Weekly syndicated ratings roundup

'Judy', 'Wheel' Tie For Syndie's Top Spot

They were two of the few syndication standouts in the week ending Jan. 29 that saw viewing levels fall and some show preempted by the president’s State of the Union address.
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TVNewsCheck,

Ratings for most of syndication were flat to off a bit in the week ending Jan. 29, as PUT levels declined sharply with unseasonably mild weather in parts of the U.S. and shows got ready for the February sweeps.

Court Shows

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A bright spot in daytime, however, was Judge Judy (CTD) which matched its season high and tied access strip Wheel of Fortune (CTD) as the No. 1 show in syndication.

Court show topper Judy hit a 7.6, up 1% in households from the week and up 6% among women 25-54. Judy also improved 65% in homes from the same week last year.

Judy stable mate Judge Joe Brown (CTD) 7% to a 3.1; People’s Court (WBDTD) dropped 5% to a 2.1; Judge Alex (Twentieth) fell 5% to a 1.8; while Judge Mathis (WBDTD) was unchanged at a 1.7.

Talk Shows

Dr. Phil (CTD) ruled the talk shows for the 14th time this season with a 3.2, which was unchanged from the previous session, but up 19% from last year at this time, the biggest year-to-year increase of any talk show.

Dr. Oz (Sony) faded to a 2.9, down 3% from the prior frame, although still up 12% from last year; Live with Kelly (Disney-ABC) was down 4% to a 2.6 and off 7% from the same week last year when Regis Philbin co-hosted the show.

Also at a 2.6 were Ellen DeGeneres (WBDTD), which inched up 4%, and Maury (NBCU), which was flat, tying its five-year high and remaining No. 1 in both the women 18-34 and 18-49 demos.

First-Run Freshmen

Top-rated first-run rookie Anderson (WBDTD) took a breather, slipping 13% to a 1.4. Jeremy Kyle (Debmar-Mercury) and We the People with Gloria Allred (Entertainment Studios) were unchanged at 0.7 ad 0.5, respectively. New latenight dating show Excused (CTD) eased 14% to a 0.6.

Magazine Shows

In access, magazines were bumped in a number of markets by the State of the Union address on Jan. 24, and most gave back some of their recent gains. Leader Entertainment Tonight (CTD) dipped 5% to a 3.9, although its Entertainment Tonight Weekend climbed 10% to a new season high 2.2. Inside Edition (CTD) eroded 3% to a 3.3; TMZ (WBDTD) bucked the downtrend and upticked 5% to a new season high 2.2; Access Hollywood (NBCU) retreated 9% to a 2.0; The Insider (CTD) held steady at a 1.7; while Extra (WBDTD) slipped 6% to a 1.6 after being widely preempted.

Game Shows

Game shows were soft. Wheel of Fortune (CTD) shed 1% from the week before to a 7.6; Jeopardy (CTD) weakened 3% to a 6.2; Family Feud (Debmar-Mercury) dropped 3% to a 3.1; and Who Wants to Be a Millionaire (Disney-ABC) devalued 4% to a 2.6.

Off-Net Sitcoms

Big Bang Theory (WBDTD) continued to lead the off-net sitcoms but was down 1% week to week to a 7.3. Two and a Half Men (WBDTD) tumbled 10% to a 6.4; Family Guy (Twentieth) lost 2% to a 4.1; How I Met Your Mother (Twentieth) skidded 11% to a 3.4; Seinfeld (Sony) gained 4% to a 2.7; and Everybody Loves Raymond (CTD) rose 4% to a 2.6.

Among the new sitcoms following Big Bang, 30 Rock (NBCU) held firm at a 1.5; It’s Always Sunny in Philadelphia (Twentieth) climbed 8% to a 1.3; and Till Death (Sony) added 17% to a 0.7.

Off-Net Weekly Hours

On the weekend, Criminal Minds (CTD) led the off-net hours with a 3% gain to a 3.0. Monk (NBCU) picked up 4% to a 2.7 and landed in a tie with Law & Order (NBCU), which surged 17% to a 2.7; Cold Case (WBDTD) advanced 13% to a 2.6; while The Closer (WBDTD) was flat at a 2.4.

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The Market

Symbol Last Change (%)
Nasdaq 2778.79 +0.00 (+0.00)
NYSE 7460.35 +32.61 (+0.44%)
S&P 500 1295.22 +0.00 (+0.00)
Updated 05/21 9:51a ET Quotes delayed at least 20 mins.
Source: Financial Content

Ratings

Overnights, adults 18-49 for May 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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