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post #1081 of 95476 Old 05-09-2007, 09:32 PM
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Well, I watched the Season finale of Jericho. It really really left me wanting more. I suppose by the numbers...im the only one.

Ill say it again. Shows like this, Invasion, Surface, Commander In Chief, etc.. really should be auctioned off to other networks. I know, Ive been told why that cant/wont happen but, i can still wish...lol
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post #1082 of 95476 Old 05-09-2007, 09:43 PM
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Actually, TVboxset.com has all four seasons available -- so I guess they are around, theratpatrol.

Thanks Fred, you always come thru for us.
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post #1083 of 95476 Old 05-09-2007, 09:49 PM
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Well, I watched the Season finale of Jericho. It really really left me wanting more. I suppose by the numbers...im the only one.

Well, that makes 2 of us. It's just now getting to the "Red Dawn" type of action and IMHO that was an excellent movie that should have become a series.

Cheers, Dave
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post #1084 of 95476 Old 05-09-2007, 09:57 PM
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Well, that makes 2 of us. It's just now getting to the "Red Dawn" type of action and IMHO that was an excellent movie that should have become a series.

That was a good flick..nice comparison as well.
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post #1085 of 95476 Old 05-09-2007, 10:16 PM
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But the fact is that the lead in provides a great promotional vehicle for a network to show viewers what will be on next..

So how did I find out about VM then? The problem with statistics is that while one might find correlations, those correlations don't imply cause and effect.

PS: For the record, I usually watch CW stuff (VM and Supernatural) live, due to TiVo vs Rotor and HD vs SD issues.
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post #1086 of 95476 Old 05-09-2007, 10:33 PM - Thread Starter
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The 2007-2008 Season
Few comedy pilots eyed for pickup
By Nellie Andreeva The Hollywood Reporter May 10, 2007

It looks like the comedy drought on broadcast television might continue for at least another year.

Sources speculated that just a handful of new half-hour series -- as few as five -- might land on the fall schedules, with some nets potentially picking up only one or no new comedy series. Meanwhile, dramas are making another strong showing, with about a half-dozen projects vying for slots at most networks.

One comedy hopeful, ABC's "Sam I Am," and the CW's one-hour "Reaper" have inched closer to a series pickup as they have received permission to begin making staffing offers.

Meanwhile, NBC's hot sci-fi drama "The Bionic Woman," which received a thumbs up to begin staffing late last week, has tapped Glen Morgan for a two-year show deal to potentially serve as executive producer/co-showrunner with David Eick if the show is picked up to series as expected.

At ABC, in addition to "Sam," two other comedies have picked up momentum: the much-talked-about "Cavemen," based on the characters from the Geico commercials, and "Miss/Guided," which was shot months ago.

Additionally, there has been speculation that the robbery romp "The Knights of Prosperity," which was taken off the schedule, might return for a second season with "Everybody Loves Raymond" star Ray Romano as the new mark. Another freshman comedy, "Notes From the Underbelly," also is said to have a shot at coming back, along with veterans "George Lopez" and "According to Jim," with "Lopez" having the edge between the two.

"Pushing Daisies," the untitled Jon Feldman project, "Dirty Sexy Money," "Eli Stone," "Football Wives," "Cashmere Mafia" and "Marlowe" are among the strong candidates on the drama side.

The big guessing game at ABC is where on the schedule its "Grey's Anatomy" spinoff is going to land, with 10 p.m. Wednesday, 9 or 10 p.m. Monday and 10 p.m. Thursday slots being the most-discussed possibilities at the moment.

The dramas "Babylon Fields," the untitled Cynthia Cidre project, "The Man" and "Viva Laughlin" and the comedies "Fugly," "The Big Bang Theory," "The Captain," "The Giants of Radio" and "I'm in Hell" are said to be in contention at CBS. The untitled Cynthia Cidre drama starring Jimmy Smits is rumored for the 10 p.m. Thursday slot, with the period's current occupant, "Shark," potentially replacing "Close to Home" on Friday.

In addition to "Bionic," almost all other one-hour NBC pilots are in the running, including "Journeyman," "Chuck" and "Life," which are staffing. The network is said to have narrowed down the comedy field to "The IT Crowd," "Business Class" and "Lipshitz Saves the World."

" 'Til Death" looks like a sure thing to return for next season at Fox, possibly paired with the new comedy "Action News."

Actioner "The Sarah Connor Chronicles," which is rumored as a potential companion to "24," is hot on the drama side, with "K-Ville," "Them," "Canterbury's Law," "Nurses" and "New Amsterdam" also in contention.

At CW, "Reaper" joins "Gossip Girl" as pilots that have been given the green light to begin making staffing offers.

http://www.hollywoodreporter.com/hr/...424809757aff1c
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post #1087 of 95476 Old 05-09-2007, 11:53 PM - Thread Starter
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TV Notebook
Host With the Most:
The Cult of Bob Barker
By Hank StueverWashington Post Staff Writer

LOS ANGELES -- "The Price Is Right" without Bob Barker could mean something profound to a lard-butt nation. Either he gets a life or you do. Maybe both.

Barker is 83 now. He's essentially the longest, oldest, most continuous anything on the air. At a recent taping of the game show in the spangly-sparkly CBS studio long ago named in his honor, he is wearing one of his perfectly fitted navy blue suits and a periwinkle blue tie. His face, neck and hands are layered in stage makeup the hue of pulverized Nevada, so much that you're not sure where it ends and the man begins. His hair (hair?) is snow white; he stopped dyeing it many seasons ago in a nod to the inevitable. "What are you going to do after [you retire]?" an audience member shouts out during a commercial break.

"Well, I plan to do a little more drinking," Barker deadpans.

* * *

Rich, what's the next item up for bid?

"Bob, it's this lovely floor clock!"

Wooooo, goes the audience, and then shouts bids to the lucky four on contestants' row.

Nobody wants a grandfather clock, not really. They want the grandfather figure, who keeps five $100 bills in his left coat pocket.

Winning the stuff is not necessarily winning: A 36-year-old woman in Phoenix, according to the Arizona Republic, is trying to sell a baby grand piano she won on a February episode, because she owes between $6,000 and $12,000 in taxes on her total take (which included six nights in Puerto Vallarta and a dinette set), when really what she most wanted was to kiss Barker on the cheek before he's gone (which she did). A Lee's Summit, Mo., couple, both public school teachers, tried in vain to raise $44,000 to pay the income and sales taxes on an $86,743 Dodge Viper the wife won on the show. "It's something you love and you can't keep," she told the Kansas City Star. "It's just one of those things that came from Bob."

