July 2007 News

AOL relaunched its video portal today at http://video.aol.com to include a revamped home page and improved video search.

The goal with the makeover is to give consumers access to more videos from across the Web, in addition to the licensed videos AOL host, AOL said.

The site also now lets users playback videos from other video-sharing sites, such as YouTube.

AOL said it’s grown the number of unique visitors to AOL Video by 300 percent to 8 million in the last year.

On Monday, July 9, TelevisionWeek will publish the results of its semiannual Critics Poll. The votes are in and there are a number of surprises.

What do you think the was the worst show of this TV season?

Leave your opinions in the comments below.

• Best Series: A Blaze of Glory for 'The Sopranos'

• Worst Series: 'October Road' Lands ABC in Ditch

• Non-Series: 'Planet Earth' Rules But Critics Bury 'Heart'

• Critics Evaluate Networks' Fall Pilots

• Critics Poll Results: Series

• Critics Poll Results: Movie, Miniseries or Special

WSB-TV and WSOC-TV, the Cox-owned ABC affiliates in Atlanta and Charlotte, N.C., respectively are finally going to carry the network’s five-season-old “Jimmy Kimmel Live,” finally putting “Kimmel” on every network-affiliated station in the country. Starting July 10 in Atlanta and July 17 in Charlotte, “Kimmel” will air in pattern at 12:05 a.m., following “Nightline.”

Although Mr. Kimmel is in repeats this week, the announcement Monday included a statement in which he pretended to fume that “I had no idea we haven’t been on in Atlanta and Charlotte. This makes me furious.”

The May sweeps capped “Kimmel’s” most-watched season yet, with the show averaging 1.8 million viewers, up 10 percent from the 1.6 million average during the 2005-2006 season, according to data from Nielsen Media Research.

Fox’s “Hell’s Kitchen” continued to grill the competition Monday night, while viewers apparently think NBC’s “Age of Love” is getting old.

“Kitchen” was the top-rated program for the evening, with a 3.8 rating among adults 18 to 49, according to preliminary Nielsen Media Research numbers. It followed a “Kitchen” repeat.

In second place was ABC with “Extreme Makeover” returning from hiatus to earn a 2.2, though a repeat of “Supernanny” at 10 p.m. performed slightly higher.

CBS was a close third with reruns, including the second-highest rated program for the night, a repeat of “CSI Miami.”

NBC was fourth, with “Age of Love” continuing its week-by-week decline, down 22 percent to a
1.8.

The CW was fifth with repeats.

(Editor: Horowitz)

NBC Universal started shutting down its online video syndication venture NBBC this week and folding it into the NBC-Fox joint venture that’s slated to launch later this year.

NBCU launched NBBC late last year as an online video syndication marketplace in which Web sites could syndicate video content to each other.

Earlier this week, NBCU started the process of bringing the assets of NBBC into the joint venture, currently dubbed New Site.

NBBC’s video distribution will form the basis of the video syndication for New Site, said George Kliavkoff, the chief digital officer for NBCU and interim CEO for New Site. He said all NBBC content partners will be offered the opportunity to participate in New Site’s distribution, with a better revenue split for them.

“It’s a broader distribution platform and better economics,” he said. “The revenue split on the business model for New Site provides a higher revenue share for the content partners than NBBC did.”

Mr. Kliavkoff added that NBBC generated a “tremendous” return on investment for the NBC affiliates that were part of the ownership structure for NBBC.

(Editor: Horowitz)

If "Entourage" creator-executive producer Doug Ellin could shoot anywhere in the world, he'd choose New York.

In this week's exclusive Backlot Talk podcast, Mr. Ellin says his dream is to shoot an entire season in New York. He had plans to shoot there after the show's pilot, but budget constraints have kept "Entourage" from going there.

After Las Vegas and Sundance, the show next travels to Cannes in the season finale. The guys go there on behalf of their film "Medellin." Mr. Ellin said shooting in Cannes in May was really challenging

"The Cannes episode was extremely difficult to pull off," Mr. Ellin said. "The Cannes Film Festival controls all of that city during the festival and they had to let us do it. They had to give us permission. They were gracious and great, but we had to convince them -- in France they don't really know who we are."

After Dennis Hopper's appearance in this week's "Malibooty" episode, next week features a guest turn by M. Night Shyamalan as a client of Ari's.

Go to TVWeek.com's Backlot Talk to listen to the full podcast.

National Geographic Channel named Discovery Communications veteran Steve Burns as executive VP for content as the channel remakes its top management.

Mr. Burns replaces John Ford, who left Nat Geo in March for a production company and to pursue other interests. He will report to David Haslingden, who was named CEO later that month after Laureen Ong moved to Star, News Corp.’s Asian satellite TV operation.

