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post #15751 of 16002 Old 04-20-2017, 10:03 AM
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With the NFL schedule being released tonight 1 bit of info thats different from last yr -- every team does NOT have to have a primetime national tv game.
That could spell doom for the annual TNF jags/titans game.

& the rumored leaks have begun....

Thursday kickoff game = chiefs/patriots
Wk1 SNF = giants/cowboys
Wk1 MNF late game = chargers/broncos with Beth Mowins on the call - yes Beth Mowins
Wk2 SNF = saints/falcons (new stadium opening)
Thanksgiving night = giants/redskins
Christmas Eve = giants/cardinals

Today rules !!
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post #15752 of 16002 Old 04-20-2017, 10:22 AM
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Originally Posted by dcowboy7 View Post
With the NFL schedule being released tonight 1 bit of info thats different from last yr -- every team does NOT have to have a primetime national tv game.
That could spell doom for the annual TNF jags/titans game.

& the rumored leaks have begun....

Thursday kickoff game = chiefs/patriots
Wk1 SNF = giants/cowboys
Wk1 MNF late game = chargers/broncos with Beth Mowins on the call - yes Beth Mowins
Wk2 SNF = saints/falcons (new stadium opening)
Thanksgiving night = giants/redskins
Christmas Eve = giants/cardinals

Today rules !!
Instead of deleting and re-posting the same message over and over why don't you just edit the first one? Every time you delete and re-post it I get an e-mail alert.
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post #15753 of 16002 Old 04-20-2017, 11:19 AM
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Instead of deleting and re-posting the same message over and over why don't you just edit the first one? Every time you delete and re-post it I get an e-mail alert.
I stopped doing email alerts since I got so many. At one point I had close to two thousand subscriptions. But now I'm down to around one thousand.
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post #15754 of 16002 Old 04-20-2017, 11:23 AM
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Dun dun dunnnnn

Fox News - Bill O'Reilly = ?

Interesting to see how much of the audience decides to follow Bill to his next job at another media outlet (which I expect will appear within a week) and who will stick with Fox News.
He could get a job/show on some internet channel (he would have to embrace the internet first) where he wouldn't have as many advertisers to answer to and really say what he wants to say (if that is even possible).
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post #15755 of 16002 Old 04-20-2017, 01:00 PM - Thread Starter
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 20, 2017

PRIVATE PARTS
Encore, 7:59 p.m. ET

It’s been 20 years since Howard Stern starred, quite effectively, as a younger version of himself in this 1997 biographical film comedy, based on his bestseller. Betty Thomas directs the movie, and Mary McCormack stars as his wife Alison, whose loving relationship with shock-jock radio personality Stern forms the core of the film. In real life, they divorced in 2001. In Private Parts, the scene-stealer, in addition to Stern himself, is Paul Giamatti, in an early breakout role as WNBC radio executive Kenny, whose clashes with Stern are hilarious.

THE BLACKLIST
NBC, 9:00 p.m. ET
SERIES RETURN:
After a hiatus, and a time-slot grab by inferior spinoff Blacklist: The Redemption, the original article, starring James Spader, returns – with a doubleheader.

SOUNDTRACKS
CNN, 10:00 p.m. ET
DOCUMENTARY SERIES PREMIERE:
This new series aims to trace and point out some of the connections between music and real life – singling out some of the songs that reflected or propelled the events of the time. The topic for this opening hour is Martin Luther King, Jr., from the rise of the civil rights movement to King’s assassination and beyond. In that context, Soundtracks makes room for everything from James Brown’s “Say It Loud (I’m Black and I’m Proud)” to Kendrick Lamar’s “Alright.” And I’m hoping, at some point, it also makes room for Dion’s quiet, moving 1968 anthem “Abraham, Martin and John,” which also managed to allude to the assassinations of Abraham Lincoln, John F. Kennedy, and Bobby Kennedy.

FARGO
Starz!, 10:59 p.m. ET

With this week’s first taste of Season 3 of FX’s Fargo, Noah Hawley has now made three delectable variations on the Coen Brothers’ original theme. But tonight on Starz, you can revisit their 1996 original, starring Frances McDormand as a Minnesota police chief investigating a particularly bizarre and brutal murder case. Hawley’s TV miniseries versions of Fargo have been superb… but the original film, co-starring William H. Macy, Steve Buscemi and Peter Stormare, was utterly flawless.


http://www.tvworthwatching.com/
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post #15756 of 16002 Old 04-20-2017, 01:02 PM - Thread Starter
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Nielsen Overnights (Broadcast)
Designated Survivor Ticks Up
By Matt Webb Mitovich, TVLine.com - Apr. 20, 2017

Again leading out of a slate of sitcom reruns, ABC’s Designated Survivor this Wednesday drew 5.05 million total viewers and a 1.0 demo rating, ticking up 5 percent and a tenth week-to-week.

Over on CBS, a double pump of Survivor averaged 7.8 mil and a 1.7, on par with its previous outing. Criminal Minds: Beyond Borders (4.8 mil/0.8) matched its week-ago 10 o’clock episode.

Fox’s Shots Fired (3.2 mil/0.8) slipped 11 percent leading into an Empire rerun. And… that is all she done wrote!

http://tvline.com/2017/04/20/designa...-1-episode-17/
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post #15757 of 16002 Old 04-20-2017, 01:06 PM - Thread Starter
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TV Notes (Cable)
Apparently Barack Obama and Mitt Romney Are Both Veep Fanboys
By Melissa Locker, TIME.com - Apr. 20, 2017

Veep is starting its new season of Washington drama, political farce, impressive insults, and expletive filled tirades—and Barack Obama and Mitt Romney just might be tuning in.

The show's Emmy winning star Julia Louis-Dreyfus stopped by Jimmy Kimmel Live! on Wednesday night and spilled the beans on some of her show's fans. “Who is the most famous fan of Veep that you have encountered?” Jimmy Kimmel asked her and she coyly asked, “Does Barack Obama count?”

Veep doesn’t just appeal to Democrats, though, as former Obama’s former rival, one-time Republican presidential candidate Mitt Romney, is also a fan. Turns out that having fans in high places can be very helpful for a show set inside the high stakes political world. For example, when Louis-Dreyfus's character, Selina Meyer finds herself reeling after a big political loss, the show was able to all upon Romney, who she respects, for insight. “[Mitt and Ann Romney] came and talked to us at great lengths,” said Louis-Dreyfus. “Which was really helpful because we really wanted to talk to him about what it was like to lose.”

Romney apparently told the show what it was like recovering from political gaffes, like when he claimed that 47% of the American people “pay no income tax.” and then had to explain the comment. According to Louis-Dreyfus, he told Veep writers that “the truth is if you’re running, if you’re explaining, you’re losing” and they ended up putting the line into the show.

http://time.com/4748512/barack-obama.../?xid=homepage
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post #15758 of 16002 Old 04-20-2017, 01:10 PM - Thread Starter
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TV Notes (Cable)
TV Land Renews ‘Younger’ and ‘Teachers’ for Additional Seasons
By Reid Nakamra, TheWrap.com - Apr. 20, 2017

TV Land has renewed “Teachers” and “Younger” for another season each, the network announced on Thursday.

“Teachers” will return for a 20-episode third season and “Younger” will return for a 12-episode fifth season in 2018. The news follows TV Land’s previously announcement that the freshman comedy “Nobodies” had been picked up for a second season.

“We’re absolutely thrilled to be bringing back ‘Younger’ and ‘Teachers’ for more seasons and double down on our dedication to creating smart, funny, honest and compelling originals,” Frank Tanki, General Manager of TV Land, said in a statement.

The news comes ahead of “Younger’s” fourth season premiere on June 28. “Teachers” will return for the second half of Season 2 in the fall.

“Younger” comes from “Sex and the City” creator Daren Star, and stars Sutton Foster, Hilary Duff, Debi Mazar, Miriam Shor, Nico Tortorella, Peter Hermann and Molly Bernard. “Teachers” is written by and stars The Katydids – Caitlin Barlow, Katy Colloton, Cate Freedman, Kate Lambert, Katie O’Brien and Kathryn Renée Thomas.

Last month, Viacom’s Kevin Kay announced that the Kyle Richards series “American Woman” and the “Heathers” reboot — both of which were originally in development at TV Land — had been moved over to Paramount Network ahead of the network’s 2018 launch.

In an interview with TheWrap last month, Kay said that TV Land was making a “very conscious decision” to launch fewer shows per year, and put more emphasis on supporting the shows already on the network. He added that there are currently no plans to shift “Teachers” or “Younger” to another network.

http://www.thewrap.com/tv-land-renew...ional-seasons/
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post #15759 of 16002 Old 04-20-2017, 01:14 PM - Thread Starter
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Washington/Business Notes
FCC takes first step toward allowing more broadcast TV mergers
By Jacob Kastrenakes, TheVerge.com - Apr. 20, 2017

In a divided vote today, the Federal Communications Commission took steps that could lead to more consolidation among TV broadcasters, reducing the number of sources of local news.

The changes have drawn the ire of Democrats, though they’ve struggled to get the message out in part because the legal mechanics involved are somewhat dense and confusing.

Today’s changes revolve around the media ownership cap — a limit on how many households a TV or radio broadcaster is allowed to reach.

