Network Decay / Slipped

The channel still shows programming related to its original concept, although it is significantly showing programming not related to their genre in some way.

  • TV Land started out as basically Nick At Nite 2, focusing on old TV shows not even Nick At Nite showed anymore — Gilligan's Island, Mister Ed, Father Knows Best, etc. Lately, though, it's been following a similar track, airing shows that are either incredibly recent (Extreme Makeover: Home Edition?!) or original reality series that don't have anything to do with classic TV such as She's Got the Look (one can respect what they're doing with that show, but it doesn't belong there), Scrubs and CSI. (There is also an original sitcom, Hot In Cleveland). In the summer of 2015, TV Land deliberately invoked this trope, with a new logo and newer sitcoms aimed at Gen-X audiences. While the network continues to air classic reruns outside of prime time, they are deemphasizing the original format in favor of the newer shows.
    • The problem that TV Land faces is the ever-shifting definition of what's considered "old" as the viewing audience, or specifically the advertiser-friendly demographic within that audience, ages and is replaced by younger generations (similar to what's happening with oldies radio), not to mention the difficulty in finding shows they can afford the rights to. Shows that enter or are produced in syndication are easier to afford and come by and many older shows are ceasing to exist at all. Thankfully, free digital broadcast networks such as MeTV, Antenna TV, and Retro TV have picked up most of those shows, meaning you don't even need cable to watch them.
    • Another reason for decay; ten minute blocks of advertising. An average viewer might look at the network's staggered scheduling (often putting shows in 36-40 minute timeslots) which might suggest they'll see every minute of a show as it originally aired, only to have it be the same syndicated cut buttressed by an amazing amount of ads. Most Viacom networks carry a heavy commercial load, but TV Land is by far the most apparent example of this.
  • CNN Headline News was originally 24 hours of just headline news, in the form of a thirty-minute newscast that repeated throughout the day. Recently the channel has been adding talk shows, tabloid material (murder trials have become a favorite topic as of late), all the pundits you can eat, and Missing White Woman Syndrome coverage, along with foaming up the shut-in crowd to complain to their Facebook about inane human-interest stories which anyone with intelligence doesn't care about or knows is beyond stupid to cover in a certain way (mainly of the "school tells girl to go home and change due to offensive appearance, parent claims violation of the Geneva Conventions" variety). In December 2008, it changed its on-air branding to "HLN", perhaps keeping with its increasingly downmarket focus.
    • Most of these shows have ended and as of 2014, it seems to have a format made up of 'news' seen in the Facebook trending sidebar, and Forensic Files reruns aired so much that Adored by the Network is putting it lightly. In January 2015, the network further emphasized its new social media focus with a new logo, a new afternoon show called The Daily Share, and a Jack Vale reality show that feels like it was meant for A&E. Although, that appears to have flopped, meaning that they still have room for excessive Forensic Files reruns (although, after The Daily Share got cut back, HLN added in afternoon encores of its primetime shows (i.e. Nancy Grace and Dr. Drew, not more Forensic Files) and CNN originals. By November 2015, Jeff Zucker finally admitted that this didn't work.
  • Not a network, but PBS's historical documentary series Secrets of the Dead originally followed investigators using modern-day science to learn about the long-ago dead. Now it just shows any documentary related to history, with the spooky title sequence quickly becoming The Artifact. For example, in their recent "Doping for Gold", about East German authorities drugging their Olympic athletes in the 1970s and 1980s, pretty much everyone involved in the story was still living and, in fact, interviewed for the show.
  • Subjective example — Investigation Discovery was a spinoff of Discovery Channel, and it mostly ran stuff like 48 Hours: Hard Evidence and Dateline (recently adding I (Almost) Got Away With It, detailing criminals who, well, did just that) which were basically news reports on real-life crimes, legal dramas (sometimes bringing in controversial subjects like falling asleep at the wheel being considered as a capital offense), and forensic science shows detailing the processes and how they were important in either convicting the criminal(s) or figuring out what went wrong. Occasionally, stuff like Dr. G: Medical Examiner or shows about disaster investigation show up on that channel. Dr. G is after all about autopsies (a pretty big part of murder investigations), and shows about disaster investigation are, after all, investigations. They're just not entirely crime or are related to crime in most ways (Dr. G often has people who died of drug overdoses, accidents, stupidity, or diseases they didn't know about).
    • More recently as of January 2011, Dr. G moved over to Discovery Health and Fitness channel. That move brought Investigation Discovery back to mostly crime shows and perhaps back to recovery. However, some fans are complaining that the network is airing the same cases over several different shows.
  • Game Show Network, now GSN.
    • Averted, contrary to semi-popular belief, with the so-called "Dark Period" (a six-month period from October 1997 to April 1998 where they lost the rights to all shows from the Mark Goodson-Bill Todman library, minus The Price Is Right and the 1994-95 season of Family Feud when Richard Dawson returned) — the reason it isn't is because the network had to put something on the schedule, and regularly trotted out quite a few shows (including The Diamond Head Game and Pass The Buck) that likely wouldn't have appeared on the schedule otherwise.
    • As a result, when the Goodson-Todman shows returned there was less variety for a while on the daily schedule and some programs remained MIA. Then came an onslaught of lame original programming (Faux Pause, Extreme Gong, Throut and Neck, D.J. Games) along with the beginning of credit crunches and editing out fee plugs, which have almost constantly plagued the network for classic game show fans.
      • Faux Pause and Extreme Gong were particularly bad, seemingly going out of their way to mock the genre and its fans in a Dude, Not Funny! manner — the latter had one particular episode where the midget dressed as a mailbox and read viewer mail said "Screw the old Gong Show!" Later, as host George Gray talked to the day's eye candy, the two name-dropped the most vocal detractors of the show (alt.tv.game-shows) before near-outright calling them a bunch of humorless virgins who did nothing but sit at their computers all day and were never going to get any good-looking women.
    • The rights to The Price Is Right were lost for good in April 2000, and vintage black-and-white shows of the 1950s-60s became rarer still. The quality of the network has been fluctuating ever since with a stabilization in 2002-03 with a glut of good originals...until the March 15, 2004 name change, which led to not just game shows being seen there — reality, casino, and other "games" would debut on the schedule.
