CBCB&

T H E B U S I N E S S O F T E L E V I S I O N

B R O A D C A S T I N G & C A B L E

&

UPFRONTS 2016Our 16-page wrap-up includes:

· Reaction from media buyers and station execs

· Complete fall schedule

· Network-by-network analysis

Show and SellTV’s crazy week had a lot of big swings. Here’s what popped—and flopped.

$ 6 . 9 5 M A Y 2 3 , 2 0 1 6 B R O A D C A S T I N G C A B L E . C O M

NBCUniversal holds its super-sized May 16 upfront at Radio City Music Hall.

4 B R O A D C A S T I N G & C A B L E M A Y 2 3 , 2 0 1 6 B R O A D C A S T I N G C A B L E . C O M

Lead-In: The Best and Worst of Upfront Week

BEST HOPESIt’s become an annual tradition for us to pick the shows we think will stick from the crop of new arrivals trotted out on New York stages. We’ve actually gotten about 60% of them right the last few years, basing selections on an unscientific mix of buzz, crowd reaction, reportage and our own collective gut. Here’s one show from each of the Big Five networks that we think has the best chance at going the distance. KEVIN CAN WAIT (CBS) DESIGNATED SURVIVOR (ABC) TIMELESS (NBC)

Nets Not Throwing Away Their Shots

BEST REFERENDUM ON THE STATE OF BROADWAY THEATERHamilton still sizzles, so it should have surprised no one that more than one network thought of drafting off its success. NBC started the week with Jimmy Fallon (left)

rapping in Revolutionary War-era dress. ESPN had cast members from the show perform their own

original songs (and then mocked NBC for not having real cast members).

CBS raised them all with a larger-scale production num-ber at Carnegie Hall with 16

singers and dancers (though no actual cast members) that network insiders said had been planned since February. Hamilton creator/star Lin-Manuel Miranda even promoted the network’s Tony Awards telecast via video. A peevish Leslie Moonves still insisted onstage that CBS wore the wig best.

BEST LINE (PROPAGANDA)

Fox ad sales chief Toby Byrne borrowed colleague Joe Marchese’s term, referring to digital video ads as

“sub-prime.” With just one hyphenated phrase, the network managed to link a perfectly legal

media platform to the toxic mortgage lending practices that eviscerated the entire

U.S. economy.

A well-rehearsed crew of Hamilton cast impersonators rocked Carnegie Hall for CBS.

The slimmed-down but still prolix sales-and-shows shuffle delivered highlights and lowlights aplenty

BEST LINE

(COMEDY)It’s a tie between Jimmy Kimmel at ABC, who said that Fox Television Group chair-men/CEOs Dana Walden and Gary Newman greenlighted their Exorcist remake after they “looked at their ratings and started projectile vomiting,” and Billy Eichner. The Billy on the Street comic, appearing two weeks after a winning turn at Hulu’s upfront, proclaimed at Turner, “Television is not dead. That said, it has about three years to live.”

The Exorcist

Pau

l Dri

nkw

ater

/NB

CU

niv

ersa

l; J

effr

ey R

. Sta

ab/C

BS

; D

avid

Gie

sbre

cht/

CB

S; A

BC

/Bo

b D

’Am

ico

B R O A D C A S T I N G C A B L E . C O M M A Y 2 3 , 2 0 1 6 B R O A D C A S T I N G & C A B L E 5

DESIGNATED SURVIVOR (ABC) TIMELESS (NBC) THE MICK (FOX) NO TOMORROW (CW)

BEST VIDEOSCBS ad sales chief Jo Ann Ross playing “Carpool Karaoke” was a solid runner-up, but Fox went 2-for-2 with Seth Mac-Farlane and Homer Simpson each straf-ing their own network with friendly fire. “Ads on TV do better than ads on digi-tal. Why? No one knows,” MacFarlane deadpanned, standing in what he said was ad sales chief Toby Byrne’s house. After mocking the exec’s “fancy f---ing mustards” in the fridge (“what a tool”), he and Byrne shared a bed. “Want to watch Game of Thrones?” MacFarlane asked. “You mean Gotham?” Byrne responded. “Yeah, that’s what people watch on Sunday night,” MacFarlane scoffed. Homer, meanwhile, ended with a few shots at Fox TV chiefs Walden and Newman. “Now back to Gary and Dana,

the latest at Fox to benefit from a Simpsons lead-in.

