#matlock 2023

[monsterintheballroom]

MATLOCK Trailer (2023) with Kathy Bates

[daily-yuzuki-yukari-songs]

NCMR/Mikkeli Matlock - Shizuku (ft. Yuzuki Yukari Shizuku, Yuzuki Yukari Rei)

Genre: Rock (post-rock), Poemloid

Release Year: 2023

[spilladabalia]

Blondie feat. Nile Rodgers - Rapture - Live at Coachella 2023

[ncisfranchise-source]

It came down to the wire, but NCIS: Hawai’i ultimately didn’t make the cut for next season at CBS. The news comes days before the network is set to announce its fall schedule on May 2 and before the Season 3 finale of Hawai’i is scheduled to air on May 6. According to sources, the episode was not meant to be a series finale and includes a tease for what was to come but fans won’t be left reeling by a major cliffhanger.

The cancellation is not a complete shocker since, as Deadline has been reporting, NCIS: Hawai’i was on the bubble. Still, the outcome is surprising since I hear an effort was made to extend the drama’s run for at least an abbreviated fourth and final season, with producers agreeing to a massive budget cut and open to other concessions in order to keep the show going.

Hawai’i, the first series in the NCIS franchise with a female lead, Vanessa Lachey, is now the first series in the franchise not to get a proper sendoff after a brief run compared to its predecessors NCIS, renewed for a 22nd season, NCIS: Los Angeles (14 seasons) and NCIS: New Orleans (7). It is unclear whether series producer CBS Studios would shop the drama but there are no obvious buyers, with Paramount+ already stocked up with two NCIS original series, Sydney and the Tony and Ziva spinoff.

Attracting sizable viewership on a linear network is quite a challenge, so it is not common these days for a network to let go of the #12 most watched non-sports program on broadcast that averages 7.8 million linear viewers (most current) and 10M in Live+35 multi-platform viewing.

That is what CBS is doing with the cancellation of NCIS: Hawai’i, which added some star power and NCIS continuity this season with NCIS: Los Angeles‘ LL Cool J who has been in every episode.

It comes on the heels of Top 25 series So Help Me Todd and CSI: Vegas getting the axe last Friday. As I noted in the CBS Renewal Status Report earlier this month, the network was going to have to make some painful cancellation decisions, getting rid of shows other networks would’ve been happy to renew.

The series, as well as So Help Me Todd and CSI: Vegas, ultimately became a casualty of a strong schedule, a cost-management drive and overall uncertainty at the parent company Paramount Global, which is in the process of being sold.

Even before CBS’ lineup, delayed by the strikes, launched with the Super Bowl, the network already had committed to five new scripted series for next season, dramas Matlock, Watson and NCIS: Origins and comedies Poppa’s House and a Young Sheldon spinoff, with renewal conversations on NCIS: Sydney also well underway.

Then CBS’ originals returned, exceeding expectations, with the network claiming the top 16 most watched shows of its premiere week and 14 of the top 20 non-sports programs overall this midseason in Nielsen most current linear viewership.

With no obvious weaklings, Blue Bloods getting a final run next season and S.W.A.T. surprisingly uncanceled, the network had to cut deep in purging its slate to make room for the additions.

Just a year ago, a renewal for Hawai’i would’ve been a no-brainer: it’s part of a storied franchise with solid rating and crossover potential with the mothership series that yielded big ratings in January 2023. But now, CBS already has three other NCIS series already locked for next season: the original series, renewed for Season 22, Sydney, returning for a second season, and the upcoming Young Gibbs prequel NCIS: Origins. There is also the Tony & Ziva NCIS spinoff series greenlighted by Paramount+, making for a crowded NCIS field.

With strong multi-platform performance, as NCIS: Hawai’i ranked above several CBS dramas that have been renewed, including FBI: Most Wanted, FBI: International and S.W.A.T., it probably came down to money.

