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Page 1 of 8May 2, 2012

By David RooneyNEW YORK — The intimate musical Once, based on the Fox Searchlight Irish indie pic, dominates the nomina-tions for the 66th annual Tony Awards, making the shortlist in 11 categories. Disney shows Newsies and Peter and the Star-catcher, Gershwin musical Nice Work If You Can Get It and revivals of Death of a Salesman, Follies and Porgy and Bess also cleaned up in the nominations announced Tuesday morning.

In a Broadway season that has yielded a number of crit-ical hits but no clear front-runners like last year’s The Book of Mormon and War Horse, the competition in all four main show categories is unusually open, with two or more favorites vying for each award. Other races like lead

actress in a play are particu-larly tough to call.

The biggest award of the Tonys — and the one that has the most significant impact on box office — invariably is the best musical prize, with Once, Newsies (seven noms) and Nice Work (10 noms) competing against underdog

Leap of Faith, which opened on the final day of Tony eligi-bility to mixed reviews. Three of the four nominated new musicals were adapted from movies.

While the first three were considered locks for noms, there was much speculation

Musical Once Leads Tony Noms With 11

see page 2

Inside:oscars home gets new namePAgE 3

Lovato eyes X Factor pactPAgE 4

men stars ink one-year deaLs For season 10 PAgE 4

turner eXec wright uppedPAgE 5

tribeca review: Free sampLesPAgE 7

2012 Acting Industry Showcase May 3 at 2pm and 6pm at The Actors Studio 432 W. 44th Street, New York, NY. For information: ASDSShowcase@pace.edu

The Actors Studio Drama School at Pace

University

• Ranked as one of the Top 25 Dramatic Arts Programs by The Hollywood Reporter

• The only Master of Fine Arts program officially sanctioned and supervised by The Actors Studio

Once’s Steve Kazee and Cristin Milioti both received Tony nominations.

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tony nominationsPage 2 of 8May 2, 2012

about whether the fourth slot might go to Spider-Man: Turn Off the Dark, which was a critical punching bag but a major magnet for media attention that has done con-sistently strong business since its delayed opening in June. However, the super-hero show had to settle for two craft noms — for scenic design and for the costumes of late designer Eiko Ishioka.

The heavy showing for Starcatcher, Rick Elice’s adaptation of the Peter Pan prequel by Dave Barry and Ridley Pearson, upsets prog-nostications in the best play race. Its nine noms leave favorites Clybourne Park, by Pulitzer winner Bruce Nor-ris, and Other Desert Cities, by Jon Robin Baitz, trailing with four and five nomina-tions, respectively. Round-ing out that category is David Ives’ Venus in Fur.

Stephen Sondheim and James Goldman’s Follies and The Gershwins’ Porgy and Bess lead for musical revival honors with eight and 10 noms, respectively. Follies also scored a lead actress mention for Jan Maxwell, lead actor slots for Danny Burstein and Ron Raines and featured actress for Jayne Houdyshell. Acting contenders for Porgy and Bess include Audra Mc-Donald and Norm Lewis in lead categories and Phil-lip Boykin and David Alan Grier for featured actor.

While Follies was show-ered with critical plaudits, the Porgy and Bess revival was more divisive among theater pundits for its radical trimming of the full-length

American folk opera. Its mighty showing with 10 noms was perhaps the big-gest surprise of the race.

The Mike Nichols-directed revival of Arthur Miller’s Death of a Salesman is out in front of the field for best revival of a play, landing a spot for Nichols, lead actor Philip Seymour Hoffman and featured actors Linda Emond and Andrew Gar-

field. It scored seven noms in total. Com-peting for play revival are Gore Vidal’s The Best Man, Master Class and Wit.

While the rapturously reviewed British import, One Man, Two Guvnors, missed out on a best play nom (Richard Bean’s text is an update of the Goldoni commedia dell’arte classic, The Servant of Two Masters), it earned a robust seven noms, including director Nicholas Hytner, lead actor James Corden and featured actor Tom Edden, as well as origi-nal score for Grant Olding’s skiffle songs and Fab Four pastiches.

The entry into the best score race of One Man, as well as Wayne Barker’s songs for Starcatcher — neither of which is classified as a musical — indicates the shortage of musicals based on original material this sea-son. Shows including Once and Nice Work were ineligi-ble due to their pre-existing scores, while Newsies made the cut because its holdover songs from the film are sup-plemented by new material.

