Upfront Notebook
NBC Contemplates Schedule Shuffle

By Ben Grossman Broadcasting & Cable5/21/2006

NBC Entertainment President Kevin Reilly says he may make changes to his fall prime time schedule, with rumors swirling about the network moving Studio 60 on the Sunset Strip to Monday at 9 or 10.

"We can’t let it telescope too far from here," Reilly told B&C on Friday, after every network had made their presentations. "We have some marketing decisions to make soon."

After ABC moved Grey’s Anatomy to the Thursday 9 p.m. time slot that NBC had slated for its highly anticipated Studio 60, sources familiar with the situation say NBC is contemplating moving the Aaron Sorkin-penned show to Mondays at 9. However, those sources also say that show executives are pushing for a 10 p.m. time period.

Such a move would free up an hour for NBC on Thursdays. Options would include moving up shows previously slated for midseason, including The Apprentice or a block of comedies which could include Scrubs and rookie The Singles Table.

NBC would then have to find a new home for either rookie Heroes, scheduled for Mondays at 9, or Medium, currently slated for 10.

Reilly declined to comment on specific plans for Studio 60 but cautions that, while hopes are high for NBC’s look behind the scenes of a late-night sketch show, his fall fortunes won't necessarily rely on one asset.

"The good news is, I don’t feel like we have everything riding on one show," he said. "We have a lot of irons in the fire. Plus, I still question if Grey’s is really going to be that big of a headache."

In case some season finales are still unwatched on your DVR, I've hidden this Matt Roush column with a spoiler tag.

TV Notebook
Finale Watch:

Desperate Housewives and More
By Matt Roush TVGuide.com TV Critic May 22, 2006

As if she were giving us a preview for next season’s Desperate Housewives, which we can only hope will be an improvement on the one that just ended with an overlong thud Sunday night, narrator-from-the-dead Mary Alice Young signed off with a tease: “There will be unexpected bends in the road, shocking surprises we didn’t see coming. But that’s really the point, don’t you think?”

Yes, presumably that is the point of a show like this, with its blend of soap opera, comedy and mystery. But given the unpleasant and largely unsurprising way the show left us hanging this season, it’s hard to have much confidence in what’s to come. Let’s look at where the major players ended up.

Bree. Still my favorite housewife, although how uninspired was it to saddle her with another creepy psycho suitor: Kyle MacLachlan’s homicidal dentist Orson, a near clone of Roger Bart’s warped pharmacist George. (What next, a cracked chiropractor?) Her psycho ward escape was fun, though (and I can’t wait to see what’s in store with Julie White as Orson’s catatonic “friend,” since she’s way too good a comic actress to stay mute for long). And the showdown with Danielle’s suddenly violent boyfriend Matthew, ending with the police shooting him before he could take out tigress-mother Bree, was pure Knots Landing. (The less said the better about the tragic fadeout of the best-forgotten Applewhites.)

Lynette. So Tom’s secret affair was actually a long-ago (pre-Lynette) one-night-stand that produced yet another child from this remarkably fertile man. And now the petulant mom is moving to town. Ugh. And snore. (At least we were spared the workplace for a week.) As usual, even in the most pedestrian moments, Felicity Huffman rose above the material, conveying an emotional exhaustion during her “vacation” with the kids and later intimidating Nora the interloper with her droll, biting sarcasm.

Gabrielle. She finally tossed Carlos out after having her worst suspicions confirmed about him and their maid/surrogate mother Xaio-Mei. Turns out they were making out in the same garage where she first cheated on Carlos with John. Again, no real shock here, and not all that enjoyable to watch.

Susan. Caught between Mike, who bought a ring for her, and Karl, who bought her a new house, Susan picked Mike, even if it meant staying in the house trailer. She would have popped the question if Mike hadn’t been run over by Orson, whose murky past had raised Mike’s suspicions. So let me get this straight: As the episode ended, it was a new day and no one had reported Mike lying in the middle of some road? (I didn’t check to see if Orson was still driving the same car when he came to pitch woo to Bree, because it had to have been damaged by the impact. But really, why nitpick?)

Edie. No Edie at all. Another reason to hate this episode.

I did enjoy the flashbacks (and the hairstyles) of the women as we saw each of them move to Wisteria Lane and make Mary Alice’s acquaintance. But when Mary Alice wondered in her final narration, “If I could, would I tell them what lies ahead? Would I warn them of the sorrow and betrayal that lie in store?” I had to agree with her answer of “no.” If I’d been tipped off about what to expect this season, I probably would have found a better use for my time during this hour on Sundays. And yet, being a sucker, I’ll no doubt be back same time, same channel next season to see if the writers can extricate these wonderful women from the dreary messes in which they’re currently embroiled. (Hard to believe Wisteria Lane is a full continent away from Stars Hollow, where a certain Lorelai Gilmore is in much the same situation.)

The mediocrity of this Housewives finale is especially notable in contrast to how the previous week began, with the sensational two-night finale of Grey’s Anatomy, which rocked with tragedy, humor and romantic twists that will resonate throughout the summer. We’ll be buzzing till September about Denny’s death, Izzy’s meltdown, Addison’s public outburst and Meredith and Derek hooking up, among other memorably jaw-dropping moments.. I love how Shonda Rhimes is not afraid to make her characters so maddeningly flawed and emotionally frenzied. As of this writing, Grey’s ranks as my favorite finale of the season. Housewives ranks among the worst.

Some thoughts on a few other notable finales:

I had no expectations for the Will & Grace finale, so was not disappointed to be disappointed. After a hateful dream-sequence opening of Will and Grace in fat-suit old-age makeup, bitching about having ruined each other’s lives, we learned what really happened. When Leo came back to Grace, and they moved to Rome to start their family with daughter Lila, instead of rejoicing, Will and Grace shut each other out. Downer. Two years later, with Will and Vince parents of a boy named Ben, Jack and Karen contrive for Will and Grace to meet again when she, Leo and Lila move back. The old friends reconcile, but realize they’ve moved on, so stay out of each other’s lives (like bestest friends so often do—NOT). What a bad, bitter choice, unmitigated by the fact that their children will years later discover each other as accidental across-the-hall college dorm mates and eventually marry. A few good lines aside (“I’m so glad George Clooney came back to ER,” Will assuring the mature Grace she looks nothing like her mother, and Jack’s quip to Karen that “All people see when they look at us are the supporting players on the Will & Grace show”), what a drag. When Karen and Jack teamed up for an indulgent performance of “Unforgettable,” it only reminded me how forgettable this once groundbreaking and delightfully tart show had become.

Watching the charmless last-ever episode of That 70s Show, I was shocked at how everyone was sleepwalking through the paces by the end. Only Debra Jo Rupp and Kurtwood Smith still seemed to remember they were in a comedy. Topher Grace’s “surprise” reappearance at the end wasn’t enough to redeem this long-overdue farewell. (The show should have ended when he left, that much is painfully obvious.)

Regarding the Thursday shockers: I didn’t watch The O.C. for Marissa’s death (my first reaction on hearing the news, when it leaked, was “How can they tell?”). But I did tune in a day late (but not before having it spoiled in advance for me) for the Grissom-Sara reveal in the final scene of CSI. I liked it better when it was subtext, as it should always be where this franchise is concerned. And who bought Gil’s robe? And while I’m glad they didn’t kill her off or shoot her during Jason Priestley’s crime spree (there was plenty enough carnage on sweeps finales last week, and it’s not over yet), did they really need to make Mary Elizabeth Mastrantonio pregnant on Without a Trace? I think not, though it will make Jack Malone’s life more complicated. And any reason to put Anthony LaPaglia through the emotional wringer tends to make Trace a better show.

http://community.tvguide.com/forum.jspa?forumID=700000048

Upfront Notebook
Buyers Dissect Networks' Fall Slates:

By John Consoli MediaWeek.com MAY 22, 2006 -

There was some unanimity about a few new fall 2006 shows that media buyers liked or disliked following the broadcast network upfront presentations last week, but none of the 28 were projected to be breakout hits. This lack of buzz echoed last year, when few of the 31 new shows were lauded by buyers the week following the upfront sessions. Nine first-year shows from the fall 2005 schedule wound up being renewed for the 2006 season.

Buyers concurred that once again NBC has the weakest slate of new shows and probably hasn’t accomplished much in trying to move out of fourth place in the ratings. “NBC is probably going to lose more share of the overall upfront dollar volume,” said one media buyer who controls significant upfront spending and indicated he may place less money than last year on NBC.

CBS again is considered to have the most stable schedule and could plug another hole or two with the four new shows it introduced, making it even more solid. “I’ve never seen a more stable fall schedule than the one CBS is offering for next season,” another media buyer commented.

Fox was also lauded for its stable schedule and attempt at programming flow. Peter Liguori, Fox Entertainment president, told his audience that all 16 of Fox’s returning shows will return to the same nights, and all but two are in the same time slot. That was a factoid buyers appreciated.

ABC introduced 10 new shows for the fall and also moved Grey’s Anatomy from Sundays at 10 p.m. to Thursdays at 9 p.m., opposite CBS hit CSI. Most buyers liked the move, which will give advertisers another hot show on a night that is particularly important to retailers and movie companies, which pay a premium to secure extra inventory.
Calling this the “golden age of television dramas,” CBS Corp. chairman Les Moonves said, “Two big shows can work in the same time period&hellipGrey’s will probably ding CSI a bit, but the move is good for television.”

NBC executives may be surprised to hear that buyers’ initial reaction to
two shows it has high hopes for were not so positive. They panned The Black Donnellys, which replaces ER, once it goes on hiatus, at 10 p.m. Thursdays. Most felt the four main characters, brothers in the show’s storyline, were not likable enough to keep audiences coming back each week.

Several buyers liked NBC’s drama Friday Night Lights, loosely based on the book and movie, but wonder if the storyline can hold up for 22 episodes. Few think Aaron Sorkin’s Studio 60 on the Sunset Strip will work because fictional shows about TV behind-the-scenes [i.e. Fox’s Action, NBC’s Good Morning Miami and ABC’s Sports Night] rarely get high audience tune-in. One likely exception this fall: Buyers did like NBC’s Tina Fey-created sitcom, 30 Rock, also about television, but funny.

Of CBS’ four new shows, buyers believe sitcom The Class and Thursday drama Shark will work, while sci-fi drama Jericho will not.

New ABC favorites among buyers include The Nine, a drama about nine people who are in a bank when it’s robbed and how their lives interact with one another afterward; Brothers & Sisters, a Sunday drama in Grey’s old time-period leading out of Desperate Housewives and starring Calista Flockhart; Betty the Ugly, a comedy based on the Univision telenovela Betty La Fea and Men in Trees, a female oriented drama starring Ann Heche. One show ABC is high on, but which buyers panned, is Six Degrees, which they labeled as confusing and having characters that lacked interest.

Fox’s notable freshmen in buyers’ eyes include Brad Garrett sitcom ’Til Death and dramas Vanished and Justice, while buyers gave a big thumbs-down to sitcom The Winner.

The new CW offered only two new shows, but buyers believe both could work. Runaway is Darren Star’s drama about a family on the run, while The Game is an ethnic sitcom that looks as if it will fit comfortably into the network’s new Sunday comedy block.

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1002539692

Finale Countdown:

Tonight

"The King of Queens," 8 PM ET/PT, CBS
"24," 8 PM ET/PT, Fox
"Two and a Half Men," 9 PM ET/PT, CBS
"Alias," 9 PM ET/PT, ABC
"The New Adventures of Old Christine," 9:30 PM ET/PT, CBS
"CSI: Miami," 10 PM ET/PT, CBS
"Medium," 10 PM ET/PT, NBC

Tomorrow

"House," 9 PM ET/PT, Fox

Wednesday

"American Idol," 8 PM ET/PT, Fox
"Lost," 9 PM ET/PT, ABC

TV News Notebook
Long adrift, ABC News now sinks

"World News Tonight" drops to third in the ratings, the latest blow to a team in transition.
By Matea Gold Los Angeles Times Staff Writer May 22, 2006

NEW YORK — It was just one week.

But when ABC's "World News Tonight" — whose viewership already has dropped by nearly 1 million people in the last year — slipped behind the perennially third-ranked "CBS Evening News" in the ratings last week, it was more than just a blow to morale.

It was, according to some inside the network, a sobering and frustrating reminder of the internal tug-of-war that has stalled the newscast's efforts to recast itself after the death of anchor Peter Jennings and the serious wounds suffered by one of his successors in Iraq nearly four months ago.

Bob Woodruff is undergoing rehabilitation and is determined to return to the job, but it remains unclear when he will be able to do so. Initially, news officials said they were developing an interim plan for the program. But despite widespread expectations that the network was on the verge of announcing a new partner for Elizabeth Vargas weeks ago — with "Good Morning America" co-anchor Charles Gibson increasingly seen as the likely candidate — nothing has happened.

The main sticking point, according to people familiar with the situation, has been a reluctance to upend the second-place morning show, which some executives believe has a shot at taking on NBC's "Today" after Katie Couric leaves at the end of this month. ABC's dilemma has spotlighted a reality with which every network news division must grapple: Morning shows bring in substantially more ad revenue than the evening news programs, even though the latter are viewed as the flagship broadcasts.

ABC News spokeswoman Cathie Levine declined to comment on any internal discussions. "When we have an announcement to make, we'll make it," she said.

The delay has forced "World News Tonight" producers to essentially abandon a new initiative to offer updated West Coast editions of the newscast and plans to send the new anchor duo on high-profile trips. Even though Vargas has been effectively serving as the first solo female anchor of an evening newscast since Woodruff was injured, the network has made little noise about her tenure, waiting to have a long-term plan in place for the program before marketing it.

The slowness to resolve the situation has mystified outside observers and frustrated ABC News employees, who are still mourning Jennings.

"They feel snake-bit," said former ABC correspondent Robert Zelnick, chairman of Boston University's journalism department. "There's a certain loss of self-confidence. It's very painful."

The release of the most recent ratings data last week only increased pressure on ABC to make a move. For the first time since August 2001, CBS topped ABC in the weekly ratings race, garnering an average of 7.39 million viewers to "World News Tonight's" 7.31 million, according to Nielsen Media Research. CBS is up an average of 280,000 viewers this season, while ABC is down 940,000, a drop of 10%. (Top-ranked "NBC Nightly News" has also seen its audience shrink, losing 680,000 viewers.)

Jon Banner, executive producer of "World News Tonight," noted that CBS had won just one week's worth of ratings but acknowledged that he wished the ABC broadcast was drawing a larger audience.

"We want to be doing much better than we are, and we should be doing much better than we are given the talent pool here," he said. "This broadcast has been through hell here in the past year and several months. I don't think any broadcast can go through those events without it impacting the performance, and I think it's caught up to us."

News of the CBS victory broke Tuesday in the middle of the broadcast television upfronts, a series of elaborate events held here to entice advertisers to commit money to next season's prime-time shows. On the same day, ABC News employees learned that one of the network's two newsmagazines, "Primetime," wasn't given a regular spot on the fall schedule. (News President David Westin assured the staff that he expected the program would get a permanent time slot later in the season.)

At the ABC party that evening, held in a lavishly decorated tent outside Lincoln Center, upbeat entertainment executives gaily chatted up advertisers about the fall schedule and the success of programs like "Grey's Anatomy" while their news colleagues watched the festivities morosely, having little to celebrate.

"Morale is starting to suffer," said one news division staffer who discussed internal matters on condition of anonymity. "People would like to see a decision made one way or another. This person is supposed to be the public face of the network to the world. People are wondering, 'When are we finally going to have a captain of the ship?' "

Banner declined to comment on the plans for replacing Woodruff, saying only, "Those decisions are being dealt with."

Some observers hope that the needs of the evening news eventually prevail over any reluctance to shake up the profitable "Good Morning America."

"Despite the fact that the morning show rakes in far more money, it's still the evening news that defines the network's news priorities," Boston University's Zelnick said. "As long as you're a hard news organization that has to be ready on a moment's notice to cover a Sept. 11 or another cataclysmic event, you need that evening news show as that defining program of your news organization."

ABC officials don't have that much longer to figure out how to balance the competing interests. Vargas, whose second child is due in August, is expected to go on maternity leave earlier that month.

http://www.calendarlive.com/tv/cl-et-abc22may22,0,166477,print.story?coll=cl-tvent

TV Notebook
How the West was lost -- again

`Deadwood' is likely riding off into the sunset soon because of financial issues.
But don't discount HBO yet.
By Scott Collins Los Angeles Times Staff Writer May 22, 2006
(Times staff writer Maria Elena Fernandez contributed to this report.)

David Milch, the creator of HBO's "Deadwood," says the show couldn't have been done on any other network, and that's probably true. Few other outlets have tried westerns recently, and none has featured a villain like Al Swearengen (Ian McShane), a profane, surreally menacing saloon keeper.

In one scene, Swearengen sweetens a prayer for a butchered pioneer family by blithely informing his patrons of a half-price special on the services of his prostitutes. McShane's portrayal makes Al Pacino's gangster Tony Montana in "Scarface" seem charming.

Of course, HBO has always taken pride in running apart from the network pack, hence its marketing slogan, "It's not TV. It's HBO." But as the abrupt death of "Deadwood" makes clear, HBO is behaving much more like a regular network these days, albeit probably by necessity rather than choice.

HBO revealed this month that, because of a complicated nexus of money considerations, "Deadwood," one of the network's top four original series after "The Sopranos," will most likely end its run with the third season, which starts June 11. Although the network did not cancel the show, it allowed the ensemble cast to pursue other work elsewhere, effectively spelling the end of the series because of the difficulty of reassembling such a large number of actors.

Outraged fans, who were expecting the fourth season that producers had already mapped out (but which the network, it should be noted, never officially announced), promptly organized a show-saving campaign, with some demanding a "cancel HBO" boycott (for details, see savedeadwood.net).

"Deadwood" died with its boots off, and even those closest to the situation seem a bit baffled.

"I am deeply disappointed by the way things turned out," Milch said last week. But HBO executives "felt like they had to make a choice. And this is how they chose…. I know they tried to work it out, and I tried to work it out with them."

"Not having a fourth season of 'Deadwood' is not the result anyone wanted," Chris Albrecht, HBO's chairman and chief executive, said by phone Thursday.

But the network grew excited about another Milch project, a surfing drama titled "John From Cincinnati," and did not believe he would be able to return to "Deadwood" for some time, Albrecht added. By all accounts, the network did not wish to pay the "Deadwood" actors' contracts during the months spent waiting.

Milch, who seems genuinely excited about "Cincinnati" (its pilot starts shooting in July near Imperial Beach), said that "Deadwood" is a costly show and that it does not produce the high ratings "Sopranos" does. In addition, his deal with CBS Paramount's TV studio was winding down, which "didn't help" the situation because it removed a potential financial partner from the equation (Paramount owns some of the distribution rights to "Deadwood"; studio spokespeople did not return requests for comment).

Milch confirmed that Albrecht offered to approve six episodes rather than 12 for the fourth season — in the TV industry, a so-called short order. But the writer-producer rejected that because of bad experiences with short orders on series like "Hill Street Blues."

And with that, "Deadwood" was dead.

This anti-climax may become a turning point in the history of HBO's highly regarded original series initiative. For years, HBO has been known for spitting out large wads of cash for corporate parent Time Warner. In turn, the network has spent lavishly on shows and talent. The first 12 episodes of the historical epic "Rome," for example, cost a reported $100 million — a dizzying sum even by TV standards — and "Sopranos" star James Gandolfini takes home a paycheck reputedly worth at least $11 million a year, including a cut of DVD sales.

But HBO has good reasons to mind its pennies these days.

In September, HBO renewed "Rome" for a second season, despite lackluster ratings. Since then, the polygamy-themed drama "Big Love" has premiered to middling numbers and mixed reviews despite a costly public relations blitz, and "The Sopranos" has seen its audience dip from previous highs.

While getting an accurate bead on HBO's subscriber tally is perennially difficult — many analysts peg it at roughly 28 million — it's been years since the network launched a series that spurred subscriber growth à la "Sex and the City" and "The Sopranos."

Albrecht said he's not worried that "Deadwood's" end will lead to subscriber losses, given HBO's rich mix of series, movies and sporting events. "It's always news to me that people subscribe to HBO for only one thing," he said.

Meanwhile, Hollywood writers shouldn't assume that "Deadwood's" fate means HBO's mandate has changed, Milch said. Compared with other networks, HBO enjoys a particularly artist-friendly reputation. "They continue to be that place," he said.

Even so, "Deadwood's" puzzling end has left militant fans seeking comfort in the words of — who else? — Swearengen: "The world ends when you're dead. Until then, you got more punishment in store. Stand it like a man — and give some back."

* * * * * * * * * * * * * * * * * * * * * * * * * *

A red-faced Fox in the 'upfront' house

Fox expects to finish the season as the No. 1 network in prime time among young adults. Last week, it achieved a more dubious distinction as well: most embarrassing "upfront" presentation.

Fox was the last network to roll out its fall schedule with a sales meeting Thursday that proved Murphy's law at nearly every turn. The presentation started 20 minutes late as many of the roughly 1,000 attendees swarmed the narrow entrance to the Armory, leading to long lines down Lexington Avenue a few blocks from Gramercy Park. Guests fanned themselves throughout the 2 1/2 -hour event as the aged facility's air conditioning was taxed to the breaking point.

During a rambling, incoherent onstage segment promoting Fox Sports, an executive repeatedly mispronounced the name of the snack food Tostitos, a network sponsor. Spike Feresten, host of a new Fox talk show, bombed with a comedy monologue. And Brad Garrett, star of the network's new sitcom " 'Til Death," shocked ad buyers with rude jokes about Ryan Seacrest, Paula Abdul and Pamela Anderson.

Fox spokesman Scott Grogin said that Garrett's remarks weren't vetted beforehand but that the comic often works "blue" and that some attendees found his routine funny.

As for the venue, he added: "We selected the Armory because we needed a larger venue than our previous home at the City Center theater…. We will not be returning to the Armory and will immediately begin to search for a facility that will alleviate these issues."

Grogin said he didn't believe the event's problems would cause ad buyers to avoid Fox: "We have every reason to believe we will have a very successful selling season."

Shari Anne Brill, analyst for ad firm Carat USA, agreed: "I would think the Fox sales team would not be happy about the presentation. They don't want it to be not well received because they have to go out in the trenches and work with us after. But I've never heard of anybody holding up a network based on the standard of what their presentation was like. People may grumble about it, but then they go out and make their deals."

http://www.calendarlive.com/tv/cl-et-channel22may22,0,1742698.story?coll=cl-tvent

The 2006-2007 Season
First impressions of fall series

By Robert Bianco USA Today

More than any other medium, TV embraces the circle of life.

As one season dies, another is born out of the ashes each spring. The networks announce their new schedules just as their old ones come to their May conclusion. (And they make these announcements, not to the creative community in Los Angeles that does the work, but to the advertising community in New York that foots the bill. Which tells you a lot about what else TV really embraces.)

The upside of these early "upfront" announcements is that they allow viewers to spend the summer in hopeful contemplation of the great shows coming their way. We all know that much of that hope will be misplaced and most of these shows are more likely to be "gone" than "great" — but why should we worry about that now? We might as well spend the summer looking on the bright side.

So how does the new season look? A bit grim, with a tilt toward dark dramas over light comedies. It also could be a demanding season, as a number of series are following 24's one-year, one-story lead — including a year-long search for a kidnapped child (NBC's Kidnapped) and a missing wife (Fox's Vanished), and comedic year-long attempts to pull off a robbery (ABC's Let's Rob ...), a wedding (ABC's Big Day) and a pregnancy (ABC's Notes from the Underbelly).

To help you make that seasonal transition, here's a first-impression, network-by-network look at the shows to come, based on clips, interviews and the network presentations (first impressions and shows can -and will — change).

CBS: The top-rated network is on cruise control

CBS is like a top-selling family sedan: comfortable, reliable and enormously popular, but not exactly exciting.

What's missing from the No. 1 network's admirably well-constructed schedule is one big buzzworthy phenom — a show like Fox's 24, which gets more attention than CBS' higher-rated but less-discussed hits. The folks at CBS are too smart to scrap a winning formula to chase after buzz, but the network does seem more willing this year than last to experiment. Which means, praise be, no new crime procedural series like CSI.

Instead, the network is bringing you high concepts (Jericho, about the residents of a Kansas town isolated by a nuclear attack) and big names. Come fall, James Woods teams with Spike Lee for the legal drama Shark, which seems to owe a lot to House, while Ray Liotta leads a gang of thieves in Smith, which will have to overcome viewer resistance to this year's Thief and Heist.

CBS' best experiment, however, may be its least risky: The Class, a tailor-made Monday sitcom from David Crane (Friends) and Jeffrey Klarik (Mad About You) about a large group of twentysomethings who attended the same third-grade class. What's novel about the show is the Lost-like size of its ensemble: There are at least 12 recurring characters, played by such actors as Joan of Arcadia's Jason Ritter and Broadway stars Heather Goldenhersh (Doubt) and Jesse Tyler Ferguson (Putnam County Spelling Bee). Plus, it had a sight gag that drew the biggest laugh at the presentations.

Fox: Can they match the stars to the right shows?

There are a lot of great actors coming to Fox in the fall. The question is whether they're coming in the right shows.

I'm a huge fan of Victor Garber, both from his theater work and from his fabulous stint on Alias, but his Jerry Bruckheimer-produced legal show Justice looks a lot like the kind of procedurals CBS has wisely decided to rest. And while it's past time Ron Livingston became a TV star, I'm not sure it's going to happen in Standoff, which casts him as a hostage negotiator who's having an affair with his partner (Rosemarie DeWitt).

Fox may, however, have found the right sitcom for Brad Garrett, whose role as a sour husband in 'Til Death seems designed to let him recycle his Jackie Gleason impression. The act seems to work for his fans, and the show seems to fit Fox's comic sensibility. Though not, perhaps, as well as another new sitcom, Happy Hour, which had a line so crude that it made the advertiser crowd gasp.

NBC: At last, a workable roster of series

NBC just can't buy a break.

The fourth-place network went into the upfronts with the fall's most highly anticipated show: Aaron Sorkin's Studio 60 on the Sunset Strip, with Bradley Whitford, Matthew Perry and Amanda Peet. Now the upfronts are over, and not only wasn't Studio 60 the best-received new fall show, it wasn't even the best-received NBC show inspired by Saturday Night Live. That honor goes to the Tina Fey sitcom 30 Rock, which joins The Class and Let's Rob... as the preseason sitcom front-runners.

Still, even if the clips did not live up to expectations, it is far too soon to write Studio 60 off. Sorkin is a great and singular talent, and his shows often suffer when cut down — a process that emphasizes big moments and eliminates the small scenes that earn the payoff. The pilot does have some tonal problems: While it accurately captures how seriously people who work in TV take themselves, it may overestimate how seriously viewers take them. But it is much better than the clips may have led some to believe.

Otherwise, the network does seem to have done a better job constructing a lineup this year than it did last, though it would have been hard-pressed to do worse.

In addition to the SNL duo, the cinema spinoff Friday Night Lights and the 24-inspired Kidnapping seemed potentially promising. Plus, the network now has the NFL on Sunday, which all by itself may be enough to make advertisers and viewers forget last fall's Surface, Inconceivable, Three Wishes and The Apprentice: Martha Stewart.

CW: It's twice the familiarity

Talk about your circle of life. Out of the carcasses of UPN and WB rises CW — more Frankenstein than phoenix, perhaps, but alive.

It's hard to generate excitement for a schedule that extends One Tree Hill and exhumes 7th Heaven. Still, the network gets some credit for offering the only sitcoms built around African-American stars — even if the newest show, The Game, seems a far cry from the quality of Everybody Hates Chris.

The only other new show is Runaway, which is The Fugitive with an entire family on the run. I'd have great hopes for this show if it were on CBS, because that would mean the stories would focus on the parents, played by Donnie Wahlberg and Leslie Hope. On CW, the focus is more likely to be on the kids, and the clips made them look far less interesting.

ABC: Plenty of new shows are on tap

Last spring, ABC was jubilant, thanks to its 2004-2005 freshman hits Desperate Housewives, Lost and Grey's Anatomy. This year, ABC is more subdued, which is what happens when your entire fall slate flops.

As a result, ABC introduced more new fall shows than any other network (nine) and had some of the best-received introductions. The network has one of the most intriguing new dramas in The Nine, about nine survivors of an extended hostage crisis, and one of the funniest sitcom highlight reels in Let's Rob ..., which casts Donal Logue as the leader of a ragtag gang trying to rob Mick Jagger. And I'm eager to see Six Degrees just because it comes from J.J. Abrams.

ABC also is trying some softer hours, putting Calista Flockhart at the center of Brothers & Sisters, sending Anne Heche to Alaska for Men in Trees, and transforming a hit telenovela into Betty the Ugly. Betty looked cute; as for the others, ABC had better hope Flockhart and Heche come across better in full than they did in brief.

http://www.usatoday.com/life/television/news/2006-05-21-fall-tv-impressions_x.htm

Upfront Analysis
MyNetworkTV

By Christopher Lisotta TVWeek.com May 22, 2006

The schedule: MyNetworkTV, which News Corp. put together after the announcement of The CW earlier this year, is betting the farm on evening soap operas.

A 52-week schedule of English-language telenovelas with no repeats is intended to keep audiences hooked and distinguish MyTV from the competition.But the real question is whether all the programming will be in HD ;-)

Xesdeeni

All of MyNetworkTV programs will be (at least provided to the affiliates) in HD.

some musings.

Lost:
yesterday i was looking at my tivo recorded list and noticed that a lost episode was missing. checked my history and saw that due to american idol and amazing race lost had not recorded.

i could have downloaded on my ipod, used bitorrent, or went to the abc website. i decided to try out the website. not bad. in a pinch it would do. the commercials where only 30 secnds and they were limited. only problem was that you couldn't make the player take up the entire screen.

American Idol:
I think I am suffering from AI fatigue. While I watched every episode, I just don't find myself that much into it as other seasons. Hicks is probably the one interesting one in the bunch and probably the only reason I watched. I wonder if this show has finally peaked? The strong numbers this year could be due to Bo bringing in that anti-establishment crowd and this season that continued with Chris.

Telemundo, Univision, MyNetwork:
First, I am very glad to see coverage of hispanic stations during upfront coverage. Seems the hispanic market is gaining more visiblity. But unless they start showing some shows in HD, I just can't watch. There is already a lot of stuff to watch and HD is one criteria I use to decide what to watch. The only 2 SD shows I watch are Amazing Race and Apprentice.

When did telenovela become an English word? MyNetwork has an interesting idea. I might check them out.

Finales
`Alias' Ends, But Season Finale Of `24' Dominates Prime Time

By Roger Catlin Hartford Courant TV Critic May 22 2006
(All times are ET/PT)

Farewell, Sydney Bristow!

The most alluring TV spy since Emma Peel takes her final bow tonight after a five-year run. "Alias" (ABC, 9 p.m.) allowed Jennifer Garner to wear many wigs and smack down many bad guys, but lately creator J.J. Abrams has been busier with a show that has overtaken "Alias" for sheer buzz, "Lost," and busied himself directing the big-screen "Mission: Impossible III."

In the fall, Abrams will have his name on three shows on ABC: "Lost," the new "Six Degrees" and the returning "What About Brian?"

And what about "Alias"? Adios.

The spy caper leaves on the worst possible night, when many ardent action fans will be watching the calamitous two-hour end to "24" (Fox, 8 p.m.), wherein Jack Bauer has to take down a lawbreaking president after spending most previous seasons defending a virtuous one (who was killed at the beginning of this long day).

Other Finales

If you're a fan of "King of Queens" (CBS, 8 p.m.), you'd better tune in: A new episode of the Kevin James vehicle won't show up until the ninth season starts in eight months.

Also ending for now are "Medium" (NBC, 10 p.m.), "Wife Swap" (ABC, 8 p.m.), "The New Adventures of Old Christine" (CBS, 8:30 and 9:30 p.m.), "CSI: Miami" (CBS, 10 p.m.) and "Two and a Half Men" (CBS, 9 p.m.). All will be back in the fall.

On cable, "Punk'd" (MTV, 10 p.m.) ends its season, too.

http://www.ctnow.com/tv/hce-tveye0522.artmay22,0,2846623.column?coll=hce-utility-tv

slocko:
I have had "AI" disinterest for a couple of cycles now. Obviously, most of the country does not suffer from the same malady.

But it also has hit me when I (used to) watch "Survivor", and "The Amazing Race".

-----

In the past I have not posted a lot on the hispanic networks because I assumed most readers of this thread just didn't care.

But with the explosion of news about them, I have begun to include at least some items.

I am glad you find them interesting.

The 2006-2007 Season
Now it's ABC's shot at Thursday night

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 22, 2006, 02:47

Five years ago, CBS moved “Survivor” to Thursdays in a bid to end NBC’s nearly two-decade domination on television’s most lucrative night. It worked, and these days NBC ranks a distant No. 2 behind CBS on the night.

Now it's ABC's turn.

Come fall, CBS will be dealing with a similar challenge when the network moves “Grey’s Anatomy” to the 9 p.m. timeslot opposite “CSI.”

ABC's decision to move the show to Thursday, a night where it had long been a non-player, shocked many media people when it was announced at the network's upfront presentation last week. It signals more than anything how strongly the network has come back.

It's also seen as a smart ploy by media buyers, if a daring one, giving the network a solid early foothold that it could grow over time, just as CBS grew its foothold to eventually overtake NBC.

Most certainly, it will make Thursday a tougher night for both CBS and NBC.

“I think ‘Grey’s Anatomy’ [may do better than ‘CSI,’]” says one media director.

“I think they are both buzzworthy, ‘Grey’s’ is just a bit younger. That’s the watercooler show, everyone talks about ‘Grey’s.’ I hear a lot of people say they like ‘CSI,’ but I don’t see the involvement. People have formed really close connections to ‘Grey’s.’”

In its Thursday ploy, ABC has at least two things going for it.

First, “CSI” has been slipping while “Grey’s” is rising. “CSI” is averaging an 8.3 this year, down 10 percent from last year’s 9.2 average. Last week’s season finale averaged just an 8.2, down 23 percent from last year’s 10.6.

Meanwhile, “Grey’s” has increased its average throughout the season, outdrawing lead-in “Desperate Housewives” ever since its post-Super Bowl outing in February, when it rose to often become the No. 3 show on TV behind the two editions of Fox's “American Idol.” Its season finale averaged a 9.7.

Second, CBS, come fall, is moving longtime stalwart “Without a Trace” from 10 p.m. Thursday to 10 p.m. Sunday.

While media buyers say that the new Thursday timeslot occupant, James Woods’ drama “Shark,” looks strong, it does open up the 10 p.m. hour. NBC’s “ER” has slipped in the timeslot, and ABC chose a relationship drama from “Lost” co-creator J.J. Abrams, “Six Degrees,” to stick in the slot.

At the least, "Degrees" could draw decent ratings after “Grey’s,” and it could win the timeslot if it has a bigger lead-in than “Shark.”

Of course the wild card on the night is NBC. It also has a high-profile drama in the 9 p.m. slot, the new Aaron Sorkin show “Studio 60 on the Sunset Strip,” that got a lot of buzz heading into the upfront.

Yet NBC announced its schedule before ABC or CBS. Soon after ABC made its announcement, rumors began to float that “Studio 60” will move to a different night, the task of launching against “Grey’s” and “CSI” just too tough, especially amid buzz that "Studio 60's" clips weren't all that promising.

The media director thinks the show will stay. She says that there’s not another spot on NBC’s ratings-challenged schedule where “Studio 60” would prosper.

“That’s one of NBC’s more comfortable hammocks,” she says of the spot between comedies “My Name is Earl”/“The Office” at 8 p.m. and “ER” at 10 p.m. “Besides, that would mean [NBC president] Jeff Zucker admitting failure and pulling the plug. He’s pretty cocky. I do not think he’d admit failure or a mistake.”

If “Studio 60” stays, the timeslot may be the most competitive in recent television history.

Five years ago “CSI,” ABC’s “Who Wants to Be a Millionaire” and NBC’s “Will & Grace” and “Just Shoot Me” all occupied the same slot, but “Millionaire” was already way past its peak.

And this year “Idol” and ABC’s “Lost” have both done well Wednesday at 9, to the detriment of the competition. Media people say that’s evidence that “Grey’s” and “CSI” may both continue to do well, though it’s not so promising for “Studio 60.”

“There is room for another hit show in the hour, and ‘Grey’s’ could do well without necessarily hurting CBS’s ‘CSI’ that much,” writes Lisa Quan, associate director of broadcast research at Magna Global, in an analysis of ABC's new schedule.

“But there may not be room for a new show like NBC’s ‘Studio 60' in the same hour.”

http://www.medialifemagazine.com/artman/publish/printer_4877.asp

Sunday’s prime-time ratings – and Media Week Analyst Marc Berman’s view of what they mean -- have been posted at the top of Ratings News the first post in this thread.

Overnights in the 18-49 Demo
Up finale for down 'Housewives' year
By Toni Fitzgerald MediaLifeMagazine.com staff writer May 22, 2006, 10:23

ABC’s “Desperate Housewives” endured a sophomore slump for sure, with ratings fall off over the second half of the year after a red-hot start to the year and viewers complaining about a creative decline for the show.

But “Housewives” will leave the same way it entered the season, as the hottest scripted program on TV.

Last night’s season finale averaged a 9.8 adults 18-49 overnight rating, 5 percent better than its 9.3 season-to-date average and a tenth better than the finale average for “Grey’s Anatomy” last week, making it the highest-rated scripted season finale thus far this sweeps.

It was also the best rating in weeks for the show, which aired from 9 to 11 p.m. last night. It had been stuck in the mid-8s for several weeks, including an 8.2 for last week’s penultimate episode.

Of course its 9.8 rating, while demolishing the competition on NBC and CBS, was nowhere near last year’s 13.2 overnight average for the season finale. It also drew nearly 7 million fewer total viewers, averaging 23.96 million.

But the uptick is a promising sign for ABC as it readies to launch a new drama out of “Housewives” next season that is already getting good buzz, “Brothers & Sisters.”

It’s also the first time since “Grey’s” post-Super Bowl showing that “Housewives” performed better than its usual lead-out, which aired its three-hour season finale last week on Sunday and Monday nights.

Meanwhile, ABC easily won the night among 18-49s with a 7.0 rating and 18 share, double Fox’s 3.5/9. CBS was third with a 2.7/7, NBC fourth with a 2.1/6, Univision fifth with a 1.4/4 and WB sixth with a 1.1/3.

ABC started the night in the lead with a 3.2 for part one of “Extreme Makeover: Home Edition’s” season finale. Fox was second with a 2.6 for repeats of “The Simpsons,” CBS third with a 1.7 for “60 Minutes,” NBC fourth with a 1.5 for “Dateline,” Univision fifth with a 1.0 for “Hora Pic” and “Chiquitibum,” and WB sixth with a 0.7 for repeats of “Reba.”

ABC held on to its lead at 8 p.m. with a 5.3 for part two of “Makeover,” followed by Fox with a 3.9 for the finale of “Simpsons” and an episode of “Family Guy.” CBS was third with a 2.9 for the “Cold Case” finale, NBC fourth with a 1.9 for “Dateline,” WB fifth with a 1.8 for the “Charmed” series finale and Univision sixth with a 1.3 for the first hour of “Reyes de la Pista.”

At 9 p.m., ABC led with a 9.2 for the first hour of the “Housewives” finale. Fox was a distant second with a 3.9 for “Guy,” CBS third with a 2.8 for a repeat of “CSI; Miami,” NBC fourth with a 2.6 for the movie sequel “10.5 Apocalypse,” which averaged an 8.1 for the original two years ago. Univision was fifth with a 1.6 for the second hour of “Reyes,” and WB sixth with a 0.8 for a “Charmed” repeat.

At 10 p.m., ABC completed its sweep of the night with a 10.3 for the second hour of the “Housewives” finale, followed by CBS with a 3.3 for a repeat of “CSI: NY” and NBC with a 2.7 for “Apocalypse.”

Among households, ABC led with a 10.7/17, followed by CBS with a 7.6/12, NBC with a 5.1/8 and Fox with a 4.5/7. Univision and WB tied for fifth with a 1.7/3.

• Ratings courtesy Nielsen Media Research. Ratings information is taken from fast national data, which includes live and same-day DVR viewing. All numbers are preliminary and subject to change, especially in the case of live telecasts.

The Digital Revolution
Hard Path to New Terrain for Telecom

By Jim Puzzanghera Los Angeles Times Staff Writer May 22, 2006

WASHINGTON — A push by the nation's leading phone companies for major telecommunications legislation could end up being the biggest dropped call of the year.

Once on a fast track, congressional measures that would make it easier for Verizon Communications, AT&T and other companies to offer TV services — and possibly lower consumers' bills — have become bogged down by controversial side issues and Capitol Hill turf wars.

Because of a shortened election-year session and a legislative calendar overstuffed with immigration reform, domestic spying and other controversial issues, the telecom legislation's prospects have dimmed.

"There was once a movie entitled "8 Million Ways to Die," said Blair Levin, an analyst at investment bank Stifel, Nicolaus & Co., referring to the 1986 Hal Ashby movie about Los Angeles. "What you're seeing is a movie '8 Million Ways to Die' in D.C., but it's not about a person, it's about a bill."

Actually, the telecom drama playing in Congress may yet end up being about a person: Senate Commerce Committee Chairman Ted Stevens (R-Alaska), a crafty veteran lawmaker who has vowed to pass a bill this year.

Although getting the legislation through the often fractious Senate may be Stevens' toughest hurdle, phone company lobbyists say they are optimistic.

"If anybody can do it, Stevens can," predicted Gregg Morton, BellSouth Corp.'s vice president of legislative affairs.

Phone companies have plenty at stake. As cable operators encroach on their turf, the phone giants are eager to add television programming so they can offer consumers the same bundle of voice, video and high-speed Internet services their rivals now sell.

Lawmakers hope that encouraging phone companies to build out their networks for television would have the additional benefit of allowing them to make high-speed Internet access available to more of their customers.

That could prevent the U.S. from falling even further behind other countries in broadband penetration.

To speed phone companies' entry into TV, lawmakers propose allowing them to obtain national franchises rather than having to get permission from every community they want to serve, as cable providers now are required to do.

There appears to be bipartisan support for these measures, despite opposition from cable TV companies and local governments concerned that they won't have enough say over the wiring of their communities. But the consensus ends there.

A series of events last week highlighted the pitfalls ahead.

At a long-awaited hearing Thursday, Stevens announced that his recently introduced telecom bill would have to be revised over the Memorial Day recess, delaying votes on it next month.

Stevens had hoped to lure support for the bill by loading it up with related issues backed by a variety of senators, including the expansion of a government fund to provide telecommunications services to low-income and rural areas. But those provisions appear to have raised hurdles rather then eased the path, because several senators announced they had problems with various aspects of the legislation.

Complicating matters, Sen. John McCain (R-Ariz.) is trying to add so-called a la carte cable TV pricing to the bill, which would enable consumers to select and pay for individual channels.

In the House of Representatives, hopes have faded for a quick vote on a telecom bill that passed out of committee last month, with two powerful committee chairmen sparring over its fate. At the heart of that dispute is a growing battle over "Net neutrality" — a push for federal rules to prevent phone and cable companies from giving priority to some high-bandwidth services over others.

Bipartisan bills were introduced in the House and Senate last week mandating strong neutrality rules. Both the phone and cable industries oppose the rules, keen on charging extra to guarantee fast, reliable delivery of such bandwidth hogs as movies and video.

Supporters of Net neutrality, however, including leading Internet content companies Google, Microsoft and Yahoo, argue that such practices would ruin the egalitarian spirit of the Web and stifle innovation.

Grammy-nominated musician Moby was on Capitol Hill on Thursday announcing a group of artists and musicians who back the cause.

Sen. Gordon H. Smith (R-Ore.) told his Commerce Committee colleagues that "there's a very real likelihood" telecom legislation will die because of Net neutrality. "The Senate may be the strainer that this just can't pass through," he said.

But Stevens was defiant last week.

"This senator is going to see that this bill gets to the floor and it passes the Senate," Stevens said.

He pushed back the date the committee will vote on his telecom bill, which includes a watered-down Net neutrality provision, from June 8 to June 20. Supporters of the bill are pleased he is trying to resolve problems and has set a date for a vote.

The Senate, however, isn't the only battleground.

The House Energy and Commerce Committee last month passed a telecom bill focused mainly on streamlined TV franchising rules. Supporters hoped for a quick vote by the full House in the first week of May.

But House Judiciary Chairman F. James Sensenbrenner Jr. (R-Wis.) tried to get hold of the bill. No fan of the phone companies, Sensenbrenner fired off a 24-page letter to House Speaker J. Dennis Hastert (R-Ill.) asking that his panel be allowed to take up the bill and strengthen its neutrality provisions.

The move delayed a House vote on the telecom bill. Last week, House leaders denied Sensenbrenner's request, opening the door for a vote in June.

But Sensenbrenner was unbowed. He teamed up with a handful of Democrats to introduce his own Net neutrality bill, prohibiting high-speed Internet providers from giving priority to data from certain companies over others. Sensenbrenner will try to move it out of his committee this week.

"Right now, we are facing the greatest threat to the Internet in its history," Rep. Edward J. Markey (D-Mass.), a leading Net neutrality supporter, said at a rally with Moby last week. They urged people to sign an online petition that already has 700,000 signatures, the result largely of a Net neutrality campaign by grass-roots Internet advocacy groups.

All the delays could cost consumers, said Walter McCormick, chief executive of the USTelecom trade group.

He cited a study by the Phoenix Center, a Washington think tank, showing that a one-year delay in passing the legislation would cost consumers $8 billion.

"Time is money," McCormick said.

And with time running out this year, a series of showdowns next month could determine the fate of telecom legislation.

"This is a bill that needs to clear a lot of hurdles in a relatively short period of time," said Levin, the analyst. "And the hurdles look a lot higher."

http://www.latimes.com/business/la-fi-telecom22may22,1,7201108,full.story?coll=la-headlines-business

The Digital Revolution
Anti-Piracy Reprieve for HD DVD players?

Hollywood reportedly in agreement to delay forced quality downgrades for Blu-ray, HD DVD
By Ken Fisher arstechnica.com

As the DVD format welcomes two potential heirs to its kingship as the commercial video medium of choice, there are mounting concerns that these new heirs are nothing but pretenders. Blu-ray and HD DVD—the two competing "standards" for the next-generation of video discs—are both shackled with technologically-forged chains, but those chains may be broken by a consumer electronics industry wary of how their existence could hamper sales.

One of the most controversial aspects of these next-generation products is something called the Image Constraint Token (ICT), a security "feature" that allows studios to force-downgrade video quality on players that lack a special video output that was designed to thwart piracy. This "HDMI" connector standard is part of a "protected pathway" for video that was meant to combat piracy by making it impossible for pirates to tap into high-definition video output and press "Record," as it were. Many fear, however, that the only success HDMI will have is in making honest users miserable, inasmuch as consumers could be left with a product that plays at low quality or not at all if HDMI is not present on one's player or TV.

The conundrum isn't apparently lost on the consumer electronics industry or Hollywood. According to German-language Spiegel Online, there is reportedly a behind-the-scenes, unofficial agreement between Hollywood and some consumer electronics manufacturers, including Microsoft and Sony, not to use ICT until 2010, or possibly even 2012. Without providing more details, the report suggests that Hollywood isn't exactly happy with the situation, and could very well renege on the agreement, such that it is. But the agreement is there nonetheless, presumably to help the industry transition to HDMI. This could explain why the very same studios that pushed for HDMI and ICT have recently announced that they would not use it for the time being.

The report's claims could also shed some light on two of the more baffling consumer electronics moves as of late. Sony stunned onlookers when it announced that the low-end PlayStation 3, which will retail for US$499, will not have HDMI. This put Sony in the awkward position of downplaying HDMI as a "must have" feature for a next-generation optical disc player. Kaz Hirai, CEO of Sony Computer Entertainment of America, sidestepped the lack of HDMI by painting it as a high-end standard that wouldn't be aesthetically appreciated by many consumers.

"The only difference is HDMI – and at this point, I don't think many people's TV's have that. The ultimate result, to my eyes anyway, is there's not a discernible difference between what you get between HDMI and other forms of high definition," he said.

On one level, he's correct. Few consumers will appreciate the difference between 1080i on a component cable (analog) and 1080p on HDMI. What he ignored is the real trade-off: without HDMI, that 1920x1080 (1080i/p) or 1280 x 720 (720p) picture, analog or not, could be rendered at a less impressive 960x540 (540p) if the ICT was present and obeyed. While 540p is indeed better than today's DVD standard, few consumers would spend $500-$1000 on a new player and as much as $10 more per movie to get it. If part of Sony's big pitch for the PS3 is "hey, this thing is also futureproof because it does Blu-ray!," then ditching support for HDMI doesn't make sense in a world where the absence of HDMI could negate much of the promise of Blu-ray.

Then there's Microsoft. The company launched the Xbox 360 last November sans HD DVD drive, which turned out to be a wise thing to do, as both HD DVD and Blu-ray were delayed by setbacks with the new AACS security system. Microsoft nevertheless intends to support HD DVD on the Xbox 360 by shipping an external HD DVD player for the console in time for the 2006 holiday season. The add-on drive will connect to the Xbox via a USB 2.0 cable, but the console currently lacks an HDMI connector, just like the low-end PS3. Microsoft has not announced support for HDMI for the Xbox 360, though speculation is ripe that the company will release a dongle for the console after Lik-Sang posted a product page for it. For that dongle to do the trick, however, Microsoft would need to be able to add HDMI support via a firmware update, and their current proprietary output connector would need to meet HDMI standards. It is not yet clear if HDMI can be added to the Xbox 360 without a hardware revision, but that question may be seen as "moot" if in fact HDMI won't be a barrier to true 720 or 1080i/p until 4 to 6 years from now.

If indeed there is an "agreement" of sorts between companies like Microsoft and Sony and the studios (including Sony's own entertainment interests), this could certainly help to explain why these consoles are shipping today without HDMI support. But such unofficial agreements are gentlemanly in nature: at any time, all bets could be off. In the meantime, it appears as though Hollywood is playing it safe, hoping to keep the boogeyman of HDMI at bay while consumers weigh their options. Whether or not the strategy is ultimately about keeping users happy or lulling them into a false sense of security remains to be seen, but we're fairly certain that ICT was designed to be used, and used it will be.

http://arstechnica.com/news.ars/post/20060521-6880.html

Upfront Notebook
Fox's 'Upfront' Event Feels Like 24-Hour Ordeal

As Networks' Pitchfests Get Ever More Elaborate, Process Looks Outdated
By BROOKS BARNES and SUZANNE VRANICA The Wall Street Journal May 22, 2006; Page B4

A prominent media buyer walked out of Fox's annual "upfront" ad-selling presentation Thursday and joked: "I'm going to have buttons made that say 'I survived the 2006 Fox upfront.' "

What should have been an upbeat affair for News Corp.'s Fox, which has dominated the ratings with "American Idol" and "24," turned into a three-hour ordeal for ad-sales executives crammed into a sweltering auditorium. Few were impressed by the presentation, meant to highlight next season's prime-time lineup, as various Fox executives took the stage to talk up their ratings numbers. Various attempts at entertainment didn't go down well, particularly a gruff and raunchy monologue by actor Brad Garrett, who stars in a new Fox comedy.

"We were underserved," says Irwin Gotlieb, chief executive officer of WPP Group's GroupM, one of the world's largest media-services firms.

A Fox spokesman says, "We had venue issues that unfortunately may have impacted the experience, but the product was well received."

The good news for Fox: Media buyers say none of this really matters when it comes to the $9 billion or so they plan to commit in the coming weeks on commercial time for the broadcast networks' fall TV season. Advertisers spend money where they see the potential for hits, and they decide what new shows could be successful back at their offices and hotels while watching pilot episodes. In other words, no media buyer is going to pass on buying time during Fox's hugely popular "American Idol" because of a poorly executed presentation.

That Fox could stumble with its upfront pitch and suffer little or no harm in its ad-sales haul underscores how outdated the upfront process really is, some industry experts say. Fox's presentation followed similar events by each of the major networks last week. Some spent as much as $3 million to fly talent to New York, staging Broadway-style numbers and throwing lavish parties for ad buyers, who say all of this plays little role in their ultimate decisions.

Nevertheless, network executives say they regard the presentations as crucial marketing and sales tools. Indeed, the events have become more elaborate in recent years as broadcasters, facing increasing competition from cable channels, attempt to persuade Madison Avenue that network television remains the kingpin of the advertising world.

Cable channels are fighting back with their own lavish upfront events, usually held a week or two earlier than the broadcast presentations. Earlier this month, Viacom Inc.'s MTV Networks took over Madison Square Garden for a two-hour show that included stand-up comedy from Jon Stewart, Stephen Colbert and Jerry Seinfeld. The Red Hot Chili Peppers and the Dallas Cowboys cheerleading squad also performed.

What's more, a well-polished presentation can't hurt. Walt Disney's ABC put on a show last Tuesday that pleased buyers by dialing down the hype. "ABC left people with a good impression, and they didn't oversell," says Bill McOwen, director of broadcast at Havas's MPG. He says that might help the network in ad-sales negotiations. "Media buyers will likely start to evaluate ABC first because of the confident and succinct presentation," he says.

Similarly, CBS Corp. won high marks for making a well-honed argument about why its schedule deserves price increases.

Every network promoted buying opportunities on the Internet but none to the degree of General Electric's NBC, which may have gone a bit overboard. NBC spent almost 45 minutes last Monday touting dozens of Web tie-ins and other digital initiatives. Media buyers say that digital offerings are great but that the shows must be hits before clients will be willing to spend much money on the digital extras.

SPOILER ALERT: If you’ve recorded the “Desperate Housewives” finale episode for later viewing, read no further.

TV Notebook
“Desperate Housewives” ends with a bang!

By Diane Holloway Austin American-Statesman Monday, May 22, 2006

“Desperate Housewives” had a bit of a sinking spell earlier this season, but last night’s two-hour finale was crackling good.

The premise was good, and the execution was terrific. Sometimes expanded episodes seem to drag on forever, but not this one. It popped with excitement, revelations and new mysteries from beginning to end.

Mary Alice, the Wisteria Lane matron whose suicide launched the series two seasons ago, narrates a trip down memory lane as she recalled meeting each of her “housewife” neighbors.

We see klutzy Susan, still married to Carl, lock herself into the moving van by mistake, and Lynette chewing out her husband for impregnating her with twins. The flashbacks were clever and funny.

In the present, there’s murder and intrigue, the kind of juicy stuff that got us hooked on this sudser to begin with.

The season-long subplot involving the Applewhites came to a shocking conclusion when we learned that the “good son” Matthew, played by Austin’s own Mehcad Brooks, killed the girl in Chicago that his mentally disabled brother had been blamed for. We assume Matthew, along with the rest of the Applewhites, is gone because cops shot him.

During the finale, dead characters like Bree’s husband Rex and her creepy pharmacy boyfriend reappeared in flashback. Edie, however, was practically non-existent, which would make me worried if I were Nicollette Sheridan.

Bree, who had committed herself to a psychiatric hospital in hopes of scoring some rest and “serious drugs,” broke out to save daughter Danielle (who was attempting to run away with murderous Matthew). Remember, Bree had already dumped troublesome son Andrew on a mountain road, so she was riddled with guilt about her wayward kids.

Bree’s “man problems” are destined to return next season in the form of Orson, a dentist/con man played by Kyle MacLachlan, who appears at her house with flowers. Moments earlier, he had run down Mike, who was on his way to propose to Susan. Presumably the attempted murder was because Mike and the dentist/con man knew each other in the slammer years ago, and Orson didn’t want to be exposed.

I feel safe in saying Mike survives this vehicular attack, because James Denton is a really hunky guy and one of the show’s few male draws.

The sudsiest storyline in the finale belongs to Lynette, who left her husband Tom because she thought he was cheating. Turns out he wasn’t cheating, but he does have an illegitimate daughter from a one-night stand who now wants a boat-load of child support — and is moving into a house a few blocks away from Wisteria Lane.

Oh, and Gabrielle, after discovering Carlos in mid-fling with Xiao Mei (the maid who is the surrogate for the couple’s baby-to-be), kicks him out. Not the first time; won’t be the last.

Amid all this immorality and evil lurks truly icky evil in the form of a geeky teenager, Zach, son of dead Mary Alice. He goes to see his filthy-rich dying grandfather to get money to help stepdad Paul get out of jail, but winds up unplugging the geezer from his respirator and watching him die. With his massive inheritance, Zach plans to leave poor old dad rotting in the slammer and live the life of a carefree heir.

This finale did exactly what a good season-ender should do — it wrapped up a few things, popped a few surprises and left us with burning questions to be answered in September.

http://www.austin360.com/blogs/content/shared-gen/blogs/austin/tvblog/

SPOILER ALERT: If you’ve recorded the “Desperate Housewives” finale episode for later viewing, read no further.

TV Notebook
5 THINGS I LOVED ABOUT 'ALIAS'

By Kevin D. Thompson Palm Beach Post Television Writer Monday, May 22, 2006

1. Sydney's crazy wigs: Syd's wild wigs ran from hot flame red to neon bright pink and allowed our fetching double-agent to be anything from a conservative banker to a high society call girl to a Nordic beauty to a skanky club hopper. Syd's theme song should've been Chaka Khan's anthem, I'm Every Woman.

2. Spy Daddy!: Jack Bristow is Jack Bauer cool but way better dressed. He'll slice off your ear without even blinking. Shoot you dead without batting an eye if it means saving his kid. Then there's that grim poker face that makes Jack such a great spy. You never know what he's thinking. But you do know that he loves his daughter — and has a eye for really nice suits.

3. The exotic locales: One week Syd's in Zurich. The next she's in Moscow. The week after that she's in France. Really she's on a Hollywood backlot. The producers have always done a terrific job of making a weekly TV show about spies look like a big-budget James Bond thriller that's being shot around the globe.

4. The jaw-dropping plot twists: Syd's mom is alive! Vaughn is dead! No he isn't. Sloane is good! Really he's not. Syd's missing for two years, wakes up in Hong Kong and learns that Vaughn is married to some spy chick named Lauren who turns out to be evil later! Speaking of evil, can't forget evil double Francine! Alias had more head-spinning plot twists than a combined John le Carre-Tom Clancy novel.

5. The cool theme song: The techno-heavy main title theme kinda makes ya wanna jump up on your coffee table and dance. Well, that's how I always felt.

http://www.palmbeachpost.com/tv/content/accent/epaper/2006/05/22/a6d_24GUY22_0522.html

The fight over a la carte
Dolan: Don't Put All Your Channels In One Basket

By John Eggerton –Broadcasting & Cable 5/22/2006

Cablevision Chairman Charles Dolan continues to argue against the traditional industry line on a la carte.

And the issue isn't pleasing the FCC or lowering cable bills, he suggests, but survival in a world where the competition is providing increasing choice and flexibility.

When asked to look into cable future-for B&C's 75th anniversary edition--Dolan said that "not giving the customer more opportunity to choose" was the TV business "at its worst."

"We really need to catch up with the grocery store in this regard and stop requiring customers who want nothing more than a dozen eggs to also buy a pound of cheese. Customers should be able to buy what they want, as part of a package or independent of a package. In the end, they will be more satisfied and better customers."

The National Cable & Telecommunications Association argues that a la carte models will result in higher per-channel prices and less choice as smaller networks lose the support of their more popular brethren, somewhat like the shuttering of stores in a mall when the anchor tentants move to stand-alone digs

TV Notebook
The season finale super-spy smashdown

As gritty agent Jack Bauer engineers finale solutions for saving the world, expect a plot twist or two.

By Kevin D. Thompson Palm Beach Post Television Writer Monday, May 22, 2006

"It's big!"

That's how Howard Gordon, 24's executive producer, describes the inevitable showdown between clock-racing CTU agent Jack Bauer (Kiefer Sutherland) and villainous President Logan (Gregory Itzin) on tonight's two-hour season finale.

"It's a pretty epic showdown," Gordon promises. "We squared off Jack Bauer with the president of the United States and he's never had a more formidable opponent . . . it's like Superman and Batman. It's a great matchup."

And 24 has had a great season — arguably its best ever. In the first four longest days of Bauer's life, there were always three or four hours in which 24 clearly lost its way. Jack's wife getting amnesia and his daughter being chased by a mountain lion immediately come to mind. But there haven't been any such plot-derailing distractions this year.

"This season and season two feel the most consistent because in some ways they were very simple, direct stories," says Gordon. "Last year it was kind of improvised. We zigged and zagged a lot . . . it was a little bit jagged."

Of course, Gordon can't say much about tonight's season ender, but he can say there'll be a twist at the end.

"We wouldn't be doing our job if (we didn't have one)," he says. "I think we always find ourselves at the end trying to strike a balance between satisfaction and surprise."

Turning President Logan from a spineless weasel into a commander-in-chief willing to murder to protect the country's oil interests wasn't an easy decision, Gordon says. Itzin, for instance, wasn't happy with the surprising plot twist.

"There was a bit of resistance on staff," Gordon admits. "We would debate and argue and (wonder) if viewers wanted to see a willfully bad president. I think people were getting tired of watching this merely weak president."

Some viewers were also getting tired of watching 24's body bag count rise. Those characters who bit the dust this season include ex-President Palmer (Dennis Haysbert); Tony Almeida (Carlos Bernard), Jack's right-hand CTU man; Tony's wife, Michelle (Reiko Aylesworth); lovable computer geek Edgar Stiles (Louis Lombardi) and CTU head honcho Lynn McGill (Sean Astin).

"(The deaths) weren't by design," Gordon explains. "This was just the way the stories laid out. I think what it did was it renewed the audience's understanding that this is a dangerous thing we're up against. People we care about can die and do die and it sort of reiterated the importance and validity of the threat. It also reminded the audience of what the show promises: anything can happen and that includes anyone at any time can be off it."

Viewers were most upset by Edgar's death — especially since it came on the heels of his own mother's death and at a time when shy Edgar began awkwardly flirting with Chloe O'Brian (Mary Lynn Rajskub), his forever cranky co-worker.

"The measure of outrage I think was a measure of the success of that character," says Gordon. "(Edgar's death) was what the show needed at that midpoint to keep people talking."

To hear Gordon tell it, a number of celebrities are talking about 24 and want to be guest stars on it.

"I just got an e-mail from someone, and I don't even know what the source is, I guess James Brolin was talking about directing and (his wife) Barbra Streisand wanted to be a guest star," he says. "(Another 24 producer) heard from Billy Crystal who joked that Greg Kinnear has also said (he wanted to be on.) But I don't know how serious these people were."

Gordon is serious — and excited — about 24's sixth season, which starts in January.

"I honestly thought we'd run out of steam at the end of season four," he says. "So this time last year I was in a bit of a panic as to where we'd go. (But) we can still surprise ourselves."

And us.

http://www.palmbeachpost.com/tv/content/accent/epaper/2006/05/22/a6d_24GUY22_0522.html

Somehow, to me at least, the following press release from ABC makes the fall season seem even farther away.

TV Notebook
ABC Announces Summer Slate Of Shows

(ABC Press Release) May 22, 2006

ABC will premiere five new shows over the summer, it’s been announced. The series include “Buy It Now,” “How to Get the Guy,” “Master of Champions,” “One Ocean View” and “The One: Making a Music Star.”

“These shows are exciting additions for ABC and perfect for summer viewing,” said Andrea Wong, executive vice president, Alternative Programming, Specials and Late-Night, ABC Entertainment. “They are light, fun, engaging series that we believe viewers will make appointments with all summer long.”

Following in alphabetical order are descriptions of the new series joining ABC’s summer schedule:

“Buy It Now” – This feel-good series will help families realize one of their most meaningful dreams by putting a variety of prized possessions up for auction on eBay. Not only will family members have to willingly part with these beloved items for the sake of a greater cause, but relatives, friends and hopefully even the whole town will donate items in an effort to raise the necessary funds to fulfill the worthy dream. Besides auctioning off the usual personal belongings, the friends, family and community will come up with other unusual, creative auction-worthy schemes. In addition, there will be opulent sponsor-donated “fantasy packages”, unknown “mystery items” and an assortment of fundraising competitions. With a little luck, and the help of America’s viewers, each family will have a chance to make their dream come true.

“Buy It Now” will air twice a week: The first episode will showcase one family and their worthwhile dream; the follow-up LIVE episode will reveal the final few minutes of online bidding and see if enough money was raised to help this family fulfill their dream. Series premiere date TBD.

“How to Get the Guy” – Emmy Award-winning producers David Collins and David Metzler team with ABC on this romantic reality series that follows the trials and tribulations of love as seen through the eyes of four young, attractive and available women who are looking for Mr. Right. Shot docu-soap style at over 150-locations throughout San Francisco, the one-hour format will follow four single women over six episodes as they take hold of their own romantic destinies and declare to the world that they are ready, willing and able to do anything and everything they have to in order to find true love. Accompanying Alissa, Anne, Kris and Michelle on their journey are two “Love Coaches,” Emmy-winning writer and award-winning journalist Teresa Strasser and well-known television host JD Roberto. Lending the “he said/she said” perspective to the women’s search, Strasser and Roberto will guide each lady throughout a series of events that ultimately leaves them learning more about love than any of them thought possible. Series premieres MONDAY, JUNE 12 (10:00-11:00 p.m., ET).

“Master of Champions” – Each week six competitors face off with some of the world’s most unique talents in this one-hour variety competition to determine who is the best of the best. The best judges in the business will pare the contestants down to three, who will then stand before a live studio audience for the final selection... as the next “Master Champion!” Contestants will be competing in such unique and extreme challenges as Interpretive Pizza Tossing, Extreme Unicycle Obstacle Course and Amazing Drift Driving. In some competitions, two competitors perform the same stunt and the judges decide who is the best. In other contests, two competitors perform different and unique tasks. Judges score them first, and the last three standing face the audience for final judgment. The winner will have earned the title Master Champion and have his/her name permanently inscribed on the Master of Champions Wall of Fame. Series premiere date TBD.

“One Ocean View” – In New York, for young professionals “summer in the city” means summer out of the city, as they flee Manhattan on Friday afternoons and descend on exclusive beach communities. “One Ocean View” is for people old enough to have real jobs, issues and “baggage,” but still young enough to leave all that behind and have a great time. Everyone in the house will have a goal. Some will be there just for the fun and “fling” of it; some, suddenly single again, may be ready for a new love. Others, with “30” fast approaching, will be on the search for Mr. or Mrs. Right. As our weekenders leave the city by train, bus, cab or limo – and ultimately the ferry – to the share house on Friday nights, “One Ocean View” will let viewers participate in everything from first meetings to new relationships, days at the beach and nights filled with romance. Weekends will go by quickly as the days grow shorter and the pressure builds to make this a summer to remember. Series premiere date TBD.

“The One: Making a Music Star” – Based on the international sensation, the series will follow the lives of contestants as they attend a fully functioning music academy that turns aspiring singers into music stars through professional training. The show will follow all the drama in the music academy, as it offers vocal coaching and celebrity mentors who will turn potential into talent in a state-of-the-art training and recording facility. Each week contestants will perform live for the American audience, who will have to vote to keep their favorites in the competition. In addition, the contestants’ coaches will also serve as judges. The winner will receive a recording contract with a major record company. Series premiere date TBD.

(From Marc Berman’s Monday, May 22, 2006, Programming Insider column at Mediaweek.com )
Fall 2006 Programming Guide:
Where to Find Your Favorite Series

With 16 established series moving to new time periods, here is an easy (and alphabetical) guide where to find them:

According To Jim (ABC) Wed. 8:30 p.m. ET (midseason)
All of Us (CW) Sun. 7:30 p.m. ET
The Amazing Race (CBS) Sun. 8 p.m. ET
American Dad (Fox) Sun. 8:30 p.m. ET
Cold Case (CBS) Sun. 9 p.m. ET
Dancing With the Stars (ABC) Tues. and Wed. 8 p.m. ET
Everybody Hates Chris (CW) Sun. 7 p.m. ET
Girlfriends (CW) Sun. 8 p.m. ET
Grey’s Anatomy (ABC) Thurs. 9 p.m. ET
How I Met Your Mother (CBS) Mon. 8 p.m. ET
Law & Order: Criminal Intent (NBC) Fri. 10 p.m. ET
My Name Is Earl ( NBC) Thurs. 8 p.m. ET
The Office (NBC) Thurs. 8:30 p.m. ET
One Tree Hill (CW) Wed. 9 p.m. ET
The War at Home (Fox): Sun. 9:30 p.m. ET
Without A Trace (CBS): Sun. 10 p.m. ET

TV Notebook
'24' showdown looms

By Scott D. Pierce Salt Lake City Deseret Morning News May 22, 2006

Jack Bauer has faced nuclear bombs and chemical weapons and assassins and terrorists and government conspiracies. But on tonight's fifth-season finale of "24," Jack (Kiefer Sutherland) will face his most formidable foe ever.

The president of the United States of America.

"He's never had a more formidable opponent. . . . It's like Superman and Batman," said executive producer Howard Gordon.

Agent Bauer, of course, isn't going up against just any commander in chief. President Charles Logan (Gregory Itzin) is responsible for multiple murders (including the assassination of former President Palmer), he's violated multiple laws and he's conspired with terrorists.

When first we saw Logan last season, he wasn't a good president but he wasn't a bad man. As vice president-turned-acting president when Air Force One was shot down, he was spineless and indecisive, but Gordon and his team of writers didn't start kicking around the idea of making him a "willful villain" until about Episode 4 or 5 this season.

"I was just getting tired of writing — and I think people were getting tired of watching — this merely weak president," Gordon said. "I know that Greg Itzin, when I brought it up to him for the first time, was very reluctant."

But by about Episode 9 or 10, the writers committed to it. And Logan's treachery was revealed in Episode 16.

Which precipitated one of those big shifts in focus that "24" is famous for, including a shift in Logan's relationship with his rather unstable wife (Jean Smart).

"This relationship between him and his wife has been, creatively, such a terrific story for us to tell that we wanted to take it to another level," Gordon said. "To have him have been hiding behind this persona of weakness — to be this guy with such intent and will — was really an interesting place to go. And once Greg got his head around it, I think he's done some of his best work since that turn."

Gordon, of course, isn't saying how the big showdown between Jack and Logan will turn out, except to say, "It's big. I have to say, it's a pretty epic showdown."

And he and the writers didn't pick a plan and stick with it.

"What you're going to see is not how it was going to end as recently as a month ago," Gordon said.

Which is also something "24" has become famous for.

Gordon is promising the outcome will be "satisfying from an emotional perspective," although he's not promising that viewers won't be "outraged" by it. He did, however, let it slip that Logan won't be allowed to quietly resign and slink off, as was suggested by his secretary of defense (William Devane) earlier this season.

"No, it's more decisive than that. Either he gets away with it scot-free, or he's going to go down," he said.

But don't get comfortable with what you think will happen. You've got to expect the finale will contain a shocking surprise of some sort.

"Hey, this is '24,' " Gordon said. "We wouldn't be doing our job if it didn't."

http://www.desnews.com/dn/print/1,1442,635208915,00.html

The 2006-2007 Season
A serious shift in the fall lineup

By David Bianculli New York Daily News TV Critic May 22, 2006

Next season, viewers can look forward to more drama, less comedy - and can make plans to catch one new show in particular, the one that shone most brightly during last week's 2006-07 schedule announcements.

That's NBC's "30 Rock," a sitcom created by and starring Tina Fey, in which she plays the head writer for a "Saturday Night Live"-type TV show. The excerpts shown were funnier than any other comedy clips, and more enticing than any of the other 28 new shows summarized during the presentations.

It's always tricky to make sweeping predictions based exploding in prime time. With WB and UPN leaving the scene and CW joining it, there are now five networks, not six, which means 10 fewer hours of network programming each week. Even so, drama programming is increasing this fall, to 48 hours. Last season, with networks, there on brief first impressions. Two years ago, for example, ABC's "Lost" and "Desperate Housewives" didn't generate buzz until complete episodes were provided for preview.

Last year, though, NBC's "My Name Is Earl" and UPN's "Everybody Hates Chris" caught on instantly at the upfronts - and I expect "30 Rock" to ride just as strong a wave.

It's bucking the odds for a comedy to deserve the most attention, because the networks continue to favor the one-hour drama, with particular emphasis on serialized stories and unusual concepts.

One new series, "Jericho" on CBS, imagines what would happen if a small town in Kansas were isolated after a nuclear blast.

Dramas, themselves, are were 47 hours; the year before that, 42.

Compare that with comedy, which is in a state of free fall. Last year, there were 40 comedies on the fall schedules. This year, there are 26 - and four of those are from the hard-to-categorize one-hour comedy genre: "Desperate Housewives," "Boston Legal," and the new "Betty the Ugly" from ABC and NBC's "Studio 60 on the Sunset Strip."

That's not the only genre taking a hit this fall. The number of movie slots has fallen from three to zero. When CBS President Leslie Moonves described TV movies as "the semi-dead art form," he was being kind.

Newsmagazines are down, too, on the regular schedule. Two years ago, there were seven newsmags in prime time. Last year there were six, and this year, with ABC's "Primetime" being benched to be thrown in as a series of specials, there are four.

Game shows and sports have rebounded. Thanks to NBC's double dose of "Deal or No Deal," there are two game shows per week in prime time - this in a genre that's been unaccounted for since ABC oversaturated the screen with "Who Wants to Be a Millionaire."

