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post #45631 of 95435 Old 12-15-2009, 10:29 PM - Thread Starter
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TV Notes
Wednesday’s TV Talk Shows
Jeff Bridges promotes his movie 'Crazy Heart' on 'Charlie Rose'

From the Los Angeles Times’ “Show Tracker” blog
(Note: times are generally ET/PT. Cable times are Pacific. For PBS show start times please check your local listings.)

The Early Show Sigourney Weaver. (N) 7 a.m. KCBS

Today Hugh Grant; Sam Worthington; Zoe Saldana. (N) 7 a.m. KNBC

Good Morning America Rachel McAdams ("Sherlock Holmes"). (N) 7 a.m. KABC

Live With Regis and Kelly Guest co-host Anderson Cooper; Hugh Grant; Judi Dench. (N) Syndicated

The View Alicia Keys performs; Anna Kendrick ("Up in the Air"). (N) 10 a.m. (11 a.m. ET) KABC

The Doctors Advice for dealing with picky eaters; shocking ingredients in school lunches. (N) Syndicated

Rachael Ray Aretha Franklin performs. (N) Syndicated

The Martha Stewart Show Drs. Mehmet Oz and Michael Roizen answer pregnancy questions. (N) Syndicated

The Bonnie Hunt Show Selena Gomez; Hunter Parrish; "Top Chef" winner; Deana Martin. (N) Syndicated

The Tyra Show The casts of "Twilight," "The Clique." Syndicated

Oprah Winfrey Daniel Day-Lewis, Nicole Kidman, Penélope Cruz, Marion Cotillard and Kate Hudson. Syndicated

Dr. Phil Texts and social networking sites are changing how society communicates. (N) Syndicated

The Ellen DeGeneres Show Paris Hilton; author Lewis Blackwell. (N) Syndicated

The Dr. Oz Show Five warning signs of depression; a vegetarian who does not eat vegetables. (N) Syndicated

Tavis Smiley Gov. Edward G. Rendell (D-Pa.); Peter Fonda. (N) 7 and 11 p.m. PBS

The Jay Leno Show Sigourney Weaver; John Mayer performs; Mikey Day. (N) 10 p.m. KNBC

The Daily Show With Jon Stewart (N) 11 p.m. Comedy Central

Lopez Tonight Ray Romano; Lake Bell; Mariah Carey. (N) 11 p.m. TBS

Charlie Rose Jeff Bridges ("Crazy Heart"). (N) 11:30 p.m. PBS

Late Show With David Letterman Robert Downey Jr.; Kris Allen performs. (N) 11:35 p.m. KCBS

The Tonight Show With Conan O'Brien Wanda Sykes; director James Cameron; Myq Kaplan. (N) 11:35 p.m. KNBC

Nightline (N) 11:35 p.m. KABC

Jimmy Kimmel Live Ty Pennington; Joshua McCarthy; Norah Jones. (N) 12:06 a.m. KABC

The Late Late Show With Craig Ferguson Author Bob Barker; Greta Van Susteren. (N) 12:37 a.m. KCBS

Late Night With Jimmy Fallon Sarah Jessica Parker; Deepak Chopra; Raekwon. (N) 12:37 a.m. KNBC

Last Call With Carson Daly Joel David Moore; David Guetta; Gossip performs. (N) 1:36 a.m. KNBC


http://latimesblogs.latimes.com/show...rlie-rose.html
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post #45632 of 95435 Old 12-15-2009, 10:31 PM - Thread Starter
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Washington Notes
Satellite Bill Extension Said To Be On Table In House
Senate version of bill said to be put on hold

By John Eggerton, Broadcasting & Cable Washington Bureau Chief, December 15, 2009

According to several sources, Congress may punt on reauthorizing the satellite distant signal license before Dec 31, instead passing a 60-day (some say 90) stop-gap extension.

The problem is in the Senate, where a provision allowing DISH network back into the distant signal business in exchange for delivering local signals to all 210 markets is said to have caused at least one senator to put a hold on the Senate version of the bill.

Both a 60-day extension and the full bill including DISH provision are ready to be teed up for a House vote tomorrow, but legislators there are said not to want to pass the full version if it is going to be controversial, which it would be, given the hold on the Senate bill.

That has some broadcasters concerned that the House will opt for the extension rather than the 5-year renewal, and that the Senate will agree to that. One or the other has to happen or the license for satellite operators to deliver distant network TV station signals expires at the end of the year.

One thing that broadcasters may be concerned about is that the bill clarifies language relating to the switch to digital TV and what households qualify to receive the imported distant signals. The current standard is based on analog, not digital coverage.

http://www.broadcastingcable.com/art...e_In_House.php
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post #45633 of 95435 Old 12-15-2009, 10:39 PM - Thread Starter
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Weekly Nielsen Notes
Holiday specials pull big ratings
By Gary Levin, USA Today, December 16, 2009

Holiday cheer. ABC's new animated Disney's Prep & Landing drew 12 million viewers Tuesday, tops among this year's holiday specials. Oprah Winfrey's Christmas at the White House handed ABC 12 million viewers Sunday.

Less fascinating. Wednesday's Barbara Walters special, 10 Most Fascinating People, claimed 10.5 million viewers, down from 13.2 million last year.

CHARTS: See how your favorite shows stacked up

Series highs. CBS' The Big Bang Theory (14.4 million viewers Monday, topped again this week); the season opener of E!'s Keeping Up With the Kardashians (4.1 million Sunday); and Sunday's season finales of Showtime's Dexter (2.6 million) and Californication (1.1 million).

Loser is a winner. The season finale of NBC's The Biggest Loser bulked up with 13.5 million viewers, its biggest audience since 2005. The finale drove 8.3 million to that night's Jay Leno Show, its largest crowd since Sept. 17.

Men certain. TNT's Men of a Certain Age premiered with a solid 5.4 million viewers behind The Closer (6.2 million).

Chef tops. Bravo's Top Chefseason finale whipped up 3.5 million viewers Wednesday, a bit more than last fall's finish. Mixed bag for FX season finales: It's Always Sunny in Philadelphia (2.1 million), The League (1.2 million).

