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For CBS, one glaring
weakness: Sunday

It's the one night of the week that needs fixing

By Diego Vasquez
Nov 23, 2009

Last year CBS was the only Big Four network to see growth among adults 18-49. This year the network sits in a solid second place behind Fox in that demo while continuing to lead among households and total viewers. Its veteran drama "NCIS," now in its seventh season, has risen to the No. 1 show on TV in total viewers, while spinoff "NCIS: Los Angeles" is the top new show in viewers. The network is consistently No. 1 in 18-49s on four of five weeknights and a close second on the fifth. But there are some problem spots buyers would like to see addressed, chief among them Sunday night, where the network once performed very well among households. CBS swapped struggling first-year drama "Three Rivers" and "Cold Case" last night to see if that would help revive the numbers for the latter, which has hit series lows since being bumped to 10 p.m. If the switch does not help, "Case" and "Rivers" could be off the schedule by spring. John Rash is senior vice president and director of media analysis at Campbell Mithun, talks to Media Life about CBS's improvement, the surprise success of "NCIS" and what should be done with the aging "CSI."

On a scale of 1 to 10, with 1 being not at all improved and 10 being the most of any network, how much has CBS improved compared to last year?

About a six. They’ve had solid success from returning series, particularly on Monday and Wednesday. And there’s new-found success with their Tuesday tandem of “NCIS: Los Angeles” and “The Good Wife,” and with “NCIS” defying gravity by raising its ratings in year seven.

But there are significant challenges on Sunday night, a night they used to own but now routinely finish fourth in, and significant slippage for “CSI” on Thursday, which has led to “The Mentalist” not living up to its ratings potential.


What are the network's biggest strengths this fall?

Relative to its rivals, consistency. In the ad-centric 18-49 demographic, it routinely wins Monday through Wednesday. It’s also competitive on Thursday, Friday and Saturday.


What are its biggest weaknesses, and how would you like to see them addressed?

Two new dramas or a different scheduling strategy on Sunday. And it needs to begin to develop an alternative strategy on Thursday, which doesn’t mean canceling “CSI,” but instead considering moving it.


How have its new shows performed compared to past seasons?

Mixed, which is above average in an industry with 90-plus percent failure rate.

“Three Rivers” has been the biggest disappointment, and “Accidentally On Purpose” is a time period success, but hardly a hit relative to what the night could support.


Most shows are losing audience in season seven, but “NCIS” is suddenly the top program on television. To what do you attribute its rise?

Up until recently, it was drama biting reality back. It was the only scripted series against reality rivals. And there are still a considerable amount of people who want to watch –there are still many reality resistors.

And like many police procedurals in this uncertain time, the certitude of crime, court and incarcerate in 44 minutes, with 16 minutes from your friendly sponsors, is an attractive notion for many traditional viewers.


Meanwhile, “The Big Bang Theory” has been outdrawing lead-in “Two and a Half Men” in 18-49s. How can other networks learn from the way CBS nurtured and positioned this show?

It did not depend on big-name stars but big-idea writers. It had the strength of the scripts, and the stars developed along with it, as opposed to “Accidentally On Purpose,” which is more of a new vehicle for Jenna Elfman than a compelling comedy in its own right.


Despite their old age, their ratings have held up, but how much longer do you see franchises like “Survivor,” “CSI” and “The Amazing Race” lasting?

They can last a good while, but networks often over-rely on aging hits and CBS cannot rest on any laurels, just as their rivals will continue to be more aggressive as well.

It’s not as much a question of cancellation, but of the opportunity costs of not taking the chance on developing new programs.

Diego Vasquez is a staff writer for Media Life.	© 2010 Media Life Magazine

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