Tiffany Vogt

Archive for the ‘* Opinion columns’ Category

My Experience as a Victim of Cyberbullying

In * By Tiffany Vogt, * Opinion columns on May 8, 2014 at 12:00 pm

It is a brutal digital-world we now live in.  To enjoy the privileges of communicating on the Internet through social media (whether it be Facebook, Twitter, Instragram, or other social media site), one has to be willing to deal with the haters, the trolls and the cyberbullies.

Six weeks ago, I wrote an opinion article about how a rabid fanbase was destroying their own reputation and jeopardizing the chance of renewal of their favorite television show, and the flood-gates of abuse opened. (LINK:  “Did BEAUTY AND THE BEAST’s Rabid Fandom Seal its Show’s Fate?”)

As soon as the article was posted by my editor, my Twitter timeline blew up with a variety of negative tweets, some mild and some very hostile and threatening; most of which I quickly blocked so I did not have to listen to (read) all the vitriol being hurled my direction.

Apparently, the average Twitter user is unaware of the fact that spewing angry tweets at a person by tagging them or sending them directed tweets as unwanted comments can be simply blocked.  Those First Amendment rights only extend so far:  you can say it, but I do not have to listen to it.  Plus, as infamously ignored by some, the First Amendment does not protect all forms of speech:  hate speech and threats are never protected speech.

Similarly, I chose to ignore the comments being posted beneath my article as much of the comments were guaranteed to be from angry fans and I was trusting my editor to weed out the more inappropriate comments.

Yet, astoundingly, six hours later my editor sent me an email alerting me that he was taking my article down after receiving a number of scary, threatening emails — not comments, but actual threatening emails.

Six hours.  That’s how fast the angry horde of fans was able to scare my hardened editor into submission into removing a controversial article.  Over the years I have written numerous controversial articles that made a variety of fan bases very upset – but this was the first and only time my editor was so scared for his and my safety that he felt compelled to take down an opinion article.

But that wasn’t enough. The angry, hateful and threatening Twitter responses continued.  Some merely called into question my journalistic professionalism, some demanded termination of my job, some just engaged in name calling, and some just hurled profanities, as if the person was not sure what else to say. Curiously, many of these offensive tweets quickly vanished as soon as I blocked those Twitter users.  Guess they really didn’t want to see if I was actually going to report them. But simply Tweeting and deleting after it is read and the person blocked does not mean it did not happen.  It’s like juvenile kids who ring your doorbell, yell something at you, and then runaway before they can be caught.

Then other less creative types, just simply tweeted to me the same message over and over again; such as, I just needed to watch their show and give it a chance.  Those tweets were ridiculous on multiple levels: for one, I am already watching that particular show; and two, repeatedly sending me the same twitter message 100+ times was not an effective way to persuade someone to watch a TV show.  (FYI, that person could have easily figured I was already watching the show if they had simply looked at some of my past articles or my twitter feed.)

Interestingly, a few other outraged fans wrote their own personal diatribes on their own Facebook or web pages rebuking me for whatever awful sin they felt I had committed by writing my article.  One outright listed my full name and linked back to my article to make sure I knew it was directed at me.  Another article omitted my name, but included all the necessary details to ensure everyone knew the article was about me – and also linked back to my article.  (That was really was a dead give-away on that one.)

So over the past six weeks, I’ve spent anywhere from a few minutes to several hours each day blocking users who simply wanted to spew negativity and hate tweets that were either about me or directed to me.

I reported a few of the more egregious twitter users for Twitter-abuse, and I reported the one silly person who repeatedly spammed me with the same tweet over and over again. Thankfully Twitter does have an option for reporting such abusers.  Imagine a world where we were actually forced to listen to all that hatred and abuse for hours on end?  It’s like having people protesting outside your home – so Twitter-blocking is equivalent of being able to slam the door and shut out the noise.

The number one rule for dealing with cyberbullies is:  do not engage.  Do not respond to whatever is being said; just block them if the digital harassment is on Twitter; or if it gets too repetitive and specifically threatening, report the abuse to whatever governing agency monitors and handles that form of cyber-abuse.

Fortunately, it is much easier to combat the trolls at my website, as each person seeking to post a comment must submit their full name and email address – which immediately discourages the majority of cyberbullies who seek to hide behind their anonymity.

