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post #72421 of 95918 Old 10-04-2011, 12:06 PM
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Originally Posted by MRM4 View Post

I haven't seen many comments, pro or con, about Up All Night. So a renewal this fast is surprising. Personally, I don't think the show is all that good.

I thought the first episode of Up All Night was great and the second was good. I haven't seen the 3rd episode yet but haven't heard good things.
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post #72422 of 95918 Old 10-04-2011, 12:20 PM
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TV Notes
Fall's First Cancellation: NBC Axes Playboy Club
By Michael Ausiello, TVLine.com - October 4th, 2011

Trivial Pursuit enthusiasts, take note: The first official cancellation of the 2011-12 TV season is… NBC’s The Playboy Club!

The Peacock net announced Monday that it was pulling the low-rated, period drama off the air after three low-rated episodes.

Prime Suspect repeats will take over the Monday at 10 pm perch until Rock Center with Brian Williams debuts on Oct. 31.

Between this and Pan Am, I would take The Playboy Club. Pan Am feels like a Lifetime movie romance about a poor little rich girl and her dream of being a Pan Am girl. Club at least had some lively music from fake Tina Turner and a mob plot that had some echoes of Casino. I never understood why Amber Heard took the job considering her movie career is just hitting off.

Overall though nothing about this Fall season is making me want more. Prime Suspect is a competent police show but does nothing new and it's edgier stylings (gritty look, distorted blues music, hard-edged characters) are kind of lost without more risk-taking content.

All the sitcoms have fallen flat. I haven't found a keeper in any of them.

Terra Nova is the only thing I'm watching and that's not because of the quality. It's the only show that's doing something different to the rest of prime time. If that got cancelled I wouldn't be disappointed either.


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post #72423 of 95918 Old 10-04-2011, 12:49 PM
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Originally Posted by PJO1966 View Post

I thought the first episode of Up All Night was great and the second was good. I haven't seen the 3rd episode yet but haven't heard good things.

I would like the show much better had they not made the gal from SNL and primary character. That's one problem with NBC - they are the SNL network.
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post #72424 of 95918 Old 10-04-2011, 01:43 PM
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I'm much more surprised about the Whitney pickup than Up All Night. Of course, I haven't actually watched Whitney, but I really thought a relationship-driven, multi-cam comedy didn't fit NBC's Thursday night line-up. I do enjoy Up All Night, and I predict that they still might flip Whitney with Free Agents, which might do a little better out of The Office.

Rocky
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post #72425 of 95918 Old 10-04-2011, 01:54 PM
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TV Notes
Dexter' Stalemate Between Michael C. Hall And Showtime Puts Show's Future In Limbo
By Nellie Andreeva, Deadline.com - October 4th, 2011

EXCLUSIVE: Showtime's flagship drama Dexter opened its sixth season on Sunday with a stellar 2.2 million viewers, up 24% from last year to mark the hit series' highest-rated premiere ever and Showtime's best original series opener in at least 14 years. But the prospects of the hit drama going to a seventh season are now uncertain as negotiations between Dexter star Michael C. Hall and Showtime have broken down.

I hear that the two sides reached an impasse yesterday, the same day Dexters big Season 6 premiere ratings came out. Hall's contract for Dexter is up after the current sixth season, which is about to wrap production. He has been negotiating with Showtime for a while, but I hear talks broke down after the two sides couldn't bridge a $4 million gap in proposed salary for a new deal, with Showtime offering $20 million for two more seasons and Hall's team asking for $24 million. Either figure would make Hall one of the highest-paid actors in cable. Sources indicate that the network brass remain hopeful about reaching a deal, with signing Hall for one more season vs. two also an option.

Hall jumped on Dexter immediately after finishing Six Feet Under and, after working on a TV series for 10 straight years, the actor had been looking to do other things, including a Broadway musical. He won a Golden Globe for his role on Dexter last year.

http://www.deadline.com/2011/10/stal...xter-in-limbo/
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post #72426 of 95918 Old 10-04-2011, 05:08 PM
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Ouch.

My Summer Motto: "When Nature turns off the damn heat I'll turn off my A/C"
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post #72427 of 95918 Old 10-04-2011, 05:19 PM
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Originally Posted by ahard View Post

Dad, no stories on Erin Burnett Up Front on CNN?

She came in 3rd in the news demo, 4th overall:

P2+ (000s)--25-54 (000s)--35-64 (000s)

FNC The Fox Report W/S.SMITH
1,868--409--816
CNN ERIN BURNETT OUTFRONT
535--215--279
MSNBC Hardball WITH C. MATTHEWS
796--188--408
CNBC Kudlow Report
204--51--87
HLN ISSUES
714--236--394

per tvbythenumbers

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post #72428 of 95918 Old 10-04-2011, 05:37 PM
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Report: Amazon selling 2,000 Kindle Fires every hour


Amazon.com

By Todd Bishop, GeekWire.com

Looks like Amazon.com has a hit on its hands, even before its new tablet computer is officially released to consumers.

The Seattle company is selling pre-orders for its new Kindle Fire tablets at a rate of 2,000 an hour, or more than 50,000 per day, according to website Cult of Android, which has gotten its hands on what it describes as internal Amazon inventory documents.

If the report is accurate, and the pace continues, Amazon will have sold 2.5 million Kindle Fires prior to the Nov. 15 launch outpacing the first month of sales for either the iPad or the iPad 2, according to the site.

Of course, at $199, the high demand isn't a huge surprise. Based on the sales numbers, it looks like people are willing to overlook the Kindle Fire's shortcomings compared with the iPad, including the lack of 3G mobile broadband and front-facing camera.

The big question long term is whether Amazon can turn the Kindle Fire into a good thing for its bottom line making up for the money it's losing on the hardware through increased sales of movies, music, Amazon Prime subscriptions and e-commerce items.

http://technolog.msnbc.msn.com/_news...res-every-hour
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post #72429 of 95918 Old 10-04-2011, 06:03 PM
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Originally Posted by bgooch View Post

Report: Amazon selling 2,000 Kindle Fires every hour



Of course, at $199, the high demand isn't a huge surprise. Based on the sales numbers, it looks like people are willing to overlook the Kindle Fire's shortcomings compared with the iPad, including the lack of 3G mobile broadband and front-facing camera.

Given the escalating rates for mobile broadband data usage who cares if it has 3G or not? Unless/until codecs become far more efficient, and the rate structure for mobile data usage changes(cheaper), I think the days of using tablets as mobile broadband devices have already come and gone. The majority of iPads sold are WiFi-only as well.
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post #72430 of 95918 Old 10-04-2011, 06:29 PM
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Originally Posted by MRM4 View Post

I would like the show much better had they not made the gal from SNL and primary character. That's one problem with NBC - they are the SNL network.

Maya Rudolph? She's the reason I stopped watching the show. It's not really because of her though, it's that I couldn't stand her character. Though I also can't stand Nick Cannon. Not his character, just him.

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Report: Amazon selling 2,000 Kindle Fires every hour

The big question long term is whether Amazon can turn the Kindle Fire into a good thing for its bottom line making up for the money it's losing on the hardware through increased sales of movies, music, Amazon Prime subscriptions and e-commerce items.