In other performance

categories, Hoffman and Corden in the lead actor in a play spot are up against James Earl Jones in The Best Man, Frank Langella in Man and Boy and John Lithgow in The Columnist.

The tight race for lead actress in a play includes Nina Arianda for Venus in Fur, Tracie Bennett for End of the Rainbow, Stock-ard Channing for Other Des-ert Cities, Linda Lavin for The Lyons and Cyn-thia Nixon for Wit.

For lead actor in a musi-cal, Burstein, Raines and Lewis will com-pete against Steve Kazee in Once and Jeremy Jordan in Newsies. Maxwell and McDonald face off for best actress in a musical against Cristin Milioti in Once, Kelli O’Hara in Nice Work and Laura Osnes in Bonnie & Clyde.

Featured actor in a play contenders alongside Gar-field and Edden include Christian Borle (NBC’s Smash) for Starcatcher, Michael Cumpsty for End of the Rainbow and Jeremy Shamos, the sole member of the sterling Clybourne Park ensemble to be recognized. Featured actress in a play pits Emond against Spencer Kayden for Don’t Dress for Dinner, Celia Keenan-Bolger for Starcatcher, Judith Light for Other Desert Cities and Condola Rashad for Stick Fly.

In addition to Boykin and Grier, featured actor in a musical nominees are Michael Cerveris in Evita (with both his co-stars Elena

Roger and Ricky Martin shut out), Michael McGrath in Nice Work and Josh Young in Jesus Christ Super-star. Featured actress in a musical contenders include Houdyshell with Elizabeth A. Davis in Once, Judy Kaye in Nice Work, Jessie Mueller in the short-lived On a Clear Day You Can See Forever and Da’Vine Joy Randolph in Ghost The Musical.

Directing nominees for play are Hytner, Nichols, Pam MacKinnon for Cly-bourne Park and co-directors Roger Rees and Alex Tim-bers for Starcatcher; up for musical are Jeff Calhoun for Newsies, Kathleen Marshall for Nice Work, Diane Paulus for Porgy and Bess and John Tiffany for Once.

Marshall is a double nom-inee, earning a second nod for her choreography. Also nominated twice is lighting designer Natasha Katz, for Once and Follies.

In a year in which a num-ber of multiple Tony noms went to productions that transferred from Off Broad-way, a significant winner in terms of prestige is the venerable New York Theatre Workshop, the birthplace of landmark musical Rent. The company staged the original runs of both Once and Starcatcher prior to their Broadway transfers, giving its productions a total of 19 noms and the highest tally in both musical and play categories.

CBS will air the 66th Tony Awards live June 10 from New York’s Beacon Theatre. Neil Patrick Harris returns to host the ceremony for the third time.

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awards newsPage 3 of 8May 2, 2012

By Alex Ben Blockget ready for the Academy Awards in the Dolby Theatre.

Dolby Laboratories announced Tuesday that it is the new naming sponsor of the former Kodak Theatre in the Hollywood & High-land Center. The complex is owned by the CIM Group.

Simultaneously, the Acad-emy of Motion Pictures Arts and Sciences announced that it has renegotiated its deal with the CIM Group for the Oscars to remain in the theater through at least 2033. That’s a 20-year exten-sion beyond the current con-tract, which was to expire after the 2013 show.

The Academy also closed a separate 20-year deal with Dolby related to the nam-ing rights.

“The Academy’s board of governors believes that the home for our awards is in Hollywood; it is where the Academy and the motion

picture industry are rooted,” Academy president Tom Sherak said Tuesday. “We are pleased to have a new agreement with CIM that will continue our long-standing partnership.”

Sherak told The Hollywood Reporter in an interview: “We wanted to be in Holly-wood. The Academy Awards belong in Hollywood. Dolby is a proud industry name.”

Sherak said the Academy had renegotiated the terms of its deal for use of the the-ater. He would not give details but said it was a better deal for the Academy.

The naming rights became available after the Eastman Kodak Co. went bankrupt and a federal judge allowed it to get out of its 20-year deal, which was costing the company a little more than

$4 million a year. Kodak left the venue after 10 years as name sponsor.

