2016-17 TV Cancellations Thread: TNT finds "Nothing can come of nothing."

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Cornballer said:
Yeah, it's adequate. With the inevitable time shifting boost and the critical acclaim, they'll renew it. Not a runaway hit like they might have wanted, but it's enough.
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Plus, there's always the chance it builds via word of mouth! (increasingly rare these days, but it can still happen!)
 
Stumpokapow said:
i just read a plot synopsis of the novel "Thirteen Reasons Why", which Netflix is adapting into a show, and it honestly sounds like the most revolting and exploitative idea for a novel or show imaginable. It's the Facebook "And then before the girl died, he said 'I love you... five ever' Like This If You Cry Everytiem" meme in book form. Really gross.
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This was a really popular book in my high school. I almost read it, but decided 50 Shades would be more fun ¯_(ツ)_/¯
 
WaffleTaco said:
This was a really popular book in my high school. I almost read it, but decided 50 Shades would be more fun ¯_(ツ)_/¯
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50 Shades is trash for bored housewives who desperately want an interesting life but are too boring to actually change anything about the life they have. Ooh, spank me, that's so naughty. Harmless if stupid. Los Angeles is currently fucking blanketed with ads for the sequel.

Thirteen Reasons Why seems revolting. Not only does it seem exploitative in the extreme of actual trauma, basically grief porn--exactly like the shitty fiveever Facebook meme. We can learn lessons from grief, but not when it is delivered pornographically. Not only that, but it also seems to normalize viewing suicide as a noble and righteous act of emotional hostage taking and an opportunity to shame and guilt-trip others for indiscretions real or imagined. That is an absolutely ugly impulse. I think of all the people in shitty high school relationships too scared to break up because the other threatens to kill themselves over it. Disgusting. I think we owe it to younger generations to provide to them real and relatable moral leadership and so the effort of writing things teenagers can relate to is very important, but it comes with a responsibility to lead them well. I graduated high school ... err... a while before this book was published, but this reminds me of a worse version of "Go Ask Alice", which was similarly an earnest effort to relate to kids that verged on propaganda in its depictions of struggle and on pornography in its depictions of grief.

I feel way more strongly about this than I should.
 
Stumpokapow said:
50 Shades is trash for bored housewives who desperately want an interesting life but are too boring to actually change anything about the life they have. Ooh, spank me, that's so naughty. Harmless if stupid. Los Angeles is currently fucking blanketed with ads for the sequel.

Thirteen Reasons Why seems revolting. Not only does it seem exploitative in the extreme of actual trauma, basically grief porn--exactly like the shitty fiveever Facebook meme. We can learn lessons from grief, but not when it is delivered pornographically. Not only that, but it also seems to normalize viewing suicide as a noble and righteous act of emotional hostage taking and an opportunity to shame and guilt-trip others for indiscretions real or imagined. That is an absolutely ugly impulse. I think of all the people in shitty high school relationships too scared to break up because the other threatens to kill themselves over it. Disgusting. I think we owe it to younger generations to provide to them real and relatable moral leadership and so the effort of writing things teenagers can relate to is very important, but it comes with a responsibility to lead them well. I graduated high school ... err... a while before this book was published, but this reminds me of a worse version of "Go Ask Alice", which was similarly an earnest effort to relate to kids that verged on propaganda in its depictions of struggle and on pornography in its depictions of grief.

I feel way more strongly about this than I should.
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I mean I agree with your bolder statement lol. I mean I think a lot of women (not just housewives), just enjoyed it because it's pure acceptable smut. Plus it's fun to discuss with friends. I would also say a lot of women just find it fun to read as well. After all women are not normally seen as sexual beings. And as regards to the book...I mean I think it was just the shock value of it that people liked, but I really don't remember.
 
Powerless already fractional and Riverdale sinks again

Fast-Demo-2017-Feb-09.THU_.png


Oh didn't even see Training Day there!
 
Another decade of Grey's and Supernatural. Calling it now.
 
Thinking that being on Netflix will be the thing that can save Riverdale. It's not going to get the critical love of JTV or Crazy-Ex so it doesn't have anything else going for it.
 
HBO PR said:
HBO has confirmed an April debut for the new season of SILICON VALLEY, with the Emmy®-winning comedy series scheduled to kick off its ten-episode fourth season SUNDAY, APRIL 23 (10:00–10:30 p.m. ET/PT).
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.
 
