Series Premiere of To Love & Die on December 30 src="http://s7.addthis.com/js/15/addthis_widget.js" type=text/javascript></SCRIPT>

A while back I mentioned new series in the work for USA, one of them being To Love & Die, starring Shiri Appleby.

The cable network had given a 12-episode order for the series, revolving around a fun-loving 30-something woman, Hildy (Shiri Appleby), with abandonment issues convinced that her dating problems would be resolved if only she were able to track down the father (Tim Matheson) she never knew. When she finally does, she finds out not only that the guy is actually a contract killer, but that she has a real knack for this unexpected line of work.

USA announced that the dramedy will come very soon, making its debut in form of a made-for-TV movie. I’m not exactly sure if this is a telefilm to launch the actual series later in 2009, or considered to be a two-hour pilot episode. Either way, it begins on Tuesday, December 30th at 8.00 - on USA of course.

Sepinwall on TV: Best (episodes) of the rest

"30 Rock," "Episode 210" (NBC, 1/10): "30 Rock" has been on the air too infrequently and been too uneven for it to have cracked the top 10 shows list, but when it's on, it's funnier than anything else on television. This was the last of the pre-strike episodes (so rushed that it didn't even have a proper title), and yet you wouldn't know it from all the hilarity, including Tina Fey's Liz drunk-dialing the representatives of a co-op board that rejected her ("I've moved on. I bought a whole bunch of apartments. I bought a black apartment!"), Alec Baldwin and Edie Falco's relationship entering twisted new territory (they view sex as a competition) and a closing musical number with the cast singing "Midnight Train to Georgia."

"Saturday Night Live" with Anne Hathaway (NBC, 10/4): I'm tempted to pick the season premiere, which first unleashed Fey's devastating Sarah Palin impression, but the rest of that episode (with Michael Phelps) was heinous. So instead I'll go with the Hathaway show, which not only featured Fey as Palin in the vice-presidential debate ("Can I call you Joe? Okay, great, 'cause I practiced a couple of zingers where I call you Joe.") but was one of the historically uneven series' more consistently solid episodes this year, highlighted by Hathaway as Mary Poppins, explaining to her young charges that "Supercalifragilisticexpialidocious" is the name of a social disease.

"How I Met Your Mother" "The Naked Man" (CBS, 11/24): One of this sitcom's sweet spots is its love of inventing new rules of etiquette in both dating and friendship. This wonderfully silly hour introduced the idea that simply appearing nude at some point during a first date will lead to sex two out of three times, then let its characters -- notably Neil Patrick Harris' rule-obsessed Barney -- put the theory into practice.

"Late Night with Conan O'Brien" (NBC, 2/4): Conan was brilliant throughout the writers' strike, entertainingly killing time with stunts like a zip line or an attempt to set a record for wedding ring-spinning. The weirdness reached a peak with a manufactured feud between Conan, Jon Stewart and Stephen Colbert over who had "made" Mike Huckabee, which resulted in the three having an extended slapstick brawl in the halls of 30 Rock.

"Dr. Horrible's Sing-Along Blog" (online, 7/15-7/19): Another side benefit of the strike: "Buffy the Vampire Slayer" creator Joss Whedon and his friends had a lot of time on their hands, and they used it to create a funny, poignant and glee-filled three-part musical about a bumbling would-be supervillain (Neil Patrick Harris again). Technically not TV, but most of the participants come from the medium (and would have been working in it if not for the strike), and the three episodes combined are roughly the length of a TV drama episode.

"Friday Night Lights," "Hello, Goodbye" (Channel 101, 10/22): The series' exclusive DirecTV run ends in a few weeks, at which point viewers without satellite dishes will have the opportunity to watch the episodes on NBC and see how well the show has rebounded from its disastrous second season. The fourth episode, which said goodbye to graduated Dillon tailback Smash Williams (Gaius Charles) was a particular highlight, with its combination of spine-tingling and tear-jerking moments that were so frequent in the first season and so absent last year.

"Costas Now" (HBO, 4/29): Speaking of "Friday Night Lights," H.G. "Buzz" Bissinger, the author of the book that led to the series had one of the year's most spectacular meltdowns when he went into a profane tirade against Deadspin blogger Will Leitch during Bob Costas' live town hall meeting on the state of sports media. Costas was no doubt expecting old-school newspaperman Bissinger to tell off Leitch for some of the more salacious material on Deadspin, but even he couldn't have anticipated that Bissinger's explosion would be closer to a nuke than a grenade.

