Fox Eyes End to 35mm Film Distribution in U.S.

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Fox Eyes End to 35mm Film Distribution in U.S.
Page 1 of 8
April 25, 2012
Da
y
il
Inside:
report: sec
probing studios
over china ties
PAge 4
hbo’s real time
gets renewal
PAge 5
new offensives
in bureau battle
PAge 6
bergstein ends
miramax suit
PAge 6
tribeca review:
mechanical man
PAge 7
Fox Eyes End to 35mm
Film Distribution in U.S.
By Pamela McClintock
LAS VEGAS — Fox has become
the first major Hollywood studio to officially notify theater
owners that it will distribute
all of its films domestically
in a digital format within the
next year or two, bringing an
end to 35mm film prints.
National Association of
Theatre Owners president and
CEO John Fithian, addressing CinemaCon in Las Vegas
on Tuesday, revealed that
Fox sent a letter to exhibitors
in late 2011. Overseas, Fox
already has ceased distributing 35mm prints in Hong
Kong, effective Jan. 1.
“Last year, I stood on this
stage and predicted that domestic distribution of movies
in the format of celluloid film
could cease by the end of
2013. That prediction is becoming a reality,” Fithian said.
“Last year, I predicted that
domestic distribution of movies
in the format of celluloid film
could cease by the end of 2013.
That prediction is becoming a reality.”
— NATO president and CEO John Fithian
“As a letter from our friends
at Fox confirms, no one should
rely on the distribution of
film prints much longer.
“And we know that most
other distributors share that
belief,” he added. “Given this
reality, the entire industry
continues our efforts to bring
the promise of digital cinema
to all exhibitors.”
Fithian said that 27,000
U.S. screens have been converted to digital, more than
two-thirds of the total, and
promised that efforts to help
smaller cinema operators
convert to digital continue
in earnest. The movement
to digital is designed to cut
down dramatically on print
fees and projection costs.
Other hot topics addressed
by Fithian and Motion Picture Association of America
chairman and CEO Chris
Dodd in their joint state-ofthe-industry address included
premium VOD and the resurgence of the domestic
box office.
Also, in a press briefing
following their speeches,
see page 2
Tobacco bought its way into movies.
It’s time to get it out again.
The best-kept secrets are the ones about money.
Know the history. Ask what’s changed.
| Smoke Free Movies
Page 2 of 8
April 25, 2012
cinemacon news
FROM page 1
Dodd suggested that the rift
between Hollywood and Silicon Valley over recent online
piracy legislation could solve
itself without congressional
input if the sides can come
to an understanding.
“SOPA is dead,” he said in
reference to the Stop Online
Piracy Act, which lost support on Capitol Hill in January in a major defeat for
Dodd and the MPAA.
Dodd said entertainment
companies and technology
firms could
sign a memo of
understanding
whereby piracy
sites are identified by certain
Dodd
means, but he
didn’t rule out
another round of legislation
that could be supported by
both sides. He also conceded
the consumer was left out of
the discussion by the MPAA
during the SOPA battle.
On the subject of premium VOD, both speakers
said studios and exhibitors
no longer are feuding over the
topic and are working to find
an acceptable compromise.
“We are not just improving
and reimagining our product,” Dodd said. “We are
also evolving our business
model, experimenting with
new offerings that will allow
consumers to purchase the
content they want to see and
view on the platforms they
want to use, at a price that’s
right for them.
“That in no way changes
the simple fact that the best
way to see our movies is in
your theaters, in the dark,
on the big screen,” he added.
“I believe that very passion-
ately, but more importantly,
the studios I represent do
as well.”
Fithian and Dodd
applauded the resurgence
of the domestic box office,
with first-quarter 2012 revenue up 23 percent yearover-year and attendance
up 22 percent. Last year,
domestic box-office revenue
fell by 4 percent, accompanied by a steep 16 percent
decline in attendance.
“Doomsday reporters
drafted industry epitaphs,
while 25-year-old Wall
Street analysts questioned
the continuing viability of
the exhibition industry —
what a difference a year
makes,” Fithian said. “With
diverse fare appealing across
different demographics and
the biggest March movie
opening in the history of the
business, the movies have
come back to our screens and
the patrons have returned to
our seats.”
dark illuminated:
warners Reveals
tentpole footage
By Pamela McClintock
LAS VEGAS — Christopher
Nolan promised theater
owners in Las Vegas on Monday that The Dark Knight
Rises will provide a “thrilling
conclusion” to his Batman
trilogy and showed a selection of scenes from the tentpole never previously seen.
