
Every year, CBS goes for a couple of major scheduling moves in anchor slots. This year, it is 2 Broke Girls moving to the tentpole Monday 9 PM position after breaking out at 8:30 PM this season. After seven seasons in the Monday 9 PM slot, Two And A Half Men is moving to the Thursday 8:30 slot behind The Big Bang Theory. That is a role-reversal for the two comedies as Big Bang grew into a hit behind Men on Monday. The 2 Broke Girls move reflects CBS’ strategy to support “shows that have momentum, trying to catch them on the way up,” CBS’ scheduling guru Kelly Kahl said at the network’s press breakfast. As for sending Men to Thursday, “we’ve created a super comedy hour,” Kahl said. Men was brought over because the network had difficulty finding a show as broad as Big Bang for the 8:30 PM slot to create flow on the night and help 9 PM drama Person Of Interest grow.
Kahl took a snipe at ABC, NBC and Fox, which all scheduled single-camera comedies in the Tuesday 9 PM hour, calling the pileup “a comedy Sigalert”. “It’s good to have a drama there,” he said of CBS, which is sticking with NCIS: LA in the slot. CBS’ entertainment president Nina Tassler said it was a toss-up decision which CSI spinoff to cancel, which ultimately came down to whose slot the network found more suitable for The Mentalist as it didn’t want to have any of the veteran CSIs change nights again. “It was about keeping the flow, and Miami was the odd man out,” she said. As for veteran comedy Rules Of Engagement, “we’re still discussing it, no decision has been made,” Tassler said.
Related: CBS Update: ‘Rules Of Engagement’ Talks Down To The Wire, ‘Mentalist’ On The Move
CBS is introducing four new shows in the fall: comedy Partners and dramas Vegas, Elementary and Made In Jersey. The strategy was “protecting our new shows, with all of them having hits in front of them,” Kahl said. Partners follows How I Met Your Mother on Monday, Vegas is behind NCIS: LA on Tuesday, Elementary behind Person of Interest on Thursday and Made In Jersey behind CSI: NY on Friday.
Here’s the CBS 2012-2013 schedule:
(N=New, NT=New Time)
MONDAY
8 PM HOW I MET YOUR MOTHER
8:30 PM PARTNERS (N)
9 PM 2 BROKE GIRLS (NT)
9:30 PM MIKE & MOLLY
10 PM HAWAII FIVE-0
TUESDAY
8 PM NCIS
9 PM NCIS: LOS ANGELES
10 PM VEGAS (N)
WEDNESDAY
8 PM SURVIVOR
9 PM CRIMINAL MINDS
10 PM CSI: CRIME SCENE INVESTIGATION
THURSDAY
8 PM THE BIG BANG THEORY
8:30 PM TWO AND A HALF MEN (NT)
9 PM PERSON OF INTEREST
10 PM ELEMENTARY (N)
FRIDAY
8 PM CSI: NY (NT)
9 PM MADE IN JERSEY (N)
10 PM BLUE BLOODS
SATURDAY
8 PM CRIMETIME SATURDAY
9 PM CRIMETIME SATURDAY
10 PM 48 HOURS MYSTERY
SUNDAY
7 PM 60 MINUTES
8 PM THE AMAZING RACE
9 PM THE GOOD WIFE
10 PM THE MENTALIST (NT)
Descriptions of CBS’ new series:
The New Dramas:
ELEMENTARY stars Jonny Lee Miller as detective Sherlock Holmes and Lucy Liu as Dr. Joan Watson in a modern-day drama about a crime-solving duo that cracks the NYPD’s most impossible cases. Following his fall from grace in London and a stint in rehab, eccentric Sherlock escapes to Manhattan where his wealthy father forces him to live with his worst nightmare – a sober companion, Dr. Watson. A successful surgeon until she lost a patient and her license three years ago, Watson views her current job as another opportunity to help people, as well as paying a penance. However, the restless Sherlock is nothing like her previous clients. He informs her that none of her expertise as an addiction specialist applies to him and he’s devised his own post-rehab regimen – resuming his work as a police consultant in New York City. Watson has no choice but to accompany her irascible new charge on his jobs. But Sherlock finds her medical background helpful, and Watson realizes she has a knack for playing investigator. Sherlock’s police contact, Capt. Tobias “Toby” Gregson (Aidan Quinn), knows from previous experience working with Scotland Yard that Sherlock is brilliant at closing cases, and welcomes him as part of the team. With the mischievous Sherlock Holmes now running free in New York solving crimes, it’s simple deduction that he’s going to need someone to keep him grounded, and it’s elementary that it’s a job for Watson. Rob Doherty, Sarah Timberman, Carl Beverly and Michael Cuesta, who directed the pilot, are executive producers for CBS Television Studios.
