by Caitlin Desjardin, Alexander Parker-Magyar, Amanda Sears, Jeffery Wucher
Introduction
The cable programming landscape of 2011 is almost insurmountably large. With basic cable, extended cable, and premium channels saturating the market, their collective programming has come to offer a wide variety at options. But each network still needs to break through the clutter and deliver something its competitors cannot. Generally, the strategy is two-fold: niche branding and original programming. However, even that does not seem to be enough, as many channels find themselves reaching beyond their niches (http://www.usatoday.com/life/television/news/2010-06-17-1Acable17_CV_N.htm) and looking for new trends. Fall 2011 has proved to be a calm transition, but even quietly, things are changing. To avoid the mess, a select group of well rated and active networks have been chosen for closer examination.
Discovery Channel:
Staying true to its name, the Discovery Channel creates content that explores all different corners of the world. A network with shows that educate just as much as they entertain, Discovery Channel produces a majority of non-fiction content to engage its audience. It embraces the strange and and the unconventional, and the interest towards shows of these nature have been distinctly seen in the 2011 Fall season.
The popularity of Discovery Channel’s shows based on the idea of exploring the unconventional was distinctly seen as the overriding trend in the Fall 2011 season. In its September 28, 2011 Fall premiere, the returning popular series Mythbusters, which attempts to explain the seemingly impossible, was the #1 primetime program in cable with 1.86 million viewers. (Source) The show monopolizes on ideas that are seemingly unfeasible and attempts to prove whether or not they could actually occur in the real world. (Can Mythbusters put a plane back together with duct tape? Check it out here.) Similarly, in addition to Mythbusters, the original series Gold Rush has consistently met high ratings and popularity as well. It has placed as the #1 non-sports cable program for a consistent number of weeks, allowing Discovery to edge ahead of ABC, CBS, and NBC on Friday nights among men and bringing in an average of around 3.58 million viewers. (Source) Gold Rush achieves such popularity by continuing to embrace the unknown and depicting the life of men who go on a gamble, dropping the rest of their life, to prospect for gold.
Other popular shows in the Fall 2011 follow this same formula of utilizing the unconventional and embracing exploration to bring in a substantial following. Flying Wild Alaska, Sons of Guns, and American Chopper: Junior vs. Senior have all found significant success within their latest seasons. Flying Wild Alaska depicts an unconventional family, Sons of Guns explores hidden and obscure weapons, and American Chopper follows the unconventional profession of making custom motorcycles. All follow the model that the audience increasingly is drawn to what they cannot explain or experience themselves, and Discovery Channel has used this to bring in solid ratings in their programming of the Fall 2011 season.
ESPN
ESPN began the fall season by augmenting its weekday afternoon lineup with two new original Talk/Debate programs: Numbers Never Lie and Dan Lebatard is Highly Questionable. The addition of the programs expresses ESPN’s continued confidence in personality-driven, opinionated programming. While Dan Lebatard is Highly Questionable expands on the network’s recent affinity for comedy, Numbers Never Lie, which leads in to Lebatard’s program, is reminiscent of ESPN’s last Talk/Debate addition to weekday afternoons: Sportsnation. Similar to Sportsnation, which premiered in 2009, Numbers Never Lie relies on the chemistry between male and female co-anchors (Michael Smith and Charissa Thompson) as they debate sports-related statistics. (ESPN Media Zone)
The network continued another trend this season by broadcasting a second season of originally-produced sports documentaries, albeit it with a different name. The ESPN Films Presents documentaries are a continuation of the remarkably successful 30 for 30 series. The documentaries tend to focus on sports figures or events whose narratives have a deeper cultural meaning than what may have transpired on the field of play. The November eighth season finale garnered 1.7 million primetime viewers, the highest mark for the season, and the fourth highest overall (Sports Business Daily). This is significant, as the ESPN Films Presents series was presented with much less fanfare than 30 for 30 had been.
Following its most successful season on ESPN and an eight-year contract extension, Monday Night Football ratings fluctuated throughout the season, as primetime viewership dipped as far as sixteen percent in October (Sports Business Daily). NASCAR, on the other hand, enjoyed a six percent bump in ratings on the network due to a unprecedentedly close Chase for the Spring Cup culminating in the most-watched NASCAR race in network history (SceneDaily).