    • There are constant debates on what should and shouldn't be on the schedules, though GSN seems to be leaning back towards the game show genre again, and in recent years have occasionally brought out some nice surprises. In 2012, the network seems to have attempted an Author's Saving Throw by 86'ing such non-game show content as Dancing with the Stars reruns and poker shows. Staples like Jeopardy!, Pyramid, and Password have returned to the lineup, as well as the first 50 episodes of Press Your Luck. In April 2013, they added another 51 new-to-GSN Press episodes and — in a shock to those who said many times that it wouldn't happen — 65 episodes of Sale Of The Century (granted, they're from 1988-89, but hey...), followed by episodes of the syndicated nighttime version and a slate of the cult classic Shop 'Til You Drop. They've also hit paydirt lately with their U.S. version of the popular British quiz show The Chase, and reruns of Steve Harvey's incarnation of Family Feud (given its popularity, it's not a surprise that it's Adored by the Network)
  • The Discovery Channel still shows plenty of actual documentary material, despite having been decaying for almost as long as MTV has. In the late 80s the lineup was mostly serious documentaries, the most famous of which was Wings (no relation to the sitcom except for a focus on aircraft) but which also included classy repackaged BBC imports like Making of a Continent — and once a year there was Shark Week, which was just what you'd expect. By the mid-1990s, they showed an obscene amount of home improvement shows and cooking shows aimed at stay-at-home moms (enough to spawn the spin-off channel Discovery Travel & Living, now Destination America) and Wings had proven so popular it had been farmed out to its own spin-off, Discovery Wings Channel (now American Heroes Channel). Now, they're being swamped with "guys building and/or blowing things up" shows in the vein of MythBusters and Monster Garage. And about four different shows about ghost hunters. In 2005, Discovery debuted Cash Cab, a game show that takes place in the back of a cab, leaving one unsure whether it even has a theme beyond "non-fiction". It gets weird when you realize that they're knocking some of their own shows off, especially Mythbusters into Smash Lab (with a focus on safety measures) and How It's Made into Some Assembly Required. The latter has almost only done products featured in the former (though How It's Made has been on for just about ten years, so it's hard to find something they haven't done). The Discovery Channel also used to contain a lot of nature, which is where the now-classic Shark Week (which they still air regularly) originated from. But it seems that explosions have taken the place of tigers ripping stuff to pieces. Most of the nature shows have since been relegated to Animal Planet. Amusingly enough, despite the slippage over the years it remains the sole survivor of the educational channels on American cable television.
    • The UK version is now showing movies.
    • The Brazilian Discovery Channel is mostly true to its roots, in the sense that the Mythbusters is still the closest thing to a reality show it airs currently (although Monster Garage and others have already came and gone). However, much like the History Channel in the United States (see above), it has recently been airing subject matter that can be charitably described as pseudoscience. After watching what some thought was a mockumentary (it wasn't) about how creationism was certainly real (not "plausible", but real), complete with how "easy" it was to build Noah's Ark, several viewers have refused to watch or trust any Discovery Channel documentaries since.
    • The Dutch Discovery Channel has recently been airing soccer matches.
    • In some Middle European countries like the Czech Republic and Hungary, most of the "regular" Discovery Channel programming (like Mythbusters or How It's Made) has been relegated to a morning timeslot, with the rest being made up mostly of shows based around the concept of "people finding interesting loot" (Auction Hunters, multiple varieties of Storage Hunters, Container Wars, Baggage Battles, American Digger, Money Barn, Auction Kings, Garage Gold, etc.) and tons of other scripted or over-dramatized "reality" shows (Diamond Divers, Chrome Underground, Rods 'n' Wheels, Game of Stones, etc.). On any given day, these series take up more than half of the channel's programming, and the rest is very rarely educational anyway.
  • Teletoon, in their efforts to be more like Cartoon Network, have aired more and more live-action movies in recent years. Their license mandates it has to be "animated" or "animation-related", which apparently includes "based on a comic book" as they've shown various comic book movies. Apparently, "has a cartoon based on it" also counts — Spaceballs and The Matrix have also been shown...And then they threw out said rules for live-action films by airing Gremlins, which might explain shows like Majority Rules! (which thankfully moved to Family Channel later on).
    • Their Retro spinoff channel (which closed in 2015) was good about remaining animated (even the arguable exceptions of Fraggle Rock and The Banana Splits are a puppetnote  show and contain cartoon segments, respectively), but stretched the definition of "retro" with fifteen-year-old shows like ReBoot and King of the Hill. But then again, they could also be excused because their license defined "retro" as at least 10 years old, and ReBoot was a very popular series to begin with.
  • The New TNN was the product of total abandonment by Viacom, who threw the country and bluegrass-flavored The Nashville Network into the can in favor of a general rerun farm. In 2003, after acquiring WWE programs, TNN began to skew more towards male-oriented programming, preparing for an upcoming re-branding as SpikeTV and a new lineup with an increase in low-brow "adult" series (the new programs launched as scheduled, but the new name was delayed to August due to a lawsuit by Spike Lee). In 2005, after losing WWE to USA Network, Spike acquired TNA, and began airing a reality show about a little mixed martial arts promotion known as the Ultimate Fighting Championship. Spike decided to phase out the low-brow skew and repositioned itself with a focus on "action" in 2006, and also launched award shows dedicated to horror genres and video games (the latter resulted in other gaming-oriented programs joining the network too). Decay followed decay, however, as SpikeTV all but morphed into the CSI and Star Trek repeat network until it lost the rights. In 2011, Spike decided to "get real", focusing more on Follow the Leader reality shows such as Definitely Not Storage Wars and Kitchen Nightmares but in bars, shows about tattoos, and a Channel Hop of Fox's Cops, not to mention taking any opportunity to air all six Star Wars films over several days, be it a holiday, or just to promote a new game (this practice ceased after Disney acquired Lucasfilm in 2012).
    • In 2015, alongside another re-branding meant to reflect a shift towards more mainstream-oriented programming, Spike announced that it would begin to shift back towards more scripted series, but also announced several new reality-oriented programs such as Sweat Inc. and Lip Sync Battle. At the same time, however, Spike hasn't completely gone off the rails; while Lip Sync Battle has been a Sleeper Hit, the network has still carried a male skew. The UFC ended up becoming a Cash Cow Franchise, but Spike would lose the cable rights to Fox Sports in 2013. Despite this (and the later loss of TNA to Destination America in 2014), Spike has continued to ride on combat sports to attract viewers, with Viacom having invested in the competing MMA promotion Bellator, and picking up other boxing and kickboxing events.
  • American Movie Classics (AMC) originally showed commercial-free screenings of films from the black-and-white era into The '60s. While it's been suggested that later rival Turner Classic Movies was responsible for AMC's shift by cutting into its available library of films, it was actually due to the channel shifting to a commercial-supported model (and thus needing to pursue the younger demographic that the advertisers demand). AMC now consists largely of commercial-laden broadcasts of modern films and scripted dramas like Mad Men and Breaking Bad; unusually for this trope, they're actually critically-acclaimed original series, so this (arguably) was an improvement. Nevertheless, AMC is viewed as one of the greatest examples of this trope in history as it is today considered one of the most relevant channels on TV.
    • From 2011-2014, they tried introducing reality shows that have little relation to their former slogan, "Story Matters Here" (like Comic Book Men and Small Town Security) They've even gotten their own block on Thursdays, with the first two shows for this block (Freakshow and Immortalized) considered by critics to be among the lamest reality offerings ever seen on any network. They've also launched a talk show that ties directly into (and as of last fall, leads out of) monster ratings hit The Walking Dead, with plans to do the same for the final half-season of Breaking Bad.
