#nexstar broadcasting group

[ptbf2002]

NOTE: this is another template that was not related to Fil-In Memes. this is a base that was for drawing and putting its own colors.

Base Used: https://www.deviantart.com/halcyononyx/art/Base-Heroes-906969905

Credit Goes To halcyononyx

The Powerpuff Girls Belongs To Craig McCracken, Rough Draft Korea Co., Ltd. Hanna-Barbera Cartoons, Inc. Cartoon Network Studios, Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

[ironworked]

Only 41 scripted series will air in the fall lineups of the big five networks — ABC, CBS, NBC, Fox and The CW — this year, marking a nearly 50% decline from a peak of 76 just seven years ago.

The contraction is particularly pronounced at Disney’s ABC, where just five scripted shows are set to debut before the new year — down from 11 two years ago — and only one night a week, Thursday, will include no unscripted titles in primetime.

It’s not unreasonable to suggest that the drop in scripted series is a lingering aftereffect of last year’s strikes and that the tally could rebound, at least partially, over the next couple of years, as writers continue to work on developing new projects. CBS, after all, is still producing almost as many dramatic series as ever, while NBC’s tally is the highest it’s been since before the pandemic.

But if reports on the ground in the industry are any indication, the chill in the content market has yet to show much evidence of thawing, as new overall deals remain elusive in the post-peak TV environment. Nor is this the only indication that the broadcast landscape may be undergoing a more permanent shift.

[...]

It wouldn’t be at all surprising to see broadcast networks become secondary windows for streaming content.

[...] Indeed, cable networks’ fate in general may be a roadmap for the future of broadcast: Original scripted content shuttered post-peak TV, programming time filled by unscripted shows and recycled content, unique identities hollowed out in the name of cost savings. It may take time to arrive there, but broadcast’s journey down that road has already begun.

(That's basically the whole article, heh! but under the Read More, a very clear and concise explanation of what's happened with The CW)

The CW’s previous business model was built on co-owners Warner Bros. and CBS (now Paramount Global) producing shows for the network and leveraging the licensing rights to generate cash. The two companies struck a lucrative deal in 2016 to loan CW shows to Netflix, a pact Variety once described as “one of the richest TV output deals ever.”

But that all changed with the advent of the streaming wars. In 2019, Warners and Paramount ended the Netflix deal in order to retain CW shows for their own streaming platforms, cutting off the revenue stream that funded the series in the first place.

This led directly to a gutting of the network ahead of the Nexstar sale — in May of 2022, The CW canceled half its slate — and the station group took control later that year, with a mandate to take a more cost-conscious approach to programming.

[demonic-shadowlucifer]

Hey friends! With the election only 3 months away, and with the talk of avoiding misinformation as well as mainstream news being... less than ideal, here's a friendly reminder to please check who owns your local stations, and if you see they're owned by Sinclair, avoid them if you're able. In case you're unfamiliar, Sinclair is the second largest owner of local affiliates (only Nexstar is larger). And Sinclair is infamous for their must-runs and scripted reporting. On top of that, most of their content is noticeably biased towards far-right. They most notably gained attention in 2017, when they attempted to acquire Tribune Media, and had they merged, Sinclair would've been the largest owner of local stations. Thankfully, the deal fell apart. And ironically enough, Tribune would merge with Nexstar in 2019. There's... honestly a lot about Sinclair that I can't do justice in this post, so here's a segment that John Oliver did on Sinclair, one that explains it better than I ever could. (Warning: at the 4:37 mark, there's a clip where a political advisor uses the r-slur. If you don't want to hear that, skip to 4:59. Also, for folks who struggle with delusions, unreality and paranoia, near the beginning of the video, a news reporter and Oliver himself point a gun towards the camera. If you don't want to see that, skip to 0:43).

So yeah in other words, Sinclair's awful. If you want to check if Sinclair owns your station, a quick search on Wikipedia will do. You can also go through here to see who owns your stations through this Wikipedia list:

Additionally, Sinclair owns Comet, Charge!, TBD (though they're operated by a different company) and The Nest (which launched in 2023). As far as I know, they don't host political content, but if you don't want to give your views or money to Sinclair after reading this, I suggest avoiding those stations as well. And oh yeah! They also own Diamond Sports Group, who operates Bally Sports. So sports fans, if you need more reasons to hate Bally, here you go!

