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Hot Off The Press: The Latest TV News and Information - Page 2855

post #85621 of 87252
Quote:
Originally Posted by RemyM View Post

But most of the cable shows are available online next day for $25 a season, while cutting down to basic will save at least $40 a month. So it would have to be at least 9 cable shows to make it work keeping.
I watch at least a dozen shows on cable currently, with only about 4 on broadcast TV.

Further, I like the convenience of my DVR picking up all the shows I watch, recording them and having them at the ready whenever I feel like watching them. I don't have to go out and get a episodes of a specific show. They just show up.

That's worth anything above what a season of any show costs online.

Finally, I would miss a lot of great shows by streaming them ala carte. There's a lot of shows that became my favorites because I was able to simply set up to record them because they were all there for the watching. If I had to pay to watch a show to find out if I want to watch a series, it would greatly reduce my sampling of new shows.
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Nielsen Notes
Nielsen examines viewing habits in 'Zero TV' households
By Dawn C. Chmielewski, Los Angeles Times' 'Company Town' Blog - Mar. 11, 2013

Measurement firm Nielsen has begun tracking the viewing habits of some 5 million American households that receive entertainment on Internet-connected devices and television sets.

It's a group Nielsen dubs the "Zero TV" households, though that fails to precisely describe this group of viewers who are mainly younger than age 35 and childless. The vast majority -- some 75% -- own at least one television, but these sets are connected to the Internet, not to a cable or satellite service.

These nontraditional TV viewers surveyed as part of the latest Cross-Platform Report from Nielsen cited cost and lack of interest as the main reasons for not subscribing to a traditional pay TV service.

It remains to be seen whether this group, referred to by some industry observers as the "never-connecteds," will forgo cable or satellite subscriptions as they age, buy homes and raise families.

"You do have to sit back and say, 'Is it a life stage? You're younger, you don't quite have the economic means. Does this mean you'll never get that traditional pipeline to content?' " said Dounia Turrill, senior vice president of insights at Nielsen Co. "That's a longitudinal look that we need to be aware of and we'll keep an eye on."

Nearly half of the "Zero TV" homes -- 48% -- watch TV shows through online subscription services like Netflix, Hulu Plus or Amazon Prime. More than two-thirds say they get their video on a constellation of devices that include their computers, Internet-connected TVs, smartphones and tablets, Nielsen found.

Nielsen said last month that it would expand its definition of "television" households to reflect the new ways consumers get their entertainment, including measuring viewing on Internet-connected TVs in the home.

"Evolving the definition of the traditional television household is really critical at this juncture with the proliferation of content that is delivered to the home in different ways," Turrill said.

http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-nielsen-examines-viewing-habits-in-zero-tv-households-20130308,0,6944647.story
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TV Notes
'Star Wars: Clone Wars' Ends Its Run on Cartoon Network
By Lesley Goldberg and Alex Ben Block, The Hollywood Reporter's 'Live Feed' Blog - Mar. 11, 2013

Star Wars: The Clone Wars is over at Cartoon Network.

Series creator Lucasfilm announced Monday that the animated show's recently completed fifth season on the cable network will be the last.

"As we enter into an exciting new era focused on the next Star Wars trilogy, Lucasfilm has decided to pursue a new direction in animated programming," the company wrote on its website Monday, more than five months after Disney purchased Lucasfilm. "We are exploring a whole new Star Wars series set in a time period previously untouched in Star Wars films or television programming. You can expect more details in the months to come.

"After five highly successful and critically acclaimed seasons of Star Wars: The Clone Wars, we feel the time has come to wind down the series," the statement continued. "While the studio is no longer producing new episodes for Cartoon Network, we're continuing production on new Clone Wars story arcs that promise to be some of the most thrilling adventures ever seen. Stay tuned for more information on where fans can soon find this bonus content."

In addition, Lucasfilm also has decided to postpone Star Wars: Detours, an animated series from Seth Green, Todd Grimes and Matthew Senreich. Green and Senreich are behind Cartoon Network/Adult Swim's Emmy-winning animated hit Robot Chicken.

“It has been a pleasure to work with Lucasfilm on Star Wars: The Clone Wars over the last five years and introducing a whole new audience to this great iconic brand,” Cartoon Network said in a statement acquired by The Hollywood Reporter.

Clone Wars had been a top performer on Cartoon Network since it launched in August 2008 as an animated feature (which first played briefly in theaters). Even after being moved to Saturday morning last year, Clone Wars remained the No. 1 show among boys 9-14 and has shown continued strength among kids 2-11 and 9-14, especially among boys. The show's fifth season that ended March 2 averaged 1.7 million total viewers.

The Clone Wars series on Cartoon Network take place in a fictional Stars Wars galaxy in the same time period as the Star Wars movies Attack of the Clones (2002) and Revenge of the Sith (2005), the most recent feature release.

Cartoon Network's sister company Warner Bros. distributed the Clone Wars movie in 2008 and has been selling previous episodes of Clone Wars on DVD and Blu-ray. In 2012, Clone Wars also went into broadcast syndication for the first time through an independent company, Trifecta Entertainment and Media.

After Disney acquired Lucasfilm in October, there was immediate speculation about the future of Clone Wars. In a conference call at the time of the sale, Disney CEO Robert Iger discussed the potential for Star Wars animated spinoffs to play on Disney-owned channels, especially Disney XD (which unlike the Disney Channel carries advertising).

Turner Entertainment’s Cartoon Network only had the license for Clone Wars through the end of the 2012-13 season. Renewals had been done year by year. While Turner is believed to have wanted to continue, it is clear Disney has another vision for the Star Wars spinoffs.

Clone Wars has been produced at a production facility in Singapore, which has been expanded in recent years. It is likely the new series also will be produced there.

Reps for Green did not respond to a request for comment.

Check out the clip below featuring Lucasfilm supervising director Dave Filoni previewing what's to come for Star Wars: The Clone Wars.

http://www.hollywoodreporter.com/live-feed/star-wars-clone-wars-ending-cartoon-network-427331
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TV Notes
Matt Lauer’s Bruising Year After Ann Curry’s Ouster Devastated the ‘Today’ Show
By Howard Kurtz, DailyBeast.com - Mar. 11, 2013

One day last fall, Matt Lauer walked out of his 30 Rock office and took the elevator to the 51st floor to see Steve Burke, the chief executive of NBC Universal.

Lauer was feeling down. Week after week, he was getting pummeled by the press for the sinking fortunes of the Today show. The veteran host was being blamed for the messy departure of Ann Curry and the downward ratings spiral of what had been the iconic program in morning television.

“If you think the show’s better off without me, let me know, and I’ll get out of the way,” Burke recalls Lauer saying.

Burke wouldn’t hear of it. “You’re the best person who’s ever done this,” he said. “We’ll get through this.”

The conversation reflected the depth of the damage sustained by one of television’s most lucrative franchises, which is still struggling to recover as Lauer tries to recast it as warmer, more positive, and less sensational.

“It was a hard time for everybody,” Lauer tells me over a sandwich at his desk, breaking a self-imposed silence about the show’s implosion. “We were getting kicked around a lot. Some of it was self-inflicted and perhaps deserved.”

Self-inflicted? Lauer invokes the way that Curry was abruptly booted from the program last June and replaced by Savannah Guthrie.

“I don’t think the show and the network handled the transition well. You don’t have to be Einstein to know that,” says Lauer.

“It clearly did not help us. We were seen as a family, and we didn’t handle a family matter well.”

That is an understatement. Sources familiar with the process say that Lauer repeatedly tried to convince his bosses to slow things down and give Curry more time before she was pushed into a reduced role.

“When Matt was informed that we had made this decision, his good counsel was to go slow, to take care of Ann, and to do the right things,” says Steve Capus, who stepped down last month as NBC News president. “He was quietly and publicly a supporter of Ann’s throughout the entire process. It is unfair that Matt has shouldered an undue amount of blame for a decision he disagreed with.”

At the outset, though, Lauer would have preferred to anchor with someone else. Before Curry was formally promoted to co-host in 2011, Lauer quietly reached out to an old friend. He asked Katie Couric if she would be willing to return to Today, where they had ruled the time period for nearly a decade.

Couric was receptive to the idea. She was shopping a syndicated show, and she and Lauer were talking about doing the show together. Their plan was to sell the daytime program to NBC and feature Couric on Today during the year and a half until the show could get on the air and Lauer would be contractually free to join her. Couric could be a Today co-host, perhaps as part of a troika with Curry, who had already been offered the job. NBC executives debated the plan, but Burke rejected it after concluding that the syndicated show would be too expensive to produce. Couric teamed up with ABC instead.

With all that in the rearview mirror, Lauer is now pouring his energy into creating a new kind of Today show. Whatever scars the 55-year-old journalist has accumulated, he projects a natural resilience: “I’m not going to whine or get depressed. Who’s going to feel sorry for me? Nobody.”

Besides, he says, “I am the luckiest guy I know.”

He looks trim in a crisp white shirt and tightly knotted tie after one of his regular afternoon workouts. His spacious corner office is filled with the framed photos of media success: Lauer with Hillary Clinton. Lauer with George W. Bush. Lauer with the Rolling Stones. He is the unquestioned star, the box-office draw, the guy who lands the biggest interviews.

But Lauer is also learning the downside of fame. For 16 years, Today was the undisputed champion of morning television, racking up a remarkable streak that may never be equaled. Now, with ABC’s Good Morning America having taken over the top spot, knife-wielding critics are asking how Lauer’s show could have fallen so far so fast.

“In some ways being No. 2 in the ratings is a real shot in the arm, a kick in the pants,” Lauer says. “It makes you hungrier ... I don’t think it’s a bad thing to have a fire lit under your ass.”

If that’s the case, Lauer is feeling the heat, so much so that he has stopped reading much of what is written about him.

When New York’s Daily News recently ran an unfounded gossip item quoting an unnamed former NBC executive as saying that “replacing Matt Lauer is now seriously on the table,” Burke called Lauer and told him the story was “ridiculous.”

Such sources “clearly don’t know what’s inside my head,” Burke tells me. “It’s all speculation and gossip. It’s hurtful at some level but it is what it is. The show went through a rough patch after the Ann Curry/Savannah Guthrie change. Our job is to make sure the show is as good as it can possibly be.”

Burke’s larger job is to kick-start a network that dropped to fifth place in prime time, behind Univision, in the February sweeps. Today had always been a ratings anchor when NBC’s entertainment lineup hit rocky waters.

