Instruct: Given a question, retrieve documents that answer the question.
Query: How did The New Edition Story fair with ratings?
"The New Edition Story" has garnered positive reviews from critics. On Metacritic, the series holds a score of 76 out of 100. It currently has a 100% rating, with an average score of 7.2/10 on Rotten Tomatoes, along with the consensus being, ""The New Edition Story" colorfully showcases its subjects with honesty and clarity while offering an entertainingly paced overview that leaves room for plenty of the group's greatest hits". The film received rave reviews for the child actors who portrayed younger versions of New Edition in the first part of the series. Sylvia Obell of Buzzfeed praised the casting as "absolute perfection" and rated it an A+. Obell compared the film to another iconic television miniseries -- "it is on its way to being the best black TV biopic since """ which aired on ABC in 1992. The most talked about similarities is the uncanny "jawdropping" striking resemblance of the young Bobby Brown, portrayed by Tyler Marcel Williams, who nailed the looks, demeanor and Bobby's most iconic "body roll". Also another uncanny resemblance were of the vocals of the young Ralph Tresvant, portrayed by Jahi Di'Allo Winston. For viewers, hearing his first lead solo appearance in the film singing "Candy Girl" gave chills for nailing every note. Trey Mangum of Blavity said that BET "outdid" themselves, saying "With the warm reception and open arms that the world received The New Edition Story with, it's clear that this story needed to be told, and this was the perfect time." Mangum complimented the "spot-on" casting of both the young and adult casts, as well as the fact both casts recorded their own vocals, a rarity for musical biopics.
In 1991, Mirkin wrote a pilot with Julie Brown entitled "The Julie Show", starring Brown, but NBC did not produce it. Several people at the network enjoyed it and commissioned "The Edge", a sketch comedy show also written by Mirkin and Brown, with Mirkin directing. NBC opted against production, but Fox ran it from 1992 to 1993. Mirkin had long wished to produce a sketch show, and designed "The Edge" to be "fast-paced" and "some skits overlap, end abruptly or are broken into segments", in order to maintain attention. "The Edge" was a ratings success and was supported by the network. Mirkin considered it "the first time I experienced the feeling of having a hit that I created. It just kept building and growing." The show's material often inflamed its targets, particularly producer Aaron Spelling. Spelling objected to a sketch mocking his series "Beverly Hills, 90210", another Fox show, and its lead actress Tori Spelling, who is his daughter. He demanded a public apology and that no further episodes contain the parody, threatening to sue. The show's production company TriStar Television refused, while Mirkin responded: "The thing about these parodies is they don't hurt a show. It's only cross-promotion. The viewers who like the show always come back the next week. What's upsetting to me is it shows absolutely that Mr. Spelling has no sense of humor." Mirkin left his role as executive producer of "The Edge" during its run. The "Pittsburgh Post-Gazette" reported that Mirkin had been "forced off the show", due to the negative reaction of Spelling and others, though in 2012, Mirkin stated that he left the series after refusing to accept a substantially reduced budget. The show's producers Sony failed to persuade him to stay but he returned to the series to produce its final "Best Of" compilation.
The pilot episode of "American Horror Story" was watched by 3.2 million viewers and averaged a 1.6 rating in the 18–49 years adult demographic, the most sought after by advertisers. These were the best numbers FX had ever received for a series premiere. The episode was seen by 3.2 million total viewers in 59 countries. Ratings increased as the season progressed, with the season finale being watched by 3.22 million viewers and receiving a 1.7 ratings share in the 18–49 years adult demographic. The series premiere aired in November 2011 across Europe and Latin America on Fox International Channels, and ranked as first or second most watched telecast in its timeslot among all paid television in most metered markets. "Numbers so strong, it's scary. "American Horror Story" has brought droves of new viewers to a killer global lineup", said Hernan Lopez, the president of Fox International Channels.
Referring to the fifth series' finale, the "Daily Record" heralded for "Still Game" to be added to the ranks of the "greatest sitcoms ever". They called the episode "classic comedy" and said it was "a perfect mix of empathetic friendship, laugh-out-loud gags, real feeling in the acting and genuine warmth and chemistry between the characters". The Daily Record also revealed "Still Game" was trouncing rivals "The Catherine Tate Show" and Steve Coogan's "Saxondale" with 300,000 and 700,000 more viewers respectively. Creator and star Ford Kiernan said of the ratings: "I am absolutely delighted. The figures have gradually increased – episode after episode."