The footage included numerous exchanges between
Batman, played by Christian
Bale, and Catwoman, played
by Anne Hathaway, with
one shot suggesting they
The Dark Knight Rises clip shown Tuesday included numerous exchanges
between Batman (Christian Bale) and Catwoman (Anne Hathaway).
are allies. Additionally —
perhaps ending the intrigue
over the clarity of the villain
Bane’s voice in the pic’s opening scene — his voice was
much more clear in a new
scene shown on Tuesday.
Rises was part of Warner
Bros. and New Line’s starstudded presentation at
CinemaCon, which runs
through Thursday at Caesars Palace. The studio also
wowed with footage from
Dark Shadows, Rock of Ages,
The Campaign, The Great
Gatsby — and, in one of
the highlights of the week —
10 minutes from New Line
and Peter Jackson’s The Hobbit: An Unexpected Journey.
Rises opens July 20 and is
already being tagged as one
of the biggest grossers of 2012.
“We wanted to finish this
in the biggest way possible,”
said Nolan as he took the
stage at The Colosseum at
Caesars after being introduced by Warner Bros.
Motion Pictures Group
president Jeff Robinov, who
said Nolan is known on the
lot as “the governor.”
Shadows director Tim
Burton, decked in black
sunglasses, was also on hand
to talk about his upcoming
film, which marks his eighth
colloboration with Johnny
Depp.
Burton said he was obsessed with soap opera Dark
Shadows as a kid, and that it
even kept him from his homework. “That’s why I was such
a lousy student,” he said.
The filmmaker confessed
that he, Depp — who also
was obsessed with the television series — and Michelle
Pfeiffer were the only ones
on the set who remembered
the show. Burton said he
and Depp “have a very
strange love of weird cultural phenomenon.”
Adam Shankman followed
Nolan on the stage to show
racuous scenes from New
Line’s summer musical Rock
of Ages. Shankman called the
project “like Hairspray but
with booze and strippers.”
“I’m older than he is,
but I want to be Christopher Nolan when I grow
up,” Shankman said. “After
I saw the footage, I just
looked at him and said,
‘You fucker, that is some
thr
bad-ass shit.’ ”
Page 3 of 8
April 25, 2012
movie news
Rodriguez Lines Up
Fire After Sin City 2
By Todd Gilchrist
Robert Rodriguez is a busy
man. Since rebooting his
Spy Kids franchise last year,
the writer-director has lined
up two highly-anticipated
sequels in his immediate
future: Machete Kills and Sin
City: A Dame to Kill For. But
in an interview
with The Hollywood Reporter
on Monday,
Rodriguez indicated that
Rodriguez
he had a third
film in develop­
ment, which is set to start
as soon as he’s finished with
Sin City 2.
“That’s in the works to
go right into after Sin City,
Frank Frazetta’s Fire and
Ice,” Rodriguez said during
a telephone interview in conjunction with the Blu-ray
release of his 1994 telefilm
Roadracers. “We’re almost
done with the script; we’ve
got it pretty much 70 per-
Robert Rodriguez will be remaking 1983 animated feature Fire and Ice.
cent there. I’m really excited
about that one.”
First announced during
Comic-Con last year, Fire and
Ice is a remake of Frazetta
and Ralph Bakshi’s 1983
animated feature. According to previous reports,
Rodriguez said his goal is
to re-create the depth and
artistry of Frazetta’s iconic
work. “The whole idea is
to make it using the technology I used for Sin City
because I want it to be as if
you stepped into one of his
paintings,” Rodriguez told
The Playlist last year.
Meanwhile, Rodriguez
indicated that his recently
announced plans to finally
tackle the sequel to Sin City
should actually provide him
with extra time to get the
script for Fire into shape
before the film goes into
preproduction.
“I think the timing is going
to work out just right, and
we’ll have a finished script
in the next month or so,”
he said. “So we can start
lengthier preproduction
and we can go right into
production — well, we’re
actually in preproduction,
sort of, or we’ve been doing
a lot of the previsualization.
But that would be the next
thing after Sin City.”
Rodriguez’s Frazetta fandom extends to preservation and celebration of the
artist’s work; at Comic-Con
2011, he premiered a gallery
of original paintings from the
artist that are scheduled to
be showcased in a gallery in
Austin. He said that he was
looking forward to breathing new life into Frazetta’s
artwork and introducing
him to a new generation of
sci-fi and fantasy fans.
