Cord-Cutting is On the Rise, But Is It Too Late to Save Broadcasting?

To hear some people talk, 2015 may be shaping up to be a turning point for the sports TV landscape and that of TV in general, where cord-cutting may be hitting a tipping point and substantially impacting ESPN’s business. It started with the advent of Sling TV allowing people to get ESPN without a traditional cable subscription, and has continued with the launch of HBO NOW and other over-the-top services. Then ESPN let several high-profile personalities go in the name of cost-cutting, including Bill Simmons and Colin Cowherd. More to the point, after years of sports events moving seemingly inexorably to cable, some of them are finally starting to move the other way. ESPN losing several lower-tier rights to entities that will place them on broadcast networks is more about ESPN trying to save money and Fox and NBC not quite being as willing to go all-in on the cable network front as ESPN has been than anything else, though there is surely some symbolic value in the British Open, which moved to ESPN exclusively shortly before the BCS deal, returning to broadcast on NBC and Golf Channel. What may send a bigger message is ESPN itself announcing that their upcoming NFL Wild Card game will be simulcast on ABC, as well as moving the ESPY awards to ABC (though I can’t help but wonder if they knew about Caitlyn Jenner’s appearance attracting a lot of non-sports fans when they made the latter move). All this is taking place on a backdrop of ESPN losing over three million households just in the year from July to July.

It’s tempting to say this marks the bursting of the sports TV bubble and the start of broadcast reclaiming its former dominance in the television, or at least sports television, landscape. Certainly it looks like the smart thing for the Big Ten to do in its upcoming rights renegotiations is to adopt a fairly broadcast-heavy strategy, and between that and ESPN’s penny-pinching I’d be very surprised if ESPN claimed the entirety of the Big Ten rights. (Given the potential synergy with the Big Ten Network, I’d be shocked if Fox was completely shut out of the Big Ten rights.) But the decline of ESPN’s subscriber base and the erosion of their subscriber-fee advantage is only half the story. It won’t mean much if broadcasting doesn’t survive long enough to take advantage of it – and if broadcasters aren’t able or willing to take advantage of it. It won’t mean much if broadcasters remain unaware of or resistant to their potential in the video landscape of the future, or if market and regulatory concerns prevent them from realizing that potential.

We’re now five months away from the broadcast incentive auctions scheduled for late March. Many stations may elect to go off the air out of the belief that they can get more money surrendering their spectrum to wireless companies than by staying on the air, in part because of the perceived limited potential of broadcast given the programming available to them and the market forces favoring cable networks. In some places, large station group owners may elect to consolidate multiple stations they own onto a single signal, with some having already done so and either selling the shell of the vacated station to groups with not much to do with it but cash it out at auction or simply outright returning the licence to the FCC. Pretty much any station that’s not an affiliate of a Big Four network is liable to put up their stations at auction, because they’re not programming anything that’s worth people’s attention at the moment. Those stations that survive could end up terminally crippled by a variable band-plan that could subject many stations to interference from wireless carriers and a landscape that could make it impossible for new stations to start up if anyone decides some of the stations that shut down or consolidated shouldn’t have.

As I’ve laid out many times before, cord-cutting should be a boon to broadcasters even as it disrupts the cable business, or at least it should hinder broadcasters much less than cable operators. But it’s not happening fast enough to change the fact that cable networks’ access to subscription fees give them a massive advantage over broadcast networks and stations, compounded by regulatory restrictions on content cable networks aren’t subject to, and retransmission consent, broadcast’s means of trying to correct this imbalance, only gives them as much reason to fear cord-cutting as the cable networks, to the point of threatening to abandon over-the-air broadcasting entirely if Aereo was allowed to cripple their retransmission consent leverage, and doing little to overcome the industry’s other challenges. (Even when some do attempt to lay out the benefits of continued cord-cutting for broadcast, retransmission consent still plays a key role.) Cord-cutting’s benefit to broadcasting has been limited by a poorly-implemented digital transition that made it far too difficult for far too many Americans to pick up their signal and a digital standard that wasn’t future-proof enough to allow broadcasters to reach mobile devices without using the Internet as an intermediary or using an optional, poorly-supported kludge, with the result that far too few Americans know, and fewer care, about the plight of broadcasting or its importance. The broadcast industry has been hard at work on a next-generation digital television standard with the potential to fix some of these technological shortcomings, but there’s no guarantee it’ll be ready in time for the incentive auction, that it’ll actually do enough to solve these problems, or that it’ll overcome the larger market and regulatory forces holding back the industry and hindering support for the standard. The FCC might fix some of the outdated and backwards ownership rules holding broadcast back, but not only would solving the biggest problems require Congressional action, they don’t even plan on finishing the ongoing ownership review until June, after the auction, betraying how much interest they have in the continued survival of the broadcast industry.

