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post #68401 of 93688
2011 Upfront Notes
ABC's 2011-12 schedule: 'Charlie's Angels,' 'Pan Am' and many, many, many more new shows
Is premiering 13 new series smart strategy or a sign of desperation?
By Alan Sepinwall, HitFix.com - May 17th, 2011

ABC is going to debut at least 13 new series at some point in the 2011-12 TV season, easily the most of the three networks to announce schedules so far during upfront week. You can look at it one of two ways. ABC entertainment president Paul Lee, announcing his own schedule with his own developed shows for the first time in his tenure at the network, tried to sell it as a lesson he learned from his cable days at ABC Family, where it was important to have new product to debut year-round, rather than just in the fall the way the broadcast networks used to do business.

Or you could look at it as the result of ABC having one flagship reality show ("Dancing with the Stars"), one relatively young hit ("Modern Family") a few aging ones ("Grey's Anatomy," "Desperate Housewives") and a whole lot of holes, and/or shows that survive largely because they follow one of the few hits.

The answer is probably somewhere between those two theories. Yes, ABC very badly needs to replenish itself with new hits - and Lee, like his counterparts at NBC and FOX, is particularly keen on expanding his sitcom presence - but there's also value to having new shows debuting at various points throughout the year, even if it's harder for the networks to pull off than it sounds. (NBC under Ben Silverman talked about this constantly, and it never quite worked.)

It's a ton of new product to promote - Lee even said he hopes to stagger the fall premieres a bit so they're trying to promote seven new shows in the same week - and yet a schedule that didn't have room for "Cougar Town" until mid-season. We'll see if they can pull it off - and if Lee's programming choices are as smart for the big network as they largely were for ABC Family.

I have thoughts on it [the schedule], night-by-night, along with some comments from Lee:

MONDAY: If it ain't broke, leave "Dancing with the Stars" and "Castle" alone. I assume one of the mid-season dramas will air in the 10 o'clock timeslot while "The Bachelor" is airing between the fall and spring "Dancing" seasons.

TUESDAY: Like NBC, ABC is trying to launch two new comedies from scratch on a night away from where the network has developed a comedy reputation. "Last Man Standing" does have former ABC star Tim Allen, of course (and was created by Jack Burditt from "30 Rock"), and both it and "Man Up" have similar themes (and names), so maybe they can find a counterprogrammed audience against "Glee," "NCIS" and "Biggest Loser." "Dancing" and "Body of Proof" stay put at 9 and 10.

"Cougar Town," exiled from both Wednesday nights and the fall schedule, will wind up here at mid-season, airing at 9 (with "Apartment 23" at 9:30) while "Dancing" is on its mid-year break. On the one hand, sooner or later ABC was going to have to see if "Cougar Town" could survive away from "Modern Family" (and see if another comedy could hold more of the "MF" audience), and this is the scheduling approach ABC took with "Scrubs" a few years back. Of course, that season of "Scrubs" only had 13 episodes, where Lee says "Cougar Town" has a full 22-episode order, and "Scrubs" was clearly on its last legs and being used as scheduling filler, where "Cougar Town" is... well, we don't know yet, but it's not old. Lee said there was a chance he might use whatever episodes are left when "Dancing" comes back as part of a bloc of summer originals, but it also sounded like he was just spitballing, and that nobody quite knows what to do with the show now that "Happy Endings" is the new Wednesday hotshot. And speaking of which...

WEDNESDAY: "The Middle" is still a solid performer at 8, and ABC will see if "Suburgatory" (from "Parks and Rec" writer Emily Kapnek) is a more natural fit than "Better With You" wound up being. "Happy Endings," which did surprisingly not-terribly at 10 (and which grew on me as the season went along) gets the promising post-"Modern Family" timeslot, and ABC starts from scratch at 10 yet again with the Hamptons-set soap "Revenge," with Emily Van Camp. It's a timeslot that's been trouble for ABC for a while. ("The Whole Truth" and "Off the Map" both struggled mightily there this season.)

THURSDAY: The "Grey's" and "Private Practice" combo remains in place, and seems like it will until one or both shows goes away. The only show to ever do much business airing before "Grey's" was "Ugly Betty," so ABC will try its high-profile "Charlie's Angels" remake (which Lee referred to as "pure candy") with Minka Kelly there.

FRIDAY: Where NBC and FOX have been pushing more scripted shows onto this night, ABC is sticking with reality and news, relocating the aging "Extreme Makeover: Home Edition" to 8, followed by "Shark Tank" and "20/20." ABC has enough trouble launching dramas as it is without trying them on this tough night, which is why Lee held "Body of Proof" for another night at mid-season when the original plan was to premiere it here.

SATURDAY: College football in fall, repeats and movies in spring. Same old, same old.

SUNDAY: With "Makeover" bumped and "Brothers & Sisters" canceled, some decent real estate opens on either side of "Housewives," with another show about fairy tales in modern age (after NBC's "Grimm") in "Once Upon a Time" and another show set in the "Mad Men" era (after NBC's "The Playboy Club") in the Christina Ricci-starrer "Pan Am."

That is a whole lot of product even before we get to Ashley Judd in "Missing," the Darren Star-produced soap "Good Christian Belles" and all the other mid-season shows. The last time ABC produced several notable hits in the same season (the season when "Lost," "Grey's" and "Housewives" premiered), it came from focusing almost all of its promotional resources on those shows. Staggering the premieres throughout the season might help a little, but at some point Lee might have to decide which one of his 13 new children he loves most and which will have to fend for themselves.

http://www.hitfix.com/blogs/whats-al...more-new-shows
post #68402 of 93688
Quote:
Originally Posted by dad1153 View Post

2011 Upfront Notes
NBC Bets on Talent Shows and Scripted Series
By Bill Carter, The New York Times' 'Media Decoder' Blog - May 15th, 2011

NBC’s schedule looks like this:

MONDAY
8-10 p.m. – “The Sing-Off”
10-11 p.m. – “The Playboy Club”

TUESDAY
8-10 p.m. – “The Biggest Loser”
10-11 p.m. – “Parenthood”

WEDNESDAY
8-8:30 p.m. – “Up All Night”
8:30-9 p.m. – “Free Agents”
9-10 p.m. — “Harry’s Law”
10-11 p.m. — “Law & Order: Special Victims Unit”