“I’m really excited about
that,” Rodriguez said. “For
Frazetta fans, this will be
the ultimate tribute to what
he did, and inspired so many
people. I think it’s going to
be pretty powerful when
people see it.”
Roadracers, a Showtime
movie starring David Arquette and Salma Hayek,
was released April 17 on
thr
Blu-ray.
Page 4 of 8
April 25, 2012
business news
Aronson to Succeed
Snyder at Fox Distrib’n
By Pamela McClintock
LAS VEGAS — Veteran film
executive Chris Aronson
has been tapped to succeed
Bruce Snyder as president
of domestic distribution
for Fox when Snyder retires
on July 6.
Aronson is currently
Snyder’s No. 2, serving as
executive vp and general
sales manager
of distribution.
His promotion and Snyder’s exit were
announced by
Fox chairmen- Aronson
CEOs Tom
Rothman and
Jim Gianopulos.
Snyder has
worked for Fox
Snyder
for 36 years,
serving as president of domestic distribution since 1989. News of his
retirement comes as distributors and theater owners
gather this week in Las Vegas
for CinemaCon.
“For decades, Bruce has
represented everything that
is good and strong and ethical
about our studio and industry,” Gianopulos and Rothman said in a statement.
Correction
A photo of Paramount’s
Rob Moore was
misidentified as Alan
Bergman in Monday’s
THR Daily Edition.
“He has not only guided
hundreds of our pictures
into the theatrical marketplace, he has spent countless
hours advising colleagues
and even competitors, all of
whom have benefited from
his wisdom, experience and
kindnesses. We are sorry to
see Bruce go.
“He is a prince among
men and will be missed by
everyone whose lives and
careers he has touched. But
we know that Bruce’s longtime colleague and friend
Chris Aronson will ably follow in those very large footsteps,” they continued.
Added Snyder: “You
often hear people referring to their workplace and
colleagues as ‘family’ —
but truly there’s no better
word to sum up my feelings
about my colleagues, past
and present, at 20th Century Fox. I wish the company, and especially Chris
Aronson and the rest of my
friends and family in distribution, continued success.”
Aronson was recently
promoted to executive vp,
general sales manager after
serving as senior vp of domestic distribution.
A 30-year industry professional, Aronson joined
Fox in 2005 as senior vp,
general sales manager east.
He came to the company
from Metro-Goldwyn-Mayer
Distribution Co., where he
served as executive vp, general sales manager, respon-
sible for all of MGM’s domestic theatrical distribution endeavors.
Report: sec opens
Probe of H’wood
Dealings in China
By Alex Ben Block
The Securities and Exchange
Commission has sent letters
to major movies studios including Fox, Disney and
DreamWorks Animation,
seeking information about
potentially inappropriate
payments to government
officials in China, according to a Reuters report on
Tuesday.
The U.S. regulators are
said to be investigating
whether the American
entertainment companies
have paid bribes or had any
illegal dealings with Chinese
officials. Reuters said its
source was an unidentified
person who had knowledge
of letters sent to the studios
in the past two months.
Calls and e-mail requests
for comment that The Holly­­wood Reporter sent to Fox,
Disney and DreamWorks
Animation were not returned.
Reuters said that China Film
Group and reps of Fox studio
owner News Corp., DreamWorks Animation and the
Walt Disney Co. had all
declined comment.
China has become a top
priority for American enter-
tainment companies looking to take advantage of its
booming population and
love of entertainment. The
state-owned China Film
Group tightly limits the
number of foreign releases
allowed in the country to
about 20 per year, though in
February a deal was cut to
allow more American films
to screen in the country.
U.S. Trade Representative
Ron Kirk and Vice President
Joe Biden announced the
new trade expansion with
China with great fanfare.
Disney, which is building a new theme park in
China in partnership with
a government-owned company, last week announced
that it is partnering with
China’s DMG Entertainment to co-produce its upcoming Iron Man 3. DreamWorks Animation has made
several deals in China, including a September pact to
build an animation facility
in Shanghai to make content for the Chinese market.
If true, an investigation
could lead to prosecution for
violations of the Foreign Corrupt Practices Act, which
makes it illegal for Americans to pay bribes to foreign
government officials in order
to facilitate their business
dealings. While the law has
been on the books in the
U.S. since the 1970s, it has
only been used a few times.
The total Chinese box
office has soared in recent
years as multiplex theaters
have been built across the
mainland. In 2009-10, Avatar
grossed more than $193 million in China, helping the pic
become the highest grosser
thr
of all time.
Page 5 of 8
April 25, 2012
tv news
It’s Official:
HBO Renews
Real Time
By Lacey Rose
HBO will continue to make
time for Bill Maher.
