For next season, the tried and true

'Some of this, of course, has to do with the country’s post-Sept. 11 feelings of patriotism and traditional values. I do not think we are going to see many "Sopranos" wannabes on the network schedules this year.'

For next season,
the tried and true

Expect little risk-taking on the part of the networks

By Thomas J. Watson

    Looking for Mom, Apple Pie and the American Flag?
    Look no further than the broadcast networks’ development projects for the 2002-2003 season.
    Family-friendly, warm-fuzzy viewing is about to make a comeback.
    "At least at first glance, it looks like all of the networks are taking a more conservative stance this year," says John Spiropoulos, director of media analysis for MPG-US.
    "Some of this, of course, has to do with the country’s post-Sept. 11 feelings of patriotism and traditional values. I do not think we are going to see many 'Sopranos' wannabes on the network schedules this year."
    Indeed, a quick look at the approximately 100 projects currently under consideration for fall reveals that the programming mindset at the broadcast networks could not be further away from that of many cable networks.
    "Bear in mind," says Spiropoulos, "we have not seen any of the pilots yet. All we have are written descriptions. But few of the dramas promise to emulate the edginess of 'Sopranos,' 'Oz' or 'Queer as Folk.'"
    "None of the comedies seek to push the envelope in the style of such cable hits as 'Sex and the City' or 'Six Feet Under.'"
    Also conspicuous by their absence are the usually expensive big-star vehicles, shows built around the personalities of established celebrities.
    Last year’s crop, of course, included the shows of Ellen DeGeneres, Jason Alexander, and Emeril, none of which turned out to be the hit the creators envisioned. The year before included the Bette Midler and Michael Richards disasters.
    "As we have said every year, shows make stars, stars don’t make shows," admonishes Steve Sternberg, senior vice president and director of audience analysis for MAGNA Global USA.
    Perhaps not, but having a big name attached to a project, either in front of or behind the cameras, often helps guarantee a show's being scheduled.
    This year’s crop includes shows from "Buffy, the Vampire Slayer’s" Joss Whedon, who is spearheading "a Western-like adventure series set on a spaceship"; writer-producer Larry Gelbart, who is fielding a sprawling family drama; actor Sylvester Stallone, who is producing a drama about a big-city priest; and director Francis Ford Coppola, who is executive producer of a drama about 1960s high schoolers.
    Performers attached to projects announced so far include Chevy Chase, in a retelling of the "My Three Sons" tale, this time with three daughters; Andie MacDowell, who will play a lady veterinarian; Nathan Lane, as a TV star who wins a seat in Congress; and Jeff Goldblum, as a war correspondent.
     Also on the list of projects are revivals of previous hits: ABC is developing a new version of "Nancy Drew," Fox is trying to revive "Time Tunnel," and the WB is reworking "The Lone Ranger."
     Perhaps of greater concern to media insiders than the familiarity and warm fuzziness of this year’s crop of shows is the programs’ lineage: The vast majority are originating either from in-house production units or sister studios, or are co-productions with an outside supplier.
    Twenty-one of the 23 pilots ordered so far by ABC originate from within the Disney/Touchstone Television division, and 17 of the 20 pilots NBC has ordered are owned at least in part by its in-house NBC Studios subsidiary.
    Over at Fox, half of the 10 pilots ordered so far are from other News Corp. divisions. And 15 of the WB’s 18 projects originate under the Warner Bros./Turner umbrella.
    Only CBS and UPN, both owned by Viacom, appear to be bucking the trend. Only three of CBS’s ordered pilots are from Viacom subsidiaries.
    UPN, under new management, has not confirmed its selection of projects, but either or both networks will likely try to negotiate partnership deals with independent producers in exchange for scheduling.
     "This may or may not be a problem," warns Spiropoulos. "Obviously we are always looking to place our clients in the best possible vehicles. The fact that a network owns part or all of a show does not, in and of itself, bother us.
    "It only becomes an issue if weaker in-house or partnership shows get scheduled over stronger ones that are wholly owned by outside producers."
    "It’s all a function of economics," Spiropoulos points out. "The networks are selecting more conservative, viewer-friendly, advertiser-friendly programming, and they are producing it in-house, both to control costs and to be the beneficiaries of whatever long-term profits may materialize at the other end."
     Industry insiders expect ABC to need five to six hours of new programming in the fall; CBS, seven hours; NBC, six hours; Fox, eight hours; UPN, two hours; and the WB as many as eight hours.
     At least a dozen current shows are considered "on the bubble," with their fate hinging on the strength of the new projects in development.
     Among those in question are such once-stellar but now fading hits as ABC’s "Dharma & Greg" and "Spin City," CBS’s "Family Law," the WB’s "Dawson’s Creek" and "Angel," and Fox’s "Ally McBeal."
     The networks are expected to finalize their pilot commitments by early March and announce their fall schedules in late May.

-Thomas J. Watson is a Los Angeles writer.

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