History DorkAge / TelevisionNetworks

30th Aug '16 6:42:36 PM nombretomado
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* The DisneyChannel (and perhaps the company as a whole too) went through one of these for the better half of a decade, generally agreed to have begun with the premiere of ''Series/HannahMontana'' (which coincides with the end of ''WesternAnimation/KimPossible'') and to have concluded with the premiere of ''WesternAnimation/GravityFalls'', though one could argue for it concluding with the premiere of ''WesternAnimation/PhineasAndFerb''. During this period, they shoved animation to the side in favor of cheap, mediocre, tween-oriented sitcoms and TV movies that acted as little more than vehicles for whatever pop-star they were trying to bring into the limelight. They hardly even used [[MickeyMouse their]] [[DonaldDuck own]] [[{{Goofy}} mascots]] anymore! Fortunately, starting in 2010, they began to go back to their roots by creating brand-new, well-received animated shows while also making [[WesternAnimation/MickeyMouse2013 new shorts starring Mickey]] that has proven to be an Annie/Emmy magnet.[[note]] Though admittedly, Disney has good legal reason to keep making shorts with the classic characters. Under current US copyright law (unless Disney manages to get it extended ''again''), ''Disney/SteamboatWillie'' will fall into the PublicDomain in 2024; the first Donald and Goofy cartoons won't be far behind. Once that happens, the only thing that will keep Disney in control of their characters is trademarks, which can last forever (unlike copyright), but only if the trademarks are maintained by, for instance, releasing new media with the characters.[[/note]]

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* The DisneyChannel Creator/DisneyChannel (and perhaps the company as a whole too) went through one of these for the better half of a decade, generally agreed to have begun with the premiere of ''Series/HannahMontana'' (which coincides with the end of ''WesternAnimation/KimPossible'') and to have concluded with the premiere of ''WesternAnimation/GravityFalls'', though one could argue for it concluding with the premiere of ''WesternAnimation/PhineasAndFerb''. During this period, they shoved animation to the side in favor of cheap, mediocre, tween-oriented sitcoms and TV movies that acted as little more than vehicles for whatever pop-star they were trying to bring into the limelight. They hardly even used [[MickeyMouse their]] [[DonaldDuck own]] [[{{Goofy}} mascots]] anymore! Fortunately, starting in 2010, they began to go back to their roots by creating brand-new, well-received animated shows while also making [[WesternAnimation/MickeyMouse2013 new shorts starring Mickey]] that has proven to be an Annie/Emmy magnet.[[note]] Though admittedly, Disney has good legal reason to keep making shorts with the classic characters. Under current US copyright law (unless Disney manages to get it extended ''again''), ''Disney/SteamboatWillie'' will fall into the PublicDomain in 2024; the first Donald and Goofy cartoons won't be far behind. Once that happens, the only thing that will keep Disney in control of their characters is trademarks, which can last forever (unlike copyright), but only if the trademarks are maintained by, for instance, releasing new media with the characters.[[/note]]
20th Aug '16 10:46:05 AM KamenRiderKrypton
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* Creator/{{Channel4}} is in the midst of a prolonged Dork Age in the eyes of older viewers. Originally touted as an 'alternative' channel to the more mainstream BBC and ITV, its programming catered to a lot of niche interests, such as animation. Its comedic output from the late 80's to late 90's is particularly well-regarded, featuring a mix of home-grown classics such as ''Series/FatherTed'' and ''Series/Spaced'' as well as imports of American sitcoms. This halted in 1997 with the appointment of Micheal Jackson as Controller of Channel 4, which caused the network to rely more on those imports as well as more broadly accessible programming, the crux of which was ''Series/BigBrother''. Nowadays the network draws in viewers with more populist programming such as ''Series/MyBigFatGypsyWedding'' and ''Series/BenefitsStreet'', which keep the network afloat despite criticism from its older fans over what it has become.