    • Their more recent drama output has taken a big slip with the critics. The Killing went from an acclaimed pilot to a first season finale that was lambasted for exemplifying the worst traits of serialized television, leading to a large chunk of the audience vanishing for the second season. Meanwhile, Hell on Wheels got a frostier reception from critics right from the get-go, and collapsed hard in the ratings after being separated from The Walking Dead. Both shows have also badly splintered the audience that is still watching them, as has The Walking Dead. Low Winter Sun, got more flak than any of the above and, despite having a lead-in from the massive ratings breakout that is Breaking Bad's final season, started with a 1.1 18-49 rating (down almost a third from Bad's impressive 2.9 on the same night), and was down to an 0.5, or about an 80% drop from Breaking Bad's 2.4 rating, by week two.note 
    • Also in contrast to its early years of original programming, AMC is becoming notorious for Executive Meddling and generally poor relations with its creators. The year-and-a-half delay between the fourth and fifth seasons of Mad Men was partly due to a contract dispute between Matt Weiner and AMC that nearly canceled the show, while Vince Gilligan had to threaten to take Breaking Bad to another channelnote  until AMC gave in and granted him what he wanted for the final season of the show. But they're lucky - The Walking Dead is becoming notorious for a revolving door of show runners, with first Frank Darabont and then Glen Mazzarra being forced out with numerous reports of contentious relations with the network for both of them. The co-creators of Hell On Wheels have similarly been forced into a reduced capacity for the upcoming third season. Going back earlier than either of these examples, the creator of the short-lived Rubicon was forced out shortly after the pilot. Ironically, The Killing, despite being the weakest show on the network both critically and ratings-wise, and perhaps the one that needs some Executive Meddling the most, is still being run by creator Veena Sud, who reportedly has carte-blanche from the network to do whatever she wants.
  • National Geographic Channel, or "Nat Geo" as it calls itself now, is showing signs of slippage. The National Geographic Society's website features the slogan "Inspiring People to Care About the Planet"; how exactly they're accomplishing this with The Dog Whisperer, Locked Up Abroad, Is It Real? and shows about bounty hunters is left as an exercise for the viewer. It doesn't help that Locked Up Abroad is a case of both tourists doing things that border on moronic (hence why the end up as in the title) and portraying countries that aren't Anglo-American as virtual hellholes. And that's not even getting to Air Crash Investigation...
    • They've recently added several reality shows to their line, which have little to do with nature. The network has also split into two, with pretty much all its animal-themed shows going on Nat Geo Wild.
  • The Lifetime Movie Network (now known more by their catchy initials, LMN) used to exist to air nothing but Lifetime Movies of the Week, which also included TV movies that aired on the Big Three networks. With the broadcast networks completely ditching TV movies outside of Jesse Stone, the Hallmark Hall of Fame and the Walmart/Proctor & Gamble films which have to get on TV as if they were paying for an Infomercial, and their mother channel's new A&E ownership deciding to invest more in reality shows and Ripped from the Headlines TV movies which will age horribly in only a couple years, LMN began to air Hollywood films that fit the channel's focus group (or not considering they have aired the horror film Wrong Turn and its gory sequel Wrong Turn 2: Dead End a few times) and took it out of the all-Damsel in Distress-all the time rut it was in for many years. However in line with the speedier Hollywood release cycles, even this move didn't help maintain the ratings.
    • In the summer of 2013 LMN began a quick slide towards decay from their format; Sunday nights are now filled with programs to jump on the Oxygen/Investigation Discovery track of 'dramatized murder' programming such as I Killed My BFF, Killer Kids, and a Saturday block of repurposed Bio Channel ghost story shows, along with Killer Profile, an Exactly What It Says on the Tin program which seems to love going way into detail about how serial killers commit their crimes. Sadly, the murder doc programming is cheaper to make, doesn't involve writers or celebrities or unions, and certainly faster to watch.
    • Lifetime Original Movies produced for the network, while still being fairly diverse fare aimed primarily at housewives, have let their thriller series fall into a very tight formula. For a good while, every movie was called The Perfect ______, where the blank is either the victim if the antagonist is obvious or the villain if they can pretend to be normal for the first 15 or so minutes. The stories always played out the same way, ending with the antagonist threatening to kill themselves, the object of their obsession, the "competition", or some combination. The predictability of it was a selling point to some, though.
  • There was once a time when YTV's mandate was "programming for the whole family", but they have largely abandoned that mantra in favor of "programming for kids aged 13 and under". When the Canadian channel first started in 1988, it showed a wide range of programming (up to and including The Carol Burnett Show, classic Doctor Who, Red Dwarf, Bonanza, Britcoms like Are You Being Served?, The Muppet Show and many more family-oriented shows). Throughout the '90s, the station, buoyed by it's original programming and "The Zone" afternoon block, was a household name. The station flourished with programming aimed towards 16-20 year-olds, as well as mature content in pre-watershed hours (including uncut airings of Buffy the Vampire Slayer and Farscape). The channel was also the go-to place for anime in Canada in the 1990s and early-to-mid 2000s. Overtime, YTV expunged all anime programming (which, thankfully, moved to Teletoon) and became obsessed with derivative kidcoms, cheap live-action shows, and Nickelodeon fare.
  • The Weather Channel used to be all-weather all-the-time, but in recent years has added documentary programs such as Storm Stories, It Could Happen Tomorrow, and recently When Weather Changed History, the latter two closer to an un-decayed Discovery or History Channel than Weather. Some of these programs actually feature earthquakes and volcanoes and meteor strikes on Earth, which aren't exactly weather material. In the evening, one may be lucky to get up to two hours of current weather news; which, unfortunately, is when much of the bad stuff happens. Fortunately, they do suspend said documentary programs whenever particularly dangerous weather situations develop like tornado outbreaks and hurricanes. The network also seems particularly interested in airing live coverage of satellite launches (as well as Exploration Flight Test-1, the first unmanned launch of NASA's new Orion spacecraft), often simulcasting NASA TV footage; often, Weather Channel provides the only live television coverage if local community access channels are not showing NASA TV footage, or CNN deems the launch not important enough.
    • In this case it's a survival mechanism, as the simple graphic display of the weather they used to capitalize on is available at the press of a button on most digital cable services, the Internet (TWC owns Weather.com), cell phones, and even some game consoles.note  Ironically, it got so bad in early 2010 when they announced that they decided to air movies that are "weather-related" (Including Misery, which despite a bad snowstorm starting off the chain of events, has nothing to do with weather whatsoever), that DishNetwork threatened to drop the channel. As a result, they've adopted a Bloomberg-style information frame with local weather info during the entertainment content. Still, this makes the Bloodhound Gang's line "record The Weather Channel so I can watch it later" almost pathetically prophetic.
    • Their programming has had an even more tenuous connection to weather as of late, with shows such as Pyros and Ice Pilots that often focus more on the characters and drama with the weather seemingly a footnote. At least they announced that they won't be showing movies anymore.
    • Averted with The Weather Network/MétéoMédia, its Canadian equivalent, which thankfully stays true to its name and only airs weather news and local forecasts, along with some short feature segments about extreme weather, lawn & gardening, vacation spots, fishing, etc. sprinkled here and there. However, it has had a history of being criticized for showing too much advertising and focusing a bit too much on Ontario.
    • Also averted with The Weather Channel's sister network Weatherscan, which more or less fits the original channel's mantra of all weather, all the time.
    • After Direc TV actually did drop the Weather Channel in favor of rival Weather Nation, the Weather Channel agreed to tone down the reality shows some.
  • The Classic Sports Network was originally designed to re-air vintage games from the 1950s through 1970s. After ESPN bought the channel and redubbed it ESPN Classic, they began to shift more and more toward games of more recent vintage, and in the last few years have dropped most of the old game broadcasts altogether in favor of documentaries, sports-themed movies, American Gladiators, boxing, plenty of old bowling tournaments, and lots and lots of poker tournaments. Also overrun games and matches from lower-tier conferences air here just in case even ESPNU isn't enough to contain a busy day of sports action across the regular ESPNs and ESPN Deportes. This is probably more an example of forced decay though. As the leagues, college conferences, and individual teams have started their own cable networks, they've subsequently needed this classic programming to fill plenty of time for their own networks since you can only analyze your own current teams so much. Since they own the footage and need a lure for viewers to tune in when teams aren't playing, they've pulled it off ESPN Classic. However since there's virtually no demand for a boxing network due to the sport's current low popularity, that stays on ESPN Classic while the bowling and poker programs are in-house productions which can be reran ad nauseum for only the cost of electricity and the wage of the guy making sure the tape or hard drive doesn't break.
