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post #95041 of 98051 Old 06-17-2014, 06:17 PM
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Technology Notes
Cable TV boxes become 2nd biggest energy users in many homes
By Ralph Vartabedian, Los Angeles Times - Jun. 17, 2014


http://www.latimes.com/nation/la-na-...ry.html#page=1
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Originally Posted by dcowboy7 View Post
I dont buy this.

Someone ran a test for a month on theirs with electrical reading equipment & it was nowhere near $8 month.
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Originally Posted by grittree View Post
It's unfortunate, but journalism is sinking to new lows. No good reporter, nor any qualified editor, should have let this article go to print without getting somebody to stick a 'kill-a-watt' on a cable box and see how much power it actually drew. Instead we get "as much as (off a label)", and comments from special interest groups who ignore facts to promote their agenda. And, I guess, the agenda of the media. Which is no longer reporting the truth if it doesn't support their agenda.
Yeah, $8 a month would be almost 10% of my monthly bill in the summer time since I generally don't need AC. However, my hot water is electric, I have a dish washer along with a large capacity washer and dryer that likely are eating a lot of my electricity. I like to cook, too. Just taking a hot shower every morning is probably the biggest bite out of my bill. If I owned my place, I'd likely get some sort of on demand hot water system with a small reservoir to ensure the washer would have a buffer for cleaning white stuff.

The thing is, the DVR is far more important to me to have running than any other device. So, I save in other areas. I have replaced every bulb in my place over time with CFLs and, lately, LEDs any time I get a good price on them. I'm in a tree lined neighborhood that doesn't get overly hot so my windows keep the place cool on all but the few hottest days of the year. In the winter, I'm careful to control my heat so it's not keeping an empty house at my preferred temperature for 8-10 while I'm at work and multiple zones let me turn everything but my bedroom down over night. That saved me $100 a month alone compared to the first winter in the place.

Oh yeah, there's one more thing: when I'm not watching TV, I turn the TV off. It kills me to see how some people turn it on first thing when they walk through the door, then all but it ignore it.

Last edited by NetworkTV; 06-17-2014 at 06:23 PM.
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post #95042 of 98051 Old 06-17-2014, 06:20 PM
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I dont buy this.

Someone ran a test for a month on theirs with electrical reading equipment & it was nowhere near $8 month.
Around here that would be around $3 a month. But it all depends on how much your electricity costs. It's around 11.5 cents a kWh here.

The formula is
( Watt Usage * Hours/Day * Days/Mo. ) / 1000 = Kilowatt Hours used that month

kWh * Cost/kWh = Cost per month

So 35 watts * 24 hours * 30 days = 25200/1000 = 25.2 kWh per month

25.2 kWh * .115 /kWh = $2.90 a month.

There are certainly plenty of cable boxes that draw 35 watts or more. Millions of them. But all of the newer ones use less power than that.

EDIT: So for a 35 watt box to cost $8 a month, electricity would need to cost around 31 cents. Based on the average electricity cost by state in 2013, only electricity in Hawaii costs more than that at 37 cents per kWh. at least according to this website.

http://www.electricchoice.com/electr...s-by-state.php

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Last edited by aaronwt; 06-17-2014 at 06:32 PM. Reason: spelling...doH!!!
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post #95043 of 98051 Old 06-17-2014, 07:01 PM
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Around here that would be around $3 a month. But it all depends on how much your electricity costs. It's around 11.5 cents a kWh here.

according to this website.
http://www.electricchoice.com/electr...s-by-state.php
That website is of no use to most of us. It only applies when you have a choice of provider.
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post #95044 of 98051 Old 06-17-2014, 07:25 PM
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That website is of no use to most of us. It only applies when you have a choice of provider.
I was just using it for prices. I don't have a choice of provider here in Virginia. But the price listed for Virginia is basically the price I pay per kWh.

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post #95045 of 98051 Old 06-17-2014, 10:11 PM
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I was just using it for prices. I don't have a choice of provider here in Virginia. But the price listed for Virginia is basically the price I pay per kWh.
honolulu- this month's elec rate for Oahu is .345 per Kwh- cheapest in the state- highest is on Kauai at .42. So, here it is close to $8 per DVR.
With these elec rates it was no brainer in 2012 to put up 32 solar panels (35% state tax credit (since reduced) & 30% Fed credit helped) .
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post #95046 of 98051 Old 06-18-2014, 03:48 AM
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TV Notes
Nickelodeon Renews ‘Teenage Mutant Ninja Turtles’ for Season 4
By Jethro Nededog, TheWrap.com - Jun. 17, 2014

The Turtles are kicking their way into another season! Nickelodeon has ordered a fourth season of animated series “Teenage Mutant Ninja Turtles.” The 20-episode season is set to premiere in Fall 2015.

