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Reading Assignment: See calendar for selected chapter. (Chapter 7 in Text)
TELEVISION PROGRAMMING
There are three types:
Network
Local
Syndicated
There are four types of syndication:
OFF-NETWORK: These are program which were run for the first time on a major broadcast network but rerun are now syndicated and sold to cable or local markets for "stripping" five nights a week in the same time slot.
FIRST RUN: These programs are designed to run for the very first time as syndicated programs. While they may run on a network affiliate, they WILL NOT usually run in prime time. Most often, they run only once per week, although some first run programs are designed to run five times per week as a strip series.
OFF-FIRST RUN: When a first run program has three years of programs completely, there are enough to syndicate the reruns. When this happens, the programs are off-first run, because they originally aired as first-run syndicated programs. Star Trek: Next Generation is a good example of this. Reruns of ST:TNG run on TNN nearly every day.
[An off-first run program (or an off-net program) can be syndicated while original episodes are still airing. Examples would include DS-9 which was syndicated on a first-run basis through 1999, but also available in reruns for stripping. Frazier is another. The program airs brand new episodes on NBC on Thursday nights, but the reruns are syndicated an air on Fox 54 at 6 p.m.]
OFF-CABLE: These programs aired originally on cable, but enough episodes are in the "can" to syndicate the program for "stripping." Examples include:
THE GOAL OF PROGRAMMING: to deliver the largest audience possible!!!!
Programmers want types of audience based on
Least Objectionable Programming Theory
Television wasn't always focused on drawing specific types of audiences. In the early years, the programmers and advertisers look at MASS NUMBERS. Based decisions strictly on RATINGS, SHARES and total HUTs. (If you don't know these terms, find them). Programming was based on the concept of the MASS AUDIENCE. It was seen to be largely homogeneous and to react to messages (programs and commercials) in a generally unified way. Paul Klien of NBC espoused the "LOP" theory of programming: people watch television not programs, so as long as you don't give them something they really hate, they'll watch the least objectionable program. When there were only three major choices and a "mass audience," the theory held up fairly well in practice.
[Those of you taking mass com theory recognize the theoretical problems with that and how it has changed. You'll see that the theory and the practice in network television began to change at the same times. In reality, I think media "caught on" before the academics did, but don't hold me to that....That might be an interesting topic for someone's research paper, however.....]
Changes in thought and practice have developed in a number of ways over the past several decades. Some trends you need to understand:
Fragmentation of the audience: LOP doesn't seem to work as well any more. Network shares used to be around 90%, now they're at 60% and falling to 53% in 1996 (although up slightly in 93-94 season). Too much competition from other media (VCR, computer, cable channels, video games, etc.) and the influence of the remote control.
In 1999, the networks are facing even more serious erosion of audience. According to Nielsen Media Research and the Cable Television Advertising Bureau, in the premier week of 1998, the 35 basic cable networks averaged a 23.2 rating and 38.5 share of audiences in prime time. Third quarter numbers for 1998 were even better. The top 35 basic networks averaged a 23.8 rating and 44 share! In 1999, the numbers were even less.
All broadcasting nets were down again during premier week 1998 compared to 1997. Losses are estimated at 8.5% loss of rating, a 9.1% loss of share, and 7.3% decline in households, based on a premier week rating of 34.4 and a share of 57 share for ABC, CBS, NBC, and Fox. (Petrozzello, 1998)
Fox was particularly concerned because while they were first in the 18-49 demographic in 97-8, they lost audience in that demographic in 1998. They were down 11%. Several programming decisions, including moving King of the Hill to Tuesdays, have not worked. Fox is hoping the November premier of X-files will help. (Stroud, 10/12/98; 10/19/98) Fox continued its decline in the fall of 1999, as did the other three networks.
In the weeks Sept 20-Oct 13 the numbers looked like this:
For the first two weeks of the 1999-00 season, that's a total Big four 4-network rating of 32.7 and a total share of 54. The big three network rating is 26.7 and share is 4. Consider the change in the past 20 years when the big three had a near 90 share!!! (Schlosser 10/18/99)
That shows a 36% share for the big three; a 48% share for the big four.....a far cry from 74% big three share in 1984. Nielsen reports that while general cable nets are gaining grown, broadcast nets are actually losing about 4% of their share each year! (Higgins, 6/11/01)
Harry Jessell, Editor of Broadcasting and Cable, wrote an interesting editorial in the October 9th, 2000 issue. He pointed out that when one considers cable nets along with broadcast networks, the big five actually have a 86 prime time share! However, he doesn't think it will last long. "Unless the Big Five somehow choke off the internet, TV viewership will once again be scattered..." (Jessell, 10/9/00, p. 16)
Fragmentation may be spreading beyond cable and DBS....PointMedia is a company which has just signed with ABC news to provide video news and text information at gas station pumps! The service was launched in October, 2001. (Tedesco, 10/29/01)
Aging of the Audience: There is also a critical concern that the television audience is getting older and older. That means that if young people aren't brought in to be committed television viewers, the audience will gradually get smaller and smaller. Marketers also want to sell their products to very young customers so that brand loyalty can be developed in the person's 20s. Once brand loyalty is created, the likelihood that the consumer will stay with that brand is very, very high. (i.e., Tide, Crest, etc.) For the season 1999-2000 the median ages for the big three were:
For the season 2000-2001
CBS was helped tremendously by Survivor, while ABC was actually hurt by the older audience attracted to Millionaire. For list of key shows on each net and their median age of viewer see Broadcasting and Cable, 6/18/01 p. 33. In our last lecture we already discussed how ratings have continued to slide in 2001-2002.
For the week of Sept 30-Oct 6, Broadcasting and Cable (Albiniak, Page, 10/14/02) reported
Rating for TV Households varied somewhat from the 18-49 data:
Sequential Marketing: Programs used to be produced for two network showings: the original network airing and the rerun. That was it. Now syndication is a BIG market, and others are found in foreign syndication, on cable channels, video distribution, and video sales.
In order to qualify for syndication, a series must have at least 75-100 episodes "in the can." That means it can be stripped for five days per week for 20 weeks without repeating episodes. It usually takes at least three and usually four seasons to achieve that number, (Star Trek had three seasons with 79 episodes). So programmers are looking at new series and trying to decide whether the program will last long enough to make it into syndication....The chances are pretty slim if the show is not a break out hit. And even if it is, the market may change. New ownership alignments mean that production companies own even less of the back-end than before. Hence, Sony's decision to get out of television production. See Broadcasting and Cable 5/28/01 p. 27 for an excellent discussion of the issue. (Schlosser.)
Note: A few years ago Dinosaur episodes were available on video for purchase the Christmas after the show first aired in the fall, before the episodes were ever rerun on the network!
