NBC’s ‘Ultimate Slip ‘N Slide’ Competition Series Pulled From Post-Olympics Premiere After Giardia Outbreak

The move comes a month after the show's producer, Universal Television Alternative Studio, paused production due to an outbreak of giardia, an intestinal infection, among staff. Ultimate Slip 'N Slide, NBC's new reality competition series that scored the plum post-Olympics slot for its premiere, has been pulled from the schedule, sources close to the production confirmed to Deadline.
We hear the studio is considering a few options for finishing the season that it will share with NBC next week.
The two teams that make it to the final challenge will take on the Big Slipper, a colossal multi-part slide, to determine who earns the Slip ‘N Slide champion title, along with the cash prize. Hosted by SNL alum Bobby Moynihan and Ron Funches (The Goldbergs, Black-ish), Ultimate Slip 'N Slide is a reality competition take on Wham-O’s iconic 1960s outdoor game, in which contestants compete in a series of challenges on the gigantic slippery slide including Human Pong, Body Bowling, Cornhole, Bocce Fall and more.
The series is produced by Universal Television Alternative Studio, a division of Universal Studio Group, in association with Propagate and Critical Content.” />
Additional testing results received on June 10 revealed giardia in the surrounding area, and the studio announced that they would not be shooting the series at the current site moving forward. There was one week of scheduled production left when filming was halted on June 2 after it was learned that a crew member had tested positive for giardia.
NBC would not comment. The show was to premiere over two nights: Sunday, August 8 at 10:30 pm ET / 7:30 pm PT, immediately following the Closing Ceremony of the Tokyo Olympics, and Monday, August 9 at 8 pm ET/PT. Production remains on hold, and there are no plans for a new premiere date at this point, a source with knowledge of the situation told Deadline.
"The health and safety of everyone on our set is our number one priority, so out of an abundance of caution we have made the decision to stop production of Ultimate Slip ‘N Slide at the current location," the studio said in a June 11 statement. "We are in the process of determining next steps in order to complete production."

Bobby Moynihan Joins Tina Fey & Robert Carlock’s L.A. Mayor NBC Comedy Series

This is the second consecutive NBC workplace comedy series, in which Fey recruits an SNL-er for a lead role, following her Emmy-winning 30 Rock, which co-starred Tracy Morgan.
He did not overlap with Fey's tenure on the NBC sketch comedy show as a cast member, writer/head writer.or Carlock's stint as a writer but Moynihan got to work with Fey during her SNL hosting gigs, and he had a recurring role on the fourth and final season of Fey and Carlock's Netflix series Unbreakable Kimmy Schmidt. Moynihan was a cast member on Saturday Night Live for nine seasons, from 2008-2017.
Moynihan will play Jayden, the interim Director of Communications in the newly elected Mayor's office.
EXCLUSIVE: Bobby Moynihan is returning to NBC. The Saturday Night Live alum has been cast in a lead role opposite Ted Danson on the network's single-camera comedy series from the 30 Rock and Unbreakable Kimmy Schmidt duo of Tina Fey and Robert Carlock.
Moynihan, who headlined his own comedy series, CBS' Me, Myself and I, will next be seen in Disney’s Flora & Ulysses. He is repped by Odenkirk Provissiero Entertainment, UTA and Jackoway Tyerman.
The series hails from Universal Television, Little Stranger, Bevel Gears and 3 Arts Entertainment. Robert Carlock, Tina Fey, Jeff Richmond and David Miner executive produce.
The comedy, which has a straight-to-series order, is about a wealthy businessman (Danson) who runs for mayor of Los Angeles for all the wrong reasons. Once he wins he has to figure out what he stands for, gain the respect of his staff, and connect with his teenage daughter, all while controlling the coyote population.
2019 NBC Pilots & Series Orders” />

Friday Ratings: NBC Tops Another Quiet Night With ‘American Ninja Warrior’ And ‘Dateline’ Twin Punches

held at 0.4/3 and 2.46 million, with 20/20 scoring an 0.6/4 and 3.31 million, steady from last week. ABC was the only other network with original programming. What Would You Do?
The rest of the night elsewhere featured encores, reruns and repeat broadcasts.” />
A rerun of American Ninja Warrior had an 0.6/4 and 2.85 million audience for its two-hour broadcast, holding steady from its prior week. That led into Dateline, which rose a tic to 0.6/4 and a 3.31 million audience to cap NBC's triumphant night.
The peacock network won, as NBC once again rode its athletes and newsmag format to glory. It was the peacock network versus the alphabet network on Friday night.

NFL’s 100th Season Kickoff Game Viewership Up Double Digits Over 2018 – Update

Buffalo 19.7/34 7.
6. Denver 21.1/39
Jacksonville 19.0/31 8.
Up 17% and 38%, respectively from the 2018 NFL Kickoff Game, last night's digital delivery on NBC Sports Digital is now the record holder for the most streamed NFL regular-season game ever. The Comcast-owned network is puffing out its chest a bit because of the 127 million live streaming minutes across 2.7 million unique devices that football fans watched last night.
FINAL: The @packers WIN the #NFL100 season opener! #GoPackGo
Depending how it all shakes out in the final numbers, the NFL and the broadcaster could exceed 25 million viewers – a more traditional realm for the season opener. If the nine-year low of 19 million viewers that the Eagles and Falcons' kickoff game ended up with last year is any guide, last night's rivals redux battle looks certain to break the recent repeated years of straight double digit decline that have plagued the league and NBC.
— NFL (@NFL) September 6, 2019
Fall Premiere Dates For New & Returning Series On Broadcast, Cable & Streaming: 2019 Edition
9. Norfolk 18.1/28
See ya on Sunday.
3. Minneapolis 23.9/43
Kansas City 21.9/36 5.
Scoring a 15.3/28 in metered market results, the 8:30 – 11:30 PM ET game last night is up double digits over last year's weather delayed Philadelphia Eagles 18-12 win over the Atlanta Falcons. The on-time Packers and Bears game shot up 14% from that September 6, 2018 game in the early metrics.
(by @Lexus) pic.twitter.com/GulV1W92mC
In fact, similar to the results of the metered market numbers earlier this morning, the start of the 2019/2020 NFL season is the most watched opener since the 2016 kickoff and the most watched sporting event in America since the New England Patriots’ winning Super Bowl LIII back in February.
PREVIOUSLY 6:26 AM: Promising to #InspireChange, the NFL hit the pedal on its 100th season Thursday night with one of its greatest rivalries as the Green Bay Packers faced the Chicago Bears in the Windy City.
In fact, with a 6% bounce over the 2017 kickoff game between the Kansas City Chiefs and the New England Patriots, last night's match-up on the Comcast-owned broadcaster and the NFL Network was the best any Thursday night season opener has done since Denver played Carolina in 2016.
4. New Orleans 23.1/33
Milwaukee 48.1/69 1.
Chicago 35.3/56 2.
UPDATE, 12:47 PM: The NFL’s 100th season is officially underway and last night’s Green Bay Packers’ winning kickoff game against the Chicago Bears looks to have gotten things off on the right foot.
However, preceded by a Meek Mill and Meghan Trainor-led concert in the Midwest metropolis, and the hype of a centennial season, the Packers’ win over the odds favorite Bears was a ratings touchdown for the league or NBC. Taken down 10-3 by Aaron Rodgers and an energized defense on the Wisconsin team, the reigning NFC North division champions Bears struggled from the beginning in what was one of the most grinding season openers of recent years.
(see the fast-affiliate chart below). As for today, we’ll update with more 100th season kickoff game numbers and results for the rest of primetime which included CBS' Big Brother, up a tenth from last week, and Fox’s Spin the Wheel finale, up two tenths.
Even with the boos from Bears fans at Soldier Field on Thursday night and a protest free National Anthem, the decision looks to have been a winning choice. Unlike the traditional Super Bowl champion's perch in the kickoff game for a new season, the Roger Goodell-run NFL went for the old enemies to commemorate the occasion with their 199th matchup.
When you factor in the NFL and NBC digital viewing, the Total Audience Delivery bops up to 22.7 million – a 16% jump over the 2018 season opener.
Here's the Top 10 local markets for Thursday's Packers' win
Moving into the weekend opener, Sunday Night Football makes its 2019/2020 season debut on September 8 with Super Bowl LIII winner the New England Patriots facing the Pittsburgh Steelers in Massachusetts.
Cincinnati 17.8/3″ /> 10.
The match-up snagged an audience of 22.0 million for NBC from 8:23 – 11:30 PM on Thursday. That’s up 15.7% over the viewership that last year’s Philadelphia Eagles’ victory over the Atlanta Falcons scored in last year’s season kickoff game.

Friday Ratings: ‘American Ninja Warrior’ Creeps Back Into Top Slot

Ratings in some local markets were affected by the last pre-season game of the National Football League, so results are likely to adjust downward in some cases.
The rest of the night was reruns all around.” />
That strong lead-in helped Dateline as well, which came in at 0,5/3 and 2.80 million total viewers, helping NBC win the network battle. After a week off from the top of the ratings, American Ninja Warrior crept back onto the Friday night ratings throne, scoring at 0.5/4 and 2.61 total audience for its two-hour rerun.
ABC's 20/20 capped the night with an 0.5/3 and 2.80 million crowd. had an 0.4/3 and 2.58 million, both sandwiching a rerun of Fresh Off The Boat, which had an 0.3/2 and 1.70 million. For ABC, two original programming features stood out: American Housewife had an 0.3/3 and 2.21, while its What Would You Do?
The Big Stage variety show came in at 0.1/1 and 0.62, while Hypnotize Me had an 0.1/1 and 0.49 million. On a rerun heavy night, The CW fared well, with its Masters of Illusion achieving an 0.2/1 and 0.81 million share.

