5. Television

Tales of Balloon Boy: Front and Center at a Media Circus

On October 15th, the big “Balloon Boy” incident involving the quirky Heene family took over broadcast and cable news. By now you know the story – a boy named Falcon went missing in a UFO-shaped weather balloon flying across the Eastern Plains of Colorado. Miraculously, he turned up safe and sound in the family’s attic.

That should have been the end of the story. It wasn’t. Covering the story for a national media outlet I thought that once the Larimer County Sheriff announced Falcon was found everyone would wrap things up and go home. Instead I was surprised to find a media monster consumed by the story and even more committed to covering each and every angle.

After we found out that the Heene family staged the entire event to get a reality show deal I’m even more embarrassed to admit I was part of the media circus. Maybe I shouldn’t beat myself up. Turns out that I’m part of a long, sad history of the media falling for the latest hoax. From the War of the Worlds broadcast in 1938 to the drama surrounding Jon & Kate Plus Eight today, we live in a world where bread and circuses sells. We might not have all the facts (or even know if it’s a true news story at all) but if we have stunning visuals or eye popping drama we’re going to cover it.

Everyone wants to be in the news nowadays, figuring that those 15 minutes will give them riches and fame beyond their wildest dreams. That’s why you see these sorts of desperate attempts to get famous. Rather than deal with the anonymity most of us have in our normal, cash-strapped lives, we’d like to be the next Richard Hatch, Omarosa Manigault-Stallworth or Jon Gosselin. These personalities have cashed in on whatever public prominence they have gained to become a media star, however briefly.

Should we expect to see the Heene’s dream of becoming stars become a reality even as they face criminal charges for orchestrating a hoax that got the fame in the first place? Although they’re pariahs this week, there will be a cable outlet that will take a gamble on them. That’s a tragedy for the Fourth Estate.

No doubt, this won’t be the last hoax perpetrated for publicity. But if the media keeps indulging such people we might start seeing these ‘events’ almost every day; or maybe every other hour. “Balloon Boy” you’ve floated into our lives and reminded us of a powerful message traveling across our land. America has a new moniker — land of the free and home of the reality television star.

Letterman Scandal Could be Ratings Bonanza for CBS

In a time where network influence is waning, CBS will likely emerge as the big winner in the aftermath of the David Letterman scandal. As CBS’ most enduring star, having hosted a highly rated late night talk show there since 1993, Letterman has tremendous audience pull. During his program on Thursday, Letterman confessed to a studio audience and viewers watching at home that he had been the victim of a would-be multimillion-dollar extortion plot, perpetrated by a former CBS colleague. Letterman also admitted that he had had sex with female co-workers.

The news shocked the nation and tabloids around the country jumped on a story like sharks with blood in the water. The New York Post and the New York Daily News, NYC’s most prominent tabloids, both splashed the story across page one in their Friday editions. Chances are the scandal will not die away quickly.

In a cold-blooded business sense, this is manna from heaven for CBS. The network will benefit mightily from the publicity blitz and this in turn can help kick-start CBS’ slate of fall programs. That Letterman confessed on his show contributed to the high drama and gave viewers an incentive to watch the program at a time when Letterman is locked in a hotly contested battle with his counterpart on NBC, Conan O’Brien.

From Fatty Arbuckle to present day, sex scandals produce a huge amount of publicity and tend to take on a life of their own. If a media outlet can get in the middle of the story, they can ride the ratings boost for quite some time. Conversely, Letterman was the big loser when actor Hugh Grant confessed his sexual peccadilloes on Jay Leno’s late-night show on NBC in the mid-1990s. That bombshell helped Leno surge past Letterman, and stay in first place.

It just goes to show, any publicity is good publicity. Just ask CBS.

Virtual Clutter Coming to a TV Near You

Reminding me of a scene out of Rollerball or Demolition Man sports teams continue to find ways to improve their bottom line by cluttering up their product. Some have been around for years (stadium signage and commercial tie-ins) while others have emerged in recent years (in-game promos, sponsor “bugs” in the corner of the screen) but the biggest innovation in raking in more moola are the virtual ads.