In the first week of June, Barker will tape his last episode of "The Price Is Right," turning over the hosting job, which has been his for 35 seasons since the show's relaunch in 1972, to an as-yet-unchosen successor. (And then what? How do you feel about Mario Lopez in the job? John O'Hurley? What about George Hamilton? Ambivalent, right?)

The network will air two nights of a prime-time Barker retrospective and fete on May 16 and 17, and is asking fans to post 15-second farewell greetings on YouTube for possible broadcast.

About 5 1/2 million viewers tune in on an average day. People wait outside for as long as 18 hours for one of 325 seats in the audience; nine of them will be picked to play. In some deviation from the science of television demographics, the most devoted fans are not merely the busloads of church-permed, AARP-aged minxes, but, more intensely, legions of college kids in flip-flops.

Unless there's an uncanny streak of new-car winners, "The Price Is Right" is relatively cheap to make. More important, it is one of the easiest, happiest things on television to watch.

Just the sound of it feels, somehow nostalgically, like being in bed with the flu. ("Come on down!" roars the announcer, Rich Fields -- who replaced the late Rod Roddy in 2003, who replaced Johnny Olson in 1986 -- as you beg some 7Up and toast to stay on down.) There is the sound of it starting at 11 a.m., over those gooey-warm CBS airwaves, just when the day is still technically young and yet already somehow wasted. It feels like skipping class again and again, the MWF 10:30 section of Lit 125: The Emerging Self.

It is the sound of human, couch-bound torpor (hospital waiting rooms; snow days!) mixed gleefully with supply-side economics. (Something d-o-o economics, voo- doo economics. Bob Barker, it should be noted with each Grocery Game, graduated summa cum laude in economics, on a basketball scholarship, from Drury College in Missouri, Class of '47.) You win by knowing the stuff that matters -- the going price of soup, of baby wipes, of pain relief. Also there is wonder, exaltation, a new pool table, his-and-hers Jet Skis, this beautiful living room set. All this can be yours. If . . .

The Great American Audience

"I look at our audience as a microcosm of what America should be," says Roger Dobkowitz, 61, the show's longtime producer. "Of all the reality shows out there now, we're the most real. We enjoy our contestants being as real as they are. And what are they doing? They're doing their best. The audience really comes together and is proud of each contestant for doing the best they can. Nobody's trying to make somebody lose. It brings tears to my eyes to talk about it. . . .

"When a contestant loses a game, they're still so happy to be there. It's like something they've accomplished. It becomes this badge of honor -- they came to Mecca, they got up onstage, they met Bob Barker. They're not there for greed."

See them with blankies and plastic patio chairs, zealously staked out along the CBS compound at Fairfax and Beverly. Assistant producers come out sometime around noon and interview each ticket holder for possible contestanthood. Everyone gets that big, honey-yellow name tag with her or his name Sharpied in all caps upon it: ELISE. JACOB. RAJEAN. ANDREW. LESONYA. JOYCE. ASSAD. MELISSA.

Someone explain all the sorority girls, the Marines, the youth group missionaries, the frat rats, the stoners. (Well, the stoners we understand.) "Mom Needs a New Hot Tub," reads the pink, self-made XXL T-shirt worn by a woman whose name tag reads FLORA. She's using a cane, and so gets to wait out the last hour or so in the security lobby, with a woman pulling an oxygen tank.

"Think about it this way," Dobkowitz offers. "The median age in this country is 36 or 37, which means half the country does not know life without Bob Barker. You're young, you go out in the world and all the new things happen -- jobs, marriage. But turn on the set and Bob's doing the television show, and it's all okay."

It is no accident that, from the first season, the people who play "The Price Is Right" look exactly like the nation itself, no matter the year. They are dressed for immediate departure on Untucked Airlines. They seem like a lot of different thesis statements at once -- about diversity, about class, about consumption -- on a show that never meant to suggest any of that. Some ran on down, some skipped on down, one legendarily popped out of her tube top in the mid-'70s.

Up on that stage, they get bleary-eyed and sometimes tell Barker about being sick a lot in first grade, or about endless days spent at Meemaw's house watching TV, or they have him sign the tattoo they've gotten of his famous smiling face. Sometimes it's Bob on the shoulder, or else Bob on the calf, Bob on the biceps. It puzzles him and he does not question it.

Barker's wife, Dorothy Jo, has been dead 25 years, and he misses her greatly. They never had children. He has millions of grandchildren, though, if you broaden the definition of love and family to include being loved on television, by that sort of family. After a taping of the show earlier this year, in his dressing room, Barker considers this concept for a moment, as if it has never been suggested to him, and says yes, that's a good point, that's probably true.

Change Isn't Good

Barker remembers the late producer Mark Goodson presenting the concept and persuading him to host. ("I think we'll get a good run out of this," Goodson said. "I do, too," replied Barker, who already had a good run hosting "Truth or Consequences.") And there the concept remained: the chunky stagflation-era typography; the low-tech lights and buzzers; the glittery sets that appear to be covered in the felty hides of genuine Muppets; that jouncy, frantic theme song.

"Every time we talked about changing the show, people would scream 'No, no,' " Barker says. "I sometimes ask the audience . . . and I don't even get the word 'change' out of my mouth."

There are the increasingly geezy commercials (the Hoveround "mobility scooter"; Wilford Brimley's diabetes kit; or the ad beckoning "attention, mesothelioma and asbestos cancer victims") which hoveround nicely with the jokes about Bob being dead, yet clearly alive. Barker's heard them all, or makes them himself: Check for strings! Look for batteries!"Did you see a coffin in his dressing room?" jokes Craig Ferguson to a guest on "The Late Late Show," which tapes in a studio down the hall. "Was it filled with the dirt of his native land?"

Barker went on Ferguson's show last year and karate-chopped the comedian's desk in half. For the last decade, an odd offshoot of the cult of Bob Barker is his promotion to the status of improbable badass. In every audience Q&A, someone (usually a college boy) raises his hand to ask about "Happy Gilmore," the 1996 Adam Sandler golf comedy in which Barker, playing himself, beats Sandler -- who taunts him with "The price is wrong, bitch!" -- to a pulp on the green.

"And that's where it really seemed to start, this 'cult' thing," Barker says. "I have to tell you, I don't understand it. I wish I knew the answer. I wish I could bottle it. Whatever it is, I'm grateful for it." Eighty-three and up and at 'em! A banana each morning does the trick, Barker says, and then some light weights and some stretching, followed by an hour on the elliptical trainer, during which time he lets his beloved rabbits (Miss Honey Bunny and Mr. Rabbit) out of their room-size cage to play. After some home office work and phone calls (he hopes to die knowing as little as possible about e-mail) and an early, light lunch, he descends yet another day into the land of Plinko, Punch a Bunch, Lucky $even and It's in the Bag. There is no chauffeured car; Barker drives himself.