The premium cable network has renewed his political talk show, Real Time
With Bill Maher,
for two more
seasons, a likelihood first
reported in
The Hollywood
Maher
Reporter’s
March cover
story. The three-year deal
with the network will keep
Maher’s show on the air
through 2014.
“Bill Maher’s irreverent
wit and fearless insights make
him the perfect observer for
these unpredictable times,”
said HBO programming
president Michael Lombardo.
The news comes as the
political season heats up,
allowing Maher to continue
to stir the pot with his often
unfiltered interviews and
highly quotable commentary.
Thus far this season, his
Friday-night series has been
watched by 4.1 million viewers weekly, his highest viewership gross in three years.
Kardashians ink
three-year deal
with e! network
By Jethro Nededog
E! is banking on several more
years of Kardashian family
success.
An E! spokesperson confirmed to The Hollywood Reporter that it has extended
Keeping Up With the Kardashians for three more
years through season nine.
The agreement covers the
entire Kardashian clan and
also extends the cable channel’s first-look rights on all
of the family’s nonscripted
ideas, concepts and projects.
Kardashians has been
a growing success for E!
since it premiered in 2007
to 898,000 viewers. Fastforward six seasons and last
season’s September finale
attracted 3.3 million viewers.
It has also spawned several
highly watched spinoffs.
The series is produced by
Ryan Seacrest Productions.
Seacrest has yet to finalize
his deal covering the next
three years but is expected
to do so as part of an upcoming agreement with
NBCUniversal.
Kardashians returns for
season seven on Sunday,
May 20, at 9 p.m. ET/PT.
Critics’ Choice
TV Awards adds
new Categories
By Alex Ben Block
The second annual Critics’
Choice Television Awards,
presented by the Broadcast
Television Journalists Association, announced Tuesday
it is adding six new categories for the event, set to take
place June 18 at the Beverly
Hilton.
The new categories are
Best Movie or Mini-Series,
Best Actor in a Movie or
Mini-Series, Best Actress in
a Movie or Mini-Series, Best
Guest Performer in a Drama
Series, Best Guest Performer
in a Comedy Series and Best
Animated Series.
The BTJA executive
board includes: Michael Ausiello (TVLine), Joey Berlin
(BFCA/BTJA), Debra Birnbaum (TV Guide Magazine),
Jenna Busch (Zap2It.com),
John De Simio (BFCA/
BTJA), Michael Cidoni Lennox (Associated Press Television News) and Sam Rubin
(KTLA-TV). The group has
72 voting members.
The Broadcast Critics
Association is best known
for the Critics’ Choice Movie
Awards, now in its 18th year,
which have become a fairly
accurate predictor of how
the Oscars will vote. They
established the TV awards
two years ago. In addition
to honoring current shows,
they also give awards for
thr
promising pilots.
Page 6 of 8
April 25, 2012
legal news
New Shots Fired
in Bureau Battle
By Matthew Belloni
The legal battle between
the estate of late author
Philip K. Dick and producers of 2011 film The Adjustment Bureau has taken
another odd turn.
A day after the Dick estate
refiled its lawsuit over profits
from the Matt Damon film
in state court, producer
Media Rights Capital has
struck back with its own suit
in federal court seeking a
declaration that rights to the
Dick story that formed the
basis for the pic had fallen
into the public domain.
Confused? Here’s the
backstory:
As we first reported in
October, the estate of the
late sci-fi author sued MRC
and filmmaker George Nolfi
in federal court claiming they
were refusing to pay millions
of dollars in royalties because
they believed the story that
formed the basis for the film
was in the public domain.
The Dick estate claimed
Nolfi approached it in 2001
seeking rights to The Adjustment Team, Dick’s 1953 story
about a group of men who
“adjust” the lives of ordinary
citizens. The estate agreed to
license the story, with Nolfi
saying he would make “substantial payments” to the
trust if the pic ever got made.
Years later, Nolfi and
MRC exercised an option
to produce the film for Universal. But a month after
the feature was released in
Media Rights Capital filed a federal court suit over The Adjustment Bureau
a day after the Phillip K. Dick estate refiled its own lawsuit in state court.
March 2011, Nolfi and MRC
claimed they discovered that
Adjustment Team was in the
public domain, which should
have allowed them to make
the movie without paying
the trust anything.