[biographyit]

Sean ‘Diddy' Combs sues accuser for $50m over alleged sex tape claims

Sean ‘Diddy’ Combs sues accuser for $50m over alleged sex tape claims Sean “Diddy” Combs has filed a $50 million defamation lawsuit against Courtney Burgess, her attorney Ariel Mitchell, and Nexstar Media Group, the parent company of NewsNation, alleging they fabricated and broadcast false claims about him for financial gain. The lawsuit, filed on January 22 in the Southern District of New York,…

[onenettvchannel]

BALITANG TEKNOLOHIYA: American Mainstream TV and News Broadcaster Groups joins forces with 'EdgeBeam Wireless' for cutting-edge technology services

IRVING, TEXAS -- Four (4) of the largest local broadcasting groups have collaborated to form a new joint venture called EdgeBeam Wireless, LLC. The Edward Willis Scripps Company (EWSC), Gray Media (GM), Nexstar Media Group Incorporated (NMGi) and Sinclair Broadcast Group (SBG), have come together to offer high-speed data transmission services across the United States of America (U.S.A.). Leveraging their uniquely efficient network architecture, along its transmission standards of the 'Advanced Television Systems Committee' (ATSC) version 3.0, which acts as a technological upgrade, EdgeBeam Wireless aspires to provide faster, more secure and cost-effective data delivery services.

But, to put into perspective, what does exactly is EdgeBeam Wireless (EBW)? It is a partnership endeavor working toward enhancing wireless data services in across a wide range of industries, such as automotive connectivity, content delivery networks (CDN), and even advanced Global Positioning System (GPS) services. Imagine effortless software updates in your car, seamless streaming of your favorite TV shows like Netflix, and seeking ways of navigation advancements from the GPS system, all are being accurately made possible by EBW.

The Advanced Television Systems Committee 3.0 is the newest broadcast standard, designed to make more efficient and robust data transmission possible. Thanks to the newest broadcasting technology, ATSC 3.0 sends you a lot of data to any number of devices including cars, drones, smartphones like iOS and Android systems, and even televisions at the speed of light with its digitally reliable source of media.

Whether your looking forward to catch up new or previous episodes of your favorite American television shows, the latest local & regional news in America, or finding one's way through a busiest streets in your neighborhood, EBW and ATSC 3.0 changes everything we think that we know about how should they gather and use data as business clients of broadcasting.

STOCK PHOTO and LOGOS COURTESY: Google Images CUSTOM FAN-MADE LOGO PROVIDED BY: Rhayniel Saldasal Calimpong (Design Intern for OneNETnews)

SOURCE: https://www.nexstar.tv/local-broadcasters-form-joint-venture-to-provide-high-speed-data-transmission-services-to-clients-across-the-united-states/

-- OneNETnews Online Broadcasting Team

[fmarkets]

The third quarter of 2023 presented a difficult period for Nexstar Media Group Inc, as the company witnessed a sharp decline in income, revenue, and profitability. With a significant drop in earnings per share and a weakening bottom-line, Nexstar must navigate these challenges to ensure future growth and success.Income and EPS Plunge:Nexstar Media Group Incns income plummeted by a staggering 90.41% in the third quarter of 2023, showing an earnings decline from $7.30 per share to $0.70 per share compared to the previous year. This drastic decrease in income signifies potential hurdles faced by the company, warranting further investigation into the reasons behind this sharp decline. Additionally, the EPS dropped by 73.48% from $2.64 per share in the previous quarter, reflecting ongoing challenges.Revenue Decline:The Q3 2023 revenue for Nexstar Media Group Inc decreased significantly by 10.803% to $1.13 billion from $1.27 billion in the same quarter the previous year. Moreover, the sequential comparison demonstrates an 8.71% deterioration from $1.24 billion. In contrast, the Broadcasting Media and Cable TV sector experienced a modest 0.81% revenue growth during https://csimarket.com/stocks/news.php?code=NXST&date=2023-11-10003824&utm_source=dlvr.it&utm_medium=tumblr

[webseriesviral]

Broadcast Stocks Rise as Gray TV Joins ‘Retrans Will Grow’ Chorus Maybe the sky isn’t falling on broadc... #movie quote #movies #movie line #movie line #movie scenes #cinema #movie stills #film quotes #film edit #vintage #movie scenes #love quotes #life quotes #positive quotes #vintage #retro #quote #quotes #sayings #cinematography

[lenbryant]

Why would Disney want to sell ABC? By Stephen Battaglio, Meg James Sept. 21, 2023

After Walt Disney Co. completed its landmark acquisition of ABC in 1996, the entertainment conglomerate did not waste any time integrating the TV network into its corporate culture.