Even with the proposed budget cuts, NCIS: Hawai’i was still going to be expensive. Its long-term prospects were unclear — whether it would become a big global hit and moneymaker like its franchise predecessors. With CBS’ parent company focused on its short-term balance sheet as it prepares to sell, a corporate decision was made not to take a chance and find out.

In NCIS: Hawai’i, Special Agent in Charge of NCIS Pearl Harbor Jane Tennant (Lachey) and her team balance duty to family and country, investigating high-stakes crimes involving military personnel, national security and the mysteries of the island itself.

Alex Tarrant, Noah Mills, Jason Antoon, Yasmine Al-Bustami, Tori Anderson and Kian Talan also star. Matt Bosack, Jan Nash, Christopher Silber and Larry Teng served as executive producers.

In a recent Deadline interview, CBS Studios President David Stapf spoke about how “wholly unique” Hawai’i is while also being part of the franchise as the first NCIS series with a female lead, Lachey, and with its Hawai’i locale. “We were just coming off Hawaii Five-0, a very successful show,” he said of the spinoff’s origins. “People love that setting, it plays well over the globe.”

[tobeseenthrough]

personal faves for 2024 - my full media scrapbook for 2024 is here. these are the ones i enjoyed the most this year obviously but the ones mentioned in bold even more so. also putting this under a cut because it's long as hell.

films - take me back for christmas (2023), theater camp (2023), the heiress (1949), charade (1963), romantic prelude (2009), our secret diary (2023), ang larawan (2017), isa pa with feelings (2019), anatomy of a fall (2023), dune 2 (2024), challengers (2024), la chimera (2023), furiosa: a mad max saga (2024), hit man (2024), thelma (2024), problemista (2024), lovesong (2016), set it off (1996), the taste of tea (2004), revenge (2017), nine to five (1980), elvira: mistress of the night (1990), baby assassins (2021), sing sing (2024), oddity (2024), swing girls (2004), haru (1996), my cousin vinny (1987), christmas around the corner (2018), ghostlight (2024), look back 2024)

tv/dramas/anime - what we ate yesterday (s1) (2019), ghosts (s2) (2022), old fashioned cupcake (2022), stranger (s1) (2017), apothecary diaries (cour 2) (2024), girls5eva (s3) (2024), frieren (cour 2) (2024), rap sh!t (s1) (2022), ghosts s3 (2024), interview with the vampire (s2) (2024), my lady jane (s1) (2024), rap sh!t (s2) (2023), fantasmas (2024), smothered (2023), loot (s2) (2024), the sopranos (s1) (1999), how to die alone (s1) (2024), a man on the inside (s1) (2024), dandadan (s1) (2024), acapulco (s3) (2024)

not included but probably would have been had i finished the last 2-3 episodes on time : shogun (s1), the penguin

would have been included but their seasons hasn't finished airing yet: abbott (s4), matlock (s1), ghosts (s4), high potential (s1) and st denis medical (s1

albums (all 2024 releases) - brat (charlie xcx), bright future (adrienne lenker), lighthouse (francis of delirium), algorithm (lucky daye), where the butterflies go in the rain (raveena), big ideas (remi wolf), ten total (1010 benja), in search of the antidote (fletcher), letter to self (sprints), revenge (muni long), dark times (vince staples), i lay down my life for you (jpegmafia), buzz (niki), wilson (ashe), zinc. (gallant), gnx (kendrick lamar), bug (kacy hill), pages (shaznay lewis), weird faith (madi diaz), early twenties (cat burns), mantras (katie pruitt), diva of the people (gavin turek), alligator bites never heal (doechii), the sweater club (jelani aryeh), things look different now (gimmy), fk it (alemada), smitten (pale waves), patters in repeat (laura marling), amy (yana), old hobbies (frances whitney), i should call them (dua saleh), ache in my tooth (flowerovlove), see you at the maypole (half waif), cruzafied (cruza), chaotic erotica (bentley robles), glimmer of god (jean dawson), this is how i remember it. (beckah amani), the drive home (samara cyn), state champs (state champs), below a massive dark land (naima bock), sofia valdés (sofia valdés), mra (emel), long way home (jamie miller), dunya (mustafa).

books - lol. it's been a rough couple years with me and books tbh. prayer circle 2025 will be different!!!!

