Nielsen Overnights (18-49)NBC dominates another Monday night'Voice' is the night's top show with a 4.6 in 18-49s
By Toni Fitzgerald, Media Life Magazine
- Oct. 1, 2013
NBC remains dominant on Monday, and CBS may have a few issues with its new shows on the night.
NBC’s “The Voice” was last night’s top-rated show with a 4.6 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, off 10 percent from last week’s strong debut.
Lead-out “The Blacklist” continued to post strong ratings at 10 p.m., averaging a 3.6 for its second episode and finishing as the night’s No. 2 show behind “Voice.”
That was down only 5 percent from last week, a good sign for the new drama.
Fox’s “Sleepy Hollow” also continued to hold its audience, falling only a tenth from last week to a 3.0 at 9 p.m. despite tough competition from “Voice.”
But CBS’s new shows aren’t holding up as well. The 10 p.m. drama “Hostages” fell 17 percent from last week’s already-low debut, to a 1.5, finishing well behind “Blacklist” and ABC’s “Castle” (2.2, even to last week) in the timeslot.
It seems some people are taping “Hostages” to watch later. The show saw a 50 percent bump in with live-plus-three-day-DVR playback numbers added in last week.
“We Are Men,” the new comedy that bowed behind “How I Met Your Mother” last night, also put up disappointing numbers. It averaged a 2.0, becoming CBS’s lowest-rated in-season comedy debut ever on Monday and losing 35 percent of “Mother’s” 3.1 lead-in.
Another new comedy, “Mom,” fell 12 percent from last week’s debut at 9:30 p.m., but it also had a weaker lead-in than last week, with the 9 p.m. comedy “2 Broke Girls” tying a series low with a 2.4.
ABC’s “Dancing with the Stars,” meanwhile, averaged a 2.0 from 8 to 10 p.m., off 13 percent from last week.
NBC finished first for the night among 18-49s with a 4.3 average overnight rating and a 12 share. Fox was second at 2.6/7, ABC and CBS tied for third at 2.1/6, Univision was fifth at 1.3/4 and Telemundo and CW tied for 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-eight percent of Nielsen households have DVRs.
NBC was first during each hour of the night, starting with a 4.1 at 8 p.m. for “The Voice,” followed by CBS with a 2.5 for “Mother” (3.1) and “Men” (2.0). Fox was third with a 2.2 for “Bones,” ABC fourth with a 2.0 for “Stars,” Univision fifth with a 1.6 for “Porque el Amor Manda” and CW and Telemundo tied for sixth at 0.4, CW for “iHeartRadio Music Festival” and Telemundo for “Dama y Obrero.”
At 9 p.m. NBC was first with a 5.1 for more “Voice,” followed by Fox with a 3.0 for “Hollow.” CBS was third with a 2.3 for “Girls” (2.4) and “Mom” (2.2), ABC fourth with a 2.0 for more “Stars,” Univision fifth with a 1.3 for “La Tempestad,” Telemundo sixth with a 0.5 for “Marido en Alquiler” and CW seventh with a 0.3 for the final hour of its music special.
NBC was first again at 10 p.m. with a 3.6 for “Blacklist,” while ABC moved to second with a 2.2 for “Castle.” CBS was third with a 1.5 for “Hostages,” Univision fourth with a 1.2 for “Que Bonito Amor” and Telemundo fifth with a 0.5 for “Santa Diabla.”
Among households, NBC led the night with an 8.2 average overnight rating and a 13 share. ABC was second at 7.8/12, Fox third at 4.5/7, CBS fourth at 4.4/7, Univision fifth at 1.8/3, and CW and Telemundo tied for sixth at 0.6/1.http://www.medialifemagazine.com/nbc-dominates-another-monday-night/* * * *TV Review‘Welcome to the Family,’ but don’t stayNBC sitcom sets out to play the ethnic card but then pulls back
By Tom Conroy, Media Life Magazine
- Oct. 1, 2013
Comedies about ethnically mismatched in-laws go back at least as far as the 1920s stage hit “Abie’s Irish Rose.” These comedies usually rely on the assumption that audiences know their ethnic stereotypes and enjoy seeing them either confirmed or mocked.NBC’s new sitcom “Welcome to the Family”
is a laboriously constructed piece of fluff about ethnically mismatched in-laws that timidly sidesteps stereotypes and thus removes the point of having an ethnic mismatch in the first place.
Despite a few good jokes, viewers will finish the premiere episode with no interest in either what happened or what might happen next.Premiering this Thursday, Oct. 3, at 8:30 p.m.
, the series is about what happens when Junior Hernandez (Joseph Haro), a slightly nerdy kid who is his high school class’s valedictorian and is headed to Stanford, impregnates his girlfriend, Molly Yoder (Ella Rae Peck), a ditz who barely managed to graduate and get into Arizona State.
Molly’s father, Dan (Mike O’Malley), says that he hopes that having Molly away for “somewhere between two and seven years at the nation’s leading party school” will allow him and his wife, Caroline (Mary McCormack) to start “the big renaissance.”
Unaware that Molly is pregnant, he kicks off his plan to get into shape by using a coupon for a free lesson at a boxing gym run by Miguel (Ricardo A. Chavira), who just happens to be Junior’s father. In case we’re wondering what are the odds of that, Dan later points out that there are 4 million people living in the Los Angeles area.
welcome to the family1Dan and Miguel get into an out-of-thin-air argument so that when they meet again they have a reason to dislike each other. Caroline and Miguel’s wife, Lisette (Justina Machado), serve as peacemakers.
Although the show acknowledges the families’ ethnic difference — both Miguel and Molly accuse Dan of being racist when he assumes that his family will wind up taking responsibility for the child — but by making Junior a model student and Molly a troublemaker, it’s reversing the stereotypes.
The scenario of upwardly mobile Latinos and downwardly mobile Anglos is probably closer to the truth than the stereotypes are, but if “Welcome to the Family” is going to be realistic, it has to confront the fact that being pregnant at 18 isn’t very funny, even with supportive parents on both sides.
Similarly, the episode ends with a surprise that is more depressing than comical.
Despite the hints of realism, the show’s creator, Mike Sikowitz, is evidently planning to use the premise as simply a base for silly comedy. When the families visit an amusement park, Miguel and Dan compete like teenage boys at the arcade games.
welcome to the family2In another nod to irreality, Dan is supposed to be a doctor, even though Mike O’Malley’s looks and line readings scream “regular guy.”
The show may not have been originally intended to be a traditional three-camera sitcom with a studio audience — like Sikowitz’ previous shows, “Friends” and “Rules of Engagement” — but the jokes read that way.
Molly occasionally gets on a feminist high horse, denouncing our “patriotic” society, then our “parochial” society. Both times, someone asks if she means “patriarchal.”
“Welcome to the Family” could definitely use a laugh track, which would give the performers time to add the mugging and double takes that the writing needs.
The single-camera treatment only highlights the show’s retro nature. These families’ predicaments may be modern, but time has passed them by.http://www.medialifemagazine.com/welcome-family-dont-stay/