The order is a clear vote of confidence that the show will continue to hold its audience as new episodes are currently airing, and the series’ third season is scheduled to debut this fall.

“‘The Teenage Mutant Ninja Turtles’ has been a global hit, maintaining impressive numbers across the network's ratings and our digital and consumer products platforms,” said Russell Hicks, Nick's president of content development and production.

He continued, “While new episodes will continue to debut on Nickelodeon, we look forward to propelling the momentum with a fourth season for our loyal fans.”

“Teenage Mutant Ninja Turtles” ranked as one of the top five animated series for first quarter of this year across all of television, according to Nick's release.

“Robot Chicken” voice actor Seth Green will join the production on Season 3 as the voice of Leonardo. The rest of the voice cast include Sean Astin, Rob Paulsen, Greg Cipes, Mae Whitman, Hoon Lee and Michael Richardson. Josh Peck and Corey Feldman recur as the voices of Casey Jones and Slash, respectively.

Executive produced by Ciro Nieli, “Teenage Mutant Ninja Turtles” is part of Nickelodeon's highly rated animation slate, which also includes “SpongeBob SquarePants,” “Sanjay and Craig,” “Breadwinners” and “Rabbids Invasion.”

Paramount Pictures and producer Michael Bay will release the live-action film “Teenage Mutant Ninja Turtles” starring Megan Fox and Will Arnett on Aug. 8. It was directed by Jonathan Liebesman, written by Josh Appelbaum, André Nemec and Evan Daugherty.

http://www.thewrap.com/teenage-mutan...y-nickelodeon/
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post #95047 of 98051 Old 06-18-2014, 03:53 AM
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TV Notes
Game On: NBC Throws ‘America’s Got Talent’, Daredevils Against ABC’s ‘Rising Star’ Premiere
By Nellie Andreeva, Deadline.com - Jun. 17, 2014

NBC is taking new ABC singing competition Rising Star very seriously, using heavy artillery against the debut of the new reality series this weekend. NBC has slotted an original of its strongest summer series, veteran America’s Got Talent, which airs Tuesdays, directly opposite the two-hour premiere of Rising Star from 9-11 PM on Sunday. But the Peacock didn’t stop here: NBC just announced a special daredevil stunt throughout Sunday night, which is being billed as “Show-Stopping Sunday.”

Both stunts, hosted by AGT judge Howie Mandel, will aim at breaking Guinness world records — for fastest jump over three moving cars and the highest shallow dive into fire. They will be chronicled in the form of interstitials that will air during American Ninja Warrior, which airs from 7-9 PM and AGT from 9-11 PM. Such stunting is vintage Jeff Bader. One of his first moves after jumping from ABC to NBC to head scheduling in 2012 was to add a third, Wednesday installment of The Voice‘s premiere week to go head-to-head against the hyped Season 2 premiere of Fox’s The X Factor that introduced new judge Britney Spears. The stunt didn’t go very well with X Factor boss Simon Cowell, who called it “a cynical, cold-hearted, unprofessional way of doing business.” But it worked in taking sizzle away from the X Factor debut.

The all-out counterprogramming assault by NBC has got to be adding to the level of anxiety of ABC executives who have a lot riding on Rising Star. The network put a lot of marketing muscle behind the show, which is the highest-profile and most ambitious new talent competition reality series to enter the space since The Voice. It is also by far the most technologically complex and susceptible to glitches, with live voting on both coasts and a new voting app that has not been tested on a live broadcast. Still, the lengths to which NBC is going to counter the Rising Star premiere has got to be a little flattering, indicating that the newcomer is considered a real threat.

http://www.deadline.com/2014/06/nbc-...star-premiere/
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post #95048 of 98051 Old 06-18-2014, 04:02 AM
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Critic's Notes
Vulture TV Awards: The Year’s Best Male Comedy Performer Is H. Jon Benjamin
By Matt Zoller Seitz, Vulture.com (New York Magazine) - Jun. 17, 2014

This week, we’re presenting our Vulture TV Awards, honoring the best in television from the past year. Vulture contributor Julie Klausner kicked things off with an epic opening monologue, and now we’re straight-up dishing out the virtual hardware. Amy Schumer already has her Vulture. Up next: Best Male Comedy Performer, as selected by Vulture television critic Matt Zoller Seitz.

