Smallville

Transcript

Page 1 of 8 January 4, 2013 Da y il Inside: ‘REALITY STEVE’ IS SUED AGAIN OVER BACHELOR PAge 2 DJANGO EYEING WEEKEND TITLE PAge 3 POLS PROBE CIA ROLE IN THIRTY PAge 4 SEA CHANGE FOR CABLE LOOMING PAge 5 EMILE HIRSCH’S AFRICAN ASCENT PAge 7 Settlement Ends Bulk of Big Smallville Suit By Eriq Gardner Warner Bros. has settled a big part of a significant lawsuit that alleged the creators and executive producers of Smallville were cheated out of tens of millions of dollars through sweetheart license-fee deals that the studio made with its sister TV networks. On Wednesday, Tollin/ Robbins Productions submitted papers in Los Angeles Superior Court to dismiss its claims. A Warner Bros. spokesperson confirms to The Hollywood Reporter that the dispute with the production company has been resolved. Part of the case from Killara Productions, run by Smallville co-developer Miles Millar and Leonardtown Productions and Smallville aired on The WB from 2001-06 then moved to The CW. operated by Alfred Gough, continues. The Tollin/Robbins lawsuit from Smallville showrunners Mike Tollin and Brian Robbins seeking more than $100 million in damages was filed in March 2010, about a year before the long-running show SEE &BE SEEN in PARK CITY. about Superman’s earthly upbringing ended after 10 lucrative seasons on the air. The case touched upon a sensitive issue in Hollywood: so-called “vertical integration.” The producers contended they were deprived of significant profits when WBTV allegedly undersold the series to affiliates the WB Network and then The CW instead of licensing the series to outside companies. In August, a judge put the case on the path to a June trial. In court papers, Warners argued that that it had absolute discretion to determine the terms of its license agreement. The studio also attempted to convince the judge that damages see page 2 SUNDANCE PREVIEW ISSUE 1/16/13 CLOSE: 1/9/13 MATERIALS 1/11/13 THR.COM/SUNDANCE Contact: UNITED STATES | Debra Fink | [email protected] EUROPE & AFRICA Alison Smith | [email protected] // Tommaso Campione | [email protected] ASIA | Ivy Lam | [email protected] // AUSTRALIA/NEW ZEALAND | Lisa Cruse | [email protected] LIVE STARTING JANUARY 2013 Page 2 of 8 January 4, 2013 legal news FROM page 1 were merely “speculative” because Tollin/Robbins couldn’t establish that greater profits would have been earned if Smallville had been licensed to Fox or another network. But Judge Michael Johnson said there was enough in the pleadings to send it to a jury. In his ruling, he said the plaintiffs had demonstrated triable issues as to whether WBTV complied with obligations to conduct negotiations at various divisions in-house at arms-length and whether the producers’ contracts included profit definitions that necessitated that money be collected at “fair market rates consistent with licenses granted by Warner to non-affiliates.” The judge added that it was up to a jury to determine whether Tollin/ Robbins received terms comparable to other WBTV licensing deals, whether those terms met the customs and practices of the industry and whether the plaintiffs could have received greater compensation from The WB and The CW if the series’ license agreements were negotiated and renegotiated in good faith and at arm’s length. The plaintiffs’ claims for monetary damages also were aided by the judge allowing the possibility of punitive damages as well as a late claim that alleged that Warner Bros. had paid itself for Superman rights by including subsidiary DC Comics (the show is based on the Superman comic) into the profit pool and unilaterally reducing plaintiffs’’ profit participation. That action was alleged to have cost the showrunners about $13.4 million. A trial undoubtedly would garner big attention in the industry thanks to its focus on sensitive Hollywood accounting. Terms of the settlement agreement have not been made public. The claims from Millar and Gough are still active. thr ‘reality steve’ SUED again over BACHELOR POSTS By Eriq Gardner A lawsuit against a spoiler website is back for another season, just in time for the Jan. 7 premiere of The Bachelor. Producers of the popular ABC unscripted show again are targeting “Reality” Steve Carbone, who runs a website devoted to spilling secrets and commenting on shows