For the last several years, he has renewed his million-dollar contract one season at a time. He liked the symmetry of ending it at 35 seasons--6,500-plus episodes is enough, and he's been on the air in one way or another for 50 years, more than that if you count radio.

"I'm going to miss it tremendously. I know I will," he says. "When my wife and I came to California, she produced my radio show, and so we were always talking about 'the show,' you see. Can we do this on the show? What are we going to do on the show today, tomorrow? It was the show, the show, the show."

The person who knows the least about the future of the show, it turns out, is Barker, even though he is, until he retires, the executive producer:

"They tried a nighttime 'Price Is Right,' which was a colossal flop. They had everything modern and it didn't work. It's a delicate thing we have here and if they start fooling with it, tweaking this and tweaking that, then I'll think that will be a mistake," Barker says. "But I've talked in greater detail with you right now about what happens to 'The Price Is Right' than I've talked with anybody [in charge], because they haven't asked me."

It's Showtime

The crew rehearses without him, on the tacit understanding that Barker needs no rehearsal. He knows each of the 80 or so pricing games by heart and rarely, if ever, gets confused. An assistant delivers a yellow sheet of legal paper with the day's six games (eight if you include the Showcase Showdown and the Showcase itself) listed in pencil. "That will tell me if we're going to have two plugs on Games 2, 3 and 4, or something like that, and that's it," Barker says. "Away we go. Grind out another hit."

By 1 p.m., out on the stage, the crew practices wheeling cars and sofas and pricing games into place, while announcer Fields rehearses that distinctive script copy that will describe everything from "a NEW CAR!!" to a set of roasting pans.

The Barker Beauties, in hair rollers and bathrobes, are being told which spot to stand on for each reveal.

Oh, the Barker Beauties! Younger and perhaps hotter now, named Phire and Brandi and such. Thanks to the first Beauties, most sentient beings now know how to properly show off a refrigerator; that it's all in the wrist. There are as many as seven of them now and they rotate shows, to keep things fresh. (And Barker is not boinking any of them, and they are not suing him for harassment or discrimination -- that sort of unpleasantness, which at one point involved multiple lawsuits with several former Beauties, is past, thanks for your question.)

The crowd is ushered in, with the energy of sleepless speed addicts who just got a fresh fix. The sound system pumps a techno-beat version of the theme song, and they dance goonily. Names are called to "come on down" and do they ever. Those big paneled doors upstage part -- a little arthritically, as if they need to be greased or replaced -- and Barker strolls purposefully out toward them, and it is bliss, and he basks in it for a professional 10 seconds and away we go, grind out another hit:

Rich, show us the first item up for bid!

It's an above-ground pool. (Of course it is.) ELISE wins it, bidding $1,800, closest to the "actual retail price" of $2,974, goes on to play the Clock Game, and she spits out prices faster than Barker can say "higher" or "lower," and finally Barker sits down on the pink-carpeted platform and makes a hammy production of how old he's gotten. "You did great," ELISE assures him, after winning a pair of recliners and a set of dumbbells.

JACOB, a young Marine, wins a set of Igloo coolers and plays Cliff Hangers to win an Ikea kitchen. LESONYA bids $1,300 on a pool table and Hot Pockets frozen sandwiches, and the actual retail price is $1,300 exactly, so she gets $500, but sorry, LESONYA (cue the sad tuba bleat), no Pontiac Grand Prix.

KEITH, a retired military man, wins his-and-hers American Tourister luggage and then, in one of "Price's" cinchiest games (Side by Side), a Yamaha upright piano ($7,995). ANDREW, decked out in a giant white T-shirt on which he has painted Barker's signature sign-off ("reminding you to have your pets spayed and neutered"), wins a curio cabinet filled with porcelain kitties ($2,280) and then wins $10,000 cash by guessing that salsa, cat litter, cold medicine and stain remover each cost less than $8. JOYCE wins an Aquabot pool cleaner, but in playing That's Too Much, stops too early on the price of a Ford Mustang -- $20,902. (JOYCE, that's too little.)

But it's not over.

When you don't win, when Barker places his hand warmly near your lumbar and sort of half walks you, half pushes you off the edge of your fleeting fame, it's still not over, because you can hang your hopes on the Showcase Showdown.

They keep the wheel backstage. During a commercial break, several stagehands drag it into place, where it sits on a red carpet.

Reach up there and give that wheel a spin and see who gets closest to a dollar without going over. See what the fates are telling you. See what Bob says. See what America is, or was. Boop-boop-boop-boop-boop-boop-boop-boop-- "I'd like to say hi to my girlfriend, Kim, and Mom and Walter, and Trina" -- boop-boop-boop-boop-boop-boop-boop-boop-boop-boop-boop-boop-boop . . .

Boop . . . boop . . .

Boop . . .

Boop.

http://www.washingtonpost.com/wp-dyn...801994_pf.html
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post #1088 of 95476 Old 05-10-2007, 03:36 AM
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I think the success of this show and the validity of the of the winner as the next American band will hinge on who they get to judge this thing.

Rockstar INXS was decent, Rockstar Supernova was a farce. I guess its for the best that its not returning.

Sounds like the producers of AI wanted to make sure they got Simon Cowell's X-Factor in a form they could benefit from.

All opinions expressed (unless otherwise noted) are the posters and NOT the posters employers. The poster in NO WAY is/will speak for his employers.
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post #1089 of 95476 Old 05-10-2007, 05:03 AM
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I wont be watching this...sorry, im too gun shy. When the cancellation trigger gets pulled, I wont be a victim. Their first mistake has been made before it even airs. Episode 1 tomorrow night then, 27 days later episode #2. When will they learn?

I think that it was an intentional mistake by ABC. I think they just want to burn off the episodes during the summer. I'll record b/c it'll be a nice, breezy bit of summer fare to watch.

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post #1090 of 95476 Old 05-10-2007, 05:47 AM
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I think that it was an intentional mistake by ABC. I think they just want to burn off the episodes during the summer. I'll record b/c it'll be a nice, breezy bit of summer fare to watch.

I agree, it will be entertaining. But for me, so were The Unit, Jericho, Invasion, and Surface. I dont want to get wrapped up in something im almost positive will be canned.
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post #1091 of 95476 Old 05-10-2007, 05:48 AM
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I'll record [Traveller] b/c it'll be a nice, breezy bit of summer fare to watch.

