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Tim Cook Paid $25 Million for “CODA” So No Surprise He Turned Up at Today’s AFI Luncheon

Roger Friedman
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Tim Cook Paid $25 Million for “CODA” So No Surprise He Turned Up at Today’s AFI Luncheon

Some people at today’s AFI luncheon in Beverly Hills wondered why Apple chief Tim Cook was in the room?

Answer: he paid $25 million for “CODA,” and part of the deal was getting a cold roll and a hard chair at a long afternoon luncheon.

The crowd applauded him and for good reason: Cook and Apple are now players in the film business. Apple might become the first streaming service to win Best Picture.

Many potential AFI lunch buddies were absent, having gone to London for Sunday’s BAFTA Awards. But among the film people, Steven Spielberg with his “West Side Story” stars Ariana DeBose and Rita Moreo, and Guillermo del Toro with his “Nightmare Alley” star Bradley Cooper were the biggest names, along with Jane Campion and “Power of the Dog” gang, plus Andrew Garfield, a stunning, gray haired Andie McDowell, and lots of TV people from shows like “Succession” and “White Lotus.” But conversely, plenty of the TV people didn’t show, as they were working. The event was postponed from January, which lessened its impact.

Also not present: actors and directors from the movies snubbed by the AFI including “Being the Ricardos,” “The Eyes of Tammy Faye,” “The French Dispatch,” and “Respect.” There was no sign of anyone from “The Tragedy of Macbeth,” as well.

On the plus side, Morgan Freeman made an appearance as the voice of God.

Keith Richards Steals the Show as Love Rocks Raises $3 Mil for God’s Love We Deliver

Roger Friedman
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Keith Richards Steals the Show as Love Rocks Raises $3 Mil for God’s Love We Deliver

Yes, that was the remarkably resilient Keith Richards on stage last night at the Beacon Theater.

Keef helped Love Rocks’ John Varvatos and Greg Williamson raise $3 million for God’s Love We Deliver. Reuniting his X-Pensive Wino’s (Ivan Neville, Steve Jordan and Waddy Wachtel)  for the first time 30 years, Keith drove the crowd crazy with three songs: “999”, a blues-drenched “You Got the Silver” and the rockin’ “Before They Make Me Run.”

Other artists who took the stage included Mavis Staples, Hozier, Warren Haynes, Ben Harper, Melissa Etheridge, Allison Russell, Larkin Poe, Tyler Bryant, David Shaw (of The Revivalists), Anders Osborne, Celisse, Jimmy Vivino, Maggie Rose and Connor Kennedy, and Music Director and Bandleader Will Lee.

Hosts included Mario Cantone, Steve Schirripa and Michelle Buteau with surprise host Bill Murray and a special guest appearance by Laurence Fishburne.

One of the most inspiring moments of the evening came when Karen Pearl, President & CEO of God’s Love We Deliver, announced from the stage that the board and staff of the organization are giving half of all donations raised via text-to-give during the concert to support food and hunger relief for the Ukrainian people.

A big highlight: Mavis Staples reprising her Staples Singers hit, “I’ll Take You There,” which had the exhilarated crowd singing and dancing along, including fellow performers Hozier, Allison Russell and Michelle Buteau who joined the audience, and shouting for “more Mavis!” when she finished.

Thursday Ratings: “Law & Order SVU” Trounces “Grey’s,” “Organized Crime” Loses 30% of Lead In

Roger Friedman
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Thursday Ratings: “Law & Order SVU” Trounces “Grey’s,” “Organized Crime” Loses 30% of Lead In

I told you this week that “Law & Order Organized Crime” is having serious problems.

Last night the Chris Meloni procedural lost 30% of its lead in from “SVU” when it came on at 10pm. “SVU” had 4.3 million viewers. “OC” had just 3 million.

“SVU” beat its main competition, “Grey’s Anatomy,” handily, too. “Grey’s” is way under 4 million at this point. So many cast members have left, to be replaced by cheaper newcomers, that “Grey’s” has shaken off its audience bit by bit.

The returned classic “Law & Order” notched just over 4 million viewers and tied or did a bit better than CBS’s “Bull,” which is closing up shop soon.

But the “SVU”- “OC” problem persists. The latter show is going to be overhauled for the fall. First, however, they have to get through the end of this season. NBC PR sent Meloni onto “The View” this week all cleaned up and looking like the Elliot Stabler of old. That was good for him, but the show is unwatchable.

