The movie didn't have that kind of romantic hook at its center — and frankly (though this is always subjective), given the smart-mouth star moxie that Emma Thompson brought to it, the picture wasn’t funny enough. I personally think too much expectation was placed on the shoulders of "Late Night," a movie that never struck me as much of a crowd-pleaser. Even the rousing Bruce Springsteen-fueled drama "Blinded by the Light" couldn't start a fire without a spark. Even a good movie can disappoint at the box office, but the relative failure of "Late Night" seemed to nudge the entire indie world off course. I was one of the few people at Sundance who didn’t like it, but the fact that it was bought for $13 million and talked about as "the new 'Big Sick'" wasn’t a great sign. Too many Sundance films after that ("Brittany Runs a Marathon," "David Crosby: Remember My Name," "Luce") never found their audience.
So based on all that, what does the future look like?
Viewed strictly as products, films like "Downton Abbey" and "Hustlers" have done too well to ignore. Yet in so many ways, it's not a comic-book movie at all. It is already the most talked about, the most debated, the most anticipated comic-book blockbuster in years. Then again, the real message of this past week isn’t necessarily about headline indie deals. And even the upcoming dark-event movie "Joker," in a highly paradoxical way, reinforces that lesson. Whatever one ends up thinking of "Joker" (and I loved it), it is — dare I say it? It’s a film without superhuman fantasy, without zappy visual effects, made for a relatively modest budget ($55 million). If the industry looks at "Bad Education" selling to HBO as a paradigm for what it might like to follow in the future, then we’ll have one kind of future, with big spectacle movies in theaters and realistic dramas for adults tending toward the small screen. It could be the start of a revolution.” /> I hope that’s not the case. The message is that studios, having all but cancelled the mid-budget drama for adults, would do well to reconsider that strategy. — a serious drama for adults. If the film turns out to be as big as some predict, then that could be more than a trend.
It will likely be a contender not for the Oscars but for the Emmys. Last week, as the Toronto International Film Festival drew to a close, a deal that had been in the rumor stage for a while was finally announced: "Bad Education," a tense and enthralling Long Island white-collar-crime noir, starring Hugh Jackman in a head-turning performance (and Allison Janney in a memorable follow-up to her Oscar-winning turn in "I, Tonya"), was sold for a whopping $17 million — the kind of deal that makes headlines out of Sundance, and that in Toronto may stand out even more, since TIFF, with so many major films coming into the festival already having distributors, is less of a high-profile market. The film was sold to HBO, which means that it will probably be shown only on HBO. That said, the "Bad Education" deal, juicy as it sounds, was not (in all likelihood) for theatrical release. That makes it sound like a game-changer, a cutting-edge example — or maybe you could call it a casualty — of the shifting sands of movie distribution. 1.
Once the streaming arms of Disney, Apple, and others are up and running, with Netflix suddenly looking like a big fish in a pool with many other big fish, those services are going to need prestige product to feed them. The new credo could be: Not every good movie has to be in the Oscar race. Limited theatrical windows will often (though not always) be part of the deal. It looks like a future in which we’ll surely see more deals like the one struck for "Bad Education." We appear to be in the thick of the streaming era, but the truth is that we’re just in the opening seconds of it. They'll create a great deal of it, but they'll purchase it too — at festivals like Sundance and Toronto.
In the third frame of September, the number-one movie in America, coming in with a rock-‘em sock-‘em $31 million gross that outstripped "Rambo: Last Blood" and the Brad Pitt space opera "Ad Astra," is "Downton Abbey," a four-years-after-the-fact adaptation of the stiff-upper-lip TV series. era, serious dramas for adults at the megaplex could be going the way of the dodo bird, here’s what actually happened at the megaplex this weekend. That’s called serious-drama-for-adults power. 2. If the "Bad Education" deal can be read as a symbolic sign that in the streaming/why-should-I-bother-going-out-when-I-have-my-big-screen-TV?
When it comes to how we’ll be watching movies — or, at least, watching serious dramas for adults — in the future, here are two stark and timely contradictory facts:
Does this make me fret a bit? That sounds like old-school thinking, and I get it. Much as I love HBO, it’s no slur against that cable behemoth to say that I wonder about the fate of a movie like "Bad Education" once it’s no longer quite…a movie. Frankly, it does. It’s still a movie, in the same way that films going all the way back to the '80s were still movies when people watched them on VHS. The film will work just fine at home (in the same way that "Election," the 1999 classic that "Bad Education" often recalls, works fine at home), but in its intimate way it deserves the enveloping qualities of the big screen. I worry about it getting lost. But when I saw "Bad Education" in a theater in Toronto, the effect was galvanizing.