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* Creator/{{Channel4}} is in the midst of a prolonged Dork Age in the eyes of older viewers. Originally touted as an 'alternative' channel to the more mainstream BBC and ITV, its programming catered to a lot of niche interests, such as animation. Its comedic output from the late 80's to late 90's is particularly well-regarded, featuring a mix of home-grown classics such as ''Series/FatherTed'' and ''Series/Spaced'' ''Series/{{Spaced}}'' as well as imports of American sitcoms. This halted in 1997 with the appointment of Micheal Jackson as Controller of Channel 4, which caused the network to rely more on those imports as well as more broadly accessible programming, the crux of which was ''Series/BigBrother''. Nowadays the network draws in viewers with more populist programming such as ''Series/MyBigFatGypsyWedding'' and ''Series/BenefitsStreet'', which keep the network afloat despite criticism from its older fans over what it has become.
11th Aug '16 8:54:14 AM kablammin45
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* Creator/{{Nickelodeon}}'s going through this right now, and has been since at least 2009. Over half of the channel's timeslots are filled with reruns of ''WesternAnimation/SpongeBobSquarePants''. They put out poorly-made live-action shows that make the ''Disney Channel'' (see below) look like a bastion of quality programming though most agree that ''Series/{{ICarly}}'' at least was good. They gave WebVideo/{{Fred}} three poorly-received movies and a show that didn't even get a second season. They regularly reject quality pilots from talented creators, including turning down the chance to make ''WesternAnimation/AdventureTime'' into a full series, which was later picked up by CartoonNetwork and went on to become a huge success. They have cancelled or ignored other good shows they have, yet gave multiple seasons to ''WesternAnimation/FanboyAndChumChum''. And they now trawl Website/YouTube for show ideas, like ''WesternAnimation/{{Breadwinners}}''. It also doesn't help that they frequently relegate any new animated shows they have to Nicktoons Network, usually after only a month or two of their premiere on Nickelodeon.

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* Creator/{{Nickelodeon}}'s going through this right It's debatable whether or not they are still in it now, and has been since at least 2009. but Creator/{{Nickelodeon}} as it was from 2009 to 2015 is almost unanimously considered the lowest point in the network's history. Over half of the channel's timeslots are were filled with reruns of ''WesternAnimation/SpongeBobSquarePants''. They put out poorly-made live-action shows that make made the ''Disney Channel'' (see below) look like a bastion of quality programming though most agree that ''Series/{{ICarly}}'' at least was good. They gave WebVideo/{{Fred}} three poorly-received movies and a show that didn't even get a second season. They regularly reject rejected quality pilots from talented creators, including turning down the chance to make ''WesternAnimation/AdventureTime'' into a full series, which was later picked up by CartoonNetwork and went on to become a huge success. They have regularly cancelled or ignored other good shows they have, yet gave multiple seasons to ''WesternAnimation/FanboyAndChumChum''. And they now trawl Website/YouTube for show ideas, like ''WesternAnimation/{{Breadwinners}}''. It also doesn't didn't help that they frequently relegate gained a reputation for relegating any new animated shows they have received to Nicktoons Network, usually after only a month or two of their premiere on Nickelodeon.Nickelodeon. They repeatedly showed themselves to be out of touch with what audiences were interested at the time, (compared to rival networks Disney XD and Cartoon Network) resulting in many of their new shows being criticized for lacking substance in comparison to animated shows on said rival networks. During several points in this period, Nickelodeon's ratings plummeted to lows that hadn't been seen on the network since the early 80s.