The Academy in Decem-ber, anticipating Kodak’s problems, had not renewed its option on the theater, which allowed it to negoti-ate a new deal or leave for another venue. It was clear from the beginning, how-ever, that the Academy pre-ferred to stay in the venue. The organization had given CIM an exclusive first win-dow to negotiate, which re- sulted in Tuesday’s three-way deal.

Dolby said it will use the theater to “create a world-class showcase for Dolby’s current and future technol-ogies, beginning with the company’s revolutionary new Dolby Atmos sound technol-ogy released last week.”

“Dolby is a brand recog-nized around the world for creating the best, most life-like entertainment sound

experiences in any environ-ment,” said Kevin Yeaman, president and CEO of Dolby Laboratories. “This partner- ship with CIM allows the Dolby Theatre to be not only the world stage for the Academy Awards but for Dolby innovations for decades to come.”

CIM also welcomed the new deal.

“Dolby Laboratories has a long history in Hollywood and has made significant contributions to the enter-tainment industry,” said Shaul Kuba, co-founder of CIM Group. “It is a respected international brand and tech-nology innovator. We are proud to welcome them as our partner on the Dolby Theatre at Hollywood & Highland Center.”

Said L.A. City Council-man Eric Garcetti, whose district includes the Dolby Theatre, “I’m thrilled that the Oscars are staying right where they belong — in Hollywood — and that they’ve doubled down with a 20-year commitment that reaffirms Hollywood’s stand-ing as the entertainment capital of the world.”

Oscars to Stay Put in Renamed Theater

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tv newsPage 4 of 8May 2, 2012

By Shirley HalperinAs the countdown to season two of The X Factor winds down, the fourth judge is falling into place. The Holly-wood Reporter has learned that pop star Demi Lovato is closing a deal to join Britney Spears in the seats vacated by Nicole Scherzinger and Paula Abdul after Season 1.

Although the deal is not yet done and could fall apart, sources said Lovato’s team is in final negotiations for the job.

THR had previously heard that the final judge would be a brunette, and the choice of the former Disney Channel star certainly fits that cri-teria. X Factor creator and star Simon Cowell is partic-ular about the casting of his judge panels. More impor-tantly, at 19, Lovato would bring with her a younger au-dience. (Her current single, “Give Your Heart a Break,” which she recently performed on American Idol, is No. 74 on the Billboard Hot 100). Spears, while still a force in pop music, is 10 years older than Lovato. Returning judge and Epic Records chairman L.A. Reid rounds out the panel.

Lovato, like former teen-star Spears, has also seen her share of tabloid head-lines, which could spur tune- ins for curiosity’s sake. Two years after Lovato released her debut album, 2008’s Don’t Forget, the star checked

herself into an Illinois reha-biliation center for physical and emotional issues stem-ming from bulimia and self-injury. She was released in January 2011.

Reps for Fox and Lovato would not comment and a spokesperson for the show refused to confirm talks, although there’s a good chance Cowell and crew are planning to make an X Factor-related announce-ment at the Fox upfront event for ad buyers on May 14. Auditions with the new judges in place are sched-uled to begin at the end of the month.

Speaking to THR in April, FremantleMedia CEO Cecile Frot-Coutaz, who executive produces the show, said nego-tiations would likely go down to the wire. “These things always drag out to the very last minute,” she said. “It’s

human nature. But it has to get done so it will get done.”

Asked about what sort of “chemistry” the produc-ers hope to get from the new panel, Frot-Coutaz said that season one lacked “a real point of view” to make X Factor feel like a different show from the other singing competitions: “It didn’t do that. It was just another ver-sion of what was out there, and that was the problem.”

men stars sign one-year pacts for season 10By Matthew Belloni and Lacey RoseTwo and a Half Men stars Ashton Kutcher, Jon Cryer and Angus T. Jones have locked one-year deals to return to the hit sitcom for its 10th season in the fall, The Hollywood Reporter has learned.

Sources said the new pacts with CBS and pro-ducer Warner Bros. Televi-sion were finalized last week and will give the stars small raises. Kutcher isn’t getting the $1 million per episode TV Guide reported in March that he was seeking, but he’ll be paid slightly more than the $700,000-$725,000 per episode (or about $15 million- $16 million) he is widely thought to be making this season. Cryer is said to make

a little less than that and also will get a small raise. Jones, who earns about half what Kutcher does, will get a similar bump.