Every top ABC executive was required to spend the day at a Disney theme park dressed as Goofy, Pluto and other characters in the company’s universe. It was a way to get them to march in formation, as promoting the Disney brand became part of their jobs.

Having a TV network that reached nearly every household in the country helped the company launch hit movies, park attractions and Broadway shows. An episode set in Disneyland or Disney World was a given for every family-centered ABC sitcom, from “Roseanne” to “black-ish.”

ABC has long been part of the entertainment behemoth’s DNA, which is why it came as a shock when Disney Chief Executive Bob Iger said earlier this summer that he is open to spinning off the network and its eight TV stations based in such major markets as Los Angeles, New York, San Francisco and Chicago.

Iger’s comments have already generated interest from potential suitors, including Nexstar Media Group, the largest TV station owner in the country. Byron Allen’s Allen Media Group said it would offer $10 billion for the network and stations along with several of Disney’s entertainment cable channels.

Disney tamped down expectations that any deal is imminent, saying it has not made any decision to part with the assets. But just raising the potential of a deal shows how media companies that are struggling to adapt to changes in technology and consumer behavior are forced to ponder moves once considered inconceivable.

A landmark deal

To be sure, the opportunity to acquire an asset such as a major broadcast network does not come around often. ABC has only changed hands three times since it was spun off from NBC as a radio network in 1943. It was merged in 1953 with United Paramount Theaters, a chain led by Leonard Goldenson, who guided the company into the television age.

In 1985, ABC was acquired by Capital Cities Communication, a low-key owner of TV and radio stations and print publications based in Albany, N.Y., hardly an entertainment industry hub, for $3.5 billion.

Capital Cities turned out to be a transitional owner. In the early 1990s, a change in FCC rules lifted a prohibition on networks owning their prime-time shows, which opened the doors to mergers with movie and TV studios.

Enticed by ABC’s 80% stake in sports media giant ESPN, Disney stepped up, paying $19 billion.

In the ensuing years, Disney grew and diversified, but the TV business matured. Consumers under the age of 50 have largely abandoned traditional TV for streaming video platforms when they want to watch scripted shows and movies.

“This is a smart company that has unique and compelling assets that customers care about, but it is being buffeted by the same kind of disruptive trends that we’ve seen in a lot of industries now,” said David Rogers, author of “The Digital Transformation Roadmap” and an instructor at Columbia Business School. “How do you thread this needle and transition from one set of business models to another?”

In July, Nielsen data showed that the total share of viewers watching broadcast and cable networks dropped below 50% for the first time. Streaming accounted for nearly 39%, up from 28% in July 2021. Broadcast TV’s share fell from 24% to 20% over that time, while cable’s share was 29.6%, down from 38%.

“These are not distressed assets, these are distressed business models,” Rogers said. “The business is shrinking.”

The shift has accelerated at a time when the company’s balance sheet is stretched.

Disney piled on debt four years ago to buy much of Rupert Murdoch’s entertainment assets, including the Fox movie and television studios and cable channels FX and National Geographic.

In the early days of the pandemic in 2020, after theme parks and movie theaters closed, the company took on more debt. It also suspended its stock dividend to investors. (Iger has said that he wants to reinstate the dividend by year’s end.)

The company is facing a series of notes coming due, including $1.4 billion that is maturing this year, according to Moody’s Investors Service.

Disney’s debt, minus cash and cash equivalents, is $36.7 billion, according to regulatory filings.

Moody’s gave Disney a strong A2 credit rating. The company generated $1.5 billion in free cash flow during the last fiscal quarter, and the ratings agency noted Disney has made progress whittling down its debt.

