9-1-1: L-R: Oliver Stark and Peter

Ilene Chaiken Nabs Fox Drama Pilot Order, Steps Down as ‘Empire’ Showrunner

Fox has ordered pilots for a comedy from Erin Foster and a drama from writer-executive producer Ilene Chaiken.

The untitled drama ordered to pilot is written and executive produced by Chaiken and Melissa Scrivner Love. It follows FBI Special Agent Clementine Otis, who is in the midst of investigating a domestic terrorism threat when a personal indiscretion – an affair with a prominent general – shatters her life and threatens her career at the FBI. Now labeled “the mistress,” she begins to rebuild her personal life and professional reputation.

Chaiken was the showrunner on Fox’s top-rated series “Empire” until the midseason of the show’s current fourth season. She has stepped back from that role in order to focus on developing new projects with Brett Mahoney taking over as showrunner. She remains an executive producer on “Empire.” She re-upped her overall deal at 20th TV last summer and is currently working on the reboot of “The L Word” at Showtime.

Judy Smith will also executive produce with Obst attached to executive produce this project as well. 20th Century Fox Television will produce with 3 Arts Entertainment.

9-1-1: L-R: Oliver Stark and Peter

Delayed Viewing Ratings: ‘9-1-1’ Continues Strong Performance on Fox

TV News Roundup: ‘Empire,’ ‘Star’ Set Midseason Return Dates on Fox

Scrivner Love previously wrote for and co-executive produced the Fox series “Rosewood.” Her other credits include “Person of Interest” and “CSI: Miami.”

Both Chaiken and Scrivner Love are repped by WME. Chaiken is also repped by 3 Arts.

The comedy is titled “Daddy Issues” and is loosely based on the life of series writer, executive producer, and star Erin Foster. It revolves around Andi (Foster) and her friendship with her playboy dad. Andi’s world is turned upside down when she discovers her dad’s fallen in love with her best friend.

Liz Merwether will executive produce with Oly Obst and Josh Lieberman. 3 Arts Entertainment will produce in association with 20th Century Fox Television.

Foster has primarily worked as an actress, most recently appearing in the series “Barely Famous.” Her other credits include “The O.C,” “The Girlfriend Experience,” “NCIS: Los Angeles,” and “Without a Trace.”

Meriwether is the creator of the Fox comedy “New Girl,” which is entering its seventh and final season at the network.

Foster is repped by WME and 3 Arts. Meriwether is also repped by WME and Rise Management.

Mehdi Dehbi

Mark Burnett, Roma Downey Netflix Series ‘Messiah’ Casts Mehdi Dehbi in Lead Role (EXCLUSIVE)

Mehdi Dehbi

Mehdi Dehbi has been cast in the lead role of the upcoming Netflix series “Messiah,” Variety has learned exclusively.

The series will chronicle the modern world’s reaction to a man who first appears in the Middle East creating a groundswell of followers around him claiming he is the Messiah. Dehbi will star as Al Massih. His character is described as an enigma with mysterious origins. People are unsure if he is a divine messenger or a political rabble-rouser. When he disappears from an Israeli interrogation cell with no explanation, his legend begins to grow.

Dehbi’s recent credits include the film “London Has Fallen” and the FX drama “Tyrant.” He has also appeared in films like “A Most Wanted Man” and “Mary Queen of Scots.”

He is repped by Gersh and Chaotik.

Netflix ordered “Messiah” to series in November. It was created by writer Michael Petroni who brought the project to Netflix with Mark Burnett. Both men will executive produce along with Roma Downey, Andrew Deane, and James McTeigue. McTeigue will also direct.

This is the latest religion-based project for Burnett and Downey. The husband and wife team previously collaborated on the History miniseries “The Bible,” the TV movie “Women of the Bible” at Lifetime, “A.D. The Bible Continues” on NBC, and “The Dovekeepers” at CBS, among others. Burnett is also well known for producing reality TV hits such as “Survivor,” “The Apprentice,” and “Shark Tank.”

Delayed Viewing Ratings: ‘9-1-1’ Continues Strong Performance on Fox

Fox’s new drama “9-1-1” continued to put up strong delayed viewing numbers in week 16 of 2017-2018 broadcast season, which began on Jan. 8.

The second episode of the series aired on Jan. 10, rising from a 1.5 to a 3.0 in adults 18-49 and going from 5.55 million viewers to 9.99 million in the Nielsen Live+7 ratings. That is an increase of 100 percent in the key demo and 80 percent in total viewers. That matches its series premiere the week prior and was Wednesday’s number one program for the second consecutive week.

Elsewhere on broadcast, “This Is Us” saw the week’s biggest lift in the key demo. The show went from a 2.7 to a 5.0, growing by a 2.3, or 85 percent. It narrowly edged out “Big Bang Theory” in the measure, with the CBS sitcom going from a 3.1 to a 4.9 for a 58 percent lift. ABC’s “The Good Doctor” more than doubled its Live+Same Day rating, rising to a 3.4 for 113 percent growth.

Read the full top 25 lists of the Live+7 ratings below.