This concept alters the bottom line way of thinking:
St. Elsewhere was canceled, not because it didn't have a good audience good ratings. Its' performance had significantly improved over the past year and the demographics were great. MTM not the NBC decided to cancel because the syndication value of the show was no greater with 9 seasons "in the can" than with 8.
Star Trek: TNG faced the same situation in 1992-3. Paramount canceled the series and made movie # 7 with the TNG cast. Paramount created Star Trek: Voyager for release in Jan. 1995 to fill the void.
DEMISE OF THE HOUR PROGRAM IN SYNDICATION: As the popularity of situation comedies and talk shows grew in the syndication, fewer and fewer places were left for hour dramas to be placed. This is particularly true of programs like E.R. and L.A. Law or China Beach, which may be "gritty" at times and not something you want to watch over dinner.
Result: these shows are going to cable -- specifically LIFETIME. Not as much money can be made as if they went to local markets, but lower overhead, better than nothing, and has been fairly successful. Simple deal..
So what may have once been seen as a problem for program producers has turned into a pretty good deal for them financially. It is also much simpler to sell rights to one outlet rather than negotiate with stations in every market in the United States.
QUICK PROGRAMMING DECISIONS: Can't build an audience when overnight ratings and economic pressures cause program to be canceled after 2 or three weeks. 13 week orders are the largest made for any program that is not an absolute hit.
Mary Tyler Moore Show; All in the Family, M*A*S*H* and The Waltons were all programs which took nearly a year or more to build an audience. Cheers was not a hit until it's second year.
Sometimes a show has the backing of those in power, and that can help. EZ Streets a critically acclaimed police drama on CBS starring Ken Olin, had the backing of Les Mooves, CBS Entertainment President. It was yanked after two outings and low ratings even though it had been really heavily promoted by CBS. It was later brought back for five more airings but the last show only pulled a 4.4 and 8 share. A seventh episode nevered aired. Even freinds in high places can't buy time when it pulls the network to fourth place for the night. (Carmody, Washington Post, 4/7/97 pg04)
In 1997-8, ABC is standing behind the equally acclaimed Nothing Sacred, a controversial show about a rebellious Catholic priest which has many Catholics and other Christian groups concerned. In a recent Museum of Television and Radio Seminar, Jamie Tarses, ABC Programming Chief, said they stood solidly behind the show, despite poor ratings. (10/15/97)
36 new series were premiered by the networks in the fall 2001 season. If you'd like a glimpse into the programming strategy behind the new series, see Broadcasting and Cable 5-21-01 p.12, "A New Season Emerges." Reality series are everywhere, but the replacement shows are already in the wings. Each network has at least one or two series under production which can be put into the schedule when weaknesses emerge. (Schollser, 9/10/01)
In little more than two weeks after the start of the season, Broadcasting reported (Albiniak, 10/14/02) that series were already being cancelled.
Changing Delivery Systems threaten programming systems as they currently exist. Network pre-eminence in the market is threatened. Some costs are lowered by technology, but few people are now willing to gamble that a show on now will be on a network for 8 years with a 30 share and thus have great $$-making potential in syndication. New technology includes HDTV which could change the entire format of television....What about shows made now for NTSC? (Some people are shooting in two formats, regular and making an HDTV version in case it's needed down the road.)
What happens when video on demand is available over the telephone line? How does DBS, fibre optics, the information superhighway affect program production and the "after market" as it is called?
One of the issues is multichannels operated by the networks. How do the affiliates deal with NBC owning and promoting MSNBC on the network. Obviously, if people turn to watch MSNBC, they won't be watching the affiliate. So when they promote the cable channel, is the network using the affiliate to lure viewers away from itself?
What happens when the second channels are used for multiplexing network programs?
Or..when network shows (especially popular shows) are given a second run at a different time on the cable channel? What happens to the value of local spots around that show when viewers know they can watch it at another time?
That brings us to the issue of Multicasting: using the secondary channel to rerun off-network programming. In June of 1997, CBS worked a deal with its affiliates which hinged on the time differential between the affiliate/network air date and the cable air date. A one-year window will be in effect for made-for-television movies, miniseries and soap operas. Programs which are seen as more highly "perishable" will have less time. Talk shows may be aired after 3 months and award shows and sports events can air after 5 days. CBS said it may run promos for these programs and the cable channels on which they air (such as CBS EYE ON THE PEOPLE) but the promos will not be time-specific and they won't run them during sweeps periods. (BSTG 6/2/97p.10) We'll see how long that lasts.
Escalating Production Costs: Networks are paying more than ever in production cost. However, license fees from networks are way down. Those two statements seem to be contradictory, but they're not. Networks used to pay 100% of production costs for two showing of the episode. No more. Now pay about 60 to 80%. Meanwhile cost of production has increased dramatically. (See chart in book about some specific costs.) Production costs are up over 100% but license fees have increased only 20% over last period.
In 1996 in general:
Some specifics for the 96-97 Season:
For the 97-98 Season, ABC paid $900,000 /episode for a for new sitcom starring Arsenio Hall which hadn't been seen, and when it was it was a dismal ratings failure..
For its last season, NBC paid 6 million per episode for Sienfeld due to per episode salaries for its stars. NBC broke even on the program, but made no money on it.
In the 1998-9 season, NBC paid 13 million dollars per episode for E.R., again in response to million dollar salaries per episode for the actors in the programs.
A significant reason for escalating production costs is salaries for actors and actresses. For the last season, Jerry Seinfeld was paid I Million per episode and Jason Alexander earned $600,000.. Tim Allen's salary was $1.25 Million per episode. Prior to the 1998-9 season, the cast of E.R. renegotiated salaries in excess of $1 million dollars per episode, mandating a $13 Million license fee from NBC. (AP, 1/14/98; USA Today, 10/22/98) In each case, the shows and performers were so crucial to the network's success, they were will to pay almost anything to keep them. However, networks may not make a profit at such high costs. Seinfeld was only a break-even proposition for NBC in its last season (McClellan, 1/5/98) and E.R. is expected to barely break even for NBC.
The escalating costs are spreading to cable channels as well. Lifetime announced that it would spend $700 million for programming for the 2001-3 seasons. HBO spent $120 Million for its 10-part series, Band of Brothers, and Sci-Fi reports producton costs of $700,000 per episode of Farscape. In fact, production costs for basic channels has jumped from $4.2 billion in 1997 to over $7 Billion for the 2001 season. HBO alone is spending $1.08 Billion for programming. (Grillo 5-28-01)
But that may change.... In the wake of the September 11 terrorist attack, Hollywood began announcing belt-tightening strategies. The major studios, nets and cable channels all announced cost cutting efforts. For example, NBC has pulled back on production of expensive mini-series and eliminated the purchase of big theatrical productions. Others are cutting business expenses such a first class airfare and implementing hiring freezes. (Schlosser, 10-15-01) Sony announced it would no longer product pilots for prime time broadcast television, shutting down Columbia-Tri-Star Television, to focus more on cable. Fox laid off its in-house movie division, and more cuts are expected in production units throughout the industry.