Modern momentum. A holiday episode of ABC's Modern Family (9.7 million viewers Wednesday) marked the new sitcom's best showing since September, and Fox's Glee, in the same time slot, notched a season-high 8.1 million with its fall finale. The season premiere of ABC's Better Off Ted was typically low with 3.8 million Tuesday.

Up and down. Week 2 of MTV's Jersey Shore climbed to 2.1 million from 1.4 million for its premiere. On A&E, Steven Seagal Lawman dropped to 2 million from 3.6 million, and The Jack5ons opened with 2.3 million Sunday.

http://www.usatoday.com/life/televis...terstitialskip
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post #45634 of 95435 Old 12-16-2009, 04:16 AM - Thread Starter
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TV Notes
Intensifying TV efforts
Schlamme has projects in development at several networks

By Michael Schneider, Variety

Thomas Schlamme, the director-exec producer who partnered with Aaron Sorkin on "The West Wing" and "Sports Night," is looking to ramp up his TV output.

As part of an aggressive smallscreen expansion, Schlamme's Shoe Money shingle has landed projects in development at NBC, ABC, FX, A&E and Showtime.

Schlamme said the move reps a "real conscious decision" to focus on his producing efforts after spending much of his time serving as a permanent inhouse director on series.

My life has been 'I've got to work on one project and one project only,'" he said. "But I really wanted Shoe Money to be a part of the TV game as much as my individual self. As I began to produce more, I realized that the joy of that is to find many different writers to work with and different avenues to pursue."

Expansion also comes following Schlamme's departure from his longtime Warner Bros. TV home and move to Sony Pictures TV, where he has a first-look deal.

Shoe Money's crop of projects, under the direction of production head Julie DeJoie, include NBC comedy entry "The Book Group."

Project, in the script stage, is an adaptation of the U.K. comedy/drama shown on Channel 4. U.S. ex-pat Annie Griffin, who wrote the series across the pond, will adapt it for U.S. auds. Sarah Timberman and Carl Beverly are attached as exec producers along with Schlamme.

(Griffin) has such a unique voice, and that's what Shoe Money is looking for," he said.

At Showtime, Schlamme has lined up the script "Westbridge." Penned by Kelly Marcel, the drama centers on a group of workers who make up the tie-down team in an execution chamber at a Texas prison.

Schlamme, DeJoie and Marcel just returned from Huntsville, Texas, where they did research for the project.

It's not about an execution of the week, but about a group of people and how they carry on in their lives, given what they do," he said.

Schlamme also has the police drama "Back-Up," written by Robert Munic, set up at A&E. That hourlong follows a brother and sister who serve as police partners. The siblings, who hail from a Jewish family in Chicago, are hit hard after their dad is found guilty of being a corrupt cop.

Munic is currently doing rewrites on that project.

Among previously announced fare, Schlamme is also working on ABC's Matthew Perry project, in which the former "Friends" star plays a sports arena manager who hits a midlife crisis at 40.

Matthew wanted to do a show, and I was flattered that he would call me," said Schlamme, who worked with the star on "Friends," "West Wing" and "Studio 60 on the Sunset Strip." "We thought this was a great backdrop for an office-set show and very exciting visually," he said.

Perry is penning the script with Alex Barnow and Marc Firek. Jamie Tarses, who once served as Schlamme's network boss, is his exec producing partner on the project.

Also at the Alphabet, Schlamme is working on the single-camera buddy comedy "Boyfred," written by Alan Schmuckler, Michael Mahler, Blake Silver and Jarrod Zimmerman.

On the cable side, Schlamme said he and FX are waiting for the proper time to move forward with "AR2," Paul Scheuring's take on the events that lead up to a second American revolution. "In this political climate, we're waiting to see where we all land," he said. "In the case of 'The West Wing,' we waited a year to let the Monica Lewinsky scandal die down."

About to be pitched to networks is a one-hour drama to be written by Jane Alexander. Schlamme said the concept is still under wraps as he and Alexander further develop it. Industry Entertainment is producing that project; it's also working with Schlamme on another, a dramatic adaptation of the 2000 doc "From Swastika to Jim Crowe." Drama centers on German-Jewish immigrant professors who move to the U.S. Deep South and teach at African-American colleges.

Now we're looking for someone as passionate as we are about the project to come onboard and write it," Schlamme said.

Schlamme is also looking at the digital space, having produced the three-episode Web series "The Road Home," written by Patricia Foulkrod. The clips, produced with Participant Prods., center on soldiers serving in the Afghanistan war.

Sony is behind "Book Group," "Boyfred" and the Perry dramas; the other projects are being developed outside of the studio.

http://www.variety.com/article/VR111...goryid=14&cs=1
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post #45635 of 95435 Old 12-16-2009, 04:19 AM - Thread Starter
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The 2009-2010 Season
“House” Season's Top Time-Shifted Series

By Anthony Crupi, MediaWeek,Dec 15, 2009

He may have shrugged the Vicodin monkey off his back, but Dr. Gregory House seems to inspire another habit in his loyal viewers.

Per Nielsen live-plus-seven-day ratings data, Fox’ House is this season’s most time-shifted program on network TV, as 5.04 million viewers catch up with the ornery doc via their DVRs. That represents a 30 percent increase from the show’s live deliveries (11.5 million).

Last season, House attracted a time-shifted audience of around 3.3 million viewers, according to Horizon Media senior vp, research, Brad Adgate.

In the period between Sept. 21 and Nov. 29, five of the 10 most time-shifted shows originally aired on Thursday nights: ABC’s Grey’s Anatomy and Flash Forward, NBC’s The Office, and CBS’ The Mentalist and Survivor: Samoa.

Grey’s Anatomy adds 4.97 million DVR viewers to its weekly live delivery (12.9 million viewers), as time-shifting accounts for 28 percent of the show’s total weekly draw. The Office’s time-shifted draw makes up 38 percent of its overall audience, adding 3.81 million viewers.