Lauer’s position is secure, but Good Morning America, with Robin Roberts and George Stephanopoulos, has the hot hand. For the week of February 25, soon after Roberts’s return from a bone-marrow transplant, GMA drew 5.8 million viewers, compared with 4.8 million for Today and 2.9 million for CBS This Morning with Charlie Rose, Norah O’Donnell, and Gayle King, which has won praise from critics.

Today trailed GMA by more than 200,000 in the 25–54 demo, but has often been virtually tied or slightly ahead among that coveted group over the last two months.

In its drive to close the gap, Today is working to forge a new identity under a hands-on executive producer, Don Nash. Lauer makes clear that he was not happy with the content of the program as recently as six months ago.

“The show got a little dour and depressing and dark,” he says.

What he means is that Today, like GMA, regularly covered lurid crimes and celebrity scandals, especially at 7:30, after the first half hour of news.

Lauer recalls picking up his kids from school one Friday afternoon and having a mother ask him how an interview went that morning. She wanted to watch, but when a story about a brutal murder came on, the woman said, “I had to turn it off because I didn’t want my kids to see it.”

Lauer argued against those stories, feeling that they left him with little to say afterward beyond an expression of sympathy for the victims. “I’ll be perfectly blunt: I was losing a lot of those battles,” he tells me. “We were driving a certain kind of viewer away.”

The debates over the degree of tabloid fare took place day after day. Some executives “felt those things rated well,” Lauer says. “Even if they popped in the ratings in the short term, they did some damage in terms of trust with our viewers. We got drunk on it.”

For Lauer, a crystallizing moment occurred as Today enjoyed its usual ratings bump during the London Olympics. He wrote Nash a note saying that viewers were less interested in the individual sports than in wanting to root for someone and feel patriotic.

Now, Lauer tells me, “we want people to feel good about a portion of their morning, and we got away from that.”

“It’s a much more positive show, a more uplifting show. Much of the darkness is gone, by design.” While Today will always cover hard-news developments, however tragic, says Lauer, “we’re choosing more inspiring stories.”

These days, the second half hour includes everything from a probe of defective used cars to surfers riding ever-bigger waves, from a Lauer chat with Martha Stewart about her legal dispute with retailers to pumping up the Bible series on the NBC-owned History Channel. The only piece about an attempted murder last week was on the fuss over a viral video that staged such an incident.

But viewers watch morning television for more than story selection. They come to feel attached to the ensemble that is joining them at the breakfast hour. And every time the familiar Today theme song plays, they see that the woman who was part of the program for 15 years—as a globe-trotting correspondent, as news anchor, and eventually as co-host—is no longer sitting to Lauer’s right.

Lauer learned early last year that Curry was hanging by a thread, because her status loomed as a factor in his own decision on whether to stay with the program.

He was well treated, the money was great, but the early-morning grind was wearing on him. Perhaps it was time to move on. Lauer got permission during a contractual window to talk to ABC, CBS, and HBO.

Senior NBC executives were operating under the assumption that Lauer would probably quit. This was not long after Meredith Vieira had left the co-host’s job six months early, and Curry—who had been contractually guaranteed Vieira’s job—was about to be eased out. They were, to say the least, rather nervous.

In his discussions with the NBC brass, Lauer was informed that management had all but finalized a decision to replace Curry, regardless of whether he stayed on. He told Capus that it was a terrible idea to risk losing both hosts and destabilize the show.

Lauer’s message was that NBC was stuck with management’s decision to promote Curry, and that they could produce their way around her strengths and weaknesses. But he was told the decision was above his pay grade.

In the end, Lauer could not leave the program that had boosted him to media stardom. In April, he signed a multiyear deal that guaranteed him around $20 million a year. “You’re going to be sticking around with us,” Curry told him on the air. The question was how much longer she would be.

Lauer had privately acknowledged the obvious, that there were problems with his on-air partner. They simply lacked the chemistry that he had enjoyed with Couric and Vieira. He tried hard to make the morning banter work with Curry, to the point that some colleagues told him to stop faking it.

As the network edged closer to moving against Curry, Lauer grew concerned about the potential fallout. He delivered a blunt message at a meeting with Capus, Jim Bell, then Today’s executive producer, and Burke, the Comcast executive who had taken over NBC when his company bought the network. This, he said, was “a disaster waiting to happen.”

Capus and Lauer maintained that they needed to take their time and make sure Curry was comfortable with the change. Others in the room were unmoved. This will be a one-week story, they said, and quickly blow over.

Lauer insisted that the story would go on and on. An ugly divorce would rupture the camaraderie they had presented to the country each morning.

But the network bosses had a plan. We’ll present it as Ann’s idea, they said. She wants to return to her first love, which is reporting. The meeting broke up without a final decision.

The executives felt they had little choice. They were sitting on research showing that viewers had not warmed to Curry and felt she had no rapport with Lauer. They feared a downward slide if they kept her in the chair.

Lauer and Curry had a candid talk over lunch at the Four Seasons. He acknowledged she hadn’t been his first choice for co-host, but said that was in the past. Curry said that both Lauer and the show would take a hit if she was thrown overboard, and he agreed. Lauer suggested that she try to get a meeting with Burke and resolve the situation. He also advised Curry, who didn’t employ an agent, to hire one quickly.

At a second meeting with the NBC executives, Lauer conveyed that Curry was unhappy with the situation. He and Capus argued again for slowing down the process, rather than rushing to dump Curry before NBC’s coverage of the London Olympics got under way. But Bell, who was running both Today and the Olympics coverage—and is now in charge of future Olympics—pushed to wrap things up before the summer games began. Bell’s argument was that Curry was a known quantity and the situation wasn’t going to get better, no matter how long they waited.

Bell is a tall and imposing former college football player, but as the show’s producer he didn’t have the clout to override the star anchor and news-division chief. Steve Burke did, and he concluded that the time had come.

By now Curry had retained Washington lawyer Robert Barnett, who began negotiating a new deal for her. Capus devised a plan for Curry to be slowly phased out and Guthrie slowly phased in, with both women appearing at the Olympics. But top management rejected the proposal. GMA had snapped the Today ratings streak a couple of times in April, and the NBC bosses were under tremendous pressure to right the ship.

In June, with Curry feeling hurt by leaked reports that she might be replaced, things came to a head. It was a painful moment for her; co-hosting Today had always been Curry’s dream job.

Capus and Bell had been talking to her about a new role—anchor-at-large and roving correspondent—that would still pay her millions of dollars. The pitch was that she was happiest when visiting, say, a Syrian refugee camp and looked miserable baking a cake with Martha Stewart. Curry finally agreed to the change.

On the morning of June 28, everything was carefully choreographed for Curry’s announcement. She showed her script to Capus 45 minutes before the segment. What she would say, and what Lauer and Al Roker and Natalie Morales would say in response, had been planned in advance.

But when the moment came for Curry to tell viewers she was leaving after just one year in the chair, her voice was strained and breaking. She started wiping away tears.

“Matt and I and everyone who sits on this couch, we often call ourselves a family,” Curry began. Her demeanor made clear how unhappy she was. “For all of you who saw me as a groundbreaker, I’m sorry I couldn’t carry the ball over the finish line, but man, I did try.”

Lauer offered some words of praise, but when he leaned over to kiss her, Curry did not turn and he wound up awkwardly bussing the side of her hair. The segment had a funereal air.

No one remembered Curry’s words, which were overwhelmed by her crying. Some senior NBC executives were furious, feeling that Curry had exacerbated an admittedly bad situation.

Curry made no secret of her distress. She told USA Today that she was “deeply sad” at the turn of events and that she should have been given more time to prove herself.

People sympathetic to Curry say she simply lost control of her emotions. But there is lingering resentment in the executive suites at 30 Rock, although that view is not unanimous. “The notion that Ann somehow exacerbated the situation last summer truly isn’t accurate and isn’t the belief of the people at NBC News,” a top official says.

Curry had been right about one thing: many viewers blamed Lauer for the breakup. As Capus later told him, “You’re taking the hit over something that you opposed.”

People would stop Lauer on the street and complain about Curry’s banishment. While Lauer was riding in a London elevator at the Olympics, an American woman got on, saw him and said: “I hate what you’ve done. I will never watch you again.” Such incidents left him shaken.

All but lost in the acrimony was NBC’s low-key announcement of Curry’s replacement. Guthrie is a talented lawyer who had co-hosted an MSNBC talk show with Chuck Todd. But NBC never gave Guthrie a proper launch, mindful of the 1990 debacle when viewers blamed Deborah Norville for pushing out the older but beloved Jane Pauley.

Lauer says Guthrie’s introduction had to be “subtle” because “we were in an awkward time. It was unfortunate for Savannah because she got the job of a lifetime under unusual circumstances through no fault of her own.”

These days he is trying to keep things in perspective, even taking a vacation with his wife and three kids in the middle of the February sweeps. Lauer recalls how he grew up watching Today and how his grandmother brought him to the ice-skating rink at Rockefeller Center, where he could not imagine working.

When Lauer was in his 20s, he was canceled or fired from talk shows four times in a row, in New York, New Jersey, Philadelphia, and Boston. He thought about getting out of the business, but decided to stick it out.

In reflecting on the Today stories he most enjoys, Lauer delights in the tale of Adam Greenberg, a baseball player who was hit in the head on the first pitch of his first appearance in 2005 and never returned. After an online petition last year, the Florida Marlins gave him one at-bat, and while Greenberg struck out on three pitches, he was happy when Lauer interviewed him the next day.

“It was about getting back up when you’re knocked down,” says Lauer, who is clearly ready for more at-bats.

http://www.thedailybeast.com/articles/2013/03/11/matt-lauer-s-bruising-year-after-ann-curry-s-ouster-devastated-thetoday-show.html
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TV Sports
Weekend TV sports ratings: What's up and down
By Michael Hiestand, USA Today - Mar. 11, 2013

The ups and down in weekend TV sports ratings:

Yes, Tiger still moves ratings. With Tiger Woods winning, NBC's WGC golf Sunday drew a 4.4 overnight rating -- translating to 4.4% of households in the 56 urban markets measured for overnights. That's up 42% from last year's coverage. Saturday, NBC drew a 3.0 overnight -- up 36%.

Those are NBC's highest weekend overnights for the event since 2006, when -- you guessed it -- Woods won the tournament.

NASCAR just holds steady. After a big bump in its ratings for the Daytona 500 -- and a small bump last week -- Fox's NASCAR coverage Sunday drew a 4.4 overnight last week, down 4% from last year.