Columbia decided to pull out for several reason:
Even though Sony's Columbia had had such big hits as Married...With Children, The Nanny, Mad About You, and current series, Dawson's Creek, The Guardian, Family Law, and King of Queens, it was deemed profitable to get out of TV. (The current shows will remain in production.) Why? Because even if one the current shows made it into syndication, Sony would own only about 1/3 of the back-end profits. That's not enough to make it worth while. Sony also reported a $242 million loss in the second quarter of 2001. If any shows currently under development are picked up, they will be allowed to proceed, but Sony will take only limited ownership in them. (Schlosser, 10/22/01)
Children's programming had been much cheaper, but as the trend moved away from cartoon-type programs to live-action, CBS and ABC have abandoned their Saturday Morning Children's programs.
Another area of increasing costs is for writers. Never before have writers been paid as much as they are now, largely because good writers are in great demand because of the many more media outlets. Jamie Tarses said that if you can write and you go west, you will land a job on a show...It's a continuing and difficult problem, especially for sitcoms.
There was grave concern that there would be a writer's strike in the summer and fall of 2001, which would have caused major problems for nets. The strike was averted, probably in some respect because writers knew that reality programs didn't need writers and networks had several scripts "in the can" for their more popular shows.
According to a 10/4/97 article in TV GUIDE (p. 32), there were more than 62 sitcoms on the air in Fall, 1997. A number of them are mediocre performers returning to reactions of some surprise from industry watchers. According to the article by Daniel Howard Cerone, "Simply put, the networks are lowering their standards for success. With ratings for the big four continuing to slip at an alarming rate--collectively down 9 % during the last three years--executives seem to be leaning toward the familiar rather than taking chances on what's new."
That's one reason why some sitcoms were "swapped" in the Fall of 97. ABC's strong TGIF comedies, Family Matters and Step by Step wound up on CBS and Clueless ended up on UPN. When ABC didn't increase the license fees (at least with Family Matters), the show found someone who would.
Other shows which have made the switch are JAG (from NBC to CBS), The Naked Truth (from ABC to NBC) and The Jeff Foxworthy Show (from ABC to NBC). Others have gone to the netlets: In the House (from ABC to UPN), Brotherly Love (from NBC to WB) and Sister, Sister (ABC to WB). In some cases, the shows did not have strong enough ratings to stay on the first network, but the second network would be happy with the rating. An 8 rating might not be great for CBS, but it would be an improvement for WB or UPN, for example. Sometimes the strategy works, and some times it doesn't. Jag is doing very well for CBS in its second year and Sister Sister survived on UPN, but the others are long gone.
NBC had a major scare in the fall of 2001......Frazier was in danger of moving to CBS! NBC finally locked the show up through it's eleventh season for $5.2 Million dollars per episode. (Deal total = $375 Million) (Schlosser, 3/12/01)
Some of this is a function of the need for security, i.e., a show with a proven track record. Some it is a result of copy-cat programming (NBC has 5 sitcoms about single career women). Some is result of poorly trained writers. At this frantic pace, there is not time for a writer to learn his craft under an experienced writer. New writers are learning from people not much newer than themselves.
Experienced writers are asking premium fees -- up to and in excess of a million dollars a script! If a writer has a proven track record in this sea of mediocrity -- he/she may be worth it. However, even new and mediocre writers are getting hundreds of thousands of dollars for scripts. (10 years ago the going price was between $10,000-20,000). Recently UPN paid hundreds of thousands of dollars to a woman they THOUGHT was 18 years old (She was 31) for writing their college drama Felicity. and gave her $300,000 in a development deal.
Those high production costs make spin-offs even more attractive. CSI Miami is one of the new season's biggest hits and it was certainly one of the most desired shows by affiliates and advertisers. Following on the heels of successful Law and Order spin-off series and the generally solid history of spin-off series from The Jeffersons to Frazier.
Some new approaches to minimizing program costs and generating advertising are being developed to address some of these problems: AsSeenIn.com offers props and costumes which appear in movies and network television programs on its web site. Fans can take 3-D tours of sets and purchase items seen there. Some of the shows participating in the 2000 season are Ed, Diagnosis Murder and Resurrection Blvd. AsSeen gets a percentage of cost savings for the production company (manufacturers donate merchandize in exchange for the promotion), there advertising revenue, the auction component and e-commerce. The company works with the production company which sets up a "wish list" of set and wardrobe items. They then obtain the items from the manufacturers. When that's done, AsSeen goes to the set with a 360 degree camera and shoots a virtual tour. That is placed on the web site so visitors can not only tour the set, but pick out the stuff in it they'd like to purchase. AsSeen doesn't sell the items directly, but rather links customers to the outlets established by the manufacturer. You can't check out the site at http://www.AsSeenIn.com any more. The company went the way of many other dot.com companies in 2001. Too bad, it was a neat idea.
(Kerschbaumer, 10/9/00 p.42)
The costs are even higher for sports programming:
Costs for Olympic Games:
These costs are steep, but are eased by the fact that advertisers spent $4.7 Billion dollars on national sports. NFL got the biggest chunk of change with $1.3 Billion.
The big three networks took in $2.6 Billion in sports advertising. (Bstg 4/28/97 p. 14; 3/21/97 p. 24; 1/6/97 p. 1) NBC paid $650 Million for Atlanta Olympics and took in $650 Million in advertising. (Bstg 12/18/95 p. 40) (Leibowitz, 1998)
1998 wasn't that great for the bottom line considering some of these expenditures. In the 1998-99 season, the major broadcast and cable nets spent more than $2 billion for rights to sports events. They didn't take in nearly that much in ad revenues: only $1.4 Billion. Now that IS a lot of money, but it's not enough to cover the costs. That's why there is so much pressure on local stations to help pay for some of these programs.
Major League Baseball
In October of 2000, Fox agreed to pay Major League Baseball $2.5 BILLION for the rights to all post-season games and all regular season games. The deal will work for Fox broadcast and cable networks and will extend until 2006. NBC decided not to renew its deal with MLB because the league wanted nearly twice the previous package price (NBC had a 5 year $475 Million contract which expires with the 2000 season.) Neither CBS nor ABC wanted the deal. Fox affiliates told the network they were happy with MLB bid as long as they didn't have to pay for it; affiliates are already paying for some NFL costs.