You’ve seen them if you’ve watched Major League Baseball, NASCAR or the National Hockey League. They’re the high-tech ads digitally inserted inside game coverage and only visible to viewers at home, not fans at the arena, raceway or ballpark. At first they were a curiosity; now they’re becoming an annoyance as more teams find ways to cram more ads into their games.

This week, the NHL discussed how to use virtual ads during the season with its national TV partners in the USA and Canada. At least four NHL clubs are working with their regional sports networks to sell virtual ads next season: the Colorado Avalanche, New Jersey Devils, New York Islanders and New York Rangers. Expect more to climb on board in the coming months.

Teams already have their pitch down for these intrusions. With viewers flipping channels, marketers want to stick their messages “inside the games,” rather than around them during commercials, said Tom Philand, senior vice president at Altitude Sports & Entertainment, which airs Avalanche games. Virtual ads are not only “zapper proof,” studies have shown that such a sign is more than twice as likely to be recalled as a 30-second spot.

What do fans think of this? The Rangers and MSG Networks said they got only a “handful of complaints” after placing virtual ads for Subway, New York Life and iO TV on the glass behind the goalies in several game telecasts last season. Sponsors, however, don’t completely agree. Tony Pace, Subway’s chief marketing officer, said “Some viewers thought it was so visible it detracted from their view of the game.” Really? You think so?

Personally, I found them to be yet one more distraction detracting from my enjoyment of viewing this sport, although my friends would say watching hockey on television is hardly enjoyable. As virtual signs continue to grow in importance I wonder where it will stop.

The NHL will likely lead us further into this commercialized hell. Having placed advertising on everything it can, from the arena, ice and boards to the curtain in front of which coaches and players give interviews, they’re not one leave any revenue stone unturned. It’s just a matter of time before they go the route of European teams and have ads on uniforms as well.

I don’t know about you but I’m sure this multi-sensory overload will eventually drive me away from spectator sports and into a nice, quiet, happy place free of advertising noise. Curling anyone?

ESPN to Employees: To Tweet or Not to Tweet

Although the staying power of Twitter is still up for discussion, some media companies are cracking down on their employee’s use of the social networking tool. First to lay down the law - ESPN. The Worldwide Leader in Sports drew the wrath of some of its employees yesterday when it issued a set of formal guidelines limiting their use of social networking.

“The hammer just came down, tweeps: ESPN memo prohibiting tweeting info unless it serves ESPN,” Ric Bucher, one of the network’s NBA analysts, wrote to followers of his Twitter feed yesterday. ESPN’s Kenny Mayne followed with a great analogy: “was informed 2nd hand of Taliban-like decree against further Twitter.”

According to a memo issued by ESPN, the “first and only priority is to serve ESPN sanctioned efforts, including sports news, information and content.”

The guidelines prohibit “personal websites and blogs that contain sports content,” and talk about internal policies, a relatively standard practice for any media company. But they also aim to define when and what employees are allowed to Tweet about, including sports. ESPN’s guidelines go on to say, “If you wouldn’t say it on the air or write it in your column, don’t tweet it.”

What brought this about? Two reasons. One, it seems that the network that routinely broadcasts athletes’ Twitter updates on SportsCenter is getting concerned that its talent is getting off-message.

The other reason is one of protecting an investment. Turns out that ESPN is working on a platform that will allow it to publish its employees’ Twitter and Facebook entries simultaneously across “ESPN.com, SportsCenter.com, Page 2, ESPN Profile pages and other similar pages across our web site and mobile platforms” in the Fall. The last thing ESPN wants is indirect competition from their talent which might dilute the new content.

To show how serious they are about this the network warned, “if ESPN.com opts not to post sports related social media content created by ESPN talent, you are not permitted to report, speculate, discuss or give any opinions on sports related topics or personalities on your personal platforms.” Failure to follow the guidelines could result “in a range of consequences, including but not limited to suspension or dismissal.”

Wow! Seems heavy handed to the Media Mogul. And we wonder if it hurts their ability to be the first to ‘break’ a story. Twitter’s biggest strength is the instantaneous communication to an audience. It will be interesting to see if the media giant can wrest control of spontaneous tweets away from its employees. Stay tuned.

