Thanks, fredfa, for the comment. One last posting on the subject and then I'll leave follow-ups, if any, in the San Diego HDTV section.

Looks like the situation is no sick joke, it is apparently for real. The following was posted on San Diego Channel 10's web site...

Link here: http://www.10news.com/station/5347903/detail.html

One final follow-up (Really!! Honest!!)

At 5:35 PM Pacific time today (November 17), KGTV aired a story on the Time-Warner/KGTV situation. Looks like the e-mail campaign worked. Negotiations had been going on since August, but had gotten nowhere. The station did the crawl to notify viewers of potential loss of signal.

Well, after a deluge of e-mails, the KGTV station manager announced (on air!) that an agreement has been reached between the two parties. No loss of programming from ABC for San Diego viewers who get ABC thru Time-Warner Cable (hey that's me!).

Ok, that's the end of that. :D

Glad it all worked out! :)

Kudos to you Fred for this impressive thread. I usually just lurk in these forums but over the past month I started to keep up with this one and I'm just blown away by the amount of info available on here. Thanks.

Chuck

Thanks Chuck, kind words are always good to hear!

And this gives me an opportunity to remind folks that Ken H and David Bott have generously allowed me almost unbelievable leeway here (after all this is an HDTV forum) to discuss all kinds of TV-related material. Moderators CPanther93 and DrDon have also been a great, great help and have gone out their way to give fantastic support.

But I am always delighted to hear from someone who enjoys the thread!

The 2005-2006 Season: The November sweep
November Sweep at the Halfway mark

With the November sweep about half over, it looks like CBS might pull out wins in total viewers and all the advertiser-sought demographics.

I am sure MediaWeek’s Marc Berman will add his own thoughts shortly, but for now, Rick Kissell of Variety is saying that “…(ABC) which won the night in key demos thanks to "Lost," remains the most improved net compared with a year ago. It trails CBS in the closely watched 18-49 demo race, and it should be a tight battle down the stretch.

The Eye, riding a winning perfby "CSI: NY," was a solid second Wednesday in demos and took the night in total viewers. Net is expected to win the month in adults 25-54 and is the runaway leader in total viewers.

NBC and Fox are also-rans for the month, with the Peacock down sharply and the Murdoch net up a bit. UPN has the lead on the WB in their target 18-34 demo race (1.7 to 1.6) and is up year to year after the former's "America's Next Top Model" delivered more potent numbers Wednesday night.”

Much more about this (almost) anachronism called the November sweep will be coming out soon!

I have been waiting for a lifetime to find a review using the words “inert” and “entropy” in the very first sentence. Eureka, I have a winner!

TV Weekend: “The Poseidon Adventure”
Red Update Alert: Poseidon Goes Belly Up Again

By Alessandra Stanley The New York Times November 18, 2005

Re-creations of 70's schlock, from "Starsky & Hutch" to "The Dukes of Hazzard," all seem to obey the second law of movie dynamics: remakes drift to a state of inert uniformity known as entropy.

NBC's three-hour "Poseidon Adventure," to be shown Sunday night, (8 PM ET/PT)may be the exception that proves the rule. It is not quite as deliciously awful as the original 1972 disaster movie, but it comes pretty close. Pauline Kael once described "The Poseidon Adventure" as a "waterlogged 'Grand Hotel.' " The TV version is closer to a massacre on "The Love Boat."

Not a single cruise director is spared.

The writers wisely chose to update the plot, which was based on a novel by Paul Gallico. Instead of a freak weather disaster, Islamic terrorists disguised as kitchen workers take over the luxury cruise ship and blow it up with explosives hidden inside beer kegs. (These terrorists are much better prepared than the pirates who tried to board a cruise ship off the coast of Somalia earlier this month with a grenade launcher.)

Modern audiences have short attention spans and need a movie to kick off with a little violence. The terrorist twist allows the film to open with a scene of a Special Forces team raiding an enemy safe house in Jordan and opening fire on the conspirators - always a bracing way to start. The terrorists are slaughtered ("all targets are reduced," one agent says to another), but not before their leader manages to destroy evidence of the secret plot to blow up the S.S. Poseidon.

The cast of characters has been updated as well, though, oddly, not to reflect multiculturalism. There are no black or Hispanic heroes. Only feminism gets a tip of the cap: one of the smarter, tougher survivors is Rachel (Alexa Hamilton), a successful entrepreneur who booked the cruise to improve relations with her whiny husband, Richard (goes without saying: Steve Guttenberg). But she also chooses to share the cabin suite with their two children, putting a damper on candle-lit reconciliation. Richard, a failed novelist, seeks adulterous consolation in the arms of the ship masseuse, Shoshanna (Nathalie Boltt).

Ernest Borgnine played Detective Lt. Mike Rogo in the original. In the post-Sept. 11 version, Rogo (Adam Baldwin) is a gruff, buff officer in the Department of Homeland Security who is assigned to the Poseidon as an undercover sea marshal. Rogo is a man of few words, but lots of disaster movie aphorisms ("Everything is safe, until it's not").

The script even takes account of grade inflation at the Vatican: the take-charge Roman Catholic priest Gene Hackman played in the original is now a monsignor, Bishop Schmit, played by Rutger Hauer ("Blade Runner"). Secular Hollywood, however, gets equal time: Bryan Brown ("The Thorn Birds") plays a Hollywood schlockmeister, Jeffrey, who goes on the cruise with his sexy, young French beloved, Aimee (Tinarie Van Wyk).

Perhaps the most striking addition is the remake's post-Iraq war humility. When the United States Navy is finally alerted to the hijacking (the terrorists destroy the ship's communications system, but Rachel manages to tack an S.O.S. message to her e-mail Christmas list), the admiral in charge finds he cannot get an American satellite in position to locate the missing vessel. The British secret service comes to the rescue, led by a crisp senior agent, Suzanne Harrison, played by Alex Kingston ("ER").

Since John le Carré, British spy thrillers have brooded over the inequities of the "special relationship," gleefully portraying C.I.A. agents as blustering bullies who undermine British spy craft, notably in the BBC series "MI-5." In its own small way, "The Poseidon Adventure" is a way of saying we're sorry.

Sadly, the famous theme song, "The Morning After" sung by Maureen McGovern, which won "The Poseidon Adventure" its only major Oscar, was left out. But the Shelley Winters role remains intact. The British actress Sylvia Syms plays the elderly passenger, Belle Rosen, and while this time she is a widow (the tiresome kind who always quotes her late husband, Manny), she has just enough avoirdupois to give viewers chilling expectations for Mrs. Rosen's underwater swimming scene. It would be churlish to ruin the suspense, but as soon as the ship flips, the producers tantalize viewers with ominous shots of Mrs. Rosen's rear end as she climbs fire ladders in a blue dress with a long slit up the back.

The original movie was one of the first all-star disaster movies, a precursor to "The Towering Inferno," starring Paul Newman, but that genre has faded. For one thing, in an era when Robert De Niro and Kate Winslet do ads for American Express, few movie stars have the same cachet. The cast of NBC's disaster movie is not particularly high powered, but it doesn't really matter.

Nor are the special effects particularly special - it's hard to detect any major technological advances in the depiction of rushing waters and crashing furniture. Nevertheless, the high point, when the ship first capsizes and New Year's Eve revelers in the grand ballroom fall from the upside-down floor to the ceiling, is quite satisfying - especially when one of them crashes through the ceiling's stained glass.

Three hours is a lot for a cruise-ship hijacking, but "The Poseidon Adventure" manages to keep a straight face throughout even in its silliest moments. And that is a fitting tribute to the original.

http://www.nytimes.com/2005/11/18/arts/television/18tvwk.html?pagewanted=print

TV Weekend: “The Poseidon Adventure”
NBC turns this “Poseidon” into true disaster

By Robert Bianco USA TODAY

Did there really have to be a movie after? Given the pre-sold value of that instantly recognizable title, it was probably inevitable that someone would remake Irwin Allen's 1972 genre-starting all-star disaster The Poseidon Adventure, although you might not have guessed someone would do so for TV and the big screen within the same year.

Still, what NBC may have forgotten is that our lingering fondness for this Adventure has less to do with its merits than with its contributions to the camp pantheon: Carol Lynley lip-syncing The Morning After in her hot pants; Shelley Winters swimming to her death; Bette Midler mocking Winters' swimming to her death. Treasures all — and all impossible to re-create.

Still, while the original Poseidon was not a great movie, it did have one of the all-time-great, easy-to-grasp movie hooks. (Passengers trapped in a capsized ocean liner have to work their way up to the bottom before the ship sinks. Go.) And indeed, as long as this bloated three-hour remake sticks closely to the original flipped-ship idea, it gets by. It's when the filmmakers try to get creative that the new Poseidon goes under.

Let's be clear: This low-star-wattage not-so-extravaganza is tedious whether you've seen the original or not.

Knowing the old film makes the new film's flaws more obvious, but even a Poseidon novice will have no trouble spotting them.

This new adventure's first major mistake is to have the ship turn over not because of a rogue wave, but because of a terrorist blast. Never mind that the hole-in-the-hull explanation for the ship's propellers-to-the-wind condition makes so little sense, the movie has to come to a dead stop twice to justify it.

What matters more is that the terrorist twist introduces a real-world issue that is too weighty for a silly, fragile film like this to support.

But worse lies ahead. Just when the film finally gets the ship upside down and the passengers on their way, it starts cutting away to a botched rescue effort that does as little for the passengers as it does for the movie. It torpedoes any sense of claustrophobia and makes it virtually impossible to remember where anyone is at any given moment.

Given the general ineptness around them, from the plodding script to the humorless, unevocative set design, you can't blame the actors for seeming at a loss. None of them transcends the material. None of them damages it, either, although you may be amazed to find that the young boy in this version is even more annoying than the kid in the original, which is something of an accomplishment.

Still, like the first version, this new Poseidon does teach one potentially lifesaving lesson: If you're in the dining room when a ship starts to flip, don't hang on to the table. It seldom works out.

That's just one more adventure you don't need.

http://www.usatoday.com/life/television/reviews/2005-11-17-poseidon-adventure_x.htm

Since INDemand says it will begin carrying the Howard Stern TV show on Friday, I'll report the Pittsburgh Post-Gazette story. Personally I have no idea which stiry is accurate, so believe which ever source you wish. :)

(Re: Howard Stern's PPV debut)

Sorry 'bout that...but I think I have the answer.

The quote above is from AllAccess.com, a very popular and usually accurate radio trade website, which is quoting MultiChannel News, a pretty reliable (from what I hear) source about the cable/satellite industry.

Here's the story which prompted the quote:

http://www.multichannel.com/article/CA6283481.html


A Sirius Holdup for Stern
In Demand’s Shock: Jock Will Have To Wait Until March
By R. Thomas Umstead 11/14/2005
Fans anxious to view footage from Howard Stern’s uncensored broadcasts on Sirius Satellite Radio are going to have wait a little while longer. In Demand will launch its Howard Stern On Demand subscription service Nov. 18 for $9.99 per month, featuring archival programming from the shock jock’s syndicated Infinity Broadcasting Corp.


So, it appears the story - at least as it's up on MultiChannel News now - is that the In Demand folks will be running old Stern footage for now...and may not have the new Sirius-driven stuff until March.

EDIT: Sure enough, from the AllAccess folks:


HOWARD STERN ON DEMAND is set to launch TOMORROW (11/18) with a selection of archival material, but new videotaped material from his SIRIUS SATELLITE RADIO show will be held for a MARCH debut. The TV package will cost $12.99/month until APRIL 1 and $13.99/month thereafter to reflect the addition of the SIRIUS shows, which will be made available about 36 hours after the shows air on SIRIUS.

Game Plan Schedule Saturday, Nov. 19th
Fortunately, there is a much more interesting HD College Football Schedule (listed at the top of the very first post in this thread) available this Saturday. In fact, it is about the most extensive HD college football Saturday I can remember. But if you need to look elsewhere for your pigskin fun, here is this week’s Game Plan lineup. (All times Eastern, and channel assignments are on DirecTV.)
12:00 PM
Ch. 775 - Northwestern @ Illinois
Ch. 776 - Cincinnati @ South Florida
12:30 PM
Ch. 777 - Kentucky @ Georgia (14)
Ch. 778 - Vanderbilt @ Tennessee
3:00 PM
Ch. 775 - Utah @ BYU
Ch. 776 - Idaho @ Boise State
Ch. 777 - Nevada @ Utah State
6:00 PM
Ch. 776 - New Mexico State @ San Jose State
7:00 PM
Ch. 777 - California @ Stanford
Ch. 778 - Clemson @ South Carolina (19)
8:00 PM
Ch. 775 - Wyoming @ San Diego State

Thursday’s prime-time ratings – and Media Week Analyst Marc Berman’s analysis of what they mean -- have been posted at the top of Ratings News the second post in this thread.

NBC UNIVERSAL, P2P FIRM LAUNCH ON - DEMAND FILMS
By Staff, Hollywood Reporter, 11/18/2005


LOS ANGELES (Hollywood Reporter) - NBC Universal has struck a deal with technology and commerce specialist Wurld Media that will make selected movies available for on-demand downloading via peer-to-peer distribution early next year.

NBC Universal said it marks the first time a major studio has licensed content to a P2P service.

Saratoga Springs, N.Y.-based Wurld Media is one of the companies striving to rehabilitate the image of P2P, whose distribution technology is popular among pirates. Its main competitors in the legitimate P2P space include PassAlong, Intent Media, iMesh and Snocap-powered services like Mashboxx.

NBC Universal added that it partnered with Wurld Media because of its commitment to carry only authorized content on its secure Peer Impact network.

The companies have not yet determined the fees that it will charge for film downloads. NBC Universal said it would offer all of the titles that are available on its existing video-on-demand and pay-per-view services carried by cable and satellite operators. That means a range of contemporary releases -- including ``The 40-Year-Old Virgin,'' ``Cinderella Man,'' ``Ray'' and ``The Motorcycle Diaries'' -- as well as 75-100 older titles from the Universal library.

The deal at present does not include any NBC Universal-produced TV series, but it does cover special programs that NBC Universal offers on VOD/PPV such as ``Jerry Springer: Uncensored,'' uncensored versions of the syndicated dating shows ``5th Wheel'' and ``Blind Date'' and the Spanish-language novela ``Laura Sin Censura.''

Peer Impact users will be able to view the films for a 24-hour period once they hit the ``play'' button on their computers. The file will remain on a user's computer for 30 days in an effort to hasten the download speeds of other Peer Impact users who purchase the same titles, because P2P gains speed and efficiency with each additional copy of content on the network.

Consumers log on to the secure network, where they can preview clips of all available content. Payment is due upon checkout, though Gregory Kerber, chairman and CEO of Wurld Media, said many users choose to keep a balance to draw from.

Kerber said the strength of NBC Universal's brand will help overcome users' lack of technical knowledge. ``This is content they know, so that will give people a sense of familiarity,'' he said. ``People won't need to know P2P, they'll just know the convenience it gives them at a price point they find worthwhile.''

The November Sweep
(From Marc Berman’s Friday, November 18, 2005 Programming Insider column at Mediaweek.com )

Half-Time Results

Midway through the November 2005 sweep, which consists of less stunting and more of an emphasis on regularly scheduled programming, CBS has extended its lead in total viewers, while moving into the No. 1 spot among adults 18-49. Based on ratings from Nov. 3 through Nov. 16, CBS holds an advantage over an improved No. 2 ABC of 3.09 million viewers and 5 percent among adults 18-49. CBS is close to year-ago levels, while ABC is up by margins of 10 and 8 percent, respectively.

Although fourth-place Fox (which will, no doubt, improve its ranking after American Idol returns) is also on par with the first two weeks in November 2004, all is not well at distant No. 4 NBC. Year-to-year, NBC is down by 14 percent in total viewers and 20 percent among adults 18-49. UPN and the WB remain neck-and-neck for the No. 5 position, with results mirroring one year earlier.

What follows are the results for the first two weeks (or one-half) of the November 2005 sweep (with change versus the comparable year-ago period in parentheses):

Total Viewers:
CBS: 14.62 million (- 2)
ABC: 11.53 (+10)
NBC: 9.40 (-14)
Fox: 7.32 (+ 4)
UPN: 3.77 (- 3)
WB: 3.62 (- 8)

Adults 18-49:
CBS: 4.5/12 (- 6)
ABC: 4.3/11 (+ 8)
NBC: 3.3/ 9 (-20)
Fox: 3.1/ 8 (no change)
UPN and WB: 1.5/ 4 (- 4 each)

Source: Nielsen Media Research data

(From Marc Berman’s Friday, November 18, 2005 Programming Insider column at Mediaweek.com )

TV Tidbits: Notes of Interest

New Faces on Fox’s "24":

The fifth-season of Fox drama 24, which returns in January, will feature Julian Sands (A Room with a View), Peter Weller (Robo Cop) and JoBeth Williams (The Big Chill). 24 will kick-off with a two-night, four-hour event on Sunday, Jan. 15 and Monday, Jan. 16, from 8-10 p.m. ET.

Correction:

UPN sitcom Love, Inc. which airs out of Everybody Hates Chris on Thursday, has been renewed for the remainder of the season, and not on the fence as reported yesterday.


Reader Feedback: Without A Trace

“While CBS’ 'Without a Trace' is a top 10 show thanks, in part, to its CSI lead-in, I don't think it gets the attention it deserves. Last night’s episode was one of the best hours of television I have seen in recent years. It took the regular formula, and reversed it, to see the events unfold in the eyes of a missing teenager's parents. This episode of 'Without A Trace' was a masterpiece, and deserves Emmy recognition.

Without A Trace does not always have happy endings, and they have characters that are all flawed in many ways. Sometimes you root for them, while at other moments you can't stand them. And every week, it delivers an hour of top-notch drama with outstanding performances. I wish more people talked about Without A Trace at the water cooler the way other shows often are.
-Andrew Brandner, Hartsdale, NY

Marc Berman Comments:

Had Without A Trace started a trend instead of riding on the wave of momentum, chances are more people -- critics, in particular -- would be taken notice. Even so, Without A Trace is a key part of CBS’ strategy, and is expected to be around well into the future.

Programming notes: A last hurrah for Jennings

MediaLifeMagazine.com--The late Peter Jennings will make one last TV appearance on ABC. The network said yesterday that on Dec. 15 it will air the final documentary reported by Jennings, entitled “Peter Jennings Reporting: Breakdown -- America's Health Insurance Crisis.”

Shot months before his death on Aug. 7, it will open with an introduction from Charles Gibson.

In other programming, ABC’s “Alias” is expected take over “Invasion’s” Wednesday 10 p.m. timeslot for two weeks starting on Dec. 7, airing the final two episodes from last season in an effort to goose ratings for the Thursday show as star Jennifer Garner goes on maternity leave.

“Invasion” will reclaim the Wednesday slot on Dec. 21, and originals of “Alias” will return in midseason. CBS, confident that tonight’s “Close to Home” will perform as well as it did last Friday, has scheduled the show for next Friday as well.

NBC will air the new Howie Mandel-hosted game show “Deal or No Deal” on four nights next month, from Dec. 19 to 22 at 8 p.m.

http://medialifemagazine.com/artman/publish/cat_index_31.asp

Critic’s Notebook
Network overboard!

By Kay McFadden Seattle Times Friday, November 18, 2005

Underwater dreams supposedly symbolize that you're in over your head. No wonder NBC's remake of "The Poseidon Adventure" feels like a cry for help.

"The Poseidon Adventure" airs at 8 p.m. Sunday and is the Peacock's latest water-fixated production. Other examples have been "Penn & Teller: Off the Deep End" and the sea-monster series "Surface."

Perhaps the ocean is an inevitable setting as TV runs through an epidemic of disaster flicks. What with "Category 6: Day of Destruction" and "10.5" having used up so much land last season, location scouts must turn to the cheap and beckoning Pacific.

But the cheap and beckoning metaphor provides a better explanation. "The Poseidon Adventure" isn't merely the latest sign of NBC's flailing effort to stay above the fourth-place waterline; its crummy execution embodies the wreck of a once-titanic network.

Wiser heads might have avoided this glacier in the first place. What audiences got from "The Poseidon Adventure" in 1972 was a front-row seat at the start of a trend and the end of an era. The movie worked because while kids enjoyed the novel disaster elements, their parents paid homage to actors who had thrilled them years earlier.

The cast had Oscar winners Ernest Borgnine, Red Buttons and Shelley Winters — past their prime, yet still kicking in every sense. The scene where Winters as the zaftig Belle Rosen swims her way to heroism and then dies is a peak in sentimental schlock.

Utilizing old stars was big in the 1970s, when Hollywood went nostalgic for its past. But the formula's limits were clear by 1979. Shirley Jones, Karl Malden and Slim Pickens couldn't create magic in the sequel "Beyond the Poseidon Adventure."

And neither do the stars on Sunday's voyage, although blaming the actors isn't entirely fair. Adam Baldwin, Steve Guttenberg, Bryan Brown and Sylvia Syms, among others, simply match a project driven by expedience.

An overly explanatory teleplay adds the stalest of twists: This time, terrorists set off a bomb and flip the ship. The Department of Homeland Security and the military are dragged in, undermining the sweaty personal dramas at the core of the story. The special effects are just OK.

Some actors endure. Rutger Hauer actually improves on Gene Hackman's old role as religious leader. Syms really works that final, fatal swim. Brown seems to have taken tips from Michael Caine on earning one's pay without getting too involved.

The effort to gull curious viewers with sensation instead of substance isn't a singular crime in TV. CBS just gave us "Vampire Bats" and "Category 7: The End of the World."

But CBS has enough hits to offset such trash. For NBC, "The Poseidon Adventure" is a higher-stakes event — and an SOS. The network better pray there'll be a morning after.

http://seattletimes.nwsource.com/cgi-bin/PrintStory.pl?document_id=2002630269&zsection_id=2002119662&slug=kay18&date=20051118

I have posted a few items by Ken Parish-Perkins and found him an interesting read.
Too bad.

Star-Telegram busts critic for lifting from EW

MediaLifeMagazine.com--It’s fine, as a fellow TV critic, to admire the writing in Entertainment Weekly; it is not fine to pass that writing off as your own. Fort Worth Star-Telegram TV critic Ken Parish Perkins resigned this week after a reader pointed out just such a lapse. An entire paragraph of background information in Perkins’ Nov. 10 piece on “Lost” was lifted directly from Entertainment Weekly without proper attribution.

The paper subsequently investigated all of Perkins’ work since July 2003 and found several more instances of borrowed phrasing and sentences, which is a violation of its ethics policy. When confronted, Perkins resigned.

In a column published yesterday, the paper’s ombudsman, David House, said the paper had not suspected Perkins of any ethical lapses and would not have realized the problem if not for the alert reader.

It's unclear why exactly Perkins lifted the material. Executive editor Jim Witt called Perkins one of the paper’s best writers and hardest workers.

http://medialifemagazine.com/artman/publish/cat_index_31.asp

This was supposed to be filed here a few days ago when it first appeared. But I forgot. Oops.
However its thoughts are just as relevant as they were a few days ago, so here it is:
The Digital Revolution
The Brave New World of TV
By J. Max Robins Broadcasting & Cable

The week that just passed will be remembered as the one that changed television forever.

In breathless succession, a slew of alliances were announced: First Yahoo! and TiVo, then an NBC Universal and DirecTV video-on-demand (VOD) pact, followed mere hours later by a VOD deal between CBS and Comcast.

While the industry was still sorting out those bombshells, America Online announced new programming offerings, including one in which AOL will feature TV shows from corporate sibling Warner Bros. Studios (see story, page 20). As if that wasn’t enough, the Associated Press and Microsoft finalized a deal to deliver video online to 3,500 AP subscribers.

Yes, I know that just because last week was the week TV truly changed forever, it doesn’t mean prime time will change tonight. I share the healthy skepticism of this week’s cover story, which makes a cogent case for doubting claims that the Internet giants are going to take over TV as we know it (see page 10).

I feel the pain of those in the station business who believe they’ve been betrayed because their “most valuable real estate” is being washed away by the raging stream of deals, including the one that Disney made with Apple for iPod video weeks ago. It’s easy to understand the station folks’ ire when such hits as Desperate Housewives, CSI and Law & Order: Special Victims Unit are slated to become downloadable staples.

I’m realistic, too, about the near-term threat of these recent deals. There’s still a long way to go before you start receiving TV bills that resemble a Tapas menu instead of a cable or satellite bill.

Still, give what’s percolating now a little time to get going. We’re going to have financial models for a wide range of VOD deals. From the ABC/Disney deal, we now know that major media players believe a monster hit like Lost makes sense at $1.99 per episode, while a cable hit like Monk works at a price point of 99 cents.

Surely, everybody looking to get into this game is now running numbers, trying to figure out the correct price point for their own deals to make sense. This is the time where everyone in the industry is doing some soul-searching, with an eye on a calculator. How do advertisers get involved? What does this do to the DVD market? Is there a piece of the action for syndicators? For stations? How many more layers are there to the back-end—from producers to actors to studios to distributors, who gets what and when?

With an increasing amount of A-list shows becoming available on-demand, how high does the value soar of TV properties—such as sports events and watercooler shows with time-sensitive reveals like Survivor and American Idol—that are VOD-proof, especially if they allow seamless product placement?

We won’t have to wait too long for the answers to these kinds of questions.

The onslaught of deals last week was remarkable because it made clear that virtually all the major media families have come to the same conclusion. They are cutting deals that in some cases—Disney and Comcast jump to mind—mark a major shift in corporate policy from mere months ago, when such arrangements were thought of as sleeping with the enemy.

It’s like the Bonanos, Lucheses, Gambinos, Columbos and Genoveses all decided to go to the zoo instead of the mattresses—or at least split up various neighborhoods with as little violence as possible.

Make no mistake—last week a bunch of giants took much more than baby steps toward that day when there is only one network: the ever-evolving channel that viewers design for themselves.

http://www.broadcastingcable.com/article/CA6283403.html?display=Max+Robins&referral=SUPP

TV Ratings
“Apprentice” regains some of its juice
NBC show hits second-best rating among 18-49s

By Diego Vasquez MediaLifeMagazine.com staff writer Nov 18, 2005

In a magazine article published this month, Martha Stewart claimed that NBC wanted her to replace Donald Trump on the original “Apprentice.” But it looks like the Donald still has some juice in him.

Unlike the past two seasons, Trump’s “Apprentice” is actually starting to build as the season finale nears. Last night “Apprentice” tied its second-best overnight rating of the season among adults 18-49, a 4.9. It came airing opposite the much-hyped conclusion of a two-part “CSI” episode on CBS.

That’s up 4 percent over his 4.7 season-to-date average. More impressive, the show was up 7 percent over the 4.6 average for the first four weeks of the season.

Perhaps with Martha’s cancellation and Trump forever in the news, people are once again getting interested in “The Apprentice.” Certainly the show seems to have at least erased any thoughts that it will take a steep tumble during the second half of the season as it did last spring, when ratings dipped by more than 10 percent from start to finish.

It also makes a fifth edition of “Apprentice” seem like a good idea. Many have called the franchise tired and wondered if NBC would get rid of it after the spring. If Trump’s ratings continue to show some growth, that becomes less likely.

http://medialifemagazine.com/artman/publish/article_1407.asp

Critic’s Notebook
You can TiVo, but you can't hide

By Kay McFadden Seattle Times Friday, November 18, 2005

Last Monday, "Medium" finally jolted me out of my usual puzzlement over its Top 20 status.

Halfway through the episode, Patricia Arquette's character and her husband began to rave about going to see the new Sony film "Memoirs of a Geisha." The scene was followed immediately by a commercial break and a promo for ... "Memoirs of a Geisha."

Paid-for product mentions have begun popping up in other shows. Eva Longoria's bad girl recently became a Buick spokesbitch on ABC's "Desperate Housewives." All the cool kids are doing it.

The development has pros and cons. A reader recently asked if federal laws limit commercial time on network TV. The answer is no, except for children's programs. European Union countries set a maximum of 12 minutes per hour in prime time; the unregulated U.S. average is now about 20.

American viewers, not surprisingly, have embraced TiVo and DVR technology that lets them skip ads. Networks have countered with more product placement in shows and sponsorships like the new one between CBS' "60 Minutes" and Royal Philips Electronics.

In that arrangement, Philips gets to be the sole advertiser and in turn cut the usual number of spots in half, from 12 to six. Other networks have similar deals, though often on a single-program basis: Sony sponsored the September return of FX's "Nip/Tuck."

Sponsors usually mean fewer ads. But some watchdogs perceive a problem. What if Philips does something that requires a "60 Minutes" investigation? The same question has come up for years in public television, where corporate underwriters are the norm for many types of programming.

Meanwhile, the rising tide of product mentions has riled a Hollywood group — the Writers Guild of America (WGA).

The union threatened this week to file a complaint with the Federal Communications Commission over TV product-placement if producers did not start negotiating with the WGA on how commercials are woven into story lines.

"Along with being asked to create memorable stories and characters, our writers are being told to perform the function of ad copywriter, but to disguise this as story telling," read part of a statement released Monday.

You could quibble a bit. The Alan Alda-Jimmy Smits live debate on "The West Wing" openly promoted NBC News. That can't have been hard to work into the script, even if it raises an eyebrow over blurring news and entertainment.

I do sympathize with the implied corruption of the creative process and the WGA's hints for monetary compensation. If you add brand-touting to your duties, a residual seems in order, which may be why the Screen Actors Guild has backed the WGA.

Then again, mental anguish is in a writer's job description. How bad can it be to create a competition touting the movie "Zathura" when you already work on "The Apprentice"?

The weirdest aspect of weaving product placement into story lines is that it's becoming a badge of success. Advertisers are less likely to clamor for mention on "Life With Fran" or "Night Stalker" or "The Poseidon Adventure."

http://seattletimes.nwsource.com/cgi-bin/PrintStory.pl?document_id=2002630269&zsection_id=2002119662&slug=kay18&date=20051118

A note of caution:

The Howard Stern situation as it eveolved over the past day on this thread is very disturbing to me. I would prefer not to debate rumors here, and certainly I do my best to keep mis-information or mis-understood information to a minimum.

I work very hard to keep this thread credible and informative. Once it loses its credibility it loses its usefulness to those who read it.

So please be careful posting items here unless you are very sure of their validity. No offense is meant here, but if you don't have experience in an area, or directly with the media you are quoting, be wary.

For example, George Thompson, with a lifetime of experience, is one of many participants here who often posts items of interest. But he knows the subjects he is posting about and has good (and many) reasons to believe what he posts is factual material.

I am not trying to censor anyone in any way, but I would ask that if you are unsure of a story, or whether a source is a good one or not, please, please contact me before posting to the thread.

House, Senate Must Reconcile Differences in Competing DTV Bills
By Doug Halonen TVWeek.com November 18, 2005

The House of Representatives voted 217-215 early Friday morning to approve a major budget bill that includes a provision that would force broadcasters to make the switch to digital TV by Dec. 31, 2008. The Senate previously approved legislation that also sets a deadline for the transition. But since the Senate set its deadline for April 7, 2009, the actual date won't be known until House and Senate leaders meet in conference to work out the differences between their DTV bills-something that's expected to happen as early as December.

During the conference, lawmakers will also have to iron out other differences between the House and Senate bills, including how large a federal subsidy to provide to help consumers buy digital-to-analog converter boxes to ensure that analog-only TV sets will continue to be able to receive over-the-air broadcast signals after the transition. The Senate legislation provides up to $3 billion for the subsidies, while the House bill would cap federal payments at $990 million.

The House legislation approved also contains a series of controversial provisions that aren't included in the Senate measure, including one that would require broadcasters to provide more than $5 billion in advertising time to promote the DTV transition on-air.

Another controversial provision in the House bill that is opposed by the National Association of Broadcasters would allow cable TV operators to downconvert high-definition broadcast signals to standard definition DTV for five years after the transition.

Also during the five-year period, the House legislation would require most cable TV operators to carry analog and digital versions of must-carry broadcast signals to ensure that cable customers equipped with analog-only TV sets won't have to get a new set-top converter box to continue receiving broadcast signals.

http://www.tvweek.com/news.cms?newsId=8937

House Passes DTV Bill
By John Eggerton Broadcasting & Cable
The full House passed the budget reconciliation bill 217 to 215 in the wee hours of Friday morning. House Commerce Committee Chairman Joe Barton (R-Tex.) cast the last vote, but don't look for a final bill on a DTV hard date or converter box subsidy anytime soon.

Passing intact as part of that legislation was the Commerce Committee's DTV transition bill.

That bill sets a hard date of Dec. 31, 2008, for the cut-off of analog TV service and the return of spectrum for auction, bringing billions to the treasury--some say as much as $30 billion.

But before Uncle Sam gets his hands on that money, $990 million will be set aside for a converter box to let analog-only sets receive a DTV signal after analog is cut-off on that date. The bill also contains a number of other DTV-related items, including money for first responders, a consumer education campaign and TV set labeling, and provisions for allowing cable to convert an HDTV signal to standard DTV, and DTV to analog.

Now comes the hard work of reconciling that bill in conference with the already-passed Senate version, which sets aside $3 billion for a subsidy, sets an April 7, 2009, hard date, and gives twice as much money to first responders (over a billion versus $500 million). But that is about all it does because Senate rules prevent legislating on appropriations bills.

The gulf between the two subsidies is philosophical as well as monetary.

The House version is a first-come, first-served plan that rewards the first people who get an application, apply to the government for the subsidy, then redeem the coupons for $40 toward a converter box (up to two coupons per household).

The subsidy will only cover the first 10 million or so households who need them. Some estimates put the number of analog-only households at over 20 million, including many older people and minorities who might not have access to online forms or be eager to have extended dealing with the government.

The Senate subsidy would cover all who need the box, simply sending everyone $40 coupons. Republicans see that plan as a welfare program, while Democrats frame the House versions as an attempt to save tax cuts by returning most of the billions from analog spectrum auctions for deficit reduction at the expense of minorities and poorer people who most need the DTV subsidy.

The Senate Commerce Committee plans to deal in a second bill with a number of the issues it had hoped to deal with in the first, including cable conversion of the DTV signal, set labeling, and perhaps mandatory cable carriage of a broadcasters digital multicast signals.

Since the conferenced bill must also meet the Byrd rule test for not legislating on appropriations bills, the House might have to knock out some of the provisions not directly related to a hard date and subsidy and deal with those in a second bill of its own.

Whatever the outcome, the conference negotiations are likely to stretch into 2006, if they even begin before the legislature returns from its winter break in January.

Critic’s Notebook: Sports on TV
Pregame shows can lead to better game ratings

By Michael Hiestand USA Today

When TV broadcast networks were superpowers — with a virtual stranglehold on all the American eyeballs peering at electronic screens — their Cold War was fought across time slots.

Today, that seems quaint. Asking, say, whether broadcast network news shows are even relevant anymore might be more telling than asking which network is winning the evening news ratings race. In TV sports, games overwhelm viewers from every direction — cable, satellite, broadband — and obscure the old 20th-century broadcast network rivalries.

But there's one TV sports hot spot where broadcasters battle head-to-head with shows they create — the NFL pregame shows. The old saw on that: The network with the NFC game package, now Fox, has more big TV markets than the network with the AFC package, now CBS, so the NFC pregame show inevitably will win the pregame ratings race.

Which is true. The idea is that fans likely will tune into pregame shows on channels where they'll later see their team play. The NFC has teams in all the top 10 TV markets except Los Angeles and Boston. That helps Fox; its pregame ratings are 200% better than CBS' in NFC cities

But there's more to the story. The overall ratings for Fox's pregame show this season are down 11% from this point last season, and CBS' are down just 4%. Still, Fox is averaging 3.2% of U.S. households, CBS 2.3% — a 39% gap.

That might sound like a big difference, but the gap hasn't been that small in two years.

However, CBS doesn't seem to have made big inroads in places that would seem to be up for grabs — cities without NFL teams. Of the 56 major TV markets used to compile overnight TV ratings, 26 don't have teams. In those cities, which account for about 22% of U.S. TV households, Fox's pregame advantage over CBS is almost identical to its national lead — 40%. In Los Angeles, the biggest market without an NFL team, Fox's lead is 117%.

For ESPN's pregame show, every place is a neutral market — it doesn't air Sunday afternoon NFL games. Still, it manages to draw the equivalent of 1.8% of U.S. households.

On tap

CBS had first rights to Saturday night's Clemson-South Carolina game and passed. Then ESPN passed. When regional syndicator Jefferson-Pilot also passed, the game was headed for local TV pay-per-view in South Carolina — until South Carolina politicians protested the cruelty of capitalism and ESPN decided to air the game regionally in South Carolina.

ESPN has tested regionalized coverage, which broadcast networks routinely use to build ratings. But ESPN's Josh Krulewitz says this latest move isn't part of a new plan to regionalize more: "We have no plans to alter our national programming strategy.

http://www.usatoday.com/sports/columnist/hiestand-tv/2005-11-17-hiestand-nfl-pregame-shows_x.htm

NBC UNIVERSAL, P2P FIRM LAUNCH ON - DEMAND FILMS
By Staff, Hollywood Reporter, 11/18/2005

Peer Impact users will be able to view the films for a 24-hour period once they hit the ``play'' button on their computers. The file will remain on a user's computer for 30 days in an effort to hasten the download speeds of other Peer Impact users who purchase the same titles, because P2P gains speed and efficiency with each additional copy of content on the network.



Argh! They are going to use my storage for 29 days?!? Are they gonna pay me for that? What if I do not want to share the bandwidth of my pipe when another user is pulling it down from my machine? Boy am I glad that I do not use P2P.

Since I do not use it, maybe I am missing something here. Please feel free to edumacate me.

Some Ratings definitons

Many of you read the daily ratings and aren’t sure about the different methodology -- or terms -- used.

Here is the explanation of the two major overnight ratings sources from Nielsen itself:

Metered Market Overnight Ratings: This is normally the first available ratings information, and consists of household ratings and shares based on the electronic measurement service that Nielsen Media Research provides in 56 of the nation’s largest markets. In each market a separate sample of homes is selected to represent that individual market. Often, networks or syndicators provide metered market information as an early indicator of a program’s performance. In aggregate, the 56 metered markets represent 75,427,430 homes, or 69.58% of all U.S. TV households.

Fast Affiliate Ratings: These first national ratings, including demographics, are released to subscribing customers daily. These data, from the National People Meter sample, are strictly time-period information, based on the normal broadcast network feed, and include all programming on the affiliated stations, sometimes including network programming, sometimes not. The figures may include stations that did not air the entire network feed, as well as local news breaks or cutaways for local coverage or other programming. Fast Affiliate ratings are not useful for live programs, because the data reflect normal broadcast feed patterns. For example, on Monday Night Football, ABC’s Fast Affiliate Ratings would include whatever aired from 9-11PM on affiliates in the Pacific Time Zone, following the live football game, but not game coverage that begins at 6PM PT. The same would be true of Major League Baseball Playoffs and Presidential debates. “

Since Marc Berman issued a correction to his list of the status of new prime-time programs, I thought I should repost the corrected list:

(From Marc Berman’s Thursday, November 17, 2005 Programming Insider column at Mediaweek.com )
Freshman Series Scorecard: Primetime Recap

What follows is the updated status of the 31 new primetime series.

ABC
Commander in Chief: full season renewal.
Freddie: full season renewal.
Hot Properties: on the fence.
Invasion: full season renewal.
Night Stalker: canceled.

CBS
Close To Home: expected full season renewal.
Criminal Minds: full season renewal.
Ghost Whisperer: full season renewal.
How I Met Your Mother: full season renewal.
Out Of Practice: full season renewal.
Threshold: three additional scripts ordered.

NBC:
The Apprentice: Martha Stewart: canceled.
E-Ring: full season renewal.
Inconceivable: canceled.
My Name Is Earl: full season renewal.
Surface: full season renewal.
Three Wishes: additional order for six episodes canceled.

Fox:
Bones: full season renewal.
Head Cases: canceled.
Killer Instinct: three additional episodes ordered.
Kitchen Confidential: canceled.
Prison Break: full season renewal.
Reunion: on the fence.
The War at Home: full season renewal.

UPN:
Everybody Hates Chris: full season renewal.
Love, Inc.: renewed.
Sex, Love & Secrets: canceled.

WB:
Just Legal: canceled.
Related: six more episodes ordered.
Supernatural: full season renewal.
Twins: five more episodes ordered.

Critic’s Notebook:
“Desperate” dims; “Curb” still calls for enthusiasm

By Tim Goodman San Francisco Chronicle Friday, November 18, 2005

There are strange and stringent demands in the world of television, and when they are not met -- utter weirdness and bedlam.

Viewers have demands they enforce both knowingly and unknowingly. Expecting something more or different from Martha Stewart -- and not getting it -- the viewers revolt and stay away. Excitedly anticipating a remake worthy of the original "Night Stalker" -- and not getting it -- the buzz dies and the series is killed. Aggrieved and annoyed fans feel hurt and angry that the rest of the country doesn't view "Arrested Development" the way they do -- and a network ultimately rises up and speaks for the masses and the bottom line.

Nobody cared that "Joey" was spun off one of the most successful sitcoms of all time. Networks can create as many can't-fail star vehicles as they wish -- but the audience will always decide. That never changes.

What then to make of all this talk, bubbling up through at least a portion of the masses and given credence by critics, that two of television's most acclaimed series -- "Desperate Housewives" on ABC and "Curb Your Enthusiasm" on HBO -- have taken turns for the worse?

Partially right, mostly wrong, for very different reasons.

Let's start with the show 26 million people watch every Sunday, the second most popular show on television, "Desperate Housewives." Has it faltered? You bet it has. But in ways not necessarily as dire as presented at the water cooler.

It's true that one of the main weaknesses of "Desperate Housewives" is that the stars are assembled into so meagerly coherent a story line. At times the series has played out as a less-than-intricate collection of short stories, rather than a novel everyone seems to crave. The writing has not been as crisp -- also true -- and when executive producer, creator and writer Marc Cherry came to the defense of his writers earlier this season, saying, in effect, that even though he hadn't written any scripts, his fingerprints were still on them and he approved of each episode, it was either an overly kind act of parental protection or proof that the series was well off course.

What's more accurate is this: The recipe that "Desperate Housewives" used in its freshman season to completely and stunningly entrap a nation was a souffle of intricate proportions -- one inelegantly recooked this season. By contrast, a cop show is mere spaghetti. It takes real effort to mess it up.

"Desperate Housewives" is a hyper-real kind of nighttime soap opera, a brightly lit, broadly played allegory of suburban life. One false move and it becomes a spoof, a minor variation over there and it becomes schmaltz. What the country embraced last year was a season of creative plate spinning that was not only ridiculously successful, but also nearly felled Cherry. Literally sick from overwork, he vowed to take it easier this year.

You can make the argument that his leaving the writing to others has produced a -- if not tone-deaf, then toneless -- reproduction of his original. But it's more likely that even if the immensely talented Cherry had written every word, "Desperate Housewives" would still have stumbled creatively. It was inevitable.

Though most critics weren't as easily smitten as viewers during the first season, there's no denying that the women of Wisteria Lane were intoxicating -- a result of dramatic flash, fiercely written dialogue and wonderful dramatic acting. Everybody's story, even those of the minor characters, was interesting. And it didn't hurt that the pilot featured the suicide of the narrator, leading to a seasonlong story arc that addressed why she killed herself and in the process unraveled many mysteries.

This season? We already know why Mary Alice shot herself. With the damage done, her family -- husband, alleged son -- has proved less than intriguing. The romances on the street are either tired (Susan and Mike), boring (Lynette and Tom), pointless (Gabrielle and Carlos) or stupid (Edie and Karl). Only Bree's weird dalliance with creepy pharmacist-killer George holds any interest, and that lost its mileage when George used that psycho smile for the 100th time.

The arrival of Betty and son Matthew -- with crazy Caleb in the basement -- has been nothing if not insipid. And "Desperate Housewives" outed itself at the Emmys by opting to be in the comedy category. There has been precious little humor in this series and, at least this season, none of it very evident or worth the investment in the absurd premises the writers demand for each punch line. Face it, this is a drama, and this season "Desperate Housewives" has been dramatically worse than last season.

But wait -- this isn't scorn or piling on. It's a reaffirmation of two things: (1) that last year's show was sublimely rare, a longshot fan favorite with a big kick down the stretch, and (2) it's nearly impossible to do that twice.

It could be that "Desperate Housewives" will never be as good as the first season and, if you want to look back with clear eyes and cold blood, it really wasn't that great in the first place. But Cherry is very talented and he should not be counted out. "Desperate Housewives" is a tough creative balancing act, and though it has stumbled this year, it won't completely topple in coming seasons. Look for a return to balance, if not form.

In comparison, "Curb Your Enthusiasm" has proved its brilliance episode after episode, season after season. That's four, if you're counting. Some seasons have been better than others, some individual episodes vastly superior to others. Now in its fifth season, "Curb" is no different. It didn't help that the first episode was flat and that the misses have been more glaring (maybe because the hits were so hilariously obvious?). But it's far too early and certainly ill-advised to suggest that "Curb" has gone downhill. Sideways, maybe. But when the season ends, a true evaluation will most likely reveal that this was a season like any other.

What viewers are griping about probably stems from overfamiliarity and predictability. Look, as dipped in genius as this series has been, the premise is not too difficult: Larry David, like Curious George before him, gets into a lot of trouble. Mostly, it's wince-inducing trouble. It's a torturous kind of humor for the viewer, where you find yourself recoiling into the couch to escape Larry's awkward social situations, the unfiltered passageway between his brain and his mouth.

Creating that conflict is, well, labor intensive. When "Curb" is painfully brilliant it's because separate comedic themes all come together seamlessly by the end of the half hour. Larry's antics cause a ripple effect that grows more hilarious as the episode goes on, and viewers appreciate the contortions Larry and friends have gone through -- ridiculous as they may be -- to ensure our belly laugh. At it's best, "Curb" is audacious and childish at the same time.

Only now, perhaps, five seasons into the show, we're seeing just how much labor goes into the delivery. We are familiar with it. When Larry gets a sandwich named after him, you immediately know it won't be good enough. In "The Christ Nail," if you didn't see the punch line(s) coming, then you've never watched the show closely enough. "Kamikaze Bingo"? An implosion of good intent. "Lewis Needs a Kidney"? Much, much better.

This is probably how "Curb Your Enthusiasm" will play out its season. Wonderfully inspired highs and lows that bemoan (and betray) our unfettered loyalty. The obstacle in the series is that sometimes we know that Larry can't be that clueless, that uninterested in others, that prone to embarrassing situations.

Now, when he gets into those situations, ever more elaborately, we're not that impressed. Five seasons on, we can count off the beat, the pause and sometimes even the punch line. Does this make it less funny? Sometimes -- but not with alarming frequency. Loyal viewers are still getting what they've always got from "Curb Your Enthusiasm" -- a jolt to the side, a reaffirmation that mean-spiritedness is not only wholly inappropriate but also wildly funny.

The difference this year is we're less startled by Larry's antics. But as long as he delivers a laugh more often than not, what's the crime in seeing them coming? That's not failure -- it's familiarity. And certainly no reason for David or HBO to get all desperate on us.

http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2005/11/18/DDGM2FPE451.DTL&type=printable

The 2005-2006 TV Season
Ask Matt
(from the Ask (TV Critic) Matt (Roush) column at TVGuide.com


Question: I'm not sure how to respond to the news of Arrested Development being canceled without a string of obscenities. I knew that it was going to happen eventually, but I still say to Fox: coo-coo-coo coo-coo-coo coo-coo (clap, clap, clap). — J.P.

Matt Roush: And thus (with a much-needed smile, I hope: thanks for channeling the chicken dance, J.P.) we begin the mourning for Arrested Development, whose curtailed (and almost certainly final) season generated by miles the most mail of any topic so far this season. I wish I had the resources to print more of the eloquent, angry (and sometimes amusing — again, thanks, J.P.) responses to this situation. As it is, I hope the non-fans will indulge the column — and yes, I also got quite a few inevitable "never liked it, don't care" e-mails — as we spend some time discussing the fallout of Fox's decision to call it quits after 13 episodes this season (and we don't even know when or if all of them will air).

________________________________________

Question: I wanted to be one of what I'm sure will be about four million people to say what a shame it is that Arrested Development finally bit the dust. Perhaps the worst part is that we were all so sure this was going to happen over the summer, but when news came that it had received a renewal for a full season, it was like a weight had been lifted from our collective shoulders. Now Fox cancels it mid-season? It's almost enough to make me boycott Fox altogether, but how can I turn my back on Prison Break and 24?

And I suppose we should be thankful that we even made it to a third season. That aside, I hope they can find a way to give the show a proper send-off and at least we still have the DVDs. It's just such a shame so many people missed out on this great show. While I've got you, I just wanted to throw in my support for the U.S. version of The Office. What a show! I know you have made public your distaste for the Yank version and perhaps the extremes of the Michael and Dwight characters, but I think you need to look again. Every episode has gotten better and better and the show is now at the top of my list of favorite comedies, along with Arrested and Scrubs. I think it is sad that people who loved the U.K. version (which I never watched, by the way) let their experience with that show affect their experience with a U.S. version that definitely has merit. And as others have argued, give me a half hour of The Office any day over a half hour of Joey and most of the other drab comedies out there right now. — David

Matt Roush: As I noted earlier this week, I am annoyed but not surprised by Fox's ultimate decision. I agree we should be thankful that we got as much of the show as we did, but the way Arrested was continually yanked around did neither the show nor its fans much good in the long run. I don't agree with those who think Arrested would have had more luck on another network. No other network, except maybe NBC (at its best), would even have attempted such a daring and innovative comedy, and even NBC would have shuttered it long before now.

Which brings me to The Office, a show that has improved a lot since its spring run. I'm glad NBC has picked it up for a full season, although if it disappeared, I'm not sure I'd really miss it. But the Jim and Pam characters are at least as good (maybe even better) than the Tim-Dawn counterparts of the original, and Steve Carell has toned down his portrayal of Michael, making him more bearable and even empathetic (although the NBC version sometimes strains in its attempts at poignance over pathos). I still can't abide Dwight, who feels like he's stumbled in from a standard-issue sitcom, but the overall tone of the show and most of the characters (including the temp, an inspired twist on the original format) generate such a feeling of uncomfortable realism that I'll admit the show has grown on me. Still, I think My Name Is Earl would be better off paired with Scrubs (which shouldn't be made to take a backseat to [B]The Office or to any NBC comedy).

________________________________________

Question: Now that Fox has sent Arrested Development to the quality-television graveyard, I'm really curious as to why they ever renewed it at all. Being thrown up against Monday Night Football, preempted during the World Series, then canceled after one more episode, it was obviously never given a fair chance to gain any traction on their schedule. Can you provide any insight into the mentality of the Fox (de)programmers who orchestrated this travesty? And is there any realistic chance this gem could be resurrected at another network — perhaps HBO? — Daniel E.

Matt Roush: To be generous to Fox (although I'm sure most of you wouldn't see the need), I have always believed in the network's belief in the show. Renewing it and pairing it with a similarly offbeat comedy in Kitchen Confidential was a good-faith effort of sorts (however feeble), but the death knell sounded when Fox moved Arrested off of Sunday. Not that it was a surprise. Given the audience tune-out after The Simpsons, there's a point at which you just have to face the business realities of the situation.

Arrested probably would have done no better on Wednesday (the only other feasible night) than on Monday, but it was sheer folly to expect the series to kick off a night; 8 pm/ET is way too early for a show this sophisticated and edgy. Still, I can't exactly condemn Fox for actually swinging the bat again, even if its heart may not have been in it this time. As for HBO picking it up (a theme I'll be returning to), don't count on it. The pay giant has often made it clear they're not in the business of assuming others' castoffs, even if it might drive some traffic to the channel from grateful fans. As I suggested in my Dispatch, Showtime is a much more logical option, but for now, that's mere speculation.

________________________________________

Question: Now that Arrested Development's run appears to be over, I was wondering what you think of how Fox handled the show over its three seasons. Fox definitely deserves some credit for sticking with the show longer than some other networks might have, but I feel very strongly that Fox blew several opportunities to expand the show's audience. Why, for example, didn't Fox put Arrested Development on after the Super Bowl during its first season (The Simpsons certainly didn't need any more national exposure)?

Also, I don't understand why Fox never tried putting the show on after episodes of American Idol to try to build up its audience base. House became a hit and gained a wider viewing audience because it had Idol as a lead-in and I don't see why the same thing couldn't have worked for Arrested. I just hope that another network will pick up this great show. NBC definitely needs some good sitcoms and Arrested would be a perfect companion piece to a show like Scrubs. Arrested would be a great substitution for the currently awful and unwatchable [B]Joey. — Matt

Matt Roush: Again, I wouldn't hold out much hope of another broadcast network picking up a series with cult potential at best. As for Fox not giving Arrested the Super Bowl or post-Idol berths, there's a solid argument against that strategy as well. Think of all the failed shows (none as good as Arrested, of course) that followed Friends and Seinfeld (or whatever the 8 and 9 pm/ET shows were) on NBC on Thursdays for years.

There's a downside to getting a cushy time period. If Arrested had been put into any of these high-profile slots only to generate a modest (or worse) turnout, its demise might have come even sooner. And this is far too demanding and bizarre a series to put at the end of a long night of Super Bowl programming. (Mainstream like The Simpsons is better, and far more suitable.) There's something to be said for being put where there are fewer expectations. Unfortunately, because Prison Break is doing reasonably well, Fox felt it was doing more harm than good as a lead-in.

And finally (for now), this rant from CoCo pretty much sums up the general mood toward Fox these days, and I'll let it stand without comment: "I know others have said it before, but I really don't understand TV executives. Why did Fox even order a show like Kitchen Confidential when they're not going to give it a chance? The network put all its advertising money behind Prison Break, but scheduled KC after a show that, while beloved, pulls in low ratings. KC gets three airings and gets pulled for baseball. On Nov. 6 Fox starts advertising its return set for Nov. 14, and then they pull it again and decide not to order the back nine episodes (and I won't hold my breath about it really returning Dec. 5, either). Why not give it and Arrested Development another shot in another time slot? Is the Fox lineup really so solid that there was no opportunity to find the right spot for these shows? Why run Prison Break into the ground with double airings, and not give these shows a chance to actually build an audience on Monday nights during sweeps? When will executives learn that having the patience of hyperactive monkeys does a disservice to viewers, and that's why so many people refuse to even start watching a show on Fox?"

________________________________________

Question: Now that Fox has all but canceled Arrested Development, and Kitchen Confidential looks like it's headed down the same road, does this open room for Prison Break to air Mondays with 24, or is American Idol taking up the spots? — Josh S.

Matt Roush: It's not entirely clear how Idol will be scheduled at mid-season, but the original plan (which still stands for now) is for House to move to Monday as a lead-in to 24, although I'm sure there will be occasional Idol Monday-night specials; Fox would probably just as soon air an Idol element every night of the week if they thought they could get away with it. Tuesdays will pair Idol with Bones, moved an hour later. There is a chance, I guess, that if Stacked continues to tank (we can only hope), then either Arrested or Kitchen will get some shots at a Wednesday slot, in and around Idol episodes. And there are always the graveyards of Thursdays and Fridays (where The Bernie Mac Show and Malcolm in the Middle are now buried). All in all, not a hopeful picture.

________________________________________

Question: Everybody has been saying that Desperate Housewives is in a slump. I'm not sure if that's an opinion I truly agree with, or merely one I've acquired from others who have been saying so pretty much since the day after the second-season premiere aired. Whatever the case, I have to say there is one part of the show that I have come to loathe: George. In the first season he was a creepy character who proved to be an interesting wrinkle in Bree and Rex's marriage.

This season, with Rex out of the picture, George has taken on a bigger role in Bree's life as well as the life of the show, and I, for one, can't say it has been for the better. We have gotten to see just what level of crazy he is, and to what lengths he will go to get what he wants. I mean, not only did he manipulate Bree into having sex with him when she obviously wasn't ready, but now he's killed her therapist and proposed to her just seven weeks after her husband's death (which he, of course, caused)! To me he is a highly unredeemable and unlikable character whom I don't love to hate, but merely hate. What do you think? — Amy

Matt Roush: First off, the Housewive’s slump. Last week's (Nov. 13) episode, the first this season with series creator Marc Cherry as the author, was a near-return to form: entertaining, amusing, eventful, a bit suspenseful, with some actual meaningful housewife interaction, especially where Bree and Gabrielle were concerned. I know Cherry says the writing of all episodes are overseen by him, but this was a marked improvement.

As for George: I agree, he is completely icky (and not in a good way), but I'm reasonably sure he'll be getting his comeuppance eventually. I have always enjoyed Roger Bart onstage (as Tony-winning Snoopy in the Charlie Brown revival, in The Producers and elsewhere) but this sexually ambiguous and smarmy psychopath isn't a great fit. I too will be happy when Bree moves on. What Housewives (and Bree, for that matter) is lacking these days is some hot new beefcake on the block. Alfre Woodard's son (romancing Bree's daughter now?) is a good starting point.

________________________________________

Question: I have been wondering what your thoughts were on the Nov. 9 episode of Lost. I haven't seen any talk about it and I am wondering if I am the only one who is mad about it. I have to admit that I disliked Shannon at first, but the character started to grow on me, especially after she and Sayid got together. Now she's gone. Why kill Shannon right after Boone? It just seems too easy. Can you help me understand this one, Matt? — Maria

Matt Roush: I was traveling on business last week and wasn't able to see the episode until the weekend, by which time I knew exactly what was going to happen (I'd known for weeks who would bite the dust, courtesy of working here, where there are few secrets and spoilers kept, regardless of how hard you try). Even so, I thought it was pretty powerful stuff, as I almost always do where Lost is concerned. For an explanation of "why," pick up the Nov. 21 issue of TV Guide. You may not agree with their reasoning, but it worked for me. Someone's gotta die — they've made that clear — and Shannon's exit may have been made more effective (as in: tragic) by the writers humanizing her, both in the relationship with Sayid and in her flashbacks. If a death on Lost had no impact, it would mean the show was failing in the area where it arguably works best: in its character development, something this show does better than anything else I can think of on TV.

Lisa also wrote in to express her unhappiness in losing Shannon and Maggie Grace from the show. An excerpt: "When Boone died, it was tragic but I was OK with his end, especially knowing that Shannon was still on the island so we could learn more about Boone through her (and we did get to see a bit more of Ian Somerhalder in last week's Shannon backstory). Now it seems as though we won't really be able to learn much about these two characters anymore (although it is J.J., so anything is possible). I did and didn't like the way Shannon was killed. I thought it was interesting to have Ana Lucia shoot her, thinking she was one of the "others." And how this horrible accident brings everyone to the same side of the island. That should allow for some good tension. And I'm always up for that, but Shannon didn't get to say goodbye. Boone at least got an episode to say goodbye. Obviously, life on the island will go on and there is no way I'm going to stop watching, but I just wanted to put it out there that someone was upset to see Shannon go. And since I just realized that this wasn't actually a question, let me ask you: How did you feel about Shannon's death?"

I'm at peace, especially knowing there will be consequences as the tribes merge in next week's episode.

________________________________________

Question: Matt, sorry to hear Over There has been cut. I guess the families of deployed soldiers might have had something to do with its ratings. I, for one, enjoyed the show, having been deployed to Iraq in the early '90s. When my son asks how it was for me, I have him watch the show. During this past run, I found myself armchair-editing the special effects, i.e., shooting the enemy with an "M2 .50 cal" is not likely. Shooting a guy with a M203 25 feet away and blowing him in half — not likely. I could go on and on, and the interaction between the chain of command and the squad members sure brought back some fond memories. I'll be the first to buy this once it's out on DVD. — Barry T., Retired U.S. Army

Matt Roush: I'm still getting quite a bit of mail about FX's hardly unexpected decision not to renew Over There. Frustrated e-mails like this from Jan K., who wrote: "It's a shame that more folks haven't tuned in to this incredible show. The acting is some of the best work I've ever seen, and the scripts show the reality our soldiers are facing in the Iraq war. Is the problem with advertisers who don't want to support a show with true-life moral dilemmas, or have they given in to political pressure? I know you'll say that enough people simply didn't watch, but there's got to be some way to keep this fine show on the air."