By and large, the broadcast industry seems unaware of the real nature of the forces destroying their industry, of the value the technology of broadcast potentially has in the video landscape of the future so long as broadcasters are willing and able to maximize it, and has little interest in attempting to surmount its obstacles, including the ones they’re complicit in, to ensure its continued survival. They seem unaware their most dominant players, the ones that threatened to ditch broadcast in the Aereo affair, do not really have their best interests at heart, placing far more stock in their cable networks and only sticking with broadcast, and the threat it could potentially pose to their cable networks, as long as they can keep collecting retransmission consent and they can’t get away with ditching it without a major PR disaster and Congressional action. Fox just announced it’s renewing the MyNetworkTV “programming service” on its non-Fox network stations for another two years, beyond the incentive auction – even though Fox’s own MyNet station here in LA doesn’t even show MyNet in the very primetime spots that are supposedly MyNet’s reason for existence in the first place. It’s all the more apparent that the real purpose of MyNet is to keep stations from posing any real competitive threat to Fox’s broadcast or cable networks by “filling their primetime needs” with the sort of reruns that are perhaps least necessary to have on linear broadcast television in the age of Netflix.

I don’t know what might happen to get the broadcast industry to wake up and embrace a path that will allow it to survive and thrive in the future. Perhaps it’ll come from outside, with a billionaire sports team owner willing to take a risk on a new (old) distribution paradigm and a new business model for the 21st century. Perhaps it’ll come from within, with a station group large in its own right but with less investment in cable willing to recognize MyNet for what it is and offer the industry a different path using infrastructure it’s been building for the past two years. Or perhaps Congress, overcoming its ongoing dysfunction ever so briefly, will find enough wisdom to rewrite the rules to fit the market conditions of the 2010s, not the 1990s. Or maybe it’ll be something else entirely. But whatever it is, the clock is ticking for it to happen, or else the turning point 2015 is shaping up to be for cord-cutting may prove to be too little, too late for the broadcast industry – and that would mean ESPN would have much less to fear from cord-cutting than you might think.

Broadcast Rat Race Week 5: “The Player”, “Blood and Oil”, “Truth Be Told” Catch Episode Cut Epidemic; “Limitless” Given Back-Nine Inoculation – As Has “The Grinder”?!

We’ve had a veritable spate of episode-order cuts this year; Fox started it by cutting “Minority Report” to ten episodes, and every show listed as “cancelled” on the chart below has had their episode order cut. This is the latest evolution in how networks deal with flops. Once upon a time, flops would simply be yanked off the schedule and replaced with something else coming out of the bullpen, but new shows were doomed to failure if they were plugged in to a random flop’s time-slot at a random point in the season rather than being given significant advance promotion and debuting at a point where audiences were ready for new shows, readying veteran shows with established audiences wasn’t much better and posed additional risks, and putting veteran shows in interim spots on the schedule like Fridays, to be plugged in when a new show flopped, didn’t fool anyone for long and cost the networks upfront money contingent on the originally advertised time slot. In recent years, then, networks have taken to letting shows finish out their initial 13-episode order, no matter how horribly rated (so long as reruns wouldn’t do any better), and then finding something else to fill the time-slot at midseason.

Last year, the first thing resembling a cancellation came in mid-October, and was similar to what we’ve seen this year: Fox cut “Mulaney”‘s episode order from an unusually-high 16 to 13. ABC yanked “Manhattan Love Story” at about this time last year, replacing it with double-runs of “Selfie” (which wasn’t that much higher rated), and in mid-November pulled “Selfie” in favor of repeats and “Dancing with the Stars” clip shows. NBC gave a Halloween spook to “A to Z” and “Bad Judge”, announcing on October 31 that those two shows would not receive more than their original 13-episode orders, but that all the episodes ordered would air. CBS announced it wouldn’t go forward with sophomore “The Millers” in mid-November, something of a surprise considering the support CBS had seemed to show it by renewing it in the first place and their evident desire to get one of their own sitcoms to syndication. NBC’s “Constantine” and Fox’s “Red Band Society” were the only other shows to be announced not to get back nines by the end of November, with Fox pulling “RBS” off the schedule after ten episodes, taking it a week into December. Only “Manhattan Love Story”, “Selfie”, and “The Millers” failed to hold on to their spots until holiday specials and repeats took over the schedule.

This year networks seem to be adopting the tack Fox took with “Mulaney” and “Minority Report” by cutting episode orders. Several shows in the past week have effectively had production shut down after the current episode, pointing to what may be behind the latest strategy tweak: regardless of the opportunity cost of pulling a new show, networks may not want to incur the cost of producing more episodes of shows that will deliver miniscule ratings, which may mean they may prefer to run repeats once the produced episodes have finished airing even if the repeats would deliver smaller ratings, since repeats don’t incur production costs. Shows that have been produced will air in their originally scheduled time slot, because they might as well if repeats won’t do any better, and they’d collect better numbers there than if they were burned off on Saturday or in summer.

Rookies “Supergirl” and “Wicked City” and veteran “Grimm” make their bows this week.