MRC and Nolfi claimed
the story had first been published in an periodical called
Orbit Science Fiction in September 1954. The Dick estate
claimed that the 1954 publication was a mistake (even
though it was apparently
authorized by Dick’s longtime agent) and that the
actual first publication
came in 1955. The difference
between publication in 1954
and publication in 1955 is
huge because it would mean
that, under federal law, the
story fell into public domain
before the Dick estate filed
for a copyright renewal in
1983. (He died in 1982.)
A judge later dismissed
key claims in the case from
federal court, prompting the
estate to drop the lawsuit entirely. The trust re-filed the
case Monday in state court
as a claim for breach of
contract and other causes
of action.
But MRC lawyers Michael
Kump and Jeremiah Reynolds still want the judge to
rule on the public domain
issue, so now we have dueling lawsuits in state and federal court.
In filing the suit, MRC provided The Hollywood Reporter
the following statement:
“When the Philip K. Dick
Trust filed its initial lawsuit
in federal court, we looked
forward to the court ruling
on whether the underlying
story to the Adjustment Bureau is in the public domain.
We were disappointed when
the trust dropped its lawsuit before the court could
reach a decision. The issue
remains an important one,
so today MRC filed an
action in federal court asking the court to rule on the
public domain issue. We
look forward to a prompt
resolution of this issue.”
Bergstein settles
miramax lawsuit
By Alex Ben Block
Filmyard Holdings LLC, the
group that acquired Miramax
from Disney, has reached an
out-of-court settlement with
David Bergstein that ends
the suit he filed April 9 in
Los Angeles Superior Court.
Bergstein had sought a
payment of $6 million he said
he was owed and 3.3 percent
of the equity in Miramax he
said he was promised, which
would be worth more than
$20 million. Terms of the
settlement were not disclosed.
One source said Bergstein was being offered about
$4.5 million to settle but
another source claims the
ultimate settlement number
was lower. It appears Bergstein will not have an ongoing interest in Miramax’s
ownership.
“I am pleased that I was
able to sit down with my
counterparties in this suit,
discuss our differences and
resolve them,” Bergstein
said. “I fully retract the
claims made in the lawsuit
against Filmyard, Miramax,
Colony Capital, Richard
Nanula and Josh Grode.
I’d like to thank everyone
involved for their understanding and cooperation.”
Richard Nanula, a principal at Colony Capital, one
of the owners of Filmyard,
said: “We want to recognize the contributions David
made that ultimately led
to Filmyard’s ownership
of Miramax. Without his
efforts, this very successful
transaction wouldn’t have
thr
happened.”
Page 7 of 8
April 25, 2012
tribeca reviews
The Giant
Mechanical Man
Jenna Fischer and Chris
Messina go through the
motions in The Giant
Mechanical Man.
By John DeFore
NEW YORK — A romance
whose anodyne find-yourbliss theme is likeable but
underwhelming, Lee Kirk’s
The Giant Mechanical Man
doesn’t fully exploit its premise’s charms. A cast of familiar faces helps theatrical prospects, though, especially with
everyone playing roles well
within their comfort zones.
Jenna Fischer (writerdirector Kirk’s wife) plays
Janice, whose persistent
inability to find a suitable
job or boyfriend is never explained; we meet her just as
a temp agency is firing her,
sending the now-homeless
lonelyheart to live with her
sister Jill (Malin Akerman).
Across town, Tim (Chris
Messina) is also getting the
boot, though his abandonment (by girlfriend Lucy
Punch) is more easily understood: Tim’s girlfriend is just
tired of waiting for his “career” as a street performer
to develop into something
meaningful or lucrative.
Tim connects with Janice
early on, but only in his performing disguise — wearing
stilts and a metallic-looking
suit, painted silver, standing
motionless on Detroit’s streets
as a mirror of the passersby
whose worker-bee lives he disdains. When the two actually
meet — both reluctantly take
menial jobs at the zoo — Tim
keeps his secret identity to
himself and, despite the easy
camaraderie between them,
takes forever before asking
her out.
The inevitability of the
Production designer:
Paulette Georges.
Music: Rich Ragsdale.
Costume designer: Mona May.
Editor: Robert Komatsu.
Sales: Stealth Media Group.
Rated PG-13, 89 minutes.
Freaky Deaky
By John DeFore
NEW YORK — A goofily retro
couple’s relationship is never
thrown into question by Jill’s
attempts to set Janice up with
a self-help charlatan (Topher
Grace). If Grace’s character
were genuinely charming
or smooth, there’d be reason (however formulaic) to
worry, but even at Jill’s most
insecure, she’s clearly not
vulnerable to the author’s
it-works-on-paper attempt
at courtship. His continued
presence onscreen is one
of the most transparently
artificial obstacles to love
in the history of rom-coms,
and viewers slog through
it just like Janice selling
concessions to zoo-going
school kids.
