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post #721 of 95734 Old 05-04-2007, 08:53 AM - Thread Starter
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The 2007-2008 Season
This Year's Winners and Losers

Gilmore Girls has been axed. But we will learn the fate of plenty of more on-the-bubble shows in the next few days.

Will the veteran Law & Order survive? And what are the chances for Jericho, Veronica Mars and The Unit? How about Law & Order: Criminal Intent? And will NBC bring back the low-rated but critically acclaimed Friday Night Lights?

What shows will ABC dump? And what can the CW do to get some ratings traction?

Keep checking in here at Hot Off The Press for all the latest news on next year's shows.

Over the next few days nnouncements will be made -- and leaks will occur-- to let us know what shows are in and which will be history. The official announcements will be made at the network upfront presentations starting a week from Monday.

And there are scheduling questions, too. Where will ABC schedule "Lost" next season? Will NBC challenge "Grey's Anatomy" and "CSI" by putting "The Office" at 9 PM Thursdays?

Here is the upfront schedule of when networks make their 2007-2008 season presentations to the nation's advertisers (and TV critics) in New York City:

NBC Monday May 14
ABC Tuesday May 15
CBS Wednesday May 16
FOX Thursday May 17
CW Thursday May 17

So be sure to check in -- often! -- to the Hot Off The Press thread from now and throughout the Upfront announcements for complete coverage of what we'll be seeing starting in September.
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post #722 of 95734 Old 05-04-2007, 09:03 AM - Thread Starter
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Thursday's fast national over night prime-time ratings - and Media Week Analyst Marc Berman's view of what they mean -- have been posted at the top of Ratings News the second post in this thread.
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post #723 of 95734 Old 05-04-2007, 09:14 AM - Thread Starter
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Critic's Notebook
So long, 'Gilmore Girls,' so long, WB
CW drops the show when renewal talks collapse
By Toni Fitzgerald MediaLifeMagazine.com staff writer May 4, 2007

Officially, the WB died last September, when it merged with UPN to form the new CW. But in spirit the WB survived until yesterday, when the CW confirmed it was canceling one of the WB's signature shows, Gilmore Girls, after seven seasons.

That comes as little surprise. CW executives had been in protracted negotiations with the show's two stars, Lauren Graham and Alexis Bledel, over another season, and in recent weeks there was talk of perhaps a shortened eighth season. But those talks also fell apart.

The series finale will air May 15 at 8 p.m., and it's probably the right time, both for the show and the network.

While Girls remains the CW's top scripted series this year in total viewers and its target adults 18-34, ratings were off by double-digit percentages from last year, and its creative momentum had stalled.

For the network, Gilmore Girls remains a symbol of its WB roots, and not a particularly positive one in the eyes of media buyers. The CW's biggest problem, one that media people have grumbled over all season, was its failure to innovate at launch.

The network relied almost entirely on WB and UPN holdovers, many of them old and fading, like Gilmore and soon-to-go 7th Heaven.

The CW had just two new shows last fall, and one was quickly canceled.

With Gilmore and Heaven leaving, the CW will finally be forced to define itself by moving beyond the teen angst of the WB and creating its own identity through its own new shows.

Of all the programs on the CW, Gilmore was the one most closely associated with the WB. The show debuted in 2000, five years after the WB launched, and it led the second generation of successful dramas like Smallville and Angel for the network.

Whereas earlier dramas like Dawson's Creek and Buffy, the Vampire Slayer had focused exclusively on smart, hormonal teenagers, Gilmore added another dimension: smart, hormonal adults.

The show followed a mother and daughter pair of best friends whose quick banter was peppered with pop culture references. It won critical praise immediately, and while ratings were low its first season, it became one of the WB's most successful and longest-running programs after moving from Thursday to Tuesday night in its second year.

But all season there had been signs that Gilmore might not come back. Bledel was rumored to be reluctant to commit to another year, and Graham would not return without her.

Most importantly, the show's writing had been uneven this season following the departure of series creator Amy Sherman-Palladino, who left last spring after a contract dispute with producer Warner Bros.

A storyline in which Graham's Lorelai abandoned longtime beau Luke to marry Rory's dad was particularly unpopular, and viewership for the show fell. Last year it averaged 4.5 million total viewers; this season it's averaging 3.75 million, a decline of 17 percent.

http://www.medialifemagazine.com/art...icle_11869.asp
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post #724 of 95734 Old 05-04-2007, 09:18 AM - Thread Starter
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(From Marc Berman's Friday, May 4, 2007, Programming Insider column and blog at Mediaweek.com )
http://www.mediaweek.com/mw/newslett...ider/index.jsp
Ratings Box: What's Hot/What's Not
Late Night Results - Week of April 23, 2007

NBC's The Tonight Show with Jay Leno dominated the first hour in late night, outdelivering CBS' The Late Show With David Letterman by 28 percent in households, 1.27 million viewers and 33 percent among adults 18-49. ABC's Nightline, of course, was third, followed by Jimmy Kimmel Live at levels close to one year earlier for both shows. Both Tonight and Letterman were down year-to-year, with Leno's losses more severe at as much as 16 percent in the three surveyed categories.

NBC's now veteran Late Night with Conan O'Brien and CBS' more recent The Late Late Show with Craig Ferguson were tied in households in the second hour of late night, but Conan dominated by 120,000 viewers and 50 percent among adults 18-49. Both shows were down year-to-year.

What follows are the national rating results in late night for the week of April 23 (with change versus the comparable year-ago period in parentheses):

Monday-Friday 11:30 p.m. - 12:30 a.m.

Households:
The Tonight Show with Jay Leno (NBC: 3.7 rating/10 share, -14)
The Late Show with David Letterman (CBS: 2.9/ 8, - 3)
Nightline (ABC, 11:30 p.m.: 2.5/ 6, + 4)
Jimmy Kimmel (ABC, 12:00 a.m.: 1.3/ 4, no change)

Total Viewers:
The Tonight Show (NBC: 5.22 million, -12)
David Letterman (CBS: 3.95, - 4)
Nightline (ABC: 3.37, + 8)
Jimmy Kimmel (ABC: 1.70, + 5)

Adults 18-49:
The Tonight Show (NBC: 1.6/ 7, -16)
David Letterman (CBS: 1.2/ 5, -14)
Nightline (ABC: 1.1/ 5, no change)
Jimmy Kimmel (ABC: 0.6/ 3, -14)

Monday-Friday 12:30-1:30 a.m.

Households:
The Late Late Show with Craig Ferguson (CBS: 1.5/ 6, - 6)
Late Night with Conan O'Brien (NBC: 1.5/ 6, -17)

Total Viewers:
Conan O'Brien (NBC: 2.06 million, -12)
Craig Ferguson (1.94, - 7)

Adults 18-49:
Conan O'Brien (NBC: 0.9/ 5, -10)
Craig Ferguson (CBS: 0.6/ 4, -14)

Source: Nielsen Media Research data
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post #725 of 95734 Old 05-04-2007, 09:22 AM - Thread Starter
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Overnights in the 18-49 Demo
Healthy omen for likely 'Grey's' spinoff
Two-hour special averages a 9.0 in 18-49s
By Toni Fitzgerald MediaLifeMagazine.com staff writer May 4, 2007

It looks more and more likely that Addison will be spinning off of Grey's Anatomy and down to Los Angeles after a strong showing for a two-hour episode of the show last night that also acted as the proposed spinoff's pilot.