What seemed hot before Daytona -- Danica Patrick's prospects and NASCAR's new Gen 6 car -- now seem less promising. But hey, it's still early in the season.

For NBA, ESPN and TNT, L.A. Lakers are the feel good story of the year. That the once-slumping Lakers are making a playoff run is the key story for TV ratings -- the big-market team is traditionally also the league's top national TV draw. The team's game against the Chicago Bulls on Sunday drew a 3.5 overnight -- up 4% from comparable coverage of Lakers-Boston Celtics last year.

College hoops tonnage. Amidst a sea of weekend college hoops drawing less than 1% of U.S. households, CBS' Indiana-Michigan on Sunday afternoon was, predictably, the weekend's top draw with a 2.2 rating -- it had two big-state basketball brand names. And that overnight was up 10% from coverage of an Ohio State-Michigan State game last year. It also topped Duke-North Carolina on Saturday night on ESPN, which drew a 2.0 overnight.

No, this isn't made-for-TV. Whatever attention the World Baseball Classic draws overseas, it's not a U.S. TV draw. Consider that ESPN's Puerto Rico-Dominican Republic game, shown Sunday night in literally the most-watched time slot in TV, drew a 0.3 rating. NBC's taped U.S. Grand Prix skiing, in a much weaker 12:30 p.m. ET Sunday time slot, managed to draw a 0.5 overnight.

http://www.usatoday.com/story/sports/columnist/hiestand-tv/2013/03/11/tiger-woods-pga-tour-cbs-college-basketball-fox-nascar-danica-patrick-espn-duke-north-carolina-los-angeles-lakers/1979735/
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SUNDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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Nielsen Overnights (18-49)
CBS and Fox tie for first on Sunday
Both draw 1.8 in 18-49s, with 'Family Guy' night's top show
By Toni Fitzgerald, Media Life Magazine - Mar. 11, 2013

Fox had the top show of the night and CBS had the No. 2 program, fueling the networks to a tie for first place on Sunday.

Both averaged a 1.8 adults 18-49 rating and 5 share, according to Nielsen overnights, just barely outpacing third-place ABC with a 1.7/5.

“Family Guy” was the night’s No. 1 program, averaging a 2.6 at 9 p.m., up 8 percent from its most recent original three weeks ago.

CBS’s “The Amazing Race” was the No. 2 show of the night despite falling 8 percent from last week, to a 2.3.

It beat ABC’s “Once Upon a Time” in the 8 p.m. timeslot for the second straight week, with the drama averaging a 2.2.

ABC’s “Revenge” grew 11 percent from its most recent original three weeks ago, to a 2.0, its best rating since January.

But lead-out “Red Widow,” which bowed with a two-hour premiere last week, sank 20 percent to a 1.2 at 10 p.m.

NBC’s “Celebrity Apprentice” remained even to last week’s debut, drawing a 1.7 from 9 to 11 p.m.

With CBS, Fox and ABC out ahead in primetime, NBC finished fourth at 1.3/3, Univision fifth at 1.0/3 and Telemundo sixth at 0.4/1

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won’t be available for several weeks. Forty-seven percent of Nielsen households have DVRs.

At 7 p.m. CBS led with a 1.6 for “60 Minutes,” followed by ABC with a 1.4 for “America’s Funniest Home Videos.” Fox was third with a 1.3 for a repeat of “Bob’s Burgers” (0.9) and a new “American Dad.” NBC and Univision tied for fourth at 0.6, NBC for a repeat of “Apprentice” and Univision for “Aqui y Ahora,” and Telemundo was sixth with a 0.3 for a Mexican league soccer match.

CBS was first again at 8 p.m. with a 2.3 for “Race,” followed again by ABC with a 2.2 for “Time.” Fox was third with a 2.0 for “The Simpsons” (2.2) and “The Cleveland Show” (1.8), Univision fourth with a 1.0 for “Nuestra Belleza Latina,” NBC fifth with a 0.9 for its “Apprentice” rerun and Telemundo sixth with a 0.4 for soccer.

Fox took the lead at 9 p.m. with a 2.2 for “Family Guy” (2.6) and “Bob’s Burgers” (1.8), with ABC second with a 2.0 for “Revenge.” NBC was third with a 1.6 for a new “Apprentice,” CBS fourth with a 1.5 for “The Good Wife,” Univision fifth with a 1.4 for more “Latina” and Telemundo sixth with a 0.4 for the movie “Push.”

NBC led at 10 p.m. with a 1.8 for more “Apprentice,” while CBS moved to second with a 1.6 for “The Mentalist.” ABC was third with a 1.2 for “Widow,” Univision fourth with a 1.1 for “Sal y Pimienta” and Telemundo fifth with a 0.4 for its movie.

CBS was first for the night among households with a 6.2 average overnight rating and a 10 share. ABC was second at 4.0/6, NBC third at 2.5/4, Fox fourth at 2.1/3, Univision fifth at 1.4/2 and Telemundo sixth at 0.4/1.

http://www.medialifemagazine.com/cbs-and-fox-tie-for-first-on-sunday/
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TV Review
'Preacher's Daughters' (Lifetime)
The Parents of These Teenagers Must Be Tempted to Throw the Good Book at Them
By Jon Caramanica, The New York Times - Mar. 12, 2013

Those who argue that media representations have no impact on how certain groups of people are perceived might want to cover their ears when Taylor Coleman speaks. Ms. Coleman is one of the three teenagers at the center of the docu-series “Preachers’ Daughters,”which has its premiere on Lifetime on Tuesday, and boy, does she believe what she hears.

Being a preacher’s daughter, she reckons, gives her license to misbehave, because after all, that’s what preachers’ daughters are supposed to do, right? Chafing against authority is virtually her job. Her ultimate transgressive idea? Talking about being a stripper, or even a porn star, because their lives appear “free.”

Naturally that sends her father, a Pentecostal preacher who describes himself as a “warden,” into paroxysms of prayer: “God, please, don’t ever let my daughter become a porn star.” While he’s at it, he should also pray she doesn’t settle for becoming a cast member on “Bad Girls Club” either.

Ms. Coleman is the most aggressive of the three stars of this show, all of whom are radiant in their youth and challenging to their parents. Kolby Koloff is seeking permission from her parents — one of whom is the former professional wrestler Nikita Koloff, now a preacher — to date for the first time. Olivia Perry has a baby but is uncertain who the father is, driving her parents to tears as well as prayer.

These interactions have none of the dark drama found on “Teen Mom” or “16 and Pregnant” — at least not yet.

“Preachers’ Daughters” hinges on the inescapable premise that the more difficult the stars become — say, Ms. Coleman frolicking with a handsy boy while wearing a not-quite-there bathing suit, as she does in the premiere — the more tantalizing this show will become.

But the parents have their arsenals too: Ms. Coleman’s father’s draconian rules; Ms. Perry’s empathetic father’s tears and forgiveness; and Ms. Koloff’s mother’s discomfiting frankness about intimacy (she is also a preacher), repeating phrases like “finger sex” often enough so as to rob them of all erotic power.

There are many more examples of reality TV’s capitalizing on young people willing to show off their indiscretions than of its depicting communities of faith standing strong in the face of moral turpitude. That means that participating in this show is a gambit of sorts for the parents here, who are using their children’s growing pains as a gateway narrative in hopes of ultimately reaffirming faith-based messages — trying to turn reality TV into a values vessel.

But reality TV has its own designs, and influence. The stars only have so long to misbehave before they age out of this show. That means that later seasons, if they come, may well be stocked with a new wave of preachers’ daughters who are watching at home, taking notes.

PREACHER'S DAUGHTERS
Lifetime, Tuesday nights at 10, Eastern and Pacific times; 9, Central time.


http://tv.nytimes.com/2013/03/12/arts/television/preachers-daughters-on-lifetime.html?ref=television
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TV Notes
On The Air Tonight
TUESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - Celebrity Wife Swap: Gilbert Gottfried/Alan Thicke
9PM - The Taste (Season Finale)
10PM - Body of Proof
* * * *
11:35PM - Jimmy Kimmel Live! (Kim and Kourtney Kardashian; Adam Driver; Halestorm performs)
(R - Jan. 29)
12:37AM - Nightline

CBS:
8PM - NCIS
(R - Dec. 11)
9PM - NCIS: Los Angeles
(R - Oct. 2)
10PM - Golden Boy
* * * *
11:35PM - Late Show with David Letterman (Steve Carell; Emilia Clarke; Josh Ritter performs)
12:37AM - The Late Late Show With Craig Ferguson (Minnie Driver; Ben Schwartz)

NBC:
8PM - Betty White's Off Their Rockers
(R - Jan. 22)
8:30PM - Betty White's Off Their Rockers
9PM - Go On
(R - Nov. 13)
9:30PM - The New Normal
(R - Nov. 27)
10PM - Smash
* * * *
11:35PM - The Tonight Show with Jay Leno (Olivia Wilde; Nick Offerman; Buddy Guy and The Experience Hendrix All-Star Band perform)
12:37AM - Late Night with Jimmy Fallon (Charles Barkley; Allison Williams; producer Clive Davis; Justin Timberlake performs)
1:37AM - Last Call with Carson Daly (Nick Kroll; Twitter co-founder Biz Stone; Vacationer performs)
(R - Feb. 12)

FOX:
8PM - Hell's Kitchen (Season Premiere, 120 min.)

PBS:
(check your local listing for starting time/programming)
8PM - The Storm that Swept Mexico (120 min.) (R - May. 15, 2011)
10PM - Powering the Planet -- Earth: The Operators' Manual
(R - Apr. 22)

UNIVISION:
8PM - Porque el Amor Manda
9PM - Amores Verdaderos
10PM - Amor Bravio

THE CW:
8PM - Hart of Dixie
(R - Jan. 15)
9PM - Beauty and the Beast
(R - Feb. 21)

TELEMUNDO:
8PM - Pasión Prohibida
9PM - La Patrona
10PM - El Rostro de la Venganza

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Author Neil deGrasse Tyson)
(R - Mar. 6)
11:31PM - The Colbert Show (Kirk Bloodsworth)
(R - Mar. 4)

TBS:
11PM - Conan (Zach Braff; Nina Dobrev; Alex Koll)

E!:
Midnight - Chelsea Lately (Cesar Millan; Moshe Kasher; Fortune Feimster; Mo Mandel)
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Critic's Notes
The Best Sitcom of the Past 30 Years, Quarterfinals: Friends vs. Roseanne
By Ken Tucker, Vulture.com (New York Magazine) - Mar. 11, 2013

Vulture is holding the ultimate Sitcom Smackdown to determine the greatest TV comedy of the past 30 years. Each day, a different notable writer will be charged with determining the winner of a round of the bracket, until New York Magazine TV critic Matt Zoller Seitz judges the finals on March 18. Today is the second match of the quarterfinals, with critic Ken Tucker pitting Friends against Roseanne. Make sure to head over to Facebook to vote in our Readers Bracket, which has already veered from our critics' choices. We also invite tweeted opinions with the #sitcomsmackdown hashtag.