Dennis Quaid and Michael Chiklis star in VEGAS, a drama inspired by the true story of former Las Vegas Sheriff Ralph Lamb, a fourth-generation rancher tasked with bringing order to Las Vegas in the 1960s, a gambling and entertainment mecca emerging from the tumbleweeds. Ralph Lamb (Quaid) wants to be left in peace to run his ranch, but Las Vegas is now swelling with outsiders and corruption which are intruding on his simple life. Recalling Lamb’s command as a military police officer during World War II, the Mayor appeals to his sense of duty to look into a murder of a casino worker – and so begins Lamb’s clash with Vincent Savino (Chiklis), a ruthless Chicago gangster who plans to make Vegas his own. Assisting Lamb in keeping law and order are his two deputies: his diplomatic, even-keeled brother Jack (Jason O’Mara) and his charming but impulsive son, Dixon (Taylor Handley). Ambitious Assistant District Attorney Katherine O’Connell (Carrie-Anne Moss), who grew up on the ranch next to the Lambs, also lends a hand in preserving justice. In Vegas, two powerful men – Lamb and Savino – are engaged in a fierce battle for control of the budding oasis, and for both of them, folding is not an option. Nicholas Pileggi, Greg Walker, Cathy Konrad, Arthur Sarkissian and James Mangold, who also directed the pilot, are the executive producers for CBS Television Studios.
MADE IN JERSEY is a drama about a young working-class woman who uses her street smarts to compete among her pedigreed Manhattan colleagues at a prestigious New York law firm. Martina Garretti (Janet Montgomery) finds her firm’s cutthroat landscape challenging, but what she lacks in an Ivy League education she more than makes up for with tenacity and blue-collar insight. After just a few weeks, firm founder Donovan Stark (Kyle MacLachlan), takes note of Martina’s ingenuity and resourcefulness, as does her sassy secretary Cyndi Vega (Toni Trucks). With the support of her big Italian family, including her sexy older sister Bonnie (Erin Cummings), Martina is able to stay true to her roots as a bold, passionate lawyer on the rise in a new intimidating environment. Jamie Tarses, Kevin Falls, Julia Franz and Mark Waters, who also directed the pilot, are the executive producers for Sony Pictures Television in association with CBS Television Studios. Pilot was written by creator and co-executive producer Dana Calvo.
The New Comedy:
PARTNERS is a comedy based on the lives of creators David Kohan and Max Mutchnick, about two life-long best friends and business partners whose “bromance” is tested when one of them is engaged to be married. Joe (David Krumholtz) is an accomplished architect who leads with his head and not his heart, especially in his love life. That’s in stark contrast to his gay co-worker, Louis (Michael Urie), who is spontaneous, emotional and prone to exaggeration. Both have found joy in their love lives: Joe is newly engaged to Ali (Sophia Bush), a beautiful and sophisticated jewelry designer, while Louis is dating Wyatt (Brandon Routh), a vegan nurse who Louis insists is just a promotion away from becoming a doctor. As news of Joe’s engagement settles, time will tell if their business and personal bond can adapt to the addition of two other important relationships. Emmy Award winners David Kohan and Max Mutchnick are executive producers for Warner Bros. Television. Emmy Award winner James Burrows directed the pilot.