Grey's averaged a 9.0 adults 18-49 rating, according to Nielsen overnights, 14 percent above its season-to-date average of 7.9 and its best showing in several weeks.

The show didn't dip during its 120 minutes, averaging an 8.7 in its first half hour at 9 p.m. and a 9.1 every half hour thereafter. It had an especially big impact on the competing networks' shows. At 10 p.m., Shark averaged a 3.2, its lowest rating for an original in several weeks, while NBC's ER fell to a series-low 3.2.

And at 9 p.m., CBS's CSI had its lowest-rated Thursday show ever, averaging a 5.5.

The two-hour Grey's, combined with Ugly Betty's best showing in weeks at 8 p.m., boosted ABC to a 7.2 rating and 20 share for the night, tying for its best Thursday of the season, though Grey's was nowhere near its season debut high of 11.0.

The strong ratings make it seem likely that ABC will go ahead with Addison's spinoff, which would move her to an LA clinic with doctors just as pretty and sex-obsessed as those at Seattle Grace, judging from last night's episode. ABC has not officially ordered the show yet.

ABC dominated last night among viewers 18-49 with CBS second at 4.4/12, super-sized NBC third at 3.1/9, Fox fourth at 2.1/7, Univision fifth at 1.8/5 and CW sixth at 1.4/4.

CBS started the night in the lead with a 4.5 rating at 8 p.m. for Survivor. ABC was second with a 3.6 for Ugly Betty, NBC third with a 3.4 for My Name is Earl and part of The Office, and Fox fourth with a 2.9 for Are You Smarter than a Fifth Grader. Univision was fifth with a 1.9 for La Fea Mas Bella and CW sixth with a 1.5 for Smallville.

At 9 p.m. ABC took the lead in a big way with an 8.9 for the first half of the two-hour Grey's, followed by CBS with a 5.5 for CSI. NBC was third with a 2.8 average for the end of The Office, an episode of Scrubs and the first few minutes of a supersized ER, with Univision fourth with a 2.1 for Destilando Amor, Fox fifth with a 1.8 for Trading Spouses and CW sixth with a 1.3 for Supernatural.

ABC led again at 10 p.m. with a 9.1 for the second half of Grey's, with CBS and NBC tied for second at 3.2, CBS for Shark and NBC for ER. That left Univision fourth with a 1.5 for Aqui y Ahora.

Among households, ABC led the night with an 11.2 average rating and an 18 share. CBS was second at 9.4/15, NBC third at 4.5/7, Fox fourth at 4.0/7, Univision fifth at 2.2/4 and CW sixth at 2.0/3.

http://www.medialifemagazine.com/art...icle_11893.asp
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post #726 of 95734 Old 05-04-2007, 09:36 AM
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[from article by Glen Dickson]
...consumers don't realize they can receive crystal-clear high-definition pictures for free, by using an over-the-air antenna, without having to sign up for high-definition cable or satellite service....

Kind of appropriate you should post it today, Fred. I have had my Hisense/USDTV DB2010 STB (bought from an eBay seller, and updated for OTA reception) for a week now. I am very amazed at how the digital channels I receive look as good, maybe even slightly better, than cable channels on my Samsung analog TV.

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Been there, done that, got the T-shirt...
Hot Off the Press / Philips and Magnavox DVD Recorders

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post #727 of 95734 Old 05-04-2007, 09:45 AM
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The HD Revolution
Surprise Interest in Over-The-Air TV
By Glen Dickson Broadcasting & Cable, 5/4/2007

Guess that blows the argument that only sat or cable is viable in the marketplace!

All opinions expressed (unless otherwise noted) are the posters and NOT the posters employers. The poster in NO WAY is/will speak for his employers.
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post #728 of 95734 Old 05-04-2007, 10:08 AM - Thread Starter
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Kind of appropriate you should post it today, Fred. I have had my Hisense/USDTV DB2010 STB (bought from an eBay seller, and updated for OTA reception) for a week now. I am very amazed at how the digital channels I receive look as good, maybe even slightly better, than cable channels on my Samsung analog TV.


It is wonderful to be able to get local HD with such clarity and without the concern that a provider (cable or satellite) might have a technical glitch. It also, of course, can save a few dollars a month.

In the early days there were lots of screwups from the stations themselves, but, for the most part, those seemed to have all but disappeared.

In some areas having an outdoor antenna is even a sign of pride -- like a luxury car parked in the driveway.
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post #729 of 95734 Old 05-04-2007, 10:16 AM - Thread Starter
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TV Sports
De La Hoya-Mayweather Fight Could Eclipse PPV Record
By Ben Grossman Broadcasting & Cable 5/4/2007

Thanks to the success of a four-episode HBO series and an extensive promotional push, Saturday night's Floyd Mayweather Jr.- Oscar De La Hoya boxing match is looking more and more like the mega-event HBO Sports and the sport of boxing was hoping for.

While no one at HBO wants to make predictions, the event between the sport's best pound-for-pound fighter in Mayweather and its most marketable in De La Hoya could make a run at the all-time non-heavyweight pay per view record of 1.4 million buys (for De La Hoya vs. Felix Trinidad in 1999).

But up against competition from the Kentucky Derby and the NBA playoffs this weekend, Saturday's fight at the MGM Grand in Las Vegas is dominating much of the buzz in the sports world, including a rare boxing cover for Sports Illustrated.

But even that magazine's jinx shouldn't be able to prevent a massive pay per view audience for HBO, even with a hefty $54.95 price tag.

With the sport of boxing on the ropes right now in the absence of many big names in the heavyweight division that usually drives the sport's popularity, this weekend's fight should at least eclipse the one million buy mark, a stellar figure for a non-heavyweight bout.

The buzz has not been by accident, though, as pre-fight hype included a coast-to-coast media tour with well-attended events in 11 cities.

But perhaps the biggest push for the fight has come from HBO Sports' acclaimed four-episode behind-the-scenes series leading up to Saturday's fight. HBO gave De La Hoya/Mayweather 24/7 prime real estate for the last three Sunday nights, airing it immediately after the network's 1-2 punch of The Sopranos and Entourage.

The result was an average of 1.2 million viewers for those three airings. With all of the re-airs taken into account, the first two airings drew 4.1 million viewers.

The fourth and final installment of the series was set to air Thursday night.

http://www.broadcastingcable.com/ind...leID=CA6439203
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post #730 of 95734 Old 05-04-2007, 10:17 AM
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Network OTA HD is great for live sports or anything you want to watch live as it airs (like PGA Golf or a season finale of a show you like) but if you're as addicted to DVR'ing your shows as we are then it's of little to no consequence to your daily viewing. For some reason the OTA stations in my market (NYC) come through so L-O-U-D that I have to limit my use of PIP when watching cable/DVR on the other input. Switching from a volume setting for a cable channel to OTA HD sends a sonic blast through my studio apartment not unlike the giant juke box that sent Michael J. Fox flying in Back to the Future. Why is OTA audio much louder and cleaner than the same station coming through cable or satellite?
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post #731 of 95734 Old 05-04-2007, 10:19 AM - Thread Starter
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I don't have that problem at all, dad.

