Weekly syndication ratings roundup

Another Tough Week For Talkers

Amid unseasonable warmer weather, only two of the chat pack were able to improve week to week in households. Maury gained 6% to a 1.7, pulling ahead of Steve Harvey into fourth place, while The Doctors jumped 13% to a 0.9, tying The Real for the 12th slot.  
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Live with Kelly grew 9% in the key women 25-54 demo, and, for a second straight week, maintained the No.2 spot in talk and its highest rating since January. Live’s 2.4 live-plus-same-day National Nielsen again outperformed Ellen DeGeneres (which remained third) with an unchanged 2.3 in the session ending Feb. 26.

Dr. Phil, which dipped 3% to a 3.7 rating, continued to lead the category by a wide margin for the 25th straight session, which included the third full week of the important February sweep.

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Amid unseasonable warmer weather, only two talkers were able to improve week to week in households. Maury gained 6% to a 1.7, pulling ahead of Steve Harvey and dropping Harvey into fifth place. Compared to last year at this time, Harvey lost 20%.

Talk’s largest percentage increase was charted by The Doctors, which jumped 13% to a 0.9, tying The Real.

Another bright spot was Hot Bench, which gained 4% to a 2.6, matching its season-best number and ranking as the third-highest daytime show overall for a fifth consecutive frame, behind only courtroom queen Judge Judy with a monster 7.2, and Phil.

On the other hand, most off-nets headed south. The Big Bang Theory dominated the group, despite dipping 2% to a 5.5. Double-digit decliners among the top 10 sitcoms included Family Guy, which lost 10% to a 1.9; newcomer Last Man Standing which sank 14% to a sixth-place 1.8; and How I Met Your Mother, which faded 15% to a new season low 1.1.

Brand Connections

The week’s top-rated daytime talk shows in the women 25-54 demo were:

  • Dr. Phil (1.7, unchanged from the week before)
  • Live with Kelly (1.2, +9%)
  • Ellen DeGeneres (1.1, -8%), tied with Maury (1.1, +10%)
  • Wendy Williams (1.0, unchanged), tied with Steve Wilkos (1.0, unchanged)
  • Jerry Springer (0.9, unchanged)

In the household rating rankings that follow, % change is from the previous week; * indicates a new season-high rating; ** indicates a new season low; NC indicates no change from the previous week; NA mean not applicable.