Why would MLB ask for such a significant increase? Because they got a four-fold increase last year when they renegotiated rights with ESPN. The National Hockey League had negotiated a three-fold increase with ABC and ESPN in 1999. MLB settled for a 44% increase, after all the networks which previously carried the league opted out of the most expensive package. Fox and MLB seem happy with the deal. MLB is happy to have all the games on one consistent outlet; viewers will be more able to find the games consistently. Fox has several types of outlets--broadcast network and cable-- which will allow it to handle all the games and justify the expenditure Still, one might wonder how anyone can make back $2.5 Billion dollars in a world where baseball ratings continue to slide, from 28.5 rating in 1979 to only 16 in 1999. That's a 44% decrease. Ironic. (McClellan, 10/2/00 p. 8)
Olympics ratings fell in 2000 as well. In the last week, the average rating and share was 17.1/26. While NBC won every single night in the week with Olympic programming, the numbers were downs significantly from 1996. (Ray, 2000)
Deficit Financing: As you can see, the shows cost more than the networks pay for them. Production companies going into the "hole" every time they make a show.
It was because ABC would not increase the license fee on Family Matters, that the show moved to NBC in Fall, 1997.
Big mergers: Production houses have been merging to reduce overhead. Fewer and fewer independents can get in. Must have a track record to get
Fewer pilots ordered: Networks are requesting fewer and fewer pilots for new series ABC went from 40 in the late 80's to 20 in the 1992-93 season. Fox experimented with "workshop pilots" in which the show was done live on stage for EXECs rather than filmed and edited. Some networks are ordering production of just key scenes rather than whole episodes.
Emphasis on marketing to special audiences: text discusses NBC's concern that they were drawing too many "older" audience members and so they canceled Golden Girls and other series which appealed to that demographic. In the fall of 1993, they made a concerted effort to draw a younger audience and failed miserably. However, the success of Christy led CBS to realize there was a specific audience for that type of show and brought Touched by an Angel to Wednesday nights.
Frazier and Home Improvement were counter programmed in fall, 1994 because they drew a different psychographic audience. The key seems to be not to draw extremely broad strokes but to go after smaller, more subtle audience differentiations.
In '96-97, Touched by an Angel was moved to Sunday nights (the most highly viewed time period) following 60 minutes. It was opposite Superman and Third Rock from the Sun. That's pretty hefty competition, but you can see that each of those programs appeals to a slightly different demographic group.
CBS won the ratings race in the early weeks of the 1998-9 season, and while that was the network's best performance since 1993, the cheer was dampened by the fact that in its prime demographic, 25-54, CBS ranked third and it was fourth in the 18-49 demo where NBC maintained its dominance. (Stroud, 10/5/98)
The narrowcasting /niche programming trend is particularly evident in cable programming. In 1980 there were less than 12 cable networks. Now there are 174. In 1980 ESPN was just getting off the ground, and it was considered a "niche" channel. Now it has over a billion dollar annual revenue and it's not exactly "narrow." Narrow-casting now is the golf channel or the Home and Garden Channel. This is seen to be the trend (as it happened in magazines and radio); networks will be trying to get their piece of the pie by going after very narrowly targeted audiences. The big problem is getting to those audiences, because not all systems have enough channel capability. (Harpaz, 6/7/99) For example, the FX network started at fx, which was programmed to a wider audience. Now FX is targeted squarely at men, young men 18-34. With shows like the X show and Studs they are going after what they believe guys want: money, games, sex and savoir faire. (Moore, 6/14/99) The Man Show is Comedy Central's effort at going after those 18-34 males. The program is working, and that's good for the cable channel. "It's a lucrative demo because it's hard to reach" according to an advertising exec. Advertisers usually depend on sports programs to deliver that audience, but these new types of programs offer another avenue at a usually much cheaper price. (McAdams, 8/9/99)
The 18-34 demo is the goal for several programmers in 2000. The success of The Man Show and South Park in attracting the male 18-34 has redirected the programming efforts of other nets to reach an audience many thought was unreachable without sports programming. Women in that demo are also valuable, and thus MTV, Discovery, E!, TBS, LIfetime and FX are going after the 18-34s in a big way.
Why 18-34s?
For this reason, cable nets are investing millions in non-sports programs to deliver these demos. The top ten shows for 18-34 males:
For Women, 18-34:
For Both:
Comedy Central has become a prime alternative to sports programming for advertisers who want males, 18-34. Watch the commercials on the network. You will see lots of movies, cars, beer, and technology items. 70% of Comedy Central's audience is male.
This fragmentation trend is significant because it is so different from earlier practices. In the 1970 and 1980s it was assumed that women did most of the spending in the culture. Only sports programming was designed for men. Dramas and situation comedies all targeted women. Male programming was essentially squeezed out of prime time with the exception of Monday Night Football. Wrestling's popularity in prime time demonstrated that men could be drawn to television and cable networks set about designing programs to do just that. Some newer entries are Son of a Beach (an off-color Baywatch spoof) and BattleBots. But it is also interesting to note that 18-34s are watching Discovery Channel as well, particularly shows like The FBI FIles, Discovery Sunday and The New Detectives.
See the Special Report in Broadcasting and Cable, "18-34" , in the October 9th, 2000 issue. Consider it required reading.
(McAdams, 10/9/00 p. 50; Reinholz, 10/9/00 p. 72)
The recent decision by Viacom to reprogram TNN seems to be the reverse of niche programming. According to Broadcasting and Cable, Viacom "is squeezing the last bits of country out of TNN, once known as The Nashville Network." Gone will be The Waltons and The Real McCoys and in their place more general appeal-type shows. The goal is to keep the "real, authentic people" in the audience but to broaden the diversity net a bit and compete with networks like TBS, TNT and USA which spend three times as much as TNN on programming. The transformation will be gradual, beginning with WWF's Raw is War on Monday nights, but it is hoped that loyal viewers will stick around through what programmers call an "evolution" rather than a "repositioning." (McAdams, 9/25/00 p. 20) But a careful look at the change will demonstrate that TNN is moving from a wider net format with "country" to a narrower target. TNN is going after males, 18-34 with WWF and Star Trek: The Next Generation.
Another manifestation of this trend is in the development of new cable channels and redesign of existing ones. ABC's SoapNet has met good ratings success in it's initial outing. It is running reruns of daytime soaps in prime time for people who can't see them during the day. Interest in soaps hasn't abated, but lifestyle changes (more two income families) have reduced at home day time viewership. In the future, the channel hopes to air soaps from other networks as well, but no agreements have yet been reached. (Romano, 5/7/01) Other channels are focusing on family....Odyssey Network is being transformed from a religious channel to a family channel. Paxnet is also being changed from a shopping channel to a family channel, as has Fox Family. These channels find they do well with original programming supplemented by strong off-net programs. On SoapNet, its Falcon Crest; on Odyssey, its Halmark Hall of Fame fare, and on Court TV, it's NYPD Blue, and other crime drama series. Combined with original niche programming, the formula seems to work. (Romano, 7-16-01) While USA, LIfetime and TNN are generating original programming, they are also investing in off net programs such as West Wing and other proven network series.
Restructuring of the Studio-Network Relationship: The pressure put on NBC regarding Frazier and Sony's withdrawal from future prime-time network television development illustrates this new relationship. All of the major nets except NBC have a strong vertically integrated tie with a production studio.