To that end, as I told you a few days ago, “OC” will feature Dann Florek, superstar of the “SVU” alumna, in a special May episode. They’re trying to reconnect Stabler to his former world.

Here’s a little exclusive: according to insiders, we will never ever see a standalone “OC” at 10pm without a new “SVU” preceding it. “OC” cannot survive on its own. So the two shows have to be in lockstep production-wise.

More to come…

Emma Thompson Took Off All Her Clothes for Nothing: Disney Sending “Leo Grande” to Hulu, Not Theaters

Roger Friedman
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Emma Thompson Took Off All Her Clothes for Nothing: Disney Sending “Leo Grande” to Hulu, Not Theaters

Emma Thompson bares all in “Good Luck, Leo Grande.” She plays a widow who hires a charming sex worker to rev up her love life in this offbeat Sundance comedy.

And the award winning actress literally does take it all off in a brave scene that underscores her character’s transition back into the world of the living. Thompson could easily have gotten an Oscar nomination if “Leo Grande” were handled properly.

But Disney and (Fox) Searchlight have decided to chuck “Leo Grande” and bypass theaters alrogether. They’re sending it to Hulu on June 17th, where this gem directed by Sophie Hyde and written by Katy Brand, will go to die.

“Leo Grande” (the sex worker is played by Daryl McCormack, who’s terrific) got raves at Sundance. I gave it a very positive review. In the days when independent films meant something, it would have been a substantial art house hit. There would certainly be a lot of press about it, enough to get smart people into theaters.

I feel bad for all the filmmakers, especially Thompson. They all deserve better, starting with this two time Oscar winner. It’s more than likely that the Academy will go back to theater- only eligibility for the next season, thus setting “Leo Grande” adrift in the world of the Emmys, maybe, and then out to sea.

Searchlight is sending two more films to Hulu as well: a gay rom com called “Fire Island” and a summer throwaway called “Not Okay.” What they’ve done to Thompson is certainly “not okay.”

Ryan Reynolds Getting Rare Bad Reviews and Low Audience Interest for New Film, “The Adam Project”

Roger Friedman
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Ryan Reynolds Getting Rare Bad Reviews and Low Audience Interest for New Film, “The Adam Project”

So far, “The Adam Project” is lucky it’s not in movie theaters today.

Ryan Reynolds’s newest film is getting panned on Rotten Tomatoes– 69% total and worse among “top Critics” on Rotten Tomatoes. It’s been skewered by reviewers from Time, Rolling Stone, the Financial Times, and even TV Guide.

David Rooney wrote in the Hollywood Reporter: “The result is neither funny nor thrilling, just exhausting.”

Shawn Levy directed this piece about a man who comes from the future and interacts with his 10 year old self. Reynolds and Levy made a terrific movie last year, a box office hit in “Free Guy,” so they thought they’d try it again.

Alas, even audience interest is low, just 84%. Reynolds, who’s glib and verbally gifted, is more desired in “Deadpool” type adult movies than what’s perceived as a kid’s film.

Netflix had not one but two premieres in New York for “The Adam Project,” hoping to drum up interest. It hasn’t seemed to work. What remains to be seen is how the film will do on the platform. Will people sample it? That’s all you need to get “ratings” when you’re streaming.

“The Adam Project” was never placed in my Preview Content for reviewers, so I’ll have to wait and watch it on Netflix in the next few days after the Critics Choice and Directors Guild Awards are over. But it already has the feel of a movie you catch on a flight.

PS Netflix has so many Oscar-centric films this season — “Power of the Dog,” “Lost Daughter,” “Don’t Look Up” — they can afford to have one that doesn’t fit the mold.

Oscars: Watching “CODA” Actors in Action, They Communicate Their Movie Very Well to Audiences

Roger Friedman
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Oscars: Watching “CODA” Actors in Action, They Communicate Their Movie Very Well to Audiences

Here are in Hollywood, two weeks before the Academy Awards. All the movies are busy having screenings and Q&As for Oscar voters. Last night I wandered into one for “CODA,” the Apple film suddenly in the lead, perhaps, for Best Picture.

The screening was small, and it was held at the relatively new and futuristic Edition Hotel on Sunset Boulevard. No less a guest presence was in the house than the great actress Alfre Woodard, who was seeing the film for the third time, she told me.