The rules are meant to promote diversity of media ownership, giving consumers access to different content and viewpoints. The cap currently prevents a company from reaching no more than 39 percent of US households with broadcast TV.

Large broadcasters hate the cap because it prevents them from getting even bigger. And since Trump took office and Ajit Pai was named chairman of the FCC, they’ve been lobbying to have it revised.

The FCC’s vote today starts to do that. First, it reinstates a rule known as the “UHF discount,” which lets broadcasters have a bigger reach in areas where they use a certain type of technology. And second, it starts plans to revisit and raise the media ownership cap.

It’s hard to say exactly how much the initial action will change. Major broadcasters, including Sinclair and Univision, are said to be bumping up against the cap. Reinstating the UHF discount might allow for more expansion — it allows for twice as much household reach by UHF stations — but it’s not clear that it would be enough to enable big mergers. Some Democrats suspect it will.

The UHF discount was put in place in the mid-’80s and only removed last September. The “discount” doesn’t refer to a price discount, but a discount on how many households UHF broadcasts are considered to have reached. It was put in place because UHF — ultra high frequency — TV broadcasting was considered worse and less reliable. (This is part of why we have Weird Al’s 1989 classic UHF, about a guy running a weird low-budget TV station.)

But that changed after broadcasters transitioned from analog to digital in 2009. Now, UHF stations are considered to be on par with, if not at an advantage to, other stations. So last year, the commission voted to remove the UHF discount going forward (existing stations were grandfathered in), since its purpose wasn’t relevant any more.

Both Republicans on the commission — Pai and Mike O'Rielly — voted against killing the discount last year, though for different reasons. Pai said the UHF discount can’t be changed without also changing the media ownership cap, since the two are related. O'Rielly argued the commission doesn’t actually have the authority to change either, since Congress last set the ownership cap.

That’s the setup for today’s changes: Pai isn’t necessarily saying the UHF discount makes sense, he’s just saying that if it’s being removed, broadcasters should be given other ways to get bigger.

And that’s the bigger part of today’s vote. The commission is promising to revisit the ownership cap later this year. Should it pass something, that’ll go a much further way to enable bigger broadcasters by allowing companies to reach a larger percentage of households.

The FCC’s lone Democrat, commissioner Mignon Clyburn, stood in staunch opposition, beginning her remarks by saying, “Welcome again to industry consolidation month at the FCC.” Clyburn said reinstating the discount could let broadcasters reach up to 78 percent of US households, instead of just 39 percent. “Most troubling ... the discount will actually harm the public interest by reducing diversity, competition, and localism.”

Pai also heard from Congressional Democrats over the past week. Representative Anna Eshoo sent a letter saying, “Further consolidation will ensure that there are fewer independent news outlets serving as a counter-balance to misleading or inaccurate information from other sources. This will not serve the public interest or our democracy well.”

House minority leader Nancy Pelosi sent a letter alongside House commerce committee ranking member Frank Pallone, saying they were concerned that reinstating the UHF discount would allow Sinclair to purchase Tribune’s TV stations.

“First, consumers would lose an independent voice in their media market,” Pelosi and Pallone wrote. “And second, consumers could see their cable bills go up because Sinclair charges cable operators more than Tribune for retransmission consent.”

But today’s rule doesn’t guarantee that the media ownership cap will actually get changed. In fact, Pai is putting the commission in a bit of a weird position. Clyburn is likely to be opposed, and O'Rielly doesn’t believe the commission has the authority. So it’s very possible that today’s action will simply reinstate the UHF discount, without addressing the situation further.

It may also be just the start of Pai’s efforts to allow more consolidation. During a Senate hearing last month, Pai said that he’s also interested in lifting FCC restrictions that prevent the local consolidation of newspapers, radio stations, and TV stations.

http://www.theverge.com/2017/4/20/15...-ownership-cap
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post #15760 of 16002 Old 04-20-2017, 01:24 PM - Thread Starter
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Media/Critic's Notes (Pop Culture)
Happy 4/20! Get a contact high from these TV shows and movies
By Jayme Deerwester, USA Today - Apr. 20, 2017

Maybe friends used to get a contact high just from walking into your college apartment on a Saturday night, but you have long since retired the bong because you've got kids or a job where they hold random drug tests.

Or maybe you are a self-avowed square like me, who despite having graduated from a school with a place called Bong Hill, never danced with Mary Jane and who for a long time wasn't completely sure what the term 420 meant. It's traced back to 1971, when a group of high schoolers from San Rafael, Calif., known as the Waldos, agreed to meet at 4:20 p.m. with map in hand to search for a plot of marijuana plants that had been abandoned by its owner.

The notion of 420 as a countercultural holiday became a thing in the 1990s when a group of Grateful Dead fans posted flyers in Oakland, Calif., urging fans to light up on April 20 at 4:20 p.m.

We don't care where you fall on the pot spectrum. We're here to suggest pot-themed movies and TV shows for just about every altered state:

If you want a classic with your chronic: Up In Smoke
Pot comedy got its start this 1978 Cheech and Chong caper, in which the comics unwittingly drive a "fiberweed" van built entirely out of hardened marijuana resin from Mexico to the USA while being tailed by an incompetent narcotics officer (Stacy Keach).

Watch Up in Smoke for free with your Starz subscription or rent on iTunes

If you want to see how much attitudes about marijuana have changed: Reefer Madness
Picture an after-school special with 1930s production values and you've got Reefer Madness, a black-and-white morality tale intended to scare youth away from experimenting with "the burning weed with its roots in hell" — which, if you believed the film, might lead teens to commit murder, suicide or order someone to play the piano as fast as possible. But by the 1970s, Reefer Madness came to be seen as a case study of everything pot opponents got wrong — and something unintentionally hilarious to watch while blazing up. It even inspired a 2005 musical parody starring Alam Cumming and Kristen Bell.

Watch Reefer Madness free Thursday on Fuse or its website at 4:20 p.m. ET (complete with commentary by comedians Nick Guerra, Justine Marino, Orlando Leyba and Dan Klein) or rent the movie on iTunes.

If you're going to be at it for a while: That '70s Show
Eight seasons' worth of basement antics from Eric Forman and his friends should be more than enough to outlast anyone's weed supply.

Watch That '70s Show on Netflix

If Sean Penn will always be Spicoli to you: Fast Times at Ridgemont High
If you're under 30, you've probably only ever known Penn, a two-time Oscar winner, as a Serious Dramatic Actor, having played a grieving father in Mystic River, a condemned prisoner in Dead Man Walking and a gay political icon in Milk. But Penn's big break came in this 1982 high school comedy, in which he played stoner dude Jeff Spicoli, whose worldview can be summed up thusly: "Surfing's not a sport, it's a way of life, it's no hobby. It's a way of looking at that wave and saying, 'Hey bud, let's party!'

Watch Fast Times at Ridgemont High free with your HBO subscription at HBOGo.com

If you want to feel alright, alright, alright: Dazed and Confused
Like Penn, Matthew McConaughey has graduated to playing Oscar-caliber roles— and thinking deep thoughts in Lincoln commercials. But the difference is that McConaughey still begins his Oscar acceptance speech by saying, "Alright, alright, alright!" And that unscripted line came from his very first scene in his very first movie: Dazed and Confused, the 1993 Richard Linklater comedy in which the unknown Texan played a 20-something who had nothing better to do than hang out with high schoolers on the last day of classes.

Rent Dazed and Confused on Amazon or iTunes

If you like bromantic bud comedies: Pineapple Express
Up in Smoke may have invented the stoner movie genre, but this 2008 comedy starring Seth Rogen and James Franco as a process server and a pot dealer having a very bad night gave rise to an entire strain of marijuana. "As we were writing it," Rogen explained to Cannabist (in 2014), we said, 'If we're ever at a weed store or buying weed and someone offers us Pineapple Express, we'll know we've made it!"

Watch Pineapple Express free with your Starz subscription or rent on Amazon or iTunes

If you still quote Chappelle's Show regularly: Half-Baked
Catch glimpses of Dave Chappelle's future greatness (including his Lil' Jon impression) in this 1998 comedy, which he co-wrote and starred in as Thurgood Jenkins, a research laboratory janitor who sells the pot intended for use in an FDA study in order to bail his friend out of jail. Eventually, Thurgood and his pot-selling alter ego, Mr. Nice, become a little too successful, incurring the wrath of the local drug dealer.

Rent Half-Baked on iTunes

If you've ever used the phrase 'Bye, Felicia': Friday
Rapper Ice Cube and writing partner DJ Pooh set out to create a "hood classic," and they pulled it off with this semi-autobiographical 1995 comedy about two friends (Cube and Chris Tucker) trying to figure out how to repay their pot dealer $200 before 10 p.m. And one throwaway line — "Bye, Felicia" — entered the popular lexicon as a way to dismiss annoying people. Not too shabby for your first major script. In 2015, Friday even returned to theaters for a special 20th-anniversary engagement on — you guessed it — 4/20.

Rent Friday on Amazon or iTunes

If you'd do anything to satisfy your munchies: Harold and Kumar Go To White Castle
Potheads are a suggestible lot. Mention any kind of junk food to them when the munchies are kicking in and they'll set off on an epic quest to find it. Such is the case for investment banker Harold (John Cho) and his medical school applicant buddy Kumar (Kal Penn), who see an ad for White Castle while getting stoned in this 2004 film and decide nothing else will satisfy their hunger but a bag of sliders — even if they have to survive a ride of terror with Neil Patrick Harris and hang-glide to get their hands on them.