But sometimes the relationship doesn't make that much difference. Buffy The Vampire Slayer is a 20th Century Fox production which began at WB and wound up at UPN in Fall, 2001. ( Schlosser, 3-12-01)
The repeal of Fin-Syn in 1995 hasn't been a boon for the networks. While it may make communications easier between net and studio production, no network owned and produced a show that was a breakout hit in syndication. So like the other studios they're taking risks and often losing money -- at a time when they can't really afford to do so. (Merimigas, 2002)
Softening sitcom syndication market due to poor performance may be turning around: In 1988 when COSBY was sold into syndication, it was expected to be the biggest hit ever to be syndicated. SInce the show had been the number one show on the networks for several years, station managers antied up millions! The show generated $650 Million in license fees and barter revenue in its first 3 1/2 year syndication cycle. Then it failed to perform; it didn't generate ratings good enough to generate sales to pay for the license fees the stations paid. As a consequence, syndication shoppers were much more conservative. Shows like The Wonder Years, and other successful situation comedies didn't do nearly as well as expected. When the syndication market gets conservative, so do producers. Disney began marketing Dinosaurs on video long before the show went into syndication. Over the past few years the market has just begun to turn around.
Seinfeld was marketed for Fall, 1995 air in the following way:
Home Improvement was sold to Tribune for $250,000 for the NYC and LA markets in 1993.
Friends was sold to Tribune Broadcasting in the NYC market even before the 2nd season was over. No details are available about the terms of the deal, but Warner Brothers says that it will surely break the Cosby records.
Over the last 10 years, the general rule has been that hot sitcoms do well at first and then fizzle, and sometimes aren't worth what stations invest to get their syndicated package. But after two years in syndication, Seinfeld and Home Improvement have broken that rule, showing excellent ratings in strong demographics, especially males. National barter time in both shows is running $125,000 for 30 seconds, which is about a fifth of what spots cost in the network run in the 95-96 season, The Simpsons is another syndicated product doing very well, again largely due to its appeal to male viewers. It ranked behind Home Improvement with males and fifth overall. Experts say the long-term syndication classics tend to be male-driven, such as Cheers and M*A*S*H*. (Bstg 3/10/97p29)So far this year, Frazier seems to be the most successful. (Bstg 9/29/97p8) Seinfeld is heading into a second syndication cycle and recently sold the series to TBS Superstation for one million dollars per episode. Add that to weekly license fees in New York City ranging upwards of a quarter of a million, and the total two-cycle take for the program in syndication ranged over TWO BILLION dollars! (Schlosser, 3/16/98; 4/27/98; 9/21/98)
[For an excellent article about how sitcoms have sold in syndication in 1997 and 1998, see "The Funny Money in Off-Net" Broadcasting and Cable, 2/23/98 p. 19. There are lots of facts and figures and a good explanation of how all of this works.]
POST 9/11/01 Impact
In the wake of the WTC terrorist attack, programming strategies are being reevaluated. Nets and production companies are cutting costs, and that will be something to watch. There is also concern that what might have been appropriate content before the event, will not be acceptable now. Matt Lauer and Katie Couric dressed up in Halloween costumes on 10/31 for the past several years. They decided that wasn't appropriate this year -- "It didn't 'feel' right." Then there are always those who have NO taste. John Edward planned to air several segments of his crossing over program including segments in which he "made contact" with victims of the attack. Some of the programs had already been taped. When information about the program was published on the TVInsite.com site, station managers who bought the syndicated program raised Cain! CBS owned and operated stations refused to air it. StudioUSA which produces the program decided to cancel those segments and not to air the ones which had already been taped. While the studio claimed Edwards had been asked by families of victims to do the segments, the studio was concerned that some people might think they were "exploitive." Right.
Syndication
In 1999, stations were looking for the next Seinfeld, a program which was sold for enormous amounts in both its first and second cycle, but which performed well for the stations that bought it.
That show, as well as Friends, Home Improvement and a few others can make as much as $4 million per episode. That means that the process of selling them turns into a poker-like atmosphere with lots of waiting and strategizing. With this much money at stake, syndicaters look very closely at who their prospective customers will be. They go after big groups who are having trouble with the syndicated product they already have or have syndication contracts ready to expire. If you can get a 22-station group to buy your show, you have a large percentage of the country covered with that one sale. The more of the country you have covered, the more you can get for the spots you keep in the show.
Sometimes the marketing for syndicated programs gets really sticky and possibly downright nasty! King World was introducing an updated version of HOLLYWOOD SQUARES which was set for distribution in the fall of 1998. Syndication competitor, Warner Brothers send out a 32 page mailing trashing the new show, saying it wasn't worth the risk and citing stats on the failure of other game shows over the past few years. The final page is a graphic patterned after the Squares set which each block containing a put-down of the new show.
The show is already cleared in more than 40% of the country, but Roger King, owner of King World is understandably furious. Warner Brothers exec. Dick Robertson says it is normal to highlight the strengths and weakness of their shows and those of their competitors. But local stations who received the information are reportedly surprised with its tone. (Bstg.10/13/97p14)
Remember, these programs are sold on cash+barter or straight cash or straight barter agreement:
Some variations on barter syndication:
straight or full barter: all commercials within the program are sold by the producer or syndicator, and so the local station gets it free, but also has no opportunity to make a profit.
partial barter: station keeps some commercials, so they can make $$ during that slot.
cash/barter or barter-plus-cash: Syndicators could demand spots within the program and cash payments per episode. Local stations keep some commercials within, and usually don't want to pay more per episode than they can make back with the commercials they can sell in the program. This last deal was the way most strong shows were marketed in the late 80's, but in the '90's stations were cash poor because of recession and leveraged buyout deals. In the 90's many of the deals went back to straight barter deals. Designing Women was the first to do this. The failure of Cosby to deliver the ratings promised after enormous cash payments were made by local stations.
Spin City was being sold for the fall '99 on a cash-plus basis in which DreamWorks/Paramount got 1.5 minutes of advertising and the local station get 5.5 minutes in the 30 minute sit com. King of the Hill is reported to have sold at nearly $3 million per episode.
Stations may try to buy a popular new serious even before there are enough episodes to for it to go into syndication. When that happens, they try to buy futures , paying for rights to the show years before they may ever get to use it.
