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ABC and NBC Share Monday Dominance


What follows are the fast affiliate results for Monday, November 21 broken out by network and by each half-hour.

-Total Viewers:

ABC: 9.48 million, NBC: 7.95, CBS: 6.15, Fox: 3.52, CW: 2.13

-Adults 18-49:
NBC: 1.8 rating/6 share, ABC: 1.5/ 5, CBS: 1.3/ 4, Fox: 1.1/ 3, CW: 0.8/ 2


8:00 p.m.

ABC – Dancing With the Stars
Viewers: 11.92 million (#1), A18-49: 1.8/ 6 (#2)

CBS – Kevin Can Wait
Viewers: 6.96 million (#3), A18-49: 1.5/ 5 (#3)

NBC – The Voice
Viewers: 9.84 million (#2), A18-49: 2.2/ 7 (#1)

Fox – Gotham
Viewers: 3.56 million (#4), A18-49: 1.1/ 4 (#4)

CW – Supergirl
Viewers: 2.82 million (#5), A18-49: 1.0/ 3 (#5)


8:30 p.m.

ABC – Dancing With the Stars
Viewers: 12.08 million (#1), A18-49: 1.9/ 6 (#2)

CBS – Man with a Plan
Viewers: 5.94 million (#3), A18-49: 1.3/ 4 (#3)

NBC – The Voice
Viewers: 9.49 million (#2), A18-49: 2.1/ 7 (#1)

Fox – Gotham
Viewers: 3.37 million (#4), A18-49: 1.1/ 4 (#4)

CW – Supergirl
Viewers: 2.85 million (#5), A18-49: 1.0/ 3 (#5)


9:00 p.m.

ABC – Dancing With the Stars
Viewers: 11.90 million (#1), A18-49: 1.8/ 6 (#2)

CBS – 2 Broke Girls
Viewers: 5.40 million (#3), A18-49: 1.4/ 4 (#3)

NBC – The Voice
Viewers: 9.56 million (#2), A18-49: 2.1/ 7 (#1)

Fox – Lucifer
Viewers: 3.64 million (#4), A18-49: 1.1/ 3 (#4)

CW – Jane the Virgin
Viewers: 1.52 million (#5), A18-49: 0.6/ 2 (#5)


9:30 p.m.

ABC – Dancing With the Stars
Viewers: 12.02 million (#1), A18-49: 1.8/ 6 (#2)

CBS – The Odd Couple
Viewers: 4.61 million (#3), A18-49: 1.1/ 3 (#3)

NBC – The Voice
Viewers: 9.18 million (#2), A18-49: 2.0/ 6 (#1)

Fox – Lucifer
Viewers: 3.59 million (#4), A18-49: 1.0/ 3 (#4)

CW – Jane the Virgin
Viewers: 1.32 million (#5), A18-49: 0.5/ 2 (#5)


10:00 p.m.

ABC – Conviction
Viewers: 5.18 million (#3), A18-49: 0.9/ 3 (#3)

CBS – Scorpion
Viewers: 7.12 million (#1), A18-49: 1.3/ 4 (#1t)

NBC – Timeless
Viewers: 5.40 million (#2), A18-49: 1.3/ 4 (#1t)


10:30 p.m.

ABC – Conviction
Viewers: 3.80 million (#3), A18-49: 0.7/ 2 (#3)

CBS – Scorpion
Viewers: 6.85 million (#1), A18-49: 1.1/ 4 (#1t)

NBC – Timeless
Viewers: 4.23 million (#2), A18-49: 1.1/ 4 (#1t)

Source: Nielsen Media Research

Written by Marc Berman

Marc Berman

Marc Berman has been writing professionally since 1999 and is the author of the “Mr. Television” for Campaign US ( Most recently, Berman was the creator and Editor-in-Chief of website and newsletter TV Media Insights for Cross MediaWorks. From 1999-2011, he was the Senior Editor for Mediaweek and has also written for The New York Daily News, Variety, The Hollywood Reporter and Emmy Magazine, among others. Berman has also appeared on “Entertainment Tonight,” “Extra,” “Access Hollywood,” “Inside Edition,” “The CBS Evening News,” E!, CNN, CNBC, Fox News and MSNBC.