Further interesting was finding out that the majority of the comments I received in response to my article (once I had reposted it at my personal website) were from others who had been subjected to cyberbullying themselves.  In fact, many applauded my refusal to be intimidated by the bullies.

It is alarming how prevalent and wide-spread cyberbullying has become on social media – and the fact that people think that is permissible and legal is appalling.  Apparently, mob-mentality really takes over when groups of people feel like their TV show is being threatened.  It’s a TV show, people. No one wants to hear your threats or insults; and it is never the best method for saving a TV show.

It also highlighted how Twitter users seem to be unaware of how to use Twitter without straying into prohibited and unwelcome speech, such as: threats, hate-speech or cyberbullying.  Cyberbullying is defined pretty broadly.  As defined on Wikipedia: Cyberbullying is the use of Information Technology (computer devices) to harm or harass in a deliberate, repeated, and hostile manner that may threaten a victim’s earnings, employment, reputation, or safety.

Disparaging me as a journalist and asking for my editor to fire me is just one form of cyberbullying.  Sending tweets with profanity and other abuse is another.  And saying that I am a bad person and need to be taught a lesson, well, that constitutes a threat.  Then dissemination of defamatory comments and inaccurate information is yet another form of cyberbullying and harassment.

The magnitude of the cyberbullying I have been subjected to because of one article has been incredible — and it has only been over a six-week period.  Just imagine what levels it will reach within six months or even a year.  I shudder to imagine.

(NOTE: To clarify, I am not paid or compensated to tweet about television shows or participate in live-tweets.  All such action on my part is voluntary and unpaid.  In addition, my personal website is hosted at a site which prohibits receipt of compensation through advertising.  Thus, I receive no financial compensation or advertising revenue for articles posted at TheTVwatchtower website.)

“Did BEAUTY AND THE BEAST’s Rabid Fandom Seal its Show’s Fate?”

In * By Tiffany Vogt, * Opinion columns, Beauty and the Beast (CW) on March 26, 2014 at 9:19 pm

 

"Beauty and the Beast"

“Beauty and the Beast”

Ignorance of how the television world works is usually forgivable.  But this year, TV shows with savvy fans thrived; whereas, television shows with ignorant fans suffered.  One good example is the CW’s BEAUTY AND THE BEAST.

Wrong Demo

From day one, BEAUTY AND THE BEAST had a huge hurdle to overcome: it was a show based on romance.  Sure there was the hero with genetically-mutated genes who could partially transform into a beast when his hormones raged out of control; but the essence of the story was a romance between the woman who loved the beast and how they would do anything for each other.

It was a TV show that was hard to sell to advertisers as it was clearly ear-marked for a young female fanbase with little to offer male viewers.  Unfortunately, due to the casting of 30 year old actors in the show, it failed to land even the young teen female viewers who deemed its leads too old.  That audience went fleeing instead to the greener pastures of younger casted TV shows or shows that were more relatable to their generation.

So BEAUTY AND THE BEAST limped through its first season with modest ratings, mostly skewing towards a 35-49 year old female demo, which is less valuable to advertisers who will pay higher ad dollars for 13-34 year old viewers, simply because they are so elusive and harder to reach.

Loss of Audience Retention

In addition, in its second season, BEAUTY AND THE BEAST then lost 50% of the audience it had managed to carve out in its first year by eschewing its strong, core romance and separating its lead characters through various frustrating obstacles.

See my previous article: BEAUTY AND THE BEAST: The Curse of The Sophomore Slump?

“Live” Viewers vs. DVR Viewers

Another fatal flaw was that the remainder of BEAUTY AND THE BEAST’s viewing audience was dominated by those who did not understand what “live” viewing meant versus DVR-viewing.  The bulk of its remaining fans assumed that watching the show on the same night via a DVR was equal to “live” viewing.  And that’s where an uneducated, un-television savvy viewership really hurts a TV show.

BEAUTY AND THE BEAST not only alienated half its viewership in its second season, its remaining fanbase was woefully ignorant of how things worked in the television world.  “Live” ratings is when a viewer watches a TV show without the aid of a DVR.  It forces the viewer to watch every single commercial without the option of skipping it.

Time and time again, BEAUTY AND THE BEAST fans (who proudly called themselves “Beasties” – someone really needs to tell these folks how many negative connotations go with that particular moniker) proclaimed that their show had one of the highest DVR-lifts of any show on television.  That is not something to be proud of when your TV show is pulling in less than one million “live” viewers a week.