While the older-skewing NCIS is seen by some 3.59 million DVR users, the delayed access makes up just 16 percent of the series’ total delivery. The procedural averages a weekly draw of 18.6 million viewers, making it the most-watched series on broadcast TV. With time-shifted viewing, that number jumps to 22.2 million total viewers.

That said, NCIS is actually growing its DVR audience. Last season, the CBS drama averaged 2.5 million time-shifted viewers, about 1.1 million fewer (-46 percent) than fall 2009.

Adgate notes that the DVR also helps age down the broadcast TV audience. In nearly every case, a series’ median age drops by more than one year upon application of L7 data.

http://www.mediaweek.com/mw/content_...7bf3ceb39a25e1
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post #45636 of 95435 Old 12-16-2009, 06:51 AM
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Originally Posted by fredfa View Post

Thomas Schlamme, the director-exec producer who partnered with Aaron Sorkin on "The West Wing" and "Sports Night," is looking to ramp up his TV output.

As part of an aggressive smallscreen expansion, Schlamme's Shoe Money shingle has landed projects in development at NBC, ABC, FX, A&E and Showtime.

Does this mean Schlamme and Sorkin have parted ways? Thomas has done his best work directing Sorkin's pilots and some of the best episodes of "Sports Night," "West Wing" (so I've been told, never seen the show) and "Studio 60." It'd be a shame if Schlamme and Sorkin didn't work together again when the latter's inevitable return to television eventually happens.
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post #45637 of 95435 Old 12-16-2009, 08:20 AM
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If anyone sees numbers on last nights Fallon/Craig please share. I wanna know how the all puppet show did
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post #45638 of 95435 Old 12-16-2009, 08:42 AM
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Thomas has done his best work directing Sorkin's pilots and some of the best episodes of "Sports Night," "West Wing" (so I've been told, never seen the show) and "Studio 60."

You've never seen TWW, dad? As big a Sorkin fan as you?? Time to tell those relatives who usually get you socks for Christmas what you really want!
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post #45639 of 95435 Old 12-16-2009, 08:58 AM
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^^^ They know what I want: "Dexter" on Blu-ray or bust!
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post #45640 of 95435 Old 12-16-2009, 09:17 AM
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Nielsen Overnights (18-49)
NBC's 'Sing-Off' rises on second night
Two-hour show averages a 2.6 in 18-49s
By Toni Fitzgerald, Media Life Magazine - December 16th, 2009

NBC's four-night reality competition "The Sing-Off" hit a sweeter note last night, seeing growth from Monday's premiere.

"Sing-Off" averaged a 2.6 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, up 13 percent from the previous night, when it posted a 2.3.

That's certainly a promising sign for the show, which has placed second in its timeslot both nights. There aren't many new programs that can claim growth in their second outing this year, whether because people begin time-shifting them or because they tune out.

But "Sing-Off" may be more DVR-proof than the typical reality show, since it is airing on back-to-back-to-back-to-back nights, giving it a bit more urgency than a weekly program.

"Sing-Off" peaked with a 2.8 in its second hour, albeit against some lackluster competition on ABC and Fox. ABC's "Better Off Ted" sank to a series-low 1.3 rating at 9:30 p.m., and Fox's special "Gordon Ramsay: Cookalong Live" managed a mere 1.7.

"Sing-Off" helped NBC to second place for the night, though well behind usual Tuesday leader CBS.

CBS led the night among 18-49s with a 3.6 average overnight rating and a 10 share. NBC was second at 2.3/7, Fox third at 2.0/6, ABC fourth at 1.6/5, Univision fifth at 1.4/4 and CW sixth at 0.6/2.

As a reminder, all ratings are based on live-plus-same-day DVR playback. Seven-day DVR data won't be available for several weeks. Thirty-three percent of Nielsen households have DVRs.

At 8 p.m. CBS was first with a 4.3 for NCIS, while ABC, NBC and Fox all tied for second at 2.3, ABC for A Charlie Brown Christmas, NBC for Sing-Off and Fox for the first half of the two-part finale of So You Think You Can Dance. That left Univision fifth with a 1.2 for El Nombre del Amor and CW sixth with a 0.6 for a repeat of The Vampire Diaries, part of a weeklong "Vampire" marathon.

CBS was first again at 9 p.m. with a 3.6 for NCIS: Los Angeles, while NBC took sole possession of second with a 2.8 for more Sing-Off. Fox and Univision tied for third at 1.7, Fox for Cookalong and Univision for Sortilegio, with ABC fifth with a 1.5 for Scrubs (1.8) and Ted (1.3) and CW sixth with a 0.6 for more Vampire.

At 10 p.m. CBS led with a 2.8 for The Good Wife, followed by NBC with a 1.8 for The Jay Leno Show. Univision was third with a 1.2 for Aqui y Ahora and ABC fourth with a 1.0 for a repeat of The Forgotten.

CBS was also first for the night among households with a 10.8 average overnight rating and an 18 share. NBC was second at 3.9/6, Fox third at 3.2/5, ABC fourth at 2.8/5, Univision fifth at 1.9/3 and CW sixth at 1.0/2.

http://www.medialifemagazine.com/art...cond_night.asp
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post #45641 of 95435 Old 12-16-2009, 09:23 AM
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It will be very hard for Comcast, given its situation in Washington these days, to fight the closing of the terrestrial loophole.

For once, great work by the FCC.

Did the issue of non-satellite get resolved? By that I mean Cabelvision) owning MSG) withholding a local team's HD broadcasts from Verizon in the NYC market?

Now I read about a possible spin-off of MSG... curious what difference that may or may not make...

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post #45642 of 95435 Old 12-16-2009, 09:33 AM
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Except that how long after a final episode is shown do you have to wait?

Ha, I had to record the Dexter finale... and my sister sent me a "did you believe what happened?" e-mail. I thought I better watch it right quick... after I did, I came across an article that would have given it away even from it's title! Dodged the spoiler bullet.

Moral of the story, never, ever let season finales sit too long!