[kwebtv]

Cindy Morgan (born Cynthia Ann Cichorski; September 29, 1954 – c. December 30, 2023) Film and television actress best known for playing Lora/Yori in Tron and Lacey Underall in Caddyshack.

Morgan has multiple television and film credits, including portraying two roles on the primetime soap opera Falcon Crest, Lori Chapman in season one and Gabrielle Short in seasons six and seven. Morgan also played two characters, in two episodes, on the television series Matlock. Her other credits include guest and minor appearances on The Larry Sanders Show, Amazing Stories, CHiPs, and a co-starring role on Bring 'Em Back Alive. (Wikipedia)

IMDb Listing

[cj-ghostemoji-destielpie]

CJ/Tony

FTM

22

Aries ♈

AO3 Fanfic writer (Dragonborn_Eldenlord)

Hobbies:

Crochet, fanfic (writing and reading), drawing and painting, sewing, playing with my dogs and cats, video games, movies and TV shows, books, meditation, witchcraft (I'm pagan/eclectic/spiritual/animistic/ Omnistic), collecting cool or weird rocks and gemstones.

Favorite movie:

2003-2020: Mulan (will always be my favorite Disney movie) and the Batman movies and the X-Men movies.

2021-2022: didn't really watch movies...

2023: The Prom, Hamilton

2024: Too Wong Foo, Stage Mother, Walk a Mile in my Prada's, Cowboys, Deadpool & Wolverine

2025: Kinky Boots

Favorite TV show:

2020 & earlier: Buffy the Vampire Slayer, Criminal Minds, Bones, Angel, Danny Phantom, Samurai Jack.

2021: Vampire Diaries, Supernatural, IZombie

2022: Supernatural, Jane the Virgin, New Girl

2023: Criminal Minds, My Hero Academia, The Walking Dead, One Day At A Time (remake), Ghosts.

2024: The Walking Dead Daryl Dixon, A Discovery Of Witches, Blacklist, Preacher, Madre sólo hay dos, Doom Patrol, Good Omens, Hannibal, Ghosts UK, and Spirited.

2025: Criminal Minds, High Potential, Elsbeth, Matlock, Our Flag Means Death, Clean Slate, Kate & Koji, Constantine, Sasaki and Miyano, Tadaima Okaeri, The Night Beyond the Tricornered Window, Buddy Daddies, Heaven General's Blessing.

Favorite book/read of the year:

2020: Book of Shadows by Catie Teirnan

2021: Bane Chronicles by Cassandra Claire

2022: Pride & Prejudice and Zombies by Seth Grahame-Smith (also loved it in 2017/2018)

2023: A History of Magic, Witchcraft, and the Occult by Dorling Kindersley

2024: Come to the Oaks: The Story of Ben and Tobias by Bryan T Clark

2025:

Favorite games:

Skyrim

Pokemon Yellow (Gameboy)

Minecraft

Sims

Witcher

[doyourememberrocknrollradio]

I went "YES" when I saw new releases in 2023 by...

Suzi Quattro

The Dead Milkmen

Graham Nash

John Mellencamp

Sabaton

Dropkick Murphys

The Damned

Glen Matlock

Yeah, my tastes swing in all directions. ~ Carolyn

[actuallylorelaigilmore]

2023 Movie Journey #17: Elemental

elemental. i watched this one earlier this week with my family...and i'm finally caught up on movie reviews! which means i can now post new ones right after i see the movies. yay.

this movie's cast has some actors who i know, probably most notably a guy i enjoyed in jurassic world dominion. but much, much more importantly, the star of this movie is leah lewis, so even if i hadn't liked the movie overall i still would have had a great time watching it.