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    NBC wins the night among the Big 4 nets in adults 18-49 and every other key demographic (including a tie in women 25-54), led by the #1 show on those nets in adult 18-49, “The Voice.” Note CW results may be inflated by NFL coverage in the Houston market.

    “The Voice” (2.1/7 in 18-49, 9.5 million viewers overall from 8-10:01 p.m. ET):
    · Is the #1 show of the night in adults 18-49, 18-34 and 25-54, as well as all key adult-male demos and women 18-49 (tie) versus the penultimate episode of “Dancing With the Stars.”

    · Grows +5% versus the comparable telecast of the prior cycle in 18-49 (2.1 vs. 2.0 on April 25)

    · Maintains 91% week to week in 18-49 (2.1 vs. 2.3) and 95% in total viewers (9.517 million vs. 10.025 million).

    · Note that during Thanksgiving week last year, the Monday” Voice” declined 0.4 versus the prior week in 18-49 (2.6 vs. 3.0 on Nov. 23 vs. Nov. 16)

    · Beats the final Monday telecast of “Dancing With the Stars” by a +17% margin in 18-49 (2.1 vs. 1.8 from 8-10 p.m.).

    · Will add significant viewership via time-shifting and VOD – so far this season, “The Voice” is growing by +27% in 18-49 rating going from L+SD to L+7 (from a 2.82 to a 3.58) and more than +2.2 million viewers overall (11.3 million to 13.5 million).

    · Upscale: “The Voice” is generating a solid upscale audience, indexing at a 113 among adults 18-49 living in homes with $100K+ incomes (100 represents an average concentration of those homes).

    “Timeless” (1.2/4 in 18-49, 4.8 million viewers overall from 10:01-11 p.m. ET):
    · Ties for #1 at 10 p.m. among the ABC, CBS and NBC dramas in adults 18-49

    · Remains undefeated in the slot vs. ABC and CBS competition in 18-49, ranking #1 or tied for #1 with each of seven telecasts to date.

    · Also ranks #1 or tied for #1 among those nets in adults 18-34 and all key adult-female demos.

    · Maintains 100% versus last week in 18-49 (1.2 vs. 1.2) and is currently up +6% in total viewers (4.814 million vs. 4.528 million), pending updates.

    · Outrates ABC’s “Conviction” (0.8) in 18-49 by a +50% margin.

    · Will add substantial viewership via time-shifting and VOD – “Timeless” has increased by +77% so far this season in 18-49 rating going from L+SD to L+7 (from a 1.44 to a 2.55) and +3.9 million viewers overall (6.1 million to 10.0 million).

    · Upscale: “Timeless” is delivering a strong upscale audience, indexing at a 119 among adults 18-49 living in homes with $100K+ incomes.

    In Late-Night Metered Markets Monday Night:

    · In Nielsen’s 56 metered markets, household results were: “The Tonight Show Starring Jimmy Fallon,” 2.2/6; “Late Show with Stephen Colbert,” 2.2/6; and ABC’s “Jimmy Kimmel Live,” 1.8/5.

    · In the 25 markets with Local People Meters, adult 18-49 results were: “The Tonight Show Starring Jimmy Fallon,” 0.8/4; “Late Show,” 0.5/3; and “Jimmy Kimmel Live,” 0.5/3.

    · From 12:35-1:05 a.m. ET, ABC’s “Nightline” averaged a 1.1/4 in metered-market households and a 0.3/2 in 18-49 in the Local People Meters.

    · From 12:35-1:35 a.m. ET, ratings were: “Late Night with Seth Meyers,” 1.2/4 in metered-market households; CBS’s “Late Late Show,” 1.1/4. In the 25 markets with Local People Meters, averages were: “Late Night,” 0.4/3 in 18-49; “Late Late Show,” 0.2/2.

    · At 1:35 a.m., “Last Call with Carson Daly” averaged a 0.7/3 in metered-market households and a 0.2/2 in adults 18-49 in the 25 markets with local people meters.

    For the Week:

    · NBC has won the primetime ratings week of Nov. 14-20 among the Big 4 networks in adults 18-49 and all other key demographics, with two NFL telecasts, “This Is Us” and two editions of “The Voice” ranking among the top 11 primetime shows on ABC, CBS, NBC or Fox for the week.