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** They seem to be making an effort to break out of this, however. Recent shows have seen increase in quality. ''WesternAnimation/HarveyBeaks'' was the first Nicktoon to get mostly positive reviews in a long time, while ''WesternAnimation/TheLoudHouse'' was an outright smash hit. ''WesternAnimation/SanjayAndCraig'', initially considered mediocre at best, was allowed to have its humor and writing improve, leading to it GrowingTheBeard and becoming far better liked than it was at the time of its debut. ''Spongebob'' even saw the amount of reruns scaled back. (As well as improving itself in its own way after being in its own Dork Age. See the Western Animation section for details.) Some of the more hated shows were cancelled or shunted off to Nicktoons. While Nick doesn't seem to be ''quite'' out of the woods yet, the channel seems to be taking great lengths to catch up with its rivals Disney Channel[=/=]XD and Cartoon Network and shed its reputation as a cesspool for unfunny and/or substance-less programs and attracting only the LowestCommonDenominator.
23rd Jul '16 1:20:10 PM nombretomado
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* Creator/NineNetwork fell into this around [[TurnOfTheMillennium the mid-noughties]], because all of the American shows it aired were either getting cancelled (like Friends and Frasier) or were losing their charm (like CSI) and they didn't have anything to fill the holes in the schedule. Their foray into reality TV failed when they cancelled The Block and the Australian version of Survivor flopped. Since this was also the time when internet speeds in Australia were getting fast enough that many Aussies simply downloaded any good foreign shows, in the panic Australian networks started airing shows as soon as they possibly could; it's just that Nine did this to, of all things, Viva Laughlin, which was cancelled after its second episode. Luckily, their fortunes has turned around, due to a combination of good reality properties like return of The Block and Australian BigBrother, as well as good drama like {{Underbelly}} and a number CBS comedy imports like Series/TwoAndAHalfMen and Series/TheBigBangTheory (although they might be playing them too much...)

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* Creator/NineNetwork fell into this around [[TurnOfTheMillennium the mid-noughties]], because all of the American shows it aired were either getting cancelled (like Friends and Frasier) or were losing their charm (like CSI) and they didn't have anything to fill the holes in the schedule. Their foray into reality TV failed when they cancelled The Block and the Australian version of Survivor flopped. Since this was also the time when internet speeds in Australia were getting fast enough that many Aussies simply downloaded any good foreign shows, in the panic Australian networks started airing shows as soon as they possibly could; it's just that Nine did this to, of all things, Viva Laughlin, which was cancelled after its second episode. Luckily, their fortunes has turned around, due to a combination of good reality properties like return of The Block and Australian BigBrother, Series/BigBrother, as well as good drama like {{Underbelly}} and a number CBS comedy imports like Series/TwoAndAHalfMen and Series/TheBigBangTheory (although they might be playing them too much...)
19th Mar '16 2:26:43 PM nombretomado
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* Creator/NineNetwork fell into this around [[TurnOfTheMillennium the mid-noughties]], because all of the American shows it aired were either getting cancelled (like Friends and Frasier) or were losing their charm (like CSI) and they didn't have anything to fill the holes in the schedule. Their foray into reality TV failed when they cancelled The Block and the Australian version of Survivor flopped. Since this was also the time when internet speeds in Australia were getting fast enough that many Aussies simply downloaded any good foreign shows, in the panic Australian networks started airing shows as soon as they possibly could; it's just that Nine did this to, of all things, Viva Laughlin, which was cancelled after its second episode. Luckily, their fortunes has turned around, due to a combination of good reality properties like return of The Block and Australian BigBrother, as well as good drama like {{Underbelly}} and a number CBS comedy imports like TwoAndAHalfMen and TheBigBangTheory (although they might be playing them too much...)

