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What can we help you with? Broadcast networks depend almost solely on the ad model, while premium cable channels rely mainly on the fees. Basic-cable channels generate revenue from a combination of the two, but because no one subscribes to one basic-cable channel at a time, the fees are set within the packages sold by cable providers. But 40 cents is still just a middling figure. To grow, AMC somehow has to appeal to more people. At HBO, original programming now accounts for 35 percent of the schedule, and that includes a mix of documentaries, mini-series, comedy specials, lots of boxing, one-off TV films, and a chat show Real Time With Bill Maher.

HBO owns most of its original programming, which entails a greater degree of upfront risk but lets the network amortize its production costs if a show gets syndicated, resold to foreign markets, or comes out on DVD. The obvious way forward is for the network to diversify its offerings, which is where AMC is heading next—gingerly. Quietly, AMC has begun taking comedy pitches. The goal appears to be something on the order of Modern Family. I went in and told them—even your show titles are bleak.

I mean, The Killing! The Walking Dead! Mad Men! He nodded. There are absolutely ways to do great stories unscripted. We hold scripted TV up on this pedestal, but at the same time, you know, you want to broaden your business. We benefited greatly from being a network that put Mad Men on the air, but I think our audience will appreciate all sorts of storytelling.

Just last month, AMC picked up its first two reality shows: Inside DHS, about the inner workings of the Department of Homeland Security, and The Pitch, which follows several advertising agencies as they pursue a new account. Pleased as it sounded with the pickup, AMC was also a bit too embarrassed to use the term reality.

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