Hot Off The Press: The Latest TV News and Information - Page 3167 - AVS Forum
Forum Jump: 
 280Likes
Reply
 
Thread Tools
post #94981 of 96864 Old 06-13-2014, 10:31 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
Washington/Business Notes
FCC Looking Into Netflix vs. Verizon Battle
By Jordan Zakarin, TheWrap.com - Jun. 13, 2014

Netflix and Verizon recently got into a public spat when the TV/movie streaming service posted a message blaming the telecom company for its slow loading times. The message was seen by Verizon customers, galvanized consumer groups and net neutrality advocates and has now inspired the FCC to investigate the matter.

FCC Chairman Tom Wheeler sent out a note on Friday detailing the commission's first steps and, of course, devotion to helping consumers.

“We don't know the answers and we are not suggesting that any company is at fault,” Wheeler wrote in a memo. “Consumers pay their ISP and they pay content providers like Hulu, Netflix or Amazon. Then when they don't get good service they wonder what is going on. I have experienced these problems myself and know how exasperating it can be. Consumers must get what they pay for. As the consumer's representative we need to know what is going on. I have therefore directed the Commission staff to obtain the information we need to understand precisely what is happening in order to understand whether consumers are being harmed.”

The process is already underway.

“Recently, at my direction, Commission staff has begun requesting information from ISPs and content providers,” Wheeler added. “We have received the agreements between Comcast and Netflix and Verizon and Netflix. We are currently in the process of asking for others.”

The commission is also in the process of hearing out suggestions for its open Internet laws, but that's a whole other story.

Comcast quickly responded to Wheeler's announcement.

“We welcome the Chairman's attention to these important issues in the Internet ecosystem. Internet traffic exchange on the backbone is part of ensuring that bits flow freely and efficiently and all actors across the system have a shared responsibility to preserve the smooth functioning and highly competitive backbone interconnection market,” the company wrote in a statement. “We welcome this review which will allow the Commission full transparency into the entire Internet backbone ecosystem and enable full education as to how this market works.

“We have long published our peering policies for example, and are open to discussions about further disclosures that would benefit consumers,” it added. “We also have voluntarily shared a vast array of information about our peering and interconnection practices with the FCC. We also agree with the Chairman that the broadband consumer should be the focus of this inquiry and not any particular business model. We look forward to continuing to work with the FCC on these issues.”


http://www.thewrap.com/fcc-looking-i...on-battle-and/


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
Sponsored Links
Advertisement
 
post #94982 of 96864 Old 06-13-2014, 10:33 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
THURSDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #94983 of 96864 Old 06-13-2014, 10:35 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
Nielsen Overnights (18-49)
NBA Finals game four leads ABC to easy win
Network averages a 10.6 household rating for the game
By Toni Fitzgerald, Media Life Magazine - Jun. 13, 2014

Another dominant performance by the San Antonio Spurs led to another dominant performance by ABC on Thursday night.

The Spurs easily dispatched the Miami Heat in game four of the NBA Finals on Thursday to take a commanding 3-1 series lead, and the game averaged a 10.6 household rating on ABC, according to Nielsen metered markets.

The game peaked between 11 and 11:15 p.m. with a 12.0 rating.

And not surprisingly the game performed best in the San Antonio market with a 47.4 rating, up from a 43.7 for game four of last year’s finals, which included the same two teams.

ABC also led the night among 18-49s with a 4.2 average overnight rating and a 14 share. Fox was distant second at 1.2/4, CBS, NBC and Univision tied for third at 1.1/4, Telemundo was sixth at 0.7/2 and CW seventh at 0.2/1.

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-nine percent of Nielsen households have DVRs.

Also, ratings for ABC’s NBA coverage are approximate as fast nationals measure timeslot and not actual program data. Accurate ratings should be available later today.

ABC was first during each hour, starting with a 2.1 at 8 p.m. for “Jimmy Kimmel Live: Game Night” (1.9) and “NBA Countdown” (2.4), followed by CBS with a 1.7 for reruns of “The Big Bang Theory” and “Mom.”

Fox was third with a 1.6 for “Hell’s Kitchen.” NBC and Univision tied for fourth at 1.0, NBC for “Hollywood Game Night” and Univision for “De Que Te Quiero, Te Quiero.” Telemundo was sixth with a 0.5 for “La Impostora” and CW seventh with a 0.2 for a repeat of “The Vampire Diaries.”

At 9 p.m. ABC increased its lead with a 4.7 for basketball, while Univision moved to second with a 1.4 for “Lo Que La Vida Me Robo.” CBS was third with a 1.1 for repeats of “Two and a Half Men” and “The Millers,” NBC fourth with a 0.9 for “Undateable,” Fox fifth with a 0.8 for “Gang Related,” Telemundo sixth with a 0.6 for “En Otra Piel” and CW seventh with a 0.2 for a rerun of “The Originals.”

ABC led again at 10 p.m. with a 5.7 for more basketball, with NBC second with a 1.2 for “Last Comic Standing.” Univision was third with a 1.1 for “Que Pobres Tan Ricos,” Telemundo fourth with a 0.9 for “El Señor de los Cielos” and CBS fifth with a 0.6 for an “Elementary” rerun.

Among households, ABC was first for the night with a 6.6 average overnight rating and a 12 share. CBS was second at 3.6/6, NBC third at 2.5/4, Fox fourth at 2.3/4, Univision fifth at 1.5/3, Telemundo sixth at 0.9/2 and CW seventh at 0.4/1.

http://www.medialifemagazine.com/nba...-abc-easy-win/


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #94984 of 96864 Old 06-13-2014, 10:45 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Notes
Spearfishing is a perilous but thrilling job for adventurers like 'Catching Hell's' Scott Childress
Weather Channel series follows undersea sharpshooters who must battle to bring back their catch
By Justin Rocket Silverman, New York Daily News - Jun. 13, 2014

People who spear fish for a living know it is one of the most dangerous jobs in the world.

They do it anyway.

“We are putting blood in the water by shooting these fish,” says Scott Childress. “We are essentially ringing the dinner bell for any shark that is within several miles of us.”

Childress captains a commercial spearfishing boat named Just Shoot Me. It’s an appropriate name in a profession where there are literally a dozen ways to die at any moment. A day at work consists of heading 100 miles off the coast of Florida and then diving down 125 feet to kill whatever you can spear. Often the fish don’t die quietly, and it becomes a deepwater wresting match between man and beast.

There are only a handful of Americans who make their living this way, and in the new Weather Channel Show “Catching Hell,” we meet some the toughest ones.

These are divers who descend into murky waters, even when a typhoon is bearing down on their location. Sometimes the divers can actually hear the storm raging 125 feet above their heads. When oxygen runs low, the divers must decide whether to wait out the storm, or surface and risk getting stuck by lightening.

The show was created by New York City-based producer Poull Brien, who was inspired while trying out spear fishing himself on a trip to the Florida Keys.

“I started wondering if anyone does this for a living and found out that almost nobody does,” he recalls. “But the ones who do are totally crazy.”

Spearfishing can be very lucrative, as restaurants pay top dollar for the superfresh catch. It’s also an eco-friendly way to harvest fish, as divers spear only the fish they are going to sell, and don’t end up with a big bycatch as happens with most commercial fishing.

Of course, when the TV cameras are not around, these spearfishers try to stay far away from areas where sharks congregate. But drama demands danger, and so for “Catching Hell” there is plenty of spearfishing right in the heart of shark-infested waters.

“You know viewers are interested in sharks,” says Brien. “So it’s not like you are going to try to avoid them.”

“Catching Hell” airs Sunday nights at 9 on Weather Channel.

http://www.nydailynews.com/entertain...icle-1.1827723


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #94985 of 96864 Old 06-13-2014, 11:06 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Review
A Masterpiece of a Mystery
By Dorothy Rabinowitz, Wall Street Journal - Jun. 13, 2014

The implied reference to Houdini notwithstanding, "The Escape Artist" doesn't have a lot in common with the innocent performance art for which that magician was famous. In this "Masterpiece Mystery!" miniseries, the performance is about criminal law; the artist, an attorney who is beginning to win fame for his ability to spring notably undeserving clients—he's never lost a case. And there's nothing resembling innocence about his enterprise. Out of these elements comes a work of spectacularly sustained tension, drama that never loses its whiff of catastrophe to come or its capacity to induce genuine terror in an audience. It succeeds despite its little kinks in logic, mesmerizes despite the fact that we're moved to pause periodically to marvel at a plot line that requires an audience to believe that the sharpest-witted characters can be oblivious to the screaming-in-neon signs of disaster lying just ahead.