    • Now that ESPN Classic is on a sports tier on most systems, the overflow programming has moved to ESPNEWS.
  • For nearly 40 years, CityTV was the Canadian broadcast equivalent of the "quirky young upstart". Combining rich multicultural programming with plenty of highly-regarded local shows (Fashion Television, The New Music, Speakers Corner) with oddball cult shows like Lexx, The Collector and Relic Hunter, the station flourished under creator Moses Znaimer's playful philosophy. It was a station that pushed the boundaries by being the first Canadian cable station to air softcore erotic films (Baby Blue), aired a show that focused on frank discussions of sex and sexuality at 4 p.m. every afternoon (Life on Venus Ave.) and, like Showcase, had a "devil-may-care" attitude when it came to adherence to other Canadian channel formats. With CHUM's purchase of CKVU in Vancouver, and later Craig Media, Citytv expanded into a network covering much of central and western Canada as well.
    • In 2007, CTVglobemedia bought out CHUM Limited. As CTV could not own the Citytv stations due to ownership caps (the CRTC only allows duopolies in the same city if each station broadcasts in a different language. The A-Channel stations in proximity to major CTV stations are okay because they technically serve different markets), CTV sold them to Rogers Media. Under Rogers, the bottom fell out, only worsening in recent years. Their lineup became flooded with U.S. import leftovers that CTV or Global weren't interested in, while more layoffs and cuts followed over the next few years (particularly at the stations' news operations), along with experiments that went nowhere (such as the Citynews Channel, which died after a year, and the equally short-lived flop Canada's Got Talent). In late-2013, the network awkwardly re-named itself "City", and dumped its annual New Year's Eve concert special from Toronto for a simulcast of one of the million different U.S. specials that broadcast from Times Square.
    • However, there are also signs that City is, at least, trying to reverse the damage: the network greenlit several Canadian scripted shows for the 2014-2015 season, and hoped that Hockey Night in Canada and a new primetime NHL game of the week on Sunday nights would draw some attention to themselves. The Sunday night NHL games went to Sportsnet for 2015-16, being replaced by a new comedy block anchored by the acquisition of Family Guy and Bob's Burgers among others.
  • MuchMusic, the Canadian equivalent of MTV, has suffered from a large amount of degradation over the past decade, though not to the extent of its American counterpart (its broadcast license requires it to air music videos). MuchMusic was essentially a free-for-all in the 1980s and 1990s, with few (if any) songs being censored and a wide variety of programming catering to virtually every taste (including programs devoted to rap and French music), as well as lots of indie bands getting a chance to shine through music video rotation. Between 2003 and 2006, most of the long-running VJs jumped ship and left for greener pastures, the station canned many of its unique and interesting showsnote , and then it split its programming up into five separate channels (three of which are on digital cable, so you have to pay more if you want to watch them. But hey, they're commercial free!). The network then shifted their focus onto reality shows (like the Much VJ Search and American imports). Recently, many people (including many Canadian media outlets) lamented the fact that the station did absolutely nothing to celebrate its 25th anniversary. It was, quite literally, up to the fans to broadcast their own tributes for a station that had almost no trace of the elements that made it so popular and unique in the first place. Said media outlets also noted that MTV Canada (the all-reality and talk show offshoot of the original American channel, which is now owned by MuchMusic's parent company) is considered to be more relevant to young teenagers!
    • Much's sister station also suffered from this. When it first started as MuchMoreMusic in 1998, the station was a quirky offshoot that promoted alternative, indie and foreign music, and proved to be a hit with viewers. The station also ran old Much game shows, had news segments and generally billed itself to be the Lighter and Softer sister station... and that is, until CTVGlobeMedia (now Bell Media) got their hands on it. The station slowly transitioned to become a dumping ground for bad VH-1 reality shows, old reruns of Buffy the Vampire Slayer and One Tree Hill, and movies that have no connection to music whatsoever (changing its name to MuchMore).
    • In September 2013, a number of "low-brow" Comedy Network shows (including Drunk History, South Park, The Simpsons, and Conan) moved to Much. At the same time, the channel scaled back more of its music programming, adopted the ambiguous slogan of "It's a lot" in its advertising, and dropped music from its name. What makes the latter even more apparent? In 2014, the name of the MuchMusic Video Awards—the network's annual awards show, was subtlety amended to the Much Music Video Awards, with a space. Similar shifts occurred with MuchMore when it was re-branded as M3 and began airing more sitcoms and dramas.
    • In July 2014, the bottom fell out. The Much division took the brunt of Bell Media's cuts in that month, with 91 people losing their jobs and most of the network's original programming, including Video on Trial ending abruptly because of them. Beyond filling the schedule with reruns of their weekly countdown show and automated playlists of music videos (which barely require any staff to set up) on the schedule to keep the CRTC satisfied, it's not looking very good. At least Much actually did something for their 30th anniversary: airing a "top 100 music videos of all time" countdown, and an half-hour 30th anniversary special (all of which were repeated on each day of the Labour Day weekend).
      • These moves came, strangely enough, right after the CRTC denied license amendments that would have allowed The Comedy Network to air less Canadian content and more animated programming (Teletoon complained; Comedy is only allowed to devote 10% of its broadcast day to animation).
  • French-Canadian channel Ztélé advertised itself as "TV Of The Future" — i.e., a channel dedicated to all things technological and sci-fi (with some supernatural thrown in) — at its debut in 2000. Recently however, the sci-fi part of the channel has been getting the shaft, with an increased emphasis on heavy machinery and cars and most fiction series are nearer to fantasy than sci-fi. While the former still first the network name, the latter has fans really concerned. (The only shows currently broadcast worthy of the title of sci-fi are Sanctuary, Torchwood, Eureka, and Chuck...yes, Chuck.)
  • Gospel Music Channel started out in 2004 airing exactly that; gospel music videos and programming around it. However, the channel's title made sure it was stuck in the religious tier where they had to deal the same dichotomy the Faith & Values Channel had for years before their purchase by Hallmark converted them into the Hallmark Channel; a good and kind view of religion stuck in a channel tier where the apocalyptic ramblings of TBN and Daystar personalities scared anyone from watching anything near it. In February 2010, the network rebranded solely by their initials, GMC, to get away from that image, and seemingly picked up every original show ever produced by PAX, along with Amen, Sister Sister, 7th Heaven and any sitcom or drama which has a somewhat spiritual bent like Promised Land and Touched by an Angel. The gospel music was pushed to mornings, Sundays, and special events. As the channel got better funding, and other 'religious family channel' competitors such as FamilyNet, iLifeTV and ALN were purchased by other parties and converted to more secular formats, GMC picked up those programming rights (mainly old sitcom reruns from the 80's and 90's), along with creating more original movies and airing performances of African-American stage dramas. By 2013, it was clear that gospel music was a minority of the network's schedule, and because of that and the confusion with the truck brand, GMC was rebranded to the more neutral "Up" at the start of June 2013.