Rent Harold and Kumar Go to White Castle on Amazon or iTunes; Comedy Central (9 ET/PT)

If you want to get in touch with your inner child: Blues Clues
Granted, you'd have a more authentic THC-induced experience with Teletubbies (which, let's face it, only made sense to babies and stoners) but we're going to assume you don't feel like paying by the episode or season to toke along with Tinky Winky, Dipsy, Laa-Laa and Po. So save your money and watch Steve Burns try to figure out what his dog is trying to tell him.

Watch on Amazon Prime

If you think it's fun to mix Mickey Mouse and marijuana: Fantasia
More than 75 years after its release, this animated classic, consisting of eight segments — including one on the history of Earth and another featuring Mickey as a sorcerer's apprentice — remains Disney's trippiest film, and the best companion for cannabis.

Rent Fantasia on Amazon

If you like to combine your sinsemilla with superheroes: Chronic-Con Episode 420: A New Dope
Comedian and @midnight panelist Doug Benson has managed to milk two documentaries out of his marijuana habit: 2008's Super High Me, in which he took a cue from Morgan Spurlock and spent a month off of pot and the next on a lot of it, and 2015's Chronic-Con, in which he spends an entire Comic-Con stoned. And he may be onto something: being high would at least make it easy to stomach the exorbitant wifi fees at the convention center.

Watch Chronic-Con on Amazon Prime

If you're not into stoner culture but are curious about pot's (legit) medicinal uses: Weediquette
This Viceland documentary series hosted by Krishna Andavolu is a bit like HBO's Real Sports for pot. It addresses marijuana culture, business, science and legalization, but it also delves into the drug's therapeutic uses. In Season 2, the show tackled its applications for treating cancer and chronic traumatic encephalopathy. Season 3, which kicks off this week, will take a look at its prospective uses for helping people with autism.

Watch Weediquette on Viceland or YouTube

If you like to contemplate the universe while high: Cosmos: A Space-Time Odyssey
At least you'll know you are high while watching Neil deGrasse Tyson ponder the mysteries of the galaxy. As opposed to the time I nearly collided with Neil deGrasse Tyson while getting on the elevator at work and wondered if the cold medicine I was on at the time was messing with my head. (Thankfully, we had photographic evidence of his visit, proving that I did not hallucinate the whole thing.)

Watch Cosmos on Netflix

If you are so stoned that you can't remember your Netflix password: Dark Side of the Rainbow
Kids today don't realize how easy they have it. Back in the day (that would be the early 1990s), you needed two people to watch the original mashup: one to man the VHS player and start The Wizard of Oz while the second started the recording of Pink Floyd's Dark Side of the Moon at precisely the right second.

Now all you need to watch the scarecrow dance to Brain Damage is this
. Where's the sense of accomplishment in that?

https://www.usatoday.com/story/life/...ies/100616158/
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post #15761 of 16002 Old 04-20-2017, 02:29 PM
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HBO/Skinemax FREE preview april 21-24
AT&T U-verse, DirecTV, Dish Network, Frontier FIOS, Verizon FIOS

For "the leftovers" ??
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Reminder:

HBO/Skinemax FREE preview april 21-24
AT&T U-verse, DirecTV, Dish Network, Frontier FIOS, Verizon FIOS

For "the leftovers" ??
Sweet!! now I can hold off a few more weeks from subscribing to HBO to get access to the HBO app to watch The Leftovers.

Thanks for the info!!!

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TV Notes (Cable)
TV Land Renews ‘Younger’ and ‘Teachers’ for Additional Seasons
By Reid Nakamra, TheWrap.com - Apr. 20, 2017

TV Land has renewed “Teachers” and “Younger” for another season each, the network announced on Thursday.

“Teachers” will return for a 20-episode third season and “Younger” will return for a 12-episode fifth season in 2018. The news follows TV Land’s previously announcement that the freshman comedy “Nobodies” had been picked up for a second season.
I don't think Younger is as good as it was but it's still an amusing Gilmorish show.

I forced myself to watch the first season of Teachers as mostly background noise and watching 20 more episodes of that sounds more like a punishment you would force on kids in detention.
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post #15764 of 16002 Old 04-20-2017, 04:48 PM - Thread Starter
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TV Notes (Broadcast)
‘The X-Files’ Deal Finally Done; Revival Set to Return For Second 10-Episode Season
By Michael Schneider, IndieWire.com - Apr. 20, 2017

The truth is finally out there, again.

After a long delay, a deal is finally in place to produce a second edition of Fox’s “The X-Files” revival. The show’s three principals — stars David Duchovny and Gillian Anderson, and creator/executive producer Chris Carter — are back for the new installment.

The event series is set to air during the 2017-2018 season, with production set to begin in summer 2017.

“Iconic characters, rich storytelling, bold creators – these are the hallmarks of great TV shows. And they are some of the reasons why ‘The X-Files’ has had such a profound impact on millions of fans worldwide,” said David Madden, President, Fox Broadcasting Company. “Chris’ creativity, along with the brilliant work of David and Gillian, continue to propel this pop culture phenomenon, and we can’t wait to see what fresh mysteries Mulder and Scully uncover in this next chapter of ‘The X-Files.’”

It was never in doubt that Fox and 20th Century Fox TV wanted another edition of “The X-Files,” it was only a question of when and how Duchovny, Anderson and Carter could fit it into their busy schedules.

Just a few months ago, Fox TV Group chairman Gary Newman said he didn’t expect to have ‘The X-Files’ ready by next season, noting that the clock was getting tight.

“It’s just very difficult,” Newman said in January. “Their lives don’t lend themselves easily to finding time to do this. Gillian lives in London, she has young children. Coming to Vancouver for three or four months is not easy for her, particularly when she has other work commitments. David can be available, and then something big can come along for him. So it’s not easy to find time. We would love to do it again, and I believe there will be a time when it happens, but it does not feel imminent to me.”

In 2016, the return of ‘The X-Files’ drew an “average Multi-Platform audience” of nearly 16 million viewers, the network said, and was last season’s No. 2 broadcast drama.

“The X-Files” originally premiered in September 1993 and ran for nine seasons, earning 16 Emmy Awards, five Golden Globes and a Peabody Award. The show follows FBI special agents Scully (Anderson) and Mulder (Duchovny) as they investigate unexplained cases.

20th Century Fox Television and Carter’s Ten Thirteen Productions, are behind the show. Here’s a first look at key art for the revival revival: [CLICK LINK BELOW]

http://www.indiewire.com/2017/04/x-f...er-1201807661/
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Quote:
Originally Posted by Ken.F View Post
Instead of deleting and re-posting the same message over and over why don't you just edit the first one? Every time you delete and re-post it I get an e-mail alert.
Because most people wouldn't see the updates that way, perhaps?

Can't say for sure, because I don't how others process this thread, but I know *I* wouldn't see the updates if he did that, and I prefer to see them, thank you very much.

(Fwiw, though, I don't see any need to waste time deleting the originals...)
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Media/Business Notes (Digital)
Netflix and Internet Video Pals Are Winning Big From Cord Cutting
By Aaron Pressman, Fortune.com - Apr. 20, 2017

As the debate over just how quickly consumers are abandoning pay TV and "cutting the cord" rages on, pay Internet video services are growing fast.

Premium Internet video services from Netflix to Hulu to Dish Network's Sling TV brought in $8.3 billion last year, a 36% increase from 2015, according to the annual "Coach Potato" report from market tracking firm Convergence Research Group. Bolstered by new additions like AT&T's DirecTV Now and Google's YouTube TV, the market should increase 35% to $11.2 billion this year followed by 32% jump to $14.7 billion 2018, the firm said.

At the same time, the number of households that have cut the cord, or never subscribed in the first place–so called cord nevers–is growing.

Last year, 2.1 million households dropped pay TV service, up from 1.2 million in 2015, Convergence said. By the end of the year, 27 million households, or about 22% of the country, did not pay for cable or satellite TV service, up from 24 million, or 20% of households, in 2015. And the total should reach 30 million, or 25% of all households, by the end of 2017, Convergence said.

Fears that rampant cord cutting will hurt cable and entertainment company revenues have been a growing fear on Wall Street, especially after the issue hit the stock prices of giants like Viacom, Time Warner and Disney hard in the summer of 2015. But since then, the data about cord cutting has been mixed and the stocks have recovered.

Even if cord cutting picks up, as Convergence expects, the trend isn't totally negative for the cable industry, since it's also the leading provider of broadband home Internet service. The high-speed home Internet market added 2.5 million subscribers, a 3% rise to 94.5 million homes, and grew 9% in revenue to $51.3 billion last year, Convergence said.

http://fortune.com/2017/04/20/netfli...-cord-cutting/
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TV Notes (Cable)
Greg Berlanti Thriller 'You' Picked Up to Series at Lifetime
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Apr. 20, 2017

Lifetime is bypassing the pilot process for Greg Berlanti.

The female-skewing cable network has handed out a 10-episode order to the Berlanti and Sera Gamble (The Magicians) drama You.