Is that really a question? Does anyone doubt that they'd be able to turn a profit on the Fire relatively quickly? In any case, other folks have done some estimates that suggest that they actually won't be selling at a loss at all but would be about breaking even at worse.
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post #72431 of 95918 Old 10-04-2011, 06:35 PM
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Is that really a question? Does anyone doubt that they'd be able to turn a profit on the Fire relatively quickly? In any case, other folks have done some estimates that suggest that they actually won't be selling at a loss at all but would be about breaking even at worse.

That's what I've read as well. Will the Fire overtake the king of tablets, the iPad? No, but I think it will make a serious dent in iPad sales, most likely during the holiday season in 2012.
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post #72432 of 95918 Old 10-04-2011, 06:36 PM
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Quote:
Originally Posted by moob View Post

Is that really a question? Does anyone doubt that they'd be able to turn a profit on the Fire relatively quickly? In any case, other folks have done some estimates that suggest that they actually won't be selling at a loss at all but would be about breaking even at worse.

Reminds me of when Amazon first started trading in the dot.com era, the analysts commented that Amazon was selling Dollar bills for 95 cents, but they expected to make it up in volume.
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post #72433 of 95918 Old 10-04-2011, 07:14 PM
 
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Originally Posted by keenan View Post

Given the escalating rates for mobile broadband data usage who cares if it has 3G or not? Unless/until codecs become far more efficient, and the rate structure for mobile data usage changes(cheaper), I think the days of using tablets as mobile broadband devices have already come and gone. The majority of iPads sold are WiFi-only as well.

Exactly. Mobile companies want way too much for data for it to be a worthwhile feature. even on my smartphone I use mostly wi-fi. In fact the only reason I gota smartphone is beause Verizon hada special last year wher I could get 150 MB of data for $15 instead of having to pay $30. Otherwise I woudn't have upgraded. I don't even like paying the $15. Only way to get a phone with wi-fi is get a phone that requires a data plan. Make sense doesn't it? Of course surfing the net on my smartphone well sucks. So I'd like something that is larger than a phone but not overly big to do that. I'd never pay $500 for a tablet when I can get a laptop for the same price. And at 10.1 inches the Ipad is a big large for what I would want a tablet for anyways. So the Fire seems to fit the deal and then I can get rid of the smartphone and the $15 data charge. And it's $200.
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post #72434 of 95918 Old 10-04-2011, 11:49 PM
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5:45 PM PDT 10/4/2011 by Lesley Goldberg

The hourlong single-camera project will revolve around a Los Angeles private investigator whose work frequently includes a who's who of Hollywood.



The Coen Brothers are coming to the small screen.

Fox has given a script plus penalty commitment to Harve Karbo, an hourlong single-camera comedy project co-created by the Oscar-winning brothers Joel and Ethan Coen and Cedar Rapids writer Phil Johnson.

The Imagine TV project, the brothers' first foray into television, revolves around a touchy Los Angeles private investigator -- and his deadbeat friends in El Segundo -- whose cases frequently force him to cross paths with a who's who of Hollywood.

Ethan Coen, Joel Coen, Johnson, Brian Grazer and Francie Calfo will executive produce for Imagine TV and 20th Television; Johnson will pen the script.

The Coen brothers' No Country for Old Men took home the Academy Award for best picture in 2008. Last year's True Grit, which the duo also penned, picked up a nomination in the category. The brothers have four other Oscar wins under their belt, for writing, adapting and directing No Country as well as for penning 1996's Fargo.

They currently have features Gambit, Suburbicorn and Inside Llewyn Davis in various stages of production.

http://www.hollywoodreporter.com/new...-comedy-243779
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post #72435 of 95918 Old 10-05-2011, 12:51 AM
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TV Notes
On The Air Tonight
WEDNESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are EDT. Network late night shows are preceded by late local news)

ABC:
8PM - The Middle
8:30PM - Suburgatory
9PM - Modern Family
9:30PM - Happy Endings
10PM - Revenge
* * * *
11:35PM - Nightline (LIVE)
Midnight - Jimmy Kimmel Live! (Will Arnett; Jane Levy; J. Cole performs)

CBS:
8PM - Survivor: South Pacific
9PM - Criminal Minds
10PM - CSI: Crime Scene Investigation
* * * *
11:35PM - Late Show with David Letterman (George Clooney; Mastodon performs)
12:37AM - Late Late Show with Craig Ferguson (Joel McHale; singer Elizabeth Cook)

NBC:
8PM - Up All Night
8:30PM - Free Agents
9PM - Harry's Law
10PM - Law & Order: Special Victims Unit
* * * *
11:35PM - The Tonight Show with Jay Leno (Tim Allen; TV personality Theresa Caputo; Scotty McCreery performs)
12:37AM - Late Night with Jimmy Fallon (Shaquille O'Neal; Evan Rachel Wood; Portishead performs)
1:36AM - Last Call with Carson Daly (Writer Paul Haggis; musical group Roll The Tanks; Fool's Gold performs) SD

FOX:
8PM - The X-Factor (90 min.)
9:30PM - Raising Hope

PBS:
(check your local listing for starting time/programming)
8PM - Nature - Dogs That Changed the World: The Rise of the Dog (R)
9PM - NOVA: Building the Great Cathedrals
(R)
10PM - NOVA - Quest for Solmon's Mines
(R)

UNIVISION:
8PM - Una Familia con Suerte
9PM - La Fuerza del Destino
10PM - La Rosa de Guadalupe

THE CW:
8PM - H8R (Maksim Chmerkovskiy; The Miz)
9PM - America's Next Top Model: All-Stars

TELEMUNDO:
8PM - Mi Corazón Insiste
9PM - Flor Salvaje
10PM - La Casa de al Lado

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Hugh Jackman)
11:31PM - The Colbert Report (Mos Def and Talib Kwell)

TBS:
After the MLB Playoffs - Conan (Flavor Flav; chef Curtis Stone; Tim Minchin performs)
(R)

E!:
11PM - Chelsea Lately (Rachel Bilson; comic Bobby Lee; comic Arden Myrin; comic Dov Davidoff)
(R)
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post #72436 of 95918 Old 10-05-2011, 01:01 AM
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TV Notes
Wednesday's Highlights: 'Penn & Teller Tell a Lie' on Discovery
By Los Angeles Times' 'Show Tracker' Blog - October 4th, 2011

[ALL TIMES LISTED ARE PACIFIC TIME]

FACT OR FICTION?: In the new series “Penn & Teller Tell a Lie,” illusionists Penn Jillette and Teller tell several stories, one is false, the rest true, premiering Wednesday at 10 p.m. on Discovery.

SERIES

Up All Night:
Reagan (Christina Applegate) comes to grips with the idea of giving up her convertible in favor of a safer, more practical family car in this new episode (8 p.m. NBC).

Suburgatory: In this new episode, Tessa (Jane Levy) is shocked to realize she's attracted to her neighbor Ryan (Parker Young), a jock who's her exact opposite in every way (8:30 p.m. ABC).

Harry's Law: As the “trial of the year” gets underway, Adam (Nate Corddry) prepares Eric's (Alfred Molina) daughter to take the stand, while Harry (Kathy Bates) frets about Cassie's (Karen Olivo) cross-examination of an important witness (9 p.m. NBC).

America's Next Top Model: In this new episode, the girls audition for a role on “CSI” in front of series creator Anthony Zuiker (9 p.m. KTLA).