THURSDAY
8-8:30 p.m. – “Community”
8:30-9 p.m. — “Parks and Recreation”
9-9:30 p.m. – “The Office”
9:30-10 p.m. – “Whitney”
10-11 p.m. – “Prime Suspect”

FRIDAY
8-9 p.m. – “Chuck”
9-10 p.m. – “Grimm”
10-11 p.m. – “Dateline NBC”

SATURDAY
Repeats

SUNDAY
7- 8:15 p.m. — “Football Night in America”
8:15-11:30 p.m. — “NBC Sunday Night Football”

MIDSEASON:

SUNDAY

7-8 p.m. – “Dateline NBC”
8-10 p.m. – “The Celebrity Apprentice”
10-11 p.m. – “The Firm”

MONDAY
8-10 p.m. – “The Voice”
10-11 p.m. – “Smash”

http://mediadecoder.blogs.nytimes.co...ref=television

What a dissapointment, I think I'm deleting the NBC station from my tuner.. seriously, they should rename themselves to "Sucky TV" and leave the FTA networks..
post #68403 of 93688
TV Review
'Tosh.0,' old idea done right, and very funny
Comedy Central series hangs entirely on the wit of the host
By Tom Conroy, Media Life Magazine - May 17th, 2011

It takes a special kind of audacity to steal an unsuccessful concept that's an unambitious spin on a previous success. Back in 2000, probably inspired by "America's Funniest Home Videos," ABC aired "Dot Comedy," a series in which purportedly funny people commented on humorous or odd internet videos. It lasted one episode. Seven years later, The CW recycled the idea with "Online Nation," which lasted for four episodes, scoring historically low ratings for the historically low-rated network.

Comedy Central's series "Tosh.0," which returns with new episodes tonight at 10, somehow manages to make this cursed concept work. Even people who might be outraged by the constant barrage of frequently offensive jokes will eventually submit and laugh loudly and often.

The key to the show's success is its host, Daniel Tosh, who has the innocent demeanor of a Mormon missionary. Though the punch lines often approach or cross the line of sexism, racism or simple tastelessness, his cheerful delivery sneaks them past us before we can object.

Now in its third season, the show presents Web video under various rubrics, such as "20 Seconds on the Clock," in which Tosh has 20 seconds to throw out as many jokes about a video as possible, but most of the show consists of a look at a clip with Tosh delivering rapid-fire one-liners over it. If one witticism fails to land, it's on to the next.

The cumulative effect is hard to convey because it's rare that three punch lines in a row are printable. Unlike most intentionally transgressive jokes, however, they're also witty. Commenting on a video of a hippie-ish middle-aged woman blithely dancing naked in the rain, Tosh says, "What's the over-under on how many cats that woman owns?"

Often Tosh will shoot his own take on the subject of a video he has mocked. To capture the swirling cinematography of the video above, he tapes himself standing trouserless on a playground merry-go-round, with stunned children looking on.

He caps that off with a joke that would sound a lot cruder written down here than coming from his guileless face.

Each episode includes a segment called "Web Redemption," in which a YouTube celebrity gets a chance to make up for the taped indiscretion that made him or her famous. In one recent episode, Tosh met with Antoine Dodson, a flamboyantly effeminate man who went viral after he appeared on a local news report warning people about a rapist in the project in which he lived.

After a quick series of rape jokes which were hilarious but, again, would seem awful written down Tosh interviewed Dodson. Talking to these inadvertent celebrities, Tosh is cutting, but with an underlying sympathy.

He and Dodson went on to pretend to catch a sexual offender in a giant box labeled 'Acme Rape Trap.' The perpetrator, who tackled Tosh, wore the jersey of a famous athlete who has been accused of sexual assault.

In another episode, Tosh met Brian Atene, a would-be actor who made a ridiculously hammy audition tape for Stanley Kubrick's film "Full Metal Jacket" back in the '80s. Tosh reported that Kubrick decided to go with someone who wouldn't ruin his movie.

Tosh helped Atene get a meeting that actually led to a bit part as a creepy photographer on "Cougar Town." The sitcom's producer told Atene, 'Just be yourself.'

Though "Tosh.0" can be scathing, it isn't heartless. That helps make the most nervous laughs almost guilt-free.

TOSH.O
Season Premiere Tonight at 10PM on Comedy Central


http://www.medialifemagazine.com/art...ery-funny-.asp
post #68404 of 93688
Critic's Notes
Peabody Awards at 70: 'Oscar Wrapped In An Emmy Inside a Pulitzer'
By Noel Holston, TVWorthWatching.com

I'll never forget the time George Foster Peabody made Jon Stewart cry.

Well, in manner of speaking. It was back in May 2006. Mr. Peabody, by then, had been gone from this mortal coil about 68 years. Stewart, the incorrigibly irreverent host of The Daily Show, was on stage at the Waldorf-Astoria's grand ballroom, overseeing the presentation of the awards that bear the late, great philanthropist's name.

Twice a Peabody winner himself, Stewart was rocking the hall. He was boogalooing up and down that fine line between mischief and disrespect, kidding even big-name recipients like Martin Scorsese. But close to the end of the ceremony, after presiding over clips from winners that ranged from Hurricane Katrina coverage to the gut-punch cop show The Shield to a made-for-cable movie about a South African mother with AIDS, Stewart almost lost it...

Mr. Cool had to step back from his podium, swallow, and compose himself before he could finish up.

Moments like that -- Peabody moments, we like to call them at the program's headquarters on the University of Georgia campus -- happen every year. If it's not the emcee getting misty, it's a recipient like Lost creator Damon Lindelof confessing in his acceptance speech that he almost didn't fly in for the ceremony because of bad weather, but that his wife had told him, "This is the Peabody Awards. If you don't go, I will slap your face." And then he thanked her for her wise counsel in front of the thousand people in attendance.

What happens, you see, is that the creativity and social significance of the year's recipients slowly adds up, and reaches a sort of cumulative critical mass that can be humbling, whether you're a reporter at a radio station in Fargo or the highly paid creator of a hit network show.

(Click HERE for a clip of Jon Stewart introducing, then cleverly reacting to, one Peabody winner at the 2006 awards: Martin Scorsese, who won for his PBS American Masters biography, No Direction Home: Bob Dylan.)