And even with the loss of ABC's "Monday Night Football," sports is going from two prime-time slots last year (counting "WWE Smackdown!" as sports, which is being generous) to four for the fall of 2006. NBC's addition of pro football on Sundays, and ABC's college football on Saturdays, change the weekend landscape considerably.

And finally, there's reality TV. This is the genre that, not too long ago, threatened to strangle prime time like a killer weed. In 2003, there were only six reality series in prime time. One year later, there were 21. For the fall, the number is 16.

Not one of the 29 new series for fall, though, is from the reality genre. We'll be seeing some new reality shows before the season begins, and there are several in development for midseason, but the absence of new ones on the fall 2006 lineup is cause for celebration.

Sometimes, what makes a fall season worth anticipating is what isn't coming.

http://www.nydailynews.com/entertainment/col/dbianculli/

from the Houston Chronicle May 21, 2006, 9:47 PM
TELEVISION

New network CW decides show deserves another year on the air

By RICK PORTER
Zap2it.com

It's not entirely clear when executives at the CW decided that 7th Heaven deserved another year on the air.

The best that anyone could pin down Thursday at the new network's fall-schedule unveiling was that sometime between the flurry of promotion for the long-running show's alleged "series finale" and Thursday's show, the network decided it would be a good idea.

"We talked about it initially, and it sort of fell apart, then we talked again," says Dawn Ostroff, the CW's head of programming. And, after considering the show's ratings, its cost and the rest of the CW's schedule, the show was reborn.

The series about a minister (Stephen Collins) and his large family was the most-watched show on either the WB or UPN this season, even before the loudly hyped last episode brought in 7 million viewers. Before that it was drawing about 5.2 million viewers a week.

The economics of making 7th Heaven — a prime reason WB executives gave for its pending cancellation in January, before the CW was announced — will also change some under the new network.

CBS Paramount Network TV produces the show, and CBS is a half-owner of the network, which Ostroff says helped ease the way to a deal. (She also says most of the cast will be back next season, as will series creator Brenda Hampton.)

"I can't go into all the finances, but because it was our own company, we were able to figure out how we can make deals that make sense for everybody," Ostroff says.

Finally, Ostroff wants to give Runaway, the CW's lone new drama for fall, a strong lead-in. The show follows a family that goes on the lam when the father (Donnie Wahlberg) is wrongly accused of a crime.

"We looked at Runaway, which is at its core a family drama, and thought (7th Heaven) would be a great fit," Ostroff says. "So everything just kind of came together."

http://www.chron.com/disp/story.mpl/ent/tv/3878407.html

I hope this article has not already been posted. I did see similar articles when I searched for it.

from the Houston Chronicle
May 22, 2006, 5:56 AM CT

As interest in competive reality TV shows rises, so does the traffic to online gambling sites

By MIKE McDANIEL
Copyright 2006 Houston Chronicle

Are you a member of the Soul Patrol or have you caught the McPheever?

An audience in excess of 30 million is expected to cast more than 50 million votes Tuesday night for American Idol hopefuls Taylor Hicks and Katharine McPhee. A winner will be revealed Wednesday.

Meanwhile, an untold number of viewers will watch for more selfish reasons. They hope to fatten their wallets.

Climbing interest in online betting is making reality-show winners out of ordinary viewers while augmenting the coffers of Web-based betting houses.

Every week, such Web sites as sportsbook.com, pinnaclesports.com, bodog.com and betus.com post odds on the competitors on such shows as Idol, The Amazing Race and Survivor. And Americans are placing their bets in record numbers.

The action ``is not huge, compared to our major sports,'' but has gone ``from nothing to interesting levels,'' says Alex Czajkowski, marketing director for the Americas region of sportsbook.com. Sportsbook is a subsidiary of sportingbet, the world's largest online gaming company, with headquarters in London.

``The average bet size is half the average that I see in sporting areas - $15 to $20 versus $50 to $60,'' he said.

He put volume on a level with such ``smaller'' sports as boxing or golf.

``The big volume (in gambling) is college and pro football, college and pro basketball and pro baseball. Of the smaller sports - NASCAR, NHL, soccer, boxing and golf - reality TV is a viable contender.''

``People like to bet on things they have opinions about, things they think they have some insight to,'' he said. ``Even if their knowledge about it isn't complete, they have an emotional attachment.''

Though he couldn't be specific about take-in, Matthew Ross, spokesman for betus.com, said traffic in reality TV has increased by 40 percent since January. Not coincidentally, new editions of Idol, Race and Survivor revved up then.

``Survivor is what started this whole phenomenon,'' Ross said.

Today, in terms of wagers, Idol gets the most betting action. On betus.com, Idol is followed by Survivor, Race, The Apprentice and Big Brother.

Sportsbook.com is more discriminating.

``We're fairly particular about the shows we list,'' said Czajkowski. ``We only want the major ones. We don't do Big Brother or Rock Star.''

A bit of whimsy is involved in determining the odds and who sets them.

``Our oddsmakers have a very complicated mathematical formula that consists of asking their wives, their mothers and their girlfriends,'' said Czajokowski. ``It is, honestly, about that complicated. There is some math involved, but it's very subjective.''

Betus.com has a team that ``scours information and news sources out there and tries to decipher who's being talked about. It isn't an exact science.''

Several online sites were forced to rejigger their propositions two weeks ago when rocker Chris Daughtry was eliminated from American Idol competition. Pinnaclesports.com, for one, had predicted a win by the North Carolina native and said he had become the odds-on favorite among bettors. Sportsbook.com also had Daughtry as an early favorite.

New odds at pinnaclesports.com, sportsbook.com and betmaker.com now put Birmingham, Ala., native Hicks, 29, as the slight favorite over McPhee, a 22-year-old from Los Angeles.

Even with the Daughtry setback, online gambling companies say they have yet to take a bath in reality-TV propositions.

But there are known incidents in which companies were burned. Sportsbook.com suspended betting when a flurry of $500 bets were placed in March 2005 on Amazing Race couple Joyce and Uchenna Agu of Houston. The site took another hit last winter when suspicious betting occurred on The Amazing Race family edition.

In both instances, sportsbook.com honored the wagers and shut down betting.

``Nobody gave us a whole lot of heat about it,'' said Joyce Agu, ``because most of the betting was out of Boston and California, and we were in Texas. I think people knew we had nothing to do with it.''

Betting sites are vulnerable to shakedowns when shows like The Amazing Race are taped in advance. Contestants and crew are subject to multimillion-dollar fines and/or job termination for spilling the results, but with large production crews involved, leaks happen.

``A hundred people know the answer,'' said Uchenna Agu. ``How do you keep 100 people quiet?''

No reports of suspicious betting have emerged this season. That may have something to do with producers cracking down on employees. Producers know that when a betting house shuts down betting, the accompanying press release potentially ruins the outcome for viewers. After all, the Agus did indeed win last spring's Race.

That's less true of shows like Survivor and The Apprentice; most of the eliminated contestants are known in advance, but the ultimate victor is selected on a live show.

On Idol, of course, the eliminated contestant is announced live each week.

As the last reality show of the season reaches its conclusion, oddsmakers are betting viewer interest - and betting - will peak.

``You definitely see an increase in activity as you come to the end (of a contest),'' said Czajkowski. ``The dollar value doesn't necessarily increase - it's five, 10, 20 bucks - but the number of bets increases.''

Online wagering on reality TV is likely to grow as long as the shows stay popular. Since no one predicted that American Idol would be more popular in its fifth season than in any previous edition, prospects are anyone's guess.

Whatever happens, online betting houses will follow along.

``We're definitely going to stay around,'' said Czajkowski. ``It's fun. Our customers like it. It brings new customers to us. And our guys (the ones setting the odds) like it because they watch the stuff.''

``People talk about these things at the office anyway,'' said Ross of betus.com. ``Might as well have them bet on it.''

http://www.chron.com/disp/story.mpl/ent/tv/3878406.html

Upfront Notebook
Take a Look at Network Fall Shows

By Ellen Gray Philadelphia Daily News May 22, 2006

NEW YORK - What do Mariah Carey, the Black Eyed Peas, NFL quarterbacks Peyton and Eli Manning, the cast of Broadway's "Jersey Boys" and the Rutgers marching band have in common?

All were among the entertainment here last week as ABC, CBS, Fox, NBC and the new CW and My Network TV wooed advertisers in the annual weeklong extravaganza known as "the upfronts."

For Madison Avenue, whose executives swarmed in and out of such cavernous venues as Carnegie Hall and Madison Square Garden for a couple of hours of high-powered sales pitches, then climbed onto shuttle buses taking them to parties where they could eat, drink and get their pictures taken with anyone from Julia Louis-Dreyfus to the cast of an ensemble sitcom full of actors they've never heard of, this was more than a break from office routine.

Broadcast television runs on advertising dollars, and May is the month the networks try to get ad buyers to show them the money up front, as they place bets on which shows will yield the biggest bang - or most demographically desirable eyeballs - for their bucks.

Which is why, after the Black Eyed Peas had left the stage of the Theater at Madison Square Garden Thursday, it was up to CW entertainment president Dawn Ostroff to convince buyers that her new network - a merger of UPN and the WB - was prepared to go after its 18- to 34-year-old target audience on every platform possible, from their TV screens to their cell phones.

Not that she was alone: Talk about "digital extensions" of a network's "brand" seemed to increase in inverse proportion to that network's position in the Nielsen ratings, or as CBS Corp. CEO Les Moonves put it: "Wireless is useless if you're hitless."

Watching some five-minute clips with advertisers isn't enough to say what the 2006-07 TV season will look like, but it's plenty to make some early predictions:

• Network TV, having apparently exhausted all the acronyms, will beef up its numbers (or as they call them on CBS, "Numb3rs").

Joining shows like CBS' "60 Minutes" and "Two and a Half Men" and Fox's "24" and "Nanny 911" will be ABC's "Six Degrees" and "The Nine" and NBC's "Studio 60 on the Sunset Strip," "30 Rock" and "20 Good Years."

Meanwhile, "7th Heaven," thought to be so definitively canceled that it aired a series finale, was unexpectedly brought back to life by the new CW (though in truth, its resurrection was more likely due to its Nielsen numbers than the one in the title).

And really, how else to explain the renewal of "One Tree Hill"?

• There will be more shows about what goes on behind the scenes at "Saturday Night Live." If it were happening anywhere but NBC, we'd declare this a trend, but as it is, the scheduling of both "Studio 60 on the Sunset Strip" and "30 Rock" merely looks like an example of network executive indecision. Here's how to tell them apart: Aaron Sorkin's "Studio 60" will run for 60 minutes and Tina Fey's "30 Rock" for 30.

• Thanks in part to "reality" TV, which has accustomed audiences to new episodes every week, networks will air fewer reruns, at least on their more highly serialized shows.

"We're really listening to the fans," ABC entertainment president Steve McPherson told reporters last week. "They absolutely just get furious when ["Lost" is] in repeats."

And so next season, in an effort to avoid reruns, "Lost" will have its season broken into two pieces, with a new Taye Diggs thriller, "Day Break," occupying the months between.

That's also happening to Fox's "Prison Break" and to NBC's "ER," which will give over its time slot at midseason for 13 episodes of "The Black Donnellys" before returning in the spring.

• "Closed-end" shows like NBC's "Law & Order" and CBS' "CSI: Crime Scene Investigation" will continue to air repeats, and many millions of people will continue to watch them without complaint.

• Drama - or at least hourlong shows, some of which may, like "Desperate Housewives," have comedic touches - is going to be big.

"This is the golden age of drama on every network, and on cable," declared CBS' Moonves, who added three new dramas and just one new comedy, "The Class," to his fall lineup.

It's certainly a golden time for drama producers, who landed 15 new hours on the fall schedules of ABC, CBS, Fox, NBC and the CW.

• Traditional comedy, while not dead, will take a rest.

"The audience right now is not particularly patient with comedies," NBC entertainment president Kevin Reilly said last week when asked about the decision to break up the network's traditional, four-sitcom block on Thursdays this fall. "I think the competitors would look at four comedies [there] and say, 'Let's go get them.' "

In all, the five networks scheduled 11 new comedies - or 5 ½ hours - for the fall.

• Aliens will leave the planet. But the cancellation of this season's alien-invasion shows - ABC's "Invasion," CBS' "Threshold" and NBC's "Surface" - doesn't mean the spooky vibe of "Lost" isn't still in demand.

Among the shows with supernatural, or at least unexplained, elements are NBC's "Heroes," in which regular people discover they have superpowers; CBS' "Jericho," about the people in a Kansas town who, after an apparent nuclear detonation, find themselves cut off from the outside world; ABC's "Day Break," in which the main character, accused of murder, finds himself reliving the same day over and over; and ABC's "Six Degrees," about six New Yorkers drawn together by "a mysterious web of coincidences."

• Conspiracy theorists will have plenty to chew on, as "24" and "Prison Break" are joined by Fox's "Vanished," which deals with the mysterious disappearance of a Georgia senator's wife who may not be the person everyone thought she was.

In fact, CBS' "Without a Trace" may have had as much of an influence on the fall season as "Lost." Besides "Vanished," there's NBC's "Kidnapped," which deals with the abduction of a wealthy teen; the CW's "Runaway," about a man falsely accused of murder who goes on the lam with his entire family; and ABC's "Traveler," about two guys whose close friend goes missing after a museum explosion in which they become suspects.

• TV will discover that not everyone under 35 is single.

Not only will people continue swapping wives on ABC, but on the network's new sitcom "Big Day," every episode will focus on some aspect of the wedding day of Danny (Josh Cooke) and Alice (Marla Sokoloff).

Meanwhile, another young couple is expecting on ABC's "Notes from the Underbelly," Brad Garrett's giving advice to a newlywed on Fox's "'Til Death" and starting in January, Bruno Campos will play a wedding photographer in Fox's "The Wedding Album."

http://www.philly.com/mld/philly/entertainment/television//14637864.htm?template=contentModules/printstory.jsp

TV Notebook
Wrapping up another season

By Charlie McCollum San Jose Mercury News Mon, May. 22, 2006

Seems like just yesterday that the television season started, but here we are: three days left before the networks go to repeats and bad reality shows while ceding the summer months to cable.

As it is, most shows have already closed up shop -- permanently or for the warm-weather break -- and things come down this week to a handful of high-profile season and series finales:

• If anyone had suggested earlier this year that, after five years, ``24'' (8 ET/PT tonight, Fox) would have its best season, I would have pitied the fool. Shows how much I know.

Instead of slip-sliding away, the series has had 24 compelling episodes, more consistent, more thrilling and better acted -- by Kiefer Sutherland, Mary Lynn Rajskub, Gregory Itzin, Jean Smart and Kim Raver, among others -- than any that had come before. Sure, the show continues to flirt with logic only in passing, but who had time to notice this year?

After last week's Hour 22 -- tonight's finale is two hours -- it's hard to say where the battle of wits between Jack Bauer and President Charles Logan and his cohorts will end. For one thing, it's amazing how many twists the writers can pack into a single hour, let alone two. Then there's the show's willingness to kill off anyone (except Jack) at any time.

There are two interesting rumors about next season that have some bearing on what happens tonight. One is that the finale's ending scenes are actually a setup for next season's improbable mission. (The producers say they already have the Season 6 story line sketched out.) The other: that Itzin, the actor who plays the venal Logan, has signed to return next season.

That suggests that, despite Jack Bauer's best efforts, justice may not be done tonight.

• It's rather sad that, after five years, ``Alias'' will exit the scene tonight (9 ET/PT, ABC) by going up against the last hour of ``24'' and the season finale of ``CSI: Miami.'' That all but assures a real-time audience that will be a fraction of what it might have been.

On the other hand, it really is time for ``Alias'' to depart. As much cartoonish good fun as it could still be, it has for at least two seasons been way too complicated and mythology-laden for its own good.

• There have been so many bullets flying around TV world the past couple of weeks that it might be hard to work up much enthusiasm for Tuesday's finale of ``House'' (9 ET/PT Fox. This time, it's Dr. Gregory House (Hugh Laurie) who gets nailed by a couple of bullets fired by a disgruntled patient. (Disgruntled patient? The good-natured House? No way.) Can we now declare an official moratorium on season finales built around one or more lead characters getting shot?

• What can you feel at this point about ``American Idol'' (8 ET/PT Tuesday and Wednesday, Fox) beyond shock and awe? By all rights, the show ought to be sliding into that comfortable but no longer top-of-the-pops world occupied by ``Survivor'' and other series in their fifth season. Instead, millions of Americans are going to be glued to their tube to see whether it's Taylor Hicks, the over-amped soul dude, or Katharine McPhee, the sometimes shaky pop belter, who takes home the big prize.

As usual, the show has been bloated to two hours on Wednesday. (The finale, which should be a series' best episode of the season, has traditionally been this show's absolute worst.) So if you need to go out, get a pizza, talk with friends, watch an hour or so of ``Lost'' or whatever, have no fear. You won't miss much until the very end.

• There's one thing you can say for certain about the two-hour finale of ``Lost'' (9 ET/PT Wednesday, A BC): Chances are very, very good its crafty writers will answer a few of your questions -- why did the plane crash? does pushing that mysterious button really do anything? -- while raising a fistful of new ones.

But there are a few tidbits about the closely guarded secrets of the finale floating around.

Last seen running in the jungle way back in the opening episodes, hatch man Desmond (Henry Ian Cusick) does return and gets his very own flashbacks. Also in flashbacks, Libby (Cynthia Watros) gets more airtime than she did before she was killed off two weeks ago. It appears that The Other Formerly Known As Henry Gale (the superb Michael Emerson) may become a cast regular. (Emerson was part of the ``Lost'' entourage that assembled in New York for ABC's announcement of its new fall schedule last week and, usually, only regulars make the trip.)

And since the fall schedule has come up, just a reminder that Season 3 of ``Lost'' will be shown in two blocks (seven episodes in the fall, the rest starting in February) with no repeats. That should mitigate the complaints of many fans about the seemingly random schedule of original episodes and repeats in Season 2, although -- in a perfect world -- the series would run straight through in the style of ``24.''

http://www.mercurynews.com/mld/mercurynews/entertainment/television/14638656.htm?template=contentModules/printstory.jsp

TV Notebook
“American Idol”: The monster hit that just keeps on growing

By Verne Gay Newsday Staff Writer May 23, 2006

Have we got a hot one Tuesday night, dawgs. Check it out: We got 32 million viewers for the Tuesday editions of "American Idol" this season, so pump that up to 37, 38 million Tuesday at 8 ET/PT. We got two attractive, talented finalists, Taylor Hicks and Katharine McPhee, who may be in a dead heat if last week's vote totals are any indication. We got Daniel Powter performing his "Idol" signature song, "Bad Day." We got Randy. We got Paula. We got Mr. Nasty. Most of all, we got the kind of buzz that is normally accorded Super Bowls, Oscars and the occasional presidential election night.

What kind of monster has Fox unleashed, dawgs?

We got this kind - the kind that comes along only once in a generation that so completely focuses the attention of the viewer, if not the entire culture, that the mere label "TV show" seems wimpy, bland or inadequate. "MetaTVshow"? "Cultural milestone"? Whatever: Words aren't much use at this point.

Hyperbole is the usual obnoxious by-product of any TV shows, hit or otherwise, but for this particular show - right now, at this moment on the calendar in the year 2006 - it also feels entirely appropriate. "Idol" is just unstoppable.

There's little to be gained from asking the same old/same old questions - you know, the ones that wizened cultural chin-strokers love to ask, like "How did this happen?" or "What does it say about us?" But (of course) we always get around to them anyway. "How it happened" is easy, because TV at its most compelling breaks down that wall between you, me and the show itself, where we become vested in the proceedings by becoming invested in them. Did anyone really yap as long or urgently over the death of Denny Duquette (Jeffrey Dean Morgan) on last week's "Grey's Anatomy" finale or Marissa's (Mischa Barton) exit, stage left, on "The OC.?" Heavens no: Those are just TV shows, but for the hardened, devoted, incurable "Idol" fanatic, this particular TV show is part of his or her life.

What does this say about us? Nothing that old vaudeville routines or old TV chestnuts - "Queen for a Day," Arthur Godfrey's "Talent Scouts" - didn't say 100 or 50 years ago. "Idol" taps into that American impulse for self-improvement and a "dreams can come true if you just dream hard enough" spirit: The same impulse that's filled state coffers with lottery earnings or a galaxy with stars, from Dale Carnegie to Oprah Winfrey. In that respect, "Idol" is less about the music and more about the allegorical journey - not just for the contestants but for the fans who urgently press the buttons on their phones each Tuesday night.

If there is any mystery, it may be this: Why the torrid growth in viewers this season over last, by about 4 million people? That's probably a function of the Big Get Bigger (Before They Get Smaller) phenomenon that you sometimes get with the rare hit. Fox's smart scheduling strategy can take a bow, too. (It debuts every midwinter, arriving after a long hiatus and airs just one edition per season, unlike "Survivor" or "The Apprentice.")

It is not necessarily a function of quality. This season was conventionally good, though far from "great." (Which begs the question: What would make a great "Idol" season? Watching a future Frank Sinatra or Ella Fitzgerald or even Alicia Keys blow their lungs out on the stage at the Kodak Theatre? Highly unlikely that'll ever happen.)

The past 11 weeks offered affecting, sometimes magical, performances by some finalists - Elliott Yamin's "If I Can Dream" on the Elvis-themed May 9 edition or maybe Katharine McPhee's nice, sultry rendition of "Over the Rainbow" last week. But many editions were demonstrably awful, notably the pitchy, flat March 28 "Songs of the 21st Century." There was also the usual "what were they thinking?" controversy that comes with every season - ejection of the talented but plus-sized Mandisa Hundley on April 4 was proof yet again that "Idol" is as much a beauty as talent contest. The May 10 departure of rocker Chris Daughtry - picked by many to win it all - also sparked criticism. Levittown's own Kevin Covais was a surprisingly effective underdog; not so Kellie Pickler, Bucky Covington or Ace Young, whose performances often didn't even rise to the level of Simon Cowell's WASPish "karaoke with a capital K."

Most of all, "Idol's" 2005-06 season marked the undisputed triumph of the formula, exemplified best - surprise! - by the judges themselves. Along with their oddities, peccadilloes and squabbles, these three are "Idol." And say what you will about Cowell - and who hasn't? - but without him, "Idol" would sag under the treacly kindness, enabling comments or downright avoidance that the others partake of. Cowell may be loathsome, but he is also honest. In these circumstances, the latter is far preferable to the former.

So check it out. Thirty-five or maybe 40 million people will watch either McPhee or Hicks crowned Idol tomorrow night, and the only season cliff-hanger question that remains will be this one: How much more can the monster grow next year?

http://www.newsday.com/entertainment/tv/ny-etlede4751782may23,0,6615991,print.column?coll=ny-television-headlines

(Note: The New Jersey Assembly, as expected, passed the legislation Monday afternoon.)

The Digital Revolution
Verizon and cable TV: Can you see me now?

By Tom Johnson Newark Star-Ledger Staff Monday, May 22, 2006

The television programs coming into your living room soon may be delivered by your local phone company.

In a vote scheduled for today, the Assembly is expected to approve legislation to let Verizon Communications and other phone companies offer cable-television service, ending a bruising and costly battle between the telecommunications giant and cable television rivals.

Company officials and legislative operatives said Gov. Jon Corzine is expected to the sign the bill, which cleared the Senate last week.

Verizon is spending hundreds of millions of dollars to build a fiber-optic network to homes, so the bill is crucial to its efforts to wrest customers away from cable companies, such as Comcast and Cablevision, that have had a stranglehold on providing video services for more than three decades. Without the bill, Verizon would have to negotiate agreements with each of New Jersey's 500-plus towns -- a costly process that takes 12 to 18 months.

Now Verizon appears poised to gain permission to start selling television service in about 100 towns where it has begun building its fiber-optic network. Proponents said this means more choice and potentially lower prices for consumers.

Lisa Donohue of Massapequa Park on Long Island said she figures she is saving about $30 a month with a bundled package from Verizon. Her package includes her and her husband's cell phone service, regular phone service, high-speed Internet access, and television programming at a price of about $215 month.

"It's all in one bill, which is really nice," said the mother of two. "We've been very happy. It's nice to have a choice."

There is a chance the vote on the bill could be delayed, pending maneuvering to deal with procedural issues. But assuming the bill passes as expected and is signed by Corzine, Verizon would have to wait 90 days before securing its statewide franchise from the state Board of Public Utilities, which would have 45 days to make a decision.

Thus, it would be sometime this fall before the company could begin offering television programming to customers.

Dennis Bone, president of Verizon New Jersey, said he is confident the company will be able to lure customers from cable and satellite competitors.

"First and foremost, it's the price," he said, referring to a planned $39.95 package, featuring 140 digital channels with access to a video library on demand of more than 2,200 titles. "It's about $20 cheaper to comparable packages out there in the market."

Sill, some analysts question how successful Verizon will be in convincing customers to stray.

Joe Chiasson, an analyst with the Susquehanna Financial Group, said he has heard from company insiders that Verizon has been less successful than anticipated in selling video services. Verizon is already offering video services in parts of Texas, Florida and Long Island.

"They thought subscribers would come on board faster than they have," Chiasson said. "Verizon is going to have a hard time until they're doing their triple-play package in a more ubiquitous manner."

Bone said Verizon has done well with its television offering, reaching a 30 percent penetration rate in Keller, Texas, where it first rolled out the service. "It's really quite strong growth," Bone said.

Customer unhappiness with their monopoly cable provider could be enough motivation for a switch.

Bill Keogh, a sales manager who lives in Massapequa Park, said he wasted no time once Verizon became available.

"I'm a big fan of competition," he said. "Cablevision continues to go up each year, but we went a whole year without hockey programming and we didn't get any discount. It was time to change."

In Trenton, the issue spawned a bitter battle between the phone and cable companies. In the past few months, the controversy erupted into a blizzard of nasty television ads, with cable television advocates accusing Verizon of pushing higher cable taxes on to their customers by doubling the fee on customer's bills. The fee is expected to jump to 4 percent from 2 percent of your cable bill.

The bill's provisions about when and where companies must offer service also have been criticized because it doesn't require Verizon and other companies to install a network in less densely populated areas of the state, particularly South Jersey.

"The statewide buildout requirements are simply inadequate," said Dale Florio, a lobbyist hired by Cablevision, which remains opposed to the bill. "There's no guarantee that Verizon will ever come to parts of South Jersey."

In the end, though, the New Jersey Cable Telecommunications Association, which had led opposition to the bill, shifted its stance to neutral.

"What has changed is a clear shift in the view of legislators who felt they need to do something," said Karen Alexander, president of the association. "Our continuing to push back wasn't necessarily going to be the best approach."

State Sen. Raymond Lesniak, a Democrat from Union who steered the bill through the Senate Economic Growth Committee, said the cable companies have only themselves to blame for the measure that lets Verizon into their market more cheaply.

"They don't compete against each other," said Lesniak, who argued the lower rates that will arise out of competition will more than offset any increase in the fees.

http://www.nj.com/news/ledger/index.ssf?/base/news-6/114827550464330.xml&coll=1

TV Notebook
TV writers mount well-placed protest

By Jonathan Bing Variety.com May 22, 2006

John Boy Walton was never required to deliver a soliloquy on the virtues of Oreo cookies. But if Oreos existed in the Blue Ridge Mountains 75 years ago, and if the Waltons were still on the air, he probably would.

Just consider two episodes of the WB's "7th Heaven" that aired in April. ("7th Heaven," which revolves around a Christian minister and his seven kids, recently matched "The Waltons" as TV's longest-running family drama.)

Thanks to an endorsement deal with Kraft Foods, flattering references to Oreos were threaded into at least five different storylines across two installments of "7th Heaven." In one episode, there was a lengthy debate about whether Oreos should be dunked in milk, licked or twisted apart; and one character proposed to another by concealing an engagement ring in the cookie's sticky, white frosting.

"If I were the creator, I would have had to take a shower after watching some of that stuff," "Desperate Housewives" showrunner Marc Cherry observed after the footage was screened at a WGA West press conference last week in New York.

The press conference -- which also featured John Wells and Neal Bear and was held Wednesday, a few blocks from Carnegie Hall, where CBS was unveiling its fall schedule to advertisers -- was part of the WGA's ambitious grass-roots campaign to establish a new set of sponsorship standards for its members.

Since 2005, WGA protests over product placement have become a fixture of TV and advertising events -- union members even appeared in Donald Trump masks to disrupt an Advertising Week panel in New York last fall ("The Apprentice," which has an especially promiscuous relationship with advertisers, featured 3,577 product "occurrences" in 2005, according to Nielsen).

AMONG OTHER TACTICS, the WGA has devised Internet parodies of "Survivor" and "The Apprentice" (including a Web site called "The Subservient Donald" based on a well-known Burger King ad). And in November, it issued a white paper on "stealth advertising in the entertainment industry" and threatened to call on the FCC to investigate the practice.

Product placement is a shrewd wedge issue for the WGA, which remains at loggerheads with the Alliance of Motion Picture & Television Producers over things like homevideo and Internet revenue.

It's never hard to rally people around the idea that there's a sinister, stealth campaign by advertisers to smuggle commercial messages ever deeper into our daily lives. (Just read Vance Packard's 1958 bestseller, "The Hidden Persuaders," which argued that Madison Avenue was behind a secret conspiracy to manipulate the American public).

But if product placement is a dirty business, as Cherry suggests, it's also increasingly commonplace. Nielsen Media has reported that the number of primetime product placement "occurrences" rose 30% in 2005, a trend that shows no sign of reversing itself.

And it's hard to separate the WGA's stance on product placement from the threat of labor unrest that hovers over all its AMPTP confrontations, which have fueled anxieties that the union is spoiling for a strike when its contract expires in 2007.

THAT ANXIETY DEEPENED Thursday when the AMPTP published an open letter to the WGA in the form of a full-page ad in Daily Variety. The language of the letter was severe: "Your attempts to interfere with our business hurts not only all other Guilds and Unions in our industry, but also your members whose residuals, pension and health plans can be compromised."

But when it comes to product placement, there are signs that the two sides might mend fences. In the press conference last week, Cherry, Wells and Bear didn't address the idea that TV writers should be compensated for writing ads into shows. The mood was congenial. There were no Trump masks. The focus was on the creative autonomy of TV writers, a far less contentious issue than financial compensation.

When I spoke to WGA president Patric Verone, he echoed that point. Compensation "is less of an issue," he said. "But it's not a non-issue. If we're being asked to write ads into programming, we should be paid as copywriters."

Verone last week said that the guild's request for a dialogue on the issue has been met with "a roaring silence." But AMPTP president Nicholas Counter told me that the organization is willing to discuss the matter, provided the discussion occurs in the "proper forum" -- the Committee on the Professional Status of Writers, a body that Wells used to chair.

"No matter who asks for the meeting," Counter said, "the meeting will take place."

TV Notebook
Wall Street Journal Poll

The Wall Street Journal is running an online poll with this simple question: “Which broadcast television network's fall lineup are you most excited about?”

The results, as of 4:45 PM PT Monday were:

None looks good to me 58%
Fox 13%
PBS 9%
ABC 9%
CBS 5%
NBC 5%
The CW 1%

(1891 votes had been cast.)

TV Notebook
Serials keep the clock ticking

By Gary Levin, USA Today

TV fans love serialized dramas more than ever — but not when it comes to repeats. And as networks announced still more continuing story lines next season, they made plans to minimize interruptions.

"Running the show continuously as they do, the response from fans is extraordinary," 24 star Kiefer Sutherland told advertisers last week as Fox presented its fall schedule.

24's fifth season, which started in January and runs straight through to Monday (8 ET/PT), is its highest-rated yet, so far averaging 13.8 million viewers.

So at considerable cost to the networks' bottom lines from lost rerun revenue, other serialized shows that perform poorly in repeats are taking the cue:

• Next season, ABC's island mystery Lost will eliminate repeats, airing seven episodes in October and November, then taking a two-month break for a replacement series. When it returns in late January, the show will run 16 consecutive original episodes.

• For the first time, NBC's ER also will run all original episodes. The medical drama's 13th season will be rested in January for drama The Black Donnellys, about Irish gangster brothers, then return in March to finish out the year.

• And aside from 24, Fox once again will run Prison Break from mid-August to December, repeat-free. It will be paired with Vanished, another serialized thriller about a missing senator's wife that will air with "minimal interruptions" and be replaced by 24 come January, Fox says. Both shows will return later next season. The OC will be delayed until November and also run in continuous blocks.

"Lost is a show viewers really love and make an appointment for," says ABC Entertainment chief Steve McPherson, but fans "get absolutely furious about repeats." (There's even a website, IsLostaRepeat.com, that offers a one-word answer.)

Lost executive producer Damon Lindelof says he's thrilled with the new schedule, and he is constructing several separate story "arcs" for next season that will provide a natural break for the series in November.

McPherson says that even with the new scheduling, Lost will remain "enormously profitable." The network and its sibling studio make money by selling episodes on iTunes and in DVD sets, as does Fox with 24.

Traditionally, commercial time sold on network repeats is a network's major source of profit. NBC concedes that it will now lose money on ER by ending in-season reruns, which will cost the network $6 million an episode, but will benefit from airing 35 weeks of original programming at 10 ET/PT Thursdays.

Says Fox entertainment chief Peter Liguori: "The best way to make the economics work is to maintain the balance" between serialized shows that falter in repeats and self-contained series that can be repeated more easily out of sequence.

And don't fret if you miss an episode of Lost: Not only can you spring for $1.99 on iTunes to watch it later, but ABC will continue to air repeats during summer months.

The network also is considering airing the previous week's episode at 8 p.m. ET/PT Wednesdays once reality hit Dancing with the Stars ends its fall run.

http://www.usatoday.com/life/television/news/2006-05-21-serial-shows_x.htm

TV Notebook
'Idol' odds in the homestretch


After five seasons, some trends have emerged, although it's still rather difficult to predict who will win.
By David A. Keeps Los Angeles Times Staff Writer May 23, 2006

For the third time in five years, "American Idol" has become a battle of the sexes: a beauty contestant belter — Katharine McPhee — versus the prematurely gray Taylor Hicks. On the way to Wednesday night's Season 5 finale, there was controversy (Mandisa lost the voting amid controversy), surprise (the dumping of Mr. Clean's alt-rock stepson, Chris Daughtry) as well as the usual voting tabulation conspiracy theories.

History tells us that in every matchup between male and female contestants, women have come out on top. But before McPhee is crowned the next American Idol — or upset by Hicks — perhaps now is the time to consider American Idolatry through the cooler lens of phenomenological science.

Versatility and the ability to inject melodrama into melisma (turning a single word into a multi-note aria, à la Whitney and Mariah) are essential, of course, but there are other physical and psychological traits and truisms that define the American Idol. Lessons learned these last five seasons:

Intestinal fortitude is required. No matter how confident or delusional you are, facing rejection by three celebrities, 300 studio audience members and 30 million viewers a week requires gut instincts and a strong spine. In a Darwinian sense, it is not necessarily the fittest of the Idol species that survives but the most adaptable. Deprived of rest, privacy and anonymity, contestants are accelerated into instant celebrity (with the specter of equally quick obscurity) and a schedule that would have other television performers screaming for their agents.

Some fare better than others. Praised by judge Simon Cowell as "the only artist who has refused to compromise," Daughtry exhibited rock star integrity, but his inability to change colors compromised his shot. By contrast, McPhee, the 21-year-old daughter of a vocal coach who sometimes appeared to be put out, and Hicks, the manic working musician who was often accused of acting drunk, came across as seasoned performers. Each stayed true to their respective Idol-appropriate métiers — Broadway for McPhee and blue-eyed soul for Hicks — but ladled on showbiz schmaltz when needed. Advantage: Hicks

Cuteness is suspect. This season, wide-eyed looks and dimpled cheeks undid contestants in three consecutive weeks: goo-goo eyed, aging Tiger Beat falsetto Ace Young, country bumpkin Kellie Pickler and the prodigious 17-year-old Paris Bennett, whose Betty Boop speaking voice did not jibe with her sophisticated jazz pipes. (America, apparently, is also suspicious of precociousness; none of the Idols has been younger than 20.)

American Idol celebrates its constituency — the gawky, geeky and well-fed young women of this land who don't live on a starlet's diet of cigarettes and diet colas. These are the voters who relate to pear-shaped McPhee's apple-cheeked accessible glamour even as she teeters between hauteur and ungainliness. They also have warm and fuzzy feelings for Hicks and Elliott Yamin, puppyish "dawgs" whom judge Randy Jackson is wont to call "real." Unthreatening to other men, they attract female voters who exhibit the same hysterical blindness that made Clay Aiken a sex symbol. Advantage: Draw

Pheromones are verboten. At best Idols exude a sexual neutrality but never, ever danger. (It wasn't until she stopped being an Idol and starting acting like a pop star that Kelly Clarkson became a hottie commodity.) The pumped-up Daughtry seethed with bad-boy testosterone; that, and the public announcement of his underwear preferences, may have been more turn-off than turn-on. Hicks is the kind of guy who gets brought home to meet mom. Female contestants have more wiggle room, but it must be deployed tastefully. This year, Pickler's last-call honky-tonk honey image and Bennett's Beyonce-styled bounce raised eyebrows. McPhee exuded sultriness without overstepping the line. Advantage: McPhee

Hands, eyes, and lips must coordinate. Idols need to communicate comfort and joy. Yamin struggled with the former; Daughtry with the latter. McPhee, however, has laser beam eye contact and can hit the most improbably high notes with a sparkling smile, while Hicks uses goofy footwork and Ray Charles-indebted body language to show the music some love. Advantage: Hicks

A taste for crow and humble pie should be acquired. Nurture more than nature separates the Idols from the also-rans. Each week, Americans worship the Idols with eyes and ears open, but choose with their hearts, rewarding contestants for more intangible qualities such as poise, sportsmanship and modesty. Sass what Simon says and you may as well pack your bags. Suck up the compliments like mother's milk without so much as an aw-shucks, as Daughtry did, and you are toast. There is a fine line between moxie and arrogance, but contestants who can muster a smile even when cowed by Cowell are the ones who win points for spunk. Advantage: Hicks

Jerk as many tears as possible. However much she may be teased for it, Paula Abdul's unconditional mother love for the contestants carries as much weight as Cowell's stern paternalism. Reduce Abdul to puddles of tears, as Yamin did this year, and America responds. Break down yourself — as third season single mom Fantasia Barrino did while singing "Summertime" — and victory is assured. If you can't manage your tear ducts, make your father cry, as McPhee did singing "Someone to Watch Over Me." Advantage: McPhee

Open up and bleed. The most compelling Idols offer a back story that establishes a need for triumph over adversity and a subsequent narrative arc that satisfies the American public's passion for drama, conflict and resolution. Yet even these are subject to the audience's moral review. If Barrino's struggles as a single teenage mother were galvanizing, Pickler's revelation of an estranged and incarcerated father seemed to work against her. To his credit, Yamin, who had the most to gain from personal disclosures, steadfastly refused to milk sympathy for his health issues, including diabetes and hearing loss. Hicks and McPhee have endured no such character building. Advantage: Draw

Drawl y'all. It is more statistically advantageous for contestants to identify as Southern. Every winner and runner-up of the last four years — be they black white, male or female — knows how to whistle Dixie. Hicks is from Alabama; McPhee is from, well, Southern California. Advantage: Hicks

http://www.calendarlive.com/tv/cl-et-idol23may23,0,7686758.story?coll=cl-tvent

TV Notebook
Tonight we look into the mirror for the fairest 'Idol

By Melanie McFarland Seattle Post-Intelligencer TV Critic Tuesday, May 23, 2006

As we contemplate the finale of "American Idol," kicking off tonight at 8 on KCPQ/13, let us begin with our deepest apologies to Elliott Yamin's followers. Besides having that lovable underdog quality about him, the man had impressive pipes. He deserved to be in that final three.

The hard truth, though, is that Yamin, eliminated last week, simply wasn't the guy "American Idol" viewers think they see in the mirror. That's what "American Idol" usually comes down to -- performers like Taylor Hicks and Katharine McPhee, charismatic reflections of ourselves as a people, or rather, how we think of ourselves.

Look at Hicks. The Birmingham, Ala., native is robust, cheerful, friendly! Some might say he can't dance to save his life, but that didn't stop him from exploding into a spastic fit almost every week, sometimes making us want to shove a wallet in his mouth and hold his hand.

A good friend and faithful viewer wondered aloud to me, "How long are people going to put up with that monkey show?" Answer: Hicks is favored to win, so that monkey show is going on a few tours. He's what we think of as your average American fun-loving guy, and fun-loving guys like to put on monkey shows every so often.

McPhee looks like she was born to be a pop princess, and because she hails from Sherman Oaks, Calif., she might have been. The 21-year-old is all polish, with subtle glitter twinkling around her eyelashes and decolletage, and though her performances were uneven, it's nothing they can't smooth out in a studio.

She's beautiful in an apple-pie kind of way, while, thank God, not being Kellie Pickler stupid.

In contrast, Yamin reflects the way so many of us are: pretty on the inside but weathered, with an expression of perpetual fatigue on the outside. He seemed to be less like an "Idol" than a contestant on "The Contender."

But that doesn't sell Seventeens and Cosmo Girls.

Cynical, sure, but true. For about five months, "Idol" makes us forsake the rest of the bubble gum world so we can drive its machine with our phone and text-message votes to the inevitable end in May.

"American Idol" gets its audiences caught up in discussions about star quality and the oh-so elusive "it" factor. Example: From the moment Chris Daughtry set foot on the stage, there was no question that he had "it" -- just not the "it" that fits in here. His brand of magnetism is perfect for Fuel, who reportedly offered him a slot in that band after "Idol" voters let him go.

Yes, as is true of many elections, the chosen aren't always the most deserving. One could argue that's particularly true of this year's "Idol," a season that lost one of its strongest singers, Mandisa Hundley, early and Paris Bennett a few weeks ago. (Along with most of their African American viewers, according to Nielsen Media.)

Many thought Mandisa's crime was being too heavy for "Idol" standards. Subscribing to that idea of "Idol" being what we'd like to be as opposed to reflecting what we really are -- well, there you go.

And maybe I'm sort of selling bull chips by positing that our "Idols" represent the image of where we are as a culture each year, but think about it. We chose Kelly Clarkson to fill the girl-next-door cliche in 2002, when we desperately needed to feel good about ourselves.

Ruben Studdard was far and away the best of 2003's crop, but America gave Clay Aiken a career because he embodies the dark-horse surprise. (What tiny white guy doesn't want to lay claim to a mighty box of soul inside?)

Fantasia Barrino, a single mom, is pulled-herself-up-by-the-bootstraps personified; a Lifetime biopic about her is in the offing. During a year that roiled with discussions of purity and indecency, we got Carrie Underwood, a nice Oklahoma girl who beat Bo Bice, a dirty rocker with a minor rap sheet.

And what do we have tonight? We have Hicks, the total entertainer. Herky-jerking aside, his vocal control is impressive, and as Elvis night proved, he knows how to own a stage and has no problem laughing at himself. The "Idol" franchise needs mature entertainers like him, and at 29, Hicks could be the right fit.

McPhee, on the other hand, has a smooth presence and bewitching voice that, at its clearest, has no peer in the group. That was obvious on standards night, when she performed "Someone To Watch Over Me." Still, she can be inconsistent. One of the reasons Daughtry's fans were so angry over his dismissal is that McPhee whiffed that week. If not for the "McPheever" factor she wouldn't be on tonight.

Assuming they'll give the performances of their lives tonight, the decision may come down to regional allegiance. "American Idol" also is like the presidential election in that Southerners, who make up about 39 percent of "Idol's" audience, tend to drive the outcome. Unlike the presidential election, the youth of America are enthusiastic about it, especially women.

At the end of Wednesday's bombastic two-hour results show, we may find out that viewers connect more with a silvery haired guy as opposed to another pretty girl from L.A.

Just be thankful Pickler isn't in the running. Anything's better than another Jessica Simpson.

http://seattlepi.nwsource.com/printer2/index.asp?ploc=t&refer=http://seattlepi.nwsource.com/tv/271168_tv23.html

TV Notebook
'Idol' business tunes up for Wednesday


By David Lieberman USA Today

NEW YORK — On Wednesday, we'll learn the American Idol for 2006. But while that ends TV's most popular run, it just begins Idol's 2006 business.

The machine began shifting gears Saturday when tickets went on sale for a 52-city concert tour by the top 10 finalists that begins July 5. Today, RCA Records releases a CD compilation featuring the top 12 finalists.

Each project presents executives with enormous challenges as they try to generate profit without shortchanging finalists, partners — or the franchise.

"When (19 Entertainment founder) Simon Fuller created the show, his vision was to create real careers, rather than just generate great record sales and sell tour tickets as a result of having a huge TV show," says 19 Entertainment U.S. President Iain Pirie.

Last year, entertainment marketer CKX bought 19, which co-produces the TV show and represents finalists — signing them to recording deals, producing the tours and licensing merchandise.

Finalists on tour "start to learn stagecraft," Pirie says. A band of about seven musicians backs all 10, who each get the same pay.

Idol backers had a hard time persuading big venues to book the tour after the 2002 TV debut. "It costs a lot to mount a tour, and the guarantees weren't that high," says Debra Rathwell of AEG Live, which promotes it.

Tour plans often must be made before the series airs, which means "You don't know who your cast is when you make your financial deals."

Kellogg's Pop-Tarts made the numbers look better in 2002 when it agreed to sponsor the events annually.

While ticket sales vary each year, last year's tour ranked No. 37 for the year in revenue, according to trade magazine Pollstar, generating $16.9 million from 42 shows with seats going for an average $45 apiece.

This year should beat that: After brisk ticket sales over the weekend, at an average $68 a seat, promoters boosted the number of shows to 60 from 40.

"It's become a franchise even though the talent is different each year," says Gary Bongiovanni, Pollstar's editor in chief.

The album is just as hard to pull off.

"You have to start production when you get to the top 12," Pirie says. "We're producing an album in a short period of time without a lot of access to the singers. There's no margin for error."

A deal 19 signed last year with Sony BMG Music and on-air judge Simon Cowell (who gets a piece of the record sales) caps the recording budget at $375,000. The CD package must promote each performer equally, and it can't be released within three months before or after release of a solo album by the year's winner.

Fans bought about 332,000 of 2005's compilation, down from 643,000 in 2002, says Nielsen SoundScan.

http://www.usatoday.com/life/television/news/2006-05-22-idol-business-usat_x.htm

TV Notebook
'Wives' slip may be showing

By Scott Collins Los Angeles Times Staff Writer May 23, 2006

Even though it remains one of TV's most-watched shows, ABC's "Desperate Housewives" has had a tough sophomore year, with ratings slipping and many fans complaining that the series has lost its sense of fun and become silly and overwrought.

Sunday's two-hour season "Housewives" finale dominated the night, with an average of 24 million total viewers (9.8 rating/23 share among adults 18-49), according to early figures from Nielsen Media Research. It was easily the night's most-watched program, dispatching such rivals as the first part of NBC's miniseries "10.5: Apocalypse," which emerged from the rubble with a disastrous 8.3 million total viewers (2.6 rating/6 share among 18-49) — part 2 airs tonight.

But the "Housewives" finale sank 27% among young-adult viewers compared with last year's season closer. And many fans carped on Internet message boards that the Sunday wrap-up was confusing and relied too heavily on multiple flashbacks tracing the back stories of the families on Wisteria Lane.

"The show went backward and forward in time so much I thought I was watching the series finale of 'Charmed' again," wrote one poster on the website TV Squad.

That viewpoint was hardly unanimous though. A poster on Television Without Pity raved, "I have only been watching the show off and on all year but I have to give credit where it is due. That was an awesome season finale. It wrapped up this year and did a great job of setting up next year."

Next year, of course, will be a major test for "Housewives." Creator Marc Cherry is in the midst of hiring some new writers for the series. And with "Grey's Anatomy" moving to Thursdays, some viewers might be more easily tempted to sample fare on other networks.

http://www.calendarlive.com/tv/cl-et-channel23may23,0,6560488,print.story?coll=cl-tvent

TV Notebook
From 'Idol' to Empire: The Success of Ryan Seacrest

By Lola Ogunnaike The New York Times May 23, 2006

Each day at 4 a.m. Ryan Seacrest, the tireless host of "American Idol," is wide awake staring at a schedule that frightens even him at times. "There are certainly days when I'm brushing my teeth and thinking, 'How are you going to have the energy to do all of this today?' " he said in his sparsely decorated dressing room, a half-hour before he was due to direct traffic on "Idol." "But it's like running. The first few minutes are difficult, and then you find a rhythm."

At 31, Mr. Seacrest appears to have found his rhythm. In addition to his "Idol" duties, he now has his own daily show on KIIS-FM in Southern California from 5 to 10 a.m., is the host of the nationally syndicated radio show "American Top 40" and, if that weren't enough, in March he became the anchor of "E! News Daily" on the E! cable channel.

Intent on being more than just a pretty, permatanned face, the ubiquitous Mr. Seacrest is working to build an empire like those of his idols Dick Clark and Merv Griffin. As part of his $21 million, three-year deal with E! he will not only work the red carpet and deliver breaking news about the likes of Lindsay Lohan, but his company will also produce original programming for E! (He has affectionately nicknamed the channel "the vowel.")

He has also invested in eight restaurants — six in Los Angeles, two in Las Vegas — started his own clothing line and is now the executive producer and host of the New Year's Eve show on ABC that Mr. Clark made famous. "Equity, ownership, production fees, license fees: those are the vocabulary words that are exciting to me," he said, flashing a perfectly aligned smile. "If you really want to be in this business for a long time, you have to be more than just one moving part."

Ted Harbert, president and chief executive of E!, said he aggressively courted Mr. Seacrest because he believed the host would make a difference for the channel. "I have people in the cable world coming up to me all the time saying, 'Ryan Seacrest has been great for you,' " he said.

E! has spared no expense in making him feel at home. In addition to giving him a wing for his production company at the channel's headquarters, E! is building Mr. Seacrest his own on-site radio studio.

"It's plain good synergy," Mr. Harbert said. "The more he's in this building, the more I'll get out of him." Not having to travel from KIIS in Burbank will save him 40 minutes in commuting time, an eternity in his daily life, Mr. Seacrest said. But why the packed schedule?

"I'm frightened by the thought of being out of work," he said. "Growing up, there were people on shows like 'Diff'rent Strokes,' 'Facts of Life,' 'Love Boat' that you thought would be huge stars for the rest of their lives, and they've just vanished. You never want to be that person."

The following afternoon at E!, Mr. Seacrest was gleefully recounting the drama of the previous evening at "Idol." Paris Bennett, the spunky, saccharine-sweet singer, had just been voted off. After years of sending hopefuls home, Mr. Seacrest said he had become comfortable with the weekly buh-bye routine. "I don't feel sorry for the Top 5," he said. "They're all good. It's not great that they have to go home, but it's not the end of the world."

He thought about toying with the contestants the previous evening, he said, making it a little more difficult for them to determine who was getting axed. His voice dropped. He placed his hand firmly on this reporter's shoulder and stared into her eyes. "Lola," he said slowly, "you" (pause) "are" (pause) "not going home."

"The amount of time you take in the last few beats can really get the hearts pumping, the blood racing," he said.

Moments later Mr. Seacrest was racing to the set of his E! news program. On his way he was stopped in a hallway and presented with his first Emmy award for yet another gig, his host work on the Walt Disney World Christmas Day Parade television special. He graciously accepted the award and joked: "What's the best part of all of this? Simon doesn't have one," referring to Simon Cowell, the caustic and quick-witted judge on "Idol" with whom Mr. Seacrest often trades on-air insults and jokes. "American Idol" has yet to win an Emmy, the Mr. Seacrest pointed out, adding, "Every year we get all dressed up, lose to 'Amazing Race' and go out and have a bottle of wine."

Mr. Cowell did not seem fazed by Mr. Seacrest's golden statue. "It's not a real Emmy," he said by telephone from Los Angeles. Mr. Cowell, in typically acerbic fashion, enjoyed playfully bashing his co-host. "Ryan loves the abuse," he said. "He's like that dog in the Garfield comic."

Mr. Cowell said he was convinced that Mr. Seacrest would be nothing without him. "I gave him a personality," he said. "He was the equivalent of nonvintage wine, cheap plonk, and now, as a result of being around me, he's become full-bodied." He finally came around to complimenting Mr. Seacrest, which appeared more painful for him than an amputation. "I'm going to hate reading this, but Ryan has a tremendous work ethic," he said. "He wants all the glory, but he's prepared to work for it, and I've never ever heard him complain."

Growing up in Dunwoody, Ga., Mr. Seacrest, the son of a lawyer and a PTA mom, dreamed of a life in radio. "I always listened to the Top 10 songs of the day while doing my homework," he said. "I would call in and request songs. I would always try and get on the air."

An internship at a local radio station led to his own show. At 19 he dropped out of the University of Georgia and headed west to pursue a career in radio and television. One of his earlier jobs in the business was as a host of "Click," a children's television show produced by Mr. Griffin. "His energy just baffled me," Mr. Griffin recalled. "I couldn't keep up with him." Mr. Seacrest's good looks also didn't hurt. "He had this spiky haircut, and we knew all the little girls in the audience would love him, and they did," he said.

Since becoming the host of the high-profile "Idol," Mr. Seacrest has been the frequent target of jokes about his sexuality, especially on late-night comedy shows. Jay Leno, on "Tonight," recently joked: "The rumor is that Teri Hatcher is dating Ryan Seacrest in an attempt to get George Clooney's attention. Oddly enough, Ryan is dating Teri for the exact same reason." Mr. Seacrest, who says he's straight, doesn't mind the ribbing, but his friends do, he said. "They're always, like, 'Why don't you tell him to stop,' but I'm, like, there are worse things in the world than being a joke in a Jay Leno monologue," he said. Ms. Hatcher, the star of "Desperate Housewives," told Oprah Winfrey recently that Mr. Seacrest dumped her cold after a few dates.

Mr. Seacrest blamed his tight schedule and overwhelming media scrutiny of the relationship for his decision to quit Ms. Hatcher. "She's clever," he said. "She's self-deprecating. She's successful. She can pay for dinner. What's wrong? It is strange, but I don't think it was a Teri Hatcher issue. It's a Ryan Seacrest issue."

A relationship will have to wait, he said. For now he's focused on capitalizing on all the opportunities being thrown his way. "You can achieve a lot by hustling now, or you can be lazy and say, 'This is great,' " Mr. Seacrest said. "That is not in my plan."

http://www.nytimes.com/2006/05/23/arts/television/23seac.html?pagewanted=print

This may be a bit of a stretch, I know. But, then again, long before the vast majority of us had even considered home theaters, Hans Fantel was writing about them.

Obituary
Hans Fantel, 84, of The Times, Dies; Wrote Widely on Electronics

By Daniel J. Wakin The New York Times May 23, 2006

Hans Fantel, a pioneering writer on high fidelity who produced a column on home electronics for The New York Times for 17 years and wrote movingly about his life in prewar Vienna, died on Sunday. He was 84.

Mr. Fantel died in Springfield, Mass., of injuries suffered in a car accident on May 5, said Christine Hobbie, a neighbor and friend.

Mr. Fantel was a freelance writer for much of his life, issuing books and articles on a broad range of subjects. His books included "William Penn: Apostle of Dissent" and "The Waltz Kings," about the Strauss composing family.

But his focus was classical music and sound recordings. Mr. Fantel was a founding editor of Stereo Review, which for years was a touchstone for stereophiles. His byline first appeared in The Times in 1963. From 1977 to 1994, he turned out columns for the newspaper under the rubrics "Sound" and "Video," and later "Home Entertainment," transforming the technical jargon of the day into clear prose.

He often summoned up his boyhood in Vienna in the 1920's and 30's.

In one column, Mr. Fantel recalled his most beloved Christmas present: a complete set of the Beethoven symphonies, conducted by Felix Weingartner. It was given by his father, Fritz Fantel, whose company made the first home radio receivers in Austria.

"My father saw in the new technology something miraculous: a machine to transcend the limits of time and space that had constrained music since its beginning," he wrote. "Perhaps he hoped that the music I was learning under his guidance would provide me with nourishment in dark times when he could no longer take care of me."

Mr. Fantel was 16 when he last saw his father, an opponent of Germany's rearmament whose mother was Jewish. He was arrested by the Nazis and later executed.

Hans Fantel was born March 1, 1922, and was named after Hans Sachs, the character in Wagner's "Meistersinger von Nürnberg." He was an only child.

Shortly after his father's arrest, authorities discovered Hans's Jewish heritage and expelled him from school. He escaped to Czechoslovakia, served in the underground there and made his way to Tunis. The American consul, a fellow classical music lover, helped Mr. Fantel come to the United States. He arrived in New York in 1941.

Knowing little English, he worked at a picture frame factory, learning the language from radio broadcasts. He earned a biology degree from the University of Missouri, worked as a technical translator for the Air Force and moved to New York in the early 1950's. He is survived by his wife, Shea Fantel. The couple had no children and lived in New Marlborough, Mass., also keeping a New York apartment.

Memories of youth burned strong in Mr. Fantel, a round, sweet-tempered man who kept a strong German accent. In one column, he wrote of receiving a CD of a concert he had attended more than 50 years before with his father. It was by the Vienna Philharmonic, playing Mahler's Ninth, in the orchestra's last concert before Hitler's annexation.

The music and the time it evoked cast a spell, he said. But there was something else. "This disk held fast an event I had shared with my father: 71 minutes out of the 16 years we had together," he wrote. "That's what made me realize something about the nature of phonographs: they admit no ending. They imply perpetuity."

He added, "In the perennial rebirth of music through recordings, something of life itself steps over the normal limits of time."

TV Notebook
'Idol' thoughts: Why I don't want Taylor to win

By Maureen Ryan from the Chicago Tribune TV blog

Based on talent alone, Taylor Hicks deserves to win "American Idol" (7 p.m. Tuesday, WFLD-Ch. 32). But it would be a shame if he won.

All things considered, the fifth "Idol" crown, which will be handed out Wednesday, fits better on the head of Katharine McPhee.

Hear me out, Taylor fans. Don’t send an avalanche of Soul Patrol hate mail until you’ve actually heard what I have to say.

Taylor and Katharine are both talented singers, of that there can be no doubt. But Katharine would fit nicely into the "Idol" pop-music machinery. Taylor wouldn’t. In fact, the "Idol" machine would probably ruin what’s fun about Taylor.

Katharine has not only a good voice but an impressive range, a sweet attitude and, of course, she’s easy on the eyes. More important, she can belt out the kind of material that a post-"Idol" career will no doubt require: plenty of generic power ballads in the Diane Warren mold, filled with trills and melismas and more vibrato than any human should be allowed to wield.

Can you really picture Taylor singing "Inside Your Heaven"? That was Carrie Underwood’s first post-"Idol" single, and it fit her to a T: It was inspirational, inoffensive and eminently hummable. Bo Bice’s version of it just didn’t work, because Bo had his own rascally Southern thing going on, and that song didn’t match his strengths or his personality. There’s no reason to think the next batch of "Idol" pop songs will fit Taylor any better.

Taylor’s a guy who should be in a roadhouse somewhere, working up a sweat while singing "Mustang Sally" or getting the beery crowd misty with a set-closing version of "Up Where We Belong." Perhaps a successful recording career is in his future, whether or not he wins "Idol," but in the end, I’d bet Taylor winds up at county fairs, in smoky clubs and at summer festivals, belting out the kind of rock and soul numbers that may be considered oldies -- but who cares when they’re sung with energy and passion?

Taylor, you see, is a performer, not just a singer. Some are turned off by his onstage antics and his unique style of dancing (if that’s what it is), but for those of us who find it winning, it’d sure be a shame to see his individual style and delivery squished by the soul-killing mainstream recording industry, of which "Idol" is an unashamed outpost. After all, this is a contest that spurned the talented Chris Daughtry for having too much edge (edge, in this case, consisting of having a shaved head, a goatee and singing a Fuel song).

The truth is, "Idol" is not really about finding the best singer -- it’s about finding the singer who will offend the smallest number of people.

Think about the most successful previous "Idol" winners -- Kelly Clarkson, and, so far, Carrie Underwood. Katharine fits perfectly into that Clarkson-Underwood category of "Idol" winners -- she’s another well-scrubbed, unthreatening, talented vocal prodigy. Kelly developed an edge (thank goodness), but that was only after she got clear of the management that had a lock on her after she won the Fox singing contest.

Obviously Clay Aitken is another "Idol" success story, in the recording and touring arena anyway (as for his career in the gossip tabloids, let’s not go there). But because he didn’t win, he was more able to shape the kind of career and material that fit him best.

If Taylor won, he’d probably end up as the next Ruben Studdard; attaining a respectable modicum of success would be seen as a failure. But Taylor has a hard-charging pack of rabid fans and stage presence to spare. He’ll do fine without the "Idol" crown.

In fact, he’s better off without it.

http://tempo.typepad.com/entertainment_tv/

The TV Column
The Short Goodbye

By Lisa de Moraes The Washington Post Staff Writer Tuesday, May 23, 2006; C07

The 2005-06 television season will go down as one of the bloodiest ever.

Miraculously, no major cast member was killed off on last night's season-ender of the deadliest show in prime time, Fox's "24" (although Jack Bauer was looking none too well by the conclusion of the two-hour finale).

The killing fields of prime time have racked up an unusually high body count, sending the Reporters Who Cover Television scurrying to ponder What It All Means.

They seem to have come to the conclusion that it has something to do with shortened attention spans and the impact of Fox phenom "American Idol," in which viewers cast about 50 million votes a week to whack one of the contestants.

Sigh.

Truth is, viewers have enjoyed TV demises since way back -- long before "Idol" was on the minds of former hoofers Ken Warwick and Nigel Lythgoe.

It's actually hard for a network not to pop a number if it lets viewers know someone's going to get knocked off on a series with one of those helpful "Someone's Not Gonna Survive the Night" promotional spots.

"People love to see people die on television," one network suit told The TV Column.

"Death, birth and weddings -- if you're gonna rank them, those are the Big Three. Killing gets ratings," said the exec, whose request for anonymity we granted because he has kids.

And the longer you can keep secret which cast member is getting knocked off the better, explained the executive, pulling from his memory lobe the stunning 1991 episode of "L.A. Law" in which shark/litigator Rosalind Shays (Diana Muldaur) is talking to partner Leland McKenzie one second, and the next she's plunging to her death down an elevator shaft.

The Reporters Who Cover Television mostly fall into two camps on that one; it's either one of the Top Five Most Shocking TV Moments Ever, or the moment that long-running, groundbreaking NBC drama jumped the shark.

Anyway, "Las Vegas" executive producer Gary Scott Thompson made reference to the Shays shaft episode when he talked to TV Guide last fall about an upcoming episode of his NBC drama in which viewers had been promised a death.

He promised that his show's November sweeps death would be similarly shocking, but it turned out to be just lollipop Lara Flynn Boyle, whose casino-owning character got blown off a rooftop when a strong gust of wind caught her billowy ensemble.

Thompson said last season's successful death of Boone Carlisle on ABC's "Lost," not NBC's inspired shaft-dive of the late '90s, led peacock suits to request the "Vegas" cast purge for the November ratings sweeps.

NBC "really wanted us to do something big and 'Lost' got a lot of mileage" from the Boone extermination, he told TV Guide. The producers kept the victim's identity secret by writing multiple endings.

Sometimes a network doesn't need to keep the victim's identity a surprise to snag extra viewers. Sometimes viewers are so happy to see an actor go that they'll tune in despite the lack of suspense, like Romans attending one of those Christians vs. Lions smackdowns at the Colosseum.

Fox's ratings-starved series "The OC" managed to bulk up last Thursday when nearly 26 percent more viewers tuned in to celebrate the permanent departure of Mischa Barton, who had spilled the beans that she was the one who was leaving the show.

Serialized dramas "24" and "Lost" have had particular luck this season decreasing the surplus population.

Fox's rock-'em, sock-'em "24" has killed plenty of people in the past, but this season the producers tasted the blood of President Palmer in the opening episode and never looked back.

Palmer, of course, had to be assassinated because he was suspected of defecting to a competitor's pilot (actor Dennis Haysbert now stars on the CBS military drama "The Unit." He did, however, make a cameo appearance on last night's "24" finale, as an Allstate pitchman).

This season's dead of "24" included: Michelle Dessler, whose car exploded, and her husband, killed by a terrorist with a hypo to the heart; presidential adviser Walt Cummings, found hanged; Edgar Stiles, who died of exposure to nerve gas at CTU headquarters; Lynn McGill, also gassed; and Defense Secretary James Heller, who drove off a cliff as he was about to be killed by helicopter-wielding terrorists.

Over at "Lost," ratings surged when Shannon was shot to death during the November sweeps after being mistaken for one of The Others by Ana-Lucia.

Then in May, nearsighted Ana-Lucia and Libby were bumped off after being arrested in Hawaii for Driving Under the Influence, which caused ratings to spike 30 percent.

(Actually, Ana-Lucia and Libby were gunned down by Michael after his attempt to free his kidnapped son; the actresses who play those two women had been arrested on the DUI charges in Hawaii in December -- which, the show's producers have insisted, had nothing to do with the decision to bump them off in May and it is a total coincidence. Right.)

Killing off cast members of ensemble dramas helps to keep down production costs -- particularly if you rub out cast members who've been on the show for several seasons and who have aggressive agents.

It's also not new -- Dick Wolf has made an art form of it since he launched the first "Law & Order" in 1990, though perhaps the tonnage of the dead on these two dramas is striking.

It's also a way to ensure the health of a drama series, explains our network dad. Churning of cast members results in fresh storylines.

"It's like pruning your plants -- if you want them to grow, cut them back."

http://www.washingtonpost.com/wp-dyn/content/article/2006/05/22/AR2006052201670_pf.html

TV Notebook
'Deadwood' creator scrambling to save HBO drama

By Gail Shister Philadelphia Inquirer Columnist May 23, 2006

Buddy, can you spare $60 million?

With HBO's Deadwood hanging on by a bootstrap, creator David Milch hopes to raise enough outside cash to save his brilliant - and expensive - western.

"I'm doing what I can," Milch says. "Any financial participation could take the pressure off. HBO hasn't said no... . If I were a gambling guy, which I am, I'd say odds are less than even money."

Milch says he's looking into possible tie-ins with casinos and theme parks as well as with the actual community of Deadwood, S.D. Imaginative marketing, he calls it.

Here's an imaginative marketing thought: If he really gets desperate, Milch could hit up his old Yale fraternity brother, George W. Bush.

Or not.

Deadwood launches its third season June 11. With a huge ensemble cast and lavish period sets, production costs are north of $5 million an episode. A full season's order is 12 episodes.

Milch had always planned on four "chapters" for Deadwood. He says everything was a go for season four when production wrapped about six weeks ago.

Then HBO told Milch it was cutting its offer to six episodes. And it let expire the contract options of the cast, including stars Ian McShane, Timothy Olyphant, Jim Beaver and Molly Parker.

"The actors were as shocked as I was," Milch says. "I don't think there was any calculation or deception on HBO's part, and I'm not saying I was betrayed. I think HBO tried as hard as they could to find a way to make it work. Things changed for them financially."

Milch gets it. Despite critical acclaim, the obscenity-laden Deadwood, set in a lawless mining camp in the Dakotas in the late 1870s, "was not the next big thing in terms of being a Sopranos-sized hit. They needed a number of eyes we weren't providing them.

"That's their business. They have to look at things that way." But producing only half as many episodes for next season? To Milch, that had no six appeal.

"For my part, I did not want to accept a short order. We couldn't have done the work the way we wanted. I didn't want to limp home. My old man used to say, 'Never go anyplace where you're only tolerated.' "

HBO does more than tolerate the mad genius who helped create NYPD Blue, and he knows it. For starters, Milch himself maintains that no other network would have done Deadwood in the first place.

Moreover, Milch is deep into another HBO project - a spring drama called John From Cincinnati, described as "surf noir." Says Milch: "It's pretty strange, I'll say that for it." (And Milch knows from strange.)

Meanwhile, Deadwood has a sliver of a chance for a fourth season, he says, but it would require an extraordinary suspension of disbelief.

"I suppose if there's tremendous disaffection with the [Cincinnati] pilot, the actors would be willing to come back, even if they had taken other jobs.... It's not impossible, but I'm absolutely assuming there won't be a season four."

Bottom line for Milch is the work. He expects the same from his audience. As for HBO, well, that's a Deadwood horse of a different color.

"For me, trying to stay sane is a full-time job without trying to figure out what's going on in someone else's mind."

http://www.philly.com/mld/philly/entertainment/television//14643414.htm?template=contentModules/printstory.jsp

TV Notebook
Taylor vs. Kat

No matter how it ends, American Idol has offered an absorbing contest the fifth time around.
By Hal Boedeker Orlando Sentinel Television Critic May 23, 2006

No matter how it ends, American Idol has offered an absorbing contest the fifth time around. Neither finalist this year on the Fox hit seems likely to eclipse first victor Kelly Clarkson in the professional arena. But Taylor Hicks and Katharine McPhee have talent, fans and potential. They deliver their singing duel at 8 tonight on WOFL-Channel 35. The winner will be revealed in a two-hour extravaganza at 8 p.m. Wednesday. Ultimately, both singers are winners after appearing on the country's most popular series.

Back story

Taylor Hicks: The singer, 29, from Birmingham, Ala., is a big exponent of white soul. He has sung since early boyhood, played his harmonica in bars as a teen and formed a band. Hicks told USA Today that he admired Joe Cocker for "breaking barriers. Kind of like what I'm doing."

Katharine McPhee: The Los Angeles singer, 22, has performed since age 2 and trained with her mother, a vocal coach. McPhee told The Associated Press that too much singing advice could hurt her: "I overthink everything instead of going out there and being me."

As time goes by

Hicks: The gray-haired fellow just wants to have fun. Neither the show's pressures nor the judges' harsh comments can stop his exuberant displays. He has many fans, who admire his spirit. He also has many detractors, who find him goofy.

McPhee: In the beginning, she looked stiff. She has loosened up a good deal in recent rounds. The surprising thing, however, is that she rises in popularity when she does little. She has soared when sitting or kneeling to deliver a song. She shouldn't exert herself tonight.

Best move

Hicks: Keeping it simple. He was at his best on "Something," "You Are So Beautiful" and "In the Ghetto." He was restrained each time. Unfortunately, he wants to dance, too. He should fight that urge.

McPhee: Her "Over the Rainbow," which was lovely for its simplicity. Simon Cowell called it the show's best performance this season. He picked the song for her, but he was right. She created an Idol-defining moment, and she needs to deliver a few more tonight.

Worst move

Hicks: Take your pick. Falling to the floor at the end of "Play That Funky Music." Simon Cowell called that move horrible. Or failing to kick down a microphone stand during "Crazy Little Thing Called Love." The latter stunt made him look like an awkward lounge singer.

McPhee: Take your pick. She forgot the lyrics during the Elvis Presley show. And she transformed "Can't Help Falling in Love," a lovely song, into a bombastic bore. She has a terrible tendency to over- sing, which makes her erratic. Maturity should cure her of it.

Overall performance

Hicks: Is Hicks charming or overwrought? Either way, he's the favorite. His fan base is strong. On The Tonight Show, Simon Cowell predicted victory for Hicks. But it's a victory that many Idol viewers won't applaud. He's just too much.

McPhee: She's the underdog, but she has star appeal and stages amazing comebacks. She was delightful on "Black Horse and the Cherry Tree." Sure, she should have been voted out after the Presley show. But at her best, she's better than Hicks.

Future

Hicks: Hard to gauge. Does America want another singer who looks like Michael McDonald and sounds like Joe Cocker? Could be. Hicks' great charm could carry him far.

McPhee: She could have a big career -- if she follows the judges' advice. She's not a diva. So stop belting. Her voice will last longer, and she'll stand out in the music industry.

http://www.orlandosentinel.com/entertainment/tv/orl-idol06may23,0,5693958,print.story?coll=orl-caltvtop

TV Review
`Alias' ends with tears, and answers

By Matthew Gilbert The Boston Globe staff May 23, 2006

It was nonsensical. It was overcrowded with incident. It was a twisted family soap opera drowning in tears.

It was ``Alias." And it will be missed.

Last night, ABC forked over two hours of precious May sweeps time so that ``Alias" fans could have resolution regarding the mysteries that have fueled the show during its five-year run. And the episode did succeed in providing a sense of resolution, if not real resolution, since the all the spy-versus-spy complications and the Rambaldi science-fiction plot had long ago reeled so far out of control as to be inexplicable.

By the end of the episode, when the producers flashed ``Thank You for Five Incredible Years" on the screen, you felt that a long chapter in Sydney Bristow's life had truly come to an end. The endless duplicity, parental manipulations, and shocker twists were clearly over.

Sydney's mother and father both died, he trying to save the world and she trying to destroy it. The 12 members of Prophet 5 were also dead. Meanwhile, Arvin Sloane, the villain with the taut face and the fashion glasses, got his due -- both the eternal life he fought for and eternal entombment, thanks to the dying Jack's final act. ``You beat death, Arvin," Jack proudly told him, ``but you couldn't beat me." And Sloane will live completely alone, as the ghost of his daughter, Nadia, deserted him.

Oddly, Victor Garber delivered a surprisingly cold performance as Jack. As he lay dying, trying to be brave for his daughter, he spoke with even less affect than usual, merely breaking up his sentences with breaths to indicate suffering. Of course, that didn't stop Jennifer Garner from giving her usual all, sobbing with heartbreak as she left her dying father at his urging, to finish her work. You've got to admit, Garner can really do tears.