MythBusters: Adam and Jamie attempt to build a supersized Newton's Cradle in this new episode (9 p.m. Discovery).

Top Chef: Just Desserts: In this new episode, the quick-fire challenge has the chefs choosing the perfect coffee-and-doughnut combinations (10 p.m. Bravo).

American Horror Story: In this new series, a therapist moves his family across the country to escape their troubled past, but quickly discovers their new home comes with its own baggage and a few surprises (10 p.m. FX).

Dance Moms: Abby's dancers are cast to perform in a music video in the season finale (10 p.m. Lifetime).

MOVIES

George Harrison: Living in the Material World:
This new two-part documentary from filmmaker Martin Scorsese focuses on the musical and spiritual voyage of the late George Harrison, from his musical beginnings in Liverpool, England, through his life as a musician, seeker, philanthropist and filmmaker. It's told through interviews with Harrison and his closest friends, including former Beatles band mates Paul McCartney and Ringo Starr. Part 2 airs Thursday (9 p.m. HBO).

SPORTS

Baseball: MLB playoffs (3 and 6:30 p.m. TBS)
.


http://latimesblogs.latimes.com/show...discovery.html
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post #72437 of 95918 Old 10-05-2011, 01:05 AM
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Obituary
A.C. Nielsen Jr., Who Built Ratings Firm, Dies at 92
By Bill Carter, The New York Times - October 5th, 2011

Arthur C. Nielsen Jr., who transformed the company his father founded in 1923 into an international leader in market research, helping to make its name synonymous with television ratings, died on Monday in Winnetka, Ill., where he lived most of his life. He was 92.

He had Parkinson's disease, family members said in announcing his death.

The son of Arthur C. Nielsen, Mr. Nielsen became president of the A. C. Nielsen Company in 1957 and its chairman in 1975. He presided over the company's growth from a modest operation, generating less than $4 million a year in revenue, to one with revenue of more than $680 million.

He worked for the company his entire adult life, joining in 1945 after serving four years in World War II as a major in the Corps of Engineers. One part of his wartime experience gave him insight into the potential importance of computers. He was assigned to construct a building to house a machine that would create elaborate tables to calculate the metrics for firing big artillery guns accurately.

Mr. Nielsen recognized the potential to use such calculations in the family business, which at that point had gained most of its profit from an index that measured and tracked sales of items in food and drug stores. The company, one of the first ever to offer market research, also began to measure radio stations' audience size in 1936. But even after expanding to a national service in 1942, the radio arm of the business was not profitable.

In 1948, at Mr. Nielsen's urging, the company invested $150,000 in building the first general-purpose computer, the Univac.

His father remained the entrepreneur of the company and led the way to creation of the first television audience measurement system in 1950. The younger Mr. Nielsen, who was known more for institutionalizing his father's innovations, moved the company into new areas, like the creation of a clearinghouse for coupons, a service that had become a business generating more than $90 million in sales by the time the younger Mr. Nielsen retired.

He also led the company into tracking subscription data for magazines and even tracking oil and gas wells in the United States and Canada. And as chairman he presided over the development of scanning technology in its early days, allowing the company to collect information on consumer purchases of all kinds. The most visible expansion of the Nielsen business took place in the media measurement division. Nielsen fought to retain its place critics have long labeled it a monopoly over the measurement of television ratings, beating back the challenges of several potential rivals. As cable television began vastly expanding the number of networks needing national measurement, Nielsen was positioned to provide the numbers each of those channels needed to sell time to advertisers.

Arthur Charles Nielsen Jr. was born in Winnetka on April 8, 1919, the oldest of five children of Arthur C. and Gertrude Nielsen. While an Army engineer he met Patricia McKnew and soon married her. He was a graduate of the University of Wisconsin.

An avid athlete, Mr. Nielsen played competitive tennis until he was in his 80s and had the distinction of winning the United States Father-Son Doubles Championships with his father in 1946 and 1948. He later represented the United States in senior tennis tournaments. He also won Midwest-based father-son doubles championships with two sons, Arthur III and Chris.

Patricia Nielsen died in 2005. Mr. Nielsen is survived by his sons as well as a daughter, Elizabeth Cocciarelli; a brother, Philip; two sisters, Margaret Stiegele and the Rev. Barbara Nielsen; and seven grandchildren. His father died in 1980.

Mr. Nielsen served on the boards of more than 20 companies, including Dun & Bradstreet, Walgreen, Marsh & McLennan and Motorola, and advised three presidents.

He also appeared as a mystery guest on the postwar TV show What's My Line? and was questioned about his line of work by the panelists Arlene Francis, Bennett Cerf and others.

Accepting the company's strict retirement policy, Mr. Nielsen stepped down from active leadership in 1983 and became chairman emeritus. The following year he engineered the sale of A. C. Nielsen to the Dun & Bradstreet Corporation for $1.3 billion in stock.

The company has since been acquired by the Dutch publishing company VNU. But it has retained the name Nielsen, largely based on brand recognition. In many circles of the television business, ratings are still frequently referred to simply as the Nielsens.

http://www.nytimes.com/2011/10/05/bu...t-92.html?_r=2
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post #72438 of 95918 Old 10-05-2011, 01:11 AM
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TV Notes
Creepy, sexy 'Horror Story' on FX
By Jonathan Storm, Philadelphia Enquirer - October 4th, 2011

You've never seen anything like American Horror Story on TV before. And you may not want to see it now.

But fans of the horror genre - not the splatter trash of the Saw or Chainsaw Massacre series, but the creepy, psychological, and, yes, sexy, gory stuff of classics like Rosemary's Baby or The Shining - won't be disappointed.

FX, still No. 1 on basic cable for challenging, edgy material, has teamed up again with Nip/Tuck's Ryan Murphy and Brad Falchuck on Horror Story, which premieres Wednesday at 10 p.m.

The pair, also responsible for Fox's Glee, have a tendency to start strongly and then get a little lost, but that needn't concern us here, since we're at the beginning, and Horror Story is as gripping as anything on TV.

You may find yourself looking for something to grip when the doll (or are they real?) baby heads start spinning or some unsuspecting ninny starts down the basement stairs. There are almost as many grim specimens preserved down there as there are in the Mütter Museum, and way more murderous evil spirits, some of whom may also manifest themselves upstairs as plain old human beings.

Or maybe not so plain. One appears to be a deeply troubled teenager who becomes the patient of the house's new owner, psychiatrist Ben Harmon (Dylan McDermott).

Another is the strangest maid, Moira O'Hara, who appears to be worse-for-wear Tony-award winner and Six Feet Under matriarch Frances Conroy, 57, except when seen through Harmon's eyes. Then, she's sex-crazed, 31-year-old Alexandra Breckenridge. This can be somewhat embarrassing for Harmon when his teenage daughter sees him all glassy-eyed as the old lady gropes him.

Next-door neighbor Constance, who has a daughter with Down syndrome and an unhealthy interest in the house, might be the most dangerous of them all. "I'd move if I were you," she warns Moira. "Don't make me kill you again."

Jessica Lange, in her first regular TV series role, is having the time of her life as a faded Southern beauty who acknowledges to Harmon and his wife, Vivien, that she was doing pretty well until "the Mongoloid" came along.

When we first meet the kid, in 1978, she's a little thing chanting, "You're gonna regret it," as a pair of strange-looking twins go into the house bent on vandalism.