Sadly, the situation is that if more people had watched, FX very likely would have continued with a second season (this not being a network that is known for caving in to criticism from the standards/practices police or from politically motivated critics). I believe this was more a business than a creative decision, and given the turbulent climate in which we live, it's amazing a show this grim and topical ever saw the light of day, even for one season.

________________________________________

Question: I've seen some "experts" write that Everwood is doing well enough on Thursdays (relative to past WB performance) to please the network. Others say its performance is poor and it could be in trouble. What's the real story? Is this great show on track to return next season? If so, do you think it will stay on Thursday, or would the WB consider returning it to Monday to replace the now departing (finally) 7th Heaven? — Matt

Matt Roush: By WB's standards, the show is doing unexpectedly well on Thursdays — not quite as well as Smallville, but then, Clark isn't facing CSI, is he? Of all the networks taking on the big guns on Thursday, ABC is the one hurting the most. (See following letter.) I was assured before the season began that Everwood's future didn't hinge on its Thursday performance, but since it's doing OK there (considering), I'm sure it's safe for next year. It certainly deserves to be. The show is so enjoyable this season; loving Hannah and Bright, especially, but really, what's not to like? I would love to see Everwood return to Monday after 7th Heaven checks out, and be christened as TV's best (and most moving) family drama, which it has been for at least a year (notwithstanding the too-early departure of American Dreams, which is still much missed.)

________________________________________

Question: I just heard that Night Stalker is being canceled, and they are not going to be showing the second part of the two-parter. They are just giving it the ax. Yet crap like Stacked and Wife Swap are still on the air. What gives? Is the American viewing audience really getting that dumbed down that they watch crap, and shows like Night Stalker and Arrested Development are shut out? — Tim

Matt Roush: 'Fraid so, but you'd have to be asleep not to have known that Night Stalke r succeeding in the long term was improbable to impossible, even if you were a fan (which I wasn't, not because of the concept but because of the casting and the show's ponderous-to-pretentious tone). I wasn't surprised Night Stalker didn't make it, but I was annoyed for all the fans' sake that ABC yanked it in the middle of a two-parter. That's just wrong. Taking the long view, there will always be "crap" on the air, and there will always be people who would rather watch mindlessly grating swill (someone explain to me The War at Home, for instance) than become engaged in more challenging and memorable sorts of shows. But the failure rate for junk is pretty high, too, although I agree that lately it doesn't seem high enough. As this week has shown all too painfully, it isn't easy to be a true TV fan.

http://tvguide.com/tv/roush/askmatt/

The 2005-2006 TV Season
Downhill tumble for WB's “One Tree Hill”
Teens fail to follow throbber to Wednesday

By Abigail Azote MediaLifeMagazine.com staff writer Nov 18, 2005

Last year, high school sudser “One Tree Hill” looked well poised to become WB’s next teen drama smash, the heir apparent to “Dawson’s Creek.” So confident was the network in the show’s performance that it gave “Hill” a new timeslot, leading off Wednesday nights.

Now it looks like the move may have come too soon. The show’s core teen audience has not followed it to its new night, and ratings are in a tumble.

Since its Wednesday premiere five weeks ago, “Hill” has averaged 511,000 viewers 12-17, down 39 percent from last season, when it aired on Tuesdays at 9 and drew an average of 842,000 teens.

The third-year “Hill” is faring a little better in the demo compared to last year’s timeslot occupant, “Smallville,” up 4 percent from the latter’s 490,000 average. But that show has an older-skewing audience.

Among 12-34s, “Hill” is down 28 percent to 1.79 million versus last season’s average of 2.47 million. Compared to “Smallville,” it’s down 6 percent from the former’s 1.9 million average last year.

“I don’t think the program was as strong as the WB thought it was,” says Brad Adgate, senior vice president and corporate research director at Horizon Media.

And Adgate finds it surprising that the show isn't winning the timeslot among teens when it’s the only program that specifically targets that demo. “Hill’s” biggest competitor, UPN’s “America’s Next Top Model,” squarely targets 18-34s. That show is averaging a 2.4 teen rating versus “Hill’s” 2.0.

Several factors appear to be behind "Hill's" dramatic decline, and leading the list is the loss of “Gilmore Girls” as its lead-in. Casual fans who tuned in to “Hill” after watching “Girls” Tuesday didn’t follow the show to Wednesday.

Adgate also says that the recent off-screen breakup of married “Hill” stars Sophia Bush and Chad Michael Murray, who was rumored to have cheated on her with Paris Hilton, may have angered the show’s young fans. It’s been the topic of much speculation on the message boards, where former fans have sworn to stop watching any show with Murray.

As the WB sees things, “Hill’s” decline is temporary, and its departure made way for a successful new show on Tuesday, "Supernatural." Says a WB spokesperson: “It takes a while for the audience to know that it’s [on a new night].” He also notes that both “Dawson’s Creek” and “Smallville” experienced similar slumps when they made the same schedule change in years past.

http://medialifemagazine.com/artman/publish/article_1381.asp

The 2005-2006 TV Season
18-49 Ratings Week Ending Nov. 13th
# / Program / Net/ Viewers 18-49 (in millions)
1 Desperate Housewives ABC 14.352
2 CSI CBS 13.270
3 Grey's Anatomy ABC 11.513
4 NFL Monday Night Football ABC 11.403
5 Lost ABC 10.805
6 Survivor: Guatemala CBS 8.971
7 Extreme Makeover: Home Edition. ABC 8.810
8 E.R. NBC 8.679
9 CSI: NY CBS 8.415
10 CSI: Miami CBS 8.354
11 Without A Trace CBS 8.235
12 NFL Monday Showcase ABC 7.912
13 The Simpsons FOX 7.237
14 Fox NFL Sunday Night Post-Game FOX 7.033
15 House FOX 6.887
16 Law and Order: SVU NBC 6.710
17 My Name Is Earl NBC 6.780
18 Two and a Half Mern MEN CBS 6.767
19 Apprentice 4 NBC 6.221
20 The Family Guy FOX 6.203
21 The Amazing Race 8 CBS 5.946
22 The OT FOX 5.831
23 Criminal Minds CBS 5.651
24 CBS Sunday Movie CBS 5.416
25 NCIS CBS 5.480
Source: Nielsen Media Research

Robert Blake found liable

A criminal jury acquitted one time “Baretta” star Robert Blake in the murder of his wife, but a civil jury announced a few minutes ago in Burbank, CA, that it believed Blake was behind the killing.

The jury, which deliberated for eight days, ordered Blake to pay Bonny Lee Bakley’s children $30 million.

Blake had been acquitted of the criminal charges last March.

Blake Liable for Wife's Murder
Jury in civil lawsuit awards children of Bonny Lee Bakley $30 million in damages

By Andrew Blankstein Los Angeles Times Staff Writer 1:07 PM PST, November 18, 2005

A jury today found Robert Blake liable under civil law for his wife's murder four years ago, and awarded her children $30 million in damages against him.

The 72-year-old entertainer, best known for his roles in "Our Gang," "In Cold Blood" and "Baretta," was acquitted of murder earlier this year when a separate jury could not find evidence beyond a reasonable doubt against him for the murder of Bonny Lee Bakley.

But with a lower burden of proof in the civil case, jurors needed only to decide that Blake was more likely than not responsible for Bakley's death. The Los Angeles County Superior Court jury in Burbank panel voted to hold the actor financially liable.

Blake did not testify at the criminal trial, but spent eight days on the stand during the civil trial.

The nine-man, three-woman jury, who heard from more than 40 witnesses during two months of testimony, also rejected the allegation brought by the Bakley heirs that Blake's handyman, Earl S. Caldwell, participated in a conspiracy with the actor to kill Bakley on May 4, 2001.

Jurors returned the verdict on the eighth day of deliberations. They voted for damages in favor of Bakley's daughter by Blake, Rosie, now 5, and Bakley's three other children: Glen Gawron, 25, Holly Gawron, 24, and Jerri Lee Lewis, 12.

The result mirrors the outcome of the O.J. Simpson case. The football star was found responsible for killing his wife Nicole Brown Simpson and her friend Ronald Goldman after an acquittal by a criminal jury.

As in the Simpson civil case, Bakley family lawyer Eric J. Dubin successfully pursued a connect-the-dots strategy, underscoring the differences between what Blake told authorities and his testimony.

Jurors asked about those issues in questions they posed to Blake during the trial, and ultimately agreed with Dubin that they showed inconsistencies in Blake's story.

For Blake, the verdict culminated a four-year legal fight that started with his arrest on a charge of murder in April 2002, a year after his wife's slaying in Studio City. Before his release, the actor spent 11 months in jail, which he constantly referred to as the "cement box."

At the criminal trial, prosecutors argued that Blake shot Bakley after failing to convince two ex-Hollywood stuntmen to carry out the killing. Blake's motive, authorities argued, was to gain sole custody of Rosie. Blake hated Bakley, prosecutors argued, because she tricked him into marriage, and because of her past, including a fraud conviction, her sale of nude photographs of herself and a lonely hearts club scam.

Bakley had been married to Blake for sixth months and had lived in a back house on his Studio City property for only five days when she was shot to death in Blake's car two blocks from Vitello's restaurant, where the pair had dined.

Dubin insisted that Blake was the only person "on the planet" with a motive to kill Bakley. The lawyer had rejected a $250,000 offer to settle the case before the trial began in the courtroom of Los Angeles County Superior Court Judge David M. Schacter.

Blake testified that he thought Bakley was smart and charming, and said he married her to help try to turn her life around. His adult daughter is now raising Rosie.

Dubin hammered at inconsistencies between Blake's statements to police and from the witness stand. The lawyer stressed that authorities found no evidence of blood on Blake's clothing, despite his testimony that he shook his bleeding wife.

The actor also claimed under oath that he did not know how to work his wife's cell phone, and instead ran to two houses to try to summon aid. Others testified that Blake knew how to operate a phone.

In the civil trial, Blake testified for the first time that three undocumented workers saw him return to the restaurant at the time Bakley was shot. But he earlier told police that one of the co-owners of the restaurant had seen him, though he admitted in the civil trial he had been mistaken.

In contrast, Blake's lawyer, Peter Q. Ezzell, argued that the most likely person to want Bakley dead was Christian Brando, the son of the late actor Marlon Brando.

Brando, who was cleared by police of any involvement in the Bakley slaying, took the 5th Amendment on all questions related to Bakley when he was called testify last month.

Ezzell argued that Brando was a prime suspect because Bakley had first tried to force Brando to marry her, claiming Rosie was his child -- until DNA tests proved Blake was the father.

Legal observers noted how the two trials differed in seeking the same result.

"In many ways, a civil trial is a more pure search for the truth," lawyer Daniel Petrocelli said today.

"There is a wide open discovery process. There is a lower burden of proof. And most important of all, the defendant has no Fifth Amendment right not testify."

http://www.latimes.com/news/local/la-111805blake_lat,0,5527001,print.story?coll=la-home-headlines

The critics seem to pretty much agree on this one. Its sounds like it makes “Category 7” look like “Gone With The Wind”.
TV Review
Down with ship: 'Poseidon' seems like parody

(Zero stars) (8 PM ET/PT Sunday, NBC)

By Doug Elfman Chicago Sun-Times Television Critic November 18, 2005

"The Poseidon Adventure," NBC's big Sunday movie, is a heartwarming tale of how love conquers all in the face of ... nah, I'm just kiddin'. It's terrible, terrible, terrible. It's even worse than it sounds.

A terrorist blows up a beer keg full of explosives on a cruise ship, and the ship goes kerplunk and turns upside-down. Brave passengers scramble to escape and learn to love again for three cliche-crammed hours.

Here's a typically awful scene. Before this good ship lollipoop goes boom, Richard (Steve Guttenberg) is receiving a naked-under-the-towel massage from a ship masseuse who is sassily named Shoshanna (Nathalie Boltt). He tells her he's having troubles with his wife, who owns a popular boutique.

"I love that place," Shoshanna says of the boutique. "You should tell her to stock more styles for busty women!"

"I can see why you have that problem," he says, ogling the masseuse's prodigious cup sizes, a move that apparently revs up her randy button so much she bad-mouths his wife: "A woman who treats her man that way can't expect to hold onto him forever!"

Watching this scene, I laugh out loud, but not as much as I laugh later when Richard and his wife fight and he storms off by opening a door, only to find his son standing there -- just standing there, on cue, tears streaming down his cheeks. In his baseball cap. Shaking his head at his adulterous dad. Ha! That's moronically delightful.

"The Poseidon Adventure" is why people make fun of TV movies. The ones that are this bad are almost worth watching under certain conditions. It reminds me of seeing Stephen King's "The Langoliers" with a couple of people, a 12-pack of beer and a bellyful of laughs that were unloosed by the movie's "rip in the fabric of time" high jinks.

It's not certain "The Poseidon Adventure" is funny-awful enough to recommend for that purpose. But if it is to be viewed, it is with the understanding it fits most synonyms of the word "horrendous," even if it is inadvertently comical at times.

Comical, as when survivors plot their way through the upside-down ship, and someone says, "The Internet Lounge is on the way. We should try to get an e-mail out," and another character replies, "Yes, like a virtual mayday!"

It's so stupefyingly rotten that when a terrorist shoots a ship commander in the heart, it takes 25 seconds -- I counted -- for the dead victim to fall to his knees.

This is the kind of vapidity that the satirical makers of "Airplane!" and the "Naked Gun" series made irrelevant two decades ago by ridiculing such movies as -- 1972's "The Poseidon Adventure."

But maybe this "Poseidon Adventure" is right for you, if you and your friends enjoy sitting around, getting buzzed and watching a terrorist in a jaunty blue vest mumble "Dinner is served!" before he plugs a couple of bullets into ship cooks.

That scene plays as if it's a "Simpsons" parody of this movie. But a parody of "Poseidon" is not necessary. It is quantifiably ludicrous all by itself.

http://www.suntimes.com/output/entertainment/cst-ftr-elf18.html#

What to watch this weekend
By Robert Bianco USA Today

• Looking for a holiday movie with a bitter but funny twist? Try The Ref (AMC, Friday, 8 ET/PT), a dark comedy starring Denis Leary as a Christmas thief who hides out in the home of a headed-for-divorce couple, played by Judy Davis and Kevin Spacey. It never quite comes together, but the parts that work make up for the parts that don't.

• TCM devotes Sunday night to a nine-movie marathon salute to silent star Harold Lloyd. The fun begins with Safety Last! (8 ET/5 PT)

• Sometimes, a series hits its stride so confidently and with such steady skill, it can't seem to put a foot wrong. That's been the case so far this season with ABC's breakout hit Grey's Anatomy (Sunday, 10 p.m. ET/PT), which celebrates Thanksgiving with a funny yet poignant episode about love and loss and turkeys and making up your mind to be happy. Izzie makes dinner, Dr. Bailey tortures a smug visiting doctor, and George teaches his rough-hewn family a lesson — and learns a greater lesson in return.

As for Meredith (Ellen Pompeo) and Dr. McDreamy, their efforts to help a man move on from a coma bring them back together, at least at work. It's an hour without a single letdown: Each story is equally strong and each star is as compelling and letter-perfect as the next. You need something for which to be thankful as the holiday approaches? Try Grey's Anatomy.

http://www.usatoday.com/life/columnist/criticscorner/2005-11-17-critics-corner_x.htm

Critic’s Notebook:
A quality show fizzles, and it's your fault
By Renée Graham Boston Globe Staff

Television's checkered history is littered with smart, inventive critical gems that never managed to find an audience, at least ones sizable enough to continue to justify the shows' existence on a prime-time schedule. The latest casualty is Fox's ''Arrested Development."

A surprise best comedy winner at last year's Emmys, the deliriously offbeat sitcom was booted from the schedule during the all-important November sweeps. Then last week it was announced that the network had declined to order the season's final nine episodes, meaning the program will probably be done after airing 13 shows this season. Going into this TV year, network execs wanted to see if the show, in its third season, could finally catch on with viewers, but it never happened.

Moments like this would usually warrant criticism of Fox's network gurus for being more concerned with making money than making quality TV shows. After all, shows from ''All in the Family" to ''Seinfeld" to ''Everybody Loves Raymond," all now considered sitcom classics, took years to find and hold the devoted audiences that eventually propelled them into the top 10.

Yet it's not as if ''Arrested Development" was yanked after its initial 13 episodes. Though the show had previously come close to cancellation, the network, realizing it had something special, stuck with it for 2 1/2 seasons. In the bottom-line business of TV programming, ''Arrested Development" just didn't garner enough of an audience. From a paltry average of 6 million viewers last year, the show had slipped to 4 million this season.

So maybe it's time to blame the viewers.

See, while everyone loves to condemn TV as a wasteland filled with lowbrow programs such as ''Trading Spouses," also on Fox, there's often a struggle when something like ''Arrested Development" comes along. Yes, the show is challenging, with bizarre characters and labyrinthine subplots, but any single episode was laugh-out loud funnier than an entire season of ABC's ''Freddie," which, by the way, was picked for the entire season.

Oh, and did I mention that ''Freddie" draws about twice as many viewers as ''Arrested Development"?

I came late to ''Arrested Development." While I am wont to complain about the dearth of worthwhile TV programs, (which translated means shows I might like), I initially resisted watching the Fox comedy about the selfish and scheming Bluth family. I feared that, like HBO's ''Six Feet Under," the show would buckle under too much forced quirk and that compelling storytelling would be submerged by wackiness run amok.

Still, after numerous friends and colleagues crowed about the show, I began renting the first season on DVD. Yes, the show was quirky and wacky, but it was also innovative, provocative, and ridiculously funny. Truth be told, it was so good, I was hard-pressed to believe it was on Fox. Thoughtful television has never been the strong suit of a network that has inflicted on the world ''The Simple Life," ''Temptation Island," and ''Totally Outrageous Behavior Caught on Tape."

Yet after years under the dead weight of increasingly stupid reality shows, ''Arrested Development" reminded those willing to tune in that network television was still capable of producing smart, scripted comedies. Why the show never found an audience is anyone's guess; then again we're talking about a national viewership content to overdose on three different versions of the ''CSI" franchise a week.

If only Fox could have hung in there, as NBC did with ''Homicide: Life on the Street," arguably the best police drama in TV history. From 1993 to 1999, the show anchored the network's Friday night lineup with a stellar ensemble cast, led by Andre Braugher's brilliant performance as the difficult, erudite Detective Frank Pembleton. Yet, the show was never a hit, never won a best drama Emmy (it was never even nominated), never received the attention of such contemporaries as ABC's long-running ''NYPD Blue." Still NBC brought the show back season after season, perhaps realizing the show deserved to be judged by more than top 10 finishes and shiny industry trinkets.

There's a possibility that ''Arrested Development" could return. Last year, the show's episodes were cut from 22 to 18, but it was still renewed for its third season. This time around, however, that scenario is remote.

So if this is goodbye, here's props to the Bluths of ''Arrested Development" and its wily creators. This is less about failure than about a show that succumbed to the bitter reality of an uncompromising TV universe where millions of viewers tune in each week to pedestrian dreck but can find no enduring place for a series that had already become one of the best of the past decade.

http://www.boston.com/ae/tv/articles/2005/11/15/a_quality_show_fizzles_and_its_your_fault?mode=PF

“Shocking” Revenue hit at Big 3 Networks

Steve McClellan MediaWeek.com November 18, 2005

The big three broadcast networks took a top-line beating in the third quarter with a 21.5 percent revenue decline to $2.2 billion, according to figures compiled by Ernst & Young and released by the Broadcast Cable Financial Management Association.

The sports sector took the biggest hit with a $700 million drop compared to third quarter of 2004 due mainly to the fact that there were Olympic games last year. Sports, news, late night and children's programming revenues were all down for the quarter, although prime-time revenues were up 8 percent to $1.3 billion.

Broadcast financial analyst Mark Fratrik called the overall third quarter decline "shocking....The networks need to be concerned as to the long term growth history."

Through the first nine months of the year, combined revenues for the big three are down 8 percent to $8 billion. Prime-time revenues for the year-to-date period are up a little less than 2 percent to $4.6 billion.

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1001524609

watch out for that drdon guy....

Thanks Chuck, kind words are always good to hear!

And this gives me an opportunity to remind folks that Ken H and David Bott have generously allowed me almost unbelievable leeway here (after all this is an HDTV forum) to discuss all kinds of TV-related material. Moderators CPanther93 and DrDon have also been a great, great help and have gone out their way to give fantastic support.

But I am always delighted to hear from someone who enjoys the thread!

I'll keeps my eyes open, jim :)

President of NBC speaks on future of network television

by Patrick St. Michel Daily Northwestern November 17, 2005

NBC Universal Television Group President Jeff Zucker is far from intimidated by the big changes broadcast TV faces in the coming years, he told a full McCormick Tribune Center on Wednesday afternoon.

“I don’t think this is the end of network television,” Zucker said. “I actually have never been more excited.”

Zucker spoke about the future of television as part of the Crain Lecture Series.

Zucker, who became president of the television group in 2004, is responsible for all NBC programming except NBC Sports. He also served as the executive producer of “Today” and helped to bring programs like “Fear Factor” and “The Apprentice” to NBC.

The television chief focused his lecture on new methods of distributing programming, such as downloading shows onto an iPod or buying individual episodes through DIRECTV.

Technological advances are already paying off for NBC, Zucker said.

Ratings for “NBC Nightly News” improved over the last two weeks after the television company started offering daily newscasts on its Web site.

But Zucker said he is wary of some of these advances, especially the blog craze and its effect on TV.

“We pay too much attention to blogs,” he said. “It is absurd how much attention they receive.”

Zucker said NBC’s primetime lineup is spiralling down, and it will take two to three years to rebound from the current slump.

He said the building blocks of change are in place, thanks to the highest rated new comedy of the season “My Name is Earl” and another comedic program called “The Office.”

“These shows have generated a considerable amount of buzz,” he said.

Zucker also reflected on his experiences at Northwestern. Even though he graduated from Harvard in 1986, Zucker attended the NU National High School Institute program for journalism 25 years ago.

He said the one-month program gave him the passion for journalism that helped him end up in the broadcast world.

Zucker added regardless of the direction TV is taking, people who work in the field should do what they think is best.

“Nothing in television is the same as it was 10 years ago,” he said. “You should follow your heart.”

Some students said they found the lecture very informative. Communication junior Nathan Johnson said he enjoyed it because it focused on the future of television, one of his biggest interests.

“I learned what TV executives have on their minds right now,” he said.

But Johnson also said he believed the presentation targeted one Northwestern school in particular.

“I think it was geared more toward Medill,” he said.

http://www.dailynorthwestern.com/vnews/display.v/ART/2005/11/17/437c36b2e6f13

Area man sues for gay 'Wife Swap'

By Donna Hales (Muskogee, OK) Phoenix Staff Writer Nov. 1i8, 2005
A man who participated in the popular "Wife Swap" television show is suing producers for $10,225,000 after the "wife" they sent to his home was a gay man.

Jeffrey D. Bedford of Haileyville, which is southeast of McAlester in Pittsburg County, is suing Walt Disney Company, dba American Broadcasting Company, Inc., ABC Television Network and RDF Media Ltd.

Bedford's suit in U.S. District Court in Muskogee states defendants began shooting the show on Oct. 14, 2004, and misled him by not sending a female from a heterosexual family to his home.

The Bedfords said Thursday they would like to comment on their experiences in regard to the show, but hesitate to do so until they talk with their attorney, who is out of town until next week.

The suit filed Oct. 11 claims:

• Bedford was distraught over the misrepresentation to the point of nonparticipation.

• Defendants threatened if Bedford did not film the show that they would not tell him his wife's location and would not pay for her to be sent home.

• Bedford conducted a Bible study for the Haileyville Baptist Church, wherein the gay swap participant invited a gay coalition into Bedford's home for the study.

• Defendants repeatedly told him his wife was leaving him. He claims he became emotionally distraught over his and his family's situation to the point of becoming physically and mentally ill. His wife was not informed of his illness.

• Bedford was not allowed to speak to his wife during the filming of the episode and not allowed to continue his college work during the filming. Subsequently, he was dropped from one class.

• Defendants acted with reckless disregard. As a result of intentional infliction of mental distress he has incurred medical bills, public humiliation, embarrassment and undue grief. He seeks $5 million for that distress and punitive damages of $5 million.

He seeks $75,000 for breach of contract and in excess of $75,000 because of defendants' fraud or misrepresentation, and punitive damages in excess of $75,000. He also seeks court costs and attorney fees.

ABC spokeswoman Annie Fort e-mailed a statement Thursday to the Phoenix: "ABC is confident that RDF Media, the producer of 'Wife Swap,' treats participants professionally and with respect. The show is meant to challenge a family's norms and moreover, the agreement between the plaintiff and RDF specifically stated that the swapped spouse could be either male or female."

Fort said the episode hasn't aired yet, but only because it hasn't been scheduled.

"We have a number of 'Wife Swap' episodes stockpiled," Fort wrote.

"Since each is self-contained, we don't have to air them in any particular order, so I can't predict when we'll book this one."

http://www.muskogeephoenix.com/apps/pbcs.dll/article?AID=/20051118/NEWS01/511180303/1002

October Basic Cable Ratings
Prime-Time Network Ranking
Sept. 26-Oct. 30, 2005
Net / Rating / Households
ESPN 2.4 2.160
Disney 2.4 2.058
USA 2.1 1.878
TNT 1.9 1.679
Lifetime 1.6 1.436
Nick At Nite** 1.5 1.380
Fox News Channel 1.5 1.348
Cartoon Network 1.5 1.303
TBSC 1.3 1.181
Spike 1.1 .988
MTV 1.0 .877
FX 1.0 .837
TV Land 0.9 .813
Sci-Fi Channel 0.9 .791
History Channel 0.9 .774
A&E 0.9 .774
AMC 0.9 .752
HGTV 0.8 .737
Comedy Channel 0.8 .730
Hallmark 1.0 .709
CNN 0.8 .693
ABC Family 0.8 .690
Court TV 0.8 .645
Discovery 0.7 .627
ESPN2 0.7 .615
Food Channel 0.6 .565
The Learning Channel0.6 .548
VH1 0.6 .518
BET 0.6 .482
Animal Planet 0.5 .412
Bravo 0.4 .355
EN 0.4 .333
The Weather Channel 0.4 .332
Lifetime Movie Network 0.7 .318
MSNBC 0.4 .301
Headline News 0.3 .301
Travel Channel 0.4 .300
CMT 0.3 .262
TV Guide 0.3 .245
Soap Channel 0.5 .218
WGN 0.3 .214
GSN 0.4 .211
National Geographic Channel 0.4 .201
Discovery Health 0.3 .190
Oxygen 0.3 .186
SC 0.3 .171
Womens Entertainment 0.3 .141
OLN 0.2 .134
TDSN 0.3 .131
Noggin 0.3 .113
*Cable universe rating.
**Broadcasts less than 51% of minutes in a 24-hour day.
Source: CableWorld.com from Turner Entertainment Research and Disney Media Networks, from Nielsen Media Research data.

http://www.cableworld.com/cgi/cw/show_mag.cgi?pub=cw&mon=112105&file=octoberratings.htm

Friday’s prime-time ratings – and Fredfa’s analysis of what they mean (in this case very good news for CBS -- have been posted at the top of Ratings News the second post in this thread.

TV Notes
(from BroadcastingCable.com)

The Pope Projects: CBS Versus ABC

In the Dueling Popes Derby, CBS now has the lead, breaking ahead of ABC last week in the home stretch, with only days to go before their competing bios of Pope John Paul II hit the air.

After trailing for months, CBS surged ahead on Thursday when its miniseries was screened at the Vatican for Pope Benedict XVI. That was a publicity coup in itself, but the resulting story from the Associated Press was a network publicist's dream.

It started with the headline “Pope Watches Latest John Paul II Movie” and only got better: The story mentioned spontaneous applause during the screening but didn't reference ABC's rival production, Have No Fear: The Life of Pope John Paul II.

It was a late comeback for CBS, which broke out of the gate in first place last April—not long after Pope John Paul II passed away—when the network signed up a project being pitched by the European (and Vatican-connected) producers of a successful CBS miniseries on the life of Jesus in 2000.

But then, as B&C reported in the June 6 issue, ABC enlisted a splinter group from the Jesus production and was rushing its own project into production—and, unlike CBS, they had a script ready to go.

That put ABC ahead of CBS, as far as we were concerned. But this fall, CBS made a bid for the lead when it announced that its four-hour Pope John Paul II would air on two nights, Dec. 4 and 7. Clearly, ABC had fallen behind.

But no! The network battled back, galloping ahead with its own air date: Dec. 1. We thought that settled it, but CBS' late move in Rome may bring home the roses.

In the event of a photo finish, we'll let the stewards at Nielsen Media Research pick the winner.

Dish on Dish

On Tuesday last week, Bill Merritt was the mayor of Clark, Texas, and few people outside of Clark had heard of him or the town of 125 people about 30 minutes north of Fort Worth.

On Wednesday, Merritt became the mayor of Dish, Texas, and he and his freshly renamed town were world-famous, thanks to interest in the community's willingness to take up an offer from EchoStar Communications: Ten years of free basic satellite TV service from Dish Network, along with equipment and installation, in exchange for the name change.

“Before, nobody ever heard of Clark, Texas, even five miles away from here,” Merritt told B&C on Friday. “Yesterday I got off the phone from a live radio show in Melbourne, Australia. So I think we're on the map.”

Move to Dish and you, too, will get the Dish service for free. That enticement, Merritt believes, could spur some needed growth: “To say our town was stagnant—well, 'stagnant' would be a compliment.” A frustrating situation for any mayor, no doubt, but especially so for one who's a real-estate developer. Merritt happens to be building some homes right outside Dish, and if those new owners want to annex themselves in, he'll help, he says, but he won't push.

Meanwhile, Merritt's wife, Amy, cancelled the family's DirecTV service last week. Merritt says when the DirecTV customer-service rep figured out his wife's connection to the Dish deal, DirecTV executives got on the phone and pleaded with her to keep their equipment in case she changed her mind.

“She told them that wasn't going to happen,” Merritt says.

Here's something else that isn't going to happen: publications like this one cooperating with EchoStar's insistence that Dish be spelled with all capital letters.

Greenwich 'Forensics'

When Paul Dowling, creator and executive producer of Court TV's highly rated Forensic Files, showed up at Greenwich High School in Connecticut last Thursday, there was no great mystery about his appearance there. He had been asked to speak to a special student assembly by Gary Lico, president/CEO of CABLEready, which holds global-distribution rights to the show; Lico's son, Steven, is a freshman at the school.

Possibly in an attempt to pique the interest of kids who might regard school assemblies as opportunities to, say, make a quick trip to Burger King, Dowling's visit also included the promise of a random drawing to select one lucky student for a walk-on role on Forensic Files. In a development that might arouse the curiosity of a trained investigator, the lucky winner of the drawing—from among 250 students—was one Steven Lico.

But before anyone could say “secure the area” and start stringing the yellow do-not-cross tape, a second drawing was quickly held, and senior Myra Stafford won a walk-on as well. Case closed.

http://www.broadcastingcable.com/index.asp?layout=articlePrint&articleID=CA6285496

“American Dreams” Star Brittany Snow Joins “Nip/Tuck”

By Kevin Thomspon Palm Beach Post Television Writer

A good "pal" of mine who used to be a die-hard Nip/Tuck fan jumped off the bandwagon this season. She says the show is too bizzaro for her tastes. I can't argue with that. It is bizzaro -- especially when you're watching two plastic surgeons trying to surgically remove a man's superglued face from another man's butt. But I've argued that if you overlook those wacky surgeries, you'll realize Nip/Tuck is enjoying one of its finest seasons ever.

We've seen Matt's raging meltdowns. Julia's new business venture. Christian reconnecting with his mom. Anne Heche's scene-stealing turn as a woman on the run from the mob. Sean struggling to put his life back together. Then, of course, there's The Carver, the masked homicidal maniac slicing his way through Sean's and Christian's patients. The juicy plot has become Nip/Tuck's version of Who Shot J.R.? Alas, my pal won't listen. She's done. Over. Been there, done that. Too bad. Her loss.

Nip/Tuck will take another dark turn on Tuesday when American Dream's Brittany Snow joins the cast for a five-episode stint. She'll play Matt's racist -- yes, racist! -- girlfriend. Wow! The last time I checked, cutie-pie Snow was playing a goody-goody '60s teen boppin to Motown on American Bandstand. Her character even had a crush on a black kid. Should be interesting to see if Snow can handle such a stark role reversal.

http://www.palmbeachpost.com/blogs/content/shared-blogs/palmbeach/thompson/entries/2005/11/american_dreams.html

Broadcasting & Cable Special Report

At DirecTV The Sky's the Limit

He invented Fox Sports. Revived Fox Television. And now he's in charge of beefing up Rupert's satellite unit. Cable folks have a tech advantage, but this guy makes them nervous
-- Broadcasting & Cable 11/21/2005

David Hill's office perch overlooking the runways of Los Angeles International Airport is particularly apt. Hill has had a sort of air-traffic controller's career at News Corp., helping fledgling projects get off the ground and guiding struggling businesses to safety.

Currently on his radar: DirecTV, where he's entertainment president, and Fox Sports Television Group, where he's chairman/CEO. The gregarious Hill was named to the DirecTV post last spring, and it is his primary responsibility.

Working under DirecTV President/CEO Chase Carey, Hill is in charge of revving up DirecTV's subscriber base (currently about 15 million), overseeing programming, integrating new technology, and, in general, helping DirecTV as it battles the limitations of satellite-TV technology while cable races ahead to offer video-on-demand, phone service and other enticements.

But the cable business is more spooked than ever by satellite's appeal to consumers, and Hill—the man who launched BSkyB satellite service in the UK, started Fox Sports in 1993 and revived a struggling Fox Television in the late '90s—is accustomed to challenges. Last week, he spoke with B&C's Ben Grossman.

Question: How's the job going so far?

David Hill: I wasn't doing back-flips when I got asked to come here, and, to a certain extent, it parallels what happened when I got asked to go to the [Fox TV] network. I wasn't doing back-flips then either. But once you got into it, it was fascinating. I have felt for a while that linear TV was dying because of the last 10 years and all the entertainment variables that are available to a consumer. In fact, if you really analyze it, linear TV started to die when the remote control was invented.

Question: Interactive television has found success elsewhere, such as at one of your former posts, BSkyB. But will it penetrate the U.S. market?

David Hill: I left Sky just as we were starting to think about what interactivity was. What's happened is that the TV experience is mirrored with growth of the Internet, with information always available—messaging and everything. Television as a one-way street is losing its appeal. There is a generation now that is used to having anything they want when they want it. We haven't even started thinking about the applications of interactivity for entertainment.

But take scripted dramas, for instance. You could have a multiplicity of things that you can put into a viewer's home that are all connected to one event.

Question: Where are the company's most promising areas of opportunity?

David Hill: The growth of video-on-demand and what pay-per-view means. Look at the bold move made by [Cablevision's] Dolans in starting Mag Rack [an on-demand service]. It was a great idea. Just as their parents learned to pay $5 for a specialty magazine, in 10-15 years I can see this generation paying a buck to watch “telezines” that are of their special interests and aren't free or ad-supported.

Like all pioneers, we'll make some bad calls, but if we get a few right, it will be a great thing. Our service will be so much more than just a straight sell-through of existing channels. It's hard to put it into a cohesive sentence today because how do you describe, in a sentence, the Wild West?

Question: You recently announced plans to launch your first original program, a remake of a British music show, which you are calling CD USA. Why music for your first outing?

David Hill: It doesn't make any sense to do something that is already there. For instance, we wouldn't start a news service. We had Freeview, an ad hoc, eclectic group of concerts. I looked at the numbers, and they were impressive, even though there was never any marketing for them.

Where is the only time you can see back-to-back live performances? Only on the Grammys or award shows like that. I've been in this business so long and had my heart broken so many times about shows I thought were going to work that didn't. But I think this will resonate with the public.

Question: What's the next step? Original scripted entertainment?

I David Hill: 'd like to go scripted. For instance, I think there is a huge appetite for historic drama in this country. I think HBO's Rome is sensational. I'd like to do a home-grown, 22-episode history of the South or get inside someone's head about the Civil War, tell the story of a Civil War battle.

Question: But is DirecTV ready to make that kind of investment?

David Hill: We have to. The public is so sophisticated, you have to have the very best in terms of writers and producers and directors, and I've talked to a number of the best writers, producers and directors in the world and said, “If you have a big, scary, dangerous idea for which the hallmarks are quality and family viewing, come and see us.” I'd have to have long talks with Chase Carey to see if it was worthwhile strategically. But if you look at our platforms around the world, we are not alone; we are all over the world. Maybe it could be a News Corp. platform play for a huge, bold, family-oriented historical program.

Question: But would a successful producer or director actually take on a project like that if it were for DirecTV?

David Hill: Of the people I have spoken to, no one has laughed in my face and said get out of here, so that's a start. I can't expect people like the Brian Grazers or the Tom Hanks of the world to come out and say, “I have this great idea, and I thought of DirecTV.” It's like starting a talk show: You don't get A-list guests until you get established.

Question: How else can DirecTV differentiate itself from other content-delivery outlets?

David Hill: Getting to the point where the customer sits down in front of their DirecTV system and whatever they want is right there in front of them. But just as important is something easy to forget about: service. We are spending a lot of money, continually overhauling installation and service. We can't break down; we always have to be cognizant of that. And whatever new comes along, we must be ready to react. It's a part of developing the technology to make the customer experience better all around.

Question: Speaking of technology, tell us about the recent deal with NBC Universal that will let DirecTV customers watch new shows for 99¢.

David Hill: It's a very basic and simple arrangement. It's good for us because it gives us more to offer a viewer, and it works for the network because it gives the public more of a chance to sample a show. For the networks, it's not just dual revenue, it's another chance to get their shows noticed.

Question: The NBC U deal is for five shows to be available on DirecTV at a time. Will there be friction over which ones to offer? NBC U may want to showcase less successful shows to give them a boost, but DirecTV obviously would want the best stuff.

David Hill: Sure, there will be friction, but NBC makes the decision on the shows. In any of these things, there will always be, shall we say, spirited conversations. And I would do the same thing if I were NBC. But if they are smart, they should mix the top-rated ones and some they are trying to get off the ground.

Question: Any other partnerships on the horizon?

David Hill: We're talking to the people at Sundance. Independent films in coming years will go through a huge boom, and I also think documentaries will. We might establish in our pay-per-view section, a week after the Sundance festival, a group of all the award winners, and it would cost people 99¢ to look at it.

Question: From a business standpoint, building average revenue per customer is crucial. What else can you do on that front?

David Hill: Put on more programming that you will want to pay for, but we need to balance out stuff we charge you for and stuff we give you for free, so you don't feel you are always getting gouged. The deal we have with XM Radio to stream their stations will give customers more. And we will be announcing soon that we are stepping up our concert series next year with 52 live shows.

Question: What other new channels are coming down the pipe?

David Hill: We want to keep doing things that aren't available on TV now. For one, “sound-effect–machine noise” will be a new channel. I was reading Sky Mall on a plane one day and saw one of those sound-machine alarm clocks. I thought, “People are paying 300 bucks for this?” So I just asked our people if we can do that. We'll soon be offering a couple of channels to pick between—rain or whatever—when you go to sleep. Some of the **** we are talking about is so off the wall.

http://www.broadcastingcable.com/article/CA6285444.html?display=Feature&referral=SUPP

Networks Make Nice, Not War
By J. Max Robins Broadcasting & Cable 11/21/2005

With everything from the cable box to the Xbox attacking their business, broadcast networks have had a sort of revelation: They're more interested in selling their collective product than in kicking the daylights out of each other. It's the most peaceful period—or at least the one with the fewest street brawls—in broadcasting that I've ever seen.

Take last Tuesday's annual International Radio & Television Society breakfast chitchat with the entertainment chiefs of the six broadcast networks. The next day's stories from the IRTS affair were mostly about a reality-TV writer who stormed the stage and made a plea for better pay for her comrades.

Once upon a time, that might have been one of the more-civilized moments of the panel discussion. But on this day, it was striking how subdued and gentle the panelists were. These IRTS affairs used to play out like an Armani-clad, trash-talking Smackdown: The Networks. A Leslie Moonves, a Jeff Zucker or a Warren Littlefield came locked and loaded. Barbs flew and tempers flared.

But these are dramatically different times, and the jobs of broadcast-entertainment presidents have been transformed over the last few years. None of the assembled (ABC's Steve McPherson, CBS' Nina Tassler, NBC's Kevin Reilly, Fox' Peter Liguori, UPN's Dawn Ostroff and The WB's David Janollari) has the kind of freedom that was once enjoyed by their impresario predecessors.

With the competition so much fiercer and executive autonomy so much reduced, these industry events start feeling more like support groups than verbal death-matches.

“The stakes are so much higher,” says Jordan Levin, who was replaced by Janollari at The WB about 18 months ago. “It would be myopic to see things like you're in this four-way or six-way horserace and your only purpose is to take down the other guy. Instead you're up there with the only other people who really know what it's like and feel each other's pain.”

Indeed, the exchanges facilitated by CNN's ever-emo Anderson Cooper were so civilized that you could have been lulled into thinking everyone on the stage was working for the same company. Nobody bragged about how great their network was, and nobody tossed even the tiniest dart at the competition. Instead, everyone stayed on-message: The technologies the networks once feared—from video-on-demand to TiVo—are really their friends.

The takeaway, for me, was that these folks have realized taking swipes at each other only weakens the network-television brand. Not surprising, then, that they were more interested in talking about recent video-on-demand alli-ances such as CBS/Comcast and NBC/DirecTV and how more and better permutations on those deals only “increase the pie and aren't killing anything off,” as Ligouri said—to the nodding agreement of every fellow support-group member. Lends a whole new meaning to network share.

The next day, it was hardly a surprise when veteran re­searchers David Poltrack of CBS and Alan Wurtzel of NBC held a press conference to deflate the notion that TiVo and other digital video recorders were destroying the value of network advertising. The session could have been titled: “Network Spin Doctors' Strangelove or How We Learned To Stop Worrying and Love the DVR.”

To hear these guys tell it, DVRs just make people watch more TV, which adds value for advertisers. One proprietary study they touted claimed DVR impact on commercial recall was “minimal.” Oh, and you know those other studies that show that upwards of 90% of DVR users skip commercials? Don't trust them because those studies were based on “earliest adopters,” Wurtzel told my colleague, Allison Romano. When DVRs move from upper class to mass, everything will change—supposedly.

To me, that's just wishful thinking. But if the current broadcast-network group hug extends to embracing technology, that's a good sign.

http://www.broadcastingcable.com/index.asp?layout=articlePrint&articleID=CA6285481

The 2005-2006 TV Season
Seeking Karmic Blessing, A Critic Admits His "Mistakes"

By Matthew Gilbert The Boston Globe TV Critic

My name is Matthew
Do good things and good things will happen to you. Yup, that's karma, according to ''My Name Is Earl," in which NBC's hero carries a list of past mistakes he plans to fix. With stale beer and crab cakes on his breath, Earl's on a mission to cleanse his karma. As a TV critic, I, too, carry a list of sins regarding the current lineup, a few of which I do hereby confess. Penitent, contrite, I expect to get a few sparkling midseason gems in return. With karmic ambitions, Matthew Gilbert.

FED THE HYPE ABOUT ''DESPERATE HOUSEWIVES"
This season, the ABC blockbuster has made me regret my first-season lust. This kid has had a little too much sugar. It has embarked on a star trip, turning from a fresh ensemble dramedy into an anthology vehicle for five actresses who now clog the celebrity press. The addition of Alfre Woodard is one of prime time's big wasted opportunities.

IOU: A day of gardening

GUSHED OVER ''EVERYBODY HATES CHRIS"
I drooled all over this one along with the other critics. I drooled precipitously. Oh, yeah, it's sweet as all get-out, a sort of ''Wonder Years" in 1980s Bed-Stuy. It's a family sitcom worth watching. But it lacks the subversive, Chris Rockian punch that I'd hoped would make it a new classic.

IOU: Chris Rock concert DVDs

RELENTLESSLY PICKED ON ''THE WEST WING"
Oh, bashing this show became a favorite sport starting in 2003. But I owe it major dues. Even at its wordy, character-flailing nadir, it was smarter than most network dramas. And now it's fully dynamic again, with fresh cast members, a relevant White House leak plot, and fierce campaign intrigue. Plus, Alan Alda makes a great crank.

IOU: The resurrection of Mrs. Landingham

MISUNDERSTOOD ''GREY'S ANATOMY"
I judged it harshly as a serious medical drama. What was I thinking? The show is a soap opera with scalpels, a frothy Sunday night ''story," and as romantic fluff it's entertaining enough. The characters, particularly T. R. Knight's George and Sandra Oh's Cristina, have become endearing, and Patrick Dempsey is an unexpectedly interesting lead.

IOU: A box of laundry detergent

SAW A HINT OF POTENTIAL IN ''OUT OF PRACTICE"
I said there was promise in this loud family-of-doctors sitcom. I did. But that was before I had a waking nightmare in which Stockard Channing morphed into an exhibitionistic peacock and Jennifer Tilly became a squawking mouse. That was when I saw the error of my ways. Remember, friends; forgiveness is a virtue.

IOU: More than I can say

THOROUGHLY TRASHED ''CSI: CRIME SCENE INVESTIGATION"
Regrets, I've had a few. Not only has ''CSI" become an emblem of the era of DNA evidence and changed the face of crime TV, it has a great sense of dark humor and a memorably colorful ensemble. If Mae West and Sherlock Holmes ever teamed up, they might look something like Marg Helgenberger and William Petersen.

IOU: A gift bag of rubber organs

NITPICKED ''HOUSE"
Yes, the plots can be formulaic and the supporting characters are flat. But that's no reason to stay away from a medical drama that has exceeded my overly cautious expectations. Increasingly, the writers have been matching Hugh Laurie's caustic brilliance with some rich moral twisters. The hour with Ron Livingston's do-good doctor was extraordinary.

IOU: A pleasant Vicodin haze

ONCE HAD SOMETHING GOOD TO SAY ABOUT ''CSI: MIAMI"
There was a moment when I went a little gaga for this member of the franchise and recommended it. With its thick Florida sunlight and its rich pastels, it seduced me. Nah. It's a perfunctory crime knockoff, with plots that fail to twist sufficiently. And its attempts at character drama are tiresome. Instant Message to David Caruso: Acting is not all about sunglasses.

IOU: A few good hours

WENT INTO DEEP DENIAL ABOUT ''NIP/TUCK"
It's still a lot of sick fun -- a twisted morality play about modern life with sex, murder, and cheek implants. But this season, it has lurched aimlessly, relying on the pseudo-drama of ''The Carver" assaults and forcing the characters into uncharacteristic behavior just for the sake of narrative variety. Breaking up Sean and Christian was too silly. I'll watch ''Nip/Tuck" if it doesn't improve, and even if it gets worse; but I'll no longer tell you it's as good as last year.

IOU: The Carver, for Thanksgiving assistance

RAVED OVER ''INVASION"
It's still OK. There's still hope. But it withholds too much information about its pod-people mystery, and I'm beginning to wonder if it's withholding only a lack of direction. And as the goody-goody couple, the acting by Eddie Cibrian and Lisa Sheridan can be pretty bad. Frankly, I should have tempered my initial praise for this show, even though I'm planning to stick with it a bit longer, at least until I see the lights.

IOU: A case of bottled water

ACTUALLY LIKED ''JOEY"
If I could save time in a bottle, I'd send you a case. How else to pay you back for my misleading faith in Matt LeBlanc's ''Friends" spinoff? At every turn, the writers fall into singles sitcom cliches, the same ones that ''Friends" created a decade ago. Jennifer Coolidge is always a kick, but the fun stops there.

IOU: Free food

DIDN'T GIVE PROPS TO RANDY ON ''MY NAME IS EARL"
Sometimes hype is truth, truth hype. I owe no karmic debt for my effusive praise of this all-American comedy, which turns white trash into gold. I only failed to give proper nods to Ethan Suplee as Earl's dimwitted brother. As dumber to Earl's dumb, he's the heart of the show.

IOU: Free beer

http://www.boston.com/ae/tv/gallery/gilberts_mistakes/

The Demise of “Arrested Development”
HYSTERICAL DEVELOPMENT:

(From TVGuide.com)

Leave it to Arrested Development to mine the tragedy of its imminent death for laughs. Per Variety, series creator Mitch Hurwitz is planning an episode that will poke fun at Fox's decision to reduce the show's episode order from 22 to 13, effectively canceling it.

In the episode, titled "S.O.B." for "Save Our Bluths," the Bluth clan considers throwing a fund-raiser to save their construction company from shutting down. In one scene, Jason Bateman's Michael notes, "Our backs are against the wall.... It's just hard for me to accept that it's really come to begging."

There's even a conversation about whether the Home Builders Organization — HBO — might be willing to come to their rescue. That idea is quickly nixed though, leading George Sr. to say, "I guess it's Showtime. We'll put on some kind of show at the [fund-raiser]."

Meanwhile, after reading this item on TVGuide.com, the American public released the following statement: "Huh? I don't get that last joke. I told you this show was dumb."


http://tvguide.com/news/entertainment/

Critic’s Notebook:
Remaking waves

”The Poseidon Adventure” makes it to the small screen, just six months before the big-screen “Poseidon” is due in theaters

By Dave Walker New Orleans Times-Picayune TV writer

A genre surpassed by its parodies, the star-studded, special-effectsy, formulaic wrecktaculars known as 1970s "disaster movies" are appreciated today primarily as camp.

Stage a film festival of such titles as 1972's "The Poseidon Adventure" and 1974's "The Towering Inferno" or "Earthquake," and you'd have to play them all for laughs, same as when they were new.

So how odd does it feel that the new TV remake of "The Poseidon Adventure" plays it so straight?

In a three-hour cruise (a feature-film redo is coming in 2006), NBC has updated a few of the original's details -- the cruise ship gets flipped by a terror attack instead of a tidal wave, and the Internet gets its own plot point -- but the story and many of the characters will feel completely comfortable to anyone who remembers anything about the original, whether they've actually seen it or not.

That story: big boat sails for New Year's Eve cruise. Boat flips upside down. Small band of survivors makes its way up to the ship's bottom, seeking escape and rescue.

In this version, Steve Guttenberg ("Cocoon"), plays a family man gone to seed, aboard with both his wife, their family and his mistress.

Adam Baldwin ("Full Metal Jacket") is present as an undercover Homeland Security agent.

Alex Kingston ("ER") stays completely dry as an onshore British intelligence agent who directs the emergency response team to the bottoms-up boat.

Also here is Rutger Hauer ("Salem's Lot"), playing the preacher originated by Gene Hackman, who for some reason -- massive amounts of cash, maybe? -- chose to fit "Poseidon" between "The French Connection" and "The Conversation" on his credits list.

Sylvia Syms ("What a Girl Wants") gets to make a small splash as the unsinkable dame created by Shelley Winters.

Full disclosure: The only "disaster movie" I can recall watching all the way through in a theater is 1970's "Airport," directed by George Seaton, which kicked off both that decade's wave of "disaster" epics and, in 1980, the genre-shredding parody "Airplane!"

From the "Airport" cast, Jacqueline Bisset I got immediately. A sincere appreciation of Dean Martin wouldn't come for decades. George Kennedy, riding that big jet out of the snowbank, was never better.

My blind spot covered "The Poseidon Adventure," about which the only three things I've nonetheless seemingly always known are:

Someone sings a song.

Shelley Winters swims underwater, remembered only via vague recall of Bette Midler making fun of the scene.

And a guy falls into a skylight.

On each of these points, the scorecard for NBC's remake reads check, check and check.

Unencumbered by intimate knowledge of the original, I was able to experience the remake -- or "update," NBC's word -- purely as "sweeps" junk, lots of which I have seen and at which I thought it succeeded completely.

The question you'll have to answer for yourself is, is it wrong to root for the water?

Weird, though: None of the artwork on the walls of the boat looks any worse for being upside down.

http://www.nola.com/printer/printer.ssf?/base/living-0/1132296955115270.xml

Critic’s Notebook:
Children, Apples of Parents' Eyes, Face Arrows on TV

By Ginia Bellfante The New York Times November 19, 2005

In last week's episode of "Criminal Minds," the new CBS series in which Mandy Patinkin plays a profiler for the F.B.I., a young family, readying for a vacation, are shown tucking themselves into bed. The wife is blond and beautiful, the father strapping; the children are dear.

Because "Criminal Minds" is a bloody procedural where no one is ever killed simply over back loans or bad cocaine, the circumstances of the family's imminent murder are predictably bizarre: an intruder breaks in to assume the role of paterfamilias, occupying the house for a few days before claiming the lives of everyone in it. He oversees dinner and prayer, and requires the children to play and draw. Parenthood is a performance.

From the drawings left behind, Mr. Patinkin's Jason Gideon concludes - his idiot savant-ish guesswork is fuzzy - that his suspect is a family therapist ridding suburban Washington of the patients who seek him out, however self-defeating a business decision that may be. As it happens, the suspect has eliminated another household and is aiming at a third. His ex-wife moved away long ago and took his son. Immersed in the world of children and deeply estranged from it, he has set out, it would seem, to obliterate those parents committed to the kind of emotional care-giving he, in his own life, has never been able to manage.

Television has become an extremely inhospitable place for middle-class children, and in some sense, for the demanding ideals by which they are now raised - a gory receptacle for any and all of our collectively sublimated parental ambivalence.

Against our new universe of Humvee-inspired strollers, television constructs a parallel one, in which children are routinely maimed, killed, abused, mocked, mistreated and kept central - but according to a contravening morality. Sometimes actual harm is averted, but the message is always clear, as it was in a recent episode of "ER," when a young mother, depressed after the birth of a baby, tries and fails to run her car off a wet road with everyone in it: children are trouble, make trouble, provoke trouble.

At times, it seems as if the legal system is their only advocate. On another new CBS series, the drama "Close to Home," the prosecutor Annabeth Chase holds her beaming daughter up to the sunlight almost as if in self-defense against the darker instincts that overtake those she battles in court - fathers for instance, who lock up their families in basements.

Cable news has played its part in the subversion, most dramatically last spring when it produced pageantry out of the case of Natalee Holloway, the Alabama teenager who disappeared during a senior-class trip to Aruba. On Nov. 6, "Law & Order: Criminal Intent" mined the drama with a two-hour episode (to be repeated Saturday night at 8 PM ET/PT) in which a teenage girl from Iowa vanishes after going out drinking with some local boys during a school trip to New York.

As a genre, "child in peril" programming has supplanted the "woman in peril" film, the franchise with which Lifetime made its name 15 years ago, arguably supplying the tipping point of feminism's backlash. More than any other series, "Law & Order: SVU" has feverishly promoted the newer mode. Of the 147 episodes that have been broadcast since the series made its debut six years ago, nearly half have made special victims out of teenagers, toddlers, infants, the not-yet born.

Of the last 31 episodes, this season and last, 19 have dealt with the subject of young people wronged or in crisis. The victimizers are mothers, fathers, teachers, pedophiles, teenagers, rich people, poor people, grocery store clerks. Maternal neglect is a theme: once, a baby was found injured in a park, and it turned out that her single, working mother, exhausted by the responsibility, had been shaking her.

No imaginable brutality is avoided. On the show's Web site, where every episode is encapsulated, entries quite typically begin like this: "When a 1-month-old baby is stuffed in a cooler." Or: "When the decomposing body of sexually molested 5-year-old girl is discovered." And: "When a pregnant woman's unborn child is ripped from her abdomen in a horrific attack."

But unspeakable acts of physical violence are just one part of the story. In the more realistic domain of shows specifically about family life, parents humiliate children, dismiss them, grow easily irritated by acts of childish self-expression, even though for much of recent memory, parents made every effort to woo their young as peers and friends, ensure their psychological maturity, spur them on to become confident and high achieving. This was the precedent set by shows like "Everwood"; "Gilmore Girls," where a generational divide is barely evident; and to a great extent "The Sopranos," where any seeming shift in the children's mood is met with the requisite overattentiveness.

When the Showtime series "Weeds," a comedic drama about suburban life, was broadcast this fall, a different formula was in place, the dynamic between parents and children reshaped. On the show, Mary-Louise Parker plays Nancy, a widow who wants to do all the right things for her two sons, but she is selling pot to make ends meet, and drug-dealing turns out to be more distracting than she had perhaps anticipated. Her sweet younger son starts shooting at cats, makes mock-beheading videos, and mauls other children in karate class, and Nancy seems powerless to roll back these impulses.

But her mothering is unimpeachable when compared with her friend Celia's. By the standards of Parenting magazine, Celia (Elizabeth Perkins) provided one of the most controversial moments in the history of television when she perversely challenged her youngest daughter about her weight. By then, Celia, threatened by her older teenage daughter's sexuality, had already sent the girl off to boarding school. The younger one, 8 or 9, was apparently never going to be attractive enough; Celia is unnerved by the idea of one daughter's reflecting her and even more put off by the notion that the other would allow her to remain queen.

In any event the little girl is pudgy; Celia can't stand it, and smashing every mandate of parental sensitivity, refuses to conceal her disgust. When she pokes around the child's room and discovers stashes of chocolate, she decides to replace them with bars of laxatives. This leads to an embarrassing incident at school and prompts the child to retaliate by filling her mother's medicine jar with Imodium.

Is there a war at home? The new Fox comedy titled "The War at Home" suggests that yes, there might be. In it, Michael Rapaport plays a married father who remains unsympathetic to his teenage daughter's crying bouts, counts the days (712) until she goes to college, frets that his 13-year-old son might be gay and would, in most instances, rather just be drinking a Coors Light.

His character speaks out to the audience explaining, for instance, that he never wanted a second child. The boy, he says, "wet his bed until he was 11 - 4,800 bucks on bladder specialists because the kid was too lazy to get out of bed at night." Children are slothful; taking care of them is expensive. So too is therapy, which they will all need, providing that its practitioners are not serving 50 to life.

http://www.nytimes.com/2005/11/19/arts/television/19bell2.html?pagewanted=print

Critic’s Notebook:
Three films for yuletide: ho-ho-hum

By Robert Lloyd Los Angeles Times Staff Writer November 19, 2005

With Thanksgiving less than a week away, it is, of course, now Christmas. You can feel it in the air or through the cable — however you get your television: The holiday movies are a-coming. You will know them by their trimmings, the tinsel and holly, the seasonally tuned soundtracks, rife with flutes and bells. There will be snow, quite possibly, and themes of forgiveness and new beginnings, reformed character and restored faith — not in the baby Jesus necessarily, but something unprovable or unseen, like Santa Claus or love — and possibly the hand of Divine Providence itself will be employed to set things going or wrap them up. Hard hearts will soften, the sad will smile again, and so on and so forth.

Here are three new entrants in the holiday-classic sweepstakes: "Snow Wonder," which airs Sunday on CBS; "Silver Bells," coming a week from Sunday, also on CBS; and "Three Wise Guys," on USA Network, originally scheduled for Sunday, but now moved to Dec. 8, farther into the official yuletide. (We will "take 'em all at once, and have it over" as Scrooge wished to meet his ghostly advisors.) While none of them is especially bad, in the sense of failing to achieve a minimum level of professional competence, none is especially good, in the sense of being something one might feel the need to watch again — which is, after all, the essential quality of the holiday classic — or even watch once all the way to the end.

