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Old 05-15-2012, 09:11 AM
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Originally Posted by dad1153 View Post

And the fourth "Law & Order" spinoff, "Law & Order: Los Angeles," fizzled after a decent start last year, not even making a second season.

Actually "LOLA" was the FIFTH "L&O" spinoff. "SVU" is spinoff #1, "Criminal Intent" #2, "Trial by Jury" #3 and "Conviction" (the series Dick Wolf scrapped together after the "Trial By Jury" debacle just so he could recycle already-built-and-paid-for sets and studio leases) would be the fourth. If you don't count "Conviction" as "L&O" canon (many fans don't because it doesn't have "L&O" in the title; since it stars Stephanie March as ADA Alex Cabot I do count it as a spinoff) then, indeed, "LOLA" is spinoff #4.
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Old 05-15-2012, 10:31 AM
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MONDAY'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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Old 05-15-2012, 10:33 AM
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Nielsen Overnights (18-49)
Solid return for NBC's 'America's Got Talent'
Seventh-season debut averages a 3.6 in 18-49s
By Toni Fitzgerald, Media Life Magazine - May 15, 2012

The Howard Stern era of "America's Got Talent" got off to a solid start last night.

"Talent" averaged a 3.6 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, tying for No. 1 in the timeslot and down just 5 percent from what "The Voice" averaged in the slot last week.

It wasn't "Talent's" best debut despite the fact that it aired during the regular season and not the summer for the first time. But that also meant it faced much tougher competition, including CBS's "Two and a Half Men" and ABC's "Dancing with the Stars."

"Talent" was down 18 percent from last season's premiere, when it bowed in June rather than May. But it tied the season five premiere in 2010.

"Talent" peaked with a 3.8 in its final hour.

Stern joined the show as a judge this year, replacing Piers Morgan, the only remaining original judge on the show. The move prompted protests from the Parents Television Council, but the shock jock kept things clean in his first appearance.

Meanwhile, elsewhere last night, the ninth-season finale of CBS's "Two and a Half Men" was the night's top show with a 3.8, though that was down quite a bit from the 10.7 the show's ninth-season premiere earned last fall, when people tuned in to see how Charlie Sheen's departure would be handled.

The 90-minute season premiere of "The Bachelorette" averaged a 2.5 on ABC at 9:30, retaining nearly all of "Stars'" 2.6 lead-in.

CBS finished first for the night among 18-49s with a 3.3 average overnight rating and a 9 share. NBC was second at 3.0/8, ABC third at 2.5/7, Fox fourth at 2.0/6, Univision fifth at 1.4/4, CW sixth at 0.6/2 and Telemundo seventh at 0.5/1.

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won't be available for several weeks. Forty-four percent of Nielsen households have DVRs.

At 8 p.m. CBS led with a 3.6 for the one-hour season finale of "How I Met Your Mother," followed closely by NBC with a 3.5 for "Talent." ABC was third with a 2.4 for "Stars," Fox fourth with a 1.9 for "Bones," Univision fifth with a 1.4 for "Una Familia con Suerte," CW sixth with a 0.6 for "Gossip Girl" and Telemundo seventh with a 0.5 for "Una Maid en Manhattan."

NBC took the lead at 9 p.m. with a 3.8 for more "Talent," while CBS slipped to second with a 3.6 for "Men" (3.8) and "Mike & Molly" (3.3). ABC was third with a 2.8 for the final half hour of "Stars" (2.5) and the beginning of "Bachelorette" (2.6), Fox fourth with a 2.2 for "House," Univision fifth with a 1.3 for "Abismo de Pasion," CW sixth with a 0.6 for "Hart of Dixie" and Telemundo seventh with a 0.5 for "Corazon Valiente."

CBS regained the lead at 10 p.m. with a 2.7 for "Hawaii Five-0," with ABC second with a 2.5 for more "Bachelorette." NBC was third with a 1.8 for "Smash," Univision fourth with a 1.4 for "La Que No Podia Amar" and Telemundo fifth with a 0.4 for "Relaciones Peligrosas."

ABC was first for the night among households with a 7.7 average overnight rating and a 12 share. CBS was second at 6.4/10, NBC third at 5.3/8, Fox fourth at 4.2/6, Univision fifth at 2.0/3, CW sixth at 0.9/1 and Telemundo seventh at 0.7/1.

http://www.medialifemagazine.com/art...ot-Talent-.asp
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Old 05-15-2012, 10:55 AM
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TV Notes
2012-13 ABC Schedule: Comedy Block On Friday, ‘Revenge’ Gets ‘Housewives’ Slot
By Nellie Andreeva, Deadline.com - May 15, 2012

ABC is launching 10 new series this coming season: 666 Park Avenue, The Family Tools, How To Live With Your Parents (For The Rest Of Your Life), Last Resort, Malibu Country, Mistresses, Nashville, The Neighbors, Red Widow and Zero Hour. Five of them will premiere in the fall, the rest in midseason.

Dan Fogelman’s alien family comedy The Neighbors landed the coveted post-Modern Family slot for a block of single-camera comedies about unconventional families. Freshman soap Revenge was handed ABC’s signature Sunday 9 PM slot occupied for the last eight seasons by Desperate Housewives. It will lead into spooky new drama 666 Park Ave. After NBC moved The Voice results show from 9 PM to 8 PM, ABC is doing the same with the Dancing With The Stars results show, so the two franchises will go head-to-head again next fall. Also like NBC, ABC is opening a 9-10 PM comedy block on Tuesday (the network started comedies on the night this season at 8 PM). For a second consecutive year, ABC plans to expand the Tuesday comedy block to two hours between the two cycles of Dancing. Last year, it abandoned the idea because of the strength of Fox’s New Girl. Now it is aiming to do it again with newbies How To Live With Your Parents and Family Tools in the 8 PM hour in January.

As expected, ABC is pairing the new Reba McEntire comedy Malibu Country with Tim Allen’s Last Man Standing for a mini-TGIF revival from 8-9 PM on Friday. Bringing TGIF to ABC has been a passion idea for ABC topper Paul Lee, and a Friday slot for Malibu Country and Last Man Standing makes sense given the older appeal of both shows. But tinkering with ABC’s reality/newsmagazine lineup, which has been on fire this season — often finishing as No. 1 on the night — is risky.

The Shawn Ryan-produced new submarine thriller Last Resort was given the daunting Thursday 8 PM slot, where ABC has failed to successfully launch a new scripted series since Ugly Betty with such recent casualties as FlashForward, Charlie’s Angels and Missing. Shonda Rhimes’ Private Practice and Scandal are staying put in their spring slots, Tuesday and Thursday at 10 PM, respectively.

UPDATE 8:50 AM: For those of you were wondering why ABC would bench its newsmagazine 20/20 in November during an election year — that’s not gonna happen. ABC just issued a correction to its previously announced primetime schedule, with 20/20 staying put in the Friday 10 PM slot instead of Primetime: What Would You Do? which is going on hiatus.

Here is ABC’s 2012-13 schedule (new shows in bold):

MONDAY

8 PM “Dancing with the Stars”
10 PM “Castle”

In January

8 PM “The Bachelor”
10 PM “Castle”

TUESDAY

8 PM “Dancing with the Stars the Results Show”
9 PM “Happy Endings”
9:30 PM “Don’t Trust the B—- in Apartment 23”
10 PM “Private Practice”

In January:

8 PM “How to Live with Your Parents (For the Rest of Your Life)”
8:30 PM “The Family Tools”


WEDNESDAY

8 PM “The Middle”
8:30 p.m. “Suburgatory”
9 PM “Modern Family”
9:30 PM “The Neighbors”
10 PM “Nashville”


THURSDAY

8 PM “Last Resort”

9 PM “Grey’s Anatomy”
10 PM “Scandal”

FRIDAY

8 PM “Shark Tank”
9 PM “Primetime: What Would You Do?”
10 PM “20/20”

In November:

8 PM “Last Man Standing”
8:30 p.m. “Malibu Country”
9 PM “Shark Tank”
10 PM “20/20”

SATURDAY

8 PM “Saturday Night College Football”

SUNDAY

7 PM “America’s Funniest Home Videos”
8 PM ”Once Upon a Time”
9 PM “Revenge”
10 PM “666 Park Avenue”


* * * *

NEW FALL AND MIDSEASON SERIES:

DRAMA


“666 PARK AVENUE”


At the ominous address of 666 Park Avenue, anything you desire can be yours. Everyone has needs, desires and ambition. For the residents of The Drake, these will all be met, courtesy of the building’s mysterious owner, Gavin Doran (Terry O’Quinn). But every Faustian contract comes with a price. When Jane Van Veen (Rachael Taylor) and Henry Martin (Dave Annable), an idealistic young couple from the Midwest, are offered the opportunity to manage the historic building, they not only fall prey to the machinations of Doran and his mysterious wife, Olivia (Vanessa Williams), but unwittingly begin to experience the shadowy, supernatural forces within the building that imprison and endanger the lives of the residents inside. Sexy, seductive and inviting, The Drake maintains a dark hold over all of its residents, tempting them through their ambitions and desires, in this chilling new drama that’s home to an epic struggle of good versus evil.

“666 Park Avenue” stars Rachael Taylor (“Charlie’s Angels,” “Grey’s Anatomy,” Transformers) as Jane Van Veen, Dave Annable (“Brothers & Sisters,” “Reunion”) as Henry Martin, Robert Buckley (“One Tree Hill,” “Lipstick Jungle”) as Brian Leonard, Mercedes Masöhn (“The Finder,” “Chuck,” “Three Rivers”) as Louise Leonard, Helena Mattsson (“Iron Man 2,” “Nikita,” “Desperate Housewives”) as Alexis Blume, Samantha Logan as Nona Clark, with Vanessa Williams (“Desperate Housewives,” “Ugly Betty,” “Shaft,” “Soul Food”) as Olivia Doran and Terry O’Quinn (“Lost,” “Millennium,” “Hawaii Five-0,” “Alias,” “The West Wing,” “Jag”) as Gavin Doran.

Based on the book series by Gabriella Pierce, “666 Park Avenue” was written by David Wilcox (“Fringe,” “Life on Mars”), who is also an executive producer along with Matthew Miller (“Chuck,” “Human Target”), Leslie Morgenstein (“Gossip Girl,” “The Vampire Diaries,” “Pretty Little Liars,” “The Lying Game,” “The Secret Circle,” “The Sisterhood of the Traveling Pants”), Gina Girolamo (“The Secret Circle,” “The Lying Game”) and Alex Graves (“Fringe,” “The West Wing”). The pilot for “666 Park Avenue” was directed by Alex Graves. “666 Park Avenue” is from Bonanza Productions Inc. in association with Alloy Entertainment (“Gossip Girl,” “The Vampire Diaries,” “Pretty Little Liars”) and Warner Bros. Television.

“LAST RESORT”

500 feet beneath the ocean’s surface, the U.S. ballistic missile submarine Colorado receive their orders. Over a radio channel, designed only to be used if their homeland has been wiped out, they’re told to fire nuclear weapons at Pakistan.

Captain Marcus Chaplin (Andre Braugher) demands confirmation of the orders only to be unceremoniously relieved of duty by the White House. XO Sam Kendal (Scott Speedman) finds himself suddenly in charge of the submarine and facing the same difficult decision. When he also refuses to fire without confirmation of the orders, the Colorado is targeted, fired upon, and hit. The submarine and its crew find themselves crippled on the ocean floor, declared rogue enemies of their own country. Now, with nowhere left to turn, Chaplin and Kendal take the sub on the run and bring the men and women of the Colorado to an exotic island. Here they will find refuge, romance and a chance at a new life, even as they try to clear their names and get home.