The coming months could be crucial to the company’s financial picture. Four years ago, Disney agreed to pay Comcast Corp. at least $9 billion for the Philadelphia cable company’s 33% stake in streaming service Hulu. (Disney owns 67% after the Fox purchase).

The two companies, at that time, established a floor for Hulu’s valuation at about $27.5 billion, but Comcast Chief Executive Brian Roberts insists the streaming service is worth considerably more. Analysts have speculated that appraisals could put the value at $40 billion or more.

This means that Disney might need to come up with more than $10 billion to pay Comcast to acquire 100% of Hulu.

Such demands are putting pressure on Iger, who on the surface seems like an unlikely agent for an ABC sale, which analysts say could fetch as much as $8 billion.

Iger started his career as a studio supervisor for the network in 1974, working his way up to chief executive of what was then Capital Cities/ABC in 1994.

After Disney took over, Iger’s leadership bridged the disparate cultures of the merged companies and he eventually succeeded the mercurial Michael Eisner as chief executive.

But in recent years, he has been a harsh realist about the future of the traditional TV as it struggles to survive as streaming thrives.

“Linear television — cable and satellite — is marching in a constant direction toward a great precipice and it is going to be pushed off,” Iger said a year ago at the Code industry conference in Beverly Hills — two months before his surprise return as Disney’s CEO.

The steady loss of pay TV customers cutting the cord — about 7% a year — also threatens the retransmission fees ABC receives from cable and satellite companies that carry its stations. The network has been relying on fee increases to keep the pay-TV revenue growing, but the decline in customers will eventually cut into that pie.

“He knows the legacy linear TV business is over,” said one former network executive familiar with Iger’s thinking regarding an ABC spinoff. “He wants to do it.”

The shift to streaming

It’s not just convenience that has drawn consumers to streaming.

Big money and creative freedom offered by streaming companies has lured away name brand producers away such as Shonda Rhimes. She tuned out such hits as “Grey’s Anatomy” and “Scandal” for ABC before leaving in 2017 for an exclusive deal with Netflix.

Disney has participated in the industry-wide shift of financial resources into streaming as well, as it tries to rapidly build up the programming offerings of its subscriber-based streaming service Disney+.

The company reportedly spent $15 million per episode to make the “Star Wars”-based series “The Mandalorian,” a budget that would be unheard of for an ABC show, even during the network’s glory days.

A man in a metal helmet sits in a cockpit with a little green guy in his lap Din Djarin (Pedro Pascal) holding Grogu (aka Baby Yoda) in “The Mandalorian.” (Lucasfilm Ltd./Disney/TNS) (Lucasfilm Ltd.) Disney executives have also said the future of ESPN is as a direct-to-consumer streaming channel once the universe of pay-TV subscribers falls below a certain point. The company has tapped former top executives Tom Staggs and Kevin Mayer as consultants to look into strategic partners that can help in the process.

So why would another company want ABC if the future is bleak?

Unlike Disney’s direct-to-consumer business — which posted a $500 million loss in the third quarter — the traditional TV business is still profitable.

Steven Cahall, an analyst Wells Fargo, projects the combination of ABC network and stations will take in $5 billion in advertising sales and revenues from pay TV carriage fees in the 2024-25 fiscal year. That’s down from $8.3 billion reported for 2018-19.

But TV stations have high profit margins — Cahall puts ABC’s at 30-35% — thanks to political ad spending in presidential and mid-term election years. The audience for traditional TV is older, but more likely to vote, and stations located in states with contested races are flooded with candidate spots.

In 2024, spending on political ads is expected to hit $10.2 billion, up from $9 billion in the 2020 presidential cycle, with about half going to local TV stations, according to AdImpact, a firm that tracks election spending data.

On the network side, ABC has the durable reality franchise “The Bachelor” Emmy-winning sitcom “Abbott Elementary” and the annual Oscar telecast through 2028. While it ranks fourth in overall viewers among the four major broadcast networks, it had the most-watched non-sports programs among 18- to 49-year-olds in the 2022-23 season.

But its strongest assets are major sporting events such as college football, the NBA Finals and the NFL, including two Super Bowls over the next 10 years.

Those rights deals are shared with ESPN, so any new ABC owner will have to negotiate to keep those high-rated events as part of a sale, analysts have noted.