They do regret it.

We know the age-old story, which is that no one in their right mind should go into places like this, but, of course, they do.

In this case, Ben and Vivien can't resist a bargain, even if the last residents, a gay couple, died in an apparent murder-suicide, but, of course, we know better about that, too. The second episode starts with a grim murder in 1968, followed by the revelation that the house is on a present-day Los Angeles murder tour, which you'd think potential buyers would know all about, but, of course, they never do.

Since the show is full of surprises, I thought I'd slip one in, too, waiting all this time before telling you that Vivien is played by Connie Britton, so marvelous in Friday Night Lights, and a key piece of casting here, too. Murphy said he wrote the part with her in mind.

Vivien is the strong, reasonable spouse in the marriage. Ben is a sleazy dog whom she walked in on back in Boston as he was bedding one of his students.

They sold everything and moved west with daughter Violette seeking a new start. But it just may be the end of them, especially when Vivien gets pregnant after a very hot session with Ben dressed in one of those kinky latex sex suits.

We know it's not Ben, but, of course, she doesn't. We know whatever's growing inside her is the last thing that will save their marriage, but, of course, they don't.

And so it goes in a show that's a homage to all the '70s psycho-horror films, none, perhaps, as much as Don't Look Now, a juicy 1973 British entry starring Donald Sutherland and Julie Christie.

The film isn't as famous here as some of its American cousins, but, in part because of its fantastic editing and use of the supernatural to examine the inner workings of a marriage torn apart not by infidelity but by grief, it was slotted at No. 8 in a British Film Institute poll of the top British films of the 20th Century.

American Horror Story may not rank that high on a TV list, but fans of this kind of thing will want to chop themselves in half, strangle in a bathtub, and slit their throats - just to name a few of the things that happen in the first two episodes - if they miss it.

AMERICAN HORROR STORY
10 p.m. Wednesday on FX


http://articles.philly.com/2011-10-0...ylan-mcdermott
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post #72439 of 95918 Old 10-05-2011, 01:15 AM
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TV Notes
'George Harrison: Living in the Material World'
Martin Scorsese's documentary shows a man more complex than the 'Quiet Beatle' label suggests
By Mary McNamara, Los Angeles Times - October 5th, 2011

"George Harrison: Living in the Material World," which premieres Wednesday and Thursday on HBO, is a long, lovely meditation on the Beatle sometimes called the Quiet One and the quiet one sometimes called a Beatle. Directed by Martin Scorsese at the invitation of widow Olivia Harrison, it is not especially informative in the way documentaries usually strive to be, a cataloging of causes and effects and significant facts and figures; nor has it been made as a brief for George's unsung genius. In fact, it leaves a lot out and doesn't always explain what it puts in. But it is not really so much a film about a career as it is about a life and not so much about a life of events as of spiritual progress a portrait of character more than of "a character."

Any new Beatles-related documentary is going to need to find a different way through familiar material, a way made more difficult by the group's own enormous 1995 "Anthology" (more than 11 hours in the DVD cut). Certainly some well-trod ground is trod here again, but Scorsese generally stays off the beaten path. Coming 10 years after Harrison's death from cancer at 58, "Living in the Material World" draws heavily on the singer's own collection of photographs, films, recordings and documents. There are letters read by his son, Dhani ("Don't think I've gone off my rocker because I haven't," he wrote home from India), self-portraits in a fisheye lens, a tape of his first sitar lesson with Ravi Shankar "the first person to impress me," among the impressive people the Beatles met, "because he didn't try to impress me."

Broadly speaking, it's Scorsese's follow-up to "No Direction Home," his 2005 PBS film about Bob Dylan, also made to run over two nights. This may be the better work, for its depth of feeling and its relatively more forthcoming and knowable subject. Scorsese, with editor David Tedeschi (who also cut the Dylan documentary), arranges his elements musically, beginning and ending with an image of George playing peek-a-boo behind a bed of tulips, as voices speak of his death, his absence and his presence-in-absence. The rhythms of the film seem to be purposely abrupt, cutting in and out of songs and between scenes of sound and silence, pressure and release, public and private space, as if to underscore Harrison's own dual nature, much remarked upon here. (Ringo Starr notes his "love, bag-of-beads personality and also the bag of anger.")

We see George as the meditating Beatle, the skeptical Beatle, the movie-producing ex-Beatle, the ex-Beatle whose first wife, Patti Boyd, leaves him for Eric Clapton. (Clapton and Boyd have radically different memories of this episode.) We hear from the expected quarters (Paul McCartney, overestimating the world's underestimation of George and Ringo; Ringo, his usual sweet self), the less expected (a pre-incarcerated Phil Spector, looking like something out of David Lynch) and the unexpected (Jackie Stewart, the race-car driver). We see him, distressingly close-up, on a 1974 solo tour, during which he sounded bad and looked worse, and learn that there were times when he did a lot of cocaine and slept with women not his wife. Having got a whiff of this, the National Enquirer declared, "Shocking new doc rips the lid off the Quiet Beatle." But that is hardly the effect of this film a love letter, warts and all.

The youngest of the Fab Four a "cocky little guy," as McCartney recalls him in their shared school days but perhaps the oldest soul, George was only 27 when the group split up. His early death notwithstanding, he had a lot of living to do, and though it accounts only for the last third of the film, it's where the drama subtly starts to gather. Olivia Harrison narrates, in terrifying detail, the 1999 in-home attack that left her husband with multiple knife wounds and a collapsed lung.

But light and dark alternate until the end, with light getting the last word. His last records are among his best, and life in the end came down to ukuleles and gardening, the sky and sea, and an evidently satisfying sense of his own temporality. (Scorsese's film, which takes its name from one Harrison song, might as easily have taken it from another: "All Things Must Pass.") Which, all this considered, is nice work if you can get it, in the immaterial material world.

GEORGE HARRISON: LIVING IN THE MATERIAL WORLD
Wednesday and Thursday at 9PM on HBO


http://www.latimes.com/entertainment...,1470665.story
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post #72440 of 95918 Old 10-05-2011, 01:20 AM
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Critic's Notes
Four Ways Steven Spielberg TV Shows Feel Like Bad Spielberg Knockoffs
By Bilge Ebiri, New York Magazine's 'Vulture' Blog - October 4th, 2011

Steven Spielberg is known for revisiting similar themes in his films (families divided and reunited, small bands against giant threats, etc.), but his big-screen work usually transcends the vaguely sanitized, family friendly clichés many associate with his brand. Even when you look at his earliest films, you see that they're much more complicated than the stereotypes imply: E.T. is a lot darker than you remember; Close Encounters of the Third Kind is mysteriously open-ended; and even Raiders of the Lost Ark, while willfully old-fashioned, could still give the best horror movie a run for its money in the gore and shock department. And yet, when it comes to his TV fantasy-action series Seaquest DSV, Falling Skies, and now Terra Nova the filmmaker's tropes can conform to the worst generalizations of his work. You feel like you're watching the result of an executive yelling at some TV journeyman, "Gimme something that feels like Spielberg!" except that the executive in this case is Spielberg himself.

Here are four major Spielberg go-to themes, and an examination of how nuanced they are in his films, as compared to the two-dimensional TV variations.