i fell immediately in love with leah lewis's portrayal of george when i started watching nancy drew this year. and i mean immediately--i was watching with somebody who loved bess the most, and i had seen so much ace on my tumblr dash that i knew i'd like him too, but george was still my favorite character by the time i finished the pilot. without even knowing how great and rewarding her season 1 arc would be, or how much depth she would eventually have beyond her introduction as 'grudge-holding black sheep nancy's boss,' i could just tell she was my type of fave.

and even after watching the whole first season of nancy drew, it wasn't until i was rewatching it to show it to @actuallylukedanes that i accidentally learned george was played by leah lewis...and that i already knew her! she was in the half of it! which i watched and reviewed in 2020, and loved so much that i've wanted to get other people to watch it ever since. i didn't connect her performances at all, but even my review back then raved about how she was what made the movie good.

so when i realized she was starring in this, i was thrilled. and what i love about her is that she's consistently the kind of actor who has a real presence: she makes her characters engaging and stands out in a big way for somebody still young (though she started acting as a kid, so i know she's not new just cuz she's newish to me). she's signed on to the matlock reboot with kathy bates and i don't expect to love that cbs show, but i am very excited to try it anyway.

as for the movie though: i couldn't help but spend the first half just hearing george, in all her lines. not in a distracting or bad way, but a nice familiar feeling. i suspect the goal with animated disney heroines is to not make them too distinctive, because there's kind of a 'friendly normal' sound to the modern ones regardless of the actress that means even when i can recognize who's speaking, they all sound a little more similar than i would ever say they do in live action work. (either that or it's just me not being able to differentiate as well in animation, which is certainly possible.)

anyway, i loved everything about her work in this; she was the reason i cried a few times. in my opinion that's always a mark of good work, making an impressive amount of connection with viewers using just your voice.

i also really liked her parents and wade, despite the movie's core conflict revolving around all of them--this movie did a good job of explaining who everybody was as things went along, in a more than superficial way, so that it was much easier to still like people when the Bad Times came because they made more sense and were more sympathetic. as family conflicts go, compared to encanto and turning red, this one was my favorite because of that. no matter how angry or disappointed her father got, or how much that affected ember, i could still sympathize with him too and believe that his love for her was more important than anything else.

now, i know this movie got mixed reviews (or possibly worse? i only saw vague headlines) but i'm not really sure why! the metaphor they used to tell the story about immigration and a diverse society was maybe more blunt than usual, but i don't think that's a bad thing. and while it did center on themes that disney movies cover a lot (family expectations, parental disappointment, feeling like a failure, being an outsider, etc)...there are reasons those themes pop up so much!

especially when pixar movies are trying to appeal to both kids and adult audiences, i think it makes total sense to keep coming back to the 'classics.' again, there were a lot of thematic similarities between encanto and turning red and this movie (despite their differences in the details) and i watched those other two--encanto more than once--but still cried just as easily when ember confessed to her dad that she was a bad daughter, and when they bowed to each other before she left. the wounds between us and our parents never really heal, i think, at least not for everybody. so this movie tugged at me by just representing those feelings well, and making me care about the characters.

and when it comes to caring about the characters, probably my favorite thing about the movie besides the cast was the way the plot genuinely surprised me. i expected a happy ending, because it's a disney movie. but based on the trailer, i didn't know what to expect between ember and wade beyond 'they meet and things happen.' and the movie does such a good job of setting up the world they live in and the rules they live by that i believed them.

so in the beginning, i figured they were going to become unexpected friends, and navigating that alone would be a challenge. in that story, presumably the happy ending would've been something like, she learns that wade is right and she doesn't have to stay with fire people and never interact with the rest of the world, and they get to have further adventures.

but then! it turns out that this movie is going for romance. weirdly, i don't expect that from disney movies--you'd think i would when they're the home of princess culture and everything, but i wasn't a 'princess meets her prince for a happy ending' kid. i grew up with disney classics but didn't imprint on any of them.