There’s a shadow story behind the deal — the fact that in the previous eight months, too many of those highly touted Sundance movies failed to perform. "Bad Education" is a hard movie to sum up in a sentence (it’s a true-life tale about a school-system budget scandal, and hidden sexuality), but the fact that a drama this brilliantly executed, and with this kind of pedigree, will probably never see the inside of a movie theater feels like a symptom of the choppy waters of the indie world in 2019.
They both are. That’s the way movies have always worked, their success (or failure) sending out mixed signals that the industry reads however it wants to. So which of those scenarios is the harbinger of the future? In this case, though, it’s important to clarify that neither scenario is happening in a vacuum.
Yet it wasn’t all gloom and doom. "The Farewell" has been a triumph, and for good reason. It’s a transporting movie, one that announced the arrival of Awkwafina as a major dramatic actress. (And there’s one more superb Sundance movie to come: "The Report," a U.S.-torture-policy whistleblower drama of gripping resonance, starring Adam Driver, who is having quite a year.) "The Farewell," which has already outstripped the success of the 2018 Sundance breakout "Eighth Grade," is a sign that a Sundance film can still connect in a major way.
Lo-led true-life tale of New York strippers turning the lap-dance tables on the Wall Street players who treat them as fleshpot utensils. The fact that "Hustlers" has such a sensationalized subject hardly guaranteed that it would be a success. "Hustlers" is a serious drama that has succeeded on the strength of its reviews, its awards chatter, and the way it taps into an up-to-the-minute mood of women’s economic aggrievement. Speaking of which, the other major hit of the early fall is "Hustlers," the J. "Striptease" and "Showgirls" were infamous bombs, and the film career of Jennifer Lopez, as terrific an actress as she is, has been on a slow slide ever since "Monster-in-Law" (2005).

Here are some of the videos Bee has shot for this year's Emmy FYC campaign, under the banner, "Is America Ready To Give A Female Host an Emmy?":” />
The "Full Frontal with Samantha Bee" host's Emmy For Your Consideration campaign is leaning into the challenges Bee faces as the only woman in late night talk, while also satirizing coverage of the presidential campaigns of female candidates like Elizabeth Warren.
I'm excited about it. Like, I'm filled with a creeping, existential horror. "This is our red meat for sure. "This is always a very key time for political satire," she said. I mean, I'm filled with dread, but I'm also excited about it. But I'm also excited to get going."
In a series of FYC videos, which Variety has obtained exclusively, Bee takes a tongue-in-cheek approach to figuring out how to make Emmy voters comfortable with voting for her. (Scroll to the bottom of this story for some examples.)
"This show is my coping mechanism, and I think that's true with everyone I work with as well," Bee said. "If we didn't do this show on TV, we'd probably have to do this show in a barn for ourselves."
At least one name is on the way: Lilly Singh has been tapped to take over NBC's 1:35 a.m. But for now, Bee is it. The host noted how challenging it is to launch a new show in this saturated marketplace — but didn't think those shows' networks exhibited enough patience. slot, replacing "Last Call with Carson Daly," this fall.
"The majority of our job these days is just handling the quantity of material," Bee said, "and taking that material and trying to squeeze humor out of it in some way. It's a challenge."
It's not great." "I don't feel good being the last woman standing in this space currently," Bee said. "It doesn't fill my heart with gladness that Busy was canceled, Michelle Wolf's show is gone, Sarah Silverman's show is gone.
But Bee said she also remains motivated by hearing from audiences that thank her and "Full Frontal" for providing them with a bit of a "coping mechanism" during these tumultuous times.
they just needed more time. It truly does… And let it grow and let it find its people. "I do think the networks probably didn't give them enough chance to find their sea legs," she said. When you cut it off prematurely, it's really unfortunate." There are a lot of options out there and you just need to be patient with it. In the late night space, it takes awhile to properly grow your audience. It takes a while to grow an audience. "They were good shows, they were moving forward, they were growing.
Meanwhile, Bee and her "Full Frontal" team are now preparing for what will likely be a tumultuous presidential campaign season. She admits it takes "a fair amount of psychological preparation" for what they're about to cover.
