I have a plan for Fox to change the Late Night game – it extends beyond just hiring Conan - and in the process it would leverage their existing assets and create a significant stream of revenue for the Fox television network. This strategy would shake up the network TV landscape, and would offer Fox the opportunity to join the party at 11:35 PM.

It wasn’t that long ago that Fox was as struggling start-up network, however today it is often ranked at the top of the ratings with blockbusters like American Idol, and 24, and yet after the local news at 10 PM the local affiliates transition to blocks of syndicated sitcoms. So, it’s time to shake things up and move past old Seinfeld repeats.

Here’s the idea: build a national newscast to air at 11 PM using the resources of the Fox News Channel and then lead into Conan O’Brien at 11:35 PM. It’s the perfect opportunity to extend the Fox News Channel’s brand, to bring something new to the timeslot, and to set Conan up for a fair fight in late night. On the other Networks, the traditional 11 PM newscast has been produced by the local affiliates, however Fox already serves that niche at 10 PM and there is no other eleven o’clock National newscast on any of the broadcast networks. This would offer Fox the opportunity to differentiate its programming, showcase its news reporting talents, and to familiarize new audiences with the FNC brand, and then position them to lead into Conan at 11:35 PM. With that strategy, since Conan’s demos match up better with Fox’s than NBC, he could build an audience that would grow over time and carve out a real home run for Fox in the Late Night day-part.

While many are arguing that Conan can sign with Fox and go on the air at 11 PM to beat Jay and Dave to the punch, I think that’s the wrong approach. It’s too similar to Jay Leno’s failed primetime experiment; which if nothing else teaches us that audiences expect that Late Night television will start after the late news. Further, a weakness of putting Conan on at 11 PM is that Fox could find itself in the precarious position of viewer turnout thirty-five minutes into his program as they flip to Leno or Letterman.

This proposed strategy has a unique value proposition as a win, win, win. First, a win for the affiliates because Fox will make their 11 PM more relevant and differentiate them in their marketplace; a win for Conan who gets to re-join the Late Night competition going head to head with his rivals, and perhaps most importantly a win for advertisers who covet Fox’s younger skewing demos.

If you happen to work for the Fox network feel free to run with the idea; of course I would be happy to further consult with you on how to best design and bring this strategy to fruition…

With Leno’s debut in a few short hours at the 10PM slot on NBC, there are a myriad of questions that observers are going to look to answer.  Of course, first and foremost, is whether or not audiences will be receptive to a stripped comedic variety show at the 10 o’clock time-slot.  Can Leno draw the a significant audience to make the strategy pay off for NBC.  Does such a move alter the landscape in that late night television has just been redrafted, or in fact has the time come during primetime on the national stage for a variety program like Leno’s that will give the country something to laugh at in unison.

At the same time, the introduction of the program, comes at the cost of five hours of programming per week, which is often filled by highly produced and expensive dramas, or investigative news programs.  So, to some extent the question which will be harder to answer is what will the impact be on those arenas.  Will NBC slash its news magazine budgets, will programs like Dateline continue to exist during other day-parts, or might NBC scale back in those arenas.  Similarly, will there be some shifting in the 10PM drama, which may send programs to other networks, or translate into opportunities for growing cable networks like TNT or FX.

One thing is for sure; the introduction of this type of program is a new and unique approach to programming on the network level that hasn’t been seen in quiet some time.  So, whether this proves to be a monumental shift in programming, or simply an experiment in late night television trickery it’ll be interesting to watch and observe and answer these questions.

Late Night’s faces are shifting, and in the process so is the business of television.

Over the course of the past several months we’ve already watched late night television begin to evolve as Conan moved from New York to Los Angeles and handed the keys to Late Night over to Jimmy Fallon.  Now, of course, Jay Leno has handed the storied reigns of The Tonight Show to Mr. O’Brien – but unlike those late night shifts of the past this story doesn’t end here.  Instead, in September, Mr. Leno will re-emerge in a new prime-time show on NBC nightly at 10PM.

So in essence, rather than a simple hosting transition, like that of Carson to Leno, this movement instead is more like a seismic shift for late night television.  (Actually, I’m not even sure that moniker is accurate anymore, as we’ll now see this variety-style show airing from 10PM to about 1 or 2 AM.)  With the addition of Leno’s new program to the landscape there are many questions, which are left to be answered in the coming months and years.  Can Leno be successful at that early hour? Who will get the big guests? What will differentiate the programs? Does the audience have enough interest for what amounts to 3 hours of talking heads on Network television each night?