Yeah, for the first 3 or 4 episodes; then they'll cancel it, and anybody who committed to watching it will be left holding the bag yet again. What they did to 'Drive' was the last straw.

When will they learn, another poster asks? Here's the thing they'd better learn: If they're going to green-light a serial show, then they'd better commit to airing a complete pod of episodes, like 13, no matter what the ratings. Suck it up and show the viewers that even if only 4 or 5 million people are watching, they're not going to treat them like dirt for the crime of watching that show. (They'll still make money, just perhaps not the raging river of it they're used to.) And, given time, some of these just might grow an audience; I believe 'Drive' would have if it had continued to air over the summer. The networks complain of losing viewer loyalty; well duh! They've brought this on themselves, but they're too narcistic to notice.
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post #1092 of 95476 Old 05-10-2007, 06:05 AM
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I find it fascinating that at this week's Cable show there was almost NO talk about HD.

While today's DirecTV analyst's call was dominated by HD talk, and I suspect tomorrow's EchoStar presentation will be HD-centric, too.

So while cable talks of bundling and download speeds and telephony, satellite speaks of the TV experience.

As I say, I find that fascinating.

Cable is making their money off internet and phone right now. They are luring everyone in with these triple play deals then cash in when the promo prices expire after a year. If D* actually gets all the HD channels they are talking about and Cablevision, who has said that they will have SDV for HD by the end of the year, doesn't start adding them, then at this time next year I will be a D* sub.
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Well, I plan to record Traveler tonight, although I don't know if I will actually watch it until June, when a few more episodes air (if they air, I guess it's always possible that if it tanks tonight, they might not air the other scheduled episodes.) I believe ABC had already cut the episode order to 8, so I would hope they have given the show some sort of resolution, and will then air all 8 episodes.

Also, add me to the list of folks who have watched Jericho from the beginning, and hope that they don't leave us hanging with last nights finale. I was expecting some sort of cliffhanger, but even I was suprised when it ended where it did.

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post #1094 of 95476 Old 05-10-2007, 07:03 AM - Thread Starter
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TV News Notebook
Couric: I went to CBS with eyes 'wide open'
By Peter Johnson USA TODAY May 20, 2007

Despite the lowest ratings in 20 years at The CBS Evening News, anchor Katie Couric says she doesn't have second thoughts about becoming the nation's first female solo anchor. She says the last-place newscast is improving and, as viewers get used to her, they'll tune in more.

"I had my eyes wide open going in," Couric told USA TODAY Wednesday. "I knew this was going to be a big challenge. To get out of your comfort zone is not always comfortable."

Eight months after she replaced interim anchor Bob Schieffer and days before CBS unveils its fall schedule to advertisers Couric and Evening News are slipping deeper into third place. But she says she's determined to make it work.

"Even when we were No. 1 at Today I was really focused on the quality of the program, and that's what I'm focused on here," she says. "These things don't turn around overnight. We're trying to do a smart, compelling, engaging broadcast. If you live and die by the ratings, it's really distracting and can turn you away from your mission, which is hopefully doing the best show you possibly can."

Last week, the first week of the crucial May ratings sweeps period, Evening News drew just 6 million viewers, its lowest ratings since 1987. By comparison, surging ABC World News, anchored by Charles Gibson, scored 8 million viewers the ninth time in 13 weeks that it has beaten NBC Nightly News, anchored by Brian Williams, which drew 7.5 million. That was NBC's fourth-lowest number in 20 years.

CBS News president Sean McManus says there is no panic about Evening News or Couric, and there has "never been any discussion" about changing anchors. "I'm not going to sugarcoat it and say we like being down. I continue to be very optimistic."

Network and cable news veteran Rick Kaplan, who was tapped six weeks ago as Evening News' executive producer, says he and Couric have returned to a more traditional, hard-news broadcast. He says CBS erred in trying to change its tone and style when Couric arrived. In addition to "all the things viewers had to get used to, the fact that what they were seeing wasn't anything like a traditional broadcast was too jarring."

Says Couric: "Evening-news viewers are very traditional and set in their ways, and I think it can be unsettling to have a new person there. I think it just requires some time."

Former CBS anchor Dan Rather says Couric can still succeed but has faced a "tremendous challenge" from the minute she signed with CBS. "Not only was she trying a different kind of broadcast, but she was anchoring at a different time of day with different audience expectations and moving from a different network."

http://www.usatoday.com/life/televis...ic-cover_N.htm
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post #1095 of 95476 Old 05-10-2007, 07:07 AM - Thread Starter
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TV Review
Traveler, worth joining in hot pursuit
ABC men-on-the-run conspiracy drama jumps
By Andrew Lyons in MediaLifeMagazine.com May 10, 2007

The opening of "Traveler" is a grabber. Two young men run desperately through the streets of Manhattan. They seem like perfectly reputable guys, in their road trip attire and get-a-job haircuts. But their eyes are full of fear. We don't know why.

We find out soon enough.

The two, recent grad school alums and close friends, are on the run, suspects in a museum explosion. And their other friend is missing, possibly dead, inside the museum.

That "Traveler," which premieres tonight at 10 on ABC, wastes no time with long-winded character introductions or plot setups is smart.

This season has produced so many failed mystery/conspiracy serials ("Kidnapped," "Vanished," "Daybreak," "Drive"), some actually pretty good. So it's refreshing to find a show that holds back on the details, aiming to first hook viewers by the pure action.

The impressive thing about "Traveler" is that still mostly works after it pauses for the inevitable backstory of just how it was that our two young men have gotten themnselves into such a fix. It works because of deft pacing, the believability of the characters, both played by relative unknowns, and the central mystery of their story, which turns out to be more personal than political.

Even as the show introduces the standard conspiracy elements, there's that hook. Did their friend die as a victim in the explosion or did he cause it? Just what was the real nature of their relationship, true friendship or something far more sinister, involving personal, unspoken betrayal?

Neither man wants to acknowledge that possibility but it's the puzzle that keeps "Traveler" moving.

The backstory: After finishing grad school, the three friends and roommates decide to take a trip across the country before settling down in their professions.

Jay (Matthew Bomer, "Tru Calling") is a working-class striver just out of law school. Tyler (Logan Marshall-Green, "The O.C")is a business school grad and son of the wealthy chairman of an insurance company (William Sadler, "Die Hard 2"). We learn that Will Traveler (Aaron Stanford, "X2") has just completed an advanced degree in engineering but we learn nothing about his background. Will is the one who disappears in the museum.