DVR-ratings only reflect delayed viewership; accordingly, DVR-viewers are rated at a significantly lower value when it comes to advertising dollars.  For example, a “live” viewer may be worth $1.00 each, but a DVR-viewer may be only worth $0.05.  So DVR-viewers are only noteworthy, and not as really contributing towards the profitability or economic-viability of a television show.

This is a huge factor for a network or studio in determining whether a television show is worthwhile to continue or should be canceled to make way for a show that can carry its weight and pull in advertising dollars.

Failure to Pair

Another huge misstep in its second season was the pairing BEAUTY AND THE BEAST with HART OF DIXIE.  Based on both shows’ previous year storylines, it made perfect sense from the outset — as both shows favored strong romantic storylines.

Unfortunately, during the 2013-14 television season, HART OF DIXIE decided to downplay its romance and focus on its small town comedy; and BEAUTY AND THE BEAST decided shed its romantic-focus to try to crank up its dramatic element by having a storyline where the main hero had his memory wiped and was turned into a beast-like killing machine.  So BEAUTY AND THE BEAST essentially jettisoned the romance and tried to be a straight action-hero story.

So both shows suffered by being paired with another show that did not appeal to the same audience.

In one last ditch effort to try to find a show that BEAUTY AND THE BEAST could pair with successfully, the CW selected its new series STAR-CROSSED to air with it in the mid-season.  Since STAR-CROSSED offered a very romantic storyline of an alien boy and a human girl falling in love, yet kept apart by warring factions, it stood a strong chance of appealing to the same audience who had stuck with BEAUTY AND THE BEAST (those who were hopeful that the show would return to its strong romantic storylines).

Unfortunately, the BEAUTY AND THE BEAST fans were in panic-mode by the time STAR-CROSSED debuted.  Believing that STAR-CROSSED was only one more show that could prevent their show from having a chance at renewal, the BEAUTY AND THE BEAST fans did everything in their power to send the message that STAR-CROSSED had to be avoided at all costs.  They flamed the fires of anti STAR-CROSSED passions across Twitter and social media.

What the BEAUTY AND THE BEAST fans failed to see was STAR-CROSSED was its best bet at survival.  Only by showing that fans would “pair” and watch both shows, that the CW would think it had finally found a successful television block to add to their upcoming Fall 2014-15 schedule.

Since BEAUTY AND THE BEAST had failed twice at “pairing” with THE VAMPIRE DIARIES in its first season and HART OF DIXIE in its second season, STAR-CROSSED was its last chance to prove it could “pair” with another show.

Alas, that was not to be simply because the BEAUTY AND THE BEAST fans failed to see how “pairing” may save their show.

(Fortunately for STAR-CROSSED, it was given a second chance to “pair” with the CW series THE TOMORROW PEOPLE, and it paired with quite nicely with it.  Fans were tuning in for both shows, establishing a solid demo rating and making that “paired” block a strong contender for the Fall season — increasing both shows odds at renewals for their second seasons.)

Twitter Abuse

Yet another terrifying trend amongst ignorant television viewers is how to use social media.  The BEAUTY AND THE BEAST fans were boastful of their ability to trend on Twitter every Monday night when their show aired, or whenever they deemed it an appropriate time to inundate Twitter with their trending campaigns.

But passion and slavish devotion to trending does not equate to advertising dollars.  Ad buyers only look at “live” viewership, which guarantees that their product commercials are being seen and perhaps may influence a viewer to buy/use their product.

Studios and networks may take note of Twitter trending to assess how engaged viewers are during a “live” airing of a TV show, but Twitter trending does not equate to ad dollars or direct revenue.

So Twitter trending is only a boast-worthy mark of a TV show.  What made the BEAUTY AND THE BEAST fans’ Twitter trending so terrifying was how they chose to use it as a destructive tool.

They not only began the campaigns to destroy STAR-CROSSED before its premiere by vowing to not watch it and encouraging the rest of the BEAUTY AND THE BEAST fans to do the same; once STAR-CROSSED did begin to air, they deliberately scheduled their Twitter trending efforts to take place during each STAR-CROSSED television broadcast airing in an effort to undermine STAR-CROSSED’s efforts to trend and demonstrate that it was establishing its own strong fanbase.