including The Amazing Race, Real Housewives and Survivor. NZK Productions and Horizon Alternative Television, a division of Warner Bros., first sued Carbone in December 2011, alleging that to gain spoilers, he was attempting to induce contestants into breaching their confidentiality pledges. The lawsuit settled in June, with Warners expressing satisfaction that he had agreed to have no further contact whatsoever Sean Lowe leads the rose parade for the 17th cycle of The Bachelor. Sean Lowe leads the rose parade for the 17th cycle of The Bachelor. with any of the cast, crew or employees of The Bachelor. Carbone pledged at the time to continue spoiling the show but to abide by the settlement so as not to “to give them an alleged excuse to file another [suit].” The peace lasted six months. Carbone is back in court to answer new charges from the show’s producers. On Dec. 12, Carbone posted spoilers for the first five episodes of The Bachelor, which this season will feature Sean Lowe. Included in his post were the full names of the women eliminated from the competition. By the end of December, Bachelor producers had gone to California federal court to lodge a new complaint. The plaintiffs say they believe that Carbone continues “to seek confidential information from participants, cast, crew and other employees of the Bachelor series and, in the course of doing so, continue to solicit and induce participants and employees of the Bachelor series to breach their contractual obligations to plaintiffs.” The producers don’t go into any detail about who was contacted or what was offered. That likely will be information sought in discovery. For now, the plaintiffs just say that the spoilers Carbone has posted are “nonpublic information” in “increasingly vivid details,” including sceneby-scene, shot-by-shot descriptions. The producers also note that Carbone has promised to reveal “everything” about the show’s forthcoming 17th cycle. When the first suit was settled, Carbone admitted that he had offered compensation to three women on the last season of the show for information. But he denied ever paying them. The settlement agreement stipulated that he would refrain from attempting to contact those involved in the production of The Bachelor. According to the new suit, the settlement also provided a penalty of $10,000 per violation should he breach the pledge. Carbone now is being sued for tortious interference as well as breach of the settlement agreement. The producersare asking for a permanent injunction and monetary damages. “The suit is bogus,” Carbone said in an e-mail to The Hollywood Reporter. “The producers have provided no proof that I did anything in violation of our agreement because there is none.” thr Page 3 of 8 January 4, 2013 film news Django Looks to Build on Wed. Momentum By Pamela McClintock Quentin Tarantino’s Django Unchained came in No. 1 at the box office Wednesday for the first time. Django — from The Weinstein Co. and starring Jamie Foxx, Christoph Waltz and Leonardo DiCaprio — grossed $4.6 million to unseat New Line and MGM’s The Hobbit: An Unexpected Journey, which took in $4.4 million for a new domestic total of $242.5 million (Hobbit was expected to jump the $500 million mark internationally Thursday). Hobbit and Django, earning $82.4 million since its Christmas Day opening, could find themselves in a close race for the top spot at the North American box office this weekend, with each predicted to gross in the $18 million to $20 million range. Others caution against ruling out Universal’s Les Miserables, which took in $3.6 Django Unchained, starring Jamie Foxx and Christoph Waltz, won its first daily box-office title Wednesday, setting up a tight weekend race. million on Thursday for a domestic total of $84.2 million. The film adaptation of the hit stage musical, with an ensemble cast including Hugh Jackman, Anne Hathaway and Russell Crowe, is expected go gross $16 million to $18 million. Hollywood is hoping for a final burst of moviegoing as the 2012 year-end holidays officially come to a close. Because New Year’s Day fell on a Tuesday, many schools and colleges are off until Monday, and many parents are still off work. However, the box office will have to compete with the first round of the NFL playoffs Saturday and Sunday. Among the