Keeping the Family Together

This is, of course, the Great Spielberg Theme, and as presented in his films (for the most part), it's quite compelling. There's E.T.'s iconic, weighty vision of a suburban single-mom-and-three-kids family that sticks together. You really do hope that this family will make it, and the way that E.T. helps make their lives whole again has a power that still resonates to this day. But Spielberg can also complicate this vision of family. Think of how one family (Melinda Dillon's) tries desperately to reunite itself in Close Encounters, while another one (Richard Dreyfuss's) is split apart. Or the way that the robot boy David in A.I. becomes attached to his family even as they begin to consider discarding him. Or consider the looming figure of John Adams, who haunts the epic final speech given by John Quincy Adams in Amistad.

And now, look at the TV shows. Terra Nova is just two episodes old, and we can already see how this is going to go. The Shannons are the Family That Must Not Be Separated, no matter what, and the only reason they were separated in the first place was because they ran afoul of evil futuristic population control laws by having a third child in other words, they had too much family! Their survival as a family already feels like a given; we're rooting for them not because we particularly like them, but rather because we have to. In Seaquest DSV, Roy Scheider's Captain Bridger actually lost his family years ago, and as a result wound up forging a familial bond with the crew, particularly with young Lucas Wolenczak (Jonathan Brandis) and Dr. Kristin Westphalen (Stephanie Beacham), and later Dr. Wendy Smith (Rosalind Allen). It was like a big underwater Christmas card. And Falling Skies is all about Tom Mason's (Noah Wyle) dedication to keeping his family together at the expense of pretty much everything else. It makes us think: If Close Encounters were a Spielberg TV show, Richard Dreyfuss would basically see those UFOs flying over him and say, Huh, interesting. Some single guy should probably investigate that, I've gotta get home for the barbecue!

The Search for the Lost Child

This variation on the keeping-the-family-together theme gains thematic resonance all its own in Spielberg's films. Consider the chilling moment near the end of A.I. when William Hurt's Professor Hobby is revealed to have created the robot David in his own dead son's image. Even the disappearance of the children in Hook (one of Spielberg's least-liked films) is given a terrifying dramatic urgency just by virtue of the way it's shot: The camera and the parents follow a deep groove torn into the wall by the Captain's hook, leading up the stairs to the children's empty bedroom as if a terrifying fairy tale has suddenly become all too real. The entire dramatic arc of Saving Private Ryan with its mission to save the last surviving Ryan brother is basically just an entire nation/family trying to redeem its last innocent.

In the TV shows, the search for the lost child loses most of its depth. In Falling Skies, Tom Mason's attempts to retrieve his son Ben from his alien captors and reintegrate him into human society are just a hook to keep us watching; plotwise, he could just as well be searching for an antidote or an anti-alien ray gun or some E.T.-B-GONE spray. And when an authority figure has a lost child on these shows it rarely feels real, because they eventually turn up just about every time. We're told Seaquest's Bridger lost a son in combat but he's later revealed to be alive. Falling Skies' Captain Dan Weaver (Will Patton) lost his family during the alien invasion; it is later revealed that they may be alive. Terra Nova's Nathan Taylor (Stephen Lang) lost a son in an earlier settlement, and all indications at the end of episode one are that he is still alive. Boy, the parents of Rosie Larsen on The Killing probably wish their show had been produced by Spielberg.

Science vs. Authority

Spielberg's films are often full of heroic scientists and doctors who have to contend with military and/or police and/or other types of authoritarian figures. But it's never so simple. For example, the scientist in Close Encounters, even though he's played by Francois Truffaut, is kind of an ambivalent figure. (You'd think Spielberg would have cast the auteur as a hero, right?) The scientists and G-men in E.T. are working in cahoots and as such are ambivalent and unfeeling toward our characters. Meanwhile, the scientists in Minority Report turn out to be far more evil than the cops, who are just the unthinking arms of a police state founded on science.

The TV shows, however, stick to the formula that scientists are the forces for good while the cops or military leaders are the stubborn dopes who need to be convinced not to just hit things with a stick or the firearm equivalent thereof. Dr. Westphalen and Dr. Smith in Seaquest were kind, pretty, and dutifully presented the scientific side in debates with the uptight Commander Ford (Don Franklin). In Falling Skies, Dr. Anne Glass (Moon Bloodgood) must make doe eyes at Tom Mason while dutifully presenting the civilian side in debates with the militaristic Captain Weaver. Terra Nova has it both ways: The scientist and her hero, tough-guy husband are on the side of good; however, there's also the gruff Commander (Stephen Lang) who seems to have a nefarious secret. Hit him with a test tube bottle!

Kids on Their Own

With broken families come children who have to fend for themselves. Sometimes they're just spiritual orphans: From the resourceful Jim (Christian Bale) in Empire of the Sun who has to survive the invasion of Shanghai and a Japanese internment camp during WWII, or Catch Me If You Can's Frank Abagnale (Leonardo DiCaprio) who flees home and strikes up a lucrative career as a con man (all in an effort to somehow reunite his broken family, of course). Sometimes they're orphan orphans: The Lost Boys in Hook, or the precog Agatha in Minority Report; in all these cases, though, there's a real sense of tragic incompleteness which Spielberg uses to give his stories a kind of moral force.

On the TV shows, however, being an orphan, much like having lost a child, is used either as a simple plot contrivance or as instant, just-add-water character development. In Seaquest, there was a lame episode in which the crew encountered a ship full of orphans and had to well, not exactly do battle with them, but just kind of convince them not to resist too much. In Falling Skies, the teen orphans Karen Nadler (Jessy Schram) and Lourdes (Seychelle Gabriel) gravitate to the Mason family: Friends 4-eva! And in Terra Nova, we can already sense that the beautiful teenage loner Skye (Allison Miller) is going to become a love interest to the brother and a big sister figure to the girls in the family. Will the show be able to do more with this character? We hope so, but if history has proven anything, it won't. And her parents will probably turn out to be alive, too.

http://nymag.com/daily/entertainment...elberg_tv.html
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post #72441 of 95918 Old 10-05-2011, 01:31 AM
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Business Notes
Analyst: Fox Could Get Around $750 Million in New Syndication Revenue After 'Simpsons' Cancellation
By Georg Szalai, The Hollywood Reporter - October 4th, 2011

NEW YORK - Ironically, a potential cancellation of animated hit show The Simpsons could open up additional revenue to the tune of around $750 million for News Corp. and its Fox unit, RBC Capital Markets analyst David Bank said late Tuesday. Plus, it could add to the company's stock price by boosting financials, he said.

"The original syndication deal (struck about 17 years ago) prevented Fox from selling the show into any other distribution mechanism but local broadcast," he wrote in a research note entitled "D'oh! Possible Cancellation Of The Simpsons Could Result In Windfall For News Corp."

"Ironically, the cancellation of the show would allow News Corp. to finally sell off-network syndication rights into cable channels (and potentially to online distributors)," he explained, calling the potential windfall for Fox "massive."

After all, cable was "relatively insignificant" in terms of off-network syndication at the time of the original deal, Bank said. "But over the ensuing years, cable grew to be as big an opportunity as (if not bigger than) local broadcast."

Fox's TV studio had said earlier on Tuesday that the financial model of the Simpsons wasn't sustainable anymore. A report said the studio was looking to cut voice actors' salaries by 45 percent.