As THR reported in March, CBS initially sought to lock in the cast for two-year deals. But sources said the actors and their reps balked at the commitment. Jones, who has been with the show since its inception in 2003, is especially inter-ested in moving on. He would like to attend college after next season.

Despite the deals with the cast, Men is still await-ing an official pickup by CBS. The network is said to be working out financial details with WBTV, as well as with Chuck Lorre and other key writer-producers. In a recent interview with THR, CBS Corp. CEO Les-lie Moonves suggested the negotiation “was the normal dance that happens,” add-ing, “You never know until it’s over, but I think every-body is predisposed to com-ing back, and I think it will be back.”

Men is a cash cow for CBS and WBTV, though ratings for the show have been down lately, hitting a series-low 3.6 in March. Still, this season’s average is higher than last year, thanks to huge fall numbers fueled by Kutcher replacing fired longtime star Charlie Sheen in the cast. And syndication deals are worth tens of millions of dol-lars per season of the show.

Kutcher is repped by CAA and the Sloane Offer law firm. Cryer is repped by UTA and Myman Greenspan. Jones is repped by Paradigm.

Lovato Near Deal for X Factor Judge Spot

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At 19, Demi Lovato would bring a younger audience to X Factor.

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executive newsPage 5 of 8May 2, 2012

By Lacey RoseTurner Networks program-ming honcho Michael Wright is staying put with an ex-panded title.

The former executive vp and head of programming for TBS, TNT and Turner Classic Movies has been pro-moted to president. He will continue to oversee all pro-gramming and scheduling for TNT and TBS, along with original programming for TCM and original con-tent for all three network’s digital extensions.

In his decade with the company, the Los Angeles-based Wright has overseen the networks’ push into orig-inals, beginning with the long-running Kyra Sedgwick drama The Closer on TNT. More recently, Wright’s fingerprints have been on some of cable’s most popular shows, including Falling Skies, Rizzoli and Isles and Franklin & Bash. He was instrumental

in TBS’ acquisition of The Big Bang Theory and the re-cruitment of Conan O’Brien as well.

“Michael Wright has been an essential factor in the success of TNT, TBS and Turner Classic Movies,” said Turner Entertainment Networks president Steve Koonin, to whom Wright reports. “Michael’s relation- ships with creative talent, his eye for storytelling, his deep understanding of each net-

work’s unique brand voice and his ability to assemble and lead an extraordinary team have all combined to empower us within the industry.”

Looking ahead, growing his cadre of originals is among Wright’s stated goals, and he will make good on it this summer with a schedule that has more originals than ever before. Over the next five months, TNT will roll out five returning series as well as launch four new ones.

Among the freshman offerings are a Dallas re-boot and Closer spinoff Major Crimes. The former will premiere with much fan- fare and a subset of the orig-inal cast June 13; the latter bows Aug. 13, immediately following the finale of Closer. The network has a collection of pilots in contention, too, including David E. Kelley and Sanjay Gupta’s medical drama Chelsea General and

Frank Darabont’s crime drama L.A. Noir.

What’s more, Wright, who got his start as an actor, is steering his collection of top-rated networks into un-scripted fare. In mid-March, he announced an eight- episode order of King of the Nerds, a competition series to be paired with TBS’ Big Bang Theory reruns. For its part, TNT is prepping this summer’s The Great Escape, another competition reality show from Ron Howard, Brian Grazer and The Amaz-ing Race’s Bertram van Mun-ster, which will drop con- testants into such locales as a deserted island or a maximum-security prison.

Prior to joining the Time Warner-owned company in 2002, Wright served as vp, movies and miniseries for CBS. The stint included supervision on some of the network’s highest-rated and most acclaimed movies, in- cluding Sharing the Secret, The Long Way Home and the live production of On Golden Pond with Julie Andrews and Christopher Plummer. Before that Wright was a packaging agent at CAA.

Wright Promoted to TNT, TBS President

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Michael Wright is steering his networks into unscripted fare.

international newsPage 6 of 8May 2, 2012

By Georg Szalai and Stuart KempLONDON — A committee of the U.K. Parliament on Tuesday unveiled a highly anticipated report on the News Corp. phone-hacking scandal, criticizing CEO Rupert Murdoch as “not a fit person to exercise the steward-ship of a major international company.”