Top 25 Broadcast Series Live+7 Adults 18-49

SeriesNetworkAir DateLive+SDAdults 18-49Live+7Adults 18-49+7 Actual Gain+7 Percent GainTHIS IS USNBC01/09/20182.75.0+2.3+85%THE GOOD DOCTORABC01/08/20181.63.4+1.8+113%THE BIG BANG THEORYCBS01/11/20183.14.9+1.8+58%911FOX01/10/20181.53.0+1.5+100%MODERN FAMILYABC01/10/20181.62.9+1.3+81%WILL & GRACENBC01/11/20181.12.4+1.3+118%CRIMINAL MINDSCBS01/10/20181.02.1+1.1+110%YOUNG SHELDONCBS01/11/20182.63.7+1.1+42%CHICAGO FIRENBC01/11/20180.92.0+1.1+122%CHICAGO PDNBC01/10/20181.32.4+1.1+85%S.W.A.T.CBS01/11/20181.12.1+1.0+91%LAW AND ORDER:SVUNBC01/10/20181.32.3+1.0+77%CHICAGO MEDNBC01/09/20181.42.4+1.0+71%SEAL TEAMCBS01/10/20180.91.8+0.9+100%THE BACHELORABC01/08/20181.42.2+0.8+57%NCIS: NEW ORLEANSCBS01/09/20181.01.8+0.8+80%BULLCBS01/09/20181.22.0+0.8+67%NCISCBS01/09/20181.52.3+0.8+53%BLACKLISTNBC01/10/20181.01.8+0.8+80%GOOD PLACENBC01/11/20181.01.8+0.8+80%AGENTS OF S.H.I.E.L.DABC01/12/20180.61.3+0.7+117%AMERICAN HOUSEWIFEABC01/10/20181.21.9+0.7+58%THE GOLDBERGSABC01/10/20181.52.2+0.7+47%BLUE BLOODSCBS01/12/20181.01.7+0.7+70%AMAZING RACECBS01/10/20181.42.1+0.7+50%

Top 25 Broadcast Series Live+7 Total Viewers

Ilene Chaiken Nabs Fox Drama Pilot Order, Steps Down as ‘Empire’ Showrunner

TV Ratings: ‘Goldbergs,’ ‘9-1-1’ Top Wednesday

SeriesNetworkAir DateLive+SD Total Viewers (in million)Live+7 Total Viewers (in million)+7 Actual Gain+7 Percent GainTHE GOOD DOCTORABC01/08/2018830015412+7112+86%THIS IS USNBC01/09/2018965415994+6340+66%THE BIG BANG THEORYCBS01/11/20181593121116+5185+33%911FOX01/10/201855499991+4442+80%BLUE BLOODSCBS01/12/20181017014560+4390+43%BULLCBS01/09/20181049914739+4240+40%CHICAGO FIRENBC01/11/201852989493+4195+79%CHICAGO PDNBC01/10/2018686311049+4186+61%NCIS: NEW ORLEANSCBS01/09/2018869612850+4154+48%CRIMINAL MINDSCBS01/10/201857029828+4126+72%CHICAGO MEDNBC01/09/2018692011016+4096+59%S.W.A.T.CBS01/11/2018638510350+3965+62%SEAL TEAMCBS01/10/2018616910084+3915+63%NCISCBS01/09/20181423918135+3896+27%YOUNG SHELDONCBS01/11/20181417417992+3818+27%MODERN FAMILYABC01/10/201858109091+3281+56%WILL & GRACENBC01/11/201841667418+3252+78%BRAVENBC01/08/201829316162+3231+110%BLACKLISTNBC01/10/201861569373+3217+52%MADAM SECRETARYCBS01/14/2018725010398+3148+43%LAW AND ORDER:SVUNBC01/10/201860589156+3098+51%HAWAII FIVE-0CBS01/12/2018937912300+2921+31%NCIS: LOS ANGELESCBS01/14/2018912411905+2781+30%LETHAL WEAPONFOX01/09/201842466952+2706+64%BLINDSPOTNBC01/12/201835635898+2335+66%


What’s Coming to Netflix, Hulu, and

What’s Leaving Netflix in February 2018

Netflix will cycle out multiple series throughout February, including “Family Guy,” the first season of Shonda Rhimes’s “The Catch,” and Seasons 1 through 7 of “Burn Notice.”

Hannibal Buress’s comedy specials “Animal Furnace” and “Live from Chicago, as well as Aziz Ansari’s “Dangerously Delicious” will also exit the streaming platform.

Since the holiday season is officially over, “The Nightmare Before Christmas” will no longer be available to stream. Other films leaving Netflix include “The Benchwarmers,” “The Fury,” “Perfect Stranger,” and “Jane Got a Gun.”

Check out the full list of titles leaving Netflix below:

Leaving Feb. 1

The BenchwarmersBrubakerCorpse BrideDay WatchDesk SetEnquiring MindsEveryone’s HeroThe Five HeartbeatsThe FuryHard CandyHow to Steal a MillionKing ArthurThe Longest DayMagic City: Season 1-2The Nightmare Before ChristmasNight WatchOpen Season: Scared SillyPerfect StrangerProject XSilver StreakStranger by the LakeTin ManTop Gear: Series 19-23Voyage to the Bottom of the Sea

