A new Red Band trailer for sci-fi actioner Mutant Chronicles has gone live at IGN and you can watch it using the player below! Opening in theaters on April 24, the Simon Hunter-directed pic stars Thomas Jane, Ron Perlman, Devon Aoki and John Malkovich.
Saturday, January 24, 2009
Weekly Ratings: 1/19 – 1/23
Monday Ratings: House Opens Big on Monday Night
Fox delivered its highest-rated (non-sports) Monday night since Feb. 12, 2007. Here's how it all broke down:
8 pm/ET
House's move to Monday was welcomed by 14.87 million total viewers, the series' largest audience of the season. Placing second, CBS' sitcombo of Big Bang (11.1 million, down 700K) and Mother (10.76 mil, down 900K) each fell from highs. ABC's Bachelor came in third with a two-hour average of 9.91 mil, a season high. NBC's Superstars of Dance (6.44 mil) stumbled to the tune of 620 thou, while Gossip Girl hit a new season low of 2.2 mil.
9 pm
CBS' Men won its time slot with 16 million viewers, down a mil; lead-out Worst Week wielded 9.58 mil, down 870K. Fox's 24 claimed second with 12.04 mil, slipping just 270K. One Tree Hill delivered 2.6 mil, down 540 thou.
10 pm
CSI: Miami dominated with 14.5 million viewers, down eight percent. True Beauty (5.9 mil) dropped 570K, while Momma's Boys (4.88 mil) somehow gained 290 thou.
Tuesday Ratings: Returning Fringe Scares Up a Big Audience
8 pm/ET
As Fox's own ratings release succinctly put it, "All Eyes Were on the Newest Idol in the White House." Said differently: Opposite ABC's two-hour coverage of the Inauguration Day Neighborhood Ball (which set a table for 12.6 million total viewers), American Idol dropped 25 percent week-to-week, to 22.42 million. Trailing an NCIS repeat, Biggest Loser packed on 16 percent, to 10.2 mil. At 2.4 mil, 90210 enjoyed a gain of 210K.
9 pm
Placing second behind ABC's Ball, Fox's Fringe returned from its seven-week siesta to an audience of 12.1 million, a 40 percent bump from its last outing and the freshman series' second-largest audience ever. Privileged saw a 530-thou uptick, to 1.66 mil. (Have I mentioned the great big and glorious bear-hug that JoAnna Garcia gave me at the Globes last week? Definitely not chilly.)
10 pm
A Mentalist repeat topped the hour with 10.45 million viewers, followed by an Inauguration-tastic ABC News special (9.47 mil) and Dateline (6.2 mil).
Wednesday Ratings: How Many Found "Time" for Lost?
8 pm/ET
American Idol dominated with 25.4 million total viewers, albeit a 15 percent plunge from last Wednesday's audition show. ABC's Lost: Destiny Calls clip show placed second with 8.48 mil, followed by CBS' sitcombo of Christine (7.44 mil, down 280K) and Gary (7.07 mil). Falling shy of five mil, Knight Rider slowed down by 360 thou. 13: Fear Is Real (1.36 mil) scared away another 210 thousand viewers.
9 pm
Criminal Minds topped the hour with 13.86 million viewers, dipping just 190K versus increased competition. Fox's Lie to Me premiered to 13.2 million, but the truth is it shed more than three million samplers over the hour and fell to third come 9:30. Lost's two-hour season opener averaged 11.37 mil, down 29 percent from the series' year ago premiere and down 830K from the Season 4 finale.
10 pm
CSI: NY (11.75 mil) slipped eight percent week-to-week but still bested the back half of Lost (which, however, claimed No. 1 in the demos). Law & Order (8.49 mil) enjoyed a 300-thou gain.
Thursday Ratings: Bones Puts On Quite a Show
8 pm/ET
Bones made its new time-slot debut to nearly 10 million total viewers, which was plenty to top the hour. Placing third (behind an NCIS repeat) was Ugly Betty (7.54 mil). NBC's Earl did 6.5 mil (slipping 600K), while Kath & Kim fell shy of five mil. Smallville (3.8 mil) dropped 470 thou from last week's impressive return.
9 pm
CSI said goodbye to 23 percent of the audience who tuned in for Grissom's goodbye, delivering 17.53 million viewers. Grey's Anatomy placed second (and topped the demos) with 14.25 mil, up 1.25 mil. NBC's The Office (8.74 mil) was up 400K, but 30 Rock (6.43 mil) dipped a bit. In fourth was a second new hour of Bones (7.52 mil). Supernatural, at 3.04 mil, was up a hair from last week. Next week: Gym shorts!
10 pm
Eleventh Hour (12.31 million viewers) dropped 20 percent week-to-week, while Private Practice (9.64 mil) gained a mil. ER (7.7 mil) saw a 700-thou increase.
Friday Ratings: Ghost with the Most
8 pm/ET
Ghost Whisperer was the night's most watched program, delivering 11.27 million total viewers - a seven percent week-to-week increase and the series' best numbers since Nov. 22. Howie Do It dropped to third (behind 5th Grader) with 5.54 mil, and is now down 28 percent from its series premiere.