    · Versus the same week last year, NBC is up +10% in both adults 18-49 (with a 2.3 rating vs. a 2.1) and total viewers (8.5 million vs. 7.7 million) and is equaling or matching its rating in every other key measure.

    · Leading NBC’s dominant 18-49 win for the week were Packers-Redskins “Sunday Night Football” and Saints-Panthers “Thursday Night Football,” the #1-2 primetime telecasts of the week on ABC, CBS, NBC or Fox in 18-49; as well as Tuesday’s “This Is Us,” tied for #5; Monday’s “The Voice,” #8; and Tuesday’s “Voice,” #11. Rankers exclude sports pre- and post-game shows.

    · “Sunday Night Football” is the #1 primetime telecast of the week on the Big 4 in nearly every key measure – adults, men and women 18-34; adults, men and women 18-49; and adults and men 25-54, plus total viewers – plus kids 2-11 and teens 12-17.

    · Season to date, NBC ranks #1 among ABC, CBS, NBC and Fox in adults 18-49, adults 25-54, adults 18-34 (tie), men 25-54 and all key adult-female demos, while only trailing World Series-boosted Fox in any other key demographic.

    · Counting only entertainment programs season to date (excluding live news and sports), NBC ranks #1 among the Big 4 networks in adults 18-49 and is #1 or tied for #1 in adults 25-54, adults 18-34 and every key adult-female demo.

    Week 8 Averages
    Adult 18-49 Rating, “L+SD,” Nov. 14-20

    Total Viewers
    CBS…8.9 million
    NBC…8.5 million
    ABC…6.1 million
    Fox…3.1 million
    CW…1.5 million

    Season to Date, All Programs
    Adult 18-49 Rating, “Most Current”

    Total Viewers
    CBS…10.7 million
    NBC…9.2 million
    Fox…7.6 million
    ABC…7.3 million
    CW…1.8 million

    Season to Date, Entertainment Programs Only
    Adult 18-49 Rating, “Most Current”
    Excludes Live News & Sports

    NOTE: Primetime results are based on “fast affiliate time period” data from Nielsen Media Research. All ratings are “live plus same day” unless otherwise indicated.

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    CBS Monday Live + Same Day Highlights



    “2 Broke Girls” Up in Viewers and Key Demos

    “Scorpion” Places First at 10:00 PM in Viewers,

    A18-49 and A25-54

    · At 8:00 PM, KEVIN CAN WAIT averaged 6.96m, 1.5 in A18-49 and 2.2 in A25-54. KEVIN CAN WAIT was Monday’s top scripted broadcast in A18-49 and A25-54.

    · At 8:30 PM, MAN WITH A PLAN averaged 5.94m, 1.3 in A18-49 (nc) and 2.0 in A25-54 (nc).

    · At 9:00 PM, 2 BROKE GIRLS averaged 5.40m (up +4% from 5.18m), 1.4 in A18-49 (up +8% from 1.3) and 2.0 in A25-54 (up +11% from 1.8).

    · At 9:30 PM, THE ODD COUPLE averaged 4.61m, 1.1 in A18-49 (up +10% from 1.0) and 1.6 in A25-54 (nc).

    · At 10:00 PM, SCORPION was first in viewers (6.98m), A18-49 (1.2, tie, nc) and A25-54 (1.8, nc).

  3. Gotham, Supergirl, Lucifer, Jane The Virgin, The Odd Couple, all flops that were flops last season…


    • Actually Supergirl is doing very well this season. From the 8th highest rated show on the network to the 2nd highest rated show on the network.

      • Supergirl is below 3 million viewers overnight.

        I understand you’re a “Superfan” ;), but the fact is it’s a flop.

        The fact it moved to a network solely made up of flops doesn’t change that fact.