They will show you clips from brand-new Fox shows. Let’s

hope they didn’t save the good ones

for ABC this time,” as with Modern Family and Fresh Off the Boat.

WORST/BEST PUN: By Thurs-day, when The CW made the week’s last presentation, many media buyers had had enough. Many others were busy with new-business presentations. Recognizing this, CW president Mark Pedowitz told the crowd, “I promise you I’ll have you out of here in a Flash.” (Cue sound effect.) The audience groaned and giggled in equal measure. Shrugged Pedowitz, “You’ve got to use what you’ve got.”

WORST MATH QUIZ: While last year’s upfronts were marked by data talk, raw numbers ricocheted around this year. Turner said it would air 13,000 original hours of pro-gramming; Olympics-powered NBCUniversal forecasts 17,000 live hours. Then came the ratings. NBC laid claim to the 18-49-year-old crown, but glided past the fact it had removed Super Bowl 50 from CBS. With the big game, CBS won the demo, though execs also repeatedly said that “without football” (meaning not just the Super Bowl, but every-thing else, including NBC’s top-rated Sunday Night Football) they won every demo this season. Our takeaway: “Without football” does not seem like a phrase a broadcast network should throw around too casually.

WORST TIMING: At the peak of the week’s frenzy, beleaguered Viacom decided to stage a “Datafront” event May 17 directly oppo-site ABC’s upfront, hast-ily inviting marketers to an hour-long plug for the company’s data of-ferings. Helpfully, the news that its board had voted to stop paying former chairman Sum-ner Redstone didn’t hit until 24 hours later.

BEST PRODUCT PLACEMENTKicking off Turner’s event May 18, Conan O’Brien thanked some of his show’s spon-sors. Sprinkled in with real brands includ-ing Gold Bond, Dr. Scholl (and Mr. Scholl, its lower-priced flanker) and Kirkland Nuts was a mention of “David Levy’s Sil-ver Fox Wigs, the official wig worn by An-derson Cooper.” Levy, president of Turner, later said he’d been to upfront rehearsals and hadn’t heard the quip, but he laughed at it. O’Brien also mentioned “Kevin Reilly Career Ziplines,” with the slogan, “When you’ve got to get out the hell out of that old job in a big hurry.” Reilly left Fox after some bumps in 2014, joining Turner as chief creative officer last year, following a similar swing from NBC to Fox in 2007.

BEST REVERSE- COMPENSATIONAt the Adult Swim party, Nikki Minaj awarded $500 in cash to the winner of a twerking contest, a nice change of pace for media buyers hearing all week about how much ad rates were likely to climb.

WORST BEEFCAKEDuring NBC’s combo upfront, which plugged broadcast, cable and Telemundo, as Andy Cohen introduced Mariah Carey’s new unscripted show on E!, two shirtless, muscle-bound men carried Carey, lying on a divan, onto the Radio City Music Hall stage. Seth Meyers later joked that the beefy guys deserved their own reality show, which could be “just them staring longingly at craft services.”

HomerSimpson

Mark Pedowitz

Pau

l Dri

nkw

ater

/NB

CU

niv

ersa

l; J

effr

ey R

. Sta

ab/C

BS

; D

avid

Gie

sbre

cht/

CB

S; A

BC

/Bo

b D

’Am

ico

Pau

l Drin

kwater/N

BC

Un

iversal; Cliff L

ipson

/Th

e CW

; J

oe L

ederer/N

BC

; FoX

; Ed

dy C

hen

/Th

e CW

—By Dade Hayes, Jon Lafayette and Michael Malone

after all, that’s how NBCU kicked off its shin-dig, with Jimmy Fallon donning the colonial costume, before CBS did the same two days later with late-night host James Corden.

“Ten new shows appear this fall,” warbled Fallon. “The word ‘Chicago’ appears in them all.” Crooned Corden to the advertisers in the theater, “We want your Hamiltons, your Ben-jamins and Washingtons.”