Leaving Feb. 2

A Ballerina’s Tale

Leaving Feb. 3

The Texas Chainsaw Massacre: The Beginning

What’s Coming to Netflix, Hulu, and

What’s Coming to Netflix, Hulu and Amazon Prime in February 2018

What’s Coming to Netflix in February 2018

Leaving Feb. 4

Hannibal Buress: Animal FurnaceHannibal Buress: Live from Chicago

 Leaving Feb. 10

Dragonheart: The Shadowed Claw

Leaving Feb. 11

A Little Bit of Heaven

Leaving Feb. 12


Leaving Feb. 14

Family Guy: Season 1-8

Leaving Feb. 15

12 Dog Days Till ChristmasBefore I Go to SleepBurn Notice: Season 1-7Christmas BelleA Christmas Kiss II

Leaving Feb. 16

Our Last TangoSave the Date

Leaving Feb. 17


Leaving Feb. 19

An Idiot Abroad: Season 1-3

 Leaving Feb. 20

Aziz Ansari: Dangerously Delicious

Leaving Feb. 21

Enron: The Smartest Guys in the Room

 Leaving Feb. 24

Jane Got a Gun

Leaving Feb. 28

American GeniusBrain Games: Season 3-4The Catch: Season 1Cesar 911: Season 1I Am AliMiami SWAT: Season 1

Gianni Versace

TV News Roundup: Oxygen Media to Premiere ‘Killing Versace: The Hunt for a Serial Killer’

Gianni Versace

In today’s roundup, Oxygen Media announced the premiere date for their special “Killing Versace: The Hunt for a Serial Killer” and HBO released trailers for the new seasons of “Divorce” and “Crashing.”


Oxygen Media will premiere the one-hour true crime special “Killing Versace: The Hunt For A Serial Killer” on Feb. 11 at 7 p.m. ET/PT. Hosted by  NBC News senior national correspondent Kate Snow, the special will  re-examine the manhunt for murderer Andrew Cunanan through new and revisited expert insider interviews and will chronicle Cunanan’s cross-country murder spree that culminated with the murder of Versace and his suicide. “Killing Versace: The Hunt For A Serial Killer” is produced by Peacock Productions with Aretha Marshall and Brian Cavanagh serving as executive producers.

Adult Swim has set two comedy specials to premiere on Feb. 18. The live-action human interest comedy special “Soft Focus with Jenna Friedman,” created by and starring Friedman, who also serves as an executive producer with Josh Cohen and directed by Anu Valia, will premiere at midnight. At 12:15 a.m., Eric Andre‘s special “Eric Andre Does Paris” premieres. “Eric Andre Does Paris” was created by Andre, executive produced by Andre and Kitao Sakurai, directed by Sakurai,  and written by Andre, Dan Curry and Sakurai.

HBO Orders Late-Night Series ‘Random Acts of Flyness’ From Terence Nance

Sundance: HBO Buys Prison Documentary ‘The Sentence’


On Friday, Feb. 2, HBO subscribers will have early access to the latest episodes of the comedies “Divorce” and “Crashing” via HBO GO, HBO NOW and HBO On Demand, as well as through partners’ streaming platforms. The episodes will still debut back-to-back at their originally scheduled times Sunday, Feb. 4 on the main HBO channel, starting at 10:00 p.m. (ET/PT).



Director and screenwriter, Michael Haneke is teaming up with FremantleMedia’s UFA Fiction to create his first ever TV series, “Kelvin’s Book.” The ten-episode series is set in a dystopian world and will tell the story of a group of young people in a not too distant future are forced to make an emergency landing during a flight outside of their home and are confronted with the actual face of their home country for the first time.
 Nico Hofmann and Benjamin Benedict will serve as executive producers for UFA Fiction on the series.


Missy Laney has joined Adult Swim as director of development where she will be responsible for finding new projects and talent for the network and will reporting to Walter Newman, vice president of comedy development at Adult Swim.  Prior to Adult Swim, Laney worked as a producer, festival programmer, and marketing and distribution strategist. She previously worked at the Sundance Institute growing their #ArtistServices Initiative, a program that focused on how technology is changing the way audiences interact with films, and at BitTorrent Inc. leading their film strategy where she launched The Discovery Fund.

Winona Meringolo has been promoted to senior vice president of development for Investigation Discovery (ID) and will oversee curation of mystery and suspense programming. Meringolo most recently served as vice president and previously as senior director of development for ID and AHC. She is responsible for the conceptualization and development of several hit ID series, including but not limited to “Village of the Damned,” “Evil Lives Here,” “People Magazine Investigates,” and  “American Monster.”



What’s Coming to Netflix, Hulu and Amazon Prime in February 2018

With Valentine’s Day around the corner, Netflix, Hulu, and Amazon will bring content for fans of the holiday and those who have had enough of love.

Uma Thurman’s action-packed thrillers “Kill Bill: Vol. 1” and “Kill Bill: Vol. 2” can be added to Netflix queues starting in February. Other films coming to the streaming service are “Men in Black,” “Meet the Fockers,” and “Ella Enchanted.” Bravo’s “Imposters” and Netflix’s “Queer Eye” reboot will also be added.

A few classic movies are joining Hulu in next month, including Harrison Ford’s “Sabrina” and “Mystic Pizza,” starring Julia Roberts. For the kids, “Agent Cody Banks,” and “Hannah Montana & Miley Cyrus: Best of Both Worlds” will be added. Fans of “One Tree Hill” can watch all nine seasons of the teen series.

Amazon Prime will roll out new seasons for some of its original series in February, with the “The Tick: Season 1B” and the fourth season of “Mozart in the Jungle” being available to stream.