Overall, ESPN continued to diversify its brand this season, adding two new original shows, and new slate of documentaries. The trend toward opinionated, personality-based discussion established itself early in the last decade, and has picked up considerable steam in the past few years. With News/Analysis stalwarts such as Sportscenter and College Gameday, the “Worldwide Leader in Sports,” knows its viewers aren’t going anywhere; with these trends it is trying to attract new viewers via a wider range of content.
(TV by the numbers)
TBS
TBS’ most recent stint in original programming reaffirms three trends to the viewer: TBS will continue to make sitcoms, TBS will adapt these sitcoms from movies, and these sitcoms will feature African-American casts.
This fall, TBS sustained its push to establish itself as the top destination for African-American comedy with the addition of For Better or Worse to the network. For Better or Worse appears to be taking Meet the Browns’ position alongside Tyler Perry’s House of Payne. Perry works as a writer, actor, producer, and director for each of the shows.
Despite poor reviews, Perry’s shows garner excellent ratings (Movieweb.com)(TV by the numbers). For Better or Worse earned the title of November’s top cable comedy series, and combined with House of Payne to make TBS cable’s top-ranked network in primetime for adults between 18 and 34 and 18 and 49 (TV by the numbers) .Another TBS original program which received good ratings but poor reviews was Lopez Tonight, the first primetime talk show to be specifically geared toward Latinos.
Just as House of Payne, and Meet the Browns were television adaptations of Perry’s Madea films, and TBS’ other sitcom, Are we There Yet? was adapted from rapper/actor Ice Cube’s films, For Better or Worse is adapted from Perry’s Why did I get Married? movies. This trend may be related more to Tyler Perry’s material than to TBS’ programming goals, but the Are we There Yet? adaptation makes the pattern notable.
Finally, and perhaps obviously, the network’s programming trends are all in relation to the network slogan, “We Know Funny.” After all, aside from the aforementioned sitcoms, TBS’ one other original program is Conan, a humorous talk show. In fact, every single piece of scripted programming in the TBS schedule – original and syndicated- is a comedy. This excludes the syndication of feature films and MLB baseball.
In conclusion, TBS has distinguished itself from the rest of the vast cable market. The network knows who the audience is and what it wants to give to that audience. TBS is aware that it is carried by syndicated sitcoms, and provides some of its own sitcoms as well. The network is very straightforward in what can be an ambiguous market; they know funny.
USA
The USA network, a subsidiary of NBC Universal, focuses most of its programming efforts on syndication, as is evident looking at the channels posted schedule (http://www.usanetwork.com/schedules/sched.php). As part of NBC, they get access to the full Law & Order catalog, and they have also struck deals to air both CSI and NCIS from CBS, and House, from FOX. The common thread linking all of these programs is the non-serialized procedural, or the “case-a-week” format. This means that fans of the show can easily drop into an episode and be intrigued by the plot in a vacuum without knowing any character back-story or relevant information. The schedule also outlines occaisional movies as well.
However, USA has also made efforts in original programming, and the two shows of fall 2011 were Psych and Burn Notice. Both are returning series in their 6th season, respectively. (http://www.usanetwork.com/series/psych/) (http://www.usanetwork.com/series/burnnotice/). In format, they offer the reliability of the network’s syndicated procedurals, but with a twist. Psych utilizes one of its characters as a fake psychic detective, and Burn Notice’w s protagonist is a former covert-operations agent. They both wrap up plots every week, but also serialize slightly, with occasional arcs to bring back viewers. From a ratings standpoint, they both pull average cable numbers, around a 1.0 in the demo. (http://tvbythenumbers.zap2it.com/2011/12/08/wednesday-cable-ratings-american-horror-story-sons-of-guns-top-night-psych-hot-in-cleveland-ghost-hunters-finale-more/113086/). With the fractured landscape, consistent viewership of that size is welcome to the network, which is a reason they keep these shows around, and try to develop more just like them: the procedural with a twist (http://www.worldscreen.com/articles/display/2011-11-30-USA-Network-Common-Law-White-Collar-Royal-Pains).