Astoundingly, once BEAUTY AND THE BEAST was on hiatus for an indefinitely break, its fans thought it was their god-given right to still claim Monday nights as their night to wreak havoc with their Twitter campaigns.  Unfortunately, they were not content to only trend during the now-vacated BEAUTY AND THE BEAST timeslot (which had been 9 pm on Monday nights), they moved up into the STAR-CROSSED timeslot (8 pm on Monday nights) in an effort to actively destroy STAR-CROSSED’s ability to trend during its own airings.

It was even more stunning to see that one of the BEAUTY AND THE BEAST stars, Austin Basis, encouraged these destructive Twitter trending campaigns and flamed the passions of the Beasties into waging war against STAR-CROSSED, by merely saying that there was nothing wrong with a little competition and protesting:  if not Monday nights at 8 pm, then when?   (Answer: Maybe a day/time when it was more likely to be noticed favorably and not seen as a poorly chosen weapon by desperate fans.)

This poor Twitter conduct was hurtful in several ways.  For one, both BEAUTY AND THE BEAST and STAR-CROSSED are owned by CBS, then sold to the CW.  They are sister-shows from the same studio and air on the same network.  CBS has just as much to lose if one or both shows fails to get picked up, as does the CW, which will then have to see if it can successfully launch two new shows – which in the current television climate has become increasingly difficult to do.  There is less risk with renewal than with launching new shows.  Thus, both networks and studios tend favor renewal if there is an established, solid fanbase for a TV show.

Second, it illustrates how vicious, negative and entirely self-serving the BEAUTY AND THE BEAST fans were.  They were not interested in the economics of what makes a television show successful and appealing to a broadcast network and advertisers, they were only interested in proving that their favorite show was the only show worthy of their slavish devotion.  But devotion does not equate into dollars.  Ad buyers/networks are looking for committed viewers who will not just tune in for one TV show a night, but will stick around and keep watching subsequent shows and give the advertiser a second chance at capturing their attention.

Advertisers also need to know that such television fans will not bail at the first sign that a TV show is not living up to their dictated-mandates of storylines.  BEAUTY AND THE BEAST fans have proven not only will they bail when they are dissatisfied with the storylines or characters, but they are a fanbase willing to use hostile, negative means to achieve their personal goals.

No advertisers wants to be associated with a fanbase known for such poor attitudes or ethics.  Advertisers want to be associated with fans that can be held up as exemplary citizens.   For example, just like Justin Bieber or celebrities from “Duck Dynasty” can alienate sponsors and advertisers with their outlandish behavior and unflattering opinions, so can television fanbases scare off advertisers.

THE BEAUTY AND THE BEAST fanbase has established itself as two things:  (1) fickle and (2) destructive.

No advertiser finds those attributes attractive.  It’s bad enough that the BEAUTY AND THE BEAST fans do not fit into the most desirable age demograph, but to have such negative connotations associated with them, just sends advertisers fleeing in another direction.

This is how the BEAUTY AND THE BEAST fandom slit its own throat.  Ignorance of how the business world, advertising world, and the television world works is no excuse.  Similarly, there is no excuse for poor conduct in public forums.  It has put itself in a poor light and marked the TV show they want to save for death.

Television viewers cannot afford to be so blindly ignorant anymore.  If they want to save a TV show, they must understand how to be a positive influence and appeal to advertisers.  Ignorance is no excuse.

 

[NOTE: This article was removed from TheTVaddict.com today after my editor received numerous death threats and threats of bodily harm. Should any such threats continue, they will be reported to the FBI and any other appropriate law enforcement agency.]

BEAUTY AND THE BEAST: The Curse of The Sophomore Slump

In * By Tiffany Vogt, * Opinion columns, * TV Addict, Beauty and the Beast (CW) on March 10, 2014 at 12:00 pm

 

"Beauty and the Beast"

“Beauty and the Beast”

There is a popular belief in television that most TV shows experience a creative lull in their second season, which gave rise to the phrase “sophomore slump.”  Accordingly, many TV shows have been cited as examples of shows, which knocked it out of the park creatively in their first season, to only fall prey to a period of sluggishness in their second year.  Many reasons are attributed to this second season curse, everything from writer’s block to actor fatigue to fan restlessness.