"Silver Bells," to take the last first, stars Anne Heche and Tate Donovan in a Hallmark Hall of Fame adaptation of a short novel by popular romance writer Luanne Rice, and, like a Hallmark card, it is a thing of prefabricated sentiment. He's a practical Christmas tree farmer whose artistically ambitious son (Michael Mitchell) runs away during their annual selling trip to Manhattan; she's the gallery curator who first befriends the son and ultimately the father. Like a Thomas Kincaid painting, "Silver Bells" twinkles resolutely, yet the mark of real life is nowhere upon it.

The story, though awash in deep feelings, is one of mathematical predictability and symmetrical precision, down to the fact that Heche is a widow and Donovan is a widower. (It is about all they have in common, but that does not stop Rice and her adapters from forcing them to fall in love.) Yet this is perhaps less a matter of cold calculation than because the author loves her characters too much to give them any critical imperfections.

Heche, as always, finds a real person to play, although that is perhaps not what this project actually requires. Also notably persuasive are Courtney Jines, who as Donovan's young daughter has the aspect of a pint-sized Glenne Headly, and Max Martini in a small role as a helpful policeman.

"Three Wise Guys" takes its title and essential premise — the magi transformed into hoodlums — from a story by Damon Runyon, who gets a "special recognition" credit here. In this version, written by soap opera scribe Lloyd "Lucky" Gold — also the author of the 2003 USA gangster-themed holiday picture "Stealing Christmas" — a semi-comical trio of enforcers arrive in Las Vegas to help slightly crooked casino owner Tom Arnold recover an incriminating computer disc. Along the way they meet pocket-picking showgirl Jodi Lyn O'Keefe who's pregnant with a child of uncertain parentage, and on the run from Arnold. Everyone winds up in a stable upon a midnight clear — "There were no rooms at the Desert Inn," says O'Keefe — beneath a shining north star. Gifts and gold and spice are not left out.

The film is loud and colorful in a workmanlike — if occasionally logically sloppy — way and full of biblical and seasonal references, from the Virgin Mary that Nelson orders in the casino bar to a Nevada town named Nazareth to a mysterious shepherd to the fact that the villain of the piece (the more villainous villain, that is) is "a little drummer boy" named, for no particular reason, Jacob Marley.

Of the titular trio, Judd Nelson is the smart, cynical one; Eddie McClintock, the lovable, dumb, domestic one; and Nick Turturro, the good-looking lady killer who's also dumb in his way until love opens his eyes. O'Keefe has what might be called the least thankless role here and makes a consistently good impression, but most everyone else — including Katey Sagal as Arnold's cookie-baking wife and Arye Gross as his ticklish partner — has been better elsewhere.

It's good business to cast beloved actors in one's hopefully heartwarming holiday movie, and "Snow Wonder" offers classic-TV sweetheart Mary Tyler Moore as a standard-issue wacky aunt helping nephew Eric Szmanda to let go and love life. Adapted with fair fealty from a short work by award-winning sci-fi writer Connie Willis in which a magical Christmas Eve snowstorm shuts down the entire world, helping a handful of Americans to straighten out their lives, it is the best of these three films. It's not because it adds up to much — split among five mostly unconnected stories, in moods ranging from romantic comedy to domestic drama, the movie suggests more than it delivers — but because many of the scenes play well. There is some crackle to the dialogue, and the actors, including Poppy Montgomery and Camryn Manheim (another grieving widow), make the sympathetic most of it.

If there is nothing here to join the canon of seasonal classics, well, that's Christmas: Santa doesn't bring you everything you want, even when you've been good. And if television hands you the odd undeserved lump of coal, or even wheelbarrows of the stuff, well, that's just its way. There is always "A Charlie Brown Christmas" to look forward to.

http://www.calendarlive.com/tv/cl-et-holiday19nov19,0,6411051,print.story?coll=cl-tvent

“Nightline’s” Impending Change
From “Nightline” to the NFL?

By Kathy Blumenstock The Washington Post Sunday, November 20, 2005

Everyone keeps asking Ted Koppel what he's going to do next and how he feels about leaving "Nightline," the program he's anchored since its inception as a late-night news update in 1979.

But no one, said Koppel, whose final broadcast is Tuesday, has asked "about my deep, burning desire, my ambition to be a point kicker for the Redskins."

Koppel's football fantasy is not totally tongue-in-cheek: As a soccer player at Syracuse University, Koppel approached then-football coach Ben Schwartzwalder and offered to kick extra points for the team.

"I still had an English accent, and I was not the imposing figure I am today," said the 5-foot-9 Koppel. "He took one look at me and said, 'We don't have an extra position.'"

Koppel's idea -- a soccer-style placekicker, who boots the ball with the side of the foot, rather than the toe -- transformed football a few years later, but Koppel wasn't doing the kicking.

"I was the first to think of it. I was ahead of the Gogolaks," he said, referring to Pete Gogolak, pro football's first soccer-style kicker, and the others who quickly adopted his method. "It would have been a big deal."

The big deal instead has been "Nightline," the broadcast that transformed a segment of late night TV into a venue for serious reporting,, breaking news and interviews with headliners ranging from Nelson Mandela and Desmond Tutu to Tammy Faye Bakker and Kermit the Frog. The show began as "The Iranian Crisis: America Held Hostage," ABC's nightly coverage of the Americans who were seized at the U.S. Embassy in Tehran.

"It was a unique story in that everybody in the country was riveted by what was happening to those 52 hostages and people couldn't get enough of it," said Koppel, who was the network's chief diplomatic correspondent at the time.

Koppel, 65, who lives in Potomac, plans to "get reacquainted with my large family," which includes four children and three grandchildren.

"And, when the weather permits, hop back on my motorcycle," he said.

He's proud of his signature broadcast and pleased by his career path, even if it didn't include a kicking tee. "I never thought I would be rich or famous," he said. "I really got into it because I can't imagine another job that would satisfy me the way journalism has."

http://www.washingtonpost.com/wp-dyn/content/article/2005/11/15/AR2005111501042_pf.html

Saturday’s network prime-time ratings have been posted at the top of Latest Prime Time Ratings news which is the second post in this thread.

CPanther95 notes that there are comments in the local NY HDTV thread about the Fox O&O getting ready to unleash an HD traffic copter on the market.

That would be the first baby step toward news in HD in NYC, and is a welcome development.

Some months ago KABC TV here in Los Angeles also began using a chopper -- which does add zip to coverage of our famous car chases -- as well as dramatic clarity to where and how badly our major fires are raging.

But the nation's two biggest markets lag far behind some others in adopting HD for local news.

There is not yet a lot of info in the NY HDTV thread, but what there is is here:

http://www.avsforum.com/avs-vb/showthread.php?p=6563171&&#post6563171

Maybe they can do an HD expose on those street speeders I caught the other day on Inside Edition (or some such program). One guy had a cam connected to show his speedometer at 200 mph and another got a ticket for 145 mph, in NYC no less. :)

2006 NFL Broadcast Plans
Monday night shuffle

By Bob Raissman New York Daily News

With ESPN still 10 months away from debuting its NFL "Monday Night Football" package, technology moles are buzzing over the Bristol Stompers' production plans.

Word is they are pulling out all the stops, preparing to spend more dough on the new Monday extravaganza than they already spend on their highly produced NFL Sunday night series. ESPN brass is also seriously considering doing a two-hour pregame show live from game sites.

While all this is going on at ESPN, NBC Sports is still searching for a partner for John Madden. On at least two occasions last summer, NBC Sports boss Dick Ebersol said Tom Hammond would be at the "top" of any list of play-by-play candidates for the Peacock's Sunday night NFL package, which also debuts in 2006.

Still, the fact that Ebersol has yet to name a partner for Madden raises the possibility that Hammond has fallen off Ebersol's Hit Parade. History - Ebersol's in particular - provides a pretty good indicator of what's happening.

The conclusion has likely been reached that Hammond, a solid play-by-play guy, simply did not have enough glitz or marquee value to work on this big a stage. Neither do most of the names popping up as potential candidates to work with Madden. This may put Ebersol in a box.

Or maybe not. He is holding an ace.

And that would be Bob Costas, now scheduled to work the pregame show. All Ebersol has to do is move Costas into the booth with Madden and his problem is solved.

Right?

http://www.nydailynews.com/sports/v-pfriendly/story/367246p-312611c.html

Maybe they can do an HD expose on those street speeders I caught the other day on Inside Edition (or some such program). One guy had a cam connected to show his speedometer at 200 mph and another got a ticket for 145 mph, in NYC no less. :)



shhhh! You'll give Fox the idea for a summer "reality" series "Beat The Cops!"

Of course it would be one of the rare reality series to be broadcast in HD......

Obituary
Harold Stone, 92; Busy Character Actor Often Played Villain

By Valerie J. Nelson Los Angeles Times Staff Writer

Harold Stone, a character actor with sculpted features who worked steadily from the 1950s through the 1970s, often portraying the villain on television shows, has died. He was 92.

Stone died Friday of natural causes at the Motion Picture and Television Country House and Hospital in Woodland Hills, said his son Michael.
In 1964, Stone received an Emmy nomination for playing an Army medic who becomes a male nurse at great personal cost in an episode of "The Nurses," an hourlong drama that aired on CBS.

One of his favorite roles was playing Sam Steinberg, the father of David Birney's character on "Bridget Loves Bernie," the ethnic comedy about a mixed marriage that aired for a season on CBS beginning in 1972.

He also enjoyed playing the publisher on "My World and Welcome to It," the NBC series loosely based on the works of James Thurber that ran from 1969 to 1970, his son said.

He kept so busy as an actor — averaging by one estimate about 20 television appearances a year — that he recently told his granddaughter, Laura Bosserman: "I don't think there are any roles I haven't played."

After Jerry Lewis directed him in "The Big Mouth" (1967), Lewis signed a photograph of the pair from the film: "For Harold, a beautiful man … an exceptional actor … and the kind of performer that makes fair directors look great."

Lewis directed him in two more films, "Which Way to the Front?" (1970) and "Hardly Working" (1980), Stone's final film.

"I learned an awful lot from him," Stone said of Lewis in 2000. "We became great friends."

His appearance with Humphrey Bogart in "The Harder They Fall" (1956) was a turning point in Stone's career. Bogart took a liking to him and spread the word around Hollywood that he was a good actor, Stone recalled in 2000.

An only child, he was born Harold Hochstein on March 3, 1913, in New York City. The third-generation actor made his stage debut at 6 with his father, Jacob Hochstein, in the Yiddish play "White Slaves." He had one line — "mama" — that he failed to remember on opening night. (The "J" in his stage name, Harold J. Stone, was for his father.)

After graduating from New York University, he studied medicine at the University of Buffalo during the Depression but was forced to drop out to support his mother and fell back on acting.

"I was no more going to be an actor than the man on the moon," Stone recently recalled.

On Broadway, he debuted in 1939 in "The World We Make" and appeared in four more plays there before making his uncredited film debut in "The Blue Dahlia" (1946).

Until he retired in 1980, he was an often-menacing presence on TV crime shows and police dramas.

He also appeared in about 30 films, including Alfred Hitchcock's "The Wrong Man" (1956), "Spartacus" (1960) and "The Greatest Story Ever Told" (1965).

In 1960, his first wife, Jean, died, leaving him with two children, who were 8 and 11. He remarried later that year and had another son. He and his second wife, Miriam, legally separated in 1964 but never divorced.

In addition to his son Michael of Tarzana and granddaughter Laura, Stone is survived by another son, Robert of North Hollywood; a daughter, Jennifer Bosserman of Tarzana; and three other grandchildren.

http://www.latimes.com/news/obituaries/la-me-stone19nov19,1,2354905.story?coll=la-news-obituaries

All I can do is warn you.
Critic’s Notebook:
Short and Sweet: “Poseidon”: Don’t Watch

By Charlie McCollum San Jose Mercury News

“The Poseidon Adventure” 8 PM ET/PT Sunday night

First, CBS inflicted "Category 7'' on unsuspecting TV viewers, and now NBC will turn over three hours of prime time to a disaster film that is disastrous in more ways than the obvious.

This is an absolutely dreadful remake of the 1972 film, which -- for all its flaws -- was a campy, highly entertaining B movie. It's almost impossible to know where to begin with what goes wrong with this overblown ``epic'': the lousy acting by a straight-to-video cast, the turgid pacing, the laughable dialogue or the attempt to ``update'' the film by tossing in a ludicrous terrorist plot.

If you found the original to be popcorn fun, you might be tempted. Don't be, not even for a moment.

http://www.mercurynews.com/mld/mercurynews/entertainment/television/13210607.htm?template=contentModules/printstory.jsp

“Nightline’s” Changes
A legend signs off
With the exit on Tuesday of anchor Ted Koppel, 'Nightline' - and network TV - won't be the same
By Verne Gay Newsday Staff Writer

November 20, 2005

Several years ago, ABC News' "Nightline" had plans to air a series that was calculated to shock, horrify or at least revive viewers who had just spent much of the previous summer gorging on the travails of Rep. Gary Condit, courtesy of all the networks, including the one that "Nightline" called home.

The series on genocide in the Congo was scheduled to air a full five nights, in part to achieve maximum impact and to remind everyone that this is what TV news was really supposed to do, or at least what "Nightline" did best. Born in the crucible of another international crisis two decades earlier - the takeover of the American Embassy in Tehran - "Nightline" still actually believed its motto of "bringing people together who are worlds apart," and that what happens over there - the great, big, messy and often terribly dangerous world beyond our borders - has an effect on what happens here in this country.

To some detractors in network news, the "Nightline" attitude - as long exemplified by its helmet-haired host, Ted Koppel - seemed quaintly high church or, worse, sanctimonious. Then, Sept. 11, 2001 arrived just two days after the series began. As network news divisions struggled to define al-Qaida, or even spell it, Koppel and his expansive worldview no longer seemed quite so sanctimonious or high church after all.

That devotion to international reporting may be just part of the legacy of what will soon be recalled as the original incarnation of "Nightline." Koppel, 65, exits the show Tuesday, handing over the reins to three new hosts and a show that will decidedly have a different feel.

Frequent flier journalism

For more than 26 years and 6,500 editions, "Nightline" reported memorably from South Africa, the Middle East, Rwanda, Kosovo and a hundred other places. Over those years, its reporters and crews built the greatest reserve of frequent flier miles of any program on television, all under orders from just one man.

And, so, little wonder that before he leaves ABC and the show he founded, a touch of elegy and even eulogy must creep into appreciations like this. Koppel will soon be gone. Network TV will never be the same, nor certainly will "Nightline." How could they be?

In a recent interview, Koppel said, "Quite clearly, Charlie [Gibson] and Barbara [Walters] and Sam [Donaldson] are still here, and so it's leaving a big part of my life behind. But most of my old friends are long gone, and they've either passed on or moved into a different phase of their lives."

And reflecting on the generational shift at network news, including ABC, Koppel recalled having a cup of coffee with Gibson recently, "and we were ... talking about the riots in Paris, and he said he had mentioned the name Jim Bitterman to this much younger colleague who didn't have a clue who he was." (Bitterman, now with CNN, spent much of his 40-plus years at ABC covering thousands of overseas stories, including the dissolution of the former Soviet Union.)

Koppel adds that he had no specific motive for leaving now: "Why leave ABC after 42 years? Would 43 have been better? There doesn't have to be a reason behind every major event in your life."

No, but then there usually are. "Nightline" was troubled by a steady remission in ratings, from a high of 6.2 million viewers in 1993 to less than 4 million currently. Another watershed moment occurred in 2002, when ABC unsuccessfully sought to dump "Nightline" in favor of luring David Letterman from CBS.

Going "live" again

Then, earlier this year, ABC urged Koppel to take the show "live" again at 11:35. "Nightline" had gone mostly to tape by 1992-93 for reasons both personal and practical. Devoted to a single topic each night through much of its life, the show's staff had learned that it was easier to package and tape an entire program by late afternoon than going live late at night, when guests and raw energy were harder to come by.

Meanwhile, Koppel also wanted a lifestyle change back then - to be home in time for dinner. He had no interest in reversing that schedule. ABC recently offered him another job, as host of "This Week" (to replace George Stephanopoulos). But that was turned down, too, leaving only one viable option - the exit door. Koppel has now established a new production company with his longtime executive producer, Tom Bettag, and both are reported to have sold forthcoming news specials to HBO. (Neither confirms or denies those reports.)

Meanwhile, how to gauge the legacy of "Nightline" and its paterfamilias? Consider, foremost, that these dual careers were born before the advent of CNN, which itself would revolutionize TV news and eventually force "Nightline" and Koppel to adjust their game plan, and not just once but several times. Also, the show itself began as something of a territorial land grab by Roone Arledge, then ABC News president, who wanted to build his empire half hour by half hour on the network schedule. Affiliates seemed least resistant to giving up 11:30, so when the hostage crisis began, Arledge used this as an excuse to air the show every night. Arledge had also hoped to use the show to lure Dan Rather over to ABC; he would have to settle for Koppel instead.

And for viewers who were used to, say, the meat-and-mashed-potatoes presentation of "Evening News With Walter Cronkite," "Nightline" was instantly an exotic and occasionally exhilarating dish: It was live, while Koppel often juggled four interviews at once, across four split screens, with people on opposite corners of the globe. Bill Lord, the show's first producer, says "'Live' was something that races the adrenaline and makes every word important and every move significant, and that's what 'Nightline' was all about." He adds that the "live element was magic for us because [late at night] we weren't competing for any other live broadcast [satellite] facilities around the world, so we got high-quality material and had little technical difficulties."

And, so, "Nightline" conquered the world. Just one among many historic events - "story" seems too light in this context - was "Nightline's" 1985 broadcasts from South Africa that may well have hastened the end of apartheid five years later.

"I can't think of any real regret," Koppel says. "It's been a glorious, glorious time for me, and an opportunity to do everything I've ever dreamed of doing in this business. I not only have no regrets or remorse but am enormously grateful for the opportunities."

And so, Ted, are we.

http://www.newsday.com/entertainment/tv/ny-fftv4515694nov20,0,6852819,print.story?coll=ny-television-headlines

“Nightline’s” Changes
“Nightline” faces the future
By Verne Gay Newsday Staff Writer

New faces, new boss, old roots

What lies in the future for "Nightline," whose new incarnation debuts Nov. 28? Foremost, the program will return to its live roots while Ted Koppel will be replaced by not one but three anchors - Terry Moran, Cynthia McFadden and Martin Bashir. (Other differences: three stories per edition, and the show will originate from both Washington, D.C., and ABC's Times Square Studios.)

But perhaps the most important change is offscreen, and his name is James Goldston. "Nightline's" new executive producer is a respected British TV veteran who was the showrunner of Britain's high-rated "Tonight With Trevor McDonald," a nightly news program on ITV1, and who produced numerous programs for the BBC (including "Panorama," think "60 Minutes"). Goldston is a hard-news specialist, but he also oversaw Bashir's sensational (and controversial) documentary on Michael Jackson, which later aired on ABC.

In an interview, Goldston says, "Sure, I made Michael Jackson and a thousand other shows as well, [but] I don't see it as a career-defining moment for me in any sense [and] I don't think it has any implications for the future" of "Nightline."

"What will be critical is that this will always remain a show that's committed a hundred percent to its journalism, [and] we won't shy away from those international or difficult-to-tell stories."

He adds, "There will be some changes from the recent past, in the sense that the show is going live again, [but] everything we're doing is building on [Koppel's] heritage and building on the amazing work he's done, and as a guide for what we should be doing in the future."

His job, he explains, "is to sharpen the show's focus, [but] heading down market is not what we're going to do."

http://www.newsday.com/entertainment/tv/nyc-tedside1119,0,5138581,print.story?coll=ny-television-headlines

2006 NFL Broadcast Plans
Monday night shuffle

By Bob Raissman New York Daily News

With ESPN still 10 months away from debuting its NFL "Monday Night Football" package, technology moles are buzzing over the Bristol Stompers' production plans.

Word is they are pulling out all the stops, preparing to spend more dough on the new Monday extravaganza than they already spend on their highly produced NFL Sunday night series. ESPN brass is also seriously considering doing a two-hour pregame show live from game sites.

While all this is going on at ESPN, NBC Sports is still searching for a partner for John Madden. On at least two occasions last summer, NBC Sports boss Dick Ebersol said Tom Hammond would be at the "top" of any list of play-by-play candidates for the Peacock's Sunday night NFL package, which also debuts in 2006.

Still, the fact that Ebersol has yet to name a partner for Madden raises the possibility that Hammond has fallen off Ebersol's Hit Parade. History - Ebersol's in particular - provides a pretty good indicator of what's happening.

The conclusion has likely been reached that Hammond, a solid play-by-play guy, simply did not have enough glitz or marquee value to work on this big a stage. Neither do most of the names popping up as potential candidates to work with Madden. This may put Ebersol in a box.

Or maybe not. He is holding an ace.

And that would be Bob Costas, now scheduled to work the pregame show. All Ebersol has to do is move Costas into the booth with Madden and his problem is solved.

Right?

http://www.nydailynews.com/sports/v-pfriendly/story/367246p-312611c.html

Let's hope 16:9 framed, Letterboxed SD presentations are part of the "pulling out all the stops". This is our best hope for a precedent being set early.

And under the new NFL contract with the networks, don't all games have to be in HD next season?

And under the new NFL contract with the networks, don't all games have to be in HD next season?

Yes, that is part of the new deal. Hammonds would be such a vanilla choice for NBC. He is solid but not very charasmatic. The NFL wants to Sunday night to be the marquee game of the week and I can't imagine that is who they want for the lead announcer. I would go out of the box and pick Costas. I'm not sure he has ever done football play-by-play but I'm sure he would do it well.

Chuck

Good thoughts Chuck.
Barring some unexpected news, I'd agree.
But Dick Ebersole is not the kind of guy to stay in the box. So the choice could be very interesting.
(Welcome to the forum -- and the thread -- and feel free to post often!)

The college football HD schedule has now been updated for the next two weekends in the first post at the top of this thread.

ESPN's Saturday night game Nov. 26th and ABC's plans for the UCLA-Southern California game Dec/ 3rd are still unnanounced.)

Here is a man you probably never heard of. But the results of his work have been enjoyed for more than 40 years by hundreds of millions of people.
Obituary
Edward P. Ancona, 84; Helped Standardize Colors on Television
From Los Angeles Times Staff and Wire Reports

November 20, 2005

Edward P. Ancona Jr., 84, whose Emmy-winning technical work on the long-running NBC western "Bonanza" led to the standardization of colors on national TV, died Nov. 8 in Los Angeles.

"That's why you don't have a tomato face on one channel and a chartreuse face on another channel," his wife of 61 years, Dorothy, said of his work in television color.

Ancona joined NBC in 1960 as a color consultant and retired in 1988 as director of tape and film post-production. He received his Emmy in 1965.

He also was an amateur musician, playing as a bassoonist with the Burbank Symphony for 36 years and later the Los Angeles Doctors Symphony Orchestra, with whom he was rehearsing shortly before he suffered a fatal heart attack.

http://www.calendarlive.com/tv/cl-me-passings20.1nov20,0,1141772,print.story?coll=cl-tvent

The college football HD schedule has now been updated for the next two weekends in the first post at the top of this thread.
So neither ND-Stanford nor GT-UGA is in HD next weekend? Not only is our local ABC affiliate the weakest local HD (KMGH Denver), it seems like I can find weekend sports in HD on any network EXCEPT ABC.

Both of those games will be regionally televised by ABC, neither in HD. I was hoping maybe ESPN would do one of them, but no such luck.
As others have noted, ABC said it would only do three regular season games this year.
On Dec. 3rd it will do both the ACC and BigXII title games, apparently in HD, and there is still a chance for UCLA-USC, too.
And ABC will do all its BCS games in HD.
Not to excuse ABC, but almost every game it does is a regional broadcast, and I suspect we are still a couple of seasons away from routine regional HD telecasts.

And under the new NFL contract with the networks, don't all games have to be in HD next season?

Fine, that commits the national network to a HD feed but that's only one link in the chain to the viewer. If the mother network doesn't in turn contract the afilliates, cable and satellite providers into HD only, what good does it do the NFL ?

Yesterday showed the limitation of CBS and their HD feed - the start of the Bengals Colts game was SD because all of CBS HD feeds were used up by late running 1pm games.. so I have been told.. makes sense though..

Fredfa - can you find any article to confirm this? I cant seem to find anything...

jim

Sunday’s prime-time ratings – and Media Week Analyst Marc Berman’s analysis of what they mean -- have been posted at the top of Ratings News the second post in this thread.

The 2005-2006 TV Season
CBS, ABC Sweeps Stay in Pattern

By John Consoli MediaWeek.com Nov. 21,2005

Through the first two weeks of the November sweeps, CBS and ABC are proving that the strategy of primarily sticking with regular season series programming—rather than replacing it with splashy expensive stunting or specials—is the best way to draw viewers.

Relying mostly on its regularly scheduled series, CBS and ABC were deadlocked in delivery of adults 18-49, each producing a 4.5 rating in the demo during the sweeps. That’s up 12 percent and 7 percent, respectively, compared to their season-to-date averages. And CBS was drawing an impressive 1.5 million viewers more per night, with ABC drawing 700,000 more during the sweeps.

Conversely, NBC, which has done a bit more stunting, was averaging the same 3.3 18-49 rating during the sweeps, as it has season-to-date. And NBC’s decision to pull its two Sunday night dramas, Law & Order: Criminal Intent and Crossing Jordan on Nov. 13 to air a Penn & Teller special and a Saturday Night Live retro clip show cost the network about 10 million viewers in the combined time periods. Even its airing of a live episode of The West Wing didn’t prop up ratings that much. The Nov. 6 episode produced a 2.7 18-49 rating, up only a bit from 2.3 the week earlier.

Fox, which also did very little sweeps stunting through the first two weeks, is averaging an 18-49 rating of 3.0, 10 percent lower than its season rating in the demo. But that is largely because the regular season was bolstered by post-season baseball. Also, Fox delayed the premiere of more of its shows until November last year. Both the WB and UPN—again with minimal stunting—were producing the same ratings during the sweeps.

“The sweeps have been a non-event so far this year,” said Laura Caraccioli-Davis, senior vp/director of Starcom Entertainment. “But from an advertiser perspective, the decision to run more shows in pattern is better. Advertisers like a minimal amount of stunting.”

Lyle Schwartz, director of research and marketplace analysis at Mediaedge:cia, said less stunting means less preempting of programming that media agencies bought for their clients during the upfront. “Many advertisers don’t benefit from sweeps specials, which are only announced a few weeks before they air and they aren’t part of their packages. [Sweeps stunts] give the networks a false bump in the ratings, but it means nothing to some advertisers.”

Steve Sternberg, executive vp and director of audience analysis for Magna Global USA, said the move to do less sweeps stunting also has been driven by the close ratings races among the Big Four networks. “The networks need to get a handle on which shows are working [for the duration of the season] and which aren’t,” he said. Some of the networks, he said, “are now more concerned with establishing their regular schedules following baseball’s post season, rather than preempting them.”

That’s exactly what CBS did by testing a move of its struggling freshman drama, Close to Home, from Tuesday at 10 p.m. to Friday at 9 p.m. In the first week in its new time period on Nov. 10, the show picked up 2 million more viewers on a night of low TV watching overall.

“We’re always going to try to get some big events in during sweeps, but if you can create those without disrupting the flow pattern for your regular viewers, that is a win-win,” said David Poltrack, executive vp, planning and research at CBS. “Continuity is what helps build strong program franchises. And to the extent we can, we avoid pulling shows for stunts.”

Sweeps may also be heading toward less importance as the number of markets that get Nielsen Media Research local people meters grows. Right now, local TV viewing in seven of the nation’s top TV markets is measured with LPMs on a year-round basis, eliminating the need for sweeps ratings results. Those markets represent about 30 percent of the TV viewing audience and close to the same percentage of total local ad dollars.

“As LPMs are rolled out, the value of sweeps ratings for many of the stations, primarily the networks’ owned-and-operated stations, diminish,” Schwartz said. “However, there are still several hundred markets where sweeps will still be important.”

But Poltrack said there are already discussions taking place to find ways to take LPM pattern data from the larger markets and adjust it to fit the smaller markets. “Eventually, we will see the sweeps become less important not only in the LPM markets, but in all markets,” Poltrack said. “The sweeps are never going to go away, though, because November and May, in particular, happen to be months where advertisers want to spend a lot of money anyway. So the networks will always want to do first-run programming and some stunting in those months.”

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1001525034

Yesterday showed the limitation of CBS and their HD feed - the start of the Bengals Colts game was SD because all of CBS HD feeds were used up by late running 1pm games.. so I have been told.. makes sense though..

Fredfa - can you find any article to confirm this? I cant seem to find anything...

jim


I'll look, jim, but it is hard for me to imagine anyone --at least in the general press --writing an article about the brief delay of HD for an NFL game.

Perhaps a reader here has some access to a specialized tech website and could post such information -- or maybe Ken H could get a comment from someone at CBS directly.

The 2005-2006 TV Season
The mother in the “Medium”

By Diana McKeon Charkalis, Special for USA TODAY (Contributing: William Keck )

When NBC's Medium first aired last season, it was touted as a crime drama based on the experiences of a real-life psychic who helps out law enforcement in Phoenix. But show creator Glen Gordon Caron didn't see it in exactly those terms.

He was more interested in the complicated, often stressful life of a woman who sees dead people for a living, then goes home to her aerospace engineer husband and three kids.

"Clearly, the home is the focus. That was the reason for doing the show," says Caron, who also created the 1980s hit Moonlighting. "For me that was the meat of the thing. Family is a big part of who she is."

He and everyone else associated with the show were relieved when it actually did well amid the pack of highly rated, plot-driven procedurals currently on TV.

"Our show surprised a lot of people," says Patricia Arquette, who plays the lead role of psychic Alison Dubois. "I think they (the network) thought showing the family drama was too mundane, but it really captured the attention of a lot of people."

It's an idea that has caught on, and this season a number of leading roles mine the guilt and frustration — as well as the humor and compromise — that come with juggling work and home. And it's done in a more gritty and gripping fashion than ever before.

"There have been working parents on television for decades, but there's something more realistic that's happening this season, even on shows like Desperate Housewives, which is meant to be a dark comedy," says Andrea Barbalich, executive editor of Child magazine, which features a special section on balancing work and family in the November issue.

The scenarios presented deal with a wide range of experiences:

• There's Geena Davis, who plays an American president in ABC's Commander in Chief, who must grapple with things such as shielding her three kids from the press and taking her daughter trick-or-treating while trying to lead the free world.

• Medium shows Arquette and her husband in frequent negotiation and conflict about child-care issues and making time for themselves as a couple.

• CBS' Close to Home casts Jennifer Finnigan as a first-time mom and prosecutor, who returns to work to find her office rival has become her supervisor.

• And on ABC's Housewives, Felicity Huffman's character, Lynette, returns to work with an unsympathetic boss and has to videoconfer-ence from the office into her child's first day of kindergarten.

TV's emphasis on working moms is "reflecting the truth of what's going on," Huffman says. "They're showing women in their entirety with their real trials and tribulations, not just, 'Oh, honey, you forgot your lunchbox money.' "

Lynette, she says, is "coming up against what all part-time mothers come up against, which is guilt and the difficulty of juggling (the roles). We haven't investigated what it's doing to the marriage, but I think that's going to come up soon."

In Medium, Caron lobbied hard to keep a big fight between the couple in the pilot when network execs wanted to take it out. "It's a cue," he says.

"It lets people know it's a real marriage. If I had my way, 75% of the scenes of the marriage would be the two of them without makeup in their underwear."

Many of the more true-to-life moments really hit home with viewers, such as a bathroom scene in Close to Home in which Finnigan uses a breast pump in a tiny stall.

"So many women come up to me and say 'You have no idea — that was me,' " Finnigan says. "Women really, really relate."

Close to Home creator Jim Leonard says he was inspired in part by his own wife's struggles to balance work and home when their kids were young. "Women feel this in their molecules in a way that I think men just don't," he says.

Housewives writer Julia Sweeney, also know for her androgynous role of "Pat" on Saturday Night Live, says much of the material for Huffman's harried working mom springs from the writers' lives. Sweeney and another writer on the show are working moms.

"It's really hard to have kids and work. Because your real work, the hardest work, the overwhelming work is your kids. And then your paycheck work is your job," she says. "Of course, it all gets dramatized and blown up in ways that don't often happen in real life, but it starts from real experiences."

Arquette concurs, saying that as a working mom with a teenage son and a toddler daughter, these issues strike at the heart of the guilt and exhaustion she's often dealing with.

"Half the time when I come and read my daughter a book, I fall asleep with all my makeup and my shoes still on," she says. "She gets a 2½-hour nap every day, so she's got me beat by a long shot."

These are issues that have been simmering in American families for a long time, which are finally bubbling over onto the small screen.

"This is what people in America are talking about and living every day in their own lives," Barbalich says. "The decisions and struggles these characters face in being a great parent and employee do resonate with people."

http://www.usatoday.com/life/television/news/2005-11-20-tv-moms-main_x.htm

Critic’s Notebook:
Uncertain future for sci-fi “Threshold”

By Charlie McCollum San Jose Mercury News

The producers of CBS's "Threshold'' are just a little bit nervous about the future of the alien invasion show.

Even though it has received generally good reviews and has drawn a steady audience on Friday nights, CBS is hardly giving the new series a warm embrace. It has not committed to giving it a full season and has moved the new series to Tuesdays (10 PM ET/PT) for the rest of November.

There are reasons and -- from a network's perspective -- they seem like good ones.

"Threshold'' doesn't seem to have built up the kind of buzz CBS was expecting from a show produced by such sci fi-fantasy heavyweights as David S. Goyer ("Batman Begins''), Brannon Braga (the "Star Trek'' shows) and David Heyman (the "Harry Potter'' films.) Its audience of nearly 8 million, while decent, is a sharp drop-off from CBS's other Friday night shows.

CBS executives say they think "Threshold'' will be better on Tuesdays behind "The Amazing Race.'' But still they hesitate when asked about the show's future.

Too bad, because while it's not a great show, ``Threshold'' is a good one with a heck of a yarn to spin.

For those who haven't sampled the series, it involves a group of federal agents, scientists, crisis analysts and computer hackers who are trying to abort an alien invasion -- without letting the public in on the secret. In this case, those men in black are the good guys, even if they don't have much regard for such niceties as the Constitution and the Bill of Rights. (Hey, we're talking super-powered, life-sucking aliens here.)

What really makes "Threshold'' click is one of TV's best and most intriguing casts, headed by the excellent Carla Gugino ("Karen Sisco'') as project head Molly Anne Caffrey. Other regulars: Brent Spiner ("Next Generation'') as a maverick doctor, Peter Dinklage ("The Station Agent'') as a womanizing, hard-drinking mathematician and Charles S. Dutton ("The Corner'') as a sometimes heavy-handed national security adviser who oversees the project.

Even when the scripts aren't as sharp as they should be, the cast is, delivering merely OK lines with considerable panache.

Tuesday's episode is particularly sharp, featuring a creepy guest appearance by Elizabeth Berkley (best remembered for "Showgirls'') as a wealthy and powerful woman infected by the aliens. The opening sequence -- which involves an exploding woman and a guy who gets his head torn off by his wife -- is the kind of kinetic scene ``Threshold'' does best.

My suggestion: Try ``Threshold.'' You may like it.

http://www.mercurynews.com/mld/mercurynews/entertainment/television/13222988.htm?template=contentModules/printstory.jsp

Verizon Launching 2nd FiOS System

By John Eggerton Broadcasting & Cable

Washington, or at least one of its more prominent suburbs, can start watching telco TV this week.

Verizon, the most agressive telco video provider to date, is launching its second system this week, in the town of Herndon, Va., having secured a franchise to overbuild the market last July. Cox has the cable franchise there.

Washington will soon get more FiOS. Verizon struck an other franchise agreement last month with Fairifax County, the D.C. suburb that surrounds the separately incorporated Herndon.

Verizon is working to secure franchises in more than 200 other Virginia municipalities, but is is also hoping to get some regulatory relief in the form of legislation that would establish a state or nationwide franchising scheme, or that might do away with franchises entirely.

Telcos argue that not having to seek individual franchises will allow it to more quickly provide more competition in the multichannel video market, one of the Bush administration's, the FCC's and Congress's stated priorities.

Cable argues that if the franchising process is to be streamlined or short-cut, the same advantages should apply to cable.

Verizon's FiOS TV debuted in Keller, Tex., Sept. 22. Verizon. Texas' Public Utility Commission last month approved that state's first statewide franchise for telco video service. Verizon had filed for franchises in 21 communities under the state's new franchise law, the first of its kind in the country.

Critic’s Notebook:
ABC's changes underwhelming

By Scott D. Pierce Salt Lake City Deseret Morning News Nov. 21, 2005

ABC is the hottest network going these days.

Oh, our friends at CBS (who lead in the ratings) would no doubt disagree, but ABC — pretty much dead in the water two seasons ago — made a huge comeback with shows like "Desperate Housewives" and "Lost" last fall. And continued that momentum with shows like "Grey's Anatomy" and "Commander in Chief."

These are the kinds of shows that people are not only watching but talking about. The so-called "water-cooler shows."

Which is why ABC's announcement of its post-"Monday Night Football" plans is so . . . well, ho-hum.

It's hard to imagine that anybody is going to be standing around the water cooler saying, "Hey! Did you see "The Bachelor" last night?"

It's easier to imagine somebody asking, "Is that still on?"

Effective Jan. 9, the network's Monday lineup will be:

• "Wife Swap" at 8 PM ET/PT. (It currently airs before or after "MNF" in every time zone but this one.)

• New sitcom "Emily's Reasons Why Not" at 9 PM ET/PT. (And, judging by the pilot, it's not anything to get excited about.)

• The returning sitcom "Jake in Progress" at 9:30 PM ET/PT. (It was a surprise renewal in May — a good show with bad ratings. And word is that ABC renewed it at least in part to keep star John Stamos from becoming a regular on "ER.")

• And the remarkably tired "Bachelor" at 10 PM ET/PT.

But ABC is assuring us that it's injecting new life and new vitality into this tired franchise by producing this edition in — gasp — romantic France! What an amazingly original idea!

Oh, wait. That's what Fox did with its "Bachelor" rip-off "Joe Millionaire" in 2003.

It's not that I don't feel for ABC. The "Monday Night Football" franchise has been a mixed blessing for the network.

"It's quite difficult to, every six months, relaunch a Monday night," said ABC Entertainment President Steve McPherson. "'The idea of having (football viewers) for six months, while it's valuable for the time that you have them, it's also really detrimental the time you don't."

That won't be a problem anymore, because "MNF" is moving to ABC's sister network, ESPN, in the fall. Which will give ABC a chance to establish a Monday-night lineup that it can carry through an entire season. Even, McPherson hopes, from season to season.

"Having the consistency of that, I think, will be really important. . . . Especially with the strength of our Sunday night, we feel like there's a real promotional platform for us," he said. "It gives us the opportunity to really add some consistency for an audience rather than just kind of have this rented audience for a limited period of time."

I just hope they could come up with something better than "The Bachelor."

WHEN "24" RETURNS to Fox's Monday schedule in January, there will (obviously) be some major changes. According to Fox, it's 18 months later and Jack Bauer (Kiefer Sutherland) — who's presumed dead — gets back into action when "national security is brutally breached" by a "billionaire bad guy" (Julian Sand).

New cast members include Peter Weller as the federal agent who recruited Jack to the Counter Terrorism Unit years earlier; JoBeth Williams as his wife; Connie Britton as Jack's new love; Sean Astin as a CTU agent; and Jean Smart as the first lady — wife of "shaky" President Logan (Gregory Itzin).

Returning cast members include Roger Cross (Curtis Manning), Louis Lombardi (Edgar Stiles), Mary Lynn Rajskub (Chloe O'Brian), Carlos Bernard (Tony Almeda) and Kim Raver (Audrey Raines).

Repeating last year's highly successful pattern, the first four hours of "24" air Sunday, Jan. 15, and Monday, Jan. 16. The following 20 hours will air Mondays at 9 PM ET/PT.

Can't wait.

http://www.desnews.com/dn/view/0,1249,635162359,00.html

Critic’s Notebook:
”Medium” goes 3-D

By Maureen Ryan Chicago Tribune

If ever a show didn’t need a gimmick, it’s “Medium” (10 PM ET/PT Monday, NBC).

“Medium” is one of network TV’s relatively unheralded gems, a well-acted, atmospheric drama that manages to create an intriguing mini-drama each week, as well as show domestic life in all its turbulent, messy beauty. Besides, “Medium” already has a gimmick -- the lead character, Allison DuBois, gets visions, often of dead people, and works with the authorities to solve crimes -- but, to its credit, the show rises well above that shorthand description.

Still, we’re in the middle of November sweeps, hence the “Medium” stunt, which consists of various scenes in the Monday episode coming at viewers in 3-D. Slap on a pair of 3-D glasses, which are available in this week’s TV Guide, and you’ll be able to “step inside” the visions of DuBois.

A digitally manipulated image of Rod Serling from “The Twilight Zone” will introduce the episode (Serling’s lines will be spoken by voice artist Mark Silverman), and “Rod” will tell viewers to watch for a special cue that alerts them to don their 3-D glasses. NBC assures viewers that if you don’t have the special specs, your viewing experience of the episode, the art-themed “Still Life,” will not be diminished.

The stunt is not necessarily such a surprise. “Medium” creator Glenn Gordon Caron was forever trying out bold approaches on his most famous previous series, “Moonlighting.” Sometimes those gambles worked, especially in the case of the black-and-white, film noir episode of “Moonlighting,” which still holds up well.

http://tempo.typepad.com/entertainment_tv/

Critic’s Notebook:
Psychic TV in 3-D

By Diane Holloway Austin American-Statesman Monday, November 21, 2005, 10:23 AM

If you, like me, are not a huge fan of NBC’s “Medium,” you might want to check out tonight’s 3-D episode anyway — especially if you’re a sucker for gimmicks.

We’re up to our eyeballs in the November sweeps, so we know exactly why executive producer Glenn Gordon Caron (“Moonlighting”) has chosen to pump up the visuals on his hit NBC psycho-drama.

But does it work? To find out, you’ve got to score some of those cheesy paper 3-D glasses with one red eye and one blue eye. The ones specifically crafted for “Medium” are tucked inside the current issue of TV Guide, but any old 3-D glasses you have will do.

Thanks to digital manipulation, Rod Serling of “Twilight Zone” fame will introduce the episode, telling us when to put on the silly glasses. If you don’t have the glasses, you’ll still be able to see the episode, but it won’t look like 3-D … so what’s the point?

Hoping to take full advantage of the 3-D technology and the millions of fabulous flat-screen TV sets now in use, a meat cleaver will fly through a kitchen — and, of course, directly at us — in tonight’s episode. Another 3-D happy scene will have an arm popping out of a grave.

“Medium,” for those who might not know, is about a woman (Emmy-winner Patricia Arquette) who has terrifying images of dead people, murderers and other disquieting types.

In concept, the series is custom-made for 3-D. But the reality is 3-D just never looks that terrific on television. Nevertheless, I’m a sucker for the possibility, so I’ll give it a look.

http://www.austin360.com/television/content/shared-gen/blogs/austin/tvblog/index.html

This week's college football schedule has been updated with the latest BCS rankings at the top of the first post in this thread.

Critic’s Notebook:
Holiday shows never come too early
By Diane Werts Newsday Staff Writer November 21, 2005

Don't tell me this column is too early.

I've already missed two airings of Chuck Jones' animated classic "How the Grinch Stole Christmas," Friday's TV movie "I Saw Mommy Kissing Santa Claus" and last night's new CBS film "Snow Wonder."

Besides, for those of us who love Christmas shows, it's never too early. We even watch 'em in July (although Preston Sturges' 1940 comedy "Christmas in July" isn't about the yule, it's about winning a contest, a sad discovery as it unreels).

And now we can see holiday highlights anytime -- July, December, March and May -- thanks to an increasing abundance of TV DVDs that digitally preserve everything from the ultra-traditional 1950s yule of "Ozzie & Harriet" to last year's cranky Christmas with Hugh Laurie's curmudgeonly doctor on "House." You can watch Paladin prevent a holiday hanging on the vintage Western "Have Gun -- Will Travel" or see "Hercules" sidekick Iolaus head with two other wise men to see a baby in a barn.

But even in this on-demand age, there's still something fun about simply stumbling over holiday celebrations both familiar and fresh as you flip through the channels on random chance (or assiduous scheduling). I've built my collection of hundreds of self-taped episodes mostly through careful scanning of advance listings, but also by just running into treats like a late-night airing of a 1955 "Sherlock Holmes" half-hour in which the sleuth deduces a prisoner escaped jail with tools secreted inside his Christmas pudding.

Digital cable and satellite only make the holiday hunt more fun. Tonight, for instance, HBO Comedy (one of that premium cabler's dozen subchannels) is repeating the riotous "Curb Your Enthusiasm" episode in which Scrooge-like Larry David makes mincemeat of a manger scene (7:30 and 11 PM ET/PT ). As wildly as David subverts the holiday, others get memorably sentimental. TV Land's annual Merry-thon, 24 hours of holiday shows nonstop Dec. 11, includes such awww-some vintage episodes as the 1969 "Brady Bunch" in which mom Florence Henderson loses her voice just before her Christmas choir solo and 1974's "Little House on the Prairie" tearjerker, with Michael Landon's pioneer clan sacrificing to get each other singular holiday presents.

Specials can pop up in weird places, too. Public TV seems to have become the annual exhibitor of those old family variety shows they don't know how to make any more (as proven last year by ABC's "Nick & Jessica's Family Christmas" dud). Many PBS stations repeat the best of Andy Williams' 1960s gatherings and the Bing Crosby clan's "Hollywood Palace" celebration Christmas Eve.

Other beloved specials require appointment viewing. "Rudolph the Red-Nosed Reindeer" does his sleigh-lighting trick on CBS Nov. 30. "A Charlie Brown Christmas" celebrates its 40th anniversary Dec. 6 on ABC. The newest Christmas classic, "Robbie the Reindeer," is back Dec. 17 on CBS. And Dec. 2, NBC tries to launch Harry Connick Jr.'s animated hour "The Happy Elf" into that legion of perennials.

Cable cooperates with Christmas collectors by announcing its episodes weeks in advance. New this year are greetings from "Monk" Dec. 2 on USA, where Tony Shalhoub goes undercover as Santa, and from FX's edgy "Nip/Tuck" Dec. 13. The broadcast networks are less helpful. Their more last-minute decisions are at least offset by their promotional power, so keep your eyes open for on-air teasers. A best bet: a Dec. 6 episode of new hit comedy "My Name Is Earl," in which Jason Lee's reforming loser tries to right holiday wrongs with his ex-wife.

With TV's almost nonstop holiday airings from now until the end of the year, there's something for everybody. And now, Christmas show diehards like me can savor the ways the season extends beyond the broadcasts. I've spotted more than 250 TV DVD releases that include holiday content, listed on a seasonal page for the 220,000 registered users of the Web site TV Shows on DVD (www.tvshowsondvd.com/Christmas). Christmas now comes not just once a year but many times over for hard-core holiday tubeheads. Seems reruns aren't necessarily a bad thing -- sometimes, they're a cherished tradition.

http://www.newsday.com/entertainment/tv/nyc-tube1121,0,5438568,print.column?coll=ny-tv-columnists

The Digital Revolution
Trio Moving off Cable, Onto Broadband

By Jon Lafayette TVWeek.com

NBC Universal said Monday it will discontinue Trio as a cable network and move the brand to broadband. The broadband version of Trio will launch Jan. 1 and include its "Brilliant But Cancelled" series and pop culture stunts such as AwardsMania.

More robust Trio-exclusive broadband content will be added later in 2006, NBCU said.

A year ago, Trio lost a big chunk of its viewers when it was dropped by DirecTV. The service has quietly continued this year amid persistent speculation about a shutdown.

"NBCU's launch of Trio on broadband is a testament to the strength and popularity of the Trio brand," said Lauren Zalaznick, president of Trio. "The Web is a perfect place to expand that 'programming philosophy' to an unlimited audience."

http://www.tvweek.com/news.cms?newsId=8945

NBC U Converting Trio to Broadband

By Mike Reynolds Multichannel.com

Ring out the old, ring in the new.

On Jan. 1, NBC Universal will convert arts and culture proponent Trio from a linear service to a broadband initiative, accessible at BravoTV.com bravotv.com.

At launch, NBC U officials said broadband users would be able to screen such fare as Brilliant, But Cancelled, AwardsMania and Uncensored. It was unclear, though, how much present and archival Trio content would be available when the broadband service debuts.

Also unknown: what will become of Trio’s current distribution base of 8.8 million homes. Speculation has NBC U’s newest entry -- mystery and suspense network Sleuth -- grabbing some of that carriage.

A Trio spokeswoman declined to comment about distribution prospects.

Lauren Zalaznick, president of Bravo and Trio, was not immediately available for comment.

Trio, along with USA Network and Sci Fi Channel, was part of NBC’s acquisition of Vivendi Universal Entertainment -- a deal that was finalized in May 2004.

Live Sports' Giant HD Leap

By R. Thomas Umstead Multichannel.com

For sports fans, there's nothing more visually breathtaking than watching a sweaty running back scamper down a richly-colored green field for a touchdown on a 60-inch high-definition projection television.

ESPN, Fox Sports Net and Home Box Office are among the many cable networks that each year are delivering more images like that from thousands of live sporting events, much to delight of fans, MSOs and satellite companies.

But sports programmers are still years away from delivering every televised event in pristine, widescreen HD pictures and Dolby 5:1 sound.

As the HD marketplace continues to mature, network executives say they are still forced to strategically choose when and where to deploy limited HD trucks to cover live sporting events in an effort to deliver as many high-profile and diverse HD events as financially feasible.

But that's not to say there isn't a lot of HD programming currently in the marketplace. Sports fans will not have to look very hard to get their fill of live events:

• ESPNHD and ESPN2HD will televise some 460 live sports events by the end of 2005 and are expected to deliver over 650 HD telecasts in 2006.

• Fox Sports Net will deliver 475 pro hockey, basketball and baseball games in HD over the next 12 months, more than double last year's tally.

• HBO will end 2005 with a record 11 live HD premium network and pay-per-view boxing telecasts.

• By the end of 2005, Turner Network Television will have telecast 164 live sports events — from National Basketball Association games to Professional Golfers' Association of America tournaments to NASCAR races.

• Showtime distributed all of its monthly Showtime Championship Boxing events in HD this year.

• HD networks In Demand, HDNet and Rainbow Media Holding's Rave HD sports network also provided a slew of HD events during the year.

Fox Sports Net CEO Randy Freer points to rapid drop in the cost of uplinking equipment, as well as an increase in the number of HD-ready production trucks for the explosion of live HD telecasts.

Despite the huge increase in HD sports programming, it has barely kept pace with the year-to-year growth of HD viewers. ESPN vice president of strategic business planning and development Bryan Burns predicts that in 2006, more HD sets will be sold in this country than standard-definition sets. High-def sales are expected to reach the 8 million mark this year, according to the Consumers Electronics Association.

“The CEA will tell you that sometime in the year 2008, we will hit 100 million cumulative HD sets that will be sold in this country, and 74.8% of all [television] viewing will come through an HD set,” Burns says.

With young males making up the lion's share of HDTV purchases today, ESPN's Burns says sports content is one of the key drivers of those sales. “Our research says that in the male 18-34 demographic, ESPN viewers are more inclined to have an HD set than the non-HD viewers,” he says, adding that the network does not know whether viewers are actually watching the standard feed.

MISSION IMPOSSIBLE

Despite a major increase in the number of HD trucks in the field over the past few years, executives say it's impossible to turn every game into a HD telecast because of the sheer quantity.

“In 2003-04 we did about 35 to 40 [college basketball HD telecasts]; in 2004-05 we did 75 to 80, and this year we'll do 160. But that's still only half the ones we telecast,” says ESPN's Burns. “Even though there are many more trucks now than there were a couple of years ago, we still can't get an HD truck to go to the Eastern Kentucky-Central Missouri State game, and we carry a lot of those kind of games on HD.”

And even though HD production costs have come down significantly over the past two years, it's still very expensive for many networks to telecast every live event in HD.

While HBO Sports offered all seven of its World Championship Boxing telecasts in HD last year, it didn't convert its Boxing After Dark series to HD due to “budgetary” reasons, according to Rick Bernstein, executive producer for HBO Sports.

CHEAPER THAN OTHER GENRES

Yet despite HD's financial hurdles, he says it's still cheaper to deliver a live sports telecast than it is for other content genres to deliver HD programming from a studio or a set.

“The cost of us renting a high-def truck is more manageable than for a network to have to convert the entire studio into a high-def facility,” Bernstein says. “That's probably the reason why you're not seeing the network news in high def yet.”

For Fox Sports Net and its affiliated regional sports nets, the challenge of choosing which sports events to shoot in high-def has added challenges. Along with production costs and HD truck availability, Fox Sports' Freer says the company has to navigate around various regional HD rights issues before it can determine which games to telecast in HD.

Nevertheless, Freer says that Fox Sports Net is on pace to televise 90% of all of its close to 2,000 Major League Baseball telecasts in HD by 2007.

In fact, sports network executives believe that it's only a matter of time when almost every live televised sporting event will be delivered in HD quality.

“HD is what the sports viewer is expecting now more than ever, because every significant sports event is in HD,” Bernstein says.

Yesterday showed the limitation of CBS and their HD feed - the start of the Bengals Colts game was SD because all of CBS HD feeds were used up by late running 1pm games.. so I have been told.. makes sense though..


Just thought I'd add that the same thing happened with the Broncos/Jets game OTA from Cheyenne, WY. Makes sense to me as well.

NBC's “Poseidon Adventure”`swamps
Sweeps special averages a 3.1 in 18-49s

By Diego Vasquez MediaLifeMagazine.com staff writer ov 21, 2005

TV critics savaged NBC’s three-hour move special “The Poseidon Adventure,” and then viewers swamped it. The made-for-TV movie went down with all hands on board.

"Poseidon" averaged a 3.1 overnight rating among viewers 18-49 last night, in another letdown for NBC in what has been a disappointing November sweeps period.

For the night NBC averaged a 3.1 among 18-49s, down 16 percent versus the same night last year, when the network averaged a 3.7 for its usual Sunday night lineup.

Further, the network’s 3.1 average from 8-11 p.m. was down 6 percent from the 3.3 overnight rating it had averaged in the same slot through the first two Sundays of November sweeps.

It's never quite clear how much viewers pay attention to TV reviewers, but it's a safe bet a goodly number were warned off the remake of the 1972 film.

Palm Beach Post television writer Kevin D. Thompson wrote: “While you rooted for the passengers in the first film to live (Go, Shelley! Go, Shelley!), you'll find yourself pulling for the ship to sink as quickly as possible in NBC's silly version.”

Boston Globe TV writer Matthew Gilbert wrote: “If this represents state-of-the-art film technology, it’s state of the art circa 1960.”

“’The Poseidon Adventure’ could easily be dismissed as ‘perfectly ridiculous’ except, of course, for the fact that nothing is perfect,” wrote The Washington Post’s Tom Shales. “That wisecrack has to have been cracked before, but then ‘Poseidon’ has been filmed before, not just once but, if you count an execrable sequel, twice.”

“Poseidon” averaged 9.9 million total viewers.

http://medialifemagazine.com/artman/publish/article_1438.asp

Programming notes: Daly gets golf reality show

Not since Paris Hilton started living the simple life has there been a celebrity more ripe for a reality show. On Jan. 18, the Golf Channel will debut a 13-episode reality show featuring long-driver John Daly. Though Daly has won two majors in his career, he has battled off-green problems including alcoholism, a bad temper and serial groomism (he’s been married four times). “The Daly Planet” will air Wednesday nights.

In other programming, Fox Reality Channel has approved its first original reality series, “Solitary.” The show’s contestants will endure torturous conditions such as solitary confinement and sleep deprivation in an eight-episode run expected to debut in first quarter.

CBS has ordered a seven-episode run of “Game Show Marathon,” which features celebrities competing on classic game shows.

http://medialifemagazine.com/artman/publish/cat_index_31.asp

ABC sinks “Poseiden”

(from an ABC news release)

“Desperate Housewives” (9:00-10:00 p.m.)
The No. 1 show on Sunday on each of its original telecasts this season, ABC’s “Desperate Housewives” beat its nearest competition during the 9 o’clock hour by 10.4 million viewers (26.0 million vs. 15.6 million – CBS) and by 162% in Adults 18-49 (11.0/24 vs. 4.2/9 – Fox).

* “Desperate Housewives” gained audience from the prior week among Total Viewers (26.0 million vs. 25.9 million), attracting the series’ biggest audience in 6 weeks – since 10/9/05.

“Grey’s Anatomy” (10:00-11:00 p.m.)

Continuing to deliver its best-ever retention of its “Desperate Housewives” lead-in, “Grey’s Anatomy” took full command of 10 o’clock hour. The ABC drama bested its closest competitor in the time slot by 9.0 million viewers (20.8 million vs. 11.8 million – CBS) and defeated CBS and NBC together in the time period by 56% in Adults 18-49 (9.5/23 vs. 6.1/15 – CBS and NBC combined). Television’s No. 1 10 o’clock drama on any night of the week, ABC’s “Grey’s Anatomy” topped CBS and NBC’s combined Adult 25-54 delivery in the hour by 35% (10.4/23 vs. 7.7/17 – CBS and NBC combined).

* For the second week in a row, “Grey’s Anatomy” produced season highs among Total Viewers and Adults 18-49. On both counts it was the series’ second-strongest performance ever, behind only its first season finale last May

AT&T to join the TV party

(from today’s Wall Street Journal)

“…AT&T executives say…technology will let it offer a new form of television with 1,000 or more channels available to consumers within the next 18 months. The company also plans to beam TV content to cellphones; offer targeted advertising on TV, much like Google offers on the Internet; and eventually provide thousands of programs and movies on demand…”

Chaos at “American Idol”?
For Fox's 'Idol,' Success Is Set on a Shaky Pedestal

By Bill Carter The New York Times November 21, 2005

Even though "American Idol" is the financial lifeblood of Fox's prime-time business, the network has kept news about its hit talent-contest series almost completely under wraps in the last several months.

There are reasons for the low profile. For one, Fox executives have been delaying an announcement about the show's January starting date while they ponder what would amount to a major move: an aggressive relocation of the show from its traditional two-night schedule of Tuesday and Wednesday to Wednesdays and Thursdays.

The other reason for the restraint surrounding "Idol" has been the delicate and hugely expensive renegotiation Fox executives found themselves in this fall with the show's dominant star, Simon Cowell. Mr. Cowell, a long-time recording industry executive in England, amassed enormous leverage in the talks because he went into them armed with a viable financial alternative to his income from "American Idol" - a separate, and now hugely successful, talent show that he created for British television called "X-Factor."

As of last night, all of the pieces of the puzzle had not yet come together for Fox: there was still no deal to ensure that the network would have more editions of "American Idol" with Mr. Cowell, and no decision on what nights those shows would run. But Fox executives said late last week that they expected to come to the successful end of this dilemma soon, perhaps as early as this week.

Today has been a target day in the bargaining process - unless the two sides came to a settlement late last night, this was to be the first day of a court case that has threatened to upend the work that Fox has put into resolving its contract issues with Mr. Cowell. The case involves a lawsuit filed in Great Britain against Mr. Cowell by Simon Fuller, whose company, 19 Entertainment, originated both "American Idol" and its British predecessor, "Pop Idol."

Mr. Fuller sued Mr. Cowell for copyright infringement, saying that Mr. Cowell stole the format of "Idol" for his "X-Factor" series. In an earlier interview, Mr. Cowell labeled the charge "totally ridiculous." Both men have declined, through representatives, to comment on the case.

Mr. Cowell and Mr. Fuller are longtime rivals in the British music industry, though they have worked together, most notably on "Pop Idol." Neither man has unleashed much venom in detailing the conflicts behind the suit, perhaps because no one expected the case to come to trial. The stakes are simply too high.