9 pm
Flashpoint easily won the hour with 10.2 million viewers, match last week's audience. Lyrics (six mil) surged 24 percent to claim second. Friday Night Lights slipped to third, dropping 27 percent from its premiere to just under four mil.
10 pm
Numbers held steady with 10.86 mil, followed by 20/20 (5.57 mil) and Dateline (5.04 mil)
Fox delivered its highest-rated (non-sports) Monday night since Feb. 12, 2007. Here's how it all broke down:
8 pm/ET
House's move to Monday was welcomed by 14.87 million total viewers, the series' largest audience of the season. Placing second, CBS' sitcombo of Big Bang (11.1 million, down 700K) and Mother (10.76 mil, down 900K) each fell from highs. ABC's Bachelor came in third with a two-hour average of 9.91 mil, a season high. NBC's Superstars of Dance (6.44 mil) stumbled to the tune of 620 thou, while Gossip Girl hit a new season low of 2.2 mil.
9 pm
CBS' Men won its time slot with 16 million viewers, down a mil; lead-out Worst Week wielded 9.58 mil, down 870K. Fox's 24 claimed second with 12.04 mil, slipping just 270K. One Tree Hill delivered 2.6 mil, down 540 thou.
10 pm
CSI: Miami dominated with 14.5 million viewers, down eight percent. True Beauty (5.9 mil) dropped 570K, while Momma's Boys (4.88 mil) somehow gained 290 thou.
Tuesday Ratings: Returning Fringe Scares Up a Big Audience
8 pm/ET
As Fox's own ratings release succinctly put it, "All Eyes Were on the Newest Idol in the White House." Said differently: Opposite ABC's two-hour coverage of the Inauguration Day Neighborhood Ball (which set a table for 12.6 million total viewers), American Idol dropped 25 percent week-to-week, to 22.42 million. Trailing an NCIS repeat, Biggest Loser packed on 16 percent, to 10.2 mil. At 2.4 mil, 90210 enjoyed a gain of 210K.
9 pm
Placing second behind ABC's Ball, Fox's Fringe returned from its seven-week siesta to an audience of 12.1 million, a 40 percent bump from its last outing and the freshman series' second-largest audience ever. Privileged saw a 530-thou uptick, to 1.66 mil. (Have I mentioned the great big and glorious bear-hug that JoAnna Garcia gave me at the Globes last week? Definitely not chilly.)
10 pm
A Mentalist repeat topped the hour with 10.45 million viewers, followed by an Inauguration-tastic ABC News special (9.47 mil) and Dateline (6.2 mil).
Wednesday Ratings: How Many Found "Time" for Lost?
8 pm/ET
American Idol dominated with 25.4 million total viewers, albeit a 15 percent plunge from last Wednesday's audition show. ABC's Lost: Destiny Calls clip show placed second with 8.48 mil, followed by CBS' sitcombo of Christine (7.44 mil, down 280K) and Gary (7.07 mil). Falling shy of five mil, Knight Rider slowed down by 360 thou. 13: Fear Is Real (1.36 mil) scared away another 210 thousand viewers.
9 pm
Criminal Minds topped the hour with 13.86 million viewers, dipping just 190K versus increased competition. Fox's Lie to Me premiered to 13.2 million, but the truth is it shed more than three million samplers over the hour and fell to third come 9:30. Lost's two-hour season opener averaged 11.37 mil, down 29 percent from the series' year ago premiere and down 830K from the Season 4 finale.
10 pm
CSI: NY (11.75 mil) slipped eight percent week-to-week but still bested the back half of Lost (which, however, claimed No. 1 in the demos). Law & Order (8.49 mil) enjoyed a 300-thou gain.
Thursday Ratings: Bones Puts On Quite a Show
8 pm/ET
Bones made its new time-slot debut to nearly 10 million total viewers, which was plenty to top the hour. Placing third (behind an NCIS repeat) was Ugly Betty (7.54 mil). NBC's Earl did 6.5 mil (slipping 600K), while Kath & Kim fell shy of five mil. Smallville (3.8 mil) dropped 470 thou from last week's impressive return.
9 pm
CSI said goodbye to 23 percent of the audience who tuned in for Grissom's goodbye, delivering 17.53 million viewers. Grey's Anatomy placed second (and topped the demos) with 14.25 mil, up 1.25 mil. NBC's The Office (8.74 mil) was up 400K, but 30 Rock (6.43 mil) dipped a bit. In fourth was a second new hour of Bones (7.52 mil). Supernatural, at 3.04 mil, was up a hair from last week. Next week: Gym shorts!
10 pm
Eleventh Hour (12.31 million viewers) dropped 20 percent week-to-week, while Private Practice (9.64 mil) gained a mil. ER (7.7 mil) saw a 700-thou increase.
