Hot Off The Press: The Latest TV News and Information - Page 2545 - AVS Forum
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post #76321 of 96871 Old 02-08-2012, 02:31 AM
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Originally Posted by JimboG View Post

Yeah, but these are absolute numbers. We have a lot more people in the United States (legally and otherwise) in 2012 than in the early 1980's.

Likewise, if you adjust for population, inflation, and record keeping you find that Gone with the Wind and Birth of a Nation did quite favorably compared to Titanic.

It's useful to adjust for inflation, purchasing power parity, population, windage, and cantankerous-ness.

By the way, it's great to see a Super Bowl that is hard fought until the final minutes.

Yea, nothing will ever top the MASH finale in percent of households. It was a different time back when cable was in its infancy and the 3 networks ruled over all. At least these tv records are not as ridiculous as movie box office numbers. Comparing Jaws to Jurassic Park to Transformers while not adjusting for increased ticket prices is so unbelievably stupid I can't believe it's even reported...
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post #76322 of 96871 Old 02-08-2012, 03:37 AM
 
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Originally Posted by LCDSpazz View Post

Yea, nothing will ever top the MASH finale in percent of households. It was a different time back when cable was in its infancy and the 3 networks ruled over all. At least these tv records are not as ridiculous as movie box office numbers. Comparing Jaws to Jurassic Park to Transformers while not adjusting for increased ticket prices is so unbelievably stupid I can't believe it's even reported...

because box office numbers are based on that, actual numbers. That's like saying GM should adjust it's income because cars cost more than they did in 1975.

You could also say when Jaws came out you didn't have as many movies released so there was less competition. Also movies stayed in theaters longer so they had a chance to sell more tickets. Also you didn't have a home video market so if you wanted to see a movie you HAD to go to the movie theater. You couldn't say "I'll just wait 6 months and rent it on DVD". Also pretty much you had a few Tv stations or movies back in 1975. Now you have cable with hundreds of viewing choices, video games, internet. All sorts of things to occupy your time with that compete with movies for your entertainment dollar. Even pro-sports. Take Miami, in 1975 you had the Dolphins and that's it and then they only played 14 games so that's only 7 home games. Now you have NFL with 8 home games, MLB with 81 home games, NBA with 41 home games, NHL with 41 home games. Every dollar spent there is one that could have been used for a movie ticket. Also casinos. In 1975 you had Vegas. Now just about everyone has a casino within a 2 hour drive from them.
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post #76323 of 96871 Old 02-08-2012, 06:26 AM
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Business Notes
Univision Adds Discovery CEO, Televisa President to Its Board of Directors
By Tim Keneally, TheWrap.com - Feb. 7, 2012

Univision Communications made a pair of new additions to its board of directors Tuesday, electing Discovery Communications president and CEO David Zaslav and Joe Baston Patino, president of television and content for Grupo Televisa, S.A.B. to the board.

"David's years of success in building TV channels and José's deep familiarity with Spanish-language media make them natural and valuable additions, Univision Communications chairman Haim Saban said of the elections.

Zaslav (pictured), who has been president and CEO of Discovery Communications since Jan. 2007, preceded his run at Discovery with nearly two decades at NBC Universal, serving in a variety of positions, including president of cable and domestic TV. He also sits on several other boards, including those of the National Cable & Telecommunications Association, the Cable Center and Center for Communication. Zaslav's other positions include a spot on the board of trustees for the Paley Center for Media.

Patino, meanwhile, has been Televisa's president of television and content since Dec. 2008. He also sits on Televisa's board of directors.

We look forward to adding their perspectives to our diverse, robust team as we continue to focus on growing and strengthening Univision's business to keep pace with the rapidly expanding U.S. Hispanic population, Saban said.

http://www.thewrap.com/tv/article/un...irectors-35185


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post #76324 of 96871 Old 02-08-2012, 06:30 AM
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Nielsen Notes (Broadcast)
For NBC, one big night and new hopes
Super Bowl and 'Voice' season debut bump it ahead of ABC
By Toni Fitzgerald, Media Life Magazine - Feb. 8, 2012

With the most-watched TV program in history and a postgame show that performed better than anyone predicted, NBC surged into sole possession third place for the season this week.

The Super Bowl was obviously responsible for the big ratings, but the network hopes that it's a starting point for a much-improved spring on the strength of the hit reality show "The Voice."

Season to date through Sunday, NBC is averaging a 2.7 adults 18-49 rating and 7 share, according to Nielsen, up from a 2.5/7 the previous week. That's 13 percent ahead of fourth-place ABC, whose season average dipped a tenth of a point to settle at 2.4/7.

Both networks are still well behind the season leaders. Fox is in first with a 3.3/9 and CBS is second with a 3.1/8.

NBC lagged behind the other networks last fall, when its ratings were off 7 percent from last year. The Super Bowl gave it a tremendous boost.

The game averaged a 40.5 rating, as well as a record 111.3 million total viewers. That lifted NBC to a 7.7/20 for the week, its best showing since the last time it carried the Super Bowl three years ago.

What's more promising in the long term for NBC is its Monday night lineup, which got a big boost from the Super Bowl as well.

The season two premiere of "Voice" aired in the hour after the game, averaging a 16.3 rating, the best for any non-sports show in six years.

That momentum carried into Monday night, when "Voice" regularly airs, as the show averaged a 6.6 rating, NBC's best non-sports, non-special rating since a September 2007 episode of "Heroes."

That in turn lifted the much-hyped premiere of "Smash" to a 3.8 at 10 p.m., NBC's best drama premiere in four years.

The strong combination of shows gave NBC its highest-rated Monday night with regularly scheduled programming in eight years.

That's promising for a network that hasn't competed for the nightly lead on any night except Sunday, when it airs "Sunday Night Football," this season.

If "Voice" and "Smash" can keep up the strong numbers, that could be the start of a turnaround for long-lagging NBC, which hasn't finished above third place in eight seasons.

* * * *

In broadcast ratings for the week ended Feb. 5:

Among adults 18-49, NBC was first for the week with a 7.7 average rating and a 20 share, followed by Fox at 2.4/6, CBS at 1.8/5, ABC at 1.5/4 Univision at 1.4/4, CW at 0.7/2, Telemundo at 0.5/1, ION and TeleFutura at 0.3/1 and Azteca and Estrella at 0.1/0.

Top five English-language Big Five shows (18-49s): 1. NBC's "Super Bowl XLVI" 40.5; 2. NBC's "Super Bowl Post" 30.1; 3. NBC's "The Voice" 16.3; 4. Fox's American Idol-Wednesday" 6.0; Tie-5. Fox's "American Idol-Thursday" and CBS's "The Big Bang Theory" 5.5.

Top five English-language Big Five shows (total viewers): 1. NBC's "Super Bowl XLVI" 111.34 million; 2. NBC's "Super Bowl Post" 76.80 million; 3. NBC's "The Voice" 37.61 million; 4. Fox's American Idol-Wednesday" 18.48 million; 5. Fox's "American Idol-Thursday" 17.41 million.

Top five time-shifted English-language Big Five shows (18-49s, by Live+SD versus Live+7 playback, week ended Jan. 8): 1. ABC's "Modern Family" 2.7 increase (up 52.9 percent); 2. ABC's "Grey's Anatomy" 1.7 increase (up 48.6 percent); 3. CBS's "The Big Bang Theory" 1.6 increase (up 30.2 percent); 4. Fox's "New Girl" 1.5 increase (up 44.1 percent); 5. NBC's "The Office" 1.4 increase (up 46.7 percent).

Show on the rise: NBC's "Super Bowl XLVI," Sunday 7 p.m. Easy pick--with 111.34 million total viewers the game is the most-watched program in U.S. TV history.

Show on the decline: Fox's "The Finder," Thursday 9 p.m. The drama slipped 14 percent week-to-week among 18-49s from a 2.8 rating to a 2.4.


http://www.medialifemagazine.com/art...-new-hopes.asp


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post #76325 of 96871 Old 02-08-2012, 06:34 AM
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Nielsen Notes (Cable)
'How to Rock' breaks Nick's bad spell
Tween show debut scores solid ratings among 2-11s and 6-11s
By Toni Fitzgerald, Media Life Magazine - Feb. 8, 2012

Nickelodeon is looking desperately for new hits after a year in which its ratings took a dramatic and still-unexplained dip last fall that continued into January.

It seems to have found its first.

The new show "How to Rock," which premiered Saturday night after a very strong marketing push, drew good ratings for the network among both kids 2-11 and 6-11.

"Rock" averaged 1.488 million viewers 6-11 in the 9 p.m. timeslot, according to Nielsen, finishing second in the demo for the week ended Feb. 5 behind only Disney's movie "Bedtime Stories," which drew 1.819 million. A second episode of "Rock" placed in the top six too.

And it was the No. 9 show among 2-11s, averaging 1.825 million viewers and finishing as Nick's top non-"SpongeBob" show of the week.

The good debut was a rare sunny spot for Nick, which has had a rough few months. Last year Disney snapped Nickelodeon's 16-year winning streak among 6-11s in total day, inching ahead by a few thousand viewers.

And in January, Disney finished within 3 percent of its rival in 2-11s, where Nick held a 34 percent advantage last year.

The network has been battling mysterious ratings declines since September. Viacom, Nick's parent company, even asked Nielsen to investigate the sudden dips, but Nielsen insists its kids' data is correct, and no other children's network has experienced similar declines.

Nick was forced to issue a number of makegoods in fourth quarter after failing to meet ratings guarantees, and last week the network said it is bumping up its original content production by roughly one third in an effort to win back viewers.