The New Midseason Series:
GOLDEN BOY is a drama about the meteoric rise of an ambitious cop who becomes the youngest police commissioner in the history of New York City, and the high personal and professional cost he pays to achieve it. As he’s interviewed for a story about his career, Walter William Clark, Jr. (Theo James) flashes back on his hard-fought journey from street kid to the most powerful man in law enforcement. After only three years as a beat cop, Clark’s heroics on the job make him bold enough to ask for and receive the unheard – of promotion to Homicide Detective, angering the members of his new department who are eager to see him fail. Clark’s disappointed to be partnered with veteran Detective Don Owen (Chi McBride), a gruff lifer just two years shy of retirement. He would rather team with First Grade Detective Christian Arroyo (Kevin Alejandro), the alpha dog in the squad who’s just as ambitious as Clark, but without a moral center. Arroyo’s partner is Detective Deborah McKenzie (Bonnie Somerville), a tough third-generation cop and the only female detective in the unit. Also on the team is Detective Joe Diaco (Holt McCallany), well-connected with tremendous resources which Clark might find useful. Though laser-focused on moving up the ladder, Clark’s soft spot is serving as the sole caregiver and supporter of his sister, Agnes (Stella Maeve), a teenager demonstrating increasingly dangerous behavior. Keenly observant and politically savvy, the Golden Boy bases his career decisions solely on his need to succeed as quickly as possible, and he’ll find that his epic journey will be filled with consequences. Greg Berlanti, Emmy Award winner Nicholas Wootton and Richard Shepard, who directed the pilot, are executive producers for Warner Bros. Television.
FRIEND ME is a comedy about two 20-something best friends who just moved from Indiana to Los Angeles to start cool new jobs, but can’t agree on how to socially engage in their new city. Rob (Nicholas Braun) is eager to embrace the L.A. scene and meet new people who aren’t looking down at their smart phones or laptops. Evan (Christopher Mintz-Plasse), however, prefers to socialize online at home in his underwear, web-chatting and playing poker with his Hoosier buddies Mike (Parveesh Cheena), Sully (Tim Robinson) and Farhad (Dan Ahdoot) just a keystroke away. Meanwhile, Rob’s had enough of iChatting, and naively posts a flyer seeking new friends on the coffee house bulletin board, despite Evan’s warning that no good can come from meeting strangers in person. Soon the calls start rolling in, some with potential, some just disturbing, and Rob and a reluctant Evan embark on what will be a series of the most epic adventures – and disasters – of their lives. Alan Kirschenbaum and Ajay Sahgal, Eric and Kim Tannenbaum, are executive producers for CBS Television Studios, in association with The Tannenbaum Company. The pilot was directed by Pamela Fryman.
From reality show masters Michael Davies (“Who Wants To Be A Millionaire,” “Watch What Happens Live”) and Mark Burnett (“Survivor,” “The Voice”) comes a new reality series, THE JOB, where every week talented candidates are chosen from across the country for a chance to win their dream job at one of America’s most prestigious companies. Host Lisa Ling guides participants through several rounds of the most intense interviews of their lives, including challenges ranging from an on-the-spot quiz to assess their knowledge of the company to deadline-driven tasks while spending a day on the job. But the candidates aren’t the only ones in the hot seat. Adding to the pressure, a rival company is also present and waiting for an opportunity to swoop in and steal any of the contenders by making a competing offer. The participant must then decide immediately whether they will take the rival’s offer or stay in the competition in the hope that they are the last one standing for this once-in-a-lifetime job opportunity. Produced by Sony Pictures Television and Embassy Row.
TV Editor Nellie Andreeva - tip her here.


Where’s Rules of Engagement?
wow- lousy lineup. Guess I won’t be watching CBS again
The single most boldest move comes yet again from CBS, pairing Men with Theory.
I think CBS is all about destroying The X Factor and American Idol. Last year they did it for 30 minutes, now they are planning an entire hour.
In the demo, I assume you mean. I don’t know if it’s going to be strong enough to beat the show in total viewers.
I just hope CBS doesnt destroy ABC’s THE LAST RESORT. I really want to see this nukes show survive.
Moving MEN won’t help until you move Ashton… out; stinks as an actor ’cause he’s not acting, it’s really him. And have the writers project John as less of a jerk (his character’s belittlement), which would help more ‘men’ view MEN. Guys don’t like guys put down so much.
2.5 Men is just old and tired. It will lose half of Bang’s audience. I would have kept Men where it was at and put Rules after Bang.
Too bad The Good Wife is still airing on Sundays.
Yep. TGW needs to be airing on Saturdays instead. It’s going to kill The Mentalist.
Huh? How is TGW going to kill The Mentalist? They don’t air at the same time on different networks- they’re on the same network and TGW is the lead-in to The Mentalist, which often has higher ratings than The Mentalist…
Partners is the Best Pilot of the year…congratulations to Max Mutchnick David
Kohan and That Powerful Force that is with Them Schwartz
Partners sounds like it will be good!
The other new shows…. Not so much.
Wow…this schedule really sucks. Yet another year will go by without me watching ANYTHING on CBS.