Friday Ratings: Ghost with the Most
8 pm/ET
Ghost Whisperer was the night's most watched program, delivering 11.27 million total viewers - a seven percent week-to-week increase and the series' best numbers since Nov. 22. Howie Do It dropped to third (behind 5th Grader) with 5.54 mil, and is now down 28 percent from its series premiere.
9 pm
Flashpoint easily won the hour with 10.2 million viewers, match last week's audience. Lyrics (six mil) surged 24 percent to claim second. Friday Night Lights slipped to third, dropping 27 percent from its premiere to just under four mil.
10 pm
Numbers held steady with 10.86 mil, followed by 20/20 (5.57 mil) and Dateline (5.04 mil)
Barrymore Ready for Charlie's Angels 3?
Drew Barrymore told E! Online that she's ready to play Dylan Sanders again in a third installment of the "Charlie's Angels" franchise:
"I'm so into it," Barrymore said while promoting her new star-filled romantic comedy, He's Just Not That Into You. "I'm so into it—Charlie's Angels III!"
"It's percolating up," said Nancy Juvonen, Barrymore's Flower Films producing partner. "It's rising to the surface."
Barrymore added, "They're hard movies to make, but they're fun."
The first two films, directed by McG (Terminator Salvation), co-starred Cameron Diaz and Lucy Liu. They took in over $523 million at the worldwide box office.
The report goes on to say that "ideas are being kicked around, including the possible introduction of a fourth Angel." After having Demi Moore play the villainess in the second film, the third movie is expected to have another guy as the baddie.
"I'm so into it," Barrymore said while promoting her new star-filled romantic comedy, He's Just Not That Into You. "I'm so into it—Charlie's Angels III!"
"It's percolating up," said Nancy Juvonen, Barrymore's Flower Films producing partner. "It's rising to the surface."
Barrymore added, "They're hard movies to make, but they're fun."
The first two films, directed by McG (Terminator Salvation), co-starred Cameron Diaz and Lucy Liu. They took in over $523 million at the worldwide box office.
The report goes on to say that "ideas are being kicked around, including the possible introduction of a fourth Angel." After having Demi Moore play the villainess in the second film, the third movie is expected to have another guy as the baddie.
Thursday, January 22, 2009
Comedy Central Debuts "Important Things With Demetri Martin" on 2/11
Demetri Martin launches potentially the most important TV show ever of all time, "Important Things with Demetri Martin," a sketch comedy series premiering on Comedy Central Wednesday, 2/11 at 10:30 p.m.
Tom and Jerry Coming to the Big Screen
Warner Bros. is planning to bring "Tom and Jerry" to life as CG characters that run around in live-action settings, says Variety.
The studio-based Dan Lin, currently producing the upcoming Sherlock Holmes and executive producer on Terminator Salvation, will adapt the classic Hanna-Barbera property as an origin story that reveals how Tom and Jerry first meet and form their rivalry before getting lost in Chicago and reluctantly working together during an arduous journey home.
Eric Gravning is penning the script.
Warners owns the rights to Hanna-Barbera's slate of popular animated properties and has several of them in development for bigscreen adaptation. Those include Robert Rodriguez's version of The Jetsons and producer Donald De Line's Yogi Bear.
"Tom and Jerry" originated as a series of 114 animated shorts, produced by MGM's toon studio between 1940 and 1960, and won seven Academy Awards. New toons were produced after that, and Warner Bros. released Tom and Jerry: The Movie in 1992 as a feature-length toon.
The studio-based Dan Lin, currently producing the upcoming Sherlock Holmes and executive producer on Terminator Salvation, will adapt the classic Hanna-Barbera property as an origin story that reveals how Tom and Jerry first meet and form their rivalry before getting lost in Chicago and reluctantly working together during an arduous journey home.
Eric Gravning is penning the script.
Warners owns the rights to Hanna-Barbera's slate of popular animated properties and has several of them in development for bigscreen adaptation. Those include Robert Rodriguez's version of The Jetsons and producer Donald De Line's Yogi Bear.
"Tom and Jerry" originated as a series of 114 animated shorts, produced by MGM's toon studio between 1940 and 1960, and won seven Academy Awards. New toons were produced after that, and Warner Bros. released Tom and Jerry: The Movie in 1992 as a feature-length toon.
Wednesday, January 21, 2009
A Judd Apatow-Produced Horror Movie?
I've been avoiding interviews at the Sundance Film Festival because I'd rather just see a bunch of movies while I'm here. But I couldn't turn down the chance to talk to a couple of choice people, one of whom was Bill Hader, who is here with (the exceptionally great) Adventureland. I ended up chatting with Bill for almost a half hour, and we talked about a ton of stuff. We started talking about horror and slasher films, and Bill dropped a bomb on me: he and Saturday Night Live writer Simon Rich have written a slasher movie for Judd Apatow.
What would an Apatow-produced slasher film from Rich and Hader be like? Says Bill: 'It's partially Straw Dogs meets Halloween meets Home Alone meets Monster Squad.' It's hard to argue against that.
