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'Ellen's Greatest Night of Giveaways' puts up more solid numbers as the holiday event closes out its run.
CBS' Young Sheldon was down a little bit in Thursday's same-day ratings, but it was still the most-watched non-sports show of the night by a sizable margin. Ellen's Greatest Night of Giveaways, meanwhile, closed out a solid three-day run on NBC, and Fox's Thursday Night Football ended its season on the low side.
Young Sheldon drew 8.21 million viewers and a 1.0 rating in adults 18-49, off slightly from last week's initial numbers 8.39 million, 1.1. It led all other entertainment shows by about 2 million viewers and tied for the top spot in the 18-49 demo. The Unicorn 5.62 million, 0.7, Mom 6.19 million, 0.7 and Carol's Second Act 5 million, 0.6 were fairly steady, as was Evil 0.5, 3.63 million at 10 p.m.
Ellen's Greatest Night of Giveaways drew a 1.0 in adults 18-49 and 5.89 million viewers, in line with Wednesday's show. Superstore 0.6, 2.83 million and Perfect Harmony 0.4, 1.8 million were in line with their last outings, despite later start times. A repeat of last year's special A Legendary Christmas 0.3, 1.68 million closed out NBC's night.
The final Thursday Night Football of the season carried Fox to No. 1 in primetime, as usual, but early numbers are down considerably from last week's season high. The Baltimore Ravens' blowout win over the New York Jets is at 9.02 million viewers in the fast nationals, off by a third from last week's preliminary 13.64 million. It will adjust up in the finals.
ABC aired a full night of holiday programming, with animated specials Olaf's Frozen Adventure and Toy Story That Time Forgot each scoring 0.6s in adults 18-49 and the premiere of The Great American Baking Show: Holiday Edition at 0.5. Supernatural and Legacies are both at 0.3 for The CW, even with last week.
Fox's 2.5 rating among adults 18-49 pending updates for its live broadcast easily led primetime on the broadcast nets. CBS finished second at 0.7. NBC is third with a 0.6, followed by ABC 0.5 and Univision 0.4. The CW and Telemundo tied at 0.3.
Source: Hollywood Reporter
When “Killing Eve” began, its title’s threat, promise, or intimation however you want to read it felt immediate — as if in any episode, at any moment, intelligence officer Eve Polastri Sandra Oh could fall prey to the inventive assassin Villanelle Jodie Comer. But such immediacy inevitably mitigated; success demanded extending their story, and the plot twisted itself into knots so the cat and mouse could work together and two award-winning stars could share the screen. A forbidden romance became a dysfunctional relationship, and the enticement of inexplicable attraction turned into a confounding inability to explain why this cop and this killer are drawn to one another.
Season 3 wisely stops trying to explain it, but it also simplifies the story to an all-too-comfortable degree. “Killing Eve” has always been a procedural at heart, first as Eve studied Villanelle’s murders to get closer to her, and then as they teamed up to track down a new, unknown killer. As much as its serialized aspects made the BBC America drama out to be a new kind of crime show, the bones of a procedural have kept it alive. Serialization got everything twisted up, and procedure is the work of detangling. What’s left may not provide the anything-can-happen rush of early episodes, but for those happy just to spend a little time with their favorite ex-agent and ultra-assassin, “Killing Eve” Season 3 should suffice. For those looking to be wowed week-in and week-out, well, it’s just not that kind of show anymore.
To say much of anything about the first five episodes would send us into spoiler territory, so here’s what can safely be said about where Season 3 stands. For one, Eve is alive. As if there was any doubt following the would-be Season 2 cliffhanger, the bullet that struck Oh’s lead detective passed through her body safely enough to keep her breathing. Now, the former MI5 and MI6 operative is tearing up chicken gizzards and pinching together dumplings in the back of a restaurant, hiding from her former life as much as her former love.
Villanelle Comer, meanwhile, is looking to be promoted. Her handler, Dasha played by new cast member Dame Harriet Walter, helps facilitate a management training period, but anyone should be able to imagine why a solo artist like Villanelle might struggle caring for others. Still, Season 3 is another Villanelle-forward entry. Perhaps new showrunner Suzanne Heathcote recognized the enticing complexity of a remorseless murderer, or simply how brightly Comer shined with the added spotlight last year. No matter the reason, Eve isn’t just kept in the back of the restaurant — she’s taken a backseat in the show. Villanelle even gets a standalone episode at the season’s midway point, right after Eve’s most substantial moment yet.