"Full Frontal" isn't the only series on Bee's plate. And as WarnerMedia plots its new streaming service, Bee expects more opportunity there to expand the "Full Frontal" universe. "The Detour," the TBS sitcom she created with husband Jason Jones (who also stars), returns Tuesday night for its fourth season.
"I think once they launch their streaming service, most certainly the intention is to create more opportunity," she said. "I think that will bear out. But it's not affecting the day-to-day operations of my show [right now]."
Is America really ready for a female host? "I thought we should lean into that for this Emmy campaign. "In our world, we constantly see stories about women who are running for office, and the story is always, across so many journalistic endeavors, 'Is America ready for a woman president?' 'Is America ready for a woman' this or 'Is America ready for a woman' that, which is really a tale as old as time," Bee said. Of course, I hope so?" I don't know, let's find out!
"Full Frontal" is already prepping to take the show to the slate of debates, followed by next summer's conventions. Given what's going on with this Trump White House administration, there has been no shortage of material for Bee and company to tackle.
Samantha Bee is now the only female host in late night, and that's a stat she's not happy about. "It's been a bad year to be a woman in this space. It's not really a badge that I want to wear." "It's a bit unsettling," Bee recently told Variety.
Shows that have been canceled over the past year include E!'s "Busy Tonight," hosted by Busy Philipps; Hulu's Sarah Silverman series "I Love You, America"; Michelle Wolf's Netflix show "The Break"; and BET's "The Rundown" with Robin Thede. Before that, Chelsea Handler's Netflix talk show was also axed after two years.

Rounding out the top five is Paramount's "Rocketman." The fantasy biopic, which sees an inspired Taron Egerton dramatize the life and times of Sir Elton John, picked up $8.8 million in its third outing for a total of $66 million in North America.
According to Focus Features, the studio distributing the movie, that figure marks the largest opening weekend of Jarmusch's career. The final newcomer this weekend was "The Dead Don't Die," Jim Jarmusch's zombie comedy starring Adam Driver, Billy Murray, Selena Gomez, and Chloe Sevigny. 12 with $2.35 million from 613 theaters. Males accounted for 58% of tickets sold, while 64% of audiences were over the age of 35. The film, which debuted to mixed reviews at Cannes, opened at No.
Critics praised the chemistry between Hemsworth and Thompson, who first shared the screen in "Thor: Ragnarok," but reviews were otherwise uninspired for the follow-up, which comes seven years after the latest installment and nearly 25 years after the first film with Smith and Jones. It carries a 24% on Rotten Tomatoes. Audiences were equally unenthusiastic, giving "MIB: International" a B CinemaScore.
Hollywood seems to be coming down with a contagious case of franchise fatigue this summer, as "Men in Black: International" and "Shaft" become the latest sequels largely dismissed by moviegoers in North America.
"Men in Black: International" is now banking on moviegoers overseas to make the action adventure a hit. Sony co-financed the movie with Hemisphere and Tencent, spending $110 million to produce the movie, roughly half of what it cost to make "MIB 3." "Men in Black: International" did have a larger footprint with foreign audiences, generating $73 million from 56 overseas territories, bringing the film's global start to $102.2 million.
It dropped to fourth place, adding $9 million, a massive 73% downturn in ticket sales compared to its first weekend in theaters. Another Disney title, "X-Men" entry "Dark Phoenix," was a big-budget misstep last weekend.
"His unique take on the zombie genre delivers his signature brand of humor, style and substance for moviegoers." "We’re thrilled to see Jim's biggest opening and his top grossing weekend ever with this film," said Lisa Bunnell, Focus Features' president of distribution.
The latest entry, toplined by Tessa Thompson and Chris Hemsworth, wasn't expected to reach the same heights as the original films starring Will Smith and Tommy Lee Jones, but analysts anticipated a start above $30 million. Directed by F. Gary Gray, the sequel sees Thompson and Hemsworth team up as black-suited agents protecting the Earth from a series of alien attacks.
The movie, co-starring Kaling and Emma Thompson, finished in ninth place with $5.1 million after the studio expanded the comedy to 2,220 venues. "Late Night," about a TV host who makes a diverse hire to save her talk show from becoming a ratings disaster, was well-received after premiering at Sundance, where Amazon shelled out $14 million for distribution rights in one of the biggest sales of the festival. It's not just franchises feeling the burn. Positive reviews didn't salvage "Amazon's "Late Night," an original comedy from Mindy Kaling. It debuted in limited release last weekend, collecting a solid $249,654, which brings ticket sales to $5.4 million.