How to read the chart: First box shows current time slot, second box current season number. Eps: Total number of episodes aired / total number of episodes ordered (if known). Last: 18-49 rating of the most recent episode. Raw: Average of first-run 18-49 ratings. Adj.: Average of the most recent episode and the previous Adj. rating. WklIdx: Last divided by the network scripted show average for the week. RawIdx: Raw divided by the network scripted show average for the season. Index: Adj. divided by the network scripted show average for the season. In general, >1.1=certain renewal, .85-1.1=probable renewal, .7-.85=on the bubble, .6-.7=probably cancelled. Anything substantially less than .6 for rookie shows indicates a dead show walking. Prod: Production company that produces the show (ABC=ABC Studios, CBS=CBS Television, Fox=20th Television, NBCU=Universal Television, Sony=Sony Pictures Television, WB=Warner Bros. Television). Incorporates ratings through Sunday, October 25; write-ups do not take into account Monday’s or Tuesday’s ratings. Weekly averages used: ABC 1.71, FOX 1.64, CBS 1.61, NBC 1.23, CW .58. Network averages used: ABC 1.83, CBS 1.70, FOX 1.68, NBC 1.43, CW .66.

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Broadcast Rat Race Week 4: “Rosewood”, “Dr. Ken” Prescribed Back Nines, “Blood and Oil”, “The Player” Terminal, “Crazy Ex-Girlfriend”, “Truth Be Told” Stillborn

I’ve condensed the top lines for shows well into “certain renewal” status in order to save me the work needed to come up with write-ups for all of them. (Don’t worry, they should be easier to read next week.) Of course those weren’t the only shows I had trouble writing up. I had some material for “Rosewood” and “Dr. Ken”, recipients of back-nine orders each, but I’m not even happy with those. I mostly condensed shows above adjusted index numbers of 1.15, though I could have gone with 1.2 and saved the possibility of “Chicago Fire” making me eat my decision to condense it, and I wouldn’t have condensed “The Goldbergs” at all if it weren’t a fast-track show.

Things are starting to clear up, by and large. Two shows moved to dead-show-walking status this week and a third flopped out of the gate to join them, and no, it’s not the historically-bad start of “Truth be Told”. CBS has a lot of pull to keep their CW shows alive, but it’s hard to see it being worth the effort when it comes to a show that gets out to such a dreadful start, even by CW standards, as “Crazy Ex-Girlfriend” – especially considering how much flux the future of the CW itself, and specifically CBS’ involvement in it, is in this season, when so many of its affiliation agreements are up.

No new shows premiering this week, but “Supergirl” will have premiered on CBS by the time next week’s post is out.

How to read the chart: First box shows current time slot, second box current season number. Eps: Total number of episodes aired / total number of episodes ordered (if known). Last: 18-49 rating of the most recent episode. Raw: Average of first-run 18-49 ratings. Adj.: Average of the most recent episode and the previous Adj. rating. WklIdx: Last divided by the network scripted show average for the week. RawIdx: Raw divided by the network scripted show average for the season. Index: Adj. divided by the network scripted show average for the season. In general, >1.1=certain renewal, .85-1.1=probable renewal, .7-.85=on the bubble, .6-.7=probably cancelled. Anything substantially less than .6 for rookie shows indicates a dead show walking. Prod: Production company that produces the show (ABC=ABC Studios, CBS=CBS Television, Fox=20th Television, NBCU=Universal Television, Sony=Sony Pictures Television, WB=Warner Bros. Television). Incorporates ratings through Sunday, October 18; write-ups do not take into account Monday’s ratings. Weekly averages used: ABC 1.66, CBS 1.54, FOX 1.38, NBC 1.31, CW .64. Network averages used: ABC 1.85, CBS 1.72, FOX 1.69, NBC 1.5, CW .7.

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Broadcast Rat Race Week 3: Full Seasons for “Blindspot”, “Quantico”, “FotB”, Not So Much for “Minority Report”

Except for the CW, this week marks three weeks of the new TV season, which means it’s where the adjusted index numbers finally diverge from the raw index numbers. And not a moment too soon, as networks’ reactions to their early-season performances have begun, with Fox slashing “Minority Report”‘s episode order, “Blindspot” getting a full-season order, and today, ABC giving full-season orders to “Quantico” and “Fresh off the Boat”. Next week I’ll probably condense the entries of the top shows because I don’t have a lot to say about them and they make this post take longer than it otherwise would.

The CW finished up its late premiere week with its one fall rookie “Crazy Ex-Girlfriend” and sophomore “Jane the Virgin”, while NBC bows veteran “Chicago Fire” and rookie “Truth Be Told” this week.

