More Staff Turnover At Syndicated 'Katie'

Director Joseph Terry and co-executive producers Kathy Samuels and Ethan Nelson depart the rookie talker.
TVNewsCheck,

Disney-ABC’s syndicated rookie Katie with Katie Couric is undergoing more behind-the-scenes shakeups with director Joseph Terry and co-executive producers Kathy Samuels and Ethan Nelson leaving the show just as it wraps up its first season, a Disney spokesperson confirms.

The staffing changes come just weeks after Rachel Miskowiec replaced Michael Morrison as executive producer. Morrison had replaced original executive producer Jeff Zucker who is now running CNN.

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Katie was the highest-rated rookie in the just-concluded May sweep with a 1.7 household rating. It ranked No. 6 among all talk shows.

Disney-ABC sold Katie to stations in a two-year deal that will see it return next fall. TV station general managers say Disney-ABC has not begun to actively renew the show for a third season.

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Comments (6) -

PlasmaMan Nickname posted over 3 years ago
Bye-Bye
T Dog posted over 3 years ago
Stick a fork in it, this show is done.
newsbot Nickname posted over 3 years ago
Last one out, turn off the lights.
GetReal Nickname posted over 3 years ago
Too late now, but the endearing/enduring Katie Couric quality is the co-host that can kid around and be kidded-around-upon, which is what made her appealing on Today and nowhere else quite like that. Had she started and had a Gelman/Ed McMahon/ Paul Schaffer-type near her, she would have seemed more likeable and empathetic. Kind of hard to do that once the show's format is already baked. It seems a shame that Katie Couric, and many others can't seem to figure out how to translate the morning-show vibe to another type of show. It's NOT as anchor of the CBS Evening News or hosting a drippy daytime talk show.
posted over 3 years ago
I completely agree with you, Get Real. I also think her show tends to be "all about Katie," which is a shame. It doesn't go over well with viewers.
newsbot Nickname posted over 3 years ago
I wouldn't necessarily agree that the format is "baked." There's an outside chance of a "reboot" in Season Two, but the recent example of "Anderson/Anderson Live" is not an encouraging one. Katie has a theoretically better chance of a makeover due to better clearances. As for the current format, remember that the reason for launching "Katie" (and blowing up the ABC Daytime schedule in the process) was to give the network's O&Os the best available successor to Oprah.
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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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