“Last Resort” stars Andre Braugher (“Men of a Certain Age”) as Captain Marcus Chaplin, Scott Speedman (“The Vow”) as XO Sam Kendal, Daisy Betts (“Sea Patrol”) as Lieutenant Grace Shepard, Dichen Lachman (“Being Human”) as Tani Tumrenjack, Daniel Lissing (“Crownies”) as SEAL Officer James King, Sahr Ngaujah (“House of Payne”) as Mayor Julian Serrat, Camille de Pazzis as Sophie Gerard, Autumn Reeser (“Hawaii Five-O,” “No Ordinary Family”) as Kylie Sinclair, Jessy Schram (“Falling Skies,” “Once Upon a Time”) as Christine Kendal.

Recurring guest star is Robert Patrick (“The Gangster Squad”) as Master Chief Joseph Prosser.

“Last Resort” was written by Shawn Ryan (“The Shield,” “The Unit,” “The Chicago Code”) and Karl Gajdusek, who are also executive producers along with Martin Campbell and Marney Hochman Nash. The pilot for “Last Resort” was directed by Martin Campbell. “Last Resort” is produced by Middkid Productions in association with Sony Pictures Television.

“MISTRESSES”

Welcome to a provocative and thrilling drama about the scandalous lives of a sexy and sassy group of four girlfriends, each on her own path to self-discovery, as they brave the turbulent journey together.

Meet Savi (Alyssa Milano), a successful career woman working toward the next phase in her life — both professional and personal — simultaneously bucking for partner at her law firm while she and her husband, Harry (Brett Tucker), try to start a family of their own. Savi’s free-spirited and capricious baby sister, Josselyn (Jes Macallan), couldn’t be more different – living single, serial dating and partying, and regularly leaning on her big sister along the way. Their common best friend, April (Rochelle Aytes), a recent widow and mother of two, is rebuilding her life after tragedy and learning to move forward, with the support and guidance of her closest girlfriends. And friend Karen (Yunjin Kim), a successful therapist with her own practice, reconnects with the girls after her involvement in a complicated relationship with a patient goes far too deep.

“Mistresses” is a salacious new drama about a group of friends caught in storms of excitement and self-discovery, secrecy and betrayal, and bound by the complex relationships they’ve created.

“Mistresses” stars Alyssa Milano (“New Years Eve,” “Romantically Challenged,” “Hall Pass,” “My Name Is Earl,” “Charmed,” “Melrose Place”) as Savannah, Yunjin Kim (“Lost”) as Karen, Rochelle Aytes (“Work It,” “White Collar,” “Detroit 1-8-7,” “Desperate Housewives”) as April, Jes Macallan (“Kiss Me,” “NCIS: Los Angeles,” “Crash and Burn,” “Grey’s Anatomy,” “Shameless”) as Josslyn, Jason George (“Grey’s Anatomy,” “The Closer,” “Against the Wall,” “Castle,” “Off the Map,” “Eastwick”) as Dominic, Brett Tucker (“Castle,” “Spartacus: Vengeance,” “Rizzoli & Isles,” “NCIS,” “Neighbours”) as Harry, Erik Stocklin (“Grey Sheep,” “Sick Day,” “Let’s Big Happy”) as Sam.

Guest Starring Marin Hinkle (“Two and a Half Men,” “Brothers & Sisters”) as Elisabeth, John Schneider (“Smallville,” “90210,” “Desperate Housewives”) as Thomas Grey, Shannyn Sossamon (“How to Make It in America,” “Dirt”) as Alex, Cameron Bender (“Commander in Chief,” “Whitney,” “Beverlywood”) as Richard, Kate Beahan (“Burning Man,” “Rake,” “Boston Legal”) as Miranda, Sunkrish Bala (“Notes from the Underbelly,” “I Just Want My Pants Back”) as Hamid.

Based on the U.K. television series, “Mistresses” is from K.J. Steinberg (“Gossip Girl”) and is executive-produced by Robert Sertner (“Revenge,” “No Ordinary Family”), K.J. Steinberg (“Gossip Girl”), Rina Mimoun (“Privileged,” “Gilmore Girls”) and Douglas Rae (“Wuthering Heights,” “Camelot,” “Mistresses,” “Raw,” “Meadowlands”). The pilot for “Mistresses” is directed by Cherie Nowlan. The series is from ABC Studios.

“NASHVILLE”

Chart-topping Rayna James (Connie Britton) is a country legend who’s had a career any singer would envy, though lately her popularity is starting to wane. Fans still line up to get her autograph, but she’s not packing the arenas like she used to. Rayna’s record label thinks a concert tour, opening for up-and-comer Juliette Barnes (Hayden Panettiere), the young and sexy future of country music, is just what Rayna needs. But scheming Juliette can’t wait to steal Rayna’s spotlight. Sharing a stage with that disrespectful, untalented, little vixen is the last thing Rayna wants to do, which sets up a power struggle for popularity. Could the undiscovered songwriting talent of Scarlett O’Connor (Clare Bowen) be the key to helping Rayna resurrect her career?

Complicating matters, Rayna’s wealthy but estranged father, Lamar Hampton (Powers Boothe), is a powerful force in business, Tennessee politics, and the lives of his two grown daughters. His drive for power results in a scheme to back Rayna’s handsome husband, Teddy, in a run for Mayor of Nashville, against Rayna’s wishes.

“Nashville” stars Connie Britton (“Friday Night Lights,” “American Horror Story”) as Rayna, Hayden Panettiere (“Heroes”) as Juliette, Powers Boothe (“MacGruber,” “24”) as Lamar, Charles Esten (“Enlightened,” “Big Love”) as Deacon, Eric Close (“Chaos,” “Without a Trace”) as Teddy, Clare Bowen as Scarlett, Jonathan Jackson (“General Hospital”) as Avery, Sam Palladio as Gunnar and Robert Wisdom as Coleman.

“Nashville” was written by Callie Khouri (“Thelma & Louise”) who is an executive producer along with R.J. Cutler (“The September Issue,” “The War Room,” “Flip That House,” “A Perfect Candidate”) and Steve Buchanan. The pilot for “Nashville” was directed by R.J. Cutler. The series is produced by Lionsgate, ABC Studios and Gaylord Entertainment.

“RED WIDOW”

When Marta Walraven’s (Radha Mitchell) husband is brutally murdered, her first instinct is to protect her three young children. Her husband’s business partners – Irwin Petrova (Wil Traval), Marta’s scheming and untrustworthy brother, and Mike Tomlin (Lee Tergesen) — were involved in an illegal drug business deal with rival gangsters, and Marta’s husband paid the ultimate price. She already knows the violent world of organized crime; her father, Andrei Petrova (Rade Sherbedzija), and loyal bodyguard Luther (Luke Goss) are gangsters too. She and her sister Kat (Jaime Ray Newman) had always wished for a safer life without bloodshed and fear. For a while Marta lived happily as a stay at home housewife in San Marta’s cooperation, FBI Agent James Ramos (Mido Hamada) now promises justice.

Marta discovers a tenacity she never knew she had, and takes on the gangsters and the FBI to unveil the truth about her husband’s death. As she digs into this dark underworld, she’ll test her own strength, relying on her resourcefulness, determination and family ties like never before. To get out of this mob, she needs to beat the bad guys at their own deadly game.

“Red Widow” stars Radha Mitchell (“Melinda and Melinda,” “Silent Hill,” “Rogue,” “Henry Poll Is Here,” “The Children of Huang Shi,” “The Waiting City”) as Marta Walraven, Wil Traval (“Rescue Special Ops,” “Underbelly,” “All Saints”) as Irwin Petrova, Erin Moriarty (“One Life to Live”) as Natalie Walraven, Sterling Beaumon (“Arthur Newman, Golf Pro, “Clue”) as Gabriel Walraven, Lee Tergesen (“Army Wives”) as Mike Tomlin, Jakob Salvati as Boris Walraven, Mido Hamada as FBI Agent James Ramos, Luke Goss as Luther, Jaime Ray Newman (“Drop Dead Diva”) as Kat Petrova, Suleka Mathew (“Hawthorne”) as Dina Tomlin and Rade Serbedzija (“24”) as Andrei Petrova.

Based on the Dutch series “Penoza,” “Red Widow” teleplay is by Melissa Rosenberg (“Dexter” and screenwriter of the Twilight franchise). “Red Widow “is executive-produced by Melissa Rosenberg, Howard Klein (“The Office,” “Parks & Recreation”), Endemol Studios and Alon Aranya. The pilot for “Red Widow” was directed by Mark Pellington. The series is produced by ABC Studios.

“ZERO HOUR”

As the publisher of a paranormal enthusiast magazine, Modern Skeptic, Hank Galliston has spent his career following clues, debunking myths and solving conspiracies. A confessed paranormal junkie, his motto is “logic is the compass.” But when his beautiful wife, Laila (Jacinda Barrett), is abducted from her antique clock shop, Hank gets pulled into one of the most compelling mysteries in human history, stretching around the world and back centuries.

Contained in one of his wife’s clocks is a treasure map, and what it leads to could be cataclysmic. Now it’s up to Hank to decipher the symbols and unlock the secrets of the map, while ensuring the answers don’t fall into the wrong hands – a man they call White Vincent (Michael Nyqvist). With his two young associates, Rachel (Addison Timlin) and Arron (Scott Michael Foster), in tow, along with Becca Riley, a sexy FBI agent (Carmen Ejogo), Hank will lead them on a breathless race against the clock to find his wife and save humanity.

“Zero Hour” stars Anthony Edwards (“Big Sur,” “Flipped,” “ER”) as Hank, Carmen Ejogo (“Sparkle,” “Chaos,” “Away We Go”) as Beck, Scott Michael Foster (“Californication,” “The River”) as Aaron, Addison Timlin (“Californication”) as Rachel, Jacinda Barrett (“Matching Jack,” “Middle Men,” “New York, I Love You”) as Laila and Michael Nyqvist (“Mission: Impossible – Ghost Patrol”) as White Vincent.

“Zero Hour” was written by Paul T. Scheuring (“Prison Break”) who is also an executive producer along with Pierre Morel, Lorenzo DiBonaventura (“The Transformers,” “GI: Joe” franchise, “Salt,” “Red”) and Dan McDermott (“Human Target”). The pilot for “Zero Hour” was directed by Pierre Morel. The series is produced by ABC Studios.

COMEDY

“HOW TO LIVE WITH YOUR PARENTS (FOR THE REST OF YOUR LIFE)”


Polly (Sarah Chalke) is a single mom who’s been divorced for almost a year. The transition wasn’t easy for her, especially in this economy. So, like a lot of young people living in this new reality, she and her daughter, Natalie (Rachel Eggleston), have moved back home with her eccentric parents, Elaine (Elizabeth Perkins) and Max (Brad Garrett). But Polly and her parents look at life through two different lenses. Polly’s too uptight. Her parents are too laid back. Polly’s conservative when it comes to dating (no action, whatsoever), while her parents are still sexually adventurous. They think Polly turned out okay, so what’s the big deal? Well, they say it takes a village to raise a child…and in Polly’s case, this village is on fire. But with help from her best friend Gregg (Orlando Jones), her lovable yet irresponsible ex-husband Julian (Jon Dore) and her cool and fun assistant Jenn (Rebecca Delgado Smith) Polly takes her first steps toward getting a life, starting with a social one.

“How to Live with Your Parents (For the Rest of Your Life)” stars Sarah Chalke (“Mad Love,” “Scrubs”) as Polly, Jon Dore as Julian, Rachel Eggleston as Natalie, Brad Garrett (“Everybody Loves Raymond,” “‘Til Death”) as Max, Orlando Jones (“Rules of Engagement”) as Gregg, Elizabeth Perkins (“Weeds”) as Elaine, Rebecca Delgado Smith as Jenn.

“How to Live with Your Parents (For the Rest of Your Life)” was written by Claudia Lonow, who is also an executive producer along with Brian Grazer and Francie Calfo. The pilot for “How to Live with Your Parents (For the Rest of Your Life)” was directed by Julie Anne Robinson. The series is produced by 20th Century Fox and Imagine Television.

