It's a Brave New World – Blog edited by Scott Arundale

A press release from MPA Europe representing the Hollywood majors in their battle with those wishing to enrich themselves trading in intellectual properties that are not their own:

STOCKHOLM, SWEDEN — The Court of Appeals in Sweden this afternoon upheld the criminal convictions for copyright infringement against three of the individuals in The Pirate Bay case. The three, Frederik Neij, Peter Sunde and Carl Lundström, had appealed their convictions for copyright infringement imposed by the Stockholm District Court in April 2009.

Following this afternoon’s announcement, Chris Marcich, President and Managing Director of the MPA Europe said

“Now that a Swedish Court has declared the operators of The Pirate Bay guilty of copyright infringement for a second time, we hope the relevant authorities will take the appropriate action to ensure that the site ceases its illegal activities. The Pirate Bay has flaunted the law while continuing to cause serious harm to the creative economy globally, generating substantial revenues for its operators. The decision of the Swedish Court of Appeals today upholding the criminal convictions of the Pirate Bay operators is very much welcomed. This confirms that such activities are illegal and if you engage in them, you run the risk of very significant consequences.

The Pirate Bay’s sole purpose is to facilitate and promote the unlawful dissemination of copyrighted content for the profit of the site operators. The entire business model is built upon copyright infringement. Preventing illegal distribution of copyrighted material on the internet is central to protecting the rights of copyright holders, and also to supporting the continued investment in new online services and the creation of new films and television programmes. “

Note: The fourth defendant Gottfrid Svartholm was also convicted of the same offence and also appealed. His appeal was postponed due to his ill-health and is yet to be heard.

Following the appeal by the defendants against their convictions, rights-holders appealed the decision of the District Court in relation to the damages awarded against the operators for their infringing activities. In a welcome move, the Court of Appeal increased the amount of damages payable to 46 million SEK (up from 32m SEK).

The Court of Appeals did, however, revise the term of the prison sentences against each of the appellants based on their level of participation:. Neij was sentenced to 10 months, Sunde to 8 months and Lundström to 4 months. Each was originally sentenced to a one year term.

BACKGROUND:- In February 2009 four defendants; Frederik Neij, Gottfrid Svartholm, Peter Sunde and Carl Lundström, were charged with contributing to copyright infringement by facilitating the illegal distribution of copyrighted material in relation to the unauthorized online distribution service, The Pirate Bay. All four were convicted on April 17, 2009 and sentenced to one year’s imprisonment. Substantial damages were also awarded against them.

This was an important decision for rights-holders, underlining their right to have their creative works protected against illegal exploitation and to be fairly rewarded for their endeavours.

The four immediately appealed both their criminal conviction and the damages award. (The one year’s prison sentences were delayed pending the appeal).

source: variety.com

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A Swedish appeals court Friday shortened the prison terms of two founders and a financier of Swedish filesharing site The Pirate Bay, but increased the damages to be paid to movie and music firms.

“The Appeals Court, like the district court, finds that The Pirate Bay service makes possibly illegal filesharing in a way that entails a punishable offense for those who run the service,” the court said in its ruling.

Three founders of the site Peter Sunde and Fredrik Neij, both 32, and Gottfrid Svartholm Warg, 26, were in April 2009 found guilty of promoting copyright infringement with the website.

The verdict, considered an important symbolic victory for the movie and recording industry, handed the three founders along with an important financier of the site, 50-year-old Carl Lundstroem, sentences of one year in prison.

On Friday, the Svea Appeals Court shortened Neij’s sentence to 10 months, Sunde’s to eight months and Lundstroem’s to four months.

Warg, the third co-founder, received the same lower court sentence as the others, but did not take part in the appeals trial due to illness. He will face a separate trial probably next year.

“Unlike the lower court, the appeals court does not believe one can make such a collective decision entailing that everyone carries the same responsibility for what is done within the framework of The Pirate Bay,” the court explained.

However, it ruled that instead of paying around 32 million kronor (3.4 million euros, 4.5 million dollars) in damages to the movie and recording industries, the amount should be hiked to 46 million kronor.