What happens is this: recipients, emcees and audience members alike become palpably aware that a Peabody Award, the oldest in electronic media, is indeed the hardest to win. They are reminded that the awards go to not just technically excellent work, but work that addresses issues and ideas in a thoughtful manner, that challenges the mind or that breaks new ground.

They are reminded of just how good TV, radio and the Internet can be. They are reminded that the George Foster Peabody Awards are not only a gesture of respect, but a double-dog-dare.

It might have turned out differently. In 1938, the National Association of Broadcasters was looking to generate more respect for its members -- and, frankly, more publicity -- when its executive leadership asked Lambdin Kay, general manager of Atlanta's WSB-AM, to dream up a prize for radio that would have the cache that the Pulitzer does in the print world.

If it had been strictly an in-house industry trophy, what Kay came up with might have been only a bit more prestigious than, oh, a Golden Globe. But WSB's continuity editor, Lessie Smithgall (a University of Georgia graduate, who recently celebrated her 100th birthday), hooked Kay up with her mentor, John Drewry, the esteemed dean of UGA's Grady School of Journalism.

Once they'd outlined the award and obtained the use of the late Mr. Peabody's name (and a little start-up money) from his family, Kay and the NAB left it to Drewry to operate. That independence has been crucial to the prestige the award quickly acquired.

At the first ceremony, a 1941 shindig focused on 1940s radio fare, awards went to stations in Cleveland, Cincinnati and Columbia, Missouri, for public service, and to CBS Radio's Elmer Davis for his intrepid reporting. In 1942, Peabody winners ranged from The Man Behind the Gun, a drama, to Our Hidden Enemy, Venereal Disease, a documentary produced by KOAC Radio in Corvalis, Oregon. The unique Peabody emphasis on excellence without regard to genre was already evident.

The first awards to that new-fangled television thing didn't happen until 1948, when Peabodys went to ABC's Actor's Studio, an early experiment in live drama that involved the likes of John Steinbeck and Elia Kazan, and an NBC children's program called Howdy Doody. Again, we see that omnivorous purview that is still a Peabody hallmark.

At the 70th annual Peabody ceremony coming up Monday (May 23) in New York, Larry King will be the emcee. He's the latest in a long line of past Peabody winners -- Stewart, Walter Cronkite, Lesley Stahl, Brian Williams, Diane Sawyer -- who volunteer their services.

This year, the 38 Peabody recipients range from a jolting radio report about our flawed bail bond system to a documentary about guerilla video journalists in Burma to FX's Justified, a sort of modern-day Gunsmoke set in Appalachia.

Gunsmoke, by the way, never won a Peabody. Neither did I Love Lucy or The Andy Griffith Show, two other long-running oldies now widely considered TV classics. Oversights happen.

It wasn't that the Peabodys were snooty in the early days -- well, OK, maybe they were, just a little -- but that the early emphasis was heavily on news, education and public service. With a few exceptions, like Wally Cox's Mister Peepers and Lassie (yes, Lassie but no Lucy), the entertainment series honored by the Peabody board tended to be higher-brow fare, such as Omnibus and The Bell Telephone Hour.

But the Peabodys steadily evolved, along with the electronic media they honor. Entertainment programming began to get more attention when it became more connected to reality in the 1970s, the heyday of great Norman Lear and MTM Productions comedies.

Now, more than a decade after a Peabody board honored HBO's The Sopranos for exploring "the moral complexity of modern American life," it's not a big shock when a fresh configuration of the 16-member group cites a South Park, as well as an oral-history of the Civil Rights movement or a 30 Rock, along with a Roanoke TV station's remarkably calm live reporting of the Virginia Tech shooting spree.

In recent years, the Peabodys have averaged about one thousand TV, radio and Web entries -- news coverage, documentaries, entertainment, public-service campaigns, children's shows -- from as close by as Atlanta and as far away as Hong Kong and Berlin. From these, the board reaches unanimous agreement on only about three dozen.

After The Colbert Report was honored in 2007, a jubilant Stephen Colbert informed his Comedy Central audience that the Peabody is a "big deal" because it's "like an Oscar wrapped in an Emmy inside a Pulitzer."

For once, Colbert wasn't being hyperbolic. He could have noted that it's like an Oscar wrapped in an Emmy inside a Pulitzer, preserved in amber with a Good Housekeeping Seal of Approval affixed and blessings from the Dali Lama and Oprah Winfrey.

It is a big deal.

http://www.tvworthwatching.com/contr...scar-wra.shtml
post #68405 of 93688
2011 Upfront Notes
‘Charlie’s Angels,’ ‘Pan Am’ Among ABC’s Fall Shows
By Bill Carter, The New York Times' 'Media Decoder' Blog - May 17th, 2011

ABC released a new prime-time schedule Tuesday that added 13 new series — and just as many promises from its top programmer that the list is filled with new and ambitious ideas.

Paul Lee, who took over as president of entertainment for ABC last July, described his first batch of new programs as a “balance between comfort and escapism” and numerous times called the network’s new lineup “very, very ambitious.” He spoke at a Tuesday morning news conference on the Upper West Side of Manhattan ahead of the network’s presentation to advertisers at Lincoln Center.

Mr. Lee’s ambitions center around a plan to start a new night of comedy on Tuesdays — led off by the surest thing ABC could find, a new sitcom led by one of the biggest stars of its past, Tim Allen. The plan also includes a move to all scripted programs from 8 to 11 on Sunday night, a development Mr. Lee called “kind of exciting,” saying Sunday should be filled with “appointment television.”

To that end he added two dramas to that night — bracketing the aging hit “Desperate Housewives” at 9 p.m. — both of which he singled out for special praise.

He compared “Once Upon a Time” at 8 p.m., a show about fairy-tale characters moved to modern-day Maine, to the former ABC hit “Lost” (its creators are graduates of that series) in its creation of a new kind of world where characters flash back to other lives. He labeled its pilot as “so powerful” and “so ambitious” and flatly stated “I love the pilot.”

At 10 p.m. ABC is adding the drama “Pan Am,” set in the 1960’s about pilots and stewardesses. This one, Mr. Lee said, is “super cool.” He also called another new entry, a remake of the old ABC hit “Charlie’s Angels,” set to lead off Thursdays at 8 p.m., “pure candy.”

ABC intends to rebuild its Friday, Mr. Lee said, around a concept that once defined that night for the network, family viewing. So Mr. Lee will run the long-running reality show “Extreme Makeover Home Edition” at 8 p.m., paired with the holdover reality series “Shark Tank.”

