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Showing posts with label FOX. Show all posts
Showing posts with label FOX. Show all posts

The Sked: Declining Network Ratings -- How Bad Are They?

For the past several weeks, "season low" and "down sharply from last year" have been repeated phrases in our daily ratings posts, mostly for broadcast network programs but also for cable programs, as well.  What's going on here?  After all, this season started in a very promising fashion with the combined audience for the four major broadcast networks even with the prior season, an almost impossible feat given the the ever increasing media fragmentation in today's world. 

To take a broad view, we looked at the season in three distinct parts, summarized in the table below.  In the first part of the television season (the first 11 weeks from September 19-December 4), ABC, CBS, NBC and FOX combined for a 10.4 Adult 18-49 rating in prime time, exactly the same rating as the comparable period in 2010.  Then from December through most of January, the broadcast networks were pacing 4% behind the 2010-11 season, a decline more in line with past decade or so.  Nothing to worry about, most thought.  But then in late January up until now, the decline in network TV viewing has really picked up steam, pushing a double-digit rate.


            4-Network (ABC CBS NBC FOX) 
      Prime Time Adult 18-49 Combined Rating

                      2011-12  2010-11  % chg
     Sep 19-Dec  4     10.4     10.4      0%
     Dec  5-Jan 22      9.0      9.4     -4%
     Jan 23-Mar  4     10.2     11.1     -9%


To get an idea of the pace of change, the chart below shows the yearly decline in network television viewing for each week of the season to date.  In the first part of the season, there were a few up weeks and a few down weeks but the magnitude of the differences generally were quite small (mostly under 5%).  More recently, however, the weekly swings have become much more pronounced: more in the 10% or even 15%+ range and predominantly on the negative side.



 
Singing Competition: The Changing of the Guard.  Clearly, much of the accelerating decline in the past few months is related to the collapse of FOX's American Idol and the ascendance of NBC's The Voice.  The biggest nightly declines for network TV since late January have come on Idol's nights (Tuesday and Wednesday) and the only significant up night is Monday, home of The Voice.  Many viewers who used to watch three to four hours per week of American Idol now can get their singing fix with two hours of The Voice, and the rest of the time spent formerly watching Idol apparently as not been shifted to other network programs.  For from it.  As we have seen recently, many marquee programs like Modern Family, Glee and The Office have suffered serious audience erosion over the course of the season and are stuck at season lows, far behind last season's pace.

            Nightly Trend (This Year vs Last Year)
                  4-Network (ABC CBS NBC FOX) 
            % Change Adult 18-49 Prime Time Rating

                   MON  TUE  WED  THU  FRI  SAT  SUN  Week

  Sep 19-Dec  4    -2%   0%  +9%  +2% +19%  +8%  -5%    0%
  Dec  5-Jan 22    +3% -16%  +1%  +2%  -5% -11%  -1%   -4%
  Jan 23-Mar  4   +12%  -8% -19% -19%   0% -17%  -1%   -9%





Are viewers abandoning television? We know that time spent watching live television remains remarkably consistent over the years, based on Nielsen analysis.  In fact, as DVR usage has risen, the total amount of time spent in front of a television has actually increased in the past five years.  Young adults (18-34) now spend almost 33 hours per week in front of the TV, up slightly from five years ago.  Although these young adults watch an hour less of live TV per week since 2007, DVR playback has increased well over an hour.  (Viewing video online was not a part of this particular study, but separate Nielsen studies have shown time spent streaming is similar to the DVR playback levels and tends to be additive rather cannibalistic for TV viewing.)  Middle-aged adults (35-54) watch over 37 hours per week, with about half an hour less live TV but almost two hours more DVR playback per week.  And older adults (55+) now watch over 46 hours per week, with an hour more live TV and over an hour and half more DVR playback.  

The DVR (and videogames for young adults) have only increased America's love affair with television.  And the vast majority of time spent with television is still devoted to watching TV live -- even with younger viewers.  We have not seen an update of this study into 2012, but given the long-term trends it is hard to imagine a sudden abandonment of the medium anywhere near the recent declines in broadcast prime time viewing. 


            Time Spent with Television per Week

                 Total Day (hours:minutes)

          Adults 18-34     Adults 35-54      Adults 55+
          2007    2011     2007    2011     2007    2011
Total TV  32:39  32:52     36:19  37:19     43:57  46:19
Live TV   27:02  26:00     32:32  32:08     41:50  42:53
DVR        1:34   2:46      1:36   3:22      0:50   2:30
Videogame  1:22   2:30      0:17   0:38      ----   ----


note: DVD and VHS playback not shown.



So the remarkable long-term durability of the television medium really puts the recent declines in broadcast network viewing in perspective.  If the 9% broadcast decline since late January turns into the more recent 10-15% declines, an already stressed business model starts to become extremely frayed.  And, oh yeah.  Daylight Saving Time hits Sunday, as the longer days add yet another strong headwind for network ratings, particularly in the 8:00 pm hour of prime time.  The season could get even bumpier for the broadcasters quite soon.    


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THE SKED SEASON PREMIERE REVIEW: "Breaking In"





WHERE WE WERE:  Contra Security, a wacky high-tech firm run by the extravagantly enigmatic Oz (Christian Slater).  Contra tests the security measures of its clients by cracking them wide open, staging mock break-ins, robberies, and similar hijinks.  Its roster of idiosyncratic experts include hacker Cameron (Bret Harrison), gadget guy Cash (Alphonso McAuley) and, for the moment at least, lock-picker Melanie (Odette Annable).

WHERE WE ARE:  A somewhat different version of Contra.  BREAKING IN's behind-the-scenes story was at least as interesting as anything that happened on the show.  It aired initially with the giant lead-in of American Idol, and scored not-bad ratings in the mid-2s.  When FOX moved the show away from Idol at the end of the season and gave it Raising Hope as a lead-in, the number plummeted to 1.3.  So one's feeling about the ratings of the show sort of depended on how much one was squinting when looking at them.  In the (sort of) end, FOX didn't renew the series when its network option was up in May.  But Sony Television, which produces Breaking In, didn't give up, and when the cast options were expiring at the end of June (it's typical for cast options to extend beyond the network's, in case the studio can place the show somewhere else with a little extra time), it had talked FOX into splitting the cost of extending the deals for a few more months, so FOX could have a chance to reconsider.  Which, in the (real) end, it did, renewing the show for a midseason run that began tonight--and giving it the hit New Girl as a lead-in.