An ABC sale would not immediately provide Disney with a financial windfall. Any deal would have to be approved by the FCC and face other regulatory scrutiny.

The earliest that ABC might change hands would be late 2024 or 2025, according to one knowledgeable industry insider who was not authorized to speak publicly.

The company will likely face blowback from Washington lawmakers over what would happen to ABC News in the event of a sale. Politicians, who like to be seen on TV by constituents back home, are expected to express concern that the division remains viable.

The division is filled with high-paid stars such as “Good Morning America” co-hosts Robin Roberts and George Stephanopoulos. A new owner — especially if it were the highly cost-conscious Nexstar or a private equity group — will want to bring those salaries down.

ABC News employees are said to be in a panic over the prospects of a new budget-slashing owner, according to a former executive for the division, especially after seeing the cutbacks at CNN that occurred after Warner Bros. Discovery took over the channel.

PHOTO Disney Chief Executive Bob Iger with Mickey Mouse at "Mickey's 90th Spectacular" at L.A.'s Shrine Auditorium in 2018. Walt Disney Co. Chief Executive Bob Iger poses with Mickey Mouse at “Mickey’s 90th Spectacular” in 2018 at the Shrine Auditorium. (Valerie Macon / AFP via Getty Images)

#RefrigeratorMagnet

[ptbf2002]

My Top 30 Favorite Bugs Bunny Cartoons

What's Up Doc? This Is My Top 30 Favorite Looney Tunes And Merrie Melodies Cartoons Featuring Bugs Bunny.

30. Rabbit Every Monday (Friz Freleng)

29. 8 Ball Bunny (Chuck Jones)

28. Bugs Bunny Gets The Boid (Bob Clampett)

27. Haredevil Hare (Chuck Jones)

26. The Wacky Rabbit (Bob Clampett)

25. Ali Baba Bunny (Chuck Jones)

24. Long-Haired Hare (Chuck Jones)

23. Operation Rabbit (Chuck Jones)

22. Old Gray Hare (Bob Clampett)

21. What's Up Doc? (Rob McKimson)

20. Baseball Bugs (Friz Freleng)

19. A Hare Grows In Manhattan (Friz Freleng)

18. Rebel Rabbit (Rob McKimson)

17. Easter Yeggs (Rob McKimson)

16. Bully For Bugs (Chuck Jones)

15. Falling Hare (Bob Clampett)

14. Wabbit Twouble (Bob Clampett)

13. Acrobatty Bunny (Rob McKimson)

12. A Star Is Bored (Friz Freleng)

11. Herr Meets Hare (Friz Freleng)

10. Hare Conditioned (Chuck Jones)

9. Super Rabbit (Chuck Jones)

8. Hillbilly Hare (Rob McKimson)

7. A Wild Hare (Tex Avery)

6. Show Biz Bugs (Friz Freleng)

5. Rabbit Hood (Chuck Jones)

4. A-Lad-In His Lamp (Rob McKimson)

3. Transylvania 6-5000 (Chuck Jones And Maurice Noble)

2. Rabbit of Seville (Chuck Jones)

And 1. What's Opera, Doc? (Chuck Jones)

That's All Folks!

Original Template: https://www.deviantart.com/princessflamefigher/art/My-Top-30-Favorite-Meme-763485673

Looney Tunes Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Harman-Ising Productions, Leon Schlesinger Productions, Warner Bros. Cartoons, Inc. DePatie–Freleng Enterprises, Format Productions, Warner Bros.-Seven Arts Animation, The Vitaphone Corporation, Vitagraph Company of America, Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Bugs Bunny Belongs To Ben Hardaway, Cal Dalton, Charles Thorson, Tex Avery, Chuck Jones, Bob Givens, Robert McKimson, Warner Bros. Cartoons, Inc. DePatie–Freleng Enterprises, Format Productions, Warner Bros.-Seven Arts Animation, The Vitaphone Corporation, Vitagraph Company of America, Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

[suchananewsblog]

San Diego TV Stations Acquired By CW Parent Nexstar For $35M

Nexstar Media Group, which owns The CW and the most important group of local TV stations within the U.S., is including two impartial stations in San Diego to its portfolio. The firm has agreed to pay $35 million to accumulate KUSI-TV from McKinnon Broadcasting Company, together with Channel 51. The pair will be a part of Nexstar-owned Fox affiliate KWSB-TV in San Diego, which is the No. 30…