instead, i was a don bluth kid! singing music from an american tail is literally one of my earliest memories, and my animated love story growing up was anastasia. if i squint, i can kind of see overlap between that animated romcom and this one, in terms of traumatic family history and a guarded, feisty female lead who gets what she thought she wanted all along just as she's also fallen in love with someone whose difference threatens her new fulfilled goal.

i'm not saying the two movies are very alike, lol...a zombie sorcerer belongs nowhere in elemental, obviously. but they both treat their romances with less sentimental sweetness, more sparkage and sincerity. the flirting in this is cute, and i loved them more the further along we went.

but of course, there's still that pesky plot-established problem that makes them a doomed romance. so once it was clear that their dynamic was about falling in love, not just befriending the 'other'...then i honestly expected a bittersweet ending where friends is all they can be. because this is disney, not pushing daisies, and in a world where nobody seems to have invented the elemental version of saran wrap for characters to safely kiss through, what kind of future could they have?

i did not expect them to give us this story where the characters are all believable in how firmly they believe (or don't, in wade's case) that different elements can't mix, and then for the story to show us those differences being overcome. i mean, that theme isn't exactly a new one, love conquering all, but the differences were so much more concrete here--it was life or death for them! when the parental disapproval alone was almost enough to ruin their chances!

i suppose you could flip my reaction to this movie and look at it the opposite way, and complain that their ability in the end to do what the story all along told us couldn't be done made it a waste of time, like the stakes were fake even if they didn't know that. maybe if you predicted the ending from the beginning, it could have felt that way.

but i didn't have expectations for the ending. so while i was really hoping ember and wade could be together, i was prepared for the alternative, a more modest 'crossing the aisles' journey of discovery for them both that opened her world and future and allowed him into her life from a safe distance going forward. instead, their whole story was wonderful and i love them and i'm so glad that they get to be the odd couple they are in a very divided world.

one last fun (if also slightly vexing) thing about this movie is that while it does end, it leaves a lot open, too. and i wanted to get to see ember start her internship; i wanted to learn about their new life and if it goes well for them once they're out in the broader world. i guess i wasn't ready to say goodbye to them, really, is all.

but that was fun at least on the level of seeing this with my family--it meant that after it ended, we were discussing what a sequel could be about, and that segued into a discussion about whether ember and wade could have kids or if they'd have to adopt--and how cool it would be if them having kids would create new elements or something. i love that idea a lot.

and i enjoyed this movie a lot. it was super pretty, i liked most of the characters, and it was unexpected romcom fun. i'm officially rooting for pixar to make more love stories now.

[daily-coloring]

Watch "MATLOCK Trailer (2023) Kathy Bates, Drama Series" on YouTube

[ashen-crest]

3 and 10!

thanks for this!! sorry I'm answering late. had to scroll back eons to find the end of year ask game:

#3: did you achieve everything you wanted to this year?

I actually did not! my original intention for 2023 was to release two books: A Rival Most Vial in the spring and The Spirit Well in the fall. I wasn't able to get The Spirit Well finished in time, so I pushed the release date to March 2024. That said, I did release two short stories and compilations of bonus scenes in the fall, so I still got some stuff out there.

#10: which character turned out differently than you had planned?

ooh, this is an easy one- Lydia Pietri in The Spirit Well. she's a researcher in Matlock and allies with Cal when Cal comes to help with the city's spirit problem. I originally had her characterized as a stiff, solemn person, but I wasn't really vibing with that, so in draft 3, I changed her to be a middle-aged, outgoing woman who always wore trousers and saw Cal as a pseudo-niece. She was much more fun to write that way.