'I don't know if it's even going to get made,' Hader told me. 'Judd met with us and said "I want to do a horror movie with you. I want to see you in a slasher movie."'
The film will be a horror comedy, and while Hader danced around giving away too much, he did describe it to me like this: 'It is definitely about guys nowadays, that idea that you watch fucked up shit on TV, how violence in our culture - this sounds really hoity toity - you watch fucked up reality shows, I love true crime shows. The idea of that thing coming to your house, and what do you do? I would shit my pants. That's basically what the movie is about. What if that guy decided to come to your house? What would you and your dipshit friends do about it?'
Let's hope we find out soon.
What would an Apatow-produced slasher film from Rich and Hader be like? Says Bill: 'It's partially Straw Dogs meets Halloween meets Home Alone meets Monster Squad.' It's hard to argue against that.
'I don't know if it's even going to get made,' Hader told me. 'Judd met with us and said "I want to do a horror movie with you. I want to see you in a slasher movie."'
The film will be a horror comedy, and while Hader danced around giving away too much, he did describe it to me like this: 'It is definitely about guys nowadays, that idea that you watch fucked up shit on TV, how violence in our culture - this sounds really hoity toity - you watch fucked up reality shows, I love true crime shows. The idea of that thing coming to your house, and what do you do? I would shit my pants. That's basically what the movie is about. What if that guy decided to come to your house? What would you and your dipshit friends do about it?'
Let's hope we find out soon.
Jenkins and Whitford Move Into Cabin
Richard Jenkins is on board and Bradley Whitford is in final negotiations to star in the mystery-shrouded MGM/UA horror project The Cabin in the Woods, written by Joss Whedon and Drew Goddard, who also is directing. Whedon is producing.
The Hollywood Reporter says that much like Cloverfield, which Goddard wrote, the "Cabin" storyline provides a new twist on a classic scenario -- in this case the young-people-stranded-in-the-woods horror trope.
The trade adds that Jenkins and Whitford will play white-collar co-workers with a mysterious connection to the cabin.
Filming will start in the spring for a February 5, 2010 release.
The Hollywood Reporter says that much like Cloverfield, which Goddard wrote, the "Cabin" storyline provides a new twist on a classic scenario -- in this case the young-people-stranded-in-the-woods horror trope.
The trade adds that Jenkins and Whitford will play white-collar co-workers with a mysterious connection to the cabin.
Filming will start in the spring for a February 5, 2010 release.
Tuesday, January 20, 2009
Michael Cera On ‘Arrested Development’ Movie: ‘More Hypothetical Than People Think’
We’ve been covering rumors of an “Arrested Development” movie for nearly a year now, and have spoken about it to most of the actors involved. Everyone from Jason Bateman and Will Arnett have voiced their support of bringing the cult show to the bigscreen. But recently a newer rumor popped up claiming that Cera was the lone holdout of the cast. So is it true?
Speaking to MTV News to promote his Sundance film “Paper Heart,” Cera refuted the rumors, saying that he’s merely waiting for a script. But that may be a long time coming, claims the actor, labeling the film as “more hypothetical than people think.” Check out his (rather hilarious) comments in the video below.
Speaking to MTV News to promote his Sundance film “Paper Heart,” Cera refuted the rumors, saying that he’s merely waiting for a script. But that may be a long time coming, claims the actor, labeling the film as “more hypothetical than people think.” Check out his (rather hilarious) comments in the video below.
Pilot News: Fox Sends Seven Projects into Development
Fox isn't wasting any time setting up its development slate.
The network has ordered four comedy pilots and three dramas, according to The Hollywood Reporter. The newcomers join previously announced drama pilot Eva Adams, which is finalizing casting, and fall comedy Boldly Going Nowhere.
Fox President Kevin Reilly said last week that the new comedy slate would be closer in tone to hit series Malcolm in the Middle and The Bernie Mac Show than this season's quickly cancelled Do Not Disturb. Among the contenders are:
• The Station, a single-camera pilot from Ben Stiller's Red Hour films that revolves around a covert CIA operative whose team is trying to install a new dictator in South America.
• Walorsky, a single-camera pilot that focuses on a lazy ex-cop-turned-mall security guard (common theme in Hollywood these days, no?) who is forced to shape up after being assigned an idiot partner.
• Two Dollar Beer, a multi-camera pilot set in Detroit that centers on a blue-collar couple and their extended family and friends.
• Sons of Tucson, a single-camera pilot that centers on a hustler hired by three rich brothers to pretend to be their "father" while their real one is in prison.
The dramas include medical drama Maggie Hill, which focuses on a female surgeon who thrives despite fighting schizophrenia; Human Target, an adaptation of a DC Comics title about a security guard-for-hire who takes the fall for his clients who are in life-threatening danger; and an untitled project that revolves around investigators who solve current problems by using the concept of reincarnation to solve mysteries of their pasts.
The network has ordered four comedy pilots and three dramas, according to The Hollywood Reporter. The newcomers join previously announced drama pilot Eva Adams, which is finalizing casting, and fall comedy Boldly Going Nowhere.
