PREVIOUS: CBS’ tweaked Monday lineup posted a small improvement — up a tenth (5%) in adults 18-49 to a 1.9 rating and 12% in total viewers to 7 million — largely because of the replacement of underperforming We Are Men with a The Big Bang Theory return. The impact on the rest of CBS’ Monday series was mixed. 2 Broke Girls (2.5) improved by moving to 8:30 PM behind How I Met Your Mother (3.0, up a tenth from last week’s fast national). 2 Broke Girls was up 14% from its series-low fast national last Monday when it aired at 9 PM, following We Are Men (and on Men’s 1.8 rating). But freshman Mom (1.9) slipped 10% with Big Bang instead of 2 Broke Girls as a lead-in (the size of the lead-in was the same, 2.2). At 10 PM, Hostages (1.2) has stabilized (found bottom?) after two double-digit declines, flat in adults 18-49 and total viewers. The serialized drama posted a strong 65% Live+7 gain for its premiere but even with 7 days of DVR viewing included, it was the lowest-rated CBS program on Monday night. NBC’s The Voice (4.5) and The Blacklist (3.2) currently match their fast nationals from last week. The network’s ratings are slightly inflated by a local NFL pre-emption in Indianapolis. Since The Voice regularly gets adjusted up in the finals, it may be able to hold onto the 4.5 rating but The Blacklist will likely be adjusted down by as many as two tenths because of the pre-emption and a minute of Voice overrun. (The James Spader drama was adjusted down a tenth the last two weeks.). Regardless, The Voice and The Blacklist will rank as the the two highest-rated programs of the night in 18-49, bagging another Monday demo victory for NBC, which also won in total viewers, edging ABC. READ MORE »
The 28th annual Imagen Awards were held on Friday night to honor Latinos in entertainment. The prizes cover film, television and the internet and are awarded by an independent panel of entertainment industry execs and Latino community leaders. Castle was named best primetime program with Jon Huertas winning best actor for that show. Chicago Fire‘s Monica Raymund was named best TV actress. A special nod went to brothers Michael and Gerald Cuesta who received the Norman Lear Writing Award. Click over for the full list of winners:
2ND UPDATE THURSDAY PM: I’ve now learned the name of the stuntman who suffered serious head injuries in last week’s accident during filming of ABC’s series Castle. Kieran Gallagher, who was Ed Helms’ stunt double in The Hangover II and III, “is still in the hospital,” a source said. “He has been taken off the ventilator and showing good signs of recovery. Every day he seems to be getting stronger.” Gallagher’s series credits include CSI, Chuck, The Office and Raising Hope.
UPDATE: I’ve learned more details about the accident on the set of Castle last night. According to talent manager William Blaylock, the actress injured in the accident is his client Karen David. “Karen was the actress in the scene with the stuntman,” he said. “They fell from a moving van when a door would not shut. Karen was in the emergency room for hours being treated. She has been released but is in serious pain and has to wear a neck brace.” The stuntman, who sustained a head injury, is still hospitalized in serious condition.
Ray Richmond contributes to Deadline’s TV coverage.
As the ABC dramedy Castle moves toward the conclusion of its fourth season, the question of when lead characters Richard Castle and NYPD Detective Kate Beckett (played by Nathan Fillion and Stana Katic, respectively) finally will do the deed took center stage. It was the burning question addressed at tonight’s spirited PaleyFest salute to Castle at the Saban Theatre in Beverly Hills, where creator/exec producer Andrew W. Marlowe was asked to spill the beans on how long the chaste dance toward the bedroom would last. “Do I know when it will happen? Yes,” he replied. “When it does happen, it will open up a lot of different areas in the storytelling. It will be the next evolution in the characters’ relationship.” Marlowe acknowledged that a lot of people believe the characters’ getting together physically could prove a creative kiss of death for the show, using the model of another ABC dramedy – Moonlighting – which famously imploded after David Addison (Bruce Willis) and Maddie Hayes (Cybill Shepherd) did the deed. “I’m not someone who believes in The Curse of Moonlighting,” Marlowe stressed. “Moonlighting fell apart because (the producers) couldn’t meet their delivery dates (and not necessarily because of the storyline). But there will come a time when we can’t keep these characters apart.”
Although they are certainly best known for those other awards they hand out in February, the Academy of Motion Picture Arts and Sciences do a lot more throughout the year. One of its prized events happened Thursday evening at a dinner at the Beverly Wilshire, where the 26th annual Don and Gee Nicholl Screenwriting Fellowships were awarded to what Academy president Tom Sherak described as the “Academy’s Magnificent 7.”
The Nicholl Fellowships were established in 1985 and are now chaired (and hosted) by new Academy governor Gale Anne Hurd, who told me she’s been on the Nicholl committee since 1989. Each of the writing fellows (or teams) will receive a $35,000 prize in order to continue developing their scripts (checks are handed out in installments with the understanding that the recipients will complete a feature-length screenplay during their fellowship year), and the Academy is not involved otherwise commercially with the scripts in any way and holds no rights to them. Even with the Oscars in the mix, Sherak opened the program by saying: “This is my favorite event. It’s nights like this that I wish I were an agent. You want to sign every one of them.” He added these few winners were chosen from among a record 6,730 entries by the 24 judges and committee members who read everything.
It was quite a night that also included a rousing keynote address from David Seidler, this year’s reigning Best Original Screenplay winner for The King’s Speech and “new Academy member” at age 74. At the reception before the dinner, I asked Seidler how the Oscar has changed his life at this age. He joked, “Producers now owe me more, but it takes them longer.” Seidler is red-hot, though, having completed two new scripts over the summer and now embarking on two rewrites. He asked me who I thought was the front-runner to win Original Screenplay this year and I suggested probably Woody Allen for Midnight In Paris. “Well, he has me beat then,” Seidler said. Allen at 76 would usurp Seidler as the oldest winner ever in that category, meaning that Seidler’s record could be short-lived. His speech, which he said was working on right to the last minute, won over the crowd and certainly provided inspiration for the writers in attendance.