“MALIBU COUNTRY”

When Reba Gallagher (Reba) discovers that her husband, Bobby, (Jeffrey Nordling) a country music legend, has a cheatin’ heart, her world is turned upside down. Reba dreamt of becoming a country star herself, but put her career on hold to raise a family. Now she’s questioning all of that, big-time. With the ink on her divorce barely dry, Reba packs up her sharp-tongued mother, Lillie May (Lily Tomlin), her two kids and the U-Haul and heads for sunny California to begin a new chapter. Leaving Nashville in the rear view, they start over at their Malibu residence — the last remaining asset they have. Reba gets to know her new open and loving neighbor Kim (Sara Rue) and her son, Sage, but also discovers that relocation to Southern California is going to be quite an adjustment for a traditional southern belle: the West Coast seems like the polar opposite of Music City, and Reba feels like an outsider. Still, with the support of her family she sets about finding her voice, jump-starting her music career with the help of her new music agent, Geoffrey (Jai Rodriguez), and embracing this chance to begin again.

“Malibu Country” stars country music superstar Reba (“Reba,” “Tremors”) as Reba, Sara Rue (“Rules of Engagement,” “Less Than Perfect”) as Kim, Justin Prentice as Cash, Juliette Angelo as June, Jai Rodriguez (“Bones,” “How I Met Your Mother,” one of the original hosts of “Queer Eye for the Straight Guy”) as Geoffrey and Lily Tomlin (“Eastbound and Down,” “Damages,” “Desperate Housewives,” “West Wing,” “Nine to Five,” “All of Me,” “Nashville”) as Lillie May.

“Malibu Country” is from Kevin Abbott (“Last Man Standing,” “My Name Is Earl,” “Reba”) who executive produces along with Michael Hanel & Mindy Schultheis, Reba McEntire & Narvel Blackstock, Dave Stewart & Pam Williams, John Pasquin. The pilot for “Malibu Country” was directed by John Pasquin. The series is from ABC Studios.

“THE NEIGHBORS”

How well do you know your neighbors?

Meet the Weavers, Debbie (Jami Gertz) and Marty (Lenny Venito). Marty, in hopes of providing a better life for his wife and three kids, recently bought a home in Hidden Hills, a gated New Jersey townhome community with its own golf course. Hidden Hills is so exclusive that a house hasn’t come on the market in 10 years. But one finally did and the Weavers got it!

It’s clear from day one that the residents of Hidden Hills are a little different. For starters, their new neighbors all have pro-athlete names like Reggie Jackson (Tim Jo), Jackie Joyner-Kersee (Toks Olagundoye), Dick Butkis (Ian Patrick) and Larry Bird (Simon Templeman). Over dinner, Marty and his family discover that their neighbors receive nourishment through their eyes by reading books, rather than eating. The Weavers soon learn that the entire community is comprised of aliens from Zabvron, where the men bear children and everyone cries green goo from their ears.

The Zabvronians have been stationed on Earth for the past 10 years, disguised as humans, awaiting instructions from home, and the Weavers are the first humans they’ve had the opportunity to know. As it turns out, the pressures of marriage and parenthood are not exclusive to planet Earth. Two worlds will collide with hilarious consequences as everyone discovers they can “totally relate” and learn a lot from each other.

“The Neighbors” stars Jami Gertz (“Entourage,” “Modern Family,” “Still Standing,” “Ally McBeal”) as Debbie Weaver, Lenny Venito (“Bored to Death,” “Men in Black III,” “Person of Interest,” “Curb Your Enthusiasm”) as Marty Weaver, Simon Templeman as Larry Bird, Toks Olagundoye as Jackie Joyner-Kersee, Clara Mamet as Amber Weaver, Tim Jo (“Glory Daze”) as Reggie Jackson, Ian Patrick (“Wanderlust”) as Dick Butkis, Max Charles (“The Three Stooges,” “The Amazing Spider-Man”) as Max Weaver, Isabella Cramp as Abby Weaver.

Guest starring are Mitch Rouse as Real Estate Agent and Doug Jones as Alien. Co-Starring are Bruce Green as Angry Man and Mary K. DeVault as Angry Woman.

“The Neighbors” was written by Dan Fogelman (“Cars,” “Tangled,” and “Crazy, Stupid, Love”) who is also an executive producer with Aaron Kaplan, Jeff Morton (“Modern Family”) and Chris Koch (“Workaholics,” “Modern Family”). “The Neighbors” was directed by Chris Koch and is from ABC Studios.

“THE FAMILY TOOLS”

Mixing family with business is never easy, and Jack Shea (Kyle Bornheimer) is about to learn that lesson the hard way. When Jack’s father, Tony (J.K. Simmons), has a heart attack and is forced to hand over the keys to his beloved handyman business, Jack is eager to finally step up and make his father proud. Unfortunately Jack’s past career efforts have been less than stellar, so everyone seems to be waiting for him to fail. His new job isn’t made any easier by Tony’s rebellious, troublemaker assistant, Darren (Edi Gathegi), and Darren’s flirtatious sister, Liz (Danielle Nicolet), who works at the local hardware store. Yet with the support of his Aunt Terry (Leah Remini) and his oddball yet endearing cousin Mason (Johnny Pemberton), Jack Shea may just find his true calling right at home.

“The Family Tools” stars Kyle Bornheimer (“Bachelorette,” “Romantically Challenged,” “Perfect Couples”) as Jack Shea, J.K. Simmons (“Ultimate Spiderman,” “Generator Rex,” “The Closer”) as Tony Shea, Edi Gathegi (“X Men: First Class”) as Darren, Johnny Pemberton (“21 Jump Street,” “Aim High”) as Mason, Danielle Nicolet (“X Men TV Series”) as Liz and Leah Remini (“In the Motherhood,” “King of Queens”) as Terry.

Based on the UK series “White Van Man,” “The Family Tools” teleplay is by Bobby Bowman. “The Family Tools” is executive-produced by Bobby Bowman, Mark Gordon (“Grey’s Anatomy,” “Criminal Minds”) and Andrea Shay (“It Takes a Village,” “Virtual Virgin”) and Paul Buccieri (“Prime Suspect”). The pilot for “The Family Tools” was directed by Michael Fresco (“Suburgatory,” “Raising Hope,” “Better Off Ted,” “My Name Is Earl,” “Northern Exposure,” “St. Elsewhere”). The series is from ABC Studios.

http://www.deadline.com/2012/05/2012...usewives-slot/
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Technology Notes
Comcast finds way to deliver ads to subscribers who skip commercials on DVR
By Steve Donohue, FierceCable.com Blog

Comcast has developed technology that would allow the nation's largest cable operator to deliver advertising to subscribers who skip commercials contained in TV shows recorded on a DVR, according to a U.S. patent application obtained by FierceCable.

Subscribers who hit fast-forward, pause and other trick-mode buttons on their remotes would receive an alternate ad displayed in the center of their TV screen or by making the alternate ad partially transparent, according to the patent.

Comcast details a strategy for targeting alternative ads to a subscriber who skips commercials based on demographics and the subscriber's viewing habits, including "historical choices made by the recipient whether to skip or watch previous alternate content."

Comcast also says networks would be able to charge advertisers a premium for the right to deliver alternative ads to a subscriber who skips commercials in TV shows contained in a DVR. The MSO notes that it could also sell advertising displayed while a subscriber uses fast forward to other media buyers.

"The content provider may charge the advertiser an extra fee to play the alternate advertising during fast-forward operation," Comcast states in the 20-page patent application. "In other embodiments, however, the content provider may sell those trick mode advertising avails to other advertisers," the company writes.

Comcast details several methods for delivering alternative ads to subscribers who skip fast forward. One approach would be to use a DVR containing multiple tuners to download alternative ads to a subscriber's set-top before he begins watching a program. "This can be done behind the scenes without the user's knowledge," Comcast chief scientist Dan Holden writes in the patent application. Holden is named as the inventor on the application, which was published Thursday by the U.S. Patent & Trademark Office.

Comcast may be able to boost ad revenue by selling advertisers multiple alternative ads, and using the trick modes to incent subscribers to watch other ads or previews for movies or TV shows. "The alternate advertising trick file can be configured to tempt the consumer to take further actions," Comcast writes on the patent application. "Alternately, when the consumer selects double rewind, the consumer may be presented with another advertisement that includes an instruction to select yet another trick mode in order to receive some benefit such as a prize or another preview or the second half of the same preview. The possibilities are endless," the company adds.

Comcast officials wouldn't comment on when the technology may be deployed. "While we regularly file patent applications for a variety of technologies, we cannot comment on their potential use or speculate on whether those technologies would be part of any future products or services," spokeswoman Jenni Moyer said Friday.

Comcast and other cable MSOs have increased revenue from digital cable subscribers by leasing customers DVRs, but the devices have made it much easier for viewers to skip commercials, which hurts programmers. While it's not clear how soon Comcast may attempt to deliver alternative ads to subscribers who skip commercials, that strategy could help both operators and programmers deliver more relevant ads to subscribers and offer the industry a new source for ad revenue.

Click here for a slideshow of the patent diagrams.

http://www.fiercecable.com/story/com...dvr/2012-05-11
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Old 05-15-2012, 11:35 AM
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TV Notes
'Dancing With the Stars' 'All-Star' Season Set for Fall
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - May 15, 2012

Dancing With the Stars is switching gears for its 15th cycle. Following weeks of rumors, ABC entertainment president Paul Lee formally announced that the veteran franchise will be bringing back former competitors for an "All-Star" season this fall.

"We can't talk about the casting yet, but I'd love to see some of the fan favorite from the last seasons come back," he said. "We have many from the past 14 seasons."

Though an all-star season of the series is something that's been floated around for a while, it recently gained traction when former competitor Mario Lopez mentioned on-air that he'd been approached to return.

Recently speaking with The Hollywood Reporter, Dancing With the Stars EP Conrad Green wouldn't confirm plans, only saying that it has been part of the discussion for years. "It's definitely an option for the future," he said. "I think it's something our fans would really like."

One reason why the show has likely chosen the 15th season as the time bring back familiar faces is ratings. The current cycle has seen dips in viewers and adults 18-49, thanks in large part to direct competition against NBC's The Voice.

http://www.hollywoodreporter.com/liv...pfronts-324599

* * * *

TV Notes
Marvel's 'Hulk' Still in the Works at ABC
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - May 15, 2012

NEW YORK -- Paul Lee still wants the Hulk to smash on ABC.

The network's entertainment president told reporters Tuesday during a conference call ahead of his formal upfront presentation to Madison Avenue ad buyers in New York that he'd still like to "see some Marvel projects come to television."

"Hulk is in development," he confirmed. "It wasn't going to be ready this season but we hope it's going to be ready for next season."

Oscar nominee Guillermo del Toro (Pan's Labrynth) is developing the project for the Disney-owned network after ABC's parent company purchased Marvel Entertainment for $4 billion in late 2009.

With Disney distributing box office hit The Avengers, Lee touted the corporate synergy and expressed optimism that he plans to expand its superhero slate. "We're immensely proud to be a company with The Avengers," he said. "We're going to continue to develop aggressively."

Pressed for details, Lee remained mum only noting, "We've got some in development, but none that I can talk about at this point."

More recently, ABC Studios and Fox gave a put pilot commitment to an adaptation of Marvel's The Punisher, with Criminal Minds' Ed Bernero that didn't move forward.

The update news comes as The Avengers continues to build to its box office cume. The film, which stars Mark Ruffalo as the Hulk, has already topped $1 billion worldwide.

http://www.hollywoodreporter.com/liv...el-toro-324627
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Technology Notes
Comcast finds way to deliver ads to subscribers who skip commercials on DVR
By Steve Donohue, FierceCable.com Blog

Seems to me TiVo was developing something like this several years.
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Old 05-15-2012, 12:37 PM
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A little off-topic for "HOTP" but a fascinating read.

