If you’ve been a longtime viewer of his 24-year-old network, A&E president and general manager Bob DeBitetto knows what you may be thinking: “Where’d the ‘Art’ go in what was once known as the Arts and Entertainment network?”
Thing is, he’s also betting most viewers might just be too entertained to care.
Brought onboard as head of programming in 2003 to address the network’s uniquely puzzling quagmire — an audience that was fiercely devoted but, at a median age of 61, far north of the most profitable demographics in an increasingly competitive market – DeBitetto knew the road to success had one major bump.
“We felt that we needed to introduce the network to a much younger viewership over time and if we lost some of the ‘old guard’ along the way, then that was a sacrifice that we were prepared to make,” he says. “It is very hard to please everyone in television.”
To lure that much-coveted audience away from his competitors, DeBitetto began introducing edgy, new, reality-based series like Dog the Bounty Hunter and The First 48 into the programming mix, then sat back and studied what happened. And what happened was the gamble began to pay off.
“We did lots of fundamental research to fully understand the network we had become — looking at the programming that was working, and talking to the audiences that were enjoying those shows,” DeBitetto explains.
By mid 2006, he and his team had parlayed those lessons into a stable of winning unscripted originals including Criss Angel Mindfreak, Intervention and Gene Simmons Family Jewels, bolstered with carefully chosen syndicated hits like CSI: Miami and The Sopranos. And they were ready to move forward with the next phase of the plan – and the network’s new identity.
“Adding original scripted programming is a critical, critical next phase for us,” DeBitetto stresses. “I know from experience that you can be the smartest guys on the block in terms of acquiring syndication rights to top programs, but, on some level, they’re rented. Original programming is what really gives you your unique signature.”
Once again, he studied his past successes to determine his future ones.
“We wanted things that would feel authentic, things that would feel relevant to our viewers,” he explains, “and also things that would have a high quotient of drama, of emotionality.”
In May, the network unveiled its “Real Life. Drama.” rebirth with an ambitious remake of The Andromeda Strain produced by Ridley Scott — and, last month, debuted its inaugural scripted drama, The Cleaner, featuring Andromeda star Benjamin Bratt.
“We need to get original scripted drama right,” DeBitetto admits. “We’re extremely pleased with what we have, but we haven’t made a success of it yet. I hope our viewers are as passionate about The Cleaner as we are — and now we move on to the next show.”
And what a show it is. Production is currently underway on 2009’s The Beast, which marks Patrick Swayze’s first television series in some 25 years — and his first major project since being diagnosed with pancreatic cancer. The network is also piloting the drama Danny Fricke starring Connie Nielsen.
“‘Real Life. Drama.’ is a very natural progression and very natural outgrowth of the programming decisions that we’ve made, and the audiences that are watching … the core of what the experience is here on A&E,” DeBitetto concludes. “The effect is a much more vibrant, profitable network.”
And that is an art in itself.
