Needed Under The Big Tents

A look at what is working (and isn’t) at the five big broadcast networks—and what each really needs this fall 5/09/2011 12:01:00 AM Eastern

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WHERE THEY STAND: ABC Entertainment Group chief
Paul Lee is helming his first upfront season, and the
volume of development at ABC speaks to the number
of hours he has to fill. ABC followed NBC into testing
the three-hour comedy block in midseason, though it
probably doesn’t have enough bonafide hits to make
it a mainstay next year. Fall’s Better With You has
slim chances for renewal, and midseason entries Mr.
and Happy Endings cling to the bubble. The
net batted one-for-five in rookie dramas with the swift
cancellations of My Generation and The Whole Truth
and the certain-not-to-return Detroit 1-8-7, No Ordinary
and Off the Map. The midseason medical drama
Body of Proof was the one bright spot—the freshman
procedural is notably rivaling its time-period competition, CBS’ oft-buzzed-about sophomore The Good Wife.

WHAT’S WORKING: Drama stalwarts Grey’s Anatomy and Desperate Housewives still put up strong ratings,
but are beginning to show their age. Modern Family cemented its hit status in its second season, and
has reliable co-comedies in The Middle and probably Cougar Town. In reality, The Bachelor and Bachelorette
remain popular, and the midseason Secret Millionaire premiered to 12.7 million viewers. Dancing With the Stars
remains a draw 12 seasons in, though its Nielsen success is directly linked to the casting of the show. When
asked what ABC needs most from the fall, Lee joked, “Kate Middleton in Dancing With the Stars,” acknowledging
how crucial casting buzz-worthy stars is to the show’s ratings.

WHAT’S NEEDED: A solid fourth comedy hit to round out its Wednesday sitcom block, and better retention of
new dramas to complement its aging franchises.


CBS has for years had fewer holes to fill than its broadcast brethren, and the story
is no different this year. While it now seems Two and a Half Men, the network’s top-rated comedy, will return
without Charlie Sheen, a cast shake-up means the show will no longer be a sure thing in the Nielsens after the
initial curiosity tune-in that will inevitably happen. With so many hits already in its stable, CBS is wise to look
after its existing series as much as its new ones. “We’re looking at every single show we have on the network
and what we can do to better support them next year, what changes we can make that will allow them to
creatively go to the next level,” says Nina Tassler, president of CBS Entertainment.

WHAT’S WORKING: How I Met Your Mother and The Big Bang
continue to keep CBS’ comedy heartbeat humming; the
latter didn’t skip a beat in its move to Thursdays this year. NCIS
continues to defy age and ratings, hitting a series-high 22.7 million
viewers in its eighth season. The Good Wife and NCIS: L.A.
have avoided the sophomore slump and veteran procedurals
Criminal Minds, CSI and The Mentalist continue to put up strong
numbers. The network has two freshman hits in Hawaii Five-0
and Mike & Molly, the former of which CBS Television Distribution
has sold into syndication for $2 million-plus an episode.

WHAT’S NEEDED: With the cast shake-up on Two and a Half
, establishing strong sitcoms waiting in the wings is more
important than ever. With the swift cancellation of midseason’s
Chaos, and $#*! My Dad Says and Mad Love unlikely to return,
this time around CBS needs a pilot with hit-worthy status.


WHERE THEY STAND: Fox’s two biggest fall launches
are already known—Simon Cowell’s much-anticipated
The X Factor and the special effects-laden Terra Nova,
pushed back from the spring. With X Factor likely assuming
upwards of three hours on the schedule, Fox
has very limited needs to fill—and that’s just how they
want it. “Part of the thinking behind the shift of American
from Wednesday to Thursday, setting us up
for X Factor in the fall, is to give us a schedule where
we have very limited and focused needs,” says Kevin
Reilly, Fox Entertainment president. “That’s not to say
that we won’t pick up and launch great shows when
we find them—because we will—but we’d like to be
in a place where we only need to launch a couple of
shows at once, at any given time of year.”