Technology/Business Notes
How Yahoo Killed Flickr and Lost the Internet
By Mat Honan, Gizmondo.com - May 15, 2012

Web startups are made out of two things: people and code. The people make the code, and the code makes the people rich. Code is like a poem; it has to follow certain structural requirements, and yet out of that structure can come art. But code is art that does something. It is the assembly of something brand new from nothing but an idea.

This is the story of a wonderful idea. Something that had never been done before, a moment of change that shaped the Internet we know today. This is the story of Flickr. And how Yahoo bought it and murdered it and screwed itself out of relevance along the way.

Do you remember Flickr's tag line? It reads "almost certainly the best online photo management and sharing application in the world." It was an epic humble brag, a momentously tongue in cheek understatement.

Because until three years ago, of course Flickr was the best photo sharing service in the world. Nothing else could touch it. If you cared about digital photography, or wanted to share photos with friends, you were on Flickr.

Yet today, that tagline simply sounds like delusional posturing. The photo service that was once poised to take on the the world has now become an afterthought. Want to share photos on the Web? That's what Facebook is for. Want to look at the pictures your friends are snapping on the go? Fire up Instagram.

Even the notion of Flickr as an archive—as the place where you store all your photos as a backup—is becoming increasingly quaint as Dropbox, Microsoft, Google, Box.net, Amazon, Apple, and a host of others scramble to serve online gigs to our hungry desktops.

The site that once had the best social tools, the most vibrant userbase, and toppest-notch storage is rapidly passing into the irrelevance of abandonment. Its once bustling community now feels like an exurban neighborhood rocked by a housing crisis. Yards gone to seed. Rusting bikes in the front yard. Tattered flags. At address, after address, after address, no one is home.

It is a case study of what can go wrong when a nimble, innovative startup gets gobbled up by a behemoth that doesn't share its values. What happened to Flickr? The same thing that happened to so many other nimble, innovative startups who sold out for dollars and bandwidth: Yahoo.

Here's how it all went bad.

In the Beginning

Flickr famously began as a feature of another product. Husband-and-wife development team Stewart Butterfield and Caterina Fake had created a photo sharing feature for another product they were working on, Game Neverending. Butterfield and Fake were old-school Web types. The kind with low Metafilter user numbers and WELL accounts.

And because they knew the Web so fluently, they soon realized that their real product wasn't the game: It was this secondary feature, the ability to share photos online. This was 2003, and photo sharing was still very much a novel problem for people. Flickr was born.

It was a hit. Bloggers especially loved it, as it solved an age-old photo hosting problem. (This was during the hoary old days of the Web when storage actually cost money.)

Two years later, in 2005, Butterfield and Fake sold their company to Yahoo, whose deep pockets promised great things for Flickr's users. It upped the monthly storage limit to 100MB for free users, and removed it altogether for pro accounts, for example. Yahoo had bandwidth and engineering to burn. Things were going to be great; things are always going to be great the first time you embrace a new corporate mother.

When Startups Become Successes

Very few people manage to build successful startups. But when the one hits, it can change the status quo in an instant. Suddenly, those two elemental ingredients—people and code—become very valuable to the established companies that seem to reside on an untouchable corporate Mount Olympus. It would have to be an overwhelming compliment and sense of validation. How would you handle it? What if you made something beautiful and useful that changed the status quo? Would you sell it? Would you sell yourself?

That's the choice successful startup founders are faced with. Build something good, and the buyout offers start rolling in. But while selling out in most other fields of creative endeavor is frowned upon, it's a given on the Web.

Maybe it shouldn't be. For every YouTube, there are horror stories of great people with great products, squandered in the yawning maws of uncaring corporate integration. Dodgeball gets lost in Mountain View. Beloved bookmarking services like Delicious become fields of information left fallow.

Some upstarts take an independent path. Consider Foursquare. Or Twitter. Or Facebook. Each spurned buyout offers, and none has ever been stronger. All managed to find a business model over time. Or even StumbleUpon, which only found its feet after its founder re-purchased his company from eBay and spun it off again as an indie.

It's no secret that for many entrepreneurs, the exit is always the goal. It's about the sellout before the first line of code is written. But for a select group, products are meant to be art. They are meant to literally change the world. And for those, selling out can be especially problematic.

Flickr falls into that camp.

Integration Is The Enemy of Innovation

"Yahoo was a good fit initially," says Flickr co-founder Caterina Fake, who left the company in 2008. "We had offers from various companies, including Google, and I honestly think that Yahoo was a great steward. It was a great steward of the brand. It was allowed to flourish. In the subsequent two years after the acquisition, Flickr blossomed."

Yet even early on, there were signs that the transplant—which had seemed so successful at first—was going to fail. That the DNA didn't match. This was largely due to how this new appendage was grafted on by Yahoo's CorpDev department.

When a new startup comes into an established company, the first wall it typically hits is CorpDev, or corporate development: the group within a business that manages change. CorpDev is usually charged with planning corporate strategy—where a business will grow or shrink, the markets it will enter or exit, and what kind of contracts and deals it may strike with other companies. It often oversees acquisitions. It plans them. Approves them. And then it sets the terms.

When a big company gobbles up a smaller one, often only a fraction of the money is handed over up front. The rest comes later, based on the acquisition hitting a series of deliverables down the road. It's similar to how incentives are built into the contracts of professional athletes, except with engineering benchmarks instead of home runs.

Corpdev sets these milestones. They reflect the reason for the acquisition, and how the company—in Flickr's case, Yahoo—can leverage them. They're baked into the deal, and an acquisition integration team begins working immediately to make sure they are met. Typically, they're very engineering-based, designed to integrate the smaller company's product into the enormous corporate machine.

And because payment schedules are based on achieving those CorpDev terms, it means both companies have a vested (pun intended) interest in putting those milestones ahead of new features. They are a sledgehammer applied with great force to the feet of nimble development. Worse, they often completely ignore what made the smaller target valuable in the first place.

Take Upcoming, the calendaring site Yahoo bought not long after Flickr. It was a play to get local listings. Local data—especially in smaller cities or for smaller events—can be very hard to come by. Everyone ends up having the same stuff. But Upcoming's data was user-generated. It was different. Unique. Valuable.

The milestones for that acquisition were all based around integrating that local event data into Yahoo. Yahoo didn't care about Upcoming's users—the community that created the data. Yahoo's approach turned out to be completely backwards. The value of the the company was determined by the index itself, rather than how the index was built—which is to say, by the community.

It was a stunning failure in vision, and more or less the same thing happened at Flickr. All Yahoo cared about was the database its users had built and tagged. It didn't care about the community that had created it or (more importantly) continuing to grow that community by introducing new features.

"We spent a lot of time in meetings with CorpDev just defending the product and justifying our decisions," said a former Flickr team member.

And so when Flickr hit the ground at Yahoo it was crushed with engineering and service requirements it had to meet as per demands of the acquisition integration team. Those were a drain on resources, human and financial. Even though many of the resources came from Yahoo, they were debited against Flickr. This created an untenable cycle that actively hampered innovation.

"The money goes to the cash cows, not the cash calf," explains one former Flickr team member. If Flickr couldn't make bucks, it wouldn't get bucks (or talent, or resources).

Because Flickr wasn't as profitable as some of the other bigger properties, like Yahoo Mail or Yahoo Sports, it wasn't given the resources that were dedicated to other products. That meant it had to spend its resources on integration, rather than innovation. Which made it harder to attract new users, which meant it couldn't make as much money, which meant (full circle) it didn't get more resources. And so it goes.

As a result of being resource-starved, Flickr quit planting the anchors it needed to climb ever higher. It missed the boat on local, on real time, on mobile, and even ultimately on social—the field it pioneered. And so, it never became the Flickr of video; YouTube snagged that ring. It never became the Flickr of people, which was of course Facebook. It remained the Flickr of photos. At least, until Instagram came along.

The Flickr team was forced to focus on integration, not innovation. This played out in two key areas.

Socially Awkward

Flickr's best feature isn't what you think. It's not photo-sharing at all. Just as photo sharing was a feature hidden within a game, there was another feature hidden within photo-sharing that was even more powerful: social networking. Flickr was, nearly a decade ago, building what would become the Social Web.

The first point in Flickr's two point mission statement is to help people make their photos available to the people who matter to them. Flickr had—and still has—excellent tools for this. Flickr was an early site that let you identify relationships with fine grained controls—a person could be marked as family but not a friend, for example—instead of a binary friend/not friend relationship. You can mark your photos "private" and allow no one else to see them at all, or identify just one or two trusted friends who may view them. Or you can just share with friends, or family. Those granular controls encouraged sharing, and commenting, and interaction. What we are describing here, of course, is social networking.

It's hard to remember, but back in 2005, Yahoo seemed like it had its game on. After losing out on search dominance to Google, it snapped up a bunch of small-but-cool socially oriented companies like Flickr (social photos), Delicious (social bookmarking), and Upcoming (social calendaring). There was a real sense that Yahoo was doing the right thing. It was, to some extent, out in front of what would come to be widely known as Web 2.0: the participatory Internet.

But Yahoo's social success in those years was almost accidental. It wasn't (and isn't) a company with vision. Its founders Jerry Yang and David Filo's great contribution to the Internet? They built a directory of links and then sold ads on those pages.

It was a gateway, nothing more. This was hardly an innovative idea, or technically complicated to pull off. You don't have to write algorithms to build a portal. Yahoo was little more than an electronic edition of Yellow Pages.

The founders' influence on a company's culture is enormous, and Yang and Filo cared about business, not products or innovation. They didn't foster a culture of computer scientists, like Google's founders did, or cultivate hackers like Facebook. They grew a business culture. For many years that worked quite well—until Google came along. Suddenly nobody needed directories anymore. Why browse a hierarchy when you can jump directly to what you're looking for with a simple query?

Yahoo's CEO Terry Semel had failed to buy Google in 2001, when he had the chance. Now Yahoo was so focused on winning search that it essentially surrendered social. In 2005, Flickr had far and away the best social connection and discovery tools on the Internet. Remember, back then Facebook was still very much a fledgling service, one that didn't even let you upload pictures other than the one in your profile. Yahoo, meanwhile, had existing internal social products, like Address Book and Messenger. Social was clearly the future. What Yahoo wanted, however, wasn't the future. It was to re-fight an old battle from the past. It was to beat Google.

"By the time we were looking at Flickr, Yahoo was getting the **** kicked out of it by Google. The race was on to find other areas of search where we could build a commanding lead," says one high ranking Yahoo executive familiar with the deal.

Flickr offered a way to do that. Because Flickr photos were tagged and labeled and categorized so efficiently by users, they were highly searchable.

"That is the reason we bought Flickr—not the community. We didn't give a **** about that. The theory behind buying Flickr was not to increase social connections, it was to monetize the image index. It was totally not about social communities or social networking. It was certainly nothing to do with the users."

And that was the problem. At the time, the Web was rapidly becoming more social, and Flickr was at the forefront of that movement. It was all about groups and comments and identifying people as contacts, friends or family. To Yahoo, it was just a ****ing database.

The first community problems became evident when Yahoo decided all existing Flickr users would need a Yahoo account to log in. That switchover occurred in 2007, and was part of the CorpDev integration process to establish a single sign on. Flickr set it to go live on the Ides of March.

From Yahoo's perspective, there was no choice but to revamp the login. For one, Flickr had grown internationally, and it had to localize to comply with local laws. Yahoo already had tools to solve this, because it had already expanded into other countries. It offered a ready-made solution.

But moreover, Yahoo needed to leverage this thing that it had just bought. Yahoo wanted to make sure that every one of its registered users could instantly use Flickr without having to register for it separately. It wanted Flickr to work seamlessly with Yahoo Mail. It wanted its services to sing together in harmony, rather than in cacophonous isolation. The first step in that is to create a unified login. That's great for Yahoo, but it didn't do anything for Flickr, and it certainly didn't do anything for Flickr's (extremely vocal) users.