films opening Friday, Texas Chainsaw 3D is projected to come in No. 4 unless the horror movie exceeds prerelease tracking. From Lionsgate, the movie picks up where Tobe Hooper’s 1974 slasher classic The FOR UP-TO-THE-MINUTE INDUSTRY COVERAGE go to THR.COM/BUSINESS Texas Chainsaw Massacre left off. Lionsgate, which is distributing Chainsaw 3D on behalf of Millennium Films and has limited exposure, is predicting an opening in the $15 million range. After a modest start in limited runs, the Matt Damon-John Krasinski drama Promised Land expands nationwide, upping its theater count from 25 to 1,675. Directed by Gus Van Sant, the Focus Features and Participant Media film has earned $294,000 since its Dec. 28 debut. From a script by Damon and Krasinski, Promised Land is about a salesman (Damon) for a natural gas company trying to persuade a small town to allow fracking. Krasinski plays a wouldbe environmentalist, while Frances McDormand plays the salesman’s partner. Naomi Watts and Ewan McGregor’s The Impossible, about a family struggling to survive the 2004 tsunami in Thailand, makes a more modest expansion this weekend, upping its theater count see page 4 Page 4 of 8 January 4, 2013 film news FROM page 3 from 15 to 572. The Summit film has grossed $628,000 since opening Dec. 21. Among holdovers, 20th Century Fox’s family-friendly comedy Parental Guidance should stay high up on the chart. The movie is playing particularly well in Middle America and has grossed $40.7 million to date. The film starring Billy Crystal, Bette Midler and Marisa Tomei has been holding steady at No. 4 since its Dec. 25 debut. thr Senate Panel EyeS CIA dealings with DARk THIRTY DUO By Tina Daunt The U.S. Senate Intelligence Committee has begun an examination of the contacts between the CIA and the makers of Zero Dark Thirty, which has come under intense criticism in Washington for its depiction of torture during the hunt for Osama bin Laden. A well-placed Washington source tells The Hollywood Reporter that members of the committee — led by Sen. Dianne Feinstein, D-Calif. — are trying to determine whether the agency gave director Kathryn Bigelow and screenwriter Mark Boal inappropriate access to secret materials about the government’s efforts to find the 9/11 mastermind. According to Reuters, which first reported the probe, the senators want to determine “whether CIA personnel are responsible for the portrayal of harsh interrogation practices, and in particular the suggestion that they were effective.” The move comes weeks after committee chair Feinstein, along with senators John McCain and Carl Levin, expressed outrage over what they believe is the erroneous suggestion in the film that torture led to information that helped kill bin Laden. The senators sent a sharply worded letter to Sony Pictures, Zero Dark Thirty’s distributor, asking that a disclosure be added to the movie. According to Reuters, investigators plan to examine records detailing contacts between Bigelow, Boal and the CIA. Government e-mails and other documents turned over last year to the conservative group Judicial Watch indicate that both the CIA and Pentagon gave the filmmakers extensive access. One of the intelligence officials whom the documents show as having met with the filmmakers is Michael Morell, the CIA’s deputy director at the time and now the agency’s acting chief. Morell penned a letter to CIA personnel in December criticizing the film’s graphic torture scenes, an extraordinary move for a sitting CIA official. “What I want you to know is that Zero Dark Thirty is a dramatization, not a realistic portrayal of the facts,” Morell told agency personnel. “CIA interacted with the filmmakers through our Office of Public Affairs, but, as is true with any entertainment project with which we interact, we do not control the final product.” A CIA spokesperson could not be reached for comment. It is highly unusual for government officials to offer condemnations of Hollywood films, which are protected by the First Amendment. An official probe into the access gained by filmmakers to CIA employees is even more rare, especially considering the senators and Morell called the movie fictional in their letters. A spokesperson for Sony tells THR in a statement: “As the studio distributing Zero Dark Thirty in the United