Canceling The Simpsons could allow Fox to "essentially abrogate" the original syndication agreement, "potentially allowing for about $750 million of incremental content monetization," Bank said.

He estimated that cable syndication and maybe online distributors could fetch $1 million-$2 million per episode in what is a library of 506 episodes.

"We believe Fox would probably only have the rights for about 15-17 seasons initially (with the rest tied-up in the original broadcast syndication cycle) and we'd imagine Fox would spread the delivery of episodes across a number of years," Bank suggested.

Overall, this could create 10 cents per share-plus in stock value for News Corp. shareholders when assuming $1.5 million per episode and 60 percent profit margins, according to the analyst. A lack of a positive resolution of a labor dispute between Simpsons cast members and the Fox TV studio and a potential resulting cancellation of the show "could be more positive for News Corp. stock than one might think," Bank concluded.

http://www.hollywoodreporter.com/new...ication-243776
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post #72442 of 95918 Old 10-05-2011, 05:36 AM
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Quote:
Originally Posted by moob View Post

Maya Rudolph? She's the reason I stopped watching the show. It's not really because of her though, it's that I couldn't stand her character.

Exactly. Her character ruins the show. It's supposed to be about the couple, not her and the couple. The couple is almost an afterthought at times.
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post #72443 of 95918 Old 10-05-2011, 06:33 AM
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Nielsen Notes (Broadcast)
CBS's Andy Rooney goes out with a bang
Sunday's '60 Minutes' farewell averages 17 million viewers
By Toni Fitzgerald, Media Life Magazine - October 5th, 2011

Anyone who thought that Andy Rooney, at 92 years old, had become a cultural afterthought might be surprised by the numbers for his farewell appearance on "60 Minutes."

Rooney's much-hyped final episode drew "60 Minutes'" biggest audience in months on Sunday night, when the newsmagazine aired the longtime contributor's last essay along with a retrospective on his career.

"Minutes" averaged 17.1 million total viewers on Sunday from 7:23 p.m. to 8:23 p.m., up 39 percent over last week's season premiere, according to Nielsen data, and the show's biggest October audience in four years.

The show averaged a 3.5 in adults 18-49, up 52 percent over last week, and a 5.0 in 25-54s, a 47 percent bump.

Certainly part of that bump was due to the huge lead-in from NFL football, which "Minutes" did not have last week.

But Rooney's exit, announced just a few days before Sunday's show, also drove viewership, as online evidence suggests.

"Andy Rooney" was the top search term on Google for much of Sunday night and Monday morning, after his final "Minutes" piece aired.

Social media references to "Minutes" were way up over the previous week, with the show going from the 46th most-mentioned TV program on Sept. 25 to the 29th most mentioned on Sunday, according to SocialGuide, a social media measuring company.

Comments about the show shot up 61 percent from the prior week, and unique commenters were up 62 percent.

And as of yesterday, the story about Rooney that ran just before his final commentary was still the No. 2 most-watched video on the CBS News web site.

* * * *

In broadcast ratings for the week ended Oct. 2:

Among adults 18-49, CBS was first for the week with a 3.2 average rating and a 9 share, followed by Fox at 2.8/8, NBC at 2.4/7, ABC at 2.4/6, Univision 1.7/5, CW at 0.8/2, Telemundo at 0.5/1, ION and TeleFutura at 0.2/1, and Azteca and Estrella at 0.1/0.

Top five English-language Big Five shows (18-49s): 1. NBC's "Sunday Night Football" 7.7; 2. CBS's "Two and a Half Men" 7.4; 3. ABC's "Modern Family" 5.7; 4. CBS's "The Big Bang Theory" 4.9; 5. CBS's "Mike & Molly" 4.8.

Top five English-language Big Five shows (total viewers): 1 CBS's "Two and a Half Men" 20.53 million; 2. CBS's "NCIS" 19.51 million; 3. NBC's "Sunday Night Football" 18.90 million; 4. CBS's "60 Minutes" 17.11; 5. CBS's "NCIS: Los Angeles" 16.27 million.

Show on the rise: CBS's "The Amazing Race," Sunday 8:23 p.m. The reality competition was a rare show to show gains in its second week of the season, going from a 3.0 18-49 rating to a 3.2.

Show on the decline: NBC's "Free Agents," Wednesday 8:30 p.m. The comedy posted a 1.0 among 18-49s, down 23 percent from an already-low 1.3 the previous week.


http://www.medialifemagazine.com/art...ith-a-bang.asp
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post #72444 of 95918 Old 10-05-2011, 06:37 AM
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Nielsen Notes (Cable)
For Showtime, a Sunday to buzz about
Hefty debuts for 'Dexter' and the new 'Homeland'
By Toni Fitzgerald, Media Life Magazine - October 5th, 2011

The most important thing for pay cable networks like Showtime, HBO and Starz is to draw buzz for their new shows, which prompts people to subscribe to the channels.

Critical acclaim is one way to generate that buzz, and so is big viewership. Showtime's new Sunday lineup seems to have both.

The sixth-season debut of serial killer drama "Dexter" and the premiere of the new terrorism drama "Homeland" both drew strong numbers this weekend.

"Dexter" averaged 2.2 million total viewers at 9 p.m., according to Nielsen, up 24 percent over last year's debut. It marked the best bow for any Showtime series, drama or comedy, since "Stargate" in 1997.

Lead-out "Homeland" lost half that audience at 10 p.m., but it still drew enough viewers, 1.1 million, to become Showtime's most-watched premiere in eight years, since the short-lived show "Dead Like Me."

The debuts are all the more impressive considering the broadcast competition. Both shows aired against NBC's "Sunday Night Football," the highest-rated program on TV last season, and "Dexter" was in the same hour as "Desperate Housewives" and "Family Guy."

But both shows drew enough pre-premiere buzz to attract strong audiences. "Dexter," a longtime critical darling, was featured in dozens of newspapers and magazines leading up to the debut, in part because of yet another high-profile guest star, Edward James Olmos.

Past long-term guest stars include Julia Stiles, John Lithgow and Jimmy Smits, all of whom have acted as Dexter's killing protégés or muses, bringing a new dimension to the show each season, and Olmos should do the same as a charismatic religion professor.

"Homeland," meanwhile, marked the return of "My So-Called Life's" Claire Daines to series television. Though "Life" lasted just one season, Daines has been a cult figure ever since, and that undoubtedly drew in curious viewers for the show, which got great reviews.

"Claire Danes' volatile facial expressions were perfect for the sensitive adolescent girl she played in 'My So-Called Life' and although they now make her a bit too intense for many adult roles, they're perfect for Carrie," writes Media Life TV critic Tom Conroy in a recent review of "Homeland."

If viewership remains strong for the shows, this could be Showtime's first pairing of formidable dramas in years.

The network has been better known for its dark, acclaimed comedies in recent years, including "Weeds," "The Big C" and "Nurse Jackie."

* * * *

In cable ratings for the week ended Oct. 2:

Top five networks in primetime (18-49s): ESPN, TBS, USA, FX, MTV.

Top five networks in primetime (total viewers): ESPN, USA, Disney Channel, TBS, Fox News Channel.

Top five cable news networks in primetime (25-54): Fox News Channel, MSNBC, CNN, HLN, CNBC.

