Fans will be able to stream their favorite soap opera reboots this spring
On the heels of the recent "All My Children" and "One Life to Live" casting news comes word that the soap opera reboots will premiere this spring on Hulu, Hulu Plus and iTunes. Fans will be able to stream new broadcast-quality 30-minute episodes each weekday via their computers or connected TVs, mobile phones and tablets.
Prospect Park's the Online Network (TOLN) announced that "All My Children" and "One Life to Live" will be free via Hulu.com service and the Hulu Plus subscription service. It's not clear whether iTunes will offer the same free version or a paid and presumably commercial-free option.
"I believe that both Hulu and iTunes have the vision, the reach and the technology to help us launch TOLN in a significant way," said Jeff Kwatinetz, Prospect Park Chairman and CEO. "We think these platforms are part of history, helping us to transform distribution. Hulu's reach, platform and advertising prowess are best in class, and iTunes provides an incredible way to buy TV shows that is second to none. Through both of these partners, we hope daytime drama fans are absolutely delighted to be able to watch their favorite programs in a broadcast-quality HD format wherever and whenever they want."
Prospect Park has also closed a financing deal with ABRY Partners, one of the most experienced and successful media-focused private equity investment firms in North America.
Stay tuned for more on the big returns.
From 'Modern Family' to 'Bob's Burgers,' a look at average viewers' median incomes by show
By Tony Maglio
The Dunphys of "Modern Family" might not eat at "Bob's Burgers" -- and fans of the shows might not eat at the same restaurants, either.
The two comedies are at opposite ends of the spectrum in terms of their average viewers' median incomes. The median "Modern Family" viewer in the 18-49 demographic rake in $81,100 annually, according to Nielsen data. "Bob's Burgers" watchers in the demo, on the
other hand, earn around $48,000 per year.
Neither are particularly rich or poor -- but the ratings company carefully tracks even minor differences in wealth because advertisers want to wring out as much as they can from the people who watch their shows.
TheWrap found the gap between ABC's "Modern Family" and FOX's "Bob's Burgers" by looking at Nielsen's average median income of prime-time viewers this season for the four biggest broadcast networks -- not including sports, specials, or awards ceremonies.
In second place in terms of wealth are viewers of NBC's "Parks and Recreation," who have a median income of $81,000 per year. Fans of CBS' "The Amazing Race" are third, with a salary of $75,700.
That means ABC, NBC and CBS are sharing the wealth with the top three shows, which also happen to be critical darlings.
"It's not too surprising that higher income viewers are more likely to watch programs that are critically acclaimed and contenders for industry awards like the Golden Globes and Emmys," Brad Adgate, senior vice president of Research at Horizon Media, told TheWrap.
Advertisers focus on the 18-49 demo because they hope to land lifelong customers early. But people tend to hit their peak income in their mid-50s, Adgate said.
"If you have say a show that's really young and really upscale, then you have something," he said.
"The West Wing" had the highest median income Adgate could recall. Shows on cable, especially premium cable, and Netflix tend to have wealthier audiences -- since their viewers must be able to afford to watch them.
The new fall show with the highest median income is "The Goldbergs," at $73,900. "Very rarely does a first-year show command the ad value of a (longer-running) show," Adgate said.
Viewers of the doctor-centric "The Mindy Project" (right) have a median income of $73,800. Another medical drama, "Grey's Anatomy," may not have as many rich doctors among its fans -- it has a median viewer income of $70,500, putting it in 18th place.
"Mindy," which has the seventh-wealthiest audience, is FOX's top-ranker in terms of well-off viewers.
A little further down the list is "Shark Tank" -- a show about venture capitalists vying to invest in start-up companies. It's in 16th place with $70,800.
Now for the shows you probably shouldn't mention on a first date with a gold digger.
Animated shows -- including "The Simpsons," "Family Guy," "American Dad" and the aforementioned "Bob's Burgers" -- have among the least wealthy audiences. That makes sense, Adgate says, because cartoon viewers skew younger.