Meek Mill & Meghan Trainor Concert To Be Part Of NBC, NFL Network Season Kickoff Coverage

NBC's Sunday Night Football's first Sunday game of the new season is September 8, with Pittsburgh at New England. The next night, ESPN's Monday Night Football season begins with a doubleheader: Houston at New Orleans followed by Denver at Oakland.
The game is set to kick off at 8:20 PM ET/5:20 PM PT, with headliner Meek Mill scheduled to hit the Main Stage at about 7:30 PM ET. Portions of Meek Mill's and Trainor's performances will be part of NBC and the NFL Network's simulcast coverage of the 40-minute pregame event, which will take place at Chicago's Grant Park.
Meek Mill, Trainor and Rapsody on Friday were also named "advocates" for the NFL and Jay-Z-led Roc Nation's Inspire Change initiative. Part of that effort includes creating new music for a Songs of the Season fundraising campaign. It's one of the first moves made since Jay-Z's Roc Nation teamed with the league to oversee its entertainment partnerships.
After the concert, Grant Park will host a watch party of the game on giant screens.
The league's Thursday night schedule begins September 12 with the NFL Network handling the first two weeks. Fox and Amazon Prime begin simulcasting games with NFL Network in Week 4 (Philadelphia at Green Bay).” />
Meek Mill, Meghan Trainor and Rapsody will perform live Thursday during the NFL's official 2019 NFL Kickoff event in Chicago ahead of the league's season-opening Green Bay Packers-Chicago Bears game at Soldier Field on NBC.
The network's Football Night in America team — Mike Tirico, Liam McHugh, Tony Dungy, Rodney Harrison, Chris Simms, Mike Florio and Kathryn Tappen — will also be live from Chicago. Al Michaels, Cris Collinsworth and Michele Tafoya return to handle NBC's coverage of the game, joined by referee Terry McAulay, Sunday Night Football's rules analyst.

‘Good Morning America’ Host Lara Spencer Slammed By Gene Kelly’s Widow For Mocking Ballet

"I have news for you, Prince William: We'll see how long that lasts,:" Spencer said. "I mean, he might."
Gene was a classically trained ballet dancer and believed that his training was essential to all that he did. He was schooled in Chicago by a woman named Berenice Holmes who had been the student of the great Russian dancer Adolph Bolm. He knew that ballet training gave him the long, beautiful line that he sought in his dancing and, later, in his choreography for the camera that led to some of the seminal films of our time, including On the Town; An American in Paris; Singin’ in the Rain; Brigadoon. Gene said that Holmes could perform many complicated turns better than a man, including a double tour en l’air, and that she instructed him to dance with great strength, particularly in his arms.
"In 1958, my late husband, the dancer, director, choreographer Gene Kelly, decided to take on the stigma facing male dancers in an Omnibus television program for NBC that he created and starred in called Dancing, A Man's Game, wrote Ward Kelly. "Gene would be devastated to know that 61 years after his ground-breaking work, the issue of boys and men dancing is still the subject of ridicule—and on a national network,." She concluded: "ABC must do better."
Patricia Ward Kelly responded in an open letter after Spencer, the Good Morning America host, mocked young Prince George over his ballet lessons, holding back laughter at the prospect of the six-year-old dancing.
"From ballet to anything one wants to explore in life, I say go for it. Go climb your mountain-and love every minute of it." After a flurry of negative comments from choreographers and others, Spencer walked back her remarks. I fully believe we should all be free to pursue our passions. "My sincere apologies for an insensitive comment I made in pop news yesterday," she said.
Patricia Ward Kelly's open letter:
She said during the segment that George, the eldest son of the Duke and Duchess of Cambridge, would be studying maths, science, history, religious studies, computer programming, poetry and ballet. Spencer has apologized for her remarks made during a Thursday morning segment.
'Oh, he looks so happy about the ballet class,' Spencer said. She then claimed William said his son "absolutely loves ballet."
Every motion a good athlete makes is as beautiful as any a dancer makes.” It was, in his words, a personal “crusade” to show that dancers are athletes and that it is okay for a man to be graceful. For Gene it was more than a professional task. "In 1958, my late husband, the dancer, director, choreographer Gene Kelly, decided to take on the stigma facing male dancers in an Omnibus television program for NBC that he created and starred in called “Dancing, A Man’s Game.” He hoped that by aligning the great sports stars of the day—Mickey Mantle, Johnny Unitas, Vic Seixas, Sugar Ray Robinson, among others—he could challenge and destroy the shame surrounding male dancers once and for all. As he says in the special: “What could be more graceful than a football player throwing a pass—what is more excitingly beautiful than the swift movement of a double play?
Over the years, Gene advised many professional athletes to study ballet, including former wide receivers Willie Gault and Lynn Swann. Many have followed suit. Both acknowledge that the training improved their performance on the field. Gene would be devastated to know that 61 years after his ground-breaking work the issue of boys and men dancing is still the subject of ridicule—and on a national network.
That host Lara Spencer would mock a boy’s study of ballet in a nationally televised morning show and that her colleagues would join in her derision is both unacceptable and incomprehensible. Sadly, on August 22, 2019, Good Morning America elected to run a disgraceful segment about Prince George and his ballet classes.
Gene Kelly)” /> Patricia Ward Kelly (Mrs.
ABC must do better.
The widow of famed actor/dancer Gene Kelly has leaped into the fray regarding Lara Spencer's comments on ballet.
The "ballet" listing drew audience laughter and also a reaction from co-host George Stephanopoulos.

Friday Ratings: ‘American Ninja Warrior’ Again Tops A Sleepy August Night Filled With Reruns

 ” />
Although the ratings will be adjusted and some markets were pre-empted by NFL preseason, NBC is currently  #1 among the Big 4 networks Friday night in adults 18-49, adults 25-54, and all ratings categories, pending updates.
The American Ninja Warrior juggernaut rolls on, as a repeat of the athletic competition again topped the Friday night ratings.
ANW scored an 0.6/4 and 3.03 million viewers for its two-hour time slot, its best 18-49 showing for an encore since June 28. That and Dateline's 0.5/3 and 3.31 million viewers led the peacock network to an easy victory on an encore broadcast heavy night.
The rest of the network night was full of reruns
What Would You Do? on ABC answered the bell with an 0.5/3 and 2.77 million audience as the lone other original broadcast, holding steady from its last week.

‘This Is Us’ Creator Dan Fogelman Joins Cast To Celebrate 9 Emmy Noms And Tease Season 4: “A Lot Of Secret New Cast Members,” Kevin’s Experience Of Fatherhood & More

Later on, Ventimiglia and Angarano paid tribute to Fogelman and the series' writers, who have been able to fold in layers of backstory into characters like Jack and Nicky Pearson, to the extent that they feel like real people who exist off of the page. "I think it’s a testament to the writing that Nicky always felt like he had a really specific voice to me," said Angarano, who joined the cast of This Is Us just this season. "He felt like he just existed there."
And sometimes, it’s hard to leave work at work, in this situation." Because it bleeds through into real life, and you have to ground yourself in the people that you love. In conversation with Sullivan, Metz shared that while she's unsure of what's to come, in terms of onscreen singing for Kate in Season 4, she, Moore and Sullivan are all putting their own albums together at the moment. "So, it sucks. Meanwhile, Sullivan touched on the challenge of portraying the anxiety of Kate's beau Toby in Season 3. "Most of it is just suppressing any kind of urge to screw around, because I’ll take any opportunity to have fun—and if I take a long enough period of time and avoid doing that, and sit quietly, here comes all of the fear, and anxiety, and depression in my past that I avoid by screwing around and making jokes," the actor said. I mean, talk to Mandy, who’s been in that place for three seasons, on and off. It’s not a fun day.
"Still, there’s a wait to all of that. "We were in Vietnam and a gentleman goes past and he just kind of double takes me. Discussing Season 3's Vietnam flashback episodes involving Pearson patriarch Jack, Ventimiglia noted that he's based the character to a great extent off of his own father, who did two tours in Vietnam. There’s a weight to everything we play in that era." My co-star starts laughing and I go, ‘What’d he say?’ and the guy said ‘What the hell is an American soldier doing back here?'" the actor recalled. For Ventimiglia, there was something surreal about putting on an army uniform while shooting on location in Vietnam.
A sprawling ensemble series, This Is Us is a heartfelt drama, centered on a unique set of triplets, their struggles, and the parents who left an indelible mark on their lives. With nine Emmy nominations this season, recognizing the work of Brown, Ventimiglia, Moore, Sullivan, Angarano, Cephas Jones, Khosla, and guest actress Phylicia Rashad, and an additional nomination for Outstanding Drama Series, the NBC series wrapped its third season in April and will be back for its fourth go-round on September 24.” />
"I would say that in the series, we have what I call little markers, little stakes we put in the ground that serve as grounding points for the whole arc of the whole series, and I would say our first two episodes of this season are two of those. So, it’s a big, bold, potentially polarizing—but in the best possible way—start to the season." This morning at "Pancakes with the Pearsons"—a brunch at 1 Hotel West Hollywood, in celebration of This Is Us's 9 Emmy nominations—series creator Dan Fogelman joined his cast for a series of 10-minute "actor-on-actor" Q&As, providing some new details about what we can expect in Season 4 of the hit NBC drama. I would say there’s going to be a big announcement or release about it at the end of this month," Fogelman shared. "I would say that there’s a lot of secret new cast members who are going to be a big deal, coming up, so that’s one part.
Brown with Watson, Chrissy Metz with Chris Sullivan, Milo Ventimiglia with Michael Angarano, Ron Cephas Jones with Watson, Mandy Moore with Hartley—and finally, Fogelman with his composer, first-time Emmy nominee Siddhartha Khosla, who sang twice for an enraptured crowd, explaining how the series' signature sound stemmed from his upbringing as a first-generation Indian American. Today's This Is Us event was split up into six panels, pairing Sterling K.
Things that you don’t have words for, you can say with your body." " I like to talk, but I’m a big fan of communicating without speech, and so much of the soul can go into that. I think it’s the best form of expression without talking," she said. Seen in the series taking on a new job as a dance instructor—a choice which has created friction with husband Randall (Sterling K. Over the course of the intimate event's 90 minutes, cast members Susan Kelechi Watson and Justin Hartley also teased developments to come with their beloved characters, Beth and Kevin Pearson. "I’m so grateful for that because I just find it so fun. Brown), Kelechi Watson confirmed that we will see more of Beth's dancing career in seasons to come.
Even people who are perfectly matched for one another, you’re going to have ups and downs." Could they adopt us?’ and so for the both of us, we were sort of looking forward to the opportunity to enter into the nitty gritty of it all," the two-time Emmy winner explained. What a wonderful couple. "There’s something really interesting about this third season. In conversation with Watson, Brown gushed about his onscreen wife, explaining how much he enjoyed "repping this black love on this show," while touching on the conflict that emerged between Beth and Randall in Season 3. "Because there’s no such thing as a perfect couple. The first two seasons, [viewers] are like, ‘These guys are great.
Asked by co-star Mandy Moore whether he knows all the details pertaining to this storyline, Hartley explained, "I don’t know all of the surrounding details, but maybe if I’m not an expert on that topic, I would be like expert-adjacent, pretty close. But I think this is something, from what I’ve heard, that’s pretty set." I think things sometimes on our show are in flux, and some things develop that weren’t there before. For Hartley, the major upcoming development has to do with a flash forward seen at Season 3's end, with regard to Kevin Pearson's future as a father.