And I DVR the vast majority iof my shows using OTA as my source.
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post #732 of 95734 Old 05-04-2007, 11:04 AM
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Originally Posted by fredfa View Post

TV Sports
De La Hoya-Mayweather Fight Could Eclipse PPV Record
By Ben Grossman Broadcasting & Cable 5/4/2007

Thanks to the success of a four-episode HBO series and an extensive promotional push, Saturday night's Floyd Mayweather Jr.- Oscar De La Hoya boxing match is looking more and more like the mega-event HBO Sports and the sport of boxing was hoping for.

While no one at HBO wants to make predictions, the event between the sport's best pound-for-pound fighter in Mayweather and its most marketable in De La Hoya could make a run at the all-time non-heavyweight pay per view record of 1.4 million buys (for De La Hoya vs. Felix Trinidad in 1999).

Boxing's love affair with PPV is what's helping to kill the sport. Every time there's a fight that a casual fan would want to see, it's only available on PPV at a ridiculous price point like this one, so virtually no one sees it. It's no wonder that boxing has fallen off the average sports fan's radar. At one time it was the second most popular sport (to baseball) in the land! It should be common sense that you would want as many eyeballs as possible to witness a great fight like this one portends to be; that's the only way you'll grow the sport. Instead, they invariably stick it on PPV where the audience is limited to only those fanatical enough to pay $55 to see the fight live. That's no recipe for growth; only greed. I have to laugh when I hear the lamentations from the boxing press and fighters themselves about the sorry state of the game. Well, duh.
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post #733 of 95734 Old 05-04-2007, 11:11 AM - Thread Starter
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TV Sports
Major League Baseball Hooks Cablevision
Operator Agrees to Launch Baseball Channel; Renews Extra Innings Deal
By Steve Donohue Multichannel News 5/4/2007

Cablevision Systems agreed Friday to launch Major League Baseball's planned MLB Channel as part of an agreement to distribute its MLB Extra Innings subscription game package.

The deal came one month after the league struck a deal with pay-per-view distributor In Demand for MLB Channel and Extra Innings. Until Friday, DirecTV and In Demand owners Comcast, Cox Communications, Time Warner Cable and Advance/Newhouse Communications' Bright House Networks were the only cable operators that had reached agreements to distribute Extra Innings.

MLB originally struck a $700 million deal with DirecTV in March. The deal gave DirecTV equity in MLB Channel, set to debut in 2009.

The league reworked terms of its DirecTV deal after signing an agreement with In Demand's owners -- which also received an ownership stake in MLB Channel -- and the league has demanded that any pay TV provider that wants to distribute Extra Innings also must widely distribute its MLB Channel.

Cablevision said it will sell the Extra Innings package for $159, offering up to 60 out-of-market baseball games each week for the entire season. Cablevision subscribers can order Extra Innings with their remote controls on channel 900.

Other than In Demand's owners, Cablevision is the only major cable operator that has agreed to launch MLB Channel.

http://www.multichannel.com/index.as...leID=CA6439321
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post #734 of 95734 Old 05-04-2007, 11:12 AM
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Boxing's love affair with PPV is what's helping to kill the sport. Every time there's a fight that a casual fan would want to see, it's only available on PPV at a ridiculous price point like this one, so virtually no one sees it. It's no wonder that boxing has fallen off the average sports fan's radar. At one time it was the second most popular sport (to baseball) in the land! It should be common sense that you would want as many eyeballs as possible to witness a great fight like this one portends to be; that's the only way you'll grow the sport. Instead, they invariably stick it on PPV where the audience is limited to only those fanatical enough to pay $55 to see the fight live. That's no recipe for growth; only greed. I have to laugh when I hear the lamentations from the boxing press and fighters themselves about the sorry state of the game. Well, duh.

I agree, I used to love to watch boxing, but at these prices, forget it, it's just way too much money, especially if the bout turns out to be a first or second round KO.
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post #735 of 95734 Old 05-04-2007, 11:16 AM
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Originally Posted by fredfa View Post

TV Sports
Major League Baseball Hooks Cablevision
Operator Agrees to Launch Baseball Channel; Renews Extra Innings Deal
By Steve Donohue Multichannel News 5/4/2007

Cablevision Systems agreed Friday to launch Major League Baseball's planned MLB Channel as part of an agreement to distribute its MLB Extra Innings subscription game package.

Does that leave Dish as the only major cable/satellite shut out of the MLB/EI deal?
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post #736 of 95734 Old 05-04-2007, 11:16 AM - Thread Starter
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post #737 of 95734 Old 05-04-2007, 11:20 AM
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Quote:
Originally Posted by archiguy View Post

Boxing's love affair with PPV is what's helping to kill the sport. Every time there's a fight that a casual fan would want to see, it's only available on PPV at a ridiculous price point like this one, so virtually no one sees it. It's no wonder that boxing has fallen off the average sports fan's radar. At one time it was the second most popular sport (to baseball) in the land! It should be common sense that you would want as many eyeballs as possible to witness a great fight like this one portends to be; that's the only way you'll grow the sport. Instead, they invariably stick it on PPV where the audience is limited to only those fanatical enough to pay $55 to see the fight live. That's no recipe for growth; only greed. I have to laugh when I hear the lamentations from the boxing press and fighters themselves about the sorry state of the game. Well, duh.

Youre absolutely correct. I think one of the obstacles in fixing the sports problems is that there isnt a singular governing body for the sport. The many federations, councils and organizations that offer up championship belts need to be under a single umbrella that can, by working together, right the ship...so to speak.

Then of course there are promoters that only look out for their bottom lines, often at the expense of the boxers themselves.

I doubt that the sport of boxing will ever be anything close to what it once was. Theres just too many entities trying to make a killing financially.
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post #738 of 95734 Old 05-04-2007, 11:47 AM - Thread Starter
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I am not a boxing fan. But if tonight's bout were offered at, say $14.95, I very well might take a look.

The same with many other PPV fights.

But to have to pay a third as much for one fight as I spend for an antire season of MLB:EI is simply too much for me to consider.
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post #739 of 95734 Old 05-04-2007, 12:43 PM - Thread Starter
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The 2007-2008 Season
Primetime Pilot Panic:
Hot Handicapping
By Nikki Finke of the LA Weekly in her deadlinehollywooddaily blog May 4, 2007

This is what I'm told by sources is the current state of primetime pilot possibilities. Now updated with NBC information:

ABC
Hearing they will pick up 4 to 6 projects.

HOT:
1. PRIVATE PRACTICE (Grey's Anatomy Spinoff) by Shonda Rhimes (ABC TV Studios): This will definitely be on the air.
2. DIRTY, SEXY, MONEY by Craig Wright (ABC TV Studios/Berlanti): This show tested very well. The stars were easily recognizable for the audience.
3. PUSHING DAISIES by Bryan Fuller (WBTV): ABC is very high on this and it has gone over extremely well. Word is show being given the right to make offers to writers.
4. PERFECT GENTLEMEN by Jon Feldman (WBTV): The pilot is not in the best of shape, but it tested really well, with audiences really liking the men. Hearing this is a McPherson favorite. Word is show being given the right to make offers to writers.
5. MARLOWE by Pruss & Wolper (ABC TV Studios): Came in very strong and ABC really likes this project. It didn't test great, but Jason O'Mara is supposed to be great. They have ordered 2 more scripts.