Feb. 1

3000 Miles to Graceland42 GramsAeon FluxAmerican PieAmerican Pie 2American Pie Presents: Band CampAmerican Pie Presents: The Book of LoveAmerican Pie Presents: The Naked MileElla EnchantedExtractGoodFellasForgottenHow the Beatles Changed the WorldJohn Mellencamp: Plain SpokenKill Bill: Vol. 1Kill Bill: Vol. 2Lara Croft: Tomb RaiderLiberated: The New Sexual RevolutionLovesickMeet the FockersMeet the ParentsMen in BlackNational Parks AdventureOcean’s ElevenOcean’s TwelveOcean’s ThirteenPaint It BlackScream 3The Hurt LockerWalk Hard: The Dewey Cox StoryZ Nation: Season 4

What’s Leaving Netflix in February 2018

What’s Coming to Netflix in February 2018

Feb. 2 to Feb. 10

6 DaysAltered Carbon: Season 1Cabin FeverCoach Snoop: Season 1Fate/Apocrypha: Part 2Fred Armisen: Standup For DrummersImposters: Season 1Kavin Jay: Everybody Calm Down!Luna Petunia: Return to Amazia: Season 1My Next Guest Needs No Introduction With David Letterman: George ClooneyOn Body and SoulQueer Eye: Season 1Seeing AllredThe Emoji MovieThe RitualThe Trader (Sovdagari)Valor: Season 1When We First Met

Feb. 11 to Feb. 20

Bates Motel: Season 5Blood MoneyDeep Undercover Collection: Collection 2DismissedDreamWorks Dragons: Race to the Edge: Season 6Everything Sucks!: Season 1First Team: Juventus: Season 1FullMetal AlchemistGreenhouse Academy: Season 2Evan AlmightyIrreplaceable YouLove Per Square FootRe:Mind: Season 1The Frankenstein Chronicles: Season 1 and Season 2The Joel McHale Show with Joel McHale

Feb. 21 to Feb. 28

Atomic Puppet: Season 1Derren Brown: The PushEl Vato: Season 2Heyday of the Insensitive BastardsJeepers Creepers 3LincolnMarlon Wayans: Woke-ishMarseille: Season 2MutePeople You May KnowSeven Seconds: Season 1Sin Senos sí Hay Paraíso: Season 2The BachelorsUgly Delicious: Season 1Winnie


Feb. 1Cougar Town: Complete SeriesDirt: Complete SeriesEverwood: Complete SeriesFace Off: Complete Seasons 1-10Nightcap: Complete Season 2One Tree Hill: Complete SeriesReal Humans: Complete Seasons 1 & 2A Date for Mad MaryA Fish Called WandaAgent Cody BanksAgent Cody Banks 2: Destination LondonAkeelah and the BeeAmelieAmerican IdiotsThe AnimalAn Officer and a GentlemanAsterix & Obelix: Mission CleopatreThe BenchwarmersBlack SpursBlazing SaddlesCasi DivasCharm SchoolConfessions of A Dangerous MindThe Cutting EdgeThe Cutting Edge: Going for the GoldDaybreakersGang RelatedThe Good the Bad and the UglyThe Goods: Live Hard, Sell HardHannah Montana & Miley Cyrus: Best of Both WorldsHarsh TimesThe HauntingHe Said, She SaidHoodlumThe Hurt LockerIntersectionKeeping Up with the SteinsLarry the Cable Guy: Health InspectorLulu on the BridgeManhattanManhunterMermaidsMichaelMystic PizzaNine QueensPerfect StrangerRed DawnRedlineRollerballFrailtyRunning ScaredRustlers’ RhapsodySabrinaSin CitySlow BurnThe SpiritThe Swan Princess: Royally UndercoverThe Swan Princess: A Royal Family TaleThe Swan Princess: Princess Tomorrow, Pirate TodaySwimming with SharksTerms of EndearmentThe ThawThe WarriorsThings You Can Tell Just By Looking At Her

Feb. 2

A.P. Bio: Season 1 Premiere

Feb. 4

Broad City: Complete Season 4My Dead Boyfriend

Feb. 5

Archer: Dreamland: Complete Season 8Beach RatsThe ChallengeWeiner

Feb. 6

Charged: The Eduardo Garcia StoryDanicaThe 60 Yard Line

Feb. 7

A Taxi Driver

Feb. 8

Gary Unmarried: Complete Seasons 1-2Perception: Complete Seasons 1-3The PJ’s: Complete Seasons 1-3

Feb. 9

Brockmire: Complete Season 1

Feb. 11

LuckyRun the Tide

Feb. 12

Along for the RideHoneymoonIt Happened in LAThe Two Faces of JanuaryTom of Finland

Feb. 13

Christmas in the HeartlandDrinksgiving

Feb. 14

National Lampoon Presents Cattle CallStar Trek

Feb. 15

Parenthood: Complete Series28 Hotel RoomsAn Ideal HusbandBirthday GirlFreshGunnin’ For That #1 SpotMonogamyNextRebirthThe Exploding Girl

