Brandon Tartikoff
These Were Their Stories
May 25, 2010
by David Krell
david@davidkrell.com
“Appointment television” may be defined as the need to be home when a television show airs to ensure we capture every second of the show.
In a Hulu-You Tube-On Demand universe, appointment television in the strictest sense is no longer necessary. We’ll still seek quality, although the viewing time is in our hands. We need to make the appointment to watch the show, not the broadcast or cable networks. But after 24, Law & Order, and Lost, will prime time television ever be that good again?
On Sunday night, we learned that the Flash Sideways story line on Lost was really a waiting state for the dead. Our favorite characters remained there until they remembered their time on the island. Apparently, they needed to remember so they could move forward on their afterlife’s journeys.
Last night, we said goodbye to Jack Bauer. He’s on the run after triggering the exposure of a massive cover-up that reached the Oval Office, not to mention pulling the trigger to seek revenge on almost everyone involved. The cover-up killed Renee Walker, Jack’s paramour and fellow CTU agent.
We also bid adieu last night to Law & Order, one of television’s true stalwarts. With twenty years of episodes, we will easily have ample time to relive the stories of Lennie Briscoe, Mike Logan, Jack McCoy, Anita Van Buren, and the many others who dramatized true-life stories.
When a television show creator pitches a show, he or she explains the first few story lines or ‘bible.’ On Inside the Actors Studio, Dick Wolf recalled pitching L&O to Brandon Tartikoff, then the President of NBC Entertainment. When Tartikoff asked about the story bible, Wolf said that he would get his stories from the front page of the New York Post.
david@davidkrell.com
“Appointment television” may be defined as the need to be home when a television show airs to ensure we capture every second of the show.
In a Hulu-You Tube-On Demand universe, appointment television in the strictest sense is no longer necessary. We’ll still seek quality, although the viewing time is in our hands. We need to make the appointment to watch the show, not the broadcast or cable networks. But after 24, Law & Order, and Lost, will prime time television ever be that good again?
On Sunday night, we learned that the Flash Sideways story line on Lost was really a waiting state for the dead. Our favorite characters remained there until they remembered their time on the island. Apparently, they needed to remember so they could move forward on their afterlife’s journeys.
Last night, we said goodbye to Jack Bauer. He’s on the run after triggering the exposure of a massive cover-up that reached the Oval Office, not to mention pulling the trigger to seek revenge on almost everyone involved. The cover-up killed Renee Walker, Jack’s paramour and fellow CTU agent.
We also bid adieu last night to Law & Order, one of television’s true stalwarts. With twenty years of episodes, we will easily have ample time to relive the stories of Lennie Briscoe, Mike Logan, Jack McCoy, Anita Van Buren, and the many others who dramatized true-life stories.
When a television show creator pitches a show, he or she explains the first few story lines or ‘bible.’ On Inside the Actors Studio, Dick Wolf recalled pitching L&O to Brandon Tartikoff, then the President of NBC Entertainment. When Tartikoff asked about the story bible, Wolf said that he would get his stories from the front page of the New York Post.
The Last Great Ride
December 07, 2009
by David Krell
david@davidkrell.com
Brandon Tartikoff saw the best of times and the worst of times during his reign as NBC’s uberprogrammer.
The best of times -- Hill Street Blues, L.A. Law, Night Court, Cheers, The Cosby Show, St. Elsewhere, Family Ties, Miami Vice, Crime Story, Hunter, Late Night with David Letterman.
The worst of times -- Manimal, Misfits of Science, Supertrain, Lewis & Clark, Hull High, Pink Lady, Gavilan, Nightingales, The Nutt House, Partners in Crime.
Tartikoff was a rare television executive in that the general public knew his name. He was a guest host on Saturday Night Live. He appeared as himself in an episode of Night Court.
Tartikoff passed away in 1997. Fortunately, he recorded his life story in his 1992 autobiography, The Last Great Ride with Charles Leerhsen.
Tartikoff explains the television business as if he was talking to you informally at the kitchen table, the corner bar, or the airport terminal. And he’s fiercely honest about the realities of ratings, missed opportunities, and severe pressure in television’s executive suites.
The Last Great Ride unveils terrific television stories through the eyes of a baby boomer who possessed extraordinary passion, talent, and drive.
Tartikoff tells the details of how NBC cast Michael J. Fox instead of Matthew Broderick for the role of Alex P. Keaton in Family Ties, how William Devane lost the role of Sam Malone during his audition for Cheers, and how The Cosby Show helped rebuild NBC.
