Netflix has announced a deal with The Walt Disney Company that will give the online streaming provider a period of exclusive rights to Disney movies in the United States. The agreement means that new release Disney films, having finished their theatrical run, will stream on the online provider before they move to television.

From 2016, all new live-action and animated films, including theatrical and direct-to-DVD releases, will be available on Netflix streaming for an unspecified period. Historically, premium channels such as HBO and STARZ (who hold the Disney rights until the end of 2015) exclusively screen films for up to three months before they become available to non-premium channels.

The deal means some of the biggest franchises in Hollywood will be available on Netflix first, including new Star Wars films, Marvel superhero movies, and Pixar films. An additional deal signed between Netflix and Disney, which is already in effect, opens up the famed Disney vault, bringing classic films such as Pocahontas and Alice in Wonderland to Netflix.

“Disney and Netflix have shared a long and mutually beneficial relationship and this deal will bring to our subscribers, in the first pay TV window, some of the highest quality, most imaginative family films being made today,” said Ted Sarandos, Chief Content Officer at Netflix. “It’s a bold leap forward for Internet television and we are incredibly pleased and proud this iconic family brand is teaming with Netflix to make it happen.”

In addition to Disney, Hasbro has also announced a new content partnership with the online streaming provider. The expanded multi-year content deal will add new children’s programs including My Little Pony: Friendship is Magic, Transformers: Rescue Bots, and Littlest Pet Shop. The entire season of these shows will be available one month after their season finale airs on The Hub Network.

The deals with Disney and Hasbro follow Netflix’s deals with smaller studios, including DreamWorks Animation, Relativity Media, and The Weinstein Company. In fact, Netflix is already looking to the future with DreamWorks. The two companies have created a new original program together, an animated series called Turbo F.A.S.T., that is set to debut this fall.

As it stands, Netflix is positioning itself as the number one place to stream content. Between all the deals it currently, it will be the first choice for viewers under the age of 18 and families looking for wholesome entertainment. If the recent box office success of The Avengers and Iron Man 3 are a sign of things to come, and new Star Wars films are as successful as they have been in the past, Netflix will hold the rights to some of the biggest films of the decade. And it’ll be the only place to see them.

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The worst part of being an avid TV-watcher is getting into a show only to have it mercilessly cancelled by a network. You don’t care if your favorite cast is bringing in advertising dollars—you just want to know what happens next. Such is the TV game, and this season is no different.

The major networks have all cancelled TV shows leading into fall—some of your favorites might not have made the cut. Let’s say goodbye and good luck to some of our favorites that are gone before their time.

Happy Endings, ABC: This ensemble comedy about six friends in Chicago (no, don’t compare it to Friends) was critically acclaimed by the likes of The Huffington Post and The Frisky, but none of that paid for a prime time slot. Happy Endings was bumped from Wednesday to Friday—a kiss of death considering the show’s target audience—to Sunday. After three seasons, Brad, Jane and the gang got the ax. But don’t cry just yet! According to industry news, ABC is in talks with USA Network to save the show.

Smash, NBC: Another victim of poor time slotting. The Friday-night Broadway fest originally did well in first-season ratings, but it never could quite nab the same attention during the following seasons, with a huge 71 percent drop from initial ratings. I guess we’ll never know whether Ivy or Karen was the reigning queen bee.

Rules of Engagement, CBS: To be fair, it seemed like CBS kept Rules of Engagement around for seven seasons as a perpetual schedule fixer, plugging the show into different time slots whenever there was a hold. Still, the last season premiered with healthy, if not robust, numbers of 9.4 million viewers. Unfortunately, the show couldn’t keep up the momentum, so David Spade will be pounding the pavement and looking for another regular gig. We’re not worried about Patrick Warburton though—he’ll always have voice-over work.

