DAILY

Page 1 of 8May 22, 2013

By Paul Bond and Lesley GoldbergMicrosoft unveiled a new sys-tem Tuesday that fuses video-gaming, music and interactive television, all of which can be easily con-trolled with arm motions and voice commands.

Dubbed Xbox One and due out this year, the sys-tem includes access to Skype and lets users watch TV, play games and talk with friends via a split screen on a single TV set.

The aggressive move into living rooms nationwide was previewed at an event at Microsoft headquarters in Redmond, Wash., and coin-cided with the announce-ment that Steven Spielberg would executive produce a live-action TV series based on the Halo video game

available exclusively on Xbox One.

The Halo TV show will be the first from Xbox Enter-tainment Studios, an entity created in September and run by former CBS execu-tive Nancy Tellem.

Also signing on to Xbox One is the National Foot-ball League, which will

allow Microsoft to create exclusive interactive con-tent around NFL program-ming. While executives weren’t specific on Tues-day, the content is expected to include a bold move into fantasy football.

Xbox One also is a Blu-ray disc player, but it will

Microsoft Puts New XBox One in Motion

Inside:ESPN TO LAY OFF 400 STAFFERS AMID PROFITSPAGE 2

CBS COMES UP A DOUBLE WINNERPAGE 3

FOX, EFRON NAB TRUE TALE NARCPAGE 4

STILL A CRIME SCENE IN CANNESPAGE 5

REVIEW: BEHIND THE CANDELABRAPAGE 6

The reveal of Microsoft’s new XBox One console came alongside news that Steven Spielberg will exec produce a Halo TV series based on the game.

SEE PAGE 2

not replace the cable or satellite box, nor will it replace the DVR. It will, though, make those devices work in concert with video-gaming, music and Skype.

The voice system, which is designed to work well even when background noise is present, allows users to switch channels, bring up a guide for a spe-cific channel, display a cus-tom home page containing a user’s favorite TV shows and music, and more, all via spoken commands.

The Xbox One will com-pete with Wii U, Nin-tendo’s next-generation gaming system launched in November, and Sony’s upcoming PlayStation 4. It’s also likely taking aim at Apple TV, Roku and other boxes that deliver TV shows and movies on demand.

Xbox One’s 5 billion transistors and other advanced technology will keep things loading fast, according to Microsoft, and help the user jump between video games and TV shows almost instantly

and without changing TV inputs.

Microsoft also said sev-eral updated game titles are in the works for Xbox One, including Forza Motorsport 5 from Turn 10 Studios; Call of Duty: Ghosts from Activision; Quantum Break from Rem-edy Entertainment; and four sports games from Electronic Arts.

Spielberg’s Halo series will include exclusive inter-active Xbox One content created in partnership with 343 Industries and Xbox Entertainment Studios.

For Microsoft, the announcement that it would develop a live-action scripted vehicle around the game comes as digital plat-forms including Netflix and Amazon are launching into the scripted business.

For Spielberg, the news comes amid a busy

development season, with ABC this month grant-ing series orders to lottery drama Lucky 7.

TNT also announced during its upfront presen-tation that it is developing two scripted dramas from Spielberg’s Amblin Tele-vision: Portal House with Fringe’s Jeff Pinkner and a reimagining of Peter Gunn.

THRIVING ESPNTO PINKSLIP 400By Michael O’Connell and Marisa GuthrieESPN is laying off upward of 400 employees despite con-tinued financial success for the Walt Disney Co.-owned sports giant.

The network confirmed the news Tuesday, issuing the following statement: “We are implementing changes across the com-pany to enhance our con-tinued growth while smartly managing costs. While difficult, we are con-fident that it will make us more competitive, innova-tive and productive.”

News of layoffs come less than two weeks after

Disney’s media networks segment rose 6 percent to $4.96 billion, with oper-ating income up 8 per-cent to $1.86 billion. One of the company’s most con-sistently lucrative prop-erties, ESPN has enjoyed increased affiliate revenue in 2013.