TALK SHOWS

1. Dr. Phil (CTD) 3.7 -3%

2. Live with Kelly (Disney-ABC) 2.4 NC

3. Ellen DeGeneres (WBDTD) 2.3 NC

4. Maury (NBCU) 1.7 +6%

5. Steve Harvey (NBCU) 1.6 NC

6. Wendy Williams (Debmar-Mercury) 1.5 NC

7. Steve Wilkos (NBCU) 1.4 NC

7. Jerry Springer (NBCU) 1.4 NC

9. Rachael Ray (CTD) 1.3 NC

10. Dr. Oz (Sony) 1.2 NC

11. Crime Watch Daily with Chris Hansen (WBDTD) 1.0 NC

12. The Real (WBDTD) 0.9 NC

12. The Doctors (CTD) 0.9 +13%

DAYTIME ROOKIE SHOWS

1. Harry (NBCU) 1.1 NC

COURT SHOWS

1. Judge Judy (CTD) 7.2 NC

2. Hot Bench (CTD) 2.6 +4%

3. People’s Court (WBDTD) 1.8 +6%

4. Judge Mathis (WBDTD) 1.4 +8%

5. Divorce Court (Twentieth) 1.1 +10%

6. Judge Faith (Trifecta) 0.8 NC

GAME SHOWS

1. Family Feud (Debmar-Mercury/FMNA) 7.4 -1%

2. Wheel of Fortune (CTD) 6.7 NC

2. Jeopardy (CTD) 6.7 +5%

4. Who Wants to Be a Millionaire (Disney-ABC) 1.7 +6%

5. Celebrity Name Game (Debmar-Mercury/FMNA) 1.3 -7%

INTERNET VIDEO

1. Right This Minute (Disney-ABC) 1.4 NC

MAGAZINE SHOWS

1. Entertainment Tonight (CTD) 3.2 -6%

2. Inside Edition (CTD) 3.0 NC

3. TMZ (WBDTD) 1.6 NC

4. Access Hollywood (NBCU) 1.4 NC

5. Extra (WBDTD) 1.2 NC

6. The Insider (CTD) 1.1 -8%

7. Dish Nation (Twentieth) 0.8 NC

8. Celebrity Page (Trifecta) 0.3 NC

OFF-NET SITCOMS

1. Big Bang Theory (WBDTD) 5.5 -2%

2. Modern Family (Twentieth) 3.0 -3%

3. Two and a Half Men (WBDTD) 2.5 -4%

4. Family Guy (Twentieth) 1.9 -10%

4. Mike and Molly (WBDTD) 1.9 -5%

6. Last Man Standing (Twentieth) 1.8 -14%

7. Two Broke Girls (WBDTD) 1.7 NC

8. Seinfeld (Sony) 1.2 NC

8. The Cleveland Show (Twentieth) 1.2 NC

10. How I Met Your Mother (Twentieth) 1.1** -15%

10. King of the Hill (Twentieth) 1.1 -8%

OFF-NET WEEKLY HOUR DRAMAS

1. Law & Order: SVU (NBCU) 4.4 -2%

2. Blue Bloods (CTD) 1.9 NC

3. Castle (Disney-ABC) 1.6 +14%

4. American Ninja Warrior (NBCU) 1.5 -6%

5. CSI Miami (CTD) 1.4 NC

6. Major Crimes (WBDTD) 1.3 +18%

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Ratings

Overnights, adults 18-49 for August 22, 2017
  • 1.
    2.1/9
  • 2.
    0.8/3
  • 3.
    0.6/2
  • 4.
    0.5/2
  • 5.
    0.4/2
  • 6.
    0.2/1
Source: Nielsen

Reviews

  • Gail Pennington

    A sweet little show, low key and more smile-worthy than hilarious, ABC's Downward Dog won't be for everyone. Animal lovers are likely to find it adorable; cynics, unless they really, really love dogs, probably should stay away.

  • Neal Justin

    Tina Fey will inevitably let down her legions of TV fans with a real stinker. But not yet. The comic maestro, whom Rolling Stone recently ranked as the third greatest player in Saturday Night Live history, is following 30 Rock and Unbreakable Kimmy Schmidt with NBC’s Great News, yet another fast-paced, perfectly absurd sitcom about a single woman trying to maintain a personal and professional life with Mary Richards-like spunk.

  • Jeanne Jakle

    Don’t go into the new round of Fargo expecting the grab-’em-by-the-throat shocks that opened previous seasons of TV’s chilliest crime anthology. The latest incarnation of the FX series from Noah Hawley takes its time worming into your mind and getting you hooked. Season three establishes its characters at a much more leisurely pace: the central quartet, the unscrupulous locals who surround them and the sinister interlopers who make these drab Minnesota lives more complicated and, eventually, scary as heck.

  • Daniel Fienberg

    In Brockmire, Hank Azaria's Funny or Die sportscaster works surprisingly well as a regular series lead on the new IFC show, costarring the excellent Amanda Peet. Over the course of the eight episodes, Brockmire moves through a trio of arcs, delivering underdog sports shenanigans, a relationship that makes more sense as it progresses and Brockmire's sad and probably doomed search for redemption. That's all propped up with enough low-brow jokes, raunchy baseball references and disreputable hijinks that the show never wallows. I reached the finale and was surprised at how much I wanted to see more from a character I initially thought couldn't sustain more than five minutes.

  • Maureen Ryan

    It’s appropriate that The Good Fight on CBS All Access has a slightly more jagged and splintered atmosphere than The Good Wife, the long-running CBS drama that starred Julianna Margulies. In the opening minutes of the first episode, Diane Lockhart (Christine Baranski), watches as Donald Trump is sworn in as the nation’s 45th president. Before the 50-minute pilot is over, the jarring changing of the guard in Washington is the least of her troubles. Baranski brings a heartbreaking rawness to her performance as Diane, who never got enough meaningful screen time on The Good Wife. Diane’s plight is thus personal but also metaphorical: She likens the collapse of every pillar of her supposedly solid and trustworthy world to a nightmare.

  • David Wiegand

    It’s hard to say which is more excessive in the new CBS crime thriller, Training Day: the action or the dialogue. But in either case, the series from Jerry Bruckheimer and Anthony Fuqua goes a long way toward waking up broadcast TV’s mid-season. There is plenty of action, enhanced by fast-paced editing, in the three episodes made available to critics. And there’s violence. But most of all, there is dialogue so rich and colorful, it almost evokes the stuff of guys like Raymond Chandler and Dashiell Hammett, or at least Sgt. Joe Friday. Training Day just may get away with murder on Thursday nights when the numbers are counted.

  • Hank Stuever

    Well, they only had to remake a jillion TV shows from yesteryear to finally get one exactly, perfectly right. Not only is Netflix’s reimagined One Day at a Time a joy to watch, it’s also the first time in many years that a multicamera sitcom (the kind filmed on a set with studio-audience laughter) has seemed so instinctively comfortable in its own skin. It doesn’t try to subvert or improve on the sitcom format; it simply exhibits faith that the sitcom genre can still work in a refreshing and relevant way.

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