Its first major launch as part of that effort is "Rock," about a formerly popular girl who joins a band of unpopular kids to compete with her former friends.

The quality of the new show is debatable.

"One more cookie out of the cutter, it will madden parents who can't get out of earshot," observed Media Life TV critic Tom Conroy.

But kids seemed to like it. It fits well with its lead-in, "Victorious," which focuses on kids at a performing arts school. And "Rock's" star, (Cymphonique Miller), was already a celebrity before launch; she's the daughter of rapper Master P and has appeared on Nick shows "True Jackson, VP" and "Big Time Rush."

* * * *

In cable ratings for the week ended Feb. 5:

Top five networks in primetime (18-49s): USA, TBS, History, A&E, MTV.

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

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" (Monday, 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" (Thursday, 8 p.m.); 4 Fox News Channel's "The O'Reilly Factor" (Friday, 8 p.m.); 5. Fox News Channel's "Florida Primary" (Tuesday, 8 p.m.)

Top movie (18-49s): USA's "G.I. Joe: The Rise of Cobra" (Saturday, 8 p.m.) 1.37 million.

Top sporting event (total viewers): ESPN's "NBA Basketball: LA Lakers/Denver" (Friday, 10:56 p.m.) 2.54 million.

Shows making the top 10 among 18-34s, 18-49s and 25-54s: MTV's "Jersey Shore" (Thursday, 10 p.m.); History's "Pawn Stars" (Monday, 10 and 10:30 p.m.); USA's "WWE Entertainment" (Monday, 9 and 10 p.m.)

Show on the rise: USA's "WWE Raw," Monday, 9 p.m. The first hour of the wrestling program averaged 1.40 million viewers 18-49, up 22 percent from 1.15 million the previous week.

Show on the decline: MTV's "Jersey Shore," Thursday, 10 p.m. The reality show was still No. 1 for the week among 18-49s with 4.14 million tuning in, but that was down 14 percent from 4.82 million the week before.


http://www.medialifemagazine.com/art...bad-spell-.asp


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post #76326 of 96871 Old 02-08-2012, 06:39 AM
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TV Notes
Syfy renews 'Face Off,' LeVar Burton to guest judge
By James Hibberd, EW.com's 'Inside TV' Blog - Feb. 7, 2012

Syfy's hit competition series Face Off is getting a third round.

Face Off will return for a 10-episode season, showcasing a new group of rising special effects make-up artists competing for the chance to showcase their imagination and creativity (and collect 100k). This week's episode features appearances by Vivica A. Fox (Independence Day) and Being Human's Sam Huntington.

Syfy is also set to announce LeVar Burton (Star Trek: TNG) as a guest judge for the episode airing Feb. 22, when the contestants will design aliens based on the work of series judge Patrick Tatopoulos.

Season 2 currently airs Wednesdays at 10 p.m. where last month's premiere generated the show's biggest number yet 2.5 million viewers. The first two episodes are averaging 51 percent higher than the first season, so clearly a pickup was fully earned. If you want to apply to be a contestant for season 3, go here. The third season will debut this summer.

http://insidetv.ew.com/2012/02/07/face-off-renewed/


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post #76327 of 96871 Old 02-08-2012, 06:54 AM
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Q&A
Ask Matt: Once Upon a Time, Pilot Season, Luck and HBO, Revenge and More
By Matt Roush, TVGuide.com - Feb. 6, 2012

Question: I've been watching Once Upon A Time from the beginning, and I thought by now, we'd start to see some real movement towards the present-day fairy-tale folks realizing that something was amiss. But it seems to be dragging and dragging, and while the "fairy tale" portions are fun to watch, there's nothing there that gives one hope that finally, someone other than Henry knows something's amiss. It's getting boring. Any tidbits as to when that might finally happen? Holly

Matt Roush: We're only 11 episodes into the first season (which didn't even premiere until late October), which seems awfully early to be getting impatient for game-changers. Although I've felt from the start that the Storybrooke stories tend to pale next to what's going on back in fabulous Fairy Tale Land. And judging from the questions I've been fielding lately, the entire convoluted premise of the town living under this curse has thrown lots of fans into a nit-picking frenzy. I won't project what's down the road because this isn't a spoiler column, but your dissatisfaction with the present-day stuff seems more a reflection of the show's overall unevenness and I'm speaking here as someone who's learned to enjoy the show than a problem with pacing, because they're actually breaking a fair amount of story from week to week. Just not the story you'd like to see being played out quite yet. But give it time. These are early days, and Once Upon a Time is going to be with us for a long time to come.

Question: How likely is the chance that Harry Potter would become an HBO show? One book per season or two for the big books. It's made all the money it's going to make from the movies save for DVD sales, but those get surges when released, and there are no more movies. I get it would be a gamble to do a Kid to Young Adult show in the vein of Game of Thrones (minus sex, cursing, heavy bloodshed and incest). The only issue with the movies was they couldn't show everything, but with 10 hours or more of content per book, one would think it could bring the books alive in a different way. And again make loads of money. (Also all the people that started with those books would be late teens to early-to-late-20s by now, so that would be a prime demo ratings get for any show.)

Secondly, in magical quandaries, Once Upon a Time is, I think, the best new show on TV. I'm wondering your thoughts on my theory that Prince Charming 1.0 (aka James's dead twin brother) was the Evil Queen's love. His father the king was poor, and his son was his best chance at saving the kingdom. He would have paraded him around the differing kingdoms looking for an alliance, and he was of the same age as Snow. I could see Prince Charming 1.0 going to meet King Leopold and Snow only to find them away temporarily with lonely unloved Queen Regina to entertain them. She could have told Snow about this hoping that she would turn the prince down were he to return or something like that, only to have Snow betray that misplaced trust. In the last episode, King Leopold was already reading Regina's personal diary, indicating he didn't trust her. So either King Leopold or maybe Regina herself (if his father demanded the Prince to marry so she decided no one gets to have him) had a reason to ensure Prince Charming 1.0's death at the hands of the brute. I just think it would be interesting if part of the reason the Evil Queen cursed all of Fairy Tale land was because Snow was married to the same face/same body that she loved. I could see that as a motive. Plus let's be honest, it would make for a great contrast to have David/David's twin to share loving scenes with both Snow White and the Evil Queen. Trenton

Matt Roush: Have you considered a future in fan fiction? I like your final image of a flashback to the twin princes pairing off with very different love interests, but beyond that, I confess I haven't given a great deal of thought to any of this, and I'm more interested in how the whole Snow/Prince Charming story plays itself out. Regarding a reboot of the Harry Potter franchise: One thing in its favor is that HBO is part of the Warner Bros. empire, so that makes a certain business sense. But it's way too soon for anything like this to happen. A generation has grown up on the movie series, and taking over for Daniel Radcliffe & Co. will be an unenviable proposition whenever the time should come, if it ever does. I imagine someday someone will want to tackle these iconic stories again and the canvas of TV would be the natural medium for going even deeper into the books than the movies could do but it won't be soon, and it's a stretch to imagine HBO pouring its resources into a more PG-style operation. Still, what an interesting question, and looking at it objectively, Harry Potter would be an amazing TV character.

Question: I was wondering with Alcatraz and the new show Touch on Fox, where does that leave Terra Nova for Monday nights? Terra Nova started out with a bang, but it fizzled midway through the season then had an interesting cliffhanger for the winter finale. Is Terra Nova gone the way of The Event, or is it coming back at a different time and or day? Stephanie

Matt Roush: Terra Nova is done for the season, so is currently in limbo, and its renewal chances are probably dimming, given the solid performance of Alcatraz and the strong opening of Touch in its sneak-peek premiere. If Touch and Alcatraz hold up, Fox may not need to bring back Terra Nova, which was already pretty much "on the bubble" at the time of its December finale. On the other hand, if Fox were to plot out a schedule where some of these shows were renewed for shorter 13-episode seasons (if the economics made sense) and shared time periods the way Terra Nova and Alcatraz (and later, Touch) have done this year, maybe the show could be saved.

Question: I watched Touch, and I really enjoyed it. However, I have my concerns over whether the premise could be stretched out into a series that could potentially last years. The idea, in fact, seemed far more conducive to a two-part miniseries or movie-length format. Interestingly, I've found that problem with a lot of shows: The premise is awesome, the pilot interesting, and then over time the idea becomes stretched so thin that the story starts running out of steam. I'm thinking of shows like Touch or Alcatraz or even a show like Ringer. Do you think American television will ever take a note from Spanish-language TV and its concept of telenovelas? That is, shorter-run series that have a defined running period? Or is that a pipe dream? Barb

Matt Roush: This is a question that dogs any long-running serialized show built around a tantalizing high concept. It's almost inevitable that whenever an out-of-the-box pilot captures our attention, especially those that play more like a movie than a formula TV show, that we end up asking: How long can they sustain it? Even something as captivating as Showtime's Homeland has us wondering, after the first season: What next? How can they top it? Should they even try? Currently, I'm wondering how far they can take the thrill ride of ABC's riveting The River beyond the first eight-episode season should it explode the way it deserves to. Some premises do seem better suited for miniseries (the telenovela concept) than for the long-run, but the networks have turned away from that format, and if a show somehow becomes a hit, the bottom line typically demands more, not less. I do think we'll see (and to a small degree are already seeing) the networks moving closer to the cable model, and this midseason could provide a few watershed moments in watching limited-run series like The River and NBC's fascinating Awake try to break through.