Some of the shows being released in to syndication in the 1999 NATPE convention were:
Everybody Loves Raymond just sold for nearly $100,000 per WEEK in the New York City market alone. It is expected to pull between $2 and $3 million before its debut in syndication in '02. While Drew Carey will bring $3-4 million. In 2002, Carey will go to TBS for an undisclosed amount. (Schlosser, 1/11/99 )
The trend seems to be continuing with the success of Friends. In the week of April 30-May 6, 2001, Friends was the 6th most popular syndicated program (beaten only by Wheel.., Jeopardy, ET, Oprah, and Judge Judy.) It was the number one syndicated comedy series. As it approached it's second cycle of syndication, available in 2004, is expected to bring more than its first. Stations in top markets will have to pay in the neighborhood of $350,000 per week, or 30% more than the $275,000 required int he first syndication cycle. In some markets the the increase may be more than 50%. The program is regularly the #1 off-net syndicated series and beats Seinfeld consistently. That means its worth the price...(Ault, 3-26-01)
Another new development is occurring with television duopolies. Owners are shifting syndicated programs from one station to another and getting stronger ratings in the process. While there is some concern that viewers will be confused, but generally it seems like a good deal for syndicators and stations alike. (Ault, 8/20/01) As advertising dollars seem to dry up, this way be a way to strengthen the bottom line.
Inter-media cross-promotion and program delivery: Networks, stations and programs have Web pages and some have exclusive relationships with specific online services. For example, official NBC sites can only be accessed through Microsoft Network. If you want to go to STAR TREK official sites, you must subscribe to Microsoft as well. As technology permits, clips, audio and full video will provided on line, so that users can assemble their own program/news-information schedules. Additionally, programmers are using new media such as CD-ROMs, Screen Savers, special computer game/programs, etc. to generate interest and brand recognition for their products.
While we have already discussed program multicasting to some degree, additional programming is being developed and executed for online. NBC is clearly the leader here with the MSNBC/MSN connection. In early October, 1997, they went further, introducing a new Web network designed to draw local viewers with local and regional information. The network is called Interactive Neighborhood with 40 affiliates (including N.Y., Boston, Chicago, Philadelphia and Washington) with 10 more to join soon. The network provides access to customized content about local markets, attractions, dining and entertainment guides, as well as tie-ins with network and local programming. WB also has a city guide service, and CBS is expected to launch CBS NOW, an on-line affiliate service, sometime early in 1998. (Bstg 10/13/97p.56). Network programs were doing online tie-ins as early as 1997. Carlo Coto, the producer of The Pretender, planned to totally integrate and intertwine the program and the online experience. "It will be a total parallel universe," he said. (Bstg 10/13/97p.56)
Religious Content in Network Programming: For many years, religious issue were not addressed in network news or entertainment programming. In the 1990's we are seeing religious content emerge in both places. News issues will be discussed later, but entertainment content will be addressed in this lecture. The first program in which religious issues and spiritual growth, maturity and behavior were discussed in a significant and regular way was Christy which aired on CBS. The protagonist was a missionary who traveled to the Appalachian mountains to do mission work. While that show had a loyal following, demographics, ratings and other factors led to cancellation. But on the positive response to Christy, CBS decided to move forward with Touched by an Angel, which aired following Dr. Quinn and became a top 10 show for the network. In the Fall of 1997, two shows were introduced about clergymen, SOUL MAN (with Dan Akroyd; it had a short run in the summer) and Nothing Sacred. The latter generated substantial controversy because it portrayed a Catholic priest who questioned parts of his church's teaching and was considered rebellious.
These changes are bringing up interesting challenges for networks, affiliates and program producers.
In business, it all boils down to who has the advantage, who has the power? Those power struggles are taking place right now......and some of them are evident in the network affiliate conflicts which are going on right now. (See economic of broadcasting lecture)
(For more information on the future of the broadcasting industry, see "Media Multiples: Industry Leaders Provide Many Answers to Tough Questions" in Broadcasting and Cable, 10/21/98 p. 14
Recent Programming Trends:
Talk Shows:
Morning Battles:
Re-working Hot Shows:
Reality/Game Shows: In summer, 1999, ABC aired a two-week run of the first game show in prime time in decades. Who Wants to Be A Millionaire was a huge success! Immediately the other networks fired up their own versions! Millionaire will be airing again during fall 1999 sweeps.
Fox: was premiering its game show on Thursday (the day of the test), a two-hour premier of the program Greed. This one has a $2 million prize, as late as three weeks before air, the format wasn't entirely clear.. (AP, 10/12/99)
Survivor: CBS's entry into the game show gamut is Survivor, a Lord of the Flies concept. 130,000 people went to web site where application was. In March of 2000, the first group was placed on desert island in South China Sea for 39 days. The 16 survivors were forced to work together to survive, but every three days, they voted one out until only 2 remain. The ones booted off the island, decide which of the final two who gets the $1mill. The final episode of that series was one of the most highly rating programs in television history. At this writing, the third installment of Survivor is underway. Unfortunately, in the wake of 9/11, it is not doing well, and has been beaten soundly in the ratings by the Friends baby plot line.
Survivor is based on a Swedish show of the same concept. The first contestant booted off that show committed suicide. (Hilliard, 1999) Producer Mark Bennet quoted in USA Today: "Everything is designed to create tension in the group. It's really like a human experiment in some ways." (PTC E-Alert 10/22/99 Vol3:#34 www.ParentsTV.org) (Shlosser, 10/11/99)
NBC has considered reviving Twenty-One, one of the programs removed from the air after the quiz show scandals in the 1950s. (Schlosser, 9/27/99)
Be sure to see the November 1, 2000 issue of Broadcasting and Cable for the cover story of the week. Go to Broadcasting and Cable's web site (www.broadcastingcable.com ) for several articles about this significant new trend in programming.
By the fall of 2001, we had had a little longer to digest this trend. Real questions have emerged about what is really real..... Allegations were made that UPN's Manhunt was rigged. A suit has been filed against Survivor for supposedly encouraging participants to vote off one member of the cast. There are also concerns about adding "beauty shots" to the final product. These are shots which may add continuity or make the program seem more dramatic or confrontational than it would be in actual context. CBS had special problems with Big Brother. Having instituted a "blur machine" so that the program could show all it could without actually exposing nudity, the production selected a group of attractive, confrontational and "scintilating" people. There was to be 24 hour coverage. Producer Arnold Shapiro didn't suggest that people would be sexually active in the Big Brother house, but he said he wouldn't have been surprised if sex and nudity weren't part of the program. What he didn't expect was that one particpant would put a knife to the throat of another.... While video of that incident was not shown, the episode in which the knife-welding contestant was thrown out of the house was the highest rated of the series. At a national meeting of television critics, CBS chief Les Moonves took great heat for the show. Charging that the producers didn't adequately check backgrounds of participants, two of whom had arrest records, critics claimed CBS was irresponsible. Others were concerned that without some safeguards, sooner or later, someone is going to lose his or her life on one of these reality shows.