Beginning July 9, Mr. Burns will oversee development, production, acquisitions and scheduling.

He had been executive VP and chief science editor at Discovery Networks, responsible for Discovery Channel Quest, a series of expedition specials.

Before joining Discovery in 1992, he was a producer/cinematographer, then producer with National Geographic Television. He spent three years as senior producer on “Explorer.”

“The National Geographic Channel has been one of the most successful young networks in the history of cable television, from distribution growth to ratings growth, and the quality of our programming has been a key driver,” Mr. Haslingden said in a statement. “Now we’re looking at taking NGC to the next level as part of a larger international strategy, and Steve will be play a critical role in that endeavor.”

“I’m pleased to be returning home to this respected brand at such an important phase of its evolution,” said Mr. Burns. “The proven programming strategy of combining strong series and high-profile specials has created tremendous ratings momentum for the network, and I look forward to building on that success.”

(Editor: Romanelli)

NBC Sports has reached an agreement with the All England Lawn Tennis & Croquet Club on a long-term extension of its contract to broadcast the Championships at Wimbledon, as expected (TelevisionWeek, June 25).

As part of the deal, NBC Sports retains digital media rights to the Championships, including sharing Wimbledon LIVE online coverage at NBCSports.com and live mobile coverage.

“‘Breakfast at Wimbledon’ has become a tradition in American sports and part of the lexicon in American culture,” said Dick Ebersol, chairman of NBC Universal Sports & Olympics. “I’m extremely pleased that we’ll be continuing our wonderful relationship with the All England Club into its 40th anniversary and beyond.”

This year marks the 39th consecutive year NBC Sports has broadcast the Championships, the longest partnership in the network’s history.

Under the new deal, the network will carry the event through 2011, paying an estimated $12 million to $13 million per year for the rights.

ESPN also is close to completing a deal for the cable portion of Wimbledon coverage.
“We are delighted that our long partnership with NBC Sports is to continue,” said Tim Phillips, chairman of the All England Club. “NBC Sports will have again presented over 37 hours of network coverage from the Championships this year, with all the traditional quality and expertise that we have come to expect from them.”

(Editor: Horowitz)

ESPN is pulling out the stops for David Beckham’s first game for the Los Angeles Galaxy of Major League Soccer on July 21.

Coverage starts with an expanded edition of “SportsCenter” at 6 p.m. (ET); a special titled “David Beckham: New Beginnings” at 7:30 p.m. (ET); a pregame show at 8:30 p.m. (ET) and the actual game at 9 p.m. (ET).

The game will be covered with 19 cameras, including Skycam, super slo-mo cameras and robotic goal cams. There will also be a Beckham cam following the British star form ESPN360.com.

ESPN will also be following Mr. Beckham on ESPNSoccernet.com and ESPNNews.

“Beckham’s move to Major League Soccer is a landmark moment for the league and for soccer in America,” said Scott Guglielmino, ESPN’s VP of programming and acquisitions. “Our coverage will appear across several ESPN platforms and will chronicle this historic moment well beyond the game telecast with the depth and context it deserves.”

(Editor: Worrell)

NBC’s annual airing of the “Macy’s Fourth of July Fireworks Spectacular” was the highest-rated show on broadcast television Wednesday night, although competition was scarce.

The fireworks display had its best adults 18 to 49 delivery in five years, according to Nielsen preliminary ratings, up a notch from last July to a 2.2 rating. The airing was followed by “Dateline,” which earned a 2.0.

The rest of the night consisted mostly of repeats, with CBS finishing in second place with procedurals and the “Boston Pops Fireworks Spectacular” garnering a 1.6, down a tick from last year.

ABC had repeats. Fox ran the feature film “Anger Management,” scoring a 1.2. The CW’s “Hidden Palms” finale hit ratings rock-bottom with a 0.3.

(Editor: Horowitz)

Two senators are postponing a task force report on child obesity, an indication that the nation’s biggest food and beverage marketers are preparing to unveil major new concessions in how they market food to kids on TV.

Sens. Sam Brownback, R-Kan., and Tom Harkin, D-Iowa, announced today that the joint kids and obesity task force they formed with the Federal Communications Commission’s Kevin J. Martin and Deborah Taylor Tate will report in September instead of next week.

The reason: A recommendation now would be outdated by initiatives to be unveiled July 18 at a Federal Trade Commission/Department of Health & Human Services workshop.

Sens. Brownback and Harkin said they launched the task force to foster marketing and media changes and that any initiative would have to be evaluated before deciding what else is needed.

“The extension will allow for a more thorough examination of new initiatives that many food and beverage companies are coordinating as well as a more comprehensive look at how all parties, especially the media, can work for the common good,” Sen. Brownback said in a statement today.