Question: As a longtime reader of TV Guide Magazine, I have noticed the last week all the networks announcing pilot pickups and orders for new shows. Now the question is, with what appears to me to be the most successful TV season in years now underway, where are the spots for these new shows? I would think most cancellations already have taken place. Are shows on the block that you would think are safe? One example is ABC who ordered at least six shows, but they are having the best year of any network. Jeffrey

Matt Roush: This is pilot season, business as usual, and keep in mind that just because pilots are going into production is no guarantee they will make it to air. And no matter how well a network is doing and ABC is doing better than many, having produced keepers like Once Upon a Time, Revenge, Suburgatory and Last Man Standing this season the last thing they can afford to do is to be complacent and stop developing for the future. There are still a number of holes on ABC's schedule (on Tuesday, Thursday, Sunday) to be addressed in the season ahead. Even CBS, the most stable and successful of the mainstream networks, is deep in development and always on the lookout for new tentpoles. At some point, even long-running franchises tend to be phased out I'll be surprised if CBS keeps all three CSI series another year (NY being the most vulnerable) and if any of the networks think they have come up with the next big thing, they're always going to be able to find room for it.

Question: Watched the first episode of Luck. It looked gorgeous. The cast is outrageously talented. Unfortunately, it felt like John From Cincinnati. Is this worth sticking with, or is this another HBO vanity project whose grasp exceeded its reach? Rick

Matt Roush: Luck is nowhere near as inscrutable and self-consciously opaque as John From Cincinnati, although even when you can understand what the actors are saying lots of method mumbling going on here, delivering that peculiar David Milch-ian syntax you may not always understand what they're talking about, because they often speak in horse code. There's no question Luck is a test of the viewers' patience, and like many HBO dramas, isn't always seen to its best advantage in weekly hour-long chapters. But even consuming the entire nine-episode series over a couple of days, as I did earlier this year, wasn't as satisfying as I'd hoped, though as you'd expect, there are some terrific and moving moments along the way, usually involving horses, and there are some exceptionally acted character studies. For some, including a stable of discerning critics, that's enough to balance things out in the win column. I'm not so sure.

Question: What is going on with HBO? Luck was a bore and had horrible ratings. Showtime's Sunday line-up continues to beat HBO with amazing shows like Homeland and Shameless. Meanwhile HBO's line-up continues to disappoint and fail us viewers with awful shows like Luck, Treme and Enlightened. To make matters worse they cancel Bored to Death! This show was one of the few bright spots on the HBO schedule. I am truly angry that Bored to Death was canceled and Enlightened was renewed. Showtime has such great variety and manages to keep producing edgy, interesting and iconic shows.

The decline of HBO has been going on for several years. Are they aware that their programming is forcing viewers to cancel their subscriptions? The lackluster line-up of original programming is really bothersome and is forcing me to consider canceling HBO. I just wanted to get your opinion on why HBO is running itself into the ground. Is this a social experiment? Are the viewers being tested to see how much horrible programming we could tolerate? Can this all be a colossal joke? Matt, is there any way that you can make HBO realize that their original programming needs to be restructured? I am tired of waiting for HBO to step up their game. Is there still hope? Showtime is now my favorite network but I still have a soft spot for HBO. Liz

Matt Roush: I'm not sure what I could add to your rant that would be any more forceful, and kudos on the "social experiment" crack, which made me laugh. It's curious that you would leave out of the discussion such breakout shows as True Blood and Game of Thrones, but maybe genre isn't your thing. But without them, and the occasional season of Curb Your Enthusiasm which was great again last year, but who knows when we'll get the next one? there isn't a lot on HBO these days that feels nearly as buzz-worthy as the best of Showtime: Homeland in particular, which for me exhibits everything you'd want from a pay-cable series, including actually being entertaining. HBO often seems to operate under the assumption that it's in the business of producing "important" art, which involves giving idiosyncratic producers free rein some would say overindulging them to pursue their vision to the fullest, ratings be damned. The result is a slate of shows that can be easier to respect than to enjoy, although each of the shows you mention has a passionate if small following. Even Bored to Death was a bit precious for my taste, but at least it attempted to be funny, which is more than can be said for many of the network's recent half-hours.

Question: Can you explain what is up with the delay, re-runs, etc. with Revenge? This is a fairly new series, so why are they doing re-runs and not just airing the next episode? Is there anyway that they could/would state at the end of the show when a new episode will air? K

Matt Roush: Doesn't matter that a show is in its first year, there are still going to be interruptions along the way if the network wants to stretch the season into May. It's especially noticeable this time of year, and more so when a show is this heavily serialized with built-in cliffhangers. I'm sure this complaint will rear its head again in the spring, when repeats and pre-emptions are common for many shows through March and April. But the good news that Revenge will be new the next two weeks, with pivotal episodes catching us up with the shooting on the beach that opened the series. There will be a pre-emption on Feb. 22 (try not to scream) for a special celebrity-themed "Before They Were Famous" edition of 20/20, but the story will pick up on Feb. 29 with the aftermath to the murder scandal. At that point, 16 episodes will already have aired, so expect more stops and starts before the season finale. There's nothing new in this it's the arithmetic of network TV and the only alternative would be for it to run straight through (a logistical improbability) and wrap the season several months early. Either way, someone's going to be disappointed.

Question: There was some drama and confusion on Twitter about how Fringe is scheduled for the rest of the season and what that means for its future. I know it goes away for a few weeks in March but comes back with new shows. So could you explain what is going on and if it is as big a deal has some seem to think it is? Amanda

Matt Roush: Drama on Twitter? Are you sure? That would be so out of character! Sarcasm aside, it's no bigger a deal than any other aspect of Fringe's precarious existence on Fridays. After airing originals all through February, Fox is apparently opting to remove Fringe for the first few weeks in March rather than run repeats, which would lower its puny ratings average even further. Fringe will return March 23 and play out the rest of the season without repeats. Again, nothing out of the ordinary here, except that it reinforces the show's lousy ratings, which only get worse in replays.

Question: Another question about Fringe: People keep talking about it as if it were a Fox product, but my understanding is it's a Warner Bros. production purchased by Fox. I have no idea what the DVD sales look like or how it plays overseas (major issues for CW shows) but if it were switching networks just to make it to the 100-episode syndication mark, wouldn't the CW be a more logical place for it? I mean, Warners would own the rerun rights, not Fox? Fringe is one of the few shows I can watch multiple times. Which, given how little I usually like J.J. Abrams, says a lot. Barbara

Matt Roush: With this, I think we have now exhausted in this column every single imaginable alternative for Fringe should Fox not renew it. You're right that Fringe is produced by Warner Bros., and since The CW basically exists as a distribution platform for WB and CBS/Paramount shows that couldn't survive anywhere else except maybe on cable, there is logic to this theory, given that the numbers it's pulling on Fox would look almost robust by The CW's standards. And it would be a relatively compatible show with Supernatural or shows of that ilk. So it's not the strangest scenario I've heard, though it's probably still a long shot, given budget and other issues (including that the CW is already busy developing for next season and may not be in a position to accept someone else's cast-offs).

Question: I am a fan of the awards shows that come on in January and February. When I watched the Golden Globe Awards, I was very pleased to see my favorite drama series, Homeland, and actress Claire Danes deservedly honored in their respective categories. However, when I watched the SAG Awards on Jan. 29, neither of the lead actors nor the ensemble was even nominated. I was very disappointed. Did I miss something? Do you have an explanation for this oversight? Sheila

Matt Roush: Doesn't make any sense to me either, except if you look at the TV results (nearly all of them repeat winners; I mean Alec Baldwin six times in a row?), I think they just dropped the ball all around, making some very lazy choices in the nominations and wins. I heard some buzz that maybe Homeland started too late in the year to get on their radar, but American Horror Story started around the same time, and Jessica Lange (the best thing about that show) was not only nominated, she won. So basically, no excuse.

Question: Watching the SAG Awards, I couldn't help but wonder how come the television branch has no supporting actor/actress nominees? Even if they had them, the telecast would still be shorter than the rest of the award shows. Is there another different reason behind this? Sonal

Matt Roush: There is a sense that the TV categories are a bit of an afterthought here and at the Golden Globes, which features a supporting category but lumps together comedy, drama and movie/miniseries actors, which is just bananas. I suppose that because the SAGs make a distinction in the TV acting categories between comedy and drama, unlike the movie categories (where everyone competes in either lead or supporting categories, regardless of genre), they've cast a wide enough net. And given that Jessica Lange won for what's basically a supporting role, maybe it is a fair playing field.

http://www.tvguide.com/News/Ask-Matt-Time-1042811.aspx


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post #76328 of 96871 Old 02-08-2012, 06:59 AM
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TV Notes
BET's ambitious lineup includes 'Second Generation,' 'Gun Hill'
BET's comedy 'Second Generation' stars Craig Wayans and Damien Dante Wayans; the drama 'Gun Hill' stars Larenz Tate.
By Greg Braxton, Los Angeles Times - Feb. 8, 2012

BET, which has been targeted in recent years for showcasing provocative music videos and other programming that critics and cultural observers said showed blacks in a negative and derogatory light, is unveiling an ambitious development slate. These new programs include a number of scripted shows and projects that emphasize positive aspects of African American culture.

Among the highlights of the lineup is a new scripted comedy from the Wayans family and a gritty police drama which would be the urban-oriented network's first scripted drama. Though no air dates have been announced, many of the series are expected to be on the network's official 2012-13 schedule, which will be unveiled in early summer.

BET executives said the slate offers a response to observers who have asked for a greater range of programming while also offering an alternative to more brash series featuring African Americans that have been popping up on other cable networks such as VH1. The network's president of original programming, Loretha Jones, who joined BET after the 2008 ouster of former programming head Reginald Hudlin, said she wanted the network to move in a more diverse direction that would appeal to a wider range of viewers.