While ESPN also went Hamilton in its pre-sentation, this story is about programming trends, of which many emerged during this week’s blitz. For one thing, networks are mak-ing good on their vow to produce more of their own shows and be more disciplined with addi-tions and subtractions to schedules. In all, 42 new shows were announced by the Big Five, down from 45 last year, and the networks air-ing them own all or part 38 out of those 42.

Among the other big themes for 2016-17:

My Time Machine is BetterThan Your Time MachineThe time-travel category was hot in develop-ment season, and several shows landed on the new schedules. ABC’s Time After Time sees famed science fiction writer H.G. Wells—he wrote The Time Machine, naturally—trans-ported to modern-day Manhattan to hunt down Jack the Ripper. NBC’s edgier Timeless sees a mysterious criminal steal a secret high-tech time machine, intent on destroying Amer-ica by changing the past.

Those two feature fairly sophisticated time-travel contraptions, while the epoch-traversing vessel in Fox’s Making History is a nasty old duffel bag. That goofball comedy, starring Adam Pally, got genuine laughs from the Beacon Theatre crowd.

Broadening the definition of time travel, The CW’s Frequency sees a woman commu-

nicate with her dead father through a beat up old ham radio. He’s stuck in 1996, when the Atlanta Braves are an MLB powerhouse, and daddy and daughter change the course of history by their interaction.

Popcorn DramasFrequency is based on a 2000 theatrical film, and film-to-series is another hot trend coming out of Upfront Week. CBS’ Training Day flips the script on the 2001 film, which features a by-the-book white trainee paired with a profligate African-American detec-tive. This time around, the veteran with dis-dain for the rulebook is a white guy, played by Bill Paxton.

Two of Fox’s more prominent new projects are classic film offshoots: Lethal Weapon and The Exorcist. Dana Walden, Fox Television Group chairman and CEO, described Exorcist as “a scary, scary, cine-matic-quality show.”

The cinematic new dramas prompted ABC’s late-night funnyman Jimmy Kimmel to note, during his annual Upfront Week skewering, how Fox was raiding “all your favorite old VHS tapes.”

Let’s Do the Time Warp Again Movies are also the source material for various special-event programming coming up this season. ABC’s Dirty Dancing will add three original songs to its three-hour filmed production, the premiere to be determined. Fox will offer up The Rocky Horror Picture Show, starring Laverne Cox as Dr. Frank-N-Furter, in October, and is keen to add more live productions following the success of Grease Live last winter.

NBC jumpstarted the trend in live produc-tions, and debuts Hairspray Live!, while Aaron Sorkin’s A Few Good Men Live! is its first drama in this recent era of without-a-net tele-vision. Nothing puts the twinkle in entertain-ment chief Bob Greenblatt’s eye like discuss-ing the live shows.

During NBCU’s monster two-hour upfront presentation, NBC made a strong case for live television, including the Olympics and The Voice. New Voice judges Miley Cyrus and Alicia Keys took to the Radio City Music Hall stage to talk up the new season of the variety show. “They’re gonna let me go live!” says notorious naughty girl Cyrus. “Can you believe this?”

6 B R O A D C A S T I N G & C A B L E M A Y 2 3 , 2 0 1 6 B R O A D C A S T I N G C A B L E . C O M

UpfrontCentral: Programming Strategy

AFTER SITTING THROUGH a half-dozen upfront presentations, we were tempted to start off this story with some sort of Hamilton rap;

Broadcast Steps Into A Time MachineTelevision’s founding fathers favor what’s worked before—and shows from their own studios

By Michael Malone mmalone@nbmedia.com | @BCMikeMalone

Jo

e L

eder

er/N

BC

; Mic

hae

l Yar

ish

/CB

S

CBS’ Training

Day

Time machines will be popular this fall

on shows including the NBC drama Timeless.

Biff! Bam! Pow! Down Goes DigitalTalk heading into Upfront Week was about marketers taking their spend out of digital, and putting it back into television proper. One got the sense that the broadcasters could not wait for the NewFronts’ fortnight to end so they could deliver their anti-digital message.