There is no sharper-witted character than the escape artist himself, barrister Will Burton—David Tennant ("Doctor Who"). He's also a husband and father, an essential element in this story that takes him from the height of courtroom achievement to a grim contest with one of the more dangerous of the clients he's managed to save from prison. That's Liam Foyle (a marvelously unnerving Toby Kebbell), good-looking loner and keeper of birds—they swoop all over his Hitchcockian apartment filled with cages—and also a psychopath with a taste for brutalizing the women he kills. He also has a psychopath's sense of pride. It takes one slight—his barrister's decision not to shake his outstretched hand when the trial ends in victory—to kindle his lasting rage at Will and all that he holds dear.

The show's portrait of family connection, the brushstrokes that fill in the detail of loss and suffering shine forth powerfully. In the ordinary run of murder mysteries and crime dramas, dead is dead—the story moves on to solution. In this thriller by David Wolstencroft ("MI-5"), there's ample time to pause for the agony of the living, much as was the case in "The Killing," the extraordinary AMC series by Veena Sud. There's room, here, for a character to linger on the unbearable, to express what it is to lose the wife who has been the center of his existence—a description that rolls out in a rush of heart-tearing eloquence rarely heard in thrillers, especially the kind set where this one is. Namely, within a glittery world—it will be immediately familiar—of fast-talking barristers, competitive careerists, sophisticates who live in posh residences high above the London streets. Will Burton, his wife, Kate (Ashley Jensen), and Jamie (Gus Barry), their endearing son, live in such a flat, cavernous in size, all gleaming glass and windows—a look that suggests fragility and that lends itself to the aura of danger.

Will's chief rival among the barristers is Maggie Gardner, played menacingly by Sophie Okonedo ("Hotel Rwanda"), also an owner of such a flat—a woman with reason to credit the intimations of danger she gets as she trails around in the elegant gloom. She's a relentlessly tough barrister with sex appeal, but she's more—not the standard brand just-as-smart-and-effective powerhouse of a character as the man she's trying to beat. She's also a sinister presence. For Maggie, winning comes first; the personal rates hardly a blip. She's pathologically driven, something of a counterpart, if a nonmurderous one—as far as we can tell, anyway—to Foyle.

The killer, too, is more than the stock image of incomprehensible evil. He's got that fragile pride system; he can't be crossed—Mr. Wolstencroft knows his psychopaths. This one has wit, some education. His murderous sexual predilections—the torture and dismemberment of women—are, to be sure, the wearyingly usual serial-killer kind to which so much murder-mystery writing remains obsessively devoted. It's a measure of the far larger powers at work in Mr. Wolstencroft's "Mystery!"—which would include Mr. Tennant's memorably haunting performance—that none of that matters. To avoid the ring of the spoiler alarm, most plot details have been withheld here, though it's hard to imagine much that could spoil this treat.

THE ESCAPE ARTIST Begins Sunday at 9 p.m. on PBS.

http://online.wsj.com/articles/telev...ery-1402620180


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #94986 of 96864 Old 06-13-2014, 12:20 PM
AVS Special Member
 
chitchatjf's Avatar
 
Join Date: Jun 2004
Location: Lawrence MA
Posts: 3,315
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 3 Post(s)
Liked: 12
Quote:
Originally Posted by DrLar View Post
Mmm this Match is at 3:00PM EST.. don't tell me ESPN is starting to delay games or is that a repeat?

They've got the England Vs. Italy game schedule right though..
3pm Eastern is 8pm GMT
The final match will always be at 3pm Eastern
chitchatjf is offline  
post #94987 of 96864 Old 06-13-2014, 01:23 PM
AVS Club Gold
 
mrvideo's Avatar
 
Join Date: Jun 2003
Location: Madison, WI
Posts: 6,243
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 141 Post(s)
Liked: 90
Quote:
Originally Posted by chitchatjf View Post
3pm Eastern is 8pm GMT
The final match will always be at 3pm Eastern
Sorry, but during Daylight Saving Time, 3PM ET is 7PM GMT. It is 8PM BST though.

"What do you say Beckett. Wanna have a baby?" - Castle to Det. Beckett
"How Long have I been gone?" Alexis after arriving home and seeing Castle and Beckett w/ the baby - Castle - 11/25/13
Mr. Video

To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.

mrvideo is online now  
post #94988 of 96864 Old 06-13-2014, 01:26 PM
AVS Club Gold
 
mrvideo's Avatar
 
Join Date: Jun 2003
Location: Madison, WI
Posts: 6,243
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 141 Post(s)
Liked: 90
Quote:
Originally Posted by DrLar View Post
Mmm this Match is at 3:00PM EST.. don't tell me ESPN is starting to delay games or is that a repeat?
I hope you mean 3 PM EDT, otherwise 3 PM EST is 4 PM EDT.

That is why I never use the "D" or "S" when stating time.

"What do you say Beckett. Wanna have a baby?" - Castle to Det. Beckett
"How Long have I been gone?" Alexis after arriving home and seeing Castle and Beckett w/ the baby - Castle - 11/25/13
Mr. Video

To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.

mrvideo is online now  
post #94989 of 96864 Old 06-13-2014, 02:43 PM
AVS Special Member
 
DrLar's Avatar
 
Join Date: Nov 2006
Posts: 4,019
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 142 Post(s)
Liked: 96
Quote:
Originally Posted by dad1153 View Post
^^^ My bad. Fixed.
It's now my bad for starting the EST Vs. EDT debate.. sorry! just should have said "eastern"

RIP Mom, we always love you 8/18/13
DrLar is offline  
post #94990 of 96864 Old 06-13-2014, 03:04 PM
AVS Club Gold
 
mrvideo's Avatar
 
Join Date: Jun 2003
Location: Madison, WI
Posts: 6,243
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 141 Post(s)
Liked: 90
Quote:
Originally Posted by DrLar View Post
It's now my bad for starting the EST Vs. EDT debate.. sorry! just should have said "eastern"
That is where just using ET comes in handy, no matter what time of the year it is.

That said, Arizona screws that up, since they are MST year round, or PDT during DST. My daughter and her family live in AZ.

"What do you say Beckett. Wanna have a baby?" - Castle to Det. Beckett
"How Long have I been gone?" Alexis after arriving home and seeing Castle and Beckett w/ the baby - Castle - 11/25/13
Mr. Video

To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.

mrvideo is online now  
post #94991 of 96864 Old 06-14-2014, 12:42 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV/Business Notes
Univision Is for Sale for $20 Billion
Spanish-language broadcaster seeking offers from CBS, Time Warner
By Sam Thielman, AdWeek.com - Jun. 13, 2014

Despite having spent the last several years expanding its content divisions, Hispanic broadcasting giant Univision is soliciting buyout offers according to a report in today's Wall Street Journal. The network controls a huge majority of Hispanic broadcast viewership—as much as 60 percent—and has an exclusive deal with Mexican production house Grupo Televisa, which generates content that is popular both across South and Central America and Mexico, and among cultures of first- and second-generation immigrants from countries in those regions.

And now it can be yours for a mere $20 billion. The company's controlling investors are said to be asking that much for the company, though the price appears to be prohibitive.

It's worth asking exactly how leveraged Univision is at the moment, especially with that kind of price tag. A couple of points of comparison: George Lucas's Star Wars franchise, Marvel Comics and Pixar all sold for about $4 billion in the last few years. Rumor puts Hasbro's buy-in for cable network The Hub at $2 billion, and that's considered a bum deal for the toy company.

As incredible as that 60 percent share sounds, it's also worth noting that the company has lost a chunk of its market dominance to upstarts like NBCUniversal's Telemundo, long an underfunded asset at the media company and now a major area of investment as programs like Hispanics at NBCU have tried to drive ad dollars that arrived when Hispanic consumers became a major focus for clients and agencies in the wake of the 2010 census, which proclaimed a hitherto-unknown (to the ad industry, at least) increase in the Spanish-speaking population of the U.S.

Recently, Telemundo has made an effort to promote ventures like Galavision, one of its cable networks, and La Fabrica (The Factory), a digital content house meant to produce content for platforms beyond broadcast and linear entertainment. The network also has a stake in Robert Rodriguez's cable network El Rey, and announced a new series exec produced by Simon Cowell at its upfront.

Then there's Fusion, its cable news network with ABC, its ramp-up in its consumer products division... all in all, there are plenty of reasons Univision would be a pricey package, but quite a few of them have to do with its multiple partnerships and initiatives. Bankrolling the company at the moment would be a major act of faith in its current management's decisions, and it also would be at odds with its other potential revenue-getting venture: taking the company public next year.