States, we are proud of this important film. Kathryn Bigelow, Mark Boal and their creative team have made an extraordinary motion picture, and we fully support bringing this remarkable story to the screen.” Boal and Bigalow released a statement in December defending the depiction of torture. “The film shows that no single method was necessarily responsible for solving the manhunt, nor can any single scene taken in isolation fairly capture the totality of efforts the film dramatizes,” the filmmakers said. “One thing is clear: The single greatest factor in finding the world’s most dangerous man was the hard work and dedication of the intelligence professionals who spent years working on this global effort.’ The movie, which is playing in New York and Los Angeles and is considered a likely Oscar contender, is set to screened Jan. 8 for lawmakers and others in Washington. It opens nationwide Jan. 11. thr The Carrie remake starring Chloe Grace Moretz will open Oct. 18. Carrie REDO WILL BE UNLEASHED AT HALLOWEEN TIME By Pamela McClintock Moviegoers will have to wait another 10 months before seeing Screen Gems’ and MGM’s Carrie remake. The horror pic, starring Chloe Grace Moretz and Julianne Moore, is being pushed back from March 15 to Oct. 18 to take advantage of Halloween, according to studio insiders. It opens one week before the seasonal staple Paranormal Activity 5. Brian De Palma’s original Carrie, marking Sissy Spacek’s breakout role, opened on Nov. 3, 1976. Moretz also will have more time to do publicity, since her Kick-Ass 2 debuts June 28. Sony also announced other calendar changes Thursday. TriStar thriller The Call, starring Halle Berry and Abigail Breslin, will take the March 15 spot, while No Good Deed, also a thriller, is being pushed from Oct. 18 to Jan. 17, 2014. No Good Deed, from Screen Gems, stars Idris Elba and Taraji P. Henson. thr Page 5 of 8 January 4, 2013 tv news Analysis: Cable World Facing a Sea Change By Alex Ben Block It isn’t a coincidence that Time Warner Cable dropped Current TV from its lineup just as the fledgling cable service announced Wednesday that it was being sold to Al Jazeera. If anything, the sale accelerated what was an inevitable process. Cable television is undergoing a shift away from the era when the goal was a 500-channel universe. It is a sea change in the media landscape that could impact not just Current and Al Jazeera but dozens if not hundreds of small- and medium-size channels, most of which are independently owned and distributed. On Tuesday, even before the sale of Current TV, Time Warner Cable dropped the Ovation network, citing it as “among the poorest-performing networks” it offers. It also said it is seriously considering eliminating more than 50 other channels, including such well-known brands as Encore, E! and Lifetime. The message might be a negotiating ploy to get lower sub fees, but there is little question that television distributors are re-evaluating how they do business as the cost of programming soars. Rising sports rights fees are to blame, along with increased program costs and demands from broadcasters such as CBS and Fox for sharply higher Tom Holland and Naomi Watts stick together in The Impossible. ReelzChannel picked up The Kennedys in 2010 after History declined to air the eight-hour miniseries, saying it was “not a fit” for the network. retransmission payments. “You need to find some fat somewhere to cut, and you have all these — quite honestly — schlock channels no one watches, and they get 5 or 10 cents [per subscriber per month],” says Vasily Karasyov, senior media analyst at Susquehanna Financial Group. “Now it’s time to decide which kid doesn’t get to go to college.” Says cable industry consultant Steve Effros: “For a long time, it was a question of how many channels you could offer a consumer. That is now changing. We have reached a point of diminishing returns because the Internet offers an infinite number of channels.” One reason is cable companies no longer make most of their money selling video services. “They want to sell highspeed Internet and phone,” says Karasyov. “What they care about is, ‘If I don’t have this channel, will I lose video subscribers to whom I can upsell other stuff?’ “ Channels on the new endangered list already are aware that they need to ramp up their value and increase their audience or face extinction. Consider the case of ReelzChannel, which recently laid off nine of its 118 employees and now is restructuring its programming. Reelz CEO Stan Hubbard says the network has lost more than $100 million since it launched in 2006 and still isn’t profitable. He describes recent layoffs as part of a new focus on scripted shows that will bring attention to the network — and, he hopes, a lot more viewers. For instance, in December, Reelz canceled Sam Rubin’s Hollywood Uncensored while paying big bucks (for basic cable) for the scripted series True Justice, starring Steven Seagal, and the miniseries After Camelot, a follow-up to its biggest success to date, the 2011 miniseries The Kennedys, which drew as many as 1.9 million viewers (for multiple airings of each episode). Kennedys opened Hubbard’s eyes to what Reelz could do, even in only 65 million TV homes. “That’s our benchmark now,” he says. “We’re trying to do things that can help us achieve the same kind of success.” Still, he admits, “It’s a hard business model in a 100-plus-channel universe.” Reelz gets by selling ads but can’t demand subscriber fees because it doesn’t deliver ratings and isn’t bundled with a group of channels such as those owned by Viacom and Disney. Hubbard hopes that will change within two years with new programming, but by then his losses will be closer to $200 million on annual revenue of about $40 million. Brad Samuels, executive vp distribution at Ovation, admits his channel’s postTime Warner drop from 51 million TV homes to about 44 million will hurt ad sales and cost it the 7-cent sub fee it has been collecting. In the case of Current TV, the loss of Time Warner Cable means its reach into American TV homes drops from about 60 million homes to fewer than 48 million. That means it will lose its subscriber fees from TWC of about 12 cents per customer each month, which Karasyov says it was able to command only because of co-founder Al Gore’s projections at the see page 6 Page 6 of 8 January 4, 2013 tv news FROM page 5 time. Those ratings promises never have been met, while the cost of doing business goes up and up. “If you’re an underdistributed network and you’re not part of a conglomerate, or if you are another small independent channel, you’re scared right now,” says Karasyov. Samuels insists that Ovation will find other ways to reach consumers, including satellite and telephone company services as well as newmedia platforms like mobile that feature interactivity and second screens. “We feel strongly Ovation is worth every penny that we charge,” he says, predicting that Time Warner will face a customer backlash for dropping the channel. “I still believe independent networks are important to the industry.” For those who can manage the transition, a new business model must emerge. “The offering of programming has changed because of the Internet,” says Effros. “If you are a niche channel, if you are very tightly targeted, there is a serious question of whether you want to market directly to your audience” on the web. Hubbard’s family’s broadcasting company, still run by his father, has financed Reelz and also is an investor in Ovation. Reelz headquarters were moved to Albuquerque, N.M., to cut costs, but now the future rests mostly on shows to be made by outside hired producers. Hubbard says he will actually hire more new employees than were laid off as they shift Reelz toward production of its own reality shows and the Which of these guys bumped off an Oahu State University professor? Hawaii Five-O fans can take to Twitter or CBS.com to finger the killer. development of more scripted programming. Rubin, entertainment editor at KTLA-TV Los Angeles, will continue to work with Reelz on awards shows and other special projects. He says he understands why Hubbard is making moves. “This is his personal gamble,” Rubin says. “This is his personal money. I think he’s trying to spend it as judiciously as he can, but he is not afraid to spend it.” Says Hubbard: “If we knew what was involved and how long it would take to get to the point we’re at right now, I’m not sure we would have made this investment. But now we’re so close to turning the corner, it’s an easy investment to keep making.” thr FIVE-O FANS WILL DECIDE ENDING OF JAN. 