Within a week of its release, "Wolfenstein: The New Order" became the second best-selling game of 2014 in the United Kingdom, behind "Titanfall". The game also topped the weekly UK charts in its first week, totaling a quarter of all games sold in the region and accounting for 36% of revenue. According to "MCV", it was the 22nd best-selling game of 2014 in the UK. In the United States, the game was the fourth and seventh best-selling game of May and June 2014, respectively. The game was also ranked the fifth and fourteenth best-selling digital PlayStation 4 game of May and June 2014, respectively. In its first week in Japan, the PlayStation 3 and PlayStation 4 versions of the game were placed on the charts at 15th and 8th, respectively, collectively selling over 11,000 units. By June 2014, the game had sold almost 400,000 physical units in Europe, equating to over €21 million.
Since the relaunch of the station, the station's popularity has been reflected in ratings, advertiser support, and press coverage. Despite these successes, the station has come under some degree of criticism from the New York City City Council, and Councilmember Gale Brewer who has called NYC Media "too hip and flashy." Although Brewer's rhetoric has subsided since former General Manager Arick Wierson huddled with Deputy Mayor Ed Skyler and agreed to produce a new news program entitled "City Scoop," Brewer still contends that NYC Media has strayed from its original mission in search of audience share and advertising dollars. On August 4, 2009, the Village Voice published a cover article criticizing the network's founder, Arick Wierson, for his many outside business interests, and his close relationship to the Mayor and other wealthy businessmen.
Like its predecessors, the game received widespread critical acclaim from critics. Critics praised its story, voice acting, graphics and visuals, and music, but criticized its lack of innovation. "Gears of War 3" sold over 3 million copies and was the second best selling game in the U.S.
The newspaper was first published as The News of the World on 1 October 1843, by John Browne Bell in London. Priced at three pence (equal to £ in ), even before the repeal of the Stamp Act (1855) or paper duty (1861), it was the cheapest newspaper of its time and was aimed directly at the newly literate working classes. It quickly established itself as a purveyor of titillation, shock, and criminal news. Much of the source material came from coverage of vice prosecutions, including transcripts of police descriptions of alleged brothels, streetwalkers, and "immoral" women. In 1924 the newspaper sponsored the 1924 Women's Olympiad held at Stamford Bridge in London.
The "Worst Witch" stories have become some of the most successful titles on the Young Puffin paperback list and have sold more than three million copies. They were also made into a successful 1986 film and an ITV series, airing on CITV between 1998 and 2001.
Attempts to replicate the success of daily teen-oriented serials "Neighbours" and "Home and Away" saw the creation of "Echo Point" (1995) and "Breakers" (1999) on Network Ten. These programs foregrounded youthful attractive casts and appealing locations but the programs were not long-running successes and "Neighbours" and "Home and Away" remained the most visible and consistently successful Australian soap operas in production. In their home country, they both attracted respectable although not spectacular ratings in the early 2000s. By 2004, "Neighbours" was regularly attracting just under a million viewers per episode – considered at that time a low figure for Australian prime time television. By March 2007, the Australian audience for "Neighbours" had fallen to fewer than 700,000 a night. This prompted a revamp of the show's cast, its visual presentation, and a move away from the recently added action-oriented emphasis to refocus the show on the domestic storylines it is traditionally known for. During this period "Neighbours" and "Home and Away" continued to achieve significant ratings in the UK. This and other lucrative overseas markets, along with Australian broadcasting laws that enforce a minimum amount of domestic drama production on commercial television networks, help ensure that both programs remain in production. Both shows get higher total ratings in the UK than in Australia (the UK has three times the total population of Australia) and the UK channels make a major contribution to the production costs.
Jesse Schedeen of IGN gave the first issue an 8.0 out of 10, saying "Regardless of your thoughts on "Trinity War", "Forever Evil" #1 is a solid start to DC's first real event comic of the New 52. It sees [Geoff] Johns diving headlong into a realm that he's succeeded in so often in the past." Schedeen wished that the Crime Syndicate had been featured more "to establish what makes this new take on the Crime Syndicate unique and why they're a greater threat now than they were the many times the Justice League clashed with them in decades past." Newsarama's Richard Gray was more critical, giving the issue a 7 out of 10. Gray felt that Johns trod a very thin line of overloading the story with too many villains and felt it was "immediately evident that reading this book in isolation of what has come before is almost impossible." He concluded that this event "has a familiar feeling to it, and it’s almost like starting over after coming so close to something that felt like a conclusion to two years worth of questions." Meagan Demore of Comic Book Resources gave the issue 3.5 stars out of 5, saying, "In its chilling first issue, "Forever Evil" delivers a solid story rife with Geoff Johns' effective character use and David Finch's stunning artwork. Although the book suffers from confusing timelines and episodic material, its debut shows promise through some exceptionally notable moments and strong visual command. "Forever Evil" #1 paves the way for an interesting new epoch at DC Comics with a concept that will hopefully be just as effective in the tie-ins as it was here."