Regulators prevent Grupo Televisa from buying a majority stake in the company—Televisa is by far the larger partner—because of rules preventing foreign ownership of more than 25 percent of a broadcaster.

Univision declined to comment on the news.

http://www.adweek.com/news/televisio...billion-158339


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.

Last edited by dad1153; 06-14-2014 at 12:51 AM.
dad1153 is online now  
post #94992 of 96864 Old 06-14-2014, 12:51 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Notes
NBC Developing Event Series About The Beatles From ‘The Tudors’ Team
By Nellie Andreeva, Deadline.com - Jun. 13, 2014

EXCLUSIVE: The team that brought to the small screen the story of King Henry VIII is taking on another English royalty, this time in the world of rock & roll. I have learned that NBC is in early stages of development of an eight-episode event series about the Beatles that would tell the story of the greatest band of all time. The series will be written by The Tudors creator/executive producer Michael Hirst who will executive produce with Tudors executive producers Ben Silverman and Teri Weinberg. The project reunites the trio with NBC chairman Bob Greenblatt, who greenlighted The Tudors while he ran Showtime. The Beatles limited series is part of NBC’s push in event programming area that includes live productions like The Sound Of Music, miniseries like Rosemary’s Baby, and limited series like the 12-part Bible follow-up A.D.

nbclogoThere have been very few attempts to tell the story of the Liverpool quartet — John Lennon, Paul McCartney, George Harrison and Ringo Starr — on screen. The 2009 feature Nowhere Boy chronicled Lennon’s early years. The Fifth Beatle, a movie about the Beatles manager Brian Epstein, had been in the works with Peyton Reed attached to direct. It had been granted access to the John Lennon/Paul McCartney music catalog. The only surviving Beatles members, McCartney and Starr, reunited in February to mark the 50th anniversary of the group’s first U.S. TV appearance. Hirst is the creator/executive producer of the History drama series Vikings, while Silverman exec producers new CW series Jane The Virgin.

http://www.deadline.com/2014/06/the-...e-tudors-team/


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #94993 of 96864 Old 06-14-2014, 12:57 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Sports
Try another app for World Cup fever
By Mike Snider, USA Today's 'Cutting The Cord' Column - Jun. 14, 2014

So you have cut the cord and all of a sudden developed a case of World Cup fever.

With the Brazil-hosted international soccer gathering kicking into high gear this weekend, fans in big cities can likely find a bar to watch some games.

Pay-TV subscribers can watch all 64 games on ESPN and ABC networks and the Watch ESPN app — some broadband subscriptions also give you the ESPN 3 Internet channel, which has all the games. You can see near real-time video highlights — and real-time game coverage — on ESPN's international soccer site ESPNFC.com.

ESPN and Google also are teaming up to post in-progress and post-game video highlights from the sports network within relevant Google searches. With Microsoft, ESPN created ESPN FC World Cup Essentials, an Internet Explorer-optimized site for World Cup information about teams and upcoming matches.

But there's an alternate soccer strategy for cord-cutters: set another sports app as your — I can't help myself — goooooaaal!

A little-known secret: Spanish-language rights holder Univision Deportes will be streaming all the first- and second-round games live for free on its recently enhanced app — without the need for subscriber authentication. Through the tournament's end July 13, Univision Deportes Network will be all-World-Cup-content all the time. In addition to the live broadcasts, the network will deliver live pre- and post-game coverage.

You can watch the app on your Android or iOS smartphone or tablet and your computer. If you missed all or part of a match, you can watch clips — Univision Deportes will be posting those even as the game goes on.

"Users will be able to see live streams of all the matches on their PCs, smartphones and tablets, see real time clips tied to match stats, match schedules, team alerts, and much more," says Kevin Conroy, president of digital and enterprise development for Univision Communications. The app will also include real-time alerts, multi-camera angle video clips and behind-the-scenes coverage. "It's the one experience for all soccer fans (and) the one place to go to get all your soccer needs," he says.

Again, the free ride doesn't last through the World Cup's entirety. The last eight games of the tournament will require authentication with your pay-TV credentials. But condensed versions of those final games — and the in-game clips — will be available free for all users.

My initial visit to the app required watching five minutes of advertisements, but subsequent ads were held to one minute. The live streaming — complete with commentary in Spanish — does run a bit behind the TV broadcasts on ESPN and Univision Deportes.

But the video looked crisp and clean watching on an iPhone and a Samsung Galaxy Note 3 over Wi-Fi and via cellular connection. At one point, heavy rain blocked my DirecTV signal, but I could stay tuned in through the app. You can also see live tweets about the game and share clips on Facebook and Twitter and via e-mail.

Univision Deportes' move has already paid off. Univision Digital had its highest app downloads ever last Thursday and that day's live stream of the opening ceremony and the Brazil vs. Croatia match had 1.9 million views, Univision's most-watched live stream ever

The presentation represents the cutting-edge delivery — live stats, real-time highlights, DVR controls such as slow motion viewing, instant replay and social media — that sports fans are starting to expect on mobile and portable devices.

Consumers' embrace of mobile and tablets for video is measurable at NeuLion, which teamed with Univision on the World Cup project. NeuLion handles delivery of Internet content including sports and special events such as the Rolling Stones pay-per-view event in Dec. 2012.

The online video technology company has seen total video traffic rise 30% so far in 2014 over last year, when it delivered 154 petabytes of video traffic — the equivalent of more than 150 years of recorded HDTV. Mobile and video traffic makes up about 60% of all its traffic, says NeuLion co-founder Chris Wagner. "It's really a much better experience," he says.

http://www.usatoday.com/story/tech/p...rtes/10435977/


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #94994 of 96864 Old 06-14-2014, 01:04 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
Critic's Notes
Comedy should have the last laugh in television
By Robert Lloyd, Los Angeles Times - Jun. 13, 2014

The subject is comedy. If it is not exactly true that it "can't get no respect," to quote the comic, it does get less than it deserves.

It has become commonplace to say that we are living in a New Golden Age of Television, or a Platinum Age of Television, depending on whether your point is that things are as good now as they were back when Lucy ruled the waves or whether your point is that things have never been as good as they are now.

On one level, since there has always been great television, this just means that people — critics, and the rest of you — have been given permission, by the self-creating zeitgeist, to take it seriously. And television has continued to take itself more seriously in turn: to raise the bar, to push the envelope, épater la bourgeoisie. It has become more purposefully daring but also more subtle in its aims and effects.

One not unreasonable result of this seriousness is that what looks most serious gets taken most seriously. Just as the Oscars have long overlooked comedy on film, from "The Sopranos" to "Deadwood" to "Mad Men" and "Breaking Bad," the New Golden/Platinum Age has been largely identified with drama. As reckoned by the website Metacritic, aggregating year's-best lists from 61 TV critics, only three comedies, NBC's "Parks and Recreation" and HBO's "Enlightened" and "Veep" — or four, if you include the line-walking "Orange Is the New Black," which Netflix is entering in Emmy competition as a comedy — made the top 20 for 2013. ("Louie," the comedy series taken most seriously by most critics, would surely have been there had it not taken the year off — though it would have knocked "Veep" off the list in the bargain.)

Meaning no disrespect to "The Good Wife," "The Americans," "Top of the Lake," "Scandal" or any of the other dramas on that Metacritic list, many of which I would bedeck with superlatives myself. But to my mind, whatever the Nielsen ratings or Twitter trends might seem to say, comedy is the day's great creative mode — the more stylistically radical, more structurally ambitious, more thematically various, more unpredictable form. (Of course, comedy has its predictable, conservative wing as well, which some simply call CBS, and most dramas have a comic streak.)

The New Golden/Platinum age is often charted from the 1999 birth of "The Sopranos," which, with its paradoxically charismatic central performance by James Gandolfini, launched an age of anti-heroes (and, rarely, anti-heroines), in which moral ambiguity, shocking violence and a garnish of (usually female) nudity ruled the day. Some will point out that it was preceded in much of this by "Oz," the Tom Fontana maximum-prison series.

But both were preceded on HBO by the equally groundbreaking "The Larry Sanders Show," which ran from 1992 to 1998 and is the show that, to my mind, really brings in the modern era. Garry Shandling's profane workplace comedy was a naturalistic farce that created a lot of current storytelling modalities, including famous people playing altered versions of themselves, the walk-and-talk now identified with Aaron Sorkin, and the use of improvisation.