14 Episode By Lesley Goldberg CBS’ Hawaii Five-0 is prepping a television first. The Jan. 14 episode will allow viewers to select how the hour of the cop drama ends, using real-time voting via CBS.com and Twitter during the broadcasts in both the Eastern and Western time zones, the network said Thursday. In the episode, the team Tom Holland and Naomi Watts will theImpossible. death of stick investigate together in The an Oahu State University professor, with his boss, teaching assistant and a student he busted for cheating among the viable suspects. After all of the suspects’ motives are revealed, viewers can head to CBS.com or Twitter to select one of three options: #TheBoss, #TheTA or #TheStudent. Votes will be tallied immediately during the episode, and the most popular ending will become part of the broadcast during both the East and West broadcasts. All three endings will be available on CBS.com following the broadcast. “I’ve always felt the most fun aspect of watching a mystery is trying to figure out whodunit,” exec producer Peter Lenkov said of the effort, a first for a primetime TV drama. “Now the Hawaii Five-0 viewers will get the chance to tell us who they think committed the crime, and we will listen.” thr NAT GEO RETEAMS WITH o’REILLY FOR KILLING KENNEDY By Michael O’Connell National Geographic Channel is teaming up with Bill O’Reilly again. Having recently completed production on an adaptation of the Fox News host and best-selling author’s Killing Lincoln, the cable network has given the green light to a second telepic based another presidential book, Killing Kennedy: The End of Camelot. Like Lincoln, Kennedy also will be produced by Ridley Scott’s Scott Free Productions. “The common parallels between Abraham Lincoln and John F. Kennedy are astonishing, with both assassinations profoundly changing the nation during crucial moments in its history,” said O’Reilly. “It made perfect sense that my follow-up to Lincoln would naturally lead to Kennedy.” “With the growing excitement over this February’s premiere of Killing Lincoln, producing Bill O’Reilly’s follow-up was a no-brainer and will be yet another story that will resonate with our audience,” said National Geographic Channel president Howard Owens. Production on the twohour adaptation begins in the spring and eventually will premiere in the 171 countries that carry Nat Geo. Casting news is expected to be announced shortly. “Collaborating with National Geographic on Bill O’Reilly’s follow-up was an easy decision. They share the same passion of storytelling and are willing to take creative leaps and risks to keep viewers entertained to tell the provocative story of Kennedy’s last days, a pivotal and historic moment.” Killing Lincoln, starring Billy Campbell, will air in February. thr Page 7 of 8 January 4, 2013 tv news Hirsch Recounts Climb Up Africa’s Tallest Peak Actor Emile Hirsch scaled Mount Kilimanjaro to raise awareness about the clear-water crisis that claims millions of lives worldwide every year. By Emile Hirsch Emile Hirsch first commanded Hollywood’s attention in 2007’s Into the Wild, playing Christopher McCandless — a college student who abandoned the comforts of modern life to conquer the American wilderness, with tragic results. Some years ago, Hirsch’s own foray into the great outdoors — hiking up Africa’s Mount Kilimanjaro in support of international cleanwater campaign Summit on the Summit — resulted in its share of hair-raising moments, too. Hirsch grew seriously ill during the trip and made it to the peak only thanks to “a cocktail of antibiotics and antiinflammatory steroids.” But the 27-year-old actor’s commitment to the important cause is unwavering. As Summit on the Summit sets out onto its next excursion, Hirsch reflects on that life-altering journey. Here in the United States, it’s easy to take water for granted. We shower, flush toilets and water our lawns with the only worries usually centered on the cost of a utility bill. But 2.5 billion people around the world live without basic sanitation; and every 20 seconds a child dies from a preventable, waterrelated disease. I’ve seen overrun sewers in refugee camps in Congo that would make the hairs stand on the back of your neck. But the key is that these illnesses and problems are preventable. A couple years