Upon its initial airing, the episode was watched by just under 11.58 million American viewers, and it garnered a 4.6/13 Nielsen rating/share in the 18–49 demographic. Both the total viewership and ratings were significantly down from the previous episode, "The Sue Sylvester Shuffle", which aired immediately after the Super Bowl.
At release, "Wolfenstein: The New Order" received generally positive reviews, with praise particularly directed at the combat and the narrative of the game. Critics considered it a positive change to the series and nominated it for multiple year-end accolades, including Game of the Year and Best Shooter awards from several gaming publications. A stand-alone expansion was released in May 2015, set before the events of the game and entitled "". A sequel, "", was released in October 2017.
Newsarama's Richard Gray gave the first issue an 8 out of 10. He felt "Forever Evil: Rogues Rebellion" "is a welcome shift away from the main event with a focus on a smaller group of villains who just don’t want to play ball with the big bad" and "has instantly become one of the most engaging aspects of the “Forever Evil” event." IGN's Melissa Grey gave the issue an 8.7 out of 10, saying, "writer Brian Buccellato has hit precisely the tone he needed to in order to emphasize the moral shades of gray the Rogues occupy." Doug Zawisza of Comic Book Resources gave the issue 3 stars out of 5, saying, "tied into the main "Forever Evil" series, this story is strong enough to stand on its own, but would have benefited from consistent art," a sentiment seen from all.
Ratings for "Homicide: Life on the Street" gradually declined since the series first premiered. In response, NBC announced to fans that a decision about whether "Homicide" would be renewed or canceled would depend on how the last four episodes of the season fared in the ratings, starting with "A Dog and Pony Show". The week before the episode aired, the network started airing a television commercial with Barry Levinson making a direct appeal to viewers to watch the show, in which he said:
Through syndication, "Star Trek" found a larger audience than it had on NBC, becoming a cult classic. Airing the show in the late afternoon or early evening attracted many new viewers, often young. By 1970, Paramount's trade advertisements claimed that the show had significantly improved its stations' ratings, and the "Los Angeles Times" commented on "Star Trek"s ability to "acquire the most enviable ratings in the syndication field". By 1972, what the Associated Press described as "the show that won't die" aired in more than 100 American cities and 60 other countries, and more than 3,000 fans attended the first "Star Trek" convention in New York City.
In 1950 Silberkleit revived "Future Fiction", and the following year he brought back "Science Fiction Quarterly", with the first issue of the new series dated May 1951. A new magazine, "Dynamic Science Fiction", followed in 1952. All three were edited by Lowndes and all were in pulp format. Sales were satisfactory, but Silberkleit decided to experiment with the digest format, which was starting to become more popular. By the end of 1955 he had cancelled "Dynamic Science Fiction", switched "Future" "Fiction "to digest format, and relaunched "Science Fiction" as a digest under a new title, "Science Fiction Stories". Only "Science Fiction Quarterly" was left in pulp format—Silberkleit felt that a quarterly digest would not be as successful as a quarterly pulp. The pulps were dying off, and when "Other Worlds" switched to digest format in 1956, "Science Fiction Quarterly" became the only remaining sf magazine still being published as a pulp. In 1957 American News Company, one of the biggest magazine distributors, was liquidated, and the resulting changes in the national magazine distribution network, along with poor sales, finally killed "Science Fiction Quarterly". The last issue was dated February 1958.
"Buffy" did not compete with shows on the main four networks (CBS, ABC, NBC, and Fox), but The WB was impressed with the young audience that the show was bringing in. Because of this, The WB ordered a full season of 22 episodes for the series' second season. Beginning with the episode "Innocence," which was watched by 8.2 million people, "Buffy" was moved from Monday at 9:00 pm to launch The WB's new night of programming on Tuesday. Due to its large success in that time slot, it remained on Tuesdays at 8:00 pm for the remainder of its original run. With its new timeslot on The WB, the show quickly climbed to the top of The WB ratings and became one of their highest-rated shows for the remainder of its time on the network. The show always placed in the top 3, usually only coming in behind "7th Heaven". Between seasons three and five, "Buffy" flip-flopped with "Dawson's Creek" and "Charmed" as the network's second highest-rated show.