Up All Night, NBC: In a broadcasting first, it was one of the stars of the show who effectively pulled the plug on her own cast. Christina Applegate, who played Reagan, announced that she wouldn’t be coming back for a third season, citing creative differences stemming from the show’s future course. The producers floundered for a while and there were rumors that they might still hang on—the show was still doing well in ratings—but it couldn’t be saved.

Go On, NBC: The Friends curse strikes again! Most of the cast have had to deal with cancelled TV shows following the mega-hit Friends. While Matthew Perry did find a little success with his comedy Go On, the momentum just wasn’t there. It was a funny show and had excellent characters, but never really gained traction without a lead-in from ratings smash The Voice. NBC canceled most of their newer comedies, including 1600 Penn, Whitney, and Guys with Kids, and is rumored to have an entirely new comedy ready for fall—let’s hope it does better than the last round.

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Canadian actor Peter Mooney discusses his role as new cop Nick Collins on Rookie Blue in an exclusive CableTV interview.

Q: What was your take on the season three finale, with Nick deciding to go undercover?

Mooney: Dun, dun, dun. I have to say, in Nick’s defense, he thought Gail (Charlotte Sullivan) was going to France. So, its not like he totally took off. In that scene, it’s very subtle. I think the writers did a very good job with Nick and Gail going through the files. It’s a very subtle kind of goodbye that happens in that scene because, at that point, he has already decided to go. So as an actor, it was really exciting for me because it left so much open for coming back in season four and what that story line would be.

Q: Were you surprised that a lot of fans were kind of disappointed with the finale, or sad now thinking Nick and Gail might be broken up for season four?

Mooney: No, I love that. It’s the biggest compliment to me when people get involved in the show. When people are rooting for something or are heartbroken, or they really want people to work out. I love that kind of involvement. We pick up season four six months later, at the tail end of the undercover operation. At the end of the episode we are heading back to 15 Division, so there is going to be some Nick and Gail drama unfolding pretty quickly.

Q: How was it for you joining the cast later in the series?

Mooney: It was daunting coming in, but from the first minute it felt super natural. The cast is amazing and everyone was so welcoming. I have since become really good friends with the cast. It didn’t feel closed off, it felt super open and welcoming. It was really, really easy. You probably get some variation of the answer from actors a lot, but I bet they’re lying a lot of the time. [Laughs] I could say honestly that was the experience, everyone was just amazing coming on.

Q: What’s the relationship between Andy (Missy Peregrym) and Nick for season four?

Mooney: Well, when we come back, they have spent these six months together. They become really, really close friends. They have been living and posing as a couple. They have been in really close quarters, completely closed off from everyone else. They have become extremely close. So, that highlights things and complicates things in a whole other way. It’s not super straightforward coming back to 15 Division.

Q: Obviously viewers don’t know what’s going to happen, but they sense that Andy and Sam (Ben Bass) are going to get together and Nick and Gail are going to get together. How does it feel as an actor to be heading towards that, but then have it switched up like in the season three finale?

Mooney: That’s such a good question. For me, that’s a really specific thing that I love about working on this show. The way you prepare is that you constantly have to stay open and flexible. The writers are great and they are very open and maintain a dialogue with us and we go back and forth. There are constant challenges and new things for us and our characters. As the season goes on, we sometimes get the scripts a day or two before we start the episode. So we are experiencing filming the show not all that differently from the way the audience is experiencing watching it. There are twists and turns and surprises for us. It’s great as an actor, it’s an amazing and really fortunate thing to stay alive and have to be responsive to that. Because you don’t really know. There is an idea of what the arc might contain, but within that there’s a lot of surprises and things none of us would have seen coming. I don’t know if you remember the episode where Gail gets kidnapped, but even we were all playing detective on that. We were all trying to solve it.

Listen below as Peter Mooney talks more about episodes, who is the funniest on set, and Rookie Blue fans.

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Every network is looking for ways to get viewers more involved in their favorite shows and, now that tablet devices are competing with televisions for attention in the living room, “second screen” initiatives are playing a big part. Second-screen technology, the use of a tablet or smartphone while watching television, lets audience members become a part of the show as they interact in real time.