The network also has big ambitions for comedy, Mr. Lee said, with six new entries. He said, “The winds are blowing behind comedy.”

Paired with Tim Allen’s show “Last Man Standing” on Tuesday is “Man Up,” which Mr. Lee said was about “emasculated guys trying to regain their manhood.”

The network’s existing comedy night, Wednesday, will get one new addition at 8:30 p.m., “Suburgatory,” about a single father who fears for his 16-year-old daughter in the city and so moves them to the suburbs.

But ABC set aside its best comedy slot, 9:30 p.m. Wednesday after the big hit “Modern Family,” for a show it introduced this spring, “Happy Endings.” The network surprised many in the television business by renewing that show, which has barely been a blip in the ratings so far. Mr. Lee, however, called it “our new buzz show,” citing a passionate fan base.

Following a trend setting in across network television, ABC intends to add new shows throughout the season, trying to cut down on repeats that no longer attract many viewers, especially in ABC’s case because it schedules so many serialized shows. Mr. Lee said ABC will add new shows in the winter and the spring.

“We are just as ambitious for mid-season as fall,” he said, touting new dramas like a scary sci-fi adventure called “The River” and what he labeled a “deeply inappropriate” comedy about a naïve Midwestern girl landing among schemers in New York called “Apartment 23.”

For all the ambition promised, Mr. Lee said ABC will also add more grounded ideas, like a kind of remake of “Dallas” — only with laughs and more female-centric. It’s called “Good Christian Belles.” That will likely not be on until the spring, Mr. Lee said.

Here is the fall schedule (new shows in bold):

MONDAY
8-10 p.m. — “Dancing With the Stars”
10-11 p.m. — “Castle”

TUESDAY
8-8:30 p.m. — “Last Man Standing”
8:30-9 p.m. — “Man Up”

9-10 p.m. — “Dancing with the Stars the Results Show”
10-11 p.m. — “Body of Proof”

WEDNESDAY
8-8:30 p.m. — “The Middle”
8:30-9 p.m. — “Suburgatory”
9-9:30 p.m. — “Modern Family”
9:30-10 p.m. — “Happy Endings”
10-11 p.m. — “Revenge”

THURSDAY
8-9 p.m. — “Charlie’s Angels”

9-10 p.m. — “Grey’s Anatomy”
10-11 p.m. — “Private Practice”

FRIDAY
8-9 p.m. — “Extreme Makeover: Home Edition”
9-10 p.m. — “Shark Tank”
10-11 p.m. — “20/20″

SATURDAY
8-11 p.m. — “Saturday Night College Football”

SUNDAY
7-8 p.m. — “America’s Funniest Home Videos”
8-9 p.m. — “Once Upon a Time”
9-10 p.m. — “Desperate Housewives”
10-11 p.m. — “Pan Am”


http://mediadecoder.blogs.nytimes.co...ows/?ref=media
post #68406 of 93688
TV Notes
CBS Renews 'CSI: NY', Cancels 'Criminal Minds: Suspect Behavior'
By Nellie Andreeva, Deadline.com - May 17th, 2011

In the battle of the bubble crime drama spinoffs, veteran CSI: NY won a reprieve with a last-minute renewal, while freshman Criminal Minds: Suspect Behavior is being canceled after a short midseason run. I hear the size of the order for CSI: NY has not been set. There has been speculation that it may not be a full-season 22 episodes.

It came down to the wire between the two series, both owned by CBS. Yesterday, CBS made all other freshman cancellations, The Defenders, $#*! My Dad Says and Mad Love but left Suspect Behavior in contention. Given the great success CBS has had with expanding its CSI and NCIS crime drama franchises, Criminal Minds: Suspect Behavior has been a disappointment, never finding its footing behind the mothership Criminal Minds series on Wednesday. Meanwhile, while taking a dive in the ratings in its move from Wednesday to Friday this season, CSI: NY has a rich off-network syndication deal and sells well internationally.

P.S. For those who who keep asking about The Good Wife, it is not in danger. Neither is Blue Bloods.

http://www.deadline.com/2011/05/cbs-...pect-behavior/
post #68407 of 93688
2011 Upfront Notes
ABC's fall video clip bonanza: 'Charlie's Angels,' 'The River,' 'Pan Am,' more
By James Hibberd, EW.com's 'Inside TV' Blog - May 17th, 2011

Here’s your first-look at video from ABC’s new fall shows, including Annie Ilonzeh kicking butt in Charlie’s Angels, the Paranormal Activity-meets-Lost adventure The River, the retro glam of Pan Am (“Are you wearing your girdle?) and more.

[CLICK LINK BELOW]

http://insidetv.ew.com/2011/05/17/abc-fall-video/

* * * *

TV Notes
CBS kills off 'Criminal Minds: Suspect Behavior'
By Lynette Rice, EW.com's 'Inside TV' Blog - May 17th, 2011

Forest Whitaker, you deserved better: CBS has cancelled the low-rated freshman drama Suspect Behavior, which was a spinoff of the Criminal Minds mother ship. The network has found great success with spinning off its other procedurals like CSI and JAG, but it just didn’t work out for Suspect Behavior, a dark drama that also featured Janeane Garofolo and Matt Ryan.

The show’s ouster should make room for either the new drama Unforgettable, which features Poppy Montgomery and is about a female NYPD detective who possesses the special ability to remember everything, or The 2-2, which is from Robert De Niro and follows six NYPD rookies as they balance their personal lives with learning the beat on the streets of Manhattan. Both dramas were ordered this week.

CBS will announce its fall schedule Wednesday in New York.

http://insidetv.ew.com/2011/05/17/cb...pect-behavior/
post #68408 of 93688
Nielsen Overnights (18-49)
'Dancing' gives ABC another easy win
Network averages a 4.1 in 18-49s, 52 percent ahead of Fox
By Toni Fitzgerald, Media Life Magazine - May 17th, 2011

"Dancing with the Stars'" ratings heated up for last night's semifinal performance as a number of broadcast shows saw their numbers climb on an evening full of season finales.

"Dancing" was the night's top-rated show with a 4.4 adults 18-49 rating from 8 to 10 p.m., according to Nielsen, up from a 4.2 last week and leading ABC to an easy victory on the night, 52 percent ahead of No. 2 Fox.

