Weekly television digest (Jan-Dec 1960)

VOI.. IG: No. 4G 9 Film & Tape GLOOM OVER HOLLYWOOD: That thick pall of gloom over Hollywood’s TV film industry is caused by the fact that predictions that this would be a lackluster season appear to be coming true (Vol. 16:41 p9). Most executives & producers we checked last week took a dim view of the quality of this season’s product, particularly the new entries. The consensus is that at least 40 series will be axed by season’s end. Four Star Television exec, vp Tom McDermott predicted 50% would be canceled, including 70% of the new starters. It is believed that the axe would fall earlier were it not for the facts that (1) most series go into production with minimum commitments of 13 or 26 episodes, (2) it is not easy to find a film replacement in mid-season, and (3) sponsors shy away from mid-season starts. Executives we talked to were generally inclined to blame the networks for the quality of programming this year, giving the much-maligned sponsor a break for a change. They said that the networks adopted a “take charge” attitude toward programming last spring, in the wake of the FCC investigation, but they had then proceeded to put their worst foot forward. Result: A mass of lookalike shows which on the whole have failed to capture viewer attention, they contend. It’s the contention of the creators & businessmen of the industry that they are best qualified to determine which types of series should be on TV, yet they have little or no say about it. Their attitude was perhaps best expressed by Alliance of Television Film Producers Pres. Richard Jencks, while testifying at the October FCC hearing in Los Angeles. Jencks, utilizing Television Digest’s pilot roundup for his reference, testified that production companies made 200 pilots available to buyers last spring, but that they cannot tell sponsors & agencies what to buy (Vol. 16:43 p8). Can’t Sell Unless In the Mold It is a fact of life, he pointed out, that while the production companies do seek to present a balanced pilot diet, few shows make the grade unless they’re in the mold of something already on TV. Last year the only exception to the rule was Rod Serling’s offbeat series. Twilight Zone. This year, tradesters are hard put to think of even one exception. All producers ask is that buyers sample more of their wares. Having mentally written off this season, the insiders are concentrating on next year. Aware of the same pitfalls to be faced, they express the hope that somehow the networks will not call all the shots in the next buying season. Some are optimistic that the FCC investigation, disclosing the extent of network control & influence, will deter the networks from being so forceful. (Irony: Among executives who expressed this hope were some who backed away from the FCC hearing, confiding that they did not want to testify, for fear of network reprisals.) In any event, the new season has provided a few promising entries — albeit fewer than usual: My Three Sons, the Don Fedderson-produced comedy starring Fred MacMurray; The Andy Griffith Show; Revue Studio’s Checkmate and The Tall Man; and, to a lesser degree, Hubbell Robinson’s Thriller. Hollywood has, since the beginning of TV film, pleaded for a voice in programming aside from that of providing the merchandise. Realists acknowledge that the buyers & networks have the say, but they contend that this power has been abused, and the play-it-safe attitude can bring only further troubles for the industry. Meanwhile, the process of turning out canned mediocrity has not exactly helped the morale of those who work in the industry in Hollywood. One studio production chief (who was among those who solemnly told the FCC how his company specialized in quality product) is termed, even by his closest associates, “the messiah of mediocrity.” There are a few others like him — but not many. With the expectation of a heavy casualty rate, companies are proceeding with pilots faster than usual. More about SAG OKAYS COMMERCIAL STRIKE: Chances for a Screen Actors Guild-AFTRA strike against the TV networks, ad agencies and producers of filmed & taped commercials rose last week when SAG’s membership voted 4,369 to 549 to authorize such action (p. 2). AFTRA membership had previously given its executives similar authority. The only SAG strike vs. producers of commercials occurred on Dec. 1, 1952, over the issue of establishing the principle of “use” payments. The strike ended Feb. 18, 1953, with the Guild winning. Chief effect of the AFTRA-SAG strike at the network level would be in daytime TV, since more than 80% of nighttime programming is built around non-affected telefilm shows. Most of the pre-5 p.m. NBC-TV schedule has taped or live shows (Dave Garroway Today show. Dough Re Mi, Play Your Hunch, The Price Is Right, It Could Be You, etc.). Much of CBS-TV’s daytime lineup is non-film (Video Village, The Brighter Day, The Verdict Is Yours, Art Linkletter’s House Party, etc.). ABC uses a lot of film reruns in daytime, but has taped shows, too (Queen for a Day, About Faces, Day in Court, American Bandstand) . All 3 networks plan to use off-the-shelf film shows, several of a vintage variety, to fill most of the gaps. Chief source of such film shows will be network-owned syndication subsidiaries (ABC Films, CBS Films, Cal. National Productions) . Taped shows will use repeat episodes. Shows that are inherently live, such as newscasts, will use news dept, executives & other non-union stand-ins. ♦ • ♦ Writers Guild of America has named its representatives on the TV film industry fact-finding committee. At the same time WGA West exec. dir. Michael Franklin, who had resigned (Vol. 16:32 p5), reconsidered & has been signed to a new 2-year contract. Morgan Cox is WGA’s paid, permanent member of the industry committee, with David Harmon and Sam Newman the other WGA representatives. Purpose of this committee is to arrive at a mutually agreeable format by which writers will receive a royalty on global gross, as provided in contracts with the Alliance of Television Film Producers and the Assn, of Motion Picture Producers. Warner Bros, and James Garner appeared in Los Angeles Superior Court Nov. 25, but there was no action. Judge Arnold Prager continued the case to Nov. 28, in order to study briefs presented by attorneys for each side (Vol. 16:47 pl3). WNEW-TV N.Y.’s 60-min. special, “Winston Churchill: The Finest Hours,” will go into syndication following its Dec. 12, 9-10 p.m. N.Y. telecast. Banner Films has exclusive distribution rights to all WNEW-TV local film specials.