‘Sunnyside’: Kal Penn On How His Love For Comedy & America Inspired The NBC Comedy – TCA

Penn and Murray were joined onstage by Schur and co-stars Joel Kim Booster, Kiran Deol, Poppy Liu, Samba Schutte, Diana Maria Riva, and Moses Storm.
"We want to tell a bizarre grounded story in a way that audiences can identify and laugh with so we’re hoping this is the half-hour we can tune out the rest of the world and laugh with these hilarious people."
After teaming with executive producers Matt Murray and Michael Schur, the immigration premise of the show was born.
Also, being from the East Coast, "a lot of the NY-centric or fish out of the water stories were always interesting to me," Penn added.
Sunnyside debuts September 26 on NBC.” />
"I kind of keep those things separately. While Penn did spend time in politics, serving under the Obama administration for two years, he insisted that his experience did not have an impact on the show. I loved DC but my first love was always acting and comedy."
When asked to pitch his dream project years back, he named the two things he loved: "I love making people laugh, comedy is my first love, and I love America," he said. During the show's panel presentation at the summer TCA press tour, Penn talked about how the "patriotic comedy" came together.
The guy who coasts on that for a long time and then has a downfall and realizes he has no skills to do anything else. "We thought about a guy who got infatuated with the spotlight, liked all the trappings of power but didn’t want to get his hands dirty and do the work of being a politician," Murray continued. That was the area we were going for."
Sunnyside, the new NBC comedy starring Kal Penn, follows Garrett Modi (Penn), the youngest New York City Councilman ever who was living the American Dream but gets lost in his way amidst the power and glamour of politics. When his career ends after being busted for public intoxication, he's hired by a diverse group of hopefuls who dream of becoming American citizens and believe he can help – giving him a new sense of purpose and a chance for redemption, as long as he remembers where he came from.
However, a certain political figure was the inspiration behind his character.
We’re getting real stories in the process… We’re trying to tell a bunch of different stories around the subject. A way of keeping the immigration story grounded while blending in the comedy, Murray said, "one good thing that we’ve tried to do is our entire writing staff, which the exception of one person, is either an immigrant themselves or a child of an immigrant. It’s not one specific thing to everyone."
Not the creepy part. "When we talked about the character, we talked a lot about Anthony Weiner. Early Weiner," said Murray.

Toby Gorman Named President Of Universal Television Alternative Studio

In addition to the nine announced series for NBC, he will oversee a domestic sales strategy that includes selling content to every major network and streaming platform. Gorman’s purview also will include cultivating the more than 30 producer overall deals, as well as development in the works with key talent, including Amy Poehler, Jennifer Lopez and Jimmy Fallon. Gorman will take the helm of the studio as the business enters its third year, and continues to grow at a rapid rate. He will also forge key production partnerships, building on the studio’s current off-network slate that includes In Search of (History), The Biggest Loser (USA) and Blind Date (Bravo), as well as a dozen other projects in various stages of development and production.
Smith and Magical Elves, Gorman was Executive Vice President of Alternative Programming at FremantleMedia North America. While at FMNA, Gorman oversaw the reimagination of game shows To Tell the Truth and Match Game into production with ABC, and launched Mat Franco's Got Magic. Gorman also served as executive producer and showrunner for the dating pilot Take Me Out for ABC, executive producer of NBC's Celebrity Family Feud and as supervising producer for Fox's American Idol (seasons eight and nine), earning two shared Emmy Award nominations for Outstanding Reality-Competition Program. Prior to A.
“I have witnessed him in many roles over the years, and time and again he has proven to be a precise developer, a creative producer, and a sharp executive. As the breadth of our content and our partnerships throughout the industry continue to expand, Toby’s deep expertise, coupled with the equally important fact that he is one of the most respected executives in the field, make him the perfect fit to lead the studio into its next chapter.” “We have an incredibly ambitious growth plan for Universal Television Alternative Studio, and Toby is exactly who we want at the helm during this defining time,” said Ahr.
Prior to joining FMNA, Gorman was the co-executive producer and showrunner on NBC's Hollywood Game Night and The Winner Is, as well as on the NBC pilot Surprise Surprise and the Fox series Mobbed.
Most recently, Gorman was interim CEO of Magical Elves, where he oversaw the production company’s development and current series in addition to maintaining his role as President of Entertainment at A. Gorman also served as executive producer on Netflix series Death by Magic. Smith & Co Productions. Smith and Magical Elves, Gorman served as executive producer on the reboot of National Geographic’s Brain Games, Fox’s competition series Mental Samurai, and NBC’s The Titan Games. Throughout his tenure with A.
​Previously, Gorman was series producer and showrunner for FremantleMedia in his native UK for All Stars Family Fortunes (ITV1) and Grease ls the Word (ITV1).” />
In addition, he will collaborate closely across all areas of production, casting, business affairs and international commercial development for the studio. Reporting into Ahr, Gorman will oversee key studio operations, including development, domestic sales strategy and creative affairs. Gorman, who most recently served as interim CEO of Magical Elves as well as President of Entertainment at A. Veteran producer and executive Toby Gorman has been named President of Universal Television Alternative Studio. Smith & Co Productions, fills the position left open when Meredith Ahr was promoted last fall to President of NBC Entertainment’s Alternative and Reality Group.

Friday Ratings: Ninjas, Newsmags And Secret Agents Rule The August Night

Overall, NBC once again took the night, as Dateline also tied for the topline in demos at 0.5/3, keeping the peacock network's Friday night winning streak alive.
(0.5/3). Secret agents and ninjas topped the Friday demo wars, with an encore of NBC's American Ninja Warrior (0.5/3) tying the two-hour finale of Marvel's Agents of S.H.I.E.L.D.
 ” />
ABC also saw 20/20 score an 0.4/2.
Elsewhere, CBS reality show Love Island continued to pine for an audience, coming in at 0.3/3, with reruns of Hawaii Five-0 and Blue Bloods ending the eye network's night.
On Fox, First Responders Live arrived at 0.3/2 and a 1.66 million audience, followed by a rerun of MasterChef.
A rerun of The Outpost ended its night. The CW saw its Masters of Illusion come in at 0.2/1 and 0.82 million, with The Big Stage clocking in at 0.1/1 and 0.65 million.

‘Will & Grace’ Farewell: Cast, Producers Break The News And Salute The Fans

That expectation was met today in the announcement that the coming season would be the series last. The show returned to NBC for its revived Season 9 to big ratings, leading to the expansion of the initial order and a two-season renewal for Seasons 10 and 11, which was expected to be its last.


https://www.instagram.com/p/B0WmCLfpK6g/
Some cast and producer reactions to the news:
The news is slowly leaking out about the end of the long-running Will & Grace sitcom, and while the cast seemed prepared for it, it still marks a sad time and the end of a comedy era.
https://twitter.com/MaxMutchnick/status/1154491897634680833″ />

Julie Anne Robinson Re-Ups First-Look Deal With Universal Television

"And as a director, she always deliverers pilots with a distinctive look and feel that stand out from the rest.” “As a producer, Julie Anne’s eye for unexpected source material and her tenacity throughout the creative process consistently yields results," said Jim Donnelly, Universal Television EVP of Comedy Development and Erin Underhill, EVP of Drama Development.
EXCLUSIVE: BAFTA and Golden Globe-nominated director Julie Anne Robinson is staying put at Universal Television, renewing her first-look deal with the studio for two more years. At CannyLads, Robinson will continue to be joined by Head of Development Kelly Pancho. Under the pact, Robinson will develop and executive produce through her CannyLads scripted and will direct projects for all platforms.
Robinson developed and executive produced The Catch with Shonda Rhimes, and the NBC series I Feel Bad alongside Amy Poehler. Most recently, she directed the comedy pilot Like Magic for NBC, which she also developed.
Robinson is repped by WME, and Sloane, Offer, Weber & Dern.” />
“Universal Television is such an exciting home for CannyLads," Robinson said. "We love the people we work with. We also love that Universal Television works across all platforms-from network to streaming, and are strong in both drama and comedy. We are looking forward to creating more content and a great future with Universal Television.”
Robinson's TV directing credits also include Masters of Sex, Nurse Jackie, Orange is the New Black, Grace and Frankie, Castle Rock, Parks and Recreation and The Good Place. She also directed the studio features One for the Money and The Last Song.
Prior to that, she directed both theatre and award-winning TV shows in the UK such as Coming Down the Mountain and Blackpool. Robinson has 12 network pilots to her name seven of them going to series in the US.