But looking specifically at the CW series BEAUTY AND THE BEAST, I want to propose a few reasons why the show has suffered significantly in its ratings in its second season:

Moving Show to New Night/Timeslot

Perhaps, first and foremost, BEAUTY AND THE BEAST suffered from being moved from the plum primetime timeslot of Thursdays at 9:00 p.m., right behind the CW’s top television show THE VAMPIRE DIARIES.  Because BEAUTY AND THE BEAST had the privilege of getting such a prime timeslot for its freshman season, it never had to fight for viewers the same way it did in its second season.  For its first year, it competed against GREY’S ANATOMY and PERSON OF INTEREST.  These shows did not exactly compete for the same viewers, as BEAUTY AND THE BEAST was a strong genre series with genetically created beasts and a strong romance theme.

However, in its second season, BEAUTY AND THE BEAST was moved to Mondays at 9:00 p.m., following the CW series HART OF DIXIE.  There may have been a misconception that HART OF DIXIE and BEAUTY AND THE BEAST both catered to the same viewing audience since both relied heavily on romance for their stories.  But who could have foreseen that HART OF DIXIE would change its creative format so dramatically in its third season, steering away from the romance stories, and focusing more on its comedy storylines?  Having a mis-matched pair of television shows significantly hurt viewership for BEAUTY AND THE BEAST.

In addition, BEAUTY AND THE BEAST was directly competing with the new fantasy genre series SLEEPY HOLLOW, which offered not only a rich supernatural world of stories, but also a strong undercurrent of romance between its lead characters.

So the new night and new competition was first and foremost one of the biggest reasons that BEAUTY AND THE BEAST suffered in the ratings from the get-go of the Fall 2013 season.

Loss of Vision

Another distinct handicap on BEAUTY AND THE BEAST was spoilers had trickled out that the lead character Vincent Keller (Jay Ryan) had his memory-wiped and did not remember his grand love-affair with Detective Catherine Chandler (Kristin Kreuk).  One of the strongest appeals of the first season of BEAUTY AND THE BEAST had been its core romance.  From the second Vincent and Catherine met there was an undeniable pull of attraction and that led to a swoon-worthy romance that ran throughout its first season.  To have that romance stripped away from the outset of the second season, left the fans wondering where the show was going.

In addition, Vincent Keller came back a different man.  He was not just without his memories, he seemed to be a killing machine.  The soulful hero of the first season was unrecognizable.  The writers had chosen to erase the pivotal parts of both the show and the character that fans had fallen in love with.  It was supposed to be a storytelling reset, but instead it seemed to have gutted the show of the very essence of what the fans had fallen in love with – and their reason for tuning in.

What seemed like a strong creative decision for the writers to sustain a new story arc for the second season was seen more as a betrayal and too extreme a deviation from the story/characters that the loyal fans had committed to in the first season.  It was a huge loss of vision from what the show was initially and as a result audience-retention evaporated.

Loss Of Hero

One of the key elements to success to any television show is its hero.  In BEAUTY AND THE BEAST, it had two strong heroes:  Vincent and Catherine.  These were the characters that fans fell in love with and rooted for devotedly and with every breath they took during the first season.

Yet in the second season, both Catherine and Vincent were nearly unrecognizable versions of the characters.  Vincent had no memory of who he was and Catherine had forsaken much of her identity in devoting her life to searching for Vincent, and once she found him, he was not the man she had fallen in love with either.

It can be argued that both Vincent and Catherine fought to get back their prior strength and the qualities that fans loved from Season 1; but as Season 2 continued, even the small steps back to being the characters fans knew from the prior season seemed to erode before their eyes.  Vincent regained his memories, yet willingly chose to embrace his inner beast and struck up an out-of-the-blue relationship with another woman who also shared an inner-beast.  Then Catherine, having located Vincent and having helped him recover what memories of his former life he could, discovered he was still an entirely different man and one who was more beast than man – and one who wanted to embrace his beastly nature.  So Catherine reacted in a way that seemed untrue to her nature as well: she turned to the nearest available male who had been pining for her and entered into a clear rebound relationship.  Neither Vincent or Catherine were acting in ways that the fans found recognizable.  For thirteen-plus episodes, the heroes had become less heroic and more damaged, making choices that alienated the fans.

That left literally no hero to root for.