Fox President Kevin Reilly said last week that the new comedy slate would be closer in tone to hit series Malcolm in the Middle and The Bernie Mac Show than this season's quickly cancelled Do Not Disturb. Among the contenders are:
• The Station, a single-camera pilot from Ben Stiller's Red Hour films that revolves around a covert CIA operative whose team is trying to install a new dictator in South America.
• Walorsky, a single-camera pilot that focuses on a lazy ex-cop-turned-mall security guard (common theme in Hollywood these days, no?) who is forced to shape up after being assigned an idiot partner.
• Two Dollar Beer, a multi-camera pilot set in Detroit that centers on a blue-collar couple and their extended family and friends.
• Sons of Tucson, a single-camera pilot that centers on a hustler hired by three rich brothers to pretend to be their "father" while their real one is in prison.
The dramas include medical drama Maggie Hill, which focuses on a female surgeon who thrives despite fighting schizophrenia; Human Target, an adaptation of a DC Comics title about a security guard-for-hire who takes the fall for his clients who are in life-threatening danger; and an untitled project that revolves around investigators who solve current problems by using the concept of reincarnation to solve mysteries of their pasts.
Monday, January 19, 2009
Paul Blart is the 2nd Best MLK Opener Ever
The ComingSoon.net Box Office Report has been updated with studio estimates for the weekend.
Columbia Pictures' Paul Blart: Mall Cop topped the four-day Martin Luther King, Jr. holiday weekend with an estimated $39 million from 3,144 theaters. The Kevin James comedy, directed by Steve Carr, averaged an impressive $12,405 per site. The film surpassed Black Hawk Down ($33.6 million) to become the second-highest opening for the four-day weekend, trailing only last year's Cloverfield ($46.1 million). It cost just $26 million to make.
Dropping one spot to second, Clint Eastwood's Gran Torino added another $26.2 million over the four days to bring its total to $77.2 million. The Warner Bros. Pictures release carried a budget of about $33 million.
Lionsgate's horror remake My Bloody Valentine 3D debuted in the third spot to an estimated $24.2 million in 2,534 theaters, followed closely by Fox Searchlight's new biopic Notorious, which made $24 million in 1,638 theaters. The latter had the biggest per-screen average of the top 12 films with $14,652.
DreamWorks Pictures' new family comedy Hotel for Dogs rounded out the top five with $22.5 million from 3,271 theaters.
In their second weekends, 20th Century Fox's Bride Wars collected $14 million for a total of $39.9 million and Rogue Pictures' The Unborn earned $10.993 million for a total of $34.2 million.
Paramount Vantage increased the theater count for Edward Zwick's Defiance to 1,789 theaters, allowing the Daniel Craig, Liev Schreiber and Jamie Bell drama to enter the top 10 with $10.7 million. It has earned $11 million in three weeks.
The Golden Globe wins for Slumdog Millionaire gave the Danny Boyle-directed drama a nice push, as it collected another $7.2 million from just 582 theaters - an average of $12,285 per site. The film has earned $43.987 million and was produced for just $15 million.
Opening in limited release, Bollywood pic Chandni Chowk to China made $700,000 from 130 theaters.
Columbia Pictures' Paul Blart: Mall Cop topped the four-day Martin Luther King, Jr. holiday weekend with an estimated $39 million from 3,144 theaters. The Kevin James comedy, directed by Steve Carr, averaged an impressive $12,405 per site. The film surpassed Black Hawk Down ($33.6 million) to become the second-highest opening for the four-day weekend, trailing only last year's Cloverfield ($46.1 million). It cost just $26 million to make.
Dropping one spot to second, Clint Eastwood's Gran Torino added another $26.2 million over the four days to bring its total to $77.2 million. The Warner Bros. Pictures release carried a budget of about $33 million.
Lionsgate's horror remake My Bloody Valentine 3D debuted in the third spot to an estimated $24.2 million in 2,534 theaters, followed closely by Fox Searchlight's new biopic Notorious, which made $24 million in 1,638 theaters. The latter had the biggest per-screen average of the top 12 films with $14,652.
DreamWorks Pictures' new family comedy Hotel for Dogs rounded out the top five with $22.5 million from 3,271 theaters.
In their second weekends, 20th Century Fox's Bride Wars collected $14 million for a total of $39.9 million and Rogue Pictures' The Unborn earned $10.993 million for a total of $34.2 million.
Paramount Vantage increased the theater count for Edward Zwick's Defiance to 1,789 theaters, allowing the Daniel Craig, Liev Schreiber and Jamie Bell drama to enter the top 10 with $10.7 million. It has earned $11 million in three weeks.
The Golden Globe wins for Slumdog Millionaire gave the Danny Boyle-directed drama a nice push, as it collected another $7.2 million from just 582 theaters - an average of $12,285 per site. The film has earned $43.987 million and was produced for just $15 million.
Opening in limited release, Bollywood pic Chandni Chowk to China made $700,000 from 130 theaters.