The episode's epilogue offered a bittersweet view of Sydney and Vaughn. Set a few years after the deaths of Jack and Irina, it showed them living in a beach paradise with their two children, Isabel and her younger brother, named (get out the hankies) Jack. They're in happy retreat from the world of spying, but who's that coming to visit? It's Dixon, hoping to entice the couple back into action. Judging from Sydney's frumpy dress, I'm thinking she may be willing to go back into the business, if only to pick up a few new outfits and cool wigs.

http://www.boston.com/ae/tv/articles/2006/05/23/alias_ends_with_tears_and_answers?mode=PF

The 2006-2007 Season
Handicapping the coming fall season

By Diego Vasquez MediaLifeMagazine.com staff writer May 23, 2006, 01:15

It’s been a week since the networks began introducing their fall schedules, and thus far the biggest buzz has been over “Grey’s Anatomy’s” move to Thursday nights to anchor ABC’s long-struggling schedule.

But there’s also been lots of other buzz drifting out of the upfront presentations: media buyers like CBS’s “Shark,” which will replace “Without a Trace” on Thursday.

They think Tina Fey’s new NBC comedy going behind the scenes at a TV show displayed more promise than Aaron Sorkin’s new NBC drama going behind the scenes at a TV show.

And many of them were confused by the clips shown of JJ Abrams’ latest show, “Six Degrees,” which received the plum post-“Grey’s” timeslot, despite lacking a cohesive plot.

To break down the new schedules, Media Life spoke with Brad Adgate, senior vice president and director of research for Horizon in New York City; John Rash, senior vice president and director of broadcast negotiations at Campbell Mithun in Minneapolis; and John Padgett, media director at The Hauser Group in Atlanta.

What programming move do you see as having the most potential? How about the least?

Rash: The programming move with the most potential is replacing the "CBS Sunday Movie" franchise with two dramas: "Cold Case" and “Without a Trace.” TV movies have long been a programming platform to explore the issues of the day, but society sorts out contemporary life on compelling dramas like "Law & Order" and "Grey’s Anatomy."

These well-established CBS dramas should deliver more viewer loyalty than the movie, which by its nature is totally title-dependent.

Padgett: I like “Shark” on CBS, which has a strong Thursday night lineup and an open 10 p.m. slot, with “ER” [declining].

I also am interested in what Telemundo’s “El Gran Show” will do opposite Univision's "Sabado Gigante" on Saturday night. The least promising move, behind “Grey’s,” is NBC’s move to so many male-oriented programs. I don’t think they’ll have enough male viewers on Sunday night to drive them to other nights. I think “Friday Night Lights” on Tuesdays is a bad move.


What will be the more competitive night, Thursday or Sunday?

Adgate: Thursday will be more competitive than Sunday. ”Grey’s Anatomy” could mean that ABC wins the 9 p.m. time period on that night for the first time since “Millionaire” beat “Frasier” several years ago.

CBS and NBC are historically strong on Thursdays. “Smallville” and “The OC” will also grab their share of younger viewers.

Padgett: Thursday will be more competitive. CBS will capture the more traditional television viewers, NBC will do well with their strongest programs and strongest night. ABC’s “Grey’s” move will make 9 p.m. a huge network hour, and don’t forget “The O.C.” at the same time.

Sunday will be a strong night for CBS and ABC, but NBC will not compete well with more football after a full day of football on CBS and Fox.


After much talk last year about how “Everybody Hates Chris” and “My Name is Earl” were going to reinvigorate the comedy genre, there was a noticeable lack of comedies on everyone’s schedule. Does this mean that the networks simply had poor development, or are they moving away from comedy?

Adgate: The networks had roughly the same amount of comedies in development as dramas. I just think there is a lot of competition for comedies and for attracting younger consumers. When younger people think of a TV comedy, they would probably think of Jon Stewart or Steve Colbert on Comedy Central, not situation comedies.

“Arrested Development” was a funny and Emmy-winning comedy, it just never got any traction. The networks have been very patient trying to develop a comedy. With ratings among the networks very low, perhaps they are losing patience. Some of the late-night programs such as “SNL,” “Jimmy Kimmel,” “Conan O’Brien” are very funny.

Rash: Beyond the broadcasters, the entire entertainment industry is looking for the seminal sitcom to define the decade, much in the same way that “All in the Family” and “Mary Tyler Moore,” “Cosby” and “Cheers,” and “Seinfeld” and “Friends” book-ended the 70s, 80s and 90s.

Much of this has to do with technological proliferation and the resulting audience fragmentation, as the more individual nature of comedy is driven to a more distinct demography that separates by gender, generation and geographic lines.

Drama, conversely, is much more universal, and accordingly aggregates audiences that wouldn’t agree on a comedy. “Grey’s Anatomy” and “House,” for example, have the transcendent themes of life, death, love, fear, joy, as well as the gamut of emotions, and also have characters from all walks of life walk into the hospital. Comedy often features friends, such as in “Friends,” that are naturally more self-selecting and narrower.


What do you think of the CW’s new content wrap strategy, which will be a show within a show run during commercial breaks?

Adgate: CW’s wrap strategy addresses viewer engagement, which has become increasingly important to marketers. If this strategy doesn’t work, they will simply stop it. It’s worth a shot, though.

Padgett: I think they’re the only broadcast network that can realistically do it, with a younger viewing audience, but the content has to be compelling. That’s going to be the hard part. The content has to be as good as the concept.


Does the CW’s new schedule have enough cohesion to build an identity?

Adgate: With only two new shows in its lineup, there is a lot of familiarity with the shows, especially among teens and adults 18-34, that go a long way with any identity crisis. I was surprised that The CW kept “One Tree Hill” and cancelled “Everwood,” an indication of the youthful audience they are seeking and identifying with.

Rash: While some critics may look at the CW as a new network with old programming, it is a smart scheduling strategy that may breathe new life into several of the shows. Particularly the programming pairing of “Gilmore Girls” and “Veronica Mars” should finally give the promotional platform for “Veronica Mars” to live up to its programming potential.

Padgett: They have a good foundation to do well against younger demos consistently. But like any merger, time will tell what identity viewers ascribe to the network.


Fox emphasized stability with new dramas launching out of established ones and almost no quick-fix reality shows. Are they the network to beat going into next season?

Adgate: Fox has won adults 18-49 over the past two years and will be the network to beat next year until proven otherwise. I think they need to find a strategy to bolster their fourth-quarter ratings better, although there isn’t much they can do.

The new dramas show the same grittiness that FX has shown with “Rescue Me,” “The Shield,” etc., very strong character-driven dramas, especially “Justice,” which should go along well with “24,” “House,” “Prison Break” and “Bones.”

Rash: Next season’s ratings race looks as competitive as this year’s, with Fox’s fortunes dependent on their ability to continue to defy pop-culture gravity with “American Idol,” which shows no signs of slowing.

Padgett: For viewers 18-49, Fox is obviously a contender. However, they have to still be in the race when “American Idol” finally comes back in early 2007.

In my mind, CBS is the network to beat. They have been consistently strong for a number of years. They have shown consistent ratings, programming, scheduling and a view to total audience. Plus, having Super Bowl as a promotional platform should really help mid-year.


What is the most promising new show of the season? How about the least?

Adgate: The three comedies that looked the funniest were “30 Rock” on NBC, “Til Death” on Fox and “Help Me Help You” on ABC. The most promising dramas are “Shark” on CBS and NBC’s “Studio 60 on the Sunset Strip.” “Brothers & Sisters” on ABC is in a great time period after “Desperate Housewives.” It could be big hit, especially counter-programming football.

I don’t have high hopes for ABC’s two comedies on Thursday night, “Big Day” and “Notes from the Underbelly.” It’s tough enough for comedies, and leading them off on Thursday night opposite “Survivor” and established comedies on NBC may be too tough.

Rash: Full program evaluations are risky until full pilots are available. But many shows show signs of success, including “Shark” on CBS, “The Nine” and “Six Degrees” on ABC, “30 Rock” and “Studio 60” on NBC and “Vanished” on Fox.

The most interesting commercial and creative canary in the cultural coalmine are the anti-hero dramas “Smith” on CBS, “Justice” on Fox, and “The Black Donnellys” on NBC, as the embrace of the criminal side of the cops and robbers genre could represent a significant sociological shift.

Padgett: “Shark” on CBS is my pick for success. “Friday Night Lights” on NBC is the least promising.

http://www.medialifemagazine.com/artman/publish/printer_4905.asp

TV Notebook
Five lessons to be learned from this season's 'American Idol'

By Tim Cuprisin Milwaukee Journal Sentinel

When Taylor Hicks and Katharine McPhee take the stage at 8 PM ET Tuesday on the "American Idol" finals, they'll be drawing on things they've learned during a competitive season.

But even viewers can draw some lessons from the top-rated Fox show, which will announce its winner Wednesday night.

There's the usual stuff, like how a front-runner - say, Chris Daughtry - can be cut when the buzz says he's going all the way. But there are other things the show can teach:

EVEN SIMON CAN BE SORRY

Simon Cowell doesn't usually take back his jibes. But he made a couple of apologies this season. Last month, he changed his mind on Katharine's performance after watching it on TV.

On the Feb. 15 show, he apologized, not for a critique, but for his meanness to plus-size Mandisa Hundley. During her Chicago audition, Paula Abdul had compared Hundley to a previous contestant, Frenchie Davis. Simon snarked, "Forget Frenchie; she's like France." And he cracked, "Do we have a bigger stage this year?"

When she made the cut, he finally managed to get out, "I do apologize."

IT'S CLASSY TO FORGIVE

And Mandisa showed her grace even before the apology.

"You hurt me, and I cried and it was painful, it really was. But I want you to know that I've forgiven you and that you don't need someone to apologize in order to forgive somebody. I figured that if Jesus could die so that all of my wrongs could be forgiven, I could certainly extend that same grace to you."

Simon said he was "humbled," but of course, that was just a temporary condition.

IT'S OK TO CRY

The season was full of tears, from Paris Bennett, who cried nearly every time one of her fellow performers got the ax; to Katharine's dad, who wept every time his daughter sang; to Paula, who cries each time a male singer leaves.

But it was lanky high school athlete and straight-A student Ayla Brown who actually cried when she found out she was sent packing, something rare on the show.

"I never cry," the 18-year-old said before performing her final song on the March 9 show.

"It's OK to cry," host Ryan Seacrest, said, to comfort her, "because you care."

Or because you just lost.

THINK TALENT PLUS STYLE

Performers with just one or the other don't last too long. Take Kevin Covais, the 16-year-old who was branded "Chicken Little" for his geeky looks. He tried to out-snark Simon, and even Paula praised his "moxie" - the week he was cut from the show.

A week later, 16-year-old Lisa Tucker was sent packing. She had the other half of the equation, a powerful, professional voice but nothing to set her apart.

Could it be that 16-year-olds are just too young for this?

IT'S ALL ABOUT NUMBERS

It's not the vote total or the age limit - raised last year to 28, thus allowing the prematurely gray Taylor Hicks to compete - that's most important when cipherin' the success of "Idol."

It's the number of people watching, and the Fox show demonstrates that a show can be stronger than ever after five seasons on the air.

Nielsen Media Research clocked nearly 29 million viewers for the May 9 performance, and nearly 28 million for the May 10 results show. For the season thus far, the Tuesday show averages 31 million, and Wednesday's show has more than 29 million viewers, making them the top two shows for the season overall.

http://www.ohio.com/mld/ohio/entertainment/television/14640221.htm?template=contentModules/printstory.jsp

The 2006-2007 Season
Handicapping the coming fall season

By Diego Vasquez MediaLifeMagazine.com staff writer May 23, 2006, 01:15

What do you think of the CW’s new content wrap strategy, which will be a show within a show run during commercial breaks? What's this all about?

Xesdeeni

Xesdeeni:

CW Net Offering 'Wraps' Within Commercial Pods

(from mediaweek.com)

• New York The CW network, the combined successor to UPN and The WB cable TV nets, will offer advertisers the opportunity to buy Content Wraps, an innovative technique within its in-show commercial pods for next season.

• The vignette would be structured as a 15-second advertiser-sponsored lead-in, product integration within the story, possibly an advertiser screen crawl during the story and an advertiser lead-out.

• "The advertiser would own the commercial pods and we would work with them to create the content," said CW sales chief Bill Morningstar.

TV Notebook
Charles Gibson Named Sole Anchor of 'World News Tonight'

(from abcnews.go.com)

Elizabeth Vargas to Step Down to Take Maternity Leave and Return to Co-Anchor '20/20' and Anchor ABC News Specials in the Fall

May 23, 2006 — ABC News has named Charles Gibson to be sole anchor of "World News Tonight."

"Charlie Gibson is one of the most distinguished journalists on television. He is a superb broadcaster, the consummate professional, and a very familiar presence to the audience and everyone at 'World News Tonight,'" said ABC News President David Westin, who announced the decision today.

Gibson's new assignment will take effect on May 29. He will continue as a co-anchor of "Good Morning America" until June 30.

"I am humbled to accept this new assignment. I have witnessed firsthand the grace and determination of every member of the staff of 'World News Tonight.' I look forward to joining this extraordinary team and to helping the broadcast start a new chapter," Gibson said.

The announcement comes after a week of strong ratings for "World News Tonight." The broadcast averaged 7.71 million viewers, outperforming CBS' "Evening News" by 510,000 total viewers and 470,000 adults in the key 25 to 54 demographic last week.

Following the death of "World News Tonight" anchor Peter Jennings in August 2005, Elizabeth Vargas and Bob Woodruff were named co-anchors of the broadcast in December 2005.

Vargas said today she had chosen to step down to take maternity leave and later return to co-anchor "20/20" and ABC News specials.

"Going forward Elizabeth Vargas has asked that we limit her responsibilities to anchoring '20/20' and special primetime hours," Westin said. "From the moment Peter became ill, no person in this organization has stepped up more than Elizabeth. I have nothing but respect, gratitude and admiration for the work she has done on our behalf oftentimes under enormously stressful conditions. Elizabeth is absolutely vital to the success and future of ABC News."

Vargas said she had made the decision after consulting with her doctors.

"David and I have been talking for some time about what would happen as my maternity leave approaches," Vargas said. "My doctors have asked that I cut back my schedule considerably. What works best for me and my family is to return in the fall to '20/20' as I raise my new baby and young son."

"I have loved every day I spent at 'World News Tonight' and have endless respect for my colleagues there," Vargas said. "This broadcast needs someone who can give 150 percent -- day in and day out. I am not in a position to give that right now, and it wouldn't be fair to do any less. In Charlie, this broadcast and news division has a wonderful and respected leader."

Westin added, "Charlie's taking over 'World News Tonight' will give Bob Woodruff the extended period that he needs to recover and return to the air for ABC News. All of us look forward to that day, but it will be on Bob's timetable, not ours."

Woodruff is recovering from injuries sustained in January while reporting from Iraq.

Woodruff said, "Elizabeth and I set out on a great adventure this year, and I'm proud of what we accomplished. Elizabeth had to shoulder an enormous job when I was injured, and she did it with grace. Charlie Gibson is a mentor and a friend. I look forward to contributing to his broadcast as soon as I'm able."

Diane Sawyer, Gibson's co-anchor on "Good Morning America," said, "I know Elizabeth will bring great reporting to primetime as she always has, and Charlie will be wonderful on 'World News Tonight.' I will be watching him every night."

For the month of June, Gibson will work double duty at both "Good Morning America" and "World News Tonight."

He will co-anchor "Good Morning America" with Sawyer and Robin Roberts Monday to Wednesday each week, and anchor "World News Tonight" Monday to Thursday. Beginning in July, he will anchor "World News Tonight" exclusively.

Gibson returned to "Good Morning America" to relaunch the broadcast with Sawyer on January 18, 1999. He previously co-anchored the morning program from 1987 to 1998. In addition, Gibson was also co-anchor of "Primetime Thursday," now known as "Primetime," and was a regular substitute anchor on "World News Tonight."

On the political beat, Gibson has interviewed each of the last seven American presidents and has anchored many broadcasts from Republican and Democratic national conventions as well as presidential inaugurations.

In February 2003, Gibson anchored "Good Morning America" from NASA's Johnson Space Center in Houston to report on the loss of the space shuttle Columbia. Anchoring "Good Morning America" on Sept. 11, 2001, Gibson, along with Sawyer, began the network's award-winning coverage of the attacks on the World Trade Center.

Gibson has also interviewed leaders from around the globe, including Kofi Annan, Tony Blair, the late Yasir Arafat, and Nelson Mandela.

Gibson is a graduate of Princeton University, where he was news director for the university's radio station, WPRB-FM.

A native of Evanston, Ill., Gibson grew up in Washington, D.C. He and his wife, Arlene, live in New York. They have two daughters.

http://www.abcnews.go.com/WNT/print?id=1993658

The 2006-2007 Season
Sundays, suddenly in hot contention

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 23, 2006

A year ago, it seemed unthinkable for any network to even consider programming aggressively against ABC on Sunday nights. “Desperate Housewives” was peaking, “Grey’s Anatomy” was gaining, and “Extreme Makeover: Home Edition” was beating even Fox’s “Simpsons” among adults 18-49.

When the other networks announced their schedules last spring, they put on virtually nothing to challenge ABC on the night.

What a difference a year makes.
With “Housewives” on the decline since January and “Grey’s” moving to Thursdays come fall, suddenly ABC seems vulnerable, and three of the other four networks are mounting very aggressive new challenges on the night.

It’s entirely possible that ABC will lose its edge. At the very least, the edge will become much duller.
With NBC’s “Sunday Night Football,” CBS’s “Without a Trace” and the CW’s urban sitcom block all moving to the night, Sunday will be competitive for the first time in two years.

“Moving ‘Without a Trace’ to Sunday night has the most potential of any programming move this season. It is the highest night for TV usage levels, and CBS used to rule that night until ABC bolstered it in recent years. Clearly CBS wants it back,” says one media researcher.

The other networks have chosen their counter-programming carefully, picking shows they believe will appeal to audiences that are somewhat different than “Housewives” viewers. The CW is courting black viewers, NBC is going after men, and CBS is wooing the older end of the 18-49 set.

All of those groups are watching ABC’s Sunday lineup but not in the sort of numbers they did last year.

“Housewives” has been fading since midseason. Sunday’s season finale posted its best 18-49 average since February, a 9.9, but that was down 26 percent from last year’s season finale, at a 13.4.

Meanwhile, “Home Edition” has dipped from a 6.5 average last season to a 5.9 this year, a falloff of 9 percent. That decline has been even greater during sweeps. It will receive a steep challenge at 8 p.m., facing the CW’s “Girlfriends” and “The Game,” which has gotten good early buzz, as well as the first hour of NBC’s “SNF” and the relocated “Amazing Race” on CBS, which appeals to the same family demographic.

In all, Sunday night will have nine timeslot changes for returning shows, also including switches on Fox’s comedy block, and three new shows, including ABC’s “Brothers and Sisters.”

By comparison, last year there was just one new show, Fox’s “War at Home,” and no other siginificant timeslot switches.

It’s still possible ABC could regain the dominance it showed earlier this year on the night. “Brothers” has received good early buzz from media buyers, who say the presence of Calista Flockhart, in her first show since “Ally McBeal,” may draw viewers.

And “Housewives” was up quite a bit over recent weeks for its finale, which ended the unpopular storyline about Betty Applewhite and her mysterious children.

But more likely, Sundays will become a night where all of the networks are able to carve out a niche. It may have the five strongest schedules for any night of the week, with no one network looking particularly weak. It will certainly be more interesting than the past two years, when ABC often doubled its nearest competitor.

As a report from Magna Global about CBS’s new schedule concludes, “Moving its hit ‘Without a Trace’ over from Thursday carries some risk but is certainly a risk worth taking, particularly with both ‘Grey’s Anatomy’ and ‘Crossing Jordan’ vacating the hour.”

http://www.medialifemagazine.com/artman/publish/printer_4906.asp

TV Notebook
Tonight’s Finale

“House” 9 PM ET/PT, Fox:

TV Notebook
ABC News Taps Gibson as Solo Anchor

By Allison Romano Broadcasting & Cable 5/23/2006

Ending months of speculation, ABC News on Tuesday officially tapped veteran newsman Charlie Gibson to be the new solo anchor of World News Tonight and bumped current co-anchor Elizabeth Vargas from the anchor desk.

Vargas, who is expecting her second child and planned to go on maternity leave in August, will anchor until Monday, May 29. Going forward, she will continue to co-anchor newsmagazine 20/20 and host special hours in the fall.

ABC did not, however, define a role for Vargas’ co-anchor Bob Woodruff, who was injured in a roadside attack in Iraq earlier this year. The timetable for Woodruff, who is recovering in his suburban New York City home, to return is uncertain.

“Charlie Gibson is one of the most distinguished journalists on television. He is a superb broadcaster, the consummate professional and a very familiar presence to the audience and everyone at World News Tonight,” ABC News President David Westin said in a statement.

"I am humbled to accept this new assignment.” Gibson said. “I have witnessed firsthand the grace and determination of every member of the staff of World News Tonight. I look forward to joining this extraordinary team and to helping the broadcast start a new chapter.”

By naming Gibson to the anchor desk, ABC gains much-needed stability for its evening newscast but is forsaking a key player in its morning team. With Gibson a co-host of Good Morning America with Diane Sawyer and Robin Roberts, the morning show has made solid inroads against NBC’s Today. And with Katie Couric departing Today for CBS News at the end of the month, some insiders believed Westin would be reluctant to pull Gibson off GMA at a time when the ABC show could make a run for first place.

Gibson will continue to co-host GMA through June on Monday-Wednesday and will anchor World News Tonight Monday to Thursday. Starting in July, he will exclusively anchor the evening newscast. ABC has not said if and when it will replace Gibson on GMA, although Sawyer and Roberts are more than able to carry the newscast on their own.

The Gibson news comes after CBS Evening News beat World News Tonight in total viewers for the first time in five years the week of May 8. By last week, World News Tonight was back in second place (NBC Nightly News is the top-rated evening news). For the week of May 15, World News Tonight averaged 7.71 million total viewers and a 2.2/9 in the key 25 to 54 demographic, while CBS averaged 7,200,000 viewers and a 1.9/8 in the news demo. NBC attracted 8.5 million viewers and a 2.3/10.

HDTV Notebook
Where Does HDTV Stand Now?

“The Bridge” has put out a fairly comprehensive look at the current and future state of HDTV.

You can access it here:

http://www.mbc-thebridge.com/archives/pdf/HiDef_BR052606.pdf

TV Notebook
Gibson steps into 'World News'

Alphabet responds to threat from CBS's 'Evening News'
By Michael Learmonth Variety.com Tue., May 23, 2006

NEW YORK -- ABC's "World News Tonight" is ending its experi-ment with a sole-female anchor, announcing that Elizabeth Vargas would step down in favor of "Good Morning America" co-anchor Charlie Gibson effective Monday.

Gibson, 63, will take over the faltering "World News Tonight" on a permanent basis just months after the 31-year ABC veteran was passed over by the network in favor of a younger generation represented by Vargas and Bob Woodruff.

But those plans were quickly thrown into disarray when Woodruff was injured in a near-fatal bomb attack in Iraq, leaving Vargas as sole anchor of the newscast. Last spring Vargas, 43, announced she has unexpectedly become pregnant.

Initially, Vargas said she would take a short maternity leave in late summer and return to the helm of "World News Tonight" in the fall, but said her "doctors have asked that I cut back my schedule considerably."

ABC News president David Westin said Vargas would return as anchor of the newsmagazine "20/20" and occasional primetime specials.

ABC News has been searching for an answer for "World News Tonight" since longtime anchor Peter Jennings died of cancer last August. Since then, the broadcast has lost nearly a million viewers, turning a commanding second-place position into a precarious one.

Last week CBS's "Evening News" passed "World News Tonight" in total viewers for the first time since 2001. "World News" has since regained the lead by 510,000 viewers, but the network was threatened enough by CBS's surge to quickly make a change.

Gibson will continue to co-anchor "Good Morning America" through June, but his departure will break apart his successful partnership with Diane Sawyer in the morning.

ABC has not announced a replacement for Gibson on the second-ranked morning show, which last year came within 50,000 viewers of unseating NBC's mighty "Today Show."

Monday’s prime-time ratings – and Media Week Analyst Marc Berman’s view of what they mean -- have been posted at the top of Ratings News the first post in this thread.

Overnights in the 18-49 Demo
Fox's '24' finale tops a strong season

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 23, 2006, 09:45

After five seasons, Jack Bauer still hasn’t run out of ways to save the world, and for the second year in a row, that was more compelling than watching CBS’s comedies end their seasons.

Last night Fox’s two-hour “24” season finale averaged a 5.4 overnight rating among adults 18-49, winning the night for the network and capping what may be the strongest season yet for the drama.

That was up 6 percent over last year’s season finale, which averaged a 5.1. CBS averaged a 4.7 last night, well behind Fox. That mirrored last year, when Fox edged CBS for a rare Monday win on “24’s” finale night.

This year, Fox has won Monday more frequently as CBS’s comedies declined. Last night’s “24” peaked with a 5.9 at 9 p.m.

That overshadowed most of the other finales last night. CBS’s “CSI: Miami” was the only one to do better, averaging a strong 6.6. ABC’s “Alias” series finale averaged just a 2.7, though that was above what it had been doing Wednesday nights opposite Fox’s “American Idol.”

Meanwhile, NBC finished third on the night with a 4.1/10. ABC followed with 3.0/8 and Univision with 1.5/4. WB and UPN tied at sixth place with 0.9/2.

Fox started the night in first place at 8 with a 4.9 for the first hour of the “24” finale. NBC’s 4.5 for “Deal or No Deal” was second, ABC’s 3.8 for “Oprah Winfrey’s Legends Ball” third, and CBS’s 2.6 for the finale of “King of Queens” and an episode of “Old Christine” fourth. Univision was fifth with a 1.0 for “La Fea Mas Bella” while UPN and WB tied for sixth with a 0.7 for repeats of “One on One” and “All of Us,” and “7Th Heaven,” respectively.

At 9, the “24” finale put Fox ahead with a 5.9, followed by CBS’s 4.8 for the finales of “Two and a Half Men” (5.2) and “Old Christine” (4.5). NBC was third with a 4.0 for “Apprentice,” ABC fourth with a 2.6 for the “Alias” series finale, Univision fifth with a 1.5 for “Barrera de Amor,” WB sixth with a 1.2 for “Everwood” and UPN seventh with a 1.0 for repeats of “Girlfriends” and “Half and Half.”

At 10, CBS led with a 6.6 for the finale of “CSI: Miami,” followed by NBC with a 3.8 for the “Medium” finale and ABC with a 2.8 for the second hour of the “Alias” finale.

CBS won the night among households with 9.0/14, followed by Fox with 8.1/12, NBC with 7.3/11, ABC with 5.8/9, Univision with 1.9/3, WB with 1.6/3 and UPN with 1.4/2.

• Source: Nielsen Media Research data

TV Notebook
'Desperation,' and maybe just in time

By Diego Vasquez MediaLifeMagazine.com staff writer May 23, 2006, 01:00

Entering the May sweeps, it seemed as though ABC was in a good position, coming off strong performances in the February and November sweeps and airing two of the top four shows among adults 18-49 on television, “Grey’s Anatomy” and “Desperate Housewives.”

But a string of disappointing sweeps stunts, combined with a decline for shows like “Housewives” and “Lost” since the last sweeps period, has ABC sitting in third with just two nights to go. Now its worry is not catching up to Fox for first place but rather making sure it doesn’t fall behind NBC for fourth.

Tonight the network airs its final sweeps stunt, the three-hour Stephen King movie “Desperation.” It airs opposite part one of the season finale of Fox’s “American Idol” and “House,” as well as a country music awards special on CBS, meaning that it may become the latest of ABC’s sweeps stunts to flop.

The network’s bird flu movie was DOA, and the Daytime Emmys sank to their smallest ratings ever. While David Blaine’s special “Drowned Alive” did well, specials like “Celebrity Debut” did not.

Through Saturday night, with four nights left, Fox has averaged a 4.2 adults 18-49 rating and 12 share during sweeps, up 5 percent versus the same time last year. CBS trails at 3.7/10, ABC at 3.3/9 and NBC at 3.2/9.

Unlike the avian flu flick, “Desperation” has gotten decent reviews. It may at the very least better ABC's usual fourth-place Tuesday average.

“The real surprise is that, for all the times King has taken us down this creepy path, he can still evoke chills and thrills over and over again,” writes Barry Goron of Reuters.

http://www.medialifemagazine.com/artman/publish/printer_4902.asp

TV Review
King unleashes evil and scares up a tiresome tale

By Robert Lloyd Los Angeles Times Staff Writer May 23, 2006

Airing tonight (8-11 ET/PT) on ABC, "Desperation" or "Stephen King's Desperation" as it is officially unfortunately known, is like Frankenstein's monster: a thing sewn together from parts dug up here and there — some from the author's own backyard. Even one not completely versed in his considerable canon will ken that these balls have been fired elsewhere. The novel on which it is based was considered a return to the good old King of scares and gore when it was published in 1996, and given that King himself is the screenwriter here as well as an executive producer, it's safe to say that he approves of its cinematic translation.

In fact, "Desperation" plays close to a parody at times. Like many a creep show, it depends on people acting dumb: going into that room they oughtn't, not heading off to contact the FBI when they find themselves in a town full of corpses. The old, dark country road on a rainy night that leads the honeymoon couple to the haunted house here becomes a two-lane road through the middle of the sunny desert, a road our various heroes and victims have elected to take to wherever they're going instead of the more usual, efficient, friendly, faster interstate, with its available gas and a McDonald's at every exit . All fall afoul of Ron Perlman's big, loud, funny, sadistic, apparently crazy sheriff, who has something inside his head that wants to bust things up. You will not be surprised to hear that it is an affliction of a demonic variety.

Directed by Mick Garris (who also directed King's "The Stand" and "Riding the Bullet"), the film goes along quite well, with the usual grabs and gotchas no less effective for being so familiar, as long as no one is talking. While we are in dark rooms, or are waiting for that other shoe to drop — with a foot in it, and dealing with snakes and spiders, mean dogs and various icky insults to the human body, the film works pretty much as it's meant to. And then someone opens his mouth, and something like wit or thought is offered. But the wit isn't witty — "Don't call me cookie, and I won't call you cake" is what passes for a snappy line — and the thought is no deeper than what you'll hear in a junior high comparative religions class.

The notable exceptions are the nutty baroque monologues King wrote for Perlman's sheriff, who is inhabited by the villain, an ancient god named Tak who lives in a well in a recently reopened mine and works by proxy through various nearby agents — though only one at a time, which seems a horribly inefficient arrangement, and in fact, is. (There is nothing that makes evil seem quite so banal as movies about devils.) The longer the film goes on the more apparent it becomes how underwhelming it will all be in the end, and once Perlman is gone almost all of the fun goes out of the movie. Even though he is tempted by "Big Ideas" and "Serious Drama," I would imagine that King wants his books and the movies that come from them to be fun.

Along with King's favored themes of possession and cyclical supernatural history, there is some ho-hum business about cowardice and redemption. But there is also a more than usual emphasis on God, to whom one character — an 11-year-old-boy played by Shane Haboucha — has been praying in recompense for, he believes, saving the life of a friend who was hit by a car. (God, in his infinite whatever, does not keep such a good eye over Shane's own family, however.) His new belief has made Haboucha spookily even-tempered in a way that we usually associate with cult members, and he is given some grief about it by his adult companions, but he becomes the little child who leads them in their skirmish in the ongoing battle of Good versus Evil.

Lined up behind him and against Tak are a number of performers known for their work in the fantasy field. There is Matt Frewer, who was "Max Headroom," and Steven Weber, who played the Jack Nicholson role in the TV remake of "The Shining," and Henry Thomas, who was "E.T.'s" little friend. Perlman, of course, was the Beast on "Beauty and the Beast" and many strange characters before and since, including "Hellboy" and a baddie in "Blade II." Charles Durning, Sylva Kelegian and Annabeth Gish are here, too, and so is Tom Skerritt, as a writer in the midst of a late midlife crisis who harbors a dark secret and debates the nature of God and Tak and Free Will with little Shane Haboucha. ("Yeah, good old free will," snorts Haboucha skeptically, and most improbably). Some of them die, some of them don't.

http://www.calendarlive.com/tv/cl-et-desperation23may23,0,5249890,print.story?coll=cl-tvent

Here's a TV grid for the FALL 2006 schedules as announced at the upfronts. This will almost certainly change before Fall (cough, Studio 60, cough), but should provide a good starting point when it comes to Tivo scheduling etc.

Note that it is a zipped Excel file, and ZIP files will no longer allowed for upload on AVS. I will keep the file up to date in Excel fomat, but I'd appreciate it if someone that can convert to pdf in the future can contact me and I'll email the final version for conversion so it can be uploaded just before the fall season starts.

Colors are "AVS Dark Theater" theme - apologies to the "White" rebels. :)

Thanks, CP95...good work!

It is interesting to note the continuing advance of the quantity of HD offered.

CBS will broadcast 18 of 22 hours in HD.
NBC will broadcast 18 of 22 hours in HD.
ABC will broadcast 15 of 22 hours in HD.
Fox will broadcast 8.5 of 15 hours in HD.
MyNetworkTVwill broadcast all 12 of its hours in HD.
CW will broadcast 8 of 12 hours in HD.

That is 79.5 of 105 prime time network hours to be offered in HD this fall.

Slowly, things are getting better.

I did make some assumptions for the 2 or 3 I wasn't sure of - if it's new, it's HD - if it was SD it still will be. As Scrubs showed us in the season finale, we can't always assume.

Here's a TV grid for the FALL 2006 schedules as announced at the upfronts. This will almost certainly change before Fall (cough, Studio 60, cough), but should provide a good starting point when it comes to Tivo scheduling etc.

Note that it is a zipped Excel file, and ZIP files will no longer allowed for upload on AVS. I will keep the file up to date in Excel fomat, but I'd appreciate it if someone that can convert to pdf in the future can contact me and I'll email the final version for conversion so it can be uploaded just before the fall season starts.

Colors are "AVS Dark Theater" theme - apologies to the "White" rebels. :)

Looking at that grid, it looks like I won't be a slave to the TiVo like I was this year. There just aren't nearly as many shows I'm interested in.

TV Notebook
ABC names Gibson its nightly anchor

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 23, 2006

For the last six months, ABC’s “World News Tonight” has been sinking. Two weeks ago, for the first time in nearly five years, the nightly newscast slipped behind longtime No. 3 CBS among total viewers.

It became clear that ABC, whose anchor situation has been in flux since Peter Jennings died last summer and co-replacement Bob Woodruff was injured in Iraq, would have to do something, and do it quick lest it risk even further declines.

This morning the network named Charles Gibson, who has been sharing anchor duties with Elizabeth Vargas and Diane Sawyer, the newscast’s permanent anchor.

He’d been in the running late last year, when ABC named Vargas and Woodruff co-anchors, but the two sides got tripped up over contract negotiations.

Gibson will leave “Good Morning America” for good June 30. He starts his “World News” duties Monday. Vargas, who is pregnant, will become co-host of “20/20” when she returns from maternity leave this fall.

“World News” has seen significant declines since last year. It’s averaging 8.47 million total viewers, down from 9.40 million last year at this time, and is down 11 percent in households from a 6.6 to a 5.9 rating.

CBS is the only news show to gain viewers this year, up to 7.57 million from 7.29 million and gaining 2 percent in households to a 5.3.

In recent weeks, ABC’s losses have been steeper while CBS has been making gains, and for the week ended May 14, CBS finally finished ahead, though by fewer than 100,000 viewers.

ABC’s decision signals a shift of sorts for the network, which had been gaining on longtime No. 1 morning show “Today” on NBC. By breaking up its morning host duo of Gibson and Sawyer, ABC probably won’t be moving ahead anytime soon.

But at the same time, with Katie Couric set to leave “Today” this week, perhaps ABC felt like “GMA” had the better chance without Gibson, while the nightly news needed him more.

ABC has not made a decision on who will replace Gibson on “GMA.” Robin Roberts is also a co-anchor.

Of course CBS’s “Evening News” is expected to gain even more momentum later this summer, when Couric becomes the anchor. Getting Gibson settled in before then seems like a wise move.

ABC did not release financial terms of Gibson’s deal. It also did not say what Woodruff will do if and when he returns from his head injury, saying only that it will be up to him to decide when he returns.

"I am humbled to accept this new assignment. I have witnessed firsthand the grace and determination of every member of the staff of 'World News Tonight.' I look forward to joining this extraordinary team and to helping the broadcast start a new chapter," said Gibson in a statement.

http://www.medialifemagazine.com/artman/publish/printer_4931.asp

Here's a TV grid for the FALL 2006 schedules as announced at the upfronts. This will almost certainly change before Fall (cough, Studio 60, cough), but should provide a good starting point when it comes to Tivo scheduling etc.

Note that it is a zipped Excel file, and ZIP files will no longer allowed for upload on AVS. I will keep the file up to date in Excel fomat, but I'd appreciate it if someone that can convert to pdf in the future can contact me and I'll email the final version for conversion so it can be uploaded just before the fall season starts.

Colors are "AVS Dark Theater" theme - apologies to the "White" rebels. :)
Fall Schedule in pdf.

Nice keenan, I'll pm you when the final fall and spring schedules are set and see if you can convert.

TV Notebook
''24'' (Don't Read If You Haven't Watched)

By Rich Heldenfels in his Akron Beacon Journal TV blog May 23, 2006

I don't as a rule watch ''24'' every week because the ridiculousness of it eventually overwhelms my mild enjoyment of the action when I have to wait seven days between episodes. DVD boxes, gobbled as quickly as a box of Sugar Babies, are a much better way to go.

But I did tune in for the two-hour finale and found it better than the ''Alias'' farewell, even if ''Alias'' wasn't quite as preposterous.

For one thing, I actually knew what was going on in ''24,'' not always the case with ''Alias's'' even more convoluted plotting. ''24'' came up with a nifty cliffhanger finish for the season, with Bauer captured and carried off by the Chinese. Jean Smart, as the acting First Lady, was a great addition to the cast -- consider the look on her face when she gets seductive with her murderous husband, and the look near the end when she has seen to his comeuppance.

At the same time, though, you have any scene where Chloe has to frown and worry about dire consequences, always presented so seriously but comical in its redundancy. The action can get really nuts -- Jack hanging onto a bar but still able to snap a villain's neck with his legs, for instance. And, at the end of a day that includes an assassination, terrorists on the loose and the fall of the president, isn't just a little bit weird that two top anti-terrorism officials get a bit flirty?

http://blogs.ohio.com/beacon_tv/

One mistake in that grid, the current UPN schedule is listed at Monday night at 9pm, instead of the new show "Runaway."

Also, and I probably ought to put on my flame suit for this question, but what are the chances of 7th Heaven going HD along with it's new lease on life? If is stays in SD, it will be the last remaining live action, scripted show on network TV still in SD.

Nice keenan, I'll pm you when the final fall and spring schedules are set and see if you can convert.
Just a suggestion as I notice you're using the default AVS colors, but it's pretty dark looking when it's printed out.

Also, and I probably ought to put on my flame suit for this question, but what are the chances of 7th Heaven going HD along with it's new lease on life? If is stays in SD, it will be the last remaining live action, scripted show on network TV still in SD.
Wrestling is a live action scripted show isn't..? :D

Good point! I stand corrected. :)

Looking at that grid, it looks like I won't be a slave to the TiVo like I was this year. There just aren't nearly as many shows I'm interested in.

Funny that ... I was just thinking the exact same thing. I guess the creativity is diminishing in Hollywood.

# Matt

Good catch, Rocky, about the CW Monday at 9 PM.

But other than that, as best I can see, CP95's schedule is perfect.

TV Notebook
Live Plus 7 Ratings Debate Stalls Upfront Deals

By John Consoli MediaWeek.com May 23, 2006 -

The broadcast upfront marketplace negotiations are stalled because both the networks and media agencies are far apart in their discussions as to whether Nielsen Media Research's Live plus 7 day ratings should be factored in when guarantees are determined.

"Everybody's talking, but nobody is listening," said one network sales executive. "Live Plus 7 is the big hurdle. The agencies are pretty dug in on the side that says Live Plus 7 should not be used at all, while all the networks are taking a strong position on the opposite side. It feels like all the agencies have been talking with one another, because they are all taking the same position."

ABC Sales president Mike Shaw, who publicly said two months ago that he would not do business in the upfront with any agency that does not want to count Live Plus 7 ratings, is said to be taking the strongest position in that regard, refusing to open negotiations unless Live Plus 7 is factored in. Shaw could not be reached for immediate comment.

Media agency executives confirmed that the Live Plus 7 situation was delaying actual negotiations about pricing, and most felt that serious business would not get done until next week at the earliest. "We're not talking price yet," said one agency executive.

Several media agencies, known for doing early deals, have been trying to talk price, according to network executives, but until the ratings currency issues are resolved, the networks are holding back from doing any business. "We're not ready to talk price yet," said a network sales exec.

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1002540858

Revised.

Good (and quick!) work, CP95.

Now let's see how fast keenan is. :)

TV advertising's DVR challenge

http://news.com.com/TV+advertisings+DVR+challenge/2100-1024_3-6075233.html?tag=st.num

Wrestling is a live action scripted show isn't..? :D
IT'S SCRIPTED!!!! :eek: :mad:

(From Marc Berman’s Tuesday, May 23, 2006, Programming Insider column at Mediaweek.com )
Reader Feedback: The Best and Worst of the New Breed

“Question for you, Mr. TV: What new show do you think will be the biggest hit, and which will be the biggest flop next season?” -A.S., San Diego, CA

Marc Berman:

Since time period is pivotal, and NBC’s competing ER is heading into what could be an unlucky season No. 13, my pick for the biggest hit is CBS Thursday 10 p.m. legal drama Shark.

Led by James Woods, and airing out of CSI (which is still expected to pack a punch despite airing opposite ABC’s relocated Grey’s Anatomy), this story of a celebrity defense attorney in Los Angeles who becomes a prosecuting attorney for a squad of inexperienced lawyers sounds like a can’t miss.

Although new ABC drama Six Degrees is leading out of the red-hot Grey’s Anatomy, six strangers living in New York City who become friends after meeting through a mysterious set of circumstances sounds more limited (a la Alias) than mass appeal.

On the flipside is CBS Wednesday 8 p.m. drama Jericho, the oddball tale of a nuclear mushroom that creates havoc in a small Kansas town.

Without the benefit of any lead-in support, count on it to get stomped on by ABC’s competing (and relocated) Dancing With the Stars, NBC’s The Biggest Loser, Fox’s Bones, and the underrated America’s Next Top Model on the CW.

With no comedies in the hour, CBS would have been wiser to go for laughs than confusion.

Last week’s complete network average prime-time results (with demographic averages) are now at the top of RATINGS NEWS the first post in this thread.

Last week’s top 15 prime-time program ratings are now at the top of RATINGS NEWS -- the first post in this thread.

Hows this look? I have a 1280x800 widescreen display and not sure how it looks on a non-widescreen display. It's made with your latest revision posted.

Fall Schedule in pdf.

Good (and quick!) work, CP95.

Now let's see how fast keenan is. :)
Not as fast as Daryl L. :D

:) Just offering a helping hand. ;)

Good work both of you!

TV Notebook
ABC Rejects Dual Anchors in 2nd Shuffle

By Jacques Steinberg The New York Times May 24, 2006

Less than six months after naming Elizabeth Vargas and Bob Woodruff over Charles Gibson as the successors to the late Peter Jennings on "World News Tonight" on ABC, the network announced yesterday that it was scrapping its dual-host experiment and installing Mr. Gibson as the sole anchor.

ABC's move comes after Mr. Woodruff was seriously injured by a roadside bomb in Iraq in late January, sustaining head wounds that have since kept him from appearing on television, and after Ms. Vargas announced in February that she was due to give birth to her second child in mid-August.

Those unexpected changes in the lives of two up-and-coming stars — when combined with a drop in the program's ratings and the looming arrival of Katie Couric at CBS in September — touched off a series of sometimes tense meetings between ABC News executives in New York and those running its parent company, Walt Disney, in Burbank, Calif.

The conversations, said several executives who were privy to them but who were not authorized to discuss them, began to take on far greater urgency last week. At the time, "World News Tonight" briefly slipped from second to third in the news ratings, just as representatives of the network's station affiliates were gathering for their annual meeting in New York and advertisers were being presented with the fall prime-time schedule. Among those who had pitched themselves to the network's executives in recent weeks as a potential solution to its evening-news woes was Mr. Gibson's partner on "Good Morning America," Diane Sawyer, who was represented, at least in part, by one of the most powerful lawyers in the entertainment business, Allen Grubman.

But in the end, Mr. Gibson not only got the job he sought last year, but he also got it alone, as Ms. Vargas was shunted to the sidelines. When she returns from her maternity leave in the fall, it will not be to "World News Tonight," but to the prime-time news program "20/20." Mr. Gibson said in a telephone interview yesterday that he was most comfortable, at least on an evening newscast, as a solo anchor. "I am not a particular fan of two people sitting next to each other in a studio," he said. "It's a half-hour broadcast."

Earlier in the conversation, he had spoken with modesty of his elevation to the anchor desk, saying: "I am to some extent a creature of circumstance to horrendous events, Peter's illness and Bob's injury, and to a joyous event, but nonetheless one that affected all of us, which is the pregnancy for Elizabeth." Mr. Gibson, a host of "Good Morning America" on ABC for nearly two decades (except for a brief hiatus in the late 1990's), will take over "World News" beginning Monday night. But his real challenge will begin in September, when another popular morning host, Ms. Couric, takes over the "CBS Evening News," putting her in direct competition for viewers with Mr. Gibson and with "NBC Nightly News With Brian Williams."

Mr. Gibson's contract, which is lucrative but believed to be for far less money than the estimated $15 million that Ms. Couric is receiving annually, will keep him in the anchor chair until at least sometime after the 2008 presidential election.

The shuffling of anchor chairs at ABC is only the most recent fluctuation in a journalistic format that, for nearly a quarter century, was among the most stable in network television. In short order, beginning in December 2004, Tom Brokaw yielded to Mr. Williams, Dan Rather stepped down in the aftermath of a reporting scandal, and Mr. Jennings was diagnosed with lung cancer and later died.

While the ratings prize being sought by the successors to the so-called Big Three is a fraction of what it once was, in an age when news is available instantly on the Internet to say nothing of cell phones, the nearly 25 million viewers who collectively still watch the network news broadcasts each night are among those most valued by many advertisers.

Assigning Mr. Gibson, one of the best-known journalists on television, to the evening-news may solve one problem for ABC, but it could well create another. Mr. Gibson will leave "Good Morning America" permanently in July, at a moment when the broadcast could least afford to let him go. The program, which has been trying for years to overtake the ratings leader, "Today" on NBC, has seized on the looming departure of Ms. Couric (and the arrival of her replacement, Meredith Vieira) as a possible turning point. Now the two other hosts of "Good Morning America," Ms. Sawyer and Robin Roberts, will have to take on "Today" without Mr. Gibson.

In a press release put out by ABC yesterday, Ms. Sawyer offered warm congratulations to Mr. Gibson — "I'll be watching him every night," she was quoted as saying — but she did not address how much longer she might stay on in the morning. She did not respond to several telephone messages left for her with ABC publicists.

In an interview, David Westin, the president of ABC News, would not comment on widespread speculation within the news division that Ms. Sawyer, who joined "Good Morning America" when Mr. Gibson returned in January 1999, is considering leaving the program next year. But Mr. Westin did express ardent admiration for the work of a possible replacement: Campbell Brown of NBC, who had been a candidate to succeed Ms. Couric on "Today" and whose contract expires next year.

Mr. Westin said he felt no urgency to replace Mr. Gibson on "Good Morning America." But three broadcasters in particular are expected to be showcased in Mr. Gibson's absence, say those familiar with Mr. Westin's plans. They are Bill Ritter, an anchor on WABC-TV in New York and a correspondent on "20/20"; Bill Weir, a co-anchor of the weekend edition of "Good Morning America"; and Chris Cuomo, a legal affairs reporter for the network. ABC is also said to be interested in Anderson Cooper, who is the host of his own program on CNN, but who is under a long-term contract.

Ms. Vargas said in an interview yesterday that she felt "an enormous amount of sadness" that a job to which she had aspired for sometime had slipped from her grasp.

Ms. Vargas, 44, said that her doctors had been hounding her to cut back on her work or risk being confined to "bed rest," and that their admonitions influenced her decision to begin her maternity leave later this month. When she returns to work in the fall, she said, she will limit herself to her other job at ABC, as co-host of "20/20."

Ms. Vargas said she had ruled out returning to "World News" as a co-anchor following her maternity leave because of the stresses of raising two young children. "I don't think it's fair to a new baby to have a new mom who's off in Iraq or Iran all the time," she said. "I certainly intend to be doing that in a few years. But right now it's not realistic for me." (In February Ms. Vargas was quoted as telling The Philadelphia Inquirer that she expected to return to Iraq soon after her baby was born.)

But in an interview yesterday, Mr. Westin said he had also conveyed to Ms. Vargas that he did not see her as matching up with Mr. Gibson as well as she had with Mr. Woodruff, a conversation that Ms. Vargas recalled similarly. While Mr. Woodruff had been expected to lead "World News" regularly from the road, with Ms. Vargas often in the studio, Mr. Gibson is not expected to travel nearly as much.

"The one thing I never wanted to do was recreate something that had been done before, a man and a woman sitting together at a desk," Mr. Westin said.

Mr. Woodruff has been recuperating since late January from severe head wounds suffered only a few weeks into his anchor job, during a brief reporting trip in Iraq. In a statement, Mr. Woodruff effectively ceded the broadcast to Mr. Gibson. "Charlie Gibson is a mentor and friend," he was quoted as saying. "I look forward to contributing to his broadcast as soon as I am able."

In turning to Mr. Gibson, ABC is seeking to bring a sense of calm to a news division and flagship broadcast that have been in turmoil since Mr. Jennings announced his illness in April 2005, and died in August.

In announcing in December that he had selected Ms. Vargas and Mr. Woodruff as Mr. Jennings's heirs, Mr. Westin said that he hoped to draw new viewers to the evening news by entrusting it to a younger generation. Both new hosts were under 45 at the time. Mr. Westin also characterized the "World News" anchor responsibilities — which he was expanding to include an afternoon Webcast, as well as live updates for West Coast viewers — as having grown too big for one person.

While Mr. Gibson, then 62 and now 63, was a candidate in December as well, he said at the time that he and Mr. Westin had disagreed over how long he might lead the program before turning it over full time to Ms. Vargas and Mr. Woodruff.

This time around, the back-and-forth between Mr. Westin and his counterparts on the West Coast — including Anne Sweeney, president of the ABC-Disney Television Group, and Robert A. Iger, chairman of Disney — was protracted, leaving many at the network puzzled about why no decision was forthcoming. A rough deadline, set for the affiliates' meeting, came and went last week.

Mr. Westin said he had consulted his superiors in Burbank, both in person and by phone in recent days, but he said, "In the end it was my decision to make." Ms. Vargas announced her own departure, and Mr. Gibson's appointment, on "World News" last night.

Mr. Westin and Jon Banner, executive producer of "World News," said that in reverting to a solo anchor, they would now abandon their efforts to regularly update the broadcast that West Coast viewers see.

"Bob and Elizabeth were the right people for the right reasons at the right time," Mr. Banner said, before adding, "Obviously we have to scale back on what we're doing."

Mr. Gibson, who received a thunderous applause from his "Good Morning America" colleagues at a hastily convened staff meeting yesterday morning, said he was still having a hard time believing that the evening-news job was his.

"It was not something I ever really imagined," he said. "I was always aware Peter was going to be in that chair for the span of my career at ABC News."

http://www.nytimes.com/2006/05/24/business/media/24anchor.html?_r=1&oref=slogin&pagewanted=print

TV Notebook
Gibson hopes to give 'World News' stability

By Peter Johnson USA Today May 24, 2006

The post-Peter Jennings, two-anchor format on World News Tonight that ABC unveiled Jan. 3 with Bob Woodruff and Elizabeth Vargas had problems almost from the start.

On Jan. 29, Woodruff was critically injured by a roadside bomb in Iraq. He's recovering from head wounds, but nowhere near ready to return to work. In February, Vargas announced that she was pregnant and would go on maternity leave in August.

Tuesday, in a move that had been rumored for months, ABC killed the format and installed 63-year-old Charles Gibson, a fixture on Good Morning America for the past 19 years, as solo anchor. This comes just six months after ABC News called its new format progressive, and said Woodruff and Vargas represented a changing of the guard.

"It's been an extraordinary turn of events, and I feel somewhat like a creature of circumstance," says Gibson, who starts Monday. "It's like if you roll a bowling ball and you knock down all the pins and all of a sudden there's the eight pin still standing."

What happened?

"Fate intervened," says Tom Rosenstiel of the Project for Excellence in Journalism. "ABC had an interesting plan: two young anchors, with different styles, one of whom would be the lead reporter each day. The plan positioned them to move their newscast online, where embedding the anchor into the lead story makes more sense, and aiming it at a younger audience. But everything changed."

Gibson's move to World News comes as network news divisions are bracing for a fall battle on their morning and evening news fronts, and just two weeks after World News slipped to third place for the first time in years behind The CBS Evening News —although World News rebounded last week.

Morning shows such as Today, GMA and CBS' The Early Show are increasingly where the money and viewers are. But installing a veteran like Gibson on World News is a clear sign that the networks continue to value their evening franchises.

While these newscasts have lost millions of viewers in the past decade to cable news and the Internet, they still draw some 25 million viewers and remain the nation's single biggest source of news, particularly in times of crisis.

"The last time I checked, there was no need for oxygen masks," says NBC News president Steve Capus. "While the morning shows may have grown in the marketplace and are very profitable, the evening is still the showcase for the work of a news division."

The changes now underway in network news were prompted by Jennings' death last August from lung cancer and Katie Couric's decision in April to leave Today for the anchor chair on The CBS Evening News.

Come September, Couric, 49, will square off against Gibson and NBC Nightly News anchor Brian Williams, 47, who has kept his broadcast No. 1 since Tom Brokaw stepped down as anchor in 2004.

While Gibson expects the media to focus on the personalities of him, Couric and Williams, "this is all about three news divisions which compete against one another. I get to front the newscast, but essentially it's all about, 'What's the content and how good is the reportorial strength of your division?' "

Rosenstiel says that ABC never anticipated Vargas as a solo anchor — nor CBS' success with Bob Schieffer on the Evening News, which showed that "the old model of TV anchoring still works."

"That model involves having the most experienced fellow, someone who is utterly natural on TV and who has covered everything, anchor as a wise, kindly patriarch to whom the young correspondents report," Rosenstiel says.

"ABC hopes to swap roles with CBS: ABC will have the senior anchor who has seen it all. CBS will be experimenting with someone new (Couric) who is unproven in the evening. It may not be a 20-year plan for ABC, but I don't think anyone has seemed more comfortable in the anchor chair in years than Schieffer, and that wasn't a 20-year plan, either," he says.

Meanwhile, on the morning front — as top-rated Today has tapped ABC's Meredith Vieira to replace Couric and join Matt Lauer — Tuesday's move leaves No. 2 GMA with Diane Sawyer and Robin Roberts, but no male anchor. (To avoid spooking GMA viewers, Gibson will continue to do double duty on both GMA and World News for now.)

ABC News president David Westin says he has no plans to add a third anchor to GMA. When Roberts joined GMA last year, it was "in anticipation" that either Sawyer or Gibson might leave.

"Instead of going from two extremely strong anchors to one, we're going from three to two, so we have the traditional number of anchors," says Westin. "Losing Charlie obviously will be felt and we'll be looking over the summer to bring in whatever support that Diane and Robin want and need."

Both Westin and Vargas say she was not forced out and that she decided to step down for the health of her baby.

"This has not been an easy pregnancy," says Vargas, 43, who remains co-anchor of newsmagazine 20/20. "Even if Bob were here and doing the show, I would have had a really hard time flying into a war zone. You have to decide what is fair to your children, to your family and to yourself.

"Obviously, very little in the last 13 months went according to plan," Vargas says, referring to Jennings' death, Woodruff's injuries and a pregnancy she says she didn't anticipate.

But network news analyst Andrew Tyndall says he believes Vargas has been demoted and is living the "worst workplace nightmare the pregnant employee faces ... the fear that her employer will find some way not to guarantee her job back on return from maternity leave."

Westin responds, "I would challenge anyone to find another organization with our concentration of women in anchor roles," noting that Nightline anchor Cynthia McFadden, Good Morning America's Kate Snow and Vargas' staying on at 20/20 show ABC's commitment to working moms.

"We needed to bring some stability to the program," says Westin, who expects Woodruff to return at some point.

Says Gibson: "If I can do anything, it is to get things back to cruising speed, to get it back on an equal plane when we're not worried about when the next shoe is going to drop. This is about steadying the ship. I'm a bit humbled by all of this. I've watched the broadcast for 40 years. I love this program and have probably seen more World News Tonight than anybody."

http://www.usatoday.com/life/columnist/mediamix/2006-05-23-media-mix_x.htm

Nielsen Notebook
Finales Fill Up With Viewers
By Gary Levin, USA TODAY

• Finale time. NBC's Will & Grace capped its eighth and final season Thursday with 18.4 million viewers, and Fox's That '70s Show said sayonara that night with an average 9.3 million. Both drew their biggest crowds in two years.

• Reality bites. CBS' The Amazing Race 9 wrapped up with 9 million viewers Wednesday, the lowest-rated finale yet, and down from last spring's 16-million finish; UPN's America's Next Top Model (5.9 million) Wednesday sashayed to its lowest season-ender in two years; and ABC's American Inventor Thursday crowned a winner but fizzled out after a promising start with 6.6 million viewers. All three will return.

• Hit dramas. ABC's Grey's Anatomy finished its second season Monday with a two-hour finale that averaged 22.5 million viewers, up slightly from last May's, while 24.2 million viewers left Wisteria Lane for the summer with Sunday's two-hour Desperate Housewives. That marked the series' best showing since January, but was off by 6 million from last spring's first-season sendoff.

• Apocalyptic loss. NBC's 10.5: Apocalypse, the sequel to a 2004 earthquake miniseries hit, had a disastrously low 8.3 million for Sunday's Part 1, down from 20.7 million for the opener of the original 10.5.

• Other departures. ABC's Invasion ended with 7.6 million viewers Wednesday, in line with recent depressed averages, while NBC's Conviction was acquitted with 5.9 million Friday. Both ranked third in their time periods. Among season-enders, NBC's ER hit a season-high 16.6 million Thursday, ABC's Boston Legal (9.3 million) matched last week's series low, while Fox's The OC (6.4 million) had its best numbers since March.

• Cable corner. Nickelodeon's Fairly OddParents special averaged 5 million viewers Friday. MTV's My Super Sweet 16 wrapped up Wednesday with a modest 1.9 million, which was better than Blowin' Up, which opened Tuesday with 1.2 million, losing more than half its Real World lead-in. And VH1's Supergroup premiered Sunday with a mere 619,000.

http://www.usatoday.com/life/television/news/2006-05-23-nielsen-analysis_x.htm

The 2006-2007 Season
'Studio 60' Sked Change Coming Soon

By Scott Collins Los Angeles Times Staff Writer in the Channel Island TV Industry blog

I hear that NBC will this week — possibly as soon as Wednesday — announce a fall schedule change for Aaron Sorkin's show-biz satire "Studio 60 on the Sunset Strip."

As you may recall, NBC's most-anticipated new drama, with Amanda Peet as a beleaugered network executive overseeing a late-night comedy show resembling "Saturday Night Live," was given the prime 9 p.m. Thursday berth opposite CBS' "CSI: Crime Scene Investigation" during last week's "upfronts" in New York. But those plans were scotched after ABC pulled a surprise and put its smash hit "Grey's Anatomy" in that slot the day after NBC presented its lineup to advertisers.

Speculation has it that NBC will move "Studio 60" to Mondays, either before or after "Medium," and the new drama "Heroes" will likely fall into the 9 p.m. Thursday spot.

Stay tuned.

http://hollywoodhotline.typepad.com/watcher/

The 2005-2006 Season
No. 1 conundrum

Divvying demos leaves no clear winner
By Rick Kissell Variety.com (Josef Adalian and Michael Schneider contributed to this report.)

As parity pervades the primetime ratings wars, the question of who's No. 1 carries less significance. But three broadcasters can each make a good argument that it's the net to watch heading into fall.

Riding the "American Idol" locomotive, Fox emerged as the top choice among adults under 50, while ABC has the most water-cooler shows in this category and steady CBS continues to hit a bull's-eye in the slightly older 25-54 demo.

The 2005-06 broadcast season that ends tonight will go to Fox in the closely watched 18-49 demo -- the net's second title in as many years. But its projected 4.1 rating is just a tick better than ABC (4.0), with CBS not far behind (3.8), according to Nielsen Media Research.

NBC ran fourth for a second straight year (3.3 rating) after capturing eight of the previous nine seasons.

CBS will prevail in adults 25-54 (4.8 rating to ABC's 4.6) for a third straight year while cruising to its fourth straight win in total viewers (12.6 million to ABC's 10.8 million).

Fox, meanwhile, had an easy time in adults 18-34 (3.9/13) and teens (2.9/10).

"All of the moons had to line up for us to be in this position, and we feel very fortunate that they all lined up," Fox Entertainment prexy Peter Liguori said of his net's dominant finish to the season. "When January kicks in, we wind up having 2½ hours of perennial midseason shows ('Idol,' '24'), and the whole network rises because of it."

At CBS, Entertainment prexy Nina Tassler said she was most gratified by the net's midseason successes and the overall frosh crop, of which a whopping six shows return in the fall.

"What we do really well is continue the development process beyond the pilot," she said. "The real work is from that point on, in making sure the series continues its creative evolution."

Overall, the broadcast nets retained most of their audience, with the Big Four's cumulative 18-49 rating (15.1) down just slightly from last year (15.3). Ad-supported cable as a group averaged a 15.5, up slightly from last year's 15.1.

Looking at nonsports 18-49 averages, Fox's 4.0 rating is a big 14% improvement on last year. Net is followed by CBS (3.8, down 3%), ABC (3.7, up 3%) and NBC (3.1, down 11%), as the Peacock's overall average was padded by the Olympics.

UPN and the WB had forgettable lame-duck seasons, with the top shows from these nets living on next fall on the new CW. Spanish-language net Univision, part of the Nielsen Index since January, outrated the weblets for the season in most key categories.

While usual suspects like Fox's "Idol," ABC's "Desperate Housewives" and CBS' "CSI" dominated the top of the program rankings, the biggest stories of the year were the rise of medical-themed skeins "Grey's Anatomy" on ABC and "House" on Fox.

"Grey's" took advantage of its "Housewives" lead-in and post-Super Bowl airing, while the value of "House" appreciated nicely behind "Idol." Both became top-five hits that figure to produce for years to come.

On the comedy side, NBC's "My Name Is Earl" was the only rookie entry to make much noise, finishing second for the season to CBS' "Two and a Half Men," which fared well in its new 9 o'clock anchor slot.

Biggest unscripted breakthrough was ABC's "Dancing With the Stars," an unlikely ballroom competition skein that took off last winter after a successful summer run in 2005. And although not as flashy, NBC enjoyed consistent success on multiple nights down the stretch with gamer "Deal or No Deal."

Here's a look at each net:

Fox

One year after huge sports numbers padded its totals en route to a first-ever demo victory, Fox truly earned this year's title thanks to a tremendous second-half finish that saw it win the season's final 13 weeks in adults 18-49. Net has maintained its 4.1 average in 18-49 for three straight seasons -- an impressive feat amid ever-increasing programming options on cable.

"American Idol" claimed the top two spots in the season program rankings, riding its best-ever campaign into tonight's finale -- up about 11%. The hot "House" moved up to the No. 4 ranking among dramas for the season, rising 27% year to year, while Monday's "24" surged 12% to its best finish.

Fox's Tuesday ("Idol" and "House") was the highest-rated night of the week in adults 18-49, marking the first time the net possessed TV's hottest night.

Also, "Prison Break" and "Bones" emerged as solid rookie dramas, with the former the season's No. 1 new hour in adults 18-34. And eight-week unscripted skein "Unanimous," airing behind "Idol" on Wednesday, was the season's No. 1 new program in 18-49.

"Prison" and "Bones" also were key in the fourth quarter as the net had a stronger post-baseball performance, putting it in better shape for its annual second-half run.

"We're in this position in May (first place) due to our fourth quarter," Liguori said. "We didn't have an exciting Red Sox-Yankees series. What we did was to start laying the foundational bricks for night-by-night improvement."

C B S

Despite losing "Everybody Loves Raymond" -- which went out a year ago as TV's No. 1 comedy -- the Eye continued to perform impressively.

Net remained a dominant No. 1 on the key night for advertising, Thursday, expanding its lead over second place to a hefty 53% in 18-49 and 67% in 25-54. Although "Survivor" has lost some steam, it was again a top-10 performer kicking off the night, and sked partner "CSI" was the most-watched scripted series for a fourth straight year (25.2 million viewers).

"CSI" siblings "CSI: Miami" and "CSI: NY" also led their timeslots, as did crime counterparts "Without a Trace" on Thursday and "Numbers" on Friday.

Among the six rookies returning next fall to CBS are "The Unit" and "Criminal Minds" -- the top two new dramas among both adults 25-54 and total viewers despite opposing tough competish from "House" and "Lost," respectively.

Another nifty newbie was Friday anchor "Ghost Whisperer," which led its timeslot for the season in key demos and paved the way for a huge turnaround: CBS went from third to a comfortable No. 1 on the night.

A B C
One year after rising from the dead, the Alphabet kept the momentum going by growing its audience and challenging for the season demo title.

While it still has numerous holes to address on its sked (and will no longer have "Monday Night Football" in the fall), ABC can count on some of the most talked-about shows on television in "Grey's Anatomy," "Desperate Housewives," "Lost" and "Dancing With the Stars."

"Housewives" and "Grey's" became the top two scripted series on television in adults 18-49, teaming for a powerhouse Sunday lineup that captured the final 17 weeks of the season in key demos.

The Alphabet also could crow about its success among upscale viewers. Its 18-49 average in homes earning $100,000 or more grew to a 4.3, compared with a 3.9 for both NBC and Fox and a 3.7 for CBS.

One area that really needs work, though, is comedy. ABC will become the first network ever to not return a half-hour laffer to its fall schedule.

N B C

It was another tough season for the Peacock, although it managed to slow the bleeding in the final few months thanks to "Deal or No Deal." The gamer improved each of its three regular timeslots by more than 60%.

Alongside "My Name Is Earl," second-year comedy "The Office" was the fastest-growing series vs. last year, rising 60% in 18-49 (4.0 from 2.5).

Drama remains a tough nut to crack for NBC, as the fall sked includes only one hour to bow in the last two seasons ("Medium") while vets "Law & Order" and "ER" continue to decline. Give credit to the latter, though, which has been NBC's top drama in 18-49 for each of its 12 seasons.

TV Notebook
ABC moves Gibson to p.m.

The network turns to its morning stalwart to anchor "World News Tonight," jolted by adversity this past year.
By Matea Gold Los Angeles Times Staff Writer May 24, 2006

NEW YORK -- Forced to choose between its profitable morning show and flagship evening broadcast, ABC News moved to shore up "World News Tonight" on Tuesday by appointing veteran newsman Charles Gibson to helm the program, which has been buffeted by misfortune in the last year.

After extensive anticipation, ABC News President David Westin announced that Gibson will be leaving his post on "Good Morning America" to take over for co-anchors Elizabeth Vargas and Bob Woodruff — just five months after they began their short-lived tenure as successors to the late Peter Jennings.

The decision triggers another round of musical chairs as Gibson — who was passed over for the job last fall — will replace two anchors touted as the next generation of ABC News.

By tapping the 63-year-old broadcaster, known for his sure-handed and genial manner, network officials are seeking to restore stability to the broadcast after it was rocked by two back-to-back blows: Jennings' death from lung cancer last August and Woodruff's wounding during a trip to Iraq in January. Less than two weeks later, Vargas announced that she was pregnant with her second child, further unsettling plans for the newscast.

In an interview, Westin called Gibson "an extremely experienced, extremely able news broadcaster" who had "the authority and relationship with the audience that I think that will stand us in good stead."

For his part, Gibson said he had one simple goal for his tenure: "Just to be steady."

A frequent substitute anchor on "World News Tonight," especially when Jennings was ill, Gibson will be taking over at a time of substantial change for network news. Despite a continuing decline in evening news viewership, attention will be sharply focused on the programs this fall, when longtime morning show anchor Katie Couric makes the jump to the "CBS Evening News," facing off against Gibson and NBC's Brian Williams, who just assumed his post in December 2004. ABC had hoped to take advantage of the shifting lineup by making a strong run in the morning at top-ranked "Today" once Couric left, but that prospect appears more uncertain with Gibson leaving "Good Morning America."

While shifting him to the evening newscast may solve that program's dilemma, it removes a pillar from ABC's profitable morning show, which Gibson has co-anchored for nearly 19 years. During an often tearful staff meeting Tuesday morning, he was cheered with a standing ovation as he emotionally thanked his co-hosts and the crew for their work.

When he leaves in July, Diane Sawyer and Robin Roberts — who was promoted to the morning anchor desk last spring — will continue hosting the program without a third anchor. Network officials are expected to make some additions to the program over the summer, and weekend morning anchor Bill Weir, WABC anchor Bill Ritter and network correspondent Chris Cuomo will likely play larger roles on the broadcast.

"Good Morning America" is "as high a priority as we have at ABC News and we are committed to making that program fully competitive, whatever it takes," Westin said.

In a sign of the show's importance, Westin said he sought to keep the morning team in place as long as possible, despite pressure on the network to announce another plan for "World News Tonight" after Woodruff was wounded. Questions grew in recent weeks as its audience eroded and the third-ranked "CBS Evening News" pulled past ABC in the weekly ratings race for the first time in five years. (Last week, ABC regained its lead, beating CBS by more than half a million viewers.)

Gibson's appointment — which has been widely expected for months — appears to have been finally precipitated by Vargas, who has been anchoring the newscast largely alone since Woodruff was hurt. The 43-year-old said Tuesday that she has had a difficult pregnancy and that her doctors have asked her to cut back her workload substantially. She will anchor "World News Tonight" for the last time on Friday and continue just her co-anchoring duties at "20/20" until going on maternity leave sometime this summer.

When she returns in the fall, Vargas said she decided she could not do the kind of traveling required of the evening news job.

"When you have a newborn, you have to make decisions that aren't the best thing for you and career," she said. "It was excruciatingly hard for me, but I don't think it's fair to a new baby to say, 'Here you go to a baby nurse, I'm off to Iraq.' I have a definite view how this job should be done and I came to recognize that with this unexpected but happy event, right now, I couldn't give this job what it required. I hope to be able to at another time."

Woodruff, meanwhile, is intent on coming back to his post, but he remains in rehabilitation and doctors are not yet sure when he would be able to do so. Network officials said he would likely first return as a correspondent before being able to resume anchoring duties.

"Bob has a role on the program whenever and however he wants when he feels well enough," Westin said. "He's been the one, every time we've spoken, who has said, 'Please, David, understand, this is going to take a long time.' "

In a statement, Woodruff called Gibson "a mentor and a friend," adding, "I look forward to contributing to his broadcast as soon as I'm able."

Tuesday's announcement was noticeably more muted than the one six months ago, when upbeat news division officials announced that its new anchor team of Woodruff and Vargas was embarking on an ambitious initiative to expand the broadcast with regular dispatches from the road and several West Coast editions.

But within weeks, Woodruff was seriously wounded by a roadside bomb while traveling with the Iraqi military, derailing those plans. Shortly afterward, Vargas announced that she was pregnant. The circumstances forced ABC News executives to contemplate yet another transition for "World News Tonight" after weathering Jennings' death from lung cancer last year.

Network officials ultimately decided that Gibson — a 31-year veteran of ABC who has covered subjects as varied as the White House and the Middle East — was needed to right the ship. Westin had considered naming him as Jennings' replacement last year, with Woodruff and Vargas being groomed as his successors, but Gibson wanted to stay on the broadcast through the 2008 election, a year longer than Westin was willing to commit. This time around, Westin asked Gibson to come on for an open-ended period of time, according to people familiar with the terms.

However, wary of unsettling "Good Morning America," the news president did not want to pull Gibson off the morning show until the end of this season. He officially takes over the evening newscast on Monday, but will continue to anchor "Good Morning America" three days a week through June.

In an interview, Gibson referred to himself wryly as a "creature of circumstance."

"I love this place," he added. "To be fronting, in effect, the broadcast that is the end result of the work product of the majority of the news division, is pretty extraordinary."

In a meeting with "World News Tonight" staff on Tuesday, he said he hoped to help the program get off the roller coaster of the last year and "back to cruising speed."

The newscast he takes over will have more modest goals than the ones ABC laid out six months ago. While Gibson will anchor an afternoon webcast that began with Woodruff and Vargas, the program will not attempt to deliver a regular West Coast edition and his traveling will be more limited.

Westin said he continues to believe in "the two-anchor format for the right people at the right time" and will seek to try it again "with a new generation."

"I believed Elizabeth and Bob were the right people at the right time," he added. "Unfortunately, some insurgents in Iraq had a different idea."

http://www.calendarlive.com/tv/cl-et-abc24may24,0,2394705,print.story?coll=cl-tv-features

Nielsen Notebook
Fox, CBS defend crowns

'Idol' surge wins 18-49; 4th viewers title for eye
By Paul J. Gough The Hollywood Reporter May 24, 2006

NEW YORK -- With just two nights of ratings data to come for the 2005-06 TV season, Fox pulled ahead of ABC for a second consecutive season win in the advertiser-friendly adults 18-49 demo, while CBS prepared to take its fourth annual victory lap in total viewers.