Top five cable news programs (total viewers): 1. Fox News Channel's "The O'Reilly Factor" (Thursday, 8 p.m.); 2. Fox News Channel's "The O'Reilly Factor" (Wednesday, 8 p.m.); 3. Fox News Channel's "The O'Reilly Factor" (Monday, 8 p.m.); 4. Fox News Channel's "The O'Reilly Factor" (Tuesday, 8 p.m.); 5. Fox News Channel's "The O'Reilly Factor" (Friday, 8 p.m.)

Top movie (18-49s): No movie during the week made the top 50 among 18-49s.

Top sporting event (total viewers): ESPN's "Monday Night Football: Redskins/Cowboys" (Monday, 8:30 p.m.) 17.10 million.

Shows making the top 10 among 18-34s, 18-49s and 25-54s: MTV's "Jersey Shore" (Thursday, 10 p.m.); ESPN's "Monday Night Football: Redskins/Cowboys" (Monday, 7:30 p.m.); ESPN's "SportsCenter" (Monday, 11:46 p.m.); ESPN's "Yankees/Tampa Bay" (Wednesday, 12:05 a.m.)

Show on the rise: ESPN's "Monday Night Football" Monday, 7:30 p.m. The teams involves definitely makes a difference for "MNF"--last week's game between the Cowboys an Redskins averaged 17.10 million total viewers, up 43 percent from the previous week's game between the Rams and Giants.

Show on the decline: Comedy Central's "Workaholics," Tuesday, 10:30 p.m. The comedy averaged 1.04 million viewers 18-34, off 29 percent from 1.46 million the previous week.


http://www.medialifemagazine.com/art...buzz-about.asp
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post #72445 of 95918 Old 10-05-2011, 06:47 AM
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TV Review
'George Harrison: Living in the Material World': Scorsese's documentary feels less than fun
By David Hinckley, New York Daily News - October 5th, 2011

You'd like to think that being one of the Beatles had to be more fun than this long and surprisingly dry Martin Scorsese documentary makes it seem.

But "George Harrison," which premieres Wednesday night and Thursday night at 9 on HBO, makes the life of the "quiet Beatle" look like a homework assignment - something to be navigated more than savored.

The low level of joy and exhilaration seems more perplexing as the documentary rolls on, because Scorsese knows rock 'n' roll, he's got plenty of time to tell this tale, and he talks to all the right people.

Surviving Beatles Paul McCartney and Ringo Starr reminisce at length about George, who died of lung cancer in November 2001.

His wife, Olivia, remembers all their years. Scorsese coaxes memories from people like Neil Aspinall, the long-time Beatles aide and insider who almost never talks to anyone. Eric Clapton describes wooing away George's first wife, Patty. Phil Spector even chimes in.

Yet in the end, we learn little beyond the standard biography that has circulated for years: that George sometimes felt like a junior Beatle, that he involved himself deeply in spiritual pursuits, that he was happiest in his later years when he disappeared into his country estate and tended his gardens while mulling the eternal.

There's clearly a lot of truth to that general outline, and perhaps at this point there are no significant new dimensions or perspectives anyone could add.

But the polite, sometimes circumspect language from almost every interviewee creates the collective sense that they're still respecting George's wishes to keep part of himself private.

He clearly had little use for the media, surfacing only when something like his Bangladesh concert needed promotion. Even then, he was elusive about himself, and the celebrity and credibility of Scorsese can't pry much more out of those who knew him best.

In contrast to Scorsese's other work, like his Bob Dylan documentary and "The Last Waltz," "George Harrison" feels like it doesn't get far below the surface.

In the process, it makes Harrison's life look surprisingly unsatisfying. He comes across as someone who didn't particularly enjoy his success and who found constant annoyance in the encounters of life, from the taxman to the flower children of Haight-Ashbury, who he said just looked like "bums" and "addicts."

A number of interviewees comment on how much George enjoyed music, and how hard he worked to play it well. Yet out of that we rarely feel any real sense of joy, any sense of how much he loved Carl Perkins and Eddie Cochran records, any sense that being a Beatle and later a successful solo artist gave him as much pleasure as it gave people listening.

Part of it had to be fun. If it never was, then this documentary isn't just frustrating. It's heartbreaking.

'GEORGE HARRISON: LIVING IN THE MATERIAL WORLD'
Wednesday and Thursday at 9PM on HBO
Rating: ★★★ (out of five)


http://www.nydailynews.com/entertain...ry_feels_.html
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post #72446 of 95918 Old 10-05-2011, 06:55 AM
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(International) TV Sports/Business Notes
Ruling Upends Soccer Rights
EU Court Says Premier League Can't Prevent Re-Broadcasting Into Other Nation
By Paul Sonne and Frances Robinson, Wall Street Journal - October 5th, 2011

Europe's highest court ruled that the way England's main soccer league distributes TV rights in the European Union violates single-market rules, a decision that could jeopardize the lucrative relationships sports leagues have built with pay-TV broadcasters across the continent.

In a ruling Tuesday, the European Court of Justice said England's Premier League is free to sell rights to broadcasters on a country-by-country basis in the EUbut can't prevent a broadcaster in any one EU country from selling the content in another member state.

That may pave the way for customers in Britain to buy cheaper feeds of matches from satellite-TV operators in other European countries, rather than buying expensive subscriptions from British Sky Broadcasting Group PLC, the dominant Premier League rights holder in the U.K. The ruling is especiallysignificant for U.K. pubs, which have chafed at paying BSkyB thousands of pounds per year to show matches in their establishments.

"This is a significant blow for the Premier League after a long-running battle," Ian Giles, a London-based antitrust lawyer at Norton Rose LLP, said Tuesday. "For Sky, ESPN and other rights holders, suddenly they have paid a lot of money for U.K. exclusivity which is not enforceable."

The ruling could affect the value of the Premier League rights in the next round of bidding or spark an overhaul in the way rights are distributed, including a potential move to pan-European deals.

At stake is a multibillion-dollar business that the Premier League has built over two decades in conjunction with BSkyB. In 2009, BSkyB paid £1.6 billion ($2.48 billion) for the U.K. rights to 115 Premier League games a year from 2010 until 2013. Walt Disney Co.'s ESPN bought the remaining U.K. rights to 23 games a year for an undisclosed sum, estimated to be roughly £200 million.

Tuesday's ruling potentially poses a challenge to other sports leagues in Europe and possibly other industries that rely on country-by-country rights deals.

The Premier League, which includes famous soccer clubs such as Chelsea, Manchester United and Arsenal, said it is looking at how the ruling might affect the future sale of rights.

"The areas of law involved are complicated and necessarily we will take our time to digest and understand the full meaning of the judgment," the league said in a prepared statement.

A BSkyB spokesman said the ruling would have "implications for how rights are sold across Europe." The pay-TV broadcaster is considering those implications, he said.

News Corp., which owns The Wall Street Journal, holds a 39.1% stake in BSkyB.

The court case, which dates back to 2006, involves English pub owner Karen Murphy, who bought a decoder from Greece thatwhen inserted into a set-top boxallowed her pub to receive Premier League satellite broadcasts from the Greek pay-TV provider NOVA.

The Greek decoder cost Ms. Murphy significantly less than a Sky Sports subscription from BSkyB, according to her lawyer, Paul Dixon. A Sky subscription that includes Premier League soccer costs £12,000 a year on average for a commercial venue.