"Sons of Anarchy," "The Revelator" (FX, 11/26): The motorcycle club drama, from "The Shield" writer Kurt Sutter, started out slowly but improved with each passing episode, leading to a dynamite first season finale that had Hamlet-esque biker Jax (Charlie Hunnam) finally decided to stop thinking about the future of the club and start taking action about it, starting with a very public display of defiance at the funeral of a friend.

http://www.youtube.com/watch?v=ZhCwj0wkX8c

"Life," "Trapdoor" (NBC, 12/17): The drama about Zen-quoting cop Charlie Crews (the wonderful Damian Lewis) often struggles to balance its one-shot stories with the longer arcs about the conspiracy that put Crews in prison for 12 years for a murder he didn't commit. The show's fall finale managed to bring together all the disparate threads, while reintroducing "Deadwood" alum Garret Dillahunt as a cold Russian gangster, in a concentrated burst of comedy, surprise and sheer coolness.

"Skins," "Cassie" (BBC America, 8/17): The British teen drama could be maddening at times, dazzling at others. But it was episodes like this dream-like spotlight on spacey, anorexic Cassie (Hannah Murray) - and her elaborate methods of starvation - that made some of the stranger detours worth traveling.

"House," "Wilson's Heart," (Fox, 5/19): Though this season has taken an unfortunate creative nosedive, it's worth remembering how strong the previous season of "House" was, highlighted by the tear-jerking finale that killed off Wilson's girlfriend - and one-time candidate to work for House - Amber (Anne Dudek). Much as I'd rather have Amber around than Thirteen (Olivia Wilde), Dudek and Robert Sean Leonard got a fantastic showcase in Amber and Wilson's farewell.

"Pushing Daisies," "Comfort Food" (ABC, 12/3): The colorful comic fantasy about a pie-maker named Ned (Lee Pace) with the ability to bring dead people back to life (with many strings attached) suffered a cruel, fairy tale-like fate when ABC kept it off the air for so long after the strike that viewers forgot it existed, and it was canceled. It's hard to pick any specific episode, but I was fond of this one because it split up lovebirds Ned and Chuck (Anna Friel) into separate stories where they were paired with sarcastic sidekicks Olive (Kristin Chenoweth) and Emerson (the hilarious Chi McBride), leading to a recipe that was equal parts salty and sweet.

http://www.youtube.com/watch?v=HNUAnjUwnF0

"Terminator: The Sarah Connor Chronicles," "The Tower Is Tall But The Fall Is Short" (Fox, 10/20): After dragging through much of its first season and seeming like little more than a guilty B-movie pleasure early in its second, the "Terminator" spin-off took a fascinating turn with this episode, that had its title character (Lena Headey) and son John (Thomas Dekker) attend family therapy together. By focusing on the psychological burden of knowing that the Apocalypse is coming - and that you're responsible for the future of humanity - the series was able to transcend its roots while still honoring them, and it's been much better ever since.

"Doctor Who," "Midnight" (Sci Fi, 7/11): Departing "Doctor Who" producer Russell T. Davies gravitated towards FX-laden action-adventure stories, but one of the finest episodes of his run was this low-frills, gripping story of The Doctor (David Tennant) stuck on a passenger tram stranded in a hostile environment, trying to curb the other passengers' paranoia. It was The Doctor meets "The Twilight Zone," and a reminder that sometimes the scariest things are what you can't see or understand.

http://www.youtube.com/watch?v=BP5JqYEvqJY

"CSI," "19 Down..." (CBS, 12/11): The first half of William Petersen's farewell offered up Bill Irwin as a disturbing new villain, Laurence Fishburne as an intriguing new hero, and a reminder of just how much more potent the original "CSI" is than its various spin-offs and imitators.

http://www.youtube.com/watch?v=UGQLZ6D6axQ

 

Shari Appleby stars in the world premiere of TO LOVE & DIE, a USA original movie debuting on Tuesday, December 30 at 8/7c. The film also stars Tim Matheson ("The West Wing," "Animal House"), Frances Fisher ("Titanic," "Laws of Attraction") and Ivan Sergei ("Crossing Jordan," "The Break Up"). A repeat will air at 12/11c.