Forbes recently called ESPN “the world’s most valuable media property,” worth $40 billion.

The layoffs are a first for the ESPN since 2009. The company has about 7,000 employees, includ-ing 4,000 in the U.S. The move comes months after Disney lost 150 jobs from its film division following a reported audit ordered by Robert Iger.

ESPN, which held its upfront presentation last week, faces a new com-petitor in the fall with the August bow of Fox Sports 1 in 81 million homes.

The net has most of its expensive rights deals locked up for the foresee-able future, including the NFL, MLB, Wimbledon and multiple college foot-ball conferences.

BUSINESS NEWSPage 2 of 8May 22, 2013

FROM PAGE 1

THR

TV NEWSPage 3 of 7October 18, 2010

By Michael O’ConnellCBS is now the most-watched and highest-rated of the broadcast networks. With the May sweep con-cluding Wednesday night and only three nights of reported ratings yet to come in, rankings are essentially fixed.

For CBS, a top spot in the adults 18-49 demo-graphic — which it eas-ily owns with an average 2.9 rating in primetime — marks its first win in the category in 21 years. The network hasn’t topped the ad-friendly demo since the 1991-92 season. Most-watched for the 10th time in 11 years, CBS averaged 11.85 million viewers, giv-ing it a robust 4 million-viewer advantage over its closest competition.

Top rankings often come with an asterisk for net-works that also played home to the Super Bowl, which CBS did to the tune of a 39.7 adults rating and 108.7 million viewers, but the network still holds the top slot without taking the NFL championship game into account.

CBS’ demo average, no doubt helped by broadcast champ The Big Bang Theory, has it falling the least of the Big Four — just 3 percent. In total viewers, it’s also poised to be the only grower, with a 1 percent improve-ment from a year ago.

On the heels of eight con-secutive seasons on top in the key demographic, Fox slipped to second place in adults 18-49. The network dropped 22 percent from last year’s top slot, aver-aging a 2.5 rating among adults 18-49. Despite suc-cesses such as midsea-son entry The Following, autumn preemptions and delays (18 of the first 39 nights of the season), Amer-ican Idol’s significant losses in the spring and a disap-pointing relaunch for The X Factor in the fall held the network back. And though the Idol drop has been exhaustively documented, it ends the season still a top 5 performer.

The network falls to third-place status in total viewers, averaging 7.06 mil-lion — a 20 percent drop from 2011-12.

NBC comes in at a strong third place with an average 2.4 rating among adults 18-49, a score that had a shared second-place

status with Fox just out of reach. The Peacock, down 4 percent from last year’s Super Bowl-boosted effort, has The Voice to thank for its competitive status.

Finishing within a tenth of a point of Fox has NBC in its most competitive position in nine seasons. In total viewers, NBC aver-aged 6.96 million viewers, down 6 percent vs. last year.

Retaining fourth-place status is ABC. The net-work dropped 12 percent from the previous season to an average rating of 2.2 in adults 18-49. Like the season before, ABC again didn’t see a breakout hit in its freshman crop. And with stalwart Dancing With the Stars continuing to dip, sophomore slumps for Revenge and Once Upon a Time and the absence of former scripted flag-ship Desperate Housewives, it doubled its demo losses from the last season.

Though it was down 6 percent, ABC retained

some edge in total viewers — averaging 7.85 million and besting Fox and NBC for second place.

The CW managed to curb the double-digit drops seen last season. A new solid night in Wednesday’s Arrow-Supernatural combo had the smaller net rival NBC on some nights and helped it earn an average 0.7 rat-ing among adults 18-49. That’s even with last sea-son, as opposed to last year’s 22 percent dip. The network averaged 1.78 million view-ers, inching up 5 percent.

OIL GUSHES AT DISCOVERYBy Kimberly NordykeDiscovery Channel aims to give viewers an inside look at a family-owned oil com-pany and their struggles in its new series Blood and Oil.