CLOSE TO HOT:
1. FOOTBALL WIVES by Marco Pennette (ABC TV Studios/Brancato-Salke): Hearing mixed reports. This tested very well with women and only so so for the men. There could be some more work done on this pilot. Wouldn't be surprised to see it mid-season.
2. CASHMERE MAFIA by Kevin Wade (Sony/Darren Star): Did not come off as well as they hope (They did a day of re-shoots), but no one is counting it out. It tested so-so, with the characters being the focal point of what people liked.
3. ELI STONE by Greg Berlanti & Marc Guggenheim (ABC TV Studios/Berlanti): This can never be counted out. Hearing the testing results were mixed and that it viewed that way as well.

WARM:
1. SUSPECT by Ed Zuckerman (Sony/25c): Not hearing a lot about this project, heard that it came in looking great.
2. JUDY'S GOT A GUN by Robert & Michelle King (ABC TV Studios): Came in better than they thought, but didn't test well at all.
3. WOMEN'S MURDER CLUB by Craft & Fain (20th): This project must have something good in it, because they did a day of re-shoots. They will view this week.

COLD:
1. MR. & MRS. SMITH by Simon Kinberg (Regency/Dutch Oven): Hearing this did not turn out well or screen well at all.
2. UNTITLED RINA MIMOUN (WBTV): Heard this pilot did not come in strong and is not getting any sort of buzz.

CBS

Hearing they will pick up 3 or 4 pilots and, as expected, it's very quiet over there.

HOT:
1. LOS DUQUES by Cynthia Cidre (CBS Paramount/ABC TV Studios): Hear that they are in love with this pilot and that it looks amazing. Jimmy Smits and cast are great.
2. BABYLON FIELDS by Atkinson & Cuesta (20th): Very happy with this pilot. Was in competition with Twilight but this project came in much much better.
3. THE MAN by Anthony Zuiker (CBS Paramount); Came in better than expected and they are very pleased. Hearing this got a huge amount of response over at CBS.

CLOSE TO HOT:
1. SWINGTOWN by Mike Kelley (CBS Paramount): They really like this pilot but are not sure they can put it on air, rumors of it going to Showtime are floating around.
2. PROTECT & SERVE by Gibson & Halpern/GST (NUTS): Came in well and has a good shot.

WARM:
1. SKIP TRACER by Burgess & Green (CBS Paramount): A very good pilot. Not hearing a ton of buzz but fits the CBS mold of what they do.
2. VIVA LAUGHLIN by Bob Lowry (CBS Paramount/Sony/BBC Worldwide): The reviews on this have been very mixed, but heard some over at CBS really like the format.

COLD:
1. UNTITLED BARRY SCHINDEL (CBS Paramount): Have heard this did not come out well at all.
2. DEMONS by Barbara Hall (CBS Paramount): Hearing this came in very poor and that it is not well liked.
3. TWILIGHT by Munson & Koslow (WBTV/Silver): This did not come in great and, with Babylon Fields looking strong, this is very cold.

Fox

Hearing they will pick up 4 to 5 pilots.

HOT:
1. SARAH CONNOR CHRONICLES by Josh Freidman (WBTV): This will be their one sure thing to pick up. Heard it looks great and they are very excited about how it came together.
2. APOSTLES by Chuck Pratt (20th): This came in much better than they thought and this is looking very good for a pick up.
3. THEM by McNamara & Eick (CBS Paramount/Eick/Circle of Confusion): This came in very strong and has a lot of support.

CLOSE TO HOT:
1. NURSES by Goodman & Stern (20th): Hearing they really like this show and would be something a bit lighter for them to put on the air.
2. K-VILLE by Jonathan Lisco (20th): This pilot is really starting to pick up some steam. Wouldn't be surprised if it got a pick up.

WARM:
1. THE CURE by Massett & Zinman (WBTV): Hearing that this is just ok for them. Wouldn't be surprised to see this move up.
2. CANTERBURY'S LAW by David Erickson (Sony/Apostle): Again hearing this is ok. Wouldn't be surprised if they picked up another law show.

COLD:
1. NEW AMSTERDAM by Christian Taylor (Regency): Hearing this pilot does not look good and the pace of the show is incredibly slow.
2. SUPREME COURTSHIPS by Gary Tieche (20th/Adelstein): Heard this pilot is a mess and not getting any buzz at all.
3. NSA INNOCENT by Ehrman & Cochran (20th): Not a lot of buzz on this. That's why it made the cold list.

NBC
The network with the most needs. Execs have screened everything.

HOT:
1. THE WATCH
from Decter and Strauss (Pariah/Sony) is looking good for pick-up.
2. BIONIC WOMAN
(NBC Uni TV): Serious about.
3. CHUCK (WBTV)
Serious about.
4. JOURNEYMEN
(20th)
5. LIPSTICK JUNGLE [/b] (NBC Uni TV): Slam dunk.
6. UNTITLED DAVID SHORE SHOW
(NBC Uni TV)

WARM:
1. FORT PIT
(Apostle/Sony)
2. M.O.N.Y.
(NBC Uni TV)

CW

HOT:
1. GOSSIP GIRL by Josh Schwartz & Stephanie Savage (WBTV): This pilot looks great and is a great fit for their brand. Will be picked up.
2. THE REAPER by Fazekas & Butters (ABC TV Studios/Mark Gordon): CW is very happy with this show and I am hearing a lot of good things about it.

CLOSE TO HOT:
1. UNTITLED SOUTH AFRICA by Michael Rauch (CBS Paramount/Company Pics): Heard this came in ok, but, given their needs, this should get a pickup.

WARM:
1. BARNES by Tom Wheeler (WBTV/Class IV): This has come in so-so and not being talked about that much. However, it could easily move its way up.
2. SPELLBOUND by Maggie Friedman (WBTV): Hearing mixed reviews on this pilot.

COLD:
1. PAIGE ARMSTRONG by Rod Lurie (ABC TV Studios/Battle Plan): Not hearing great things and it lacks a showrunner.

http://www.deadlinehollywooddaily.com/
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post #740 of 95734 Old 05-04-2007, 12:55 PM - Thread Starter
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The 2007-2008 Season
Pilot Buzz
A rundown of the top new contenders for the fall
By Stephen Battaglio TV Guide May 4, 2007

The networks are just days away from unveiling their fall lineups. Here's the early word on what new shows to expect.

ABC will try hard to diversify its program lineup with a few dramas that don't fall into the soap category. That's why Marlowe, based on the famous Raymond Chandler detective character, and Pushing Daisies, a quirky supernatural drama about a man whose touch brings people back to life ("with procedural elements" as the pilot's log line says), are on the list of possible pickups. A sitcom based on the Geico cavemen and Sam I Am, starring Christina Applegate, are contenders on the comedy side. And oh, yes the network also has a new series that will be spun out of a little show called Grey's Anatomy.