Actually all the networks saw improvement over last week. Fox's "House," the night's No. 2 show, averaged a 3.5 for its penultimate episode of the season, growing from a 3.0 last week.

With a night full of season finales, CBS saw all four of its original shows increase over the previous week.

NBC's "Chuck" drew its best rating since March for its season finale at 8 p.m., though that was still a mere 1.5.

And the CW's "90210" and "Gossip Girl" both increased a tenth of a point over last week for their season finales.

ABC was first for the night among 18-49s with a 4.1 average overnight rating and an 11 share. Fox was second at 2.7/7, CBS third at 2.5/7, Univision fourth at 1.5/4, NBC fifth at 1.3/3 and Telemundo and CW tied for sixth at 0.8/2.

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. Forty-one percent of Nielsen households have DVRs.

At 8 p.m. ABC led with a 3.9 for "Dancing," followed by Fox with a 3.5 for "House." CBS was third with a 2.6 for "How I Met Your Mother" (3.0) and "Mad Love" (2.1), NBC fourth with a 1.5 for "Chuck," Univision fifth with a 1.3 for "Teresa," CW sixth with a 0.8 for "90210" and Telemundo seventh with a 0.5 for "Aurora."

ABC was first again at 9 p.m. with a 5.0 for more "Stars," while CBS moved to second with a 2.3 for a repeat of "Two and a Half Men" (2.0) and a new "Mike & Molly" (2.5). Fox was third with a 1.9 for "The Chicago Code," Univision fourth with a 1.6 for "Triunfo del Amor," NBC fifth with a 1.3 for "The Event," CW sixth with a 0.7 for "Gossip" and Telemundo seventh with a 0.4 for "Los Herederos del Monte."

At 10 p.m. ABC was first with a season-high 3.3 for "Castle," with CBS second with a 2.5 for "Hawaii Five-0." Univision was third with a 1.5 for more "Triunfo," Telemundo fourth with a 1.4 for "La Reina del Sur" and NBC fifth with a 1.1 for "Law & Order: Los Angeles."

ABC also finished first for the night among households with an 11.6 average overnight rating and an 18 share. CBS was second at 5.1/8, Fox third at 4.5/7, NBC fourth at 2.7/4, Univision fifth at 2.0/3, CW sixth at 1.0/2 and Telemundo seventh at 0.9/1.

http://www.medialifemagazine.com/art...r-easy-win.asp
post #68409 of 93688
By Ryan Lawler May. 17, 2011, 8:58am

The amount of Netflix data that is passed over ISP networks continues to grow, with its streaming service now making up more North American Internet traffic than even ********** file sharing. While that might seem like a win for Hollywood studios that have spent the last several years fighting piracy, the traffic growth also comes at a time when ISPs are introducing bandwidth caps that could constrain Netflix streaming.

According to Sandvine's latest Global Internet Phenomena Report, the subscription streaming service now accounts for 29.7 percent of all peak downstream traffic in North America. That is up 44 percent from the previous figure released in Sandvine's Fall Study just six months ago.

Even in Canada, where Netflix has only been operating a short time, the service has had a significant impact on data traffic. Despite launching just last September, Netflix now has more than 800,000 subscribers, accounting for about 10 percent of the country's broadband subscribers. And it now accounts for about 13.5 percent of data traffic there.

But it's not just during peak traffic hours that Netflix rules broadband networks in North America: According to Sandvine, even when averaged over the entire day, Netflix accounted for 22.2 percent of North American data traffic. That's more than even more than **********, which accounted for 21.6 percent of traffic, and had long been the single largest component of data traffic on broadband networks.

One could argue that's good news for Hollywood studios, which have spent the last several years trying to combat the spread of their movies on peer-to-peer networks like **********. And while Netflix taking up a bigger share of broadband downstream data transfer is preferable to P2P traffic, Sandvine is careful to note that ********** traffic isn't actually going away. P2P filesharing only saw a marginal drop in share, from 19.2 percent in the fall to 18.8 percent six months later. And while P2P has maintained a relatively constant share, the absolute volume of traffic continues to increase.

The news of Netflix's traffic growth comes as it is faced with a number of ISPs implementing bandwidth caps that could impact how much viewers can stream over their broadband connections. Already, it lowered the quality of streams it delivers in Canada to deal with overly restrictive bandwidth caps in that market.

But Netflix isn't taking the threat of bandwidth caps lying down: The streaming company met with the FCC last week and shared a letter its CEO Reed Hastings had penned about the impact that broadband caps have on it and other Internet firms. In it, Hastings argued that bandwidth caps represent a huge markup over the incremental cost of delivering streams to end users, and said such moves could stifle innovation on the Internet.

http://gigaom.com/broadband/netflix-p2p-traffic/
post #68410 of 93688
i was confused, then I figured the *** was something that rhymes with Warrants
post #68411 of 93688
May 17, 2011 | Jeff Baumgartner

Netflix Inc. (Nasdaq: NFLX) is now the largest single source of Internet traffic over North American fixed-broadband connections, representing 29.7 percent of peak downstream traffic, according to a new report from Sandvine Inc. (London: SAND; Toronto: SVC) based on data from more than 220 service provider customers from around the world.

According to Sandvine's data, Netflix represents 22.2 percent of total application share in North American fixed-access traffic, just enough to outpace ********** Inc. , but well ahead of HTTP and YouTube Inc. traffic (see diagram below).


Source: Sandvine

As a broader group, "Real-Time Entertainment" apps gobbled up 49.2 percent of peak aggregate traffic in North America, up from 29.5 percent in 2009. Sandvine believes the category will represent 55 percent to 60 percent of peak aggregate traffic by the end of 2011.

In Europe, Sandvine found that ********** was the largest single consumer of both upstream (59.7%) and downstream (21.6%) Internet traffic during "peak periods." In the U.K., BBC's iPlayer consumed 6.6 percent of peak downstream traffic.

Sandvine, a company that specializes in deep packet inspection and network policy control, generates these twice-yearly reports and makes its observations by aggregating anonymous service provider data, according to company EVP and co-founder Tom Donnelly.

Why this matters
Based on sheer traffic numbers, Netflix's popularity in North America is undeniable. But that popularity is also starting to put some serious stress on broadband networks. Sandvine's latest report may encourage ISPs to abandon their "all-you-can-eat" broadband subscription models and introduce usage-based billing instead, a trend Netflix doesn't want to see. (See Netflix Fears by-the-Byte Tiers .)