And That’s the Way It Was…

Walter Cronkite, who anchored the CBS Evening News from 1962 to his retirement in 1981, died Friday after a long illness. As a television journalist and anchor, Cronkite was simply one of a kind and remarkably influenced history in ways that no other broadcaster ever did. In today’s vapid news coverage it’s hard to believe that one man could have such power. Yet in the glory days of the Big Three networks, Cronkite was the Zeus of broadcasting’s Mount Olympus.

Take his view on war. Late in President Lyndon Johnson’s term, Cronkite turned pessimistic about America’s prospects for winning the Vietnam War. And he voiced his view on a broadcast. When Johnson learned that Cronkite had taken this stance, he said that if he had lost Cronkite, he had also lost America’s support. Johnson ultimately declined to seek a second term in 1968, and the nation’s anti-war movement gained momentum.

Cronkite shaped our lives, too, like no other media figure. When President John Kennedy was assassinated in Dallas on Nov. 22, 1963, much of the nation heard the news from Cronkite. When he removed his glasses and showed his grief on the air, it was a sign, somehow, that the nation was headed for trouble.

And he wasn’t beyond living in the moment. When we look at the Apollo 11 landing it’s hard not to think about Cronkite’s minute by minute coverage. We shared in his joy as we saw Neil Armstrong’s first step on the moon.

Can you imagine any news anchor today wielding such influence? Can anyone hope to have this kind of impact on American lives?

Cronkite loathed the kinds of TV journalists of this era who made their reputations by shouting and bickering on the air. He never raised his voice, probably because he never had to. He had the respect of his colleagues, counterparts and audience members because he focused on breaking news and speaking in plain English.

Cronkite was an enormous cultural icon as well. Archie Bunker, the fictional symbol of America’s Silent Majority, detested Cronkite on All in the Family. While right-wingers didn’t appreciate Cronkite, they, like everyone understood the nation trusted him. No wonder Cronkite earned a reputation as the most trusted person in the country.

TV news figures today seem to believe that the louder they talk and the more they argue on the air, the more respected they will be. It’s as if they learned nothing from Cronkite’s example. They lack his integrity and dignity — and don’t appear to care at all.

That’s too bad. The nation now needs the kind of calm, measured style that Cronkite took such pride in presenting to viewers.

And that’s the way it is.

For Your Consideration… Best Picture Nominees Expand

If you’ve ever felt that your favorite movie got robbed of a Best Picture Oscar nomination, the Academy of Motion Picture Arts & Sciences (AMPAS) is here to help. Starting in 2010, they will be expanding the number of Best Picture nominees from five to 10. Woo Hoo!

Truth is, this change isn’t about you. It’s about the pursuit of the almighty dollar. For the last decade, the Academy has been under pressure to get better ratings and keep ABC and those advertisers happy. The theory goes something like this according to Sid Ganis, President of AMPAS, “Having 10 Best Picture nominees is going to allow Academy voters to recognize and include some of the fantastic movies that often show up in the other Oscar categories, but have been squeezed out of the race for the top prize.”

The Academy argues that they’re simply honoring an earlier tradition. Back in the 1930’s and 40’s, the Best Picture category welcomed 10 nominees. In 1931/32 there were actually 12 nominees. The 16th Academy Awards (1943) was the last year to include a field of that size with Casablanca being named Best Picture for the year. Too bad we don’t have the quality of films of say, 1939, when the nominees were Dark Victory, Gone With the Wind, Goodbye Mr. Chips, Love Affair, Mr. Smith Goes to Washington, Ninotchka, Of Mice and Men, Stagecoach, Wizard of Oz and Wuthering Heights. Now that’s a Top Ten list!

Such a move might have made sense back in the 1960’s and 70’s but today the American film industry makes very few great films. Just look at the theatre marquee this weekend when Transformers, Year One and Land of the Lost are all in lights. With such gems to choose from I wonder where the Academy will even find 10 worthy films this year.

I’m tempted to call this the “Dark Knight Rule” because it feels like it’s in response to the blockbuster’s awards snub which came back to bite the Academy on Oscar night with low ratings of the show. The thought might be to increase the buzz (and television ratings) by adding nominations. Ratings for the telecast have slipped steadily since the 1990’s when more than 55 million viewers tuned in to see Titanic win Best Picture. With other entertainment options like the Internet taking people away from what used to be must see television, 10 spots would allow popular films like Dark Knight or Star Trek to be nominated. That could cause more viewers to tune in.