“This is because the Appeals Court to a larger extent than the district court has accepted the plaintiffs’ presented evidence of their losses,” the court said.

Founded in 2003, The Pirate Bay, which claims to have more than 23 million users, makes it possible to skirt copyright fees and share music, film and computer game files using bit torrent technology, or peer-to-peer links offered on the site.

Source: breitbart.com

The 3D joint venture between Sony, Imax and Discovery unveiled a large and exclusive slate of first run series of original programming and acquisitions. Tom Cosgrove, President and CEO made the announcement of native 3D programs that willl air 24/7 when the channel launches in 2011.

The channel will feature one of the most extensive libraries of 3D content in genres that are most appealing in 3D, including natural history, adventure, theatrical releases and IMAX movies.

The series and films announced today are (in alphabetical order):

Original Series

Abandoned Planet

Explore the strangest places on earth — entire cities now completely devoid of all humanity.  This series of one-hour programs sheds light on why people have abandoned the places they once called home and what happens after they leave.  Produced by Flight 33 Productions.

Africa in 3D

From Gannet Island and its 100,000 seabirds of the same name sharing one giant rock, the 60,000 flamingos at Kamfers Dam, the Luangwa River and its 30,000 hippos and much more, this series of one-hour programs captures the richness and diversity of the world’s second-largest continent.  Produced by Aquavision Television Productions.

China

China’s beauty is little seen, often hidden and always surprising.  This hour-long series studies the thronging cities, epic vistas and spiritual heartlands of this huge and mysterious nation in stunning 3D.  Produced by Natural History New Zealand Ltd. (NHNZ).

Jewels of the World

This hour-long series gives viewers unprecedented access to UNESCO’s ‘World Heritage’ sites, where the planet’s natural and cultural gems are catalogued and protected, including:  the historic sanctuary of Machu Picchu, Peru; the Temple of Angkor Wat in Cambodia; and the Grand Canyon National Park in the United States, among others.  Produced by Natural History New Zealand Ltd. (NHNZ).

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Attack of the Giant Jellyfish (Discovery)

This hour-long program explores the myths and realities behind the global explosion of deadly jellyfish, including the giant Nomura, whose strength and size makes them capable of capsizing boats and wreaking havoc on the high seas.  Produced by Story House Productions.

The Haunted (Discovery)

Using infrared cameras and sensitive recording devices, a paranormal team investigates true, chilling and terrifying stories of animals and their owners who are experiencing the unexplainable.  This one-hour program is produced by Picture Shack Entertainment.

Into the Deep 3D (IMAX)

This IMAX special takes audiences on a spectacular three-dimensional exploration of the undersea world. Using the IMAX 3D camera in its underwater housing for the first time, this film captures unique marine life and magnificent underwater vistas.

Magnificent Desolation:  Walking on the Moon 3D (IMAX)

Through the magic of IMAX 3D, narrator Tom Hanks takes viewers to the lunar surface to walk alongside the 12 extraordinary astronauts who have been there to experience what they saw, heard, felt, thought and did.

Cloudy with a Chance of Meatballs (Sony)

Inspired by the beloved children’s book of the same name, this animated 3D feature follows inventor Flint Lockwood and a brainy weathergirl as they attempt to discover why the rain in their small town has stopped, and food is falling in its place.

Monster House (Sony)

A suburban home has become physically animated by a vengeful human soul looking to stir up trouble from beyond the grave, and it’s up to three adventurous kids from the neighborhood to do battle with the structural golem in this comically frightful tale.