To compare and contrast and ultimately declare a “winner” between Friends and Roseanne means grappling with a bigger issue than the differences in quality between two sitcoms. Indeed, what we must grapple with here are two interpretations of cultural excellence that have bedeviled art, literary, and music critics long before it drifted down to TV criticism. I speak, of course, about the Unruly Masterpiece versus the Well-Wrought Masterpiece. Moby Dick, say, versus The Great Gatsby. Infinite Jest versus White Noise.

For the purposes of this argument, though, let’s dispense with the label “masterpiece.” Both Roseanne (1988–97) and Friends (1994–2004) are superb television series, but neither is a masterpiece in the unified, complete sense that The Wire or Lisa Kudrow’s second series, The Comeback, are worthy of that title. Nevertheless, both shows were and are, when watched now, exceedingly funny, and fascinatingly divergent examples of how sitcoms with ensemble casts come to be experienced as families — either in the literal sense in Roseanne or in the tight-buds-hanging-out sense in Friends — with whom we form tight bonds.

Roseanne was conceived as a showcase deriving from Roseanne Barr’s stand-up comedy act. The self-styled “domestic goddess” — “a term of self-definition, rebellion, and truth-telling,” as Roseanne would later define it — became a hit with Johnny Carson and on other talk shows for her braying jokes about how tough it is to be a woman, a wife, and a mother. She was at once part of a tradition — her immediate forebears were Phyllis Diller and Totie Fields, stand-ups who wielded aggressive sarcasm and declined to fit conventional showbiz standards of attractiveness — and the creator of her own, new paradigm. While other stand-up comics before her (Redd Foxx, for example) and after her (Tim Allen) had sitcoms built around their nightclub personas, Roseanne took the care and feeding of her TV-show image to a new level of creative control.

If the show had the look of a conventional sitcom — Lanford, Illinois, housewife and menial-job holder Roseanne Conner, married to John Goodman’s Dan Conner, their three boisterous children, and her sister Jackie (Laurie Metcalf) — Roseanne soon made the Conners’ ratty living-room sofa and its crumb-encrusted kitchen table the sites for discussions and arguments about class, child-rearing, labor politics, sexual identity, and (as the seasons went on) anything else that was on Roseanne’s restless mind. A ratings hit from the start, the show became a vehicle for Roseanne Barr/Pentland/Arnold/Thomas to exert a power she never felt she’d had in her life, and at times her behind-the-scenes run-ins and firings with producers and writers threatened to overshadow the achievement of what she did.

Seen now, Roseanne remains an uneven but engrossing mishmash of sitcom one-liners about lazy husbands and surly teens, and acute glimpses into revolving-job lives (at various times Roseanne worked on an assembly line, in a beauty parlor, a bar, a fast-food restaurant, a department store, and a lunch counter) that seems more timely now, in the present economy, than ever. Among other things, the show is striking for the way it constantly plays with sexual identity. In the 1990 Halloween episode, for example, her son D.J. (played by Michael Fishman) wanted to go out trick-or-treating as a witch, which freaked out Dan (''Boys are supposed to be warlocks!”), and Roseanne dressed up as a very convincing male lumberjack. The half-hour reached its peak with Goodman defending his bearded wife from being punched out in a bar. Looking the potential attacker straight in the eye, Goodman snarled, “Hands off. That’s my husband over there!”

Through the sheer force of its star’s personality and the attitude that permeated the show, Roseanne as a studio-audience, multi-camera sitcom achieved the kind of intimacy and self-awareness that later characterized single-camera shows such as The Office and Curb Your Enthusiasm. Beneath her persistently and gloriously crude exterior, Barr was shrewd-with-a-mission: “I wanted [Roseanne] … to explode the traditional media image of a woman. And family. And work.” At the height of Roseanne mania, she was our Elvis Presley — a unique artist who is unable, but also unwilling, to escape the constraints of class, because to do so would feel like a betrayal. Like Elvis, she has created two huge audiences: one that thought of her as a figure for derision, and another that reveled in the associative pride of her achievements.

Friends, too, began its existence looking more conventional than it proved to be. In 1994, a show about a bunch of attractive yuppies sitting around talking — what did that make viewers think of? thirtysomething, Seinfeld, and Mad About You, among many other, lesser shows. Created by writers Marta Kauffman and David Crane (Dream On), Friends was custom-made for NBC as a show that would appeal to the young demo that was starting to dominate advertisers’ minds as the sole audience that needed to be wooed for maximum profit. But fairly quickly, Friends evinced a captivating polish and style (much of it because of the regular direction of James Burrows) that made it operate like a first-rate Broadway farce, complete with slamming doors, twisty plots, and intricately strung-together jokes. In other words, necessity (in this case, the quest for ad dollars) became the mother of invention — art, even. Kauffman and Crane’s writing and casting and Burrows’s direction gave Friends a momentum and charm that permitted the cast of mostly unknown actors the time to settle into the roles they are spending the rest of their careers trying to divest themselves of.

The six actors were all relative unknowns: Jennifer Aniston had been frequently brilliant on Fox’s short-lived sketch-comedy show The Edge in 1993, and Courteney Cox had some recognition for bopping with Bruce Springsteen in his “Dancing in the Dark” video and playing Michael J. Fox’s girlfriend for the last two seasons of Family Ties. For a brief time, Cox’s Monica was the primary character, but before long the actors’ chemistry and individual talent turned them into a cast of equals. Aniston brought a prickliness to Rachel that belied her prettiness. Matthew Perry managed to find layer after subtle layer in Chandler, and ended up playing the most complex self-loather on TV. Matt LeBlanc was that rarity, a hunk with a gift for deadpan comedy; his aspiring actor Joey might have started out as just a lummox, but LeBlanc turned him into the ne plus ultra of lummoxes. David Schwimmer — who played PhD-holding Ross with a mixture of intelligent-man condescension and social-idiot neediness — made hangdog depression seem like a new notion in comedy. Lisa Kudrow’s Phoebe, imported as the identical twin of a ditzy character she had played on Mad About You, started out as something of a sixth-wheel novelty act until Kudrow made her a deeply eccentric woman whose kindness and apparent innocence masked a shrewd understanding of human nature. As for Cox, she played straight woman to this bunch with alluring modesty.

Friends operated on two levels simultaneously: as a mass-audience big-network crowd-pleaser sitcom and as a private club for initiates who’d followed the mythology-before-it-was-called-mythology of the show, and therefore knew things such as the “way of giving the finger” that Monica and Ross had made up as children. The series was capable of a finely grained romanticism, as in one of my favorite episodes, the fourth-season “The One With Chandler in a Box,” in which Joey, angry at Chandler for kissing his girlfriend Kathy (Paget Brewster), consigns Chandler to remain silent while locked in a box in the apartment. Kathy breaks up with Chandler while he’s in the box, and his continued silence, even as his love affair is dissolving, moves Joey to both forgive his friend and urge him to pursue Kathy. In many ways, Friends presaged the late-nineties rom-com trend in movies, often doing it as well as any feature film.

Unlike Roseanne, Friends became slicker, more streamlined and more knowing about its endgame (the pairing off of Ross and Rachel, then Monica and Chandler), as it proceeded. By contrast, Roseanne went reliably haywire. The Conners won $108 million in the Illinois lottery, and the series took on a surreal randomness that many people find impossible to square with the shrewdly realistic show that Roseanne had been. To me, the show's final season was like Roseanne's crotch-grabbing rendition of ''The Star-Spangled Banner'' at a 1990 San Diego Padres game: It was a shock, I winced, but I was thrilled by the combination of rage, guts, and screw-'em-all joy that compelled her to do it.

I almost can’t believe I’m arguing from the position I’m about to take. In lit and music, I’m a Tidy Great Works man: I prize the meticulous class-bound novels of Anthony Powell and the precise concision of Chuck Berry and Steely Dan over the sprawl of Gravity’s Rainbow and Nirvana and the best of the Grateful Dead. But my head, gut, and eyes tell me that Roseanne is the Great White Whale of Television, the Moby Dick of Vaginal Politics, and for that it deserves to move on in this competition.

Winner: ROSEANNE

Ken Tucker is a cultural critic who has been writing about TV for, like, years. You can hear him regularly on NPR’s "Fresh Air."

http://www.vulture.com/2013/03/friends-vs-roseanne-sitcom-smackdown.html
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TV Review
‘Family Trade,’ new twist on an old story
GSN reality show features a car dealer accepting used goods
By Tom Conroy, Media Life Magazine - Mar. 11, 2013

They say a good salesman can sell anything. Sometimes he just has to stretch the truth a little.

GSN’s new reality series “Family Trade” has an intriguing premise that becomes less intriguing when we see what’s actually going on. Once we’ve figured that out, it turns out to be yet another show in which a supposedly colorful group of people buy and sell things. As far as that goes, the group is about average in colorfulness. Viewers who feel a strong need for more of the same should tune in.

Premiering this Tuesday, March 12, at 8 p.m., “Family Trade” distinguishes itself from the many other shows about buyers and sellers of used goods in two ways: First, the goods that the show’s subjects buy and sell aren’t all used, and, second, the stars, a family that runs a car dealership in Middlebury, Vt., supposedly will take any sort of merchandise in exchange for a new car. The question is how they can do this and stay in business.

The answer is a little disappointing. When in the opener we hear that the owner of the dealership, Gardner Stone, is going to sell a new truck for a lot of maple syrup, that’s interesting. But what he actually is going to do is accept half of the value of the down payment in syrup.

So for a $52,000 truck that has a $5,000 down payment, he’s taking only $2,500 worth of syrup. Even if he poured that on his own pancakes, he’d probably still make a profit on the deal.

Since no one is either getting rich or going bankrupt, the stakes are low. What matters is how much we enjoy watching Gardner interact with his employees, who number among them his son Todd and daughter Darcy.

In a comedy role reversal that goes back to long before the invention of the cathode-ray tube, the dad is irresponsible and free-spirited, and the kids are frugal and serious-minded. He’s always making deals they think they can’t recoup and buying things — like a ’70s sports car — that they think they can’t resell.