Some ISPs, including Comcast Corp. (Nasdaq: CMCSA, CMCSK), are already trying to get out ahead of the curve with monthly caps that rein in bandwidth hogs with "excessive use" policies that allow customers to consume data up to a relatively large ceiling before they receive warnings or risk getting their service shut off.

As a step beyond that, some U.S. ISPs, including AT&T Inc. (NYSE: T) and, more recently, CableOne , are starting to install usage-based billing policies that charge by the gigabyte once customers exceed their monthly limits.

Netflix has argued that ISPs that charge $1 or more per gigabyte over wired networks "would be grossly overpriced," claiming that the cost to an ISP to deliver a "marginal gigabyte" (about an hour of viewing via streaming) from one of Netflix's regional interchange points to a broadband customer is less than a penny, and falling.

For more
Read more about the rise of Netflix and the controversies surrounding usage-based billing.
http://www.lightreading.com/document...treading_gnews
post #68412 of 93688
Quote:
Originally Posted by DrLar View Post

What a dissapointment, I think I'm deleting the NBC station from my tuner.. seriously, they should rename themselves to "Sucky TV" and leave the FTA networks..

Close for me too. I do still watch Parenthood/Chuck and will probably sample a couple of new dramas, but so far I am not at all excited about next season for any network. Oh well, TV is only a time-filler for when there is nothing more important and the DVR plus retirement makes is much easier than it used to be.
post #68413 of 93688
2011 Upfront Notes
ESPN2 Unveils New Afternoon Lineup at Upfront
By Georg Szalai, The Hollywood Reporter - May 17th, 2011

NEW YORK -- ESPN unveiled a new 3-6 p.m. afternoon lineup for ESPN2 and the first original scripted series on Spanish-language ESPN Deportes as part of its upfront presentation here Tuesday morning.

The new weekdays afternoon lineup for ESPN2, which will launch Sept. 12, will include new half-hour original series Dan Le Batard is Highly Questionable, hosted by Miami Herald sportswriter, radio host and TV personality Le Batard, at 4 p.m. ET to provide "a critical - and sometimes controversial - perspective on the world of professional sports," according to the network.

Also, the new show Numbers Don't Lie at 3:30 p.m. will tackle the biggest sports stories of the day by providing historical and numerical perspective with a host to be named who will be joined by a former player and an expert.

ESPN2 currently airs The Scott Van Pelt Show at 3 p.m. and SportsNation at 4 p.m, followed by NASCAR Now and Around the Horn. The network said SportsNation will continue to be on the schedule as will NASCAR Now. Popular ESPN afternoon show Jim Rome is Burning will round out the channel's 3-6 p.m. afternoon schedule.

Also, Spanish-language network ESPN Deportes is getting its first scripted original show ever in the form of soccer drama El Diez (The Ten). The 10-episode show follows a Mexican soccer player (Mexican actor-singer Alfonso "Poncho" Herrera) who joins the big leagues.

ESPN Deportes also announced E: 60, its own version of the ESPN primetime newsmagazine.

Plus, the Spanish-language network unveiled the launch, in conjunction with Time Warner Cable, a Spanish-language site fully dedicated to covering sports for LA fans.

ESPN on Tuesday also unveiled HERoics, a series of short films about women and their contributions to soccer that will appear on ESPN and ABC leading up to and during the Women's World Cup.

The cable network giant also announced new ESPN Films after the conclusion of the 30 for 30 series will debut new documentaries beginning in October. They will include: Catching Hell - The Steve Bartman Story, Renee - Renee Richard's Story, a documentary about Johann Olav Koss.

The ESPN upfront event was hosted by network personalities Michelle Beadle and Scott Van Pelt.

Among the executives and stars who were attending the event or actively participating in it were Robert Iger, president and CEO of ESPN parent Walt Disney, George Bodenheimer, president, ESPN and ABC Sports, and co-chairman, Disney Media Networks, John Skipper, ESPN's executive vp, content, Eric Johnson, executive vp, multimedia sales, Saturday Night Live head writer and ESPY host Seth Meyers, pro skateboarder Tony Hawk, Kier Dillon, Winter X Games medalist and analyst, SportsCenter anchor Hannah Storm, Sean Bratches, executive vp, sales and marketing, Green Bay Packers linebacker Clay Matthews, The Laker Girls and NY Jets super-fan Fireman Ed.

http://www.hollywoodreporter.com/new...-lineup-189066
post #68414 of 93688
Quote:
Originally Posted by DoubleDAZ View Post

Close for me too. I do still watch Parenthood/Chuck and will probably sample a couple of new dramas, but so far I am not at all excited about next season for any network. Oh well, TV is only a time-filler for when there is nothing more important and the DVR plus retirement makes is much easier than it used to be.

if you aren't watching Community and Parks and Rec, you're missing out
post #68415 of 93688
Re: The Peabody Awards...

Don't forget that the reboot of Battlestar Galactica was also a winner.
post #68416 of 93688
And so was "Mystery Science Theater 3000" and "Late Night with David Letterman."
post #68417 of 93688
MONDAY's fast affiliate overnight prime-time ratings - along with AdWeek Analyst Marc Berman's view of what they mean -- have been posted on his blog: http://pifeedback.com/eve/forums/a/t...51/m/754100273.
post #68418 of 93688
Quote:
Originally Posted by b_scott View Post

if you aren't watching Community and Parks and Rec, you're missing out

I tried Community and didn't like it at all.

I didn't try Parks and Rec, but then I haven't watched a sitcom since MASH and I generally don't do half-hour shows these days anyway, though unfortunatley I've wasted my time sampling many. I'm not a fan of SNL, The Office, or Scrubs, so former cast members of those shows don't appeal to me either. I could forego Private Practice (I do enjoy Cooper though) easy enough, but not for an NBC sitcom. Along with Reality TV, I find today's sticoms boring and not very entertaining. At 64, it's probably a generational thing because I still watch MASH reruns and would watch Leave It To Beaver, Ozzie & Harriet, and a whole lot more of my generation's reuns if they were still on.

So, I don't feel I'm missing out on anything, least of all filling my head with today's mush.