 

TO LOVE & DIE revolves around a young woman (Appleby) with abandonment issues, convinced that her dating problems would be resolved if only she were able to track down the father (Matheson) she never knew. When she finally does find him, she discovers that he's a contract killer. It's right then and there that it all comes together, and she realizes that not only do her relationship issues make sense but also that she may have found a new career path. Fisher stars as Janet, Appleby's secretive and protective mother. Sergei stars as Blue, a prospective love interest for Appleby who also works for Matheson.

Cablers shine, broadcast struggles

 

Schadenfreude is alive and well in the cable universe, with a number of outlets gleefully touting best-ever ratings that have come, at least partly, at the expense of the troubled broadcast networks.

"USA takes 2008 ratings crown with best year in cable history," read a boisterous USA Network press release put out in early December, touting the NBC U cable outlet's leading primetime deliveries of viewers 25-54 and 18-49.

Other top-ranked broad-reach cablers, such as TNT and Fox News, are also claiming high-water marks. So are many niche cablers, including Discovery Health, History Channel and Versus.

History Channel, for example, published its own breathless year-end ratings statement, headlining it, "History celebrates its best year of all time!!" while touting 10% gains in viewers 25-54.

And that's just a snippet of the hyperbole. In all, 37 ad-supported cable networks enjoyed their best-ever primetime audience deliveries during a year in which the broadcast networks have lost more than 2 million viewers 18-49, according to Turner Networks research guru Jack Wakshlag.

Wakshlag notes that basic cable has added 5 million viewers to its universe since the beginning of the 2007-08 TV season.

Most of these newfound cable viewers, he surmises, are refugees from the broadcast networks, which he says have lost nearly 2.6 million households this season.

Reasons for the quickening of the migration to cable in 2008 are myriad.

For one, with the bulk of scripted cable originals running in the summer, cable channels suffered far less from the writers strike. In fact, many cablers used broadcasters' fallow winter and spring to introduce their wares to viewers fed up with repeats on the Big Four.

Such big events as the Olympics and the election factored in, too. While broadcaster NBC scored big, NBC U split much of its Summer Games airtime among cable networks including ratings leader USA.

Meanwhile, Fox News finished third in primetime cable behind USA and TNT with best-ever numbers burnished during the run-up to the presidential election.

More scripted originals lifted the profile -- as well as the ratings -- of many ad-supported cablers. A summer lineup that included light thrillers "Burn Notice" and "In Plain Sight" further burnished USA's No. 1-in-cable-prime ranking, while No. 2-ranked TNT continued to get big summer numbers out of originals "The Closer" and "Saving Grace."

Cable also added impressive new scripted hits like ABC Family's "The Secret Life of the American Teenager" and FX's "Sons of Anarchy."

Of course, where there's a best ever, there's often a worst ever.

A hardly verklempt Wakshlag playfully accentuates the Big Four's dire situation in PowerPoint, noting that shedding 2.6 million households is the equivalent of losing the city of Philadelphia.

"We're not just talking about a substantial number of people, but the biggest loss ever," he says.

TWC, Viacom settle cable dispute

Deal agreed two hours after deadline

 

After escalating quickly into a public war of words, the contract battle between Time Warner Cable and Viacom ended quietly in the wee hours of New Year's Day with a deal that averted the threatened blackout of MTV, Nickelodeon, Comedy Central and 16 other Viacom-owned channels.

The deal to renew Time Warner Cable's carriage agreements for the Viacom-owned cablers was confirmed by the sides shortly after 2 a.m. ET Thursday, two hours after the 12:01 a.m. expiration of the previous contract. Although the sides went to war via the media, talks between Viacom and Time Warner Cable execs continued all day Wednesday and past midnight Eastern time in an effort to keep the channels from going dark.

The long-simmering contract battle between Viacom and TWC went public late Tuesday evening as both sides accused the other of making unreasonable demands that were roadblocks to a new three-year carriage agreement for 19 of Viacom's 20 cablers on TWC-controlled systems, which reach 14.7 million subscribers in New York, L.A. and other major markets. TWC is the nation's second-largest cable operator, behind Comcast Corp.

Viacom made the first moves, reaching out to reporters late Tuesday with details of the talks and the approaching deadline. On Wednesday, Viacom bought full-page ads in the New York Times and Los Angeles Times featuring an image of Nickelodeon’s "Dora the Explorer" character under the headline “Why is Dora crying?" The ad urged viewers to call Time Warner Cable with complaints.

