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 May 21, 2015
  • 1.
    1.1/4
  • 2.
    1.0/4
  • 3.
    0.9/3
  • 4.
    0.8/3
  • 5.
    0.8/3
  • 6.
    0.2/1
Source: Nielsen

Reviews

  • Tim Goodman

    The new Netflix comedy series Grace and Frankie has the odd distinction of seeming like it doesn’t belong on Netflix but also paling in comparison to a show on Netflix’s main streaming rival, Amazon. You might find yourself asking why it exists at all. For starters, the Jane Fonda and Lily Tomlin vehicle feels a lot more like a network show than something trying to stand out in the modern streaming world. That doesn’t necessarily mean that either Netflix or Amazon are distancing themselves from “regular television,” but there’s a familiarity to Grace and Frankie that seems rather dated.

  • Joanne Ostrow

    Two Jews walk into a bar .... There's no punchline. It's a silly, sentimental episode of FX's The Comedians in which Billy Crystal and Josh Gad sing karaoke in L.A.'s Little Tokyo and reminisce about aging, family and the nature of comedy. The generation gap provides the crux of a comedy collaboration by Crystal (old-school Borscht Belt) and Gad (youthful Broadway) that is by turns gently narcissistic, occasionally gross and musically inclined. The 13 episodes are fun, not groundbreaking, but slickly produced and accented with musical comedy. Like the two stars, the series is endearing, loud and desperate for attention, but ultimately a love letter to comedy and comedy history.

  • David Wiegand

    Kings, queens, presidents and dictators all have official histories, but power brokers, as they embody the precepts of Machiavelli, often operate in whole or part behind the scenes. Henry VIII takes second billing in PBS's Wolf Hall, the sprawling six-hour adaptation of two historical novels by Hilary Mantel. The miniseries is both brilliant and maddening and only really pays off in the final two episodes, after you’ve more or less figured out who the characters are, how they’re related to each other, and what the hell they are saying during endless, slow-moving conversations spoken, of course, in what to many Yanks is a foreign tongue: British English.

  • David Hinckley

    HBO's four-hour documentary Sinatra: All or Nothing at All captures all the singer's swash and buckle. It also reminds us, in a smart way, that Sinatra became one of the four or five best popular singers of the 20th century. In other words, director Alex Gibney hasn’t set out to make headlines by focusing on the flaws or the dark side of a life that had plenty of both.

  • Brian Lowry

    NBC describes American Odyssey as “Traffic-like,” which might explain the lack of inspiration permeating this multi-pronged drama, which, much like sibling USA’s Dig, hinges on a vast (and tedious) conspiracy. The intersecting threads involve a U.S. soldier in North Africa, a corporate lawyer and an Occupy-type political activist, each embroiled in a monstrous plot reaching up and into government. First-rate casting — including Anna Friel, Peter Facinelli and Treat Williams — can’t obscure the been-there, seen-that sensation, which doesn’t spur much curiosity about how these tentacles connect or offer much hope the show will last long enough to find out.

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