chance to join a sorority. At the same time, Macy Vaughn, a molecular geneticist, is hired to work at Hilltowne University under Thaine, a professor recently reinstated after being accused of sexual harassment. Macy introduces herself to Maggie and Mel as their older half-sister, and the three are then brought before Harry Greenwood, who introduces himself as their "Whitelighter" and explains that they are witches and that their mother had been trying to undo the binding spells she placed to hide their powers before she was killed. He gives them 48 hours to decide whether to accept their powers or return to their original lives. After Macy helps Maggie exorcise a demon from her ex, Brian, they realize that everything Harry told them is true. The next day, Mel is lured into a trap by Thaine, who reveals that he is really the archdemon Taydeus. Macy, Maggie, and Mel are able to use the "Power of Three" to kill Taydeus, but learn that he is not the demon who killed their mother. Later that night, Mel finds a ouija board that the sisters use to contact Marisol's spirit. In turn, she warns them not to trust Harry.
2
"Let This Mother Out" Vanessa Parise Jessica O'Toole & Amy Rardin October 21, 2018 (2018-10-21) 102 1.32[27]
After Harry warns them that ouija boards are easily manipulated by evil spirits, the girls decide to use a truth serum to determine whether or not he's lying. While obtaining an ingredient for the serum, Macy learns about a "black blob" that escaped from the university lab. Maggie finds that her power increasingly makes it difficult to have a social life. Mel uses the board against Harry's instructions, and Macy is forced to destroy it to protect her; this drives a wedge between them. The truth serum is accidentally given to Niko instead of Harry, and she admits to cheating on Mel with her ex-fiancee. Maggie persuades her sister to help her cast a spell to free Marisol's spirit from the board. She reveals that Harry killed her, and that he plans to steal their powers. The girls are told to use the Prism of Souls to trap him, but Mel becomes doubtful and stabs Marisol, exposing her as a demon. Maggie then destroys her by using her phone as a mirror. Harry decides to start training the girls, and informs them that the blob is a form of the Harbinger, the demon whose arrival foretells the beginning of apocalypse. The Harbinger is then shown choosing a coma patient, Angela Wu, as its host.
3
"Sweet Tooth" Norman Buckley Joey Falco October 28, 2018 (2018-10-28) 103 1.13[28]
Harry's training is not going well, especially since Maggie is juggling both her commitment to her sorority and her duty as a Charmed One. Harry also forces Mel to wear a special talisman that allows him to track her as punishment for misusing her power. The girls craft a plan to find the Harbinger, but when Maggie uses magic to throw a party at their house, she persuades them to use it as an opportunity to lure it out. She also tries to help Macy spice up her costume for Gavin. After learning that three virgins have been killed and drained of their blood, the girls and Harry try to seal off the house, though not before Angela, now a full demon, enters. Mel tells Harry that she feels smothered because she has never had to hide who she is from others. The protection spell fails, exposing Angela's presence; Macy, a virgin, uses her own blood to lure it outside. The binding spell fails (due to the consequences of Maggie using magic for personal gain) and Mel casts a forbidden spell to defeat Angela, nearly killing Macy as well. Harry reveals that he is protective because another witch he served, Fiona, killed herself after being institutionalized. The girls then chain up the Harbinger in the attic until their superiors, the Elders, arrive.