Sunday, January 18, 2009
Weekly Ratings: 1/12 – 1/16
Monday Ratings: Big Night for CBS; Bauer Holds Steady
A new year and a new week mean new highs — for CBS' Monday night lineup, at least. The highlights:
8 pm/ET
24 edged CBS for the hour with around 12 million (on par with Sunday's outing), but it got some stiff competition from the robot-tastic Big Bang Theory and How I Met Your Mother, both of which soared to yet another series-high for the former (11.81 million) and a season-high for the latter (11.8 million). Next week, House joins in on the 8 pm match-up.
9 pm/ET
Two and a Half Men left Jack Bauer & Co. in the dust with 17.1 million eyeballs, about 5 million more than 24.
10 pm/ET
CSI: Miami dominated as usual with 15.7 million.
Tuesday Ratings: Idol Premiere Dips Opposite CBS' Double Whammy
8 pm/ET
Opposite CBS' surging NCIS and Mentalist, American Idol's Season 8 debuted to an audience of 30.08 million total viewers, a 10 percent dip from its year-ago opener. While NCIS only dropped three percent versus the Fox juggernaut, delivering 18.48 mil, others weren't so lucky. The Biggest Loser (8.76 mil) lost 26 percent of its strong premiere audience, while 90210 (2.18 mil) slid 21 percent.
9 pm
With Idol in the mix, The Mentalist saw a drop of eight percent, to 18 mil. Trailing Loser, Scrubs (4.48 mil) and Privileged (1.13 mil) both plunged 34 percent.
10 pm
Without a Trace topped the hour with 12.4 million viewers, while SVU (9.66 mil, down nine percent) led the demos.
Wednesday Ratings: What Did Idol Do for the First Time in Five Years?
8 pm/ET
American Idol drew 30 million total viewers, marking the first time in five years that the juggernaut's first Wednesday outing has retained 100 percent of a Tuesday premiere audience. CBS' combo of Christine (7.72 mil) and Gary (7.08 mil) placed second, each dipping only slightly. Knight Rider (5.34 mil) dropped off 360K, while the CW's 13 Fear Is Real (1.57 mil) plunged 35 percent from its debut. Lost's recap special averaged 4.49 mil across the night.
9 pm
Opposite Idol, Criminal Minds returned to an audience of 14.05 million viewers, down six percent from its last fresh outing.
10 pm
CSI: NY led with 12.84 million viewers, followed by Law & Order (8.2 mil, down 19 percent from its previous and competition-free episode).
Thursday Ratings: Grissom Walks Away from 24.25 Million People
8 pm/ET
While all the majors accommodated President Bush's farewell address, Smallville delivered 4.27 million total viewers, a slight uptick from its last fresh episode and its biggest audience since Nov. 6.
9 pm
Grissom's goodbye was watched by 24.25 million viewers, a 12 percent increase over CSI's last fresh episode and the procedural's largest audience since its 2007 season opener. Grey's Anatomy dipped six percent to fall shy of 13 mil. Placing third, The Office (8.35 mil) was down 450K while 30 Rock (6.6 mil) surged 26 percent. Supernatural, at 2.96 mil, slipped 11 percent from its last new episode.
10 pm
Eleventh Hour did 15.5 mil, followed by Private Practice (8.66 mil, down 370 thou). ER dipped a bit to drop below seven mil.
Friday Ratings: Is Friday Night Lights Back in the Game?
8 pm/ET
Ghost Whisperer topped the hour, holding steady at 10.52 million total viewers. Howie Do It placed second with 6.06 mil, plunging 21 percent from its premiere.
9 pm
CBS' Flashpoint inched up to 10.38 million viewers, a new series high. Nipping at the heels of Don't Forget the Lyrics (4.84 mil), Friday Night Lights' return to NBC (following a run on DirecTV) was watched by 4.54 million. That's an improvement on time-slot predecessor Lipstick Jungle's numbers, but a 13 percent dip from the high school drama's Season 2 finale.
Now, what does that all mean? When asked at this week's TCA press tour about the fate of such fence-riders as FNL, Chuck and Life, NBC Entertainment president Angela Bromstad said, "We live in a world where we have to have both — we have to have the quality and we have to have the ratings. [We] won't replace shows that are loved by fans and that are good, quality shows just for the sake of putting another show on."
10 pm
Numbers was the night's most watched program, with an audience of 10.83 million (up 750 thou). 20/20 (6.16 mil) dropped 22 percent week-to-week, while Dateline (5.57 mil) gained 700K.
A new year and a new week mean new highs — for CBS' Monday night lineup, at least. The highlights:
8 pm/ET
24 edged CBS for the hour with around 12 million (on par with Sunday's outing), but it got some stiff competition from the robot-tastic Big Bang Theory and How I Met Your Mother, both of which soared to yet another series-high for the former (11.81 million) and a season-high for the latter (11.8 million). Next week, House joins in on the 8 pm match-up.
9 pm/ET
Two and a Half Men left Jack Bauer & Co. in the dust with 17.1 million eyeballs, about 5 million more than 24.