Despite monster finales for "Desperate Housewives" and a two-part "Grey's Anatomy," it was reliable soldier "24" that edged Fox past ABC on Monday night for first place season-to-date in the demographic. And that's without the network's "American Idol" finale, set to air tonight, the final night of the season.

Fox held a 4.1 rating/11 share in the adults 18-49 demographic compared with ABC's 4.0/11, CBS' 3.8/10 and NBC's 3.3/9, according to data released late Monday by Nielsen Media Research. CBS had a commanding lead in viewership, with 12.6 million viewers season-to-date compared with ABC's 10.8 million, Fox's 9.9 million and NBC's 9.7 million.

It was an impressive win for Fox, which unlike last season didn't have a major boost from postseason baseball and the Super Bowl. Instead, it was a come-from-behind victory worthy of the 2004 Boston Red Sox. Last week marked the 13th week in a row that a broadcast network has been tops in adults 18-49, the first time in a season since NBC did it in 1997. And with an all-but-certain big win with "Idol," Fox would set the record with 14 weeks in a row.

Fox's story is boosted by not only another big year of "Idol" -- up 12% in the demo year-over-year and up 14% in viewership -- but also great years from "24," "Unanimous," "Prison Break" and, especially, "House." Fox's adult 18-49 ratings are up 14% from 3.6/10 last season to this season's 4.1/11 and 14% in total viewers from 8.5 million last year to 9.7 million this year.

Meanwhile, CBS will rack up another big win in total viewers -- its fourth in a row -- and the adults 25-54 demographic, its third in a row. As CEO Leslie Moonves stressed at the network's upfront presentation last week in New York, CBS' gains were on the strength of its popular and stable schedule. It won seven time periods in adults 18-49, more than any other network as well as 12 time-period winning programs in viewership.

Key to CBS' success were such returning favorites as the "CSI" franchise, "Survivor" and "Two and a Half Men" as well as such new shows as "The Unit" and "Criminal Minds." And that's in addition to losing TV's biggest sitcom, "Everybody Loves Raymond," last season.

ABC showed increases in both viewership (up 7%) and adults 18-49 (up 8%) year-over-year. It's also the best performance for the network in both measures since the 2000-01 season. That included another year of performers "Desperate Housewives" and "Lost," plus a breakout year for "Grey's," which experienced a turbocharge after taking the coveted slot after the Super Bowl.

And, as ABC was quick to point out at last week's upfront presentation at Lincoln Center, the network also became the top net among upscale viewers with a 4.3 rating among viewers with household incomes over $100,000 compared with NBC's 3.9, Fox's 3.9 and CBS' 3.7 rating.

NBC was having another less than stellar year, remaining in fourth place in the demo. But it, too, had some higher points, including the success of "My Name Is Earl" and the midseason hit "Deal or No Deal." "Earl" is primetime's second-ranked comedy in adults 18-49 and has helped "The Office" (which follows it on Thursday night) grow from a 2.5 demo rating last year to a 4.0 this year.

"Deal" boosted NBC's fortunes immensely in its three-night-a-week run. Increases in the demo were 66% for Monday, 92% for Wednesday and 75% for Friday compared with a year ago.

Last week -- the last full week of the May sweeps -- belonged to Fox (11 million, 4.6/13) in adults 18-49 and CBS (12 million, 3.5/10) in total viewers. ABC (10.5 million, 4.0/11) had a strong week of finales and near-finales while NBC (9.6 million, 3.3/9) went with "Deal" and the "Will & Grace" finale. Univision (3.3 million, 1.4/4) outperformed the remaining networks including UPN (2.7 million, 1.1/3), WB Network (2.3 million, 0.9/3) and Telemundo (800,000, 0.3/1).

Both ABC and Fox tied for the most number of shows in the top 10 (three) in the demographic, while CBS and NBC both had two. Tuesday's "Idol" (28.3 million, 11.0/30) and Wednesday's "Idol" (27.7 million, 10.7/25) dominated. ABC's two hit dramas, Sunday's "Housewives" finale (24.2 million, 9.9/23) and Monday's second of a two-part "Grey's" finale (22.5 million, 9.9/22) tied for the lead in the demo. Fox's "House" (22.4 million, 9.0/22) rounded out the top five in adults 18-49, according to Nielsen. "House" is up 38% in the demo compared with the same period last year.

Meanwhile, the "CSI" finale (25.4 million, 8.3/20) was the week's most viewed drama, though it was defeated in the demo by the "Will & Grace" finale (18.4 million, 8.4/21). Rounding out the top 10 in the demo were "ER" (16.6 million, 7.1/19), "Lost" (14.7 million, 6.1/14) and "Without a Trace" (19.8 million, 6.0/16).

NBC's primetime schedule had some good news last week, increasing 9% in viewership and 10% in the demo compared with a year ago. That was in part because of the "Will & Grace" finale, which was the show's highest rating in more than two years. A retrospective an hour earlier gave NBC the highest numbers in the demo since January 2005.

"ER" also performed well, giving its highest rating of the season. And the season finale of "Law & Order" was the show's highest rating in the demo since Sept. 28.

http://www.hollywoodreporter.com/thr/television/article_display.jsp?vnu_content_id=1002541267

Sports On TV
NBA Postseason Ratings Rebounding on Cable

By Richard Sandomir The New York Times May 24, 2006

This postseason may be a television turning point for the National Basketball Association, which for the past four years has focused on its cable coverage. TNT, ESPN and ABC are showing substantial ratings increases caused by a potent mixture of stars and close games.

A record nine games went into overtime and 14 were decided by 2 points or fewer. And three of the four conference semifinal series went to seven games. "I think this is a watershed year, and you'll see this as a continuing process as long as teams stay competitive," said David Levy, the president of Turner Sports, whose TNT has carried 39 playoff games. "I think the N.B.A. is on the rebound here."

Levy has reason to be cheerful. TNT's playoff rating is up 12 percent to a 2.9, the same increase for its average viewership, which is 3.4 million. "You've got markets like Detroit, L.A., Chicago and Dallas and Miami in the playoffs," Levy said. "Look at how L.A. warmed up to the Clippers. And Dallas has a national following. Can you imagine if the Knicks ever come around?"

ESPN has shown the biggest ratings increase of the three N.B.A. networks, up 22 percent in the postseason to a 2.8, and its viewership has swelled by 20 percent to 3.2 million.

ESPN's corporate sibling, ABC Sports, has had its rating jump 14 percent to a 3.3, with viewership rising 10 percent to 4.5 million. But last season, as the N.B.A. reeled from the brawl between the Pacers and the Pistons, was less comforting for all the networks. ABC's and TNT's playoff ratings fell, while ESPN's remained unchanged. The San Antonio-Detroit series on ABC, while a great matchup, was one of the lowest-rated finals in league history.

Dan Patrick, the longtime ESPN personality who became the host of ABC's "NBA Nation" studio show late in the season, said he believed the cause for the ratings increases goes well beyond star turns by LeBron James, Steve Nash, Gilbert Arenas, Dirk Nowitzki, Kobe Bryant and Elton Brand.

"Success in the N.B.A. was always predicated on Larry, Magic and Michael, but now we're looking at teams," he said. "You can say a player had a great series, but one player won't win it for you, as Dirk Nowitzki found out. And even as great as LeBron was, he needed role players to play with. And then you look at Detroit, with that great starting five."

He added: "People looked at the Clippers and sensed they could win. And with the Suns-Clippers and Mavs-Spurs, you thought both road teams could win. It's great drama."

The Clippers, after knocking off Denver in the first round, fell to Phoenix on Monday night in Game 7 of their series, which generated a 4.9 on TNT, the network's second-highest playoff rating this year. The night's preceding game, Dallas's victory over San Antonio, produced a 5.7 rating.

The conference finals will include three teams — Dallas, Phoenix and Miami — that have never won titles and one, Detroit, which has. Only Dallas, at No. 7, is one of television's top-10 markets. Detroit is No. 11, Phoenix No. 14 and Miami No. 17.

While there is cheering for the N.B.A., the National Hockey League tale is less exultant. NBC and OLN, in the first year of their hockey deals, are luring substantially fewer viewers to this year's playoffs than ABC and ESPN did in 2004. (Last season was wiped out by a lockout.) NBC is averaging a 1.1 rating, down from the 1.5 ABC had two years ago, when it still had big draws like Detroit and Philadelphia past the first round.

OLN is averaging a 0.4 rating, well below the 0.7 ESPN had at the same point in 2004, or the 0.4 ESPN2 had. The decrease is worse because OLN is available to about 20 million fewer homes than the ESPN channels.

Gavin Harvey, the OLN president, acknowledged the growing pains of a network not widely known to mainstream fans. OLN also announced that in September it would change its name to Versus.

Harvey said that he did not need research to know that some viewers were having trouble finding OLN, even if it is on their cable systems, and that it would be crucial to keep adding subscribers to its ranks of nearly 70 million.

http://www.nytimes.com/2006/05/24/sports/basketball/24sandomir.html?pagewanted=print

Critic’s Notebook
Who really won "Idol"?

By Hal Boedeker Orlando Sentinel Television Critic in the Sentinel’s TV blog

Who won: Taylor or Kat? The last song probably did her in, and the judges' comments undoubtedly helped him. Simon Cowell even predicted Taylor's victory.

But to this viewer, Katharine McPhee won two of the three rounds Tuesday night over Taylor Hicks. Their last songs, unfortunately, probably determined the outcome and threw the contest to him. The victor will be announced Wednesday night on Fox.

How did I score it?

Round one: McPhee gave a playful, charming performance of "Black Horse and the Cherry Tree." Hicks was his exuberant but awkward self on "Living for the City." I detested his dance moves and his hideous purple jacket. And he's no Stevie Wonder in the singing. Round one to Kat.

Round two: McPhee was at her finest on a lovely rendition of "Under the Rainbow." Cowell called it her best performance of the competition. Hicks was blah and subdued on "Levon." Judge Randy Jackson called Hicks' performance "a little pitchy for me." Sure was. Round two to Kat.

Round three: McPhee was anemic on "My Destiny," a terrible song that was too low for her. Hicks was rousing on "Do I Make You Proud?" Last performances tend to stick with viewers. Round three to Taylor.

If the big fan base of girls and young women who like McPhee called in Tuesday, maybe she has a shot at the title. She also likely won the votes of many admiring men.

Otherwise, Taylor's Soul Patrol phoned it in for him. So congratulations, Mr. Soul Man, but stay away from the purple jackets. Eyesores can upstage the singing.

Fox will let the results sprawl over two hours Wednesday, starting at 8 ET/PT.

http://blogs.orlandosentinel.com/entertainment_tv_tvblog/2006/05/who_really_won_.html

Williams Signs Bill Requiring Comcast to Show Nats Games

Wednesday, May 24, 2006

Mayor Anthony A. Williams (D) yesterday signed into law a bill requiring Comcast, which is the District's main cable provider, to begin broadcasting Washington Nationals games or face the possibility of losing its license to operate in the city.

The bill, which was passed unanimously by the D.C. Council earlier this month, says that unless the games are on the air beginning today, the District and Comcast must enter into negotiations to discuss the franchise agreement and explore ways of getting the games on the air.

But it's not clear that the city action is binding on Comcast. Comcast Executive Vice President David L. Cohen said yesterday that the cable firm "is working to find a solution that will put the Nats games on TV immediately."

Comcast subscribers throughout the Washington region can only watch Nationals games broadcast on WDCA (Channel 20) and WTTG (Channel 5).

Additional games are broadcast on ESPN, but some are blacked out locally. The vast majority of Nationals games are shown on Mid-Atlantic Sports Network (MASN), the team's home network. The games are seen by more than 2 million subscribers on five cable and satellite providers.

http://www.washingtonpost.com/wp-dyn/content/article/2006/05/23/AR2006052301518.html

Not as fast as Daryl L. :D

Nice grid, but for version control a nice add would be to place a last revised date on it, so we can make sure we have the latest one as this changes.

just watched the 24 finale. wow. best ending, except for the 1st season. usually the endings are always sort of anti-climatic.

is it just me or agent jack bauer cursed with bad luck? that guy can show up at a children's birthday party and 10 minutes later, terrorist show up to kidnap the birthday boy. if i were to run into jack bauer i would run the other way as fast as possible because you just know something bad is about to happen :)

TV Notebook
ABC News Experiment Ends With Return to Solo Anchor

Charles Gibson Moves To Evening Newscast
By Howard Kurtz The Washington Post Staff Writer Wednesday, May 24, 2006; A01

ABC News said yesterday that it is replacing Elizabeth Vargas as anchor of its struggling nightly newscast with Charles Gibson, a move that at once abandons a dual-anchor experiment, replaces a pregnant woman with an older, more experienced man and ratchets up the morning news wars.

The tapping of the 63-year-old Gibson caps a period of extraordinary volatility for all of the network newscasts, and reflects an attempt by ABC to reverse a ratings plunge that briefly landed the broadcast in third place. In just 18 months, NBC has changed its anchor lineup once, ABC twice and CBS twice, with Katie Couric, who winds up her "Today" show career next week, taking Bob Schieffer's chair in September.

By shifting Gibson from "Good Morning America" to "World News Tonight," ABC is removing a key player in its effort to overtake NBC's top-rated "Today." The network is also giving up the model of two younger, lesser-known, constantly traveling nightly news anchors for the more traditional model of a single, prominent man reporting mainly from behind a desk. Vargas wound up flying solo weeks into her tenure when her co-anchor, Bob Woodruff, was badly injured in January by a roadside bomb in Iraq.

"This is a little bit back to the future," said Gibson, who is two decades older than Vargas, 43. Gibson, who grew up in Washington and has covered both the White House and Congress, said he would devote considerable attention to the midterm elections and 2008 campaign. "I'm a Washington guy," Gibson said. "I love Washington news."

The announcement follows an emotionally wrenching and difficult year for ABC, which thought it had solved its anchor puzzle after the death of Peter Jennings in August. Vargas, who remains an anchor on the prime-time newsmagazine "20/20," is expecting her second son in August -- she already has a 3-year-old -- and while she had been determined to keep the "World News" job, she says she had a series of candid conversations with ABC News President David Westin after her doctor urged her to work fewer hours.

"This has been, in full candor, not the easiest pregnancy," Vargas said. "In fact, it's been pretty difficult. This is a show, and a staff, that deserves an anchor who can give 150 percent. I can give that any other year of my life except this one."

She added: "To be fully honest, I'd have a hard time thrusting my baby at my husband or baby nurse and saying, 'I'll see you guys in two weeks, I'm going to a war zone.' "

Westin said he no longer had the right team for dual anchors after Woodruff's injury and Vargas's pregnancy. With Vargas committed to "20/20," he said, "Elizabeth was really taking a hard look at what it meant to anchor two major broadcasts in addition to her growing family obligations," he said. Westin said Gibson "has covered every major news story for the last 25 years and has an established relationship with the audience."

Executive producer Jon Banner said it was "disappointing" that they didn't have a chance to make the pairing work, but said "Elizabeth has done a fabulous job and we are in her debt."

Some critics say ABC mishandled the situation involving Vargas, who not only effectively became the first woman to be a solo network news anchor but was the first Hispanic to serve at that level. "No one asks to be taken off the anchor job of 'World News Tonight,' " said Emily Rooney, a former ABC executive producer. "It's wimpy, putting the onus on her. Elizabeth just didn't have the strength to be anchor of 'World News Tonight.' She just didn't have the charisma the job requires."

Television analyst Andrew Tyndall said the move was insulting to female viewers of childbearing age: "You have on your hands the most famous pregnant working woman in the country. ABC had to find a way to make it absolutely obvious she wasn't demoted." Vargas, however, insisted the network has treated her well.

Woodruff praised Gibson in a statement, saying "I look forward to contributing to his broadcast as soon as I'm able."

"World News Tonight" has lost 930,000 viewers this season and forfeited its second-place status for a week this month to Schieffer's resurgent "CBS Evening News." At a time when the networks are trying to revitalize the evening franchise after two decades of audience erosion, both Gibson and Couric will be chasing Brian Williams, whose "NBC Nightly News" has remained No. 1 since he succeeded Tom Brokaw.

Gibson, a frequent past substitute for Jennings, came close to being named "World News" anchor last fall. Westin offered him a spot on the newscast for two years, Gibson insisted on a third, and talks broke down over the length of his tenure. Gibson's new deal will last through 2008 and could easily continue beyond that. Gibson's reassignment will have a major impact on the morning show competition, where the networks make far more in advertising revenue than at 6:30 p.m. ABC does not plan to replace Gibson on "Good Morning America" in the near future, instead going with the all-female duo of Diane Sawyer and Robin Roberts, who was elevated a year ago from newsreader to a third anchor spot, in part to prepare for this contingency. Top-rated "Today," meanwhile, will be making the transition from Couric to Meredith Vieira sitting alongside Matt Lauer.

This is the second time that Gibson has come off the bench to help rescue a troubled ABC program. After co-hosting "Good Morning America" from 1987 to 1998, he was called back to morning duty the following year in what was expected to be a temporary stint with Sawyer.

That assignment has now lasted more than seven years.

In moving Gibson to the evening newscast, "I guess they played the Schieffer card -- a guy who is well-known, well-liked, incredibly capable and also comfortable in his own skin," said former CBS producer Jim Murphy.

The negotiations began three weeks ago and "the imperative was Elizabeth's pregnancy," Gibson said. As speculation mounted about her future, "I began to think that maybe Elizabeth didn't want to come back." As for a co-anchoring arrangement, he said: "Do you need two people sitting on a set together, 6:30 at night? No, you don't."

Gibson said he is acutely aware that the nightly newscasts have been losing audience share for two decades and that no one has found the "magic formula" to reverse the tide. But he said the combined audience of 25 million remains impressive, along with the unique role the anchors play on breaking-news events.

"I love live television," he said. "When something happens, you get to be the guy who tells people about it." Gibson also said he plans to push for more resources to cover foreign news.

Gibson has interviewed the past seven presidents, as well as world leaders from Tony Blair to Nelson Mandela, and has reported from such countries as Israel, Egypt and Macedonia. While he will continue ABC's afternoon webcast, the network will not resume broadcasting live editions of the newscast for the West Coast.

"Charlie is beloved at ABC," said correspondent Claire Shipman. "The crews, the engineers and the reporters all love him. Charlie has a remarkable range -- he can do the serious, he can do the emotional, and does it all with such aplomb."

Gibson, who worked at Washington's WJLA in the early 1970s, will do double duty in the morning and evening next month and shift full time to "World News" in July.

http://www.washingtonpost.com/wp-dyn/content/article/2006/05/23/AR2006052300522_pf.html

The 2006-2007 Season
Battle for viewers has networks filling up the best time slots, switching and switching again

By Tim Goodman San Francisco Chronicle Wednesday, May 24, 2006

Now that the five broadcast television networks have announced their fall schedules, let the horrendous pileups begin.

Every season the result of multiple networks adding and shifting shows is that viewers are first left to gnash their teeth in frustration, then learn to tape multiple shows each night on TiVo or a VCR. Dueling for viewers is nothing new in television. This is a race for money, after all. But how these time-slot wars happen is a combination of happenstance and vindictiveness. The only certainty is that viewers who are not tech savvy suffer the most.

Sometimes a collision of good shows is merely that -- an accident. There's not a whole lot of science to programming, so sometimes when three or so series on at the same time are not only good but also appeal to essentially the same audience, it's a complete fluke. And yet -- it happens all the time. Often, two established series of merit are on at the same time -- say "Boston Legal" and "Law & Order: Special Victims Unit," Tuesdays at 10 p.m. That's not so difficult to solve until CBS throws in "Smith," a new heist drama with an all-star cast led by Ray Liotta. Now there's trouble -- if it takes off.

That kind of programming is not necessarily cutthroat. Although CBS has high hopes for "Smith," it doesn't expect an outright victory. No, if you want truly vicious network battles, you need to invoke the "c" word.

Counter-programming.

Nowhere on the fall schedule is this strategy more dangerously in play than Thursdays, where "CSI," one of the highest-rated shows in television, has held down the 9 p.m. slot with authority. Last week, on the first day of the "upfronts," where networks present their schedules to advertisers and the media, NBC led off the week by joyfully announcing that its buzz series, "Studio 60 on the Sunset Strip" from Aaron Sorkin, would go head to head with "CSI." Inherent in that announcement was a little bit of "bring it on." Sorkin, who created "The West Wing" and "SportsNight," is one of the industry's finest talents, and "Studio 60," a satire of shows like "Saturday Night Live," is one of the most talked-about new dramas.

All of which played really well for just under 24 hours.

Then ABC, announcing its fall schedule the next day, said it was shifting powerhouse Sunday soap "Grey's Anatomy" to Thursdays. At 9 p.m. Now that's counter-programming. The result is that NBC, balancing pride with profit, told the industry magazine Broadcasting & Cable that it would probably move "Studio 60" to Mondays.

Better to flee than to flounder.

While that gets NBC away from certain disaster, it creates trouble elsewhere because NBC hasn't said what it will do about shows already scheduled for Monday and what will go into the now-open Thursday 9 p.m. death slot.

Not to worry, there are plenty of other troubling time-slot battles. Here's a look at some that promise to be particularly frustrating:

Sundays: Newly relocated "Without a Trace" has an edge on ABC's "Brothers & Sisters," a new drama starring Calista Flockhart, Rachel Griffiths, Ron Rifkin and Balthazar Getty, but if people are tiring of police procedurals, ABC certainly knows how to make quality adult dramas.

Mondays: NBC, Fox and the new CW all go head to head with new dramas at 9 p.m., but some viewers (not necessarily this one) may find the battle between Fox's "Prison Break," NBC's "Deal or No Deal" and either "How I Met Your Mother" on CBS or "Wife Swap" on ABC much more of a logjam at 8 p.m.

Tuesdays: Always a tough night of decisions, the big competition here is the previously mentioned 10 p.m. slot, particularly if "Smith" pans out, but there's trouble at every hour. At 8 p.m., Nielsen bigwigs "NCIS" and "Dancing With the Stars" will go at it, but dividing up the pie in that slot will be NBC's "Friday Night Lights" drama (based on the book and movie), plus "Standoff," a hostage negotiator series on Fox, and "Gilmore Girls" at CW. An hour later, the big dogs are most certainly "House" on Fox and "The Unit" on CBS, but NBC may get some viewers for its serialized series "Kidnapped," starring Jeremy Sisto, Delroy Lindo, Timothy Hutton and Dana Delany.

Wednesdays: A couple of good options are here, with a potential spoiler. At 9 p.m., "Lost" -- which is promising no repeats -- squares up against "Criminal Minds" and a comedy hour on NBC that could stage an upset (John Lithgow and Jeffrey Tambor in "20 Good Years" and the Tina Fey comedy "30 Rock.") If they live up to expectations, who knows? Then, at 10 p.m., veterans "CSI: NY" and "Law & Order" will get challenged by ABC's "The Nine," another serialized thriller starring Chi McBride, Kim Raver, Tim Daly and Scott Wolf.

Thursdays: Not pretty. Aging "Survivor" will test loyalists at 8 p.m. because it now goes up against "My Name Is Earl" and "The Office," then the two sumos, "Grey's Anatomy" and "CSI" at 9 p.m.

Fridays: There are some showdowns here, but nothing of real concern. Viewers of Friday night series tend to be loyal, so unless something truly great arrives, don't expect much movement.

Saturdays: This is traditionally the TV graveyard, and it looks to remain that way.

Of course, anything can happen to make these scenarios more or less worrisome for viewers. The least likely event, sad to say, is that a breakout hit creates a three-way logjam with two established hits. It would be a welcome relief from this perspective, but still highly speculative. The X factor here is when an established series has a down creative year ("Desperate Housewives," "Survivor," etc.), which could change everything. Or a last-minute schedule switch such as NBC is apparently thinking about with Sorkin's show.

All you can do now is hope to have the luxury of choosing between a multitude of good shows. The flip side to that is bad shows everywhere and that's no fun. Oh, and you can get more recording devices.

http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2006/05/24/DDGVSJ07KE26.DTL&type=printable

Sports On TV
Stars are aligned for the NBA playoffs

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 24, 2006

Last year’s NBA postseason was a snoozer, with only three out of 15 series going seven games, no Kobe Bryant or LeBron James, the league’s two biggest stars, and the unappealing San Antonio Spurs emerging as champions.

This year, it’s a whole different story. Already four out of 12 series have gone to seven games, with the Phoenix Suns alone twice winning a do-or-die seventh matchup. Bryant and James both took their teams on thrilling postseason runs, and as of Monday night, the dull Spurs had been eliminated.

That’s led to a major ratings rebound for the NBA postseason on cable. Through 15 games on ESPN, the network’s average has risen by 19 percent among households to an average 2.51 million households, from 2.11 million last year.

Last Friday’s Spurs-Dallas Mavericks Game 6 of the Western Conference semifinals was ESPN’s most-viewed first- or second-round NBA postseason game ever, averaging 4.26 million households.

TNT has also seen increases, especially among young males. In men 18-34, 37 postseason games are up 14 percent, from an average 591,000 viewers last year to 671,000 this year. TNT’s postseason average has risen 12 percent among men 25-54, from 1.2 million to 1.7 million, and the network has also seen increases of at least 6 percent in adults 18-34, 18-49 and 25-54.

Game 5 of the Mavericks-Spurs averaged 1.725 million viewers 18-34 last Wednesday and actually outdrew some of the broadcast networks’ programming that night, including ABC’s “Alias,” CBS’s “Amazing Race” finale and NBC’s “Dateline,” according to TNT.

As with most sports, the NBA depends on big-name teams and players for viewership. Without Bryant and James, the star wattage was pretty low last year, and not having the Lakers, whose championship wins produced the biggest ratings of the last six years, certainly hurt.

But the caliber of basketball has also been better this year, with teams seeming more evenly matched and games that much more exciting when the outcome is actually in doubt.

Tim Duncan, the Spurs’ star center, said Monday night after his team bowed out that the seven-game series with Dallas was the best of his career. Several ESPN Radio commentators did him one better, calling the series, in which two games went to overtime and three more were decided by a total of four points, the best in at least the past decade.

Three of the four conference semifinals went to seven games, including the Detroit Pistons’ improbable stumble and recovery against James’ Cleveland Cavaliers.

With Bryant and James now out, and Eastern finalists Detroit and Miami having less flash than high-scoring Western Conference finalists Phoenix and Dallas, the ratings could start to cool. But if both go to seven games, the high viewership will likely continue.

Meanwhile, in other cable ratings for the week ended May 21:

Top five networks in primetime (18-49s):
TNT
USA
ESPN
TBS
FX

Top five networks in primetime (total viewers): TNT
USA
ESPN
Cartoon Network
TBS

Top movie (18-49s):
TBS’s “Men In Black” (Sunday 10 p.m.) 1.3 million

Top sporting event (total viewers):
ESPN’s NBA Playoffs: Spurs v. Mavericks (Friday 9:50 p.m.) 5.6 million

Shows making the top 10 among 18-34s, 18-49s and 25-54s:
TNT’s NBA Playoffs: Mavericks v. Spurs (Wednesday 9:50 p.m.)
ESPN’s NBA Playoffs: Spurs v. Mavericks (Friday 9:50 p.m.)
USA’s WWE Entertainment (Monday 10 p.m.)
TNT’s NBA Plyaoffs: Clippers v. Suns (Tuesday 10:46 p.m.)
TNT’s NBA Playoffs: Spurs v. Mavericks (Monday 9:48 p.m.)
ESPN’s NBS Playoffs: Pistons v. Cavaliers (Friday 7 p.m.)
TNT’s NBA Playoffs: Cavaliers v. Pistons (Wednesday 7 p.m.)

Show on the rise: “Sunday Night Baseball,” ESPN, Sunday 8 p.m.
The game between the New York Yankees and the New York Mets delivered a 3.5 household rating, making it the highest-rated telecast since 2004. Through seven telecasts, “Sunday Night Baseball” is averaging a 2.0 so far this season, up 54 percent from the same time last year.

http://www.medialifemagazine.com/artman/publish/printer_4932.asp

TV Notebook
The 'American Idol' Winner Is ... Fox

The singing contest is a ratings giant that has fueled other hits for the network.
It also has forced rivals to juggle their lineups.
By Scott Collins Los Angeles Times Staff Writer May 24, 2006

As it finishes its fifth season atop the ratings tonight, Fox's "American Idol" has become an ongoing phenomenon that's transformed pop culture and the television industry.

The singing competition has actually increased its audience by double-digit percentages this year — a rare feat for any established series and nearly unheard of in a fractured TV universe where the term "mass hit" has become all but extinct.

If the finale follows the current pattern, the face-off between prematurely gray crooner Taylor Hicks and Broadway-style belter Katharine McPhee will attract about 35 million viewers, a mark bested this season only by the Super Bowl and the Academy Awards.

And the impact of the program doesn't stop with its regular Tuesday and Wednesday airdates. Fox has successfully used "Idol" to lure viewers to other programs that have been harvested into hits, including the spy series "24" and the hospital drama "House." The program's success has forced rivals to change their scheduling plans and made it almost impossible to get traction for new programs in midweek. Even established hits, such as ABC's "Lost," and special events, such as NBC's coverage of the Winter Olympics, were swamped by the "Idol" wave.

Fox's handling of the show could offer a blueprint for other networks on how to manage breakout hits in the rapidly changing TV landscape. In the case of "Idol," that has meant limiting the show to seasonal runs, not overplaying its hand — the way ABC did with "Who Wants to Be a Millionaire" — and continually tweaking creative decisions.

Viewers are vested in the show because they vote on the outcome, and the "cast" — that is, the contestants — changes annually, keeping it fresh. At the same time, the host (Ryan Seacrest) and judges (Paula Abdul, Simon Cowell and Randy Jackson) on "Idol" provide an anchor of familiarity. But the producers have also fine-tuned the formula, for example dumping Seacrest's co-host, Brian Dunkleman, after the first season. They also added more encounters between the contestants and popular entertainers such as Elton John, Stevie Wonder, Barry Manilow, Rod Stewart and the rock group Queen, some of whom used the show as a way to publicize new albums or introduce themselves to younger audiences.

"The show is going to be strong for years to come because it's a formula they keep refining," said Shari Anne Brill, an analyst at Carat USA, a New York ad firm.

"Idol" cast its shadow well beyond TV: After tonight's show, the 10 finalists will hit the road for a musical tour; former "Idol" winners, such as Kelly Clarkson and Carrie Underwood, have released bestselling albums; contestants have gone on to fame and fortune on stage, including Diana DeGarmo, who just ended a popular run on Broadway as a costar of "Hairspray."

The show helped popularize cell text messaging as a way for millions of viewers to vote for their "Idol" of choice, and it even spawned a movie satire this year, "American Dreamz," which envisioned the U.S. president as an "Idol"-type judge.

For two consecutive seasons, "Idol" has made Fox the No. 1 broadcast network in prime time among 18- to 49-year-old viewers, the demographic most sought by advertisers. This season, ratings for the Tuesday performance shows have climbed 14%, to an average of 31.2 million viewers, according to data from Nielsen Media Research. The Wednesday results show, in which one contestant is kicked off after phone-in votes from viewers, is up 13%, to 29.4 million viewers.

Even Fox executives are stunned. "We were absolutely expecting that this show would age, as do most shows," said Fox Entertainment President Peter Ligouri.

Other network executives are awed as well. When he rolled out his network's new fall lineup last week in New York, NBC Entertainment President Kevin Reilly bowed to the power of "Idol" and added jokingly: "I think [next year] is the season the bottom falls out."

Not much chance of that. Analysts cite several factors behind "Idol's" popularity. As a pop-singing contest that steadily winnows a pool of thousands of hopefuls into one winner, it's one of the very few prime-time series that contains no violence, and any sexual references are no more explicit than the occasional double-entendre (a few of the more colorful auditioning singers launch into profanity-laced tirades that are bleeped out, which led to some criticism earlier this season).

It can thus be safely viewed by the entire family, including young children. CBS has had some success in counter-programming "American Idol" with crime-oriented series aimed at older viewers — most notably "NCIS" and "Criminal Minds." But most competitors are reduced to waiting for the phenomenon to abate.

"What 'Idol' does is expose your weaknesses," CBS scheduling chief Kelly Kahl said.

In stark contrast to ABC, which ran its game-show hit "Who Wants to Be a Millionaire" so often that viewers grew tired of it, Fox has conserved "Idol" to the winter and spring only, roughly duplicating the NBA season, which has helped build anticipation during the off months, turning regular programming into event television.

Meanwhile, the backstage antics of the contestants and the judges have become our national soap opera, a counter-narrative to the competition itself that helps keep "Idol" in the news. This season, for example, Abdul's sometimes slurred speech, overly effusive behavior and bickering with Cowell led some commentators to conclude she was showing up for telecasts drunk. Gossips buzzed that Seacrest was briefly dating "Desperate Housewives" star Teri Hatcher. Last season brought allegations that Abdul had slept with a former contestant (she denied the accusations).

The situation has forced networks to make moves they ordinarily never would have made. Partly to blunt the "Idol" effect next season, ABC is moving a returning comedy, "According to Jim," from 8 p.m. Tuesdays to 8 p.m. Wednesdays starting in mid-season. ("George Lopez," another returning sitcom, will run at 8:30 p.m. after "Jim.") The "Idol" results show will start at 9 p.m. Wednesdays. "Lost," however, will stay where it is, at 9.

NBC has likewise been forced to play scheduling bingo thanks to Cowell and company. The network originally planned "The Apprentice" for Wednesdays but switched to Thursdays to avoid butting heads with "Idol." This season, "Idol" played a key role in NBC's decision to move two emerging Tuesday comedies, "My Name Is Earl" and "The Office," to Thursdays.

CBS, on the other hand, has stayed competitive against "Idol" with older-skewing crime dramas, such as "NCIS" and this year's entry, "Criminal Minds" with Mandy Patinkin. The strategy has worked because CBS, unlike its competitors, generally aims for broad audiences rather than just young adults, according to CBS' Kahl.

"We're not a pure 18-to-49 play like the other guys," Kahl said. So even when young viewers flock to "Idol," "there's still a base for us to work off of. And there's some within that age group who just don't want to watch 'Idol.' "

But the effect on other networks is nothing compared with the benefits "Idol" has given Fox. The program has had a halo effect on other programs, which have turned into hits thanks in large part to an "Idol" lead-in. This season, young-adult ratings for "House" surged 60% when the medical drama began following "Idol"; it's now among the most-watched shows on television. "Idol" performed similar favors for "24" when the show's ratings were still shaky. It has gone on to become a major player on Monday nights.

Of course, on TV nothing lasts forever, and "Idol's" dominance will eventually end. Such a happenstance may be hard to imagine, but that's only because no one knows where the next network hit will come from.

As Fox scheduling chief Preston Beckman said, "You can compete against any show. You just have to figure out how."


'Idol' viewers

The audience for Fox's "American Idol" has grown significantly this season as it has remained atop the ratings.

Weekly Nielsen ratings (Millions of viewers)
Week Of…. Tuesday Wednesday
May 8-14 28.85 27.88
May 1-7 28.58 29.26
April 24-30 28.67 28.27
April 17-23 28.44 27.63
April 10-16 29.65 22.64
April 3-9 28.83 26.23
March 27-April 2 31.71 27.66
March 20-26 33.36 27.68
March 13-19 32.77 28.09
March 6-12* 28.56 30.38
Feb. 27-March 5** 30.09 29.64
Feb. 20-26 30.16 31.69
Feb. 13-19 26.96 28.78
Feb. 6-12 31.15 28.74
Jan. 30-Feb. 5 30.18 30.40


*Additional Thursday show: 26.62
**Additional Thursday show: 26.32

• Source: Nielsen Media Research data

http://www.calendarlive.com/tv/cl-et-idol24may24,0,1217431,print.story?coll=cl-tvent

TV Notebook
For Fox, a season win with heft to it

By Abigail Azote MediaLifeMagazine.com staff writer May 24, 2006

Six months ago, it seemed improbable that Fox could rebound from a terrible baseball postseason to finish No. 1 among adults 18-49 for a second straight year. After all, it took a huge baseball performance the year before for Fox to finish No. 1 by the slightest of margins during the 2004-’05 season.

But tomorrow Fox will indeed claim its second-ever season win among 18-49s, and it will do so because of a spring where virtually everything went in its favor, after a fall when it seemed nothing did.

For the week ending May 21, Fox crept ahead of ABC for the season by about 120,000 viewers 18-49, with an average 5.26 million to the latter’s 5.14 million.

The finales of “American Idol,” “House” and “24” this week should push Fox even farther ahead when the season ends tonight. In fact, the network had already declared itself the winner during last week’s upfront presentation.

Fox will likely finish with a bigger cushion than last year, when it tied with CBS with a 4.0 rating in 18-49s but edged CBS in viewers by 125,000, with an average 5.35 million.

How did Fox rebound? A huge part of it was “American Idol,” which, rather than decline in its fifth season, became even stronger. But it was also helped by the rise of dramas “24” and “House,” as well as ABC’s second-half slide.

With no Yankees or Red Sox in the World Series, Fox’s postseason average plunged 26 percent year to year from a 5.4 to a 4.1 last fall.

In November, after the baseball season ended, Fox had a season average of 3.3, 0.9 behind ABC. The previous year, it entered November with a 4.2 average, a difference of 21 percent. That meant Fox had to make up way more ground than the previous year.

As usual, much of the comeback hinged on “Idol.” It is up 13 percent this year to a 12.9 average on Tuesday and a 12.0 average on Wednesday. It will finish with its best-ever ratings in the demographic and, for the third consecutive year, will be TV’s No. 1 show.

But “24” and “House” also were up big this year. In its fifth season, “24” averaged a 5.7 rating, up 12 percent over last year for the largest increase for a fifth-year drama in at least 16 years, according to Fox.

“House” is up 27 percent year to year with a 6.6 average rating. Since January alone, it has risen 38 percent in the post-“Idol” Tuesday spot, and now ranks No. 6 on broadcast, 14 spots better than last year.

Finally, ABC had been trying to hang onto the lead it built from February’s Super Bowl and last fall’s huge ratings for “Desperate Housewives” and “Lost.” But in recent weeks, the network has been struggling, even placing last among the Big Four networks last week.

Part of the problem is that two shows that gave ABC a boost during the fall and winter, “Commander in Chief” and “Dancing With the Stars,” are no longer on the schedule. That combined with recent declines for “Housewives” and “Extreme Makeover: Home Edition” hurt ABC as it struggled to stay ahead of Fox, which pulled into a tie for the season with a 4.0 average a few weeks ago.

Last week, the week ended May 21, Fox averaged a 4.6 rating to ABC’s second-place 4.0. With ABC averaging just a 3.0 on Monday night, it won’t be able to catch up before season’s end.

ABC will finish second in its best season since 2000-2001. It's also the only network to increase its rating among 18-49s year to year, up 8 percent from last year's 3.7.

CBS will finish third behind ABC for the season with a 3.8 average. NBC will finish fourth for the second straight year with a 3.3, followed by Univision, which has only been measured since January, at 1.6 and the WB and UPN tied for sixth at 1.3.

http://www.medialifemagazine.com/artman/publish/printer_4935.asp

The Business of TV
Court Pulls EchoStar's Distant Signals

By John Eggerton Broadcasting & Cable 5/24/2006

In a decision that could have serious implications for EchoStar's satellite TV business, a federal appeals court has ordered a permanent injunction on its importation of distant network TV signals.

It cited congressional language that requires the court to revoke the distant signal license on the finding of a patern of abuse, which the court found.

"As if the magnitude of its ineligible subscriber base were insufficiently disconcerting," read the 11th Circuit decision, "we have found no indication that EchoStar was ever interested in complying with the Act."

Network and affiliate groups had sued the company, saying it had imported distant station signals into markets that could already receive a local signal, a violation of the Satelliite Home Viewer Act.

Satellite companies are allowed to bring in, say, an out-of-market CBS station only to customers who can't receive a sufficiently clear local CBS affiliate.

But how EchoStar determined which customers were and weren't eligible for the distant signals has been a bone of contention, and litigation for years.

Saying that it came to the "unavoidable conclusion that EchoStar engaged in a 'pattern or practice' of SHVA violations, we hold that the district court is required to issue a nationwide permanent injunction barring the provision of distant network programming."

The suit had been filed by the Big Four networks and their affiliate groups.

The Business of TV
TiVo sets stage for new EchoStar fight

Company asks judge to shut down Dish's DVR operation
By Joyzelle Davis Rocky Mountain News May 24, 2006

TiVo, which last month won a $74 million jury verdict against EchoStar for violating patents integral to its digital video recorders, now wants a judge to shut down EchoStar's DVR business altogether.

TiVo filed court papers Monday seeking to permanently ban EchoStar from manufacturing or selling its DVRs that were found by a Texas jury to infringe on TiVo's "time warp" patent that allows viewers to pause, rewind or fast-forward live TV. TiVo also wants EchoStar to disable the 4 million DVRs already installed in Dish Network subscribers' homes.

"Every day that EchoStar sells its infringing DVRs, TiVo loses critical market share," TiVo argued in court papers filed in a Texarkana, Texas, court.

U.S. District Judge David Folsom, who presided over the jury trial, is scheduled to oversee a trial next month over whether the patent can be enforced.

Kathie Gonzalez, a spokeswoman for Douglas County-based EchoStar, didn't immediately return a call for comment. The company has vowed to challenge the jury verdict.

Alviso, Calif.-based TiVo introduced its DVR device in 1997, and EchoStar created its own version a few years later. EchoStar made the technology a key selling point and gave the devices away to customers, charging a $6 monthly subscription fee.

TiVo, which sells its DVR device directly to the public and provides its service to DirecTV Group, has posted loses every year since going public in 1999.

TiVo DVRs account for less than one-third of the more than 15 million American homes that have some kind of digital video recorder box.

Forrester Research predicts that DVRs - with or without TiVo's branded service - will be found in nearly half of U.S. households as cable operators and other electronics markers add DVR features to their equipment.

If EchoStar is allowed to continue selling its DVRs, "TiVo risks being marginalized by the time the market matures," TiVo said in its filing.

TiVo's requested injunction would apply to Dish Network's two DVRs currently offered for sale, the DP-625 DVR and high-definition ViP622 DVR, the filing said.

TiVo also wants the judge to order EchoStar to disable the DVR function on all of the models in customer homes via a satellite software update.

http://www.rockymountainnews.com/drmn/tech/article/0,2777,DRMN_23910_4721859,00.html

TV Notebook
For Fox, a season win with heft to it

By Abigail Azote MediaLifeMagazine.com staff writer May 24, 2006

Six months ago, it seemed improbable that Fox could rebound from a terrible baseball postseason to finish No. 1 among adults 18-49 for a second straight year.

I don't get why FOX even bothers with baseball. :confused:

The TV Column
We Watch ... So You Don't Have To

By Lisa de Moraes The Washington Post Staff Writer Wednesday, May 24, 2006; C01

Absolutely everyone had forecast a big win for silver-haired goofball Taylor Hicks over Katharine McPhee before their final "American Idol" performances last night.

Even judges Mopsy, Flopsy and Tipsy.

Still, the show must go on, as they say.

"It's now or never, baby -- you've got to lay it all on the line tonight!" Mopsy says, pulling out the very best from his bag of five gag-inducing cliches.

Tipsy hopes Taylor and Katharine are "in good voice." Flopsy says he "would suggest the contestants pray the other one forgets the words."

This week, the two finalists are forced to revisit two songs they've already sung during the competition, after which they'd be subjected to traditional made-for-"Idol" treacle tunes created just for them.

Katharine chooses the two songs she'd sung while sitting on the floor of the stage, which were also her best performances.

After "Black Horse and Cherry Tree," Mopsy whines that it was not "super-exciting" because he'd heard it before. Yes, Mopsy, that was the point.

Tipsy urges her to celebrate; Flopsy says the occasion is bigger than the song.

Host Ryan Seacrest reminds viewers they will have "at least four hours to vote."

How long exactly is "at least four hours?" If someone votes 12 hours later, will his vote still be counted? Something smells fishy here.

Taylor sings "Living for the City" and it once again sounds like a weak imitation of Stevie Wonder, only Taylor's wearing a puce velvet jacket, and any guy who has the nerve to wear a puce velvet jacket on national TV deserves our votes.

Mopsy says he made the song his own, which sounds as lame now as the first time he said it, oh so many "Idol" editions ago. Tipsy says she and Taylor match tonight, only she's wearing a skimpy little red, white and blue dress, so we have no idea what she's talking about, as usual.

Flopsy, who like everyone else has seen the numbers from past voting and knows Taylor is going to win, nonetheless begins to lay the groundwork for him to be called the man who picked the next American Idol, saying Taylor won the first round.

Katharine comes back to sing Dorothy's song from "The Wizard of Oz."

Mopsy, who also knows Taylor is going to win, can't think of anything negative to say about Katharine's performance except that she's once again singing a song she's already sung before:

"For me, when I saw you doing the same song again, it was a little anticlimactic," he says. He really is an idiot.

Tipsy says Katharine is possessed of a God-given talent and every father has tears coming down his face as her father does, and every little girl is proud who wants to aspire to be her. Flopsy calls it Katharine's best performance ever and says she's back in the game. Such a liar.

Taylor comes back with "Levon." Mopsy, who, keep in mind, knows Taylor's going to win, does not nick him for singing a song he's already sung before. He does, however, say it's a little "pitchy." Actually, it was off-pitchy.

Tipsy says it may be pitchy but maybe that's who Taylor is. Flopsy says that makes no sense. Tipsy says Flopsy doesn't make sense. Flopsy says Katharine has taken the second round. You see where he's going with this, right? Next round he'll give to Taylor and then forecast a Taylor win because he won two out of three and then, tonight, when Taylor wins, Flopsy will look like a genius.

Taylor appears to be wearing eye shadow that matches his gray suit.

Now the bad part: Taylor and Katharine have to sing songs created for them, which they also will be forced to record and which you are going to buy whether you hate them or not.

Katharine sings "My Destiny." It's possibly the worst made-for-"Idol" treacle tune ever, and that's saying a mouthful. Here comes the Made for Idol Treacle Tune Gospel Choir to bring it home.

Mopsy says she kept it real but he did not love the song. Again, is that her fault?

Tipsy, in a rare moment of clarity, says to Katharine, "That is not your fault."

Flopsy says she's a great potential artist but anyone who wants to vote for her should remember her second song of the night -- which was one he picked for her to sing last week, BTW.

Taylor is then forced to sing his made-for-"Idol" treacle tune, "Do I Make You Proud." It's bad, but not as bad as "My Destiny" by a mile. Here comes the Made for Idol Treacle Tune Gospel Choir to bring it home.

Mopsy says he likes Taylor's song better than Katharine's.

Tipsy says Taylor is better than the song and something about nuances. Maybe it was seances.

Flopsy tells Taylor, "You have just won 'American Idol.' "

Flopsy is evil.

http://www.avsforum.com/avs-vb/forumdisplay.php?f=34

I don't get why FOX even bothers with baseball. :confused:


Because they can only run "American Idol" once a season.

But Fox is apparently thinking long and hard about dropping with baseball after this season.

I think it is a far better cable play, to be honest, with a broadcast network only getting the World Series. (ESPN/ABC?)

But if it lets the baseball contract go, it will have to play under more of the same rules as the big boys -- even if it only programs 15 hours a week to their 22.

The TV Column
The Week’s Winners and Losers

By Lisa de Moraes The Washington Post Staff Writer Wednesday, May 24, 2006; C01

Charlie Gibson is packing up his incredible beigeness and his hoity-toity attitude and moving from ABC's "Good Morning America" to replace pregnant Elizabeth Vargas and injured Bob Woodruff as solo anchor of "World News Tonight."

Here's a look at this development's victors and vanquished:

WINNERS

Charlie Gibson. Though 47-year-old Brian Williams does his best to look and sound like an old white guy on NBC's evening newscast, 63-year-old Gibson will be the senior statesman among permanent news anchors when he takes over the ABC evening news next week. This is great for ABC because, as Bob Schieffer has shown so clearly since taking over the CBS newscast in March '05, Americans really do like to have their daily dose of bad news meted out by an older white man. So long as it's the right old white man -- one who's all normal and modest, and pleasant; not one who's pretentious and angry. Hmmm . . .

Bob Schieffer. CBS News's trailblazing old white man gets to hand off the Gibson headache to Katie Couric and goes out looking like a hero, having catapulted "CBS Evening News" to second place in the weekly ratings for the first time in five years and made it the only evening newscast that's up this year compared with last.

Meredith Vieira. Taking over for Katie Couric on "Today" just got a whole lot less daunting, what with half of the NBC show's stiffest competition being phased out on June 30 -- at least two months before Vieira joins the morning infotainment-cast.

LOSERS

Pregnant newswomen. Being pregnant and in third place is a losing combination in the news business. Before you know it, your boss is issuing news releases saying you have asked to be relieved of your anchor gig, and your responsibilities have been limited to anchoring a Friday newsmag and prime-time specials, and you'll be quoted as saying your doctor asked that you cut back your schedule considerably.

Diane Sawyer . With Couric leaving "Today" at the end of this month, "Good Morning America" was likely to finally unclench the NBC show's stranglehold on the morning infotainment genre. But Gibson did a lot of the heavy lifting on "GMA." With Charlie gone, can Di catch a Couric-less "Today" in the ratings? And with Couric's and Gibson's exit strategies from morning infotainment laid out, what's left for Di?

David Westin . The ABC News president seemed to paddle in place for months after Woodruff was injured in Iraq less than a month into his new gig as evening news co-anchor. Yesterday, Westin told the Associated Press he timed the Gibson announcement to keep him on "GMA" through this television season but, of course, he's now going to do double duty on the evening news and "GMA" through June. And Westin's delay means Gibson's appointment is unveiled the week after "CBS Evening News" overtook ABC's news program in the weekly ratings race for the first time in five years -- which leaves Gibson's appointment looking like a reax.

* * * * * * * * * * * * * * * * * * * * * * * * * *

CBS, which will finish first this TV season among viewers of all ages, marched victorious through the final full week of that season, claiming its 10th consecutive weekly prime-time win.

Here's a look at the week's holders and folders:

WINNERS

"Will & Grace." More than 18 million viewers said see-ya to the long-running NBC comedy -- its most watched episode since spring '04 -- catapulting it from its season-average 59th-place ranking to the top 10.

"Grey's Anatomy." Last spring the ABC doc drama's first season finale snagged 22.2 million viewers with a boffo "Desperate Housewives" lead-in. This year, against all odds -- "all odds" being a Monday time slot on ABC and a buzz-kill President Bush warm-up act -- "Grey" nonetheless managed to wrap its second season with 22.5 million viewers. That's ABC's best performance in the Monday 9-11 p.m. slot in 11 years, excluding sports and the Academy Awards, which used to air on the night.

LOSERS

"CSI." "It was last week's most watched scripted show, logging more than 25 million viewers!," CBS's Vice President in Charge of Yelling at The TV Column will argue. "But last year's season finale averaged nearly 31 million viewers and that's a downward trend no network wants to see, now isn't it?" we will cleverly respond.

"Desperate Housewives." "It was last week's second most watched scripted show, snagging more than 24 million viewers!" ABC's Vice President in Charge of Dressing Down The TV Column will say in the strongest of terms, after TV Column gets off the phone with CBS's VPCYTVC at CBS. "Ah, but last season's finale had averaged nearly 31 million viewers. That's a downward trend no network wants to see, am I right or am I right?" we will coolly reply.

"10.5: Apocalypse." America totally bought into "10.5" two years ago -- nearly 21 million people watched Part 1. Naturally, NBC took another trip to that well, but Part 1 of "10.5: A" took in only about 8 million.

http://www.avsforum.com/avs-vb/forumdisplay.php?f=34

The 2006-2007 Season
Sundays, suddenly in hot contention

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 24, 2006, 01:21

A year ago, it seemed unthinkable for any network to even consider programming aggressively against ABC on Sunday nights. “Desperate Housewives” was peaking, “Grey’s Anatomy” was gaining, and “Extreme Makeover: Home Edition” was beating even Fox’s “Simpsons” among adults 18-49.

When the other networks announced their schedules last spring, they put on virtually nothing to challenge ABC on the night.

What a difference a year makes.

With “Housewives” on the decline since January and “Grey’s” moving to Thursdays come fall, suddenly ABC seems vulnerable, and three of the other four networks are mounting very aggressive new challenges on the night.

It’s entirely possible that ABC will lose its edge. At the very least, the edge will become much duller.

With NBC’s “Sunday Night Football,” CBS’s “Without a Trace” and the CW’s urban sitcom block all moving to the night, Sunday will be competitive for the first time in two years.

“Moving ‘Without a Trace’ to Sunday night has the most potential of any programming move this season. It is the highest night for TV usage levels, and CBS used to rule that night until ABC bolstered it in recent years. Clearly CBS wants it back,” says one media researcher.

The other networks have chosen their counter-programming carefully, picking shows they believe will appeal to audiences that are somewhat different than “Housewives” viewers. The CW is courting black viewers, NBC is going after men, and CBS is wooing the older end of the 18-49 set.

All of those groups are watching ABC’s Sunday lineup but not in the sort of numbers they did last year.

“Housewives” has been fading since midseason. Sunday’s season finale posted its best 18-49 average since February, a 9.9, but that was down 26 percent from last year’s season finale, at a 13.4.

Meanwhile, “Home Edition” has dipped from a 6.5 average last season to a 5.9 this year, a falloff of 9 percent. That decline has been even greater during sweeps. It will receive a steep challenge at 8 p.m., facing the CW’s “Girlfriends” and “The Game,” which has gotten good early buzz, as well as the first hour of NBC’s “SNF” and the relocated “Amazing Race” on CBS, which appeals to the same family demographic.

In all, Sunday night will have nine timeslot changes for returning shows, also including switches on Fox’s comedy block, and three new shows, including ABC’s “Brothers and Sisters.”

By comparison, last year there was just one new show, Fox’s “War at Home,” and no other siginificant timeslot switches.

It’s still possible ABC could regain the dominance it showed earlier this year on the night. “Brothers” has received good early buzz from media buyers, who say the presence of Calista Flockhart, in her first show since “Ally McBeal,” may draw viewers.

And “Housewives” was up quite a bit over recent weeks for its finale, which ended the unpopular storyline about Betty Applewhite and her mysterious children.

But more likely, Sundays will become a night where all of the networks are able to carve out a niche. It may have the five strongest schedules for any night of the week, with no one network looking particularly weak. It will certainly be more interesting than the past two years, when ABC often doubled its nearest competitor.

As a report from Magna Global about CBS’s new schedule concludes, “Moving its hit ‘Without a Trace’ over from Thursday carries some risk but is certainly a risk worth taking, particularly with both ‘Grey’s Anatomy’ and ‘Crossing Jordan’ vacating the hour.”

http://www.medialifemagazine.com/artman/publish/printer_4906.asp

I haven’t posted the cable news numbers for a while, so here are Monday’s:

Prime Time Cable News Race
Monday, May 22

(courtesy drudgereport.com)

(Total viewers)
FNC O'REILLY 2,105,000
FNC HANNITY/COLMES 1,666,000
FNC GRETA 1,494,000
FNC HUME 1,341,000
FNC SHEP SMITH 1,215,000
CNN KING 885,000
CNN DOBBS 702,000
CNN BLITZER 592,000
CNN COOPER 590,000
CNN ZAHN 527,000
CNNHN GRACE 487,000
MSNBC HARDBALL 471,000
MSNBC OLBERMANN 406,000

• Source: Nielsen Media Research data

Boy is FNC kicking butt

Nice grid, but for version control a nice add would be to place a last revised date on it, so we can make sure we have the latest one as this changes.
Added a date to the file name.

Tuesday’s network prime-time ratings are now at the top of RATINGS NEWS (the first post in this thread).

(From Marc Berman’s Wednesday, May 24, 2006, Programming Insider column at Mediaweek.com )
National Ratings in Primetime: Week of May 15, 2006

In this last full week of the traditional season (heavily populated with season and series-finales), CBS and Fox remained in the winner’s circle. CBS was first in households and total viewers, and Fox No. 1 among the three surveyed demos -- adults 18-49, adults 25-54, and adults 18-34. Year-to-year, Fox was on the plus side, building by margins of 4 to 13 percent. CBS, in contrast, was down by as much as 23 percent, dipping to third in adults 18-49 and adults 25-54, and fourth among adults 18-34.

Led by the two-hour season-finales of Desperate Housewives and Grey’s Anatomy (see rankings below), ABC moved into the No. 2 spot demographically, with growth of 3 to 5 percent in the three categories. ABC finished third in households and total viewers. NBC also closed the week on the plus side, with a third-place finish among adults 18-34, and fourth elsewhere. Worth noting on NBC was the series-finale of Will & Grace, which exited in style with 18.43 million viewers (No. 8 overall) and an 8.4/21 among adults 18-49 (No. 6) in the Thursday 9 p.m. hour. Also bidding adieu this week were:

That ‘70s Show (Fox) – Thurs. 8:30 p.m.
Viewers: 10.02 million (#31)
A18-49: 4.7/14 (#17)

Conviction (NBC) – Fri. 9-11 p.m.
Viewers: 5.91 million (#61)
A18-49: 1.8/ 6 (#64t)

Charmed (WB) – Sun. 8 p.m.
Viewers: 4.49 million (#74)
A18-49: 2.0/ 5 (#60)

Half & Half (UPN) – Mon. 9-10 p.m.
Viewers: 2.70 million (#83)
A18-49: 1.2/ 3 (#79t)

UPN and cellar-dweller the WB (which filled three of its six nights with low-profile theatricals) experienced steep year-to-year declines by not programming aggressively this week. Also of negative note was CBS special Dr. Phil: Escaping Danger, with just 6.93 million viewers (No. 52) and a 1.8/ 7 among adults 18-49 (No. 64t) at 8 p.m. on Friday.

Here are the final national ratings for the week of May 15-21, 2006 (with percent change versus the comparable year-ago period in parentheses).

Households:
CBS: 7.8 rating/13 share (-14)
Fox: 6.8/11 (+ 8)
ABC: 6.7/11 (+ 5)
NBC: 6.3/10 (+ 5)
UPN: 1.8/ 3 (-25)
WB: 1.5/ 2 (-40)

Total Viewers:
CBS: 11.96 million (-15)
Fox: 11.04 (+ 8)
ABC: 10.46 (+ 5)
NBC: 9.58 (+ 9)
UPN: 2.66 (-25)
WB: 2.29 (-39)

Adults 18-49:
Fox: 4.6/13 (+ 7)
ABC: 4.0/11 (+ 5)
CBS: 3.5/10 (-20)
NBC: 3.3/ 9 (+10)
UPN: 1.1/ 3 (-31)
WB: 0.9/ 3 (-40)

Adults 25-54:
Fox: 4.8/12 (+ 4)
ABC: 4.5/11 (+ 5)
CBS: 4.4/11 (-17)
NBC: 4.0/10 (+ 8)
UPN: 1.0/ 3 (-29)
WB: 0.9/ 2 (-40)

Adults 18-34:
Fox: 4.5/14 (+13)
ABC: 3.4/10 (+ 3)
NBC: 2.8/ 9 (+12)
CBS: 2.4/ 7 (-23)
UPN: 1.3/ 4 (-24)
WB: 1.0/ 3 (-38)

• Source: Nielsen Media Research data
http://www.mediaweek.com/mw/newsletters/proginsider/index.jsp

Overnights in the 18-49 Demo
Pitch perfect: 'Idol' penultimate surge

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 24, 2006, 10:35

Expect huge numbers for tonight’s “American Idol” finale. Last night’s penultimate show, in which Katharine McPhee and Taylor Hicks squared off one last time, actually outdrew last year’s season finale among total viewers and was up over 2005’s penultimate episode in adults 18-49.

“Idol” averaged an 11.8 overnight rating in 18-49s, up 5 percent from last year’s 11.2 for the final Tuesday show. It also drew 30.6 million, 12 percent better than the 27.2 million who tuned in the same night last year and also bettering the 30.3 million who watched last year’s finale.

The final half hour of the 8 p.m. show peaked with 33 million total viewers. Of course whether “Idol” can beat 2003’s record 38 million for the “Idol” finale is doubtful, but it should be the most-watched of at least the last three editions.

Fox already has a big lead in the May sweeps among 18-49s, but this will boost it even more ahead. The network averaged an 11.0 for the night, 16 percent better than its average for the same night last year.

Once again, 9 p.m. drama “House” set a series record with a 10.3 for its season finale. That bettered its old record, a 9.9 on April 25. Its three highest-rated episodes have all aired during the past month.

Fox easily won the night among 18-49s with an 11 rating and 29 share. CBS was a distant second with 3.5/9, ABC third with 2.5/7, NBC fourth with 2.0/5, Univision fifth with 1.6/4, and WB and UPN tied for sixth with 0.7/2.

Fox started the night in the lead at 8 with an 11.8 for part one of the “American Idol” finale. ABC and CBS tied for second with a 2.2, the former for the first hour of the movie “Stephen King’s Desperation” and the latter for the first hour of the Country Music Awards. NBC was fourth with a 1.7 for “Outrageous Moments,” Univision fifth with a 1.7 for “La Fea Mas Bella,” UPN sixth with a 0.9 for a repeat of “America’s Next Top Model” and WB seventh with a 0.7 for a repeat of “Gilmore Girls.”

At 9, Fox held on to its lead with a 10.3 for the “House” finale, followed by CBS with a 3.9 for the CMA Awards, ABC with a 2.7 for “Desperation,” NBC with a 2.0 for the disappointing part two of “10.5 Apocalypse,” Univision with a 1.7 for “Barrera de Amor,” the WB with a 0.7 for “Pepper Dennis” and UPN with a 0.6 for a repeat of “Veronica Mars.”

At 10, CBS led with a 4.5 for the CMA Awards, followed by ABC with a 2.7 for the conclusion of “Desperation” and NBC with a 2.6 for the conclusion of “Apocalypse.”

Fox also won the night among households with a 16.5/26, followed by CBS with 7.6/12, ABC with 5.1/8, NBC with 4.1/6, Univision with 2.0/3, and WB and UPN each with 1.1/2.

• Source: Nielsen Media Research data
http://www.medialifemagazine.com/artman/publish/printer_4970.asp

TV Notebook
No suspense: '24' thrills more viewers than 'Alias'

By Scott Collins Los Angeles Times Staff Writer in the Channel Island TV Industry blog May 24, 2006

It was spy versus spy on TV Monday night. One's coming back next year, the other isn't.

Fox won the last Monday of the 2005-06 season in the key "adults ages 18 to 49" demographic with the two-hour, fifth-season finale of "24." The drama starring Kiefer Sutherland as a gruff counterterrorism agent delivered a 5.4 rating/14 share in the demo, with 13.5 million total viewers, according to early data from Nielsen Media Research. Overall, "24" climbed 14% in viewers this season, turning the once-struggling show into a solid hit and proving that Fox's rating success these days is about more than just the mighty numbers for "American Idol."

But Monday also saw the end of another spy thriller that never caught on. ABC bid buh-bye to the ever-low-rated "Alias" — the show that made Jennifer Garner a star — with a two-hour series wrap-up that rounded up just 6.6 million total viewers (2.7 rating/6 share in 18-to-49). The network had high hopes for the show, but it never, ah, garnered much attention beyond its lead actor, and the Monday finale lost more than a third of its young-adult audience compared with last season's closer.

"Alias" dropped considerably compared with its lead-in, the special "Oprah Winfrey's Legends Ball" (11.5 million viewers), which was bumped last week to make way for President Bush's immigration speech.

Incidentally, "24" and "Alias" drew attention as TV's first post-9/11 spy dramas, although both were shot and ordered as series long before the terrorist attacks. "Alias" premiered in September 2001, and the Fox series followed that November.

http://www.calendarlive.com/tv/cl-et-channel24may24,0,7674602,print.story?coll=cl-tvent

TV Notebook
One Crazy Season

Insiders answer burning questions about all the wild twists and shocking cliff-hangers

TVGuide.com---Bree's Desperate meltdown! NCIS' jaw-dropping exit! The kiss heard ’round The Office!

No matter where your channel surfing took you this year, there was no shortage of surprises designed to leave fans — and, sadly, several beloved characters — breathless.

Now that the dust has settled on the season-finale bombshells, we decided to grill the folks behind the scenes for the lowdown on how they kept so many secrets… and why we should expect even bigger surprises from our favorite shows come fall.

Everything seems to go wrong for Bree on Desperate Housewives. Is she really going crazy?

Marcia Cross (Bree) answers: What a season! Bree has gone from bad to worse. She started out burying the love of her life and spent the rest of the year spiraling down. It was all about her being pulled apart — and she ends up in a mental institution. But the twist is that Bree is actually quite sane. When we got to the location where we were shooting those scenes, I thought it looked familiar. And then I realized, “This is the same place I was crazy in for Melrose Place!”

I think Bree’s son sleeping with her AA sponsor (played by Lee Tergesen) put her over the edge. Doing the scenes with Lee was such a blast. I usually get the Bree-type husband actors like Roger Bart and Steven Culp. They are great actors, but Lee was a different kind of character. He led from his sexuality, as opposed to his gentlemanliness. He was dangerous, and I loved it.

But when Bree dropped her son off in the middle of nowhere… that was a terrible day at work. I understand why she did it — she has to let him go or she can’t survive — but as an actor, you have to go into such terrible feelings of loss and betrayal. I love playing her but it’s never easy for me. I feel very much like I’m jumping off a cliff: There is a lot of free-falling and hoping.

As for the future, Bree is going to have a big romance. This is what she wants — it’s her idea of happiness. I don’t think she wants to go to India to find herself. She wants nothing more than to meet a fantastic man and get remarried. Whether she’s ready for it remains to be seen. — Mary Murphy

Is CSI’s Jim Brass going to survive his gunshot wound?

Paul Guilfoyle (Brass) answers: I don’t know what’s going to happen to Brass next season, but if his number is punched, he went out the right way. He put himself in harm’s way as part of his job.

I’ve been shot many times in movies, so I never said “Oh, no!” when the producers at CSI told me Brass was going to get shot. But I have to admit, I thought they’d be out of their minds to kill me off.

They had real paramedics working when we did the shooting scene. They wheeled me down a hospital corridor, and I lay there looking at the ceiling, which does kind of spook you a little. I just hope that nothing like that happens to me. But if it does, I want them to work as hard to save Paul as they did to save Jim Brass.

Usually when I get shot in a movie, I just get shot cold dead, so it was nice to even have them try to save me. — Craig Tomashoff

http://tvguide.com/tv/coverstory/

The End of the 2005-2006 Season
Tonight’s Finales

"American Idol," 8-10 ET/PT Fox
"Lost," 9-11 ET/PT ABC

The Business of TV
Tivo, Echostar Debate Over Patent Office Rulings

DVR Pioneer Shares Drop 4 Percent
By Jay Sherman TVWeek.com May 24, 2006

Shares of TiVo fell about 4 percent Wednesday after EchoStar Communications said patents held by the digital-video-recorder pioneer had been rejected by the U.S. Patent and Trademark Office.

EchoStar, the second-largest U.S. satellite-television provider, is appealing a jury verdict from last month that found it had infringed on DVR patents held by TiVo. The jury ordered EchoStar to pay $73 million in that case.

EchoStar today said the patent office ruling will bolster its appeal.

The news helped push down TiVo's stock price 27 cents to $7.01 a share at midday, and prompted TiVo to issue a statement challenging EchoStar's take on the matter.

"The level of misleading spin that EchoStar is putting out with respect to our patent case against them is quite extraordinary," the company said. "While certain of the patent claims were rejected by the patent office, this should in no way impact the jury verdict."

http://www.tvweek.com/news.cms?newsId=10061

The Business of TV
EchoStar Must Cut Off Distant Nets

By Ted Hearn Multichannel.com 5/24/2006

EchoStar Communications Corp. has been ordered by a federal court to cut off probably hundreds of thousands of customers around the country who have signed up for packages of ABC, NBC, CBS and Fox programming that originates on local stations in New York and Los Angeles.

The court, in a ruling Tuesday by a three-judge panel of the U.S. Court of Appeals for the 11th Circuit, found that EchoStar's Dish Network illegally provided distant network signals to at least 630,000 ineligible homes, violating hundreds of TV stations' copyright protections under the Satellite Home Viewer Act of 1988.

But the court-cited illegal-subscriber totals were several years old and probably stale. It is unclear how many distant network subscribers EchoStar has added or has converted to a legal package of local TV signals in recent years.

EchoStar will likely have to cut distant network service to "hundreds of thousands [of subscribers]," said Jimmy Schaeffler, senior financial and consulting analyst at The Carmel Group. "Whether or not it's millions, that's something probably only someone at EchoStar could judge."

EchoStar issued a statement saying that it was “disappointed in the Court of Appeals ruling” and adding that it believed it had “acted within the scope of the law and in the best interest of consumers.”

The company did not disclose the number of subscribers affected. However, it said in recent years that it had settled with hundreds of TV stations, “including all ABC, NBC and CBS owned-and-operated stations. We were not able to reach settlement agreements with Fox Network or the station groups owning the remaining stations.”

The court slapped EchoStar with a nationwide injunction. In more pain for the direct-broadcast satellite provider, the ruling appeared to also require the company to terminate distant network service to customers who are legally receiving the programming.

Satellite subscribers have an affinity for distant signals because they offer time-shifted viewing of network fare, including sporting events and entertainment programming. Subscribers on the West Coast can view CBS' New York affiliate to tune in The Late Show with David Letterman at 8:30 p.m. instead of the normal time of 11:30 p.m.

"It's like having a TiVo. They get so used to the convenience of it that taking it away is very difficult," Schaeffler said.

The “Big Four” networks, in addition to their affiliates, have been waging a court battle against EchoStar for many years in an effort to protect their copyrights. EchoStar could seek rehearing by the full 11th Circuit or appeal directly to the U.S. Supreme Court.

EchoStar could also turn subscriber dismay at the court defeat into a political weapon by urging riled customers to complain to their Capitol Hill lawmakers about their loss of service. Congress intervened in 1999 in response to satellite-subscriber anger at the potential loss of distant networks.

EchoStar has about 12 million video subscribers. In another court setback last month, the DBS provider lost a patent-infringement suit against digital-video-recorder vendor TiVo Inc., which was awarded $74 million in damages. EchoStar is expected to appeal, however.

Under the SHVA, satellite customers are barred from purchasing out-of-market network stations from EchoStar and DirecTV Inc. if they can rely on conventional rooftop antennas to watch their home-market stations. DirecTV, which settled with broadcasters a few years ago, was not included in the 11th Circuit's ruling.

Broadcasters went to court after suspecting that EchoStar had been violating the SHVA on a large scale. Local TV stations don't want area residents to view distant signals because the practice hurts their advertising revenue.

In a 44-page ruling, the 11th Circuit panel found that EchoStar engaged in a "pattern and practice" of violating the SHVA. It ordered a lower court to issue a nationwide permanent injunction barring EchoStar from selling distant network signals.

The ruling's wording appeared to compel EchoStar to terminate not only illegal distant network subscribers, but also legal ones -- customers who can't pick up their local stations with an antenna.

"We have found no indication that EchoStar was ever interested in complying with the [SHVA]," the court said in a unanimous opinion. "EchoStar has disregarded the limitations of its statutory license and sought to avoid its obligations under the [SHVA] at every turn."

The ruling was handed down by U.S. Circuit Judge Gerald Bard Tjoflat, U.S. Circuit Judge James Clinkscales Hill and U.S. District Judge Richard Mills. Tjoflat wrote the opinion.

"It's going to cost EchoStar money -- a lot of money," Schaeffler predicted.

The outcome could have been far worse for EchoStar. At times in the litigation, broadcasters asked the courts to punish the DBS operator by banning it from providing even local TV signals to subscribers in dozens of local markets. The court's ruling did not address a local-signal ban as a remedy.

David K. Rehr, president of the National Association of Broadcasters, which represents hundreds of network affiliates, said the ruling affirmed “the importance of localism in television and vindicates an eight-year effort by TV broadcasters to stop EchoStar's blatant and massive abuse of copyright law."

TV Notebook
Idol 's Kodak Moment

By Ben Grossman at bcbeat.com

If anyone cares (and 25 million of you do and another 10 million say they don't but are lying), here’s what you didn’t see on Idol last night:

LOUDEST OVATION: Prior to air when the warm-up guy announced everyone from the judges to the voted-out contestants, the loudest cheers for anyone by far wento ousted contestant Chris Daughtry. By far.

LONGEST EMBRACE: Paula Abdul and semi-finalist Elliott Yamin held a hug that lasted longer than that awful new song Katharine McPhee sang, if that is possible.

BEST SCENE IN THE LOBBY BAR BEFORE THE SHOW: Three Midwestern girls strategizing and then finally getting up the guts to approach Willie Garson, the guy who played Stanford on Sex and the City. When they got up the nerve, they all squealed “hello” at the same time and almost gave the poor guy a coronary.

And in case anyone is curious, the Idols all pretty much sounded the same in person as they did on TV (which I could go home and watch thanks to the LA airing at 8pm, 11 ET).

McPhee was boring the first song, captivating the second, and on the third song I was so busy laughing at the pedestrian lyrics I didn’t even pay attention to her. Taylor killed the first song, turned on a Hoover and sucked all the life out of the audience the second song, then rebounded on the third.