[monsterintheballroom]

MATLOCK Trailer 2 (2023)

[laf-outloud]

Hello there. CW has been busy lately. They acquired US rights to another foreign show “The Swarm”, a European eco-thrill show. CW’s fall schedule is so acquisition-heavy and looks very boring to me. But after seeing ABC’s fall line-up, I’m a bit more optimistic. ABC’s fall schedule is so unscripted-heavy, while some established shows possibly pushed to midseason (not date announced yet). This makes me think that the strike royally messed up CW’s restructure plan. Their acquiring so many shows, almost all with short seasons, is probably because they somehow have to fill the fall schedule, so they have something to air. After the strike ended, they could start working on new shows or seasons. I feel like starting from midseason next year, we will see a more balanced schedule of new original shows (like Joan and The Librarians: The Next Chapter, etc.), unscripted shows and already established shows (like Walker and possibly AA, AAH and S&L) mixed together. Then we’ll see their new direction more clearly. It’s truly “it’s a Mix of Everything”. So I’m optimistic. I’m no businessperson, don’t know how to run business and these are just my speculations. But I don’t think we can write off CW yet. We can only wait and see.

On another note, the fall schedules of CBS and NBC look fairly unaffected by the strike. Even CBS has some interesting new shows like Matlock and Elsbeth. But I don’t know how they achieve those during such times, with SAG-AFTRA calling for strike authorization vote.

CW new original series https://www.hollywoodreporter.com/tv/tv-news/the-cw-commitment-original-scripted-series-1235495220/

ABC https://www.hollywoodreporter.com/tv/tv-news/abc-fall-2023-tv-schedule-unscripted-1235492807/

NBC https://deadline.com/2023-24-nbc-schedule/

CBS https://deadline.com/2023-24-cbs-schedule/

Yea! Someone else who doesn't see this as all doom and gloom! I'm encouraged to see that they're willing to at least partner in the production of scripted content, even if they can't do Game of Thrones right off the bat, lol! Plus, they have a lot of scripted content being produced, in development, or being negotiated. It means they're not going all-reality, which is what I worried about when they hired a boat-load of executives who'd worked in reality tv prior.

I think one of the major hurdles the CW will have to face is its branding. A lot of people see (or saw) the CW as a network for cult tv shows that relied on hot 20-somethings for viewers (not that I minded those hot 20-somethings, lol). They're going to have to have some critical darlings to start drawing viewers away from the main broadcast networks.

As for the fall strike schedule, I actually think the CW is in a better place than any of the other networks, especially if the writer's strike and potential actor's strike bleeds into the normal production schedule. ABC is being dragged for their all-reality lineup and it's a toss-up if NBC, CBS, and Fox will even have scripted content to air. If they don't, and the only scripted shows are on the CW? It could be a good thing to help launch the newly revamped network.

[popculturebrain]

‘Matlock,’ ‘Good Wife’ Spinoff ‘Elsbeth,’ and Damon Wayans & Damon Wayans Jr. Comedy Ordered to Series at CBS

CBS has ordered three shows, “Matlock,” “Elsbeth,” and “Poppa’s House” to series for the 2023-2024 broadcast season. The network made the announcement on Tuesday afternoon.

Subscribe to the Pop Culture Brain Daily newsletter for more stories like this!

[ncisfranchise-source]

It was back to basics at this year’s MIPCOM, the world’s leading television market, which wrapped in Cannes this week, with buyers and sellers alike, still reeling from the 2023 Hollywood strikes and a sluggish advertising market, embracing a more conservative approach. The message was clear: the era of high-risk, big-budget productions is giving way to more practical, proven formats, both in scripted and non-scripted programming.

“People are looking for the tried and true,” noted Lisa Kramer, president of international content licensing for Paramount Global Content Distribution, which found eager buyers for their proudly mainstream procedural line-up, which includes the Kathy Bates Matlock reboot, the Elementry-esque medical detective series Watson and two spin-offs of its world-conquering NCIS franchise: the Euro-set NCIS: Tony & Ziva and the prequel series Origins.

NCIS, which has generated $4.5 billion for the studio, still has a lot of life left in it, with Kramer noting strong sales for the series’ back catalog as well, with streaming companies eager to load up on a dependable procedural. “They want a large volume of episodes of a show which can reliably deliver an audience.” Paramount recently inked a deal with German broadcaster ProSiebenSat.1 for some 1,000 episodes of NCIS, NCIS: L.A., NCIS: Hawaii, and NCIS: New Orleans, for ProSieben’s streaming outlet Joyn. Speaking at MIPCOM, ProSiebenSat.1 Chief Content Officer Henrik Pabst noted the franchise is “consistently in the top 10” of all shows on the platform.