Today, there is no dramatic equivalent to Comedy Central's "Drunk History," fashioned from a three-way collision of reality and artifice and inebriation (actually inebriated narrators recount actual historical events, which are brought to life by lip-syncing actors); or to its "Kroll Show," whose interwoven mock reality series lives in a space defined by chyrons and musical cues; or to the brawny surrealism of Adult Swim's adventure series "Eagleheart" or its white-trash supernatural soap "The Heart, She Holler"; or Scott Aukerman's not entirely mock-talk-show-with-fictional-through-lines "Comedy Bang! Bang!"; or Stephen Colbert's double-gainer irony on "The Colbert Report"; or the late "Community," which used parody as a storytelling device, borrowing styles from different precincts of television week to week with only the characters and the setting remaining the same; or the Tex Avery whipsaw rhythms of the even later yet still resonating "30 Rock."

We are in the habit of regarding tragedy as more meaningful than comedy because comedy lets us off the hook with a laugh, if not always a happy ending. And yet good comedy addresses, with an unclouded eye, everything that drama addresses as well as a lot of things that drama ignores: It finds fathomless interest in the small indignities of life and in the many minor peculiarities of human physiology, psychology, desire and intercourse, even as it puts the most tragic events in proportion — everything from flatulence to fatality is grist for its mill.

Contemporary TV drama tends to be exotic; it focuses people whose lives are bigger than ours, who are the victims or perpetrators or solvers of crime, who fight wars and suffer ghosts, who live in different times in different clothes and are subjected to more than usual amounts of stress. In the current empire of television, where cable is the tail that wags that network dog, sex and violence (and, distressingly often, sexual violence), those sensational standbys, have become increasingly common tools. I would hardly call them subjects — in most cases they are administered like shots of adrenaline and often glamorized. Even in the best, least-gratuitous dramas, the naked people of television tend to be unusually good-looking — and mostly women — which is what makes Lena Dunham's normal-body nudity on "Girls" so potent.

Comedy, by comparison, is local and lifelike. It is also inherently philosophical. The much-admired dialectical banter between Matthew McConaughey's Rust Cohle and Woody Harrelson's Martin Hart in HBO's "True Detective" is daily business to comedy, from "Mom" to "Broad City," from "Portlandia" to "Parks and Recreation," where belief systems and world views are constantly knocking against one another.

Comedy also goes to matters of sex and violence, sometimes stupidly, more interested in the shock than the meaning of the shock. But the best work holds them up to the light, turns them around, takes them apart. It is an art of examination, in a way. Is there any drama, excepting maybe "The Good Wife," as consistently smart and unflinching about these things as "Inside Amy Schumer"?

While television drama is all but locked into its hourlong format, with long arcs the custom even for highly episodic shows, comedy may be as short as a single line or as long as a season. It is a darting PT boat to drama's aircraft carrier. (Which is why it works so much better on the Internet.) It may be sketch-based or serial, naturalistic, fantastic, metafictional, scripted, improvised, live-action, animated, the voice of an auteur or the work of an ensemble; it may present real people fictitiously or impossible characters casually; and it may combine any of these elements as it pleases.

Some of this comes down to personal predilection, to be sure. That it feels more crucial to me to keep up with the Indianapolis family comedy "The Middle" than with the fantasy-realm family drama "Game of Thrones" is not because I have made a conscious decision about their relative (and anyway incomparable) merits. I get something I need from the comedy that I don't from the drama, though each is in its way a story of power and scheming and a clan set against the world.

It is something more than a matter of taste. Humor is a coping mechanism, obviously, and laughter (says the Reader's Digest) the best medicine. But it's also a way of being in the world: Comedy is tragedy plus time, in the familiar formulation. We are fools, and we are all going to die; that is funny and/or it's sad. But you might as well laugh.

http://www.latimes.com/entertainment...mn.html#page=1


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #94995 of 96864 Old 06-14-2014, 01:15 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)

ABC:
8PM - Bet On Your Baby
9PM - Sing Your Face Off (Season Finale, 120 min.)

CBS:
8PM - Hawaii Five-0
(R - Sep. 27)
9PM - CSI: Crime Scene Investigation
(R - Oct. 2)
10PM - 48 Hours

NBC:
8PM - Dateline NBC (120 min.)
10PM - The Blacklist
(R - Jan. 20)
* * * *
11:29PM - Saturday Night Live (Jonah Hill hosts; Bastille performs, 93 min.)
(R - Jan. 25)

FOX:
7PM - MLB Baseball: Regional Coverage (LIVE)
* * * *
11PM - Animation Domination High-Def (60 min.)

PBS:
(check your local listing for starting time/programming)
8PM - Austin City Limits (The Lumineers; Shovels & Rope) (R - Oct. 19)

UNIVISION:
8PM - República Deportiva: Edición Mundial
8:30PM - 2014 Copa Mundial de FIFA, Grupo C: Costa de Marfil contra Japón (LIVE)

TELEMUNDO:
7PM - La Voz Kids
(R)
9PM - Movie - The Mummy: Tomb of the Dragon Emperor (2008)


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #94996 of 96864 Old 06-14-2014, 01:20 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Sports
The Innovation That Grew and Grew
By Richard Sandomir, The New York Times - Jun. 13, 2014

Could anything be simpler than a box in a corner of a TV screen continuously showing the score of a game and the time remaining?

Until mid-June 1994, though, the score box did not exist in the United States. Viewers had to rely on announcers mentioning the relevant information or wait to see a line score flash on the screen.

The World Cup, which took place in the United States that year, changed that. But ABC and ESPN’s primary goal was not to gratify fans. Instead, they were out to solve a dilemma: satisfying five sponsors that wanted their advertising messages to be heard during the games but were hampered by the fact that soccer has a running clock and no breaks — except for halftime — in which to run commercials.

So ESPN and ABC crafted a constant element on the screen that was also a running ad: the box in the upper left-hand corner, featuring a sponsor on top with the time and score below.

“It was a way to satisfy the sponsors’ needs to have some measure of acknowledgment that they were attached to the Cup,” Jed Drake, a longtime ESPN executive who was then a senior coordinating producer, said last week from Rio de Janeiro. “It was a sales necessity, but we realized it had great production value.”

The sponsors — including Snickers, Canon and Coca-Cola — got about 18 minutes of exposure apiece during each game, with their logos alternating throughout the contests in larger type than the score and the time.

The technology did not work perfectly early on. During the games in the first two days, at Soldier Field in Chicago and Giants Stadium in East Rutherford, N.J., glitches knocked out the box for substantial periods of time.

“We had two machines in the truck at Soldier Field and two back in Bristol as backup,” Drake said, referring to ESPN’s Connecticut headquarters, “and they started shutting down. The salespeople were not pleased. The next game, I assumed everything would work, but we had no machines working in the first half, and I was losing my mind.”

Drake was so angry that he punched the side of the production truck and broke a hand.

A rewriting of the software code fixed the problem, Drake said, and the score box recovered — and thrived.

ESPN and ABC, although pioneers in the United States, were not the first to come up with the idea. The score box was devised about two years earlier, in England, by David Hill, who was running Sky Sports and was soon after named president of Fox Sports. His inspiration came as he watched, with growing frustration, a soccer match on the BBC.

“I had been walking the dogs near the Wormwood Scrubs prison,” he said by telephone from Los Angeles. “I got home and sat down around 20 after 3 and wondered what the score was, and for 20 minutes I was never told, and I got angry.

“If I were on the football ground, I would have seen the score. So I said if we ever got soccer, I’d do it. And when we got the Premier League in August 1992, I did it, and my boss called and said: ‘That is the stupidest thing I’ve ever seen. Take it down.’ Two other guys talked me out of it.”

So, Hill said, when his boss called the next week to again order that the box be deleted, he ignored him.

By August 1994, Hill was at Fox, and he introduced what was labeled the Fox box in a preseason N.F.L. game, with John Madden offering his Telestrator analysis of it. Hill recalled receiving five death threats and contacting the Los Angeles police and the F.B.I.

One letter said something like, “You’re a foreigner, and you’re fooling with football,” said Hill, who was born in Australia. “We’ll have to kill you.”

However, the anger abated quickly as the utility of Fox’s box — then transparent enough to see the field through it — became evident.

ESPN next used the box for its Sunday night N.F.L. broadcasts. Fox deployed it for baseball in 1995, and other networks developed their versions. They are now ubiquitous, in myriad sports on national networks and regional sports channels, and are more often dashboards stripped across the top or bottom of screens than boxes, containing all manner of statistics and ads that drop down or pop up out of them.