Feb. 16

Cardinal: Complete Season 2

Feb. 17

The Long Road Home: Complete Season 1

Feb. 18

Pocket ListingThanks for Sharing

Feb. 19

White Bird in a Blizzard

Feb. 20

Above Ground Level: Dubfire

Feb. 21

Once Upon A TimeThe Villainess

Feb. 23


Feb. 26

Love is Thicker than Water

Feb. 27

Good Girls: Season 1 PremiereThe Voice: Season 14 PremiereAlien Psychosis

Feb. 28

The Looming Tower: Season 1 Premiere


Feb. 1

American IdiotsBlack SpursThe Cutting EdgeThe Cutting Edge: Going for the GoldDaybreakersA Fish Called WandaGang RelatedThe Good, the Bad and the UglyThe Goods: Live Hard, Sell HardHarsh TimesThe HauntingHe Said, She SaidHoodlumIntersectionLarry the Cable Guy: Health InspectorLulu on the BridgeManhattanManhunterMermaidsMystic PizzaAn Officer and a GentlemanRed DawnRollerballRollerballRunning ScaredRustlers’ RhapsodySabrinaSlow BurnSwimming with SharksTerms of EndearmentThe ThawThings You Can Tell Just by Looking at HerThe Warriors

Feb. 2

Absentia: Season 1

Feb. 4

My Dead Boyfriend

Feb. 6


Feb. 7

The Expanse: Season 2


Mother’s Day

Feb. 9

Grand Prix Driver: Season 1 (Amazon Prime Original)

Feb. 10

BreatheNo Stone Unturned

Feb. 11

Good TimeRun the Tide

Feb. 13

The Ballad of Lefty BrownStinky & Dirty Valentine’s Day Special

Feb. 14

National Lampoon Presents Cattle CallStar Trek

Feb. 16

Human FlowLogan LuckyMozart in the Jungle: Season 4

Feb. 18

Pocket ListingThanks for Sharing

Feb. 23The Tick: Season 1BThunderbirds are Go!: Season 4

Rose McGowan

TV Review: Rose McGowan in ‘Citizen Rose’ on E!

Rose McGowan

There’s a moment midway through “Citizen Rose” that encapsulates what the documentary does well.

Rose McGowan is getting ready for Thanksgiving at a relative’s house where the dinner party will include many people she’s never met. As she looks in the mirror, she talks about the fact that everyone there will already know a lot about her. She’ll be meeting her brother’s girlfriend for the first time, and though that is exciting to her, she’s nervous too, given that, even at the best of times, Thanksgiving dinners can be fraught.

It’s nearly impossible to imagine being the person whom many families — not just your own — were discussing over the holidays. But the Great Reckoning that has begun to wash across the country has made McGowan much more famous than she was before. As this realization hits her — the certainty that everyone at the gathering will have made assumptions about her — McGowan closes her eyes and leans on the bathroom sink.

Is she attempting to comfort herself? Is she simply acknowledging the contradictory emotions of the moment? Maybe she’s fashioning some kind of emotional armor. It’s not clear, because the moment isn’t. There’s no precise label for what she’s going through.

At the dinner, McGowan seems to be in good spirits, but “Citizen Rose” scratches at the edges of that word: “seems.” What did it cost her to interact calmly with family members and strangers, or to give a speech in front of thousands of women, weeks after the identity of her alleged rapist was revealed? After years of private struggle and public dismissal, what was it like to finally watch the world confront the legacy of “the monster” whom she says assaulted her 20 years ago? What will the industry — and the world — do in response to not just her story, but the stories of other men and women who have been assaulted, abused and harassed? 

There’s no easy answer to any of those questions, and being truthful about that is “Citizen Rose’s” primary accomplishment. The two-hour film depicts the kind of complicated messiness that accompanies any story of trauma. There is no ending to the process; the kind of tidy catharsis that Hollywood loves is missing.

In its first hour, “Citizen Rose” is especially jagged as it bounces around between McGowan’s past and present, but the rawness and even the occasional sense of chaos feels right for this story, which is far from over. McGowan herself is many people in the film: The truth-teller who talks to the camera while sitting fully clothed in her empty bathtub; the organizer who leads a retreat focused on the mission of her “Rose Army”; the friend who just wants her pal, Amber Tamblyn, to hang out with her a bit longer; the open, energetic woman who talks to a stranger in a Detroit parking lot about the profile of her published that day in the New York Times.

There are echoes of the “bad girl” image that Hollywood crafted for her many years ago; in the E! program, McGowan longs for “more middle fingers” to raise to those who would ignore her or shut her down. But McGowan, who is an executive producer of “Citizen Rose,” includes many revealing moments that even a reasonably good magazine profile would not be able to fully capture.

She talks to her mother about how difficult she was in the past, when she had psychologically shut down after her assault. For both women, the discussion is clearly painful — and unfinished. When she finds out that representatives for Harvey Weinstein — a man she does not name in the film — got a copy of her memoir in advance, she’s silent and pale. It’s another violation, another loss of control and autonomy to grapple with. Wearing a Taco Bell sweatshirt, scrunched up in a chair, she’s not just anxious: She looks tired. It never ends.

The debut of “Citizen Rose” is to be followed in the spring by four additional episodes, and the first installment does have some structure: It roughly follow the dislocating timeline of last fall’s revelations about Weinstein and many other high-profile men. On the day the first devastating report about Weinstein was published, McGowan is seen attending an anti-domestic violence rally and talking with survivors. As more bombshells drop, McGowan gives a speech to the Women’s Convention, talks with reporters and visits her father’s grave.

Several times, McGowan opens up about her difficult relationship with her late father, who dealt with bipolar disorder before he died. The fact that she grew up in a cult with a documented history of inappropriate conduct relating to children receives some attention. But “Citizen Rose” flits from subject to subject and event to event fairly quickly, and there are some topics that are interesting and knotty enough to merit further exploration.