In flashbacks, Jay tries to piece together the events leading up to the explosion. In a cell phone conversation just before, Will asks if they're safely out of the museum. He then apologizes.

Jay and Tyler have become suspects because of a prank they pulled in the museum just before the explosion, one Will suggested. Thus, in a sort of post-millennial "North By Northwest," the guys have to go on the lam, not certain where they are running to, or why, or who is responsible for their predicament.

"Traveler" writers were clever in casting relative unknowns as the leads. They come off as more vulnerable and lost than more familiar faces might.

As yet, neither Bomer nor Marshall-Green have much to do in terms of carrying scenes. But they do a good job of establishing a mood of creeping fear, a growing sense that nothing they once trusted is safe anymore.

Stanford, who played the bad-seed mutant Pyro in the "X-Men" films, brings a similar shadowy sensibility to Will, a hint that below that bland exterior lurks something quite dark.

The young actors lean on several veteran character actors for the heavy lifting. Sadler is always solid and Steven Culp ("Thirteen Days") and Viola Davis ("Solaris") crackle as FBI agents hunting down the pair.

"Traveler" is not without flaws. When Jay reconnects with his girlfriend, the pace slows considerably. And one supporting character keeps showing up at just the wrong time, undermining the otherwise well-honed mood.

But they don't diminish "Traveler" as a drama about friends in crisis and the boundaries of loyalty and betrayal among them. As long as the focus stays there, the story grippingly hums along.

http://www.medialifemagazine.com/art...icle_11993.asp
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post #1096 of 95476 Old 05-10-2007, 07:20 AM - Thread Starter
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The Business of Television
EchoStar: Strong First Quarter
(Echo Star News Release)

ENGLEWOOD, Colo., May 10, 2007 (PRIME NEWSWIRE) -- EchoStar Communications Corporation (NasdaqISH) reported total revenue of $2.64 billion for the quarter ended March 31, 2007, a 15 percent increase compared with $2.30 billion for the corresponding period in 2006.

Net income totaled $157 million for the quarter ended March 31, 2007, compared with $147 million during the corresponding period in 2006. Basic earnings per share were $.35 for the quarter ended March 31, 2007, compared with basic earnings per share of $.33 during the corresponding period in 2006.

DISH Network(tm) added approximately 310,000 net new subscribers during the first quarter of 2007, ending the quarter with approximately 13.415 million subscribers.

http://phx.corporate-ir.net/phoenix....488&highlight=
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post #1097 of 95476 Old 05-10-2007, 07:25 AM - Thread Starter
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TV Review
Traveler
After a Museum Is Bombed, the Real Trouble Begins
By Alessandra Stanley The New York Times May 10, 2007

In television's war on terrorism you're either with us or a wrongly accused pawn set up by a sinister, high-placed conspiracy.

The heroes of ABC's new series Traveler are in the latter camp, and that alone is a welcome break from the recycled superagent heroics of Jack Bauer on 24. That Fox thriller began its sixth season on a high note with a nuclear explosion in Valencia, Calif., but quickly shifted into automatic pilot; the final hours are idling along in dull diversions and secondhand plot twists. It's a chore, and so is the insufferable nobility of the elite antiterrorist force on CBS's Unit.

Travelers appeals to the Everyparanoid. Three good-looking roommates, fresh out of Yale graduate schools, take a Kerouac-inspired cross-country road trip, kicking it off with a roller-skating lark inside a New York City museum. Moments later a huge bomb explodes and destroys almost everything inside, including an exhibition of the American president's private art collection.

Jay Burchell (Matthew Bomer) and Tyler Fog (Logan Marshall-Green) are caught on tape skating to safety and are branded as terrorists, possibly in cahoots with foreign enemies.

They believe that their third friend, Will Traveler (Aaron Stanford), can help establish their innocence, but Will vanishes, and the two others realize they cannot even prove the third man existed.

Jay's initial faith in the fair-mindedness of the federal government is quickly shattered, and they go on the lam, pursued by the F.B.I. and almost every other law enforcement agency in the land. When Jay's girlfriend urges him to surrender, he replies, If we go in now they will ship us straight to Guantánamo Bay.

The innocent bystander caught up in a complicated web of ill-doing is a familiar conceit, be it The Count of Monte Cristo, Hitchcock movies like North by Northwest or TV series like The Fugitive and, most recently, Prison Break on Fox.

But especially nowadays big bad government seems to have a special resonance, perhaps collateral psychic damage from the war in Iraq and Abu Ghraib. The Unknown Terrorist, a new novel by Richard Flanagan, centers on an exotic dancer who, by complete mischance, is labeled as a terrorist.

The same kind of cynicism crops up on all kinds of television shows, even some as featherbrained and farcical as ABC's Boston Legal. On Tuesday's episode Alan Shore (James Spader) represents a British citizen of Arab origin who was held and tortured at Guantánamo for two years. (He wins the case.)

It's not clear whether the museum bombing in Traveler was the work of Muslim terrorists or other unidentified enemies of the state, but the state is definitely a suspect.

Jay and Tyler come from opposite worlds: Jay, the son of a housekeeper, got to Yale on college loans; Tyler grew up in penthouses and went to private schools, but both are sons of men who felt betrayed by their own government. Jay's father was in the military during the first Iraq war and was court-martialed for a friendly-fire incident that took American lives. He believed he was being framed and killed himself.

Tyler is the son of a multibillionaire tycoon named Carlton Fog (William Sadler) who was convicted of conspiracy during the Iran-Contra scandal in President Ronald Reagan's second term. Mr. Fog urges his son to flee. When Tyler says that they have done nothing wrong, his father replies tersely, That hasn't stopped the authorities from harming this family before.

The F.B.I. quickly seizes on the two suspects' personal resentments as a possible motive for the crime, though they do not rule out an Al Qaeda connection. And the agent in charge of the manhunt, Fred Chambers (Steven Culp), has a shifty manner that suggests he has something of his own to hide. Everybody seems to have secrets and to know more about the explosion than the two heroes, who have to solve the crime to escape the punishment.

The first episode of Traveler is well made and quite gripping, with lots of chase scenes through hotel corridors and rooftops. But the past season is littered with the unfinished scripts of serialized dramas imitating Lost, and to some extent 24. The NBC show Heroes was a huge success, but other, more adult thrillers like The Nine, Kidnapped and Day Break flopped and disappeared.