No show has ever been more valuable to the Fox network than "American Idol," not only because it provides so many hours of high ratings each year, but also because of the revenue it generates. According to several published estimates, Fox is charging a record price for an entertainment series this fall, between $600,000 and $700,000, for some of the 30-second commercials in "American Idol." (By contrast, ABC's hit "Desperate Housewives" charges a top price of about $550,000.)

If Mr. Cowell and Mr. Fuller do not settle, the future of the "American Idol" profit machine - or at least the version viewers have come to love with Mr. Cowell applying acid-laden grace notes to the assessments of amateur contestants' performances - would be at risk.

Mr. Cowell signed a deal in 2003 that committed him to three more seasons of "American Idol." But only in the first two of these did he retain the rights to sign the winner and runner-up of each year's competition to his record label, which is under Sony BMG. For the coming edition of "Idol," Mr. Cowell does not have a deal giving his label such rights. "Simon is not interested in making a star for another label," said one of Mr. Cowell's close associates, who requested that he not be named because the issues are still being debated.

Without a deal for music rights, the associate said, Mr. Cowell would have a strong incentive to leave "Idol" and sell "X-Factor" - starring him - to one of Fox's competitors in the United States. At least two networks, ABC and NBC, have quietly expressed interest in negotiating to acquire "X-Factor," which this season has been the most popular show on British television.

Fox, however, has wanted to keep "X-Factor" off American television, to protect "Idol" from a competing reality talent series. Both shows begin with auditions for singers. "Idol" then stages a contest for individuals. "X-Factor" sets up a competition among three groups, singers under 25, singers over 25, and bands. The judges are also pitted against each other, because they each coach the performers in one of the sections. If that section wins, the judge is also seen as a winner. Mr. Cowell won the competition last year.

Fox's offers to Mr. Cowell have included a multimillion-dollar fee to squelch a sale of "X-Factor" in the United States. The proposed agreement would grant Fox first access to the show in the future, but the network almost surely would never broadcast it while "Idol" remained on the air. Mr. Cowell would also recapture the right to sign the winning performers to his record label, and of course make an enormous salary for his work on "Idol." His current pay, about $8 million a year, is one of the highest in television.

What representatives for both sides have said they feared was the start of testimony in the lawsuit, because of what information might come out. One possibility: dueling versions of which man was truly responsible for coming up with the original concept for "Pop Idol." Fox executives said they had reason to fear they could lose Mr. Cowell's future services if the trial even starts.

The uncertainty about Mr. Cowell has not influenced Fox's decision-making regarding the scheduling of the "American Idol" series this January. That idea is almost entirely tied to Fox's calculation that now may be the best time to get a piece of television's most lucrative night: Thursday. Many advertisers pay a premium for spots on Thursday night shows. NBC has made billions of dollars in profits thanks to its long domination of Thursday night.

That dominance ended last year when CBS conquered the night. Fox executives have surveyed the Thursday landscape this season and detected further weakness from NBC and even some erosion from CBS, with both its big hits, "Survivor" and "C.S.I.," having softened slightly in the ratings.

That was one factor in the consideration of moving "Idol" to Wednesday and Thursday nights. Another factor has been the strong hints from NBC that it may try to rebuild Thursday around its new hit comedy, "My Name Is Earl," which now plays on Tuesdays. NBC had been expected to announce a shift of "Earl" to 8 or 9 p.m. on Thursday as early as this week, though the decision may now be pushed back for a while.

NBC and Fox have been circling each other for weeks about the scheduling moves, each apparently waiting for the other to act first. For Fox, the Thursday night edition of "Idol" would be what it calls the "result show," where the winners are announced. That show now runs for a half hour. Fox executives said they would consider expanding it to a full hour if it moved to Thursday.

One Fox executive said late last week that it was somewhat unlikely that Fox would make the schedule shift with "Idol." (Few hits that big are ever moved from their original night.) But Fox also relishes its reputation for in-your-face competitive moves. Fox, after all, took its strongest show and moved it to Thursday night once before - in 1990.

The target that time was NBC's "The Cosby Show" and Fox's weapon was "The Simpsons." Two years later, "Cosby" went off the air.

http://www.nytimes.com/2005/11/21/business/21idol.html?ei=5090&en=ff1794c36aa3e4b1&ex=1290229200&adxnnl=1&partner=rssuserland&emc=rss&pagewanted=print&adxnnlx=1132612207-YjqVC+SkqRGscg4wOw54gQ

Decision made for Jennings’ successor (but no official word yet)
Donaldson: Gibson should but won't get “World News'”

By Gail Shister Philadelphia Inquirer Columnist

Charlie Gibson deserves the anchor job at ABC World News Tonight, but he probably won't get it, says colleague Sam Donaldson.

Conventional wisdom says the tandem of 20/20's Elizabeth Vargas, 43, and World News Saturday's Bob Woodruff, 44, will replace Peter Jennings, who died of lung cancer in August.

But Gibson, 62, coanchor of Good Morning America since January 1999 (and from '87 to '98), is the overwhelming in-house favorite.

"I'm for Charlie, riding and walking, but he's too valuable to the morning show, it seems to me, and you can't ask him to do both," says Donaldson, 71. "There's only one Bob Schieffer in this world."

Schieffer, 68, moderator of Face the Nation, has been interim anchor of CBS Evening News since March.

Most observers agree that Gibson would make for a seamless transition. He's smart, personable, experienced. He has gravitas. But his age probably works against him.

"We have a lot of bright young people, and we need someone young in the spot," Donaldson said at ABC's Kennedy Center bash for departing Ted Koppel last week.

ABC News chief David Westin says a decision has been made, but offered no details.

"It's in the works... . I want to give everybody enough time to understand what it is and get their head around it and feel comfortable."

One scenario making the rounds at ABC is that Gibson would be offered the World News job as a courtesy, in recognition of 30 years' yeoman service.

He would turn it down, however, because he doesn't want to work beyond the 2008 presidential elections. Also, his wife plans to retire next year and he's about to become a first-time grandfather.

Another scenario: ABC announces that Gibson will anchor through '08, with Vargas and Woodruff as his backups and successors. (NBC did a similar deal with Tom Brokaw and Brian Williams more than two years out.)

That succeeds on several levels. It gives Gibson his props and a graceful exit, and allows for more seasoning for Vargas and Woodruff.

Donaldson, a 37-year ABC veteran, says Gibson represents "those of us from the 'old school' media, who still think you've got to do it the right way. Check your facts, get it right. All that stuff that a lot of people in new media don't care about."

In the end, Gibson's value to GMA may trump everything else. GMA, coanchored by Diane Sawyer, is a major cash cow, and it's slowly making strides to catch 10-year leader Today of NBC.

"You know how much I adore Diane, but she'd be the first to tell you [Gibson] is instrumental to that team to overtake Today. She can't do it by herself."

Gibson could not be reached for comment.

Outtahere

One of the casualties in ABC's revamped Nightline is Dave Marash, a correspondent since '89. His last show was Nov. 15.

"ABC clearly decided that the new Nightline did not need me," Marash, 63, says. "I hope and pray that all the company's promises to retain the DNA of Nightline are true."

Marash's elegant pieces were the longest of any Nightline correspondent, he says. The new broadcast, to debut Nov. 28, will feature shorter segments and three anchors.

Marash's contract, which expired in June, had been extended to January, he says.

"Did I have some hopes I'd be asked to stick around and make the new version work? Yeah," says Marash, one of 20/20's original correspondents in '78. "Am I shocked they decided no? No."

http://www.philly.com/mld/philly/entertainment/columnists/gail_shister/13220985.htm?template=contentModules/printstory.jsp

”Medium” goes 3-D route — at least we hope

By Susan Young Oakland Tribune

“Medium” step into the otherworldly on a weekly basis, but on Monday it's going to another dimension.

The third dimension.

So grab those 3-D glasses from inside this week's TV Guide (now on sale in most grocery stores) so you can take part in a momentous TV moment.

Or not.

In our house, we still can rustle up a bit of indignation that we went out and got those silly red and blue 3-D paper glasses and slapped them on to see an episode of "3rd Rock From the Sun" a few years back.

We couldn't see the difference between the 3-D and the regular D. A producer later confessed that the 3-D never really worked, so after the show aired, everyone just kept their mouths shut and hoped no one would notice.

Oh, we noticed my friend.

"Medium" creator/producer Glenn Gordon Caron chatted last week with journalists about the episode. He said that he tried doing a 3-D episode of his Bruce Willis-Cybill Shepherd 1980s series "Moonlighting," but the technology just wasn't there yet.

"3-D has often been more tantalizing as an idea," Caron says, referring to the difficulty in getting it to work as well as, for example, "A Bug's Life" at Disneyland's California park.

But unlike the "3rd Rock" episode, Caron says 3-D "Medium" works just fine. The 3-D will be used in the sequences where psychic Allison (Patricia Arquette) sees dead people. And speaking of the deceased, "Twilight Zone" genius Rod Serling will be seen using footage from his old series. He'll explain about the 3-D effect before he comes on in front of our eyes.

At least that's what Caron tells us. We'd like to corroborate that, but although Caron says he's seen the almost-finished episode, NBC isn't handing it out for review.

So we'll be waiting in front of the set once again, donning our funky eye wear. And hoping that this doesn't become a Great Pumpkin-like tradition of waiting for things that do not actually exist.

http://www.insidebayarea.com/portlet/article/html/fragments/print_article.jsp?article=3234105

It is Close, Very Close, for “Home”

The announcement from CBS should come soon – possibly tomorrow – that it is picking up its freshman drama “Close To Home” for the full season.

The show was in danger of cancellation when it was scheduled Tuesday nights, but for the past two weeks, in its new Friday night 9 PM ET/PT time slot it has helped CBS to resounding wins in both total viewers and adults 18-49.

In addition, its lead-in has helped “Numb3rs” to by far its best ratings of the year.

I must admit I watch it now that's it's on Friday. I always watched Numb3rs, so Hopme didn't make any difference there for me. :)

“Loser'” Wins a Third Season

By Christopher Lisotta TVWeek.com November 21, 2005

NBC has picked up its weight-loss reality series "The Biggest Loser" for a third season.

"Loser," which was a surprise performer for NBC when it premiered last season, has been delivering solid ratings this season on Tuesdays at 8 p.m. (ET). Last week "Loser" came in second in its time period in adults 18 to 49, behind only the first hour of the "Country Music Awards" on CBS.

The series, which takes a group of overweight challengers and has them compete to see who loses the most weight, will broadcast its two-hour second-season finale Tuesday, Nov. 29. The finale will culminate with a live weigh-in where one of the three finalists will win $250,000.

http://www.tvweek.com/news.cms?newsId=8948

(But she has the last laugh: Sweeps will be over)
Letterman Books Oprah Winfrey for Dec. 1

By Michele Greppi TVWeek.com

The elusive Oprah Winfrey, who has been the object of David Letterman's comedic affection and frustration, has been booked to appear on CBS's "Late Show With David Letterman" Thursday, Dec. 1, the night the queen of all media's musical version of "The Color Purple" opens on Broadway.

Mr. Letterman announced during the "Late Show" taping for Monday night that his long-running campaign to cajole or heckle Ms. Winfrey into agreeing to return to his show had finally paid off. "This just gives you an idea of what a big, big star this really is," he said to his audience. "She's huge. Put bygones behind us, the water under the bridge, over the dam, wherever water goes -- standing in your basement -- she's going to be here on this show and it's going to be fantastic."

Ms. Winfrey last appeared on Mr. Letterman's "Late Night With David Letterman" show on NBC in the 1980s.

http://www.tvweek.com/news.cms?newsId=8949

The TV Watch
With Little Fanfare, an Anchor Says Goodbye

By Alessandra Stanley The New York Times November 22, 2005

Leave it to Ted Koppel to quit "Nightline" in the same wry, superior way he began it 25 years ago. His choice for a valedictory broadcast is not a video scrapbook crammed with slow-motion clips and misty testimonials from world leaders. Nor is it a foreboding look forward at what network news will be like without him.

Instead, Mr. Koppel cunningly devotes his last half-hour on ABC News to someone else's last act. Eschewing the kind of self-referential pomposity that most anchors thrive on, "A Tuesday With Morrie" allows Mr. Koppel to take another look at a once-unknown man, Morrie Schwartz, a Brandeis University professor who in 1995 allowed "Nightline" to document the last year of his life as he battled A.L.S., or Lou Gehrig's Disease.

The show is a tribute to Mr. Schwartz's indomitable spirit, but the broadcast also serves as a veiled showcase for Mr. Koppel's proud, contrarian personality. He built his career on being different - professorial, not telegenic; cerebral, not entertaining; coolly amusing, not genial or avuncular. "A Tuesday With Morrie" tonight is Koppel's last chance on ABC to épater les bourgeois.

Those three interviews with Mr. Schwartz were among the most requested "Nightline" shows, rebroadcast several times and still available on DVD and VHS. Mr. Koppel intersperses clips of those shows with a more recent interview with Mitch Albom, a sportswriter and former student of Mr. Schwartz who was inspired by the "Nightline" show to write a book, "Tuesdays With Morrie," that became a best seller and later a television movie. (Mr. Albom went on to write another best seller, "The Five People You Meet in Heaven.")

Throughout his conversations with Mr. Schwartz, who died in November 1995, Mr. Koppel maintained his customary cool. Mr. Koppel asks Mr. Schwartz about death, dying and the daily indignities of his disease dispassionately, without condescension, pity or camera-pleasing pathos. And Mr. Schwartz was an ideal subject: lucid, good-humored and intellectually engaging to the end. The two men had a tender-tough rapport. Close to death, Mr. Schwartz asks softly, jokingly, if having led a good life entitles him to be an angel. Mr. Koppel replies, Bogart-style, "Yeah, you'd be - you'd be cute with a pair of wings, Morrie."

There were times when "Nightline" seemed tired and obsolete, but Mr. Koppel managed to stay on his game when it counted. He was at his personal best in the early days of the Iraq invasion as an embedded reporter. Traveling with the Third Infantry Division, Mr. Koppel wore a helmet too big for his head, and managed to deliver incisive, well-structured live reports, staying level-headed and dispassionate when many of his younger colleagues grew strained and emotionally involved with the troops they accompanied. He never lost his dry, deflating sense of humor. He once described enemy resistance during the invasion as "more annoying than devastating."

Mr. Koppel began as anchor of "Nightline" in March 1980, after first proving his mettle as host of a late-night program, "The Iran Crisis: America Held Hostage." Those were primordial days in television news, before CNN, easy live-by-satellite access, and the Internet. He stood out immediately, interviewing guests about the story of the day with crisp authority and a brisk, no-nonsense style. He was sometimes confrontational, but almost always in an impersonal, somewhat lofty manner.

Mr. Koppel leaves at a time when younger anchors are making a name for themselves by flaunting their personal feelings on the air. During the Hurricane Katrina debacle, NBC's Brian Williams was widely applauded for venting his anger and frustration over the government's failure to act quickly to help the victims. So was Anderson Cooper, who recently replaced Aaron Brown as CNN's late night anchor and famously gave Senator Mary L. Landrieu of Louisiana an on-air tongue-lashing.

Mr. Koppel also covered the scandal of Katrina, and was often quite scathing, asking the former director of the Federal Emergency Management Agency, Michael D. Brown, "Don't you guys watch television? Don't you guys listen to the radio?" But Mr. Koppel never lost his aplomb, or his aversion to the first-person pronoun.

And his reticence and reserve will be missed. ABC decided to replace him with three anchors, Terry Moran, Cynthia McFadden and Martin Bashir, a former BBC and ITV reporter best known for sensationalist interviews with celebrities like Diana, Princess of Wales, and Michael Jackson. CBS News and ABC News have not yet announced their choices to take over their evening news broadcasts, but it is unlikely that either network will find an anchor with the same cool, impersonal manner and inquisitive style.

Mr. Koppel recently was a guest on CNN's "Anderson Cooper 360°," a nighttime news program that is the un-"Nightline": Mr. Cooper jumps from topic to topic at top speed, everything from grisly true-crime stories to interviews with the likes of Nicole Richie. (Mr. Cooper has kept Hurricane Katrina on the air as a personal badge of honor with a nightly feature, "Keeping Them Honest," which highlights the latest disgrace in the recovery effort.)

Mr. Koppel was gracious, and kept his critique of television news light, noting dryly that he was disheartened by the cable news "obsession with being first with the obvious."

And he declined the opportunity to sound sentimental or nostalgic. When Mr. Cooper asked Mr. Koppel why he was leaving ABC News, Mr. Koppel gave a dry smile and replied, "Why not?"

http://www.nytimes.com/2005/11/22/arts/television/22watc.html?pagewanted=print

I must admit I watch it now that's it's on Friday. I always watched Numb3rs, so Hopme didn't make any difference there for me. :)


We actually liked it pretty well from the start -- but the Tuesday time slot was murder.

It does fit in the flow a lot better on Fridays.

I am somewhat surprised CBS, which is usually right-on with scheduling, started it on Tuesday in the first place.

Producer plans to keep old spirit in recast “Nightline”

Scott Collins Los Angeles Times Staff Writer November 22, 2005

Ted Koppel may be leaving the building, but the journalistic soul of "Nightline" will remain intact, the show's new overseer promises.

With the revamped version of the venerable ABC News program debuting next week, executive producer James Goldston told reporters Monday that the program would still deliver the substantive reporting on major public issues that viewers expected under Koppel, whose last broadcast is tonight.

As if to underscore the point, Goldston revealed that the first week would feature a three-part story from co-host Cynthia McFadden on AIDS in India, along with reporting from her colleague Terry Moran on the Iraq war. Moran will co-host from Washington, where "Nightline" has been based since 1980. The third host, who will join McFadden in a new studio in New York's Times Square, is British broadcaster Martin Bashir.

"There are many people out there who I think are looking to sort of prejudge this show," said Goldston, the former producer of "Tonight With Trevor McDonald," a popular public-affairs show in Britain, in a conference call. "I'd like the show to be judged on what we do, rather than kind of a theoretical version of what we might do."

It's already clear, though, that the new "Nightline" will have a much different feel. In a not-so-subtle dig at Koppel and his longtime producer, Tom Bettag, Goldston said: "My hope and expectation is that we can make the show vibrant again."

In addition to the trio of anchors, as well as new music and sets, Goldston said the program will typically cover multiple topics, in sharp contrast to Koppel's famous single-theme approach.

He also hinted that "Nightline" would experiment with "teases" about upcoming stories before heading into commercial breaks — a come-on familiar from newsmagazines but a tactic the program largely eschewed under Koppel.

"We're asking the old 'Nightline' audience to accept quite a lot of change," Goldston said. But declining ratings have made change necessary, he added. "This is an opportunity we'll take to modernize the show."

Goldston took pains, however, to "refute utterly" any speculation that "Nightline" is headed in a more tabloid-like direction, saying the revamped show will "be true to the 'Nightline' tradition."

Speculation about a tabloid drift has been driven in part by the addition of Bashir, best known in the U.S. for his interview with Michael Jackson.

http://www.calendarlive.com/tv/cl-et-nightline22nov22,0,7586189,print.story?coll=cl-tvent

3-D or not, Lisa de Moraes is not happy with “Medium”
Submitted for Your Disapproval: Rod Serling's Unlikely Role

By Lisa de Moraes The Washington Post

NBC's "Medium" is a drama series about a woman who can see and talk to dead people who have been the victims of horrible crimes.

And speaking of horrible crimes against dead people, the producers of "Medium" have digitally inserted the genuinely dead Rod Serling into Monday's episode, which will feature 3-D segments.

The TV great, best known for creating, writing and hosting the science-fiction series "The Twilight Zone," will "introduce" Monday's broadcast and tell viewers how they will know when to put on their special paper glasses to view the 3-D segments.

(FYI, the cue will be an enhanced image of show star Patricia Arquette's eyeball.)

The producers acquired rights to Serling footage from "The Twilight Zone" and have digitally manipulated the image to make Serling say lines he never said, using a voice artist named Mark Silverman, who, NBC assures us in a news release about this nightmare, is the only voice artist recognized by the Serling estate, whatever the heck that means.

NBC has partnered with TV Guide to distribute 3-D glasses for the episode. As part of that deal, TV Guide will feature a "Medium" cover. No word on whether Dead Serling will also be plugging TV Guide during Monday's broadcast.

Show creator Glenn Gordon Caron got on the phone with The Reporters Who Cover Television this week to defend turning Serling into a pitchman for a November ratings sweeps stunt. Actually, TRWCT weren't concerned about the travesty -- wonder what they thought of that 1997 Super Bowl ad in which the legendary Fred Astaire got to dance with a Dirt Devil vacuum cleaner, compliments of his widow.

One clever reporter on the call wondered what Serling is like to work with nowadays:

"He's a bit stiff," Caron joked.

Then, realizing that maybe one of these members of the press might actually report that response and a member of Serling's "estate" might actually read it, he did an about-face and went all Hallmark Moment on them:

"The truth is, we're beholden to the Serling estate and to Carol Serling, his wife, who gave us permission. Frankly, it's very flattering to be allowed to do this, to use his image and to take advantage of the extraordinary legacy that he has," Caron gushed.

After Monday, that "extraordinary legacy" will include a 45-second bit at the start of "Medium," telling viewers to put on their 3-D glasses whenever Arquette's eyeball pops up.

"He had no idea at the time that a bunch of vagabond pirates like us would actually take this stuff and convert it this way," Caron bragged without shame.

Speaking of no shame and "Medium," did you catch (last) week's episode?

It opens with Arquette and her husband discussing with their precocious moppet children the fact that Mommy and Daddy are going out tonight -- alone. Daddy, looking at the paper, says something like, "Oh look, honey, they're having a sneak preview of that wonderful new Sony-distributed flick 'Memoirs of a Geisha.' "

Daddy holds up full-page newspaper ad of "Memoirs of a Geisha."

"Not 'Memoirs of a Geisha'!" Arquette squeals in delight.

Precocious Moppet No. 1 : "What's a geisha, Mommy?"

Mommy, who regularly talks to dead people, looks frightened at the prospect of explaining to Precocious Moppet what a geisha is.

"A geisha is a woman in Japan who, in the old days, sometimes used her body to do for a man what the producers of this episode are using us to do for the film studio Sony, honey," Arquette responds.

(Yes, I made up that last part. But Daddy really did hold up the ad, Mommy really did say "Oh, goody let's go," and off they went to the sneak preview of "Memoirs of a Geisha.")

Next scene, Mommy and Daddy are at the movie theater walking past a big banner that reads "Memoirs of a Geisha." They run into one of Daddy's old girlfriends, with whom he apparently had some pretty hot sex, which Mommy sees in detail in her head because Mommy's clairvoyant, or psychic, or just very suspicious. Daddy's ex, sensing the hate, asks overly casual-like what they're there to see.

" 'Memoirs of a Geisha!' " Daddy says.

"Oh, we just saw that, you'll love it!" Ex enthuses. Mommy stares daggers, thinking dark thoughts while, across the bottom of the screen -- you know, the area where NBC regularly pops up ads for the show that follows, the show airing next week, the show airing next season, Katie Couric or the Olympics -- up pops an ad that tells viewers to "stay tuned for a sneak preview of 'Memoirs of a Geisha.' " Sure enough, a couple more minutes of Daddy and Ex making small talk while Mommy stares daggers later, NBC cuts to a commercial and, voil! -- a sneak preview of "Memoirs of a Geisha."

The infomercial . . . er, episode, was covered by the trade papers the next day. The Hollywood Reporter, for instance, said that the deal was negotiated during the summer's upfront advertising buy, but "there was no promotional fee involved."

Back to The Reporters Who Cover Television who, while utterly unconcerned about the exhuming of a television legend, seemed genuinely worked up over the defiling of an episode of a TV series to promote a flick, even if the film is produced by Mr. Sensitivity himself, Steven Spielberg.

"We were approached that [Sony was] very interested in advertising on the show," Caron said in response to some very pointed questions, "and very interested in having the characters on the show encounter the movie, and I sort of said . . . 'Well, I've never done anything like that; frankly, what's in it for me?' "

Very classy.

"The answer I got was that Sony, which made the movie, would be interested in buying advertising in publications that we otherwise would not have the money to buy advertisements in. So ads ran in TV Guide, ads ran in USA Today and ads ran in the Sunday New York Times Magazine, and since 'Medium' is a show that I believe is still sort of in the business of acquiring viewers, that there are still people I would like to sample the show who perhaps have not availed themselves of it, I thought that was a good thing," Caron added.

And suddenly, "Memoirs of a Geisha" seems like the perfect product to place in "Medium."

http://www.washingtonpost.com/wp-dyn/content/article/2005/11/18/AR2005111802518_pf.html

The 2005-2006 TV Season
Ask Matt

(from the Ask (TV Critic) Matt (Roush) column at TVGuide.com

Question: Thanks to your suggestion, I gave Threshold a try and now I'm hooked! However, it didn't air this past Friday, and I had to go to the show's website to find out that it has been moved from Fridays to Tuesdays. Is that a bad sign? Also, has it been officially picked up for the whole season yet? After the cancellation of Arrested Development, I don't think I can take it if another of my favorite shows bites the dust. Thanks for doing your best to promote AD, Threshold and all the other great but ratings-challenged shows. — Jen

Matt Roush: My pleasure — if that's the appropriate word. But let me use this as an opportunity to remind the show's fans (and those who may not have discovered it on Fridays) that for at least the next two weeks, Threshold will be airing on Tuesdays at 10 pm ET/PT. This could be the show's last chance to prove itself in hopes of getting a full-season pickup. CBS ordered a handful of new scripts, but until the numbers are in this week, no additional production order has come through.

We can only hope. Tuesday's episode is suspenseful — introducing yet another cunning new method of trying to spread the alien mutation — yet, as usual, it's laced with humor: Peter Dinklage, once again forced to play the reluctant hero, snarls at one point: "Next time you get the dangerous job!" I wouldn't say this is a great series, but it is great fun, and Threshold is such a welcome change from the wall-to-wall (and increasingly interchangeable) crime dramas on CBS that I hope the network will exercise some patience. But to be realistic, why should they? Sometimes it just sucks to be on a successful network, especially one that relies so heavily on a specific formula, one that viewers seem to swallow regardless of the individual show's quality.

But as Seth wrote in to suggest: "With Close to Home's success on Fridays, it seems that Threshold will have to hold Tuesday or be gone." He's no doubt right. I'll be amazed if Close to Home isn't a permanent Friday fixture come mid-season, making Threshold the only new show on CBS' fall schedule to be on the ropes. And as a public-service announcement, Meg writes to inform me of "a new fan site — Thresholdfans.com — that is starting a campaign to get the word out about the new time slot (Tuesdays at 10 pm/ET) and drum up fan letters/e-mails showing support for the show. The (potentially) final episode is now in production and the decision will be made soon on whether to cancel the series or give it a full-season order. Fan response and ratings in the next two weeks are essential!" Consider the word spread.

________________________________________

Question: Wait a second... Alias to Wednesday nights at 10? What does this mean for not only “Alias”, but Invasion as well? I thought ABC had picked up “Invasion” for the entire season. — David

Matt Roush: The way I understand it, ABC will air a couple of Alias episodes in December to complete the show's initial run until it returns (at a specific time and time period yet to be determined) from Jennifer Garner's maternity-dictated hiatus in March. Moving “Alias” temporarily to the post-Lost slot may be confusing, but I imagine it's designed to give these last episodes a bit of a boost, while resting (and protecting) Invasion, which almost certainly isn't going to do very well in repeats.

As you noted, and I'm happy to repeat, “Invasion” was picked up for the entire season. It gets creepier by the week. While it loses (understandably) a significant chunk of the “Lost” lead-in, “Invasio”n still performs far better than I would have ever expected a slow, subtle supernatural series like this to do against franchise beasts like CSI: NY and the original (and much diminished) Law & Order.

________________________________________

Question: One of my favorite new shows is Commander in Chief, but one reason I wanted to watch it was because of Jason Wiles. I always loved Jason on Third Watch as Bosco, and was anxious to see if he could play another character besides the hardened cop with a soft heart. So what's up? Since they fired his character, is he gone for good? Say it isn't so! — Marlene

Matt Roush: Sorry, it's so. Like the characters played by Leslie Hope and Julie Ann Emery, Wiles' character made a mistake fatal to his career during the president's turbulent transition. Which made it even more interesting in last week's episode when Mac's special assistant Vince, who had kept secret his HIV status, turned in his resignation. You might actually have thought she would stick to her guns and let him go, since she had set the precedent with all of these other characters who had made critical blunders.

________________________________________

Question: I was hoping you could clarify something for me. In your Nov. 9 Dispatch, you describe Gilmore Girls' Logan as a "callow jerk," and elsewhere you've repeatedly expressed your displeasure with him. But last season, if I recall correctly, you described him as "one of Rory's best-ever boyfriends," and praised the relationship as one of the contributing factors in Season 5's greatness. Certainly his behavior during Jess' visit was despicable, but your apparent change of heart occurred before that episode. May I ask why? — Ryan

Matt Roush: It comes with covering and reviewing this beat — one's initial impressions shift as you watch. Recently, it led to someone writing in to call me a hypocrite. I prefer to think it just shows I'm capable of change. (For instance, I wasn't crazy about Grey's Anatomy'soverwritten early episodes, but once it evolved into a true ensemble medical/romantic drama, I was enthusiastically onboard.)

With Logan, I was kind of like Rory: swept away by the dashing promise of a screwball romance, with its shades of The Front Page as he called her "Ace" and introduced her to a privileged world that seemed like fun. But his act quickly curdled, the scenes involving his dissolute friends became unbearable and what at first seemed charming now only seems smarmy. The reintroduction of a matured Jess, whom I had previously loathed, only underscored how tiresome I feel Logan has become. I'm so glad Rory has awakened. We'll see how he fits in to her newfound priorities. For him to deserve to stick around, he may need to experience a similar epiphany.

________________________________________

Question: I was shocked by your short riff on The Colbert Report. I understand your possible concerns for future spin-offs and caricatures, but you have to admit that the consistent top-notch writing and the complex character that Steven Colbert has crafted deserves high praise. His segments and interviews feel fresh and engaging, because Colbert is playing this particular character. I daresay that the show has surpassed its sister show, The Daily Show, in terms of overall quality. While at times Jon Stewart will goof off and blubber instead of making a crafty comment, time after time Colbert "nails" the audience with his bold wit and his spot-on character pronouncements. I think that you should give the show its due, and hopefully it will attract the thriving audience it deserves. Consistent, smart, quality writing in a daily show is difficult to find, and, in the rare moments when it comes together, it should be praised. — Albert S.

Matt Roush: I would respectfully disagree that Colbert Report has outpaced The Daily Show in any respect. Both shows are uneven, but that's the nature of the game, and both are incredibly intelligent and entertaining and make for a wonderful pairing. I do stand by my opinion, though, that the Colbert show is more limited because of its single-minded focus on a portrayal (however brilliant) of a parody of self-absorbed, fatuous punditry. In the long haul, I don't think this act has the legs of the show that spawned it. But for now, I'm enjoying it much as I do The Daily Show: in fits and starts, in gasps and giggles.

________________________________________

Question: How fantastic was My Name Is Earl this week? Well, just about as fantastic as Joy's wedding cake. What a delightful show! If My Name Is Earl is not nominated for best comedy series in place of Everybody Loves Raymond, I don't know what should be. I'd love to hear what you thought about the most recent episode with Joy's wedding. — Dan

Matt Roush: As you and others have written in to say, Earl is a delight, never better than when the focus is on Earl's tortured relationship with the gleefully trashy Joy, which made the Nov. 15 episode (in which they reconsummated their relationship, to Earl's stricken horror and guilt) one of the, if not the, best yet. As venal as Joy is, there's something almost childlike in her delight when she actually smiles at him, and his eagerness to please is so very endearing. All in all, a downright lovable show, and absolutely deserving of nominations in all comedy categories in all of next year's awards shows.

________________________________________

Question: I have become a fan of the show How I Met Your Mother, though at first I was wary since I don't really like Ted all that much and I don't see any chemistry between him and Robin. I know the producers originally started the show with Ted falling for Robin, but do they intend for her to be the mother of the poor kids stuck on the couch listening to Bob Saget? Do you think the producers have realized that Barney (played so well by the former kid M.D.) and Robin are much better on the screen together than Ted and Robin ever will be? Do you think that they can find a cousin of Lily's to introduce who could possibly be a love interest for Ted instead? What happens when a show is planned to go one way with two characters, but over time those characters just don't connect? Is this a common problem on most shows? — Julie M.

Matt Roush: A common problem? I'm not so sure. But long-term romantic comedies often change course midstream to keep the characters fresh, or to acknowledge casting mistakes. (Think Joey. When will they realize he and his unfunny, uninteresting neighbor aren't meant for each other?) Regardless, I think you've misread the intent of Mother, although you're entitled to your opinion about Ted (whom I actually find disarmingly sweet). It was clear from the twist at the end of the pilot that Ted and Robin do not end up together, except as lifelong friends. She has joined their gang, and the show will follow all of their romantic misadventures. I've fallen behind on some of the more recent episodes, but I would think Lily and Marshall are the only bona fide couple among the original core cast. I don't see Barney and Robin as a match made in heaven, although it would be funnier than Ted and Robin — that's a fact.

________________________________________

Question: Fox took a chance in starting its fall season earlier than the other networks' in order to gain more attention for its new shows. For my husband and I, it worked: We got hooked on Prison Break and Reunion, two shows we probably wouldn't have bothered to watch later due to their crowded time slots. But now it appears that gamble hasn't paid off for Fox, and these shows are at risk of cancellation without having given viewers the big payoffs for the mysteries they've started. Am I justified in feeling ripped off by the network, or is this just par for the course in television programming these days? Are the executives at all concerned that I, and other like-minded viewers, might not consider taking such a risk on new programs again? — Michelle H.

Matt Roush: I don't know where people are getting the idea that Prison Break is in any danger of cancellation just because it's going on an indefinite hiatus. It will come back, and viewers will be ready for it whenever that may occur. (The real fear, as with Reunion, is in the uncertainty of what a second season would look like, on the other side of the "break.") I'm still glad Fox jump-started the season and didn't wait until November to premiere most of its shows.

That was smart, and where “Prison Break”, at least, was concerned, it was successful. Unfortunately, the long baseball hiatus continues to be a logistical nightmare for the entertainment side of things, and is especially damaging to a show like “Reunion”, which had already encountered preemptions (out of Fox's control; the president spoke), which hurt its chances of establishing itself in that killer Thursday time slot. A year from now, I hope Fox continues to aggressively program the early fall — and not with shoddy reality! — regardless of the impact of baseball.

________________________________________

Question: How do you feel about watching a favorite show that, due to low ratings, probably won't be returning? I find myself wondering if time invested in Reunion, Threshold and Arrested Development could be spent elsewhere, since I really don't believe show-resurrection campaigns work and I can ultimately find out what happened in the aforementioned shows when the shows' DVDs are released. — Adrian B.

Matt Roush: This comes up a lot, and the phrase "self-fulfilling prophecy" comes to mind. If you don't watch, the chances are even greater that these shows will vanish permanently, and all you'll have is a DVD boasting "never-before-seen episodes" as if that's something to celebrate. The way I look at it, a half hour, hour or even a minute spent with a show I enjoy is worth it, regardless of whether it's endangered and will eventually break my heart when it's prematurely axed. And a half hour, hour or even a minute spent watching mediocrities like E-Ring, Criminal Minds, Freddie, Joey, Related (the list goes on) is time better spent anywhere else — although I at least get paid to do my homework on the shows I can't stand.

________________________________________

Question: You wrote in your Nov. 14 Dispatch that the terrible ratings for last week's hourlong Arrested Development helped to seal its fate. I'm heartbroken to hear that, since I missed that episode (one of the few I've missed since Season 1). I love the show, but I lost track of when new episodes were airing because they kept pulling it from the schedule. Do you think that other people may have made the same mistake? Do you think it would have gotten big enough audience to save it if Fox would have just let it stay put on the schedule? — Diana

Matt Roush: We'll never really know, will we? You're not the only one who was confused by Fox's scheduling (including the fact that episodes were airing back-to-back), making this latest knee-jerk disappearing act even more exasperating. But to be completely honest, even if Fox had left Arrested on Sundays, there's no guarantee or even indication that the numbers would have budged to a point where the network would have been more generous. (I imagine we'd be seeing "bonus" episodes of The Simpsons and The Family Guy instead of Arrested this month if it had stayed on Sunday, and we'd be just as aggravated.)

http://tvguide.com/tv/roush/askmatt/

Medium’s big mistake

Anika Van Wyk
Calgary Sun
November 22, 2005

Usually nothing about NBC’s Medium is medium.



NEW DIMENSION ... Jake Weber and Patricia Arquette star in the hit NBC series Medium. The Nov. 21 episode titled Still Life was broadcast in 3-D.

Its superb storytelling and down-to-earth acting makes Medium above average, but unfortunately, last night’s highly anticipated special 3-D episode lived up to its title and it was only medium.

On paper, the gimmick sweeps episode seemed to be a perfect fit — 3-D scenes that would enhance the visions that psychic Allison DuBois (Patricia Arquette) sees.

Unfortunately, reality was less than perfect.

The episode, titled Still Life, proved to be quite disappointing.

It wasn’t the script that was at fault, but technology.

The effect of 3-D scenes were difficult to take in. The cardboard glasses with red and cyan gel lenses, which viewers needed to see the special effects, were uncomfortable and often didn’t work. At least, they didn’t work well on my TV’s settings.

The double image remained, even with the glasses, especially in the background.

While there was a little bit of added depth to the picture, the remaining blurry images were distracting and frustrating. Fussing with the glasses and straining to see the 3-D effects also took viewers out of the story.

While the special logo in the top left corner of the screen gave you ample time to put on the glasses — wearing them for the regular filmed scenes would cause headaches — it broke the flow of the story about a murdered woman who sends messages to Allison through an artist’s paintings.

How can you feel fear for a woman who is about to be knifed to death when you’re fidgeting with paper glasses and asking the others in the room if they can see anything?

And while what usually makes Medium such a hit is its reality and originality, many of the 3-D scenes were cheesy and used stereotypical shots such as a knife being thrown at the camera and a hand reaching out.

While these cliche scenes did show off the special effects, they never made one jump, nor did they add to the tension of the story.

The best use of 3-D was in the opening sequence, when Allison was dreaming about Vincent Van Gogh.

Since the dream wasn’t cluttered with a background, watching Van Gogh pour paint onto a canvas was effective.

Thankfully, the story did live up to expectations. The subplot between Allison and her husband (Jake Weber) showcased one of Medium’s best features: The honest, un-Hollywood-like marriage between a woman who talks to dead people and a rocket scientist.

The main storyline about a missing woman whose murder is revealed to Allison when she looks at the work of one painter was interesting and was able to withstand the distraction of the 3-D.

Bottom line — Still Life would have been better if, like most still life paintings, it had remained two dimensional.

http://www.calgarysun.com/cgi-bin/publish.cgi?p=113353&x=articles&s=showbiz

The TV Column
Oprah and Dave, Talking It Out at Last

By Lisa de Moraes The Washington Post Tuesday, November 22, 2005; C07

Oprah Winfrey has finally agreed to appear on David Letterman's CBS late-night show, on Dec. 1.

This is sure to bring an enormous audience to Letterman, who has been falling further behind Jay Leno's show on NBC, despite better ratings for CBS at 10 p.m. this season.

The queen of daytime appeared on Letterman's NBC show twice (he moved to CBS in 1993), but has refused to do so again because, she has said, she did not like being the butt of his jokes.

In 2003 he invited her to do a "Super Bowl of Love" on his "Late Show." She demurred and instead invited him to come on her syndicated show. But Letterman, who's no dummy, realized that if they kissed and made up on her show it would only goose her show's ratings, not his, and he declined her invitation, offering the lame explanation that if he appeared on her show he was sure to "break down and sob like a little girl."

Just last month Oprah and Uma Thurman chatted on Oprah's show about the horror of having their names forever linked to Letterman's infamous Academy Awards "Oprah, Uma" opening gag bellyflop:

Oprah to Uma: "You could feel that David is going to say something . . . . I was, like, 'God, please, please, please don't mention my name. Please, please, please.' "

(Then, remembering that Uma was supposed to be the guest): "You remember that night, don't you?"

Uma to Oprah: "How could I forget . . ."

But Dec. 1 is opening night for Oprah Winfrey Presents "The Color Purple" on Broadway -- right across the street from the old Ed Sullivan theater, where Letterman tapes his show. (Too bad for him it falls one night outside the November ratings derby.)

"What a big night that is going to be," Letterman gushed to his studio audience during yesterday's taping, a transcript of which was rushed to the media by CBS. "Not only for us, not only for Oprah, but for Broadway.

"You have the big 'Color Purple' Broadway opening, and then, right across the street here in this theater, you have Oprah appearing here. I mean, that's what Broadway is all about -- it's a street of dreams."

Aren't people who use people the luckiest people in the world?

* * * * * * * *

Having placed a woman in the Oval Office on ABC, Rod Lurie is hard at work on Part 2 of his Never Gonna Happen political saga: a drama series about a teenage boy elected mayor of a medium-size town.

And, despite the fact that Lurie's departure from "Commander in Chief" was so abrupt, or maybe because of it, ABC is the network for which he's developing the series, called "Triumph." When Lurie left "CiC," he was signed to a deal with Touchstone Television, which, like ABC, is owned by Disney and which produces "CiC."

Show-running on "CiC" was taken over by Steven Bochco, with whom Touchstone also has a big overhead deal.

One possible trouble point: An 18-year-old high school student named Chris Seeley recently was elected mayor of a town. But Linesville, Pa. -- well known in bird circles as the place where ducks can walk on the backs of carp that teem near the spillway at Pymatuning Reservoir, according to news reports -- had a population of just 1,138 in 2004, the Census Bureau estimates.

Lurie, presumably, is working with a larger canvas, where things like that just don't happen. Teen boys becoming mayor -- not ducks walking on the back of carp.

Besides, Lurie told trade paper Variety, he had been "noodling" with the boy-politician thing long before Seeley got himself elected.

And, as with "Commander in Chief," Lurie said he does not plan to get bogged town in political minutiae with the new series.

The idea, he explained, is that the show be about a boy in a man's world.

You know, like "Doogie Howser, M.D."

From Bochco.

For ABC.

1989.

* * * * * * * *

Martin Bashir will not be allowed to wear black leather pants on "New Nightline" when he debuts as one of the "Nightline Three" on Nov. 28.

At least, we don't think so.

"Nightline" executive producer James Goldston was asked about that yesterday during a phone news conference with The Reporters Who Cover Television about the new "Nightline." Ted Koppel is bowing out tonight after more than two decades as show anchor.

It was one of the more painful phone news conferences ever attended by TRWCT.

Perhaps that's because the reporters weren't sure what to ask, having not seen any footage of the new "Nightline" -- and even the best television shows are difficult to explain in words to people who have not seen any footage:

Honest, Les, it'll be great! Jennifer Love Hewitt, talking to dead people -- wearing clingy men's sleeveless undershirts -- heaving bosoms, lots of cleavage. You slap it on Friday, it'll still do a 14 share -- it's a slam dunk!

Where were we? Oh yes, "Nightline." Some of the reporters seemed a bit skeptical that Bashir -- best known in this country for sucking up to and then demolishing Michael Jackson in that controversial British documentary "Living With Michael Jackson," which was purchased by ABC News and scored a gigantic 27 million viewers in the February 2003 sweeps -- had the whole Koppel statesmanlike thing going on.

Goldston, who coincidentally oversaw the making of that documentary when he was a producer working in the United Kingdom, naturally took umbrage, noting that Bashir also has done documentaries on race and crime, for instance, and won numerous awards for his work.

One reporter, who wasn't buying it, said she was going to take a "wild stab" and guess that no correspondent on "Nightline" had ever worn black leather pants like Bashir has on the air.

Goldston also took issue with that, saying he didn't think he'd ever seen Bashir in black leather pants, and that his response to the question "will have to be a no comment," but then added that there won't be any change in the dress code on "Nightline."

Moving on to more pressing matters, one reporter asked Goldston what was the difference between TV journalism in the United States and in Britain.

"There are many differences, for obvious reasons," he replied. "Because there's such a vibrant national press in Britain, much of the discourse . . . is led by the newspapers. Here the reverse is true. Some of you might disagree. But in large measure, television is the cultural agenda of America. It's a very profound difference," which, he said, "puts more pressure on anyone working in television for sure."

Guess how that went over.

http://www.washingtonpost.com/wp-dyn/content/article/2005/11/21/AR2005112101517_pf.html

Ted Koppel is moving on
The departure will leave a big hole in the firmament of TV journalism

By Hal Boedeker Orlando Sentinel Television Critic November 22, 2005

For his farewell this evening, after 26 years as anchor of ABC's Nightline, Ted Koppel doesn't have a clue what he'll say. He acknowledges that it's "very moving that some people think it's a big deal." He's not so sure.

"I do this periodically with a group of interns, bright 18-, 19- and 20-year-olds, and ask, 'Who was Eric Sevareid?' '' Koppel says. "Nothing. 'What about Howard K. Smith?' Nothing. 'Chet Huntley?' Nothing. 'David Brinkley?' One tentative hand will go up. 'Walter Cronkite?' I manage to get three or four hands. I've just talked about five of the most famous practitioners of our profession. These young people haven't a clue. That tells you about the half-life of the fame of a TV anchor."

For TV immortality, Koppel, 65, probably should have tried comedy, a path that worked for Lucille Ball, forever with us in reruns. But the medium would have lost a career that elevated broadcast journalism, inspired younger reporters and transformed millions into night owls. Johnny Carson was the king of late night, and Koppel has been its conscience.

"He is my mentor," says Andrea Koppel, his daughter. She is CNN's State Department correspondent, a position her father held at ABC before taking over Nightline. "He's held true to what our jobs are all about: holding the most powerful accountable, using the platform he's had to tell the stories that are not just popular but incredibly important."

David Ensor, formerly of ABC News and now CNN's national-security correspondent, appeared on Nightline at least 30 times. On one show, Ensor and cameramen shared dramatic footage from war-torn Chechnya, and Koppel quizzed the photographers forcefully about the risks they were taking.

"I just think he brings a terrific analytic mind, a clarity, to his questions," Ensor says. "He's quite happy sort of asking blunt questions or firmly reminding a guest they haven't answered a previous question. I think that's deeply satisfying for the viewer."

It wouldn't be satisfying to Koppel to recap his Nightline years on the air. He's relieved there will be no prime-time special wrapping up his 42 years at ABC News. He avoided a retrospective on Nightline, which scores some of its highest ratings in Orlando.

"I figure after 6,500 programs, they know what I've done or they don't," he says.

Koppel, however, will return tonight to one of his favorite stories. In 1995, Morrie Schwartz offered lessons on living as he was dying of Lou Gehrig's disease. Schwartz inspired the best-seller Tuesdays With Morrie, and Koppel interviews that book's author, Mitch Albom.

"The message Morrie shared was one that speaks to what my father has been all about these years," Andrea Koppel says. "He tries to make us all realize life is about more than doing our own thing. It's about recognizing we're citizens of the world, and we need to reach out beyond ourselves to give back in some way."

Koppel gave back by spotlighting race in America, the penal system, AIDS, South Africa and Israeli-Palestinian relations. He excelled two years ago in reporting on the invasion of Iraq.

Despite all those peaks, Koppel wryly recalls that he wasn't the first choice to anchor Nightline, which began as special reports on the Iran hostage crisis in 1979. ABC News boss Roone Arledge tried unsuccessfully to land Dan Rather, Tom Brokaw and Roger Mudd.

"None of those guys wanted to do it," Koppel says. "They gave it to me. If they had had their choice, they would have given it to someone better known."

After the Iran reports were rechristened Nightline in March 1980, Koppel emerged as one of television's most-respected journalists, a serious alternative to late-night frivolity. Yet ABC wavered in its support three years ago and futilely tried to win David Letterman from CBS. ABC went from floating the idea of dumping Nightline, which one network executive had called "irrelevant," to trumpeting the program's "distinctive brand of journalism."

Koppel enjoyed more freedom than other anchors, studying everything from Charlie Chaplin to Agent Orange.

"You never know what Nightline will do," says executive producer Tom Bettag. "That's one of the strengths of what we are. We don't have to be the broadcast of record."

Last year, Koppel made headlines by reading the names of service men and women who had died in Iraq. Saying the list was contrary to the public interest, the Sinclair Broadcast Group refused to air that installment.

"That was, on its primary level, intended to do nothing but pay honor to young men and women who have died in Iraq," Koppel says. "On a secondary level, it was a way to express frustration that so few people in the country are sharing the burden of being at war. It was not an antiwar statement."

After Nightline, Koppel and Bettag plan more collaborations.

"What we want to do is long-form Koppel broadcasts on subjects television doesn't usually get around to, as we've done on Nightline," Bettag says. "We've been talking to HBO, but we don't have a deal at this point."

CNN's Ensor says he's relieved that Koppel won't be leaving the scene -- and viewers should be too.

"With the death of Peter Jennings, there aren't that many grand old men of broadcast news," he says. "We need every one we can get, especially we need people like Ted Koppel who have an interest and knowledge in the world around us."

Koppel talks fondly about Jennings, who died of lung cancer in August. "We were kids together, dreaming about becoming influential in this business, dreaming about the day ABC would be top of the heap," he says. "We lived to see it. He was enormously grateful, and I am enormously grateful. I miss Peter a lot."

For now, Koppel still must put together that two-minute farewell. He will write it this afternoon, Bettag says. "Ted is one of the world's greatest procrastinators," he adds.

Yet the words should come easily. Even if his fame diminishes, Koppel knows Nightline gave him a unique platform.

"It has been absolutely glorious for me," he says. "I have been able to do everything I've wanted to do in the field of journalism and loved it."

http://www.orlandosentinel.com/entertainment/tv/orl-koppel05nov22,0,991537,print.story?coll=orl-caltvtop

Snow/White
By Rich Heldenfels Akron Beacon Journal

I don't know how many people have watched both ''American Dreams'' and ''Nip/Tuck'' but they're in for a shock Tuesday night.

Brittany Snow, who with great charm played the smart and decent Meg Pryor on ''Dreams,'' is bringing all that ''Dreams'' good will to the screen, then turning it upside down on ''Nip/Tuck.''

It's not just the overdone eye makeup -- major sign of a TV bad girl, it's the character she's playing: a white supremacist who gets her clutches into Matt.

This isn't the only story in the ''Nip/Tuck'' episode -- much of which involves the final wedding plans by Christian and Kember -- but it sets a lot of things in motion, and Snow is going to be around for awhile. Nor is her character alone in her beliefs; her parents are also unabashedly racist, and her dad has plans for Matt which look as if they will go very badly.

In fact, this episode looks like yet another demonstration of what a dolt Matt is. A hot girl makes eyes at him, and the next thing you know he's wearing an earring with a swastika. And when his fathers don't like his new girl just because she's an outspoken racist, well, you can bet Matt's going to find a way to fight back. A really stupid way.

But I didn't start this post as a rant about ''Nip/Tuck,'' even though it's a show that makes me want to rant a lot -- while also dragging me into its stories. Rather, I was thinking about what a curious amalgam of career agendas the Snow storyline is.

The show gets to play with the audience's expectations by casting a famous nice girl as a famously horrible one. The actress gets to show she has a scary side, which could lead to a wider range of roles, and therefore more roles, period. After all, Snow's not drawing that ''American Dreams'' paycheck anymore.

But is she good at being bad? Very much so.

http://blogs.ohio.com/beacon_tv/

The 2005 TV Holiday Season
Nine holiday originals dancing...

By Ann Oldenburg USA TODAY

Looking for something other than It's a Wonderful Life? See how these new, made-for-TV holiday originals compare:

•Silver Bells, CBS, Sunday, 9 p.m. ET/PT. A widow and widower are brought together at the holidays in New York by his wayward teen son. Starring: Anne Heche and Tate Donovan.

•The Engagement Ring, TNT, Monday,8 p.m. ET/PT. An engagement ring and marriage proposal, lost in the mail for many years, are finally delivered in this Moonstruck-esque holiday story set in Napa Valley wine country. Stars: real-life wife and husband Patricia Heaton and David Hunt.

•Chasing Christmas, ABC Family, Dec. 4, 8 p.m. ET/PT. A modern-day, humorous retelling of Dickens' A Christmas Carol. Stars: Tom Arnold.

•Recipe for a Perfect Christmas, Lifetime, Dec. 5, 9 p.m. ET/PT. A food critic sets up her mother with an ambitious young chef and later regrets it. Stars: Christine Baranski, Carly Pope and Bobby Cannavale.

•Three Wise Guys, USA, Dec. 8, 9 p.m. ET/PT. The Christmas story is updated with three mobsters in the desert helping a pregnant woman named Mary. Joey falls for her in the end. Stars: Tom Arnold, Katey Sagal, Nick Turturro, Eddie McClintock, Judd Nelson and Jodi Lyn O'Keefe. •Christmas in Boston, ABC Family, Dec. 14, 8 p.m. ET/PT. Pen pals worry about meeting in person. Stars: Marla Sokoloff.

•Meet the Santas, Hallmark Channel, Dec. 17, 9 p.m. ET/PT. In a sequel to last year's Single Santa Seeks Mrs. Claus, Nicholas Kringle is about to get married, but in-laws are complicating things. Stars: Steve Guttenberg, Crystal Bernard and Mariette Hartley. .

•The Christmas Blessing, CBS, Dec. 18, 9 p.m. ET/PT. The sequel to 2002's The Christmas Shoes finds the young boy all grown up. He meets a young woman and a boy who change his life. Stars: Neil Patrick Harris, Angus T. Jones and Rob Lowe.

•Christmas Lights, BBC America, Dec. 23, 9 p.m. ET/PT. Two old friends take their rivalry to the max, outdoing each other in decorating their homes for the holidays. Stars: Robson Green and Mark Benton.
http://www.usatoday.com/life/television/news/2005-11-21-holilday-originals_x.htm

Overnight Ratings
Eye-popper: 3D (“Medium” wows them)
Sweeps stunt clocks a new high in total viewers

By Diego Vasquez MediaLifeMagazine.com staff writer Nov 22, 2005

NBC finally found a sweeps stunt that worked. After seeing a live episode, a big-budget movie and the death of a main character fail to boost ratings during this sweeps, the network scored with last night’s special 3D episode of “Medium,” a show that had been fading over recent weeks.

Last night “Medium” averaged a 4.7 Nielsen overnight rating among viewers 18-49, its highest rating in five weeks.

That was a 4 percent boost over the 4.5 overnight the show had averaged over its first eight episodes and a 9 percent jump over the 4.3 average for its last three episodes.

It was also a nice 38 percent increase over the disappointing 3.4 rating NBC has averaged during November sweeps through Thursday. “Medium” averaged 13.3 million total viewers, according to Nielsen fast affiliate ratings, which, if it holds, would be the show’s best outing of the season.

There was some doubt over whether the 3D episode would entice viewers or turn them off, as they had to get the 3D glasses in TV Guide and might be worried that if they didn’t have them, the show wouldn’t make sense.

The successful stunt follows several that have failed for NBC, including the live “West Wing” debate two weeks ago and Sunday’s “Poseidon Adventure.” A death on “Las Vegas” pumped ratings very little last night, finishing fourth in its timeslot with a 4.2.

http://medialifemagazine.com/artman/publish/article_1465.asp

Koppel leaving with all due respect

By Charlie McCollum San Jose Mercury News

When ABC News president Roone Arledge decided to launch a late-night news show back in 1979, Ted Koppel wasn't his first choice to be the anchor. Or his second. Or his third.

Koppel suggests he might have gotten the job -- after Arledge was turned down by Tom Brokaw and Dan Rather, among others -- because he ``was the only guy who thought it was going to work.''

The show, called ``Nightline'' when it made its debut March 24, 1980, has worked -- for nearly 26 years and more than 6,500 programs.

But on Tuesday, Koppel will leave ``Nightline'' and ABC. Tom Bettag, the show's longtime producer, will depart with him. On Nov. 28, Koppel will be replaced by a trio of anchors, the show's base of operations will shift from Washington, D.C., to a glitzy, Broadway neon set in New York City and its single-story approach to the news will be replaced by a multi-topic format.

``Whatever is going to be on in that time slot is still going to be called `Nightline.' But `Nightline,' as we knew it, is over,'' says Robert F. Thompson, director of the Center for the Study of Popular Television at Syracuse University.

``Ted Koppel is to `Nightline' and this generation what Edward R. Murrow was to an earlier generation,'' says Bob Rucker, a former CNN reporter who is now a professor of broadcast journalism at San Jose State University. ``You can get other people to do the show, you can continue `Nightline,' but it won't be the same.''

``Nightline'' has been essential late-night viewing for millions of Americans at times of crisis, from the taking of the American hostages in Iran to Hurricane Katrina. With competition from cable and the Web, its nightly viewership has slid to 3.5 million this year from more than 6 million in the early 1990s. But when news breaks out, it can still draw an audience larger than those for Jay Leno and David Letterman.

Over the years, Koppel, now 65, became part of the group of network anchors -- with NBC's Brokaw, CBS's Rather and the late Peter Jennings on ABC -- who dominated television news during the latter part of the 20th century.

``Nightline'' was born out of the Iranian hostage crisis in late 1979, when ABC began a daily late night program called ``The Iran Crisis: America Held Hostage.'' The anchor was the late Frank Reynolds, but Koppel, as the network's chief diplomatic correspondent, appeared almost nightly.

`Hostage fix'

``It was a huge story in which people were intensely interested,'' Koppel recalls. ``CNN was barely born, and all the other 24/7 news outlets were still a thing of the future. People wouldn't go to sleep without getting their final hostage fix of the night.''

As the Iranian crisis dissipated, ``Nightline'' began to expand its reach. Often, it covered the big breaking news of the day. Just as often, the show would take on topics and issues that were not on the front burner of network TV news.

More than ever these days, Koppel says, TV news is ``in a desperate race to be first with the obvious.'' He says he is ``very proud of a lot of the shows we've done and the way we've handled issues that we've come back to again and again: the American prison system. Race in America, the issue of AIDS, the issue of peace in the Middle East.''

David Ensor, a former ABC foreign correspondent who is now national security reporter for CNN, says ``Nightline'' was ``the show you wanted to be on if you had anything that was at all special or a bit complicated. It was run by really top-notch journalists who would help you give that subject its best shot and make dramatic but complex and faraway subjects seem immediate and important to Americans.''

The other staple of ``Nightline'' was the Ted Koppel interview, a segment that could be a chatty conversation with someone of interest or the grilling of an official unfortunate enough to get caught in Koppel's cross hairs.

``Koppel is brilliant'' at cutting through officials' canned responses, Rucker says. ``He has created a style where he can do it professionally and politely but most emphatically.''

Sometimes, Koppel could cross the line with guests, giving the show some of its worst moments. His condescending, contentious 1984 interview with vice-presidential candidate Geraldine Ferraro -- ``it was almost as if I was running against him,'' she said afterward -- is widely viewed as a particular low point.

Regret appearing

Some newsmakers ventured onto ``Nightline'' to their everlasting regret.

Discussing adultery with then-presidential candidate Gary Hart after the Donna Rice affair, Koppel said, ``Senator, forgive me, but there's a certain hypocrisy inherent in what you're saying.'' When baseball executive Al Campanis suggested that African-Americans had inferior management skills, Koppel interjected: ``That really sounds like garbage, if you'll forgive me for saying so.''

Earlier this year, Koppel set the tone of coverage of the government's response to Hurricane Katrina during an interview with then-Federal Emergency Management Agency chief Michael Brown. When Brown tried to suggest that he hadn't been told how bad things had become in New Orleans, Koppel snapped, ``With all due respect, Mr. Brown, don't you guys watch television or listen to the radio? We knew it was happening. Why didn't you?''

