DMA 43

NRJ TV Snags WGCB Harrisburg For $9M

The spectrum speculator has bought six other stations with the intention of selling the spectrum to wireless carriers through the FCC's planned "incentive auction."
TVNewsCheck,

Spectrum speculator NRJ TV has purchased WGCB Harrisburg-Lancaster-Lebanon-York, Pa., from Red Lion Television for $9 million, according to an FCC filing seeking approval of the deal.

NRJ, headed by Ted Bartley, has been buying TV stations in or near major markets in hopes of flipping them at a profit in the FCC's planned "incentive auction" of TV spectrum. Hoping to shift spectrum from TV to wireless broadband, the FCC plans to set up a method by which broadcasters can voluntarily auction their spectrum and split the proceeds with the government.

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So far, NRJ has accumulated six other stations: KCNS San Francisco, WMFP Boston, WZME New York, WTVE Philadelphia, KIKU Honolulu and KSCI Los Angeles.

WGCB is an independent stations that offers of mix of classic TV shows and religion. It carries Me-TV on a subchannel.

Red Lion is owned Anna L. Plourde-Norris, president (40%), and the estate of John H. Norris (60%).

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Ratings

Overnights, adults 18-49 for 2月 4, 2016
  • 1.
    2.2/7
  • 2.
    1.9/6
  • 3.
    1.2/4
  • 4.
    1.1/4
  • 5.
    0.7/2
  • 6.
    0.7/2
Source: Nielsen

Reviews

  • Gail Pennington

    The world is ending. How funny is that? Pretty darn funny, at least as depicted in You, Me and the Apocalypse, a British import making its U.S. debut Thursday on NBC. But this isn't a flat-out comedy. In classic British style, it's also weird and dark, with an uncomfortable premise and characters who are quirky at best, horrible at worst.

  • Hank Stuever

    In the past two years, the WGN America cable channel, which was forever known to basic cable subscribers for baseball games and sitcom reruns, redefined its business plan and ordered up some of them fancy-style original drama series to add to its schedule. Outsiders is a notable leap forward for the network, as taut and intriguing and artfully conceived as any of the pretty-good series I’ve reviewed in the past year. You could proudly serve it alongside Sons of Anarchy, Rectify or Justified, and your guests might not taste the difference. With this show, WGN America is asserting its right to make provocative television. The fight for viewers’ attention is getting bloodier.

  • Ed Bark

    FX’s male-centric misery index remains very much alive and suffering, even without Rescue Me. The network and its offshoot, FXX, still provide homes for Louie, You’re the Worst, Man Seeking Woman and Sex&Drugs&Rock&Roll. But all are pre-serpent Gardens of Eden compared to FX’s Baskets, in which Zach Galifianakis (it’s bad enough having to repeatedly type his name) plays perhaps the saddest sack in TV series history. Baskets shows no signs of melting into anything close to gooey sentimentality. Its trials and tribulations pole vault over those on HBO’s Girls, but without getting all whiny and preachy about it. Zach Galifianakis, Louie Anderson and Martha Kelly fit their roles like the thick rubber gloves used in emptying human waste from portable johns. What fine messes they’re in.

  • Tom Conroy

    Angel from Hell is a goofy new sitcom from CBS starring Jane Lynch. It’s reminiscent of the wacky premises of the supernatural sitcoms of the ’60s, and it clashes with the PG-13 humor required in the ’10s. But the decent jokes, fast pace and hard-working cast — with Lynch doing most of the heavy lifting — make the half hour pass quickly. Although it’s unlikely that the comedy’s situation has what it takes to power a full season, the show is probably worth watching at least once, if only as an oddity.

  • Maureen Ryan

    Given the critical and creative success of Mr. Robot, one would be forgiven for hoping USA’s next high-profile offering, the sci-fi drama Colony, would be similarly bracing and mold-breaking. Colony does have a few things going for it, most notably Lost veteran Josh Holloway as the patriarch of a family in post-invasion Los Angeles. But in general, this series is frustratingly patchy and generic — unwilling to grapple in any consistent way with the moral and political implications of its premise — and key elements of the story remain disappointingly underdeveloped.

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