NBC is hoping its new game show, The Million Second Quiz, will have viewers glued to their tablets and their TVs when it debuts this fall. Billed as the first fully convergent television experience, the 24-hour a day contest (running for 12 days) features a one-hour show airing in prime time each night, with viewers able to watch a live stream at all other times and play along from the show’s app and website.

Contestants test their knowledge and endurance from an hourglass-shaped set in the middle of Manhattan. By answering correctly, each contestant has the chance to move to “Winners’ Row”, though they must fight to stay there as new competitors enter the structure. The daily prime time show features the top four “Winners’ Row” contestants of the day competing for a total cash prize pool of $10 million.

During the screened one hour, NBC will surprise participating home viewers that have won a trip to compete on the show in New York. And in a move designed to keep people watching even when the commercials are on, viewers can answer questions about the ads for bonus points. NBC promises the questions themselves will be up-to-date and topical, offering a major advantage over other quiz shows that are filmed weeks before they air.

NBC is hoping for similar second-screen success as other networks. AMC has its popular “Story Sync” feature for The Walking Dead and Breaking Bad, which is an app that offers behind-the-scenes clips, bonus footage, trivia, polls and viewer chat during premiere screenings of episodes. Fox has a similar second screen offering for programs including The Following and Bones.

Social TV and second-screen technology add additional layers of media to a traditional broadcast, though no-one has tried to keep viewers engaged for 24-hours a day before. Giving viewers ways to interact with a show outside of traditional broadcasting is helping to keep television alive in a downloading, DVR-ing and streaming world. While second-screen technology is still in its infancy, The Million Second Quiz offers a look at what the future of television interactivity can be.

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Can you remember the last good TV miniseries you saw? I can. It finished airing on the Sundance Channel last week, and it was called Top of the Lake. Starring Elisabeth Moss, the gifted actress who portrays Peggy Olsen on Mad Men, and created and directed (with Gerard Moss) by legendary filmmaker Jane Campion (The Piano, Bright Star), this thing packs a punch. If you think this is going to be one of those Hallmark Special Presentations, you will be horrified. It tells the story of Robin, a tough police detective, who returns home from Australia to her hometown of Laketop, in rural New Zealand. She quickly becomes embroiled in a mystery regarding the sudden disappearance of a 12-year-old possibly pregnant girl. Robin is tough as nails, a true survivor, and takes on the local creeps in a way everyone else seems too terrified to do. Suffice it to say — it’s awesome. Think Girl With the Dragon Tattoo meets Twin Peaks.

When I think of miniseries, I think of Roots, an adaptation of Alex Haley’s novel about slavery that starred that guy from Reading Rainbow and Star Trek: The Next Generation (Lavar Burton, the one with the cool sunglasses). I think of them as a thing of the past, but they are making a comeback.

The History Channel won a whole bunch of Emmys for Hatfields & McCoys (5 wins and 16 nominations), the true story of a family feud that began when a Hatfield was murdered by a McCoy. The show was set on the border of Kentucky and West Virginia in the years after the Civil War and starred Kevin Costner and Bill Paxton. They followed that up this year with The Bible (really guys, just a miniseries?), which garnered attention after the actor who portrayed Satan was said to look suspiciously like President Obama and which was watched by over 10 million viewers each week.

Then came an announcement in March that FX was going to split its programming when it launched two new channels, FXX and FXM. The flagship channel was going to lose their hit comedy lineup (It’s Always Sunny in Philadelphia and The League) and replace those shows with “miniseries and limited series (a limited series is a miniseries that’s 2 or 3 seasons long).”

At first I thought it sounded like a terrible idea, but then I started thinking about the experience of watching Top of the Lake. When you complain about your favorite show, what’s the thing you usually say? I know what I say. “What happened? This used to be so good. Now, it just feels like a bunch of stuff that occured after the real story ended.”