Ted Danson To Star In L.A. Mayor Comedy Series From Tina Fey & Robert Carlock At NBC

The network has given a straight-to-series order to a comedy starring The Good Place's Ted Danson, from Tina Fey, Robert Carlock, 3 Arts Entertainment and Universal Television. Three of NBC's iconic comedy veterans are teaming on a new series.
“We are so excited that this is the first NBC show we get to greenlight straight to series,” said George Cheeks and Paul Telegdy, Co-Chairmen, NBC Entertainment. “It’s with talent that we know and love and who have worked on some of the most beloved shows in our network’s history. We can’t wait.”
Little Stranger president Eric Gurian will oversee for the company. Carlock, Fey, Jeff Richmond and David Miner will executive produce. The Carlock-Fey project will be produced by Universal Television, Fey's production company Little Stranger, Bevel Gears and 3 Arts Entertainment.
Fey and Carlock are producers of the Netflix/Universal Television series Unbreakable Kimmy Schmidt, which was Emmy-nominated four times for Outstanding Comedy Series over its four-season run. Over its seven-season run, 30 Rock won 16 Emmys. Fey has won six Emmys for writing and/or acting for 30 Rock and Saturday Night Live. Production wrapped this week on the show’s upcoming interactive special. As producers, Fey and Carlock won three outstanding comedy series Emmys for their seminal comedy 30 Rock.
Danson, who received a record 13th Emmy nomination for lead actor in a comedy series Tuesday, stars in the Emmy-nominated comedy The Good Place, which is about to begin its final season. He is perhaps best known for his portrayal of Boston bartender Sam Malone on NBC’s multi-award winning comedy Cheers, which ran for 11 seasons and won three Emmys as Outstanding Comedy Series.
Written by Fey and Carlock (30 Rock, Unbreakable Kimmy Schmidt), the as-yet untitled comedy stars Danson as a wealthy businessman who runs for mayor of Los Angeles for all the wrong reasons. Once he wins he has to figure out what he stands for, gain the respect of his staff, and connect with his teenage daughter, all while controlling the coyote population.
“We are thrilled to be back home at NBC and writing for one of the network’s greatest stars of all time, Mary Steenburgen’s husband, Ted,” said Fey and Carlock.
The series has been in the works for more than a year and was written specifically for Danson.
Danson is repped by WME and Industry Entertainment.” />

Norah O’Donnell’s ‘CBS Evening News’ Debut Steady In Viewers, Down In Demo

Norah O'Donnell's debut as anchor of CBS Evening News drew 5.61 million total viewers Monday, on par with the newscast's numbers in the recently ended second quarter and year-over-year but lower in viewers and the key news demo compared with this season's averages.
Year to date, CBS Evening News averages 5.96 million total viewers and 1.18M demo viewers. (In Q2, ABC led in average viewers with 8.17M and was edged by NBC in the demo 1.575M-1.574M.) But it has long ranked third among the Big 3 newscasts behind ABC's World News Tonight and NBC's NBC Nightly News.
While up 2% in viewers from the non-debut week before, Monday's viewership was off 6% compared with the 2019 average.
O'Donnell, the former CBS This Morning co-anchor and White House correspondent, took over the anchor and CBS News managing editor position from Jeff Glor, who signed off on his final broadcast May 10. The broadcast is prepping for a fall move from New York to Washington, D.C.” />
The broadcast, featuring a sit-down with Amazon's Jeff Bezos about his space ambitions and reporting on the backlash over President Donald Trump's controversial tweets, attracted 929,000 viewers in the key 25-54 demo, according to Nielsen. That was down 24% from a year ago and 22% compared with the 2019 year-to-date average.
Monday's numbers hewed more closely to the broadcast's averages for the just-ended second quarter: 5.47M viewers and 1.047M in the news demo.

Friday Ratings: NBC Tops A Quiet Evening Slate, Led Once Again By ‘Dateline’

The CW had a rerun of The Outpost at 0.1/1 and 0.54 million with The Big Stage also in reruns, coming in at 01/1 and 0.40 in its first segment, then 0.1/1 and 0.38 in the second half-hour.
The peacock network has reason to strut, as NBC won the night in the 18-49 demo wars on Friday. NBC won every half-hour outright in 18-49, and tied for first from 8-8:30 p.m.
Kennedy Jr. ABC saw its Marvel’s Agents of S.H.I.E.L.D. came in at 0.3/2 and 2.69 million viewers. The two-hour The Last Days of John F. up to 0.4/2 and 2.30 million viewers, up a tenth from the previous week.
 ” />
A rerun of American Ninja Warrior won the time slot in both 18-49 and total viewers, scoring an 0.5/ and 2.59 million viewers, and serving as a strong lead-in to Dateline NBC, which was the #1 show of the night in 18-49 with an 0.6/4 and 3.37 million viewers, up a tenth from the prior week.
At CBS, viewer infatuation with Love Island waned, as the scantily-clad showcase was down from its Thursday airing, scoring an 0.4/3 and 2.10 million viewers. Reruns of Hawaii Five-0 and Blue Bloods both had an 0.3/2 in demos.
At Fox, a rerun of First Responders Live had an 0.3/2 and 1.74 million viewers, while a regurgitated MasterChef served an 0.3/2 and 1.25 million audience.

‘Bring The Funny’ Director Carrie Havel Talks The Need For Diversity In Unscripted TV

So I think to see other people from different backgrounds and the way they respond to even comedy performances, sketch performances — you're basically selecting how you're going to tell the story for the audience, mostly in a live environment. A lot of these shows are live, and you're basically telling that story based on your choice of what you're showing the audience. So if you add the live aspect into it, even more, the importance of the director and what the director sees goes up even more, because there is no edit, there's no careful shot selection that happens after the fact. In unscripted, I think, if you look at the types of things that you direct, obviously music plays a huge part, not so much in Bring the Funny but in other variety or award shows or any of those unscripted genres. The way someone approaches a live cut to a music performance, I think that's storytelling right there, especially in a live show.
From your perspective, how has the landscape for TV changed for the underrepresented in both scripted and unscripted — specifically with women?
Why did you create the Alternative Directors Program and what impact do you hope it will have?
DEADLINE: What can inclusive representation bring to unscripted TV that many people aren't aware of?
It's a program that many are vying to be a part of. As part of NBC's inaugural Alternative Directors Program (ADP), Havel is part of an ever-changing TV landscape in an often overlooked part of the industry when it comes to diversity.
As far as impact:
They said yes not just because I asked them to do it, but because they believe in the mission of the program and giving back after all the success they have and continue to enjoy. One thing I would be remiss to not mention: Every director I asked to participate as a mentor our Alternative Directors Program said yes immediately. They volunteered time, energy, expertise, and passion, and have contributed advice on how to make the program even better in the future. None of this would have been possible without their support and guidance.” />
 
The demand was there, and they brilliantly and quickly filled the supply. I think the historical context is an excuse of how we started, but it is no excuse for why, 15-20 years later, we have not evolved and widened our pool. AHR: We can begin with a historical account of the advent of Reality TV, and how the explosion of live and “as-live” event television attracted directors mainly from News and Sports, both then-male-dominated fields, and Britain, where they were years ahead of us with what they call “Light Entertainment.” Variety shows, and competition series like “Pop Idol” and “Strictly Come Dancing” were all beloved well before they flooded airwaves in America. Producers, agents, and executives were in desperate need for individuals with experience in commanding multi-camera control rooms, with the ability to go live or at least produce a solid line cut.
AHR: It’s a brilliant time for new voices to enter the arena for a few key reasons; first and foremost, women are increasingly in positions of power; second, men and women alike are more aware of the inequalities and barriers to entry that exist, which has opened up the dialogue in a way that was not there before; and finally, for those not influenced by the first two, it has proven time and again that inclusion is good business.
First, I hope to get the directors who have successfully gone through our program directing jobs, hopefully for NBC Universal. Carrie Havel is a great example of someone who easily transitioned from the program to directing the series “Bring the Funny” for NBC and the studio.
DEADLINE: Diversity is always talked about with scripted television but hardly in unscripted. Why do you think that is?
HAVEL: I think definitely the more representation you have, the more people look at that position and go, "Oh, wow. I could do that too," like, "Oh, there are other women. There are other minorities who do this." So I think that definitely is very important for sure.
Do you think its the same? Compared to scripted, what are the benefits of having more diversity with directors and people behind the camera? DEADLINE: Unscripted is a different kind of storytelling.
"I've wanted to direct a show for NBC for a very long time," Havel told Deadline. And interestingly enough, in the cable world, I seem to keep circling with comedians and doing a lot of comedy shows. "So when the opportunity presented itself, I obviously was going to jump at it. So it seemed like a good fit as well."
As Hollywood continues its move to more diversity and inclusion behind and in front of the camera, there is one genre that often gets overlooked: unscripted television. During reality competitions and live events, the screen isn't totally void of representation of women, people of color and other marginalized communities, but behind the camera is a different story. Carrie Havel is changing that.
 