4
"Exorcise Your Demons"[29] Melanie Mayron Marcos Luevanos November 4, 2018 (2018-11-04) 104 TBD
5
"Other Women"[30] Amyn Kaderali George Northy November 11, 2018 (2018-11-11) 105 TBD
Gina Rodriguez will direct the eleventh episode of the season.[31]
Production[edit]
Development[edit]
A reboot of the original series had been announced since October 2013, when it was originally being developed for CBS by Party of Five co-creator Christopher Keyser and Sydney Sidner. The pilot script was going to center "around four sisters who discover their destiny – to battle against the forces of evil using their witchcraft."[32] However, CBS ultimately decided not to move forward with the reboot.[33] On January 5, 2017, it was announced that The CW network was developing a new reboot of Charmed by Jane the Virgin showrunner Jennie Snyder Urman for the 2017–18 television season.[34] Both Urman and director Brad Silberling were approached in 2016 by CBS Television Studios (who own the rights to Charmed) to work on a reboot of the show.[35] The original pilot script was going to be set in 1976 about three witches (Tina, Paige and Annie), who are not related but are brought together to fight evil in a small New England town.[36] At the time, The CW president Mark Pedowitz stated that the reboot would not be a prequel to the original series, but described it as "a self-contained, self-sustained" and "very standalone show."[37] However, on February 3, 2017, The Hollywood Reporter announced that the reboot would be redeveloped and delayed until the 2018–19 season, as the pilot draft script "didn't come in the way the network had hoped" and that Urman, who had prior commitments with Jane the Virgin, did not have enough time to fully commit to the reboot for the 2017–18 season.[38] Pedowitz gave an update on the reboot during the Television Critics Association summer press tour in August 2017, saying that it was still in the redevelopment process and that the network was waiting to see what Urman had come up with for the redeveloped script.[39]
On January 25, 2018, The CW officially ordered the Charmed reboot to pilot.[40] The redeveloped script was changed to be set in the present day and was described by The CW as "a fierce, funny, feminist reboot" centered on "three sisters in a college town who, after the tragic death of their mother, are stunned to discover they are witches."[41] The description also stated that the reboot would revolve around the sisters "vanquishing supernatural demons" and "tearing down the patriarchy," while "maintaining familial bonds."[40] In an interview with the Metro newspaper, Silberling stated that the appeal of the reboot is to be "fun and contemporary" with its timely social observations.[35] The pilot episode was written by Jane the Virgin writers Jessica O'Toole and Amy Rardin, and was based on a story by Urman. All three women are also executive producers of the reboot alongside Silberling, Ben Silverman, Howard Owens, and Carter Covington.[1][11][42] The pilot episode was also directed by Silberling.[42] On May 11, The CW picked up the pilot and ordered the Charmed reboot to series.[43] A preview trailer was released after The CW's upfronts presentation on May 17, followed by videos of first-look scenes.[44][45] The CW initially ordered 13 episodes for the first season. However, on October 8 The CW ordered five more additional scripts, bringing the first season's total number of episodes to 18.[46][47]
Casting[edit]
On February 7, 2018, TVLine revealed the reboot's casting details, with the three sisters bearing the unofficial names of Macy, Mel and Madison Pruitt.[15] The casting details revealed that all ethnicities were being sought for each of the roles; and that one of the sisters would be a lesbian, a major change from the original Charmed series.[15] TVLine also revealed that casting was underway for the trio's "devilishly handsome" advisor/whitelighter Harry, Macy's "documentary filmmaker-boyfriend" Galvin, Madison's "sensitive loner ex-beau" Brian, and Mel's detective girlfriend Soo Jin.[15] Madison's name was later changed to Maggie, the sisters' family name was changed to Vera, and Soo Jin's name was changed to Niko.[6][10]
In mid-February 2018, Ser'Darius Blain was the first to be cast as Galvin,[48] followed by film actress Melonie Diaz as the middle sister Mel,[12] and former Shades of Blue actress Sarah Jeffery as the youngest sister Maggie.[6][18] Later that month, former The Man in the High Castle British actor Rupert Evans was cast as Harry.[49] In early March 2018, former Into the Badlands British actress Madeleine Mantock was cast as the eldest sister Macy.[14] Charlie Gillespie and Ellen Tamaki were the last to be cast in the roles of Brian and Niko, respectively.[21] The three lead actresses playing the Vera sisters are of different ethnicities; Mantock is of Afro-Caribbean descent, Diaz is of Latino descent, and Jeffery is an African American and Indigenous Canadian. However, in the series they all play Latino sisters, with Mantock's character Macy being an Afro-Latina.[8][9] Executive producer Brad Silberling stated that the Vera sisters are "very different in terms of personalities and ethnicities" to the Halliwell sisters of the original series, who were all straight white women.[35] The CW's president Mark Pedowitz stated that the network was pleased with the choice of casting and the way executive producer Jennie Snyder Urman "reimagined" the series.[50] In October 2018, it was announced that Nick Hargrove was cast as Parker initially in a recurring capacity and later promoted to a series regular.[23]
Filming[edit]
Charmed is filmed in Vancouver, British Columbia. The pilot episode was filmed from March 19 to April 7, 2018.[35][51][52] Filming for the remainder of the first season began on August 13, 2018.[53][54]
Broadcast[edit]
In the United States, Charmed premiered on The CW on October 14, 2018.[55] It airs on Sunday nights at 9:00 pm, with Supergirl as its lead-in at 8:00 pm. The pairing of Charmed and Supergirl returned the network to original programming on Sunday evenings for the first time since the 2008–09 television season.[4] The CW president Mark Pedowitz explained, "We wanted to have an established show on Sunday night. We wanted name value with Charmed on there. We felt that it was two shows that are empowered women. We were making a statement that we were not kidding, that we're not phoning it in on Sunday night, that we were going to compete."[56]
In Canada, Charmed premiered on the W Network the same day as the US broadcast,[57] while in Greece and Spain it premiered the following day on Cosmote Cinema 4HD and HBO España, respectively.[58][59] In Australia, Charmed premiered on Eleven on October 16, 2018.[60] In Belgium, the show will air on RTL,[61] while in Turkey it will air on Digiturk.[62] In the United Kingdom, Charmed will be shown on E4.[63]
Reception[edit]
Ratings[edit]
No.