It's safe to assume that part of the pitch Sony made to the network was a shift in the creative elements of the show, and so the cast of Breaking In 2.0 isn't exactly the same as last year's.  The disguises expert who was part of the team is gone, as is Melanie's buffoonish fiance. And Melanie herself, for that matter, will only recur in some of the remaining episodes (Annable had meanwhile taken a role on FOX's House).  The bigger news is that Contra would have new ownership, with Oz selling the company to a conglomerate personified by the new character of Veronica (Emmy Award-winner Megan Mullally, who's been added to the cast), and her assistant Molly (Erin Richards).  

The season premiere, written and directed respectively by series co-creators Adam F. Goldberg and Seth Gordon, was mostly concerned with setting up the new premise of the show.  Since every single FOX promo had made it clear that Veronica was the new boss, the first half of the episode was unintentionally tiresome as it introduced her as the new perky and annoying assistant to Oz she was pretending to be.  Once the reveal finally took place, the focus was on the Contra employees, so there was still no clear picture of who Veronica is actually going to be.  (Presumably the producers and network are fully aware that having both Mullally and Slater sharing a screen squeezes an awful lot of hamminess into a very small space.)  The Molly character was only briefly introduced, so other than being British and (naturally) acerbic, her role isn't defined yet either.

The basic dynamic of last year's Breaking In was that every week, Cameron and the others would leap to conclusions about what their assignment was and what Oz was really plotting, and every time, it would turn out that Oz was fiendishly playing mind-games with them and was actually 3 steps ahead.  Presumably with Mullally around, that's going to be somewhat different.  The other major thread was Cam's not-quite requited longing for Melanie, and with Annable playiing a limited role, that's not going to be the same this season either.  So the show is going to have some fundamental changes to its DNA.

As for tonight's episode itself, it was at best mildly funny:  Cash's pranks are rarely as clever as the writers seem to think, there was little opportunity for the pop culture jokes that usually abound (apart from an extremely forced Breakfast Club bit), and the script had to do a lot of heavy lifting to contrive both Mullally's arrival and Slater's continuing presence.  Breaking In was far from memorable TV before--we'll find out in the next few weeks if the changes have made it any less disposable.


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THE SKED @ PALEYFEST 2012: "New Girl"






There's something infectious about watching the people behind a brand-new TV hit enjoy their success, and at tonight's PaleyFest salute to this year's break-out comedy hit NEW GIRL, the pleasure of the cast and producers bubbled over.  

To an unusual extent that the panelists acknowledged themselves, the dynamics among the cast members and writers seemed not unrelated to the relationships in the show.  By the time creator/showrunner Elizabeth Meriwether had finished kicking off the session and introducing the episode being screened, it came as no surprise later on when star Zooey Deschanel summarized her character Jess by saying she was equal parts the 13-year old versions of herself and Meriwether.  Similarly, the good-natured snarky bickering between Jake M. Johnson (Nick), Max Greenfield (Schmidt) and Lamorne Morris (Winston) could have been outtakes from any given episode, and there seemed to be a gray area between where the actress Hannah Simone left off and her character Cece picked up.



Everyone concerned spoke several times of the show's efforts to deepen and develop the characters as the show goes on, and it turned out that the screened episode "Injured" (which airs tomorrow night) was a standout example of this principle in action.  "Injured" may be the first episode of New Girl that takes place entirely outside of the apartment all the characters except Cece share, and it centers on Nick rather than Jess.  In the course of the episode, Nick has a health scare, and the tone of the episode resembles the bittersweet 50/50 more than New Girl's usual carefree celebration of character eccentricities.  More interestingly, the episode has a very loose, casual feel akin to an F/X comedy.  Not incidentally, "Injured" was directed by Lynn Shelton, whose reputation is in semi-improvised indie relationship comedy-dramas like Humpday and the excellent upcoming Your Sister's Sister--whether "Injured" was actually partly improvised or just very well scripted (by J.J. Philbin), it shows New Girl starting to put some distance between itself and its cutely charming roots.  

There were little in the way of spoiler revelations in the course of the evening--as producer Jake Kasdan noted, the series has few enough continuing storylines, they didn't want to ruin any of them--except that Dermot Mulroney and Jeanne Tripplehorn will appear in an arc (Mulroney as a Jess love interest), and that shippers hoping for the seemingly inevitable Jess/Nick coupling will have to wait for a while.  

With Glee fading, New Girl is now at the center of FOX's Tuesday night, with an audience slightly smaller than CBS' 2 Broke Girls but with far more pop cultural and critical cachet.  The show has plenty of time--years, undoubtedly--to work out how and where they want the series to go.


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THE SKED: "Terra Nova" Becomes Extinct





FOX did what it had to do today, shutting the time-travel portal on TERRA NOVA.  The show (which, because of its CG postproduction, would have needed an early renewal to be ready for air in Fall 2012) was enormously expensive, and its ratings trajectory was steeply downward, ending its run at a level barely over a 2.  Creatively, the series never jelled--too much bad dialogue, not enough dinosaurs--and there was no indication new viewers would have any interest in joining the show in a Season 2.  While there was hope that potential international and ancillary value could make up for low US ratings because FOX's sister studio 20th Century Fox Television produced the series, clearly the studio and network couldn't make the economics work.


The spin is that Terra Nova will now be shopped to other networks, but while its genre could certainly work on a cable network like Syfy or even TNT, there's no way those networks would pay a license fee equal to FOX's for such damaged goods, and unless the studio is willing to take an enormous deficit (in which case, they would have done it for their own network), or there's a way to sharply cut the show's cost, it seems unlikely to find a savior.

