Mark said:
TexasTom said:
Keep in mind that the success of an independent TV station needs to be evaluated on the basis of the entire day's schedule, and not just on primetime ratings. Even back in the golden days of independent TV stations (the seventies and eighties), many of these stations did great in the afternoon and evening, but lost most of their audience once primetime programming started on the network affiliates.
I think this is an excellent point, but the one thing today that is different is infomercials. Innovative programming isn't needed when you can have cheap programming that makes the station a lot of money.
There is no long such a thing of a program that is made to show that the network has "class" and "culture."
I recall reading that Orson Wells credits his success on radio to the fact the network had to have programming to fill. Since they could only air so many commercials. They knew the show wouldn't be a commercial success so they let him do his shows and gave him free reign, PROVIDED it was done with taste, and would appeal to an audience that would NOT be listening. In other words capture the niche audience.
So he was allowed to develop different programs some were hits, most were not but almost all were critically acclaimed and that acclaim gave the network something to crow about.
Now with Six Sigma techniques it's not about making a profit, it's about making THE MOST profit. If you make a profit but could've made more, Six Sigma sees it as a failure. And this is the business model for most of the country
At the time Welles did his "War Of The Worlds" broadcast in 1938, CBS had him on Sunday nights at 8 (Eastern), against the number-one
radio attraction of that year, Edgar Bergen and Charlie McCarthy. Welles was unsponsored at that point, but he was presenting some of
the most innovative productions (including "War") being heard in those days. The publicity "War Of The Worlds" received finally got
Welles a sponsor--Campbell's Soup--but no diminution in the quality of his programs.
I think a major change in thinking came with the shift from full sponsorship to spot buys. In the '50s companies like Firestone, Westinghouse,
Kraft, Alcoa, Philco, etc.,
wanted to be associated with high-quality programs, which didn't hurt sales any. But when advertising
shifted to spot buys, with the emphasis on gross rating points, it became important to reach as many households as possible, and most
of those households weren't watching Studio One, Voice Of Firestone, See It Now, etc. Also, the first sets were purchased mainly by
high-income families; as sets became more affordable, people with lesser incomes tended to favor sitcoms, Westerns, cop shows, etc.
(and I realize I'm generalizing here, but the fact is that most of the prestige programs were gone by 1960).