Put into development in January, the thriller is based on Caroline Kepnes' best-selling novel of the same name. You is described as a 21st century love story about an obsessive yet brilliant twentysomething who uses the hyper-connectivity of today's technology to make the woman of his dreams fall for him.

Berlanti will write the adaptation with Gamble, and the two will executive produce with Greg Berlanti Productions topper Sarah Schechter, Alloy Entertainment's Leslie Morgenstein and Gina Girolamo. The drama hails from Warner Horizon Television and falls under Berlanti's WBTV-based overall deal.

You is among a list of scripted programming at Lifetime that includes UnREAL as well as Canadian import Mary Kills People.

For Berlanti, You joins a growing roster of broadcast series in the works this pilot season, such as The CW's DC Comics fare Supergirl, Arrow, The Flash and Legends of Tomorrow as well as NBC's Blindspot. He also has ABC comedy Raised by Wolves, The CW's DC Comics take Black Lightning and Searchers and NBC's Deception.

http://www.hollywoodreporter.com/liv...ifetime-995820
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TV/Production Notes (Streaming)
Doctor Strange filmmaker to direct Locke & Key pilot for Hulu
By Clark Collis, EW.com - Apr. 20, 2017

Hulu announced Thursday that it has ordered a pilot for a drama series adaptation of comic Locke & Key from writer Joe Hill. The pilot will be directed by Doctor Strange filmmaker Scott Derrickson, while producer Carlton Cuse of Lost and Bates Motel fame will serve as showrunner. The project is executive produced by Cuse, Derrickson, and Lindsey Springer. Hill is the writer of the original comic, which is illustrated by Gabriel Rodríguez.

Locke & Key is a horror/fantasy series that revolves around three siblings who, after the gruesome murder of their father, move to their ancestral home in Maine only to find the house has magical keys that give them a vast array of powers and abilities. Little do they know, a devious demon also wants the keys and will stop at nothing to attain them.

A pilot for a proposed Locke & Key TV show was previously produced by Fox during the 2010-11 development season but did not go to series.

http://ew.com/tv/2017/04/20/locke-ke...alflow_twitter
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TV/Awards Notes
‘Veep’, ‘Atlanta’, ‘Horace & Pete’ Among Peabody Honorees; HBO, FX & Hulu Tie For Wins
By Greg Evans, Deadline.com - Apr. 20, 2017

Atlanta, Better Things, Horace and Pete, Veep and Lemonade are among this year’s Peabody Awards entertainment winners, the Peabody organization announced today. HBO, FX and Hulu each scored two wins.

Related'Girls' Hits 2nd-Best Finale Viewership With Series Ender; Showtime's 'Guerrilla' Low In Debut
The honorees are among seven winners in the awards’ entertainment category. Other entertainment winners are BBC One’s Happy Valley and The Forge/Hulu’s National Treasure. (The Peabodys added Hulu to the roster of winners after the organizations original announcement was released this morning).

The seven entertainment winners join the documentary honorees announced Tuesday. The winners in news, radio/podcast, children’s, education and public service will be revealed April 25.

With Veep and Beyoncé’s “visual album” Lemonade, HBO ties for most wins with FX (Atlanta and Better Things).

The Peabody Awards honor the most powerful, enlightening and invigorating stories in television, radio and digital media. The awards are based at the Grady College of Journalism and Mass Communication at the University of Georgia.

Here is the complete roster of the entertainment winners:

Atlanta
FX Productions (FX Networks)

Donald Glover’s enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.

Better Things
FX Productions (FX Networks)

Co-created by Pamela Adlon and Louis C.K., the result of this searingly funny and beautiful show is an at-times raw examination of the vicissitudes of working motherhood, crackling with feminist verve and energy, that consistently cuts new ground.

Happy Valley
BBC One (BBC One, Netflix)

A fresh take on the British crime drama that deals boldly and unflinchingly with the darkest human behavior while keeping its heart and even a tart sense of humor. Series creator Sally Wainwright has given us perhaps the greatest female lead on television today in Catherine Cawood, played by Sarah Lancashire in a stunning performance.

Horace and Pete
Pig Newton, Inc. (louisck.net/Hulu)

A true original that melds contemporary politics and serialized storytelling with a throwback approach, Horace and Pete is a truly independent and groundbreaking demonstration of how quality television is expertly produced for the new media environment, all the while building upon decades of artistry and craft.

Lemonade
HBO Entertainment in association with Parkwood Entertainment (HBO)

Lemonade draws from the prolific literary, musical, cinematic, and aesthetic sensibilities of black cultural producers to create a rich tapestry of poetic innovation. The audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.

National Treasure
The Forge (Channel 4/Hulu)

A dark and timely examination of sexual abuse at the hands of privileged celebrity, National Treasure is an engrossing series that explores the loyalty of family and friends during crisis, the impact of sexual abuse on victims, and the legal system itself. As in real life, there’s no neat ending in this dramatic rendering of one man’s choices and the collateral damage he creates.

VEEP
HBO Entertainment (HBO)

A rare show blessed with a perfectly cast ensemble, including the comedic genius of Julia Louis-Dreyfus, Veep is a workplace comedy that not only captures the zeitgeist of the current bizarre political moment but transcends its own form to deliver a sobering message, with sharp dialogue, street savvy—and lots of laughs.

http://deadline.com/2017/04/peabody-...fx-1202072892/
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TV Review (Streaming)
In Netflix’s ‘Girlboss,’ a Heroine Who’s a Tough Sell
By Mike Hale, The New York Times - Apr. 20, 2017

In this auteurist era of television, the likability question has become a litmus test for enlightened viewing. Wanting protagonists to be likable signals a lack of sophistication. Making protagonists “difficult” is a sign of authenticity.

I’m fine with that, as far as it goes. But Sophia Amoruso, the heroine of the new Netflix series “Girlboss,” demonstrates that the question isn’t that simple.

The show, whose 13 episodes will be available Friday, is based on the memoir “#GIRLBOSS” by the real-life Sophia Amoruso, a digital entrepreneur who founded the fashion e-commerce site Nasty Gal. The show was created and partly written by Kay Cannon, screenwriter of the “Pitch Perfect” movies.

The fictional Sophia — each episode begins with a note that the show is a “real loose” version of Ms. Amoruso’s story — is at the far end of the TV scale of difficulty. And she’s all the more realistic for that. If you don’t know a woman whom you love despite her characteristic anger, obsessiveness, insensitivity and refusal to listen to others, you may dismiss Sophia as a caricature. If you do, one moment after another in “Girlboss” will ring surprisingly true.

But truth doesn’t necessarily equal drama, or in this case half-hour inspirational dramedy. It’s fine that the Sophia of “Girlboss” isn’t likable. The problem is that she isn’t particularly interesting.

It’s a big problem, because for the show to work, we need to see what the other characters — like Sophia’s best friend, Annie (Ellie Reed), and her maybe-boyfriend, Shane (Johnny Simmons) — see in her. Neither Ms. Cannon nor Britt Robertson, who plays Sophia, is able to make it apparent.

Ms. Cannon’s strategy appears to be to foreground Sophia’s vulnerability and self-hatred — after episodes of boorishness or violent anger, she’s liable to loudly ask herself why she’s such a jerk. It’s another realistic touch, but it doesn’t make us care any more about her. Ms. Robertson convincingly portrays Sophia’s defensiveness and irritating energy, but there’s a pinched, limited quality to her performance. Sophia needs charisma, and Ms. Robertson hasn’t found it.

The bigger issue may be the disconnect between the part of “Girlboss” that wants to be a character study and the part that needs to be a conventionally entertaining series. The roots of Sophia’s personality are addressed briefly, in vague and heavily clichéd terms (blame the parents). Otherwise her thorniness sits uncomfortably inside a stylized comedy that’s equal parts oddball and striving for the outrageous.

(The tech-business side of the story, in which a series of epiphanies takes Sophia from unemployed boho to eBay seller to e-commerce mogul, feels about as savvy as the copy of “Starting an eBay Business for Dummies” that Sophia shoplifts.)

As she demonstrated in “Pitch Perfect,” Ms. Cannon can write a funny line and sketch in an appealing character, and a number of performers benefit from this in small, spiky roles: Jim Rash as a vintage-clothing store owner, Norm MacDonald as a security guard, Melanie Lynskey as an eBay rival, Louise Fletcher as a curmudgeonly neighbor. They’re all likable, and there’s nothing wrong with that.