The network has sched-uled a premiere date of 10 p.m. ET/PT on Tues-day, June 18, for the show, which was previously announced under the working title Cutter Oil.

The series centers on the Cutters, a blue-collar, Midwestern family deter-mined to keep their oil company alive amid Ohio’s aggressive oil boom and what is being described as a “David vs. Goliath” struggle with the big oil corporations.

Blood and Oil is produced for Discovery Channel by PSG Motion Pictures. Brian Jones is executive producer for PSG, and David Pritikin is EP for Discovery.

CBS Is the Champ in Viewers and the Demo

The Big Bang Theory continues to be a juggernaut for top-rated CBS.

THR

EFRON WIRED FOR YORNS’ NARC AT FOXBy Borys KitFox has gone undercover to pick up Narc, a true-crime project to which Zac Efron is attached to star.

Julie and Rick Yorn will produce via their Fox-based shingle LBI, while Gar-rett Meyer, part of the stu-dio’s writing program, is on board to pen the script.

Narc, described as a col-lege-set Donnie Brasco, cen-ters on an all-American college student who was the president of his fraternity and captain of his lacrosse team but got busted by police when he was caught with cocaine he was going to distribute at a party.

The police offered him a deal in which he would not be arrested if he became an undercover informant. The student then ended up living a secret double life while in college, wear-ing wiretaps and eventu-ally putting away big-time criminals.

Doug Banker, an

up-and-coming producer who worked on Discov-ery Channel’s Ted Nugent’s Gun Country, discovered the story and was instru-mental in making the deal. He will executive produce along with Jason Barrett.

Matthew Reilly is co-producing.

Efron, now shooting Uni-versal’s The Townies with Seth Rogen, just signed on to the thriller Autobahn with Amber Heard. The project is selling at Cannes. He is repped by CAA and Alchemy Entertainment.

The Yorns’ credits include the Matt Damon drama We Bought a Zoo and the Denzel Washington train thriller Unstoppable.

FUTURE IN THE CARDS FOR SCRIBEBy Rebecca FordCANNES — Oscar-nomi-nated screenwriter Roger L. Simon will pen the script for The Future of Now, the second feature from newly launched Primeridian Entertainment.

Arcadiy Golubovich, a principal of Primeridian, will make his directorial debut with the dystopian drama. His Primeridian partner, Tim O’Hair, will produce.

Primeridian is fully financ-ing the Wash-ington-set pic, with casting slated for June and shooting aiming for fall.

The author of 10 novels, Simon was nominated for an Academy Award for best screenplay for 1989’s Ene-mies: A Love Story. He also received a screenplay credit for A Better Life, which led to an Oscar best act-ing nomination for Demian Bichir.

Earlier at the fest, Prim-eridian announced that its first feature, based on the life of Alexander Solzhenit-syn, would be directed by Cyrus Nowrasteh.

UTA SIGNS KINNAMANBy Borys KitJoel Kinnaman has signed with CAA, sources tell The Hollywood Reporter.

The star of RoboCop and TV’s The Killing left UTA last week. He continues to be represented by manager Shelley Browning of Mag-nolia Enter-tainment and attorney Adam Kaller.

Kinnaman has two films lined up after finishing sea-son three of The Killing. He will team with Liam Nee-son in the action thriller Run All Night, directed by Jaume Collet-Sera, and star in the crime thriller Child 44 opposite Tom Hardy and Noomi Rapace. Daniel Espinosa directs.

MOVIE NEWSPage 4 of 8May 22, 2013

Fox has acquired Narc, in which Efron goes undercover in school.

KinnamanSimon

THR

CANNES 2013Page 5 of 8May 22, 2013

By Sharon Swart CANNES — Festgoers beware: The Cannes crime spree isn’t over. Follow-ing last week’s news of the high-profile $1 mil-lion Chopard heist and the burglary of Zhang Qiang’s rented apartment, there are reports of new victims.

CIT Group managing director Kevin Khanna and Silver Pictures co-president Steve Richards returned to their five-bed-room villa behind the Majestic Hotel on Mon-day to find all of their valu-ables missing.