BTW, did anyone pick up on the irony of now both Dexter & Sons of Anarchy both ended this season?

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post #45643 of 95435 Old 12-16-2009, 09:44 AM
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It will be very hard for Comcast, given its situation in Washington these days, to fight the closing of the terrestrial loophole.

For once, great work by the FCC.

(It would be also a perfect time to force at least the possibility of some sort of a la carte, but we'll take our victories without complaint when we can get them. And some of us have waited a long, long time for this one.)

Here's one that's happening locally in my area...
http://www3.signonsandiego.com/news/...-padres-games/
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post #45644 of 95435 Old 12-16-2009, 10:02 AM
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If anyone sees numbers on last nights Fallon/Craig please share. I wanna know how the all puppet show did

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post #45645 of 95435 Old 12-16-2009, 10:03 AM
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TV Notes
On The Air Tonight
Wednesday Network Prime-Time Options


[font=arial][size=4] (All shows are in HD unless noted as being in Standard Definition: SD)

ABC
8
Disney Prep and Landing (R) SD

OK - I have the 1st broadcast of Prep & Landing, as well as Shrek The Halls from 2 wks back on my HDDVR.

Both shows have been listed in these posts today & previously as being SD.

Both of these shows were in fact broadcast in HD.

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post #45646 of 95435 Old 12-16-2009, 10:44 AM
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Did the issue of non-satellite get resolved? By that I mean Cabelvision) owning MSG) withholding a local team's HD broadcasts from Verizon in the NYC market?

That's what this is all about. Cablevision was using the loophole to keep MSG-HD from Verizon and AT&T. I wouldn't expect Cablevision to let this go without a fight though. I see them appealing this in court.
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post #45647 of 95435 Old 12-16-2009, 11:23 AM - Thread Starter
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Thanks for the info.

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Originally Posted by jwebb1970 View Post

OK - I have the 1st broadcast of Prep & Landing, as well as Shrek The Halls from 2 wks back on my HDDVR.

Both shows have been listed in these posts today & previously as being SD.

Both of these shows were in fact broadcast in HD.

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post #45648 of 95435 Old 12-16-2009, 11:32 AM - Thread Starter
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TV Sports
NBC Universal To Take Major Loss On Winter Olympics

By David Goetzl, MediaPost.com

General Electric CEO Jeff Immelt said Tuesday that NBC Universal will lose an estimated $200 million on the February Olympics. GE is "counting on having tough economics around the Olympics," Immelt said.

"It's just a tough time for a big event like that," he said.

NBCU would post an operating profit increase in 2010, Immelt said, but the Winter Olympics will instead bring a decrease.

Speaking on other matters at an annual investor conference, Immelt declined to predict when the government may approve the proposed NBCU joint venture with Comcast.

But he expressed optimism that the 49% stake that GE would have in the new business "strength(ens) our media assets and priorities." And it will provide a stream of cash that GE can use to make investments in other businesses.

For the time being, Immelt said "the ad market is quite good right now" for NBCU's networks.

Looking back at 2009, Immelt offered no new insight, saying that the cable ad market has been "positive," but "we've had a tough year in network and movies."

Going forward, once a Comcast deal is closed, Immelt said GE will be a "more focused" company, emphasizing its high-tech infrastructure and financial services operations.

Immelt looked back on NBCU over the past decade, saying the "strategy was to make the asset more valuable in a very dynamic media space, and we had some hits and misses."

Hits: the 2004 acquisition of Universal, which brought profitable cable networks. Misses: the 2002 Telemundo purchase and Internet initiatives.

"But the big ones we got right," he said, as NBC moved well beyond a broadcast-focused business over the past decade.

Through the first nine months of this year, NBCU accounted for 12% of GE's profit ($1.7 billion).

http://www.mediapost.com/publication...art_aid=119195
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post #45649 of 95435 Old 12-16-2009, 11:59 AM
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TV Sports
NBC Universal To Take Major Loss On Winter Olympics

By David Goetzl, MediaPost.com

General Electric CEO Jeff Immelt said Tuesday that NBC Universal will lose an estimated $200 million on the February Olympics. GE is "counting on having tough economics around the Olympics," Immelt said.

I presume the loss he's speaking of is advertising revenue - an inability to sell ads at the targeted rate, stacked against the network's production costs, rights fees, and other expenses.

In truth, big-time sports events often serve as loss leaders that can be stuffed with promotional spots for the network's other programming, and for which additional advertising revenue will be gained. If NBC can entice Olympic viewers to sample their other fare, they may still come out all right. Plus, there's the prestige factor of being the "Olympic Network", although any intangible benefit derived from something like that is difficult to quantify.
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post #45650 of 95435 Old 12-16-2009, 12:44 PM
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Ask Matt
Hot Under the Collar

By Matt Roush, TV Guide Senior Critic December 12, 2009

Send all questions to askmatt@tvguidemagazine.com and follow me at twitter.com/roushTVGuideMag

Question: In your recent column, Elaine wrote: "We miss 75% of the dialogue on these shows." I'm surprised you didn't mention the option of using closed-captioning. We use it for all shows that are not filmed live (in which case the captioning is behind what you see on screen). It isn't perfect, but it definitely allows you to figure out what people are saying if there is some distraction.Neil

Matt Roush:You're absolutely right that I should have mentioned closed-captioning as an optionespecially as I was exposed to it 24/7 when home for the Thanksgiving break, as members of my family rely on this device quite regularly. I prefer not to have the captions on screen as I watch, but for those who are really rattled when actors mumble or music overtakes the dialogue, this is a solution.
http://www.tvguidemagazine.com/ask-m...llar-3507.html

I haven't had a chance to check this thread in a few days, but I just wanted to say that I was pleased that my note to Matt was included here.
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post #45651 of 95435 Old 12-16-2009, 12:48 PM
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Quote:
Originally Posted by archiguy View Post

I presume the loss he's speaking of is advertising revenue - an inability to sell ads at the targeted rate, stacked against the network's production costs, rights fees, and other expenses.