"We realize that BET will never be all things to all black people," said Jones, a former Hollywood studio executive and former creative partner of "Hollywood Shuffle" producer Robert Townsend. "But we felt we could be more. The diversity of projects shows how we can serve different parts of our demographic while being able to bring the BET voice to different genres."

A top priority is "Second Generation," featuring the "second generation" of the Wayans family, who first came to prominence in the 1990s when Keenen Ivory Wayans created the groundbreaking Fox sketch comedy "In Living Color." In addition to Keenen, that show also starred his brother Damon Wayans ("My Wife and Kids"), and sister Kim Wayans. Brothers Shawn and Marlon Wayans later starred in the WB comedy "The Wayans Bros." and helped create the "Scary Movie" franchise.

The "second generation" Wayans Craig Wayans and Damien Dante Wayans "emerge from the shadow of their famous uncles and forge a new path toward Hollywood," according to the show's description. Marlon Wayans is one of the executive producers.

Also being fast tracked is "Gun Hill," which would be BET's first scripted drama. The series, which stars Larenz Tate and is being developed by Reggie Bythewood ("New York Undercover," "Get on the Bus"), gives what producers call "a twisted spin to the biblical Cain and Abel story": The lives of identical twins on opposite sides of the law one is a cop and the other is a con become intertwined one night when the cop is killed and the con assumes his identity.

In addition to the scripted shows, popular minister T.D. Jakes, comedian-author Steve Harvey,Oscar winner Jamie Foxx and TV judge Greg Mathis are behind various reality projects, including one series that will revamp "Showtime at the Apollo"

BET executives said the network's renewed ambition has been buoyed by the continuing success of "The Game," the sports-related comedy which was rescued two years ago after being canceled by the CW. That show's popularity, they maintain, has been crucial in generating a more positive perception of BET, which has been haunted for years by charges from critics and others saying too much focus centered on music videos with scantily clad women and brash rappers bragging about their bling and sexual exploits.

Those blasts reached a crescendo when Hudlin developed reality shows such as "Hot Ghetto Mess" and "Hell Date." Hudlin was fired in September 2008, just a few days after the poorly received premiere of BET's first scripted series, "Somebodies."

Ironically, Jones pointed out that VH1 and others are now showing series that feature black people engaged in loud, outrageous behavior the sort of fare that was blasted when it appeared on BET.

"The types of shows that people complained about when we aired them don't spark outrage when they appear on other networks," Jones said. "But that doesn't matter. We are about re-establishing a relationship with our audience figuring out what they expect rather what we were delivering."

http://www.latimes.com/entertainment...0,277053.story


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post #76329 of 96871 Old 02-08-2012, 07:04 AM
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TV Notes
Kevin Smith returns to TV with Comic Book Men,' reality show set in Red Bank, N.J., shop
By Richard Huff, New York Daily News - Feb. 8, 2012

Kevin Smith remembers growing up watching shows like Dallas filled with impossibly pretty people who looked nothing like him and his friends.

That's about to change, big time.

Sunday at 10 p.m., AMC launches Comic Book Men, a series based on Smith's Red Bank, N.J., comic book shop, called Jay and Silent Bob's Secret Stash, which is run by some of his friends from the Jersey Shore.

Geek culture is mainstream right now, Smith says from his Los Angeles office.

Comic Book Men is a little bit like Pawn Stars, though set in the world of comic books and entertainment paraphernalia. The show is built around store employees Walt Flanagan, a high school pal of Smith's who has run the store since 1997, Bryan Johnson, Mike Zapcic and Ming Chen, who interact with customers trying to sell items and talking comic books.

Smith, who grew up in Highlands, N.J., and launched a film career with Clerks, appears in wrap-around segments with the cast doing their regular podcasts.

Smith says he never set out to create a TV show. In fact, he's still miffed about the way his animated series, Clerks, was handled by ABC in 1994. That show was canceled after just two telecasts.

His feelings for TV changed a bit when he got a call from Charlie Corwin, chief executive officer at Original Media, looking for an idea set in geek culture.

From that conversation came the comic book story idea, which led to a presentation being shot at Jay and Silent Bob's Secret Stash.

Smith says he knew there would be an audience for a show about people looking for prices on things like a Six-Million Dollar Man action figure.

The subculture has become pop culture, Smith says.

Smith says he doesn't watch much television.

I'm just glad it came to be my friends, he says of the show's stars. By putting his friends on TV, he said, that would give me one show I'd totally watch.

It took some coaxing to get the staff at the Stash on board.

Flanagan, when I told him about the show, he was like, I don't want to be Snooki,' Smith says.

Comic Book Men is the second Smith project to arrive on TV this week. Saturday at 10 p.m. Epix will present Kevin Smith: Burn in Hell, a 90-minute comedy special built around a question-and-answer session on his last film, Red State.

Smith is getting out of the film business soon, after two decades of making movies. You don't get better as you get older, says the creator of Chasing Amy, Dogma and the producer on Good Will Hunting. All the ideas come out of you as a young buck.

It was easy to get trapped in a world where folks throw around crazy money, he says. I didn't do it for the money, I didn't do it to make films, he says, I carpetbagged into it. Inside, I never felt like a filmmaker.

These days, when not presiding over Comic Book Men or working on a book, Smith runs a growing podcasting operation and does standup appearances around the world tied to his films and online ventures.

I've made more money simply standing on stage and talking about movies than I made actually making movies, he says

So when will he get out for good?

Seeing my two dopey friends on stage at Carnegie Hall, Johnson and Flanagan, he says. When that happens, that's when I'll expire.

http://www.nydailynews.com/entertain...icle-1.1017976


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post #76330 of 96871 Old 02-08-2012, 08:58 AM
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TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media INsight's Blog.


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Technology/Business Notes
In Piracy Debate, Deciding if the Sky Is Falling
By Jenna Wortham and Amy Chozick, The New York Times - Feb. 8, 2012

When Fred Wilson, a prominent New York venture capitalist who has backed Twitter and Zynga, wanted to watch the Knicks game last month, he got an unpleasant surprise. Time Warner Cable was not showing the game because of a contract dispute.

Frustrated, he turned to the Internet for help. Within minutes he was streaming the game illegally on his big-screen TV.

“It’s not that we don’t want to pay for our sports entertainment,” Mr. Wilson wrote on his blog after the fact. “But last night we were turned into ‘pirates,’ as the entertainment industry likes to call us.”

Plenty of Knicks fans can sympathize with Mr. Wilson’s plight. And his rationale makes perfect sense to people in tech circles, who increasingly expect to have most everything available on demand, and resent it when media companies stand in their way.

That is not how media companies and the entertainment industry see it. From their perspective, tapping into pirate streams and file-sharing sites is no different than shoplifting in the supermarket.

“Copyright violations are a serious business and we don’t condone that in any way,” said Alexander Dudley, a Time Warner Cable spokesman, when asked about Mr. Wilson’s desperate measures.

The recent highly publicized fight over two bills aimed at cracking down on online piracy threw a stark spotlight on this same disconnect between the Internet industry and the media giants of Hollywood and New York. Despite full-court lobbying by big players like the Motion Picture Association of America, lawmakers abandoned the bills after tech companies and groups, along with ordinary Internet users, mounted a frenzy of protests, saying the bills would hurt Internet freedom and innovation.

Now the challenge is for the two sides to find common ground on how to combat the piracy problem — though they can’t even come to terms on how big a problem it is.

“The fundamental issue is whether or not the sky is falling and the entertainment industry is being decimated by technology,” said James Berger, a lawyer who specializes in intellectual property and entertainment content licensing.

Seeking out an illicit stream of a game that you should be able to watch legitimately is one thing. But media companies say they are facing a relentless barrage of far less defensible thefts involving movies, television shows and music.

In a letter in December announcing its support for stronger antipiracy legislation, the motion picture association said that “$58 billion is lost to the U.S. economy annually due to content theft, including more than 373,000 lost American jobs, $16 million in lost employees’ earnings, plus $3 billion in badly needed federal, state and local governments’ tax revenue.” A spokesman for the association, Howard Gantman, said the $58 billion figure came from an economic model that estimated piracy’s impact on a range of tangentially related industries — florists, restaurants, trucking companies and so on.

Many outside the industry are skeptical of its analysis. “The movie business is fond of throwing out numbers about how many millions of dollars are at risk and how many thousands of jobs are lost,” said Art Brodsky, who works for Public Knowledge, a digital rights group. “We don’t think it correlates to the state of the industry.”

In one of the most public steps forward since last month’s fight, Mr. Brodsky’s group pulled together a coalition of more than 70 tech companies and advocacy groups, including Amnesty International, Consumers Union, Reddit and the Electronic Frontier Foundation, that sent a letter to Congress on Monday calling for lawmakers to rethink their approach.

“Now is the time for Congress to take a breath, step back, and approach the issues from a fresh perspective,” the letter says. It urges Congress to quantify the extent of piracy and its economic effects “from accurate and unbiased sources, and weigh them against the economic and social costs of new copyright legislation.”

Some in the Internet world, including Tim O’Reilly, a noted investor and chief executive of the tech-books publisher O’Reilly Media, go so far as to question whether illegitimate downloading and sharing is such a bad thing. In fact, some say that it could even be a boon to artists and other creators.

“The losses due to piracy are far outweighed by the benefits of the free flow of information, which makes the world richer, and develops new markets for legitimate content,” he wrote in a blog post. “Most of the people who are downloading unauthorized copies of O’Reilly books would never have paid us for them anyway.”