How to read the chart: First box shows current time slot, second box current season number. Eps: Total number of episodes aired / total number of episodes ordered (if known). Last: 18-49 rating of the most recent episode. Raw: Average of first-run 18-49 ratings. Adj.: Average of the most recent episode and the previous Adj. rating. WklIdx: Last divided by the network scripted show average for the week. RawIdx: Raw divided by the network scripted show average for the season. Index: Adj. divided by the network scripted show average for the season. In general, >1.1=certain renewal, .85-1.1=probable renewal, .7-.85=on the bubble, .6-.7=probably cancelled. Anything substantially less than .6 for rookie shows indicates a dead show walking. Prod: Production company that produces the show (ABC=ABC Studios, CBS=CBS Television, Fox=20th Television, NBCU=Universal Television, Sony=Sony Pictures Television, WB=Warner Bros. Television). Incorporates ratings through Sunday, October 11; write-ups do not take into account Monday’s ratings. Weekly averages used: ABC 1.75, CBS 1.66, FOX 1.51, NBC 1.38, CW .77. Network averages used: ABC 1.92, FOX 1.79, CBS 1.79, NBC 1.60, CW .77.

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Broadcast Rat Race Week 2: “Limitless”, “Quantico”, “Blindspot” Gleaming, “Hollow” Sleeping, “Queens” Screaming

Two weeks after all the other broadcast networks, the CW finally kicked off its 2015-16 season last night. It may be the most pivotal season in the network’s history for reasons that have nothing to do with how its shows do in the ratings, because it may be the CW’s last season in its current form. Here are the facts the CW faces:

  • In recent years, the number of shows the CW has aired has skewed heavily towards Warner Bros. productions over CBS productions – 7-to-3 in this year’s fall lineup. As a result, more marginally rated CBS shows have been renewed, sparking speculation that those renewals were a way to keep CBS happy and meet certain obligations inherent in the structure of the network. It’s easy to see why such a skew has developed – CBS has its own broadcast network to focus on and develop for, and the CW is a lower priority.
  • 2016 marks the CW’s 10-year anniversary, and more importantly, it marks the expiration of most if not all of its original affiliation agreements. That’s especially important because of a number of other factors surrounding those affiliates.
  • Many CW affiliates in large to mid-size markets, including the CW affiliates in the Big Three markets of New York, Los Angeles, and Chicago, are owned by Tribune, the legacy of those same stations previously being WB affiliates. Although Tribune was a partner in the old WB network, it does not have a stake in the CW, and that has been the subject of some tension between Tribune and the network, as Tribune has complained about how the network has not lived up to their expectations. Some years ago Tribune de-emphasized CW branding on many of its CW affiliates in favor of more locally-oriented branding; although some stations have since re-emphasized the CW, many, including WPIX, KTLA, and WGN in the Big Three markets, have not. Tribune has also begun venturing into producing its own shows, including “Salem” and “Manhattan” for WGN America, and may feel it has less reason for a network like the CW to fill time on its stations, or may even decide to start a network, or at least MyNet-esque “syndication service”, of its own.
  • In late 2016, the FCC will hold incentive auctions allowing stations to surrender some or all of their spectrum in exchange for cash payouts, and many CW and MyNet stations in smaller markets may opt to take the FCC’s offer. Already many CW and MyNet “affiliates” in smaller markets are digital subchannels of larger stations, and because FCC rules only prohibit common ownership of two of the top four stations in a market, effectively meaning the Big Four affiliates, many CW and MyNet affiliates in mid-size markets are co-owned with Big Four affiliates, including almost all the CW stations owned by CBS itself, who may opt to surrender the junior station and consolidate both affiliations onto a single signal. Some partnerships that use sharing agreements to circumvent FCC rules have already done this in anticipation of the FCC cracking down on such circumvention (and Sinclair Broadcast Group, the most infamous user of such agreements, may be preparing for a CW/MyNet-less future with its American Sports Network). The fewer separate stations the CW and MyNet have, the less reason either of them has to exist, especially depending on how happy the owners of the remaining stations are with the network. The CW must give standalone stations a good reason to stay on the air and sign up for another term with them.
  • The CW has long emphasized that it does not see the ratings of its shows on linear television as the whole story, that its shows make much of their money through streaming, DVD/Blu-Ray sales, syndication, and international deals. None of those, however, directly benefit the local stations that carry the CW, for which ratings are the only stake they have in the network. If linear ratings aren’t where you’re making your money, why are you a linear network, certainly one on broadcast?
  • The CW has long ordered fewer new shows than the other networks because they don’t program weekends, 10 PM, or scripted comedies (or any half-hours outside of summer). This year, however, takes it to an extreme with a grand total of one new show in the fall, “Crazy Ex-Girlfriend” – a show that was originally developed for Showtime before being revived and retooled for broadcast at the CW. Worth noting that “Supergirl”, which comes from the same people behind “Arrow” and “The Flash” and might otherwise have crossed over with those shows, is debuting on CBS, not the CW. One may surmise that the CW is preparing for the possibility that it may not exist by this time next year and so isn’t starting any new shows that might be shut down for reasons outside their control, or moved to another channel, after one season.