However, the Academy has never been about recognizing action-adventure films and box-office smashes (the Lord of the Rings trilogy being the recent exception). They simply don’t resonate with voters. With so many more dramas released every year compared to popcorn films, this rule simply makes it easier for the Academy to include niche dramas (think The Wrestler) that wouldn’t have had a chance otherwise.

Personally, I think this move undermines the integrity of the Academy Awards. Whether you agreed or disagreed with the five nominated films each year, there was a cachet around being nominated. There’s a little less luster on Oscar now… and five extra montages during the telecast next year.

I remember being at a friend’s house and his 8-year old son walked in with a huge trophy. When I inquired what he won for he replied, “It’s no big deal. Everyone gets one.” I don’t know about you but I don’t want the Academy Awards to turn into a 10-and-under suburban soccer league.

Come on AMPAS, is this what you’re really about? Are you so obsessed with television ratings that you are willing to sacrifice the original mission of the Academy? The real winners in this are ABC, the Oscar consultants who lobby voters for nominations and the trades. I can envision the full-page “For Your Consideration” ads for Transformers even now.

The Digital Divide Just Got a Little Wider

D-day — June 12, 2009. Last Friday was the day when the remainder of the nation’s 1,700 analog television stations shut down in the long-promised changeover to digital broadcasting.

Cable and satellite viewers — or those whose TV has a digital tuner — were still able to watch American Idol, CSI and Heroes, unaware that anything has changed. But when the 21 million households using a conventional set with rabbit ears or an old rooftop antenna turned on their TVs, they saw … nothing.

The reaction from many tends to be, “So what? Its just television.” Ironically, this reaction usually comes from people already subscribing to cable/satellite and wired with broadband. They’re not the ones affected by the changeover. Or you hear people say, “Just go to the library.” But with libraries miles away in rural America and urban ones having long lines and limits on usage that’s not a viable alternative. When you are one of the “Haves” it’s hard to identify with the “Have Nots.”

Make no mistake, television is a need. We’re many technological advances away from the days when food, water and shelter were are only needs; a thirst for information and entertainment, while not a basic need still is important in person’s well being. With limited options, television becomes an even more important part of life for the poor, elderly and people living in rural America. We’d like to think that all Americans take part in the Tivo-Broadband-YouTube world we know now. That’s simply not the case. This digital conversion we’re undergoing threatens to turn a good portion of the population into Tom Joads, no longer participating in modern cultural life.

Although some have fallen in love with video over the Internet and believe broadcast television is dead, it still has the communications importance most media dream of. Aside from serving as an affordable form of entertainment, it disseminates important information concerning current affairs, public safety and security. And when you compare the ratings of Lost on ABC to an episode of Mad Men on AMC or an airing of 30 Rock on Hulu, both cable and Internet platforms fall far behind on influence.

Access and affordability are two huge issues. It’s hard to watch Hulu or YouTube if you’re not wired up in Western Kansas. Many poor urban neighborhoods might be wired, but the price of digital cable ($80/month) and/or broadband ($30/month) can be cost prohibitive for a family on the south side of Chicago. These consumers will have to rethink how they receive entertainment.

For argument’s sake, lets say everyone in America had a digital television set. Although that would solve one problem, it reveals another. Most analog stations switching to a digital signal are affiliates of the Big Four networks (ABC, NBC, CBS and Fox) or local public television stations.

Thirty years ago content provided from these networks was the gold standard of programming. Today, they represent a small sliver of what’s available. If you want sports, you better have ESPN. If you want the latest news you’ll need to tune into CNN. As networks scale back their news operations and provide cheaper reality programming instead of scripted series, higher quality shows and diverse programming has moved to smaller networks available only on satellite or cable.

The value of the Big Four isn’t what it once was.

Given the importance that television as a whole plays in the day-to-day life of most people, the government must take responsibility to ensure there’s equal digital access to all Americans. Over the years, they’ve done just that.

In 1935, Congress signed the Rural Electrification Act, which first brought electricity and then phone service to farms. When TV systems moved from black-and-white to color, the government made sure the new technology was compatible with the old system. And in February, Congress approved $7.2 billion to bring high-speed Internet to underserved areas of the U.S. That’s a good start.