It also criti-cized the con- glomerate’s News Interna-tional U.K. newspaper unit and some of its executives for not being proactive or misleading probes into the hacking scandal. His son, News Corp. deputy COO James Murdoch, and former Dow Jones CEO Les Hinton were among those criticized.

James Murdoch used to oversee the conglomerate’s U.K. newspaper unit News International, which pub-lished the now-shuttered News of the World tabloid that has been the focus of the phone-hacking probes, as chairman. He showed “willful ignorance,” said the report from the select com-mittee on culture, media and sport that is made up of mem- bers of all political parties represented in Parliament.

As expected, the report stopped short of accusing the Murdochs of misleading Parliament about their level

of knowledge about the hacking activities.

Hinton was criticized by the committee for his past evidence. “Les Hinton mis-led the committee in 2009 in not telling the full truth about payments … and in the extent of his knowledge

of allegations of widespread phone hacking,” it concluded.

Individuals who mislead Parliament can be called to the

House of Commons to apol-ogize, but members of the committee said Tuesday they would refer the report to the Parliament, which can decide any disciplinary actions.

The committee also heaped blame on former NOTW editor Colin Myler and top lawyer Tom Crone. Both Murdochs told a media ethics panel last week they had been in charge of edito-rial standards at the paper.

“Tom Crone and Colin Myler misled the committee in 2009 by answering ques-tions falsely about their knowledge of evidence that other News of the World em-ployees had been involved in phone hacking,” the report said. “Whatever the reason, Tom Crone and Colin Myler ought to have acted upon the information they had on phone hacking, and in fail-ing to do so, they misled this committee.”

Former NOTW editors Rebekah Brooks and Andy Coulson were not singled out in the report as they were arrested as part of the hacking investigations. The committee is expected to report on their roles if and when it is free to do so.

“Corporately, News of the World and News Interna-tional misled the committee about the true nature and extent of the internal inves-tigations they professed to have carried out in relation to phone hacking, by making statements they would have known were not fully truth-ful and by failing to disclose documents which would have helped expose the truth,” the report concluded. “Their instinct throughout, until it was too late, was to cover up rather than seek out wrong-doing and discipline the per- petrators, as they also pro- fessed they would do after the criminal convictions. In fail-ing to investigate properly, and by ignoring evidence of widespread wrongdoing, News International and its parent News Corp. exhibited willful blindness, for which the companies’ directors — including Rupert Murdoch and James Murdoch — should ultimately be pre-pared to take responsibility.”

In a first statement, News Corp. said: “News Corp. is carefully reviewing the select committee’s report and will respond shortly. The com-

pany fully acknowledges sig-nificant wrongdoing at News of the World and apologizes to everyone whose privacy was invaded.”

A press conference with members of Parliament who had worked on the report showed some disagreement between the Conservative Party members and others about whether to include the phrase that Murdoch was “not fit” to run a company.

Labour Party lead mem-ber Tom Watson, a longtime critic of Rupert Murdoch who had suggested the in-clusion of the line, said the mogul was mostly to blame for setting a culture that allowed phone hacking. “More than any individual, he is to blame,” he said. “It is his company, his culture, his people, his business, his failures, his lies, his crime.”

Conservative Damian Col-lins said that four commit-tee members voted against the description of Murdoch as unfit, arguing there was no evidence connecting him to knowledge of what went on at News International. He said he and his colleagues felt that the description was based on personal opinions and that U.K. media regu-lator Ofcom was the only authority that should make such decisions.

Another Conservative rep-resentative, Philip Davies, said Murdoch has run his company since before he was born and has employed thousands of people. He also emphasized that there was “absolutely no evidence” that he knew about the phone hacking. “We all make mis-takes,” he said.

Phone Hacking Report Condemns Murdochs

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tribeca reviewsPage 7 of 8May 2, 2012

free samplesBy John DeForeNEW YORK — A showcase for up-and-comer Jess Weixler, Free Samples lets the sweet-faced actress play sour, bouncing off a score of co-stars while her character endures heat and hangover in a desolate parking lot. Jay Gamill’s feature debut may get some commercial play from supporting players Jesse Eisenberg and Jason Ritter but, with neither on- screen for long, relies entirely on Weixler’s ability to win viewers over.