In the wake of September 11, there is concern that wind may be out of the sails of this genre. People seem less entertained by watching other people in dangerous or stressful situations. It seems we may have had enough of the real thing. (Bianco, 10/25/01)
Wrestling: UPN has seen huge ratings gains over 1998 with the introduction of WWF 'Smackdown'. Wrestling has been very successful on cable for the last couple of seasons, but this is the first foray into to network prime time. UPN is using the program to go after young men, and it has succeeded in that goal. While severely criticized for the content of the program which airs in early evening, UPN CEO Dean Valentine told the press, "We don't believe there is anything sexist or vilent about the WWF." He also said the program would be "toned down" from the WWF program which airs on USA Cable network. ( Schlosser, 7/26/99) WWF is making money hand over fist, beating WCW in revenues and ratings on TNT and TBS. The company has gone public (8/99) and disclosed that all matches are "fake" and refers to them as "soap operas" not sport. Revenues in 1998 were $251.5 million dollars. (Higgins, 8/9/99)
Dramas: The big three networks have introduced major new dramas this season, and have been doing very well with them. Among the new entries: West Wing (NBC), Once and Again (ABC), Family Law (CBS), Third Watch (NBC), Law and Order: Special Victim's Unit (NBC). ( Schlosser, 9/27/99) The trend continued in 2002 with CSI:Miami,(CBS), Robbery Homicide Unit (CBS) and other new shows.
Interactive TV and digital TV: There are several options for interactive television, including WebTV, WorldGate, TiVo, ReplayTV, Guide Plus+. See Broadcasting and Cable, 9/9/99 p. 28. for a complete list of current services and descriptions of each. These services will offer viewers lost of options, including menu and hard-disk storage of programs. It's not clear which of these services will survive, which will offer the model consumers find most attractive. (Haley, 9/6/99) Broadband cable digital delivery is about three years old as of 1999, and there have already been some big losers. Cable operators are expanding digital deployment, but there's still not a clear model of what the service will ultimately look like. It's coming, but nobody's sure exactly now. (Haley, 9/6/99) It is also important for cable operators to remember how valuable the basic cable services are to keep customers while the new services are being established. (Higgins, 7/19/99)
Lack of Minorities in Programming: In the summer of 1999, the NAACP accused the networks of not hiring Blacks and other minorities for roles in prime time television. While the networks denied the accusation, the NAACP threatened a boycott. The president of the organization called the 1999 fall season a "virtual white wash" and the organization bought 100 shares of stock in each of the big four nets so they could go to board meetings and "raise the kind of hell and the issues we think is necessary." The network execs were quick to say they were not discriminating, but NAACP was still talking boycott in late August. (Schlosser, 8/23/99, 7/26/99)
First Run Cable Shows build big audiences for cable channels: 4 million people watched Anna Nichole Smith's first show on E! in August of 2002. Other cable shows like The Osbournes (MTV), The Shield (FX), The Sopranos (HBO) and Monk (USA) have drawn big audiences, awards and attention to the cable nets. While the shows have to have multiple runs to make money, they have done well, and some of them -- like Trading Spaces or The Osbournes cost less than $200,000 a season (Trading Spaces cost less than $90,000 for the whole season.)
For an excellent article about the key shows and
the impact they're having on programming at all levels, see "Cable's
Hot Shows" by Allison Romano in the October 28, 2002 issue of Broadcasting
and Cable (p. 16)
How does the programming process work?
Each season there may be 1000 program concepts; 300 treatments;100 pilots; but maybe 20-35 new series each season....
Shows are programmed very carefully.
(go back and look at issues of BROADCASTING from July and August to discussion of these decisions for this season)
DAYTIME shows are STRIPPED (run at same time five days / wk)
Prime time is much more complicated: PRESTIGE is here
KEY PROGRAMMERS you should know:
Mike Dann of CBS: demographics important (canceled Mayberry, Beverly Hillbillies, etc.)
Paul Klien of NBC: LOP theory
Fred Silverman : at one time or another he was with all three networks:
Grant Tinker: NBC right after Silverman.
Brandon Tartikoff: Led NBC right after Silverman left.
Warren Littlefield: NBC Entertainment President. Long and illustrious career.
Jamie Tarses: Former entertainment exec. at ABC. First woman to hold that position. She came out of comedy development and worked on a number of successful ABC shows. She had a good "gut" and is responsible for the ABC Yellow Ads promoting this season's programming. (Left ABC in August, 1999 after a severe ratings slide for the network.)
Les Moonves: Brought in by Westinghouse when CBS merged with them. No previous experience in programming, but holding his own and trying to introduce new and creative shows. EZ Streets, Brooklyn South, Chicago Hope came in under his tenure.
Peter Roth: Became Fox Entertainment President in 1996. He was formerly head of Twentieth Century Television and before that in programming for ABC where he worked on children's programming and prime time programs such as Happy Days, Dynasty, and others. He has been in programming since 1976. He also worked for Stephen J. Cannell Productions, and while at Twentieth supervised the development of shows such as Picket Fences, Chicago Hope, and The X-Files. (Bstg 11/18/96p24)
DOUG HERZOG: Replaced Peter Roth in late 1998 at Fox. Herzog came over from MTV and has a tried to push the envelope with much of his programming.. He has not been entirely successful so far. Several of his shows have received severe criticism, and many have been canceled or pulled for the November sweeps. Manchester Prep so enraged owner Rupert Murdoch that it was pulled before it ever aired. Action has had abysmal ratings and will be pulled for Sweeps, and as noted above, Fox ratings are down for the second season in a row.
Scott Sassa: Took the chief programming job at NBC in November 1998. He is concerned about some of the content on television. He is one of the youngest program chiefs in the history of television. He is now President of NBC, West Coast division.
Jeff Zucker: F former producer of the hugely successful Today Show was moved to LA to head NBC programming. He is now President of NBC Entertainment. He also instituted some novel approaches. When Friends was taking a beating by Survivor during a sweeps period in 2001, he extended freinds 10 minutes to make 40-minute episodes. When accused of encouraging sleaze with programs like Fear Factor and Spy TV he marched out on stage at a press touch wearing a white bullet proof vest with a peacock on the front. He claims people who don't appreciate these programs or Weakest Link are "too old and out of touch" to understand their appeal to the under 35 crowd.
TERMS you need to know:
SPIN-OFF:
Hammock: that comfy place between two hits Suddenly Susan was premiered in a hammock between Sienfeld and E.R. More recently Stark Raving Mad, starring Neil Patrick Harris has been placed in the same hammock. For an interesting story about the programming strategy behind that decision, see Broadcasting and Cable, 8/16/99, p. 23. The program was estimated to be the top newcomer show for the 99-00 season by advertising agencies and programming specialists (Accas, 1999). Ratings soon proved that to be true.
See if you can identify programs this season that are "in a hammock"? :
Strip: run same show in same slot daily
Blunting: run same type of show that opposition is running (i.e. two game shows at 6:30--if audience doesn't like theirs, they'll go to yours.)