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* Creator/NineNetwork fell into this around [[TurnOfTheMillennium the mid-noughties]], because all of the American shows it aired were either getting cancelled (like Friends and Frasier) or were losing their charm (like CSI) and they didn't have anything to fill the holes in the schedule. Their foray into reality TV failed when they cancelled The Block and the Australian version of Survivor flopped. Since this was also the time when internet speeds in Australia were getting fast enough that many Aussies simply downloaded any good foreign shows, in the panic Australian networks started airing shows as soon as they possibly could; it's just that Nine did this to, of all things, Viva Laughlin, which was cancelled after its second episode. Luckily, their fortunes has turned around, due to a combination of good reality properties like return of The Block and Australian BigBrother, as well as good drama like {{Underbelly}} and a number CBS comedy imports like TwoAndAHalfMen Series/TwoAndAHalfMen and TheBigBangTheory Series/TheBigBangTheory (although they might be playing them too much...)
27th Jan '16 6:57:21 PM Ugolino
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** In general, the tenure of Stuart Snyder is seen as one - not only was he the primary pusher towards live-action shows that unilaterally bombed, but he was also directly linked to getting several shows ScrewedByTheNetwork, the total demolition of action-oriented shows, mistreatment and alienation of content producers, eroding relationships with DC, and overall doing everything possible to destroy viewer interest. His tenure did see a number of good shows, but consensus is that they succeeded in spite of him.
27th Jan '16 10:54:38 AM TheRedRedKroovy
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* Creator/TheCW is a curious example, as it was a network ''born from'' a Dork Age that ultimately destroyed one of its parent networks, Creator/TheWB. Starting around 2003, The WB attempted to broaden its base beyond its core market of teenagers and college-age young adults; it was during this time that they retired the Michigan J. Frog mascot and canceled hit shows like ''Series/{{Angel}}'' and ''Series/DawsonsCreek'', replacing them with programs that crashed and burned in the ratings. The only hits that The WB produced post-2003 were ''Series/BeautyAndTheGeek'', ''Series/OneTreeHill'', and ''Series/{{Supernatural}}'', all of which made the jump to The CW. By the end of 2005, The WB had fallen behind not only Creator/{{UPN}}, but also Creator/{{Univision}}, which is notably a ''Spanish-language'' network aimed at only a small subset of the population.\\

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* Creator/TheCW is a curious example, as it was a network ''born from'' a Dork Age that ultimately destroyed one of its parent networks, Creator/TheWB. Starting around 2003, The WB attempted to broaden its base beyond its core market of teenagers and college-age young adults; it was during this time that they retired the Michigan J. Frog mascot and canceled hit shows like ''Series/{{Angel}}'' and ''Series/DawsonsCreek'', replacing them with programs that crashed and burned in the ratings. The only hits that The WB produced post-2003 were ''Series/BeautyAndTheGeek'', ''Series/OneTreeHill'', and ''Series/{{Supernatural}}'', all of which made the jump to The CW.CW -- and all of which, not coincidentally, were aimed at the 18-24 demographic that The WB was trying to break away from. By the end of 2005, The WB had fallen behind not only Creator/{{UPN}}, but also Creator/{{Univision}}, which is notably a ''Spanish-language'' network aimed at only a small subset of the population.\\



The Dork Age continued after The WB merged with UPN (a victim of a corporate shakeup at Viacom) in 2006 to form The CW. For fans of ''Series/GilmoreGirls'', ''Series/VeronicaMars'', ''Series/EverybodyHatesChris'', ''Series/{{Smallville}}''... well, it's easier to list the CW programs whose fandoms ''didn't'' burst out into tears as the network focused itself around (often short-lived) {{reality show}}s and vapid 'rich kids living the good life' dramas designed to [[FollowTheLeader cash in]] on ''Series/GossipGirl'' and ''[[Series/BeverlyHills90210 90210]]'', two of the network's breakout hits. The network turned itself around starting in 2012, after unpopular network head Dawn Ostroff stepped down, by gunning for the position of 'the geek network', premiering new sci-fi and fantasy shows like ''Series/{{Arrow}}'', ''Series/BeautyAndTheBeast2012'', and ''Series/{{The 100}}'' and giving renewed focus to genre hits like ''Series/{{Supernatural}}'' and ''Series/TheVampireDiaries''. While it's still not a ratings-winner, The CW today has a devoted fanbase, and its embrace of online platforms to a greater degree than its bigger rivals has proven very fruitful.