"We are sorry (TWC subscribers) had to endure a day of public disagreement as we worked through this negotiation," TWC prexy and CEO Glenn Britt said in a statement announcing the "agreement in principle" that prevented the channels from going dark on TWC systems. The sides said they would hammer out the final details during the next few days.

"We've been partners with Time Warner Cable for a long time, and we're happy to be renewing that partnership for the benefit of their customers and our loyal viewers," Viacom CEO Philippe Dauman said.

"It's gratifying that we could reach an agreement that benefits not only our audiences but that is also in the best interest of both of our companies."

Despite the niceties in the early ayem Thursday statement, TWC brass were clearly caught off guard late Tuesday by Viacom’s aggressive PR maneuver, which included the addition of a crawl alert on its channels warning viewers that hits ranging from "The Colbert Report" to "SpongeBob SquarePants" might soon be MIA on Time Warner Cable systems.

In a lengthy statement issued Wednesday morning, Britt returned fire by blasting Viacom for "trying to extort another $39 million annually" from TWC.

“We sympathize with the fact that Viacom’s advertising business is suffering and that their networks�?ratings have largely been declining. However, we can’t abide their attempt to make up their lost revenue on the backs of Time Warner Cable customers," Britt said.

Details of the tentative pact were still sketchy Thursday. Viacom had said it was seeking modest fee hikes that would amount to less than 25 cents per subscriber per month for the 19 channels. (Viacom's BET is covered by a separate contract.) Viacom emphasized that it has recently cut renewal deals with numerous other cable operators, but months of talks with TWC brass reached an impasse earlier this week as the deadline approached.

Sources familiar with the situation noted that Viacom's MTV Networks wing has been pressing hard for higher subscriber fees in its recent renewal negotiations with cable operators, in part because in past years Viacom has been willing to horse trade carriage for distribution commitments for new channels. As a result, the fees cabler operators pay for Viacom channels tend to be significantly lower than the coin paid to comparable nets owned by Disney, News Corp. and other media congloms.

To support that claim, Viacom sent out a report issued Wednesday by Bernstein Research senior analyst Michael Nathanson, who estimated that TWC spends about $300 million annually in subscriber fees for Viacom nets. That amounts of 2.8% of TWC’s revenue from its cable programming services.

"Viacom’s cable networks are materially under-priced relative to their peers, which we believe represents an opportunity for Viacom in the future," Nathanson wrote.

Clearly, for Viacom, the future is now. With the company facing a deep slump in advertising revenue, like every other media conglom, Viacom topper Dauman was intent on boosting subscription revenue coin from one of its key distribs.

Time Warner Cable countered that it had an obligation to hold the line on programming cost increases in order to protect its subscribers. But the cable operator undoubtedly would've faced a flood of complaints from subscribers if the various channels �?which included VH1, Spike TV, TV Land, Noggin, CMT and Logo �?had suddenly disappeared from TWC's lineup.

As Nathanson observed in his report, "Both sides may not want to see if this battle results in mutually assured destruction, as Viacom loses ad dollars and TWC loses subscribers."

 

Everybody's been boo-hooing the ongoing decline in the ratings of the broadcast networks for years now. Each year their numbers erode and the news outlets go crazy trying to figure out what's going on. But there's been a quieter story building during that same timespan, and it really came to the forefront this year. While the major broadcast networks have seen a drop in viewers, the cable networks have been busting ratings records all year, culminating with USA not only having the best year of any cable channel in 2008, but having the best year in the history of cable television.

But what does that mean for television, in general? Is it just the continuing evolution of a drastically changing medium? Considering the state of the economy and its impact on the networks, it's definitely worth noting that someone on the airwaves is apparently doing something right, and it's these cable channels. Ironically, many of those same success stories in cable are sister stations to the broadcast networks, even going so far as to lend them shows during that pesky writer's strike. But how can it be that while the Big Four are going down, the cable networks are on the rise?

WGA Strike
One of the things that helped the cable networks, surprisingly, was the WGA strike. While the strike crippled the broadcast networks, and many are still struggling to recover, not so was the impact felt by their cable brethren. At the beginning of 2008, with the strike in full effect for another month, the Big Four limped their way into the new year with bad reality shows and lots of reruns. When the strike finally ended in February, it was still a few months before they could bring back anything original to the air, and then, they oddly chose those shows that seem to do well enough in reruns already, like the CSI franchise.