Ultimately, the future of the network may well hinge on Warner Bros., and whether or not they still feel it’s worth it to own and run a broadcast network in this day and age (which is especially doubtful considering the CW merger itself may have been a stepping stone to getting out of the business). If not, they may elect to shut down the network and move their shows to networks like corporate sibling TNT, and CBS can move whatever shows they don’t decide to just end to their main broadcast network, Showtime, or Pop, or try and start their own MyNet-alike to air on their own owned stations (including independents WLNY New York and KCAL Los Angeles) and subchannels in other markets. If they do, they may want to buy out CBS’ half of the network, perhaps in conjunction with Tribune, and effectively resurrect the WB. Warners would still need to find a way to work with Tribune in order to have stations for the network to air on, especially without CBS, which could mean letting Tribune have part of CBS’ stake or even trying to buy out Tribune’s CW (and, potentially, MyNet) stations entirely. If Warners does want to keep the CW on the air as at least a nominal “fifth network”, they will want to change the network’s strategy in order to provide enough value for stations at markets of all sizes to avoid losing them to the incentive auction or any other forces that might make them reticent – and that means that keeping CBS involved, which probably doesn’t really allow the CW to fix its “underperforming CBS shows that get renewed anyway” problem, really isn’t an option, since CBS has no interest in fostering its own competition. (Unfortunately, sports is the most obvious way to do that, and there’s basically nothing they can acquire until next decade.)

With that context, perhaps the two most important shows for divining the CW’s future are “The Originals” and “Reign”, two shows that enter this season on the syndication fast-track, and so, under normal circumstances, would be a sure bet for another season – if the CW still exists next season. “The Originals” is a Warner Bros. show, but “Reign” is a CBS show, and so CBS has incentive to have some sort of platform next season to air “Reign” if nothing else. That means CBS wants to prevent either of the above scenarios from happening, or at least make sure “Reign” is taken care of if they do.

Frankly I think the CW shutting down or converting to a MyNet-esque service is more likely than Warners trying to run it on their own, though I do hope for the latter. Even the latter scenario would likely mean the CBS shows get kicked off the schedule and the standards for Warners shows might be lower. However, I’m going to look at CW shows as though it’s going to essentially be business as usual next season. Besides the shows mentioned above, based on the scheme I introduced last week, “The Flash”, “iZombie”, and “Jane the Virgin” are sophomores; “Arrow”, “Supernatural”, and “The Vampire Diaries” are veterans. As for NBC’s “Undateable”, see its entry at the bottom.

How to read the chart: First box shows current time slot, second box current season number. Eps: Total number of episodes aired / total number of episodes ordered (if known). Last: 18-49 rating of the most recent episode. Raw: Average of first-run 18-49 ratings. Adj.: Average of the most recent episode and the previous Adj. rating. WklIdx: Last divided by the network scripted show average for the week. RawIdx: Raw divided by the network scripted show average for the season. Index: Adj. divided by the network scripted show average for the season. In general, >1.1=certain renewal, .85-1.1=probable renewal, .7-.85=on the bubble, .6-.7=probably cancelled. Anything substantially less than .6 for rookie shows indicates a dead show walking. Prod: Production company that produces the show (ABC=ABC Studios, CBS=CBS Television, Fox=20th Television, NBCU=Universal Television, Sony=Sony Pictures Television, WB=Warner Bros. Television). Incorporates ratings through Sunday, October 4; write-ups do not take into account Tuesday’s ratings. Weekly averages used: ABC 1.89, FOX 1.89, CBS 1.71, NBC 1.66. Network averages used: ABC 2.01, FOX 1.97, CBS 1.87, NBC 1.74.

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Broadcast Rat Race Week 1: “Blindspot” a Bright Spot, “The Muppets” Makes a Splash, “Minority Report” Looks Grim

I’m introducing a new feature on Da Blog, adapting the Renew/Cancel Index used by TVbytheNumbers the past few years to predict the fates of scripted shows on broadcast television. The basic formula involves taking the average live+same day 18-49 ratings of each show and dividing by the average of all scripted shows on that network. Shows above about .85-.9 generally get renewed, those below .7-.75 generally cancelled, with shows on Friday getting about .2 leeway given the lower ratings on the night.

The adaptation I’ve made is an attempt to address two related issues: first, shows could premiere to great ratings and then crash through the floor in subsequent episodes, resulting in the Index’s prediction adjusting to the show’s post-crash level faster than the Index number can catch up to the show’s new level. Second, the Index has generally reset at midseason, with the index numbers only factoring in shows’ performances in the new year, indicating that decisions on the renewal or cancellation of shows tend to weight ratings later in the season more heavily, if they don’t ignore fall ratings entirely. To address these, my Index is calculated by averaging each show’s most recent rating with the previous week’s average, so after the first two episodes the show’s average 18-49 rating is what gets divided by the network average, but after three episodes the third episode’s rating is averaged with the average of the first two episodes, so each episode counts twice as much as the one before. The network average is calculated normally. This isn’t a perfect approach, as it doesn’t really solve the first problem until at least the third episode and may overcorrect for the second problem, but most shows eventually find a level and put forth fairly consistent ratings for the latter part of the season.

