CBS Corp. is flexing its newfound cable muscle, scheduling a one-time broadcast window for the new Showtime series "Brotherhood" in primetime this Saturday.
In addition, the eye announced a reshuffle of its Monday primetime lineup this fall, exchanging time slots for "The Class" and "How I Met Your Mother."
A violent, profanity-laced drama series about brothers on opposite sides of the law, the "Brotherhood" pilot will be edited for broadcast standards and carry a TV14-LV parental guideline rating. The edits will give it a slightly shorter running time than its Showtime version.
The episode, which premiered on Showtime on July 9, will air on CBS at 10 p.m. with limited commercial interruption.
In the split-up of Viacom last year, Showtime became the only cable piece of the company that was folded into CBS Corp. Since then, Leslie Moonves, president and CEO of CBS Corp. has spoken out about the need for Showtime to grow its audience.
"This is just one example of how content divisions in our company can work together to complement and support each other's efforts," Moonves said. "The CBS television network provides an unparalleled platform to expose this critically acclaimed new Showtime drama to new viewers on a large scale."
Broadcast exposure tends to introduce cable programs to new viewers. ABC recently opened its Friday schedule to the new ABC Family drama "Kyle XY."
The broadcast window is an unprecedented step for Showtime. The premium channel has experimented in the past with sneak previews of series on portals such as Yahoo.
While it is the first Showtime series to air on CBS, there is precedent for programming traveling in the other direction. Showtime provided a home for the controversial miniseries "The Reagans" in 2003 after CBS scrapped its plans to air it due to outcry from conservative critics.
In addition, CBS said Tuesday that it has moved new comedy "Class" from 8:30 to 8 p.m. on Monday, pushing second-year "Mother" to 8:30 p.m., where it aired last year. "Class" is from executive producers David Crane, Jeffrey Klarik and James Burrows.
Andrew Wallenstein writes for The Hollywood Reporter.
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