Other shows on the low end of the list are FOX's "Bones" ($56,600) and CBS's "Undercover Boss" -- a show in which well-off executives perform menial, low-paying but necessary tasks ($55,800). "America's Funniest Home Videos" viewers have a median income of $54,700.
Here are the top 10 TV shows with the highest median income in the key demo for the fall season so far:
And the least wealthy, from the bottom up:
Read the full Q&A straight from the pages of Rookie: Yearbook Two
By Lena Dunham
for Rolling Stone
If you put two brilliant funnywomen in a room together, comedic magic is guaranteed. Tavi Gevinson, the founder and editor of Rookie (a two-year-old website for teen girls that covers everything from sex to after-school snacking) knows this well, and commissioned a conversation between "Girls'" Lena Dunham and "The Mindy Project's" Mindy Kaling for the site's second print publication, Rookie: Yearbook Two. "I feel like this is such a special glimpse into two beautiful minds and I'm honored they'd do it just for Yearbook Two," Gevinson tells Rolling Stone. "As a boss/feminist/girl/human, so many parts ring true and have gone under my word doc of wise words." Here's the Q&As' exclusive online debut:
I was a fan of Mindy Kaling's long before I was a friend of Mindy Kaling's, and the most wonderful surprise is that the experiences are remarkably similar. Mindy's work (from "Matt and Ben," the fringe play that got her noticed in 2003; to her nearly decade-long run as "The Office's" resident clothes whore Kelly Kapoor; to her best-selling book of essays; to her pièce de résistance, "The Mindy Project" is notable for its wit, openness, and ladylike ferocity. Ditto Mindy. I started picking her brain on our first date (at her favorite Ethiopian restaurant, where she taught me how to order and told me I had small bones—a first!) and continue to do so today in email chains where we get to complain to each other about the day-to-day realities of running a TV show. So this interview is just a more formal version of what I want to do to Mindy Kaling every day: quiz her, quote her, learn from her.
LENA: Let's start light: What would you like your legacy to be? For example, I hope to have made it easier to be oneself in this hardscrabble world and to have rescued at least 15 animals from certain death. I'd also like to be known as "prolific, iconoclastic, and winsome."
MINDY: "She threw the most amazing parties and she had the most gorgeous and cheerful husband. Gay teenagers would dress up as her for Halloween. She seemed to have read every book, yet no one ever saw her reading. She had the appetite of an Olympic swimmer and the physique of an Olympic figure skater. She dressed like Chloë Sevigny and could f--- for hours. . ."
I could write those for another 10 pages. Truthfully, I guess I would like to be remembered as a great writer and a kind person. I wouldn't mind if an expensive bag were named after me, like Jane Birkin.
What makes you laugh harder than anything else on earth? I am guessing it's nothing toilet related. I am the worst about toilet humor – I hate it, and I feel that the day I embrace it will be the day that I no longer have anything positive to offer the world.
I love when people fall out of frame unexpectedly. I also love accents. Borat saying "my wife," you know, that kind of thing.
How would you describe your fashion style? Please answer in the form of the first paragraph of an InStyle profile that, while not 100 percent accurate, embodies the things you strive for in your wardrobe and your beauty regimen. For example: "Lena Dunham sits down at a café table in the sixth arrondissement. She brushes her bangs aside, revealing reddened, teary eyes. 'I'm sorry – I just passed Jim Morrison's grave and was overcome with emotion,' she says. She is 15 minutes late but too focused on her canvas satchel of antique books to care..."
"When Mindy Kaling arrived to the Chateau Marmont 30 minutes late, she apologized profusely and began dabbing ice water on a badly skinned knee. 'I thought I hit an old woman in the Loehmann's parking lot,' she said, a flush of perspiration on her cheeks and forehead. 'Turned out it was a sack of trash with a shawl draped on it. Got so mad at it that I kicked it, and this happened.' She gestured to her knee.