The nominees are:

H. Jon Benjamin, Archer and Bob’s Burgers
Andre Braugher, Brooklyn Nine-Nine
Adam Driver, Girls
Danny Pudi, Community

And the winner is...

WINNER: H. Jon Benjamin, Bob’s Burgers and Archer


H. Jon Benjamin is one of the MVPs of TV cartoons, with a voice that is not merely recognizable but seems to capture something essential about the American man. This would be astonishing in just one series, but Benjamin stars in two: Fox’s Bob’s Burgers and FX’s spy spoof Archer. Benjamin, a longtime stand-up comic who drifted profitably into voice work years ago, is not a Mel Blanc–style chameleonic talent; while he’s a versatile actor, his two best-known performances have pretty much the same rhythm and timbre. And yet somehow they strike very different notes.

Bob Belcher is the nearly hapless schlemiel, the soft-bellied dad who blusters and fails but is redeemed by his sweetness and his love for his wife and kids, who form one of the few completely functional (if eccentric) families on TV. He’s a lovable loser in the grand old sitcom tradition, and he’s never more endearing than when he’s halfheartedly puffing up and trying to dominate somebody else; you can tell his heart’s not really in it, and his resolve is so weak that sometimes he can’t even get through a demanding sentence. You can practically hear the energy draining out of Bob’s voice when he realizes he has no chance of getting what he wants; it sounds as if somebody had pulled the plug on his masculinity and you got to hear the machine gradually shutting down. He’s never more alive than when he’s terrified or injured and screaming in pain. Misery makes him electric. Benjamin has the best male scream since Dan Castellaneta’s Homer Simpson. On my personal bucket list: hearing both actors perform scenes in which their characters are horribly wounded.

Sterling Archer, in contrast, might be the fictional character that Bob fantasizes about being. He’s the id to Bob’s superego, a natural-born-killing-and-screwing machine, a narcissistic stud. His oblivious brutality would be unconscionable if the show weren’t populated by a rogues’ gallery of comic sociopaths whose very existence is a grimly hilarious reminder of how not to be. Archer’s voice is redolent of the frat house; he’s the guy who’d paddle some poor pledge half to death and then go to jail for it because he ordered his girlfriend to record it for posterity and she got pissed at him and uploaded it to YouTube. He is male entitlement personified, James Bond reconfigured as a Judd Apatow dude-bro. (“Hi, I'm Sterling Archer. You may remember me from the strip club, and hopefully from what was hands down the best sex I've personally ever had.”) That he is a psychological prisoner of his mother makes his hypermasculinity explicable and hilarious.

Benjamin’s existentially weary voice shows us that even Archer is bored by Archer, and must keep pushing himself to new extremes of outrageous excess to feel anything. (“Woohoohoohoo! Two personal records! For breath-holding and number of sharks shot in the frickin' face!”) Benjamin seems to be defining both Bob Belcher and Sterling Archer from somewhere deep inside of himself, rather than leaning on virtuoso voice tricks. He’s the vocal version of one of those lovable Everyman movie stars who can really, truly act: the Tom Hanks of animation.

http://www.vulture.com/2014/06/vultu...-benjamin.html

* * * *

TV Notes
Vulture TV Awards: The Year’s Best Teen Show Is The Fosters
By Margaret Lyons, Vulture.com (New York Magazine) - Jun. 17, 2014

This week, we’re presenting our Vulture TV Awards, honoring the best in television from the past year. Vulture contributor Julie Klausner kicked things off with an epic opening monologue, and now we’re straight-up dishing out the virtual hardware. Amy Schumer and H. Jon Benjamin already have their Vultures. Up next: Best Teen Show, as selected by Vulture’s Margaret Lyons.

Back in the day, UPN and the WB — the progenitors of the CW — aired teen shows that were substantive and inventive enough to make grown-ups sit up and take notice: Buffy the Vampire Slayer, obviously, but also Gilmore Girls, Everwood, and Veronica Mars. (Dawson’s Creek gets an honorable mention there, too.) Nowadays, though, the CW is more focused on moody sci-fi and fantasy shows, none of which hold up to Buffy’s wit or even seem to aspire to. Now it’s ABC Family that has staked its claim to the earnest teen-oriented family drama. Switched at Birth paved the way, but this year’s best teen show is The Fosters.