Some side notes:  Steven Spielberg is having a productive but not terribly successful season.  THE RIVER is overwhelmingly likely to join Terra Nova on the scrap-heap, UNITED STATES OF TARA was canceled, and apart from the modest cable success FALLING SKIES, that just leaves SMASH, which has a very good chance of renewal, but not because it's a hit in the ratings.  (WAR HORSE and TINTIN haven't given him much joy on the big screen, either.)

And with Terra Nova dead, THE FINDER shipped off to Fridays and ALCATRAZ showing little promise, FOX's only serious chance for a renewed drama this season is TOUCH, if that show can live up to its "special preview" ratings.  And with HOUSE officially nearing its end, the network will clearly be in need of new 1-hours for fall.  Which, in circle of life fashion, is good news for the producers of this development season's drama pilots. 

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THE SKED: Seek "The Finder"





FOX's decision to move TOUCH to Thursdays and BONES to Mondays left THE FINDER as the odd show out, and today that other shoe fell:  Finder will run its remaining episodes (essentially burning them off) on Fridays at 8PM, starting April 6.  This pushes the unscripted HOTEL HELL to summer.


This may not be great news for FRINGE, because Finder's lead-in is likely to be fairly anemic--the show has been in the low 2s even with an AMERICAN IDOL lead-in, and can be expected to decline when asked to open low-rated Fridays.  On the other hand, one could make the argument that the scripted Finder provides a more compatible lead-in to to Fringe than KITCHEN NIGHTMARES.  (One could also make the argument that with Fringe's numbers, its lead-in is the least of its problems.)


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THE SKED: "House" For Sale




Today FOX and the producers of HOUSE jointly announced that this 8th season will be its last.  There's nothing particularly shocking about this--ratings were down significantly from last year, and the show is expensive to produce and would likely have gotten more so (both Hugh Laurie and creator David Shore were at the end of their deals and would have had to be renegotiated).  The show will have the opportunity to go out with a real "ending," since there's some time before the season's final episodes will have to be filmed.  


The question now is what this vacancy on next year's schedule means for FOX's other bubble dramas, the new TERRA NOVA, ALCATRAZ and THE FINDER.  None of them has been a breakout hit (Alcatraz was looking fairly strong until it got smacked by The Voice on Monday), and all have pluses and minuses on a business level.  Terra Nova is hugely expensive, and since special effects and action are its main selling points, it can't be made much cheaper--on the other hand, FOX owns the show, and it has promise internationally and in ancillary sales.  Alcatraz, as noted, has until this week been somewhat more impressive in the ratings--but it's owned by Warner Bros, which has a deal with J.J. Abrams, and thus the upside is limited for FOX as an overall corporation.  And The Finder provides a franchise companion for Bones that could come in handy as the older show starts to get expensive itself--but it's showing little strength, even with American Idol as a lead-in. 

The guess here is that if Alcatraz can recover a few tenths from its walloping this week, it comes back, Finder doesn't return, and FOX talks itself into another 13 episodes of Terra Nova.  But what do you think?  Prescribe FOX's cure below...


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THE SKED: FOX Adjusts Its Tuesdays




FOX had announced last year that rather than air GLEE repeats in the space between its original February episodes and the new ones that will close out the season, it would instead air a 2-hour block of sit-coms.  That's still the plan, but today they shuffled just what those comedies will be and when they'll air.


Starting on March 6, Tuesdays will start with new episodes of RAISING HOPE (instead of New Girl reruns, as originally scheduled), facing off against Last Man Standing (as well as NCIS and Biggest Loser, which are less direct competition).  Then I HATE MY TEENAGE DAUGHTER, which had been scheduled to air after 90-minute American Idol episodes on Wednesdays, will instead take the 8:30PM slot and compete with Cougar TownNEW GIRL will of course keep its usual 9PM slot, and at 9:30PM BREAKING IN, the Christian Slater slow that was cancelled and then un-cancelled last Spring, will try to capitalize on its newly strong lead-in (it was originally supposed to have the 8:30PM slot).  

At first glance, this is clearly good news for Breaking In, which gets an original New Girl rather than a repeat as its lead-in.  It's bad news for Raising Hope, which loses its sheltered 9:30 slot and has to open the evening against Tim Allen.  Since Hope will be Teenage Daughter's lead-in rather than American Idol, it's also bad for Teenage, and seemingly unnecessary in terms of Tuesday results, since original Teenage episodes probably won't do a number much different than New Girl repeats would have.  The one piece of this puzzle that FOX hasn't yet announced is what will now be airing at 9:30PM on Wednesdays, and it'll be interesting to see if Idol is extended for 2 hours on that night--if so, it may suggest that FOX needed this change to create some extra Idol advertising inventory, in order to make up for the shortfall in this season's ratings and revenues.

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THE SKED PILOT REVIEW: "Touch"





TOUCH:  Mondays 9PM on FOX, starting March 19 - Change the Channel

FOX's new series TOUCH got off to a very good start in the ratings with a "preview" episode last week (having American Idol as a lead-in didn't hurt), and certainly indications are that it could be a solid hit when it makes its series debut on Mondays next month after Alcatraz is done for the season.  To these eyes, though, it looked to be as boneheaded a TV series as any in recent memory.




Touch was created by Tim Kring, who gave us Heroes, which became a very odd network TV phenomenon:  the hit that never really was.  Heroes started off like gangbusters, and visions of spin-offs, merchandising bonanzas and feature films danced in NBC's desperate head.  Then the show came back for a disastrous second season (remember the medieval Japanese storyline?  the multiple versions of just about every major character who kept turning up?), and it never recovered; Heroes limped along for another couple of seasons, but its downward trend was irreversible.  Touch doesn't feature super-powers per see, but it already shows clear signs of the kind of confusion and soft-minded preference for mysticism over plot logic that doomed Heroes.  