Venue: Tribeca Film Festival,
World Narrative Competition.
Production: Stealth Media Group,
Votiv Films, Taggart Productions,
Andycat Production.
Cast: Jenna Fischer, Chris Messina, Topher Grace, Malin Akerman, Rich Sommer, Lucy Punch,
Bob Odenkirk.
Director-screenwriter: Lee Kirk.
Producers: Molly Hassell,
Jenna Fischer, Michael Nardelli.
Executive producers: Brent
Siefel, Michael Cowan, Michael
Gallant, Tim Nardelli, Mike Ilitch
Jr., Glenn P. Murray.
Director of photography:
Doug Emmett.
stew of Elmore Leonard
double-dealing and broadcast TV-friendly sleaze,
Charles Matthau’s Freaky
Deaky is just about diverting enough for a midday
rerun slot on cable.
Set in 1974 Detroit, but
looking like it was photographed last week, the pic
opens in an all-green den
where shag-carpet steps
lead to a hot tub with a
throne built into it. The
crime lord sitting there is
about to be blown up —
a murder bomb-squad detective Chris Mankowski
(Billy Burke) won’t knock
himself out trying to solve.
He’ll be forced to piece it
together eventually, though,
when a leggy blonde (Sabina
Gadecki) involves him in a
dispute with wack-job heir
Woody Ricks (Crispin Glover
at his wack-jobbiest, which
A motley crew comprises the
mise en scene in Freaky Deaky.
is less amusing than it may
sound). Ricks is being targeted by demolitions-freaks
Robin Abbot and Skip Gibbs
(Breanne Racano and Christian Slater), dimwits with
vaguely revolutionary pasts
and vast carnal appetites
that somehow always get
sated off-screen.
Burke’s too-cool-to-care
attitude is appropriate for
his lazy-cop character, but
odds are good the audience
will share the sentiment.
They’ll surely identify with
bright spot Michael Jai
White, who as Ricks’ bodyguard Donnell is just biding
his time, trying to position
himself to come out ahead
when inevitably somebody
either sends his boss up in
a cloud of dynamite or
yanks his fortune out from
under him.
Venue: Tribeca Film Festival.
Production: Matthau Media,
Eyde Studios, Final Cut Productions.
Cast: Crispin Glover, Billy Burke,
Michael Jai White, Christian Slater,
Sabina Gadecki, Breanne Racano,
Andy Dick, Roger Bart, Bill Duke.
Director-screenwriterproducer: Charles Matthau.
Executive producers: George
Eyde, Louis Eyde, Nathaniel
Eyde, Robert Cantrell, Steven
M. Berez, Donald Zuckerman,
Lee Greenberg.
Director of photography:
John J. Connor.
Production designer:
Tom Southwell.
Music: Joseph LoDuca.
Costume designer:
Ingrid Ferrin.
Editor: William Steinkamp.
Sales: Ben Weiss, Paradigm.
No MPAA rating,
thr
92 minutes.
Page 8 of 8
April 25, 2012
R=Repeat
Tv ratings
Week 31
April 25
ABC
CBS
MON
8:00
8:30
9:00
9:30
10:00
10:30
2.6/7
14.9
2.8/7
2.5/8
2.8/8
3.0/8
3.1/8
2.2/6
2.0/6
TUE
8:00
8:30
9:00
9:30
10:00
10:30
8.8
3.1/9
3.4/9
3.8/10
3.1/8
1.7/4
1.5/4
How I Met Your Mother
2 Broke Girls
Two and a Half Men
Mike & Molly
1.9/5
14.8
16.6
17.4
17.6
11.9
10.6
2.2/6
2.9/9
3.4/10
2.1/6
1.9/5
1.6/4
1.5/4
NCIS
3.1/10 18.1
Private Practice
1.7/5 6.5
6.5
4.5
13.1
15.2
7.2
5.9
WED
8:00
8:30
9:00
9:30
10:00
10:30
2.4/7
7.1
2.0/6
The Middle R
Suburgatory
Modern Family
Don’t Trust the B— in Apt. 23
Revenge
2.3/6 7.7
4.6
5.7
10.2
6.4
7.9
7.5
2.7/9
2.9/8
1.7/5
1.7/4
1.5/4
1.5/4
THU
8:00
8:30
9:00
9:30
10:00
10:30
2.2/7
8.1
1.8/5
FRI
8:00
8:30
9:00
9:30
10:00
10:30
1.2/4
SAT
8:00
8:30
9:00
9:30
10:00
10:30
0.8/3
SUN
7:00
7:30
8:00
8:30
9:00
9:30
10:00
10:30
1.9/5
WKS.AVGS
SSN. TO DATE
1.9/5
2.4/7
1.6/5
1.4/4
2.2/6
2.7/7
1.9/5
1.6/4
1.3/4
2.0/6
4.1/11
2.6/7
2.4/6
2.2/6
1.4/5
1.4/4
3.1/9
3.4/9
2.1/6
1.9/5
1.0/4
1.3/5
1.3/4
1.4/4
1.3/4
1.2/4
0.7/3
0.9/3
0.7/2
0.8/3
0.8/3
0.8/2
1.3/4
1.5/5
3.0/8
2.9/8
1.6/4
1.4/4
1.7/4
1.7/5
Dancing With the Stars
2.9/8 16.6
Castle
2.1/6 11.2
Last Man Standing
Cougar Town
Dancing With the Stars Results
2.5/7 14.2
Missing
1.4/4 7.2
Grey’s Anatomy
3.3/9 9.8
Scandal
2.0/6 7.2
Shark Tank
1.2/4 4.9 R
Primetime: What Would You Do?