You *should* be watching Person of Interest.
Maybe you and “Joe” can hang out together all year and complain about the CBS schedule…
Vegas could be an interesting show. I am not interested in watching Made in NJ. While I am a lawyer, I think that there are too many law shows on tv.
I don’t think CBS cares that much if people who post here watch their shows or not.
Their bread and butter are those people that have retired and have no remote controls either. They simply tune in to one network, in this case CBS, and they only watch whatever is on, good or bad.
So now CBS has had enough of The Mentalist and are sending it to die off Sundays. It won’t last there more than a season and a half!
Especially with The Good Wife’s awful ratings.
I think this has the “if it ain’t broke” approach written all over it – my Mom (nice, olde liberal New Yorker) loves Blue Bloods and Good Wife, and there they stay. I’m sure there’s no reason to move Good Wife off Sundays when they’re doing well with it (and the Mentalist may be a good lead out though I hate it). The big play, it strikes me, is for Thursdays, since they could win 8-9 with that combination, and I think people would stay for the rest of the night.
I don’t like this schedule all that much. I don’t watch CBS as is (I like “Big Bang,” but I am not always home on Thursdays and have loyalty to NBC), so it’s not like I have a dog in this fight, but it seems like waste of opportunities. Specifically, I would have:
1. Not moved “Men.” That show might have a few seasons left in it, but how many, really? Two? Three? My guess is, moving a show like “Mike & Molly” would have been much smarter. If it was successful in the time slot, and the network wanted to expand to two hours of comedy on Thursdays, it could have easily move up by a half hour. I guess the same thing is possible with “Men,” but again, how long is that show going to go on for?
2. Moved “NCIS: LA” to Fridays. That show could probably hold its own and provide a strong lead-in to the 9:00 hour. It would also open up the show’s former time slot to a new series, which is important since a lot of its show are getting old.
3. I might have moved “Vegas” and “Elementary,” or both of those shows, and “Made in Jersey” and “Hawaii 5-0″ around. “Vegas” seems like the sort of show that should go on Thursdays, at the very least.
4. On the other hand, if the network was looking to open up another comedy block, why not put comedies after “NCIS”? Granted, I don’t think two more comedies into the mix would help anybody, but if after next season some networks have moved shows around, it’s something to consider. Aside from any reality show, is there a better lead-in on television than “NCIS”?
Of course, what the hell do I know? CBS is so dominant for a reason.
You really don’t know anything. NCIS: LA to Fridays? Enough of your post-schedule scenarios. No one cares.
That Monday lineup is going to collapse without Men. 2 Broke Girls is not strong enough creatively to anchor the night. Expect CBS to actually do poorly for once on this night.
“his gay co-worker, Louis, who is spontaneous, emotional and prone to exaggeration”
Wow, how original!
VEGAS already look like a winner.
Thursday nights for all networks will be competitive as f***. POI has a hell of a fighting chance competing against glee and greys while big bang–2 1/2 men combo will crush Idol.
Best CBS schedule in years, ven for non-viewers. Altough wednesday and sunday are desperate for a make-over.
CBS never disappoints at Up Fronts – they always do something bold, and yet, tend to keep their lineup consistent and well planned out. The big move of 2.5 Men does three necessary things – 1) game change surprise to other nets; 2) strengthens Thursday lineup and 3) prepares the show for its end-game, which may be next spring’13.
This probably also means we may have seen the last of Rules of Engage. It’s always interesting to see which series producers over play their hand this time of year. NBC blinked on the Office – I would have sent them packing. CBS is not NBC – Les/Nina/Kelly…they don’t get “played” by producers. Ask Jerry B. CBS has just three shows on the bench -one drama, one comedy and one reality show. But with CBS, how many do they really need? They are set for the season – goodbye Rules.
Questions –
1) Is CSI-NY an 8pm, ‘Family Hour Friendly’ show? I guess if anyone can get away with it, it’s CBS.
2) What does the move of 2 Broke Girls to 9pm tent pole position say about Mike & Molly? How many seasons does Mike&Molly remain in that protected spot? Kelly noted that CBS wanted to promote shows ‘on the rise’ to tent pole positions – I agree w/that strategy. However, what does that say about Mike&Molly?
When you look at the CBS lineup night-to-night, they are strong and/or competitive on every night – can’t do better than that. Grade wise, I give CBS an B+/A- … the same grade I gave ABC.