If the 3,000 people in attendance at the Kodak Theater were deciding the winner, Tuesday night wasn’t a competition but rather a Taylor Hicks coronation.

http://www.bcbeat.com/

Sports on TV
NBA Playoff Games on TNT Rise 11%

By John Consoli MediaWeek.com MAY 24, 2006 -

NBA second round playoff telecast ratings on TNT produced a a 3.0 U.S. household rating and 3.6 cable rating, up from a 2.4 and 3.0 respectively, and up 22 percent over the second round telecasts last year.

Overall, through 39 televised playoff games, TNT is averaging a 2.4 U.S. household rating and a 2.9 cable rating, up 11 percent through the second round of coverage.

During it's second round coverage, TNT averaged 3.3 million households per telecast, up from 2.6 million in 2005, a 23 percent increase. TNT has also garnered a 29 percent increase in the key men 18-34 demo, reaching 875,000 per night.

David Levy, president of Turner Sports, credited several factors for the increases, including, "great games, long series, and our exclusivity in the second round, in addition to our multi-platform coverage."

TNT's exclusive Western Finals coverage begins on May 24 with the Dallas Mavericks hosting the Phoenix Suns.

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1002574639

TiVo also wants the judge to order EchoStar to disable the DVR function on all of the models in customer homes via a satellite software update.
Is TiVo trying to commit P.R. suicide?! Not that I expect so Draconian of an injunction to be granted, but I mean really...! :eek:

The Business of TV
Court Pulls EchoStar's Distant Signals

By John M. Higgins & John Eggerton Broadcasting & Cable 5/24/2006

In a decision that could have serious implications for EchoStar's satellite TV business, a federal appeals court has ordered to stop delivering the signals of distant TV stations to its subscribers.

The ruling could force EchoStar’s Dish Network to shuffle the station lineup delivered to hundreds of thousands of subscribers. Some subs may be temporarily unable to receive any broadcast stations at all.

In a harshly-worded opinion, the three-judge panel declared: "We have found no indication that EchoStar was ever interested in complying with" laws regulating how satellite TV companies deliver broadcast stations to their customers.

The case is part of a long-running copyright dispute between broadcasters and satellite companies over homes located in the fringes of TV markets. TV stations want to reach every home in their areas. But subscribers in fringe areas often prefer for their satellite companies to deliver stations from, say, New York City rather than Hartford, Conn.

EchoStar is permitted to deliver so-called "distant" signals only to homes that receive no other stations over the air. But EchoStar’s method of determining which customers were eligible for the distant signals has been a bone of contention, and litigation, for years. Broadcasters complain that the company abuses the rules and violates the Satellite Home Viewer Act by regularly delivering the wrong market’s stations to its subscribers.

The four major networks and their affiliate groups sued EchoStar, and won a key decision, but EchoStar appealed.

In a statement Tuesday, EchoStar explains its position: "While consumers are free to choose to read the New York Times, San Francisco Chronicle or any other newspaper regardless of where in the United States they live, broadcasters successfully orchestrated passage of special interest legislation which prohibits consumers from watching network channels originating in other markets, except in limited circumstances."

EchoStar’s appeal didn’t get a very warm reception at the apellate court in Atlanta.

The decision notes that "EchoStar has alleged a staggering seventeen claims of error" by the district court in Miami. "Despite EchoStar’s apparent characterization of the trial as one of gross mismanagement, utter incompetence, and widespread chaos, we find the district court’s orders and opinions to be generally thoughtful, careful, and well-reasoned."

The court says that in "the best case scenario" EchoStar is providing illegal service to 26.5% of its subscribers receiving ABC distant network programming, 26.9% for CBS, 20.2% for Fox, and 28.1% for NBC.

EchoStar says that since the dispute began in 1998, it has reached settlement agreements over the years with hundreds of the approximately 800 ABC, NBC, CBS and Fox stations across the country including all ABC, NBC and CBS owned and operated stations.

“We were not able to reach settlement agreements with the Fox network or the station groups owning the remaining stations.” (Fox is co-owned with EchoStar's satellite rival, DirecTV.)

“We are reaching out again to the NAB, Fox and remaining stations to try and satisfy all of their concerns without harming consumers, and considering our other available options in response to the ruling from the Court of Appeals.”

TV Notebook
Gibson, ABC's rock, now anchor

Patience pays off for the veteran newsman as the network looks to shore up with a traditional anchor on World News Tonight.
By Eric Deggans St. Petersburg Times media critic May 24, 2006

In 1998, Charlie Gibson seemed to be on his way out of the network TV news game, leaving his co-anchor slot on ABC's Good Morning America to make room for a younger anchor.

"I feel like everybody's sitting around waiting for me to cry,'' Gibson said then, laughing while lounging in his too-cramped office at ABC's studios near Central Park. "But to me, it doesn't feel like anything."

Nearly 10 years later, Gibson's patience has led to one of the most impressive comebacks in network news history, following the announcement Tuesday that the 63-year-old will serve as sole anchor of the flagship World News Tonight evening newscast and the face of news at ABC - replacing reporters 20 years his junior.

And he accomplished this feat through two powerful weapons: a good-guy demeanor and a unassuming-yet-authoritative on-camera style that is easy to take for granted - until you need it on your side.

"This is, to some extent, back to the future," Gibson told the Atlanta Journal-Constitution on Tuesday. "I am a traditionalist. I grew up in the era of the anchorman in the studio. You're going to get a more traditional broadcast."

ABC representatives say World News' current co-anchor, Elizabeth Vargas, chose to step down, asking the network to limit her work to co-hosting the newsmagazine 20/20 and prime time specials when she returns from maternity leave later this year. But Vargas has struggled in the ratings since January, when co-anchor Bob Woodruff was injured by a roadside bomb in Iraq, sparking rumors for weeks that she might leave the show.

And it seems no small coincidence that this change comes one week after CBS announced it had beaten ABC in evening news viewers for the first time since 2001. That rare, second-place finish for CBS was credited to interim anchor Bob Schieffer's growing popularity with the older network news audience.

Vargas told World News viewers Tuesday she planned to "focus on anchoring 20/20 and on the arrival of my new child. The only thing that makes this transition easier is knowing you will be in very capable hands."

Despite Vargas' statement, some analysts said ABC's move looked too much like the network was penalizing her for getting pregnant.

"This decision represents a smack in the face to the millions of female viewers of childbearing age - the desirable 25-54 demographic - that ABC News has been courting so assiduously," wrote network news analyst Andrew Tyndall in an e-mail, noting that World News had been increasingly covering sex and family issues during Vargas' tenure.

But an ABC official dismissed Tyndall's criticism as "unfounded opinion" with no validity.

"Elizabeth has made it clear to us that she wants to come back to 20/20 while raising her young son," said ABC News spokesman Jeffrey Schneider. "I would hope people would take Elizabeth and take us at our word."

Gibson starts on World News Tonight on Monday, both anchoring the evening newscast and co-anchoring Good Morning America until June 30. The network will no longer broadcast a second version of its newscast for the West Coast, though it does plan to continue the 3 p.m. Webcasts that began under Vargas and Woodruff.

It's a job Gibson nearly had six months ago, but ABC executives reportedly balked at letting him hold the position until after the 2008 presidential election, naming Vargas and Woodruff co-anchors instead. Now, the network must turn to the 31-year ABC veteran for help again, seven years after he helped rescue Good Morning America by coming back to the show with Diane Sawyer in 1999.

Gibson's avuncular leadership is expected to bolster spirits among staffers at ABC News, which has weathered the death of anchor Peter Jennings in April 2005, the departure of Nightline anchor Ted Koppel in September 2005, Woodruff's injury and Vargas' expected maternity leave in quick succession.

Schneider said Woodruff's recovery "will take a long time" and he isn't expected to return soon. "Elizabeth had to shoulder an enormous job when I was injured, and she did it with grace," said Woodruff in an ABC press release. "I look forward to contributing to Gibson's broadcast as soon as I'm able."

When Today show anchor Katie Couric ascends to the top job at CBS News in September, viewers will have a clear choice between Brian Williams' urbane professionalism at top-rated NBC, Couric's celebrity and Gibson, an old-school news anchor sure to attract some traditional viewers now watching Schieffer.

And ABC now has some time to develop a long-term successor, the way NBC spent two years developing Williams.

It's a potent reminder that patience - even in the hurry-up, youth-focused world of network TV - sometimes pays off.

http://www.sptimes.com/2006/05/24/news_pf/Artsandentertainment/Gibson__ABC_s_rock__n.shtml

Is TiVo trying to commit P.R. suicide?! Not that I expect so Draconian of an injunction to be granted, but I mean really...! :eek:


The jury did find that EchoStar willfully ignored the TiVo patents.

So should TiVo sit by and allow Dish to continue to profit from its actions?

It seems to me the legal record is clear that Dish has repeatedly just ignored the law to do what it wants in both the case of TiVo and DNS.

Personally, I think Dish provides a great product (especially at the moment regarding HD) but its corporate conduct has certainly been less than stellar.

I can't imagine a judge would grant such an injunction. The case will be appealed and probably not be done in the same court as that particular court in Texas is known for it's lopsided bent in ruling for plaintiffs in such cases. Plus, there is some goofiness going on with the US Patent Office regrading TiVo's patents. The fact that TiVo has asked for such a ruling would seem to indicate that TiVo is a bit worried about Echostar's countersuit which comes up shortly. Again, with an appeal and a countersuit pending I'd be surprised if a judge would grant an injunction like that. I think in the end it will amount to a cash settlement and/or a licensing agreement between TiVo and Echostar.

Also have to remember that Echostar has the resources to fight this for years whereas TiVo does not.

TiVo doesn't have to win anything. They just need to hang in long enough to strike a deal with E* ( a few bucks per sub?). They've already set a precedent by winning the initial case. If they get E* to settle that set's them up to collect from all the cable/telco's with similar DVR features.

The 2005-2006 Season
Fox Set to Win May Sweeps, Season in Adults 18-49

CBS Expected to Take 2005-06 in Total Viewers, Adults 25-54
By Christopher Lisotta TVWeek.com May 24, 2006

Barring any unforeseen surprises, Fox will win both the May sweeps ratings period and the 2005-06 season in the advertiser-friendly adults 18 to 49 demographic.

Driven by its midseason phenomenon "American Idol," Fox is also expected to be the highest-rated network in adults 18 to 34 and teens for May sweeps and the season.

The May sweeps began Thursday, April 27, and ends Wednesday, May 24, the same day the 2005-06 ratings season officially ends.

Fox won't be the top network in every demographic for the season, however. CBS is expected to best Fox in total viewers and among adults 25 to 54.

As in the last May sweeps "Idol" is once again expected to be the highest-rated series for the sweeps and the season in adults 18 to 49, despite being in its fifth season.

"Logic purely dictates that as a show enters its third, fourth, fifth and sixth season one would naturally believe the show would erode," Peter Liguori, Fox president of entertainment, said. "It strikes a chord with people. There's football season; there's baseball season; there's 'American Idol' season."

Fox's success did not come solely from "Idol," Mr. Liguori said, pointing to the success of shows such as "Prison break," "24," "Bones" and "House." For 2005-06, Fox saw ratings growth in adults 18 to 49 on five out of seven nights a week in its entertainment programming (postseason baseball is excluded from the averages). On the other two nights, Monday and Friday, Fox is flat season to season.

"We did it on the back of entertainment across all nights and across all genres," he said.

http://www.tvweek.com/news.cms?newsId=10065

TV Notebook
Odd and Ends

'The Thick of It,' the end of 'Deadwood' and 'Grey's' meets Oprah
By Maureen Ryan from the Chicago Tribune TV blog May 24, 2006

News you can use (and there's no mention of that singing show, I promise):

• The cast of “Grey’s Anatomy” appears on Oprah Friday.

• You may be interested to know that the person who played the piano music that House was listening to in “Who’s Your Daddy” was the show’s composer, Jon Ehrlich. Also, how about the fact that the ending of Tuesday’s finale means we don’t know if House survives his gunshot wounds. I’m guessing he does.

• There’s an interview with “24” executive producer Howard Gordon here. He addresses whether the show will begin in China next year and how President Logan almost got away.

• I’d like to heartily endorse my colleague Allison Benedikt’s recommendation of “The Thick of It,” a new BBC America political comedy shot in the fake-reality style of the “The Office” and the great Canadian program “The Newsroom.” You won’t know whether to be afraid of “The Thick of It” or laugh at it -- given the comical bumbling on display in the offices of an English cabinet minister, your response might be to both laugh and cry. It’s terrifically dry satire and great stuff, really.

• The BrilliantButCancelled.com Web site, where you can view show such as “EZ Streets” and the Jason Bateman vehicle “The Jake Effect,” is up and running.

• L.A. Times TV writer Scott Collins has the full story here http://www.avsforum.com/avs-vb/showthread.php?p=7699168&&#post7699168 on the probably end of “Deadwood,” a shocking turn of events to say the least. Sure, HBO might feel the need to pinch pennies these days, but let’s not forget -- in 2005, the channel had earnings of $1 billion on revenues of more than $3 billion. One billion dollars in profits and there’s no money for a fourth season of “Deadwood”? HBO is being penny wise and pound foolish, in my opinion. In any event, according to Gail Shister of the Philadelphia Inquirer, who also spoke to “Deadwood” creator David Milch, Milch is trying to raise the money for another season on his own. And fan efforts to save the show are headquartered at savedeadwood.net.

• Michael Ausiello of TVGuide.com reports that Rina Mimoun, “Everwood’s” executive producer, will be a “consultant” on “Gilmore Girls” next fall. That’s simply wonderful news. If anyone can be trusted with the Gilmores, it’s Mimoun.

• Attention "CSI" fans: Watch this space for an interview with executive producer Carol Mendelsohn, in which she talks in depth about the finale's Sara-Gil hookup, is in the works. It should be posted some time Friday. A teaser: It doesn't sound as though that Gil-Sara relationship is brand-new.

http://tempo.typepad.com/entertainment_tv/

WARNING: This story contains numerous spoilers. Read at your own risk.

TV Notebook
Season Finale Roundup!

By Kevin D. Thompson Palm Beach Post Television Writer May 24, 2006

Earlier today, a colleague stopped by my office and asked the following question: "So, I know you've been watching all the season finales. Which one have you enjoyed the most?"

It didn't take me long to answer.

"24," I responded immediately.

My answer, however, reminded me that it was time to blog on all the finales I've watched so far. Here goes...

Prison Break: Entertaining as all get-out, but this show is getting really stupid. Can't wait to see how Michael & Co. put the slip on just about every law enforcement official known to man. I mean, those guys were surrounded by about 5,000 police cars and helicopters in an open field. Funny how Michael's elaborate jailbreak plan boiled down to a simple, "Run!" at the end. Got a real kick out of Haywire stealing the little girl's bike and then riding it with no hands. And that Veep is a real she-devil, isn't she? I sure didn't see that twist with the president coming.

Desperate Housewives: The plot that had the loopy Betty Applewhite locking her mentally disturbed son in the basement was just plain dumb. Making Matthew the murderer instead of Caleb was a nice twist, but I just don't care as much anymore. Looks like Twin Peaks' Kyle MacLachlan is taking Betty's place as Wisteria Lane's latest psychotic neighbor. Puh-leeze! For the record: I'm sick of Susan's and Mike's on-again-off-again romance.

The West Wing: A wonderfully poignant finale that sent the long-running White House drama to that great TV heaven in the sky with dignity and grace. The finale paid a nice tribute to the late John Spencer as well as wrapping up such storylines as C.J.'s lovelife, Toby's fate and the romance between Josh and Donna satisfactorily. The image of Bartlet's plane gliding through a cloud-heavy blue sky one last time will remain with me for a long time.

Ghost Whisperer: Talk about a jaw-dropping Sixth Sense moment! It never even crossed my mind that Andrea had died instead of her brother. I'm going to miss Aisha Tyler's character, though. She had nice chemistry with Melinda. I'm looking forward to seeing more of the mean guy in the black hat who wants to keep dead souls on earth instead ushering them into the light.

CSI: Miami: Like 007 in On Her Majesty's Secret Service, Horatio Caine isn't meant to be married as evidenced by Marisol getting gunned down shortly after their wedding. Marisol's death turned Horatio into Robo Miami Cop as he mowed down every Mala Noche gang member in the state. Shifting gears, the mole's identity was disappointing. (It was Natalia.) I was hoping it was going to be Alexx. The writers never give that woman anything to do except say stuff like, "Awww, poor baby," to a stiff corpse.

CSI: Crime Scene Investigation: I sure hope Brass doesn't bite it. He's one of those underrated character actors every TV show could use. Nice ending with Grissom waiting in bed for Sara so he could get his freak on. And if anyone needs to get his freak on, it's grim-faced, always-looking-in-a-microscope Grissom.

The O.C.: Marissa's dead! That made me very happy. She's been a dead weight, annoying character from Day One. Expect brooding Ryan to brood a whole lot more next season.

That '70s Show: Too many clips. Not enough new stuff.

That's all for now, folks. Look for my Lost finale blog tomorrow!

http://www.palmbeachpost.com/blogs/content/shared-blogs/palmbeach/thompson/entries/2006/05/season_finales_1.html

WARNING: This story contains numerous spoilers. Read at your own risk.

WARNING: This story contains numerous spoilers. Read at your own risk.

Critic’s Notebook
The remarkable Dr. House

By Hal Boedeker Orlando Sentinel Television Critic in the Sentinel’s TV blog May 24, 2006

Wasn't "House" sensational Tuesday night? For its season finale, the Fox medical drama took a far-fetched premise and turned it into a gripping, original hour.

If "American Idol" fans stuck around, they witnessed Hugh Laurie (left) giving a remarkable performance as the title character, a brilliant but impossible physician. The episode put the formdiable Dr. House in a vulnerable position. After being shot twice, House started experiencing hallucinations. The viewer didn't know where those visions started and stopped. It was an episode that deserved repeating viewings. How often can you say that?

Even so, I had a hard time believing the episode's starting point. A vengeful husband (played by Elias Koteas) shot House. Then the show put the shooter in the bed next to House in the intensive-care unit. Yeah, sure, that would happen.

House started having deep conversations with the shooter. The assailant wondered whether House cared about living or dying.

"I care because I live," House said. "I can't care if I'm dead."

House and his team struggled to figure out how to treat a man with a mysterious infection. In memorable scenes, House demonstrated cutting-edge medical equipment on Dr. Allison Cameron (Jennifer Morrison), sought answers from Dr. Lisa Cuddy (Lisa Edelstein) and punched out Dr. James Wilson (Robert Sean Leonard). But you could never be sure if all this was really happening or just in House's head.

David Shore, the show's creator, wrote and directed the exceptional hour. He also delivered a first-rate cliffhanger: What had we just witnessed?

The growth of "House" into a ratings powerhouse is one of the happiest developments this season. Fox will rerun this season's episodes back to back on Tuesdays so viewers can catch up with this medical drama. Laurie has to be considered the front-runner for the Emmy -- hey, he should have won last year. Isn't it wonderful when great things happen to great shows?

http://blogs.orlandosentinel.com/entertainment_tv_tvblog/2006/05/the_remarkable_.html

WARNING: This story contains numerous spoilers. Read at your own risk.

TiVo doesn't have to win anything. They just need to hang in long enough to strike a deal with E* ( a few bucks per sub?). They've already set a precedent by winning the initial case. If they get E* to settle that set's them up to collect from all the cable/telco's with similar DVR features.


I believe what you stated above is the ultimate goal of Tivo. They're back together with Directv for 3 years and they're doing deals with Comcast. It's only logical that they would want to sign a deal with Echostar. Those three deals would effectively keep their doors open for a long time. But Keenan is right, Tivo does not have the horsepower to fight a long and protracted lawsuit against Echostar.

TV Notebook
Odd and Ends

'The Thick of It,' the end of 'Deadwood' and 'Grey's' meets Oprah
By Maureen Ryan from the Chicago Tribune TV blog May 24, 2006

News you can use (and there's no mention of that singing show, I promise):


• Attention "CSI" fans: Watch this space for an interview with executive producer Carol Mendelsohn, in which she talks in depth about the finale's Sara-Gil hookup, is in the works. It should be posted some time Friday. A teaser: It doesn't sound as though that Gil-Sara relationship is brand-new.

http://tempo.typepad.com/entertainment_tv/

Uh, no the relationship isn't new. At least not the feelings. There were two episodes last season in early 2005 that in a subtle way, indicated that there those two have some type of emotional connection. I haven't watched the last episode of the season finale just yet (I've got about 2wks worth of season/series finales to get thru), but I'm looking forward to seeing how the so called hookup came out.

WARNING: This story contains numerous spoilers. Read at your own risk.

Critic’s Notebook
Good night, and goodbye

A look at the best and worst season finales
By Alan Sepinwall Newark Star-Ledger Wednesday, May 24, 2006

WARNING: This column contains spoilers for many of the season and series finales that have aired on TV over the last few weeks. If you're waiting to catch up on your favorite, read on at your own peril.

And now it's time to say goodbye to another TV season, which officially ends tonight at 11, an hour after another "American Idol" has been crowned, and mere seconds after "Lost" will have either delighted or annoyed its answer-hungry fans.

I'll be talking more about those two finales (plus "House") in the next two days, but I wanted to commemorate this final day with a look back at some of the more notable season and series finales.

It's been a May sweeps filled with blood and lust. On the blood side, "The O.C." killed off Marissa. A few weeks back, "Lost" knocked off Ana-Lucia and Libby (played, coincidentally or not, by the two actresses involved in an embarrassing double-DUI incident earlier this year). "The Unit" wounded half its characters, mortally or not.

On the heart side, "CSI" finally revealed longtime flirts Grissom and Sara Sidle were sleeping together. Topher Grace came back to "That '70s Show" just long enough to have Eric and Donna enter the '80s as a couple. Departing "Gilmore Girls" creator Amy Sherman-Palladino had her heroine split with her fiancé and get in bed with her baby daddy. And the title characters of "Will & Grace" found love, children, and even each other when said children wound up as freshman college neighbors.

There was also the death of one president (on "Prison Break"), the arrest of another ("24") and an inauguration day for a third ("The West Wing").

While this can't possibly be a comprehensive breakdown, here are thoughts on some of the best and worst of the finales:

"The Office" (NBC) Can Steve Carell write every episode? With all due respect to the writers who had already made this the best comedy on TV, this was as superb a half-hour (give or take) as I've seen in years. Plenty of laugh-out-loud moments, from the revelation that creepy Creed likes to steal stuff to the '80s-style music video of Kevin's band (Scrantonicity!) to Dwight and Angela's disturbing flirtation at the craps table.

But the real genius was in those final five minutes, when a tearful Jim confessed his love to longtime crush Pam, then followed her into the office and kissed her. Finally, finally, finally, a show with a running will-they-or-won't-they element has the guts to move things forward in short order instead of keeping fans on the hook for years out of the misguided belief the show is doomed after the characters hook up. (Repeat after me: "Moonlighting" didn't die because David and Maddie got together; it died because people got sick of waiting.) Whether that kiss leads to anything right away, at least the writers have shaken things up, and got two perfect performances out of John Krasinski and Jenna Fischer in the process.

"Grey's Anatomy" (ABC) This hospital show has been called the new "Sex and the City," and while some of the characters match up eerily well (George even takes Charlotte's place as the prudish mascot), a better match might be "Ally McBeal" or any other David E. Kelley show.

Like Kelley, "Grey's" creator Shonda Rhimes is capable of writing dazzling, lump-in-your-throat moments like the death of hunky heart transplant patient Denny Duquette or Cristina's freak-out while boyfriend Dr. Burke was having brain surgery. And, like Kelley, she's just as capable of doing things that make you want to throw a brick at the TV, like Izzie cutting Denny's LVAD wire to move him up the transplant list, a stunt so over-the-top stupid that, even in the fantasy confines of Seattle Grace, half the characters should have been fired on the spot. (And Shonda? If Katherine Heigl is still on the show next year, never, ever, ever write another scene where she's asked to cry.) For now, the good Shonda outweighs the bad Shonda. For now.

"24" ( Fox) The President Logan as secret evil mastermind twist never made a lick of sense, and the writers didn't bother trying to explain it, even after Jack tricked an unknowingly wired Logan into confessing to his wife. (Someone hand Jean Smart an Emmy for the scene where Mrs. Logan took one for God and country.) "24" has always been at its best when it does straight action, and the gripping submarine raid was the kind of thing another show might have saved for its climax. Instead "24" opened its finale with that bit of business, and closed it with Jack a prisoner of the Chinese government.

So what's next year's plot? Does Jack get brainwashed, "Manchurian Candidate"-style? Does he have to work as a Chinese agent to pay off his debt for killing the consul last season? And will the writers have to invent some kind of new hypersonic transport so that when they run out of story ideas in China, they can get Jack back to CTU headquarters without wasting half the season on the flight?

One of the silliest "24" seasons. Also one of the best.

"Alias" (ABC) Where "24" doesn't make sense if you stop and think about it for a few minutes, it's been years since "Alias" made sense even as you watch it, and the finale was no exception. Sloane's plan was to gain immortal life and then blow up several world capitols because...? Nice to see Sidney finally put some bullets in the guy five seasons after he had her fiancé murdered, and any appearance by Lena Olin is welcome. "Lost" fans who think everything will eventually be explained to them may want to take a look at this finale and then have a long, stiff drink.

"The West Wing" (NBC) I'm sorry, do you have a handkerchief? A week and a half after the Bartlet administration exited the White House, I'm still getting a little choked up about the scene where Bartlet gave surrogate son Charlie his pocket copy of the Constitution. For all the deserved grief producer John Wells has taken since assuming the reins from Aaron Sorkin, he did right by the fans, focusing largely on the original characters, with just enough of Matt Santos' inauguration activities to evoke the show's old sense of wonder. (The best of those: Presidential secretary Debbie Fiderer schools her replacement on how to say no with grace.)

The only real flaw was the absence of Toby, though you could argue Wells gave closure to that storyline back in the final season premiere. In the flash-forward to the dedication of the Bartlet Library, Toby seemed awfully grateful and humbled to have been invited, which we can now take as his thanks for the pardon.

"Desperate Housewives" (ABC) The second season wasn't so much a dive in quality as no good storytelling hook to prevent the novelty of season one from wearing off. The Applewhites mercifully left town in the finale, but not before inspiring one knockout moment: Bree inviting Matthew Applewhite to shoot her if that was what it took to make her daughter realize how much she loved her. "Housewives" is always going to be a ridiculous soap opera, but in scenes like that, it's still capable of being a terrific ridiculous soap opera.

"Prison Break" (Fox) Where "24" pretends to stretch one story over an entire season, but actually starts a new storyline every four or five episodes, "Prison Break" was stuck all season with two basic plots: Michael's effort to free himself and Lincoln; and the lawyers on the outside uncovering the conspiracy that framed Lincoln. The latter was never interesting to begin with, and the writers had to stall so much on the former that whatever juice it had was long gone by the time Michael and friends went over the wall. Not even chopping off T-Bag's hand may be enough to bring me back in the fall.

"The O.C." (Fox) Much as I was looking forward to Marissa's demise in a car crash -- especially after Mischa Barton, either bitter about being fired or foolishly optimistic about a film career, spilled the beans to "Access Hollywood" -- I worry about the pall it's going to cast over next season. Ryan has always been a brooder, but there's a difference between "Sorry I accidentally burned down your father-in-law's model home" brooding and "Oh, my God, my uncontrollable temper triggered a series of events that led to an innocent girl's death" brooding. The last third of the season had been stronger because the writers had rediscovered the funny; how funny can they be if everyone's in mourning?

"How I Met Your Mother" (CBS) Like "The Office," the writers deserve major props for putting their main couple together so quickly. Even though we know from the pilot that Ted and Robin won't stay together, the two actors have great chemistry, so why not get a season or two out of that before introducing the actual mother? Meanwhile, the break-up of Marshall and Lily was both sad and funny -- every couple should try to incorporate their "pause" tactic, where fights get put on hold so you can enjoy dinner or watch TV or get some sleep in peace. If this isn't the next "Friends," it's pretty darned close.

http://www.nj.com/columns/ledger/sepinwall/index.ssf?/base/columns-0/1148448814129290.xml&coll=1

WARNING: This story contains numerous spoilers. Read at your own risk.

Critic’s Notebook
Longing for some shorter season finales

LOST. 9 ET/PT tonight, ABC
By Ellen Gray Philadelphia Daily News May. 24, 2006

Don’t know about you, but I'm just about finale-ed out.

As ABC's "Lost" heads into its two-hour season finale tonight, I know I should be thinking about the hatch and the Others and poor little Walt, and whether this year's wrap-up will prove more satisfying than the one that irked so many fans last spring.

But what I'm really thinking is: Why does it have to be two hours?

Silly question, of course. I know it has to be two hours because May sweeps ends tonight, after which no one's going to waste a new episode of "Lost" on us till sometime next fall.

Two hours, though.

Already we've had two-hour finales of CBS' "Survivor" (three if you count the reunion show), ABC's "Desperate Housewives," "Alias" and "Grey's Anatomy" (actually a three-hour, two-night affair), and Fox's "24."

Tonight, Fox's "American Idol" will try to create 120 minutes of suspense around the question of whether Taylor Hicks or Katharine McPhee get to make an album with creepy Clive Davis.

I love "American Idol," but that's an hour and 59 minutes longer than I need to spend with Ryan Seacrest, tonight or any night.

Though ABC, which has a few hits it's milking for everything it's worth, is probably the worst offender in terms of bloated finales - Sunday, on "Housewives," they did everything but show us the individual real-estate closings on the houses on Wisteria Lane - it's probably CBS we should blame for the trend of Shows That Never End.

It was CBS that in the summer of 2000 gave us "Survivor" and its first two-hour finale, a nail-biter of an episode that aired in what was then the show's usual Wednesday night slot, followed by a reunion show.

It seemed like a good idea at the time, if only because all things "Survivor" seemed novel then. But now that we've experienced a dozen such finales, who wouldn't vote to kick an hour, at least, off the island?

Given the slightly disappointing ratings for this month's "Exile Island" finale, which aired on a Sunday, opposite "Desperate Housewives" and "The Sopranos," shrinking the season-enders - along with moving them back to the night the rest of the show airs - is something CBS might want to consider.

What all the networks might want to consider is that when it comes to finales, be they last goodbyes or see-you-in-the-fall cliffhangers, bigger isn't necessarily better.

The best-scripted finale so far has been the season ender for UPN's "Veronica Mars," which for the second year in a row managed to wrap up its season-long mystery in a way that was both surprising and satisfying and to do it in an hour.

It was followed closely by NBC's "West Wing" finale, which went out with class and did it in the hourlong format that fit the show best.

The worst?

Probably NBC's hourlong "Will & Grace" farewell, which, instead of grasping the opportunity to remind us of the smart, funny show it once was, turned into a litany of all the reasons lots of us stopped watching in the first place.

I'm hoping that "Lost" manages to walk the line tonight between telling us enough to keep us hooked and telling us so much we finally realize we're being had.

But most of all, I hope it doesn't drag things out to the point that the only thing lost is the will to watch.

http://www.kansas.com/mld/kansas/entertainment/television/14653214.htm?template=contentModules/printstory.jsp

Critic’s Notebook
Not getting 'Lost'

By Jonathan Storm Philadelphia Inquirer Television Critic Wed, May. 24, 2006

At 9:23 p.m. last Wednesday, the Professor gave up on Lost, perhaps forever.

"It's too confusing," my wife said, moving to another room to take up something simpler, statistical analysis of the institutionalization of mentally ill young people, for a Rutgers University study.

I remained, enthralled, determined to work through the puzzling flashback and present-day seesaw of a father's quest to regain his son, even though it seemed simultaneously that I had seen and understood it all before, and that now it made no sense.

Lost, which one of my colleagues has called "as arcane as the Talmud," sets viewers teetering on the razor's edge of fascination and frustration. It's not hard to imagine two or three consecutive subpar episodes dissolving the throng that has put it into America's top 15 TV shows and made it an international phenomenon. (It's called Teadmata kadunud in Estonia.)

But that hasn't happened yet, and Lost will attempt to continue its death-defying (or is everybody already dead?) high-wire act tonight, when TV's most finely textured series goes into battle, at 9 on 6ABC, against one of its most delightfully obvious, American Idol. There's yet another recap show at 8 p.m., for those who want to be brought up to date.

There are three very different, primary reasons to get hooked by the show.

First are its characters, as diverse an amalgam of people as have ever occupied one show. The back story of any one of them could make a TV series in itself. The constant flux of their relationships on the island where they are stranded is as satisfying as that of almost any current show.

Second is straight suspense. The action on Lost is frequently so nerve-wracking that, as on 24 or Prison Break, it blots the need for logic from viewers' minds. It's beautifully augmented by Michael Giacchino's sublime music. (The attenuated note - EEHHHhhuuurrrhh - at the end of each episode is shiver-worthy by itself).

Third is the mystery, which breaks down into two parts.

Each episode is loaded with unanswered questions. Three examples from last Wednesday: Why are only four specific characters chosen to be delivered to the dreaded Others? How did the Others' interrogator, Ms. Klugh (that's pronounced "Clue," and the Internet speculation on it is endless), know the real name of one of the castaways when even his fellow castaways don't know it? Who, if anybody, is in that pretty sailboat, and where did it come from?

Other puzzles, which contribute to the so-called mythology - the 108-minute countdown clock, the ubiquitous six magic numbers, the rock formation above the Others' camp that looks like a giant TV set, for instance, are longer-lasting.

And there is the overarching mystery: What is this island? Why are these people there? Are they in purgatory? (Doubtful. Babies aren't born in purgatory.) Were they brought to this place, which only seems to be an island, as human lab rats? (Possibly, but the plane did appear actually to crash.) Is it, as was the medical show St. Elsewhere, the dream of an autistic boy? (Let's hope not.)

Another observer, one perhaps who spends time in chat rooms and actually knows the difference between Star Trek's Suliban and Andorians, might give those factors different ranking, relishing the mythology above all.

The confusion that drove the Professor away might warm that viewer's heart. But it also can be Lost's weakness.

The show is "slippery," as Harold Perrineau, who plays Michael, the treacherously obsessed father, told Ellen DeGeneres on her show Friday. The producers already have disappointed fans and would-be fans with impossible inconsistencies and dangling questions. Some tuned out after the first week when a jet fan, still spinning away impossibly after the crash, sucked one poor survivor into oblivion.

Others have left because the tropical polar bears, or the terrifying jungle monster that turned out to be a wisp of smoke, just seemingly disappeared. Not a few are concerned that the bodies buried at the end of last Wednesday's episode would have been pretty rank after nearly two weeks.

Most successful series expand their audience in their second year. Lost has dropped more than half a million viewers. That's less than 4 percent, and the show is still a huge cultural phenomenon, but those viewers have been, well, lost.

ABC's promos have promised some revelations tonight - among them, just why the plane did crash. The trailers also show the mysterious John Locke (whose name-share with the 17th-century social-contract philosopher is probably not a coincidence) declaring: "None of this is real!"

EEHHHhhuuurrrhh.

http://www.philly.com/mld/philly/entertainment/television//14651234.htm

Critic’s Notebook
Some ‘Idol’ thoughts

By Diane Holloway Austin American-Statesman in her TV blog Wednesday, May 24, 2006

Who’s gonna win “American Idol” tonight?

Based on last night’s performance, especially of the songs chosen to be the two finalists’ first singles, neither. Geez. Who picks this pabulum?

Katharine McPhee’s saccharine “My Destiny” was horrendous, and Taylor Hicks’ “Do I Make You Proud?” wasn’t much better. The songs, not the singers, were at fault, but we still had to suffer through a couple of cringe-worthy performances. Both would have been better suited to something a bit more soulful.

Vegas oddsmakers have picked bluesy Alabama native Hicks to win, as did judge Simon Cowell. Will the Soul Patrol voters outnumber McPhee Fans? The new “American Idol” will be crowned tonight at the end of the overblown, drawn-out, two-hour results show (7 to 9 p.m. on Fox).

I’ve watched this, the fifth season of “American Idol” from beginning to end. With the exception of those early episodes designed to make fun of the inept and emotionally disturbed, I’ve really enjoyed it. There was real talent and some distinct personalities.

I still think Mandisa and Paris should have gone further in the competition, “Chicken Little” Kevin Covais should have been bumped the first night and Chris Daughtry should be winning tonight. Hands down, Daughtry was the best “Idol” of the season — maybe any season.

I also think Paula Abdul needs some serious counseling, not to mention less cleavage. Simon lightened up a bit on the cruelty, which was a big relief. He even apologized a couple of times — once for making nasty about Mandisa’s weight and another time for an especially harsh put-down of Katharine after a performance.

Next time around, “Idol” producers should consider the enormous age gap among contestants. The 16-year-olds looked like babies next to the 28-year-olds (Taylor turned 29 during auditions). Maybe 18 to 26 would be a better age spread.

Tonight’s crowning is destined to be anti-climactic, since both contestants will wind up with record deals, and a concert tour with all the finalists will gear up this summer.

But we’ll be watching anyway. The end of the “Idol” marathon is an event, so we’ll suffer through a gazillion commercials and Seacrest’s incessant pandering to reach the finish line.

http://www.austin360.com/blogs/content/shared-gen/blogs/austin/tvblog/index.html

Critic’s Notebook
A few good answers

'Lost' fans find out who returns, why the flight crashed and what the betrayal was about in tonight's finale.
By Mike Duffy Detroit Free Press TV Critic May 24, 2006

Like a poor Alice marooned on a wacko tropical island, "Lost" is a wonderland that keeps getting more and more curious.

But the producers of television's most bedazzling enigma promise not to play a stupid storytelling trick this time. Last year's eagerly anticipated first season finale left viewers with a mysteriously chintzy cheap thrill: a quick peek down that rabbit hole of a hatch.

Stop miserly revelations now!

And so they're hinting at a more satisfying "Lost" payoff this spring, as the deeply inscrutable odyssey about survivors of a shocking airline crash reaches the trauma-fraught conclusion of another season with a big two-hour finale at 9 tonight on ABC.

But they're not about to reveal all the key secrets of the cockeyed island.

Supernatural baby steps, I guess. Such as:

• Little lost child Walt resurfaces, though we won't discover exactly why Mr. Friendly and his infernal compadres in the Others snatched the kid.

• Locke's stop-the-apocalypse bingo game of pushing the button is put to the cosmic test.

• Wigged-out hatchling Desmond returns after being MIA since early in the season, with flashbacks revealing pertinent details. Something about the Dharma Initiative would be nice.

• We finally get answers about why Oceanic Flight 815 crashed.

• And perhaps, too, some whydunit information about Michael's murderous betrayal of the other castaways.

Not since Fox Mulder inhaled all that conspiracy helium on the fabulously strange early seasons of "The X-Files" has a TV series tickled the paranormal imagination quite like lush, looney "Lost" and its fascinating assemblage of flawed humanity.

But even though happy fan site zealots rapturously theorize about the castaways' plight -- They're in purgatory! It's a humongous hallucination! They're all gerbils on a psych lab experiment wheel! -- the less obsessed among us might actually prefer a little downsizing of the exotic mumbo jumbo.

Otherwise, blissful "Lost" ambiguity could eventually morph into something much less enticing. Like downright boredom.

http://www.freep.com/apps/pbcs.dll/article?AID=/20060524/ENT03/605240320/1038&template=printart

Critic’s Notebook
There's lots of good TV

By Scott D. Pierce Salt Lake City Deseret Morning News

How many times have you heard someone say, "There's nothing good on TV"?

I hear it all the time. Sometimes from people who hold me personally responsible.

But I would disagree. There are lots and lots of good things on TV.

The problem is that a lot of times the good stuff is on at the same time as the other good stuff. Which leaves lots of time when there really is nothing good on TV.

As the broadcast networks unveiled their fall lineups last week, my worst scheduling nightmare slowly unfolded. First, NBC announced that "Studio 60 on the Sunset Strip" — a new series I'm definitely looking forward to — will air Thursdays at 8 p.m.

Then ABC announced "Grey's Anatomy" will move to Thursdays at 8. And CBS announced "CSI" will remain on Thursdays at 8.

Then Fox announced that "The O.C." will remain on Thursdays at 8. Finally, The CW announced that it will return "Supernatural" to the same time slot it occupied on The WB — Thursdays at 8.

This has never, ever happened at my house before. Five shows — five — that we watch airing on the same night at the same time.

We're going to have to set each of the two Tivos to record two shows and resort to the rustic, outdated technology of the VCR to tape a fifth series on a third TV.

I'm not saying that these are all great shows. "Studio 60," of course, I'm just anticipating at this point. But given that it's being written by Aaron Sorkin, the man behind "The West Wing" and "Sports Night," there's certainly reason for optimism.

"Grey's Anatomy" is one of my favorites. So is "CSI" — a show I didn't watch all that much for three seasons and became a huge fan of when my daughter started watching those seasons on DVD (after taking the plastic off the packages that had sat on my shelf for months).

"Supernatural" is another outstanding show that more than lived up to its promise last season. And, while I'd never argue that "The O.C." is great TV, it is a guilty pleasure that has managed to be entertaining and amusing through much of its first three seasons.

(Plus, they killed off Marissa in the season finale. Whoo-hoo!)

There's part of me that wishes every single hour of television could be like this — that there would be so many choices that you couldn't go wrong when you turned on your TV.

Yet I'm grateful for shows like "America's Next Top Model," "The War at Home," "Criminal Minds," "The Bachelor" and "Crossing Jordan" — shows that I feel absolutely no guilt about missing.

But Thursday nights could be tough this fall.

Maybe I ought to make sure that VCR still works.

----------------------------------------------------------------------------------------------------

I'M ONLY GUESSING, but I think it's possible that Thursdays-at-9 ET/PT could become a little less crowded. It's possible that NBC could chicken out.

"Studio 60" is the show the network is touting as its bright, shining star for the fall. NBC has already invested a lot of time, money and effort in it.

NBC announced its schedule first, and scheduling "Studio 60" opposite ratings juggernaut "CSI" was brave. But then, when ABC announced it was moving ratings juggernaut "Grey's Anatomy" there as well . . . what seemed like bravery began to look like foolhardiness.

I wouldn't be surprised if NBC rejiggers before "Studio 60" debuts in September. Or shortly thereafter.

http://www.desnews.com/dn/print/1,1442,635209727,00.html

WARNING: This story contains numerous spoilers. Read at your own risk.

Critic’s Notebook
The remarkable Dr. House

It was an episode that deserved repeating viewings. How often can you say that?


The author is right on the money, this episode easily can be viewed multiple times to track down what was real and what wasn't. Outstanding writing and acting, the dialog is so good you want to play it back a few times to take it all in.

The author is right on the money, this episode easily can be viewed multiple times to track down what was real and what wasn't. Outstanding writing and acting, the dialog is so good you want to play it back a few times to take it all in.

... only if you have an iron stomach.

Note

Please, no mention of the “American Idol” winner until after 10 PM Pacific time.

There are all kinds of places for West Coasters to have their suspense killed on the internet. Let’s not let this thread be one of them.

Thanks.

... only if you have an iron stomach.
It wasn't that bad.. :p

Great image of House sitting on the hood of old "Sweet and Low" eating a burrito.. :D

Note

Please, no mention of the “American Idol” winner until after 10 PM Pacific time.

There are all kinds of places for West Coasters to have their suspense killed on the internet. Let’s not let this thread be one of them.

Thanks.


Thank you... can we ask the same for Lost finale spoilers (11pm PT)?

sure, PJO1966!

Note

Please, no mention of the “Lost" season finale until after 11 PM Pacific time.

There are all kinds of places for West Coasters to have their suspense killed on the internet. Let’s not let this thread be one of them.

Thanks.

TV Notebook


By Michael Starr The New York Post May 19, 2006 --

The penultimate episode of Jennifer Garner's ABC series, "Alias," snared only only only 5.4 million viewers (8-9 p.m.) Wednesday - cable numbers. It just goes to show that ABC made the right decision in axing the show after five seasons (the "Alias" finale airs Monday).

Fans of "Alias" can natter on all they want about the nerve of ABC cancelling their show, but TV is a business. If no one's watching - and a network can't command premium ad rates and, hence, can't make money - what's the point of its keeping an expensive show like "Alias" on the air?

Let's face it: a prime-time show averaging 5.4 million viewers, on a major network, doesn't cut it.

http://www.nypost.com/entertainment/68788.htm
This guy is a little off base about Alias. I think most of the people who watched the show for five seasons are pleased and maybe a bit surprised that it was allowed to have a series finale at all. Considering it's ratings after the initial 13 episodes this season, ABC could have easily and justifiably axed any more new episodes and killed off any chance of a final resolution to the series. But, whether is was a tip of the hat to fans of the show or to its creator JJ Abrams (ABC's wonderboy) the network did right by Alias. The fact that it is cancelled is long been moot.

For what its worth (and I am afraid it isn't much) I agree with you more than with Michael, TommyK.

Sometimes writers (or talk show hosts) just put things out there to stir up a little controversy.

The bottom line, in my mind, is that ABC didn't want to upset J.J., so it let "Alias" play out.

It had nothing to do with the fans. Sadly, TV rarely does.

The Business of TV
'RS-DVR' draws ire of studios

By Brooks Boliek The Hollywood Reporter May 25, 2006

WASHINGTON -- Several of the motion picture studios and broadcast networks are suing Cablevision in an effort to stop its new on-demand service that they claim is unlawfully using Hollywood and network programming.

On Tuesday, 20th Century Fox, Universal Studios, Paramount Pictures and Disney Enterprises along with CBS, ABC and NBC asked a federal court judge in New York to declare that Cablevision's "RS-DVR" service violates their copyrights and enjoin the company from offering the service.

In the suit, the studios and networks contend that the service Cablevision wants to start next month is "an unauthorized video-on-demand service that would undermine the video-on-demand, download, mobile device and other novel and traditional services (the studios and networks) have deployed and are actively licensing into the marketplace."

http://www.hollywoodreporter.com/thr/television/brief_display.jsp?vnu_content_id=1002575450

Also have to remember that Echostar has the resources to fight this for years whereas TiVo does not.
From The Hollywood Reporter,

Legal costs add to TiVo Q1 loss

Service, tech revenue up as earnings top Wall Street

By Paul Bond

TiVo Inc. reported first-quarter earnings Wednesday that blew past Wall Street expectations even as its loss ballooned in part because of its legal battle with satellite TV giant EchoStar Communications.

The company that pioneered the digital video recorder said it lost $10.7 million in the quarter, compared with a loss of $857,000 during the same frame a year ago. On a per-share basis, TiVo's loss was 13 cents, lower than the 19-cent loss analysts expected.

Besides legal fees, TiVo said its loss can be attributed to more aggressive pricing and the expensing of stock options.

Service and technology revenue, which analysts key on because it strips out sales of TiVo hardware, grew 38% to $55.1 million, better than the $50.6 million analysts expected.

TiVo shares, hammered for a 3.1% loss during regular trading to close at $7.14, recovered slightly after the bell when the company reported its earnings.

The sell-off earlier in the day was sparked by an EchoStar news release that alerted investors that U.S. patent regulators this week rejected some of TiVo's patent claims. During the quarter, TiVo won a $73.9 million patent-infringement judgment against EchoStar, and TiVo said the rejected patents have no bearing on the lawsuit it won.

TiVo ended the quarter with 4.4 million subscribers, the bulk of which come by way of its relationship with DirecTV, which has begun marketing a cheaper DVR. The company added just 2,000 net new DirecTV subs.

TiVo-owned subscriptions were 91,000 for the quarter, down from 104,000 a year ago. Net new TiVo-owned subs, taking cancellations into account, came in at 51,000.

TiVo CEO Tom Rogers reiterated that TiVo is discussing partnerships with various cable TV operators like the one struck with Comcast Corp.

The Comcast initiative, when rolled out this year, will let their subscribers upgrade a generic DVR to a TiVo. Rogers said revenue reported this quarter includes the recognition of $7.2 million related to the development of the Comcast technology.

Rogers also said TiVo peripheral products are selling well, including a wireless adapter that sold out in just two weeks.

He was bullish on the company's advertising initiatives, highlighted during the quarter with its largest deal ever with a major ad agency and the rollout of TiVo Product Watch, which lets users seek out ads they are interested in viewing.

While not being specific, Rogers said TiVo's advertising initiatives have brought in more money so far this fiscal year than they did in all of last fiscal year. "We have substantial momentum with advertisers," he said.

http://www.hollywoodreporter.com/thr/business/article_display.jsp?vnu_content_id=1002575325
Legal costs add to TiVo Q1 loss

From The Hollywood Reporter,

Legal costs add to TiVo Q1 loss



He was bullish on the company's advertising initiatives, highlighted during the quarter with its largest deal ever with a major ad agency and the rollout of TiVo Product Watch, which lets users seek out ads they are interested in viewing.

While not being specific, Rogers said TiVo's advertising initiatives have brought in more money so far this fiscal year than they did in all of last fiscal year. "We have substantial momentum with advertisers," he said.


Interesting that the company that created the device to avoid commercials is now looking to those advertisers as a revenue source.

May 24, 2006, 10:48AM

TELEVISION

Fall lineup: more drama, fewer laughs

Networks jostle for viewers by shuffling the schedule and imitating the proven hits

Note: All Times are Central.

By MIKE MCDANIEL
Copyright 2006 Houston Chronicle

Sunday is the new Monday, and Thursday is the new sundae, offering more calories than is safe for easy consumption.

The fall television lineup, released last week by the broadcast networks, includes more serials but fewer people of color. It boasts more mysteries and suspense than network TV has offered in many a moon. And although few comedies made it, it appears to have been an extraordinary year for drama development.

Here are preliminary observations on the fall season.


Sunday is the new Monday

The CW played nice and kept an all-urban programming night containing most of UPN's Monday shows. But then the network shifted the lineup to Sundays . There, Everybody Hates Chris, All of Us, Girlfriends and the new The Game will face some of TV's heaviest hitters, including Desperate Housewives and NFL football — which, incidentally, is making a broadcast TV move from Mondays to Sundays, as well. (There will still be a Monday Night Football, but on ESPN.)

Few people watched Chris at 7 p.m. Thursdays. How many will watch at 6 p.m. Sundays? Chris Rock did not sound hopeful last week when he told CW advertisers, "Buy more ads because Chris next year is going to be played by a white girl." He was joking. We think.

But maybe not. Next fall, the number of shows with large African-American casts slips from 11 to six. Gone are The Bernie Mac Show, Eve, Cuts, Love Inc., One on One and Half and Half. New is The Game, a Girlfriends spinoff. Retained were Grey's Anatomy, America's Next Top Model, Girlfriends, All of Us and Everybody Hates Chris.

Hispanics broke about even. Although ABC canceled the Freddie Prinze sitcom, it proposed Betty the Ugly, about an oversized Latina (America Ferrera) working in the fashion biz.


Imitation is sincere thievery

The serial adventure thriller will be more in evidence this fall. In addition to 24 and Prison Break, Fox will introduce Vanished, about a nationwide search for the wife of a Georgia senator. Ming-Na (ER) and Gale Harold (Queer as Folk) play FBI agents.

Meanwhile, ABC's The Nine follows nine people caught up in a bank robbery gone wrong. When a 52-hour hostage standoff ends, the series focuses on what happens to those nine people. Among the cast: Tim Daly, Chi McBride and Scott Wolf.

NBC has Kidnapped, about the missing teen-age son of a wealthy New York family. The show boasts a big-name cast: Jeremy Sisto, Delroy Lindo, Dana Delany, Timothy Hutton, Mykelti Williamson and Linus Roache.

Runaway, one of only two new series picked up by the CW, is about a family on the run, the father unjustly accused of a violent crime. Donnie Wahlberg stars. Darren Star (Sex and the City) is producer.

And CBS adds Smith, a drama about career crooks who plan a cross-country heist. The show continues TV's recent fixation with the criminal element as lead characters (FX's Thief, AMC's Hustle, NBC's Heist). Ray Liotta and Virginia Madsen star.


Serial serials

Sci-fi serials Invasion, Surface and Threshhold didn't make it past one season, a testament to the story-telling abilities of Lost. But the serial lives on in other genres.

CBS' Jericho is about what happens to a small Kansas town following a nuclear incident. Skeet Ulrich, Gerald McRaney, Ashley Scott and Pamela Reed star.

ABC is counting on Brothers & Sisters to win fans of Desperate Housewives and Grey's Anatomy. It's about family, with one of the siblings, played by Calista Flockhart, acting as narrator. Rachel Griffiths and Ron Rifkin also star. Ken Olin is producer.

By the way, there's good news on the Lost front. ABC will air the show for seven weeks in the fall, then bring it back in January for a continuous run through May.


Showdowns

• 8 p.m. Thursdays: This is going to be bloody. TV's No. 1 scripted show, CBS' CSI, faces the No. 3 scripted show, ABC's Grey's Anatomy. That's not all. NBC, which was first to announce fall plans, placed its most promising new show, Aaron Sorkin's Studio 60 on the Sunset Strip, in the same time slot. (The guess is, that's being re-examined.) Fox wants a piece of that hour, too, and has high hopes for Season 3 of The O.C. That doesn't leave much audience for another solid series, the CW's Supernatural.

• 7 p.m. Sundays: NBC has football, and don't underestimate its drawing power. First, this is network TV, not cable. Second, toward the last half of the season, the NFL has agreed to allow NBC to cherry-pick matchups.

ABC is sticking with a winner, Extreme Makeover: Home Edition, No. 18 on the Nielsen hit parade. CBS is hoping a combination of Sundays, when more people watch TV than any other night, and family appeal will make The Amazing Race a player. Fox's The Simpsons and American Dad could play spoiler. The CW's Girlfriends and its spinoff, The Game, will likely be at the bottom of this pile-up.


Back in play

• 9 p.m. Thursdays: For years, ER carved this hour as its own. The series could be in for a recovery this season, depending on the performance of its new competition.

CBS has Shark, in which James Woods plays a lawyer who takes on high-profile cases. Spike Lee directed the pilot. ABC is casting its net with J.J. Abrams and Bryan Burk, makers of Lost and Alias. They've come up with Six Degrees, about six New Yorkers (including Hope Davis and Campbell Scott) who go about their lives not realizing the impact their actions have on the others.

• 7 p.m. Tuesdays: When American Idol is idle, CBS' NCIS kicks butt in this time slot. That might be harder to do this fall.

ABC scored ridiculous ratings last fall with Dancing With the Stars, and there's every reason to suspect it will do the same in this new time slot. Meanwhile, don't mess with Texas: NBC's Friday Night Lights, based on the popular movie about a Texas high-school football team, could score well. Kyle Chandler stars. Fox appears to be going after NCIS' adventure-loving audience with Standoff, a procedural about the FBI crisis negotiation unit. Ron Livingston and Rosemarie DeWitt star.

The CW is sticking with Gilmore Girls, which gets new executive producers this fall. Good luck.


BEST MOVE

CBS cancels Sunday night movie

The network risks little in canceling its low-rated film franchise and can now afford to play hardball against ABC, which usually rules this night, and NBC, which is gambling on pro football this fall. The worry is whether fans will follow The Amazing Race and Without a Trace to their new night.


WORST MOVE

ABC sends Grey's Anatomy to Thursdays

The network tossed away a guaranteed Sunday win for a not-so-sure thing on Thursdays. Why? Because Thursday is an important night for movie and car companies to get out their weekend plugs, and ABC wants a piece of that action. Grey's Anatomy could triumph, but it's likely to get bloodied in the process.


WINNERS AND LOSERS

• The network that got healthier: NBC. The buzz on Studio 60 is outstanding. On paper, Kidnapped sounds like a winner. And in January, the network will rest ER and run The Black Donnellys, a rich story from Paul Haggis (Crash) about Irish brothers, one a mayor, one in organized crime.

• The network with the most at risk: ABC. By excising Grey's Anatomy from Sunday and moving it to Thursday, it may do permanent harm to both the show and Sundays.

• The network that played it safe: The CW. Instead of swinging for the fences, the new network served up 11th-hour rescues of 7th Heaven (for fall) and Reba (for midseason) and introduced only two new shows for fall. Better safe than exciting.

Note: Click here (http://www.chron.com/disp/story.mpl/ent/tv/3884053.html) to go to web site which has a couple of pictures with descriptions and the entire article.

Studios, networks sue Cablevision over planned DVR service


By GARY GENTILE
AP Business Writer

LOS ANGELES (AP) -- Hollywood studios and TV networks are asking a federal court to stop a video recording service that Long Island-based Cablevision Systems Corp. planned to start offering next month.

The companies sued Cablevision, the nation's sixth-largest cable TV provider, in U.S. District Court in New York on Wednesday, saying the service, known as a "network DVR," violated the companies' copyrights.

Cablevision announced in March that it would offer subscribers a way to retrieve recorded shows from the cable company's system, rather than from a hard drive installed on a special set-top cable box.

Other cable companies, including Philadelphia-based Comcast Corp., the nation's largest, were closely watching the experiment with an eye toward offering a similar service. The technology would vastly increase the use of such "time shifting" services because they would not require subscribers to buy or lease extra equipment.

But Tuesday, the companies that produce and broadcast TV shows said the service was illegal and that Cablevision, which is based in Bethpage, had refused to pay the studios a license fee or share in the revenue it would collect from subscribers for the service.

Typical DVRs record TV shows on a hard drive and allow viewers to replay those shows anytime they wish.

The network DVR proposed by Cablevision would allow viewers to choose which programs they want to record. But instead of recording on a hard drive in the home, the cable company would record the shows on a central computer, then allow viewers to watch them later.

Studios say the law, under "fair use," gives consumers the right to time shift. But it doesn't give that right to companies that license the content only for simultaneous broadcast, meaning that to store the shows and offer them on demand for a fee, companies must obtain a separate license.

"Such conduct would constitute willful copyright infringement," the lawsuit states.

Cablevision had previously said it examined the copyright implications of the service and found that it did not violate the law.

"This lawsuit is without merit, reflects a fundamental misunderstanding of Cablevision's remote-storage DVR, and ignores the enormous benefit and well-established right of viewers to time-shift television programming," Cablevision spokesman Jim Maiella said Wednesday.

The companies are asking the court to issue an injunction preventing Cablevision from launching the service.

Cablevision has about 3 million customers around New York City, Connecticut and New Jersey.

The plaintiffs in the case are News Corp.'s Twentieth Century Fox, Universal Studios, Viacom Corp.'s Paramount Pictures and The Walt Disney Co., along with broadcasters ABC, CBS Corp. and General Electric Co.'s NBC.


http://hosted.ap.org/dynamic/stories/N/NY_CABLEVISION_LAWSUIT_BAOL-?SITE=NYNYD&SECTION=MIDEAST&TEMPLATE=DEFAULT

TV Notebook
Votes Come In, And Conspiracy Theories Come Out

By Paul Farhi Washington Post Staff WriterThursday, May 25, 2006; C01

Every year, you can hear the howling: allegations of fraud, suggestions of stuffed ballot boxes, charges of voting manipulation, outrage, calumny.

A disputed election? Well, yes. But in this case, the hard feelings surround TV's most popular show and not, say, a presidential contest or an emerging democracy's dicey vote count.

Try as they might, some viewers can't seem to shake the suspicion that something's not quite pure on Fox's "American Idol" after the last note sounds and callers begin casting votes for their favorite singer. Since the program's inception in 2002, "American Idol" has hatched almost as many conspiracy theories as John F. Kennedy's assassination. And this season's competition -- won last night by graying rocker Taylor Hicks, who beat sultry pop singer Katharine McPhee -- was typical.

Suspicions were primed Tuesday night when host Ryan Seacrest announced at the end of the final competition program that viewers would have "at least four hours to vote" for "Idol's" latest winner. At least ? A jolt of paranoia quickly surged through "Idol" fan sites and hit office water coolers: Perhaps this indicated that Fox was keeping the lines open longer to achieve some preconceived result? Actually, no, said Fox; Seacrest was imprecise and should have just said four hours, the typical window for a final vote, a network official said.

And some viewers complained this month that their attempts to vote for rocker Chris Daughtry were misdirected to McPhee's voting line. When Daughtry was eliminated from the program this month in a surprise, his supporters fumed. They started an online petition demanding a recount. As of yesterday, the petition had nearly 38,000 names, but no recount was in sight.

Cynicism seems to be an "American Idol" tradition. Some viewers have long suspected manipulation in the order in which the contestants perform (the last spot is supposedly the best, since viewers tend to vote for the singer they remember most). Those viewers see an unfair bias in the judges' comments (a favored performer might be praised for singing several songs in an identical style, but an out-of-favor contestant gets hammered for doing the same thing). And they suggest the show's producers maneuver the most demographically diverse, and most telegenically attractive, group of singers into the final rounds to maximize the program's appeal and pump up its ratings. As one "Idol"-bashing Web site ( http://realitytvcalendar.com/ ) recently framed the question: "American Idol 5: Is it Fixed? Do the Votes Really Count?"

Fox, of course, vigorously defends "Idol." "The producers and network have gone to great lengths to ensure the integrity of the voting process, Fox spokesman Scott Grogin said in a statement. "America votes, an independent company calculates the tally, and the show reports those results. While acknowledging that dedicated fans may be unhappy with the outcome, 'American Idol's' process -- the most sophisticated voting system in existence -- only reports the decision of the voting public."

Indeed, any program that attracts more than 30 million viewers is likely to inspire some passionate reactions. As with anything that is so closely observed, "Idol" can produce anomalies and oddities, most of which are innocent and apparently easily explained. And despite doubts about the voting process, the show's average ratings have increased each season.

But Fox has sparked suspicion by remaining highly secretive about most aspects of its voting system. Seacrest, for example, never has revealed the actual voting totals for winning contestants. In a very closely contested race between Ruben Studdard and Clay Aiken in the program's second season, the host infamously offered three different figures for the margin of difference between them.

The program is no stranger to controversy. Fox had to go on the defensive last year when former "Idol" contestant Corey Clark claimed he had had an affair with judge Paula Abdul and said she advised him on what to sing and wear on the show. Abdul and Fox denied the claims, saying Clark was trying to peddle a tell-all book and launch a singing career.

In 2004, millions of potential voters weren't able to register their choices in the final round when regional phone systems became swamped by the deluge of calls. The incident raised more questions about the use of computerized speed-dialing programs, which can generate hundreds of calls from a single user. At the time, Broadcasting & Cable magazine called the "Idol" voting system "about as reliable as Florida's in the 2000 presidential election."

Fox points out that it cannot be held responsible for the inadequacies of the phone system infrastructure. The network says it uses technology to detect and block mass dialers, such as "blast" devices used by telemarketers that can generate many calls simultaneously.

"I am pretty satisfied and confident that the integrity is there," says "Idol" fan Jim Hellriegel. "This is the most popular thing on TV, and if there was a real scandal there, it would destroy the show just like the quiz-show scandals of the 1950s. Fox has every incentive" to keep the program clean.

Hellriegel's endorsement perhaps packs more punch than the average fan's. A network systems engineer who lives near Cleveland, Hellriegel created a computer program and a Web site ( http://dialidol.com/ ) that enables fans to speed-dial "American Idol" voting lines and report their results to a central database. On the theory that the most popular contestant will get both the most votes and the most busy signals, the site predicts who will be eliminated each week based on the number of busy signals its callers get. Using this formula, it has correctly predicted the order in which 19 of the 22 semifinalists would be eliminated this season.

Yesterday morning, the Web site called Hicks the winner of Season 5.

Hellriegel says his site's 5,000 users made about 2.2 million calls to the "Idol" voting lines Tuesday night. Of those, about 500,000 calls got through to register a vote. Although that sounds like an impressive number, he points out that it's a small percentage of the more than 50 million votes cast overall.

Still, his speed-dialing program does sound a little like stuffing the "Idol" ballot box. Whatever happened to the great democratic principle of one man, one vote? Replies Hellriegel: "I expect someone from Washington to put the question that way. But this is 'American Idol,' and they encourage as many votes as you can."

http://www.washingtonpost.com/wp-dyn/content/article/2006/05/24/AR2006052402817_pf.html

TV Notebook
Now comes the real challenge, 'GMA'

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 25, 2006

When earlier this week ABC named longtime "Good Morning America" co-host Charles Gibson its new "World News Tonight" anchor, it plugged a major hole in its news lineup.

But ABC opened a second and potentially more troubling one.

Over the last several years, "GMA" has climbed closer to NBC's "Today," getting within pinching distance, but Gibson's departure to anchor the nightly news hour could send that show into a tumble.

ABC could well suffer a double-whammy backfire, with both the evening and the morning news shows sliding into third place behind CBS.

Just why ABC News president David Westin chose to move Gibson is unclear, but by the timing it would appear a panic decision in an effort to spare the network the humiliation of having CBS ease past it in the nightly ratings. Just two weeks ago, the network edged past for a week, after lagging well behind for years.

But what Gibson stands to bring to the evening hour as its sole anchor is largely an unknown, even though he's sat in the chair as a sub over the years. There's indeed some chance he will stabilize ratings, which have been in a slide since co-anchor Bob Woodruff was injured in Iraq. But the prospects of Gibson reviving the broadcast seem much dimmer. With Woodruff and Elizabeth Vargas, the news show had been positioning itself as younger and hipper. Gibson is neither young nor hip.

What effect Gibson's departure could have on "GMA" is a known, however. When Gibson left for about six months in 1998, ratings slid and the third-place CBS "Early Show" came within 200,000 households of overtaking "GMA," cutting its lead from 1 million.

And Gibson's departure could not come at a worse time, when the whole morning lineup is undergoing dramatic change.

The morning show has fallen off this year after closing the gap with "Today" last year. "Today’s" lead has increased from 11 percent at this time last year to 17 percent. NBC is averaging 6.01 million viewers, up 1 percent from last year, to ABC’s 5.16 million, down 4 percent. CBS lags far behind at 2.87 million, down 1 percent.

Yet with co-host Katie Couric leaving "Today" next week, that show will be at its most vulnerable in years, and media people saw a real opening for the stable threesome of Gibson, Diane Sawyer and Robin Roberts to make gains before "The View’s" Meredith Vieira arrives to replace Couric later this summer.

But with Gibson gone, "GMA" viewers could well leave ABC for NBC or CBS.

"Gibson’s departure could hurt ‘GMA’ quite a bit, although keeping Diane Sawyer will help," says Joe Saltzman, professor of journalism at the University of Southern California. "Gibson is a pleasant and reassuring presence in the morning, and people like that."

Certainly, of the three networks CBS has the most to gain, benefitting from the on-screen musical chairs at the other networks if loyal viewers decide they don’t like what they see. CBS News, anticipating the change at NBC, brought in a new producer for "The Early Show" in March, Steve Friedman, who helped "Today" rise in the early ‘90s.

The show may also benefit from Couric’s presence at CBS News when she joins the evening show in August.
"She can possibly make appearances on ‘Early Show,’ giving the program a boost," suggests Gemma Puglisi, an assistant professor of public communication at American University.

As for who will take Gibson’s morning slot, ABC has no comment, but names are already being tossed about, including "GMA" weekend co-anchor Bill Weir, CNN’s Anderson Cooper and "20/20" correspondent Bill Ritter.

Saltzman has another suggestion: "They might want to woo Regis Philbin, who seems to be an audience favorite."

http://www.medialifemagazine.com/artman/publish/printer_4971.asp

TV Notebook
The reality of it is it's not going anywhere

By Ray Richmond The Hollywood Reporter

So what happened to the end of the reality TV boom? It's not feeling a whole lot like a dying -- or even a dwindling -- institution of late. Those ratings for "American Idol" haven't exactly been slipping. The surprising success of the game show "Deal or No Deal" has given NBC some much-needed audience footing.

Yes, it turns out that rumors of reality's death were greatly exaggerated, a case perhaps of wishful thinking for some. As ABC proved last summer, all you have to do is toss a bunch of B-list celebrity names onto a dance floor and you can have yourself a hit.

Add to this a sudden revival of the game show (this is a recording) and you've got the script for another summer of unscripted madness this summer, seven years after "Who Wants to Be a Millionaire" and six years after "Survivor" forever altered the summertime landscape by demonstrating that TV viewers didn't merely pull a disappearing act for three months and that maybe they still watched a little television in June, July and August.

Part of the dynamic has to do with the newfound aversion the networks now have for reruns. That summer is no longer merely a dumping ground for busted pilots and episodic repeats tracks with the system broadcasters now employ to avoid repeats of "24" and "Lost" during the regular season. It seems research tells everyone that when you don't supply fresh product, the audience (surprise!) defects to someone who does. In summer, that would be cable, which has long seen the wisdom in loading the warm-weather months with originals.

The network answer the past six years has been summertime reality. At CBS, it means the seventh edition of "Big Brother" and the second of "Rock Star" beginning in July. It also brings a "Gameshow Marathon" series hosted by Ricki Lake and something called "Tuesday Night Book Club," a weekly effort featuring "real women in middle-class suburbia" dealing with the pressures of kids, husbands and households "and even revealing their intimate secrets." I'm guessing the "intimate secrets" part will take up about 90% of it.

Over at NBC, there's the latest revival of "Last Comic Standing," an "adventure/mystery reality series" entitled "Treasure Hunters" -- from the production team that gave us "Project Greenlight" -- and the latest from "Idol" megaproducer Simon Cowell, "America's Got Talent," with none other than Regis Philbin tabbed to host.

Fox, meanwhile, has new seasons of the cooking competition series "Hell's Kitchen" and "So You Think You Can Dance," while ABC announced Monday a handful of summer reality shows: "Buy It Now" (which fulfills family dreams via eBay), "How to Get the Guy" (four San Francisco women searching for Mr. Right, or at least Mr. Not Gay), "Master of Champions" (junksports on parade), "One Ocean View" (yuppies flee Manhattan for the shore) and "The One: Making a Music Star" (hmmm .... sounds vaguely familiar).

If there was a predictable leveling off in reality's saturation and demand of a few years ago, it hardly means the genre has begun any sort of slow descent into oblivion -- though one might argue that's the case creatively, what with every concept seeming to be derivative of at least one or two prior concepts.

"The truth is that reality is alive and well and is as strong as it's ever been," believes David Goldberg, president of Endemol USA, which makes "Extreme Makeover: Home Edition," "Deal or No Deal" and "Big Brother" (among others). "We see no erosion. We're making more money every year, and quite frankly the appetite at the networks has not lessened in any way."

Bad news for writers and performers of scripted fare? No doubt. But it's perhaps inevitable at a time when gawking has grown to become the nation's most popular spectator sport.

http://www.hollywoodreporter.com/thr/columns/the_pulse_display.jsp?vnu_content_id=1002540438

TV Notebook
Numbers add up for No. 1 CBS

By Gary Levin, USA Today

American Idol and Lost wrapped up their seasons Wednesday, ushering in the inevitable repeat-filled summer.

And the 36-week TV season ended with a repeat of its own: CBS won its fourth consecutive ratings crown among total viewers, and Fox took a second straight victory among adults ages 18 to 49, considered a primary ad target.

CBS continued to reign with a heavy dose of crime dramas that scored with viewers and performed well in reruns. Six new shows are returning in the fall.

Fox, which ranked fourth among young adults last fall, vaulted to first as Idol returned in January and promptly steamrolled the competition.

ABC ranked a close second among the young-adult crowd with just 280,000 viewers behind Fox. It was the only network increasing in total viewership, climbing 7% from last season.

NBC again finished fourth among total viewers and young adults as new series (save for My Name Is Earl and Deal or No Deal) faded along with mainstays such as ER and Law & Order.

The season remained strong for the four major networks in total: Their combined audience inched up 1%, the first gain since the 1999-2000 season when Who Wants to Be a Millionaire became an instant phenomenon. Basic cable also grew, up 2%, but its rate of growth slowed considerably.

Fox's young-adult win is remarkable: Unlike last year, it had no Super Bowl or baseball playoffs to juice its numbers. But the network programs just 15 hours, seven fewer than competitors. Fifth seasons of Idol and 24 proved their most popular; House surged; Prison Break and Bones became modest successes; and Fox won each of the last 13 weeks among young adults, a network record. "We were certainly helped by Idol (and) 24 ... but across genres and across days of the week we had strength," says programming chief Peter Liguori. "On five out of seven nights we had double-digit increases."

Oddly, CBS achieved its victory among all viewers — by nearly 2 million over second-place ABC — without any of the buzz about series that helped ABC and Fox. The Unit was top new drama, and Criminal Minds performed well, even opposite Lost. "Our mantra has always been that development (of a series) doesn't stop with the pilot," says entertainment chief Nina Tassler. "We never let our guard down." And though "the end game obviously is the No. 1 position, having buzz is clearly a factor as well," and it's a goal for next season, too.

ABC was helped enormously by Desperate Housewives, Grey's Anatomy (both top 5 hits), Lost and Dancing with the Stars, which was second only to Idol among reality series. But its comedy lineup fell flat, and the network finished third in the May sweeps period that also ended Wednesday.

The soon-to-be-extinct UPN and WB both lost viewers compared with last year, as both finished in a dead heat with an average of 3.1 million viewers and were outpaced by Spanish-language Univision, which had 3.8 million.

http://www.usatoday.com/life/television/news/2006-05-24-nielsen-season-wrap_x.htm

TV Notebook
The “Idol” Nielsen Bonanza

(courtesy drudgereport.com)

FOX hit the gusher Wednesday night between 9:30 and 10 pm ET for its naming of the season's new AMERICAN IDOL -- when it pulled a 25.1 rating/35 share!

The number placed the show to near OSCAR-levels and gave Murdoch's FOX a historic sweeps sendoff.

IDOL maxed with 70 share in Birmingham, Alabama; 50 share in Atlanta; 41 share in Boston; 40 share in Washington, DC and hit a 37 Detroit.