The rest of the audience as a mix of different “below the line” types, music supervisors, and so on. And they were rapt. Sitting in a semi circle in front of the screen when the movie ended were some of its stars: Oscar winner Marlee Matlin (who seems to be glowing these days), Oscar nominee for this film– and likely winner– Troy Kotsur,  Daniel Durant, who plays the put upon brother (and Kotsur’s son), and the great Mexican comic actor Eugenio Derbez, the music teacher from the film who encourages the central character, Ruby (Emilia Jones) to pursue her dreams.

Also on hand was one of the great unsung producer heroes of film the last couple of decades, Patrick Wachsberger, of Lions Gate fame, and most recently movies like “La La Land.”

Consider that three of the panelists are deaf, and speak only through ALS interpreters. Once you see them in action, you understand how this group won the SAG Award for Best Ensemble cast among other prizes. Kotsur, Matlin, Durant, and Derbez are a knockout team: ingratiating, funny, enthusiastic and genuinely thrilled that people like their film.

I got it, and it was unexpected. This gang had the audience eating out of their hands. The guests were rapt. The cast surprised me with their directness about how the deaf acting community lives among the hearing, how they interpret what we– the hearing– blithely expect from them, and how they have forged ahead to have careers. “CODA”– an acronym which means Children of Deaf Adults — is a Big Idea movie of 2022.

Kotsur wears a flat wool cap with a brim indoors and out. He’s said it’s to cut the glare when reading lips. The  53 year old  lives in Arizona and has no connection to the hip Hollywood world. He’s tall and lanky and flaps around like Big Bird with gosh-hi grin from ear to ear. The women seem mesmerized by this charming, refreshing “nobody” who’s already bested the likes of Jared Leto, Bradley Cooper and Ben Affleck to get a nomination.

During the 2o minute talk, Durant, who’s already been on Broadway in the deaf version of “Spring Awakening” and was a regular on “Switched at Birth” on ABC’s Freeform, tells quite a story. Born in Detroit, he grew up in tiny Duluth, Minnesota. He was the only deaf kid in school and had an adult interpreter tagging behind him all day. He was the essential outlier, yet here he is, in an Oscar nominated Best Picture. His future seems assured.

And then there’s Matlin, who won the Oscar in 1987 for Best Actress in “Children of  a Lesser God” — her first acting role. It seemed like a one-off thing, but she has never stopped working in 35 years, and has been a trailblazer for the deaf community. She also somehow has not aged despite having four children! So look back at the Academy in 1987– She beat Jane Fonda, Sigourney Weaver, Kathleen Turner, and Sissy Spacek. You don’t think it at the time, but the Academy voters knew what they were doing!

“CODA” is on Apple TV, and playing in some theaters. It’s such a lovely movie, it’s almost too good to be true. Watch it now. You’ll be rooting for it on Oscar night.

Ripp Off: Billy Joel’s Early Career to Be Exploited on Screen by Sons of First Manager and Greedy Label Owner

Roger Friedman
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Ripp Off: Billy Joel’s Early Career to Be Exploited on Screen by Sons of First Manager and Greedy Label Owner

Exploitation of musicians is an old song, one that never ends.

Now a kid named Adam Ripp is going to write and direct a movie about Billy Joel. He has no rights to anything valuable and won’t get the hit music.

But Ripp’s father, Artie Ripp, was the guy who signed Billy to a record contract pre-“Piano Man.” The Ripp -off is that these people seem to feel they should get something out of that discovery. So they’re attempting to make a movie about Billy’s early career with his group, The Hassles, right up to the point when Clive Davis hears “Piano Man” and Joel’s world changes forever.

What a crappy idea. What a nasty thing to do. We’ve seen this before and it doesn’t work. Years ago, some people tried to make a Marvin Gaye movie without his music. It piffled out. This will, too.

Artie Ripp was a bad guy, a typical villain in the music biz. He signed Billy’s first record, “Cold Spring Harbor.” But it was mastered wrong and sounded like the Chipmunks. It’s a wonder Joel didn’t give up then. Ripp had signed him, at 22 years old, to a ten record deal. Billy got out of the deal by letting Ripp hold on to Joel’s song publishing until the mid 80s.

Now Artie Ripp says in a press release: “Billy Joel has been a part of my life since my father signed him to his record label when I was 4 years old; his music is ingrained in my DNA and it’s been a dream of mine as a filmmaker to explore and celebrate the untold story of how Billy Joel became the Piano Man.”