Although Todd and Darcy are a little drab, Gardner, who wears a cowboy hat and has an unplaceable rural accent, is charismatic, and his relentless optimism is cheering. When Todd questions the syrup deal, Gardner says, “If we can’t sell maple syrup in Vermont, we better get out business.” He might want to look into the lucrative field of delivering coal to Newcastle.

In a move that’s typical of workplace reality shows, Gardner says he’s going to incentivize Todd to help sell the maple syrup by setting up a competition to see which of them can sell half of it for the most cash, with the loser paying for dinner. If “cash” is taken at all literally, Gardner cheats by cutting some barter deals with local restaurants.

In the same episode, the family goes to a small farm to consider taking some pigs as a down payment on a used trailer. They have some purportedly comic difficulty herding the pigs into an enclosure; then Gardner makes some of his employees build a pen right in the dealership’s garage. And poor Todd has to shovel up the manure!

Not too long ago, this mix of commerce and comedy — still done best on History’s “Pawn Stars” — was fresh and fun. But these days TV needs “Family Trade” like Vermont needs more syrup.

http://www.medialifemagazine.com/113106/
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Quote:
Originally Posted by NetworkTV View Post

I watch at least a dozen shows on cable currently, with only about 4 on broadcast TV.

Further, I like the convenience of my DVR picking up all the shows I watch, recording them and having them at the ready whenever I feel like watching them. I don't have to go out and get a episodes of a specific show. They just show up.

That's worth anything above what a season of any show costs online.

Finally, I would miss a lot of great shows by streaming them ala carte. There's a lot of shows that became my favorites because I was able to simply set up to record them because they were all there for the watching. If I had to pay to watch a show to find out if I want to watch a series, it would greatly reduce my sampling of new shows.
I take it one step further than that , I set all new shows to record , let at least 3 get recorded & then I watch them sampling the new shows, this way I can make a informed opinion on if the pilot & then the follow-up shows are to my taste . Deleting the subscription if it's dud at the screening of the three shows at once .
Also by having access to cable most if not all of those cable shows I regularly watch . Those shows are shown & then shown again at different times 3 times or more per week , that way if there is a conflict with a broadcast show the DVR will automatically pick up the show on cable & record at a different time .
That To Me Is Priceless ! ! smile.gif
that & I can fast forward the ads .

I never watch any show in Real Time anymore wink.gif
Edited by Fastslappy - 3/12/13 at 4:02pm
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MONDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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Nielsen Overnights (18-49)
Big finale for ABC’s ‘The Bachelor’
Averages a season-high 3.3 in 18-49s, up 14 percent
By Toni Fitzgerald, Media Life Magazine - Mar. 12, 2013

Bachelor Sean made his choice, and ABC reaped the rewards.

The finale of “The Bachelor” surged to a season high last night, lifting ABC to its best Monday night in one and a half years.

“Bachelor” averaged a 3.3 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, up 14 percent over last year’s season ender. (Note that the finale ran until 10:07 p.m., which is not reflected in the overnight rating, so the number may adjust upward when final ratings come out.)

“Bachelor: After the Final Rose,” the 10 p.m. post-finale special where Sean and his fiancé announced they plan to wed in an ABC special, surged to a 3.8, up 15 percent over the same night last year.

The strong numbers came against weak competition on the other broadcast networks. CBS was largely in reruns, save for an original “Rules of Engagement” at 8:30 p.m., and Fox aired a repeat of “Bones” at 8, leading into an original “The Following” at 9.

“Following” was the night’s top-rated scripted show with a 2.6, off 7 percent from last week, when it had an original “Bones” lead-in.

NBC’s “The Biggest Loser,” which airs its season finale next week, fell to a season-low 1.9 from 8 to 10 p.m.

ABC is apparently loathe to let go of Sean, who helped “Bachelor” to its best season in two years. The network said he’ll be joining the cast of “Dancing with the Stars,” which returns later this month.

ABC led the night among 18-49s with a 3.5 average overnight rating and a 9 share, its best Monday average since September 2011. Fox was second at 1.9/5, NBC third at 1.7/5, CBS fourth at 1.6/4, Univision fifth at 1.5/4, Telemundo sixth at 0.6/2 and CW seventh at 0.3/1.

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won’t be available for several weeks. Forty-seven percent of Nielsen households have DVRs.

ABC finished first during each hour of the night, starting with a 3.0 at 8 p.m. for the first hour of “Bachelor,” followed by CBS with a 1.8 for a repeat of “How I Met Your Mother” (1.5) and a new “Rules” (2.0). NBC was third with a 1.7 for “Loser,” Univision fourth with a 1.4 for “Porque el Amor Manda,” Fox fifth with a 1.2 for a “Bones” rerun, Telemundo sixth with a 0.5 for “Pasion Prohibida” and CW seventh with a 0.4 for “The Carrie Diaries.”

At 9 p.m. ABC led with a 3.6 for more “Bachelor,” while Fox moved to second with a 2.6 for “Following.” NBC was third with a 2.1 for more “Loser,” Univision fourth with a 1.7 for “Amores Verdaderos,” CBS fifth with a 1.6 for repeats of “2 Broke Girls” and “Mike & Molly,” Telemundo sixth with a 0.8 for “La Patrona” and CW seventh with a 0.2 for “90210.”

ABC was first again at 10 p.m. with a 3.8 for “Rose,” with Univision second with a 1.5 for “Amor Bravio.” CBS was third with a 1.4 for a repeat of “Hawaii Five-0,” NBC fourth with a 1.2 for “Deception” and Telemundo fifth with a 0.5 for “El Rostro de la Venganza.”

Among households, ABC was first for the night with a 6.7 average overnight rating and a 10 share. CBS was second at 4.2/7, Fox third at 4.0/6, NBC fourth at 3.1/5, Univision fifth at 1.9/3, Telemundo sixth at 0.8/1 and CW seventh at 0.6/1.

http://www.medialifemagazine.com/big-finale-for-abcs-the-bachelor/

* * * *

Nielsen Notes
It’s decision time for bubble shows
'The Neighbors' and 'Elementary' awaiting their fate

This week the broadcast networks begin airing season finales for their first-year shows, and the fate of a number of those programs remains unknown.

In fact, an unusually large number are on the bubble this year because broadcast ratings have been so low.

The networks can’t afford to cancel all of their new shows. But with only a handful of hits this year, they must decide whether to nurture some creatively promising new shows or start fresh with fresh efforts.

Among the first-year bubble shows are ABC’s “Malibu Country” and “The Neighbors,” two new comedies that have put up low numbers after promising debuts.

“Neighbors” has improved creatively throughout the season, a quality ABC has shown that it values in the past by renewing low-rated shows like “Scandal” and “Happy Endings.”

“Neighbors’” finale airs Wednesday, March 27, and after that ABC will try out the new sitcom “How to Live with Your Parents (For the Rest of Your Life)” on Wednesdays. If “Parents” also draws low ratings, “Neighbors” should return.

“Country” may be in danger, though. It is losing too much of its lead-in on Friday nights, “Last Man Standing,” and creatively the show is nothing special. It may be done after its March 22 finale.

Another bubble show is CBS’s “Elementary,” the highly touted new Sherlock Holmes series whose ratings have been disappointing.

Yesterday CBS slated the show’s two-hour season finale for May 16 at 9 p.m. If “Elementary,” which drew huge numbers with a special post-Super Bowl episode, had gotten any sort of post-Super Bowl bump, it would have been a no brainer for renewal.

But the lack of interest in the show following the special episode indicates that its ratings may not ever grow.

Other first-year question marks for renewal include the CW’s “The Carrie Diaries” and “Beauty and the Beast,” CBS’s “Golden Boy” and “Vegas,” and NBC’s “The New Normal” and “Go On.”

Fox is the only network without many first-year bubble programs. It has already renewed “The Following” and “The Mindy Project,” its two highest-rated first-year shows, while axing “Ben & Kate” and “The Mob Doctor,” its only other new programs.

Meanwhile, here’s a list of the season finales for all broadcast shows that have been scheduled so far:

March 12

9 p.m. – ABC’s “The Taste”

March 22

8 p.m. – ABC’s “Last Man Standing”
8:30 p.m. – ABC’s “Malibu Country”

March 27

8:30 p.m. — ABC’s “The Neighbors”

April 5

8 p.m. – Fox’s “Kitchen Nightmares”

April 8

8 p.m. – CW’s “The Carrie Diaries”

April 26

9 p.m. – Fox’s “Touch”

April 28

9 p.m. – CBS’s “The Good Wife”

April 29

8 p.m. – Fox’s “Bones”
9 p.m. – Fox’s “The Following”

May 4

8 p.m. – Fox’s “Cops”

May 5

8 p.m. – CBS’s “The Amazing Race” (two hours)
10 p.m. – CBS’s “The Mentalist”

May 7

8 p.m. – CW’s “Hart of Dixie”
9 p.m. – Fox’s “New Girl”
9:30 p.m. – Fox’s “The Mindy Project”

May 9

8:30 p.m. – CBS’s “Two and a Half Men”
9 p.m. – CBS’s “Person of Interest,” Fox’s “Glee”

May 10

9 p.m. – CBS’s “Vegas”
10 p.m. – CBS’s “Blue Bloods”

May 12

8 p.m. – CBS’s “Survivor” (two hours)
8:30 p.m. – Fox’s “Bob’s Burgers”
9:30 p.m. – Fox’s “American Dad”

May 13

8 p.m. – CBS’s “How I Met Your Mother”
9 p.m. – CBS’s “2 Broke Girls”

May 14

8 p.m. – CBS’s “NCIS”
9 p.m. – CBS’s “NCIS: Los Angeles,” CW’s “Cult”
10 p.m. – CBS’s “Golden Boy”

May 15

8 p.m. – CW’s “Arrow,” Fox’s “American Idol” (part one)
9 p.m. – CW’s “Supernatural”
10 p.m. – CBS’s “CSI”

May 16

8 p.m. – CBS’s “The Big Bang Theory,” CW’s “The Vampire Diaries,” Fox’s “American Idol” (part two; two hours and seven minutes)
9 p.m. – CBS’s “Elementary,” CW’s “Beauty and the Beast”

May 17

8 p.m. – CBS’s “Undercover Boss”

May 19

7 p.m. – Fox’s “The Cleveland Show” (one hour)
8 p.m. – Fox’s “The Simpsons” (one hour)
9 p.m. – Fox’s “Family Guy” (one hour)

May 20

8:30 p.m. – CBS’s “Rules of Engagement”
9:30 p.m. – CBS’s “Mike & Molly”
10 p.m. – CBS’s “Hawaii Five-0”

May 22

9 p.m. – CBS’s “Criminal Minds” (two hours)


http://www.medialifemagazine.com/decision-time-for-broadcast-bubble-shows/
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Legal Notes
'Price Is Right' Model's $7.7 Million Legal Win Wiped Out
By Eriq Gardner, The Hollywood Reporter's 'Live Feed' Blog - Mar. 12, 2013

A Los Angeles Superior Court judge on Tuesday granted a motion for a new trial over discrimination claims made by The Price Is Right model Brandi Cochran.