This didn’t happen for me with Top of the Lake. It can’t. It’s already over. It was perfect. It had a beginning, a middle, and an end. When it felt like someone would die, they did. The writers didn’t have to worry about keeping someone around for next season. There is no next season.

Writers think in terms of story. Stories are supposed to have a beginning, a middle, and an end. But TV has gotten us used to a story that just keeps going until one day, without fanfare or resolution, it’s canceled. What have we been watching it for? We feel cheated. With a miniseries, or a limited series, we are guaranteed an ending when we sit down for the premiere. And when it’s over, it ends with a satisfying thud. THE END. I could get used to that.

After many rumors, MTV has finally confirmed it will turn Wes Craven’s Scream movie franchise into a television series. The announcement came at the network’s annual Upfront Presentation where it announces future projects and plans.

“MTV is teaming with Dimension Films on the Scream reboot, with discussions underway with a number of writers for the series, which is slated for a summer 2014 debut,” said MTV in a blog post. “In addition, Dimension has been speaking to Craven about directing the show’s pilot.”

The network said the series would reinvent the horror comedy franchise that began with the original movie’s release in 1996. It’s clear the franchise is popular. The original movie spawned three sequels, all with appearances from original cast members—the ones that survived the many incarnations of Ghostface, the series’ masked villain.

The films helped Neve Campbell (Party of Five) and Courtney Cox (Friends) break away from their small-screen roles and become movie stars. Throughout the series, the films also featured other TV stars, including Sarah Michelle Gellar (Buffy the Vampire Slayer), Hayden Panettiere (Nashville), Emma Roberts (Unfabulous), Laurie Metcalf (Rosanne), and Patrick Dempsey (Grey’s Anatomy).

In the past 16 years, the franchise has grossed more than $600 million worldwide, making it one of the number one horror/comedy movie series of all time. MTV is hoping to bank on that success, as well as the recent horror hits on other networks, with a revamp of the series. Horror is in at the moment, with Hannibal, The Following, American Horror Story, and Bates Motel just some of the offerings on television.

Some might see the new adaptation as sacrilege; the Scream movies are classics. But if handled delicately, the television adaptation could work. There’ll be plenty of room for thrills and tension as viewers try to guess who Ghostface is going to come after from week to week. Television allows for longer storylines, more characters, more twists and turns, and hopefully a fresh, new take.

It may be difficult to replace the likes of Cox, Campbell and David Arquette from the movies, but in this age of reboots and sequels with different stars, that may not be an issue for the modern audience. Another problem is that, even in the years since Scream first appeared, viewers are more aware of the conventions of horror and television, so the show’s creative team will have its hands full staying ahead of the audience. Easing some of those concerns is the fact that the network is pursuing Craven to help and direct the pilot. He is, along with Kevin Williamson (who created The Following on Fox), the genius that started it all.

The untitled show is set to premiere in the summer of 2014. No cast members have been announced.

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They don’t come much bigger in Hollywood than Harrison Ford. With a career spanning almost 50 years (his first role was in 1966!), the Academy Award nominee (Best Actor for Witness in 1985) continues to expand his resume with diverse new roles and returns to old favorites.

At this year’s 56th San Francisco International Film Festival, the San Francisco Film Society conducted a Harrison Ford interview as they honored the star with the Peter J. Owens Award for a body of work that “exemplifies brilliance, independence, and integrity.” Along with a select audience, the softly spoken actor watched a retrospective of his memorable performances, then sat for the interview and a Q&A session with the guests. Thoughtful and gracious, Ford answered questions about roles past, present, and future, as well as how the industry has changed in his time.

“When America dreams of a hero, we see Harrison Ford,” lauded San Francisco Film Society executive director and independent producer Ted Hope as he introduced Ford to the stage. “Hell, when the world dreams of a hero, we see Harrison Ford! People either want to marry him, be like him, or just hang out with him.”