ago my friend, the spirited musician and activist Kenna, invited me to participate in Summit on the Summit — where several different types of people including doctors, educators, as well as musicians and actors, would all climb to the top Mount Kilimanjaro in an effort to raise money and awareness for the international water crisis. Kenna wanted a broad range of people from different walks of life and occupations, with the goal of getting awareness on the single subject of water to a broad and diverse Tom Holland and Naomi Watts audience all at once. And it stick together in The Impossible. worked. The YouTube channel had a million-plus hits; Summit was trending on Twitter; and due to a smart and aggressive social media campaign, the climb was known by millions of people the world over. Once Kenna explained his passion for the subject, and how the water crisis contributes to 3.5 million deaths a year, I found it more than enough of a reason to conquer my vertigo and go for a hike. Before the climb, we went to several villages around Kilimanjaro and learned just how important clean water is; many of the villagers we spoke to showed us the water they removed from their local wells. Some were truly disturbing sights — water murky and filled with particles and parasites. It wasn’t surprising when we then heard stories of sickness, dysentery and cholera that can come from contaminated water. What became clear, though, is that as a crisis it isn’t unsolvable. The technology is there for state-of-theart yet affordable filters for villages. It just needs to be a priority for people to make it happen. After the climb, Kenna, myself and several other fellow climbers visited Washington D.C. and Capitol Hill to show our support for the clean-water cause. We were happy to contribute our part, however big or small, to influencing Congress to increase appropriations for the Water for Poor Act. Part of what Kenna did so ingeniously on that first climb was use social media and his connections to different types of celebrities and academics to make Summit on the Summit “cool” to people. Often, with different organizations, it becomes easy to find oneself bogged down in depressing statistics or become numb from the sheer size of the problems we as a world face. But Kenna brings a personal touch to the causes he believes in and an ability to excite people and make them interested in a subject that they otherwise might not find themselves attracted to. With his father being raised in Ethiopia and growing up in conditions where the water was unclean, Kenna knows the price of doing nothing. Now, Kenna and his team at Summit on the Summit are at it again, with a new group of faces ready to climb to the top of that mountain to raise awareness for the clean-water crisis. My advice to the climbers? Stay hydrated, eat as much as you can (you’ll still come down pounds lighter), and remember what the guides will continuously tell you: pole, pole — which means “slow, slow.” And hopefully, you won’t do as I did and get dangerously sick on your way up, finding yourself limping to the top on a cocktail of antibiotics and anti-inflammatory steroids. Ah, memories. Good luck! thr 3.6/12 1.8/5 1.6/5 1.7/5 1.7/5 1.7/5 WK. AVG. SSN. TO DATE SUN 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 SAT 8:00 8:30 9:00 9:30 10:00 10:30 FRI 8:00 8:30 9:00 9:30 10:00 10:30 THU 8:00 8:30 9:00 9:30 10:00 10:30 WED 8:00 8:30 9:00 9:30 10:00 10:30 5.8 10.0 5.0 4.5 4.3 4.3 4.6 2.1/6 TUE 8:00 8:30 9:00 9:30 10:00 10:30 4.7 4.6 3.3 3.1 3.0 2.8 5.2 5.7 5.33 5.0 5.2 5.3 1.1/3 2.4/7 4.0 8.3 5.0 5.4 3.0 2.8 2.9 2.9 3.2 3.2 Sunday Movie: “Harry Potter and the Order of the Phoenix” 0.8/2 3.0 R S 3.6 1.0/3 1.2/3 0.7/2 0.8/2 0.9/2 0.8/2 0.9/2 0.8/2 America’s Funniest Home Videos 1.1/3 5.2 R 0.9/2 2.1 2.2 2.6 2.7 2.8 2.8 0.5/2 0.6/2 0.8/2 0.9/3 0.9/3 0.8/3 Movie of the Week: “Harry Potter and the Goblet of Fire” 0.7/2 2.5 R 2.5 0.7/2 Back to the Beginning With Christiane Amanpour, Part 2 0.9/3 5.2 S 5.3 1.2/4 1.5/5 1.0/3 0.9/3 0.9/3 0.9/3 Shark Tank 1.4/5 5.5 R S 1.1/3 Scandal 0.7/2 2.9 R Grey’s Anatomy 0.8/2 3.2 R 3.6 Happy New Year, Charlie Brown 1.2/4 4.6 R S 1.3/4 1.2/4 0.8/2 0.7/2 0.7/2 0.6/2 4.5 4.1 5.5 3.6 2.7 2.6 0.9/3 3.9 1.0/3 1.0/3 1.7/5 1.1/3 0.7/2 0.6/2 The Middle R The Neighbors R Modern Family