James Goldston, the producer of the new version of ``Nightline,'' realizes that this is going to be a hard act to follow. ``Ted borders on the iconic -- and with good reason,'' he says. ``There's no question that in all the changes we're making, we have to retain the heritage of `Nightline' and build upon what may be the richest heritage in television history.''

Koppel is giving the new show the benefit of the doubt.

``If it's a slightly different `Nightline,' that's fine,'' he says. ``Let's give it a healthy opportunity to succeed in its own right.''

And Koppel -- who has formed a news production company with Bettag to focus on long-form journalism -- is leaving the show with pride about what ``Nightline'' accomplished during his nearly 26 years.

``There were great moments very early on, great moments in the middle and great moments at the end. What I'm proudest of is that we've maintained high standards from beginning to end. I don't think we ever let down standards.''

http://www.mercurynews.com/mld/mercurynews/entertainment/columnists/charlie_mccollum/13222960.htm?template=contentModules/printstory.jsp

Monday’s network prime-time ratings are now at the top of Latest Prime Time Ratings (the second post in this thread).

CBS stays with “Close To Home”

“Close to Home” got a last-ditch switch to Fridays, and it saved the show. Today CBS picked up the female-skewing drama for the full season, after “Home” averaged its best adults 18-49 and total viewers of the season the past two Fridays leading out of “Ghost Whisperer.”

The show had been airing Tuesdays at 10 p.m., where it struggled against NBC’s highly rated “Law & Order: Special Victims Unit.”

http://medialifemagazine.com/artman/publish/cat_index_31.asp

PEEVED OVER TIVO
By MICHAEL LEARMONTH, Variety, 11/22/2005

Biz hardly happy with download plans

TiVo's plan to allow users to download TV shows and films to Apple's iPod and Sony's PlayStation Portable (PSP) could strain relations with networks and studios hoping to develop revenue streams from digital distribution.

Several TV and studio execs told Daily Variety that they were considering legal action against the company, whose main product has huge brand awareness but is increasingly being pushed aside by no-name DVRs offered by cable and satellite companies.

The pioneer of the digital video recording biz called the move an "enhancement" of its TiVoToGo service, which allows users to transfer recorded shows to a PC. The new software, which will be released early next year, allows users to transfer these files to a portable player.

"We're making it easy for consumers to enjoy the TV shows they want to watch right from their iPod or PSP," said TiVo CEO and former NBC exec Tom Rogers.

Reactions to the service ranged from skeptical interest to outright hostility at the TV networks and film studios as they scrambled to examine its legal and business implications.

"TiVo appears to be acting unilaterally, disregarding established rights of content owners to participate in decisions regarding the distribution and exploitation of their content," an NBC Universal spokesman said. "This unilateral action creates the risk of legal conflict instead of contributing to the constructive exploitation of digital technology that can rapidly provide new and exciting experiences for the consumer."

But others saw TiVo's move as more a sign of opportunities to come than a threat.

"In addition to focusing on the legal issues, it's also important to focus on the fact that consumers are saying this is the kind of thing they want," noted Kevin Tsujihara, prexy of the Warner Bros. home entertainment group. "We're excited about the fact that people are buying portable devices and are looking for video content on them. It's potentially a huge market for us."

Ironically, controversy comes a week after the Big Six networks declared that DVRs actually benefit the broadcast biz because they generate more viewership for the hit shows.

But while such devices were hailed as benign if not beneficial to the ad-supported television business, the latest feature being added to TiVo could change the tenor of the relationship.

"I'm sure they will have an opinion, and we will reach out to people to help them understand our perspective," said TiVo veep of product marketing Jim Denney.

The immediate impact of the service, which will be offered soon after the new year, would be to undercut ABC's video-on-demand offering, through which users can buy episodes of "Lost" and other shows for $1.99 each to view on PCs or video iPods.

NBC and CBS recently began offering skeins on-demand for 99¢ through DirecTV and Comcast, respectively.

Nets are planning other on-demand initiatives on the Internet and through cable and satcasters.

TiVo's service may diminish the appeal of these offers, as well as cut into the DVD business, which has been supported over the past few years by the release of TV skeins such as "Sex and the City."

Initially, the additional portability may not affect that status quo too much, especially because the universe of people who can currently use the service -- owners of a stand-alone TiVo box who also have a home-networking system -- is only about 300,000. Company's total sub base, all of whom could use the service if they invested in home networking equipment, stands at 1.3 million.

Moreover, just because consumers use TiVo doesn't mean they won't also buy shows online or on DVD.

"People who are into these types of vehicles tend to dabble in more than one," said Russ Crupick, an analyst at NPD Group.

By adding the service, TiVo, which has been struggling to find a growth driver, is hoping to differentiate its box from generic DVRs offered by cable and satellite providers.

While the additional feature is free, necessary software will cost $15-$30.


http://www.variety.com/article/VR1117933376?categoryid=10&cs=1&s=h&p=0

The 2005-2006 Season: Ratings for Week 9
CBS Has a Big week

CBS swept to wins in every demo last week, and now seems poised to possibly win the November sweeps not only in viewers, which was expected, but also in both the 18-49 and the 25-54 demos.

The complete weekly numbers are now at the top of Latest Prime Time Ratings -- the second post in this thread.

Last week’s prime-time program ratings are now at the top of Latest Prime Time Ratings -- the second post in this thread.

CBS Sets Midseason Premieres, Picks Up “Home”

By Christopher Lisotta TVWeek.com November 22, 2005

CBS has announced premiere dates for two debuting series and has given a full season order to freshman drama "Close to Home."

Sony Pictures Television and Paramount Network Television's romantic drama "Love Monkey" will premiere Tuesday, Jan. 17, at 9 p.m. (ET), filling in for the concluding "Amazing Race: Family Edition" before the ninth edition of "Race" premieres later in the season.

The Touchstone Television/Paramount comedy "The Jenna Elfman Show" premieres Monday, Jan. 23, at 9:30 p.m., filling in for "Out of Practice," which will return in March.

"Close to Home," which premiered on Tuesdays but has been airing on Fridays for the past two weeks, is the fifth of six new series to get a full-season pickup. The sixth, the sci-fi drama "Threshold," has been given an additional script order but has not been tapped for additional episodes.

http://www.tvweek.com/news.cms?newsId=8952

No word on "The Unit" ?

http://www.tv.com/the-unit/show/33480/summary.html&full_summary=1
The Unit TV Show - The Unit Television Show - TV.com

Nope.
With five of the six new CBS series already picked up, I think "The Unit" might have to wait for 2006.

No word on "The Unit" ?

http://www.tv.com/the-unit/show/33480/summary.html&full_summary=1
The Unit TV Show - The Unit Television Show - TV.com

My earlier post was a mistake, Jim.

I now learn that CBS says "The Unit" will begin airing in March.

I'll try to get more details.

CBS says it will announce the premiere date for "The Unit" later.

So, despite the maze of government regulations and bureaucracy involved in this matter (quite frankly, I am unable to even begin to decipher the multitude of regulations that are available on the Internet, despite my Engineering degree and thirty years of professional work experience), my request is really quite simple ... I just want to watch the prime time network programs every night in HD on my very expensive HDTV system (which in our case is the NYC network broadcasts)... that is all! Technically, with the proper approvals, it is available to me, but I am being denied access. Who can make this happen?

Frankly, the local stations would rather that you watch the their SD channels than give away a potential viewer to a New York or LA station. As of today, TV stations are not required to issue HD waivers.

Driven Snow
Brittany Snow seeks to break from her "nice girl" image

By Chase Squires St. Petersburg Times television critic

Last time she crossed the television screen, Tampa native Brittany Snow was sweet, innocent Meg on family-friendly American Dreams.

Forget all that. She's a big girl now.

Snow, 19, returned to television Tuesday night, beginning a five-episode run on FX's Nip/Tuck playing an edgy, dark role in a show that defines edgy and dark.

With deep-black eyeliner, a swastika earring and a really twisted world view, Snow's character, Ariel Alderman, is 180 degrees from lovely Miss Meg and blows away the troublesome teen role Snow played as Susan back in her daytime drama days on Guiding Light.

Ariel is bad news from the moment she gets her hooks into Dr. Sean McNamara's rebellious son, Matt (John Hensley), and wriggles under his skin.

And just wait until you meet her family.

"I feel like it's very easy to play the sweet, innocent girl, because I am pretty innocent," Snow said in a phone interview from Hollywood. "But there is a dark side too."

It's all part of maturing as an actor, Snow said. From soaps to a network series, a lighthearted family film (this year's The Pacifier, with Vin Diesel) to Nip/Tuck, Snow said they're all stops on a journey. Next up is an indie film called On the Doll with music video director Thomas Mignone. She plays a prostitute with a heart of lead.

"It's probably one the darkest things I've ever read," Snow said of Doll. "A lot of people are going to be extremely shocked and maybe a little offended."

Laughing, she added, "My grandparents are not allowed to see it."

Snow said she decided long ago to look for challenges.

"Whenever anybody asks me, "What do you want to do?' I say I'm really just willing to do anything that is a stretch or challenging or scary or that I feel really passionate about," Snow said. "If that's a play or TV or a low-budget independent, I'm willing to try it."

Nip/Tuck is about as far from American Dreams as Snow could have gotten, short of a role in Saw III. The series, now in its third season, chronicles the manic lives of successful Miami plastic surgeons McNamara (Dylan Walsh) and Christian Troy (Julian McMahon). The pair takes on the weirdest cases ripped from the headlines (an immensely obese woman has to be surgically removed from her couch, in one episode this season) while weaving in even weirder dramatic tales of their personal lives (a porn-star lover, a transgender affair, orgies and a serial slasher known as the Carver).

The underlying themes are immorality, vanity, lust, ego . . . and pretty people.

With her new role, Snow moves from a show that was on the Parents Television Council's honor roll (Dreams) last year to one that the group calls "raunchy programming" and is campaigning against actively. For its part, FX spokesman John Solberg notes Nip/Tuck carries the "mature audiences" warning and airs at 10 p.m.

It's also the highest-rated show on basic cable in the key 18-to-49 demographic, luring 3.8-million viewers weekly, and it's a huge earner for FX. Ad spaces is sold out, Solberg said.

Snow enters as Hensley's character spins increasingly out of control. After an affair last season with a 40-year-old transgender life coach, teenage Matt has alienated his parents (and learned that though he was raised by McNamara, his biological father is Troy), stormed out of his home and resorted to drugs. In her first few scenes, Snow makes all that look like child's play.

Snow's character Ariel is part of an insidiously racist family. The family members' ability to rationalize hateful beliefs is downright creepy. And Ariel's ability to draw in a morally lost Matt makes the skin crawl.

"I'm not a Nazi, Matt, but I am a purist," she coos in one scene.

"I put it out there to everybody that I talked to that I wanted to do something out of the box," Snow said. "I had just done a movie where I was this sweet, innocent girl, and I'd done that for a few years on a (television) show, which was amazing, but I kind of wanted to go back to my Guiding Light roots where I played the manipulative, angry teenager and do something where I could get out a lot of frustration and do something that was different and edgy. . . . I think (Nip/Tuck creator) Ryan Murphy wanted to use me maybe because it was so shocking for people to see a girl who was such an innocent girl for three years play such a crazy character."

Hensley, 28, said Snow fit into the cast with ease and proved herself both as an actor and as a person.

"With Brittany, what's been so great is that she seems so completely comfortable in her own skin," Hensley said. "To be honest with you, Brittany's all right. That's one thing I've been so impressed with by her as a person. Regardless of what you do in your day job, you're still looking at the same person you were when you got up in the morning."

Hensley said Snow is mature beyond her age, self-sufficient and a team player. He shares her interest in expanding beyond just one type of role.

Hensley has a comedy due out next year, Fifty Pills, a move that pulled him out of the dark world of Nip/Tuck, he said.

"Like taking a breath I didn't know I needed," he said.

Playing Ariel has been a challenge, Snow said, because for her, acting requires becoming the character, at least while on camera.

"I hope people don't find it offensive because it is so crazy and out of the box. It's definitely a character I play, and I don't agree with her views," Snow said. "But to play that character, I have to immerse myself in that and believe what I say, or it won't be authentic, and it's kind of scary.

"What's hard about that character is really making it seem like she does have a point, even though it's crazy and wrong," Snow said. "She really does, with her whole heart, believe this."

Shooting Nip/Tuck on weekdays, then working on the independent production on weekends, has kept her busy and in Los Angeles, but in her heart Snow said she is still a Floridian. When shooting wraps, Snow is coming home to Tampa to see friends and family for the holidays. And to shop.

Then, it's back to work in California. Snow said when the Nip/Tuck finale airs next month, her story line is left open, and if the stars align, there could be a return next season.

(By the way, she knows who the mysterious Carver is. Fans of the show, she promised, will not be disappointed.)

And just when it appears the girl-next-door character was gone for good, Snow said she'll be seen in far lighter fare next spring when she co-stars in John Tucker Must Die, a comedy about high school girls and boy-next-door crushes gone wrong. Snow plays the new girl in school, a bit confused and very trusting as she gets tangled with the wrong crowd.

"She's very much like Meg," Snow said of her movie character. "She's kind of shy, she's trying to find her way, figure out who she is. She kind of gets caught up with these girls she looks up to and she's trying to fit in. It's a really good story, and it's funny, and by the end she realizes who she is and how she can't mold to who other people want her to be."

Something Snow herself realized long ago.

"I can do things that a lot of people wouldn't expect."

http://www.sptimes.com/2005/11/21/news_pf/Floridian/Driven_Snow.shtml

If you missed Ted Koppel's farewell tonight on "Nightline" it is available at the ABC News Nightline website:

http://abcnews.go.com/Nightline/

(The daily ratings should at least give us a hint by about 11:30 AM ET Wednesday morning.)
The 2005-2006 Season
“Threshold” on the edge

The switch to a new night could signal a fresh start for the CBS series or result in its demise

By Chase Squires St. Petersburg Times television critic

When they washed ashore this television season, there were whispers: How many undersea sci-fi shows are too many?

Network types scoffed. Each show should be judged on its merits, they claimed.

Two months into the season, it appears the answer to how-many-is-too-many is "three." CBS is the first network to blink, shifting Threshold to a new night and time, 10 p.m. Tuesdays starting last night, swapping its Friday time slot with legal dram a Close to Home.

CBS, which has had tremendous success with the CSI franchise's episodic format rather than the serial style championed by AB C hits Lost and Desperate Housewives , has yet to extend Threshold's order through the full season. A lot is riding on the next few episodes, and producers promise change is ahead.

"The network's been enormously supportive of the show," producer Brannon Braga said last week during a conference call with reporters. "You can call this a second chance. Our (audience) numbers have been decent - it's not as if we've been tanking on Fridays - but they want the numbers to be better."

Sparked in part by the popularity of Lost, television this fall delivered Surface (NBC), Invasion (ABC) and Threshold . The trio of hourlong "creeps from the deep" series had TV critics confused during a summer press gathering. Each show promised mystery, monsters and the sea.

But on closer inspection, each takes a different path, and all three are surprisingly good in their own way.

Surface is a family-oriented romp starring teenage Tampa native Carter Jenkins as a boy who finds a baby sea creature with mysterious powers. Sort of a Hardy Boys adventure with sea monsters.

Invasion delivers a cerebral look at relationships and change as survivors of a Florida hurricane struggle to rebuild while coming to understand that something other than rain came out of the storm, possibly body-snatching aliens. It's deep but has drawn complaints for moving too slowly.

Of the three , Threshold is the pure thriller. A secret group of government operatives tracks a spreading epidemic that mutates humans into space aliens by shifting their DNA. There's intrigue and near disaster in every episode for the team of scientists and agents, led by Dr. Molly Anne Caffrey (played by Sarasota-born Carla Gugino of Karen Sisco fame).

Invasion is the 34th most popular show this season, averaging 10.7-million viewers a week. Surface is 40th at 9.7-million. And Threshold limps in at 64th with 7.8-million viewers, right behind the rumored-to-be-canceled Three Wishes and just ahead of the doomed Apprentice: Martha Stewart.

"Ultimately the good shows, the best shows, will survive," Threshold executive producer David Heyman said this summer. "Our challenge is just to make the very best show that we can."

Last week, Heyman said he's cautiously optimistic about Threshold's future.

Braga admitted to some story problems early on, in particular a meandering episode about saving Miami from aliens, requiring the team to shut down the city's power grid. With the move to a new time slot, Braga vows to take the show beyond crisis-of-the-week mode.

"It was a little tough to get a handle on the show," he said. "Now that we have the plotting of the episodes down, what an episode should look like, we do want to get inside the characters more."

Ahead, Dr. Caffrey becomes romantically involved with a possible infectee and viewers learn more about the characters' personal lives, Braga said, taking a page from Lost, in which the characters are the stars and the mystery only provides the stage.

Tonight, the future of mankind again is in the hands of Dr. Caffrey and her team.

The future of Threshold will be in the hands of viewers.

http://www.sptimes.com/2005/11/22/news_pf/Artsandentertainment/_Threshold__on_the_ed.shtml

Ted Koppel’s Farewell
An Anchor Who Carried Weight

Night After Late Night for 25 Years, Ted Koppel Was an Eye-Opener

By Tom Shales The Washington Post Wednesday, November 23, 2005; C01

Ted Koppel was always more informative than the other men who piloted late-night network TV programs, but he was often more entertaining than any of them, too. Watching him homing in on a guest, grilling the subject in a manner sly and subtle -- rather than bombastic or bellicose -- could be very entertaining television.

But it was his stature as a great newsman that brought ABC News employees streaming by the dozens into Studio B last night, champagne glasses in hand, to bid farewell to Koppel as he -- and friend and producer Tom Bettag -- left ABC for some other realm about which the anchor has been insistently vague.

Koppel's closing words to viewers were taped at 5:30 p.m. in the big studio. He urged his audience to watch the revamped, three-anchor "Nightline" that will premiere Monday night because if it isn't a success, "the network will just put another comedy show in this time slot. And then you'll be sorry."

And finally, the traditional close: "For all of us here at ABC News, good night." Then the floodgates opened and the well-wishers poured in.

For his last show, Koppel had chosen to revisit Morrie Schwartz, a former Brandeis University professor who died 10 years ago, at age 78, of ALS, better known as Lou Gehrig's disease. Schwartz talked openly, bluntly and movingly about his impending death on three editions of "Nightline" -- in March, May and October of 1995. Excerpts from those broadcasts made up the final show.

The conversations represented some of Koppel's most personal and memorable work, even though Schwartz told him at their first meeting that he feared Koppel would be narcissistic because he looked on TV like a man who thought he "knew everything." Koppel considered himself "too ugly" to be a narcissist, he told Schwartz.

In the 25-year history of "Nightline," millions tuned in not because Koppel seemed like the man who thought he knew everything but because he gave the impression of wanting to know everything. A taped highlight reel shown to guests at the brief farewell party (another was held last week at the Kennedy Center) attested to the tremendous breadth of Koppel's beat -- from starvation and disease in Africa to the hazardous streets of Iraq, from hurricanes to civil wars.

Present via videotaped greetings at the party were a few of the show's former guests. Former president Bill Clinton recalled walking across a bridge in Prague with Koppel in 1994 and wondering what the post-Cold War world would be like. "I can't wait to see what your second act will be," he said to Koppel. Sen. Hillary Rodham Clinton was seen in a separate clip, as were Bishop Desmond Tutu ("You have become a legend in your lifetime") and Koppel's longtime friend Henry Kissinger ("You overcame my efforts to ruin your career").

For laughs, actor Henry Winkler appeared and told Koppel, "You were so good on 'Cheers,' " pretending to confuse the anchor with Ted Danson. Koppel also was presented with a statue of Donald Duck, because that is the standard gift from the Walt Disney Co., which owns ABC, to employees with 40 years of service.

"Now," Koppel said, "my life is complete."

In addition to the champagne toasts, joking and recollections, Koppel received from his colleagues an ovation that went on and on and on -- so long that he ordered it stopped. As he bolted from the room, he did seem to be fighting back tears. And he wasn't the only one. His beautiful wife, Grace Anne, followed him out the door.

Whether viewers will take Koppel's advice and tune in for the revamped "Nightline" is problematic, for seldom in TV history have a program and its host seemed more of a piece. Indeed, Koppel's habit in recent years of taking an increasing number of days off surely was partly responsible for the show's lowered, but always respectable, ratings.

People tuned in to "Nightline" for style as well as content, for the joy of seeing a job done splendidly by a man devoted to his work and to asking questions designed to elicit answers that mattered. Koppel brought rare intelligence and perseverance to his craft. Part of the pleasure of tuning in was that you could see him think.

Thought is a rare commodity on TV, making Koppel rather lonely in his virtuosity. But virtuoso he was, and his disappearance from regular exposure on the tube has to be seen as another ominous marker in the demise of network news, following as it does the unseemly dethroning of Dan Rather at CBS, the orderly retirement of Tom Brokaw at NBC and the tragic death of Peter Jennings at ABC.

Such men, inspired by the work of Edward R. Murrow and other revered pioneers, came to television from print backgrounds, by and large. The new breed is TV-trained, TV-oriented. Some indeed are serious journalists, but for many, experience in investigative reporting is limited to having seen the movie "All the President's Men." Meanwhile, pressures increase from the big conglomerates that own the networks: Make the news "fun," and make it profitable.

Koppel has his showbiz side, of course. He famously balanced a dog treat on his nose on competitor David Letterman's late-night talk show. He is expert at unreeling anecdotes. And his impersonations of such newsmakers as former president Richard M. Nixon and William F. Buckley Jr. have been entertaining colleagues for years. They even delighted Roone Arledge, legendary president of ABC News and Sports, although Arledge recalled in his memoir, "Roone," that he and Koppel hardly hit it off at the beginning of the association.

"Initially, I hadn't thought much about Ted one way or the other," Arledge wrote, saying that Koppel's "chipmunk cheeks and odd-parted auburn hair lent him an uncanny resemblance to Alfred E. Neuman." But eventually, Arledge became impressed with Koppel's knowledge, versatility and commanding presence.

"You found yourself not only admiring Ted Koppel," Arledge wrote. "He made you like him, too. And that perhaps was his most formidable ability."

"Nightline" grew out of ABC's late-nightly reports on the crisis in Iran, "America Held Hostage." As the show itself had been partly a matter of serendipity, so was the show's trademark gambit. When an Iranian official refused to come to the studio to be interviewed, ABC sent a crew to his embassy and photographed him using the "green-screen" technique, which allows the background to be dropped out and replaced with something else. In this case, the embassy interior was replaced with the "Nightline" studios.

On the air, it looked as though Koppel were interviewing the official through a large window that looked onto the next room. But Arledge noticed something: "Keeping the Iranian at electronic remove shrank his image and enlarged Ted's, shifting the psychological balance between subject and interviewer. Koppel was now in command." All interviews were henceforth done in this way.

"It makes for great television," Arledge wrote. There's reason to believe, however, that in time, Koppel would have loomed large anyway, especially as rave reviews for his performance began appearing and "Nightline" ratings climbed.

Not every review was a rave. Koppel has for years chided this critic for having panned the premiere of "Nightline" -- on March 24, 1980 -- calling it "at best a great leap sideways and at worst a pratfall backwards for television news." When it began, the show seemed to be mainly a staging ground for confrontations between opposing sides of a given issue. The next day, Koppel phoned the writer and, in a firm but friendly way, suggested it was unfair to review a nightly news program after one edition. The critic promised to revisit it at a future date.

Another review ran 10 months later. The critic raved that Koppel had emerged as a first-rate interviewer, not just a referee, and hailed "Nightline" as all but a godsend. Koppel himself likes to tell the story about the critical flip-flop.

But there's another story about another phone call that Koppel doesn't tell. It was after an excessively negative review this critic gave a new Saturday edition of NBC's "Today" show, and it raked over the coals the man who'd been drafted from National Public Radio to co-host it. After the review appeared, Koppel called and strenuously scolded the critic for a "vicious" piece that could, he said, cost the man a career.

Tellingly, Koppel sounded far angrier and more passionate during this phone call than he had when complaining about the "Nightline" review. This time, he was calling out of principle. He was speaking up on behalf of something in which he had absolutely no stake. It's a rare quality.

By and large, the relationship between the critic and the anchor was friendly, even though Koppel's first words upon hearing the writer's voice at the other end of the line were almost always, "Shales, you sleazy bastard."

In his remarks on the air, Koppel said that anchors have been coming and going throughout the history of television and that it's really no big deal when one leaves and another arrives. But viewers of "Nightline," and the ABC News staff that gathered in Studio B, would certainly disagree. Ted Koppel wasn't just another anything, and will not be forgotten nearly as quickly as he predicted.

If ever.

http://www.washingtonpost.com/wp-dyn/content/article/2005/11/22/AR2005112202036_pf.html

A Butt-Kicking Oprah Hug

By John Eggerton BCBeat.com

Dr. Phil, whose smash syndicated talker was a spin-off from Oprah's own money machine, gave David Letterman some tips Tuesday on how to interview her. Oprah is making her first appearance on Letterman Dec. 1.

The advice came in the form of Letterman's top 10 list Nov. 22.

They were:

10. Keep the questions short…the less you talk, the better.

9. Don't take too long in the welcoming hug – Steadman is huge and he could kick your butt.

8. You two can start a club of people who won't marry their mates.

7. Don't bother asking – she ain't givin' you a car.

6. Create a safe emotional space where she can express any conflicted feelings that – ah, hell, I don't even know what I'm saying.

5. Is it too late to get Koppel to interview her?

4. Grovel.

3. Try not to be "all handsy" backstage.

2. Don't humiliate her by asking her to read a lousy Top Ten List.

1. Dave, for once in your life, try not to be a dumbass.

http://www.bcbeat.com/

CBS says it will announce the premiere date for "The Unit" later.
Excellent, with Dennis Haysbert acting and Shawn Ryan(The Shield) and David Mamet creating hopefully it will be a good one. It will be interesting to see how Ryan deals with the constraints of broadcast TV after doing The Shield which pushes the envelope even for cable.

The TV Column
The Week’s Winners and Losers

A Week of Treats and Turkeys
By Lisa de Moraes The Washington PostWednesday, November 23, 2005; C07

Steve Guttenberg in a remake of "The Poseidon Adventure"? Treacly Christmas flick "Snow Wonder" laced with cast members from Jerry Bruckheimer gore-fest dramas? An infomercial for the new Johnny Cash bio-flick posing as a music special? You guys call this a sweep?

Here's a look at the week's palatable and un:

WINNERS

"Criminal Minds." More than 14 million tuned in to make this last week's most watched new series -- in spite of its tough time period opposite ABC ratings magnet "Lost."

"60 Minutes." CBS's newsmag logged its biggest crowd of the season to date (more than 18 million viewers) with reports on illegal Internet gambling, the rebuilding in New Orleans and rock band U2 -- and a nearly one-hour NFL overrun. "60 Minutes" following NFL overrun is averaging about 16 million viewers this season; "60 Minutes" sans NFL overrun -- about 12 million.

"Close to Home." CBS has picked up the back nine episodes on its Bruckheimer crime-in-the-burbs drama and has "permanently" moved it to Friday night, where it's averaging nearly 12 million viewers -- vs. 8 million for "Threshold" in the same, post-"Ghost Whisperer" time slot.

"Biggest Loser." NBC's weight-loss competition regularly wins its time slot among 18-to-34-year-olds. The network has picked it up for another season of fat-shedding.

Eddie Guerrero. WWE's 38-year-old smackdowner was found dead in a hotel room on Sunday, Nov. 13. The next night a Very Special "WWE Monday Night Raw," featuring wrestlers in his signature "I'm Your Papi" T-shirts crying like girls as they shared memories of him, climbed to nearly 6 million viewers -- its biggest audience since returning to USA Network in October. Four nights later, WWE wept over him again on "Smackdown!," logging UPN's biggest Friday audience ever -- nearly 5 million.

"I Walk the Line: A Night for Johnny Cash." CBS averages about 7.5 million viewers Wednesdays at 8 with sad-sack sitcoms "Still Standing" and "Yes, Dear." But when it ditches that lineup to air a thinly disguised promotional vehicle for the new Johnny Cash movie "Walk the Line" opening that weekend, nearly 13 million of you sit glued to the one-hour infomercial parading as a music special.

LOSERS

Cannibal music trophy shows. [/FONT][/COLOR]Maybe because they aired on the very same night, CBS's Country Music Association Awards scored their worst numbers ever among 18-to-49-year-olds and their smallest overall crowd (17.7 million) in three years, and UPN's Vibe Awards plunged from last year's 5.2 million viewers to 4.5 million.

"Poseidon Adventure." Remember when a Robert Halmi project would snag 30-million-some viewers on NBC with projects like "Gulliver's Travels" and "Merlin"? On Sunday his "Poseidon Adventure" remake mustered 9.6 million; NBC averages 9.8 million that night this season.

http://www.washingtonpost.com/wp-dyn/content/article/2005/11/22/AR2005112201755_pf.html

(From Marc Berman’s Programming Insider column at Mediaweek.com )

Considering how profitable Thursday night television is for the broadcast networks, ABC was hoping cult favorite Alias would ignite some interest. After four years of modest ratings it was time for Alias to flex some ratings muscle. Unfortunately, it didn’t.

Although I can’t say for sure if the spy thriller will be back in 2006-07, with enough episodes for syndication and a current ABC schedule populated with hit scripted hours like Desperate Housewives, Lost, Grey’s Anatomy and Commander in Chief, I personally think Alias’ time will be up this spring.

Unless the two upcoming telecasts in the Wednesday 10 p.m. hour (on Dec. 7 and 14) generate interest, Jennifer Garner might have more time than she expected to spend with her baby.

http://www.mediaweek.com/mw/newsletters/proginsider/index.jsp

The 2005-2006 Season: The November Sweep
CBS on way to November sweep win

LOS ANGELES (Hollywood Reporter) - CBS had plenty to be thankful for last week, logging its sixth consecutive weekly win among adults 18-49, and nosing past ABC for the No. 1 ranking in key demographic for the November sweep.

CBS' cause in the week ended November 20 got a big boost Sunday from an NFL overrun that took up the better part of the first hour of primetime, injecting 20.5 million viewers and a 7.6 rating/24 share in adults 18-49 into the network's weekly averages.

For the week, CBS led the charge with an average of 15.2 million viewers and 4.6/12 in adults 18-49. ABC was No. 2 with 11.7 million viewers and a 4.4/12 in the demo.

For the November book (November 3-November 30) through Sunday, CBS is averaging 4.5/12 in adults 18-49 to ABC's 4.3/11. NBC is running third at 3.2/9 while Fox is at 3.0/8. UPN is a hair ahead of WB Network for the sweep in the adults 18-34 demo that matters most to the baby networks, 1.7/5 vs. WB's 1.5/5.

In viewers, CBS has its typically wide lead for the sweep, averaging 14.7 million viewers through Sunday, compared with ABC (11.3 million), NBC (9.3 million), Fox (7 million), UPN (3.9 million) and WB (3.6 million).

For the 2005-06 season to date (September 19-November 20) CBS and ABC remain locked in a tie for bragging rights in the key demo at 4.1/11 average -- with CBS down 2% from the comparable period last season while ABC has gained 5% year-to-year.

NBC is down 15% to a 3.3/9. Fox is facing cruel comparisons to last fall's highly rated baseball postseason action between the Boston Red Sox and New York Yankees, tumbling 16% to a 3.2/9. UPN maintains its razor-thin edge over WB in the season-to-date race in adults 18-34 (1.7/5 to WB's 1.6/5).

In viewers, CBS is the top dog for the season so far, averaging 13.4 million (unchanged from year-to-year), with ABC as its closest competitor (10.9 million, up 8%).

http://channels.netscape.com/news/story.jsp?id=2005112302470002095337&dt=20051123024700&w=RTR&coview=

Tuesday’s network prime-time ratings are now at the top of Latest Prime Time Ratings (the second post in this thread). (The news is not good for "Theshold's" time change.)

.... hopefully Threshold can maintain a good lead-out, if not in total viewers, hopefully in the A18-49. I don't want that show to end.


The news was grim, Russ.

"Threshold" managed just a 4.4 rating -- and it had averaged a 5.1 in its Friday night time slot.

Koppel’s Final Ratings

According to Matt Drudge at http://www.drudgereport.com

Ted Koppel’s final ”Nightline” beat David Letterman Tuesday night, but couldn’t nudge Jay Leno from the top late-night slot.

The numbers:
Leno 5.0/12
Nightline 4.4/10
Letterman 3.1/8

NBC UNIVERSAL CABLE PREMIERES SCI FI CHANNEL'S 'THE BERMUDA TRIANGLE: STARTLING NEW SECRETS' AND 'SCI FI INSIDE: THE TRIANGLE' ON DEMAND AND BROADBAND NOV. 23

Marks SCI FI's First On Demand Offering

New York, New York - November 22, 2005 - For the first time ever, NBC Universal Cable (NBCU Cable) will premiere two special supplements to SCI FI Channel's highly anticipated original miniseries, 'The Triangle,' available free on-demand and broadband Nov. 23, prior to their network premieres. The announcement was made today by David Howe, Executive Vice President and General Manager, SCI FI Channel and Jean-Briac Perrette, Senior Vice President New Media & Chief Financial Officer, NBCU Cable.

'The Bermuda Triangle: Startling New Secrets' and 'SCI FI Inside: The Triangle' will premiere on-demand and broadband four days prior to their network premieres on Nov. 27. Participating affiliates include Time Warner Cable and Adelphia in addition to Insight Communications, Patriot Media and Verizon who will receive the content via TVN Entertainment Corporation as well as other mid-size operators such as Armstrong and Buckeye. NBCU Cable will provide taggable spots for affiliates who sign up for the specials to help promote the offering.

"SCI FI Channel has a reputation for exploring new opportunities, whether it be the first-ever television pod cast, video blog, or now these on-demand premieres," said Howe. "'The Triangle' is one of the most exciting projects we've ever produced and we're thrilled to reach out to potential viewers and whet their appetites by offering these original specials via our cable partners."

"Premiering these two specials on-demand is groundbreaking for SCI FI and our distribution partners," commented Perrette. "Our affiliates can offer subscribers a rare chance to tune in before the SCI FI airing, and is a great opportunity to showcase the on-demand service and drum up excitement leading up to the miniseries debut."

Hosted by NBC/MSNBC news anchor Lester Holt and produced by NBC News Productions. 'The Bermuda Triangle: Startling New Secrets,' is a two-hour SCI FI declassified investigative special that follows new leads and employs the latest tools of modern science in an effort to unravel the decades-old mystery of the Bermuda Triangle and the unexplained disappearance of the famed "Flight 19." In addition to free on demand, a five-minute clip of the special will be available to affiliates' broadband web sites.

'SCI FI Inside: The Triangle' will be available free on demand and on broadband. This 30-minute special will take a behind-the-scenes look at the making of the epic miniseries and feature cast interviews and never-before-seen footage.

'The Triangle,' a heart-pounding, 6-hour miniseries event, premiering Monday, December 5th on the SCI FI Channel, marks the first-ever collaboration between renowned filmmakers, Bryan Singer ('X-Men', 'Superman Returns') and Dean Devlin ('Independence Day').

'The Triangle' focuses on a disparate group of professionals, brought together to investigate the dangerous truths behind one of the greatest legends of our time...the Bermuda Triangle. Billionaire Eric Benirall (Same Neill) is losing his cargo ships and their crews, at a frightening pace-and now, he wants answers. His bemused, handpicked team of subject-specific experts include lead skeptic and tabloid journalist Howard Thomas (Eric Stoltz), ocean resource engineer Emily Patterson (Catherine Bell), scientist/adventurer Bruce Geller (Michael Rodgers) and psychic Stan Lathem (Bruce Davison). Drawn together with the promise of financial fortune of unlimited funding for their research and the chance for once-in-a-lifetime riches, the team sets out to solve this most daunting of puzzles. Lou Diamond Phillips also stars as Meeno Paloma; the sole survivor of a tragic disaster in the Triangle who's inexplicably changed life threatens to tear him apart

http://www.thefutoncritic.com/cgi/pr.cgi?id=20051122scifi01

The news was grim, Russ.

"Threshold" managed just a 4.4 rating -- and it had averaged a 5.1 in its Friday night time slot.
Just noticed that. Too bad. Barring a miracle next Tuesday the shows basically toast right?

Pretty much, I am afraid.

Here are some more scary numbers (courtesy futoncritic.com)---

Compared with "Close to Home's" most-recent Tuesday airing (households: 6.4/11; adults 18-49: 2.8 on 11/1/05), "Threshold" was down 31.25% in households and 25.00% in adults 18-49.

And compared with its most-recent Friday broadcast (households: 5.3/9; adults 18-49: 2.6 on 11/4/05), "Threshold" itself was down 16.98% in households and 19.23% in adults 18-49.

Ouch. Such a great episode too.

Well, I wish it would have stayed on Friday, but you can't fault CBS for doing what they did. They saved one show, and are basically demolishing the competition on Friday's now.

Hopefully someone will find a good vehicle for Carla.

The Digital Revolution
On-Demand Television Viewing Could Boost Broadcasters' Hand

There is fascinating article in today’s Wall Street Journal in which TV columnist Joe Flint looks at the total revolution engulfing the TV networks as well as cable and satellite providers. If you subscribe to the WSJ it is at
http://online.wsj.com/article/SB113259994741003284.html?mod=home_us_inside_today

If you don’t, here is an excerpt:

“…There is no denying that the distribution agreements (between the networks and VOD providers) represent a turning point for the broadcast networks. In a world where the majority of television homes have access to scores if not hundreds of channels and myriad other entertainment options, finding new ways to deliver content to viewers is crucial. But one of the major catalysts for these pacts that was lost in the noise surrounding the announcements is a desire on the part of the broadcast networks to force cable and satellite operators to pay the networks for their programming.

For years, broadcasters and local television stations have been frustrated that cable carriers shell out fees to the parent companies of cable networks based on the number of subscribers to their services, but pay nothing to transmit the signals of ABC, NBC, Fox and CBS into viewers' homes. So, for example, big cable companies like Time Warner Inc. or Comcast pay 55 cents to General Electric Co.'sa USA Network for every household that receives the cable signal.

Cable operators long have argued that it is unfair to ask them to pay for a signal that people can receive free with an over-the-air antenna. The broadcasters counter that if their signals weren't part of a cable operator's package, few people would subscribe.

The growing popularity of time-shifting could play into the broadcasters' favor in the dispute. That's because the networks reason that if consumers demonstrate they are willing to pay 99 cents or more for any individual broadcast program, broadcasters will be able to claim that their entire line-up should be worth at least a couple of bucks per viewer.

That, at least, is what Viacom Inc.'sa CBS is thinking, say people familiar with the network's thinking. Chairman and Chief Executive Leslie Moonves has made no secret that he believes his network should be paid by cable and satellite operators in the same way the cable networks are compensated…”

Fred, I am a former Alias fan. I agree with you that it probably won't make it past this season. They screwed themselves this year. By killing off many main characters as well as others leaving and Sydney getting preggo, the show has taken a huge dive. Add the change of night and time and it's even worse.

I understand why they change times and days for some shows, but sometimes it seems like it would make sense to leave it where it is. One of the reasons I don't watch Alias now is because I would rather watch some of the other shows that come on Thursday nights instead. That just seems like a bad call on ABC's part and I don't know if they can get the ratings back now.

It is very hard to stop a show's slide, Scott. Especially when it never was all that popular in the ratings in the first place.

Personally, I agree with you that it but a shadow of its former self. The first season was wonderful, the second almost at its level.

But to me it jumped the shark when Sidney developed amnesia between seasons two and three. It just seemed like such a cheap trick that made the four-month wait seem wasted.

But that is probably just me.

From the network point of view, with ABC fighting for each hundredth of a point in the 18-49 demographic, it seems there is no place to hide "Alias" on the schedule.

I know Saturday has been suggested, but that is a very expensive hour-long band-aid for ABC to apply -- and probably still see Alias lose badly to CSI/Trace/NCIS/Cold Case etc reruns on CBS.

But to me it jumped the shark when Sidney developed amnesia between seasons two and three. It just seemed like such a cheap trick that made the four-month wait seem wasted.

But that is probably just me.


Nah, I felt that way too Fred. Making the amnesia gap two years in the canon of the show was a bold and risky move that simply didn't pay off. Failing to re-sign Lena Olin after making her such a big part of the show's mythos in season 2 was also a major blunder. Never resolving the Rembaldi mystery cheated the fans who patiently waited for some endgame there. Season 3 was when they lost their audience and their mojo. They never got it back, even though I faithfully stayed with the show hoping for some improvement. Now, even the drop-dead gorgeous Rachel Nichols can't save Alias, which is too bad. It had a great 2-year run.

I'll volunteer to be the driver :)

Hopefully someone will find a good vehicle for Carla.

Heh.

I just seen a news article where Catherine Bell has joined the cast. What's the use of adding characters to the show if it doesn't get renewed?

Perhaps it will be given a full year.

I thought last night's Threshold was good. I don't understand CBS executives that move a show like Threshold,it's like Deadwood or Rome where you have to see all the shows to really appreciate the show.

You can't really just jump in at mid season and relate to all the characters.

The move was more for the benefit of "Close to Home" than Threshold.

.....You can't really just jump in at mid season and relate to all the characters.

That is precisely the problem. If you miss an episode or two you feel hopelessly lost.
In addition (and very important to CBS since it tends to pateintly keep its shows in their regular time slots during summer) serial-episode program tend to do far worse in reruns.

CBS obviously felt that a self-contained show, "Close To Home" had much more upside than "Threshold".

Based on the first two weeks of "Close" on Friday and the first week of "Threshold" on Tuesday it seems that was a good decision. Now, instead of having to cancel two hours of programming, it looks like only one will have to be axed.

This Just In…..
ABC Cancels “Alias”

By Michele Greppi TVWeek.com November 23, 2005

ABC has canceled its spy drama "Alias," according to an announcement Wednesday by Stephen McPherson, president of ABC Entertainment.

The show, which stars Jennifer Garner as CIA agent Sydney Bristow, will end its five-season run in May 2006.

ABC already had scheduled a broadcast hiatus due to Ms. Garner's maternity leave. The network's summer reality hit "Dancing With the Stars" will return for a second cycle beginning Thursday, Jan. 5, at 8 p.m. (ET), airing in the time period "Alias" has occupied this season.

"Alias" is scheduled to return to the network's lineup with original episodes in the spring and finish out its run at the end of the TV season.

The series' producers vowed in the announcement to end the series in a way that honors all of the disparate elements of the show. Creator J.J. Abrams designed the show as a "spy adventure, family drama and love story that contained deeper mythological elements," executive producer Jeff Pinkner said in the announcement.

"We wrap up the story of Sydney Bristow in a surprising and, we think, thrilling way," Mr. Pinkner said.

"Alias" was created by Mr. Abrams, who executive produces the series along with Ken Olin, Mr. Pinkner, Jesse Alexander and Jeffrey Bell. The series, which is filmed in Los Angeles and premiered Sept. 30, 2001, is from Touchstone Television.

In addition to Ms. Garner, "Alias" stars Victor Garber as Jack Bristow, Ron Rifkin as Arvin Sloane, Carl Lumbly as Marcus Dixon, Kevin Weisman as Marshall Flinkman, Balthazar Getty as Thomas Grace, Rachel Nichols as Rachel Gibson and %C9;lodie Bouchez as Ren%E9;e Rienne.

"Alias" has received seven Emmy Awards, and Ms. Garner won a Golden Globe Award in 2002 for her leading role.

http://www.tvweek.com/news.cms?newsId=8957

Well, whaddaya' know. It was inevitable, I guess, as we've been discussing.

I wouldn't be surprised if a similarly unpleasant phone call was made to the "Threshold" production company from CBS today, either.

By the way, I think it is important to note that "Alias" has not been axed effective now but at the end of the season. It still isn't clear whether the network has shaved the number of episodes ir ordered for this season, but clearly some of them (at least at the moment) apparently will be scheduled starting after the February sweep.

On the other hand, it also should be noted that -- just in recent seasons -- ABC executives promised "Boston Legal" would return to its Sunday at 10 PM time period, that they would nurture and stand by "Karen Sisco" and that "Eyes" would not be cancelled.

And we all know how well those promises were kept. So what is said today and what appears on your ABC affiliate in March may -- or may not -- have any similarity.

Bye Bye Bristow: “Alias" Ending in May

By Jim Benson Broadcasting & Cable

ABC has accomplished what others couldn’t: it will knock off secret agent Sydney Bristow at the end of this season.

Relying on the PR 101 strategy of putting bad news out late in the day before a four-day holiday, ABC Entertainment President Steve McPherson announced Alias will end its five-season run in May 2006..

The frequently-shifted spy drama, which over the course of its run has garnered seven Emmy Awards, stars Jennifer Garner in her 2002 Golden Globe Award-winning role as a CIA agent.

It has suffered in the ratings this season since it move to the highly competitive 8 p.m. Thursday time slot and was already slated to go on hiatus to make room for Dancing with the Stars in January. It will return later in the season to finish out its run..

“Right out of the box, Alias attracted a cult following of fans that were completely invested in the show,” McPherson said. “(Creator) J.J. Abrams and his team developed characters that were compelling and storylines that were intricate and engaging, and Jennifer and the rest of the cast brought them to life.

“We owe both the storytellers and the fans a send-off worthy of a show that has been such a big part of the pop culture vernacular. J.J., Jeff Pinkner, Ken Olin, Jesse Alexander and Jeffrey Bell have an amazing story arc planned for the remainder of the season. Alias is not going to wind down as it comes to an end, it’s going to rev up, and we’re going to make it the event it deserves to be.”

Responding to the pink slip, Alias Executive Producer Jeff Pinkner said in a statement issued by ABC, “This news, and its timing, is a mixed-blessing.

"Though we’re obviously very saddened to face the reality that Alias is coming to an end, the lasting quality of every good story is determined by its conclusion—this news gives us the freedom to end the series in the climactic way it deserves."

“Five years ago J.J. Abrams designed Alias to encompass a unique and challenging blend of spy-adventure, family drama and love story that contained deeper mythological elements,” he continued. “The arc we have planned for the remainder of the season will honor all of these disparate elements as we wrap up the story of Sydney Bristow in a surprising and, we think, thrilling way.”

Abrams created Alias, which he also executive produced along with Olin, Pinkner, Alexander and Bell.

The series, filmed in Los Angeles, premiered Sept. 30, 2001.

RussTC3: here is one Catherine Bell/”Threshold” mention:

RING MY BELL: “JAG” knockout Catherine Bell recently shot a guest-star appearance for CBS' Threshold as a genetic engineer who, sources say, could become a recurring character should the sci-fi thriller receive a (much-deserved) full-season pickup.

http://tvguide.com/news/entertainment/

....I don't understand CBS executives that move a show like Threshold,it's like Deadwood or Rome where you have to see all the shows to really appreciate the show.
You can't really just jump in at mid season and relate to all the characters.

True. But there is a major difference:

HBO can re-air each of those programs many times on its various channels during the week. So if you miss its original showing (or your VCR or DVR is overloaded on Sundays) you have many chances to catch up with an episode.

Happy Thanksgiving!

Just a note to you all:

One of my favorite website is “the futoncritic.com” although its habit of shutting down for weekends is annoying. This afternoon the following appeared on its website:

“Note: Due to the Thanksgiving holiday, the site will not be updated again until Monday, November 28. Best wishes and be sure to have a safe and happy holiday! - The Futon Critic”

So guess what? TFC missed the "Alias" cancellation story.

Many other sites, B&C, TVWeek, MediaWeek and MediaLife among them will not be updating much -- if any -- during the weekend. (Although to be fair, both TVW and B&C got the "Alias" info before taking off for the holiday.)

So, if you are in the need of a TV fix, check in here over the long weekend. I’ll be updating as often as appropriate –although I do have some dates with several basketball games and a turkey.

If it is happening in TV, (he said very modestly!) you’ll find it here, even during weekends and holidays. :)

So, have a great turkey day and may your teams win.

Contra Costa Times Editorial
Koppel will be missed
(Nov. 23, 2005)

WITH SO MUCH of the public airwaves wasted on the trivial and lurid, ABC's "Nightline", anchored by Ted Koppel, has provided a beacon of sanity for nearly 26 years.

With his wry wit, superb interviewing skills, unflappable demeanor, and yes, that head of helmet hair, Koppel is a throwback to Edward R. Murrow and Walter Cronkite -- those trusted anchors from another era whom Americans welcomed into their living rooms every evening to offer clear-headed analysis of world events.

On "Nightline," his half-hour, late-night show, Koppel covered the unsexy, serious stories that made us think and that imparted meaningful lessons about the human condition.

Unlike many of the superficial anchors that populate the airwaves today, Koppel understood that few stories worth covering could be boiled down to 10-second sound bites. Koppel gave us nuance and complexity.

He asked tough, probing questions whether he was covering the Iran hostage crisis in 1979, or skewering Michael Brown, the inept former head of the Federal Emergency Management Agency, after the Katrina debacle.

On Tuesday, Koppel delivered his final "Nightline" broadcast. His departure, on the heels of fellow ABC newsman Peter Jenning's recent death from lung cancer, and the changing of the anchor guard at NBC and CBS, marks the end of an era.

Koppel's departure is not only a tremendous loss for "Nightline's" loyal viewers, but for the institution of journalism as a whole.

ABC has replaced Koppel with a three-person format, but "Nightline" as we know it, is finished. One of the new hosts, Martin Bashir's claim to fame is that he reported the sleazy documentary on Michael Jackson that was a centerpiece of the pop star's child molestation trial.

Despite ABC's insistence that the new "Nightline" will continue to produce serious journalism, the decision to bring on Bashir speaks volumes.

Koppel, who clearly saw which way the wind was blowing after ABC's embarrassing, but failed attempt to woo David Letterman to the network to replace him, is leaving now, on his own terms.

"Our legacy is that a serious news broadcast can be successful on all counts, without catering to anyone's baser instincts," Koppel told the Associated Press. He said that "Nightline" had made a lot of money, won numerous awards and had millions of viewers. "But most important to me, it's been successful in not having to lower its standards."

Koppel, who never lowered his standards, will be remembered for the high bar that he set for the rest of us who practice the profession of journalism.

http://www.contracostatimes.com/mld/cctimes/13240767.htm?template=contentModules/printstory.jsp

I wouldn't be surprised if a similarly unpleasant phone call was made to the "Threshold" production company from CBS today, either.
IMO, the problem with Threshold is that it doesn't go anywhere. Basically everything they've done so far could have been done in a 2 HR CBS Sunday Night Movie, and maybe even have shown us an alien or two, something we have yet to have even seen on the show.

Surface works because it's fun to watch. Invasion is working because of the inter-personal relations between the characters set on top of an underlying mystery. Threshold really does none of that and attempts to be serious, as in a CSI for example. It's flat and so far, fairly uninteresting TV.

And beyond that, Jim, most probably "Threshold" is doomed TV.

Yep.

Critic’s Notebook
The thank-you-TV list

By Ellen Gray Philadelphia Daily News

TV critics don't just get paid to watch television.

We also get paid to complain.

So what do we do when we hit a holiday that's all about the gratitude, not the attitude, and where the most exciting thing on the tube is probably the Fort Washington-based NBC broadcast of the National Dog Show (noon tomorrow, Channel 10)?

Well, in my case, I give thanks that I don't have to work on Thanksgiving this year.

Still, there are things for which I truly am grateful, among them:

• That NBC's "Medium" isn't in 3-D every week. Maybe it's my astigmatism, or maybe my NBC-supplied 3-D glasses were somehow defective, but Monday's special effects - which included a cleaver that I think was flying toward the audience - didn't exactly slay me.

Instead, as always, it was Allison's (Patricia Arquette) home life, especially the job dilemma faced by her husband, Joe (Jake Weber), that held my attention. Here's hoping the extra million people or so who tuned in for the gimmick will come back for the real show.

• That the producers of ABC's "Lost" paid no attention to my complaints about last season's not-very-revealing finale (or to anyone else's, for that matter). Turns out I'm still hooked, even if I have nary a clue what's going on.

So go ahead, treat us like mushrooms. Keep us in the dark, feed us lots of (rude word for information that only seems informative).

• That Christmas movies come but once a year. For the past few holiday seasons, I've made a point of watching as many of the made-for-TV tear-jerkers as possible, hoping to spot the next "Miracle on 34th Street."

(Or even, for that matter, the original one: It's scheduled to air at 2 p.m. tomorrow, after the dog show. But last year, those Scrooges at NBC substituted a Muppets movie at the last minute, so I wouldn't count on seeing it till you spot the white in Edmund Gwenn's beard.)

Anyway, I'm still waiting for that next miracle.

• That I'm of a generation that still associates a certain infectious piece of music with "A Charlie Brown Christmas" and not with the company that's currently using the Vince Guaraldi tune to sell cars.

• That CBS' "Close to Home" seems to have found a safer home on Fridays as the lead-in to one of my other favorite procedurals, "Numbers."

But while "Numbers" is as much about the peculiar family dynamic between a brilliant mathematician (David Krumholtz) and his FBI agent brother (Rob Murrow) as it is about the cases they work together, I can't help but notice that "Close to Home" seems to be straying further and further from Annabeth's (Jennifer Finnigan) actual home life, which is now mostly touched on in dialogue at the office.

Let's just hope that adorable baby of hers doesn't end up in the attic where "Murphy Brown" kept her inconvenient offspring all those years.

• That all those lame Thanksgiving episodes are just about over (though I did like the over-the-top approach to the holiday on ABC's "Grey's Anatomy").

• That no one's going to expect me to display any more gratitude till this time next year.

http://www.philly.com/mld/philly/entertainment/television//13239265.htm?template=contentModules/printstory.jsp

Critic’s Notebook
"Alias'' comes to an end

By Charlie McCollum San Jose Mercury News

A piece of TV news breaking late on the day before Thanksgiving:

"Alias”, the ABC spy drama that made a star of Jennifer Garner, will come to an end in May after five seasons. In making the announcement, network entertainment boss Stephen McPherson said the show "is not going to wind down as it comes to an end, it's going to rev up and we're going to make it the event it deserves to be.''

Created by J.J. Abrams ("Felicity,'' "Lost''), the series, which revolved around CIA agent Sydney Bristow (Garner), was never a huge hit but it developed a strong cult following and its star went from being almost totally unknown to the covers of magazines and the tabloids. Last season, it had its best year ever in terms of viewership but a move to Thursday nights in September did not work and its audience dropped against top competition.

After its next couple of episodes, "Alias'' will go on hiatus to cover Garner's maternity leave before resuming production early next year.

http://blogs.mercurynews.com/aei/charlie_mccollum/index.html

True. But there is a major difference:

HBO can re-air each of those programs many times on its various channels during the week. So if you miss its original showing (or your VCR or DVR is overloaded on Sundays) you have many chances to catch up with an episode.
Ah, the joys of cable networks.

NBCUni has been doing a great job recently with airing repeats/encores of their shows, such as Surface, on sister networks like Sci Fi.

I wonder if CBS has ever contemplated doing the samething with Spike TV?

I am sure someone at Viacom has considered that possibility, but am equally sure the folks running Spike would do their best to discourage it.

Although slowly lowering the age of its viewers, CBS still skews lots older (and more female by far) than Spike's target young male audience.

Viacom has lots of specialized cable networks. Buit I don't think it has a single one which could easily handle repeats of CBS network prime time shows.

Here is the Viacom lineup (and the company's own description) of its networks:

TV: Music Television
Music & more: A complete TV niche

Nickelodeon
Animation, adventure, comedy and live action shows for kids

VH1
The music network for 18- to 49-year-olds

Comedy Central
Get comedy where it lives

Spike TV
The first network for men

CMT: Country Music Television
The authority on country music

Nick at Nite
Classic TV for an ever-expanding audience

TV Land
Cable’s 24-hour classic TV network

BET
The 24-hour television network for the African-American audience

Showtime
Movies & more: A major player in premium cable

MTV2
An innovative, free-form mix of music videos, series and special programs

LOGO
MTVN’s new ad-supported basic cable channel for the Lesbian, Gay, BiSexual and Transexual audience

NOGGIN
A commercial-free educational digital network dedicated to preschoolers

The N
The nighttime network for teens

mtvU
The best of college life

Sundance Channel
For the independent film lover (Jointly Owned)

Damn't! I guess it's been canceled.

Announcement: Threshold Canceled (http://www.eonline.com/Insider/Boards/ann.jspa?annID=271)

Couldn't they have at least waited to see what it did this coming Tuesday?

From Watch with Kristin at E!

It's official. My sources confirm to me that Threshold is done.

-- goodbye and good riddance is all i can say..what was supposed to be a decent sci-fi show turned into another CSI, hunting down freaks of the week.

Just goes to show CBS doesn't know a thing about doing sci-fi and cannot break the crime mold.. Meanwhile they continue to crank away with the crime dramas aimed at old timers, like Criminal Minds, The Unit etc etc. Thank god for ABC and FOX.

edit -- was typing mine while the above post was made, so I didn't see it :-p

Well, I completely disagree with you. But that's okay.

....-- goodbye and good riddance is all i can say..what was supposed to be a decent sci-fi show turned into another CSI, hunting down freaks of the week.

Just goes to show CBS doesn't know a thing about doing sci-fi and cannot break the crime mold.. Meanwhile they continue to crank away with the crime dramas aimed at old timers, like Criminal Minds, The Unit etc etc. Thank god for ABC and FOX.

edit -- was typing mine while the above post was made, so I didn't see it :-p

I guess Rakesh.S, what I don't understand is why you wish so ill of "Threshold"? I understand not liking it (I thought it was dreadful personally) but apparently some people, obviously not enough for commercial success, did enjoy it. So why the hostility?

If ABC and Fox are programming shows you like, why worry if one network is pleasing an older (and I must note, substanitally larger) audience?

(I have never completely understood the who Madison Avenue infatuation with the 18-49 demo in the first place. And I know the rationale, I have read dozens of reports on the matter. I just think they are GIGO, for the most part.)

The fact is, that with very rare exceptions, sci-fi has never been really popular on American television. It is a niche market, and CBS made an attempt to satisfy it.

Personally I think it is a sad day when any TV show gets cancelled. The hundreds of people who worked on it are not having a happy Thanksgiving. They worked hard. They did their best. It didn't work.

You seem to want more shows geared to a younger audience -- you have, as you noted, ABC and Fox and The WB, UPN --who knows what NBC is doing! -- and CBS is making every effort to lower the age of its average audience. In addition, there are many cable channels looking to satisfy younger viewers.

(By the way, "Criminal Minds" is in the top 25 18-49 shows of the season, and after a slow start is growing rapidly in that demo week by week. By the end of the season it should be appearing in the top 15, even with the competition from "Lost". And last week, "Desperate Housewives", "CSI" and "Grey's Anatomy" finished 1-2-3 in the demo. All three CSIs were in the top 12 18-59 last week, along with "Without A Trace". And season-to-date CBS is tied with ABC for the 18-49 lead.)

I hope this doesn't sound like a rant, or even criticism. It isn't meant to be either. From almost the start you have been a valuable contributor and participant in this thread. For me, I just like network TV in general, and respect most of the people who bust their butts trying to make a show successful.

ISo guess I am just genuinely curious -- why the glee about a cancelled TV show, even if you personally think it is/was awful?

Every year Akron Beacon-Journal TV writer Rich Heldenfels spends a few weeks researching and compiling a list of TV shows celebrating the holiday season. This year’s list was published today in the Beacon-Journal.

In the case of the PBS programs, I have generally left them on the days they are appearing in the Akron-Cleveland area, but noted you should check your local listings. If one particularly appeals to you, call your local PBS station to determine if and when it will be shown. Also check local listings for independent stations in your area and holiday showsthey will be broadcasting.