Title
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)
1 "Pilot" October 14, 2018 0.5/2 1.57[26] 0.6 1.39 1.1 2.96[64]
2 "Let This Mother Out" October 21, 2018 0.4/2 1.32[27] TBD TBD TBD TBD
3 "Sweet Tooth" October 28, 2018 0.3/1 1.13[28] TBD TBD TBD TBD
Critical response[edit]
The review aggregator website Rotten Tomatoes reported a 65% approval rating with an average rating of 6.55/10, based on 10 reviews. The website's consensus reads, "Charmed's updates are as fun as they are surprisingly feminist – and with a sharper focus, it could conjure up an even stronger show than the one that came before it".[65] Metacritic, which uses a weighted average, assigned a score of 56 out of 100, based on 8 critics, indicating "mixed or average reviews".[66]
Controversies[edit]
Original cast and fan reactions[edit]
Shortly after the pilot's announcement in January 2018, Holly Marie Combs, a cast member from the original Charmed series, took to Twitter and criticized The CW's decision to reboot the show without any input from the original cast or crew. Combs claimed to have an issue with The CW's "reimagining" of Charmed as the network, formerly known as The WB, chose not to renew the show in 2006 for a ninth season. Combs accused The CW of trying to cash in on the Charmed name and concept, while "capitalizing" on the original cast and crew's hard work.[67] Combs also took issue with the network's description of a "feminist" reboot, which she felt implied the original series was not, by sarcastically tweeting: "Guess we forgot to do that the first go around. Hmph."[68] Combs then implied that the reboot should have a new title, as she felt that it is a brand new show with no ties to the original Charmed. She tweeted that television reboots or remakes "usually have storylines so similar to the original that they are legally required to use the same title and buy the rights to that title", further adding, "If it's not similar than [sic] it's just another show. A new show with a new title."[69]
Another original cast member, Shannen Doherty, gave a more positive approach to the reboot on Twitter, stating that it was a testament to the original that a reboot was even being considered. She further added that she was "intrigued by the idea that a new generation might be comforted, inspired like you all were. Charmed helped us all in some way."[70] However, Doherty admitted that she did take issue with The CW's description of a "feminist" reboot, by tweeting that their wording was "terrible and a bit offensive," but understood that "everyone makes mistakes."[71] Rose McGowan was also positive towards the reboot and showed her support to the new lead actresses by tweeting "fly girls, fly." McGowan also added that she has no issues with the reboot and wished "everyone the best."[72]
News of the reboot was met with a mixed response from fans of the original series. Some fans were positive about the reboot, while others were not impressed about the changes made to the series.[67][70] Following the reboot announcement, fans took to Twitter and began to share the #StopCharmedReboot hashtag in attempts to prevent The CW from moving forward with the pilot.[73][74] The CW's president Mark Pedowitz stated that he would like the fans to give the reboot a chance, telling fans that "before you make a decision, watch the series."[75] In an interview with HuffPost in May 2018, Combs spoke up about the reboot again, this time criticizing the show's marketing and the casting of younger actors. She stated that although she appreciates "the jobs and opportunities the Charmed reboot has created," she "will never understand what is fierce, funny, or feminist in creating a show that basically says the original actresses are too old to do a job they did 12 years ago."[76][77]
Accusations of colorism[edit]