Blockbuster made it official today, filing its long expected Chapter 11 bankruptcy, with a line of creditors that includes its product suppliers like Fox, Sony, Universal, Warner Bros and Disney. It seems unfathomable that given Blockbuster’s supremacy at one time–think of all the mom and pop video stores that went out of business when Blockbuster set up shop nearby–the corporation could not have been more forward thinking. It could have owned the VOD and rental by mail space dominated by Netflix, and it got its head handed to it by Coinstar’s Redbox, which offered the same DVDs in supermarket kiosks for 25% of the rental prices charged by Blockbuster. While Carl Icahn is reportedly buying up Blockbuster debt and somebody might take a shot at resurrecting Blockbuster and its $1 billion in assets, it might well be too late to establish itself in VOD and as a buyer of pay TV rights for films, as Netflix is now doing at a fraction of the costs incurred by Blockbuster to maintain its 3000 stores. It’s a cautionary tale about standing pat when the sand is shifting under your feet, and Blockbuster’s woes are similar to those being felt by brick and mortar bookstores like Borders and Barnes & Noble, which is hard pressed to compete with outlets like Amazon, serving up both paper books and e-titles without having to pay the light bill and staff the cash registers.

source: deadlinehollywood.com

WHY PAY-TV OPERATORS SHOULD BE SCARED

Blockbuster’s bankruptcy filing was a long time in coming, but is still daunting when you think back to how omnipresent and powerful the company used to be. To be sure, there has been a lot of distracting M&A and corporate drama surrounding Blockbuster over the years which no doubt contributed to its decline. Still, there have been fundamental shifts in its business that Blockbuster missed.

Specifically, Netflix has been both a catalyst of Blockbuster’s demise and also a big beneficiary. Now, with Netflix aggressively pursuing over-the-top streaming, it is inevitably going to put pressure on traditional pay-TV operators. So what might pay-TV operators learn from Blockbuster’s bankruptcy? Here are 6 things. No doubt there are more.

1. Love your customers, don’t abuse them – Blockbuster earned the enmity of its customers with egregious late return fees. Short-term that was profitable, but long-term it built up huge resentment and frustration (Netflix lore is that CEO Reed Hastings started the company in response to his own frustration over late fees). When customers feel taken advantage of, the door swings open to competitors. Many pay-TV subscribers spending $100 or more per month feel they’re over-paying for lots of channels they don’t watch. That should be a red flag to prompt changes in pay-TV packaging.

A man who has too much viagra without prescription article mastercard cialis online of meat and offal Sardines, salmon, anchovies, etc. The doctor shall need to check general signs of health, including viagra india checking for signs of stress that can have a negative impact on your wellbeing. You should always check the quality of the drugs is a result of high intention, hardwork, skillful execution and intelligent direction; it getting viagra online represents the judicious choice of many alternatives. Why we have Iggy Pop for Royal Caribbean, Bob Dylan promoting Victoria’s Secret products, Billy Preston teaming up with the Zombies for Fidelity Investments, Led Zeppelin pitching Cadillacs, Aerosmith for Buick, the O’Jays for Coors Beer, Deep Purple promoting Dodge, the Who allowing their music to be used in Cisco commercials, the flower power group the Association pitching Allstate Insurance, why we even have Helen Reddy’s classic anthem. check out for more info viagra 50 mg 2. Don’t cling to incumbent business models – When you have a good thing going, it’s tempting to not to change. Blockbuster hung on to its store-based and pay-per-rental model and entered fixed price DVD-by-mail and online distribution late and half-heartedly. As Andy Grove famously said, “Only the paranoid survive.” The point is, the world changes and so must business models. For pay-TV providers, just because multichannel subscriptions have worked for years doesn’t mean they always will.

3. Physical infrastructure may not matter as much as hoped – It’s often the case that having lots of physical infrastructure creates a big entry barrier for would-be competitors. For Blockbuster, its network of thousands of stores was thought to be an insurmountable advantage. But Netflix avoided stores by using the mail (and building relatively few distribution centers). Similarly pay-TV operators have invested billions in their networks, but over-the-top players like Netflix are simply using the open Internet to deliver their content. While physical infrastructure often helps, pay-TV operators shouldn’t consider it a rock-solid defense.

4. What appears inferior may actually be superior – It may be a distant memory now, but when Netflix started it was actually less convenient than Blockbuster, because you had to wait to receive the DVDs a few days out, whereas with Blockbuster you could drive down the street and get something immediately (even if it wasn’t always your top pick). But Netflix turned that disadvantage into an advantage by developing sophisticated inventory software and the ability for subscribers to create/manage queues. The result was subscribers disproportionately watched older movies, largely avoiding the stockout phenomenon and financial burden that plagued Blockbuster’s hits-driven business. Similarly, today Netflix offers no live programming, making it an inferior offering to pay-TV. But with consumers shifting to on-demand viewing, not having live is becoming less important.