Stunting: get the Olympics at the beginning of your tv season or invite the President to be on the show....get's big ratings--bigger than usual, in fact, but that's the name of the game in the sweeps periods. Sex works well too, especially if you can work it into a newscast...that's why there are so many sleazy stories on during sweeps)
Probably the most blatant example of stunting this season was the LIVE broadcast of E.R. for its 1997 season premier. The gimmick worked; an average of 42.7 million viewers watched each of the two live feeds. This was the LARGEST AUDIENCE EVER for the PREMIERE of a drama series! The episode drew a 28.5 rating and a 45 share. It is the fourth most watched drama in television history (The "Who Shot J.R?" episode of Dallas is still first).
Audience Flow:
Flow through: audience flows through a show
In flow: audience flows in from previous show
Out flow: audience flows out from previous show (Wings had good in flow from Cheers but lacked strong flow through, and as a result, out flow to LA.. Law was weakened for a time)
Lead in: the previous show. Seinfeld was the lead in for Suddenly Susan.
Block programming: programming a series of the same type of shows consecutively. Saturday morning cartoon block; Monday 7-9 p.m.. sit com block.
Long Form: any show longer than 60 minutes
Spin off: a show with characters from another show. Frazier from Cheers. Maude from All in the Family; Jeffersons from All in the Family
Checker boarding: programming different shows in the same time slot on different nights
front loading: loading the beginning of a new season with especially strong programs in hopes of getting people to watch after those shows are done and to weaken opposing shows.
bridging: stagger beginnings so there's no opportune time to change to the beginning of another show.
Fly-0ver country: the middle part of the country -- the part of the country. Programming execs "fly over" as they go from the east to the west coast.
Double pump /double dip: the practice of running the same episode of a new (or existing) series twice in a short period of time to build ratings, interest or to promote the show. Will and Grace ran the premier episode a second time on Thursday when they thought the World Series would be playing.
Counter programming: put something DIFFERENT on against you opponent--Wheel of Fortune against Andy Griffith against Seinfeld.
Other terms (defined in the book)
segmentation
distributors
episode
runs or plays
fin/syn (see p. 309)
bicycle: syndicator ships a program to station "A" which sends it on to station "B" after it is shown on station "A."
***parsimony principle": get the most bang per buck! Make the story last long enough to get the most viewership, publicity and ratings.
NETLETS: UPN and WB
long form: Longer than 30 minutes, so fewer chance to change channel and fewer opportunities to lose audience.
Bridging: Start an hour program 30 minutes before another network's popular 30 minute program.
Tent-pole: Put two weaker shows on either side of an extremely strong one..
Seamless Programming: Go from one program to another with out commercials or promos inbetween. See if you can find some examples of that...
Sparing: extend a dramatic plot over a longer period of time (soap opera plots)
prime-time access rule: first hour of prime time reserved for non-network programming in top 50 markets Monday through Saturday.
Radio Programming:
We have already discussed audience dayparts, etc.
but you need to hit this section of your text thoroughly. Be sure you
understand the significance of
Radio Syndicators:
PROMOTION: absolutely essential for success.
PROGRAM DISTRIBUTORS:
PROGRAM PRODUCTION:
may be done IN HOUSE:
local stations: news, local public affairs pgrmg; maybe some sports
network: specials, news, sports, some series.
Major Hollywood Studios: The Big SEVEN
New major studio organized in Fall of 1994 : DREAMWORKS, SKG
When TV began, the major Studios saw it as competition and tried to discourage it; but soon learned that television used up enormous amounts of product which the studios could produce. Now they have been major players for several decades.
INDEPENDENT PRODUCERS:
smaller companies
advantages:
Key PLAYERS:
Content Classifications of programming:
based on CONTENT:
format: game show type, etc..
genre: types of entertainment programs
WHAT MAKES A SHOW ATTRACTIVE to nets and audiences?
So, think....What's different about my life or your life that is different from sitcoms on TV? How is Randy McMullen: Landscape Designer different from Home Improvement? Hint: He commutes to Huntsville, so he doesn't get home until late, and WE're NOT THAT FUNNY!
Some shows work better than others, and because of the characteristics of shows that work, certain genres have developed....Examine each and determine what about them makes them work.
Dramas (doctors, lawyers, police)
Soaps
Movies
Sitcoms
Game shows
Action/adventure
Westerns
Sports..
What makes a program a hit?
Based on scheduling:
Day parts: See p. 315 for TV DAYPARTS
prime time: 7-11 P.M. EST; 6:30-10 P.M. CST
access: Ist hour (EST) or half hour (CST) before prime time
FRINGE: hours preceding and following prime time
Early Fringe: late afternoon prior to news block
Late Fringe: hour after prime time; may include late news
News block: varies from market to market -- may be "stacked" with local and network news.
Late night: after late fringe (11:00-- 1:00 AM) CST
Overnight: after 1 AM CST
Noon: may be it's own separate block in some markets
SOURCES OF NEWS PROGRAMMING:
News Agencies: many, many of these
ESPN
CNBC
AP, UPI, Rueters, etc..
Conus: provides national news from local stations to other local stations (via satellite) i.e. Story breaks in Huntsville, H'vlle station gets the story and uplinks it to bird where it can be down linked to other local stations who want the story.
Network news: Used to be competitor of other services; now forming alliances with them:
NBC and Rueters
ABC and BBC
ABC owns 80% interest in Worldwide Television News
CNN is challenging the networks by expanding its services world wide (established leadership role during Gulf War)
MSNBC: NBC and Microsoft combined Television news and OnLine efforts to deliver news in a new way.
Fox is getting into news in a big way. Not only are O&O's doing local news and national news, but Fox is launching FNC (Fox News Channel) as a retransmission option. It is designed to compete with MSNBC and CNN. Roger Ailes is heading the project. (He is a long-time political consultant and directed the Reagan and Bush campaigns (as I recall)]
Network Sports:
Broadcasting does a special report each year on each of the major sports. The report comes out about three months prior to the season opening.
LOCAL SOURCES OF NEWS:
ENG: electronic news gathering: unit can travel to news location, and feed live story via microwave relay
SNG: the same as electronic news gathering except story is fed via satellite.
Doesn't have the problems with location and interference at ENG has.
SEE SPECIAL REPORT : RTNDA 98 in BROADCASTING and CABLE 9/28/98
News Services
CNN
Conus Communications: facilities exchange news stories and footage: Produces ALL NEWS CHANNEL with Viacom
CNBC
ESPN
Weather Channel
Wire Services:
Radio News sources:
local reporters ( but these are few)
networks: ABC, CBS, CNN, Mutual
Special news services:
Metro Traffic Control: Has helicopters in the sky all over the country; provides traffic reports and news sometimes when chopper is necessary.
Be sure you have done your reading on the television industry, especially those chapters which discuss various types of television programs, their history and genre.
This chapter provides valuable background for you about how things work. While I will probably not test you over the details, I do expect you to read the chapter and understand the processes involved:
Public affairs programming-- definition
CHILDREN'S PROGRAMMING:
This is a very important area. It is also very controversial at the present time, so you need to concentrate here.
Radio Network Syndication:
Additional
Resources: