Hot Off The Press! The Latest Television News and Info [Text View] - Page 76

dad1153

12-07-06, 08:27 AM

Any Canadian visitors familiar with this show? Has it premiered already, or are they promoting it? What network carries it? And what have the ratings/general reaction been like to the idea/premise? It'd be interesting to see something like this tried in the States although chances of that happening are about the same of Fredfa leaving this thread for others to manage. Mmmphh... :rolleyes:

(International) TV Notebook
Sitcom’s Precarious Premise: Being Muslim Over Here
By Neil MacFarquhar, The New York Times December 7, 2006

TORONTO — The handsome, clean-cut young man of evidently Pakistani or Indian origin is standing in an airport line, gesticulating emphatically as he says into his cellphone, “If Dad thinks that’s suicide, so be it,” adding after a pause, “This is Allah’s plan for me.”

As might be expected, a cop materializes almost instantly and drags the man off, telling him that his appointment in paradise will have to wait, even though the suicide he is referring to is of the career kind; he’s giving up the law to pursue a more spiritual occupation.

The scene unrolls early in the pilot of a new Canadian comedy series called “Little Mosque on the Prairie.”

Yet that fictional moment is an all-too-possible occurrence, as witnessed when six imams were hauled off a US Airways plane in Minnesota in November after apparently spooking at least one fellow passenger by murmuring prayers that included the word Allah.

“Little Mosque on the Prairie” ventures into new and perhaps treacherous terrain: trying to explore the funny side of being a Muslim and adapting to life in post 9/11 North America. Its creators admit to uneasiness as to whether Canadians and Americans can laugh about the daily travails of those who many consider a looming menace.

“It’s a question we ask ourselves all the time,” said Mary Darling, one of the show’s three executive producers and an American who has lived in Canada for the last decade. “If 9/11 is still too raw, it might not work,” she said.

There is the other side of that coin too — what will Muslims think? — which the show’s creators usually summarize in one long sentence that mentions the uproar prompted by Salman Rushdie as well as the Danish cartoons about the Prophet Muhammad.

This concern stems from the almost automatic presumption that “to look at Muslims in an entertaining way is going to be controversial because they will riot in the streets,” said Al Rae, one of the show’s writers, who noted that he does research by bouncing potential scenarios off cab drivers here. Or as Amaar, the young man detained in the opening airport scene, puts it sardonically, “Muslims all over the world are known for their sense of humor.”

The strongest insurance against outrage from the faithful is that “Little Mosque” is the brainchild of Zarqa Nawaz, a Canadian Muslim of Pakistani origin whose own assimilation, particularly after she left Toronto for Regina, Saskatchewan, 10 years ago, provides much of the comic fodder.

“It rests on my shoulders to get the balance right between entertainment and representing the community in a reasonable way,” Ms. Nawaz, a 39-year-old mother of four, said in an interview here. “You have to push the boundaries so you can grow and evolve as a community.”

During one recent episode being filmed at a neighborhood swimming pool, two Muslim characters who are normally veiled leave the changing room to discover that a man has replaced their usual female instructor. The horrified women lunge for bath towels to use as temporary hijabs, or veils, to cover their hair.

Ms. Nawaz, veiled since she was in ninth grade, coached both actresses to be less relaxed. “I didn’t feel that they were panicked enough,” she said. “It’s a big deal for a hijab-wearing woman to be seen without one.”

Ultimately the solution is found when, as the script describes, “Fatima comes out dressed in the Haz-Mat Islamic swimsuit.” The costume designer unearthed a swimsuit on the Internet from Jordan that covers her from scalp to ankle and had it shipped to Canada.

The struggle over what constitutes modest dress is central to the show. When a Muslim girl flounces into her immigrant father’s presence with her navel showing, he recoils in horror, saying, “You look like a Protestant.”

She counters, “Dad, you mean a prostitute?”

He responds, “No, I meant a Protestant.”

Ms. Nawaz’s humor also emerges in the pool episode. Johnny, the male water aerobics instructor, is gay, and he pointedly says that the sight of the women’s hair would not be the least bit arousing.

“I always try to start these debates in my community like: Does gay count? Do you have to cover your hair in front of a gay man?” Ms. Nawaz said with a chuckle. (It is not the kind of question that arises in Muslim countries, where being openly gay is virtually out of the question; such behavior is punishable by a death sentence in some places.)

Fellow Muslims often dismiss her thoughts and questions as too outrageous, she admitted. “But now I have a whole series to express them.”

Amaar, for example, is abandoning a law career to become the new imam, or prayer leader, in the small town of Mercy. His predecessor as imam preaches sermons like, “First there was ‘American Idol,’ and now there is ‘Canadian Idol.’ All idols must be smashed.”

Ms. Nawaz wanted the show to look at how a native-born imam, exceedingly rare at the moment, might deal with issues differently from the standard imported imams. The actor who plays the young imam, Zaib Shaikh, is the only Muslim in the cast, although the creators said they had hoped more would audition.

Another episode focuses on the anguished debate among strict Muslim families about allowing their children to dress up and collect candy on Halloween, a Christian affair built atop a pagan festival. Most North American Muslims eventually compromise because the day has been drained of religion. “Little Mosque on the Prairie” turns it into “Halal-oween,” halal being the Arabic word for anything religiously permissible.

The sitcom grew out of the battle in Ms. Nawaz’s mosque in Regina over whether women had to pray behind a partition, a heated controversy across the United States and Canada. She vehemently opposed the idea, ultimately making a documentary released this year called “Me and the Mosque” about the tug-of-war with her own imam as well as similar segregation battles in Chicago and West Virginia.

The documentary sparked her idea that all manner of tension between moderate and conservative Muslims — one episode focuses on the partition issue — would make both Muslims and non-Muslims laugh. There were 600,000 Muslims in Canada in the 2001 census, with the number now estimated around 800,000. Estimates for the American population are around six million.

In an earnest manner not atypical of Canadians, one goal of the show is to explain Muslim behavior, or at least make Muslims seem less peculiar, much as humor about Jews, Italians or gays helped those groups assimilate.

“On the news all you ever hear are voices from the extreme end of the spectrum,” Ms. Darling said. “This gives voice to ordinary people who look just like other ordinary people.”

With its small-town setting and affable cast of characters — even a talk radio host who labels Muslims as terrorists comes across as rather lighthearted — the show unrolls a bit like “Mary Tyler Moore” or some other 1970s sitcom. It is scheduled to start on CBC on Jan. 9, with eight episodes. More are under negotiation. Pitches will be made to networks in the United States in December, so at first only Americans in border states will be likeley to have access to it.

Test audiences have been somewhat divided, the producers said. Younger viewers, especially Muslims, tend to laugh openly with recognition. Others, particularly the older generation — whether Muslim or not — hesitate.

“Nobody has done a comedy about Muslims before, so they are not sure how to take it,” Ms. Nawaz said. “Some non-Muslims wonder, ‘Are we allowed to laugh?’ ”

http://www.nytimes.com/2006/12/07/arts/television/07mosq.html?_r=1&ref=television&oref=slogin

dad1153

12-07-06, 08:38 AM

Critic's Notebook
Putting God Back in the Produce Aisle
James Poniewozik's Time 'Tuned In' Blog Dec. 6, 2006

From my sometime nemeses at the Parents Television Council comes word that NBC, like Saul on the road to Damascus, may have had a change of heart in its dealings with the Bible-oriented cartoon VeggieTales. As I wrote earlier, NBC had been editing out overtly religious messages from the cartoon when broadcasting it as part of its Saturday-morning block. Now we hear from the show's creator that in several of the episodes re-aired, the upfront "theistic" content has been left in.

I have had my differences with the PTC before, but in this case I agree with them entirely. You may, like me, not particularly want your children receiving religious instruction from an animated tomato. That's fine: for us, there is an entire world of non-religious kids' programming out there. But if you want to watch VeggieTales, you want to watch VeggieTales, and there's no point to watering down its essential message. By the same token, NBC did the wrong thing by cutting out a controversial scene from a Madonna concert in which she appeared on a cross: if you want to watch a Madonna concert, you want to watch a Madonna concert, and the cross is part of her message, whatever that is.

It's all about choice, in other words, which is a point the PTC and its ilk only seem to get about half the time. Some of the groups' efforts are focused on expanding consumer choice--especially its crusade to allow cable subscribers to choose from tiers of channels, which unlike many TV critics I support. But choice goes both ways, and unfortunately too much of the PTC's effort is dedicated to taking away choice: in particular, pressuring the FCC to suppress primetime programming that millions of viewers want to see, because a relative few don't like giving other people the option to see it. (The PTC, notably, did not advocate for NBC to keep the crucifixion scene in the Madonna concert.)

Maybe the VeggieTales victory will persuade the PTC, and others, that what we need is more choice, not less, that the ideal media environment is one in which they can see their Biblical cartoons and I, my filthy reality shows and crucified pop stars, without either of us trying to frustrate the other's choices.

Maybe. But I expect to see vegetables talk first.

http://time.blogs.com/tuned_in/

dad1153

12-07-06, 08:50 AM

Critic's Notebook
If it isn’t one thing, it’s another...
TV Land’s list of greatest quotes ignores women’s lines
By Lauren Beckham Falcone, The Boston Herald December 7, 2006

Hey, TV Land - a message from the ladies: Kiss my grits!

‘‘The 100 Greatest TV Quotes and Catchphrases” (starting Monday at 10 p.m.) features a mere four offerings from women. A few TV experts are now saying ‘‘Never mind” to the sexist tally.

‘‘It’s crazy that there are so few women represented,” said Terry Lawler, executive director of New York Women in Film & Television. ‘‘It’s a glaring omission, and you have to wonder how many women were part of the choosing. You also have to wonder why there wasn’t any effort to ask, ‘Are we representing the full spectrum of women and shows that have been important?’”

Tom Hill, vice president and creative director for TV Land, said 10 staffers created the list, and the group ‘‘included a number of women.

‘‘Although I won’t reveal the percentage,” he said. ‘‘I do admit it was a bit of a surprise when it was pointed out how few women were on the list. Do two men in drag count?”

(For the record, the quotes by women on the list include: ‘‘Marcia Marcia Marcia” by Jan Brady (Eve Plumb) on the ‘‘Brady Bunch”; ‘‘Oh my nose” by Marcia Brady (Maureen McCormick) from the same show; ‘‘God’ll get you for that” from ‘‘Maude” (Bea Arthur); and ‘‘That’s hot” from Paris Hilton on ‘‘The Simple Life.”)

Hill said the list reveals that the last 50 years of TV, specifically comedies, are male dominated.

‘‘Catch phrase comedy is skewed to males,” he said. ‘‘Female comedy, if you want to generalize, tends to be more story based. We stand by our list, but I think it might have been fair to say it could have had a more feminine touch. But it is what it is, to coin a phrase.”

Denise Dorman, a Los Angeles-based media critic, said the list omits what she considers ‘‘the most important TV quote from a woman.”

‘‘Tick tock, Arnie, tick tock’ from ‘L.A. Law,’ ” she said. ‘‘Women around the U.S. immediately started using that line to ask for their well-deserved pay increases. It was also a critical moment on ‘L.A. Law,’ showing a timid woman (Roxanne, played by Susan Ruttan) become empowered enough to ask for what she deserved. It gave a lot of underpaid women an important boost of self-esteem.”

Ladies talk back

Our top 10 missing quotes from the ladies:

‘‘Never mind.” - Emily Litella (Gilda Radner) on ‘‘Saturday Night Live.”

‘‘It’s a good thing.” - Martha Stewart

‘‘Can we talk?” - Joan Rivers

‘‘Kiss my grits.” - Flo (Polly Holliday) from ‘‘Alice”

‘‘So, you think you’re spongeworthy?” - Elaine Benes (Julia Louis-Dreyfus) on ‘‘Seinfeld”

‘‘I couldn’t help but wonder . . .” Carrie Bradshaw (Sarah Jessica Parker) on ‘‘Sex and the City”

‘‘Nothing comes between me and my Calvins.” - Brooke Shields

‘‘It’s a vast right-wing conspiracy.” - Hillary Clinton

‘‘I’ve fallen and I can’t get up.” - Mrs. Fletcher in the LifeCall commercials

‘‘Calgon, take me away.” - from the Calgon commercial

http://theedge.bostonherald.com/tvNews/view.bg?articleid=170828

dad1153

12-07-06, 09:03 AM

TV Sports/Local Politics
Political Football
Don't Darken My Knights: N.J. Pol
By Peter Lauria, The New York Post December 7, 2006

New Jersey Sen. Frank Lautenberg wants his Rutgers bowl game - and he's calling on the NFL Network to let him have it.

"Rutgers fans should be able to watch Rutgers play in their bowl game - period," Lautenberg (D-N.J.) said.

"The fans should not be used as a bargaining chip in the dispute between the NFL Network and cable companies," he said in a letter sent yesterday to the NFL Network urging it to allow the game to be shown on local television in New Jersey.

Coming off arguably the best season in the school's history, the Scarlet Knights will be playing in this year's Texas Bowl on Dec. 28.

Rutgers fans won't be able to see the game since the NFL Network, which holds exclusive rights to the Insight Bowl and the Texas Bowl, is currently blacked out of most of New York and New Jersey due to a dispute over how much Time Warner Cable and Cablevision will pay to carry the station. Satellite services are currently carrying the NFL Network.

"Because a majority of New Jerseyans, even most who pay for cable service, cannot watch the NFL Network, I urge you to permit this game to be shown on local broadcast television in New Jersey," wrote Lautenberg, who is a member of the Senate Commerce Committee, which oversees cable and broadcast television.

"We received Senator Lautenberg's letter and share his desire to have the Rutgers bowl game seen by as many of the team's fans as possible," said an NFL Network spokesman in a statement. "As the Senator recognizes, we have repeatedly offered to make not only this Rutgers game, but all NFL Network programming, available broadly throughout New Jersey.

"We regret that Time Warner and Cablevision have not yet agreed to carry NFL Network, but we will to work as hard as we can to resolve this commercial dispute as soon as possible. We hope that Time Warner and Cablevision will show the same concern for the fans and resume negotiations with us promptly."

After several months of failed talks prior to the NFL Network's premiere broadcast on Thanksgiving night, the two sides are currently at a stalemate with a return to the negotiating table nowhere in sight.

"Just as the NFL Network makes Giants or Jets games available in the New York market, and any other NFL team in any other home market available, they should certainly do the same for Rutgers," a Cablevision spokesman said.

http://www.nypost.com/seven/12072006/business/political_football_business_peter_lauria.htm

dad1153

12-07-06, 09:11 AM

Critic's Notebook
'Sleeper Cell' is an eye-opening look at war on terror
By Rob Owne, The Pittsburgh Post-Gazette December 7, 2006

If Showtime's first season of "Sleeper Cell" had one failing when it aired last December, it was the finale. To that point, "Cell" was a far more realistic look at the inner workings of a terrorist group on American soil than anything viewers have seen on "24."

But that last hour, though not terrible, was at least more conventional than the rest of the series as FBI undercover agent Darwyn Al-Sayeed (Michael Ealy) leapt into action to stop the terrorists from executing their planned bombing of a ballpark.

Through the first six hours made available for review, this year's follow-up, "Sleeper Cell: American Terror" (9 p.m. Sunday and running eight consecutive nights through Dec. 17), is another A+ production that conjures chills as a new terror cell, calmly and coolly plans for attack. It shows not only the preparations, but also their motivations.

Humanizing terrorists won't sit well with unthinking viewers, but it does paint a more realistic picture than the twirling mustache villains on "24."

This season American Muslim FBI agent Darwyn infiltrates a terror cell that includes a Latino gang member (Kevin Alejandro), a Dutch nanny with a dark past (Thekla Reuten) and a Shiite-hating, Iraqi ex-patriot (Omid Abtahi, "Over There").

Darwyn's girlfriend, Gayle (Melissa Sagemiller), is back, hoping Darwyn will take a teaching position, but before he can, he becomes embroiled in another undercover assignment with a new, inexperienced FBI case handler (Jay R. Ferguson).

Last year's captured cell leader, Faris Al-Farik (Oded Fehr), does not cooperate with American interrogators, and the only other surviving member of the original sleeper cell, Ilija Korjenic (Henri Lubatti), escapes and makes his way back to Europe.

Even in its first hour, "Sleeper Cell" offers disturbing glimpses at the reality of the war on terror, made more palpable when it hits home, claiming the lives of characters that viewers have grown attached to.

Each episode includes one real shocking plot twist, but this second "Sleeper Cell" also takes time to develop the characters, both new and old. Viewers learn much more about Darwyn's background through his relationship with his father (Charles S. Dutton) and the new installment also gives glimpses at Farik's life in Saudi Arabia.

Another edge-of-your-seat thriller, "Sleeper Cell: American Terror" puts its characters in context. They may commit despicable, heinous acts, but they're still human. "Sleeper Cell" recognizes that the world is far more gray than it is black and white.

'Tsunami, The Aftermath'

A fictional account of what happened after a December 2004 tsunami swamped Thailand and neighboring countries, this HBO mini-series is a well-acted, well-intentioned tragedy in two distinct parts.

Night one, airing at 8 p.m. Sunday, is a high-gloss disaster flick, albeit a much better one that what broadcast networks have put on in recent years. Night two, airing at 8 p.m. Dec. 17, is closer to a political polemic with greater attention to character development.

Clocking in at a little more than three hours (about 90 minutes each week), this HBO-BBC co-production follows two vacationing families at a Thailand resort who get separated when a wall of water crashes down on their vacation paradise.

Ian Carter (stand out actor Chiwetel Ejiofor, "Serenity") grabs his young daughter and runs when the waves hit. His wife, Susie (Sophie Okonedo), is out at sea scuba-diving as the tsunami comes to shore and it somehow misses her entirely. Also on the scuba trip are Kim Peabody (Gina McKee, "The Forsyte Saga") and her youngest son, while her husband and teen son are swamped on land.

Attempts by the family members to re-connect with their missing loved ones are painful to watch. But "Tsunami" is not just about the vacationers. The film also follows a Thai boy whose entire village is lost.

In the aftermath, "Tsunami" tracks the work of a British bureaucrat, an aid worker and a journalist who investigates what could have been done to give people better warning.

Written by Abi Morgan and directed by Bharat Nalluri ("Hustle"), "Tsunami" creates a sense of dread as the killer waves approach shore. The impact is filmed in tight, close-up, jittery style, creating, perhaps, a more effective sense of confusion than a big-budget special effects extravaganza ever could.

But the film feels like it drags, especially in night one ("Tsunami" is not a pulse pounder like "Sleeper Cell," nor does it contain characters with the richness of those in "Sleeper Cell"). There's only so much sadness and vain searching for loved ones that a viewer can take. Night two offers some relief, concentrating instead on the political realities of storm preparedness and a shady hotel chain deals to rebuild on land that belonged to a small village before the storm.

The second part of the miniseries also contains a greater emphasis on characters. Certainly a discussion of religious faith would not be something a broadcast network miniseries would spend much time on.

"Hope: It's all I've got, believing in something that can't be proven but you're willing to trust is there," says aid worker Kathy Graham (Toni Collette). "It's what keeps me safe at night."

"Tsunami" won't go down in TV history as one of the best miniseries ever, but it's certainly better than many.

http://www.post-gazette.com/pg/06341/744146-237.stm/

dad1153

12-07-06, 09:12 AM

The Business of TV
Murdoch and Malone Find a Way to Make Up
By Richard Siklos, The New York Times December 7, 2006

Rupert Murdoch and John C. Malone, who have wrangled for two years over Mr. Malone’s challenge to Mr. Murdoch’s control of the News Corporation, have made peace.

It was almost two years ago that Mr. Murdoch was stunned to learn that Mr. Malone, his friend and sometimes business partner, had bought a big voting stake in the News Corporation, a stake that could threaten Mr. Murdoch’s grip on the colossus he built over five decades.

The two men privately struck a deal this week that would have Mr. Malone take one of Mr. Murdoch’s once-prized assets — the DirecTV satellite service — plus other goodies in exchange for going away by selling his $11 billion stake in the News Corporation back to the company.

Mr. Malone’s Liberty Media is to take Mr. Murdoch’s 39 percent stake in DirecTV as well as three regional sports networks owned by the News Corporation’s Fox subsidiary, plus some $550 million in cash, according to a banker briefed on the terms.

The News Corporation would simultaneously retire Liberty’s 19 percent voting stake and 15 percent nonvoting interest in what amounts to a huge share buyback. Another executive close to the discussions cautioned that Mr. Malone and Mr. Murdoch have come close to deals before only to back away, but others said this was the first time the men actually agreed on terms. A full legal agreement is expected to be signed and announced within two weeks.

The deal was struck over the last day by telephone after months of talks that were largely led by Liberty’s chief, Gregory B. Maffei, and the News Corporation’s chief financial officer, David F. DeVoe. Although Mr. Malone and Mr. Murdoch speak and their relations are said to be cordial, the once-chummy moguls have not spent much time together over the last two years.

In that time, the News Corporation adopted a poison-pill takeover defense to keep Liberty at bay, and Mr. Malone once said: “Half of the shareholders are afraid Rupert will die; half are afraid that he won’t.”

Each man will probably be able to claim victory in the contemplated deal, with Mr. Murdoch booking a gain of close to $5 billion on DirecTV since buying his stake in 2003. Perhaps more important, the buyback of Mr. Malone’s shares would eliminate the company’s second-largest shareholder and increase the Murdoch family’s voting stake to some 36 percent from close to 30 percent.

Mr. Murdoch, who is 75, has had a long-held ambition to pass the globe-spanning company to one of his six children. His son Lachlan, who resigned from the company last year, is on the board. James, another son, is chief executive of BSkyB, the British satellite broadcaster controlled by the News Corporation.

For Mr. Malone, the transaction also satisfies several financial and strategic objectives — not least of them being the ability to cash in on his big nonoperating stake in the News Corporation without paying taxes. But it would also put the onetime king of cable television back in the big leagues of companies that sell video services in the United States and could lead to a further reorganization of Liberty’s programming assets, which include half of Discovery Communications, the QVC home-shopping channel and the Starz pay television service. Mr. Malone once led the nation’s largest cable television company, Tele-Communications Inc., before selling it in 1999.

Mr. Malone and Mr. Maffei have said their goal is to create operating businesses out of the company’s diverse assets. Speaking hypothetically, Mr. Maffei told a media conference held in New York yesterday by the firm UBS that the company had various options for DirecTV that could potentially include trying to merge it with a rival, EchoStar, or with a telephone company seeking to expand its video efforts.

DirecTV is the nation’s largest satellite broadcaster, with 15.5 million subscribers as of June 30, and another 1.7 million subscribers in South America.

Mr. Maffei declined to comment for this article, as did a News Corporation spokesman.

Mr. Murdoch doggedly pursued DirecTV for years before persuading General Motors to sell him control in 2003. One reason he appears willing to sell only three years later is the uncertainty surrounding how satellite services will offer nonvideo services like high-speed Internet access to compete with cable and telephone rivals.

The sports networks operated by Mr. Murdoch’s Fox subsidiary are in the mix because for the deal to be a tax-free spinoff for both parties, it needed to include a business that the News Corporation has operated for more than five years that represents more than 5 percent of the transaction’s value.

In their dance over which assets to swap, Mr. Murdoch and Mr. Malone previously looked at other News Corporation businesses including the company’s stake in the National Geographic cable channel and some television stations.

http://www.nytimes.com/2006/12/07/technology/07cable.html?ref=technology

harley1

12-07-06, 10:16 AM

Showtime's 'Sleeper Cell' a real eye opener

Ellen Gray

SLEEPER CELL: AMERICAN TERROR. 9 nightly, Sunday through Dec. 17, Showtime.

AS ANYONE who tried to track ABC's "Lost" last season knows, conventional network models don't always work for serialized dramas.

Take 22 or so episodes and spread them out across a 36-week television season, and you're bound to have fans unhappy about reruns, pre-emptions and storylines that may be left hanging for weeks or months.

Even Fox's "24," with 24 episodes that start in January and run pretty steadily through spring, tends to bog down in the middle, as characters develop amnesia or encounter cougars or drive aimlessly around Los Angeles, looking for someone to torture.

Well, there's none of that on Showtime, the home of dope-peddling soccer moms and sympathetic serial killers.

The premium-cable channel, which just may have a death wish, is following up last December's challenging "Sleeper Cell" - 10 parts over a bit more than two weeks - with the even more intensely scheduled "Sleeper Cell: American Terror," which will air for eight consecutive nights beginning Sunday.

It's like they're daring you to watch.

But if you can make the time in a season where most programmers think we're all too busy shopping to be watching anything heavier than "Miracle on 34th Street" (the Natalie Wood version, of course), then "Sleeper Cell" delivers.

I watched the six hours Showtime sent over the course of 24 and can't wait to see those last two.

On the other hand, I haven't even started my shopping.

All those who missed last year's "Cell" really need to know is that FBI agent Darwyn Al-Sayeed (Michael Ealy), a practicing Muslim who last year infiltrated a group of terrorists plotting mass murder at Dodger Stadium and then helped avert that, is undercover again in Los Angeles, working as the interim head of another cell and taking orders from both al Qaeda and the FBI.

Some days, the FBI seems the more troublesome of the two, thanks to a wet-behind-the-ears handler (Jay R. Ferguson) who's poking his nose into Darwyn's relationship with a single mom (Melissa Sagemiller), but "Cell" never loses track of the evil done in the name of Islam.

It does, however, give that evil some beguiling faces, from Oded Fehr, who returns as Farik, the cell leader captured in last year's finale, to a Dutch au pair (Thekla Reuten) who's moonlighting as a would-be martyr.

Henry Lubatti is back as Ilija Korjenic, the rapping, karaoke-loving terrorist who also escaped the FBI's net, and if you think Showtime's "Dexter" is cute, then you might still think the same about Ilija.

He's going to make you work for it, though.

"Sleeper Cell's" al Qaeda remains an equal-opportunity employer, with Darwyn's crew including Reuten's character, Mina, a streetwise Latino named Benny Velasquez and the Cockney-accented Salim (Omid Abtahi).

The show, which handles issues like torture and the war on terror less cartoonishly than "24," this time delves deeper into Darwyn's past, focusing on his relationship with his estranged Nation of Islam father (Charles S. Dutton).

Darwyn retains his uncanny ability to summon an apt quote from the Quran for every occasion, but it's characters like Farik and Mina, whose faith is presented as a perversion of Islam, who nevertheless offer tantalizing glimpses of the love that may still dwell beneath the hate.

No TV show can be expected to make us understand completely how that works, but "Sleeper Cell" deserves credit for trying.

'Lost' on the move

ABC's moving "Lost" again.

When the show returns Feb. 7, it'll be airing at 10 p.m. Wednesdays, where it'll be safe from both Fox's "American Idol" and CBS' "Criminal Minds," which has been piling up the viewers in its absence.

No word yet on what this means for "The Nine," last seen hitching a ride to Hiatusville, but given how much trouble ABC's had keeping viewers after "Lost" with shows of similar intensity, maybe it's better as a nightcap than a lead-in.

In other scheduling news, ABC finally announced a premiere date for the much-postponed, heist-based sitcom "The Knights of Prosperity," which will now air at 9 p.m. Wednesdays, starting Jan. 3. Following "Knights" - which stars Donal Logue and is the only comedy this season to list Mick Jagger as an executive producer - look for "In Case of Emergency," a comedy about four friends who realize their lives didn't turn out the way they thought they would when they were in high school together.

Haven't seen that one yet, but ABC's press release says it's a "unique laugh-out-loud comedy."

Some - some who maybe don't watch "The Office" - could say that would be unique.

http://www.philly.com/mld/philly/entertainment/television//16182815.htm?template=contentModules/printstory.jsp

harley1

12-07-06, 10:19 AM

'Sleeper Cell': A gripping tale that'll keep you up at night

MAUREEN RYAN

It’s hard to imagine an acting challenge more difficult than the one faced by Oded Fehr in “Sleeper Cell: American Terror.”

In the second season of this solid Showtime series (8 p.m. Sunday), as in the first, he plays Islamic terrorist Faris Al-Farik, a man who not only plans heinous deeds but indeed looks forward to the resulting death tolls.

In Fehr’s hands, as much as you despise the character’s twisted goals, you never lose sight of the beliefs that drive Al-Farik. The man’s tenacity and determination must be acknowledged, as well as his charismatic reserve.

The series would fall apart if Al-Farik were a cardboard cutout villain. Who’d want to watch eight hours of this man’s journey if he were just a shallow action-movie bad guy? But thanks to Fehr’s brave, layered performance, it’s impossible to ignore Al-Farik or the ideas that motivate him.

And that may be the point. We may not want to think that people so cunning and committed to our destruction are in our midst, but the terrifying truth behind this timely series is that they must be.

At the opening of season two, which runs for eight consecutive nights, Al-Farik is in U.S. custody. The terrorist plot of the previous season was broken up, thanks to the work of undercover agent Darwyn Al-Sayeed (Michael Ealy). Al-Farik’s captors think that through torture and psychological games, they can break the Al Qaeda operative and get him to spill secrets. What they find is that he’s manipulating them more than they thought possible.

“Accept that your world is never going to be safe again until you make peace with Islam on our terms,” Al-Farik says through gritted teeth to his American interrogators.

Much of what drove the first season was the tension between Al-Sayeed and Al-Farik. The FBI agent Al-Sayeed, a deeply devout Muslim convert, had to hide his loathing for Al-Farik’s twisted version of their faith - and conceal the fact that he was not a true believer but an American agent working to foil the cell’s plot.

In the second season, Al-Sayeed, whose part in disrupting the previous plot was never made public, ends up leading another terror cell in Los Angeles. He has to not only keep down the body count of his unruly underlings, a motley international crew, he also has to contend with an FBI case officer more intent on glorifying his career - and covering his behind - than on helping the undercover agent.

Ealy plays the role of Al-Sayeed with hunched, inward-looking body language; his true self is in hiding, or so the agent thinks. Without Al-Farik to spar with, Al-Sayeed’s inscrutability and “Sleeper Cell’s” occasionally shallow writing slow things down, though there are passages, especially at the end of the first episode, in which Al-Sayeed erupts with electric fury at developments that mirror unthinkable things that have happened in the real world.

In this season, as in the last one, the lesser characters in the plot aren’t as compelling as they could be, especially compared with Al-Farik. And Al-Sayeed’s continuing romance with a civilian woman, who last season wasn’t aware of his real job, often seems like an afterthought or a convenient plot device. Why would this man, so smart in other ways, be so rash and thoughtless as to involve an innocent bystander and her child in a world that is so dangerous? The series never adequately explains that.

And this season, instead of following one cell’s plans, we get three parallel plots in the first few hours: Al-Farik’s harsh stints in the custody of Americans and then the more brutal Saudis; former cell member Ilija’s attempt to stay undercover with his girlfriend; and Al-Sayeed’s takeover of the L.A. terrorist cell. As the strands come together, the story gains in tension and you want very much to know what happens next.

Even if what happens next is the unthinkable.
Also on Sunday, HBO premieres the elegiac fictional mini-series “Tsunami: The Aftermath” (7 p.m.); the second half airs Dec. 17. As with “Sleeper Cell,” we are given a well-made glimpse into events and situations that we might rather look away from.

Families glowing with relaxation chill out at a resort in Thailand, hardworking employees go about their business - the biggest problem anyone faces is a polite disagreement at the reception desk. Then, the deluge comes. The disaster - along with its aftermath - is depicted with accuracy and sensitivity by a cast that includes Chiwetel Ejiofor, Sophie Okonedo, Tim Roth and Toni Collette.

It’s heartbreaking to watch. But in this world, as both “Sleeper Cell” and “Tsunami” show with great honesty and seriousness of purpose, we are all connected, from Thailand to England, from Bosnia and Saudi Arabia to L.A. Even if we wanted to ignore that fact, we can’t.

http://featuresblogs.chicagotribune.com/entertainment_tv/

harley1

12-07-06, 10:25 AM

Earl a fish out of water

Bill Harris

One of the most commonly used comic devices is the fish-out-of-water routine.

Even after decades of movies and TV shows, we still find it funny when someone is placed in a new environment he or she doesn’t understand.

Heck, Borat recently conquered North America with that very simple concept.

Which brings us to Dec. 7 and the back-to-back new episodes of the sitcom My Name Is Earl. They’ll be shown at 9 and 9:30 p.m. on NBC, and at 10 and 10:30 p.m. on Global.

On Dec. 7, Earl (Jason Lee) accidentally gets illegal-immigrant Catalina (Nadine Velazquez) deported back to Mexico. Subsequently, Earl and his brother Randy (Ethan Suplee) have to gather their courage and embark on a trip outside their native U.S. to bring Catalina back.

Also, Earl’s ex-wife Joy (Jaime Pressly) takes medication to control her temper, but her hubby Darnell (Eddie Steeples) doesn’t like her new demeanour.

Most TV historians would agree this isn’t a golden era for sitcoms. When the most-watched sitcom is Two And A Half Men, well, do the math. But Thursdays remain an oasis, thanks to NBC.

The Office, normally a Thursday staple, gets bumped Dec. 7 to accommodate an hour of Earl. But next week Earl will be bumped for The Office.

TV that truly makes you laugh has become a rarity. But seeing Earl south of the border Dec. 7 might just have you squirting cerveza out your nose.

http://www.calgarysun.com/cgi-bin/publish.cgi?p=164424&x=articles&s=showbiz

harley1

12-07-06, 10:38 AM

TV viewers spoon-fed college bowls all 32 of them

By Dick Kreck

Baseball may be America's pastime but it's football that we pass our time watching on TV.

When I was a kid - and footballs were made from real pigs - there were four bowl games. My dad and I sat on the couch from first kickoff until the Orange Bowl ended sometime after dinner.

This year, there are 32 bowl games, starting with the Poinsettia Bowl in San Diego on Dec. 19. Among the others are the PapaJohns.com Bowl (really!), Meineke Car Care Bowl and the Chick-fil-A Bowl. TV will be there, ending with the BCS Championship on Jan. 8 on Fox.

Pro football? ESPN this week announced that ratings for its "Monday Night Football," which it inherited from sister network ABC, are up 38 percent over last year.

Last Sunday's game between Dallas and the New York Giants on Fox was the most-watched NFL game since 1999, with 27.6 million viewers. The Broncos' loss against Seattle drew a 55 share, meaning more than half those watching at the time were tuned into the game.

This week, "Sunday Night Football," which has been extraordinarily popular since NBC has been able to pick which game it wants to air, gives us New Orleans-Dallas (6:15 p.m., KUSA-Channel 9).

Whither Tim and Jim?

KLZ 560-AM switches its sports talk from ESPN to Sporting News Radio on Jan. 1. I'm unfamiliar with any of SNR's hosts but unless they can whistle "Dixie" and talk at the same time they can't hold a candle to Tim Neverett and the Post's Jim Armstrong, the best-informed and literate sports duo on local radio.

Rumors afoot that Tim&Jim will turn up elsewhere shortly.

Waltrip tells all

Driver Michael Waltrip, the best spokesman NASCAR has, tells how it all works in an 11-week documentary, "Michael Waltrip Racing: The New Era," (8 and 9 p.m. Sunday, ESPN2)."New Era" chronicles his formation of the team with NASCAR newcomer Toyota, finding sponsors and drivers and building cars.

Around the dial

CU women's basketball coach Kathy McConnell-Miller guests on "Buffalo Stampede" with Charles Johnson (7 p.m. Friday, FSNRM). ... Virginia's Oak Hill, featuring everybody's number-one senior O.J. Mayo, and Georgia's Norcross, the nation's two top-ranked high school basketball teams, meet at Georgia Tech (7 p.m. today, ESPN2) ... It's awards season: It'll be a bigger upset than UCLA over USC if Ohio State quarterback Troy Smith isn't handed the Heisman Trophy (6 p.m. Saturday, ESPN). Adam Schefter hosts the 49th annual College Football Hall of Fame ceremonies from New York City (4 p.m., NFL Network) ... Quotable: "If a man watches three football games in a row, he should be declared legally dead." Erma Bombeck

http://www.denverpost.com/entertainment/ci_4789942

harley1

12-07-06, 11:01 AM

HRTS tackles reality TV, indecency

By Kimberly Nordyke

Dec 7, 2006

A panel of TV creators and executive producers discussed topics ranging from the merits of reality shows to disagreements with broadcast standards executives Wednesday during a "Hitmakers" panel, part of the Hollywood Radio and Television Society's Newsmaker Luncheon series.

The panel was mixed about reality TV, with Amy Sherman-Palladino, creator of "Gilmore Girls" (which started out on WB Network and now airs on the CW), the most vocal about her feelings during the discussion at the Regent Beverly Wilshire.

"These shows are a crutch and an excuse for the networks not to develop great (scripted) shows," she said. "Comedy is not dead; it's just that the networks haven't put on a great comedy (with some exceptions). ... The Big Four should be doing (more scripted programming). They have the biggest audience and the biggest budgets. Comedy used to make money, but everybody turned their back on it because it's just too easy not to trust good writers."

Sherman-Palladino, who received varying levels of applause three times during her comments, also complained that networks too quickly replace failing scripted series with reality programming.

Greg Daniels, executive producer of NBC's "The Office," said he's a fan of reality TV and sometimes watches shows to see how they are shot because "The Office" is structured as if the characters are taking part in a documentary.

"They're killing the industry, I guess, but I like them," he said, citing NBC's "Average Joe" as a favorite.

On the other hand, Damon Lindelof, co-creator/executive producer of ABC's "Lost," said there's not much he can incorporate by watching CBS' "Survivor" -- despite the fact that former ABC Entertainment TV Group chairman Lloyd Braun's idea for the show was " 'Survivor' as a drama" -- because it's more of a game show with a prize at the end, he said.

But Lindelof did admit that "Lost" episodes are often influenced by favorite series of the writers and producers, citing such shows as WB/UPN's "Buffy the Vampire Slayer" and the syndicated series "Star Trek: The Next Generation."

Also during the discussion -- moderated by Jimmy Kimmel, who once again didn't disappoint in keeping up a lively conversation -- the panelists discussed the disagreements they've had with broadcast standards executives.

Seth MacFarlane, creator and executive producer of Fox's "Family Guy," said his show can get away with more than live-action series because it's animated, but there has been a heavier crackdown on content since the Janet Jackson Super Bowl incident in 2004.

"Broadcast standards says we live in a post-Janet Jackson world now, as if it were Sept. 11," he said, adding that a major "no-no" is "**** jokes. That's public enemy No. 1 of broadcast standards' concerns."

Ron Moore, executive producer of Sci Fi Channel's "Battlestar Galactica," said his disagreements usually concern sexual content and how many "pelvis thrusts" can be shown -- "two are OK, but you can't show three in a row" -- and said he has gotten around concerns related to cussing by using the made-up expletive "frak" as a substitute.

"It was established in the original (ABC's 1978-80 'Battlestar Galactica'), so we're able to use 'motherfraker' and 'frak me' and 'frak off,' " he said.

Meanwhile, Kimmel asked Anthony Zuiker, creator of CBS' "CSI" franchise, where he would set a fourth "CSI" series.

"I pray to God we never do that, but I think it should be somewhere cool, like Los Angeles -- Hollywood, where you've got stars, guns, sex, drugs," he said.

http://www.hollywoodreporter.com/hr/content_display/television/news/e3i4e2055a0ae81a85218530198186b8b4b

dad1153

12-07-06, 11:37 AM

VisionOn

12-07-06, 11:42 AM

And another one bites the dust! :(

TV Notebook
ABC turns the light out on 'Daybreak'
By Mike Hughes, Gannett News Services December 7, 2006

"Day Break" - the tangled drama that needs a conclusion - will soon lose its place on ABC.

On Jan. 3, its slot (9 p.m. Wednesdays) will go to two new comedies. ABC made no mention of "Day Break" in its announcement but unofficial word isn't encouraging:

The show might continue to air through December.

After that it would still have at least five more episodes. They might be consigned to abc.com.

to be honest I'm not surprised. I don't mind complicated storylines but Daybreak leaves me scratching my head for the first thirty minutes of each hour. It has to jump through so many hoops to set up the premise from the previous days and previous weeks episode that I'm often trying to remember what he's trying to do. It doesn't help that for some reason every episode resets the day count. The second episode started throwing up captions saying "Day 2" and "Day3" when he'd already had at least 4 days in the previous week. They did the same thing again this week and he must have relived the same day at least 15 times now. If any show needed an onscreen time stamp outside of 24 this one does.

The pity is when the show settles down, the second half is actually quite a good piece of action television.

keenan

12-07-06, 12:22 PM

CPanther95

12-07-06, 12:44 PM

Please check the previous page (#627) for lots of stories added late last night and early this morning, including news of Daybreak's imminent demise and Murdoch & Malone coming to a deal about the latter's acquisition of Direct TV.

It's best to use post #s. Not everyone views the same number of posts per page so the page numbers will vary.

This is page 314 with my settings.

Jediphish

12-07-06, 02:16 PM

Becasue it seems like that's what they are still doing. I was just reviewing the Fall '06 schedule that was initial released during Up Front's and it is quite funny to see how the schedule has changed since then. All one needs to do is pay attention around this board to see how quickly things get cancelled. Sometimes the cancellations are announced. Other times not so much. Nets will promise a resolution and then ban a show to the internet.

In my opinion, "bandwagon" seems to be the name of the game these days. As in "this type of show is succeeding, so let's get on the bandwagon with our own version." How many of us expect that next year we will see a slew of super-hero knock-offs from not only ABC, Fox, and CBS, but maybe even NBC (Heroes: The Beginnings)? I'd say the odds are we will. Likewise, they are probably thinking that the hour-long comedy (a la Ugly Betty) is the way to go instead of the traditional 30-minute sit-com. Lost and 24 have been successful for their own reasons, and as a result we got bombarded with serials this year. If I were running a network (and of course I'm not), I'd consider the complete dearth of traditional sit-coms a great opportunity to bring in some fresh new shows of that variety. After all, this is not the first time the sit-com has been declared dead (see the era immediately preceding Thursday's Must See TV).

How many of you out there have seen a preview for a show and said to yourself "that will never make it." I did that with 20 good years and 3lbs myself (not that I'm a rocket scientist). I'll admit that I watch a bunch of shows that don't get the best of ratings (Veronica Mars being the best example), but I also feel that if there always weren't so many new shows being premiered, viewers might be more inclined to tune into an existing show to see whether they should give it a second chance. Hey, but maybe its just me.

And, of course, the dreaded game-show/reality series. I know these are cheap to produce and because of their low expenditures have fairly high profit margins, but these shows have very little "lasting" power (with AI being the exception).

So, please listen up TV Network Execs - deliver us quality shows, shows that bear some semblance of originality, and then give us a chance to find out they are worth watching. Look towards the future, not next week! How about devising a 5-year plan of where you want your network to be, and then follow it. Obviously, when certain things fail, and they will, there's no point in sticking with them, but how much longer are we viewers going to have to suffer through this seemingly-endless game of "premier" and "cancel."

I know this has been going on for a while now, but for me it truly began when Fox canceled Reunion. Now this year, I've just learned that I've wasted my time with The Nine. If this keeps up much longer, like the people who are constantly saying they are done with D*, I will be shouting my plan to "be done" with broadcast TV and go back to reading books (in HD).

mp12point7

12-07-06, 02:20 PM

"It's best to use post #s. Not everyone views the same number of posts per page so the page numbers will vary.

This is page 314 with my settings. "

CPanther95, If you simply start by reading the "last post" each time you come to fredfa's pages, and work your way up each page from the bottom, the previous locations always come up--just read in reverse order.

Jediphish

12-07-06, 02:23 PM

:)s at mp12point7 giving Cpanther95 advice on reading threads. No offense meant mp12point7 as I'm sure you meant none either. Still - quite humorous.

harley1

12-07-06, 03:16 PM

CBS rules Wed., starting with 'King of Queens'

By Paul J. Gough

Dec 8, 2006

NEW YORK -- Even with repeats of its two hourlong dramas, CBS won in both key measures in a Wednesday primetime that opened with the return of "The King of Queens."

Despite facing original programming on several other networks, CBS won the night in viewership by almost 4 million viewers and in the adults 18-49 demographic by a half a rating point, according to preliminary estimates released Thursday by Nielsen Media Research. The night's top show in viewership was a "Criminal Minds" repeat (14.1 million, 3.9/10) but "The Biggest Loser" squeaked by it in the demo. It was followed by a "CSI: NY" repeat that averaged 12.4 million viewers and a 3.8/11.

The only other program to crack 10 million viewers for the night was a second episode of "King of Queens" (10.2 million, 3.6/10) at 8:30 p.m. that followed the season premiere that delivered 9.5 million viewers and a 3.2/9 in the demo at 8 p.m. It was a mixture of good and bad news for CBS on "King of Queens," which was down 11% in viewers and the demo from when it premiered on a Monday in September 2005. But it was still first.

"America's Next Top Model" finished up its seventh cycle, the first on The CW. It averaged 6.3 million viewers and a 3.0/9 in the demo, winning its hour in adults 18-34 and other demos. At 8 p.m. it finished ahead of ABC's "Show Me The Money" (7.1 million, 1.9/6) and Fox's "Bones" (6.4 million, 2.1/6) as well as NBC's "The Biggest Loser" clip show (6.9 million, 2.6/7). It also powered The CW to its biggest night so far in adults 18-34 and women 18-34.

NBC's fortunes improved at 9 p.m., where "The Biggest Loser" (9.4 million, 4.0/11) won the hour in the demo and was its best demo and viewership since Nov. 29, 2005. "Daybreak" (4.4 million, 1.7/5) continued its fall, dropping from last week's 1.8/5 (as well as its 3.6/9 premiere). Both "Bones" and "One Tree Hill" were repeats at 9 p.m.

A "CSI: NY" repeat had no problem dispatching both a new episode of "Medium" (8.6 million, 3.1/9) and ABC's "Primetime: Basic Instinct" (6.6 million, 2.7/8).

Nightly averages: ABC (6.1 million, 2.1/6); CBS (12.1 million, 3.7/10); NBC (8.3 million, 3.2/9); Fox (6.3 million, 2.0/6); and The CW (5.2 million, 2.4/7).

http://www.hollywoodreporter.com/hr/content_display/television/news/e3icde94ed211afc29f86148896f2e81d73

harley1

12-07-06, 03:20 PM

Wednesday Ratings Set Record for The CW

By James Hibberd

Wednesday night's season finale of "America's Next Top Model" landed The CW in third place among the major networks for the first time since its September launch.

The CW averaged a 2.4 rating for the evening among adults 18 to 49, according to preliminary Nielsen Media Research figures. It bested ABC (2.1) and Fox (2.0), giving the traditional fifth-place The CW its first third-place finish. It was also the highest-rated evening so far for The CW among its key adults 18 to 34 demographic.

The king of Wednesday night, however, was CBS, which won the evening with the ninth-season premiere of "King of Queens." The episode earned a 3.2, followed by a "King of Queens" special (3.6). Two procedural reruns followed.

NBC was second with a "Biggest Loser" recap special (2.6), followed by a new "Loser" episode that was the highest rated of the season (4.0), then an average episode of "Medium" (3.1).

The CW tied its highest-rated "Top Model" finale ever (3.0), as well as had a season-high "One Tree Hill" (1.9).

In fourth place was ABC, which despite programming originals against a rerun-soaked field had a rough night. Game show "Show Me the Money" fell 14 percent from its already low-rated time-period average to a 1.9. "Money" was followed by the fourth, and likely final, episode of "Daybreak" (1.7), which continued to decline.

Fox was in fifth place with two reruns of "Bones."

http://www.tvweek.com/news.cms?newsId=11196

harley1

12-07-06, 03:23 PM

Commercial Ratings Meeting Ends Without Compromise

By Michele Greppi

A meeting Thursday between Nielsen Media Research and some of its television and advertising clients ended without a compromise on the ratings company's proposals for measuring how many people watch commercials.

The meeting was called so that advertising buyers and TV networks can try to reach a compromise on measuring delayed viewing of commercials by people who use digital video recorders.

One Nielsen client described today's meeting as constructive and said a lot of questions were answered.

Disagreements on the issue came to a boil at the last upfront advertising market, with ad buyers insisting that commercial time be bought and sold on the basis of live viewers, and live plus viewers who watch recorded shows the same day they air. Networks were rebuffed in their push to negotiate deals on the basis of live plus seven-day counts.

Nielsen has suggested a compromise that would have deals negotiated on the basis of people who watch commercials in live viewing and DVR playback within two days, or live plus three days.

Without a compromise, the commercial rating plan could collapse, meaning the networks would have to arm-wrestle with buyers at the next upfront over buying on program ratings that either include or don't include delayed DVR viewing.

http://www.tvweek.com/news.cms?newsId=11194

harley1

12-07-06, 03:28 PM

NFL: No Basis To Yank Antitrust Exemption

By John Eggerton -- Broadcasting & Cable, 12/7/2006

The NFL says Congress has no reason to remove its long-standing antitrust exemption.

"There is no basis now to repeal statutory provisions that have supported the development of these pro-consumer and pro-fan policies," said Brain McCarthy, NFL director of communications.

The league was responding to the threat--more like a promise--from Senator Arlen Specter, chairman of the Senate Commerce Committee, that he was going to introduce a bill to pull that exemption. That threat came at a hearing Thursday on access to cable sports programming.

He said the NFL was making anti-consumer programming moves that mirrored what he said were anti-fan moves when the league lets some teams--like the Colts and Browns--switch cities.

"We have discussed a wide range of issues, including television, franchise moves, and stadium construction, with Sen Specter for more than 20 years," said McCarthy.

"We are sensitive to his concerns and will continue to be responsive to his interest in the NFL. For more than four decades, NFL television practices have been recognized as consistent with the public interest and as delivering fans extraordinary amounts of programming at little or no cost. NFL Sunday Ticket and NFL Network support consumer choice, as well as broader competition in the overall television market."

Specter was critical of the NFL's exclusive Sunday Ticket deal with satellite provider DirecTV that is unavailable to competing cable operators in the market.

http://www.broadcastingcable.com/index.asp?layout=articlePrint&articleID=CA6398107

harley1

12-07-06, 03:31 PM

Specter Criticizes Cablevision Absence

By John Eggerton -- Broadcasting & Cable, 12/7/2006

Senate Judiciary Committee Chairman Arlen Specter (R-Pa.) was not happy with the absence of Cablevision from a hearing Thursday on cable sports programming.

He said that they had been given ample notice and was given no reason for their failure to appear. He pointed out that the committee has subpoena power and said he expected cooperation in any future hearings.

His committee continues to eye the cable sports business looking for possible violations of antitrust law.

In a follow-up to a hearing last month in which the NFL got roughed up for an effort to seed its fledgling NFL Network with regular season games, the committee, still headed by Specter through the lame duck session, took another crack at the issue of whether consumers are being fairly treated by sports leagues and cable companies, whether antitrust laws are being violated, or whether the laws need to be adjusted.

Specter was particularly interested in whether Congress should step in to close the so-called terrestrial loophole. Per the 1992 Cable Act, operators must provide programming to multichannel video competitors at reasonable rates. But the requirement applies only to satellite-delivered programming, not to terrestrially-delivered networks.

Another key issue for the committee was the 2007 sunset on the ban on exclusive contracts between cable operators and programmers in which they have an attributable interest. The issue is key for FCC Chairman Kevin Martin, too, who on Wednesday said he wanted the FCC to open an inquiry into whether maintaining that ban was necessary to assure access to programming.

Cablevision may not have been in attendance, but the cable operator side was represented in the person of Comcast EVP David Cohen, who said that rather than extend the ban, it should be allowed to sunset, saying that the cable industry is far less vertically integrated than when the ban was instituted in the 1992 Cable Act. He also said that vertical integration is not necessarily a bad thing, but has instead led to the creation of such networks as CNN, C-SPAN and Discovery.

Cohen called Comcast one of the least vertically integrated operators, with an average ownership interest of only 7% of the networks on its systems, contrasting that with DirecTV, which he said owned some 30% of its networks, including far more sports nets.

Cohen argued that there was "no justification" for the FCC's current program access rules.

Cohen pointed out that Comcast makes its regional sports networks available to all wireline competition and to satellite competitors everywhere but in Philadelphia. That is becase the Philadelphia sports net is delivered via landline and so falls under the exemption.

So, is Comcast using that exemption as a loophole in this case to withhold access to satellite in the one place it can. Well, yes, but Cohen points out that satellite operator DirecTV also has an exclusive deal with the NFL for its Sunday Ticket package of games that Comcast does not have access to. It's sauce for the goose and gander, he said, that Comcast does not make its sports net available to satellite in Philly for the same competitive reasons.

Mark Cooper of the Consumer Federation of America said that rising cable prices, discrimination in program provision and anti-consumer bundling of programming were all justifications for program access rules, saying cable operators had built barriers to entry. He said that cable should be required to unbundle its programming, allowing consumers to provide some market discipline on the cable industry.

While the FCC has placed program-access conditions on the mergers of DirecTV and News Corp. and the divvying up of Adelphia between Comcast and Time Warner, James Baller of the Baller Herbst Group, a law firm that represents state and local governments on telecommunications issues, said that protecting access on a merger-by-merger basis was not sufficient, and that Congress needed to pass unambiguous program-access laws.

http://www.broadcastingcable.com/index.asp?layout=articlePrint&articleID=CA6397950

dad1153

12-07-06, 03:56 PM

Nielsen Overnight Ratings
CBS's 'King of Queens' in regal return
Season premiere dominates 8 p.m. timeslot with a 3.4
By Toni Fitzgerald, Media Life Magazine December 7, 2006

The season premiere of “King of Queens” dominated a weak timeslot last night, up slightly from last season’s average and performing slightly better than former timeslot occupant “Jericho.”

Back-to-back original episodes of the show averaged a 3.2 and 3.6 rating at 8 p.m. last night, according to Nielsen overnights. The combined average of 3.4 just bettered the show’s season average last year, 3.3, and it put CBS 0.4 ahead of impressive runner-up CW in the hour.

It was also a 6 percent improvement over what first-year drama “Jericho” averaged in the timeslot this season. “Jericho” will return with new episodes next year, and “Queens” will fill in with double doses in the meantime.

This is rumored to be the last season for the sitcom, a late surprise pickup last May. Leads Kevin James and Leah Remini have risen to among the highest-paid sitcom actors on television, but the show’s ratings aren’t really strong even to continue justifying that price.

The show ranks as CBS’s No. 3 comedy, behind “The New Adventures of Old Christine” and No. 1 “Two and a Half Men.”

Also last night, the CW had another big Wednesday. The season finale of “America’s Next Top Model” dominated among adults 18-34 at 8 p.m., averaging a 4.0, 1.3 ahead of No. 2 CBS. That boosted “One Tree Hill to a 2.6 at 9 p.m., tied for second in the timeslot.

CBS was first for the night among 18-49s with a 3.7 average rating and a 10 share. NBC was second at 3.2/9, CW third at 2.4/7, ABC fourth at 2.1/6, Fox fifth at 2.0/6 and Univision sixth at 1.7/5.

At 8 p.m. CBS led with a 3.4 average for back-to-back episodes of “The King of Queens.” CW was second with a 3.0 for the season finale of “America’s Next Top Model,” NBC third with a 2.6 for “The Biggest Loser” and Univision fourth with a 2.2 for “La Fea Mas Bella.” Fox was fifth with a 2.1 for a repeat of “Bones” and ABC sixth with a 1.9 for “Show Me the Money.”

NBC took the lead for the 9 p.m. hour, averaging a season-high 4.0 rating for its second hour of “The Biggest Loser.” CBS fell to a close second with a 3.9 for a repeat of “Criminal Minds,” with Fox third with a 2.0 for a repeat of “Bones” and CW fourth with a 1.9 for “Hill.” ABC moved to fifth with a series-low 1.7 for “Daybreak” and Univision was sixth with a 1.5 for “Mundo de Fieras.”

CBS wrestled the lead back at 10 p.m. with a 3.8 for a repeat of “CSI: NY.” NBC was second with a 3.1 for “Medium,” ABC third with a 2.7 for “Primetime” and Univision fourth with a 1.4 for “Don Francisco Presenta.”

Among households, CBS finished first as well, averaging an 8.0 rating and a 13 share. NBC was second at 5.5/9, ABC and Fox tied for third at 4.3/7, the CW fifth at 3.5/6 and Univision sixth at 2.2/4.

http://www.medialifemagazine.com/artman/publish/article_8994.asp

dad1153

12-07-06, 04:08 PM

Tkmedia 2 broke the story yesterday for us here at the thread, and here's verification!

TV Notebook
Romijin joins 'Ugly Betty'
Actress to play mystery woman
By Gabriel Snyder & Josef Adalian, Variety December 7, 2006

ABC's "Ugly Betty" is adding some star power, snagging Rebecca Romijn for a key role.

Romijn has inked to be a series regular on the frosh sudser, one of the season's few new hits. She'll play the mystery woman who's been conspiring with Vanessa Williams' Wilhelmina character to take over the publishing company at the heart of the show.

Character to be played by Romijn has already been seen on the show, but in profile and covered in gauze. A different actress has been supplying the voice of the mystery woman.

Romijn is expected to begin work on Monday. Her first episode should air in time for the February sweeps.

Thesp has some experience playing women with secret identities. She's appeared in all three "X-Men" films as the mutant Mystique.

Romijn's roots as a former model should also make her comfortable with the fashion world focus of "Betty."

On the TV front, she starred in last season's WB dramedy "Pepper Dennis," playing the title character. Romijn recently wrapped production on the feature "Lake City," starring alongside Sissy Spacek.

Romijn is repped by WMA and 3 Arts.

http://www.variety.com/article/VR1117955213.html?categoryid=14&cs=1

dad1153

12-07-06, 04:13 PM

Morning News Ratings
Morning-News Ratings: Today Takes the Week Again
By Rebecca Stropoli, Broadcasting & Cable December 7, 2006

NBC's Today show was the most-watched morning-news program in total viewers and the key adults 25-54 demo for the week of Nov. 27. The show attracted 6.080 million viewers and 2.150 million in the demo, according to Nielsen. This is the 573rd consecutive week that Today has been No. 1.

ABC's Good Morning America was in second place for the week, with 5.050 million viewers and 2.15 million in the demo. Week to week, GMA gained 10% in both categories and scored a No. 1 ranking in 13 markets, including Chicago, Los Angeles, Atlanta and Houston.

Lagging far behind was CBS' Early Show, with 3.03 million viewers and 1.28 million in the demo.

http://www.broadcastingcable.com/article/CA6398089.html?display=Breaking+News

dad1153

12-07-06, 04:18 PM

TV Notebook
Gauging the real heft of 'Men in Trees'
ABC's Alaska romp pales against its lead-in
By Diego Vasquez, Media Life Magazine December 7, 2006

How to judge the recent Thursday night debut of “Men in Trees,” the “Northern Exposure” meets “Sex and the City” dramedy starring Anne Heche that ABC rescued from Friday futility?

On the one hand, the first-year show hit series highs among adults 18-49 with a 3.8 and 18-34s with a 3.0. It also bettered its previous season average of 2.1 by 81 percent and finished 23 percent higher than “Six Degrees” did in that show's final Thursday 10 p.m. airing four weeks ago.

But "Trees” has also fumbled more than half of its “Grey’s Anatomy” lead-in, lost a lot of its audience in its second half hour, and finished well below “Degrees’” September premiere.

A better gauge of the program may come tonight, when “Grey’s” is a repeat and “Men” will not have such a big lead-in. If numbers stay within reasonable range of last week’s ratings, ABC should be encouraged by its ability to retain viewers week to week, something “Degrees” never accomplished.

If, however, it dips a lot from last week, the network has reason for alarm.

ABC could certainly try to launch a third new drama out of that slot this spring, but so far it hasn’t had much luck leveraging the success of either “Grey’s” or “Lost” into a new hit.

So long as ABC continues to win Thursday--it has won all but two this season--the network may be content to let “Men” grow, as it has with “Brothers & Sisters” after “Desperate Housewives” on Sunday.

The consensus with critics seems to be that the show’s quality has risen since its pratfall-filled debut. Recently “Men” has put more focus on the actual men in the cast and toned down the physical comedy a bit while still focusing on the surprisingly engaging Heche’s struggle to adjust to Alaska life.

http://www.medialifemagazine.com/artman/publish/article_8967.asp

dad1153

12-07-06, 04:37 PM

Late Night Ratings
Nightline Ratings Tick Up
By John Eggerton, Broadcasting & Cable December 7, 2006

Nightline got some raised critical eyebrows when it moved to a New York-centric, three-anchor format with a pledge to pay more attention to the West Coast, but the ratings appear to vindicate the change from a ratings-and-shares standpoint.

It has been a year since Nightline made the switch and, according to ABC number crunchers, the show's viewership has increased considerably in the key 25-54 demo.

For the week ending Nov. 27, the last week of the November sweep, the show averaged 1.91 million viewers (1.6 rating) in the demo, up 25% from the same week last year, the first week of the new format.

It was also Nightline's best 25-54 rating since the February sweep.

http://www.broadcastingcable.com/article/CA6398147.html?display=Breaking+News

dad1153

12-07-06, 04:43 PM

Overnight Nielsen Ratings
Best night yet for CW
By Rick Kissell, Variety December 7, 2006

The finale of "America's Next Top Model" on Wednesday helped young net CW log its best night to date, while the return of "King of Queens" scored for CBS, which led the evening in key ratings categories, according to preliminary Nielsen nationals.

From 8 to 9, "America's Next Top Model" (3.0 rating/9 share in adults 18-49, 6.5 million viewers overall) set records for the finale of an edition in key demos including 18-49 and adults 18-34 (3.3/10); it led the time period in 18-34 and dominated in females 12-34 (5.8/17). Net stayed solid at 9 as "One Tree Hill" (1.9/5 in 18-49, 4.2 million viewers overall) notched season highs and its best delivery in women 18-34 (4.1/11) since February 2004.

Overall from 8 to 10, CW led all networks in adults 18-34 (3.3/10), notching the best nightly average in its first 80 days on the air.

At CBS, a full hour of vet laffer "King of Queens" averaged a 3.4/10 in adults 18-49 and 9.9 million viewers overall, winning the 8 o'clock hour in these measures and delivering the Eye's best demo performance in the hour since week three of "Jericho" in October. Net also fared well with repeats of "Criminal Minds" (3.9/10 in 18-49, 14.1 million viewers overall) and "CSI: NY" (3.8/11 in 18-49, 12.5 million viewers overall).

NBC's "Biggest Loser" hit a season high at 9 (4.0/11 in 18-49, 9.4 million viewers overall), narrowly leading its hour in 18-49, and "Medium" was above its recent averages to rank second at 10 (3.1/9 in 18-49, 8.6 million viewers overall).

ABC continues to struggle from 8 to 10 with "Show Me the Money" (1.9/6 in 18-49, 7.1 million viewers overall) and "Day Break" (1.7/5 in 18-49, 4.5 million viewers overall) before showing some spunk at 10 with the premiere of a limited "Primetime" series called "Basic Instincts" (2.7/8 in 18-49, 6.6 million viewers overall).

Fox ranked fifth on the night in 18-49, although just a tick behind fourth-place ABC's all-firstrun lineup, with two repeats of "Bones" that averaged a 2.1/6 in 18-49 and 6.1 million viewers overall

Preliminary 18-49 averages for the night: CBS, 3.7/10; NBC, 3.2/9; CW, 2.4/7; ABC, 2.1/6; Fox, 2.0/6; Univision, 1.7/4.

In total viewers: CBS, 12.2 million; NBC, 8.3 million; Fox, 6.3 million; ABC, 6.1 million; CW, 5.2 million; Univision, 3.9 million.

http://www.variety.com/article/VR1117955254.html?categoryid=14&cs=1

dad1153

12-07-06, 04:57 PM

The Business of TV
Murdoch and Malone Cut Deal for DirectTV
By Anne Becker, Broadcasting & Cable December 7, 2006

After two years of discontent, Rupert Murdoch may soon succeed in parting ways with John Malone. Murdoch's News Corp. and Malone's Liberty Media have cut an $11 billion asset swap to give Liberty control of News Corp.'s 39% stake in DirecTV, according to several published reports.

Under the deal, News Corp. would retire Liberty's 19% voting stake in News Corp. and and cable founding father Malone get News Corp.'s stake in the pay TV provider, in addition to $550 million in cash and three News Corp.-owned regional sports networks, according to the New York Times, which cited details from an unidentified banker briefed on the terms of the deal.

Executives from both companies have been hinting for months that a swap was perhaps in the works. Liberty last year abruptly increased its voting stake in News Corp. from 9% to 17%, startling Murdoch and prompting him to establish defenses against an unwelcome takeover.

News Corp. has tried unsuccessfully for years to lure Liberty out of the company., but has never offered anything Malone deemed worthy of exchanging for his stake, 188 million voting shares and 324 million non-voting shares. In the past, for example, News Corp. offered Liberty several local stations .

With the satellite business limited in its growth, DirecTV has frustrated News Corp. lately which could explain the company's willingness to part with it. Murdoch aggressively went after DirecTV for years, but has been so disappointed with it lately, he has called it a "turd bird."

According to the New York Times, a contract could be signed within two weeks. Liberty had insisted on a deal that minimizes taxes for both. The sports networks, owned by News Corp. subsidiary Fox, were included to make the deal a tax-free spinoff for both companies.

http://www.broadcastingcable.com/article/CA6397976.html

RemyM

12-07-06, 05:08 PM

If you simply start by reading the "last post" each time you come to fredfa's pages, and work your way up each page from the bottom, the previous locations always come up--just read in reverse order.

Or you could just subscribe to the thread, log in, and via the User CP be shown any new posts since the last time you visited. :cool:

dline

12-07-06, 05:09 PM

TV viewers spoon-fed college bowls all 32 of them

By Dick Kreck

... This year, there are 32 bowl games, starting with the Poinsettia Bowl in San Diego on Dec. 19. Among the others are the PapaJohns.com Bowl (really!), Meineke Car Care Bowl and the Chick-fil-A Bowl. TV will be there, ending with the BCS Championship on Jan. 8 on Fox.

Actually, it's the San Diego County Credit Union Poinsettia Bowl.

(I saw it on an ESPN crawl last week.)

fredfa

12-07-06, 08:19 PM

Thanks to all for keeping the thread alive the past 36 hours.

I continue to have internet connection problems but should be back to normal by morning.

But the hard work -- and voluminous posting -- of dad1153 along with harley1 (and the quick posting by tkmedia2 on the "DayBreak" demise) is very much appreciated.

fredfa

12-07-06, 08:21 PM

Critic’s Notebook
“Studio 60 On The Sunset Strip”
By Rich Heldenfels in his Akron Beacon Journal blog Dec. 7, 2006

…Just when I was convinced that ''Studio 60'' would no longer require my attention, it came up with an episode that didn't stink. The New Orleans tribute was genuinely moving. The Ed-Asner-says-go-get-'em scene was utter nonsense, but it was effective dramatically (not least because of Asner, whom I am sure believed every word he said). It sort of worked the way you could look at a lot of ''West Wings'' and think, ''That would never happen, but wouldn't it be neat if it did?'' Good job by Whitford, although I don't buy the romance, and Perry. And the Santa Claus/''Dateline'' joke was nearly funny.

I could write this off as Aaron Sorkin cranking it up for a Christmas episode, the way he would on ''West Wing.'' But I'll have to come back to be sure.

http://blogs.ohio.com/beacon_tv/

DoubleDAZ

12-07-06, 08:52 PM

:)s at mp12point7 giving Cpanther95 advice on reading threads. No offense meant mp12point7 as I'm sure you meant none either. Still - quite humorous.Cool! I totally missed that and just had myself a good laugh, not that there is anything wrong with anyone, no matter how many posts, trying to help anyone else here.

DoubleDAZ

12-07-06, 08:59 PM

Looks like Studio 60 is getting some interesting press these days. Anyone think it'll be enough?

Davinleeds

12-07-06, 08:59 PM

Thanks to all for keeping the thread alive the past 36 hours.

I continue to have internet connection problems but should be back to normal by mornin.
Since tues here. and Dad and Harley work it.

Jediphish

12-07-06, 09:22 PM

Cool! I totally missed that and just had myself a good laugh, not that there is anything wrong with anyone, no matter how many posts, trying to help anyone else here.

Agreed.

fredfa

12-07-06, 10:12 PM

The thread works a lot better when as many people contribute as possible.

I can't possibly be aware of all the good stories out there -- so if you see anything of interest please post.

It will help us all.

(And Dave, I have a feeling that Studio 60 is toast. But I can hope for some kind of miracle.)

Inundated

12-07-06, 10:15 PM

Actually, it's the San Diego County Credit Union Poinsettia Bowl.

(I saw it on an ESPN crawl last week.)

Then it's at least the second year for that name, as I remember it from last year.

And I remember thinking: "Why does a local credit union in San Diego want to sponsor a national game?" :D

fredfa

12-07-06, 10:29 PM

The Business of TV
TW Cable sues DirecTV amid football fracas
Spots claim some TW subs can't get regular-season games
By John Dempsey [Variety

Are Jessica Simpson and William Shatner lying about the quality of Time Warner Cable's high-definition picture?

Time Warner says yes, slapping a lawsuit on DirecTV for deceptive advertising in two areas: its ad campaign for high def (featuring Simpson and Shatner) and its spots that claim TW subscribers in some markets won't be able to get a regular-season NFL game featuring their local team.

What led to the suit, filed in federal court in Manhattan, is TW Cable's unwillingness to engineer a basic-cable deal with the NFL Network, which for the first time has begun carrying regular-season games. Net is being delivered to all of DirecTV's 15.6 million customers.

Seizing the opportunity to lure TW Cable subscribers in cities like New York, Cincinnati and Green Bay, Wisc., to cancel cable and buy a satellite dish, DirecTV joined with the NFL Network two months ago to set up a multimillion-dollar marketing campaign aimed at football fans.

In New York, for example, the ads said that 4.4 million cable subscribers in the region will not be able to get the Giants-Washington Redskins primetime game on Dec. 30 because the NFL Network has exclusive national-TV coverage.

But, in reality, TW Cable customers will see the game on WNBC, says the TW suit, based on NFL bylaws that permit TV carriage of a local game that won't be available from the national network.

In the high-def part of the suit, TW Cable goes after a national DirecTV ad campaign trotting out celebrities to say that "for picture quality that beats cable, you've got to get DirecTV."

Calling this claim false, suit says the high-def pictures sent out by DirecTV and TW Cable "provide exactly the same screen resolution."

A DirecTV spokesman said the company hasn't received notice of the suit so it would have no comment.

But in a number of TW Cable markets with an NFL team, the spokesman added, DirecTV has seen double-digit increases in the number of new subscriber signups since its campaign with the NFL net kicked off.

http://www.variety.com/index.asp?layout=print_story&articleid=VR1117955321&categoryid=14

fredfa

12-07-06, 10:51 PM

Critic’s Notebook
'Men in Trees,' women on screens
From Maureen Ryan’s Chicago Tribune blog “The Watcher”

Thank you, ABC, for making Thursday Ladies Night.

And by that, I don’t mean the lineup of “Ugly Betty,” “Grey’s Anatomy” and “Men in Trees” is meant only for female viewers. There are uncounted menfolk, after all, who can’t wait to find out what happens next with Addison Shepherd and Betty Suarez.

Some of them will even admit it.

No, Thursday’s lineup is refreshing because it puts female characters front and center, and it doesn’t patronize them or subtly mock their ambitions or gloss over their mistakes. And the shows themselves look light, bright and often colorful. Who doesn’t want to check out Alaska, Seattle or Mode magazine’s hip offices - the settings of these shows - after a steady diet of dark procedurals?

“Men in Trees,” a recent transplant from Fridays, even has as its theme What Women Want -- the lead character, relationship coach Marin Frist, thought she wanted the high thread-count, cocktails and stilettos Manhattan life, only to find that her fiancé was a cad and unexpected love awaited her in a little town in Alaska.

The show’s concept sounds treacly and overly cute, and its pilot was just that (it’s not a good sign when the best part of a show involves a rabid raccoon on the loose). But as the show has backed off the aggressive quirkiness and found real voices for its characters, it’s become an increasingly charming endeavor - one leavened by star Anne Heche’s prickly presences and creative dramatic choices.

James Tupper, as Heche’s Alaskan beau, has also emerged as one of this fall’s tough, taciturn guys to watch. Just like Coach Taylor on “Friday Night Lights,” he’s handsome and not so good with the word stuff. Tupper may play the guy as a shy, somewhat confused outdoorsy type, but his backwoods charisma is impossible to miss.

In other words, McSteamy and McDreamy, you’ve got competition.

The town’s other residents are also coming into their own: Abraham Benrubi is all burly sensitivity as the Alaskan village’s lovelorn bartender, and Patrick the innkeeper is a bumbling charmer (not so much his whiny girlfriend Annie). “Men in Trees” is not quite “Northern Exposure,” but then, it’s not trying to be. It’s more chick-lit come to life, and as such, it’s decent escapism.

Perhaps the best part of Thursday’s episode, in which Marin decides to return to the town of Elmo, are the scenes involving Marin’s New York editor, Jane. Her Alaskan beau (yes, she’s got one too) comes to the city to woo her, and finds out that she has a secret stash of steamy romantic fiction on her bedside table. Unlike her more typical date mates, he doesn’t sneer at her taste in trash -- he finds the bodice-ripping tales of naughty duchesses and manly stableboys kind of sexy.

All in all, this fish-out-of-water drama grows more winning by the week, and it’s the great capper to an enjoyably female-friendly night of TV.

But don’t let that put you off, guys. There’s something here for everyone

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

dad1153

12-07-06, 10:59 PM

Thanks to all for keeping the thread alive the past 36 hours.

But the hard work -- and voluminous posting -- of dad1153 along with harley1 (and the quick posting by tkmedia2 on the "DayBreak" demise) is very much appreciated.

Not to come across as the selfish attention whore of a bitch that I am in real life, but it was me that found the Gannett News Service story (which hasn't been picked-up by any other news outlets as of tonight :confused: ) about the impending Daybreak cancellation. tkmedia2 was the first to post news that Rebecca Romijin was joining the cast of Ugly Betty from E! (later confirmed by Variety). Fairness and accuracy, that's all I ask for! :rolleyes:

dad1153

12-07-06, 11:04 PM

TV Notebook
Rosie says she's staying put
Associated Press December 7, 2006

She's only been on The View for three months and already there are published rumors that Rosie O'Donnell wants out. She tried to shoot them down on Thursday.

O'Donnell, during Thursday's show, said she had answered an audience member's question during a commercial break the day before and mentioned how she would like to work on FX's Nip/Tuck. She noted that it filmed during the summer, during The View vacation break.

"Don't anybody worry where Rosie's going," she said. "She's right here."

O'Donnell has already had a colorful tenure on the daytime chatfest, with fur flying occasionally during talks with her more conservative co-star, Elisabeth Hasselbeck. But viewers have responded: the show had its highest November audience in its history, up 15% over last year, according to Nielsen Media Research.

The View creator Barbara Walters said Thursday that she had gotten a phone call from actor Danny DeVito, who appeared drunk during a colorful appearance on the show last week after a night out with pal George Clooney.

DeVito told Walters that he wasn't drunk. Just groggy.

The audience roared.

"Danny, I love ya," O'Donnell said. "It's all right that you were drunk."

Walters said DeVito invited her out the next time he goes drinking with Clooney.

They won't even have to buy booze. Makers of the liquor Limoncello, DeVito's drink of choice that fateful night, were so happy with all the publicity they sent a case over to The View in appreciation, Walters said.

http://www.usatoday.com/life/television/news/2006-12-07-odonnell_x.htm

dad1153

12-07-06, 11:13 PM

I've been a fan of this guy since he hosted the CBS News overnight program 'Up To The Minute' in the early 1990's (which I watched along with Aaron Brown's early years in obscurity co-anchoring ABC News' 'World News Now' with Lisa McRee... yes, I'm a night owl). Why does CBS News need to blow millions on news stars like Katie Couric when some of its own in-house anchors/reporters are already proven journalists with on-camera personality to spare? :rolleyes:

TV News
Mitchell up 'Early' for job
By Paul J. Gough, The Hollywood Reporter December 7, 2006

"The Early Show" acted quickly to add a new member to the on-air staff, promoting "Saturday Early Show" co-anchor Russ Mitchell to news anchor for CBS' weekday breakfast broadcast.

The announcement was made Thursday, three days after the eye said co-anchor Rene Syler will leave the show Dec. 22.

Mitchell's arrival Jan. 2 will help to more clearly define the roles at the morning news show, which has been mired in third place since its beginning and suffering from the sometimes awkward four co-anchor setup that it has had. Having a permanent news anchor, such as NBC's "Today" and ABC's "Good Morning America," gives "Early Show" the ability to use co-anchors Harry Smith, Julie Chen and Hannah Storm better than had been done.

"The fact of the matter is that on this program right now, it's difficult to know when the news ends and the program begins and where the program begins and the news ends," vp morning broadcasts Steve Friedman said. Under the current system, each of the co-anchors would rotate the role of news anchor as well as interviews and other segments. But it has been an unworkable system for a while.

"You must have defined roles on a show," said Friedman, who joined CBS this year after successful runs at "Today" and elsewhere.

CBS News president Sean McManus agreed.

"I think the experiment of not having a permanent news presence both in terms of an anchor and a physical location wasn't working as much as people had hoped it would work," McManus said.

Mitchell's presence will give Smith, for example, the ability to travel more. Mitchell has been the co-anchor of the "Saturday Early Show" since it began in 1997 and also anchors the Sunday edition of the "CBS Evening News." He will remain as anchor of the Sunday broadcast and contribute pieces to "CBS Sunday Morning," though he said in an interview Thursday that it will be limited by his new Monday-Friday anchoring duties.

"It's important for me to get out in the field and report," Mitchell said.

McManus praised Mitchell and said that he has tremendous range as a reporter and anchor.

November gave "Early Show" some good news, which notched its largest viewership for the past week since January.

http://www.hollywoodreporter.com/hr/content_display/television/news/e3i6d42c25ff2b07d3ac0922a381f62085f

fredfa

12-07-06, 11:26 PM

Not to come across as the selfish attention whore of a bitch that I am in real life, but it was me that found the Gannett News Service story (which hasn't been picked-up by any other news outlets as of tonight :confused: ) about the impending Daybreak cancellation. tkmedia2 was the first to post news that Rebecca Romijin was joining the cast of Ugly Betty from E! (later confirmed by Variety). Fairness and accuracy, that's all I ask for! :rolleyes:

Sorry dad1153 -- the lack of internet access has left my mind reeling.

Your attention to detail on this thread -- and your eagerness to help whenever asked -- is almost beyond belief. And I am sure I am not the only one who appreciates it.

So many thanks again -- this time for the Day Break story. (And corrected thanks to tkmedia2 for the Ugly Betty heads up.)

dad1153

12-07-06, 11:27 PM

Critic's (Holiday) Notebook
Tuned to Tradition
Break Out the Rabbit Ears, It's Time for Nostalgia TV
By Jennifer Frey, The Washington Post December 7, 2006

Tomorrow night, two television shows that date back to the '60s will air on CBS in prime time. They will be slow and corny, with out-of-date animation. Most viewers will have seen them before, some dozens of times. And, if history holds true, millions and millions of Americans across the nation will sit down and watch -- with commercial interruptions -- what they could just as easily have rented or purchased at a video store and watched at their convenience.

Say hello, once again, to "Rudolph, the Red-Nosed Reindeer." Welcome back, "Frosty the Snowman."

In the era of DVDs and TiVo and everything-on-demand, when television is downloadable and life seems to play out either in fast forward or in instant replay, the classic holiday television specials seem to hold a unique spot in our culture. Frosty, Rudolph, Charlie Brown, the Grinch, Kris Kringle: The mention of the names taps a well of nostalgia.

It's about the shared experience, the childhood memories that powerfully linger and the new memories adults are so desperate to create with their kids. For overscheduled kids and overworked parents, eating microwaved meals and playing with individualized electronic gadgets, Rudolph, it appears, is an oasis of old-fashioned holiday feeling.

"It's about the holidays and children, and how really important it is for families to have a sense of tradition," says Linda Gulyn, a professor of psychology at Marymount University who specializes in child development. "Most of us parents grew up with this experience, especially around the holidays, and we have a strong need to pass on tradition."

Make no mistake, it's the parents driving this train. Parents who hope their kids will fall in love with the poor ostracized elf who wants to be a dentist and befriends Rudolph. And empathize with Charlie Brown and his efforts to find the true meaning of Christmas. Maybe the evil Burgermeister Meisterburger (from "Santa Claus Is Comin' to Town") will scare them just a little, but that's part of the pleasure. Just like learning the words to the Heat Miser's song.

"I'm Mr. Heat Miser, I'm Mr. Sun," sings Amy Habeck to her 6-year-old twin daughters, trying to see if it provokes a memory. "Do you remember that one?"

Apparently, not yet (it's from "The Year Without a Santa Claus"). But the two Chicago girls, visiting Washington with their parents this week, quickly name "Frosty" and "Rudolph" as their favorite holiday shows. "How the Grinch Stole Christmas," the Dr. Seuss classic that will air Christmas Eve on TBS, will likely be given favored status this year -- Habeck expects not only to watch, but to record it on DVR. It's that first popcorn-and-pajamas, up-past-bedtime experience, though, that seems to make the lasting impact.

"We were just telling the kids how, when we were young, we didn't have the opportunity to watch them on tape," says Beth Lohr of Frederick, who has 11- and 8-year-old daughters. "But even with them on tape, we still make a point of sitting down and watching them [on the networks] together. It's the tradition. You can stick a tape in by yourself, but this is still a time for families to watch together."

And that's why the networks continue to find success airing the shows in prime time.

"The DVD market has really hurt a lot of theatrical movies on TV, for instance, and made it very tough to air those," CBS scheduling chief Kelly Kahl says. "That same logic really could have impacted these specials, but it hasn't."

On Tuesday night, "Santa Claus Is Comin' to Town" pulled in approximately 11 million prime-time viewers for ABC, winning the time slot among not only small children and parent-aged adults, but also in the lucrative 18-to-49-year-old market. ABC drew 13 million viewers last week with "A Charlie Brown Christmas," airing for the 41st consecutive year. "Rudolph" has brought in 15 million viewers each of the past two Christmas seasons.

None of the shows draws as well as they did a decade ago, but that's more a reflection of the proliferation of channels, especially cable options, than the popularity of the programs. "Everything is relative," says ABC scheduling chief Jeff Bader, who points out that most of these programs not only win their time slots, they do far better than the regular shows they are replacing for the night. They fill a niche -- programs that bring adults and kids together -- in the same way as such popular shows as "Dancing With the Stars" and "American Idol."

"There's a resonance to them," Bader says. "It's very, very hard to do new Christmas specials now."

But will the timeless quality of the programs stretch into yet another generation? Robert Thompson, a professor of pop culture at Syracuse University, expects it will.

"It's not just the act of watching them, it's the ritual of having them on, when they are on," Thompson says. "The energy is coming much more from the parents than from the kids. However, by the time those kids get to be 20, and they've left the halcyon days of youth . . . when they have mortgages, and jobs . . . I think they're going to pull the same nostalgia thing on their kids. Very few things in popular culture make those kind of generational jumps."

A grandfather now, Shy-Quon Ely of Southeast Washington fondly remembers watching all the holiday specials with his five children.

"We always knew it was Christmas season when 'Rudolph,' 'Charlie Brown,' things like that came on," he says. "We would plan for it. We'd go get cookies and chips and milk and pop . . ."

His voice catches: "Oh, you're making me reminisce."

Ely's children have moved away, but one of his daughters and her two young girls have been visiting him this week. Alas, they return home today, so he won't be able to share in their youthful enthusiasm when "Rudolph" and "Frosty" air tomorrow night.

Chances are, though, he'll be watching anyway. Nostalgia can do that to you.

http://www.washingtonpost.com/wp-dyn/content/article/2006/12/06/AR2006120602196.html

dad1153

12-07-06, 11:32 PM

The Business of TV
Nielsen talks commercials
By Paul J. Gough, The Hollywood Reporter December 8, 2006

Nielsen Media Research said Thursday that it has met with more than 100 of its customers to discuss its proposed commercial ratings system.

The meeting, held in New York, updated networks, ad agencies and marketers about how it would provide ratings data in the future. It will decide specifics by year's end, but Nielsen said it would provide the data so that commercial ratings could be determined from minute-by-minute DVR playback of up to seven days. That data stream will become available April 24; it will be added to the company's NPOWER software beginning next month.

That means the networks will be able to create customized commercial ratings, which will help alleviate concerns that broadcast and cable channels had about a one-size-fits-all system as well as accuracy issues raised by some clients.

Nielsen also pledged to keep working toward an average commercial minute rating, which will be available by May 31 and determine what other data streams they will have.

"It seems clear that there is no one-size-fits-all solution to commercial ratings and that providing the industry with multiple tools that range from very flexible and granular to more standardized formats is the best approach," Sara Erichson, general manager of national services at Nielsen, said in a statement.

Nielsen Media Research is owned by VNU Group, parent company of The Hollywood Reporter.

http://www.hollywoodreporter.com/hr/content_display/television/news/e3i6d42c25ff2b07d3a92651de846510386

rebkell

12-07-06, 11:44 PM

dad1153

12-07-06, 11:49 PM

Cable Q&A
'Lil' Bush's' big leap, from cell to cable
Way hot spoof on the Republican White House
By Diego Vasquez, Media Life Magazine December 7, 2006

To some, the politicians in Washington have always seemed like a bunch of petulant children. In “Lil’ Bush: Resident of the United States,” they quite literally are. That’s the idea behind the Amp’d Mobile animated series, which features a Lil’ Rascals-like gang of politicians such as President Bush and Condoleezza Rice as mischievous kids during the first Bush Administration. Earlier this week, “Bush” became the first show to originate on a cell phone and be picked up by a TV network, as Comedy Central will begin airing the program in January. It will also have another season on Amp’d after that. Since its Sept. 1 debut, “Bush” has been the most-viewed video on the mobile network, and it earned some online buzz too when the pilot became the No. 1 video on guy-focused entertainment site Break.com in September. Though that’s still a relatively tiny audience, it raises the question of whether such cell-to-TV crossovers will become more common over the next few years. “Bush” creator Donick Cary, a former writer on “The Simpsons” and “Late Show with David Letterman,” talks to Media Life about new media’s potential influence on television, what he’ll have to change about the show for Comedy Central, and his pursuit of Donald Rumsfeld to voice Lil’ Rummy.

Question: How did the deal with Comedy Central come about? Were they looking for mobile content to acquire, or did your show just pique their interest?

Donick Cary: Well, I was running a show called “The Naked Trucker & T-Bones Show,” which is launching in January on Comedy Central—a live action show. The “Lil’ Bush” cartoon I was doing at the same time on cell phones, and on the set some of the Comedy Central executives showed up and I showed it to them on my cell phone.

They were like, “What’s this?” and they looked into it. It was just by chance, random. They probably would have heard about it eventually, but I guess they’re always just looking for funny things to put on the air.

Question: Did you receive interest from any other networks?

Donick Cary: I got calls from a number of places. We were going to go and pitch it, but since I was working with Comedy Central so closely at the time, we gave them the first chance. And since they were so excited about it, kind of as a courtesy, we didn’t take it anywhere else.

Question: Obviously the mobile platform is quite different from cable. Are there any technical changes you’ll have to make to bring it to TV?

Donick Cary: It’s somewhat the same. The stories will be a little longer and more involved, it doesn’t have to be so hurried. But I produce them already they way I would have for TV. I wasn’t consciously thinking, “let’s make this for cell phones,” I was thinking, “let’s make a funny a little show.”

Question: Have you been told you'll have to tone down the political humor for TV, or will you be able to do most of the same things?

Donick Cary: We’ll see how it goes, but part of the reason it seemed like Comedy Central would be a good home is “The Daily Show,” “Colbert Report” and also “South Park” are all sort of plowing along and doing their things. I don’t think they shy away from controversial political stuff.

Question: How did you come up with the idea for the show?

Donick Cary: I started the deal with Amp’d about a year and a half ago. A guy I had worked with moved on to Amp’d and called me seeing if had ideas for shows. I had a pad full of ideas and thought this would be fun to do. I actually went in and mentioned four or five ideas and they said, “Let’s do them all,” and this was the first one.

I guess the last six years have been sort of a frustrating political time in America, and as a comedy writer I thought about how can I do something [about it]. Washington seems a little childish, so I thought, “Let’s do our own version.” Now we’re actually working on somewhere between five and 10 new shows for them to come out next year, all kind of about the size of “Lil’ Bush.”

It’s a great place for me just to try crazy ideas. You can’t really go into a network like NBC and say, “I want to do a show about a talking dog.” But if you show it to them and it looks good, they might be like, “Yeah, let’s try it.”

Question: Do you think mobile content has a real future? Will more shows move over, or could this be a limited thing?

Donick Cary: I think shows will make the jump. All of these things are converging and becoming one thing. There will be this cross-pollination of media back and forth, some will become bigger, others smaller. We keep talking about mobile phones and TV, but what it’s all really going to be is the internet. You can design it to have all the entertainment choices you want.

There’s always been the traditional way TV shows are done: a few TV networks use a big pot of money and they choose what shows are on, but now there’s cell phones and the internet—now there’s probably 10,000 networks trying to figure out how to do the same thing. Over the next 10 years, maybe only 1,000 will figure it out, how to make money doing this, and if they do the big pot of money the big networks have will be diffused a lot.

People are going to keep taking swings at this, and after 10 years or so some will land.

Question: Are there any advantages to mobile programming as opposed to TV, creatively speaking?

Donick Cary: The nice thing, and this probably speaks more to Amp’d specifically than mobile [as a whole], but they were very open to just trying things. They said, “Just try it, we’re not going to give you any notes, just do it.” As far as the size or the actual phone versus TV, the thing with Amp’d was they had money to produce it, whereas on like YouTube you pay [to make a video] yourself.

Essentially they paid for something that was like the size of a network pilot, and they didn’t poke at it too much like a larger major network would.

Question: Have you heard anything from the current or former Bush Administrations about your show?

Donick Cary: No, nothing, just a total news blackout from them. But I would say this is probably the best news they’ve had in a couple of years. We are trying to get Donald Rumsfeld to do his own voice now that he’s available, but I don’t know if we’ll get him.

Question: You'll be airing on the same network as Stephen Colbert and Jon Stewart. Between the three of you, who has the best Bush jokes?

Donick Cary: Well, I’m hoping that since we’re all on Comedy Central that I can just steal theirs and the legal team will take care of it. No, I watch both of them and they’re hilarious, I hope we can put together something as good as those shows.

http://www.medialifemagazine.com/artman/publish/article_8969.asp

dad1153

12-07-06, 11:56 PM

Critic’s Notebook
HBO's 'Tsunami' is itself a disaster, and just wrong
By Robert Bianco, USA Today December 7, 2006

RATING: ONE STAR (OUT OF FOUR)

The more important a story, the more important it is to tell it well.

Sad to say, the 2004 Asian tsunami disaster gets precisely the treatment we've come to expect from HBO's faltering film division. As usual, the two-part, two-week Tsunami, The Aftermath is expensively, impeccably produced, on location in Thailand. And as befits HBO's current affection for BBC co-productions, the movie is 100% Anglo-centric, from its point of view to its use of well-regarded if not always well-known British actors.

It is also absolutely and inexcusably tasteless, tone deaf and wrong-headed. And dull — the final disservice to the memory of the dead.

Some already have questioned the wisdom of trying to mine this tragedy for two weeks of entertainment when thousands of people have yet to find the bodies of their missing relatives. As it turns out, however, timing is hardly the film's worst flaw.

More than 227,000 people died in the tsunami, the vast majority of them Indonesian. Yet on whom does this Rudyard Kipling salute center? Two British tourist families, a British reporter, a British diplomat and a British aid worker. Oh, and a Thai boy who is rescued by one Brit and lectured to by another.

What's next from HBO and the BBC: a Katrina movie about a London couple on holiday?

Granted, we all wear blinders when it comes to our own. But to film on location in Asia and shove the native population into the background as extras is an act of cultural myopia, not to mention insensitivity, so severe as to border on the pathological.

The main tourists are two young parents (Chiwetel Ejiofor and Sophie Okonedo) separated from their child, and a woman (Gina McKee) separated from her husband and son. Of course their stories are sad, but the movie tells nothing about their suffering that you couldn't figure out just by reading that plot synopsis.

To be sure, every incident yields multiple stories, and if this is the one that writer Abi Morgan most wanted to tell, she has that right. Indeed, considering how inadequate and tinny her script is, we should probably be thankful she avoided the bigger picture.

Now do yourself a favor and avoid this one.

http://www.usatoday.com/life/television/reviews/2006-12-07-tsunami_x.htm

dad1153

12-08-06, 12:12 AM

TV Notebook
Report: TV Diversity Increasing, Slowly
By Lynn Elber, Associated Press December 7, 2006

Civil-rights groups seeking greater ethnic diversity in the TV industry said Thursday the major broadcast networks are making improvements but it's time for greater progress — and pressure.

"I don't want to wait 10 years until we're close on television to the 15 percent of the population we are in the U.S.," said Alex Nogales, an official with the National Latino Media Council.

The council has been working together with groups including the Asian Pacific American Media Coalition and American Indians in Film & TV since 1999 to increase minority hiring and representation in the broadcast TV industry.

Karen K. Narasaki, chair of the Asian Pacific American coalition, said there has been "marginal progress" as all four networks increased the number of starring roles for Asian-American actors in series. In one case, however, that meant going from one role to two.

"We're still far from where we need to be," she said, with far too many all-white shows or shows that by dint of their setting should have Asian-American characters but don't.

There's been a worrying drop in Asian-American writers and producers, Narasaki, also president of the Asian American Justice Center, said in a phone interview following a news conference.

Increasing their ranks is crucial to creating more minority characters, she said. She noted the cast diversity on ABC's "Grey's Anatomy," created and produced by a black woman, Shonda Rhimes.

Nogales lauded ABC, a network he said "finally got it" and has Hispanic characters in its most popular shows, including "Desperate Housewives" and freshman hit "Ugly Betty." As a result, he said, the network is winning over more Hispanic viewers.

In annual "report cards," ABC, CBS, NBC and Fox are graded in areas including their hiring of minority actors, writers and directors, development of programs with ethnic diversity and overall commitment to diversity issues.

This year, for shows airing from fall 2005 to fall 2006, the National Latino Media Coalition gave ABC the highest overall grade, A-minus, followed by a B-plus for CBS and a B each for NBC and Fox.

The Asian Pacific American Media Coalition gave NBC, ABC and Fox a C-plus each, while CBS earned a C.

In the coalition's first report card, in 2000, the networks received mostly Ds.

There was yet again a sharp slap from Americans Indians in film & TV: The virtual absence of any American Indians on screen or in the industry earned a flurry of Fs and Ds, with just a handful of higher grades.

In separate statements Thursday, ABC, CBS, NBC and Fox reiterated their commitments to diversity and pledged continued efforts.

ABC is "pleased to be recognized as a leader in diversity," said Robert Mendez, senior vice president for diversity at the Disney-ABC Television Group. "Our mission is to make our programming and environment reflective of the rich diversity of the world in which we live."

Nogales, also president of the National Hispanic Media Coalition, said he planned to study a recent University of California, Los Angeles, study that said lawsuits may be warranted when the casting process for films takes into account race and sex.

"I think it's completely applicable (to television), and if it is we'll use it," he said in a phone interview.

Nogales said he considers the networks "partners" in the diversification effort but has no qualms about pushing hard for results.

"Sometimes you have to kick your partners" in the behind, he said.

http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2006/12/07/entertainment/e175847S13.DTL

dad1153

12-08-06, 12:21 AM

USA Today covers Showtime's upcoming 2nd season of 'Sleeper Cell' with both a story profiling the new season as well as a review.

TV Notebook
2nd 'Sleeper Cell' gets into torture
By Bill Keveney, USA Today December 7, 2006

The first season of Showtime's Sleeper Cell culminated in a failed terrorist attack on Dodger Stadium. This second miniseries, producers say, will be even darker.

To accomplish that difficult task, Sleeper Cell: American Terror (Sunday, 9 ET/PT) countenances an even larger potential attack, the torture of captured Muslim terrorist Faris Al-Farik (Oded Fehr) and the increasing inner turmoil of undercover FBI agent Darwyn Al-Sayeed (Michael Ealy), a Muslim asked to infiltrate a new terror cell after foiling last season's plot.

"My partner, Cyrus (Voris), likes to refer to it as The Empire Strikes Back season," after the gloomier second Star Wars film, executive producer Ethan Reiff says.

The structure of the eight-night miniseries will change, too. Last year, main characters Darwyn, Farik and another terrorist, Ilija (Henri Lubatti), converged as part of the same L.A. cell. The second season finds them spread about: a weary Darwyn infiltrating a new cell; Farik undergoing harsh U.S. and Middle Eastern interrogation; and fugitive Ilija hiding from authorities.

Darwyn, a rare Muslim hero on TV, must deal with a wet-behind-the-ears FBI handler (Jay R. Ferguson) and a new role as leader of the cell. And ugly undercover duties conflict with his Muslim lifestyle: "Darwyn is struggling with his faith. He's just not sure. He's beginning to crack," Ealy says. "But he wants to stop these people. He's very much aware you have to get dirty."

With Farik's capture, Cell delves into torture — a volatile issue worth addressing, Reiff says, but Cell doesn't take a political position on it. "Is it a good thing? Is it a bad thing? Does it help the cause or hurt the cause? Those questions have to be wrestled with," he says.

For Fehr, who describes the torture scenes as grueling, it was important to figure what motivated Farik to commit his despicable acts and then resist the harshest interrogation. "He is 100% convinced that God is right there behind him. I wanted to make him interesting and scary, but it was very important not to make him the classic Arab villain who enjoys violence."

Fehr, a native of Israel, says real-world events such as the war in Lebanon and the terrorist plot in London made his role during the second season more difficult emotionally. "But that's why I'm so proud of this show. It's our responsibility as entertainers to challenge and ask questions about daily subjects, about the wars we're fighting and the conflicts in the world."

http://www.usatoday.com/life/television/news/2006-12-07-sleeper-cell_x.htm
____________________________________________________________ _____
Critic's Notebook
What to watch this weekend
Robert Bianco's USA Today 'Critic's Corner' Column Dec. 7, 2006

One of these days, Showtime's creative rise is going to be reflected in its ratings.

Perhaps the breakthrough will be Sleeper Cell: American Terror (*** out of four, Sunday, 9 ET/PT), an eight-hour miniseries that is one of the rare sequels that improves on the original. Where the first Cell felt somewhat pat and mechanical, this second installment is rougher, more chaotic and more real. Unless, of course, real life has just caught up with Cell's terrifying fiction.

Airing over eight straight nights, Cell once again follows FBI undercover agent Darwyn Al-Sayeed (Michael Ealy) as he infiltrates another cell linked to the now-imprisoned Farik (Oded Fehr). Darwyn is an American Muslim, and as before, the show uses him to explore the divisions in Islamic beliefs — and to remind viewers that all Muslims are not terrorists, and all terrorists are not Muslims.

Cell is not as focused as it should be nor as completely credible as it claims to be. (Any agent who let a sleeper-cell plot play out so far that it led to a Dodger Stadium shootout would be spending the next decade in hearings.) Still, it is well acted across the board and close enough to the bone to inspire many a nightmare — maybe even in some of Showtime's competitors.

http://www.usatoday.com/life/columnist/criticscorner/column.htm

dad1153

12-08-06, 12:30 AM

Critic’s Notebook
TV triangles keep things tense
By Virginia Rohan and Marc Schwarz, The Hackensack Record (NJ) December 8, 2006

Life - or at least life on TV - is really just a class in geometry.

There's "Numb3rs" with Rob Morrow on Fridays, and there used to be "Square Pegs" with Sarah Jessica Parker.

But the most important shape these days is the triangle - the love triangle. From dramas to comedies, many of the most successful shows are employing an age-old dilemma: torn between two lovers.

Why has the triangle suddenly become the shape of television romance?

It's a way to preserve the dramatic and sexual tension between two characters who are mutually attracted - but who'd suddenly become a lot less intriguing if they ever really got together.

Enter the third party. This keeps things lively - and gives viewers someone to root for or against.

TV's triangles vary in degree and size. Some are isosceles - two of the three sides are equal in length and made for each other. Some have changing members, some are fixed. Some are TV's equivalent of forever (longer than a season), while others are resolved. The winning equation is: Tension plus believability equals success. The implausible (and short-lived) Joey-Ross-Rachel triangle on "Friends" didn't work. The long-running Dawson-Joey-Pacey on "Dawson's Creek" did.

Here's a look at some of today's top prime-time triangles:

'The Office'

The angles: Jim (John Krasinski)-Pam (Jenna Fischer)-Karen (Rashida Jones).

The history: Last season, the triangle was Jim-Pam-Roy (David Denman), Pam's lunkish fiance. At season's end, Jim told Pam he was in love with her, and they kissed. But when the new season opened, we learned that while Pam had broken up with Roy, Jim had transferred to Dunder Mifflin's Stamford office, where he befriended the fun-loving Karen. When the Stamford office closed, Jim moved back to Scranton - and so did Karen. They're now dating - and Pam is clearly upset about that.

Desired outcome: Jim + Pam 4EVER. These two are clearly destined to be together. They're already great friends, which would provide a great foundation for them to become lovers. In the British version of "The Office," the two corresponding characters did wind up together - but not until the very end of the series. So, better get used to that triangulation.

'Brothers & Sisters'

The angles: Kitty (Calista Flockhart)-Warren (Josh Hopkins)-Amber (Keri Lynn Pratt).

The history: When Kitty came home to visit her family, she was living with a gorgeous rich guy from New York. Then, she, a conservative commentator, took a job at the political talk show "Red, White and Blue," where she met raging liberal Warren. Sparks started flying, Kitty had a night of passion with Warren, and soon, Mr. New York was out of the picture. But then, the wide-eyed Amber arrived at the station - and she and Warren were suddenly dating. And now, there's a new complication. In the Nov. 19 episode, Rob Lowe showed up as conservative Sen. Robert McCallister, whom Kitty interviewed - and will come to consider a romantic prospect.

Desired outcome: Frankly, we're not heavily invested in this one.

'Despeate Housewives'

The angles: Susan (Teri Hatcher)-Mike (James Denton)-Ian (Dougray Scott).

The history: From the moment in the pilot that their eyes met at the repast after Mary Alice's funeral - and he tried to eat her inedible macaroni - Susan and Mike were a couple to root for. And for about five minutes, they were blissfully happy together. But then came a series of relationship-wrecking misfortunes - he was suspected of murder; she secretly remarried her ex-husband in order to get insurance to pay for desperately needed surgery, which was performed by a doctor who then fell for her; Mike fell into a coma after being mowed down by a crazy dentist (who later married Bree); Susan faithfully visited Mike at the hospital, where she met Ian, whose wife was also in a deep coma. Now, Susan's with the still-married Ian. When Mike finally came out of the coma, Edie Britt (Nicollette Sheridan) - still sore that Susan had ruined her engagement to Karl - convinced him that they'd been a couple. Now, Mike's been charged with murder, Edie's dumped him, and Ian has offered to pay for the very best legal defense for Mike, on one condition - that Susan has nothing more to do with Mike. Ever. Hey, they don't call them nighttime soaps for nothing.

Desired outcome: Susan and Mike. That's all, folks.

'Lost'

The angles: The perennial Jack (Matthew Fox)-Kate (Evangeline Lilly)-Sawyer (Josh Holloway) triangle.

The history: In the pilot, when Kate stitched Jack's wound, they seemed to be headed for hotsville. But then, there was also an unmistakable chemistry with bad-boy Sawyer. She respected Jack, she was often angry at Sawyer. She kissed one, then she kissed the other. There was briefly a quadrangle, when Sawyer hooked up with Ana Lucia. But then, right after that, Ana Lucia got killed, and we were back to the old familiar triangle. It seemed to have been finally resolved in the fall finale, when Kate slept with Sawyer. But we're guessing this threesome isn't really done yet - especially after the look Kate and Jack shared between the pane of glass.

Desired outcome: Hmm. This is a hotly debated, highly subjective issue. Kate and Jack had long been our personal preference, but the Kate-Sawyer combo really grew on us.

'Bones'

The angles: Dr. Temperance "Bones" Brennan (Emily Deschanel)-FBI Agent Seeley Booth (David Boreanaz)-Dr. Camille Saroyan (Tamara Taylor).

The history: Bones and Booth are a classic case of opposites attracting. She's scientific, he's intuitive. She's socially awkward, he's sensitive to feelings and situations. They bicker, they insult each other, but they also care about each other - and they're obviously in love and lust. In the show's first season, Booth had a girlfriend, but we didn't see her very often, and Bones had an occasional date or romantic possibility. But this season, the "Bones" writers have inserted a triangle right into the middle of the show. Upon returning from vacation, Brennan was surprised to find she was answering to a new boss at the Jeffersonian Institution: the beautiful Dr. Saroyan, a first-rate pathologist who had a romantic past with Booth - and has shown up in his bed this season.

Desired outcome: We all know Bones and Booth are a great match. As Deschanel told us last season, "These are two people who are attracted to each other, but they don't really think they're right for each other. ... They belong together. But it will take a long time."

'Ugly Betty'

The angles: Daniel (Eric Mabius)-Amanda (Becki Newton)-Sofia (Salma Hayek).

The history: Daniel, Betty's boss, is a promiscuous bachelor whose many conquests include Amanda, the pretty, catty receptionist at Mode magazine. While she tries to pretend she's just as casual about their sex as Daniel is, Amanda is secretly in love with him. Deep down, she's got a heart - and it's been broken since he's fallen for Sofia, an editor from a sister publication who's only visiting for a while - and happens to be engaged to someone else.

Desired outcome: Daniel and Sofia. That's a grown-up relationship that will help Daniel mature. (But we're not sure how available Hayek will be to keep appearing in the telenovela she produces.)

'Grey's Anatomy'

The angles: This show has had sooo many - starting with the Meredith (Ellen Pompeo)-Derek (Patrick Dempsey)-Addison (Kate Walsh) trio.

The history: Where do we even begin? Probably in the pilot, when Meredith slept with Derek and soon discovered he was Dr. Derek Shepherd (aka McDreamy), her new surgeon-supervisor at Seattle Grace Hospital. Triangle alert! At the end of the first full season, Mrs. Addison Shepherd (Kate Walsh), also a brilliant doctor, showed up. Turned out there was a triangular back story: Derek had left New York after discovering Addison was cheating on him with his best friend, Mark (aka McSteamy, a plastic surgeon played by Eric Dane). The following season, Derek and Addison worked on their marriage, even though Meredith had asked Derek to "pick me." The heartbroken intern eventually moved on to handsome veterinarian Finn (Chris O'Donnell). But at the hospital prom that ended last season - if you're not a "Grey's" fan, don't even ask - Derek and Meredith slept together in an examining room, creating a Derek-Meredith-Finn triangle. This time, it was Meredith's turn to make a choice - a cliffhanger season finale. This season, she eventually picked Derek. But McSteamy - now a regular - has since created other triangles and threatens to keep doing so. There are more triangles than that, but we've run out of room.

Desired outcome: McSteamy has many fans - as did Finn - but we're hoping Meredith and Derek will go the distance.

http://www.azcentral.com/ent/tv/articles/1208triangles1208.html

dad1153

12-08-06, 12:37 AM

The New Season
Popular programs take a break — again
Midseason hiatus is the latest rage
By Mike McDaniel, The Houston Chronicle December 7, 2006

Call it the Prison Break Break. Or The Sopranos Split Tease.

This year, more than any other season, television programmers are taking scheduling liberties with some popular series. And sending some of us (OK, me) into severe withdrawal pains.

Remember Lost? No surprise if you don't; it's been off the air — lost, if you will — since Nov. 8. ABC promises it will return Feb. 7.

Jericho? That Wednesday night crowd-pleaser took a powder Nov. 29 and won't be back until Feb. 14.

The two-part season is a relatively new phenomenon. It's more than the traditional three- or four-week Christmas break, when networks — reasoning that households are busy with shopping and partying — are reluctant to schedule anything new other than holiday specials, the Kennedy Center Honors and football bowl games.

The true two-part season arguably originated at HBO, which permitted David Chase to take 18 months to produce a dozen measly episodes of Season 6 of The Sopranos ... and is giving him a dozen more months to make the final eight episodes, scheduled to begin in March 2007.

Simultaneously, Fox pulled off a split-take of its own with last year's surprise hit Prison Break. That was due more to scheduling avoidance concerns than any problems with production. Fox launched the show in August to avoid the competitive crush of premiere week, then delayed resuming the series until March to avoid the ratings buzz saw of the Winter Olympic Games.

It worked. Fans found the show, then stuck with it throughout its nine remaining episodes, which aired consecutively.

And that's the carrot the networks hold out to viewers as it splits into two such shows as Lost and Jericho: When those series resume, they will run straight through May — no repeats.

The networks figure this is a gamble they can afford to take. Only time (and, for some of us — OK, me — Xanax) will tell.

http://www.chron.com/disp/story.mpl/ent/tv/4384166.html

dad1153

12-08-06, 12:43 AM

Just when you think reality TV shows featuring has-been celebrities cannot possibly sink any lower or be more creatively bankrupt... sigh! :rolleyes:

TV Notebook
Reality show features gun-toting celebs
Associated Press December 7, 2006

MUNCIE, Ind. --Erik Estrada and other lesser celebrities have been sworn in as reserve officers of the city police department here, allowing them to carry badges and guns as part of a reality television series.

About 200 people packed into a Muncie City Hall auditorium for the Tuesday ceremony to swear in the former "CHiPs" star, along with La Toya Jackson, Jack Osbourne, Wee Man and Trish Stratus.

A producer coaxed the crowd into cheering loudly for the camera, and parts of the ceremony had to be repeated several times for the TV cameras.

"Roll call is at 6 o'clock," Muncie Police Chief Joe Winkle told the celebrities. "Do not be late."

Winkle had to say the line three times. The first take was interrupted by audience applause, the second was too quiet.

"Welcome to TV," said Julie Link of Forman Productions. "Sometimes, we have to retake."

The CBS show, "Armed and Famous," being filmed in this east-central Indiana city, population 66,000, follows the celebrities as they enforce the laws alongside city police officers.

Estrada joked with the crowd that people may not recognize him as an officer because he would not be wearing his toupee. He pulled up the back inch of his hairpiece and wiggled it, drawing laughter from the crowd.

Estrada carried a gun but rarely used it to stop bad guys in his 1970s motorcycle-cops drama.

He also appeared in VH1's "Surreal Life" in 2004. Osbourne, 21, son of rocker Ozzy Osbourne, was on the MTV's "The Osbournes." Wee Man, 33, a 4-foot-7 skateboarder, gained fame on the MTV show "Jackass."

Jackson, 50, a singer and sister of Michael and Janet Jackson, is a native of Gary, and Stratus is a former WWE professional wrestler.

http://www.boston.com/ae/tv/articles/2006/12/07/reality_show_features_gun_toting_celebs/

dad1153

12-08-06, 12:51 AM

Critic's Notebook
Melodrama and, Oh Yes, a Tsunami
By Virginia Heffernan, The New York Times December 8, 2006

The television mini-series has long served to popularize historical tragedies for American audiences. In 1968, “The Rise and Fall of the Third Reich,” on ABC, inaugurated the form; Alex Haley’s renowned “Roots” came nine years later. “Holocaust,” which starred Meryl Streep, appeared in 1978.

But in recent years the networks have begun to lose faith. When ABC televised “The Path to 9/11” in September, the controversial drama played to mixed — well, mixed everything.

With the networks newly chastened, then, it’s not surprising that responsibility for event television has fallen to HBO, which continues to zig where others zag. “Tsunami, the Aftermath” is billed upfront as a “fictional drama” that is nonetheless “inspired by actual events” and “based on interviews and research.” Presumably, this mealy preamble is designed to give the film authority with an audience that these days knocks back its news documentaries straight, no chaser. Led by Sheila Nevins since 1979, HBO’s documentary division has come to provide a rubric under which the cable channel has shown its most incendiary and raunchy material.

Compared with the real documentaries, though, “Tsunami” doesn’t stint on tonic, and it may even include piña colada mix. In spite of the research that went into it, it’s a melodrama, with an ominous score, misty close-ups and strong elements of “Jaws” and “Lost.” By way of dialogue, the characters one by one survey the wreckage and whisper, horror-struck, “Jesus Christ.”

Within the confines of this stylization — and the natural hurtling forward of a story we all know from the news — the performances are heroic and even lifelike. It’s certainly a first-rate cast, one that includes Toni Collette, Sophie Okonedo and Hugh Bonneville. Tim Roth, as a jerky photojournalist, seems to get top billing; he’s a favorite, apparently, and he’s been out of the limelight for a while. (Indeed, the first line spoken to him in this movie is “You got your job back.” I like it when movies do that.)

But it’s really Chiwetel Ejiofor’s film. In an understated, slow-burning way, Mr. Ejiofor as Ian Carter, a tourist in Thailand and one of the survivors of the tidal wave, brings to the screen an ethical ferocity that the script alone doesn’t express. Briefly put, Ian can’t get his mind off his own family: first his wife and daughter, who are missing, and then, when his wife is found, his daughter. Periodically he evinces rote or guilty sympathy for others, and slight curiosity about their suffering and the general situation of Asia, but — though he’s called on for heroism, over and over — in general he’s impatient with his duties to other people. Who wouldn’t be? He just wants to reunite his own family.

Ian’s situation mirrors the film’s extremely potent concern about just which people any of us care about in a disaster like the tsunami. As Nick, Mr. Roth is a journalist charged with finding out, almost exclusively, what’s happening to the Westerners. He believes he has his first scoop when he finds that some of the dead bodies are being burned by Buddhist monks. His Thai partner (Will Yun Lee) — whose name, Chai, Nick uses far too often, in the way of dialogue-poor scripts — tries to stop Nick from taking pictures at a crematory, on the grounds that posthumous incineration is a Thai custom, consistent with good health practices and expressive of the doctrine of reincarnation. Nick argues that it’s not right for Westerners’ bodies to be burned without first being identified and photographed.

And in the persuasive argument between Chai and Nick you get the sense that, in death, human lives develop very different values to different communities, and that those interpretive communities — those “families” — coalesce quite decisively. In fact, as soon as the Westerners were evacuated, it seems the United States developed more problems of its own, and the story of one of the deadliest natural disasters in recorded history, which killed around 230,000 people two years ago, started to fade from memory.

TSUNAMI, THE AFTERMATH

HBO, Sunday night and Dec. 17 at 8, Eastern and Pacific times; 7, Central time.

Directed by Bharat Nalluri; Abi Morgan, writer and executive producer; Finola Dwyer, producer; Jane Featherstone and Derek Wax, executive producers.

WITH: Tim Roth (Nick Fraser), Chiwetel Ejiofor (Ian Carter), Sophie Okonedo (Susie Carter), Toni Collette (Kathy Graham), Hugh Bonneville (Tony Whittaker) and Gina McKee (Kim Peabody).

http://www.nytimes.com/2006/12/08/arts/television/08tsun.html?_r=1&ref=television&oref=slogin

dad1153

12-08-06, 12:55 AM

TV Notebook
CBS says coup in Fiji won't hurt Survivor filming there
Associated Press December 7, 2006

Some real-life unrest in Fiji won't have an impact on the tribal councils of Survivor, CBS said Wednesday.

CBS is filming another edition of its popular game on an island in Fiji, where a military ruler led a coup against the country's elected government. Most of the action was confined to the nation's capital, Suva.

CBS has pulled some production staff out of Suva and, except for some minor issues with travel and delivery of supplies, the show has not been affected, said CBS entertainment spokesman Chris Ender.

"Our producers on location have been assured by the Fiji military that we are safe on the remote island where we are filming and that our cast and crew will be permitted to leave the country safely when the show wraps production," he said.

http://www.chron.com/disp/story.mpl/ent/tv/4385584.html

dad1153

12-08-06, 01:01 AM

Glad somebody else's cable bills aren't going up by much. Since I'm a New Yorker at the mercy of the 'F*** You, Pay Me' Time Warner Cable monopoly though, please forgive me as I get teary-eyed reading this and dream of what it would be like to be a Verizon FIOS subscriber! :(

The Business of (Cable) TV
Cable rate increases in U.S. are smallest in years
By Sarmad Ali, The Wall Street Journal December 7, 2006

For years consumers have enjoyed falling phone rates thanks to increasing competition in the telecommunications business. Now competition is beginning to have a similar effect on how much households pay for television service.

With telephone companies pushing into the TV business, rate increases planned by cable operators for 2007 are going to be the most moderate in years. Next year, for example, Comcast Corp., the country's largest cable operator by number of customers, will raise the cost of its most popular 75-channel analog package an average 4.5 percent -- from about $41 a month to $43 -- its lowest increase in more than a decade.

Other companies are planning minimal or even no price increases. While Time Warner Cable, the cable unit of Time Warner Inc., is planning increases of the standard cable package in some markets, in Dallas and Los Angeles the rate will stay the same. Cablevision Systems Corp., an operator serving the New York City area, isn't planning to raise its standard rate at all.

Meantime, consumers also are benefiting from the move by cable operators to offer new services, like phone and high-speed Internet, and bundle them with TV service at discounted rates. Many of the leading cable operators, including Comcast, Time Warner and Cablevision, have introductory bundle offers of all three products for just $100 a month for the first year. Sold separately they would cost as much as $125.

Consumers who are used to playing phone companies against each other to get better rates now have their eyes set on their TV bills. Six months ago, Denise Harrison, a 39-year-old house cleaner in West Chester, Pa., began buying all three products from Comcast partly for the price and partly because she likes having only one bill for three services. But she says she would likely switch to Verizon Communications Inc., if the local telephone provider made a better offer. "It's all about saving money," she says.

The idea of saving money from a cable company may come as a shock to many consumers who remember how operators used to levy giant increases during the days they enjoyed near monopolies in the pay-TV business. Cable rates increased 93 percent between 1995 and 2005, according to the Federal Communications Commission.

But competition has slowly moderated this behavior. Cable companies got their first taste of it from satellite TV operators, such as EchoStar Communications Corp. and DirecTV Group Inc., which lured away millions of cable customers with cheaper prices and more channels. Kagan Research, a division of JupiterKagan Inc., estimates that there will be 65.4 million cable subscribers at the end of this year compared with 29 million satellite subscribers.

Cable operators responded to this by beginning to ease up on boosting prices. Indeed last year, average satellite prices rose 8.1 percent compared to cable's 5.1 percent, according to Kagan. Next year satellite operators also may put on the brakes. For example, EchoStar's Dish Network's basic package that includes more than 80 channels costs $29.99 a month now and will remain at that price next year, a company representative says.

Pressure on cable companies to raise TV rates also has eased as operators have opened up new revenue streams from new products like phone, high-speed Internet, digital cable, high-definition television and digital video recorders.

At the same time, phone companies are beginning to offer a similar palette of services, sometimes for less money than the local cable operator is charging. More than 100,000 households in eight states are subscribing to Verizon's new TV service, which includes 200 channels of TV and music. Verizon recently announced it was increasing the price of that offer to $42.99 monthly from $39.95, but existing customers will continue paying the lower price.

AT&T Inc. began offering its "U-verse" TV service earlier this year in Texas and says it is planning to add 13 new markets before the end of this year. The company is charging $44 a month for one of its packages, which includes 100 channels. Both AT&T and Verizon also have cut deals with satellite-TV providers to offer TV in areas not reached by the phone companies' television services.

AT&T and Verizon have ambitious plans to expand their own TV services. But these plans will depend on how fast the phone companies can get permission from local governments to launch in their areas. Phone companies have been lobbying to pass federal and state legislation passed to expedite this process, arguing that it would lead to even more price competition. Cable companies have been resisting these efforts, claiming that phone companies are seeking special privileges that cable operators don't get.

Increases in cable rates vary among regions. Comcast customers in Savannah, Ga., for example, will pay $49.99 next year for the standard analog package of about 75 channels, up from $48.50, a 3.1 percent increase. Customers in Washington state, however, will pay $48.27 per month, up 6.8 percent from $45.18.

But cable companies that are facing the early waves of phone-company competition are showing the most restraint in raising prices. Cablevision, for example, which is facing threats from Verizon in much of its turf, has some of the lowest price increases in the business. A Cablevision spokesman also credited the company's "surge" in revenue from its phone and Internet businesses for its low price increases.

Also, cable operators that are raising analog rates are showing more restraint in increasing the price of their other products, especially those like high-speed Internet service that are facing stiff competition from phone companies. Comcast says its average subscriber will pay 3.1 percent more next year because more customers are taking multiple products, down from a 4.3 percent increase this year.

Time Warner subscribers in Milwaukee who take just the standard 80-channel analog package will see a 4.4 percent increase in their bill next year to $48.15. But over one-third of Milwaukee's cable subscribers won't see any change in their bill because they're taking some form of bundled package, a company spokesman says.

Most of these cable rate increases are still well above the current overall rate of inflation. But cable operators say they have little choice because popular networks like ESPN have been sharply raising the costs of their programming. Cox Communications Inc., for example, said its programming costs have risen an average of 10 percent every year in the past three years. "We work hard to keep our prices reasonable, but simply must pass at least a portion of our costs on to our subscribers," a spokesman for the company says.

Meanwhile, many cable subscribers who took advantage of the bundle prices offered by many operators may suffer sticker shock when the introductory period expires. For example, Time Warner Cable charges $99 for the bundle for the first year. When it elapses the price rises to $115 to $125 depending on the location. But even at those higher prices, the three products often cost slightly less in a bundle than what they would cost individually.

Consumers also might see other reasons to stick with the package after the year elapses. "It's easier to deal with one company that provides all three services as opposed to having three companies do it," says Richard Myers, 38, a researcher at a New York online service who is paying the higher price for the Time Warner Cable bundle plan.

Trim Your Bill

Some ways to save money on your cable-TV service:

-Add other services. Most cable-TV companies give discounts to customers who also take phone and high-speed Internet service.

-Threaten to leave. Many large companies will offer customers promotions, like a few months of free HBO, to keep them.

-Switch to "basic cable." Cable operators are required by law to offer a scaled-down service. It usually includes about 20 channels and costs $15 to $20 a month.

http://www.post-gazette.com/pg/06341/744346-237.stm

dad1153

12-08-06, 01:07 AM

Critic's Notebook
Inside Terrorism’s Tangled Web
By Alessandra Stainley, The New York Times December 8, 2006

“Sleeper Cell: American Terror” is the worrying man’s “24” — a thriller that looks at counterterrorism from the terrorist’s point of view. The second season of “Sleeper Cell” burrows even deeper into the mind-set of Muslim extremists than the first and is all the better and more troubling for it.

The eight-part series, which begins on Sunday on Showtime and will be shown on consecutive nights, is smart and suspenseful and teeters just this side of seditious. It doesn’t condone jihad or the hate that fuels it, but it tries to show why they hate us, and in doing so goes further than any other post-9/11 drama on American television.

This season goes further afield. The action in the first season was limited mostly to Los Angeles. This time the plot snakes in and around Los Angeles, London, Hamburg, Sarajevo, back alleys in Sudan, palaces in Saudi Arabia and remote desert base camps in Yemen.

It’s a Tom Clancy cloak-and-dagger tale as told by Graham Greene. Terrorists on “Sleeper Cell” are evil, but the United States is neither innocent nor blameless and carries the seed of its own decline. For every act of barbarity by Muslim radicals, and there are plenty — from nuclear Armageddon to the beheading of a female F.B.I. agent on camera — there is a parallel, if not equivalent, blunder by American law enforcement officials and civilians.

Islamic fundamentalism squares off against Western decadence: Qaeda operatives communicate by piggybacking on the server of an American pornography Web site. “Turns out the adult entertainment industry is on the cutting edge of Web security technology,” an F.B.I. official says ruefully.

Michael Ealy is back as Darwyn al-Sayeed, an African-American F.B.I. agent and practicing Muslim. Last season Darwyn infiltrated an underground cell in Los Angeles and managed to avert an anthrax attack on Dodger Stadium that was meant to kill tens of thousands of people. Only one of the plotters, Ilija (Henri Lubatti), a Bosnian Muslim, escaped. The cell leader, Faris al-Farik (Oded Fehr), a chilly but charismatic Saudi, was captured.

The new season begins with Darwyn on vacation with his girlfriend, Gayle (Melissa Sagemiller), and her young son while Farik sits in a C.I.A. prison, withstanding psychological and physical torture and tormenting his captors.

“You Americans are so obsessed with yourselves,” Farik tells his interrogators, “that you care more about analyzing your guilt than achieving victory. That is why we will win, and you will lose.”

Farik is sent — or outsourced — to Saudi Arabia, a country with fewer inhibitions about torture, and escapes. Darwyn, whose cover remains intact, reluctantly accepts a new assignment to infiltrate a different cell that includes Salim (Omid Abtahi), an Iraqi engineer raised in Britain; Benny (Kevin Alejandro), a Latino gang member who converted to Islam in prison; and Mina (Thekla Reuten), a European convert. Their task is to build a dirty bomb and detonate it over the Hollywood Bowl, spreading nuclear waste all across the coast of Southern California.

The series’s creators, Ethan Reiff and Cyrus Voris, try to avoid offending Arab-American sensitivities. Many of the cell members are American or European converts to Islam who have their own twisted personal motives for distorting the teachings of the Koran. Salim’s radicalism is fueled by self-loathing; he is tormented by homosexual leanings forbidden by his faith. (Temptation lurks in the men’s locker room of a Bally fitness center.) Mina is a former prostitute who found redemption and protection under the veil, and she is bent on vengeance for her husband, a Muslim holy warrior who was killed in Iraq.

Only Farik is a pure religious fanatic, and he constantly reminds his enemies and his co-conspirators that violence against the infidel is dictated by Allah. It falls to Darwyn to be the Islamic voice of reason, and he spends considerable time quoting verses of the Koran that refute Farik’s tough talk, sometimes even while holding a dangerous killer at gunpoint.

“You’re right,” Darwyn, sweaty and panting, says when his terrorist hostage taunts him to pull the trigger. “But Allah says in holy Koran, ‘Do not let hatred of others lead you to injustice.’ ”

For all his piety, Darwyn is a classic film noir hero, a soft-voiced loner who feels almost as alienated from his colleagues and family as the enemies he befriends under cover. His father is a former Black Panther and fervent member of the Nation of Islam who views his son’s F.B.I. career as a personal betrayal. Darwyn’s white colleagues consider his religious affiliation baffling; a C.I.A. agent sarcastically calls him “Jihad Joe.” And Islamic extremists view him as a traitor to his people and his faith.

“What true Muslim works for the Americans?” a terrorist asks contemptuously. “I don’t work for the Americans,” Darwyn replies through gritted teeth. “I am an American.”

But his compatriots are not always on his side. Darwyn is assigned a new case handler, Russell (Jay R. Ferguson ), a handsome, confident and inexperienced F.B.I. agent who is more of a hindrance than a help. Russell doesn’t trust Darwyn, and he insists on holding his secret meetings with Darwyn in a sleazy strip club, either oblivious to his agent’s religious sensibilities or intent on trampling them.

In the first season field agents did their best, hampered by the naïveté and buck-passing careerism of the top brass in Washington. In this season Russell is stupid and sneaky, a far more lethal combination.

Showtime is a premium cable channel that has found its niche in contrarianism: the heroine of “Weeds” is a pot-dealing suburban mom; in his spare time the top sleuth on “Dexter” is a serial killer. Darwyn is the hero of “Sleeper Cell,” but the real star is Farik. He is cool and worldly, tougher and smarter than his captors and far more relentlessly dedicated.

Farik is so compelling a character that the writers have to keep piling on reminders of his bad side. He uses children as human shields, and imposes the most cruelly stringent rules on his own British-reared 12-year-old daughter, dressing her in a chador and forcing her to burn drawings she made for him because they are not religious enough.

Farik’s implacability nevertheless stands out against the compromises and political expediencies of his opponents in Washington. When Darwyn demands to hunt down Farik in his lair, his superiors waffle. “The State Department says that the PR war on the Arab street is going against us, badly,” Darwyn’s boss at the F.B.I. explains. “Iraq. Lebanon. People at the top figure that any direct action in Yemen may do us more harm than good.”

“Sleeper Cell” is so deadly earnest about the state of the world that it could serve as an audio-visual appendix to the Iraq Study Group report. But it is not entirely humorless. A swaggering C.I.A. agent calls in a favor from a colleague in British intelligence. “I know you think all Brits are gay, Patrick,” the British spy says. “But I have never seen ‘Mamma Mia.’ ”

Counterterrorism is television’s new western: dramas like “24,” “The Unit” and “NCIS” have picked up where “Gunsmoke” and “The Rifleman” left off, putting white hats on the best and the brightest and the Few and the Proud.

“Sleeper Cell” is the one show about terrorism that highlights the weaknesses of our system and the enemy’s inner strength. It’s make-believe entertainment, but painted in a darker, more realistic hue.

SLEEPER CELL: AMERICAN TERROR

Showtime, Sunday night at 9, Eastern and Pacific times; 8, Central time.

Ethan Reiff and Cyrus Voris, creators and executive producers; Ann Kindberg, producer.

WITH: Michael Ealy (Agent Darwyn al-Sayeed), Oded Fehr (Faris al-Farik), Thekla Reuten (Mina), Omid Abtahi (Salim), Kevin Alejandro (Benny), Jay R. Ferguson (Agent Russell), Henri Lubatti (Ilija), Melissa Sagemiller (Gayle).

http://www.nytimes.com/2006/12/08/arts/television/08slee.html?ref=television

dad1153

12-08-06, 01:33 AM

TV Q&A
TV Q&A with Rob Owen
By Rob Owen, The Pittsburgh Post-Gazette December 8, 2006

This week's TV Q&A responds to questions about "Gilmore Girls," national news teases and local news coverage of deer hunting season.

As always, thanks for reading, and keep those questions coming.

Question: What's the deal with Will Forte no longer doing the Bush character on "Saturday Night Live"? His take as a whiny and annoyed leader was funny and on its way to becoming a classic. Was it just too much "hard work ... just hard" for him? And further, why was the role passed to Jason Sudeikis, who brings nothing to the table with it? -- Laurence, Wilkinsburg

Rob Owen: I liked Forte's take on the character, too, and agree that the new guy does an inferior portrayal. I couldn't get anything out of NBC on why the change was made.

Question: I have just been watching my DVD set of "Commander in Chief." I still don't know why ABC canceled it. It really was a good show. I had heard that there was thoughts of making a TV movie that concerned an election between Geena Davis's and Donald Sutherland's characters on the show. Have you heard anything about it.? -- Auvie, Upper St. Clair

Rob Owen: ABC canceled "Commander" because the ratings were awful. I plan to ask ABC executives about the much-discussed TV movie at press tour next month, but my guess is the project is dead in the water.

Question: Where is Chris Matthews? Don Imus made a passing remark that he was in the hospital. -- Susan, Mt. Lebanon

Rob Owen: According to the "Hardball" publicist, Matthews was hospitalized last week with complications related to diabetes, but he's on the mend. The network expects him back on "Hardball" next week for a College Tour show on Tuesday with John Edwards from the University of North Carolina at Chapel Hill.

Question: Will this be the last season of "Scrubs"? -- Sean, Pittsburgh

Rob Owen: We don't know yet. NBC hasn't made that announcement. It is Zach Braff's last year under contract, so it seems like the ideal time to wrap the series up. The ratings aren't great, but NBC has cobbled together its best Thursday night comedy lineup, including "Scrubs," in more than a decade. Time will tell.

Question: I just watched "The Closer." It is one of my favorite shows. I have a question: Is Robert Gossett who plays Commander Taylor any relation to Lou Gossett, Jr.? -- Nicki, Castle Shannon

Rob Owen: According to a TNT publicist, they are cousins.

Question: This is the worst year for TV. I cannot remember a year when I have watched the tube so little. All these hour-long dramas make me sick. I enjoy the two hours of sitcoms every night. Besides Monday night on CBS, this has been a horrible year for TV. Where are my sitcoms, and who do I write too? A person can watch just so much of The Learning Channel and Bravo. -- Sam, Irwin

Rob Owen: Take it easy, Grandpa Simpson. It's actually been an awesome year for TV as my friend Diane Werts wrote earlier this month (http://www.newsday.com/features/printedition/ny-ettube4993165nov29,0,5732952.column?coll=ny-features-print). It sounds like it's just not a great year for the kind of TV you like, traditional sitcoms.

Those comedies may make a comeback or it could be that time has passed the format by and single-camera comedies ("My Name Is Earl," "Scrubs," "The Office," "30 Rock") are here to stay.

Question: There was a detective show (late '50s-early '60s, I think) shot in black and white, set in San Francisco (I think). Two main characters named Matt and Ben. Each episode started out with one picking up the other at home to report for work at the station, and the opening lines were: "Morning, Matt." "Hi, Ben."
What was the show? I can't turn it up in Brooks and Marsh's "Complete Directory," and Googling doesn't work, either. I'm probably not searching efficiently. Help! And thanks. -- Leighton, Seattle

Rob Owen: I'm at a complete loss on this one. Any readers have any ideas? If so, let me know and we'll include any info in a future TV Q&A.

Question: On a Friday night reality show on Fox, a couple from Pittsburgh was featured. The wife is a roller derby player. Where are they holding roller derby events in the area? -- David, Pittsburgh

Rob Owen: The Post-Gazette's Bob Batz Jr. wrote about the local roller derby league earlier this year. Read about it here: http://www.post-gazette.com/pg/06081/674317-51.stm

Question: I have recently noticed a "new" logo on several TV shows. Hadn't really paid much attention until it turned up on "The News Hour" (WQED) the other day.
In the upper right hand of the screen was E/I. I've also seen this "E/I" located in other places on a number of other shows. Until I spotted it on "The News Hour," I assumed it was just some commercial logo but now my curiosity has peaked. -- Dale, Cadiz, Ohio

Rob Owen: "E/I" is the notation for parents that the program they are watching is deemed "educational/instructional" for children. It's been used since the whole TV ratings system was instituted in the mid-1990s. You'll see it on some children's programs, too. Networks apply the label themselves, which is probably why you don't see it on "NBC Nightly News."

Question: Can anything be done about the volume of the background music on TV dramas? They drown out the dialogue so often. -- Lee, New Kensington

Rob Owen: We've dealt with this one before. Try setting your TV to mono instead of stereo. That seems to help some people distinguish the dialogue from the background music, but when we wrote about this phenomenon in the past, an audiologist suggested it could be the hearing of viewers that's deteriorating because the ability to distinguish between dialogue and background noise is first part of hearing to go.

So far, mine's still intact and I never had trouble hearing dialogue on the program people complained to me most about: "The West Wing."

Question: What exactly has happened with the new season of "Gilmore?" It's like the current "writers" only took a crash course in "Gilmore"-ology before writing in such glaring errors as Christopher's return and Lorelei's sudden disinterest and loss of skill in creating things.

Lorelei said in the most recent episode, "I can't sew," when she was asked about the big Stars Hollow "Knit-A-Thon." But ... where is this coming from? Lorelei has made a ton of Rory's clothes when they were living at the inn, made Rory's prom dress and sewed together all the costumes for the Stars Hollow Elementary production of "Fiddler on the Roof."

Just what the heck is going on here? Has Lex Luthor jumped the "Smallville/Superman" ship in favor of Stars Hollow and created a Bizarro Lorelei in the process? Is the real Lorelei stuck in some Carbonite Chamber like Han Solo?

I mean, OK, Warner Bros. owns the WB ???...err, CW, but that doesn't mean that "Gilmore Girls" should be edited by the DC Comics editing staff! This isn't "Crisis on Infinite Earths" for crying out loud! There's no Earth-2 Stars Hollow! It's like the entire current season of "Girls" has been an "Elseworlds" tale!

... sorry to drop so many comics references on you, sir.

Please tell me that I'm not the only "Gilmore" fan that's getting ticked off by these drastic "history-altering" changes! I hope, really hope that others are getting their hackles up as well. -- Dan, Weirton, W.Va.

Rob Owen: I hadn't noticed the continuity glitches, but I and many other fans have noticed the abysmal plotting this year. Just read any of the posts at TelevisionWithoutPity.com, and you'll see the anger of some uber-fans.

While I liked the season premiere, since then the show has gone down hill with the plotting focusing way too much on romantic relationships and not enough on, well, anything other than romantic relationships. At this point, I hope this will be the last season for "Girls" and that creator Amy Sherman Palladino will return to script the series finale.

Question: When I was in NYC over the Thanksgiving holiday, I noticed how "Nightline"/ABC makes a teaser for WABC to run during their late news broadcast. It's understandable, seeing how WABC is a corporate station. I've always wondered why WTAE rarely (if ever) mentions to "Stay tuned for Nightline" at the conclusion of their 11pm newscast. The same can be said for the 6:00 broadcast and World News. Wouldn't it be to WTAE's advantage to keep as many viewers as possible? I have seen other ABC affiliates run a WN tease during their evening local news.
So my questions -- are these teasers (including the 'personalized' ones) available to any and all affiliates? Why would they choose not to take 10-15 seconds out of the newscast to run them? -- David, Swissvale

Question: I note frequent promos and tie-ins for national morning shows such as "Good Morning America" with the Pittsburgh morning news shows. It appears to be a one on one broadcast, perhaps live, as the parties address each other by name and include references to timely local events. These broadcasts may last a minute or more. I'm wondering if these segments are indeed live and personal or somehow mass-processed for use by all stations across the country. If individually produced, how many of these slots could the national show process in a morning? -- Patrick, Bellevue

Rob Owen: The "GMA" spots WTAE airs weekday mornings are definitely live. I put these questions -- which strangely arrived within days of one another -- to all three local news directors, but only WTAE's Bob Longo chose to respond. He says:

There are several factors:

Timing and availability, market size, whether the station is owned by the network all come in to play, as do relationships between the station and the network.

WTAE enjoys a very close relationship with ABC and ABC News. We forged the live talk-back with "GMA" at a time they were only doing a couple. The same is true of our Charles Gibson tease for "World News Tonight" that runs in our 6 p.m. news. That isn't live, but it is produced with WTAE specifically in mind. And like the morning "GMA" promos, we're fortunate to be on the "A" list.

The above are all "custom" promos ... either live or taped specifically for just a handful of stations nationwide, and we're thrilled to be on the list. The networks also typically offer a much more generic promo that is available to all the affiliates to use. I'm not sure why stations wouldn't embrace them.

FEEDBACK

Mmmmm, there's just nothing like footage of a fresh deer carcass for the dinner hour. Viewers are so lucky to receive in-depth coverage of such important yet obscure issues. How could we sleep at night without knowing the tonnage of venison processed today?

Please don't waste efforts on petty nonsense, like our secrecy-cloaked state legislature. Nobody wants to hear about our corrupt politicians and the lobbyists they love.

It's wonderful to hear the occasional sound bites about proposed tax hikes. Please do continue to omit any kind of factual investigation of the government waste that causes budget shortfalls.

It would be so boring if they actually reported that "news" stuff. Everyone knows you get that from newspapers and radio deejay commentaries.

Wouldn't it be an awful drag if all the local tabloids jumped on the bandwagon? Where would we get our weather updates? Who would shadow retired Steelers to show us a day in their lives?

-- Amber, Pittsburgh

http://www.post-gazette.com/pg/06342/744455-238.stm

dad1153

12-08-06, 01:43 AM

TV Notebook
Syler facing radical surgery after CBS
By Gail Shister, The Philadelphia Inquirer December 7, 2006

Rene Syler, lame-duck coanchor of CBS's The Early Show, will undergo a bilateral prophylactic mastectomy next month.

Syler's mother and father both had breast cancer, and she has endured several breast cancer scares and painful biopsies. She was working on a first-person piece about her forthcoming surgery when she was told that Early Show "was going in a different direction. It wasn't like there was any room for debate," she says.

Her bosses knew about her medical condition, Syler says, but she doesn't believe it was a factor in their decision. Her swan song is Dec. 22; her CBS contract runs until October '08.

Syler, 43, labels her plan as "pretty radical. I've been thinking about it for a while. The difficult part is that I have two young kids They can't be without their mommy. I don't want to be in a position where I'm fighting for my life."

Syler says she and her husband, sales executive Buff Parham, will tell their children about her operation closer to the Jan. 9 date. "I want them to have a really great Christmas," she says. "I don't want to burden them."

Some days, Syler feels confident about her decision. Other days, "I wake up and feel like I only have X number of days with my breasts. It's like I have a date with the executioner. But when my doctor said I'd never have to have another mammogram or biopsy, I felt better."

Syler says that her sister, Tracy Syler-Jones, 42, director of communications at Texas Christian University, is also thinking about having the surgery.

As for The Early Show, Syler had no warning of CBS's decision, she says. "I was surprised. Nobody ever wants to be told, 'We're going in a different direction and you're not part of that.' We mutually decided it was a good time to move on."

Her departure is not without an upside. "This gives me time to recuperate," she says. Her first book, Good Enough Mother, is to be published in March.

Who's No. 4? Meanwhile, the big question at CBS News is who will replace Syler in the anchor quartet at the ever-struggling Early Show.

CBS morning honcho Steve Friedman confirms that he's looking for a fourth to join Harry Smith, Hannah Stormand Julie Chen before the show re-launches Jan. 2 with a new set and more distinct roles for the principals.

Since Early Show's October '02 debut, all four coanchors have taken turns reading news, conducting big interviews, and covering breaking stories from the field. That will change.

Friedman, who joined CBS in April, doesn't like "amorphous shows where everybody does everything."

At NBC's No. 1 Today and ABC's No. 2 Good Morning America, anchors have defined roles. Also, both broadcasts have separate news anchors. "They've done very well over the decades," says Friedman, two-time former Today boss. "The audience seems to like that."

The audience hasn't seemed to like any CBS morning show since the network broke into the game in 1954. Walter Cronkite, Jack Paar, Will Rogers Jr., and Jimmy Dean all served as hosts during various early incarnations.

"When push comes to shove, I'll probably bring in someone else to do the news," Friedman says. "For better or for worse, and I'm not saying this disparagingly, we will have what Matt Lauer did for me and Ann Curry does for them" at Today."

Friedman's not talking, but CBS insiders say his wish list includes Campbell Brown, coanchor of NBC's weekend Today; Kate Snow of ABC's weekend GMA; CNN star Anderson Cooper; and GMA anchor Diane Sawyer.

Should Friedman land one of them - Brown and Snow are his best shots - smart money says she/he would be an anchor, with one of the current troika being demoted to news anchor.

As of now, Smith is Early Show's reporter in the field. (He'll anchor from Washington today.) Chen, who spends summers in L.A. to host Big Brother, will do more stories from there, Friedman says.

Storm conducts many of the on-set interviews. "I hate to say this, because sometimes it's taken out of context, but she's the mother," Friedman says. "She should do a lot of pieces about kids. If it's a mother-daughter piece, why should Harry do it?"

(See story below for news on who CBS News has brought onboard to anchor the news desk on 'The Early Show')

Casting away. Latest addition to Fox's hit 24: NYPD Blue alum Rick Schroder, as forceful CTU operative Mike Doyle, who teams with Kiefer Sutherland's Jack Bauer on crucial field operations.

Season 6 launches with a two-night, four-hour "TV event" at 8 p.m. Jan. 14 and 15 before moving to its regular 9 p.m. Monday slot on Jan. 22.

Former Sex and the City boy toy Jason Lewis will switch teams in several episodes of ABC's new drama, Brothers & Sisters. He'll play a potential love interest for sad-sack Kevin Walker (Matthew Rhys).

Short stuff. Hip-hop star Akon ("I Wanna Love You") has been added to this week's musical lineup for NBC's Saturday Night Live. Annette Bening makes her SNL debut as host; the other musical guest is Gwen Stefani... Good news, 30 Rock fans. NBC has ordered the "back nine" episodes of Tina Fey's freshman comedy for a full season's 22... CBS's Criminal Minds has won the coveted post-Super Bowl slot Feb. 4. Minds, starring Mandy Patinkin and Thomas Gibson as elite FBI profilers, ranks No. 7 among all prime-time shows.

http://www.philly.com/mld/philly/entertainment/television//16181233.htm

dad1153

12-08-06, 07:58 AM

TV Notebook
Mitchell Named News Anchor of The Early Show
By Caroline Palmer, Broadcasting & Cable December 7, 2006

Russ Mitchell, current anchor of CBS Evening News with Russ Mitchell on Sundays and a rotating anchor on CBS Evening News on Saturdays, will add daytime anchor to his resume. Effective January 2nd, he will also become the new News Anchor of CBS' The Early Show. He will keep all his current duties.

Along with anchoring the morning program, Mitchell will file reports for the broadcast and be called on as a substitute anchor.

Mitchell, a St. Louis native, has been a CBS correspondent working in both New York and Washington D.C for almost 15 years. He covered the 1996 presidental race and Republican Convention. From 1993 to 1995, he reported internationally for CBS' "Eye To Eye."

http://www.broadcastingcable.com/article/CA6398168.html?display=Breaking+News

dad1153

12-08-06, 08:03 AM

Critic's Notebook
Washed Away
Struggling to Make Sense of Tragedy
By Adam Buckman, The New York Post December 8, 2006

RATING: TWO-AND-A-HALF STARS (OUT OF FOUR)

This grim story is no fairytale.

It really happened - right in the middle of the holidays too, specifically the day after Christmas 2004.

That was when an undersea earthquake created a series of deadly tidal waves (or tsunamis in Japanese) - that washed ashore in 12 countries bordering the Indian Ocean.

More than 270,000 people were killed, many of them instantly. More than 50,000 of the dead were never found.

With statistics like that, we can all agree the tsunamis were responsible for a great deal of trouble and distress (or tsuris in Yiddish).

And most (if not all) of us don't need a made-for-TV miniseries to drive the point home.

Not that I don't enjoy the occasional disaster movie, but the thing that makes most made-for-TV movies about hurricanes and earthquakes palatable is that they're fictional.

They're usually implausible too, such as the ones seen in recent seasons on CBS ("Category 6" and "Category 7") in which multiple national disasters converged simultaneously on some hapless city.

Those miniseries depended on special effects that were as outlandish as cartoons.

Now, HBO comes along with a serious disaster miniseries about a real-life tragedy that contains no computer-generated natural phenomena. Instead, the two-part "Tsunami: The Aftermath" (Part 2 airs a week from Sunday) relies mostly on footage shot by tourists that was aired widely on TV in the days and weeks following the tidal waves.

The tsunamis do not even serve a climactic purpose in this miniseries.

Instead, they happen near the beginning and last only a few minutes.

The remaining three-plus hours deal with the experiences of a small group of fictional characters - two tourist families, a journalist (Tim Roth), a Thai hotel worker (Samrit Machielsen), an aid worker (Toni Collette) and an official of the British government (Hugh Bonneville).

The families search for lost loved ones, the journalist uncovers stories of deceit, the hotel worker mourns the destruction of his village, and the aid worker and government official struggle to help their stranded, ailing countrymen.

All of the acting is top-drawer. The Thai settings are exotic and authentic. The stories are compelling and heartbreaking.

There is nothing particularly wrong with this miniseries, except that watching it might be the most depressing thing you'll do all year.

"Tsunami: The Aftermath"
Sunday night at 8 ON HBO

http://www.nypost.com/seven/12082006/tv/washed_away_tv_adam_buckman.htm

dad1153

12-08-06, 08:09 AM

Critic's Notebook
'Sleeper' a scary wakeup call
By David Hinckley, The New York Daily News December 8, 2006

RATING: THREE-AND-A-HALF STARS (OUT OF FIVE)

The real "fear factor" is back.

Women in bikinis eating bugs may inspire a five-second "yuk," but if you want a specter that chills tens of millions of Americans every day, it's people with dry ice in their veins and cold hatred in their eyes who see their life's work as killing us.

The second round of Showtime's "Sleeper Cell," "Sleeper Cell: American Terror" does nothing to allay the fear that those people are out there and hard at work.

The premise of this powerful eight-hour miniseries, premiering Sunday night and airing over eight consecutive evenings, is that radical Islamics inside and outside America are determined to execute a series of murderous 9/11-style strikes. This creates a dangerous and dirty underground world in which there are few rules and no rewards for playing by them. The only worse option is not playing at all, because then the bad guys can do what they want.

Plenty of innocents die as it is, and while that's a device often used to push emotional buttons, here it doesn't feel gratuitous. It just feels like what happens in this world.

With good guys in short supply, one is FBI agent Darwyn Al-Sayeed (Michael Ealy), a black American Muslim who infiltrates the cell guided by Faris Al-Farik (Oded Fehr), an Osama bin Laden-like figure whose scorn for moderate Islamics is as complete as his hatred for infidel Americans.

Al-Farik's journey illustrates the impressive complexity of "Sleeper Cell." America had him in custody, but released him to the Saudis, who promised more persuasive interrogation methods. The Saudis harbor many sympathizers, however, and soon he is out again to direct more operations: "dirty bombs" at Dodger Stadium and the Hollywood Bowl, a suicide bombing at a veterans gathering.

Beyond the conflict between Western and Islamic cultures, the show examines subtler matters like the conflict among Muslims and America's own veins of incompetence and arrogance.

The lesser-known cast of "Sleeper Cell" does a uniformly strong job - particularly Thekla Reuten as a born-again Muslim - and the production is solid, although the music occasionally could be turned down. Viewers won't need ominous audio to keep the adrenaline surging here.

The show wisely avoids getting preachy about its lessons for real life, beyond what should be obvious: that every country and culture has far too many nuances and subtleties for cheap, sweeping generalizations to hold any value.

In this show as in life, each side wins a few battles and no one wins the war, which makes it fitting that the closing scene leaves the door open for this unsettling series to continue.

SLEEPER CELL: AMERICAN TERROR. 10 p.m. Sunday. Showtime

http://www.nydailynews.com/entertainment/ent_radio/story/478126p-402233c.html

dad1153

12-08-06, 08:22 AM

TV Sports/Ratings
Cowboys rope in big ratings
By Paul J. Gough, The Hollywood Reporter December 6, 2006

Sunday's New York Giants-Dallas Cowboys game on Fox registered as the most-watched regular-season NFL game in almost 10 years.

Nielsen Media Research said Tuesday that 27.6 million viewers tuned in to see the Cowboys' last-second road victory over the Giants. It was the most-watched and highest-rated regular-season game since a Denver Broncos-San Francisco 49ers game on ABC on Dec. 15, 1997. It was also the highest-rated Sunday afternoon game since a Dallas-San Francisco overtime contest on Nov. 10, 1996.

Sunday's peak came at 7 p.m. EST, when 31.2 million viewers tuned in.

The average also eclipsed everything else in primetime for the week, including NBC's "Sunday Night Football" (Seattle at Denver) and the Sunday afternoon games on CBS.

Meanwhile, ESPN's "Monday Night Football" matchup between the Philadelphia Eagles and the Carolina Panthers averaged 10.5 million viewers. It averaged a 17 rating in Philadelphia and a 13.2 rating in Charlotte, where it aired on broadcast TV.

http://www.hollywoodreporter.com/hr/content_display/television/sports/e3ie75b06f448ee152769af632ea8e9a78e

dad1153

12-08-06, 08:46 AM

The Business of TV
ABC pacts with Gurin to develop gameshow
Network takes a German ‘Bet’

By Josef Adalian, Variety December 8, 2006

Network TV's gameshow fever shows no signs of letting up.

ABC has said "ja" to "Wetten dass...?" (Wanna Bet?), inking a deal with producer Phil Gurin ("The Weakest Link") to develop a U.S. version of Germany's smash variety/gameshow hybrid.

Skein has lasted for more than two decades on pubcaster ZDF. Its monthly Saturday broadcasts draw 16 million German viewers and 2 million more Swiss and Austrians -- a tally ZDF said makes it the No. 1 show in both Germany and all of Europe.

Its dominance of the German market is such that the Teutonic version of "American Idol" takes the night off rather than compete against "Wetten dass...?"

Gurin recently snagged the rights to the format from ZDF, made some additions and set up the project at the Alphabet.

Sale comes in the wake of CBS' decision to develop a new "Name That Tune" as well as a kiddie genius quizzer from "Big Brother" exec producer Allison Grodner (Daily Variety, Dec. 7). NBC launches its third quizzer, "Identity," later this month, while ABC has two other gameshows in the works in addition to the recently launched "Show Me the Money."

Original "Wetten dass...?" mixes celeb interviews and musical performances with segments featuring everyday Germans betting they can pull off bizarre or extraordinary stunts.

"You get these real people who claim they can do something outrageous, like being dropped onto a chair from 50 feet in the air," Gurin said.

Celebs then bet on whether they think the person can pull off the stunt. If they lose the bet, the celebs then do something crazy themselves (e.g., Paul McCartney leading a marching band).

Details of the ABC version are still being hammered out, but the key difference will be the addition of a direct gambling element. Rather than celebs betting for fun, Gurin plans to have a team of contestants betting real coin on the outcome of the stunts.

"We've made it more of a gambling show rather than a variety show," he said. "They'll be betting their way to a big cash prize."

Gurin said the ABC project may still involve celebs or a mix of celebs and civilians.

Either way, "It's meant to be fun and entertaining," he said. "The variety element comes from the kinds of stunts people do."

This isn't the first time "Wetten dass...?" has journeyed across the Pond. CBS, via producer Gary Grossman, did a one-time special based on the format in 1993.

"Wanna Bet?" reps the first project Gurin has sold to ABC. Much of his network work has been at NBC ("Weakest Link," "The Miss Universe Pageant") and Fox ("Test the Nation," "New Year's Eve Live").

On the quizzer front, the Gurin Co. -- which is repped by WMA -- also produces GSN's "Lingo."

http://www.variety.com/article/VR1117955313.html?categoryid=14&cs=1

harley1

12-08-06, 08:57 AM

The mess of Canadian TV

By BILL BRIOUX, TORONTO SUN

Lock out our hockey, tax our beer and gouge us at the gas pump. But there's one thing Canadians won't tolerate: Screwing with our cable bill.

For the last two weeks, a parade of Canadian TV players descended upon Gatineau, Que., like, as Dan Rather used to say, ravens on a road kill.

The Canadian Radio-television and Telecommunications Commission called this review of its over-the-air television policy because, well, Canadian TV has gone all to hell.

NETWORKS WANT CASH

CanWest, CTV and CBC are boo-hooing that the good old days of English Canadian TV are over and the gravy train has jumped the rails. Costs are up and audiences and ad revenue are down. Broadcasters want more money and they think they know how to get it: They want in on the subscriber fee bonanza.

Right now, for example, you pay $1.07 per month for TSN, 78 cents for Sportnet, 63 cents for Newsworld on your cable or satellite bill. You want 'em, you buy 'em.

CBC, CTV and Global -- always free to anyone willing to sit through 12 minutes of advertising an hour -- now want to put their hands in your other pocket, too. (This despite the fact that they also own -- and profit from -- all those specialty channels.) Rogers figures the new demands could cost consumers an extra $5 a month.

MILLIONS IN FUNDING

CBC president Robert Rabinovitch, whose network already receives a $501-million-per-year parliamentary appropriation for TV programming, told the CRTC there was no reason not to grant his network that request. Personally, I can think of 501 million reasons.

Specialty channels oppose the move, pointing to how consumers were driven to grey-market satellite dishes during that negative-billing fiasco. The cable companies are also opposed, saying they'll get blamed for those high cable bills.

Hard to see how the Harper government is going to okay a cable bill hike in a potential election year, but here is the larger issue: English broadcasters say they need this extra revenue to produce more great Canadian programming. They should be laughed out of Gatineau. If you look at their track record, they will take every cent and spend it in the United States.

CTV, the Yankees of TV, spend their way to a title every spring. They have more shelf space than IKEA.

Last May, when the Canadian networks went U.S.-show shopping, CTV once again bought way more than it needed. So far, few of those investments have paid off. From Warner Bros. alone, CTV bought Justice, The Nine, Smith, Studio 60, Traveller, Waterfront, The Class, Happy Hour, Notes From The Underbelly and Twenty Good Years. Of those, five are cancelled, two may never air, one is doomed, one is still to come and one survives despite low ratings.

U.S. DOMINATES RATINGS

What did those 10 U.S. flops cost? According to one published report, Canadian broadcasters spent $401 million on U.S. shows and $86 million on Canadian, a 5-to-1 ratio. Any wonder, then, that 19 of the Top-20-rated shows in English Canada are American? That's the real crisis, not the broadcasters' bottom line. (By contrast, 28 of the top 30 rated shows in Quebec are Canadian-produced.)

There is a solution. It is bold, obvious and ridiculously simple. Listen up:

- Restrict Canadian broadcasters to just 10 prime-time hours of imported programming a week.

CTV, say, could keep all three CSIs, American Idol, Desperate Housewives, Criminal Minds, Amazing Race, Grey's Anatomy, ER and, okay, Ghost Whisperer. Global hangs on to House, Survivor, Deal Or No Deal, 24, Prison Break, Heroes, Simpsons/Family Guy, Shark, Numb3rs and Gilmore Girls.

CHUM keeps everything, including Ugly Betty, and picks up the Law & Order franchise and a few other goodies that new corporate daddy CTV can no longer schedule. Ditto Global Jr., CH, and its Two And A Half Men, NCIS keepers.

That leaves 12 hours for indigenous, made-in-Canada programming. I'd even settle for 11 hours of imported, 11 hours of Canadian per network in prime time -- 50/50.

CASH SPENT AT HOME

All that money CTV, Global and CHUM currently throw at U.S. producers and studios -- some $400-million-plus a year as the bidding wars escalate each spring -- gets cut down to a more reasonable level. Your big-money shows are still generating tons of ad revenue. You waste less on U.S. burn-offs such as According To Jim. You suddenly have time during the season for shows like Whistler and Falcon Beach. You give Canadians a chance to see Canadian shows during the regular season, not just in TV-turnoff times like summer and Christmas.

Keep in mind that this is strictly a prime-time fix. CTV and Global get to keep every ad dime they sell for non-prime imports Jeopardy!, Oprah, The Young And The Restless and Entertainment Tonight.

CALL IT BRIOUX'S CAP

You wouldn't need a drama quota, as the creative community is demanding -- English-language broadcasters would be forced to boost their Can-con to complete their schedules. You wouldn't need to pay more for your cable bill, or buy a grey-market satellite dish, or switch back to an antenna.

Call it the Cap, the import rule, the CFL solution.

http://torontosun.com/Entertainment/Television/2006/12/08/pf-2686624.html

Seems ala carte has a few problems also.

CPanther95

12-08-06, 09:06 AM

Seems ala carte has a few problems also.

Those issues have nothing to do with a la carte.

fredfa

12-08-06, 10:26 AM

I think your schedule is wrong in regards to the Hawaii Bowl. All day Saturday during the Hawaii game it said on the ESPN Ticket: Sheraton Hawaii Bowl Hawaii vs. Arizona State ESPN & ESPNHD

Great catch and a belated thanks for catching that, crimsonblake.

I have corrected the Bowl schedule.

ESPN had not listed it in HD until earlier this week. As I understand it, (and I could be wrong) the Hawaii Bowl will be fhe first college football game down in HD from Hawaii.

fredfa

12-08-06, 10:36 AM

Thursday’s metered market over-night prime-time ratings – and Media Week Analyst Marc Berman’s view of what they mean -- have been posted just under the HD Football listings near the top of Ratings News the first post in this thread.

RemyM

12-08-06, 10:59 AM

ESPN had not listed it in HD until earlier this week. As I understand it, (and I could be wrong) the Hawaii Bowl will be fhe first college football game down in HD from Hawaii.

I still don't see it listed on ESPN's HD schedule for 12/24.
http://hd.espn.com/hd/schedule.jsp#espn

dr_mal

12-08-06, 11:08 AM

While this is a local (Denver) issue, we sure could use support from congressmen/women nationwide.

Denver OTA HDTV
Surprise bill may put TV tower on mountain
Golden officials are outraged at Colorado U.S. senators action in a hotly disputed land-use issue.
By Ann Schrader , Denver Post December 8, 2006

Colorado's two U.S. senators joined Thursday in sponsoring a surprise bill that would cut Golden and Jefferson County out of the debate over building a high- definition TV tower on Lookout Mountain.

Golden officials sharply criticized Republican Wayne Allard and Democrat Ken Salazar after learning the two senators had sponsored the brief bill, which passed in the waning hours of Congress. The bill would almost guarantee the placement of a new tower on the mountain.

"Congress has a right to debate, but this last-minute bill is why people hate government," said Golden City Manager Mike Bestor. [Ed: ahem. Pot calling the kettle black?]

"Golden's City Council is very disappointed in both senators for this last-minute, under-the- cover-of-darkness, special-interest legislation that pre-empts local government's right to decide land-use issues," Bestor said.

Councilman Jacob Smith said Golden officials were not contacted by Allard or Salazar before the vote. "This is just not right," Smith said.

The city of Golden, which sits at the foot of Lookout Mountain, and nearby homeowner groups have battled for six years against a proposed digital TV tower there.

The bill passed the Senate and is headed today to the House, said Salazar spokesman Cody Wertz.

It was unclear Thursday night if senators debated the bill or if there is a House sponsor. If not approved by the House before the upcoming recess, the bill must be reintroduced in the next Congress.

Salazar co-sponsored the bill "because Denver metro television viewers deserve to have access to a high-definition signal," Wertz said.

He added that without legislation, metro viewers wouldn't have free high-definition signals by the federally mandated deadline of 2009.

Allard's representatives did not return calls for comment.

Bestor said there are "plenty of options" for providing a high- definition, digital signal in the metro area.

"This is the most cost-effective, but it is the most damaging to real people," Bestor said of the Lookout Mountain site.

The bill states that anyone who holds an approved Federal Communications Commission permit to build a digital TV station, antenna or tower on Lookout Mountain may do so if the structure is no higher than existing towers.

Lake Cedar Group, a consortium of local TV channels 4, 7, 9 and 20, has proposed building a 730-foot-high tower to replace three towers ranging up to 834 feet.

Consortium officials, who could not be reached for comment, have said Lookout Mountain is the only place a tower can broadcast free digital signals to the entire metro area.

Concerns have been raised in rezoning hearings and in court about health effects from radiation, electronic interference and possible tower failure.

In April, Golden began eminent-domain proceedings to seize the 65-acre site, which is outside the city limits, after offering Lake Cedar Group $1.7 million for the property.

Jefferson County District Judge Brooke Jackson in May sent the proposal back to the county board for a rezoning decision, which is pending.

http://www.denverpost.com/news/ci_4801304

Full text of the bill is available here (http://thomas.loc.gov/cgi-bin/query/z?c109:S.4092:)

fredfa

12-08-06, 11:08 AM

I agree RemyM.

But I have found that the ESPN/ESPN2 HD schedules are often pretty innaccurate, especially weeks ahead.

I try to trust posters oin this thread, and I am assuming crimsonblake saw what he says he saw and is reporting it accurately.

If not, well, it will annoy me immensely, but it won't be the first error I have made.

If there's anyone with inside ESPN knowledge who would PM me with the latest, I'd be delighted.

epsilon

12-08-06, 11:50 AM

by Joe Mandese, Friday, Dec 8, 2006 8:00 AM ET

LESS THAN A YEAR AFTER it won an important TV marketplace victory - convincing the networks to guarantee their advertising deals based only on real-time TV viewing - Madison Avenue is poised to lose its so-called "live" TV ratings. Exactly how and when "live" ratings will die isn't yet known, but they were officially put on the death watch Thursday morning during a special client meeting hosted by Nielsen Media Research to determine how time-shifted viewing should be reincorporated as part of the TV industry's advertising currency.

During that meeting a consensus appeared to emerge between both buyers and sellers that a combination of live and time-shifted viewing that occurs within one or a few days of an original telecast, might be the best way to go. The consensus emerged after Nielsen revealed new research showing that the share of viewing occurring via playback on digital video recorders is growing faster than many people might have thought.

"The data you just showed is stunning," said NBC research chief Alan Wurtzel, declaring, "The future of half of all viewing is time-shifted. If not now, certainly in a year or two, 'live' is going to be a completely irrelevant measure."

Wurtzel was referring to Nielsen data indicating that more than 40% of all prime-time viewing by adults 18-49 is done in playback mode in DVR households. While DVR households currently represent only about 11% of Nielsen's sample, the impact is significant enough that playback now represents 5% of all viewing done in the average U.S. household. And it is growing fast.

"It seems to me that if we are going to actually move to some kind of commercial-based measurement, 'live' is going to go away - live-plus seven is going to go away," concurred Steve Sternberg, the head of audience analysis at Interpublic's Magna Global unit, referring to two of the three data streams Nielsen has begun distributing to the industry since it began reporting DVR households in January. The third stream is live-plus same day of DVR playback, which could emerge as the new standard for advertising deals, or potentially a new stream including "live" plus two or three days of playback.

The reason, executives said during the meeting, was that Nielsen's analysis shows that the predominant amount of playback occurs within one or three days of the original telecast.

The meeting was intended to help Nielsen decide which data stream it should use for reporting its new average commercial minute ratings, when it begins releasing them early next year on an "evaluation" basis, but the decision on which stream is most relevant to the TV advertising marketplace ultimately is expected to shift the basis of advertising deals from "live" only to include some portion of playback.

While the industry has not yet agreed to switch to commercial ratings, that shift would resolve one of the major concerns advertisers have with DVR playback: fast-forwarding through commercials. Because Nielsen uses audio codes to detect audiences, fast-forwarded minutes would be excluded from those data streams, because they emit no audio signal.

Much of the debate during the meeting centered on how, and when the commercial ratings data should be released, and ultimately incorporated as trading currency for TV advertising buys. Several executives said they wanted to wait until the data was vetted and proven to be accurate. Others said the marketplace was shifting too rapidly and that the move should be made now and in time for next summer's upfront advertising marketplace.

"Everyone saw the data up there. I personally do not think we can have an upfront negotiation that does not take into account the impact of DVRs," said CBS research chief David Poltrack, adding, "CBS is definitely using this data as part of its upfront strategy. We're never going to be in a position to model the next 10% of DVR penetration based on the current 10%. It has to be part of the upfront."

Questions surrounding the accuracy of the new ratings data are not inconsequential, said Mediaedge:cia's Lyle Schwartz, suggesting that bad data might be worse than no data, because it would force agencies and networks to spend additional time verifying their accuracy and correcting mistakes.

Even small margins of such mistakes potentially could represent huge sums of money, said consultant Nicholas Schiavone, who recalled asking a poignant question of former GE Chairman Jack Welch when Schiavone was head of research of its NBC unit.

When Schiavone noted that some methodological issue represented "only a tenth of a rating point," Welch shot back, "$50 million is what to you?"

Earlier in the week, during a presentation the UBS media conference in New York, CBS' Poltrack also pointed the financial impact of the new ratings data, noting that following the shift to "live" only ratings currency, the major broadcast networks have not been getting "paid" for about 7% of their audience - the portion of their audience that is currently played back on DVRs.

During the Nielsen meeting, Poltrack made another observation suggesting a profound battle looms in the future over another important goal of Madison Avenue's: The shift from Nielsen's current "average commercial minute" ratings - ratings based on an average of all commercial minute appearing in a TV program - to individual commercial minute ratings.

Citing a new, but not widely distributed report from Nielsen analyzing the "standard error" of average minute ratings vs. individual minute ratings, Poltrack said the individual minute ratings would be too unstable to use as the basis of advertising deals that are guaranteed by the networks to advertisers.

Poltrack said the standard error for individual commercial minute ratings was three times higher (17.6%) than for average commercial minute ratings (5.1%), according to the new Nielsen report.

"In a marketplace where we pay off on the downside and don't get anything on the upside, that standard error costs us money," Poltrack noted, referring to the fact that advertisers do not currently pay the networks for bonus audience delivery.

"If you go to individual minutes, you should also go to [paying] off on the upside and [paying] off on the downside," he said.

Joe Mandese is Editor of MediaPost.

epsilon

12-08-06, 11:54 AM

John Consoli and Anthony Crupi

DECEMBER 07, 2006 -

Nielsen Media Research, at a meeting of more than 100 clients, said today that it will make available all the data necessary for the media agencies and TV networks to create their own minute-by-minute ratings for all dayparts, including DVR playback data, for intervals of up to seven days, beginning April 24, 2007.

The data will enable the television industry as a whole to begin using commercial ratings as an advertising buying currency if it so desires.

However, the April 24 date is just three weeks before the broadcast networks’ upfront presentations at which they will unveil their new programming for the 2007-08 season, and at which point negotiations for commercial buying for that season begins.

Some media agencies are now questioning whether or not this will permit commercial ratings data to be used as the currency in the upcoming upfront, since there will be little time to test the complete data before negotiations begin.

“It seems like this timetable will preclude us from having enough time to analyze the data, which will be test data, to make sure it is accurate and usable,” said Lyle Schwartz, senior vp, and director of research and audience analysis for Group M. “I am disappointed that we will not have the complete data sooner.”

But at least one broadcast network executive, David Poltrack, chief research officer, CBS Corp., said he expects that his network is planning to use the commercial ratings data Nielsen provides for those clients who want to buy based on commercial rather than programming ratings in the May upfront.

“We have already been testing this data which is available through Nielsen’s NPower service,” he said. “And by the time Nielsen releases the complete data in April, we will just have to see how our testing compares with the data Nielsen releases.”

Sean Cunningham, Cabletelevision Advertising Bureau president and CEO, was also of the opinion that the April 24 date could give executives sufficient leeway to use the new currency in their upfront negotiations. “It’ll be a squeaker, but in theory we could have a reasonably correct data to placate those vocal few who want to use the commercial ratings currency in the upfront,” he said.

Nielsen clients have to pay extra to subscribe to NPower, while the data Nielsen releases in April will become part of its regular syndicated ratings data, along with its program ratings.
Most Nielsen clients are expected to wait for that, rather than paying extra to subscribe to NPower and do the data translation themselves.

Poltrack described the meeting as “very constructive” and praised Nielsen for doing “a very good job of solving a lot of the problems and questions surrounding commercial ratings.”

While Nielsen will issue the complete commercial ratings data by late April, there are still a lot of kinks to work out. One is how to measure commercials viewed in playback on VCRs. Poltrack said media agencies are amenable to paying for commercials played back in regular mode and not fast-forward through by the viewers. But there is no way that the Nielsen system can measure that. He said he has asked Nielsen, which agreed, to do an “off-liine” study among its households to come up with some metric that will assign a value to VCR viewing played back in regular mode.

Nielsen said it will be up to the client base to determine whether minute-by-minute ratings, or the average commercial minute rating per show is used as a negotiating currency. And Nielsen continues to address the concerns of cable and syndication regarding average commercial minute-per-program ratings.

During today’s meeting, Nielsen (owned by Mediaweek parent VNU) presented an analysis of DVR playback that found that among adults 18-49, 76 percent played back broadcast network shows within two days, 85 percent played back ad-supported cable and syndicated TV shows within two days. The DVR playback within three days was 84 percent for the broadcast network shows, 89 percent for cable shows, and 91 percent for syndicated shows.

Other data showed that in homes with DVRs, among adults 18-49, nearly 50 percent of their prime time television usage is in DVR playback mode, much higher than the 18 percent for cable.

“It’s easy to see the reason why the broadcasters want to rush for a viable trading currency to be done in time for the next upfront,” said CAB’s Cunningham. “Think of how much money will be left on the table if they’re still selling on just a live-only basis.”

“The goal of today’s meeting was to bring clients together to seek feedback on what their needs are for commercial ratings,” said Sara Erickson, Nielsen general manager of national services. “This was a very productive meeting in which diverse opinions were expressed. We will continue to review the various options and seek additional opinions on what best meets the needs of the industry. It seems clear that there is no one-size-fits-all solution to commercial ratings, and that providing the industry with multiple tools is the best approach.”

http://www.mediaweek.com/mw/news/recent_display.jsp?vnu_content_id=1003494346

fredfa

12-08-06, 12:13 PM

Thursday’s updated fast national over night prime-time ratings – and Media Week Analyst Marc Berman’s view of what they mean -- have been posted just under the HD Football listings near the top of Ratings News the first post in this thread.

fredfa

12-08-06, 12:17 PM

Overnights in the 18-49 Demo
Second strong week for NBC sitcoms
New Thursday comedy lineup pulls a4.0 in 18-49s
By Toni Fitzgerald MediaLifeMagazine.com staff writer Dec. 8, 2006

NBC seems willing to be patient with its lineup this year, giving low-rated shows time to grow. That may well benefit its new Thursday comedies.

With ABC’s “Grey’s Anatomy” a repeat, NBC saw improvements over last week for its brainy Thursday 9 p.m. comedy block of “Scrubs” and “30 Rock,” which took over the timeslot last week.

“Scrubs” averaged a 4.1 in adults 18-49, according to Nielsen overnights, up 5 percent over last week’s 3.9 and the show’s best performance in more than a year. Lead-out “30 Rock,” which airs at 9:30, hit a series-high 3.2, 6 percent better than last week’s overnights.

Their combined 3.6 average was up 6 percent over last week’s average.

It should be noted that last week NBC’s ratings adjusted slightly downward when final ratings were released, because its lineup was preempted in Cincinnati due to an NFL game, which inflated numbers for that market.

However, “Scrubs” and “Rock” still had better-than-their-average numbers and matched NBC’s season-to-date average in the timeslot with “Deal or No Deal.” Considering nearly all sitcoms are struggling this year, that’s encouraging.

NBC benefited from the absence of usually dominant “Grey’s” in the timeslot, as did “CSI,” which was up slightly over its season average.

Including the higher-rated 8 p.m. hour, NBC had a 4.0 for its comedy block and was second over those two hours.

Of course the numbers are still not great, certainly not anywhere near what its comedy lineup used to score on the night years ago. What the network seems to be hoping for is wide sampling during these weeks when usually dominant ABC and CBS dramas slip into reruns. Though many of those viewers will likely return to the dramas in January, when they’re fresh, NBC hopes that its comedies will continue to find a broad audience through time-shifted viewing, such as digital video recorders and online downloads.

On that measure, the network’s comedy “The Office” is one of TV’s most successful shows.

CBS was first for the night among 18-49s with a 5.9 average rating and a 15 share. NBC was second at 4.4/12, ABC third at 3.1/8, Fox fourth at 1.9/5 and Univision and CW tied for fifth at 1.5/4.

CBS led the first two hours of the night, beginning with a 5.5 rating at 8 p.m. for “Survivor.” NBC was second with a 4.3 for an hour of “My Name is Earl,” ABC third at 2.7 for an “Ugly Betty” repeat, and Univision fourth with a 2.0 for “La Fea Mas Bella.” CW and Fox tied for fifth during the hour at 1.8, CW for “Smallville” and Fox for an hour of “‘Til Death.”

At 9 p.m. CBS led again, this time with a 7.9 rating for “CSI,” the night’s top-rated show among 18-49s. ABC was second with a 4.0 for a repeat of “Grey’s,” NBC third with a 3.6 average for “Scrubs” (4.1) and “Rock” (3.2), and Fox fourth with a 1.9 for “The O.C.” Univision fell to fifth that hour with a 1.5 for “Mundo de Fieras,” and CW was sixth with a 1.3 for “Supernatural.”

NBC took the lead during the 10 p.m. hour with a 5.4 for “ER.” CBS fell to second with a 4.4 for “Shark,” 10 percent above its season average, with ABC third with a 2.7 for “Men in Trees” and Univision fourth with a 1.2 for “Aqui y Ahora.”

“Men” was down 29 percent from last week, when it had a fresh “Grey’s” lead-in, but still well above the 2.1 it averaged before it moved from Friday night.

Among households, CBS also finished first, with an 11.4 rating and an 18 share. ABC was second at 6.5/10, NBC third at 6.2/10, Fox fourth at 3.1/5, CW fifth at 2.4/4 and Univision sixth at 2.0/3.

http://www.medialifemagazine.com/artman/publish/article_9028.asp

dad1153

12-08-06, 12:47 PM

Friday’s updated fast national over night prime-time ratings – and Media Week Analyst Marc Berman’s view of what they mean -- have been posted just under the HD Football listings near the top of Ratings News the first post in this thread.

Again with the ratings predictions before the Friday TV shows actually air? :rolleyes:

fredfa

12-08-06, 12:58 PM

Again. It takes me some time to get back in the swing of things, dad.

fredfa

12-08-06, 01:11 PM

Critic’s Notebook
Golden Globe hopes: Heroes, Betty
By Hal Boedeker Orlando Sentinel Television Critic his TV Guy blog Dec. 8, 2006

What TV series will receive the Golden Globes' attention on Dec. 13, when nominations are announced?

I'm hoping the foreign press will be especially inclined toward ABC's "Ugly Betty." It would be a kick to see America Ferrera in the lead comedy category, and Vanessa Williams as supporting actress.

I presume that "Desperate Housewives" will gain attention for an improved season. Felicity Huffman and Marcia Cross have been the standouts this season. But I hope the housewives don't take all the slots. Julia Louis-Dreyfus deserves recognition for CBS' "The New Adventures of Old Christine."

NBC's "Heroes" deserves a dramatic series nomination. And Hayden Panettiere is deserving as America's most famous cheerleader. And why not a supporting nomination for the endearing Masi Oka?

ABC's "Grey's Anatomy" almost certainly will be receiving nominations. Sandra Oh and Chandra Wilson are most deserving for their supporting work. But Ellen Pompeo and Patrick Dempsey could be contenders after the Emmys snubbed them.

ABC's "Lost" will probably figure in several categories; Matthew Fox deserves the attention.

And I wouldn't be surprised to see Sally Field as a drama nominee for her heartfelt work on ABC's "Sons & Daughters."

It looks as if it will be a big day for ABC for capturing the country's imagination with compelling series.

http://blogs.orlandosentinel.com/entertainment_tv_tvblog/2006/12/golden_globe_ho.html

fredfa

12-08-06, 01:26 PM

OK, it is the end of the week, the holidays are approaching and you probably need a laugh -- or many laughs. So click the url at the bottom of this story for a most enjoyable seven minutes.

Critic’s Notebook
The Hilarity of “CSI:Miami”
By Randee Dawn in The Hollywood Reporter blog “Past Deadline”

It's true: I've become addicted to most of the "C.S.I." shows. Gil Grissom of Las Vegas is one of TV's best characters, and the women who routinely seem to be running the Miami bureau kick some major butt.

(New York I have to still pass on; despite my admiration and adoration for Gary Sinise, it went head to head with my first loyalty, "Law & Order," which has had to move neighborhoods from its long-held spot on Wednesday. I hold grudges.)

But "CSI: Miami" is, in addition to being a good show, unintentionally hilarious. David Caruso's melodramatic, intense portrayal of Lt. Horatio Caine (a character name that tells you all you need to know in two words) keeps me giggling. On the one hand, I want to see where he's going in every episode -- how yet again he will come to grief and unhappiness despite having looks that are the complete opposite of dour and living in a sunny paradise. Then on the other hand, he keeps delivering his lines with a Shakespearian gravitas that just don't usually warrant it. (I'm dying for "Saturday Night Live" to do a Lt. Caine cleans his kitchen skit, just so we can hear that delivery in lines like "The Mr. Clean is empty. I will now have to switch to Formula 409.")

It may be that the director, and the actor, are going for something along the lines of what the late Jerry Orbach did with Lennie Briscoe in "Law & Order" -- bring a dark humor to something that seems almost impossible to joke about. Except it's the humor that's missing here: Caine will see clothes littered on the street and note that you don't spend $1,000 on clothes you're never going to wear.

Okay, then.

The good news is I'm not the only one getting a few laughs out of a CSI show: A genius over at YouTube agrees, and has compiled about 7 minutes of these lines -- punctuated, appropriately, with a Roger Daltrey scream of epic proportions.

So, click http://www.youtube.com/watch?v=_sarYH0z948, sit back, and enjoy.

http://www.pastdeadline.com/

fredfa

12-08-06, 01:32 PM

TV Q&A
Ask Matt
(from the Ask Matt column at TVGuide.com
By Matt Roush TVGuide.com TV Critic Friday, December 8, 2006

Question: In Monday's column, you mentioned that Ted and Robin were still together at Barney's brother's wedding on How I Met Your Mother. Have you confirmed this, or are you just going by their friendly dance? I don't mean that to sound condescending, but consider that the episode's premise was that couples tire easily. Marshall and Lily headed home, but Ted and Robin didn't. And when Ted and Robin decided to stay, they decided to stay independently, not together. Obviously, the show left it ambiguous for a reason (I find that Thomas and Bays are some of the best storytellers on television). As for the show's longevity, wouldn't you say that the producers have already addressed the fact that fans should not overly invest themselves in Ted and Robin by shifting most of the romantic focus onto Marshall and Lily this year? Finally, how does the network feel about the show? They obviously had no trouble renewing it, and it does fairly well in its time slot, but I'm curious as to whether or not we'll see any major meddling in the future.— Drew T.

Matt Roush: I only got about 200 e-mails this week pointing out my apparent lack of insight into Ted and Robin's future. I missed the signals in the wedding flash-forward scene that may have suggested that Ted and Robin were there either separately or as just-friends, but so did nearly everyone else I asked in an informal poll around the office. I like to think that the writers meant it to be ambiguous, but I guess I wasn't watching closely or obsessively enough. (In my defense, I believe I watched the episode the following day at work, getting maybe a half-dozen interruptions in that half hour. So much for continuity.) Regardless, it's good to know that if Ted and Robin had split as a couple by then, they didn't split bitterly. But to answer Drew's questions directly, I guess it's true that the Marshall-Lily romance has upstaged the Ted-Robin relationship this season, at least in part because there have been relatively few complications in Ted and Robin's path... so far. As for Mother's future: I wouldn't worry. CBS seems perfectly OK with this one, as it should be. I'm just disappointed that CBS didn't give it the plum spot after the Super Bowl to be noticed by more people.

Question: What did you think of the Veronica Mars rape-mystery finale? It was great to see the whole cast in the episode, especially Mac and Wallace, who have been noticeably absent. I was also really impressed with all the planning that had to be done in the previous episodes to make this one turn out so well. I thought it was great, for example, that Mercer and Moe bonded during the sociology project that Wallace and Logan did earlier in the season. What do you think of Rob Thomas' decision to possibly have stand-alone episode mysteries rather than a mystery that takes several episodes to unfold? I'm not sure how I feel. The first season was done so well, and I've enjoyed this season's shorter mysteries, too. Basically, whatever it takes to keep this show on the air is fine with me.— Lynn

Matt Roush: I couldn't agree more with you on the last point. I enjoyed the denouement this time much more than the finale of last season, which went just a little too berserk for me. In general, my feeling is that this series is not damaged by simplifying its structure. The characters and writing are strong and enjoyable, and it should easily withstand a transition to more self-contained stories (played out, I'd guess, against a backdrop of regularly evolving relationships). Just because a show is trying to be a bit more commercial doesn't necessarily mean it's selling out.

Question: While watching last Thursday's Ricky Gervais/Stephen Merchant-penned episode of The Office, I finally figured out one of the reasons why the show has been so good lately. When the show premiered, pretty much everyone agreed that the Michael and Dwight characters were the weak links out of the four leads. While Steve Carell steadily improved, Rainn Wilson continued to play like he's in a cartoon. Now along comes Ed Helms (Andy), who in my mind completes the quartet. By maintaining the right balance between annoying and entertaining, he blows Wilson out of the water. Plus, he has the same kind of little brother/big brother relationship with Jim that their British counterparts had. It almost seems like there are two Dwights now, and I prefer the new one. I say, get rid of Wilson.— Winfield

Matt Roush: It would hardly be a surprise for me to admit that I prefer Ed Helms' frat-boy spin on an unctuous suck-up buffoon over anything Rainn Wilson does as Dwight, but that doesn't mean I'd expect the show to dump one for the other. Let's not fool ourselves. I stand behind my opinion on the Dwight characterization — many weeks, he completely throws me out of the reality of this otherwise brilliantly crafted comedy. But I also know that I'm in the minority of Office fans, who seem to consider him the second coming of Kramer (albeit without the personal off-camera psychosis, let's hope).

Question: In your review for Day Break, you called the show silly, among other things, and so I took an early pass on it. Well, I happened to be at my brother's home while he was watching the premiere, and I was glad you were wrong (no offense). The show is intriguing and exciting without having to go way over the top, à la 24. It also has this refreshing concept of answering old questions before asking new ones. That's clever, don't you think? Have you kept up with the show since it premiered, and do you stick with your initial thoughts? Your suggestions have pointed me in the direction of some of my all-time favorite shows, which I probably never would have bothered watching otherwise. So, it would be a real shame if I started to second-guess your opinion.— Idina

Matt Roush: Hey, we can't agree all the time. How interesting would that be? I'm glad you're enjoying this one while it lasts. (But how long it will last is up in the air, now that ABC has released a January schedule for Wednesdays that doesn't include Day Break or mention anything about its fate into the new year. Doesn't look good.) I watched just enough of Day Break (the first three hours) to convince me that it was a nonstarter, way too convoluted and (in my opinion) preposterously over-the-top for its own good. I'm not surprised it has found a bit of a cult following (in the tradition of shows like Tru Calling), but I'm also not surprised that more people weren't inclined to join this exhausting, perplexing and not particularly satisfying ride.

Question: I just wanted to say something about ABC Wednesdays — not really a question, but I'd love to hear your opinion. I understand the good intentions of ABC, and I applaud their willingness to listen to the fans' concerns about Lost reruns. But, seriously wasn't the Lost hiatus the worst programming move of the season? I think they completely misunderstood viewer complaints. First of all, as you have said, TV has always worked this way in the U.S., so I don't get where those who complained are living. On Mars? Besides, I think it's great to get some time off during the holidays and in the spring. Second, I think the major problem is not the reruns themselves, but rather their scheduling: The fact that they are sprinkled all over the place, especially in the spring when the networks run out of new episodes (after two heavy sweeps months), and they have to save four or five episodes for May sweeps. That can work for self-contained procedurals, but not for highly-serialized dramas like Lost. I would've aired eight new episodes in October and November (they said Episode 8 would contain a major "story bomb" anyway, so maybe that could've been a better cliff-hanger than all that surgery stuff), repeated them during the holidays and January, and then do the rest of the season like originally planned. Or, they could have split the season into three batches and reserved reruns for December and March only. Anything but taking it off the air for three months. Lost is one of ABC's prime assets. How dumb was that?— Justin

Matt Roush: Looking back, and especially considering what they've put in its place, it was pretty darn dumb indeed. I imagine ABC will have to go back to the drawing board to rethink how to program Lost when planning next season, especially after we see how Lost performs at 10 pm/ET.

Even before ABC made its announcement about Lost's time change, Josh Z. wrote in to wonder: "Now that Criminal Minds is going to air after the Super Bowl, and knowing the success that Grey's Anatomy had last year with that, added to the fact that American Idol is coming back in January, isn't it a good idea for ABC to move Lost to the 10 pm time slot? What do they have to lose? Won't having a huge show like Lost help their local newscasts?"

You think there's room for Josh in ABC's programming department?

Question: Like you, I was blown away by the pilot of The Nine. But it slowly fizzled on me, and I think I finally figured out what happened. I think that the writers were trying to write the show as if it had already been picked up for a full second season, and so they were building a lot of context without any real "bang." Do you think this is what happened, and have there been other shows that you think have fallen into this trap? Other compelling shows, like Heroes, build context while still packing a punch. I think that's one of the reasons that Heroes has done so well: It really keeps you coming back with its constant cliff-hanger endings. It reminds me of the first seasons of Lost and Alias. No matter how implausible it seemed, you had to know what happened next.— David S.

Matt Roush: The show that held The Nine's time period last season suffered much the same criticism: Initially it didn't move fast enough, and the payoffs were too subtle to keep viewers coming back. Invasion remedied that problem in the second half of the season, by which time it was too little, too late. Although in retrospect, ABC's cancellation of that show looks more and more like a bad call. In a season where Heroes took off like a rocket, I'm thinking more people might have caught on to Invasion, especially once all of the intrigues were out in the open. Ah, well. Back to The Nine. I'm not sure I agree that the producers were thinking so far ahead that it affected their storytelling in the first season. But it's a fact that the early episodes fell far short of the expected dramatic impact that the brilliant pilot had promised.

On another Nine note, here's this from Adam W.: "I've watched The Nine and, for the most part, have enjoyed it. While the story has been slow to develop, I feel the show is well-structured and the producers have an idea about what the endgame will be. However, what is a viewer to do when a show like this is on the cusp of cancellation? Do I even bother to watch the remaining episodes when they air, or do I abandon it knowing there will be no resolution to a story that was obviously written to play out over many seasons?"

That's an individual choice, and it really depends on your devotion to a particular show. I now get a lot of frustrated mail from viewers of this season's canceled serials (Kidnapped, Vanished, Smith) who seem to have mixed reactions to following their shows online once they've been kicked off the air. Personally, I haven't bothered with any of them. Out of sight, out of mind. I wasn't that invested in any of the stories to follow them into digital limbo. If The Nine does end up airing its remaining episodes on ABC prime time, I may check back in. Although, when one has limited time, it really doesn't make much sense to invest it in a dead-end program unless you really, really care. If I were still as big a fan of The Nine as I was when it premiered, I bet I would have gone out of my way to watch whatever I could, whenever or wherever I could.

Question: Are The Bachelor's ratings really that much better than The Nine's, or is it just much cheaper to produce? I don't really need an answer, but my point is that crappy shows like The Bachelor keep getting cranked out, and intriguing shows like The Nine are given little chance to succeed. I am so disappointed in the lack of time the networks give to new shows. Some of the longest-running shows in television history weren't overnight successes, yet now some get pulled after two or three episodes. I allowed myself four new shows at the beginning of the fall season: Brothers & Sisters, The Nine, Six Degrees and Standoff. I agree with Six Degrees' hiatus, as it was pretty over the top; but I feel a connection to The Nine's characters and really want to know what happened during the rest of the 52 hours. I am glad that after all the bad press Brothers & Sisters got, it appears to have some staying power. And Standoff: Well, it is the right fit for Fox, so I think it will at least finish out the season.— Jamie

Matt Roush: What I'm taking from this rant is a sense of frustration that I'm feeling from so many viewers who invested time in this season's glut of serialized dramas. As I've said repeatedly, everyone knew going in that it was going to be a risk, and only a very few were destined to succeed. Right now, I'm cheering on Brothers & Sisters, Ugly Betty, Men in Trees and, of course, Friday Night Lights — and I'm glad Heroes is a hit, although I'm still not entirely sold on its actual quality. To be perfectly honest, I'm surprised more shows haven't been outright canceled so far, and I can't for the life of me see what ABC sees in What About Brian to give it a full-season commitment. But to address the initial question: There's no point in comparing shows like The Bachelor with something like The Nine. Even if it weren't a matter of economics (while reality shows are getting more expensive by the season, it's fair to say that The Nine is way costlier), ABC needs fluff like The Bachelor for very specific counterprogramming reasons. It's by no means one of the network's signature shows. The Nine, however, was intended to be one of ABC's shows of the future, and its failure (both creatively and in the ratings) is among the network's biggest recent disappointments. Believe me when I say ABC would much rather have a Nine working on its schedule than a Bachelor, which is fading into obscurity, but not fast enough for most of us.

Question: Are Rob and Amber really included in the upcoming all-star edition of The Amazing Race? I get why CBS would do this, but haven't they gone to that well too many times? They have each been on Survivor twice, then again on The Amazing Race and on a CBS special about their wedding. To make matters worse, they had an unfair advantage during their time on The Amazing Race because people recognized and helped them on many legs of the competition. How is that fair to the far less recognizable racers? Seriously, enough is enough for these D-List "celebs"! I'm not going to tune in just to root against them. In fact, I've decided to skip the next season altogether, at least until they are Philiminated!— Tim

Matt Roush: I have yet to see an official cast list for the all-star running of the Race, but everyone here who follows such rumors seems to think that this is probably true. And I see no reason to doubt it, seeing how CBS' reality franchises have fed on each other before. They're not enough to keep me away from Race, which has rebounded so greatly this season. But my natural resistance to all-star versions of reality shows turns into actual revulsion when I think of this obnoxious couple getting another shot in the spotlight. Enough already!

Question: I knew the network was not going to keep 3 LBS on the air, but not because it's not a good show. I think it was interesting, but it was a bit morbid. I especially enjoyed the pilot episode when the young violinist had had a seizure. Do you think its realistic morbidity may have been why it did not pull in as many viewers? Maybe people need or want to see "lighter" shows. Even though ER and House are medical dramas, they have many light moments, but 3 LBS seemed to be a darker show. It made one feel that what happened to the fictional patient could so easily happen to anyone. What do you think?— Ravs

Matt Roush: I'm not sure enough people even gave the show a chance to decide if it was too morbid for them. I think it was one medical drama too many, and that if CBS cynically thought it could attract the House viewer by airing such a transparent clone an hour later on the same night, it should have expended more effort toward making a better clone. There were elements of 3 LBS with humor — the sexy female neurologist character, for instance — but I still think the main problem with this show was its lack of originality.

Question: I just wanted to add my voice to yours as another TV viewer completely confounded by the success of Criminal Minds. I honestly can only believe that its unimaginable ratings are due to two reasons: 1) It is the anti-Lost: a TV-dinner of a show that tries way too hard to be profound and appeals to those who simply will not (or cannot) stick with a serialized drama. They want their mysteries solved in 42 minutes, just like Murder, She Wrote. 2) With the aging demographic of CBS' audience, I am beginning to believe these folks simply will not (or cannot) find the remote to turn away from the procedural crapfest that is CBS and see what else is out there in TV land. It really pains me to see a highly creative and innovative show like Lost having part of its audience siphoned off to such a tiresome show. By the way, isn't Criminal Minds simply a blatant rip-off of The Inside, which I found far more interesting and thought-provoking? Thanks again for trying to educate the masses!— Larry B.

Matt Roush: You make some good (and amusing) points, but please don't confuse my role here as some sort of Professor Roush whose word is gospel. A week ago, I laid out my own specific critical reasons for despising Criminal Minds. And while I'm depressed that so many people are watching this show, I also can accept it. Everyone's entitled to like whatever they like on TV. And yet, that doesn't stop the name-calling. I actually got an e-mail this week from someone who suggested that because Criminal Minds was an "intelligent" show, maybe I didn't "understand" it. And yes, I found that insulting. (Just because a show quotes Nietzsche doesn't mean it's intelligent. Just pretentious.) My goal here is to filter my own opinions about TV through other fans who agree or disagree, depending on the show. I absolutely agree that Lost and Criminal Minds are antithetical in appeal to each other, and that there's no convincing fans of one that the other is equal or superior. I've also joked for years that CBS' brand loyalty is more like lethargy, but that doesn't give enough credit to those who find CBS' programming the equivalent of comfort food or to the programmers and producers at CBS who package this food in a way that a large mainstream audience finds pretty savory.

Finally, this from Amy: "I'm a student studying for my doctorate in forensic psychology, and I can easily clarify why I can't stand Criminal Minds: No believability. (Really, does the serial killer keep photos of girls on the wall of the convenience store? That's pretty handy.) I suffer from the same problem that forensic specialists must have when they watch CSI: That's just not how it works! I can suspend disbelief and enjoy it if the writing is intelligent enough, but this show does not cut it for me. Contrast that with the brilliant Dexter, which has absolutely nailed every element of the psychopath, and Michael C. Hall plays it perfectly. My favorite aspect is how I never worry for Dexter when he is going to kill, but I am anxious whenever he has to navigate the most mundane social interaction: Can he pull it off? People need to realize that ratings do not mean Criminal Minds is good, just accessible to the general public. That in itself is not a bad thing, but people should be aware of how false this show rings. If you want a believable and more accurate look at the criminal mind, flip to Showtime and watch Dexter."

Amen.

http://tvguide.com/News-Views/Columnists/Ask-Matt/Default.aspx#01mother

fredfa

12-08-06, 03:41 PM

TV Notebook
ABC Wants More “Money”
Shatner Quiz Show debuts with new time and Day Jan. 2

(ABC Press Release)

ABC's new variety/game show, "Show Me the Money," hosted by William Shatner, has been picked up for an additional six-episode order.

ABC's "Show Me the Money" draws 7.5 million viewers and a 2.1 rating, 6 share among Adults 18-49, ranking second in its 8 o'clock hour in viewers. From its first half-hour to its second half-hour, the William Shatner hosted game show sees increases in both viewers (7.5 million to 7.6 million) and young adults 18-49 (2.0/6 to 2.2/6).

About "Show Me the Money":

"Show Me the Money," the high-octane variety/game show series hosted by Emmy-winning television legend William Shatner, will move to its new time period, TUESDAYS (8:00-9:00 p.m., ET), effective JANUARY 2, 2007 on the ABC Television Network.

"Show Me the Money" contestants must answer a minimum of six trivia questions. After each answer, the contestant must choose from among thirteen stunning dancers on stage, each of whom holds a scroll with a dollar figure to be added or subtracted - for correct or incorrect answers -- to the contestant's total.

A correct answer combined with choosing a dancer holding big money can quickly catapult the player's winnings into the millions. But a wrong answer combined with the wrong dancer can wipe out winnings in an instant. There is no opportunity to play it safe - contestants will be tempted to take the money and run, but this rollercoaster ride of a game show requires that you play to the very end.

Adding to the variety aspect of the show are thirteen dazzling Million Dollar Dancers ready to break into any style of dance, while audacious master of ceremonies William Shatner spontaneously boogies with the beauties on stage.

fredfa

12-08-06, 04:53 PM

Critic’s Notebook
In the name of all that is awful: Nominees for Worst of 2006
Bring us your bad television.
From Maureen Ryan’s Chicago Tribune blog “The Watcher” Dec. 8, 2006

Or rather, bring Tim Goodman your bad television.

Goodman, the TV critic for the San Francisco Chronicle, is asking readers, via his blog, to help him compile a list of the year’s worst television programs. They don’t have to be new shows, they can be old shows. The only requirement is that they are vile, stupid and should never have existed.

“As long as I can pick at least 10 great series - and I can, with relative ease - from the alleged 500 channel universe, then I've got no problem allowing that most of what television has to offer is unmemorable, woeful, offensive, barrel-scraping filler meant to sell soap,” Goodman writes here.

Well, I don’t think it’s as bad as all that. I had a terrible time whittling down my list of Top 10 shows this year (I’ll post them next week). There were at least 30 shows I considered in the early going and I really had a torturous time trying to whittle it down from 20 entries to 10. So, in my opinion, there’s more good TV out there than there ever has been, and the best of the tube is vastly better than anything we were watching 10 or 15 years ago.

But that’s the end of the pitch for good TV. You and I know it’s out there. We also know that we have to wade through a lot of bilge to get to the good stuff.

Here are my nominees for the worst shows of the year:

• “Fashion House.” This MyNetwork TV wasn’t so bad it was good. It was just so bad.

• “Happy Hour.” It was neither.

• “Pepper Dennis.” Nothing against Rebecca Romijn – who will be joining the cast of “Ugly Betty,” by the way – but this series about a madcap TV reporter was just lame.

• “’Til Death.” Brad Garrett as a grumpy married man. But in a bad show this time. Ugh.

• “American Inventor.” When the show starts off with a device that is meant to enable you urinate in public, you know things are only going to go downhill.

• The “Sopranos” episode “Luxury Lounge.” I know that this show is one of the all-time American great TV series ever. That’s a given. But this particular episode was mean-spirited and uncharacteristically obvious – do we really need to be told that celebrities are often greedy, amoral and spoiled? What a revelation. And did they really need to clock screen legend Lauren Bacall with a gift basket? Yeesh.

• “Unan1mous.” I thought this would be a cheap, sleazy but fun reality series. It turned out to be a really cheap, really sleazy, really unfun showcase for deeply unpleasant people.

• “The Underground.” Here’s the thing about a sketch-comedy series. It should be funny. As in, it makes people laugh. This one was just cringe-inducing. A root canal is more humorous.

• “Twenty Good Years.” Do not take talents such as Jeffrey Tambor and John Lithgow and do nothing with them. These guys deserve prime material, and what they got was the sitcom equivalent of stale fast food.

• “Smith.” This show was really good at one thing – it blowed stuff up real good. Aside from that ... meh.

• “Big Brother.” Someone make these people go away. Far away.

• “Dane Cook’s Tourgasm.” Apparently, when they’re on the road, comics like to rib each other a lot, watch raunchy movies and they have easily hurt feelings. And we should care … why?

• “Rock Star: Supernova.” I’ll stipulate that several of the contestants on this show had actual talent. But if I ever see Dave Navarro or Tommy Lee on my TV screen again, I might just have to put an ax through the set.

• “According to Jim.” It’s coming back in the new year. Why? Why why why????

• “House of Carters.” The only sensible way to watch this show was via the eminently mockable clips that E’s “The Soup” shows each week. A Carter family meltdown always goes down more smoothly with a Joel McHale chaser.

• “Commander in Chief,” the latter episodes. It’s rarely a good sign when the spunky grandma turns up.

• “Ghost Whisperer.” It is not possible to be any more annoyed by Jennifer Love Hewitt than I already am. But when I need a top-up of JLH annoyance, I watch this gloppy mess of a show.

• “The Real World: Denver.” I haven’t watched this latest incarnation of the hot-tubs-and-hookups series, but -- talk about taking a bullet for the team -- Andy Dehnart of RealityBlurred.com has. Here’s his take on the season so far: “The first two episodes have established that ‘The Real World Denver’s’ cast members are vapid, empty, drunk [idiots] who do nothing except drink, hook up, talk about hooking up, drink while talking about hooking up, get ready to drink and hook up, and then pretend to forget about what they said and what they did when they were drunk. More appallingly, they think they have actual problems.”

These entries in the Worst of 2006 List are just off the top of my head. I’m sure I’ll be kicking myself when I see some of your nominees for this list.

Don’t forget to add your entries to Goodman’s http://www.sfgate.com/cgi-bin/blogs/sfgate/indexn?blogid=24 if you want to, and please also leave your nominees in the comment area here if you are so inclined.

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

CPanther95

12-08-06, 05:34 PM

Great catch and a belated thanks for catching that, crimsonblake.

I have corrected the Bowl schedule.

ESPN had not listed it in HD until earlier this week. As I understand it, (and I could be wrong) the Hawaii Bowl will be fhe first college football game down in HD from Hawaii.

Anything on ESPN is also simulcast on ESPNHD - that doesn't necessarily mean that it's in HD does it?

fredfa

12-08-06, 05:52 PM

You are -- as usual -- correct, CP95.

I am waffling on this one. So I put a "?" after the "HD" in the bowl schedule. Jy feekling is it will not be in HD, and the Texas bowl on the NFL Network (now also with a "?") will be in HD.

I am thinking that maybe, just maybe, because there are a string of golf tournaments in HI in January, there mjight actualkly be the possibility of HD transmission from there. And the, of course, those facilities could be used for the Hawaii Bowl, too.

But that could be more wishful thinking than reality.

fredfa

12-08-06, 08:49 PM

TV Review
'Sleeper Cell'
sequel is a taut tale of terrorism
By Melanie McFarland Seattle Post-Intelligencer TV Critic Saturday, December 9, 2006

Our admiration for an actor sometimes enables us to excuse the awful ways in which his characters behave. Some, like Oded Fehr, one of the stars of "Sleeper Cell: American Terror," can almost make horrendous atrocity seem understandable.

Fehr, the charismatic presence behind the miniseries' extremist Faris Al-Farik, eschews the simple concept of a TV villain by making his terrorist impressively enigmatic. Speaking in a soothing, cool baritone, Al-Farik is assuring and seductive. The man almost seems reasonable as he speaks in endearing terms about his wife and daughter.

But "Sleeper Cell" never lets you forget that Al-Farik is a top leader in a perverse jihad. His ability to utterly seduce the people around him enabled him to hide out in Los Angeles' Jewish community, facilitate the killing of a teenage girl and orchestrate what could have been a catastrophic attack on Dodger Stadium.

That he is in U.S. custody as this sequel begins, months after agents thwarted his attack, is false security. Even in his prison, Al-Farik's manipulative power remains undiluted.

In "American Terror," as with the first "Sleeper Cell," creators and executive producers Cyrus Voris and Ethan Reiff want to horrify viewers with a more realistic vision of terrorism than what we see on network television.

A Jack Bauer brand of hero does not exist here, any more than Jason Bourne or James Bond could. Instead, it's up to guys like undercover FBI Agent Darwyn Al-Sayeed (Michael Ealy) to save the day. Overworked and bruised to the bone, Al-Sayeed is saddled with a case agent more interested in career advancement than keeping his people safe. The scenes of torture are appropriately hideous and, in keeping with the series' pact to hew closely to reality, the day does not always get saved.

Ealy wears an expression of perpetual sadness around his eyes that seemed a touch overwrought in "Sleeper Cell," but here it makes perfect sense. Anyone who has ever felt trapped in a job knows that look, and fighting terrorism has taken Al-Sayeed's life hostage.

As "American Terror" begins, Al-Sayeed has an opportunity to give up field work in order to teach, a tempting proposition considering his deepening relationship with neighbor Gayle (Melissa Sagemiller).

But the FBI respected his work on the last case so much that he's immediately called upon to slip into another cell operating in Los Angeles. Al-Qaida thought Al-Sayeed (known to them as Darwyn Al-Hakim) did a terrific job too, which gets him quickly promoted to become the cell's head. Even as he coaxes details of the plans out of them, Al-Sayeed radiates fatigue and resentment.

The vicissitudes of Al-Sayeed's situation swing the series in an intensely personal direction. In this sequel, the stakes are not only astronomical for the country, but for this agent, making the tale cut deeper. Barbaric and nauseatingly familiar developments force him to rely less on his faith than on an unquenchable rage. But his allegiance to defending the peaceful nature of true Islam sees him through to the end -- almost.

This second installment has serious knots to it, stretching beyond Los Angeles to Sarajevo and the Middle East, where familiar figures try to reclaim their former lives. Such ambitious plotting takes time to mature, but you'll appreciate the way the three story lines collide in the final hours.

Leading up to that, however, some passages of "American Terror" aren't as taut as one would expect. Half-baked secondary characters mar the flow. Maintaining multiple parallel story lines apparently didn't leave much energy to flesh out those smaller roles, and at times one wonders if they even need to be there. Don't dismiss them, because the finale realizes their purpose with numbing shock.

One returning figure viewers are sure to welcome is Seattle theater veteran Henri Lubatti, who made Ilija Korjenic the most likable Bosnian terrorist television will ever hatch. His impeccable karaoke version of A Tribe Called Quest's "I Left My Wallet in El Segundo" in last year's finale stayed with us more than his murderous intentions.

But then, much of that evil unraveled very slowly. A significant improvement in the sequel is its keener sense of urgency and alarm, achieved by down-scaling the exposition and character development that bogged down the first hours of the original.

It could be "Sleeper Cell" learned from last season's "24." The genuine grit remains intact, and the miniseries hits full speed by the end of hour one. Like Jack Bauer's recent day, "American Terror" for the most part doesn't let up.

Yet some very central aspects of "American Terror" still don't ring true. We're supposed to appreciate Al-Sayeed falling in love with Gayle, as if it would never occur to us that his affair and life-threatening undercover work aren't reasonable. What top agent would put an innocent single mother in that kind of danger?

Wisely, Showtime doesn't allow much time to chew on those nagging bits. The miniseries airs over eight consecutive nights, so if one episode frustrates you, wait a day. The next one probably will make up for it.

HBO's two-part "Tsunami, the Aftermath," on the other hand, has a week between Part 1 airing Sunday at 8 ET/PT, and Part 2 at the same time on Dec. 17, granting you plenty of time to examine its failure. Not that you'll need that much time; it'll hit you long before the first night is up.

Thinly written and impressively wooden, this fictionalized version of the greatest natural disaster of our time, 2004's Southern Asia tsunami, is served up by a premium cable channel from the perspective of tourists. True, they get blindsided right along with the tens of thousands of Southeast Asians who died or were displaced.

And yet. More than 230,000 people lost their lives, but the film found only one Thai person's life worth examining in any depth. While we can't be sure how many Europeans were unfortunate enough to be caught in Thailand when the tsunami hit, forgive me for taking issue with HBO's decision to focus on the crises of a handful of well-to-do vacationers.

How disrespectful to the dead and insulting to viewers. This is HBO implying we couldn't possibly relate without Tim Roth, Toni Collette, Chiwetel Ejiofor and Sophie Okonedo there to guide us. They're tremendous actors and it's unfortunate that their admirable performances aren't enough to grant this poorly conceived tele-dreck a pass.

WATCH IT

"Sleeper Cell: American Terror," premieres at 9 PM ET/PT Sunday on Showtime and airs over eight consecutive nights through the finale at 9 PM Dec. 17.

http://seattlepi.nwsource.com/printer2/index.asp?ploc=t&refer=http://seattlepi.nwsource.com/tv/295289_tv09.html

fredfa

12-08-06, 08:52 PM

TV Review
'Sleeper Cell'
Inside Terrorism’s Tangled Web
By Alessandra Stanley The New York Times Dec. 8, 2006

“Sleeper Cell: American Terror” is the worrying man’s “24” — a thriller that looks at counterterrorism from the terrorist’s point of view. The second season of “Sleeper Cell” burrows even deeper into the mind-set of Muslim extremists than the first and is all the better and more troubling for it.

The eight-part series, which begins on Sunday on Showtime and will be shown on consecutive nights, is smart and suspenseful and teeters just this side of seditious. It doesn’t condone jihad or the hate that fuels it, but it tries to show why they hate us, and in doing so goes further than any other post-9/11 drama on American television.

This season goes further afield. The action in the first season was limited mostly to Los Angeles. This time the plot snakes in and around Los Angeles, London, Hamburg, Sarajevo, back alleys in Sudan, palaces in Saudi Arabia and remote desert base camps in Yemen.

It’s a Tom Clancy cloak-and-dagger tale as told by Graham Greene. Terrorists on “Sleeper Cell” are evil, but the United States is neither innocent nor blameless and carries the seed of its own decline. For every act of barbarity by Muslim radicals, and there are plenty — from nuclear Armageddon to the beheading of a female F.B.I. agent on camera — there is a parallel, if not equivalent, blunder by American law enforcement officials and civilians.

Islamic fundamentalism squares off against Western decadence: Qaeda operatives communicate by piggybacking on the server of an American pornography Web site. “Turns out the adult entertainment industry is on the cutting edge of Web security technology,” an F.B.I. official says ruefully.

Michael Ealy is back as Darwyn al-Sayeed, an African-American F.B.I. agent and practicing Muslim. Last season Darwyn infiltrated an underground cell in Los Angeles and managed to avert an anthrax attack on Dodger Stadium that was meant to kill tens of thousands of people. Only one of the plotters, Ilija (Henri Lubatti), a Bosnian Muslim, escaped. The cell leader, Faris al-Farik (Oded Fehr), a chilly but charismatic Saudi, was captured.

The new season begins with Darwyn on vacation with his girlfriend, Gayle (Melissa Sagemiller), and her young son while Farik sits in a C.I.A. prison, withstanding psychological and physical torture and tormenting his captors.

“You Americans are so obsessed with yourselves,” Farik tells his interrogators, “that you care more about analyzing your guilt than achieving victory. That is why we will win, and you will lose.”

Farik is sent — or outsourced — to Saudi Arabia, a country with fewer inhibitions about torture, and escapes. Darwyn, whose cover remains intact, reluctantly accepts a new assignment to infiltrate a different cell that includes Salim (Omid Abtahi), an Iraqi engineer raised in Britain; Benny (Kevin Alejandro), a Latino gang member who converted to Islam in prison; and Mina (Thekla Reuten), a European convert. Their task is to build a dirty bomb and detonate it over the Hollywood Bowl, spreading nuclear waste all across the coast of Southern California.

The series’s creators, Ethan Reiff and Cyrus Voris, try to avoid offending Arab-American sensitivities. Many of the cell members are American or European converts to Islam who have their own twisted personal motives for distorting the teachings of the Koran. Salim’s radicalism is fueled by self-loathing; he is tormented by homosexual leanings forbidden by his faith. (Temptation lurks in the men’s locker room of a Bally fitness center.) Mina is a former prostitute who found redemption and protection under the veil, and she is bent on vengeance for her husband, a Muslim holy warrior who was killed in Iraq.

Only Farik is a pure religious fanatic, and he constantly reminds his enemies and his co-conspirators that violence against the infidel is dictated by Allah. It falls to Darwyn to be the Islamic voice of reason, and he spends considerable time quoting verses of the Koran that refute Farik’s tough talk, sometimes even while holding a dangerous killer at gunpoint.

“You’re right,” Darwyn, sweaty and panting, says when his terrorist hostage taunts him to pull the trigger. “But Allah says in holy Koran, ‘Do not let hatred of others lead you to injustice.’ ”

For all his piety, Darwyn is a classic film noir hero, a soft-voiced loner who feels almost as alienated from his colleagues and family as the enemies he befriends under cover. His father is a former Black Panther and fervent member of the Nation of Islam who views his son’s F.B.I. career as a personal betrayal. Darwyn’s white colleagues consider his religious affiliation baffling; a C.I.A. agent sarcastically calls him “Jihad Joe.” And Islamic extremists view him as a traitor to his people and his faith.

“What true Muslim works for the Americans?” a terrorist asks contemptuously. “I don’t work for the Americans,” Darwyn replies through gritted teeth. “I am an American.”

But his compatriots are not always on his side. Darwyn is assigned a new case handler, Russell (Jay R. Ferguson ), a handsome, confident and inexperienced F.B.I. agent who is more of a hindrance than a help. Russell doesn’t trust Darwyn, and he insists on holding his secret meetings with Darwyn in a sleazy strip club, either oblivious to his agent’s religious sensibilities or intent on trampling them.

In the first season field agents did their best, hampered by the naïveté and buck-passing careerism of the top brass in Washington. In this season Russell is stupid and sneaky, a far more lethal combination.

Showtime is a premium cable channel that has found its niche in contrarianism: the heroine of “Weeds” is a pot-dealing suburban mom; in his spare time the top sleuth on “Dexter” is a serial killer. Darwyn is the hero of “Sleeper Cell,” but the real star is Farik. He is cool and worldly, tougher and smarter than his captors and far more relentlessly dedicated.

Farik is so compelling a character that the writers have to keep piling on reminders of his bad side. He uses children as human shields, and imposes the most cruelly stringent rules on his own British-reared 12-year-old daughter, dressing her in a chador and forcing her to burn drawings she made for him because they are not religious enough.

Farik’s implacability nevertheless stands out against the compromises and political expediencies of his opponents in Washington. When Darwyn demands to hunt down Farik in his lair, his superiors waffle. “The State Department says that the PR war on the Arab street is going against us, badly,” Darwyn’s boss at the F.B.I. explains. “Iraq. Lebanon. People at the top figure that any direct action in Yemen may do us more harm than good.”

“Sleeper Cell” is so deadly earnest about the state of the world that it could serve as an audio-visual appendix to the Iraq Study Group report. But it is not entirely humorless. A swaggering C.I.A. agent calls in a favor from a colleague in British intelligence. “I know you think all Brits are gay, Patrick,” the British spy says. “But I have never seen ‘Mamma Mia.’ ”

Counterterrorism is television’s new western: dramas like “24,” “The Unit” and “NCIS” have picked up where “Gunsmoke” and “The Rifleman” left off, putting white hats on the best and the brightest and the Few and the Proud.

“Sleeper Cell” is the one show about terrorism that highlights the weaknesses of our system and the enemy’s inner strength. It’s make-believe entertainment, but painted in a darker, more realistic hue.

http://www.nytimes.com/2006/12/08/arts/television/08slee.html?_r=1&oref=slogin&pagewanted=print

dad1153

12-08-06, 09:16 PM

TV Review
'Sleeper Cell'
Inside Terrorism’s Tangled Web
By Alessandra Stanley The New York Times Dec. 8, 2006

http://www.nytimes.com/2006/12/08/arts/television/08slee.html?_r=1&oref=slogin&pagewanted=print

Ahem, ahem... page #629, post #18861! :rolleyes:

DoubleDAZ

12-08-06, 09:27 PM

Fredfa,

We're watching our recording of "Bugs! A Rainforest Adventure" from DSC-HD and I was wondering how these kinds of programs do in any ratings. I'm always amazed at just how extraordinary the quality of the HD in these programs is and wonder where the funding comes from if the programs/channels don't do well in some ratings somewhere. Or does the funding come simply from subscriber fees, etc.? I know bugs would not be at the top of my list, but I've never regretted recording this stuff and I'm always enthralled as I watch them.

shawn12341234

12-08-06, 09:44 PM

It made a little money:

Gross
$13,630,720 (USA) (22 November 2004) (sub-total)
$6,492,000 (Non-USA) (22 November 2004) (sub-total)

http://www.imdb.com/title/tt0337587/business

It was great in 3D at the IMAX theater too.

DoubleDAZ

12-08-06, 09:54 PM

Thanks, Shawn, I had forgotten many of these were theatrical releases and were made with a movie budget. :)

fredfa

12-08-06, 09:55 PM

Ahem, ahem... page #629, post #18861! :rolleyes:

You are right, dad, but in this case, there is some method to my apparent forgetfulness. I wanted to repost the review closer to the air date, in case folks missed --or forgot about -- it.

Except in rare exceptions, I try to post reviews within a day of the show date.

No harm done, though, I am sure many appreciated your earlier posting and were able to set their TiVos or DVRS.

In fact, since page views for the thread decline over the weekends, perhaps I should change my policy and start posting weekend reviews farther ahead of weekend air dates.

fredfa

12-08-06, 10:52 PM

Since it is Friday evening, what is the harm in a little gossip?
TV Notebook
Couric's 'Do Girl is a First-Class Hothead
Radar Exclusive

CBS News has gone to great lengths to counter Katie Couric's growing reputation as a "mercurial diva" who sends underlings scurrying at the sound of her "peremptory voice and clickety stiletto heels," as the New York Times famously put it. But it appears that Couric's royal sense of entitlement has filtered farther down the ranks of her retinue than anyone could have expected: Even her hairdresser has become known at the network as a bullying prima donna.

Mela Murphy, CBS News's keeper of Couric's coif, pitched a full-fledged fit last week when she learned that she would be flying coach—coach!—on Couric's much-ballyhooed first international foray as anchor to cover President Bush's summit with Iraqi Prime Minister Nouri al-Maliki in Amman, Jordan. Because the trip was hastily arranged, only one business-class seat could be procured—for Couric, naturally—while the remaining 10 or so staffers, including CBS Evening News executive producer Rome Hartman, were slated to fly like normal people.

Thing is, Katie Couric's stylist is not a normal person. "Murphy went to the foreign desk," which was responsible for booking the trip, a television insider says, "and screamed at people about how outrageous and incompetent this was. She threatened that heads were going to roll."

The absurdity of the boss's hairdresser threatening the jobs of actual news staffers did not go unnoticed by the powers that be at CBS. "It exposed a deeper schism at CBS," says the insider, "between Couric's camp and the news people. What it clearly signals is that if she felt that entitled, something is out of whack. Management has promised that they're going to do something about it."

Murphy's histrionics were for naught. When the flight took off, only Couric and Hartman, who had managed to switch seats at the last minute with another passenger, were getting the hot towel and ice-cream sundae treatment in business class.

A CBS News spokeswoman declined to address Murphy's outburst, saying only that, "since CBS News booked the flight very close to the date of travel, and seat availability was at an absolute minimum, most of the group ended up flying coach." Murphy did not return messages left late Thursday.

http://www.radaronline.com/exclusives/2006/12/cbs-news.php

fredfa

12-08-06, 11:04 PM

TV Notebook
'Today' top of the morning for 11 years

By Paul J. Gough The Hollywood Reporter Dec 9, 2006

NEW YORK -- After a near-death experience in spring 2005 when "Good Morning America" mounted a strong challenge and weathering the departure of Katie Couric last May, "Today" is now marking its 11th straight year atop the morning news shows.

Friday marked 573 straight weeks on top of the time period, the longest of any show ever on television no matter when it aired. Today averaged 6.1 million viewers to "Good Morning America's" 5.1 million and 3 million for "The Early Show."

It's all the more remarkable considering "Today" has seen some of its most tumultuous times in its nearly 55-year history over the past two years. In spring 2005, "GMA" was closing in on "Today" with a 40,000-viewer gap one week, and a new behind-the-scenes team of Phil Griffin and Jim Bell took over. It wasn't long before they -- along with co-anchors Matt Lauer and Katie Couric and others in front of and behind the camera -- stemmed the bleeding and kept it well ahead of "GMA."

Earlier this year, "Today" went through another change -- and potential vulnerability -- with Couric's move to "CBS Evening News." But a breakout performance by Lauer, a strong bench and an outdoor studio helped keep "Today" on top as well as the arrival of co-anchor Meredith Vieira in September.

"What was critical in all of this was the summer," Griffin said Thursday. "Everybody came together at a time when a lot of people were expecting 'GMA' to make a real hard push."

Instead what Griffin called "the family" -- the regular on-air team and substitutes -- won most days during the summer leading into Vieira's arrival.

"Everybody was tight, everybody felt close and the new 'Today' show had begun and that's why I think we've maintained it," Griffin said.

Bell agreed.

"This summer we got a chance to both develop and bolster a really powerful bench and then of course launch Meredith," he said in a separate interview. "I think everybody just feels very good about things."

Bell also said that the first 30-45 minutes of "Today" has gotten a much more hard-news feel to it and that the show has gotten more nimble in reacting to news. He likened spring 2005's experience with "GMA" as a bit of a wakeup call.

"You don't go 11 years without some ups and downs, but what I think makes it notable is that ('Today') has weathered the ups and downs, the changes behind the scene and on air along the way," Bell said. "That's really what's important."

http://www.hollywoodreporter.com/hr/content_display/television/news/e3ifdfb7965fb59ccbcd9d8c7e7f741c96f

fredfa

12-08-06, 11:42 PM

Critic’s Notebook
A yule tube holiday
Think of it as one big special, featuring dozens of fat guys in red suits. Somehow, it gives you a glow.
By Robert Lloyd Los Angeles Times Staff Writer Dec. 10, 2006

Christmas is a time for television; it's television that tells us it's Christmas.

It's the electric hearth that unites the family and comforts the lonely. It fills the house with pictures of snow and skaters and charming re-created scenes of Victorian or New England. It plays you the Christmas songs you might otherwise have to sing yourself and relieves you of the task of reading aloud the good old holiday classics by turning them into TV specials.
That's what serves as tradition in the world I grew up in and carry around with me still. Though I belong to no demographic that would celebrate the religious holiday, I can totally get behind Christmas as an inspiration, or even just a pretext, for TV shows, literature, pop songs and cartoons. There are two Christmases, after all — the one with Jesus in it, and the one run by Santa Claus — and though they intersect, they also go their own way, Santa being a secular, adaptable brand available for product endorsements and personal appearances.

Just as a family's box of ornaments grows year by year, so does the giant metaphorical expanding box that is television gather unto itself an ever-increasing yearly horde of holiday-themed programs, nearly all of them in the Santa-Christmas camp. (There have been the odd bows toward Christmas' seasonal partners — "The Rugrats," for example, have produced special episodes for both Kwanzaa and Hanukkah — but they are few and far between.) Most of these, by the law of averages, will be … average, and many will be worse. But some will strike a chord with the People and lodge themselves comfortably in their Consciousness, like a bear in its winter den — though even some of these will look better for being seen through a haze of nostalgia or eggnog.

It's hard to say exactly what makes a holiday picture into a holiday classic, but time by definition has something to do with it, and the repetition that is television's stock in trade: Show something enough, and it begins to seem inevitable. TV is where the theatrical releases of yesteryear are made into the seasonal viewing traditions of today — most famously, "It's a Wonderful Life" (airing Saturday and Dec. 24 on NBC), which owes its now-iconic stature to decades of airings. If it's too soon to call 2003's "Elf" a classic (USA, Tuesday and Wednesday), it's not too soon to certify 1983's "A Christmas Story," so much a part of the common mind that it is being parodied shot for shot in an ad for Cingular Wireless. Once again, TBS will show it 12 times in succession, beginning at 8 p.m. Christmas Eve.

Also getting the Christmas Eve marathon treatment, beginning at noon on the American Movie Channel, is the original "Miracle on 34th Street," the most perfect Christmas film of all, seamlessly weaving matters of belief into a romantic comedy, with only the merest hint at the supernatural — and one you are free to take or leave.

The Rankin-Bass holiday specials, including "Santa Claus Is Comin' to Town" and "Rudolph the Red-nosed Reindeer," are fetishistically adored in some quarters; though many make only marginal sense, they have an antique charm and several are on tap in yet another Christmas Eve marathon, beginning at noon on ABC Family.

There are several Christmas TV movies debuting this month, and while none cry out to be watched ritually in coming years, a couple are quite good, and the rest easy enough to avoid.

The biggest and almost the best of these is NBC's "The Year Without a Santa Claus" (premiering Monday, rebroadcast Dec. 23), with John Goodman as a sick and tired Santa ready to give the holidays a miss. Technically based on a book by Phyllis McGinley, it is for all intents and purposes a remake of the 1974 Saul Rankin-Jules Bass "Animagic" adaptation of the same material. (Its "Heat Miser/Snow Miser" theme even gets a reprise, sung here by Harvey Fierstein and Michael McKean, made up to perfectly resemble their puppet counterparts.)

The typical crisis in a Santa film is that he will possibly not get the toys out, and therefore there will be "no Christmas." (It is not quite a religious theme.) Here, precisely because he's feeling reduced to a "TDP — a toy delivery platform," Santa takes to his bed; elves Jingle and Jangle (Ethan Suplee and Eddie Griffin) take it upon themselves to find "a real little Earth boy with true Christmas spirit" to cheer him up, while ambitious elf Sparky (Chris Kattan) attempts to cast himself as a new "Extreme Santa," who travels on a flying snowboard "powered by the magic of awesomeness." Ron Underwood ("City Slickers") directs from a screenplay by Tom Martin ("The Muppets' Wizard of Oz") and Larry Wilson, and they have thought up some funny things for the players to do and say, but at roughly twice the length of the original, it is too long by half and eventually collapses into a standard Too Busy Dad flick. There are nice bits along the way, however, and good turns by Delta Burke as Mrs. Claus, Carol Kane as Mother Nature and Noelle Monteleone as a Goth elf, topped by Goodman's splendidly irascible Santa.

Also directed by Underwood, oddly enough, and repeating a few of the themes, is "Santa Baby" (ABC Family, premiering tonight), a much different and ultimately more successful film. Jenny McCarthy stars as Mary, the prodigal Claus daughter — Santa has had sex, apparently — who takes the occasion of her father's heart attack to come home from the big city and put her own modern stamp on Christmas. Though there are logic holes big enough to fly a sleigh through, overall it's a charming film, and McCarthy is charming in it. George Wendt (Norm on "Cheers") plays Dad, warmly — it's a friendly time for large actors, Christmas. There's nice attention to half-noticeable details (a sign in the workshop reads, "All elves must exercise extreme joyousness while on floor duty") but also to realistic domestic frictions. Ivan Sergei is the cute guy McCarthy left behind.

In many Christmas movies, the holiday serves primarily as a backdrop, a seasoning to intensify stories of earthly love and human kindness; there is no Santa necessary. In that vein Lifetime offers the serviceable "A Christmas Wedding" (premiering Monday), whose seasonal setting allows for a lot of interfering snow. The main interest here is the presence of Eric Mabius of "Ugly Betty" and Sarah Paulson of "Studio 60, etc." as the betrothed leads, though they unfortunately spend most of the movie in different cities.

TNT's "A Perfect Day" (Dec. 18) is another Busy Dad story, based on a book by pop-lit author Richard Paul Evans ("The Christmas Box"). It offers Rob Lowe as a cashiered middle manager who finally writes that novel he's been meaning to get around to. "I think people are hungry for a book like this, about love and family," says wife Allyson (Paget Brewster, "Huff"). But faster than you can say "slipper full of champagne," success goes to his head. Christopher Lloyd is a mysterious stranger who, like the Ghost of Christmas Yet to Come, focuses Lowe's character upon his own doom to scare him straight. Apart from the excellent Brewster — and I suppose Larry King as himself — not a bit of it is believable.

"Christmas Do-Over" (ABC Family, Saturday) is an uninspired close replay of "Groundhog Day," replicating not only that movie's central idea but its precise story arc, as divorced father Jay Mohr, trapped in an eternally recurring Christmas Eve, slowly learns the power of selflessness. (And then it's Christmas, and ex-wife played by Daphne Zuniga loves him again.) It's not a version of or a spin on "Groundhog Day," in the way that, say, the Bill Murray "Scrooged" riffs on "A Christmas Carol" — it's just putting antlers on a dog and calling it a reindeer.

Still, there will be authentic pleasures aplenty on TV. Cartoon Network is multiple-screening such animated touchstones as "How the Grinch Stole Christmas" and "Mr. Magoo's Christmas Carol"; the light-operatic "Wonder Pets!" rescue Santa's baby reindeer in a new episode (Nick Jr., Dec. 22); Harold Ramis, of the actual "Groundhog Day," directs a holiday episode of "The Office" (NBC, Thursday); and there are Christmas editions of "Kath & Kim" (Sundance Channel, Dec. 24), "Everybody Hates Chris" (CW, Monday), and other shows from "LazyTown" to "ER." You'll hardly be able to click a remote without hitting something seasonal.

And then there is the added pleasure of turning the TV off.

http://www.calendarlive.com/tv/cl-ca-xmas10dec10,0,1596472.story?coll=cl-tvent

dad1153

12-09-06, 12:17 AM

TV Notebook
Sci Fi unlocks secrets of 'The Lost Room'
By Hanh Nguyen, Zap2it.com December 9, 2006

There's nothing strange about returning to your motel room to find the bed made and everything in its place - unless you happen to be staying in Room 10 at the Sunshine Motel.

In the Sci Fi Channel's "The Lost Room" miniseries, beginning Monday night, homicide cop Joe Miller (Peter Krause) stumbles upon a key that turns any door into a gateway to this unassuming motel room that's been frozen in time. Aside from being able to access the room from anywhere, there's something else odd about it: no matter what you do inside it - sleep in the bed, set fire to the carpet or add an assortment of Ikea table lamps - it always "resets" itself to its original orderly configuration the next time you enter.

"One of the other creators and I, Paul Workman, used to work together in college. He used to come into work, and he'd have these really weird ideas, sort of like thought experiments," says "Lost Room" co-writer and co-creator Chris Leone. "And one of them was, What's the best superpower I could have, that was the smallest power with the most effect?' And so we had this idea for if you could just teleport into this hotel room where he wouldn't have to pay rent, and it would clean itself every time he left. For him it was just a fun idea of how he wouldn't have to work."

Joe is devastated when his daughter Anna (Elle Fanning) vanishes inside the room when it resets. In trying to get her back, he discovers that the room has a mysterious history and that each of the seemingly mundane items that were once in the room has its own unique power, with the key being the most powerful. Now Miller finds himself hunted by the police, who believes he kidnapped his own daughter, and by underground organizations bent on collecting each of the Objects.

"When I first started reading (the script) ... I just wanted to find out what happened next initially, and of course the separation between parent and child is a classic suspense theme," says Krause. "I liked the chance to play a character who is a classic hero. Basically, he knows right from wrong. He knows what his objective is. I spent a lot of time playing conflicted anti-heroes. And it's only at the end of The Lost Room' miniseries that Joe Miller confronts a real moral dilemma."

Joe discovers that in the real world, Room 10 doesn't exist, although it did 45 years ago, when an unknown event caused it to disappear and the Objects to gain powers, which don't always make sense. For example, the black pocket comb doesn't do anything for the wielder's hair, but instead freezes time.

"Usually (the writing process) was thinking of a power and then finding an Object that just felt right," says Leone. "I think it is important that it is arbitrary. I think what's so interesting about it is - if you take an Object like the comb that stops time for 10 seconds, what are the limitations of it? Because it only freezes time for 10 seconds, and there's even limitations within that. You can only really use it to run and hide. So I think it becomes about tactics, about how people see this Object and think of a way that no one's really thought of before."

Joe also discovers that with just a thought, as the key-wielder he can end up anywhere in the world when he exits the motel room door. While he mainly uses this to evade the law and help his investigation, he knows others would probably abuse the power to rob banks or enter other people's homes uninvited.

"Our human interaction with the objects around us is really a fascinating Rorschach test, whether it's in this story or in our own lives," says Krause. "I had a conversation with somebody recently about telecommunications and how now with the Blackberry or the Treo you have this sort of superphone. These objects become so important to people. And so many times, the obsessions we have with the objects in our lives can destroy or hamper relationships with other people - either on a large scale between nations or in between two people ... If you think about oil as an object in the earth or how we treat them and how human relations are thrown out of balance over these objects, it's important to remember that our existence depends upon the objects around us."

Joe doesn't have to navigate this strange new world alone. He befriends Jennifer Bloom (Julianna Marguilies), who warns him about the inherent danger of Room 10, and Wally Jabrowski (Peter Jacobson), whose Object is a bus ticket that exhibits a surprising power when he taps it on the head of another person. The two have their own agendas, but they reluctantly tell Joe background information about the Objects, such as that sometimes, when two Objects are coupled together, a strange new power emerges.

"The number of the Objects is pretty close to the number of elements in the periodic table," says Krause. "You know, like hydrogen and oxygen, put them together then you've got H20, water, and then you've got sodium chloride, NaCl. Then you take a little hydrogen and a little chloride and you've got hydrochloric acid (HCl). The way that the Objects combine and what they make and what their powers are ... reveals the intelligence and the responsibility of the user of the Object."

Although Krause's favorite Object from "The Lost Room" is the comb, he admits that having the key would be handy.

"Wow. I'd certainly like to travel around the world like that so I don't have to unpack my computer and take off my shoes and give up all my liquids and gels when I go to the airport. It would be nice to have a key and zip in one door and out another."

http://www.azcentral.com/ent/tv/articles/1209lostroom1209.html

dad1153

12-09-06, 12:30 AM

TV Awards
Multiple Wins for CBS, CNN, NBC at Business Emmys
By Michele Greppi, TV Week December 7, 2006

CBS News, CNN and NBC News won two Emmys apiece at Thursday's fourth annual Emmy Awards for Business & Financial Reporting. Public Broadcasting 's "Frontline" took home one Emmy from the luncheon presented at New York City's Rainbow Room by the National Academy of Television Arts & Sciences.

The CBS awards were earned for stories seen on "60 Minutes" and "CBS Sunday Morning." Stories on "Anderson Cooper 360" and "CNN Presents" scored for cable news channel. NBC's winners were seen on "NBC Nightly News" and "Dateline NBC."

A lifetime achievement award was presented to Paul Steiger, managing editor of the Wall Street Journal and VP of Dow Jones & Co.

Further details are available at emmyonline.tv.

http://www.tvweek.com/news.cms?newsId=11199

dad1153

12-09-06, 12:36 AM

TV Notebook
Proving bliss is overrated
''Til Death' tells it like sitcoms have for decades, reminding us that marriage is still good for laughs
By John Caramanica, Los Angeles Times December 10, 2006

Forget tragicomic — " 'Til Death" is pure tragedy.

On the show, Brad Garrett, formerly of "Everybody Loves Raymond," and Joely Fisher are Eddie and Joy Stark, a couple 20-plus years into a marriage that appears to have been sapped of passion, energy and mutual happiness. They sit at the dinner table, discussing Eddie's medical ailments. They bicker over whether to take a vacation. They both forget their anniversary. And, worse, frisky newlyweds — Eddie Kaye Thomas and Kat Foster as Jeff and Steph Woodcock — have just moved in next door, bringing with them a nonstop vision of the life Eddie and Joy no longer have, or maybe never did. All signs point south.

Yet somehow, " 'Til Death" (Fox, Thursday, 8 p.m.) might also be the funniest traditional sitcom on the air today. It's not as insouciant as "My Name Is Earl" or as eccentric as "The Office," but in the realm of household-dysfunction-played-for-laughs — a genre still mysteriously clinging to life — " 'Til Death" is a model of perseverance, and proof that not every ounce of originality has been wrung out of the form.

The show was created by husband-and-wife team Josh Goldsmith and Cathy Yuspa, who were executive producers for several years on "The King of Queens" and are also responsible for ABC's hour-by-hour wedding comedy "Big Day." Their twist here is an obvious one — don't bother to make the male lead likable — a tactic that hasn't worked so well since "Married With Children." Unlike Al Bundy, though, Garrett's Eddie doesn't appear particularly justified in his loathsomeness. And unlike Al's Peg, his wife, Joy, is thoughtful and caring, to say nothing of good-spirited, even if she occasionally takes a swipe at her man.

"You're a very healthy person," she told Eddie in one recent episode in which he was fretting over his health. "Look at all the new places you've sprouted hair."

It's funny, but it doesn't sting, because Eddie understands that he's gruesome and enjoys lording it over people for his own amusement. He's a coarse mess and willfully so. At work he wears poorly structured blazers; at home, he's rarely out of pajamas and his bathrobe.

At the beginning of this week's episode, Joy puts some fruit into a bowl on the kitchen counter. Without missing a beat, Eddie deadpans, "I look forward to throwing that out in four days."

Occasionally, a rash of affection does break out between the two, but even the couple's tender moments are the product of antipathy. In one recent episode, Eddie learns that Joy has been secretly doing things for herself — theater, French classes — while he's been off loitering, watching TV in his friend's garage, though telling Joy he's been at "band practice."

Confronting their shared dishonesty, Eddie wonders why they each can't be happy for the other to pursue individual interests.

"I love you," replies Joy, "but somehow the thought of you having too much fun just doesn't feel right to me. I feel like I'm getting screwed somehow."

And so this is what passes for love.

" 'Til Death" was widely panned when it debuted this fall, and it suffered in the ratings. Nevertheless, Fox has ordered more episodes, leading to some encouraging signs. Garrett appears to be getting looser as the weeks progress, and the show's universe is expanding slowly but promisingly.

In the holiday episode, forthcoming in two weeks, Eddie and Joy's daughter comes home from college for a visit. When the show returns from holiday hiatus, Anthony Anderson will return as one of Eddie's friends and the owner of the rec room their group of friends retreat to for the aforementioned "band practice." Later in the season, the excellent — and excellently saucy — Margaret Cho is to guest star as Anderson's wife. As a woman capable of dishing it out even harder than she takes it, she's a true alpha, filling the screen effortlessly. She might even give Eddie a run for his smugness.

http://www.latimes.com/entertainment/news/tv/la-ca-monitor10dec10,0,7077069.story?coll=la-entnews-tv

dad1153

12-09-06, 12:43 AM

Direct-to-Video TV
'Babylon 5' takes next direct-to-video mission
By Thomas K. Arnold, The Hollywood Reporter December 8, 2006

Hollywood is known for turning popular, mainstream TV series into big-budget theatrical movies -- think ''Charlie's Angels,'' ''The Dukes of Hazzard'' and ''Miami Vice.''

Studios also are beginning to tap into quirkier, cult TV series for direct-to-video spinoffs. Last year, 20th Century Fox Home Entertainment scored big with ''Family Guy Presents Stewie Griffin -- The Untold Story,'' which has sold nearly 3.5 million DVDs since its September 2005 release.

Now comes Warner Home Video with plans for a direct-to-DVD ''Babylon 5'' movie. Debuting in 1993, the sci-fi series drew 13.7 million viewers in the first of its five seasons and has enjoyed nine successful years in rerun syndication, while its TV-DVD releases have generated $44 million in consumer spending.

''This popular TV show, which has been off the air for a few years, continues to have a strong, loyal fan base that is hungry for more content,'' said Jeff Baker, Warner Home Video senior vp and general manager, nontheatrical franchise. ''This is the first time we're utilizing one of our popular TV franchises as a made-for-video title, and we have a strong commitment to the growth of this sector.''

Warner Bros. Television has begun production on ''Babylon 5: The Lost Tales,'' The film will consist of two new ''Babylon 5'' stories written and directed by J. Michael Stracynski, executive producer and creator of the series. Fellow executive producer Doug Netter also is back, as are actors Bruce Boxleitner, Tracy Scoggins and Peter Woodward.

The DVD release, set for next year, is the latest in a series of direct-to-video initiatives Warner has undertaken this year. In August, the studio announced the launch of its Warner Premiere division, with plans to produce as many as 15 original films a year, beginning with ''The Dukes of Hazzard II,'' due in the spring. The previous month, Warner announced a new series of animated DTV movies based on DC Comics characters.

http://www.suntimes.com/entertainment/television/164464,WKP-News-babylon08.article

dad1153

12-09-06, 12:53 AM

TV Notebook
Becton to sign off at WGBH
Executive who oversaw growth of station into a public TV powerhouse will leave behind a legacy of independence
By Joanna Weiss, The Boston Globe December 8, 2006

WGBH president Henry Becton Jr., who presided over the growth of Boston's public television station into a national production powerhouse, told the station's staff yesterday that he will step down from his post in October.

Jonathan C. Abbott, WGBH's executive vice president and chief operating officer, will take over as president.

The move comes at a time of change for WGBH, which is expanding its digital programming, struggling to attract corporate underwriting, and moving, next spring, to a vast new complex in Brighton.

It also comes at a challenging time for public television as a whole. The system has sometimes struggled to distinguish itself amid expanded cable TV offerings -- and has experimented with funding ideas that some consider at odds with its noncommercial image. Just this week, PBS disclosed that it would partner with Green Mountain Coffee Roasters to produce a PBS Blend of coffee.

But Becton, 63, who has led WGBH for more than 20 years, also leaves at a moment when the political landscape, for public television, is more stable than it has been in years. PBS's new president, Paula Kerger, is a member-station veteran, considered an ally of Becton's and Abbott's. And while Republicans in Congress repeatedly threatened to pull PBS's funding, this year's Democratic takeover could put US Representative Edward J. Markey of Malden -- a longtime defender of public television budgets -- in charge of the subcommittee that oversees the system.

Under a Democratic Congress, Markey said in an interview yesterday, "PBS can expect much more help."

But Kerger said yesterday that the system still struggles with a tight budget, and will have to explore new philanthropic and commercial partnerships. She said she has turned to Becton and Abbott already to help her navigate the new landscape.

On the PBS website, "we have no promotional messages on our kids' space for example," Kerger said. "Part of the way that we came to that decision was talking to people like Jon and Henry."

Abbott, 44, was PBS's senior vice president for development and corporate relations when he was recruited by Becton, eight years ago, to join WGBH. Yesterday, he said the station is in firm financial shape, and just raised more than $46 million in a capital campaign. Business executive David Mugar, a member of the board, just gave WGBH a $1 million endowment in Becton's name.

In the fiscal year ending Aug. 31, 2005, WGBH ran a deficit of $18 million, with total revenue of $163 million, according to its tax return filed with the Internal Revenue Service. In its audited financial statement, WGBH reported a surplus of $4.7 million on revenue of $199 million. WGBH says the discrepancy is caused by the different ways the IRS and auditors treat the reporting of multiyear grants.

Becton earned total compensation of $305,000 in fiscal 2005, according to the tax filing, and Abbott earned total compensation of $268,000.

Still, Abbott acknowledged that attracting corporate funding -- WGBH is currently seeking a sponsor for "Nova" -- has been increasingly difficult. He said he'll work to convince corporations that audiences appreciate WGBH programming, and will remain committed to children's programming and long-form documentary journalism.

And he said the station is devoting more resources to its websites and digital channels, which he said will expand the reach of its programs. Today, he said, the station has "a better chance at reaching the American people because we don't have to live or die Monday night at 9."

Becton will become vice chairman of the WGBH board in October, and remain as a part-time adviser.

Becton joined WGBH as a producer in 1970 and became the station's president in 1984. During his tenure, WGBH grew from a regional player into the producer of some of the nation's most iconic public television programs, including Julia Child's "The French Chef," "This Old House," "Frontline," "Masterpiece Theatre," "Nova," "American Experience," and the children's show "Arthur." Today, WGBH produces a third of PBS's content nationwide and, during a period of great expansion within the TV industry, has retained many of its longtime producers and executives.

"Ultimately, I want to be remembered for helping create an environment where greatly talented people could do their best work, and take the risks necessary to generate new programs and new services," Becton said yesterday.

But some say Becton's greatest legacy has been his independence, which has, at times, put him at odds with other powers within and around public television. In 1980, as WGBH's vice president and general manager, he defended "Death of a Princess," a "Frontline" documentary about a Saudi Arabian princess who was executed for adultery. The film prompted protests from the Saudi government and from Mobil Oil, a company that financed other PBS programs.

More recently, in January 2005, Becton stood behind an episode of the children's show "Postcards from Buster," which featured a lesbian couple. After US Education Secretary Margaret Spellings condemned the show, PBS ordered that it be pulled from the schedule. WGBH, under Becton's direction, aired the show locally and made it available to stations across the country, many of which chose to run it.

"Ultimately, you stand up to the pressure and let the chips fall where they may," Becton said. "I've managed to see that at the end of the day, we do all right with that."

Becton also has been a power broker within the public broadcasting system. Markey said Becton was his key ally in the fight against PBS budget cuts and was instrumental in organizing public television stations across the country.

"He is arguably the most influential figure in public broadcasting of the last two decades," said Amos Hostetter, the chairman of WGBH's board of trustees.

His steadfastness has helped maintain WGBH's reputation, even as some have complained that public television has lost its way.

"He's been the kind of inside powerful godfather, helping direct the service," said Jeffrey Chester, executive director at the Center for Digital Democracy, a Washington, D.C-based media advocacy group. "Under his leadership, WGBH has remained as the kind of role model for a PBS station."

http://www.boston.com/ae/tv/articles/2006/12/08/becton_to_sign_off_at_wgbh/

dad1153

12-09-06, 01:18 AM

The FCC and Congress are unusually busy considering we're dealing with a lame duck session on the eve of the holidays. What's going on here? :confused:

The Business of (Regulating) TV
McDowell Cleared To Vote on AT&T/BellSouth
By John Eggerton, Broadcasting & Cable December 8, 2006

The FCC's general counsel has given Republican FCC Chairman Robert McDowell the go-ahead to vote on the multi-billion merger of AT&T and BellSouth.

That could mean a vote as early as the FCC's Dec. 20 monthly meeting if McDowell decides to break the tie, as is likely.

In a memo issued late Friday, General Counsel Sam Feder said that McDowell was free to vote, citing the precedent of former Chairman William Kennard's participation in a proceeding in which he had appeared as an advocate--while working for NAB--before joining the commission.

FCC Chairman Kevin Martin had asked Feder for the ruling after several attempts to vote on the issue met were met with rebuffs by Democratic Commissioners seeking stronger conditions on the merger after the Justice Department chose not to apply any conditions. Without McDowell's vote, the commission is at a two Republican to two Democrat tie.

"I appreciate the hard work and careful consideration that went into this important decision by the General Counsel," said Martin of Feder's decision. "It is in the interest of the government and the American people to move this matter forward in a timely fashion. To that end, I look forward to working with all of my colleagues here on the Commission to reach a consensus."

McDowell said he was "reviewing the opinion," but did not say whether he would vote or abstain. He said he's "look[ing] forward" to seeing the response of Feder to a letter from ranking Senate Commerce Committee John Dingell (d-Mich.) asking for responses to 15 questions and requests for documents on how Feder planned to make the decision to allow McDowell to vote.

McDowell was prevented by ethics rules for participating--for one year--in proceedings in which his former employer--CompTel--had been a party, unless Feder concluded it was in the government's interest.

Feder, who consulted with the dirctor of the Office of Government Ethics before making the decision, said it was important to break the stalemate, pointing out that McDowell could not delegate the vote to someone else. "You are the only person available to break the impasse in this proceeding," he wrote in a letter to McDowell.

Congressional Democrats have argued that the merger is not stalemated, given that the FCC, for instance, took far longer to approve the Adelphia break-up than it has so far taken on the AT&T/BellSouth merger (400-plus days versus 23o-plus and counting).

Also weighing in favor of allowing the vote was the fact that McDowell had no financial interest that would be impacted by the vote, nor did any of his family.

AT&T said it had not problem with McDowell voting, even though CompTel weighed in against the merger.

Ed Markey (D-Mass.) who joined Dingell in asking for info from Feder on the recusal decision, Friday advised McDowell to sit this one out.

"As I indicated earlier, if Commissioner McDowell is authorized to participate by the FCC General Counsel, he should abstain from participating as a matter of principle, "Markey said in an e-mail to B&C,

"The General Counsel's own memorandum is instructive. On the bottom of page 7, the Director of the Office of Government Ethics disagrees with the FCC General Counsel's determination and the memorandum states that if 'the decision were up to him, he would decide against authorization' of Commissioner McDowell's participation in the merger proceeding. Commissioner McDowell should not wade into these ethically murky waters. I urge Chairman Martin and Commissioners Copps, Adelstein, and Tate to continue their work on this matter and, if they deem to approve the merger, to do so only with meaningful and enforceable public interest conditions."

http://www.broadcastingcable.com/article/CA6398633.html
____________________________________________________________ _____
The Business of (Regulating) TV
Republicans Push FCC on Merger Vote
By John Eggerton, Broadcasting & Cable December 8, 2006

On the same day that the FCC's general counsel cleared FCC Republican Commissioner Robert McDowell to vote on the AT&T/BellSouth Merger, a group of 14 Republican Senators heading out for the holidays--or for good--paused long enough to urge the commission to vote on the merger at its Dec. 20 meeting.

Pointing to the Justice Department's conclusion two months ago that the merger raised no antitrust flags, and that it has already been approved by "18 stae public service commissions and three foreigh countrie...Further delay," they argued in a letter to FCC Chairman Kevin Martin, "will only harm consumers as well as employees and shareholders of both companies."

They were preaching to the choir. Martin has been trying to get the merger voted for months, but with McDowell recused was at an impasse with Democratic commissioners seeking access and comeptition conditions on the merger.

Martin's mailbox has been jammed with letters on the issue of the merger and McDowell's vote. Cisco Systems, for example, wrote Martin Friday to urge the merger vote, saying the delay was having an adverse impact on the telecommunication equipment industry, of which Cisco is a leading supplier.

Signatories to the letter were Senators Jim DeMint, Kay Bailey Hutchison, Sam Brownback, Pat Roberts, Richard Burr, Lindsey Graham, Trent Lott, David Vitter, John Ensign, John Sununu, Mel Martinez, and Jeff Sessions.

http://www.broadcastingcable.com/article/CA6398635.html?display=Breaking+News

dad1153

12-09-06, 03:12 AM

Cable TV Q&A
Henry Schleiff's Hallmark moment
The new head of the troubled Hallmark Channel talks about switching gears
By Lynn Smith, Los Angeles Times December 10, 2006

In October, Henry Schleiff, a consummate New York executive whose résumé includes top jobs at HBO, Viacom and most recently Court TV, became president and chief executive of Crown Media Holdings. The move put Schleiff in charge of the debt-ridden Hallmark Channel and also in the service of a graying, middle American, family-values-laden constituency that thrives on hope, optimism and predictability — epitomized by the company's sentimental greeting card line and its made-for-TV movies, which almost all seem to have the word "love" in the title.

After several weeks on the job, Schleiff, the father of two teenagers, sat down over breakfast at the Four Seasons at Beverly Hills and talked about switching gears from murder investigations to family-friendly programming.

Question: How have you adjusted to the transition?

Henry Schleiff: I thought, "You leave one network and you go to another and how different can it be?" The truth is it's not like leaving one baseball team for another. It's very different. It's more like going from baseball to golf. The epiphany to me at the Hallmark Channel is that I need to understand who the viewer is, what they want and what they don't want…. They really don't want certain things in their house, and they are quite clear about it.

The batting average for broadcast shows making it to the second season isn't very high. And the question is why? My proposition to you is some of our research should be more mid-country based. We should listen more to what the viewers between New York and Los Angeles are looking for and watching.

Question: Hallmark's average viewer is close to 60. Do you want to change that?

Henry Schleiff: We're staying exactly where we are, 25-54, which is the baby boom generation and is fairly widespread. We [baby boomers] do feel a bit younger and more ebullient. I don't know if 50 is the new 40, but we want to appeal to the high 40s, lower 50s. Fifty would be wonderful….

You have a lot of networks out there, and each one is trying to be a little bit hipper, a little bit cooler, a little bit darker, edgier than the others. Some are competing for the 18-34 demographic, some younger. We don't want to do that. We want to distinguish ourselves and play in a different pool.

Question: Have executives and producers been making decisions based on impressing each other?

Henry Schleiff: I'm an executive, so I'm as guilty of that as anyone. I've produced, so I've tried to impress the guy sitting opposite the desk. As a person on the other side of the desk, I'd say make it sharper, make it cooler, make it darker. I plead guilty to that with an explanation: There is an audience for that, an excellent audience that advertisers pay a premium to reach. I'm just saying there is also an audience … that can be reached with the kind of programming we do. And it's important as an executive or a producer to understand which one you're trying to reach. It's not only about my taste, it's about trying to create something that's successful….

A natural appeal of a good part of our stories is that they do involve sentiment, love, emotions and are at least initially directed toward the women in the family. Believe me, like any other guy, you're moved by a great story. And if it moves you to cry or if it moves you to laugh, it works.

Question: Do you cry in movies?

Henry Schleiff: Absolutely. I cried in the opening scene of "The Christmas Card." … I'm loving "Walker, Texas Ranger." I laughed out loud at a scene a couple of weeks ago. You look at "Matlock" or "Magnum, P.I.," they're still cool now, thank you very much.

Question: When your children were young, how did you and your wife cope with inappropriate programs?

Henry Schleiff: Here's how I dealt with it. I would walk into the kitchen, off the room where my kids were watching TV, and say [to my wife], "Peggy!" That's how I deal with it now.

Question: If your children sat down with you and Peggy to watch the Hallmark Channel, would they admit it to their friends?

Henry Schleiff: I got them Hallmark baseball caps. They're not wearing them quite yet. I have this vision of getting a T-shirt, putting "Hallmark" on the back so they won't know. I'm always promoting stuff in New York. There are more Court TV golf balls in more out of bounds areas then you can imagine.

Question: Now that you're working in a heartland culture, do you have to watch your language?

Henry Schleiff: I would say I've cleaned up some language from time to time.

http://www.latimes.com/entertainment/news/tv/la-ca-convers10dec10,0,7737022.story?coll=la-entnews-tv

dad1153

12-09-06, 03:17 AM

Network News Notebook (Ratings)
In November Sweeps, NBC’s Williams Is First Among Anchors
By Jacques Steinberg, The New York Times December 9, 2006

If the recently concluded November sweeps period was the equivalent of the busy Christmas shopping season for the three network evening newscasts, each of which is a business generating annual revenues in excess of $100 million annually, then the heaviest foot traffic passed through the front door of “NBC Nightly News With Brian Williams.”

With an average daily viewership of 9.6 million viewers, Mr. Williams attracted an audience 7 percent bigger than that of “World News With Charles Gibson” (8.9 million) and 23 percent bigger than the “CBS Evening News With Katie Couric” (7.8 million), according to figures released this week by Nielsen Media Research.

The three annual sweeps periods (the others occur in February and May) are a bellwether for advertisers, and last month’s contest was particularly important because it represented the first in which Mr. Williams, top-rated since he succeeded Tom Brokaw in December 2004, went up against Mr. Gibson and Ms. Couric.

Mr. Williams’s broadcast also won, albeit more narrowly, in the demographic category typically used to sell advertising on the evening news, viewers ages 25 to 54. It drew 3 million such viewers on average each night — about 100,000 more than ABC (2.9 million) and more than 500,000 more than CBS (2.4 million), according to Nielsen.

“I’m thrilled that we’re winning, and that viewers keep coming to Brian,” said John Reiss, executive producer of Mr. Williams’s broadcast, which was able to withstand a heavy marketing campaign mounted on Ms. Couric’s behalf around her Sept. 5 start. “You’ll win by more some years, and less others. The one thing consistent is Brian is No. 1.”

While all three broadcasts have shed viewers since last November, the most noteworthy loss, arguably, has been at CBS, where Ms. Couric — who is being paid an estimated $15 million a year for her work on the evening news and “60 Minutes” — attracted 169,000 fewer viewers, on average, each night than Bob Schieffer was drawing a year ago, a loss of 2 percent. (Of some consolation to CBS is that Mr. Williams is actually down by far more than that, having lost 900,000 viewers a night — 8 percent — in November when compared with his own showing last year. Mr. Gibson lost just 63,000 viewers each night, on average, when compared with last year, when ABC, following Peter Jennings’s death, was using a rotating cast of anchors.)

Asked about CBS’s performance in the November sweeps, Rome Hartman, the executive producer of Ms. Couric’s broadcast, emphasized a theme he has been articulating all fall.

“We really have been focused on trying to make the broadcast as good as it can be and not chasing any specific demographic or viewer, but hoping we are doing a broadcast that is interesting and lively and valuable,” Mr. Hartman said. “That is going to be a long process and hopefully one that will be successful. It’s going to take time.”

Mr. Hartman had said on the eve of Ms. Couric’s first broadcast in September that she would use much of her first year to experiment, and, three months into her run, she has already begun to retool a bit. A new nightly segment called “Free Speech,” in which she had asked outsiders (as well as Mr. Schieffer, on Wednesdays) to provide 90 seconds of opinion each night, is being drastically scaled back, though not eliminated.

Mr. Hartman said he felt the segment generally worked best when it was given over to people who were not well known, and thus a segment scheduled for last night featured a British journalist complaining about American gas-guzzling. A future segment will showcase a woman who suffered a spinal cord injury while giving birth to her second child; she will talk about hope.

In place of “Free Speech” on some nights, Mr. Hartman said, the broadcast may emphasize Ms. Couric’s skills as an interviewer. On Thursday night, for example, Ms. Couric introduced a segment titled “Person to Person,” in which she interviewed Sandra Day O’Connor, the retired Supreme Court Justice. (“Person to Person” was also the name of Edward R. Murrow’s popular interview series, which was on CBS from 1953 to 1961.)

Jon Banner, executive producer of Mr. Gibson’s broadcast, said he found much within the November figures that was encouraging. For example, NBC’s lead over ABC — about 650,000 viewers a night in November — was less than half of what it was a year ago, while ABC increased its lead over CBS (by about 100,000 viewers, to 1.1 million).

“We want to be No. 1, and we clearly have work to do,” Mr. Banner said. “But we take some pride in where things are heading.”

And what of “Today,” the NBC morning show that Ms. Couric left behind for CBS?

With Meredith Vieira having replaced Ms. Couric, “Today” drew an average daily audience in November of 5.8 million, about 735,000 more than “Good Morning America” on ABC (5.0 million) and nearly double the audience of “The “Early Show” on CBS (3 million).

http://www.nytimes.com/2006/12/09/arts/television/09swee.html?_r=1&ref=television&oref=slogin

dad1153

12-09-06, 03:22 AM

TV Notebook
Syler: Toast in the Morning
By Lisa De Moraes, The Washington Post December 8, 2006

The Early Show" is saying sayonara to one of its three infotainment hostesses in favor of a male news reader.

René Syler is out; Russ Mitchell is in.

Syler's last day is Dec. 22; Mitchell's first day is Jan 2.

Earlier this week, when CBS News announced Syler's departure, she said in a statement that she had been able to "make a difference in millions of women's" lives by talking about everything from breast cancer awareness to diet do's and don'ts. She added that she has had the opportunity to trace her ancestral roots, go to Space Camp and swim with whales in Florida and has "even been able to teach ['Early Show' resident chef] Bobby Flay a thing or two about tacos."

Mitchell, whose hiring was announced yesterday, will remain co-anchor of "CBS News Saturday Morning," anchor of the Sunday CBS evening newscast, one of the rotating anchors of the Saturday evening newscast and a correspondent for CBS News's "Sunday Morning."

The switch establishes a "hard-news presence" on the program and helps "further define the roles of our anchors," CBS News chief Sean McManus said yesterday in a statement.

Anchor roles sorely need defining on "The Early Show," a.k.a. "Hodgepodge Lodge," as one of the Reporters Who Cover Television likes to call it. The show continues to languish behind NBC's "Today" show -- which last Friday completed an 11-year, 573-consecutive-week winning streak -- and ABC's "Good Morning America."

Asked yesterday to define the roles of the two remaining infotainment hostesses and Token Guy Harry Smith, show exec producer Steve Friedman responded, "What is the role of anybody?" on the show.

Friedman does not mince words, which is why the Reporters Who Cover Television adore him.

"We've had four people doing 2.3 jobs. They're all interchangeable," he continued, on a roll.

"We have good people and now we will define their roles and hopefully the audience will get it and think, 'Wow, they're really good.' "

While each surviving co-anchor has his or her strengths, the show couldn't necessarily play to them while trying to service a crowd of four with on-air time, Friedman explained.

"This is going to make it much simpler for us but, more important, simpler for the audience."

"Nobody is better on the road than Harry," Friedman said, hinting at Smith's role going forward. And Hannah Storm and Julie Chen both do well with in-studio news interviews, he said, adding that we'll see more of Chen from Los Angeles, where she spends time, including the stretches when she's hosting CBS's reality series "Big Brother."

http://www.washingtonpost.com/wp-dyn/content/article/2006/12/07/AR2006120701774.html

dad1153

12-09-06, 03:25 AM

Critic's Notebook
Sleepers Awake
James Poniewozik's Time 'Tuned In' Blog Dec. 8, 2006

One of the pleasures of the first season of Sleeper Cell, Showtime's terrorism drama, was that it didn't rely on as many TV contrivances as shows like 24--superhuman agents, miraculous computer hacks, women chased by cougars. It showed the fight against terrorism, and terrorism itself, as human enterprises with flaws and foibles. Terrorists and Feds alike squabbled over egos and agendas, showed hypocrisy and made boneheaded mistakes. That the terrorist plot--a chemical attack on Dodger Stadium--was foiled was as much a matter of luck as ingenuity.

Ultimately, though, Sleeper Cell is a TV show, and in its second season (returns Sunday night) it proves that, while it may be the thinking couch potato's 24, it's not so different from 24 after all. Just like Jack Bauer, anti-terror undercover agent Darwyn (Michael Ealy) just happens to find himself in the perfect position to again infiltrate a terror cell. And as on 24, because cable shows are prisoners of the same production realities as network shows, the terrorists again harbor a strange obsession with attacking Los Angeles.

All that said, it's not so hard to suspend disbelief for this show, which, while not perfect, manages to be both exciting and--if not exactly realistic--then at least reality-grounded. Where 24 tends to mash its villains together into an indistinguishable mass of evil, Sleeper Cell not only looks at the roots of Islamic-extremist anger, it also shows a wide range of Muslim thought. Darwyn himself is a Muslim, frustrated both by the radicals who have perverted the Koran and his American handlers, who seem willfully ignorant of Islam. And whereas 24 forced itself to implausibly ratchet up the threat every season (I see your nuclear warhead and raise you a plague!), the planned attack of season 2 of Sleeper Cell--a dirty bomb--is no less chilling for being more believable.

The show is still flawed by mechanical dialogue. The characters too often speak less like people than newspaper clippings. But last year's chief weak link, terrorist mastermind Faris (Oded Fehr) has grown more interesting. Captured after last season's failed chem attack, he's holding up against Federal interrogation, where he becomes a kind of Hannibal Lecterian menace; he's not a person, really, but at least he's become a more interesting monster. We may still be waiting for the Sopranos of terrorism, a drama with fully imagined characters and emotional rather than technical realism. But as popcorn entertainment goes, Sleeper Cell is Smartfood, and a little dusting of cheese never hurt anyone.

http://time.blogs.com/tuned_in/

dad1153

12-09-06, 03:38 AM

TV Notebook/Nielsen Ratings
Wee hearts flutter again for Univision
As the season finale of 'La Fea Mas Bella' nears
By Toni Fitzgerald, Media Life Magazine December 8, 2006

After “Barrera de Amor,” Univision’s steamy telenovela that was very popular among young ones, aired its season finale two months ago, the network’s ratings took a dive among kids 2-11.

Its average dipped 18 percent, from a 1.1 to a 0.9, and it slid from second to fifth among the broadcast networks in that demographic.

But things are starting to turn around for the network, thanks mostly to the approaching season finale of “La Fea Mas Bella” and the recent growth of fellow novela “Heridas de Amor.” Their best performances in months boosted Univision to its best 2-11 average of the season last week, the week ended Dec. 3, to a 1.2 average.

That was 20 percent above its season-to-date average of 1.0, and put the network ahead of CBS, NBC and the CW in the demo, all the more impressive because that includes the final four days of sweeps.

It was the third straight week of gains for Univision in 2-11s and its highest finish in any demographic over the last month.

Why the momentum shift among 2-11s? The loss of “Barrera” certainly hurt the network. It was one of Univision’s top five novelas of all time, and among 2-11s the finale averaged a 2.0.

But suddenly, with “Fea’s” finale approaching soon, that show has jumped to its best performance in months, ahead even of “Barrera.” Last week the 8 p.m. show averaged a 2.1 rating and an average 853,000 viewers in the demographic, its best performance since last April’s premiere.

The show has also gotten more publicity the past few weeks with the strong sweeps performance of ABC’s “Ugly Betty,” like “Fea” a remake of the original Colombian telenovela.

“Heridas de Amor” has also been picking up. It tells the story of Miranda, whose sister stole her fiancée and whose new love may have killed Miranda’s dad. It has been much more popular among older demographics, but last week delivered its best-ever numbers among 2-11s, averaging a 1.1 rating and 440,000 viewers.

Most likely the rise in viewers for “Fea” has helped “Amor,” its lead-in. Another factor may be a recent plot twist wherein Miranda’s nephew dies of sudden infant death syndrome. Or was it something else? No one seems quite sure.

Meanwhile, in broadcast and basic cable ratings for younger viewers for the week ended Dec. 3:

Among teens 12-17: Fox won the week with a 2.3 rating and 8 share, followed by the CW at 1.9/6, ABC at 1.8/6, NBC at 1.7/6, CBS at 1.4/5, Univision at 1.0/3, Telemundo at 0.3/1, Telefutura at 0.2/1 and Azteca at 0.0/0.

Among kids 2-11: ABC was the winner with a 2.1 rating and 8 share, ahead of Fox at 1.3/4, Univision at 1.2/5, NBC at 1.1/5, CBS at 1.1/4, the CW at 1.0/4, Telefutura and Telemundo tied at 0.2/1 and Azteca at 0.0/0.

The top five shows among 9-14s: 1. “Avatar: The Guru” (Nickelodeon, Friday 8 p.m.); 2. “Ned Declassified” (Nickelodeon, Sunday 7:30 p.m.); 3. “Ned Declassified” (Nickelodeon, Tuesday 6 p.m.); 4. “Drake and Josh” (Nickelodeon, Sunday 7 p.m.); Tie-5. “Drake and Josh” (Nickelodeon, Wednesday 5:30 p.m.) and “Zoey 101” (Nickelodeon, Sunday 8 p.m.)

The top five shows among 12-17s: 1. “NFL Sunday-National” (Fox, Sunday 4:29 p.m.); 2. “House” (Fox, Tuesday 9 p.m.); 3. “Avatar: The Guru” (Nickelodeon, Friday 8 p.m.); 4. “Heroes” (NBC, Monday 9 p.m.); 5. “Family Guy” (Fox, Sunday 9 p.m.)

The top five shows among 12-24s: : 1. “NFL Sunday-National” (Fox, Sunday 4:29 p.m.); 2. “Grey’s Anatomy” (ABC, Thursday 9 p.m.); 3. “Heroes” (NBC, Monday 9 p.m.); 4.“House” (Fox, Tuesday 9 p.m.); 5. “Family Guy” (Fox, Sunday 9 p.m.)

Cable shows making the top 30 among 18-24s: 8. “NFL Regular Season” (ESPN, Monday 8:30 p.m.); 23. “Real World XVII” (MTV, Wednesday 10 p.m.); 26. “Real World, Road Rules The Duel” (MTV, Thursday 10 p.m.); 29. “Rob and Big” (MTV, Thursday 10:30 p.m.)

http://www.medialifemagazine.com/artman/publish/article_8999.asp (very nice selection of Top-30 lists of shows in the above-stated demographics)

dad1153

12-09-06, 03:39 AM

The weekend's big shows (including the overlooked 90 minute season finale of HBO's The Wire) as reviewed by The Boston Herald. Remember to set/adjutst your non-TiVo DVR/VCR to record 'The Wire' from 10 to 11:30PM ET this Sunday to cover its special 90 min. running time.

Critic's Notebook
‘Tsunami’ spins in its own debris

By Mark A. Perigard, The Boston Herald December 8, 2006

Don’t blink or you’ll miss the wave.

“Tsunami, The Aftermath” washes up a fictional version of the devastation wrought by the tsunami that struck Thailand in 2004.

More than 227,000 people were killed, and two years later, more than 50,000 people remain unaccounted for and are presumed dead, a coda to part two reminds us.

Yet the miniseries is often tedious and dry of real emotion.

Caught in the wake of the disaster are two English families on holiday, a Thai villager, a flinty reporter, a well-meaning aid worker and an incompetent diplomat.

The story opens with tourist Susie Carter (a radiant Sophie Okonedo) emerging from a deep sea dive and finding a dead body in the water. Through some miracle, the tsunami passed over the boat carrying her and other vacationers - and tore apart the resort they were staying at.

When they emerge onto dry land, they frantically cry out for their loved ones and race across an area that looks like it was hit by a bomb.

Flashbacks cut to happier moments.

Chiwetel Ejiofor (“Kinky Boots”) is amazing as Ian, Susie’s husband and father to 6-year-old Martha (Jazmyn Mabaso). When the 15-foot wave crashes down on him, he loses his grip on the child. His determination to find her nearly destroys him and his wife. Ejiofor delivers the kind of performance that should be rewarded at Emmy time.

Tim Roth does the journalism industry no favors as the heartless reporter chasing the big story - that the Thai government is using the disaster as an excuse to reclaim the land held by poor villagers for hundreds of years.

Toni Collette as the aid worker seems to be here for no other reason than to prove she can speak a foreign language. Her role is a waste.

Writer Abi Morgan reportedly interviewed scores of people for this project but never manages to achieve a dramatic rhythm. There’s not much of a hook from part one to bring someone back to the miniseries a week later. This is a project that should have been condensed to two hours for maximum impact.

As it stands, “Tsunami, The Aftermath” won’t wring much attention from viewers.

“Tsunami, The Aftermath.” Sunday and Dec. 17 at 8 p.m. on HBO. Grade: C+

http://theedge.bostonherald.com/tvNews/view.bg?articleid=170994
____________________________________________________________ _____
Critic's Notebook
Agent’s nightmares grow in ‘Sleeper Cell’
By Amy Amatangelo, The Boston Herald December 8, 2006

In the second season premiere of ‘‘Sleeper Cell: American Terror” (Sunday at 9 p.m. on Showtime), undercover FBI Agent Darwyn Al-Sayeed (Michael Ealy) tells his girlfriend Gayle (Melissa Sagemiller) that the FBI has offered him a job teaching anti-terrorism at Quantico.

‘‘That’s great. That’s like a normal job. Regular hours. Boring. Safe,” Gayle tells him. When his handler, Agent Serxner (Sonya Walger), asks him to look into potential terrorist Benny Velazquez (Kevin Alejandro), Darwyn implores her to start fresh with a new undercover agent.

‘‘I’m trying to get my life back together,” he tells her.

While it would be the safer choice for Darwyn to take the teaching job, it would make for one quick season. (On that subject, be warned: Showtime is running a new episode every night, with the finale Dec. 17.) So Darwyn finds himself embroiled with a brand-new cast of characters - including the series’ first female terrorist, Mina (Thekla Reuten).

‘‘Sleeper Cell” will keep you up at night. The show reveals how terrorists have assimilated into American culture. Mina is a nanny. Benny is a manager at a grocery store. But when they are not at their day jobs, they’re plotting acts of horrifying domestic terrorism.

Darwyn’s former conspirators have disparate plotlines. Last season’s cell leader, Faris Al-Farik (Oded Fehr), is in U.S. custody. Ilija Korjenic (Henri Lubatti) is trying to escape to Canada. Interweaving their stories with Darwyn’s makes for an exciting season.

Ealy shines as a man leading a desperate double life. He exudes an eerie calm mixed with a quiet anxiety.

"Sleeper Cell” also shows some of the mundaneness of Darwyn’s world. His new FBI handler, Agent Russell (Jay R. Ferguson), got his job because of a powerful uncle at the bureau and he constantly puts Darwyn in even more precarious positions.

‘‘Look Russell, the way this works, you’re my last line of defense,” Darwyn tells him. It’s a point the clueless Russell doesn’t understand, and this stress adds another level of complexity to the series.

The show makes some missteps. It seems gratuitous for Darwyn and Russell to have meetings in a strip club. But ‘‘Sleeper Cell” succeeds as a compelling drama that tackles a controversial subject in a significant way.

‘‘Sleeper Cell: American Terror.’’ Season premiere Sunday at 9 p.m. on Showtime. Grade: B+

http://theedge.bostonherald.com/tvNews/view.bg?articleid=170973
____________________________________________________________ _____
Critic's Notebook
‘Wire’ ties up tale of troubled teens

By Mark A. Perigard, The Boston Herald December 8, 2006

It’s Christmastime in Baltimore, but Santa’s gifts are drenched in blood in the wrenching season finale of HBO’s “The Wire” (Sunday at 10 p.m.).

In “Final Grades,” police sweep the tenements, finding corpse after corpse in the boarded buildings, the result of a seasonlong drug war.

They can identify the killers, but building a case against them is another problem.

Everything is interconnected on the mean streets, and the fates of four teenage boys - Dukie (Jermaine Crawford), Randy (Maestro Harrell), Namond (Julito McCullum) and Michael (Tristan Wilds) - hang in the balance.

Heartbreak and hope seem to lurk around every street corner. By night’s end, one will be lost to the darkness, probably forever. Another will be saved - perhaps. And the others face setbacks from which they may never recover.

Creator/writer David Simon has used this season of “The Wire” to illustrate how the government and school systems fail at-risk urban children. For loyal viewers, this has been the most entertaining - and chilling - sociology lesson ever captured for the small screen. (HBO has renewed the series for a fifth season.)

Tonight, well-meaning adults fumble in their attempts to intervene on behalf of the boys.

Carver (Seth Gilliam) desperately searches for an appropriate foster care home for Randy but finds bureaucracy bucks his efforts at every turn. Prez (Jim True-Frost) finds good reason to worry about Dukie’s adjustment to high school. Colvin (Robert Wisdom) pressures Namond’s family to do the right thing.

In almost every situation, the boys end up worse. The streets offer more certainty and comfort than anything these adults can provide.

Elsewhere, Carcetti (Aidan Gillen) wastes political capital trying to save the school system. McNulty’s (Dominic West) good turn leaves one street dealer dead and prompts him to make a career change.

But it’s the young actors at the heart of this season that have made “The Wire” so electrifying. The final images in this extended episode are tough to shake.

“The Wire.” Season finale (90 min.) at 10 on HBO. Grade: A

http://theedge.bostonherald.com/tvNews/view.bg?articleid=170993

dad1153

12-09-06, 03:40 AM

Finally I get to post a story about a TV show that I actually watch! :)

TV Notebook
TV show comes home
"Extreme Makeover: Home Edition" helps an LAPD officer shot on duty and brings a neighborhood together
By Maria Elena Fernandez, Los Angeles Times December 10, 2006

HOUSE No. 85 has just come tumbling down, and the popular, hyper host of "Extreme Makeover: Home Edition," Ty Pennington, makes a surprising confession about his feelings toward his job: "I don't really know how to explain this thing because the worst part of what we do is a television show."

ABC's Emmy-winning series ranks 15th among most-watched shows and places 11th among the advertiser-coveted 18-to-49-year-olds. So why does Pennington lament his livelihood?

"The greatest part," he added, "is that we get connected…. We get people to show up that volunteer for two hours and end up staying three days. This town is about this business and working on a TV show, but this is a show where you can go home to your kids and say, 'I was a part of that and it was so great.' You can be proud of that. It's not every day you can say that in this business."

For the first time in 13 months, the roving reality series that started in Los Angeles has come home for a two-hour episode that airs at 8 tonight and covers the construction of a new Redondo Beach house for Los Angeles Police Officer Kristina Ripatti, who was paralyzed in June when she was shot in South Los Angeles. (Her partner, Joe Meyer, shot and killed the gunman.)

In the wake of the incident, producers were inundated with letters and phone calls from Angelenos, including LAPD Chief William Bratton, nominating Ripatti and her husband, LAPD Officer Tim Pearce, for a larger wheelchair-accessible home. On top of grappling with her physical injury, Ripatti has struggled with the emotional pain of not being able to sleep in the same bed as her husband because her wheelchair did not fit in her bedroom doorway and her 21-month-old daughter's confused distancing. Ripatti, her mother-in-law and her nurse slept in the living room for four months.

But transforming the couples' 849-square-foot cottage into a 3,234-square-foot coastal haven with a 646-square-foot detached garage in seven days was not "Home Edition's" primary mission.

"The most important thing we're doing is reconnecting this family," said designer Michael Moloney. "Mother and daughter had a bit of a disconnect because Mom was injured in a chair and the baby was pulling back, and it just broke Kristina's heart. We also have a husband and wife who have only been married three years and have not been able to spend a night together for four months. So more than building a house, we're going to put this family back together and give her a fresh start and give her back her freedom."

"Extreme Makeover: Home Edition" transforms neighborhoods into sets, uses communities as props, and showcases families as its central characters. On the morning of Oct. 13, about 200 South Bay locals gathered to observe the designers, local builder Cornerstone Construction Group and the LAPD SWAT team tear down Ripatti's house.

Normally, "Demolition Day" attracts thousands of looky-loos, but in a town where location shoots are as ordinary as traffic and smog, this is actually an impressive showing. While Ripatti and her family vacationed in Los Cabos, their block came alive when Pennington, in a helmet and goggles, yelled into his signature hand-held camera, "LAPD SWAT, let's do some demo!"

"Oh, my God! There he is! He is cute!" screamed one woman standing behind a barricade, 100 feet from the property because the police were about to set off explosives before striking the house with the department's battering ram.

"Ty, baby, I love you!" yelled another lady.

"I love you too!" the exuberant host shot back.

The ladies weren't the only ones going nuts over Pennington, as he and the SWAT team tore up window frames and busted the walls with chain saws. A powerful family show, "Home Edition" is the No. 1 show on network television among 2- to 11-year-olds.

"Ty's going crazy!" an elated little girl said, catching a glimpse of her hero through a living room window. "Run, run, run!" Pennington yelled to the police officers, as he rushed out of the house to wait for two explosions.

Boom! Boom!

Then it was the battering ram's turn, followed by Pennington's amplified megaphoning, "Go! Go! Go! Yeah!"

In a matter of minutes, Ripatti and Pearce were homeless.

Starting from scratch

The emotion of the demolition behind them, the designers quickly got to work. Maloney was in charge of Grandma's new quarters. Paige Hemmis met with Ripatti's physical therapists and worked on a recovery room for her. Paul DiMeo designed little Jordan's new bedroom, with a crib that opens from the side so Ripatti can reach in and pick up her daughter. Eduardo Xol landscaped and created two courtyards with fireplaces and waterfalls. Pennington concentrated on a new master bedroom and bathroom for the couple, with their love of the ocean in mind.

"The house is small, but the property is deep," Xol said. "It's not very wide, but it's long, so we've come up with a floor plan, utilizing the length of the lot and incorporating an indoor-outdoor feel since we're in Southern California and the couple loves the outdoors and they love traveling to tropical places. We want to give them a vacation at home."

http://www.latimes.com/entertainment/news/tv/la-ca-ty10dec10,0,5539691.story?coll=la-entnews-tv

fredfa

12-09-06, 10:46 AM

TV Commentary
Cable Cowboy in Orbit
By J. Max Robins Broadcasting & Cable 12/11/2006

No doubt folks in the cable industry are having a tough time wrapping their heads around the proposed deal between John Malone's Liberty Media and Rupert Murdoch's News Corp. By swapping his 19% stake in News Corp. for a controlling 39% of Murdoch's DirecTV (along with three regional sports networks and cash), Malone, the onetime Supreme Ruler of the Cable Universe who vowed to “crush” the satellite threat, could become the new Satellite King.

Back in the mid '90s, cable guys like Malone regarded satellite as the Death Star. As head of Tele-Communications Inc. (TCI), then the nation's largest cable operator, Malone brought the fight to the enemy, spearheading the digital revolution in cable and making good on his vision of the “500-channel universe.” Now, he's poised to lead the charge against an army he helped build and lead so brilliantly—and ruthlessly—into battle.

Clearly, Malone will score a major financial coup when the ink dries. While Murdoch will no longer have to worry about Malone's taking control of his company, Malone walks away with control of assets worth several times Liberty's initial $1.7 billion stake in News Corp.—and without a multibillion-dollar tax hit in the exchange. Sure, Murdoch will make hundreds of millions and keep News Corp. in the family. But the smart money is that Malone's take ultimately will far exceed his rival's.

The Wall Street wisdom is that Malone is a savvy portfolio manager who knows how to create value that goes far beyond the immediate gains of a deal. As Morgan Stanley savant Rich Bilotti has written in reports since word of the swap surfaced, Liberty will be “the primary beneficiary.”

But just what does Malone see in a satellite operation that Murdoch reportedly dismissed as a “turd bird” three years after buying into it?

Malone has a knack for seeing “opportunity in technology, where others have already given up,” says B&C Executive Editor Mark Robichaux, who chronicled Malone's exploits in Cable Cowboy: John Malone and the Rise of the Modern Cable Business (incidentally, the perfect stocking-stuffer for the industry-obsessed).

Since word first surfaced months ago that Malone was looking to control DirecTV, there has been speculation that he might join forces with Charlie Ergen's EchoStar Dish Network. Or he might avoid the inevitable regulatory hurdles of a merger and simply sell outright to Ergen at a premium. Dish, after all, has a big leg up on DirecTV in its high-definition offerings, as do most cable providers.

With or without an EchoStar play, a Malone-controlled DirecTV—with its more than 15 million subscribers—puts Liberty in a stronger position to launch offshoots of existing networks where it has a major stake. Discovery Communications' family of channels, from TLC to the Travel Channel, as well as home-shopping behemoth QVC, could all get a boost with added distribution clout.

DirecTV subscribers may not be so thrilled, however. Malone ran TCI lean and mean, and the operator always lagged far behind Time Warner, Comcast and Cox in customer satisfaction.

But you can bet that Malone, as always, is plotting several steps ahead in making satellite a credible threat to its cable and telco rivals. Indeed, speculation abounds that a pact with a telco (AT&T is a leading candidate) could result in a suite of consumer services—from telephone to broadband to HD programming—that would surpass in quality and affordability anything currently being offered by cable.

If that happens, the man who led the cable industry to its dominant perch in the distribution game may soon be in the catbird seat when the pendulum swings.

I'm sure Rupert Murdoch can appreciate the irony. The cable industry? That's another matter.

http://www.broadcastingcable.com/article/CA6398662.html

fredfa

12-09-06, 12:39 PM

HDTVChallenged

12-09-06, 12:45 PM

TV Commentary
Cable Cowboy in Orbit
By J. Max Robins Broadcasting & Cable 12/11/2006

(...)

I'm sure Rupert Murdoch can appreciate the irony. The cable industry? That's another matter.

http://www.broadcastingcable.com/article/CA6398662.html

Nah ...the real irony is in the fate of the numerous D* customers that dumped their crappy TCI service to sign up with D* in the early days.

fredfa

12-09-06, 12:49 PM

The Business of Television
“Cable Cowboy” Now Slinging Via Satellite
By Linda Moss MultiChannel News 12/11/2006 (Mike Farrell and Ted Hearn contributed to this story.)

John Malone is one of cable’s fabled original cowboys, an entrepreneur, visionary and deal-maker who built up a cable company farsightedly called Tele-Communications Inc. into the largest system operator in the business. Now, the former engineer will use his intimate industry knowledge and experience to compete against his former colleagues.

Malone’s Liberty Media is about to snap up News Corp.’s 39% stake in one of the cable industry’s archrivals: DirecTV Group Inc., the nation’s biggest satellite provider, with 15.5 million subscribers.

A shrewd, bottom-line oriented strategist, Malone is expected to use his new distribution asset as a platform to maintain — and expand — carriage for his programming services, which include stakes in programmers Discovery Holdings, QVC, Starz and GSN. Wielding new clout with distributors, Malone may even buy more networks, or try to launch some.

With the future of DirecTV’s ownership decided, the technically astute Malone can also help DirecTV figure out how to use broadband access to the Internet to compete with cable’s ability to offer telephone services and on-demand programming. It’ll be his task to help DirecTV compete with cable’s triple play of video, voice and Internet services; and get a leg up in the nascent competition for high-definition TV viewers.

“You would think the first thing they [Liberty] would want to address is how to get back to competitive parity,” said one cable-industry veteran. “Cable is just kind of eating their lunch with VOD, HD and broadband, and packaging.’’

BACK IN THE SADDLE

Last week, Liberty Media tentatively agreed to an $11 billion transaction, to swap its stake in News Corp. for Rupert Murdoch’s 39% piece of DirecTV. Malone will also purportedly get three unspecified regional Fox Sports Net channels.

The deal will put cable pioneer Malone back in the saddle as a content distributor, not just a content owner. With DirecTV, he will be competing for subscribers against his former cable colleagues, but he will also gain clout for programming already being produced by Liberty holdings, as well as channels and services that he may want to launch in the future.

“Liberty could leverage the country’s second largest multichannel operator to enhance the value of the company’s significant programming assets, e.g. Discovery, Starz, QVC, guaranteeing carriage for existing and planned networks and providing a powerful promotional platform,” Jessica Reif Cohen, a Merrill Lynch analyst, wrote in a report last week.

He also could see DirecTV become the largest multichannel-television services company in the country, passing Comcast, which counts 24.1 million subscribers. Although many Wall Street analysts disagree, Reif Cohen and Jimmy Schaeffler of The Carmel Group are laying odds that Malone may secure regulatory approval to merge DirecTV with Charlie Ergen’s EchoStar Communications, operators of the No. 2 direct-broadcast satellite platform, Dish Network. That would create one huge, super-bird satellite company — some 28 million subscribers strong — to compete against cable.

With Malone on the stage, “concerns about who would run the combined entity could be eliminated,” Reif Cohen wrote. With Murdoch, there had been worries about News Corp.’s ownership of content assets. The company owns such programming services as Fox News Channel, Fox Sports Net and its regional sports services, FX and others, which are crucial to cable competitors of DirecTV.

Liberty getting News Corp.’s DirecTV stake, didn’t phase the No. 1 cable operator last week, however. “There are no concerns,” said Comcast executive vice president David Cohen.

The American Cable Association, the lobbying group for small cable operators, was not so sanguine. The group plans to carefully scrutinize the proposed Liberty-DirecTV deal to determine if the group should seek a denial of the deal, or ask for strict conditions, according to CEO Matt Polka. Small cable companies would want to be sure they have access to Liberty programming, such as the sports channels picked up from Fox Cable Networks.

“Dr. Malone certainly is a cable guy,” Polka said. “But at the same time, he’s in this for his company and to make money and to provide value to shareholders, and to use whatever assets they have, to leverage those assets.”

Plus: Liberty, as controlling shareholder of DirecTV, will be in a better position when it tries to negotiate carriage renewals for its networks with cable distributors such as Comcast.

For example, DirecTV could withhold a renewal for a Turner network owned by its sister company, Time Warner Cable, or delete a Comcast-owned network, like E!, if those cable operators declined to renew a carriage deal for Discovery Channel. Or Liberty could promise to launch new Comcast networks on DirecTV in exchange for carriage renewals.

“It may give him [Malone] a little more of an ability to wheel and deal with Comcast, and Time Warner, just because he’s got more cards in the deck,” said the cable-industry executive.

NO SLAM DUNK

But it’s not a slam dunk, several analysts said. Since Liberty will not own all of DirecTV, it can’t just use the satellite provider to blithely advance the agendas of its networks.

“If you use the platform to launch new channels and do that sort of thing, since you’re not a majority owner, you just come under a lot of scrutiny, [like whether] it is an arm’s-length deal, with the risk of lawsuits popping up,” said Kagan Research analyst Derek Baine.

News Corp. didn’t have carte blanche to use DirecTV to its advantage, noted Sanford C. Bernstein & Co. analyst Craig Moffett.

“In practice, Liberty control of DirecTV would amount to ensuring carriage of Liberty programming by DirecTV, and it could potentially use DirecTV as a competitive threat to cable operators to coerce carriage by cable on more attractive terms,” Moffett wrote. “The arm’s-length negotiation required to ensure 'fair’ carriage deals, however, limited News Corp’s ability to exercise this advantage [itself].”

RECREATING TCI

Is Malone trying to recreate TCI in one fell swoop, by taking over DirecTV?

In building up TCI, Malone used control of its pipes to launch many of cable’s best-known channels, including Discovery Channel and BET.

“I’m sure he’ll do some creative things, but you can’t start BET and Discovery and all that,” said Janco Partners media analyst Matt Harrigan. “I don’t think that makes a lot of sense [now]. The only nice content point is that you can move QVC to a much-better channel position. That’s a little tactical tweak.”

More pressing, when it comes to delivering content, may be finding a broadband pipe — some kind of high-speed Internet access — to go with DirecTV’s satellite-delivered TV. Now, Malone will have a say in that strategy.

Last January, Murdoch was the first to say publicly that DirecTV would unveil its broadband game plan in a few months. DirecTV officials have talked about using wireless technology, like WiMax, for broadband service.

On the on-demand front, last February, at a presentation in New York for investors, DirecTV officials described a plan to launch a video on-demand download service, which they dubbed “DirecTV Flix.”

At one point, DirecTV officials said those offerings, broadband and VOD, would be available this year. That hasn’t happened.

Both DirecTV and EchoStar earlier this year struck deals with WildBlue Communications, which Liberty has a stake in, to offer satellite-delivered Internet-access service. But that has been for rural parts of the country, where high-speed Internet access is sparse.

DirecTV has several deals in place with phone companies, such as BellSouth, offer a combination of phone, Internet and video service to consumers. Rolling out another national broadband services is expensive — and fraught with risk.

“The greatest broadband play for DBS right now are the telcos, and that will remain so for some time,” said Bruce Leichtman, president and principal analyst of Leichtman Research. “Having a third broadband service nationwide would be a very difficult proposition.”

Murdoch has often been willing to suffer losses to gain market share in a particular business, such as the newspaper business. But Malone is not, according to Harrigan.

“At the end of the day, if they [Liberty] decide that there’s really no broadband strategy that generates an economic return, he’s not going to do it,” Harrigan said.

“He can work more closely with the Bell companies or whoever he has to work with,” he said. “That may not be the optimal solution, but it beats building a broadband network where you’re the third of fourth guy in the market and you’re not getting any return on investment. If it was easy, this would have been done a long time ago.”

Cable now also has the advantage over direct-broadcast satellite of providing on-demand programming to subscribers. A delay in the deployment of DirecTV’s new HD-DVRs apparently has put a crimp in the satellite provider’s on-demand plans.

“DirecTV’s inability to dedicate a data stream [or video stream, as the case may be] to an individual subscriber is likely to become an increasingly significant liability in the future,” Moffett wrote last week.

After the HD-DVR delays, DirecTV is now producing 3,000 of those boxes a day, according to a company spokesman. A $100 rebate offer to customers on the HD-DVR boxes, taking its price to down $199, will be reinstated Dec. 13.

Moffett wrote that DirecTV “has sharply underspent on HDTV upgrades, creating a large potential 'upgrade liability’ that will push retention marketing up significantly if DirecTV is to catch up to cable.”

Catching up to cable — and getting ahead of it — will now be on Malone’s agenda.

http://www.multichannel.com/index.asp?layout=articlePrint&articleid=CA6398643

fredfa

12-09-06, 12:50 PM

Nah ...the real irony is in the fate of the numerous D* customers that dumped their crappy TCI service to sign up with D* in the early days.

Fortunately, there are far more options available now -- and more coming in the relatively near future.

jim tressler

12-09-06, 03:00 PM

fred - more choices... depends where you are.. in cinncinnati its only time warner, directv and dish.. no verizon or att - which to me would then mean i have choices..

fredfa

12-09-06, 03:11 PM

Agreed Jim -- but the telcos are coming.

(And now that we are saddled with TWC in Los Angeles, I can sympathize with you!)

jim tressler

12-09-06, 03:22 PM

unfortunatly in cincinnati we are stuck with cincinnati bell which is in a partnership with directv and stopped their iptv roll out last year.. and even if they moved it forward, they said.. no hd channels :(

fredfa

12-09-06, 04:58 PM

Aren't monopolies wonderful, Jim?

fredfa

12-09-06, 05:09 PM

TV Review
Showtime's 'Sleeper Cell':
Shut It Down
By Tom Shales Washington Post Staff Writer Saturday, December 9, 2006

CBS honcho Les Moonves reportedly wants more sizzle from sister company Showtime, a pay-cable channel that runs a poor second to that house o' hits, HBO. So it is that Showtime has in recent months introduced series about pot growers, terrorists, a society of dead people and a supposedly lovable serial killer.

In other words, fun for the whole family!

"Sleeper Cell: American Terror," a key component in Showtime's new nastiness, returns to the network tomorrow night with a fresh array of murder, mayhem, toilet-cleaning and throat-slitting, the story of a small band of terrorists and the American agent who has managed to infiltrate it.

It's unlikely the show will have you on the edge of your seat, but it might have you crawling on the floor -- searching for the channel-changer and its escape to viewing alternatives.

Part 1 of the new batch of "Sleeper Cells" opens with a bit of visual trickery that also includes cinematic homage. We hear the Arabic call to prayer as the camera pans down a minaret that stands against the sky -- very similar, if pointlessly so, to one of the first shots in the movie classic "Casablanca." Then we suddenly find ourselves romping on the beach at the Hotel del Coronado, the famed San Diego landmark that was prominently featured in the legendary comedy "Some Like It Hot."

In "Sleeper Cell," however, San Diego is supposed to be San Diego and not Miami Beach, the role it played in Billy Wilder's brilliant film.

We mention these minor details mainly to delay considering "Sleeper Cell" itself, because a dreary thing it is, and depressing, too. It's not in the best of taste to use terrorism, the fears it inspires, and references to the reprehensible attacks on the World Trade Center and the Pentagon as the stuff of cheap exploitation. The ploy's the thing, and an ugly thing, too.

It is even suggested by one character -- admittedly someone who's supposed to be an imbecile -- that the atrocity of 9/11 was perpetrated by American forces to make Islamic extremists look bad. "Uncle Sam was behind the whole thing," it is recklessly alleged.

Allegedly in the interest of fairness, or something, the cast of characters includes U.S. military men who abuse suspected captured terrorists -- including one man who is questioned, and questioned, and questioned in a barren room, the monotony broken when the interrogator gives the suspect a whack that sends him sprawling to the floor. Abu Ghraib and Guantanamo are conspicuously mentioned as symbols of American culpability.

It's all distasteful -- sensationalistic in a drab and flabby way. "Sometimes failure is a great motivator," one agent philosophizes to another. Perhaps, but sometimes failure is just a great failur-ator. "Sleeper Cell" is certainly no success.

http://www.washingtonpost.com/wp-dyn/content/article/2006/12/08/AR2006120801701_pf.html

fredfa

12-09-06, 05:15 PM

The Business of TV
Study: Cable Beats Broadcast Four Nights a Week
By Linda Haugsted MultiChannel News 12/11/2006

The primetime household share for cable networks is beating that of broadcast networks four out of seven nights a week, according to research released this week by Smithgeiger Inc.

The survey was commissioned by the Warner Bros. Research Department and was based on Nielsen ratings between Sept. 19 and Nov. 30, 2006. The survey found that more people watched cable networks on Mondays (55 vs. 50 share), Wednesdays (53 vs. 49 share), Fridays (54 vs. 45 share) and Saturdays (60 vs. 34 share). Smithgeiger called this the first time cable has outdrawn broadcast during a majority of nights of the week.

The survey results were culled through a poll of 1,500 subjects who subscribe to cable or satellite television. The respondents said that their favorite cable channels offer a mix of originals and acquired programming. That is the mix offered by WB Research's business siblings, TBS and TNT.

Viewers still go first to broadcast networks for new shows (58% vs. 37% for cable) and to learn of upcoming new shows (52% vs. 29% for cable). Cable is the top draw for people who want to catch up on episodes of older, acquired shows. The top basic-cable networks, such as USA Network, Spike TV and TBS, have become a mix of original shows and acquired off-networks hits such as the multiple Law & Order series, the CSI franchise and Sex and the City.

Viewers still most often begin a TV-viewing session by dialing to a favorite channel (38%). A specific show, at its scheduled time, is the second-highest destination, at 34%; 16% start at the interactive program guide, 9% start with a previously recorded show, and 3% pop in a DVD, search the on-demand area or order pay-per-view.

http://www.multichannel.com/index.asp?layout=articlePrint&articleid=CA6398555

fredfa

12-09-06, 05:21 PM

TV Review
'Tsunami':
A Tale Where The Truth Would Do
By Tom Shales Washington Post Staff Writer Saturday, December 9, 2006

Feel like making a movie? Want the world to beat a path to your film's door? Helpful hint: Keep the word "aftermath" out of the title. It gives the impression that the major piece of your story's action happened before the movie has even begun.

A handy case-in-point is "Tsunami, the Aftermath," a new HBO drama filled with arduous details of misery, torment and horror.

And just for variety -- a little more misery on top of that.

The three-hour HBO-BBC production, airing in two parts (tomorrow *PM ET and next Sunday), follows the fates of various survivors of the monstrous, tragic tidal wave that struck the coast of Thailand in December 2004. Many survivors spend most of the movie searching for other survivors -- relatives and other loved ones -- and bemoaning the terrible toll in human lives.

It is moving, tense and sometimes agonizing to watch, but the film is plagued by the sense that there ought to be more to it. How many viewers, after all, will be startled to learn that a tsunami is not nice? It also seems odd -- with memories of Hurricane Katrina and its devastation of New Orleans and other cities fresh in the national consciousness -- that we're being asked to immerse ourselves, as it were, in a tidal wave that struck two years ago on the other side of the world.

No one, of course, should be indifferent to mass tragedy wherever it occurs. The global village is no place for provincialism. And the film, directed by Bharat Nalluri and written by Abi Morgan, conveys the sense and sensations of a horrendous catastrophe in stunningly intimate detail. We can theoretically learn much, much more about the nature of such devastation by observing the effects on one struggling family than we can from TV news reports filled with facts, figures and faceless statistics.

It turns out, though, that the families profiled in "Tsunami" are fictitious. The characters are composites based on the kinds of real people whose lives were engulfed by a capricious act of nature. A disclaimer calls the film "a fictional drama inspired by actual accounts of the Asian tsunami" -- one "based on interviews and research."

Oh. So this docudrama is mostly drama and only a little bit docu. Details about the tsunami's devastation are obviously true, but since the people in whose lives we become involved didn't exist, we're watching vignettes that could very well have happened, but didn't.

In an interview, Nalluri says that "truth" was his first concern in making the movie, but obviously he doesn't mean literal truth. Just "sort-of" truth. This can't help but detract from the impact.

The cast, meanwhile, isn't exactly chock-full of household names, unless Chiwetel Ejiofor and Sophie Okonedo are as familiar around your place as Britney Spears and Paris Hilton. (The former are far better actors, of course, but who isn't?) Clearly the most recognizable name to U.S. audiences is Tim Roth, who very convincingly plays a rumpled, semi-cynical journalist teamed with a young Thai photographer as they attempt to document the scenes that stubborn, paranoid officials (perhaps with an eye on the future tourist trade) don't want the world to see.

Ejiofor conveys with tangible, aching anguish the plight of Ian Carter, a man searching desperately for the daughter he feels certain has survived the storm. If only he can wade past the bureaucratic roadblocks as well as the fields of debris. Told that his plight is common to natural disasters, Carter explodes: "There is nothing natural about any of this!"

Some of the imagery is striking -- a boat lodged in the second-story window of an apartment building, or a human leg sticking up from a pile of otherwise unidentifiable objects. But you will see very little of the tsunami itself -- basically the same shots of receding water that were shown on Western newscasts at the time.

Maybe it would be vulgar to whip up a tsunami in the special-effects department, but at least we would get a better sense of the storm's destructive power at the moment of its greatest impact.

"Tsunami" is rigorous and conscientious filmmaking about a subject whose grim importance lingers. It's a portrait of people trying to fathom and cope and, although the obstacles appear insurmountable, to conquer and prevail. But for all its haunting moments, it still seems a story told in bits and pieces -- a mosaic that we see only in sections without ever getting a truly panoramic portrait.

http://www.washingtonpost.com/wp-dyn/content/article/2006/12/08/AR2006120801792_pf.html

fredfa

12-09-06, 05:29 PM

Critic’s Notebook
Let's get serious
While other programmers go for the sweet and repeats, Showtime and HBO would have us think about terrorism and a tsunami
By Jonathan Storm Philadelphia Inquirer Columnist Dec. 9, 2006

Seeing a prime programming opportunity in December's sugary and repeat-filled TV schedule, pay cable turns to disaster and terrorism tomorrow night.

HBO goes with a soggy drama about the aftermath in Thailand of the Boxing Day tsunami of 2004. You need to be at least a little British to know that Boxing Day is the day after Christmas, and it helps to have a little limey in you to relate to Tsunami: The Aftermath, made by the BBC for a British audience.

Showtime counters with season two of Sleeper Cell: American Terror, homegrown all the way. It's an intense fictional look at Muslim terrorists in our midst and the insane extremes they're willing to embrace to glorify Allah.

The show's hero is also a Muslim, dedicated to battling the twisted aims of some of his brethren. "We wanted to make a strong statement," Showtime boss Robert Greenblatt said last year about Sleeper Cell. "Just because the show is about terrorism does not mean that all Muslims are terrorists."

Violent and sometimes sexually tawdry, as only pay cable can be, Sleeper Cell is not for the faint of heart, but it provides well-constructed thrills with its tour of the morally ambiguous land of counter-terrorism.

Tsunami fails, in part, because it lacks the shades of gray that make for colorful drama. It does contain two of the best TV performances you'll see this year: British actors Chiwetel Ejiofor and Sophie Okonedo are scintillating as parents who lost their little girl in the big wave.

HBO televises Tsunami tomorrow and Dec. 17 from 8 to 10 p.m. Sleeper Cell goes from 9 to 10 p.m. for eight consecutive days beginning tomorrow. It repeats at 11 p.m. and will be repeated at other times and be available on demand. The same concentrated schedule worked well for Showtime last year.

"It's very serialized," Greenblatt said, "so we thought there would be more impact to do it all at once."

Last year, undercover FBI agent Darwyn Al-Sayeed, played with passionate energy by Michael Ealy (Barbershop, Their Eyes Were Watching God), helped foil a plot to blow up Dodger Stadium and everyone inside. When the action opens tomorrow, he's spending quiet time in San Diego with his girlfriend and her kid.

"Just when I thought I was out, they pull me back in." Michael Corleone and Silvio Dante said that. Al-Sayeed didn't. But he could, as he winds up this time the leader of a ragtag cell of extremists that includes your standard-issue Iraqi hothead (Omid Abtahi) and a gorgeous Dutch Muslim convert (Thekla Reuten).

Meanwhile, Ilija Korjenic (Henri Lubatti), the terrorist who got away, is hightailing it with his girlfriend to Canada, and the one who got caught, Faris Al-Farik (the amazing Oded Fehr), still causes trouble even under withering interrogation. (Is it torture? Yeah).

Good and bad are not clearly defined in this world. Al-Sayeed's liaison with the FBI is a wet-behind-the-ears nepotism beneficiary who uses the Patriot Act in Monday's episode to coerce a harmless individual into a nefarious scheme, with awful consequences.

Tsunami is overrun with nefarious characters - Thai officials and foreign hoteliers - who try to cover up a report that predicted the disaster and then profit from it by ripping off beachfront property in the aftermath.

There's a seedy but dogged journalist (Tim Roth) and an Aussie welfare worker (Toni Collette) who says she finds herself actually happy for the first time in her life in the chatty chaos caused by the tsunami.

The British Embassy, apparently, did a lousy job helping U.K. victims, which surely upset folks in Old Blighty, but doesn't resonate strongly in the U.S.A. Neither will the speeches on ethics and the haphazard direction that wash through the mini-series

http://www.philly.com/mld/philly/entertainment/television//16199669.htm?template=contentModules/printstory.jsp

dad1153

12-09-06, 06:25 PM

Critic's Notebook
Game Shows, Espionage and the Tragedies of Life
By Susan Stewart, The New York Times December 9, 2006

"The Chuck Barris Story: My Life on the Edge" Sunday at 8PM & 11PM ET/PT on Game Show Network

Television is such a fast-moving medium that it tends to turn schlockmeisters into auteurs before we’ve forgotten the junk that made them famous. Such a case is Chuck Barris, the creator of 1960s and ’70s game shows that were despised by the critics but that in retrospect seem to be the work of a visionary.

After all, would there be an “American Idol” without Mr. Barris’s “Gong Show”? “The Bachelor” without “The Dating Game”?

“The Chuck Barris Story: My Life on the Edge,” a biography that will be shown tomorrow night on GSN, does not go so far as to ask whether we would be better off without the legacy of Mr. Barris. It simply makes a strong case for its subject as a television innovator while acknowledging that he is also a little nutty. Both sides of the man are fascinating.

Mr. Barris was born in Philadelphia in 1929, graduated from Drexel University and wrangled a job in an NBC training program by saying he had references from board members of NBC’s parent company.

His father, who worked in textiles, was not his inspiration.

“I think my ambition came from my great fear of ever ending up in that clothing business,” says Mr. Barris, who even in his 70s retains the candor and roguish personality of his days as the host of “The Gong Show.”

That show, Mr. Barris’s crowning achievement, and also his undoing, first appeared in 1976, around the time when he had a mind-boggling 27 programming blocks on the air. “Gong” took the silliness of “The Dating Game” and the sexiness of “The Newlywed Game” and added a spoof of Ted Mack’s “Original Amateur Hour.” Basically, “Gong” rewarded talentlessness.

Flipper-wearing cellists, bad singers and even a pre-Pee-wee Paul Reubens were among those who performed for up to 90 seconds, provided that a celebrity judge like Phyllis Diller or Scatman Crothers didn’t ring the gong to silence them first.

As host, Mr. Barris set the tone, and he quickly became a self-parody, wearing a holster with a rubber rooster in it and generally behaving like an idiot.

“I always felt I had a midlife crisis right on coast-to-coast television,” he says. Thanks to Mr. Barris’s soul-baring silliness, this precursor of reality TV was itself the first reality show.

“My Life on the Edge” also covers Mr. Barris’s many marriages and his sad private life; his only child died of a drug overdose in 1998. Then there is his other claim to fame: his contention that, while chaperoning prizewinners from his game shows on international vacations, he worked as a paid assassin for the C.I.A.

“I saw him kill three guys,” says the actor Pat Harrington. It is impossible to know if he is kidding. Mr. Barris’s book about this shadow life became a 2002 movie by George Clooney and Charlie Kaufman, “Confessions of a Dangerous Mind.”

Mr. Barris’s mind doesn’t seem the least bit dangerous today, but his confessions are refreshing, and even poignant.

http://www.nytimes.com/2006/12/09/arts/television/09chuc.html?ref=television

fredfa

12-09-06, 06:29 PM

Critic’s Notebook
Serials on the slide
By Diane Holloway Austin American-Statesman

The fall TV season's biggest trend — serialized dramas — arrived in a big parade. Now most of them have been tossed into the trash.

The season was resplendent with serials. Some of them were good, some mediocre, some not good, many already gone. Only one, NBC's "Heroes," has emerged as a bona fide hit.

The major networks asked us to lock in 15 hours a week of appointment viewing for new and returning serial dramas. Even with TiVo, who has that kind of time?

Critics tried to warn the broadcast executives that they were asking too much before the season began, but the TV honchos were having none of it.

"Serials are an excellent way to tell stories," said Jason Smilovic, creator-producer of NBC's eagerly anticipated but quickly canceled "Kidnapped." "You live and invest in one story for the season."

"We've reclaimed the water cooler!" crowed CBS entertainment chief Nina Tassler before the show premiered. "People are investing in characters and making commitments to stories."

Or not. Many of the touted newcomers were dead or dying before Thanksgiving.

Despite heaps of critical praise, "Kidnapped," about the abduction of a wealthy teen in New York, debuted to disappointing ratings. Within a few weeks, NBC moved it to Saturdays and then banished it from the schedule altogether.

ABC boasted the biggest batch of new and returning serials, including the two hotties "Desperate Housewives" and "Lost."

But "Lost" has been bleeding viewers this season, recently beaten in the ratings by CBS' procedural drama "Criminal Minds." Just as "Lost" seemed to be regaining its footing after an early season of confusing stories, ABC took it off the air until Feb. 7. Bad break.

ABC's newcomer "The Nine," about a group of people caught up in a 52-hour hostage crisis, was pulled during Thanksgiving weekend and has been put on hiatus indefinitely; and "Six Degrees," a relationship sudser about a group of young New Yorkers connected by odd coincidences, was yanked in October and might return in January.

Fox's "Vanished," about the mysterious disappearance of a prominent politician's wife, vanished within weeks of its debut, and the CW's "Runaway," about a family on the lam, disappeared without a trace, too.

It's easy to give up on a serial or avoid it in the first place. Some people are afraid to commit to a show that will leave them confused if they miss an episode or two. Others don't want to get involved with a show and then have it canceled before the mystery is solved.

Just because an overdone trend is kaput doesn't mean there aren't serials out there worth watching. Fox's "Prison Break" is on hiatus, scheduled to return in January, and "24" begins its new season in January. Both shows are suspenseful and appointment-worthy.

http://www.austin360.com/tv/content/tv/stories/2006/12/5/5tvcolumn.html

VisionOn

12-09-06, 07:59 PM

keenan

12-09-06, 08:32 PM

Those popups do seem to have Moonves' fingerprints all over it. The new this season light green box box in the lower left hand corner of CBS HD/DD 5.1 programs is annoying as well.

dad1153

12-09-06, 09:10 PM

Moonves is hardly alone in putting annoying bugs on the screen. If anything NBC and TNT are king when it comes to putting annoying pop-ups in the middle of a show, although every network does this now except for HBO. No pop-ups during their TV shows (that I've seen) = class! :)

Speaking of pop-ups, was anyone seriously annoyed at Sci-Fi Channel for leaving a permanent bug/ad for 'The Lost Room' during last Friday's 'Battlestar Galactica' (and I pressume the entire primetime line-up) on the lower right corner? Is bad enough that 'BG' is letterboxed so it can't be made to fill an HD screen without distortion, but to clutter almost 1/10th of the screen with a freaking plug for a mini-series is too much. Couldn't Sci-Fi leave the 'Lost Room' plug in the unused black portion of the screen so it wouldn't clutter the already-limited screen taken by the 1:78:1 spectrum? I wasn't planning on watching 'The Lost Room,' but Sci-Fi cramming its premiere date during 'BG' ensured I will definitely AVOID it like the plague. :mad:

keenan

12-09-06, 09:22 PM

I'm not saying Moonves is alone in doing it, but to do it on a premium channel is an affront to the whole idea of a premium content channel in the first place.

Regarding SciFi/Battlestar Galactica, since there doesn't seem to any plans to go HD with SciFi, I'd just as soon they aired their letterboxed programs in 4x3. It looks like crap anyways, might as well use more of the available screen real estate. Or, at least simulcast it on Universal-HD, NBC/Uni's cable channels USA/SciFi are some of the very worst looking channels available. You'd think the producers of these shows would scream bloody murder at how bad their product looks when it gets to the viewers home. Might as well use hand-held 8mm cameras to film the stuff.

dad1153

12-09-06, 09:22 PM

Critic’s Notebook
'Cold Case,' hot sound
Nashville's the theme
By David Hinckley, New York Daily News December 9, 2006

COLD CASE. Sunday night at 9, CBS
RATING: TWO-AND-A-HALF STARS (OUT OF FIVE)

"Cold Case" plays it both ways with country music in tomorrow night's episode, which is built around the murder of a promising young singer outside a Philadelphia bar and features the music of country star Tim McGraw.

The writers are pretty nice to the music, even though country isn't exactly the sound for which Philly is known, and they clearly know McGraw's songs because the lyrics several times provide an almost literal narration for what's happening on the screen.

At the same time, the show doesn't mind scaring up a mess of hillbilly jokes. When the team of Rush (Kathryn Morris), Valens (Daniel Pino), Vera (Jeremy Ratchford), Jeffries (Thom Barry) and Miller (Tracie Thoms) learns that two of them must travel to Tennessee to interview witnesses, only Ross expresses a willingness to make the trip, leaving the rest to draw straws.

Short straw has to go.

For the record, the winner/loser does end up getting a reward for his trouble. She's a brunette.

That little road-trip-romance subplot itself could seed a good half-dozen country songs if the writers had the time and inclination. But they're busy spinning the tale of the murder, which is just as well, because it needs as much attention it can get.

It turns out that several minidramas had sprouted up around the victim just before his death.

It also turns out that none of them were especially well camouflaged or covered up at the time of the killing, six years earlier.

But the cop who originally caught the case was less than fully involved. Jeffries, who was once his partner, explains that the guy was more interested in putting in his hours than in going to the extra trouble of actually solving crimes.

If that cop had been just a little more diligent, he might have learned that the victim had a physical confrontation with the club owner earlier on the day he was killed, that the victim's wife had shown up that afternoon to say she was leaving him, and that the victim had just been offered a record deal on the condition that he kick his older brother out of the band.

Which he did, meaning he had an eventful night even before he was murdered.

We might also mention that his band's lead guitarist was a heroin addict who would do anything for money. So the potential perps and their motives could fill a whole folio of country songs even before a final twist that occurs right before our boy takes a bullet in the chest.

Right after that, by the way, the writers can't resist a last hillbilly gag, thinly disguised as tragic irony. Explaining it would mean giving up the killer, but here's a hint: It involves his cowboy hat.

In the end, McGraw's music and the culture-clash jokes add some seasoning to a solid if fairly routine night's work for the "Cold Case" team.

http://www.nydailynews.com/entertainment/ent_radio/story/478459p-402525c.html

dad1153

12-09-06, 09:42 PM

Critic’s Notebook
The Countless Varieties of a Single Emotion: Love
By Felicia R. Lee, New York Times December 9, 2006

The close-as-brothers relationship between Azim Khamisa and Ples Felix certainly exemplifies friendship as a kind of love. But it is an even more extraordinary example of forgiveness, compelling enough to be included in the PBS documentary “The Mystery of Love,” to be broadcast on Wednesday night.

“Mystery” serves up experts and ordinary people to investigate love’s varieties, and includes the story of how Mr. Felix’s grandson killed Mr. Khamisa’s only son. Afterward the men met and began teaching nonviolence as a way to redeem the tragedy, and their relationship deepened.

“The collective culture is competition, conflict and violence,” Joan Konner, the executive producer of “Mystery,” said in discussing why she turned her journalistic skills to a hardly neglected topic. A former dean of Columbia University’s Graduate School of Journalism, Ms. Konner said she sought to encourage people to consider love as a tool to replenish a post-9/11 society that she said was focused on survival, and getting and spending.

“I hope that people become aware of the many deep connections and give them as much honor as they do the dominant stories in the culture, which are love and sex and religion,” Ms. Konner said in an interview about the program. Most often, the love stories we tell are about romance and sex, she said.

Given that even the oceans of wisdom from Shakespeare to Dr. Phil cannot unknot love’s challenges, “Mystery” introduces viewers to many types of love stories and many ideas about what it all means. The stories include those of an elderly, interracial couple in Indiana who live together platonically; a 30ish couple about to be wed; the seemingly odd-couple marriage of an opera singer and a hog farmer in Minnesota; a national group of motorcyclists who help abused children; three brothers in Baltimore who went to Iraq at the same time; and even a glimpse at connections among primates.

As host, the writer and actor Anna Deavere Smith brings together the stories, which are threaded with comments by people like the Rev. Dr. James A. Forbes Jr., senior minister of the Riverside Church in Manhattan; James Hillman, a psychologist and author of “A Terrible Love of War”; and Dr. Frans de Waal, director of the Living Links Center at the Yerkes National Primate Research Center of Emory University, where the chimps have their own love stories.

Ms. Konner, an award-winning television documentary producer, said she found no fewer than 1,000 current “experts” who have written about love. She discovered a handful of the show’s subjects through a professional choir called Conspirare, based in Austin, Tex., which is included as an example of communal love and whose orchestral and chamber music is featured throughout “Mystery.”

Ms. Smith was chosen as host, Ms. Konner said, as an alternative to hiring a glossy broadcast journalist who might not have had Ms. Smith’s intellectual bona fides. For her part, Ms. Smith said she was taken with the program’s presentation of love as a radical force, beyond the usual boy-girl fluff.

“I’m interested in connection,” said Ms. Smith, who teaches at New York University, in the Tisch School of the Arts and at the law school.

“On the one hand, the traditional family has fallen apart; it doesn’t exist like it did a generation ago,” Ms. Smith said. “On the other hand, we haven’t created a way for people to have intimacy outside of one-on-one relationships. We don’t have enough ways to care for each other; that’s the moment we’re living in. We need love to solve the problem of education, and I don’t know how we’re going to solve the health care problem without love.”

The major financing for “Mystery” came from the Fetzer Institute in Kalamazoo, Mich., a nonprofit foundation that, according to its literature, has a mission to foster the awareness of the power of love and forgiveness. Among other things, the foundation finances research on topics like altruism and compassion. It was endowed by John E. Fetzer, a pioneer in broadcasting and the former owner of the Detroit Tigers. Community groups in cities across the country, as part of an initiative financed by the Fetzer Institute, are convening with their group members and others to watch “Mystery” and talk about its ideas.

In Dayton, Ohio, for example, a group called Civic Life International is assembling a diverse group of 80 people to talk about love and race relationships. They will meet on Tuesday at the local PBS station to see two segments of “Mystery,” in advance of the national broadcast.

“When we talk about love, we don’t want to talk about it in isolation,” said Tokunbo Awoshakin, the executive director of Civic Life International, a group composed of journalists and professionals in conflict resolution who work to help African and minority communities. “How do you put love into action in a diverse community like Dayton, which is deeply segregated along lines of race and class?”

The story of Mr. Khamisa and Mr. Felix certainly happens along a few social fault lines. In San Diego in 1995, Tariq Khamisa, 20, was in a car delivering a pizza when Tony Hicks, Mr. Felix’s grandson, then a 14-year-old eighth grader, shot him to death. The teenager, who admitted the killing and was sentenced to 25 years in prison, was part of a gang that intended to rob Mr. Khamisa.

Mr. Khamisa, a devout Muslim, and Mr. Felix, who talks about society’s perception of his black grandson, now travel the country discussing forgiveness and the prevention of violence. In “Mystery” they tell their story to a group of elementary school students and ask how many would want revenge for Tariq’s death. Many hands shoot up.

“But let me ask you, would revenge bring Tariq back?” Mr. Khamisa asks.

Another provocative segment on the documentary, called “Love and War,” shows Mr. Hillman, the psychologist, theorizing about the brotherhood of the battlefield. Across cultures and across time a collective thrill runs through civilizations as they march off to face an enemy, Mr. Hillman said in an interview about his participation in the program. “How the hell do you account for the fact that we’ve been at war since human history began?” he said. “We must love it.”

“The love of war is a love, in war, of the men for each other,” Mr. Hillman says in “Mystery.” On a more mundane and upbeat note, “Mystery” takes us to the wedding of Mark Cravotta and Monica Proctor, musicians in Austin who met on the Internet and then grappled with preconceived notions of what a relationship should be. Ms. Proctor was wary that Mr. Cravotta was twice divorced and had a child. He realized that he had never really seen marriage as a lifetime commitment.

“We are in a position now where we definitely could get hurt,” Mr. Cravotta says in the show after he and his wife exchange vows. “And we’re in anyway. But that’s where the juicy stuff is.”

http://www.nytimes.com/2006/12/09/arts/television/09love.html?_r=1&ref=television&oref=slogin

VisionOn

12-09-06, 09:50 PM

I'm not saying Moonves is alone in doing it, but to do it on a premium channel is an affront to the whole idea of a premium content channel in the first place.

Exactly my thoughts. You pretty much expect it with ad supported channels, especially on the basic cable tier but I don't recall ever seeing an onscreen ad during a show on any other subscription channel I see, even if it's for their own product. Which is as it should be.

Showtime even does it during movies. It wouldn't be so bad if they had a good selection of first-runs but right now I'm subscribing to a premium channel running movies that have already been around the block a few times and I'm getting ads during them!

Premium movies and shows without ads is one of the primary reasons for subscribing to begin with.

dad1153

12-09-06, 09:54 PM

Critic's Notebook
'Terror porn' is still just TV
By Verne Gay, Newsday December 8, 2006

Most critics swooned over "Sleeper Cell" last December when it bowed as a short-run miniseries on Showtime, but there was one meanie who dissented. That was New York Observer writer Ron Rosenbaum who branded this "terror porn," or a new form of entertainment that glorified in the latest bogey to stalk the American psyche.

He wasn't wrong, but does "terror porn" necessarily make a show bad? Not at all. "24," the Bob Guccione of the genre, is often terrific (often outrageously silly, too, but still terrific.) TNT's "The Grid" was OK, (right?) and so was "Alias." But not all shows that dabbled in terror porn were winners. (Remember ABC's "Threat Matrix"?).

"Sleeper Cell" is, by and large, a winner.

But because we're friends, we can be honest with one another, and just admit the obvious here: "Sleeper Cell" is nicely acted, produced, written, directed, but is still so deeply rooted in the conventions of the medium, that no matter how hard it tries, or how hard it wants to be something else, this still ends up Just TV.

Nothing wrong with Just TV, except that last season, "Sleeper Cell" badly wanted to be an oracle, a clarion, or even the Truth, writ large. By that standard, "Sleeper Cell" does not always make the cut. Take out a couple of dirty words here, a couple of boob shots there, and this could easily air on CBS, Friday night at 10 - with commercials. This season as last, "Sleeper Cell's" unique selling proposition is that the terrorists among us are not media stereotypes, but a rainbow coalition of races waging ideological battles among themselves. But this sometimes feels more politically correct than politically accurate. In its stated intention to promote understanding, "Sleeper Cell" wants to offend no one, Muslims included. That's a TV impulse, writ large.

Sunday night, Michael Ealy - reprising his role as undercover Fed Darwyn Al-Sayeed - pulls one of those "I Want Out But They Just Keep Dragging Me Back" routines. There's an opening for a teacher at Quantico, but ... well, you know the drill: He saved L.A. once, and now he's gotta do it all over again. As always, Ealy's good, but when will his fellow terrorists get hip to the fact that a guy who can buy a Stinger with one hand and shoot somebody dead with the other isn't supposed to be so damned cute?

Oded Fehr is back too, as the appropriately menacing, and now shackled, terror kingpin Faris Al-Farik. He's in jail, where we get a glimpse of what "Sleeper Cell" would like us to believe are Guantanamo-like "interrogation" procedures. They're harrowing, indeed, with good-cop/bad-cop routines, while an Islamic Army chaplain even tries to work his charm. The results - you can guess - are predictable.

Meanwhile, there are some newcomers who will perhaps improve upon last season's foiled plot to blow up Dodger Stadium. We get a female terrorist this time - Dutch actress Thekla Reuten, as Mina. There's a Hispanic as well - Benny Valazquez (Kevin Alejandro) and a Middle Eastern terrorist by way of the U.K., Salim (Omid Abtahi). They all form the core of the new cell Darwyn penetrates.

Let's not overlook a couple of standouts from last season. Ilija Korjenic (Henri Lubatti) has avoided the dragnet and is fleeing the country. Gayle Bishop (Melissa Sagemiller) is still in love with Darwyn and still long-suffering, wondering when - or if - they'll ever have a normal life together.

Like last season, Showtime will blow the series out over eight consecutive nights, hoping for maximum impact and viewer interest. There's plenty of impact, all right, but it's still hard to forget it's a television screen you're looking at.

SLEEPER CELL: AMERICAN TERROR. Airing over eight nights, the series once again fuses a crash course in Islam with an action/adventure thriller. Premieres Sunday at 10 p.m. on Showtime.

http://www.newsday.com/entertainment/tv/ny-ettel5005704dec08,0,2913541.story?coll=ny-television-headlines

dad1153

12-09-06, 10:16 PM

Technology
The Hat Trick That Didn’t Happen
By Richard Siklos, The New York Times December 10, 2006

WITH the arrival of mittens and mufflers comes the inevitable onslaught of year-in-review columns. Certainly there have been plenty of media milestones this year — from the march of Google and the explosion in online video to the turmoil in the newspaper industry, led by the disappearance of Knight-Ridder and the upheaval at the Tribune Company. Then there was Sumner M. Redstone’s banishing of the Toms (Cruise and Freston) and Rupert Murdoch’s fiasco with O.J.

But we’ll leave the highlights and lowlights to others. What we’re really interested in is the year that wasn’t: the trends that seemed as if they would change the world but instead reminded us that behind the frenzy — and there’s no better word for it — the wheels of change turn more slowly than we think. So here, with 2006 all but over except for the bonuses, are three contenders for the year that wasn’t:

HIGH DEFINITION It sure looked as if this would be hi-def’s year, with sleek flat-panel televisions flying off of store shelves, new formats for watching DVDs with crystalline pictures and even a new kind of radio that borrowed the term.

Sure, this was the first year when sales of digital TVs were supposed to outstrip sales of analog sets. But it turns out that there is a big difference between owning a high-definition flat-panel display and using it to watch high-definition programs.

According to a recent survey by Frank N. Magid Associates, the number of people buying these sets who are looking forward to watching television shows in hi-def format has actually declined, to 47 percent from 63 percent two years ago. And while nearly half of current owners of HDTV sets said that their main reason for buying one was to watch programs in HD, only 25 percent of those now shopping for the sets feel that way.

The reason for this lack of enthusiasm is pretty clear in my own home. For one thing, plenty of shows on the high-definition channels I receive with my digital cable package appear with big black borders — because of the aspect ratio or somesuch — and I can’t figure out whether this is my doing or the cable company’s or the broadcaster’s.

Moreover, it requires yet another cash outlay to gain access to premium HD fare like Dan Rather’s new crystal-clear newscasts on Mark Cuban’s HDNet.

High-definition, or digital, radio is a vastly more mysterious phenomenon, with very few receivers in homes but some 1,000 new radio channels beaming around the country like space probes searching for alien life. This industry is very much in its infancy and new, less-expensive players are about to hit the market.

Digital radio does have a few things going for it, including the fact that it’s free — once you buy a receiver — and could be an interesting alternative to the niche and ad-free channels that have drawn attention and listeners to satellite radio. That said, HD Radio in the near term faces a huge marketing challenge to convince people that they should invest in yet another gadget.

As for high-definition DVDs, there are two new but incompatible, and thus warring, formats: the Sony-led Blu-Ray and the Toshiba-led HD-DVD. That bodes well for just about anything but DVD sales.

MOBILE MEDIA There were many nifty product and service introductions this year among phone and media companies, including content developed just for the tiny screen. Yet some things — like an ESPN-branded phone — have already come and gone for lack of traction.

But even for all the clips and whatnot that have come to market, mobile has not yet amounted to a meaningful new media business — and for two vexing reasons.

The first is logistics. On its face, the beauty of mobile is that you should be able to do anything with it that you can on the Web — only while on the move. Simple, right? The problem is that, unlike the Web, cellular networks are privately owned and most things that media companies are trying to do require — at the very least — technical clearances from the cellphone operators to push material through their networks. By the way, there are 20 phone carriers and 400 models of handsets to work with.

The bigger holdup also relates to the mobile-qua-Web notion. The big thing right now online is business models based on giving people things free with advertising rather than having them pay. (Think AOL’s big strategy shift or free reruns of episodes of “Grey’s Anatomy” online.)

However, the idea of putting ads of any kind on cellphones — whether 30-second spots or pop-ups or spam — is a can of worms. Better luck next year.

THE AVATAR Finally, I had great hopes that 2006 would be the Year of the Avatar. After all, few things are more curious and compelling than the growing popularity of virtual worlds like Second Life and There.com.

Millions of Yahoo users have created avatars — digital renderings that may or may not resemble their real-life selves, in appearance or action; the avatars are used on e-mail and instant messages and on its Yahoo Answers site, among other places.

This summer, IAC/InteractiveCorp got into the game by starting Zwinky.com, a Web site for creating avatars that can be used to hop around to various destinations on the Internet and to interact with others. Last week, CBS even announced an avatar-based game for mobile phones. It all sounds good, but critical mass is still far away.

For one thing, most people over 30 have a bit of difficulty grasping the concept of why you’d want a digital version of yourself online. (Fair enough.)

But the bigger issue is what you do with your other self. In the case of Second Life, the virtual world saw its “population” grow to more than one million, but a large number of folks never make it past their first visit. It turns out that navigating a second life can be as complicated as living the first one.

ENOUGH about 2006. Any of these near misses may break through soon, or, who knows, the new year may herald something completely different.

What do you think 2007 will be “the year of,” when it comes to media? In the spirit of the season of inclusiveness, I invite you to share your visionary predictions with me at frenzy@nytimes.com.

http://www.nytimes.com/2006/12/10/business/yourmoney/10frenzy.html?ref=business

fredfa

12-09-06, 11:04 PM

rebkell

12-09-06, 11:24 PM

Those popups do seem to have Moonves' fingerprints all over it. The new this season light green box box in the lower left hand corner of CBS HD/DD 5.1 programs is annoying as well.

That's NBC that has the Green logo in the lower left, CBS has the spinning eye when it comes back from commercial in the lower right. Or are you talking about something else?

Edit: Never mind, I know what you're talking about on CBS, I was just thinking about the logo.

fredfa

12-10-06, 12:49 AM

TV Notebook
In November Sweeps, NBC’s Williams Is First Among Anchors
By Jacques Steinberg The New York Times December 9, 2006

If the recently concluded November sweeps period was the equivalent of the busy Christmas shopping season for the three network evening newscasts, each of which is a business generating annual revenues in excess of $100 million annually, then the heaviest foot traffic passed through the front door of “NBC Nightly News With Brian Williams.”

With an average daily viewership of 9.6 million viewers, Mr. Williams attracted an audience 7 percent bigger than that of “World News With Charles Gibson” (8.9 million) and 23 percent bigger than the “CBS Evening News With Katie Couric” (7.8 million), according to figures released this week by Nielsen Media Research.

The three annual sweeps periods (the others occur in February and May) are a bellwether for advertisers, and last month’s contest was particularly important because it represented the first in which Mr. Williams, top-rated since he succeeded Tom Brokaw in December 2004, went up against Mr. Gibson and Ms. Couric.

Mr. Williams’s broadcast also won, albeit more narrowly, in the demographic category typically used to sell advertising on the evening news, viewers ages 25 to 54. It drew 3 million such viewers on average each night — about 100,000 more than ABC (2.9 million) and more than 500,000 more than CBS (2.4 million), according to Nielsen.

“I’m thrilled that we’re winning, and that viewers keep coming to Brian,” said John Reiss, executive producer of Mr. Williams’s broadcast, which was able to withstand a heavy marketing campaign mounted on Ms. Couric’s behalf around her Sept. 5 start. “You’ll win by more some years, and less others. The one thing consistent is Brian is No. 1.”

While all three broadcasts have shed viewers since last November, the most noteworthy loss, arguably, has been at CBS, where Ms. Couric — who is being paid an estimated $15 million a year for her work on the evening news and “60 Minutes” — attracted 169,000 fewer viewers, on average, each night than Bob Schieffer was drawing a year ago, a loss of 2 percent. (Of some consolation to CBS is that Mr. Williams is actually down by far more than that, having lost 900,000 viewers a night — 8 percent — in November when compared with his own showing last year. Mr. Gibson lost just 63,000 viewers each night, on average, when compared with last year, when ABC, following Peter Jennings’s death, was using a rotating cast of anchors.)

Asked about CBS’s performance in the November sweeps, Rome Hartman, the executive producer of Ms. Couric’s broadcast, emphasized a theme he has been articulating all fall.

“We really have been focused on trying to make the broadcast as good as it can be and not chasing any specific demographic or viewer, but hoping we are doing a broadcast that is interesting and lively and valuable,” Mr. Hartman said. “That is going to be a long process and hopefully one that will be successful. It’s going to take time.”

Mr. Hartman had said on the eve of Ms. Couric’s first broadcast in September that she would use much of her first year to experiment, and, three months into her run, she has already begun to retool a bit. A new nightly segment called “Free Speech,” in which she had asked outsiders (as well as Mr. Schieffer, on Wednesdays) to provide 90 seconds of opinion each night, is being drastically scaled back, though not eliminated.

Mr. Hartman said he felt the segment generally worked best when it was given over to people who were not well known, and thus a segment scheduled for last night featured a British journalist complaining about American gas-guzzling. A future segment will showcase a woman who suffered a spinal cord injury while giving birth to her second child; she will talk about hope.

In place of “Free Speech” on some nights, Mr. Hartman said, the broadcast may emphasize Ms. Couric’s skills as an interviewer. On Thursday night, for example, Ms. Couric introduced a segment titled “Person to Person,” in which she interviewed Sandra Day O’Connor, the retired Supreme Court Justice. (“Person to Person” was also the name of Edward R. Murrow’s popular interview series, which was on CBS from 1953 to 1961.)

Jon Banner, executive producer of Mr. Gibson’s broadcast, said he found much within the November figures that was encouraging. For example, NBC’s lead over ABC — about 650,000 viewers a night in November — was less than half of what it was a year ago, while ABC increased its lead over CBS (by about 100,000 viewers, to 1.1 million).

“We want to be No. 1, and we clearly have work to do,” Mr. Banner said. “But we take some pride in where things are heading.”

And what of “Today,” the NBC morning show that Ms. Couric left behind for CBS?

With Meredith Vieira having replaced Ms. Couric, “Today” drew an average daily audience in November of 5.8 million, about 735,000 more than “Good Morning America” on ABC (5.0 million) and nearly double the audience of “The “Early Show” on CBS (3 million).

http://www.nytimes.com/2006/12/09/arts/television/09swee.html?_r=1&oref=slogin&ref=television&pagewanted=print

dad1153

12-10-06, 12:53 AM

TV Notebook
In November Sweeps, NBC’s Williams Is First Among Anchors
By Jacques Steinberg The New York Times December 9, 2006

http://www.nytimes.com/2006/12/09/arts/television/09swee.html?_r=1&oref=slogin&ref=television&pagewanted=print

Fred, are you not even bothering to look anymore? Previous page, post #18906! :mad:

keenan

12-10-06, 02:36 AM

That's NBC that has the Green logo in the lower left, CBS has the spinning eye when it comes back from commercial in the lower right. Or are you talking about something else?

Edit: Never mind, I know what you're talking about on CBS, I was just thinking about the logo.
Yes, it's only at the beginning of the program. It's a cheap, TNT-style look.

dad1153

12-10-06, 05:52 AM

Critic’s Notebook
Web TV: My life is good!
Top shows when I want
By Marisa Guthrie, New York Daily News December 10, 2006

What was life like before the Internet? Who wants to remember?

I've suppressed those dark days before the convenience of e-mail and the instant gratification of online shopping, pushed them deep down to the place where childhood traumas and mother issues reside.

Now, the Web has made keeping up with the many television shows I simply don't have time to watch between the prescribed primetime hours of 8 p.m. to 11 p.m. a cinch - or a click, as it were.

The tough choices - do I go to yoga class or do I head for the couch and "Grey's Anatomy" - are blessedly a thing of the past.

For the first time this season, most of the broadcast networks have made their series available online for free immediately or shortly after they premiere. This is a new ad-supported model, so there are commercials, but they are mercifully short (usually 30 seconds) and much less frequent (usually three breaks per hour-long show). Now that's progress.

On a recent Tuesday, I am my own network programmer, watching what I want, when I want - with nothing to program.

I start with the previous Thursday's episode of "Survivor," the one in which Candice finally got the ol' heave ho from the Cooks. CBS offers a full-screen version of online episodes, but as with the other networks' offerings, the bigger the frame, the less sharp the picture. And near the end of the episode, my screen froze when Candice's face was twisted, mid-snarl, during her rant at Jonathan. (To be fair, this happened on all the sites, at least on my computer.)

In about 45 minutes, I was through "Survivor." A quick check in with "Survivor Live," the Web recap show, revealed little, except maybe that Candice actually looked better when she was on the island not showering or eating.

After so much unscripted comedy, I felt compelled to check in on the professionals. Comedy Central breaks out episodes of "The Daily Show" and "The Colbert Report" in segment chunks, so I was able to quickly watch Jon Stewart roll through the headlines and move on to "The Colbert Report" and watch Stephen Colbert get indignant at the unsettling rise in discrimination against smokers and people with lots of tattoos.

Comedy Central also offers one of the best made-for-the-Web series: "Good God." (Think "The Office" set in heaven, starring Steve Carell as God and Death as the dreaded Dunder Mifflin bean counters.) Time invested on all three: 15 minutes.

I'm rarely home for two of the best new shows of the season: "Heroes" and "Friday Night Lights." I have watched almost the entire season of "Lights," which airs Tuesday nights at 8, on the NBC Web site. "Heroes," Mondays at 9 p.m., is easier to catch, but I missed last Monday's episode. And as the final new chapter this year - the show returns with new episodes on Jan. 22 - it was one of this series' best.

The brave new world of TV anytime may someday supplant the TV model we've known since the medium's inception. But according to early research, people would still rather watch on television than on their computer. What online and downloadable-for-purchase viewing presents us with are options. And no one ever went broke offering consumers more options.

I regularly watch "Grey's Anatomy," "Desperate Housewives," "Day Break," "Ugly Betty," "The Office" and "My Name is Earl" online, which frees up my primetime to spend with real people, like my yoga teachers. Inner peace never came so easy.

http://www.nydailynews.com/entertainment/ent_radio/story/478812p-402818c.html

grittree

12-10-06, 08:48 AM

Many routinely (and arrogantly) make fun of HD newbies here and on other websites, but the Siklos article is sadly instructive. He certainly is not an idiot or a J6P or any of the other derogatory names so easily flung at folks who just don't "get" HD.

The fact is that how to hook up and get HD signals is almost incomprehensible to an average intelligent American. That, IMO, is the major reason the transition has been so arduous -- not to mention so maddeningly slow.

I think this shows the decline in the quality of journalists. He admits he doesn't even know that not all shows on HD (sic - sb digital) channels are in widescreen. So I should care what he thinks about other technology?

because of the aspect ratio or somesuch — and I can’t figure out whether this is my doing or the cable company’s or the broadcaster’s.

foxeng

12-10-06, 08:54 AM

The fact is that how to hook up and get HD signals is almost incomprehensible to an average intelligent American. That, IMO, is the major reason the transition has been so arduous -- not to mention so maddeningly slow.

While that is certainly a major issue, I deal with it on an almost daily basis so I know it is true, I think the real reason has nothing to do with the "installation" of the set but with the "ego" of the set.

I am starting to hear and see stories where people will go and spend BIG dollars on a HD set, take it home, plug in the composite RF out of the cable box and set the TV on analog channel 3 and tell everyone, "Hey, I have a HD TV! Come look at it!"

I have two friends who don't know either other who have done that. I have gone over to see their sets, see it isn't in HD, offer to help get it set up and they refuse. They say there isn't anything wrong with their HD and then I try and tell them the difference and they still aren't interested. I tell them they ARE NOT watching HD and they look at me like I am have just dropped in from outer space, even though they know I work at a TV station and I would know if they had a HD signal or not. IT IS MADDENING!! I have another friend who has had the same experience with one of his friends. He called me to ask what he could do to make the guy listen to him. I said, pray for him! He has bigger problems. :confused:

It would appear that the new "in thing" is buying a 42 inch plasma and then showing it off like a new born baby. If you are going to do that, go buy a $99 27 inch SD. At least the analog picture will look better.

I didn't realize it was nationwide now. That is scary.

dr_mal

12-10-06, 11:05 AM

Just a followup to the story I posted a couple days ago - looks like Denver should (finally) have some full power OTA HDTV just in time for 2009...

Denver OTA HDTV
Congress oks TV tower
OPPONENTS ANGRY
By Ann Schrader and Anne Mulkern, Denver Post December 10, 2006
Convinced local officials were deadlocked and time was running out, Colorado Republican Sen. Wayne Allard decided to discreetly present a bill that would allow a digital TV tower to be built on Lookout Mountain in Jefferson County.

The bill, co-sponsored by Sen. Ken Salazar, D-Colo., was introduced Wednesday in the U.S. Senate and approved later that night by unanimous consent. It was bundled with more than 30 bills deemed noncontroversial.

The proposal was forwarded to the House, where it passed on Saturday and now awaits President Bush's signature.

If the new tower is not in place by Feb. 17, 2009 - the Federal Communications Commission's deadline for digital transmissions - more than 600,000 metro-area residents who rely on free broadcast television would lose such service, Allard said.

"The choice is simple: We go digital or we go dark," Allard said in a statement Saturday. "Going dark is not an option for the many Colorado households who rely on free over-the-air broadcasts ... particularly those who cannot afford satellite or cable."

The legislation, which would essentially push aside local jurisdiction on the matter, stunned Golden officials and activists who opposed the tower's location.

"If this can be done to us, no community is safe from having their local rights taken away from them," said Deb Carney, attorney for a group of Lookout Mountain-area homeowner associations - Canyon Area Residents for the Environment - that fought the tower.

Jefferson County officials had "no idea" the bill was coming, said Kevin McCasky, chairman of the Board of County Commissioners.

The county board has been considering a rezoning request from a local TV station consortium that has been seeking to build a 730-foot-high digital tower on Lookout Mountain since 1999.

The consortium, called Lake Cedar Group, contends Lookout Mountain is the best site to broadcast the widest coverage. Opponents have raised concerns about health effects, electronic interference and tower failure.

Seven years of rezoning hearings and court cases followed with the debate yet to be settled.

In Golden, e-mails and phone calls to city hall on Friday indicate "people are pretty outraged," City Manager Mike Bes tor said.

"Even people who have no position on the tower have a position on fairness," Bestor said. "People are upset with the process."

The protracted battle over the Lake Cedar Group's tower proposal led to Allard's decision to have Congress intervene, said Sean Conway, Allard's chief of staff. Two years are needed to take down the existing tower and put up the new one, he noted.

Negotiations had broken down with the city of Golden, Conway said, adding that Golden had stopped talking to Allard's office in the past two months.

Allard had been waiting to introduce the bill, Conway said, because he was "holding out hope that some accommodation on the local level could be done."

Still, Conway said, citizen concerns were considered when drafting the bill, noting that it requires the height to be lower than the highest existing tower, which is 834 feet.

Marv Rockford, spokesman for Lake Cedar Group, said Denver "is the only TV market of any consequence that has not deployed this technology."

If the federal deadline is not met, the FCC could redeploy the current
analog frequencies, Rockford said.

The TV consortium "had been talking to the Colorado congressional delegation for years" about the situation, Rockford said, including within the past week.

Salazar said congressional action was needed "to ensure that Colorado does not become a dark hole of digital broadcasting."

All of the members of the Colorado delegation in the U.S. House were told about the bill early in the week and none objected, Conway said.

Salazar spokesman Drew Nannis said Allard, as bill sponsor, handled the timing. "We had an opportunity to get this done, and we took it," Nannis said. "To paint the timing as something nefarious or underhanded is simply wrong."

Republican Reps. Bob Beauprez and Tom Tancredo and Democrat Mark Udall - who represent portions of Jefferson County - did not immediately respond Friday to requests for comment about the legislation.

The debate's tenor shifted for Allard in April when Golden began a condemnation action for the 65-acre proposed tower site on Lookout Mountain, Conway said. The property is owned by the TV stations and is outside of Golden.

Bestor said the congressional action "doesn't impact our ability to use eminent domain." He also suggested there could be a challenge to the legislation's constitutionality.
http://www.denverpost.com/news/ci_4813325

fredfa

12-10-06, 11:54 AM

TV Notebook
Fighting 'American Idol' worship
Rivals scramble schedules in frantic bid to cope with Fox's ratings phenomenon
By Josef Adalian Variety Sunday, Dec. 10, 2006

After five years of virtually unchecked growth, 2007 is the year "American Idol" will finally see its ratings start to fade.

At least, that's what execs at every network not owned by Rupert Murdoch are fervently wishing for this holiday season.

Logically, their dreams aren't farfetched: It's virtually unheard of for a hit show entering its sixth season not to experience at least a little Nielsen erosion.

"At some point, it's got to go down, right?" one rival exec plaintively asks. "I mean, all shows go down eventually, don't they?"

Maybe -- or maybe not. Competitors aren't taking any chances, however.

Like residents of a small coastal town at the mercy of Mother Nature, non-Fox nets are trying to do all they can to prepare for the start of what's now known simply as " 'Idol' season."

Just last week, ABC announced it was moving one of its top dramas, "Lost," to a new timeslot out of the path of what Alphabet scheduling guru Jeff Bader has called the " 'Idol' tsunami." Instead, it'll battle Simon & Co. with new comedies and a William Shatner-hosted gameshow.

NBC, meanwhile, will launch its "Grease" reality skein during the first week of the year, hoping to get viewers hooked before "Idol" grabs away the media oxygen starting Jan. 16.

And CBS is keeping hot frosh drama "Jericho" off the air until late February, thus minimizing the number of times it might face off against "Idol" on Wednesdays.

The frame from January through May has become the most nerve-wracking time of the year for webheads. Fox unleashes about 45 highly-rated hours of "Idol," dominating two -- and sometimes three -- nights each week.

Since moving from summer to the regular season in 2002, "Idol" has vaporized nearly two dozen skeins that have tried to compete against it. Comedy has been particularly hard-hit.

In the film world, studios respond to such overwhelming firepower by simply getting out of the way, scheduling their tentpoles away from one another. Networks, on the other hand, simply can't go dark for a couple hours every week.

Tentpoles can energize the box office, with the success spilling over to rival pics. Similarly, other networks can end up benefiting from the huge influx of viewers who come to watch "Idol" -- and when the show's over, start looking around for something else to watch.

When "America's Next Top Model" aired on the now-dead UPN, net sometimes scheduled the show at 9 p.m. in order to pick up "Idol" junkies hungry for another reality fix.

But the biggest beneficiary, of course, is Fox. The halo effect from the show -- by far, the most popular series on television -- manages to lift Fox's entire schedule, turning shows like "House" into monster hits. The extra lift Fox gets makes it tougher for rivals to compete.

"When they get that new influx of viewers, it transforms their network," one rival sighs. "I don't believe there's ever been a show that's defined a network as much as 'Idol.' They're riding high when it's on, and they're awful when it's off."

Then there's the fear factor.

In a town prone to paranoia, rivals worry that Fox will add extra episodes of the show if it needs the added ratings juice, or fret over the always looming (but still unlikely) threat that the net might choose to move the "Idol" results show to Thursday nights.

Worries come even though Fox -- not wanting to kill its golden goose -- has so far been pretty disciplined about keeping "Idol" at the same number of hours each year.

"It's this hurricane that blows in," says NBC scheduling chief Mitch Metcalf. "We know it's gonna come and when it's going to hit. We just have to buckle down and prepare for it the best we can."

No network claims to have found a sure-fire way to deal with the "Idol" monster, but execs have learned a few lessons about how best to compete.

While "Idol" is that rare TV beast that appeals to viewers from 8 months to 80 years, skeins skewing slightly older seem to fare better than shows that appeal to "Idol's" core 18-to-34 demo.

"You don't want to skew too young," Metcalf says.

CBS senior exec VP Kelly Kahl argues that, opposite "Idol," familiarity breeds success.

"It helps to have a show that has established a bit of an audience before 'Idol' comes around," he says. "Trying new things against 'Idol' is a really tough task."

That's why NBC is slotting two older-skewing, existing franchises -- "Deal or No Deal" and "Dateline" -- against Fox's powerhouse.

CBS has also proven adept at weathering the "Idol" onslaught with skeins such as "NCIS" and "Criminal Minds."

Even the CW's "Gilmore Girls" did well vs. "Idol" when it aired on the now-dead WB. While its young female audience is the same that watches "Idol," its loyal fan base didn't stray.

ABC is taking a different -- and aggressive -- tack this year, however.

Rather than keeping "Lost" as a 9 p.m. Wednesday beachhead vs. the "Idol" results show, Alphabet has opted to slot its buzzworthy new laffer "The Knights of Prosperity."

Net thinks the skein has a male bent that could play well opposite the more femme-friendly "Idol." It's also surrounding "Knights" with three other comedies, hoping to build a traditional comedy block on the night.

"Eighty-seven percent of the country isn't watching 'Idol,' " Bader argues. "There's room for something else to succeed. If it's a good show, people will find it."

Whatever strategy a net adopts, Metcalf argues consistency is key.

"The biggest lesson I've learned is to buckle down," he says, conceding that in past years, NBC might have panicked in response to the damage "Idol" inflicted.

"You see a number you're scared about so you make a change, and then you end up with an even scarier number," he says. "It makes no sense to have a revolving door of shows."

While each net takes a slightly different approach to "Idol," they all have one thing in common: a healthy respect for the show's ability to lure viewers. That hasn't always been the case.

"Early on, I think it was easy to dismiss it as something that would fade," one exec says. "But as the body bags piled up, it became less and less easy to ignore."

Which leads back to the question: Is this the year "American Idol" will finally cool?

So far, the show has defied the laws of Nielsen gravity, maintaining its jaw-dropping popularity despite annual predictions of its imminent decline. Most observers believe that "Idol" will eventually lose a bit of mojo, but argue that trying to predict just when that'll happen is futile.

"My 'Idol' predictions are hopelessly off, so I've stopped making them," Metcalf says. "I think I'll stick to trying to predict the weekend box office, which is easier."

Another network wag says that two years ago, he was convinced "Idol" would weaken because the previous year's finale had been lackluster.

"But it came back just as strong," he says. "One of these years, it's going to be down 5% or 8%, and everyone will say, 'Hmmm, it's slipping.' But when that happens is anyone's guess."

Biggest wildcard with "Idol" ratings is the performers. While Fox shells out millions to make sure Simon, Randy and Paula return each year, there's no way to guarantee that each new crop of singers will appeal to viewers.

As far as Fox is concerned, 2007 would be an awful time for "Idol" to slip.

Net has had another one of its now-patented fall fumbles, with none of its new shows yet demonstrating any hit potential. It also doesn't have the Super Bowl this year, robbing it of the extra ratings cushion the big game provides.

Bottom line: In order to make a run at first place in demos, Fox needs "Idol" to return as strong as ever.

Fox execs declined comment for this story. Last month, however, the net's scheduling czar, Preston Beckman, said the combination of "Idol's" return, a new season of "24" and a plethora of college and pro pigskin games promises to once more transform Fox from fall also-ran to a spring swan.

"We have two nights of '24,' then two nights of 'Idol,' " he says. "By Thursday morning, we'll find ourselves competitive again."

http://www.variety.com/index.asp?layout=print_story&articleid=VR1117955409&categoryid=14

fredfa

12-10-06, 11:59 AM

Technology Notebook
Couch crashers
Internet set grabs a seat in America's living room
By Scott Kirsner Variety Sunday, Dec. 10, 2006

If this was the year that Web video sites like YouTube encroached on TV programmers' turf, 2007 may mark the year the Internet finally invades the living room.

A slew of new companies are trying to make it easier for consumers to access Internet video content on a TV. Verizon is rumored to be in discussions with YouTube to make a selection of the site's most popular videos available on its nascent fiber-optic TV service, which reaches 100,000 homes.

Comcast recently launched a video site called Ziddio, soliciting videos from the general public, and promising to show the best submissions on a Comcast VOD channel.

And Apple is expected to begin selling a device, code-named iTV, in the first quarter of 2007, that will enable a computer to wirelessly beam video to a TV set.

Companies like Microsoft and Akimbo already offer devices that make Internet content available on TV sets, and TiVo recently announced a deal earlier to make programming from Heavy.com and IVillage available on about 500,000 of its digital video recorders. But the number of people who watch Web video television is still small.

"Right now, you have to be a little bit tech-savvy to get all that stuff to work," says Jeff Gaspin, the exec responsible for digital content at NBC Universal Cable Entertainment. "Not a lot of people know how to do it."

Josh Goldman, chief exec of Akimbo, which started selling its $199 device just before Thanksgiving, says it makes getting niche video content to a TV much more economical, and it can help studios leverage their programming libraries in new ways.

Discovery Networks, for instance, has thousands of hours of programming in its archives, and "we want to use these technologies to allow the audience to dig as deep as they like," says the cabler's Billy Campbell.

With access to a nearly infinite number of inexpensively made Internet shows, such new devices would seem to give the networks all the more reason to be afraid. But execs aren't exactly quaking in their boots.

"If you look at the amount of money ESPN puts into covering a major sporting event, and someone who might videotape a college lacrosse game and distribute it on the Internet, there is a clear difference in production values," says Albert Cheng, VP of digital media for the Disney-ABC Television Group.

Or as Gaspin puts it, "There are just so many silly videos you can watch."

Instead, Goldman sees the new TV-Internet link as an entree for semi-professional content providers, like "the yoga instructor who realizes she could sell daily yoga workouts, and suddenly finds herself able to distribute real video on a real TV."

Akimbo offers its service for $9.99 a month, but others are planning to make Internet video available for free, supported by ads or sold on a pay-per-view basis.

Providers like Verizon and TiVo hope to eventually make any online video a viewer would like to watch available in the living room.

"We're experimenting with that now," says TiVo co-founder Jim Barton. "You'll see that within the next year or two."

Mark Moore, chief exec of One True Media, talks about "fusion TV," where viewers would have a blend of professionally produced video of a rock concert or football game with amateur footage and reactions to those same events.

"I think that new types of content will share the stage with more traditional kinds of content," Gaspin says. "But I think the change will be slow enough that we can figure it out without it crippling us. And as long as we're being paid by advertisers or subscribers, it's a good thing."

http://www.variety.com/article/VR1117955360.html?categoryid=14&cs=1

fredfa

12-10-06, 12:45 PM

foxeng

12-10-06, 01:04 PM

Just a followup to the story I posted a couple days ago - looks like Denver should (finally) have some full power OTA HDTV just in time for 2009...

Golden should have known you don't stop talking to your congressional delegation when you are trying to get them to swing your way. Personally I am surprised the Colo delegation waited as long as they did. But you can see the fear of the public backlash NOT connected with the NIMBY's being greater than the NIMBY's. As the article points out, I suspected the condemnation proceedings is what would do them in and I guess it did.

Oh well. I hope this sorted chapter in the digital transition is now finally over.

dad1153

12-10-06, 03:18 PM

TV Notebook
Tuned In: Pittsburgh ties found in 'Lost Room'
By Rob Owen, Pittsburgh Post-Gazette December 10, 2006

Pittsburgh is the lead location in Sci Fi Channel's "The Lost Room" (9 p.m. Monday through Wednesday), and although the six-hour miniseries wasn't shot here, it was dreamed up and written by a team with local ties.

Co-executive producers Christopher Leone, Laura Harkcom and Paul Workman are all Carnegie Mellon University graduates and Harkcom grew up in Cranberry. Together they plotted the "Twilight Zone"-ish story of Pittsburgh cop Joe Miller (Peter Krause, "Six Feet Under"), who gains possession of a key that unlocks a motel room in another dimension. He can step into the room by putting the key in any door's pin-tumbler lock, and he can emerge from the room in any location just by thinking of where he wants to be.

Sounds like an easy way to save on airfare, but Joe's sweet deal takes a bad turn when his daughter (Elle Fanning, Dakota's sister) gets lost in the room. This leads him on a quest to retrieve her and reveals to him more about the motel room, its contents and several factions fighting for control of the room.

The room's contents -- a clock, a comb, a bus ticket, etc. -- each endow the bearer with some unique ability. The bus ticket, for instance, allows the bearer a quick escape from any situation, always depositing him or her on a road in New Mexico.

Jennifer Bloom (Julianna Margulies, "ER") is in a group that feels the objects are dangerous and can cause harm. Karl Kreutzfeld (Kevin Pollak) collects the objects in an effort to use them to save his dying son. Pittsburgh medical examiner Martin Ruber (Dennis Christopher) becomes obsessed with the objects and falls in with a group of religious fanatics who believe the objects were created by God.

"The Lost Room" is certainly a more creative exercise than past Sci Fi miniseries (including "The Triangle"), but it sometimes feels rushed. One minute Joe and Jennifer are at odds, the next, they're sleeping together.

The cabals and their battles get short shrift in this miniseries, which is a shame since that aspect of the story is more intriguing than yet another father-saving-his-daughter yarn. But Harkcom said the cabal stories might yet be told.

"When we sold it to Sci Fi, we had envisioned it as a weekly series and had a whole season just dealing with the cabal wars," Harkcom said this week. "That's something we would absolutely explore ... in an ongoing series."

That also explains the coda at the end of the miniseries' third night that, literally, leaves the door open to continuing adventures in The Lost Room.

Harkcom, a 1989 graduate of Seneca Valley High School and a 1993 grad of the CMU creative writing program (with a minor in drama), began her Hollywood career as a movie development executive. Her stint at Warner Bros. included work on the critically-acclaimed animated film "The Iron Giant."

She left the studio in 1998 to write full-time with Leone. He was the common factor among the "Lost Room" trio, having known Workman at CMU. Over Thanksgiving several years ago, the three started batting around ideas.

"Paul had always had this idea about what's the greatest super power he could have that would be the least conspicuous," Workman recalled. "The idea was there was a motel room that he could live in where he didn't have to pay rent, he had room service and could go anywhere in the world just by thinking about it. He thought that would be the greatest super power. We combined that with an idea Chris had where there's a world like ours with magical objects with supernatural powers. That was the genesis."

Initially they envisioned "The Lost Room" as a film, but quickly realized the story was too expansive. Sci Fi bought their pitch for a two-hour pilot and six additional one-hour episodes in 2003. Eventually it mutated into a six-hour miniseries produced by Lionsgate, the company that will shoot Spike TV's "The Kill Pit" in Pittsburgh next year.

Lionsgate considered filming "Lost Room" here but settled on Albuquerque.

"The [tax] incentive program wasn't here, and we couldn't figure out how to afford to bring the product here," said Gary Goodman, Lionsgate executive vice president of television production.

Harkcom said Pittsburgh was selected as the setting because it was a place all three writers knew, and they got no resistance from the network or studio about that creative choice. "They really liked the idea of it not being Los Angeles or New York. It's a town that more audience members could identify with."

Viewers will hear references to Pittsburgh sites (a pawn shop in Braddock Hills, Bloomfield, the corner of Smithfield Street and Liberty Avenue), but not as many as Harkcom would have liked.

"There were a lot more that didn't clear legal," she said. "We wanted to use Giant Eagle, we wanted to use Ritter's Diner. ... I tried to get as many things into the dialogue as I possibly could."

In addition to "The Lost Room," Harkcom and Leone are in development on a big screen movie called "Jack vs. Future Jack," a comedy about a man who's future self returns to the present to warn himself that he'll be miserable if he breaks up with his girlfriend as planned.

Comcast giveth and taketh away

Comcast will add Fox Reality as Channel 118 on the digital classic tier. Now we can all watch Amber Brkich Mariano and Rob Mariano when their next reality show debuts in 2007. Hooray! (Please note: That's a sarcastic "Hooray!")

On a sadder note, Comcast will drop American Life TV (Channel 124), home of "Homefront" reruns, and arts network Ovation (176). Changes occur Tuesday.

http://www.post-gazette.com/pg/06344/744432-237.stm

dad1153

12-10-06, 03:23 PM

The Business of TV
Survey Says Old Shows Rule
By Jim Benson, Broadcasting & Cable December 11, 2006

Reruns of Law & Order and CSI are legendary as cable saviors, but thanks to a new study, Warner Bros. is touting older product like Full House and The Fresh Prince of Bel-Air. The study, commissioned by the studio, dispels myths about acquired programming on cable.

Conducted by marketing and consulting firm SmithGeiger through online interviews with 1,500 viewers, the Report on Television Viewing Habits shows that reruns of a series find substantial new viewership on cable while also boosting ratings for the show on broadcast. That lends support for the broadcast/cable strategy that began years ago with Law & Order and is now widely imitated. It also demonstrates that cable originals benefit by having reruns as a lead-in.

Warner Bros. execs believe that some of the findings clear up incorrect assumptions. “There are lots of misperceptions about the role of acquired programming on cable,” says Bruce Rosenblum, executive VP of Warner Bros. Media Research. “These shows are workhorses.”

Among the report's findings, the Web proved to be an increasingly significant promotional vehicle, ranking third (with 45% of respondents mentioning it) behind promos in new series (79%) and reruns on cable (70%) for new programs. The Web ranked ahead of magazines, radio, billboards and newspapers—all of which had surpassed it in previous surveys.

Additionally, the survey reveals that familiarity is a powerful motivator, with more than double the respondents (93%) more likely to watch reruns than originals (46%) on cable. Other findings: DVRs do not significantly change viewer habits on cable, a majority of TV viewers turn to broadcast for originals and to cable for acquired fare, and primetime viewers are more likely to turn to cable networks (52%) than to broadcast (48%).

Combined with Nielsen data, the survey reveals that viewers under 35 are drawn to cable reruns that likely first aired before they were old enough to watch. That includes 79% of the viewership for Full House on ABC Family, 69% for Fresh Prince on Nick at Nite, and 43% for The Dukes of Hazzard on CMT.

Meanwhile, the study shows that cable networks have been successful using acquired series to launch originals: TNT's The Closer retains 65% of its Law & Order lead-in; Sci Fi Channel's Eureka keeps 78% of the Dead Like Me audience.

“Cable networks have been very effective at using acquired series as a platform for launching their originals and building their viewer base,” says Liz Huszarik, senior VP, Warner Bros. Media Research.

Some questioned the survey's timing because respondents were questioned in August, when broadcast reruns are the norm and cable originals perform strongly. But Warner Bros. executives believe that didn't skew the answers since results were based in part on full-season ratings and there's still a significant amount of original broadcast programming, including Fox's primetime launch, to counter the shift of viewers to cable in late summer.

Still, others found the results less than eye-opening. One industry executive called the conclusion that acquired series outperform originals on cable a “no-brainer.” While cable networks rely on originals like FX's The Shield to reinforce their brands and appease operators, syndication consultant Chuck Larsen says, their importance is overstated: “With few exceptions, original programming [on cable] doesn't attract large audiences. Network series are already branded in people's minds.”

But Eric Frankel, president, Warner Bros. Domestic Cable Distribution (which licenses 350 series and 3,500 movie titles to 65 cable networks), called some of the findings “fascinating.” He's eager to take the results to the marketplace: “We will go out to our clients and walk them through this.”

http://www.broadcastingcable.com/article/CA6398663.html

dad1153

12-10-06, 03:29 PM

Go 'Bama Team! :)

TV Notebook
Fight to the Finish
Three teams are vying for $1 million prize with the Amazing conclusion tonight
By Bill Harris, The Toronto Sun December 10, 2006

Perhaps the word amazing doesn't quite mean what it used to mean.

Regardless, the season-finale of The Amazing Race takes place tonight (CTV/CBS, 8 p.m.), with the remaining three teams of two vying for the $1-million US prize.

For our money, The Amazing Race remains the best reality show there is. That's a shallow pool, we realize, but first place is first place, regardless of what league you're in.

Blond babes Dustin and Kandice got bounced last week, which we have to admit was a fairly significant surprise. Their absence threatens to take the sting out of the final episode, since the other three teams had been unanimous in their distrust of, and distaste for, the Barbies.

But never fear, faithful viewer: We're sure the magic of the editing process will wring some drama out of the proceedings.

Tonight's shenanigans include a trip to Alaska with the racers forced to drive a team of sled-dogs. Then the participants have to dive into some frigid Alaskan waters to collect a clue, which sends them back to New York City.

The finish line is in Flushing Meadows, N.Y. We seem to recall an episode of The Simpsons in which Homer imagines Flushing Meadows as a land filled with toilets.

We doubt it's actually like that. But still, after trips to places like Spain, Morocco and China, shouldn't this extravaganza be winding up in a more exotic locale than Flushing Meadows? Was Hoboken booked?

Anyway, here's a look at the three surviving teams, and some thoughts as to which tandem is the most likely to win:

TYLER and JAMES (Models)

Strengths: Athletically by far the best team still in contention. They usually don't fight and they work well together, which makes them effective racers but rather bland TV personalities.

Weaknesses: They've been leading most of the way (although they technically are in third place heading into the finale), and the logical choices to win rarely do.

Betting line: 3-1. No one who says "dude" as often as these two should be rewarded.

ROB and KIMBERLY (Dating couple)

Strengths: Blind luck, maybe? Seriously, though, they have shown surprising staying power despite mental meltdowns on a weekly basis.

Weaknesses: Can they make it through one more episode without killing each other? Their crying and arguing and bickering has become tedious, but somehow they're in first place at this point. They claim they want to get married when all this is over. Divorce lawyers, start your engines.

Betting line: 5-1. No one who whines as much as these two should be rewarded.

LYN and KARLYN (Single moms)

Strengths: Intentional or not, their slow and steady approach has served them well. When the other squads are running around like decapitated chickens, they're studying maps. Notably, they are the first all-female team to advance to the final of The Amazing Race (take that, you bitchy Blondies!).

Weaknesses: They fall behind every time raw athleticism is required. And last week, out of nowhere, there was some palpable tension between the two of them.

Betting line: 2-1. We're not sure why, but our sixth sense tells us the stars are aligned for a Team Alabama triumph. Didn't someone say something one time about the South rising again?

http://torontosun.com/Entertainment/Television/2006/12/10/2719931-sun.html

Inundated

12-10-06, 03:33 PM

Weaknesses: They fall behind every time raw athleticism is required. And last week, out of nowhere, there was some palpable tension between the two of them. http://torontosun.com/Entertainment/Television/2006/12/10/2719931-sun.html

"Out of nowhere"? He has been watching the whole season, no??? :D

Though to be fair, most of the tension seems to come out of Karlyn.

And there were some spoilers in there about tonight, but it's not a huge deal as long as the winner wasn't revealed...

dad1153

12-10-06, 03:36 PM

The Business of (Regulating) TV
FCC Hacks Away at V-Chip
By John Eggerton, Broadcasting & Cable December 11, 2006

The FCC thinks the V-chip isn't much help in preventing kids from seeing programs that may have dicey content. And in a filing to a federal court last week, FCC lawyers say that the commission itself plays something of an in loco parentis role to help parents, even if parents won't help themselves.

The commission said it was only trying to give broadcasters more guidance on its definition of indecency in ruling that Fox's Billboard Awards live telecasts in 2002 and 2003 were indecent.

Although the FCC says those utterances—“****” by Cher in 2002 and “****ing” and “****” by Nicole Richie a year later—violated FCC rules, no fine was levied. That's because the incidents happened before the FCC gave notice that it was cracking down on “fleeting expletives” in the wake of U2 singer Bono's use of the phrase “****ing brilliant” on a live Golden Globes telecast on NBC in 2003.

Big Four Challenge

But Fox, CBS, ABC and NBC challenged the FCC's indecency rulings, which they find vague and contradictory.

Broadcasters prefer the ratings system and descriptors—L, V, etc.—that can be used in conjunction with the V-chip, and they argue that their system is a less restrictive means of regulating content. “Less restrictive” is the measuring stick the FCC is required to employ when regulating broadcast speech.

But if the broadcasters' argument flies, it could undercut the FCC's ability to regulate broadcast content, period.

The FCC held its ground last week. It said the V-chip is ineffective and the ratings confusing. Beyond that, it said, the V-chip would not have helped because the Billboard broadcasts were “misrated.” And more broadly, it argued, the chip is insufficiently understood by parents.

A First Amendment attorney who has handled indecency cases says the FCC's brief was well-written but its case was weak. Another attorney predicts the case would have to get to the Supreme Court before it's ultimately resolved.

The industry has mounted a PR campaign to tout V-chip to viewers. But there's not much evidence many parents use it.

The FCC said it has “independent and compelling interest in preventing minors from being exposed to indecent broadcasts.” It also maintained last week that it was justified in decreeing cussing on the Billboard Awards telecast indecent. Nothing in broadcasters' arguments since then has swayed it from that opinion, it said, and nothing prevents it from levying hefty fines if it chooses.

Earlier, the FCC changed its mind over indecency rulings against CBS for allowing a guest on The Early Show to use the word “********ter,” because a news show deserves wider berth. On technical grounds, it also backed down on ABC's NYPD Blue for allowing the use of the same root word.

Indeed, the networks say, the FCC's crazy quilt of indecency rulings confuses programmers.

The FCC insisted that broadcasters have “only limited First Amendment protection” and that it gave the industry fair warning that it was changing policy on swear words.

Its filing last week also argued that, although Fox had pointed to other swearing that had passed FCC muster—in Saving Private Ryan, for instance—the network had not even tried to defend the artistic merits of stars' swearing extemporaneously on the Billboard Awards telecast. Fox had no comment on the FCC brief.

The FCC said the “f-word,” when used as an intensifier—for example, in Bono's remark—is still covered by the indecency definition because its intensity “derives from its implicit sexual meaning.”

Because broadcast spectrum is a scarce resource, the commission said, broadcasters' First Amendment protection is limited and justification for speech regulation need only be substantial and the means narrowly tailored, rather than the “least restrictive means” test applied to other forms of speech regulation.

Narrowly Tailored

The FCC argued that its indecency approach is narrowly tailored to satisfy the compelling government interest in protecting children. It also points out that indecency rules don't apply to shows airing after 10 p.m., indicating that the commission is not being overly restrictive.

The commission asked the court to uphold its “reasonable assessment” that contemporary standards, “no matter how loosely viewed, simply do not permit entertainers gratuitously to utter the 'f-word' and 's-word' in awards shows broadcast on national television at times when a substantial number of children are certain to be in the viewing audience.”

Broadcasters will have a chance to respond. Meanwhile, the FCC has a deadline of Dec. 26 to respond to the CBS challenge of its $325,000 Janet Jackson fine. As one FCC staffer put it, “Merry Christmas.”

http://www.broadcastingcable.com/article/CA6398661.html

dad1153

12-10-06, 03:46 PM

Inundated, I didn't see any spoilers in the 'Amazing Race' article (just speculation based on what previous seasons of 'TAR' have pulled; remember Zach and Flo from 'TAR3'?). Had I read a spoiler I wouldn't have posted the story. And Harris is right, the Alabama moms have never really sniped at each other much in previous legs but they did have tense moments with the other teams (especially with the Cho bros.) as their 'Three Pack' alliance dissolved toward the end. BTW CBS must not think this 'TAR' season finale will score good ratings (or was too exciting) because its only getting a regular hour-long time slot (which will include the obligatory 5 min. season-long recap at the beginning) instead of the 90 min. or two-hour block previous season finales have received. Again, more speculation!

On an unrelated note, does anybody here actually use the V-Chip in their HDTV or regular TV sets to prevent youngsters from exposure to adult television? I'm friends with lots of people (including young parents) and nobody I know uses or even knows that their brand-new TV's come equipped with a 'V-Chip' to block violent shows. This is one of those self-regulatory things that the networks and FCC latch on to pretend they actually are doing something to justify their existence but in practicality seems to be useful to a very, very tiny amount of the actual viewing population. Am I wrong or is the 'V-Chip' actually used by lots of people that I'm not aware of? :confused:

Inundated

12-10-06, 03:54 PM

Inundated, I didn't see any spoilers in the 'Amazing Race' article (just speculation based on what previous seasons of 'TAR' have pulled; remember Zach and Flo from 'TAR3'?). Had I read a spoiler I wouldn't have posted the story.

Oh, no problem...I'm just one of those folks who likes to be surprised by the destinations each week. I bolt away from the screen when they do the previews, even! I think it's pretty vital to a travel-intense show that I get surprised when they open up the clue that tells them they're flying to (wherever). Just my thing, tho.

So, that's why I consider the location thing a "spoiler"...YMMV.

And I really don't get the love for the 'Bama gals. They've been downright obnoxious towards at least three teams. I would be happier if it weren't for Karlyn fueling most of the drama, tho...but we can't split up teams, much like we would have loved to have done so with Zach-Minus-Flo...

OK, enough off-topic stuff. I hope we get to see TAR in HD one day, when technology and the wishes of the producers/CBS make it happen...

dr_mal

12-10-06, 03:56 PM

On an unrelated note, does anybody here actually use the V-Chip in their HDTV or regular TV sets to prevent youngsters from exposure to adult television? I'm friends with lots of people (including young parents) and nobody I know uses or even knows that their brand-new TV's come equipped with a 'V-Chip' to block violent shows. This is one of those self-regulatory things that the networks and FCC latch on to pretend they actually are doing something to justify their existence but in practicality seems to be useful to a very, very tiny amount of the actual viewing population. Am I wrong or is the 'V-Chip' actually used by lots of people that I'm not aware of? :confused:
I don't use it at the TV-level, but TiVo offers parental controls that I do use to keep the kids locked out of anything rated higher than TV-G. I'm not aware of anyone else that uses the TV's V-Chip or STB parental controls, but AFAIK, it's never been a topic of discussion so who knows...

dad1153

12-10-06, 03:56 PM

Cable TV Notebook
TBS gets laugh lift
Audiences take to 'Boys,' 'Items'
By Denise Martin, Variety December 10, 2006

For years, basic cable networks have tried -- and largely failed -- to find any traction in original sitcoms, but TBS may have cracked the elusive genre with a pair of new comedies.

"My Boys," a single-camera laffer about a female sportswriter and her group of guy friends, is pulling in the best 18-49 numbers of any narrative, live-action comedy on basic cable ever. And latenight entry "10 Items or Less" has already managed to dethrone Comedy Central behemoth "The Daily Show With Jon Stewart" among the target 18- to 34-year-old audience each time out.

While the shows' longterm performance remains to be seen, the numbers are particularly encouraging, especially since even the broadcast networks are struggling to find a sitcom hit.

For basic cablers, the comedies not only help brand the network, but can provide riches on the backend, if enough episodes are produced to sell the show in syndication. But recent entries like Lifetime's "Lovespring International" and VH1's "So Notorious" have proven such coin isn't easy to mint.//TBS' formula seemed backward at first: Rather than trying to out-snark competing comedies on broadcast and cable, TBS went for unabashedly feel-good fare.

Between recent buzzworthy network comedies that traffic in the hip and quirky -- see "My Name Is Earl," "Arrested Development" and "The Office" -- TBS executives found a void that network senior VP of original programming Michael Wright likes to call "shows with a big old heart beating at the center of them."

"We are proudly populist," Wright says. "There's something affirming about our comedy. 'Edgy' has its place, but I think people need balance with something that's smart but fun."

Even critics seemed to have been yearning for some solid meat-and-potatoes comedy, with both shows earning praise. .

So far, the sitcom genre has done best on restriction-free pay networks HBO ("Sex and the City") and Showtime ("Weeds"), but ad-supported channels like FX and Oxygen are determined to grow shows like "It's Always Sunny in Philadelphia" and "Campus Ladies."

Studios have already figured out an economic model for hourlong cable shows, having produced appointment dramas such as "The Closer," "The Shield," "Nip/Tuck," and "Monk," and are slowly figuring out how to make a viable model for half-hours.

Production costs of a sitcom for cable are said to run about 20% less than that for a broadcast net.

"The presumption is that in success, the studio will make money down the road," says Sony senior VP of comedy development Glenn Adilman, who noted DVD and international sales are potent revenue streams. Sony produces both "My Boys" and "10 Items."

Bill Carroll, VP and director of programming for Katz, which represents hundreds of TV stations, says "My Boys" especially, stands to make significant syndie coin.

"Its chances are even better because it's broader than most of the broadcast comedies," he says.

Despite lower viewing levels for cable comedies, there is more afterlife potential than ever because the few laffers that exist on the major webs "are niche in appeal ... stations are having to look at what their other options are, from cable to even Internet," Carroll says.

The leap from cable to broadcast syndication is lucrative: Both "Sex and the City" and "South Park" landed rich syndie deals.

Solving the comedy puzzle wasn't all smooth sailing for TBS, which tried repeatedly to stake its claim in high-concept reality before taking a page from the playbook of its Turner sister net TNT. TNT launched Kyra Sedgwick crime hour "The Closer" with a bang by creating a show not unlike its off-net procedural dramas.

"If you stumbled across 'The Closer' on TNT, you'd get something new and fresh, but also something familiar. It wouldn't be jarring after having watched our repeats of 'Law & Order' or 'Without a Trace,' " Wright says.

Thus, "My Boys" was created as a companion to the sanitized episodes of "Sex and the City," a series with equal parts wit and heart, while quirkier gamble "10 Items" was built as a lead-out for "Family Guy."

And again, the content of both shows "is respectful of the audience that's watching us for 'Friends' and 'Everybody Loves Raymond' reruns," Wright says. "Like those series, the humor of our originals is based in relatable characters and their relationships."

For now, cable's sitcom ratings don't approach that of its hit dramas, but TBS will play slow-and-steady until the dynamic changes.

Cabler debuted "My Boys" and "10 Items" in late November to help stir excitement for the spring upfront season, but Turner Entertainment president Steve Koonin says that should the pair maintain solid Nielsens, new episodes will return in the summer, cable's peak season.

It's early, but "we're happy with the shows creatively," Koonin says, "and from a ratings perspective, definitely."

http://www.variety.com/article/VR1117955360.html?categoryid=14&cs=1

dad1153

12-10-06, 04:13 PM

TV Q&A
TV Q&A
By David Inman, The Boston Herald December 10, 2006

Question: During the early to mid-1970s, Bill Bixby starred in a weekly TV series as a magician. Can you fill in the details and tell me if it’s on DVD or video?

David Inman: The series was “The Magician,” which ran on NBC from 1973 to ’74. Bixby (who did his own magic tricks) played Anthony Blake, wealthy globetrotting prestidigitator who helped poor nonmagicians who were in need. Keene Curtis played trusty sidekick Max. The series isn’t on DVD - yet.

Question: The Geico commercial in which a caveman is on a moving walkway in an airport has this really fun, upbeat song playing in the background. My husband sings it every time it comes on. We just laugh so much at it and I’d love to find it for him! Can you help?

David Inman: The song is “Remind Me” by Royksopp, from the CD “Melody AM.”

Question: I remember two TV shows from the late 1980s that no one else seems to remember. The first starred a young Jerry O’Connell, I believe, and he had special powers. The second was about a girl whose dad was from space and she could talk to him through a special box. My sisters watched these shows with me and even they don’t remember them! Please tell me (and everyone else) that I am not crazy and that these shows really were on television!

David Inman: Those shows existed, all right, but they were both syndicated, so they appeared in some cities but not others, which may be why no one else in your social circle remembers them.

Of course, they were lousy shows, which may be another reason.

The first is “My Secret Identity,” which ran from 1988 to ’91. O’Connell played Andrew Clements, a teen who developed superpowers when he was hit by a laser developed by his neighbor Dr. Benjamin Jeffcoate. The second is “Out of This World,” which ran from 1987 to ’91. Maureen Flannigan was Evie, a girl whose mom was Earthling Donna (Donna Pescow) and whose dad was alien Troy (the voice of Burt Reynolds). Ew.

Question: I remember watching a movie a few years ago that starred Richard Thomas. In the movie he was trying to prove that reindeer could fly. I think he ended up at the North Pole. I would like to know the movie title and if it is out on DVD or video.

David Inman: That’s the 2000 TV movie “The Christmas Secret,” which also stars Beau Bridges and Maria Pitillo. It’s on video.

Question: Is the actor William H. Macy the same person who played Will Robinson in the series “Lost in Space” back in the mid-1960s, when he was known as Bill Macy?

David Inman: Hooold on thar, as Quick Draw McGraw used to say. First, William H. Macy the actor is not the same person as Bill Macy, who played Walter Findlay on the sitcom “Maude” (CBS, 1972 to ’78). Second, William H. Macy is not the same person as Bill Mumy, who played Will on “Lost in Space” (CBS, 1965 to ’68).

Question: The new movie “Stranger Than Fiction,” about a guy who ends up as a character in a book, reminds me of another movie with the same idea. All I remember about it is that it was in the 1980s and the star was John Candy. Can you fill in the blanks? Is the movie on video or DVD?

David Inman: That movie is 1991’s “Delirious,” which is about a TV soap writer (Candy) who gets conked on the head and becomes a character in his own show. The cast also includes Emma Samms, Raymond Burr and Mariel Hemingway. The movie is on video and DVD.

Question: About 15 years ago there was a musical version of “The Shop Around the Corner” shown on PBS. The only cast member I can remember was Rene Auberjonois as one of the sales staff, who was having an affair with the owner’s wife. Is this available anywhere?

David Inman: What you saw was a very good production of the musical “She Loves Me,” produced by the BBC in the late 1970s. Auberjonois wasn’t in the cast, which included Colin Bennett and Gemma Craven. “She Loves Me” was produced on Broadway in 1963, and as you say, was based on the film “The Shop Around the Corner,” which was remade as “You’ve Got Mail” with Tom Hanks and Meg Ryan. “She Loves Me” isn’t officially on video, but you can find bootlegs online.

http://theedge.bostonherald.com/tvNews/view.bg?articleid=171252

dad1153

12-10-06, 04:22 PM

Critic's Notebook
8 nights, all 'Sleeper Cell'
By Ellen Gray, McClatchy Newspapers December 10, 2006

As anyone who tried to track ABC's Lost last season knows, conventional network models don't always work for serialized dramas.

Take 22 or so episodes and spread them out across a 36-week television season, and you're bound to have fans unhappy about reruns, pre-emptions and storylines that may be left hanging for weeks or months.

Even Fox's 24, with 24 episodes that start in January and run pretty steadily through spring, tends to bog down in the middle, as characters develop amnesia or encounter cougars or drive aimlessly around Los Angeles, looking for someone to torture.

Well, there's none of that on Showtime, the home of dope-peddling soccer moms and sympathetic serial killers.

The premium-cable channel, which just may have a death wish, is following up last December's challenging Sleeper Cell – 10 parts over a bit more than two weeks – with the even more intensely scheduled Sleeper Cell: American Terror, which will air for eight consecutive nights beginning Sunday.

It's like they're daring you to watch.

But if you can make the time in a season in which most programmers think we're all too busy shopping to be watching anything heavier than Miracle on 34th Street (the Natalie Wood version, of course), then Sleeper Cell delivers.

All that those who missed last year's Cell really need to know is that FBI agent Darwyn Al-Sayeed (Michael Ealy), a practicing Muslim who last year infiltrated a group of terrorists plotting mass murder at Dodger Stadium and then helped avert that, is undercover again. He's in Los Angeles, working as the interim head of another cell and taking orders from both al Qaeda and the FBI.

Some days, the FBI seems the more troublesome of the two, thanks to a wet-behind-the-ears handler (Jay R. Ferguson) who's poking his nose into Darwyn's relationship with a single mom (Melissa Sagemiller), but Cell never loses track of the evil done in the name of Islam.

It does, however, give that evil some beguiling faces, from Oded Fehr, who returns as Farik, the cell leader captured in last year's finale, to a Dutch au pair (Thekla Reuten) who's moonlighting as a would-be martyr.

Henry Lubatti is back as Ilija Korjenic, the rapping, karaoke-loving terrorist who also escaped the FBI's net, and if you think Showtime's Dexter is cute, then you might still think the same about Ilija.

He's going to make you work for it, though.

Sleeper Cell's al Qaeda remains an equal-opportunity employer, with Darwyn's crew including Ms. Reuten's character, Mina, a streetwise Latino named Benny Velasquez and the Cockney-accented Salim (Omid Abtahi).

The show, which handles issues such as torture and the war on terror less cartoonishly than 24, this time delves deeper into Darwyn's past, focusing on his relationship with his estranged Nation of Islam father (Charles S. Dutton).

Darwyn retains his uncanny ability to summon an apt quote from the Quran for every occasion, but it's characters such as Farik and Mina, whose faith is presented as a perversion of Islam, who nevertheless offer tantalizing glimpses of the love that may still dwell beneath the hate.

No TV show can be expected to make us understand completely how that works, but Sleeper Cell deserves credit for trying.Sleeper Cell: American Terror

SLEEPER CELL: AMERICAN TERROR 8 nightly, Sunday through Dec. 17 on Showtime

http://www.guidelive.com/sharedcontent/dws/ent/television/stories/DN-sleepercell_1210gl.ART.State.Bulldog.3e64d4d.html

dad1153

12-10-06, 04:33 PM

TV Notebook
One For The Ages
(New York) Post Wire Services December 9, 2006

CBS is teaming with "Big Brother" exec pro ducer Allison Grodner for a new quiz show in which adults will match wits with child geniuses for a shot at $1 million.

The untitled show has an ensemble cast of several kid prodigies taking on one adult each week. The adults will try to defeat the kids, while the kids will be charged with protecting $1 million in the bank.

The cast of small geniuses will return each week.

http://www.nypost.com/seven/12092006/tv/one_for_the_ages_tv_.htm

dad1153

12-10-06, 05:48 PM

TV Notebook
Fiery Hair vs. Pointy Nose: Seasonal Smackdown Returns
By Stuart Miller, The New York Times December 10, 2006

AH, December. Time to deck the halls, flop onto the couch and flip on the television to revel in the antics of Christmastime’s most memorable cartoon characters. No, not Rudolph or Frosty, not even Santa Claus. Atop the list for sheer originality stands that dastardly yet delightful duo, Heat Miser and Snow Miser.

These bizarre, combative vaudevillians are the definitive scene stealers. Their song-and-dance routine transforms Arthur Rankin and Jules Bass’s “Year Without a Santa Claus” from mediocre special into cult classic. (It runs again on ABC Family on Friday as well as Dec. 20 and 24, and NBC pays tribute with a new live-action version on Monday.) Many grown-ups can’t recall the storyline or even the name, referring to it as “that Heat Miser and Snow Miser show.”

Unlike “Rudolph the Red-Nosed Reindeer” or “Frosty the Snowman” both Rankin-Bass shows, this one is bedeviled by a plot that is eminently forgettable (Santa, voiced by Mickey Rooney, sulking at home until children prove they still care about him), riddled with holes (Heat Miser controlling Earth’s hot southern half and Snow Miser controlling the frozen northern half, even though that’s geographically inaccurate) and insufferably sappy (syrupy tunes like “I Believe in Santa Claus”).

Yet the silly sibling rivalry transcends all that. The production numbers are showstoppers because they’re so absurdly over the top, especially given the charmingly primitive stop-action animation. The icicle-shaped Snow Miser, with his long, pointy nose and long, pointy chin, is perpetually sunny, doffing his summery straw hat and spinning at superhuman speeds in midsong. Heat Miser, with his flaming reddish-orange hair, grumbles and snarls while he melts the Moon and his mini-Misers inexplicably pogo on shovels. (The show dates to 1974, and some aficionados claim this jowly, paranoid character was modeled on Richard M. Nixon.)

The appeal is rooted in the ditty that Maury Laws and Mr. Bass wrote, seemingly in indelible ink. It features rollicking trombones, jaunty piano rolls and an insanely catchy melody delivered with panache by Dick Shawn (the singing Hitler from the film “The Producers”) as Snow Miser and George S. Irving, a Tony Award winner, as Heat Miser.

Since Heat Miser is more villainous, he is, naturally, more popular. Elliott Smith once fronted a band called Heatmiser. In “Batman and Robin” Mr. Freeze (Arnold Schwarzenegger) may have made his henchmen watch the Snow Miser song, but in “The Incredibles” the villain Syndrome paid hairdo homage to Heat Miser. Still, they each have their own MySpace sites. (Heat Miser’s favorite books include “Fahrenheit 451” and “Firestarter.”)

I got my own glimpse into the Miser brothers’ staying power while out to dinner with friends for my birthday last year. I mentioned the show in conversation and then, when dessert came out, my friends spontaneously replaced “Happy Birthday” with the Misers’ songs. Not only did they know the words, it seemed half the restaurant did as well:

I’m Mister White Christmas, I’m Mister Snow

I’m Mr. Icicle, I’m Mr. Ten Below. ...

I’m Mr. Green Christmas, I’m Mr. Sun,

I’m Mr. Heat Blister, I’m Mr. Hundred and One.

http://www.nytimes.com/2006/12/10/arts/television/10mill.html

dad1153

12-10-06, 05:57 PM

TV Notebook
Stephanopoulos' TV Show Gains Momentum
By David Bauder, Associated Press December 10, 2006

Nearly losing his job on Sunday mornings may someday be remembered as the turning point in George Stephanopoulos' broadcast-journalism career.

His show, ABC News'"This Week," has gathered momentum this fall with some newsmaking interviews of President Bush and Vice President Cheney and his first-ever second place finish to "Meet the Press" in a ratings sweeps month since he began as host in 2002.

For a few weeks in early 2005, it wasn't clear he'd get that chance to succeed.

ABC News President David Westin had proposed Stephanopoulos and then-"Nightline" host Ted Koppel switch jobs. It was an attempt to keep Koppel from leaving the network and, frankly, Stephanopoulos was almost an afterthought. He didn't really like the idea, but was hardly dealing from a position of strength.

Ultimately, Koppel said no. Westin called Stephanopoulos to his office for a delicate pep talk.

Stephanopoulos was, Westin recalled, "very grown-up" about the episode. The news president told Stephanopoulos to go for it, to take the Sunday morning show as far as he could.

"The strength of his character stood him in good stead, because he has gotten stronger and stronger, and better and better in his reporting, his interviewing, and making that program into his own," Westin said.

It was an important vote of confidence after an upsetting few weeks. "It turned out to be the best thing that ever happened to me," Stephanopoulos said.

Make no mistake, NBC's Tim Russert remains the leader of the Sunday-morning pack. But there is room for alternatives, and for most of this decade Bob Schieffer of CBS News'"Face the Nation" has been the clear second choice.

ABC has tried to counter Russert's strength by building a faster-paced show. Interviews on "This Week" are generally shorter, Stephanopoulos tries to get out on the road as often as he can, and short segments remember people who died that week and show the takes of late-night comics.

With a wide-open 2008 presidential election campaign looming, "This Week" has moved aggressively in recent weeks to bring lesser-known candidates like Iowa Gov. Tom Vilsack, Kansas Sen. Sam Brownback and Indiana Sen. Evan Bayh on the show. Any politician has an open invitation to announce a candidacy on "This Week."

After having dropped it for a period of time, "This Week" brought back its weekly round-table of pundit talk.

Not just the round-table, but a simple table helped. In an illustration of how little things can matter, Stephanopoulos said changing the show's set in spring 2005 to put him behind a table made him far more comfortable.

There's also no discounting that Stephanopoulos, the former Clinton operative who joined ABC News a decade ago and said he'd left political work behind for good, had an adjustment period — especially when compared each week to old pros like Russert and Schieffer.

"The more comfortable George Stephanopoulos is with his presentation and role in the show, the more comfortable viewers will be in watching him," said Matthew Felling, spokesman for the Center for Media and Public Affairs. "No longer does George Stephanopoulos seem to be doing an impersonation of a talk-show host."

Does Stephanopoulos feel that he has made the show his own?

"I suppose, yeah," he said. "Finding my voice on the program, feeling comfortable, figuring out how to get the right mix and pacing took some time. I hope people see it. I feel better. I feel more relaxed and more in control."

His interview with Bush in late October was a key moment. Stephanopoulos showed he could deliver a pointed question pleasantly, so not to distract from the matters at hand. Although he occasionally cut the president short, his ability at follow-up questions didn't leaving subjects hanging.

"He has a particular way of pressing for answers and keeping focused on the question that is not at all showy or grandstanding," Westin said.

In November, an average of 2.57 million people watched "This Week," according to Nielsen Media Research. "Face the Nation" had 2.53 million and "Meet the Press" had 3.98 million. So far this year, ABC is up 4 percent on Sunday mornings compared to 2005, NBC is down 4 percent and CBS is unchanged.

Stephanopoulous' new role as chief Washington correspondent gives him more visibility on ABC's daily broadcasts, a presence that may encourage viewers to tune in Sunday, said Katherine O'Hearn, "This Week" executive producer.

At the same time, Schieffer may be hurt by his diminished visibility. Since the first week of September, when Schieffer handed over "CBS Evening News" anchoring duties to Katie Couric, "Face the Nation" ratings have declined by 8 percent, Nielsen said.

Schieffer offered no excuses, and said ABC has been putting on a strong show.

"They had a good week and we didn't," he said. "But I certainly haven't given up the battle here. We'll be all right."

Influential TV critic Tom Shales noted in Television Week that when Stephanopoulos started on "This Week," it was "an assignment he attacked with a deadly earnest that came across as just plain deadly."

But, writing last week, Shales said Stephanopoulos seems to have found himself, and his show is becoming almost a must-see the way it was when David Brinkley started it.

"Russert is getting older, noticeably, demonstrably, and Schieffer even more so," he wrote. "But Stephanopoulos has miles to go before he's sleepy-eyed. He's the heir apparent."

Strong words of encouragement. But as the politicians who come on his program each week know, it's a constant campaign.

http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2006/12/10/entertainment/e083146S45.DTL

dad1153

12-10-06, 05:58 PM

Please click the previous page (#632) for lots of stories posted in the past few hours. Also, if anybody reading this has a subscription to The Hollywood Reporter's website we'd appreciate it if you could post here the text for the new Studio 60 column that's been added but that we cannot access. Thanks in advance! :)

TV Notebook
Letterman, O'Brien add Shakespearean touch to latenight derby
By Brian Lowry, Variety December 10, 2006

And now, the whole latenight TV thing can potentially get really interesting. Like, Shakespeare interesting.

In a long-anticipated deal, CBS officially announced last week that David Letterman, at age 59, has agreed to host "Late Show" well into 2010, a year beyond NBC's scheduled handover of "The Tonight Show" from Jay Leno to Conan O'Brien.

Hold onto something, because this next part will go pretty fast.

Letterman's extension at CBS means he will theoretically be around after Leno has hung up his spurs, putting him in a head-to-head matchup with O'Brien, who currently occupies Letterman's old home. In the parlance of "Star Wars" fans, this places the NBC star in the uncomfortable position of trying to defeat his Jedi master.

For the generation of comics and entertainment journalists who were roughly college age when he made his "Late Night" debut in 1982 -- a group that includes the 43-year-old O'Brien -- Letterman has always been a seminal comedy figure: Hipper than Carson, and the godfather of an acerbic, sardonic form of humor that has flourished and proliferated ever since.

At the same time, recognizing that O'Brien's material might not be as widely palatable as Leno's act, Letterman has an opportunity to reclaim the latenight crown he wore for three years, after moving to CBS in '93, before relinquishing it to Leno in the mid-1990s. It's no exaggeration to say that being the Avis of latenight has grated on Letterman something fierce, which explains why he flirted with a jump to ABC -- at the possible expense of "Nightline" -- in 2002.

No guarantees

As I have opined before, nobody really knows what's going to happen at NBC come 2009. The Peacock network shrewdly tucked all the kids into bed by formally anointing O'Brien the "Tonight" heir two years ago, buying itself several years of profits and tranquility. In the process, though, top brass also alienated Leno, 56, a good soldier who associates say felt betrayed in having been elbowed, however gently, toward the exit door.

Leno's next move is anybody's guess, but his range of options puts him in the driver's seat. NBC could get cold feet and opt to keep its present host at 11:30, in which case O'Brien would surely jump elsewhere, collecting a fat penalty payment for his time. Some rival execs still see this as the likely outcome, especially with parent General Electric assuming greater oversight of the network. As one source put it, "Why would you shut down a division of GE" -- that is, "The Tonight Show" -- "that's a leader in its field and brings in hundreds of millions of dollars?"

Yet if NBC sticks to the existing plan, Leno could find eager suitors at Fox or ABC, whose longterm commitment to news in that timeslot remains sketchy at best.

This creates the very real prospect of a three-way Leno-Letterman-O'Brien configuration, though uprooting himself from NBC to start elsewhere would be a gamble for Leno, providing no guarantee he would be equally formidable. And even if Leno eventually succumbs and decides 17 years is enough and playing Caesars Palace isn't so bad, that still leaves O'Brien and Letterman as competitors, with the likelihood Fox or ABC will seek an alternative means of joining the fray.

The other aspect of the story that will bear watching as Leno's scheduled D(eparture)-day approaches is the media, which has never been exactly in Jay's corner. By contrast, Letterman and O'Brien have long been critical darlings, setting up a possible role-reversal for both. Will the press root for Dave, who has long shunned them, to ride into the sunset on top? Or for Conan -- a relative newcomer, despite 13 years service -- to unseat him?

As games of musical chairs go, situations are rarely as dramatic or clear-cut as this one, with three larger-than-life, use-their-first-name personalities eyeing two established seats, while competitors look for any opportunity to toss another into the ring.

No matter how this play concludes, it seems near-certain latenight's next act will be deliciously messy. Because while the post-primetime hours feature plenty of jesters, there can only be one or two kings, and as Shakespeare put it, "Uneasy lies the head that wears a crown."

http://www.variety.com/article/VR1117955405.html?categoryid=14&cs=1

Inundated

12-10-06, 06:06 PM

Bixby (who did his own magic tricks) played Anthony Blake, wealthy globetrotting prestidigitator who helped poor nonmagicians who were in need.

I remember that show.

When he got angry, didn't he turn into a giant green rabbit?

:D

keenan

12-10-06, 06:29 PM

Also, if anybody reading this has a subscription to The Hollywood Reporter's website we'd appreciate it if you could post here the text for the new Studio 60 column that's been added but that we cannot access. Thanks in advance! :)

The link for the column appears to be broken at the HR site. Besides, that's a subscription site and the material is probably copyrighted so posting it here could be a copyright infringement.

fredfa

12-10-06, 07:00 PM

Yup, try to post only items which are non-subscription (which I why I read but don't post Wall Street Journal articles.)

The Associated Press is also very unhappy when it finds its articles posted, even if they are from emmber newspapers or websites.

On another subject -- do any mods know why the AVS view counter has been down for almost a day?

henry296

12-10-06, 10:04 PM

"Out of nowhere"? He has been watching the whole season, no??? :D

Though to be fair, most of the tension seems to come out of Karlyn.

And there were some spoilers in there about tonight, but it's not a huge deal as long as the winner wasn't revealed...

The "spoilers" are completely wrong

dad1153

12-10-06, 10:52 PM

The Business of TV (Sports)
ESPN Lands European Soccer Championships
By Ben Grossman, Broadcasting & Cable December 10, 2006

Disney's ESPN and ABC continue to up their investment in soccer, securing the rights to soccer’s 2008 European Championships. ABC will air two matches and the rest will be carried on ESPN outlets.

As part of the deal, ESPN also acquires Spanish language rights for its ESPN Deportes network and pay television rights for Latin America.

The tournament, which takes place every four years, features the top national soccer teams in Europe, meaning ESPN could end up with several games featuring popular television draws such as England and defending World Cup champions Italy. The event will take place in June 2008 in Austria and Switzerland.

The last tournament, held in 2004, was available in the United States predominantly via pay per view.

But after drumming up strong ratings for this past summer’s World Cup, ESPN/ABC continues to build out its soccer portfolio.

In addition to continuing to carry the World Cup every four years, the Disney networks also recently agreed to pay Major League Soccer its first significant rights fee (said to be around $8 million annually). Terms of the deal for the 2008 European Championships were unavailable at press time.

The Union des Associations Europeennes de Football, the governing body of European soccer, also granted rights for the summer 2008 event to ESPN Star for the Indian Sub-Continent, Al Jazeera for the Middle East and North Africa, and PCCW for Hong Kong.

http://www.broadcastingcable.com/article/CA6398678.html?display=Breaking+News

dad1153

12-10-06, 11:17 PM

TV Notebook
Show is hip to Baltimore’s undiscovered rappers
By Rashod D. Ollison, The Baltimore Sun December 10, 2006

Realness, or the perception of it, has always been important in hip-hop.

As often heard in the music over the years, the ugliness of life is rarely played down. If anything, it is grossly exaggerated. But many rappers from different parts of the country have long prided themselves for being chroniclers of the street.

For the fourth season of HBO's The Wire,music supervisor Blake Leyh wanted to further authenticate the gritty show by including more of Baltimore's homegrown hip-hop -- sounds that echo the rawness of the series.

"The thing about the music this season that's different is that we used a lot of unsigned hip-hop artists from Baltimore," says Leyh. "On The Wire, [series creator] David Simon wants to promote the feeling of reality, that what you see on the screen reflects the life in Baltimore. It seems like the perfect match to get the music in this season."

It also makes perfect sense. Last season, Baltimore club -- a kinetic, repetitive, often-vulgar style of dance music prominent in the area for 15 years -- was used for the first time. More of it is heard on the show this season, along with the city's hip-hop.

The Wire is intensely Baltimore-centered, with references to area urban radio programs (92Q's Big Phat Morning Show) and neighborhood foods (lake trout). Even some of the characteristics of the city's musical landscape were used as a plot device: Snoop and Chris Partlow, two icy assassins this season, quizzed dealers with specific Baltimore questions, to identify New Yorkers creeping in on local turf.

Because of its local specificity, the city's rap meshes well with the show. Generally, Baltimore rap is made by the people for the people, with shout-outs to neighborhoods, and uses slang heard only on a few blocks around the city.

"Musically, production-wise, it doesn't have a specific sound like in Atlanta or Houston," Leyh says. "Lyrically, there's a lot of things referenced that are specific to Baltimore. So the music is unique and vital to the area."

The Wire this season has, in a way, served as a showcase for local talent. And it's probably the only national exposure for the local rappers.

The critically acclaimed series has boosted the profile of Mullyman, a former construction management major at the University of Maryland Eastern Shore who for three years has been hustling his music fulltime.

"What Blake is doing for local artists is great," says the West Baltimore-raised rapper, born Kevin Muldrow. "He came straight to the core of the street and wanted to know who's who. What he's doing is what's really gonna put us on the map. Bless that man."

After Leyh licensed three of Mullyman's songs for this season -- "Bodymore Soldiers," "That's the Sound (aka Ayyyeerrppp!!! Song)" and "The Life, the Hood, the Street" -- the rapper says he was contacted by three major labels.

"I'm in the middle of negotiating something now," he says, declining to reveal any specifics. "I'm very excited about that. It's weird right now, because I'm not getting played on 92Q. But I'm blessed because usually if you don't have a song in rotation as an MC, you can't survive."

Though the area has in recent years nurtured formidable, nationally known talents in R&B (namely Maysa Leak, hit late-'90s group Dru Hill and crooner Mario), the city has yet to make its mark on the country's hip-hop scene.

Last year, West Baltimore rapper Bossman was signed to Virgin Records. But the company hasn't yet released his major-label debut. (Leyh ran into problems trying to license Bossman's music through Virgin, so none of the songs by Baltimore's most high profile rapper could be used in the show.)

"Hopefully, we've done a better job of reflecting the quality of Baltimore and its music," says New York-born, England-raised Leyh. "In the past, we used music by artists who weren't necessarily from Baltimore."

As in previous seasons, the music on The Wire is not used as a narrative device to manipulate emotion or help push the story along. The snippets add a different color or texture to a scene.

But because music is heard so sparingly on the show, the intense but conversational flow of a Mullyman rap blaring in the background is all the more noticeable.

"I think the nation is ready to hear in our music what they see on The Wire," says the Baltimore based rapper. "The radio doesn't embrace the streets right now. When national radio reflects what the streets are saying, then you'll hear more from Baltimore."

http://www.baltimoresun.com/entertainment/tv/bal-wirewatch121006,0,3213728.story?coll=bal-artslife-tv

dad1153

12-10-06, 11:32 PM

The Business of TV
Weinsteins, Halmis in TV deal
Duo will co-produce, co-finance television projects
By Steven Zeitchik & John Dempsey, Variety December 10, 2006

The Weinstein Co. is expanding into scripted television, pacting with TV movie giant RHI Enterprises in a production and library deal.

Under terms of the five-year agreement, TWC and RHI will co-produce and co-finance an unspecified number of television projects including series, miniseries and telepics.

The Weinstein brothers exec produce Bravo hit "Project Runway," but move marks their first major foray into scripted television.

"These co-productions will combine marquee talent and high production values not normally associated with television," TWC said in a statement.

As part of the deal, TWC, through homevid arm Genius Products, will distribute RHI's 600-title library on homevid; library encompasses movies and miniseries including "Lonesome Dove," "Gulliver's Travels" and "20,000 Leagues Under the Sea."

Genius said that in some it cases, it may even cut separate, unedited versions for homevid release.

In October, RHI Enterprises, owned by Robert Halmi Sr. and Jr., paid Crown Media $160 million to buy back more than 600 TV movies made by them over the last several decades. Crown originally bought the movie library from the Halmis in 2001.

Genius is acquiring both physical and digital distribution rights to the titles, and Genius topper Trevor Drinkwater said in an interview that the company could seek to sell downloadable versions via platforms like iTunes and the Wal-Mart download site.

Genius will also consult with TWC and RHI on discussions for co-productions. "We program for the retailer the way producers program for television, so it makes sense for us to be involved," Drinkwater said.

RHI makes separate library deals for TV rights; it recently pacted with Ion Networks to program 12 hours a week on the net using programming from its library.

For both TWC and Genius, move continues a significant expansion. Over the last few months, companies have made distribution and production deals with the likes of the WWE, Televisa and Christian shingle Impact Entertainment.

Genius has been ramping up its library content with the help of TWC; company has been bulking up with ESPN and Discovery Kids in addition to acquiring a range of movies. Genius now puts its number of homevid properties at 1,800.

Meanwhile, despite dramatic contraction in the market for telepics and miniseries over the last few years, the Halmis have remained a major force in television production. In addition to being the largest producer of originals and minis, they're regarded as putting together both profitable deals and elegant productions.

RHI produces as many as five big-budget minis per year. It also has a deal to produce 12 movies and three minis for the Hallmark Channel and recently signed deals to produce 12 original movies for Spike TV and 10 for the Sci Fi Channel.

http://www.variety.com/article/VR1117955461.html?categoryid=14&cs=1

jtbell

12-11-06, 01:14 AM

TV Notebook
Fight to the Finish
Three teams are vying for $1 million prize with the Amazing conclusion tonight
By Bill Harris, The Toronto Sun December 10, 2006

[snip]

Tonight's shenanigans include a trip to Alaska with the racers forced to drive a team of sled-dogs. Then the participants have to dive into some frigid Alaskan waters to collect a clue, which sends them back to New York City.

The finish line is in Flushing Meadows, N.Y.

Eh? Did the Canadians see a different version than we did? :confused:

And didn't a previous TAR make a stop in Alaska near the end?

[added] Ah, silly me! I should have read henry296's "spoiler" first. :p

HDTVChallenged

12-11-06, 01:24 AM

On an unrelated note, does anybody here actually use the V-Chip in their HDTV or regular TV sets to prevent youngsters from exposure to adult television?

I use it and I don't even have "youngsters" in the home. :p

dad1153

12-11-06, 07:56 AM

The Business of TV (News)
Single sponsorship proves electric for NBC News
Peter Johnson's USA Today 'Media Mix' Column Dec. 10, 2006

More than 4,000 viewers sent e-mails — all but one of them positive — to NBC News last week to thank the network for offering a single advertising sponsor on Monday's edition of NBC Nightly News.

That sponsorship, by Philips Electronics, freed up an extra six minutes of airtime for news, which resulted in several additional stories and generated "extraordinary" feedback from viewers, says anchor Brian Williams.

"I don't know a thing about finance, and I don't know how bills get paid around here, but I think we've got something here. This is a game changer," Williams says.

Philips' abbreviated ad time — to drive home its theme of "sense and simplicity" — ran just over one minute, instead of the normal seven.

Williams says that many viewers who wrote in said they were pleased to not be interrupted by commercials from other advertisers and pledged to buy Philips' products. "Isn't that what companies want, after all?" Williams says.

The only negative response, he says, came from a woman who said she liked frequent commercial breaks because "she and her husband like to talk about the news story we just saw."

NBC has no immediate plans to do another single sponsorship, but it and rival networks have said they are open to it. (Philips also ran a single sponsorship of an edition of CBS' 60 Minutes last year.)

Preliminary ratings for Nightly, the top-rated network news program, showed an 8% jump in viewers for the night, according to NBC.

'Early' changes

It's a miracle that anyone watches CBS' The Early Show, given all the hype about Meredith Vieira replacing Katie Couric on NBC's Today and publicity about the only two-woman anchor team of Diane Sawyer and Robin Roberts on ABC's Good Morning America.

So muses Early producer Steve Friedman, tongue somewhat in cheek.

"You would think that with these tremendous talents facing us, that we would be dead in the water," he says.

But last week Early drew 3 million viewers, its highest number in a year. That's proof, Friedman says, that there's still room for Early — even if it is outgunned by Today with 6 million viewers and GMA with 5 million.

Now Friedman says it's time to shake up Early's four-anchor team — and take a page from Today and GMA, which each have two anchors, a newsreader and a weatherman.

Out at The Early Show: co-anchor Rene Syler, who has rotated with Harry Smith, Hannah Storm and Julie Chen on reading the news and handling hard and soft interviews. In: CBS' Russ Mitchell, who'll now read the news a la Today's Ann Curry and GMA's Chris Cuomo.

Smith will travel more on hard news stories, and Friedman plans to "sharpen the roles" of both Storm and Chen. "You have to play to people's strengths," says Friedman. He's not ruling out more anchor changes but says that none are imminent.

Having four anchors "was just too many for viewers to manage, so reducing the number is a smart move," says Erik Sorenson, a former CBS morning show producer. But Sorenson says that to effectively compete with the two-anchor format on Today and GMA, Friedman will probably need to determine "the best two hosts, fast."

Rotating Early's four anchors on stories for no better reason than it was their turn probably confused viewers, Friedman says. "When viewers don't know who to expect on any given story, guess what they do? They go to a place where they know what to expect."

Friedman, a former Today producer, is on his second tour of duty on The Early Show. His first ended in 2002 when he and Bryant Gumbel, another Today alum, left after failing to pull Early from its mired-in-third-place berth, where it remains behind 11-year leader Today and GMA.

Mitchell, a veteran of three CBS morning-show transitions, says he intends to break away from the news desk for stories, just as Curry and Cuomo do. The success of Early, he says, "is a question of finding the right formula. Once we get people to find us, I think they'll stay."

http://www.usatoday.com/life/columnist/mediamix/2006-12-10-media-mix_x.htm

dad1153

12-11-06, 08:00 AM

TV Notebook
You See Dead People? Big Deal. Join the Club.
By Dennis Palumbo, The New York Times December 10, 2006

"I see dead people,” Haley Joel Osment famously said in the film “The Sixth Sense.” If the current crop of similarly themed television series is any indication, so do a lot of folks.

In “Medium,” “The Ghost Whisperer” and “The Dead Zone” “gifted” characters routinely aid the restless spirits of the deceased. And more shows are on the way: BBC America just introduced “Afterlife.” Glenn Gordon Caron, executive producer of “Medium,” is developing a romantic drama about a dead young woman who returns to life to help people. And for midseason NBC is bringing “Raines,” starring Jeff Goldblum as a cop who talks to the ghosts of murder victims.

In almost all of these shows, those who have died are unable to pass over until they communicate something of vital importance to the living. On “Medium” the dead help a psychic, Allison DuBois (Patricia Arquette), solve crimes for the Phoenix district attorney’s office. On “Ghost Whisperer” they urgently impart — through an antiques dealer played by Jennifer Love Hewitt — messages of solace, unrequited love or belated support to those left behind. And on “The Dead Zone,” news from the otherworld is conveyed by Anthony Michael Hall as the uneasy clairvoyant. It seems, at least on television, that the dearly departed have never been so reluctant to depart.

None of this is new of course: ghosts have been chatting up people (and vice versa) for years on television, in comedies like “Topper” and in “The Ghost and Mrs. Muir,” not to mention “Casper.” But today’s paranormal shows aren’t played for laughs; they’re serious, almost painfully earnest dramas. Certainly they speak in personal, easily relatable ways about life-and-death issues. But is there anything more to this than a hot trend that draws impressive ratings?

My interest is admittedly professional. As a former Hollywood writer who is now a psychotherapist working with patients in the arts, I regularly talk with live people who write about characters who talk to dead people. Based on what writers and producers tell me in sessions, I’ve noticed they feel an urgent need to use the small screen to resolve the big questions we all grapple with. For example, one writer-patient cheerfully summed up the genre’s appeal: Death is a bummer.

Perhaps this requires interpretation. Like many of the creators and writers of these shows, the patient is a baby boomer who, along with most of his generation, is alarmed at the prospect of actually dying some day. Though this concern isn’t unique to people who came of age in the ’60s and ’70s, we do seem to be in a state of some resistance about our own mortality. It’s obvious why the paranormal fascinates these writers: shows about talking to the dead posit, by definition, that there’s a life after this one, that there’s a continuity of being.

That’s why, this same writer said, his show is a hit. Every week it says to the audience: “Don’t worry, death isn’t really death. It isn’t the end of anything.”

That may imply just another variation on past hits like “Highway to Heaven” or “Touched by an Angel,” in which heavenly visitors bring divine wisdom and understanding. But there is a crucial difference (and it’s not just that, as one of my more cynical writer-patients put it, “Angels have been done to death”). The new heroes are mortal, prey to the same emotional struggles as the rest of us, and so able to relate on a human level with the troubled ghosts they — and only they — can see.

That was part of the appeal for a writer-patient on her second season with one of these shows. Though she disguised identifying details in her script, it was written “to say all the things I wish I’d said to my mother when she was alive,” she confided. “And I guess my hopes for what she’d say back to me.”

I hear such sentiments from writers all the time, and not just those who work on these shows. Like many in their audience they’re taken with the pop-therapy concept of “closure,” the hope that a final encounter can put a conflicted relationship to rest. How better to do this than actually to talk to those who have died, yet still exist, and who need to resolve unfinished business on this plane before they can move on to the next? One of the central conceits of these shows is that the living and the dead can have a final, healing conversation. On “Medium” Allison DuBois has helped a teenager come to terms with the suicide of his mother; on this season’s opening episode Allison and her dead ex-lover had to find closure of their own.

This restorative outcome relies on a narrative conceit that stretches from ancient Greek tragedies to modern dramas like Thornton Wilder’s “Our Town,” namely the belief that the lingering dead have mellowed, grown wise or finally seen the error of their ways. They’ve attained a new understanding, which the medium has to convey to the surviving loved ones.

Take a recent episode of “The Ghost Whisperer”: Sonia Braga played a mother whose posthumous acceptance of her son’s desire to box helped bridge the bitter estrangement between the boy and his father. Shows featuring the professional medium John Edward and his many imitators serve a comparable purpose: communication with the dead is the vehicle by which new consolations and revelations are attained, for the benefit of the living.

What all these shows have in common is the promise that, even if only in the afterlife, there will come wisdom and contentment.

A producer patient is developing yet another pilot script along these lines, and he used his conflicted feelings about his wayward grandfather as his inspiration. Con man, crook, the old man was just horrible to his family. Yet the producer loved him so much that he visualized his dead relative sitting calmly in a chair, watching us down here. The dead man realizes his life was a mess, that it brought him nothing but grief. He just shakes his head at the foolish, selfish things living people do. And he wants to help.

It doesn’t take a producer or a writer to entertain such fancies. Like anyone might, my patient used his imagination to envision his grandfather living on in some way after death and becoming a better man. But another patient of mine, who has written for these shows, sees a simpler explanation: “It’s what we have instead of God,” he said. “Or, at least, it’s what I have.”

He’s not alone. Most of the television writers I’ve worked with are at best ambivalent about traditional notions of God. “Medium,” “The Ghost Whisperer” and their ilk offer the comforting assurance that there is a heavenlike realm after death, without requiring belief in a specific faith or conception of God. Even the fact that the dead are never shown arriving at some glittering, cloud-filled destination, but rather simply vanish from the screen, gives the viewer a lot of latitude in imagining where they went.

But the implication is clear: There’s something out there — a force beyond our understanding — that gives meaning to our lives, and our deaths.

Maybe it’s that simple, after all. If faith is, as the theologian Paul Tillich maintains, man’s ultimate concern, then the reason these shows are flourishing seems suddenly obvious. They’re about what storytelling has always been about: hope.

Dennis Palumbo, formerly a screenwriter whose credits include “My Favorite Year” and “Welcome Back, Kotter,” is now a psychotherapist in private practice in Los Angeles.

http://www.nytimes.com/2006/12/10/arts/television/10palu.html?_r=1&ref=television&oref=slogin

dad1153

12-11-06, 08:04 AM

Critic's Notebook
'Lost Room' drama is a real Sci-Fi find
By David Bianculli, New York Daily News December 11, 2006

RATING: THREE STARS (OUT OF FOUR)

With "Battlestar Galactica," the Sci-Fi Channel presented a well-crafted miniseries that launched an excellent weekly series.

With "The Lost Room," the network's new six-hour miniseries televised in two-hour installments tonight through Wednesday at 9, that triumphant trick is likely to be duplicated.

The miniseries stars Peter Krause, who isn't likely to stick around if the concept spawns a weekly series. Then again, he wouldn't have to.

Though he's very good as a resourceful cop probing a baffling mystery, and is on-screen in almost every scene, the real power of "The Lost Room" doesn't come from the former star of "Sports Night" and "Six Feet Under."

The real power comes from a slew of seemingly ordinary objects - a comb, a watch, a deck of cards, a motel room key - and the high-concept secret that ties them, and this drama, together.

Krause plays Pittsburgh homicide detective Joe Miller, a single parent raising a sweet young daughter (played by Elle Fanning, little sister of Dakota, who made a big splash in an earlier Sci-Fi Channel miniseries, "Taken").

Early on, Joe comes into possession of a mysterious motel key, along with a cryptic description of its paranormal powers: "It opens every door."

Indeed, it does - and that opens the door to a very complex metaphysical mystery, the enjoyment of which comes, in no small part, from the surprises that spill out as it slowly unfurls. So I'll refrain from saying much of anything about what Joe finds on his quest to rescue his daughter, who soon goes missing.

Genre fans, though - and that's the target demo for this network - will wallow happily in echoes of previously themed TV efforts. The 1980 telemovie "The Girl, the Gold Watch and Everything" and 1987's "Friday the 13th: The Series" both center on ordinary artifacts with extraordinary powers.

In terms of a drama that bends time, space and reality for its own gleeful purposes, there's still nothing like "Twin Peaks" - but "Lost Room" may be a close neighbor.

The people Joe encounters often are as deceptive as the objects. Each has a particular agenda, and motives and loyalties shift often. Julianna Margulies, Dennis Christopher, Peter Bart, Kevin Pollak and Margaret Cho all have flashy supporting roles (well, all but Cho).

Direction is shared by Craig R. Baxley and Michael W. Watkins, and, unusually and impressively, three co-executive producers (Laura Harkcom, Christopher Leone and Paul Workman) share writing duties.

Should "The Lost Room" do well as a miniseries, and it should, those three should have no problem devising a way to generate a weekly series hunt, and perhaps a new hunter, for the approximately 100 empowered objects supposedly at large. If one is recovered each week, that should just about cover the number of episodes desired for a lucrative syndication package.

http://www.nydailynews.com/entertainment/ent_radio/story/478972p-402932c.html

dad1153

12-11-06, 08:08 AM

Critic's Notebook
Call It a Critic’s Carol: Even She Has a Heart
By Alessandra Stanley, The New York Times December 11, 2006

Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster was the television critic. On Christmas Eve, as the critic sharpened stakes of holly to drive through the hearts of programming executives, LaSharah Cratchit of the copy desk timorously asked to take the next day off.

“Bah, Fox News!” the critic scoffed. “When networks stop showing holiday specials and someone douses WPIX’s endlessly flickering Yule log reel, maybe we’ll talk.”

The critic had three new Christmas movies to review and no inclination to show mercy. NBC was offering a remake of a 1974 animated movie, “The Year Without a Santa Claus,” starring John Goodman as Santa Claus and Delta Burke as Mrs. Claus. “Just one more Jeff Zucker belly flop,” the critic cackled mirthlessly. “Might as well call it ‘Another Year Without a Christmas Bonus.’ ”

Lifetime’s romance, “A Christmas Wedding,” starring Sarah Paulson (“Studio 60”) as a bride having trouble returning from a business trip in time for her wedding, made the critic smirk. “They should have made it a multicultural trilogy, with ‘A Hanukkah Marriage Counseling’ and ‘A Kwanzaa Divorce,’ ” the critic wheezed.

And worst of all TNT was hawking an original movie, “A Perfect Day,” starring Rob Lowe as a novelist who neglects his family to pursue fame and fortune until an angel shows him the way to redemption. The critic placed the DVD in the player, leaned back in the Barcalounger and fell into the deep, velvety sleep that is profound boredom’s only blessing.

Suddenly, a knocker, or was it two, appeared in a spectral mist. “Marlo?” the critic whispered, aghast. It was Marlo Thomas, dressed as she was in “It Happened One Christmas,” a 1977 remake of Frank Capra’s classic “It’s a Wonderful Life” in which Ms. Thomas played the George Bailey character.

The critic had often invoked that film as the worst Christmas remake ever, matched only by “Skinflint: A Country Christmas Carol,” a 1979 holiday special set in Tennessee and starring Barbara Mandrell, and Tori Spelling as a Beverly Hills Scrooge in a 2003 special, “A Carol Christmas.”

Marlo shook her finger at the critic, and soon after the Spirit of Christmas Specials Past materialized, bearing a DVD of “Mr. Magoo’s Christmas Carol,” from 1962. At the sound of Jim Backus’s voice, a tear shimmered at the corner of the critic’s rheumy eye.

The critic snapped out of it as soon as the Spirit of Christmas Present arrived bearing the three review DVD’s from NBC, Lifetime and TNT.

“I don’t care, I am not watching Rob Lowe learn a life lesson in time for midnight Mass,” the critic said huffily. “Or Delta Burke in anything.”

A bell tolled.

The dark and brooding Spirit of Christmas Movies Yet to Come stood in the doorway, pointing at a video iPod. The critic stepped forward, shivering with dread. Rachael Ray stood at a countertop, pouring what she referred to as “I.V.O.O.,” into a bubbling cauldron. “I’m making no-carb latkes,” Ms. Ray hollered. “And then Oprah will join me for a two-hour holiday special on the risks and rewards of transgender trans-fat.”

Christmas Day was dawning when the critic awoke with a start. On QVC there was still time to order discount jewelry as a stocking stuffer. Joan Rivers shook the gold chain she forged in life.

The critic glowed with the spirit of the season. “Delta Burke is svelte,” she gleefully shouted out her window to viewers scurrying below on their way to early services at the Sharper Image. “And Rob Lowe deserves a second chance after leaving ‘The West Wing’ and wrecking his career.”

The critic frowned in concentration, racking her brain for something nice to say about Lifetime’s romantic comedy, “A Christmas Wedding.” The critic smiled and hugged herself. “The groom is played by Eric Mabius, who is a star of the ABC sitcom ‘Ugly Betty.’ ”

She phoned LaSharah, who was already up and putting on her coat to go into the newsroom. “Stay home,” the critic said sunnily. “I’ll e-mail you the copy at home.” LaSharah, speechless, then waited for the critic to screech, “Not!” and hang up.

Instead, the critic shared her newfound sense of fellowship and understanding. “It’s not easy to write a made-for-television movie without sex, violence or surprising plot twists,” she murmured pensively into the phone. “NBC casting Rob Lowe as a Mitch Albom with a dark side takes cunning,” she added. “This is Scrooge as a struggling author who leaves his wife and his agent when his novel hits the top of the best-seller list. It’s contemporary and heartfelt and true.”

The critic went to her computer and lovingly typed the first words of a holiday season review:

“God bless the networks, every one!”

“A Year Without a Santa Claus” is on NBC tonight at 9 p.m. Eastern and Pacific times, 8 p.m. Central. “A Christmas Wedding” is on Lifetime tonight, 9 p.m. Eastern and Pacific times, 8 p.m. Central. “A Perfect Day” shows on TNT on Dec. 18, at 8 p.m. Eastern and Pacific times, 7 p.m. Central.

http://www.nytimes.com/2006/12/11/arts/television/11stan.html?ref=television

dad1153

12-11-06, 08:14 AM

TV Notebook
Infant Formula Finale
Will 'King of Queens' End with New Baby?
New York Post Staff Writer Dec. 11, 2006

A lively debate has broken out at "King of Queens" about whether to end the show's nine-year run with a baby.

Leah Remini , the show's co-star, told TV Guide she would "love to see it end with a little life story after the show's over, like a montage of a baby, and see that baby grow up during the credits."

Well, Leah can hope all she wants.

The show's star, Kevin James, has been swearing up and down there will be no baby for the Heffernans of Rego Park.

"No baby, no time," says James, according to the TV trade magazine Broadcasting & Cable.

James says that, as far as he was concerned, the introduction of a baby killed one of his favorite couple sitcoms, "Mad About You" when in the show's final season the Buchmans had a daughter.

The essence of "King of Queens" was the dynamic between an overweight UPS delivery driver and his smarter, good-looking wife.

The introduction of a baby, he has argued would only get in the way.

No date had been set for the finale.

In fact, CBS is making only 13 episodes for its final season (the usual is 22).

The network has not said when it will air the final seven, though best guess is that the finale will air sometime in May, just before the traditional end of the TV season.

http://www.nypost.com/seven/12112006/tv/infant_formula_finale_tv_.htm

dad1153

12-11-06, 08:17 AM

In Memoriam
Sid Raymond, Voice of Baby Huey, Dies
AP/New York Post December 10, 2006

Sid Raymond, an actor who landed roles alongside A-list stars and was the voice of beloved cartoon characters but went largely nameless himself, has died. He was 97.

Raymond died Dec. 1 in Aventura, where he lived with his wife, from complications of a stroke the week before, his daughter Cynthia Raymond said Sunday by telephone from New York.

His agent called him the day he died about an audition for a cholesterol drug commercial, she said.

"Obviously he was kind of typecast as an older guy," she said. "But he would go to any commercial, anything."

The voice of the obese cartoon duck Baby Huey, the comical bartender of 1960s beer commercials for Schlitz and a familiar face on television from "The Ed Sullivan Show" to "The O.C.," Raymond was a show business fixture for six decades. But decades of brief, sometimes-uncredited appearances on Broadway, in movies such as "The Hustler" and "Big Trouble" and on the small screen made him a familiar face.

"Having the job was not the hard work, he said. Getting the job was the work because he had to go to these auditions and they would have all these character actors together," Cynthia Raymond said.

Born Raymond Silverstein in Manhattan on Jan. 21, 1909, Sid Raymond began his career as recreation director at a Catskills resort after dropping out of New York University. He went on to lead the traveling version of the radio show "Major Bowess Original Amateur Hour," which scoured America for talent.

During World War II, Raymond led a small troupe that performed at the front lines, sometimes under fire. He took over the role of Finnegan, the bartender on the radio show "Duffy's Tavern," in 1950.

Throughout the 1950s, Raymond appeared in televised dramas such as "Kraft Theater" and episodes of "The Honeymooners."

Raymond also lent his voice to Katnip, the cartoon cat that appeared in the "Herman and Katnip" series of animated film shorts in the 1940s and 1950s, and to mischievous cartoon magpies Heckle and Jeckle.

Documentary filmmaker Howard Weinberg profiled Raymond in a 27-minute film short in 2002 titled "Sid at 90."

"An inspiration for anyone who has ever clung to a passion, Sid Raymond concedes that, as an actor, he was never a star," Weinberg writes on the documentary's Web site. "But in the context of an enduring spirit, fame seems somehow beside the point."

Raymond is survived by his wife of 69 years, Dorothy, his daughter Cynthia and another daughter Margo Cohen, along with two sisters and a granddaughter.

http://breakingnews.nypost.com/dynamic/stories/O/OBIT_RAYMOND?SITE=NYNYP&SECTION=ENTERTAINMENT

dad1153

12-11-06, 08:20 AM

Technology
To Get Viewers for Reruns, a ‘Sopranos’ Game
By Michel Marriott, The New York Times December 11, 2006

After five and a half seasons of “The Sopranos” on HBO, Tony Soprano, his crime crew and his family are as familiar to many Americans as the presidents pictured on money. So the Arts & Entertainment cable channel faces a challenge: get millions of viewers to watch reruns of the series with renewed interest.

One strategy is a video game, but not a typical video game.

Do not expect interactive computer-generated animations of the Sopranos characters. In fact, there is no action in this game that was not scripted into the first season of the television drama, which A&E will run in its entirety beginning Jan. 10.

Imagine instead a fantasy football league in which actual football games supply the raw data for parallel competitions for points and rankings. Similarly, the Sopranos A&E Connection Game depends on action in the series to win points and rankings in the online game, said Kevin Slavin, managing director and co-founder of Area/code, a video game developer involved in the project.

In a preliminary round that starts Friday, players must first hunt down virtual tokens that represent characters, objects and places that are central to the series. The pieces, up to 36, are essential to the game. They can be collected by clicking online advertisements for the series, or by taking digital photos of ads on billboards or in magazines, and then sending them to a special Web site.

Using optical recognition technology, the pictures will yield tokens that will automatically be sent to a player’s online game board, Mr. Slavin said. Before episodes are shown (two are scheduled back-to-back every Wednesday), players must arrange their pieces. When the character or object that the pieces represent appears in an episode, players earn points — 10 for every two seconds on the television screen.

Players are rewarded bonus points if the pieces are arranged in contiguous clusters that reflect the same groupings during an episode. After the episodes end their run in February, the player with the most points will win a suitcase stuffed with $100,000, said Lori Peterzell, the vice president for advertising and consumer marketing at the A&E Network in New York. “It is to create a groundswell of buzz, to invite people in,” Ms. Peterzell said.

The Connections game was created in a collaboration of the Civic Entertainment Group, a promotions marketing firm, and Area/code, which specializes in “big games,” ones that bridge the virtual and the real.

Many Americans first became aware of big games in 2004, when Microsoft employed an alternate-reality game called I Love Bees to help promote the release of its Xbox 360 video game Halo 2. The game prompted players to scurry about the country to designated pay phones to answer recorded questions. Correct answers unlocked short audio clips of an Internet-based back story for Halo 2, a futuristic combat game that became a blockbuster for Microsoft.

While big games have proved to be effective promotional tools, Christopher Swain, a professor at the University of Southern California and an expert on game design and online game culture, said these games represented much more.

He said they were an outgrowth of the “participation age” — he credited Jonathan I. Schwartz, chief executive of Sun Microsystems, with coining the term — in which millions of people want to join in activities within communities of shared interests. Those active in social networking Web sites like MySpace and Facebook are prime examples, said Mr. Swain, who is co-director of the university’s Electronic Arts Game Innovation Lab.

“They want to express themselves in a community,” he said. “In this case the community is of people excited about ‘The Sopranos.’ I think it is a natural flowing from this sort of participation age.”

For the Sopranos game, players register at www.suitcaseofcash.com, where hints on locating game pieces will be provided. To help prevent cheating, Mr. Slavin said, the boards will lock 15 minutes before the episodes begin and unlock after the evening’s last episode ends on the West Coast. Players can arrange their pieces only while the board is unlocked.

Mr. Slavin added that even a thorough study of “The Sopranos” episodes on DVDs before the shows appear would not help players much because of the multiplicity of scoring possibilities. “These are types of problems that computers can generate but computers can’t solve,” he said.

http://www.nytimes.com/2006/12/11/technology/11soprano.html?ref=television

dad1153

12-11-06, 08:27 AM

Critic's Notebook
Highlight Zone
Check-In Time For 'The Lost Room'
By Linda Stasi, New York Post Dec. 11, 2006

THREE STARS (OUT OF FOUR)

One of the most per fectly cast miniseries in recent history, SciFi's "The Lost Room," is also one of the most bizarrely complicated and intriguing.

Not for those with short attention spans, this three-night original (very original) series involves a 1960's motel room lost in a space/time continuum that's filled with everyday objects - each with a unique power. Like I said, complicated.

"The Lost Room" opens with a divorced dad, Det. Joe Miller (Peter Krause), investigating a gruesome murder. At the murder scene, he finds a motel key.

The motel is the long-shuttered Sunshine Motel in New Mexico where something very, very strange took place in May, 1961.

What he quickly discovers is that the key will open any door, but that every door leads into Room 10 of the Sunshine Motel on Rt. 66.

The room and its contents lead the detective to a group called The Legion.

All the members of the group are believers that if all the objects were ever united, they would be able to see God.

One day his little daughter, Anna (Elle Fanning), uses the key to open a door and disappears inside Room 10, sending Joe on a journey to get her back.

As Joe searches for his daughter, he meets many of the good and bad guys who have come into possession of one of the room's objects.

Jennifer (the fantastically gorgeous Julianna Margulies) is the woman whose brother was the one killed in Room 10 - and she warns Joe not to get dragged into The Legion.

Karl (Kevin Pollak) is a wealthy (but evil) businessman - who needs the objects because he, too, has a child who can only be saved by them.

Then there's Harold (Ewen Brenner), a nervous mess who possesses "the comb" an object with the ability to stop time for just 10 seconds at a clip.

Howard (Roger Bart) is a hard-core believer, who could kill for an object - and does so, easily. He now possesses "the pen" which has human roast-and-toast capabilities.

Then there are my two very favorite characters:

* Wally (Peter Jacobson), a crazy loner who possesses "the bus ticket" which transports anyone to Gallup, N.M. Jacobson is so good at being awful, he's breathtaking.

* and Suzi (Margaret Cho), a tough-as-nails, cigarette-dangling, freelance objects dealer. She keeps track of who's got what object and she'll sell any info to anyone at her price - no negotiating. Cho the Show Stealer. Brilliant.

The only real problem with "The Lost Room" is that way too many loose ends are left in the final episode.

Clearly SciFi has a series in mind.

Good for them, but not even remotely fair to those of us who trudged through three complex nights.

"The Lost Room" Tonight at 9 on Sci Fi

http://www.nypost.com/seven/12112006/tv/highlight_zone_tv_linda_stasi.htm

dad1153

12-11-06, 08:31 AM

TV Notebook
A&E Treads Lightly on Sopranos Violence
Broadcasting & Cable Staff Dec. 11, 2006

The folks at A&E have done a nice job of scrubbing the HBO-grade profanity and nudity from The Sopranos, which premieres in syndication next month on the basic-cable network. But it seems the changes to the show’s graphic violence amount to little more than a split second of flying brain matter.

Last week, A&E sent out two sample episodes and a clip reel featuring before-and-after edits for nudity, language and violence. Using alternate takes of the Bada-Bing girls in lingerie, the editors were able to make a scene in a strip club look as wholesome as the Victoria’s Secret Fashion Show on CBS. Less seamless, however, is the substitution of "jerk" and "freakin’" for variations on the f-bomb. (Alas, there was no example of their solution for "c**ksucker.")

But one scene edited for violence—in which mob rat Jimmy Altieri gets whacked—looks almost indistinguishable from the original. Whereas the HBO version shows a slow-motion spray of blood and chunks of brain, the A&E version merely trims the shot before said brain chunks hit the wall.

Given the increase of graphic content on TV since The Sopranos premiered in 1999, explains A&E Executive VP/General Manager Bob DeBitetto, there was little need to edit for violence.

The network will run back-to-back episodes at 9 p.m. ET, beginning Jan. 10.

http://www.broadcastingcable.com/article/CA6398436.html

dad1153

12-11-06, 08:36 AM

It's not a Family Guy-type resurrection from the dead, but this TV property-turned-videogame at least makes more sense than the Sopranos videogame mentioned above.

Technology
'Firefly' sparks multiplayer game
Canceled sci-fi show returns as videogame
By Ben Fritz, Variety December 11, 2006

It may have been canceled in 2002, but "Firefly" lives on.

Four years after an 11-episode run on Fox and a year after a feature adaptation grossed a modest $25 million, "Firefly" has been licensed by 20th Century Fox TV to vidgame technology developer Multiverse, which will turn the property into a multiplayer online game.

Company is building technology that lets developers build a variety of different online worlds that interconnect through one portal. It's hoping that "Firefly," which has a devout cult aud that crosses over heavily with gamers, will not only be successful on its own but draw attention to other properties using the same technology.

"Having a well-known property like 'Firefly' will make our network more attractive to fans as well as developers we want to work with," said Multiverse co-founder and exec producer Corey Bridges.

Multiverse will hire a developer to make the game. It hopes to get input from series creator Joss Whedon as well as likeness rights and voice work from some of the actors who were in the show.

Multiverse was introduced to Fox execs by its board members James Cameron and Jon Landau.

Game is expected to launch in 2008.

Numerous massively multiplayer games based on Hollywood properties are out or in the works, hoping to see just some of the success of "World of Warcraft." LucasArts already has "Star Wars Galaxies," and Warner Bros. has "The Matrix Online," although it didn't do particularly well. Games based on "The Lord of the Rings," DC and Marvel superheroes and "Star Trek" are in development.

http://www.variety.com/article/VR1117955451.html?categoryid=14&cs=1

dad1153

12-11-06, 08:40 AM

Critic's Notebook
Objects From This Room Are Odder Than They Appear
By Virginia Heffernan, The New York Times December 11, 2006

Before keycards, cellphone chargers and BlackBerrys, another set of artifacts defined itinerant middle-class life: black plastic combs, ballpoint pens, decks of cards, packs of cigarettes. No self-respecting man on the road could be without them. Briefcases had appointed slots; glove compartments held extras; and the tables of motel rooms were littered with them.

No wonder “The Lost Room,” a beguiling mini-series from the Sci Fi Channel, has turned these standard midcentury accessories into supernatural talismans with the powers of Tolkien’s ring. They’re the things our dads and granddads used to carry, loading them into suit pockets just as they were rushing to mysterious child-free places. Perhaps they were off to see ravenous mistresses or to solve crimes. Or maybe they were headed, say, to work.

In any case, what a jackpot for a mystery series. “The Lost Room,” which stars the uncanny Peter Krause of the HBO series “Six Feet Under,” finds a pretext for obsession, espionage, conspiracy and murder in lighters, motel keys and vintage clocks — all the eBay flotsam. The series skillfully taps into the collector fever that has been kindled by that auction site, further conjuring a peculiar nostalgia for the isolation of the traveling loner in the days before cellphones, Internet and pay-per-view made motel rooms bearable.

Mr. Krause plays Joe Miller, a homicide detective in Pittsburgh. At first he looks too cute for the noir role. Soon enough, however, his weirdness returns — “Six Feet Under” fans will remember it — and his sweet face takes on a cast of something like beatitude. He’s troubled in “The Lost Room,” as he was in “Six Feet Under”: here his daughter, Anna (played by Elle Fanning, sister of Dakota) is missing. While investigating a murder in a pawnshop, he has acquired a motel-room key that, let’s just say, opens doors for him. It’s magic. The bad kind.

But alas it’s not quite magic enough to locate Anna. Maybe if it were used in conjunction with another magic object, like the watch that can boil eggs or the comb that can stop time or the glasses that can halt combustion. And so begins a quest romance in which Middle Earth is essentially Route 66, that national treasure, and some of its burned-out byways.

In his earlier role on HBO as Nate Fisher, heir to a funeral parlor, Mr. Krause seemed so deeply in on a cosmic joke that he appeared Christlike or, less exaltedly, like the Police’s King of Pain. The same is true here.

“Six Feet Under” ultimately stiffed his character for its own purposes; the women and the gay men had to be triumphant on that show, so Nate the straight cad jilted everyone, then suddenly died. But Mr. Krause still comes across as a holy figure who submerges his suffering in the suffering of others. Certainly among his strengths are his many expressions of receptivity. For this reason female audiences tend to like him.

In “The Lost Room” he is mostly in the company of men. Strange men: Mr. Krause is not one to travel with a handsome Hollywood pack. The other guys caught in the production’s eccentric logic — unerring character actors, including the superb Peter Jacobson (as Wally Jabrowski), Kevin Pollak (Karl Kreutzfeld), Roger Bart (the Weasel), Chris Bauer (Lou Destefano) and Dennis Christopher (Martin Ruber) — play victims or beneficiaries of the ’60s objects. In the conceit of the drama, 100 of those objects come from an eerie 1961 motel room.

Competing gangs are trying to reassemble them for purposes religious or venal. In charge of one of them, the Legion, is Jennifer Bloom, played by Julianna Margulies; she’s the seductress, I guess, but she looks a little too trim and network-TV amid the appealingly motley cast. Margaret Cho, as Suzie Kang, an object broker, fits in better.

As a cultural figure Mr. Krause may be the ideal son — both avenging and defeated — to an abstracted ’60s father. It’s as if he alone, among the slackers of ’06, can still hear the keening pain of the John Updike antihero. There’s something distinctly literary and timeless in his own intrinsic religiosity and muted melancholy. If novels by Mr. Updike or Richard Ford or David Gates become movies in the future, Mr. Krause ought to star.

In “Six Feet Under” that father, who appeared as a ghost, was a sardonic chain smoker who kept a secret room. In “The Lost Room” Joe — a T-shirt-wearing, cellphone-using man of his time — once again has to revisit that spectral past, and a lost room, in which you can imagine characters very like Nate’s father up to no good.

Why the phantoms of that era (with their Watergate comb-overs, heavy-framed glasses and perpetual highballs) scare us so much, and why now, is up to cultural historians to decide. For now, though, they make fine ghosts in a sci-fi series, and in Peter Krause they meet their modern-day match.

THE LOST ROOM

Sci Fi, tonight at 9, Eastern and Pacific times; 8, Central time.

http://www.nytimes.com/2006/12/11/arts/television/11heff.html?ref=television

dad1153

12-11-06, 08:47 AM

Two stories about the currently-hot big money primetime game show genre.

TV Notebook
Do You Know Me?
'Identity' Challenges First Impressions
By Don Kaplan, New York Post December 11, 2006

Master-magician-turned-game-show host, Penn Jil lette, is gambling that the race card - thank you, Michael Richards - may be the ace up his sleeve.

On his new NBC game show, "Identity," contestants are presented with 12 strangers and then bet big bucks on matching those people with their occupations.

"You match these identities to each stranger using the stuff we use all the time but try to deny," Jillette told The Post. Contestants rely on "racial profiling, gender prejudices and really embracing the idea of snap judgements," he says.

With each correct match, contestants win more money.

The biggest prize is $500,000 and to help each contestant, they can ask for advice from a panel of experts (an FBI profiler, a psychologist and a body language expert), ask their friends and family or narrow the field down to three strangers.

Each option is available to be used only once.

"It's a game that we all do when we show up at the hotel pool and try and figure out who's who and what they do," says executive producer Ben Silverman. "Or when you're sitting in a café, watching people."

The subtle use of the race issue plays only a small part in the game, says Silverman. Gender bias, on the other hand, may turn out to be a much larger facet of the game.

"Gender [prejudices] tie into this game significantly," says Silverman.

"You're going to think that the tall, black guy is the college basketball player rather than the 4-foot tall race-horse jockey," says Jillette.

"Identity" is the latest in the new game-show wave that includes NBC's "Deal or No Deal," "1 vs. 100" and ABC's "Show Me the Money."

Jillette is probably not the first TV personality that comes to mind when you think primetime, game-show host. But he says he's got a terrific role model to work from - Groucho Marx on "You Bet Your Life."

"It was never my goal in life to be a game-show host," says Jillette. "But a lot of the skills I learned relating to people while eating fire 50 shows a day can be applied to being a game-show host."

http://www.nypost.com/seven/12112006/tv/do_you_know_me__tv_don_kaplan.htm
____________________________________________________________ _____
TV Notebook
'Bet' On Game Shows Now
New York Post Staff Writer Dec. 11, 2006

It's official: TV is moving out of its reality phase and into the game-show craze.

The latest move is ABC buying the rights to a longtime German game show called "Wanna Bet?"

The show - which mixes celebrities with regular people betting whether they can pull off outrageous stunts - is an institution in Gernany.

Meanwhile, NBC is starting its third primetime game show this week, "Identity" (see story above), to go along with "Deal or No Deal" and "1 vs 100."

CBS is said to have a new primetime version of "Name That Tune" in the works, too.

http://www.nypost.com/seven/12112006/tv/bet_on_game_shows_now_tv_.htm

dad1153

12-11-06, 08:51 AM

Critic's Notebook
'Wedding Wars' delivers a gay time
By Rob Owen, Pittsburgh Post-Gazette December 11, 2006

A&E's "Wedding Wars" (9 tonight) wants to be both a light comedy and a more serious meditation on gay rights. Against all odds, this mishmash of stark contrasts emerges as a surprisingly engaging film.

But it begins less than promisingly when the Maine governor's speech writer proposes to and then makes out with the governor's daughter (Bonnie Somerville) while on a dais at one of the governor's appearances. With that kiss, which would never happen in the carefully scripted real political world, the film leaves the bounds of reality in the dust.

Eric Dane stars as Ben, the governor's speechwriter, and John Stamos plays his brother, Shel, a gay event planner who's hired to handle wedding arrangements. But once the governor (James Brolin as a more believable politico than the straw Republican he played on "The West Wing") comes out against gay marriage, Shel begins picketing in front of the governor's mansion. Initially, Shel's petulance comes off like a child holding his breath until he gets his way.

In just one of many instances of wanting to have it both ways -- the film seeks to deflate stereotypes while reinforcing them -- Shel says, "I'm exercising my right to free speech and my calves, which is perfect, by the way, because today was leg day at the gym."

No one takes notice of Shel's protests until an unctuous news reporter interviews Shel and snidely suggests, "If all the world's florists, hairstylists and choreographers were to go on strike, could we survive?"

And so the gays do go on strike, Shel becomes a media sensation, and the wedding begins to fall apart. Shel's own relationship with his assistant district attorney boyfriend, Ted (Sean Maher, "Firefly"), also takes a hit.

"One of the benefits of being gay was I'd never have to spend one instant of my life thinking about getting married ... until now," Ted says.

It's an interesting perspective and not one that you'd expect from a movie that's so often a lark.

These little moments do work as believable drama, including Shel's coming out to his parents, who aren't enthusiastic but aren't hateful either, expressing shame and disappointment. But they make no attempts to disown Shel.

"Was it because I made you watch ice skating with me?" Mom asks.

"I'm just gay, the way some people are just smart or tall," Shel says.

"Or just Lutheran?" Mom adds

"Actually, I was born gay, where people choose to be Lutheran," Shel explains.

Dad disagrees: "You were born Lutheran, it says so right on your birth certificate, and it doesn't say gay, I can promise you that."

"Wedding Wars" is ultimately more a tale of two brothers than a crusade for gay rights, as Shel's strike evaporates in the name of family unity. But it doesn't disappear before "Wedding Wars" gets in an obvious dig at soon-to-be former U.S. Sen. Rick Santorum by paying homage to one of his more infamous interviews. The governor's opponent is seen in a TV commercial suggesting that if gay marriage is allowed, "What's next? Polygamy? Incest? A man marrying his dog?"

http://www.post-gazette.com/pg/06345/745152-237.stm

dad1153

12-11-06, 08:55 AM

TV Notebook (Profile)
Wondering in the Woods
By Laura M. Holson, The New York Times December 10, 2006

Hollywood -- There's nothing sexier than a funny woman. Unless, of course, there are four of them.

That was the case on a recent Friday night when Jenny Bicks, a former writer for “Sex and the City” and the creator of the new television show “Men in Trees,” which ABC just picked up for another 22 episodes, gathered for cocktails here with friends at the Sunset Tower Hotel.

As Ms. Bicks sipped a Vodka Negroni, she and her friends mused about the weirdness of Hollywood culture — everything from bad Botox to youth obsession, even the overdependence on advice from psychics.

“People are always running to yoga or their psychics,” said Ms. Bicks, a New Yorker who has lived in Los Angeles off and on since 1993. “I was a psychic junkie. Now I’m anti-psychic.”

“How many psychics have you talked to?” her friend, Padma Atluri, asked.

“Do phone psychics count?” Ms. Bicks asked. “Is it like counting sexual partners?”

The table erupted in laughter. After a quick tally on her fingers, she came up with six.

“I visited a psychic several years ago who told me to dump the guy I was seeing,” Sara Glasser Havens, Ms. Bicks’s assistant, chimed in. “He became my husband.”

Ms. Atluri, who also writes for “Men in Trees,” countered: “I once asked for a guarantee.”

Ms. Bicks gasped. “You asked the psychic for a guarantee?” she said. “Who does that?”

After plates of fried calamari and beef carpaccio, the group headed to Social Hollywood for dinner. There, several men drifted by Ms. Bicks and her friends, who were seated at a prime spot near the entrance. The men’s gazes lingered over the pretty women, who in return barely noticed them.

“If I knew that college and graduate school were the best dating pool, I would have paid more attention,” said Ms. Atluri, who is single.

Ms. Bicks perked up. “I’m going to make sure one of you meets someone tonight,” she said, homing in on a trio of perfectly coiffed men and channeling a little of the main character in her show, a relationship coach who ends up in Alaska, where men are abundant. (Ms. Bicks, 42, lives happily with her boyfriend.)

“In Boston and New York you could go into a bar and hang out,” said Antonia Ellis, a producer for Ms. Bicks’s show. “I don’t do that here.”

“It’s perceived differently,” Ms. Bicks added. “It’s like, ‘What’s her story?’ Maybe she can buy my movie script.”

Ms. Atluri, a Californian of Indian descent, said she was always being set up with Indian men by well-meaning friends. “They say, ‘I have some perfect for you.’ And he is always short.”

Ms. Bicks told the story of a friend who once was asked to go on a date with a New York financier. Before the date, the friend got a call saying she would be going out with one of the financier’s older friends instead. “She was downgraded to someone 70 years old,” Ms. Bicks said. “Her niece told her, ‘You can’t go out with someone older than grandpa.’ ”

Ms. Ellis has her own recipe for handling a mismatch. “If it’s a bad date, I bake,” she said.

“Oh, so that’s why you bring in muffins,” Ms. Bicks said.

“I call them scoffins,” Ms. Ellis replied. (Pronounced SKOH-fins.) “They are a cross between a scone and a muffin.”

What about a good date? “There is no baking,” Ms. Ellis said, smiling.

Ms. Bicks nodded approvingly.

http://www.nytimes.com/2006/12/10/fashion/10nite.html?ref=television

harley1

12-11-06, 09:45 AM

Breathing life into 'The Year Without a Santa Claus'

By Jonathan Storm
Inquirer Columnist

'Tis the season to be jolly, but who gives a sprig of mistletoe about that? Court TV dredges up the Susan Reinert murder, one of Pennsylvania's most notorious, complete with two innocent children who were never found, tonight at 10 in Murder by the Book.

But wait! What's that scuffling up on the roof? Could it be the elves from NBC offering a gen-u-ine new Christmas TV movie, with an escaped reindeer and a big, fat Santa, and a kid who says, "I used to think I was too old to believe in Santa Claus. Now, I think I'm too old not to believe"? And is Frank Capra's grandson the first assistant director?

Yes, Virginia, the Christmas spirit is still alive in some corners of TV, as The Year Without a Santa Claus demonstrates tonight at 9. Are people going to be watching it 60 years later, like It's a Wonderful Life? No, but give the Peacock - is that tinsel hanging off its tail? - credit for trying.

There's no need to question why John Goodman, Delta Burke, Michael McKean, Harvey Fierstein, comedian Eddie Griffin, Ethan Suplee from My Name is Earl, Saturday Night Live's Chris Kattan, and Carol Kane, who plays Mother Nature, would make this movie. It's fun!

Oh, sure, Jesus is never even mentioned, the musical numbers are strange, and it's the same old theme: Christmas ain't what it used to be. But it would take Super Scrooge to point to the movie itself as proof of that premise. Goodman plays Santa in this live-action adaptation of a '70s Christmas special, animation that featured Mickey Rooney as the voice of Santa and Shirley Booth as Mrs. Claus. Burke plays the missus this time around.

Santa's had it with techno toys and wants to retire to Mythopolis, where all the washed-up heroes go. His pal, the Abominable Snowman, is there. "People stopped chasing him," Santa tells his wife. "He got bored. Now, he's a snowman of leisure." Spokesman for this special senior sanctuary is Hercules, played by another famous former strongman, Jack La Lanne.

It's the kind of silly stuff that keeps the movie bouncing, though it slows a little at the end, after Suplee and Griffin, the wandering elves Jingle and Jangle, complete their mission.

It's easy to lose sight of the Christmas spirit in these hectic times. A couple of hours with this film won't substitute for a visit to The Nutcracker or The Messiah, but it's better than another episode of CSI.

Murder by the Book is worse, of course, as a cheesy cable rehash of the gruesome 1979 murder of teacher Reinert, complete with re-creations and imperious narrator.

Local author Lisa Scottoline (rhymes with linguine) makes a comment or two, enforcing the premise of the series matching crime writers with cases that interest them. But the big star is defense lawyer William C. Costopoulos, looking like a cross between Burt Reynolds and Boston Legal fashion plate Denny Crane.

Costopoulos represented Jay C. Smith, former principal of Upper Merion High School. Along with William Bradfield, combination teacher and cult leader at the school, he was convicted in the case that was liberally laced with sex and drugs. But that was not the end.

Tune in if you forget, can't stand not knowing, or are so grinched-out you prefer Svengali to Kriss Kringle.

http://www.philly.com/mld/philly/entertainment/16211213.htm

harley1

12-11-06, 09:52 AM

Haysbert in charge
The Unit and his role as the president in 24 have put actor out front

By FRAZIER MOORE, AP

NEW YORK -- Dennis Haysbert makes no secret of the satisfaction he gets from his role on The Unit.

As Jonas Blane, leader of a covert team of U.S. Special Forces operatives, he gets to play a man of fierce conviction and courage.

Also, a man of action.

With a flash of pride, Haysbert describes the scene from a recent episode where Blane and his "undercover wife," their cover blown, dodge bullets in a perilous escape from the villa of a corrupt Latin American official.

"I had to fashion a rappelling harness on myself and the actress at the edge of a cliff," he explains. "I didn't have to go down too far in the shot, but I had to know it would work -- and with someone else on my back. And I had to do it pretty fast. I was taught right there, minutes beforehand."

LOVES THE ACTION

"The physical action I love. It keeps me in shape," says Haysbert, who, at 52, surely is. "But it's not just action for action's sake. I think it's something that's going to inspire."

Airing Tuesday at 9 p.m. on CBS, The Unit premiered last March as an unusual blend: A tough-guy drama reinforced with tough-enough wives, who tackle patriotic duties of their own on the home front.If members of the unit aren't racing to Afghanistan to take out a Taliban leader, they're dropping everything to rescue missionaries hiding out in the Philippines. And when the phone call comes and each man gets his top-secret orders, his wife responds in the necessary way: She suppresses a sigh and lets him go.

The Unit was created by David Mamet, whose writing revels in the male psyche. Executive producer Shawn Ryan was creator of the gritty FX cop drama, The Shield. And it draws on the experiences of writer-supervising producer Eric L. Haney, who served in the U.S. Army's secret counter-terrorist Delta Force. So the tales are not only gripping, they also have the ring of authenticity.

MEN OF DIGNITY

"Unlike most shows," says Haysbert, "there's a foundation of truth."

Haysbert -- whose co-stars include Scott Foley, Robert Patrick and Regina Taylor as Blane's wife -- has a history playing men of character and dignity.In 1992, he starred opposite Michelle Pfeiffer in Love Field, a film about a couple drawn to each other in the aftermath of the assassination of President John F. Kennedy. Four years ago, Far From Heaven placed him in another story of interracial love: As a gardener who befriends Julianne Moore's Connecticut housewife, circa 1957.

But it was on Fox's thriller 24 that Haysbert made an indelible impression on the public. He was strong and heroic as President David Palmer, America's first black chief executive, in a performance that surely got Americans thinking such a thing in real life isn't so farfetched, and is maybe overdue.

At 6-feet-4, with a rich baritone, Haysbert commands the screen, as well as any room he happens to occupy. Breakfasting in a Manhattan restaurant, he seems to catch the eye of half the other diners, any of whom might readily help vote him into office. He's not just an actor, but a man of some influence.

"There are people who hang onto the words that we say and the things that we do -- and believe it," says Haysbert, summing up his approach to acting. "Yes, it's entertainment. But I think if we're going to do it, it's worth being responsible."

HIGH SCHOOL ATHLETE

Growing up in San Mateo, Calif., the eighth of nine children, Haysbert learned about scoring the approval of spectators as an avid high school athlete in football, basketball and track.

But acting promised even more than applause from onlookers."If I did my job right, I could make them cheer -- but if I did my job right, I could ALSO quiet them," he says. "I could make them FEEL what I was feeling."

Maybe so. But as a young black man entering the market in the mid-1970s with few role models besides Sidney Poitier -- well, what made him think he could make a go of acting?

"I don't know ... I don't know," he says quietly, but he does know: "Tenacity. I kept believing that I could do it. That being black didn't matter, and that if I had the talent, I should be able to do what I wanted to do."

The Unit

Tuesday, 9 p.m.

http://torontosun.com/Entertainment/Television/2006/12/11/pf-2736172.html

fredfa

12-11-06, 10:52 AM

Critic’s Notebook
“Jericho”:
Are you happy now?
By Scott Collins Los Angeles Times Staff Writer in the Channel Island TV Industry column Dec. 11, 2006

All her life, Judy Conklin has been terrified of the threat of a nuclear explosion. The 56-year-old book editor, who lives an hour or so north of New York City, vividly remembers the Cold War scares of her girlhood, hunkered down in air-raid shelters during bomb drills with millions of other Americans. Her upcoming move to Virginia brings a sigh of relief, because it'll take her away from the Indian Point Energy Center, a nuclear power plant a few miles from her current home. She feels sorry for Manhattanites who have to worry about being incinerated by, say, a terrorist detonating a suitcase bomb in Times Square. "I just don't want to be fried," she said.

Luckily, Conklin has a new coping mechanism for her fears: "Jericho," the CBS drama about … uh … the threat of nuclear annihilation. Like 11 million or so other regular viewers, Conklin can't wait to see what happens in a fictional Kansas town cut off from the world after mushroom clouds sprout over big American cities. From the first episode, said Conklin, who watches little else on television besides news, "I was hooked."
In a remarkable kind of audience catharsis perhaps worthy of in-depth sociological research, "Jericho" is the unlikeliest of the three shows that have emerged as unqualified hits of the current TV season. The CBS show has neither the goofy glamour of ABC's "Ugly Betty" nor the comic-book appeal of NBC's "Heroes."

"Jericho's" premiere merited mostly tepid reactions, if not downright scorn, from the TV reviewing corps. And, really, how do you sell an entertainment about nuclear disaster amid a bogged-down war in Iraq, the lingering memory of the Sept. 11 attacks and continuing worries over the nuclear aims of North Korea and Iran? But if it's possible to create an uplifting show about a man-made apocalypse, CBS has seemingly managed to do it.

Depicting a community coming together after the ultimate calamity, "Jericho" is an exercise in post-Sept. 11 wish fulfillment, although the producers still flesh out enough sinister goings-on to satisfy viewers' thirst for melodrama. Last month, a blogger for the popular website TV Squad offered perhaps the most telling praise: "Right now, this show is better than 'Lost.' "

John Rash, senior vice president at Minneapolis ad firm Campbell-Mithun, said viewers could have rejected "Jericho" "because it was figuratively and literally too close to home." But, he added, "there's a fantasy and escapist element to it, even if it's crystallizing real-life concerns."

Carol Barbee, the writer-producer who oversees creative efforts on "Jericho," sees the series as arriving at a key moment, with many Americans confused and frustrated by the government response to Hurricane Katrina in particular. The show gives viewers the opportunity to imagine grave problems being confronted and solved by ordinary citizens.

"With 'Jericho' I don't think you feel doom and gloom," Barbee said. "I think you feel empowered." The writers have cultivated a broad cross-section of characters representing diverse economic and political backgrounds. A point has been made to avoid real-life political debates in the writers' room, Barbee said. "Do we sit there and slam George Bush?" she said. "No, we don't."

Yet the real-life inspirations resonate in "Jericho." Take Mayor Johnston Green (Gerald McRaney), the father of the series' putative young hero, Jake (Skeet Ulrich). Green could be thought of as a small-town Rudolph Giuliani, a public official trying to make the best of an awful situation. "We all want a mayor like Mayor Green; we want Gerald McRaney to be our dad and tell us what's right and wrong," Barbee said. (Or maybe not: The writers recently had the townspeople dump Mayor Green in favor of his longtime rival, the essentially decent but slightly panicky Gray Anderson, played by Michael Gaston).

Similarly, executive producer Stephen Chbosky, who was living in Brooklyn during the Sept. 11 attacks, recalled reports of victims leaving final goodbyes on answering machines for loved ones. Thus in the "Jericho" pilot, teenager Dale Turner (Erik Knudsen) repeatedly listens to the nightmarish voice mail his mother left right at the moment of a bomb impact in Atlanta. "Lots of characters came out of that experience," Chbosky said, referring to Sept. 11.

Barbee admitted she was annoyed by some of the early negative reviews, but her confidence in "Jericho" didn't waver. "I knew it would be successful because of the discussions it could create."

For all its early promise, though, "Jericho's" prospects beyond the first season are a bit hazy. Producers may find it increasingly difficult as time goes by to keep the town's residents isolated in credible, non-contrived ways. Although Americans have found nuclear holocaust an intriguing dramatic premise in the past (ABC's "The Day After" made-for-TV movie was a huge hit in 1983, for example), no one can say for sure how well the concept will age over multiple seasons. As USC professor and pop-culture expert Leo Braudy points out, movies and TV shows having to do with nuclear catastrophe are somewhat limited dramatically by their subject matter. "It's always about who's going to survive," Braudy said.

Like many shows on older-skewing CBS, moreover, "Jericho" hasn't quite captured the loyalty of the all-important young-adult audience (ages 18 to 49), which for better or worse is what network execs obsess over. The median age of "Jericho" viewers is 51, according to Nielsen Media Research; the comparable figure for "Heroes" is 39. The network has had other recent shows that started off strong and then fizzled, such as "Joan of Arcadia."

Mindful of all this, CBS is taking steps to keep the "Jericho" audience loyal while trying to reel in new viewers. When journalists at mainstream publications greeted the show coolly, the network aggressively courted bloggers and set up an Internet "wiki" — or user-edited site — filled with show lore. "It was clear that traditional media didn't respond to the show, so we decided to work around the filter of the nation's press," said CBS spokesman Chris Ender.

In the riskiest move, executives are borrowing a page from "Lost" and putting "Jericho" on a 10-week hiatus, mainly in a bid to avoid low-rated repeats and build anticipation for the return in February. But it may be difficult to relaunch a serialized show after a long layoff. "They're nervous," Barbee said of CBS executives. "They've never done it before."

The network needn't worry, though, that viewers like the nuclear-phobic Judy Conklin won't come back. Recently she switched on her TV at 8 on a Wednesday evening, only to remember with chagrin that "Jericho" had been temporarily replaced with the sitcom "The King of Queens." "I realized what an addict I was," she said.

http://www.calendarlive.com/tv/cl-et-channel11dec11,0,2468164.story?coll=cl-tvent

harley1

12-11-06, 10:53 AM

Legislative Relief in DISH's Future?

With EchoStar being forced to turn its back to the 800,000-or-so DISH Network subscribers that had been receiving its distant network signals, the company was holding out for some legislative relief that never came. But now that the blackout has reached across the entire country, and certain constituents are being affected, one Congressman has sponsored a bill designed to settle the dispute and turn the signals back on.

Because rural residents - specifically those in northern Michigan - have lost access to their distant network signals, Congressman Bart Stupak (D-Mich.) has signed onto legislation that would allow a settlement of the dispute that is blocking DISH from carrying the out-of-market channels. According to a release from Stupak's office, the legislation would make clear that the court has the authority to accept any settlement reached between the networks, broadcasters and the satellite company allowing individual agreements for DISH to provide network programming.

While "we cannot allow DISH Network to break the law, this legislation would help allow a balanced solution that upholds the law, but does not penalize rural television viewers," Stupak said. "This legislation does not guarantee a solution, but it at least gives the court authority to accept any agreements between the networks, the broadcasters and DISH."

Stupak said that his constituents who lost their network signals due to the dispute may have other options - namely cable or DIRECTV -but that those services are not always available. The Congressman said he would continue to work with his colleagues for a solution "that upholds the law, but does not penalize rural television viewers," - especially in Michigan.

In related news, National Programming Service - the company offering distant network signals to alienated DISH subs - is now facing problems of its own for trying to provide the service recently taken from EchoStar. Last week, NPS was forced to stop connecting customers to the out-of-market signals because Cedar Rapids-based Decisionmark - the company maintaining white-area household databases - stopped processing the company's clearance requests. The move by Decisionmark to withhold its data from NPS keeps the satellite company from determining potential customers' eligibility to receive the distant nets.

According to a court filing, NPS President Mike Mountford said that the broadcasters are strong-arming Decisionmark claiming the service it's providing violates the court's ruling against EchoStar and if continued would face contempt proceedings. The broadcasters "have launched the legal equivalent of total war against NPS, with all the secondary effects and destruction that such implies," the company wrote.

Decisionmark VP of Operations Herb Skoog told SkyREPORT "there is nothing Decisionmark can comment on regarding this situation," and attempts to reach Mountford were unsuccessful. As of press time, EchoStar had not answered requests for comment.

http://www.skyreport.com/

dad1153

12-11-06, 11:06 AM

Please check the previous thread page (#633) for lots of stories added in the past few hours. Lots of reviews of tonight's made-for-TV movies on A&E and NBC as well as critic's take on the Sci-Fi new mini-series 'The Lost Room,' news on new videogames based on 'The Sopranos' & 'Firefly,' the resurgence of big money primetime game shows on network TV, DISH's attempt to get government relief and a profile of the creator of 'Men In Trees' for your reading pleasure.

VisionOn

12-11-06, 11:16 AM

Critic’s Notebook
“Jericho”:
Are you happy now?
By Scott Collins Los Angeles Times Staff Writer in the Channel Island TV Industry column Dec. 11, 2006

"With 'Jericho' I don't think you feel doom and gloom," Barbee said.

well, why would you? I'm sure if nukes went off all around the country, wiping out population centers, I'm sure everything would be as rosy and laid back as it is in Jericho. Where the only thing they worry about is the bar running out of beer and who'll be carving pumpkins on Halloween.

With all the news about radiation being tracked throughout Europe from a single source, I was thinking that nuclear radiation is scary. But thanks to Jericho I'm not worried any more! :rolleyes:

fredfa

12-11-06, 11:18 AM

The Business of TV
Liberty Nears News Corp. Deal
Pittsburgh, Seattle, Denver RSNs reportedly part of agreement
MultiChannel News 12/11/2006

John Malone’s Liberty Media will regain ownership of three regional sports channels owned by News Corp.’s FSN under a broad deal that will also give Liberty control of DirecTV, The Wall Street Journal reported Monday morning.

While the newspaper didn’t name the specific regional networks involved in the deal, Fox Sports Pittsburgh, Fox Sports Northwest and FSN Rocky Mountain appear to be the networks that will change hands, based on the pro sports teams named in the report.

In exchange for Liberty selling its $11 billion stake in News Corp. back to the media giant, Liberty would pick up the majority stake in News Corp.’s DirecTV unit, the second largest U.S. pay TV provider, which counts 15.6 million subscribers.

http://www.multichannel.com/index.asp?layout=articlePrint&articleid=CA6398683

fredfa

12-11-06, 12:14 PM

Sunday's overnights have been delayed. I'll post them when I get them.

blb3

12-11-06, 12:19 PM

I think this shows the decline in the quality of journalists. He admits he doesn't even know that not all shows on HD (sic - sb digital) channels are in widescreen. So I should care what he thinks about other technology?

Jumping in a little bit late here, but I agree with the above. I was pretty astonished that a media reporter for the NYT doesn't know that all shows on HD channels aren't broadcast in 16:9, then doesn't clarify the situation for the average reader

fredfa

12-11-06, 12:22 PM

TV Sports
For Dallas, it's the old glam once more
The Cowboys are hot, and so's the NFL this year
By Toni Fitzgerald MediaLifeMagazine.com staff writer Dec 11, 2006

For the Dallas Cowboys, everything that’s old is new again.

They are coming off the longest winning streak in the NFC and they’re a favorite to make the Super Bowl. Their top wide receiver is a lightning rod for controversy, and their movie star-handsome quarterback is rumored to be dating a Hollywood starlet.

Yes, the ‘Boys are finally back, even with last night's loss to New Orleans. With a potent mixture of talent, great coaching and gossipy headlines that used to define the team back when it won three Super Bowls in the 1990s, Dallas is once again America’s team.

And that’s great for the NFL, which is having a very strong season ratings wise. Much of that is due to the Cowboys, who have played in the highest-rated games this season on three of the four NFL carriers.

Things began to come together last month, when unproven quarterback Tony Romo stepped in for struggling veteran Drew Bledsoe (4-3). Since then, Dallas is 4-2 and last week the fourth-year player out of Eastern Illinois won the league’s Offensive Player of the Month award after completing 72 percent of his passes.

Most recently Romo has been dodging rumors that he’s dating Texas native Jessica Simpson; neither one is talking.

That adds just the right touch of glamour that the Cowboys had during their days as America’s team a decade ago. They won three titles from 1992-1996 and played in the most-watched Super Bowl of all time in 1996, when 94 million total viewers watched them beat the Pittsburgh Steelers.

Lately, however, the Cowboys had been hurting. Big stars like Emmitt Smith, Troy Aikman and Michael Irvin retired, and no new ones came to take their place. From 2000-2002, the team went 5-11 for three straight seasons.

That prompted big changes. Coaching legend Bill Parcells was hired four years ago, and this year controversial wide receiver Terrell Owens joined the team. Huge ratings have followed on ESPN’s “Monday Night Football,” which set a cable household record for a ‘Boys game a few months ago.

And last week’s Cowboys-New York Giants game, which Dallas won on a late field goal, was the highest-rated NFL regular-season game in nearly a decade, drawing a 17.8 household rating. That followed CBS’s best ratings two weeks before, when Dallas beat Indianapolis.

When things are good for the Cowboys, they’re good for the NFL. Ratings for the league in general are up on every network this year compared with last.

That’s because Cowboy fans also make up a good portion of NFL fans. A September Harris Interactive poll found that 15 percent of NFL fans are Cowboys fans, second only to the defending Super Bowl champ Pittsburgh Steelers. That was up four percentage points over 2002, the last 5-11 season, when Dallas was only tied for fourth-most-popular team.

Meanwhile, in broadcast sporting event ratings for the week ended Dec. 3, the Cowboys-Giants game on Fox finished No. 1, followed by NBC’s “Sunday Night Football.”

Ratings for the annual Army-Navy football game on CBS took a dive, falling from a 3.0 household rating last year to a 2.3 this year, a decline of 23 percent.

http://www.medialifemagazine.com/artman/publish/printer_9029.asp

fredfa

12-11-06, 12:33 PM

Jumping in a little bit late here, but I agree with the above. I was pretty astonished that a media reporter for the NYT doesn't know that all shows on HD channels aren't broadcast in 16:9, then doesn't clarify the situation for the average reader

Fair enough, blb3 (and welcome to the thread!)

But the point I take from it is that if even Richard Siklos finds HD nearly indecipherable, how are we HD enthusiasts to expect the average person, trying to make sense of all the confusion, to understand it?

I believe the manufacturers, networks, cable companies and others have created a tech monster that make many people -- even very intelligent folks -- just shake their heads and walk away.

Remember (and it wasn't that long ago) when Fox was doing everything to resist HD and broadcast what it disengenuously called "Fox Widescreen Digital" programs?

Or when Starz! honcho John Sie did his best to assure cable operators that ED was just as good as HD and that most viewers would never notice the difference?

And even now many cable operators demand HD owners subscribe to different tiers, buy more expensive equipment and pay far more per month (a friend with bundled telco/internet/cable in MediaCom territory was told it would cost her more than $50 a month additional to get HD, and the local Fox station isn't included).

It seems (and IS!) confusing and perceived to be very, very expensive to the average person.

As to Siklos, I find him to be refreshing and honest. And he isn't the NYT's tech guy like, say, David Pgue. David gets HD, and always has.

blb3

12-11-06, 12:44 PM

fredfa - Thanks for the reply (and the welcome to the thread). Longtime lurker on this thread, really appreciate the hard work you do to keep us all up to date!

fredfa

12-11-06, 01:32 PM

Sunday’s updated fast national over night prime-time ratings – and Media Week Analyst Marc Berman’s view of what they mean -- have been posted just under the HD Football listings near the top of Ratings News the first post in this thread.

dad1153

12-11-06, 02:42 PM

The Business of TV
CNBC, Take Two
While other financial news outlets are struggling, the cable network strikes gold
By Johnnie L. Roberts, Newsweek December 18, 2006

Back in the roaring '90s, CNBC anchor Maria Bartiromo was the face of business news—the "Money Honey" whom everyone on Wall Street wanted to sit down with for a sexy chat about convertible subordinated debentures (or some such). But then the tech bubble burst, and CNBC's fortunes sank with the market. Struggling to recover, the GE-owned network seemed dazed and confused, hiring bad-boy tennis great John McEnroe and dubious others for primetime talk shows that failed. Now the market's back—and so are CNBC and Bartiromo. Just last week she snagged "gets" with Treasury boss Henry Paulson and embattled Yahoo CEO Terry Semel. "I do feel a great reception when I'm calling people to come on the program," she says. Things are even more fun for CNBC's unlikely star Jim Cramer, manic host of "Mad Money," a stock-touting show that's inexplicably won him a cultlike following on college campuses. "Suddenly, I get good tables at restaurants," he says. "But my 12-year-old daughter is relentlessly asking, 'What's so interesting about your autograph, and why didn't anyone want it before?'"

The answer: business news had ceased to be cool, especially to average Janes and Joes who lost their shirts in the market crash. Misery has been the bottom line in business media for the past few years, with falling ad revenues and layoffs. Even the housing boom and stock-market rebound failed to give much of a lift to the likes of Fortune and BusinessWeek, which have lost readers, and ad dollars, to the Web. The Wall Street Journal unveiled a major cost-cutting redesign last week that will shrink the paper to 12 inches wide from 15 inches (dare we call it The Small Street Journal?).

But CNBC has rediscovered its inner Gordon Gekko. With a new team led by president Mark Hoffman, the network unspooled a lineup of dynamic new shows anchored by young, smart journalists: "Street Signs" features market-moving news delivered by up-and-coming money honey Erin Burnett, 30. "On the Money" is a wrap-up of the day's news, delivered with a business twist by Dylan Ratigan, 34, CNBC's closest thing to a Scud Stud. In prime time, the network spotlights its rock stars, such as Cramer, and original documentaries like "The Age of Wal-Mart," which won a Peabody Award. And last week the network relaunched CNBC.com with a new video-rich layout. (NEWSWEEK has a strategic relationship with NBC.)

The makeover has caught on with viewers. Ratings are soaring among its target audience of 25- to 54-year-olds, up almost 60 percent from last year. Advertisers are following suit, anxious to reach an audience that, while relatively tiny, is perhaps the most affluent in television. Citing data from Mendelsohn Media Research, CNBC pegs median household income of its core viewers at $184,000, with an average net worth of $1.6 million. The network expects record revenue in excess of $450 million and profit of about $275 million this year. "There's a real renaissance at CNBC," says Jeff Zucker, CEO of NBC Universal Television, which includes the business network. "It is once again one of the real jewels of the company."

The new energy is palpable at CNBC's headquarters in leafy Englewood Cliffs, N.J. As cameras roll on a recent morning, bantering anchors on the set of "Squawk Box" warm up viewers for a day of heavy capitalist pursuits. There's repartee about the investment impact of Taco Bell's E. coli outbreak. Colorful graphs and charts of "Fair Value Indexes" flash onto monitors with eye-blinking speed. Elsewhere, producers are preparing "Power and Money," a new series featuring segments on hedge and private-equity funds. Other staffers are putting final touches on a business-news magazine—Business Nation, CNBC tells NEWSWEEK—which will be anchored by David Faber, once dubbed "The Brain" by his co-workers. The new shows are part of a strategy to expand beyond the stock-market coverage that dominated CNBC before the crash. "Why are you so obsessed with the stock market?" president Hoffman was asked frequently by viewers after he landed the job in February 2005.

Other changes aim to make for more riveting TV. As many as 110 guests now appear daily, up from about 40 before, fostering what Hoffman, a veteran NBC exec, describes as "creative intellectual combat." The quest for tension is evident at the morning news meeting. "Where's your debate on whether pension funds should invest in hedge funds?" asks Jonathan Wald, CNBC's top news exec and a former executive producer at the "Today" show. CNBC is decidedly antiregulation because it's generally bad for business, says Wald, adding later, "We're unabashed capitalists."

One fellow unabashed capitalist, Rupert Murdoch, isn't about to let CNBC retain its business-TV monopoly, and plans next year to launch a Fox business-news channel. Business TV isn't for the meek: Time Warner's CNNfn shut down in 2004 after a nine-year struggle. But if anyone can take on the newly resurgent CNBC, it's News Corp.'s Murdoch and his formidable television news czar, Roger Ailes. "I would assume they will do a bold, colorful network with a lot of opinions modeled on the big brother Fox News Channel," says Steve Friedman, the morning-news chief for CBS and a former CNBC consultant.

CNBC execs and their bosses at NBC Universal swear, somewhat unconvincingly, that they aren't focused on Murdoch's plans, now at least two years in the making. "If anyone else wants to come into the space, it's in the best shape [ever]," says Zucker. So, for that matter, are Bartiromo and the rest of CNBC's talent. We might as well call them the "Comeback Cuties."

http://www.msnbc.msn.com/id/16126920/site/newsweek/

fredfa

12-11-06, 03:20 PM

The Business of TV
`Office' makes pitch to viewers:
Watch and buy
By Phil Rosenthal Chicago Tribune Media Columnist December 10, 2006

Dunder-Mifflin's Michael Scott is such a phenomenally dreadful regional manager that it takes seeing him in sales mode to understand how he could remain on the payroll.

His boss, like the modest but loyal audience of NBC's "The Office," couldn't have been more stunned when the clod played by Second City alum Steve Carell closed a seemingly impossible deal earlier this season. "I underestimated you," she told him.

"Yeah, well," he said, "maybe next time you will estimate me."

This Thursday's Christmas episode again has Michael making a pitch: He sings the praises of Sandals all-inclusive resort in Jamaica. Literally. "I've got two tickets to paradise. Pack your bags, we'll leave the day after tomorrow," he warbles.

The surprise getaway doesn't go over as planned with his girlfriend, but the tout of "Jamaica's largest freshwater pool" is apt to reach its intended target--the show's audience--even if there's the implied threat you might run into Michael down there.

"The Office," a reimagined version of a British hit, offers a preview of what the TV business will have to do as its viewership and ad market are fragmented by the Internet and the rest.

It's doing all it can to be more valuable than a show averaging 8.8 million viewers and finishing third in its time slot. Like Michael, it's survived because it knows how to sell.

"We hit beyond our weight," said executive producer Ben Silverman, a former agent at William Morris whose eye for translatable international fare also has led to the successful import of "Who Wants to Be a Millionaire" and "Ugly Betty." "You would almost believe `The Office' is a top five show."

It's not even in the top 40 in overall viewership. But more than simply embracing product placement and weaving brands into stories, it has availed itself of almost all digital opportunities.

There have been mini-episodes on the Internet, an "Office" game for mobile phones, DVDs and episode sales on Apple's iTunes site, which not only brings in cash but markets the show.

"And all those things go together," Silverman said. "You're kind of doing them to build momentum. It [also presents] economic opportunities that incentivize the network to keep supporting the show and financing it."

Carell and company draw less than half of what the most popular shows do. "Grey's Anatomy," the No. 1 show in prime time, attracts around 22.5 million viewers. Even within the put-upon genre of half-hour comedies, "The Office" fails to crack the top five.

But among the age 18-to-49 demographic, "The Office" is second only to top-rated "Two and a Half Men" among comedies. The last week both shows aired, CBS' "Men" had a 4.8 rating and 11 percent share of the crowd, while the Emmy-winning "Office" had a 4.4 rating and 11 percent share, despite spotting "Men" 6.5 million viewers overall.

"Interestingly, `The Office,' which NBC stuck with in spite of poor ratings during its first season, has become the network's strongest comedy of [Thursday] night," Brian Hughes of media-buying firm Magna Global observed. "While by no means a breakout hit, it does prove that giving a program time to grow can pay off."

A study released by Nielsen Media Research last month found that placement raises an unknown brand's recognition among viewers to 38.9 percent, a bit less than the 46.6 percent a commercial achieves. Get both, and the figure is 57.5 percent.

But the study found the percentage of viewers who had positive thoughts about those carefully placed brands was slightly lower. "The Office" clears this hurdle by turning its gifted scriptwriters into copywriters, some more willingly than others.

"The business has changed, and you have to do these things to survive," Silverman said.

When it works, it works. One "Office" drone a few weeks back delighted in shredding paper, a CD disc and, absent-mindedly, one of his credit cards. "This thing is so awesome! It will shred anything!" he exclaimed, the capper coming when he shredded lettuce, added dressing and dug in.

A co-worker asked where he got the salad. "Staples!" he said.

The Staples MailMate plug was one of that week's top placements, according to iTVX, a tracking outfit.

This week's episode is called "A Benihana Christmas." You can guess why.

"The younger audience appreciates intelligent marketing," Silverman said. "They're sold to all day long. They're on to the game. But the reality is it's all about the show. ... It's got to be funny. Appeal on the most primal level, and then the audience will follow you."

Estimate it.

http://www.chicagotribune.com/business/columnists/chi-0612100083dec10,0,698080,print.column

fredfa

12-11-06, 03:27 PM

TV Q&A
Ask Matt
(from the Ask Matt column at TVGuide.com
By Matt Roush TVGuide.com TV Critic Monday, December 11, 2006

Question: Is the new time slot a blessing for Lost or a curse? The good thing is that it won't have to go against American Idol or any other big competition. The bad thing is that the last couple of shows in that time slot have been canceled. How do you feel about it?— Jason S.

Matt Roush: For a longer analysis, check out my Dispatch http://community.tvguide.com/thread.jspa?threadID=700013962 from last week. But in short, this was a no-brainer to me. No show has been able to follow Lost successfully, so airing it at 10 pm/ET makes perfect sense to me. The reason ABC has had such problems Wednesdays at 10 recently is that Lost fans apparently are too overwhelmed or obsessed by what they've just seen to bother sticking around for what follows, even when it's a high-quality show such as Invasion or The Nine. In other seasons, ABC has attempted to take on franchise juggernauts like CSI: NY and the original Law & Order with genre programming that was a little too offbeat to lure away the masses (best examples: Karen Sisco and Eyes, both of which I miss terribly). Lost is excellent counterprogramming against procedurals, and if Lost's producers can manage to goose the storytelling so we can move beyond the captivity story line of the fall's ill-considered six-pack, it should do just fine, even if it doesn't beat CSI: NY in the overall ratings. Here's another angle on the scheduling, from Phil P.:

"What was ABC thinking? I mean, I am all for Lost moving to 10 pm, since for two years now they have had trouble keeping a show on the air in that time slot. What I am annoyed by is the fact that they are scheduling mediocre comedies before Lost. ABC should have gone ahead with a second installment of Dancing with the Stars this season and aired it on Wednesdays at 9. I think it would have been smarter scheduling."

I'm sure ABC would love to use Dancing as a Lost lead-in on Wednesdays, even if it means pitting the show against Idol on one of its many nights, but as TV Guide has already reported, a new season of the ballroom-dancing reality hit won't be ready until March at the earliest (factoring in casting, rehearsal time and the ongoing USA tour). ABC has to play with the cards it's holding now, and sadly, that includes almost no hit comedies of merit. (I kind of like Knights of Prosperity, but I have little confidence that it can prosper against the tough Wednesday competition.)

Question: What do you make of Studio 60 on the Sunset Strip being replaced by The Black Donnellys come March? I don't see it as all that bad of a sign, since if NBC lacked confidence in the show it wouldn't be keeping it on through February in the first place. However, if The Black Donnellys starts in early March, the 13 episodes would take it all the way to the end of the season. How do you expect NBC to handle Studio 60's remaining four episodes? Would they actually burn them off in the summer? That would send a bad message. Otherwise they'll need to find another night within the TV season, which would seem kind of silly for just four episodes. What do you think?— Andrew

Matt Roush: Honestly, I appreciate the obsessive devotion it takes to do the math on these matters, but isn't it just a little nitpicky? There are several options, all contingent upon how Studio 60 does in the new year and how The Black Donnellys does upon its premiere, so it's kind of pointless to speculate right now. In the unlikely event that The Black Donnellys emerges as an actual hit, that would probably cause problems for Studio 60, especially if it doesn't pick up in quality or in the ratings in its back nine. But it's more likely that NBC would sample The Black Donnellys in the spring and return Studio 60 during May sweeps.

Question: Regarding NBC's new schedule, you said that Aaron Sorkin should think of the network's decision to leave Studio 60 in the 10 pm Monday slot as a gift. Do you still feel that is the case, now that the network has announced plans to pull the show in March in favor of The Black Donnellys? When I saw the original press release, my theory was that they were going to let the show die by leaving it with an incompatible lead-in; now I feel like that was confirmed with the announcement of the March hiatus. The Black Donnellys audience would be much more compatible with the Heroes lead-in, and if the new series does well at 10, NBC will not return Studio 60 to that slot (or anywhere on the schedule, for that matter). I know you haven't been a big fan of Studio 60 lately, but I love the show. It really seems to be finding its footing, and for me, it is the most enjoyable hour of the week. It now seems like there is almost no chance for a second season, but I would really like to see NBC stand behind this series. It was quite a show of support to pick up the back nine, but it seems like they are now hanging the show out to dry. Do you think there is any hope of a second season if the ratings remain at their current levels?— Kristin A.

Matt Roush: How is leaving Studio 60 where it is "hanging the show out to dry"? Programmers will tell you that the more often you move a struggling show, the harder it is for it to catch on. Leaving it on Mondays, while somewhat counterintuitive (given the deluxe Heroes lead-in that is being squandered), is as great a show of faith as anyone could hope for. Replacing it for a while in the spring is merely a matter of acknowledging the fact that Studio 60 will tank even worse in repeats, and this is the new network tactic for avoiding the rerun conundrum. It has nothing to do with NBC's belief in Studio 60, which you have to believe is genuine, or it would be dead already. Yet more on Studio 60....