5. DNA and focus matter, a lot – Like human beings and leopards, it’s awfully hard for companies to “change their spots.” Blockbuster succeeded by operating a store-based model. When they tried to overlay DVDs-by-mail and online they couldn’t execute. Netflix started as DVD-by-mail only and relentlessly refined that model. It’s been extraordinary to see how seamlessly they’ve evolved to online delivery. Pay-TV operators have struggled to evolve from linear delivery to anywhere/anytime/any device delivery. Pay-TV operators mustn’t let their DNA disadvantage them.

6. Technology is a friend and must be embraced – A huge part of Netflix’s success is due to advanced technology deployed in every aspect of its business. I have a hunch that that’s because Reed Hastings is a tech guy himself, who respects and understands technology’s critical role. It’s unlikely that anyone who walked into a Blockbuster store ever felt it was high tech. My memories of being in stores are about seeing low-paid, apathetic teenagers staffing the whole operation. With pay-TV operators, many have made huge strides in how they use technology in their operations, yet too often deficiencies are obvious to their subscribers. Things that are a given on the web like self-service ordering are still rare, requiring tedious phone calls.

So there are 6 things pay-TV operators can learn from Blockbuster. No doubt there are many others as well. Netflix’s fingerprints are all over Blockbuster’s demise. Pay-TV operators need to be vigilant because they are next in Netflix’s cross-hairs.

source:  videonuze.com

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Ivi streams broadcast television programming to computers for only $4.99 per month. NBC, CBS, Fox, and Disney have a problem with that.

While Ivi, Inc., has only launched a week ago, the Seattle, Washington, startup has gotten quite a bit of attention. That’s not surprising when its business model is taking over-the-air television content and streaming it for a fee.

At the moment, Ivi (pronounced “ivy”) offers broadcast channels from Seattle and New York City, which can be viewed on any Internet-connected Windows, Mac, or Linux computer. The company plans to add additional markets every 45 days, says founder and CEO Todd Weaver, including Los Angeles, Chicago, and San Francisco.

After that, Ivi plans to offer an a la carte premium channel selection. Weaver won’t name names, but says the company is in talks with channel creators. Once it has a stable of premium channels, the company will offer theme-based packages of channels.

Viewers will also be able to view a range of independent channels. Ivi offers a few now, including public access, sports, and music channels, and plans to add more. The company is in talks to add pay-per-view sports channels, as well, Weaver says.

Growing Like Wild
Besides growing its channel list, Ivi has other plans that should help it spread like, well, ivy. First the company is looking to the mobile space. It’s already submitted an iPad app, and even a revision to that app. Weaver expects the app to be approved and available in the iTunes Store by mid-October.

After that, the company will offer iPhone and Android apps.

Once the mobile bases are covered, Ivi will look to set-top boxes, reaching out to makers such as Roku.

Ivi’s features will grow, as well. Currently, subscribers can pay an extra $.99 per month for Ivi Pro, which offers simple pause, fast forward, and rewind options. Look for that to grow into more fully-featured DVR controls with program scheduling.

If this all seems like fast growth, consider that Ivi was incorporated back in 2007, and only just launched its first consumer offering. It’s been using that time to build out its encryption, says Weaver. Rather than a traditional digital rights management system, which prevents sharing, Ivi has built a downloadable player that allows the subscription to travel with the subscriber.

Legal Battles Ahead
The cease-and-desist letters began almost immediately after Ivi launched. Fisher Communications and NBC Universal were first, says Weaver, followed by representatives for ABC, Fox, the CW, and several more. All alleged that what Ivi is doing constitutes copyright infringement.

The company’s defense, says Weaver, is that Ivi is a cable system transmitting under U.S. copyright laws, and that the Copyright Act authorizes this type of secondary transmission. While the law may not have caught up with online streaming yet, he says that cable operators and satellite broadcasters all had to fight the same fight in their early days.

