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2018-19 Season TV Cancellations/Pilots: Perfectionist Horseman commits perjury, held In Contempt

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SpartyCrunch

SpartyCrunch

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Oct 25, 2017
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Chitown B said:
Crazy Ex's problem is that it's on Fridays when no one is watching live, and most people watch it on the app later. Especially now since most streaming services aren't even allowed to carry it. I can't see CW shows on PS Vue even though the local station My Network TV shows it. It's blacked out and won't record.
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But is that really a "problem"?

The CW probably sees that so many people watch via streaming and later on Netflix/etc. that they don't want to use a valuable time slot for Crazy Ex. It's why they renewed the show despite its low ratings, because they eventually see value later.
 
Chitown B

Chitown B

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Nov 15, 2017
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SpartyCrunch said:
But is that really a "problem"?

The CW probably sees that so many people watch via streaming and later on Netflix/etc. that they don't want to use a valuable time slot for Crazy Ex. It's why they renewed the show despite its low ratings, because they eventually see value later.
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I just meant the problem in the rating number. I mean either way it's ending, but yes I agree that CW knows what you mentioned.
 
Rhaknar

Rhaknar

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Oct 26, 2017
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oh who was it that was jonesing for Last Kingdom S3? There you go dude.

Also, I take it this is a Australian joint? Although these accents are weird

 
Rhaknar

Rhaknar

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Oct 26, 2017
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pet peeve but I hate that they say Disenchantment is renewed for "season 2"... no it isnt, its renewed for season 3 and 4, and the "rest" of S1 next year should be Season 2 damn it. If its 10 episodes a year than that is your "season" :/
 
RatskyWatsky

RatskyWatsky

Are we human or are we dancer?
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Oct 25, 2017
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This article is from a while ago but I just read it and thought it had some really interesting tidbits regarding the way Netflix operates:

It turns out that for Netflix, having too many subscribers turn a show off midway through an episode and never return, or watch a couple episodes and then bail, might be just as bad, or maybe even worse, than not having a big audience, period. Sarandos later gives a name to this metric: survivorship, or "Did people who started watching episode one keep watching?"

Netflix doesn't necessarily care if you binge-watch an entire season of a show within a couple days of it launching. "We're not trying to encourage that," Sarandos says. "The completion of a single episode is a more important trigger. We wouldn't be looking at, 'Are people plowing through it in the first weekend?,' because the number of people who do that is pretty slim." But one metric I heard repeatedly during my visits to Netflix was 28-day viewership — basically how many people completed a full season of a show within the first four weeks it's on the service.

Sarandos also tells me the company looks at which shows new subscribers watch first: It lets them know if a show is driving people to sign up for Netflix.
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It has replaced demographics with what it calls "taste clusters," predicating programming decisions on immense amounts of data about true viewing habits, not estimated ones.

"We have a construct for genres that basically gives us areas where we have a bunch of programs and others that are areas of opportunity." says Holland.

Netflix calls these groupings of similar programs "verticals" — super-specific genres of film and television, such as young-adult comedies, period romances, or sci-fi adventures.

When gauging a show's performance, Netflix will consider how big its audience is and whether the show is cost-effective. But it also cares about whether a show is performing well across multiple verticals, since that means the series is reaching a larger number of "constituent groups."

If verticals are the way Netflix executives think about what kinds of content to buy or make, taste clusters help them analyze how subscribers interact with programming. The phrase, along with the interchangeable "taste communities," comes up time and again during my visits. Instead of grouping members by age or race or even what country they live in, Netflix has tracked viewing habits and identified almost 2,000 microclusters that each Netflix user falls into. While it's not a direct parallel, taste communities are sort of like Netflix's version of the demographic ratings used by traditional ad-supported networks, just more evolved.

The Netflix algorithm figures out which taste communities a member is in and then pushes the shows it thinks those members will enjoy to the top of their home screen. "We have a saying: Your Netflix is not my Netflix," De Carlo says, noting that taste communities aren't some static construct, either. "Most people are usually members of a few different communities," she says. "We're complex beings, we're in different moods at different times."