Media Protection Services Ltd., the company the Premier League instructs to prosecute rights violators, targeted Ms. Murphy for her use of the Greek decoder. Ms. Murphy was convicted but appealed to the U.K. High Court, which referred the matter to the European Court of Justice for clarification, Mr. Dixon said.

Media Protection Services declined to comment.

Now, the matter goes back to the U.K. High Court, which must interpret the European Court of Justice's ruling and decide whether to overturn Ms. Murphy's conviction. The U.K. High Court is expected to consider the matter in the next few months.

Ms. Murphy's criminal case is grouped with a parallel civil case that the Premier League has brought against QC Leisure, the company that sold Ms. Murphy the Greek decoder.

Complicating Tuesday's ruling, the European court said the Premier League's music, as well as its recorded highlights and graphics, are protected under copyright; matches themselves are not. That potentially means a pub in the U.K. could air a Greek broadcast of a game but not the bits that fall under U.K. copyright or even the sound.

The Premier League sees that part of the ruling as positive. "We are pleased that the judgment makes it clear that the screening in a pub of football-match broadcasts containing protected works requires the Premier League's authorisation," the league said in a statement.

British pubs welcomed the ruling Tuesday. "Perhaps now, football will become more affordable for pubs," said Brigid Simmonds, head of the British Beer & Pub Association.

Some parts of the European Parliament hailed it as a victory for consumers, while others said it threatened sports funding across Europe.

http://online.wsj.com/article/SB1000...275047440.html
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post #72447 of 95918 Old 10-05-2011, 07:12 AM
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TV Review
'American Horror Story': Scarily scatterbrained
By David Hinckley, New York Daily News - October 5th, 2011

Look on the bright side: At least this time, you can't say you weren't warned.

Indeed, if nothing else, viewers should be grateful to Ryan Murphy for skipping a step. With his last FX series, Nip/Tuck, and his current Fox series, Glee which, like Horror, he co-created with Brad Falchuk Murphy's pattern was to start off just weird enough to suck you in and then go wild enough to drive you away. No such worries here: American Horror Story is already completely, unabashedly nuts.

No, that doesn't mean it can't get even crazier. But when a show is this far off the rails in its opening episode, it's pretty much telling you what kind of ride you're in for. This is, after all, the kind of story where the next-door neighbor Constance (a completely fabulous Jessica Lange having a romping good time) can tell someone, "Don't make me kill you again," without anyone blinking an eye.

INTERACTIVE: Fall TV calendar
If only Horror spent all its time with the characters doing the frightening, including a humorously unhinged Denis O'Hare as a burn victim who slaughtered his entire family but now has musical comedy aspirations. But eventually attention turns to the family being frightened and a duller, denser, more unpleasant clan has never stumbled its way through a haunted house.

The home's latest residents are psychiatrist Ben (Dylan McDermott), his wounded wife, Vivien (Connie Britton), and their troubled daughter, Violet (Taissa Farmiga). On the run from his infidelity and her miscarriage-inspired Boston breakdown, Ben and Viv buy a deserted Los Angeles mansion, despite being warned that the last residents died in a murder/suicide and without doing the even tiniest bit of research that would have told them people have been killing people in that house since the 1920s, and an astounding number of those victims refuse to leave.

Before you can say "boo," the Harmons are being startled by Constance's daughter with Down syndrome (Jamie Brewer, whose use borders on exploitative) and having oddly sex-charged supernatural run-ins. Ben sees the housekeeper not as a middle-aged woman (Frances Conroy) but as her younger self (Alexandra Breckenridge); Viv gets visited by a lover encased in black latex (which explains the hideous poster art, for those of you who have seen it and wondered).

As with so many stories that are held at a constant rolling boil, the excess quickly becomes funny rather than frightening. By the time mom is serving tea to ghosts and dad is digging soon-to-be-needed graves, you're likely to dismiss it as just another normal day at home with the Harmons.

If only we cared what happened to them. Britton looks dazed and disconnected, as if she wished she could trade in her new Wednesday night frights for her old Friday Night Lights. And McDermott seems to have lost all track of his normal tone of voice everything comes out either in monotone or as a full-on, hysterical scream.

Forewarned, as they say.

AMERICAN HORROR STORY
FX, Wednesday, 10 p.m. ET/PT
Rating: ★★ (out of four)


http://www.usatoday.com/life/televis...-fx/50661924/1
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post #72448 of 95918 Old 10-05-2011, 07:16 AM
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Talk about having a bad week!

TV Notes
Playboy Club' actor Ed Cibrian injured at West Side studio
By Stella Foster, Chicago Sun Times - October 5th, 2011

Actor Ed Cibrian was injured Tuesday night while filming a television episode of The Playboy Club at a West Side studio, a source said.

Cibrian injured his right heel while running down an alley on the show's set at Cinespace Studios, 2558 West 16th. The actor received a deep gash on his heel after it caught underneath a 200-pound steel door, the source said.

Cibrian, who is married to country-pop singer LeAnn Rimes, was taken to Northwestern Memorial Hospital.

Though the NBC show was cancelled after the third episode aired Monday night, the show's production company had plans to continue filming in Chicago until Oct. 10 with the hopes of eventually shopping the series to another network.

On Monday, a suspected drunk driver crashed into Cibrian's California home, according to news reports.

http://www.suntimes.com/news/foster/...de-studio.html
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post #72449 of 95918 Old 10-05-2011, 07:51 AM
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Nielsen Notes (Broadcast)
CBS's Andy Rooney goes out with a bang
Sunday's '60 Minutes' farewell averages 17 million viewers
By Toni Fitzgerald, Media Life Magazine - October 5th, 2011

"Andy Rooney" was the top search term on Google for much of Sunday night and Monday morning, after his final "Minutes" piece aired.

http://www.medialifemagazine.com/art...ith-a-bang.asp

I would bet much of that was from people like me who DVRed the show, only to have it cut off right at the beginning of the retrospective segment due to the game running over.

At least CBS has a decent site to watch on - a stark contrast to the awful experience of trying to watch anything on the CW site.
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post #72450 of 95918 Old 10-05-2011, 07:55 AM
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Talk about having a bad week!

TV Notes
‘Playboy Club’ actor Ed Cibrian injured at West Side studio
By Stella Foster, Chicago Sun Times - October 5th, 2011

Actor Ed Cibrian was injured Tuesday night while filming a television episode of “The Playboy Club” at a West Side studio, a source said.

Cibrian injured his right heel while running down an alley on the show’s set at Cinespace Studios, 2558 West 16th. The actor received a deep gash on his heel after it caught underneath a 200-pound steel door, the source said.

Cibrian, who is married to country-pop singer LeAnn Rimes, was taken to Northwestern Memorial Hospital.

Though the NBC show was cancelled after the third episode aired Monday night, the show’s production company had plans to continue filming in Chicago until Oct. 10 with the hopes of eventually shopping the series to another network.

On Monday, a suspected drunk driver crashed into Cibrian’s California home, according to news reports.

http://www.suntimes.com/news/foster/...de-studio.html

Let's see:

- Pretty much out of a job due to series cancellation.
- Injured on the job of shooting scenes from cancelled series that no one may ever see.
- House gets crashed into by a drunk driver.

Add to that the last series he was on (Chase) failed, I think he should consider hiding out in a bunker for a while. His luck seems to have taken a turn for the worse.
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