Keepers of the TV and media math are running into hard-to-solve financial equations: What happens when a broadcast TV show costs $3 million to $3.5 million an episode to produce -- but the studio only get $1.3 million to $1.8 million
episode in a license fee from the network?
In the old days, there was an easy answer: "deficit financing," a well-honored business practice where money could be more than made up
from growing after-markets, like international, DVD, and U.S. domestic syndication revenues.
But what happens in today's climate, with after-markets getting severely hammered? The poor
economy doesn't look to offer up much respite any time soon.
Don't think webisodes, video on demand, and other newfangled media platforms will save the day, either. Those markets are
still not ready. Not only that -- but they have been taking financial hits as well, due to an overall slowing of media advertising dollars.
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What to do? More reality shows? More layoffs?
More cheaper-to-produce late night talk show hosts making their way into prime time? All of the above seems to be the answer.
Production costs are a big concern. Even Comedy Central was considering a massive 20% cut in the budget of "The Sarah Silverman Program," a move
countered by public resistance from the show's star and producers.
But the Viacom network found a way to stretch the soup and balance out some production costs with an extra, shared
viewing window with Viacom's lesbian and gay targeted network, Logo.
In a related story, the bigger networks are also cutting back: CBS and ABC, for example, have begun trimming
back on the number of pilots they use. Overall the after-markets seem to be in serious flux.
U.S. domestic syndication could also suffer, as an increasing number of TV stations may find
it difficult to pay any license fees for off-network programs or high-profile first-run shows in the coming years.
One thing for sure: After-markets aren't after-thoughts in
the minds of TV producers.