We also learn the turning points in Tartikoff’s career and personal life, including his battle with Hodgkins Disease. Ultimately, he lost the battle. But his constant strive to win under pressure in his personal life matched the same desire in his professional life.
Consequently, NBC’s peacock rose like a phoenix with newfound success in the 1980’s.
Indeed, when Brandon Tartikoff was at the helm, NBC’s shows, stations, and viewers enjoyed a great ride.
david@davidkrell.com
Brandon Tartikoff saw the best of times and the worst of times during his reign as NBC’s uberprogrammer.
The best of times -- Hill Street Blues, L.A. Law, Night Court, Cheers, The Cosby Show, St. Elsewhere, Family Ties, Miami Vice, Crime Story, Hunter, Late Night with David Letterman.
The worst of times -- Manimal, Misfits of Science, Supertrain, Lewis & Clark, Hull High, Pink Lady, Gavilan, Nightingales, The Nutt House, Partners in Crime.
Tartikoff was a rare television executive in that the general public knew his name. He was a guest host on Saturday Night Live. He appeared as himself in an episode of Night Court.
Tartikoff passed away in 1997. Fortunately, he recorded his life story in his 1992 autobiography, The Last Great Ride with Charles Leerhsen.
Tartikoff explains the television business as if he was talking to you informally at the kitchen table, the corner bar, or the airport terminal. And he’s fiercely honest about the realities of ratings, missed opportunities, and severe pressure in television’s executive suites.
The Last Great Ride unveils terrific television stories through the eyes of a baby boomer who possessed extraordinary passion, talent, and drive.
Tartikoff tells the details of how NBC cast Michael J. Fox instead of Matthew Broderick for the role of Alex P. Keaton in Family Ties, how William Devane lost the role of Sam Malone during his audition for Cheers, and how The Cosby Show helped rebuild NBC.
We also learn the turning points in Tartikoff’s career and personal life, including his battle with Hodgkins Disease. Ultimately, he lost the battle. But his constant strive to win under pressure in his personal life matched the same desire in his professional life.
Consequently, NBC’s peacock rose like a phoenix with newfound success in the 1980’s.
Indeed, when Brandon Tartikoff was at the helm, NBC’s shows, stations, and viewers enjoyed a great ride.
Three Blind Mice
October 02, 2009
by David Krell
david@davidkrell.com
In the 1980’s, America’s three television networks changed hands.
ABC to Capital Cities.
NBC to General Electric.
CBS to Loews.
Ken Auletta’s 1991 book Three Blind Mice: How the TV Networks Lost Their Way chronicles the takeovers, trials and travails of the players involved.
In a ratings game dominated by numbers, the 1980’s saw the rise of the Video Cassette Recorder and the increased attention paid to demographics.
Auletta goes through a tremendously detailed approach to bring the reader the thoughts, strategies, and fears of the media moguls in television’s executive suites.
In the chapter NBC: Tartikoff In His Sandbox, 1987, Auletta writes about a favorite son of the television industry -- NBC Entertainment President Brandon Tartikoff. Auletta zeroes in on the programming wunderkind’s observations of the obstacles for network television.
Nor was Tartikoff sure that with the explosion of buyers -- from cable, Fox, and first-run syndication, among others -- there was sufficient talent to stock a twenty-two hour prime-time schedule. Tartikoff knew that success in network television often came when a producer believed passionately in a project -- be it Norman Lear with All in the Family, James Brooks with The Mary Tyler Moore Show, or Steven Bochco with Hill Street Blues. But Tartikoff also knew the network television production system was a sausage factory.
In addition, the Big Three also faced the VCR, an affordable device by the mid-1980’s that allowed viewers to tape shows off the air and watch them at their leisure. No longer viewers tied to air times.
If viewers could shift the viewing times of their favorite shows, they would probably fast forward through the commercials. Consequently, advertisers become unhappy. Networks become worrisome about the prospect of ad dollars decreasing or disappearing.
In a world where viewers are no longer captive, advertisements can lose their impact.
The Big Three faced another challenge in the upstart FOX network. In its nascent days in the mid-1980’s, FOX did not have seven nights of programming each week. It did not have a network news division. And it did not have recognizable stars, save for one.
Its first programming attempt was The Late Show starring Joan Rivers in November 1986 followed by Sunday night programming in Spring 1987.