Touch brings Kiefer Sutherland back to TV, this time playing Martin Bohm, a baggage handler at JFK who manages to be as ineffably grim and determined as Jack Bauer used to be.  Martin's wife died on 9/11, and he's raising son Jake (David Mazouz) on his own.  (One of the pilot's weirder conceits is that although Martin can barely make ends meet, he and Jake live in a multi-million dollar 3-bedroom Manhattan loft because his stockbroker wife left it in trust for Jake--hopefully that included funds for yearly maintenance and property taxes.)  Jake is really the show's focal point, a magical autistic who sees the hidden, mysterious patterns in the universe but who can't or won't speak or otherwise directly communicate with other human beings--including, generally, by touch.  (He does, however, narrate the series, although mercifully not with the voice of Helen Mirren a la Glee.)   As Martin is told several times in the course of the pilot, it's his job to protect Jake and decipher the meanings of the patterns Jake finds, so as to save whoever is due for rescue that week.

To call the plot of Touch convoluted and contrived is less an insult than a factual description.  In the pilot, Jake fixates on numbers that reveal a trail to 9/11 and the fireman who discovered his mother in the World Trade Center, a winning lottery ticket, a phone booth in Grand Central Station, a missed train, a school bus crash, and the miraculous saving of its passengers.  A B/C story that doesn't seem directly related to Jake similarly unites the British parents of a dead child, a Baghdad boy who aspires to be Chris Rock but whose search to find a pizza oven for his father forces him to become an unwilling suicide bomber, an Irish amateur singer who's also a helpful cell phone carrier employee, and Japanese prostitutes.  Note:  I didn't make any of that up.

Touch is sort of an Alejandro Gonzalez Inarritu movie (Babel, 21 Grams) for dummies--intercontinental strands of story forced into unconvincing connections.  All Touch has is plot, because with Jake not communicating and Martin mostly spitting out intense pronouncements through gritted teeth, there's nothing in the way of characterization.  The only other substantial regular character is Gugu Mbatha-Raw as Jake's social worker, who's briefly officious but who, by the time the pilot is over, has already acknowledged and embraced Jake's strange powers.  (Since Danny Glover is listed as a regular, one assume that in future episodes, his single scene as a sort-of scientist who appreciates Jake's abilities will be expanded.) 

The Touch pilot was directed by Francis Lawrence, whose feature films include I Am Legend and Water For Elephants, so it's certainly slick enough, but it has no substance beyond its glib New Agey everything-is-connected message.  Perhaps the Highway to Heaven-plus-autism formula will connect to audiences for years to come; for some of us, though, the overblown daffiness of the enterprise severs the connection from the start.

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The Sked SATURDAY RATINGS January 28

FOX scored an impressive (for Saturday) preliminary 2.2 rating with Adults 18-49 last night with UFC: Evans vs Davis from Chicago (featuring two other undercard Ultimate Fighting bouts).  The live fights built smartly through the night by half hour: 8:00 (1.8), 8:30 (2.2), 9:00 (2.4) and 9:30 (2.6).  Remember these numbers are certain to rise a few tenths in the official nationals (the west coast markets are undercounted in this live-to-all-time-zones telecast).

The last UFC fight also aired on FOX Saturday (on November 12, 2011) from 9-10 pm, which went up to a 3.0 in the official nationals.

Repeats mostly littered the air on the other broadcast networks.  ABC averaged a 1.0 rating from 8-11 pm with Wipeout (1.1) and the ice-skating satire Blades of Glory (0.9).  CBS also averaged a 1.0 in prime time with: Rules of Engagement (0.6), Mike & Molly (0.7), CSI (0.9) and 48 Hours Mystery (1.3).

NBC averaged a very weak 0.5 rating with Harry's Law (0.4) and U.S. Figure Skating (0.6) from 9-11 pm.


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THE SKED PILOT REPORT: PREMIERING TONIGHT - "Alcatraz"



Disclaimer:  Network pilots now in circulation are not necessarily in the form that will air in the Fall.  Pilots are often reedited and rescored, and in some cases even recast or reshot.  So these critiques shouldn't be taken as full TV pilot reviews, but rather as a guide to the general style and content of the new shows coming your way.

ALCATRAZ -  Midseason Monday 9PM on FOX:   If Nothing Else Is On...

In this season of paired projects (Grimm and Once Upon A Time, The Playboy Club and Pan Am), it makes sense that we have two series produced by JJ Abrams:  CBS's fall Person Of Interest and FOX's midseason ALCATRAZ.  Of the two, Alcatraz has by far the more potential, but it's a ragged piece of work that'll need quite a bit of improvement before it hits the air.


Alcatraz posits the idea that in 1963, when the Bay Area maximum-security prison was shut down, the inmates were not transferred to other facilities--instead, they vanished off the face of the earth.  The mass disappearance was kept secret by the government, and only now, almost 50 years later, the criminals are beginning to reappear, not having aged a day and on mysterious missions to kill contemporary people for reasons even they don't understand.  Spooky!  And worthy of the co-creator of Lost (Alcatraz is written by Elizabeth Sarnoff, a Lost producer, along with Steven Lilien and Bryan Wynbrandt, both junior writers on Kyle XY).  So far so good.

Alcatraz loses its grip when it tries to build a series structure around the premise.  For the millionth time, we're back in the storyline where a gritty local detective (Sarah Jones as Rebecca Madsen) starts investigating the murder committed by one of the reemerged convicts, and despite being warned off by mysterious federal agent Emerson Hauser (Sam Neill), she doggedly pursues the crime, until she proves herself instrumental in tracking the killer down and by the end of the pilot, she's been added to the task force.  Naturally there's a quirky expert (Jorge Garcia--hi, Hurley!) and a intense techie (Parminder Nagra), and naturally there are vague hints that Rebecca and her uncle (Robert Forster) may have more connection to what's really going on than they realize.  It's all terribly routine, and the rudimentary dialogue doesn't add anything to the pilot's by-the-numbers plotting, not to mention the problem of balancing between the time spent with our heroes and with the guest star villain, who's part time traveler and part cipher.

The casting is also lacking.  Jones is very pretty, but not exactly ideal as an up-from-the-streets cop, while Neill's done this kind of untrustworthy authority figure countless times, most recently in Happy Town and Daybreakers.  Garcia has earned a giant amount of audience goodwill, but they might as well have called his character (a professor who creates his own Alcatraz-themed comic books) Hurley and be done with it.  Nagra, who was a solid part of the latter-year ER ensemble, gets little to do.  In the pilot, none of them mesh into much of an ensemble, and the direction by Danny Cannon, a CBS procedural veteran, has a minimum of visual panache.  