Girlboss
Streaming on Netflix on Friday


https://www.nytimes.com/2017/04/20/a...tionfront&_r=0
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TV Notes
On The Air Tonight
FRIDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Apr. 21, 2017

ABC:
8PM - The Toy Box
9PM - Shark Tank
10PM - 20/20
* * * *
11:35PM - Jimmy Kimmel Live! (John Stamos; Bob Saget; comic Tim Robinson; Snakehips & Mo perform)
(R - Apr. 10)
12:37AM - Nightline

CBS:
8PM - MacGyver
(R - Dec. 9)
9PM - Hawaii Five-0
(R - Nov. 18)
10PM - Blue Bloods
(R - Oct. 14)
* * *
11:35PM - The Late Show With Stephen Colbert (Rosario Dawson; Renée Elise Goldsberry; comic Moshe Kasher)
12:37AM - The Late Late Show With James Corden (Patrick Stewart; Rupert Grint; Dan Stevens; New Kids on the Block perform)
(R - Mar. 6)

NBC:
8PM - First Dates
9PM - Dateline NBC - The Laci Peterson Story: A Dateline Investigation (120 min.)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Salma Hayek; comic Mike Birbiglia; Clean Bandit and Zara Larsson perform)
12:37AM - Late Night with Seth Meyers (Chris Evans; Mandy Patinkin; Michelle Branch performs; Jonathan Mover sits in with the 8G Band)
(R - Apr. 6)
1:38AM - Last Call with Carson Daly (Lamorne Morris; Jeff Rosenstock performs; band Split Single; Jane Marie)
(R - Apr. 3)

FOX:
8PM - Rosewood
9PM - Lethal Weapon
(R - Nov. 30)

THE CW:
8PM - The Originals
(R - Mar. 17)
9PM - Reign
(R - Mar. 24)

PBS:
8PM - Washington Week
8:30PM - Charlie Rose: This Week
9PM - Craft in America: Nature
10PM - Craft in America: Music
(R - Nov. 20, 2015)

UNIVISION:
8PM - La Rosa de Guadalupe
8:30PM - Nosotros Los Guapos
9PM - Vino El Amor
10PM - La Piloto

TELEMUNDO:
8PM - La Doña
9PM - La Doña
10PM - El Chema

HISTORY:
8PM - Ancient Aliens: Declassified - Aliens & Geniuses (Series Premiere, 4 hrs. 3 min.)

DISCOVERY:
9PM - Yukon Men (Season Premiere)
10:01PM - Alaska: The Last Frontier Homestead Secrets

SPIKE:
9PM - MMA Bellator Live (2 hrs. 15 min.)

HBO:
10PM - Real Time with Bill Maher (LIVE: Journalist Arwa Damon; author Hanna Rosin; political commentator S.E. Cupp; President and CEO of the International Rescue Committee, David Miliband; Rep. Seth Moulton (D-Mass.))
* * * *
11PM - VICE: Fast Food of Arabia & Nollywood
11:30PM - Animals

TBS:
10PM - ELeague: Street Fighter V- Group B (120 min., LIVE)

NAT GEO WILD:
8PM - Pet Talk (Season Finale)
9PM - Cesar Millan's Dog Nation (Season Finale)


http://tvschedule.zap2it.com/tvlisti...aid=tvschedule
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TV Review (Cable)
‘The Immortal Life of Henrietta Lacks,’ Starring Oprah Winfrey and Rose Byrne, on HBO
By Maureen Ryan, Variety.com - Apr. 20, 2017

The immensely readable book “The Immortal Life of Henrietta Lacks” is ultimately the story of three extraordinary women: The title character, a Baltimore woman who died young, and whose cancer cells changed the course of scientific history; her daughter Deborah, who persevered against incredible odds to find out more about her mother; and Rebecca Skloot, the author of a nonfiction bestseller about both, who knit scientific history and family saga together with an inspired elegance not seen since Watson and Crick came up with the double helix.

The HBO movie about this trio makes only one of the women truly memorable, but it’s worth seeing in order to witness Oprah Winfrey give one of the best performances of her career. Winfrey is mesmerizing as Deborah Lacks, whose quest to connect with the history of her mother, who died when she was a baby, forms much of the spine of Skloot’s book. (Henrietta’s cancer cells were unusually hardy, and became the source of the kind of useful cells that labs need in order to perform key biological experiments.)

Deborah is almost the exclusive focus of the HBO movie, which is true to Skloot’s sensitive depiction of her. Deborah, according to Skloot, could be challenging to deal with and yet boisterous good company. Along with other members of the Lacks family, she was dealt a grindingly hard hand by fate, and the mystery and misinformation surrounding the death of Henrietta only made the family’s many difficulties harder to bear.

Winfrey gives heartbreaking urgency to Deborah’s desire to know more about her mother, and also to her and Skloot’s efforts to research the short and tragic life of Deborah’s sister, Elsie, who was disabled, and suffered greatly at the hands of the medical “experts” of mid-century Maryland. Deborah is deeply damaged by all the family pain and loss, but she is also unstoppable. That’s a challenging combination to pull off, but in Winfrey’s hands, the character ends up being inspirational without being insipid.

Deborah is not a predictable or one-dimensional heroine; director George C. Wolfe and Winfrey pay her the respect of making her into a complicated person whose perseverance in the face of her many ailments, obstacles, and anxieties was nothing short of amazing. Her personality resembled her driving: At the wheel of a battered car full of papers and possessions, Deborah often careened through life leaving stunned bystanders in her wake, but she always got to her destination in one piece.

The reasons for Deborah’s anger and need for answers are not hard to understand: Her mother’s tissues were used without the family’s permission (which is standard medical policy even now). As the decades rolled past Henrietta’s 1951 death, the scientists who tested and used medical information from her and other members of the Lacks family didn’t explain what they were doing, or why, with compassion or true respect.

Some trimming of the story is to be expected, but “Henrietta Lacks” could have easily been a longer film or a multi-part miniseries. At various points, it simply needs a bit more room to breathe, in particular when it comes to laying out various family relationships and histories. The 92-minute running time isn’t quite enough to do justice to the fascinating people and knotty ethical and medical issues Skloot outlines in her book.

Wolfe, who penned the script along with Peter Landesman and Alexander Woo, did fairly major surgery to Skloot’s work. The fact that Lacks’ cells stay alive and reliably divide in the lab has allowed scientists to perform thousands of important experiments — in fact, their cultivation and dissemination kick-started the biomedical industry. But all of that information is summarized through a series of news clips and retro moments that unfold over the opening credits.

Not all of that compression is unwelcome, but more fully developed medical voices would have been welcome. In general, the ham-fisted response of most researchers to the Lacks’ desire for information or compensation doesn’t get much screen time, nor does the rocky but ultimately moving progression of the friendship between Deborah and Skloot.

Deborah’s decision to allow Skloot to see her mother’s closely guarded medical records is a major turning point in the book, but it doesn’t register as momentous in the film. That said, Rose Byrne provides an impressive array of reactions as Skloot, even if her character never quite comes alive the way Deborah does.

And yet some sequences of the film are quite affecting, in large part thanks to Winfrey’s galvanizing presence. Though Deborah walks with a cane and displays a rolling gait, she is alert and alive to everything and everyone she encounters, and she often leaves the younger and healthier Skloot in her dust. As Deborah gathers the few remaining shards of her mother’s sacrificial, marginalized story, she glides from angry to vulnerable to brightly energetic, and it’s impressive to see the actress navigate all those mercurial shifts so effortlessly.

The connection between actor and role is profound and deep, and never more so than in a crucial and cathartic scene with her cousin Sonny (an inspired John Beasley). Henrietta, Sonny explains to Skloot later, was chosen by God to be an angel. This film’s most notable accomplishment is that it’s easy to understand why Deborah finds that idea a balm and a comfort.

'The Immortal Life of Henrietta Lacks'
TV movie; HBO; Sat. April 22, 8 p.m. 92 mins.


http://variety.com/2017/tv/reviews/i...bo-1202028874/
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TV Notes (Cable)
Moment has arrived for Gaiman’s ‘American Gods’
By Isaac Feldberg, Boston Globe - Apr. 21, 2017

Neil Gaiman didn’t set out to make “American Gods” the year’s most politically relevant new TV series.

Starz’s ambitious adaptation of Gaiman’s 2001 bestseller about gods who live among us even as new forms of cultural worship leave them newly vulnerable to violence, is a strange, sprawling tapestry of a story, with an intricate mythology that weaves together warring godheads, lurid bloodshed, and potent philosophy into something that those involved say is like nothing else to grace the small screen, perhaps ever.

In its first hour alone, stranded vikings hack each other to ribbons on the shores of the New World in hopes of appeasing Odin, a sex-hungry goddess’s body swallows an unsuspecting mortal, and a deified personification of the Internet orders faceless, pixelated minions to lynch an ex-convict. On second thought, “strange” doesn’t quite cover it.

And yet, “American Gods,” which premieres April 30 at 9 p.m., also seems to have presciently, if inadvertently, captured a national zeitgeist that emerged in full force only after production wrapped in early November last year.

“This is a big, mad drama about America, and the nature of America,” explains Gaiman, 56, speaking by phone from a New York junket, of helping to bring what he’s always seen as a pro-immigration narrative to television. It arrives at a time when politics here and abroad has been upended by anti-immigrant populism, epitomized by Donald Trump’s ascension to the White House, Nigel Farage’s Brexit movement in the UK, and now Marine Le Pen’s ascendant candidacy in France. “The show is ultimately about the fact that everybody comes here from somewhere and brings baggage with them in some point in time or other,” he says.

“American Gods” posits that gods are physical manifestations of belief, many of whom — like Odin (Ian McShane), the Queen of Sheba (Yetide Badaki), and Anansi (Orlando Jones) — came to America long ago, empowered by the faith and fidelity of immigrants preserving their cultural tenets in a new land. In the modern era, however, faith in these deities has waned along with their power; and the emergence of new gods — rooted in technology, consumerism, and mass media — has raised the specter of a holy war like no other. Fearing unwanted competition for the attention of mortals, the new gods — including Technical Boy (Bruce Langley) and Media (Gillian Anderson) — want to drive out any trace of the old. Already assimilated into American culture as they are, the old gods find themselves facing a threat all too applicable to contemporary audiences: that the land they call home is suddenly, violently rejecting their right to remain.