Perhaps some subjects — notably how her parents ended up in the Children of God movement and McGowan’s own entry into what she calls the cult of Hollywood — will get more attention in upcoming episodes. But as it stands now, as jittery as it is, the initial episode will likely be fascinating and even moving to those who have been closely following the #MeToo movement.

It’s not slick; clips from a film McGowan directed are placed alongside cellphone videos of her being pulled over by a cop; there’s footage of her heading into a magistrate’s office in order to deal with an outstanding warrant; at one point, she walks along a city street, filming a nighttime snowfall with her phone. It’s a collage of angry moments, impressionistic images and inspirational ideas, and McGowan’s attempt to tell her past and present stories and express herself as an artist sometimes collide rather than commingle. But the sincerity that drives her campaign to make the world (and herself) “10% more awake” is readily apparent.

The touchstone of “Citizen Rose” is McGowan’s own prickly, vulnerable yet charismatic presence, and that is enough to unify it and transmit the message that all survivors are unique and do not experience trauma and recovery in the same ways. For many, the initial injury is the first in a string of wounds, and the effectiveness of different methods of healing can change from one moment to the next, and from one person to the next. Survival is a choppy, not-quite-linear experience, but so is confronting the costs of fame.

One can feel McGowan’s relief, and even glee, at finding yet another way to reclaim the narrative of her life. Having been seen through the lens of filmmakers, screenwriters, and reporters for so long, now she (and people working for her) wield the camera. She challenges and mocks her image as a “kook,” even as she effectively hypes her forthcoming book, “Brave.” She attacks the smooth branding of the Times Up movement even as she shares ambiguous feelings about how she’s expressed herself at certain moments. And it’s worth noting that “Citizen Rose” is, among other things, a canny piece of marketing. That’s not a criticism, by the way; if someone is going to tell McGowan’s story and leverage her fame in this surreal moment, it might as well be her.

All things considered, there’s a core of truthfulness about the processing of pain and the search for connection that gives a solid foundation to the many splintered, whirling parts of “Citizen Rose.” The most fascinating moments allow the viewer to be a fly on the wall as McGowan meets with others who’ve traveled similar paths. Her conversations with Ronan Farrow, who’s written several blockbuster pieces about Weinstein, and with a group of women who talked to reporters about their treatment by men like Louis C.K., John Hockenberry and others, could have gone on even longer.

At one point, McGowan has a gripping one-on-one conversation with Asia Argento, another alleged victim of Weinstein. The word “victim” is one that McGowan sometimes chooses to use; she has a conversation with Argento about whether that appellation, or “survivor,” is more appropriate.

The women don’t come to a neat conclusion, but their conversation — drawing as it does on a shared experience that they don’t have to explain to each other — vibrates with recognition. It’s as if long-lost sisters have met for the first time; that’s how much barely suppressed emotion fills the room. There’s no name for this kind of reunion, but it doesn’t need a word to be powerful.

TV Review: Rose McGowan in ‘Citizen Rose’ on E!

Documentary series; E!; 8 p.m. Tues. Jan. 30. 120 min.

Crew:Executive producers, Rose McGowan, Jonathan Murray, Gil Goldschein, Farnaz Farjam Chazan, Andrea Metz.

Bruno Mars Grammys

Grammys Ratings Woes Worse Than They Appear: A Bad Sign for Oscars?

Bruno Mars Grammys

Bruno Mars’ big night at the 60th Annual Emmy Awards generated plenty of controversy Sunday. It did not generate much interest from television viewers.

In the key 18-49 demo, Sunday night’s Grammys telecast hit an all-time low, according to Nielsen early numbers, with a 5.9 rating. The show averaged 19.81 million total viewers, its lowest tally since 2008. That’s a 24% drop from the previous year  — the greatest year-to-year declines for the awards show since 2013.

But this year’s ratings slide is more problematic than the one experienced five years ago, and should worry Grammys broadcaster CBS, as well as Oscars broadcaster ABC.

The 2013 Grammys — which suffered a 28% drop, the most precipitous in the last 25 years — was an outlier: It followed the 2012 Grammys, which took place one day after Whitney Houston died in her room at the Beverly Hilton Hotel. With interest piqued by the unexpected death of one of music’s most decorated artists, a record 39.91 million people tuned in — the most for a Grammys telecast since 1984 and the second most ever. A year later, the 2013 show fell to 28.38 million viewers and a 10.1 demo rating.

How the Grammys Embraced Diversity and Still Lost

Alessia Cara Responds to Backlash Over Best New Artist Grammy Win

Ever since, the Grammys telecast has been on a steady ratings slide, shedding total viewers and demo ratings points every year — to the point that Sunday’s telecast was down 30% in total viewers and 41% in the demo from 2013. The ratings hit that the Grammys took Sunday night was likely fueled by a lackluster field of nominees, with top pop stars such as Beyoncé, Taylor Swift, and Adele absent from major categories. Mars’ six wins appeared to not sit well viewers on social media, where many expressed surprise that Mars beat out Kendrick Lamar for album of the year. A dearth of female winners turned into a #GrammysSoMale trend on Twitter. Past Grammy winner Justin Vernon of Bon Iver wrote on Twitter of the ceremony, “I’d say move on from this shit show.” The negative sentiment expressed by many online was evident in Monday morning’s ratings.