Sesame Workshop President-CEO Gary Knell, who has been volunteer coordinator of the task force, said he got a clear indication major changes are coming from marketers, which warranted waiting to examine them.

“I am led to believe that we will get some impressive commitments from major advertisers,” Mr. Knell said. “I am looking forward to dramatic statements on the part of the food companies so we can begin to look at media companies as part of the solution, rather than part of the problem.”

The moves add a level of uncertainty to marketers’ support of children’s TV, but exactly how they affect ad buys remains unclear. Marketers could just alter the nutrition profile of products or switch the brands they advertise to kids, causing little disruption in media buying, or focus more of their ads on parents, causing much greater impact.

Advertisers’ moves also could ramp up pressure on networks to take their own steps to counter childhood obesity.

The task force was formed in response to pressure from legislators and several studies questioning whether food and fast food marketing—much of it on TV—was contributing to increasing childhood obesity and whether marketers and media companies were doing enough.

That same pressure prompted 11 of the country’s biggest advertisers of kids food to agree last fall for the first time to start taking nutrition into account in what they pitch kids.

The 11 unveiled a Council of Better Business Bureaus/National Advertising Review Council initiative and promised to devote at least half their kids food ads to promoting either healthy messages or healthy lifestyles, limit their use of licensed characters and take other steps including making specific public pledges of changes. The companies’ detailed public pledges are expected to be unveiled at the FTC/HHS workshop.

Some consumer advocates were upset that Congress and some FCC commissioners created a task force rather than acting and expressed disappointment with the delay in its report.

“From the beginning, I never understood the need for the task force,” said Margo Wootan, director of nutrition policy for the Center for Science in the Public Interest. “We have reports and lots of recommendations. What needs to be done is to do something, now.”

(Editor: Horowitz)

Wednesday night The CW called the last episode of its low-rated summer soap “Hidden Palms” a “series finale,” thus concluding the program.

The eight-episode “Palms” run has played like a game of summer ratings limbo, testing how low an original broadcast series can go. The May 30 premiere earned a 0.6. The final episode aired on the Fourth of July to a 0.3.

“Palms,” executive produced by Kevin Williamson (“Dawson’s Creek”), initially was scheduled to air in midseason. But during production the network reduced its order from 13 episodes to eight and filled the slot with reality series “The Pussycat Dolls Present…” instead.

“Palms” is one of only two original scripted dramas attempted by the fledgling CW network since its launch last year (the first was the short-lived “Runaway”). This fall’s CW pilots, however, have generated some early positive buzz from critics and advertisers.

The CW had no comment.

(Editor: Horowitz)

Former NBC entertainment president Kevin Reilly is in talks with Fox Broadcasting Co. to join the network under his former FX boss Peter Liguori, sources said.

Mr. Reilly likely would take a lead programming role, with current entertainment president Mr. Liguori ascending to a more managerial position. Mr. Reilly and Mr. Liguori had a similar working arrangement at FX, where they helped establish the network as “the HBO of basic cable” with edgy scripted fare such as “The Shield” and “Nip/Tuck.”

Joining the top-rated Fox network would represent a professional victory for Mr. Reilly following his unceremonious ouster from fourth-rated NBC last month. At NBC, Mr. Reilly was responsible for acclaimed scripted series such as “Heroes,” “Friday Night Lights” and “The Office,” but the network as a whole struggled to gain ratings traction.

Fox already has ratings dominance thanks to reality hits like “American Idol,” but it needs stronger scripted programs to join its heavy-hitter drama “House” and the aging “24.”

Early rumors had Mr. Reilly replacing Mr. Liguori, whose new scripted efforts have struck out this season despite the network finishing in first place in the key 18 to 49 demographic.

Another question mark is Fox’s reality guru Mike Darnell, who is being courted by Mr. Reilly’s successor at NBC, Ben Silverman. Oddsmakers continue to assume Mr. Darnell will remain at Fox. If Mr. Reilly joins Fox, it’s unclear to whom Mr. Darnell will report.

Fox had no comment.

(Editor: Horowitz)

ESPN is offering extended coverage across seven of its outlets for this month’s Pan American Games in Rio de Janeiro.

ESPN, ESPN2, ESPN Deportes, ESPN360.com, ESPN Deportes Radio, ESPNdeportes.com and ESPN Deportes La Revista all will feature some type of coverage of the XV Pan American Games.

More than 160 hours will be dedicated to the coverage of the Games.

Coverage will last for three weeks, kicking off with July 13’s opening ceremonies at 3 p.m. ET on ESPN Deportes.