Truth be told, I don't understand the appeal of any of today's sitcoms (or reality shows for that matter) and I can't even imagine what it will take to get me to watch one. No, I take that back. The right actors/actresses would get me to sample, but even those would be a generational thing.
post #68419 of 93688
Quote:
Originally Posted by b_scott View Post

i was confused, then I figured the *** was something that rhymes with Warrants


Why is it blocked out?
post #68420 of 93688
Quote:
Originally Posted by aaronwt View Post


Why is it blocked out?

The crazy and totally silly censorship here.
post #68421 of 93688
Quote:
Originally Posted by DoubleDAZ View Post

I tried Community and didn't like it at all.

I didn't try Parks and Rec, but then I haven't watched a sitcom since MASH and I generally don't do half-hour shows these days anyway, though unfortunatley I've wasted my time sampling many. I'm not a fan of SNL, The Office, or Scrubs, so former cast members of those shows don't appeal to me either. I could forego Private Practice (I do enjoy Cooper though) easy enough, but not for an NBC sitcom. Along with Reality TV, I find today's sticoms boring and not very entertaining. At 64, it's probably a generational thing because I still watch MASH reruns and would watch Leave It To Beaver, Ozzie & Harriet, and a whole lot more of my generation's reuns if they were still on.

So, I don't feel I'm missing out on anything, least of all filling my head with today's mush.

Truth be told, I don't understand the appeal of any of today's sitcoms (or reality shows for that matter) and I can't even imagine what it will take to get me to watch one. No, I take that back. The right actors/actresses would get me to sample, but even those would be a generational thing.

ahhh.. I hear you. I can't say I know how it feels to be 64. I'm 29. Community got a lot better over the course of its first season. Parks and Rec had a little 6-8 episode 1st season that could really be skipped, as S2 is when it started to shine.

Are you put off by the comedy shows without a laugh track?
post #68422 of 93688
2011 Upfront Notes
What’s With the Awful Key Art for New Shows?
By Margaret Lyons, New York Magazine's 'Vulture' Blog - May 17th, 2011

Amid the hubbub of upfronts and the excitement of new shows getting picked up (plus the delicious Schadenfreude of shows not getting picked up), one major thing often gets overlooked: the bizarrely crappy key art the networks release for their new shows.

Some of the art is fine — banal, overly posed and edited, but fine — but some of these photos are just ridiculous. Particularly the one's for:

Once Upon a Time

ABC! Come on, now. That image of the national security team wearing Princess Beatrice's hat looks better than this.

Pan Am

Christina Ricci levitating between those two pilots is pretty creepy.

Bent

Why is David Walton so gigantic? And tan?

Free Agents

Really? Implied blowies on a poster? We're there now?

http://nymag.com/daily/entertainment...key_art_f.html
post #68423 of 93688
TV Sports/2011 Upfront Notes
ESPN's plan for NFL lockout is no plan; aggressive Olympics bid in works
By Joe Flint, Los Angeles Times' 'Company Town' Blog - May 17th, 2011

A top ESPN executive told advertisers Tuesday he knows how the National Football League labor dispute will end.

"They're going to play," said John Skipper, the cable sports empire's executive vice president of content. He then added wryly, "I don't know when they're going to play, but when they do we'll carry it."

All kidding aside, the battle between the NFL owners and players over a new collective bargaining agreement has cast a cloud over all the TV networks that count on football for big ratings and ad dollars. Walt Disney Co.'s ESPN, which carries "Monday Night Football," has a lot at stake.

Skipper, a candid executive, said there is no secret plan to replace "Monday Night Football" should the regular season be delayed by labor strife because it is irreplaceable. That doesn't mean ESPN will run a test pattern for four hours on Monday evenings, but for now Skipper isn't trying to figure out what the network can throw on as a substitute because whatever it is, the ratings and advertiser demand won't be as high.

One thing you won't see is ESPN trying to put college football on to replace "Monday Night Football." Skipper said the logistics of such a move would be too difficult and the network also needs the flexibility to drop whatever replacement plans are in place the second the players and owners reach an agreement and games start again.

"We got a lot of other stuff," Skipper said without elaboration.

Skipper reiterated that ESPN would be an aggressive bidder for the 2014 Winter Olympics and the 2016 Summer Games this June when the International Olympic Committee starts the process. Other bidders will include incumbent NBC and News Corp.'s Fox.

"Our level of interest is very high," Skipper said. As for the competition, Skipper said it is difficult to handicap. While NBC has the legacy of carrying the games, new owner Comcast has indicated it wants to be in businesses that make money. NBC lost over $230 million on the 2010 Olympics.

Still, Skipper expects Comcast to be there. The cable giant also has a sports channel -- Versus -- that it wants to beef up.

"I think they'd like to have it," Skipper said.

One of Skipper's big pitches to the IOC will be live coverage regardless of what time zone the games are being played in. NBC usually puts taped coverage in prime time if the games are not being played in a time zone where the majority of U.S. viewers are home in the evening.

But in the age of the Internet and Twitter, such an approach seems out-of-date to some.

In its presentation to advertisers in New York, ESPN seemed to go out of its away to emphasize that it is much more than football and has an audience that goes beyond beer-guzzling men.The network heavily promoted its upcoming coverage of the Women's World Cup and a new soccer-flavored biography series about female athletes and personalities called "HERoics."

In attendance was Disney Chief Executive Bob Iger. Although he was listed as a "participant" by ESPN in their program, his level of participation was waving to the crowd when introduced.

http://latimesblogs.latimes.com/ente...-in-works.html
post #68424 of 93688
TV Notes
Time For CBS To Move 'CSI' From Thursday?
By Nellie Andreeva, Deadline.com - May 17th, 2011

This February marked the 10th anniversary of CBS' overnight transformation into a major player on Thursday with the successful relocation there of Survivor and CSI: Crime Scene Investigation. But, after nine and a half seasons, Survivor was pulled from the Thursday 8 PM slot at the beginning of this season when CBS opened a comedy block on the night anchored by The Big Bang Theory. Will CBS continue the rejuvenation of its Thursday lineup by replacing longtime anchor CSI this year?