The finale averaged a 21.5 rating/32 share for its full 2 hours in overnight metered markets.

http://www.drudgereport.com/flash5.htm

Wednesday’s prime-time ratings – and Media Week Analyst Marc Berman’s view of what they mean -- have been posted at the top of Ratings News the first post in this thread.

The Business of TV
Strong Numbers for Idol Downloads

By Anne Becker Broadcasting & Cable 5/25/2006

As of 9 p.m. PT Wednesday, Fox had sold 160,641 downloads of American Idol audio and video clips via the show's Web site in just over a week, according to the network.

Fox began selling video and audio downloads of the top 12 finalists' performances last Tuesday on AmericanIdol.com. Video downloads were $1.99 and audio downloads .99 cents. Revenues from the downloads, available only on the Idol site, not on iTunes, were to be shared between Fox Interactive Media and the show's producers, Fremantle and 19 Entertainment.

The clips, which were available for downloading to the desktop, are no longer being offered on the site; they were made available only through May 24, the day of the fifth season's finale.

Separately, Idol partner Cingular Wireless said it recorded more than 64.5 million text messages during Idol's fifth season. Those messages, which included votes, trivia, sweepstakes entries, chats, fan club and vote reminders, topped last year's record number of texts - 41.5 million.

This season, Cingular introduced several new features tied to the show, including "Live Idol Tones" - downloadable ringtones and answer tones of select Idol performances available for purchase a day after they aired on TV.

Overnights in the 18-49 Demo
Idol' finale draws 35.4 million viewers

By Toni Fitzgerald MediaLifeMagazine.com staff writer May 25, 2006

“American Idol” ended its biggest season yet with its second-biggest finale.

According to Nielsen fast nationals, 35.4 million total viewers tuned in to watch Taylor Hicks become the Fox show’s second-ever male winner. That was a substantial 20 percent boost over last year’s 29.4 million who watched Carrie Underwood win.

It also marked the program’s second-biggest finale ever, behind only 2003’s tightly contested final between Clay Aiken and winner Ruben Studdard, which drew 38 million.

It was well above the 28.8 million who watched Fantasia triumph in 2004.

Fox didn’t need the help in May sweeps, as it already held a commanding lead with a 4.5 adults 18-49 rating through the first 27 nights of sweeps. But its final margin of victory over runner-up CBS, already at 0.8, will likely jump up a tenth or two after last night.

“Idol” averaged a 13.8 18-49 rating from 8 to 10 p.m., more than doubling its nearest competition. The show peaked with a 17.0 rating and 42.9 million viewers during the 9:30 p.m. half hour.

The first hour averaged an 11.6, bettering the combined broadcast competition at 8 p.m.

“Idol” finishes as broadcast’s highest-rated show among 18-49s for the third straight year. It’s also poised for its best-ever averages, likely over a 12.0 for the Tuesday and Wednesday editions.

Proving that two hit shows can indeed coexist in the same timeslot, ABC’s “Lost” also had a big night. The two-hour finale averaged a 7.5 18-49 rating from 9 p.m. to 11 p.m., even to last year’s season ender.

The final hour, with “Idol” off the air, jumped to an 8.0 average. About 17.5 million total viewers tuned in for the two-hour finale.

Fox easily won the night with its 13.8 rating and 35 share among 18-49s, followed by ABC with 6.0/15. CBS and NBC tied at third with 1.9/5, Univision fifth with 1.5/3, UPN sixth with 0.7/2 and WB seventh with 0.6/1.

Fox started the night in the lead with an 11.6 at 8 p.m. for the “Idol” finale. ABC was a distant second with a 3.2 for a “Lost” clip show, followed by NBC with a 1.9 for “Dateline,” Univision with a 1.6 for “La Fea Mas Bella,” CBS with a 1.4 for a “Dr. Phil” special, UPN with a 0.7 for “Hair Show” and WB with a 0.6 for the first part of the movie “Daredevil.”

At 9, Fox was first again with a 15.9 for “Idol,” ABC second with a 6.9 for the first hour of “Lost” and CBS third with a 1.6 for a repeat of “Criminal Minds.” NBC and Univision tied at fourth with a 1.5, for a “Law & Order” repeat and “Barrera de Amor,” respectively. UPN was sixth with a 0.7 for “Hair” and WB was seventh with a 0.6 for “Daredevil.”

At 10, ABC took over the lead with an 8.0 for “Lost,” followed by CBS with a 2.7 for a repeat of “CSI: NY” and NBC with a 2.3 for another “Law & Order” repeat.

Among households, Fox took the night with 20.0/31, followed by ABC with 8.6/13, CBS with 4.7/7, NBC with 4.5/7, Univision with 1.9/3, UPN with 1.3/2 and WB with 1.1/2.

http://www.medialifemagazine.com/artman/publish/printer_4997.asp

Sports On TV
Bonds TV Show Is Called Out

The reality series will go on hiatus and probably won't return, because of a lack of home runs
By Larry Stewart Los Angeles Times Staff Writer May 25, 2006

The run appears to be over, mainly because of a lack of home runs.

"Bonds on Bonds," the ESPN reality series featuring San Francisco Giants slugger Barry Bonds, will go on hiatus after two more shows, and is unlikely to return on a regular basis.

The series, which began airing April 4, will be on today at 4 p.m. in its regular half-hour format. The show has been airing on Tuesdays, but was switched this week because of scheduling conflicts.

There will be a one-hour wrap-up show Monday at 4 p.m., and then that's it, at least for a while.

"If Barry was hitting home runs at Albert Pujols' pace, we would continue," producer Mike Tollin said Wednesday. "You have to keep in mind that Barry hit eight homers in his final 42 at-bats at the end of last season."

Bonds has six home runs this season, reaching 714 on Saturday to tie Babe Ruth's total. Pujols, the St. Louis Cardinals' first baseman, leads the majors with 23 homers. At Bonds' current pace, Hank Aaron's record of 755 is a long way off.

"Also, there is some fan fatigue, people tiring of the allegations and everything else that surrounds Barry. His health is another issue," Tollin said.

Tollin said there still could be a special that would air around the All-Star game if Bonds is elected to the National League team. And there could be a season-ending retrospective. But Bonds, 41, probably would have to start hitting home runs on a regular basis for the show to come back as a weekly series.

The fate of the show had nothing to do with ratings, Tollin said. And ESPN spokesman Rob Tobias confirmed that, pointing out that last week's show got a 0.6 cable rating, the same as the first episode. Those two were the highest-rated.

The original plan was for the series to run through the All-Star break. The independent production company of Tollin-Robbins planned to present 10 hours of programming. It is going on hiatus after only 5 1/2 .

Tollin and Tobias said that ESPN and Tollin-Robbins had agreed to a certain amount of flexibility, depending on how things went.

As it turns out, things haven't gone very well. And apparently Bonds is tired of doing the series.

"It'll be nice to get back into a routine and have some quiet around here," he told MLB.com.

http://www.latimes.com/sports/printedition/la-sp-bonds25may25,1,6122769.story?coll=la-headlines-pe-sports

The TV Column
Surprise!!! Or Not. It's Taylor Hicks.

By Lisa de Moraes Washington Post Staff Writer Thursday, May 25, 2006; C01

Captain Kangaroo won "American Idol" last night, edging out pretty Katharine McPhee in the Fox singing competition.

Taylor Hicks, the 29-year-old Captain K ringer from Birmingham, kept up the South's winning streak on the most popular television show in the country. More than 32 million viewers had watched the two finalists' last performance the night before.

They cast 63.4 million votes Tuesday night -- "more than any president in the history of our country has ever received," show host Ryan Seacrest told viewers at the end of a two-hour orgy of excess jammed with performances by some of the hottest and some of the oldest pop stars around.

For a show totally lacking in suspense, it was quite the drama.

After putting viewers through four years of "Idol" finales puffed up like blowfish with backstage blather and visits to the finalists' hometown high school gymnasiums, this year the producers had a bright idea: Entertain the audience at home with actual music performances by actual stars.

Duets maybe, with "Idol" finalists?

And so, Paris Bennett kicks things off with Al Jarreau, singing "In This Love Together."

Next, Chris Daughtry sings with his favorite band, Live. Remember when he aped Live's cover of the Johnny Cash classic "Walk the Line" and the judges complimented him for making the Cash tune "his own"? Good times.

Standing next to Live lead Ed Kowalczyk singing "Mystery," Daughtry looks like one of those Here's How to Get the Look for Under $100 models. He looked exactly like the Live Lead -- a Live Lead Look-Alike -- only less.

And what's an "American Idol" finale without tacky shtick?

This year it's in the form of two running gags: the Golden Idol Awards and Puck 'n' Pickler interstitials in which Little Kellie Pickler, the former "Idol" contestant from Albemarle, N.C. -- the one who'd never had calamari, or spinach salad for that matter -- is taught by celebrity chef Wolfgang Puck all about food that doesn't start with "deep-fried."

First, Puck introduces Kellie to snails, which she spits into her napkin.

Speaking of Meatloaf, he was exhumed to do a "Beauty and the Beast" duet with McPhee, "It's All Coming Back to Me Now." He's in a black suit, carrying a bedspread-sized red hankie with which to wipe the flopsweat off his face. She's in this incredible tight black dress slit up to here in the back and down to there in the front. The "American Idol" Cleavage Cam gets some great shots of Katharine while around the country men kick themselves for having voted for Taylor.

Puck 'n' Pickler's back. This time: lobster. EEEEEK! She screams as two live lobsters destined for slaughter, their claws taped shut, are brought out for the amusement of viewers watching at home and the 3,000 or so in Hollywood's Kodak Theatre.

"It's live ! . . . That's gross ! . . . "I'm not eating that!" The Boys of "American Idol" come out all dressed in black, which can mean only one thing: They're going to sing bad-boy songs. Songs like "Tobacco Road" and "Taking Care of Business." And yes, that passes for bad boy in these scary times. Send your letters of thanks to the Federal Communications Commission.

At 8:49 p.m., Seacrest hands keys to Ford Mustangs to Katharine and Taylor because an "Idol" sponsor hasn't been plugged in the last two minutes.

Time for a Golden Idol Award, this one Proudest Family Moment, won by Elliott Yamin's ailing mother, who is seated in the audience. In addition to the trophy, Seacrest says he has another surprise for her: "I have your little boy performing."

Her little boy sings "One" with Mary J. Blige, who did not get the memo that this show is called "American Idol," not "The Mary J. Blige Show." After trying her best to shout Elliott down while yanking his right arm out of its socket, she simply moves in front of him and finishes the song as a solo while poor Elliott tries gamely to contribute. Blige then walks offstage, leaving him in her dust.

Our current reigning American Idol Carrie Underwood sings some wholesome country song.

Time for another Golden Idol Award: The Randy Jackson Prize for Public Speaking, won by the most foul-mouthed of the early auditioners, Rhonetta, who appears via satellite, reprising the performance that won her the trophy.

Taylor gets to follow that act, singing Elvis's "In the Ghetto" with Toni Braxton.

Braxton is singing -- such as it is -- phonetically and therefore doesn't realize that this is a song about a little child who needs a helping hand because he's living in the ghetto. Instead, she mistakes it for a song about a ho and her pimp, as played by Braxton and Taylor, on whom she tries to perform a standing lap dance, winning her the Golden Idol Award for Most Inappropriate Performance During an "Idol" Finale.

"Idol" took a minute -- actually 11 minutes -- to pay homage to Burt Bacharach, who plays the piano for the "Idol" gang and Dionne Warwick. Dionne sings "Walk on By" and "That's What Friends Are For"; little Kevin Covais sings "What's New Pussycat?" And they say the variety show is dead.

The guest-star bit is over, Seacrest announces; time for the voting results.

But wait a minute. Here's Prince. My American Idol! Poor Captain Kangaroo, who we have known for weeks is going to win this competition, will have to follow Prince singing the heck out of "I'm Just Trying to Get You Satisfied" and "Lolita" with his lame Made-for-"Idol" Treacle Tune.

Is this fair?

With minutes to go Katharine skips out onstage in some drop-dead-gorgeous gown and joins Taylor, in a velvet tux, to sing "Time of My Life."

Then Seacrest introduces the head of the company that tallies the votes, just like they're at the Oscars. Tally Man hands over an envelope to Seacrest, who announces -- surprise -- Taylor is the winner. David Hasselhoff is seen in the audience, tearing up.

Taylor sings his Made-for-"Idol" Treacle Tune "Do I Make You Proud."

And here comes the Made-for-"Idol" Treacle Tune Gospel Choir to bring it home . . .

http://www.washingtonpost.com/wp-dyn/content/article/2006/05/24/AR2006052402816_pf.html

TV Notebook
Sedgwick brings sugar and spice back to 'The Closer'

By Gail Shister Philadelphia Inquirer Columnist Thu, May. 25, 2006

Try to come between Kyra Sedgwick and her sugar fix and she'll read you your rights.

Like her quirky character, L.A. Deputy Police Chief Brenda Johnson on TNT's The Closer, Sedgwick has never met a snack cake or piece of chocolate she didn't like.

Cable's top-rated new series in '05, The Closer launches its second season June 12. Fifteen hour-long episodes are ordered, to debut at 9 p.m. Mondays.

Closer's premiere in June '05 delivered 5.3 million homes - the all-time record for an original scripted telecast on an ad-supported cable network. (Got that? Of course, you do.)

The entire cast is back, including J. K. Simmons (the shrink on NBC's Law & Order: SVU) as Johnson's boss/ex-lover and Jon Tenney as her FBI agent boyfriend.

"It's taken me a long time to come out about my sugar craving," says Sedgwick, 40, wife of Philly-born actor Kevin Bacon. "I have to have chocolate every day. For me, life is really hard. It's nice to have a sweet thing."

Sedgwick's Brenda Johnson sounds like a sweet thing, but her soft drawl belies a steel core. Still, it's tougher for her to break her craving for snack cakes than to interrogate bad guys to their knees.

In the commercial-free premiere, Johnson tries to escape her secret jones - much to the chagrin of her verbally abused minions.

Sedgwick gave herself over to the cocoa bean years ago.

"It's taken me a while to reconcile that it's OK. It's purely an American thing. We try to control so much of our food and diet."

At 16, Sedgwick tried to take control by giving up the sweet stuff. She wanted to look like a model. Three years later, her sanity returned.

On Closer, Johnson frenetically attempts to juggle the demands of a mostly male squad room with those of a burgeoning relationship that's constantly tested.

"Like many successful people, she struggles with having both," Sedgwick says. "It's really hard for all of us, especially in America, where so much pressure is put on what you do for a living.

"So much of your ego lies in that. Frankly, I'm just taking a stab at it. Am I absolutely sure it's the right way to go and that I'm managing to do it all? Absolutely not."

No decision

CBS Evening News interim anchor Bob Schieffer still hasn't decided whether he'll do Evening News commentary when Katie Couric debuts in September.

"I don't know if that's what I want to do," Schieffer, 69, says. "I'm sort of leaning toward it at this point, but this is far from a done deal."

On some Saturdays, Schieffer says, he spends six hours putting together his 270-word commentary for Sunday's Face the Nation. "It's almost like writing a poem."

Two commentaries a week may be too much, Schieffer says. Still, he'd love to follow in the footsteps of one of his heroes, Eric Sevareid, who set the gold standard on Evening News from '64 to '77.

Another factor: "Katie will have some ideas of her own, as she should."

While we're on the evening news racket, Schieffer labels newly named ABC World News Tonight anchor Charlie Gibson "a terrific choice."

Gibson, 63, coanchor of Good Morning America for almost 20 years, replaces the short-lived duo of Elizabeth Vargas and Bob Woodruff as of Monday.

"My thought from the very beginning was that Charlie would be the toughest competition," Schieffer says. "People know who he is, he has great credibility, and he's been through it, like all of us of a certain age have."

As a goof, Schieffer called Couric yesterday and asked whether she'd heard "the big news."

What news? she said. "I'm going to Good Morning America," Schieffer said, tongue firmly in cheek.

P.S. Schieffer will receive the ultimate honor June 16 in his native Fort Worth, Texas, when the local semipro baseball team, the Fort Worth Cats, sponsors Bob Schieffer bobblehead night.

"This is as good as it gets," he says. "My wife says she hopes the dolls are anatomically correct - the head is three times larger than the body."

http://www.philly.com/mld/philly/entertainment/television//14660121.htm?template=contentModules/printstory.jsp

Definitely looking forward to The Closer returning, good stuff.

TV Notebook
‘Idol’ wave engulfs TV as fans flock to finale

Estimated 35 million viewers see Taylor Hicks crowned winner
By Aaron Barnhart Kansas City Star Thu, May. 25, 2006

“American Idol” fever crested Wednesday night, as millions watched the biggest night of television’s biggest show.

And while many “Idol” fans correctly guessed the outcome well before the show started — Alabamian Taylor Hicks won, probably by a wide margin, over Los Angeles’ Katharine McPhee — that didn’t seem to dampen their enthusiasm.

From a wave of viewing parties to a spike in online betting, the country spent much of Wednesday celebrating, or at least talking about, this TV event that has become almost as big as the Oscars.

An estimated 35 million viewers tuned in to the two-hour extravaganza to see a raft of all-stars and amateurs pay tribute to American pop music. That audience would be a record for “Idol,” not far behind this year’s Academy Awards with 39 million viewers.

More than 63.4 million speed-dial and text-message votes were cast over four hours Tuesday night. Host Ryan Seacrest noted that this was “more than any president in the history of our country has ever received,” though he forgot to note that unlimited voting isn’t allowed in elections as it is on “Idol.”

By Wednesday morning, many fans had learned that the DialIdol.com Web site was predicting an easy win for Hicks, the energetic, frosty-haired bar singer known for calling his legion of fans “the Soul Patrol.”

DialIdol monitored its free software program that automates speed-voting for “Idol” contestants and detected a much higher busy-signal count for the 29-year-old Hicks than for the sultry McPhee.

But that seemed almost beside the point.

“Idol” has become TV’s No. 1-rated show because it is classic big-tent television, entertaining and appealing to watch regardless of how talented the amateur singing talents may be.

And the tent is getting bigger: Almost unheard of for a fifth-year show, “Idol’s” audience is up more than 10 percent from last season.

Wednesday’s two-hour finale proved irresistible. Modeled after the 1970s variety shows that once ruled TV, it even included 1970s pop stars like Al Jarreau, Burt Bacharach and Meat Loaf. Given all that, Hicks and McPhee seemed to fade into the background for large stretches of Wednesday’s show.

There were corny sketches, including what we can only hope is the last-ever “Brokeback Mountain” parody, and plenty of duets, a staple of “Idol” finales. They featured current “Idol” singers crooning with Mary J. Blige, Toni Braxton and the band Live.

The night’s biggest surprises were performances by Prince and Dionne Warwick, who was well-preserved both in looks and voice.

The most bizarre surprise involved second-season runner-up Clay Aiken pairing with Michael Sandecki, an adoring but tone-deaf fan and “Idol” tryout victim, to sing “Don’t Let the Sun Go Down on Me.”

No one personifies the “Idol” promise like Aiken, a geeky nobody who walked into an audition room in 2002 and five minutes later had his ticket to stardom.

Aiken has already sold 4 million CDs and routinely sells out performances.

The more star-studded the roster of “Idol” alumni becomes, the bigger the “Idol” phenomenon gets. That has spread to areas unrelated to professional singing — like professional gambling.

At Internet gambling sites, “American Idol” has singlehandedly fueled the rise of nonsports or novelty betting, the hottest subsector of Internet gambling, according to Greg Sindall of the betting site SportsInteraction.com.

“It’s the Super Bowl of novelty bets,” said Sindall, who noted that women, who are 30 percent of SportsInteraction’s customers, place half of all “Idol” bets.

The other half come from bettors like Carl Benson, a 24-year-old freelance graphic designer from Liberty, who decided to try his luck at “Idol” after a bad streak betting on Yankees games.

“I live with my family, and my sister is absolutely addicted to this show, so when it’s on I don’t have much control over the TV,” he said. “I remember seeing the guy with the gray hair and thinking: ‘He’s the ” biggest freak! He’s gonna do it.’

Benson expects to make $42 on his $125 bet on Hicks, which he placed before Hicks became the favorite.

As champion, Hicks probably will sell millions of copies of his debut CD. Last year’s winner, Carrie Underwood, moved 3 million units of hers.

http://www.kansascity.com/mld/kansascity/entertainment/14660631.htm?template=contentModules/printstory.jsp

i have to admin that last night was the first idol finale that was actually entertaining.

was it filmed live? i saw during the broadcast a performance by Carrie that said televised earlier??????

does anyone know of a site that lists the american idol finalists by record sales?

TV Notebook
Writers Sell Two Shows; That's The Good News

By Roger Catlin Hartford Courant TV Critic May 25 2006

The husband-wife writing team of Josh Goldsmith and Cathy Yuspa thought they had hit the jackpot when two of the series they pitched were picked up for the fall TV schedule by two different networks.

Their enthusiasm was tempered, though, when they learned their shows would be playing opposite one another.

"You write two pilots, figuring one will get made and one will get on the air," Goldsmith, 36, said by phone from Los Angeles. "So it seems kind of crazy they're on in the same time slot."

Odds are long enough to land one sitcom in Hollywood, odder still to land two simultaneously. But to have them scheduled against one another Thursdays at 8 p.m.?

"It's insane," Goldsmith said.

One of the two new sitcoms is among the most-talked-about new shows this fall.

"'Til Death," on Fox, stars Brad Garrett in his first role since "Everybody Loves Raymond." He plays part of a middle-aged married couple who live next door to newlyweds.

Their other show has to do with marriage, too - specifically, a wedding.

"Big Day," on ABC, chronicles the events of the wedding day of a young couple, parceled out over an entire season.

It's not a coincidence that both of them are about matrimony, Goldsmith said.

"I write with my wife, and so we write about relationships, and we like to explore them a lot of different ways," he said. "Both things were based on a lot of things from our own lives. Not to say that they are us specifically, but we enjoy exploring the ins and outs of a relationship."

The idea of "'Til Death" came from his mother-in-law, he says.

"Cathy's mom was on a business trip - her parents had been married 40 years - and her mom came home and said to her dad, `I missed you.' And the dad said, `That's ridiculous; after 40 years, there's no missing. Get over it.'"

From that, he said, "We just started talking about relationships." And eventually they came up with the idea for a series with "a young newly wed, super-happy couple, next to a couple that has been married 20 years and has the battle scars to prove it."

Joely Fisher, Kat Foster and Eddie Kaye Thomas also star in "'Til Death," one of only two new comedies on the fall Fox schedule.

Goldsmith said they could take some details from his own relationship for both couples.

"We've been married for four years, so we have the young-marriage thing," he said. "But we've been together since '93, so we have the old-couple thing in us, too."

Goldsmith, a Philadelphia native (whose mother, Zina Davis, is director of the Joseloff Gallery at the University of Hartford), met Yuspa in New York City and reconnected with her when they attended the University of Southern California film school.

"The first thing we ever did together was write a screenplay we sold to Fox," he said. That 1995 script never got produced, but they did go on to write for a couple of comedy series, "Pearl" with Rhea Perlman, which ran one season in 1996, and "Over the Top" with Tim Curry and Annie Potts, which ran just a few episodes a year later.

But when they were hired to help write a new comedy called "King of Queens," he said, "it was a real blessing."

The two were staff writers for its first three seasons before running the show in Seasons 4 through 6.

The pair have had a couple of screenplays made into well-received movies, too - the 2000 "What Women Want" with Mel Gibson and 2004's "13 Going on 30" with Jennifer Garner.

But TV lured them back.

And while TV sitcom producers usually like to shoot with either three cameras live in the studio (the old school) or use film from a single camera with no laugh track, Goldsmith and Yuspa are offering one of each: "'Til Death" before a live audience, and "Big Day" filmed.

"There's a place for both, I'd like to hope," Goldsmith said.

The concept of "Big Day" has each season take a day in a couple's life and stretch it out over 24 episodes.

"The goal there was to create a '24,' but funny," he said.

"So they're not arguing about nuclear bombs, as they would in `24'; they're arguing about whether they'll serve Caesar salad - but the stakes are just as high."

Marla Solokoff, Josh Cooke, Wendie Malick and Stephanie Weir are part of the ensemble cast of "Big Day."

Only last week, at the network's up-front presentations, did the pair learn that their two comedies would be scheduled opposite one another. (Also on the air at that hour: "Survivor" and "My Name is Earl").

"Combine the ratings of both shows, and we'll beat everybody," he said.

If not that, he added, "We are going to kick our own ass!"

http://www.ctnow.com/tv/hce-wedding.artmay25,0,949872,print.story?coll=hce-headlines-tv

does anyone know of a site that lists the american idol finalists by record sales?

I am sure there must be one, but I don't know of it, slocko. Sorry.

TV Notebook
Dizzying 'Lost' finale has fans wondering what's going on

By Matthew Gilbert The Boston Globe staff May 25, 2006

Last night's ``Lost" season finale gave up enough oddball clues to keep water-coolers buzzing all summer long. And buzzing loudly, since every ``Lost" fan will be lining up for water to help swallow their aspirins. Because we'll all have headaches from trying to make sense of what happened.

By the time the totally riveting two-hour special ended, with two men in a bunker noting ``Electromagnetic Anomaly Detected," and calling Desmond's great love to say, ``I think we found it," ``Lost" had officially entered the huh-what? zone. What a strange piece of work this series is, as it reels between genius sci-fi drama and passive-aggressive storytelling. It hands us excellent bits of information, then refuses to give them context. I love-hate it.

Wisely, the finale returned to the beginning of the season, to tell the story of Desmond, who fed the numbers into the hatch computer for years before he fled. By picking up the Desmond thread, the writers gave us faith that they are in control of the many loose ends. The episode also wisely began to refer to off-island life, as it pulled back the curtain ever so slightly. When Michael and Walt were reunited, the Others sent them back to the world, supposedly, in the boat we first saw in last season's finale. And in the last moments, the bunkered men appeared to be in our cosmos, as they sat playing chess over a frozen landscape.

At first, Desmond, drunk in his sailboat, was so changed it seemed as though a different actor had picked up the role originally played by Henry Ian Cusick. But it was Cusick, punctuating so many of his lines with his trademark ``brother." Naturally, the Desmond backstory included intersections with other characters -- not just Jack at the stadium, but also Libby, who gives Desmond her late husband's boat. Desmond wants to race the boat to win money and honor from the nasty father of his estranged girlfriend Penelope.

It was Desmond who realized that he may have caused the crash of Oceanic Flight 815. By failing to put the numbers into the computer one time, the Dickens fanatic let the electromagnetic force run amok. The force is so strong it may actually have pulled down the plane. When Locke broke the computer and set the force loose last night, it made the sky start blinking and caused everyone to block their ears, before Desmond shut down the works with his magic key.

What else did we learn? The guy with the fake beard is named Tom. The Others' little town is fake, too. Claire has forgiven Charlie, and the pair had a kiss. The fates of Locke, Eko, and Desmond are unknown, and Jack, Kate, and Sawyer are in jeopardy in the hands of the Others, even if Henry Gale claims ``We're the good guys.`` Oh yes, and there's a giant statue of a foot with four toes on the island. Huh-what?

We also learned Sawyer's theory about the Others -- that they're aliens. Hey, it could be.

http://www.boston.com/ae/tv/articles/2006/05/25/dizzying_lost_finale_has_fans_wondering_whats_going_on?mode= PF

TV Notebook
Network dramas are challenging `The Sopranos'

By Charlie McCollum San Jose Mercury News Thu, May. 25, 2006

Now that the network TV season and May sweeps officially have come to an end, some final and rather random thoughts, rants and bits of high praise about the state of things in TV world:

• It's no surprise that ``The Sopranos'' continues to rank as the best drama on television. What is a bit surprising is how close a fistful of network series came to the HBO show this season in terms of quality. You can make convincing arguments that ``24,'' ``Grey's Anatomy,'' ``Lost,'' ``House'' and ``Veronica Mars'' each deserve the top ranking.

• The comedy genre isn't nearly as competitive, but it's encouraging to see that ``My Name Is Earl,'' ``How I Met Your Mother,'' ``The New Adventures of Old Christine'' and ``Everybody Hates Chris'' all found audiences in their first seasons and will return. In addition, ``The Office'' became a modest hit in its second year. Quirky and non-traditional, ``Earl'' and ``The Office'' were tough sells, and NBC deserves props for sticking with them. (Not that NBC had much choice, given what a train wreck the rest of its schedule was this season.)

• The best network season finale? Through Monday (and with an asterisk because the ``Lost'' finale aired after the deadline for this column), it had to be the blistering final two hours of ``24.'' The show ended its finest season with the same jolts and twists that had marked the opening episodes. I know some viewers had problems with the cliffhanger ending; I didn't. ``Grey's Anatomy'' gets the runner-up prize for its engrossing and often moving finale. The last hour, with the prom scenes and the death of Denny, was very rich storytelling.

• Worst season finale? That dubious achievement award has to go to ``Desperate Housewives,'' with a two-hour episode that positively reeked of . . . well, desperation. Although the series is still very popular -- it drew 23 million-plus for the finale -- it did not have a good Season 2, and the glow seems to have faded from what was once TV's most-talked-about show. As good (and funny) as some scenes were -- loved the ones with Bree in the mental institution -- the finale was an ungainly mishmash clearly designed more to set up next season than to bring this installment to a satisfying ending.

• Best series finale? Well, it may be just me, but most of them seemed to lack the bite and emotional impact you want from the swan song for a long-running show. ``The West Wing,'' for example, made a graceful exit, but the real endgame for many fans were the April episodes devoted to the death of Leo McGarry (the late John Spencer). So by default, the award goes to ``Malcolm in the Middle,'' which had a finale that stayed true to the tone and wit of the comedy in its best days.

• A moment of silence and an expression of true loss, please, for ``Invasion.'' The last third of the sci-fi drama's season was as good as television gets: atmospheric, creepy, smart and beautifully plotted. At least its season finale -- which turned out to be its series finale -- had a measure of resolution to it.

• The most dramatic moment during May sweeps? That had to be Chris Daughtry being shown the exit on ``American Idol.'' Even Simon Cowell seemed stunned that the odds-on favorite failed to make the finals. (Paula Abdul cried, but she cries when she opens a can of Coke.) And Daughtry himself was so surprised that he made no pretense of trying to say all the right things. Lousy voting by America but great TV.

Remote controls

• In perhaps the strongest offering of the extended Memorial Day weekend, ``Combat Diary: The Marines of Lima Company'' (9 tonight, A&E) gives viewers a grunt-level view of the war in Iraq and its aftermath. Directed by Michael Epstein (an Oscar nominee for ``The Battle Over Citizen Kane''), the two-hour film is constructed largely from video shot by the Marines. (The company, a reserve unit out of Columbus, Ohio, lost 23 of its 184 members in combat.) Although some viewers will bring their political views on the war to the production, ``Combat Diary'' doesn't have an agenda of its own -- other than to honor the men who fought and the men who died.

• In recent years, one of the best kids' shows -- heck, one of the best shows for anybody -- on television has been ``Nick News With Linda Ellerbee,'' Nickelodeon's series of specials that explains events and issues without ever once being condescending to its young audience. On Sunday (8:30 p.m.), ``Nick News'' celebrates its 15th anniversary with a retrospective of its most compelling installments, including kids speaking with Magic Johnson about AIDS and an Emmy-winning piece on the children of Afghanistan.

Station breaks

• What in the *&&)*!@#$ -- as Al Swearengen might say -- is going on with ``Deadwood''? Just before the brilliant revisionist western comes back next month for its third season, HBO has decided not to renew the contracts of the cast -- which all but means there won't be a Season 4, although the series is not officially canceled.

It seems HBO didn't want to pay the cast while waiting for ``Deadwood'' creator David Milch to finish ``John From Cincinnati,'' a new series for the cable channel. But the move caught Milch, the show's writers and the cast totally by surprise, and Milch -- for one -- is really, really unhappy. So are a lot of fans, who are furious and have launched a vigorous campaign to save the show. (See www.savedeadwood. net, just for starters.)

http://www.mercurynews.com/mld/mercurynews/entertainment/television/14663588.htm?template=contentModules/printstory.jsp

• What in the *&&)*!@#$ -- as Al Swearengen might say -- is going on with ``Deadwood''? Just before the brilliant revisionist western comes back next month for its third season, HBO has decided not to renew the contracts of the cast -- which all but means there won't be a Season 4, although the series is not officially canceled.

It seems HBO didn't want to pay the cast while waiting for ``Deadwood'' creator David Milch to finish ``John From Cincinnati,'' a new series for the cable channel. But the move caught Milch, the show's writers and the cast totally by surprise, and Milch -- for one -- is really, really unhappy. So are a lot of fans, who are furious and have launched a vigorous campaign to save the show. (See www.savedeadwood. net, just for starters.)

http://www.mercurynews.com/mld/mercurynews/entertainment/television/14663588.htm?template=contentModules/printstory.jsp
I'm really disgusted with HBO over this turn of events, what the hell are they thinking?!

TV Notebook
Bergeron: I’ll pass on GMA gig

By Jessica Heslam Boston Herald Thursday, May 25, 2006

Massachusetts native Tom Bergeron was a strong contender for Charles Gibson’s “Good Morning America” gig when the morning anchor first left eight years ago - but this time around, he’ll take a pass.

Bergeron, 51, told the Herald yesterday he’s having the “time of his life right now” hosting the hit ABC TV show “Dancing With the Stars” and “America’s Funniest Home Videos.”

“There was a time about eight or 10 years ago when that was a consideration, but right now I’m much too content to introduce a 3 o’clock alarm,” said Bergeron, who said the show’s producers haven’t contacted him.

Bergeron, who grew up in Haverhill, now splits the year between California and Connecticut. He’s married and has two teenage daughters.

Gibson is leaving “Good Morning America” next month to become the sole anchor of ABC’s “World News Tonight.” Gibson co-hosted “Good Morning America” from 1987 to 1998 and again from 1999 until now.

Bergeron filled in for Gibson and was eyed for the morning job back in 1998. Bergeron told the Herald in 2002 that he was courted by ABC to do “Good Morning America” and he “clicked” with Elizabeth Vargas, who Gibson is replacing on “World News Tonight.” ABC, however, chose newcomer Lisa McRee and Bergeron said he and McRee were like “oil and water.”

Gibson’s gig was given to Canadian journalist Kevin Newman. Newman and McRee tanked. Gibson returned in 1999 and was joined by Diane Sawyer.A spokeswoman for the show wouldn’t speculate on Gibson’s replacement.

Bergeron read a story in yesterday’s New York Post that “industry buzz has pegged” him as a replacement. Bergeron said he was flattered - but no thanks.

The third series of “Dancing With the Stars” kicks off in September. “It’s just been a gift, this show, we have such a great time,” said Bergeron, the former host of WBZ-TV’s (now CBS4) “People are Talking.”

http://theedge.bostonherald.com/tvNews/view.bg?articleid=140720&format=text

Obituary
Mary Ritts, 95

She and Husband Had a Long TV Run With Ritts Puppets
By Dennis McLellan Los Angeles Times Staff Writer May 25, 2006

Mary Ritts, who with her husband, Paul, created and performed the Ritts Puppets, a popular act that appeared regularly on television for three decades beginning in the early 1950s and made a memorable appearance in Jerry Lewis' film "The Errand Boy," has died. She was 95.

Ritts died May 14 of natural causes in a retirement home in Pasadena, said her son, Mark Ritts.

The Ritts Puppets — a menagerie that originally included Geoffrey the Giraffe, Albert the Chipmunk, Calvin the Crow and Magnolia the Ostrich — debuted on "In the Park," a Sunday family TV series on CBS from 1951 to 1953 starring Bill Sears.

Mary Ritts supplied the voice for Magnolia the Ostrich, a quintessential Southern belle with long eyelashes and a soprano singing voice. Her husband provided the voices for the male puppets.

The Ritts Puppets were hosts of "The Pink Panther Show," an NBC Saturday morning series, for several years in the early 1970s. They also were featured performers on "Exploring," an NBC science series for young people in the '60s, and "The Watch Your Child/The Me Too Show," a daily program for preschoolers on NBC in the '70s.

In addition to regular appearances on "The Ed Sullivan Show," "The Tonight Show" and other variety and talk shows, the Ritts Puppets starred in three network TV specials, and Columbia recorded an album of the couple's original children's songs.

Paul and Mary Ritts also were the co-hosts of "Family," a live, daily hourlong show featuring celebrity interviews, puppet vignettes and live keyboard music played by Mary that aired on WNBC in New York for three years in the early 1960s.

A number of guest shots on the show by Jerry Lewis led to two of the Ritts' puppets appearing in "The Errand Boy," Lewis' 1961 comedy set in a movie studio.

In one scene with no dialogue, Lewis visits a prop storeroom and discovers Bobo the Clown on a shelf. The little clown hand puppet comes to life and gives Lewis a lollipop. The puppet then places a little bed on the shelf, fluffs up the mattress, tries to get the blanket tucked in and finally falls asleep — as does Lewis.

When Lewis later returns to the storeroom shelf to see the little clown, he instead finds Magnolia the Ostrich, who listens to his job tribulations. When Lewis realizes he is talking to a doll, Magnolia reassures him that she is as real as he makes her. She then urges Lewis to believe in himself as much as he believes in her.

The two scenes provided quiet, sweet interludes in the sometimes raucous comedy.

"Bobo the Clown originally was just a throwaway prop that my father made for one of the puppet bits for the 'Family' show," Mark Ritts said. "He was a little rubber clown hand puppet that he bought at a 5 and 10 cent store and repainted. He was a mute character that just did pantomime."

During one of Lewis' appearances on the "Family" show, he said, Lewis "went nuts for Bobo."

As a result, he said, "Bobo became much more prominent than my parents ever intended him to be because of the love affair between Bobo and Jerry. It reached the point where every time Jerry Lewis was on the show, there was always one of those really touching interludes without dialogue between Bobo and Jerry, rather like you see in 'The Errand Boy.'

"They were always done in extreme close-ups; very intimate scenes. I remember the cameramen used to get tears in their eyes during the scenes between Bobo and Jerry. It would be very emotional. They'd be very tight on Jerry [with the camera], and Jerry's eyes would fill with tears."

The couple's puppetry career began in the early 1950s, when Paul Ritts, a former Armed Forces Radio announcer, was directing a sportscast at WCAU-TV, the CBS-owned station in Philadelphia. "They wanted a hook for the show, and they thought it would be funny if a little animal lived in the filing cabinet of the sportscaster to help deliver the sports news," Mark Ritts said. "No one was a puppeteer at the station. But my father, who had had built model airplanes as a kid, said, 'I'll make you a puppet.' "

He went home and carved a puppet named Albert the Chipmunk out of balsa wood; Mary Ritts, a trained artist, painted it.

Viewers fell in love with Albert the Chipmunk, whose voice was provided by Paul Ritts. Ritts and sportscaster Sears then decided to expand the concept and create more puppets for what became "In the Park."

"My parents together made the three primary puppets: Albert Chipmunk, Geoffrey Giraffe and Calvin Crow," Mark Ritts said. "Then they decided they needed a female character, and Magnolia the Ostrich was born, along with my mother's career as a puppeteer. "

From then on, he said, puppetry became his parents' primary career.

Mary Ritts, whose maiden name was Donnelly, was born June 16, 1910, in Philadelphia. After graduating from the Pennsylvania Academy of Fine Arts in Philadelphia, she became a fashion illustrator for Bonwit Teller, John Wanamaker and Stetson hats, and her work appeared frequently in Vogue and Harper's Bazaar.

Paul Ritts, who was 10 years younger than his wife, died in 1980 at age 60.

"They were so inextricably a duo that when my dad died, the [puppet] act pretty much died with it," Mark Ritts said.

In addition to her son, Mary Ritts is survived by three grandchildren.

http://www.latimes.com/news/obituaries/la-me-ritts25may25,1,3141332.story?coll=la-news-obituaries

does anyone know of a site that lists the american idol finalists by record sales?

American Idol Contestant Album Sales

(This is easier to read on the site it came from.)

Season 1

Year Place Contestant Album Sales RIAA Cert. Label
2003 Winner Kelly Clarkson Thankful 2.4 Million 2X Platinum RCA
2003 Runner-Up Justin Guarini Justin Guarini 150,000 Uncertified RCA
2004 Winner Kelly Clarkson Breakaway 5.3 Million 5X Platinum RCA
2004 4th Place Tamyra Gray The Dreamer 122,000 Uncertified 19
2004 5th Place RJ Helton Real Life 21,000 Uncertified B-Rite
2005 10th Place Jim Verraros Rollercoaster 50,000 Uncertified Koch

Season 2

Year Place Contestant Album Sales RIAA Cert. Label
2003 Winner Ruben Studdard Soulful 1.7 Million Platinum J
2003 Runner-Up Clay Aiken Measure of a Man 2.7 Million 2X Platinum RCA
2004 Runner-Up Clay Aiken Merry Christmas with Love 1.2 Million Platinum RCA
2004 3rd Place Kimberley Locke One Love 209,000 Uncertified Curb
2004 4th Place Josh Gracin Josh Gracin 645,000 Gold Lyric St
2005 Winner Ruben Studdard I Need An Angel 428,000 Gold J
2005 Disqualified 10th Corey Clark Corey Clark 2,500 Uncertified Bungalo
2006 Winner Ruben Studdard Return Of The Velvet Teddy Bear TBA TBC J
2006 3rd Place Kimberley Locke Based On A True Story TBA TBC Curb

Season 3

Year Place Contestant Album Sales RIAA Cert. Label
2003 Winner Fantasia Barrino Free Yourself 1.8 Million Platinum J
2003 Runner-Up Diana DeGarmo Blue Skies 200,000 Uncertified RCA
2004 3rd Place Jasmine Trias Jasmine Trias 30,000 Gold (Philippines)[1] Universal
2005 4th Place LaToya London Love & Life 55,000 Uncertified Peak
2005 5th Place George Huff Miracles 18,000 Uncertified Word
2005 6th Place John Stevens Red 18,000 Uncertified Maverick

Season 4

Year Place Contestant Album Sales RIAA Cert. Label
2005 Winner Carrie Underwood Some Hearts 2.9 Million 3X Platinum Arista
2005 Runner-Up Bo Bice The Real Thing 590,000 Gold RCA

Other notes

Idol's Best Selling Debut Album: Carrie Underwood- Some Hearts
Idol's Best Selling Sophomore Album: Kelly Clarkson- Breakaway
Idol's Best Selling Album:Kelly Clarkson- Breakaway
Idol's Worst Selling Album: Corey Clark- Corey Clark

Notable sales from non-finalists

In American Idol history, there has been sales from contestants who were never in the top 12, but sold more or equal units as some finalists.

Year Contestant Album Sales RIAA Cert. Label
2004 William Hung Inspiration 295,000 Uncertified Koch

http://en.wikipedia.org/wiki/American_Idol_Finalists_Album_Sales

thxs Marcus. exactly what i was looking for.

So, as expected, it was NBC which blinked first:

The 2006-2007 Season
NBC Totally Revamps its Fall Schedule

(NBC Press Release) Published: May 25, 2006

NBC ADJUSTS ITS 2006-07 PRIMETIME PROGRAM SCHEDULE, MAXIMIZING SUPPORT FOR ITS SLATE OF NEW FALL SERIES

"Studio 60 on the Sunset Strip," "Kidnapped," "Deal or No Deal," "Law & Order," "Law & Order: Criminal Intent" Get New Nights While "Crossing Jordan" Joins Fall Lineup Among Other Changes

BURBANK, Calif. - May 25, 2006 - With a focus on strong launches for its crop of new Fall series, NBC has adjusted its new 2006-07 primetime program schedule by re-positioning several series, including "Studio 60 on the Sunset Strip," "Kidnapped," "Deal or No Deal," "Law & Order," "Law & Order: Criminal Intent," and marking the Fall return of "Crossing Jordan."

The changes were announced by Kevin Reilly, President, NBC Entertainment, who said:
"We've enjoyed an extremely successful development season and are going to do what it takes to give each new series the strongest launch we can. Now that we've assessed the competitive landscape, we've scheduled our new shows in time periods where we believe they'll succeed and will be supporting them with robust marketing campaigns and the full resources of the network."

Starting on Mondays, NBC will move the new drama "Studio 60 on the Sunset Strip," from Emmy Award winners Aaron Sorkin and Thomas Schlamme (both from "The West Wing") to 10-11 p.m. (ET) on an otherwise unchanged night. Likewise, the network will shift "Law & Order: Criminal Intent" to Tuesdays (9-10 p.m. ET) followed by the popular "Law & Order: Special Victims Unit," which remains at 10-11 p.m. (ET).

On Wednesdays, the new comedy "20 Good Years" (starring Emmy winner John Lithgow, "3rd Rock from the Sun," and Jeffrey Tambor, "Arrested Development") will now open the night at 8-8:30 p.m. (ET) followed by the new comedy "30 Rock" (starring Emmy winner Tina Fey, NBC's "Saturday Night Live") from 8:30-9 p.m. (ET). "The Biggest Loser" will shift to 9-10 p.m. (ET). Rounding out the night will be the new drama "Kidnapped," starring Jeremy Sisto ("Six Feet Under") and Delroy Lindo ("The Core"), which now moves to Wednesdays 10-11 p.m. (ET).

Thursday nights will feature a mix of comedies, a hit game show and Emmy-winning drama with the addition of "Deal or No Deal" at 9-10 p.m. (ET) seated between the comedies "My Name Is Earl" (8-8:30 p.m. ET) and "The Office" (8:30-9 p.m. ET) and "ER" (10-11 p.m. ET). The durable "Deal" has improved by 55 percent on NBC's regular-program 18-49 average in its Monday (8-9 p.m. ET) slot this season prior to "Deal" (4.5 vs. 2.9). "Deal or No Deal" will also remain in its regular Monday (8-9 p.m. ET) slot.

As previously announced, "The Black Donnellys" - from Oscar winners Paul Haggis and Bobby Moresco (both for "Crash") - will debut in January 2007 following a run of original episodes of "ER" through December. "ER" will then return later in the spring with all original episodes through the rest of the year.

The proven drama "Crossing Jordan" - originally intended for a mid-season re-launch - will now resume in the Fall on Fridays (8-9 p.m. ET) followed by "Las Vegas" (9-10 p.m. ET) and the new arrival of "Law & Order" (10-11 p.m. ET).

NBC's Saturday and Sunday-night programming remains unchanged.

"Medium," NBC's hit drama starring Emmy winner Patricia Arquette as a wife and mother who uses her psychic abilities to solve crimes, and fan favorite comedy "Scrubs," will both return to the program lineup later in the season.

NBC REVISED PRIMETIME SCHEDULE FOR FALL 2006-07

*New programs in CAPS (with the exception of "ER"); all times are Eastern.

MONDAY
8-9 p.m. "Deal or No Deal"
9-10 p.m. "HEROES"
10-11 p.m. "STUDIO 60 ON THE SUNSET STRIP" (new day and time)

TUESDAY
8-9 p.m. "FRIDAY NIGHT LIGHTS"
9-10 p.m. "Law & Order: Criminal Intent" (new day and time)
10-11 p.m. "Law & Order: Special Victims Unit"

WEDNESDAY
8-8:30 p.m. "20 GOOD YEARS" (new time)
8:30-9 p.m. "30 ROCK" (new time)
9-10 p.m. "The Biggest Loser" (new time);
10-11 p.m. "KIDNAPPED" (new day and time)

THURSDAY
8-8:30 p.m. "My Name Is Earl"
8:30-9 p.m. "The Office"
9-10 p.m. "Deal or No Deal" (new day and time)
10-11 p.m. "ER"/("THE BLACK DONNELLYS" in January 2007)

FRIDAY
8-9 p.m. "Crossing Jordan" (new day and time)
9-10 p.m. "Las Vegas"
10-11 p.m. "Law & Order" (new day)

SATURDAY
8-9 p.m. "Dateline Saturday"
9-11 p.m. Drama Series Encores

SUNDAY
7-8 p.m. "FOOTBALL NIGHT IN AMERICA"
8-11 p.m. SUNDAY NIGHT FOOTBALL

The 2006-2007 Season
NBC Moves Studio 60 to Monday

By Ben Grossman Broadcasting & Cable 5/25/2006

NBC completely blew up the fall schedule it announced May 15 at its upfront in New York, making changes on all five weeknights including the move of its prize rookie Studio 60 on the Sunset Strip to Monday at 10.

Among the other notable moves were the relocation of Law & Order to Friday nights at 10 and the replacement of Studio 60 with Deal or No Deal Thursdays at 9.

In all, the network made scheduling changes to eight of the 15 primetime weeknight hours. NBC Entertainment President Kevin Reilly said publicly when he announced the initial schedule he wouldn’t be afraid to tweak the schedule, but even he admitted the sheer amount of moves was eye-catching.

He said the comprehensive re-tooling resulted from a combination of his network’s fourth-place status and the fact they announced their schedule before any of the competition.

"We went first and we’re in fourth," he says. "Unusual circumstances lead to these kinds of measures."

The moves also uncoiled the strategy of launching a spine of new shows Monday-Thursday at 9.

"I liked the ‘spine at nine’ play, but it wasn’t viable once we saw the other schedules," Reilly says.

Speculation had always circled around Studio 60, the Aaron Sorkin-penned drama that found itself matched up against CSI and the relocated Grey’s Anatomy Thursdays at 9.

NBC’s decision to move the show to Mondays at 10 set off a domino effect that leaves the network with a new look.

On Mondays, Studio 60 replaces Medium, which will now return in midseason on Sundays at 10. That spot was to be held by Raines, which means the Jeff Goldblum drama does not have a place on the schedule as of now.

Many industry insiders had expected ABC to move Grey’s to Mondays.

"I think our competitors have left the door open on Monday," Reilly says.

Tuesdays, NBC brought in Law & Order: Criminal Intent at 9, which will serve as a lead-in to Law & Order: SVU which follows at 10.

Reilly says the Tuesday move was in part due to his false belief that Fox would shift House from 9 to 8, which he claims Fox didn’t do because it couldn’t find anything to launch behind it.

Wednesdays were totally revamped, and will now lead off with the new comedy block of Twenty Good Years and 30 Rock, followed by The Biggest Loser and rookie drama Kidnapped.

The straight swap of Deal for Studio 60 Thursdays at 9 came after Reilly considered other options, including moving The Apprentice up to a fall return, or bringing in another hour of comedy that could have included Scrubs.

"In a perfect world, I’d like to go with a four-comedy block," he says. "But you have to be realistic about it."

On Fridays, Crossing Jordan pushed up its return to the fall to lead off the night in place of Deal. Las Vegas follows at 9, leading in to the mother ship of the Law & Order franchise.

Reilly said the network chose "a strategy of established shows with loyal audiences" for Friday night. But many, apparently including L&O creator Dick Wolf, are not bullish on Friday nights in general.

Reilly said he first informed Wolf of the moves on Wednesday morning.

"Let’s just say I didn’t need my coffee [Wednesday] morning," he said about his chat with Wolf. "But we’re good to go today."

The 2006-2007 Season
Blink!

By Rich Heldenfels in his Akron Beacon Journal TV blog

Facing the buzzsaws of ''CSI'' and ''Grey's Anatomy,'' NBC has moved new drama ''Studio 60 on the Sunset Strip'' from its planned Thursday time slot to Mondays at 10 p.m.

That's part of a bunch of changes NBC has made since seeing its competitors' fall lineups, including major shuffles of the ''Law & Order'' shows.

''Medium'' has been bumped to midseason, after football is done. The move of the original ''Law & Order,'' which has been mainly at 10 p.m. Wednesdays for most of the past 14 years, will come with some recasting.

With changes that big, NBC Entertainment Presidnent Kevin Reilly called it ''NBC schedule, Part 2.'' Considering that the first version was announced less than two weeks ago, this network is running very scared.

http://blogs.ohio.com/beacon_tv/

The 2006-2007 Season
NBC Rejiggers Fall Schedule

'Studio 60' Retreats From Competitive Thursday Time Slot
By Christopher Lisotta TVWeek.com May 25, 2006

Less than two weeks after announcing its fall 2006 prime-time schedule to advertisers at its upfront presentation in New York, NBC is adjusting its lineup with major revisions on five nights and a retreat from its strategy of launching new shows in the 9 p.m. (ET) hour.

One of the most high-profile moves is a shift for the Warner Bros. Television Studios industry drama "Studio 60 on the Sunset Strip," which originally was scheduled for Thursdays at 9 p.m. The network is moving the show to Mondays at 10 p.m., replacing psychic drama "Medium," which is being held for Sundays at 10 p.m. after NFL Football completes its run in January.

That moves "Studio 60" out of what was becoming a very competitive Thursday night. ABC announced at its upfront presentation last week it is moving one of its strongest performers, the Sunday medical drama "Grey's Anatomy," to Thursdays at 9 p.m., where CBS's forensic drama "CSI" already dominates the time period. Now NBC is scheduling that time slot with its game show "Deal or No Deal," which was a surprise midseason hit for the network.

"We are countering the 'Grey's'/'CSI' combo," said Kevin Reilly, president of NBC Entertainment, during a conference call with reporters Thursday. "It is a genuine alternative to the very tough drama competition."

Because of the introduction of two new dramas on Mondays, NBC moved new thriller drama "Kidnapped" off Tuesdays to create a two-hour "Law & Order" franchise block. That allows NBC to focus only on one new Tuesday drama, the 8 p.m. football series "Friday Night Lights." "Kidnapped" is moving to Wednesday at 10 p.m., pushing the night's veteran performer "Law & Order" to Fridays.

"Law & Order" isn't the only Friday change. The procedural "Crossing Jordan," which was being held for midseason, will start off the night at 8 p.m.

On Wednesdays, NBC is moving reality series "The Biggest Loser" out of the 8 p.m. hour, where there is multiple reality competition on other networks, into the 9 p.m. hour, which has been dominated by ABC's drama "Lost." NBC's two new comedies will move to the 8 p.m. block.

NBC has traditionally has been the first network to announce its schedule during the upfront presentation week, which served the network well when it was No. 1 in adults 18 to 49 but has left it at a competitive disadvantage now that it is ranked No. 4 in the advertiser-friendly demo.

"Adjustments are always made," Mr. Reilly said, noting that NBC is "discussing" changing up its announcement date for next year's upfronts. "We are normally in the dark by going first."

http://www.tvweek.com/news.cms?newsId=10075

The 2006-2007 Season
NBC's fall, Part II

By Hal Boedeker Orlando Sentinel Television Critic in the Sentinel’s TV blog May 25, 2006

After unveiling one fall schedule last week, NBC announced Thursday that it was overhauling that lineup by changing five nights and sending nine series to new slots. The revised plan removes "Medium," with Emmy-winner Patricia Arquette (left), from the fall lineup and brings back "Crossing Jordan," which was supposed to return at midseason.

"This is very unusual," Kevin Reilly, president of NBC Entertainment, said of the revisions. He attributed the revamp to NBC's going first last week in revealing its plan to advertisers in New York and to NBC's being fourth in the 18-to-49 age group so dear to advertisers.

What did the new plan say about his network?

"I'd hope people would say, 'They're smart,'" Reilly said. "We're saying, 'We believe in our new shows.'''

The schedule changes every weeknight. In the biggest shift, NBC removed a new Aaron Sorkin drama, "Studio 60 on the Sunset Strip" with Matthew Perry, from the highly competitive 9 p.m. slot where CBS' "CSI" and ABC's "Grey's Anatomy" will compete. NBC has decided to shift hot game show "Deal or No Deal" to that slot.

http://blogs.orlandosentinel.com/entertainment_tv_tvblog/2006/05/nbcs_fall_part_.html

The 2006-2007 Season
NBC Shuffles Fall Lineup

By John Consoli and Marc Berman Mediaweek.com MAY 25, 2006 -

NBC, as expected, announced that it is moving to another night its new Thursday night 9 p.m. drama for the 2006-07 season, Studio 60 on the Sunset Strip, to Monday night at 10, and will replace it in that Thursday time period with hit game show Deal or No Deal.

But at the same time, in one of the most aggressive pre-season scheduling changes announced at any one time, NBC made programming shifts in its fall schedule on every other night of the week, except Saturday, which is a repeat night.

NBC Entertainment president Kevin Reilly said all strategy used in putting together the NBC prime-time schedule for next season which was announced at the network's upfront presentation on May 15, has now been replaced by the thinking, "Let's just launch our new shows in the most opportunistic time periods."

Studio 60 was scheduled to air Thursday nights at 9 p.m next season, but following NBC's announcement of its schedule, ABC said that it was moving its drama hit Grey's Anatomy from Sunday night at 9 to Thursday night at 9. Studio 60 also would have had to face the CBS hit drama CSI: Crime Scene Investigation. So NBC moved it to Monday night at 10, replacing its veteran drama Medium, which will now be held until mid-season, when it will air on Sunday night at 10, when Sunday Night Football finishes its season on NBC.

Reilly said once he had a chance to look at all his competitors' schedules, it became evident that other moves needed to be made.
Rethinking Tuesday, Reilly believed premiering two new shows, Friday Night Lights and Kidnapped back-to-back was risky, so he decided to leave Friday Night Lights at 8 and will move in veteran drama Law & Order: Criminal Intent from Friday at 10 to Kidnapped's slot on Tuesday at 9, leading into Law & Order: SVU. Kidnapped will move to Wednesday night at 10, and the occupant of that time period, Law & Order, will move to the Criminal Intent slot on Fridays at 10.

Other changes include flipping new sitcoms 20 Good Years and 30 Rock from 9 into the 8 p.m. time period, and moving that time period occupant, The Biggest Loser to 9 p.m. Veteran drama Crossing Jordan, previously not scheduled to come on the air until mid-season, will now air at 8 p.m.Friday in the time period previously filled by Deal or No Deal.

Reilly said moving Studio 60 to 10 p.m. Monday will allow the network to promote it better on Sunday Night Football telecasts, and that he expects the freshman show to steal some female audience from CBS' CSI: Miami. He said moving Criminal Intent so it leads into SVU will give the two shows compatible audiences and good viewer flow.

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1002576069

Commentary: The fight over a la carte
Make cable go a la carte

The fix for soaring cable-TV bills is competition and channel choice, say the Arizona senator and the FCC chairman
By John McCain and Kevin Martin in the Los Angeles Times May 25, 2006

American consumers have little choice when it comes to cable television. If you want ESPN, you must pay for 60-plus channels that you may never watch. If your child loves Nickelodeon, your family must pay for the same 60-plus channels, some of which may not be suitable for young children. Now, imagine deciding for yourself which TV channels you want to purchase. You could select the channels you want to pay for, and opt out of those you don't. In fact, right now millions of TV viewers outside the U.S. have these choices. They buy their television channels individually or in smaller bundles — and get better deals as a result.

Why can't Americans do this now? Because there is too little competition, too much regulation and not enough consumer choice in the cable TV business. As a result, in just the last two years alone cable prices have increased at twice the rate of inflation — and more than 90% since 1995. Cable companies explain away their skyrocketing prices by saying they are giving you more and more channels. At no time, however, have the cable companies actually asked if you want those additional channels. You have to pay for them whether you want them or not.

The solution to high cable bills isn't price controls or additional government regulation. It is more competition and more choice. For that reason, Congress should pass the proposed Consumers Having Options in Cable Entertainment Act — the CHOICE Act — which is being introduced today. It would allow cable companies to compete nationally for your business (rather than only at the local level) in exchange for agreeing to offer channels a la carte, either individually or in smaller bundles.

The Government Accountability Office has found that cable rates are 15% lower when a community has at least two companies competing for consumers. The Federal Communications Commission found that consumers could lower their monthly cable bill by as much as 13% if they had a la carte programming options.

And parents would never be forced to purchase a slew of channels, some not suitable for young children, simply to receive those channels that their family enjoys watching together.

Real-world examples illustrate the benefits of greater choice and more competition coming through our TV sets. In Hong Kong, viewers can select and pay for only the channels they want. A family that wants to watch sports, movies, news and children's programming can receive 15 free channels plus a selection of 11 additional digital channels (including ESPN, HBO, CNN Headline News, National Geographic Channel, Animal Planet and Discovery Channel) for only $27.50 a month. To get a package that includes those channels in Washington, the cost is $82 per month — almost $1,000 a year. That's quite a difference.

Similarly, in Canada, digital subscribers can buy channels individually or enjoy significant savings on a "5 pack," a "10 pack" or a "15 pack" of their own choosing.

Interestingly, the same companies that oppose selling channels individually or in smaller packages in the U.S. offer their programming a la carte in other countries. Their threats of financial ruin and a loss of diverse programming have proved hollow. American consumers want these companies to offer such choices. According to a recent AP-Ipsos poll, 78% of respondents said they would prefer to choose and pay for their own tailored selection of channels.

Today, cable choice and competition have been successful around the world. Consumers in Hong Kong, Britain, India and Canada are reaping the rewards of greater choice from channels being offered on an a la carte basis. So why not increase competition in the U.S. and at the same time make sure that companies offer us true choice in cable programming?

• SEN. JOHN MCCAIN (R-Ariz.) is introducing the CHOICE Act. KEVIN MARTIN is the chairman of the Federal Communications Commission.

http://www.calendarlive.com/tv/cl-oe-mccain25may25,0,2639445.story?coll=cl-tvent

The 2006-2007 Season
With upfronts over, NBC reshuffles fall schedule

By Andrew Wallenstein The Hollywood Reporter May 26, 2006

NBC revealed a reshuffled fall schedule Thursday, including the anticipated move of new drama "Studio 60 on the Sunset Strip" to Monday at 10 p.m.

"Strip" is one of a flurry of changes orchestrated by the peacock, which is also finding new nights for "Law & Order," "Law & Order: Criminal Intent" and "Deal or No Deal."


Kevin Reilly, president of entertainment at NBC, acknowledged in a conference call Thursday that it was unusual for a network to make multiple changes so soon after an upfront, but stressed how important it was to "platform our new crop of series, which we think are very strong."

"Strip," which was slated for the Thursday 9 p.m. time slot when NBC first unveiled its schedule at its upfront presentation last week, was expected to be shifted once ABC announced a day later that hit series "Grey's Anatomy" would also get a Thursday 9 p.m. assignment.

"Strip," a drama from "The West Wing" executive producer Aaron Sorkin, will replace returning drama "Medium," which has been bumped to the midseason. Replacing "Strip" at 9 p.m. is "Deal."

"Deal" is still being used twice on the schedule, remaining Monday at 8 p.m. Its original Friday 8 p.m. time slot has been assigned to "Crossing Jordan," which was initially designated for midseason.

NBC is moving two of its three "Law" series, shifting the flagship series to Friday at 10 p.m. from its Wednesday 10 p.m. perch. New drama "Kidnapped" takes over Wednesday at 10 p.m., formerly on Tuesday at 9 p.m.

"Law & Order: Criminal Intent," which was to premiere Fridays at 10 p.m., shifts to Tuesday at 9 p.m.

Also on Wednesday, NBC is flipping the comedy block of "20 Good Years" and "30 Rock" with "The Biggest Loser," which moves from 8 to 9 p.m.

NBC, which has the disadvantage of announcing its schedule before the other broadcasters, had indicated it would likely make changes after the upfront presentations.

http://www.hollywoodreporter.com/thr/television/article_display.jsp?vnu_content_id=1002576053

The 2006-2007 Season
NBC’s Schedule Revamp

The Newark Star-Ledger’s Alan Sepinwall TV blog May 25, 2006

I believe the Kevin Reilly quote about how the conversation with (Law & Order Creator) Dick (Wolf) went was, "Let's just say I didn't need my coffee yesterday morning."

Look, I understand certain parts of this. They needed to move "Studio 60" the hell away from "CSI" and "Grey's," no question, and I suppose it'll do as well against "CSI: Miami" and "What About Brian" as it was going to do against "CSI" and whatever new drama NBC was hoping ABC would schedule Thursdays at 9.

But using that as an excuse to rip up the entire schedule is insane. Using "Heroes" as the "Studio 60" lead-in is insane. (As one reporter suggested on the conference call, NBC should have moved one of their new dramas to midseason and used "Medium" or "Crossing Jordan" to give "Studio 60" an established lead-in.) Moving "Deal or No Deal" into that Thursday death slot is insane. Either it tanks and then you've just accelerated the show's inevitable death throes, or it does well and the thing it's leading into is 14-year-old "ER."

The conference call was one of the most disastrous things I've ever listened to. I like Kevin, I think he's developed some good shows (he championed "The Office" when nobody would), but whether these decisions are of his own making or someone higher up the ladder is pulling the strings, I can't imagine him surviving this season….

…As counter-programming, "Deal or No Deal" isn't a bad choice. But it's also their only really big hit of the season (Earl and Office were successful on a smaller scale), and given the format, it's going to burn itself out fast. Putting it on Thursdays is going to burn it out even faster, and right now the most useful thing it can do for NBC is to provide a strong lead-in to a new show.

Hell, flop the Monday "Deal" with Heroes and you're at least giving Studio 60 something to work with. I haven't seen Heroes yet (I have the CW, CBS and Fox pilots in hand, but have only watched a couple so far), and for all I know the execution could be awesome in spite of Tim Kring's resume, but new show leading into new show is almost always a recipe for disaster. Reilly's rationale for the L&O double-feature on Tuesdays is because he didn't want to do back-to-back new dramas on both Monday and Tuesday.

http://sepinwall.blogspot.com/2006/05/nevermind-broadcasting-company.html

The 2006-2007 Season
NBC shifts course on new fall schedule

POPULAR SHOWS SHIFTED TO NEW TIME SLOTS IN UNUSUAL MOVE
By Charlie McCollum San Jose Mercury News Thu, May. 25, 2006

In an unexpected and unusual move, NBC today unveiled a drastic overhaul of the new fall schedule it announced just last week.

The 2.0 version of the lineup includes shifts for several of the network's high-profile series -- both new and returning -- and changes on every night of the week except Saturday and Sunday.

``Now that we've assessed the competitive landscape, we've scheduled our new shows in time periods where we believe they'll succeed,'' said NBC President Kevin Reilly in a hastily scheduled conference call with reporters.

One move that had been anticipated was Aaron Sorkin's new ``Studio 60 On the Sunset Strip,'' a show the network believes is its best hope for a fall hit, going from 9 p.m. Thursdays to 10 p.m. Mondays. That gets the series out of the crossfire created when ABC shifted its highly rated ``Grey's Anatomy'' to the time period, opposite CBS juggernaut ``CSI.''

But NBC also moved ``Law & Order'' out of its long-time 10 p.m. Wednesday slot to 10 p.m. Fridays, the Friday edition of ``Deal Or No Deal'' to 9 p.m. Thursdays and ``Law & Order: Criminal Intent'' to 9 p.m. Tuesdays where it will lead into ``Law & Order: Special Victims Unit'' at 10.

In addition, it brought ``Crossing Jordan'' (which had been scheduled to return at mid-season) off the bench and into the 8 p.m. Fridays slot while ``Medium'' was pulled from the lineup until January when it will air Sundays at 10.

While Reilly noted that network schedules are ``never written in stone,'' it is very unusual for such wholesale changes to be made right after a new lineup is presented to advertisers in May. Traditionally, tweaks are made to network schedules over the summer and any significant makeovers wait until after the season begins.

http://www.mercurynews.com/mld/mercurynews/entertainment/television/14666822.htm?template=contentModules/printstory.jsp

TV Notebook
She may have lost, but Kat's career still full of life


By Fred Shuster Los Angeles Daily News Music Writer

America has spoken: Taylor Hicks is the new "American Idol," but runner-up Katharine McPhee won't be working the drive-thru anytime soon.

The fifth season of "American Idol," the world's most closely watched karaoke-like contest, came to a close when the gray-haired Southern soul man squeaked past Sherman Oaks' McPhee to snare the crown Wednesday in front of more than 30 million TV viewers.

"I was just telling myself, `Don't fall to the floor, don't let your knees buckle.' I'm living the American dream," an elated Hicks, 29, told reporters backstage.

About 63 million votes were cast, host Ryan Seacrest said, but the breakdown was not announced.

And Kat had no regrets.

"I don't need any sad faces or anyone feeling bad for me," she said. "I got a record deal, I got a new car, I have all these great new shoes and I have all these fans.

"I want to have anything any normal person can have - family, kids - but I want to have this incredible career and do movies and sing. We'll see how it will play out."

"American Idol" is practically a sociological phenomenon, attracting people of all ages and backgrounds fascinated by an amateur singing contest that often resembles a high school talent pageant.

So many North Americans were wrapped up in "Idol" that one witness said George W. could have invaded Canada on Wednesday night and not even the Canadians would've noticed.

On Kat, Hicks was gracious: "She's such a beautiful young lady and entertainer and she's going to have a bright future whatever she does."

As winner, Hicks gets major record and management contracts and an enviably fast start in the music biz. But McPhee, whose background in acting and musical theater set her apart from the season's competitors, will surely fare equally well. She is about to embark on a national tour with Hicks and the 10 finalists, has a single due soon and has probably been fielding offers for the past several months.

Also, KFC has a contract on the table for the runner-up to get $10,000 to star in a commercial. For her part, McPhee, 22, is already planning a pop album along the lines of a Joss Stone or Norah Jones, she said.

Whatever happens, McPhee will do fine, said Michael Laskow, CEO of Calabasas-based Taxi.com, the world's leading independent A&R company, which spots and develops talent and material for the major labels.

"The TV exposure gives her a massive audience before she even releases a CD," he said.

"In the old days, a label would sign an act, make the record, do the marketing set-up, hope they can get the act on radio and MTV, cross their fingers and hope for the best.

"But with `Idol,' the audience is built before the CD is even recorded. So it's a guaranteed hit before the artist even enters the studio."

Commercial time on the two-hour "Idol" finale went for $1 million a minute and, if past season-enders are any indication, viewing figures could break records. The Fox-TV show opened with all 12 finalists in performance, followed by a solo spot by Prince and star duets with the likes of Mary J. Blige, Toni Braxton, Burt Bacharach and the rock band Live. McPhee was joined by Meat Loaf for the song "It's All Coming Back to Me Now."

Said the Loaf backstage: "Katharine was unbelievable. I kept asking her, `Aren't you nervous?' She's beautiful and gorgeous and you know what they say - sex sells."

The show, which reran moments of comedy from the past four months, included cut-ins to a McPhee support party at Universal CityWalk, and to Birmingham, Ala., where young Hicks fans had dyed their hair gray in honor of their "Idol."

While Hicks has expressed interest in going on the road with a rock band, McPhee says she wants to move into film work, a career she was pursuing when she auditioned for "Idol" in January. Her mom, Peisha, is a vocal coach and cabaret singer, and her dad, Dan, is a TV producer. McPhee graduated from Notre Dame High School in Sherman Oaks and attended the Boston Conservatory for 18 months.

Final advice from the year's "American Idol": "Do what you want to do, and be happy and be proud."

http://www.dailynews.com/portlet/article/html/fragments/print_article.jsp?article=3862113

The 2005-2006 TV Season
Postseason criticism
Monday-morning critiquing of shows (and of myself)
By Scott D. Pierce Salt Lake City Deseret Morning News May 25, 2006

Network programmers are sort of like the coach/general managers of their teams. They choose their players, they put their players in position and send them out to take on the competition.

And the results light up the Nielsen ratings scoreboard.

If your team wins more than it loses, you get praise, fame and bonuses. If it loses more than it wins, you either start saying things like, "Wait 'til next season" or you get fired.

"Supernatural," starring Jensen Ackles and Jared Padalecki, turned out be be one of the season's best new shows.

As for TV critics, well, we usually make like sportswriters in the preseason, prognosticating which shows will be good, which will be bad, which will make the all-star teams and so on.

Then we report the scores and make like Monday-morning quarterbacks, critiquing what went right or wrong.

Just for fun, today I'll Monday-morning quarterback my own performance. What follows is a list of my preseason rankings for the shows that debuted last fall (published Sept. 9, 2005) on the six broadcast networks, along with my postseason analysis as to how the season turned out.

Overall, I'm not too displeased with myself — although I wish some of the shows had performed better in terms of quality, ratings or both.

Of course, this is pretty easy for those of my ilk. If, for example, I had called "The Apprentice: Martha Stewart" a great show and predicted it would be a big hit (which I did not, thank goodness), I'd look pretty stupid. But it wouldn't have cost my employers tens of millions of dollars in lost ad revenue.
Here, then, are the preseason and postseason rankings of those shows, based entirely on quality and the opinion of one person — me.

(An • on the postseason list indicates the show was canceled.)

PRESEASON — SCI-FI-FANTASY
1. "Invasion"
2. "Supernatural"
3. "Surface"
4. "Night Stalker"
5. "Ghost Whisperer"
6. "Threshold"
POSTSEASON — SCI-FI-FANTASY
1. "Supernatural"
2. "Invasion" •
3. "Surface" •
4. "Ghost Whisperer"
5. "Threshold" •
6. "Night Stalker" •

My original estimate of "Supernatural" — that it was "pretty entertaining" — was much too faint praise. This turned out to be a really good show.

On the other hand, damning "Night Stalker" by saying it was "not working" wasn't severe enough.

I'll give "Ghost Whisperer" a few points for success, but I'm not backing off words like "tiresome" and "overdose of syrupy schmaltz."

PRESEASON — COMEDY
1. "How I Met Your Mother"
2. "Everybody Hates Chris"
3. "My Name Is Earl"
4. "Kitchen Confidential"
5. "Hot Properties"
6. "Love Inc."
7. "Twins"
8. "Freddie"
9. "The War at Home"
POSTSEASON — COMEDY
1. "My Name Is Earl"
2. "Everybody Hates Chris"
3. "How I Met Your Mother"
4. "Kitchen Confidential" •
5. "Love Inc." •
6. "Twins" •
7. "Freddie" •
8. "Hot Properties" •
9. "The War at Home"

I still think "How I Met Your Mother" had the single best comedy pilot last fall, but it didn't maintain that level throughout the season. It did, however, eventually find a groove and settled into being a good sitcom.