In truth, big-time sports events often serve as loss leaders that can be stuffed with promotional spots for the network's other programming, and for which additional advertising revenue will be gained. If NBC can entice Olympic viewers to sample their other fare, they may still come out all right. Plus, there's the prestige factor of being the "Olympic Network", although any intangible benefit derived from something like that is difficult to quantify.

Hasn't seemed to work for them in recent years especially after the most recent summer Olympics.
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post #45652 of 95435 Old 12-16-2009, 12:50 PM
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Originally Posted by SnakeEyes View Post

If anyone sees numbers on last nights Fallon/Craig please share. I wanna know how the all puppet show did

That was pretty entertaining. I imagine more so for those who indulge. Sobriety is boring, but productive.

When seconds count, the police are only minutes away.
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post #45653 of 95435 Old 12-16-2009, 01:25 PM
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Originally Posted by nottenst View Post

I haven't had a chance to check this thread in a few days, but I just wanted to say that I was pleased that my note to Matt was included here.

I have great hearing, but i use CC quite a bit , if the family is asleep, or when watching a film like "The Bank Job" those English accents can be tough to catch, speaking so quickly.

Former USSB uplink operator.
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post #45654 of 95435 Old 12-16-2009, 01:26 PM
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Originally Posted by cgh3rd View Post

Hasn't seemed to work for them in recent years especially after the most recent summer Olympics.

Well, they didn't have Leno in primetime then.
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post #45655 of 95435 Old 12-16-2009, 03:41 PM - Thread Starter
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(From Marc Berman’s December 16, 2009, Programming Insider newsletter and blog at Mediaweek.com)
http://pifeedback.com/eve/forums/a/t...1362#709101362
Tuesday’s Nielsen Broadcast Finals

(posted by Travis Yanan)

ABC CBS NBC Fox CW

NCIS
- 20.685 million viewers
- 12.7/21 HH
- 4.3/13 A18-49

NCIS: Los Angeles
- 17.503 million viewers
- 10.9/17 HH
- 3.6/10 A18-49

The Good Wife
- 14.170 million viewers
- 9.1/16 HH
- 2.8/8 A18-49

The Sing Off (121 minutes)
- 6.856 million viewers
- 4.1/7 HH
- 2.6/7 A18-49

A Charlie Brown Christmas (R)
- 6.504 million viewers
- 3.7/6 HH
- 2.3/7 A18-49

So You Think You Can Dance (61 minutes)
- 6.336 million viewers
- 3.8/6 HH
- 2.3/7 A18-49
- 2.2/7 A18-34
- 2.8/9 W18-34

The Jay Leno Show (59 minutes)
- 5.204 million viewers
- 3.4/6 HH
- 1.8/5 A18-49

Gordon Ramsey Cookalong Live (9:01pm, 60 minutes)
- 3.985 million viewers
- 2.5/4 HH
- 1.7/5 A18-49
- 1.4/4 A18-34
- 1.6/5 W18-34

Scrubs
- 4.216 million viewers
- 2.6/4 HH
- 1.8/5 A18-49

The Forgotten (R)
- 3.338 million viewers
- 2.3/4 HH
- 1.0/3 A18-49

Better Off Ted
- 3.183 million viewers
- 2.1/3 HH
- 1.3/3 A18-49

The Vampire Diaries (R, 8pm)
- 1.230 million viewers
- 0.9/1 HH
- 0.6/2 A18-49
- 0.6/2 A18-34
- 0.7/2 W18-34

The Vampire Diaries (R, 9pm)
- 1.214 million viewers
- 0.9/1 HH
- 0.6/2 A18-49
- 0.6/2 A18-34
- 0.8/2 W18-34

http://travisyanan.blogspot.com/

http://twitter.com/travisyanan

Note: Previous overnight ratings are available at Marc Berman’s Programmers Insider blog:

http://pifeedback.com/eve/forums/a/t...51/m/460103871
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(From Marc Berman’s December 16, 2009, Programming Insider newsletter and blog at Mediaweek.com)
http://pifeedback.com/eve/forums/a/t...1362#709101362
Tuesday’s Nielsen Cable Finals
(posted by Travis Yanan)

Dirty Jobs (9pm)
- 2.195 million viewers
- 1.3/2 HH
- 1.0/3 A18-49

Teen Mom (10pm)
- 1.898 million viewers
- 1.3/2 HH
- 1.0/3 A18-49

Bad Girls Club (10pm)
- 1.421 million viewers
- 0.9/2 HH
- 0.8/2 A18-49

Tabatha's Salon Takeover (10pm)
- 1.036 million viewers
- 0.7/1 HH
- 0.6/2 A18-49

Monica: Still Standing (10pm)
- 0.682 million viewers
- 0.5/1 HH
- 0.3/1 A18-49

http://twitter.com/travisyanan

http://travisyanan.blogspot.com/

Note: Previous overnight ratings are available at Marc Berman’s Programmers Insider blog:

http://pifeedback.com/eve/forums/a/t...51/m/460103871
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post #45657 of 95435 Old 12-16-2009, 03:48 PM - Thread Starter
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Obituary
Roy Disney, 79;
Nephew of Walt helped revive animation

In the 1980s after establishing financial independence, he paved the way for a new management team that brought back to life the art form that defined Walt Disney Co.
By James Bates and Dawn C. Chmielewski, Los Angeles Times staff writers, December 16, 2009

Roy Edward Disney, the nephew of Walt Disney whose commitment to his uncle's creative spirit prompted him to mount revolts that led to the unseating of two of the company's chief executives and a revival of the studio's legendary animation unit, died today. He was 79.

Disney, who had been battling stomach cancer, died at Hoag Memorial Hospital Presbyterian in Newport Beach, according to Clifford A. Miller, a spokesman for Disney's company Shamrock Holdings.

Disney toiled for years in the shadow of his famous uncle and his father, Roy O. Disney, who behind the scenes ran the business side of the Walt Disney Co. for his brother. But the quiet man in the cardigan sweater would emerge as a forceful protector of family traditions.