CBS is trying to shake things up creatively. High on the list is a soapy saga starring Jimmy Smits as the head of a multigenerational family in the rum business. It's been touted as a "Latino Sopranos." Also in the running: Babylon Fields, about a town where zombies resume their predeath activities, and Swingtown, a '70s period drama about open marriage. On the comedy side, Giants of Radio has picked up some buzz. Wonder who's going to play Don Imus?

NBC execs believe they have a strong companion fantasy drama for Heroes in the form of Journeyman, which stars Kevin McKidd as a time traveler. They're also high on Lipstick Jungle, a drama about three high-powered New York women based on Candace Bushnell's novel.

Fox has already picked up 13 episodes of the new sitcom starring Kelsey Grammer and Patricia Heaton, now called Back to You. The Sarah Connor Chronicles, starring Lena Headey as a cyborg fighter in futuristic Los Angeles, is a top drama contender.

CW is bullish on Gossip Girls, a new series from O.C. creator Josh Schwartz that's based on a series of teen novels, and on Reaper, about a bounty hunter (Bret Harrison) who reclaims souls that escaped from hell. The network also has an untitled family drama set in South Africa from producer Michael Rauch that is high on the list of contenders.

http://www.tvguide.com/News-Views/Co...z/default.aspx
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Quote:
Originally Posted by fredfa View Post

I am not a boxing fan. But if tonight's bout were offered at, say $14.95, I very well might take a look.

The same with many other PPV fights.

But to have to pay a third as much for one fight as I spend for an antire season of MLB:EI is simply too much for me to consider.


I agree completely with your reasoning. Usually there are a couple three undercard fights prior to the main event.

Still, they doesnt make the price any more acceptable.
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post #742 of 95734 Old 05-04-2007, 01:23 PM - Thread Starter
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I know that there are usually several other bouts in the PPV package.

But generally, the fighters in the main event are all I have ever heard about, shuttermaker.

The undercard holds absolutely no interest for me.
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post #743 of 95734 Old 05-04-2007, 01:24 PM - Thread Starter
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TV Q&A
Ask Matt (from the Ask Matt column at TVGuide.com)
Drive, Dancing with the Stars, The Shield, The Wire and More

By Matt Roush: TVGuide.com TV Critic Friday, May 4, 2007

Question: What do you think of Drive's unceremonious cancellation? Fox heavily promoted it and was expecting big ratings. But giving a high-concept show like Drive only a week to catch on, without the benefit of repeats, seems like a complete lack of faith even if it is a show that can't be cheap to produce. I understand that a Sunday two-hour premiere/Monday regular-time-slot strategy works for an established hit like 24, but why would Fox deny a new show with mostly unknown actors a lead-in like House or American Idol?

Now 24's sinking ratings are being blamed on Drive as well, but I'm convinced that's just natural viewer drop-off in a subpar season. I'm not one to swear off any show that doesn't first make it through an entire season, but I can't help ask a few questions: Why wouldn't Fox debut this kind of show in the summer, when it has a greater chance for a slow build, a strategy that worked for The O.C.? What leads NBC to stick with a ratings-challenged, quality show like Friday Night Lights, while Fox pursues worthy experiments then drops them like a hot potato? Why does Tim Minear continue to work with Fox, when all of his shows (Firefly, Wonderfalls, The Inside) get such shabby treatment? And is there any chance fans will get to see the unaired episodes of Drive? Dina

Matt Roush: Sorry, but I'm not going to climb aboard the bash-Fox bandwagon for this failure. The network promoted the hell out of this show, and premiered it as if it were an event, the way it does 24. Most shows would kill for a build-up like that, to be launched with such hype during the network's biggest shows (including American Idol) and given a three-hour push in its first week. Drive was a high-concept experiment in junk-food, drive-in-movie action adventure that had the bad luck of premiering during a season that was particularly unforgiving of far-fetched serial thrillers. Putting it where Prison Break regularly airs, and doing it before summer, when many eyes turn to cable and the show would likely have been paired with some incompatible reality junk (Hell's Kitchen?), all makes sense to me if, in fact, it had turned out to be a show people wanted to see.

But it wasn't. It didn't open, it didn't grow, and from what I saw (every episode until the cancellation), it was just getting sillier by the mile. I thought it was an interesting swing of the bat by Fox to see if the audience for all those junky high-octane movies that clog the cinemas each weekend would translate to prime time. It didn't. Fox gave it a shot, but it's also true that Fox looks bad for dropping it so fast, once again leaving viewers stranded before a story reaches the finish line. All I can think is that, like CBS with Smith earlier in the season, they realized this was a loser, and sticking with it through sweeps was not going to work.

Still, comparing this situation to NBC standing behind a high-quality underdog like Friday Night Lights is laughable. One is a noble ratings failure the network still seems to believe in, the other is at best a guilty pleasure that didn't pay off. Fox was probably right to dump it. As for the unseen finished episodes: I don't know why Fox wouldn't put them online, but you'll have to check the network website to be sure. And I do hope Fox, Tim Minear or someone else posts something to tell the show's few viewers how it would have played out.

Question: I, too, am a huge fan of The Wire. Past interviews with David Simon had him saying the fifth season would focus on the media and have a more prominent role for the McNulty character. I don't know if this is still the plan, but whatever the show does, it'll be worth watching. Chris T.

Matt Roush: Thanks to all who wrote in to point out that the social/urban institution next to be dissected by this excellent series is the embattled, imperfect media. Given David Simon's history as a first-rate reporter, this is an arena he knows all too well. I can't wait.

Question: The Shield this season is just fantastic, especially Walton Goggins. Is Forest Whitaker gone already? It seemed like they wrote him out fairly quickly and the way they did it was just a little too "pat" for me. I hope he's going to be back later. Any info to share? Jerry B.

Matt Roush: The Forest Whitaker subplot is done. He had committed to only those two episodes, and in retrospect, if The Shield made any mistake in this so-far-terrific season, it's in having kept his character around as part of the season cliff-hanger. Resolving Kavanaugh's attempt to frame Vic and bring him down in just two episodes, with all the other turmoil going on, did feel rushed and even more incredible than usual for this dark melodrama. But wow on the Walton Goggins/Shane story line. Wait till you see where it's going. I've seen the first six episodes, and I can't imagine where the final four of this season will take us.

Question: In your recent column addressing whether a female will ever again win Dancing with the Stars, your discussion completely failed to consider another angle: Perhaps viewers are voting for the professional dancers as much or more than the celebrities. As a straight, male fan of the show, I have to admit that a lot of the appeal for me is with the female professionals. Let's face it, most of them look great, and most of them have very enjoyable personalities. Cheryl, Kim and Julianne are a joy and I think they bring out the best in their partners. Karina also does an excellent job, but her occasional pouts and expressions of less-than-good sportsmanship may have been what lost it for her last year she's maybe just a little too serious. Poor Edyta keeps getting poor pairings but then overdoes it to make up for her partners' inabilities. On the other hand, the men tend to be fairly uninteresting or, in some cases, creepy. Louis and Brian fall into the latter category. Tony is my favorite of the men, as he seems to bring out the best in his partners and has good choreography and a very pleasant personality: the complete package. Having competed in dance, I know it really is about showcasing the women and making them look good on the floor. The men normally don't have to do as much, and when you consider that the female professionals can showcase themselves, those pairings have a decided advantage. Floyd

Matt Roush: You make excellent points I hadn't considered. The pros, after all, are the ones "dancing with the stars," and I have no doubt they have their own fan base. It is sad to see a great dancer paired with a dud, and I like the fact that they get to come back and try again, sometimes with a more suitable partner.