Yahoo's RegID solution turned out to be a nightmare for the existing community. You could no longer use your existing Flickr login to get to your photos, you had to use a Yahoo one. If you did not already have a Yahoo account, you had to create one. And you did not even log in on Flickr's home page, upon arriving, you were immediately kicked over to a Yahoo login screen.

Although Flickr grew tremendously with the huge influx of Yahoo users, the existing community of highly influential early adopters was infuriated. It was an inelegant transition, and seemed to ignore what the community wanted (namely, a way to log in without having to sign up for a Yahoo account). This was the opposite of what people had come to expect from Flickr. It was anti-social.

And it very much delivered a message, to both users and to the team at Flickr: You're part of Yahoo now.

That message was also going out to Flickr's team. Flickr prided itself on customer care, which it considered a core part of community building. But Yahoo wanted to manage all that itself with its existing departments. One of Yahoo's goals was to move from a system of notice and takedown, to prescreening all the content members posted before it went up online. Flickr saw this as both a costly time-consuming task and one that could very well violate its members privacy, especially when talking about private photos. The Flickr team scheduled a meeting and headed down to corporate headquarters in Sunnyvale for an hour long presentation to make its case. Halfway through the meeting, the vice president who oversaw customer care for Yahoo looked at his watch, announced he had another meeting, and left. It was an open **** you.

For Heather Champ, who was Flickr's head of community at the time, the meeting was the beginning of the end. "I came out of that meeting knowing I couldn't continue in my role. I didn't want to stay and watch them dismantle everything we'd worked so hard to build."

By mid-2008, a year after the RegID debacle, it was clear to most everyone that Facebook was the big up-and-coming social network. What had been a plaything for college kids and high schoolers was suddenly the network your mom, your dad, your gym coach, and everyone else you'd ever met was sending you friend requests from. Microsoft was pumping money into it, and it was fast approaching 100 million users.

Inside Yahoo, which itself had a massive user base and multiple social products, some were already warning that it was going to be bypassed in social just as it had been bypassed in search.

"I spent years at Yahoo trying to signal the alarm that Facebook was going to take over the adult market unless we stepped in and used our existing social networks to fight back," laments one former Yahoo engineer who worked on products at both the parent company and Flickr. "Obviously this never went anywhere for a multitude of reasons."

Yahoo had already tried to buy Facebook in 2006—for a billion goddamn dollars. And failed. Two years later Facebook was too big to buy. The only way to beat it was to come at it from another direction with a better product. Yahoo's best hope for that was Flickr. But by then it was too late.

"Flickr wasn't a startup anymore," explains the engineer, "people didn't really want to work that hard to turn the entire product around. Even if they had, Flickr [was] very techie hipster, many didn't use or like Facebook and considered it bland, boring, evil, poorly designed, etc., and were certainly not ready to fast follow it. Emphasis was put more on how things looked, and felt, rather than on metrics and on what worked. The whole experience was very frustrating for me all around, as I slowly watched Flickr and Yahoo fade into irrelevance."

The Unstoppable Force And His Immobile Object

There's a difference between a missed opportunity and a complete ****-up. When Yahoo failed to capitalize on Flickr's social potential, that was a missed opportunity. But if you want to see where it completely ****ed up, where it just butchered Flickr with dull knives and duller wit, turn on your phone and launch the Flickr app. Oh, what's that, you don't have one? Exactly.

Flickr had a robust mobile Web site way back in 2006—before the iPhone even shipped. You could use it with your piece of crap Symbian phone, or the dinky screen on your Sony Ericsson T68i. But it was basically just a browser. If you wanted to get a photo from your phone to your account, you had to email it.

And then in 2008, something happened that made the mobile Web a sideshow altogether: apps. The iPhone's App Store ushered in a new era that changed the way we interacted. People didn't want mobile web experiences that required them to skip from a camera app, to an editing app, back to the Web and possibly even over to email to upload and share an image. They wanted an app that did all those things. The Flickr team understood that. Unfortunately they couldn't do anything about it.

"Flickr was not empowered to build its own iOS app—or any other mobile app for that matter," laments one former Flickr executive. "You had this external team with strong opinions as to what the app should do."

It was here that the missions of the two companies truly collided, according to insiders. The Flickr app was a top-down decision, driven by Yahoo Mobile and its leader, Marco Boerries. The team at Flickr was iced out.

Boerries had a grandiose vision for something called "Connected Life." It was to be a socially seamless mobile experience that brought all your Yahoo services together in the palm of your hand, and connected them with the desktop. It was nothing short of what Apple and Google and Microsoft are all trying to do today with their cloud strategies.

Boerries was a maniac. He'd built a word processing program called StarWriter as a 16 year-old kid, grew it into the StarOffice suite and sold it to Sun for $74 million in 1999. By 2004, he was running around Silicon Valley giving a demo that was literally making people gasp in wonder.

He would walk into a room full of investors, pull out his crappy flip phone, and take a picture of the room. Then he'd pocket it, open his laptop and refresh the app running on his desktop. Suddenly, the visitors in the room would be confronted with their own skeptical faces. It was automatic. He then explained that he could do the same thing with any other type of data—emails, phone numbers, mp3s, whatever. Anything you did on the phone would be seamlessly reflected on the desktop, and vice versa. Basically, it was iCloud.

Yahoo bought his company in 2005 for something in the neighborhood of $16 million, largely to buy Boerries. A month later, it would buy Flickr.

Boerries was a genius, and, by all accounts, a nightmare to work with. One of the most frank depictions of this comes from Kellan Elliot-McCrea, Etsy's CTO who, in a past life, was the chief architect of Flickr. On Quora, he writes:

"Marco Boerries was without a doubt one of the most viciously political, and disliked Yahoo! execs and he reigned for 4 years over the Yahoo "Connected Life" team which had universal control over all native mobile experiences within Yahoo. Several Flickr internal attempts to build and ship native mobile experiences (going back to 2006) were squashed relentlessly."

The Yahoo Mobile team was onerously slow to get an app out the door. Although the iTunes App Store launched in July of 2008, Yahoo Mobile let a year slip away before it released an official Flickr app. When it finally did roll out the long-delayed beast in September of 2009, it was beyond disasterous. The early reviews on the iTunes App Store read like pre-alpha test notes of the world's worst software.

"Not enough functionality to be useful"

"it is SLOW and seems to slow down more with use"

"Was very excited about this app only to be let down. Hard."

"slow, buggy, terrible navigation."

"everything is painfully slow"


Among other problems, it wouldn't let you upload several photos at once, you had to go in manually submit them one at a time. It was downscaling photos to 450 x 600, murdering image quality. Users had to log in via Safari rather than in the app itself. It was striping EXIF data from photos as they uploaded—precisely the kind of thing Flickr's photo nerds wanted to see.

People. F***ing. Hated it.

The app landed like a pile of mud on a wedding gown. As one App Store reviewer put it, "For uploading to Flickr, this is really the worst app I've tried; you're better off just emailing photos direct from the phone in that respect."

It somehow managed to get Flickr's two key strengths—photo sharing and storage—completely wrong.

Possibly worst of all—at least from a business perspective—you couldn't sign up for a Flickr account from the app. (In fact, you still can't. It kicks you over to the Web to sign up with Yahoo if you want to register as a new user.) While other apps draw users into their Web services (think Foursquare, Twitter, Facebook, and notably Instagram) the Flickr app that Yahoo Mobile rolled out had no mechanism for that. It was not a recruitment tool. It was just for existing users.

"That was a big oversight," says Fake. That's an understatement. It was the mother of all ****ups.

Meanwhile, all manner of new apps were appearing that would not only snap photos for you, but process the images too. Things like Best Camera and Camera Bag were introducing consumers to the idea of applying automatic filters to their mobile photos. A little over a year after the Flickr app hit iTunes, another photography app came along that worked much like a quicker Flickr. It was called Instagram.

Today, it all seems too late. The iPhone is the most popular camera on Flickr, but the feeling isn't mutual. Flickr isn't even among the top 50 free photography apps in iTunes. It's just below an Instagram clone in 64th place. By way of comparison, an app that adds cats with laser eyes to your photos is 23rd.

http://gizmodo.com/5910223/how-yahoo...t-the-internet
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Old 05-15-2012, 01:46 PM
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TV Notes
Adult Swim Orders 8 Pilots, Including a Project From 'Community's' Dan Harmon
By Lacey Rose, The Hollywood Reporter's 'Live Feed' Blog - May 15, 2012

Ahead of Adult Swim’s upfront party Wednesday night, the Turner-owned network has announced a collection of pilots.

Among the younger-skewing net’s development projects: an animated Harold & Kumar project and an animated effort from Community’s Dan Harmon.

Here’s a look at Adult Swim’s pilots:

Untitled Animated Harold & Kumar Project (In Development)

A Lionsgate-produced animated version of the eponymous blockbuster stoner comedy series. As The Hollywood Reporter first reported in November, film stars John Cho and Kal Penn are on board to voice the characters, Harold and Kumar, respectively, while A Very Harold & Kumar 3D Christmas' scribes Jon Hurwitz and Hayden Schlossberg are attached to pen the script.

Rick & Morty

A genius inventor grandfather and his less than genius grandson, and the journeys inlife they share. The 30-minute project hails from Harmon (Community, Channel 101) and Justin Roiland.

Colonel Wallace (Working Title)

The 15 minute project, from Greg Cohen (Conan O’Brien, King of the Hill, TV Funhouse), which centers on an eccentric southern fried chicken magnate and his adventures with his family.

Coffin Dodgers

A half-hour project, from Dave Silverstein and Matt Jeser (Drawn Together),about a group of misfit grumps get into Animal House-style trouble at a cozy suburban retirement home.

Green Bench: The American Day Dream

A group of friends have pooled their money to buy a large office space for their business. The only problem is they haven’t quite figured out what that business is. In the meantime, it’s an awesome headquarters where their petty, self-centered, and mischievous minds can wander. The half-hour project come from the internet sketch comedy sensation Green Bench and produced by Dakota Pictures.

FreestyleLove Supreme

The half-hour live action comedy, from Ars Nova (Black Dynamite, In the Heights), revolves around these I.T. guys work on their freestyle rapping at the office, much to the annoyance of their co-workers.

King StarKing

King Star King is a modern day he-man who’s half-warrior, half-idiot in this 15-minute animated pilot from JJ Villard (Monsters Vs. Aliens) and Eric Kaplan (Big Bang Theory).

Rolling With Dad

The half-hour animated effort centers on a brilliant, but disabled man deals with his much less intelligent family. The project counts Seth Grahame-Smith (Pride and Prejudice and Zombies; Abraham Lincoln, Vampire Hunter; Tim Burton’s Dark Shadows; The Hard Times of RJ Berger) and David Katzenberg (The Hard Times of RJ Berger) as producers.

http://www.hollywoodreporter.com/liv...d-kumar-324657
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Old 05-15-2012, 01:53 PM
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Tech/Business Notes
Ikea HDTV launching in U.S. in 2013
By Brett Molina, USA Today - May 15, 2012

New details have surfaced on furniture maker Ikea's smart TV integrated into an entertainment cabinet.

According to GigaOM, which cites an Ikea spokesperson, the Uppleva will support about 20 apps, including options from online video hubs such as YouTube, Vimeo and DailyMotion.

The device will also feature a Web browser and built-in Blu-ray player.

The report says the Uppleva will start selling at $960, with screen sizes ranging from 24 inches to 46 inches. It's expected to launch in the U.S. in 2013.

Unveiled last month, the Uppleva is a high-definition smart TV and sound system integrated into an entertainment stand.

It includes four HDMI ports, two USB hook-ups and an FM radio. There's also a compartment to hide any cables.

http://content.usatoday.com/communit...n-us-in-2013/1
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Old 05-15-2012, 02:02 PM
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I vote for Stacy Keibler (from season 2) to come back.

