Weekly syndicated ratings roundup

Syndie Toppers: 'Wheel,' Judy, Phil, Anderson

Wheel of Fortune is syndications No. 1; Judge Judy makes it 800 weeks atop the courtroom genre with a 3% week-to-week rise, while Dr. Phil led the talk shows and freshman Anderson posted  the largest increase of any new show.
By
TVNewsCheck,

Judge Judy (CTD), Dr. Phil (CTD) and Anderson (WBDTD) were the daytime syndication standouts in the session ending Jan. 15.

Court Shows

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Daytime queen Judy hit a milestone 800 weeks in a row as the No. 1 court show in syndication. That translates into topping the courtrooms every week for more than the past 15 years. In addition, Judy matched its highest ratings of the season in the frame, growing 3% week to week and 55% year to year to a 7.6, a number that is more than double any other daytime strip.

Among the other gavelers, Judge Joe Brown (CTD) jumped 7% from the week before to a 3.0; People’s Court (WBDTD) lost 9% to a 2.1; Judge Alex (Twentieth) sank 6% to a 1.7; and Judge Mathis (WBDTD) was unchanged at a 1.7.

Talk Shows

Elsewhere in daytime, Dr. Phil was the No. 1 talk show for the 12th time this season, climbing for the third week in a row, with a 10% advance to a 3.2.

Dr. Oz (Sony) was unchanged at a 3.0; Live with Kelly (Disney-ABC) was flat at a 2.7; Ellen DeGeneres (WBDTD) was unchanged at a 2.4, tying Maury (NBCU), which weakened 4% to a2.4; Rachael Ray (CTD) held steady at its season high 1.8; The Doctors (CTD) gained 7% in households to a 1.6 and 50% among women 18-34 in its first full week without co-host Jillian Michaels; and Wendy Williams (Debmar-Mercury) hit an all-time high 1.4, up 17% from the prior week and 56% over the past two weeks.

First-Run Freshmen

The recently renewed Anderson had the largest increase of any new show. The first-run rookie surged 25% from the week before in households to a new series high 1.5, tying 20-year veteran Springer. In addition, Anderson scored 20% or better increases in every key female demo.

Jeremy Kyle (Debmar-Mercury) and We the People with Gloria Allred (Entertainment Studios) were flat at 0.6 and 0.5, respectively. New latenight dating show Excused (CTD) jumped 17% to a 0.7.

Magazine Shows

In access, magazines continued to generate ratings heat. Leader Entertainment Tonight (CTD) grew 3% to a 3.9; Inside Edition (CTD) added 6% to a 3.3; Access Hollywood (NBCU) rose 5% in households to a 2.0 and spurted 15% in the women 25-54 demo; TMZ (WBDTD) was up 5% to a 2.0; The Insider (CTD) gained 6% to a 1.7; while Extra (WBDTD) held firm at a 1.6, despite not airing in numerous markets due to news coverage.

Game Shows

Among game shows, Wheel of Fortune (CTD) inched up 3% from the previous session to a new season high 7.8, topping the list of all syndicated shows for the week. Jeopardy (CTD) upticked 2% to a 6.3; while Family Feud (Debmar-Mercury) and Who Wants to Be a Millionaire (Disney-ABC) were unchanged at 3.2 and 2.6, respectively.

Off-Net Sitcoms

In off-net syndication, freshman sitcom Big Bang Theory (WBDTD) was up 3% week to week to a new season high 7.0; Two and a Half Men (WBDTD) fell 1% to a second-place 6.6; Family Guy (Twentieth) gained 5% to a 4.3; How I Met Your Mother (Twentieth) was down 3% to a 3.4; and Seinfeld (Sony) and Everybody Loves Raymond (CTD) were flat at a 2.6.

Among the new laffers following Big Bang, 30 Rock (NBCU) held steady at a 1.4 in late fringe; It’s Always Sunny in Philadelphia (Twentieth) was up 9% to a 1.2; while Till Death (Sony) was unchanged at a 0.7.

Off-Net Weekly Hours

On the weekend, Criminal Minds (CTD) pulled away from the off-net weekly hours with a 27 spike from the prior frame to a new season high 3.8. Monk (NBCU) remained second with an unchanged 2.8; Law & Order (NBCU) was flat at 2.7, tying Without a Trace (WBDTD), which picked up 8% to a new season high 2.7; and Numbers (CTD) was in the plus column with an 8% advance to a new season high 2.6.

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Ratings

Overnights, adults 18-49 for Maio 17, 2012
  • 1.
    3.0/9
  • 2.
    2.5/7
  • 3.
    2.4/7
  • 4.
    1.5/4
  • 5.
    1.1/3
  • 6.
    0.3/1
Source: Nielsen
Reviews
Opinions
Features
  • David Wiegand

    Fans of Sex and the City have finally gotten their wish: Their beloved sex-focused sitcom is back on the air ... sort of. The four women have become four men, of course, and the writing isn't as good. Oh, and the laugh track so annoying, it's offensive. And did I mention that the costumes would be considered fashionable if you were holding a yard sale? Men at Work on TBS is almost quaint, it's so old fashioned. If it had any meat on its bones, you'd be tempted to say it's the sadly ignoble epitome of TV's long-festering emasculated-men syndrome. But it's so much of a big, forgettable, innocuous shrug, it's not even worth any actual vitriol.

  • Mike Hale

    The USA Network's motto is "Characters Welcome." Apparently they're especially welcome if they resemble Oscar Madison and Felix Unger. Already stocked with Odd Couple knockoffs in Psych and White Collar, USA adds to its inventory Common Law, another comic crime-fighting show about mismatched partners. But this latest entry exhibits very little of that kind of spark as it tries to wring laughs from the juxtaposition of counseling and police work. It looks too flat and schematically plotted to succeed as the type of lightweight summer fun we’ve come to expect from USA.

  • Joanne Ostrow

    Johnny Carson: Fantastic entertainer, miserable human being. That's the lasting message of Johnny Carson: King of Late Night, the new PBS American Masters film, a rich history of a rare product of television who dominated the small screen for decades. Unprecedented access to personal archives plus all existing episodes of The Tonight Show (1962-92), distinguishes this film by Peter Jones. Telling interviews with family and colleagues, including second wife Joanne Carson, former Tonight Show executive producer Peter Lassally and a number of biographers sharpen the picture. The clips are carefully selected to illustrate specific personality traits, the performance highlights are given context and meaning beyond funny lines and memorable moments.

  • Hank Stuever

    AMC's The Pitch is a sharply-made if slightly off-putting reality series that follows different advertising agencies each week as they compete for new accounts. The inspiration for the show — made clear by its own ad campaign — is to harness some of the verve generated by the network's acclaimed Mad Men. The Pitch has a way of making the ad world seem like a real downer — a repugnant exercise in egotism laced with depressing bouts of creative compromise.

  • Tim Goodman

    HBO's Veep stars Julia Louis-Dreyfus as former Sen. Selina Meyer, who accepts the vice presidential duty and regrets it almost immediately: She has no real power and gets muscled by the Senate, Congress and the (so-far-unseen) president, who delegates all the truly crappy jobs to her. Louis-Dreyfus has found perhaps her best post-Seinfeld role and takes to it with such fervor — the constant swearing, the barely veiled desire to become president, the unhappy give-and-take with other politicians and a delightful disdain for average citizens — that you can't help but applaud what is clearly an Emmy-worthy effort. Her work alone makes Veep a gem, but there's even more to like.

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