“TV delivers more value than anything else by far,” said ABC president Ben Sher-wood. “And no matter what someone says, nothing else even comes close. TV drives the greatest engagement on every single plat-form around the world.”

During Fox’s upfront presentation, ad sales president Toby Byrne shared a published comparison of a World Series game and a video from a YouTube star that showed both with 14 million views. “In truth, only one does, and it’s not the YouTube video with an average audience of 1,620,” Byrne said. “So flipping it the other way, using YouTube’s math, that World Series game would translate to 6.8 billion views. That makes the World Series a bargain and it’s pretty absurd.”

It was interesting to note that, if only for a week, there was little mention of Netflix in the TV-related conversations around Go-tham. Kimmel wondered if some digital ser-vices truly deserved a NewFront slot. “Do Crackle and Vox and Vevo really need to have upfronts?” he said. “These aren’t net-works, these are sound effects when Batman punches a bad guy.”

Clear Out the ClutterWhile Upfont Week is all about booking ads, one heard repeatedly about networks cutting back on ad loads to help the content—and the message of a premium-paying marketer—

better stand out. This was talked up by NBC, Fox and Turner, among others. “We need the ad community to support these moves,” said Donna Speciale, ad sales president at Turner.

But not everybody was going for it. “We’ve talked about it. If the right opportunity hap-pened, we’d think about doing it,” said Mark Pedowitz, CW president. “But at this point, there are no plans.”

Diversity on All Sides of the CameraDiversity was a key theme in Upfront Week. Following the massive success of Fox’s Em-pire, the casts of Lee Daniels’ Star on Fox and Shonda Rhimes’ Romeo and Juliet-esque Still Star-Crossed on ABC reflect a more di-verse America; same goes for Jack Bauer’s heir apparent in Fox’s 24: Legacy, played by Corey Hawkins.

“We always reflect the authenticity of the faces of those around us,” said Channing Dungey, ABC entertainment chief, and the first African-American woman to hold that posi-tion at a major broadcast net. “Because we are America’s Broadcasting Company.”

Speechless slides into ABC’s Wednesday comedy block, with Minnie Driver the mother of a son with severe special needs.

Keep It Short(ish)As always, the networks struggled to keep their presentations from getting too long. NBCU made some history with its combined spiel, featuring NBC, Telemundo and its cable networks, including USA and Bravo. Steve Burke, NBCU president/CEO, promised it would come in under two hours, and it did. Still, the presentation had more decked out celebrity pairs strolling across stage than an Academy Awards telecast, and some of the taped bits fell flat. One, featuring NBC Sports Group chairman Mark Lazarus and NFL star wide receiver Larry Fitzgerald making cup-cakes, of all things, prompted head scratching, and a barb from late night host Seth Meyers.

“What’s the opposite of chemistry?” he wondered.

ABC’s Sherwood played off the name of a certain hit comedy, promising to get the audience back out on the street “soon-ish.”

The presentations averaged around 90 min-utes, with NBCU and The CW the outliers. Ku-dos to the former for sticking boxes of choco-late covered pretzels in every seat back, and the latter for wrapping up its Thursday presen-tation in just 45 minutes. You almost could’ve double-parked on 55th Street for that one.

Bits & PiecesThere were numerous Donald Trump jokes and Prince songs, more superheroes than Comic-Con, and endless talk about stability. A handful of sitcom veterans from another era, including Kevin James (CBS’ Kevin Can Wait), Jenna Elfman (ABC’s Imaginary Mary) and Matt LeBlanc (CBS’ Man With a Plan), reentered the comedy ring.

Two entertainment chiefs, Dungey and CBS’ Glenn Geller, made their first upfront presentations, and neither fell on their face.

Two new series shared similar DNA. Fox’s APB is about a renegade billionaire engi-neer who takes over a police precinct and recasts it as a private police force, based on his tech sophistication. CBS’ Pure Genius, meanwhile, is about a renegade billionaire tech titan who launches a hospital with “an ultramodern approach to medicine.” (With a renegade billionaire running for president, one can understand the appeal.)