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TV Notes
'Dancing With the Stars' 'All-Star' Season Set for Fall

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Old 05-15-2012, 02:29 PM
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TV Notes
Single-Camera Comedy Mayhem: ABC, NBC & Fox To Clash In Tuesday 9-10 Hour In Fall
By Nellie Andreeva, Deadline.com - May 15, 2012

Damon Wayans Jr is heading to the Tuesday 9 PM slot after all. The actor starred in the pilot for Fox's New Girl but had to pull out because his series in first position, ABC's Happy Endings, was surprisingly renewed for a second season last May. Now he will face New Girl as ABC is slotting Happy Endings in the Thursday 9 PM slot this fall. ABC opening a 9-10 PM comedy block on Tuesday is surprising given the fact that the network last May said it would expand its new Last Man Standing-anchored Tuesday 8-9 PM comedy block to 10 PM in January with the younger-skewing Cougar Town and Don't Trust The B- in the 9 PM hour. But the network abandoned the idea, with ABC topper Paul Lee citing the strength of New Girl for the decision. Now the network is pitting Happy Endings and Don't Trust The B against New Girl and Mindy Kaling's The Mindy Project.

And if that's not enough, NBC too is opening a single-camera comedy block from 9-10 PM on Tuesday with its highest-profile new comedies, the Matthew Perry starrer Go On and Ryan Murphy's The New Normal. At its upfront presentation yesterday, the network said the block is one of its two big priorities for next fall, meaning the two comedies will get a big marketing push. Will any of the networks blink or we will witness one of the worst cases of comedies cannibalizing each other?

http://www.deadline.com/2012/05/sing...-hour-in-fall/
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Old 05-15-2012, 03:56 PM
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TV Notes
Jimmy Kimmel's Best Jokes From the ABC Upfront
By Tim Kenneally and Tim Molloy, TheWrap.com - May 15, 2012

ABC's Jimmy Kimmel turned the network's 2012-13 upfront presentation to advertisers into a roast Wednesday, taking aim at ABC's lineup, the competition and his boss' reported offer to work for the BBC.

He asked his British boss, ABC Entertainment president Paul Lee, if he had really received an offer to run the BBC or if it was like a case of secretaries sending themselves flowers.

"ABC has something that the BBC will never have -- dental," he joked.

After several celebrities, including Tom Cruise, Cameron Diaz, Matt Damon and the Kardashians appeared in a video marking Kimmel's 10th year, on ABC, the "Jimmy Kimmel Live" host joked, "I have no idea" who some of them were. He said he was touched that the Kardashians "took time "from their busy schedule: Having sex with the Minnesota Timberwolves."

Addressing the advertisers who attended to decide where to invest their ad dollars this year, he said: "How many times do I have to tell you ... we don't know what we are doing."

He recalled introducing the show "Good Christian Bitches" last year: "We changed it to 'GCB,' which instead sounds like a date-rape drug."

He expressed surprise that "Dancing With the Stars" is still on the air. "'Dancing With the Stars' is still going strong-ish?" he asked. He added that he fell down while watching the show and hit his head. "For the first time this season, I actually saw some stars."

He also made fun of the networks, starting with NBC, which features a monkey in the new series "Animal Kingdom." He also mocked "The Voice." "Spinning chairs and a monkey -- this truly is the golden age of television ... this is the first time that NBC has had a star that throws its own feces since Gary Busey on 'Celebrity Apprentice.'"

He also took several shots at new "X Factor: judge Britney Spears. "Britney Spears has wanted to be a judge ever since she spent the last 10 years appearing in front of them." When the audience responded tepidly to some of his Spears jokes, he quipped, "I didn't realize this was a gay audience."

He said the CW was giving the last upfront presentation because it didn't actually exist and took several digs at CBS' older skewing audience. "They really do have their finger on the pulse, of viewers who have almost no pulse."

"CBS is going to stay in their lane -- they'll have their turn blinkers on the whole, time, but they'll stay in their lane."

He concluded by saying he knew advertisers were ready to spend.

"We know that you have 9 billion to spend this week, so don't get all cheap-o, Secret Service on us," Kimmel cracked.

The presentation also included appearances by the cast of ABC shows including "Revenge," "Once Upon a Time" and "Modern Family," It ended with a performance by Kelly Clarkson, John Legend and Robin Thicke of the upcoming summer singing competition "Duets."

Kimmel joked that the show will seem completely completely different from any other singing competition -- to people who had never seen a singing competition before.

http://www.thewrap.com/tv/article/ji...-upfront-39966
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Old 05-15-2012, 04:16 PM
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TV Notes
Watch Trailers for All of ABC's New Series
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - May 15, 2012

After announcing the return of its TGIF franchise and moving soapy drama Revenge to Sundays as part of its 2012-13 schedule, ABC has released trailers for its nine new series.

The Disney-owned network's offerings include a musical drama starring Friday Night Lights' Connie Britton, hours starring ER's Anthony Edwards and a NATO thriller from The Shield's Shawn Ryan.

On the comedy side, the network's new entries feature such familiar faces as Kyle Bornheimer, Brad Garrett, Reba McEntire and Sarah Chalke.

Check out the trailers, below.

How to Live With Your Parents (For the Rest of Your Life) stars Chalke as a recently divorced single mom, moves in with her eccentric parents, Elaine (Elizabeth Perkins) and Max (Brad Garrett), a couple who are full of life but know no bounds.Claudia Lonow (Cashmere Mafia) penned the pilot and exec produces the comedy, which will air Tuesdays at 8 p.m. in January.

The Family Tools is based on the British format and revolves around a guy (Kyle Bornheimer) who is forced to put his dreams on hold in order to take over the family handyman business from his father (J.K. Simmons). Bobby Bowman penned the pilot and will exec produce the half-hour, which airs Tuesdays at 8:30 starting in January.

The Neighbors centers on a family (Lenny Venito, Jami Gertz, Isabella Camp, Clara Mamet, Max Charles) that moves into a coveted New Jersey gated community only to discover that the entire neighborhood is comprised of aliens disguised as humans. Set to premiere in the fall in the plumb post-Modern Family time slot on Wednesdays at 9:30 p.m.

Nashville is a family soap set against the backdrop of the Nashville music scene revolving around one star at her peak (Connie Britton) and another on the rise (Hayden Panettiere). The musical drama from Thelma and Louise's Callie Khouri will bow in the fall on Wednesdays at 10 p.m.

Last Resort, from The Shield's Shawn Ryan, centers on the crew of a U.S. nuclear submarine (led by Andre Braugher) who, after ignoring an order to fire nuclear missiles, wind up being hunted and escape to a NATO outpost where they declare themselves to be the world's smallest nuclear nation. Felicity's Scott Speedman co-stars in the hourlong drama, which airs Thursdays at 8 p.m.

Malibu Country centers on Reba (Reba McEntire) who, after her "good 'ol boy" rock star husband cheats on her and burns through most of their money, divorces him and moves her three kids and mom (Lily Tomlin) from Nashville to the only asset they have left -- a little house in Malibu.

666 Park Avenue, based on the book by Gabriella Pierce, centers on a young couple (Dave Annabele, Rachael Taylor) who accept an offer to manage one of the most historic apartment buildings in New York City, they unwittingly begin to experience supernatural occurrences, which complicate and endanger the lives of everyone in the building. Lost's Terry O'Quinn and Desperate Housewives' Vanessa Williams co-star in the drama, which will air Sundays at 10 p.m.

Red Widow, based on the Dutch format, revolves around the widow (Radha Mitchell) of an assassinated criminal who is forced to adopt her husband’s role in a crime syndicate in order to protect her family.(Midseason)

Zero Hour is a thriller in which a bizarre twist of fate pulls a man (ER's Anthony Edwards) who has spent 20 years as the editor of a skeptics magazine into one of the most compelling conspiracies in human history. Prison Break's Paul T. Scheuring penned the pilot and will exec produce.(Midseason)

Mistresses, adapted from a British series of the same name, stars Alyssa Milano, Rochelle Aytes, Yunjin Kim and Jes Macallan as four friends juggling complex relationships. It doesn't join the schedule until summer 2013.

http://www.hollywoodreporter.com/liv...-resort-324615
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Old 05-15-2012, 04:24 PM
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lol....dental.

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Old 05-15-2012, 04:55 PM
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I vote for Stacy Keibler (from season 2) to come back.

That would probably even get me back.

She needs the work. The only thing that's put her in the spotlight since then is her recurring role as George Clooney's eye-candy.
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Old 05-15-2012, 05:59 PM
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TV Notes
ABC Will Be Better Off With Its New Schedule
By Josef Adalian, New York Magazine's 'Vulture' Blog - May 15, 2012

Buzz is great, but it don't pay the rent: That's the underlying message of ABC's new fall lineup, a smart, multi-pronged scheduling gambit engineered to accomplish several goals simultaneously. While there are no bombshell moves particularly to Vulture readers, as we've been lobbying for the relocation of Revenge to Sundays since March Alphabet brass wisely realized that while the network launched a bumper crop of much-talked-about newcomers, many of those young series had yet to develop into stand-alone hits. The new schedule aims to change that, either by moving shows to potentially more advantageous time slots or redeploying other series assets to parts of the schedule where they may improve the network's performance. Throw in an aggressive expansion on the comedy front, and there's a good chance ABC will be at least a little better off a year from now.

As mentioned, the Alphabet's most significant shift is Revenge to Sundays. The logic behind this play remains the same as when we pitched the idea two months ago (and yes, we're about to quote ourselves): "Here's the dirty little secret of Revenge: Its ratings don't match its massive buzz and good reviews." Sure it competes for first or second place at 10 p.m., but it's struggled to get about a 2.3 rating in the key demo this spring (at least in overnight ratings), and 10 p.m. has become a tough time for all dramas in an age when people use the later hour to empty the contents of their DVRs. Sundays make sense because ABC's 8 p.m. show that evening, Once Upon a Time, actually is a breakout hit, doing much better with young women than any of the comedies ABC has aired at 9:30 p.m. Wednesdays this season. And as ABC chief Paul Lee pointed out to reporters today during a conference call, the number of homes watching TV Sundays at nine is larger than any other time of the week. If ABC mounts a big campaign to get viewers to catch up on Revenge over the summer, there's no reason the show can't improve its ratings by double digits next season and in the process help ABC replace the hole left by the departure of Desperate Housewives.

Elsewhere on the drama front, ABC's decision to shift Private Practice to Tuesdays on a permanent basis is also smart. Keeping the show behind Grey's Anatomy for so many years was a mistake, since it kept ABC from using the latter show to launch more hits. But Scandal has shown promise, and as Grey's begins its final couple of seasons, ABC needed to capitalize on whatever spark still remains to grow a new Shonda Rhimes soap. At the same time, while Private is unlikely to light the world on fire on Tuesdays, it should do better bringing in young women than Body of Proof: "It's a win-win," Lee correctly said of the move. As for ABC's new dramas, they also seem wisely scheduled: 666 Park Avenue, a spooky soap, seems well-paired with Revenge while the idea of Connie Britton returning to her American Horror Story time slot (10 p.m. Wednesdays) is almost poetic. Finally, ABC will try to make some noise, particularly with young men, by putting Shawn Ryan's action thriller The Last Resort as the lead-off to its Thursday. With NBC and CBS offering comedies, and Fox offering more Simon Cowell, this could be effective counterprogamming, offering an exciting alternative to the other networks.

As logical as ABC's other moves are, its decision to jump into the Great Sitcom Stimulus of 2012 by expanding half-hours to Tuesdays and Friday could be a bit more problematic. Relocating Happy Endings and Don't Trust the B--- to Tuesdays was not at all unexpected; after all, the network had said it planned to do that this spring, before Fox struck gold with New Girl. Lee says the change didn't happen because of Zooey fear, but rather because he loved B---- so much, he wanted to give it some exposure behind Modern Family. Lee's love, however, may not be enough to help it survive against a slightly weakened, but still strong New Girl and what's likely to be one of the buzziest new half-hours of the fall, The Mindy Project. At the very least, it promises to be a messy battle of the hipster half-hours. Part of us wishes ABC would try again to get audiences to check out Happy at 10 p.m.; paired with B----, it feels like the network could find the same sort of success FX has had with adult comedies in the later hour. We'd love to see Shark Tank Tuesdays at nine after the Dancing With the Stars results show, where it could bridge the gap between older-skewing DWTS and ABC's younger comedies.