That free flow of information, media companies worry, is making consumers accustomed to getting something for nothing. Privately, several senior media executives said technology companies wanted to devalue their copyrighted content because it ultimately benefitted their business.

“If intellectual property developed by creative people and covered by copyright was as respected as intellectual property developed by engineers and protected by patents, this problem would greatly improve,” said a Viacom executive who was not authorized to discuss the matter publicly.

Viacom is currently appealing a copyright infringement case against YouTube. In 2010 a federal judge ruled in favor of YouTube’s owner, Google, which Viacom accused of seeking to profit from thousands of copyrighted clips from shows like “The Daily Show With Jon Stewart” that users had posted on YouTube.

Media executives have a particular beef with Google. Some claim it initiated the online fervor over the antipiracy legislation in part to advance its own business interests. Michael O’Leary, a senior executive vice president at the motion picture association, put it this way: “I’d ask Google, ‘How many jobs do we have to lose before they start taking this seriously?’ ”

A Google spokeswoman, Samantha Smith, said the company was “heavily invested in the fight against piracy,” noting that last year it took down 5 million infringing Web pages and spent more than $60 million to root out “bad ads,” including those for illegal or pirated goods.

Google also says it has developed ways to address the piracy problem on its own sites, pointing to Content ID, a system put in place after the Viacom suit was filed that helps copyright holders identify material they own on YouTube and decide whether to remove it or leave it up and share in the ad revenue.

Media companies have no plans to immediately revisit the antipiracy legislation. Instead, several entertainment executives said they planned to reorganize and talked to labor unions, pharmaceutical companies and other backers of the legislation about a unified message so the antipiracy and anticounterfeiting movement was not just associated with Hollywood. These executives, speaking on the condition of anonymity because the issue is so heated, also said they wanted to look at how they could better harness the Web to educate the public about piracy, something they admitted they flubbed last month.

Of course, as consumers embrace online video and music in both legal and illegal flavors, media companies have also been learning new tricks. Warner Brothers, for example, now offers a digital locker, part of an industrywide push to Internet-based movie storage that allows customers who buy a DVD or Blu-ray disc to access the same movie on many different devices.

“We’re trying to create a compelling option for consumers, but at the end of the day, unlike the pirates, we’re charging them,” said Kevin Tsujihara, the president of home entertainment for Warner Brothers.

The digital locker is the latest effort to stem the decline in home entertainment revenue, driven largely by Netflix and Redbox rentals, but also by piracy. The research firm SNL Kagan estimates that industry revenue from video rentals and sales fell 10.5 percent to $18.5 billion in 2010 from the year before.

Piracy has put the impetus on media companies to more quickly strike deals to make television and movies available on the Web legitimately. In 2007, Erik Flannigan, now the executive vice president of digital media at Viacom Entertainment Group, pulled up the Google search page on a giant screen at Viacom’s Times Square headquarters. He typed in “South Park” and took senior executives on a tour of Web sites offering pirated episodes.

Today, Comedy Central makes every episode of “South Park,” “The Daily Show” and “The Colbert Report” available free online. The efforts, Mr. Flannigan said, put a big dent in piracy. As for the television industry as a whole, Mr. Flannigan said: “You might not like the windows, or that shows go up and come down, but it’s a far cry from where we were.”

Still, Comedy Central shows do not make billions in syndication or in DVD sales like some TV series. The industry has been reluctant to make available shows like CBS’s “The Big Bang Theory,” which sold for $2 million an episode to Time Warner’s TBS and Fox. That makes piracy a tempting option.

“If they don’t make content available where consumers are, they’re just shooting themselves in the foot,” said Ron Conway, a Silicon Valley investor and the head of the SV Angel investment fund.

http://www.nytimes.com/2012/02/09/te...1&ref=business


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post #76332 of 96871 Old 02-08-2012, 09:13 AM
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Nielsen Overnights
ABC's 'The River' has murky premiere ratings
By James Hibberd, EW.com's 'Inside TV' Blog - Feb. 8, 2012

This is a bummer: ABC's promising thriller The River got off to a relatively modest start in the ratings Tuesday night.

The two-hour opener averaged 7.5 million viewers and a meh 2.4 rating in the adult demo, up 4 percent from the comparable debut of Off the Map last year. Moreover, the show lost a tenth of a rating point each half hour during its run. The news is a bit surprising considering how successful ABC has otherwise been at launching new shows this season, often delivering stronger premiere ratings than expected. This isn't a lethal number, but I think most expected something bigger (and certainly hoped for it).

ABC also aired two episodes of Last Man Standing (7.9 million, 2.4), down slightly from a few weeks ago. The second half hour featured a guest appearance by Kim Kardashian (yes, I agree, but her episode did slightly better than the first).

So what did well last night? The 200th episode of the indestructible NCIS (20.8 million, 4.1), steady in the demo. It was followed by the slightly destructible NCIS: LA (16.1 million, 3.1), down 6 percent. At 10 p.m., Jane Curtain guest starred on Unforgettable (11.7 million, 2.2). CBS won the night in the demo and viewers.

Fox was a close second in the demo with Ricky Martin guest starring on Glee (7.7 million, 3.2), down 14 percent from last week's Michael Jackson episode. New Girl (6.9 million, 3.5) was steady and Raising Hope (4.7 million, 2.2) rose 10 percent.

NBC had Biggest Loser (6.4 million, 2.2) was up 5 percent and Parenthood (4.6 million, 1.6.) fell 6 percent to a series low. The CW had 90210 (1.4 million, 0.7) and Ringer (1.1 million, 0.5).

http://insidetv.ew.com/2012/02/08/ri...gs/#more-74363


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post #76333 of 96871 Old 02-08-2012, 09:20 AM
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Business Notes
Time Warner Profit Beats Estimates as Ad Revenue Improves at TV Networks
By Edmund Lee, Bloomberg.com - Feb. 8, 2012

Time Warner Inc. (TWX), owner of the HBO cable-TV channel, reported fourth-quarter profit that topped analysts' estimates as subscription fees for television shows improved, and it announced a new share buyback of $4 billion.

Net income rose 0.5 percent to $773 million, or 76 cents a share, from $769 million, or 68 cents, a year earlier, the New York-based company said today in a statement. Excluding some items, profit of 94 cents a share beat the 87-cent average of analysts' predictions compiled by Bloomberg. The shares climbed 2.5 percent to $39.06 at 10:14 a.m. in New York. They have risen 5.4 percent this year before today.

Time Warner, which through its Warner Bros. unit produces The Big Bang Theory TV series, and derives more than 70 percent of annual operating income from television. Led by Chief Executive Officer Jeffrey Bewkes, the owner of CNN and TNT said last quarter's advertising sales rose 2 percent at the networks unit, driven by international growth. Subscription fees for TV shows advanced 5 percent.

The company also raised its quarterly dividend by 11 percent to 26 cents a share. The company sees 2012 growth in earnings excluding some items in the low double-digit range, from a base of $2.89 a share. Analysts expected a gain of about 9 percent.

Buyback a Positive'

Time Warner's repurchase program and dividend increase answered concerns that the rate of return on capital was peaking, David Bank, analyst with RBC Capital Markets in New York, said in a telephone interview. That's definitely a positive, said Bank, who rates the shares outperform.

Advertising growth was weak compared against gains at Walt Disney Co. (DIS), Paul Sweeney, senior media analyst at Bloomberg Industries, said in an e-mail. Time Warner said growth is coming from international, so domestic actually might be down, Sweeney said. That is the only potential weak spot I see.

Box office results for Warner Bros., which released films Sherlock Holmes: A Game of Shadows and Happy Feet Two at the end of the year, declined 39 percent to $369.2 million in the fourth quarter compared with a year earlier, according to research firm Box Office Mojo. The end of the studio's Harry Potter franchise will make for tough comparisons this year, according to Alexia Quadrani, a JPMorgan & Co. analyst.

The studio did alright, but it was tough because of Harry Potter last year, said Quadrani, who spoke in a telephone interview before the results were released. At the same time, there's early interest in the next Batman film and their TV business is doing well overall, said Quadrani, who rates the shares overweight and doesn't own any.

Fourth-quarter sales increased 4.9 percent to $8.19 billion. Analysts had expected $8.04 billion. The adjusted earnings exclude items such as impairments of goodwill and costs related to mergers, acquisitions, investments or dispositions.

http://www.bloomberg.com/news/2012-0...-networks.html


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Tech/Business Notes
Bridesmaids' Most Popular VOD Of All Time
By Mike Fleming, Deadline.com - Feb. 8, 2012

Universal Pictures announced today that Bridesmaids is the No. 1 most ordered VOD title of all time, with over 4.8 million rentals in just over four months of release according to Rentrak's OnDemand Essentials. Bridesmaids, which will be available on VOD through February 29, has grossed over $24 million to date.The studio estimated that through all digital platforms including internet video on demand, pay-per-view, hotel viewings, and electronic-sell-through transactions, Bridesmaids has totaled more than seven million orders with grosses of $40 million domestically.

