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Monday Overnights: Superheroes Crossover Stunt Lifts The CW

Annual 'CMA Country Christmas' on Par With One Year Earlier


Household Rating/Share
NBC: 5.3/ 7, ABC: 5.1/ 8, CBS: 3.7/ 6, CW: 1.9/ 3, Fox: 1.3/ 2

-Percent Change from the Night 1 of 2016-17 (9/19/16):
ABC: +24, CW: +12, NBC: + 2, CBS: – 3, Fox: -50


Ratings Breakdown:
Led by “The Voice,” which scored a 6.2 rating/10 share in the household overnights from 8-10 p.m., NBC dominated this final Monday in November. But NBC holiday special “A Very Pentatonix Christmas” slipped to third at 10 p.m. with a 3.5/ 6 at 10 p.m., which trailed competing “The Good Doctor” on ABC (#1: 5.8/10) and “Scorpion” on CBS (#2: 3.8/ 7) by 40 percent and 8 percent, respectively.

On The CW, this week’s crossover event benefited Monday with “Supergirl” above average at a 2.0/ 3 in the household overnights at 8 p.m. And that led into a Monday 9 p.m. edition of “Arrow” at a 1.8/ 3, which was 125 percent above the 0.8/ 1 for regularly scheduled “Valor” one week earlier.

Over at ABC, annual holiday special “CMA Country Christmas” was on par with the year-ago evening with a 4.8/ 8 from 8-10 p.m. And that led into aforementioned “The Good Doctor” at a dominant 5.8/10 at 10 p.m.

Elsewhere, the CBS 8-10 p.m. comedy block – “Kevin Can Wait” (4.3/ 7), “Man With a Plan” (3.8/ 6), “Superior Donuts” (3.5/ 5) and “9KJL” (3.2/ 5) – remained third behind NBC and ABC. And Fox featured encore telecasts of dramas “Lucifer” (#5: 1.5/ 2) and “The Gifted” (#5: 1.2/ 2).

What follows is the half-hour breakdown for Monday, November 20, 2017.

8:00 p.m.
ABC – “CMA Country Christmas”: 5.1/ 8 (#2)
CBS – “Kevin Can Wait”: 4.3/ 7 (#3)
NBC – “The Voice”: 6.4/10 (#1)
Fox – “Lucifer” (R): 1.6/ 2 (#5)
CW – “Supergirl” (crossover): 2.0/ 3 (#4)

8:30 p.m.
ABC – “CMA Country Christmas”: 4.8/ 7 (#2)
CBS – “Man With a Plan”: 3.8/ 6 (#3)
NBC – “The Voice”: 6.2/10 (#1)
Fox – “Lucifer” (R): 1.3/ 2 (#5)
CW – “Supergirl” (crossover): 2.0/ 3 (#4)

9:00 p.m.
ABC – “CMA Country Christmas”: 4.7/ 7 (#2)
CBS – “Superior Donuts”: 3.5/ 5 (#3)
NBC – “The Voice”: 6.3/10 (#1)
Fox – “The Gifted” (R): 1.2/ 2 (#5)
CW – “Arrow” (crossover): 1.8/ 3

9:30 p.m.
ABC – “CMA Country Christmas”: 4.6/ 7 (#2)
CBS – “9JKL”: 3.2/ 5 (#3)
NBC – “The Voice”: 6.0/ 9 (#1)
Fox – “The Gifted” (R): 1.1/ 2 (#5)
CW – “Arrow” (crossover): 1.7/ 3

10:00 p.m.
ABC – “The Good Doctor”: 5.8/10 (#1)
CBS – “Scorpion”: 3.8/ 6 (#3)
NBC – “A Very Pentatonix Christmas”: 4.0/ 7 (#2)

10:30 p.m.
ABC – “The Good Doctor”: 5.7/11 (#1)
CBS – “Scorpion”: 3.7/ 7 (#2)
NBC – “A Very Pentatonix Christmas”: 3.0/ 5 (#3)

Source: Nielsen Media Research


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  1. Just how did NBC dominate when the ratings were not only extremely abysmal for the night, but also nearly even with ABC’s (NBC: 5.3/ 7, ABC: 5.1/ 8)? And how did ABC end up with a larger share for the night when its ratings were lower than NBC’s?

      • .2 of a rating isn’t exactly my definition of dominate. Then, there’s the question of how ABC ended up with a larger share for the evening while NBC had the slightly larger rating.

        • The Voice had about 1.5 million more viewers.

          But re-reading your question, it is an error in collating the ratings. NBC had a higher share all four half-hours of The Voice. [I’m sounding like I’m a fan which I’m so not… 😉 ]

          The rating and share are proportional every half hour. You can have a discrepancy when comparing two different time slots as you will have different level of sets in use…

          • I see that (“The Voice’s” numbers) as well as those of “A Very Pentatonix Christmas” being utterly left in the dust by “The Good Doctor” which renders the statement, “NBC dominated this final Monday in November” not very accurate unless one counts a .2 win for the night by NBC as “dominating” the competition. Especially, when one realizes that a whopping 5.3 rating is not much to crow about unless one is a spin doctor trying to turn cold, bland porridge into a something much more palatable. Then there’s the fact that “The Good Doctor” will have added millions and millions more viewers to its L+7 tally thereby rendering NBC’s extremely slim Monday night win to the dung heap once all the final ratings are tabulated.

            Personally, I’ve used a dvr to record everything I watch since the late 90’s and haven’t been forced to sit through a commercial since then. So, I’ve been more than surprised that commercial Network TV has been able to pull the wool over so many eyes since then, but I do see that Les Moonves finally sees the writing on the wall. I just wonder how long it will be before he moves all of his network programming to CBS ALL ACCESS.

            • Just a quick point. No advertiser pays for Live+7. It’s purely a spin metric…

              The Good Doctor is a solid show that a desperate Disney/ABC is trying to spin as a major hit.

              How is Less seeing the writing on the wall? He’s doing the same things all the other bad executives are doing. That’s why CBS is falling like a stone now.

              He held it up by following rationality, now he’s just doing the same failing moves they all are doing.

              • “How is Less seeing the writing on the wall?” He realizes that viewers aren’t watching commercials anymore and viewership is beneath anemic, so he is populating CBS ALL ACCESS with more original programming in an attempt to get viewers to pay for CBS something as advertisers finally come to their senses about the b.s. spin networks and their spin doctors have been spouting for years and either pull out entirely or pay much less. However, it’s too little, too late. So, unless Les moves his NFL product to CBS ALL ACCESS (which actually has some people watching commercials and will really upset the NFL brass), very few people will buy into his last ditch, pay-to-view model.

                • Interestingly, it seems we mostly agree. 🙂

                  CBS has fallen terribly since it started The Mentalist (the last real new scripted hit on TV still to this day).

                  But its ratings are anemic because it no longer makes decently-made shows. It has copied the bad habits of its brethren of hiring flop-makers (Chuck Lorre excepted) and its spinoffs no longer bring hit-level audiences.

                  I wouldn’t call the parade of remakes for CBS All-Access “original” in any meaningful way… It’s the same crappola that failed ot gain audiences over-the-air and will fail online (except we won’t have credible numbers to show it)

                  Advertisers have been paying less and less all along. They pay for eyeballs, not to be on a particular show and if you don’t deliver, they get make-dues or [gasp, horror] discounts.