The Fosters, whose second season premiered just last night, centers on 16-year-old Callie, a tough (but not as tough as she seems) girl who grew up bouncing between foster homes after her mother died and her dad went to jail. She devotes most of her energy to protecting her little brother Jude, but the two of them get to loosen up a little when they move in with the Fosters — yeah, a foster family whose last name is Foster. Interracial moms Lena and Stef are already parents to Stef's biological 16-year-old son Brandon and foster-to-adopt 15-year-old twins Jesus and Mariana. The first season of the show covered some of the differences between race and ethnicity, the benefits and occasional limitations of talk therapy, alcoholism, emergency contraception, the strain on undocumented immigrants, ADHD medication and its appropriate and inappropriate uses, the death of a parent, and early-onset dementia. The first half of the season occasionally veered into Very Special Episode territory, but then the show found that strong emotions and corniness are not synonymous; you can have very loving, devoted parents and still have those characters ring true. Kids — teenagers especially — make big mistakes and then make big apologies. That's both dramatically interesting and true to life.

One of the markers of a great teen show is the great teen breakdown, again, something that many of us experienced as teens ourselves. Sometimes you just get so worked up, and things get so out of hand, and everything's your fault. (Think of Angela dyeing her hair on My So-Called Life, and then sobbing to her mother about how sorry she is.) Oftentimes these meltdowns are over nothing: one failed test, one small fight, a minor inconvenience. On The Fosters, though, Callie's big meltdown comes when she runs away: She and her foster brother Brandon have been, uh, fostering a very intense mutual attraction, which she knows could jeopardize her and Jude’s placement, so she decides to bail. She discovers that her dad has been out of prison for some time but hasn't made any attempts to contact her, and then she just snaps. She’s exhausted, confused, scared, and far away from anyone who cares about her, so she flips out in a convenience store, crying and eating packages of food, daring the clerk to call the police. Which he does, and she gets arrested.

Callie’s breaking point feels like it really matters: It’s a moment that sends her back to juvie and then to a court-mandated group home, but it’s also a moment that changes something in her, forces her to confront who and what she wants to be. She’s a kid who had to be a grown-up way too early, but now she's 16, and it's genuinely time to make some more mature decisions; we see her grapple with this all the time, her desire to be taken care of and her deep fear that those who are supposed to take care of her will betray or endanger her. (Maia Mitchell, who plays Callie, gives her the right combination of edge and vulnerability.)

There’s no denying that The Fosters is a teen drama. There’s romance and backstabbing and dance-team auditions and wrestling try-outs and essay contests and sexy times like you'd expect. But it’s also one of the most progressive shows on TV — if not the most progressive show on TV — covering race, colorism, sexual identity, gender identity, recovery from sexual assault, the capriciousness of the foster-care system, and the classism and racism present in the criminal-justice system. That said, I wouldn’t call The Fosters an issues-oriented show. It reminds me a lot of Everwood, not only because Brandon is also a gifted pianist, just like Ephram was, but also because there's a fundamental wound at the center of the show. On Everwood, it was the death of wife and mother Julia Brown; on The Fosters, each kid has a different story of how the Foster family, while great, is perhaps not the family they dreamed of. Brandon is Stef's biological son, but he’s old enough to remember his (hetero-coupled) parents’ divorce, and to know that his dad is an alcoholic. Jesus and Mariana are twins, but they have different relationships with their drug-addict grifter biological mother. Callie’s very hesitant to consider herself “part of the family,” while Jude, who’s much younger, really throws himself into things because he’s so, so eager to leave behind his life of neglect and abuse; Callie is much more worried about betraying her dead mother by allowing someone else, let alone two people, to play the role of mom. But here they all are, together, in a gorgeous, enormous craftsman house, with two beautiful doting mothers who adore them and each other, and, well, that counts for a lot.

Honorable mentions: Switched at Birth continues to engage and delight, and Degrassi, somehow, after 13 seasons, is still going strong.

http://www.vulture.com/2014/06/vultu...w-fosters.html
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post #95049 of 98051 Old 06-18-2014, 04:08 AM
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TV Notes
Emmys 2014: In today's TV landscape, it's evolve or die
By Randee Dawn, Los Angeles Times' 'Show Tracker' Blog - Jun. 17, 2014

Word had it that by the time Warren Leight took over as “Law & Order: SVU” showrunner in the series’ 13th season that the job would be a temporary assignment. “There was a sense that it would be 13 and out. Welcome to the Titanic.” he said. “It needed to be shaken up.”