The struggle between the major studios and exhibition chains to figure out a way to allow movies to play on VOD weeks after its theatrical bow remains at a stalemate. But the success of the day and date title Margin Call, and the prospect of Mel Gibson going straight to VOD on the action film Get the Gringo, and now this news about Bridesmaids, is sure to broaden this increasingly important revenue generator. Imagine what premium price Universal could have charged for the adult-oriented comedy a few weeks after it became a hit in theaters? It was Universal that tried to test a VOD release of Tower Heist in a couple markets for $59.99 three weeks after the film opened in theaters. I still think that studios and exhibitors will find a way to cut the latter into the ancillary revenue stream, bringing theatrical distribution into the 21st Century.

http://www.deadline.com/2012/02/brid...d-of-all-time/


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post #76335 of 96871 Old 02-08-2012, 01:27 PM
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TV Sports/Legal Notes
Former College Athletes Denied Access to TV Sports Contracts
By Eriq Gardner, The Hollywood Reporter's 'Hollywood, Esq.' Column - Feb. 8, 2012

EXCLUSIVE: On Tuesday, a judge in San Francisco blocked an attempt by former NCAA athletes including Bill Russell, Ed O'Bannon, and Oscar Robertson to obtain "highly sensitive" TV sports contracts and other documents pertaining to an ongoing class action lawsuit that alleges the NCAA, its members and conferences and licensing partners are unfairly profiting off of athletes' images.

The denial of a motion to compel these documents was a tentative decision by U.S. magistrate judge Nathanael Cousins, but nevertheless is a blow to the ex-athletes' wish to gain information that would purportedly show a conspiracy that the NCAA forces collegiate sports stars to relinquish their rights as various colleges and corporations earn billions of dollars off their backs.

In his decision yesterday, Judge Cousins turned down one whopper of a subpoena request, including all television contracts concerning Division I football and basketball, all licensing agreements with "outside" licensing entities, revenue or royalty reports, all documents relating to the releases and consent forms that athletes must sign, all documents relating to copyright and licensing policies in collegiate sports, all documents relating to deals with videogame publisher Electronic Arts, and more.

The decision is a relief to Fox Broadcasting, which had argued last month that it would be quite burdensome to produce this, and that by allowing the plaintiffs to win an argument that networks must get the consent of athletes before airing their images, "it would be impossible to continue televising sports."

The decision means that Fox, the Big Ten conference and probably TBS won't have to share some of their most sensitive internal information with lawyers for ex-athletes, but the athletes still have hopes of obtaining contracts from other entities from other judges.

That's because, in the last few months, the U.S. judicial system has been subject to a nationwide scavenger hunt for all documents that underpin the big business of college sports. More than 30 law firms have been involved in an effort to get or fight off subpoenas.

Many judges around the nation have yet to make a final ruling on subpoena demands from former athletes. Among the still pending cases is one in Connecticut against ESPN, one in North Carolina against the ACC, and one in Alabama against the SEC.

The plaintiffs are hoping to find a sympathetic judge somewhere. Unlike ones in Texas and Ohio who dismissed subpoena motions against Conference USA and the Ohio Valley Conference, respectively. Or a Georgia judge who on Tuesday transferred his case involving TBS to Judge Cousins in California.

There, Judge Cousins has been dubious about the "overly broad" and "unduly burdensome" nature of the plaintiffs requests. Besides turning down the above-mentioned subpoena requests, the judge on Tuesday also rejected an attempt to procure from Fox and others documents that made reference to the ongoing litigation, discussions at trade association meetings, and documents concerning the amateur status of athletes including any proposed changes the status.

The tentative ruling follows another made by Cousins two weeks ago where he turned down an attempt to get NCAA universities to hand over documents. The judge determined that the plaintiffs had failed to establish that the NCAA has "control" of its member institutions.

The plaintiffs haven't completely thrown airballs, however.

Judge Cousins recently granted the plaintiffs' request to get NCAA President Mark Emmert to sit down for a three-hour deposition. Next month, in the midst of March Madness, Emmert will be forced to answer tough questions about the NCAA's policies in the promotion of amateurism and competitive balance. Topics of discussion, according to the judge's decision, could be Emmert's opposition to a plan to pay collegiate athletes and his conversations with the NCAA membership about concerns that commercialism is overwhelming amateurism.

http://www.hollywoodreporter.com/thr...russell-287941


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post #76336 of 96871 Old 02-08-2012, 01:27 PM
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TV/Critic's Notes
Me-TV and Antenna TV Make It Possible to Relive CBS's Legendary 1973-74 Saturday Night Comedy Lineup Five Nights a Week
By Ed Martin, TVWorthWatching.com - Feb. 8, 2012

It's only four years old, and isn't available everywhere -- at least not yet -- but the relatively new nostalgia network Me-TV already has done something remarkable. It has made it possible for anyone old enough to remember CBS's legendary 1973-74 Saturday night comedy lineup to relive three-quarters of that singularly sensational viewing experience Monday thru Friday from 7:30-9:30 p.m. ET...

The trio of shows comprising those three quarters are M*A*S*H (which is telecast at 7 and 7:30 p.m. ET), The Mary Tyler Moore Show (8 p.m.) and The Bob Newhart Show (9 p.m.). The show that interrupts this particular flow is The Dick Van Dyke Show (8:30 p.m.), and while it was not one of CBS's early Seventies Saturday night comedy classics, it certainly feels right at home with those other fantastic shows.

If Me-TV ran All in the Family in place of The Dick Van Dyke Show it would re-create not only the best four-hour comedy block in television history, but two-thirds of the best night of television ever. (Many of CBS's various Saturday foursomes, including its 1973-74 season all-stars, were followed at 10 p.m. by The Carol Burnett Show from 1972-77.)

Happily, people who receive Me-TV (a.k.a. Memorable Entertainment Television) and the similarly classic-conscious Antenna TV can actually complete this nightly orgy of nostalgia for Saturday nights, circa 1973-74, by changing the channel at 9:30 p.m. ET and enjoying an episode of All in the Family. (Antenna TV runs two episodes of All in the Family weeknights at 9 and 9:30.)

I have to admit, I don't often do this, partly because I indulged in so many hours of All in the Family last summer (on Antenna TV and TV Land), and also because there is currently so much first-run TV to see.

But my DVR is in overdrive nevertheless. More often than not, I find myself recording the new stuff and watching it later in the evening, simply because I cannot resist M*A*S*H, Mary and Bob. On Me-TV, they're followed at 9:30 by another treat: The original single-woman-in-the-city comedy That Girl, which still sparkles all these decades later. With all due respect to the effortless charms of stars Marlo Thomas and Ted Bessell, That Girl would be worth watching just for its occasional location shoots, which lovingly showcase New York City in the late-Sixties.

I have always enjoyed reruns of All in the Family, M*A*S*H, The Mary Tyler Moore Show and The Bob Newhart Show, but thanks to Me-TV and Antenna TV, I have recently been reminded of how much they enhance each other when savored in one viewing experience. Like many kids and teenagers of my generation, I often stayed home on Saturday nights (or went to friends' homes) to watch these shows. During the television season, Friday was the night to go out and Saturday was the night to stay in, though once the summer rerun season began, Saturdays were wide open, too.

The long-running M*A*S*H (1972-83) was a part of CBS's Saturday schedule for only one season. Oddly, the network never found another show that fit so well with All in the Family (which ran on Saturday from 1971-75) and Mary Tyler Moore and Bob Newhart (which stayed on Saturday throughout their runs).

Me-TV has inadvertently come up with a long-elusive answer, plunking The Dick Van Dyke Show in between the latter two. It fits like a glove, and makes for a full hour of entertainment for fans of Ms. Moore.

Seriously, the opportunity to enjoy these shows together again can be hazardous to a television fan's already packed viewing schedule -- but I'm happy to suffer the consequences.

The only thing that would make me happier is if Me-TV could also cobble together the shows that comprised ABC's 1971-73 Friday night comedy combo, which from where I sit is the second greatest comedy block in television history.

I wouldn't want Me-TV to dislodge its CBS classics from its weeknight lineup, but it would be wonderful if it turned over its primetime weekend hours to The Brady Bunch, The Partridge Family, Room 222 and The Odd Couple. And if you're thinking that lineup should be topped off with Love American Style, you aren't alone.

In fact, Me-TV already offers three of those five shows. So we're almost there!

http://www.tvworthwatching.com/contr...ke-it-po.shtml


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Tech/Business Notes
Bridesmaids' Most Popular VOD Of All Time
By Mike Fleming, Deadline.com - Feb. 8, 2012

Universal Pictures announced today that Bridesmaids is the No. 1 most ordered VOD title of all time, with over 4.8 million rentals in just over four months of release according to Rentrak's OnDemand Essentials. Bridesmaids, which will be available on VOD through February 29, has grossed over $24 million to date.The studio estimated that through all digital platforms including internet video on demand, pay-per-view, hotel viewings, and electronic-sell-through transactions, Bridesmaids has totaled more than seven million orders with grosses of $40 million domestically.

The struggle between the major studios and exhibition chains to figure out a way to allow movies to play on VOD weeks after its theatrical bow remains at a stalemate. But the success of the day and date title Margin Call, and the prospect of Mel Gibson going straight to VOD on the action film Get the Gringo, and now this news about Bridesmaids, is sure to broaden this increasingly important revenue generator. Imagine what premium price Universal could have charged for the adult-oriented comedy a few weeks after it became a hit in theaters? It was Universal that tried to test a VOD release of Tower Heist in a couple markets for $59.99 three weeks after the film opened in theaters. I still think that studios and exhibitors will find a way to cut the latter into the ancillary revenue stream, bringing theatrical distribution into the 21st Century.

http://www.deadline.com/2012/02/brid...d-of-all-time/

Studios needs to learn to tell theaters to go F themsleves. What are the theaters going to do, sell something else? The fact is that the overwhelmingly vast majority of movies make 95% of their domestic gross in the first 6 weeks. The studios would make more money by selling a movie via PPV after say 8 weeks than they'd lose by that movie not being in theaters.
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post #76338 of 96871 Old 02-08-2012, 02:17 PM
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Another marketing expert gets on his soapbox.