1.3/4 4.3
20/20
1.2/4 4.1
Shark Tank
0.8/3 3.0 R
20/20 Special: Sunset Boulevard
0.8/2 3.1 S
America’s Funniest Home Videos
1.4/4 5.9 R
Once Upon a Time
3.0/8 9.1
Hallmark Hall of Fame: “Firelight”
1.6/4 7.6 S
7.2
7.2
9.5
10.1
7.6
6.8
2.5/9
2.2/7
1.5/4
1.6/4
1.5/4
1.6/4
4.4
0.9/3
4.8
5.1
4.3
4.3
4.3
3.9
1.0/4
0.8/3
0.8/3
0.9/3
0.9/3
0.8/3
3.0
0.7/2
2.9
3.1
3.0
3.1
3.1
3.1
0.4/2
0.5/2
0.6/2
0.7/2
0.9/3
1.0/3
7.5
1.9/5
5.5
6.3
9.2
8.9
7.5
7.1
7.6
7.9
1.7/5
1.8/6
2.6/7
2.6/7
1.9/5
1.8/4
1.4/4
1.3/4
7.7
8.3
1.8/5
3.0/8
Hawaii Five-0
1.6/4 6.1 R
NCIS: Los Angeles
2.0/5 11.2 R
Unforgettable
1.5/4 8.2 R
Survivor: One World
2.8/9 9.7
Criminal Minds
1.7/5 7.4 R
CSI: Crime Scene Investigation
1.5/4 6.7 R
The Big Bang Theory R
Rules of Engagement
Person of Interest
1.5/4 8.8 R
The Mentalist
1.5/4 8.2 R
Mike & Molly R S
Rules of Engagement R S
CSI: NY
0.8/3 6.1 R
Blue Bloods
0.8/3 6.2 R
CSI: Crime Scene Investigation
0.4/2 3.5 R S
Hawaii Five-0
0.6/2 4.1 R
48 Hours Mystery
1.0/3 5.4
60 Minutes
1.8/5 13.0
The Amazing Race 20
2.6/7 9.1
The Good Wife
1.9/5 10.4
NYC 22
1.4/4 7.4
NBC
3.1/8
8.7
2.1/6
7.2
8.5
11.2
9.5
6.3
6.0
3.2/10
3.7/10
3.9/10
3.9/10
2.1/5
1.7/5
9.4
10.1
10.5
10.1
6.3
5.6
2.1/6
2.2/6
2.0/5
2.0/5
12.6
2.4/7
17.2
19.0
11.7
10.8
8.6
7.8
2.2/7
2.4/7
3.3/9
3.4/9
1.6/4
1.4/4
7.9
1.1/3
9.4
10.0
7.3
7.5
6.8
6.7
1.6/5
0.8/2
0.6/2
0.7/2
1.5/4
1.7/5
8.5
1.4/4
9.3
7.6
8.8
8.8
8.2
8.3
1.3/5
1.5/5
2.2/6
1.7/5
0.9/2
0.8/2
5.4
1.2/4
4.2
3.4
5.9
6.3
6.4
5.9
0.8/3
0.8/3
1.4/5
1.4/4
1.3/4
1.6/5
4.3
0.4/2
3.3
3.7
3.9
4.3
5.1
5.6
0.3/1
0.3/1
0.3/1
0.4/1
0.6/2
0.8/2
10.0
1.6/4
12.4
13.5
9.3
8.97
10.5
10.3
7.8
7.0
1.1/3
1.3/4
0.9/3
1.0/3
1.8/4
2.0/5
2.2/6
2.3/6
8.2
11.9
1.6/5
2.5/7
Smash
1.9/5 6.0
The Biggest Loser
2.3/7 7.0
The Voice Results
3.3/9 8.9
Fashion Star
1.5/4 4.5
Betty White’s Off Their Rockers
Best Friends Forever
Rock Center With Brian Williams
0.6/2 2.6
Law & Order: SVU
1.6/5 6.0
Community
30 Rock
The Office
Parks and Recreation
Awake
0.9/2 2.8
Who Do You Think You Are?