Alcatraz won't air until 2012, when House will move to 8PM on Mondays and the show will take the medical drama's slot, so there's plenty of time for some heavy polishing.  Few new series have as original and enticing a premise as this one; now they just need to find a format and style that will keep the show from feeling like hard time.

Read more about TV's new shows at THE SKED PILOT REPORT.

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THE SKED SEASON FINALE WATCH: "Terra Nova"



Warning:  Spoilers Ahead

Here, in the end, is all you needed to know about TERRA NOVA:  in its entire 2-hour season--and very possibly series--finale, dinosaurs were sighted for a grand total of about 2 minutes.

Remember the original promos for Terra Nova, the ones that played on FOX for months while the show kept getting postponed?  The ones that promised a Jurassic Park experience in your living room, week-in and week-out, with blockbuster-movie level computer-generated dinos?  Well, after the big-budget series pilot, that show didn't exist.  What Terra Nova turned out to be instead was a story about good guys living in a colony walled off from some very disorganized bad guys (revolutionaries?  corporate dupes?) and prehistoric creatures that were more often talked about than seen.  (And when they showed up, they turned out to be the CG equivalent of cardboard cutouts.)


The Shannons, aka World's Most Uninteresting Family, were the leads, bested only by Skye, The World's Most Harmless Spy and, later in the season, by Lucas Taylor, The World's Most Insipid Villain.  Lucas was the son of Commander Taylor, who as played by Stephen Lang was the only one in all of prehistory to be a little bit interesting.  Lucas had been built up in early episodes as some kind of freaky insane genius who knew how to solve the mysteries of time travel and passage between universes, but he turned out to be the anti-Carrie Mathison, a pouting post-adolescent madman who became duller and more banal the more we saw of him, obsessed with daddy issues and what happened in Somalia.  Having him as Terra Nova's chief antagonist was like making a huge-budgeted superhero epic where the villain was Biff from Back to the Future.

There were so many awful moments in the finale that it's hard to choose just one:  daddy Commander not realizing his crazy son wanted a hug for the very first time just so he could stab dad?  The fuss about Jim Shannon vanishing through an unknown portal to the past, possibly lost in unexplored parts of the planet... only to have him turn up behind the nearest tree?  The idiot bad guy who thought he'd been injected with deadly microorganisms because someone told him so?  The big "mystery" for a purported next season of a 18th-century ship turning up in the desert (seen Close Encounters much?)?  Maybe it was the way every one of the villains believed Jim's ridiculous fake deafness and limp even as Jim was running all over the compound and having conversations with everyone in earshot.

Whether Terra Nova comes back next season will ultimately be determined by factors of no interest to mere viewers:  overseas sales, the network's slate of 8PM development, the possibility of reduced network license fees.  What the finale proved conclusively, however, is that the show deserves to be left in the distant past.

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THE SKED'S PILOT + 1 REVIEW: "I Hate My Teenage Daughter"



A lot can happen between the creation of a TV pilot in the spring and production of episodes for the regular season:  a writing/producing team is hired, audience focus groups weigh in, networks and studios (which may have had their own turnover in the off-season) give plenty of notes, both helpful and otherwise, and critics begin to rear their ugly heads.  The results can include changes to tone, pace, casting and even story.  Here at THE SKED, we're going to look past the pilots and present reviews of the first regular episodes of this year's new series as well.

Previously... on I HATE MY TEENAGE DAUGHTER:  Annie (Jaime Pressley) and Nikki (Katie Finneran) are best friends and the mothers, respectively, of Sophie (Kristi Lauren) and MacKenzie (Aisha Dee).  The moms were losers in high school, but their daughters are bona fide Mean Girls, popular yet selfish and narcissistic, much to the despair of Annie and Nikki.  Also on the scene are the divorced dads, musician/womanizer Matt (Eric Sheffer Stevens) and golf pro Gary (Chad Coleman).  Rounding out the group is Matt's brother Jack (Kevin Rahm), a lawyer who's the subject of Annie's secret crush.


Episode 2Teenage Daughter continues to exist seemingly as an affirmative action program to make sure ABC doesn't have all the truly awful new sitcoms this season.  The 2d episode, written by Consulting Producer (and very experienced sit-com writer) Wil Calhoun, and directed by vet Andy Ackerman, is less hateful than the pilot because it concentrates somewhat less on the viciousness of the title daughters, and fixes its aim on the mothers for their utter idiocy more than their abject loserdom.  (This time around, we don't get Nikki sticking her face into a pie to make herself feel better.)

So the episode, comparatively speaking, takes the higher road of being inept rather than overtly painful.  The episode concerns Annie's determination to know more about the kids' lives by forcing everyone into attending a "family night," dads included.  Naturally this degenerates into Nikki's pathetic jealousy over the fact that Gary is dating again, and Annie's even more blithering inability to hide her feelings for Jack.  (When Jack shows up with a date--because that's what a normal person would do when coming to a family night with 2 divorced couples and their teen daughters--Annie can't help herself from slapping the woman's butt and blurting out references to her beauty.)  Sophie and McKenzie are mostly in the background, which is to everyone's benefit--among other things, they don't have to be on screen for the moronic only-in-a-sitcom sequence where Annie, afraid Jack has heard her confess her crush to Nikki because he entered the room just as she was saying it, reenacts the moment... only to have Jack walk back into the room at the exact same moment. (HA!!! screams the laugh-track.)

Teenage Daughter is an utter waste of Pressley and Finneran, both of whom have proven their talents elsewhere, and it pales in its satire of self-absorbed teenhood (not to mention its capacity for some emotional warmth) next to ABC's Suburgatory, which airs just an hour earlier on the same night.  FOX was extremely careful in picking the night for Teenage Daughter's debut, and scored a decent rating against repeats on other networks; we'll find out soon enough how many of that crowd stuck around for a second installment.