Collapse Of Love Triangle

Another critical aspect to any TV show founded on a strong romance is the need for a strong love-triangle.  In Season 1 of BEAUTY AND THE BEAST, that was answered by Catherine falling for Vincent, with Evan (Max Brown) hovering around hoping for a chance to swoop Catherine off her feet.  Season 1 carried the love-triangle perfectly until Evan gave his life to protect everyone.  It was a heroic and noble death.  Plus, Evan always knew his place; he knew that a future with Cat was unlikely, but he always hoped.  His unrequited love was the perfect touch for the classic love-triangle.

Yet in Season 2, the series offered as the new unrequited love the character of Gabe Lowen (Sendhil Ramamurthy), a reformed villain who had tried to kill Vincent in the first season.  Unfortunately, Catherine had saved his life and he felt indebted to her and then he also fell in love with her.  Worse yet, no one really ever bought into the idea of Gabe as a possible love interest for Catherine.  No one could forget his villainous nature and crimes of the first season.  His eager efforts to rehabilitate his image in Catherine’s eyes only made him look like he was hiding something more.  So when Catherine finally decided to give Gabe a chance, fans were literally screaming at their television sets in agony and frustration.  Maybe Gabe’s heart was true, or it was written to be that way, but fans just did not buy it.  He would always be viewed with suspicion and as undeserving in their eyes.

It only served to weaken the fans’ faith in Catherine as a hero when she made such a poor romantic choice; particularly as it was at a critical juncture when Vincent was struggling to put aside his beast nature and choose to be more human again.

For the entire second season, the love-triangle has floundered and only felt off-putting.  Every good television romance needs a viable love-triangle candidate, not one that it foist upon the audience who will never buy it in a million years.  Unfortunately for Gabe, his character could die today and fans would not grieve his absence.  He looks like a sad opportunist, and not a someone worthy of the heroine’s love.

DVR Time-Shifting

Just like the move to a new night with a new pairing hurt BEAUTY AND THE BEAST, likewise DVR time-shifting significantly hurt the ratings for the show.  Fans were not turning in to watch the show “live.”  They were recording it on their DVRs or streaming it at a later date and time.  Maybe they were not inclined to watch a romance Monday nights at 9 pm, or maybe they were watching SLEEPY HOLLOW (or one of the other competing TV shows airing at the same time).  Whatever the reason, fans did not feel the need to watch “live” anymore.  In Season 1, fans were breathless with anticipation and watched every episode “live” unable to wait one more second.  In Season 2, fans for a variety of reasons, opted to watch BEAUTY AND THE BEAST later in the week.  The DVR ratings were substantial, but that hurt the show in advertising revenue which is significantly higher for “live” viewers versus viewers watching on DVR days later.

Disappointed Fans

Finally, the final nail in BEAUTY AND THE BEAST’s coffin during its sophomore slump has been the negative reaction of the fans.  Not only on social media, but as reflected by those who simply check-out and never checked back in, the Season 1 fans simply never came back or fell-off with each episode that aired in Season 2.

One thing a television can never do is disappoint its fans.  Once lost, those fans never come back.  They cannot be wooed by enticing promos or even positive word of mouth.  Once the line has been crossed, they just move on to other shows – or obsessively rewatch Season 1 on DVD aching for the good ole days.

BEAUTY AND THE BEAST faltered greatly in its second season.  It is not attributable to just one factor, but many.  But it also serves as a great reminder as to how easy it is to kill a successful television show.  Writers and showrunners have to always remember that viewers vote with their remote control, they just turn the channel when they are dissatisfied.

BEAUTY AND THE BEAST is not dead yet, but with its final episode airing this Monday night before going on extended hiatus with no firm return date for its final six episodes of its second season, its fate seems dubious.  Despite the efforts of the more committed fans (those who are still watching), BEAUTY AND THE BEAST has suffered a huge retention loss.  It is unlikely to ever make up what it has lost, even with a two-month break to give its fans time to experience the “absence makes the heart grow fonder” longing.

While BEAUTY AND THE BEAST conceivably could be renewed for a third season depending on what timeslots are available on the CW’s Fall 2014 broadcast schedule, the huge loss of viewership makes that hard to imagine it as a viable candidate to attract interested advertising dollars.

Dedicated fans may need to embrace their sense of faith and say a few prayers that a third season is a possibility.  However, BEAUTY AND THE BEAST is the perfect example of a television show that succumbed to the sophomore slump.  Let’s hope this is not its death knell.

"Beauty and The Beast"

“Beauty and The Beast”

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