The Ripps have picked rights to the “life story” of Irwin Mazur, whose father managed the band The Hassles that Joel joined as a teenager. But the senior Mazur’s involvement stops before Billy becomes a star so really who cares? This is the worst kind of exploitation. Collaborating with the Ripps and Mazur is a so called “studio” in New Haven, Connecticut owned by B actor Michael Jai White. If someone did this to him, he’d be squawking like a chicken on every talk show.

Let’s hope everyone shuns this project and it doesn’t get made. And if by some chance it is made, it disappears into oblivion. (Or Lifetime.) Really– no one is afraid of karma anymore.

TV: “Mrs. Maisel” Wraps Up A Quick Season 4 with Strange But Brilliant Bids for Emmy Nods

Roger Friedman
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TV: “Mrs. Maisel” Wraps Up A Quick Season 4 with Strange But Brilliant Bids for Emmy Nods

SPOILERS INCLUDED SO BE CAREFUL!

Rose doing Midge’s act?

Moishe collapsing from bad news?

Midge and Lenny Bruce crossing a line?

The final two episodes of the short and odd Season 4 of “The Marvelous Mrs. Maisel” have dropped on Amazon Prime. Rather than release one per week so they could be savored, Amazon rushed the process with two at a time. Really, everyone’s going to have to go back and watch them again.

All the episodes had too much information packed into them. The main subplot– Midge working as a comic in a burlesque house — was so detailed and enormous that it alone requires more attention. Each one of these segments belonged in a big screen movie and will most certainly bring in awards for all the production staff.

But the big news (SPOILER ALERT) is that the Palladino’s made some decisions in Season 4 that really tip the balance between the fantasy and reality of “Mrs. Maisel.” Previously, Lenny Bruce played by Luke Kirby came and went like a visiting angel in Midge’s world. Was he even real? And being a real person from history with a load of baggage, how could he be integrated into the main story? The answer was, he shouldn’t be and wasn’t. He was more like a visage. And that made him special.

Now that magic has been disturbed. In an earlier episode this season, Midge brings a passed out Lenny to her apartment where he sleeps on the couch and mixes with her family. That alone seemed like a mistake. But now the season ends with Midge and Lenny crossing the line: they sleep together. Indeed, Midge sleeps with Lenny and with another, unidentified guy (played by Milo Ventimiglia) in short order.

The latter assignation makes no sense and has no plot purpose.except that Ventimiglia worked for the Palladino’s on “Gilmore Girls” and has down time from “This is Us” because his character is dead. But the whole encounter seems like a waste of time. The latter is a little jarring. The Lenny Bruce “character” worked as a cypher. He would be there for Midge when she needed him. Well, now he’s really been there. Luckily Kirby is so good that he triumphs– not in bed, but on stage at Carnegie Hall where he recreates the real Lenny’s February 1961 show rather brilliantly. He’ll win some awards for that.

The Palladino’s seem to have constructed episodes 7 & 8 to get their actors big moments. It’s obvious,but it works. Rose is hypnotized (by Susie’s weird magician,who looks like a hippie out of place in 1961) and goes on stage to repeat Midge’s entire act. It’s a moment for Maren Hinkle, she pulls it off. Caroline Aaron’s Shirley gets to show a softer side when Moishe (Kevin Pollak) has heart attack. Oh, yeah, that happens because Joel tells him he has a Chinese girlfriend who’s pregnant. Pollak drops almost dead like a pro.

There’s something off kilter about Season 4. The Palladino’s strayed from a plot. They lost the thread of Midge’s career in service of letting all their lovable characters have these moments. Season 3 was so well constructed that I expected more when they all returned– how Midge and Susie would dig out of the Shy Baldwin mess was something I looked forward to. But no progress is made in that regard. Susie becomes Broadway Danny Rose, entertaining eccentrics in her Times Square office. When Midge turns down the chance to open for Tony Bennett — she refuses to be an opening act — it doesn’t makes sense.

But the overall feeling is still there. The “Maisel” world is its own nostalgic fantasy, and we sure need it right now. With only one more season, I hope the Palladino’s can get organized to deliver a satisfying ending to Midge’s crusade. I think they will and in the meantime, getting lost in Season 4 is a welcome relief antidote to Ukraine and COVID.