CBS missed an ‘A’ because of three factors -
1) Mike & Molly needs to prepare for tent pole position. Next spring, if 2.5 Men and HIMYM end their series runs, CBS needs to ensure they have enough young comedies to fill the tent pole spots. If 2 Broke Girl loses ratings off what 2.5 Men provided, CBS could find themselves vulnerable on Monday nights for fall’13.
2) How much longer do you keep Survivor at 8pm Wednesday? Season finale ratings were down last Sunday – CBS might have missed the warnings signs on this show – end state is near for Survivor.
3) Hawaii Five-0. This may have been a good time to move 5-0 to Tuesday – to shake things up a bit and place (perhaps?) Vegas into the 10pm Monday slot. Eventually (next Spring), CBS is going to need to shake up their Monday lineup – better to have newer blood at 10pm before that shake up.
I think CBS is more vulnerable than a lot of people realize, because most of its shows are old and very similar.
Specifically on the comedy front, it’s puzzling why the network didn’t order more comedies. It could soon very well find itself in a position not all that dissimilar to what NBC was in after “Seinfeld” went off the air: dominant, but weaker and getting more so every season.
About CSI:NY being an 8 p.m. show or not (I think not), I’ll remind you that everything CBS tried in this timeslot (Fridays) since Ghost Whisperer’s cancellation has failed miserably, Medium being the biggest and most predictable disaster (even A Gifted Man lasted longer in this timeslot !). So I’ve got a feeling CSI:NY may not go past season 9, especially if a 2013 pilot looks compatible enough with this timeslot.
By the way, even if I have hated CSI:Miami since day one, I think axing it just because its timeslot was better for the fading Mentalist shows an awful lack of respect from CBS execs. That being said, I’m quite happy to see the CSI empire diminished. Hopefully in a few years the procedural era will have ended and CBS will try something new and more ambitious.
Moving The Mentalist to Sunday sounds like a death sentence for the series to me. Too many NFL overruns pushing the 10p ET start time causes people in the CBS audience to go to bed.
Partners sounds like an effort to stretch the CBS audience base. If the show is going to work, that’s the time slot for it to succeed, though. Somewhat surprised M & M is not in the 9p ET slot, and 2BG doesn’t go to 9:30p.
Gotta wonder how long the CBS Wednesday lineup will last. IMO, as long as Criminal Minds holds onto an audience, it’s okay. This might be the weak day in the CBS schedule.
I’m less than convinced Elementary and Vegas are in the right time slots. There’s a part of me that says Elementary should be on Tuesday 10p and Vegas should be on Thursday 10p. Something tells me anything remotely British doesn’t work on CBS Thursdays at 10p.
Harry’s comment about BBT paired with 2.5 Men being the boldest CBS schedule move seems spot on to me.
CSI: NY on Friday at 8p might help it. Made In Jersey fills the Friday 9p slot as well as anything. Blue Bloods has international sales which keeps it on the air here.
48 Hours: Mystery works on Saturdays because it’s relatively cheap to produce, and has a backend.
Your comments are basically echoing what I said about, specifically in regards to Wednesday: CBS is dominant, but in another season or two, it could be on the decline in a big way.
CBS truly has the worst shows.
You’ve obviously never watched 48 Hours Mysteries.
The scheduling for the comedies is perfect! “2 1/2 Men” doesn’t have anything to prove anymore and will be a great companion to “Big Bang Theory” on Thursdays and I really think “Partners” will thrive between “How I Met Your Mother” and “2 Broke Girls” – it’s the best timeslot in television right now.
Sundays will be interesting come the Fall with “Revenge” against “The Good Wife” (not to mention ‘The Walking Dead’ and ‘Boardwalk Empire’).
I hope someone at the upfronts asks CBS about the deal with Netflix for possibly reviving Jericho.
lame schedule. i hate cbs multi-cams.
Like the younger-skewing Monday night lineup (well, the first 90 minutes of it anyway). CBS’s key 80-95 y.o. demo must be dying off.
Kahl must not realize that a Sigalert is very local to Los Angeles. Most New Yorkers have no idea what she was referring to. For those who are reading this and still wondering here you go:
http://en.wikipedia.org/wiki/Sig_Alert
In California, they don’t know what an HOV Lane is… They call it Carpool Lane… Which doesn’t sound technical enough, nor does it have any abbreviations or spliced words like SigAlert… Ironic.