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Studios needs to learn to tell theaters to go F themsleves. What are the theaters going to do, sell something else? The fact is that the overwhelmingly vast majority of movies make 95% of their domestic gross in the first 6 weeks. The studios would make more money by selling a movie via PPV after say 8 weeks than they'd lose by that movie not being in theaters.

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post #76339 of 96871 Old 02-08-2012, 04:12 PM
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TV Notes
Fox's 'House' will end this season
By James Hibberd, Entertainment Weekly - Feb. 8, 2012

Dr. House is hanging up his cane.
The network will conclude the long-running medical drama House this season.

“The decision to end the show now, or ever, is a painful one, as it risks putting asunder hundreds of close friendships that have developed over the last eight years — but also because the show itself has been a source of great pride to everyone involved,” said executive producers David Shore, Katie Jacobs and star Hugh Laurie in a joint statement. “The producers have always imagined House as an enigmatic creature; he should never be the last one to leave the party. How much better to disappear before the music stops, while there is still some promise and mystique in the air.”

The producers and star then wrote a line that might gain attention: “The producers can never sufficiently express their gratitude to the hundreds of dedicated artists and technicians who have given so generously of their energy and talent to make House the show it has been — and perhaps will continue to be for some time, on one cable network or another.”

House is produced by Universal Television and the question has been raised in the past if the studio’s sister network NBC would pick up the show if Fox cancels it. Though line above specifies cable network, it seemingly leaves open the idea of continuing on another platform — unless they’re referring to the show’s repeats continuing in syndication? I’ll update the post as soon as I get clarity on this, but it seems unlikely a cable network could afford the series.

House‘s current eighth season ratings have remained strong, particularly for a drama airing at 8 p.m. The Monday night show has averaged 9.8 million viewers and a 3.9 rating in the adult demo. TV shows get more expensive with each passing year as cast and producer salaries climb, however, while their ratings tend to decrease. So dramas rarely make it past a sixth year, let alone eight seasons.

Another factor in the decision has been the performance of a few of Fox’s new dramas, Bones-spinoff The Finder, House companion Alcatraz and fall dino drama Terra Nova. The better these freshman shows perform, goes the thinking, the less chance Fox will need to pony up for another year of House. All three have performed OK in the ratings, though Alcatraz took a worrisome dip this week.

Last year, the House renewal went down to the wire, with House getting a pickup days before Fox’s upfront presentation in May. In November, star Hugh Laurie said he expects to retire from TV acting once the show goes off the air.

Though House has won many awards, two top prizes have remained elusive — the Emmys for best actor for series star Hugh Laurie and best drama series for the show itself (though Laurie has won a Golden Globe — twice — for the part).

http://insidetv.ew.com/2012/02/08/fox-house-cancelled/

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post #76340 of 96871 Old 02-08-2012, 06:18 PM
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because box office numbers are based on that, actual numbers. That's like saying GM should adjust it's income because cars cost more than they did in 1975.

You don't think they look at adjusted numbers to make sure their "real" profits are well above prior years in "real" dollars? Or am I reading this wrong?

Cheers, Dave
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post #76341 of 96871 Old 02-08-2012, 07:29 PM
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You don't think they look at adjusted numbers to make sure their "real" profits are well above prior years in "real" dollars? Or am I reading this wrong?

I'm sure the bean counters look at the adjusted numbers, but that's not what makes the headlines promoting how the latest summer blockbuster "shattered" all records.

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post #76342 of 96871 Old 02-08-2012, 07:39 PM
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I figured one of the big reasons the NFL was hiring these graybeards [insert your Madonna joke here_____] to do the SB halftime show these days was that they were supposed to be relatively safe and "mature" - they would know better than to do something stupid. And I think that was actually the case with Madonna, who's trying to resurrect a dormant career and reinvent herself yet again. Her mistake was in asking a younger, more volatile performer to join her in an attempt to make her act more palatable to the younger set raised on hip-hop. Oops.

Dormant career?? Her best work has been over the last 14 years. She has had a bunch of top ten hits during that time period.
Her last tour in 2008/2009, Sticky and Sweet, was the highest grossing tour ever by a single artist. And the record she broke was her own from 2006.

Her 2012 tour for MDNA starts in May.

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post #76343 of 96871 Old 02-08-2012, 09:12 PM
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Tv Notes
Syfy Renews 'Being Human' for Third Season
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Feb. 8, 2012

Syfy wants more werewolves, ghosts and vampires.

Supernatural drama Being Human has been renewed for a third season, the cable network announced Wednesday.

Coming less than three weeks after its sophomore season bow posted a 27 percent gain in the coveted adults 18-49 demographic, the Sam Witwer, Meaghan Rath and Sam Huntington series has been picked up for 13 additional episodes.

The Jan. 16 Season 2 premiere also posted gains of 15 percent in total viewers and 35 percent in the adults 25-54 demographic, with the episode delivering 2.4 million total viewers and ranking as the second-most-watched episode of any season for the network and up 3 percent compared with the series premiere.

With the success of Season 2, Being Human has become a premier destination forSyfyviewers, Syfy president of original content Mark Stern said in a statement announcing the news. [Executive producers] Jeremy Carver and Anna Fricke have taken this series to new heights this year and we're excited to see where the third season will go.

Witwer, Rath and Huntington star as a vampire, ghost and werewolf, respectively, who navigate life together in a Boston brownstone as they strive to live normal lives.

http://www.hollywoodreporter.com/liv...n-three-288197


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post #76344 of 96871 Old 02-08-2012, 09:26 PM
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TV Notes
On The Air Tonight
THURSDAY 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 - Winter Wipeout
9PM - Grey's Anatomy
10:02PM - Private Practice
* * * *
11:35PM - Nightline (LIVE)
Midnight - Jimmy Kimmel Live! (Courteney Cox; New York Giants and Super Bowl XLVI champions Mario Manningham and Ahmad Bradshaw; Tony Bennett performs)

CBS:
8PM - The Big Bang Theory
8:31PM - Rob
9PM - Person of Interest
10PM - The Mentalist
* * * *
11:35PM - Late Show with David Letterman (Nicolas Cage; Michelle Dockery; The Kills perform)
12:37AM - Late Late Show with Craig Ferguson (Lisa Kudrow; Weird Al Yankovic performs)

NBC:
8PM - 30 Rock (60 min.)
9PM - The Office
9:30PM - Up All Night
10PM - Grimm
(R - Oct. 28)
* * * *
11:35PM - The Tonight Show with Jay Leno (Denzel Washington; Octavia Spencer; Estelle performs)
12:37AM - Late Night with Jimmy Fallon (Zooey Deschanel; comic Chris Hardwick; Primus performs)
1:36AM - Last Call with Carson Daly (Gina Carano; director Dee Rees; Milow performs) SD

FOX:
8PM - American Idol
9PM - The Finder

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour
9PM - Frontline: Rules of Engagement
(R - Feb. 19, 2008)
10PM - Independent Lens - The Black Power Mixtape 1967-1975 (90 min.)

UNIVISION:
8PM - Una Familia Con Suerte
9PM - El Talismán
10PM - La Que No PodÃ*a Amar

THE CW:
8PM - The Vampire Diaries
9PM - The Secret Circle

TELEMUNDO:
8PM - Una Maid en Manhattan
9PM - Flor Salvaje
10PM - Relaciones Peligrosas

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Brad Pitt)
(R - Feb. 1)
11:31PM - The Colbert Report (Activist Ameena Matthews)
(R - Feb. 1)

TBS:
11PM - Conan (Carol Burnett; Jon Glaser)

E!:
11PM - Chelsea Lately (LeAnn Rimes; comic Bobby Lee; comic Fortune Feimster; comic Ryan Stout)


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post #76345 of 96871 Old 02-08-2012, 09:33 PM
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TV Notes
Thursday's Highlights: 'The Mentalist' on CBS
By Los Angeles Times' 'Show Tracker' Blog - Feb. 8, 2012

[ALL TIMES LISTED ARE PACIFIC TIME]

A WOMAN ON TRIAL for murder may be innocent and Jane (Simon Baker) intends to prove it on The Mentalist at 10 p.m. on CBS. With Ian Kahn.

SERIES

The Vampire Diaries:
Klaus (Joseph Morgan) sends out invitations to a formal ball at his newly renovated mansion. When Elena (Nina Dobrev) gets hers, Stefan and Damon (Paul Wesley, Ian Somerhalder) both insist on going with her in this new episode (8 p.m. KTLA).

American Idol: In Hollywood, vocalists try to advance to the semifinals (8 p.m. Fox).

Party Like: Through two parallel events, centuries apart, the new episode The Queen of France tells the story of masquerades, one of the world's most popular and enduring types of party (8 p.m. National Geographic). In a second new episode, at 9, viewers see how a Roman Emperor may have partied.

The Office: Dwight and Andy (Rainn Wilson, Ed Helms) try to decide who should accompany Dwight to Sabre headquarters in Tallahassee for a special project. Jenna Fischer, James Spader and John Krasinski also star in this new episode (9 p.m. NBC).

The Finder: When an amateur magician's (Jonathan Slavin) disappearing act goes a little too well, he asks Walter (Geoff Stults) to help find his assistant, who has vanished for real (9 p.m. Fox).

Austin City Limits: Wilco performs (10 p.m. KVCR).

MOVIES

On the Shoulders of Giants:
Kareem Abdul-Jabbar is the executive producer and a co-writer of this 2011 documentary about the New York Renaissance, an all-black basketball team that was born in a Harlem ballroom in 1923 and became one of the dominant teams of the 1920s and '30s, when the sport was still segregated (8:30 p.m. Showtime).