Last November, Cochran scored a big win in her battle against producers FremantleMedia North America and The Price Is Right Productions. A jury awarded her more than $7.7 million after she successfully convinced them that she was discriminated against after becoming pregnant.

But thanks to bad jury instructions, the case is now going back to trial.

In the lawsuit, Cochran says she was fired from the game show after eight years as a model to hosts Bob Barker and Drew Carey. After she got pregnant in 2007, she said she didn't tell her co-workers at first because she was concerned about the ramifications. Eventually, she couldn't hide it, and she says that the producers then treated her differently and gave her less work, causing stress that led to health issues for her and her child.

Producers wanted the judge to toss the $7.7 million win and enter a verdict in their favor because Cochran allegedly had failed to prove they knew of her pregnancy-related depression, and they couldn't have discriminated against her based on the condition if they weren't aware of it. They also said that there was no substantial evidence that her pregnancy was the reason they didn't rehire her.

The judge rejects all this, saying "the evidence established that Defendants discriminated against Plaintiff, terminating her on the grounds of her prior pregnancy and complications ... The evidence is sufficient to support the verdict."

But the producers make an escape from the verdict thanks to what L.A. Superior Court Judge Kevin Brazile said to the jury before they deliberated.

After Cochran won her trial, the California Supreme Court made a decision about jury instructions in a mixed-motive discrimination case. Judges need to instruct the jury that discrimination is not just a "motivating factor/reason" for termination but a "substantial motivation factor/reason."

In the Cochran case, the judge failed to issue this "substantial" guidance despite a request from the defendants.

"The instruction error cannot be considered harmless," writes Judge Brazile in Tuesday's ruling. "Of central importance to the case was the weight given to discriminatory intent and whether that intent need only be of a mere motivating factor or a substantial factor. Given this central dispute, the failure to give the proper instruction regarding substantial factor cannot be considered harmless, and a new trial must be granted."

http://www.hollywoodreporter.com/thr-esq/price-is-right-models-77-428148
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Nielsen Notes (Cable)
History's 'The Bible,' 'Vikings' Drop in Week 2, Still Solid
By Tim Kenneally, TheWrap.com - Mar. 12, 2013

The bad news for History: Its miniseries "The Bible" and its new series "Vikings" dropped off on Sunday, after drawing big ratings with their premieres last week.

The good news? Both shows still did really well on Sunday.

The second installment of the Mark Burnett-produced miniseries "The Bible" from 8 to 10 p.m. drew 10.8 million total viewers. That's down considerably from the miniseries' premiere, which attracted 13.1 million total viewers. Still, History likely isn't sending out any desperate prayers on the matter: The episode still outdrew anything that the broadcast networks were offering during the same time period on Sunday night. (CBS's "The Amazing Race" came closest, with 9.2 million total viewers.)

In the advertiser-coveted 18-49 demographic, Sunday's "The Bible" drew 3.2 million viewers, compared to the premiere's 4.1 million.

"Vikings" at 10 was also down, drawing 4.6 million total viewers, compared to last week's 6.2 million. That wasn't enough to put it in competition with the broadcast networks, but it did make "Vikings" -- which is History's first scripted series -- cable's most-watched series in the time period. In the 18-49 demo, Sunday's "Vikings" attracted 1.7 million viewers, versus 2.5 million for the first week.

http://www.thewrap.com/tv/column-post/ratings-historys-bible-vikings-drop-week-2-still-huge-80971
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Nielsen Notes (Cable)
‘Dallas’ Hits High With J.R. Ewing Funeral
By Dominic Patten, Deadline.com - Mar. 12, 2013

The farewell to J.R. Ewing and Larry Hagman last night on Dallas pushed the TNT reboot to a season high. The series rose 23% among adults 18-49 and 28% in total viewers from last week’s episode, where the evil oilman was killed off. The star of the original Dallas and the reboot, Hagman died in the Texas city on November 23 while filming the second season of the show. Dallas pulled in 3.559 million total viewers and 1.099 million in the key demo Monday night.

The older-leaning network also pulled in 1.377 million in the adults 25-54 demo, up 26% from last week’s show. While not nearly the 6.9 million total viewers who tuned in for the series premiere of the new Dallas last summer, that’s a nice rise from the average 2.6 million viewers who have been watching the series’ second season since its January 28 debut. Hagman appeared in the first seven episodes.

http://www.deadline.com/2013/03/dallas-hits-high-with-j-r-ewing-funeral/
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TV Sports
NBC to air MLS marathon in new digs
By Michael Hiestand, USA Today - Mar. 12, 2013

NBC is scheduled to announce Wednesday that it will devote 10 hours to Major League Soccer coverage on NBC and its NBC Sports Network cable channel Saturday, including a show that will include live look-ins to four games.

And that show on NBCSN, which will resemble the roving NFL RedZone action, might be a preview of coming Olympic TV coverage.

"I think you're on to something there," NBC Sports executive producer Sam Flood tells USA TODAY Sports. "But I can't talk about anything yet."

After NBC airs the D.C.-New York (12:30 p.m. ET), announcers Arlo White, Kyle Martino and Russ Thaler will bus to NBC Sports' new studio in Stamford, Conn., for the whip-around show (5:30 p.m. ET). Also airing on NBCSN, will be Kansas City-Chicago (3:30 p.m. ET) and Portland-Seattle (8 p.m. ET).

Some sports shows have already moved to Stamford and by Monday all production -- except NBC's NFL studio show -- will have moved out of 30 Rockefeller Center in Manhattan. Flood says that is an upgrade given 30 Rock was "designed before television."

The new digs, he says, offer space for analysts to demonstrate what they're talking about -- especially for hockey and some other sports in the Olympics. NBC is in a building that also houses two hockey rinks, an Olympic-sized pool, two tennis courts, squash courts, an artificial turf field and a gymnastics center.

Meaning, finally, viewers can see, say, Bob Costas demonstrate a gymnastics dismount instead of just jawboning.

http://www.usatoday.com/story/sports/columnist/hiestand-tv/2013/03/12/nbc-nhl-olympics-major-league-soccer/1983139/
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Critic's Notes
A Requiem for Dallas’s J.R. Ewing
By Matt Zoeller Seitz, Vulture.com (New York Magazine) - Mar. 12, 2013

“I spend my whole life hating the man, and now I don’t know how to feel.” That’s Gary (Ted Shackelford), talking to the late, great, horrible J.R. Ewing’s brother, Bobby (Patrick Duffy), in last night’s Dallas, a farewell episode that put the old rascal to rest after 35 years of scheming.

The viewer had no such ambivalence. J.R. was a great soap-opera villain — a cowboy-hatted Richard III in the show’s CBS incarnation, and a kind of malevolent King Lear on TNT’s 21st-century follow-up, older and slower but still formidable. It hurt to say good-bye to J.R. because he was always the liveliest character on the show, and because Larry Hagman — who died last November at 81 — played him with wicked wit and dark gravitas right up to the end stretch, during which the actor had few lines and often filmed sitting in a chair, nearly immobile save for the occasional Heat Miser eyebrow-waggle. (Hagman died just five episodes into the TNT show’s second season and was in increasingly frail health during shooting. Supposedly the producers employed some Livia-on–The Sopranos CGI and some editing and sound-effects trickery to extend his presence.)

If you don’t follow the new Dallas, there’s not much point digging too deeply into the plotlines that set up J.R.’s onscreen death. The short version: J.R. died in Mexico even though he’d told his son and presumptive antihero-replacement John Ross (Josh Henderson) that he was in Abu Dhabi negotiating oil contracts. The previous episode ended with J.R. phoning John Ross, then getting gunned down off-camera right after warning (or bragging) that his latest scam would be his “masterpiece.” Based on the memorial episode, it seems as though J.R. was trying to find incriminating information about Texas transportation mogul Harris Ryland (Mitch Pileggi) and learn the whereabouts of Pam Ewing (played by Victoria Principal, and later by Margaret Michaels), the adoptive mother of Christopher (Jesse Metcalfe). (Pam was written out of the story near the end of Dallas’s CBS run, but has never been declared dead on the show.) Dallas’s producers have promised that the “J.R.’s Masterpiece” plotline will be wrapped up by episode fifteen of this season. Patrick Duffy, a.k.a. Bobby Ewing, told an audience at a recent Paley Center event that the end of the tale is “the pinnacle of Dallas writing and plot,” for whatever that’s worth.

Not that anybody watching last night’s funeral episode cared too much about plot mechanics. The hour was mainly about grief and nostalgia, and about acknowledging how TV characters colonize our subconscious. The show’s cheerfully bombastic opening theme was MIA, replaced by a muted, mournful brass version. J.R.’s pre-funeral cocktail reception — which predictably and hilariously turned into a brawl when the old man’s nemesis Cliff Barnes (Ken Kercheval) showed up — doubled as a memorial for Hagman. Many of the “family photos” arrayed throughout the reception area were actually Dallas publicity stills dating back to the eighties. Throughout, there were repeated close-ups of the late scalawag’s self-named vanity brand of bourbon. These felt like a rare instance of a literal-minded show indulging (very effectively) in metaphor: Characters drank J.R.’s spirit by drinking his spirits.

The new Dallas has generously employed actors from the original series. Plenty showed up last night, including Charlene Tilton as J.R.’s niece Lucy; Deborah Shelton as Mandy, one of the old reptile’s mistresses; and Cathy Podewell as Callie, his second wife. The episode was dominated by J.R.’s first wife, Sue Ellen (Linda Gray), a recovering alcoholic, Texas gubernatorial candidate, and co-conspirator with John Ross in a gambit to take over Ewing Energy. J.R. had a handwritten letter delivered to Sue Ellen in advance of his demise. She carried the envelope around throughout the episode’s first half while struggling to stay on the wagon; she eventually fell off and admitted as much at the funeral, a tear-soaked affair that acknowledged J.R.’s brute honesty and intoxicating life force as well as his vile selfishness. “He was as bad as they come, but he was hot as hell,” Callie said at a pre-memorial cocktail reception, studying a photo of young J.R. “He was hot as hell because he was as bad as they come,” Mandy countered. They were both right.