In a not-so-distant second place, Universal and Illumination's "The Secret Life of Pets 2" brought in $23 million during its sophomore weekend of release, marking a 49% decline from its inaugural outing. Though still pacing well behind its predecessor, the animated sequel has now earned $92 million in North America.
and New Line's "Shaft," starring Samuel L. "Men in Black: International" wasn't the only sequel this weekend that got the cold shoulder from ticket buyers. It carries a price tag near $35 million. The latest remake reunites three generation of Shaft men, played by Jackson, Jessie Usher, and Richard Roundtree, who starred in the original 1971 movie. By comparison, 2000's "Shaft" debuted with $21.7 million. Warner Bros. That's less than half of what box office watchers predicted the follow-up would make in its first three days of release. Jackson, flopped with a dismal $8.3 million in sales from 2,952 locations.
Overall, ticket sales at the domestic box office are down just over 7% compared to last year, according to Comscore. A number of upcoming blockbuster-hopefuls, including Disney's "Toy Story 4" and Sony's "Spider-Man: Far From Home," are expecting to breath some life into an otherwise lackluster summer moviegoing season.” />
3 spot during its fourth weekend in theaters. Disney's "Aladdin," a live-action remake of the Arabian musical cartoon, nabbed the No. It collected another $17 million, boosting its domestic haul to $264 million.
The three previous "Men in Black" films opened with over $50 million. Those receipts represent roughly half of what the previous installments in the sci-fi series earned during their first weekend in theaters. Sony's "Men in Black: International" led ticket sales at the box office this weekend with $28.5 million, but still fell short of expectations.

The live-action reboot of "Aladdin" should finish the weekend with approximately $262 million domestically. The sole bright spots for the weekend appear to be Universal's second weekend of "The Secret Life of Pets 2," declining about 53% to around $22 million, and Disney's fourth frame of "Aladdin" with about $17 million.
"Men in Black: International" is also launching in most international markets. Reviews were dismal with a 25% score on Rotten Tomatoes. All three scored North American debut weekends of more than $50 million. The previous three "Men in Black" films combined for more than $1.6 billion in worldwide box office.
The fourth iteration of the sci-fi comedy franchise is performing well under modest expectations, which had been in the $30 million range at 4,224 locations. “Men in Black: International” stars Chris Hemsworth and Tessa Thompson, replacing Will Smith and Tommy Lee Jones as the black-suited agents dealing with a baffling series of alien attacks against Earth.
And Amazon's widened release of its Mindy Kaling-Emma Thompson comedy "Late Night" was also falling flat at about $4 million at 2,218 venues. New Line's launch of its "Shaft" reboot is also showing little traction at multiplexes with Friday estimates coming in around $8 million at 2,952 sites, far below forecasts in the $16 million to $24 million range for the weekend.
The film, set in the London bureau of the top-secret Men in Black organization, is directed by F. Gary Gray and written by Art Marcum and Matt Holloway, based on the Malibu comic by Lowell Cunningham. The budget for "Men in Black: International" is $110 million, co-financed by Hemisphere and Tencent. "Men in Black: International" takes place in the same universe as the previous trilogy, with Emma Thompson reprising her role as Agent O. Kumail Nanjiani, Rebecca Ferguson, Rafe Spall and twins Laurent and Larry Bourgeois also star.
"Shaft," the fifth film in the franchise, stars Jessie Usher playing John "JJ" Shaft Jr., an FBI agent and a cybersecurity expert with a degree from MIT. Samuel L. Critics were unimpressed, resulting in a 35% Rotten Tomatoes score. Jackson plays his estranged father and Richard Roundtree plays his grandfather, the original Shaft, as he did in the first three "Shaft" movies in the early 1970s.
It benefits from more positive reviews, sitting at 80% on Rotten Tomatoes. "Late Night" had generated forecasts in the $5 million to $9 million range. The film was acquired by Amazon following its Sundance premiere for a record $13 million and launched in four locations last weekend with a solid $246,035.
Sony's “Men in Black: International” is heading for a disappointing $24 million opening weekend in the top spot at a mild North American box office, early estimates showed Friday.