"Miss Kaling ushered in a scent that was a curious mix of cardamom, citrus, and Old Spice Pure Sport. Without looking at the menu, she ordered a Moscow Mule, the steak and fries with five mini bottles of Tabasco sauce. Her shirt was Ikat print, and her harem pants were tribal print. She had neon pink high tops she promptly took off. 'You don't mind, do you? It's a hell of a lot of shoe for a summer's day,' she purred. I did mind. I minded a lot."
What do you think is the power of TV, and why do you love it?
The serialized nature of TV breeds anticipation, and anticipation breeds a kind of loyalty and excitement in viewers that I love. I watched "The X-Files" every week when I was a teenager and I was as devoted to it as I was to a boy I had a crush on. Watching it was one of the coziest hours of life. When Conan started at "Late Night," I loved him like he was a movie star – but unlike with a movie star, I was rewarded with him every night of the week! Movies can't do that. Being on TV builds a relationship with the viewer, and I feel really lucky to have that.
What would you say is the hardest part about being a boss? I'd say it's that there's no convenient time to take naps and the constant sense that you are neglecting something or someone.
I want to be part of the gang. I don't want to be the gang leader who has to stay on gang schedule and pay gang taxes. I have to do that stuff now. Sometimes I just want to shoot my machine gun in the air, you know?
Do you ever get embarrassed to point out gender bias? I always apologize and say something dumb and sassy like, "Not to be the girl who cried misogyny, but no one would ever say that to Larry David!" Somehow I feel the need to point out that I know I'm doing it, and that I may sound humorless, and that I wish I could be free and easy like Cameron Diaz at a hockey game.
I totally understand this. I don't get embarrassed, though – I get nervous. Because journalists don't like to be told that their questions are sexist. Every so often I read insane things like, "Who is the next Lucille Ball?" and they list all these red-haired actresses. As though the essence of Lucille Ball's talent was derived from the color of her hair.
More than half the questions I am asked are about the politics of the way I look. What it feels like to be not skinny/dark-skinned/a minority/not conventionally pretty/female/etc. It's not very interesting to me, but I know it's interesting to people reading an interview. Sometimes I get jealous of white male showrunners when 90 percent of their questions are about characters, story structure, creative inspiration, or, hell, even the business of getting a show on the air. Because as a result the interview of me reads like I'm interested only in talking about my outward appearance and the politics of being a minority and how I fit into Hollywood, blah blah blah. I want to shout, "Those were the only questions they asked!"
I find being young and female has its real workplace advantages, too (old men want to open up to you, people worry that you're cold). Have you found any?
I don't know how young I'm considered now (I'm 33) [Lena: That is yooooung. I met a 98-year-old the other day!], but when Greg [Daniels, executive producer of "The Mindy Project"] hired me at 24, I do think it was nice for both of us to be around someone with a completely different set of experiences. I was an overtly feminine child of immigrants with a big chip on my shoulder, and he was a gentle, thoughtful, gracious father of three. I think we learned from each other in cool ways.
I'm tactile and affectionate, and that is part of how I am on set with the actors, the crew, and the writers. I think it helps that I'm a woman, because I'm not sure how it would be construed if I were, say, a tall, older, physically imposing white man.
And I'm a feminist who wants to work with other feminists. I would wager that only a masochist sexist would want to work at a show with an opinionated female lead and showrunner. So I work with people who love women. That's a nice thing.
Do you get guilty? If so, what makes you feel guiltiest? I personally hate doing things I know are bad for my body, canceling plans on children, and speaking to my sister in a condescending way just because she's an undergraduate.
I feel so guilty when I upset my father or let him down. My dad is like the dad from "The Road." He knows every highway in this country and what every building is made out of. He would do anything for me, and has done everything for me. Now I'm tearing up just writing this.