(Editor: Horowitz)

Fox edged out CBS for a Thursday night victory, with a repeat of “Are You Smarter Than a 5th Grader” besting the season premiere of “Big Brother” as the night’s top-rated show.

By scheduling two “Smarter” reruns, Fox won the night with a 2.6 average for the evening. CBS was second with “Brother” garnering a 2.7, down a tick from last year, followed by “Pirate Master” getting a 1.8. A repeat of “CSI” pulled a 2.6 for an average of 2.4 for the evening.

NBC, ABC and The CW were third, fourth and fifth, respectively, with repeats.

(Editor: Romanelli)

ABC will burn off the remaining episodes of its fall bank heist drama “The Nine,” the network confirmed Friday.

The network will air the final six episodes of the critically acclaimed show starting Aug. 1. ABC aired seven episodes last fall before pulling the series.

The series finale will air Sept. 5, although it’s unclear if there is any resolution to the bank standoff in the final episode.

The series was executive produced by "Without a Trace" showrunner Hank Steinberg and Alex Graves ("The West Wing"). "The Nine" was a production of Warner Bros. Television, in association with Sunset Road Productions.

(Editor: Horowitz)

Major League Baseball has taken away ESPN’s anchor desk at the All-Star Game.

The slap follows ESPN’s decision to broadcast the top National League vote getters and the complete All-Star rosters on Sunday, when TBS was running its All-Star selection show.

An ESPN spokeswoman said that the network will still have its full compliment of baseball personalities at the All-Star Game, broadcast by Fox, and will also televise events such as the Home Run Derby.

“The bottom line is fans are gong to receive the kind of coverage they expect to receive when they tune in to ESPN,” the spokeswoman said.

(Editor: Romanelli)

NBC plans to revive Donald Trump’s struggling reality series “The Apprentice” for midseason, sources said.

Under the leadership of newly installed entertainment co-chair Ben Silverman, the network is near a deal to bring back the veteran Mark Burnett-produced show for a seventh round.

Previous editions have dropped in the Nielsen ratings nearly every year, with last season averaging a paltry 3.1 among adults 18 to 49. Its first season averaged an incredible 10.1.
Former entertainment president Kevin Reilly has blamed last season’s performance on the show’s Sunday night timeslot, where it was paired with a similarly low-performing “Grease: You’re the One That I Want.”

In May, NBC unveiled its schedule for next season without including “The Apprentice.” Mr. Trump declared he was moving on from the program. But Mr. Silverman reached out to Mr. Trump soon after joining the network.

If the deal is completed in time, NBC hopes to announce the pickup at this month’s Television Critics Association press tour.

NBC had no comment.

(Editor: Romanelli)

BROADCASTING
Randi Goldklank to VP/general manager, WHDH-TV/WLVI-TV, Boston, from director, sales.

Thomas Grant, to national sales manager/assistant station manager, WZDX-TV/WAMY-TV, Huntsville, Ala., from national sales manager, WFXR-TV/WWCW-TV, Roanoke, Va.

Rick Vokulich to senior VP, business affairs, The CW Network, from executive consultant, CBS Paramount Network Television.

CABLE
Barbara Bekkedahl to VP, advertising sales and sales operations, Gospel Music Channel, from VP, ad sales.

Paul Borgese to director, ad engagement, Weather Channel Media Solutions, from director, research.

Lisa Brown to senior director, marketing, International Music Feed, from national director, affiliate marketing, Tennis Channel.

Billy Cogar to director of development, here!, from manager, original programming.

Michael DuPont to VP, eastern sales, Oxygen, from VP, strategic partnerships.

Randi Felton to senior director, ad sales research, Hallmark Channel/Hallmark Movie Channel, from research manager, Turner Broadcasting.

Jay Frank, senior VP, music strategy, CMT, from VP, music programming/label relations, Yahoo! Music.

John Hamlin to senior VP, production/development, CMT, from producer, "60 Minutes."

Pam Kaufman to chief marketing officer, Nickelodeon/MTVN Kids and Family Group, from executive VP, marketing and worldwide promotions.

David R. Kline to executive VP/chief information officer, Discovery Communications, from senior VP/chief information officer, information technology and facilities.

Kathy Mandato to senior VP, human resources, Comcast Entertainment Group, from head of human resources, DreamWorks Animation.
Melanie Moreau to VP, development, CMT, from director, programming/development.

Patrick Paterno to regional director, communications, Michigan region, Comcast, from manager, media relations, Leader Dogs for the Blind.

Marissa Ronca to director, program development, Court TV, from same title, TLC/Discovery Home Channel.

Paul Zulkoski to senior director, affiliate sales, western/north central regions, International Music Feed, from director, affiliate relations, Sportsman Channel/Inspiration Networks.