FX:
FX started of the season in August with a battery of show renewals (http://www.avclub.com/articles/fx-renews-wilfred-louie-and-its-always-sunny-in-ph,60054/). The three shows in question, Wilfred, Louie, and It’e s Always Sunny In Philadelphia, were picked up for their second, third, eighth seasons, respectively. Add to these pick-ups the fall premiere of The League, the network’s continued work with Archer, and an announced new show from the latter’s producers (http://www.avclub.com/articles/fx-picks-up-animated-series-from-its-always-sunny,61829/). All six of these shows share the distinction of half-hour ensemble comedies and a mature “viewer discretion advised” rating, as the network will confirm (http://www.fxnetworks.com/). To go one step further, male casts also dominate them all. Though a few have a single, strong-willed female somewhere in the show, the focus is still on men.
The trend seems to be towards that mature content, with a demographic fix upon young males. These consumers are more suited to a light, raunchy comedy that can hold their relative attention, and seek to identify with the characters. FX as a cable network can also, quite knowingly, get away with more in a censorship sense. Through these programs, FX takes full advantage by going to the extremes in an attempt to attract a more adventurous audience, and it must be working. With 5 regular come0dies set and one more definitely on the way, FX has definitely found its comedic brand.
Keeping with the mature, cable only content, FX also keeps a number of hour long dramas serialized on the network. Airing in the fall is the biker gang drama Sons of Anarchy and the new horror-fiction American Horror Story. Both shows, during their fall runs were renewed, and “from a ratings standpoint Sons had its best season yet, with viewership up 30 percent.” (http://www.avclub.com/articles/fx-picks-up-a-fifth-season-of-sons-of-anarchy,63540/ too sh) (http://www.avclub.com/articles/fx-picks-up-second-season-of-american-horror-story,64285/). American Horror Story showed extremely strong ratings pull, and again, both shows utilize the shock and awe of FX mature content that broadcast TV simply cannot offer.
Still, a majority of FX programming is not original, but rather, comprised of syndicated TV shows and movies. These are all safe and affordable ways to fill airtime and come with an already well established history of success as well as a fan base. In short, syndication is how FX pays the bills, while original programming is how the network builds its brand and makes its mark.
Cable Programming Trend: The Period Piece
If art imitates life, then it is evident that Americans are living in the past. The recent onslaught of period pieces on cable television has proved that they are not only a valued source of entertainment for TV viewers, but also a lucrative programming strategy for cable networks that are becoming increasingly reliant on avant-garde original programming. Amidst the country’s economic turmoil and political strife, romanticizing the past is an easy way to capture an array of audiences regardless of income. The period piece allows viewers to live, or for some, to relive the music, fashion, and culture of a small slice of history.
The American Movie Classics channel, or better known as AMC, premiered their hit show, Mad Men, in July 2007. Matthew Weiner’s provocative series about advertising executives in 1960s New York City has captivated audiences with its superb visuals and true to life set and costume design. In 2011, the show continues to be a hit, winning four Emmy Awards for Outstanding Drama Series in September. The show proves to be and definite presence in American popular culture; copycat shows like ABC’s Pan Am and NBC’s The Playboy Club (which is now cancelled) have cropped up on network programming. Although the period piece trope is present across both the cable and broadcast landscapes, cable networks are able to achieve higher quality programming and a more risqué treatment of subject matters because of FCC regulations, or lack thereof. Due to its success, AMC has signed on for 39 more episodes of the hit show, making the production of a period piece a very profitable venture.
AMC decided to follow their model for success by launching another period drama,Hell on Wheels, in November of 2011. The new drama is set in the late 19th century during the construction of the transcontinental railroad, featuring rapper/actor Common as one of its cast members. As the lead-in show for AMC’s mega hit, The Walking Dead, the new original period drama was able to capture 4.4 million viewers on the night of its debut (November 6th). This represents a 2.3 rating at 10 P.M. (2.4 million adults under 50), which is relatively high for cable programming.