Beginning to wonder if ABC keeps AoS around so that when delayed viewing numbers come out get some impressive headlines.

AoS increased 150% in L + 7 Data!

The ABC show went from a 0.6 rating among adults 18-49 to a 1.5 in the Live +7 ratings for Jan. 16-22. The 150 percent gain is the biggest of the week, as is its near-doubling of viewers (2.03 million to 4.04 million).
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A little bit surprised they didn't kill Silicon Valley on a relatively high note - seems last season's finale might have been a good spot. Don't get me wrong - I LOVE the show. I just don't want to see it drag out at all. Maybe we're not at that point yet...
 
sparky2112 said:
A little bit surprised they didn't kill Silicon Valley on a relatively high note - seems last season's finale might have been a good spot. Don't get me wrong - I LOVE the show. I just don't want to see it drag out at all. Maybe we're not at that point yet...
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Ratings are pretty good, no? I think HBO knows that a show like Silicon Valley is a wonderful addition to their somewhat lacking line up.
 
ZeroX03 said:
Riverdale settling on Jane the Virgin territory. Hoo boy.
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Soft lead-in and tough timeslot for a brand new show. Hopefully the critics reviews and word of mouth will continue the trend of 0.4, 0.5.

Also Penguin, Riverdale didn't "sink", it had 1.15mil viewers last week, compared to 1.22mil this week to clarify.
 
Oh yeah, so is Fargo to blame for the random film to TV adaptations we've been getting lately? Is that the lesson that execs got from that show's success?

At least Lethal Weapon is okay to watch at least.
 
firehawk12 said:
Oh yeah, so is Fargo to blame for the random film to TV adaptations we've been getting lately? Is that the lesson that execs got from that show's success?

At least Lethal Weapon is okay to watch at least.
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Not really. Film to TV adaptions have always been around and Fargo, while a successful critically and ratings wise, isn't that big of a hit.
It's more of a case of lack of originality and creativity. It's easier to get something based on a known IP that something fresh.
 
Penguin said:
Beginning to wonder if ABC keeps AoS around so that when delayed viewing numbers come out get some impressive headlines.

AoS increased 150% in L + 7 Data!
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I guess half of the audience can't be bothered to stay up until 11:00. Or half the audience is Chicago Fire or Fox local news fans.
 
Penguin said:
Beginning to wonder if ABC keeps AoS around so that when delayed viewing numbers come out get some impressive headlines.

AoS increased 150% in L + 7 Data!
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This is why I find it strange that people think cancellation is a sure thing.

Renewal sure as hell isn't a sure thing either but live ratings are not the end all in 2017 when there are other factors in hand such as being one of the shows that has the biggest gain with DVR, the time slot and the "having a Marvel show" factor.

I think AoS does well enough for ABC and might be happy enough with what it's doing at 10 PM combined with the L + 7 numbers.

That being said, again, it definitely isn't a sure thing to come back and I could be wrong. Just my two cents though.
 
Cornballer said:
.
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Aha! There it is.

sparky2112 said:
A little bit surprised they didn't kill Silicon Valley on a relatively high note - seems last season's finale might have been a good spot. Don't get me wrong - I LOVE the show. I just don't want to see it drag out at all. Maybe we're not at that point yet...
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Veep should have ended last season as well. HBO doesn't care though because both it and Silicon Valley are big draws.
 
ZeoVGM said:
This is why I find it strange that people think cancellation is a sure thing.

Renewal sure as hell isn't a sure thing either but live ratings are not the end all in 2017 when there are other factors in hand such as being one of the shows that has the biggest gain with DVR, the time slot and the "having a Marvel show" factor.

I think AoS does well enough for ABC and might be happy enough with what it's doing at 10 PM combined with the L + 7 numbers.

That being said, again, it definitely isn't a sure thing to come back and I could be wrong. Just my two cents though.
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But the short of it is... even with the delayed gains, ti still does worse than a lot of their dramas during the first run.
 