DISTRIBUTION
John Cora to VP, research, CBS Television Distribution, from research director, NFL Network.

Kym Frank to VP, research, CBS Television Distribution, from research director, King World Productions.

Eric Phillips to executive VP, domestic distribution, Discovery Communications, from senior VP, affiliate distribution.

JOURNALISM
Adrian Arambulo to morning reporter, KDFW-TV, Dallas, from nightside reporter, KLAS-TV, Las Vegas.

Errol Barnett to correspondent/fill-in host, ReelzChannel, from host/correspondent, Channel One.

Christina Brown to anchor, MSNBC, from weekend anchor/reporter, KTNV-TV, Las Vegas.

Ibby Carothers to freelance meteorologist, WWOR-TV, New York City, from AMS meteorologist.

Katishia Cosley to freelance reporter, KTRK-TV, Houston, from reporter/fill-in anchor, WTIC-TV, Hartford, Conn.

Reed Cowan to Saturday morning news anchor, WSVN-TV, Miami/Fort Lauderdale, from morning anchor, KTVX-TV, Salt Lake City.

Jonathan Elias to anchor/reporter, WBZ-TV, Boston, from anchor, KNXV-TV, Phoenix.

Valerie Feder to assistant news director, WCBS-TV, New York City, from executive producer/writer/media consultant, VAF Television Consulting.

David Fry to videographer/editor, CW 11, KSTW-TV, Seattle from editor/producer, 5 Stones Productions.

Shon Gables to host, "Black Enterprise Business Report," from most recent position of morning anchor, WCBS-TV, New York City.

Justin Gray to freelance reporter, WAGA-TV, Atlanta, as a freelance reporter, from reporter, CN8, Philadelphia.

Chris Hassel to sports reporter/anchor, WHO-TV, Des Moines, Iowa, from same title, KLJB-TV, Davenport, Iowa.

Jennifer Hill to morning meteorologist, WFLA-TV, Tampa, Fla., from weekend meteorologist.

*Shannon Hori to main anchor, WFOR-TV, Miami, from morning anchor, KTVT-TV, Dallas.

Steve Irvin to primary anchor, KNXV, Phoenix, from weekday morning anchor.

Andrea Jackson to managing editor, "The Daily Buzz," continuing as host.

Chris Knowles to weekend weather anchor, WPIX-TV, New York City, from weathercaster, Fox News Channel.

Evan Michael to morning anchor, KTXL-TV, Sacramento, Calif., from same title, KOAA-TV, Colorado Springs.

Vicky Nguyen to general assignment reporter, KNTV, San Jose, Calif., from freelance reporter.

Mary Jo Perino to sports anchor, WLEX-TV, Lexington, Ky., from same title, CNN Headline News.

Kym Richardson to morning/noon anchor, WPMI-TV, Mobile, Ala., from anchor/reporter, WHNT-TV, Huntsville, Ala.

Adrienne Roark to news director, WFOR-TV/WBFS-TV, Miami, from assistant news director.

Ducis Rodgers to primary sports anchor, WCBS-TV, New York City, from weekday morning sports anchor/reporter.

Emily Schmidt to reporter, WJLA-TV, Arlington, Va., from same title, WUSA-TV, Washington, D.C.

Todd Wilson to general assignment reporter, WESH-TV, Orlando, Fla., from same title, KTHV-TV, Little Rock, Ark.

ADVERTISING
John Burnett to VP/general sales manager, FSN Southwest, from VP, business development, cable national sales, Fox Sports.

Regina DiMartino to executive VP, marketing, TLC, from same title, global marketing, Fox Television Studios.

Christopher Golden to director, sales/business development, East Coast, Teletrax, from VP/group advertising director, the Hollywood Reporter.

Nathan Jones to manager, affiliate ad sales, the Weather Channel, from senior marketing communications coordinator, Arby’s Restaurant Group.

Mark Lapidus to director, marketing, Comcast SportsNet Mid-Atlantic from marketing director/director of internet operations, Clear Channel Worldwide, Washington/Baltimore.

Steve Lindsley to VP/general manager, Comcast Spotlight, Salt Lake City, Utah, from chairman-CEO, U.S. Digital Television.

Mark Lund to executive VP, sales, NBC Universal Television Stations, from senior VP, sales, WNBC and the East Coast Stations Group.

Leo MacCourtney to executive VP, agency/advertiser relations, Katz Television, Katz Media Group Inc., from president, Blair Television.

Sergey Shanovich to strategic marketing director, CTC Media, from art director, NTV Broadcast Co.

Lorelee Wiseman to director, sales, West Coast, Teletrax, from entertainment group director, sales, Pathfire.