While the series has been praised for its diversity by casting three women of color in the lead roles, it has also received backlash for being promoted as a Latina-led series while only one of the leads identifies as Latina.[78][79][80] Mantock, who learned Spanish for the role, said of the matter, "I’m open with the writers and trying to be respectful because I’m Afro-Caribbean. I’m not actually Afro-Latina and I want to make that inquiry because Melanie [Diaz] is actually the only person in her real life who is Latina." Jeffery further explained, "I know that we are representing the Latina community. I actually am African-American. I’m not Latina, which is a common misconception." Samantha Chavarria felt that, "the latest reveals around the cast’s ethnicities do highlight the very real fact that in their effort to promote a reboot, the CW used colorism and exploitation to spark our excitement and interest."[80] Conversely, Patrick Gomez of EW was more forgiving of the casting because the actresses were unknown and that a search into their ethnicities would’ve been inappropriate, adding, "I hope people celebrate the fact that an African-American and an Afro-Caribbean woman are being cast as 'Latinas' because Afro-Latinx people are not given even a fraction of the visibility they should have in on-camera representations of Latinx people."[81] Princess Weekes of The Mary Sue affirmed Chavarria's assessment of The CW's use of colorism, but felt that the actresses weren’t to blame. "When the creatives realized they’d cast two black actresses who were not Latina in this show, they should have changed the narrative to reflect that."[78]
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^ Jump up to: a b Welch, Alex (October 30, 2018). "World Series, 'Sunday Night Football', and 'Shark Tank' adjust up, 'The OT' adjusts down: Sunday final ratings". TV by the Numbers. Retrieved October 30, 2018.
Jump up ^ "(#104) "Exorcise Your Demons"". The Futon Critic. Retrieved October 21, 2018.
Jump up ^ "(#105) "Other Women"". The Futon Critic. Retrieved October 26, 2018.
Jump up ^ Turchiano, Danielle (August 24, 2018). "Gina Rodriguez Books Guest Directing Gig on 'Charmed' (EXCLUSIVE)". Variety. Retrieved August 24, 2018.
Jump up ^ Goldberg, Lesley (October 25, 2013). "'Charmed' Reboot in the Works at CBS". The Hollywood Reporter. Retrieved May 11, 2018.
Jump up ^ Ausiello, Michael (August 12, 2014). "Ask Ausiello: Spoilers on Parenthood, Chicago Fire, True Blood, Glee, S.H.I.E.L.D., The Killing and More". TVLine. Retrieved May 11, 2018.
Jump up ^ Goldberg, Lesley (January 5, 2017). "'Charmed' Reboot in the Works at The CW". The Hollywood Reporter. Retrieved January 9, 2017.
^ Jump up to: a b c d Wakeman, Gregory (April 16, 2018). "'Charmed' reboot's executive producer breaks down its characters, the pilot's plot and reveals air date". Metro (U.S. newspaper). Retrieved May 8, 2018.
Jump up ^ Ausiello, Michael (January 5, 2017). "Charmed Reboot From Jane the Virgin EP Moves Forward at The CW". TVLine. Retrieved March 4, 2018.
Jump up ^ Aussiello, Michael (January 8, 2017). "Charmed Update: CW Boss Says Reboot Will Be 'Standalone' Show". TVLine. Retrieved March 4, 2018.
Jump up ^ Goldberg, Lesley (February 3, 2017). "CW's 'Charmed,' 'Lost Boys' Reboots Will Be Redeveloped Next Season (Exclusive)". The Hollywood Reporter. Retrieved March 4, 2018.
Jump up ^ Mueller, Matthew (August 2, 2017). "CW Reveals Status of Charmed Reboot". Comicbook.com. Retrieved August 5, 2017.
^ Jump up to: a b Goldberg, Lesley (January 25, 2018). "'Charmed' Reboot Lands CW Pilot Order". The Hollywood Reporter. Retrieved January 27, 2018.
Jump up ^ Andreeva, Nellie (March 5, 2018). "'Charmed': Madeleine Mantock To Star In The CW Reboot Pilot". Deadline Hollywood. Retrieved March 6, 2018.
^ Jump up to: a b Andreeva, Nellie (January 25, 2018). "'Charmed' "Feminist" Reboot From Jennie Snyder Urman & 'Dead Inside' From Bill Lawrence Get CW Pilot Orders". Deadline Hollywood. Retrieved March 4, 2018.