I also feel bad when I keep my writing staff late at work, even if it's for a good reason. Though I guess not that bad, because we stay late a lot.
I often feel guilty pointing out behavior in other women that I don't support. Like somehow, the moment I was pulled from my mother's severed stomach, a pen was placed in my tiny balled fist and I signed a binding document that says, "I got all your backs, ladies." And the thing is, I do support women, but part of that is being clear about what behaviors aren't helping the bigger cause [of feminism].
I too feel guilty when I don't have knee-jerk unconditional love for all the decisions or all the art made by every woman I see. But that's OK. I think most educated and empathetic women probably feel the same way. Like, I don't like comedy shows where women play cutesy instruments as part of their comedy routine. But I don't like it when guys do that, either.
Who are your role models? Besides you, I would list my mother, Gilda Radner, Georgia O'Keeffe, Nora Ephron, Jane Campion, Jane Goodall, and Joan Rivers (plus Eloise and Pippi Longstocking).
You are. I love what a good writer you are, and I marvel at how much the camera loves you. I'm learning so much from younger people. A pet peeve of mine is when artists are asked who they love and they don't name anyone younger than them. They only give props to, like, super-old people or to dead ones like Dorothy Parker and Charlie Chaplin.
I love Tina Fey, Vince Gilligan, Jonathan Franzen. B.J. Novak continually inspires me. Lorne Michaels is so stylish and has perfect taste. I strive to be as balls-out funny as Danny McBride, though who could emulate that, really? Nora Ephron, not only as a writer and director, but also as a hostess, a wit, a New Yorker. These are artists I want to copy and impress.
As an overall person? I would say that my mother is the single biggest role model in my life, but that term doesn't seem to encompass enough when I use it about her. She was the love of my life.
Can you tell the readers of Rookie what inspires you about other women? I love seeing women stand up for things they believe in, teach their daughters how to do the same, prepare meals out of whatever they have in their fridges, wear helmets when they ride their bikes, call BS when they see it, and accept that feminism comes in a lotta different forms.
I love women who are bosses and who don't constantly worry about what their employees think of them. I love women who don't ask, "Is that OK?" after everything they say. I love when women are courageous in the face of unthinkable circumstances, like my mother when she was diagnosed with stage IV pancreatic cancer. Or like Gabrielle Giffords writing editorials for the New York Times about the cowardice of Congress regarding gun laws and using phrases like "mark my words" like she is Clint Eastwood. How many women say stuff like that? I love mothers who teach their children that listening is often better than talking. I love obedient daughters who absorb everything—being perceptive can be more important than being expressive. I love women who love sex and realize that sexual experience doesn't have to be the source of their art. I love women who love sex and can write about it in thoughtful, creative ways that don't exploit them, as many other people will use sex to exploit them. I love women who know how to wear menswear.
More from Rolling Stone:
"The Mindy Project" airs Tuesdays at 9:30 p.m. ET/PT on FOX.
Kenneth Faried, DeAndre Jordan, others aid in pranking some of Disney XD's biggest stars; Dwight Howard guest stars on 'Mighty Med'
For younger basketball fans out there, some NBA stars have teamed up with Disney XD to prank the channel’s stars. On Mondays during "Pranksgiving" a new fan-voted prank will be revealed on Disney XD alongside new prank-themed episodes.
Kenneth Faried of the Denver Nuggets and DeAndre Jordan of the Los Angeles Clippers, pictured above, as well as Tyson Chandler (New York Knicks) and Stephen Curry (Golden State Warriors), will be featured pranking the stars from shows “Kickin’ It”, “Lab Rats”, “Crash & Bernstein” and “Mighty Med”.
Not to be outdone, NBA superstar Dwight Howard of the Houston Rockets guest stars on the Nov. 4 episode (8:30 PM ET/PT) of “Mighty Med” as a superhero, The Great Defender.
