The big problem with jobs like these is that everyone thinks they're no problem at all.
But each artist has his/her agent, publicist and agenda. As does each programme, channel and production company. All parties can collapse into a melee of competing mega-egos with the publicist ending up as the vilified fall-guy in the middle.
THC handled - very cleanly - the essential tasks of solid, detailed pre-planning, and careful, controlled, on-the-night management. The agency was skilled in making the most of the slim opportunities available for contact with a limited roster of celebs, and its decision to go with a media partner, as a means to secure coverage for the sponsor-linked voting mechanic, was undoubtedly the most efficient means of flagging up this aspect of the event.
I don't think the announcement of the nominees and the pre-event period was fully capitalised on. This is the one window of opportunity, in a project of this sort, when the publicist gets the chance to provoke and excite the media with stories and creative stunts of any and every kind that (in this case) relate to comedy, awards and personalities. The astrology and historic character angles were neat, but more of the same would have raised the profile further.
It's an excellent quantitative result in terms of viewing figures and sponsor coverage: what will also be interesting in the long-term is to see how THC capitalises on the opportunity to develop relationships between editorial level media contacts and senior One.Tel personnel.
Everyone says these jobs are easy. They're not. THC is to be congratulated for making it look a lot easier than it is.