  • BYU TV still deals mainly with Mormonism, but has opened up their schedule a little more to carry the sports of Brigham Young University, along with some acquired dramas and documentaries to add some variety of the schedule, creating the odd mix of a university sports network mixed with a religious network with some secular programming (including, among other things, reruns of Wind at My Back and Sue Thomas: F.B.Eye), and a cooking/crafting network.
  • Retro Television Network (also known as RTV, formerly RTN), a network of classic TV programming seen on the digital subchannels of local television stations, has faced some struggles mainly related to their former ownership under Equity Broadcasting. The network was in danger of fading away after Equity didn't pay the bill to the rights for CBS/Paramount shows, and again after the network owner decided to air something that totally makes sense between reruns of The Incredible Hulk and Knight Rider — a nightly poorly-produced and very little-watched political talk show called Unreliable Sources hosted by an eighth-rate Rush Limbaugh clone (who just happens to be one of the higher-ups at Equity) that came out of the hotbed of television production that is Little Rock, Arkansas. Then in January 2009, Equity fell completely apart, declaring bankruptcy, which ended up throwing several of their stations off the air because Equity couldn't afford the digital upgrade later in the year. RTV had been taken over by another entity (Luken Communications) who leased Equity's master control distribution system (apparently a system so complicated it was a copyrighted concept, and also involved Equity-owned stations such as Fox affiliates from as far as Montana and Michigan's Upper Peninsula being ran completely from Little Rock). But then Equity issued a Take That and tried to pull the plug on their own creation by throwing out the new RTV owners and forcing viewers through a month-long process that involved a complete rebuilding of RTV's infrastructure in Chattanooga, Tennessee by Luken. Unreliable Sources was canned immediately and the network has resumed an almost all-classic TV lineup (besides a light morning talk show, Daytime, from one of their affiliates note , which has since been cancelled). However, in 2011 the network lost the rights to NBC Universal's library and Sony's library to competitors MeTV and Antenna TV respectively, and is stuck with awesome "retro" programming like episodes of Crook and Chase from 1995, car shows, horribly cheap Canadian crime dramas, Highway to Heaven, and Cold Case Files repeats. This has lost them many affiliates to Antenna TV, Me-TV, the lifestyle-oriented Live Well Network (owned by Disney/ABC), and the independent African American network Bounce TV. Retro is attempting a rebound by picking up Mystery Science Theater 3000 and the original run of Doctor Who.
  • TG4 (originally T na G, aka "Teleifís na Gaeilge") began as a channel devoted to Irish-language shows. Though it still shows many series in Irish, increasing amounts of time are given to American series such as Cold Case and Nip/Tuck as well as Westerns and French films. Most viewers wouldn't mind so much if these shows at least had Irish subtitles in the same way that most of the shows which feature Irish dialogue have English subtitles. One egregious example was the Hector O'hEochagáin Show, which had dialogue in both Irish and English. The Irish was subtitled, but the English wasn't.
  • New Zealand's equivalent of the above, Māori Television, started out as that, but with requirements for English-language programming in order to allow everyone to watch the channel. A few years into the channel's existence (and partly because the launch of their 100% Māori channel Te Reo was a success), they decided to become what TVNZ refused to be. In terms of movies, they originally shows Pacific-centric movies, but then started airing movies from all over the world, a bit like the SBS channels of Australia. Plusthe addition of national and international documentaries, unrelated in most part to the channel's culture, was also another factor in order to boost ratings.
  • Due to CRTC meddling and the fact that both its previous and current majority owners already have mainstream sports channels in their portfolios to begin with (i.e. CTV and Rogers, TSN and Sportsnet), the Canadian version of OLN didn't re-launch as Versus or NBC Sports Network like its U.S. counterpart, and kept using the OLN name. After losing its major programming source to total abandonment, it had to air series such as Ghost Hunters and UFO Hunters to pad out its schedule. Most recently, it started airing reruns of A&E shows that aren't overplayed enough already, especially Duck Dynasty and Storage Wars (the latter even getting a Canadian spin-off; note that most Canadian TV providers carry A&E anyway). OLN did return to usefulness during the 2010 and 2012 Olympic Games, however, becoming one of many outlets carrying coverage from Vancouver and London respectively.
  • IFC, which used to stand for Independent Film Channel, was originally devoted to showing independent and foreign films commercial-free and uncut (many titles in The Criterion Collection turned up). It always had original programming, but in 2010 they acquired the rights to many cult classics admired television shows, like Monty Python's Flying Circus, Arrested Development, and Undeclared. They also began to show mainstream-but-independently-financed films films such as A Fish Called Wanda in addition to their regular fare. By year's end, they started to show commercials during their programming instead of just between them — including their films (still uncut for content and time, but with two minutes of commercials inserted in random places) — while announcing a half-dozen more shows they'd acquired. This switch from being an indie film channel to cult show central wasn't necessarily a bad thing, especially since the company that owns IFC (AMC Networks) bought Sundance Channel in 2008 and both channels pretty much did the same thing. But its lineup now consists of mainstream films and the above TV shows with only a few hours devoted to airing independent films, and as per usual, the calls mean nothing officially now. Sundance Channel picked up some of that slack, but even they aren't immune to decay, as about half their lineup is devoted to reality shows.
  • ReelzChannel bills itself as "TV about movies", and began with a format which consisted of six movie news-related programs airing in a loop throughout the day back in 2006. However this quickly proved to be monotonous and low-rated (E also started with a channel format like this but also eventually changed in 1990), not to mention that the Internet has proven to be a better way to find out about entertainment news and criticism than watching a traditional 'junkets and press releases' program on ReelzChannel, along with the studios holding back publicity material for film's website and/or their DVDs. Thus the channel still has some of those movie news shows (as well as movie shows hosted by Leonard Maltin and Richard Roeper), but because of forced decay also airs sitcom reruns like Becker, 3rd Rock from the Sun, and Ally McBeal that few watch these days, along with Johnny Carson's Comedy Classics. The network also picked up "The Kennedys", a heavily-criticized bio film disowned by History Channel, to try to gain some publicity and carriage, no matter how negative, for the channel, and also killed their "talk about movies but never show them" format by picking up a few '80s and '90s films to air. Airing "The Kennedys" may have been a good move for them. Reviews weren't bad, the ratings were decent (but high for the channel) and it won Greg Kinnear an Emmy. As of 2014 however it's taken the Style/Oxygen template of decay with reality series about "real" Hollywood Hillbillies (scripted to death and probably well-remunerated), another about distantly related-twice removed cousins of Al Capone getting into Duck Dynasty-esque antics (except with "the Mob"), and annoyingly repeats of Snapped from Oxygen that were already run to death on the main network. Their "news" division is reduced to producing America's sixth-rated entertainment magazine show, Celebrity Page (which, until March 2016, was associated with America's sixth-rated entertainment magazine, OK!), featuring fluff content that makes Extra seem like the BBC covering the Ukraine in comparison.