[bettercareersguide]

Senior Systems Administrator - Irving, Texas

Nexstar Broadcasting Group is immediately seeking a talented Senior Systems Administrator that will share our passion for market differentiation and excellence. The position of Senior Systems Administrator is available to the most qualified applicant.... http://dlvr.it/Slwr0t

[sharpened--edges]

The consequences of [the summer 2020] events are still underestimated by commentators and activists alike. Some suffer induced amnesia about the revolt; others have moved on to simple commemoration; still others continue isolated but no doubt justified forms of subversive action. Meanwhile, forces in local and federal government, business associations, police departments, and armed militias have continuously worked to make sure a popular uprising does not reoccur.

In addition to passing laws and killing dissidents, this institutional reaction has focused on managing public perception. Industrial interests and private investment companies have conducted influence campaigns using local news outlets—40% of which are owned by Sinclair Broadcast Group, a right-wing organization with ties to former US President Donald Trump. Between Sinclair, Nexstar, Gray, Tegna, and Tribune, this coordinated reframing of events has damaged the way that many sectors of the television-viewing public perceive the revolt and its consequences.

In the wake of the uprising, a false narrative circulated to the effect that the police, demoralized and underfunded, could not control the “crime wave” sweeping the country. This narrative, orchestrated in response to the popular demand to “defund the police” advanced by some sections of the 2020 revolt, has shaped the imaginations of suburban whites, small business owners, and many urban progressives. The “crime wave” framework implied that police departments around the country had in fact been defunded or had their powers curtailed and were consequently unable to assure social peace or free enterprise. In reality, the vast majority of police departments received an annual increase in their budgets, as they normally do. If anything, they accrued more power following the events of 2020, from the political center as well as the right—witness the accession of Eric Adams to mayor of New York City.

CrimethInc., "The City in the Forest: Reinventing Resistance for an Age of Climate Crisis and Police Militarization," 11 April 2022.

[dotthings]

After I stumbled across some minor clickbait media website spinning doom and gloom for The Winchesters, I thought it was time for some in-depth analysis on what was going on with TW ratings.

Here's my own spreadsheet (numbers source from here). This is Nielsen overnights. While live+3 and live+7 will no doubt factor in, the talk from CW Nexstar executives leans on nielsen ratings (over streaming value), you can bet they want good overnights too.

Old CW relied on streaming to make money. New CW the shows need to be profitable on broadcast not just streaming.

The greyed out dates are airings impacted by contract carrier disputes with Nexstar. 10/18 and 10/25: during the Verizon-Fios v Nexstar contract dispute. Affected households: 2.5 mil. CW shows were off the air in a number of major markets in the Northeast (which is an area where The Winchesters does well). There was also a dispute between Dish TV and Nexstar that impacted Cincinnati CW affiliate.

"But ep 1.03 did okay, it got a .09 during a contract outtage, so that means the contract outtage didn't really affect it" -- more likely, the .09 would have been even higher, at the show's norm of .1 or .11.

Notice how TW sproinged back up to a .11 after the outtage ended.

12/6: Comcast-Nexstar contract dispute that knocked WPIX CW programming off the air for a few weeks. For context, WPIX is the largest CW affilliate in the US, with a household coverage of 7.5 mil. (NYC is also the largest DMA -- Designated Market Area -- in the US overall).

Note that the WPIX outtage didn't much affect the city, whose cable is carried by Spectrum, not Comcast, but it affected parts of NY state, parts of NJ, part of CT. WPIX's coverage area is massive and includes far more than just NYC.

11/22 -- in the light gray because it's more uncertain. I did some checking. DirectTV and Nexstar also have had some troubles, plus we can factor in possible pre-emptions. I'm thinking that .08 isn't a true reflection of TW's performance either.

The cheap clickbait media site failed to mention any Nexstar contract dispute dates and specifically used 12/6 to performatively hand-wring and go "oh no TW is doomed" and failed to mention the WPIX dispute.

Reminder, reputable media reporting again and again with information from Nexstar CW executives themselves has indicated CW is going to be examining demo groups. So "total viewers" lump sum isn't much of an indicator.