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      MThe question now is, given all the changes and pressures occurring in the news broadcast industry, whether a culture of journalism still exists at the networks to surmount these obstacles and achieve real “brand” quality. Can a new generation of stars with journalistic experience, authority and skill emerge from the plethora of feature prime-time magazine programming to match the quality of the now-aging cohort of network stars? Do the networks still have the patience to support a high quality news program such as “Nightline” or “60 Minutes” through years—not to mention a decade—of losing money until it builds a loyal audience base? And, more importantly, will any of the networks invest what it takes to fulfill their commitment to comprehensively informing the public about the major issues and events of our time once they have established new bonds with viewers?  Q

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      H The pool of talent is thin. Anchors such as Mike Wallace and Ted Koppel don’t come along every day. Nor do executive producers like Don Hewitt and Tom Bettag. It’s interesting to note that today’s network “stars”—Wallace, Koppel, Rather, Jennings and Brokaw, or Hewitt and Bettag behind the scenes—came of age during the era when TV news was hard-news oriented and shaped by the old values of public service. Each served long apprenticeships covering breaking news: Jennings and Koppel spent years overseas, Rather and Brokaw covered Washington when government and politics were more important to the networks, and Hewitt and Bettag polished their craft producing CBS’s flagship evening newscast. Such training is now largely a thing of the past. Many young producers and correspondents are rushed into prime time where the values are market-driven. It is telling that when ABC decided it had to try and save “Good Morning America” it turned to familiar faces, Charles Gibson and Diane Sawyer, who were trained in the old school. New programs need time to develop. From network executives, new programs require patience, a faith in the eventual audience and, often, a willingness to experiment. “60 Minutes” took nearly a decade to ripen into a hit show; the show was tolerated for years because CBS was so profitable that it didn’t need to maximize revenues during every hour of the broadcast day. “Nightline” arose out of the Iranian hostage crisis, when ABC was willing to commit to late night coverage in order to grab attention and enhance its news image; such a scenario would be highly unlikely today, with networks having all but ceded extensive special-events coverage to the all-news cable networks. Quality programs depend on a special bond between the networks and their viewers. In essence, viewers need to believe that the networks are the place to turn for intelligent, thoughtful television journalism. This is the notion behind “branding,” which is so valued in business today and has been an important part of the tradition of network news. For all their flaws, the network news divisions for years differentiated themselves from local TV news or syndicated programs because they promised and delivered a product that was perceived as having integrity and quality. The success of magazines such as “20/20” and “Dateline” stems partly from the power of their network brands; viewers who trust NBC News or ABC News, after years of watching Brokaw, Jennings and Koppel, believe that they can expect the same quality in prime time. The danger, of course, is that the primetime feature and infotainment programs will fail to meet those expectations, and the value of the network brands could erode.   B

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