RatskyWatsky said:
So many awards!
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Just a few!
Wiki on Veep said:
It has been nominated five years in a row for the Primetime Emmy Award for Outstanding Comedy Series, winning the award for its fourth and fifth seasons. Its second and fourth seasons won the Writers Guild of America Award for Television: Comedy Series, with the third season winning the Television Critics Association Award for Outstanding Achievement in Comedy. Louis-Dreyfus has won five consecutive Primetime Emmy Awards, two Screen Actors Guild Award, two Critics' Choice Television Awards and one Television Critics Association Award for her performance. Supporting cast members Anna Chlumsky and Tony Hale have both received four consecutive Emmy nominations for their work on the series, including Hale winning in 2013 and 2015.
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Stumpokapow said:
Thirteen Reasons Why seems revolting. Not only does it seem exploitative in the extreme of actual trauma, basically grief porn--exactly like the shitty fiveever Facebook meme. We can learn lessons from grief, but not when it is delivered pornographically. Not only that, but it also seems to normalize viewing suicide as a noble and righteous act of emotional hostage taking and an opportunity to shame and guilt-trip others for indiscretions real or imagined. That is an absolutely ugly impulse. I think of all the people in shitty high school relationships too scared to break up because the other threatens to kill themselves over it. Disgusting. I think we owe it to younger generations to provide to them real and relatable moral leadership and so the effort of writing things teenagers can relate to is very important, but it comes with a responsibility to lead them well. I graduated high school ... err... a while before this book was published, but this reminds me of a worse version of "Go Ask Alice", which was similarly an earnest effort to relate to kids that verged on propaganda in its depictions of struggle and on pornography in its depictions of grief.

I feel way more strongly about this than I should.
Click to expand...
I had to give the Internet a quick cursory look the other day about this, and I'm baffled by the apparent lack of criticism of this book.

firehawk12 said:
Oh yeah, so is Fargo to blame for the random film to TV adaptations we've been getting lately? Is that the lesson that execs got from that show's success?

At least Lethal Weapon is okay to watch at least.
Click to expand...
LFMartins86 said:
Not really. Film to TV adaptions have always been around and Fargo, while a successful critically and ratings wise, isn't that big of a hit.
It's more of a case of lack of originality and creativity. It's easier to get something based on a known IP that something fresh.
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It's also about heavily vertically integrated companies trawling their IP for anything that can be mined for further value. I'm sure we'll hear about another round of Paramount sifting through their properties for things to develop for the revamped Spike.

RatskyWatsky said:
Veep should have ended last season as well. HBO doesn't care though because both it and Silicon Valley are big draws.
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Honestly, I bet there was more pressure from Louis-Dreyfus than HBO to keep it going.
 
Dan said:
I had to give the Internet a quick cursory look the other day about this, and I'm baffled by the apparent lack of criticism of this book.
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I can only assume the book itself is much, much better than the Wikipedia summary because it seems truly atrocious.
 
Dan said:
It's also about heavily vertically integrated companies trawling their IP for anything that can be mined for further value. I'm sure we'll hear about another round of Paramount sifting through their properties for things to develop for the revamped Spike.
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How did someone think it was a good idea to make a Training Day show though? At least something like Rush Hour had an interesting gimmick to sell it.
 
Suck it, Westworld.

- Vulture: White People Love Stan Against Evil, and More Trivia on What America Watched in 2016.
Hallmark Channel’s Chesapeake Shores drew Westworld-level ratings among older audiences.

It averaged just under 3 million viewers per episode this year, putting it just slightly below HBO’s Westworld in terms of overall linear viewership and enough to make it one of the 20 most-watched shows (drama or comedy!) on cable. So why does the series make barely a peep in pop culture? Just 160,000 of its roughly 3 million viewers are adults under 35. For better or worse, shows that appeal to overwhelmingly older audiences struggle for attention in our youth-obsessed society.
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Rich people are all about The Americans.

Even if FX’s (finally) Emmy-nominated drama doesn’t draw nearly the overall audience it deserves, it turns out there’s one kind of viewer for whom the show is definitely must-see TV: wealthy folks. The typical viewer of The Americans lives in a home where the average income is just north of $80,000 per year — a larger amount than all but one basic cable drama. Just edging it out: BBC America’s London Spy, whose audience makes an average of $81,600 annually. Interestingly, among comedies, a much more low-brow FX series — the beloved and long-running It’s Always Sunny in Philadelphia— actually has the richest audience on basic cable. Sunny viewers take in a healthy $81,300 each year.
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