Weixler plays Jillian, a law student who has taken a se-mester off from both Stan-ford and her fiancé Danny — intending to pursue some-thing artistic but spending most of her time drinking and sleeping around. Awak-ening at her friend Nancy’s house after a blackout drunk, she’s coerced to repay the hospitality by filling in for Nancy at work: Spending the long day alone in a beat-up food truck, giving free ice cream to anyone wandering this forsaken neighborhood.

Most of those encounters are snarky, one-joke inter-actions, but a loose arc finds Jillian starting to see the need to escape her rut. Ritter and Eisenberg notwithstanding,

the real highlight in the supporting cast is Tippi Hedren, playing a long-retired actress who refuses to be seen by old colleagues now that her looks have gone. (Never mind that Hedren’s a beauty even in her 80s.) Hedren’s poignant recol-lections of love and regret lend some weight to Jillian’s petty grousing, setting the stage for an encounter that brings this very bad day to a head.

Venue: Tribeca Film Festival, Spotlight. Production: Film Harvest, New Forum Films. Cast: Jess Weixler, Jesse Eisen-berg, Jason Ritter, Halley Feiffer, Jocelin Donahue, Whitney Able, Tippi Hedren. Director: Jay Gammill. Screenwriter: Jim Beggarly. Producers: Eben Kostbar, Joseph McKelheer. Executive producers: Michael Potts, Nick Mystrom, Kevin Iwashina. Director of photography: Reed Morano. Production designer: Jeffrey Givens. Music: Eric Elbogen. Costume designer: Alisha Silverstein. Editors: Franklin Peterson, Jay Gammill. Sales: Preferred Content. No MPAA rating, 80 minutes.

JackpotBy John DeForeNEW YORK — The kind of quick-witted, high-toned genre flick programs like Cinemania were made for, Magnus Martens’s Jackpot is a black-comic ride once again demonstrating that sudden windfalls of cash aren’t all they’re cracked up to be. Though likely to attract remake-rights attention, the pic’s success with such worn-out tropes would be tough to replicate, especially con-sidering how much enter-tainment value comes via idiosyncratic performances from its Norwegian cast.

In a twisty, flashback- reliant structure recalling The Usual Suspects, we slowly learn how Oscar (Kyrre Hel-lum) came to be in police custody as the sole survivor of a massacre in a strip club. The manager of a recycling company that employs ex-cons, he had the misfortune of joining a betting pool with killers, only to win a sum so large nobody would want to share it. But the double-crosses don’t arrive predict-ably, and attempts to hide evidence of each betrayal lead to increasingly outland-ish violence.

Martens handles the wild

implausibilities spinning out from this premise more effectively than the makers of the current arthouse re- lease Headhunters, also based on a story by Norwegian crime novelist Jo Nesbo. He moves things along briskly and gets a wry, skeptical performance out of Hen-rik Mestad (as the detective investigating the murders) that’s so off-kilter we don’t need Fargo allusions — a gag with the recycling plant’s plastic-shredder one-ups that film’s wood-chipper scene — to tell us how seriously, or not, to take the action.

Venue: Tribeca Film Festival, Cinemania. Production: Fantefilm fiksjon. Cast: Kyrre Hellum, Mads Ousdal, Henrik Mestad, Arthur Berning, Andreas Capellen, Peter Andersson. Director-screenwriter: Magnus Martens. Producers: Are Heidenstrom, Martin Sundland. Director of photography: Trond Hoines. Production designer: Lina Nordqvist. Music: Magnus Beite. Editor: Jon Endre Mork. Sales: TrustNordisk. No MPAA rating, 82 minutes. thr

Jess Weixler has poor taste in Free Samples.

A massive payoff is at stake in Jackpot.

Week 32 May 2 ABC CBS NBC FOX CWMON8:008:309:009:3010:0010:30

2.8/7 15.32.8/8

Dancing With the Stars 3.2/8 17.6

15.93.1/9 17.63.3/8 18.43.4/8 18.52.3/6 20/20 Special: Dance Floor Confid.