Ford stepped onto the stage to a rapturous standing ovation, dressed in a snug pullover, jeans, and Birkenstocks; relaxed and comfortable. Many of the questions focused on the current stage of his career, an actor known as a leading man now aging gracefully into more “character” roles.

Asked about his decision to take on the role of Branch Rickey in Jackie Robinson baseball biopic 42, Ford admitted that “I’m not really a leading man anymore. That’s my former job.” He went on to add that he loved the script, but was not initially considered for the role and had to make a case for himself to writer/directer Brian Helgeland.

“Are these the kinds of characters you are looking to play now?” Ford was asked. He considered the question carefully before answering. “The job of the leading man is to lead the audience through the story and an emotional experience. But I’m a little too old for that.”

Ford also spoke about his role in Regarding Henry, reflecting on working with respected director Mike Nichols. He pointed out that the script was the debut effort of popular writer/director JJ Abrams. This was a natural segue for someone to ask about a possible future project with Abrams—the recently announced Star Wars Episode VII. Cheekily, Ford said he was “not at liberty to say”, making the audience momentarily giddy.

When asked why he turned down the leads in both Traffic and Syriana, Ford answered that he didn’t like the society and the culture that the films portrayed. That prompted a question about why Ford, as a staunch environmentalist, hasn’t tackled that subject in his work, to which he gave a measured reply: “Environmental issues are too complex for a two-hour entertainment. You just end up co-opting the issue for entertainment”—cheapening the subject matter.

On his craft, Ford said emphasized the inherently collaborative nature of film as a storytelling medium and that, as an actor, he is only a part of that process. He also spoke about how extremely fortunate he was in his career to work and grow alongside some of film’s greatest directors and storytellers, including George Lucas, Steven Spielberg, Francis Ford Coppola, and others of the “film school generation.”

One of the funniest moments of the afternoon was when a man, whose wife was pregnant, asked Ford if he would honor them by naming their soon to arrive baby. The audience burst into laughter, but Ford gracefully demurred after agreeing that the gentleman’s wife was a “wise woman” not to allow him to name their child Indiana.

Asked about what has changed the most over his career, Ford answered that “Films are more sophisticated today than they were 20 years ago; they have more complexity today. But the one thing I regret most is that people don’t watch film in theaters anymore.” He explained, with a sly smile, that people no longer have the shared emotional experience of “sitting in the dark with a bunch of strangers” and, without that, the film experience doesn’t have the same impact it once did.

As the Harrison Ford interview ended, the actor recounted the best advice he ever got, courtesy of Mike Nichols. “I didn’t really understand it at the time, but I figured out later that he was on to something,” Ford said.” [Nichols] said ‘Don’t let them turn you into a thing.’ It doesn’t matter what that ‘thing’ is or who ‘they’ are. But don’t let them take away your dream, your ambition, who you are, or what’s important to you.”

Ford chuckled to himself, adding, “That’s all I can think of right now. Ask me again in five minutes.”

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The popular cop drama Rookie Blue returns for a fourth season on May 23. CableTV sat down with Ben Bass (who plays Sam) to discuss season three’s finale, where his character is going, and if Sam and Andy (Missy Peregrym) will reunite in season four.

Q: A lot of fans were disappointed that Sam and Andy didn’t get together in the season three finale. How did you feel about it?

BB: Well, I thought it was an interesting way to end things. What’s interesting for the writers is trying to figure out how far to push the audience without pushing them over the edge. In other words, there is this tension that is created by not having those two characters together and that can be really enjoyable and you can savor that. But then you could get to the point where people just go to crazy and get frustrated. I think the writers want to obviously stay on this side of that line, yet they want to maximize the potential for drawing the audience in and making them invested in that relationship and these characters. So, in that sense, I thought it was useful and maybe unexpected.

Q: I thought it was unexpected. I thought that Andy was going to show up at the bar, but I was wrong. I was wrong and sad.

BB: [Laughs] Oh, yeah. Well, everyone was. It was pretty sad.

