New DMA List Again Shows TV Homes Drop

For the second straight year, according to Nielsen's just-released ranking of TV DMAs for the 2012-13 season, the number of TV homes has fallen, if only slightly. The count is off nearly 500,000 homes to 114.2 million. Winners in the DMA reordering were Grand Rapids-Kalamazoo, Oklahoma City and Anchorage. The trio climbed three spots. Top 38 markets are the same as last season.
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TVNewsCheck,

With Americans watching TV via broadband on smartphones and various types of computers, the universe of households with conventional TVs is shrinking, according to Nielsen's just-released DMA rankings for the 2012-13 TV season.

The loss was not great. The new official number of TV households is 114,173,690, down nearly a half of million or less than 1% from last year's 114,649,310.

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Even New York, the perennial No. 1 market, was down, with 3,470 fewer TV homes.

But it's the second straight year of contraction and could signal a trend.

Nielsen officials were not immediately available to explain the drop in TV households, but last year they attributed it to consumer's ability to watch TV of digital devices, continued fallout from broadcasting's analog-to-digital transition in 2009 and the financial hardship of some.

The rankings themselves had their usual ups and downs, but there were no changes in the top 38 markets and no changes of more than three spots.

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The new DMA 39 is Grand Rapids-Kalamazoo-Battle Creek, which moves up three spots, while Birmingham, which had held the DMA 39 spot, fell three places to DMA 42.

The two other three-spot advancers: Oklahoma City, to DMA 41, and Anchorage, to DMA 145.

Joining Birmingham as a three-spot decliner: Palm Springs, which fell to DMA 148.

Two spot advancers: Austin, to DMA 45; South Bend-Elkhart, to DMA 95; Biloxi-Gulfport, to DMA 160; Butte-Bozeman, to DMA 187; Lima, to DMA 199.

Two-spot decliners: Harrisburg-Lancaster, to DMA 43; Albuquerque-Santa Fe, to DMA 47; Roanoke-Lynchburg, to DMA 68; Toledo, to DMA 76; Portland-Auburn, to DMA 80; Burlington-Plattsburgh, to DMA 97; Augusta-Aiken, to DMA 113; Macon, to DMA 120; and Idaho Falls-Pocatello, to DMA 162.

Seventeen markets dropped one notch, while 23 rose one place.

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Ratings

Overnights, adults 18-49 for September 28, 2016
  • 1.
    2.8/10
  • 2.
    1.9/7
  • 3.
    1.7/6
  • 4.
    1.4/5
  • 5.
    0.6/2
  • 6.
    0.4/1
Source: Nielsen

Reviews

  • Rob Owen

    Easily fall’s best broadcast network comedy pilot, NBC’s The Good Place offers a clever high-concept premise that’s complemented with intelligent, sometimes absurdist humor. Created by Michael Schur, co-creator of NBC’s Parks and Recreation, The Good Place is a highly serialized series that’s essentially set in heaven and stars Kristen Bell and Ted Danson. NBC made five episodes of The Good Place available for review, and the show not only holds up, but also it improves, deepening characters that initially feel one-note and frequently leaving viewers guessing with cliffhanger endings to many of the episodes. The combination of snappy dialogue and winning but flawed characters makes The Good Place a great bet for fans of smart TV comedy.

  • Maureen Ryan

    Pitch has swagger, for good reason. It gets the big things right; the Fox drama about the first female baseball player in the Major Leagues is one of the year’s most assured and exciting debuts. But part of what impresses about the pilot is also the way it confidently strings together so many small but telling details. Ginny (Kylie Bunbury) is the first woman to be called up from the minors to the big leagues, and no show since Friday Night Lights has done a better job of portraying the internal and external pressures that weigh heavily on young athletes asked to do much more than merely succeed on the field. Pitch will likely do a good job of getting viewers to root for it. The hope is that the show won’t be an impressive, short-lived curiosity, but rather a long-term phenomenon.

  • Kevin Fallon

    In a fall TV season that’s already making a splash for championing diverse, distinctive voices in an array of projects that they created, wrote, and starred in, Better Things on FX stands out. The show is created by, written by, and starsPamela Adlon. She plays Sam Fox, the single mother of three daughters modeled after her own reality-show-ready experience raising three girls in Los Angeles following a divorce. Sam is also, like Adlon, a working actress — on shows both raunchy, a la Californication, and animated for children, like her role on Recess. It’s a refreshingly blunt take on single motherhood without sacrificing the warmth of parental love, portraying the dance between selfishness and selflessness that’s at the heart of being a parent — especially one weathering the hormonal fireworks of a household of four women at different ages.

  • David Wiegand

    The fall TV season doesn’t count as much as it used to — we already know that. But no matter how many retreads the broadcast networks throw at viewers in the next few months, this fall will be memorable because of the premiere of Atlanta on Tuesday, Sept. 6, on FX. The half-hour comedy created by and starring Donald Glover (Community), simply and brilliantly recalibrates our expectations of what a TV comedy is and how black lives are portrayed on the medium.

  • Louisa Ada Seltzer

    The second reboot of the 1980s John Candy movie Uncle Buck, bumped by ABC from midseason, has the same tired jokes you'll find on any second-rate sitcom. Too bad, because Mike Epps is appealing and ABC would be wise to keep him around for future shows, but there’s just not enough to this show to suggest it will last past summer. It also airs against NBC’s America’s Got Talent, summer’s No. 1 program on broadcast, which may make it even harder to find an audience.

  • Neil Genzlinger

    Bryan Cranston brings his Tony Award-winning interpretation of President Lyndon B. Johnson to television in an adaptation of the Robert Schenkkan play All the Way, and it’s still quite a sight to behold, just as it was on Broadway in 2014. Nothing beats witnessing this kind of larger-than-life portrayal onstage, of course. But the television version, presented by HBO, offers plenty of rewards, allowing Cranston to work the close-ups and liberating him from the confines of a theater set. Cranston’s performance is a gem — in his hands, this accidental president comes across as an amazing bundle of contradictions, someone who seems at once too vulgar for the job and just right for it.

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