But it did have sister companies in other areas of media. A movie studio. A publishing house. Newspapers.
This synergy was attractive. And great ideas have to start somewhere. With the edgy sitcom Married With Children, the innovative cartoon show The Simpsons, and the funny sketch comedy program The Tracey Ullman Show, FOX began to make pinpricks in the armor of the Big Three. Their invulnerability proved to be a fallacy in the 1990’s when FOX attracted the highly valuable younger demographic of teenagers and twentysomethings with nighttime soap operas -- Beverly Hills 92010 and Melrose Place.
In the chapter ABC: More Sancho Panza Than Machiavelli, September to December, 1986, Auletta summarizes the impact of FOX chieftain Rupert Murdoch’s initial foray into network television.
The future also belonged, some feared, to Rupert Murdoch’s scheme to make Fox a fourth network by acquiring stations in six of the top ten markets, lining up affiliated stations, and setting up a programming department, just as the three networks did.
Auletta delves deeply beneath the surface to get to the heart of the matter for television networks. Really, it is the heart of the matter for business. Money.
Auletta frequently writes about the costs of contracts and programming. He shows that programs may be part creativity, part talent, and part instinct. But it is part dollars and cents, too.
david@davidkrell.com
In the 1980’s, America’s three television networks changed hands.
ABC to Capital Cities.
NBC to General Electric.
CBS to Loews.
Ken Auletta’s 1991 book Three Blind Mice: How the TV Networks Lost Their Way chronicles the takeovers, trials and travails of the players involved.
In a ratings game dominated by numbers, the 1980’s saw the rise of the Video Cassette Recorder and the increased attention paid to demographics.
Auletta goes through a tremendously detailed approach to bring the reader the thoughts, strategies, and fears of the media moguls in television’s executive suites.
In the chapter NBC: Tartikoff In His Sandbox, 1987, Auletta writes about a favorite son of the television industry -- NBC Entertainment President Brandon Tartikoff. Auletta zeroes in on the programming wunderkind’s observations of the obstacles for network television.
Nor was Tartikoff sure that with the explosion of buyers -- from cable, Fox, and first-run syndication, among others -- there was sufficient talent to stock a twenty-two hour prime-time schedule. Tartikoff knew that success in network television often came when a producer believed passionately in a project -- be it Norman Lear with All in the Family, James Brooks with The Mary Tyler Moore Show, or Steven Bochco with Hill Street Blues. But Tartikoff also knew the network television production system was a sausage factory.
In addition, the Big Three also faced the VCR, an affordable device by the mid-1980’s that allowed viewers to tape shows off the air and watch them at their leisure. No longer viewers tied to air times.
If viewers could shift the viewing times of their favorite shows, they would probably fast forward through the commercials. Consequently, advertisers become unhappy. Networks become worrisome about the prospect of ad dollars decreasing or disappearing.
In a world where viewers are no longer captive, advertisements can lose their impact.
The Big Three faced another challenge in the upstart FOX network. In its nascent days in the mid-1980’s, FOX did not have seven nights of programming each week. It did not have a network news division. And it did not have recognizable stars, save for one.
Its first programming attempt was The Late Show starring Joan Rivers in November 1986 followed by Sunday night programming in Spring 1987.
But it did have sister companies in other areas of media. A movie studio. A publishing house. Newspapers.
This synergy was attractive. And great ideas have to start somewhere. With the edgy sitcom Married With Children, the innovative cartoon show The Simpsons, and the funny sketch comedy program The Tracey Ullman Show, FOX began to make pinpricks in the armor of the Big Three. Their invulnerability proved to be a fallacy in the 1990’s when FOX attracted the highly valuable younger demographic of teenagers and twentysomethings with nighttime soap operas -- Beverly Hills 92010 and Melrose Place.
In the chapter ABC: More Sancho Panza Than Machiavelli, September to December, 1986, Auletta summarizes the impact of FOX chieftain Rupert Murdoch’s initial foray into network television.
The future also belonged, some feared, to Rupert Murdoch’s scheme to make Fox a fourth network by acquiring stations in six of the top ten markets, lining up affiliated stations, and setting up a programming department, just as the three networks did.
Auletta delves deeply beneath the surface to get to the heart of the matter for television networks. Really, it is the heart of the matter for business. Money.
Auletta frequently writes about the costs of contracts and programming. He shows that programs may be part creativity, part talent, and part instinct. But it is part dollars and cents, too.