        • I understand you hate the show for whatever strange reason. But any sane person realizes the show is a big success for the CW and in no way fits the definition of a flop. It is their second highest rated show. Supergirl has almost 1 million more viewers than the #3 show Arrow. It increased the CW Monday ratings by 261%. Spotted Ratings gives Supergirl a 100% chance of renewal. TV Grim Reaper gives it a 145% chance of renewal. Cancel Bear gives Supergirl five bears. Flops don’t boost a network’s ratings this high or have such a high chance of renewal. Shows like Pure Genius and Conviction are flops. Supergirl is a massive hit for the CW and will likely run several more seasons. So how exactly is Supergirl a flop?

          • First, I could do without the insult. [yes, saying “any sane person realizes” is a way of calling the other person “insane”]

            I don’t insult you (at least I try very hard not to 🙂 )

            I think the least you can do is to reciprocate.

            Second: your argument makes assumptions that are not warranted: You think that a network wouldn’t renew a show that is not a hit.

            To copy a criticism that is often aimed at me, “you are living in the past”… 😉

            Seriously, in the past 15 years, being a hit has ceased to be the criterion for renewal.

            While all real hits are renewed, of course, there are so few, many, many flops get renewed.

            It shouldn’t be the case and it is killing the US scripted industry but it sadly is “the new normal”.

            I’m certain they’ll renew it, because the fact it was moved from CBS and the fact it is produced by Greg Berlanti show this is a politically favored show (perhaps WB wants to be like Disney and pretend its comic-book-derived shows are hits when they’re really flops…)

            Saying that a show with fewer than 3 million viewers is a “massive hit” is frankly mind-boggling. The fact CW has even worse on its air notwithstanding.

            • On the show itself I don’t dislike it “for whatever reason”. I dislike it because what little I’ve seen of it exemplified awful writing, terrible directing and awful shot-on-video “photography” as well as bad acting.

              But that just a judgement on the quality (or lack thereof of the show).

              What does bother me is CW making and renewing flops coming from the same handful of bad producers and continuously hyping them in the media and misleading people that there is such a thing as “good for CW”.

              The whole network is the equivalent of shoveling cash into a train furnace: it’s very expensive and doesn’t move you forward much…

              • You are putting too much emphasis on the L+SD ratings as to the basis of whether these shows are doing well or not. The superhero shows tend to appeal to the nerd culture, for lack of a better term. Which tend to not watch live TV on a TV set. But live TV watched on a TV set is entirely what the Nielsen ratings system is based on. It doesn’t take into account people who stream it with the CW app or watch it on Netflix or Amazon. Which is where Warner Bros. makes the real money for shows like this. Unlike other networks, the only purpose of the CW is to showcase these shows and generate media buzz. They generate far more media hype than a show like NCIS or a new show like Bull, which have vast audiences but not too much value after the initial live screening. About the only highly rated show that gets a lot of media buzz is TBBT, which is also a WB show. Bottom line. A show that makes a lot of money for the producers isn’t a flop.
                And bad acting, bad writing, and terrible directing is merely your opinion. A subjective opinion. Many critics feel that the acting is excellent, especially by Melissa Benoist and Chyler Leigh on Supergirl. They are highly praised by the critics. Spoiler TV awarded Chyler Leigh Outstanding Actress for October. Rotten Tomatoes gives Supergirl a 100% rating for season two.
                “The effects and fight sequences continue to impress, expanding the boundaries of what can be accomplished for television.” Ed Gross – Empire Magazine.
                “Last year, Supergirl
                was a beacon of freshness in the superhero game. It was a show that
                brought optimism and genuine comic book heroism to the small screen.
                That has not changed with the show on The CW.” Merrill Barr – Forbes

                • Again thank you for the interesting response. 🙂

                  It’s great to be able to discuss things politely. And on the internet too!!

                  – Emphasis on Nielsens: It’s not that I want to put emphasis on the Nielsens ratings, it is that those are the ONLY numbers available that are worthy of being discussed.

                  The Nielsens are the only numbers that are paid for by competing interests (ie. the buyers of ads and the sellers of ads).

                  We’re fortunate that they are sharing them with us so that it gives us an unbiased portrait of viewership.

                  EVERY other number coming out of Hollywood is not worth discussing as it comes direct from the Studio/Network PR Department or is paid for by the Networks/Studios.

                  Yes, that includes Box-Office numbers which haven’t been monitored independently for over 15 years (and the reason why they took off and tripled over 10 years when they’d been stable for the previous 65!) and Netflix, Amazon, online, on-demand numbers.