Question: I read on NBC.com's Studio 60 page that the show is returning at 10 pm/ET on Thursday, May 24. Is the network just burning off the unaired episodes, or is there hope? I know it didn't live up to expectations, but it's hard not to enjoy something written by Aaron Sorkin and starring Bradley Whitford and Matthew Perry, even if the show reused a lot of themes previously seen in Sports Night and The West Wing. Also, any news on whether Men in Trees fans have to wait until the fall to watch the final episodes now that October Road has aired its season finale? Andi

Matt Roush: Given the fact that NBC will have made its fall schedule announcement nearly two weeks before Studio 60 reemerges from hiatus, I'll be shocked if it's anywhere on the schedule (even as a backup contingency), and I think it's safe to assume that the postseason airings are a burn-off (not unlike when ABC briefly revived Six Degrees on Fridays).

Question: There's so much concern and speculation about where NBC might put the phenomenal Friday Night Lights next season, but why hasn't anyone (that I've seen) suggested what to me seems like the most sensible and obvious solution: keeping it on Wednesdays but moving it to 9 pm/ET with Deal or No Deal as a lead-in? This would keep Lights out of the ratings graveyard that is Friday nights while also allowing it to grow the audience who found it on Wednesdays this season while simultaneously feeding on the sizable viewership that Deal generates. It would also satisfy NBC's stated preference for airing cheap, reality-based fare at the start of the night. I'm no network suit, but isn't scheduling a struggling show after a hit one of the first lessons you learn in Network Scheduling 101? Lord knows that the only reason Fox's 'Til Death has gotten even halfway decent numbers is because Fox put it after its juggernaut American Idol. I acknowledge that a Wednesdays-at-9 slot would pit Lights against Idol come Idol's usual January premiere, but what about doing a Deal/Lights combo on Wednesdays until January and then moving that same pair to Fridays (or some other night) once Idol returns? Travis K.

Matt Roush: From what I understand, NBC has been weighing all sorts of scenarios in hopes of figuring out how to drive more viewers to Friday Night Lights, should it get a second season. It's a real dilemma. The problem with putting the show after Deal on Wednesdays is that inevitably it will lose a significant amount of that lead-in, and provide little support to whatever show may follow it at 10 pm/ET, so it will look like a loser unless things miraculously improve. It's a fact that Friday Night Lights should not be asked to kick off a night, and deserves to be hammocked between more established series. NBC's problem (among others) is that it has so few solid franchises to help build other shows into hits. There's no easy solution to the sad reality that Friday Night Lights is not the sort of show that's likely to be able to outdraw disgusting sensational trash like Criminal Minds (which would be its competition in the above scenario). Draw your own conclusions about what this says about our society.

Question: I've just read that the Nielsens have started including DVR viewership in the ratings, and several of my favorite shows (Lost, The Office, 24) saw sizable increases in viewers as a result. This gives me hope for the future, when a show that is perhaps on the bubble for smaller ratings may pull some extra viewers from the DVR ratings and have a better shot at being saved. My only concern would be the advertisers. Obviously people aren't watching the commercials when playing back their DVR shows (maybe the best part of owning a DVR), so these ratings wouldn't have an effect on the marketing, and the increase may be moot in the networks' eyes. However, I would hope the increase in viewers would hopefully give the networks pause before canceling a series, regardless of increased ad revenue. Do you think the new ratings, in the end, can help shows on the bubble? Or am I reading too much into this? Love your column, by the way! Thomas D.

Matt Roush: This new ratings news is something of a mixed blessing. It's comforting to know that these shows haven't so much been abandoned by viewers as they are now being watched in a different way. Good for us, but the economic reality is more troubling. Who's going to pay for this? If we're not watching ads (and I'm as guilty as the next chronic time-shifter), how do advertisers justify supporting shows that aren't being watched in real time? I know I don't have the answer to that question. It's an ongoing debate between the networks and the sponsors, and I'm not sure how it's going to play out or how it's going to affect the fate of the shows we love to watch when we want to watch them.

Question: What is going on with Court TV? On Friday, April 27, Catherine Crier said it was her last show. She never explained why or what is really going on. All she said was something like, "By the end of the year Court TV will be gone, and something will be in its place." What is happening? I TiVo'd Catherine every day, and I am feeling lost already that she won't be on. Her show was the best news show on TV. Is she going to another network? And will Court TV be leaving the air? Linda

Matt Roush: Court TV is going through a major transition that involves rebranding to the point where it seems that by the new year, it may even shed its original name. The channel itself will continue to exist, it just won't look the same. Catherine Crier's show appears to be a casualty of this new initiative, one of many changes that are bound to frustrate and annoy longtime fans. I haven't heard anything regarding Crier's future, but she's something of a brand name herself, and I would assume she'll eventually reappear on one of TV's myriad news/information outlets.

Question: The recent release of Kidnapped on DVD and the upcoming release of Kitchen Confidential, both shows that didn't last more than five or six episodes, surprised me and left me wondering about more creative uses of the TV-show box set. It must be lucrative for the production companies or they wouldn't do it. Do you think that in the next four to five years, high-quality, creative, outside-the-box TV shows that don't make it on their network will instead go straight to DVD? I think it would be great if there were limited-run miniseries that were heavily promoted (maybe even a one-episode run on network TV) but weren't then dumped onto networks and time slots where they can't possibly survive. This proposal would also solve the recent problem of the serialized dramas that we all know won't make much sense after one season (Reunion, Day Break) while still rewarding creativity and experimentation. Since you know more about the industry than I do, I would love to know what you think. Christienna

Matt Roush: At the moment, when you hear of anything going straight to DVD or being produced solely for the DVD market, your first thought isn't, "Wow, bet that's gonna be good!" DVDs are an ancillary, not a primary, source of revenue for the studios (and depending on the corporate partnerships, the networks), and I can't imagine a scenario under which high-quality episodic work will be produced solely for what is now the aftermarket. It's great that certain limited-run shows (I'd include something like Invasion, which at least lasted a full season) are finding their way to DVD, but the impetus of the business is still to get on a show on the network and have it work there first. I don't see that changing just yet.

Question: I'm excited about the June return of Kyle XY, which blends family drama, teen angst and sci-fi very well. I do, however, think that ABC Family made the right decision in keeping the second season for the summer. The show does address weighty issues, but it has a light touch that makes it perfect summer viewing. It would get lost during the regular season. In light of that, I'm wondering if Fox wouldn't have been better off holding Drive till the summer. The show had narrative issues, but I think a summer viewing audience would have been more forgiving of those problems. A cross-country race just seems to fit an abbreviated summer season. Plus, launching a new show like this so late in the spring season seems awfully counterintuitive. On a related note, what summer shows do you consider to be the best? Lindsy L.