0.8/3 4.1 R
Grimm
1.4/4 4.6
Dateline
1.4/4 5.8
Escape Routes
0.3/1 1.1
The Firm
0.3/1 1.8
Law & Order: SVU
0.7/2 3.0 R
Dateline
1.2/4 4.2
Harry’s Law
0.9/3 8.6
The Celebrity Apprentice
2.1/5 6.3
S=Special
Winner of time period
Program Name
18-49 Rating/Share
Title of Show
00.0
Millions of Viewers
FOX
8.1
The Voice
3.7/10 10.0
D=Debut
0.0/00
Bones
2.2/6 7.2
House
2.0/5 5.6
CW
6.4
0.6/2
7.0
7.3
5.6
5.6
0.6/2
0.5/1
0.6/2
0.6/1
5.4
0.4/1
6.2
6.3
5.2
3.8
0.3/1
0.3/1
0.5/1
0.5/1
6.8
2.3/7
6.8
7.1
8.8
8.9
4.6
4.3
2.4/8
2.4/7
2.7/7
1.8/5
4.3
4.8/14
16.9
0.5/1
6.0
2.8
2.3
2.8
5.5
6.4
4.4/14
5.2/15
4.9/14
4.8/13
15.2
17.7
17.4
17.3
0.4/1
0.4/1
0.6/2
0.6/2
3.2
3.0/9
11.2
0.8/2
2.8
3.1
4.3
3.5
2.9
2.8
3.5/12
4.4/14
2.3/7
1.9/5
13.6
16.4
8.0
6.6
1.1/4
1.0/3
0.5/2
0.5/1
4.8
1.1/4
3.7
0.5/2
4.0
4.2
4.7
4.5
5.2
6.4
1.2/5
1.2/4
1.0/3
1.0/3
4.3
4.3
3.1
3.0
0.4/2
0.4/1
0.7/2
0.7/2
2.0
0.8/3
1.2
1.0
1.8
1.9
2.7
3.4
0.8/3
0.7/2
0.7/3
0.8/3
6.3
1.7/5
3.9
4.4
8.2
9.0
6.0
5.9
6.4
6.9
5.2
7.5
1.3/4
1.5/4
1.9/5
1.8/5
1.8/5
1.7/4
2.2/7
3.2/9
Glee
2.4/8 6.2
New Girl
Raising Hope
American Idol
4.8/14 16.9
American Idol
4.0/13 15.0
Touch
2.1/6 7.3
The Finder
1.2/4 4.3
Fringe
1.0/3 3.0
chart
1.2
Gossip Girl
0.6/2 1.1
Hart of Dixie
0.6/2 1.4
1.1
1.0
1.4
1.4
0.9
90210
0.3/1 0.7 R
Ringer
0.5/1 1.2
0.7
0.7
1.2
1.2
1.1
America’s Next Top Model
0.6/2 1.3
0.9
0.9
1.3
1.3
The Vampire Diaries
1.0/3 2.2
The Secret Circle
0.5/1 1.1
2.3
2.1
1.2
1.1
America’s Next Top Model
0.4/1 0.9 R
1.7
1.5
Nikita
0.4/1 1.4
Supernatural
0.7/2 1.6
1.4
1.4
1.6
1.5
2.7
America’s Most Wanted
0.8/3 2.7 S
Married … With Children R S
The Simpsons R S
Fox’s 25th Anniversary Special
1.8/5 4.3 S
2.6
2.5
2.6
2.8
NO PROGRAMMING
3.9
2.9
3.2
4.8
4.4
4.2
3.9
6.9
8.9
NO PROGRAMMING
0.5/2
0.8/2
1.3
1.7