"People always underestimated Roy," said Peter Schneider, the former president of Walt Disney Feature Animation. "You underestimate Roy at your peril, as many people have learned."

Disney devoted the first 20 years of his career to making nature films, among them "Pancho, A Dog of the Plains," "The Owl That Didn't Give A Hoot" and an Oscar-nominated short subject "Mysteries of the Deep." After the death of Walt in 1966 and Roy's father in 1971, the younger Disney was spurned in his efforts to take a larger role with the company. He finally quit in 1977, but remained on its board as a director, where he was largely a figurehead.

Adrift, Disney hooked up with lawyer Stanley Gold and became a successful financier, investing successfully in a wide variety of businesses that included broadcasting, soybeans and Israeli industrial concerns through Shamrock Holdings, a company named for one Disney's racing sloops.

During the 1980s, Gold, Disney and Shamrock became one of the better-known corporate raiders, making unsuccessful hostile takeover bids for companies such as the Polaroid Corp. camera maker and the Wherehouse Entertainment chain of music stores. Its takeover of Central Soya, a soybean processor in Fort Wayne, Ind., would yield a sizable $170-million profit for Shamrock and its partners with its subsequent sale to an Italian agricultural concern. Through investments, Gold sought to free Disney of his financial dependence on the Disney company stock he inherited. Most were successful, although Shamrock stumbled on some, particularly a money-losing investment in sneaker maker L.A. Gear.

By 1984, Disney had grown increasingly frustrated with the Walt Disney Co., which he likened to a real estate company that happened to be in the movie business. The company had let its feature animation film business, once the cornerstone of the company, deteriorate. The company, Disney would later say, had lost its creative drive.

"I said to him, 'Roy, I think you've reached a point where you need to get all the way in or all the way out,' " Gold said. "He said, 'What does that mean?' I said, 'You either need to sell your shares in Disney and go independent, or you need to put up a fight and get rid of the managers and find real managers for this business.' "

With his financial independence established from his investments, Disney pondered with Gold and a handful of other advisors what, if anything, they could do. Finally, a decision was made to try to unseat the company's management, made sticky by the fact that Walt's son-in-law, Ron Miller, was chief executive. Disney abruptly quit the company board in 1984, sending a signal to investors and Wall Street that something was amiss. The turmoil Disney ignited eventually swept the old management group from the corporate suites.

In the end, Disney, with an alliance formed with the billionaire Bass family of Texas, returned to the board and forced out the studio management, paving the way for the hiring of a new team led by Michael Eisner, Frank Wells and Jeffrey Katzenberg.

Upon taking over as chief executive, Eisner asked Disney what he wanted to do. Disney responded that he wanted to revive the company's sagging animation division, where morale was rock-bottom as the company was releasing one of its worst-reviewed films, "The Black Cauldron." Wells and Katzenberg both opposed the idea, said Gold, but Eisner granted Disney his wish -- in a gesture of gratitude.

Disney persuaded the new regime to invest about $10 million in computer animation equipment, a seemingly minor decision that proved to be a turning point in the company's fortunes. Within a few years, the company turned out a remarkable string of animated hits, including "The Little Mermaid," "Beauty and the Beast," "Aladdin" and "The Lion King." The films won critical acclaim and proved wildly lucrative as well, with money pouring into the company not only from the box office, but from the sales of T-shirts, toys and home videos.

"It was Roy who was the protector. It was Roy who was the godfather, the champion and believer in it," said Schneider, who had lunch with Disney every Tuesday for 16 years in the executive dining room, even when animation had been exiled to warehouses in Glendale. "Animation doesn't work without someone who believed, and Roy believed."

Disney's pet project, a new version of the 1940 Walt Disney classic "Fantasia," was released in 2000, initially in big-screen IMAX form. Called "Fantasia/2000," the film, like the original, blended animation inspired largely by classical music. Included were segments set to Gershwin's "Rhapsody in Blue" and Ottorino Respighi's "Pines of Rome." Disney also included "The Sorcerer's Apprentice," the cornerstone of Walt Disney's original, in the new version.

At the same time, relations between Disney and Eisner had grown increasingly strained, with the two men communicating mostly by phone and through e-mail. Tensions had been building since the 1994 death of the company's president and chief operating officer, Frank Wells, which left Eisner solely in control of the company. Disney complained to confidants that he was being marginalized by the executive he had helped install as chief executive.

By November 2003, Disney learned that the board's four-member nominating committee was planning to leave his name off the slate of directors scheduled to be elected at the company's next annual meeting. The longtime animation chief discovered he had been shut out of a Thanksgiving week screening of ideas for new animated films. The company had been in a prolonged financial slump, with its earnings flat and its stock performance anemic, but the snub was the last straw. Disney and his business partner, Gold, abruptly quit the board of directors in December 2003 and called for Eisner's resignation.

In a stinging rebuke, Disney said that Eisner's leadership had led to the perception of the company as "rapacious, soul-less and always looking for the 'quick buck' rather than long-term value." Although the company's problems were well-known, Disney's public statement exposed the severity of his personal and professional rift with Eisner. A month later, Disney called on shareholders to cast a vote of no confidence in the top executive. Their efforts rallied a stunning 45% no-confidence vote for Eisner at the company's 2004 annual meeting in Philadelphia, prompting Disney directors to remove Eisner as board chairman. Five months later, Eisner said he would retire when his contract expired in September 2006.

Disney did not relish the fight. In an interview with Fortune magazine, he described how he summoned his four children to a family meeting where they sat together, holding hands, and agreed he should challenge Eisner.

"His identity is more wrapped up in this company than you can imagine," daughter Abigail E. Disney told the magazine in 2004.

Disney and Gold continued their fight with the Disney board with a May 2005 lawsuit that challenged as "a sham" the search process that resulted in the appointment of Eisner's hand-picked successor as the company's new chief executive, Robert A. Iger. The new chief executive quickly made peace with Disney, offered him an office at the company's Burbank studios, a consultancy and the title "director emeritus." Disney and Gold withdrew their lawsuit challenging Iger's selection.