"Avengers: Endgame," which has topped $826 million in seven weeks, and "Aladdin" had helped narrow the gap — which should widen again this weekend, thanks to overall business falling short of last year's $182 million opening for "Incredibles 2." Year-to-date domestic box office as of June 12 has hit $4.93 billion, down 6% from the same point last year, according to Comscore.
Disney's "Toy Story 4" should rescue the box office next weekend. Early tracking had placed the animated comedy with a debut in the $150 million range.” />

Kaling’s “Late Night,” which co-stars Emma Thompson as an embattled talk show host, will have a similar release strategy to that of Amazon’s commercial and critical 2017 hit “The Big Sick,” and will likely debut in either June or July. “The Report,” starring Annette Bening and Adam Driver, and Shia LaBeouf’s “Honey Boy” will be released in the awards corridor this fall.
Salke and her team stunned with a roughly $40 million shopping spree at Sundance in January, taking “Late Night,” produced by and starring Mindy Kaling; awards bait dramas “The Report” and “Honey Boy" and “Brittany Runs a Marathon.” Heading into Park City, top indie sales agents were skeptical that Amazon would be a player. After their whiplash-inducing buying spree, they became the talk of the festival and emerged from Sundance armed with some of the most compelling indie films available. Only weeks ago, Amazon’s 2019 film slate was anemic, with only a Viola Davis family comedy, the indie “Photograph,” and a romantic re-teaming of Eddie Redmayne and Felicity Jones to offer.
For others, that path is lined with talent. Ryan Murphy, Shonda Rimes and Greg Berlanti, for instance, all in the $300 million pacts with Netflix. It’s a boom time for creators and stars who are fetching massive sums for overall digital deals.
A little help from the Amazon phone directory doesn’t hurt, either.” />
“Flexibility is at our core. All we ever want is the right thing for the right movie,” she said.
That was really gratifying,” Salke told Variety, over a lengthy recent conversation about the past six months she’s spent quietly retooling her film division and her hopes for the future. He said, ‘I’m just really emotional. “It was Tobey and he was crying. We looked at you the minute you walked in the door, and I knew looking at your face that you loved the movie.’ We all bonded over that process.
But Salke would not budge on the price, and collapsed into bed defeated. It was close to midnight when Amazon Studios chief Jennifer Salke got the text. The company had failed in its quest to acquire “Brittany Runs a Marathon,” a body image dramedy that captivated Salke when she saw it at Sundance. A sales agent on the project messaged her to say that a competitor offered a higher number, and unless Amazon stepped up significantly with its bid, the company would be out of the running.
Nestled in her West L.A. Culver Studios executive suite (outfitted in California-casual decor with gold accents and natural fibers) with her top film lieutenants beside her, Salke made one thing abundantly clear: Amazon is still very much in the movie business.
“We didn’t go to Sundance saying we had to acquire a set number of films,” said Hope, sitting beside Salke, Rapaport and fellow film co-head Matt Newman, who oversees day-to-day business operations. Each of these titles struck us in a different way, and we’re in a new era of filmmaking with people that want a great theatrical experience but to also make a noisy transition to our service.” “We would’ve walked away saying we won with only one movie.
Then she remembered her pitch meeting with “Brittany” writer-director Paul Downs Colaizzo, who a day earlier said his father worked at an Amazon fulfillment center in Missouri. She looked him up on the company phone directory, screen-grabbed his profile and sent it back to the sales agent asking, “Doesn’t this count for a few million?”
Salke said she will court younger viewers on the service with YA strategy that will grow out of the current TV projects they have on deck — including a college-set drama from “Transparent” creator Jill Soloway, and a teen girl spin on the literary classic “Lord of the Flies.” There’s also a deal with low-budget horror producer Jason Blum, who has a mandate to make eight feature films for Prime.
Amazon’s days of flirting with acquiring a major production labels, such as A24, may be over, but Salke said she would not ignore any acquisition opportunity in the future. Salke stressed the company is not currently interested in making comic-book movies or special-effects driven tentpole films, but she’s open to those genres.
Salke said every movie she bought at Sundance will go to theaters, though “we are looking at a variety of windows.” While no official release dates are currently set, her comments signal that Amazon is prepared to shorten the theater window in the hope that offering movies to its customers early will increase Prime subscriptions.
Salke is looking ahead to a streaming world order that is about to be challenged in a major way. Netflix dominated the space, with Amazon and, to a lesser extent, Hulu, nipping at its heels. But a number of new Goliaths are looking to disrupt things. In the coming months, Disney will launch its streaming service Disney+, while Warner Media and Comcast unveil their own streaming challengers. Amazon need to do something.