“In the span of an hour they had gotten into the house through the roof and gone through all of our rooms,” said Khanna. “They only took cash, lap-tops, iPads and wom-en’s jewelry but left our

passports and credit cards. They were very professional.”

Khanna’s group reported the incident to the police, who said “nothing could be done and that these robberies happen all the time,” said Khanna. “They told us we were lucky that we weren’t in the house and that no one got hurt.”

But attacks are being reported as well. Banker Charles Heaphy was mugged late at night near the Cannes train station a few days ago. Apparently, police told Heaphy he was lucky he wasn’t stabbed.

Gersh agent Jay Cohen and Waterstone Entertain-ment’s Stephen Bowen and Jeff Kalligheri were also accosted as they left the Palm Beach casino early Sunday morning at around

3 a.m. Three men started to push and grab at them, attempting to lift a wallet and watch.

“They followed us for 10 minutes, then snuck up on us, and I put my umbrella in my hand like a punching glove,” said Cohen. “Jeff told them we were sober so they may not want to do this, and eventually we got them away.”

Film Tree execs Graham Begg and Ed Sharp had a robbery at their Cannes apartment as well. “Lap-tops, iPads, money, credit cards, clothes were among the items stolen,” said Begg.

“There have always been issues with this sort of thing during the festival,” said Khanna, “but it seems like there is more of it this year. I think it’s tied to the poor economic conditions.”

WEINSTEIN CO.BOOKS TICKETTO PASSENGERSBy Patrick Brzeski CANNES — The Weinstein Co. has acquired the U.S. rights to sci-fi romance movie Passengers, starring Keanu Reeves and Reese Witherspoon.

The company has com-mitted to a multimillion-dollar guarantee and will spend a minimum $25 mil-lion on marketing the release. Wayfare Enter-tainment is financing and producing the film.

Developed by Reeves and Stephen Hamel at their Company Films, the script

was written by Jon Spaihts (Prometheus). The film will be the fea-ture directing debut of TV director Brian Kirk (Game of Thrones, Boardwalk Empire).

Reeves plays a man aboard a spaceship

whose sleep chamber mal-functions and awakens him 90 years early. Facing a sol-itary life in deep space, he wakes up a fellow passen-ger (Witherspoon).

Hamel and Wayfare CEO Ben Browning are producing. Start Media’s Michael Maher and Lyn-wood Spinks are onboard to exec produce. Exclusive Media is selling the project in Cannes.

FROM PAGE 4

THR

A series of burglaries and robberies at this year’s Cannes festival has directly impacted industry attendees.

Still a Crime Scene in the South of France

Reeves

Witherspoon

Page 6 of 7May 22, 2013

CANNES REVIEWBEHIND THE CANDELABRA By Todd McCarthyCANNES — Behind the Can-delabra is fabulous — so much so that, were it not for the fact that it reveals everything about his pri-vate life that he worked so hard to conceal, Liberace himself might well have loved it. The big screen’s loss is HBO’s gain in what is billed as Steven Soder-bergh’s farewell to cinema, at least for the time being.

Superbly scripted, bril-liantly directed, smart but never smarmy and led by a performance by Michael Douglas so good you often forget you’re watch-ing an actor rather than the famous character he’s playing, this is a rarity, a fully realized biographical drama shot through with real feeling and an abun-dance of sly humor. It’s a winner all around.

Playing in competition in Cannes despite having been made for HBO, where it will debut in the U.S. on May 26, the film will go out theatrically in some foreign markets. It’s got a full-sized movie look in every way, the only differ-ence being that it’s far bet-ter than most of what plays in cinemas these days.

The story spans the final decade of Liberace’s life, from his meeting young Scott Thorson in 1977 to his death from an AIDS-related illness.

Anyone old enough to remember Liberace’s TV show and live appearances

can testify to the sincere and unquestioned appeal he held for women in America as well as Britain. It really was another time.