Original Verdict:  Change the Channel

Pilot + 1:  "Happy Endings" Is On

 

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THE SKED: FOX Midseason



FOX has announced the specifics of its midseason schedule, with no surprises (you don't need surprises when you're cruising in 1st place, with your unstoppable biggest gun on the way).  Below are the shows and dates:




Mondays 9PM (1/16-3/12):  ALCATRAZ, launching with a 2-hour debut

Mondays 9PM (starting 3/19):  TOUCH - This will have a special "preview" airing of its pilot at 9PM Wed January 25 after American Idol, then launch 2 months later for real, also with a 2-hour debut

Tuesdays (starting 3/6):  8PM - NEW GIRL reruns
                                    8:30PM - BREAKING IN

Wednesdays (starting 1/18):  AMERICAN IDOL kicks off  (during Jan-Feb, there will also be some episodes of MOBBED on this night in various slots)

Thursdays (starting 1/19):  8PM - AMERICAN IDOL
                                       9PM - THE FINDER (actually kicks off a week earlier, after BONES)

Fridays 9PM:  FRINGE returns 1/13

Sundays 7PM: BOB'S BURGERS returns 1/29, moving to 8:30PM on 3/11

Sundays 8:30PM (1/29-3/4):  NAPOLEON DYNAMITE
 
BONES, GLEE and (if we're unlucky) I HATE MY TEENAGE DAUGHTER will also return later in the Spring on unspecified dates.

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SKED PILOT REPORT: PREMIERING TONIGHT - "I Hate My Teenage Daughter"


Disclaimer:  Network pilots now in circulation are not necessarily in the form that will air in the Fall.  Pilots are often reedited and rescored, and in some cases even recast or reshot.  So these critiques shouldn't be taken as full reviews, but rather as a guide to the general style and content of the new shows coming your way.

I HATE MY TEENAGE DAUGHTER -  Wednesday 9:30PM on FOX:  Change the Channel

Have you seen the title, I HATE MY TEENAGE DAUGHTER?  Do you get it?  Good:  you've just saved 23 minutes out of your life--30 if you watch the commercials.  Teenage Daughter is one of those pilots so dreadful that you can't help but wonder just how bad a show had to be not to get on its network's fall schedule.  This one isn't just painful but more than a little ugly.


You don't believe me.  How bad can it be, you say?  Well, try this for repartee:  An ex-wife (Katie Finneran) criticizes her ex-husband's parenting by saying "Maybe you should get a job, instead of playing golf with your stupid buddies!"  Retorts he:  "I'm a golf pro!"  (Apparently there just wasn't enough of this brand of sparkling humor, because later in the pilot, the other ex-husband complains "How can I be a bad parent?  I'm never even here!"  And he means it.)   The other mother of the piece (Jaime Pressley), accused by her mean girl daughter of not understanding her life, due to being a social outcast herself in high school, protests:  "You know who else was an outcast?  Jesus, and I think he's pretty popular!"  I could go on.  And on.

Teenage Daughter was written by the team of Sherry Bilsing and Ellen Kreamer, who've been writing together since Friends, most recently on The New Adventures of Old Christine.  So it's anyone's guess why this thing is so bad.  More troubling is the rancid point of view it takes.  The premise of the show, as you can tell from the title, is that Pressley and Finneran, both tormented in high school (one was sheltered by religious fanatic parents, the other was extremely overweight and had a skin condition) have spoiled their own daughters, who have become exactly the sort of popular, rotten girls who made their lives miserable.  This could have been an entry point for some perceptive comedy, but instead the joke is that the mothers are both still pathetic losers at heart.  So we get Finneran (the previously overweight one), in a moment of stress, digging her hands into a pie and shoving it into her mouth (playing the rest of the scene with gooey pie all over her face), while Pressley, who has a crush on her ex-husband's brother (Kevin Rahm, recently one of the gay neighbors on Desperate Housewives), turns into a gushing imbecile in his presence.  (This, let me remind you, is a show written and produced by women.)  The daughters (Aisha Dee and Kristi Lauren) are manipulative monsters, and so is their school principal, who was once one of the girls torturing Finneran.  The laugh track howls at everything (flat multicamera direction by Andy Ackerman); I felt like Malcolm McDowell strapped down with his eyeballs held open in A Clockwork Orange.

The two things Teenage Daughter does have going for it are its stars.  Pressley was marvelous on My Name Is Earl, and Finneran stole "Promises, Promises" out from under Sean Hayes and Kristen Chenoweth on Broadway; both are naturally likable and have expert timing (although they're both clearly far smarter than their idiot characters).  Against all odds, they occasionally manage to suggest human beings in this shambles, but their fans would be better off waiting for their next projects.

Teenage Daughter may not be the flop it deserves to be:  FOX has given it a prime timeslot, following the Wednesday installment of X-Factor, and Mitch Metcalf's projection has it behind Criminal Minds and Happy Endings, but ahead of the aged audience for NBC's Harry's Law.  Success, though, isn't the same as quality, and the best to be said about this so-called comedy is that it conveniently already has the word Hate in its title.


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The Sked: Season to Date NIGHT by NIGHT

Midway through November is a good time to take a broad look at the television season.  Looking at the entire prime time schedule, FOX is off to a very promising start in first place with a 3.1 Adult 18-49 rating, and even more impressively up 19% versus the same period last year.  CBS is exactly even with last year, just under a 3.0 rating.  Of course the weak are getting weaker, with both ABC and NBC down in the high single digits. 


    Season to Date Prime Time
    Adult 18-49 Ratings
    Sep 19-Nov 9, 2011
    versus last year

          2011   2010   % chg 
    FOX   3.20   2.69   +19%
    CBS   2.96   2.95   + 0%
    ABC   2.42   2.59   - 7%
    NBC   2.28   2.52   - 9%

However, television is fought on a night by night basis, so let's take a look at each night of the week to see the challenges and opportunities facing each broadcast network.