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The Dork Age continued after The WB merged with UPN (a victim of a corporate shakeup at Viacom) in 2006 to form The CW. For fans of ''Series/GilmoreGirls'', ''Series/VeronicaMars'', ''Series/EverybodyHatesChris'', ''Series/{{Smallville}}''... well, it's easier to list the CW programs whose fandoms ''didn't'' burst out into tears as the network focused itself around (often short-lived) {{reality show}}s and vapid 'rich kids living the good life' dramas designed to [[FollowTheLeader cash in]] on ''Series/GossipGirl'' and ''[[Series/BeverlyHills90210 90210]]'', two of the network's breakout hits. More distressingly, The WB's absorption of UPN to create The CW was a short-term GenreKiller for African-American-led programming on network television, as UPN had been one of the main homes for such, and The CW was interested in more lucrative demographics. The network turned itself around starting in 2012, after unpopular network head Dawn Ostroff stepped down, by gunning for the position of 'the geek network', premiering network'. During this time, they premiered new sci-fi and fantasy shows like ''Series/{{Arrow}}'', ''Series/BeautyAndTheBeast2012'', ''Series/IZombie'', and ''Series/{{The 100}}'' and giving gave renewed focus to genre hits like ''Series/{{Supernatural}}'' and ''Series/TheVampireDiaries''.''Series/TheVampireDiaries'', and beyond sci-fi and fantasy, they also premiered shows like ''Series/JaneTheVirgin'' and a revival of ''Series/WhoseLineIsItAnyway'' that helped boost their critical reputation. While it's still not a ratings-winner, The CW today has a devoted fanbase, and its embrace of online platforms to a greater degree than its bigger rivals has proven very fruitful.
19th Jan '16 8:20:09 PM TheRedRedKroovy
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You can guess how that went. In 1993, after CBS had already lost broadcast rights to NBA and MLB, Fox signed a contract with [[UsefulNotes/AmericanFootball the NFL]] that gave them the exclusive rights to air NFC games, a move that firmly established Fox as America's fourth network but utterly devastated CBS. A common joke claimed that CBS stood for [[FunWithAcronyms "Can't Broadcast Sports"]]. This was followed by Fox's plundering of CBS' sportscasters and, in 1994, through a contract with New World Communications and its merger with Argyle Television, poaching CBS affiliates in such key markets as [[UsefulNotes/DFWMetroplex Dallas-Fort Worth]], UsefulNotes/{{Atlanta}}, UsefulNotes/{{Milwaukee}} and UsefulNotes/{{Detroit}},[[note]] (NWC would be purchased outright by News Corporation, Fox's parent company, in 1997)[[/note]] forcing CBS to move to lower-tier UHF stations in those and other cities.[[note]] CBS was spared the UHF demotion in Dallas-Fort Worth but still had to move up the dial to Channel 11.[[/note]] CBS would start to recover in 2000 with the debut of ''Series/{{CSI}}'' and ''Series/{{Survivor}}'', its first mega-hits in a long while, and since then it's caught back up to Fox for the #1 spot on the Nielsen charts.

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You can guess how that went. In 1993, after CBS had already lost broadcast rights to NBA and MLB, Fox signed a contract with [[UsefulNotes/AmericanFootball the NFL]] that gave them the exclusive rights to air NFC games, a move that firmly established Fox as America's fourth network but utterly devastated CBS. A common joke claimed that CBS stood for [[FunWithAcronyms "Can't Broadcast Sports"]]. This was followed by Fox's plundering of CBS' sportscasters and, in 1994, through a contract with New World Communications and its merger with Argyle Television, poaching CBS affiliates in such key markets as [[UsefulNotes/DFWMetroplex Dallas-Fort Worth]], UsefulNotes/{{Atlanta}}, UsefulNotes/{{Milwaukee}} and UsefulNotes/{{Detroit}},[[note]] (NWC would be purchased outright by News Corporation, Fox's parent company, in 1997)[[/note]] forcing CBS to move to lower-tier UHF stations in those and other cities.[[note]] CBS was spared the UHF demotion in Dallas-Fort Worth but still had to move up the dial to Channel 11.[[/note]] CBS would start to recover in 2000 with the debut of ''Series/{{CSI}}'' and ''Series/{{Survivor}}'', its first mega-hits in a long while, and since then then, it's caught back up to Fox been a regular contender for the #1 spot on the Nielsen charts.