However, superficially, the new original AMC series is reminiscent of the premium cable network, Home Box Office’s, award-winning original series Deadwood, which aired nearly six years ago (2004-2006). HBO has been at the center of the period drama trend for several years with its original programming: Deadwood, Rome, Mildred Pierce, The Pacific, and John Adams, among others. Therefore, it is no coincidence that AMC’s new series parallels one of HBO’s most well produced and critically acclaimed programs. The network continues to employ the period piece trend with its show, Boardwalk Empire. The original series is the embodiment of the opulence and grandeur of 1920s America, yet seamlessly combines the grittiness of the criminal subculture spawned by prohibition. Because it is on a premium cable network, the program has the added benefit of no commercial interruptions—like those found in AMC’s programs, which makes the series and premium cable programming an attractive alternative to advertiser-supported cable networks.
Boardwalk Empire premiered in the fall of 2010, and quickly received an order for season two, which premiered in the fall 2011 season. With 3.6 million viewers tuned in to watch the season finale on December 6th, the second season of the show certainly did not disappoint. In mid-October, after less than a month of being on air, HBO renewed Boardwalk Empire for a third season, which will premiere during the fall 2012 season. HBO plans to continue with the period piece trend, yet with a few notable changes; creating programs that are a hybridization of period dramas and fantasy.
HBO’- s Emmy award-winning series, Game of Thrones, was the first step towards the blending of the period piece and fantasy. The show was well received by viewers, and like Boardwalk Empire, promptly received a second season renewal. Continuing to follow the period drama trend, HBO and director Darren Aronofsky are developing a new series titled “Hobgoblin,”a a World War II era show where magicians challenge Nazi fascism. If Hobgoblin does not attract the usual period drama fans, HBO also has another–more traditional–series in development. In November of 2011, Screenwriter Akiva Goldsman signed a contract to create Doc Holliday for HBO, a western about the infamous gunfighter and gambler, John Henry “Doc” Holliday.
Cable programming is laden with period dramas. Because the term is applicable to any era in history, it makes for increased versatility in programming, yet still maintains a historical attraction. It will interesting to see what other epochs in history will be explored by cable networks in future television seasons.
Showtime:
With a tagline of “brace yourself,” it is clear that Showtime fully embraces its status as a cable network. Because the network does not rely on advertisers as its main source of revenue, and instead works to attract and retain subscribers, it has the ability to create a wide variety of edgy and adult content. And it consistently does so, pushing the envelope in all genres from comedy to drama. Though Showtime has an extensive assortment of original programming, the Fall 2011 season has presented a clear trend towards the growing popularity of psychological thrillers on the network.
Within its original programming the triumph of Showtime’s Fall 2011 season can be largely attributed to the success of two of its original series, Dexter and Homeland. Entering its sixth season, Dexter, a suspenseful and thrilling drama, follows a police crime scene analyst who also happens to be a serial killer. It is Showtime’s power as a cable network to display violent and sometimes gory images, as well as have the show’s protagonist be a serial killer, that drives its success. This foray into an unknown and thrilling world is what continues the show’s popularity, and the audience following to the psychological thriller genre has only increased. The Fall 2011 season premiere of Dexter on October 2, 2011 was the series’ highest rated premiere, and the best Showtime season premiere for an original series in network history with 2.2 million viewers. (SOURCE) This apparent success and continued growth of followers only stimulates the popularity of the psychological thriller trend.
Adding to the increased popularity of psychological thriller programming is another one of Showtime’s hit original series, Homeland. Only in its first season, the show has already established a substantial following, and has been heralded as one of Fall 2011’s best new series. (Check out an article on this here.) Its series premiere was the highest-rated drama debut for Showtime in eight years, with 1.08 million viewers on October 2, 2011. (Source) The series, like Dexter, utilizes plot twists and unlikely characters to keep the audience steadily guessing and the flow of debate open about the show. Both Dexter and Homeland dominated the Fall 2011 season of Showtime, setting records within the network, and clearly showing the increased success in psychological thrillers in cable programming.
The sheer amount of cable channels, coupled with diversity of television programming has given rise to the cultivation of several unique trends. In such a competitive market, it is paramount for a cable channel to distinguish itself from the pack. Each and every network is looking for an edge; an identity that will offer viewers an experience different from any other offered on television. In establishing a brand as the above networks have, cable channels’ success is proportional to their creativity.