It also hurt to say good-bye to J.R. because he’s been around as long as (or longer than) most of the people watching the new Dallas. For viewers of a certain age, the TNT version inspires a mix of affection and melancholy: It’s great to see these actors again, and hey, they look good! followed by, Geez, they’re all so much older now, and so am I, and guess I should get that weird mole checked out. When you virtually bury a character that you’ve lived with for most of your life, you can’t help but think about your own past, present, and future. Art and life, drama and spectatorship blurred in “J.R.’s Masterpiece.” The final shot of Bobby, the George Bailey of Southfork Ranch, weeping for J.R. was devastating because it compressed so many different kinds of grief into a single image: a brother crying for a brother, a good man crying for a bad man, an actor crying for a colleague, and a fellow Dallas fan mourning the end of an era. Ask not for whom the bell tolls, pardner.

http://www.vulture.com/2013/03/seitz-a-requiem-for-dallass-jr-ewing.html
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TV Sports
New Big East and Fox Team Up
By Richard Sandomir, The New York Times - Mar. 12, 2013

No sports network loves college football and college basketball more than ESPN.

But Fox Sports is showing enough passion to imagine that Rupert Murdoch, Fox’s head coach, will one day be spotted on campuses on fall Saturdays donning oversize mascot heads to predict the winners of the football games carried by his empire.

The levels of boola-boola in Fox’s bloodstream have been rising for years — one symptom was luring the play-by-play announcer Gus Johnson from CBS — but they are peaking now because of the start-up in mid-August of Fox Sports 1, an all-sports cable channel. Fox Sports executives laid out many of the network’s plans last week, but they did not discuss a deal with the Catholic 7 — the basketball universities that are seceding from the Big East — which is expected to be announced in a week or so.

The seven universities acquired the Big East name last week by leaving behind tens of millions of dollars in exit and entry fees that they would have received — had they not left — as a result of other universities’ comings-and-goings from the drastically realigned conference.

The new Big East will join a Fox Sports 1 college roster that features the Big 12, the Pacific-12 and Conference USA. Fox also owns 51 percent of the Big Ten Network, carries the Big Ten football championship game and alternates the Pac-12 football title game with ESPN.

The seven Catholic universities had privately voiced concerns that the Big East was changing to chase football cash; aware of the discontent, Fox last fall made clear its desire to talk to the group. The universities also knew that the terms of what essentially acted as a prenuptial agreement would let them leave the Big East as a unit, without paying exit fees, and make their own TV deal.

Fox won them over with a 12-year deal worth about $500 million, according to reports. But the contract could spike to $600 million if the conference grows to a dozen teams, according to two people briefed on the contract but not authorized to speak publicly about its terms. A number of universities are said to be candidates to join the new Big East, including Xavier, an Atlantic 10 member, and Creighton, of the Missouri Valley Conference.

ESPN, by contrast, will be paying the old Big East about $20 million annually to carry a conference featuring Connecticut, Cincinnati, Temple and South Florida — which are not leaving, for now — in addition to Navy (in football only) and a group of new, mostly Southern universities.

Football is the financial bell cow of college sports, but Fox chased the basketball-only conference for several reasons:

¶ Fox Sports 1 doesn’t need football, but basketball is the cream of the old Big East, especially as Syracuse, Pittsburgh, Louisville and Rutgers exit the conference.

¶ Basketball adds volume to Fox Sports 1 as it plans to make its debut Aug. 17 with as many as 90 million subscribers.

¶ The seven universities bring Fox history and rivalries, especially Georgetown, St. John’s, Seton Hall and Providence, four of the original seven Big East teams, and Villanova. (Marquette and DePaul are the sixth and seventh programs.)

• • • •

But as Fox has increased its devotion to college sports, it has not hung on to a major bowl position.

From 2007 to ’10, it carried the Bowl Championship Series on broadcast television.

But ESPN outbid Fox by nearly $100 million for the next four years and moved all the games to cable. The advertising recession forced Fox into a conservative bid, but it would have been more aggressive if Fox Sports 1 had existed to bring in subscriber revenue.

ESPN made deals recently to make certain that no one, including Fox, could get the B.C.S. games and the new B.C.S. playoff system until 2026.

Among the nearly three dozen bowl games, Fox shows only the Cotton Bowl. Last January, it was seen by an average of 11.9 million viewers, who watched Texas A&M quarterback Johnny Manziel, the Heisman Trophy winner, amass 516 total yards in a 41-13 win over Oklahoma.

Triumphant as it was, the game did not prompt Murdoch to feed victory treats to Reveille, Texas A&M’s collie mascot.

http://tv.nytimes.com/2013/03/12/arts/television/preachers-daughters-on-lifetime.html?ref=television
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TV Notes
Melissa Rosenberg: From 'Twilight' to 'Red Widow' TV show runner
A TV and screenwriter who labored for years on various shows and found her niche with 'Dexter,' Rosenberg is happy to be in the lead on ABC's 'Red Widow.'
By Nicole Sperling, Los Angeles Times

For years Melissa Rosenberg toiled away as a TV writer, jumping from one show to the next, never finding the right fit for her voice and personality. Then she landed on Showtime's "Dexter" and the combination of her dark sense of humor and the show's edgy story lines melded together in a frothy mixture of critical acclaim and avid viewership. Rosenberg was on the Emmy-winning show for four years, convinced it was the best job she would ever have in television.

Until now.

The 50-year-old writer-producer, now best known for her screenwriting work on the wildly successful "Twilight" movie franchise, is the show runner behind ABC's new female-driven series "Red Widow." From the moment the studio brought Rosenberg the original Dutch series "Pinoza," she knew she had to be a part of it.

"At its center is a mother of three who is making some very morally ambiguous decisions. She is flawed and complex and she screws up," said Rosenberg, during an interview in her office on the Disney lot days before the series premiere last Sunday. "Those are the stories I want to tell."

The heavily promoted two-hour family crime soap premiered softly, to only 6.8 million viewers. Critical reaction was mixed, praising series star Radha Mitchell but criticizing the handling of the series' mixed tones.

Yet combining family politics with a crime drama was exactly the reason Rosenberg agreed to helm the project. She has spent the majority of 2012 turning the Dutch story line about a woman forced into organized crime into an American series set in the Northern California waterfront town of Sausalito.

"Red Widow" features Mitchell as Marta Walraven, the upper-class suburban housewife who must confront her family's history and her husband's dubious livelihood after he is gunned down in their driveway. The eight-episode midseason drama — a similar short-order strategy to the network's debut of "Scandal" in 2012 — tracks Marta's reluctant journey into this world and her quest to find out who killed her husband.

ABC approached Rosenberg with the high-concept drama after she completed her years as the screenwriter on the "Twilight" franchise. Rosenberg was one of the few constants on the blockbuster series that saw a revolving door of directors helming her adaptations of Stephenie Meyer's books. Though the experience on "Twilight" was a rewarding one, it reaffirmed her love of television, where the involvement in the material extends beyond turning in a final draft.

"I like TV better, there is no question," said Rosenberg, a tall blond with a confident stride and easy laugh. She's also overseeing the ABC pilot "Thunder Mountain" while she waits to see whether "Red Widow" lands a second season. "Not only do I love a writing room but as a show runner in TV, I have creative say on everything: the eyelashes, the shoes, the cut and color of the film. It's much more satisfying."

While Rosenberg frequently served as head writer, or as a show's No. 2 employee, as she was on "Dexter," "Red Widow" marks her first time running the entire production. According to Jeremy Gold, head of creative affairs for Endemol Studios, the co-producer of "Red Widow" with ABC, Rosenberg's previous experience on "Dexter" and "Twilight" made her the proper fit for the series.

"She is able to tell real, emotional human-stakes stories inside of a construct that is a tad high-concept," said Gold. "In our case, it's not werewolves and vampires but the core philosophy is the same — make the extraordinary feel relatable."

To do so, Rosenberg used a naturalistic approach that according to her star Mitchell required an obsessive attention to detail.

"She had a clear point of view in terms of how she wanted it to look," said Mitchell. "She didn't want it overly stylized. She wanted it raw. She was constantly removing makeup from people. I think it gives it a tone where all this could have really happened."

Rosenberg found her debut as show runner both stimulating and surprising, not realizing the intense job requirements of the position until it was hers.

"I was stunned, surprised by the sheer volume of work," said Rosenberg. "You make 10 decisions just in your walk from the writer's room to the bathroom. What's incredibly thrilling about that is you are operating on all cylinders all the time. It's invigorating, magical in a lot of ways."

http://www.latimes.com/entertainment/tv/showtracker/la-et-st-melissa-rosenberg-red-widow-abc-twilight-dexter-20130309,0,853809.story
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TV Notes
On The Air Tonight
WEDNESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - The Middle
(R - Nov. 14)
8:30PM - The Neighbors
9PM - Modern Family
(R - Jan. 16)
9:30PM - Suburgatory
(R - Jan. 30)
10PM - Nashville
(R - Feb. 13)
* * * *
11:35PM - Jimmy Kimmel Live! (Jennifer Lawrence; Katie Couric; Tegan and Sara perform)
(R - Jan. 31)
12:35AM - Nightline

CBS:
8PM - Survivor: Caramoan -- Fans vs. Favorites
9PM - Criminal Minds
(R - Oct. 31)
10PM - CSI: Crime Scene Investigation
(R - Nov. 7)
* * * *
11:35PM - Late Show with David Letterman (Jim Carrey; Richard Thompson performs)
12:37AM - Late Show with Craig Ferguson (Olivia Wilde; Windell Middlebrooks)

NBC:
8PM - Whitney
8:30PM - Whitney
(R - Dec. 12)
9PM - Law & Order: Special Victims Unit
(R - Oct. 24)
10PM - Chicago Fire
(R - Dec. 12)
* * * *
11:35PM - The Tonight Show With Jay Leno (Jerry Seinfeld; entrepreneur Mark Cuban; Jose James performs)
12:37AM - Late Night With Jimmy Fallon (Steve Carell; Abigail Breslin; Justin Timberlake performs)
1:36AM - Last Call with Carson Daly (Reality-TV star Todd Ray; Kamikaze Kitchen; Niki & The Dove perform)
(R - Feb. 13)

FOX:
8PM - American Idol (120 min., LIVE)

PBS:
(check your local listing for starting time/programming)
8PM - Nature: Survivors of the Firestorm (R - Apr. 17, 2011)
9PM - NOVA: Cracking Your Genetic Code
(R - Mar. 28)
10PM - Steve Jobs: One Last Thing
(R - Nov. 2, 2011)

UNIVISION:
8PM - Porque El Amor Manda
9PM - Amores Verdaderos
10PM - Amor Bravio

THE CW:
8PM - Arrow
(R - Jan. 30)
9PM - Supernatural
(R - Nov. 28)

TELEMUNDO:
8PM - Pasión Prohibida
9PM - La Patrona
10PM - El Rostro de la Venganza

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Filmmaker R.J. Cutler)
(R - Feb. 27)
11:30PM - The Colbert Report (Artist Brendan O'Connell)
(R - Mar. 6)

TBS:
11PM - Conan (Halle Berry; Ben Hoffman; Aimee Mann)

E!:
11PM - Chelsea Lately (Elisabeth Moss; Dan Levy; Sarah Colonna; Gary Valentine)
post #85643 of 87252
Washington Notes
Genachowski: May Be Time to Update Retrans Rules to Limit Blackouts
By John Eggerton, Broadcasting & Cable - Mar. 12, 2013

FCC chairman Julius Genachowski told a Senate panel on Tuesday that the FCC may have to take action on retrans to reduce the potential for blackouts, but then suggested it would need help from Congress.