Watch the behind-the-scenes video here:
And check out two more photos with Faried and Jordan you'll see on MSN TV first:
To get in on the voting, go to http://DisneyXD.com/Crash
New episodes go live every Thursday
"Top Chef: Last Chance Kitchen," the Emmy-winning, groundbreaking digital video series hosted by Tom Colicchio, returns for its third season. Each week, two eliminated chef’testants face-off to compete for the ultimate prize -- redemption and a spot in the "Top Chef: New Orleans" finale.
MSN TV brings you the destination to watch "Last Chance Kitchen." New episodes go live every Thursday right here.
"Top Chef" airs Wednesdays at 10 p.m. ET/PT on Bravo.
Actress opens up about playing scheming Juliette Barnes on ABC drama
By FRAZIER MOORE
AP Television Writer
NEW YORK (AP) — Hayden Panettiere is getting her sushi fix.
On a recent whirlwind visit to Manhattan, she takes full advantage of the city's Japanese cuisine, which, she reports, isn't quite so available in Nashville, where she's spending a lot of her time these days.
But that's her only complaint, if that's what it is, about life in Music City and her starring role in ABC's tuneful melodrama "Nashville" (now in its second season, airing Wednesday at 10 p.m. EDT), all of which she loves.
She plays scheming breakout country sensation Juliette Barnes, who's locked in a love-hate rivalry with country music queen Rayna Jaymes (co-star Connie Britton), whose long reign is threatened by Juliette's rise.
Panettiere nails her role, displaying a deft blend of rapaciousness and vulnerability, not to mention impressive pipes.
In the process, she has pulled off two overarching victories. She's left behind her past signature role, the indestructible Cheerleader in the sci-fi drama "Heroes" — a character that could have tied her down forever. Even more remarkably: At 24, she's crossed that treacherous Rubicon that few young actors navigate, from adolescence to the far shore of adulthood.
"'Nashville' was perfect timing with the perfect character," she says after ordering this and that raw fish. "Juliette is so not the good girl that I played on 'Heroes,' but she has to put on the facade as a good girl to get what she wants. Juliette is tough, but when she cries, she means it: She's a very damaged young woman running from a dark past. How much more perfect could I ask for?"
Sharing lunch with a reporter at a tony Manhattan restaurant, the petite Panettiere is squeezed into jeans and a sweater of proper weight for the ensuing fall weather. Her chopsticks are soon busy while, spared Juliette's Southern twang (Panettiere hails from Englewood, N.J.), she delves deeper into Juliette's psyche, and her own.
Sure, Juliette is the show's resident villain, "but you get to see her inner workings, what she goes through," Panettiere notes. "It's great to show the audience Juliette's terrible behavior, and then show where that behavior came from: not from a place of malice, but of pain.
"A lot of what I've drawn from is my own personal experience," she says. "I grew up in the entertainment industry, in the spotlight, and have had to deal with some of the same struggles. In this business, there are so many doors wide open to walk through and it looks like the normal thing to do. The difference is, I've always had people around me to yank me back before I went too far."
Panettiere's mother was an actress, her father a New York City firefighter, and she made her screen debut as an infant in a Playskool toys commercial.
Since then she's never stopped acting, nor did she imagine doing anything else. But after "Heroes" ended in 2010, she faced a dry spell before "Nashville" came along.
"It hit me," she recalls, "like a ton of bricks: There is a genuine possibility that no one will ever take another chance on me. That was an important gap between 'Heroes' and this show, a huge transition to make gracefully. I don't know how gracefully I did it, but somehow I did."
Callie Khouri, "Nashville" creator and executive producer, said she was unconcerned while casting her new series that Panettiere might still be the Cheerleader in viewers' minds.
"When she stood in front of the camera as Juliette, I saw the character that I needed, not the one she'd already done," said Khouri by phone from Nashville, marveling at her range: "She can go from being the worst little brat in the world to absolutely breaking your heart.