To show Grant's team how this works, De Carlo gives a PowerPoint presentation. It shows how one of Netflix's biggest hits, Black Mirror, plays particularly well in two major taste communities: Cluster 290 and Cluster 56. "We didn't come out of the gate and say, 'We think Black Mirror is for this audience or not for that audience,' " she says. "But after we launched the show, we're able to start to see patterns." The chart shows how folks who liked Black Mirror were also fans of Lost and Groundhog Day. "On the surface, if you thought about Groundhog Day with Black Mirror, you might not find an obvious similarity," De Carlo tells the group. "Lost and Black Mirror is also a stretch. But when you look at these in aggregate, you can see this through-line of supernatural or extreme worlds, and somehow that clustering tends to make more sense."
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It's a long article with lots of good bits about the ever changing thumbnails, on potential English language remakes of existing Netflix originals, One Day at a Time's not-as-great-as-expected viewership, how the different branches of Netflix (domestic, international, scripted, unscripted, film, documentary, etc.) are almost being run as completely independent companies, and much more!

A few random tidbits:

Later, I ask him [Sarandos] how many potential viewers Netflix has, since most of its 125 million-plus paid subscriptions are obviously used by more than one person. "About 300 million," he says. Given that, and the platform's international reach, couldn't one of Netflix's shows eventually reach 40 or 50 million viewers? "Yeah, of course," Sarandos offers. Has that already happened? "Definitely," he says.
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To answer my questions about the relative popularity of shows without actually answering them, Sarandos shows me a chart he's printed out of the most popular TV shows as ranked by IMDb users. While the accuracy of the site's ratings has been questioned in the past, Sarandos says IMDb is a "good indicator of what works on Netflix, because it's a pretty net-savvy, entertainment-centric person that gives feedback. It's better than Rotten Tomatoes." The chart lists the top-30 new shows of the 2016–17 TV season. "Fourteen of them are Netflix original shows," he brags. "Now this is global, so like Riverdale is a CW show [in the States], but it premieres as a Netflix original somewhere else. No one else on this list has more than three shows."
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Later, Sarandos cites IMDb again as evidence for the success of one of Netflix's original movies, the teen-targeted romantic comedy The Kissing Booth. Sarandos calls it "one of the most-watched movies in the country, and maybe in the world" — but of course he won't offer me any internal data to back that up. "In [IMDb's] popularity rankings right now, it's the No. 4 movie behind Deadpool 2, Avengers: Infinity War, and Solo," he says. "Jacob Elordi is the male lead. Three weeks ago on the IMDb Star-o-Meter, which is how they rank their popularity, he was No. 25,000. Today he is the No. 1 star in the world. And Joey King, the female lead, went from like No. 17,000 to No. 6. This is a movie that I bet you'd never heard of until I just mentioned it to you." Sarandos's point: Because reporters like me don't have ratings or box-office numbers, we're too quick to listen to rivals who claim stuff on Netflix is getting lost. "This is the competitive message you hear out of a couple of different networks and studios all the time. It is so wrong," he says.
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"As a percentage of total watchers, as many people watch 13 Reasons Why in India as watch it in the U.S." Sarandos says.
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"One in three subscribers watch Netflix unscripted shows monthly" says Netflix content VP Bela Bajaria
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Jenji Kohan (Orange Is the New Black, GLOW) signed an overall deal with the company last year, and yet Netflix has told her no, and more than once. "I've certainly pitched shows they've turned down," she tells me. Last year, before becoming exclusive with Netflix, Kohan teamed up with actor-writer Jamie Denbo to pitch the company a comedy-drama called American Princess, about a woman who ditches the Upper East Side to join a Renaissance fair. Holland and her team turned down the idea.

The good news for Kohan and Denbo is that American Princess is still getting made. When Lifetime heard the pitch, the network gave it a Netflix-like straight-to-series order, with production set to start this summer. Kohan doesn't take any delight in Lifetime's having said "Yes" when Netflix turned her and Denbo down; quite the opposite. "I wish it were at Netflix," she says. "I really don't like having to deal with a cable network at all. I'm probably biting the hand that feeds me for saying that."
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Rhaknar

Rhaknar

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RatskyWatsky said:
It's a long article with lots of good bits about the ever changing thumbnails, on potential English language remakes of existing Netflix originals, One Day at a Time's not-as-great-as-expected viewership, how the different branches of Netflix (domestic, international, scripted, unscripted, film, documentary, etc.) are almost being run as completely independent companies, and much more!
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that's the family comedy you guys keep saying is good right? well, "keep", have said is good at least lol.
 