WHAT’S WORKING: American Idol bucked all the
naysayers in its 10th season, managing to reverse its
sliding ratings trend with a new judging lineup. Glee
keeps hitting high notes in its sophomore year, and
veteran dramas House and Bones still draw steady
ratings. Fox also started programming Fridays in
midseason, shifting cult hit Fringe to the mostly abandoned
night, and saw the show’s audience follow.

WHAT’S NEEDED: Fox is still in search of a live-action
half-hour hit, and is looking to be more aggressive in its
comedy development this year. Last fall’s Raising Hope
got an early second-season renewal, but its numbers
are modest; Fox clearly hopes it can grow the show’s
audience. The network’s penchant for quirky comedies
with niche, passionate audiences failed to produce
a winner this year: Running Wilde underwhelmed,
midseason’s Traffic Light seems certain to be cancelled
and newest entry Breaking In remains on the bubble.
With Glee as a launch pad, Fox needs to pop a sitcom
worthy of building a comedy block around.


WHERE THEY STAND: New network topper
Mark Pedowitz will be in his job just three weeks
when the CW makes its upfront presentation, and
he will be touting a development slate conceived
by Dawn Ostroff, outgoing CW entertainment
president. With oversight of both the business
and entertainment divisions, Pedowitz is tasked
with leveraging the channel’s niche programming
for young women into a viable broadcast network
business model. The net recently gave wellrespected
development head Thom Sherman
additional responsibility for unscripted series,
perhaps signaling a renewed commitment to
the genre. The CW could use another alternative
hit—America’s Next Top Model, a holdover from
the UPN days, needs some company, and midseason’s
Shedding for the Wedding was D.O.A.

WHAT’S WORKING: The CW has found its
niche in melodramas starring young beautiful starlets like The Vampire Diaries, Gossip Girl and 90210.
Those three series, along with Top Model and Supernatural, have already been given early renewals for
2011-12. But the CW’s development this year signals a conscious effort to expand its reputation from
primetime soaps into franchise shows. Three of its pilots are procedurals, with Cooper and Stone (police),
Danni Lowinski (legal) and Hart of Dixie (medical). Getting away from series about high school kids
would broaden the net’s appeal, and the addition of procedurals means the benefi t of story lines that
extend past graduation—as well as improve their repeatability potential.

A new drama to break out as a cult hit. With neither of last fall’s entries assured a
renewal, the network needs another Vampire Diaries, not another Hellcats.


NBC Entertainment Chairman
Bob Greenblatt has his work
cut out for him in rebuilding
the fourth-place network.
But don’t expect to see him
spending his way back à la
the Jeff Zucker-era NBC. After
big-ticket dramas from familiar
names like Undercovers,
Chase and The Event fizzled,
look for Greenblatt, a former
Showtime exec, to take some
risks in his programming choices. “What will not work—at least not for NBC—is the tried and true,” he
says. That doesn’t mean the network won’t be investing in programming. NBCU CEO Steve Burke said
during Comcast’s earnings call last week the company will ramp up primetime spending to $200 million
this year (though that does include still digging out of the dearth left by the Jay Leno 10 p.m. disaster). But
as Burke noted, money alone won’t turn around NBC’s fortunes. “The real key to turning around NBC is
not necessarily the increased investment,” Burke said. “The real key is making better shows.”

WHAT’S WORKING: NBC may have found a ratings building block in new singing competition series
The Voice, which opened to 11.8 million viewers and a 5.1 rating in the key 18-49 demo and grew in
week two. The net’s Thursday comedy block got an early renewal, but Steve Carell’s departure from The
leaves NBC’s top scripted show in limbo. That, combined with Alec Baldwin spouting 30 Rock final
season rumors, means buzz-worthy but modestly rated Community and Parks & Recreation need some
new company in the wings (more successful than Outsourced, Perfect Couples or The Paul Reiser Show
proved to be). While most of this year’s drama crop was dismal, Harry’s Law, yet another legal drama
from David E. Kelley, proved a surprising hit (even to many of those at NBC), drawing a sizeable audience
at the tricky 10 p.m. hour.

WHAT’S NEEDED: “Patience—from the audience, from the advertising community and from the
press,” says Greenblatt. Good luck with that. A breakout hit wouldn’t hurt either.