The second, is that we have no culture of apprenticeship or on the job training in the field. There are some real diverse and female standouts in the unscripted director world, but not nearly enough; and there are also terrific Assistant Directors who have been dutifully serving for years next to top directors on the most complex of productions. These individuals have every ability, but just need to be encouraged and invited to the table, and mentored by people with broader experience.
with Fred Savage on Fox. She has also worked on nearly all live musical events including Hairspray Live, Jesus Christ Superstar Live in Concert, A Christmas Story Live and Rent Live. Havel has worked on some of TV's most successful unscripted franchises including America’s Got Talent, World of Dance , The Titan Games, Little Big Shots, American Idol, Dancing with the Stars, and the Video Music Awards. She also directed the new series What Just Happened??! She is probably best known for a video her work on Grease Live as an Associate Director when a two-minute control room video of her rhythmically calling “Greased Lightning” went viral.
I'm ready to take that next step." I've worked on tons of your franchises and I'm ready. So in that respect, for me, it was great because suddenly the (NBC) program gave me the opportunity to say, "Yes, here I am. But I think NBC was smart in realizing that, "Hey, if we're going to look for qualified women and minorities to try to take the next step up and become directors of some of our shows, let's look at people who already work on our franchises and know the way we work, know the kinds of shows we like to do." And so obviously a great place to start would be to look at the AD chair and see who's sitting there. Here I am, NBC.
So the schedule's a little more forgiving and it allows for more people to come in, and maybe episode one goes to this person and episode two goes to this other person. HAVEL: The one thing I can think is, in the scripted realm, especially if you're looking at episodic, there's a lot of different directors for projects that can come in. So that's a compressed schedule, and you're looking at, with a scripted show, probably a week per episode. But in unscripted, the schedule is so tight…you're doing an entire season in maybe five or six tape days. Generally, it's not going to be one director for all of the episodes. Bring the Funny was 10 total days, five rehearsals, five tape days for an entire season except for the finale. Whereas you just don't have that luxury with an unscripted show.
One director was sponsored by her program mentor to get into the DGA, and at least two have gained a top agent as a direct result of participating in the program and our sponsorship of them. Second, I hope to open up doors for the directors, and help them expand their professional networks.
I believe two things have contributed to this. One, as more series have been commissioned, we all have relied on hiring the directors with the most experience. The catch, of course, is that the exact experience we seek is the barrier to entry for anyone new trying to break through. With millions of dollars, ratings points, and reputations on the line, a solid director is quite possibly the most important first hire.
DEADLINE: Would you say that there's a lack of diversity and representation when it comes to behind the camera for unscripted television?
Access and opportunities are changing the lens of scripted entertainment with brilliant results. One way to look at the benefits of inclusive representation is to just imagine all of the wealth of stories still untold, that could be unlocked if shared through new storytellers’ eyes. The ability to tell stories of the lives of real people, whether to highlight how related we are or to showcase our unique perspectives, is a gift with limitless storytelling potential. Where we are right now reminds me of reading about how men hold 80 percent of all patents. We must open up the pipeline and create an environment where we are encouraging people to join our field, raise their hand, share their ideas, and create apprenticeships to fill in knowledge and experience gaps. They have more access to STEM education, role models, encouragement, and mentorship on the process to register their patents. MEREDITH AHR: At its heart, unscripted TV is a reflection of ourselves and our time. It isn’t because they are smarter, or are more innovative. What will follow is a much-needed expansion of networks, to attract the best and the brightest diverse minds to our genre.
A FINAL THING TO NOTE:
Now, Havel is moving up the ranks as the director of the new comedy competition series Bring the Funny which premieres tonight. To add to that, she is the only woman directing a new alternative series on a broadcast network this season.
I can't say. And I'm not exactly sure why that is. But kudos to NBC for realizing it and saying, "Hey, let's try to come up with a program and try to put some measures in place to try to expand as a pool a bit." CARRIE HAVEL: Yeah. On the network level, there's only a handful of females or minorities that are in the director's chair.
Instead of being complacent about it, we are choosing to act. We believe that it is a responsibility for those in power to open the doors for new voices who will enhance our storytelling and connect with our viewers in new ways. We created the Alternative Directors Program because my team and I have been increasingly frustrated by the lack of change in our part of the industry.
"Every director I asked to participate as a mentor our Alternative Directors Program said yes immediately," said Meredith Ahr, NBC’s President of Alternative & Reality Group. "They said yes not just because I asked them to do it, but because they believe in the mission of the program and giving back after all the success they have and continue to enjoy."
But I have to say I kind of fell into it and I realized I loved it. The first show that I worked on that was multi-camera and live, I was like, "Oh yes. This is it." Maybe they should now. HAVEL: Scripted is fine from what I've read. I don't have any real firsthand knowledge of how that's changed. I don't think anyone really goes like, "I want to be an unscripted director." Or maybe they do.
DEADLINE: Why do you think directors in the unscripted space are generally white, straight men?
DEADLINE: Since you've been in the industry, how have you seen the landscape for TV change for underrepresented in both scripted and unscripted, and specifically for women?
Executives, agents, producers, directors – everyone at every level can make a difference. The key realization is that if you are not actively a part of the solution, then you are part of the problem. Third, I hope the program has the broader impact of elevating a much-needed conversation about inclusion, and the responsibility we all share in actioning change.
Bring the Funny marks her first time as a series director on network TV (she directed What Just Happened after Bring the Funny) and she said she wanted to prove to everyone that she was "up to the task" to making the show "look and feel great." As a women in the male-dominated space of unscripted TV, Havel and Ahr talked to us about how things are changing.
It’s a brilliant time for new voices to enter the arena for a few key reasons; first and foremost, women are increasingly in positions of power; second, men and women alike are more aware of the inequalities and barriers to entry that exist, which has opened up the dialogue in a way that was not there before; and finally, for those not influenced by the first two, it has proven time and again that inclusion is good business.
You just have to sort of work your way up. They're happy to be ADs and want to be ADs, and there's absolutely nothing wrong with that. And so for me, becoming an associate director was obviously going to be for me the best way because I want to be sitting right next to the director and learn everything I can about how these shows are made. And in terms of the AD role, I see a ton of female ADs. Now, from talking to a lot of them, I would say a lot of them don't have directing aspirations. So once I realized that, I had the question of how do I become the director. Tons.
In the new Bring the Funny, Havel oversees all episodes as director. The new competition series features the world’s best comedic acts and, for the first time on television, embraces every style of comedy performance — from sketch troupes, musicians, magicians, YouTubers and more — in one competition. The series features Saturday Night Live's Kenan Thompson, comedian Jeff Foxworthy and Chrissy Teigen as judges while comedian and Insecure actress Amanda Seales  serves as host.

‘The Voice’ Coach Blake Shelton On Adam Levine: “We All Knew He Was Ready To Make A Move”

Doesn't mean I am, or any of us [are happy], but at least they were able to soften the blow a little bit and bring Gwen back." But I know he's happy with his decision. "For a guy like Adam, who is just-he's the most ADD person I think I've met-for him to have even done it as long as he did without wanting to move on to the next thing, is amazing. "I think we all knew, on the inside of the show, that he was ready to make a move," Shelton said on Entertainment Tonight.
What are you doing?' And I went, 'Oh, okay. Perfect!'"” /> "I'm like, trying to get in the middle of this, literally, I got on the phone with one of the NBC executives, and I was saying, 'Hey man, if Adam's gonna do this, we have got to-' and before I could even finish my sentence, she said, 'Blake, it's done.
Gwen, of course, is Shelton's real-life squeeze Gwen Stefani, who returns to the show as a coach for Season 17. Stefani was a coach on season 7, 9 and 12, and began her romance with Shelton on the series after both were going through break-ups.
Blake Shelton claims he wasn't that surprised when Adam Levine decided he would no longer be a coach on NBC's The Voice.
"By the time I found out what was going on, which was only about 12 hours before the announcement, they had already reached out to Gwen's camp and said, 'Look, Adam's decided he's gonna move on, we're ready for Gwen if she's in,'" Shelton said.
Shelton says he was late in learning about her comeback

NBC Developing Romantic Drama With a Twist From ‘Good Girls’ EPs Bill Krebs & Jenna Bans

Krebs joined Bans' Good Girls after the pilot as a co-executive producer and was upped to executive producer in Season 2. NBC's suburban moms series, from Uni TV, was recently renewed for a third season.
Written by Krebs, in the untitled drama project, after her marriage is shattered by a random act of violence, a suburban middle-aged wife has an encounter with a younger man, setting off a romantic, twisted chain of events that challenge everything she thought she knew about her perfect life and what really happened to her husband
Krebs, who will serve as showrunner, executive produces with Bans. This marks Bans' first sale of a project she is not creating;/writing as she is expanding her Universal TV-based Minnesota Logging Company.
His series credits also include Red Band Society and Franklin & Bash. Krebs worked as supervising producer on Bans' previous series, ABC's The Family. ” />
Universal Television, where Bans is under an overall deal, is the studio. In one of NBC's first drama buys for the 2019-20 development season, the network has put in development an hourlong project from Good Girls creator, executive producer and showrunner Jenna Bans and the series' writer-executive producer Bill Krebs.

Friday Ratings: NBC Tops Demos With ‘American Ninja Warrior’ And ‘Dateline’

No one show dominated the competition this week. The summertime effect is kicking in to the Friday ratings game, and the slowdown is reflected in the lack of huge audience numbers being generated.
That proved to be a nice lead-in for Dateline, which tied for the night's demo lead at 0.6/4 and 3.50 million. An encore of NBC's two-hour American Ninja Warrior continued to draw a healthy slice of demo, scoring an 0.6/4 and 2.86 million. Overall, NBC won the night's demo race among the networks.
 ” />
Fox had the 2019 US Open Golf Tournament for three hours, bringing in an 0.4/3 and 2.20 viewers.
For CBS, Whistleblower had an 0.3/2 and 3.35 million, down a tick from its last week, with reruns of Hawaii Five-0 and Blue Bloods both scoring an 0.3/2 demo share.
Finally, The CW saw new episodes of Masters of Illusion and The Big Stage each at 0.2/1, the latter up a tick from its debut.
weighed in with an 0.4/3 and 2.22 million, with the two-hour 20/20 performing strongly at 0.6/3 and a 3.66 million audience, matching its audience from two weeks ago. At ABC, Marvel's Agents of S.H.I.E.L.D.

Stanley Cup Game 7 Viewership Hits All-Time NHL High With St. Louis Blues Win – Update

As we wait for those NHL final numbers, check out this very Stanley Cup and very Canadian moment by that Ontario-born Ryan O’Reilly after last night’s Blues’ win – gotta love the guy!
Now to the NBA Finals tonight – where we could see some history made too.
Ryan O’Reilly couldn’t contain himself 😂🙊 #StanleyCup pic.twitter.com/hH9hKvAj6J
— Sportsnet (@Sportsnet) June 13, 2019″ />
Compared to that Bruins winging and series clinching match-up against the Vancouver Canucks on June 15, 2011, last night’s Game 7 was up just over 4% in sets of eyeballs. Interestingly enough the previous record holder for most watched NHL game was the last time the Stanley Cup went to a Game 7.
#StanleyCup pic.twitter.com/BXOywZJMA7 34.5 lbs, but to them, it weighs nothing.
Louis Blues. PREVIOUSLY,7:23 AM: The 2019 Stanley Cup Final went right to down to the Zamboni, but last night’s Game 7 of the NHL championship series belonged to the St.
— NHL (@NHL) June 13, 2019
That court drama returns tonight to the Disney-owned net in what could be a historic win for the Canadian team with their first Larry O’Brien Championship trophy.
First of all, the final numbers are in and the first ever championship win for the Missouri team over the Boston Bruins last night in the Massachusetts metropolis scored an audience of almost 9 million.
Louis Blues, NBC, the NHL and everyone else. UPDATE, 1:45 PM: Sports fans love stats and the record slashing Game 7 of the 2019 Stanley Cup certainly provided a net full of data for the St.
The last Game 7 match-up also included Boston as the Bruins beat the Vancouver Canucks on June 15, 2011 in Hollywood North to deny the Canadian team their first Stanley Cup. In fact, with the Blues win last night, Vancouver is now one of the two teams to go the longest without a championship trophy.
That 2011 Game 7 went on to bring in a total audience of 8.5 million, even with the Vancouver market and entire Canadian viewership not being counted by Nielsen – which is very similar to the situation the NBA Finals and ABC find themselves in as the Toronto Raptors battle it out with the Golden State Warriors.
Unsurprisingly, the Blues’ victory was NBC’s highest rated game ever in the local market with a 41.8. Over in Boston, the 30.2 local rating was the best any Bruins game has done since Game 6 of the 2013 Stanley Cup.
In fact, the Blues 4-1 victory over the Original 6er crew turns out to be the most watched NHL game ever on any network since ratings data started to be complied in 1994. Leaning towards the future of television as well as the traditions, Game 7 of the 2019 Stanley Cup is the most streamed NHL face-off ever too with an Average Minute Audience of 191,500 viewers.
Up 8% over the last time the Stanley Cup went to a Game 7 in 2011, the 2019 Game 7 is also the best overnight result for any NHL game going back to 1994. No surprise that’s the best any game has done this year in the early metrics and up 33% from Sunday's Game 6.
Back to hockey, we’ll update with more Stanley Cup numbers as they come and you can take a look at the pretty steady fast affiliates for rest of what was on TV last night here:
Here’s one more stat to chew on – Game 7 of the 2019 Stanley Cup peaked with ice hard 10.4 million viewers in the 10:15 – 10:30 PM ET slot as the Blues’ victory became a done deal.
In a series that saw a number of double-digit upticks over previous years and more than a few records for NBC and the NHL, Wednesday’s Game 7 snared a 6.2/12 in metered markets.
For others, like the Blues’ Ryan O’Reilly, the adrenaline of victory clearly was surging – as were the ratings. Scoring a 4-1 victory over the Boston Bruins in Beantown, the Missouri team won the first Stanley Cup in its 52-year franchise history. For some, this year was a long-overdue rematch of the 1970 Stanley Cup Final.