RatskyWatsky

RatskyWatsky

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dead souls said:
And Daredevil season 3 gets pushed further and further down my watch list.
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I actually thought Season 3 was the best season of any of the MNU shows. Which isn't to say that it's amazing, but I'm still enjoying it. Unlike the rest which I either dropped (JJ, LC) or never bothered with (IF).
 

dead souls

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Oct 25, 2017
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RatskyWatsky said:
I actually thought Season 3 was the best season of any of the MNU shows. Which isn't to say that it's amazing, but I'm still enjoying it. Unlike the rest which I either dropped (JJ, LC) or never bothered with (IF).
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Oh, I'm definitely looking forward to watching it but with Sabrina, Homecoming and now The Last Kingdom coming out in the near future it's going to have to wait. I assume Amazon will announce Marvelous Mrs. Maisel season 2 any day now which will push it down even further. I'll probably end up watching it during the Christmas lull in programming.

There's too much damn TV on now that the CW is back.
 
G_Shumi

G_Shumi

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Oct 26, 2017
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Rhaknar said:
dead souls you are an enigma that I can't solve
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ZeoVGM

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Oct 25, 2017
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https://deadline.com/2018/10/the-wa...ies-low-again-andrew-lincoln-exit-1202487385/

'The Walking Dead' Ratings Dip To Series Low As Andrew Lincoln's Exit Approaches

Yet for all the plot strengths and more in the Corey Reed-penned episode on the Angela Kang-run TWD, the ratings continue to find new series lows.

While overall viewership was up 2% to 5 million on October 21, the Live+Same Day results among adults 18-49 were a declining 1.94. Against a season low Sunday Night Football, that stumble took the once highest-rated show on TV among the key demo down 3% from the previous series low of October 14's "The Bridge" episode. The 18-49 result also saw a fall of 50% from what the Greg Nicotero-directed third episode of Season 8 snagged on November 5, 2017.
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Deleted member 864

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I'm really curious to see what the ratings will be once Rick is gone, I can already tell it's not going to be good.
 

Deleted member 5853

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The Crown Season 3 Casts Camilla With Call the Midwife's Emerald Fennell.
Season 3 of The Crown will jump forward to the 1970s, when Camilla first met Prince Charles (to be played by Ripper Street's Josh O'Connor). The two later married, making Camilla the Duchess of Cornwall.
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Also, TVLine's "House of Cards" review is up:
So, while watching the first five episodes of Season 6 (all that Netflix has thus far made available for review), it was impossible not take into account what all involved were up against. And, when a creative lapse or misstep occurred, there was a temptation to cut them some slack.

That's my roundabout way of saying that Season 6 is flawed. There are problems with pacing and continuity, with some scenes feeling super rushed and others dragging on far too long. Serious weight is given to mundane moments with other, seemingly more substantial ones ending before they began. Everything just feels a little… off.


And yet, amid the choppiness, I found myself mostly engrossed in what was happening — and the reason for that is Wright. Already a commanding presence in House of Cards' first five seasons — the force of nature often even eclipsed Spacey and his scenery-chewing — the actress now goes it alone and more than rises to the occasion. If there were any doubts that she could carry the show, they were erased by a premiere that wastes no time acknowledging the elephant not in the room.
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Deleted member 5853

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THR notes the following about Sabrina:
After five episodes of foundation-laying that could, if I'm being generous, have been dispatched in two, Chilling Adventures of Sabrina finally kicks into gear. There's a narrative momentum to the season's end that has me looking forward to a much more fully realized, and already ordered, second season, but in a TV world in which "Trust me, it gets better" are the most damning words a critic can utter, how ridiculous is it to be urging this much patience with a show called Chilling Adventures of Sabrina?
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And I kinda agree with them? The notion of "it gets better" isn't appealing to me anymore, and considering this:
Both shows lean perhaps too heavily on an overly murky palette. Credit to Sabrina for at least utilizing colors other than black and gray and brown, with pilot director Lee Toland Krieger making greens and reds pop, often utilizing an interesting blurring the sides of the frame to create an iris of focus in the middle. Both shows take advantage of Netflix's refusal to suggest to showrunners that their stories might be better told with a little trimming. Seriously, how can a TV show with its origins from Sabrina the Teenage Witch justify episodes that often crest over an hour apiece? Both shows exist on the brink of an enticing world of darkness and yet concentrate on a descent into criminality rather than getting into the fun stuff.
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it'll be a struggle to get through 5+ hours of literally dark television that isn't that interesting.
 
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