I seriously underestimated "My Name Is Earl's" staying power: "The pilot is quite good and amusing. But . . . it's an open question as to whether the premise (and the quality) can hold up week after week."

That question was answered in the affirmative.

Yes, I know "The War at Home" did OK in the ratings and was renewed, but it's still "dreadful, unfunny and vulgar."

PRESEASON — COMEDY-DRAMA
1. "Just Legal"
2. "Head Cases"
3. "Related"
PRESEASON — COMEDY-DRAMA
1. "Just Legal" •
2. "Head Cases" •
3. "Related" •

Aw, who cares? There were all weak shows to begin with. And all of them got canceled.

PRESEASON — DRAMA
1. "Prison Break"
2. "Commander in Chief"
3. "Reunion"
4. "Close to Home"
5. "Sex, Love & Secrets"
6. "Inconceivable"
7. "Bones"
8. "Criminal Minds"
9. "Killer Instinct"
10. "E-Ring"
PRESEASON — DRAMA
1. "Prison Break"
2. "Reunion" •
3. "Commander in Chief" •
4. "Bones"
5. "Close to Home"
6. "Inconceivable" •
7. "Sex, Love & Secrets" •
8. "Criminal Minds"
9. "Killer Instinct" •
10. "E-Ring" •

As has been well-documented, "Commander in Chief" crashed and burned because of behind-the-scenes turmoil on the production staff.

"Reunion," on the other hand, was even better than I thought it would be, but got killed by Fox's mishandling.

Perhaps it was too harsh to write that the characters in "Bones" were "weird and unlikable." It's still "an attempt to do 'CSI' with a Fox attitude," but this hit-and-miss show was better than I expected it to be.

But I'm not backtracking on "Criminal Minds" ("just plain unpleasant") or "E-Ring" ("just plain awful").

PRESEASON — REALITY
1. "Three Wishes"
2. "The Apprentice: Martha Stewart"
POSTSEASON — REALITY
1. "Three Wishes" •
2. "The Apprentice: Martha Stewart" •

Actually, both were decent ideas. But neither were original ideas.

And I overestimated Stewart's chances, writing, "There's certainly going to be a big tune-factor here" before questioning the wisdom of adding another hour of "Apprentice" when Donald Trump's version was trending down.

What I didn't anticipate was that Stewart was going to try so hard to be nice that she was boring.

http://www.desnews.com/dn/view/0,1249,635210072,00.html

The TV Watch
Surprise (Well, Not Exactly)!

'American Idol' Finale Unfolds and Unfolds
By Alessandra Stanley The New York Times May 25, 2006

Nobel Prize winners are apprised in a quick telephone call. The Pulitzer committee sends telegrams.

It took two hours and a night of a thousand Crest WhiteStrips, a hundred costume-changes and at least a dozen false notes for Fox to declare Taylor Hicks the official winner of "American Idol" last night.

And all that finale padding made for a supersize letdown. Mr. Hicks was already the expected winner; Simon Cowell had declared him the obvious choice after the showdown on Tuesday with Katharine McPhee. When his name was announced, Mr. Hicks did his best to look stunned, and Ms. McPhee managed to look delighted.

"Idol" is a monster-size celebration of mediocrity that, astonishingly, has not lost its hold on viewers even in its fifth season, and even though so many copycat contest shows have sprung up in its wake. "Idol" is a bit like "Dallas" or even Coca-Cola, one of its main sponsors. Imitations, be they "Dynasty" and "Falcon Crest," or Pepsi and RC Cola, burnish the image of the original. However cheesy and overwrought, "Idol" is its own instant classic.

The final program was packed with valedictory performances by the also-rans, celebrity cameos and many flashbacks to the most deliciously awful auditions of the season (Dave Hoover, an excitable young man who sang Meat Loaf's "Bat Out of Hell," won a mock Golden Idol award, as did Michael Sandecki, who impersonated, horribly, a former "Idol" runner-up, Clay Aiken).

Possibly because Mr. Cowell is the producer of a new reality show, "Duets," which teams professional singers with less-than-gifted celebrities, this finale also showcased duets — Mary J. Blige and Elliott Yamin, Toni Braxton and Mr. Hicks — before the winner was named and the loser was cut loose.

It's a variety show that parents and children watch together. And that explains why the contestants' doting, teary parents were showcased in cutaways and Burt Bacharach played the piano as the contestants performed a medley of the songwriter's greatest hits.

Dionne Warwick, who has an album and a tour to promote, also made a cameo, singing "Walk on By" while Ms. McPhee and others sang backup. Prince also sang, but did not share the stage with any "Idol" performers.

The finale stretched the multigenerational happening to a near-breaking point when it moved from 17-year-old Paris Bennett's singing "We're in This Love Together" with Al Jarreau to a lame comedy sketch in which Wolfgang Puck, the celebrity chef, introduced Kellie Pickler, the young candidate who couldn't identify calamari, to escargots and live lobster.

The host, Ryan Seacrest, said 63.4 million votes were cast this season, boasting, "That's more than any president in the history of our country has ever received."

But voting on "American Idol" is like voting for class president or homecoming queen. The choice has no effect whatsoever on the voters, freeing them to cast their ballots more than once and entirely by whim — to punish the prissy teacher's pet or reward the class nerd who shares math notes.

Last night, voters chose personality over poise. There was something almost unseemly about Ms. McPhee's lounge-crooner polish. Mr. Hicks looked more like an underdog, even when he was on top. And he played that to the hilt with his victory song, "Do I Make You Proud," assuring the audience that he was living the American Dream.

The beauty of "American Idol" is that voters are not stuck with the consequences of their choice for long. The Fox series is phenomenally successful in large part because the clock is reset every season. By night's end, both Ms. McPhee and Mr. Hicks already seemed like emeritus idols, lifted up on a cloud of promotional tie-ins and ushered out the door to make room for next season's favorites.

http://www.nytimes.com/2006/05/25/arts/television/25idol.html?pagewanted=print

The 2005-2006 Prime Time Season
Fox Wins Season in 18-49, CBS Nabs Most Viewers

By Ben Grossman Broadcasting & Cable 5/25/2006

As expected, Fox rode a batch of successful new shows and the American Idol juggernaut to its second consecutive season win in the advertiser-coveted adult 18-49 demo, while CBS’ stability gave it a fourth consecutive season victory in overall viewers.

The results were the same for the May sweep period that ended Wednesday night.

For the season which ran from September 19, 2005-May 24, 2006, Fox averaged a 4.1 rating /11 share in the demo, edging out ABC’s 4.0/11, and ahead of CBS’s 3.8/10 and NBC’s 3.3/9.

CBS had an easy win in households, averaging an 8.2/13, followed by ABC’s 6.9/11, NBC’s 6.4/10 and Fox’s 6.2/10.

The story was much the same for the May sweep that spanned April 27-May 24, with Fox winning the demo and CBS leading the way in households.

Led by Idol, Fox won the period handily in the demo with a 4.8/13 average, followed by CBS’s 3.7/10, ABC’s 3.5/10 and NBC’s 3.1/9.

In households, CBS was on top with an 8.1/13, followed by Fox’s 7.0/12, NBC’s 6.1/10 and ABC’s 6.0/10.

The 2005-2006 Prime Time Season
It's Official: Fox No.1

Network Tops Season, Sweeps in Adults 18-49
By Christopher Lisotta TVWeek.com May 25, 2006

As expected, Fox is the highest-rated network in the adults 18 to 49 demographic for both the May sweeps and the 2005-06 season.

For the season, which ran from Sept. 19, 2005 through May 24, 2006, Fox was the No.1 network in adults 18 to 49 with a 4.1 rating, according to Nielsen Media Research.

Fox edged out ABC, which scored a 4.0 for 2005-06 in the demo. CBS was third with a 3.8, followed by NBC (3.3), Univision (1.6), The WB and UPN (both 1.3) and Telemundo (0.4). Univision's season-to-date average in the demo begins with data as of Dec. 26, 2005, when the Spanish-language network joined the Nielsen Television Index ratings system. Telemundo's data began as of Jan. 30, 2006.

For the May sweeps, which ran from April 27 through May 24, Fox was also the top network in the demo with a 4.8, easily outpacing its closest competitor, CBS, which averaged a 3.7. ABC was third with a 3.5, followed by NBC (3.1), Univision (1.5), The WB and UPN (both 1.1) and Telemundo (0.4).

http://www.tvweek.com/news.cms?newsId=10077

Marcus;

That was interesting info on Idol sales, thanks for providing. What of the voting last night, will we ever know how close the voting really was? From the little I've read, it looked like Taylor was well ahead of Kat.

Fox has not announced the "official" tally, Carl.

There are apparently no plans to do so, either.

(If you have ever spent any time in Chicago, you most likely have seen some of this legend’s reporting.)

TV Notebook
NBC-5’s Dick Kay To Retire

(NBC Press Release) Published: May 25, 2006

CHICAGO -- May 25, 2006 -- Dick Kay, NBC5's longest-serving reporter in the station's history, is set to retire on May 31, 2006. Kay has been at NBC for 38 years and the Political Editor for the last 25 years.

Dick also hosts the only local, weekly, half-hour public affairs program, "City Desk" in the market. In fact, his last City Desk, will be a special edition, with the gubernatorial candidates facing off for the first time.

"Dick is a legend in Chicago broadcast journalism. His knowledge of the political scene and experiences through the years have made him a unique and invaluable member of the NBC5 News team" said Larry Wert, President and General Manager of NBC5. "We thank Dick for his years of service and wish him the best"

"From Nixon to Bush, Daley to Daley, Dick has covered it all " said Frank Whittaker, Vice-President of News NBC5. "He can call up just about anybody in politics and get right through. And he's not afraid of anyone! We will miss his tenacity, and his historical perspective. We thank Dick for his years of service to Chicago viewers."

Kay joined the station in 1968. He came to the station as a writer/producer. One of his first assignments was to cover some of the street demonstrations around the Democratic National Convention that year. By 1970, Kay had shifted to full-time reporting duties.

Kay has had a distinguished career. In 1985, Kay and NBC5 were awarded the George Foster Peabody medallion, the highest honor in TV broadcasting, for Kay's 9-month investigation of patronage and pork in the General Assembly. As a result of the series, titled "Political Parasites," the legislature approved a bill outlawing so-called legislative study commissions and saving taxpayers $7 million a year.

For that series, Kay was also given a National Headliner Award and a Jacob Scher Award for investigative reporting.

Kay has received a total of 11 Emmys for his individual and team reporting and commentaries. In addition, Kay's reporting and commentaries have earned him a number of First Place awards from the Associated Press, the Chicago Headline Club and the Society of Professional Journalism.

In 2001 Dick Kay was inducted into the Television Academy's Silver Circle Hall of Fame, which honors those who have made major contributions to Chicago Broadcasting for 25 years or more.

In 1984 the Joint Civic Committee of Italian Americans recognized Kay as "Commentator of the Year," presenting him with the coveted Dante Award.

Crap, I was expecting a couple of shows to shift on NBC, but looks like a complete do-over.

Critic’s Notebook
The science experiment

'Lost' colonized, then sci-fi clones invaded. Survival rate? Not good.
By Roger Catlin Hartford Courant TV Critic May 25, 2006

The saucers are gone. Their big lights have stopped flashing. Any sea monsters emerging from the deep have long since returned there.

The brief science-fiction flare-up of the 2005-06 network TV season is over.

Inspired by the success of the serialized ABC mystery "Lost," each big network started its own expensive, effects-laden new serial last fall, one of them even taking up the slot immediately after "Lost."

None survived the season.

"Threshold" on CBS left first, making way for a move of one of the network's reliable crime procedural series, "Close to Home," before disappearing permanently. Then NBC's "Surface" made a run at attracting an audience to a creatures-from-the-deep saga before it too had a premature season end.

Only ABC's "Invasion" was allowed to play out the season, increasing the presence of its invaders, who liked to arrive during hurricanes in Florida.

Other shows that played up the spooky and supernatural didn't last the season, including ABC's "Night Stalker" — an update of "Kolchak: The Night Stalker" — which was one of the first dramas pulled last fall.

One exception occurred on the smaller WB network, where "Supernatural" has survived to move with a few of that network's other most popular shows to the CW, the network that will result from a merger with UPN.

The failure of others to emulate the success of "Lost," which ended its season Wednesday, doesn't necessarily mean the public has lost its appetite for science fiction.

But it might indicate that audiences can only pay attention to so many serialized dramas at once, flying saucers or not.

The fate of "Threshold," which averaged 7.8 million viewers weekly, was clear because it was yanked in November after nine episodes. But "Invasion" lasted a full season, reaching its season finale May 17 with its 22nd episode. Like "Surface," which closed its abbreviated 15-episode season in February with a finale, its second-season fate was undecided until NBC finalized its fall schedule.

ABC Entertainment chief Steven McPherson called the failure of "Invasion," which averaged 9.2 million viewers weekly, a "frustration and disappointment." And NBC entertainment chief Kevin Reilly said that ending a story before its conclusion could upset viewers who become attached to a show. "I can't get those fans off my e-mail," Reilly said last week of "Surface," which also averaged about 9.2 million viewers weekly.

Still, a couple of sci-fi serials made it onto the fall schedules. "Jericho," on CBS, is a saga about what happens to a small Kansas town after a nuclear terrorist attack. It stars Skeet Ulrich, Gerald McRaney and Pamela Reed. "Heroes," on NBC, is about ordinary people all over the world who discover they have super powers. Its cast includes Milo Ventimiglia and Adrian Pasdar.

And "Lost" will continue, no matter what happened in Wednesday's two-hour finale.

http://www.calendarlive.com/tv/cl-wk-scifi25may25,0,6729082.story?coll=cl-tvent

New schedule with the NBC revisions. Please check accuracy, a lot of copy & paste and may have missed or duplicated something.

Thanks again CP95 -- I suspect you'll be tweaking that schedule a lot in the next three+ months.

Critic’s Notebook
"Studio 60" moves house as NBC rejiggers its 2006-2007 fall schedule

By Melanie McFarland Seattle Post-Intelligencer TV Critic in her TV blog May 25, 2006

If there's Thursday night fighting to be had, "Studio 60" is no longer game for it.

In yet another sign that the days of "Must See TV" are long gone, NBC yanked "Studio 60 on the Sunset Strip" out of the precious 9 p.m. Thursday timeslot and put it at 10 p.m Mondays. That means it won't have to take a beating from ABC's "Grey's Anatomy" and CBS' "CSI." Replacing the Aaron Sorkin "SNL"-inspired drama is "Deal or No Deal."

That's not even the half of it. "Law & Order," which once held solid on Wednesdays, is now airing Fridays at 10; its old slot goes to freshman drama "Kidnapped," which was on Tuesdays at 9 until Fox revealed that "House," which kicked much butt this season, wasn't going to budge.

Replacing "Kidnapped" on Tuesdays: "Law & Order: Criminal Intent." Notice that the only "L&O" that hasn't moved is "SVU," which is now the franchise's strongest sibling. (Looks like Dick Wolf's franchise is starting to crumble.)

"Crossing Jordan," originally on hold until midseason, is now set for Fridays at 8. And "Medium," one of NBC's strongest dramas, is on hold along with "Scrubs." Not a bad idea, since the schedule's going to have a few holes by the end of November, and viewers can only take so much "Deal or No Deal."

NBC fiddled with every night of the week besides Saturday, which is considered to be a once-and-future ratings loser. (While NBC Entertainment President Kevin Reilly assured reporters that the shuffle does not mean NBC is desperate, I think I speak for most of us when I say, "Duh-huh. Sure, we believe you.")

All snark aside, NBC traditionally goes first during upfronts week, which gives other networks the opportunity to shape their schedules accordingly. When ABC responded to NBC's enthusiastic "Studio" sales pitch by putting "Grey's" up against it, can you blame poor Reilly if he experienced a little Seinfeldian shrinkage? Besides, advertiser reaction to "Studio 60" was less than enthusiastic, and if they're not feeling it, America probably won't either.

http://blog.seattlepi.nwsource.com/print.asp?entryID=103741

The 2006-2007 Season
NBC Does Quick Change on Fall Prime-Time Lineup

By Bill Carter The New York Times May 26, 2006

Little more than a week after presenting a new fall prime-time television schedule to advertisers, NBC tore up that entire lineup yesterday and announced revisions that will affect five nights of the week.

Among the biggest changes were a new home for a highly anticipated new drama from Aaron Sorkin, the creator of "The West Wing"; the scheduling of the game show "Deal or No Deal" on NBC's onetime stronghold, Thursday night; and the shift of the programming war horse "Law & Order" from its longtime home, Wednesday night at 10, to the near exile of Friday night at 10.

Kevin Reilly, the president of NBC Entertainment, acknowledged that NBC, which has fallen from first in the ratings to fourth and last place in the past two years, was reacting to the challenge of scheduling moves by its competitors, which all made their own new programming announcements after NBC 's on May 15.

"It's unusual for us," Mr. Reilly said of the wholesale changes in the prime-time lineup. "We go first, and we are fourth. Unusual circumstances lead to these kinds of measures." Such sweeping changes in a network's schedule so soon after it had been announced have happened rarely, if ever.

The biggest impetus for the programming shake-up at NBC was clearly ABC's move of the hottest scripted show now on television, "Grey's Anatomy," to Thursday night at 9, where NBC had placed Mr. Sorkin's new series "Studio 60 on the Sunset Strip," and where another of television's biggest hits, CBS's "CSI," already resided.

Within hours of the ABC announcement, representatives for Mr. Sorkin were on the phone with NBC executives insisting that his new drama, about the backstage conflict at a "Saturday Night Live"-type sketch-comedy show, be placed in a less vulnerable time slot.

Mr. Reilly conceded that many of the moves NBC made yesterday emanated from the need to find a new home for "Studio 60." For example, once NBC decided the best new spot was Monday at 10, that dictated moves on Tuesday and Thursday.

On Tuesday NBC did not want to stick with two new dramas in a row because that was what it would now have on Mondays, and the hole on Thursday had to be filled with some kind of show that could stand up to "Grey's Anatomy" and "CSI."

That was where "Deal or No Deal" came in. "It was our hottest new show this season," Mr. Reilly said, and NBC used it all over, trying to stop the many leaks that sprang in its schedule this season.

Now, Mr. Reilly said, the show will rest all summer and then be pressed into service on two nights, Monday and Thursday. He said "Deal" had performed well against the "Grey's Anatomy" finale this season.

NBC ultimately ended up making changes every night except Saturday and Sunday.

The advantage of shifting so many shows after the advertiser presentations known as the upfronts was the opportunity to find some weaker spots in the schedules of CBS, ABC and Fox, Mr. Reilly said. "I've been watching a lot of pilots," he said, adding that he had seen all the new shows on the other networks and that that experience had made him feel "more confident in our own product."

NBC, which is under extreme pressure to find a breakthrough hit in the coming season, is especially trying to exploit the 10 p.m. slot, where it will have to face off against only two other competitors, because Fox does not have programming at 10.

That was a prime reason, Mr. Reilly said, for NBC's strategy of placing three of the dramas it has highest hopes for at that hour. Besides "Studio 60" on Monday, those dramas are "Kidnapped," a season-long thriller about the kidnapping of the son of a wealthy New York couple, and "The Black Donnellys," a saga of an Irish crime family in New York.

"Donnellys" has been designated as the midseason 10 p.m. replacement for "ER," NBC's last link to the glory days of its old Thursday nights. It will substitute for that hospital drama in January, before "ER" comes back, thus allowing "ER" to run without repeats next season.

NBC is counting on "Kidnapped" to supply some hit potential. That was why the network gave it the old "Law & Order" spot on Wednesday nights at 10.

Mr. Reilly said he had softened that blow — somewhat — for Dick Wolf, the "Law & Order" creator, by pairing his other two series in that franchise, "Criminal Intent" and "Special Victims Unit," on Tuesdays from 9 to 11.

NBC has also decided to remove one established drama, "Medium," from the fall season lineup and add one that had been designated for midseason, "Crossing Jordan." That series will go on Friday night at 8, with "Medium" now slotted to return after NBC's N.F.L. football games on Sunday nights conclude for the season. Mr. Reilly said he believed "Crossing Jordan" would play well at 8 p.m., while "Medium" needed a later time.

http://www.nytimes.com/2006/05/26/arts/television/26nbc.html?pagewanted=print

The fight over a la carte
McCain Unveils a la Carte Bill

By Ted Hearn Multichannel.com 5/25/2006

A cable operator that sells programming a la carte could escape local franchising and trim its franchise-fee payments to local governments under a bill unveiled by Sen. John McCain (R-Ariz.) Thursday.

McCain, who has yet to introduce his long-awaited, incentives-based approach to the a la carte issue, included a provision that is likely to stir trouble with broadcasters.

Under the bill, a broadcaster that refused to permit the a la carte sale of an affiliated cable network would lose its nonduplication rights under Federal Communications Commission rules.

In a real-world example, a cable company could import an ABC affiliate if The Walt Disney Co. refused to allow the cable system to offer ESPN a la carte in a market where Disney owns the ABC station. Disney owns the ABC network, 10 ABC stations and the ESPN sports channel.

"The National Association of Broadcasters does not believe any changes to the FCC's network-nonduplication rules are warranted," NAB spokesman Dennis Wharton said.

In a prepared statement, the National Cable & Telecommunications Association attacked the McCain bill.

Because the bill’s franchising relief would apply to any video provider that uses public rights of way, DirecTV Inc. and EchoStar Communications Corp. are not directly affected.

"It is completely unnecessary for the federal government to disrupt a competitive marketplace and engage in the pricing and packaging of video services,” the NCTA statement said. “The home-video marketplace -- which, the FCC has recognized, is providing consumers with more choice than ever before -- should decide video offerings, not government intervention imposed from Washington, D.C."

Verizon Communications Inc. applauded McCain’s approach.

“For years, Sen. McCain has been a champion for the American consumer, and we welcome his voice to the video-franchise debate. Sen. McCain’s initiative adds to the momentum for passing video-choice legislation this year,” Verizon senior vice president for federal government relations Peter Davidson said.

Today, dozens of cable networks are sold in packages called tiers, which expose cable customers to a wide array of programming at probably the lowest per-channel price obtainable.

A la carte proponents believe programming sold in that manner would cut cable bills and allow parents to exile indecent programming without paying for it. Many in the cable industry -- Cablevision Systems Corp. being a notable exception -- claimed that a la carte would hike cable bills and bankrupt niche channels that can't exist outside of the tiering structure.

McCain, a la carte fan for years, was unable to introduce the bill Thursday, but he is expected to do so soon. He could try to attach it to a major telecommunications bill scheduled for a Senate Commerce Committee vote June 20.

According to a summary of the McCain bill, cable operators that satisfy the a la carte requirement could obtain a national franchise, paying no more than 3.7% of gross video revenue in franchise fees.

The bill also includes restrictions on institutional networks and channel-capacity set-asides for public, educational and governmental channels of programming.

Also according to the bill summary, to become eligible for a national franchise, a cable operator must own a cable channel “offered on the basic tier of a digital-cable system”; must make that affiliated channel available a la carte to its subscribers and not prevent other distributors from selling it a la carte; and must notify the FCC that it will sell a la carte any channel that it was provided on an a la carte basis.

For cable operators that do not own programming, the bill requires them to notify the FCC that that it will sell a la carte any channel that it was provided on an a la carte basis.

New schedule with the NBC revisions. Please check accuracy, a lot of copy & paste and may have missed or duplicated something.
PDF

thanks for the update, jim

The 2006-2007 Season
NBC Blows Up Sked Unveiled Last Week

By Scott Collins Los Angeles Times Staff Writer in the Channel Island TV Industry blog

Remember last week, when NBC announced its fall schedule to advertisers?

Well, forget about that. Pretend it never happened.

As I predicted earlier this week, the fourth-place network announced Thursday morning that it would move "Studio 60 on the Sunset Strip" from Thursday to Monday, to avoid competing with ABC's "Grey's Anatomy." But that was just the start of the changes.

NBC took the opportunity to announce a wholesale restructuring of the lineup. "Law & Order," which last week looked safely ensconced in its 10 p.m. Wednesday slot, is now moving to Fridays. "Medium" is getting pushed back to midseason. "Crossing Jordan," which was supposed to return in midseason, is coming back in the fall, on Fridays. The 9 p.m. Thursday slot will be occupied by the game show "Deal or No Deal."

http://hollywoodhotline.typepad.com/watcher/

TV Notebook
Liz Taylor on Larry King

There have been published reports that reclusive actress Elizabeth Taylor is ailing.

Some tabloids have her close to death.

Now, in what is a billing as an “exclusive”, CNN is trumpeting her appearance next week with Larry King.

“Exclusive: Liz Taylor has lots of secrets to spill. Find out what they are when the legendary survivor sits down with Larry Tuesday, May 30” on Larry King Live, 9 PM ET, 6 PM PT, CNN.

TV Notebook
More than a few finales leave viewers pining for fall

By Melanie McFarland Seattle Post-Intelligencer TV Critic Friday, May 26, 2006

Finales bring out the love-hate emotional swinging in viewers. The fact that they answer questions, resolve burning issues and tend to surprise -- love it. But their failure to live up to our expectations leaves us stewing more often than not. Indeed, the universally adored finale is rarer than a flawless ruby.

The only way we all win is to accept these seasonal or series endings, good or bad, as the precursor to a fall reboot.

This is not to say that the 2005-2006 season was a criminal year for television. On the contrary, a number of network series drew healthy crowds this season.

Yet it would be a lie to deny our relief at sweeping the old business out the door. It needed to go. Too many veteran series ended with a sigh as opposed to a bang, and other shows built us up to their summer exits, only to have us shaking our fists as they left. ("Lost," I'm looking in your direction.) As for "Desperate Housewives," let's pretend that the whole thing was a hallucination.

That said, every network had a few finales worth remembering. (Here there be spoilers if you're planning to watch later.)

A B C
"Alias" fans, I feel for you. To be dragged along for all this time only to see Sloane gain immortality and be buried alive? Couldn't the writers have finished it two seasons ago?

Nevertheless, "Grey's Anatomy" and "Lost" almost made up for that series' shortcomings, although no one in their right mind could call either perfect.

At three hours, "Grey's" was too long. Prom and the extended Meredith-McDreamy examination room delight -- try not to think about what's been lanced in there -- were excessive, to put it kindly. And that final scene: Meredith looks at Derek. Meredith looks at vet. Vet looks at Meredith looking at Derek. Derek looks at vet looking at Meredith looking at Derek. Viewer looks at watch, holds nose.

Maybe it doesn't matter, because the other docs made "Grey's" season a stunner. The look on Dr. Webber's face when he found out his wife always knew about his affair simply killed. We'll forgive Cristina Yang, who abandoned her lover, Burke (Isaiah Washington), after he was awakened and began thrashing around during surgery.

In comparison, "Lost" resembled a withholding lover. OK, we know now that the button really did need to be pushed and not doing so makes planes like Oceanic 815 fall from the sky.

It's a tragedy that Michael sold out Jack, Kate and Sawyer to get Walt back.

But why in the heck was Charlie so casual about Locke and Eko going missing? Is Desmond, surprisingly reintroduced in the season finale, still alive? What about Walt was too much for the Others to handle? "Lost," I cannot quit you, and I hate myself for that.

C B S

"CSI: Crime Scene Investigation' " last-minute shot of Grissom waiting for Sara to join him in bed was the "finally!" moment the series has moved toward lo these many years. And "Ghost Whisperer" pulling a little twist by making Melinda's best friend dead was a nice touch from the M. Night Shyamalan playbook.

The sight of Special Agent Leroy Jethro, the center of "NCIS," clinging to life after a terrorist attack wins the gasp contest. We don't know if that means Mark Harmon is on his way out, but creator Don Bellisario has told reporters that somebody is leaving.

N B C

At the end of a mediocre season, NBC managed to give us one outstanding moment.

By that, I am not referring to the series finale of "The West Wing," which was appropriately sentimental if you were a diehard viewer. Or, for that matter, "Will & Grace's" bittersweet sayonara last week. You either loved its indulgences or you hated them, but they didn't sink the ship. (What may do some damage, however, is the out-of-left-field killing of district attorney Alexandra Borgia (Mercer Island High grad Annie Parisse), on "Law & Order," which left viewers shocked and miffed.)

That great moment we're alluding to was in the season finale of "The Office," when Jim finally confessed his love to longtime crush Pam -- with tears in his eyes. A realistic, tortured reaction followed, as did a kiss among the dark cubicles. Unexpected, tender and sorrowful all at once, this was a tremendous scene in an episode written by star Steve Carell, one that hints "The Office" could be on the verge of breaking out.

CW (WB/UPN)


Our condolences to "Everwood" viewers, who stuck with a wonderful, underappreciated series only to see it bumped off The CW schedule to bring back crusty old "7th Heaven."

But chances are you talked about the outcome of "America's Next Top Model," which crowned the lovely Danielle, a girl that Tyra Banks put through hell because of her deep Southern drawl. "Top Model" became unpredictable again this year.

Fox

A severed hand, an exploding eyeball, a dead rich girl, the Soul Patrol -- put 'em together, and you have a successful sweeps for Fox. "Prison Break" redeemed itself with a finale that zipped from one disaster to the next, losing T-Bag's hand and the U.S. president in the process.

However, it didn't match "House," which ended a marvelous season with a mind-freak that started with the snarky doctor getting shot, and ended up being nothing more than a gory hallucination. And once again, thank you "O.C." writers for sending Marissa Cooper into that great handbag boutique in the sky.

No finale matched "24's" fireworks, an apt ending to the best season yet. Jack's trip down vengeance road ended by a) taking a naval petty officer step by step through the Art of Throat Slitting; b) having Jack break the main terrorist's neck with his legs; c) avenging his pals by shooting Robocop; d) seeing Jack fail -- fail! -- to beat a confession out of President Logan -- thereby e) giving the first lady an opportunity to snag her husband using her feminine wiles and then gloat.

And, finally, a ruse that begins with the mention of Kim calling on a land line (which a guy who lives by his cell phone doesn't find odd in the least) gets Jack nabbed by Chinese operatives! They literally tossed him on a slow boat to you know where! January cannot come soon enough!

That, friends, is what a season finale is supposed to do: Make you wish for the ability to skip a few months and dive into a new season straightaway.

Perhaps it is better that these finales didn't give us everything we wanted -- absence does make the heart grow fonder.

http://seattlepi.nwsource.com/printer2/index.asp?ploc=t&refer=http://seattlepi.nwsource.com/tv/271631_tv26.html

Critic’s Notebook
Solving the mystery of the 'CSI' finale shocker

By Maureen Ryan from the Chicago Tribune TV blog May 25, 2006

That sound you heard at 9 p.m. (Central) on May 18 was collective gasping from millions of “CSI” fans as they watched an intimate scene from the show’s season finale, in which Gil Grissom (William Petersen) chatted casually with co-worker Sara Sidle (Jorja Fox) -- in a bedroom.

The two investigators are in a relationship, executive producer Carol Mendelsohn confirms. And it’s “not so new.”

She says the show’s many law-enforcement contacts say that those who work in the crime field are often attracted to each other, due to shared experiences and interests. She adds that Grissom’s relationship with Sidle is part of the character’s ongoing evolution.

“In real life, relationships take a long time to develop. Real life isn’t a soap opera. And real lives change and flow. And I think Grissom has changed over the six seasons” of “CSI,” says Mendelsohn (who, like star Petersen, is a Chicagoan).

“I think Grissom always believed that to operate at the highest level professionally, he needed to stand a distance away from people,” she adds. “He needed to be objective;, he couldn’t be subjective. But while you’re resisting all that, life happens.”

For those who might have thought the actors had to be talked into the plot development -- far from it, according to Mendelsohn. The actors jumped at the chance to portray the relationship, she says, and Petersen was so into it that he even picked the shirt he wore in the scene.

Mendelsohn says the growing number of revelations about the “CSI” characters’ personal lives is a result of the actors’ desires for those kinds of stories, and also springs from a wish on the part of the writers to show what makes the investigators tick. There’s no pressure, she says, either from within the show or from the network, to make the show more like “Grey’s Anatomy,” the hit medical soap that “CSI” will directly compete with in the fall.

“We are not a soap opera. We are not a serial,” she says. “We will always be a show about science, mystery, clues, and twists and turns. And this is a twist and turn. But it’s not going to be the Grissom-Sara show from now on.”

As for the fact that serialized, soapier shows are now the hot thing, Mendelsohn says, “We have never, ever responded to external events, and I hope we don’t, because I do believe that’s when great shows stumble -- when they allow external pressures to direct the story lines.”

As for the competition with “Grey’s” -- a show she says she enjoys -- Mendelsohn says, bring it on.

“I don’t know what’s going to happen but I do think we can both coexist on that night. And we’re going to do our best to deliver the best season ever.”

The text of my interview with Mendelsohn is below.

There was a huge response to the Gil-Sara scene, both positive and negative. But the first question I have to ask is, is the relationship new?

“I think the viewers are always able to draw their own conclusions about the relationships. It was a very private, intimate moment and I think it suggested a level of comfortability that comes from a relationship that is not so new.

“You talk to people in law enforcement all the time, and [the law-enforcement veterans who work on the shows or consult for ‘CSI’ shows] say law enforcement people tend to gravitate toward law enforcement people. What has always been true about ‘CSI’ and what as writers we make every effort to maintain is -- there’s a reality to it. In real life, relationships take a long time to develop. Real life isn’t a soap opera. And real lives change and flow.

“And I think Grissom has changed over the six seasons. I believe that he always, from the beginning [when Grissom called in Sara in ‘Cool Change’], that it suggested that Grissom and Sara had a relationship . Whether it was platonic, whether they had once had an encounter in San Francisco – it’s a matter of debate among the writers as I’m sure it is among the fans.

[B]Is it accurate to say that Sara has been interested in Gil for some time, but that he sort of held her off, flirting back but still holding her at bay to some extent?

“I would say more precisely, what is accurate is that, yes, Sara has always been interested in Grissom. A confusion existed as to whether [it was as a] father figure, friend or more than that.

“But if you look at Gil Grissom, who is the center of our show and always has been, if you look at Gil Grissom’s character from the pilot to Season 6, and you look at it as a crime scene, and look at the clues and look at the episodes, I think you discern an arc. Grissom in the pilot was much more open, more flirtatious. But over the course of the series we have seen Grissom be part of the world, withdraw from the world (which always means withdrawing from the people around him), [and] I think when he lost his hearing he retreated. When he got his hearing back I think he came back and embraced the world and got slapped in the face by all those ugly bad things out there again.

“An episode that the fans always point to is ‘Butterflied.’ There we heard Grissom express for the first time his feelings for Sara Sidle and his reticence to ever go forward and pursue a relationship. And I think that it is from ‘Butterflied’ on, that if you look Grissom, look at ‘Bloodlines,’ which ended season 4 and going into season 5, [that is] where Grissom embraced his team…

“I think Grissom always believed that to operate at the highest level professionally, he needed to stand a distance away from people. He needed to be objective, he couldn’t be subjective. But while you’re resisting all that, life happens. The connection that Warrick and Nick expressed for Grissom in ‘Mea Culpa,’ when Grissom lost his team, is something that Grissom felt too. Unexpressed, albeit. You can say I don’t want to be a family with these people, I want to keep my distance, but the truth is, over time, he got very close to them and he cared for them.

“And I think that ‘Mea Culpa’ and ‘Grave Danger’ – the love of Grissom’s team basically brought Nick to life. And I think that Grissom evolved even more Season 6. The straw hat’s as perfect example. Grissom realizes life is short, Grissom realizes he is closer to the end of his career, at least at CSI -- [though] he’s still a young man – than he is to the beginning of his career. I think that he is suddenly of this world, cares about his people, and I think that slowly he allowed himself to open up to Sara.

“Obviously we are not a soap opera. We are not a serial. We will always be a show about science, mystery, clues and twists and turns. And this is a twist and turn. But it’s not the Grissom-Sara show from now on.”

There are a fair number of fans who commented on my site that they want the show to be about the casefiles, not necessarily about relationships.

“I think we support those fans. The beauty of ‘CSI’ is, yes, it is about the mystery and the science and the cases, but one of the other factors that has made us a fan favorite, what has made our fans so loyal, is that we have the best cast on television. And the characters that have been created by those actors and with the writers and with Anthony Zuiker, they’re wonderful characters and people love them. And we sometimes stop for a moment, and it is just a brief moment, to allow those characters to live and breathe and express who they are, and I think that has been true from the beginning.

“A little always goes a long way on ‘CSI,’ but a little always seems to be magnified on ‘CSI.’ And the show has always told us what works and what doesn’t work. We have, over the seasons, written many more character scenes that the fans never saw. We shot them, and we looked at them in the cutting room, and looked at them in the context of an entire episode, and they didn’t work.

“I believe very strongly that Grissom would like people to believe that his brain is bigger than his heart. Because that makes it easier for him. But I think, when you are passionate about anything, and he’s passionate about his career, that makes you capable of passion in other parts of your life. And I think that he does care and he does feel and that is what makes him a great CSI.

“And I really think that the scene is more about who the man is. This is a relationship that the audience is privy to but no one else at CSI is privy too. We decided [to do this] as writers, and after lengthy conversations with Billy and Jorja, because we would never go into this kind of scene without [consulting them]. As with everything on ‘CSI,’ it’s a collaboration. We believe it is grounded in reality, and I don’t mean to speak for Jorja and Billy, but to see on television a relationship between mature, adult professionals is interesting.

“It doesn’t mean that we’re going to revisit it every week, but it means that we let the audience in, to get a glimpse of a very private Grissom. A Grissom with his clothes on, albeit he was lying in a bed, he was fully dressed [laughs]. But they never really touched.”

Billy Petersen is signed for one more season of “CSI,” right? Can you foresee a “CSI” without him?

“You’d have to ask Billy. I know he is signed for another season, beyond that I don’t know. We all love Billy, and we all love Grissom. And there are some things in life you just don’t want to think about. It’s too hard to contemplate. We’ve always said to Billy, when you want to leave, let us know, let the writers know, and he’s never said that. It’s amazing that going into season 7 we have our entire cast intact. That’s a testament to them. I assume if we have a very, very long run that we will lose some of our actors. But that’s a long way of saying, I can’t think that far [laughs].

“Sometimes a great show has a heart that beats independently of all of us, the writers, everyone. … I think the show’s greatness exists apart from any one of us, or perhaps all of us. Can I say the show will go on? I think it will. Will the joy be gone in Mudville if we can’t write for Billy and Grissom? Oh boy, yes.

“But at the moment the show is about Grissom and his team, and I hope it will always be about that.”

You talked about consulting with Billy on that scene. Has there been a desire on his part to show more of who Grissom is, show more of his personal life?

“After the hiatus, you should get in touch with Billy, he will definitely have insights on that. When Naren Shankar, the co-showrunner, and I went to Billy and said we would like to do this, he got so excited. I think it felt natural for him. It felt natural for Grissom to be going to this place. And Billy enjoyed the idea of portraying a mature, adult relationship. It’s not people falling into bed. It’s real life. He was excited, excited down to, he picked the shirt he wore. Billy and Jorja were really excited about it.

“As writers and as fans -- I almost can’t look at the screen. I think Grissom is my Grissom, and I think we all feel that way. When Grissom kissed Lady Heather, I couldn’t watch. The writers are very much in the same boat as the fans.”

Can you clear one thing up -- did Grissom actually sleep with Lady Heather?

“I think it’s for the fans to intuit what their relationship actually is. I can say, it’s an ongoing debate among the writers. There are two camps -- among everybody, cast, crew and everybody at ‘CSI.’ There are those who believe that yes, they did sleep together, and there are people like me that believe that they had an intimate encounter of some kind, but it was not necessarily sexual. Billy may be of two minds about it himself. Listen, there certainly is a connection to Lady Heather, she is an intellect and a scholar in her own way. But we saw the dark side of that this season. But you would think he would have a very different connection with Sara. He can talk about bugs with Sara.”

How romantic is that?

“I think for a forensic anthropologist, it is!”

So next year you guys are going up against “Grey’s Anatomy”? What are your thoughts on that?

“We have been through this once before, when Les Moonves [head of CBS] moved us from Friday to Thursday. Anthony Zuiker and Jerry Bruckheimer and Billy were like, ‘Bring it on.’ I was a little concerned, but I learned from that. I learned that two great shows can coexist on a night. There is enough audience. I believe that it’s a lot of competition for us, it makes next season very exciting for us. It’s a great show. I don’t know what’s going to happen but I do think we can both coexist on that night. And we’re going to do our best to deliver the best season ever.”

We’ve been talking about the fact that there has been more about character’s personal lives in the last season or two of “CSI” -- is that in any way a response to the success of shows like “Grey’s”?

“No. Our response on ‘CSI’ is never to external events. I think a show starts to struggle when it’s reactive to external events, as opposed to growing and evolving from what is happening organically in the show.

“The writers and actors are very collaborative on our show, and it is a testament to their acting that they are able to pick up a fiber, swab a blood sample and make it look so interesting and engage our viewers. It was really to allow our actors, who are such great actors, to do a little more. A chance to… I don’t want to say exercise their chops… It was a request. It was something that was obviously very important to our actors. As the show grew and we went on season by season… I think that we’ve focused a little more, in small doses, on [the question], who are these people that we see every Thursday night? We’ve always tried to do it in an organic fashion and never have it substitute [for the mysteries].”

“[A good example is] Sarah Goldfinger’s ‘Rashomama’ -- you got to have fun with our characters, but it was such an engaging mystery. And that is what we try to do.

“We have never ever responded to external events and I hope we don’t, because I do believe that’s when I believe great shows stumble -- when they allow external pressures to direct the storylines. Of course, if I read about something in the newspaper, that doesn’t stop us from being inspired by things that happen in the world. But I’m just saying, increased competition, shows are serialized, soap operas are back in fashion – I have never believed that that works [following the trend] and that’s something we’ve never done on ‘CSI.’

“As a fan, I want to know a little more about them. I think we’ve done very effective stories revealing Catherine’s backstory and tying her to Vegas. And that has been a theme throughout the season, Old Vegas and New Vegas.

“But Grissom has always been a very private person and this is an instance where we allow the fans to look through a window into a private moment.”

Would it be fair to characterize what you’re saying as -- it’s the natural evolution of the show and it’s the desire of the actors to have that different flavor of those personal scenes to play?

“It is. I think it would surprise the fans to know the many conversations and the days we spend talking about the characters on ‘CSI.’ We especially do it at the beginning of every season and at the end of every season. You can’t write a show unless you talk about who these people are and what makes them tick. We don’t always show what makes them tick, but when a situation presents itself, when a story lends itself to that, it’s exciting for both the writers and the actors to have a little blip of the private person.

“There is a delicate balance on ‘CSI’ always, between the personal and the case. We try to keep that balance. I think the fans would say maybe we go a little to one side, maybe to the other side. But I do think an episode like ‘Rashomama,’ the fans liked it. We got to see what our characters thought about marriage. There is a place for character development on ‘CSI,’ we always have to handle it carefully.

“Sometimes maybe the writers tend to go overboard, but it’s like the checks and balances of government.

[B]There was a huge response on my Web site and on many others regarding the finale. Have you been experiencing that, have you heard or read the feedback from fans?

“Like anybody else, I go on certain Web sites, and there were lots of e-mails, and from talking to [‘CSI’ writer] David Rambo – the fans got his e-mail, and so he has received quite a lot of pro and con mail. And from CBS, I’ve heard there’s been quite an outpouring. Going into the seventh season, I love the fact that everybody cares about our show.”

http://featuresblogs.chicagotribune.com/entertainment_tv/2006/05/solving_the_mys.html

Critic’s Notebook
It's season finale mania!

By Maureen Ryan from the Chicago Tribune TV blog May 25, 2006

Who would sit and watch more than two dozen season finales? The Watcher would! Here are some thoughts on May’s batch of season-ending episodes, complete with Watcher-ific ratings.

Awesome-o-meter:
5: Super awesome
4: Kind of awesome
3: Darn watchable
2: Not too bad
1: Stinky

Now, let’s get to it -- as Jack Bauer would say, “We are running out of time!”

“24”: My new favorite people: Martha Logan, Aaron Pierce and Chloe’s ex-husband Morris. If Jean Smart, who masterfully played Martha all season, doesn’t get an Emmy for her “24” work, then that’s Jack Bauer’s next mission -- wreak havoc on the television academy. As for Gregory Itzin’s galvanizing work as President Charles Logan - words fail me. Almost. Itzin took a character that could well have been a mass of petulant contradictions and made him one of the most compelling, slippery villains in recent memory. Itzin’s sensational work and his extraordinary scenes with Smart -- not the half-dozen loose plot threads - are what I’ll remember about this slam-bang finale. By the way, a show of hands, please -- do you think Christopher Henderson is really dead? And do you think Jack will be back next year as an agent of the Chinese government -- working for them under duress?
Rating: 4

“Cold Case”: Lem! For “Shield” fans, this typically solid “Cold Case” outing was a chance to see actor Kenneth Johnson, who played the late, greatly lamented Lem on “The Shield,” again. Let’s hope we haven’t seen the last of the winning Johnson on “Cold Case”; his character, Joseph, an addiction counselor thought dead by Lilly Rush’s cold-case squad, turned out to be very much alive and became a love interest for Lilly. Rating: 3

“Prison Break”: Let’s give a hand to T-Bag, who lost one in the course of this typically edge-of-your-seat season-ender. The gang was out of the joint and on the lam, but a couple prisoners didn’t stay with the group -- you have to wonder where Tweener will end up. And what happened to Dr. Sara? After helping the escapees, she didn’t look so good by the end of the finale, as medics discovered that she had been doing some Dr. House-style morphine injections.
Rating: 3

“NCIS”: Could somebody take Tony DiNozzo’s obnoxiousness level down a few notches? Because his brashness is starting to grate. Anyway, after being seriously injured in a terrorist blast on a ship, the injured Gibbs clashed with his bosses regarding the pursuit of the bad guys and ended up quitting the NCIS unit. But don’t worry, Gibbs will be back next year. No, really! No need to send me several dozen e-mails inquiring after Gibbs’ health and future prospects.
Rating: 2

“Gilmore Girls”: How depressed can you be about a finale that is actually reasonably OK? Pretty depressed, because the “Girls” will be without their indispensable creators next year on the new CW network. As if Lorelai ending up in bed with Christopher -- again -- wasn’t enough of a bummer! On the upside, Mary Lynn Rajskub, Chloe on “24,” showed up as a possible town troubadour, alongside Sonic Youth, Joe Pernice and Yo La Tengo, among many others.
Rating: 2

“That ’70s Show”: That was one tepid ending to this long-running show. Topher Grace and Ashton Kutcher did return, but the best things about the finale were Justin Long as a kooky friend of Fez’s and the underrated Kurtwood Smith and Debra Jo Rupp as Eric Forman’s parents.
Rating: 2

“Will and Grace”: The hourlong finale itself was mildly funny but nothing terribly memorable. Still, the duet between Karen and Jack was sweet, and the clip show before the finale had me laughing until I cried. Nothing is funnier than Jack doing his Cher impersonation -- for Cher.
Rating: 3

“CSI: NY”: Boy, it’s not a season finale until you blow something up these days, huh? Mac was in a building that blew up, but survived -- and thanks, “CSI: NY,” for providing that scene in which he messed around with a blast victim’s innards in a bid to save the guy’s life. Gross! Mac’s military past came into play as he and the squad tracked the deranged bomber, and Gary Sinise got some nice character work as the reticent Mac recalled his toughest moments as a Marine.
Rating: 3

“The O.C.”: Marissa died. She took freakin’ forever to do it as well. Sigh. But will her long overdue death spark any life in this show? Hard to say. Not sure anybody will be able to stand the Kaitlin and Taylor show.
Rating: 1

“Survivor Panama: Exile Island”: Who would have predicted that the one guy who dominated the challenges would also find the hidden immunity idol as well, thereby making that new “Survivor” twist not much of a factor? Let’s hope the idol gets used more next year, and that one person doesn’t dominate so much of the game. Still, the nearly unbeatable Terry wasn’t in the finals, and despite Shane’s entertaining interjections, it was a boring showdown between Aras and Danielle. What a bland finish. Still, I’ll be watching next season. You never know, the next crop might be more lively.
Rating: 1

“The Amazing Race”: So the hippies won, and many “TAR” fans hope that one day the Travel Channel commissions a BJ and Tyler travel show. Having said that, why does everyone think the hippie duo, endearing though they were, were ultra-ethical? They didn’t tell the frat boys (who had ethics issues of their own) a key fact -- that a hotel on the final leg had Internet access. Still, I’m glad they won this non-gripping edition of the reality stalwart, as opposed to the smug frat boys.
Rating: 2

“Lost”: Hope Desmond didn’t die in that blast. And why did Michael think getting on a boat with Walt was a good idea? Still, it was a satisfying close to the season -- way better than last year’s finale.
Rating: 3

“Everwood”: Well, the finale hasn’t aired yet, but the fact that this drama is ending June 5 and “Seventh Heaven” is returning means the CW network already has two serious strikes against it (the first was commissioning another season of “Gilmore Girls” without Amy Sherman-Palladino and Daniel Palladino at the helm). Rating: 5 (Yes, I’m psychic - I know it’ll be great). can trim

“American Idol”: Taylor Hicks was by far the more enjoyable performer, so I suppose it was good that he won -- but let’s hope that the “Idol” machine doesn’t destroy what’s good about him.
Rating: 2 (come on, it was so weird you had to like it at least a little)

“My Name Is Earl”: How far will Earl go to do the right thing? He’ll give all his money away to a stranger whom he thinks should have had his winning lottery ticket. But karma being what it is, Earl got the loot back - and crossed something off his list. Not on par with “Joy’s Wedding,” but still worthwhile.
Rating: 3

“The Office”: Wow, wow, wow. Wow! What a sensational season finale -- the best of the lot listed here, by far. The Dwangela slap, Michael’s two dates, Creed’s general oddness, the debut of the most righteously rocking Scrantonicity -- all of that was great fun, but nothing could prepare any “Office” fan for The Kiss. Wow!
Rating: 5. Wait, scratch that. Double 5.

“The Unit”: The soapy stuff between Col. Ryan (the ever-wonderful Robert Patrick) and Tiffy (Abby Brammell) was engaging and Kim’s smackdown of the other wives was great, but the rest of the show still seems kind of off. Like, how would a gang of Bosnian war criminals get inside the U.S. and be able to shoot up the restaurant where the Unit gang was celebrating? Come on.
Rating: 2

“Grey’s Anatomy”: Too dang much. Too much Denny, too much flipped-out Izzie, too much Callie, too much of everything -- though that scene with the chief and the interns was fantastic. And, of course, we’ll be back next year, begging for more “Grey’s” goodness. But a commenter, Alan, on the Watcher blog summed it up best: “I want more Bailey, less melodrama!” Here, here.
Rating: 2

“How I Met Your Mother”: Lily and Marshall splitting? Ted and Robin getting together? It’s a mixed-up, crazy world. Still, the finale was another typically fine outing of this underrated CBS gem. I can’t wait to see what happens, and I’m also dying for my next Barney fix. You need to be watching this show.
Rating: 4

“Scrubs”: Jeepers, everybody’s pregnant at Sacred Heart Hospital, including J.D.’s new galpal. Let’s hope NBC’s schedule falls apart next year (hard to imagine, I know), so that utility player “Scrubs” makes an early fall reappearance. The show’s fifth season was truly a keeper. Rating: 4

“Everybody Hates Chris”: What would a father of three with multiple jobs do on Father’s Day? Sleep, of course. And eat. And dance to “I Will Survive.” Love that Julius.
Rating: 3

“Veronica Mars”: So Beaver (sorry, Cassidy) killed that busload of kids? I’m still wrapping my head around that one. Still, it was a spectacular ending to a very (maybe overly) complicated season. And I don’t know about you, but I’m still jumping for joy that Keith Mars wasn’t killed.
Rating: 5

“Numb3rs”: I love that CBS thinks its audience is smart enough to understand a show in which nerds talk earnestly about “kernel density estimation.” OK, CBS, if we’re so intelligent, why do you keep foisting “CSI: Miami” on us? Anyhow, I’m no fan of the kind of serial killer plot seen in this finale, but there’s something about the lovable geekiness of David Krumholtz that keeps me trying to figure out the answer. Maybe part of me thinks I’ll get a gold star from the teacher if I do?
Rating: 2

“House”: So the entire finale took place inside House’s head, aside from the part where he got shot. Very tricky -- in the best possible way (and in the dream-sequence wars, Greg House beats Tony Soprano hands down). And it was kind of cool that writer/director David Shore made House spend most of the episode wearing a drafty hospital gown. Now the grumpy doc has got to know what it’s like to be a patient! By the way, how amazing was that robot sex with Cameron? Total robot hotness! Rating: 4

“The West Wing”: A slow, sluggish, not-very-dramatic ending to this longrunning political drama. Well, at least Donna got a nice office. Rating: 1

“Medium”: Allison DuBois as a high-powered, childless attorney married to a smarmy jerk? Say it ain’t so. A swell alternate-reality episode, and a typically thought-provoking hour of TV. Bonus: The finale’s soundtrack made great use of the Dixie Chicks’ “Lullaby.”
Rating: 3

“Without a Trace”: It’s really not a good idea to date Jack Malone. In the finale, his pregnant girlfriend and co-worker, played by Mary Ellen Mastrantonio, was kidnapped by a crazy killer who shot up the FBI offices. Yikes. That is so not romantic. But at least we got to see Jason Priestley as an unlikable killer and thief.
Rating: 3

“Alias”: I didn’t watch it. I’d rather remember the glory days of “Alias,” and besides, my DVR was busy recording “24,” “Everwood” and “Medium.” Sorry, Sydney. Rating: N/A

http://featuresblogs.chicagotribune.com/entertainment_tv/2006/05/its_season_fina.html#more

TV Notebook
Ask Matt

(from the Ask (TV Critic) Matt (Roush) column at TVGuide.com
By Matt Roush TVGuide.com TV Critic

Question: Matt, I am so upset. When I found out that Grey's Anatomy was moving from Sundays to Thursdays I almost cried. I understand every network wants to win the ratings on Thursday. But can Grey's Anatomy overtake CSI? I don't think it will; I think it can compete and hold its own. Grey's Anatomy is my favorite show on TV and I would rather it be safe on Sundays after the horrible Desperate Housewives than go up against CSI. Let's say that the ratings aren't good enough on Thursdays.

Do you think ABC will move it back to Sundays, or even put it on Mondays? Or do you think they will stick out the season on Thursdays? I know you can never tell what the networks are going to do, and it's early yet (this season just ended), but I just don't want anything to happen to this show. Oh, and how awesome is it that Kate Walsh and Eric Dane signed on for all of Season 3? Addison is my favorite character, and with Eric Dane back, there should be some good stuff coming our way. And thank God Veronica Mars got renewed. — Sam

Matt Roush: The issue here isn't about beating CSI, it's about seriously competing on Thursdays, a night much coveted by advertisers. I've said before that I'm selfishly unhappy to have the Housewives/Anatomy block broken up, but then, we tend to criticize the networks for not using their hits to launch new hits and strengthen other nights, so this is the way the scheduling game is meant to work. Unless, of course, it backfires, which I doubt.

There's room for two hits in the same time period, but I suppose if Anatomy takes too steep a nosedive in the fight against CSI, ABC could blink and move it to a less treacherous time period. (Most of us were expecting Anatomy to move to Monday, where ABC is starting from scratch, and not very impressively given the lineup of reality shows and What About Brian.) The biggest problem for Anatomy is that the shows on either side of it appear problematic: In the first hour, two single-camera comedies about wedding and childbirth, and following Anatomy, the enigmatic Six Degrees (which I haven't seen yet, but was left mystified by the clips from upfront week).

Lots of mail on this topic. Here's another angle, from Liz: "ABC has already announced the cancellation of Invasion (I'm fuming from it 'cause they left us with a major cliff-hanger) and they moved Grey's Anatomy to Thursdays, but wouldn't it make better sense to put Grey's before or after Lost? (Two great shows back-to-back seems good to me.) Or are they trying to see if Grey's can carry a night by itself.? I just answered my own question, didn't I?"

Yes. It may not seem all that logical, but the idea here is to scatter ABC's hits throughout the schedule in hopes of gaining traction on yet another night and also with the goal to create new hits after the old one (easier said than done).

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Question: What are the chances of The O.C. surviving the competition of Grey's Anatomy and CSI next fall? I don't watch CSI, so I don't have a problem. I'll watch Grey's and record O.C. But how high are Fox's expectations for the show's ratings? Let's face it, the show's appeal is wearing thin and I'm going to assume a lot of O.C.'s viewers (like me) are also Grey's fans. What's your best guess? — Christine

Matt Roush: Best guess: The O.C. will suffer, but as long as a remnant of the show's young, loyal audience sticks around to watch, it's still a better option for Fox on Thursday than dumping it and starting anew. There will come a time, though, and probably not too far in the future, when the show's expense will not justify keeping it on if the numbers continue to drop, which they almost inevitably will.

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Question: With Mark Harmon's exit from NCIS, I am very, very, very upset. I have always loved Mark Harmon. The show will never be the same again. In a previous issue of TV Guide, you had a survey of who most people thought was leaving. I knew then it was Mark Harmon. Couldn't CBS have kept him by increasing his salary or something? NCIS will never, ever be the same. Will NCIS come out on DVD? — Ann M.

Matt Roush: While reminding readers that I rarely answer DVD-release questions in this column, it just so happens that the first-season DVD just arrived at my desk. (Street date: June 6.) As for Mark Harmon: c'mon folks, have you never watched TV? (From the volume of mail I got about this, I'm guessing not.) I know NCIS threw everyone for a loop a year ago by the unexpectedly violent death of Kate, but Mark Harmon resigning from the team doesn't mean he's leaving the show. It's season-finale time. Big melodramatic things happen. Getting Jethro back on the squad will no doubt be a big part of the story arc of the beginning of next season. (When the producer teased that someone was leaving NCIS, he didn't necessarily mean for good.) So please, stop fretting and enjoy the summer.

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Question: I am about as big of a 24 fan you can imagine, but I have a serious issue with the Season 5 finale. I found the entire thing completely satisfying and wonderful until the final minutes, where Jack was captured by the Chinese. My concern is that an ending of that brutality completely relies on Season 6 being phenomenal in order to pay off. If Season 6 experiences a major drop in quality, then the ending of Season 5 was a wasted effort. Do you think the creators have a spectacular story in mind for this to pay off? — James

Matt Roush: I certainly hope so. And aren't you putting the critical cart in front of the thoroughbred horse? What about Season 5 makes you think Season 6 isn't going to measure up? I find the lack of faith in TV so discouraging. If the finale was "satisfying" and "wonderful," with a finale that takes the next season in a completely new and uncharted direction, isn't that something to celebrate, not worry over?

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Question: At the Fox upfront, it was announced that Bones will be moved to Friday in mid-season. Don't you think this is a bad idea? Friday is a death slot and Bones is an established show that should not be buried because Fox put it on the wrong day. If it starts doing badly in that slot, what do you think is going to happen? Are they going to move it to a different day or let it die? — Lisa

Matt Roush: Everyone's an alarmist. As I suggested in my Dispatch a week ago, it's best not to take very seriously any mid-season announcement Fox makes before next season even begins. (Those with long memories will recall that Fox, for one instance, originally planned to move House to Mondays this mid-season as 24's lead-in. That never happened.) But to answer your question: yes, it's a bad idea. And it probably won't come to that. If it does somehow move to Friday, and if Bones' ratings sink, Fox will take steps to fix it. Fox isn't just going to "let it die." But look at what's working on Fridays: close-ended procedurals like Numbers and Close to Home. A solid piece of work like Bones may not do as badly as you fear.

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Question: Why, on Close to Home, was Annabeth's husband killed? What is wrong with a show that has a loving couple raising a child in a stable environment? It appears that the writers think they have to kill someone on every show for their big climax. Why not kill her baby daughter in the new opening show so she can date freely? This ending of her husband dying was also my end with this show. — Myra

Matt Roush: Not having watched this particular finale (in fact, the show is pretty much off my radar), at first I thought this was a joke. But I confirmed with an editor who's plugged into the show, and, yes, they actually killed off Annabeth's husband (Angel's Christian Kane) in the finale. I've been told the show is revamping for Year 2, and that seems obvious by this extreme (to me premature in this show's life) decision. I've gone on record defending a show's right to kill major characters, but after the carnage of the May sweeps, I can't help but agree this looks like one too many. One of the few things that set this show apart was its home environment. This twist should make the show even easier to ignore on Fridays this fall.

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Question: I'm not sure if this "question" will warrant a response/spot in your column, but I've been wondering about it since the CW sked was announced. Where does CW think 7th Heaven can go at this point? After 10 years, I feel the show has told everything there is to tell. The older kids have gone through the trials and tribulations that most teens and young adults go through. And now that the three oldest kids have children of their own (or will), what's left? I guess my point or my question is: After the "finale," everything was wrapped up, and now they (CW) plan to "unwrap" everything and do it all over again for at least another season? Weren't some of the cast members planning on moving on after the show was nixed a few months ago? I was never a follower of Everwood, and sporadically caught 7th Heaven over the years, but between the two, I'd have to go with Everwood because there's still plenty of "story" left to tell. The problem with WB and UPN was their lack of programming, and it seems to me that CW has now inherited that. Sure, there's a handful of shows (Gilmore Girls, Veronica Mars, Smallville) that are successful, but why must they keep shows on the air that are just plain horrible (One Tree Hill, Girlfriends, etc) to watch? Thanks for taking the time to read this and listen to me rant. — Brandi

Matt Roush: You make an interesting point. The renewal of 7th Heaven was purely business, not creative. The fact is that the show had reached a natural end (or unnatural, if you're not in the fan club, as so many who wrote me obviously aren't), and the corny announcement that everyone's bursting with twins is clear evidence of that. (As some have written, if 7th Heaven had to cut its budget to have its return make economic sense, won't the new babies break the bank?) So while many praise the show for its values, the renewal itself was actually very cynical. The show drew more viewers than any other show on WB or UPN; that's why it's back, past its last creative gasp.

And to show that I'm more even-minded than some of my more critical readers think, here's a very measured response to the cancellation of Everwood, from Dave: "As much as I enjoy Everwood and appreciate the quality of the writing and acting, I think it's actually at a good point right now to end it. Without knowing what the writers had in store for the future, I'm not really concerned about open plotlines or stories that I'll never get to see. Amy and Ephram? I like them better as friends, and don't need to see them get back together. Bright and Hannah? They weren't that interesting, really, and I don't care that much if they reconcile. I would like to see Andy and Nina get together (as of Monday morning when I write this, I don't know if they will, but it looks doubtful), but they seem to be drawing this to a conclusion as well, whether Nina stays or goes to California. Rose and Harold? Enjoyable characters, but again, there really aren't any open story lines that I'll miss out on next season. Maybe I'm in the minority here, but looking at how the show started and where it is now, it seems like the characters have pretty much gone through the development that we would have hoped for them, and aside from Andy still being single (unless that changes), I think it's at a good place to close up shop."

Knowing that the producers had planned for the eventuality that it would not make the cut and that on June 5 we will get an actual conclusion, I don't exactly disagree with this. (Although I disagree about Bright and Hannah being uninteresting. They were adorable.) Going out with dignity and (we assume) not leaving us hanging is the right way to go. Better that than test our patience. What rankles so many, though, is that Everwood was in no way creatively depleted, and given how many shows on CW's schedule are so close to the end of their run, it seems unusually punitive that WB's highest-quality drama was kept out of the mix.

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Question: I usually agree with all of your comments but your bashing of 7th Heaven was strongly uncalled for. CW did not renew 7th Heaven because of its content, but because no other show that you love to brag about scores as high in the ratings as 7th Heaven does. And if you don't watch the show (you've mentioned previously that you no longer do), stop attacking it while you're ahead. Is it corny? Yes. But One Tree Hill is the big disappointment here. 7th Heaven scored six million viewers this season — more than any other WB-UPN series. CW needed a solid backing to launch itself come fall. Normally you discuss aspects like these, and don't waste answering questions by using insults. The Camdens, although they've been on a while, have inspired millions. Week after week your column is beginning to lose the analysis that I used to love. I don't see you commenting anywhere on why CW picked up 7th Heaven. Obviously, there is a reason. It's not my favorite show, but I can see CW's need for it. — Ricky

Matt Roush: I hope the above exchange has made up for my sins last week. That column was written in the heat of the moment during upfronts week, and I'm not going to apologize for expressing my and others' disappointment in CW's priorities with blunt, even sarcastic, anger. (You should have read some of the letters I didn't print.) It's a no-brainer why 7th Heaven was renewed — that's a fact. I usually leave the show alone because it's harmless enough. But if you ask me, the price of its resurrection was awfully steep, including the cost to CW's reputation.

I'm adding these last words about the show because, frankly, the last line made me laugh. And it underscores the fact that I have argued for years that family audiences deserve to have shows like 7th Heaven on the air, even if I wish they would aim the quality bar higher. From Rick: "I have to disagree that there should be a place on TV for a show like 7th Heaven. Why should there be a place for horribly acted, horribly written, beyond-syrupy crud? The fact that we lost Everwood specifically because of this dreadful show ranks Everwood's demise as one of the biggest tragedies in TV history. We'll never get to see what happens to Hannah and Bright, or Ephram and Amy, but maybe we'll get to see a very special episode about Ruthie's addiction to Snickers! Fingers crossed!"

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Question: I have agreed with you that Will & Grace has been dragging on for the last few years. But I definitely feel that the two-hour finale was extremely well done, and from reading the blogs, I can see that most people agree with me. The clip show highlighted many of the show's greatest moments, and the final episode itself was very character-based and not just joke after joke. It was extremely funny as well as being very emotional. It definitely reminded me of the first few years, when the show was great. I know the series left your radar a long time ago, and you said that you were dreading having to watch the finale, but do you feel that it exceeded your expectations? — Mike P.

Matt Roush: The clips were great, reminding us of how funny the show once was. But as I noted in my Dispatch earlier this week, the only reason I wasn't too disappointed in the actual finale episode was because my expectations were so low. I tend to agree with Sharon, who writes in to say: "Is it just me, or was the Will & Grace finale one of the worst ever? I liked the fact that Will ended up with Vince, and Karen and Jack singing "Unforgettable," but the rest was dreck. I found it out-of-character that after making up after a two-year "Will snit" that Grace and Will wouldn't see each other until their kids went to college together, and, frankly, the idea that Leo and Grace would stay married for 20 years is not likely unless she is channeling Will's mother. I don't know about the last part. I'm kind of glad that both Will and Grace ended up in successful relationships. But after investing this many seasons in the friendship of Will and Grace, I found it impossible to accept the fact that once she returned to the States after their (understandable) estrangement, they didn't just pick up where they left off and go through life celebrating each other's children's birthdays, etc. The idea that they would remain apart until their children accidentally met at college (destined to wed) wasn't merely hokey, it violated the central premise of the show: that these characters, as imperfect as they were, would always be there for each other. I thought it was an unnecessary and unenjoyable downer.

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Question: Hi, Matt. Just wanted to say that I have never been so simultaneously happy and sad to see a TV season go. This TV season has had more in the way of buzz and acclaim than any other in recent memory. Shows, old and new alike, across all of the major networks really raised the bar this year with their storytelling and I can only hope that next year will be just as exciting. That being said, I need a break!! Grey's Anatomy, Gilmore Girls, Desperate Housewives, Alias, Everwood, 24, Veronica Mars, Scrubs, Arrested Development, American Idol, Lost, ER, Amazing Race and others have left me completely exhausted!! Sad to see the season go, but looking forward to summer hiatus! — Rebecca

Matt Roush: Well said, and perfectly timed as we head into a long holiday weekend, which I hope everyone enjoys. But for the true TV fan, there no longer is a true summer hiatus. Rescue Me begins a third season on Tuesday, and my June calendar is already full of cable and network premieres. Which isn't a bad thing, merely a continuation of a really good thing. TV rocks!

http://tvguide.com/tv/roush/askmatt/

TV Notebook
MyNetworkTV Desperate for 'Housewives'

New Network Clears ABC One Hour for Weekend Syndie Run
By Christopher Lisotta TVWeek.com May 25, 2006

Buena Vista Television, the television distribution division of The Walt Disney Company, has sold "Desperate Housewives" to the Fox-owned MyNetworkTV-affiliated stations for a weekend syndication run.


The one-hour, Emmy winning "Housewives," a crucial piece of ABC's ratings turnaround strategy since it premiered in 2004, will run on the MyTV stations under a two-year deal beginning fall 2008.

As has been the case with most deals in recent years for hour-long off-network weekly series, the stations will not pay a license fee to carry the show's syndicated run. Instead, the advertising time in each show will be divided up between stations and the distributor, with the local stations getting seven minutes per hour to sell locally and Buena Vista getting seven minutes to sell nationally.

Dennis Swanson, president of Fox Stations Group, said he expects "Housewives" serial dramedy style to pair well with Fox's new MyNetworkTV schedule, which kicks off this fall with serialized romance dramas in prime time Monday through Friday.

"It fits consistently in both programming philosophy and promotability with everything we envision for MyNetworkTV," Mr. Swanson said in an interview. "It's 'My Desperate Housewives.' It fits, it's a recognized brand, and it belongs to us in syndication."

A comedic weekend hour launching in fall 2008 may serve MyTV and Buena Vista well, since there are currently no off-network series scheduled to move to syndication that season because of a dearth of viable sitcoms currently airing in broadcast.

The syndication deal for "Housewives" follows a pact Buena Vista made in April with Disney- and Hearst-owned Lifetime Television, which will begin airing the show on a weekly basis starting in August.

http://www.tvweek.com/news.cms?newsId=10081

The 2006-2007 Season
NBC pulls switcheroo

Peacock re-thinks previously announced 2006-07 grid
By Josef Adalian Variety.com
(Michael Learmonth in New York contributed to this report.)

Less than two weeks after lavishly unveiling its fall schedule to advertisers, NBC had a new message for Madison Avenue on Thursday: Never mind.

Prompted by ABC's game-changing shift of "Grey's Anatomy" to Thursdays, the Peacock has basically opted to throw out its previously announced 2006-07 grid. Moves started out as an effort to protect the net's new Aaron Sorkin drama "Studio 60 on the Sunset Strip" but soon morphed into a radical rethinking of NBC Entertainment prexy Kevin Reilly's overall sked strategy.

Just a week ago, Reilly was touting the wisdom of slotting hot newcomers at 9 p.m. Now, NBC plans to position existing hits there and instead shake up its 10 p.m. anchors on Monday, Wednesday and -- come January -- Thursday.

What's more, instead of slotting a potentially critic-friendly Sorkin show on a high-profile night, NBC will now fill the 9 o'clock Thursday slot once home to "Cheers" and "Seinfeld" with the Howie Mandel quizzer-cum-sobfest "Deal or No Deal."

Plan protects NBC's frosh skeins from any of Fox's or ABC's megahits, but it may also make some affils nervous since it means untested shows will serve as lead-ins to late local newscasts.

"Every one move creates two others," Reilly told reporters during a hastily assembled conference call. "This was about competitiveness and trying to advantage our new series."

Having to make wholesale changes to a lineup so soon after an upfront presentation is both embarrassing and unprecedented in the recent annals of network history. One reporter even asked Reilly if the changes risked making NBC appear "desperate."

"I wouldn't say that at all," Reilly responded. "I would hope people would say they're being practical."

Indeed -- like Fox's widely panned and problem-plagued upfront presentation last week -- it's unlikely NBC's sked flip-flop will have much negative impact on the net's upfront ad haul. Advertisers mostly buy based on shows and sked strength, and in many cases, version 2.0 of the Peacock sked improves upon last week's beta version.

Brad Adgate, director of research for Horizon Media, said Madison Avenue should be happy NBC made the changes now rather than wait until after the upfront buying season passed.

"One of the big complaints that buyers have with the networks is that you buy shows and the schedule moves around and you have no idea what you're getting when you negotiate over the summer," he said.

Even before the "Grey's Anatomy" shift, NBC had telegraphed its intent to rethink its sked post-upfront. That's because the net is in the awkward position of announcing its new lineup before its rivals, a tradition that dates back to the era of "Must-See TV" dominance, prior to Peacock uber-boss Jeff Zucker's arrival at the network's entertainment division.

Reilly said NBC is mulling the idea of delaying its sked announcement until later in upfront week.

Breathing a sigh of relief after Thursday's changes were Sorkin and Warner Bros. TV, which is producing "Studio 60." Rather than facing "CSI" and "Grey's Anatomy" (both top-five shows), skein will now air Mondays at 10 opposite "CSI: Miami" and the young "What About Brian."

"Deal or No Deal" and new drama "Heroes" will remain in their previously announced Monday slots.

"Our competitors have left the door open on Monday," Reilly said. "This is going to be a very, very big night for us."

Exec also predicted "Studio 60" will steal away female viewers from "CSI: Miami," saying the crime show "is going to be another year older."

Move means "Medium" -- one of only three non-"Law & Order"-branded drama successes NBC has launched this decade -- is being kept off the fall sked. Reilly said skein will move to 10 p.m. Sunday in January, though given the likelihood that one of NBC's new shows will fail, skein could return much sooner.

Because he'll have to launch two dramas on Monday, Reilly decided to shift "Kidnapped" off Tuesdays and shore up the night with a double dose of "Law & Order" skeins. "Criminal Intent," which had been headed for Friday, will air at 9 p.m. Tuesday, leading into "SVU."