  • Universal HD is the drama equivalent of ReelzChannel these days. Originally created to air USA and Bravo's programming in HD before mainstream networks got 24/7 HD simulcast networks, UHD seems to be wandering in the wilderness. Outside of airing Saturday night encores of WWE's weekly shows, remastered HD versions of Charlie's Angels and T.J. Hooker, and plenty of HD Universal Studios films, the network also seems to be the home of the worst network drama flops of the 2000s, which can count their episodes in the single to ten digits, by virtue of them solely being HD and cheap to buy because of their lack of success. As of June 2012, it now has a habit of overairing episodes of the long-canceled (and failed in syndication) The Unit that goes beyond Adored by the Network. Since the shutdown of the Universal Sports channel (it was owned by Inter Media Partners, but NBC had a minority stake) and the NBC Sports division's acquisition of its programming rights, the channel has been squeezing in reruns of oddball sporting events as overflow for NBCSN into its daily binge marathons of House and White Collar.
  • The Science Channel, or Science, was conceived as a network that aired programming about real science. Its recent attempts to diversify its lineup away from 16-hour blocks of How It's Made, however, have caused dramatic slippage as mainstays of the channel's programming are now science-fiction shows like Firefly and Fringe, the science-related but sensationalized Dark Matters: Twisted but True, and the Pawn Stars knockoff Oddities. They have recently started advertising heavily for An Idiot Abroad, a travel/reality show.
    • Science seems to zig-zag between showing largely real-science shows and showing, something else. It has at times run so much alternative content to have been nicknamed Sci-Fi 2 (Firefly, Fringe), the Survival Channel (Survivorman and kin), the Aliens and Conspiracies channel (The Unexplained Files, Unsealed: Alien Files, various questionable documentaries), and more, but it always tends to drift back to its core content of scientific and manufacturing-oriented shows and Speculative Documentary specials before going off in another unrelated direction again.
    • Thanks to How It's Made being cheap to make, it's now been joined by How Do They Do It, and it's become rare for any other programming to appear.
  • Def II was BBC2's strand for "youth" programming in the late 80s/early 90s, broadcasting for a couple of hours in early evenings most days. They started off with fairly decent documentaries/current affairs, credible music shows, and some quirky reruns. But by the time it was cancelled its reduced running time comprised mainstream sitcom The Fresh Prince of Bel-Air, ancient repeats of Buck Rogers, and the jawdroppingly-moronic music program Dance Energy, i.e. anything cheap that might attract a few ironic students or small children. Eventually they dropped the branding and absorbed what was left into the main schedules. (Now British teenagers have BBC3, a whole channel to themselves, full of documentaries on obese teenage mothers, Family Guy repeats and the occasional ill-conceived spinoff of popular BBC1 programming.)
  • BBC2 itself seems to have been undergoing some slippage in recent years. Meant to be the more "highbrow" or minority-interest channel, of late much of this role has been taken over by BBC4 and BBC2 is becoming somewhat more mainstream.
  • In Australia, ONE HD was established as a sports channel before beginning to play movies and now drama series such as Sons of Anarchy and COPS. This change was arguably inevitable, due to the parent Ten Network deciding to establish a sports channel when it didn't really have the rights to any sports that Australians might actually want to watch, certainly not enough to enable 24/7 sports programming. (This led a rival network executive to deride the channel as being about "truck racing from Idaho".)
  • Animal Planet has been slipping some lately. In 2008, the channel was revamped and many new programs were added in an attempt to attract the adult, more mainstream audience. Fewer documentaries are being shown, and the currently running shows (such as Tanked And Hillybilly Handfishing) focus more on people than on animals. One show, Haunting, is basically a generic ghost/paranormal show with a passing mention of the dog barking at nothing. Two other paranormal shows on the network, Lost Tapes and Freak Encounters, are mostly about people finding or encountering things of cryptozoology and myth, though primary animals and others have slipped in. The shows that actually focus on animals (such as Fatal Attractions, and Infested!) generally portray them in a negative light. Much of the current programming could be described as "TLC WITH ANIMALS!".
    • Probably the biggest point of slippage so far is when they aired the one-off "docufiction" "Mermaids The Body Found", which, as The Soup pointed out, was "neither an animal, nor on this planet".
    • The network's new slogan, "surprisingly human", pretty much sums up their current state; most of the time, the animals are now simply used as an excuse to air a show that actually focuses on the people. However, the channel has harnessed the general public's fascination with watching adorable animals doing adorable things with its annual Puppy Bowl (basically puppies on a football field on the day of the Super Bowl, complete with Harry Kalas commentating prior to his death), and Too Cute.
    • Animal Planet seems to be actively aiming for Total Abandonment, as in the past few years, they've rapidly accumulated new programs that don't even try to pretend that they have anything to do with animals. Ice Lake Rebels could be considered The Scrappy of this network.
    • Dirty Jobs has also begun to air on the channel, which seems to try and focus more on episodes with segments involving animals, but often slips into non-animal stuff.
    • Nat Geo Wild seems to be a rip-off of Animal Planet's current state; shows about people that do something to animals with some hold-out all-nature shows. Although Animal Planet's "It's Me or the Dog" was probably based off of Dog Whisperer, Nat Geo Wild has plenty of copied series. When Animal Planet made a show about fish tank manufacturers, it got copied immediately. NG Wild even had a "Fish Bowl" on the day of the Puppy/Super Bowl (though it was even more of a No-Hoper Repeat, consisting entirely of goldfish swimming in a bowl with various Funny Background Events.)
  • The Canadian channel Showcase once billed itself as "Television Without Borders" - an accurate description. Created by a coalition of burgeoning producers and production companies, Showcase truly broke new ground in Canadian specialty television - this is a channel that played mature-rated television series and films in pre-watershed hours, devoted an entire Friday block of programming to HBO series and risque material (including an original series focusing on fetishes) and generally had a devil-may-care attitude when it came to what was and wasn't acceptable for Canadian broadcast standards. The channel carried a mix of well-known Canadian series (Da Vinci's Inquest, Due South), American dramas (Oz, The L Word, Six Feet Under), weird erotica from foreign countries, British imports like Cracker, original series (such as their cult hit Trailer Park Boys, but mostly softcore porn), and much more.
    • But then, in time for the 2009-10 season, the channel's owner (Canwest, who was bankrupt, had just spun out its newspapers, and was about to sell its television properties to Shaw in early 2010) randomly decided that being basic cable's Refuge in Audacity was unattractive to viewers and advertisers, and punted that "devil-may-care" attitude out the door with a new imaging campaign and lineup. The channel refocused itself as a dumping ground for American drama imports (mostly NCIS) and Hollywood blockbusters, a far cry from what it used to be.
    • In recent years, the channel has recovered somewhat; it's had great success with new original series and co-productions such as Lost Girl, Continuum, XIII, Copper and Haven (the latter three being co-produced with international networks). Showcase has also been airing premium cable fare such as Boardwalk Empire, Game of Thrones, Strike Back, and Outlander. In commemoration of its 20th anniversary, they've even switched to a retraux version of their old logo.
    • Showcase Action (now known as just Action) started as s channel for action-oriented series and films. Fast forward to today, and the majority of its lineup is now occupied by TruTV shows (the Canadian version of Court TV ended up becoming Investigation Discovery instead).