Meanwhile, in the land of pay television, it was business as usual. Due to long lead times for the channels, as well as a general summer rollout for their scripted programs, most of these shows weren't impacted at all. Which means while the rest of us were getting sick of the schlock on the broadcast networks with no end in sight, we could flip over to AMC for Breaking Bad (yes I know it was cut short by the strike, but damn it was good!) or USA for new episodes of Psych and Burn Notice or The Closer and Saving Grace on TNT.

Quality
Also arguable is the quality of those shows. While the broadcast networks are subject to heavy FCC scrutiny (especially post-Janet Jackson nipplegate) and the whims of their advertisers who, after all, pay pretty much for everything, the pay channels have a comfortable income coming from people just paying for the privilege of having the option to watch them. They also generally have a comfort level of an entire season commitment, even if it is only 10 or 12 episodes. This allows them to write more involved story arcs, thus creating a more in-depth viewing experience for the audience. And that audience is 100% confident that they'll get to see the entire story play out. Definitely not so on the trigger-happy broadcast airwaves.

Also, with bigger ratings on the cable networks, that means bigger budgets and commitments to original programming. There was a time when you could tell an original cable program just by looking at it. From a grainy film quality to sets that looked like they were swiped from a local high school, you felt like you were watching the local public broadcast network. Now there's virtually no visual difference between them. Even if we're not talking the big budget quality of your HBO or Showtime programs, you have smaller budget beauties like the aforementioned Breaking Bad or Sci Fi's Battlestar Galactica.

Digital Broadcast Conversion
With the switch-over to digital broadcast looming, 2008 was the year where people had to figure out how they were going to handle this. While many probably did opt for just grabbing that digital converter antenna, I would imagine that several more just went ahead and sprung for cable or satellite. As soon as they did, a myriad of channel options were opened up to them, and you just know they went exploring.

Along with that, you have those generations of people coming up now for whom cable has always been there. For many of us, there was a time when the broadcast networks were the be-all and end-all of television. Then when cable came, it was a bunch of niche channels and boutique networks, but still broadcast was where it was at. Now, with original programming all across the dial, this isn't so much the case. And kids today have always had hundreds of channels to choose from, so they don't have the psychological attachment to ABC, CBS, NBC, or FOX (for the younger of us getting-up-there folks) that we do.

Where we still see a difference between these channels and the cable channels, they really don't anymore. Most of them aren't even watching local news on television anymore; they're getting it online. And if they do want news, they can go to Fox News or CNN. I've met younger people who do nothing but watch Nickelodeon, Cartoon Network, MTV and movie channels. Beyond that they don't even notice the Big Four.

The Price
As with anything, though, there is a price to pay. That price for the broadcast networks still remains to be seen. Certainly a possible future for them can be seen with NBC's move to put Jay Leno on at 10 pm every night. I would imagine that we'll see a reduction in original programming and a continuing move away from the traditional "season" model we have now.

The price to pay for the cable channels is the homogenization of their brands. In that respect, those former niche channels are becoming more like their broadcast brethren. AMC used to be about classic movies, but now they're moving into original programming and finding better ratings that way. The same for almost every other network out there. Spike TV was at one time The Nashville Network, focusing on the country music lifestyle, but now they're much more diverse. Even Sci Fi has wrestling and reality. Is it a price worth paying to get more of the shows we do like? If The History Channel can still be 75% about history, will we begrudge them a reality dating show? Well, that may be stretching it a bit.

How much longer will there even be a need for the broadcast networks at all, though? Do those local affiliates need that national presence to survive? Or could NBC roll right out of the broadcast world and just become another cable channel? They could have their reduced schedule of original programming and wouldn't be so reliable on having "network size" ratings. Then a show like Heroes could still be considered a huge hit with monster numbers ... for a cable show.

When I was younger, we had the three broadcast channels (ABC, CBS, and NBC) and we had three local channels with no network affiliation. Now they're wrapped up with FOX, The CW and MyNetwork TV. But back then, those channels did just fine. They bought network shows for syndication, had original local programming, and offered a wide variety of viewing choices, even in prime time. They could do that again, only now they'd have the option to buy programming from literally hundreds of cable channels like TNT, USA, The History Channel, and maybe someday ABC or CBS as well.

well here it is.