Jump up ^ Petski, Denise (May 11, 2018). "The CW Picks Up 'Charmed' & 'Roswell' Reboots, 'TVD'/'Originals Offshoot, 'In The Dark' & Greg Berlanti Pilot To Series". Deadline Hollywood. Retrieved May 11, 2018.
Jump up ^ McHenry, Jackson (May 17, 2018). "Unite the Power of Three and Watch the Trailer for the CW's Charmed Reboot". Vulture.com. Retrieved May 19, 2018.
Jump up ^ Petski, Denise (May 17, 2018). "The CW New Series Trailers: 'Charmed' & 'All American' & First-Look Scenes". Deadline Hollywood. Retrieved May 19, 2018.
Jump up ^ Lee, Jess (October 9, 2018). "Charmed reboot's future is looking bright as The CW makes big decision". Digital Spy. Retrieved October 11, 2018.
Jump up ^ Swift, Andy (October 8, 2018). "The CW Orders Additional Scripts for All American, Charmed and Legacies". TVLine. Retrieved October 8, 2018.
Jump up ^ Petski, Denise (February 14, 2018). "'Charmed': Ser'Darius Blain Cast As Co-Lead In The CW Reboot Pilot". Deadline Hollywood. Retrieved March 4, 2018.
Jump up ^ Ausiello, Michael (February 28, 2018). "Charmed Reboot: Rupert Evans Joins CW Pilot as the New [Spoiler]". TVLine. Retrieved March 4, 2018.
Jump up ^ Romano, Nick (May 17, 2018). "The CW fall schedule revealed: Supergirl, Charmed land on new Sunday night lineup". Entertainment Weekly. Retrieved May 19, 2018.
Jump up ^ Hussein, Aliya (February 19, 2018). "'Charmed' series reboot to be filmed in Vancouver this spring". 604now.com. Retrieved March 4, 2018.
Jump up ^ Takeuchi, Craig (February 19, 2018). "Filming in Vancouver: Charmed, Herbie the Love Bug, Van Helsing, and more". Inside Vancouver. Retrieved March 4, 2018.
Jump up ^ Gittins, Susan (July 27, 2018). "Start: Charmed Season 1 Pushed Two Weeks to Mid-August Start of Filming in Vancouver". Hollywoodnorth.buzz. Retrieved July 28, 2018.
Jump up ^ "DGC BC Production List" (PDF). Directors Guild of Canada. Retrieved July 21, 2018.
Jump up ^ Swift, Andy (June 20, 2018). "The CW Sets Fall Premiere Dates, Including New 'Super' Sunday". TVLine. Retrieved June 21, 2018.
Jump up ^ Villarreal, Yvonne (May 17, 2018). "The CW is saying goodbye to 'Jane the Virgin,' 'Crazy Ex-Girlfriend' and hello to Sundays with 'Charmed' reboot". Los Angeles Times. Retrieved May 21, 2018.
Jump up ^ "Charmed". W Network. Retrieved October 17, 2018.
Jump up ^ "Νέα τηλεοπτική σεζόν COSMOTE TV: Πάνω από 45 νέες σειρές & κύκλοι σειρών". Banking News (in Greek). September 4, 2018. Retrieved September 5, 2018.
Jump up ^ Rodera, Alejandro (September 27, 2018). "'Charmed': El reboot de 'Embrujadas' llegará a España de la mano de HBO el 15 de octubre". FormulaTV (in Spanish). Retrieved September 27, 2018.
Jump up ^ "Charmed Reboot: What We Know So Far". Tenplay. September 28, 2018. Retrieved October 7, 2018.
Jump up ^ White, Peter (July 17, 2018). "CBSI Strikes RTL Belgium Deal; Walter Presents Buys Dramas; NBCU Backs Oz Drama Indie – Global Briefs". Deadline Hollywood. Retrieved July 18, 2018.
Jump up ^ White, Peter (July 5, 2018). "'FBI' & 'Charmed' Head To Turkey As CBS Studios International Strikes Major Deal With Digiturk". Deadline Hollywood. Retrieved July 7, 2018.
Jump up ^ White, Peter (September 27, 2018). "The CW's 'Charmed' & CBS' 'Happy Together' Head To UK's E4 Via CBS Studios International Deal". Deadline Hollywood. Retrieved September 27, 2018.