Although 18-49 ratings are the main factor that goes into whether a show is renewed or cancelled, they aren’t the only one, especially for shows in the in-between range, although the other factors are pretty much all based around various business relationships and concerns and most of the other things that get bandied about in the media are ultimately irrelevant. Most obviously, a show that is produced in-house will generally get the edge over a show that isn’t, but one of the biggest factors in the fate of shows, especially veteran shows, that doesn’t often get talked about is the economics of the syndication market, which results in most shows being able to be broken down into a few categories based on their age, very few of which make it to the latter stages, which are affected by the index differently.

  • Rookie shows could conceivably get an index number anywhere on the scale, since the network has picked them up without having any past performance to work off of. Most rookie shows are only ordered for around 13 episodes, not the usual 22, and must earn their “back 9” orders based on their early ratings. Most shows with index numbers below .5 are rookie shows, and a show that does that poorly could well be cancelled after a handful of episodes, with the remainder of their initial orders being burned off in summer and/or on Saturdays (although networks may be moving towards letting them finish their initial orders no matter what). On the other end, rookie shows are particularly likely to have inflated premiere episodes, so rookie shows whose premiere ratings put them above the in-between range may be noted as being “Too Early” to call their fates. This year’s rookies, at least among shows premiering by the end of this week, are “The Muppets”, “Blood and Oil”, “Quantico”, “Dr. Ken” (ABC); “Life in Pieces”, “Limitless”, “Code Black” (CBS); “Blindspot”, “The Player” (NBC); “Minority Report”, “Scream Queens”, “Rosewood”, “Grandfathered”, and “The Grinder” (FOX).
  • Sophomore shows, that is, shows in their second season or otherwise finishing the season with less than 60 episodes, have established their security over the course of an entire season and thus enter Season 2 with a full 22 episodes to play with. Their performance generally only determines what their fate will be in May when the network makes their decisions for next year. “Fresh Off the Boat”, “black-ish”, “How to Get Away with Murder” (ABC); “Scorpion”, “NCIS: New Orleans”, “Madam Secretary”, “CSI: Cyber” (CBS); “The Mysteries of Laura” (NBC); “Gotham”, “Empire”, “The Last Man on Earth”, and “Sleepy Hollow” (Fox) are in this category.
  • Things start getting interesting for shows on the syndication fast track. When a show is within a season of the magic number for syndication (generally assumed to be 88, or about four full seasons, although that number may be dropping to the low 70s), the production company will do everything in their power to get the show the additional season they need to get over that magic number. Thus, shows that will finish their season (usually the third) with a season’s worth of episodes left to hit 88 are all but guaranteed to get the fourth season they need to get over the hump. It isn’t quite a guarantee, especially for shows that aren’t produced in-house given “The Mindy Project” was cancelled after three seasons last year and had to finish its run online, but it is a force unstoppable enough that TVBTN predicts certain renewal for every in-house show in this category. I don’t go that far, but shows in this category do start out with the color of “probable renewal” in their prediction column before they premiere, and thereafter are placed one color rank higher than their index number would otherwise suggest; in-house productions may never fall below “probable renewal”. “The Goldbergs”, “Agents of SHIELD” (ABC); “Chicago PD”, “The Blacklist” (NBC); and “Brooklyn Nine-Nine” (FOX) are all shows premiering by the end of this week that are on the fast-track; “Sleepy Hollow” is not, despite being in its third season, because it’s a half-season-long “limited series” whose shorter episode orders don’t put it in range. (CBS isn’t devoid of fast-track shows, but “Mom” doesn’t premiere until after Thursday Night Football ends.) On the other hand, I may be a teensy bit more likely to predict cancellation for non-in-house shows on the lower end of the in-between range that would enter this category next season.
  • All other shows are veteran shows, which for my purposes are all shows that have gotten over the 88-episode hump for syndication, or are in the process of doing so. These shows could still be cancelled, but especially for in-house shows, the terms of the syndication deal can matter as much if not more than the show’s ratings in going into the decision. A network could very well keep a marginally-rated show on the air in order to pump out more episodes to feed the syndication pipeline. As such, the “probably cancelled”, in-between, and “probably renewed” ranges extend a bit further down than in the first two categories, and predictions for these shows are much more of a crapshoot in general unless they have ratings good enough for renewal in their own right. The renewal and cancellation of rookie and sophomore shows can be reasonably reliably predicted based on their ratings and who produces them; if a bunch of veteran shows are all on the bubble, nothing you do is likely to be much more accurate than guessing, which also makes it harder to predict the fortunes of young shows.