“The world has changed,” says Gaiman, who was born in England but now lives near Minneapolis and is married to Boston pop provocateur Amanda Palmer. “Things I didn’t think were in any way contentious when I wrote them — like the fact that America is a huge country made up of immigrants, and that everyone who came here came from somewhere, and that the people of America are a lot of different races, all that stuff — that seemed to me so utterly non-contentious, now feels like we’re making a huge and important statement that resonates beyond just America.”

To Gaiman — who saw a previous attempt at translating his work to television, on HBO, fall apart a few years ago — every delay in adapting “American Gods” feels in hindsight like something of, well, a godsend. “I’m really glad it isn’t out a couple of years ago on a different channel and that that process died, and we’re doing it again here,” he says. “This feels like the right time for it.”

In working with co-showrunners Bryan Fuller (who created NBC’s “Hannibal”) and Michael Green (who wrote this spring’s superhero pic “Logan”) to chart an ambitious arc for the series that he says could fill four full seasons beyond the initial eight episodes Starz has ordered, Gaiman sensed early on that he’d finally found the right team to bring “American Gods” to the small screen.

His optimism only grew as Fuller and Green — as well as the cadre of powerhouse actors they recruited to fill out the series’ ensemble cast, including Ricky Whittle as protagonist Shadow Moon, an ex-con grieving the death of his wife Laura (Emily Browning) — all came to echo an awareness of the series’ main ideas.

Gaiman is no stranger to adaptations. A prolific author whose best-known works include “The Sandman” comic book series, “Coraline,” “Stardust,” “Neverwhere,” and “The Graveyard Book” (which received both the Carnegie and Newbery Medals), he’s shepherded plenty of his projects toward the big and small screens.

“Neil’s not precious about his work,” says McShane, speaking by phone from New York. “But obviously, the book is very special to him, and in Bryan and Michael, he found two guys who could really expand his vision to the screen.”

McShane was personally drawn both by the chance to play a complex antihero and the opportunity to tell a positive story about immigration’s formative role in America.

“I’ve played a brothel keeper, I’ve played a lovable rogue, I’ve played a king — it was about time I played a god,” he says, laughing. “It’s just a natural progression.”

The actor, 74, says the plight of old gods like Odin — who travels incognito across the country under the alias of Mr. Wednesday, enlisting Shadow as his driver and bodyguard — is comparable to the broader difficulties audiences might face in maintaining an appreciation for history, heritage, and diversity amid fast-moving technological innovations and isolating political movements.

“When immigrants first came to this country, they came with hope and love — they despaired about the place they were, which is why they emigrated in the first place — but the immigrants were full of hope and brought their good gods with them,” he says. “What my character of Mr. Wednesday is saying is that people have lost sight of what originally they brought with them. It’s not that technology is a bad thing, but if you don’t look up and around all the time, you’ll lose sight of what everything is really about.”

Whittle, 35, speaking by phone, agrees with McShane that “American Gods” is most grandly about systems of belief.

“Be it biblical gods, mythical gods, be it your favorite musician, TV show, actor, favorite song, or even your iPhone, whatever it is that gets you through that day is the most important thing,” says the actor. “And just because you believe in a particular god, that doesn’t make my god any less real or less powerful. We all have struggles and battles, but you need to believe in something, because life without belief is a very empty life indeed.”

To Whittle, who is black, the setup has yielded rich ideas of multiculturalism and respect for difference that he says, especially accentuated by the diversity of the series’ cast, couldn’t be better timed.

“Unless you’re native to America, by which I mean you’re Native American, we’re all immigrants,” he says. “I’m an immigrant, so’s Ian McShane — the president of America and his many wives are immigrants. People came from all over the world to America, and it’s here that we grew our traditions, our cultures, our values, our flavors, and our gods. That’s what’s made America so great.”

Browning, 28, says the series aims to explore ideas more than push answers. Her character, for example, represents a more complex form of female antihero than Browning has seen on television before.

“This show has a lot of female characters who are not on either end of the spectrum of heroes and villains, who are all somewhere stumbling around in the middle,” she says. “For a long time, I don’t think we saw female characters like that.”

Gaiman is delighted “American Gods” provides a platform for characters of all backgrounds and ethnicities. Hopefully, he says, audiences will respond to the series with similar enthusiasm.

“Finding out what people think of it, that has me genuinely excited,” he says. “I wrote a novel almost 20 years ago, and now we’ve adapted that novel. We have the first eight episodes going out, and it feels more relevant; it feels more important than it did when when I first made it.”

AMERICAN GODS
On Starz, April 30 at 9 p.m.
Starring: Ricky Whittle, Emily Browning, Crispin Glover, Bruce Langley, Yetide Badaki, Pablo Schreiber, Ian McShane


http://www.bostonglobe.com/arts/tele...QTM/story.html
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TV Review (Streaming)
Harry ‘Bosch’ is Back Solving Crimes
By David Hinckley, TVWorthWatching.com - Apr. 21, 2017

A lot of troubled TV cops start to soften a little around the third season. Not Harry Bosch.

Amazon Prime makes the third season of the Bosch detective series available on Friday, and Titus Welliver’s L.A. cop remains a bad guy’s worst enemy.

Also his own.

Picking up where the second season left off and quickly opening several new dramas, Bosch again illustrates the speed with which Harry makes things personal.

We start with the case of Veronica Allen (Jeri Ryan), a former porn star whose porn producer husband got himself murdered.

Harry, the lead detective on the case, is pretty sure Veronica did it. But when he has to testify at her trial, as the star witness, her attorney notes that Harry has been accused of planting evidence in the past and seems confident that accusation will plant reasonable doubt in jurors’ minds.

Meanwhile, another Hollywood producer, who is still alive, is accused of killing women he lured to his home. Here, too, Harry is pretty sure the guy did it, and what clinches it is that when Harry leaves the guy’s house after a fruitless search for evidence, the producer says this town would never convict anyone of his stature anyhow.

Other murders follow, like the puzzling death of a homeless veteran, and Harry’s plate quickly fills up.

This makes him a little snappish, which in many ways is his natural state. As originally drawn by Michael Connelly in a series of best-selling crime novels, Bosch doesn’t always play well with others.

That includes his partner Jerry Edgar (Jamie Hector), who likes Bosch but keeps his radar on whenever Bosch springs into action.

Changes are also afoot in the police department, as Harry’s superior and friend Grace Billets (Amy Aquino) is shooting for a promotion.

Her association with Bosch doesn’t turn out to necessarily be a plus in that quest.

Los Angeles is also getting a new mayor, which may be good news for Bosch’s commander Irvin Irving (Lance Reddick). It’s definitely good news, to Bosch’s thinking, that the new mayor isn’t Rick O’Shea (Steven Culp), the district attorney Bosch has long scorned as a timid wimp.

Amid all this, Bosch may also be poking around at the idea of romance, though it’s clear that would only happen if it didn’t distract him from battling bad guys.

In general, the fact Bosch will never be voted Mr. Congeniality or become the teacher’s pet in the LAPD hasn’t bothered him before and doesn’t bother him now.

What does start to bother him is that his reputation could be hindering his pursuit of bad guys, and one of the suspects in these new marquee cases is plotting to make that reputation even darker.

It’s enough to make a guy take up smoking again.

Fortunately, Connelly and new showrunner Daniel Pyne, who replaces Eric Overmyer, make good use of the one moderating influence in Bosch’s life: his daughter Maddie (Madison Lintz).

She’s a smart kid and also an unusual one. Despite being a teenager, she seems to genuinely care for her old man. She also takes the time to pay attention to him and, as a result, understands him pretty well.

This season he starts teaching her to drive, scenes that are played for the bonding rather than the laughs.

In its third year, Bosch remains somewhere between serial drama and procedural. Certain matters get resolved along the way, and others hang around.

That feels pretty true to life – and so, thanks to Welliver, Lintz and the rest of a solid cast, does one of the best cop shows around.

http://www.tvworthwatching.com/BlogP...x?postId=13764
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Because most people wouldn't see the updates that way, perhaps?
Perhaps most people in a TV News and Information thread don't care what some guy on the internet thinks a sports schedule *might* look like an hour before the official schedule is released. The only "news" here is that some guy heard a rumor of a schedule leak and didn't provide a source. I don't need updates for that.
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Nielsen Overnights (Broadcast)
‘Scandal’ Ratings Top Night With Big Death, ‘Blacklist’ Hits Series Low
By Dominic Patten, Deadline.com - Apr. 21, 2017

In a rare move for the fast-moving Scandal (1.3/5), a series regular met her end last night in the show’s 101st episode. That wasn’t the only flashpoint for the show, which was even in the ratings with its final numbers of last week.

In even more infrequent occurrence, and facing NBA playoff action on cable, the 9 PM DC-set drama from Shonda Rhimes was the top-rated original of Thursday night and tied a The Big Bang Theory encore to top the night overall in the key demo; last night’s Scandal saw a repeat of Season 1’s sixth episode as its lead-in. ABC’s night ended with The Catch (0.6/2), which was down a tenth in the demo from its April 13 episode to series low.