Jump up ^ Otterson, Joe (October 23, 2018). "Live+7 Ratings for Week of Oct. 8: 'Manifest' Doubles In Week 3". Variety. Retrieved October 23, 2018.
Jump up ^ "Charmed: Season 1". Rotten Tomatoes. Retrieved October 15, 2018.
Jump up ^ "Charmed (2018) Reviews". Metacritic. Retrieved October 15, 2018.
^ Jump up to: a b MacDonald, Lindsay (January 26, 2018). "Holly Marie Combs Is NOT Happy About the Charmed Reboot". TV Guide. Retrieved May 9, 2018.
Jump up ^ Goldberg, Lesley (January 26, 2018). "'Charmed' Star Rips CW's 'Feminist' Reboot: 'Guess We Forgot to Do That the First Go Around'". The Hollywood Reporter. Retrieved May 9, 2018.
Jump up ^ Keveney, Bill (January 27, 2018). "'Charmed' star Holly Marie Combs dismisses CW reboot plan". USA Today. Retrieved May 9, 2018.
^ Jump up to: a b Ridgely, Charlie (January 29, 2018). "Shannen Doherty Reacts to 'Charmed' Reboot News". Comicbook.com. Retrieved May 9, 2018.
Jump up ^ Nilles, Billy (January 29, 2018). "Shannen Doherty Weighs in on the CW's Charmed Reboot: 'I'm Intrigued by the Idea'". E! Online. Retrieved May 9, 2018.
Jump up ^ Magictr (May 29, 2018). "Charmed, The Reboot: Rose McGowan (Paige) Provides Support to New Actresses". The Koz Times. Retrieved June 2, 2018.
Jump up ^ Cavanaugh, Patrick (February 14, 2018). "Old School 'Charmed' Fans Are Trying To Stop The Reboot". Comicbook.com. Retrieved May 11, 2018.
Jump up ^ Lulla (March 11, 2018). "Charmed 2018 (The CW) pilot preview: Is the #STOPCHARMEDREBOOT movement worth the trouble?". Season-zero.com. Retrieved May 11, 2018.
Jump up ^ Mathews, Liam (May 17, 2018). "The CW Responds to Charmed Reboot Backlash". TV Guide. Retrieved May 25, 2018.
Jump up ^ Amatulli, Jenna (May 18, 2018). "Break Out The Book Of Shadows, The 'Charmed' Reboot Trailer Is Here". HuffPost. Retrieved May 21, 2018.
Jump up ^ Knight, Claire (May 23, 2018). "Holly Marie Combs slams 'Charmed' reboot for ageing out its original stars". The Fix. Retrieved May 25, 2018.
^ Jump up to: a b Weekes, Princess (October 8, 2018). "The CW's Charmed Has Been Branded as a Latina Reboot and That's Not Entirely True". The Mary Sue. Retrieved October 14, 2018.
Jump up ^ Weaver, Nicole (October 9, 2018). "Shockingly Two of the "Latina" Stars in the 'Charmed' Reboot Aren't Actually Latina". Cheat Sheet. Retrieved October 16, 2018.
^ Jump up to: a b Chavarria, Samantha (October 12, 2018). "Turns Out The "Latina Charmed" Reboot Isn't Quite As Full Of Representation As The CW Led On". Fierce. Retrieved October 14, 2018.
Jump up ^ Gomez, Patrick (October 12, 2018). "The Latinas on the Charmed reboot aren't all played by Latinas, and that's okay: Opinion". Fierce. Retrieved October 16, 2018.
General references
"Charmed Episode Guide". TV Guide. Retrieved April 17, 2018.
"Shows A-Z – Charmed on CW". The Futon Critic. Retrieved April 17, 2018.
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-ing
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For the Korean film, see ...ing.

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-ing is a suffix used to make one of the inflected forms of English verbs. This verb form is used as a present participle, as a gerund, and sometimes as an independent noun or adjective. The suffix is also found in certain words like morning and ceiling, and in names such as Browning.
Contents
[hide]
1 Etymology and pronunciation
2 Formation
3 Uses
3.1 Distinction between gerunds and present participles
3.2 Distinction between verbal and deverbal uses
4 -ing words in other languages
5 Other meanings of the suffix
6 See also
7 References
Etymology and pronunciation[edit]
The Modern English -ing ending, which is used to form both gerunds and present participles of verbs (i.e. in noun and adjective uses), derives from two different grammar devices.