When the first letters came in, Ivi sent replies explaining what it was doing. After it heard from more companies, it filed a letter of non-infringement in Seattle court.

Despite going up against some pretty deep pockets, Weaver is optimistic that the law is on Ivi’s side.

“It’s very much a David and Goliath competition. We’re a small company fighting for the distribution rights of consumers,” Weaver says.

While it’s the networks that are going after Ivi, Weaver says the cable and satellite companies have most to lose.

“They’re going to be the most mad, there’s no doubt. At the end of the day, we’ll be eating their lunch,” Weaver says. “Should they be worried that their subscriber base is going to be dropping? Yes, I’d say so.”

source: streamingmedia.com

Disney and Sony have just announced a pact to bring Alice in Wonderland and Bolt on Blu-ray 3D exclusively to Sony 3D TV customers, adding to a tangle of exclusivity deals that is ultimately afflicting consumers.

Under the deal, people who buy a Sony 3D TV will be able to receive the Disney Blu-ray 3D titles for free. At least for the time being, these titles will not be released in stores and are not going to be available through any outlet as standalone movies.

It is an increasing trend in the burgeoning Blu-ray 3D playing field, as movie studios find it hard to stomach the cost of producing a new format for such a small audience, and TV manufacturers are eager to provide incentives to come to their side. Thus, TV makers have been paying the studios to get exclusive rights to the Blu-ray 3D versions of their films.

Samsung and Dreamworks have a tight pact, allowing only people who buy a special Samsung 3D glasses bundle to get the 3D version of Monsters vs. Aliens. Shrek will also be getting a similar treatment. Meanwhile, Panasonic offers Coraline and Ice Age: Dawn of the Dinosaurs. Panasonic also recently scored a major coup, gaining the exclusive rights to the Blu-ray 3D version of Avatar. That deal is widely assumed to be only as a timed exclusive.
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The only Blu-ray 3D title that anyone can actually go to a store and buy is Cloudy with a Chance of Meatballs, a Sony Pictures flick. Sony 3D TV buyers do get a copy of that movie for free, but Sony decided to also make it available for other 3D customers as well. Only a handful of other titles are expected to be pushed to retail within the next several months.

source: www.tgdaily.com

The 3D Experience, New York’s first Annual 3D Entertainment and Technology Festival, today announced the presenters lineup for the Executive Forum. To kick off the three day event, key industry leaders and professionals will converge at the AMC Empire 25 Theaters in Times Square on Sept. 24 for a day packed with informative keynotes, presentations and panels encompassing the full spectrum of the 3D industry.

“The Executive Forum brings together industry pioneers and newcomers to take the pulse of the rising 3D industry and learn to navigate the ever-changing entertainment and technology landscape,” said Nino Balistreri, managing director for The 3D Experience. “3D has altered the way consumers experience digital content and will continue to push the limits of creativity. The 3D Experience will be an incubator for enduring partnerships and new revenue opportunities.”

The inaugural Executive Forum features a dynamic lineup including an all-industry address by Phil McKinney, vice president and chief technology officer, HP, followed by presentations from Ken Venturi, chief creative officer & EVP, National CineMedia, Robert H. McCooey, Jr., senior vice president of new listings and capital markets, NASDAQ OMX, Richard Gelfond, CEO, IMAX, Jim Chabin, president, International 3D Society, and David Beal, president, National Geographic Entertainment. These key industry veterans will cover the emergence of 3D in recent years, its financial impact, how to take advantage of its robust growth and thrive in this exciting, uncharted territory.

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The 3D Experience Executive Forum attendees will be offered unparalleled networking opportunities through the NASDAQ Opening Night VIP Reception presented by LG, VIP film screenings, dinner reception and the highly-anticipated 3D TV Test Drive. For the latest more information on the speaker lineup and panels, please visit: Speakers.