It’s unlikely everyone is going to start watching American Idol on their computer anytime soon. Until that time, a larger spectrum of channels needs to be available for free or subsidized by the government. Cable and satellite prices need to be regulated or subsidized so that all can afford a basic tier of channels.

I’m sure a little brainstorming by the powers that be would reveal other possibilities as well. But a shortsighted policy of providing full digital content only to urban and a smattering of rural areas creates two Americas of information “Haves” and “Have-nots.”

We cannot make this mistake today.

The Lowdown on Upfronts

If it’s mid-May, it’s time for “upfronts,” broadcast television’s time to present their new show lineups to the press and advertisers. Although we anxiously await what shows return or are cancelled, the main purpose is to allow advertisers to buy commercial airtime “up front” of the television season. What’s at stake? Roughly $140 billion dollars of commercial time.

This year promises to be different with the lousy economy, however. That’s the prediction from Barclays Capital’s Anthony DiClemente, who says that a combination of factors (greater cable penetration, surge in Hulu and iTunes, in addition to the economy) will force all networks to sell less advertising, at lower prices, than they have for quite some time. Translation: DiClemente sees a 15 percent drop in upfront sales this year–the first double-digit drop for the networks since 2002.

Since most cable networks present earlier in the spring because they program for the summer months, the focus is squarely on the Big Four (ABC, NBC, CBS, Fox). While there are plenty of returning favorites (Chuck survives!) and new shows that will potentially snag spots on our DVRs (Day One is our pick), the biggest news of upfronts have been the shows exiled to rerun purgatory… or ones that will be there shortly due to scheduling changes.

CBS
Sure to make headlines is The Mentalist, which will now air Thursdays at 10PM after CSI. The move is seen as a way for CBS to shore up its Thursday night lineup. The schedule also reveals renewal orders for shows like Big Bang Theory, Two and a Half Men, How I Met Your Mother, New Adventures of Old Christine and all three CSI series (nothing breeds mediocrity like success). No surprises there. One eyebrow raise was the Friday night pick-up for Medium, which was previously cancelled by NBC. Paired with The Ghost Whisperer it might have found its niche.

New shows include The Good Wife, Three Rivers and NCIS: Los Angeles, an NCIS spin-off in the worst traditions of CSI and Law & Order. Can we get an original concept please! The network has also acquired Miami Trauma, a Jerry Bruckheimer-produced medical drama set in Miami, as well as the new comedy series Accidentally on Purpose, starring Jenna Elfman.

Here’s a complete look at CBS’ fall schedule:

Monday: 8 p.m., How I Met Your Mother; 8:30 p.m., Accidentally on Purpose (new comedy); 9 p.m., Two and a Half Men; 9:30 p.m., The Big Bang Theory; 10 p.m., CSI: Miami

Tuesday: 8 p.m., NCIS; 9 p.m., NCIS: Los Angeles (new spinoff); 10 p.m., The Good Wife (new drama)

Wednesday: 8 p.m., The New Adventures of Old Christine; 8:30 p.m., Gary Unmarried; 9 p.m., Criminal Minds; 10 p.m., CSI: NY

Thursday: 8 p.m., Survivor; 9 p.m., CSI: Crime Scene Investigation; 10 p.m., The Mentalist

Friday: 8 p.m., Ghost Whisperer; 9 p.m., Medium; 10 p.m., Numbers

Saturday: 8 p.m., Drama repeats; 9 p.m., Drama repeats; 10 p.m., 48 Hours Mystery

Sunday: 7 p.m., 60 Minutes; 8 p.m., The Amazing Race; 9 p.m., Three Rivers (new drama); 10 p.m., Cold Case

NBC
It’s a tale of two TV seasons next year at NBC. With the Winter Olympics right in the middle of the season, the Peacock will take advantage of the Games by splitting its schedule into two halves. The fall/spring split will also allow NBC to make good on its promise to rotate shows in and out of time periods throughout the year.

The biggest news on the schedule is bringing The Jay Leno Show to prime time this fall. Although a huge asset to NBC, the move stinks of cost cutting. If Leno can get even so-so ratings it will be viewed as a success by the network.