PUBLICITY
Marina Pork to PR director, CTC Network, from deputy editor-in-chief for foreign affairs, 7 Days.

Konstantin Vorontsov to PR/corporate communications director, CTC Media, from PR director, Prof-Media.

PRODUCTION
Jamie Babbit to director, MRB Productions, from director, Propaganda Films.

Gary Kleinman to VP, associate publisher, TV Guide, from VP, national advertising director.

TECHNOLOGY
David Feldman to chief technology officer, Vyyo Inc., from principal member, technical staff,
Advanced Micro Devices

Rick Felty to VP, digital media, Tribune Broadcasting, from VP, creative services.

Ray Hennessey to Web site managing editor/director, Fox Business Channel, from editor, smartmoney.com.

Jon Slusser to senior VP, Spike Digital/Video Games, from VP, MTV Networks.

Christy Tanner to VP, marketing and online network development, TVGuide.com, from marketing director.

OTHER
Daniel Anco to principal consultant, Ascent Media Consulting Services, from principal/managing director, Pacific Perspective PTE.

Mark Brown to principal consultant, Ascent Media Consulting Services, from executive VP/chief technology officer, SignaSys.

Viacheslav Sinadski to chief investment officer, CTC Media, from managing director, Alfa Capital Partners private equity fund.

Andrey Skutin to foreign business director, CTC Media, from first deputy general director, DTV Network.

We have Paris Hilton to thank for a recent moment of clarity about celebrity "news"versus the television news previous generations knew.

It wasn’t anything about Ms. Hilton, per se. Rather, it was the behavior of broadcast and cable networks clawing to get the first post-incarceration interview with her following her stint in jail for driving on a suspended license.

The race to land that exclusive generated reports that NBC was considering paying up to $1 million for the first interview. (NBC denied those reports.) ABC reportedly had been considering paying $100,000 for a sit-down with Ms. Hilton.

Charges of paying for the interview flew hot and fast, with unnamed sources at each network implying that their competitors were doing something unsavory by mixing news and money.

In the end, CNN’s Larry King got the first post-jailhouse interview with Ms. Hilton after the other networks passed.

The episode left us thinking that the practitioners of the celebrity news genre should consider a jailhouse hose-down and delousing akin to what Ms. Hilton presumably endured.

It also inspired a proposal that might preserve the integrity of so-called hard news programs while slaking the public’s hunger for celebrity dirt.

A little transparency would go a long way.

Programs that deliver any form of payment—be it travel expenses, meals, cash, promises of book deals, etc.—to interview subjects or their representatives should disclose that practice. The disclosure needn’t be specific. Even boilerplate along the lines of "This program provides direct or indirect payment to some interview subjects"would do the trick. Especially progressive celebrity news professionals could go as far as flashing the notice before the particular items for which value was exchanged.

A key value for networks’ so-called "hard news"divisions is at stake, because being transparent about which programs pay for interviews would help erase questions about whether the practice is infecting other, straight-news telecasts.

No one expects celebrity news programs to play by the same rules as the networks’ evening newscasts. Admitting they sometimes provide value for interviews would air out the industry’s dirty little secret while preserving the integrity of networks’ more serious newsgathering efforts.

I remember my father telling me, "Marty, no one gets a second chance at making a first impression." I immediately deduced: "First impressions are important!"

Most of our work in design, advertising and promotion is dedicated to making a first—and then a lasting—mdash;impression. Call it branding or image, but making an impression is critical, and the first impression is even more important.

Often we focus more attention on how a spot or promo ends. It’s where the business is done and the brand is stamped. But what was the first image? What was the first sound or line of copy or song lyric?

Psychology 101 teaches us about the theory of primacy and recency: What you first observe or experience and what you last observe or experience will provide the longest-lasting impressions.

I think we have all focused enough attention on the end of the message long enough. Today we should start to think more about the first impression and its equal (if not greater) importance to our work. Repeat after me: "How does it open?"

One first impression, of sorts, has interested me for years—mdash;main titles. The TV main title has always made the first impression for television shows since the very beginning.

What is a main title and why do we need them? It’s the introduction, an opening move, the curtain going up, the audience warm-up, the marquee, an invitation to watch.

The main title has always done a fabulous job of building a relationship with the audience. Go ahead, start humming the theme song to "The Brady Bunch" or recall the eerie signature instrumental of "Six Feet Under." Or follow Tony Soprano through the Lincoln Tunnel as he travels to his Jersey mobster mansion. These main titles have made an amazingly strong first impression on all of us over the years.

Before the producers of "American Idol" put Coke cups on the judges’ table, main titles were originally conceived and designed to do some "business." They didn’t call it branded entertainment then, it was simply a way to include the sponsor in the show.