R Suburgatory R Nashville 0.6/2 2.7 R 1.0/3 Tuesday Movie: “Dr. Seuss’ How the Grinch Stole Christmas” 1.7/5 4.7 R S NBA Christmas Special S How/Grinch Stole Christmas R S Monday Movie: “Shrek the Third” 1.0/4 3.3 R S 3.4 3.3 3.2 3.3 3.4 3.5 0.9/4 1.0/4 1.0/4 1.1/4 1.1/4 1.0/3 Disney Prep & Landing R S Shrek the Halls R S 3.3 ABC 1.0/4 MON 8:00 8:30 9:00 9:30 10:00 10:30 Week 14 Jan. 4 1.3/4 2.8/8 2.9/9 1.5/4 1.6/4 0.9/2 1.0/3 0.7/2 0.7/2 0.6/2 1.3/3 0.4/1 0.4/1 0.4/1 0.3/1 0.8/3 1.1/3 0.6/2 1.1/4 1.2/4 1.0/3 1.1/3 0.9/3 1.0/3 1.0/3 3.3/10 2.2/7 1.9/5 1.9/6 1.6/5 1.5/5 2.1/6 1.6/5 1.9/5 1.4/4 1.3/4 1.4/4 1.4/4 1.5/4 1.3/4 1.5/5 1.4/4 1.5/4 1.1/3 1.1/3 1.3/4 0.9/4 1.0/4 1.2/4 1.2/4 1.0/3 1.0/3 1.0/4 The Good Wife 0.7/2 5.6 R The Mentalist R NCIS 1.0/3 7.5 R S NFL on CBS 60 Minutes 1.6/4 10.3 48 Hours 1.0/3 4.9 R Made in Jersey 0.4/1 2.8 Made in Jersey 0.4/1 2.9 Undercover Boss 0.9/3 3.8 R S Undercover Boss 1.0/3 4.4 R S Undercover Boss 1.1/4 5.5 R Elementary 1.6/5 8.1 R The Big Bang Theory R Two and a Half Men R Person of Interest 1.9/5 10.3 R 35th Annual Kennedy Center Honors 1.4/4 8.2 S Criminal Minds 1.7/5 8.6 R S Vegas 1.1/3 6.0 R S NCIS: Los Angeles 1.4/4 8.6 R S NCIS 1.4/4 9.8 R S Hawaii Five-0 1.0/3 4.7 R S How I Met Your Mother R S How I Met Your Mother R S 2 Broke Girls R S Mike & Molly R S CBS 6.6 11.4 10.9 9.2 11.3 7.2 7.8 5.7 5.4 4.9 7.8 2.9 2.9 2.8 2.8 4.4 5.4 3.5 5.4 5.6 4.3 4.5 3.6 4.0 4.6 9.6 12.0 8.6 10.2 10.5 8.3 7.8 8.2 9.0 7.9 7.5 8.8 8.5 8.3 9.3 10.4 8.7 8.6 6.2 5.8 8.1 3.3 3.2 4.3 4.5 4.5 5.0 4.1 2.3/7 3.1/9 n/a 1.6/5 5.7/16 9.5/26 10.2/27 10.2/26 10.5/27 10.8/29 8.4/23 0.4/1 0.6/2 0.6/2 0.6/2 0.7/2 0.9/3 0.6/2 0.8/3 0.7/2 1.3/4 1.6/5 1.8/6 2.0/6 1.4/4 0.7/2 0.8/2 0.8/2 0.7/2 0.8/2 1.0/3 0.8/2 0.9/3 0.9/3 1.3/4 1.4/4 1.1/3 1.1/3 1.1/3 1.1/3 1.1/3 1.0/3 1.0/3 0.7/2 0.6/2 0.9/3 1.2/5 1.3/5 1.5/5 1.6/6 1.7/6 1.8/6 1.5/6 Sunday Night Football: Dallas Cowboys at Washington Redskins! 10.5/28 30.3 Football Night in America Part 1 Football Night in America Part 2 Football Night in America Part 3 Law & Order: SVU 0.8/2 4.0 R Chicago Fire 0.6/2 3.2 R Chicago Fire 0.5/2 2.6 R S Dateline 1.7/5 6.8 R Go On R Go On R S 30 Rock R Up All Night R The Office R Parks and Recreation R Rock Center With Brian Williams 0.9/3 3.4 R Chicago Fire 1.1/3 4.2 R Whitney R Guys With Kids R Law & Order: SVU 1.3/4 5.5 R Blake Shelton’s Christmas 0.7/2 2.5 R S Tuesday Movie: “Dr. Seuss’ Horton Hears a Who!” 1.1/3 3.1 R S Monday Movie: “It’s a Wonderful Life” 1.5/6 5.6 R S NBC Tv ratings 7.4 8.8 n/a 4.8 16.5 28.4 30.1 29.5 30.1 30.8 24.5 2.4 2.7 3.2 3.3 3.8 4.3 3.3 2.7 2.2 5.29 6.5 7.5 8.0 5.4 2.5 2.2 2.2 1.9 3.0 3.8 2.6 3.4 2.9 5.2 5.8 4.2 4.2 4.3 3.2 3.1 3.1 3.1 2.4 2.5 2.9 4.7 5.2 5.7 5.7 6.0 6.4 5.6 1.4/4 2.4/7 10.1/30 9.2/27 2.7/7 1.6/4 1.8/5 1.5/4 4.3/12 0.9/3 1.1/4 0.6/2 0.4/1 0.8/2 0.9/3 0.9/3 0.7/2 0.8/2 0.8/3 0.7/2 0.6/2 0.6/2 0.7/2 0.7/2 0.7/2 0.7/2 0.6/2 0.7/2 0.7/2 0.7/2 0.6/2 0.6/2 0.7/2 0.6/2 0.7/3 0.5/2 0.5/2 0.6/2 0.6/2 RS RS RS RS RS RS RS RS RS RS RS RS RS RS RS RS NFL on Fox n/a n/a The Simpsons R Bob’s Burgers R Family Guy R American Dad R Cops R Cops 2 R The Mob Doctor 0.5/2 2.1 S D’Works Dragons: Night Fury R S Ice Age: Mammoth Christmas R S Kitchen Nightmares 0.7/2 1.9 R S The Mindy Project The Mindy Project The Mindy Project The Mindy Project Ben and Kate Ben and Kate Ben and Kate Ben and Kate New Girl New Girl New Girl New Girl Raising Hope Raising Hope Raising Hope Raising Hope FOX 4.0 6.6 30.6 27.8 6.7 3.7 3.9 3.2 12.0 3.1 3.5 2.2 2.0 2.7 2.8 2.6 1.8 2.0 2.3 2.0 1.6 1.6 1.7 1.7 1.9 1.4 1.2 1.4 1.5 1.9 1.5 1.5 1.8 1.7 1.9 1.4 1.5 1.7 1.6 0.3/1 0.8/2 0.2/1 0.2/1 0.2/1 0.3/1 0.2/1 0.4/1 0.4/1 0.4/1 0.3/1 0.4/1 0.4/1 0.4/1 0.4/1 0.4/1 0.4/1 0.2/1 0.2/1 0.1/0 0.2/0 0.2/1 0.3/1 0.3/1 0.2/1 0.2/1 0.2/1 CW Millions of Viewers 00.0 Winner of time period NO PROGRAMMING NO PROGRAMMING Arrow 0.2/1 1.1 R Nikita 0.2/1 0.9 R Beauty & the Beast 0.3/1 0.9 R The Vampire Diaries 0.4/1 1.0 R Supernatural 0.4/1 1.3 R Arrow 0.4/1 1.9 R Emily Owens, M.D. 0.1/0 0.7 R S Hart of Dixie 0.2/1 0.7 R S Second Star to the Left S 1.0 1.9 1.0 0.9 1.1 1.2 1.0 1.1 0.9 0.9 0.9 1.0 1.9 1.8 1.3 1.2 1.6 0.7 0.7 0.6 0.7 0.7 0.8 0.7 0.7 0.6 0.7 chart Christmas Is Here Again 0.3/1 0.7 S Title of Show 18-49 Rating/Share S=Special Program Name D=Debut 0.0/00 R=Repeat Page 8 of 8