Matt Roush: As discussed earlier, I doubt Drive would have worked in the long run in summer, spring, winter or fall. The networks aren't likely to air high-ticket items like this during the summer, when viewing levels are so much lower. (Believe me, if Drive had aired this summer and failed, I'd be getting these same questions wondering why Fox didn't wait until fall or mid-season. Denial: not a pretty thing.) For the networks, summer is a laboratory in which to try lower-cost, lower-risk alternative (i.e., reality) projects in hopes of finding the next American Idol, Dancing with the Stars or even Survivor. In the summer, the real action's on cable, and it is a perfect time for genre shows like Kyle and The 4400 to break out and find their audience. The choices this summer are going to be overwhelming, and it's starting earlier than ever, in some cases not even waiting for June. At the risk of leaving anything out, I'll just say that off the top of my head, I'm most excited about the return of TNT's The Closer. I'm curious about Sci Fi's new Flash Gordon and TNT's new Holly Hunter series (Saving Grace), as well as David Milch's John from Cincinnati. On the purely guilty-pleasure front, I'm hopeful that Sci-Fi's Who Wants to Be a Superhero? is as charming the second time around. Overall, I expect there to be the usual mix of surprises, disappointments and duds this summer, just like any other time of what's now a nonstop TV year.

http://www.tvguide.com/News-Views/Co...t.aspx#01drive
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post #744 of 95734 Old 05-04-2007, 01:40 PM - Thread Starter
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HDTV Notebook
PBS Favorite Antiques Roadshow goes HD

To finally answer a long-standing question from reader Theratpatrol, I just got off the phone with an executive with WGBH in Boston.

"Antiques Roadshow" on PBS will be shooting all its episodes in HD for the first time this summer. Thus, starting with the new season in January of 2008, all future "Antiques Roadshow" episodes (but not, obviously, repeats) will be in HD.

This is according to Lance W. Ozier, Vice President for National Program Marketing of WGBH, which produces the show.
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post #745 of 95734 Old 05-04-2007, 01:42 PM - Thread Starter
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Critic's Notebook
Anatomy of a Spin-off: A Rocky Start
By Matt Roush TV Guide Critic May 4, 2007

Watching Thursday night's underwhelming, overly frenetic backdoor pilot setup for the seemingly inevitable Grey's Anatomy spin-off, I was reminded how blown away I wasn't by the original Grey's pilot as well. The Grey's pilot had its problems, but this glossy new twist on the formula seems much more problematic.

When Grey's first appeared, with the pilot held for mid-season in a year when Lost and Desperate Housewives exploded on the scene and turned ABC's fortunes around, my initial thoughts were: Loved the cast. Liked the characters. But at first look, the reliance on heavy-handed voice-over (since dialed back a bit) and woe-is-me, life-as-an-intern-is-hard whining obscured many of the charms that would soon emerge, and it felt a bit generic.

By the end of that first half-season, though, I was hooked. The heightened mix of hospital drama and romantic comedy, lathered in torrid and twisty soap operatics, was infectious, and the wonderfully blended (by sex and race) cast pulled it off. At the very end of that mini-season, we were introduced to Addison (Kate Walsh), a significant spoiler in the Meredith-McDreamy relationship. And in one of the show's more pleasant surprises, what could have been a cliché (the brittle bitch of an ex-wife) evolved in the following season into one of Grey's richest characters: a brilliant but vulnerable woman picking up the pieces of her shattered personal life while acting as one of the more exacting yet compassionate mentors to the driven medical students on her watch. (That she took her attraction and flirtation with Alex to the next level? Well, this is Grey's Anatomy, with an emphasis on anatomy.)

Of all the characters on the show to build a spin-off around, Addison makes sense. She is still a bit of an outsider, and since there's no real future for her with Derek or the other horndogs on Seattle Grace's staff, let's see where her quest to be happy and free (the Chief's words) will take her.

Unfortunately, it took her to the New Age-y, touchy-feely Oceanside Wellness Group, which might as well be renamed L.A. Sex-pital. Grey's sometimes gets knocked for its Ally McBeal tendencies, but this place is infected by Ally-itis, with cringingly cutesy flourishes of forced whimsy at every turn. Everyone on the staff seems on the verge of a perpetual emotional breakdown or crying jag, and upon arrival, Addison launched into a silly stream of infantile babbling like an overripe Ally. Around the third or fourth time the elevator talked back to Addison, I found myself wondering where the unisex bathroom was. When Addison actually apologized to the elevator (before being introduced to the unseen security guard on the other side of the creepy surveillance camera), I really missed Seattle. (Although the stories going on back home at the mother ship weren't exactly inspired this week, either. Tell me you didn't see Mare Winningham's hours were numbered when she came in with that tragic case of hiccups.)

Back at Oceanside, the writing was forced, the chaotic atmosphere was instantly tiresome, but the cast couldn't be prettier. Tim Daly (who deserved a hit in Eyes and possibly The Nine), Merrin Dungey (looking luminous), Taye Diggs, Amy Brenneman, junior beefcake Chris Lowell, and my favorite because Shonda Rhimes writes nebbishes so well Paul Adelstein (a world removed from his Prison Break villainy) as a sad-sack doc who's turned to Internet dates that tend to backfire. Pretty solid ensemble there, although it's unclear if any of these characters (including Addison, as written in this episode) could actually carry the show. I'm not sure any one character has to. I just wish they'd all let up a bit.

Did I really need to hear Violet the neurotic shrink (Brenneman) describe her ex as smelling like pee? Or Dr. Feelgood Diggs remark, Don't talk about your penis while you hug another man. And so on. I almost expected to see Denny Crane as a guest patient. Maybe for November sweeps.

It's more fun than a stuffy hospital, Naomi (Dungey) told Addison about life at Oceanside. Which may be true, but one person's fun is another person's migraine.

Ordering up a Grey's Anatomy spin-off is, in business terms, a no-brainer. Does that mean the show has to be as well?

http://community.tvguide.com/blog-en...ocky/800014269
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TV Notebook
DISH Network Launches Cinemax HD

(DISH News Release) May 4, 2007

EchoStar Communications Corporation (NASDAQ: DISH) and its DISH Network(TM) satellite TV service today announced the launch of Cinemax HD. The new channel brings DISH Network's total national HD channel lineup to 32 channels - the most in the pay-TV industry today.

DISH Network subscribers to Cinemax HD will be able to view the upcoming summer lineup of movies including the "See It Saturday" titles: X-Men: The Last Stand, Superman Returns, Lady in the Water, Miami Vice and The Departed. With 98% of its primetime programming schedule in true HD each year, Cinemax HD also features Cinemax Reel Life, the award-winning original documentary series that showcases some of the best and most thought-provoking documentaries of our time.

"Cinemax HD is a premier channel for movies and original programming, now broadcasting in the stunning clarity and vivid surround sound of high definition," said Eric Sahl, senior vice president of Programming for DISH Network. "Not only is DISH Network adding to its market-leading HD offering, but we're giving movie buffs even more reason to want high definition."

"We are excited that DISH Network is adding Cinemax to its lineup of HD channels," said Janice Aull, senior vice president and general manager, Affiliate Sales at Home Box Office. "Now, DISH Network's subscribers will have the opportunity to view the incredible variety of film entertainment that Cinemax offers year-round in crystal clear high definition."