Born Jan. 10, 1930, in Los Angeles, Disney was the only child of Roy O. and Edna Disney. Growing up around the studio, Disney was exposed to both the joys of the Walt Disney aura as well as its darker side. In a 1999 Times interview, Disney recalled how his uncle came to see him when he had the chicken pox as a boy, enthralling him with a story he wanted to make into a film about a wooden puppet named "Pinocchio."

"He scared me to death with the stuff about the whale and everything else," Disney recalled. "I remember it very, very sharply and very clearly. But when the movie came out, it was a big letdown for me. It was nowhere near as good as Walt's version."

Yet his uncle and father fought bitterly at times, and for a while weren't on speaking terms, communicating only through memos. In the 1999 interview, Disney recalled listening to the sounds of his father pulling in the driveway at night, trying to pick up on the subtle signs of whether it had been a good or a bad day with Walt. When the car door slammed, "you knew it was time to go do your homework," he recalled.

Eventually, Walt wrote his brother a touching letter to make up. He also gave him a peace pipe, which Roy E. displayed in his office after his father died.

After graduating from Pomona College, Disney initially spurned working for the studio, taking a job as a film editor on the television police series "Dragnet." When he was laid off from that job, his father arranged a job at the company. In 1955, he married Patty Daily, sister of boyhood friend Peter Daily. The two had two sons and two daughters. The couple divorced in 2007, after 52 years of marriage.

In addition to daughter Abigail, Disney is survived by his wife, Leslie DeMeuse Disney; another daughter, Susan M. Disney Lord; his sons, Roy P. Disney and Timothy J. Disney; and 16 grandchildren.

Despite wealth estimated at $600 million, Disney remained shy and outwardly unpretentious, according to people who knew him. His main indulgences were a castle in Ireland, a jet, sports cars and financing a passion for sailboat racing. In 1999, Disney fulfilled a lifelong dream when he and the 12-member crew of his 74-foot Pyewacket sloop -- named for the witch's cat in the 1958 film "Bell, Book & Candle" -- won the biannual, 2,225-mile Transpacific Yacht Race from Los Angeles to Honolulu, setting a course record.

A heavy smoker of unfiltered Lucky Strikes for much of his life, Disney quit the habit in his mid-60s after his wife was ordered by doctors to quit. Over the years he gave relatively few interviews, and only later in life began to feel comfortable making the kind of public appearances required of him for the company.

As a vice chairman of the studio, Disney would frequently appear at theme parks or help promote the company's animated films. With his oval face, sloping nose, protruding ears and mustache, Disney resembled his uncle to the point where people in public would frequently approach him asking if he was Walt's brother.

Disney's shyness belied a toughness that could surface when needed. He frequently wrote pointed memos about such things as animation projects, never hesitating to spell out what parts of a film he didn't like. And he butted heads with former Disney Studios Chief Jeffrey Katzenberg, who Disney felt took too much credit for the studio's animated hits.

Two of Disney's pet projects in later years included efforts to save the peregrine falcon, which was inspired by a nature film he made, and the California Institute of the Arts in Valencia, where he helped carry out the dream of Walt and his father to build and sustain a top arts college in Southern California.

(Bates, who covered the Walt Disney Co. and wrote much of this obituary while a member of the Times staff, left the paper in 2007.)

http://www.latimes.com/news/obituari...,5129215.story
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post #45658 of 95435 Old 12-16-2009, 03:57 PM - Thread Starter
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TV Notes
Want the real game story?

Check the closed captioning
By Rick Reilly, ESPN The Magazine (This column appears in the December 28 issue of ESPN The Magazine.)

I like bars. I like sports. I like watching sports in bars. This is a topic my wife could discuss with you at length. But I couldn't fully enjoy this hobby if it weren't for an invention more miraculous than even boneless teriyaki chicken wings: closed captioning.

Closed captioning, or, as many closed captioners spell it, CLOTHES CAP SHUNNING, is what stenographers type onto the bottom of your screen, moving faster than a double-parked meth freak, when you press "CC" on your remote.

These people are generally very good at their jobs, but sports announcers spew between 150 and 200 words per minute, and most stenographers were French majors at Swarthmore, so mistakes are made.

I've seen HALL OF FAME LINEBACKER DICK BUTT KISS, and Atlanta Brave Chipper Jones come up to BAT RYE HANDED. (I wonder if Babe Ruth ever did that?) I've watched MIKE PIZZA and MIKE PIZZERIA. I've seen a thousand FIELD GOLDS and a few hundred torn INTERIOR CRUCIAL LIGAMENTS, some belonging to members of the Alabama RIMS AND TIDE.

Good athletes compete for THE GOLD MEDDLE (as does Redskins owner Daniel Snyder), and bad athletes are JUST OUT OF SINK. Quick-release quarterbacks GET IT OFTENTIMES (and, here, I believe the subject is Tom Brady).

The point is I ghoulishly relish captioning mistakes. Also, my mouth relishes beer. No surprise then that a very, very easy column hit me like an angry wife's 3-iron: What if I spent the entire weekend in bars seeing how many captioning goofs I could catch?

God, I love this job.

FRIDAY

We must be vigilant in our quest, so we started early -- 3 p.m. PST, just about when Michael Wilbon of PTI issued this statement about soccer, according to the captioner: I EXPECT TO WATCH THE WORLD COUPLE ALL MONTH. (Exactly which channel will that be on again?)

Then there were these:

Jim Hill, Channel 2, LA: Tiger was found SHOELESS AND SNOWING. (Actually, the snowing came later, during the cover-up.)

Lingerie football (hey, we said we'd be vigilant!), Channel 32, LA: HANDOFF TO THE LOVE SIDE. Also, a second and eight became THE SECOND THEY ATE.

On Channel 9, LA: David Beckham is from YOUR UP (but not from CROW ATE YA).

TIGER WAS FOUND SHOELESS AND SNOWING.