Some make sounds when they appear on screen, and some flip to reveal promotions, as when NBCSN used N.H.L. playoff games to promote the Belmont Stakes.

At ESPN, a small group of employees devotes much of its time to determining how to improve the look and impact of these information strips. Spike Szykowny, senior director of motion graphics at ESPN, said there had been debate for years about where to put dashboards (top or bottom?) and boxes (which corner?), about adding sponsors to the graphics, about what information to add and about how much of the screen the box or dashboard should occupy.

During an interview last month, Szykowny said, “We were working on our new college playoff graphic package the other day, and I said to somebody, ‘You’d think we were preparing to do major surgery.’ ”

ESPN is using a relatively modest dashboard for the World Cup in Brazil, which began Thursday, with the names of the national teams flanking the score and a sponsor’s name sticking out of its right side. The design is dictated by FIFA, so the network cannot tinker too much, but the teams’ jersey colors are there, and information like upcoming games drops down from the dashboard.

Looking back, Drake said he was surprised that it took until the mid-1990s for the score box to appear and become an essential part of the viewing experience.

“It’s one of those things that when you see it, you realize, O.K., it makes a lot of sense,” he said. “Why didn’t somebody think of it before?”

http://www.nytimes.com/2014/06/13/sp...-and-grew.html


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.

Last edited by dad1153; 06-14-2014 at 01:23 AM.
dad1153 is online now  
post #94997 of 96864 Old 06-14-2014, 04:20 AM
AVS Addicted Member
 
NetworkTV's Avatar
 
Join Date: Oct 2002
Location: CT
Posts: 15,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 139 Post(s)
Liked: 418
Quote:
Originally Posted by mrvideo View Post
Great. At least I'm not the only one.
That doesn't mean you're not crazy, though...


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
NetworkTV is offline  
post #94998 of 96864 Old 06-14-2014, 06:26 AM
Super Moderator
 
DrDon's Avatar
 
Join Date: Mar 2002
Location: Metro Detroit
Posts: 12,661
Mentioned: 2 Post(s)
Tagged: 0 Thread(s)
Quoted: 72 Post(s)
Liked: 267
If y'all would kindly keep the VB conversion issues to the forum operations section, that'd be appreciated. Or email me directly. The admins aren't reading every thread, so having concerns all in one place helps. And when I'm extremely busy with work (read: on a bender) I might not visit the thread for days.

Walking the fine line between jaw-dropping and a plain ol' yawn.
DrDon is offline  
post #94999 of 96864 Old 06-14-2014, 02:06 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
FRIDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #95000 of 96864 Old 06-14-2014, 02:13 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
Nielsen Overnights
Stanley Cup Early Stats Show Top Rated Game 5 In 14 Years
By The Deadline.com Team - Jun. 14, 2014

In metered-market results, which are time zone-adjusted, NBC Sports’ coverage of last night’s New York Rangers-Los vs. Angeles Kings Stanley Cup matchup averaged a 4.6 household rating, to rank as the top-rated Stanley Cup Final Game 5 in 14 years – since the 2000 Dallas-New Jersey triple overtime matchup on ABC, which scored a 5.3. The preliminary 4.6 household rating is up 15% in metered-market households compared to year-ago Game 5′s 4.0 for Boston-Chicago. It’s also up 77% versus Game 5 in 2012, which also featured the L.A. Kings — that time against the New Jersey Devils, which logged a 2.6.

Last night’s game, in which the Kings won the Stanley Cup four games to one over the Rangers, scored a 12.4 household rating in the Los Angeles market, making this L.A.’s second-best overnight rating ever on NBC or NBCSN, trailing only the Kings’ Cup-winning Game 6 during the 2012 Final (13.6). The 12.4 rating in L.A. is up 41% versus the Kings’ 2012 Game 5 (8.8). New York delivered its second-best NHL rating ever on NBC or NBCSN, with a 10.4 rating in metered-market households, behind only Saturday’s Game 2 of the Kings-Rangers series (10.5). The top five markets for last night’s Stanley Cup Final Game 2 were: Los Angeles, 12.4; New York, 10.4; Buffalo, 9.2; Boston, 6.3; Minneapolis-St. Paul, 6.3.

(In fast-national ratings — not time zone-adjusted – NBC came in No. 1 for the night among broadcast networks in adults 18-49, total viewers and most other key measures (adults, men and women 18-34, adults, men and women 18-49, and adults and men 25-54). That includes ranking No. 1 in adults 18-49 during all six primetime half-hours, in the fast nationals.)

Last year, when the battle for the NHL‘s Stanley Cup was over and the ratings dust had settled, the Stanley Cup Final turned out to be the most watched since 1994, when data first became available. The six-game series between the Chicago Blackhawks and the Boston Bruins averaged a 3.3 household rating with 5.76 million viewers on NBC and NBC Sports Network. That was up 83% in household ratings and 91% million in viewers from the LA Kings-New Jersey Devils series in 2012.

http://www.deadline.com/2014/06/rati...e-in-14-years/


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #95001 of 96864 Old 06-14-2014, 09:18 PM
AVS Addicted Member
 
VisionOn's Avatar
 
Join Date: Sep 2004
Location: Carrboro, NC
Posts: 11,191
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 2 Post(s)
Liked: 376
Quote:
Originally Posted by dad1153 View Post
TV Notes
NBC Developing Event Series About The Beatles From ‘The Tudors’ Team
By Nellie Andreeva, Deadline.com - Jun. 13, 2014

EXCLUSIVE: The team that brought to the small screen the story of King Henry VIII is taking on another English royalty, this time in the world of rock & roll. I have learned that NBC is in early stages of development of an eight-episode event series about the Beatles that would tell the story of the greatest band of all time. The series will be written by The Tudors creator/executive producer Michael Hirst who will executive produce with Tudors executive producers Ben Silverman and Teri Weinberg. The project reunites the trio with NBC chairman Bob Greenblatt, who greenlighted The Tudors while he ran Showtime.
That cannot possibly go well. Are they going to film in Liverpool? Hire an all Brit cast who can do a Liverpool accent? Get involvement from Paul or Ringo? (edit: forgot Yoko! Yikes. Good luck getting her blessing NBC!)

It's like a British network making an Elvis biopic. And by that I mean one of the other networks that isn't the BBC!



Last edited by VisionOn; 06-14-2014 at 09:23 PM.
VisionOn is online now  
post #95002 of 96864 Old 06-15-2014, 12:15 AM
AVS Club Gold
 
mrvideo's Avatar
 
Join Date: Jun 2003
Location: Madison, WI
Posts: 6,243
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 141 Post(s)
Liked: 90
Quote:
Originally Posted by VisionOn View Post
Are they going to film in Liverpool?
I doubt that they'll use film. Pretty much all production is done using video these days.

But it would be neat if they shot it on 8mm, or 16mm, film.

"What do you say Beckett. Wanna have a baby?" - Castle to Det. Beckett
"How Long have I been gone?" Alexis after arriving home and seeing Castle and Beckett w/ the baby - Castle - 11/25/13
Mr. Video

To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.

mrvideo is online now  
post #95003 of 96864 Old 06-15-2014, 04:51 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Review
'The Escape Artist' (PBS)
By Brian Lowry, Variety.com - Jun. 14, 2014

A summer trifle from “Masterpiece Mystery!,” “The Escape Artist” is a thriller without much in the way of thrills, but it wriggles out enough twists — and the pleasure of David Tennant and Sophie Okonedo — to lure an audience blessed with the patience to enjoy this kind of languidly paced crime drama. Delivered over two 90-minute parts, it’s one of those productions that dwells on the little things, like a handshake, while mixing courtroom strategizing with dollops of suspense. All told, it’s not a bad way to spend a couple of Sundays, despite falling below the Brits’ high bar in this noirish genre.

Written by David Wolstencroft and directed by Brian Welsh, the made-for features Tennant as ace (indeed, undefeated) defense attorney Will Burton, who, as a colleague admiringly points out, is the person you call “if you’re chained up in a safe at the bottom of the shark tank.” Alas, his latest client, Liam Foyle (Toby Kebbell), might just be the shark, accused in the grisly murder of a woman, and surprisingly cavalier about his defense.

The fact that Burton’s record stays unblemished is just the beginning of the story, which threatens to bring the case home to the attorney’s family (Ashley Jensen, of “Ugly Betty” and “Extras,” plays his wife) and sets Will in conflict with Maggie Gardner (Okonedo), another brilliant barrister with a chip on her shoulder regarding her professional rivalry with Will.