The gerund (noun) use comes from Middle English -ing, which is from Old English -ing, -ung (suffixes forming nouns from verbs). These in turn are from Proto-Germanic *-inga-, *-unga-,[1] *-ingō, *-ungō, which Vittore Pisani derives from Proto-Indo-European *-enkw-.[2] This use of English -ing is thus cognate with the -ing suffix of Dutch, West Frisian, the North Germanic languages, and with German -ung.
The -ing of Modern English in its participial (adjectival) use comes from Middle English -inge, -ynge, alterations of earlier -inde, -ende, -and, from the Old English present participle ending -ende. This is from Proto-Germanic *-andz, from the Proto-Indo-European *-nt-. This use of English -ing is cognate with Dutch and German -end, Swedish -ande, -ende, Latin -ans, -ant-, Ancient Greek -ον (-on), and Sanskrit -ant. -inde, -ende, -and later merged with the noun and gerund suffix -ing. Its remnants, however, are still retained in a few verb-derived words such as friend, fiend, and bond (in the sense of peasant, vassal).
The standard pronunciation of the ending -ing in modern English is "as spelt", namely /ɪŋ/, with a velar nasal consonant (the typical ng sound also found in words like thing and bang); some dialects, e.g. in Northern England, have /ɪŋg/ instead. However many dialects use, at least some of the time and in some cases exclusively, an ordinary n sound instead (an alveolar nasal consonant), with the ending pronounced as /ɪn/ or /ən/. This may be denoted in eye dialect writing with the use of an apostrophe to represent the apparent "missing g"; for example runnin' in place of running. For more detail see g-dropping.
Formation[edit]
All English verbs (except for modals and other defective verbs which do not have gerunds or participles) make the inflected form in -ing regularly. Thus go makes going, read makes reading, fail makes failing, and so on. In certain cases there are spelling changes, such as doubling of consonants (as in sit → sitting) or omission of mute e (as in change → changing). For details of these rules, see English verbs.
Uses[edit]
The -ing form of a verb has both noun uses and adjectival (or adverbial) uses. In either case it may function as a non-finite verb (for example, by taking direct objects), or as a pure noun or adjective. When it behaves as a non-finite verb, it is called a gerund in the noun case, and a present participle in the adjectival or adverbial case. Uses as pure noun or adjective may be called deverbal uses.
The distinctions between these uses are explained in the following sections.
Distinction between gerunds and present participles[edit]
Gerunds and present participles are two types of non-finite verb; the difference is that gerunds are used to produce noun phrases, and participles to produce adjectival or adverbial phrases. This is illustrated in the following examples:
I like eating cakes.
Here eating is a gerund; the verb phrase eating cakes serves as a noun, being the object of the main verb like.
I saw him eating a cake.
Here eating is a present participle; the verb phrase eating a cake serves as an adjective, modifying him.
Trying to succeed makes success more likely.
Here trying is a gerund; the verb phrase trying to succeed serves as a noun, the subject of the main verb makes.
Trying to get over the fence, he hurt his knee.
Here trying is a present participle; the verb phrase trying to get over the fence has the function of an adverb in the main clause.
Confusion is most likely to arise when the -ing word follows a verb, in which case it may be a predicate adjective and hence a participle, or a direct object (or predicate nominative) and hence a gerund. There are certain transformations that can help distinguish these two cases. In the table that follows, the transformations produce grammatical sentences with similar meanings when applied to sentences with gerunds (since the transformations are based on the assumption that the phrase with the -ing word is a noun phrase). When applied to sentences with participles, they produce ungrammatical sentences or sentences with completely different meanings. (These cases are marked with asterisks.)
Transformation
Gerund use
Participle use
(none) John suggested asking Bill. John kept asking Bill.
Passivization Asking Bill was suggested. *Asking Bill was kept.
Pronoun substitution John suggested it. *John kept it.
Substitution of pure noun John suggested the asking of Bill. *John kept the asking of Bill.
Replacement with finite clause John suggested that Bill be asked. *John kept that Bill be asked.
Subject marking with possessive John suggested our asking Bill. *John kept his asking Bill.
Clefting Asking Bill is what John suggested. *Asking Bill is what John kept.
