‘American Idol’ losing followers

This season of “American Idol” had more talented singers, more visits from pop royalty, more stinging comments from Simon Cowell and more jaw-droppers from Paula Abdul.

So why have some fans and observers found it a dull slog as the show builds to its David Archuleta vs. David Cook finale tonight and Wednesday?

Because contestants who were good but not memorable made for mediocre television, observers say. Where was the drama, the unpredictability, the oddball personalities? In short, where was the fun?

Such criticism is ironic given the heat “Idol” took last year when Sanjaya Malakar, more a hairstyle than a singer, held the spotlight.

Or the reaction when dancin’ man Taylor Hicks won the title in 2006, trading as much on charm as skill.

Producers of the Fox show made an effort this year to go for vocal gold over glitz, and this is the thanks they get – along with remaining the No. 1 show, albeit with slimmer ratings.

Dave Della Terza has long relished mocking “American Idol” on his Web site, votefortheworst.com, but counts himself among this season’s disappointed viewers.

“In past years people would ask, ‘Do you hate “American Idol?” ‘ I’d say it’s fun to make fun of, it’s so bad,” he says.

“But this year, honestly, I’m so sick of the show. … It’s almost a chore to watch at this point.”

He’s hearing the same thing from visitors to his site and seeing it in the numbers, with traffic down about 50 percent.

One major complaint: The contestants have remained ciphers. In other words, Jason Castro’s dreadlocks showed more character than any contestant.

“What do you really know about David Cook? All you really know about David Archuleta is his dad is annoying,” Della Terza says, referring to reports of the latter’s backstage meddling.

“I think that’s why Sanjaya was so successful. Every week, he was coming out and showing personality. He flourished in a crowd of people who didn’t have personalities.”

“American Idol” executive producer Nigel Lythgoe isn’t buying the criticism. He says the talent this year has been “phenomenal” and he expects the David vs. David finale will be the “humdinger” that judge Cowell colorfully predicted last week.

The audience for “Idol” has dropped by about 8 percent from the nearly 31 million viewers who watched last year.

But there’s been a general erosion in TV viewership, partly blamed on the writer’s strike, with the big four networks drawing about 9 percent fewer viewers in April and May so far than during the same period last year.

“Idol” has withstood the downturn better than many other hit series, such as “Grey’s Anatomy,” down about 20 percent.

Lythgoe dismissed the contention that viewers weren’t allowed to get up close and personal with contestants.

Take third-place runner-up Syesha Mercado: “We know that her father had drug and alcohol issues. We know what she was experiencing. After that, there are personal (boundaries).”

Bruce Flohr, a former record company executive now with Red Light Management, is an “Idol” admirer but says the show has to do a better job of weeding out lesser singers who make it too easy to guess who will make it through to the end.

“Part of the problem is people are starting to use the show as a vehicle to stardom, whether they truly want to sing or not,” he says.

Newer artists and music also would help freshen the formula, Flohr suggests.

Della Terza questions how asking contestants to sing songs from the 1960s or ‘70s can translate into “a current marketable recording artist.”

“This year overdid it with old songs and barely let the contestants sing anything that they would actually put on a record,” he says.

Producer Lythgoe responds that finding a young artist with an impressive enough body of work to be covered by a dozen contestants is no easy task.

Besides challenging the young singers – which he says makes for compelling TV – the classics remain worthy, he adds.

“You can’t beat Stevie Wonder. Look at that catalog,” Lythgoe says. “And history teaches us so much.”

But the show can’t ignore one particularly ominous ratings sign, although Lythgoe contends it’s cyclical and reversible: The median age of an “American Idol” viewer, once in the mid-30s, is now up to 42 as viewership by teenagers and women age 18 to 34 has dropped.

One beneficiary of the “Idol” machine, Hicks, remains upbeat.

“The idea and the dream is still alive in that show,” he says, adding that it has the ability to “cultivate a talent to put them on their way to becoming a great entertainer and a great performer, a musician, actor, whatever.”

Bob Lefsetz isn’t buying it. The music industry analyst says flatly that “the bloom is off the rose” after so many years.

“Even if the new Aretha Franklin came on,” he says, “people would say, ‘Seen it. I’m going to watch something on YouTube.’ “