That said, however, potentially one of the most interesting questions that remains to be answered is that of what the impact will be on the Business of Television.  Consider for a moment, that if the strategy works NBC, will have taken a time slot that typically requires on average $3 million dollars per night to create an hour long drama – and filled it with a topical comedy variety show which is costing somewhere in the ballpark of $30 million for a year.  The result for the network will be the ability to earn a higher return on their investment – and therefore a better payoff for the network’s ownership: GE.

Further, if this proves successful, there is a high likelihood that it will change the entire game of television: putting pressure on the other broadcast networks to adopt similar strategies; yielding improved profits for the other ownership groups (and their shareholders).  Additionally, this shift would leave a lot of popular programming and creative talents without a home – a void that can actually create new opportunities for growing cable outlets like TNT, FX, Lifetime and others.  All in all, this late night shift could alter the television landscape as we have known it for quite some time.

Actually, if it works out I wouldn’t be surprised if we saw NBC extend the Today show by a few more hours, and rebranded the 10PM – 1AM block as The Tonight Show and called it a Day.

On Tuesday night, as I began to unwind from a busy day I turned on WNBC to watch the local news, and caught Len Berman’s teaser about his upcoming piece on the New Yankee stadium.  I flipped around and made it back to NBC just as Berman’s sportscast was about to begin.  Berman raced through a litany of sports stories, all as readers, without any video highlights.  After those he then had a brief package on the New Yankee stadium.  Overall, the sports segment struck me as rather lackluster and very un-Berman like.

Fast forward to Wednesday morning, and I am reading a post on a popular Media message board, and I find out that Al Roker had sent a Tweet yesterday that legenday New York sportscaster Len Berman had ben forced out. Now, the subpar sports report makes sense.

But it seems ironic that the news of a popular New York broadcasting figure would first slip out via a new medium such as Twitter. Especially, given the fact that local outlets like WNBC are trying to stay prominent and relevant in the face of new online options that are distracting audiences. I think the smarter move for these outlets would be to further devlop these types of talents in an effort to connect with and retain local audiences.

Lately, there have been reports about the fact that many people – especially given the economic times – are abandoning subscription television services.  Instead with the advances made on the web, and increase availability of high-speed internet, coupled with new online sites that allow audiences access to a wide variety of programming, today’s audiences can, for the most part, access anything their TV would have conventionally brought into their living room through their laptop.  That said, one area that still hasn’t completely matured is the area of live news and sports.  There are some minor advances in this arena, CNN has a 24/7 online stream but it is not the same on-air product, and for most major sporting events legalities prevent most games from being available online at the moment.  That said, this is an interesting trend to be aware of and yet another example of how powerful the web is to alter our communications paradigm.

While the first State of the Union Address broadcast on the web was President Clinton’s 1997 speech, not nearly as many were on the web, or had the appropriate bandwidth to see the video.  Tonight however, we invite you to tune in right here as we see another example of that platonic shift as Hulu bring’s the President’s address to the mainstream social web.

On the web:
Cancel Your Cable and Still Watch Great TV: http://www.abcnews.go.com/GMA/Economy/story?id=6764960&page=1

No, not that Brown.  Aaron Brown.  Former CNN Anchor, who was jettisoned a few years back for the younger, more in-your-face, reporting of Anderson Cooper.

First, I must admit in writing this that I am an Aaron Brown fan.  I was sad to see him replaced at CNN a few years ago by Anderson Cooper.  It’s not that I don’t like Cooper, because I do, but Brown has a unique ability to tell the “important” stories. The stories, which many of us, myself included, might overlook because they are deemed dry or they seem like they’re half a world away (because they often are.)  However, Brown makes theses stories relevant and manages to tell them with a certain brand of character that lends a sense of candor and warmth to these tales, making them interesting, informative, and educational.

So with that in mind, what can the 60-year-old Brown do for PBS?  Perhaps, it is an opportunity for the outlet to rejuvenate its news coverage, to attract some younger or rather more varied audiences.  Or perhaps, as Brown makes the case in this intro video (link) it is the ability to present those important stories that aren’t getting covered anywhere else the attention that they so deserve.

For PBS, and for Brown, I think that this is a perfect marriage. Brown’s analytical take, and ability to connect with the audience will match well with PBS’ more documentary and longer-form approach.  While this initial run is scheduled as a limited engagement, I expect that this relationship will be successful and flourish in the coming months.  Judging by the reaction fans have had on the Wide Angle website, with nearly 50 comments already posted by viewers, the audience is there and eager to have Brown back in the chair.