* Creator/{{Fox}} fell into one during the 2011-12 season, when they attempted to juice their fall line-up with ''Series/TheXFactor'', which initially provided a solid boost but collapsed spectacularly over the next two seasons and was canceled after 2013. More distressingly, this undermined ''Series/AmericanIdol'' so dramatically that it went from TV's "Death Star" to a marginal player in the time that ''The X Factor'' was on the air, eventually singing its last note in 2016. Fox has also been severely harmed by their inability to develop new major scripted hits, generally putting out either {{Acclaimed Flop}}s like ''Series/{{Enlisted}}'' and ''Series/SurvivingJack'', "limited series" like ''Series/TheFollowing'' and ''Series/SleepyHollow'' that burn bright in season one only to flame out when audiences realize these aren't miniseries but instead multi-season shows with reduced episode orders, cult shows like ''Series/BrooklynNineNine'' or ''Series/TheMindyProject'' that burnish the critical perception of the network but don't bring appreciable ratings boosts, or reviled duds like ''Series/TheMobDoctor'', ''Series/RedBandSociety'', ''Series/{{Dads}}'', and ''Series/{{Mulaney}}''.\\

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* Creator/{{Fox}} fell into one during the 2011-12 season, when season. Coming off a long run of success in the '00s, they attempted to juice their a fall line-up lineup that was getting fairly long in the tooth with an American version of ''Series/TheXFactor'', which initially provided a solid boost but collapsed spectacularly over the next two seasons and before it was canceled after in 2013. More distressingly, this undermined ''Series/AmericanIdol'' so dramatically that it went Simon Cowell's involvement in ''The X-Factor'' led to his departure from ''Series/AmericanIdol'', which is often regarded as the [[JumpingTheShark point of no return]] for the latter show after a few years of stagnant, wobbly ratings; by the time ''The X-Factor'' was canceled, ''Idol'' had gone from Fox's big tentpole hit and TV's "Death Star" to a marginal player in the time that ''The X Factor'' was on the air, overshadowed by NBC's ''Series/TheVoice'', eventually singing its last note in 2016. Fox has also been severely harmed by their inability to develop new major scripted hits, generally putting out either {{Acclaimed Flop}}s like ''Series/{{Enlisted}}'' and ''Series/SurvivingJack'', "limited series" like ''Series/TheFollowing'' and ''Series/SleepyHollow'' that burn bright in season one only to [[SecondSeasonDownfall flame out out]] when audiences realize that these aren't miniseries MiniSeries but instead multi-season shows with reduced episode orders, cult shows like ''Series/BrooklynNineNine'' or ''Series/TheMindyProject'' that burnish the critical perception of the network network's reputation with critics but don't bring appreciable ratings boosts, or reviled duds like ''Series/TheMobDoctor'', ''Series/RedBandSociety'', ''Series/{{Dads}}'', and ''Series/{{Mulaney}}''.\\
19th Jan '16 5:42:25 PM TheRedRedKroovy
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* Creator/{{ABC}} went through a DorkAge of its own from 2000-2004, when many new shows didn't draw much in the ratings. The beginning of this was when the network gave WolverinePublicity to ''Series/WhoWantsToBeAMillionaire'' for the 2000-01 season, saturating the schedule by airing the game show in prime time as many as ''five nights a week''. In addition, Michael Eisner, then CEO of parent company Creator/{{Disney}}, turned down JerryBruckheimer's pitch for ''Series/{{CSI}}'', which instead became a hit for Creator/{{CBS}} (see above), and many of the new shows that debuted on ABC in that period were hardly successful in terms of ratings. The network almost went bankrupt in this period (and was part of the reason behind Eisner's fall), ultimately being spared after the debuts of ''Series/{{LOST}}'', ''Series/DesperateHousewives'', and ''Series/GreysAnatomy'' which boosted the network's ratings for the 2004-05 season.
** It has been said that ABC ''really'' needed those shows to succeed not just because of their precarious position at the time, but because, if they failed, there would have been [[NeverLiveItDown no end to the jokes]] about the network being "lost" and "desperate".