Other major awards shows have struggled similarly of late. Last year’s Primetime Emmy Awards telecast was down 36% in total viewers and 49% in the demo over the last five years. The Tony Awards, the People’s Choice Awards, The Billboard Music Awards, the American Music Awards, the CMA Awards, and the Academy of Country Music Awards have all experienced similar declines. And most importantly, downward trending ratings have become the norm for what is still the most watched of all awards shows: the Oscars. Last year’s show was down 30% in the demo and 18% in viewers since 2013 as well.

The notable exception to the trend has been the Golden Globe Awards, which has performed consistently since adding a host in 2011, when the role was first filled by Ricky Gervais.

In 2016, ABC announced that it had come to an agreement with the Academy of Motion Picture Arts and Sciences to broadcast the Oscars through 2028 — keeping in place the structure of a deal in which ABC parent the Walt Disney Co. had paid the academy $75 million per year for broadcast rights. The Oscars are an especially important programming element for ABC. With delayed and digital viewing now the norm for entertainment shows, broadcasters are increasingly reliant on event programs to drive live viewership, which is monetized more efficiently than delayed viewing. For ABC — the only Big Four broadcaster without an NFL contract and thus without Super Bowls or playoff football games — the Oscars represent a rare chance to aggregate a large national audience.

But ABC is likely to see diminishing returns as it continues to broadcast the Oscars far into a future that is unclear for linear television. Interest in the entertainment industry’s response to a recent flood of sexual-harassment allegations are unlikely to spike Oscar ratings this year the way tributes to Houston did for the Grammys in 2012. The Globes, where talk of #MeToo and #TimesUp dominated the proceedings, drew essentially the same audience as last year. The 2016 Oscars, aka the #OscarsSoWhite show, saw downticks in the demo and total viewers.

Oscars ratings for years have been weighed down by the Academy’s tendency to honor movies that few television viewers have seen. That practice continues this year, with a best-picture field of “Call Me by Your Name,” “Darkest Hour,” “Dunkirk,” “Get Out,” “Lady Bird,” “Phantom Thread,” “The Post,” “The Shape of Water” and “Three Billboards Outside Ebbing, Missouri.” Crowd-pleasing blockbusters like “Wonder Woman” didn’t make the cut.

With a lack of fan appeal and a gloomy historical trend line, the pressure is on Jimmy Kimmel and the producers to beat expectations and avoid the ratings disaster that befell the Grammys.

‘The Bachelor’ Recap: Arie Luyendyk Jr. Gets Serious, Krystal Drama Escalates

SPOILER ALERT: Do not read if you have not yet watched “The Bachelor” episode from Monday, Jan. 29.

Week 5 on “The Bachelor” means that it’s down to 12 women competing for Arie Luyendyk Jr.’s final rose, with the group heading to Fort Lauderdale, Fla. for this week’s dates. Coming off of last week’s episode, tensions are high among the contestants, largely because of Krystal and Luyendyk choosing to give Bekah M. a rose despite their 14-year age difference.

This week started off with a one-on-one for Chelsea, the 29-year-old single mom who landed the first impression rose on the first night. The two spent the day on the water — starting on a yacht and then riding jet skis around the beach while the other girls watched from a telescope at the hotel.

“I’m on a dream boat, but I’m also with a dreamboat,” Chelsea declared, before she and Luyendyk made out on a jet ski in the middle of the bay. Romance!

At dinner, the two talked about Chelsea’s ex leaving her when their son was six months old, and Luyendyk gave her the rose. Even though she seemed like an early frontrunner and possible villain, Chelsea has definitely fallen back in the race for the Bachelor’s heart and been overshadowed by Krystal. She made it through to next week, but she doesn’t seem to capture Luyendyk’s attention like some of the others do.

‘The Bachelor’ Recap: Arie Luyendyk Jr. Faces ‘The Bekah-ning’

Arie Luyendyk Jr. on Life After ‘The Bachelor,’ Possible TV Wedding, #MeToo Movement

During the date, Maquel returned, bringing the contestant pool back up to 13. (She had previously — and temporarily — left the show two weeks prior when her grandfather died.)

For this week’s group date, “Bachelor” producers decided to send the contestants on one of the most low-budget outings in recent history — to a bowling alley. Apparently, as Luyendyk said, “In Arizona, when we want to have fun, we go bowling.” Highly doubtful that the Bachelor spends much of his free time knocking down pins, but OK.

The girls fawn over Luyendyk while drinking pitchers of beer, and then they separate into two teams to compete in a high-stakes bowling match. The Krystal-led team came out the winner, meaning that the opposite team, led by Bekah M., was supposed to return to the hotel for the rest of the date. After Krystal’s gloating rubbed everyone the wrong way, Luyendyk decided to keep the losing team of girls around for the rest of the night. What a giver!

Krystal, on the other hand, was outraged that he “went back on his words” and included the other girls in the afterparty. She got so angry she decided to leave the date and told the girls she had all of her bags packed, saying, “I felt he was disrespectful to team blue” and didn’t know if she could trust him as a life partner. When the party started without Krystal, Luyendyk went back to the hotel and checked on her, essentially playing right into her plan.

The two talked, as the Bachelor warned her that “small things in this environment can turn into big things outside of it.” He told her to stay in the room for the night, saying in his solo interview that even though he had strong feelings for her, this made him question everything.

