On TV as in Hollywood, Little Breathing Room for the Modest Success
Source：New York Time
Date：October 23, 2006
By EDWARD WYATT
LOS ANGELES, Oct. 22 — Few new television shows had as much going for them this fall as “Smith,” a CBS series about a career thief out for one last big score before he retires.
In most seasons, “Smith” would be considered a hit. Even after drawing mixed reviews from critics, its debut attracted 11 million viewers, and the first three episodes attracted an average audience of more than 9 million.
Then, like a thief in the night, “Smith” suddenly disappeared, pulled from the schedule by CBS after just three weeks — despite the fact that the producers had already shot or were well on their way to completing four more episodes.
The quick cancellation of “Smith” elucidates how television, like the movie industry, has become a business where there is little room for the modest success. Network executives might talk endlessly about how, in an era where the attention of audiences is ever more scattered, new shows need time to find themselves. But those same executives are often quick to pull the plug on an expensive production that does not immediately perform to expectations.
Combined with NBC’s announcement last week of plans to cut back on expensive programming, the experience of “Smith” demonstrates how the recent trend in television — costly serializations with large casts and complex plots — changes the basic rules of engagement for networks. Viewers cannot easily dip in and out of these kinds of shows, as they can with a half-hour situation comedy or game show. So networks have to make decisions on more expensive, more complex series based on very small samples — a few episodes, typically — to predict whether viewers will commit to an entire season, as they have for similar shows like “Lost” or “24.”
The calculation is perilous as well for the television studios, like Warner Brothers, which is experiencing a tough season. In addition to canceling “Smith,” CBS pulled out of another planned Warner Brothers series, “Waterfront.” Several other Warner series are also on the ropes, including “Studio 60 on the Sunset Strip,” which is broadcast on NBC; “The Nine” on ABC and “The Class” on CBS.
Among the new fall shows, “Smith” had one of the best pedigrees. The series starred two accomplished actors, Ray Liotta, an Emmy winner, and Virginia Madsen, an Oscar nominee, as the thief and his unsuspecting wife. The show was the product of John Wells, one of the most prolific and successful television producers of current times, who had a hand in the building of the hit shows “ER,” “Third Watch” and, along with Aaron Sorkin, “The West Wing.”
The first episode of “Smith” cost $7 million, roughly double the usual cost of a television premiere. CBS executives were so enthusiastic about the results that they agreed to let the first episode run nearly a third longer than most hour-long dramas; to accommodate the extra length, they recruited a single sponsor — the Warner Brothers film “The Departed” — and ran the show with limited commercials.
Nina Tassler, the president of CBS Entertainment, said that “Smith” was not the victim of networks looking for quicker results. At a panel discussion here last week that featured the heads of all the major television networks, she said that at CBS the emphasis is on giving new shows the time and attention they need.
“One of the things we do very well is continue to work and develop a show well into its first year and second year,” Ms. Tassler said. She cited the network’s experience with “Criminal Minds,” which grew from a modest opening last year to last week attracting more viewers than ABC’s “Lost.”
When asked in an interview how those comments meshed with the network’s quick retreat on “Smith,” Ms. Tassler said the problems came from the show’s confusing story line. In addition, she said, “Smith” was keeping a shrinking portion of the audience of the two hit shows that preceded it on Tuesday nights, “The Unit” and “NCIS.”
“When you launch a new show, you certainly want it to retain a certain percentage of its lead-in,” she said. “You also want it to build in the second half hour, and we really weren’t doing that with ‘Smith.’ ”
In its first week, 11 million, or 93 percent, of the 11.8 million viewers of “The Unit” stuck around for the first episode of “Smith.” In the second week, that percentage fell to 81 percent, then plummeted to 63 percent in the third week.
Not only was “Smith” keeping less of its lead-in audience, but a shrinking portion of the previous week’s viewers returned each week to see the next installment of “Smith.” And the number of viewers also fell consistently from the first half hour to the second.
Still, those results were not so different from the experience of several other new shows this fall — most of which are still on the air. “Studio 60 on the Sunset Strip” has seen its ratings and viewers fall each week, from 13.4 million viewers for its first episode to 8.6 million for its fourth. “Vanished,” on Fox, “Kidnapped,” on NBC, “Brothers & Sisters,” on ABC, and “Jericho,” on CBS have all seen their audiences fall from week to week. But they are still on the air.