That came in one exchange during a marathon oversight hearing (two and a half hours) in the Senate Commerce Committee that ranged far and wide, though never into the area of media violence despite its invocation twice by chairman Jay Rockefeller (D- W. Va.).

Sen. Richard Blumenthal (D-Conn.) brought up the issue of sports blackouts and his request to the commission that it look into lifting its 40-year-old blackout rules. He said they were "deeply troubling," particularly when his constituents' favorite teams are involved.

He asked the status of that issue, which he said was "profoundly important," not only to people in Connecticut but across the nation.

Genachowski did not address it specifically, instead steering the question toward retransmission consent blackouts, which also implicates sports particularly during college bowl game season.

"An area where [blackouts] come up to often is in the retransmission consent area," he said. "It may be time to update those provisions to reduce the chances of those blackouts during retransmission consent negotiation."

He did not commit to proceed to a rulemaking proceeding -- the FCC has an open notice of proposed rulemaking, which has been open for a couple of years. "Our authority under the existing statute is limited. This may be an area where we need to work with the committee."

Cable operators and others who have been pushing for retrans reforms were quick to jump on the hearing exchange as a good sign. The American Television Alliance released a statement not long after proclaiming: "There clearly is a critical mass of bipartisan leaders who have concerns about outdated video regulations. The American Television Alliance applauds these leaders and urges action by Congress and the FCC to fix these regulations so they are more in line with the significant changes that have occurred in the video marketplace in the last 21 years."

http://www.broadcastingcable.com/article/492305-Genachowski_May_Be_Time_to_Update_Retrans_Rules_to_Limit_Blackouts.php
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Nielsen Notes (Daytime)
'Dr. Phil' Tops Talkers During February Sweep, 'Dr. Oz' Sees Steep Declines
By Alex Ben Block, The Hollywood Reporter - Mar. 12, 2013

National numbers for the February sweep give wins to Dr. Phil, Steve Harvey, Maury, Steve Wilkos and Wendy Williams among syndicated shows. Those that didn't fare as well include Dr. Oz, Rachel Ray and Jerry Springer, each of which saw declines in household numbers or among the target women 25-54.

Dr. Phil easily ranked as the top talker for the sweeps period with a 3.4 household ratings (an average of 4.4 million viewers a day), which was even with his performance last February. Where he shined was in the demo with a 1.9 rating, up 6 percent year to year.

Steve Harvey was a double winner. His first year talk show tied with Katie Couric in the key female demo, while his presence on the game show Family Feud sent it soaring 66 percent above last February in households and 59 percent up in the key demo.

Among so-called conflict talkers, Maury was tops with a 2.4 household rating, up 8 percent over last February. He was down 6 percent among women 25 to 54, but his main audience of younger viewers more than made up for that making him number one in women 18-49 and women 18-34.

Steve Wilkos, in his sixth season on the air, suddenly took off. Wilkos had a 1.6 household rating (an average of 2.3 million viewers a day), which was up 14 percent from last February. Among women 25-54, his audience increased an even more impressive 20 percent year to year.

Wendy Williams continues to show growth with a 1.3 household rating (an average of 1.7 million viewers a day), w which is up 8 percent over last February. In the key female demo, Williams was up 11 percent year to year.

Among other talk shows, Live With Kelly & Michael was about even with last year (when it was Kelly Ripa and guest hosts), with a 2.8 rating (an average of 3.6 million viewers a day) and a 1.7 in the key female demo (an average of 999,000 viewers a day). Ellen DeGeneres was up 4 percent in households to a 2.7 (an average of 3.7 million viewers a day), with a 1.8 rating in the demo, up 6 percent year to year.

The loser was Dr. Oz. His show fell from second place among talk shows last February to fourth this year. Dr. Oz had a 2.5 household rating (an average of 3.4 million viewers a day), a year-over-year loss of 17 percent. He dropped 18 percent in the key female demo to a 1.4 rating.

Judge Judy continued to dominate in the court category and overall with a 7.5 household rating (10.5 million viewers a day), tying last February's performance. Among the key female demo, however, Judge Judy was up a smart 9 percent to a 3.8 rating (an average of 2.3 million women 25-54 per day).

In off network, the phenomena of The Big Bang Theory continued, with the show scoring a 7.7 rating (12.2 million viewers a day), and a 5.5 in the female demo (roughly 3.4 million women 25-54). Two And A Half Men had a 5.4 household rating, down 14 percent from last February.

For February sweeps, The Doctors was down 18 percent in households to a 1.4 rating (an average of 1.8 million viewers a day) and was down 30 percent in the demo (an average of 430,000 women 25 to 54 each day).

The good news was that in metered markets on Monday, The Doctors soared to a new season high of 1.8 (about 2.3 million viewers) with actress Valerie Harper on the show to discuss her battle with brain cancer.

Among entertainment magazine shows, Entertainment Tonight remained on top as it has for nearly two decades, winning its 90th sweeps in a row. That was despite a drop of 5 percent from last February when its audience was boosted by the sudden death of Whitney Houston on the eve of the Grammys.

http://www.hollywoodreporter.com/news/updated-tv-ratings-dr-phil-427733
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TV Notes
CW To Air Justin Timberlake Special
By the Deadline.com Team - Mar. 12, 2013

Justin Timberlake‘s latest TV appearance will come in the hourlong Target Presents The IHeartRadio Album Release Party With Justin Timberlake, set for Tuesday, March 19 at 8 PM on the CW. It will feature performances and interviews with Timberlake, who just hosted another strongly rated Saturday Night Live over the weekend and is in the midst of a weeklong stint on Late Show With Jimmy Fallon. It’s all to promote his new album, 20/20 Experience, which drops March 19.

Timberlake’s live performance the night before at LA’s El Rey Theatre will be filmed during a release party that will include a live, nationwide 30-minute on-air radio special, where Timberlake will discuss the new album and perform. The CW broadcast will include an exclusive eight-minute world premiere of his latest music video. An encore of the special will air at 8 PM March 22.

http://www.deadline.com/2013/03/justin-timberlake-cw-special-march-19/
post #85646 of 87252
Quote:
Originally Posted by dad1153 View Post

Washington Notes
Genachowski: May Be Time to Update Retrans Rules to Limit Blackouts
By John Eggerton, Broadcasting & Cable - Mar. 12, 2013

Blackouts totally suck and I hope they do something to fix them. I've missed some good games and my teams because of it.
post #85647 of 87252
Quote:
Originally Posted by Nayan View Post

Blackouts totally suck and I hope they do something to fix them. I've missed some good games and my teams because of it.
Wrong type of blackout.

The article is referring to stations being blacked out when negotiations break down and the station goes black on the provider.

Having said that, sports blackouts suck, too. The fact that some baseball teams claim areas that cover hundreds of miles beyond someone realistically going to see a game in person is ridiculous.
post #85648 of 87252
Quote:
Originally Posted by NetworkTV View Post

Wrong type of blackout.

The article is referring to stations being blacked out when negotiations break down and the station goes black on the provider.

Having said that, sports blackouts suck, too. The fact that some baseball teams claim areas that cover hundreds of miles beyond someone realistically going to see a game in person is ridiculous.

Well it did make a small mention of sports so that's why I responded. But blackouts of any kind suck, especially when stations themselves go dark so I hope they come to some kind of resolution so it doesn't happen anymore.
post #85649 of 87252
Quote:
Originally Posted by Nayan View Post

Well it did make a small mention of sports so that's why I responded. But blackouts of any kind suck, especially when stations themselves go dark so I hope they come to some kind of resolution so it doesn't happen anymore.
The problem is, I don't see how they can prevent them.

The one right any company with a product has is to not sell it to someone who isn't willing to pay what the company wants for it - and to not give access to it. Likewise, a company providing access to a product has the right to refuse to provide display space for the product.

If there's no danger of the station going dark, what's the motivation to negotiate? Either side can choose to exercise that if they feel it will get them what they want. The fact that the viewer misses out is unfortunate, but that provides the motivation to make a deal faster to keep the blackout shorter.

The fact is, blackouts are exactly what can determine just how much a station is worth: if people bail to another provider, then the demand for the channel is likely high and the provider is likely to pay more. If few leave or even complain, that gives the provider the power to say no to the demands.

Blackouts can go either way for both parties. Just look at the last deal with Viaccom and D*: People sided with D* for the most part when Viaccom pulled their channels and the result was Viaccom didn't get all that they wanted. On the other hand, Time Warner Cable tends to play extreme hardball with everyone and blackouts are common, resulting in very little sympathy for TWC.

I hate blackouts just as much as the next guy, but I'm not sure that meddling into the business affairs of companies that provide a non-essential service is something the government should be doing. OTA might be something you can call "essential", but pay TV is most certainly not.
post #85650 of 87252
Quote:
Originally Posted by NetworkTV View Post

OTA might be something you can call "essential", but pay TV is most certainly not.

Careful there, there are still plenty of places where OTA is not a viable option. That's why "cable" took off in the first place.
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