"We asked her why she thought she was right for this character, what she thought they had in common," Khouri added, "and she said: 'Juliette wants to be the best. And that's what I want.' I felt like I was hearing the character talk to me."
Of course, an actress seeming to merge with her character comes with special pitfalls when the character's a bad girl, confirming viewer suspicions that fiction is mirroring real life.
Panettiere acknowledges that Juliette Barnes is exactly the sort of tabloid target she herself has always tried not to become — and not always successfully.
Recently she made public her engagement to professional boxer Wladimir Klitschko, her longtime boyfriend, even as reports of Juliette-like misbehavior raged in tabloid media, alleging "that I've broken up with him, that I've cheated on him, that I'm a home-wrecker, that I've become a mess in Nashville," says Panettiere. "I've been portrayed as a person that I'm so far from being, that I have spent years of my life making sure that I never become!
"We're actors!" she erupts with a dismissive laugh. "That's what we DO: play characters that we're not!"
"Nashville" airs Wednesdays at 10 p.m. ET/PT on ABC.
From 'Hostages' to 'Sean Saves the World,' here are six shows in peril
We hate to say a show is doomed. We really do. But we don't take it lightly, and we've never been wrong.
In the past, TheWrap has predicted that a total of 12 shows would be canceled - and all of them were. This season, it looks like six more are soon to shuffle off, joining fall casualties that began with "Lucky 7."
Networks have a new face-saving way of avoiding the word "cancellation": They'll order shows like "Hostages" or "Betrayal" and call them limited-run series. But that's a hedge, and a shrewd PR move; if a show ends as scheduled, it isn't so much a cancellation as a show peacefully ending its run. And if it comes back, well … the people demanded it.
But let's be honest. There isn't a show on television that networks wouldn't bring back for more if it scored.
"We hope to get not only two seasons, but a lot more," said "Hostages" executive producer Jerry Bruckheimer before his show aired, with refreshing honesty. "So this is not a miniseries for us."
Unfortunately, we think "Hostages" will turn out to be a miniseries after all. Call it "cancelled" or "not returning" or whatever you want, but it leads our latest list of shows we think are doomed. Most are on fourth-place ABC, which can at least take comfort in "Agents of S.H.I.E.L.D." being a hit.
Here are this fall's unlucky six:
The 15-episode series won't be back for more because NBC's "The Blacklist" is crushing it on Monday nights at 10. It has a 2.0 in the key 18-49 demographic in the live + 7 ratings that generously measure a show's performance over an entire week. CBS isn't known for keeping underperforming shows around, but seems content to let "Hostages" finish its run because of the star power of leads Dylan McDermott and Toni Collette — and perhaps to avoid offending the mighty Bruckheimer.
"Trophy Wife" (ABC)
Tuesday nights start very strong for ABC: "Agents of S.H.I.E.L.D." has a very strong 4.6 in Live + 7, making it the highest-rated new show of the season. But not even Nick Fury's long coattails help: "The Goldbergs," which follows it, averages a 2.7, while ratings for "Trophy Wife," which follows, plunges to a 1.9 average. (The show that once followed "Trophy Wife," the unlucky "Lucky 7," has already been canceled. Maybe "Trophy Wife" could hold on to more of the fanboy audience if it followed "S.H.I.E.L.D."? After all, star Malin Akerman was great in "Watchmen.") But as it stands, it would take the power of the Avengers, the Watchmen, and the X-Men to keep "Trophy Wife" from becoming an ex-show.
"Sean Saves the World" (NBC)
"Sean" is the lowest-rated comedy on broadcast television that hasn't been canceled yet, except for ABC's "Neighbors." Why is it still on? Because NBC has a good relationship with its star, Sean Hayes, who broke out on "Will & Grace" and produces "Hollywood Game Night." Hayes may have tested that relationship last week when he blamed NBC's low ratings for his low ratings in an interview with The TV Page. One problem with his assessment was that NBC is in first place this season, and his show is its biggest remaining weak spot. The others have been cancelled. The upside for Hayes? His show isn't bad. Maybe NBC will give it time to find an audience, despite its 1.4 rating.