The problem with “Smith,” Ms. Tassler said, is that CBS executives did not believe it was going to get any better.
“We have a unique vantage point at the network,” she said. “I’ve seen cuts and read scripts for the next four to five episodes, so I could see where we’re headed creatively. And we weren’t 100 percent happy with what we were looking at.”
Specifically, she said, the show’s scripts were becoming harder to follow. “You have to have clarity in the story-telling,” she said. “Confusion kills. I think it was particularly challenged in that area.”
Neither Mr. Wells nor executives at Warner Brothers Television would agree to be interviewed for this story.
Despite cutting the series from its schedule after three weeks, CBS had a commitment to buy several more episodes, which Warner Brothers had spent handily to produce — well over $2.5 million a show, according to people close to the production.
Unlike most television series, which are filmed on studio lots in Los Angeles to help contain costs, “Smith” shot large segments of its debut episode on location — in Hawaii and Pittsburgh, for example — and made ample use of collisions, explosions and other special effects. “It was a gorgeous show,” Ms. Tassler said. “It looked beautiful. But an audience sits at home and they don’t watch a show influenced by how much it costs. It’s not a factor in why they become a fan of the show.”
Ms. Tassler said CBS was planning to put the already filmed episodes of “Smith” on its Internet site for viewing and to post synopses of the plans for the full season of shows.
From a financial standpoint, however, it might be hard to argue with CBS’s decision to can “Smith.” The week after the show was cancelled, the “CSI” re-run that replaced it drew more than 10 million viewers, 20 percent more viewers than the last episode of “Smith” and a far higher percentage of the lead-in audience from “The Unit.”
But with an average of nine million fans having tuned in, inevitably there were many disappointed viewers who went looking for the fourth episode of “Smith,” only to find yet another episode of “CSI.” Some of them took to Internet bulletin boards to express their outrage, like a viewer named Matthew on the Web site TVSeriesFinale.com.
“I just want to say how much of a relief it was to sit down and watch a show like ‘Smith’ without having to hear any medical mumble jumbo,” he wrote.
From NY Times.com.
Date：October 23, 2006
By EDWARD WYATT
LOS ANGELES, Oct. 22 — Few new television shows had as much going for them this fall as “Smith,” a CBS series about a career thief out for one last big score before he retires.
In most seasons, “Smith” would be considered a hit. Even after drawing mixed reviews from critics, its debut attracted 11 million viewers, and the first three episodes attracted an average audience of more than 9 million.
Then, like a thief in the night, “Smith” suddenly disappeared, pulled from the schedule by CBS after just three weeks — despite the fact that the producers had already shot or were well on their way to completing four more episodes.
The quick cancellation of “Smith” elucidates how television, like the movie industry, has become a business where there is little room for the modest success. Network executives might talk endlessly about how, in an era where the attention of audiences is ever more scattered, new shows need time to find themselves. But those same executives are often quick to pull the plug on an expensive production that does not immediately perform to expectations.
Combined with NBC’s announcement last week of plans to cut back on expensive programming, the experience of “Smith” demonstrates how the recent trend in television — costly serializations with large casts and complex plots — changes the basic rules of engagement for networks. Viewers cannot easily dip in and out of these kinds of shows, as they can with a half-hour situation comedy or game show. So networks have to make decisions on more expensive, more complex series based on very small samples — a few episodes, typically — to predict whether viewers will commit to an entire season, as they have for similar shows like “Lost” or “24.”
The calculation is perilous as well for the television studios, like Warner Brothers, which is experiencing a tough season. In addition to canceling “Smith,” CBS pulled out of another planned Warner Brothers series, “Waterfront.” Several other Warner series are also on the ropes, including “Studio 60 on the Sunset Strip,” which is broadcast on NBC; “The Nine” on ABC and “The Class” on CBS.
Among the new fall shows, “Smith” had one of the best pedigrees. The series starred two accomplished actors, Ray Liotta, an Emmy winner, and Virginia Madsen, an Oscar nominee, as the thief and his unsuspecting wife. The show was the product of John Wells, one of the most prolific and successful television producers of current times, who had a hand in the building of the hit shows “ER,” “Third Watch” and, along with Aaron Sorkin, “The West Wing.”