Traveler takes young, handsome protagonists and plunges them into an adult world of terrorism and government deceit. And in these times, that could be a popular combination.

http://www.nytimes.com/2007/05/10/ar...gewanted=print
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post #1098 of 95476 Old 05-10-2007, 07:33 AM - Thread Starter
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Wednesday's metered market over-night 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 second post in this thread.
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post #1099 of 95476 Old 05-10-2007, 08:00 AM - Thread Starter
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The Business of Television
Nielsen Problems?
On Eve Of Commercial Ratings, Nielsen Says It Needs Cable Logs
by Joe Mandese, Editor of MediaPost Thursday, May 10, 2007

Mere weeks before it will begin reporting average commercial minute ratings, Nielsen has made an 11th hour request to cable networks to begin supplying it with their TV commercial logs to make sure it is properly tracking all their commercial advertising time. The move suggests that Nielsen's commercial monitoring system is not quite up to snuff for measuring commercial ratings, or at least cannot do the job alone, as Nielsen executives have been saying it could. The request, which was made in letters to all of its national cable network clients, follows a "pre-audit" of Nielsen's Monitor-Plus commercial tracking system for industry ratings watchdog the Media Rating Council, and a recommendation by its auditors at Ernst & Young that Nielsen "request and utilize weekly commercial occurrence logs from all national cable networks that it monitors."

The request is the latest twist in Nielsen's controversial plan to rollout commercial ratings beginning this fall, and comes just as Nielsen is poised to release the first official data for the industry to begin evaluating the new ratings. That release, which will come at the end of this month, comes just as advertisers and agencies are about to begin planning their annual upfront TV advertising buys for major broadcast and cable networks and television syndicators.

Nielsen said it already regularly receives commercial log data from most of its broadcast network and syndication clients, but now needs to collect the log data from cable networks. While cable networks are likely to comply with that request, it will no doubt add fuel to their fire, as the cable industry has been among the chief critics of Nielsen's plan to accelerate the rollout of commercial ratings before they are fully baked.

The cable industry, led by the Cabletelevision Advertising Bureau, forced Nielsen to delay an earlier rollout plan until it could improve its monitoring of cable networks, and the CAB recently formed a "Commercial Ratings Commission" in an effort to have greater influence on the process. The CAB's commission includes representatives of many top media buying shops, which also have been critical of Nielsen's rollout plans and methods.

Another big issue concerns the timing of Nielsen's request, and the impact it could have on cable network research and sales management systems coming just as they are preparing for their annual upfront sales season.

"The question for many is whether they can put people and systems in place to get it done immediately or as fast as three weeks," says one knowledgeable cable industry executive. "The log files are there. Creating a process and system and assigning staff is another story.

"Finally, Nielsen needs to demonstrate that they can handle all the logs - including the cable logs. How will Nielsen put their system in place?"

http://publications.mediapost.com/in...30265&p=368282
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post #1100 of 95476 Old 05-10-2007, 08:13 AM
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It's ironic that Traveler is yet another well-reviewed serial drama that's almost pre-destined to fail. Looking back at the start of the 2006-07 season most of the best reviewed new shows were serial dramas: Six Degrees, The Nine, Kidnapped, Studio 60 on the Sunset Strip (technically not a serial but you needed to watch older episodes to get some/most references), etc. Even Heroes and Jericho got decent reviews early on (which turned to raves when they became unexpected hits) yet all these shows are either dead, "on the bubble" and/or struggling. Even veteran quality serials like Lost and Battlestar Galactica are down by double-digit numbers. It's not lack of quality that's killing the serial drama but a lack of committment from networks and viewers alike to seeing a story (good, bad or somewhere in-between) be told from beginning to end (whether it's "Lost's" 116 episodes or "Kidnapped's/Drive's" 13). It's a viscious cycle: viewers don't tune in because they know the plug can be pulled on a show they've invested themselves into, and the networks pull the plug early when the initial sampling of the premiere episode isn't as high as initially expected.

Fox is particularly guilty of this with Tim Minear's Drive but all networks are guilty of putting on serial dramas with somewhat interesting but esoteric concepts expecting them to be immediate hits because they advertise the hell out of them (on the network as well as other media) and not because they were developed with long-term plot arcs in mind. Say what you will about "Lost" and its maddening peace-meal approach at revealing key plot points. At least the guys that shaped this show (Abrams didn't create it, he and the other two co-creators shaped an idea from the ousted ABC programming guy) were clever-enough not to tip their hand that first season about what the show was about, which allowed the last two seasons to build and build on the foundation of the first season. This seems to be what separates a success story like "Heroes" from a "Vanished" or "Six Degrees"-type flop: taking the time before the show airs to shape the concept into something viewers would like to tune in week after week. The emotional aftermath of the nine survivors of a bank heist gone bad? WTF were the writers going to do, drag the bank flashbacks for five whole years for a big emotional reveal? I didn't care for "The Nine" from the moment I heard the premise, and no amount of grade A reviews or advertisement made me even think for a nano-second of tuning in.

I don't care for "Jericho" either (never seen it) but the premise sounds intriguing enough that I understand why its nickname as a Republican version of "Lost" and its early strong viewership took off. By the criteria networks are applying to serials today some expensive mini-series from decades past (like ABC's controversial 1980's mini-series Amerika, which somewhat resembles the "Jericho" premise) that were scheduled to last a week or three/four nights of programming should have been canceled by Wednesday and regular programming (or repeats of hit shows) put back on. People back then would have been hopping mad, and rightly so, since they were promised a mini-series and they (regardless of number) tuned in expecting to be told a story from beginning to end. If networks don't like where a serial show is headed creatively early in its development stage then don't commission the 13-episode order at all.

I guess what I'm saying is that I'll be watching Copa Libertadores South American soccer quarter-finals on Fox Sports En Espanol tonight instead of watching (or even DVR'ing) Traveler. Seriously, what's the point?
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post #1101 of 95476 Old 05-10-2007, 08:14 AM - Thread Starter
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TV Review
Traveler,
A chase show poses the question: When will it end?
By Jonathan Storm Philadelphia Inquirer TV Columnist

A few weeks ago, Fox premiered a show that was basically one long car chase. The red flag came out after a couple of weeks of no viewers, and we'll never find out what happened to the drivers.

Now comes ABC with Traveler tonight at 10. It's an intermittent chase shrouded in a mystery and wrapped in an enigma. But the biggest question is: Will viewers be left in the lurch again?

It will take an intrepid band of optimists to hook up with Traveler, given the checkered history of serials this season. So many crashes on the first few laps.

This show has one thing going for it: Summertime, when the ratings aren't easy, and networks can afford to stick with just about anything. After tonight's cushy preview, following Grey's Anatomy, Traveler goes on hiatus for almost three weeks, starting all over again on May 30, which, in TV terms, is the dead of summer.