Cinemax HD is located on DISH Network Channel 9458 and is available to customers who subscribe to DishHD programming, only a $20 add-on to digital definition programming packages. DISH Network's DishHD offers customers more than 200 hours per day of HD content from the nation's top programmers. Cinemax HD will mirror programming from the primary Cinemax channel.
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post #747 of 95734 Old 05-04-2007, 02:29 PM - Thread Starter
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Nielsen Notebook
Thursday's Final Nielsens
(Posted by Travis Yunan) at Marc Berman's Programming Insider blog:
http://pifeedback.com/eve/forums/a/t...10694#31310694

Grey's Anatomy
- 21.228 million viewers
- 13.4/21 HH
- 9.1/24 A18-49

CSI
- 19.025 million viewers
- 11.7/18 HH
- 5.6/14 A18-49

Survivor
- 13.736 million viewers
- 8.2/14 HH
- 4.6/14 A18-49

Ugly Betty
- 10.680 million viewers
- 7.1/12 HH
- 3.6/11 A18-49

Shark (10:01pm, season finale)
- 12.504 million viewers
- 8.2/13 HH
- 3.1/8 A18-49

Are You Smarter Than A 5th Grader?
- 9.021 million viewers
- 5.4/9 HH
- 3.1/9 A18-49

ER (9:53pm)
- 7.783 million viewers
- 5.1/8 HH
- 3.1/8 A18-49

My Name is Earl
- 7.572 million viewers
- 4.8/8 HH
- 3.2/10 A18-49

The Office (8:36pm)
- 6.995 million viewers
- 4.3/7 HH
- 3.6/10 A18-49

Scrubs (9:19pm)
- 4.945 million viewers
- 3.2/5 HH
- 2.6/7 A18-49

Trading Spouses
- 4.151 million viewers
- 2.8/4 HH
- 1.7/4 A18-49

Smallville
- 3.586 million viewers
- 2.1/4 HH
- 1.5/4 A18-49
- 1.6/5 A18-34

Supernatural
- 3.115 million viewers
- 1.8/3 HH
- 1.3/3 A18-49
- 1.5/4 A18-34

Source: Nielsen Media Research data
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post #748 of 95734 Old 05-04-2007, 02:52 PM - Thread Starter
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TV Notebook
Crier: TV trials had 'real substance'
Lawyer turned journalist, whose show was not renewed by Court TV, said she expects trial coverage to disappear with new network, new evening lineup
By Michelle Dargan Palm Beach Daily News Staff Writer Friday, May 04, 2007

Elected to the bench in 1984, Catherine Crier became the youngest state judge in Texas history at 30.

Shortly after winning a second term unopposed, she met a broadcast news talent scout at a Christmas party, where they talked politics. Two weeks later, he called to ask if she would consider doing a political issues show.

Crier made an interview tape and, within six months, she left the bench to do the evening news at CNN.

"My second day of work was the San Francisco earthquake, and things literally haven't stopped shaking since," Crier quipped.

The Court TV anchor spoke to 175 lawyers and judges Thursday at the Palm Beach County Bar Association's annual Law Day Luncheon at the Crown Plaza Hotel in West Palm Beach.

"My heroes growing up were not the great journalists of our time; they were the great trial lawyers," she said. "They were the likes of Clarence Darrow as portrayed by Spencer Tracy in Inherit the Wind or Gregory Peck as Atticus Finch in To Kill a Mockingbird."

Crier entered the news business during "the most extraordinary of times," which included the fall of the Berlin Wall, the fall of the Eastern Bloc, the disintegration of the Soviet Union, German reunification and Saddam Hussein's invasion of Kuwait.

"And that was my first nine or ten months in television," Crier said. "I thought I had died and gone to heaven."

From there, Crier went to ABC in 1992 and to Fox in 1996, building her journalism credentials along the way.

In 1999, she was offered a chance to combine her two careers journalism and law by going to Court TV.

"In doing so, I had to confront the issue of sensationalism involving trial coverage," Crier said. "Are we exacerbating problems within the system? Are we benefiting people from time to time with the inside look at the legal system?"

Crier said she didn't have a problem philosophically, because, as a judge, she found cameras "relatively unobtrusive."

Crier announced she will be leaving the network this year, and Court TV will change its name in January. The network did not renew Crier's show and, starting this summer, all trial coverage will be available on the Web only, she said.

Crier said she expects ongoing trial coverage to disappear with the new network.

"They have put up a new evening lineup: a lot of explosions, a lot of car chases, a lot of cops, a lot of beach babes," she said.

"It is the passing of an era for me, because I do think, despite a lot of its sensational character, there's been some real substance covered, and I think people have been fascinated about the inner workings of the court

system."

Catherine Crier On:

Celebrity defendants: "I do think celebrity ultimately helps defendants, that people still have an awe about them. There were three jurors who came out of the [Michael] Jackson case and almost immediately said, 'we really were pressured into returning a not-guilty verdict.' I could have strung those three up pretty quickly. There is that overwhelming pressure that still exists. Even though the media is frequently blasting these people as they did with Robert Blake, as they did with Michael Jackson and, in many respects, with O.J. Simpson the jurors live in another world entirely."

O.J.: "He really put Court TV on the map. I was with ABC at the time. I remember being amazed when they interrupted the soap operas in the course of the day to run coverage of the O.J. Simpson case. ... This was an extraordinary spectacle, but cultural in many ways: the race issues, the rich vs. poor justice. Extraordinary, yes, but extraordinary theater. ... You don't need soaps, you simply needed most of the trials on Court TV."

Michael Skakel: "We know celebrity sells, so every time we said Michael Skakel, we said the cousin of the Kennedys. The Kennedy cousin. The poor guy had two names and Kennedy cousin was one of them."

Scott Peterson: The family "quickly turned to the press and fed us new stuff every day, so that we had a reason to keep telling the story and a reason to vest ourselves in the search for Lacy Peterson, and this went on for four months. ... Then Scott makes the big mistake of starting to talk to the press. ... It came back to haunt Scott during the trial when these tapes were played over and over again, the big crocodile tears running down his cheek. The guy was a classic sociopath."

Robert Blake: "Blake's one of those great examples of what we call in Texas the 'he didn't kill her defense: that Bonnie Bakley just needed killing.'... She was portrayed as this grifter out getting people across the country and scamming Blake."

Andrea Yates: "This was one of the most difficult cases to cover: The woman in Texas who drowned her five children. It was horrific. This woman was virtually catatonic. To say that she suffered from post-partum depression is like saying she suffered from a cold. This woman was so, so ill."

http://www.palmbeachdailynews.com/ne...crier0504.html
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post #749 of 95734 Old 05-04-2007, 02:53 PM
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PRIVATE PRACTICE:

They must realize those ratings are garbage. I would have bolted the first time the elevator talked if it wasn't for the intertwined Grey's storyline.

As it was, I was sitting at the laptop surfing during the boring parts (which was most of Private Practice).
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post #750 of 95734 Old 05-04-2007, 03:11 PM - Thread Starter
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Your reaction does not seem to be unusual, David.

I have yet to see an unqualified rave for the new show. Perhaps part of that is because people (and most critics) enjoy "Grey's Anatomy" so much and expectations were pretty high.

But the bigger part, I think is that the show just fell flat. It was very urprising to me in a show Shonda Rhimes wrote, but there it is.
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