Little did anyone sus-pect, then, that the hand-some young chauffeur who nightly “drove” Lib-erace onstage in a gaudy Rolls-Royce actually was his bedmate. The two come together at a fateful back-stage meeting: out goes Liberace’s “protoge” and in comes Scott (Matt Damon), a blond and beefy teenager.

There is a slightly creepy predatory aspect to the behavior of “Lee,” as the pianist is known to his friends, in his initial over-tures to the kid; he’s 58 to Scott’s 18 and was, for many years, the best-paid entertainer in show busi-ness. But in Douglas’ ful-some, wonderfully shaded performance, there is also a sweetness and seemingly genuine concern for the difficult life his compan-ion has led, as well as an impulse to open up about some of his own trials.

Insisting at first that he’s bisexual, Scott bris-tles at certain aspects of being a kept boy but offers little resistance to life at

Liberace’s monument to “palatial kitsch,” a mod-ern mansion stuffed with the most expensive gaud-iness production designer Howard Cummings and costume designer Ellen Mirojnick can deliver.

After a couple of years, however, Lee persuades Scott to have extensive plastic surgery, includ-ing adding a dimple in his chin to make the young man more closely resemble him. This is all supervised by a Dr. Feelgood-type played by Rob Lowe in a hilariously squint-eyed performance.

Within another couple of years, Lee’s mother (an excellent Debbie Reyn-olds) dies, the couple has added heavy cocaine use to their steady champagne diet, Lee develops a porn addiction and soon pro-poses that he and Scott should be free to see other men. Although he has long stated that he regards Scott as a son he would adopt and inherit his hold-ings, the writing is very clearly on the wall, leading to Scott’s eviction and his $113 million palimony suit.

LaGravanese’s screen-play is outstanding both in

its dramatic structure and line-by-line writing, par-ticularly in the intimate scenes that are mainly chatter but glancingly reveal both men’s needs and even sexual tastes. And there are moments that are downright hilari-ous, some of it in a camp way and elsewhere just for the sheer spectacle of such an outlandish lifestyle.

Having from all appear-ances bounced back from his serious bout with can-cer a couple of years back, Douglas looks great and acts it too in one of the two or three most electric and dialed-in performances he’s ever given onscreen.

Damon is also wonder-ful, expressing the lack of willpower that allows him go along with his mate’s wishes but eventually the festering resentment and rage that builds up as he’s about to be discarded.

Shot by Soderbergh under his longtime DP moniker Peter Andrews mostly in bright, vivid compositions (he also edited under the name Mary Ann Bernard), the film also benefits from the musical contributions of the late Marvin Hamlisch.

Venue: Cannes Film Festival (in competition).Production: Jerry Weintraub Productions for HBO Films (airs May 26).Cast: Michael Douglas, Matt Damon, Dan Aykroyd, Scott Bakula, Rob Lowe.Director: Steven Soderbergh.Screenwriter: Richard LaGravenese.119 minutes

Michael Douglas’ starring turn as Liberace is pitch-perfect.

THR

THE HANGOVER PART IIIBy Stephen FarberThere are two deaths within the first five minutes of The Hangover Part III. One of them will not be described here since it involves a minor plot surprise. But the other is worth men-tioning. Alan, the nerdy character played by Zach Galifianakis, is driving home with a giraffe in a trailer attached to his sports car. Since the ani-mal has to duck under a couple of freeway under-passes, it isn’t hard to guess what happens next. The creature is graphically decapitated, and its head smashes into Alan’s wind-shield, causing a pileup.

This is an early sign of the movie’s desperation. PETA and other animal lov-ers should be warned. Hang-over III is so determined to defy political correctness that it breaks one of the last cinematic taboos. Any schlockmeister can slaugh-ter hundreds of people on camera, but how many film-makers dare to kill dogs and other mammals and smother a rooster?

But this cavalier attitude toward the killing of ani-mals is just about the only eyebrow-raising touch in an otherwise tame and pallid climax to the Hangover tril-ogy. Young viewers looking for unbridled raunch will be sadly disappointed, and so will other moviegoers expecting more than a few wan chuckles. This picture

is like a brightly colored balloon with all the comic air seeping out.