The "Texaco Star Theater" main title from the ’50s ultimately sold gasoline while the audience was introduced to that night’s guests. Early "Beverly Hillbillies" episodes plugged Winston cigarettes and "The Ed Sullivan Show" promoted Lincoln-Mercury automobiles.

Most titles also showcase talent as well as the show’s backstory. When "The Rifleman" (a late ’50s-early ’60s show) walks down that Western street, blasts seven shots out of his custom Winchester and twirls it, cocks it and reloads, we know two things: Don’t mess with the Rifleman, and it stars Chuck Connors. When the S.S. Minnow is headed out on its three-hour tour, we know its passengers and cast are headed to "Gilligan’s Island."

TV main titles are part of our television history. The current trend toward "mini" main titles like "Ugly Betty," "Heroes" and "Lost" scares me. Although time is money, devoting only three to six seconds toward the branding of your show, in the long run, isn’t saving anyone time or money.

The main title for "Frasier" started the resurgence of the short and simple title. Its simple animation of the Seattle skyline caused producers and networks to rethink the need for main titles and their overall value to the show’s ratings.

For those of us creating and producing main titles at that time, we like to think that "Frasier" almost killed main titles. But thanks to cable channels like HBO and Showtime and their series like "Six Feet Under" and "Dexter," it seems the main title lives on.

Just think, when the "American Idol" title starts and the blue-tinted contestant walks to the stage framed by past winners looking down with confidence, we get a sense of how big this challenge is, how huge this show has become and how much pressure is on the participants. It’s exciting right from the very start. My first impression of that show—each week—is that I am going to experience something special and unique.

If I am in the kitchen, all I need to hear is the "Idol" theme song’s first note and I know it’s time to call to my wife, "Please TiVo that, would ya?"

You may not get a second chance to make a first impression, but at least now you can pause it.

Marty Wall is creative director of Universal City, Calif.-based Mdots Design. He hosted the Promax/BDA session "A Tribute to TV Main Titles" last month in New York.

The Critics Poll list of worst shows is typically topped by a tawdry reality program such as Fox’s "The Swan" or an obnoxious sitcom like Fox’s "The War at Home."

But this summer’s worst shows include several dramas—and the most-disliked program isn’t even on Fox.

ABC’s spring launch of "October Road" benefited from its "Grey’s Anatomy" lead-in and garnered a renewal for next season, but the drama also earned the wrath of critics, who went to bed on Thursday nights with hearts full of hate.

"There’s not an original thought, line of dialogue or image in this painfully derivative, endlessly pandering migraine of a show," unleashed Matt Roush, TV Guide. "The fact that viewers of ABC’s Thursday lineup were willing to settle for this turgid bonbon of recycled angst was the most depressing development of the spring."

Fox did make an appearance at No. 2 on the list, with the surprise inclusion of "24." Last summer the action-drama was ranked No. 4 on the list of best shows. To be fair, many critics bashed this season of the program for failing to live up to its own high standards.

"Soap-opera elements and bad dialogue have always infected this series, but usually the action moves fast enough that you don’t care about the flaws," wrote Robert Philpot, Fort Worth Star-Telegram. "Not this year. And who decided it was a good idea to both neuter Chloe and make her pregnant?"

Agreed Ken Tucker, Entertainment Weekly: "What a difference a season makes. From an early top-10 slot to its lamest season yet, filled with false turns and mean-mindedness."

Two NBC shows came in third and fourth: the short-lived reality show "Real Wedding Crashers" and the crime drama "The Black Donnellys," respectively.

"As if watching a lovingly lit hunk in skivvies bludgeon a dead body to fit into a trash can counts as human drama," wrote John Griffiths, US Weekly, of "Donnellys."

The CW’s "Pussycat Dolls Present: The Search for the Next Doll" and TBS’ "Tyler Perry’s House of Payne" were next on the list, but critics had few standout comments until No. 7: the ever-controversial "Nancy Grace" on CNN’s Headline News.

"She represents every bad part of our media culture. She—and CNN—have shown they’re willing to do anything to anyone for ratings," wrote Rick Kushman, Sacramento Bee.

Charlie McCollum of the San Jose Mercury News wrote that he worries Ms. Grace’s influence will grow: "My deepest fear is that Grace, the Lord High Executioner of TV, will end up as a panelist on ‘The View.’"

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Having announced their lineups for the 2007-08 season, broadcast network executives now will have to wait months before they discover how many viewers are tuning in to their new and returning series. They will learn about "the count" of viewers from Nielsen, and will be able to uncover how engaged viewers are with their programs through IAG Research.

IAG conducts online research among a representative sample of viewers every day of the year. More than 5,000 people participate daily, and more than 50,000 different people participate each month.

