A blog about television by TIME’s TV critic James Poniewozik.

Fox's Upfront: Defenders of Television

 

Viewed from the cheap seats, the stars of Fox's series line up yearbook-photo-style.

Viewed from the cheap seats, the stars of Fox's series line up yearbook-photo-style.

Having gone to upfronts for years now, there's a certain kind of presentation I've gotten used to. Network execs get up on stage and present a battery of statistics and selectively culled ratings to prove to advertisers that their dollar goes farther and their ads reach more people on Network X than any other network. 

What was different, a little unsettling, and perhaps a sign of a trend for the week today: Fox didn't do this. Instead, it spent most of its time, before screening clips of its new shows, defending the medium of television itself. Despite what pundits in the media are telling you, they told advertisers, the vast majority of TV watchers still watch on a television set, and not online. And they do so watch the ads!

I'm not necessarily disputing the assertion: there are still a lot of people who watch old-fashioned live-on-air TV. Nor do I argue with new Fox prez Peter Rice, a former movie executive, when he says that a TV audience of 10 million--though much smaller than audiences past--is the equivalent in eyeballs of a $100 million movie audience.

But when you're working this hard to persuade a room of advertisers of the basic efficacy of your medium—you are nervous about something. And mind you, this is the network that has American Idol. What the hell is ABC going to say tomorrow? 

Given Fox's relatively high-ground position on the receding coastline that is network television, the network had relatively few schedule changes to announce. Some quick impressions, and more bad iPhone photography, after the jump:

somebodytolove_webWhere last year Fox's hype was all about much-anticipated new show Fringe, this year the network is all about Glee (previewing tomorrow night), which has been so heavily promoted I feel as if it's been on for a season and a half. Fox programming chief Kevin Reilly showed two screens full of laudatory critics' blurbs—always an awkward feeling for the blurb-ee—showed the trailer that's been running for months, and closed the show with a performance by the cast of that Simon Cowell favorite, Queen's Somebody to Love. 

As for the other trailers:

BROTHERS: New comedy about an NFL star, now gone broke, who moves back home with his family and butts heads with his wheelchair-bound brother. Despite starring the fantastic C.C.H. Pounder, the clips did not wow me. 

THE WANDA SYKES SHOW: This being a late-night weekly talk show, there were no actual previews, just a number of greatest-hits clips that showed that, yes, Sykes has been funny other places. 

THE CLEVELAND SHOW: As TV critic Eric Deggans noted earlier today, Fox has singlehandedly cast more shows with minority leads than every broadcast network together did last season. That includes cartoons. The clips from this Family Guy spin-off were refreshingly light on the non-sequitur humor, and it would be nice to see Seth MacFarlane make a family comedy that actually focused on its family over the random gags. We'll see. 

SONS OF TUCSON: Reaper's Tyler Labine plays a con man hired by three rich kids to impersonate their father when their real dad, a banker, goes to jail for white-collar crime. (Trend alert: rich people down on their luck.) Show has a Malcolm in the Middle pedigree, but the kids in this trailer seem much more precociously and annoyingly bratty than Malcolm's. 

PAST LIFE: A psychologist uses past-life regression therapy to solves crimes. I kid you not: Cold Case with reincarnation. 

HUMAN TARGET: Introducing this thriller based on a DC Comics title, Reilly says that "easy to watch" '80-style action shows, "like The A-Team," have been missing from TV for too long. If you don't count Knight Rider. On the plus side: looks better than Knight Rider. 

In other news, Fox will no longer be doing regular "remote-free" seasons, as it did this year with Fringe and Dollhouse, which ran with reduced commercial time. He dd hold out the possibility of doing it by request, should any advertiser actually ask Fox to be featured on a show with fewer ads. Also, Fox will be experimenting with interstitial content during ad breaks—from folks including MacFarlane and Gordon Ramsay—to interest people in watching commercials. Even though, remember: TV viewers still totally watch commercials.

 

Let's hear it for the ad-supported broadcast television business!

Let's hear it for the ad-supported broadcast television business!

Let's end this on a cheerful note—with some more bad iPhone photography—shall we? Last year Fox had the cow from Fringe mooing about outside the theater where it gave its upfront. This year, it hired a champion competitive cheerleading team from Freehold, N.J., to cheer on Glee. Gimme an F! Gimme an O! Gimme an X!