SATURDAY

The 8 a.m. SportsCenter captioner identified Cavs forward Jamario Moon as GENTLEMAN MARIO MOON. (Perhaps they're in a book club together.) On ESPNU, Alabama receiver Julio Jones came out JEWEL I DON'T JONES. And on Channel 7 in LA, Clemson running back C.J. Spiller's 4 TDs were sure to get him his IN-FLIGHT TO THE HEISMAN TROPHY DINNER. (Useful new word: Invite + free ticket = in-flight!)

CC fun fact: The first closed-captioning message on TV, produced in the 1970s by Bill Kastner of Texas Instruments, was FLOAT LIKE A BUTTERFLY, STING LIKE A BEE.

Okay, so Saturday was a slow day.

SUNDAY

One of the delicious moments for those of us captivated by captions is the three seconds between an announcer's saying something ear-twisting and the captioner's typing it. On ESPN's The Sports Reporters, host John Saunders said, "The best player I saw yesterday was [Nebraska's monster defensive tackle] Ndamukong Suh" [pronounced en-DOM-ah-ken SOO].

I could almost hear the captioner gasp, cough and whimper. But, bless his or her heart, it was one valiant attempt: INCOME CONGRESS SUE (an idea, I think, we can all agree on).

CC fun fact: Real-time captioners for the National Captioning Institute can clock 300 words per minute. They average 7,000 words an hour, which is a carpal tunnel-inducing 14,000 keystrokes every 60 minutes.

On the Fox NFL pregame show, the Colts were the FIRST TEAM TO CLENCH ITS DIVISION. (Don't ask.) And Steelers coach Mike Tomlin said his team would UNLEASH HOWL IN DECEMBER. (Poor dog gets off the leash only once a month?)

And that was about it. Remember, the point here was not to show all the mistakes the captioners make as they translate hundreds of thousands of live sports-TV words. The point was for me to drink many, many Coronas on an expense account.

Anyone complains, and I unleash Howl.

http://sports.espn.go.com/espn/colum...ick&id=4743743
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post #45659 of 95435 Old 12-16-2009, 04:33 PM - Thread Starter
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Cable News Nielsen Notes
Fox News Has Highest Rated Year In Network History

MSNBC finishes second in primetime demo for first time, HLN third
By Marisa Guthrie -- Broadcasting & Cable, 12/16/2009

Fox News will finish 2009 as the top-rated cable news network, a perch it has enjoyed for eight years running. But 2009 - the first year of the Obama administration - also marks FNC's highest rated year in the channel's 13-year-history.

FNC topped the competition in all dayparts: morning (1 million total viewers, 340,000 viewers in news' target demographic of 25-54-year-olds); total day (1.2 million viewers, 323,000 in the demo); primetime (2.2 million viewers, 551,000 in the demo). Those numbers mark year-to-year demo gains of 14% in the morning, 16% in total day and 10% in primetime (Mon-Sun), according to Nielsen.

FNC saw double-digit gains for all of its programs. Year-to-year, Glenn Beck is up 96% among total viewers (2.3 million) and 148% in the demo (612,000). Special Report with Bret Baier posted gains of 25% among total viewers (2 million) and 33% in the demo (454,000). The O'Reilly Factor is up 13% among total viewers (3.3 million) and 27% (801,000) in the demo, marking its tenth consecutive year as the No. 1 cable news program.

The only other cable news network to gain market share year-to-year is HLN, which is still comparatively small, but has gained on sister network CNN in 2009. Issues with Jane Velez-Mitchell was up 32% among total viewers (483,000) and 29% in the demo (188,000). Nancy Grace and Showbiz Tonight both had their best years on record. Nancy Grace posted gains of 13% among total viewers (957,000) and 9% in the demo (348,000) while Showbiz Tonight is up 13% among total viewers (431,000) and 18% in the demo (208,000).

MSNBC can also mark a milestone, as it will finish 2009 ahead of CNN in the primetime demo (8-11 p.m. Mon-Sun) for the first time, giving MSNBC a second-place finish in that category with an average of 284,000 viewers compared to CNN's 269,000. Meanwhile, for fourth quarter 2009, CNN is on pace to finish fourth in the primetime demo behind FNC, MSNBC and HLN (Mon-Fri).

For the year, CNN still tops MSNBC among total viewers (917,000 versus 822,000) in primetime. Both networks saw declines compared to network highs in 2008. MSNBC is down 24% in the primetime demo while CNN is down 42%.

CNN is still the second most-watched cable news network in total day averaging 614,000 total viewers and 186,000 in the demo; those numbers mark year-to-year declines of 12% and 24% respectively.

CNN has bucked the primetime opinion trend that has worked so well at FNC, MSNBC and more recently HLN.

At 8 p.m., MSNBC's Countdown with Keith Olbermann bested CNN's Campbell Brown by 42% among total viewers (1.2 million versus 824,000) and 57 % in the demo (365,000 versus 231,000). HLN's Nancy Grace will finish the year third in the timeslot among total viewers (957,000) and the demo (348,000).

At 9 p.m. CNN's Larry King Live took a hit of 12% among total viewers and 22% in the demo, but managed to best MSNBC's Rachel Maddow Show among total viewers (1.1 million versus 1 million) and the demo, though it was quite close (305,000 versus 302,000).

At 10 p.m., CNN's Anderson Cooper 360 is down 26% among total viewers (991,000) and 35% in the demo (315,000). FNC's On the Record with Greta van Susteren finished the year on top in the time slot averaging 1.9 million total viewers with 520,000 in the demo, for year-to-year gains of 14% and 16%, respectively.

http://www.broadcastingcable.com/art...rk_History.php
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post #45660 of 95435 Old 12-16-2009, 05:07 PM
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Quote:
Originally Posted by dad1153 View Post

Does this mean Schlamme and Sorkin have parted ways? Thomas has done his best work directing Sorkin's pilots and some of the best episodes of "Sports Night," "West Wing" (so I've been told, never seen the show) and "Studio 60." It'd be a shame if Schlamme and Sorkin didn't work together again when the latter's inevitable return to television eventually happens.

It's not like he can just sit around and wait for that to happen.
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