Given how much the narrative pivots on the unexpected, potential viewers would be well advised to avoid reviews that might violate the movie’s necessary spoiler-free boundaries. Yet suffice to say the legal jockeying and cat-and-mouse games are mildly juicy and suspenseful (thanks in part to Kebbell’s unsettling performance as TV’s latest deranged lunatic with a pleasant face), provided one doesn’t work too hard at seeking to decipher them.

While Tennant is cast in a different role within the judicial system (one that periodically forces him to wear those adorable wigs), the tone and pacing evoke a lite version of “Broadchurch,” the much-admired murder-in-a-small-town miniseries he not only starred in but will reprise in a U.S. version. And the actor brings a similar intensity to the process here, with a lot of pain and mystery behind those brooding eyes.

For all that, “The Escape Artist” amounts to “Masterpiece’s” version of a B movie. And it would take Houdini to turn it into much more.

'THE ESCAPE ARTIST'
(Two-part movie; PBS, Sun. June 15 & 22, 9 p.m.)


http://variety.com/2014/tv/reviews/t...st-1201215204/


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #95004 of 96864 Old 06-15-2014, 04:54 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
Critic's Notes
Here's Why We're Actually Still Watching Crime Shows
By James Duff, HuffingtonPost.com - Jun. 15, 2014

Since I write television, allow me to begin by stating the obvious: America has become more polarized than at any time since the 1960s. People on opposite sides of the partisan divide have not only ceased listening to each other, they are also looking to buy homes and rent apartments in politically homogenous neighborhoods (and cities!); so that the newspaper resting at the bottom of their cages won't ruffle their ideological feathers; so they can tell birds singing different songs to flock off.

In another chapter from the hard to believe, crossing party lines has become a criminal offense, so that it's impossible to get anything done without offering insult to one side or the other. And every action by moderately opposing forces is greeted with hysteria. Democrats adopt a Republican health care proposal from the 1990s, which was actually implemented by a Republican governor (and eventual Republican presidential nominee), and the rage on the right cannot be contained. Democrats furiously condemn a policy of fighting a war in Iraq and keeping prisoners in Guantanamo and the ethics of drone strikes and then, when they gain power...oh, the list is too long.

For better or worse, the justice system has become the last refuge for those of us looking for common ties with our fellow Americans. The need to arrest criminals and put them on trial transcends our petty differences, and allows varied communities to unite in common cause. Murder is terribly hard to politicize. As one of Henry the II's sons says in The Lion in Winter, "I've never heard a corpse ask how it got so cold."

And homicide investigations are largely successful. In most big cities, perhaps especially in Los Angeles and New York, every effort is made to comply with the law while hunting down those who have not. The LAPD polls regularly as the most respected municipal institution in Los Angeles. Our law enforcement agencies exist as working proof that government can move competently - even with bravery and selflessness - to do the right thing.

The unconscious fantasy element of procedural drama has evolved, from marveling at the intelligence of a particular detective, into a wistful desire that our entire body politic could put aside our mostly imaginary arguments long enough to focus on the crisis at hand: to drop our opinions in favor of the pattern of facts.

We love a good whodunit; bringing a murderer to heel satisfies our heroic impulses, and unites the audience with shared, public approval. If only we could figure out how to respect each other as well as we do the abstract principles of the justice system! That, ladies and gentlemen, is a mystery we ought to solve together.

In the meantime, procedural drama will have to do.

James Duff is a TV executive producer, writer and creator.

http://www.huffingtonpost.com/james-...ent+Inbound%29


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #95005 of 96864 Old 06-15-2014, 05:07 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Notes
On The Air Tonight
SUNDAY Network Primetime Options
(All shows are in HD unless noted; start times are ET)

ABC:
7PM - Jimmy Kimmel Live: Game Night (Cameron Diaz and Jason Segel; NBA mean tweets)
7:30PM - NBA Countdown (LIVE)
8PM - 2014 NBA Finals, Game 5: Miami Heat at San Antonio Spurs (LIVE)

CBS:
7PM - 60 Minutes
8PM - The Good Wife
(R - Mar. 16)
9PM - The Good Wife
(R - Mar. 23)
10PM - The Mentalist
(R - Mar. 23)

NBC:
7PM - 2014 U.S. Open Golf Championship: Final Round (from 12PM, LIVE)
7:30PM - American Ninja Warrior (90 min.)
(R - MAy 26)
9PM - Believe (Series Finale)
10PM - Crisis

FOX:
7PM - Enlisted
7:30PM - American Dad
(R - Mar. 30)
8PM - The Simpsons
(R - Mar. 23)
8:30PM - Family Guy
(R - Mar. 16)
8PM - Family Guy
(R - Nov. 30)
8:30PM - American Dad
(R - Nov. 24)

PBS:
(check your local listing for starting time/programming)
8PM - Secrets of Scotland Yard
(R - Nov. 18, 2003)
9PM - Masterpiece Mystery! The Escape Artist (Part 1 of 2, 90 min.)
10:30PM - Independent Lens: The New Black (Season Finale, 60 min.)

UNIVISION:
5:30PM - 2014 Copa Mundial de FIFA, Grupo F: Argentina contra Bosnia y Herzegovina (LIVE)
8PM - Bailando por un Sueño (120 min.)
10PM - Sal y Pimienta

TELEMUNDO:
7PM - Movie: Titanic (1997)


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #95006 of 96864 Old 06-15-2014, 05:16 AM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 15, 2014

2014 WORLD CUP
ESPN, 11:30 a.m. ET

The 2014 World Cup has been quite a tournament so far, even though, four days in, several teams haven’t even played yet. But of the games played thus far, there hasn’t been a single tie, and there have been several outstanding goals and surprising upsets. England, one of many countries where football is more religion than diversion, lost to Italy. The Netherlands didn’t just beat Spain, but trounced it, 5-1. And today, we get three more games. ABC’s coverage begins at 11:30 a.m. ET, 30 minutes before the first match begins, with Switzerland facing Ecuador. The next game begins at 3 p.m. ET, with France vs. Honduras, and ESPN covers the day’s final game, with a 5:30 p.m. ET telecast that sets up the contest between Argentina and Bosnia-Herzegovina. For a full story on World Cup coverage to date, and a preview of what to expect today, see Monique Nazareth’s MNtv.

2014 U.S. OPEN GOLF
NBC, 12:00 p.m.

Through three days of golf at Pinehurst #2, Martin Kaymer has been in the lead, shooting a U.S. Open record the first two days with back-to-back five-under-par 65s, then holding on yesterday by shooting a 72. That was two over par, but considering the trouble he got into, and out of, at a pair of holes, it was an impressive performance nonetheless. The German golfer begins today with a five-shot lead over his nearest competitors, U.S. golfers Erik Compton and Rickie Fowler, and his strategy and play, and theirs, ought to make this a truly exciting final round at the U.S. Open.

NBA FINALS
ABC, 8:00 p.m. ET

More sports in today’s Best Bets? Yes, indeed. After World Cup soccer and U.S. Open golf, there’s the potentially clinching game of the NBA Finals. (Happy Father’s Day, sports junkies.) This is Game 5, played in San Antonio, where the Spurs enjoy not only home-court advantage, but an imposing 3-1 lead over the Miami Heat. No team has ever come from that deficit to win the championship – but LeBron James says that’s true only until some team manages to do it, and he’d like to be part of that story. So tonight is either revenge for the Heat wresting victory from the Spurs last year, or the prolonging of an intense, increasingly interesting NBA rivalry.

BELIEVE
NBC, 9:00 p.m. ET
SERIES FINALE:
The final episode of this NBC series is a showdown between the factions of good and evil – as personified, respectively, by psychically gifted young girl Bo (Johnny Sequoyah) and those who would like to understand and use her talents for less noble purposes. But the story doesn’t have to end with tonight’s episode – and won’t, if the actress who played another plucky heroine has her way. See below.

GAME OF THRONES
HBO, 9:00 p.m. ET
SEASON FINALE:
Are you kidding me? Last week’s episode, essentially an hour-long battle scene, wasn’t enough? No, it wasn’t. To finish Season 4, Game of Thrones has a few more tricks, and treats, up its sleeve – and a few more major characters in very dire jeopardy.