The first episode of “Smith” cost $7 million, roughly double the usual cost of a television premiere. CBS executives were so enthusiastic about the results that they agreed to let the first episode run nearly a third longer than most hour-long dramas; to accommodate the extra length, they recruited a single sponsor — the Warner Brothers film “The Departed” — and ran the show with limited commercials.
Nina Tassler, the president of CBS Entertainment, said that “Smith” was not the victim of networks looking for quicker results. At a panel discussion here last week that featured the heads of all the major television networks, she said that at CBS the emphasis is on giving new shows the time and attention they need.
“One of the things we do very well is continue to work and develop a show well into its first year and second year,” Ms. Tassler said. She cited the network’s experience with “Criminal Minds,” which grew from a modest opening last year to last week attracting more viewers than ABC’s “Lost.”
When asked in an interview how those comments meshed with the network’s quick retreat on “Smith,” Ms. Tassler said the problems came from the show’s confusing story line. In addition, she said, “Smith” was keeping a shrinking portion of the audience of the two hit shows that preceded it on Tuesday nights, “The Unit” and “NCIS.”
“When you launch a new show, you certainly want it to retain a certain percentage of its lead-in,” she said. “You also want it to build in the second half hour, and we really weren’t doing that with ‘Smith.’ ”
In its first week, 11 million, or 93 percent, of the 11.8 million viewers of “The Unit” stuck around for the first episode of “Smith.” In the second week, that percentage fell to 81 percent, then plummeted to 63 percent in the third week.
Not only was “Smith” keeping less of its lead-in audience, but a shrinking portion of the previous week’s viewers returned each week to see the next installment of “Smith.” And the number of viewers also fell consistently from the first half hour to the second.
Still, those results were not so different from the experience of several other new shows this fall — most of which are still on the air. “Studio 60 on the Sunset Strip” has seen its ratings and viewers fall each week, from 13.4 million viewers for its first episode to 8.6 million for its fourth. “Vanished,” on Fox, “Kidnapped,” on NBC, “Brothers & Sisters,” on ABC, and “Jericho,” on CBS have all seen their audiences fall from week to week. But they are still on the air.
The problem with “Smith,” Ms. Tassler said, is that CBS executives did not believe it was going to get any better.
“We have a unique vantage point at the network,” she said. “I’ve seen cuts and read scripts for the next four to five episodes, so I could see where we’re headed creatively. And we weren’t 100 percent happy with what we were looking at.”
Specifically, she said, the show’s scripts were becoming harder to follow. “You have to have clarity in the story-telling,” she said. “Confusion kills. I think it was particularly challenged in that area.”
Neither Mr. Wells nor executives at Warner Brothers Television would agree to be interviewed for this story.
Despite cutting the series from its schedule after three weeks, CBS had a commitment to buy several more episodes, which Warner Brothers had spent handily to produce — well over $2.5 million a show, according to people close to the production.
Unlike most television series, which are filmed on studio lots in Los Angeles to help contain costs, “Smith” shot large segments of its debut episode on location — in Hawaii and Pittsburgh, for example — and made ample use of collisions, explosions and other special effects. “It was a gorgeous show,” Ms. Tassler said. “It looked beautiful. But an audience sits at home and they don’t watch a show influenced by how much it costs. It’s not a factor in why they become a fan of the show.”
Ms. Tassler said CBS was planning to put the already filmed episodes of “Smith” on its Internet site for viewing and to post synopses of the plans for the full season of shows.
From a financial standpoint, however, it might be hard to argue with CBS’s decision to can “Smith.” The week after the show was cancelled, the “CSI” re-run that replaced it drew more than 10 million viewers, 20 percent more viewers than the last episode of “Smith” and a far higher percentage of the lead-in audience from “The Unit.”
But with an average of nine million fans having tuned in, inevitably there were many disappointed viewers who went looking for the fourth episode of “Smith,” only to find yet another episode of “CSI.” Some of them took to Internet bulletin boards to express their outrage, like a viewer named Matthew on the Web site TVSeriesFinale.com.
“I just want to say how much of a relief it was to sit down and watch a show like ‘Smith’ without having to hear any medical mumble jumbo,” he wrote.
From NY Times.com.
posted by nikita | 2:20 AM
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