By contrast, Lee's decision to relocate Last Man Standing to Fridays, pairing it with a Reba McEntire comedy, was a no-brainer. Fact is, Tim Allen's show wasn't doing much business at all on Tuesdays, and given the star-power involved, it was a bit of a disappointment. But if Allen can bring most of his audience with him to Fridays, and Reba can bring her heartland following as well, ABC will be better off. And like NBC's shift to put comedies at eight, and Fox's relocation of Touch as a replacement for reality, ABC's ad sales department will pull in extra coin because of the addition of two more comedies.

During his session with reporters today, Lee said his network's upfront pitch to advertisers will begin with a sizzle reel featuring the tagline "Why watch when you can feel?" a riff on the network's penchant for emotion-laden dramas and comedies. Catchy? Sure. But a better slogan for the broadcaster, however, would probably be "Keep Calm and Carry On": Next week, ABC will end a TV season in fourth place with the key ad demo of viewers under 50, the first time that's happened in eight years. And yet, between the new schedule the net revealed today and the upbeat demeanor of Brit-born Lee during his call with reporters, the Alphabet exudes nary a whiff of the desperation and panic that characterized NBC's Jeff Zucker-era residency in Nielsen's cellar. This is not a criticism of ABC or Lee, however. Keeping a stiffer upper lip, slowly developing new hits, giving shows time to find an audience? That's how you manage tough times at a TV network and why we think ABC won't be residing at the bottom of the ratings for very long.

http://www.vulture.com/2012/05/abc-w...-schedule.html
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Old 05-15-2012, 06:17 PM
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Nielsen Notes
The nine highest-rated canceled shows
By James Hibberd, EW.com's 'Inside TV' Blog - May 15, 2012

More than any year in recent memory, the survival of shows this season did not hinge on ratings.

You had Fox's Fringe getting renewed for a final GTFO season with only 4.2 million viewers and slight 1.6 average rating. Then you had Terra Nova getting axed with 10.8 million viewers and a 3.6 rating. The biggest mitigating factor was a show's cost which usually rises along with its age along with the difficulty of a time period, who owns the program, how intensely critics and fans feel about the series and, believe it or not, whether a network's executives actually like the show. Here are the Top 9 highest-rated canceled shows this season:

1. Rob (CBS: 12 million viewers, 3.7 adults 18-49 rating): A 3.7? If NBC had a freshman comedy with a 3.7 average, it would run the show five nights a week this fall (Community was renewed with almost half this rating). Bully for CBS that their table scraps have these kind of numbers. The issue here was Rob was shedding too much of its massive Big Bang Theory lead-in, and was trending the wrong direction. CBS suspects the time-slot can do better.

2. Terra Nova (Fox: 10.1 million, 3.6): Some in the industry feel Fox made a mistake not picking up this ambitious drama for a second season. I agree. Terra Nova managed the rare feat of delivering a sizable family audience to a broadcast scripted drama and seemed to creatively find its legs in its final hours. Cost was a factor, but so was the network's belief that midseason drama Touch would be the network's next big hit (it wasn't).

3. Alcatraz (Fox: 9.6 million, 3.4): The ratings on Alcatraz keep sinking while the show's didn't seem hugely engaging to viewers like other J.J. Abrams-produced dramas. A second season would have likely seen a ratings drop into serious red-line territory.

4 & 5. House/Desperate Housewives (Fox: 8.7 million, 3.3 / ABC 10.4 million, 3.5): I almost didn't put these two on the list because their conclusions were more like dignified retirements than cancellations. Still, some dramas do manage to last longer, like the next one on the list.

6. How to Be a Gentleman (ABC: 8.7 million, 2.8): Short-lived. Critics didn't like it, and it didn't pull its weight.

7. GCB (ABC: 7.4 million, 2.6): Diving in the ratings, and ABC has several similarly soapy dramas ordered for next fall that could potentially improve on these numbers.

8. CSI: Miami (CBS: 10.8 million, 2.5): Viewers don't really crave and holler for a real ending on procedural crime dramas like they do for serialized shows like Fringe. Personally, if I watched any TV show for a decade, I'd want a final episode that gave some sort of sense of resolution, some acknowledgement that this is actually a story that's being told and not just a perpetual weekly reset. Hopefully CBS won't shortchange The Mentalist when its time comes.

9. Unforgettable (CBS: 12 million, 2.5): Maybe it was the title. Maybe the somewhat generic format. But this series was one of the most, well, forgettable on TV. It's ratings weren't terrible, but few viewers seemed particularly upset when it was axed.

http://insidetv.ew.com/2012/05/15/canceled-shows/
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Old 05-15-2012, 06:27 PM
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TV Notes
Syfy Sets Dates for 'Warehouse 13,' 'Alphas' Returns and 'Eureka' Farewell
By Philiana Ng, The Hollywood Reporter's 'Live Feed' Blog - May 15, 2012

Syfy has set its summer schedule with the returns of Warehouse 13 and Alphas, in addition to the final episodes of long-running series Eureka.

The cable network bids farewell to Eureka on Monday, July 16 at 9 p.m. after five seasons.

Warehouse 13 kicks off season four and Alphas launches its second round on July 23 at 9 p.m. and 10 p.m., respectively.

Additionally, Canadian sci-fi drama Lost Girl will move to its new Friday time slot beginning July 20 at 10 p.m.

Other Syfy staples will also make their summer return: Destination Truth (season five begins July 10 at 8 p.m.), Haunted Collector (season 2 premieres June 6 at 9 p.m.), Face Off (season three premieres Aug. 21 at 9 p.m.) and Paranormal Witness (season two launches Aug. 8 at 10 p.m.).

New fare Paranormal Highway with Jack Osbourne (debuts July 10 at 10 p.m.), School Spirits from Mark Burnett (debuts June 20 at 10 p.m.) and Insane or Inspired? (debuts May 25 at 10 p.m.) also launch this summer.

Original Saturday movies return with Jersey Shore Shark Attack (June 9 at 9 p.m.), Piranhaconda (June 16 at 9 p.m.), Arachnoquake (June 23 at 9 p.m.) and Bigfoot (June 30 at 9 p.m.).

http://www.hollywoodreporter.com/liv...-alphas-324732
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Old 05-15-2012, 08:31 PM
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That would probably even get me back.

She needs the work. The only thing that's put her in the spotlight since then is her recurring role as George Clooney's eye-candy.

The only bad thing about Stacy Keibler's appearance on DWTS was that it was in the season just prior to the show switching to HD.

If she does come back we get to see her in HD glory! Assuming of course she hasn't chunked up over the last few years.
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Old 05-15-2012, 08:57 PM
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TV Notes
Watch Trailers for All of ABC's New Series
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - May 15, 2012

Last Resort, from The Shield's Shawn Ryan, centers on the crew of a U.S. nuclear submarine (led by Andre Braugher) who, after ignoring an order to fire nuclear missiles, wind up being hunted and escape to a NATO outpost where they declare themselves to be the world's smallest nuclear nation. Felicity's Scott Speedman co-stars in the hourlong drama, which airs Thursdays at 8 p.m.

I was wondering who in the typical ABC audience would watch a TV version of Das Boot until I read that crazy description. Are we sure this is a thriller? It sounds like a comedy.


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Old 05-16-2012, 04:44 AM
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TV Reviews
Johnny, We Hardly Knew You
By Dorothy Rabinowitz, Wall Street Journal

ok - I'm watchin this
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Old 05-16-2012, 04:59 AM
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Technology Notes
Comcast finds way to deliver ads to subscribers who skip commercials on DVR
By Steve Donohue, FierceCable.com Blog


Seems to me TiVo was developing something like this several years.

probably not likely but this could back fire on Comcast. Forcing someone to watch an alternative ad when they're already trying to get outof watching one? Tricky - me thinks.
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Old 05-16-2012, 05:45 AM
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Forcing someone to watch an alternative ad when they're already trying to get outof watching one? Tricky - me thinks.

Well, I don't know about you, but I FFWD or skip ads to save time, not due to some inherent dislike of advertising. As long as Comcast isn't slowing anything down (and doesn't interfere with allowing me to determine when to start watching the show again), it doesn't seem too bad.
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Old 05-16-2012, 05:46 AM
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TV Notes
On The Air Tonight
WEDNESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - The Middle
8:30PM - Suburgatory (Season Finale)
9PM - Modern Family
9:31PM - Don't Trust the B---- in Apartment 23
10PM - Revenge
* * * *
11:35PM - Nightline (LIVE)
Midnight - Jimmy Kimmel Live! (Rita Wilson performs)

CBS:
8PM - Mike & Molly
(R - Nov. 14)
8:30PM - Rules of Engagement
(R - Oct. 27)
9PM - Criminal Minds (Season Finale, 120 min.)
* * * *
11:35PM - Late Show with David Letterman (Betty White; former CPL. Moses Maddox; Best Coast performs)
12:37AM - Late Show with Craig Ferguson (Craig visits his hometown of Cumbernauld, Scotland, with Michael Clarke Duncan; The Imagineers perform)

NBC:
8PM - Betty White's Off Their Rocker
8:30PM - Betty White's Off Their Rocker
9PM - Law & Order: Special Victims Unit
(R - Jan. 11)
10PM - Law & Order: Special Victims Unit
* * * *
11:35PM - The Tonight Show with Jay Leno (Joel McHale; animal handler Jarod Miller; Bobby Brown performs)
12:37AM - Late Night with Jimmy Fallon (Taylor Kitsch; Tony Hale; comic Joe Machi)
1:36AM - Last Call with Carson Daly (Judah Friedlander; "the Imposter"; Dr. Dog performs)

FOX:
8PM - American Idol (LIVE, 120 min.)

PBS:
(check your local listing for starting time/programming)
8PM - Nature: Cracking the Koala Code
9PM - NOVA: The Great Inca Rebellion
(R - Jun. 19, 2007)
10PM - Bones of Turkana

UNIVISION:
8PM - Una Familia Con Suerte
9PM - Abismo de Pasión
10PM - La Que No PodÃ*a Amar

THE CW:
8PM - America's Next Top Model
(R - May 9)
9PM - America's Next Top Model

TELEMUNDO:
8PM - Una Maid en Manhattan
9PM - Corazón Valiente
10PM - Relaciones Peligrosas

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Ambassador Ivo Daalder)
(R - May 8)
11:31PM - The Colbert Report (Anna Wintour)
(R - May 9)

TBS:
11PM - Conan (Liam Neeson; comic Marc Maron)

E!:
11PM - Chelsea Lately (Brooklyn Decker; comic Dan Levy; comic Fortune Feimster; comic TJ Miller)
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Old 05-16-2012, 05:52 AM
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Originally Posted by javry View Post

probably not likely but this could back fire on Comcast. Forcing someone to watch an alternative ad when they're already trying to get outof watching one? Tricky - me thinks.

Don't know about backfiring, but I'm thinking our HTPC sections are about to get a lot busier. Automatic commercial deletion... unlimited storage.. streaming.. burn shows to disc... just sayin.'

Walking the fine line between jaw-dropping and a plain ol' yawn.
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Old 05-16-2012, 05:54 AM
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TV Notes
Wednesday’s Highlights: 'Nature' on KOCE
By Los Angeles Times' 'Show Tracker' Blog - May 8, 2012

[ALL TIMES LISTED ARE PACIFIC TIME]

KOALAS are featured on a new episode of “Nature” at 8 p.m. on KOCE.