Question: Is it possible that Studio 60 has turned a corner? I have watched every episode, and I agree that it was preachy for a while. But the past two episodes make me think that maybe the show has found its legs. I thought this past Christmas episode was one of the more enjoyable hours of television so far. Thinking back to Sports Night, I realized I didn't like many of the first few episodes (though it probably was the laugh track), but then I grew to love it. Do you think it has a fighting chance? Or did Studio 60 blow its chance at an audience months ago?— Michelle H.

Matt Roush: The definition of an uneven TV show is one that on occasion may still be able to hit it out of the park. The Christmas episode was pretty close to the mark. As another fan, Sam, wrote in to say: "I really thought that Studio 60's Christmas episode was a huge improvement for the show. Interesting character development was there, especially for Danny, who had sort of been cast aside since the pilot. Being from Louisiana, I found the last scene with the New Orleans musicians very moving. This was a return to classic Sorkin style. Should we expect more of the same during the second half of the season?"

Let's hope so. I also loved the scene where Ed Asner growled to Steven Weber that this fight against the FCC and its incoherent fines (not to mention taking a jab at the hypocrisy and opportunism of "family-friendly" groups like the Parents Television Council) was the fight he'd been waiting for his whole life. Shades of The West Wing there, in all the best ways. Even though that subplot was otherwise pretty heavy-handed (fines aren't likely to be issued within hours of a newscast, and slapping a fine on a soldier's wartime expletives was a stretch), it didn't take away from the fact that the episode itself was full of great character comedy and romance. Not to mention the workplace intrigue in the writers' room and with the displaced New Orleans musicians, which built to a well-earned and appropriately seasonal sentimental moment. What this really showed me is that Studio 60 is going to be a very difficult show to get right most weeks. It could be worth the effort, but I can't help thinking it's already too little, too late. And finally....

Question: With the fall season coming to a close and the Golden Globes just around the corner, I figured I'd ask what the chances are that Studio 60 will get some nominations? Even if ratings aren't great, the critics still seem to enjoy it, and I think Matthew Perry, Bradley Whitford, Sarah Paulson and Amanda Peet all deserve consideration. Do you think the show will earn any nods?— Matt

Matt Roush: Truly, there's no figuring out the Golden Globes process, but in Studio 60's favor is its pedigree, due to both Aaron Sorkin and the cast. A year ago, Commander in Chief was a show already in worse disarray, and Geena Davis got a key nomination and even won. So it's possible that Matthew Perry, and possibly others, could get nominated, and maybe the show itself. But I wouldn't be surprised or disappointed if it were passed over. This year, there are much better and more consistent dramas to honor, even the final season of The West Wing, for that matter (which is beyond a long shot at this point).

Question: Why is CBS giving the post-Super Bowl slot to Criminal Minds? The slot would have been better served with episodes of How I Met Your Mother and The New Adventures of Old Christine, to give those sophomore sitcoms a ratings bump and bring more viewers to Monday nights, which have been on the slide for a few seasons now. That decision would have benefited two shows instead of one, a benefit Fox has recognized in its Super Bowl years with The Simpsons and a subsequent show like That '70s Show and Family Guy. Launching The Amazing Race: All-Stars, if production were finished by early February, would have been great, too, thereby giving the franchise the shot in the arm it has needed since the abhorred family edition. Even one of the Tuesday-night procedurals (NCIS or The Unit) would have been a great way to help the network through the American Idol onslaught. But no, CBS chose the most derivative, unnecessarily disturbing crime show to cap off the highest-rated night of the year. Though I rarely root for shows to fail, I hope the Super Bowl runs long this year and gives Criminal Minds the same fate that bedeviled Alias' post-Super Bowl episode.— Chris L.

Matt Roush: That would be sweet revenge, but I wouldn't count on it. There's very little I disagree with here, as my recent Dispatch will tell you at more length and in more detail. According to the trades, CBS did consider using the Super Bowl to showcase a few comedies, but one story suggested that the network was concerned that there could be tune-out between episodes. (As if millions of us won't bail after the first act of Criminal Minds, but that's another story.)

On the same subject, there's this from Paul H.: "In your Dispatch you said, 'Besides, a little feel-good mojo at the end of the Super Bowl is never a bad thing.' Nothing like sending the viewers to bed happy at the end of that post-Super Bowl Grey's Anatomy episode, which left us hanging as to whether Meredith would get blown to kingdom come by that live grenade. That doesn't qualify as 'feel-good mojo' to me. Over-the-top, ER-esque histrionics, yes. I, too would have preferred How I Met Your Mother, but this is a good move by CBS for two reasons. First, they smell blood in the water, as they've beaten Lost in total viewers the final two weeks the latter was on the air. Second, CBS is throwing the gauntlet at the feet of another Wednesday-night show: American Idol. I don't want to see Rob and Amber for the umpteenth time on Amazing Race — I prefer actual comedies and dramas to reality programming any day."

Without getting too deep into the debate that there really is a time and place for the best of reality TV, let me just say that you're the only one so far to call me on the notion that that Grey's was anything but a fabulously escapist hour of post-game entertainment, bomb or no (yes, over-the-top, but enjoyably so). Whereas the glum, grim procedural nature of Criminal Minds still strikes me as an especially egregious downer.

Question: I've seen you talk about The Class lately, saying that it's uneven and needs some retooling and dropping of characters if it wants any chance of making it. Have you watched the last three episodes or so? Early on I agreed with you: I was disappointed because this show had so much potential, but it wasn't quite working. But the past three episodes have really come together and been getting better every week. I didn't think a sitcom with eight regular characters could work, but the last few weeks have really proved me wrong, and now I would be kind of sorry to see any of those characters go. And if the feedback I've seen online is any indication, many others agree. If you haven't seen it, I fully suggest the latest (No. 27) episode, "The Class Goes to a Convenience Store." It's the first time the eight have all been involved in the same plot since the pilot, and it worked without being too contrived. Outside of The Office and Arrested Development, I haven't laughed that much in a while. I am glad CBS has been patient so far, because I think that as word of mouth spreads, this show will pick up viewers. All it needs is a few more solid weeks. At least it's better than the rapidly deteriorating Two and a Half Men, and outside of Ugly Betty, this is the only new fall show that has joined the ranks of my "must-see TV" list.— Rachel

Matt Roush: As it happens, I have been able to watch every episode of The Class so far, and thought that this episode with Richie crashing into a convenience store and reconciling with Lina was one of the better ones. But again, I don't need to see every episode of every series (an impossibility) to stand behind my opinions. And while this one worked, more or less, I still feel the characters of the unfunny gay teacher and the irritatingly clueless TV reporter (who was an essential part of the very contrived story element in which Richie's dilemma is broadcast on TV) could be written out without any real loss to the show. It's not so much that eight is too many characters, it's that they often appear to be playing in completely different series. Unless there's a more organic way to keep them in each others' lives, a little simplification (which doesn't mean becoming simplistic) still seems to be the way to go.

Question: Fox.com has posted an official online petition to save The O.C. (http://www.fox.com/oc/savetheoc/). What do you think this means for getting a full fourth-season order? Are they just trying to hype the show a bit to see if there is interest, or are they becoming activists for their own shows (that would be a first!), like Summer is becoming an activist for the environment? Should O.C. fans be worried? This season has been fantastic, and I don't want to lose it. Although I was never a huge Marissa fan, I got to mourn Marissa and get over it, I got to grow up a little bit with the characters, and I have been loving the blossoming Taylor-Ryan relationship. I'd like Seth to be a bit more funny, but as a whole, this current season has surpassed the dismal second and third seasons. What is your opinion regarding this new petition?— Jen

Matt Roush: Publicity stunt, pure and simple. The O.C. is dying, and with American Idol around the corner, there aren't many nights Fox could move it to without damaging a younger, more promising asset (such as, say, Bones, which could really use the Idol boost). I'm not on the bandwagon that is currently cheering on this season as some kind of creative resurgence. Though perhaps not as dismal as last year, it still looks to me (upon screening the first month of episodes) like the show is spinning its wheels and hitting the same beats as before. It probably doesn't help that I'm less than amused by Taylor or by Summer's newfound activist streak. Like many other former fans, I've moved on, and I expect Fox will, too, once this season has run its course.

Another O.C. question from SheAnna: "At first, when they killed off Marissa, I didn't even think I'd watch The O.C. anymore. But I have to say that I still love the show — in fact, I cannot get enough. Taylor is awesome and a good star to bring on as a replacement for Marissa. Why can't Fox move the show to an earlier spot, like 8 pm/ET, so it isn't competing with Grey's and CSI?"

Good question, although if Fox flipped the time period to put The O.C. back on at 8, it would be in the same position as in years past, when the network couldn't find anything to pair with the show that could hold its audience. At the moment, Fox is the odd network out on Thursday nights. I'm not sure what could remedy that, except an additional dose of American Idol.

Question: I have fallen in love with My Boys on TBS. It is funny as well as being adult. I'm hoping that since it's on TBS, it won't need much to be a success?— Amy

Matt Roush: Whatever the standards, early ratings results were positive for this little winner. I agree that this was a nice surprise. Clearly an attempt to do Sex and the City from a different angle (girl hanging out with a bunch of funny guys instead of girlfriends), but in its own modest way, it's more enjoyable than any live-action sitcom on, say, ABC or Fox.

Question: While I completely agreed with your comment that ER's Crenshaw character is the worst character on the show, I just as completely disagreed when you called the Archie Morris character irredeemable. On this past Thursday's episode, Morris took Crenshaw down a peg or two after calling him on his boorish behavior. His character, who was certainly presented as a one-dimensional creep, has taken on new, better aspects. He recently showed more emotion with several characters, and was devastated by the death of one. The discovery of his biological son was great. This is a guy who, while having many irredeemable qualities, is not an irredeemable character. And hey, if he keeps singing songs like "Believe It or Not" (from the Greatest American Hero) as well as he did a number of weeks ago, he's OK in my book.— Martin C.

Matt Roush: Sorry, he's still a deal-breaker for me. No matter how they try to soften him, he's more annoying than endearing, and a particularly clumsy way of inserting some comic relief into a show that for a while needed it, but never this badly.

http://tvguide.com/News-Views/Columnists/Ask-Matt/Default.aspx#01lost

fredfa

12-11-06, 04:08 PM

The NFL HD Schedule through Dec. 30th has now been updated at the top of the first post in this thread.

(The College Bowl HD Schedule is in the third post.)

timick1

12-11-06, 04:44 PM

Was I the only one who thought the season-finale of The Amazing Race 10 was uneventful last night?

No you weren't! The previous Race's finale's were 2 hour episodes, too. Last nights was only 1 hour. For next season (Race 11 which airs in Feb 07) it will be an "all-star" cast of racers from previous seasons. Hope it's a good one.

fredfa

12-11-06, 04:45 PM

CPanther95

12-11-06, 04:47 PM

Not a bad Top 10.

keenan

12-11-06, 04:51 PM

Top 10 Lists
The American Film Insitute
Top 10 TV Shows of 2006

BATTLESTAR GALACTICA
DEXTER
ELIZABETH I
FRIDAY NIGHT LIGHTS
HEROES
THE OFFICE
SOUTH PARK
24
THE WEST WING
THE WIRE

http://www.afi.com/tvevents/afiawards06/default.aspx

While I never saw Elizabeth I, and I don't watch South Park, I can't really disagree with their picks. I'm not sure I would have included The Office and 24, although I do enjoy both of them.

BTW, the season finale for The Wire last night was simply outstanding. In my mind, The Wire, if not the best TV in a long while it's at least in the top 3.

fredfa

12-11-06, 05:25 PM

TV Notebook
NBC Tries to Help “Friday Night Lights”

NBC announced today it will repeat three “Friday Night Lights” episodes from 8-11 PM ET/PT on Wednesday, December 27th.

fredfa

12-11-06, 05:32 PM

TV Sports
Prince Gets Super Bowl Nod

Prince will be the featured half time entertainment at Super Bowl XLI, Feb. 4, 2007 in Miami.

The Super Bowl annually produces by far the largest TV audience of the year. Nielsen estimated that 141 million people watched last year’s Super Bowl between Pittsburgh and Seattle. That half-time show featured a three-song set from the Rolling Stones.

CBS has already announced that following the game it will show an episode of “Criminal Minds”.

fredfa

12-11-06, 05:47 PM

The Business of TV
Fox Makes Business News
Makes Internet, Radio Deals, But Channel Still in Works
By Mike Reynolds MultiChannel News 12/11/2006 (Mike Farrell contributed to this report.)

For an entity that still has yet to give the official go-ahead on its own business channel, which could launch next year, Fox News Channel has been conducting a lot of business about business news these days.

The cable-news leader last week became the premier video provider of business news on Yahoo! Finance, via a co-branded video gambit, “Fox Business Now.” The collaboration, which debuted Dec. 4, is manifesting in the form of nine two-minute market reports weekdays between 9 a.m. and 5 p.m.

In addition to the original market reports, Fox News will provide business-news segments, investment programming and personal-finance content.

Combining TV and original Web content, Fox Business Now is now on the home page of Yahoo! Finance; it can also be accessed on FOXNews.com. Fox News is also benefiting from additional promotional placements on Yahoo!, and the cable-news network is touting the relationship on its air.

“This new deal brings together two market leaders, providing the No. 1 cable-news channel a unique platform to deliver original business content on the No. 1 financial Web site,” said Jeremy Steinberg, Fox News vice president of digital media ad sales and business development, in a statement.

The news of the Yahoo! Finance deal, terms of which were not disclosed, follows the prior week’s announcement that Fox News vice president and managing editor of business news Neil Cavuto will begin anchoring a financial newscast on Fox News Radio next year.

Starting Jan. 15, The Cavuto Money Report will comprise a trio of one-minute weekday segments — one pre-market, one at the opening of the market and the other at its close. The reports will cover business news beyond Wall Street and will be offered to radio stations around the nation.

On Fox News’s air, Cavuto anchors a weekday one-hour program, Your World With Neil Cavuto, and the weekend program Cavuto on Business.

Despite support from News Corp. chairman Rupert Murdoch, there has been no definitive word about a debut date for a Fox News-led business network, although some believe a rollout could commence by the middle of 2007.

Fox News officials have stated that Fox Business Channel would not debut without sufficient carriage, which most observers figured would have to include Time Warner Cable and Cablevision Systems, which serve the New York market, home to this country’s financial capital.

Last month, Fox News struck a deal with Comcast to make the business channel available to 12 million subscribers should the service — which would also have placement on DirecTV — launch. The direct-broadcast satellite leader is 38% controlled by News Corp., which owns Fox News.

At the UBS Global Media & Communications conference in New York last week, News Corp. president and chief operating officer Peter Chernin reiterated that the company would not launch the business service until it has enough carriage. In the past, News Corp. said that meant about 30 million subscribers.

“We believe in it, we are working on it,” Chernin said. “When we have the appropriate number of subscribers locked down, we’ll commit to our launch. I would hope that would be in calendar 2007.”

http://multichannel.com/article/CA6398562.html?display=Search+Results&text=%22fox+news%22

dad1153

12-11-06, 09:38 PM

TV Notebook
NBC Tries to Help “Friday Night Lights”

NBC announced today it will repeat three “Friday Night Lights” episodes from 8-11 PM ET/PT on Wednesday, December 27th.

Well, Christmas week is traditionally one of the lowest-rated weeks on TV. While any new viewers 'FNL' picks-up during this slow week are gravy I'd hardly call this a big-time boost. Look at how low the two-hour block of 'Heroes' repeats NBC aired this past Saturday did, and that's a hit show!

RemyM

12-11-06, 09:39 PM

TV Sports
Prince Gets Super Bowl Nod

Prince will be the featured half time entertainment at Super Bowl XLI, Feb. 4, 2007 in Miami.

I'll make sure to change the channel at halftime then.

dad1153

12-11-06, 09:50 PM

Ditto RemyM! :D

The Business of TV
Fox Makes Business News
Makes Internet, Radio Deals, But Channel Still in Works
By Mike Reynolds MultiChannel News 12/11/2006 (Mike Farrell contributed to this report.)

For an entity that still has yet to give the official go-ahead on its own business channel, which could launch next year, Fox News Channel has been conducting a lot of business about business news these days.

Purely speculation from my part. Could it be Aisles keeps delaying his Fox Business Channel launch because he is aware of when the TV contracts for some CNBC business personalities (like Erin Burnett, Dylan Ratigan and of course Barteromo) run out and he wants to make a move for them around the time Fox Business Channel launches (or soon after)? Aisles is smart and knows the importance of attracting TV stars (and their fans) when launching a new product. Would the business reporting of Fox News had been taken seriously had Aisles not paid through the nose to steal Neil Cavuto from CNBC back in the 1990's? Cavuto's presence alone bought Fox News tremendous legitimacy in the business news community, and the 4PM hourof "business news" Neil hosts continues to beat its cable competition by a wide margin. Again, just speculation on my end.

bgooch

12-11-06, 09:52 PM

The NFL HD Schedule through Dec. 30th has now been updated at the top of the first post in this thread.

Hey Fred, can anybody get the first post of this thread or do we need service from a select group of providers? :rolleyes:

fredfa

12-11-06, 10:04 PM

I am having a retransmission dispute, bgooch....but if people click on first...at the bottom of the last post next to "thread tools" they should be able to manage to get there nonetheless! :)

fredfa

12-11-06, 10:21 PM

TV Notebook
“WKRP” finally to arrive on DVD

The folks at TV Shows On DVD say the 22 episodes of the first season will probably be released in April. A snag over music rights has kept the show off the shelves until now.

“WKRP In Cincinnati” ran for four seasons on CBS, beginning in September of 1978.

More details here:

http://www.tvshowsondvd.com/newsitem.cfm?NewsID=6708

SJKurtzke

12-11-06, 10:27 PM

Top 10 Lists
The American Film Insitute
Top 10 TV Shows of 2006

BATTLESTAR GALACTICA
DEXTER
ELIZABETH I
FRIDAY NIGHT LIGHTS
HEROES
THE OFFICE
SOUTH PARK
24
THE WEST WING
THE WIRE

http://www.afi.com/tvevents/afiawards06/default.aspx
Where's Veronica Mars? Oh well, at least they're not just going with "American Idol" "Monday Night Football" and "Two and a Half Men". Personally, I would take out Friday Night Lights, just because I'm in a high school obsessed with football and the last thing I need to see is more of that.

fredfa

12-11-06, 10:59 PM

TV Notebook
TiVo’s Top 25 Shows
(Week Ending Dec. 10, 2006)

1--CSI: Crime Scene Investigation
2--House
3--CSI: Miami
4--Survivor: Cook Islands
5--Nip/Tuck
6--Without a Trace
7--Medium
8--Numb3rs
9--NCIS
10-The Office
11-CSI: NY
12-Battlestar Galactica
13-Las Vegas
14-Scrubs
15-Family Guy
16-Monk
17-The Amazing Race 10
18-Two and a Half Men
19-The Unit
20-Cold Case
21-The Simpsons
22-Brothers & Sisters
23-Bones
24-Criminal Minds
25-The O.C.

https://www3.tivo.com/tivo-tco/top25.do?show25=seasonpass

dad1153

12-11-06, 11:34 PM

fredfa

12-12-06, 12:49 AM

Where's Veronica Mars? Oh well, at least they're not just going with "American Idol" "Monday Night Football" and "Two and a Half Men". Personally, I would take out Friday Night Lights, just because I'm in a high school obsessed with football and the last thing I need to see is more of that.

I would have taken something out (not "Friday Night Lights", sorry) and added "Brothers and Sisters". At least.

But it is an interesting list, and kicks off the next few weeks when we will be inundated with best and worst lists.

All are fun to discuss.

fredfa

12-12-06, 12:50 AM

Wow, no Studio 60 in Tivo's Top 25 recorded shows? Earlier this season I read news reports that Sorkin's show was amongst the most Tivo'ed shows. Guess that was around the start of the season when sampling for 'Studio 60' was high before the slow viewership decline to where we are now (a little over 7 million viewers per episode). :(

I know it was near the top of the TiVo list earlier in the year.

This week could have just been an aberration...or....perhaps something more unsettling for those of us who enjoy "Studio 60".

fredfa

12-12-06, 12:55 AM

TV Notebook
So This Manatee Walks Into the Internet
By Jacques Steinberg The New York Times December 12, 2006

The skit, as scripted for the Dec. 4 installment of “Late Night With Conan O’Brien,” was about absurdist college sports mascots that the host and his writers would like to see someday.

Among them were “the Boise State Conjoined Vikings,” who had been born locked at the horns, as well as something Mr. O’Brien called “the Webcam manatee” — said to be the mascot of “F.S.U.” — which was basically someone in a manatee costume rubbing himself or herself provocatively in front of a camera (to the tune of the 1991 hit “I Touch Myself”). Meanwhile a voyeur with a lascivious expression watched via computer.

Who knew that life would soon imitate art.

At the end of the skit, in a line Mr. O’Brien insists was ad-libbed, he mentioned that the voyeur (actually Mark Pender, a member of the show’s band) was watching www.hornymanatee.com. There was only one problem: as of the taping of that show, which concluded at 6:30 p.m., no such site existed. Which presented an immediate quandary for NBC: If a viewer were somehow to acquire the license to use that Internet domain name, then put something inappropriate on the site, the network could potentially be held liable for appearing to promote it.

In a pre-emptive strike inspired as much by the regulations of the Federal Communications Commission as by the laws of comedy, NBC bought the license to hornymanatee.com, for $159, after the taping of the Dec. 4 show but before it was broadcast.

By yesterday afternoon hornymanatee.com — created by Mr. O’Brien’s staff and featuring images of such supposedly forbidden acts as “Manatee-on-Manatee” sex (again using characters in costumes) — had received approximately 3 million hits, according to NBC. Meanwhile several thousand of Mr. O’Brien’s viewers have also responded to his subsequent on-air pleas that they submit artwork and other material inspired by the aquatic mammals, and the romantic and sexual shenanigans they imagine, to the e-mail address conan@hornymanatee.com.

One viewer sent a poem. Mr. O’Brien asked James Lipton, the haughty host of “Inside the Actors Studio” on Bravo, to read it on “Late Night.” It included the lines: “I want to freak thy blubber rolls,” and “The product of our ecstasy will be half man and half a-’tee.” After that a curtain opened, and Mr. Lipton gamely danced with the manatee character. Another viewer wrote a song, which Mr. Pender, the band’s trumpet player, crooned to the character. Set to the heavy metal band AC/DC’s “You Shook Me All Night Long,” it included the lyrics “She had big black eyes/no discernible thighs” and “The waves start shakin’/the ocean was quakin’/my pelvis was achin’. ”

Reached by telephone at NBC yesterday, Mr. O’Brien said he was stunned and overwhelmed by the viewers’ response to what had initially been a throwaway line, and by what that response, collectively, suggested about how the digital world was affecting traditional media like television.

“We couldn’t have done this two years ago, three years ago,” Mr. O’Brien said. “It’s sort of this weird comedy dialogue with the audience.”

He added, “I still have an abacus.”

Regardless, Mr. O’Brien and his staff are digitally savvy enough to seize an opportunity when it presents itself, particularly in the aftermath of such Internet comedy phenomena as “Lazy Sunday,” a filmed clip from “Saturday Night Live” that drew large audiences on the Web last year, initially as a bootleg. After the taping of the Dec. 4 show, Mr. O’Brien said the show’s executive producer, Jeff Ross, informed him of the problem, then asked him whether he wanted to mute the mention of the site or buy the Web address.

“We didn’t want to take it out,” Mr. Ross said yesterday, “so we bought it.”

In explaining to the audience the next night what he and his writers had done, Mr. O’Brien marveled, “For $159, NBC, the network that brought you ‘Meet the Press,’ Milton Berle and the nation’s first commercial television station became the proud owner of www.hornymanatee.com.”

Now, by clicking on “tour,” visitors to the site are drawn into a netherworld of mock-graphic images with titles like “Mature Manatee” (with a walker of course) and “Fetish” (a manatee in a bondage costume) as well as dozens of viewer submissions, including “Manatee & Colmes,” a spoof of “Hannity & Colmes” on Fox News.

Mr. O’Brien said he knew he was on to something when, on Wednesday night, he was at a Christmas party in the lobby of a friend’s building and a waiter approached him with a platter of salmon and toast points. When Mr. O’Brien politely declined, he said the waiter drew in close and whispered in his ear, “My compliments to the horny manatee.”

As he prepared last night’s show, Mr. O’Brien said he was planning to give the bit its first night off, although he was confident it would soon return.

“We don’t want the entire show to be ‘Late Night With Horny Manatee,’ ” he said. “Though, of course, it will become that eventually.”

http://www.nytimes.com/2006/12/12/arts/television/12mana.html?ref=television&pagewanted=print

Inundated

12-12-06, 01:46 AM

But it is an interesting list, and kicks off the next few weeks when we will be inundated with best and worst lists.

Sorry to disappoint you, Fred, but I don't plan on releasing either one. :D

dad1153

12-12-06, 07:46 AM

Critic's Notebook
A Gonzo Candle, Burned at Both Ends
By Anita Gates, The New York Times December 12, 2006

It probably seemed like a great idea to hire Nick Nolte as narrator for a documentary about Hunter S. Thompson. Mr. Thompson, the author of “Fear and Loathing in Las Vegas,” “Fear and Loathing on the Campaign Trail” and “Hell’s Angels: A Strange and Terrible Saga,” invented gonzo journalism. Mr. Nolte has a reputation for living gonzo.

But alas, when Mr. Nolte’s voice begins in “Buy the Ticket, Take the Ride: Hunter S. Thompson on Film,” which has its premiere tonight on Starz, he sounds less like an outlaw than a slightly slow student who doesn’t understand the words he is reading. Tom Marksbury’s sometimes-pedestrian script doesn’t help.

The only time Mr. Nolte is frighteningly right for the part is at the end, when he reads Mr. Thompson’s typically brilliant suicide note.

Mr. Thompson shot himself at his Colorado home in February 2005. He was 67, which was probably an indignity to a man who was professionally young and reckless. How ya gonna inspire the next generation to anarchy when you look like a retired hardware salesman?

Despite the Hollywood star power (Johnny Depp, Sean Penn, Bill Murray) in “Buy the Ticket, Take the Ride,” the best parts are those in which somebody (anybody) reads Mr. Thompson’s work. For instance, he once described Richard M. Nixon as “a foul caricature of himself, a man with no soul, no inner convictions, with the integrity of a hyena and the style of a poison toad.”

Sadly, the rest of the time the talking heads rattle on, and even interviews with Mr. Thompson are relatively uninformative. His message, as they say, was in his work.

It seems that the director, Tom Thurman, couldn’t bring himself to edit out any celebrity comment, even if that person’s point had been made several times before. (A peculiar exchange with Gary Busey belongs in another film.)

This might be all right if the people at least said it in fresh ways. But many of the comments are as unsurprising as George McGovern’s: “He shook up the establishment.” One likable exception is William F. Buckley’s likening Mr. Thompson to “a streaker in Queen Victoria’s drawing room.”

And Tom Wolfe does pay Mr. Thompson a lavish compliment, calling him “the century’s greatest comic writer in the English language.”

“Buy the Ticket, Take the Ride” offers a bit of biographical background. Mr. Thompson was born and grew up in Kentucky, where he was a self-described juvenile delinquent. After high school he joined the Air Force. He was married twice and had one son. His widow, Anita, calls him “a supreme Southern gentleman.”

A welcome possible side effect of the documentary, which could have easily been a half-hour shorter, is that it will inspire viewers to read Mr. Thompson’s work, perhaps starting with his early magazine article “The Kentucky Derby Is Decadent and Depraved.”

BUY THE TICKET, TAKE THE RIDE: Hunter S. Thompson on Film

Starz, tonight at 10, Eastern and Pacific times; 9, Central time.

http://www.nytimes.com/2006/12/12/arts/television/12gate.html?_r=1&ref=television&oref=slogin

dad1153

12-12-06, 08:08 AM

TV Notebook
Cutting to the Chase on a 'Sopranos' film
By Richard Huff, New York Daily News December 12, 2006

"Sopranos" creator David Chase says a movie version of the show isn't out of the question, though it's a long shot.

"The movie still exists as a possibility, I suppose, but I think it becomes less and less of a prospect because of technical challenges," Chase says in the January issue of Stuff.

"Where would you come in on the story? Let's suppose after all of this, there are characters who don't make it through to the end; then how would you do the movie without them?"

One option would be a prequel that focused on Tony Soprano's early years and his father, but Chase said that would be a challenge, too.

Chase was asked by the magazine who on the cast butters him up so his character won't be killed.

"Tony Sirico drives me everywhere, and he gets my clothes from the dry cleaners," Chase says. "But I don't know that there's a connection."

"The Sopranos" begins its final season in March on HBO.

http://www.nydailynews.com/entertainment/ent_radio/story/479196p-403113c.html

dad1153

12-12-06, 08:11 AM

Why am I not the least bit surprised by this rumor? :rolleyes:

TV Notebook
Santo Clause Coming
New York Post Staff Writer Dec. 12, 2006

Outgoing U.S. Sen. Rick Santorum may be getting turned on to TV, according to reports.

Santorum, who was defeated last month, is reportedly in talks to become a cable news talking head on Fox News Channel.

"You could see that as a pretty easy transition for that guy," a Pennsylvania GOP official told a local newspaper. "He likes to get up and speak."

Fox News Channel officials did not return calls.

http://www.nypost.com/seven/12122006/tv/santo_clause_coming_tv_.htm

dad1153

12-12-06, 08:15 AM

TV Notebook
'Family TV' all relative
Awards prove telling
By David Hinckley, New York Daily News December 12, 2006

When you think about it, none of the 10,000 awards shows we will see on TV the next few months has a more misleading name than tonight's Family Television Awards (9 o'clock, CW), which honor shows considered "family friendly." The awards themselves are clear enough. They recognize shows that don't perplex the kids and mortify the parents.

The misleading part is that the term "family friendly," as applied to TV, rarely has much to do with families.

If you're looking for prime-time shows that celebrate families, you'd start this year with "Brothers & Sisters," the Sunday night ABC soap that salutes the power of the family unit to overcome the most astonishing dysfunction within.

But the sexually charged "Brothers & Sisters" has less chance of getting a Family Television Award than Michael Richards has of winning an NAACP Image Award.

As understood tonight, the phrase "family friendly" means the kind of show where parents don't have to change the channel when the kids walk in and don't have to worry that if they leave the room to take a phone call, the characters could strip to their underwear and start joking about cup sizes and Viagra.

Nor is there anything wrong with saluting TV shows that stick to this standard. Since TV is our national baby-sitter, nonexplicit content is invaluable to parents whose kids spend so much time parked in front of it.

But here, too, almost no one sets out to create shows that are "safe." Producers set out to create shows that are entertaining, and if they don't happen to need harsh content or dialogue, well, that's a bonus.

Mainstream pop culture once worked that way all the time. "Casablanca," "Gone With the Wind" and "It's a Wonderful Life" didn't start out with someone saying, "Let's make this family friendly." They started out as "Let's tell a story."

The common thread among tonight's other winners, which include "Everybody Hates Chris," "Numb3rs," "Deal or No Deal," "Dancing With the Stars," "High School Musical," "The Ron Clark Story," Tony Shalhoub of "Monk" and Jennifer Love Hewitt of "Ghost Whisperer," isn't some sense of moral superiority for not relying on sex and body-function jokes. They just don't need them.

Still, give these shows credit for resisting, because not every show can. A recent episode of ABC's "Ugly Betty," another of tonight's winners, had a character calling her man's other sex partners, as a practical joke, to tell them they may have a sexually transmitted disease.

In a truly "family friendly" world, most parents would probably prefer not to have to explain STDs to their 8-year-old.

But to paraphrase Donald Rumsfeld, you can't always turn on the TV you want. You can only turn on the TV you've got.

http://www.nydailynews.com/entertainment/ent_radio/story/479201p-403121c.html

dad1153

12-12-06, 08:21 AM

This news story contradicts an AP story from a week ago that said next year's edition of 'Survivor' would not be affected by the Fiji military coup. But check out below the number of crew members that work on each edition of 'Survivor.' Yep, a "reality" TV show with that many people working behind the scenes has got to be completely real and unscripted. Yep... :rolleyes:

TV Notebook
Survive This!
Coup Chaos Rattles 'Survivor' Crew
By Michael Starr, The New York Post December 12, 2006

A military coup in Fiji is causing problems on the set of "Survivor."

Getting food for the cast and crew has suddenly become a problem, officials say. And the show's support crew has been pulled out of the capital city.

The 14th edition of the reality show is being filmed now on Vanua Levu, Fiji's second-largest island. That's not all that far from the island of Viti Levu, where, last week, the Pacific nation's military took power from the elected government in the capital of Suva.

Filming on "Survivor" has continued uninterrupted. But show host Jeff Probst says that - despite initial reports that all was well - it's not been without difficulties.

"The biggest impact has been getting supplies to our base camp," Probst told The Post yesterday via e-mail.

"Because the coup is centered in . . . Suva, it forced us to pull our crew out of that area and that's where we were getting a lot of our supplies.

"We are fortunate that the coup happened very late into the filming of our show," he writes."

The production crew has enough food stocks to get everyone to the end of the 12-week "Survivor" shoot.

There are roughly 350 crew members on each "Survivor" installment.

"We are long enough into the shoot that I don't think we will be affected adversely in any major way," Probst says.

"Our biggest concern is what is going to happen to the people of Fiji?

"We have so many locals working on our crew and we get to know them and have concern for their welfare."

So far, the movement of "Survivor" crews to and from the island has not been interrupted by the military activity.

"We are isolated and completely protected," Probst says.

Because of the show's rules, the contestants have not been told about the situation and do not know what is going on.

According to CBS spokesman Chris Ender, the Fiji military says the "Survivor" producers, crew and cast members "will be permitted to leave the country safely when the show wraps production."

Tourism is one of Fiji's largest industries and the new military government is trying to calm safety concerns of people traveling to the island nation.

http://www.nypost.com/seven/12122006/tv/survive_this__tv_michael_starr.htm

dad1153

12-12-06, 08:26 AM

A little late with this review of 'The Lost Room,' but its not as if Sci-Fi Channel isn't going to rerun this puppy like a hundred million times over the next few weeks! :o

Critic's Notebook
The room that acts like a maze
By Verne Gay, Newsday December 11, 2006

Wise is the viewer who approaches "The Lost Room" with an open mind. In fact, wise is the viewer who approaches with no mind at all. Minds will just get in the way. They're a monumental buzz kill. Don't think. Just watch - or maybe do jumping jacks during the commercial breaks. Moderate exercise shouldn't be a problem either.

None of this should be construed as condemnation of "The Lost Room," Sci Fi's three-night mini about a motel room, and some stuff, and ... don't worry, we'll get to all that. No one ever approaches a Sci Fi mini armed with logic or reason, however. Most often they're camp - glorious camp - and on that score, "Room" does not disappoint.

"Lost Room" is a shaggy dog story that gets shaggier with every scene. It's a tale as tall as the Empire State Building that threatens to topple in the merest breeze but - miraculously - never does. Peter Krause ("Six Feet Under") plays Joe Miller, a detective with the Pittsburgh Police Department, who is handed a room key by a dying perp. He quickly learns this key can be inserted into the lock of any door, which then opens to a mysterious motel room - barren save for a neatly made king-sized bed, and a TV set. (Desperate personal plea from Newsday TV critic to producers: What does that silly TV set do anyway?)

Once the key-bearer walks into this room, he or she can then walk back out the door to ... just about anywhere they please. But this room has a pesky habit of swallowing up people who haven't got the key on their person. That's a major drawback because it whisks Miller's adorable 6-year-old daughter, Anna (Elle Fanning, and, yes, that would be Dakota's younger sister) to who-knows-where. Joe then goes off in search of her.

That's just one small part of the basic set-up. Here's the other: The room once contained about a hundred objects - a comb, pair of scissors, umbrella, and on and on - which have special properties and are now scattered about the country in the hands of various people. Some objects are harmless. Some can do very nasty stuff. There are also a bunch of people - some crackpots, some not - who are gathering up all these objects. Most of them really want Joe's key, though he's not about to give it up.

Is this shaggy enough for you? Believe me: This is only the barest of plot descriptions - a mere shadow on the wall - and prepare to absorb a whole new mythology, with its own set of rules and guideposts. That's the fun (if occasionally tedious) part. But what's best about "The Lost Room" are the many seasoned actors - Krause, in particular - who put on their game faces and try to make the most of this. There are so many, it's hard to know who to single out, but Kevin Pollak ("The Santa Clause" series) is the menacing Karl Kreutzfeld, seeking one object in particular. Julianna Margulies ("ER") is Jennifer Bloom, leader of one of the "object" cabals who venerate the objects for various reasons. Veteran New York stage actor Peter Jacobson does a fine job with Wally Jabrowski - a bearer of one of the objects who (like all bearers) has become pretty much unglued. Roger Bart - George, of "Desperate Housewives" - is Howard "The Weasel" Montague. He wields his pen ruthlessly. Comedian Margaret Cho is Kang, the gum-popping keeper of the object-bearer list.

Is "Room" worth three nights of your life? Depends on what else you had planned, but after three nights, viewers do have every right to expect a pay-off. That never comes, which says one of two things: The writers had absolutely no clue how to wrap this up, or Sci Fi is aiming for a sequel, prequel or regular series.

Depending on ratings this week, the latter's a real possibility.

THE LOST ROOM. Three-part miniseries about a motel room in the middle of nowhere (or somewhere), with Peter Krause, Julianna Margulies and Kevin Pollak.

Monday through Wednesday, 9-11p.m. on Sci Fi.

http://www.newsday.com/entertainment/tv/ny-etlost5011427dec11,0,2860691.story?coll=ny-television-headlines

dad1153

12-12-06, 08:29 AM

Michael C. Hall's portrayal of Dexter Morgan has received the lion's share of attention from critics and the press when talking about 'Dexter.' How about some love for the co-stars on this popular Showtime original series?

TV Notebook
In 'Dexter,' a badge of authenticity
By Marisa Guthrie, New York Daily News December 12, 2006

David Zayas spent 14-1/2 years "on the job," to use the gumshoe term. Now he's simply playing a cop on TV.

As Detective Angel Batista on Showtime's "Dexter," he's the quintessential pro dealing with two loose cannons: Michael C. Hall's emotionless killer cop, Dexter Morgan, and Erik King's caustic and suspicious Sgt. Doakes. As suggested by his first name and choice of attire (garish Hawaiian print shirts), Batista injects a sense of hope and humor into this dark precinct.

"A really good police officer makes a good actor," said Zayas. "They really do complement each other.

"As a cop, you have to develop a keen sense of self, you have to be aware of everything and everyone around you, and you have to be very specific in how you deal with circumstances."

"Dexter" has its first-season finale Sunday at 10 p.m. As fans of the show know, Zayas' character almost didn't make it to season two.

"He's a tough guy," said Zayas, "but nobody is safe."

Zayas lives in Manhattan with his wife, actress Liza ColonZayas. (He has two children: a son, 21, and a daughter, 18, both in college.)

Zayas, who grew up in the South Bronx, was on the NYPD from 1986 until he retired in 2000, spending the majority of his career in Washington Heights' 30th Precinct. When he started getting more acting work, he transferred to the Midtown North near Times Square.

He had always nursed an aspiration to act. Joining Philip Seymour Hoffman's Labyrinth Theater Company in 1992 got him noticed in New York, while his bona fides opened many doors.

He has played cops in "NY Undercover," "NYPD Blue" and "Law & Order" and its spinoffs. In 1999, he landed a recurring part on Tom Fontana's "The Beat." The show was canceled after one season, but Fontana added him to another show, the HBO prison drama "Oz."

"The second season I was on 'Oz,' things started to get really hectic for me," said Zayas. "I worked on ['Oz'] during the day. I would go to my theater company at night, and then at midnight I would start my shift. That's when I thought: I have to make a choice."

His fellow cops were skeptical.

"They pretty much said what everyone else said, that I was insane, that I was giving up the job, that I only had a few more years left for my [full] pension, that I was taking a risk. And that's fine," he said. "They were right.

"I took an extreme risk. Logically it was the wrong choice, but instinctively it was the right choice, and I followed that instinct - and thank God I did. I was fortunate enough to have a temporary case of a little bit of courage, and I went with it."

http://www.nydailynews.com/entertainment/ent_radio/story/479197p-403114c.html

dad1153

12-12-06, 08:36 AM

The Business of TV
SpongeBob SquareProfits: Nickelodeon Swears by Cartoons
By Edward Wyatt, The New York Times December 12, 2006

To a parent of elementary-school-age children, cartoons can sometimes appear to be the zombies of television: they never die but replay endlessly, sucking the life out of youngsters, and any adults who unwittingly stray into the room.

In reality animated series aimed at children come and go as rapidly as their live-action counterparts on prime time. Of the 10 highest-rated animated children’s shows for the last television season, only two were on the list five years earlier, and none were there five years before that.

There has been one constant in the field over the last decade, however: Nickelodeon, the cable channel that last year had nine of the Top 10 most-watched animated series for children.

The home of the current hits “SpongeBob SquarePants,” “The Fairly OddParents” and “Jimmy Neutron: Boy Genius,” Nickelodeon shows few signs of slowing down. In 2007 it will show nearly 100 episodes of new animation, a considerable feat given that a single installment of “SpongeBob” or his peers typically takes about nine months to produce.

“The amount of time it takes doesn’t bother us, because these shows play for years and years and years,” said Cyma Zarghami, the president of Nickelodeon, in a recent interview at its rapidly expanding animation studios in Burbank.

Among the series to be introduced in the coming months are “El Tigre: The Adventures of Manny Rivera,” a cartoon about a Latino family of superheroes and supervillains, created by a Mexican husband-and-wife team; “Ni Hao, Kai-lan,” a series for preschoolers created by a first-generation Chinese-American; and “Tak and the Power of Juju,” based on a video game set in the fantasy world of the Pupanunu people. Also in development is an animated series based on characters from the feature film “Barnyard,” and “Mighty B,” a cartoon about a sweet, merit-badge-obsessed girl scout created by Amy Poehler, of “Saturday Night Live.”

In the last two years the Disney Channel has been eating into Nickelodeon’s long-standing spot as the top-ranked cable network among children, rapidly gaining viewers while Nickelodeon’s ratings have been edging up, but only slightly. But the Disney Channel has made a specialty out of scripted, live-action series. Nickelodeon makes that type of series too, but cartoons are the engine that powers the bus.

“Animation really is the heart and soul of our business,” Ms. Zarghami said. It accounts, she said, for more than 70 percent of annual revenues from advertising and licensing of consumer products. (Viacom, Nickelodeon’s parent, does not break out individual company revenues.)

The raft of new animation coming to Nickelodeon in 2007, Ms. Zarghami said, is not a direct result of the rising competition from the Disney Channel and others.

“Our business is cyclical,” she said. “Some years we have more new live action, some years more animation and some years more new shows for preschoolers.” And while Nickelodeon intends to continue producing all of those genres, “animation will remain at the center,” she said. “That is the stuff that plays around the world, it plays on broadband channels as well as television, and it translates into toys.”

Lots of them, in fact. Both “SpongeBob” and “Dora the Explorer,” the animated bilingual show for preschoolers, have generated more than $1 billion in revenues from advertising and licensing of consumer products since their debuts in 1999 (“SpongeBob”) and 2000 (“Dora”).

If things go according to plan, children could be dressing up next Halloween as “El Tigre,” a well-meaning 13-year-old who is alternately drawn to emulating the good deeds of his father, the semi-retired superhero White Pantera, and the evil acts of his grandfather, the famed super-villain Puma Loco.

Though the series is by and about Latinos, “we think all of the stuff that happens to Manny could happen to kids in any culture,” said Sandra Equihua, who created the series with her husband, Jorge Gutierrez.

“El Tigre” explores arenas of Latino culture that are not touched upon by “Dora.” The White Pantera wears a Mexican wrestling mask, for example, and the villains are often characters drawn from Mexican folklore, like Día de los Muertos, or Day of the Dead, a holiday that honors and celebrates loved ones who have died.

The Rivera family lives in crime-plagued Miracle City, which Mr. Gutierrez said was “a combination of Los Angeles, New York, Mexico City and Rio.” Puma Loco, the grandfather, wears a sombrero, other villains wear bandoleers, and all the characters speak with a heavy Spanish accent.

“Why not?” said Mr. Gutierrez, who was born in Mexico City and lived in Tijuana, before attending college at the California Institute of the Arts in Valencia, Calif. “I have an accent that I can’t get rid of.”

The hope of course is that “El Tigre” will appeal not only to the rapidly expanding Hispanic audience but to children from all backgrounds. And that fans of the show will be inclined to purchase merchandise.

As difficult as it is to predict whether a show will be a hit, it is more difficult to anticipate the demand for related consumer goods. Ms. Zarghami noted that “The Fairly OddParents,” about a boy with two shape-shifting fairy godparents who get him out of trouble (after sometimes helping him get into it), and “Hey Arnold!,” about a city-savvy fourth-grader, “were some of the highest rated animated shows for years, but we couldn’t sell a T-shirt” with any of those characters on it.

A show’s survival is not dependent on those extra revenues. And Ms. Zarghami’s point about the unusually long life of some animated series is particularly relevant in the case of “SpongeBob.” It will surpass 100 episodes late next year. While that milestone is not as important as it is for sitcoms, which need their episodes to number in the triple digits to allow for daily syndication, it nevertheless testifies to its importance as a franchise.

“One of the great things about animation is that you can play it over and over again, and kids will still watch it,” Ms. Zarghami said. “With live action they won’t.”

Witness the results from the network’s recent 24-hour “SpongeBob” marathon, capped by a single new episode and the first television broadcast of “The SpongeBob SquarePants Movie” (2004). Those “SpongeBob” episodes accounted for 25 of the 40 highest-rated shows on cable for the week, each drawing from 3.3 million to 6.6 million viewers, according to Nielsen Media Research. Not surprisingly, Nickelodeon has recently signed up “SpongeBob” for a sixth season. (The show was on hiatus for more than a year during the production of the movie.)

Nickelodeon also added to its original orders for three series before they even reached the air. “El Tigre,” “Tak” and “Mighty B” each have had their contracts extended to 20 episodes from 13.

Ms. Zarghami cites Nickelodeon’s willingness to invest in shows for the long term as something that sets it apart from rivals. As an example, she points to “Avatar: The Last Airbender,” an anime-inspired cartoon that took six years to go from idea to a completed first episode, much longer than normal. Last season it was the eighth-highest rated animated children’s series, according to Nielsen.

Similarly “Ni Hao, Kai-lan,” which among its bolder tasks will attempt to teach kids elements of basic Mandarin, has been in development for three years.

“Kids have an appetite for the new,” Ms. Zarghami said, explaining the importance of developing series. “They don’t want to just see the old stuff if they can see new stuff.”

http://www.nytimes.com/2006/12/12/arts/television/12nick.html?ref=television

dad1153

12-12-06, 08:44 AM

Critic's Notebook
Hunter S. Thompson film is just the 'Ticket'
By David Bianculli, New York Daily News December 12, 2006

"Buy the Ticket, Take the Ride: Hunter S. Thompson on Film." Tonight at 10, Starz.
RATING: THREE STARS (OUT OF FOUR)

When journalist, author and counterculture icon Hunter S. Thompson was alive, two movies were made about him that tried to capture his spirit: 1980's "Where the Buffalo Roam," starring Bill Murray, and 1998's "Fear and Loathing in Las Vegas," starring Johnny Depp.

Less than two years after Thompson committed suicide with a handgun on his Colorado ranch, a new documentary seeks to capture that same spirit, and does a very good job.

"Buy the Ticket, Take the Ride: Hunter S. Thompson on Film," premiering tonight at 10 on Starz, benefits greatly from clips from Thompson's home movies, from those two aforementioned feature films, and even more greatly from vintage TV interviews with Thompson, ranging from the '70s to the '90s.

Most resonant of all, though, is the range and passion of the friends he left behind, who talk with affection and seemingly unchecked honesty about how Thompson touched them.

Murray and Depp, neither of whom burn up the talk-show circuit, contribute to "Buy the Ticket," written by Tom Marksbury and directed by Tom Thurman. We learn that when Depp was cast to play Thompson in "Fear and Loathing," Murray called Depp to warn him that once you play Thompson, he never entirely leaves you. He stayed with Depp so much, in fact, that after Thompson died, Depp financed and organized the writer's long-envisioned wish to have his ashes shot out of a cannon over his private acreage.

What other single topic, you wonder, could bring together such strange bedfellows? Sean Penn and William F. Buckley. Gary Hart and Gary Busey. John Cusack and George McGovern. Tom Wolfe and Ralph Steadman.

Most of them joke about receiving late-night calls from Thompson. "Any calls I got between midnight and 6 a.m.," Cusack recalls, smiling wistfully, "were either Hunter or bad news. Sometimes both."

Even the county sheriff, who spent 35 years dealing with Thompson's penchant for blowing things up and firing guns on his property, talks about him in fond, almost reverential tones.

The first hour of "Buy the Ticket" skirts the manner of Thompson's death, but the rest deals with it directly, even reciting the suicide note in its entirety. (Nick Nolte narrates the film.)

By the time the documentary is over, Thompson's death is illuminated, as are his life and friendships.

http://www.nydailynews.com/entertainment/ent_radio/story/479200p-403119c.html

harley1

12-12-06, 08:46 AM

NPS Making Case of its Own

It's been a busy couple of weeks for National Programming Service. What started with the company picking up potentially 800,000 new customers has quickly spun into a couple separate court cases, attacks from broadcasters and NPS management being drug through the mud. Welcome to the world of distant network signals.

The latest turn of events has forced NPS to ask a U.S. District Court in Indianapolis to step in and demand that Decisionmark - the company which, under pressure from broadcasters, is refusing to do business with the company - resume its qualification services for DISH subs who had their distant signals shut down earlier this month. According to court papers, NPS believes broadcasting interests threatened Decisionmark with legal action if the company did not cease providing its services to NPS causing irreparable harm by keeping it from doing business with legal customers.

Decisionmark has said it is trying to maintain a neutral position between the two parties but would not put itself in legal jeopardy with the courts by continuing to work with NPS if, in fact, doing so is a violation of the permanent injunction originally handed down to EchoStar. NPS President Mike Mountford said allegations that EchoStar simply transferred its distant signal business over to NPS in a scheme to defy the court order were ridiculous.

As of now, NPS is only able to sell its distant signals to approximately 260,000 homes out of the 800,000-plus that were affected by the DISH shutdown. Decisionmark services help NPS determine whether a household is qualified for the service because it maintains the database for so-called white-area customers. Without Decisionmark's service, NPS has no way to verify if a customer is eligible for the distant signals, the company said.

NPS is also seeking a declaratory ruling from the Florida U.S. District Court which earlier ruled against EchoStar that the injunction doesn't impact NPS' business with the affected viewers. The company is asking that the court rule NPS officers, directors, agents and representatives are not in contempt of the injunction for attempting to sign disenfranchised DISH subs to its distant signal service.

http://www.skyreport.com/

dad1153

12-12-06, 08:48 AM

TV Notebook
Sunset for 'The O.C.'? That depends
The show that made the county famous is on the ropes. What that means for the county's image is up for debate
By Yvonne Villarreal and Ashley Powers, Los Angeles Times December 12, 2006

On Saturday afternoon, Emma Murphy, a 16-year-old from Sydney, Australia, gazed at Newport Bay's choppy waters, gripping a Guess purse and a perception of Orange County gleaned solely from the small screen.

Aboard "The O.C. Experience Tour" boat, Emma spotted something that tore her attention from the surrounding yachts to the Balboa Fun Zone.

"Oh my God! That's the Ferris wheel that Ryan and Marissa had their first date on!" she yelled, referring to two main characters on the TV series "The O.C." "I have to go on, Mum."

With a mix of soap opera antics and pop culture smarts, "The O.C." has been a boon to its hometown, culminating the county's transformation from Los Angeles' ho-hum neighbor to a trend-maker perched on the endless Pacific. Its pull was so strong that a county supervisor suggested turning John Wayne Airport into "The O.C. Airport," and when characters ripped on Riverside residents as "white trash," officials in the inland city mulled their legal options.

But in the show's fourth season on Fox, its ratings have plummeted to 97th among prime-time shows, with an audience of 3.7 million, according to recent Nielsen numbers. Up against juggernauts such as "Grey's Anatomy," the show appears close to its demise, with fans posting "Save The O.C." pleas on YouTube. Like a homecoming queen stripped of her tiara, Orange County is facing a future without a series that served as a weekly hourlong infomercial for Newport Beach and has even persuaded families to cross oceans for a firsthand look.

"It makes you dream of living here, in this beautiful atmosphere," said Emma, who sported oversized sunglasses like the show's female characters and begged her mom to buy a pink sweater "like Marissa's." "It was my first look into the lifestyle over here. It's a teenage fantasy."

If Beverly Hills, Miami and other cities tied to television dramas are indicators, Orange County's newfound national brand will last well past the final episode of "The O.C." — sparking both delight and consternation. Some say getting hitched to the depiction of Newport's bronzed and Botoxed chattering class could box in county image-makers for decades. Just ask officials in Dallas (more on its Texas-sized headaches later).

Simon Hudson, an associate professor at the University of Calgary, has studied how films boost tourism in locales splashed across the screen. Television shows — sometimes recycled for decades in domestic and international syndication — appear to have a similar effect, he said.

The Ewing clan, which schemed for more than a dozen seasons on "Dallas" starting in 1978, roped in about half a million tourists a year, according to a study by Hudson and a colleague published in the Journal of Travel Research. Boston toasted the estimated $7 million a year in unpaid advertising that "Cheers" brought to Beantown.

The effect of the small-screen is so strong that Palm Springs officials are already salivating over "Hidden Palms," a show slated as a midseason replacement on the CW network (it's shot mainly in the Phoenix area).

"Films are one-offs and no guarantee — most of them fail," Hudson said. "Whereas TV series are around for a long, long time."

"Miami Vice," for example, helped turn the Florida metropolis into a playground for bling-toting hip-hop stars.

"Miami was more known as a retirement center; it was dark and shuttered," said David Whitaker, a spokesman for the Greater Miami Convention & Visitors Bureau.

The late-1980s crime show "caressed that landscape," said Robert Thompson, a professor of television and pop culture at Syracuse University. "It gave Miami this evil but incredibly seductive look ... like an evil that you wanted to get a taste of." Miami tourism officials latched onto that, promoting images of "beautiful people in evocative settings," Whitaker said.

Similarly, some Orange County officials would like to keep tacking "the" in front of "O.C." As the show pops up on televisions in Britain, Germany and other countries, the Newport Beach Conference & Visitors Bureau has charted a 20% increase in website hits. A map directing tourists to the Balboa and Newport piers and other locations that made "O.C." guest appearances remains the bureau's most-requested item, though most scenes are filmed in Los Angeles County.

"We never really sold ourselves as 'the real O.C.,' but the concept of using the term 'O.C.' has become so ingrained that I think we will continue to use it," said Gary Sherwin, the Newport bureau's president and chief executive.

Beverly Hills still gets calls seeking directions to the Peach Pit, the fictional diner from "Beverly Hills, 90210," which ended its run six years ago. In fact, when the city's visitors bureau director, Kathy Smits, took her first tour of the Museum of Television & Radio in Beverly Hills several years ago, she stumbled upon Japanese tourists crowded around a "90210" episode.

The major distinction between Beverly Hills and the sun-bleached county to the south is that the former is perennially cast in films and TV shows, much like New York City, Los Angeles and Chicago. Orange County, said Thompson, the Syracuse University professor, is probably watching its "television renaissance" fade to black.

The county's other toeholds in public consciousness have been canned ("Arrested Development"); maligned ("Laguna Beach: The Real Orange County") or banished to DVD (the film "Orange County"). There's still the Bravo series "The Real Housewives of Orange County," but O.C.'s hipper-than-thou image can't rest on five older women in Coto de Caza.

"Orange County is going to be called 'The O.C.' for at least a generation," Thompson said. "For the fans, everything they know about Orange County they learned from 'The O.C.' "

Though that might seem tempting to tourism officials, consider how the Ewings have plagued Dallas. The nation's ninth-largest city has been stuck with the show's big-oil, big-hair image like a teenager with a despised childhood nickname.

Though it tried and failed to lure the shooting crew of the coming "Dallas" movie, the city's visitors bureau has otherwise worked to shift its small-screen reputation by wooing travel writers and meeting planners to tour downtown. Its brochures — slogan: "Live Large. Think Big" — tout an updated skyline, high-end shopping and dining, and photos that reflect Dallas' diverse population.

In part, the efforts stem from when the bureau asked folks several years ago what images the city's name conjured. Nearly a quarter-century after "Dallas" debuted, officials blanched at the top responses: 3) Tex-Mex and margaritas; 2) giant-haired women; and 1) J.R. Ewing.

http://www.latimes.com/entertainment/news/tv/la-me-uncool12dec12,0,4897110.story?coll=la-entnews-tv

harley1

12-12-06, 08:50 AM

How the Grinch saved Christmas TV

Modern animated tales can’t touch Dr. Seuss’ classic with a thirty-nine-and-a-half-foot pole

Bill Brioux

Why, after 40 years, do the Grinch, Charlie Brown and Rudolph stay at the top of our annual Christmas lists? Did Christmas end in 1966?

They all premiered during my “wonder years.” Back then, you believed in Santa Claus.

Are these holiday shows that won’t go away just more evidence of Boomers imposing their cherished culture on future generations?

Perhaps, except today’s children seem just as enchanted by Rudy, Chuck and Grinch as I ever was.

Christmas might not come from a store, as the Grinch discovers, but it seems to belong to a simpler, hand-crafted age.

With all the advances in computer-generated animation, you’d think a Merry Shrek-mas would have run Rudolph and his clunky stop-motion pals out of town by now, or that The Simpsons would’ve supplanted Snoopy.

Instead, eggnog and Yule log still equal analogue. There’s nothing Ho-Ho-Hi-def about Christmas on TV.

Not that there haven’t been a few worthy holiday specials made this century.

Olive the Other Reindeer, a 1999 computer-animated gem produced by Matt Groening and featuring the vocal talents of Drew Barrymore and Dan Castellaneta, is available on DVD.

The Santa Claus Brothers (2001), from Nelvana and featuring the voices of Malcolm in the Middle’s Bryan Cranston and Joe Flaherty, is a fun little ’toon too.

Neither had the staying power of Rudy, Chuck and Grinch. Is it because the fractured TV universe just doesn’t allow for that one shining holiday experience?

Or, maybe, a classic is just a classic.

That is certainly the case with Dr. Seuss’ How the Grinch Stole Christmas, which airs December 12 at 9 on ABC (it repeats December 18 CBC and Dec. 24 on TBS).

The special ran for 30 years on CBS.

The ABC offering is a special 40th anniversary edition, offering a look at the original cut.

Like most of Chuck Jones’ Warner Bros. gems, The Grinch has a timeless quality to it. Whoville, like Oz, never needs a makeover.

It’s also extremely well-crafted.

Besides Jones and Theodore Geisel (Dr. Seuss), it features a unique convergence of talent.

Giving the Grinch a voice for the ages was Boris Karloff. His voice both scares and soothes.

Thurl Ravenscroft’s booming rendition of You’re a Mean One, Mr. Grinch, is, as he used to say as the voice of Tony the Tiger, “Grrrreat!”

Maybe it endures because it’s so prophetic. We’ve all turned into Grinches, hating Christmas and all its tinsel trappings. We all need to be reminded that Christmas doesn’t come from a store and a heart can grow three sizes in one day.

That’s why we keep watching Rudy, Chuck and the Grinch — to believe.

http://www.calgarysun.com/cgi-bin/publish.cgi?p=165067&x=articles&s=showbiz

shuttermaker

12-12-06, 08:55 AM

dad1153

12-12-06, 08:56 AM

To paraphrase something a good (female) friend said to me that I happen to agree with, I want to have Olbermann's baby (and I'm a guy!). :D

TV Notebook
Anchor Olbermann counts on commentary to boost MSNBC's ratings
By Mackenzie Carpenter, Pittsburgh Post-Gazette December 12, 2006

MSNBC anchor Keith Olbermann can do sarcasm -- tinged with rage -- very effectively. He does it, in fact, every night on his cable channel's top-rated show, "Countdown," where he systematically eviscerates President George W. Bush, his policies, and assorted members of America's conservative political establishment.

"Apologize, sir!" Mr. Olbermann barked on Sept. 25, after the president said it was "unacceptable to think" one could compare U.S. behavior in Iraq with that of Islamic extremists.

Such presidential cautions against free thinking take us, Olbermann thundered, "toward a new and fearful path -- one heretofore the realm of science fiction authors and apocalyptic visionaries."

Yikes.

Rush Limbaugh, too, gets smacked in the kisser on "Countdown." When the conservative radio host apologized for mocking actor and liberal activist Michael J. Fox's symptoms of Parkinson's disease, Olbermann wasn't buying it.

"Rush, your lies used to be slightly entertaining, but no more," and added: "Please, go back on the drugs!"

While the House and Senate may have gone Democratic last month, giving the 47-year-old Olbermann fewer GOP figures in authority to rail against, "Countdown's" ratings just keep going up. And if Democrats don't act quickly to undo some of the Bush administration's abuses, they'll be targets too, he vows.

But during a recent telephone interview, Olbermann took pains to stress one important point: While anger has its uses on his newscast, it hasn't consumed him.

"I am not Peter Finch walking around the streets of New York in my pajamas as Howard Beale muttering to myself and saying, 'I must bear my witness.' It's not like that."

A pungent brew of opinion, straight news, tabloid and celebrity gossip, "Countdown" is hardly a traditional newscast. And while it may not be "Network," Olbermann's show is attracting plenty of viewers who are mad as hell at the Bush administration and don't want to take it anymore.

His commentaries, delivered in the stentorian, staccato style of Edward R. Murrow, along with snarky asides and "Worst Person in the World" awards to various political foes, have made him a hero to liberals and anathema to conservatives, and, most important, they have boosted MSNBC's ratings out of the third-place cellar.

"Countdown's" audience jumped 67 percent this year over last, and the cable channel's overall numbers are up 6 percent this year compared with last year, according to Nielsen Media Research. They're also up 10 percent from last year among 25- to 54-year-olds, a coveted advertising demographic. This comes at a time when Fox and CNN, overall, have been posting a decline in ratings.

Still, "Countdown" boasts a relatively puny overall audience of 469,000, compared to 2.1 million viewers for Fox News' Bill O'Reilly, whose show airs opposite Olbermann's. But "Countdown" has bested CNN's "Paula Zahn Now" 18 out of 25 nights since the start of November 2006 among viewers age 25-54.

Some, including Olbermann's boss, Dan Abrams, are calling "Countdown" "the newscast of the future."

At least of MSNBC's future.

"I think the viewers have found Keith," Abrams said, noting that ratings were building even before Olbermann began his special comments. "Countdown has been a fantastic show for a while, but I do think his special comments have helped. What they do is say to the viewers, 'Here's where I stand,' and they appreciate his honesty."

Others look back in history to the early 20th century's newspaper wars, whose publishers openly paraded their biases.

Jay Rosen, a media critic and journalism professor at New York University, believes that Olbermann's show is a fulfillment of his 2004 prediction of the rise of an "opposition press" in response to a deepening cultural divide and what he called bland media coverage of the Bush administration during its first term.

CNN's Lou Dobbs, who regularly editorializes about U.S. immigration and outsourcing policies, may be one example of that, and Olbermann another -- and that's not necessarily bad.

"In the last year, Keith Olbermann has basically put the idea of "opposition press" into practice," said Rosen. "Did journalism collapse? No. But his ratings went up, and a lot of things got said that needed to be said."

Olbermann's critics, however, see him as nothing more than a left-wing blowhard masquerading as a newscaster.

"My concern is that people are mistaking his show for real news," said Noel Sheppard, a blogger with NewsBusters.Org, a Web site founded by conservative media watchdog Brent Bozell. "But there's no question he is indeed Howard Beale. The whole Paddy Chayevsky concept in 'Network' was that news had to be entertaining. You had the anchorman flip out one day, and the ratings exploded. The same is going on with Keith Olbermann, who really does get into a snit like Beale did."

Robert Cox, a New York businessman, has even started his own anti-Olbermann Web site, "OlbermannWatch.com," where he regularly dissects Olbermann's commentaries and news reports, which he calls sloppily researched.

"I happen to like NBC news," says Cox. "I grew up watching it. My sense is, though, that he's undermining the brand of NBC news and the integrity of that organization by not fact-checking stories, lifting material from other Web sites and only putting on guests he agrees with, which is totally irresponsible."

To be sure, Olbermann originally vowed not to "screw around with the news" when his show debuted in 2003. Then came that moment in August, when he found himself stuck on a plane on a runway at Los Angeles International Airport.

After reading that Secretary of Defense Donald Rumsfeld had compared opponents of the Iraq War to Nazi sympathizers, he got out his pen and wrote a scorching critique of Rumsfeld, which began, "The man who sees absolutes, where all other men see nuances and shades of meaning, is either a prophet or a quack."

"Donald H. Rumsfeld is not a prophet," he added.

That became either his famous "Murrow moment" or his "Rummy Rant," depending on who's talking. After being posted on CrooksandLiars.com, the Rumsfeld commentary quickly gained traction, downloaded more than 300,000 times, and suddenly made Olbermann a player in the ongoing political and cultural wars.

Still, he's "a little mystified by the reaction because I don't see these [special comments] as being extraordinary. In other words, these merely are facts and analyses of facts that I think need to be made, and I haven't seen them done by anybody else."

Born in New York City, Olbermann grew up in affluent Westchester County, graduating from Hackley School in Tarrytown, a private school, and earning a Bachelor of Science degree in communications arts from Cornell University in 1979. He is not married, although his name is frequently linked to one woman or another in the gossip columns. Some factoids: He can't drive a car because of an injury at age 21 that affected his depth perception, he's a diehard Yankees fan and he keeps a collection of 35,000 baseball cards.

He didn't grow up in a particularly political household, he says, and despite his identity as a kind of therapist for liberals, Olbermann resists being pigeonholed politically. "I'm not a liberal, I'm an American," he once told Salon.com. Today, he doesn't vote, although he says he would have voted for Richard Nixon in 1972 if he had been old enough.

"I was surrounded by people in high school who wore McGovern stickers on their heads," he recalled. "I saw Nixon as a fairly decent president who should get another term." The following summer, though, he watched the Watergate hearings, "and that was American history unfolding in front of me. I understood when Alex Butterfield came in the room and talked about a taping system, and I remember saying, 'Holy crap.'"

The news and political junkie in him lay dormant for years, however, while he pursued a career in sports broadcasting, most notably as ESPN "SportsCenter" co-anchor with Dan Patrick in the early 1990s. There, the two pioneered a mix of sports scores, strong visuals and funny, biting commentary that remains the sportscast program's signature style today. But the famously prickly Olbermann left after a dispute with his bosses and went to MSNBC, where he hosted "The Big Show" -- which aired during the Monica Lewinsky scandal. After a year, he quit MSNBC, too, claiming Monica-fatigue -- covering it "gave me the dry heaves," he once announced in a speech.

But he was back at MSNBC by 2003 and landed on "Countdown," which was originally called "Countdown: Iraq" and was created to cover the U.S. invasion of Iraq.

While Olbermann is still on Dan Patrick's ESPN radio show for an hour each day, "In my heart of hearts now I think I'm a newscaster and commentator. That corner has been turned," he says.

Olbermann's finely tuned sense of the absurd sometimes veers into tastelessness. Some feminists have criticized him for making disparaging remarks about women -- usually tabloid favorites like Paris Hilton. In blasting Fox News for "sandbagging" former President Bill Clinton in an interview about al-Qaida, Olbermann called interviewer Chris Wallace "a monkey posing as a newscaster."

This summer, while addressing television critics in California, he gave a Nazi salute while wearing a mask of conservative Fox commentator Bill O'Reilly, whom he frequently needles on the air, calling him "Bill-O."

While O'Reilly assiduously avoids uttering Olbermann's name on the air, he frequently complains about MSNBC and its political coverage. He also once began a petition drive to force MSNBC to replace Olbermann -- without citing him by name -- with Phil Donahue.

The next night on "Countdown," Olbermann offered to sign the petition.

"We've been in the same room twice," said Olbermann, recalling the event with almost a lover's command of detail. "It was a charity event last year, with my friend Joe Torre, manager of the Yankees. [O'Reilly] never got within 25 feet of me, but he always was just about that far away, and when I'd see him -- I'd look up and I'd catch him quickly looking away," he laughed.

Their "feud," such as it is, has undoubtedly given Olbermann's show a boost, says Robert Thompson, director of the Center for Television and Popular Culture at Syracuse University.

"They've both got a huge sense of self-importance," said Thompson, although Olbermann delivers his monologues "with a little bit of a smirk. He knows it's a game, while Mr. O'Reilly is so sincere about everything."

"Still, it's like the feud between Jack Benny and Fred Allen," he said. "What you've got is show business that's going on here. Both guys know it's making people pay attention."

"I have been accused of arrogance for 27 years in this business, and 31 if you count my college broadcasting career, and so far it has not derailed me," countered Olbermann, who seemed somewhat stung by Thompson's remarks.

"It's not self-importance; it's an awareness of the importance of the platform and the time."

If the newscast of the future requires a return to the opinionated journalism of Edward R. Murrow -- or even William Randolph Hearst -- so be it, Olbermann says.

"'Countdown' was not designed as a political broadcast. It was not even a politically oriented newscast; it was just an hourlong news [show] with a different kind of approach to things," he said.

Although he tried to avoid commentary, "there's a point at which you can't sit inside a burning building without shouting 'fire,'" he said. "And that point has been reached, and I think it was reached at the point I was sitting on that tarmac at LAX."

http://www.post-gazette.com/pg/06346/745336-237.stm