Q: I felt bad for Sam. I felt he had finally taken that huge step that everyone was waiting for, he declared his love and was ready for the house and the dog, and she doesn’t show up.

BB: And she doesn’t show! [Laughs]

Q: I know, so how did you think Sam took that?

BB: Do you mean is he completely jaded? He is pretty jaded after that. I mean, well, I can’t really say anything about season four yet, but I think people are going to watch it and certain people are going to get why Sam made the changes we see that he has made. There is one particular thing that I have in mind, it’s an unconscious background thing for Sam. It’s something that he is not aware that’s going on for him, but as an actor playing a character I can be completely aware of. I am starting to sound really convoluted now. What I mean is, I don’t want to give anything away, it’s hard to talk about it without giving something away. So I can’t talk too much about it.

Q: You can just tell us, it’s fine.

BB: I totally wish I could tell you, I just can’t. I think somebody is going to get it, if not a lot of people. It has to do with Andy McNally and the fact that he doesn’t seem to be able to have her, to be in a relationship with her. Does that make sense? It has to do with that problem. [Laughs]

Q: I know you can’t talk too much about it, but where does season four start? How does it start? Is there a time jump? Where is Sam now?

BB: There is [a time jump of] six months. I felt he was, at the end of season three, in pretty rough shape personally. Because of everything that has happened, not being with Andy, and screwing that up, it’s just killing him. So, where he is at in season four [is] six months later and [Andy has gone] off.

It’s adapt or die essentially. That’s the type of guy he is. He is going to buck up and get himself together and get on with his life. Even if that means being in a certain amount of denial. So that’s what he is going to do. He is in better shape, he is leaner, and he is just trying to figure it out, get it together, get on with it, and get past the fact that [Andy has gone] undercover for God knows how long. I think he is damaged, but he is trying to make a go of it.

Q: Do you do anything as an actor to try to prepare for something like that? I am sure over the course of three seasons you are geared towards Sam and Andy getting together. As an actor, do you prep when something like that gets taken away and now you are playing a damaged, slightly different character?

BB: Well, yes is the answer to that question… As an actor, you are sort of always prepping. If you like what you do and you are passionate about it, it’s like anything—like an astrophysicist. He is always thinking about the stars and about physics problems. He can’t not do it. So you are thinking “what if?” I can’t talk about astrophysics so I shouldn’t compare it to myself. [Laughs] It’s more like as an actor you are always feeding off of things you observe, films you see. I think about what was done in terms of stories in the show. Where it’s going… In that sense the preparation that I do is background preparation, it’s imaginary preparation. You draw from your own experience, your life experience.

Want to hear the full interview with Ben Bass from Rookie Blue? Click below to hear how he feels about his character, if Sam and Andy are going to kiss this season, and responses to fan questions.

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Former One Tree Hill and How to Make it in America star Bryan Greenberg hosted a charity event on Saturday, May 11, to help raise money for The Olevolos Project, a nonprofit that provides educational opportunities to children in Tanzania. Film and television stars including Gina Gershon, Luiz Guzman, Kid Cudi, James Lafferty, and Geoff Stults joined Greenberg at New York’s The General restaurant for the brunch event, where the host explained how he became involved in the organization.

“In 2010, I was traveling in Tanzania with some friends and I fell in love with the country and the people,” Greenberg said. “However, I was overwhelmed with the level of poverty in the country. I had never seen anything that bad; I just wanted to do something to help out in some way.”

Greenberg didn’t have far to look—his cousin, Dory Gannes, was already involved. “She said I could use my strengths, which was to get the word out there by using my friends,” Greenberg said. “I really believe the only way to get out of that kind of poverty is by education. The goal is to not just educate these kids for one year, but for a 10-year span. Then they can go back to their communities and help others. You can’t just throw money at people and expect them to figure it out. You have to educate.”