As usual CBS is mum on its scheduling plans but the buzz is that this may be the year that CSI vacates TV's most lucrative night. CBS laid the groundwork for such a move last year. With the very risky decision to uproot red-hot Monday comedy The Big Bang Theory to Thursday to launch a comedy block, the network understandably opted for stability on the rest of the night, keeping its 9-11 PM drama block of CSI and The Mentalist intact. But now that the network has established a foothold on the night with Big Bang, it can focus on rebuilding the rest of the lineup, most importantly, addressing the continuous ratings decline of CSI, which hit several series lows this season. Also helping the case for a change is the fact that neither of the other Big 4 made a move at 9 PM, leaving 3 aging shows - ABC's Grey's Anatomy, Fox's Bones and NBC's The Office - vulnerable to assault by an upstart.

CBS has a number of options for the 9 PM slot. Because it has only picked up 2 new comedy series so far, expanding the comedy block to 2 hours is probably not one of them. But younger shows like The Mentalist, which was tested once in the time period last season but couldn't improve on CSI's performance, NCIS: LA, Hawaii Five-0 or the unscripted Undercover Boss could be viable candidates. Slotting a new series in the hour is also a possibility, though networks have had more success with transplanting there shows that already have built momentum elsewhere. As for the CSI franchise, last year CBS pulled the 2 spinoff series, CSI: Miami and CSI: NY out of their Monday and Wednesday 10 PM positions, leaving the mothership (and oldest) CSI series as the only one in its longtime (and prominent) slot. It would be symbolic if CSI moves back to Fridays 9 PM where it originally launched, just like Survivor last year was sent back to its original Wednesday 8 PM time period.

Meanwhile, of CBS' two new comedies, Two Broke Girls, which has 2 female leads, and How To Be a Gentleman, which has two male leads, Two Broke Girls, seems compatible with both The Big Bang Theory and How I Met Your Mother, while How To Be a Gentleman would go nicely with Two and a Half Men.

http://www.deadline.com/2011/05/time...from-thursday/
post #68425 of 93688
TV Notes
House Shocker: Lisa Edelstein Calls It Quits
By Michael Ausiello, TVLine.com - May 17th, 2011

House fandom, brace for impact: Dr. Cuddy is checking out.

Sources confirm to TVLine that Lisa Edelstein — whose long-term contract expires this month — has opted not to return for the show’s eighth and likely final season.

Fox and NBC Universal declined to comment and there’s no word from Edelstein’s camp.

Back in March — when the fate of House itself was up in the air — Edelstein told TVLine, “Nobody at work seems to think it won’t [return]. Everybody wants to come to a deal, and I certainly am looking forward to a Season 8.”

http://www.tvline.com/2011/05/house-...elstein-quits/

UPDATE (from Deadline): Lisa Edelstein just released the following statement: "After much consideration, I am moving onward with a combination of disappointment at leaving behind a character I have loved playing for seven years and excitement of the new opportunities in acting and producing that lie ahead."
post #68426 of 93688
Lisa, nooooooooooooooo!

I guess she got tired of House in real life also...

I wonder if they are going to have time to re-write her departure or appear as guest on the first episode..
post #68427 of 93688
Quote:
Originally Posted by DrLar View Post

Lisa, nooooooooooooooo!

I guess she got tired of House in real life also...

I wonder if they are going to have time to re-write her departure or appear as guest on the first episode..

I think they wanted her to take a pay cut, that might have contributed to her decision to leave.
post #68428 of 93688
Mmm a paycut is way better than no pay.. I hope she gets into a new series, but I don't think they are going to pay her that much, unless she lands a main star role.
post #68429 of 93688
Quote:
Originally Posted by DoubleDAZ View Post

I tried Community and didn't like it at all.

I didn't try Parks and Rec, but then I haven't watched a sitcom since MASH and I generally don't do half-hour shows these days anyway, though unfortunatley I've wasted my time sampling many. I'm not a fan of SNL, The Office, or Scrubs, so former cast members of those shows don't appeal to me either. I could forego Private Practice (I do enjoy Cooper though) easy enough, but not for an NBC sitcom. Along with Reality TV, I find today's sticoms boring and not very entertaining. At 64, it's probably a generational thing because I still watch MASH reruns and would watch Leave It To Beaver, Ozzie & Harriet, and a whole lot more of my generation's reuns if they were still on.

Saturday, May 28, 1pm PDT - Leave it to Beaver (four episodes.) TV Land

Saturday, May 28, 3pm PDT - The Andy Griffith Show (four episodes) TV Land
post #68430 of 93688
2011 Upfront Notes
CW Picks Up 'Secret Circle', 'Hart Of Dixie', 'Ringer' & 'H8ER'
By Nellie Andreeva, Deadline.com - May 17th, 2011

The CW has officially picked up the Sarah Michelle Gellar drama pilot Ringer, which was originally produced for CBS, along with early frontrunners Secret Circle and Hart of Dixie. On the unscripted side, as expected, CW has picked up series H8ER, which pairs celebrities with their haters.

The pickups for Secret Circle and Hart of Dixie brings the number of CW series from producers Kevin Williamson and the duo of Josh Schwartz & Stephanie Savage to 2 each. The Vampire Diaries co-creator Williamson co-wrote the witch tale The Secret Circle with Andrew Miller, based on the Alloy books, which stars Britt Robertson. And Gossip Girl co-creators Schwartz and Savage are executive producing the small town medical drama Hart of Dixie written by Leila Gerstein and starring Rachel Bilson. Ringer, written by Eric Charmelo and Nicole Snyder, stars Gellar and a girl on the run from the mob who assumes the identity of her twin sister.

Ringer is from CBS TV Studios, Hart of Dixie and Secret Circle from Warner Bros. TV, and H8ER from Warner Horizon. All scripted series will now be co-productions between Waner Bros. TV and CBS Studios.

http://www.deadline.com/2011/05/cw-p...hart-of-dixie/

* * * *

TV Notes
Ed Zuckerman To Run CBS' 'Blue Bloods'

Law & Order veteran Ed Zuckerman, who most recently ran ABC's legal drama The Whole Truth last season, has been tapped as the new showrunner on CBS' Blue Bloods, which has not been officially renewed but is coming back next season.

Zuckerman will succeed the series' creators Mitchell Burgess and Robin Green who have exited at the end of this season. Zuckerman's strong procedural background (he spent 14 years on Law & Order and also worked on JAG and L&O: Criminal Intent) confirms CBS' desire to take the cop/family drama in a more procedural direction next season.

http://www.deadline.com/2011/05/ed-z...s-blue-bloods/
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