  • Some regional cable channel examples from Canada:
    • In Atlantic Canada, there is ASN (Atlantic Satellite Network). Upon its launch, it was a sister channel to the ATV system of CTV affiliates in the Maritime provinces, now known as CTV Atlantic. In the early days, ASN was generally a local version of Citytv in Toronto, but carried some educational shows either produced by universities across Atlantic Canada or sourced from TVOntario, such as The Polka Dot Door or Today's Special, which themselves then disappeared, replaced by an Atlantic Canada version of Citytv's Breakfast Television. note  By 1997, after it was traded from CHUM to Baton Broadcasting/CTV, ASN generally remained the de facto Atlantic Canada version of Citytv, until the mid-2000s, when a large supply of programming sourced from CHUM declined, with more of its content supplied in-house by CTV, including Canadian Idol and some sports coverage, partially to compensate for the loss of a CTV affiliate on basic cable in Newfoundland and Labrador in 2002. note  In 2008, after CTVglobemedia (now Bell Media) bought out ASN's former parent CHUM, it became an affiliate of the revamped A-Channel (later A) system, becoming A Atlantic, but continued to air Breakfast Television under license from the new owner of Citytv, Rogers. note  However, this is no longer the case, as the A system was renamed CTV Two in 2011, and the ASN/A Atlantic version of Breakfast Television was renamed CTV Morning Live (along with its Ottawa affiliate, and west-coast CTV stations who promptly dropped CTV's "national" morning show Canada AM in favor of local morning news)
    • In Alberta, there is the Access Network, established as an educational cable channel in the 1970s by the government of Alberta note . However, by the mid-1990s, funding was cut for the channel, which was then privatized, sold to a consortium led by CHUM, and renamed Access. Though Access generally remained educational, it carried some general entertainment programs that could hardly qualify as educational, not to mention beginning to air commercials; even worse than the American Edutainment Show programming which fits in An Aesop somewhere in the plot to get their FCC credit, all the new Access had to do was have a professor ramble about vague themes connected to some easy-A "communications" class they applied to for a minute. It even carried the educational programs The Colbert Report and Drawn Together at one point. When CTVglobemedia acquired CHUM, Access was rebranded in 2008 to be more of a semi-affiliate of the A system in the sense that it carried prime time shows from A, but was still otherwise an "educational independent". This changed in 2011, when Access and A Atlantic (the channel formerly known as ASN) were integrated into the renamed CTV Two system. As a result of this change, Access became "CTV Two Alberta". However, it still technically carries educational programming throughout the day.
    • A more recent, similar example was from following the 2011 privatization of the Saskatchewan Communications Network (SCN), a cable only public broadcaster owned by the Saskatchewan government. After it was sold to an investment firm, the schedule was divided to consist of commercial-free educational programs in the daytime and afternoon, and commercially-supported entertainment programs in the evening/night (including movies, of all things). It eventually picked up an affiliation with Citytv for its entertainment programming. Then, in a move that everyone probably saw coming eventually, SCN was sold to Rogers, who converted it to City Saskatchewan. Like Access/CTV Two Alberta, it still remains mandated to carry educational shows throughout the daytime, and can only air commercially-supported programming in the late afternoon and nighttime.
  • As of June 2012, Great American Country, a rival to CMT, is airing reruns of shows like Paula's Home Cooking, Road Tasted, and John Ratzenberger's Made in America, shows that have nothing to do with country music, though it's probably more to exploit natural connections of the programming of other Scripps networks that fits in well with GAC's southern-tinged audience. That, and when most music video viewing is on YouTube, better to air anything that actually gets ratings. They also air the National Finals Rodeo, which does make sense on a network of this calibre too.
  • In Canada, the channel Space (which is Syfy's de facto Canadian counterpart) has slipped a bit; it has succumb to the Sci Fi Ghetto because it frequently imported series from Syfy (although, they did so some co-productions). The channel, despite still carrying a look that looked very intergalactic, was airing more paranormal and fantasy-oriented series (such as Supernatural, Merlin, and The Almighty Johnsons), horror films, Syfy's reality shows, and even crime dramas (Castle and The Following). Note that their license says that they need to air sci-fi, science, and fantasy programs. The word "fantasy" can be quite broad, but the crime dramas might be stretching it a little bit.
    • This shift was lampshaded by a re-brand in March 2013, which dropped the galactic motifs and changed their slogan to "It's all around you" (See what they did there?) to reflect their more Earth-bound lineup. The re-branding coincided with the premiere of its original co-production Orphan Black—which, however, has managed to be a very successful series. This was followed up in 2015 by another co-production in the form of Killjoys, which, for once, is a series actually set in space.
    • Re-runs of the various Stargate Verse shows and Star Trek runs are still present in its regular weekday lineup, along with Doctor Who. Though, Space has, in the past, poked fun at the amount of Star Trek it has aired.
  • fXM: Movies from Fox (later renamed Fox Movie Channel in 2000) was created in 1994 as a pay cable network that aired films from the 20th Century Fox library uncut, and featured lots of vintage and/or obscure titles. This format stuck around until 2012, when the primetime hours were re-branded as FX Movie Channel — which airs films acquired for FX, including those from third-party studios, edits and all — a complete 180 of the channel's original concept. The worst part is that the channel is still a pay cable network, despite airing basic cable product at the times that people are actually watching.
    • As of June 2014, what was once known as Fox Movie Channel has been relegated to merely a programming block on the fully re-named FX Movie Channel, from the early-morning to mid-afternoon, under the brand FXM Retro. Thankfully the digital broadcast network Movies! (partly owned by Fox) picked up most Fox classic films.
  • CMT Canada has decayed, although not to the same extent it's American counterpart has. While country music videos are the primary focus during the daytime hours, the evening programming is mostly reruns of sitcoms . While shows like Reba and The Dukes of Hazzard could get by on the fact that they are somewhat related to country music, others like According to Jim, Hope And Faith and Home Improvement don't have the excuse. Furthermore, they've begun to replay reruns of Extreme Makeover: Home Edition (which, to be fair was already airing on the American CMT), was along with animal cop and vet shows. They've produced a few reality shows of their own with little focus on country music itself, but they get by because they are hosted by or feature country music performers.
    • Unrelated movies also appear on the American CMT. Remember when they showed that country music classic, Good Will Hunting? That was delicious pudding.
    • In September 2015, CMT added Family Feud. The only relations to country music that this show has at all are that they filmed a few episodes at Opryland way back in the day, and that Dolly Parton almost hosted it.
  • BBC America was intended to be almost a Transatlantic rerun farm, giving American fans of British television a way to get their Doctor Who, Being Human, and Top Gear usually on the same day as British Audiences. Possibly due to British Brevity and a need to fill out their schedule, they've also started showing American made shows like The X-Files, Battlestar Galactica, and Star Trek: The Next Generation. The reasoning behind this was those shows all feature British actors (Gillian Anderson, Jamie Bamber, and Patrick Stewart, respectively) despite two of them playing Americans and the third (supposed to be) playing a Frenchman. They slipped a step further in 2012 with their first completely original series Copper, about Irish police officers in 1860s New York. On the other hand, BBC America also showed Trailer Park Boys, a Canadian show. Partially justified in that Canada is part of the Commonwealth.
  • The Canadian channel The Score has historically been a quirky sports news channel in the vein of ESPNEWS, spending much of its day airing blocks of sports news and highlights, Headline News style (i.e. on a video jukebox, not trying to serve the Lowest Common Denominator; it actually feels more like an old-school ESPN 2). While it has always aired "leftover" sports not picked up by other networks in primetime (i.e. WWE, U.S. college sports), its afternoon programming (which was populated primarily by more in-depth shows such as Live @ theScore, The Footy Show) slipped on April 30, 2013, when the CRTC officially approved Rogers' purchase of the channel. Promptly, the afternoon programs were all thrown out: the afternoon lineup now focuses solely on ESPN daytime-style TV simulcasts of radio shows from sister station The Fan 590, including Tim & Sid (ironically hosted by two former Score personalities. Until it got moved to Sportsnet and re-launched as an actual show) and Prime Time Sports.