Shaking up any show, much less the longest-running live-action scripted series on TV right now, is tricky. A show in double-digit years is its own brand, with a cadre of loyal fans who may resist change. But a show that can’t evolve is dead in the water.

“What’s hard is you’re going up against all of the episodes that have ever aired, all the precious moments people felt from ‘The Simpsons’ in their lives,” says executive producer Al Jean about his series, now in its 25th season. “We don’t treat it as sacred and unchangeable; we try to be fresh.”

Jean and company are lucky in that they never have to worry about actors aging out of roles; Yeardley Smith can go on being a young Lisa Simpson ad infinitum. In fact, “The Simpsons” has changed remarkably little since its debut in 1990: There are no more rotary phones on the show; TV sets are generally flat screens. Jean said the pace of the show picked up around its fourth season, but added, “We’re still trying to do the same kind of show we did at the beginning.”

Not all shows have it so easy; cast changes tend to be the wellspring from which show shifts take place. “CSI” (now in Season 14) cycled through lead investigators played by William Petersen and Laurence Fishburne before arriving at Ted Danson, and by then, said executive producer Don McGill, they wanted a “fresh take on a classic cop” -- a character whose job didn’t destroy his life and who could keep it separate from his home life. So D.B. Russell (Danson) was created.

But on long-running shows, creating change is a tightrope, McGill said. “There is a pressure on forensic procedurals all over TV now not just to differentiate yourself from other shows, but from seasons past. Audiences want to tune in to see classic ‘CSI,’ but they also want something fresh and original.”

The departure of “SVU” original cast member Chris Meloni was a signal for Leight to reinvent more than just characters; he made sure more personal stories were being told and that scripts stopped being written “for the twist, and the twist in the twist.” And victims of crime survive; there are fewer corpses. “It was a reinvigoration through Chris’ departure,” Leight said.

In the case of “Bones” (now in Season 10), the union of Booth and Brennan was inevitable almost from Episode 1, but showrunners Hart Hanson and Stephen Nathan fought making it happen too early. “Around 2009 or 2010, we got a ton of pressure from everybody to put them together,” Hanson said. “We looked at each other and said, ‘It’s not time yet.’ Fans don’t know that it’s the frustration [in the characters’ relationship] that keeps them watching.”

Nathan insisted that it’s about looking for the “natural evolution” of the show: “If you follow the characters, rather than impose what you want the characters to do, they lead you in different directions.”

“That’s a terrible answer,” Hanson shot back, quipping: “We’re geniuses who have balanced a delicate crystalline structure over nine seasons, with constant debate.”

Reality shows may not have to face the kind of casting changes scripted series do, but that doesn’t mean they’re without issues over the long term. “Reality shows are more nimble than scripted ones, but they’re less predictable,” said “Hell’s Kitchen” executive producer Arthur Smith (the show is in its 12th season). Over the years the show has become more documentary-like, thanks to 82 cameras positioned around the kitchen and restaurant facility. “We don’t have to create drama,” he said. “It’s all there.”

“American Idol,” now in Season 13, suffered a serious wound when judge Simon Cowell left in 2010, but has bounced back to some degree with a rotating series of celebrity faces and gentle recalibrations of the format. Gone are the so-bad-they’re-funny singers, and the parade of sob stories is shorter. “We listen to the viewers, and they tell us,” said executive producer and president of programming for Fremantle Entertainment Trish Kinane. “It’s a million small things that refresh the show without compromising the core format.”

And, of course, reality shows will never have to worry about casting fodder; as Kinane noted, “Kids turn 16 every day -- there’s a whole new group of contestants every day for ‘Idol.’ We had people this year who had auditioned in the past, whose kids were now auditioning.”

Long-lived shows may be fading into the past, subsumed by 13-episode (or fewer) series with shorter runs. But there is something secure and old-fashioned about a series that lasts the decades, providing comfort food and a jolt to the system all at once.