FOX has the most balanced schedule of any network.  It dominates Thursday, wins Tuesday and Friday and is contention on every other night of the week.  Even more impressive, FOX is up on every single night of the week over last year except Saturday (the least important night of the week).  Even if we exclude Game 6 of the World Series from Thursday's numbers, the nightly average is still a strong #1 (a 3.9 rating instead of a 4.4) and the growth rate is still a very strong 37% (instead of 54%).  If we exclude Game 7 of the World Series from the Friday averages, the night averages a mediocre 1.4 rating, but the growth rate is still a very significant 72% (instead of 226% with Game 7 factored in).  Kitchen Nightmares and Fringe remains a vast improvement over House repeats and Good Guys.    


          Season to Date Adult 18-49 Rating by Night
               September 19-November 9, 2011
          MON   TUE   WED   THU   FRI   SAT   SUN
    FOX   3.0   3.5   3.4   4.4   2.6   1.7   3.6
    CBS   4.3   3.4   3.2   3.2   1.5   2.1   2.8
    ABC   3.0   2.4   3.6   2.6   1.2   1.6   2.3 
    NBC   1.4   2.1   1.6   1.9   1.3   0.7   6.6

          Percent Change versus Last Year by Night
          MON   TUE   WED   THU   FRI   SAT   SUN
    FOX   + 6   +10   +12   +54   +226  -20   + 5
    CBS   +22   + 5   + 1   - 5   - 8   +52   -28
    ABC   -20   - 9   +26   -12   - 5   -12   -13
    NBC   -29   -12   -23   -19   +10   -22   + 4

CBS is also well positioned throughout the week.  Like FOX, it dominates one night (in its case Monday) and is in contention most everywhere -- although the one blemish is Sunday, where it has fallen below a 3 rating and more disturbingly is down a stunning 28% from last year.  The one night that is a little misleading is Saturday, which is skewed by the LSU-Alabama football game on November 5.  If we remove that mini-national championship, the CBS Saturday average falls to a 1.2 (from a 2.1) and more important the growth rate turns negative to -10% (from +52% with the game included).  CBS is trending quite well on Monday (up 22%) and up moderately on Tuesday (up 5%), but the concern for the future arises mid-week and throughout the weekend.  Wednesday is up only 1%, Thursday is down 5%, and Sunday will need a complete overhaul next season (again down 28%) to get CBS back in the game on a night it has traditionally done quite well with.

ABC really has good news on one night: Wednesday.  It wins the night (though not quite in the convincing fashion CBS wins Monday or FOX wins Thursday) and it has amazing momentum (up 26% on Wednesday versus last year due to continued growth from The Middle, a complete makeover at 8:30 with Suburgatory,  the enduring appeal and dominance of Modern Family, and a complete turnaround at 10 pm with Revenge nearly tripling the audience of The Whole Truth). But the midweek success story is marred by the declines on every other night.  Too many dramas are aging too rapidly simultaneously.  Once Upon a Time is off to a terrific start, but ABC needs to create two or three more within the next midseason and fall to replace the older dramas.
 
We know NBC is dependent on Sunday Night Football in the fall, but the extent of its reliance is shocking in the nightly ratings table.  Only one other night cracks a 2 rating (Tuesday's 2.1 rating), with most other nights closer to a 1.5 than a 2.0 rating.   Even worse, the tiny numbers are getting tinier, with five of seven nights down significantly (an average 21% decline).  Friday is the lone up night with entertainment programming, thanks mostly to the successful launch of Grimm and solid performances by two-hour Dateline episodes early in the season.

It is interesting to note how many networks are up on various nights.  When we look at the four-network total rating for Monday-Sunday, the major broadcast networks total a 10.9 rating, up 1% versus the same period last year.   Some of this is due to some extraordinary sports ratings, but even if we exclude FOX's coverage of World Series Game 6 and 7 and CBS's coverage of LSU-Alabama, the total is still a 10.6, down only 2% versus last year.  Given the past, seemingly inexorable decline of broadcast ratings, it is pretty amazing that the four networks are collectively either down a mere 2% or actually up 1%.  When we look at the broadcast network totals by night, network viewing is up significantly on Wednesdays (mostly because of The X Factor and ABC's entire line-up) and Fridays (because FOX decided to get back in the game on the night and because of NBC's lone success there).  Even Thursday is showing on overall uptick (again, mostly because of The X Factor).   The only night in serious free-fall is Saturday, although Sunday should be watched carefully after football leaves the schedule in the winter.  For an assumed dying industry, there are some encouraging signs of life, particularly because of FOX.      



      Season to Date Adult 18-49 Rating 4-Network Total
               September 19-November 9, 2011
            Excluding WS Game 6 & 7 and LSU-ALA
          MON   TUE   WED   THU   FRI   SAT   SUN
    4-NET 11.8  11.3  11.8  11.6  5.4   5.2   15.3
    % CHG - 3%  + 0%  + 6%  + 1%  +10%  -16%  - 6%

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The Sked: THURSDAY RATINGS October 27 -- November Sweep Begins

The November Sweep began last night, and FOX is off to a rousing start.  One night into the 28-night "sweep" period (in which each of the 210 TV markets are measured demographically in addition to the normal national ratings), FOX is #1 with a 5.8 fast national 18-49 rating, up 41% over the same night last year (which featured Game 2 of the World Series between San Francisco and Texas).  CBS is down 12% the first night of the sweep, ABC is down a nominal 3% and NBC is off a steep 25%.

           NOVEMBER SWEEP SCORECARD
          2011 vs 2010 Day 1 of 28

                 2011    2010
          FOX     5.8     4.1     +41%
          CBS     3.0     3.4     -12%
          ABC     2.8     2.9     - 3%
          NBC     1.8     2.4     -25% 

UPDATED with results from all networks below. 