Lineup changes include moving Southland to Fridays and replacing My Name Is Earl with SNL Weekend Update on Thursday (until new comedy Community moves in). New dramas Trauma and Parenthood will air Mondays and Wednesdays this fall, while shows like Day One, Marriage Ref, 100 Questions and Mercy will have to wait for midseason. Chuck will be back but not until February; fans and support from Subway made it happen. And Law & Order is back for a 20th season… amazing! It will tie Gunsmoke as the longest running scripted drama.

Here are NBC’s two schedules:

Fall:

Monday: 8 p.m., Heroes; 9 p.m., Trauma (new drama); 10 p.m., Jay Leno

Tuesday: 8 p.m., The Biggest Loser; 10 p.m., Jay Leno

Wednesday: 8 p.m., Parenthood (new drama); 9 p.m., Law & Order: Special Victims Unit; 10 p.m., Jay Leno

Thursday: 8 p.m., SNL Weekend Update Thursday; 8:30, Parks and Recreation; 9 p.m., The Office; 9:30, Community; 10 p.m., Jay Leno

Thursday (after SNL ends): 8 p.m., Community (new series); 8:30 p.m., Parks and Recreation; 9 p.m., The Office; 9:30, 30 Rock; 10 p.m., Jay Leno

Friday: 8 p.m., Law & Order; 9 p.m., Southland; 10 p.m., Jay Leno

Saturday: 8 p.m., Dateline NBC; 9 p.m., Trauma repeats; 10 p.m., Law & Order: SVU repeats

Sunday: 7 p.m.: Football Night in America; 8:20, Sunday Night Football

Midseason:

Monday: 8 p.m., Chuck; 9 p.m., Day One (new drama); 10 p.m., Jay Leno

Tuesday: 8 p.m., The Biggest Loser; 9:30p.m., 100 Questions (new comedy); 10 p.m., Jay Leno

Wednesday: 8 p.m., Mercy (new drama); 9 p.m., Law & Order: Special Victims Unit; 10 p.m., Jay Leno

Thursday: 8 p.m., Community (new series); 8:30 p.m., Parks and Recreation; 9 p.m., The Office; 9:30, 30 Rock; 10 p.m., Jay Leno

Friday: 8 p.m., Law & Order; 9 p.m., Southland; 10 p.m., Jay Leno

Saturday: 8 p.m., Dateline NBC; 9 p.m., Southland repeats; 10 p.m., Law & Order: SVU repeats

Sunday: 7 p.m., Dateline NBC; 8 p.m., The Marriage Ref (new reality); 9 p.m., Celebrity Apprentice

ABC
ABC is looking to go back to basics and focus on one of their historical strengths – the sitcom. The fall schedule includes four new comedies (Hank, The Middle, Modern Family, Cougar Town) back-to-back on Wednesday. That’s a big change from last year, when the network entered the fall with just one comedy. With such comedic heavyweights as Kelsey Grammer (Cheers, Frasier), Patricia Heaton (Everybody Loves Raymond) and Courtney Cox (Friends), the Alphabet network has a good chance to capture the night.

Ugly Betty moves to Fridays, while Scrubs, Better Off Ted and The Bachelor will move in after Dancing with the Stars’ ninth season ends. Meanwhile, new series Deep End, Happy Town and V wait for midseason. Noticeably absent from the schedule: According to Jim, In the Motherhood and Cupid (for a second time!) along with Samantha Who? and The Unusuals.

Here’s a glance at the schedule ABC unveiled:

Mondays: 8 p.m., Dancing with the Stars (The Bachelor after Dancing completes its run); 10 p.m., Castle

Tuesdays: 8 p.m., The Shark Tank (new reality show); 9 p.m., Dancing with the Stars Results Show (Scrubs and Better Off Ted after Dancing completes its run); 10 p.m., The Forgotten (new drama)

Wednesday: 8 p.m., Hank (new comedy); 8:30 p.m., The Middle (new comedy); 9 p.m., Modern Family (new comedy); 9:30 p.m., Cougar Town (new comedy); 10 p.m., Eastwick (new drama)

Thursday: 8 p.m., Flash Forward (new drama); 9 p.m., Grey’s Anatomy; 10 p.m., Private Practice

Friday: 8 p.m., Supernanny; 9 p.m., Ugly Betty; 10 p.m., 20/20

Saturday: 8 p.m., College Football

Sunday: 7 p.m., America’s Funniest Home Videos; 8 p.m., Extreme Makeover: Home Edition; 9 p.m., Desperate Housewives; 10 p.m., Brothers & Sisters

* New shows on the bench for midseason include the dramas Deep End, Happy Town and V.

