The radio annual (1956)

Trial and Risk— ANetwork^s Inherent Duty By THOMAS A. McAVITY Vice-President in Charge of NBC-TV TTOW many people are using television as a major source of information and entertainment? This question is far more vital to the future of television than any hassle over day-to-day ratings. Television can claim success only if it attracts the entire public — the light, finicky viewers as well as the heavy, habit viewers. And if we are to appeal to this entire audience, we must have fresh vital programming — the kind of programming no one can afford to miss. ^ i^ i^ But this implies a risk — the risk of new and untried formats, personalities, concepts. It also implies overall planning to insure a balanced viewing diet. For these reasons, fresh programming must be the responsibility of the network. For only a network can afford the risk necessary to gamble on shows, talent and projects required for providing this type programming to all viewers and as a useful selling medium for every advertiser — big and small. Y/e must refresh and rebuild our programs from year to year, for we know that any known schedule of attractions begins to lose audience and our medium falls short. ik ik ik The conventional so-called "hit" half-hour shows are great for many types of personalities and for story-telling. But this form can be limiting. The form that television can do so' well is the one-shot or the occasional show — "idea television." First of all, such a show can be worked on longer than the regular series show. It also saves the artist from over-exposure and enables the artists from all fields to meet the challenge of television on an occasional basis. This irregular, "idea" television is spearheaded by our firm belief that a network is its programming, and sets the responsibilty for influencing the minds of its viewers by offering something for everyone. This means not only presenting a Sid Caesar, a Bob Hope, a Groucho Marx, a "Hit Parade," but also a "Richard III," a "Magic Flute," o. Maurice Evans in "The Devil's Disciple," q "Caesar and Cleopatra," an "Assignment: India," a "Twisted Cross," a Wanda Landowska, plus a "Peter Pan" and a "Sleeping, Beauty." ik ik ^ But television must have all forms. We should not choose between them. We want them all. In order to do this, we must fight anything that would restrict television, that would limit its usefulness for over 160,000,000 people. Wd must keep it so that it programs for everyone^ And when we find a large segment of women who do not want soap operas in the daytime, then we must create a "Matinee Theatre" or c "Home." We believe that the television industry mus' have significance in a time of world crisis With the talent development projects and the searching programming that we and others have and must continuously enlarge, we bei lieve we will find a great increase in th^ number of talented people available to us and from them an intelligent direction will coma excellence in one-shots and specials as wel as hits. ^ ik ik NEC, which pioneered in bringing excitei mcnt and expectancy through its Spectaculars has been joined now by the other network: in 90-minute "specials." ; NBC believes this seasoning of programminc by means of great cultural events — based b a large amount of hit TV and guided by tht network's policy of enlightenment througl exposure — will keep the network the rid national service it deserves to be and nc merely a product of universal expediency. 834