The Executive Forum is targeted at industry professionals, but The 3D Experience will engage entertainment enthusiasts and general consumers alike by simultaneously presenting the 3D Consumer Showroom at the Discovery Times Square Exposition from Friday, Sept. 24 to Sunday, Sept 26. Hosted by Best Buy, the Consumer Showroom will be free and allow visitors to interact with a myriad of 3D products from 3D TVs, gaming systems, home theatre accessories and more. Showroom hours are Friday, September 24, noon-8pm; Saturday, September 25, 10am to 8pm; and Sunday, September 26, 10am to 6pm. To enrich the festival weekend, AMC Theatres Empire 25 will feature screenings of classic and recent 3D blockbusters. For an up to date schedule of screenings, please visit: www.the3dexperience.org.

About The 3D Experience
The 3D Experience is committed to creating large-scale interactive programs that bring together leading minds, leading products and leading experiences. Event Partners for The 3D Experience include NASDAQ OMX, Best Buy, National CineMedia, IMAX, AMC and Discovery TSX. Sponsors include LG Electronics USA, Mitsubishi Digital Electronics America, Inc., 3ality Digital, Panasonic, NVIDIA, AT&T, Northern Lights Entertainment, 3D Eye Solutions, BodySound Technologies, Texas Instruments, RealD, 3DMedia, Jump 3D, Hello Charlie and Passmore Lab. Supporters include National Geographic Entertainment, Paramount Pictures, Red Bull Records, IMS Research and International 3D Society. The 3D Experience is produced by e5 Global Media, a diversified company with leading assets in the media and entertainment arenas. For more information and to register for The 3D Experience visit www.the3DExperience.org. Connect with The 3D Experience on Facebook at www.facebook.com/3dexperience and Twitter at twitter.com/the3dexperience.

7.6.10  Apple employees are sworn to secrecy but somebody is talking over there.

“The people familiar with the company’s plans also said that Apple executives are well aware that the battle for the living room is going to be arduous, and that the company must get it right the next time.”

My wife gave me an Apple TV last Christmas but I asked her to return it to the store.  Looking at the home entertainment console groaning under the weight of the cable box, the Wii and the DVD player, I wasn’t ready to add another level of confusion not to mention a fourth remote.  But quietly I hoped that someday there might be  way to cut the cable cord and lose some of the expensive clutter.

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3D and Blu-ray drive each other to market.

Carolyn Giardina’s article in Variety spells out a breath of fresh air for the Blu-Ray market:

Despite Sony’s victory over rival HD-DVD in the format war, Blu-ray has remained a format without a compelling value proposition. It delivers a better picture than DVD, but not dramatically better, and consumers have been moving toward the convenience of streaming rather than the quality of true HD on Blu-ray.

There’s one area, though, where Blu-ray seems to have the edge: stereoscopic 3D. In fact, 3D may put Blu-ray in millions more living rooms — and, in turn, Blu-ray may help drive 3D in the home.

Don Eklund, Sony Pictures’ executive Vice President for advanced technologies, recalls that during the format war with HD-DVD, critics said Blu-ray was over-engineered. Those advanced capabilities, however, have proven essential in giving the format an advantage in 3D homevideo, which requires storing and moving massive amounts of data. Blu-ray does this much better than Web streaming.

A single Blu-ray disc can hold an entire 3D movie at full 1080p HD resolution, and the players can pump that data to the screen with no problem. With Web streaming, the consumer doesn’t need a lot of storage space, but few broadband services have the speed to handle a dual load of 1080p video for the left and right eyes – required for 3D.

Eklund estimates a player must be able to handle 50-55 megabits per second (Mbps) for 3D with full HD for both eyes. An Akamai Technologies study pegged average broadband speed in the U.S. (including consumer, corporate and mobile) at just 3.8 Mbps. AT&T’s DSL maxes out at 24 Mbps.

Ahmad Ouri, chief marketing officer at Technicolor, believes Blu-ray has the edge for the foreseeable future. “It will be very difficult to stream a 50-gigabyte file, even if you have a high-bandwidth pipeline to the home,” he says.

Blu-ray launched in 2006, and the Blu-ray Disc Assn. (BDA) asserts that the format has reached more than 10% penetration, counting set-top players and the PlayStation 3 – ahead of where the DVD rollout was at a similar point in time.
Blu-ray stakeholders tout the format’s image quality and connected features, but Ouri says that “in terms of differentiating features for the consumers, I think definitely it will be 3D” that drives sales.