"The Unexpected" #1 debuted at 69th place on Diamond Comic Distributors best-selling comics ranking for June 2018, with 28,028 copies distributed, being the 29th best-selling DC comic book series published as well as the fourth best-selling title by DC to debut in that month.
The story was first published as a five-part serial in "Weird Tales" between the months of December 1935 to April 1936 (with chapter 20 being misprinted as chapter 21). It was first published in book form in hardcover by Gnome Press in 1950 under the title "Conan the Conqueror", a title retained by all later editions until 1977. The first paperback edition was published by Ace Books in 1954. The novel has been reissued a number of times since by various publishers, notably Lancer Books in 1967 and Berkley/Putnam in 1977; the latter, reedited by Karl Edward Wagner, was the first edition to restore the original magazine text and title, under which most subsequent editions have been issued. Donald M. Grant, Publisher, Inc. published an edition in 1989, with illustrations by Ezra Tucker, as volume XI of their deluxe Conan set. More recently the novel appeared in the collections "The Essential Conan" (1998), "Conan Chronicles Volume 2: The Hour of the Dragon" (2001) and "" (Del Rey, 2005). It has also been translated into Japanese, Italian, Finnish, French, German, Swedish, Czech, Russian, Sinhalese and Spanish.
According to journalist Mary von Aue from "Vice" magazine, "Bedtime Stories" is the "most important" album released by Madonna. For months leading up to its release, the promotion associated cited the record as an apology for the singer's sexually provocative imagery. Critics had also hoped for a return to more innocent form of music. However Madonna instead chose to portray herself as unapologetic for her imagery, as well as talking about scrutiny that female musicians faced. Madonna went opposite to what was being portrayed as the theme of the album in the promotional campaigns, and continued addressing her critics and people who had tried to shame her for being provocative. Von Aue added that "Today, "Bedtime Stories" is not the first album that comes to mind in Madonna's legacy. It is, however, the most relevant to many of the cultural conversations that are still happening. Had she acquiesced to the public's call for apology, it could have set a dangerous standard for how the public can decree an artist's silence, and it would have allowed the categories for female singers to remain in place".
"We designed the building from the inside out, not the outside in,” said Loretta H. Cockrum, Foram’s founder, chairman and CEO. “We wanted the most efficient office building ever designed, with no wasted space or wasted energy. This is a building of the future more than a building of the present. A lot of love has gone into that building, and a lot of pride."
Recent exhibitions at Tensta konsthall include
• “Abstract Possible: The Stockholm Synergies,” with Doug Ashford, Claire Barclay, Goldin+Senneby, Wade Guyton, Mai-Thu Perret, Walid Raad, and Haegue Yang, among others
• “Kami, Khokha, Bert and Ernie: World Heritage” by Hinrich Sachs
• “Doing what you want: Marie-Louise Ekman accompanied by Sister Corita Kent, Mladen Stilinović, and Martha Wilson” 
• “The Society without qualities” with Sören Andreasen, Ane Hjort Guttu, Sture Johannesson, Sharon Lockhardt, and Palle Nielsen (part of “The new model” and curated by Lars Bang Larsen)
• “Working With…” by Zak Kyes
• “We are continuing BBDG” with Bernd Krauss
• “Two Archives” by Babak Afrassiabi and Nasrin Tabatabai
In September 2016, after acquiring TWC, Charter indicated it would price the 2017 season above $4.50. “[The previous] deal is no longer on the table—it didn’t work,” said Charter Chief Executive Thomas Rutledge to the "Los Angeles Times". “We would love to sell the channel to others, but no one has bought it—and we are not giving it away. So if consumers want the Dodger channel, they’ll need to subscribe to us to get it.”
From May 1973 to September 1974, Abdelghani Bousta lived in hiding. During this time, he realised the mistakes made when the March 1973 events were organised. In 1975, he wrote a critical analysis of UNFP on behalf of the Option Révolutionnaire (Revolutionary option) movement, harshly criticising the events and the leaders: “[…] the March 1973 events helped shed light on the internal contradictions of the Party and show the true nature of its leaders: putschist and adventurous leaders who did not see any problem in sacrificing dozens of activists in a hazardous battle.”