"Kidnapped" will air Wednesdays at 10 p.m., forcing "Law & Order" out of its longtime timeslot and on to the more low-profile 10 p.m. Friday slot. He said CBS' "Numbers" had been given a "free pass" in that timeslot.

Reilly seemed to indicate that "Law" boss Dick Wolf was initially wary of the shakeup but seems on board. "He has plenty of opinions," Reilly said of Wolf. "We're good to go today. ... He likes the Tuesday play. He thinks we can win there."

Wolf's take?

"**** happens," the producer told Daily Variety. "I lost a timeslot. ... It would be unseemly to complain."

That said, Wolf said he "liked the first schedule better" and noted that NBC's decision proved something he's said for years: "Producers have no power. They really don't. We serve at the pleasure of the network. It's their air."

Bottom line?

"This is a long-term Catholic marriage," Wolf said. "There's no divorce. We're stuck with each other."

As for Reilly, the head of TV's fourth-place network also took a shot at Fox, saying he was surprised the adults 18-49 leader didn't shift "House" to an earlier Tuesday timeslot.

"Maybe they didn't feel they had the show to put behind it," Reilly said.

A Fox rep declined to respond to Reilly's crack.

NBC is taking advantage of the 8 p.m. Wednesday drama glut by shifting new laffers "20 Good Years" and "30 Rock" to the hour, where they'll be the only comedies in the slot. "Biggest Loser" moves up to 9 p.m. hour and away from ABC's "Dancing With the Stars."

As for the Thursday "Deal" play, move again defers Reilly's dream of re-establishing the night as the home of the Peacock's signature scripted skeins. There's little flow between the net's comedy duo of "My Name Is Earl" and "The Office" and 10 p.m. tentpole "ER."

In addition, "Deal" underindexes among upscale auds with $100,000-plus incomes vs. NBC's primetime average.

"In a perfect world, I'd like to go with a four-comedy block, or at least the strongest Tiffany shows," Reilly conceded. "But to put four comedies in right now would be doing a disservice to shows I like."

Reilly also had to be realistic: Odds are, "Deal" will draw more eyeballs than Sorkin's show. While critical darlings, his past two skeins were not out-of-the-box ratings hits.

"People love ('Deal')," Reilly said. "We're putting shows on that people love. Does it exactly fit what I'd ideally like to do there? No, but it's the reality of where we are."

In order to keep "Deal" to a twice-weekly sked, Reilly opted to pull the Friday edition of the skein. That means "Crossing Jordan," which had been set to return in January, will cross paths with CBS' "The Ghost Whisperer" Fridays at 8.

Sports Media and Business
'Now Batting for the Giants: Barry...' (Click)

By Richard Sandomir The New York Times May 26, 2006

Eight years ago, when Mark McGwire and Sammy Sosa were battling to become the first to surpass Roger Maris's mark of 61 home runs in a season, ESPN and Fox were in a competitive sprint, each fighting to be the first to carry the September game at which the record was likely to be broken.

It was a delicious frenzy that was won by Fox, which televised McGwire's 62nd homer on a Tuesday night and drew a 12.9 rating, the largest for a regular-season ballgame in 16 years. The day before, ESPN showed McGwire slugging his 61st, which yielded a record baseball rating on cable.

But Barry Bonds — the churlish personality at the center of accusations of steroid use — could not stoke a similar network fire. There has been no public jockeying to carry extra Bonds games, no saga like Hank Aaron's as he pursued Babe Ruth's home run record and omnipresent potbellied ghost.

Last Saturday, when Bonds hit his 714th career home run in Oakland to tie Ruth, the Giants-Oakland game was one of four interleague games covered by Fox.

It was shown to just 7 percent of the country — a segment comprising the San Francisco-Oakland, Sacramento, San Diego and Las Vegas markets.

The reasons were a hodgepodge of logistics and demand.

There were two games at 1 p.m. Eastern time: the Yankees-Mets was sent to just over half of the country; the Cubs-White Sox to 23 percent. Then, at 4 p.m., the remaining audience was split between the Giants-A's and Dodgers-Angels games, the latter beamed to 13 percent of the country.

Fox could have shifted some of the Angels-Dodgers audience to watch the Giants play the A's. It also could have moved some markets, like Houston, Dallas, Austin, Tex., or Salt Lake City, which got the Yankees-Mets game but would seem to have no more affinity for Bonds than for Derek Jeter.

There was never a discussion about sending the Giants game to the entire country, as a historic telecast, because Fox was starting its season with four interleague broadcasts. Dan Bell, a spokesman for Fox, said the network has never carried a single national game on Saturday afternoon.

"Had there been the kind of national demand like there was for McGwire-Sosa, we might have elevated Oakland-San Francisco," he said.

With Bondsmania nonexistent, it was fitting that Fox did not cut into the late portions of the New York and Chicago games with the Bonds at-bat that yielded No. 714. Fox felt it would alienate fans watching the Yankees and Mets by leaving as Billy Wagner was melting down. And the Cubs-White Sox was midway through a commercial break.

The 714th homer was shown on tape a minute later, leading Tim McCarver, calling the Yankees-Mets game with Joe Buck, to say, "I never thought any of us would ever see Babe Ruth's home run record tied as anticlimactically as it just was." Buck added, "It strikes me as just another highlight."

That ho-hum attitude may have been shared by viewers in the Giants' local market, where the game recorded a 6.0 rating — a stunning 37 percent below what the last Giants-A's game on Fox got in 2004.

Flash back to 1974 — in a very different television universe — to the games in which Hank Aaron tied and broke Ruth's record.

NBC broke into the afternoon soap opera "Another World" to show replays of Aaron's 714th — and 8.5 million people watched.

Four days later, NBC picked up the prime-time game in which Aaron hit No. 715 — and 35 million watched the moment.

The Aaron story riveted the nation. The Bonds tale is boring us. That was the implicit message when ESPN shelved the "Bonds on Bonds" vanity series short of its planned July conclusion. The network ran one episode last night and will run a finale Monday — amid prayers at the ESPN empire that he will hit his 715th by then — but might produce specials if a story arises.

"The story just didn't happen," John Skipper, ESPN's executive vice president for content, said yesterday. A lost narrative equals lousy ratings, especially for a series for which ESPN reportedly paid $4.5 million.

On May 16, when "Bonds" earned a season-best 0.6 rating (giving it a 0.5 season average), it was beaten by two of the three programs that preceded it: "Around the Horn" (0.7) and "Pardon the Interruption" (0.9). It outrated that evening's two-hour block of "Battle of the Gridiron Stars," which mustered a 0.4.

(Here is a lesson for Bonds in the rewards of small-screen likeability: a late-afternoon episode of "SpongeBob SquarePants" on Nickelodeon on May 18 garnered a 3.2 rating; half that rating would have earned "Bonds" a lifetime pass to stay on ESPN.)

End of story? Not yet. Pedro Gomez, who has been covering Bonds for ESPN on his trek to 715 and beyond, will soon leave the Bonds beat. "The beat," said Vince Doria, ESPN's news director, "doesn't exist for the time being."

http://www.nytimes.com/2006/05/26/sports/baseball/26sandomir.html?pagewanted=print

The Season Finales
Season ends in whimper, bang-bang

To be continued.

The TV season has reached its end, but in TV, some ends are more final than others. For a canceled show such as Alias, the last episode was, indeed, the last.

But for returning series, the end was just a setup for a new beginning, answering a few questions while raising a few more.

The question of the moment: Which shows made the final grade? USA Today's Robert Bianco leads you through the last episodes of some of TV's best series:

Lost (ABC)

Rating: * * * ½ out of four

The finale word: Be careful what you wish for.

You wanted answers, and the finale delivered the ones promised by the promos. What happens when the countdown ends? The island sends out a violent electromagnetic pulse. Why did the plane crash? Desmond let the countdown end. Have they been rescued? No, but the finale's pulse may have revealed where they are. As for the main players, Kate, Sawyer and Jack are "other" hostages; Locke and Eko are in the magnetized hatch; and Walt and Michael are at sea.

Compared with any normal show, it was a great, gripping two hours of TV. But shows on Lost's level inevitably get compared with themselves, and on that scale, the finale fell short. The writers got so caught up in answering the call for answers, they sacrificed the character interaction that is the show's real strength. The best moment — the most Lost moment — came from the look on the faces of Kate, Sawyer and Hurley when they realized they had been betrayed.

Even so, the finale accomplished its purpose. It closed a few plot windows, planted a few clues and put some new dynamics in play. Lost is still the best show on TV, but next year I could do with less myth, more wit and a tighter focus on the main characters.

That's my wish.

24(Fox)

Rating: * * * ½

The finale word: Once again, Jack made the world safe for democracy, stopping terrorists from remodeling our cities with missiles and tricking the Worm-in-Chief into a confession. And his reward? He's beaten and trapped on a slow boat to China — a final image that doesn't match last season's sad walk into the sunrise.

If the finale wasn't quite as good as the season as a whole, it did wrap up most of the plot points in satisfying fashion. Cleverly, the show got its big-action set-piece out of the way in the first half-hour, devoting the last 90 minutes to Jack's battle of wits with the president while allowing Gregory Itzin (President Logan) and Jean Smart (the first lady) to stake even firmer claims on Emmy nominations.

To enjoy 24, you have to accept its logical leaps and its whimsical approach to the limits of time and space. But even for 24, the conclusion is asking a lot. Jack is kidnapped at 6:49 a.m., and within 11 minutes he's in a cargo hold of a ship at sea and beaten so badly that he's asking for death?

Never mind that it's physically impossible, but doesn't it make Jack look like sort of a dish-it-out-but-can't-take-it wimp? Sorry, 24, but when you set up a real-time game, we expect you to at least pretend to play by the rules.

Grey's Anatomy (ABC)

Rating: * * * *

The finale word: It's possible to love a finale and still find it a little troubling.

My affection for Grey's this season is boundless, and it encompasses a finale that struck some as wildly over the top. Building upon the notion that "we can't help who we fall in love with," the show allowed love to drive the characters a little crazy, which in Izzie's case meant committing an act that would be career suicide in the real world.

Even so, I love that doctors who so often act like adolescents should see their relationship entanglements come to a boil at a prom, as ridiculous as that plot device was. I love the swoony mix of operatic romanticism and sexual tension in Meredith's "Stop looking at me" command to Derek. And I love the confidence, wit and skill with which this show navigates past such obvious road mines.

The show does have to be careful not to succumb to "big episode" syndrome, pushing past the boundaries of credibility in search for ever more grandiose effects. I fear if we don't offer a few discouraging words now, Grey's will get wilder and wilder until it tumbles out of control. I love you, but behave.

Desperate Housewives (ABC)

Rating: * *

The finale word: At least the show's season was consistent. It ended as badly as it began. Instead of quickly disposing of the plots that had not worked all year and laying the groundwork for better stories to come, the writers gave us what may have been the worst two hours the series has yet produced, a double episode without a single interesting surprise and precious few entertaining moments.

What Mary Alice's suicide gave the show last year was an undercurrent of honest, emotional unease as these women strained to make sense of an act that called into question their friendships and their choices. This year, the housewives seemed to lose not just their emotional connection to each other, but also any connection to the real world. Desperate fans won't be patient forever. The writers wasted their finale. I wouldn't advise making the same mistake with next season's launch.

Alias (ABC)

Rating: * * ½

The finale word: Let's see if I have this right: Sloane used the Rambaldi stone to show the way to a Rambaldi tomb that allowed the Rambaldi orb to create yet another floating Rambaldi red ball, which holds the secret to eternal life. All right — but having gained complete control of an evil empire and all its fortune, he plans to blow up Washington and London so he can rebuild them? Isn't that a bit prosaic for a mastermind?

The problems with the Alias finale mirror the problems with the season. Whenever the show delved into the completely incomprehensible Rambaldi plot or wandered off to deal with a new character, attention waned. Yet the wrap did manage to give fans what they probably wanted for the main characters, especially Sydney happy with Vaughn. Yes, Jack died, but he sacrificed his life to trap Sloane for eternity in the Rambaldi tomb. I'll miss the show, but if I never hear the word Rambaldi again, I'll count myself a lucky man.

House (Fox)

Rating: * * * *

The finale word: It takes a great show to get something completely fresh and arresting out of the season's — if not TV's — most tired trick: shooting a regular character. Luckily, there's no better character on TV than House and no better actor than Hugh Laurie.

Combine that pairing with an exceedingly challenging script, and you get an episode that demands to be re-watched and discussed. For most of the show, it appeared that the gunshot wound was causing House to hallucinate and damaging his ability to reason. The injury caused House to question his methods, his behavior and his life, right up until the final surprise revelation: The entire episode was a hallucination, one that used House's normal gimmicks to point the way to the truth. Best of all, we can now spend the summer wondering whether any of the personal changes House was considering will take hold.

Now let's give the guns a rest.

CSI (CBS)

Rating: * * *

The finale word: Last year, CSI broke out of its normal pattern for a two-part finale that buried Nick alive. This year's solid finale stuck closer to the show's extremely popular formula — and yet it seemed to send many fans into a frenzy.

The fuss was not over the fate of a critically wounded Capt. Brass, perhaps because no one really thought his fate was in doubt. What stirred fans was the last scene, which implied that a berobed Gil and Sara had just been physically intimate. Some viewers don't like the idea of the show becoming soapy, and some just don't like Sara.

It makes sense to me that two lonely, damaged and sort of strange people might reach out to each other, so I thought the scene worked. But if you didn't, remember this: CSI is an incredibly well-run series and the moment the producers think the relationship is hurting the show, they'll dump it. So calm down.

http://www.usatoday.com/life/television/reviews/2006-05-25-season-finale_x.htm

The 2006-2007 Season
NBC re-tinkers fall lineup

The network, after viewing competitors' pilots, makes changes to its programming on five nights
By Maria Elena Fernandez Los Angeles Times Staff Writer May 26, 2006

Ten days after announcing its shiny new prime-time schedule to advertisers in Manhattan, NBC was forced Thursday to make some drastic changes to its fall lineup, a direct consequence of ABC's bold move of its hottest show, "Grey's Anatomy," to Thursday nights. But NBC did a lot more than counter-program that show: The network altered its programming five nights of the week.

NBC President of Entertainment Kevin Reilly acknowledged the moves were radical but said they were predicated by the network's fourth-place finish this season and his viewing of the competition's pilots this past week.

"We go first [in announcing the fall schedule to advertisers] and we're in fourth," he said. "Unusual circumstances lead to these kinds of measures…. I think it would be a little foolhardy to say we're rushing in, let reality be damned. We're saying we believe in our new shows. Now that we've got the competitive landscape, let's realign the schedule now in the light of day to what makes the most sense."

The network had announced with much fanfare a new Thursday lineup that executives hoped would reinstate "Must-See TV."

Hit comedies "My Name Is Earl" and "The Office" will still launch the night. But Aaron Sorkin's behind-the-scenes look at a late-night sketch show, "Studio 60 on the Sunset Strip," is moving to Mondays at 10 p.m., a change that, sources said, was met favorably by Warner Bros. Television, which produces it. Reilly said that Sorkin is "relieved" by his new time slot.

"ER" will continue at 10 p.m. on Thursdays, except when it takes a hiatus in January so that Oscar winners Paul Haggis and Bobby Moresco can launch their drama, "The Black Donnellys," in the slot for 13 weeks.

Conceding that juggernauts "Grey's Anatomy" and CBS' "CSI: Crime Scene Investigation" are too monstrous to give any new show a chance, Reilly moved the game show "Deal or No Deal" against them at 9 p.m., pitting Dr. McDreamy (Patrick Dempsey) and Gil Grissom (William Petersen) against comic Howie Mandel.

"I'm Dr. McDealy," Mandel joked upon learning about his new time slot on Thursday. "Wow, you can't ask for a better vote of confidence to be on a network like this on Thursday nights. I trust NBC and Kevin because they knew what they had before I knew what I had."

The decision to launch "Studio 60" on Mondays after the 8 p.m. edition of "Deal or No Deal" and another new drama, "Heroes," pushed "Medium" out of the schedule entirely until midseason, after "Sunday Night Football" ends. Sources at Paramount Television, which produces the series, said the studio was pleased with the move because 22 episodes will air almost without interruption. The show's ratings have suffered this year because of its somewhat erratic schedule.

Reilly also made big changes to NBC's "Law & Order" franchise, moving the original to Fridays at 10 p.m. and running its two spinoffs, "Law & Order: Criminal Intent" and "Law & Order: SVU," back-to-back on Tuesday nights.

Asked how "Law & Order" executive producer Dick Wolf reacted to the scheduling changes, Reilly said, "We had a very pleasant conversation. He gets it. He likes the Tuesday play. We had openly discussed the idea of 'Law & Order' moving to Friday at some point anyway because he does believe that show could win on a Friday night and live there for a long time."

After viewing all of his competitors' new shows, Reilly said, he felt even better about his new drama-laden schedule.

"The challenge of doing a schedule is that you pull on one end of the string and the other end goes with it," he said. "Every one move creates two other ones. We are now making informed decisions, not decisions in a vacuum."

http://www.calendarlive.com/tv/cl-et-nbc26may26,0,1402480,print.story?coll=cl-tvent

The TV Column
'Idol' Finale: Awfully Irresistible (or Irresistibly Awful)

By Lisa de Moraes The Washington Post Staff Writer Friday, May 26, 2006; C07

More than 36 million viewers watched Fox's badtastic "American Idol" finale Wednesday night, in which Taylor Hicks was crowned winner of the singing competition.

That's the largest audience ever for an "Idol" mop-up night, and Fox's highest-rated night ever with entertainment programming.

More 18-to-49-year-olds watched the "Idol" finale than watched the Academy Awards in March. But for sheer train-wreck entertainment value, how can Jon Stewart dying in a room full of self-absorbed Hollywooders hope to compare with the sight of Mary J. Blige swatting away her duet partner, or Toni Braxton writhing like a cat in heat while singing "In the Ghetto" -- plus Prince?

Among viewers of all ages, only three broadcasts have clocked larger crowds this season: the Super Bowl (90.8 million viewers), the Oscars (38.9 million) and the post-Super Bowl episode of "Grey's Anatomy" (37.8 million).

The 8-10 p.m. finale outstripped the final night of the 2003 "Idol" competition, when Ruben Studdard edged out Clay Aiken, by about 2 million viewers. On both nights, the ratings spiked in the 9-10 p.m. hour and this year's crowd was about 3 million more than in '03.

* * * * * * * * * * * * * * * * * * * * * * * * * *

That new schedule NBC unveiled to advertisers last week? Never mind.

Yesterday, the day the stats came out showing the network had finished the season in fourth place, its head of programming held a phone news conference to announce it was making adjustments to that new schedule to pull Aaron Sorkin's new one-hour, "Studio 60 on the Sunset Strip," away from ABC's "Grey's Anatomy" on Thursday nights.

And since moving one show on the schedule is, NBC Entertainment chief Kevin Reilly noted, like pulling the end of a string, that one move has resulted in changes to five nights on his network's lineup.

NBC was the first network to announce its fall schedule and its biggest news was Sorkin's next drama series getting the Thursday 9 p.m. hour as part of a bid to return some of the luster to NBC's once-great Thursday slate. But when ABC announced its lineup the next day, it included the move of ratings magnet "Grey's Anatomy" from Sundays to Thursdays at 9.

In reaction, NBC has decided to relocate "Studio 60," Sorkin's take on "Saturday Night Live," to Mondays at 10, replacing psychic cop show "Medium." There it will face far less stiff competition: CBS's "CSI: Miami" and ABC's "What About Brian." (On Thursdays it also would have been pitted against CBS's formidable "CSI.")

Replacing "Studio 60" Thursdays at 9: game show "Deal or No Deal."

"Does this exactly fit the profile of what we've done historically or what I'd ideally like to do [on Thursdays] right now? No, but it's the reality of where we are," Reilly said of scheduling "Deal" in the middle of what had once been NBC's unstoppable Must See TV Thursday lineup.

"Medium," now gone from Monday, will be benched to air on Sundays after NFL football completes its season.

The change means NBC will have two new Monday dramas -- the other being 9 p.m.'s "Heroes" -- to promote on Sunday nights during football.

But NBC execs also had scheduled two new dramas for Tuesday that they intended to promote during Sunday football: "Friday Night Lights," about a high school football team, and "Kidnapped."

The suits decided that was one too many new dramas to promote during Sunday game play, so they've moved "Kidnapped" to Wednesday at 10, longtime home to "Law & Order."

"We needed to lighten up Tuesday," Reilly said.

"Law & Order: Criminal Intent" will be moved from Friday to Tuesday to fill the hole left by "Kidnapped." Wednesday's "Law & Order," displaced by "Kidnapped," is moving into that "L&O: CI" Friday 10 p.m. berth.

That means NBC will have two hours of "Law & Order" on Tuesday, including "L&O: Special Victims Unit" at 10.

"Frankly, on any schedule a show is the best lead-in to itself -- 'Lost' is a great lead-in to 'Lost,' " Reilly noted of the ABC program. The two "Law & Order" shows are different "but they're compatible and in some ways . . . an even more formidable block."

But wait, there's more.

With "Kidnapped" transplanted to 10 p.m. Wednesday, NBC brass rethought plans to air two new comedies that night at 9. Those comedies, Jon Lithgow's "20 Good Years" and "30 Rock," Tina Fey's take on "SNL," are flipflopping time slots with Wednesday's returning 8 p.m. weight-loss competition, "The Biggest Loser."

And "Deal's" Friday 8 p.m. hour will now belong to "Crossing Jordan," which was to be a midseason bench player.

The reason for these changes is simple, as explained by Reilly: "We go first. We're in fourth."

NBC has for some time been the first network to unveil its prime-time slate to advertisers during what is called Upfront Week because, after seeing the new lineups, advertisers buy time on programs up front. But NBC has fallen from first place to fourth and the fourth-place network has to counterprogram the stronger shows on other networks. Reilly had said last week that he might tinker with his lineup after seeing what the other networks announced later that week.

Yesterday, he did just that.

One reporter asked if he thought people would say his network looks desperate.

"I'd hope people would say we're smart, 'They got practical and looked at the competitors.' . . . We're saying we believe in our new shows, now that we've got the competitive landscape, let's realign with the schedule that now, in the light of day, seems to make the most sense."

http://www.washingtonpost.com/wp-dyn/content/article/2006/05/25/AR2006052502114_pf.html

Sports On TV
New 'MNF' team buckles up

By Michael Hiestand USA Today 5/26/2006

WASHINGTON — Watching the New York Giants play the Washington Redskins, Tony Kornheiser talked about Giant Jeremy Shockey's "jerk factor" and how good Giant Sammy Davis' near-interception was, given he has "only one eye."

A handful of ESPN higher-ups watched Kornheiser, Joe Theismann and Mike Tirico in their first rehearsals Wednesday for the ESPN's three-man booth for Monday NFL games, moving from ABC to ESPN next season. They used the studio of Pardon the Interruption to call a game taped last season. Kornheiser, co-host of ESPN's PTI but a raw rookie on games, made ESPN executive vice presidents John Skipper and John Walsh chortle in the control room. Producer Jay Rothman seemed thrilled: "It was scary good. Good enough to put on the air, right out of the box. We're ecstatic, to be honest."

That must come as a relief. ESPN, paying a record $1.1 billion annual rights fee, will lavish unprecedented hype on Monday nights by devoting its Monday daytime to shows from the game site — necessitating 16 production trucks, up from the normal four, and 400 workers, up from the usual 200. Yet, Rothman says, "We'll be judged on those three guys."

In rehearsal, Kornheiser gamely asked Theismann whether Shaquille O'Neal could be a scary defensive lineman. He later wisely deferred to the ex-quarterback's expertise: "It's critical for some of us to know the rules — meaning you."

Theismann saw "improvement" during the rehearsals — "Tony did a terrific job of being more judicious" — and Tirico said it was "probably an easier fit than I would ever have imagined."

Kornheiser was less gung-ho: "I'm not brought in here to broadcast a football game. They're going to broadcast a football game. What is it, exactly, that I'm doing?"

Rothman says the longtime newspaper writer and radio host should "provide an entertaining look from the outside in" for "a prime-time entertainment show with football as its centerpiece." One shouldn't read much into performances at the start of minicamp, but Kornheiser seemed promising, such as when he noted "a player's head spinning like The Exorcist."

Reaction to the new Monday night team probably will be predictable. Viewers liking TV football served up like a meatloaf that never varies will be disconcerted. The more discerning will appreciate attempts to be creative in a formulaic TV genre. But then, Dennis "That Hit Was Later Than Godot" Miller showed on Monday nights that originality hardly translates into job security.

ABC aims to keep Indy 500 viewers tracking action

Danica Patrick needn't win ABC's Indianapolis 500 Sunday to give the race itself a win — in TV terms.

The Indy 500, when it comes to TV ratings, seemed destined to be permanently eclipsed by NASCAR's Coca-Cola 600, which airs later the same day.

Ratings for the 600, airing on Fox, first passed the 500 in 2002, and the gap widened until Patrick's debut last year. What happened then: The NASCAR race drew its best-ever rating — 6.1% of U.S. TV households — but it wasn't that day's most-popular set of left turns. The 500 drew 6.5%.

Sunday, ABC will carry two prerace features on Patrick before the race, when it will also devote a camera crew to follow her everywhere.

And Sunday, ABC will unveil a wave of enhancements that, while used on other racing broadcasts, will be firsts for the 500. During national TV ads, split screens will allow viewers to continue seeing race action. Viewers can go to ESPN's online broadband service, or on the satellite-delivered Dish Network, to choose which of the six in-car camera views they'll watch. And ABC will have GPS tracking gear, showing viewers miles per hour and RPM, in every car. And new ESPN cellphones will offer Indy-themed "videoblogs," and condensed versions of coverage, after the race, will be available via Apple iTunes.

Then there's the 500 debut of retired NASCAR star Rusty Wallace, who's made it clear he's not just biding time calling open-wheel racing before he starts calling NASCAR action that ABC/ESPN will inherit from NBC next year. Says Wallace, "I'm here to build this sport."

And ABC's effort will include an unlikely reunion. Coordinating producers Jill Frederickson and Shawn Murphy, who'll oversee coverage, haven't worked together — but they were kindergarten classmates in Indianapolis.

Cuban might visit TNT crew to trade quips

TNT, on its weekend NBA Western Conference finals, might invite Dallas Mavericks owner Mark Cuban to drop by for an on-air chat with its on-site studio analysts.

If so, there might be entertaining bluster. But don't assume it's all that serious. Consider Cuban's reaction to TNT's home page after the Mavs had made the NBA's final four — it still featured players from last year's NBA final four. On his blog — blogmaverick.com — Cuban protested the omission while defiantly adding, "We don't care what the national media think."

The blog drew responses from angry fans feeling slighted by TNT. The problem, spokesman Jeff Pomeroy says, was that TNT was simply in the process of updating its home page. When he told Cuban that in an e-mail, Cuban e-mailed back: "That ruins all the fun speculation" — signing off with a smiley face.

By e-mail Thursday, Cuban says his blog shot at TNT "was tongue-in-cheek humor." And while he called TNT's studio analysts "idiots" earlier this season, Cuban sounded Thursday like he'd changed tack in his needling: "I haven't watched them in a long time, so I don't have an opinion."

Dome puts poker in new spotlight

Sunday, Fox Sports Net will debut TV poker that shows the studio audience and home viewers the players' cards.

That necessitates players being isolated so they can't get feedback or what their opponents are holding. So FSN built a "poker dome" in a Las Vegas casino for the new Poker Dome Challenge series. Inside, 30 cameras will focus on cards, and viewers will see players' heart rates as they play "speed poker" with 15-second shot clocks. They'll be surrounded by two-way mirrors. They can't see out, but the audience can look in. Says FSN executive vice president George Greenberg, "It's equivalent to a police interrogation room."

http://www.usatoday.com/sports/columnist/hiestand-tv/2006-05-26-hiestand-tv_x.htm

TV Notebook
NBC fall schedule gets big revamp

Long-running `Law & Order' goes to Fridays as part of major revision
By R.D. Heldenfels Akron Beacon Journal television writer Fri, May. 26, 2006

NBC has scrapped large portions of its fall 2006 schedule, notably by moving long-running drama Law & Order to Fridays.

When NBC announced its fall lineup less than two weeks ago, the network's competitors had not yet announced theirs. Having seen the other networks' plans, NBC made changes, NBC entertainment president Kevin Reilly said Thursday.

One had been expected. Studio 60 on the Sunset Strip, a new drama from West Wing creator Aaron Sorkin, was facing two buzz saws on Thursday nights at 9: CBS' CSI: Crime Scene Investigation and ABC's moving-into-the-fray Grey's Anatomy.

Studio 60 is now moving to 10 p.m. Mondays, and game-show hit Deal or No Deal will do battle in the 9 p.m. Thursday slot.

But NBC's announcement Thursday was even more shocking for the shakeups involving Law & Order.

The mother ship is leaving a time slot it has occupied most of the time since 1992, according to The Complete Directory to Prime Time Network and Cable TV Shows. It's also facing significant recasting, Reilly said. He did not offer details, but one character, played by Annie Parrisse, was killed off at the end of the just-concluded season.

The 10 p.m. Friday hour over the years has been home to Law & Order SVU, Trial by Jury and Conviction (which was a Law & Order in everything but name). And NBC planned to move Criminal Intent into the time slot in the fall. (Sundays, where Criminal Intent has usually aired, will be used for prime-time NFL football telecasts by NBC in the fall.)

Instead, NBC has opted for an L&O double-header, with Criminal Intent leading into SVU on Tuesdays.

Among other changes, which affect five nights in the fall and a sixth in mid-season, Medium will move to Sundays and be held back for a season premiere in January 2007, after football is over. Crossing Jordan, meanwhile, has moved from midseason status to the fall lineup.

Why all the changes? Because NBC has big ratings troubles. This season, it has again run fourth -- behind CBS, Fox and ABC -- with viewers as a whole and with its target audience of 18-to-49-year-olds.

Reilly said he remains confident about the network's new series. But he admitted that, after seeing other lineups, he created what he called ``NBC Schedule, Part 2.''

http://www.ohio.com/mld/ohio/entertainment/television/14672343.htm?template=contentModules/printstory.jsp

TV Notebook
The secret to 'Lost'? Don't think too hard

By Alan Sepinwall Newark Star-Ledger Friday, May 26, 2006

Say it with me one last time this season, "Lost" fans: They don't know where they're going with this, there is no master plan, nothing will ever be explained satisfactorily.

There. Feel better? Because once you recite that mantra and go into the Zen-like state of not wanting or needing answers, this is one of the most purely entertaining TV shows ever made, exemplified by Wednesday night's baffling yet riveting two-hour season finale. Major spoilers ahead, so if you're saving it for the holiday weekend, stop reading.

Producers Damon Lindelof and Carlton Cuse clearly learned a lesson from the uproar over last year's finale. I don't know that the season two finale revealed much more than last year's -- mainly we learned that pushing the button in the hatch really did prevent a disaster, and that Desmond's failure to do it once caused Oceanic 815 to crash -- but it created the illusion of revelation, and that's enough for most of the fanbase.

Thanks to clever use of the Internet and viral marketing, the producers have made "Lost" into the first TV show in history where the show itself is almost beside the point, there mainly to provide random cryptic clues (a black-light map of the island) and bizarre coincidences (Sayid's torture trainer worked with Desmond in the hatch!) that the fans can then spend thousands of hours debating and analyzing on various sister Web sites. (I wasted 20 minutes this morning applying for a job as an Art Therapist/Psychologist in Iceland on HansoCareers.com.) I expect that, when this particular shell game ends in a few years, Lindelof and Cuse will have to reveal that they have no idea what it all meant, but why spoil the fun now?

For the sake of those who still want to believe this is all leading somewhere that will make sense, a few speculative thoughts:

A quick Google search looking for figures of myth with four toes mostly turned up stories about dragons; could the foot of that crumbled statue have been a salute to Homer Simpson? Fred Flintstone?

One of the two Portugese chess players in the research station who may have located the island looked an awful lot like Matthew Fox with a prosthetic nose.

If Desmond is kaput, that's now three characters (Boone and Ana-Lucia were the others) who died at the end of their first flashback episode. And if Locke and especially Mr. Eko were killed in that explosion/electromagnetic pulse/whatever, I'm going to be very angry.

Jack and Kate shared a smile right before The Others put the hoods back over their heads. Might there have been a plan within the plan, or were they discovering a shared love of bondage?

Sending Michael and Walt away from the island forever solves the problem of how to hide Malcolm David Kelley's inevitable growth spurt within the show's compressed timeline, plus it makes room in the cast for Michael Emerson, who finally had his Keyser Soze moment when "Henry Gale" walked onto the dock.

In terms of crafting a coherent narrative, Lindelof and Cuse are miles out of their depth. In terms of creating riveting individual moments (Locke snatching Eko's Jesus stick right before the blast doors fall, Desmond sacrificing himself to save the world) or haunting images (the statue's foot, the pile of discarded pneumatic tubes), they are amazing.

"Lost" is a show that seems like it wants you to think deeply, but it's really best enjoyed if you turn your brain off and admire it scene by scene.

• • • • • • • • • • • • • • • • • • • • • • • • • •

Nevermind-NBC

You know that story I wrote last week about NBC's fall schedule? Burn it, crumple it up, shred it, use it for papier mache, whatever destructive method you like, because that story is as pointless as that schedule.

A week and a half after announcing his new lineup, NBC boss Kevin Reilly pulled a page from the Fox playbook and started over from scratch. There are changes on six out of seven nights, a half-dozen series airing on different nights than they were listed at last week, even one show being sent to midseason while another comes off the bench to replace it.

Working as quickly as possible, since for all I know this could change again in a half-hour, here's the new new NBC lineup.

Monday: "Deal or No Deal" and the new "Heroes" stay the same. The Aaron Sorkin-created "Studio 60 on the Sunset Strip" moves to 10 p.m. to get it away from the "Grey's Anatomy" / "CSI" combo on Thursdays at 9 -- which Reilly admitted in a press conference call was the falling domino that led to all the other changes.

Tuesday: The new "Friday Night Lights" is still at 8, and "Law & Order: SVU" is still at 10. In between is "Law & Order: Criminal Intent," which Reilly said he moved because he didn't want two new dramas on both Mondays and Tuesdays, and because "sometimes the best lead-in for a show is itself"

Wednesday: The new sitcoms "20 Good Years" and "30 Rock" move up an hour to 8, while "Biggest Loser" will now be at 9. "Kidnapped" gets bumped from the Tuesday schedule and takes the familiar "Law & Order" timeslot at 10.

Thursday: "My Name Is Earl" and "The Office" are still at 8, and "ER" at 10. To combat "CSI" and "Grey's," Reilly is bringing in another "Deal or No Deal," which goes against his whole plan of restoring NBC's Thursday tradition of quality. ("You have to be realistic," he said.)

Friday: "Crossing Jordan," which was going to be held until midseason, leads into "Las Vegas" and "Law & Order." Asked how his conversation with legendarily cranky producer Dick Wolf went, Reilly said, "Let's just say I didn't need my coffee yesterday morning."

Sunday: Still football in the autumn, with the now-benched "Medium" airing at 10 p.m. in January.

When a reporter on the call asked how unusual it was for a network to rip up its schedule this quickly, Reilly said, "It's unusual for us. We go first (in announcing our schedule), and we're in fourth (place in the ratings). Unusual circumstances lead to..." and before he could utter the phrase "desperate measures," he stopped himself and said, "these kinds of measures."

The reporter, not missing where Reilly was going, asked whether outsiders might look at these moves as desperate.

"I wouldn't say that at all," Reilly said. "I hope people would say, 'They were smart to look at what the competition was doing and adjust.'"

http://www.nj.com/columns/ledger/alltv/index.ssf?/base/columns-0/1148621112283100.xml&coll=1

Sports On TV
It's as Easy as A-B-C With Legendary Help

By Larry Stewart Los Angeles Times Staff Writer May 26, 2006

It's apparent that when Keith Jackson speaks, executives at ESPN and ABC Sports listen.

Jackson, before announcing his retirement a month ago, recommended that commentating partner Dan Fouts move over one chair and assume his play-by-play job.

That became a reality this week when ESPN and ABC Sports — they now operate under one umbrella — announced a number of changes among their college football announcers. One of those changes was pairing Fouts and Tim Brant as play-by-play announcer and commentator on ABC's West Coast college football package, which consists of mostly Pacific 10 Conference games.

"It's pretty good having a legend in your corner," Fouts said from his home in Sisters, Ore.

Fouts worked alongside Jackson for 1 1/2 seasons before being teamed with Al Michaels and Dennis Miller in the "Monday Night Football" booth for the 2000 and 2001 seasons. Fouts rejoined Jackson after ABC hired John Madden for "MNF" in 2002.

During Fouts' first season with Jackson, in 1998, the veteran broadcaster encouraged the former NFL star to start thinking about play-by-play. Jackson, tired of all the travel, was planning to retire. And he told Fouts, "It might be a good idea for you to think about taking my spot."

Not many former players have made the switch from commentating to play by play.

Pat Summerall and Frank Gifford did it, but early in their broadcasting careers. Fouts, a Hall of Fame San Diego Chargers quarterback who retired after the 1987 season, immediately went into broadcasting and has been mostly a commentator.

But Jackson knew Fouts could make the switch to play-by-play.

For one thing, it's in Fouts' genes. His father, Bob, did play-by-play for the San Francisco 49ers for 20 years. And Fouts himself has done some exhibition season television play-by-play for the Chargers and 49ers.

Jackson did retire after the 1998 season, but a few months later decided to come back after Howard Katz, then the president of ABC Sports, offered him a deal in which he would do West Coast games, thus reducing his travel time.

But his advice to Fouts stuck. When Fouts was reassigned to college football — and to be Jackson's partner again — his new contract stipulated that he be considered to take over Jackson's role.

Now Fouts, who benefited from having a legend in his corner, is now faced with replacing that legend. But if anyone can handle it, it's Fouts.

Other ABC-ESPN college football announcing changes include:

• Brent Musburger will be joined by commentators Kirk Herbstreit and Bob Davie on ABC's new Saturday series at 5 p.m. Herbstreit will continue his role on ESPN's "College Football GameDay" and working Thursday night games for ESPN. Herbstreit will work the Thursday night games with Chris Fowler, who takes over Mike Tirico's play-by-play role since Tirico is moving over to ESPN's "Monday Night Football" package.

• Commentator Paul Maguire, who formerly worked on ESPN's "Sunday Night Football," will join the team of Brad Nessler and Bob Griese. It was announced earlier that Mike Patrick, another "Sunday Night Football" alum, would be paired with Todd Blackledge, who returns to ESPN from CBS.

http://www.latimes.com/sports/printedition/la-sp-tvcol26may26,1,1621566,print.column?coll=la-headlines-pe-sports

Sports On TV
ABC, Where’s the Indy 500 in HD?

By Jay Posner San Diego Union-Tribune

It's time for the Indianapolis 500 to change its slogan.

How can it be “The Greatest Spectacle in Racing” if it's not televised in high definition?

(If you think I'm kidding, you've never seen HDTV.)

The guilty party in this case is ABC, which again will go with comparatively fuzzy standard definition for Sunday's race, beginning with “pregame” coverage at 12 noon ET (the race starts at 1 PM ET).

If there's one bit of good news, it's that ABC will use its “side-by-side” split screen for the first time at Indy; it allows viewers to see the race while also seeing and hearing commercials.

• No such HD problems for the NBA playoffs, which continue in that format on ESPN, ABC and TNT, hopefully for months to come, considering how entertaining this postseason has been.

All games in the West are on TNT, while the East is split between ESPN (games 3, 5 and 6) and ABC (4 and 7).

• One more bit of HD news: Beginning with this weekend's Senior PGA Championship, NBC will “present the majority of its golf” coverage in HD, including PGA Tour events, the U.S. Open and the Ryder Cup.

The Senior PGA airs from 12:30 PM ET until 3:30 PM ET tomorrow and Sunday.

http://www.signonsandiego.com/uniontrib/20060526/news_1s26media.html

The 2006-2007 Season
At NBC, exec tries to decide what to watch

By Phil Rosenthal Chicago Tribune Media Columnist May 26, 2006

While Steve McPherson, head of ABC Entertainment, danced the cha-cha at his network's fall schedule presentation to advertisers last week, Kevin Reilly, his counterpart at NBC and former fraternity buddy at Cornell, saved his shuffling for this week.

That new fall prime-time NBC schedule Reilly rolled out as if it were a prized tapestry amid much pomp and ceremony at Radio City Music Hall? Unraveled, then rewoven.

"The challenge of doing a schedule is you pull on one end of the string, the other end comes with it. Every one move creates two other ones," NBC Entertainment President Reilly told reporters Thursday, unceremoniously announcing a new slate for the fourth-place network.

When Fox was struggling in the pre-"American Idol" days it was infamous for announcing schedules in the spring that bore little resemblance to what actually ran. It was industry sport to guess which Fox show would never air.

But this is some kind of record. Though we won't know till fall whether Reilly's new NBC schedule is a tapestry or a throw rug--one's admired and hung on a wall; the other is walked over and routinely beaten--advertisers will place their bets soon.

In NBC's defense, it presents its schedule to buyers first, which was never a problem when it was in first place. But with swagger replaced by a stagger, it now has to react to what other networks schedule against it.

It was one thing when auteur Aaron Sorkin's new "Studio 60 on the Sunset Strip" was up against CBS' high-rated "CSI: Crime Scene Investigation" at 8 p.m. Thursdays. Different kind of shows. Different audiences.

But within hours of Reilly announcing that gambit, McPherson threw "Grey's Anatomy" into the time slot. NBC was banking on "Grey's" going to Monday and realized the audiences for it and "Studio 60" would be virtually identical, assuming "Studio 60" finds an audience, which it wouldn't.

If, as rumored, Reilly is on the hot seat at NBC, his fate riding on this schedule, he risked blistering.

So he moved "Studio 60" to Monday at 9 p.m., and shelved "Medium" until midseason. Even though it wouldn't seem to be as smooth a lead-in to "Studio 60" as "Medium" or "Crossing Jordan" would be, Reilly curiously kept the new people-with-superpowers show, "Heroes" in the 8 p.m. slot.

That created another problem. Reilly didn't think he could effectively promote four new dramas on the first two days of the week and had been wrong when he bet Fox would move its Tuesday hit "House" to 7 p.m. That meant moving "Kidnapped" from its Tuesday pairing with "Friday Night Lights."

NBC now will follow the high school football drama with "Law & Order: Criminal Intent" and "Law & Order: SVU." "Kidnapped" goes to Wednesdays at 9 p.m., which used to be home to "Law & Order," now moving to 9 p.m. Fridays.

You following this?

The new number comedies, "30 Rock" and "20 Good Years," shift from the 8 p.m. hour to 7 p.m. on Wednesdays. The second weekly edition of "Deal or No Deal," which was going to run Fridays, takes the erstwhile "Studio 60" slot on Thursdays. And "Crossing Jordan," which was to be held for midseason, now leads Fridays.

"It's not unusual to have plenty of tweaking, but this is ... unusual for us," Reilly said. "We go first. We're in fourth. Unusual circumstances lead to"--pause--"these kind of measures."

A lot of people would finish that sentence with "desperate measures."

Not Reilly.

"I wouldn't say that at all," he said. "If you use logic, you say: `They announced first. They were in the dark. I would hope people would say they were smart and got practical and they looked at the competitors and made their judgment.' ... We're saying we believe in our new shows. ... I have watched all the competitive product. We are now making informed decisions, not decisions in a vacuum."

Reilly admitted he moved some power hitters to 9 p.m., after Fox signs off, for a three-way race instead of four. He also conceded that voluble "Law & Order" impresario Dick Wolf gave him an earful.

"Let's just say I didn't need my coffee yesterday morning," Reilly said.

And he doesn't plan to lose sleep over the fact "Deal or No Deal," a quiz show without a quiz, is now in the centerpiece of Thursday's lineup long ago touted as "Must See TV."

"Does it exactly fit the profile of the stuff we've done historically or exactly fit what I would ideally like to do right now or would be doing in the future? No," Reilly said. "But you know what? It's the reality of where we are."

That's fourth place, on the spot and dancing as fast as they can.

http://www.chicagotribune.com/business/columnists/chi-0605260207may26,0,6646754.column

The 2006-2007 Season
Looking at this Season – And Next

Primetime wrap-up: Big Four stake out battlegrounds after 2005-06 demo race squeaker.
By Andrew Wallenstein The Hollywood Reporter May 26, 2007

In a season as competitive as 2005-06, every time slot counted in the primetime ratings race. The 2006-07 season will be no exception.

The competition for the biggest audience in the key demographic of adults 18-49 has come down to the wire in recent years, with Fox, CBS, ABC and NBC often separated by less than a ratings point.

"Given the strength of our competitors, there's no good night on TV to schedule," Fox Broadcasting Co. president of entertainment Peter Liguori said. "Every night of the week there's a daunting piece of programming you don't want to go up against."

So consider each half-hour on the primetime grid a trench where the Big Four and the nascent CW go to war. And like any battleground, there are several hot spots worth noting where the combat could get intense, based on how the broadcast networks performed in the season that concluded Wednesday and the scheduling moves announced last week for the 2006-07 campaign.

10 p.m. Sunday

There may not be a time slot on the schedule that will undergo more dramatic change than this one. All three players -- CBS, NBC and ABC (Fox and CW do not program the 10 p.m. hour) are making big shifts.

NBC set the stage early with its blockbuster deal to bring NFL football to the night, replacing an entire night where it was running fourth among the broadcasters with a 3.4 average rating in adults 18-49, which marked a 16% drop from the 2004-05 season. Its 10 p.m. entry, "Crossing Jordan," with an average 3.3 rating/8 share in adults 18-49, actually did respectably in that time slot given stiff competition but will now become a midseason player.

With "Desperate Housewives" ranking as the highest-rated scripted series in 18-49 (9.3/20), ABC is betting that it can move the equally hot "Grey's Anatomy" (8.9/21) to Thursday and launch a new series, "Brothers & Sisters," in its place. With top female actresses Calista Flockhart and Rachel Griffiths in the cast, "Brothers" could fill in nicely on the night.

"We feel that 'Desperate' is getting stronger than ever and can help launch some new shows there," ABC Entertainment president Stephen McPherson said at a pre-upfront news conference this month.

But CBS also is trying something radical Sunday, removing its lagging "CBS Sunday Night Movie" franchise (2.7/6) for the first time in 21 years and stacking "Cold Case" in its place with Thursday transplant "Without a Trace" (5.8/15) "Trace" was strong enough to wear down NBC's "ER" (5.2/14) on Thursday, and CBS hopes it will rebound sharply on the night.

"There's going to be an opportunity for growth," CBS Corp. president and CEO Leslie Moonves said in a pre-upfront news conference. "It's a night we're going to be up considerably."

Football allows NBC to be an instant player on the night, particularly among the men ABC's female-skewing series aren't serving. It also takes the pressure off them to figure out the rest of its schedule and concentrate its programming efforts to just five nights.

8 p.m. Thursday

Once the cradle of power for NBC's 20-year reign of the night, the hour is becoming a free-for-all. CBS still has a firm lead for the whole night in 18-49, with a 6.4 rating well ahead of second-place NBC (4.5). But CBS also is down on the night from the previous season by 9%, and its 8 p.m. warhorse "Survivor" is a big reason why.

The island-based reality series is still the envy of any schedule, averaging a 6.2/19 over its two cycles in the 2005-06 season. But that average is down 19% from the previous season, and the show has ticked down steadily over its last three cycles, with 2004-05's "Survivor: Palau" registering a 7.7/21 compared with the most recent, "Panama," at 5.8/16.

" 'Survivor' is still a top 18-49 performer," CBS executive vp programming planning Kelly Kahl said. "It's got plenty of kick left."

NBC and ABC started the season at 8 p.m. with poor performers -- "Joey" and "Alias," respectively -- but soon switched in more competent competitors, "Dancing With the Stars," which returned in fine form averaging a 5.0/13, and "Will & Grace" (3.6/10). Lagging more so was Fox, with a combination of "The O.C." (2.6/7) and "That '70s Show" (2.7/8).

Despite considerable preseason buzz, UPN's "Everybody Hates Chris" (1.7/5) finished out its first season with lukewarm numbers, while WB Network impressed with the resilience of "Smallville" (2.0/6), which moved from Wednesday. ("Smallville" and "O.C." did better in 18-34, the former strong among males.)

Heading into 2006-07, Thursday at 8 p.m. is only going to get more heated. While CBS is standing firm with "Survivor," pledging two more cycles, NBC may mount a challenge by taking its strongest comedies, "My Name Is Earl" (4.9/12) and "The Office" (4.0/10), into the hour.

Interestingly, ABC chose to move "Dancing" to Tuesday and experiment with a new comedy block in the hour, "Big Day" and "Notes From the Underbelly." Fox has a fresh comedy block of its own, placing its biggest bet in the genre, " 'Til Death," starring "Everybody Loves Raymond" star Brad Garrett, along with "Happy Hour."

"When I look at Thursday night and realize fully we're going up against an hour of comedy on ABC and NBC, our bet is twofold," Liguori said. "We have tremendous faith in these shows, and secondly, with ' 'Til Death' we have a tried-and-true comedy star at the center of it."

"Hour," "Day" and "Underbelly" all feature ensemble casts of attractive urban thirtysomethings, a nod to a similar show that once notched massive numbers Thursday at 8 p.m.: NBC's "Friends."

"I think everyone is looking for that big, breakout comedy hit," Kahl said. "It's going to be a genre-defying show that stands out from the crowd and breaks the mold that will really makes itself heard."

The CW knows a good thing while it has it, keeping WB's "Smallville" (2.0/6) in place.

9 p.m. Monday

Television's most popular comedy, "Two and a Half Men" (5.0/12), went through more companions than its lothario character played by Charlie Sheen before settling on "The New Adventures of Old Christine" (4.1/9) in the 9:30 p.m. slot. As comedy blocks go, it's relatively strong, but CBS is still not as powerful on the night as it was the previous season with "Everybody Loves Raymond" at 9 p.m.

With CBS' addition of the well-regarded "The Class" at 8:30 p.m., Liguori notes the night won't get any easier. "CBS' comedies have really stood out this year, and with 'The Class,' I don't think its easy launching any new show in this environment," he said.

"We've got the only four-stack of comedies on television and that's saying something," Kahl said. "This is a destination night for the genre, and 'Two and a Half Men' is the centerpiece."

But this is a time slot that has proved that the success of one show doesn't negate that of others. Both Fox and ABC are healthy at 9 p.m. as well with "24" (5.7/13) and "The Bachelor" (4.2/10), respectively, coming in strong in the midseason. "Bachelor" was particularly surprising given that the franchise had been in decline in recent seasons.

"Bachelor" will be put to the test in 2006-07 when it kicks off a new season from Rome in the fall, but it could have more room to breathe if new Fox drama "Vanished" doesn't hang on to the audience from its lead-in, "Prison Break" (4.1/10). Once "24" (5.7/13) comes back in January, it will make it harder on everyone.

When "Bachelor" finishes its cycle, ABC will return "Supernanny," another reality series, in its place.

Also stepping into the fray is another new NBC drama, "Heroes" -- one of the few series that escaped NBC's aggressive post-upfront reshuffling of its schedule. The network is putting a lot of promotional power behind this rookie, which could help, as could marketing exposure the previous night in Sunday football. "We've got new shows clustered early in the week to capitalize on that," NBC Entertainment president Kevin Reilly said at a pre-upfront news conference.

Over at the CW, new drama "Runaway" could make a dent if it could figure out somehow how to hold on to what may be the network's biggest draw if WB/UPN history means anything, "7th Heaven."

http://www.hollywoodreporter.com/thr/television/feature_display.jsp?vnu_content_id=1002576396

The Business of Television
Less fear factor over DVR growth


New inclusive ratings show devices boost new viewership
By Cynthia Littleton The Hollywood Reporter May 26, 2006

Among network television number-crunchers, the 2005-06 campaign will go down in the Nielsen annals as the season that broadcasters began to tame the digital video recorder beast.

Nielsen Media Research began incorporating DVR viewing into its national PeopleMeter primetime ratings data in late December (HR 12/22).

After years of dire predictions that DVRs would bring about the death of network television and the demise of the 30-second commercial spot, the new DVR-inclusive ratings have gone a long way toward demystifying how DVRs are changing the way people watch television.

"The bottom line is that DVRs add to the viewership of the (broadcast) networks and their top programs," says David Poltrack, chief research officer of CBS Corp. and president of its CBS Vision research division. "DVRs add value to network programming, which is quite the reverse of the popular wisdom" that emerged when the devices were introduced about six years ago, he says.

Melva Benoit, Fox Broadcasting Co.'s senior vp research and marketing, says DVRs encourage more viewing by allowing viewers to be more "efficient" when networks force them to choose between favorite shows. For example, Fox this month saw a noticeable spike from DVR sources in the hourlong "That '70s Show" series finale because it went up against NBC's two-hour farewell to "Will & Grace."

"We're seeing a lot of use when there's real competition in a time slot. DVR homes get to make a decision on what they want to watch live and what to watch delayed," Benoit says.

The majority of DVR playback viewing is done within one or two days of the recording, and more than 75% of the programs viewed are broadcast network primetime programs, Poltrack says. The numbers show that the inclusion of DVR viewing sources into national ratings can add as much as 5% to the ratings for a major hit series a la CBS' "CSI: Crime Scene Investigation."

"Most of the people who are watching 'CSI' on playback are people who can't watch it on Thursday night," Poltrack says. "They are not people who've decided they want to watch it on playback instead of watching it live."

According to Nielsen estimates, DVRs have taken root during the past five years in about 9%-10% of the nation's 110.2 million television households. Nielsen projects DVR ownership will grow to 18% of TV households by year's end.

At present, about 400-600 DVR homes are included in Nielsen's overall national PeopleMeter sample of about 10,000 homes. As Nielsen adds DVR homes to the sample to bring it in line with the growing real-world penetration estimates, Poltrack expects to see even greater ratings gains for broadcast TV's biggest hits because DVR users tend to be such avid TV watchers.

"Clearly the DVR is going to shift viewing significantly in favor of broadcast TV as it grows," Poltrack surmises. "When you've got three top 30 shows all competing against each other at 9 o'clock on a Wednesday night, if people get a chance to move their TV around in a nonlinear way, a lot of people are going to choose to watch more than one of those shows."

After incorporating DVR viewing sources to its national ratings mix, Nielsen now issues its daily primetime ratings reports in two new formats. "Live plus Same Day" includes DVR playback of programs viewed before 3 a.m. the next day; "Live plus 7 Day" includes playback viewing that occurs up to a week later. The question of whether networks will be able to sell ad time based on seven-day ratings or same-day ratings is sure to be the source of heated negotiations between networks and advertisers in the coming weeks.

In preparation for the annual frenzy of advance advertising sales for the upcoming fall season, the Big Four networks recently commissioned a study that took aim at the fear sown among advertisers by the commercial-skipping function on most DVRs. The online survey of 2,000 adults conducted in March by research firm Millward Brown found "no difference" in ad recall or ad recognition among DVR users versus other viewers.

"There's going to have to be an interim solution or compromise reached in the negotiations for this upfront (sales period) and a permanent solution devised for the next upfront," Poltrack says. "Everybody agrees that we still don't have a full national sample (of DVR homes) or enough experience with this data to set up sound analytical procedures yet."

http://www.hollywoodreporter.com/thr/television/feature_display.jsp?vnu_content_id=1002576395

The Business of Television
Murdoch's Tech Offensive

BusinessWeek.com June 5, 2006

The NDS Group a collection of former code-breakers, scientists, and even a few ex-spy chasers, could be one of those shadowy outfits that help Jack Bauer battle bad guys on Fox Broadcasting's hit show 24. But NDS is no creation of a conspiracy-obsessed Hollywood writer. It's what Rupert Murdoch, chairman of Fox parent News Corp., is betting on to help make him the most powerful player in the TV world.

In the media industry's version of the arms race, no one is better equipped. News Corp. owns 76% of the onetime Israeli company that comes up with tech wizardry like "smart codes," which are programmed with complex algorithms that keep TV beamed from Murdoch's global fleet of satellites from getting into the hands of pirates. Now NDS's brainiacs are cooking up a jam-packed set-top box for News Corp.'s U.S. satellite service, DirecTV. The boxes will let viewers assemble their own shows from snippets of different programs, change camera angles for sports events, even stream some Internet programs from the Web onto their TVs. "Rupert sees technology as a weapon," says NDS CEO Abe Peled, a former Israeli platoon commander and top IBM scientist.

Satellite can't yet compete in data and phone, given its one-way service from the skies downward. But NDS is providing plenty of bells and whistles, including a service that boosted DirecTV subscriber counts by offering several games simultaneously on the screen during March Madness. Its "hybrid" DVR will use DSL to offer Internet on the TV screen. And in a lab in Costa Mesa, Calif., researchers are readying other services: a feature that lets viewers record programs by simply clicking on the network TV promo and another that streams content from News Corp.'s newly acquired IGN Internet game site. Further down the road is a wireless Net technology that will enable video-on-demand for mobile devices.

MURDOCH NEEDS TO MOVE even faster. Cable has its own digital skunk works: At Time Warner, a smallish unit in Westminster, Colo., code-named The Maestro Group, helped create a service that lets viewers restart shows that have already begun. Time Warner is also making available more hours of video-on-demand than DirecTV can. "NDS is Rupert's way of trying to do the best he can with a basically inferior product," says Peter Stern, Time Warner Cable's executive vice-president for product management.

Technology hasn't always been Murdoch's friend. His company took a $6 billion write-down and suffered the humiliation of taking control of Gemstar-TV Guide International just before its CEO, Henry Yuen, resigned and was later found liable for accounting irregularities. Gemstar paid $10 million to settle a civil suit related to those allegations in 2004.

And as smart as Murdoch's NDS investment looks today, the company hasn't always been a picnic. In the early 1990s, one of Murdoch's partners in the venture, Israeli-American businessman Michael Clinger, was accused by Murdoch of overcharging the company for smart cards made by an associate. While Clinger has denied the charges, News Corp. did win a $47 million civil judgment in 1998 related to the allegations. The company says it can't find Clinger. Later, French satellite company Canal+ Group sued, alleging that NDS used a hacker to break the code on Canal+'s competing smart cards and publicized the code on the Internet. Canal+ later withdrew the suit as part of a business transaction, and Peled says NDS is no longer looking for Clinger: "Last we heard, he was in Cuba, and we don't think he has any money."

Since taking control of DirecTV in 2003, Murdoch's mission has been to lure subscribers from cable by slashing prices, giving away set-top boxes, and paying big for ads. Now comes the second wave: a technology offensive. During a recent stroll through NDS's Costa Mesa facility, the 75-year-old proudly reviewed his arsenal. "We expect NDS to build up new offerings and to improve DirecTV's market share," he said with a crocodile grin. Translation: The war for viewers is about to escalate.

http://www.businessweek.com/magazine/content/06_23/b3987019.htm

The fight over a la carte
Minority Nets Pan A La Carte

By John Eggerton Broadcasting & Cable 5/26/2006

With Senator John McCain (R-Ariz.) apparently finally introducing a bill to encourage cable companies to provide à la carte service, some minority-targetted cable channels were looking to head off the effort in an appeal to Senate Commerce Committee Co-chairmen Ted Stevens (R-Alaska) and Daniel Inouye (D-Hawaii).
And they were't beating around the bush. "Those who promote diversity in today's media marketplace would do it a fatal disservice by supporting à la carte requirements.

Citing GAO and other studies that have found a per-channel cable scheme would offer "no benefit to the vast majority of consumers" and an FCC report that it would "likely diminish diversity and minority-interest programming," they argued that networks like theirs would never even have been launched in an à la carte world.

Those networks included Black Entertainment Television, ESPN Desportes, Fox Sports en Espanol, TV One, and The Africa Channel.

McCain has been telegraphing the bill for months.

At a February Senate Commerce Committee hearing on video franchising, he promised to introduce the bill encouraging à la carte cable offerings.

After again laying into the cable industry over rising rates and saying consumers have few competitive options, McCain said he planned to introduce a bill that would free new cable competitors from local franchising regs if they, in turn, would agree to offer their video channels à la carte.

The cable industry argues that à la carte will wreak havoc with cable's business model, including supporting the niche channels that benefit from being packaged with anchor networks.

That McCain bill is just one of a growing legion of bills related to streamlining the video franchising process, which is meant to encourage broadband rollout and price and service competition to cable.

The House and Senate commerce Commitee versions of a rewrite of the Telecommunications Act of 1996 have been joined by a growing number of bills dealing with video franchising and the related issue of network neutrality. McCain's is yet another in that legion.

McCain's goal is at least twofold: to lower cable bills and to give parents more control over cable indecency, which is beyond the reach of the FCC.

"Law&Order faces major recasting"??

The changes we've known about for a while:
1) Annie Parisse (ADA Alexandra Borgia) out (character brutally beaten and murdered)
2) Mariska Hargitay (Det. Olivia Benson, SVU) taking maternity leave (6 episode replacement)

The changes that were unexpected:
1) Jamey Sheridan (Capt. Deakins, CI) out (resigned in the face of the Logan shooting of an undercover cop, even though Logan was cleared by IAB)

That's only three. Are there others that we haven't been told about yet?
Any announcement on who replaces Annie Parisse and Jamey Sheridan?

Speculation follows: Like maybe, S. Epatha Merkerson (Lt. Anita Van Buren) moving over to CI (and FINALLY getting that long overdue promotion that's been bogged down in the "old boys" network!), taking over Major Case Squad and reuniting with Chris Noth's Mike Logan character.

There are apparently several more replacements on the Law & Order mothership.

And, reports say, we'll start learning about them soon.

Thursday’s prime-time ratings – and Media Week Analyst Marc Berman’s view of what they mean -- have been posted at the top of Ratings News the first post in this thread.

There are apparently several more replacements on the Law & Order mothership.

And, reports say, we'll start learning about them soon.

Let's just hope they're not in the vein of "Ray Romano joins the cast of Law&Order as Detective Gank Yew; wackiness at the 27th Precinct ensues".

Gank Yew? You're Gelcome!! (sorry, for some reason, I was channeling the robot from Quark. Whew! Sanity has now returned...)

The 2005-2005 Season
CBS, Fox Glide to Ratings Victory

By Marc Berman’s Mediaweek.com ) MAY 26, 2006 -

Based on ratings from Sept. 19, 2005 through May 24, 2006, CBS and Fox ended the “traditional” television season in winning fashion. CBS won its fourth consecutive season in total viewers, and third in a row among adults 25-54 despite minor year-to-year erosion.

Fox was No. 1 among adults 18-49 for the second straight year, with another victory among adults 18-34 -- it’s seventh in the last eight years. Comparatively, CBS was down by margins of 2 to 10 percent in the five surveyed categories, while Fox was flat among adults 18-49, and up by single-digits elsewhere.

Once the home to primarily older viewers only, CBS finished a competitive third among adults 18-49, just three-tenths of a rating point (or seven percent) below Fox. Second in the demo was ABC, with growth year-to-year of 8 percent. ABC also ranked second in households, total viewers, adults 25-54, and adults 18-34, with single-digit across-the-board growth. ABC’s success, of course, is a reflection of the ongoing success of Desperate Housewives, Grey’s Anatomy, Lost, Extreme Makeover: Home Edition and sleeper hit Dancing With the Stars.

Over at NBC, the news was not positive, with the once home of “must see” TV finishing third in households and adults 18-34 (tied with CBS in the demo), and fourth elsewhere. Year-to-year, NBC posted losses of as much as 10 percent.

In their final seasons, UPN and the WB both remained on the downside, sharing the No. 5 and 6 spots. UPN losses were 7 to 9 percent (with no change among adults 18-34), while the WB was similar at 5 to 7 percent.

What follows are the final ratings in the 2005-06 traditional season (with change versus the comparable year-ago period in parentheses):

Households:
CBS: 8.2 rating/13 share (- 2)
ABC: 6.9/11 (+ 6)
NBC: 6.4/10 (- 2)
Fox: 6.2/10 (+ 2)
WB: 2.1/ 3 (- 5)
UPN: 2.1/ 3 (- 9),

Total Viewers:
CBS: 12.60 million (- 2)
ABC: 10.80 (+ 7)
Fox: 10.10 (+ 1)
NBC: 9.72 (- 1)
WB: 3.12 (- 7)
UPN: 3.11 (- 7)

Adults 18-49:
Fox: 4.1/11 (no change)
ABC: 4.0/11 (+ 8)
CBS: 3.8/10 (- 5)
NBC: 3.3/ 9 (- 6)
UPN 1.3/ 3 (- 7)
WB: 1.3/ 3 (- 7)

Adults 18-34:
Fox: 3.9/12 (+ 3)
ABC: 3.2/10 (+ 7)
CBS 2.6/8 (-10)
NBC: 2.6/ 8 (-10)
UPN: 1.4/ 4 (no change)
WB: 1.4/ 4 (- 7)

Adults 25-54:
CBS: 4.8/12 (- 2)
ABC: 4.6/11 (+ 7)
Fox: 4.4/11 (+ 2)
NBC: 3.9/10 (- 7)
WB: 1.3/ 3 (- 7)
UPN: 1.2/ 3 -14)

• Source: Nielsen Media Research data

TV Notebook
Galactica Exec Spills Season 3 Secrets!

The Ausiello Report
By Michael Ausiello TVGuide.com

I don't know about you guys, but there's nothing more torturous than the downtime between Battlestar Galactica seasons.

This latest break has been particularly agonizing, due in large part to the sheer length of it.

When Season 3 launches in October, we will have endured a six-month Cylon drought. Talk about cruel and frakkin' unusual punishment.

Luckily, I've discovered the perfect cure for our separation anxiety: a major dose of scoop courtesy of David Eick!

Here's my long-promised Q&A with the Battlestar exec, featuring exclusive prattle on this season's big death, the new mystery man from Adama's past and Apollo's new (and not-so-improved) physique.

Ausiello: We need some scoop to tide us over until October.

David Eick: It's always a tightrope walk, isn't it? I'm trying to think in terms of what is adequately titillating without blowing our wad or giving away too much. I can tell you that the character of Lee is going to be battling an emotional crisis that's manifesting itself in a change in his physique, which is something I think many Americans, unfortunately, can relate to. I'm certainly one of them.

Ausiello: You mean he's going to gain more weight?

David Eick: He had put on some weight at the end of last season and I think we're going to see that idea maintained and we're going to see what the character does about it.

Ausiello: Is he going to get bigger?

David Eick: (Laughs) No.

Ausiello: OK, 'cause that might cause some fans to riot.

David Eick: I know. Also, the big surprise is the fact that a very central character will no longer be with us by the end of the third episode.

Ausiello: Was this a creative decision or did this actor or actress ask to leave?

David Eick: It's always motivated [by story] — so far anyway. We've been very blessed on this show. We have an incredibly professional and exceedingly well behaved cast and we haven't had any situations emerge where we needed to think about making changes in the cast because of the cast. It always emerges from stories. At the end of the day, this is a war show and there are casualties. And I think in order to continue to be honest about that and how we pursue the storytelling, sometimes that's going to mean the people we have come to know and love are no longer going to be with us. We can't just see Vancouver day players and extras get killed in the background. Sometimes it's got to hit us where we live.

Ausiello: Are you taking any precautions to ensure that the victim's identity doesn't leak out?

David Eick: Always. There will be severe ramifications if the secret is leaked.

Ausiello: OK, give me another big scoop, please.

David Eick: I think it's going to be very interesting for the audience to finally get a sense of how the Cylon culture operates from within their base ship, their answer to the Galactica. We've seen the base ships from the outside going back to the miniseries and we've seen how formidable they are, but we've never been inside one. And I think the biggest surprise for the audience is going to be how very different and completely un-humanlike the method of operating a base ship is. The very idea that Cylon technology is all about organic life and mechanistic life cohabitating is taken to the next step in the Cylon base ships. They really are, in a variety of ways, living beings themselves.

Ausiello: Will this be in a particular episode or spread throughout the season?

David Eick: We'll begin to introduce that concept in Episode 4 and it will remain a constant from that point on.

Ausiello: Fans are buzzing that the one-year jump may have all been in Baltar's head. Care to comment?

David Eick: False.

Ausiello: Will flashbacks show us what transpired during that year?

David Eick: There will be opportunities in future episodes to review and, in some cases, actually see events that took place on New Caprica during the intervening year.

Ausiello: Will the new season pick up exactly where last season left off?

David Eick: It will not. There's a bit of a lapse between the final moments of Episode 20 and the beginning of Season 3, but only to advance certain storylines to a breaking point, not to deprive the audience of any more of the storytelling history that I know they will be clamoring for.

Ausiello: Are we talking hours, days, weeks....

David Eick: A couple months.

Ausiello: The thing I wanted to know more than anything at the end of last season was why the Cylons went back on their word. Will that be revealed early on?

David Eick: It's discussed that they saw that there was a light from the nuclear blast that functioned as something of a signal to them. But what we're going to find is that they're not really going back on their word to the extent that they're intent is — technically, anyway — peaceful coexistence with the human populous. There's a natural and inherent enmity between these two cultures and we're going to see how that snowballs once again. It's not really about them violating any kind of truce, because they're presence on the planet is merely a defensive position as far as they're concerned at the beginning. It's to ensure that they aren't attacked again.

Ausiello: Who came looking for Starbuck in her tent? Or was that something we were supposed to know? I certainly didn't recognize him.

David Eick: I think some people in the audience who are savvy about the show going back to its first season [knew] that that was Leoben, with whom Kara Thrace had something of a deep connection.

Ausiello: In the opening title sequence, it says the Cylons "have a plan." Are they still pursuing this original plan, or has it been revised?

David Eick: I don't think the plan has been revised. I think because the human beings have proven themselves to be more unpredictable and more tenacious than the Cylons anticipated, there are changes in their plan to deal with those unanticipated situations. But there is not a fundamental shift in their plan.

Ausiello: Any romantic developments coming for Apollo and Starbuck?

David Eick: Apollo and Starbuck are always going to have a very unusual relationship. It's never going to be as simple as an unrequited love. It's never going to be as platonic as brother and sister. It's never going to be [just] professional. It's never going to be two people who like to screw and then go back to work. It's all of the above and none of the above. It's just not a simple relationship, and I think in that way it's much closer to a lot of male-female relationships that remain mysterious for years and are never entirely resolved to be one thing or the other. I think there's always a bit of murkiness about that. And we intend to continue to investigate that timeless male-female dynamic.

Ausiello: How does her new hubby Sam fit into all this?
v They will experience some of the difficulties that newlyweds will recognize as being pretty consistent with the kinds of problems that people who are struggling with a young marriage are dealing with.

Ausiello: A lot of fans like the Apollo-Roslin dynamic. Will that be explored more?

David Eick: Yes. You're going to see a newfound trust between them. And you're also going to see that there are many ways in which Laura continues to turn to Lee when she's unable to get answers from Adama.

Ausiello: Will we get a specific answer regarding what exactly Caprica Six in Baltar's head is?

David Eick: No. (Laughs) Because I think there's not a definitive answer to it.

Ausiello: Just curious: What did Baltar call her on Caprica? She must've had a real name.

David Eick: We always liked the idea that Baltar was a man of many tastes and that there's every likelihood that he never knew her name.

Ausiello: Will Sharon's baby have a rapidly-aging gene?

David Eick: There may be physiological differences that make this child different than a human child, but we have not defined any of those yet and it will not include a rapid-growth hormone.

Ausiello: Any new characters this season?

David Eick: There's a new character that we'll introduce in Episode 7, which I am in the middle of writing now. It will be a character that Adama knew from before the attacks. He's a contemporary of Adama's and Tigh's who arrives on the Galactica with a very dark secret about something Adama did in the past. It's a really juicy role for a new actor.

Ausiello: What's the latest on the Caprica spin-off?

David Eick: It's in the very earliest embryonic stages. We're now working on the outline with Remi Aubuchon, who's the writer. We're going to be submitting the document to the network in the next week or so.

Ausiello: Fans are worried that your attention will be pulled away from the original and it'll suffer.

David Eick: I think the difference this time is that we have a partner in Remi, who's going to be taking the lead with the new project. And the new project, at this point, is in the very earliest stages. Ron [Moore] and I [aren't] approaching Caprica like we approached Galactica, which is to say it was just the two of us. We're deeply involved with Caprica, and we're very enthusiastic and thrilled with the opportunity, but when it comes to the detail work of pounding out the script, there's a third partner involved who's at the helm. And that I think is the job that tends to be the one that creates the distractions and dilutes a person's attention and focus. So in this particular case we don't have that problem.

Ausiello: Has Sci Fi ordered a pilot or is it just a script?

David Eick: Right now it's a script. We'll probably know if it's a pilot around July.

Ausiello: Do you have any specific Emmy strategy in place this year for Battlestar?

David Eick: We've been pretty fortunate in that the network has been incredibly aggressive and deeply committed to getting the word out about the show to the Academy. They've put together a set of DVDs with packaging that emphasizes the critical response to the show and it de-emphasizes the science fiction nature of the show, which is an honest presentation because the show really is a drama first before it's a sci-fi drama. I think we're always going to be an underdog because of the title and because of the genre. If we can get past that and the people who vote on these things actually watch the show, I think we have a shot. But it's a tall hurdle to try to clear. I think we'd certainly be thrilled with any recognition from that world, because it would represent a first in many respects for a show like this.

http://community.tvguide.com/forum.jspa?forumID=700000049