3D has also given consumer electronics firms, eager to sell 3D flatscreens, a reason to get behind Blu-ray.

“3D will likely become a standard feature on the majority of new HDTVs, and that will certainly support sales of Blu-ray,” says Lexine Wong, senior exec Vice President of worldwide marketing at Sony Pictures Home Entertainment.

With 3D cable and satellite still scarce, and terrestrial 3D basically nonexistent, Blu-ray is the most market-ready 3D delivery system available today.

Even with 3D, though, Blu-ray may have a limited window to make inroads. The FCC’s National Broadband Plan calls for a massive increase in Internet bandwidth to the home, enough to make 3D streaming practical, within 10 years.

That plan has driven another group into the 3D Blu-ray camp: broadcasters.

The broadcasting industry isn’t keen to surrender spectrum for wireless broadband – something the FCC plan asks them to do – nor are they eager to use all their bandwidth for 3D TV.

source: variety.com

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Review of the game broadcast can be found here

DirectTV steps up to the plate on July 10th and 11th. Now is the time for Best Buy to start hustling those 3D displays and play the game in stores, despite the lack of content.
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Americans avoided television in historic levels over the past week.

CBS, NBC, ABC and Fox together had the smallest number of prime-time viewers last week in two decades of record-keeping, the Nielsen Co. said. Given the dominance of the big broadcasters before then, you’d probably have to go back to the early days of television to find such a collective shrug.

The first week of July tends to be among the slowest weeks of the year in television, anyway, with families more engaged in barbecues and fireworks. The problem was magnified this year because July Fourth came on Sunday, largely knocking out one of a typical week’s biggest viewing nights.

Together, the four networks averaged 18.9 million viewers last week, Nielsen said. During the season, “American Idol” alone usually gets a bigger audience than that.

NBC’s “America’s Got Talent” is emerging as the summer’s most popular show, with its two original episodes last week the only programs to top 10 million in viewership, Nielsen said.

While the biggest broadcast networks are suffering, the Spanish-language Univision is stepping up. Among the closely-watched 18-to-49-year-old demographic, Univision finished second only to Fox in prime-time last week.

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For the week, CBS averaged 5.6 million viewers in prime-time (3.7 rating, 7 share), NBC had 4.7 million (3.0, 6), ABC had 4.5 million (2.9, 6), Fox had 4.1 million (2.5, 5), ION Television had 1.1 million (0.7, 1) and the CW had 950,000 (0.6, 1).

Among the Spanish-language networks, Univision led with a 3.5 million prime-time average (1.8 rating, 3 share), Telemundo had 1 million (0.5, 1), TeleFutura had 800,000 (0.4, 1), Estrella had 190,000 and Azteca 150,000 (both 0.1, 0).

NBC’s “Nightly News” topped the evening newscasts with an average of 7.8 million viewers (5.2, 11). ABC’s “World News” was second with 6.7 million (4.6, 10) and the “CBS Evening News” had 5 million viewers (3.4, 8). NBC’s victory margin was undoubtedly stretched because Thursday and Friday night results were not included in the network’s average because the Wimbledon tennis tournament.

A ratings point represents 1,149,000 households, or 1 percent of the nation’s estimated 114.9 million TV homes. The share is the percentage of in-use televisions tuned to a given show.

For the week of June 28-July 4, the top 10 shows, their networks and viewerships: “America’s Got Talent” (Wednesday, 9 p.m.), NBC, 12.94 million; “America’s Got Talent” (Tuesday), NBC, 10.23 million; “The Bachelorette,” ABC, 9.77 million; “NCIS,” CBS, 9.75 million; “Two and a Half Men,” CBS, 8.84 million; “Wipeout” (Thursday), ABC, 8.74 million; “NCIS: Los Angeles,” CBS, 8.28 million; “Wipeout” (Tuesday), ABC, 8.24 million; “The Mentalist,” CBS, 8.18 million; “The Big Bang Theory,” CBS, 8.07 million.

Source: www.washingtontimes.com