No one outside Fox knew where the robot–named Cleatus–came from, or which creative director summoned him from the depths of the network’s psyche. So, nine months ago, I reached out to Fox Sports–because I needed to know. I would blow this story wide open.
The early days of Fox Sports
Fox always had a bit of a chip on its shoulder as a network. The youngest of the Big Four, it wasn’t NBC, ABC, or CBS. Since its launch in 1986, Fox had wanted an NFL broadcast contract, because it would bring a certain legitimacy to the channel as a broadcaster–not to mention, millions of households tuning into games every week, who might discover other programming they liked on Fox, too.
Fox founder Rupert Murdoch “snatched” CBS’s NFL rights away in a shocking deal for the 1994 season. Within just eight months, Murdoch brought in a man named David Hill to build Fox Sports from nothing. Hill was coming from the U.K., where he helped launch the Sky Television satellite service. He had a reputation for shaking things up and embracing gimmicks. In 2017, Hill was accused of sexual misconduct toward a fellow Fox employee in 1998 in a case that was settled out of court; he stayed at Fox with no clear repercussions.
Gary Hartley, now executive vice president of graphics at Fox Sports, likens Hill to P.T. Barnum, pointing out that, “he’s Australian, so he has no preconceived notion of what should or shouldn’t be part of a presentation of a sporting event.” In 1977, while producing cricket for Channel 9 in Australia, Hill introduced an animated duck named Daddles, who would appear when a batsman was dismissed without scoring. He cried and sulked back to the dugout.
“He got eviscerated in the press,” says Hartley. “They hated him for it.”
But Hill was focused on the future, not catering to purists. At the fledgling Fox Sports, he instituted a “no dead guys rule” to on-air MLB announcers, complaining that broadcasters spent all their time romanticizing early players like Babe Ruth rather than contemporary athletes.
When Hartley first joined Fox Sports in 1995, the graphics team had been experimenting, here and there, with a techie look, which included a few robots on some animations and brand packages. “The technology to do that in-house wasn’t there yet,” says Hartley. “They looked like shit to be honest.”
When I asked Hartley if he had any idea why they started messing around with robots at all, he replies with an emphatic “no.”
“It was very much the antithesis of established sporting networks. It was L.A. We were on a movie lot. The average age of producers and production people was in their 20s,” says Hartley. “It was a fun place to work, and there wasn’t a lot of what I’d call ‘adult supervision.'”
“It was kind of a connection we had”
In 2005, CBS signed a major NFL deal, reigniting a feud with Fox.
“We were rebranding our package. And we knew a lot of guys working on the CBS package,” says Hartley. “And there was this weird competition we felt for some reason. I don’t know if CBS felt it, but we wanted to be top dog. And we had no money. Our budgets were low, and CBS was well-funded.”
Hartley and the team wanted to do something big, but exactly what that meant eluded them.
“I remember one day, my son, who was 7 or 8, had drawn me a picture of a hybrid robotic football-player-slash-cowboy. He was really sold: ‘You should do this! It would be so cool!’ says Hartley. Following a divorce, he had been traveling back and forth from L.A. to Chicago frequently to see his son, who lived 2,000 miles away. “It was in my desk, and I pulled it out one day, and it hit me. We should do this. But not create another robotic football player. Let’s create a character synonymous with the [Fox Sports] logo, that gives us the authority to interact [with the viewer].”