I can imagine, and I think I’m correct, how long it will take to get these things up and running. “We’re not totally focused on our competitors,” Salke said. I don't sit and worry. If something comes in and and we love it and we have a huge heartbeat for it and we know Netflix wants it, we’re going after it.” “I know what it’s like for these giant companies to evolve and create these products.
It includes a mixture of prestige pictures she says will continue to be shepherded by motion picture production head Ted Hope and distribution chief Bob Berney, as well as more commercial projects that will be overseen by Julie Rapaport, a co-head in the film division. After 12 months on the job, Salke is ready to reveal her strategy for making movies. The studio is keen to acquire finished films, but says it will also keep producing its own movies. In addition, Amazon will start making films that will debut exclusively on its Prime subscription service and will forgo theatrical release. The are no plans to replace former film head Jason Ropell, who stepped down last year.
Like ‘No Way Out’ and ‘Basic Instinct’ and all these movies no one makes anymore?’” said Salke. Those are the type of features Kidman will develop for Prime, in addition to TV content like “Expats,” an international soap about women of foreign extraction living in a glossy Hong Kong. “When I first had lunch with Nicole, she said, ‘Where are the sexy date night moves that are provocative?
It’s a curated approach in both [film and TV], and we’re not going extremely broad,” she said, “I spent six months embedded in there, trying to make sure we had the right teams. “I first turned my attention to the TV group and that took a lot of reorganizing and time,” Salke said. At the same time, we aggressively tried to bring in talent and get our message out about who we are as a home for talent.
The strategy is in direct opposition to Netflix, which is insistent that the bulk of its movies will debut on its service and will only, for a film such as “Roma,” offer an exclusive theatrical window of a few weeks. The question of a theatrical release versus driving subscribers to Amazon’s Prime video service is important for this simple reason: Amazon has always offered theater owners a 90-day window to show their original films before Prime members get to stream them at home.
Minutes later her phone rang. It was the film’s executive producer, the actor Tobey Maguire. Amazon was getting the film.
The former NBC Entertainment chief joined the tech giant a year ago, in a role she inherited from Roy Price, who had been ousted over alleged sexual harassment. There was speculation she wasn’t as interested in film, rumors that grew in intensity after Amazon fielded flops such as “Beautiful Boy” and “Suspiria.”
“Direct to service is really important for us. We want a really strong pathway toward that,” Salke said.
Prime’s original film slate will start rolling out in 2020, led by a first-look deal with Nicole Kidman’s Blossom Films — a bungalow for the movie star is being constructed across a well-appointed courtyard, opposite Salke’s own office.

NBC's momentum throughout the day buoyed original telecasts of "The Tonight Show Starring Jimmy Fallon" and "Late Night with Seth Meyers" to season highs. "Tonight Show," which was delayed by the game's overrun, hit a 2.7 household rating and 1.3 in adults 18-49, strong enough to match the season high set in January when Fallon had former first lady Michelle Obama as guest. "Late Night" weighed in with a 1.5 and 0.7 in 18-49.” />
NBC enjoyed a ratings feast on turkey day thanks to the strong turnout for the Macy's Thanksgiving Day Parade, the National Dog Show and "Thursday Night Football."
Viewership of the game, which ended in a 20-10 Redskins victory, was down 10% from last year's turkey-tussle primetime NFL game between the Pittsburgh Steelers and Indiana Colts that was carried on CBS. In primetime, "Thursday Night Football" showcase of the New York Giants at Washington Redskins brought in a 9.7 household rating in time-zone adjusted preliminary ratings (final national numbers for the game won't be available until Monday).
The 91st annual Macy's parade brought in a 12.5 household rating/27 share in Nielsen's 56 overnight metered markets, which cover about 70% of U.S. 26. NBC noted that this year's parade marked the highest-rated non-sports program since ABC's Academy Awards telecast on Feb. TV households, and a 7.0 rating in the adults 18-49 demographic. This year's 9 a.m.-noon telecast was down about 7% in households from last year, when the parade produced its highest ratings since 2002.
From noon-2 p.m., "The National Dog Show Presented by Purina" collared a 6.0/14 in metered market household rating and a 3.1 in 18-49. The household number was a little shy of last year's turnout (6.4), which marked the event's highest rating since 2003.