 

 

No Time to Die, No Time to Show Up: Pop Star Billie Eilish Wins Award for Best Song But She’s in Alabama

Leah Sydney
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No Time to Die, No Time to Show Up: Pop Star Billie Eilish Wins Award for Best Song But She’s in Alabama

The Society of Composers and Lyricists had their third annual Awards dinner Tuesday night, not the dreaded “V’ word, meaning virtual but in person and the SCL thankfully did everything right! The evening was beautifully paced with the awards and truly artistic musical numbers and videos. It was also the perfect storm of a setting for complaining about the Academy Awards moving the Best Score category out of the main show this year. No one restrained themselves from chiming in.

The evening began with composers Diane Warren, singer Siedah Garrett, songwriter Jeymes Samuel, (“The Harder They Fall,”  and Seal’s brother in case you didn’t know,) hobnobbing with each other along with SCL president Ashley Irwin.

Aloe Blacc hosted the show, and of course started in on the Academy Awards who have made the still controversial choice of not televising best score, along with 7 other categories, at the Oscars.  He welcomed the crowd and quipped calling it “an awards show so great we actually honor them live.” He then noted “80 musicals having been released over the past five years, 77 of which were made by Lin-Manuel Miranda!” Lin, alas, was not there.

The event did gain a serious note when winner “Encanto” composer Germaine Franco asked for a moment of silence in support of Ukraine.   Irwin did speak about the unfairness of having the scores cut from the Oscars.  The SCL showed a video montage of music scores and songs through the decades that was literally brilliant and that was Oscar worthy.  Oscars, this is what audiences love!

Carter Burwell was honored with The Spirit Of Collaboration Award along with Filmmakers Joel Coen and Ethan Coen.  Burwell, when he’s not scoring a movie (over 100 now) is a volunteer fireman on Long Island.  He has given out a quick congrats shout out by Trevor, a fireman from Amagansett, in the Hamptons, joking,  “fireman can be curt.”

Burwell talked about how being a volunteer fireman was his way of de-stressing ironically from the pressure of composing films.  He then conducted a beautiful rendition of his work.  But not before he got his one dig in.  “Joel, Ethan and I are New Yorkers, they couldn’t be here but in case there are any other New Yorkers, I’m going to translate Ashley’s speech for you…” Fuck the Academy Awards!” Burwell spoke eloquently about his collaboration with the Coens.  He described it as “threads knotted together that connects to others.  As Orson Welles said, it takes an army to make a film and we all know that it sometimes takes an army to make a score.”

Congrats SCL on a truly spectacular, classy and thankfully in person event!

PS Best song went to Billie Eilish and her brother, Finneas, for “No Time to Die.” They had no time to attend, however. They were doing a gig in Alabama.

Winners below.

3rd SCL AWARDS 2022 – Winners in Bold

 

 

OUTSTANDING ORIGINAL SCORE FOR A STUDIO FILM:

 

Germaine Franco             ENCANTO                                     Walt Disney Pictures

Nicholas Britell                  DON’T LOOK UP                            Netflix

Hans Zimmer                    DUNE                                             Warner Bros.

Alexandre Desplat             THE FRENCH DISPATCH                 Searchlight Pictures

Jonny Greenwood              THE POWER OF THE DOG              Netflix

 

 

 

 

OUTSTANDING ORIGINAL SCORE FOR AN INDEPENDENT FILM:

 

Daniel Hart                     THE GREEN KNIGHT                     A24

Kubilay Uner                     AMERICAN TRAITOR:                     Vertical Entertainment

                                         THE TRIAL OF AXIS SALLY

Rachel Portman                 JULIA                                             Storyville Films/CNN

Alberto Iglesias                  PARALLEL MOTHERS                    Sony Pictures Classics

Jonny Greenwood               SPENCER                                       Neon/Topic Studios

 

OUTSTANDING ORIGINAL SONG FOR A MUSICAL/COMEDY:

 

Nicholas Britell                “Just Look Up”                                 Netflix

Ariana Grande                 DON’T LOOK UP

Scott Mescudi

Taura Stinson

Jamie Hartman                  “Here I Am (Singing My Way Home)” MGM/United Artists

Jennifer Hudson                 RESPECT

Carole King

Amie Doherty                    “Fearless”                                         Dreamworks Animation

                                        SPIRIT UNTAMED

Kris Bowers                       “Together All the Way”                      Netflix

Siedah Garrett                   DEAR WHITE PEOPLE

Lin-Manuel Miranda          “Home All Summer”                           Warner Bros.