All times are Eastern. Any errors or omissions are mine in the editing of this massive list.

I have found Rich Heldenfels to be one of the most consistently good TV writers in the country, which is why I post so much of his work. You can check out his blog here:
http://www.ohio.com/mld/ohio/entertainment/television/13231144.htm

(And as for this holiday season TV list, thanks for the great resource, Rich!)

Holidays Shows Through Christmas

Here's the annual rundown on network and cable through Christmas Day

By Rich Heldenfels Akron Beacon Journal

Here's the Akron Beacon Journal's annual rundown of holiday movies and specials. New and noteworthy titles are in bold type.

Information is the best available from the program providers at the time the list was assembled. Some stations did not have all their plans in place at this writing.

And, like almost everything in television, this schedule is subject to change.

Friday, Nov. 25
Holiday Gifts 2005 -- 9 p.m., HGTV. A visit to major gift fairs in Atlanta and New York City.

Saturday, Nov. 26
12 Ways of Merrymaking -- 8 p.m., Fine Living. Creative ways to celebrate.
Silver Bells -- 9 p.m., CBS. New movie starring Anne Heche and Tate Donovan as widowed people who help each other discover the joys of the holidays.

Sunday, Nov. 27
The Shopping Bags: Holidays. 8 p.m., Fine Living. Tips from shopping experts Anna Wallner and Kristina Matisic.
Decorating Cents: 100 Holiday Ideas Under $100 -- 9 p.m., HGTV.
Merry (Bleep)in' Christmas. 10 p.m., Comedy Central. Denis Leary hosts a look at the darker side of the holiday. With Barenaked Ladies, William Shatner, Billy Dee Williams. There's also a companion CD.
Holiday Gifts 2005 -- 10 p.m., HGTV. A visit to major gift fairs in Atlanta and New York City.

Monday, Nov. 28
The Engagement Ring -- 8 p.m., TNT. New romantic comedy involving two generations of love, starring and executive-produced by Ohio's Patricia Heaton.

Tuesday, Nov. 29
Decorating Cents: 100 Holiday Ideas Under $100 -- 9 p.m., HGTV.

Wednesday, Nov. 30
Christmas in Rockefeller Center -- 8 p.m., NBC. Annual special with tree-lighting ceremony.
Rudolph the Red Nosed Reindeer -- 8 p.m., CBS. The 41st-anniversary telecast.
The Engagement Ring -- 10 p.m., TNT. Romantic comedy involving two generations of love, starring and executive-produced by Ohio's Patricia Heaton.
The Handbook: Holidays -- 10 p.m., Fine Living. A holiday survival guide.
The Engagement Ring -- Midnight, TNT. Romantic comedy involving two generations of love, starring and executive-produced by Ohio's Patricia Heaton.

Dec. 1
Holiday Classics Marathon -- 7 p.m., ABC Family. Three hours of animated specials, including Frosty's Winter Wonderland, Rudolph's Shiny New Year.
Have No Fear: The Life of Pope John Paul II -- 8 p.m., ABC. One of two December movies in a Battle of the Network Popes, this stars Thomas Kretschmann. CBS's premieres on Dec. 4.
Great Things About the Holidays -- 9 p.m., Bravo. A list of 100 things. The two hours tonight go from 100 to 51. Continued on Dec. 2.

Dec. 2
The Life and Adventures of Santa Claus. 3 p.m., Toon Disney. Movie based on the book by L. Frank Baum.
Mickey's Twice Upon a Christmas. 5 p.m., Toon Disney. Five stories form an animated sequel to Mickey's Once Upon a Christmas.
Santa Claus Is Comin' to Town -- 8 p.m., ABC. The 1970 animated musical, with the voice of Fred Astaire.
The Happy Elf -- 8 p.m., NBC. Animated. New. Eubie the Elf tries to bring joy to the town of Bluesville. Narrated by Harry Connick Jr. Also on DVD, on Dec. 6.
Home Alone 2: Lost in New York -- 8 p.m., ABC Family. Sequel to the holiday favorite, with Macaulay Culkin.
Great Things About the Holidays -- 9 p.m., Bravo. Two hours on the top 50 great things, following a Dec. 1 telecast about items 100-51.

Dec. 3
The Engagement Ring -- 2 p.m., TNT. Romantic comedy involving two generations of love, starring and executive-produced by Ohio's Patricia Heaton.
Holiday Classics Marathon -- 2 p.m., ABC Family. Seven hours of animated specials, including The Life and Adventures of Santa Claus, Jack Frost, Pinocchio's Christmas.
John Tesh's Christmas in Positano -- 6 p.m., PBS. Christmas classics performed in Italy.
A Lawrence Welk Family Christmas -- 7 p.m., PBS, check your local listings Highlights from Welk's TV series.
A Very Barry Christmas -- 9 p.m., ABC Family. New animated special, with a man trading lives with Santa.

Dec. 4
The Engagement Ring -- 10 a.m. and noon, TNT. Romantic comedy involving two generations of love, starring and executive-produced by Ohio's Patricia Heaton.
Lawrence Welk Family Christmas -- Noon, PBS. Highlights from Welk's TV series.
John Tesh's Christmas in Positano -- 2 p.m., PBS, check your local listings Christmas classics performed in Italy.
The Holiday Table -- 4:30 p.m., PBS, check your local listings Tips on planning and decoration.
Holiday Gifts 2005 -- 5 p.m., HGTV. A visit to major gift fairs in Atlanta and New York City.
A Christmas Carol -- 6:15 and 11:15 p.m., AMC. 1951 version with Alistair Sim as Scrooge.
Holiday Inn -- 8 p.m., AMC. Movie. Bing Crosby, Fred Astaire, songs by Irving Berlin.
Chasing Christmas -- 8 p.m., ABC Family. New variation on A Christmas Carol, with a man (Tom Arnold) rediscovering the holiday with the help of three ghosts.
Holidays With Friends -- 8 p.m., Fine Living. Wine expert Andrea Immer Robinson throws a party and shows you how.
Pope John Paul II -- 9 p.m., CBS. Two-part movie about the pope, played as a young man by Cary Elwes and older man by Jon Voight. Concludes on Dec. 7 at 8 p.m.
Holiday Windows 2005 -- 9 p.m., HGTV. Looks at department-store windows and how they are made.
A Very Dead Zone Christmas -- 10 p.m., USA Network. So many shows do Christmas episodes, they don't for the most part get listed here. But how could we ignore that title?
20: Entertainment Weekly's Best Holiday Movies -- 10:15 p.m., AMC. Hosted by French Stewart.

Dec. 5
Holiday Inn -- 1 a.m., AMC. Movie. Bing Crosby, Fred Astaire, songs by Irving Berlin.
Holiday in Your Heart -- 7 p.m., Lifetime. LeAnn Rimes plays herself in this 1997 holiday movie.
Jack Frost -- 8 p.m., ABC Family. Movie. Man (Michael Keaton) comes back to life as a snowman.
Recipe for a Perfect Christmas --9 p.m., Lifetime. Movie. Food critic's mother arrives for the holidays. Carly Pope, Christine Baranski.

Dec. 6
A Charlie Brown Christmas --8 p.m., ABC. Fortieth-anniversary telecast of the animated special. With Charlie Brown's Christmas Tales.
Chasing Christmas --8 p.m., ABC Family. Movie. New variation on A Christmas Carol.
Like Father, Like Santa --9 p.m., Lifetime. Movie. Toy manufacturer and his father [/FONT][/COLOR] --Santa [/FONT][/COLOR] --reunite to save Christmas. With Harry Hamlin.

Dec. 7
Crazy for Christmas --7 p.m., Lifetime. Movie. A woman and a millionaire learn how their lives intersect. Andrea Roth, Howard Hesseman, Joe Flaherty.
White House Christmas 2005 --8 p.m., HGTV. Grand tour of the historic home.
Nutcracker with Mikhail Baryshnikov. 9 p.m., PBS. 1977 performance. With Gelsey Kirkland.
Rudolph the Red-Nosed Reindeer and the Island of Misfit Toys --9 p.m., ABC Family. Animated movie.

Dec. 8
White House Christmas 2005 --6 p.m., HGTV. Grand tour of the historic home.
I Saw Mommy Kissing Santa Claus --8 p.m., ABC Family. Movie. Kid wages war on Santa after seeing him kiss his mother.
Three Wise Guys --9 p.m., USA. Movie. Updated ``three wise men'' tale with gangsters and a pregnant woman. With Tom Arnold, Judd Nelson, Nick Turturro and Katey Sagal.

Dec. 9
Lazytown's Surprise Santa --Noon, Nickelodeon. Robbie Rotten tries to ruin Lazytown's Christmas party. Kicks off ``Nick Jr.'s Frosty Fridays,'' two hours of holiday-themed series episodes and specials, also running on Dec. 16 and 23.
Celebrate Christmas With Maya Angelou --7 p.m., Hallmark. The poet and storyteller, with musical guests.
``I Want a Dog for Christmas, Charlie Brown!'' Peanuts special from 2003.
Prancer --8 p.m., ABC Family. Movie. Girl helps injured reindeer, believiing it is Prancer.
Grandma Got Run Over by a Reindeer --8 p.m., Cartoon Network. Special based on the song.
Three Godfathers --9:30 p.m., TCM. 1936 Western with three outlaws finding a baby in the desert. Yes, that makes it Christmas. Think a minute.

Dec. 10
A Christmas Carol --10 a.m., TCM. The 1938 adaptation, with Reginald Owen as Scrooge.
The Holiday Table --3 p.m., WVIZ (Channel 25). Ideas for holiday entertaining. Hosted by Dede Wilson and chef Jean-Pierre Brehier.
White House Christmas 2005 --5 p.m., HGTV. Grand tour of the historic home.
Holidays With Friends --6 p.m., Fine Living. Wine expert Andrea Immer Robinson throws a party and shows you how.
The Handbook: Holidays --7 p.m., Fine Living. A holiday survival guide.
It's a Wonderful Life --8 p.m., NBC. Annual showing of the greatest Christmas movie ever made, with James Stewart, Donna Reed.
Dr. Seuss' How the Grinch Stole Christmas. 8:30 p.m., ABC. The Jim Carrey version.
Single Santa Seeks Mrs. Claus --9 p.m., Hallmark. Movie. Santa's son wants a wife.

Dec. 11
Christmas in Connecticut --2 p.m., TCM. 1945 comedy with Barbara Stanwyck.
A Christmas Story --4 p.m., TCM. The 1983 film classic, commercial-free and widescreen.
Holiday Windows 2005 --5 p.m., HGTV. Looks at department-store windows and how they are made.
Andre Rieu: The Christmas I Love --7:30 p.m., PBS, check your local listings Dutch conductor and violinist Andre Rieu.
12 Ways of Merrymaking --8 p.m., Fine Living. Creative ways to celebrate.
TV Land's Top 10 Holiday Moments. 10 p.m., TV Land. Bing sings with Bowie and other TV hallmarks. Airs during TV Land's ``Merry-thon'' of holiday-themed show episodes, which begins at 6 a.m. Dec. 11 and runs until 6 a.m. the next day.
White House Christmas 2005 --10 p.m., HGTV. Grand tour of the historic home.

Dec. 12
Noggin's Warm and Fuzzy Holiday Party --10 a.m., Noggin. Four hours of holiday-themed episodes of Blue's Clues, Miffy and Friends and other shows.
Dr. Seuss' How the Grinch Stole Christmas --8 p.m., Cartoon Network. The original animated classic.
Deck the Halls --9 p.m., Lifetime. Movie about a woman thinking her new neighbor is Santa. Gabrielle Carteris.

Dec. 13
Holiday Classics Marathon --7 p.m., ABC Family. Three hours of animated specials.
Noel --9 p.m., Lifetime. Movie. New Yorkers' lives intertwine on Christmas Eve. Penelope Cruz, Susan Sarandon, Alan Arkin, Robin Williams.

Dec. 14
Happy Holidays: The Best of Andy Williams' Christmas Shows --6 a.m., PBS, check your local listings
The Legend of Frosty the Snowman --7:30 p.m., Cartoon Network. Frosty teaches fun to the town of Evergreen.
Christmas in Boston --8 p.m., ABC Family. New movie with childhood pen pals (Marla Sokoloff, Patrick Adams) meet as adults.
Christmas in Washington --8 p.m., TNT. Annual concert special, hosted again by Dr. Phil. Repeats at 11 p.m.
Andre Rieu: The Christmas I Love --9 p.m., PBS, check your local listings Dutch conductor and violinist Andre Rieu.
Recipe for a Perfect Christmas --9 p.m., Lifetime. Movie. Food critic's mother arrives for the holidays. Carly Pope, Christine Baranski.
A Christmas Carol --9 p.m., TNT. The 1999 version, with Patrick Stewart as Scrooge.
The Shopping Bags: Holidays --10 p.m., Fine Living. Tips from shopping experts Anna Wallner and Kristina Matisic.
John Tesh's Christmas in Positano. 10:30 p.m., PBS, check your local listings Christmas classics performed in Italy.

Dec. 15
The Santa Clause. 8 p.m., ABC. Tim Allen gets turned into Santa.
Snow --8 p.m., ABC Family. Young Nick (Tom Cavanagh) takes over the family business. Movie.

Dec. 16
``Nick Jr.'s Frosty Fridays'' --Noon, Nickelodeon. Two hours of holiday-themed installments of Dora the Explorer, Little Bill, Blue's Clues, Miss Spider.
Arthur's Perfect Christmas --3:30 p.m., PBS, check your local listings
Recipe for a Perfect Christmas --7 p.m., Lifetime. Movie. Food critic's mother arrives for the holidays. Carly Pope, Christine Baranski.
Dr. Seuss' How the Grinch Stole Christmas --8 p.m., Cartoon Network. The original animated classic.
Jingle All the Way --8 p.m., ABC Family. Movie. The future governor of California stars as a man seeking a hard-to-find toy for his son.
On the 2nd Day of Christmas --9 p.m., Lifetime. Romantic comedy. Mark Ruffalo, Mary Stuart Masterson.

Dec. 17
``Deck the Halls'' marathon --7 a.m., FX. Twelve hours of holiday-themed episodes of Dharma & Greg, Spin City, Married With Children, King of the Hill, Fear Factor.
The Sound of Music. 7 p.m., ABC. The Julie Andrews musical, which feels pretty Christmas-y to us. My Favorite Things is a holiday standard.
Frosty the Snowman --8 p.m., CBS. The jolly, happy soul visits once again.
Christmas in Boston --8 and 10 p.m., ABC Family. Movie. Childhood pen pals meet as adults.
Frosty Returns --8:30 p.m., CBS. Animated sequel with the voices of Jonathan Winters, John Goodman.
Robbie the Reindeer: Hooves of Fire --9 p.m., CBS. Animated special from Britain (with American voices substituted).
Meet the Santas --9 p.m., Hallmark. Sequel to Single Santa Seeks Mrs. Claus (which aired on Dec. 10).
Robbie the Reindeer: Legend of the Lost Tribe --9:30 p.m., CBS. More Robbie adventures.

Dec. 18
Davey and Goliath's Snowboard Christmas --7 a.m., Hallmark. Animated special.
Meet Me in St. Louis --Noon, TCM. 1944 movie. Judy Garland sings Have Yourself a Merry Little Christmas.
How the Grinch Stole Christmas. 5:30 and 8 p.m., ABC Family --The Jim Carrey, live-action version.
Christmas Dinosaur --7:30 p.m., Cartoon Network. A Christmas egg hatches a dinosaur.
The Christmas Blessing --9 p.m., CBS. New sequel to The Christmas Shoes (based on the song), with Neil Patrick Harris and Angus T. Jones.
National Lampoon's Christmas Vacation --8 p.m., NBC. One of the better Lampoon movies. Chevy Chase.
Three Godfathers --8 p.m., TCM. 1948 version of tale about three outlaws and a baby. With John Wayne.

Dec. 19
Arthur's Perfect Christmas --6:30 a.m., PBS, check your local listings Arthur and friends plan for Christmas, Hanukkah and Kwanzaa.
Christmas Dinosaur --7 a.m., Cartoon Network. A Christmas egg hatches a dinosaur.
Mickey's Once Upon a Christmas. 11 a.m. and 8 p.m., Disney Channel. Three animated holiday stories.
Going My Way --8 p.m., TCM. Bing Crosby is an unconventional priest in this 1944 comedy-drama.
Santa Claus Is Comin' to Town --7 p.m., ABC Family. Animated.
Home Alone 2: Lost in New York. 8 p.m., ABC Family --Sequel to the holiday film.
Dr. Seuss' How the Grinch Stole Christmas. 8:30 p.m., Cartoon Network --The original animated classic.
2005 Radio Music Awards --9 p.m., NBC. With holiday songs.
His and Her Christmas --9 p.m., Lifetime. Movie. Rival journalists write Christmas columns, find love.
Holiday Lights: Crane Candlelight Concert 2003 --10 p.m., PBS, check your local listings Carolers join with the musicians from Crane School of Music.
The Bells of St. Mary's --10:15 p.m., TCM. Movie. Bing Crosby as a priest again, this time dealing with a tough nun (Ingrid Bergman).

Dec. 20
We Wish You a Merry Christmas --7 a.m., Cartoon Network. Three orphans cheer up a town by creating Christmas carols.
Tangerine Bear --8 a.m., Cartoon Network. Animated feature with voices of Tom Bosley, David Hyde Pierce.
Barney's Christmas Star --1 p.m., PBS, check your local listings Barney and friends mark Christmas, Hanukkah and Kwanzaa.
A Very Barry Christmas --7 p.m., ABC Family. Man swaps lives with Santa.
Eloise at Christmastime --8 p.m., ABC Family. Movie based on the Eloise stories.
Mystery of the Three Kings --9 p.m., PBS, check your local listings Origins of the wise men.

Dec. 21
Thomas and Friends: Thomas' Winter Tales --11:30 a.m., PBS, check your local listings
Bob the Builder, Snowed Under: The Bobblesburg Winter Games --12:15 p.m., PBS, check your local listings
Chanukah Stories --3:30 p.m., PBS, check your local listings Animated special with two holiday tales.
Arthur's Perfect Christmas --4 p.m., PBS, check your local listings Friends celebrate Christmas, Hanukkah and Kwanzaa.
The seventh annual A Home for the Holidays --8 p.m., CBS. Stories of adoption, with songs. Sheryl Crow, Toni Braxton, Goo Goo Dolls.
A Very Brady Christmas --8 p.m., ABC Family. Holiday movie with the Brady Bunch cast.
Dr. Seuss' How the Grinch Stole Christmas --8:30 p.m., Cartoon Network. The original animated classic.
Christmas With the Mormon Tabernacle Choir --9 p.m., PBS, check your local listings With Audra McDonald, Peter Graves.
Sing We Now of Christmas --9 p.m., PBS, check your local listings Choirs from First Presbyterian Church of Davenport, Iowa.
A St. Olaf Christmas in Norway --10 p.m., PBS, check your local listings. Musical special.
O Christmas Tree --10 p.m., PBS, check your local listings History of the tree.

Dec. 22
Dr. Seuss' How the Grinch Stole Christmas --11:30 a.m., Cartoon Network. The original animated classic.
O Christmas Tree --2 p.m., PBS, check your local listings History of the tree.
Rudolph's Shiny New Year --7 p.m., ABC Family. Animated.
Lighting the Way: Young People Celebrate --8 p.m., PBS, check your local listings Children show how their families celebrate Christmas, Hanukkah, La Posada and Kwanzaa.
A Christmas Story --8 p.m., TCM. Ralphie. A rifle. The kid's tongue stuck to the pole. The leg lamp. Commercial-free, widescreen telecast.
How the Grinch Stole Christmas. 8 p.m., ABC Family --Jim Carrey version.
Chanukah Stories --8:30 p.m., PBS. Fran Drescher hosts.
Cantors: A Faith in Song --10 p.m., PBS. Three cantors, orchestra, choir.
Christmas With the Mormon Tabernacle Choir --10 p.m., PBS, check your local listings With Audra McDonald, Peter Graves.
Holiday Affair --10 p.m., TCM. Movie. Widow must choose between two men. Janet Leigh, Robert Mitchum. 1950.
Fitzwilly --11:30 p.m., TCM. 1967 movie with Dick Van Dyke as a butler plotting to save his broke employer.

Dec. 23
Meet John Doe --1:15 a.m., TCM. Gary Cooper, Barbara Stanwyck in a great 1941 drama.
Masters of Illusion Christmas Special --1:40 a.m., WEWS (Channel 5).
Barney's Christmas Star --9:15 a.m., PBS, check your local listings
Bob the Builder, Snowed Under: The Bobblesburg Games --Noon, Channel 25.
Olive the Other Reindeer --Noon, Cartoon Network. Animated special, with the voice of Drew Barrymore.
``Nick Jr.'s Frosty Fridays'' --Noon, Nickelodeon. Two hours of Franklin's Magic Christmas, Blue's Clues, LazyTown's Surprise Santa.
O Christmas Tree --10 p.m., PBS, check your local listings History of the tree.
A Christmas Carol --10 p.m., TCM. 1938 version with Reginald Owen as Scrooge.
Little Women --11:15 p.m., TCM. 1949 version with June Allyson, Elizabeth Taylor.

Christmas Eve
Since You Went Away --1:30 a.m., TCM. World War II drama about a serviceman's wife. Claudette Colbert.
Arthur's Perfect Christmas --6 a.m.., PBS, check your local listings Friends celebrate Christmas, Hanukkah and Kwanzaa.
Noggin's Warm and Fuzzy Holiday Party --8 a.m., Noggin. Four hours of holiday-themed episodes of Blue's Clues, Miffy and Friends and other shows.
Dr. Seuss' How the Grinch Stole Christmas --9:30 a.m. and 10 p.m., Cartoon Network. The original animated classic.
Olive the Other Reindeer --10 a.m. and 5:30 p.m., Cartoon Network. Animated special, with the voice of Drew Barrymore.
Holiday Affair --10 a.m., TCM. 1950 movie with Janet Leigh, Robert Mitchum.
Cartoon Alley --11:30 a.m., TCM. Three Christmas-themed cartoons.
Three Godfathers --Noon, TCM. 1948 version, with John Wayne.
Mr. Magoo's Christmas Carol --Noon and 5:30 p.m., Cartoon Network. The Jim Backus animated special.
Holiday Classics Marathon --6 p.m., ABC Family. Five hours of animated specials.
24 Hours of A Christmas Story --8 p.m., TBS. The annual replay --and replay and replay --of the holiday perennial about Ralphie, his dream of a rifle, the kid with his tongue stuck to the pole and the leg lamp. With commercials.
It's a Wonderful Life --8 p.m., NBC. The greatest Christmas movie ever made. With James Stewart.
White House Christmas 2005 --8 p.m., HGTV. Grand tour of the historic home.
I'll Be Home for Christmas. 9 p.m., ABC. Jonathan Taylor Thomas stars in this 2002 movie.
A Boyfriend for Christmas --9 p.m., Hallmark. Movie with Kelli Williams, Charles Durning.
Recipe for a Perfect Christmas --9 p.m., Lifetime. Food critic's mother arrives for the holidays. Carly Pope, Christine Baranski.
Handel's ``Messiah:'' Independence Messiah Choir --10 p.m., PBS, check your local listings Annual performance of the Handel composition.
Great Things About the Holidays --10 p.m., Bravo. Four-hour telecast combining the Dec. 1 and 2 shows into one big celebration.
Christmas in Connecticut --10 p.m., TCM. 1945 movie with Barbara Stanwyck.
A Bucknell Candlelight Christmas --11 p.m., Channel 25. Songs on central Pennsylvania campus.

Christmas Day
Meet Me in St. Louis --Midnight, TCM. Judy Garland sings Have Yourself a Merry Little Christmas.
Love Finds Andy Hardy --4:30 a.m., TCM. Christmas-linked 1938 movie in the Hardy series, with Mickey Rooney.
``Merry-thon'' -- 6 a.m., TVLand. The cable network presents holiday-themed show episodes, which run for 24 hours, until 6 a.m. Dec. 26.
Barney's Christmas Star --6 a.m., PBS, check your local listings The purple one and friends mark holidays.
Bob the Builder, Snowed Under: The Bobblesburg Winter Games --6:45 a.m., PBS, check your local listings
Thomas and Friends, Thomas' Winter Tales --7 a.m., WVIZ (Channel 25), and7:30 a.m., PBS, check your local listings
Arthur's Perfect Christmas --8 a.m., PBS, check your local listings
Sing We Now of Christmas --8:30 a.m., PBS, check your local listings Iowa choir performs.
Great Performances: Renee Fleming: Sacred Songs and Carols --9:30 a.m., Channel 25. Soprano performs.
Dr. Seuss' How the Grinch Stole Christmas --9:30 a.m., Cartoon Network. The original animated classic.
Walt Disney World Christmas Day Parade --10 a.m., ABC. Julie Andrews, Lonestar, Fantasia, Tiger Woods, others. Regis Philbin, Kelly Ripa host.
Quo Vadis --10:30 a.m., TCM. Roman falls for Christian woman. Robert Taylor, Deborah Kerr. 1951.
A Very Brady Christmas --Noon, ABC Family. Brady Bunch special.
Noggin's Warm and Fuzzy Holiday Party --Noon, Noggin. Four hours of holiday-themed episodes of Blue's Clues, Miffy and Friends, others.
The Raleigh Singers: One Winter Evening at Meyman --12:30 p.m., PBS, check your local listings
A St. Olaf Christmas in Norway. 1 p.m., PBS, check your local listings Voices from St. Olaf College.
Celebrate Christmas With Maya Angelou --1 p.m., Hallmark. The poet and storyteller, with musical guests.
Ballet Internationale: The Nutcracker --1:30 p.m., PBS, check your local listings
King of Kings --1:30 p.m., TCM. Jeffrey Hunter as Jesus. 1961.
Christmas at Belmont --2 p.m., Channels 45/49, and 6 p.m., PBS, check your local listings Country singer Josh Turner hosts.
A Mom for Christmas --2 p.m., ABC Family. Movie.
Great Performances: Renee Fleming: Sacred Songs and Carols --3 p.m., PBS, check your local listings
Mr. Magoo's Christmas Carol --3:30 p.m., Cartoon Network. The Jim Backus animated special.
Mr. St. Nick --4 p.m., ABC Family. Kelsey Grammer as a reluctant heir to Santa.
The Greatest Story Ever Told --4:30 p.m., TCM. Max von Sydow as Jesus.
Christmas at the Hollywood Palace --7 p.m., PBS, check your local listings Highlights from the variety show.
The Christmas Secret --6 p.m., ABC Family. Richard Thomas as a professor trying to prove reindeer can fly.
O Christmas Tree --7 p.m., PBS, check your local listings. History of the tree.
Borrowed Hearts --8 p.m., ABC Family. A Christmas angel helps an uncaring man.
Finding John Christmas --9 p.m., CBS. Valerie Bertinelli, Peter Falk. Woman seeks her missing brother.
A Tennessee Ernie Ford Christmas --8 p.m., PBS, check your local listings.
TV Land's Top 10 Holiday Moments. 10 p.m., TV Land. Bing sings with Bowie and other TV hallmarks. Airs during TV Land's ``Merry-thon'' of holiday-themed show episodes, which begins at 6 a.m. Dec. 25 and runs until 6 a.m. the next day.

http://www.ohio.com/mld/ohio/entertainment/television/13231144.htm

And don't forget the Macy's Thankgiving Day Parade.

Today. 9 AM ET/PT on NBC.

For the first time its in HD!

Happy Thanksgiving to all except who ever cancelled Threshold. (Just kidding about the CBS excutives)

Fredfa- many thanks for all the time and effort you put into this thread.

Happy Thanksgiving all.

- Tom (who turned off the last Threshold ep after about 5 minutes ;) )

I just want CBS to "genuinely" try and make a good sci-fi show, instead of CSI:Roswell. Hence, my excitement, if you will, about the show being canned.

Regarding the older demo thing, take away CSI on thursday nights and CBS would finish dead last.

Sorry if I offended anyone... i don't wish ill of any show and just hope the CSI Broadcasting System can wake up and try something new.

No problem, Rakesh.S. Thanks for taking the time to answer!

“WKRP” rocked turkey day
By Dusty Saunders (Denver) Rocky Mountain News November 24, 2005

Whenever I think of Thanksgiving television programming, WKRP in Cincinnati quickly comes to mind.

The underappreciated CBS comedy series (1978-82), set in a rock radio station, produced the classic turkey-day-themed program.

The November 1978 half-hour wasn't dressed with the familiar emotional stuffing that television attempts to cook up annually.

Rather, it was a gigantic spoof of holiday commercialism - particularly aimed at radio stations.

And we all know that type of activity hasn't changed since 1982.

In order to create a higher audience profile, the WKRP gang came up with a clever giveaway idea.

A helicopter flew over a huge shopping center and began dropping live turkeys.

They forgot one important fact: Turkeys can't fly.

The result was a major foul-up featuring dozens of flopping fowls.

One marvelous segment featured WKRP's intrepid newsman Les Nessman (Richard Sanders) providing a live, radio description of the event in the style of CBS Radio's Herb Morrison, who emotionally described the crash of the Hindenburg airship in 1937.

And the episode spoofed local TV news.

A Cincinnati newsman breathlessly announced: "For those of you who just tuned in, the Pinedale Shopping Mall has just been bombed with live turkeys."

"Film at 11."

OK, so this WKRP episode isn't filled with the spirit that goes with traditional Thanksgiving celebrations.

Still, it should be aired annually during this season simply to tickle the funny bone of an uptight world.

GIVING THANKS: Despite the numerous unsavory aspects surrounding broadcasting, there's much that deserves positive notice today:

• Monk - USA cable's delightful police adventure that puts humor and humankind above blood and guts.

• CBS' Sunday Morning - Since premiering in 1979 this lively series has kept its reputation as an electronic version of a well-produced weekend newspaper.

• The six Sunday-morning network shows - Amid the verbosity and propaganda, the programs give viewers ample opportunity to assess the pulse of the nation and world.

• Jon Stewart - The Comedy Central star knows how to insert his brilliant comedy mind into key political situations.

• The creators of the General Electric commercial - I'd almost willingly sit through a terrible program just to watch this superb 60-second pitch featuring an elephant in the rain forest prancing to Gene Kelly's classic Singing in the Rain.

• Carla Gugino - The star of CBS' "Threshold". Just because . . . well . . . she's Carla Gugino.

http://www.insidedenver.com/drmn/spotlight_columnists/article/0,2777,DRMN_23962_4263065,00.html

If one Denver newspaper can do a Thanksgiving column, so can the other:

Thanks and no thanks for these
By Joanne Ostrow Denver Post TV Critic

It's Thanksgiving 2005. Do you know where your remote is? How about the TiVo controller? The DVD/VCR remote? The video iPod earphones?

As we gather in the warmth of the cathode ray tube, the rear-screen projector, the liquid crystals and the hand-held, here are five reasons to be thankful, and five turkeys we'd just as soon get the small-screen ax.

First, let us give thanks for:

1. "Grey's Anatomy." Even though it has its sappy moments, here's a reason to return to watching hospital series. The triangle - Meredith (Ellen Pompeo), "Dr. McDreamy" (Patrick Dempsey) and Addison (Kate Walsh) - is endlessly watchable. We're grateful it has climbed into the top-5 in the Nielsens and is holding its own.

2. Ted Koppel, for nearly 26 years of incisive interviews, influential reporting and superior broadcast journalism. We are ashamed to admit we didn't always watch. We are proud to note that whenever we did, we learned something. Koppel and longtime producer Tom Bettag have formed a news production company and plan to concentrate on long-form journalism away from the pressure of daily deadlines.

3. "Arrested Development." The prickly and wicked humor, the devious and shallow characters, it's just about over and out. Let us be grateful to Fox for keeping the comedy going this long in spite of lackluster ratings.

4. "Lost." It's the best serial drama on television and keeps getting better, if ever more complicated. Clearly this is the most modern of TV dramas since some of the best fun is to be had away from the screen, on the Internet amid the fan deconstructions.

5. "My Name Is Earl," "Everybody Hates Chris" and "Curb Your Enthusiasm." At a time when complaining about the death of comedy became a reflex, these broke out as great examples of the next comic wave.

Did you catch Earl (Jason Lee) break-dancing after he made amends for ruining his ex-wife's wedding? A knowing poke at white trash. Did you catch Chris (Tyler James Williams) having his first slow dance? Did you see his mom (Tichina Arnold), the "ghetto snob," deliriously grocery shopping with free food stamps, only to be too embarrassed to use them?

A knowing look at Chris Rock's African-American 1980s childhood. And did you see Larry David in the "Kamikaze Bingo" episode, insulting the Japanese World War II veteran? A wonderfully excruciating half-hour in the company of a misanthropic jerk.

And here are five that are, sorry, for the birds:

1. Geraldo Rivera. His new syndicated show, "At Large With Geraldo Rivera," a sort of post-"Current Affair," follows the erstwhile war correspondent, Al Capone vault opener and host of riot-marred talk shows into new turf.

2. NBC's holding pattern. Is "Joey" really still airing? Time to admit the "Friends" magic cannot be replicated. Move on.

3. "Gilmore Girls." That's it, we're out of patience. The on-again, off-again relationships - Lorelai and Rory, Luke and Lorelai - strain credulity and Sookie has become unbearable. The denizens of Stars Hollow have lost whatever charm we once found in them. It's season six but it feels like 10.

4. Nancy Grace. The shrill mouth of CNN Headline News, the famously tough-on-crime, ambulance-chasing legal analyst would just as soon skip the analysis and get to the conviction. Mostly though, she's about promoting Nancy Grace.

5. "Monday Night Football's" transformation into a General Motors product platform. GM's deal with ABC and ESPN calls for their trucks and SUVs to be in the NFL starting lineup. Makes us miss the old days when a sassy "Desperate Housewives" promo was the talk of "Monday Night Football."

http://www.denverpost.com/ostrow

ABC: “Alias” mission to end in May

By Cynthia Littleton The Hollywood Reporter

Sydney, we hardly knew ye.

ABC has confirmed that its cult-fave spy-fi drama "Alias" will wrap its five-year run at the end of this season in May.

The Touchstone TV drama, which stars Jennifer Garner as covert CIA agent Sydney Bristow, has never been a top-rated show but has long been buoyed by a loyal cadre of fans who track every nuance of its highly complex and mysterious storylines. It was also among the first of a new breed of TV series that can be sustained for multiple seasons of modest primetime numbers on the strength of ancillary businesses, like DVD sales and video games.

"Alias" was in many ways the perfect spooky, moody, terrorism-fighting drama for its moment, debuting in the grim shadow of the Sept. 11 terrorist attacks on Sept. 30, 2001. The series that made Jennifer Garner a major star was the brainchild of creator/executive producer J.J. Abrams, now riding high on ABC with "Lost."

"Right out of the box, 'Alias' attracted a cult following of fans that were completely invested in the show," said ABC Entertainment president Stephen McPherson, praising Abrams' talents and dedication to the show. "We owe both the storytellers and the fans a send-off worthy of a show that has been such a big part of the pop culture vernacular."

Touchstone president Mark Pedowitz made special mention of the contributions of Garner, who has earned four consecutive Emmy nominations and a Golden Globe trophy in 2002 for her work on the show. Garner has consistently shown her "dedication to the role and (has) unarguably the best demeanor in the business," Pedowitz said.

"Alias" executive producer Jeff Pinkner promised that the writing team was prepared to "wrap up the story of Sydney Bristow in a surprising and, we think, thrilling way." Instead of prolonging the tough decision about the show's fate, the early notice from ABC and Touchstone will allow cast and crew "the freedom to end the series in the climactic way it deserves," Pinkner said.

ABC said it would begin a "countdown" approach to the series finale in May. The series aired in the Sunday 9 p.m. slot in its first three seasons before moving to Wednesday last year and to the tough Thursday 8 p.m. slot this fall. So far this season, "Alias" has ranked No. 75 among all primetime series with an average of 7 million viewers and 2.9 rating/7 share in the adults 18-49 demographic, according to Nielsen Media Research.

http://www.hollywoodreporter.com/thr/article_display.jsp?vnu_content_id=1001570832

If you are young enough to believe the NFL has always been on several nights a week, this story from yesterday’s NY Times should be an infoimative read.
One Night in 1970, the Revolution Was Televised

By Richard Sandomir The New York Times November 23, 2005

There was a time before "Monday Night Football," but that was an eon ago, when prime-time sports were rare and CBS and NBC carried the only professional football they believed they ever needed, on Sunday afternoons.

But on a sultry Monday evening in Cleveland, Sept. 21, 1970, when the Browns played the Jets, that television equation was rewritten forever with the first game in a 35-year run on ABC that will end with the Super Bowl on Feb. 5.

The series that brought viewers Howard Cosell, Don Meredith and 13 other announcers in the booth, including the current tandem of John Madden and Al Michaels, will move, for economic reasons, from the once dominant but now drastically downsized ABC Sports to ESPN, its powerful cable sibling in the Walt Disney Company with a smaller universe of viewers.

On that evening in Cleveland, no one had the foresight to know if prime-time football would work, let alone endure on a single network over four decades. And no one, of course, knew that what cost ABC $8.5 million that first season would soar to a price of $550 million annually for the network, or to the $1.1 billion ESPN will pay next year.

The first words of the New Football Order were provided by ABC's Keith Jackson: "From Municipal Stadium in Cleveland, Ohio, two powers in professional football meet for the first time ever as members of the new American Football Conference of the National Football League."

There was not a scripted opening tease or a rowdy Hank Williams Jr. song. The risk then was whether anybody would be ready for some football at 9 p.m. Eastern, even if ABC had proved in 1968 that sports fans would watch the Summer Olympics after dusk. But this was Jets-Browns on a third-place network - in a three-network universe - gambling on the future.

There on the field was Cosell, in a maroon ABC blazer, his right hand trembling, as he interviewed Joe Namath and his Jets co-captain, Al Atkinson. He chatted on one side of a split screen, with Jackson, and then with Meredith, the former Dallas Cowboy, who looked abashed to be introduced in his new TV career with a reel of his old quarterback sacks.

"Dan-dee Don Meredith," Cosell said, "how does it feel to review the glories of yesteryear?"

Meredith dabbed his perspiring forehead with a handkerchief. As Cosell, on the left side of the screen, chuckled, Meredith said: "I didn't know y'all were going to do that. Nobody told me that. I was all set to tell you about these two quarterbacks, and I'm going to do it anyway."

This was to be the new paradigm of sportscasting, not the game-in-a-cathedral model of CBS and NBC, but up-close, camera-rich, three-in-the-booth entertainment. It starred Jackson, who was more comfortable in the college game; Meredith, a TV naïf; and Cosell, the controversial and adenoidal voice renowned for his commentary and boxing, but not for football.

All those years and a few billion dollars later, the creative and viewership legacy of "Monday Night Football" is secure, despite occasional troughs in its allure and the quality of its production. The current production crew is trying to fend off separation anxiety and end the season with a flourish. Michaels will move with the games to ESPN, while Madden will go to NBC to call Sunday night games.

The day before the Dallas-Philadelphia game on Nov. 14, Fred Gaudelli, the producer of "Monday Night Football," said: "We want to be proud of the last thing we did. We don't want anyone to say we're mailing it in."

If it seems as if ABC has carried "Monday Night" for an eternity, the truth is the network nearly did not get it. CBS and NBC spurned it. So did ABC. But Pete Rozelle, the N.F.L. commissioner, persuaded ABC that he would make a deal with the Hughes Sports Network to syndicate the games to stations throughout the country, including many of ABC's.

"It was only through blackmailing ABC" that the network agreed, said Don Ohlmeyer, who joined the game's production crew in its second season and would twice be its lead producer. (In the second go-round, he hired the comedian Dennis Miller to work in the booth.)

"That was an inducement to carry 'Monday Night Football' - or for the network to go dark that night," Ohlmeyer added.

Some of the negotiations between Rozelle and Roone Arledge, the president of ABC Sports, took place, seated side-by-side, in a banquette at the 21 Club, often in late afternoons when the restaurant was mostly empty.

"I was doing high-end errands, and once I brought Roone research to 21 as he made points to Pete," said Dick Ebersol, then an ABC production associate, now the chairman of NBC Universal Sports.

In the contract, the league promised that ABC's schedule would feature the "key games insofar as our scheduling judgment can provide," Rozelle wrote to Arledge on May 29, 1969. All the games, Rozelle wrote, would be blacked out "at our election" in the teams' home markets and games that were played in New York were to be avoided.

The reaction inside ABC Sports to the acquisition of "Monday Night" was "elation, shock and pride," said Dennis Lewin, who was in charge of the replay and isolation production truck that first season. "We were doing the N.B.A., every major event in amateur athletics, because we'd helped make them big during the Olympics and 'Wide World of Sports,' and we were No. 1 in college football. But we thought of this as putting us over the top."

The game in Cleveland offered clues to how "Monday Night" would change the way football was televised, even if the revolution looks modest when compared to today's high-tech wizardry. In its day, the use of nine cameras (versus a standard four or five) to get closer to the action, hand-held cameras for sideline close-ups and reaction shots, split-screen and end zone replays, and Cosell's halftime highlights constituted a visual revelation.

There were no sideline reporters, constant score boxes or Telestrators, commonplace elements of today's broadcasts, and there were only hints of the chemistry that would develop between Cosell and Meredith. Cosell referred regularly to Dandy Don, but Meredith sounded tentative. The division of labor was clear: Jackson gave the basics (Frank Gifford replaced Jackson the next season), Cosell commented when plays ended and Meredith spoke during replays. Sometimes he went a full series without speaking.

One slightly ribald comment by Meredith gave a glimpse into the charismatic, country-fried personality that played off Cosell so well.

"Isn't Fair Hooker a great name?" Meredith said, referring to the Cleveland receiver.

"I pass," Cosell said.

After an interference call, Meredith stumbled but recovered with self-effacing candor. "Now that didn't sound real right," he said. "We're going to try that again later on, folks. You're not supposed to do it. I know that."

The Cosellian sound was abundant, especially during his halftime narration; so were opinions that made each team's fans believe he was their enemy. Cosell and Meredith engaged in only one exchange that would come to define the banter that underscored their partnership.

"They're controlling the ball," Cosell said during a Jets drive during the second half. "That means Cleveland can't score."

"Good point," Meredith said, puncturing a Cosell banality with two words.

The game's artistic peak was a perfectly framed live shot that Chet Forte, the producer-director, held for seven seconds: a shocked Namath, his shoulders slumped, arms akimbo, after an interception was returned for a game-deciding touchdown.

The image was replayed again, for 30 more seconds, as time ran out on Cleveland's 31-21 victory and Jackson promoted the next week's game - the second Monday in what will be 555 Mondays when ABC's final regular-season game ends on Dec. 26.

http://www.nytimes.com/2005/11/23/sports/football/23monday.html?adxnnl=1&adxnnlx=1132852113-ytyHcxt9Vj7IF1oFSf+s8w&pagewanted=print

Wednesday's network prime-time ratings are now at the top of Latest Prime Time Ratings (the second post in this thread).

Happy Thanksgiving.

Happy Thanksgiving Everyone!

Hope you all have a wonderful holiday. See you on the flip side.

Russ

A quicker return for “Prison Break”?

By Maureen Ryan Chicago Tribune

Below is an edited transcript of a Nov. 22 interview with "Prison Break" creator and executive producer Paul Scheuring, who addressed the show's "fall finale" next Monday and the issue of when the Fox drama will return.

Question: Once "Prison Break" goes on its break, when does it come back? Do you know yet?

Paul Scheuring: "No. The only thing I know, in complete candor, is that there are a number of high-profile things being shuffled around. ‘American Idol’ is part of that, they may try to make a beachhead [with ‘Idol’] on Thursday night. If that happens, there is a domino effect. There are only so many spots available on the schedule. The long and the short of it is, I don’t know, but I should know within a week.

"What I understand is that there are three different models under consideration. One of them has us coming back in late January or early February. The second one has us coming back later in February. The third one is [returning in] May. Nobody knows which it will be. My initial first reading of the tea leaves -- I thought it would be May. But it seems in the last two weeks, the needle has been slowly swinging back toward an earlier return."

Question: And presumably you want to return as soon as possible, in January, right? Has that been the feedback you’ve gotten from fans and people you talk to?

Paul Scheuring: "Absolutely. That was the reaction of everyone. ‘We want to keep watching it.’ Fox has their own larger corporate programming model, and we have to fit into that. The good thing is that if the worst-case scenario happened and we come back in May, [the head of the Fox network] Peter Liguori told us that we’d have the mother of all promotional campaigns to relaunch the show. Who knows what programming decision will get made, but the good thing is that we have the full faith of the network behind us. No matter what, it is not [a case of], ‘Go quietly into the night.’ They are sticking with us."

Question: But do you worry that people might forget about the show to a certain degree if it comes back in May? Would you rather come back sooner?

Paul Scheuring: "Absolutely. We’d like to come back in January. I’m a novice when it comes to TV. I was surprised they take some shows down for all of December. I thought you take a couple weeks off for Christmas [by airing repeats] then you come back. I would like to have gone straight through and come back in January. We still have a lot more story to tell. We’ll see what they do."

Question: "Prison Break" and "24" on Monday nights would make a very compatible block.

Paul Scheuring: "Yeah, I agree with that. I don’t know that we’re an 8 o’clock show, but I suppose we are, they’ve been showing [repeats at that time]. I do think that would make a really nice block on Mondays."

http://featuresblogs.chicagotribune.com/entertainment_tv/2005/11/a_quicker_retur.html#more

“Monk” and “Dead Zone” Reminders

By Matt Roush TV Guide

Mysteries of the Holidays

As a between-seasons yuletide bonus, USA Network is reviving two of its signature series for new lighthearted holiday episodes. It's especially fun to have ”Monk” back (Dec. 2, 10 pm/ET), with Tony Shalhoub solving the murder of a detective who drinks from a gift bottle of poisoned wine addressed to Monk's boss. There's a decent twist, but the real delight comes from Monk dealing with the season's dubious greetings: fussily hanging tinsel and suffering in department-store Santa drag — yes, the kids are given Handi Wipes before sitting on his lap.

An offbeat Santa also figures into a sentimental ”The Dead Zone’ (Dec. 4, 10 pm/ET), as psychics Johnny (Anthony Michael Hall) and Alex (guest star Jennifer Finnigan of Close to Home) give comfort to an amnesiac in a Santa hat and three street urchins, all in time for holiday dinner.

Both episodes end on a white-Christmas note, setting the stage for the schmaltzy TV month ahead.

http://www.tvguide.com/tv/roush/review/

Here's to all the great television writers

By Rick Kushman Sacramento Bee TV Columnist

A few years ago, a bright, energetic young man with loads of talent was driving a tram for a Las Vegas hotel when something he had written for a friend made its way to Hollywood.

It was a speech for the friend's acting audition. Producers liked the writing more than the actor. It led to a move script, and the script landed in Jerry Bruckheimer's hands. Not long after that, in the fall of 2000, CBS aired the premiere of "CSI: Crime Scene Investigation."

The guy driving the tram was Anthony E. Zuiker, the creator of "CSI." He is a geyser of creativity, a sincerely nice guy, and exactly the kind of person who should be making TV shows.

The point? There's a lot of good television and a lot of great people writing it, too.

This is, in a way, a Thanksgiving column. As a fan and a critic, I worry sometimes that economics, technology and our own shriveling attention spans will kill the good and useful in TV, and leave us with flashy, thoughtless, lightweight fluff.

And yeah, there's tons of that out there. But if you look around, you can see that there is still lots of smart, funny, moving and just simply well-written TV to be thankful for.

Television is, most of all, a writer's medium. Its stories have to resonate, they have to endure and they have to feel constantly fresh. That's why TV had a place for the energy and creativity of then-rookie producer Zuiker. It's why Zuiker still thrives.

And that's why it has a place for the sheer intellectual force of "Deadwood's" David Milch, and for the romantic lyricism of Aaron Sorkin - who's working on a new series about life behind the scenes of a "Saturday Night Live"-like show.

TV has room - at least for a while, still - for the brilliant insanity of "Arrested Development's" Mitch Hurwitz and for the wrenching, emotional honesty of Steven Bochco.

TV welcomed the playfulness of Amy-Sherman Palladino and her "Gilmore Girls" lightning talk, and it embraced the twisting, existential mysteries from "Lost's" J.J. Abrams and Damon Lindelof. It wants the dark silliness of Marc Cherry's "Desperate Housewives" and the desperate wittiness of "House's" Paul Attanasio and David Shore.

There are great writers everywhere on TV. Trey Parker and Matt Stone from "South Park." Matt Groening and the crew from "The Simpsons." Everyone at "The Daily Show With Jon Stewart." Larry David, Denis Leary, Dick Wolf, Seth McFarlane, David Chase. Ali LeRoi of "Everybody Hates Chris." "The Shield's" Shawn Ryan. "Nip/Tuck's" Ryan Murphy.

And there are the great writers who will be back. Phil Rosenthal, whose "Everybody Loves Raymond" ended this year. Tom Fontana, the hand behind "Homicide: Life on the Street." His "Homicide" partner David Simon, writing "The Wire" when HBO will run it. Marshall Herskovitz and Ed Zwick, who gave us "thirtysomething," "My So-Called Life" and "Once and Again." Joss Whedon, who gave us "Buffy."

There are more. Television constantly looks for writers, it thirsts for them, and that's why, despite all the fluff, there is still so much good TV.

It is not like feature films. Television doesn't need stars to "open a movie" so much as it desperately needs stories to tell, over and over, through 22 episodes a year, maybe for a decade or more.

As someone who writes for a living, I can tell you that it is always hard. Writing for network executives and, essentially, all of America, does not make it easier.

We tend to forget when we watch TV or go to a movie, all the sweat, all the muscle and brains that went into the film and the show. The good ones always looks effortless, which is a sign of the skill behind them.

Good writing sounds effortless. It makes TV stars eloquent and funny and to-the-heart poignant. It makes mysteries thrilling, comedies flow, dramas hold you in their spell.

And there is a lot of that on TV. Not everywhere, but a lot. So among the many things to appreciate about TV - to give thanks, if you find it seasonably appropriate - I say, let's hear it for all the writers out there.

And, as long as we're doing this, as long as Thanksgiving is coming, you know what else I'm thankful for? Pie. Let's hear it for bakers, too.

http://www.sacbee.com/content/lifestyle/columns/kushman/v-print/story/13896057p-14734863c.html

The HD College Bowl schedule (with teams accepting invitations) has been added to the Football in HD section of the first post in this thread. It will be updated as the Bowls issue their invitations.

By the way, I think it is important to note that "Alias" has not been axed effective now but at the end of the season.

The same goes for "7th Heaven" which will be ending its ten year run in May. I noticed it wasn't on the list on the first page... so I thought I'd mention it.

~Alan

Thanks Alan

Show me a better reality show if you can

The Biggest Loser Season 2

By Bruce Westbrook Houston Chroncicle

In the past we've raved and ranted about The Biggest Loser, praising the rare constructiveness of its process and the meaningful life changes it sparks, while dissing its shameless product placement, over-emphasis on crying jags and sometimes silly challenges. But the time has come to set all that aside, to stop playing devil's advocate, and to proclaim one thing: In the vast realm lumped under the overly simplistic label of "reality TV," The Biggest Loser is the most moving and meaningful show to date.

If you know of another -- and if you've followed The Biggest Loser and are able to compare fairly -- please advise me, but I don't see it. Extreme Makeover? That's moving and meaningful, but it's also a case of a production company completely remaking someone's home for them, while they do nothing. That's charitable, but not necessarily earned.

But by vigorously exercising, by showing restraint and smarts in eating properly, and by accepting a fierce sense of commitment, the overweight Losers remake themselves -- their physical and even spiritual beings. They add years to their lives. They gain self-respect. They change their emotional outlook along with their physical appearance. They enable themselves to do far more for their families. In short, it's about individual achievement, and that's far more personal. Plus, on no show featuring a vote-off have I seen such mutual respect and support among players. In fact, this week's show brought that to a new level, with Matt and Seth voting off dead-weight Andrea and taking far tougher player Suzie with them to the final round of three, next week.

It would've been easy to keep Andrea, since she was no threat, despite her preposterous claims that she "deserved" to win. Instead, Matt and Seth treated the final three as an honor, and one which Andrea didn't deserve, while lauding Suzie as the kind of competitor who'd spur them on to do their best.

Andrea did "win" a reward challenge, but we'll keep those apostrophes, because Matt was the clear winner. The goal: Carry the same number of pounds you'd lost to the top of a high ladder. Matt won easily, far outdistancing the other three. Then the rules were changed: He wasn't competing against them, as the event was set up to do. Everyone, it turned out, would then compete against themselves. They shed the weights for a second climb, and the one with the biggest differential in their two times "won." Since Matt had heroically pushed himself to finish fast the first time, he had far less room for improvement than a slacker like Andrea, who managed to outpace herself the most on the second try. Besides, for each ascent, Matt finished far ahead of the others. He won both times -- and he lost?

No matter. At the weigh-in, Andrea finished last, as usual, far behind the other three. Suzie joined her in the bottom two, yet just missed passing Seth for the top two. Matt's 10-pound drop and 4.1 per cent decrease made him a big winner, at which point, Matt -- being Matt -- cried. But this time it felt different. There was no self-pity, but a new sense of self-acceptance. He'd left the old self-destructive Matt behind, and reclaimed the Matt who'd won wrestling titles in school back home and had a life to live. Now he has that life back.

After training montages straight out of Rocky, and after the earliest vote-off of the season, the show had 10 minutes to fill and filled it well, with the three finalists each confronting a life-size cutout of themselves, taken from photos shot when they arrived at the ranch. For Matt and Suzie it was hard to take; Seth laughed heartily and said "Holy cow!" Matt said he "felt bad for the guy I was looking at," then kissed him goodbye.

This episode had more sob fests than any, but none of it felt overdone. As the finish neared, the contestants clearly were taking serious stock of themselves, how far they'd come and how much it meant to them. "I've been here to change my life," Suzie said. "I feel like I've been healed," Seth said. And Matt said his imminent reunion with his family back home would be "the proudest moment of my life."

Pride -- that says it all. The bottom line is that this show, unlike any reality show on television, makes you truly proud of the people involved. It's not about personalities, back-stabbing, politics, avarice, dishonesty, dating rituals, contrived survival games, Trump-sized egos, undiscerning call-in voters, teacher's-pet performers pushed by judges, or luck. The Biggest Loser is about individuals dramatically changing their lives for the better, and then being able to say, as Suzie did this week, "It's been an honor."

http://blogs.chron.com/tubular/archives/2005/11/show_me_a_bette.html#more

Shades of “Grey's Anatomy”
By Bill Keveney USA TODAY

LOS ANGELES — The Grey's Anatomy doctors are definitely in.

Viewers think the sexy surgeons are the latest in TV cool, while ratings have been red-hot for the ABC medical drama, which ranks fifth in viewers (18.4 million) in just its first full season.

Launched in March, Grey's (Sunday, 10 p.m. ET/PT) inherited the huge lead-in audience of Desperate Housewives, but it soon attracted its own following. There's something for everyone, says Patrick Dempsey, who plays neurosurgeon Derek Shepherd, known as Dr. McDreamy to Grey's female doctors.

"There's such a diverse cast that people can identify with, archetypes that people can relate to," Dempsey says. "There's an emotion to it. There's a sense of humor to it."

Grey's secret might be in the mix: of work and play; of comedy, drama and a little soap; of men and women; and of interns, residents and attending physicians of varied background, race and personality.

"This is essentially a workplace romance show, as opposed to a pure medical show or a pure relationship show. It's really about a group of friends trying to make it through everyday work and relationships," says creator and executive producer Shonda Rhimes.

And don't forget the sex factor. "Everybody has sex on (Sunday's episode). Well, not everybody, but there's a lot of sex," Rhimes says.

Since more people are watching, the series' growth spurt deserves examination, with diagnoses courtesy of Grey's actors, producers and viewers.

Character counts

Friends, as Rhimes calls them, is the operative term. Fans appear to have bonded quickly with Grey's cast. Viewers enjoy the stories, but they come back for Meredith Grey (Ellen Pompeo), her sometimes lover, Shepherd, and colleagues.

"The characters are so convincing and the chemistry is electric," says Tracy Gallo of Lisbon, Ohio. In a recent episode, "I could feel McDreamy's breath on the back of my own neck during the elevator scene with Meredith."

Meredith, the Grey of the title, is one of five first-year interns. The show's narration comes from her perspective, but Rhimes says it "absolutely is an ensemble show."

Critics praise the rich detail of the characters, especially in a series now featuring 10 regulars with the addition of Dr. Addison Shepherd (Kate Walsh), Derek's wife.

Moving targets

Both characters and relationships are ever-changing. The early take on George O'Malley (T.R. Knight): indecisive intern. He has evolved into a talented doctor with a backbone. At the same time, cocky Alex Karev (Justin Chambers) is dealing with an uncertainty of his medical future and his tentative love connection with Isobel "Izzie" Stevens (Katherine Heigl).

Tough-as-nails resident Miranda Bailey (Chandra Wilson), known as The Nazi, could have been a one-dimensional person. But subsequent episodes have shown a broader character.

Now she's pregnant, which tests her ambition, says Wilson, who this month gave birth to her third child. "We'll see how together she is."

One vision

Series TV newcomer Rhimes, who wrote Introducing Dorothy Dandridge and Princess Diaries 2: A Royal Engagement, has been given broad leeway to create the world of Seattle Grace Hospital.

"Shonda has a very clear idea of who the characters are, and she writes them that way," fellow executive producer James Parriott says. Rhimes' concept combined the universality of workplace relationships with a heightened life-or-death aspect that few face. It didn't hurt that she is a big fan of surgery documentaries on cable TV.

"I know what's going to happen in Season 4, should we make it that far," Rhimes says.

Tragedy, meet comedy

Heigl says viewers relate to the show's humor. "And I think Shonda has the wickedest sense of humor," she says.

In one episode, Seattle Grace encountered the serious and not-so-serious aspects of a syphilis outbreak among the medical staff. In another, doctors discovered a patient had consumed doll heads.

During a scene shot this week for an upcoming episode, Meredith faced the serious and the slapstick simultaneously. The caring doctor gave lifesaving treatment to an elderly woman with "do not resuscitate" instructions.

As Meredith realized the gravity of the matter, the patient's friends, played by June Lockhart, Betty Garrett and Rae Allen, served as a tsk-tsking trio. Allen's character then whacked Meredith with a large handbag, calling her a schnook.

Pompeo broke up laughing during a couple of takes. Working with the veteran actresses was refreshing on a demanding day. "You can only hope for days like this," Pompeo says. "They're hysterical."

Doctor's orders

Though the medical plots exist to serve the characters, often serving as a metaphor for events in their lives, the show wants to get them right. It has featured such oddities as a teratoma, a growth that can make a man appear pregnant.

On the operating room set, director David Paymer gave instructions to Dempsey, Heigl and Walsh, whose characters were trying to save a premature baby. The actors were playful between takes — Dempsey and Walsh pantomimed patty-cake over the dummy mother — but the lifesaving scene was all business.

That seriousness grounds everything else, says co-executive producer Peter Horton. "Human beings in direct proximity of life and death — that makes it intriguing, entertaining and extremely moving."

Variety is the spice

Grey's is running ahead of a TV world slow to reflect the country's diversity. The cast includes African-American and Asian-American doctors; a Latina character is coming. But they are not defined by race. Cristina Yang (Sandra Oh), an Asian-American, and Preston Burke (Isaiah Washington), an African-American, have relationship issues, but they are based on personality.

Grey's "actually reflects a regular city, with three-dimensional minority characters," says Kevin Lockett, a viewer from Akron, Ohio.

When Grey's was casting, the goal was to be open to all actors without earmarking roles by race.

Grey's diversity "is by design and not by design at the same time," says Rhimes, the lone African-American woman heading a broadcast network drama series. It also features strong, complex women pursuing professional and personal goals. "It's an accurate reflection of the women I know."