Last night was all about Game 6 of The World Series, a nail-biting 10-9 victory for the St Louis Cardinals in 11 innings.  The game ended at 12:40 am ET.  The Texas Rangers were poised to win at multiple points in the game (twice St Louis was down to its final strike), but the Cardinals kept coming back with timely home runs and extra-base hits.  FOX averaged a 5.8 Adult 18-49 rating in prime time from 8-11 pm (starting at a 4.1 from 8:00-8:30 and building to a 6.6 from 10:30-11:00 pm, the latest ratings available at this time).  The full program rating from 8-12:40 will be available later today, but it will surely skyrocket.  The metered market household ratings indicate that viewers stayed up late to see the end of the game (well into the late night daypart in most of the country), and the official ratings will correctly account for the Western time zones (which are undercounted in the fast nationals).  We are guessing the final rating for the full duration of Game 6 will approach a 7 demo rating, which would put the game close to recent Game 6 numbers.



                         RECENT GAME 6 RATINGS -- Adult 18-49

          2001 ARI-NYY   7.3 (SAT)
          2002 ANA-SFG   6.4 (SAT)
          2003 FLA-NYY   7.6 (SAT)
          2009 NYY-PHI   7.4 (WED)
          2011 TEX-STL   5.8* fast national -- 6.9 est. official

ABC aired the same schedule it did last year (It's the Great Pumpkin, Charlie Brown, Grey's Anatomy and Private Practice) with very similar results.  The Charlie Brown Halloween special (2.3 fast national rating) is actually up from a 2.2 last year, while Grey's Anatomy (3.7 rating, subject to its usual upward adjustment) was down two tenths from a 3.9.  Only Private Practice really lagged (2.4 rating last night versus a 2.7 last year).

CBS was up in the 8 pm hour versus last year but down significantly from 9-11 pm with the dramas.  Big Bang Theory was a 4.5 last night night (probably a 4.6 in the official nationals later today), up from a 4.2 last year.  Rule of Engagement was a 3.4 last night, up from a 3.1 for last year's $#*! My Dad Says.  However, Person of Interest (2.6) badly under-performed last year's CSI episode on this night (3.3 rating).  The Mentalist (2.5) also was down quite a bit from its performance last year (3.2), suffering from a much lower lead-in and strong older-male ratings on FOX in the hour with baseball.

NBC had a horrible night to kick off the sweep.  Community pulled a 1.4 at 8 pm (tied with the first half hour of The Vampire Diaries on The CW), down by almost half from the 2.6 rating turned in by the DreamWorks animated special Scared Shrekless last year.  At 8:30 Parks & Recreation earned a 1.8 for its Halloween episode, down from last year's 8:30 time period entry, Community at a 2.4 rating.  The Office continued the downward trend at 9 pm (2.8 rating this year versus a 4.0 for last year's Halloween episode), and Whitney (2.1 rating) lagged last year's Outsourced episode (2.7).  The culmination of "Prime Suspect Week", an original episode of Maria Bello's Prime Suspect (1.2) failed to turn around the fortunes of that show.  The 1.2 is a season low, below the last original episode's 1.3, and even below last year's Apprentice episode on this night (1.4 rating).  

A scary night, indeed, at NBC.  Matters only get worse tonight as the return of Chuck for its final season and the premiere of Grimm must go toe to toe with Game 7 of the World Series. 

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The Sked: World Series Delayed

Pretend this photo was taken in St Louis
Mother Nature, indeed, is delaying the World Series tonight in St Louis.  Game 6 has been moved to Thursday.  The weather in St Louis Thursday night is forecast to be clear, with a low in the mid-30s.  Light wind.  FOX will air repeats of Glee tonight. 


If St Louis wins Thursday and forces a Game 7, it will be played Friday night at 8 pm ET.  Friday night's forecast: mostly clear, low also in the mid-30s, and windier -- about 10 mph.  The ratings for a Game 7 will be fine in St Louis and Dallas (a combined 3.34% of the country).  But in the other 96%+ of the country without a home team, there will be little interest in changing plans to stay home.  The lower television usage level on Friday night while probably shave about 1.5 18-49 rating points off the number.  FOX just can't catch a break with this postseason.  Neither can NBC potentially.  The return of the final season of Chuck and the series debut of Grimm would face Game 7 (even a diminished Game 7 is still a decent rating), if it is necessary.

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The Sked: World Series Forecast

World Series Game 6 is scheduled to start at 8 pm ET tonight on FOX in St Louis, but the weather might be an issue.  The National Weather Service is predicting an 80% chance of rain tonight there with winds gusting to 22 mph and a low of 44F.  It all depends how heavy the rain is tonight, but MLB -- at FOX's urging, for certain -- will most likely make every effort to play.


If Game 6 needs to be played Thursday, the forecast calls for a clear night with a low around 39F.  Worst case for FOX would be a Game 7 played on Friday night, severely limiting the ratings potential because fewer viewers outside of St Louis and Dallas would stay home to watch.

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The Sked: FOX Watching Detroit Weather Carefully

FOX will be staring at the weather radar in Detroit all day today.  Game 5 of the American League Championship Series (Texas going for a 4 games to 1 end of the series on the road) is set to start at 4:19 pm.  FOX simply cannot afford another delayed start, which could blow out The X Factor tonight AGAIN.

The National Weather Service forecast for Detroit calls for "showers after 4 pm...chance of rain 30 percent".  Tonight: "Showers...chance of rain 100 percent".


Showers shouldn't stop the game, but if the rain intensifies it could lead to a major showdown between FOX executives and MLB brass. 

Click here for Detroit's NWS radar.

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The Sked: Baseball Postseason Schedule Update

Poor TBS.  FOX's coverage of ALCS Game 4 (Texas at Detroit) ended up going 11 innings and four hours, from a delayed start at 6:35 pm ET to 10:35 pm.  The TBS game (NLCS Game 3, Milwaukee at St Louis) started on time shortly after 8 pm, and anyone tuning in to TBS from FOX after their game ended found a game already in the 7th inning.  TBS was free of FOX's Major League Baseball coverage for only 43 minutes, from 10:35-11:18.



Texas is now up 3 games to 1, making a short series almost guaranteed, as predicted.  FOX is probably happy just to get the damn thing over with and not worry about the extra revenue of the later games.   

Tonight's scheduled X Factor will air Thursday night.  The episode that was scheduled for Thursday is now set for Sunday--but that's also when a 7th game of the American League series would air if necessary, so the schedule shifting isn't necessarily over.

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