                                        IN THE HEIGHTS

OUTSTANDING ORIGINAL SONG FOR A DRAMA/DOCUMENTARY

 

Billie Eilish                       “No Time To Die”                            MGM/United Artists Releasing/ Eon

& Finneas O’Connell          NO TIME TO DIE

Diane Warren                    “Somehow You Do”                           Vertical Entertainment

                                         FOUR GOOD DAYS

Rufus Wainwright               “Secret Sister”                                  Discovery+

                                         REBEL HEARTS

Diane Warren                    “(Never Gonna) Tame You”               Virgil Films

                                        THE MUSTANGS:

          AMERICA’S WILD HORSES

Shawn Carter                    “Guns Go Bang”                                Netflix

Scott Mescudi                    THE HARDER THEY FALL

Jeymes Samuel

 

 

OUTSTANDING ORIGINAL SCORE FOR TELEVISION:

 

Cristobal Tapia de Veer   THE WHITE LOTUS                        HBO

Natalie Holt                      LOKI                                              Disney+

Jung Jae-il                         SQUID GAME                                 Netflix

Nicholas Britell                  SUCCESSION                                  HBO

Christophe Beck                 WANDAVISION                              Disney+

 

OUSTANDING ORIGINAL SCORE FOR INTERACTIVE MEDIA:

 

Hildur Guđnadóttir               BATTLEFIELD 2042                    Digital Illusions CE

& Sam Slater                                                                         Electronic Arts

Austin Wintory                   ALIEN FIRETEAM ELITE              Cold Iron

Germaine Franco               KUNG FU PANDA:                        Universal Beijing Resort

                                        LAND OF AWESOMENESS            & Dreamworks Animation

DAVID RAKSIN AWARD FOR EMERGING TALENT:

Stephanie Economou        JUPITER’S LEGACY                      Netflix

Joy Ngiaw                         BLUSH                                         Apple TV+

Anne-Kathrin Dern             THE CLAUS FAMILY                     Netflix

 

 

THE SPIRIT OF COLLABORATION AWARD

 

Composer Carter Burwell and Filmmakers Joel Coen & Ethan Coen

TV: Nick Cannon’s Talk Show Gets Swift Cancellation After Just Six Months, Jerry Springer’s Judge Show Cut Too

Roger Friedman
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TV: Nick Cannon’s Talk Show Gets Swift Cancellation After Just Six Months, Jerry Springer’s Judge Show Cut Too

The world of TV syndication is tough, kids.

Nick Cannon’s talk show began last fall and never garnered more than 500,000 viewers. On most weeks it was 400,000. And now the show has been cancelled by Debmar Mercury Productions in March,. They clearly see that no one else is coming to the audience.

Cannon’s show was postponed for a whole season after his anti-Semitism scandal got him temporarily fired by Viacom and MTV. Cannon went on a big PR campaign to win back Hollywood executives, dragging in a rabbi and so on to his podcast. But he never really disavowed Louis Farrakhan.

Why did Debmar Mercury go through with it? Maybe they had to contractually. But there was no promotion and little interest when the talk show debuted. Cannon himself made headlines when he announced his 2 month old son had died. Then came the announcement that he was expecting an 9th child with another woman. The first part was tragic, the second part was, uh, something else. But this is not what draws in an afternoon audience.

Debmar Mercury has had other issues this season with “The Wendy Williams Show.” The host disappeared, guest hosts had to come in, and now it will be retitled “The Sherri Shepherd Show.” So how much mishegos can you deal with in one season? Especially when you have new heavy hitters like Jennifer Hudson coming in September.

Also cancelled is Jerry Springer’s “Judge Jerry” show which made a mockery of the already questionable court shows. That Jerry Springer and his ilk are still on TV is a sad comment on feeding the public piles of garbage. It’s beneath McDonald’s, and that’s saying something.

More cancellations are going to come as the syndie world is not sustainable at low audience levels. “Drew Barrymore” may be next to go. She hasn’t risen above 500,000 viewers in almost two seasons. CBS has tried everything since they own the show, but even putting Drew on “60 Minutes” wouldn’t save her from competition with Kelly and Ryan at 9am.

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