Two Minutes in May Does Not a Hit MakeThe sizzles sizzled, as they always do, and the drinks flowed at the Manhattan hotspots after-ward. But it’s good to keep in mind something that Meyers said about sizzle reels. They’re “like meeting your brother’s girlfriend at Thanksgiving. She looks great, but you don’t want to get too attached because she probably won’t be around next fall,” quipped Meyers.

And so it was only fitting that, upon cross-ing Sixth Avenue following the final upfront show, CW’s at New York City Center, a taxicab passed by with an ad for ABC’s Wicked City on its roof. The show got raves at ABC’s 2015 up-front presentation, but the network killed Wick-ed City in November after just three episodes. So either the ad was woefully out of date—or we’d just stepped out of a time machine.

UpfrontCentral: Programming Strategy

8 B R O A D C A S T I N G & C A B L E M A Y 2 3 , 2 0 1 6 B R O A D C A S T I N G C A B L E . C O M

AB

C/E

d H

erre

ra; C

hu

ck H

od

es /

Fox

Still Star-Crossed is the

latest ABC drama from hit factory

ShondaLand.

Techie crime drama APD debuts on Fox.

Healthy price increases are expected with buyers acknowl-edging the selling power of TV as their clients ditch digital, last year’s shiny new object.

Volume is likely to be up. How good that is for the networks depends on where that money so coming from. is it TV scatter money moving up front—or new dollars?

The market was so strong that most net-works spent most of their time focusing on their quality content, while there was sur-prisingly little on data, a buzzword that was mainly put on the shelf for the next rainy day.

When the curtains closed, and as negotia-tions loomed, the question that lingered for many was how high is up. One executive at a giant agency conceded that big price increas-es were inevitable, in part because of the scat-

ter market trending strong—and a chilled attitude towards digital advertising.

“The bloom is off the rose for digital with fraud, robots watching and viewabil-ity issues,” the executive said. “There’s talk dollars are shifting from digital to TV, and that’s true.”

Dollars will also be swinging from scat-ter, where some networks reported price in-creases in the 30% to 50% range in the past several quarters.

“I think there will be an over-reaction,” said a senior media buyer, who, like others declined to be named because of negotiations.

That will push prices to levels that might appear unacceptable to some.

But the buyer notes that the ratings de-creases his agency saw this year and is pro-

jecting for next year are bigger than they really are because “the measuring stick is broken.” That means commercials are deliv-ering more consumers than their C3 ratings would indicate. “You have to take that into account,” the buyer said.

If all media buyers adopted that stance, the market could move quickly and possibly be done before July 4, network executives said.

But other agency buyers were more defi-ant about swallowing double-digit price in-creases.

“That’s the popular belief, but I have doubts about double digits,” said one se-nior buyer. Last year the increases were 4% to 5% for the top networks. “If it gets to be more than that we have a lot of alternatives we can look at.”

“No one’s planned for that. Every agency would get fired if it’s a double-digit market,” said another agency’s top buyer.

“There’s no justification. Just because scat-ter, a small percentage of the total market, was double digits, that doesn’t mean the oth-er 80% should be double digits,” the buyer said. “I think the buyers are going to have to dig in. I think everyone’s going to have to get creative.”

Network executives noted that a higher price alone wouldn’t make this a good up-front. “It depends where the money is com-ing from,” said one senior sales executive. He noted that if enough money moved to the upfront, there would be little left for scatter, where networks enjoy heftier prices. Money from digital would be much more welcome, as would money from new advertisers trading up to TV from other media.

Analyst Todd Juenger of Sanford C. Bern-stein also did calculations that he said showed that a strong upfront with 10% price increas-es wouldn’t really create a big increases in TV companies’ ad revenues.

Because of that decline in ratings esti-mates, which gives most networks fewer eye-balls to sell, that double-digit price increase on a cost-per-thousand viewers (CPM) basis would translate into a 2% increase in ad rev-enue for the average broadcast network. For cable networks, which tend to sell more of their inventory at higher prices in scatter, a strong upfront would still leave them down 6% on average.