                  Even the rights-holders of product playing on-demand or in theaters have next to no way to find out what is really going on (other than sending people around to count attendance at movie theaters!)

                  In addition to the fact they are one-sided numbers, I have noticed over the years that flops almost invariably are said to have vast numbers of viewers that are sadly uncounted by Nielsen.

                  It’s just not believable and sounds like PR spin.

                  It’s because it isn’t and is… 🙂

                  – Warner makes most of its money outside of CW: It may or may not be true but we can’t tell for sure. The one thing we know for sure is how poorly they do where the audience is reliably counted.

                  I have to assume the rest is PR.

                  After all, we line in a “brand new world” where NBC tried to explain that they didn’t need no stinkin’ audience to make money…

                  More below… (or above depending on how Disqus places the responses…)

                • – NCIS not making money outside of first airing: OK, you almost made me gag to death when I read this…

                  Besides the original airing, NCIS re-runs wonderfully, getting more audience than 90% of original airings of other shows.

                  In other words, a re-run of NCIS is MORE valuable than most first-runs of shows on the other networks and that’s just of CBS.

                  NCIS also did a killing on USA the first 8-9 years it played there, generating huge amounts of income.

                  It is also the world’s most watched TV show and a hit all over the globe, where it plays in primetime and sells for a LOT more money than any CW show.

                  Frankly, I don’t know where you got that idea, maybe from the buzz which leads me to:

                  – Buzz: Nothing is as useless as buzz if it doesn’t generate actual viewership. The reason? Buzz these days is created artificially by paying lots of money to PR firms and placing your product in the media in various guises.

                  I remember fondly the front page of USA Today clamoring that Gossip Girl was the show “everyone was buzzing about”. Sadly for CW, they may have paid to place that article (and shame on USA Today for publishing it!) but it transformed into one of the most embarrassing periods of their short history and is part and parcel of the reason CW has no “street cred” left.

                  A show that makes a lot of money isn’t a flop: Very true. But everything shows that CW loses money of all its shows and that WB is losing money on all the shows it makes for CW.

                  You may not see it clearly in the quarterly reports as that Big Bang Theory money will hide many sins, but there it is.

                  Praise by the critics: If critics knew what good acting or good directing is, I think we’d have heard about below freezing temperatures in hell…

                  I would argue that quality is not all in the eye of the beholder (even if critics wouldn’t know it if it hit them in the face) and will give you one example from Supergirl. When she chooses to jump from the top of a building to reveal herself to a friend, it is uselessly dumb, cruel and sadistic, certainly not what the writers meant to portray (they were probably thinking “this will look so cool!!!”). It’s just bad writing.

                  My opinion of awards is the same as that of critics, except they can be bought more easily. 😉

                  As for Rotten Tomatoes, there are so many projects with a 100% ratings that it’s become meaningless (wait… it WAS already meaningless – just more obviously now).

            • SG is a hit for the CW. That’s all that counts. And no show on the CW gets over 3 million viewers. Most don’t even get 2 million. So SG already performs better than most on the CW. ‘Shows aren’t judged a hit based on what shows on other networks are hits. They are judged by how they do on their own network. For the CW SG is a hit show. For Disney AC was and AoS is a flop, based on how other shows do on ABC. Which is why AC was cancelled and AoS might be cancelled too.

              • Thanks for the interesting argumentation. 🙂

                I’ll argue that being a “hit for the CW” is not all that counts, and that it really doesn’t count at all.

                CW (I just don’t like that practice by the network of preciously adding an article) is not a cable network, it’s not a network like ME-TV airing on low-power stations and digital over-the-air channels (there’s a new expression for those which eludes me).

                CW is a free, over-the-air network, available in 99%+ of households.

                There is no reason for it to have a different scale than the other networks.

                It has bad ratings because it keeps putting on bad shows (the game being to make shows that the public wants to see).

                Agent of Shield is indeed a flop, but wouldn’t be a hit if it were airing on CW with the same audience.

                If Walking Dead has proven something, it is that if you make a show that peases large audiences, they’ll find it even on a low-rated cable network…