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* Creator/{{ABC}} went through a DorkAge of its own from 2000-2004, when many new shows didn't draw much in the ratings. The beginning of this was when the network gave WolverinePublicity to ''Series/WhoWantsToBeAMillionaire'' for the 2000-01 season, saturating the schedule by airing the game show in prime time as many as ''five nights a week''. In addition, Michael Eisner, then CEO of parent company Creator/{{Disney}}, turned down JerryBruckheimer's pitch for ''Series/{{CSI}}'', which instead became a hit for Creator/{{CBS}} (see above), and many of the new shows that debuted on ABC in that period were hardly successful in terms of ratings. The network fell to fourth place and almost went bankrupt in this period (and was part of the reason behind Eisner's fall), ultimately being spared after by the debuts of ''Series/{{LOST}}'', ''Series/DesperateHousewives'', and ''Series/GreysAnatomy'' ''Series/GreysAnatomy'', which boosted the network's ratings to second place for the 2004-05 season.
season. Since then, the network has been a reliable third place finisher, an unspectacular but comfortable position, only falling to fourth place once (in the 2011-12 season, when NBC was beginning to mount its comeback but before Fox started to seriously collapse). While it only has a few megahits (and virtually none from people not named Creator/ShondaRhimes), it does have a large stable of fairly modest hits with devoted fanbases.
** It has been said that ABC ''really'' needed those shows ''Lost'' and ''Desperate Housewives'' to succeed not just because of their precarious position at the time, but because, if they failed, there would have been [[NeverLiveItDown no end to the jokes]] about the network being "lost" and "desperate".
18th Jan '16 7:51:36 AM TheRedRedKroovy
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* A lot of sports fans consider ESPN to be in one now, especially with its flagship program ''Series/SportsCenter''. The sports news show rose to great popularity in TheNineties due to its charismatic anchors that could deliver scores and highlights with a touch of witty banter. More recently though, the show seems to be more focused on trumpeting its hosts over the games they're supposed to be reporting on through endless "analysis" segments that last way too long for many viewers. What's more, the Skip Bayless and Stephen A Smiths they have on now come off as too egotistical and annoying in the eyes of many.

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* A lot of sports fans consider ESPN Creator/{{ESPN}} to be in one now, especially with its flagship program ''Series/SportsCenter''. The sports news show rose to great popularity in TheNineties due to its charismatic anchors that could deliver scores and highlights with a touch of witty banter. More recently recently, though, the show seems to be more focused on trumpeting its hosts over the games they're supposed to be reporting on through endless "analysis" segments that last way too long for many viewers. What's more, the hosts they have now, like Skip Bayless and Stephen A Smiths they have on now Smith, come off as too egotistical and annoying in the eyes of many.\\
\\
ESPN has also been among the most high-profile victims of the growing problems facing the cable TV industry due to competition from the internet, as a massive share of its operating budget came from the high fees it charged to cable carriers to get it onto millions of basic cable subscriptions -- and with the growing trend of both cord-cutters and young people not getting cable subscriptions in the first place, [[http://www.thedailybeast.com/articles/2015/12/06/the-sports-bubble-is-about-to-pop.html those critical numbers are dropping]]. Due to falling revenue and subscriptions, ESPN laid off a number of on-air staff in 2015 and shuttered its popular sports/culture website Grantland.
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