Look for Wide Angle on PBS beginning this evening, August 19th on your local PBS Affiliate.

On the Web:
Program Website: Wide Angle
PBS: Schedule/PBS Affiliate Locator
Snubbed by CNN, Aaron Brown Gets Chance to Host New Show on PBS - The Hartford Courant

The interaction between the Web, and its ability to deliver video, and television continues to grow, and change.  In many respects, the web is beginning to alter the program development & production cycles for the networks and cable outlets.

Initially, the web was viewed by many as an outlet for additional content from television an avenue to deliver out-takes, mini-programs, and trailers.  However, with the web’s maturity, these same organizations are now seeing the true value of the web as a delivery mechanism that allows them to find new talent, test programs, measure success, and avoid many of the traditional barriers associated with television programming.

Perhaps, the most black and white example to date comes with NBC’s announcement that the network will preview Jimmy Fallon’s new late night program via 5 or 10 minute minisodes prior to his network debut early next year, when Falon is scheduled to takeover for Conan O’Brien, as O’Brien shifts to the Tonight Show at the same time.

Rather than leave Mr. Fallon to find his rhythm on the air, at the expense of the Network audience, and the show’s sponsors, this approach will allow him to ease into the new role at his own pace, without the concern of censors, and the pressures of filling an hour program every evening.  Instead, this new venue will allow him to slowly introduce himself to audiences on-demand via the web, and familiarize himself with the show’s format, all while allow viewers to get an early glimpse into what Late Night will look like next Spring.

What will it be next, Web Videos on Tape, on TV?

On the web: New York Times

While the United States is a rather large country, local flavor and customs vary greatly depending on where you go. Of course, I don’t mean literally, but if you want to take Culinary as an example of our cultural differences than you need not look any further than unique tastes in different areas from fish tacos out west, to the original cheese steak in Philadelphia, or BBQ in the South West. Despite these differences the American culture is often tied together by major news events, various pop culture icons, sporting events, and of course our affinity for popular television programs.

That said, I’ve been thinking a lot lately that it is interesting how American TV re-invents itself, and how there are shades of the late 1950s hit American Bandstand in Fox’s ever popular American Idol series. Obviously, these two shows are quite different from each other but there are some commonalities that manage to engage audiences, shape popular music, and embed themselves into the greater cultural patchwork.

Fifty years ago, when American Bandstand premiered on the National stage, after being a local Television show in Philadelphia on WFIL-TV, it was Dick Clark and his interviews of teenagers on the show that set the tone for popular music of the day, which translated to what aired on American Radio. In 1957, Bandstand even held a contest and awarded the title of “favorite female vocalist,” to Patti Page after a nationwide poll. While the polls today have shifted to include new technologies such as toll-free numbers with hundreds of automated receivers, text messaging, and the web; the underlying idea of the public choosing its favorite vocalist is very much the same concept. (Wikipedia, American Bandstand)

With that in mind, perhaps, most reminiscent of Bandstand is Idol’s ability to also shape the popular music landscape. It’s hard today to turn on a radio station, on either terrestrial or satellite, without hearing the likes of Kelly Clarkson, Bo Bice, Taylor Hicks, Ruben Studdard, Clay Aiken or a myriad of other successful acts to come from the television show. Despite all of the new avenues for music to develop and be distributed today, it is interesting just how many of the artists evolving in the same old fashion way; before our eyes on national television where we can get up close and personal, we can gain a glimpse into their personalities, and hear their unique sounds.

While we spend a lot of time focusing on new technologies at The MediaBackpage, it is interesting to take a step back sometimes and observe these types of programs, events, and the underlying power of television to create a shared cultural experience coast-to-coast. Now, the question is what’s next, The Love Boat?

Over the weekend and the New York Times column, Media Frenzy, by Richard Siklos had a good article about the on-going debate in terms of a la carte cable. 

"The Cable Operators are indisputably right about one thing; they shouldn’t need Mr. Martin [FCC] to tell them to do the right thing." (Skilos, NYT 4/16/06)

For those of you not familiar with this issue, the debate pits the cable conglomerates (who have all gotten comfortable with their pricey offerings) versus the FCC (who wants to offer consumers more options to control their monthly bill.)  Personally, I think that the end result of this debate is that the cable industry will increasingly offer consumers more options.  Cable operators will face increased pressure from both the FCC and the upcoming competition that they will experience as telephone providers jump into the television delivery business, including Verizon and AT&T.

Links:

Richard Siklos’ column