TV tastemakers used to look down on episode-of-the-week dramas but a renewed focus on ratings and subscriber retention means procedurals are cool again.

“What is nice is there was this disdain for procedurals and now people are saying, ‘You know what, the audience enjoys them and we should make new procedurals,” noted Warner Bros. TV chair Channing Dungey.

Basic economics also explains the shift. With U.S. outlets cutting their budgets, producers have to look abroad for financing. 75 to 80 percent of the budget of a major series now typically comes out of Europe, one veteran U.S. producer noted. And European buyers love proceedurals.

“Increasingly, the market is being driven by what works internationally,” noted Kramer.

With most buyers in super-saver mode, lower-cost reality and entertainment shows are in high demand, both from traditional broadcasters and, increasingly, from global streamers. Amazon MGM Studios turned its MIPCOM keynote into a love-in for Japanese comedy format LOL: Last One Laughing, which has become one of the most successful non-scripted formats of recent years and is Prime Video’s most-watched title ever in several countries. The show, in which top comedians try to make each other laugh, by whatever means necessary, is getting a U.K. version next year, produced by Banijay.

“We are really seeing a conference between the broadcasters and the streamers in terms of the formats they want,” said superindie Banijay‘s chief content officer Lucas Green. “The streamers are looking for reality, for game shows, for entertainment shows. And soon, they’ll be doing live event shows. There isn’t the big distinction between the two [broadcast and streaming] that we used to see.”

Henrik Pabst of Germany’s ProSiebenSat.1 uses the word “super streamer” or, more awkwardly, “broad video on demand” to describe this strategic convergence, driven by a decline in traditional linear television viewing and a steady rise in streaming consumption.

“Linear consumption is going down regularly, full stop, while VOD consumption is going up,” says Pabst. “It’s just a question of time before these two lines cross in terms of consumption, and when these two lines cross, you should have your right content strategy in place.”

For ProSiebenSat.1, that means doubling down on formats that work well across all platforms — like hit competition reality show Germany’s Next Top Model — the network recently extended its deal with GNTM host Heidi Klum for “several years” past the next, 20th, season of the show — and beefing up on digital rights for U.S. series that work on streaming, from NCIS to The Mentalist to Friends, while cutting back on original drama production and acquisitions of new U.S. series for its over-the-air networks.

Judging by MIPCOM attendance numbers, which were down nearly 5 percent to 10,500, and footfall in the Palais — “our booth was busy, but I’d look down the aisle and could see straight through,” noted Electric Entertainment’s Dean Devlin — the recovery of the global TV business still a way to go.

And it could get worse before it gets better. Speaking at a MIPCOM keynote, outgoing Sony Pictures Entertainment CEO Tony Vinciquerra said he expected “a big shakeout” in the next 18 to 24 months.

“It’s going to be very chaotic, there are going to be mergers, consolidation, sales, bankruptcies, potentially,” he said, “The streaming services will be profitable at some point, they may not be tremendously profitable, but they’ll be profitable. [But] the cable numbers are on an inevitable decline.”

[howardhawkshollywoodannex]

Daniel Roebuck as Jay Leno in The Late Shift (1996). Dan was born in Bethlehem, Pennsylvania, and has a whopping 243 acting credits from Cavegirl (1985) to 2023. This is his second honorable mention, after Bubba Ho Tep.

His other notable credits include an episode of The Love Boat, Rivers Edge, Star Trek: The Next Generation (2 episodes), The Fugitive, Matlock (55 episodes), Nash Bridges (14), We Were Soldiers, Six Feet Under (as a sex addict), Lost (9), Glee (3), and The Munsters (as The Count).