Derek Hough Inks First-Look Producing Deal With Universal Television

For the 2018-19 season, World of Dance averaged a 1.2 rating in adults 18-49 and 4.8 million viewers overall in Live+7 Nielsens, up 33% versus NBC’s year-ago 18-49 average in the Sunday 8-10 PM timeslot.
Hough is a world-renowned choreographer with nine Emmy nominations and two wins, and he won ABC’s Dancing with the Stars a record six times.
Hough is repped by UTA, Silver Lining Entertainment and Reed Smith.” />
The pact covers both alternative and scripted programming. World of Dance judge and two-time Emmy winner Derek Hough is expanding his relationship with Universal Television, signing a first-look producing deal with the the studio behind NBC's hit competition dance series.
He also co-starred in the network’s production of Hairspray Live! Hough has been a judge on World of Dance for three seasons, dating back to the show’s launch in May 2017. in 2016.
Hough is currently on a nationwide tour with Derek Hough: Live! His first-ever solo tour, which stops in 59 cities, combines live music, dance and a new stage production. The Tour. On stage, he has performed at Radio City Music Hall’s Spring Spectacular, co-starring Tony Award-winning Laura Benanti, and the critically acclaimed production of Footloose in London’s West End.
“Derek is incredibly engaged and passionate about every project he tackles and is exactly the type of talent we want to be in business with,” said Meredith Ahr, President, Alternative and Reality Group, NBC Entertainment. “We’re excited to have him in the Universal Television family and work with him even closer as a producer to develop new and innovative ideas.”

NBC Ups Traci Saulsberry To SVP Of Entertainment Publicity

Saulsberry oversees publicity efforts for the network’s alternative programming including hit series America’s Got Talent, American Ninja Warrior, Ellen’s Game of Games and The Voice, among others. Saulsberry also supervises press campaigns and day-of-press production for several awards shows including the Golden Globes, Billboard Music Awards and Emmys. Also under Saulsberry’s purview is programming from Universal Television Alternative Studio, series that include World of Dance, Songland and Making It.
“She is one of the true leaders of this department and we are fortunate to have her amazing skill set leveraged across the network and studio.” “Traci is an invaluable member of our organization whose innovative approach has put a bright spotlight on our alternative programming,” Sullivan said.
Saulsberry previously worked at Style Network and USA Network.” />
Additionally, she was the publicity strategist on several of the network’s high-priority series including The Carmichael Show and The Wall. Prior to working in alternative publicity, Saulsberry served as the Director of Programming and Affiliate Publicity for network, where she oversaw the development and execution of public relations efforts among NBC’s 230-plus affiliate stations.
In her new position, she will continue to lead the unscripted publicity team for NBC Entertainment, reporting to NBC Entertainmen's EVP Communications Chip Sullivan. Traci Saulsberry is expanding her role at NBC with a promotion to SVP Entertainment Publicity.

‘Last Call With Carson Daly’ Bids Farewell To Late Night Television

"The littlest, scrappiest show on late night, it's been my home and personal playground for almost two decades, and I'm eternally grateful for the opportunities, the friendships and all the lasting memories I've made along the way." "I am proud as hell of Last Call," Daly said to start his final episode.
"I wanted a late night show that felt like it was happening late at night, and I wanted to feature great guests, important conversations, killer music, and if at all possible, alcohol," Daly joked. "And like that, yes, Last Call was born."
After 18 seasons and more than 2,000 episodes, Last Call With Carson Daly ended its run last night.
Known for its music guests – Daly came out of MTV's Total Request Live – Last Call has featured Justin Timberlake, Maroon 5, Rihanna, and Kanye West among its talent.
 ” />
The show will be called A Little Late with Lilly Singh and will bow in September. ILast Call will be succeeded by a new late-night show hosted by YouTube star Lilly Singh.
Daly will continue in his role as the host of singing competition The Voice on NBC.

Mindy Kaling On How ‘Late Night’ Was Inspired By Her Own ‘Diversity Hire’ Experience & The Importance Of Holding The Door Open For Others — Deadline Disruptors

So it’s just the fact of the matter. We have to be the ones to open the doors for other people.” “Especially during these new shows, I realized that the only way that people will have these kinds of opportunities—there’s literally been so little change for women of color—is if people like me make a difference. Now, Kaling sees that earlier frustration as “kind of an immaturity” on her part.
Plus, she has Hulu’s Four Weddings and a Funeral series—a project that resonated because of both her love of Richard Curtis’s original “perfect movie” from her youth, and the new incarnation of its story. “I just think there’s so many great, underrepresented people in London that the movie—which is so amazing—didn’t necessarily have the opportunity to show the stories of,” she says. Also in the pipeline is Kaling’s new Netflix semi-autobiographical show, focusing on her own childhood. “Doing an adaptation of that through the lens of a British-Pakistani man falling in love with an African-American woman felt interesting to me, and different enough from the source material, and it felt like I could be creative, but also pay homage to what was so great about the movie.”
“I think if more people like me who are successful after coming through something like that talk about how the experience helped them, then there will be less of a stigma to it.” “I really admire NBC for doing that program,” she insists. Her pride now in having been a part of NBC’s diversity writing program is utterly unmitigated.
All this aside from extensive acting achievements and two New York Times bestselling memoirs. 14 years later, this January, her production company Kaling International sold the film she wrote, Late Night, in a record deal with Amazon at Sundance. TV, and has a 10-episode order from Netflix for her new show. She also just had her newest film project snapped up at auction by Universal, inked an overall deal with Warner Bros. Mindy Kaling was just 24 when she became both the first woman and the first person of color to join the writing staff of The Office.
While I think that my movie, and a lot of the things that I write about, have a lot of political elements to them, I want to do something that can be enjoyed by everybody. Perhaps part of the reason Kaling has carved out space and opportunity so effectively is because she never strays into didactic territory in her storytelling. I don’t want to make niche shows for only certain groups of people.” “No one wants to buy a ticket to a movie because they think someone woke is going to preach at them,” she says. “I don’t. Politically I probably fall in line with a lot of people where I’m worried about the world that we are living in right now, but at the same time I don’t necessarily want to go get lectured when I turn on a TV show.
And in comedy, the minute a character starts thinking they’re celebrated is the minute when something terrible happens to them.”” /> Even now, despite all of her success, Kaling has a “superstitious feeling” about resting on any laurels. “I think luxuriating and thinking that you feel successful feels like a little bit of hubris.
“I’ve been amazed at the number of roles that are being created in TV—much more than film—for women over the age of 45-50 years old,” Kaling says. “The problem is that they’re largely in drama. Kaling hired Nisha Ganatra to direct Late Night, a woman who has previously referenced her own long struggle for directing opportunities, and co-star Emma Thompson, who might otherwise have been overlooked in the comedy film realm. So if you are an actress and you can play a widow, or your son died in a war, there are these very wordy juicy parts in drama, but for comedy it’s like, ‘Good luck.’”
And she has her eyes open to “making sure that every project I have is lifting other people up who look like me, who don’t have back-up. They will never be on a panel where they are asked those same questions, and I’m kind of OK with it now.” That’s my responsibility. I became used to the fact that there will never be the same scrutiny on successful white male showrunners, there just will never.
Always an unstoppable, disruptive, creative force, Kaling is nonetheless straightforward about what it felt like to be a diversity hire in those “terrifying” early Office days. “‘Diversity hire’ inherently meant, ‘less talented but fulfilling that quota.’” She keenly recalls how it felt to not have those connections, and to wince whenever the subject came up. “It used to really embarrass me because I thought I had the scarlet letter on me,” she recalls. And this is the subject—with a hilarious comedic bent, of course—of Late Night.
But diversity hiring and storytelling is not a token gesture in Kaling’s work. Rather, it’s an integral part of her authentic creative process. “It’s nice to hire people and create opportunities for people whose mere existence is aligned with my politics,” she says, “but when I wrote it, I wrote it because I just wanted to tell a funny, true story.”
“Honestly, there’s such a dearth of minority directors, particularly women of color,” she says. “It’s just very exciting to me, but also most of this movie is set in India so it would be very daunting for my first feature to be set mostly in another country. I need to decide that I really want to tell that story.” So instead of deciding now, Kaling will write first, choose later, she says. Kaling’s newest film, the as yet untitled story of an Indian wedding, will be co-produced by Priyanka Chopra’s Purple Pebble Pictures. Both women will also star. Will Kaling add the title of director to her own slate? “I feel like morally it might be a good thing to do, but I know that I can’t make the decision to direct something from a moral political viewpoint. That’s a little scary to me too.”
I just wanted to see her in a role like that, so I felt like I just would have to write it if I wanted to see it.” It’s those kinds of roles I don’t get to see women perform. Thompson is a vastly underused comedic actor, Kaling believes. “Her comedy is like you could time it to a metronome; it’s just so quick and so funny.
Not only has Kaling proven that getting a seat at that first table is what a talented creative needs and deserves, but her work has powerfully referenced the underserved Indian-American experience, in shows like The Mindy Project, NBC’s Champions, and now in these upcoming films, one of which tells the story of a diversity hire (played by Kaling) in the writers’ room of a leading TV show—inspired by her own experience on The Office.
“They don’t get the scrutiny, and it used to frustrate me a lot when I was younger because I was the first Indian-American woman to have my own show in the States, and I was the first woman of color to get nominated for an Emmy in writing.” Holding open the door for others is a responsibility she enthusiastically embraces, even though such pressures aren’t placed as heavily on the shoulders of, say, a white man in a position of power. “I think there is a different standard for me as a show creator, as someone to provide employment, than there is for someone in a lot of these other TV shows that you see with predominantly white casts and with white writing staff,” she says.
It helped me personally.” She had once thought, “If you’re funny, it’s funny and you’ll get noticed. But that isn’t true,” she says. The world of comedy, Kaling came to understand, is far from meritocratic. I love talking about it in the movie because it’s really real, and the stigma’s really real, and it truly is a helpful thing. “If you don’t know the right people to get into the rooms, you will just never be seen.
When I was younger that used to frustrate me; I would not be held up to the same scrutiny as some of these other people who frankly had more resources than me to make a bigger difference.” Along with those firsts came an expectation for her to be better than everyone, she says, “including white male writers who’ve been doing this for 20, even 30 years longer than me.