Traveler is maybe a notch above just-about-anything status, but it's not exactly HBO material. It seems aimed at fans of the old WB, who have aged a few years since Dawson's Creek and maybe lost custody of most of their brain cells, so they need to have their nerves shook up all the time and get everything constantly explained, or they can't keep up.

Subtlety would be lost on these folks, so why not get the pigeon wrangler to station a flock of birds (visual cliche alert!) in our hero's path so they can flutter dramatically into the sky as he dashes by?

And it certainly doesn't matter if the stuntman who jumps off a 10-foot wall is followed in hot pursuit by an actress in ill-fitting clothes playing an FBI agent, who hops not from the wall, but from a little step. Maybe she Spiderwoman-ed it off the wall first, when we weren't watching.

Traveler starts with three gorgeous guys - smart, too; they've just finished grad school at Yale - who set out on a road trip, pretending they're Jack Kerouac.

They'd still be too dumb for TV's most famous Yale student, sharp journo Rory Gilmore, but at least they know their place.

"We did not come to the most exclusive club in Manhattan to be wallflowers," the leader says, just so we know that the generic pack of young partiers in the scene is more hotsy-totsy than it looks. "I've got three interns from Vogue over there looking for dance partners."

We're spared the dancing. That's another ABC show. This one has a bomb at the famous nonexistent Drexler Art Museum in New York and daredevil roller skating by one of the three musketeers who just finished law school. Another's claim to fame is he comes from money.

His father is "Carlton Fog, one of America's richest men and convicted conspirator in the Iran-Contra scandal in the late '80s," a newscaster announces on the TV-show-within-the-TV show. Of course, the audience for Traveler probably doesn't have a clue what Iran-Contra was and really doesn't care.

Fog's on TV because, after the bomb and the roller skating, the musketeers are wanted for terrorism.

Look, I didn't make it up. And I didn't make up that no pictures exist of one of the three, who is maybe named Will Traveler and maybe set off the bomb and is maybe dead and is almost certainly not who he claimed to be for two whole years while he was buddying up at Yale with the rich guy and the would-be lawyer.

If I could make up ludicrous stuff like that, I wouldn't be scratching nickels and dimes as a TV critic.

And, finally, I didn't make up that, in their mad dash to escape all manner of lawmen and women, the suspects don't head for New Jersey - Gateway to the World - but rather onto the geographical dead end that is Long Island.

Follow them there, if you dare. I'm already committed to Prison Break. One cockamamy chase show is all my unaddled brain can handle.

http://www.philly.com/inquirer/colum...l_it_end_.html
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post #1102 of 95476 Old 05-10-2007, 08:35 AM - Thread Starter
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TV Notebook
On the Air Tonight:
Prime Time Programming Options
Thursday, May 10: Night 15 of the May 2007 Sweeps

A B C
8:00 p.m. Ugly Betty HD
9:00 p.m. Grey's Anatomy HD
10:00 p.m. Traveler (premiere/preview) HD

C B S
8:00 p.m. Survivor: Fiji
9:00 p.m. CSI HD
10:00 p.m. Without a Trace (season finale) HD

N B C
8:00 p.m. My Name is Earl HD
8:40 p.m. The Office HD
9:30 p.m. Scrubs
10:00 p.m. ER HD

Fox
CW
8:00 p.m. Are You Smarter Than a 5th Grader (two hours)

CW
8:00 p.m. Smallville HD
9:00 p.m. Supernatural (part one) HD

http://www.mediaweek.com/mw/newslett...ider/index.jsp
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post #1103 of 95476 Old 05-10-2007, 08:47 AM - Thread Starter
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Critic's Notebook
Give some love to `Earl' this summer, next fall
By Charlie McCollum San Jose Mercury-News May 10, 2007

Last spring, NBC had the two hottest new comedies on television: "The Office" and "My Name Is Earl." Both were acclaimed by critics, had registered high on the pop culture Richter scale and seemed headed for ratings success.

Well, "The Office" is still one of TV's hotter properties - an Emmy for best comedy, continuing attention from the press, very big as a download online. But "Earl," which ends its second season tonight with a terrific finale (at 8, Chs. 8, 11), has had a run of bad karma, with a pretty bad sophomore slump in viewership and getting eclipsed by "The Office" and newcomer "30 Rock" on the buzz-o-meter.

The drop-off would seem to suggest that something has gone horribly, terribly wrong with "Earl." But except for a second season bump or two, the series is just as funny as it ever was and just as knowing in its absurdist take on American life.

The foundation of the show - petty criminal Earl (Jason Lee) tries to make up for all the wrongs he has done in his life - has proven quite sturdy. The supporting characters are rich, particularly Earl's cheerfully amoral ex-wife Joy (the delightfully brassy Jaime Pressly). There's lots of room for oddball guest stars as people drift in and out of Earl's life.

Most of all, "Earl" may have more heart than any other network comedy.

The main characters, including Earl, started out as more than a bit creepy, the kind of folks you would cross the street to avoid. But they have morphed into multidimensional human beings who really do try to do the right thing, an evolution that is relatively rare in sitcom world. Heck, Earl even has a job now, and Joy actually seems like she'll be a good mother.

I know it's a bit late to make a plea to tune in to "Earl" this season. But NBC will be airing repeats all summer, and the show has been renewed for a third year. So mark it down on your schedule as good entertainment for the warm weather months and as a show you need to pay attention to come the fall.

Remote controls

There's no question that "Survivor" doesn't carry the culture cachet it once did. Still, the average weekly audience for the current Fiji edition is just under 15 million - enough to make it a top 15 series for the season. So lots of folks are paying attention to the show as it's down to the final six contestants, with the penultimate episode tonight (8 PM ET/PT, CBS and the three-hour finale/reunion airing Sunday at 8.

My track record on picking winners on "Survivor" is abysmal, so I'll stay away from predictions. But I must admit to having a warm spot for Yau-Man Chan, the 54-year-old University of California-Berkeley computer engineer who has hung tough against his younger competition. Yau-Man, you the man.

Things get back to normal on "Grey's Anatomy" tonight (9PM ET/PT, ABC) after last week's hybrid episode that mixed goings-on at Seattle Grace with a pilot for a new series starring Kate Walsh as Addison Montgomery. The two hours were more than a bit clunky, making it really hard to judge just what the spinoff will be like. Too many Addison scenes played like moments from a bad David E. Kelley show ("Ally McBeal" in its later days) instead of the usual tight and bright "Grey's." Still, you gotta love the cast - Tim Daly plays particularly well with Walsh - so I'll reserve judgment and maintain hope for now.

