Friday Questions

Hello from Saratoga Springs, NY where I’m excited to see my new play, OUR TIME at the Saratoga Art Center tonight at 8:00. Not sure if it’s sold out, but if not, come join us.

But no matter where I am in the world I always answer Friday Questions. Here are this week’s:

David Schwartz starts us off:

Why is it that some shows never get a real chance on a network? What I mean by this, is that there are times shows clearly premiere at a time when the network can't help but realize that no matter how good the show may be, it's not going to do well on the air.

For example, I worked on an Ann Jillian show called "Jennifer Slept Here" in the 1980's. It aired on the half-hour and its lead in was a show called "Mr. Smith," which featured an orangutan as the lead character. Anyway, that show premiered a few weeks before "Jennifer Slept Here," and got bad ratings. The competition during that hour were two hit shows, "The Dukes of Hazard" and "Webster" on the other networks. So they premiere the orangutan show a few weeks earlier than "Jennifer Slept Here." It does poorly. Then they premiere "Jennifer Slept Here" on the half hour after much of the audience has already decided they ain't watching "Mr. Smith."

How in the world did NBC expect "Jennifer Slept Here" to get any kind of decent ratings under those circumstances? Could anything? Why would NBC allow a show to premiere where it would be nearly impossible to make an impact and then not give it a chance in a time slot where it could actually succeed?

Yes, networks do this. If for any reason a network stops believing in a show they will bury it. Sometimes they bought shows that just fulfilled commitments and those too they’ll burn off.

The good news today is that scheduling, although important, is no longer vital for a show’s success. Good word of mouth can really help. People can record shows so those shows still might find an audience and catch on.

How and when a network launches a show is another factor. If you’re a new CBS comedy and you don’t premiere behind THE BIG BANG THEORY you’re going to have a much softer debut.

On the other hand, if a network likes a show (or OWNS a show) it will change its time slot four times, promote it heavily, throw money at it for stunt casting, whatever it has to do. NBC did that originally with WILL & GRACE.   But if the show is out of favor, there are a hundred ways a network can kill it. Poor Jennifer never had a “ghost” of a chance. (I’ll take a moment for you to groan then move on.)

Karan G. asks:

Having never been in show business, I don’t have a grasp of the industry language. (Please forgive my stumbling in my attempt to ask a question.) Often referred to as the guys “in the suits” who green-light a project at a network etc., how often do these guys come from the “creative” side of things, or are their qualifications to choose a show and it’s potential success essentially no better than an astute consumer of entertainment (i.e. essentially the rest of us)? I assume they have a background in budgets, finance and potentially marketing. What qualifications should they have in your estimation? (It may or may not be resume qualifications as much as intellect or personality traits.) I assume politics, as always, plays a role. I suppose it is akin to the record business in picking a hit record. Any thoughts?

There have been occasions where writers/directors/producers have become network executives. At one time Barbara Corday, who co-created CAGNEY & LACY was the head of comedy development at ABC. Michael Zinberg, one of TV’s best hour-long directors, became the head of comedy development for NBC for a spell.

But it’s somewhat rare because creative people would rather MAKE the shows. Network jobs are corporate jobs. It’s a different mindset, a different set of skills. I wouldn’t want one of those jobs (I probably wouldn't be very good at one of those jobs).

And often times the people in those positions are not really qualified to make creative decisions. They do come from business or legal backgrounds. It’s very easy to just say these suits are idiots, but they’re not. Most are highly educated, very bright people, excellent in other aspects of their job, just not on the creative side.

It’s like I know a lot about baseball, having broadcast it for years on the Major League level. But I couldn’t be a scout. I can’t evaluate players to such an extent that an organization could make their selections based on my recommendations. Same thing in TV.

That said, there are always exceptions. Brandon Tartikoff, Grant Tinker, Fred Silverman, and I would probably throw in Les Moonves are suits who also have creative savvy. And I’m sure there are others I’m unintentionally omitting.

From Jeff:

Ken, I'd love to hear your opinion on the old adage "ideas are a dime a dozen". I personally find it insulting. While I agree that execution is imperative, without a solid idea to begin with there is nothing to work with. I look at a lot of recent comedy pilots as an example. Either the idea completely bizarre, like a cartoon father in the real world (see: Son of Zorn) or it is same old same old (i.e. adult children move in with their aging parents, see: pretty much every new comedy the past 2 years). I would personally preach, shitty ideas are a dime a dozen, but quality ideas with a good hook are rare. Your thoughts?

Ideas ARE very important. But to me execution is MORE important. What good is a good idea if botched in the execution? Meanwhile, a so-so idea handled really well can result in a good product.

How many shows have there been about people in a bar? Hand that premise to the Charles Brothers and you have CHEERS.

But good ideas are hard to come by, and when I back into one I am always thrilled.

And finally, two quick FQ's from Richard:

What character was your favorite to write?

What character did you write that most closely compares to you?

My favorite character was Lawrence Bourne III – Tom Hanks in VOLUNTEERS. He was smart, arrogant, cowardice, deceitful, condescending, and charming as hell. He was comedy gold. Drop him in any situation and there was fun to be had.

I wish the closest character to me was Hawkeye or Sam Malone, but in all honesty it was probably Marshall on BIG WAVE DAVE’S, although Adam Arkin played me way better than I could play me.

What’s your Friday Question?