Friday Ratings: ‘The Blacklist’ Season 6 Finale Leads NBC To Demo Victory

That had a spillover for the two-hour Dateline that followed, which had an 0.6.3 and 4.03 million viewers, representing a rise over last week for the news magazine.
A major cliffhanger will have to be resolved in Season 10 of the show. Surprisingly, the season finale for Hawaii Five-0 did not prove to be a home run, drawing an 0.5/3 and 4.98 million, with the demo numbers ticking down two-tenths from the previous week.
The Season 6 finale of NBC's The Blacklist helped send the peacock network to the top of a quiet Friday night.
CBS played on the fascination of the recent royal birth with the special Meghan and Harry Plus One, which had an 0.5/3 and a 5 million total audience. That lead-in to a CBS Sunday Morning special on traffic helped that examination to an 0.4/2 and 3.36 million.
Fox had reruns of Masterchef (0.3/2 and 1.58 million) and Masterchef Celebrity Family Showdown (0.4/2 and 1.50 million).
Those totals matched its season high in total viewers and its high water mark for adults in the coveted 18-49 demo. The Blacklist unraveled some of its bigger secrets in the finale, scoring an 0.6/4 and 4.45 million viewers. The 0.6 represented a hold on last week's numbers for the show.
 ” />
At ABC, Marvel’s Agents of S.H.I.E.L.D. held on to the 0.4/3 of its season premiere last week, but dropped slightly in total viewership at 2.24 million. The two-hour 20/20 that followed was also down, 0.4/2 and 2.49 million, down a tick from last week's numbers.
At The CW, Dynasty bumped up, scoring an 0.2/1 and 0.96 total viewers, with a rerun of Whose Line Is It Anyway coming in at 0.2/1 and 0.84 million.

2019-20 Primetime TV Grid: ‘Blue Bloods’ Escapes ‘WWE SmackDown’, CW’s Female Superhero Sunday, ‘This Is Us’ Vs. Departing ‘Empire’ + No ‘Big Bang Theory’

ABC
God Friended Me8 – 9pmreturning
CBS

Supernatural

Fox College Football7 – 10:30pmreturning

Magnum P.I.9 – 10pmreturning
Shark Tank
7:00
Young Sheldon
CW
The Conners

9:30
The Unicorn

The Goldbergs8 – 8:30pmreturning
10:00
On the flip-side of the spectrum, Fox is now gleefully untethered from its film and TV studios, due to the $71.3 billion acquisition by Disney. Subsequently, with the fall of any corporate Fox News advertising barrier and going into the final season of Empire, the recently minted Fox Entertainment is going full throttle towards its tactical endgame of becoming the broadcast network of choice for Red Meat America.
Single Parents
Chicago P.D.
8:00

8:30
SAT
TUE
Crimetime Saturday9 – 10pmreturning
8:00

Black Lightning
9:30
In its move to Tuesdays at 9 PM, the end of Empire is up against the ratings armada that Dan Fogelman's waterworks-fest, which was just renewed for three more seasons – and that’s simply and perhaps Ali vs Foreman with a very different ending. Why the pessimistic prediction? Three words: This Is Us.
10:00
Chicago Med

Madam Secretary10 – 11pmreturning
Bless The Harts

BULL VS. BLUFF: A look at this year’s schedule or the schedule of almost any year will tell you that broadcast TV offers familiar faces and legal drama, and there’s double trouble this coming season on Mondays at 10 PM. The discord comes out of past castmate Eliza Dushku's claims that Weatherly sexually harassed her on first season of the show and the $9.5 million settlement eventually reached by the then-Les Moonves-run CBS. Shrouded in continued controversy over the allegedly reprehensible behavior of star and NCIS alum Michael Weatherly, Bull is back for a fourth season at the top of the week.
20/209 – 11pmreturning

The Blacklist
Riverdale8 – 9pmreturning

Single Parents9:30 – 10pmreturning

Supergirl

The Neighborhood
9:00
Carol's Second Act9:30 – 10pmnew
Sunnyside
60 Minutes7 – 8pmreturning
Hover over shows for more info. All times ET/PT.
The Simpsons8 – 8:30pmreturning

10:00
7:30
Mom
Mixed-ish9 – 9:30pmnew
With that in mind, check out Deadline's interactive 2019-2020 primetime broadcast schedule here, followed by a look at some key matchups to watch:
Pulling up to a Daenerys and Drogon perspective, despite the best intentions and promises to advertisers by the new leadership at all of the Big 4, some of the 18 new shows on the schedule this fall are clearly going to get scorched — that’s the nature of the business. However, soaring up even higher, the 2019-20 cycle now looks more and more like a transitional season for the networks as the continental TV landscape writhes more than ever before and new streaming competition takes the field.
The Resident8 – 9pmreturning

Bob Hearts Abishola
Dancing With The Stars8 – 10pmreturning
The Good Doctor

CBS
Magnum P.I.

10:00

The Masked Singer
Nancy Drew9 – 10pmnew
Kids Say The Darndest Things
Modern Family
If ever there was an expedient excuse to cite the proverb “the more things change the more they stay the same,” the broadcast networks' 2019-2020 fall schedule is such an occasion now that the annual hoopla of the upfronts are over.
9:30
THUR

The Voice
The Goldbergs
Young Sheldon8 – 8:30pmreturning
Superstore

All Rise
In that vein, the Orange is the New Black alum Rose’s appearance in the latest annual Arrowverse crossover “Elseworlds” in December last year blew up the Internet as much as Haddish’s career-making and scene-stealing turn in 2017’s Girls Trip. So, will it be kids or capes for those not watching football Sundays? To quote CW boss Pedowitz in a different context, “Bring it on!"” />
Dateline NBC

CBS
9:30
Carol's Second Act
Perfect Harmony8:30 – 9pmnew
10:30

The OT/Encores

7:30

Blue Bloods10 – 11pmreturning
Empire9 – 10pmreturning
Thursday Night Football (5 PM PT)8 – 11pmreturning
The Rookie10 – 11pmreturning

8:30
9:30

Perfect Harmony
Madam Secretary
Fox College Football
American Housewife
10:30
NBC
SNL (Encores)10 – 11pmreturning
10:30
Fall TV Grid 2019-2020
The Rookie

Prodigal Son
Chicago P.D.10 – 11pmreturning
The Unicorn8:30 – 9pmnew
9:00
All American8 – 9pmreturning
Supernatural8 – 9pmreturning
10:00
20/20
Stumptown
8:30
Bull
NBC
Bull10 – 11pmreturning

Legacies
Arrow9 – 10pmreturning
NCIS: Los Angeles9 – 10pmreturning
The Flash
Hawaii Five-0
CBS
Bless This Mess
8:00
Batwoman8 – 9pmnew
All Rise9 – 10pmnew

Bluff City Law10 – 11pmnew
Black-ish9:30 – 10pmreturning
Football Night In America (7-8:20 PM ET)
10:30
NBC
In fact, a glance at the complete schedule lays bare how some nets are aiming to hold their ground while others are going on offense to claim greater territory – with a whole bunch of primetime battles throughout the programming week.

7:30
8:30

The Simpsons
Grey's Anatomy
Evil10 – 11pmnew
Black Lightning9 – 10pmreturning
Bob Hearts Abishola8:30 – 9pmnew
WWE Smackdown Live!

FBI9 – 10pmreturning

NCIS: Los Angeles

Saturday Night Football (8 PM ET)
Batwoman
Empire
Dateline NBC9 – 11pmreturning
Dancing With The Stars
ABC
Schooled
Chicago Med8 – 9pmreturning

Fresh Off The Boat

TNF Pregame Show (4:30-5 PM PT)
This Is Us9 – 10pmreturning

SEAL Team
SNL (Encores)
Crimetime Saturday
The Voice8 – 10pmreturning
9118 – 9pmreturning
Modern Family9 – 9:30pmreturning
Bless The Harts8:30 – 9pmnew
10:00
10:30
911
At 8 PM, the Disney-owned net has brought back the once Bill Cosby-fronted Kids Say The Darndest Things with the often wonderfully biting Tiffany Haddish taking over hosting duties. In a nimble yet obvious anti-NFL play of its own, the Mark Pedowitz-run CW is debuting the much-hyped Batwoman at 8 PM on Sundays too. However, in potentially savvy counter-programming, ABC and the CW have planted their own flags of female distinction. BATWOMAN SHOWDOWN WITH TIFFANY HADDISH: The winner on Sunday nights this season, like last season and every season to come as long as it’s on, will be Sunday Night Football on NBC. (Berlanti has even upped his game from last year, and Berlanti Prods again has the most series on the air at the same time.) The first part of a two-hour Greg Berlanti-produced superwoman block with the fifth season of the Melissa Benoist-led Supergirl, the Gotham City-set Ruby Rose series is already off the charts in terms of fan engagement, in no small part because of the DC Comics fanbase and the barrier-smashing fact that the actor will be playing the first openly lesbian superhero lead in TV history.
FOX
But then again, faced with a virtually provable reality, the crew at the most-watched network almost have no choice but pull focus with the end of audience magnet The Big Bang Theory tonight after 12 seasons. After years of being thrown shade as the old white guy network, the new-ish leadership of CBS is shifting its gaze, as the acclaimed painter Titus Kaphar would say, and gingerly leaning towards a broader on-air representation of America.
9:30