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  • 1

    To expand upon my schedule complaint:
    Airing limited run series in Fall (when you know that the slotholders will need to vacate those spots once 24/AI comes back) is a good move.
    -
    But a reality series (especially this one) is not a good move. First off, it will just have aired a cycle in the summer, and there is no proof that audiences will want another batch immediately. Secondly, Fox Fall = baseball playoffs. How exactly do you run a reality series where it is possibly weeks between episodes? What about weeks where there is baseball on the performance slots & not on the result slot? Or vice versa?
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    Fox should, as long as 24 and AI will end up on Spring schedules, air limited series in Fall. But they should either be scripted shows (they even had a pilot in Masterwork), or pre-filmed reality series that will flow reasonably well regardless of interruption. Dance is neither.
    -
    Aside from that:
    Brothers: Poor CCH Pounder. Admittedly, she now has more work than the rest of The Shield's cast, but this seems so beneath her talents.
    Human Target: Attention Fox viewers- you are too dumb to pay attention to Fringe after AI, so have this no-backstory series instead.
    Past Life: Err, this is the net result of the "focus on women" out of this year's pilot process? Another "woment like nonrational supernatural stuff" show? Cripes.
    -
    And yes, it is odd that Past Life is so "sexist", but Fox is the least "racist" out of all the broadcast nets. (Although I'm still not seeing much in the way of Hispanics.)
    -
    And as far as defending television goes: this is Fox, they are used to receiving the highest ad rates. They have the most to lose if advertisers move to online/cable. If everyone else starts defending the medium, then I'd worry.

  • 2

    @Tom Shaw: Why is Past Life sexist? Was it really what came out of the "Let's find out what women want" machine, or is that an assumption? Honestly asking.

  • 3

    i reject the assertion that Wanda Sykes, has EVER been funny in ANYTHING. I mean she can start all the flame wars with El Rushbo that she wants, but you could get more chuckles water boarding a cat than you would watching Wanda Sykes. Awful awful awful, how can someone so spectacularly unfunny keep getting paid for it?

  • 4

    [...] Still, attendees had to wonder why the executives were acting so defensive. “When you’re working this hard to persuade a room of advertisers of the basic efficacy of your medium — you are nervous about something,” Mr. Poniewozik wrote later. [...]

  • 5

    Tom Shaw , if Human Target uses even a little of the Vertigo imprint's version of the story, it will be about 9000 times smarter then Fringe. Are you familiar at all with the source material?
    .
    I hope you aren't dismissing the show out of hand because of some sort of misguided bias against comic books, that would be silly.
    .
    I will grant you that the 1990 Rick Springfield attempt at the show was terrible, but there is a whole new compass to act as a guide. I remain optimistic.

  • 6

    @Ashman: I am familiar with the comic, and was honestly interested in the series... until I heard what Fox had done to it. Chance is now simply "employed" as an associate of the target (which I suppose saves on fx costs), and it is Fox's own words that the show is "easy to watch".
    Admittedly, Fox also played the "no complicated backstory!" card with Fringe at this time last year, and look at how that show turned out by the finale, so we'll see just how the show & comic diverge. But I am not hopeful (even if McBride, Haley, and Valley is the casting jackpot).
    -
    @Rorshach: I put "sexist" in quotes because I don't personally believe it is offensive, but it is suggestive that out of Fox's goal of programming more women-focused shows for 2009, the best (and only) show they could come up with is yet another entry in the "supernatural" crimefighter category (see Medium, Ghost Whisperer).

  • 7

    @Tom Shaw: Gotcha.
    @Carlos: I personally find Sykes hysterical. The WHCD was weak, but she's great on Curb and her standup is very good. And she's always very funny on various latenight shows, which is pretty important for this new show. I've admittedly never seen her on whatever the Louis-Dreyfus show is called.

  • 8

    I time shift my viewing, but I still watch it on a TV. Also, I skip through the commercials unless there is one that looks funny or interesting. I'll go back and watch those. So This is an announcement/warning to advertisers: Do a better job and I'll watch your crummy commercials.

  • 9

    [...] Fox’s Upfront: Defenders of Television   Having gone to upfronts for years now, there’s a certain kind of presentation I’ve gotten used to. [...] [...]

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