“Despite all the bravado from the net-works (including CBS who is “salivating” to get to the negotiating table), we don’t think upfront results (whatever they turn out to be)

1 0 B R O A D C A S T I N G & C A B L E M A Y 2 3 , 2 0 1 6 B R O A D C A S T I N G C A B L E . C O M

UpfrontCentral: The Marketplace

Attendees unwind at a lavish party at the Plaza Hotel following the CBS upfront presentation.

THE TV BUSINESS may be looking at an upfront market from the good old days.

TV Feels Its OatsSome media buyers are pushing back against networks’ double-digit ad price jumps

By Jon Lafayette jlafayette@nbmedia.com | @jlafayette

Jef

frey

R. S

taab

/CB

S

ANALYSIS

for primetime entertainment will translate into exciting ad revenue growth relative to investor expectations,” Juenger wrote in a re-search note. “If anything, just the opposite.”

Nevertheless, the market felt good, espe-cially to the broadcasters last week.

No. 1-rated CBS made its presentation last among the Big Four networks, on Wednesday afternoon at New York’s Carnegie Hall.

“We know it’s been a long week. You’ve heard a lot of jargon, so out of respect for your intellect and your time, we’re only go-ing to have one acronym: CBS,” said Jo Ann

Ross, the network’s president of ad sales. “The C stands for cut and the BS is what you’ve already heard enough of this week,” she told a weary audience of media buyers.

“Advertising on the No. 1 network in broadcast television is the fastest way to reach consumers. Buying CBS gets you where you want to go,” Ross said.

According to Francoise Lee, executive VP, invest-ment director at media agency Assembly, the main themes of the upfront week presentations were that “content is king and that TV is not dead.”

Big data—TV’s way to compete with digital advertising—wasn’t that big. “They didn’t talk about it much this year,” Lee said. Turner talked data, and NBC men-tioned its ATP, but the “networks had a lot to cover and only had an hour to do it.”

“I didn’t expect the TV networks to talk as much about traditional linear television,” added Marianne Gambelli, chief investment officer at Horizon Media. “I know these pre-sentations are for us to see their great con-tent, but what we’re all more interested in learning about is where and how are they go-ing to distribute this content in the future as the linear platforms continue to weaken. As we continue to move to a more on-demand world, what’s it going to look like and how to we get it all measured? It surprised me no one really talked about that.”

At ABC’s presentation on Tuesday Ben Sherwood, co-chair of Disney Media Net-works and president of the Disney/ABC Tele-vision Group, reminded media buyers that “TV Works, and great TV works greatly.”

ABC’s head of ad sales offered proof for her boss’s claims.

Geri Wang pointed to a survey that ana-lyzed ad spending by 20 big brands over three years and the sales that resulted.

But buyers, who spend billions on TV seemed well aware of the media’s effective-ness. “We already know TV still works,” said Andy Donchin, chief investment officer, Aegis-Dentsu Network.

One way to make TV more effective is to cut back on commercials—a topic at a couple of presentations.

Turner has already cut back the ad loads at its truTV network and is planning to have fewer commercials—and more content—in

upcoming original dramas on TNT.Turner CEO John Martin said some clients

have shown a willingness to pay a premium in a lower commercial environment.

Martin said Turner hoped 30-second spots would be replaced by longer ads.

“We’re trying to talk people into two minute commercials,” he

said. Those ads would have to be attractive and authentic to keep viewers tuned in.

During the Turner’s pre-sentation, ad sales president Donna Speciale commented

that “NBC, A+E, Fox and Viacom have noticed our move

and are joining us in reducing ad loads.” She called on buyers to work

with the networks to improve the viewer ex-perience and make ads more effective. “We need you, the ad community, to support these moves. It is critical for all of us.”

Toby Byrne, ad sales president for Fox Networks Group, took time in his presenta-tion to bash the numbers digital companies use to measure viewership.

He noted that YouTube claimed 14 mil-lion views for a video, about the same number as watched a World Series game. He pointed out that using average audi-ence, a more TV-like measure the YouTube video’s audience shrinks to 1,620. Measur-ing viewers the way digital does, The World Series would have 6.8 billion views. “That makes the World Series a bargain and it’s pretty absurd,” Byrne said.

The biggest change during the week was NBCUnversal’s presentation on Monday, which united its broadcast, cable and digital offering. NBCU CEO Steve Burke called it “the biggest upfront that ever existed.”