Back for the first time since February 23, NBC’s The Blacklist returned with a double shot and plenty of backstory, but neitherseemed to help the James Spader-led show. Far behind slot rival Scandal and matched by a special 9 PM The Amazing Race (0.9/4), the first Blacklist last night was even with the 0.9/4 series low of its last original. With a 0.8/3 at 10 PM, the second Blacklist actually stumbled to a new series low for the series, in its fourth season. That latter demo result matched a 10 PM Amazing Race, which was even with its April 13 episode.

In no small part thanks to that BBT repeat, CBS won the night in 18-49s with a 1.0/4 rating. It was a squeaker though, with NBC, ABC and Fox close behind and in a pack with a 0.8/3 each in the demo. The House of Moonves won Thursday in total viewership with 5.08 million watching, almost 1 million more than second-place NBC.

Fox’s MasterChef Junior (1.0/4) was up a tenth from last week, while Kicking And Screaming (0.6/2) was the same as its April 13 broadcast. NBC started its night with a new Superstore (0.9/4) and Powerless (0.6/3), with the former up 13% from its last original of two weeks ago and the latter even with last week.

The CW had the HIZI: Fight For The Crown (0.2/1) special on last night at 9 PM, down a tenth from last week’s Riverdale in the slot.

http://deadline.com/2017/04/scandal-...bs-1202073612/
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TV/Critic's Notes (Streaming)
7 Netflix Shows That Are Too Dang Long
By Kathryn VanArendonk, Vulture.com (New York Magazine) - Apr. 21, 2017

Netflix CEO Reed Hastings recently suggested that his competition is not Amazon, or Hulu, or the inevitable heat death of the universe. It’s sleep.

That quip was a part of Netflix’s first-quarter earnings call, which focused on explaining the company’s slower-than-expected subscriber growth, but which also included the noteworthy detail that people tend to binge-watch at night. If the goal is to get more TV in front of subscribers’ eyeballs, I suppose Netflix could continue its voracious rate of acquisition and production. But if they really want people to watch more than one or two episodes before bedtime, or to finish more than one or two seasons a month, allow me to suggest an alternative: Make shorter shows.

It’s perhaps the most familiar aspect of a Netflix binge-watch: Without an external force pushing these series to keep only the very best, most interesting, most vital pieces of a story, what could be great inevitably falls into the well of “pretty good.” With that in mind, here are seven Netflix shows in serious need of a haircut.

Jessica Jones
The first season of Jessica Jones is one of the more notable examples of Netflix’s bloat problem. It had so much promise — and so many interesting perspectives on issues like consent, likability, mental health, and gender dynamics. It could’ve been great. Instead, what should’ve been a tense, gripping ramp up toward a final battle with a truly terrifying antagonist took on a meandering, often dilatory pace. It muddled the otherwise stellar performance by Krysten Ritter, and it robbed the season’s thoughtful, provocatively dark emotional dynamics of the full force of their impact.

While I picked Jessica Jones, in truth, Netflix has yet to produce a Marvel series that wouldn’t be improved by some serious trimming. You can read David Sims on the dawdling pace in Luke Cage, Sophie Gilbert on the way Daredevil’s length problems are particularly frustrating given its thematic preoccupation, or just browse Vulture’s Matt Zoller Seitz’s review of Iron Fist, which begins with the headline “Netflix’s Iron Fist Is a Tedious, Unremarkable Bummer.” If it’s a Marvel show on Netflix, it’s simply too long for its own good.

13 Reasons Why
It’s not hard to see exactly how 13 Reasons Why got itself into the problem of totally unnecessary episodes. It’s called 13 Reasons, after all, and the “one reason / one cassette tape per episode” logic makes plenty of sense. At least until you hit hour five or six, and realize that some of those reasons are much more worthy of entire episodes than others. This show is also an excellent example of a problem I’ll address in more detail in the next entry — it’s not just an issue of too many episodes. It’s that the episodes themselves are bulky and overly long. This may be easiest to see in 13 Reasons Why during the bafflingly long rock-climbing sequence, but my favorite example is actually from earlier in the season, as we see not one but several cheerleaders skipping out to their own entrance music at a pep rally before finally getting to the point that one of the players is missing. I did not need to see those cheerleaders! Why, indeed.

Narcos
There are fascinating, often extremely effective choices made in Narcos. Especially in its first season, the series felt tighter than many Netflix offerings, and its pilot in particular has some incredibly refreshing, snappy pacing. By the time season two begins, though, Narcos feels like it’s been struck with a very familiar tempo problem. The end seems like it should be rushing headlong toward its many anti-heroes, drawing them inexorably closer until a final explosive moment. Instead, the narrative spends several episodes just circling itself.

House of Cards
The rare case where Netflix bloat has less to do with individual episode issues — although there are plenty of those — and more to do with a much older, more well-worn television problem: It’s just been on too long. Issues with plot pacing and languid editing are certainly there, but the House of Cards issue has more to do with conflict between the subject matter and an endlessly running TV show than anything else. Its central premise, built into its title and fundamental to its identity, is the tension between a political career on the rise and the consequences that have to catch up with everyone eventually. Rather than collapse as they’re supposed to, though, the series has ended up being the most weirdly resilient, inexplicably unshakable house of cards anyone’s ever seen.

The Crown
In the case of The Crown, excess length betrays something different than simply an unwillingness to kill a show’s darlings. I love The Crown, and have a stunningly high tolerance for historical reenactment, long montages of processions and ceremonial rituals, and characters sitting and watching historical newsreel footage. But in this show, both episode length and episode count seem indicative of a deeper identity crisis, one that looks like it may continue through its second season. The series doesn’t seem entirely sure whether (or even how) it wants to be about its titular character. As a personality behind the celebrity, Elizabeth is notoriously difficult to pin down, thanks in no small part to her own mixed feelings about being a national figurehead. She’s a tricky, slippery anchor for the series, which is half invested in peeling back the layers of who Elizabeth is, and half focused on her more accessible, visibly dramatic surrounding cast — her sister, her husband, her uncle, her prime minister. The Crown’s length, in other words, may have less to do with simple bloat than with a more hidden tension about who, exactly, the show is about.

Making a Murderer
Lest you think this issue is limited to fictional TV, Netflix’s Making a Murderer is a prime example of the way longwindedness can cause narrative distention in nonfiction too. It’s also a case where it’s hard to know exactly where the impulse toward length is coming from — the series was reportedly conceived as an eight-episode block; then Netflix expanded the order to ten. That kind of dilation is particularly troublesome when you’re not actually adding much new material, and it’s very apparent in some middle episodes of Making a Murderer, which circle back to identical material more than once and introduce new information at a glacial pace.

Gilmore Girls: A Year in the Life
Only four episodes! What’s the problem!? The problem, of course, is that they’re not episodes — they’re short movies. But they’re short movies existing in a completely prebuilt narrative world, and they’re all linked together. Because of this, they have none of a movie’s internal pressure to be concise, and no need to fit exposition, world-building, character development and plot arcs into any single installment. The result is a revival series drowning in excess, so the standout, satisfying, Gilmores-y goodness is muffled by lengthy sequences of “Stars Hollow: The Musical,” The Life and Death Brigade’s Tango lessons, and strangely drawn-out poolside gags that fall flat.

As with nearly every other example on this list, the problem isn’t necessarily that A Year in the Life is bad — it’s that its length adversely affects all of the things it does well. There’s no sharpness or urgency to this year in the Gilmore epoch. As a result, when it tells stories about all three Gilmore women wandering through periods of feeling lost, it’s hard to feel particularly bothered by their problems. There’s little forward momentum to judge their stasis against, so instead we all just sit next to the pool and hope a neighbor boy will come freshen our drinks.

http://www.vulture.com/2017/04/netfl...dang-long.html
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TV Notes (Broadcast)
Robert Costa Takes Over PBS’s ‘Washington Week’ From Gwen Ifill
By Brian Flood, TheWrap.com - Apr. 21, 2017

Washington Post political reporter Robert Costa has been named the new Moderator of PBS’s “Washington Week,” a seat formerly filled by iconic journalist Gwen Ifill.

Ifill passed away on November 2016 at 61 after a battle with cancer. Several guest moderators, including Costa, have filled in on a temporary basis. Costa will keep his gig at the Washington Post, reporting daily on Congress and the White House.

Costa’s first episode as the full-time “Washington Week” moderator airs tonight on PBS.

“It is truly an honor and privilege to moderate a program with such a rich legacy, integrity and a commitment to providing viewers with informed analysis of the biggest stories. It is more important than ever for reporters to have a gathering place for non-partisan and lively conversations, and I am grateful to both WETA and The Post for their support,” Costa said in a statement.

Costa continued: “It’s also deeply humbling to follow Gwen, who was a friend and mentor to me and so many journalists. Her spirit and love for ‘Washington Week’ will guide us now and long into the future.”