SPORTS

College basketball:
Wisconsin at Minnesota (4 p.m. ESPN); Colorado at Arizona (6 p.m. ESPN); St. Mary's at Gonzaga (8 p.m. ESPN2); Washington at Oregon (8 p.m. FSN); Loyola Marymount at Portland (8 p.m. FS Prime).

Hockey: The Kings visit the Florida Panthers (4:30 p.m. FSN).

Pro basketball: The Lakers visit the Celtics (5 p.m. TNT).

Women's college basketball: USC at Stanford (6 p.m. FS Prime).


http://latimesblogs.latimes.com/show...st-on-cbs.html


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post #76346 of 96871 Old 02-08-2012, 09:36 PM
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TV Sports
Clint Eastwood to help create new TV golf channel
By Michael Hiestand, USA Today - Feb. 8, 2012

Clint Eastwood will be the "creative chairman" of a new TV golf channel with shows like Hole Lotta Love and Beer Cart Girl.

Back9Network, which pitches itself as a "lifestyle network as much as a sports channel," hopes to launch this spring. Thewould-be channel says Hole Lotta Love will involve golfing bachelors and bachelorettes winning dream dates while Beer Cart Girl is a comedy about delivering beers on-course until "hilarity ensues." Other shows being hyped by Back9Network include comedian JackieFlynn taking his "wise-guy attitude to the fanciest golf courses in the world" and Extreme Golf with action played from the top or buildings or in deserts.

Eastwood, 81, who will also be a "founding shareholder" of Back9Network, will advise the network on things like casting. He's known Back9Network CEO JamesBosworth since Bosworth was an assistant golf pro at the famed Pebble Beach golf course, in which Eastwood is an investor.

http://content.usatoday.com/communit...golf-channel/1


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post #76347 of 96871 Old 02-08-2012, 09:41 PM
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Legal Notes
Golden Globes Trial Analysis: Time To Bring In A High-Powered Mediator?
By The Deadline.com Team - Feb. 8, 2012



Freelance journalist Domenic Patten is covering the trial for Deadline.

After two weeks of testimony and more than a dozen witnesses including current and past presidents of both Hollywood Foreign Press Association and Dick Clark Productions, their court battle over TV rights to the Golden Globes is now in a holding pattern. At the core of the dispute is a 1993 amendment to DCP's longtime contract with the HFPA. The production company says the amendment grants them rights in perpetuity to the Golden Globes as long as the show is broadcast on NBC, which it has been since 1996. The HFPA says it does no such thing. When DCP signed a $150 million deal with NBC in 2010 extending the network pact until 2018, HFPA took the production company to court.

On Tuesday, Judge A. Howard Matz implored both parties to take the time before their lawyers begin closing arguments on Friday, February 10th to try to come to a settlement. As Deadline reported previously, neither side is talking to the other and some close to the case believe a settlement is unlikely.

Having watched almost every minute of the trial, here are a few observations both sides might want to consider:

CLEAN HOUSE: DCP certainly has issues of its own, like bald-faced lying to NBC during negotiations more politely known as bluffing. But the cloistered 85-odd members of the HFPA need to clean house and create a professional organization. The parade of former HFPA presidents such as Phil Berk and Mirjana Van Blaricom and staff members have revealed a viper's pit of in-fighting. It has also revealed a lack of business savvy which is pretty bad when you are handling a multi-million-dollar asset like the Globes.

RIGHTS = RICHES: This is of course all about money. Nobody would be wasting more than five minutes in court if the once very nearly D.O.A. Globes weren't now worth many millions of dollars. NBC, which has been broadcasting the show since 1996, is paying $21.5 million annually, split 50/50 between DCP and the HFPA minus overhead, to broadcast until 2018. It is also, as DCP's often glib CEO Mark Shapiro noted, about rights. Not just the rights to the show but the rights to all the other associated Globes branded content that either didn't exist or wasn't considered when DCP and the HFPA made their agreements back in the 1980s and '90s.

DIGITAL, PRE-SHOW, POST-SHOW, ARCHIVE there are all sorts of Globes rights just waiting for someone to assemble a comprehensive package. Shapiro testified that in the late spring of 2010, while beginning negotiations with NBC, he had discussions with Phil Berk and HFPA representatives on broadening the HFPA-DCP deal to include these new rights and the potentially lucrative revenue they represent. Shapiro said he seriously considered, with DCP Board approval, dropping the 1993 perpetuity amendment for a single 20-year extension and the ability to shop the show to networks other than NBC if he could make those other rights part of the package. If maximizing revenue is the goal for the HFPA and DCP which is now owned by private equity firm Red Zone Capitol then they might want to stop fighting old wars and think about mutually seizing the bigger prize right in front of them.

BACK TO THE FUTURE: Without a settlement any ruling by Judge Matz is certain to be appealed by the losing side. As Matz noted, that would mean the 2013 Globes would take place under the same legal cloud as this year's event. So why not agree to let time and cooler heads prevail? The clock on the contract in dispute will run out anyway in 2018. Both sides could tell the judge that they want to spend the next approximately 2,170 days, as the Globes continue to air on NBC, working out a new, comprehensive deal.

It is not unimaginable. As DCP CEO Shapiro said during the trial, both sides conducted themselves professionally to ensure the 2012 Globes went off smoothly. With the money at stake and the risk that if this isn't resolved, NBC/Comcast might decide to weigh in legally to protect a scheduled asset. Detente seems far more preferable for both sides than mutually assured litigation which is where this looks to be heading.

CLASH OF THE TITANIC EGOS: Watching the personalities involved on both sides, it isn't hard to see why this has ended up the way it has. If Phil Berk and his faction at the HFPA and DCP's Mark Shapiro and his corporate masters Dick Snyder and the Red Zone gang can't work it out, perhaps they should bring in a mediator. Previous attempts at mediation have failed, but what if a credible industry heavyweight was brought in? Maybe a former studio head, media company CEO or other mogul could gain the respect of all concerned and play broker.

Otherwise, as DCP lawyer Marty Katz pointed out in his opening statement more than two weeks ago, the Golden Globes could easily again become damaged goods and nobody wins.

http://www.deadline.com/2012/02/gold...ered-mediator/


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post #76348 of 96871 Old 02-09-2012, 06:18 AM
 
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You don't think they look at adjusted numbers to make sure their "real" profits are well above prior years in "real" dollars? Or am I reading this wrong?

I'm sure they do, but to say a movie today that takes in $400 mil doesn't count as taking in more money than Jaws which took in $260 mil because ticket prices were lower is silly.
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post #76349 of 96871 Old 02-09-2012, 06:31 AM
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TV Notes
Brian Wilson and the Beach Boys to Perform at the Grammy Awards
By Tim Kenneally, TheWrap.com - Feb. 8, 2012

Expect some good vibrations at the Grammys this year.

The reunited Beach Boys, including long-estranged singer-songwriter Brian Wilson, will perform at the 54th Annual Grammy Awards on Feb. 12. The reconstituted group will deliver their first live performance together in more than two decades, playing with Grammy nominees Foster the People and Maroon 5.

The group announced that it was reforming with its original lineup -- minus Dennis and Carl Wilson, who died in 1983 and 1988, respectively -- in December for a new album and international tour in celebration of the band's 50th anniversary. Brian Wilson, who's notoriously wary of live performances, has not toured with the group since 1965. The group's current lineup consists of Brian Wilson, Mike Love, Al Jardine, Bruce Johnston and David Marks.

Joe Walsh, Diana Krall and Maceo Parker will also perform at this year's ceremony, the Grammy organization announced Wednesday.

The newly announced artists join a roster of performers that also includes Adele, in her first performance since undergoing vocal cord surgery last year, Kelly Clarkson, Tony Bennett, Chris Brown, Coldplay, Rihanna, Paul McCartney, Katy Perry and Bruce Springsteen and the E Street Band.

This year's ceremony, hosted by rapper-turned-actor LL Cool J, will be aired by CBS on Sunday from 8 to 11:30 p.m.

http://www.thewrap.com/tv/article/br...y-awards-35232


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TV Notes
For 'Swamp People,' a moment of glory
The History channel show was among distinguished company
By Louisa Ada Seltzer, Media Life Magazine - Feb. 9, 2012

Amid the myriad car, beer and soft drink commercials during Sunday's Super Bowl on NBC was one that stood out from the rest: a spot advertising the third-season premiere of History's "Swamp People."

It's rare that a cable network makes a Super Bowl buy, and so media people will be interested to see whether the risky strategy helps goose ratings for "Swamp," which returns tonight at 9 p.m.

History targets men 18-54, which makes sporting events a logical advertising venue, and in fact it has made local Super Bowl ad buys in previous years. It advertised the premiere of "Only in America with Larry the Cable Guy" in Los Angeles and New York last year.

But this was the first time History paid the huge premium to advertise nationally in the game, which cost a reported $3.5 million for a 30-second spot.

The strategy got a lot of attention not just from trade magazines but also from consumer media outlets like the Chicago Tribune and USA Today. Though the spot didn't do particularly well in the postgame ad polls, the extra media hype probably helped raise awareness of tonight's premiere, and History will be studying the ratings carefully to decide if the big outlay was worth it.

"Swamp" already draws strong numbers for History.

It's the network's No. 3 series, behind "Pawn Stars" and "American Pickers," averaging 4.1 million viewers during season two, according to Nielsen. It was also cable's No. 7 reality series last year among adults 25-54, averaging 2.1 million viewers.

The show films in a Louisiana swamp, where the residents, mostly alligator hunters, maintain the same way of life as their great-grandparents.

http://www.medialifemagazine.com/art...t-of-glory.asp


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