10 pm/ET
CSI: Miami dominated as usual with 15.7 million.
Tuesday Ratings: Idol Premiere Dips Opposite CBS' Double Whammy
8 pm/ET
Opposite CBS' surging NCIS and Mentalist, American Idol's Season 8 debuted to an audience of 30.08 million total viewers, a 10 percent dip from its year-ago opener. While NCIS only dropped three percent versus the Fox juggernaut, delivering 18.48 mil, others weren't so lucky. The Biggest Loser (8.76 mil) lost 26 percent of its strong premiere audience, while 90210 (2.18 mil) slid 21 percent.
9 pm
With Idol in the mix, The Mentalist saw a drop of eight percent, to 18 mil. Trailing Loser, Scrubs (4.48 mil) and Privileged (1.13 mil) both plunged 34 percent.
10 pm
Without a Trace topped the hour with 12.4 million viewers, while SVU (9.66 mil, down nine percent) led the demos.
Wednesday Ratings: What Did Idol Do for the First Time in Five Years?
8 pm/ET
American Idol drew 30 million total viewers, marking the first time in five years that the juggernaut's first Wednesday outing has retained 100 percent of a Tuesday premiere audience. CBS' combo of Christine (7.72 mil) and Gary (7.08 mil) placed second, each dipping only slightly. Knight Rider (5.34 mil) dropped off 360K, while the CW's 13 Fear Is Real (1.57 mil) plunged 35 percent from its debut. Lost's recap special averaged 4.49 mil across the night.
9 pm
Opposite Idol, Criminal Minds returned to an audience of 14.05 million viewers, down six percent from its last fresh outing.
10 pm
CSI: NY led with 12.84 million viewers, followed by Law & Order (8.2 mil, down 19 percent from its previous and competition-free episode).
Thursday Ratings: Grissom Walks Away from 24.25 Million People
8 pm/ET
While all the majors accommodated President Bush's farewell address, Smallville delivered 4.27 million total viewers, a slight uptick from its last fresh episode and its biggest audience since Nov. 6.
9 pm
Grissom's goodbye was watched by 24.25 million viewers, a 12 percent increase over CSI's last fresh episode and the procedural's largest audience since its 2007 season opener. Grey's Anatomy dipped six percent to fall shy of 13 mil. Placing third, The Office (8.35 mil) was down 450K while 30 Rock (6.6 mil) surged 26 percent. Supernatural, at 2.96 mil, slipped 11 percent from its last new episode.
10 pm
Eleventh Hour did 15.5 mil, followed by Private Practice (8.66 mil, down 370 thou). ER dipped a bit to drop below seven mil.
Friday Ratings: Is Friday Night Lights Back in the Game?
8 pm/ET
Ghost Whisperer topped the hour, holding steady at 10.52 million total viewers. Howie Do It placed second with 6.06 mil, plunging 21 percent from its premiere.
9 pm
CBS' Flashpoint inched up to 10.38 million viewers, a new series high. Nipping at the heels of Don't Forget the Lyrics (4.84 mil), Friday Night Lights' return to NBC (following a run on DirecTV) was watched by 4.54 million. That's an improvement on time-slot predecessor Lipstick Jungle's numbers, but a 13 percent dip from the high school drama's Season 2 finale.
Now, what does that all mean? When asked at this week's TCA press tour about the fate of such fence-riders as FNL, Chuck and Life, NBC Entertainment president Angela Bromstad said, "We live in a world where we have to have both — we have to have the quality and we have to have the ratings. [We] won't replace shows that are loved by fans and that are good, quality shows just for the sake of putting another show on."
10 pm
Numbers was the night's most watched program, with an audience of 10.83 million (up 750 thou). 20/20 (6.16 mil) dropped 22 percent week-to-week, while Dateline (5.57 mil) gained 700K.
Francis Lawrence Reveals Details For I Am Legend Prequel
A month ago we posted details of what an I Am Legend prequel might look like. Now, SciFi Wire has an interview with Lawrence in which he discusses what he is hoping to achieve with the prequel. Lawrence explained:
“That was the real reason I wanted to do the movie in the first place, really, was the idea of ‘What does that world look like, what does it do to you when you’re by yourself? … What does it do without people, without companionship and sound and the loss of your family, without anybody to talk to? I think that’s really what people connected to, and so the tough thing is, how do we do that again and in a different way?”
He continued, “I think that to go back, there has to be a truly viable reason to go back into that world that I think interested everybody, so that’s the real struggle…The struggle is to find a story that brings us back in a way that’s hopefully just as interesting as the first time around.”
Lawrence is an extremely talented guy but is it just me, or do his comments at this interview reek, ever-so-slightly, of desperation? We’ve said before that the Legend prequel project has always been a film borne out of the box office promise of Will Smith’s involvement. We weren’t exactly hot on the original either, which essentially desecrated the ideas that made Richard Matheson’s original 1954 novel great. When he says “the struggle is to find a story…as interesting as the first time around,” and that it’s just about “trying to come up with something really good,” my first thought is: If you didn’t come up with something really good already, why are you doing this movie? (P.S. I already know the answer, so don’t bother telling me in the comments). Maybe “desperation” isn’t the right word, but like Indy 4, it continues to sound like this film didn’t come about because of some earth-shakingly good plot idea that just had to be put to film.