Fox
The network that’s aggressively promoted the midseason switch is back with a lineup that looks much like last years. Among the favorites returning this fall: House, sophomore success Lie to Me, Bones, Sunday’s animated comedies (Simpsons, Family Guy, American Dad) and in a bit of a surprise, Dollhouse. Also joining the fall is an additional season of So You Think You Can Dance, which has snagged a two-hour spot on Tuesdays, followed by a results show on Wednesdays. With Idol and 24 the cornerstones in the spring, newbies Human Target, Past Life and Sons of Tucson will look to help out.

And now for the bad news: Terminator: The Sarah Connor Chronicles has been canceled. Great concept but it just couldn’t find an audience. Moving sci-fier Fringe to Thursday nights could be a bust. That’s not a night known for genre fare and powerhouse dramas on ABC and CBS as well as NBC’s signature comedies dominate.

The Fox Fall 2009 schedule:

Monday - 8 p.m., House; 9 p.m., Lie to Me

Tuesday - 8 p.m., So You Think You Can Dance (two hours)

Wednesday - 8 p.m., So You Think You Can Dance results show; 9 p.m., Glee

Thursday - 8 p.m., Bones; 9 p.m., Fringe

Friday - 8 p.m., Brothers (new comedy); 8:30 p.m., ‘Til Death; 9 p.m., Dollhouse

Saturday - 8 p.m., Cops; 9 p.m., America’s Most Wanted

Sunday - 7 p.m., Football OT; 8 p.m., The Simpsons; 8:30 p.m., The Cleveland Show; 9 p.m., Family Guy; 9:30 p.m., American Dad

The Fox Winter 2010 schedule:

Monday - 8 p.m., House; 9 p.m., 24

Tuesday - 8 p.m., American Idol; 9 p.m., Past Life (new drama)

Wednesday - 8 p.m., American Idol results show; 9 p.m., Human Target (new drama)/ Glee (returns in spring)

Thursday - 8 p.m., Bones; 9 p.m., Fringe

Friday - 8 p.m. Brothers (new comedy); 8:30 p.m., ‘Til Death; 9 p.m., Dollhouse

Saturday - 8 p.m., Cops; 9 p.m., America’s Most Wanted

Sunday - 7 p.m., Animation repeats; 7:30 p.m., American Dad; 8 p.m., The Simpsons; 8:30 p.m., Sons of Tucson (new comedy); 9 p.m., Family Guy; 9:30 p.m., Cleveland Show

March Madness Hits… and Misses

Like a sunny spring day in Milwaukee, March Madness defrosts sports fans out of the February deep freeze. As the second biggest sporting event in the U.S. after the Super Bowl, it’s not only highly anticipated but commercially successful. This years NCAA Men’s Basketball Tournament had mixed media reviews.

Last Monday night’s final matchup between North Carolina and Michigan State came in as the lowest-rated championship game ever, drawing a 10.8 household rating/18 share among households and 17.6 million viewers, according to final figures from Nielsen Media Research. Overall, March Madness basketball coverage on CBS averaged 8.9 million viewers this year, up 2% from 2008’s all-time low average. Among the all-important male demographic, tournament averages were down 14% in men 18-34, 4% in men 18-49 and 2% in men 25-54. Since it’s sports there’s always some viewership variations depending on how good the games are, but the statistics are a cause for concern.

On the bright side, CBS’s ‘On Demand’ service performed impressively, demonstrating that sports are the one TV genre that translate smoothly and non-competitively onto the Web. According to the CBS release, unique visitors who checked out at least one game or highlight on CBS’s player was 7.52 million, up 58% from 2008’s 4.76 million. The total hours streamed were 8.6 million, up 75% from 2007’s 4.92 million.

Growth in the total number of viewers continues to increase, indicating people are willing and eager to watch NCAA basketball games on the computer at home and at work. If CBS can continue to increase their internet audience, it should help offset declines in television. As the Internet matures, March Madness on Demand is transforming from phenomenom to real growth business for CBS.