Media buyers gave NBCU credit for trying something different. “Only NBCU could put on a show like that,” said Shari Cohen, direc-tor of national advertising at Mindshare.

Others were confused. NBC grouped its shows thematically—rather than by net-work—and agencies don’t buy that way, some buyers said. Nor would NBC sell those combinations of shows in isolation.

More importantly, by showing clips of so many shows in an unfamiliar context, some buyers said they found less likely to walk out with a must-buy program on their mind.

“They did themselves a disservice, they did the producers a disservice,” on agency executive said.

B R O A D C A S T I N G C A B L E . C O M M A Y 2 3 , 2 0 1 6 B R O A D C A S T I N G & C A B L E 1 1

“Advertising on the No. 1 network in

broadcast television is the fastest way

to reach consumers.” —Jo Ann Ross, CBS president of ad sales

Turner’s Speciale

1 2 B R O A D C A S T I N G & C A B L E M A Y 2 3 , 2 0 1 6 B R O A D C A S T I N G C A B L E . C O M

UpfrontCentral: The Schedules

SUNDAY

8:00 8:30 9:00 9:30 10:00 10:30

ABC Once Upon a Time Secrets and Lies Quantico

CBS NCIS: Los Angeles Madam Secretary Elementary

Fox The Simpsons Son of Zorn Family Guy The Last Man on Earth

NBC Sunday Night Football

MONDAY

8:00 8:30 9:00 9:30 10:00 10:30

ABC Dancing With the Stars Conviction

CBSThe Big Bang Theory (Sept.-Oct.) Kevin Can Wait (Sept.-Oct.)

Two Broke Girls The Odd Couple ScorpionKevin Can Wait (late Oct.) Man With a Plan (late Oct.)

CW Supergirl Jane the VirginFox Gotham Lucifer

NBC The Voice Timeless

TUESDAY

8:00 8:30 9:00 9:30 10:00 10:30

ABC The Middle American Housewife Fresh Off the Boat The Real O’Neals Marvel’s Agents Of S.H.I.E.L.D.

CBS NCIS Bull NCIS: New Orleans

CW The Flash No Tomorrow

Fox Brooklyn NIne-Nine New Girl Scream Queens

NBC The Voice This Is Us Chicago Fire

WEDNESDAY

8:00 8:30 9:00 9:30 10:00 10:30

ABC The Goldbergs Speechless Modern Family Black-ish Designated Survivor

CBS Survivor Criminal Minds Code Black

CW Arrow Frequency

Fox Lethal Weapon Empire

NBC Blindspot Law & Order: SVU Chicago P.D.

THURSDAY

8:00 8:30 9:00 9:30 10:00 10:30

ABC Grey’s Anatomy Notorious How to Get Away With Murder

CBSThursday Night Football (September–October)

The Big Bang Theory The Great Indoors Mom Life In Pieces Pure Genius

CW DC’s Legends of Tomorrow Supernatural

Fox Rosewood Pitch

NBC Superstore The Good Place Chicago Med The Blacklist

FRIDAY

8:00 8:30 9:00 9:30 10:00 10:30

ABC Last Man Standing Dr. Ken Shark Tank 20/20

CBS Macgyver Hawaii Five-O Blue Bloods

CW The Vampire Diaries Crazy Ex-Girlfriend

Fox Hell’s Kitchen The Exorcist

NBC Caught on Camera With Nick Cannon Grimm Dateline

SATURDAY

8:00 8:30 9:00 9:30 10:00 10:30

ABC Saturday Night Football

CBS Crimetime Saturday 48 Hours

Fox Fox Sports Saturday: Fox College Football

NBC Saturday Dateline Mysteries Saturday Night Live (Encores)

KEY

New Show

New Day/Time

No Programming

THE BROADCAST NETWORKS’ FALL 2016 PRIMETIME SLATES

Bob D’Amico/ABC; David M. Russell/CBS; Eddy Chen/The CW; Fox; Joe Lederer/NBC

CBS’ Bull

ABC’s Designated Survivor

Fox’s The Mick

NBC’s Timeless

The CW’s No Tomorrow