Rx: Sex, and lots of it

From the hot cast — Dempsey is in People magazine's Sexiest Man Alive issue and other cast members have not-so-secret admirers — to trysts ranging from romantic to lustful, Grey's offers soapy va-va-va-voom, creating buzz and drawing media interest.

The yin-yang of Burke-Yang intrigues fans, as does the slow-moving mating dance of Izzie and Alex.

Rhimes says the Meredith-McDreamy-Addison triangle has plenty of mileage. Last week's renewed spark between Addison and McDreamy left viewers buzzing.

"You get to see them try to work it out," Walsh says. But "that's a very small trailer to live in."

Some fans don't want it to work out, underscoring their bond with the actors and their characters.

"I'm rooting for Meredith and Dr. McDreamy to get back together," says Kimberly Kamis of Orchard Park, N.Y. "He is absolutely the best-looking, most delightful man" on television.

-----------------------------------------------------------------------------------------------------------------------------
“Greying” Audience: Growing Each Week

Last Sunday's audience for Grey's Anatomy was the biggest this season and second only to last year's finale, which drew 22 million, benefitting from a larger-than-usual Desperate Housewives lead-in. A look at Grey's viewership:
Date Total viewers Ages 18-49
9/25 18.9 million 10.8 million
10/2 17.6 million 10.7 million
10/9 18.1 million 10.4 million
10/16 18.2 million 10.4 million
10/23 18.0 million 10.8 million
10/30 16.6 million 9.7 million
11/6 18.1 million 10.6 million
11/13 19.7 million 11.5 million
11/20 20.3 million 12.0 million
Source: USA Today/ Nielsen Media Services

http://www.usatoday.com/life/television/news/2005-11-24-grey-anatomy_x.htm

He's happy these days
Henry Winkler battled early dyslexia and some post-Fonzie doldrums
to create an evergreen career as a director, actor and author

By Mimi Avins Los Angeles Times Staff Writer November 25, 2005

Believers in karma might say that Henry Winkler's midlife rewards are a payback for emerging from a difficult childhood as a very nice person. At 60, he has a key role in "Out of Practice," the sly new CBS sitcom that's been one of the few freshman shows to break the top 20; he also co-authors a series of critically acclaimed comic novels for schoolkids based on his experiences growing up.

As painful as his early years were, Winkler can't help but mine humor from his past and find a way for his sad back-story to benefit others. " 'Hilarious' must be a fourth-grade word, because I get lots of letters from kids who tell me, 'Your books are hilarious,' " he says.

Growing up on the Upper West Side of Manhattan in the 1950s, Winkler, the only son of Holocaust survivors, was a Weeble of a boy, constantly knocked down by academics. He'd spring back up only to be KO'd again. "Learning disability" wasn't yet part of the lexicon, but he just didn't see things the way other kids did. He did excel as the class clown, but an A-plus sense of humor never boosted anyone's grade-point average.

"School was this immovable object," he recalls. "I was told I wasn't living up to my potential, that I was stupid. My parents, being short Germans, were convinced I was merely lazy. So I was grounded for most of my life. I did not see the moon during my junior year. When you are in the bottom of the class, you're constantly feeling less-than. You're always working overtime to achieve some sort of normalcy or cool factor, which I had none of."

Fortunately for Winkler, and for the more than a million children who follow the adventures of his literary alter-ego, fourth-grader Hank Zipzer, the heart has a long memory. Even playing the thoroughly cool and commanding Fonzie on "Happy Days" for 11 years couldn't expunge the early beatings Winkler's self-esteem had taken. He poured his frustration at confusing his left and his right, at not being able to decipher a diagram or transfer his thoughts onto paper into the Hank Zipzer books. But first, he had to learn why things that seemed so easy for his friends were so vexing for him. And to do that, he had to become a parent.

Winkler had thought about being a father when he was still a kid. After being berated and belittled by his parents, he would lie in bed at night and think, "I must remember this: never to repeat these people." He hasn't. He and wife Stacey, a child welfare advocate, have three children. Their 22-year-old son Max, a senior at USC, and 25-year-old daughter Zoe, a teacher, live at the family home in Brentwood, which says something about their affection for their parents. At 34, Winkler's stepson, Jed, is the manager for singer Morrissey and lives on his own.

It was Jed, in fact, who led Winkler to understand his learning difficulty. When the child was in third grade, he was found to be dyslexic. Listening to the experts describe Jed's condition, Winkler, then 31, said, "That's me." It was less of a lightbulb moment than one might think. "Everything was illuminated, but nothing was changed," Winkler says. "At least then I knew there was a reason why I was having such difficulties. First you go through a tremendous amount of anger. Because all those arguments, all that disappointment, all that punishment and grounding was for nought."

Coping mechanisms

In retrospect, the struggle wasn't completely worthless. "Dyslexia taught me kindness," he says. "I know what it feels like to be treated like you're not up to snuff."

Before he'd ever heard the word "dyslexia," Winkler developed ways of coping with his confounding brain. He was admitted to the Yale School of Drama on the basis of an audition and, after graduating, paid the rent by doing commercials. "Reading cold was, like, out of the question," he says, "I improvised everything. They'd say, 'You aren't reading the words,' and I'd say, 'I'm just giving you the essence.' I was really good at getting commercials."

Out of such experiences came the messages Winkler wants his books to impart: "There's more than one way to Rome. There is more than one way to solve a problem. Ultimately, just because you learn differently doesn't mean there isn't some kind of greatness in you."

Hence, Hank Zipzer, described on the cover of each of the nine novels published as "the world's greatest underachiever." (Get it? Hank is the best at something.) He was conceived in 2003 after Alan Berger, who had been Winkler's agent at ICM, suggested that he write books for children about being dyslexic. Berger introduced Winkler to Lin Oliver, a cofounder of the Society of Children's Book Writers and Illustrators.

Oliver's organization does not cherish most celebrity authors. "I get offers to collaborate every day from celebrities, [but] Henry is a very special person. He has a long history of working with kids. What attracted me was his commitment to communicating honestly about something that's a tremendous issue for him. He's in touch with the frustration and shame that courses through you when you're young and are different."

The character-driven Hank Zipzer books aren't stories about a problem; Hank is a resourceful, funny and optimistic boy who happens to have an undiagnosed learning disability. Hank and Henry, who are both inventive and verbal, demonstrate that dyslexia does not hamper creativity. The series has been so popular — among the 1 in 5 American children who have learning challenges as well as with kids who don't — that the publisher's original commitment for four books has been expanded to 16.

The ninth novel, "My Secret Life as a Ping-Pong Wizard," was published recently, and Winkler and Oliver are working on a pilot script for a Nickelodeon series based on the books.

"The building Hank lives in is the building I lived in," Winkler says. "The school is my school. The humor is exaggerated, but when Hank says, 'I love my brain, I hate my brain,' that is the truth."

Changing roles

At the heart of the books is Hank's tenacity, another quality he and Winkler share. The actor who played Arthur Fonzarelli was determined not to be a one-trick pony. "After 'Happy Days' was a hard time," he says. "I had eaten through brick to get where I was, and then the brick dissolved." When acting offers didn't come, he reinvented himself as a director and producer. By Winkler's estimate, he has produced or co-executive produced 19 years' worth of television, including "MacGyver," which aired from 1985 to 1992. "Longevity in this business isn't an accident," he says. "When you see longevity, it is because that human being has worked hard and relentlessly."

Despite the variety of jobs Winkler has had, including a stint on Broadway five years ago in a Neil Simon play, fans always ask him how the Fonz is, as if the high school heartthrob had finally graduated and matured in some parallel universe. "We built an addition onto our house," Winkler says, deadpan. "He's retired there, and he has a season pass to 'Out of Practice' on his TiVo, which I thought was really loyal of him."

Perhaps Winkler had to let memories of the Fonz fade, to begin looking more like the sort of man who could be the bumbling lawyer in "Arrested Development," before he could enjoy acting as much as he has lately. He completed roles in two movies this year — "Click," Adam Sandler's homage to "It's a Wonderful Life," and "The Kid & I," opening next week, in which he plays the agent of Tom Arnold's character.

Stewart Barnes, "Out of Practice's" newly divorced patriarch of a family of lovably neurotic doctors, was written with Winkler in mind. Co-creator Christopher Lloyd says, "A lot of what Henry projects in real life is what shines through in the character — a genuineness and a dearness. He's just such a nice man. Stewart is someone it's impossible to stay mad at, who's a little puppy-like. He takes life as it comes to him, which I think Henry does."

The perks and the pitfalls

Stewart is in a relationship with his warm-hearted receptionist, whose surgically enhanced chest is the handiwork of his oldest son, a plastic surgeon. Dad knows he's in danger of being the punch line of a midlife-crisis joke, but he's so busy smiling he doesn't care. Winkler's ability to play Stewart without leering makes the character's ex-wife's twinges of regret all the more poignant.

Television actors are fond of describing the casts they work with as family. When Winkler does so, the cliché rings true. He says he's crazy about Stockard Channing, who plays his ex-wife, and he takes his fictional sons out to lunch. (Pink's is a favorite destination.) "One of the last great conversations we had was about how when you get on television, people start treating you differently," he says.

Winkler can warn his television offspring about "frenemies" and about the perils of believing their own good press. "You watch a show on television that's funny, and all of a sudden it becomes a critical success," he says. "And it becomes a ratings success. Then the people on the show become the royalty of Hollywood and you see it start seeping into them. They carry themselves with a sense of grandeur. Then you know it's the end. It's over. Because the simplicity or humanity has been replaced by a sense of entitlement. You see it and you think, 'Whoops! You bought it. You think you're important. Whooops. It's coming through.' "

Fonzie, taking it easy in Winkler's guest house, has seen it all.

http://www.calendarlive.com/tv/cl-et-winkler25nov25,0,695628,print.story?coll=cl-tvent

Thursday’s network prime-time ratings are now at the top of Latest Prime Time Ratings (the second post in this thread).

For the moment at least, repeats of "Criminal Minds" will replace "Threshold" on CBS Tuesday nights.

For the moment at least, repeats of "Criminal Minds" will replace "Threshold" on CBS Tuesday nights.

Does this mean last Tuesdays Threshold was the final episode that CBS will air?
thanks

There has been no announcement from CBS when, or if, any more "Threshold" episodes will air.

For the moment (and for the last Tuesday of the November sweep), the network is apparently just trying to stop the bleeding as it tries to finish ahead of ABC in the 18-49 demographic.

I just find it incredibly stupid that they bailed on it after one episode.

And they are going to fill it with repeats of Criminal Minds?

I think I'm going to just stop watching TV and wait for the DVDs. What's the point in watching a show only to see it get canceled so quickly?

Yeah, I think I'll just stick to watching DVDs and Cable networks.

Remember, Russ, the schedule change was simply an experiment to see if "Threshold" could improve its awful Friday ratinngs performance. "Close To Home" immediately gained more than 25% over "Threshold" when it moved to the Friday time slot.

But "Threshold" lost about a third of th "Close To Home" audience when it made its first appearance on Tuesday.

CBS stayed with this longer than I expected, to be honest. But at least instead of whacking two shows, it was able to salvage one, and build an apparently fairly strong Friday night lineup.

One of the (usually unmentioned) reasons networks don't wait as long any more to cancel shows is that they no longer have many dominant programs where they can promo the stragglers. When even a hit show is only drawing a 15 share, that doesn't give a very big platform to promote the shows that need help.

OBITUARY
Noriyuki 'Pat' Morita, 73; First Japanese-American TV Star

By Patricia Sullivan Washington Post Staff Writer

Noriyuki "Pat" Morita, 73, whose portrayal of the wise and sly master teacher in "The Karate Kid" earned him an Oscar nomination, died Nov. 24 at his home in Las Vegas.

There were conflicting reports about the cause of death. His daughter Aly Morita said he died of heart failure at a Las Vegas hospital. His longtime manager, Arnold Soloway, said the actor died of kidney failure at a hospital while awaiting a transplant.

As Kesuke Miyagi, the mentor to Ralph Macchio's "Daniel-san" in the 1984 movie, Mr. Morita taught karate and such skills as how to catch flies with chopsticks. He lost the Academy Award for best supporting actor to Haing S. Ngor, who appeared in "The Killing Fields." But he won more roles, including three "Karate Kid" sequels, the last one in 1994 with actress Hilary Swank.

An experienced stand-up comic and comic actor, Mr. Morita had previously been best known for his recurring role in the 1970s and 1980s as the excitable malt shop owner Arnold on the popular television series "Happy Days." He also was a regular on "Sanford and Son" as Lamont's buddy Ah Chew. He was the first Japanese American to star in a television series with the leading role in "Mr. T and Tina," which aired in 1976.

He had worked frequently in movies since the 1980s and provided the voice for a character in the Disney movie "Mulan" in 1998. He had a star on the Hollywood Walk of Fame.

Mr. Morita's success in Hollywood was a long way from his start as the son of migrant fruit pickers in the fields and groves of Northern California. He contracted spinal tuberculosis at the age of 2, and when he was finally able to walk unassisted, he and his family were forced into the World War II-era internment camp at Manzanar, Calif.

"One day I was an invalid," he recalled in a 1989 interview with the Associated Press. "The next day I was public enemy No. 1 being escorted to an internment camp by an FBI agent wearing a piece."

After being released, the family opened a restaurant in Sacramento, serving Chinese cuisine because of lingering anti-Japanese prejudice. "You get the picture?" he once said to the Los Angeles Times. "A Japanese family running a Chinese restaurant in a black neighborhood with a clientele of blacks, Filipinos and everybody else who didn't fit in any of the other neighborhoods."

He eventually became a data processor with the state Department of Motor Vehicles, then secured a graveyard-shift job at Aerojet-General Corp. At age 30, he made the make-or-break decision to go into comedy full time.

His first appearances were in small clubs, until he was asked to fill in for entertainer Don Ho at a 2,000-seat hall in Hawaii. Mr. Morita unexpectedly found himself facing a huge crowd of World War II veterans, many of them disabled. They were there to observe the 25th anniversary of the Japanese attack on Pearl Harbor.

"If you're a comic, these are the moments when you have to prove you've really got it," he told the San Jose Mercury News in 1998. "So, I began by telling them I wanted to apologize, on behalf of my people, for screwing up their harbor."

The vets roared. He went on to build a two-decade career in nightclubs, but not until he began making movies was he was able to develop a believable Japanese accent. He won the audition for the sensei in "The Karate Kid" even though he had no martial arts experience and the producers wanted a Japanese rather than a Japanese American actor. He agreed to use his given name, Noriyuki, rather than his stage name of Pat, for the credits, to make him sound more ethnic.

He is survived by his wife, Evelyn, and three daughters from a previous marriage.

http://www.washingtonpost.com/wp-dyn/content/article/2005/11/25/AR2005112500990_pf.html

WKRP -- Saw that episode as it was dropped, er, unleashed on an unsuspecting world.

Whew!

Paul

“NCIS” becomes a hit by stealth

By Noel Holston Newsday Staff Writer

NCIS is:
a) a North Carolina manufacturer of island-style sportswear
b) the chemical formula for common table salt
c) a TV show about naval crime investigators
d) a protege of rap artist 50 Cent, pronounced "In-chiss."

Chances are you found this little multiple-choice teaser a piece of cake. "NCIS," CBS' Tuesday night drama about agents of the Naval Criminal Investigative Service, is now an undisputed prime-time hit, reaching a personal-best fifth place in the weekly Nielsen standings recently. Key word "now."

A little more than two years ago, the show's namesake was so unfamiliar that more than a few people might have taken it for a rapper or a condiment. Series co-creator and executive producer Donald P. Bellisario made the agency's obscurity a running joke in the early scripts. Unlike, say, FBI agents, the NCIS operatives didn't just have to identify themselves. They had to explain.

What's really remarkable about "NCIS" is not that it has become a hit. Bellisario has a legacy of prime-time success going back to "Magnum, P.I." and continuing, most recently, with "JAG." It's that "NCIS" has grown into a top-10 stalwart so quietly.

Emmy nominators have ignored it. It rarely appears on critics' best-of lists. Entertainment Weekly, the bible of pop-culture trend-worthiness, is more likely to feature a ratings-challenged series such as "Arrested Development" on its cover. TV Guide has showcased "NCIS" stars, but then again, TV Guide puts NASCAR drivers on its cover. "NCIS" is a stealth hit, loved only by the viewers who love it.

Bellisario suspects he knows why. In Hollywood and New York, the media meccas, urban angst is always in style, the former Marine said recently on the phone from the "NCIS" set in Los Angeles. "I come from a small coal-mining town in Pennsylvania," he said. "I don't write urban angst. I write the old John Ford-Howard Hawks sort of thing. John Wayne. I guess it's a little of a cowboy mentality, but I also like [my shows] to have some heart. The guys who are the toughest on the outside are the softest inside."

If that explains why Bellisario's shows, with the exception of "Quantum Leap" and maybe "Magnum," have never been anointed "cool," it doesn't explain why "NCIS" is not only a hit but a hit that's still expanding its audience. People don't watch shows to spite the critics. They watch actively, not re-actively.

Here are four reasons or, if you prefer, theories:

1. Mark Harmon: The onetime UCLA football star that People once declared the sexiest man alive is now, at age 54, an accomplished actor who, in a great TV tradition pioneered by James Garner, manages to make it look as if he's not trying. His NCIS special agent, Jethro Gibbs, is one of those hard-shelled, soft-centered guys' guys Bellisario loves to write, a clear-thinking, decisive leader in whose crankiness his subordinates take an almost masochistic pleasure.

Harmon is unfailingly modest about his importance. In a telephone conversation, he praised his supporting cast's ability and amiability. "This cast likes each other," he said. "Honestly likes each other. We have a good time doing it, and that's what you're seeing on the screen.''

He also gushed about Bellisario. "He's a rare bird. I've worked with Aaron Sorkin. I've worked with David Kelley. He does more than any of those people. He writes, he produces, he directs, he edits. And he's 70 years old."

Still, Harmon is as much the centerpiece of "NCIS" as Tom Selleck was of "Magnum." Bellisario likens him to a quarterback, which of course Harmon was.

2. Jocularity: "Law & Order" has its Lenny Briscoe Memorial Wisecrack of the Week, and "CSI: Crime Scene Investigation" has its goofy moments, but for a procedural crime drama, "NCIS" is aggressively lighthearted, even wacky, regardless of the sometimes grisly plots. Much of the comedy springs from the teasing relationships of agent Tony DiNozzo (Michael Weatherly), a self-styled ladies' man, handsome yet hapless, with Tim McGee (Sean Murray), a newer, nerdier agent, and Ziva David (Cote de Pablo), an exotically beautiful Israeli whose tendency toward malaprop English belies her investigative and interrogative experience.

At demographically calculated extremes of age, there's also TV veteran David McCallum ("The Man from U.N.C.L.E.") as Dr. Donald "Ducky" Mallard, an eccentric medical examiner, and Abby Sciuto (Pauley Perrette), a forensics specialist who looks like a refugee from an all-girrrl punk-rock band. Throw in Harmon's prickly father hen and you have an ensemble that brings more organic playfulness to their interaction than a lot of sitcom casts.

3. Visual pizzazz: The knock on "JAG," the now-retired Bellisario hit in which the "NCIS" characters were introduced, was that it was old-school and stodgy. No one would ever apply those adjectives to "NCIS." No series currently on the air is more forcefully stylized.

For starters, it's almost never still. Recalling his memorable guest-arc on "The West Wing" the year before he got "NCIS," Harmon said "the air was different on that set. It was like a train rippin' by a hundred miles an hour, and you were supposed to grab a strap and hang on. There's some of that in this show.

"Most shows have between 500 and 600 edits in an hour," Harmon continued. "We have almost 1,500. We shoot a lot of cameras on any given take. You come on our show worrying about where the camera is, you're in trouble right away. There's a dance that goes on all the time. You've got to be ready to dance."

Bellisario, an old dog who likes new tricks and isn't too proud to borrow, said he was knocked out by director Doug Liman's whiplash visual style of the spy thriller "The Bourne Identity" in 2002. "I really admired the way 'Bourne' was shot," he said. "From the start, I sat down with Billy Webb, our cinematographer, and we designed the show together. I wanted nothing like before, not the shooting, not the editing. I said, 'I don't care if we cross the line, I just want to get in there and cut faster and faster.'"

The result is like the cinematographic equivalent of break-dancing -- or krunking -- and probably accounts, along with the younger cast members, for the fact that "NCIS" pulls in many more 18-to-49 viewers than "JAG" ever did. Bellisario continues to enliven the show's visual palette. Each act begins with a brief black-and-white snippet that freeze-frames into what will be its climax. To deepen characters' back stories, he has begun to use flashbacks shot on distinctive, grainy 16mm film.

Here again, he's borrowed -- from "Man on Fire," a 2004 Denzel Washington movie directed by Tony Scott. "I loved that technique so much," Bellisario said. "I'm also doing surprising little things, little arcs within the show that you're not expecting. I keep trying to think of new ways to turn the show, to make it different, to make it exciting."

4. Sensationalism: Not for nothing did the Parents Television Council (PTC), a TV watchdog group, recently file a complaint with the Federal Communications Commission demanding that CBS affiliates be fined for showing "NCIS." The episode in question involved the bloody apparent throat-cutting of a Navy wife who was making extra money performing live sex shows on the Internet. The complaint could just as easily have cited a subsequent episode in which agents DiNozzo and David, posing as husband-and-wife assassins in a sting operation, simulated sexual intercourse to make spying eyes buy their ruse.

"NCIS" is arguably the best show on TV on Tuesdays at 8 p.m. It is unquestionably the most adult in terms of content, and if that's a turn-off for the PTC, it's a turn-on for a lot of other viewers.

Bellisario makes no apologies. Though the interview for this article took place before the PTC filed its complaint, the subject of the appropriateness of "NCIS" for 8 p.m. -- 7 p.m. Central -- did come up.

"I have never gone by 8 o'clock, 9 o'clock, 10 o'clock in making my shows," he said. "I just never have." He said he makes the shows he wants to make, tells the stories he wants to tell and leaves it to the network to decide where and when to schedule it.

And who knows? That indecency complaint may finally make Hollywood pay attention.

http://www.newsday.com/entertainment/tv/nyc-ncis27,0,471653,print.story?coll=ny-television-headlines

Remember, Russ, the schedule change was simply an experiment to see if "Threshold" could improve its awful Friday ratinngs performance. "Close To Home" immediately gained more than 25% over "Threshold" when it moved to the Friday time slot.

But "Threshold" lost about a third of th "Close To Home" audience when it made its first appearance on Tuesday.

CBS stayed with this longer than I expected, to be honest. But at least instead of whacking two shows, it was able to salvage one, and build an apparently fairly strong Friday night lineup.

One of the (usually unmentioned) reasons networks don't wait as long any more to cancel shows is that they no longer have many dominant programs where they can promo the stragglers. When even a hit show is only drawing a 15 share, that doesn't give a very big platform to promote the shows that need help.

IMO, it is the writers/creators faults. If they would have had the latest episode within the first three episodes I betcha the show would be in much better shape. This show was not well planned out. Think about this just about every episode could have been shown at any point in the season and no one would have known the difference.

You can potentially blame three groups when a show gets cut. The network, the audience or the writers/actors/creators. I'm going with the latter for sure on this one.

Chuck

Friday’s overnight network prime-time ratings have been posted at the top of Latest Prime Time Ratings news which is the second post in this thread.

...You can potentially blame three groups when a show gets cut. The network, the audience or the writers/actors/creators. I'm going with the latter for sure on this one.

Chuck

That is a very refreshing point of view!

In almost every case here, people blame either the "stupid network" or the "ignorant viewers" when their favorite shows get whacked.

I think CBS shares some responsibility, since
a) the time slot was a disaster, and
b) it coud have kept a far tiher rein on the creative aspects of the show.

But I guess it boils down to your point: If a show meanders and seems somewhat aimless, it is hard to blame anyone but those who created it.

Threshold has only itself to blame. They took a great cast, a great premise, and delivered a great pilot - then followed that with shows that went no where and had no depth, turning it into CSI: Alien.

Boring.......

But if it started out with 8.61M viewers and really never lost it (the season average includes the repeats) how can you say that?

Sci-Fi shows never seem to attract a large audience, with just a few exceptions. Hell, would Invasion still be around if not for the fact that it's lead-in is Lost?

I think that show has struggled much more than any of the others.

As much as anything else I think Threshold's premise of secrecy annoyed me. If the human race was at war for its survival it would not be kept a secret. We would be throwing any possible resource at it. The idea a few people would be single handedly assigned by the govt. to deal with it was just silly. Imagine trying to fight World War II but keep it a secret.

Threshold was just implausible no matter how they try to explain it and I couldn't get past that when half the effort of each plot was trying to hide what they were doing.

I'd rather see Carla G. move on to something else.

- Tom

Not sure what you expected in 9 episodes.

The Changing Face of “Monday Night Football”

By Leonard Shapiro Washington Post Staff Writer Sunday, November 27, 2005; Y04

Twenty years later, the "Monday Night Football" game on Nov. 18, 1985, still ranks as one of the most gruesomely memorable evenings in the 36-year history of the longest-running and most successful football series in television history.

That was the night Joe Theismann's playing career ended, and for all intents and purposes his broadcasting career began. It was the second quarter between the Washington Redskins and the New York Giants when Washington running back John Riggins took a handoff from

Theismann, charged a few steps toward the line, then wheeled and pitched the ball back to his quarterback for a classic flea-flicker.

Three Giants linebackers saw the trick play coming and headed toward Theismann at virtually the same instant. Lawrence Taylor slammed the quarterback, and Theismann's right leg -- which was planted at a bad angle -- snapped.

There is some irony that the injury occurred on "Monday Night Football," because next fall, Theismann will move into the "Monday Night" booth when the series switches over from ABC to the network's corporate cousin, ESPN. He'll be in a two-person booth with Al Michaels, replacing Michaels's current partner, John Madden, who will move to NBC to broadcast football on Sunday nights.

"It's extremely special for me to do Monday nights," Theismann said in a recent interview. "I'd like to think it will be just as successful on ESPN as it has been on ABC."

"Monday Night Football" might be a success now, but back when the idea of the show was first introduced, it was met with harsh skepticism in the television and football industries -- the very concept of airing a sports event in prime time went against all the conventional thinking of the day.

But Cleveland Browns owner Art Modell, the NFL's longtime television committee chairman, and ABC Sports impresario Roone Arledge finally were able to persuade ABC, then dead last in the network ratings, to take a chance and air the games in prime time. The Browns, in fact, appeared in the first "Monday Night" game against the New York Jets on Sept. 21, 1970.

Arledge, arguably the greatest sports producer in the history of television, also knew it would not be enough simply to air the game. He purposely placed controversial broadcaster Howard Cosell in the first three-man booth in football history that year, with play-by-play man Keith Jackson and former Dallas Cowboy quarterback Don Meredith.

Jackson left the booth to do college football the next year and was succeeded by former New York Giant Frank Gifford on play-by-play. Gifford had the longest run of any "Monday Night" broadcaster, with 28 years in the booth. The play-by-play between the Brooklyn-born Cosell and the folksy Meredith, as well as Cosell's brilliant and often seat-of-the-pants commentary on halftime highlights, also made "Monday Night Football" compelling television.

When the series first went on the air, there were only three major networks, and "Monday Night Football" more than held its own in the ratings and audience share. Now, ABC estimates that as many as 50 million viewers watch, and the show has remained a fixture in Nielsen's Top 10 for the past 15 years.

Theismann joins a long list of what the late, loquacious Cosell once described as the "jockocracy" in the broadcast booth. Former NFL players Fred "the Hammer" Williamson, Alex Karras, Fran Tarkenton, O.J. Simpson, Joe Namath, Dan Dierdorf, Boomer Esiason, Dan Fouts, Gifford and Meredith all took turns in the booth -- as did comedian Dennis Miller for two years.

Michaels, himself a 20-year veteran of the "Monday Night" booth, is perhaps the finest play-by-play broadcaster of his or any other generation, and Theismann has proved to be an extremely capable analyst for many years on ESPN's Sunday night broadcasts. "Some of the greatest events in sports have been on 'Monday Night Football,' " Theismann said. "The players love being in the game. The fact that you're playing on a national stage, and all your peers and all of America is watching you perform, makes it even more exciting for everyone, including the announcers. For me, it's going to be really special."

http://www.washingtonpost.com/wp-dyn/content/article/2005/11/22/AR2005112202073_pf.html

I'd rather see Carla G. move on to something else.
Me too, but how many failures before they give up on her????

Hopefully the next one for Carla will be a success!

She just needs the right vehicle. Karen Sisco would seemed to have been that vehicle but ABC didn't think so. I honestly think another crime drama is going to be her best bet. Threshold may have worked but they never seemed to get it out of granny low gear and move it along.

I agree, it is too bad ABC had nothing to pair Karen Sisco with to give it a decent lead-in.

The HD football schedule, the first post in this thread, has been updated with confirmation that all three NCAA football games next Saturday on ABC will be in HD. There also is updated conference title game and bowl matchups.

But if it started out with 8.61M viewers and really never lost it (the season average includes the repeats) how can you say that?

Sci-Fi shows never seem to attract a large audience, with just a few exceptions. Hell, would Invasion still be around if not for the fact that it's lead-in is Lost?

I think that show has struggled much more than any of the others.

I'm a huge SciFi fan. The problem with Threshold is people like me, who watched every episode, did not have a decent reason to recommend the show to others. It only appealed to SciFi fans, and it turned out to be bad SciFi - where do you go from there?

Great cast, interesting premise.

Holiday Viewing

(I am still moving too slowly after Thanksgiving, so I'll take the lazy way out.)

Courtesy of the Charlotte Observer, here is another list of holiday TV shows through January 1:

http://www.charlotte.com/mld/charlotte/entertainment/television/13248153.htm?template=contentModules/printstory.jsp

(More) Holiday Viewing Advice

Courtesy of one of my favorite TV writers, Charlie McCollum of the San Jose Mercury News, here is another list of holiday shows. Unlike the others I have posted, his is a brief list, consisting only of shows Charlie thinks you shouldn’t miss this holiday season::

http://www.mercurynews.com/mld/mercurynews/entertainment/television/13262013.htm?template=contentModules/printstory.jsp

I don't mean to complain, but you do realize you just posted the same thing back to back?

Nope, I sure didn't realize it, Russ. Thanks for noticing.
(Edit made)

As much as anything else I think Threshold's premise of secrecy annoyed me. If the human race was at war for its survival it would not be kept a secret. We would be throwing any possible resource at it. The idea a few people would be single handedly assigned by the govt. to deal with it was just silly. Imagine trying to fight World War II but keep it a secret.

Threshold was just implausible no matter how they try to explain it and I couldn't get past that when half the effort of each plot was trying to hide what they were doing.

I'd rather see Carla G. move on to something else.

- Tom

I think it would be just like the government to realize the gravity of the threat but not put anymore into it than necessary. They thought they could contain it so giving one group unlimited resources to take care of the job seems about right. It is not like tripods had landed and were marching across the land. :) I liked being inside the conspiracy for once instead of trying figure out why there was a conspiracy.

I think if they would have had that baby conceived earlier and had it born during sweeps they might have had something.

Chuck

What's best/worst? A few picks

By Joanne Ostrow Denver Post TV Critic Nov. 27, 2005

Lists are arbitrary but useful prompters, jogging our memories and sparking debate. Twice a year TV critics are surveyed by a trade publication, Television Week, to assess the tube's best and worst.

The "worst" category is always toughest, an overcrowded field with hundreds of hours on dozens of channels contending for the title. Thankfully, the "best" category was not difficult to fill this year.

Consider my offering to Television Week as a starting point for discussion.

The 10 best shows on TV aired since July 11, 2005, (not in repeats) from broadcast, cable or syndication:

1. "Lost," ABC: This is the top-of-the list winner for its smart plotting, suspenseful pacing, well-conceived characters and clever mythology. Plus, there's room for deeper investigation away from the TV set.

2. "Everybody Hates Chris," UPN: One of several comedies reviving the form, Chris Rock's childhood proves fertile ground for smart humor, with his voice-over narration adding the ultimate zing.

3. "Veronica Mars," UPN: Growing into its full potential, the "girl detective"-themed show goes much deeper than it sounds.

4. "My Name Is Earl," NBC: Just call it fun with white trash. The cheeky narration makes the blue-collar shenanigans accessible to all audiences.

5. "House," Fox: Hugh Laurie's performance is a delight even when his character becomes a tad too misanthropic to be believed.

6. "Commander in Chief," ABC: There's hope for this high-potential, underachieving series that continues to intrigue as it finds its way. While the depiction of gender roles is fodder for argument, there's no denying Geena Davis is a stunning screen presence.

7. "Prison Break," Fox: Wentworth Miller and Dominic Purcell carried this sleeper of a show to breakout status. The endlessly complicated plot is a challenge, but the series clicked in its initial run and will return in May.

8. "Arrested Development," Fox: Maybe you had to be a critic, worn out by too many predictable, tame and tepid sitcoms. Maybe you had to love irreverence. Maybe it's time to stop crying over the fact that the public didn't embrace this clever comedy and move on.

9. "Grey's Anatomy," ABC: The situations can be ridiculous, but the characters are well drawn and the love triangle seems a rich story source. (And, hey, ridiculous situations never hurt the popularity of that other hospital drama, on NBC.)

10. "Bones," Fox: The interplay of Emily Deschanel and David Boreanaz lifts this forensic anthropology mystery above average. It's not as horrifically gruesome as most of TV's crime procedurals, either.

My picks for the five worst shows on TV: (Several of these, wisely, have been put out of their misery.)

1. "Criminal Minds,"
CBS: Mandy Patinkin and Thomas Gibson make like "CSI," only ickier.

2. "Killer Instinct,"
Fox: Cops in San Francisco who somehow misfired.

3. "Head Cases,"
Fox : Chris O'Donnell and Adam Goldberg as mismatched, nutjob lawyers.

4. "Brat Camp,"
ABC: A tough-love reality show in which parents put their maladjusted teens on display for the nation.

5. "The Night Stalker," ABC: Carl Kolchak again in an unfortunate remake.

My three best movies/miniseries/specials:

1. "Bob Dylan: No Direction Home" PBS: The amazing authorized biography with extended musical sequences and semi-revealing interviews of the mystery man was an offering from "American Masters."

2. "Yesterday" HBO: This was a moving story of AIDS and South Africa, beautifully told.

3. "Pope John Paul II" CBS: Even with critical lapses and a gloss on the history of the church, this four-hour miniseries stands as better than average.

My three worst movies/mini-series/specials:

1. "The Poseidon Adventure," NBC: It was close but not quite awful enough to be campy entertainment.

2. "Silver Bells," CBS: Syrupy, unreal fluff; must be the holidays.

3. "Category 7: End of the World," CBS: With a ridiculous script and laughable characters, it was beyond the help of special effects.

The survey also asks critics to name which networks have most and least improved their schedules. Last year, the most improved was ABC. This year, UPN (!) gets the distinction, having two strong shows ("Veronica" and "Chris") on the schedule. For a small network like UPN, two is all it takes.

Least improved is Fox, which desperately needs to fast-forward to January and the return of "American Idol" and "24."

Speaking of arbitrary, the magazine wants to know, "Which three TV networks could you not live without?" That depends on time of day, mood, season and news. But ABC is a must as long as "Lost" holds up; CNN is a must, just because; and Animal Planet is the No.1 favorite of the kid in the house.

http://www.denverpost.com/ostrow

The 2005-2006 Season
Nets ready to play the sked shuffle
Webs position for very competitive second half of the season

By RICK KISSELL Variety.com

Visions of sugar plums may soon be dancing in their heads, but network execs also have their sights set on something else: improving at midseason.

As the November sweep comes to a close, each net is positioning itself for what should be a very competitive second half of the season.

The webs' needs range from a rock-solid Eye, which really has only a couple of hours to worry about, to the WB, where nobody would be shocked by some significant sked moves.

Here's a look at each net's areas of concern:

CBS

Eye has improved several timeslots with rookie successes and now is focused on Tuesday at 10 and Wednesday at 8. "The Unit," an action drama about Special Forces operatives, may get a shot on Tuesday, where it would join a lineup with good male appeal. Net also has a comedy starring Julia Louis-Dreyfus that could air Monday or Wednesday.

ABC

Trouble spots are Tuesday at 8 (where options are limited if "American Idol" remains there) and all of Thursday, where the net must do some experimenting after averaging a mere 2.1 Nielsen rating in adults 18-49 this fall. "Dancing With the Stars" was a good choice to kick off Thursday, where it won't have to immediately face CBS' "Survivor." [/B] That gives the net a chance to try a new drama behind it, possibly the promising "In Justice" at 9. ABC could also use something to boost Friday, where it's doing OK but is losing ground to a rising CBS. The "Dancing" results show and the return of "Less Than Perfect" might be the ticket.

Fox

Possible shift of "American Idol" to Thursday has its rivals in sked quicksand, but this net's focus should be on Friday, where its listless lineup is averaging a 1.6 rating in 18-49 -- the lowest for any of the Big Four on any night. Net needs to take a risk on Friday, and "Skating With Celebrities" could play on the night, although Monday seems more likely. Otherwise, don't look for much new product on the net until March.

NBC

Most glaring trouble spots are Wednesday at 9 between "E-Ring" and "Law & Order" (a return there of "The West Wing" is the obvious choice), Sunday at 8 (quirky new drama [B]"Book of Daniel"[B] might be a good fit) and all of Friday night, where it's down 28% year-to-year. Lottery drama[B] "Windfall"[B] is the kind of high-concept idea that could call attention to itself on Friday opposite lesser competish. As for Thursday, here's a vote to move [B]"My Name Is Earl" [B]and [B]"The Office" [B]from Tuesday while resting [B]"The Apprentice." [B]And a double-pump of [B]"Scrubs" [B]would be a good way to reintroduce that neglected show to Tuesday.

UPN

Net programs only eight hours if you exclude wrestling, so its problems are minimal. Sudser [B]"South Beach"[B] could go Tuesday at 9, but that's where similar-genre [B]"Sex, Lies & Secrets" [B]crashed and burned earlier this fall. Rest of the lineup figures to stay put.

WB

Net has perhaps the toughest sked decisions to make, compounded by the fact that current 9 o'clock dramas [B]"Everwood"[B] on Thursday and [B]"Supernatural" on Tuesday are obviously much better suited for each other's timeslot. [B]"Pepper Dennis,"[B] starring Rebecca Romijn as a Chicago TV reporter, could work on any of several nights, and the college-set [B]"Bedford Diaries"[B] could play at some point on Tuesday or Wednesday at 9. Net also may want to try something unscripted on Friday, perhaps the second edition of [B]"Beauty and the Geek."

The 2005-2006 Season
Kyle Secor is Second To None
First gentleman treads new ground

By Mike Duffy Detroit Free Press TV Critic November 27, 2005

You can't go running amok in the White House, even if it is a make-believe White House.

That's one lesson former "Homicide: Life on the Streets" star Kyle Secor has learned while playing initially frustrated first gentleman Rod Calloway to Geena Davis' forthright, take-charge President Mackenzie Allen on "Commander in Chief."

The spirited political drama, airing at 9 p.m. Tuesdays on ABC, quickly became the fall season's top-rated new series. It's been ranked in the Top 10 prime-time shows much of the fall and is averaging nearly 16 million viewers each week.

Back in the day when he was playing impetuous rookie Detective Tim Bayliss on "Homicide," Secor did what came naturally.

"I was just young enough and raw enough and dumb enough to do it on instinct," recalls Secor of those early years on "Homicide" in the mid-1990s. "But the political world is a more regimented world. It's a challenge for me.

"My natural instinct is to kick and bite and scream. You can't do that at the White House. It's a tea party," notes Secor wryly. "You have to be more under control."

And so on "Commander in Chief," which is built around the charismatic performance of Davis as America's first female president, Secor's been enjoying the acting stress test of portraying a man who's adapting to an unprecedented change in both his and his wife's life.

"Rod's an innovative survivor," says the 48-year-old Secor of his White House alter ego. "He's smart and talented. But he's not the visionary; Mac's the visionary. He's the manager. He loved the first gentleman thing. But he doesn't like putting together state dinners."

When "Commander in Chief" premiered, with Vice President Mackenzie Allen touched by historic Oval Office fate when the president died suddenly, Rod Calloway quickly had to cope with his own unusual new role.

He'd been Mac's savvy chief of staff when she was the vice president.

But now he was expected to back off from politics and adjust to a position previously occupied only by women, subjected to playful first lady wisecracks about fashion, food and interior design

"I picked up some books on first ladies like Eleanor Roosevelt, Hillary Clinton and Laura Bush," says Secor, who talked recently by phone from the "Commander in Chief" set in Los Angeles.

The show's producers had also done some research, including a phone chat with Michigan first gentleman Dan Mulhern, husband of Gov. Jennifer Granholm, to get a feel for how men adjust to a role traditionally filled by women.

But for Kyle Secor, getting ready to play Rod Calloway essentially involved a personal "What if?" exercise. What if Hillary Clinton was elected president?

"I thought a lot about Bill Clinton," say Secor. "It was interesting to me as an actor to imagine what he would be like as the first gentleman."

The mind boggles.

Meanwhile, the imposing, 6-foot Davis is surrounded by what may be the tallest supporting cast in television.

"I think I'm the only one who really plays basketball," jokes the 6-foot-5 Secor, who passionately played hoops in school while growing up in Federal Way, Wash.

As the first woman president, Davis is a perfect fit, says her first gentleman.

"Geena is extraordinary. She fully brings out the integrity and the power and the dignity of the office," explains Secor. "That's how she conducts herself at work, too. She's the leader."

During the early weeks of "Commander in Chief," Rod Calloway became increasingly agitated by what he felt was his diminished status, making snarky jokes to his presidential wife about being appointed secretary of pillow talk or deputy chief of got your back. He even toyed with an attractive job offer to become the new commissioner of Major League Baseball.

But when a gossipy book was about to be published, one that might have politically embarrassed the new president, Mac immediately called on Rod to handle the crisis. Mission accomplished.

And though it raised the hackles of White House chief of staff Jim Gardner (Harry Lennix), Mac then named her husband a strategic planning adviser. He'll be hanging around the West Wing, planning his wife's election campaign moves. And he and Gardner will remain at odds, dueling White House alpha males.

"I'll definitely be more involved in Mac's political life," says Secor, sounding pretty darn happy. "I'm going to start stepping on toes a bit."

It's not kicking and biting and screaming. But it's a start.

http://www.freep.com/apps/pbcs.dll/article?AID=/20051127/ENT03/511270321/1038&template=printart

Holiday Viewing
How about another holiday season list of viewing suggestions?

This one from Roger Catlin of the Hartford Courant:

http://www.ctnow.com/tv/hce-holidaytv.artnov22,0,3702417,print.story?coll=hce-headlines-tv

Saturday's Nielsen ratings have (obviously!) been delayed. I'll post them when I get them.

Maddening mystery

By Bob Raissman New York Daily News Sunday, November 27th, 2005

Following tomorrow night's Steelers-Colts "Monday Night Football" tilt, only four games remain before the lights are permanently turned out on the 35-year-old ABC series, which ranks as the second-longest running show ("60Minutes" is No.1) in the history of prime-time TV.

And while "MNF" analyst John Madden, or anyone associated with him, probably won't admit it, there's concern over who his new play-by-play partner will be when the Big Man moves to NBC's new Sunday night NFL package in 2006.

In fact, it is surprising that Madden even signed a deal with NBC without knowing his sidekick. Madden is a creature of habit. He doesn't like surprises or change.

Now, he's facing both.

Of course, there is always the chance that someone at NBC, like Peacock Sports boss Dick Ebersol, told Madden not to worry. Or maybe some suit even promised Madden something NBC now can't deliver.

One thing is certain. Madden was given the right - rightfully so - to have a huge say on the play-by-play guy. This is probably why Madden signed on the dotted line before knowing who it would be.

Back in the summer, when Ebersol said Tom Hammond was a prime contender for the Sunday night NBC football gig, Madden was outspoken in his opposition to that move. That's why Hammond has been crossed off NBC's list of candidates.

"It was nothing personal," a well-embedded mole said. "John just didn't think it (a Madden/Hammond team) was the right fit."

For Madden, "fit" is important. The knowledge comes from knowing what makes a successful partnership, like the one he had for 20 years with Pat Summerall. And his short run with Al Michaels on ABC also worked pretty darn well.

Michaels already is signed to star on ESPN's "Monday Night Football" when it debuts in 2006. Since the summer, the same names have surfaced for the NBC play-by-play gig - whether it is Bob (Rapping Roberto) Costas or Marv Albert or Cris Collinsworth.

Yep, getting Madden a suitable partner is not only turning out to be hard work, but turning into somewhat of a mystery.

Tuesday night, on the next edition of "Real Sports with Bryant Gumbel" (maybe Gumbelino could join Madden in the booth), Madden tells Bernard Goldberg during a story about the demise of "MNF" that he is "very sad" about the death of a TV sports institution.

"I mean, it's not the right thing. I mean it shouldn't have happened that way," Madden said. "Here you are: Pfffft! You know, pulled out from under you. It's just not there anymore."

Is Madden melancholy about the past? Or does sadness come from having to look forward to a heaping helping of uncertainty?

http://www.nydailynews.com/sports/story/369369p-314287c.html

Saturday’s network prime-time ratings are now at the top of Latest Prime Time Ratings (the second post in this thread).

Rated C (for Christmas)
Two new shows (not classics) join this year's holiday season lineup

By Robert P. Laurence San Diego Union-Tribune

I can't believe I'm writing this, but Tom Arnold's new Christmas movie isn't too bad.

That's it. Don't ask for more. Christmas spirit only goes so far.

Arnold, whose acting is usually so amateurishly egregious (and egregiously amateurish!) I always wonder how he got the job, actually achieves borderline believability as a mobbed-up Las Vegas casino operator, one of several shady characters in USA's "Three Wise Guys."

Safe to predict, though, "Three Wise Guys" will not enter the pantheon of holiday classics that come around every year as sure as Norelco and Chia Pet commercials. It's cute, but it's not "A Charlie Brown Christmas."

Nor is "Silver Bells," a new "Hallmark Hall of Fame" entry from CBS in the holiday field, starring Anne Heche and Tate Donovan.

Taken from a Luanne Rice novel, "Silver Bells" tells once more a well-worn story: A family breaks apart one Christmas, and reunites the next. A hard-hearted father learns to be more understanding, and his son learns a few things, too.

Will romance blossom? You can bet your rare 78-rpm copy of "We Wanna See Santa Do the Mambo" on it.

"Three Wise Guys" is a shade more interesting, if only because it's based, however loosely, on classic material. Damon Runyon's story about the Christmas Eve adventures of a trio of inept mobsters is a short, sweet masterpiece.

Judd Nelson, Nick Turturro and Eddie McClintock play the guys in question, assigned to track down a girlfriend for for their boss, played by Arnold.

It's Christmastime, of course, and the very pregnant girlfriend (Jodi Lyn O'Keefe) is named – what else? – Mary.

The slapstick humor is overplayed, the Christmas parallels are laid on with a trowel, the sentiment is mawkish, but there's quite a bit of fun along the way, much of it thanks to the always excellent Katey Sagal as Arnold's hardheaded but softhearted wife.

http://www.signonsandiego.com/entertainment/remote/20051125-9999-lz1c25remote.html

Holiday Season Viewing
Ho no! Brace yourself for a storm of holiday shows -- from super to sappy

By Melanie McFarland Seattle Post-Intelligencer TV Critic Monday, November 28, 2005

The appearance of wreaths. The galaxy of twinkling lights on your neighbor's house. The fact that the neighborhood jolly, happy soul has attached mistletoe to his tinfoil hat, and has taken to chasing you down the street while demanding some "hot sugar." And we don't mean for baking.

All are clues that it's beginning to feel a lot like our favorite winter holiday, although none knocks you over the head like the inundation of televised holiday cheer.

So rejoice, couch elves! Bask in the uplifting feeling that accompanies sitting down to watch your favorite television series, only to find out it has been replaced by dancing clay! And let's hear it for movies about optimistic orphans! And what about that tear-jerker about Christmas shoes? When those aren't on, odds are you're getting either a rerun or a show that has been canceled. Kathie Lee Gifford was right, it really is the most wonderful time of the year.

Aw, shucks, we're not really bitter about holiday TV. In fact, we have a lot of great memories associated with the tradition. Who doesn't look forward to the annual running of the Rudolph? And how can you refrain from mistiness as, yet again, an angel dissuades George Bailey from offing himself? It takes a hard heart not to be moved by such iconic entertainment, as well as some of your better modern made-for-TV films.

Problem is, there's a lot of schmaltz out there, too, and ho, ho, whoa, is it ever awful. Watching too much of it can drive a grown person to wait up for Santa Claus on Christmas Eve -- for the sole purpose of shaking a fist in his face and yelling, "Git off mah propitty!"

That's why the P-I has put together this crackpot guide to some of our favorite holiday TV shows, in addition to others you may want to avoid. May it help you greet the bearded man with a full plate of cookies and a glass of milk instead of empty threats.

You can see Melanie’s list by clicking here:
http://seattlepi.nwsource.com/printer2/index.asp?ploc=t&refer=http://seattlepi.nwsource.com/tv/249793_tv28.html

Holiday Season Viewing
What yule be watching this season

By Aaron Barnhart Kansas City Star

The network publicist’s e-mail caught my eye. “Likely to Become a Perennial,” it said. I opened it to read a press release announcing the arrival of yet another new Christmas TV special.

The publicist was just doing her job. But face it: You can almost count the number of true holiday TV perennials on two mittened hands.

I glanced at the listings from a decade ago and found a pattern nearly identical to this year: a short list of repeating favorites and a much longer list of one-timers like the “Kenan & Kel Christmas Special” and Angela Lansbury as “Mrs. Santa Claus.”

It’s not just TV land where this happens. Mel Torme was said to have spent years composing holiday tunes in the hopes of minting another standard to go with “The Christmas Song.” And raise your hand if you own any of the following: “One Wish: The Holiday Album” (Whitney Houston), “Christmas Portrait” (The Carpenters) or “This Christmas” (98 Degrees).

I’m not saying that the following roundup of holiday entertainment doesn’t have its share of gems. Just know that most of them are fated, like the Chicago White Sox tree ornament, to be forever identified with the 2005 season.

Here they are, ordered by the days of Christmas:

http://www.kansascity.com/mld/kansascity/entertainment/columnists/aaron_barnhart/13243204.htm?template=contentModules/printstory.jsp

What NBC Needs
With a Nip Here and a Tuck There, Can Kevin Reilly Save the Peacock?

By Christopher Lisotta TVWeek.com November 28, 2005

Earlier this month Kevin Reilly appeared almost evangelistic in comments about the freshman family show "Three Wishes."

"This is an uplifting and emotionally engaging show that really captures the joy of people helping people," Mr. Reilly, president of NBC Entertainment, said in a statement. "We're pleased with the growth this series has shown and encouraged by the response from both viewers and critics who have rallied behind 'Three Wishes' and praised it as a quality family show."

The statement went on to say that NBC had greenlighted an additional six episodes of the Friday night series, in which contemporary Christian singing superstar Amy Grant and her team grant wishes, both big and small, to the residents of various locales.

Then, days later, word came that NBC had reversed itself and was not ordering six more episodes of the show. The reason seemed to be twofold, sources said: budget concerns at the network and the fact that CBS had moved "Close to Home" against it, making it more difficult for "Three Wishes" to improve its ratings.

"Wishes" executive producer Andrew Glassman wasn't happy. "It was a quality show that was scheduled at the wrong time," he told Daily Variety. "Other networks made bold strategic moves to get sampling [for their shows]. We didn't have the same support."

It wasn't the first time that NBC had tinkered with the nascent series. Last month the network announced it would move "Three Wishes" to Wednesday night, changing places with "E-Ring" for that week. A few days later the network decided it would not do that.

Neither of these incidents reflects well on Mr. Reilly. Why the flip-flops? Is it his own indecision or is it that these decisions get overturned by NBC Universal Television Group President Jeff Zucker once he gets wind of them? Whatever the answer, it isn't good.

Part of what one must do as a network president is be decisive. One industry insider noted that Mr. Reilly has been criticized for failing to make timely programming decisions and for being unable to articulate his decisions to his staff and executive producers, which the insider said are "really bad traits in a creative executive."

Asked about "Three Wishes," Mr. Reilly told TelevisionWeek, "'Three Wishes' was one of those shows where it was a tricky decision. It's been very well produced but it has struggled on Friday night. It's not an easy decision to make. With the exception of 'Inconceivable' all of our new series have been renewed. 'Three Wishes' is a tricky one. We're even having conversations now about keeping that show. Unfortunately, it's not a slam dunk when you're pulling the numbers [the show has pulled]-Amy Grant has been a dream. There was some confusion. It depends if you want to spin it. We are trying to keep something going."

Still, the fact is NBC made two very clear announcements about the show and then reversed itself both times.

For NBC and parent General Electric, the stakes are high. The network's slide from the top has been precipitous. In the category that the network itself has long defined as the only one that matters, adults 18 to 49, NBC has gone from a 5.3 rating with a 13 share in the 2001-02 season to a 3.3 rating with a 9 share thus far this year. In the November sweeps for the first 19 days its ratings are down an astonishing 22 percent from last November.

NBC's slide has started to translate into real money. During this year's upfront the company wrote close to $1 billion less than it did last year.

Affiliates are worried that the network's decline will soon affect one of their most important profit centers, their late local news. Indeed, season to date, NBC's 10 p.m. shows are down 35 percent in the news-friendly 25 to 54 demo.

For GE, NBC's decline has to be more than a little disappointing. In a recent issue of Business Week featuring the late management guru Peter Drucker on the cover, there was an anecdote about former GE chief Jack Welch. A meeting between Mr. Welch and Mr. Drucker, soon after Mr. Welch took the reins at GE, convinced Mr. Welch of his life-held GE mantra: that the company would be only in businesses in which it would be No. 1 or No. 2 in its field. If it could not accomplish that, and GE could not fix the problem in a reasonable period, the company would either sell those businesses or shutter them.

By acquiring Universal and combing it with NBC, GE clearly is trying to manage the difficulties of owning a TV network, which by the very nature of the business can have major swings of success and failure that are not necessarily predictable. Mr. Wright has said restoring the network to its former glory could take up to three years.

All of this puts tremendous pressure on NBC Entertainment President Mr. Reilly.

The questions before Jeffrey Immelt, who runs GE, is whether Mr. Reilly is the man for the job, and if the other top personnel and structure at NBC are right as well.

Mr. Reilly returned to NBC in May 2004. He previously had been there as a programming executive and came back as the person primarily responsible for programming the network. Prior to returning to NBC, Mr. Reilly was in charge of programming the FX cable network, where he earned major huzzahs for putting on "The Shield" and "Nip/Tuck."

Immediately Mr. Reilly was in a pressure-cooker. The last of NBC's long-running sitcom megahits, "Friends," had just ended its run, and the merger with Universal had just been approved.

"There is no question, looking back on last year, that that was a huge cultural shift for our company," Mr. Reilly said. "At the same time, we were going through our biggest ratings challenge in a long, long time. That was certainly tough for everybody."

For months now, rumors have swirled that Mr. Zucker may soon depart the network. Mr. Immelt, for his part, has continually said that he has confidence in both Mr. Zucker and Mr. Reilly.

What NBC does not need is to become dysfunctional in the way that ABC was for so many years. What was clear in James B. Stewart's book "Disney War" is that top management continually undercut the decisions of those ostensibly in charge of ABC.

A perfect example is the ABC hit "Lost." The show was championed by former ABC programming executive Lloyd Braun, who later enlisted the support of his cohort, Susan Lyne, according to "Disney War." But Bob Iger, Stephen McPherson (then head of Touchstone) and Disney topper Michael Eisner all hated the idea of "Lost" as a weekly series, according to the book.

Somehow the show got on the air, but Mr. Braun and subsequently Ms. Lyne lost their jobs. Even after the show premiered to strong ratings and critical acclaim, Mr. Eisner was still blasting the show, telling Mr. Stewart, "Who cares about these people on a desert island?"

Having given Mr. Reilly the reins to run the network, he must become both sure-footed and decisive, and upper management would be wise not to undermine his decisions.

What a successful network president needs, said one talent agent, "is having the time and protection without having to think, 'Is this the last thing I'm doing?'"

Added another agent, "If you're so worried about what Jeff Zucker or Bob Wright is going to do, then you don't do. You can't succeed."

The problem with being continually second-guessed, this agent explained, is the fear factor. "Fear is the worst position for an executive to be in, because when you hear something you overthink it. You're worried about your own job, so you're trying to guess what someone else will like as opposed to buying what you like. All you have is your ability to hear it, feel it and see if it's real. But you'll never be right if [what you're trying to do is] to guess what [others think is] the right answer."

Responding to a question about the culture at NBC, Mr. Reilly said, "Ultimately, these jobs have never been about a one-man band. All of the moving parts become very, very important. And there are a lot of different constituencies. You have to lure the talent and get the creative product into a distribution system that is a means of advertising. It's always been a group effort. It's always been a collective medium. I believe in the culture of NBC. Bob Wright does not tinker in creativity. NBC believes in letting people do their jobs."

As for his challenges to rebuild NBC within Mr. Wright's timetable, he said, "This is a chess game as much as it is a game of creativity. You can get boxed in by other big hits. That's part of what NBC enjoyed.

"Year after year competitors would come up with something and say they were going to make a toe-hold on Thursday, but nobody could find any wiggle room there. Frankly, on Sunday night and Wednesday night, we're dealing with some very challenging competition. It does become difficult to maneuver your schedule."

One of the other knocks one hears about NBC is that the erstwhile Must-See TV has disintegrated into a network whose brand identity is now the No Brand Company. "That's the nature of the network business-there's always the range of shows," Mr. Reilly said. "Anyone's brand, to the extent there is one, is defined by a couple of shows. When you have the hits, all's well with your brand. That's the mission-get those brand drivers back that define the next generation. Success can be its own challenge-you think you have such strength across the board. You can almost be a little blinded by it, and that's not unique to NBC."

As for his future at NBC, and the network's future, Mr. Reilly is sanguine.

"Sometimes adversity brings out the best" he said. "It's one of the interesting disconnects-there is a still negative perception out there. The disconnect I'm having is to the extent I read or hear about negativity, I'm actually experiencing what we're experiencing inside the building-the kind of focus and creativity I was banking on when I came back to NBC.

"Right now we don't have the rocket fuel to get out of our overall ratings challenge. feel it coming back in the door. There's a little bit of a 'swing to the fences' attitude right now. The opportunity represents something for the artists. There's nothing better for an artist to hear than, 'We need a hit; what do you have?'"

Clearly, Mr. Reilly is talking the talk. Two drama pilots, [B]"Heist," from feature director Doug Liman ("Mr. & Mrs. Smith"), and "Kidnapped," from Michael Dinner (co-executive producer of "Karen Sisco"), will shoot after the holidays. If Mr. Reilly likes them and thinks they are ready, he said, at least one of them could be on-air next spring. He said he is also working at putting on an original drama next summer.

As yet a third agent who has dealt with Mr. Reilly said, "Is Kevin the best guy who's ever done the job? Certainly not. Is he the worst guy? Certainly not. He's doing the best he can in a horrible environment on a ship that's taking on water pretty fast."

http://www.tvweek.com/article.cms?articleId=29044

HD Is Ready for Reality

By Greg Moyer -- Broadcasting & Cable, 11/28/2005

While more programs are converting to HD, the big exception has been with reality shows that still make up a third or more of the prime time diet. As a group, these high-concept, lower-cost series pioneered by The Real World on MTV and popularized by Survivor have resisted the urge to go HD largely due to the added cost and complications of extensive field production. But if reality represents the final HD frontier, Voom HD is going there.