The first Hangover was honestly outrageous and frequently hilarious, but it’s worth remember-ing that it also had a very clever story devised by screenwriters Jon Lucas and Scott Moore. Part II, which was co-written by the director of all three films, Todd Phillips, was bigger but not better.

Part III is a step further down, and there were very few laughs from the young male viewers recruited at the screening I attended. That won’t hurt the initial box office numbers, which will be huge, but word of mouth may kick in and puncture the grosses after the first weekend.

As the giraffe scene indi-cates, the new movie opens by suggesting that Alan is in serious need of help. With the instigation of his family, the other members of the Wolfpack — Phil (Bradley Cooper), Stu (Ed Helms) and Doug (Justin

Bartha) — decide to stage an intervention and drive him to a rehab facility in Arizona. They don’t get too far into the desert when they are stopped by a men-acing mobster named Mar-shall (John Goodman), who blames them for the theft of some gold bars that were stolen from him by the Asian gangster Mr. Chow (Ken Jeong), who has bedeviled the pals since the first movie. The ever hapless Doug is taken hostage, and to save his life, the other three have to find Chow and the gold. And so the mayhem begins.

Their quest takes them to a mansion in Mexico, a jail in Tijuana and even-tually back to Las Vegas, where their adventures started. At a pawnshop in Sin City, Alan meets his soulmate, played by Melissa McCarthy in a cameo that is one of the movie’s only bright spots.

After his Oscar-nomi-nated turn in Silver Lin-ings Playbook and his even deeper performance in

The Place Beyond the Pines, Cooper doesn’t have to do much heavy lifting here. He still manages to be charming, and Galifianakis trots out his typical dorky shtick with some aplomb. But Helms is surprisingly lackluster on this outing, and Jeong was more star-tlingly funny in earlier installments. Heather Graham returns, but her new incarnation as pregnant hausfrau is unrewarding.

There is one spectacu-lar stunt which forces Phil and Alan to dangle from the roof of Caesars Pal-ace. Otherwise, the visu-als are as flat as the script. Sequels are rarely reward-ing, but this sorry retread of a once-inspired comedy only confirms the bank-ruptcy of sequel mania.

Opens: Thursday, May 23 (Warner Bros.).Cast: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Ken Jeong.Director: Todd Phillips.Rated R, 100 minutes.

FILM REVIEWPage 7 of 8May 22, 2013

THR

From left: Bradley Cooper, Zach Galifianakis and Ed Helms return as the Wolfpack in The Hangover Part III.

Week 34 May 22 ABC CBS NBC FOX CW

MON8:008:309:009:3010:0010:30

2.1/6 12.61.8/6

Dancing With the Stars 2.0/6 13.3

12.21.9/6 12.82.1/6 13.92.3/6 14.32.2/6 Castle

2.1/6 11.211.6

2.1/6 10.8

2.5/7 8.23.4/11 How I Met Your Mother 8.62.4/7 The Big Bang Theory R S 7.53.0/8 2 Broke Girls 8.92.4/6 Mike & Molly 8.31.8/5 Hawaii Five-0

1.8/5 7.97.9

1.9/5 7.8

3.1/9 9.43.4/11

The Voice 3.8/11 11.3

10.63.7/11 11.24.0/11 11.93.9/10 11.52.1/6 Revolution

1.9/5 5.56.2

1.6/5 4.9

1.8/5 4.01.7/5 Hell’s Kitchen

1.8/5 4.2 S4.1

1.9/6 4.31.8/5 Hell’s Kitchen

1.7/5 3.9 S4.0

1.7/4 3.7

0.2/1 0.50.3/1 90210

0.2/1 0.6 S0.7

0.2/1 0.50.2/1 90210

0.2/1 0.50.5

0.2/1 0.5

SAT8:008:309:009:3010:0010:30

0.6/2 3.10.4/2 Bet on Your Baby

0.4/2 1.91.9

0.4/2 1.90.6/2 20/20 With Barbara Walters:

Rock ’n’ Roll Royalty:Billboard’s All-Stars 0.7/3 3.6 S

3.010.7/3 3.50.8/3 4.00.8/3 4.0

0.5/2 3.20.3/1 Elementary

0.3/1 2.5 R2.39

0.3/1 2.50.5/2 Criminal Minds

0.5/2 3.2 R3.05

0.5/2 3.40.7/2 48 Hours

0.8/3 3.93.7

0.8/3 4.1

0.6/2 2.10.4/2 Grimm

0.4/2 1.8 R S2.0

0.4/1 1.60.5/2 Law & Order: SVU

0.5/2 2.4 R S2.2

0.6/2 2.60.7/2 Saturday Night Live Primetime

0.7/3 2.3 R2.2

0.8/3 2.3

0.8/3 2.60.7/3 Cops R 2.410.8/3 Cops 2 R 2.80.9/3 Cops R S 2.60.9/3 Cops R S 2.7 NO PROGRAMMING

Page 8 of 8May 22, 2013

TV RATINGS

TUE8:008:309:009:3010:0010:30

1.4/4 8.31.1/4 Wipeout

1.1/4 4.5 S4.2

1.2/4 4.71.7/5 Dancing With the Stars Results

1.8/5 11.911.4

1.8/5 12.21.4/4 Body of Proof

1.4/4 8.68.9

1.4/4 8.3

2.4/7 13.13.3/11 NCIS

3.4/11 18.818.3

3.5/11 19.32.6/7 NCIS: Los Angeles

2.5/7 13.513.9

2.5/7 13.21.3/4 Golden Boy

1.2/3 6.97.4

1.1/3 6.4

2.4/7 7.51.9/7 The Voice

2.0/6 6.7 S6.6

2.1/6 6.83.5/10 The Voice

3.5/10 10.510.4

3.5/10 10.51.9/5 Grimm

1.7/5 5.45.7

1.6/5 5.0

1.8/5 4.21.9/6 So You Think You Can Dance

1.9/6 5.15.1

2.0/6 5.12.1/6 New Girl 4.11.3/4 The Mindy Project 2.6

0.3/1 0.90.3/1

CW Movie: “Leap Year” 0.3/1 0.9 S

1.00.3/1 0.90.3/1 0.80.3/1 0.8

WED8:008:309:009:3010:0010:30

2.0/6 6.51.9/7 The Middle 6.81.2/4 Family Tools 4.53.7/10 Modern Family 10.02.0/5 Live With Parents (Rest of Life) 6.11.8/5 Nashville

1.7/5 5.65.7

1.6/5 5.4

1.9/6 8.01.0/3 2 Broke Girls R S 3.81.1/4 2 Broke Girls R S 3.92.5/7 Criminal Minds

2.6/7 10.610.4

2.6/7 10.72.1/6 CSI: Crime Scene Investigation

2.0/6 9.59.8

1.9/6 9.2

1.6/5 6.41.2/4 Dateline

1.3/4 5.85.5

1.3/4 6.11.4/4 Law & Order: SVU

1.5/4 6.56.2

1.6/4 6.81.9/5 Chicago Fire

2.0/6 6.97.0

2.0/6 6.9

2.6/8 9.62.7/9 American Idol

3.0/10 12.110.9

3.2/10 13.32.3/7 So You Think You Can Dance

2.3/6 7.0 S7.4

2.2/6 6.6

1.0/3 2.50.9/3 Arrow

0.9/3 2.82.7

1.0/3 2.80.9/3 Supernatural

1.0/3 2.32.3

1.0/3 2.3

THU8:008:309:009:3010:0010:30

2.5/7 7.30.9/3 Wipeout

1.0/3 3.83.7

1.2/4 4.03.0/9 Grey’s Anatomy

3.1/9 9.08.7

3.1/8 9.03.2/9 Scandal

3.2/9 9.19.0

3.2/9 9.3

2.7/8 10.64.8/17 The Big Bang Theory 15.43.3/10 The Big Bang Theory R S 11.82.1/6