We wondered over the summer if American audience would root for a female protagonist who has an affair. Turns out the answer is no. "Betrayal" is another "limited-run series," and unfortunately, its prospects do indeed look limited. ABC plans to air the entire season, but don't hold your breath for more after that. It has a lowly 1.4 rating in Live + 7, so this is the end of the affair.
ABC kept its aliens-next-door comedy alive for a second season by moving it to the no-man's-land of Friday, where the stakes are low. But "Neighbors" is low-rated even for a Friday show, averaging a 1.2. As we mentioned above, that makes it the lowest-rated comedy on TV. We hate to rub it in with a corny joke, but hey, it's probably our last chance: The neighbors are moving out.
"The Carrie Diaries" (CW)
We hate to put this endearing show on this list. But its second season debuted to an anemic .2 rating Friday, which is low even by CW standards. (The young network notes that much of its 18-34 target audience watches shows online rather than live.) Even the show's "Sex and the City" connections don't feel sufficient to keep it alive.
Nicholas Ba-a-a-a-rody is not the hero sheep the other lambs think he is
If you love "Homeland" but wish that it had exponentially more farm life, than Sesame Street has the spoof for you.
In the perfectly executed parody, "Homelamb," sheep government agents are on the lookout for the Big, Ba-a-a-a-ad Wolf, who is still currently on the lamb.
There will be plenty more sheep puns.
In the parody, Nicholas Ba-a-a-a-rody is not the hero sheep the other lambs think he is, Ca-a-a-a-arrie said. Claire Danes' wooly counterpart is onto him, though it gets complicated when she falls in love with Ba-a-a-a-rody.
Ba-a-a-a-rody manages to avoid suspicion by being a literal wolf in sheep's clothing, and through exchanges like the following:
"Have you ever heard a sheep howl?" Ca-a-a-a-arrie asked. "So he speaks other languages," the head C.I.A. sheep replied.
Eventually, she exposes Ba-a-a-a-rody to the farm as the Big Ba-a-a-a-ad wolf. She then pursues him in a different, romantic way — just like in "Homeland."
Watch the video here or below:Thoughts on "Homelamb"? Tell us at MSN TV on Facebook and Twitter.
Related from TheWrap:
See the top 10 programs according to tweets
In case you weren't on Twitter while watching TV (what, why not?!), here's what you missed according to the number of tweets these programs received during the week of Oct. 21 – Oct. 27 (Source: Nielsen SocialGuide):
1. “CrazySexyCool: The TLC Story”/VH1 – 1,915,700 tweets
2. “Pretty Little Liars”/ABC Family – 1,160,800 tweets
3. “The Walking Dead”/AMC – 486,600 tweets
4. “American Horror Story: Coven”/FX – 225,200 tweets
5. “Ravenswood”/ABC Family – 200,700 tweets
6. “Awkward”/MTV – 123,900 tweets
7. “The Voice”/NBC – 106,200 tweets
8. “Duck Dynasty”/A&E – 72,200 tweets
9. “Dancing With the Stars”/ABC – 63,500 tweets
10. “Scandal”/ABC – 20,400 tweets
And here's a look at some of ‘CrazySexyCool’ tweets that made it the most-tweeted program for the week:
Data provided by SocialGuide. SocialGuide captures relevant Tweets from three hours before, during and three hours after an episode’s initial broadcast, local time. Unique Audience measures the audience of relevant Tweets ascribed to an episode from when the Tweets are sent until the end of the broadcast day at 5am. The data includes new/live primetime and late fringe episodes only and excludes sports events. Nielsen Twitter TV Ratings are only available for English-language U.S. Broadcast and Cable Networks.