Voom HD's fashion and style channel Ultra-HD just wrapped production of reality elimination series Style Me With Rachel Hunter using all-HD gear. The series, which is a co-production with WE: Women's Entertainment, relied on Sony 750 cameras and the new miniature Sony HDV miracle, the HVR-Z1U, to capture the antics of 12 contestants—aspiring fashion stylists—who compete to dress host and supermodel Rachel Hunter for a major red-carpet event.

The production went around the clock for 30 days and marshaled up to five cameras shooting simultaneously to cover the multi-ring circus of challenges set for the budding fashionistas. The smaller HDV rigs captured the behind-the scenes dramas that unfolded back at the hotel base camp, where contestants let their emotions hang out.


Executive producer Liz Dewey blew through 550 cassettes of HD stock to get coverage for eight episodes. The biggest production hurdle proved to be the inability of HD cameras to couple with wireless transmitters so that the producer could switch between shooters and monitor the action. Instead, the production staff needed to tether a lightweight monitor to any camera where instant feedback was necessary.

Despite the bulk, Dewey would not go back to standard-definition: “For a reality show, HD is ideal. In situations where you have very little control over lighting and action, this medium gives you more production value. Obviously, the pictures are crystal clear, but the extra sensitivity to shoot in low light gives the production a cleaner, more even effect.” She says that, typical of any HD production, the quality of set construction and care in makeup are paramount. But it takes a short learning curve to adapt.

Another surprise was the success of shooting for behind-the-scenes moments. Dewey reports that the videographer and audio tech could assimilate into the background of the hotel environment and move quickly to capture the outbursts that make these reality series such a guilty pleasure.

With MTV Networks announcing MHD, its first channel in high-definition, can it be long before the originator of the reality-TV movement, The Real World, takes the plunge into HD? We doubt it.

http://www.broadcastingcable.com/article/CA6286826.html?verticalid=311&industry=Editorials&industryid=1034

TiVo to develop TV advertising search service

Reuters
Monday, November 28, 2005; 9:40 AM

NEW YORK (Reuters) - TiVo Inc. <TIVO.O>, the company that made its name by letting users skip television commercials, on Monday said it is working on technology that lets viewers search for specific advertisements.

The technology, which is expected to launch in early 2006, is the latest sign of the advertising industry's efforts to reach consumers who are taking advantage of high-tech products to escape the traditional ad pitch.


TiVo said it is working with several large advertising companies on the feature, including Interpublic Group of Cos.' <IPG.N> Interpublic Media, Omnicom Group Inc.'s <OMC.N> OMD, Starcom Mediavest Group, the Richards Group and Comcast Corp.'s <CMCSA.O> Comcast Spotlight advertising sales division.

The advertising service will let subscribers search for a product by category or keyword, then TiVo would deliver matching commercials to the consumer's set-top box.

TiVo serves about 1.3 million subscribers who pay a monthly fee of around $13 a month to the company. It is also pursuing distribution deals with cable companies in addition to the one it has with Comcast Corp. <CMCSA.O>

The company also serves 2.3 million customers of satellite TV operator DirecTV Group Inc. <DTV.N>, though that company said it will start selling its own digital video recorder and stop marketing TiVo's recorders.

Monday's announcement comes a week after the Alviso, California-based TiVo said it would begin testing a feature to let some subscribers transfer recorded television programing to Apple Computer Inc.'s <AAPL.O> iPod digital music players or Sony Corp.'s <6758.T> PlayStation Portable (PSP) devices.

http://www.washingtonpost.com/wp-dyn/content/article/2005/11/28/AR2005112800301.html

Last night I saw an ad for Rudolph the Red-Nosed Reindeer airing Wednesday evening, indicating it was remastered in HD.

Apparently, Frosty the Snowman and Frosty Returns to be aired on December 17th are also in HD.

http://www.wabi.tv/story.asp?1802

(Now if they'd just do Santa Clause is Comin' to Town too.)

Xesdeeni

Sunday’s prime-time ratings – and Media Week Analyst Marc Berman’s analysis of what they mean -- have been posted at the top of Ratings News the second post in this thread.

Last night I saw an ad for Rudolph the Red-Nosed Reindeer airing Wednesday evening, indicating it was remastered in HD.

Apparently, Frosty the Snowman and Frosty Returns to be aired on December 17th are also in HD.

As discussed here:

http://www.avsforum.com/avs-vb/showthread.php?t=601880&page=1&pp=30

"Prison Break" Getting Early Return?

By Ben Grossman Broadcasting & Cable

Fox may be about to grant Prison Break a reprieve from the five-month hiatus to which the show was originally sentenced. The original plan was to air the 13th Prison Break episode this week, then complete the season with a back-nine run beginning in May. But executive producer Paul Scheuring says the network is considering bringing the freshman jailhouse hit back as soon as January.

"It's totally up in the air. We may come back in January, February or May,” he says. “I think we're all going to find out in the next few days."

Should the show get the early call after the new year, Scheuring and his staff will be prepared, as they're well into the next slate of episodes: No. 16 will wrap by Christmas. He says the writing is nearly completed for the entire season, with the season finale scheduled to shoot the first week of March. Last week, the show ranked third among adults 18-49 in its 9-10 p.m. ET time slot but first in adults 18-34.

"We'd obviously prefer not to have the break because this is a sequential narrative,” Scheuring says. “What happens between the end of episode 13 and the beginning of 14 is essentially real time, so coming back from a five-month break like one minute later in story time would be a little strange.

Fox Ponders Less Fall Baseball

Broadcasting & Cable

Fox Sports Television Group Chairman and CEO David Hill says, if Fox continues to broadcast Major League Baseball’s first round of the playoffs, it may restrict coverage to weekend games. Reducing the baseball postseason interruption would leave Fox freer to join the new-fall-programming scrum with other networks.
“If we kept the Division Series,” Hill says, “it will just be two or three games of each series, such as just Friday nights, Saturdays and Sundays.”

Fox is talking to MLB about a renewal of its current broadcast-rights package, which runs through the end of the 2006 season. The package includes all baseball playoff games except some first-round, weekday games that ESPN shows. Those games were originally carried on Fox Family Channel but moved to Disney after it acquired the cable channel, which is now ABC Family.

Hill says Fox’s plans are still pending: He has not ruled out the network keeping the entire Division Series nor jettisoning it altogether and just airing the League Championship Series and World Series.

“That’s still open for debate,” he says. “If I had my way, we’d keep all the baseball. But we will end up sitting in a room with Peter Chernin and Peter Liguori [News Corp. president and Fox Entertainment president, respectively] and deciding: Would it be better or worse without baseball?” Kind of the way Cubs fans feel.

Surging “Grey's” gooses ABC's Sunday
Hottie docs clock 53 percent gain for timeslot

By Diego Vasquez MediaLifeMagazine.com staff writer Nov 28, 2005

ABC’s “Grey’s Anatomy” picked the perfect time to start steaming up: November sweeps.

The show averaged a 9.0 overnight rating among viewers 18-49 last night, up 6 percent versus the 8.5 rating the show had averaged so far this season.

More importantly for ABC, the show has helped boost the network’s overall average rating heading into the final stretch of sweeps. Last night ABC averaged a 7.6 overnight rating among 18-49s, up 4 percent versus a 7.3 overnight rating on the same night a year ago.
“Grey’s” was up 53 percent over “Boston Legal’s” 5.9 rating in the same timeslot the same night last year.

A month ago “Grey's” posted a season-low 7.6 overnight rating among 18-49s following a “Housewives” repeat. In the four episodes since, including last night’s, the show has averaged a 9.0 overnight rating. The show averaged an 8.3 overnight rating over its first six episodes.

“Grey's” has risen with a concept based on hot doctors in high-stress situations who blow off steam by having sex. For all the talk of how racy “Housewives” is, it’s essentially a show centered around people talking about sex; “Anatomy” pictured at least four couples actually having sex last night, and one that was trying but didn’t quite make it.

http://medialifemagazine.com/artman/publish/article_1493.asp

Static In Rupert's Satellite Dreams
New technology lets cable offer goodies DirecTV can't -- and customers are noticing

businessweekonline.com---For Rupert Murdoch, gaining control of DirecTV was supposed to be the hardest part. When he finally won a 34% stake in the satellite operator in late 2003, the man considered by many to be the most powerful media executive in the world had finally closed the loop on his satellite empire. Now he would be able to offer cut-rate prices, provide cool services, and leverage his vast collection of movies, TV shows, and news to lure new subscribers. Murdoch put in charge 51-year-old Chase Carey, a former college rugby player with a handlebar mustache, to execute his plans to dominate programming and distribution. In Carey's two years as CEO of DirecTV Group Inc., the gruff-talking exec has delivered, siphoning off 2 million customers from rival cable operators, bringing DirecTV's total to 15 million.

What Murdoch didn't account for, however, was that in that same period the media world would be reordered by technology. Today his bid so quickly to make DirecTV No. 1 isn't looking like a cakewalk after all. For one thing, DirecTV has had problems sustaining the growth that made it a powerhouse rival in the first place. In the past six months it has added just over half as many subscribers as it did in 2004. And it pays a steep $626, on average, in promotions alone to win a new subscriber. That comes to about 75% of what that customer will pay in fees the first year. Moreover, DirecTV's churn rate -- the number of folks who cancel their subscriptions -- has risen to what Carey calls an "unacceptably high" level.

Meanwhile, competition from cable has stiffened, and phone companies are joining the fray, too. After spending nearly $100 billion in the past decade to lay high-speed fiber-optic lines, cable outfits are rolling out services such as Web access, video-on-demand (VOD), and Internet phone calling, helping to keep subscribers from jumping ship. Time Warner Inc. and Cablevision Systems Corp. say they're adding new customers by bundling these services and even offering discounts -- undercutting satellite's long-held price advantage.

RESHAPED LANDSCAPE

The problem at the heart of DIRECTV's model is that it can't yet offer the two-way technologies that are so hot now -- from Voice over Internet Protocol to VOD. Satellite's one-way feed can send shows to TVs, but there's no path back to the satellite, making its pay-per-view offerings much less popular since they start at scheduled times. Plus, cable is a more attractive platform for ads because it can target spots to specific neighborhoods. "Last year satellite had all the advantages. Now cable has attacked them on just about every one," says Craig E. Moffett, an analyst at Sanford C. Bernstein & Co.

Looming but still a bit distant are threats from phone giants Verizon Communications Inc. and SBC Communications Inc. which are gearing up to offer programming services. With its first trial under way in Keller, Tex., Verizon is offering a full menu of TV channels, part of a bundle with its own high-speed Internet services.

Murdoch, who doesn't take being No. 2 lightly, isn't blinking. DirecTV blames much of its slowdown in subscriber growth on an effort to weed out poor-paying customers. Even though it earned $215 million in the first three quarters of this year and its revenues increased 20% on higher rates, to $9.6 billion, DirecTV faces major expenses in the next year to keep pace with cable. It is already spending more than $1 billion to launch satellites to offer local channels in high definition. And advertising expenses for this year could top $200 million, a 30% jump over last year, estimates Merrill Lynch & Co. Numbers like those have turned investors sour: DirecTV's stock is down 18% in the past year, to about $14.

Meanwhile, cable is just warming up. On Nov. 2, three of the largest operators signed a deal with Sprint Nextel Corp. to offer wireless phone service, enabling them to package yet another goodie into their promotions. Others are rushing to offer VOD, joining giant Comcast Corp., which offers a library of more than 4,000 TV show and movies, most of them for free. Despite losing customers in its most recent quarter, Comcast claims VOD and other services have helped it lure back so far this year 300,000 former customers who had defected to satellite. One market for other cable operators to emulate is Southern California. Cox Cable has signed up a third of its customers in San Diego and Orange County for TV, Internet, and phone service, leaving satellite's penetration in the area at just 14% of households, vs. a national average of 20%.

These new threats are reenergizing Rupert's crew. Using a key weapon -- its exclusive deal to offer every Sunday National Football League game -- it's marketing a screen with eight games playing simultaneously. To battle cable further, DirecTV will soon offer its own, slimmed-down version of VOD with 100 or so recent movies loaded ahead of time into a customer's set-top box. DirecTV has also announced that it will make some of NBC's hit shows, such as Law & Order, available for a fee on VOD. Still, "to me VOD is a lot of hype," says Carey. "The cable guys offer a lot of second-tier bulk. We're going to offer the ones that [customers] want."

DirecTV is looking for new partners to match cable's Internet and cell-phone services. That would be taking a page from Murdoch's playbook in Europe. News Corp.'s (37%-controlled British Sky Broadcasting Group satellite service recently paid $363 million to buy Internet service provider Easynet Group and said it will offer wireless phone service via Vodafone Group .

Of course, DirecTV is still a huge jewel for Murdoch. Its mass audience, second only to Comcast's 22 million subscribers, is crucial to the mogul's ambitions to expand his Fox TV brand. He wants to use DirecTV to create a new cable outlet a year, such as the recent Fox Reality channel launched on the service, and as leverage to press cable operators to pay more for his existing channels.

But Carey knows that technology can be a game changer. "I don't think anyone is standing still," he says of the competitive landscape between cable and satellite. "They've moved forward, and so have we. We're not done."

http://www.businessweek.com/magazine/content/05_49/b3962090.htm

The Digital Revolution
One look at TV's future

By Maureen Ryan Chicago Tribune November 28, 2005

The revolution will not only be televised: Television itself is undergoing a revolution.

Look at what’s coming down the pike (some of which is already here): Pay-per-view "CSI" and "NCIS" episodes via cable. On-demand airings of "Law & Order: SVU" via satellite. "Lost" downloads on iTunes. Using your TiVo to put TV episodes on your iPod or gaming device. "The Daily Show" on your cell phone. Everything from "Threshold" to "Supernatural" to "Welcome Back, Kotter" streaming onto your computer screen - for free.

After a rash of exciting TV-related developments over the last few weeks and months, all of them giving consumers more ways to control when and where they watch TV, you’d be forgiven for thinking, "Prime-time television, who needs it?"

Given the sheer number of on-demand options consumers will have at their fingertips in a couple of months - let alone a couple of years from now - maybe the Nielsen ratings for prime-time television just don’t matter anymore.

Well, don’t weep for Nielsen Media Research just yet. Ratings do matter, and will continue to matter for some time, for the same reason that domestic box-office numbers matter to Hollywood movie executives.

Many, if not most, feature films don’t make a profit via domestic box-office returns. But opening-weekend totals and overall domestic tallies matter, because they give media executives good indications of how well their content will do in other countries and on other platforms.

The same goes for TV. If a show is important enough for a substantial part of the audience to watch it in real time, then it’s probably going to be popular with DVD customers, with iTunes downloaders and with on-demand users. Ratings will serve, as they already do, as a form of market research; it’s always good to know what content the public is excited about.

Still, Nielsen, which supplies the networks with their ratings information, already has plans in the works to count viewers who watch prime-time programs via DVRs, or digital video recorders. And soon enough, no doubt Nielsen or some other company will be able to give media companies daily snapshots of who watched or bought what in a variety of mediums: On TV in real time, via DVRs, via on-demand platforms, via their computers or gaming devices, etc.

Sure, the daily and weekly TV ratings might decline in importance over the next few years, but soon network executives will know far more about their customers’ viewing habits in various new mediums, and that will help them make even more money than they do now.

The truth is, the TV industry is sitting far prettier than the music industry was five years ago, when file-sharing services such as Napster became popular with everyone from college students to suburban moms.

Lurking at the edge of TV’s rosy future is its very own Napster-esque threat, the file-sharing program **********, which is used by tech-savvy people around the world to trade TV shows, movies and other media content. But TV networks have less to worry about from programs such as ********** than the record industry had to fear from Napster and its brethren.

Why? Because your Aunt Marge has no idea how to use **********. And she’s not about to try to figure it out (and chances are her Internet hookup is pretty slow, and would take a dozen hours to download one episode of "Matlock"). Plus, TV networks have always made most of their money from advertising, and they still have plenty of ways to work that into your TV viewing experience, wherever that happens to be.

In the last year or so, TV networks have energetically embraced the idea of putting free episodes of television on the Internet; everything from "The Colbert Report" to "Veronica Mars" to "Battlestar Galactica" has been available for online viewing.

Steve Safran, an executive producer at New England Cable News and managing editor of the group blog LostRemote.com, which obsessively tracks new-media developments affecting TV, thinks the online freebies won’t dry up anytime soon.

"It might not be a bad strategy, to give one [episode] away, and hope people get hooked," Safran noted.

For the most part, these online episodes are free of commercials, but in a few years, they might not be. (In2TV, the Time Warner online TV service that debuts next year, will give away TV episodes but viewers will have to watch ads first) The beauty of online, for TV networks and advertisers, is that, for the most part, viewers can’t fast-forward through the commercials that run with episodes of online TV.

But online viewing is only one slice of the pie. The fact is, the more arenas there are for television viewing, the more ways there are for advertisers to be a part of the TV-watching experience. The 30-second ad may be going the way of the high-button shoe, but network advertising executives are already finding ways to harness the marketing power of these new TV formats. Online advertising is expected to nearly double, to more than $22 billion, by 2009, according to Bloomberg News; expect the companies that own TV networks to snare a big part of that dough.

New platforms, more profits

The truth is, every time there has been a new development in ways to deliver popular forms of media, executives have generally squawked about it first, then hired more accountants to count all the cash they made from those new platforms. Though album sales are still lagging from where they were a few years ago, Apple has sold 30 million iPods since 2001, and 600 million songs since 2003. Looking at the big picture, the lesson is clear: The more options consumers have, the more money there is to be made in the media universe.

"It’s not a zero-sum game," Safran notes. "Everything goes up. TV was going to be the end of movies, and home video was going to be the end of TV, and TV was going to kill reading. But book sales are through the roof - because they’re promoted on TV."

And it’s clear that consumers are embracing new choices: DVR viewers, according to a study recently released by the television networks, watch 12 percent more TV than folks without DVRs (and not all DVR users skip ads). Once TV shows are plentiful across even more platforms - on-demand formats, cell phones, gaming devices, computers, etc. - the resulting revenue from streaming, downloads and advertising will only grow.

What does this mean for you, the viewer at home? It means that you’re going to spend ever more money to get at the TV that you want, your way, on your time.

Though companies such as Comcast are offering extremely cheap Internet hookup packages now, and networks are testing the waters with free or cheap on-demand viewing of TV shows, and the TV shows you pile up on your DVR don’t usually cost you anything yet, don’t expect everything to stay free forever.

The networks are already looking at on-demand offerings as a serious revenue source - not nearly as serious as the $60 billion that advertisers spend to sell their products on TV, but chances are, the costs of watching what you want, when you want, will go up.

Get with the program

Though consumers seem willing to pay - they’ve already snapped up millions of the TV shows and videos available on iTunes - media firms are only starting to show their willingness to embrace new forms of distribution. But they had better hurry up and get with the program, Safran says.

"You can’t dictate market demand," he adds. "Under the old technology, you used to be able to dictate that. You can choose to meet the demand, or someone else will do it."

It’s clear from the success of iTunes that consumers will pay for convenience when it comes to music. And who knows just how much they will pay if that convenience allows them to create their own boutique TV networks?

In a piece that sparked a spirited debate on LostRemote.com, Safran recently wrote that cancellation is "the best possible thing that could have happened to `Arrested Development.’ " (Actually, the show’s episode order has been cut, but everyone expects the Fox comedy to be canceled soon.)

"No longer shackled by the whim of a fickle network, `A.D.’ can take advantage of all the technologies now available for video delivery and make more money," Safran wrote, listing video on demand, DVD sales and online delivery as just a few options.

The fact is, most networks are only starting to figure out how to make money off low-rated but much-loved shows such as "Arrested Development," which is considered a network failure because it pulls in "only" 4.3 million or so viewers per outing.

"Give me 4.3 million of anything, and I can make money," Safran says, citing "subscriptions" from the show’s zealous fan base as yet another way to raise millions. But he says he doesn’t see the Fox network taking the bold steps that could keep the show in production and available through iTunes or online.

"I don’t see a major studio starting this," he says. "It’s going to have to come from the bottom up. Some guerrilla show will get a following online, then the networks will get it."

It would be a cool development if a show such as "Arrested Development," which "failed" on the air (while making tons of dough on DVD), could keep going on the Internet, via on-demand, via cell phones, etc.

But wouldn’t it be even cooler if the next "Arrested Development" started out in one of those arenas?

After all, the creators of "South Park" started out as the team behind one of the original "viral videos," a much-buzzed-about comic videotape that was passed from one Hollywood insider to the next several years ago. For all we know, the buzzworthy hit is already lurking online.

Let’s hope so. Because the current TV revolution will be a success if, going forward, what we see on our screens - wherever they are - is really worth our while.


http://featuresblogs.chicagotribune.com/entertainment_tv/2005/11/one_look_at_tvs.html#more

The 2005-2006 TV Season
Ask Matt
(from the Ask (TV Critic) Matt (Roush) column at TVGuide.com

Question: I, too, was not a big fan of Grey's Anatomy, but I am so glad that I stuck with it. The only thing that has bothered me about this season is Meredith's pining for Dr. McDreamy. Maybe I am in the minority, but I actually like his wife. Addison is a strong, sensitive female character who obviously made a mistake, but at least she doesn't spend her days whining about him. The whole woe-is-me was really getting on my nerves, but I think Meredith finally hit a turning point last week (Nov. 20) with fireman waking up from a coma. Do you think she can finally stop whining and become that strong female lead character that I know she can be? — Colleen

Matt Roush: We can only hope. But it's also refreshing that, unlike on some TV shows, Meredith has been allowed to wallow for a while and not bounce back immediately from this crushing romantic setback. Being around someone so miserable all the time isn't the most fun, but there's no reason to think she won't eventually snap out of it — although working in close promixity with McDreamy keeps the wounds very (and entertainingly) fresh. (Plus, who's to say circumstances won't bring them back together?) I also think it's very cool that the writers have developed the Addison character in such a way that she's nearly impossible to hate, when at first it looked like she was going to be introduced as a typical bitchy TV vixen. Her insecurity as she tries to earn McDreamy's affections, mixed with her cool and tough professionalism on the job, makes her a welcome addition to this already terrific cast. Speaking of which...

This from H.P.: "I have noticed that in Grey's Anatomy, aside from the funny Sandra Oh, there has been a handful of Asians playing supporting roles. I am an Asian-American myself and find it very surprising to see such consistency. I would like to give major kudos to the show for being more representative of minorities. What are your thoughts on this phenomenon? Do you think we're likely to see more minorities on TV? Or is there a risk to not having an all-white cast?"

Grey's seems to me one of the most sensationally diverse and color-blind shows ever on TV. I hope it becomes an inspiration for more producers and casting agents to vary the mix, and I wouldn't be surprised to see more ensembles in the near future reflect this. But as this show has jelled (as Colleen noted above, I wasn't an instant fan, either), I have come to appreciate this cast as something pretty magical, something that will be difficult to replicate even nearly as well, regardless of ethnicity. I will note, however, that the real breakthrough will come when a lead character in an ensemble drama — such as Meredith, who really is first among equals — is allowed to be of a minority.
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Question: Prison Break keeps getting better and better every week, but Fox doesn't have a time slot for it on the spring schedule. What are they going to do there? My guess is they'll keep things as planned, and if House fails on Mondays or Bones doesn't keep enough of American Idol's lead-in, maybe they'll make a move and get Prison Break back in there for the final nine episodes. Probably the best bet would be to get rid of the "comedy" hour Wednesday at 8 pm/ET and put Prison Break there, leading right into American Idol. Fox totally dropped the ball on the best sitcom of this generation, Arrested Development. Don't tell me they are going to do it to this show, too. — Harold C.

Matt Roush: Not exactly new ground here, but think of this as a good opportunity to plug tonight's (Nov. 28) mid-season cliff-hanger. As the suspense has mounted week by week, I've become increasingly reluctant to let Prison Break go for an indefinite period of time — but how great was it to see the 24 promos, reminding us of the treats in store for us during the same time period in a little over a month? To address your scenario: House is likely to do well wherever Fox puts it. That show's an established hit, although it seems more suitable for a 9 pm/ET time slot. Bones is a question mark, but I'm betting that it, like House a year ago, will benefit from a strong Idol lead-in. It's a fun, accessible show and a nice twist on the ubiquitous procedural, for which there seems to be a bottomless appetite these days. I like your Wednesday solution, mainly because I have no use for Fox's comedies currently airing on that night, and the 8 pm/ET time period is at the moment curiously short of must-see options (except the guilty pleasure of America's Next Top Model). Bottom line, though: Even if Prison Break takes a break until 24 ends in May, I don't think it will do much harm to such a gripping franchise. The greatest uncertainty here lies in where the story will go and whether we'll be as willing to follow the characters once they actually escape.
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Question: Thanks for devoting much of last Friday's column to my favorite show, Arrested Development. Reading some insight on the situation from you and other fans is both heartwarming and cathartic. I read from another critic that some execs at Fox believe there is a scenario in which AD can get renewed for a fourth season. Given that many of the Fox comedies, like King of the Hill, Malcolm, Bernie Mac and That '70s Show, are on their last legs and that Fox hasn't had a great development season this year, the network may be inclined to bring AD back to fill some gaping holes. Especially considering that AD is one of the few shows that does have significant Emmy recognition and Fox is hardly in a position to be tossing those away. Do you think this is a likely scenario? — Jordan

Matt Roush: ]Hard to say, but it's doubtful. The current season was certainly a bit of a surprise — given that during the second season Fox had cut the episode order and yanked it from sweeps, and with all the fun ups and downs the show has been experiencing again this year, these are clear signals that cancellation is imminent. Still, the show's creator, Mitch Hurwitz, has been quoted as saying that he has yet to hear the word "canceled," so anything is possible. But read the following response from someone who (as I'd predicted would be the case) was not pleased to see so much space given to beating what some feel has been a dead horse for a long time, and you'll see why the hurdles for continuing are high indeed.

This from Tom: "Can we please put the subject of Arrested Development to rest? I'm here to speak for the 99 percent of the American population who didn't like the show. I have read countless times how people who didn't like the show just didn't get its offbeat sense of humor. Well, I'm here to tell you that yes, we did get it. We just didn't think it was funny. It's that simple. We all have different tastes, and most of us didn't find Arrested Development to our taste. That's not to say it was a bad show, but just not what we were looking for. I'm also a little tired of hearing how the show wasn't given a chance. If we were going strictly by ratings, this show should have been yanked more than a year ago. It didn't develop a big following, and there was very little chance that it would, regardless of time slot. With all the hype that this show got, I'm sure many people sampled it that wouldn't have ordinarily, and they still didn't become regular viewers. It just didn't appeal to us. So, can you please stop bashing those of us who didn't like it by calling us stupid (because we don't 'get the humor') and please stop bashing the network by saying that they didn't give it a chance. The networks don't make TV shows in order to make a small segment of the audience happy, or to please critics. They make them in order to make money. That is why they call it the entertainment 'business.' This show obviously wasn't performing, so it's gone. Period. Let it go."

I'm afraid that for as long as Arrested Development remains even marginally on the air, its fans as well as its supporters in the media won't stop extolling its virtues, while acknowledging (without judgment) that a show like this isn't for everyone. As for Fox: I agree the network gave the show more chances than anyone had a reason to expect, but the erratic scheduling did no one any real favors in the long run. My final word for now is just an observation: In all the years I've covered and gone to bat for ratings-challenged shows, I have never received so much defensive and testy mail from non-fans who seem to resent the very idea that there's a cause here worth fighting for. Although some of the fan mail I've published may have felt insulting to those who don't share the love for Arrested, I have tried to let everyone have their say. I empathize with anyone who's in danger of losing a show dear to their hearts and am at a loss to know what's wrong with letting people vent, especially when the moment finally arrives (after several years of nervous anticipation) when the boom once and for all appears to have been lowered.
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Question: Am I the only one who finds Luke's daughter highly annoying on Gilmore Girls? Not only is it annoying that she showed up, but the character herself is annoying, and where is her mother? What mother lets her kid run around grabbing DNA from unsuspecting men she was once with? I don't know about you, but this seems very contrived to me. I was so pleased to see them showing Rory going through what most people her age go through in a very real way. It's disappointing to see GG going in this direction, after such real story lines all this season. — Janna

Matt Roush: It's a little early to pass judgment on a character after just one glimpse (for holiday deadline reasons, I'm filing this before seeing the Nov. 22 episode), but I agree that her introduction on the show erred on the side of precious, cloying whimsy — which often works in Gilmore-world, but not always. As thrilled as I was to see Rory snap back to life, and her long-overdue reunion with Lorelai was wonderfully emotional, this plot twist did seem awfully "TV." It's almost as if now that Rory has grown up, the show felt the need to bring aboard another adorably precocious youngster. I doubt you're the only one to resist her "charms." But let's give it some time, shall we?
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Question: Like a lot of people, I was surprised that Medium's Patricia Arquette pulled out an Emmy-night victory, and there seemed to be backlash that the surprise nominee could also be a surprise winner. I admit, I was one of those people, but lately I have reconsidered. Patricia Arquette's quiet and subtle handling of her character is excellent and a welcome change from other actors who seem to always be trying too hard to garner Emmy attention. Plus, she is one of the most realistic mothers on television (down to her wardrobe). Do you agree with me that Arquette deserves praise for her portrayal? — Lewis

Matt Roush: Yes, and I've praised her and the show (in particular, the realism of the messy domestic scenes) on several occasions. It's a much more creative, surprising, entertaining show than it sounds, and much of the show's appeal lies in Arquette's off-center look and performance, and the wonderful chemistry with her TV husband, Jake Weber, who also seems understandably frazzled most of the time. I'm still not sure I would have given her the Emmy over The Shield's Glenn Close in what I termed at the time "the year's most boring category." But I'm at peace with it. At least that shocker wasn't as numbingly predictable as most of what else happened that Emmy night.
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Question: Oh Matt, I'm crushed. I got my TV Guide today and saw that 7th Heaven is being canceled. Is WB's entertainment chief David Janollari crazy, nuts or just plain stupid? Yes, I understand salaries, but I guess good wholesome shows are beginning to be a thing of the past, which I think is sad. I was really looking forward to the twins growing up. Thanks for your time, Matt. Have a happy Thanksgiving. — Fran K.

Matt Roush: Ditto and a big after-the-fact happy-Thanksgiving shout-out to everyone. I'm sure there are a lot of disappointed Heaven fans out there who wished the show would last until Lucy's baby was of childbearing age, but all good (and even good-for-you) things must come to an end eventually, and I'd rather see a show like this go out with some dignity. And there's a fine line between cancellation and the decision not to continue with a show after 10 seasons — not that it matters to fans, I suppose. Still, you wouldn't believe — or maybe you would — the mail I've gotten the last few seasons from former fans who felt the show had lost much of its initial charm. That tends to happen when a family drama "matures," although for Heaven to make it to that groundbreaking 10th season exceeded almost everyone's expectations. There is spin-off talk, because WB is wary of losing for good a franchise with this much viewer loyalty. We'll see. My hope, as I've stated before, is that Everwood will now take the spotlight as WB's (and TV's) finest family drama. It isn't as "wholesome" as Heaven — what could be? — but it is a very moving show about families and relationships in which actions always have consequences, and its acting and writing runs circles around Heaven.
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Question: This is a comment, not a question. I know that the show that airs after the Super Bowl gets a lot of promotion. But since I live in the Eastern time zone and the Super Bowl ends well after 10 pm/ET, if the game is a yawner, I'm not going to stay awake for whatever is shown afterward. I'm not sure that the post-Super Bowl time slot is the greatest. — Jane L.

Matt Roush: Agreed, but it often is a significant cultural milestone for a show to be given that high-profile slot. Because it can come on later than scheduled (as in the notorious case of Alias in 2003) and because it airs after a punishingly long day and night of hype, it's not necessarily the best environment in which to launch a new show, or in the case of Alias that year, to launch a show into a new direction. That's why it makes perfect sense for a pure entertainment show like Grey's Anatomy to get the boost this year. In the long run, it won't matter how the show performs or how closely people watch (not easy at a Super Bowl party), because it's a sure bet that many of us will be coming back next week anyway.
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Question: I have watched Supernatural since it premiered, and I have to say, I was very impressed with the Nov. 15 episode, in which Sam and Dean revisited their childhood home where their mother was killed. I thought this was the best episode since the pilot. I was just wondering what your thoughts are on this show. — Michelle

Matt Roush: Haven't caught that episode yet (Tuesdays are busy), but I've seen most of them so far and intend to catch up on this one as soon as things settle down a bit. To me, Supernatural is great, spooky fun, but not an essential show. Still, for those who enjoy the genre, it is better than I would have expected. Two appealing leads, a strong but not especially convoluted mythology, and some inventive scares and shocks along the way (even when the episode itself is formulaic). It was WB's best new show for the fall, so I'm glad it's doing well enough against tremendous competition. The fact that five shows can thrive on Tuesdays at 9 pm/ET (House, My Name Is Earl, The Amazing Race, Commander in Chief and this) is one of the nicer surprises of this season.
________________________________________
Question: Please help! I am so worried about Rome. Back in September, after just a couple of episodes, HBO announced it would be returning for a second season. Then in an interview with the New York Times, Chris Albrecht seemed to cast doubt on that, saying they'd only renewed the show to put a hold on the cast, and it was really just a script order. His big concern, he said, was that it couldn't return to the air before March 2007. First: I feel like I've been bait-and-switched, watching a show for the whole season with the promise that there would be more, and now that's about to be yanked away. My emotional investment in Rome would have been much less if I'd known it was a one-season thing. Second: Why on earth can't the show return before March 2007 if they were going to start shooting the second season (as they said before) in March 2006? Does it really take a full year to get 12 episodes on the air from the time shooting starts? Most TV doesn't work that way. Many films don't work that way, either (e.g., Munich, shot this summer, released in December). Third: Arrrgh! I am so frustrated! Rome is a great show and deserves to return! Please, is there anything you can tell us? — Lynn

Matt Roush: Not much at this point. I'm still digesting the shocks and glories of that final episode (with the assassination of Caesar and the unexpected, but hardly unearned, tragedy that hit Vorenus close to home). This is a monstrously complicated and massively expensive production, the equivalent of producing a 13-hour movie (or basically the entire Lord of the Rings cycle, so comparing it with a quick turnaround like Munich is a bit off). HBO often touts (but lately it has kind of backfired on the network): "It's not TV." I don't know if this is a case where the entire second season would be shot like a movie: fully scripted before production begins, and all the episodes assembled in postproduction. But Rome has always felt more like a miniseries to me than a regular weekly drama, so that wouldn't surprise me. I saw some early ratings reports indicating that the BBC was having success with the show, and I would think it would sell well internationally (and it will look great on DVD). But the HBO ratings (which they rarely comment on, unless, of course, they're fabulous) were less, I'm sure, than expected, given the investment. Still, I'm cautiously hopeful there will be more story to tell. We may just have to wait a while.
________________________________________
Question: Am I the only one who found Anne Heche's story line on Nip/Tuck not just annoying but preposterous? I'm prepared to suspend disbelief when I watch that show and I enjoy its outrageousness very much, but are we supposed to believe that the Witness Protection Program would let members of a family under its protection continue seeing with their old surgeon? And I refuse to believe that Sean didn't realize that he'd never see his family again if he joined the program. Also, are they really going to make us wait the whole season to find out who the Carver is? — Molly

Matt Roush: From all accounts, we won't know who the Carver is until the very end of the very last episode of the season. Excruciating, isn't it? I agree it was beyond belief that this mother and son were allowed to stay with Sean without protection (and I don't mean that sexually), but I wasn't annoyed per se by Sean's detour into this government work or his getting (as you'd expect) emotionally involved with his desperate patient. It was in most respects a fun and suspenseful subplot, and if I took marks off Nip/Tuck for being unrealistic, it would no longer be one of my favorite shows. Which it still is (despite the lack of story-line continuity week to week, which has been discussed before).

http://tvguide.com/tv/roush/askmatt/

The 2005-2006 Season
More on the 'fall finale' of “Prison Break”

By Maureen Ryan Chicago Tribune November 28, 2005

The big question hanging over "Prison Break" is not whether a daring group of prisoners will finally bust out of the joint during the show’s "fall finale" on Monday at 9 PM ET/PT.

Though, for fans of the show, that is a big question (and more on that later).

No, the biggest question hovering over "Prison Break" is when the show itself is coming back.

A few weeks ago, Fox executives, citing a glut of programs to fit into the network’s schedule in the new year, floated the idea of waiting until May to bring back "Prison Break." To say fans of the highly serialized adventure drama were not amused is putting it mildly.

"For `Prison Break’ to be pushed back because of `American Idol’ coming up is ridiculous," one fan fumed on a Tribune message board.

But that plan was never set in stone, according to Fox, and now executives there are contemplating an earlier return for "Prison Break," which has been a solid ratings hit for Fox, especially among the much-prized 18-34 demographic.

According to Paul Scheuring, the creator and executive producer of "Prison Break," executives at Fox are considering three time frames to bring back the program: late January or early February, after the season premieres of "Idol" and "24"; late February; or May.

Scheuring isn’t crazy about the last option, but he says Fox seems to be leaning toward an earlier return for the show.

"The only thing I know, in complete candor, is that there are a number of high-profile things being shuffled around," Scheuring said in a phone interview last week. "`American Idol’ is part of that - they may try to make a beachhead [with `Idol’] on Thursday night. If that happens, there is a domino effect. There are only so many spots available on the schedule."

Though he says his "initial reading of the tea leaves" was that Fox would bring "Prison Break" back in May, he says that "it seems in the last two weeks, the needle has been slowly swinging back toward an earlier return."

If Scheuring got to decide, "Prison Break" would come back in January, possibly alongside "24," another highly serialized Fox thriller. But he adds that if the "worst-case scenario" plays out and the show takes a break until May, the head of Fox, Peter Liguori, has promised "the mother of all promotional campaigns to relaunch the show."

Scheuring says a decision on the show’s return should be made shortly after "Prison Break’s" fall finale, and he wants to emphasize to worried fans that "Prison Break" is not canceled. It will continue to film in the Chicago area and at the former Joliet Correctional Center until March, and nine new episodes are set to air in 2006.

"The good thing is that we have the full faith of the network behind us," Scheuring says. "It is not [a case of], `Go quietly into the night.’ They are sticking with us."

And that’s not surprising, given the number of viewers who have been watching to see whether inmate Michael Scofield (Wentworth Miller) will successfully break himself, his brother and several other inmates out of the fictional Fox River Penitentiary. The program’s Nov. 14 outing was watched by 9.6 million viewers, or roughly 90 percent of the 10.5 million people that tuned in to the "Break" series premiere on Aug. 29, when the show faced no competition from new programming on other networks. The show regularly places in the overall Nielsen Media top 40, and often places among the top 20 shows among viewers ages 18 to 49.

But enough about ratings and scheduling. Do Scofield and company bust out of Fox River on Monday’s episode?

All Scheuring would says was: "What happens is, they become convinced that they have the opportunity to make the break, and perhaps they take advantage of that."

Scheuring will say that time is running out for Scofield’s brother, Death Row inmate Lincoln Burrows (Dominic Purcell), who is a pawn in a high-stakes plot cooked up, in part, by a nefarious vice president.

"The last we saw of Lincoln in last Monday’s episode, he was being taken to Ad Seg [the administrative segregation unit], and he will not come out of that until his execution," Scheuring says. "We’re in countdown mode for that now. He’s headed in that direction. The time is nigh."

(Spoiler alert! Don’t read further if you don’t want any details on the inmates’ futures).

Once the "Prison Break" crew does break out - and Scheuring won’t say exactly when that will be - expect the show to display a few new moves.

"Some characters will die, new people will be slid into place. There will be a lot more revelations about people’s pasts once they are outside the prison walls," Scheuring says. "The whole show will be reinvented. It’ll be `Planes, Trains and Automobiles,’ it’ll be every method of conveyance, as everyone runs around the country. … Ultimately it becomes about all of them fulfilling their individual destinies, with the whole of America on their [trails]. It’ll be `The Fugitive’ times six or 10."

http://featuresblogs.chicagotribune.com/entertainment_tv/2005/11/more_on_the_fal.html

Critic’s Notebook
“Yesterday” is stunning

By Scott D. Pierce Salt Lake City Deseret Morning News

No less than Nelson Mandela himself wants you to know that "Yesterday" ( HD, 9 PM ET/PT HBO) is "truly inspiring."

Mandela — the Nobel Peace Prize-winning former president of South Africa — and his foundation provided support to the makers of the film, which relates the stunning story of how AIDS is affecting Africa by telling it through one person.

Yesterday (Leleti Khumalo) is the name of a 30-year-old wife and mother living in a remote area of South Africa's Zululand. It's a harsh life, but Yesterday is optimistic and filled with joy because of her beautiful, 7-year-old daughter, Beauty (Lihle Mvelase).

Life takes a horrific turn when Yesterday is diagnosed with AIDS — something that happens with terrifying frequency to women living on that continent.

" 'Yesterday' celebrates the strength of character of the women of Africa," said executive producer Anant Singh, pointing to the "very, very trying circumstances" they deal with.

It's more than just a movie — it's the first film shot in the Zulu language (it's subtitled), the first South African film to be nominated for an Oscar (best foreign film), and it's designed to open the doors on a problem that's been hidden for so long it has gotten out of control.

"I think it's important to remember that Mandela now believes that he made only one mistake as president, and that was not to emphasize HIV/AIDS," Richard Holbrooke, former U.S. ambassador to the United Nations and president/CEO of Global Business Coalition on HIV/AIDS, told TV critics. "And Mandela, in addition to all the other things that make him the greatest living person on Earth today, has made this possibly his final mission."

A very difficult mission in a country where there's "this myth that you can get rid of AIDS by having sex with a virgin," Holbrooke said. And where the minister of health "says it can be cured by garlic and lemon juice."

And where, as is portrayed in the film, women are often beaten by the husbands who gave them the disease. "There is a widespread desire not to talk about this disease, particularly among men," Holbrooke said. "And this film, to destigmatize the issue, you have to deal with it the way this incredible woman, Yesterday, does in this film."

But "Yesterday" is neither a documentary nor a training film. It's a beautiful, heartfelt drama that will leave you drained and inspired at the same time — an incredible accomplishment all by itself.

http://www.hbo.com/apps/schedule/ScheduleServlet?ACTION_TODAY=TODAY

The 2005-2006 TV Season
What really killed ABC's “Alias”? Time.

Darling of the critics began to show wrinkles

By Toni Fitzgerald MediaLifeMagazine.com staff writer

Even super-agent Sydney Bristow couldn’t triumph over the inevitable. After five years, two timeslot switches and one major bout of fan backlash, ABC’s “Alias” is ending its run this May.

ABC confirmed the decision late Wednesday, leading into the four-day Thanksgiving break. The show, which will go on hiatus next month during series star Jennifer Garner’s maternity leave, will return at midseason for its final 13 episodes.

Though the timing of the decision, months before the season ends, is a surprise, the substance of it is not. Garner has a burgeoning movie career and a baby on the way, and producer J.J. Abrams has two other shows on ABC, including upcoming midseason drama “What About Brian.” Everybody's busy in a sense.

ABC simply confirmed rumors that have been floating around the internet since the show’s fifth-season premiere. It was made easier for network by the fact that with the move to Thursday night “Alias” was generating its worst-ever ratings.

“Alias” has always been a show long on potential with little to show for it. It was ABC’s only critical hit during the lean years between “Who Wants to Be A Millionaire” and “Desperate Housewives,” and although it never received big ratings, it had a dedicated cult following.

That helped the show get renewed four times, despite rarely winning its timeslot during its first three seasons and in 2003 becoming the least-watched post-Super Bowl program ever. The show struggled for three years in the Sunday 9 p.m. timeslot before being moved last season to make way for “Housewives.”

In moving “Alias,” ABC rewarded Abrams, also the man behind “Lost,” with the lush post-“Lost” Wednesday 9 p.m. timeslot. There the show performed well but lost an increasing share of “Lost’s” audience as the season went on, finishing with a so-so 4.2 18-49 average.

With “Housewives,” “Lost” and “Grey’s Anatomy” doubling those numbers, and several of its shows now basking in critical acclaim, ABC had fewer reasons to continue with the imaginative “Alias.”

This fall, ABC moved "Alias" to Thursday nights. Thursday is a normally premium night, except at ABC. No ABC Thursday 8 p.m. show has survived since “Mork and Mindy” in the early 1980s. Thus far this season, “Alias” has averaged a 2.3 in 18-49s, behind even the WB’s “Smallville” in the same timeslot.

Yet in many ways it was a smart gamble for ABC, in effect a do or die proposition, a chance for "Alias" to show it could make it on its own without "Lost" to prop it up. If it could not persuade fans to follow it once again, and ratings sank, ABC could kill it once and for all, its conscious clear of any remorse. And that's what happened.

But this season “Alias” also has suffered a fan backlash over the exit of series co-star Michael Vartan, Garner’s on-screen flame and former real-life paramour.

Vartan’s secret agent Vaughn was an extremely popular character, and many fans speculated on message boards that Garner had asked for Vartan to be written off to avoid tension between him and her new husband, Ben Affleck.

Sites even sprang up asking ABC to reconsider the long-rumored death, which happened on the season’s first episode.

“Don't bring Alias back from hiatus until MV [Michael Vartan] is signed back on,” writes one recent poster on Television Without Pity’s boards. “Please...I beg of you...stop this torture.”

Vartan will return as a guest-star later this season and presumably will appear in the series finale during May sweeps.

http://medialifemagazine.com/artman/publish/article_1470.asp

Sports On TV
Suddenly, the NBA's in the game again
Ratings are up, the result of exciting games

By Toni Fitzgerald MediaLifeMagazine.com staff writer

Parity, or the lack of really strong squads, may be good for coaches looking to rebuild their teams, but it’s no fun for fans. They love to watch exciting teams dominate the competition, and it’s even better when that domination is unexpected.

With several surprises among the NBA’s top teams, including the revived Cleveland Cavaliers and the sad-sack Los Angeles Clippers, interest in basketball is finally on an upswing, six months after the second-lowest rated NBA Finals in history.

Most notable is the rise for two NBA analysis shows, ESPN’s “NBA Shootaround” and ESPN2’s “NBA Nation,” which air before the network’s game coverage on various weekdays.

“Shootaround,” which had aired five times through Nov. 17, is up 14 percent to an average 0.8 household rating, bettering last year’s 0.7 through the first two weeks of the season. Its average viewership is up 22 percent, from 598,000 to 731,000.

One telecast of “Nation” is up 20 percent, from a 0.5 household rating to a 0.6 rating. It’s up 33 percent in total viewers, from 429,000 to 569,000.

Though game ratings on ESPN are even to last year, TNT has seen a ratings increase. Opening-week ratings jumped 25 percent compared with last year, from a 1.2 average household rating to a 1.5.

Overall interest in the NBA is also up. On Nov. 3, traffic to NBA.com set a single-day record with 3.7 million total visits, 10 percent better than last February’s old record of 3.4 million.

Why the big boost for the NBA, especially coming off such a terrible year both image- and ratings-wise?
Because this year there’s actually been some exciting basketball. That coupled with the league’s effort to repair its reputation after last year’s brawl, if done through small gestures such as the new dress code, has people talking about the NBA once more.

Through Saturday night, the Clippers, long an NBA punchline, were tied for the second-best record in the league at 9-3. The Cavaliers, led by rising superstar LeBron James, are off to their best start in James’ three years at 9-3.

And Denver, an 8-6 squad, has been attracting attention for its 6-1 home record and continued strong play by Carmelo Anthony.

Even the New York Knicks, while struggling to a 4-8 record, are more compelling than last year, what with new head coach Larry Brown’s brewing power struggle with guard Stephon Marbury.

The one team that’s not sparking interest is the defending NBA champs, the San Antonio Spurs. Though they’re a stellar 10-3, they’re still as dull as ever on and off the court, and thus aren’t getting much attention on the analysis shows.

http://medialifemagazine.com/artman/publish/article_1469.asp

Fred, I was wondering if there was any more info on Simon Cowell and American Idol? I know they were hoping to reach a deal before Thanksgiving, but have not seen anything yet.

The 2005-2006 Season: Part Two
Nets' Midseason Schedules in Flux
By A.J. Frutkin MediaWeek.com NOVEMBER 28, 2005 -

With the November sweeps ending on Nov. 30, broadcasters now can fully assess the strength of their fall lineups—and begin to shore up those lineups at midseason. But some are finding their midseason plans hinge on those of one other network: Fox.

Following reports that American Idol may move from Tuesdays and Wednesdays to Wednesdays and Thursdays, other networks—most notably NBC—have put their own plans on hold until they can determine how best to avoid what one executive called “Fox’s behemoth.” At issue for NBC is whether or not to move My Name Is Earl from Tuesdays to Thursdays. Putting the freshman comedy up against Idol could prove suicidal. Even without Idol there, NBC execs questioned the switch.

“The risk is that you can end up doing worse on both nights involved in the move,” said Mitch Metcalf, executive vp of program planning and scheduling for NBC Universal. “Whenever you ask the audience to change habit, they have the final say.”

CBS also could suffer from an Idol move—about which Fox executives wouldn’t comment at press time. Speculation about the switch has focused on Idol’s so-called results show airing at 9 p.m. on Thursdays, because competing against NBC’s declining The Apprentice would seem more strategic than going up against CBS’ Survivor. In that case, CSI could take a hit. But CBS isn’t sweating—at least, on the record. “We’re No. 1 on Thursdays,” said Kelly Kahl, CBS exec vp of program planning and scheduling. “It’s taken awhile to get there. And, frankly, everyone can schedule around us.”

Of course, there are risks for Fox if Idol moves. Shifting the results show to Thursdays could diminish the program’s audience share, which might have financial implications for the property as a whole. Still, many advertisers believe the move is so bold, it may be worth it. “I think there are enough viewers to go around on Thursday for Fox to get a good piece of it,” said Shari Anne Brill, vp/director of programming at Carat. “And it would be the best numbers they’ve seen in that time period—ever.”

Wherever Idol lands on the lineup, some networks already have begun to make their midseason decisions. CBS announced last week that it would premiere its male-skewing romantic dramedy Love Monkey, starring Ed’s Tom Cavanagh, on Tuesday, Jan. 17 at 9 p.m., as bridge programming between cycles of The Amazing Race. Bumping Out of Practice, comedy The Jenna Elfman Show will launch Monday, Jan. 23 at 9:30 p.m. Kahl said Practice would return to the schedule following NBC’s Olympics coverage. Kahl added that the Julia Louis-Dreyfus comedy The New Adventures of Old Christine and the military drama The Unit, from The Shield creator Shawn Ryan and David Mamet, would make air in March. Also being readied is the recently announced event series Game Show Marathon.

Earlier this month, ABC announced its post-Monday Night Football schedule, airing Wife Swap at 8 p.m. and the Heather Graham comedy Emily’s Reasons Why Not at 9 p.m., followed by the return of Jake in Progress at 9:30 p.m. and a new cycle of The Bachelor at 10 p.m.

Like CBS, ABC enters midseason from a position of strength. But that strength conversely limits the number of time periods in which either network can test new shows.

Fox, too, has an embarrassment of riches. With Idol and 24, it adds its two strongest series to the lineup, leaving little room to return Prison Break’s back-nine episodes to the schedule. Also on Fox’s midseason docket are two new comedies (airport-set The Loop and single-cam sitcom Freeride) and new reality entry Skating With Celebrities.

In the past, broadcasters have promised more scripted series over the summer months. And even though each of the four major networks has about half a dozen new programs waiting in the wings, most of those programs—at the very least, the scripted ones—will make air before May. That’s when talent options expire on most of the shows.

Besides, as ABC proved last season by trying Grey’s Anatomy in Boston Legal’s Sunday time slot, success can come when you least expect it. And programmers would rather know that before setting the Fall ’06 schedule. “It’s a 35-week season,” said Jeff Bader, executive vp at ABC Entertainment. “So there are always opportunities to share time periods.”

In addition to its Monday shows, ABC has the multicam whacky family comedy Crumbs, starring Fred Savage and Jane Curtin, the single-cam whacky family comedy Sons and Daughters and the return of Less Than Perfect. On the hour side, there is the J.J. Abrams-produced romantic dramedy What About Brian?, the John Wells-produced procedural drama The Evidence and the legal drama In Justice.

NBC—underperforming on Thursdays as well as Wednesdays, Fridays and Sundays—may have the most riding on program changes halfway through the season. Among its new comedies are the sitcom Four Kings from Will & Grace creators Max Mutchnick and David Kohan and workplace comedy Teachers. (Scrubs also returns.) Drama series include Book of Daniel, starring Aidan Quinn as a pill-popping priest; the Lotto-driven Windfall; and Dick Wolf’s Convicted, about young district attorneys. Nonscripted fare includes Treasure Hunters, the return of Fear Factor and several two-part stand-alone episodes of The Biggest Loser.

The WB’s midseason includes its career girl drama Pepper Dennis, starring Rebecca Romijn; college drama The Bedford Diaries, from producer Tom Fontana; the comedy Misconceptions, starring Frasier’s Jane Leeves; the Jerry Bruckheimer-produced comedy Modern Men; and reality entry Beauty and the Geek 2.

Meanwhile, UPN announced it will premiere its Miami-set drama South Beach in January, on Wednesdays at 8 p.m., as bridge programming between cycles of America’s Next Top Model. At the same time, it cut back its order of the drama to eight episodes. The network is also readying a yet-to-be announced unscripted series.

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1001570639

Just when we thought we were safe….
E! Reunites Hilton, Richie for “The Simple Life”

By Anthony Crupi MediaWeek.com NOVEMBER 28, 2005 -

Paris Hilton and Nicole Richie have agreed to shoot another season of The Simple Life for E! Entertainment Television just weeks after Fox sent their reality series packing.

E! announced Monday that it would reunite the feuding celebutantes for a 10-episode fourth installment, set to bow in spring 2006.

The new episodes will find the 24-year-old stars playing house, alternately filling in the role as the overseer of a different household each week. That the two will take turns as head of their assigned families suggests that Hilton and Richie probably won’t have a lot of screen time together.

That may be for the best. Last April, Hilton released a statement announcing that she her Simple Life counterpart were “no longer friends,” adding that Richie “knows what she did” to precipitate the bustup.

Fox did not confirm if the end of the friendship had lead to the cancellation of the show, saying instead that it simply could not find any room for the show on its spring schedule.

Along with the new episodes, E! has also snapped the rights to all 36 installments of The Simple Life. The net will begin airing season one in January 2006.

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1001571651

The Cable News War
CNN's Gamble With 360º Has Yet to Reap Big Ratings

By Anthony Crupi MediaWeek.com NOVEMBER 28, 2005 -

If nothing else, Anderson Cooper is fraught with contradiction. When the CNN anchor lit into Sen. Mary Landrieu (D-La.) after she praised the federal government for its “extraordinary efforts” in securing relief for the victims of Hurricane Katrina—which as of that date, Sept. 1, was nowhere in evidence—he tapped into the rage of a dying city with a heat that seemed incommensurate with his sardonic studio demeanor or his fashion spread in Details.

Then again, the cable news business is nothing if not contradictory. Those who bemoan the loss of newsman Aaron Brown, who left CNN when Anderson Cooper 360° was pushed into his 10 p.m.–midnight slot, overlook Cooper’s reporting pedigree. And, the network argues, those who suggest that 360° has yet to catch fire in its new slot are missing the point.

First, the hard data: Through Nov. 21, or 11 days into its new time slot, 360° averaged 568,000 total viewers, with the balance tuning in for the program’s first hour (685,000). Cooper’s average audience is down 19 percent relative to Brown’s final week behind the NewsNight desk, and while it isn’t retaining its Larry King Live lead-in, losing 32 percent of the suspendered one’s audience, that’s still 4 percent better than Brown’s retention over the same period a year ago.

If the buzz generated by Cooper’s Katrina reportage hasn’t translated into big ratings, CNN execs aren’t exactly fumbling for the Valium just yet. For one thing, 11 telecasts is far too brief a track record, said CNN spokesperson Christa Robinson. “It’s premature to discuss ratings,” she said. “We can’t really extrapolate much from the data thus far, but having said that we’re extremely pleased with the quality and performance of the show.”

CNN is particularly enthused by Cooper’s performance among its crucial adults 25-54 demo. A year ago, Fox News Channel was up 182 percent in the demo in the 10-midnight slot; that lead has been narrowed to 68 percent in 360°’s first 11 days. Over that same period/time slot, CNN is up 7 percent among 25-54, while the FNC lineup of On the Record with Greta Van Susteren and the encore of The O’Reilly Factor are down 36 percent.

Media buyers say it’s all about the bottom line. “That they could get some of their numbers up without a marketing campaign is something,” said one buyer, who characterized CNN’s inventory as “good and tight.”

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1001570640

Critic’s Notebook
“House”, “Veronica Mars” revisited

By Rich Heldenfels Akron Beacon Journal on his TV blog

I caught up with last week's ''House'' and then watched a preview of tomorrow night's episode, which ends with one of those twists so good that I dare not reveal it to you here. But even before the episode gets to the twist, it's yet another ''House'' tour de force, moving back and forth in time, inserting characters into scenes in inventive ways, operating like an especially dizzying stage play -- and on top of that, throwing in an emotional kicker that hit me especially hard. Plus a guest-starring role by Allison Smith, who seems to be everywhere lately.

This is a show that has become so sure of itself, it is absolutely fearless. Last week's episode, with Cameron trying out meth, was one example. (This week, it's Chase at the center of the pinwheel.) It wasn't the main plot, but it forced you to look at a character in a different way, while not going so far that you found her actions unbelievable. And the show is just nervy. A reader had already e-mailed me to take a look at the address of House's home, and there it was, 221B. Same as Sherlock Holmes.

Besides ''House,'' I finally got around to last week's ''Veronica Mars,'' if only to be ready for the stunt telecast this week. Once again, the show juggled an incredible number of stories, character expansions and even social issues in a single hour, without feeling overstuffed. I'm not sure about it all -- Logan's turning hero, Duncan's nightmares -- and I am really missing Wallace, who's important in terms of how we see Veronica. And I missed several bits of dialogue thanks to Channel 43's kicking off the sound during its superfluous weather alerts. (By Wednesday night, everyone of at least modest intelligence knew the weather was getting tricky.) But I still really like it and am glad I waited to watch. ''Veronica'' just isn't a show to watch while fighting sleep or allowing distractions.

While I was watching those things, though, the lack of cable/Internet connections kept me feeling isolated. Yes, technological breakdowns can force us to consider things from different perspectives. Thanks to a previous cable TKO on Sunday, I listened to the first part of the Browns game on the radio -- but they didn't sound any better than they looked once the TV was back. But it was just weird not having the usual access to things. It's another reminder about one of my pet themes, that the advances in technology create gaps for the people who can't afford to keep up. And if you feel behind for a day, how will it feel if you're behind every day?

The networks, of course, are rushing forward so fast that they're already creating gaps in the interest of profit. That exclusive ''CSI: Miami'' scene available only on the Internet, for instance. (A scene, by the way, that was also a huge promotion for a car company.) Or the plan to make some new ''Lost'' content available only through a cell-phone company and then on the ''Lost'' second-season DVD. And that's just what's happening in entertainment.

http://blogs.ohio.com/beacon_tv/

I have pretty much filled in the bowl lineup with actual and projected (from a number of sources) matchups for the Bowl games in the first post on this thread.

As official Bowl acceptances are announced, I will update the post until Sunday, when the official BCS pairings will be announced.

Jan. 2 Tostitos Fiesta Bowl (Notre Dame (9-2) vs Ohio State (9-2) 4:30 PM ABC

That should be a great game. Hopefully it all pans out. Feel sorry for Oregon, but oh well. :p

Agreed on both points, Russ.

And Virginia Tech-Penn State might be pretty good, too (if it works out).