Back on the date, Becca K. got special one-on-one time when Luyendyk took her to his hotel room, and he also still continued to show strong feelings for Bekah M. As the night neared its end, Krystal reappeared at the party for another confrontation with the Bachelor but again went back to her room after fighting with the women and didn’t speak to him. Lauren B. (who looks shockingly like winner Lauren B. from Ben Higgins’ season) got the date rose.

The second one-on-one of the week went to Tia, the 26-year-old physical therapist, who appears to be one of Luyendyk’s favorites. In a “country date for a country girl,” the two took an airboat ride through the Everglades, spotting alligators in the swamp and stopping to eat frogs. Chelsea got a yacht, and Tia got a swamp boat — seems a little unequal…

At night, the two talked about faith, family, and Tia’s desire to get out of Arkansas. She also was the first one to tell Luyendyk that she was falling in love with him, and was given the rose in return. Even by “Bachelor” standards, that was a fast declaration, but the two do seem to have a deeper connection than he has with most of the other women.

“I’m feeling really great about our connection and our relationship because it is so beyond anything I’ve ever felt before,” she said in her solo interview. “I feel like he’s falling for me like I’m falling for him.”

At the cocktail party, Krystal continued to fight with the other contestants and she declared she’s “done” with trying to get along with them. In her one-on-one time with Luyendyk, he told her that they had taken a few steps back this week and was surprisingly tough on her when she tried to explain her behavior.

“It’s our first fight,” she said — to which he responded, “It could be our last fight.” Go Arie!

Despite talking a big game and not seeming to fully be forgiven, though, she still ended up with a rose.

“If the girls thought I was a threat before, well, watch out ladies,” she promised.

Maquel, Ashley and Marikh were eliminated during the rose ceremony, bringing the total to 10. Bekah M., Becca K. and Tia appear to remain frontrunners, with Lauren B. gaining ground and Krystal falling fast.

The previews for next week show the group heading to Paris, with Krystal and Luyendyk struggling to move forward. One can only hope Week 6 will be her last.

“The Bachelor” airs on Mondays at 8pm on ABC.

ITV’s French Banner Tetra Media Studio Readies ‘Subutex,’ ‘Cold Feet’ Remake (EXCLUSIVE)

Tetra Media Studio, the company behind such hits as World War II drama “A French Village,” the procedural “Profilage” and thriller “Les Hommes de l’Ombre” (“Spin”), is developing a flurry of ambitious French-language series.

Acquired a year ago by ITV Studios, Tetra Media Studio groups together seven production labels, notably Tetra Media Fiction, Beaubourg Audiovisuel, Macondo and Gedesel. The company is presided over by Jean-François Boyer and headed by managing director Sébastien Borivent.

Tetra Media Fiction is currently producing “Vernon Subutex,” the series adaptation of Virginie Despentes’s bestselling novel. Ordered by French pay-TV service Canal Plus, “Vernon Subutex” will be directed by Cathy Verney and is set to start shooting in March in Paris with Romain Duris starring in the main role. Emmanuel Daucé at Tetra Media Fiction is producing with Juliette Favreul Renaud and Estelle Sanson at Paris-based banner 27.11 Production.

“The dark comedic tone and format of ‘Vernon Subutex’ will be innovative for French TV,” Boyer said. “There are very few half-hour comedies in France.”

ITV Buys Into Production Company Set Up by ‘The Killing’ Producers

Strong ITV Studios Performance Offsets Revenue Decline at British Broadcaster

Tetra Media Fiction is also developing the local adaptation of ITV’s “Cold Feet” (pictured), the long-running comedy-drama series created by Mike Bullen about three couples experiencing the ups and downs of romance. The French remake, titled “Une belle histoire,” is being written by Frederic Krivine, the co-creator and showrunner of “A French Village.” Comprising eight one-hour episodes, “Une belle histoire” will focus on three couples who are in their 20s, 30s and 40s.

“It’s a dark-humored, romantic comedy series whose running theme is: What are we willing to give up to make our relationship last?” said Boyer, who added that the show will be edgy enough to lure younger audiences.

“Having access to successful ITV formats like ‘Cold Feet’ is one of the great bonuses of being part of ITV,” Boyer said. “When I bought Tetra Media in 2004, I started giving more power to creators and auteurs, and over the years we have formed fruitful relationships with talented writers and directors.”

The exec said he also started giving Daucé, the producer of “Village Francais” and “Vernon Subutex,” a 20% split on series’ profit margins.

Tetra Media Fiction is also developing with Fabien Nury a period series about the creation of the first police squads in France, which were nicknamed Brigades du Tigre (“The Tiger’s Brigades”) after Georges Clemenceau in the early 1900s. Nury is the popular comic book artist (along with Thierry Robin) of “The Death of Stalin,” which was adapted into a feature film and has earned two BAFTA nominations.

As part of the acquisition, ITV has started representing international rights to Tetra Media Studio’s programs (apart from animated series, which are handled via Tetra Media Studio’s in-house sales banner Kids First), which Borivent sees as a major boost. “ITV is giving us the creative independence and autonomy we need, and at the same time they are giving us, through their powerful sales team which comprises 120 executives, a global presence,” Borivent said.

Boyer said Tetra Media Studio is open to English-language series as long as shooting in English makes sense creatively rather than just economically. The producer mentioned “Pharaoh,” an epic series set in Ancient Egypt and developed by John Milius, co-creator and exec producer of “Rome,” as one internationally driven project which he would like to jump-start. “Pharaoh” was shelved a few years ago as Milius’ health did not allow him to pursue work on the series.