To determine attentiveness, viewers of a specific episode that aired yesterday are asked questions about its content. These "program engagement" scores have gained resonance with clients, as engagement levels are strongly linked to ad recall.

IAG is taking a look at the shows that achieved the strongest program engagement scores among adult viewers during the past broadcast season. Listed below are the two regularly scheduled entertainment series for each broadcast network that had the most engaged audiences for their original episodes. All the programs are scripted, but the top 10 includes both dramas and comedies.

Shows Watched Most Attentively

Top Two Programs for Each Major Broadcast Network
Sept. 18, 2006, to June 3, 2007
Network Program

ABC
Lost
Desperate Housewives

CBS
The Class
Two and a Half Men

The CW
One Tree Hill
Gilmore Girls

Fox
Prison Break
24

NBC
Heroes
My Name Is Earl

Source: IAG Research.
Survey covers Sept. 18, 2006, to June 3, 2007, among viewers 18 and older, measuring regularly airing prime-time shows with at least three telecasts (original programming only).

Definition: IAG Program Engagement Index measures how much more attentive viewers are to a show than to the average regularly-airing prime-time show on the network; for example, viewers of “Prison Break” were more attentive to that show than were viewers of the average show on Fox during the time period.

ZenithOptimedia has reaffirmed its prediction of 3.7 percent growth in U.S. ad spending this year, providing the brightest take among a recent spate of cloudy forecasts—even for certain traditional media. TNS Media Intelligence, by comparison, said last month that ad sales would eke out a gain as small as 1.7 percent in 2007.

Bright though it is, the Zenith view isn’t exactly rosy. "It’s slower growth than we’ve seen in the past," said Bruce Goerlich, exec VP of strategic resources at Zenith.

Part of the problem is the cyclical absence of the Olympics or big elections this year. However, the business also is being affected by deceleration in the U.S. economy and marketers’ increasing reliance on cheaper digital media as well as nontraditional marketing.

To be precise, ad spending is likely to slip 1.7 percent for network TV and 1 percent for spot TV, Zenith predicted. Newspapers and syndication can expect zero growth in 2007. And radio will expand only 1 percent this year.

The biggest gain in store belongs, unsurprisingly, to the Internet, which Zenith expects to top 2006 by 29 percent. But cable TV and traditional outdoor, each on a bit of a tear, are poised to collect 6 percent more revenue this year. And consumer magazines are in line for a 4.6 percent boost.

"Clearly we’re living in a digital age," Mr. Goerlich said. "There is a shift to digital going on, but certain media are showing continuing resilience, those that are providing unique strategic value." Out-of-home, for example, is echoing the old innate power of network TV to push broad awareness quickly, he said.

Looking further out to 2008, with its elections and Olympics, Zenith forecast gains of 19 percent for the Web, 6 percent for cable and outdoor, 5 percent for consumer magazines, 3 percent for spot TV, 2 percent for network TV, 1.6 percent for radio and 1 percent for syndicated TV. Newspapers are expected to turn in a second flat year in 2008.

Garnering five times as many votes as the closest runner-up, Discovery Channel’s 11-part nature documentary "Planet Earth" dominated the non-series category in the semiannual Critics Poll.

The high-definition travelogue was named best special, movie or miniseries due to its lavish visuals and dedication to finding never-seen-before wildlife shots.

"‘Planet Earth’ was just awe-inspiring," wrote Christine Champagne, Gaywatch. "Nature filmmaking at its most brilliant."

Matt Roush, TV Guide, said "Earth" made HDTV a "must-have for millions."

"Even after years of watching nature programming, this one showed us lots we felt we’d never seen before," he added.

Longtime best non-series contender "Prime Suspect," on PBS, tied for second place with HBO’s "Longford." Charlie McCollum of the San Jose Mercury News described "Longford" as a "beautifully done mind game involving a well-meaning politician and a convicted murderer, anchored by a great performance by Jim Broadbent."

Normally HBO projects sweep the best non-series nods, but this time an HBO project—the historical Native American epic "Bury My Heart at Wounded Knee"—topped the list as worst special, movie or miniseries.

"Why are shows about Indians so portentous and boring?" asked Luaine Lee, McClatchy-Tribune News Service. "Though [HBO’s] motives are right, their shows are downright soporific."

The next eight programs on the worst list essentially tied for second place; they ranged from the coverage of Anna Nicole Smith’s death to Fox’s "American Idol" special "Idol Gives Back" to syndicated "Dr. Phil" specials.

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• Critics Evaluate Networks' Fall Pilots

• Critics Poll Results: Series

• Critics Poll Results: Movie, Miniseries or Special