Left dislocation Asking Bill John suggested. *Asking Bill John kept.
For more details of the usage of English gerunds and present participles, see Uses of non-finite verbs in English.
Distinction between verbal and deverbal uses[edit]
When used as a gerund or present participle, the -ing form is a non-finite verb, which behaves like a (finite) verb in that it forms a verb phrase, taking typical verb dependents and modifiers such as objects and adverbs. That verb phrase is then used within a larger sentence, with the function of an adjective or adverb (in the case of the participle) or with the function of a noun (in the case of the gerund).
However the same verb-derived -ing forms are also sometimes used as pure nouns or adjectives.[3] In this case the word does not form a verb phrase; any modifiers it takes will be of a grammatical kind which is appropriate to a noun or adjective respectively.
For example:
Shouting loudly is rude. (shouting is a gerund, modified by the adverb loudly)
Loud shouting is something I can't stand. (shouting is a pure noun, modified by the adjective loud)
I saw him exciting the crowds. (exciting is a participle, taking the object the crowds)
It was a very exciting game. (exciting is a pure adjective, modified by very, an adverb typically applied to adjectives)
When used as a pure noun or adjective (i.e. having lost its grammatical verbal character), the -ing form may be called a deverbal noun or deverbal adjective. Terminology varies, however; it may also be called a verbal noun or adjective (on the grounds that it is derived from a verb). In other cases the latter terms may be applied additionally, or exclusively, to gerunds and participles, as well as other non-finite verb forms such as infinitives.
In some situations, the distinction between gerund/participle uses and deverbal uses may be lost, particularly when the -ing word appears on its own. For example, in "I like swimming", it is not clear whether swimming is intended as a gerund (as it would be in "I like swimming fast"), or as a pure noun (as in "I like competitive swimming"). Note that there may be a distinction in meaning between the two interpretations: as a gerund, it means that the speaker likes to swim, while as a pure noun it does not specify in what way the speaker enjoys the activity (as a competitor, spectator, etc.)
The -ing form used as a pure noun usually denotes the action encoded by the verb (either in general or in a particular instance), as in the above examples. However it sometimes comes to take on other meanings, such as a physical object or system of objects: building, fencing, piping, etc.
For more information on the uses of non-finite verbs and verbal nouns, see Uses of non-finite verbs in English.
-ing words in other languages[edit]
English words constructed from verbs with the ending -ing are sometimes borrowed into other languages. In some cases they become pseudo-anglicisms, taking on new meanings or uses which are not found in English. For instance:
camping means "campsite" in many languages (including Bulgarian, Dutch, French, Greek, Italian, Portuguese, Romanian, Russian, and Spanish);
parking means "car park" or "parking lot" in many languages (including Bulgarian, Dutch, French, Persian, Polish, Russian, and Spanish);
lifting means "facelift" in many languages (including Bulgarian, French, German, Italian, Polish, Romanian, Hebrew, and Spanish);
shopping means "shopping mall" in Portuguese;
shampooing means "shampoo" in French;
footing has been used to mean "jogging" in some languages (including French and Italian).
Some Germanic languages (including Dutch, Danish, Swedish, Norwegian, and Icelandic) have a native -ing suffix, used mainly to form verbal action nouns, though generally not as productively as in English. For details, see the Wiktionary entry for -ing.
Other meanings of the suffix[edit]
The suffix -ing also has other uses in English, although these are less common. It may be used to form derivative nouns (originally masculine) with the sense "son of" or "belonging to", used as patronymics or diminutives. Examples of this use include surnames like Browning, Channing and Ewing, and common nouns like bunting, shilling, and farthing. The suffix can also mean "having a specified quality", as used in sweeting, whiting, and gelding.
For further details see the Wiktionary entry for -ing.
See also[edit]
Ng (digraph)
References[edit]
Jump up ^ "-ing (1)". Online Etymology Dictionary.
Jump up ^ Pisani, Vittore, Latino prōvincia, il suffisso indeuropeo *-enqu- e le formazioni germaniche in -inga- -unga- -ingō -ungō, Milan: Ulrico Hoepli, 1941.
Jump up ^ Re: Post Hey man, I gots ta know (Gerund versus gerundive), Phil White, Mon August 7, 2006 1:35 pm
Retrieved from "https://en.wikipedia.org/w/index.php?title=-ing&oldid=812824366"
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