How to read the chart: First box shows current time slot, second box current season number. Eps: Total number of episodes aired / total number of episodes ordered (if known). Last: 18-49 rating of the most recent episode. Raw: Average of first-run 18-49 ratings. Adj.: Average of the most recent episode and the previous Adj. rating. RawIdx: Raw divided by the network scripted show average. Index: Adj. divided by the network scripted show average. In general, >1.1=certain renewal, .85-1.1=probable renewal, .7-.85=on the bubble, .6-.7=probably cancelled. Anything substantially less than .6 for rookie shows indicates a dead show walking. Prod: Production company that produces the show (ABC=ABC Studios, CBS=CBS Television, Fox=20th Television, NBCU=Universal Television, Sony=Sony Pictures Television, WB=Warner Bros. Television). Asterisks indicate co-productions distributed by company shown. Incorporates ratings through Sunday, September 27; write-ups do not take into account Monday’s ratings or news. Network averages used: ABC 2.15, CBS 2.12, FOX 2.06, NBC 1.86.

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What the Mayweather-Pacquiao Distribution Problems Say About the Future of Linear Television

Of the many, many issues with the Mayweather-Pacquiao fight, from the fact it took so long to be put together to the continued arguments even after the fight came together to Credential-gate to the lackluster nature of the fight itself, the one that I found to be most interesting, and most telling both of the problems facing boxing and of the future of big-time sporting events in general, was the massive problems just getting the fight to the people who ordered it on pay-per-view. Every major cable system and probably most of the top minor systems were fending off complaints:

Though the cable systems took the brunt of the abuse, I’m not sure they were really to blame. HBO and Showtime called on people to “order early to avoid possible problems late” out of fear “the system” wouldn’t be able to handle a surge of orders, and the use of the singular suggests their concerns were on the joint venture’s end. As people flooded Twitter and operator lines with complaints on Saturday, though, HBO seemed to pass the buck back to distributors, so maybe I’m reading too much into it. Regardless, the result was the same: so many people wanted to watch the fight that “the system” couldn’t handle them all, to the point that the fight itself was delayed 45 minutes to allow all the orders to be processed. That doesn’t happen with other live events with far larger audiences than the over 3 million estimated buys of this fight:

What’s the difference? When it comes to events like the Super Bowl, cable operators don’t have to process each order individually – anyone can just turn on whatever channel the game is on if they’re already subscribed to or otherwise able to receive it. Hmm, I wonder if there’s any other means of distribution that’s like pay-per-view in this way

Besides serving as a potential knockout punch (if you’ll pardon the pun) to the idea that the Internet can ever replace linear television entirely, more evidently and directly this debacle raises serious questions about whether or not the Internet might lead to more widespread adoption of the pay-per-view model, which this fight showed cannot scale to the level of many millions of households with or without the benefits of linear television. Broadcasters are hoping to include the ability to restrict their content to paying customers like cable networks have in the next-generation television standard, but methinks that’s more likely to take the form of the subscription model than a pay-per-view model; I can’t imagine big events like the Super Bowl moving to a platform any more restricted than an ESPN/HBO-type platform (and I certainly hope the NFL, already courting streaming disaster with this upcoming season’s experiment with airing one London game on a digital platform, won’t compound it by making it a pay-per-view experience). Indeed, I can’t help but wonder, assuming there’s sufficient economic incentive to avoid this fate in the future, whether the WWE’s move to a subscription model with the WWE Network, as well as boxing’s sudden recolonization of broadcast and non-premium cable television this year (by way of Al Haymon’s Premier Boxing Champions), might be rooted in a recognition that both “sports” might need to either dump the PPV model entirely or at least maintain the advantages of linear television if either one is going to continue to survive and thrive in the media landscape of the future.

Wednesday, January 28 TV Ratings Report

Time for another ratings post proof-of-concept! This time I’m wading into the general ratings world. Ever since The Futon Critic stopped doing final ratings last year, we don’t have a site that lists broadcast and cable shows alongside each other, and we’ve never had them listed on a time-period basis like this so we can get some perspective on how popular cable shows really are and what shows would be tops on TV if broadcast still trumped cable. I aim to list the top five English-language shows in primetime at any given time in 18-49, and the top five original shows in 18-49, with Univision included for completeness, and when TVMI lists cable shows I’ll list the most-watched shows on television as well.

Sources: TVbytheNumbers (top 18-49 shows, cable news ratings), TV Media Insights (all broadcast shows, most-viewed shows), TV Recaps and Reviews (additional ratings for original cable shows). Shows in bold are new or live.

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Ensuring a #CommActUpdate for the Twenty-First Century

The Republican-controlled House Energy and Commerce Committee has been collecting input for a comprehensive update of the Communications Act for over a year now, with an eye towards a “technology-neutral” law that avoids placing different technologies in different regulatory “silos” and instead treats equivalent technologies equivalently. Towards that end, it has been issuing a series of white papers on issues surrounding the effort, and the most recent one concerns an issue that, perhaps even more than net neutrality, illustrates how much this effort is desperately needed: the video marketplace.