SEAL Team9 – 10pmreturning
The Resident
Football Night In America (7-8:20 PM ET)7 – 8:30pmreturning
All American
9:00
The Voice8 – 9pmreturning
Chicago Fire
7:00
As you can see above, there have been several time-slot realignments from last year, with the final season of Empire now on Tuesdays, The Flash and the departing Arrow team up for the first time on Tuesdays and, in a stroke of programming brilliance and wit, the second season of the Magnum P.I. revival moves to Fridays as a lead-in to the Tom Selleck-led Blue Bloods on CBS.
ABC
The Neighborhood8 – 8:30pmreturning
NBC
Not Just Me
NFL on Fox
8:00
Legacies9 – 10pmreturning
FRI

7:00
SUN

FOX
Black-ish
Kids Say The Darndest Things8 – 9pmnew

Chicago Fire9 – 10pmreturning

God Friended Me
American Housewife8 – 8:30pmreturning
Thursday Night Football (5 PM PT)
As we prepare to enter the fray this fall, keep your eyes on these clashes:
New Amsterdam
Crimetime Saturday
America's Funniest Home Videos
CW

NBC
NBC
And I’m all out of bubble gum.” However, when it comes to viewership, the high-octane SmackDown will likely be taken to the mat by the behemoth that is still CBS’ Blue Bloods. Or as Roddy Piper once said: “I’m here to chew bubble gum and kick ass. Secondly, the WWE series was starting to stumble in its previous home at USA Network to face-plant to a non-holiday low this week. And lastly, with Fox only having two hours of primetime programming a night, Blue Bloods doesn’t have to break a sweat because it's free and clear of the competition anyway. First of all, even with the transition from cable to broadcast, that’s a big number for SmackDown to deliver. Lacing up for its 10th season, the Tom Selleck-led NYPD family drama averaged an audience of almost 9 million in its 10 PM Friday night slot this year.
8:00
Law & Order: SVU
America's Funniest Home Videos7 – 8pmreturning
Dynasty9 – 10pmreturning
The Good Place9 – 9:30pmreturning
48 Hours

Mom9 – 9:30pmreturning

The Voice
NCIS
NCIS: New Orleans10 – 11pmreturning
Riverdale
7:00

7:30

Emergence

The Blacklist8 – 9pmreturning
FOX
Hawaii Five-08 – 9pmreturning
CW
NCIS8 – 9pmreturning
Sunday Night Football (8:20-11 PM ET)
FOX

8:00
The Good Doctor10 – 11pmreturning
Dateline Saturday Night Mystery
New series in green, returning shows in white, new times in italic.
FOX
Charmed
7:00
S.W.A.T.10 – 11pmreturning

9:00
The Flash8 – 9pmreturning
7:30
Blue Bloods
NFL on Fox7 – 7:30pmreturning
ABC
The Conners8 – 8:30pmreturning
Law & Order: SVU10 – 11pmreturning
Bluff City Law
48 Hours10 – 11pmreturning
The Masked Singer8 – 9pmreturning
WED
Family Guy9:30 – 10pmreturning
Schooled8:30 – 9pmreturning

MON
ABC
Up against that comes L.A. Law and West Wing vet Jimmy Smits in the leading role in newbie Bluff City Law on NBC. Hard to tell who wins this one, but, like Bull itself at this point for CBS, the optics don’t look good for the incumbent, to say the least. The Dean Georgaris-created and Memphis-based series focuses on a top-tier law family law firm that fights the civil rights good fight.
8:00
9:00
WWE Smackdown Live!8 – 10pmnew
10:30
Henson- and Terrance Howard-led saga was going to be “a large TV event,” expect Empire to take further dives as it says goodbye. Despite the declarations of Fox boss Charlie Collier that the sixth and final season of the Taraji P. DECLINE & FALL OF EMPIRE: Once one of the reigning series on all of television, Empire’s last few years have seen the Lee Daniels- and Danny Strong-created hip hop drama tumble out of the top 50 with a succession of rating lows and the recent Jussie Smollett assault scandal.
8:30
Dateline Saturday Night Mystery8 – 10pmreturning
The OT/Encores7:30 – 8pmreturning
CW
How To Get Away With Murder
7:00
Sunday Night Football (8:20-11 PM ET)8:30 – 11pmreturning
9:30
New Amsterdam10 – 11pmreturning
Evil
7:00

TOM SELLECK SMACKDOWN: Going large with sports throughout the week, Fox looks primed to snag a lot of primetime victories this fall. Getting in the ring in a new fashion, there’s also the premiere this year of WWE SmackDown on Fridays. After middling results as a space suck-up on other networks in the past, the late-week NFL games were a ratings winner for both Fox and the hobbled league last year, and the WWE showcase looks to own its night this year among adults 18-49. There’s the ongoing Major League Baseball contract, which means the World Series, and, with the Murdoch-owned net having shelled out some serious bucks back in 2018, there’s second season of the NFL on Thursdays.
NCIS: New Orleans
S.W.A.T.
CBS

CW
CBS
Emergence10 – 11pmnew
NBC

Crimetime Saturday8 – 9pmreturning

A Million Little Things

Dynasty
FOX
Charmed8 – 9pmreturning
Arrow
CW

Still perched at 10 PM, Blue Bloods will continue to top Friday nights in viewership despite Fox debuting WWE SmackDown that night. Gotham is gone on Fox, but Gotham City is swinging back to the small screen with the profusely touted Batwoman on the CW’s superhero Sunday lineup and taking on Tiffany Haddish and ABC for the non-NFL crowd.
Survivor
Stumptown10 – 11pmnew
Mixed-ish
Saturday Night Football (8 PM ET)8 – 11pmreturning
Nancy Drew
ABC
ABC

Bob's Burgers
10:30

7:30
The Good Place
8:30
Bob's Burgers9 – 9:30pmreturning

FBI
9:00
Fresh Off The Boat8:30 – 9pmreturning

A Million Little Things9 – 10pmreturning
Not Just Me9 – 10pmnew
9:00
FOX
10:00

8:30

Prodigal Son9 – 10pmnew

TNF Pregame Show (4:30-5 PM PT)7:30 – 8pmreturning
Shark Tank9 – 10pmreturning
Survivor8 – 9pmreturning
7:30

How To Get Away With Murder10 – 11pmreturning
60 Minutes
CBS
Sunnyside9:30 – 10pmnew
Superstore8 – 8:30pmreturning
CW

Family Guy
Bless This Mess8:30 – 9pmreturning

This Is Us
Grey's Anatomy8 – 9pmreturning
Supergirl9 – 10pmreturning

NBC Taps Lesley Cerwin As SVP Strategic Business Initiatives

Previously, she held the role of a Senior Vice President in publicity, where she handled press for the alternative group and its top executives. In this position Cerwin oversaw press campaigns for both the network and Universal Television Alternative Studio’s programming, working on some of NBC’s top programs, including The Voice, American Ninja Warrior, America's Got Talent, Little Big Shots, and the Golden Globe Awards telecast.
Most recently serving as SVP Alternative Programming, Cerwin has been named SVP Strategic Business Initiations. Longtime NBC exec Lesley Cerwin is expanding her role with the company.
Prior to overseeing publicity for NBC Entertainment’s alternative department, Cerwin handled campaigns for scripted series, including Studio 60 on the Sunset Strip and Southland as well as NBC marketing. Before joining NBC, Cerwin held publicity roles at Disney ABC Domestic Television, Universal Television, Fox Broadcasting Company and The WB Network.” />
She will also oversee the division’s Symphony efforts, the internal initiative for cross promotions within the larger NBCUniversal and Comcast organizations. In her new role, Cerwin will identify growth opportunities for NBC Entertainment, collaborate with the senior leadership team to foster existing relationships for the company, maximize opportunities for talent and attract new partnerships. She reports to co-chairmen George Cheeks and Paul Telegdy.
As SVP Alternative Programming, Cerwin was responsible for maximizing the alternative programming slate, working closely with series producers, studio partners and talent to expand their reach by partnering with marketing, sales, digital, social and publicity.
“Lesley is an integral part of our organization, and this expanded role will enable her to help grow our business in new and meaningful ways,” Cheeks and Telegdy said. “With the constantly shifting television landscape, Lesley’s unique perspective and ability to partner across the portfolio will help ensure NBC Entertainment stays ahead of the competitive curve.”

John Legend & Get Lifted Ink Overall Deal With ABC Studios

Under the pact, the company will work exclusively with ABC Studios in scripted television across all platforms. has signed an exclusive three-year overall deal with ABC Studios. EXCLUSIVE: John Legend, Mike Jackson and Ty Stiklorius' Get Lifted Film Co. The company is moving from Sony Pictures TV, where it was previously under a first-look deal.
The company executive produced Damien Chazelle’s Oscar-winning musical La La Land, starring Ryan Gosling and Emma Stone, as well as NBC’s Jesus Christ Superstar Live in Concert. The NBC special won both a Primetime Emmy Award for Outstanding Variety Special Live and a Broadcast Critics Choice Award. Get Lifted has developed television projects with major networks including ABC, NBC, Fox, HBO, Showtime, Netflix and MTV. Most recently their film Monster premiered in the Dramatic Competition at the 2018 Sundance Film Festival and their documentary United Skates won the 2018 Audience Award at Tribeca Film Festival. United Skates premiered on HBO in February.
are thrilled to be working with ABC Studios and welcome the opportunity to tell remarkable stories that resonate with our growing audience,” said Mike Jackson, Partner, Get Lifted. “We here at Get Lifted Film Co.
They are about to begin production on David E. Get Lifted just wrapped production on the IFC comedy series Sherman’s Showcase and on Rhythm + Flow for Netflix. Talbert’s holiday film Jingle Jangle for Netflix.
Get Lifted is repped by WME and Nina Shaw of Del, Shaw, Moonves, Tanaka, Finklestein and Lezcano.” />
“Their enormous success is no surprise considering their excellent taste and ability to tell stories that are timely and unique.” “John Legend and his Get Lifted partners, Mike Jackson and Ty Stiklorius have a strong, contemporary point of view,” said Patrick Moran, President, ABC Studios.
Get Lifted also executive produced Richard Tanne’s Obama romance, Southside With You, WGN America’s critically acclaimed drama, Underground, Pop Network's docu-series Sing it On, HBO’s 2015 documentary Southern Rites and Can You Dig This, which won the LA Film Festival’s Jury Award that same year.