Costa will be the eighth moderator in “Washington Week’s” 50-year history. He will also continue to serve as a political analyst for NBC News and MSNBC.

http://www.thewrap.com/robert-costa-...y-gwenn-ifill/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 21, 2017

BOSCH
Amazon Prime Video, 3:00 a.m. ET
SEASON PREMIERE:
Titus Welliver returns as LAPD homicide detective Harry Bosch for Season 3, which takes place 18 months after the events ending Season 2. Conceivably, that gives the emotionally battered detective time to heal, at least emotionally – but apparently, that’s not the direction the show is taking.

BILL NYE SAVES THE WORLD
Netflix, 3:00 a.m. ET
SERIES PREMIERE:
This new Netflix original series stars Bill Nye, formerly the host of the Disney Channel science series Bill Nye the Science Guy. In TV history terms, there’s a straight line from Don Herbert’s Mr. Wizard to Nye’s more modern counterpart – and last week in one of my TV history classes at Rowan University, after showing a series of old Watch Mr. Wizard clips, I mentioned that Bill Nye was returning with a new series on Netflix, and my college students went nuts, and demanded to get a sneak peek, as though they were getting access to a new Beatles bootleg or something. So Netflix may be on to something here, especially since Bill Nye Saves the World is aimed at adults – and, based on the reactions from my students, hits the bullseye. For a full review, visit the Fresh Air website to hear my review on NPR’s Fresh Air with Terry Gross. The entire first season “drops” today.

GIRLBOSS
Netflix, 3:00 a.m. ET
This is not a recommendation. SERIES PREMIERE:
This new series, starring Britt Robertson, is very loosely based on the memoir of the same name by Sophia Amoruso, and is created by Pitch Perfect screenwriter Kay Cannon. So the snark is sharp here – and set a decade ago, this comedy series presents its central character as an abrasive person you’re supposed to like despite all the faults and frostinesss. We’ve seen it already, and better, in You’re the Worst, and already, and no better, in Selfie. But here, having Robertson’s Sophia doing or saying something awful, then asking herself why she’s so awful, doesn’t make anything more acceptable – much less more entertaining. But she does have good fashion sense, especially when it comes to vintage jackets.

TRAMPS
Netflix, 3:00 a.m. ET
MOVIE PREMIERE:
This 2016 film stars Callum Turner and Grace Van Patten as two young people drawn into a mysterious, though not very probable, world of valise exchanges, mysterious meetings and threatening repercussions, all in an around New York City, filmed in what looks to be a lot of guerrilla style, non-permit location shots. The filmmaking is interesting, the acting is good – but the plot, which aims for modern Hitchcock, doesn’t come close.

BURN, MOTHERF***ER, BURN!
Showtime, 9:00 p.m. ET

This 2017 documentary is one of several documentaries this week looking at the 25th anniversary of the Los Angeles riots, or protests (depending upon whom was doing the describing), reacting to the not guilty verdicts in the Rodney King police brutality case.

REAL TIME WITH BILL MAHER
HBO, 10:00 p.m. ET

After a week off, Bill Maher returns, with a show devoid of celebrity guests – but filled, instead, with journalists, activists, authors and politicians. Usually, these turn out to be the liveliest, and most informative, shows of all.


http://www.tvworthwatching.com/
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TV Notes (Cable)
Ordeal of an Upstate New York Prison Break, Relived on TV
By Rick Rojas, The New York Times - Apr. 21, 2017

DANNEMORA, N.Y. — Imagine the elevator pitch:

A fortress of a prison in a tiny village besieged by unforgiving wilderness. Two convicted murderers longing for a life outside its walls — plotting an elaborate escape, enlisting prison workers to sneak in tools, sometimes hidden in meat, and painstakingly carving their way out.

Then, one day, they pull it off, emerging from a manhole cover nearby. They leave behind a message written on a sticky note: “Have a nice day!”

The escape from the Clinton Correctional Facility almost two years ago touched off a 23-day manhunt that rattled and riveted this region of upstate New York where many said they had grown accustomed to living in the shadow of a maximum-security prison.

As investigators fanned out in a vast search and residents started taking the unusual step of locking their doors, conversations often drifted from expressing surprise over an exit that would have once seemed impossible to speculation over how far the inmates had gotten and how the episode would inevitably catch the attention of filmmakers and television producers.

“It was just a given,” said Patricia Light, who grew up in Dannemora and whose home is just a short walk downhill from the prison. “It was quite an ordeal for us, and it was scary because we had no idea where they were.”

Sure enough, idle chatter over the Hollywood treatment has turned into something real. It is not necessarily the big-budget blockbuster that some might have envisioned, but a made-for-TV movie, to be broadcast on Sunday on the Lifetime network. It seems likely to draw an audience of residents here eager to watch — some quite skeptically — a production based on their community’s true story.

The movie, “New York Prison Break: The Seduction of Joyce Mitchell,” centers on Ms. Mitchell, who worked in the prison tailor shop. Officials said she smuggled in hacksaw blades, chisels and other tools to help the prisoners, Richard Matt and David Sweat, forge a way out. But she failed to show up as planned with a getaway car, forcing the men to scuttle plans to flee far from the area and instead head into the region’s thick woods.

Mr. Matt was fatally shot by a United States Border Patrol agent after he refused to drop a shotgun, and two days later, Mr. Sweat was shot and captured near the Canadian border. Ms. Mitchell, who pleaded guilty to aiding in the escape, was sentenced to up to seven years in prison, describing her actions as “by far the worst mistake I have made in my life.”

In the movie, Ms. Mitchell, portrayed by the actress Penelope Ann Miller, is cast as an easy mark for the men, charmed by their romantic advances. The men talk of running to Mexico, and Ms. Mitchell, who is frustrated by her marriage and listens to recordings of romance novels while doing chores, pictures herself joining them, even losing weight to fit into a bikini. But a panic attack sends her to the hospital when she is supposed to rendezvous with the men.

In one scene, an investigator recounts the (actual) crimes that led to the men’s incarceration. Mr. Sweat was serving life without parole for killing a sheriff’s deputy, shooting him before running him over with his car while he was still alive. Mr. Matt was serving 25 years to life for torturing and killing his former boss.

“And you gave them the means to escape from prison into the population?” the investigator said.

“Everybody says I’m too nice,” Ms. Mitchell’s character replied.

“Prison Break” is the latest production by a writer-director and producers who have translated other “true crimes” popular with tabloid readers into television movies, including ones involving the case of three young women held captive for over a decade in Cleveland and the so-called Craigslist killer, a man accused of murdering a woman he met online.

Even as the manhunt was underway in 2015, the escape in Dannemora had caught their attention as a potential next project. “We knew right away,” said Judith Verno, an executive producer.

She said they had been gripped by the story of an apparently ordinary woman who had become manipulated into colluding with killers. “That’s what’s compelling to us,” Ms. Verno said. “How do you find that moment that is both relatable and goes in a direction that’s extraordinary?”

The movie’s script was the product of meticulous research, she said, including Freedom of Information Law requests for documents, reviewing news accounts and getting assistance from a local consultant. Much of the dialogue, she added, had come from the characters’ own words. The line about being “too nice”? That came from an interview Ms. Mitchell conducted with NBC.

“The stories as they play out in real life do not need any dramatic augmentation,” Ms. Verno said. “Truth is better than fiction, and we are strong believers in that.”

Around Dannemora, plenty will be watching closely.

“That time put us on the map, for good or bad,” said Simon Conroy, a Clinton County legislator and an organizer of the Lake Champlain International Film Festival, “and most people are interested to see that it’s been picked up as a story and they want to see how the story is told.”

The episode brought about changes inside the prison, but its legacy has manifested itself in other strange ways. It inspired Halloween costumes, and the “Have a Nice Day!” note (along with an off-color sketch) has been printed on T-shirts.

And when Tina Leduc moved her salon to a new location last year, she said it led her to the perfect name: Escape to a New You.

She described her shop as a social network come to life, where all the talk of the town filters through. And on a recent morning, with a client in the chair and Otis, her Shih Tzu, sprawled on the floor, she could confirm that the coming movie was one such topic of conversation. They would be watching, even if just out of curiosity.

“I want to know how it doesn’t tell the truth,” said Brenda Bingel, who retired after three decades as a civilian employee in the prison and who will be among the more skeptical viewers.

The high walls of the prison loom over Dannemora, a bulwark that consumes one side of the main street in this community of fewer than 5,000 unincarcerated residents in the northeastern corner of the state. It is one of the first things visitors notice, and they often voice concern over the proximity to criminals.

“We would laugh at them,” Ms. Leduc said. “We have nothing to worry about. They’re not going to stay here,’’ she added, referring to the prisoners. “They’re going to leave.”

But the escape changed all of that, upending life for weeks. Helicopters hovered overhead, shaking the walls of houses. State Police officers searched backyards. These days, locking doors has become a habit. Ms. Leduc said she started carrying bear mace.

“The sting is off, but you’re never not looking behind you,” she said. “It changed us.”

She was doubtful that the movie could capture all of that — the fear, the concern over the loved ones, like her son, a corrections officer, working long hours in tough conditions during the search.

“You don’t hear about the broken legs. You don’t hear about the tick bites,” Ms. Leduc said. “You hear about one woman.”

She, for one, said she would not be watching. Living through the ordeal was enough, she said. She also figures that as soon as she opens her shop next week, she will hear all about it.

http://www.msn.com/en-us/news/crime/...z&ocid=UP97DHP
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