PENNY DREADFUL
Showtime, 10:00 p.m. ET

In tonight’s episode, Vanessa (Eva Green) has another vision, this time of Sir Malcolm’s daughter Mina (Olivia Llewellyn) walking on a beach. But though the beach may look inviting, the vision isn’t a pretty one, and sets the group out on yet another dangerous, troubling quest.


http://www.tvworthwatching.com/

* * * *

Critic's Notes
Can Disney’s Belle Save Fellow Heroine Bo, from NBC’s ‘Believe’? Believe It or Not, She’s Trying…
By David Bianculli, TVWorthWatching.com - Jun. 14, 2014

The final episode of NBC’s Believe airs Sunday… unless you believe. That series, and its inspirational young heroine, are the object of a rescue mission by another famous heroine: Belle, from Disney’s Beauty and the Beast…

Technically, the one damsel out to rescue another is singer and actress Paige O’Hara, who gave voice to Belle in 1991’s Beauty and the Beast animated classic. She’s such a fan of Believe (9 p.m. ET, NBC), and of the central young character of Bo (played by actress Johnny Sequoyah, left), that she even contacted Disney to beg that ABC pick up the show now that NBC has canceled it. That should ring a bell at Disney, when Belle rings them…

“I called Disney’s TV arm, and asked them to please take a look at it,” O’Hara told TV Worth Watching yesterday, laughing at her own boldness. “Because I can – I’m Belle!”

When told that it sounded very Disney that one heroine would go to bat for another, O’Hara admitted, “It is very Disney. But I’ve never done this before – I’ve never gone on a campaign for a TV show before, ever. I just really fell in love with this little girl, and the characters around her.”

Asked why Believe resonated with her so much, O’Hara (shown here, at right, with Shania Twain at left) had an instant response – a better synopsis of the show than NBC had provided in its own press releases.

“Predominantly,” she explained, “it’s the character of the young girl Bo, who’s 11 years old and has telekinetic and clairvoyant powers that are so powerful that she’s got mad scientists trying to take her to use her for evil reasons. She’s also got the government wanting her.

“It’s a battle of good and evil, the show, and she’s the epitome of goodness. What’s so wonderful is that every single episode, she’s running for her life, and she’s being protected, but she uses her powers to save someone. She has these visions of somebody that’s going to die, or needs her or whatever, and so she puts her own life aside to save that person or that family.”

One of Bo’s protectors, played by Jake McLaughlin (“a brilliant actor,” O’Hara says) is William Tate, who learned this season, along with viewers, that he is Bo’s biological father. That revelation is another reason O’Hara is hooked.

“I just want the show to continue,” she admitted. “Every single week, I find myself riveted by it. I’m totally attached to the father-daughter relationship, and the way that those characters have grown together.”

Her fondness for Believe, however, is more than personal. Though it’s been more than 20 years since Beauty and the Beast, new generations of youngsters keep drawing inspiration from the independent female character of Belle, and O’Hara has never stopped witnessing, and even strengthening, that connection.

(A gifted artist, she eventually collaborated with Disney on an ongoing series of paintings inspired by Beauty and the Beast. Her signed works are available at the Renaissance Gallery in Las Vegas, for which she hand-embellishes every piece. An example is seen at right.)

O’Hara sees the value of Believe through young eyes, even if NBC doesn’t.

“Think of it,” she said. “It’s the only show out there that really has a true heroine for young girls. A show that parents can watch with their kids – and I’m talking young kids as well. There’s scary stuff in the show, but there’s never blood and gore – it’s not at all like that.

“It’s definitely a show where children can learn, and have this character Bo as a true role model, a true heroine. It’s not like she’s goody two-shoes perfect: She’s got a little bratty side to her, and she’s very funny. But ultimately, she is selfless, and she will do anything to save people.

“If Disney were handling this program,” O’Hara concluded, “it would be a hit. It’s not being promoted. NBC is not giving it the respect it deserves. If it had the right network and the right promotion behind it, I firmly believe, for little kids, it would be the TV version of Frozen and The Hunger Games.”

Ask not for whom the Belle tolls. This time, it tolls for ABC…

http://www.tvworthwatching.com/BlogP...px?postId=7585


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #95007 of 96864 Old 06-15-2014, 11:37 AM
AVS Special Member
 
Nayan's Avatar
 
Join Date: Jan 2009
Location: Melbourne, FL
Posts: 2,409
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 45 Post(s)
Liked: 150
OT: Happy Father's Day to all our AVS dads!

I'm a 'hooker' and a knitter. I guess that makes me bi-stitchual :).
To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
Nayan is offline  
post #95008 of 96864 Old 06-15-2014, 01:22 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
SATURDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #95009 of 96864 Old 06-15-2014, 01:26 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
Obituary
Casey Kasem, 'American Top 40' Icon, Dies at 82
By Mike Barnes, The Hollywood Reporter - Jun. 15, 2014

Casey Kasem, the American Top 40 radio host who crafted a long and lucrative career out of counting down to No. 1, has died on Father's Day, his final weeks poisoned by an intense family feud.

Kasem, who hosted the syndicated weekend show for nearly four decades, died Sunday of complications from dementia at St. Anthony's Hospital in Gig Harbor, Wash.

Danny Deraney, the publicist for daughter Kerri Kasem, confirmed to The Hollywood Reporter that the radio host died at 3:23 a.m. Kerri posted a note on Facebook about the news.

"Early this Father’s Day morning, our dad Casey Kasem passed away surrounded by family and friends," she wrote. "Even though we know he is in a better place and no longer suffering, we are heartbroken. Thank you for all your love, support and prayers. The world will miss Casey Kasem, an incredible talent and humanitarian; we will miss our Dad. With love, Kerri, Mike and Julie."

In October, his three eldest children claimed that their stepmother, actress Jean Kasem, wouldn’t allow them to visit their father. They staged a protest outside the couple’s estate, waving signs that read, “Let Casey See His Kids.” Two months later, Julie and Mike reached a confidential settlement with Jean granting them visitation; Kerri refused to sign the agreement.

“I’m not afraid of her; they are,” she said of Jean and her siblings in a story published by THR in February. “This visitation agreement not only treats us like criminals, it treats my dad like an inmate. It’s about money for her. It’s about love for us.”

The situation took another bizarre turn in May when a judge ordered an investigation into Kasem’s whereabouts after an attorney for his wife said he had been removed from the country. Kasem had been in a convalescent hospital in Santa Monica, and he was later found to be with his wife staying with friends at a residence in Washington state. A judge cleared the way for Kerri to have him admitted to the hospital, and Wednesday, doctors, per Kerri's wishes, were allowed to stop artificially feeding and hydrating the radio icon.

Since his first broadcast from Hollywood on seven stations on July 4, 1970, to his finale on the same holiday weekend in 2009, the peppy Kasem ended each American Top 40 show with his signature line: “Keep your feet on the ground and keep reaching for the stars.”

Kasem loosely based his countdown format on the 1950s TV program Your Hit Parade. More than just spinning singles, he blended a mix of trivia, dedications, requests and artist information as he counted down the Top 40 each weekend. His first No. 1 song? Three Dog Night’s “Mama Told Me Not to Come.”

Kasem said he wanted to be the “voice of the guy next door,” and his style was to accent the positive, considering each one of the hits a major accomplishment for each act involved. He never focused on the negative, such as a big drop-off for a particular song, and remained family-friendly. His shows also tugged at the heartstrings with such elements as "Long Distance Dedications."

“I feel good that you can be going to synagogue or church and listen to me, and nobody is going to be embarrassed by the language that I use, the innuendo,” he told the Chicago Tribune in 1986. “It’s just not my style ... quite frankly, I think we’re good for America.”

Radio and television personality Ryan Seacrest mourned Kasem's death on Sunday.

"It’s a sad day for the broadcasting community and for radio listeners around the world," Seacrest said in a statement. "When I was a kid, I would listen to Casey Kasem’s AT40 show every weekend, and dream about someday becoming a radio DJ. So when decades later I took over his AT40 countdown show, it was a surreal moment. Casey had a distinctive friendly on-air voice, and he was just as affable and nice if you had the privilege to be in his company. He’ll be greatly missed by all of us."

Kasem’s friendly, crackling tones also were heard as Shaggy on the CBS cartoon Scooby-Doo Where Are You!, which premiered in 1969. He quit the show in 1997 in a dispute over a Burger King commercial but was back in 2002 when it was determined that Shaggy would be a vegetarian, just like Kasem.

Kasem also provided the voice of Batman’s pal Robin the Boy Wonder on several cartoon series.

He was born Kemal Amen Kasem on April 27, 1932, in Detroit, the son of a Lebanese grocer father and a Lebanese-American mother. Kasem made his radio debut covering sports for his Northwestern High School station, then performed in radio dramas at Wayne State University, voicing The Lone Ranger, Sergeant Preston of the Yukon and other heroes of the airwaves.