    • The channel was rebranded as "Sportsnet 360" on July 1, 2013; aside from the aforementioned programming changes, Rogers did not mess it up too much off the bat; in fact, the quality and accessibility of its own sports output (mostly Canadian university sports) improved with access to Sportsnet's production resources and promotion. Rogers also got a more accessible outlet for secondary national programming (Sportsnet One is a digital channel, 360 is a historically basic cable channel with better carriage), the WWE salad got a sandwich in the form of UFC events, and it began to air NHL games in the 2014-15 season under Rogers' new contract.
    • In 2014 it was speculated that, especially given how much it paid for the rights, Rogers was planning to cut back some of its other niche programming rights, particularly the UFC, to focus more on the NHL. Sportsnet also cancelled almost all of its university football coverage in the 2014 season (basically, everything but the national semi-final games and the Vanier Cup), citing low viewership (which, however, is a problem affecting all Canadian university sports; collegiate sports do not have the same following in Canada they do in the U.S.; in fact, American collegiate sports have a better following in Canada than the domestic equivalent). They didn't explicitly blame the NHL, but the timing of that change couldn't be more symbolic. TSN has since nabbed quite a few of Sportsnet's previous staples, including UFC, UEFA's Champions League and Europa League, as well as ATP tennis events.
  • The slippage of Discovery Travel & Adventure in Latin America has been relatively benign. Beginning as a dumping ground for Discovery's travel-related documentaries, the channel became Discovery Travel & Living in 2006, force-feeding cuisine-related shows like No Reservations, Cake Boss, Bar Rescue, and Hell's Kitchen into the mix. But the bigger problem? In 2011, Discovery chose to rebrand the channel with the logo of TLC, subtitling it as the "Travel and Living Channel" (which is still nowhere close to what TLC is supposed to mean in this context) for a period before replacing the line with the Discovery logo. Shows like Breaking Amish and Here Comes Honey Boo Boo could count as "lifestyle" only in a very loose sense.
  • The Canadian channel Country Canada (a joint venture between Corus and CBC, with the latter holding 30% ownership) started off as a Canadian equivalent to RFD-TV, airing a general lineup of programs aimed towards a "rural perspective", such as farm-oriented news/talk programs and reruns of Northern Exposure and All Creatures Great and Small. After CBC acquired Corus's stake in the channel, Country Canada began turning into a glorified CBC 2; with more reruns of CBC programs, overflow sports programming, and other new/imported series that had nothing to do with "rural" at all. CBC shook the hay out of its pants by rebranding it as "Bold" in 2008. CBC even got the CRTC to re-word Bold's license to say that it would be "dedicated to reflecting Canada’s various regions, including Canada’s rural and non-urban regions" instead, because nothing screams "Canada’s rural and non-urban regions" like World Cup soccer and Skins.
    • In the wake of budget cuts, CBC sold Bold to Blue Ant Media in 2012. Blue Ant had recently acquired a majority stake in the publisher of a magazine called Cottage Life, with a goal to create companion television networks for its properties. Blue Ant had already gotten CRTC approval for a Cottage Life television channel, but it was later believed that Blue Ant would re-brand Bold instead due to its "non-urban" licensing, plus the fact that it was a must-carry channel for digital cable and satellite providers. In September 2013, the channel was re-launched as Cottage Life TV; which is, aside from the cottage-oriented programs, a bit like Destination America. But at least they're airing "non-urban" programs now, right?
  • The Sci Fi Channel started out as a network devoted to Science Fiction shows and movies. Branching out into fantasy and horror barely even qualifies for this trope, as the three genres overlap frequently. Fans were even accepting when it became the "Paranormal Channel" with shows like Ghost Hunters, Destination Truth, and their numerous clones and spinoffs; after all, they might not have been advertised as fiction, but... well, anyway. It was when they started adding reality shows, Law & Order: SVU reruns, a cooking show, and, most damningly, Professional Wrestling that it really began to decay. Their name change to "Syfy"note  cast further doubt on their commitment. The executives claimed they wanted a name that could be trademarked, but most people are convinced otherwise. Their insulting explanation for the name change, in which they refer to sci-fi fans as basement dwellers and insinuated that they repulse women, went a long way toward accomplishing this.
    • There's a little bit of a Nostalgia Filter involved on this one: even as far back as 1997, Sci-Fi was running programs like CNET Central, an IT newsmagazine that even predates Tech TV in explaining home computing and the burgeoning world of dial-up internet to the masses.
    • The network slipped fully into Total Abandonment territory between 2010 and 2012 when it canceled Stargate Atlantis, Caprica, Stargate Universe, Eureka, and their "Ani-Mondays" anime block in rapid succession and became known as a haven for pro-wrestling and So Bad, It's Good creature features. They did announce that they might be interested in bringing science fiction television shows back to the science fiction television network. Possibly.
    • "SyFy" has now returned in 2014 to a significant focus on Speculative Fiction, with a number of new shows premiering in January 2014 and 2013. While it still plays a number of horror movies and Wrestling, there has been a marked and promising shift back to the channel's original roots, particularly during Monday and Friday night programming.
    • Syfy confirmed that they are making a serious drive to return to space operas in 2014 to replace their current programming. Depending on how it goes Syfy might be classified as Temporary Shift.
  • This is the case with the two music networks that air in Flanders, TMF and JIM. Both used to air music 24 hours a day, but on 20 January 2014 TMF decided to air a block called Comedy Central, which shows comedy related programming, from 10pm to midnight. JIM soon followed the same pattern.
  • El Rey Network is, as of late 2015, starting to show signs of this. El Rey was originally conceived as a network dedicated to airing grindhouse movies, Shaw Brothers kung fu cinema classics, independent films, gritty hardcore action movies, cult film classics, and some classic TV shows like Starsky & Hutch that are out of place in the modern market, as well as hardcore, grindhouse-style original dramas such as From Dusk Till Dawn: The Series, with all programming completely uncensored. In recent months, El Rey has begun airing censored-for-TV movies before 9pm, has added weekday blocks of programs such as American Gladiators and Pros Vs. Joes, and has now begun airing the machinima series RedVsBlue on Saturday mornings. While the cult horror, Shaw Brothers, grindhouse action, and such are still present on the schedule, the recent changes to the network are starting to make El Rey look like a slightly meaner version of Spike before it became fixated on reality shows.
  • Once a programming block on BiteTV focusing on upcoming artists, Aux became its own channel in 2009 and has since grown to become a proper alternative to MuchMusic, as well as one of the only channels in Canada that actually focuses on music. However, when Bite was transformed into Makeful, Aux inherited some of Bite's programming slate: including Brickleberry, Party Down South and original shows that (obviously) have nothing to do with music. In fairness, Aux has also aired unrelated movies long before then and, unlike its rivals, the channel is still very much focused on music and culture.
  • GMA News TV, which started off in 2011 as a news-centric replacement to GMA Network's QTV sister channel in the Philippines, now airs reality shows such as Tagalog-dubbed versions of Pawn Stars, locally-produced pop culture and movies. That's right, movies.

http://tvtropes.org/pmwiki/pmwiki.php/NetworkDecay/Slipped