2.1/6 10.7 S11.7

1.9/5 9.7

1.7/5 6.31.7/5 How I Met Your Mother R 4.71.7/5 2 Broke Girls R 5.12.0/5 Two and a Half Men R 6.71.7/4 Mike & Molly R 6.01.6/4 Hawaii Five-0

1.6/4 7.7 R7.6

1.6/4 7.8

3.2/9 8.93.4/10

The Voice 3.8/10 10.3

9.83.6/10 10.04.1/10 10.94.2/10 10.52.2/6 Smash

2.0/5 6.06.3

1.9/5 5.7

2.2/6 6.92.2/7 Bones

2.2/6 7.47.3

2.2/6 7.52.2/6 House

2.3/6 6.56.4

2.3/6 6.6

0.5/1 1.10.5/2 Gossip Girl

0.5/1 1.01.1

0.5/1 0.90.5/1 Hart of Dixie

0.5/1 1.31.2

0.5/1 1.3

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

1.5/5 6.10.8/3

ABC Saturday Movie:”The Blind Side” 1.5/5 6.1

3.71.2/4 5.01.5/5 6.11.8/6 6.91.9/6 7.22.0/6 7.8

0.6/2 4.90.4/2 NCIS

0.5/2 4.9 R S4.5

0.6/2 5.40.5/2 The Mentalist

0.5/2 4.7 R4.6

0.5/2 4.70.9/3 48 Hours Mystery

0.9/3 5.15.0

0.9/3 5.1

0.5/2 2.10.3/1 Escape Routes

0.3/1 1.11.2

0.3/1 1.00.5/2 The Firm

0.5/2 2.12.1

0.5/2 2.20.6/2 Law & Order: SVU

0.7/2 3.0 R2.7

0.8/3 3.4

1.6/6 5.91.6/7

NASCAR Sprint Cup Series:Capital City 400at Richmond Int’l Raceway 1.6/6 5.9 S

5.61.6/6 5.71.5/5 5.61.5/5 5.51.9/6 6.71.7/6 6.1

NO PROGRAMMING

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tv ratings

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2.0/6 9.41.3/4 Last Man Standing R 5.71.5/4 Cougar Town 4.92.2/6 Dancing With the Stars Results

2.4/6 14.513.7

2.6/7 15.22.3/6 Private Practice

2.2/6 8.18.7

2.1/6 7.6

1.7/5 10.01.9/6 NCIS

2.0/6 12.4 R11.8

2.1/6 13.01.7/5 NCIS: Los Angeles

1.7/5 9.7 R9.9

1.7/4 9.41.5/4 Unforgettable

1.5/4 7.8 R7.9

1.4/4 7.7

2.4/7 6.82.1/7 The Biggest Loser

2.2/7 6.96.7

2.4/7 7.03.3/9 The Voice Results

3.4/9 8.98.7

3.4/9 9.21.6/4 Fashion Star

1.5/4 4.64.9

1.4/4 4.3

2.4/7 5.52.7/9 Glee

2.7/8 6.96.7

2.7/8 7.02.6/7 New Girl 5.21.4/4 New Girl R S 3.1

0.4/1 0.90.6/2 90210

0.6/2 1.11.2

0.5/2 1.00.3/1 The L.A. Complex

0.3/1 0.6 D0.6

0.3/1 0.6

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

1.8/5 5.71.3/4 The Middle R 4.91.4/4 Suburgatory R 4.42.2/6 Modern Family R 5.82.0/5 Don’t Trust the B— in Apt. 23 4.92.1/6 Revenge

2.1/6 7.07.0

2.0/6 7.0

2.0/6 8.02.5/8 Survivor: One World

2.7/8 9.89.4

2.9/8 10.31.7/5 Criminal Minds

1.8/5 7.6 R7.4

1.9/5 7.81.4/4 CSI: Crime Scene Investigation

1.4/4 6.6 R6.7

1.4/4 6.5

1.3/4 4.81.7/5 Betty White’s Off Their Rockers 5.80.8/2 Best Friends Forever 2.70.8/2 Rock Center With Brian Williams