“That was the real reason I wanted to do the movie in the first place, really, was the idea of ‘What does that world look like, what does it do to you when you’re by yourself? … What does it do without people, without companionship and sound and the loss of your family, without anybody to talk to? I think that’s really what people connected to, and so the tough thing is, how do we do that again and in a different way?”
He continued, “I think that to go back, there has to be a truly viable reason to go back into that world that I think interested everybody, so that’s the real struggle…The struggle is to find a story that brings us back in a way that’s hopefully just as interesting as the first time around.”
Lawrence is an extremely talented guy but is it just me, or do his comments at this interview reek, ever-so-slightly, of desperation? We’ve said before that the Legend prequel project has always been a film borne out of the box office promise of Will Smith’s involvement. We weren’t exactly hot on the original either, which essentially desecrated the ideas that made Richard Matheson’s original 1954 novel great. When he says “the struggle is to find a story…as interesting as the first time around,” and that it’s just about “trying to come up with something really good,” my first thought is: If you didn’t come up with something really good already, why are you doing this movie? (P.S. I already know the answer, so don’t bother telling me in the comments). Maybe “desperation” isn’t the right word, but like Indy 4, it continues to sound like this film didn’t come about because of some earth-shakingly good plot idea that just had to be put to film.
Jericho May Return As a Theatrical Movie
Like the corpse of some sort of decomposing, shambling zombie, it looks like twice-canceled television series Jericho just refuses to stay dead. According to a recent iF magazine interview with series’ executive producer and director Jon Turtletaub, Turtletaub is in the process of developing a movie based on the TV series:
“We’re developing a feature for JERICHO…It would not require you to have seen the TV show, but it gets into life after an event like this on a national scale. It would be the bigger, full on American version of what’s going on beyond the town in Jericho.”
Turtletaub also claims that the TV cast would return (you mean Skeet Ulrich is available???) and, regarding the budget, says that “Anything would be a huge budget compared to what we were dealing with…If we had $40 million dollars to make a movie with, that’s 20 times more than we did before.” That budget amount seems a bit high for a movie based on a twice-failed TV show, but millions of people have purchased the DVD and still watch reruns on CW, so maybe it’s within striking distance (especially if they want film a post-apocalyptic scenario, which are occasionally costly affairs).
Jericho sought to answer the question posed by countless post-apocalyptic/political thriller films: What happens after the nuclear bombs go off? The story centered around Jake Green (Ulrich), who becomes the leader of a Kansas town named Jericho, after nuclear attacks on 23 major cities have ravaged the United States. Jericho originally began airing on CBS in September 2006 and was canceled after one season due to poor ratings. However, enormous fan outcry helped to bring the show back for one short, seven-episode season, but CBS swiftly brought down the axe again.
As a general proposition, the development of these films based on TV shows is very heartening for me. With movies like Arrested Development hopefully on the way, and three of the Futurama made-for-DVD movies already in the can, these labors of love demonstrate the best of what Web 2.0 combined with grassroots enthusiast press can produce. They also prove that Nielsen ratings need not be the be-all end-all of a beloved television show. At least, not if enough people complain about it.
“We’re developing a feature for JERICHO…It would not require you to have seen the TV show, but it gets into life after an event like this on a national scale. It would be the bigger, full on American version of what’s going on beyond the town in Jericho.”
Turtletaub also claims that the TV cast would return (you mean Skeet Ulrich is available???) and, regarding the budget, says that “Anything would be a huge budget compared to what we were dealing with…If we had $40 million dollars to make a movie with, that’s 20 times more than we did before.” That budget amount seems a bit high for a movie based on a twice-failed TV show, but millions of people have purchased the DVD and still watch reruns on CW, so maybe it’s within striking distance (especially if they want film a post-apocalyptic scenario, which are occasionally costly affairs).
Jericho sought to answer the question posed by countless post-apocalyptic/political thriller films: What happens after the nuclear bombs go off? The story centered around Jake Green (Ulrich), who becomes the leader of a Kansas town named Jericho, after nuclear attacks on 23 major cities have ravaged the United States. Jericho originally began airing on CBS in September 2006 and was canceled after one season due to poor ratings. However, enormous fan outcry helped to bring the show back for one short, seven-episode season, but CBS swiftly brought down the axe again.
As a general proposition, the development of these films based on TV shows is very heartening for me. With movies like Arrested Development hopefully on the way, and three of the Futurama made-for-DVD movies already in the can, these labors of love demonstrate the best of what Web 2.0 combined with grassroots enthusiast press can produce. They also prove that Nielsen ratings need not be the be-all end-all of a beloved television show. At least, not if enough people complain about it.
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