“I have to compliment Bryan because he does this all,” Gannes said, referring to the event. “He is one of our biggest advocates and fans. I am just thankful that he is taking his time [to help]. We are trying to do this on an annual basis. Fundraising is huge, we can’t do all of this stuff [and not raise] money.”

Greenberg said, in addition to his charity efforts, he is working on a new pilot and just released an album. “We just finished a pilot for the USA Network—we are still editing it,” he said. “I also completed another film. I have an album as well that I just finished, so I have a lot in the works.”

Greenberg’s One Tree Hill co-star James Lafferty and Geoff Stults (most recently of Ben and Kate) also attended to show their support.

“Bryan is a good friend of mine and he turned me on to the project,” Lafferty said. “I wanted to come out and support this great, thoughtfully minded project. Bryan was kind of my surrogate big brother on One Tree Hill. We have kept in touch since the show ended. We actually live in the same neighborhood in LA, so we are always seeing each other.”

Only a day before the event, NBC announced it would be picking up Lafferty’s new show, Crisis. “I am excited,” Lafferty said of his return to the small screen. “The show is a thriller. The story is about the FBI and the Secret Service getting to the bottom of a political crisis. I just loved the work and this was such a cool role. It’s an interesting project and I just love to be on set.”

Stults said he, like Lafferty, became interested in the project after talking to Greenberg. “I got involved with this because of Bryan. When someone you are close to gets passionate about something, especially something like this, it’s hard not to be involved. I wasn’t over in Africa and I didn’t see what he saw, but I know him so well and what affects him. When he is passionate about something, it makes it more personal. I am just happy to be included in it and to help out any way I can.”

Stults has also recently received good news: FOX picked up his new comedy, Enlisted. “It’s my favorite job that I have ever had,” he said. “It’s really about a group of army misfits. I try to go towards whatever speaks to me and I just really enjoyed this material.”

Visit The Olevolos Project website to find out more about this great cause.

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Early pickups have been given to a bunch of CW hit shows, including a second season of Beauty and the Beast, a third season of Hart of Dixie, and the announcement of three additional dramas for next season, including the first new series order of the season with The Originals, the highly anticipated spin-off of The Vampire Diaries, which was introduced during Thursday night’s episode.

“As soon as we saw last night’s episode of The Vampire Diaries, we knew we wanted more of The Originals — Julie Plec and Kevin Williamson have done a fantastic job with The Vampire Diaries, which is as fast-paced and well-written as ever, and Julie has created an equally compelling world for The Originals,” said Mark Pedowitz, President of The CW.

“We’re also very excited to bring back Beauty and the Beast and Hart of Dixie for next season — both series continue to be creatively strong and compelling, and their fans are incredibly passionate. I’m very happy to have all three series on the schedule for next season.”

All three of these series see big lifts in Live + 7 day delayed viewing versus Live + Same day. Basically, Live + 7 day includes data from DVRs, online streaming, and downloads for the day the episode airs plus an additional week, whereas Live + Same day only includes real time, live watchers and anyone that DVRs or downloads it within a 24-hour period of airing.

Many television networks gravitate towards the Live + 7 day model because it usually includes a more accurate reading of how many viewers a show has, which in turn could allow the networks to charge more for commercials and advertisements.

Nielsen, the company behind ratings, has tried to figure out a way to include all the additional data and came up with the two models of Live + 7 and the Live + Same day. The organization is still working on perfecting a model for on-demand viewing and other methods that are available.

Adding in the Live + 7 data, The Vampire Diaries saw a 52 percent increase among adults 18–34 and a 56 percent gain among women 18–34 once all time-shifted viewing is included. Hart of Dixie averages a 53 percent increase among adults 18–34 and a 61 percent gain among women 18–34, and Beauty and the Beast sees a 43 percent jump in adults 18–34 and a 45 percent bump in women 18–34 from the overnight Live + Same to Live + 7.

Advance orders have already been given to CW hit shows Arrow, The Vampire Diaries, and Supernatural for next season.

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