0.9/2 3.73.5

0.9/2 3.91.5/4 Law & Order: SVU

1.7/5 6.66.2

1.8/5 6.9

4.8/14 16.94.2/13

American Idol 4.8/14 16.9

15.04.8/14 17.24.9/13 17.55.1/13 17.8

0.4/1 0.90.3/1 The L.A. Complex

0.3/1 0.7 R S0.8

0.2/1 0.50.5/1 America’s Next Top Model

0.5/1 1.11.1

0.6/1 1.2

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

2.2/6 7.81.3/4 Missing

1.4/4 7.06.9

1.4/4 7.13.1/8 Grey’s Anatomy

3.3/9 9.59.2

3.5/9 9.62.1/6 Scandal

2.0/6 6.97.0

2.0/6 6.7

2.6/7 11.74.1/13 The Big Bang Theory 12.62.5/7 Rules of Engagement 8.22.4/7 Person of Interest

2.4/6 12.712.6

2.4/6 12.92.2/6 The Mentalist

2.2/6 12.012.1

2.2/6 12.0

1.4/4 3.11.4/4 Community 3.21.6/5 30 Rock 3.52.1/6 The Office 4.21.6/4 Parks and Recreation 3.20.8/2 Awake

0.8/2 2.22.3

0.7/2 2.1

2.9/8 10.73.7/11 American Idol

4.0/12 14.913.7

4.4/12 16.02.0/5 Touch

1.9/5 6.47.0

1.7/4 5.8

0.8/2 1.71.1/4 The Vampire Diaries

1.1/3 2.22.3

1.1/3 2.20.6/2 The Secret Circle

0.5/1 1.11.2

0.5/1 1.1

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

1.3/4 4.81.4/5 Shark Tank

1.4/5 5.45.4

1.4/5 5.41.1/4 Primetime: What Would You Do?

1.1/4 4.04.1

1.1/4 4.01.4/4 20/20

1.4/4 5.05.0

1.5/5 5.0

1.5/5 8.91.5/6 Undercover Boss

1.6/6 7.26.6

1.8/6 7.91.5/5 CSI: NY

1.5/5 9.18.8

1.5/5 9.41.5/5 Blue Bloods

1.5/5 10.510.4

1.5/5 10.5

1.2/4 4.61.0/4 Who Do You Think You Are?

1.0/4 5.35.4

1.0/3 5.21.4/5 Grimm

1.4/4 4.34.5

1.3/4 4.21.0/3 Dateline

1.1/3 4.13.9

1.2/4 4.3

1.1/4 3.51.0/4 The Finder

1.1/4 4.03.9

1.1/4 4.11.0/3 Fringe

1.0/3 3.13.1

1.0/3 3.1

0.5/2 1.50.4/2 Nikita

0.4/1 1.31.3

0.4/1 1.30.7/2 Supernatural

0.7/2 1.61.7

0.7/2 1.6

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

2.2/6 7.41.3/4 America’s Funniest Home Videos

1.5/5 6.86.3

1.6/5 7.22.9/9 Once Upon a Time

3.0/8 9.29.0

3.0/8 9.32.6/7 Desperate Housewives

2.5/6 8.08.3

2.4/6 7.71.9/5 GCB

1.8/5 5.55.7

1.8/5 5.3

1.6/5 9.01.2/4 60 Minutes

1.2/4 10.09.6

1.3/4 10.42.1/6 The Amazing Race 20

2.3/7 8.68.3

2.5/7 8.81.8/4 The Good Wife

1.7/4 10.09.9

1.7/4 10.11.2/3 NYC 22

1.2/3 7.47.5

1.1/3 7.41

1.4/4 5.90.7/3 Dateline

0.8/3 3.43.4

0.9/3 3.40.8/2 Harry’s Law

0.8/2 7.37.0

0.9/2 7.71.6/4

The Celebrity Apprentice 2.0/5 6.4

5.61.9/5 5.92.1/5 6.62.3/6 7.39

1.9/6 4.11.1/4 The Simpsons R 2.61.5/5 The Cleveland Show 3.12.3/7 The Simpsons 5.11.9/5 Bob’s Burgers 3.92.9/7 Family Guy 5.72.0/5 The Cleveland Show S 4.1

NO PROGRAMMING

WKS.AVGSSSN. TO DATE

2.0/6 8.02.4/7 8.3

1.7/5 8.43.0/8 11.8

1.6/5 5.22.5/7 7.5

2.3/7 7.33.2/9 8.9

0.5/2 1.20.8/2 1.7