In a rather strange scheduling move, ABC is sneaking in a preview of its new adventure-drama "Traveler" tonight, showing the first episode at 10 PM ET/PT. Then the series will start all over again on May 30, when the first episode is repeated. If you want to catch it tonight, fine. (It's pretty good.) My suggestion, though, is to watch something else and wait for the show's real launch in three weeks.

http://origin.mercurynews.com/portle...980&siteId=568
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post #1104 of 95476 Old 05-10-2007, 08:57 AM - Thread Starter
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Wednesday's fast national over night 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 second post in this thread.
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post #1105 of 95476 Old 05-10-2007, 08:59 AM - Thread Starter
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Overnights in the 18-49 Demo
Flatliner of a finale for CBS's 'Jericho'
First-year drama pulls a 2.1 in adults 18-49s
By Toni Fitzgerald MediaLifeMagazine.com staff writer May 10, 2007

With last night's lackluster finale, post-apocalypse drama Jericho seems unlikely to return next year on CBS.

The show averaged a 2.1 adults 18-49 rating, according to Nielsen overnights, down slightly from a 2.2 for its penultimate episode last week and tying NBC's Thank God You're Here for fourth in the 8 p.m. timeslot, just 0.1 ahead of Univision.

That was 38 percent off the 3.4 the show debuted with last fall, even airing opposite Dancing with the Stars. Back then, Jericho seemed like one of the more promising new programs for CBS.

It attracted a steady audience despite airing opposite ABC's reality hit before going on a three-month hiatus in November. But when the show returned a few months later, it struggled, likely hobbled by that long break. Airing opposite several expanded editions of Fox monster hit American Idol didn't help, and in recent weeks Jericho had been hovering at a 2.4 or below, half a point off its season to date average.

Though CBS tends to skew older, that downward trend in viewership does not bode well for a show on the bubble for renewal. Media people expect that Jericho, the network's first new show to get a full-season order last fall, will be dropped.

Meanwhile, Fox was first for the night among 18-49s with a 6.8 average rating and a 20 share. CBS was second at 3.1/9, ABC third at 3.0/9, NBC fourth at 2.1/6, CW fifth at 1.9/6 and Univision sixth at 1.9/5.

At 8 p.m. Fox led with a 3.2 for Bones, with CW second with a 2.4 for America's Next Top Model. ABC was third with a 2.3 average for According to Jim (2.3) and Notes from the Underbelly (2.3), while CBS and NBC tied for fourth at 2.1, CBS for Jericho and NBC for Thank God You're Here. Univision took sixth with a 2.0 for La Fea Mas Bella.

Fox led again at 10 p.m. with a 10.5 for American Idol, with CBS second with a 3.5 for Criminal Minds and Univision third with a 2.0 for Destilando Amor. ABC was fourth with a 1.9 average for repeats of According to Jim and George Lopez, with NBC and CW tied for fifth at 1.5, NBC for Crossing Jordan and CW for One Tree Hill.

ABC took the lead at 10 p.m. with a 4.9 for Lost, followed by CBS with a 3.6 for CSI: NY. NBC was third with a 2.6 for Medium and Univision fourth with a 1.5 for Don Francisco Presenta.

Among households, Fox led the night with an 11.5 average rating and a 19 share. CBS was second at 7.3/12, ABC third at 4.7/8, NBC fourth at 4.2/7, CW fifth at 2.7/4 and Univision sixth at 2.3/4.

http://www.medialifemagazine.com/art...icle_12016.asp
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post #1106 of 95476 Old 05-10-2007, 09:01 AM
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I had a long talk with a person at the BTN yesterday. She even went as far as to get some more information and call me back.

None of what I heard was very good. I can't have a dish where I live -- her answer was go to a sports bar when you want to watch something! I have over $5000 invested in my TV system and I am supposed to go to a smoky sports bar

I have been told by TW of SC that they have no interest in putting the BTN on its service.

She told me that a non league football game might be on ESPN Game Plan, but it would have to be an away game for the BT team. She said that ABC will still do splint regional broadcasts and the BT game SHOULD be on ESPN or the Duce. However the Big 12 just got an agreement with ESPN to show football on Saturday nights. Same deal for basketball as it pertains to Full court.

When I got to hockey the answer was not as definitive but it appeared that BT teams would appear on the BTN only. That means that the Fox regionals would not show college hockey that had BT teams playing.

I asked about softball, something I coached for 17 years, all the BT games got to the BTN nothing to show on Fox regionals or CSTV.

This thing is a giant step backwards! My last comments were around the fact that for me I hoped it failed!

I was very polite and we did have a good conversation. She inferred to me that TW really has no interest in the BTN unless it is in the BT "footprint"

The BTN phone is 312 665 0700 -- her extension is 50701
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post #1107 of 95476 Old 05-10-2007, 09:07 AM - Thread Starter
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It certainly seems like the cable giants have little interest in the Big Ten Network outside of the Big Ten areas -- and even there it might be a major battle we'll be watching this summer.

Apparently the pricing -- even in the Big Ten footprint -- is causing concerns. Reportedly it will be $1.10 a month in the Big Ten area and 10 cents a month outside.

(And good luck trying to get a sports bar to put Big Ten softball games on one of their screens!)

By the way, other conferences exploring following the BTN game plan are the SEC, Big XII and Pac-10.
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post #1108 of 95476 Old 05-10-2007, 09:11 AM
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I really, really enjoyed Traveler. It's a shame they held off on it for so long, but its a solid program.
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post #1109 of 95476 Old 05-10-2007, 09:21 AM - Thread Starter
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But will there be a resolution?

Clearly ABC has no future plans for it.
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post #1110 of 95476 Old 05-10-2007, 09:54 AM
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Fred I think you have rules about posting or copy articles form Publication site or something like that. I hope this is not a breach of that rule.

For those of us in Los Angeles due to the fire in Griffith Park Veronica Mars was not shown on KTLA. I found this out only when I check my DVR the next day. But there is some good news. This was in the LA Times this morning.
"Due to KTLA's live coverage of the wrath-of-God fire in Griffith Park, "Gilmore Girls" and "Veronica Mars" were pre-emptied Tuesday night. The new episodes have been rescheduled, however, with "Gilmore" airing on Saturday, May 12 at 8 p.m. and "Veronica" following at 9 p.m."
I am a big VM fan and was very disappointed that I was going to miss one of the last few show. But KTLA really step up to the plate with this repeat showing rather cool for the audiences.

Life is no harder than you make it.
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