He was drafted into the U.S. Army in 1952 and served as an announcer and DJ on the Armed Forces Radio Korea Network. After his discharge, he moved around the country as a radio announcer, working in Detroit, Cleveland, Buffalo, N.Y., and Oakland, Calif.

In Oakland, Kasem created a program in which he integrated biographical tidbits about the artists before each song. It quickly became a hit.

Kasem relocated to Los Angeles in 1963 when he secured a radio job at KRLA. He moonlighted by hosting “dance hops” on local TV, which attracted the notice of Dick Clark, who signed Kasem in 1964 to host Shebang, a daily musical TV show that Clark produced.

In 1970, Kasem opened his first three-hour American Top 40 broadcast by playing Marvin Gaye’s “The End of Our Road.” He hosted the program until August 1989, when he quit in a salary dispute with ABC, and Shadoe Stevens took over.

Kasem started his own program, Casey’s Top 40, for Westwood One — as part of a five-year, $15 million deal — soon afterward. In 1995, American Top 40 folded, and Kasem started hosting a new version three years later; in 2004, he passed the torch to Seacrest. He did countdown shows for Premiere Radio Networks until July 2009; two years earlier, he had been diagnosed with Parkinson's.

Kasem always wanted to be an actor and appeared in such movies as The Girls From Thunder Strip (1966), The Glory Stompers (1967) with Dennis Hopper, Scream Free! (1969), 2000 Years Later (1969), The Cycle Savages (1969), The Incredible 2-Headed Transplant (1971), Disco Fever (1978) and Ghostbusters (1984), in which he played himself.

He also provided the voice for characters on Sesame Street, Josie and the Pussycats and Transformers; served as NBC’s staff announcer in the late 1970s; hosted the syndicated TV show America’s Top 10 for a decade; did hundreds of commercials; guest-starred on such TV shows as Fantasy Island, Ironside and The New Mike Hammer; and appeared on Nick at Nite to count down reruns on New Year’s Eve.

Kasem was inducted into the Radio Hall of Fame in 1992, and five years later, Billboard presented him with its inaugural Lifetime Achievement Award.

Kasem was married to Linda Myers from 1972 until 1979, then wed the former Jean Thompson — some 21 years younger and many inches taller than he — in a December 1980 ceremony at the Hotel Bel-Air officiated by Rev. Jesse Jackson. (She went on to star as ditzy blonde Loretta Tortelli on the sitcom Cheers and in a short-lived spinoff.) They had a daughter, Liberty. His fortune had been estimated at $80 million.

In April 2013, the couple listed their 12,000-square-foot Holmby Hills mansion with 17 bathrooms for $42 million but pulled it from the market in September.

Survivors also include Kasem’s brother, Mouner.
Duane Byrge contributed to this report.

http://www.hollywoodreporter.com/new...em-dies-673058


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
post #95010 of 96864 Old 06-15-2014, 01:33 PM
AVS Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 35,560
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 135 Post(s)
Liked: 170
TV Sports
21 Flat-Screen TVs, 18 Holes, One Pair of Eyes
By Karen Crouse, The New York Times - Jun. 15, 2014

PINEHURST, N.C. — It was the first round of his 20th United States Open telecast, and the Golf Channel and NBC producer Tommy Roy had a meaty morsel of information for the on-air host Dan Hicks, who could not decipher what Roy was shouting into his earpiece.

Roy was so excited that he forgot to punctuate his sentences. Hicks hit his talk-back button and, in a rare reversal of roles, delivered a command, telling his longtime mentor, Roy, to slow down.

The cramped production truck that is Roy’s office could not contain his enthusiasm, nor could the 10-hour window of live daily coverage during each of the first two rounds. Anybody who thought Roy might be content simply to make the cut in his last United States Open before the tournament shifts next year to the United States Golf Association’s new broadcasting partner, Fox Sports, has never worked for him.

“I’ve been asked, ‘Is there a tendency to mail it in, knowing that this is your last?’ ” Roy said. “And I can absolutely assure you that that’s not in my DNA and not in our team’s DNA.”

The goal, as always, is to give the fan at home the best seat. To appreciate how hard it is to make golf easy on the eyes and ears, it helps to spend time in the truck observing Roy as he gesticulates like a conductor orchestrating a symphony of words and pictures.

“Every once in a while, I’ll step in the truck,” Hicks said. “Ten to 15 minutes in there, I start getting the heebie-jeebies. In all the commotion and chaos, Tommy has the innate ability to make snap decisions that are the right decisions. It’s just uncanny. I’ve never worked with anyone who has such great radar.”

On Thursday afternoon a can of soda, retrieved by an assistant from a stash of mostly high-calorie snacks, grew flat as Roy stared intently at a bank of 21 flat-screen televisions. A few of the TVs had more images than there were lines in the old test-screen pictures.

“I’m an adrenaline junkie,” Roy said. “I think that’s why I love this so much.”

Standing behind Roy, with one hand on the back of his chair, was Tom Randolph, his co-producer and second pair of eyes.

Roy and Randolph are like Phil Mickelson and the caddie Jim Mackay. They never seem out of sync. “The funny thing is, if it’s really been a stressful show, Tom Randolph’s hair is a mess,” Roy said. “It looks like a rat’s nest.”

It was their seventh hour in the truck coordinating coverage on ESPN, Golf Channel and NBC, and Randolph’s hair was holding up well. Roy has produced coverage of the Olympics and the Super Bowl and says neither poses as great a challenge as any week on golf, when dozens of balls are in play and the action continues while the network breaks for commercials. There is never time to catch one’s breath, much less nibble on a snack from a pile of cookies, crackers and chocolates in the corner of the truck.

“Producing 10 hours of live golf is the greatest diet in the world,” Roy said.

His workday starts before he arrives in the truck. Roy stops by the driving range to see what players are wearing, the better to identify them on the monitors. He studies their mannerisms to improve his own performance. That is why Roy doesn’t worry about cutting to a shot of Jim Furyk when he first steps up to a putt: He knows Furyk will back off it.

Roy could empathize with the Open’s 36-hole leader, Martin Kaymer, who said it was not easy playing the first two days with Keegan Bradley, whose pre-shot routine is an elaborate body tic. It’s difficult, Roy said, to perfectly time a cut to a golfer whose pre-shot routine is unpredictable.

“Go to Elvis,” Roy shouted, referring to a deck on a replay machine. For Roy, there is no such thing as a brilliant mistake.

“You never want to be that person that lets him down,” Hicks said. “We all know in this business there’s no such thing as a perfect show. There are too many moving parts. You know when he sits down in that chair he wants to put on the perfect show.”

Roy occasionally took his eyes off the monitors to glance at a lined pad with pages of his handwritten notes. “I’m driven to avoid failure, and I don’t like to make mistakes,” he said, “so I overprepare, I guess.”

The son of a golf pro, Roy, 55, was a business administration major at the University of Arizona in the late 1970s when he got his first job in TV, as a runner for NBC at the Tucson Open. He essentially never left, advancing through the ranks under the tutelage of Dick Ebersol.

To Roy’s immediate left in the truck sits someone whose duties include checking off players’ names as they appear on screen. Roy said he tried to give every player in a United States Open field his 15 seconds. “If they’ve earned the right to be in our national championship,” Roy said, “they’ve earned the right to be on TV.”

In one six-minute segment, Roy showed shots of eight golfers, including Kaymer, who was fashioning the first of his consecutive five-under 65s.

“We go on the air, and that’s when the script we’ve rehearsed goes out the window,” Roy said. “That’s the great thing about sports in general. It’s unscripted drama.”

During Friday morning’s ESPN telecast, the tower announcer Sean McDonough set the stage for a birdie putt by the Colombian Andrés Echavarria. One of the hosts, Paul Azinger, playfully asked if he had worked on that pronunciation.

McDonough replied that he simply parroted the voice in his earpiece, leading Scott Van Pelt to pipe up from the announcers’ booth. He said, “Lean on Tommy Roy as much as we can with some of these things.”

Van Pelt joked that the on-air talent could be likened to dolls with voice boxes. “They just throw a suit on us,” he said, “put us in here, and pull the string in our back.”

http://www.nytimes.com/2014/06/15/sp...elevision&_r=0


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.


To view links or images in signatures your post count must be 0 or greater. You currently have 0 posts.
dad1153 is online now  
Reply HDTV Programming

User Tag List

Thread Tools
Show Printable Version Show Printable Version
Email this Page Email this Page


Forum Jump: 

Posting Rules  
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off
Trackbacks are Off
Pingbacks are Off
Refbacks are Off