SERIES

Jeopardy!
Celebrities try to provide questions for answers to win money for their favorite charities. Appearing this week are Kareem Abdul-Jabbar, Lewis Black, Anderson Cooper, David Faber, Thomas L. Friedman, Robert Gibbs, Katty Kay, Chris Matthews, Kelly O’Donnell, Lizzie O’Leary, Dr. Mehmet Oz, Clarence Page, Dana Perino, Chuck Todd and Chris Wallace (7 p.m. ABC).

American Idol: The three remaining contestants visit their hometowns and perform in this new episode (8 p.m. Fox).

Suburgatory: Tessa (Jane Levy) feels left out when her neighbors pull out all the stops in celebrating their mothers in the season finale (8:30 p.m. ABC).

Criminal Minds: One of the team members is taken hostage at a federal bank in the two-hour season finale (9 p.m. CBS).

America’s Next Top Model: This new episode brings the models to Hong Kong (9 p.m. KTLA).

Law & Order: Special Victims Unit: This new episode is definitely not for the squeamish. David Eigenberg, Patrick Fischler and Constantine Maroulis guest star (10 p.m. NBC).

SPECIALS

The Weight of the Nation for Kids:
This three-episode follow-up to the documentary opens with “The Great Cafeteria Takeover” about a group of New Orleans students that works to bring healthy options to school cafeterias (7 p.m. HBO).

Bones of Turkana: This new National Geographic documentary follows famed paleoanthropologist, conservationist, statesman and provocateur Richard Leakey, wife Meave, daughter Louise and their colleagues as they work in the arid northern regions of Kenya’s Turkana Basin (10 p.m. KOCE).

SPORTS

Baseball:
The Dodgers visit the Padres (3:30 p.m. KCAL).

Basketball: NBA playoffs: The Boston Celtics visit the Philadelphia 76ers (4 p.m. TNT); the Lakers visit the Oklahoma City Thunder (6:30 p.m. TNT).

Hockey: NHL playoffs: The New Jersey Devils visit the New York Rangers (5 p.m. NBCSP).

Baseball: The Chicago White Sox visit the Angels (7 p.m. FSN).


http://latimesblogs.latimes.com/show...e-on-koce.html
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Old 05-16-2012, 05:58 AM
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Business Notes
More Pitches Accent the Spanish
By Stuart Eliott and Tanzina Vega, The New York Times - May 16, 2012

Although the word Âupfront is English rather than Spanish, the broadcast networks and cable channels that aim programming at Hispanic viewers are again increasing their presence during the annual television upfront week.

There are nine presentations scheduled this week to brief advertisers on programming plans for the 2012-13 season (and yes, also woo them with shrimp and adult beverages). Last May, during the upfront week that preceded the 2011-12 season, there were five such presentations.

The reason for the higher profile this upfront week is the growing interest among advertisers in reaching Hispanic consumers in light of the results of the 2010 census, which found that the Hispanic population had surpassed the 50 million mark. More demand among advertisers to reach Spanish-speaking consumers  and those acculturated Hispanics who are bilingual or speak English  means more efforts by media companies to sell commercial time during shows those consumers watch.

* * * *

For instance, Telemundo Media has Âgrown our sales force by over 20 percent, said Dan Lovinger, executive vice president for advertising sales and integrated marketing. The company added 12 advertisers in the first quarter, he said, in categories like automotive and pharmaceuticals, atop gains last year that included the signing of 50 new advertisers.

Emilio Romano, president of Telemundo Media, said the Telemundo broadcast network would offer viewers Âthe largest and most ambitious slate of original content in our history, which, at more than 800 hours, would exceed last seasonÂ's total by almost 40 percent.

It is not lost on anyone, regardless of which language they speak, that the first ad deal of the 2012-13 upfront season was struck with a Hispanic media company, Univision Communications, rather than one devoted to the general market.

Two agencies owned by the Publicis Groupe, Starcom USA and Tapestry, agreed last week to buy commercial time from Univision Communications for advertiser clients that include Burger King, Kellogg and Mars. The deal was valued at well into nine figures by David Lawenda, president for advertising sales and marketing of Univision Communications.

ÂOur niche has become your opportunity, Mr. Lawenda told a full house of advertisers and agency executives at the Univision Communications upfront presentation on Tuesday.

Univision Communications operates two broadcast networks, Univision and TeleFutura, as well as cable channels that include Galavisión and Univision Deportes (Sports). Univision Communications executives recently said they would team up with the ABC News division of the Walt Disney Company to start a cable channel with news and lifestyle programming in English, aimed at Hispanics who like to watch English-language TV shows.

Disney is reaching out to Hispanics on its own, too, through ESPN Deportes, the Spanish-language member of its ESPN sports empire, and a companion Web site, espndeportes.com. At an event on Wednesday, ESPN Deportes will outline initiatives that include additional coverage of soccer matches and a new show, ÂRedes #ESPN, or Â#ESPN Nets, devoted to discussions of sports topics in social media like Twitter, home of the # (hashtag). It will also describe the first original series for the Web site, ÂBorn and Raised, offering digital shorts aimed at young, bilingual Hispanic sports fans.

ESPN Deportes received recognition during the ESPN upfront presentation on Tuesday, when the audience saw a video clip describing a deal with Diageo, the liquor giant, to advertise on national and local media properties that are part of ESPN Deportes. Disney is not the only mainstream media company that is doubling down during upfront week by making presentations to advertisers about Spanish-language TV along with legacy English-language holdings.

For instance, Telemundo Media  which gave its upfront presentation on Tuesday, covering the Telemundo broadcast network, which specializes in the prime-time serialized dramas known as telenovelas, and Mun2, a cable channel  is part of NBCUniversal, which is majority-owned by the Comcast Corporation.

Fox Hispanic Media, which has scheduled its presentation for Wednesday, is a division of News Corporation, whose Fox Broadcasting unit described its plans for the 2012-13 season on Monday.

Executives of Fox Hispanic Media say they will discuss their three cable channels  Fox Deportes, Nat Geo Mundo and UtilÃ*sima  as well as a broadcast network, MundoFox, that they intend to introduce in the fall as a competitor to the Univision network operated by Univision Communications and the Telemundo network operated by Telemundo Media.

And Discovery Communications, the cable behemoth that operates channels like Discovery Channel, Animal Planet and TLC, hosted an upfront presentation on Tuesday for its Discovery U.S. Hispanic division, composed of two channels, Discovery en Español and Discovery Familia (Family).

ÂWe think itÂ's just critical to offer programming that appeals to Hispanic viewers, said John Hendricks, chairman and founder of Discovery Communications, particularly because of the younger demographics of the Spanish-speaking population of the United States.

Mr. HendricksÂ's remarks came during an appearance he made on the Âsizzle reel of coming shows that was played for the audience at the presentation. The series will include what was called the first game show to appear on Discovery en Español, ÂBatalla de Ingenios, or ÂBattle of Wits, with challenges based on the channelÂ's programming genres, among them science and nature.

ÂThatÂ's been the magic of our company, Mr. Hendricks said in a statement, Âlistening to our audience and then representing their diverse interests in how we program our channels.Â

* * * *

On the English-language front of the upfront week, ABC presented its schedule for 2012-13 on Tuesday. Like its rivals Fox and NBC, which presented the day before, ABC is adding situation comedies to prime time.

There will be four new sitcoms on ABC, including ÂThe Neighbors, about a gated community where the residents are aliens, and ÂMalibu Country, about a country singer, portrayed by Reba McEntire, who moves to California. (There is no word as to the origins of her neighbors.)

CBS is to present its schedule on Wednesday, as will the cable channels, TBS and TNT.

Bill Carter contributed reporting.

http://www.nytimes.com/2012/05/16/bu...ref=television
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Old 05-16-2012, 06:10 AM
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TV Sports
O'Brien to host Olympics for first time since 2004
By Michael Hiestand, USA Today - May 16, 2012

Pat O'Brien is back on Olympic TV. NBC announces Wednesday that O'Brien, who hosted NBC's late-night and cable coverage at the 2000, 2002 and 2004 Games after working two Olympics for CBS, will be a host at the 2012 London Games. But he'll be at Centre Court, rather than NBC's center stage as he hosts NBC-owned Bravo's coverage of Olympic tennis from Wimbledon.

After joining CBS in 1980, O'Brien worked its U.S. Open tennis and hosted four Super Bowls, NCAA Final Four and NBA Finals coverage. In 1997, he made a transition from TV sports to show biz by hosting Entertainment Tonight. But after his sexually-graphic phone messages, which included suggestions of drug use, popped up online, he entered rehab in 2005.

He says he's been sober for more than three years. He now hosts a national Fox Sports radio show in Los Angeles and appears monthly on Sean Hannity's Fox News show "I'm his favorite liberal" and recently hosted NBC's Today show. Jim Bell, Today's producer, will oversee NBC's 2012 Olympics and worked with O'Brien on past NBC Games. That tie with Bell, says O'Brien, led to his Bravo assignment: "Jim called me three months ago and said it makes sense for me to do tennis."

Gary Zenkel, president/NBC Olympics, calls O'Brien "an accomplished broadcaster with long ties to the Games." O'Brien calls himself new and improved: "I now believe believe it or not in shutting up. It's Pat O'Brien 2.0."

NBC also announces Wednesday that Golf Channel announcer Kelly Tilghman will host MSNBC's Olympic coverage, which will carry action from about 20 sports.

No indispensables: Even before NBC has made it official, ESPN on Tuesday went on the record about daytime talk show co-host Michelle Beadle's widely reported move to NBC, where she's expected to have roles on the NBC Sports Network cable channel and Olympic coverage and a shot at show biz on the NBC-owned Access Hollywood. Said ESPN President John Skipper at Tuesday's ESPN upfronts, which Beadle hosted last year: "We love Michelle. We're sorry she's leaving."

When it comes to Erin Andrews, another Internet favorite whose contract is up, Skipper says, "Our preference would be for her to stay." But he reinforced the longtime ESPN notion that nobody is indispensable: "I can't think of a single instance where losing a talent has been significantly debilitating to a specific program."

ESPN anchor Scott Van Pelt agreed to a new deal it "was more stressful than I would've imagined" and, on espn.com, suggested he's almost dealing with forces of nature: "I'm happy to stay in this boat, on this wave, until they're done with me."

Waste not: Schoolchildren at least used to be taught that Native Americans, as opposed to 19th-century white hunters only interested in buffalo pelts, would wisely use all parts of the buffalo. ESPN, which has long had a similar approach, used its presentation to advertisers in New York to show how it could carve out new uses for lots of its stuff.

It will use big-event TV coverage, starting with the NBA Finals, in a joint effort with Twitter to ask viewers to tweet pictures of their "game faces" and then show winning faces on-air in effect creating something new to sell advertisers. Its 30 for 30 feature film series will now spawn 30 for 30Shorts online films under 10 minutes for ESPN's grantland.com. ESPN/ABC's Robin Roberts, an ex-SportsCenter anchor, will debut an interview series with female athletes.

Rough stuff: After watching the Los Angeles Clippers at Memphis Grizzlies game on ABC on Sunday, in which ESPN/ABC's Jeff Van Gundy pointed out players being "saddled up" or taking "karate chops" in non-calls in a "slugfest," we had to ask: Is this what the NBA has come to?

"In that game in particular there was a lot more contact," said Van Gundy in a Tuesday phone interview. "Usually, they allow more contact in the paint, but tight on the perimeter. That one game was somewhat of an aberration. A throwback to a '90s game. And it was called consistently from start to finish."

And on whether the lockout-condensed season is leading to more postseason injuries, Van Gundy says "no one really knows. But the leagues and players agreed to the schedule to maximize money. Neither side went in with their eyes closed."

Contributing: Michael McCarthy in New York.

http://www.usatoday.com/sports/colum...004/54983338/1
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Old 05-16-2012, 07:27 AM
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Now the network is pitting Happy Endings and Don't Trust The B against New Girl and Mindy Kaling's The Mindy Project.

I intend to watch New Girl and Don't Trust the B word
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