I sent in my thoughts on the state of the video marketplace and on the more general question of what I would like to see in a technology-neutral Communications Act, which you can see here. You may also want to read the comments I sent to the FCC on its ownership review and on a la carte television, assuming the FCC site is up.

SlingTV Isn’t Breaking Up the Cable Bundle. It’s Preserving It.

Dish took the wraps off its long-in-the-works Internet-delivered TV service today, long known as “NuTV” but now officially known as SlingTV. (Dish has a working relationship with the Slingbox company but there is no other relationship between SlingTV and Slingbox.) For $20 a month you can sign up for a dozen channels from Disney, Turner, and Scripps, including the A&E networks partly owned by Disney and – crucially – ESPN, all delivered over the Internet, plus additional genre-based add-on packages for kids’ channels, news and info channels, and eventually, sports channels. The techie blogosphere, long friendly to “cord-cutting”, is over the moon at the possibility of being able to watch ESPN “without a cable subscription”, “liberated from the cable bundle” in GigaOm’s phrasing. GigaOm calls it “a cord-cutter’s best friend”; “a cord-cutter’s dream”, agrees Deadline; an “over-the-top alternative to the cable bundle”, writes TechCrunch.

None of these are in any way true. Sling TV may not be a cable company in the sense that they string a bunch of wires to your house (or in Dish’s case, put a satellite dish on your roof) and deliver hundreds of channels through it, but it is very much a cable bundle, even if a smaller one. You can’t pick and choose which channels of the base package of twelve you want and discard the rest, and you certainly can’t forego any of those base channels if you want any of the genre packages – especially important when Dish’s existing DishWorld service will be folded into SlingTV. Dish seems to be indicating it intends to keep the SlingTV suite lighter than a typical cable subscription, but make no mistake: the only reason this service doesn’t have more channels is because Dish hasn’t been able to get any other companies on board. If they could get AMC (and the other networks owned by AMC Networks), FX (and the other Fox-owned networks, including Fox Sports 1), or most other big companies’ packages of networks (especially Comcast for USA and NBCSN), they would.

Although Comcast and Time Warner Cable are the two most hated companies in America for a variety of reasons, the desire to be free of “the cable bundle” has never been about anything specific to them or their infrastructure. The channels have always been what’s mattered; how they’re delivered is immaterial. In that sense, what SlingTV is offering isn’t much different from what any other traditional cable provider is offering – something that should be especially apparent when the FCC is considering new rules that would treat Internet-delivered TV providers the same as any other cable or satellite company. TechCrunch paints Dish Network’s original launch as a challenge to the existing hegemony of the cable companies; Dish is now part of that hegemony. What makes them think SlingTV will be any different? Sure, it is cheaper than a traditional cable subscription for now, although given that cable companies often charge as much or even more than Internet alone than they do for Internet and TV, don’t expect to save all that much.

SlingTV believes access to ESPN is its killer app, but I won’t buy that any service like SlingTV is really going to break up the cable bundle unless and until it makes it easier for people to be able to not get ESPN. Anyone who signs up for SlingTV because of the programming on Food Network, Disney Channel, or A&E is supporting ESPN’s hegemony over the sports landscape every bit as much as they would be if they kept their existing cable subscription – and people who are interested in sports won’t get access to the regional sports networks that may be the real reason they aren’t cutting the cord. ESPN is the big winner here: it gets to appeal to “cord-cutters” without losing its hold on its lucrative business model that collects millions of dollars from people with zero interest in sports and funnels that into programming like the NFL playoffs and the College Football Playoff that make it a peer of the broadcast networks. SlingTV does nothing to break up that hegemony; it preserves it.

So to me, the real interesting part of this announcement (besides the ability to sign up and cancel the service any time with no long-term commitment) is that Dish is not including the broadcast networks, not even ABC, in SlingTV, even though a big reason it was able to get Disney on board was to settle ABC’s suit against the company for the AutoHop feature to skip commercials on broadcast networks. When Dish eventually does offer them, it’ll be as a separate add-on. The implicit message: We shouldn’t have to pay retransmission consent fees and jack up the price of our slimmed-down, low-cost service when our customers tend to be urban and capable of picking up broadcast signals with an antenna (not to mention, can watch a lot of broadcast shows on Hulu). I’m not sure they’ll be able to do that if the FCC makes them play by cable’s rules, since cable companies are required to carry any station that doesn’t ask for retrans on their most basic package and do the same for any station they agree to pay retrans for, and I’ve come out against “a la carte” proposals that make it easier to go without broadcast stations without making it easier to pick and choose cable networks like the “local choice” scheme that was floating around Congress a while back. But considering Dish has made clear it doesn’t see Sling TV as a full-fledged replacement for cable or satellite, if they can in fact make broadcast stations optional, perhaps it will serve as an impetus for broadcasters to invest in their signals instead of disdaining their own nominal medium in favor of being just another kind of cable channel.