Elementary 2.0/6 9.0

9.51.9/5 8.62.0/5 9.11.9/5 8.8

2.2/7 4.52.0/7 The Office Retrospective

2.1/7 4.4 S4.5

2.1/7 4.42.9/8 The Office

3.0/8 5.7 (75 minutes)5.6

3.0/8 5.51.3/4 Hannibal

1.1/3 2.5 (45 minutes)2.7

1.0/3 2.3

3.6/11 14.32.9/10

American Idol 3.6/11 14.3

11.63.4/11 13.83.7/11 14.34.2/11 16.0

0.8/2 1.81.0/4 The Vampire Diaries

1.1/4 2.22.2

1.1/3 2.30.5/1 Beauty & the Beast

0.5/1 1.31.3

0.5/1 1.2

FRI8:008:309:009:3010:0010:30

1.6/6 5.81.2/5 Shark Tank

1.3/5 5.14.8

1.4/6 5.41.9/7 Shark Tank

1.9/7 6.76.5

2.0/7 6.81.5/5 20/20

1.5/5 5.55.5

1.4/5 5.5

1.0/4 5.01.0/4 Undercover Boss

1.0/4 5.65.5

1.1/4 5.71.0/4 Undercover Boss

1.1/4 5.1 R S4.7

1.2/4 5.51.0/3 48 Hours

1.0/3 4.3 S4.3

1.0/3 4.3

1.2/4 5.21.1/5

Dateline 1.2/4 5.3

4.91.0/4 4.61.2/4 5.51.3/4 6.11.4/5 Rock Center With Brian Williams

1.3/4 5.05.4

1.2/4 4.7

0.6/2 2.20.7/3 Kitchen Nightmares

0.7/3 1.9 R1.9

0.7/3 1.90.6/2 Bones

0.6/2 2.5 R S2.4

0.6/2 2.7

0.3/1 0.90.4/2 Nikita

0.4/1 1.01.1

0.3/1 0.90.3/1 Supernatural

0.3/1 0.8 R0.8

0.3/1 0.8

CHART0.0/00 Program Name 00.0

18-49 Rating/Share Title of Show Millions of Viewers

R=Repeat D=Debut S=Special Winner of time period

SUN7:007:308:008:309:009:3010:0010:30

3.1/9 8.81.5/5 America’s Funniest Home Videos

1.7/6 6.86.4

1.9/6 7.33.2/10

2013 Billboard Music Awards 3.5/10 9.5 S

9.13.6/10 9.73.9/10 10.33.7/10 9.53.6/10 9.23.4/10 9.1

1.2/4 7.61.2/4 60 Minutes

1.3/5 10.29.7

1.4/5 10.71.2/4 60 Minutes

1.2/4 8.1 S8.2

1.2/4 8.11.1/3 ACM Presents:

Tim McGraw’sSuperstar Summer Night 1.2/3 6.0 S

6.11.2/3 6.01.3/3 6.21.2/3 5.6

1.0/3 3.80.5/2

The Voice 0.6/2 2.4 R

2.30.5/2 2.10.6/2 2.50.7/2 2.61.3/4

All-Star Celebrity Apprentice 1.5/4 5.3

4.91.5/4 5.41.6/4 5.51.6/4 5.5

1.9/6 3.91.0/3 The Cleveland Show S 2.11.1/4 The Cleveland Show 2.41.9/6 The Simpsons 4.12.1/6 The Simpsons S 4.52.6/7 Family Guy 5.32.5/7 Family Guy S 5.2

NO PROGRAMMING

WK. AVG.SSN. TO DATE

2.0/6 7.52.2/6 7.9

1.7/5 7.92.9/8 11.9

1.7/5 5.52.4/7 7.0

1.9/6 5.82.5/7 7.1

0.5/2 1.30.7/2 1.8