The fall season schedule,posted two ways..

By date then by show..

tick

 

 

 

Premieres By Date:

January
The First 48 (A&E) January 1
Miss America (TLC) January 2
Game Show In My Head (CBS) January 3
My First Home (TLC) January 3
Confessions of a Teen Idol (VH1) January 4
Rock of Love (VH1) January 4
Superstars of Dance (NBC) January 4
The Bachelor (ABC) January 5
Daddy’s Girls (MTV) January 5
Diatribe (Lifetime) January 5
Masters of Illusion (My Network TV) January 5
Secret Life of the American Teenager (ABC Family) January 5
True Beauty (ABC) January 5
The Biggest Loser (NBC) January 6
Homeland Security USA (ABC) January 6
Nip/Tuck (FX) January 6
Scrubs (ABC) January 6
Ten Items Or Less (TBS) January 6
Wreckreation Nation (Discovery) January 6
Damages (FX) January 7
Meet The Browns (TBS) January 7
Real World (MTV) January 7
13: Fear Is Real (The CW) January 7
Dragon’s Den (BBC America) January 8
Snapped (Oxygen) January 8
Wake Up Call (Soap) January 8
Flashpoint (CBS) January 9
Howie Do It (NBC) January 9
Monk (USA) January 9
Psych (USA) January 9
Cribs (CMT) January 10
MoCap LLC (Spike) January 10
My Big Redneck Wedding (CMT) January 10
Saturday Night Live (NBC) January 10
Smile . . . You’re Under Arrest (Fox Reality) January 10
Tool Academy (VH1) January 11
24 (Fox) January 11
Kyle XY (ABC Family) January 12
American Idol (Fox) January 13
America’s Best Dance Crew (MTV) January 15
The Beast (A&E) January 15
Smallville (The CW) January 15
Supernatural (The CW) January 15
Sober House (VH1) January 15
Treasure Quest (Discovery) January 15
Battlestar Galactica (SciFi Channel) January 16
Friday Night Lights (NBC) January 16
Solitary (Fox Reality) January 17
Big Love (HBO) January 18
Flight of the Conchords (HBO) January 18
The L Word (Showtime) January 18
The Secret Diary of a Call Girl (Showtime) January 18
The United States of Tara (Showtime) January 18
House (Fox) January 19
The Mentalist (CBS) January 19
Paranormal State (A&E) January 19
Fringe (Fox) January 20
Lie To Me (Fox) January 21
Lost (ABC) January 21
RelicQuest (SciFi Channel) January 21
Burn Notice (USA) January 22
Gone Country (CMT) January 23
The Last Templar (NBC) January 25
The Closer (TNT) January 26
Going For Broke (VH1) January 26
I Love Money (VH1) January 26
Trust Me (TNT) January 26
Hell’s Kitchen (Fox) January 29
Toughest Cowboy (Spike) January 29

February
The Office (NBC) February 1
Chuck (NBC) February 2
Heroes (NBC) February 2
Medium (NBC) February 2
Dog The Bounty Hunter (A&E) February 4
The Exterminators (A&E) February 4
Life (NBC) February 4
Jockeys (Animal Planet) February 6
XIII (NBC) February 8
The Millionaire Matchmaker (Bravo) February 12
Survivor (CBS) February 12
Dollhouse (Fox) February 13
Terminator: The Sarah Connor Chronicles (Fox) February 13
The Amazing Race (CBS) February 15
East Bound And Down (HBO) February 15
High School Reunion (TV Land) February 18

March
Celebrity Apprentice (NBC) March 1
America’s Next Top Model (The CW) March 4
Castle (ABC) March 9
Jail (My Network TV) March 10
Street Patrol (My Network TV) March 10
South Park (Comedy Central) March 11
Reno 911 (Comedy Central) March 12
Dancing With The Stars (ABC) March 17
Reaper (The CW) March 17
Kings (NBC) March 19
Cupid (ABC) March 24
The Unusuals (ABC) April 8
Harper’s Island (CBS) April 9

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I may not agree with all of this list but they did get some of it right.... Hack, hack, (heros......)

tick

 

Open Space's Top 10 TV Shows of 2008

These might need to be printed!!! Good info!! Thanks Tick!