Right now, everyone is looking for some kind of reprieve from being locked up at home due to the spread of the coronavirus across the United States. That doesn’t appear to be in the cards anytime soon, but The Office executive producers Paul Lieberstein and Ben Silverman think they’ve figured out a way to make light of the situation by crafting a new workplace comedy series inspired by the sudden rise in employees working from home due to the outbreak of coronavirus forcing people to practice social distancing.
Deadline was first to learn of the currently untitled coronavirus comedy series, though it’s not necessarily about the pandemic. Paul Lieberstein and Ben Silverman, better known to The Office fans as the frequently maligned Toby Flenderson and one of Jim’s business partners at their company Athlead, are creating the series that is said to focus on “wunderkind boss who, in an effort to ensure his staff’s connectedness and productivity, asks them all to virtually interact and work face-to-face all day.”
The series is in the works at Big Breakfast, the comedy production banner Silverman runs, where he’ll executive produce the series along with and Luke Kelly-Clyne College Humor and Kevin Healey Scare Tactics. They’ll also be working with Howard Owens’ Propagate Content, which will have Rodney Ferrell serving as an executive producer as well.
Silverman, who was also once an NBC executive, explained the inception of the series and his hope for what it will become:
“So many of us are jumping on daily Zoom meetings — for work and beyond. We are in a new normal and are personally navigating ways to remain connected and productive at work and in our home lives. With the brilliant Paul Lieberstein at the helm, we think we have a series that not only brings humor and comfort during this troubling time but will also be an inventive and enduring workplace comedy for years to come.”
While the prospect of trying to craft a series around the coronavirus outbreak sounds like a bad idea at this time, there’s no indication that the pandemic will actually play a part in the overall concept of the series. In fact, it would be easy to pull something like this off without introducing such a grim plot device.
What I’m envisioning with this series is a show with a format that echoes what we’ve seen accomplished with movies like Unfriended and Searching. Both of those films play out entirely on computer or mobile device screens and successfully tell a solid narrative. Modern Family did something similar with an episode that unfolded across the ensemble cast’s various screens, and it worked pretty well. But if that’s what this series will be like, can that concept be sustained for an entire series? Or will they need to take...
CBS is launching a month-long sequence of Sunday movie nights in May, featuring five contemporary classic movies to keep viewers entertained while they stay indoors. The network announced that the weekly programing event will kick off on May 3 and will feature two “Indiana Jones” films, “Forrest Gump,” the first “Mission: Impossible,” and “Titanic.” The titles all hail from Paramount Pictures' library, which is also part of the ViacomCBS family.
“It's a five-week programming event with epic films, iconic stars and brilliant stories that viewers love...and love to watch together,” Noriko Kelley, an executive vice president at CBS Entertainment, said in a statement.
As for newer projects, CBS made headlines yesterday when the company announced that it would air a special pandemic episode of “All Rise.” The Simone Missick-led legal drama's upcoming episode will be shot using various social media platforms and online technologies and the production will abide by social distancing guidelines.
ViacomCBS is one of numerous entertainment companies that have been broadly impacted by current events and are starting to experiment with different forms and schedules for their offerings. The company has halted production on shows ranging from “The Amazing Race” to “The Young and the Restless” and “The Bold and the Beautiful,” and other companies and studios have followed suit for their own projects. CBS' May film programming will replace the original episodes of “Love Island” that were scheduled for May 24 and May 31; the status of the reality series is up in the air to the ongoing pandemic.
CBS previously ran a “CBS Sunday Movie” franchise that ended in the 2004-2005 television season.
IndieWire is keeping track of all film and television industry-related events and projects that have been impacted by the pandemic. IndieWire is also documenting all of the positive news to come out of the outbreak and also has a list of resources available to entertainment industry workers in need of aid.
The schedule for CBS' upcoming May Sunday movie night programming is as follows:
May 3: “Indiana Jones and the Raiders of the Lost Ark” 8-11 p.m., ET/PT
May 10: “Forrest Gump” 8-11 p.m., ET/PT
May 17: “Mission: Impossible” 8-11 p.m., ET/PT
May 24: “Titanic” 7-11 p.m., ET/PT
May 31: “Indiana Jones and the Last Crusade” 8-11 p.m., ET/PT