Page 120 - Harvard Business Review (November-December, 2017)

CASE STUDY SPREAD TOO THIN

SHOULD CARLA CARLA NEEDS TO have a candid discussion stop thinking of themselves as number
twos until she weans herself off that role,
with Michael and other RBN executives
FOCUS ON HER HIT about the production philosophy of Dope, trusts them to execute on their own, and
911, and Forty Stories going forward.
empowers them to communicate directly
SERIES OR CEDE Obviously, Carla, C3, and RBN want to with RBN. The tension for her will be in
maintain high quality, strong viewership,
accepting that people won’t always make
CONTROL AND and robust revenues. But to ask Carla to the choices she would.
bring her “magic” touch to every episode of
In her phone call with Michael, Carla
START THE NEXT all three shows is not sustainable. pitched both ideas—rethinking the
And the process of making television
production schedule and downsizing her
NEW THING? is changing. The disruption brought on responsibilities—yet she backed off after
he resisted. She needs to make him see
by cable and now streaming services
THE EXPERTS has opened the door to new approaches. that it is as much in the network’s interest
Broadcast networks are still more
as hers to find new ways to collaborate.
In a face-to-face meeting somewhere
RESPOND entrenched in a certain model and rhythm, “human” (that is, outside the office), she
so it’s no surprise that RBN is clinging to
that tradition. But the fact that Carla’s three should explain that although they are
series started at 24 episodes per season, both invested in the C3–RBN relationship
fall to spring, doesn’t mean they have to and in keeping the three hit series healthy
continue that way. Many networks have over the long term, she is stifled creatively
begun to show more flexibility and order and wants time to work on a new idea
fewer episodes, especially when high-level that’s important to her. Together—with
talent is involved. thoughtful honesty and input from her
A few years ago, I was overseeing a very
auteur-driven scripted show. The creator WHEN A STAR PERFORMER
worked in a handcrafted, sequential way,
similar to how films and European TV SAYS “I’M BURNED-OUT,” THE
shows are made. This meant that on some MANAGER HAS TO LISTEN.
occasions it took more time to deliver a
batch of shows than was typical, and so we team and other network executives—they
had to premiere new seasons at different should then problem-solve and agree on
times of year. The number of episodes a more sustainable schedule and set of
per season also varied. In my judgment, expectations and roles for the existing
forcing the show into a more standardized shows, thereby freeing Carla up for a set
format would have killed its genius. The period of time.
creator had such a particular point of view, Media executives today understand
and we thought—rightly, I hope—that that different shows are suited to different
fans of his storytelling cared more about platforms. While Michael may not like the
integrity of tone and substance than about idea that Carla wants to develop a show
regular air dates. that’s not a fit for his network, he will most
Of course, more and better delegation likely realize that RBN will benefit from
is also something Carla needs to put into giving its hitmaker the chance to regain
action, given that she has so many shows her creative energy, potentially generating
on the go. This would require significant some industry buzz, and, crucially, not
cultural and behavioral change at both C3 killing the goose that lays the golden eggs.
and RBN, and from Carla herself. She is very When a star performer says “I’m
nurturing of Melanie and Keston—always burned-out and unable to give you my
ready to give advice, run interference with best work,” his or her manager has to
the network, and play the 11th-hour savior listen. It’s time for Carla to have that
when needed. However, her protégés won’t conversation with Michael.
SARAH BARNETT IS THE
PRESIDENT AND
GENERAL MANAGER OF
BBC AMERICA

160 HARVARD BUSINESS REVIEW NOVEMBER–DECEMBER 2017