“It’s very hard these days for a show to run 15 years,” said “CSI’s” McGill. “But I still say if you have a great franchise, a great cast and great creative minds behind it, you can sustain a series over many years. It’s always lightning in a bottle.”

http://www.latimes.com/entertainment...616-story.html
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post #95050 of 98051 Old 06-18-2014, 04:25 AM
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Technology/Business Notes
As LED Industry Evolves, China Elbows Ahead
By Keith Bradsher, The New York Times - Jun. 17, 2014

GUANGZHOU, China — A year ago, China’s light-emitting diode industry seemed like a case study of industrial policy gone awry. Hundreds of factories built all over eastern China, often with lavish clean energy subsidies from state-owned banks and local governments, were operating at half capacity. The share prices of LED manufacturers were plunging.

Now demand is surging, and the Chinese manufacturers suddenly find their factories running at full tilt, churning out LEDs faster and cheaper than global rivals. With a price war underway, the Chinese are taking share from top players in the United States, Europe and Japan, the industry pioneers that made crucial technological breakthroughs, and from Taiwan and South Korea, previously the leaders in low-priced LEDs.

For some in the United States, the Chinese expansion has uncomfortable echoes of the solar panel and wind turbine industries, in which China went from a bit player to global leader through a combination of extensive government subsidies and low-interest loans from state-owned banks.

“LED lighting could see itself become the next solar, wind or other future opportunity that the U.S. will have given away by failing to address Chinese industrial policies and unfairly traded products,” said Michael R. Wessel, a member of the U.S.-China Economic and Security Review Commission, a government advisory panel.

Such industries have been at the center of increasing trade frictions between China and the United States. SolarWorld, a solar panel maker that complained to the American government about what it considered unfair advantages for Chinese competitors, was later the victim of a cyberattack by Chinese military officials, according to a recent indictment by the Justice Department.

Yet LEDs represent a far more complex story than simply another industry that Western companies created and then ceded to Chinese rivals — one reason the trade issues may not play out in the same way.

The industry, for instance, is highly segmented. Chinese manufacturers are strongest in the low-wattage LEDs used for television and cellphone backlights as well as for fairly dim lamps, equivalent to 40-watt incandescent bulbs. Western companies are retaining market share for brighter, higher-wattage equipment with bigger profits.

Many Chinese producers also have a poor and worsening reputation for quality, which may hurt them in the long term.

China’s rise reflects the industry’s changing dynamics.

In the last year, LEDs have finally begun to rapidly gain traction in the global lighting business. American, European and Chinese regulators have put in effect energy-efficiency rules that phase out the use of incandescent bulbs. Big multinationals that make light bulbs like Philips, Osram and General Electric have responded by embracing light-emitting diodes, which use one-fifth of the electricity of incandescent bulbs and half the electricity of fluorescent bulbs.

Environmentalists have applauded. Lighting accounts for about 6 percent of the world’s emissions of greenhouse gases, and LEDs have the potential to steeply reduce them.

For consumers, the shift has been good. Prices have fallen by nearly half in the last year for low-end, low-wattage LEDs made in China, and by 15 to 20 percent for the higher-wattage versions made elsewhere, buyers and manufacturing executives said.

With significant capacity, Chinese manufacturers could quickly increase production to meet the demand. Alice Tao, a lighting analyst at IHS Technology, a global consulting firm, estimated that very low prices had allowed Chinese companies to capture about 30 percent of the global market. That gives them the biggest share ahead of Japan, South Korea, Germany, Taiwan and the United States, which share the rest of the market in fairly even proportions.

But quality is a concern as China floods the market. Instead of lasting a decade like well-made LEDs, the low-priced LEDs occasionally burn out after less than a year, large buyers warn. More commonly, they start emitting strangely tinted light that may leave a room looking slightly pink, a little bit green or even what is known in the lighting industry as a “rainbow sherbet” palette of colors.

“What is going down is consistency — you just don’t know if you’re going to get the life span that they promise,” said Benjamin Carson, the owner of an Australian sign company that uses LEDs to make outdoor business signs.

Mr. Carson said that American-brand LEDs typically cost a third more than the Chinese LEDs that he buys. But he is considering a switch to American LEDs anyway because too many signs with Chinese LEDs ended up with burned-out or oddly colored sections after less than a year.

Other buyers are even more cautious. “We do not buy Chinese LEDs,” said Mike Pugh, the procurement director at Xicato in San Jose, Calif., a large provider of indoor lighting systems for retailers and hotels. “We just can’t take that chance.” Xicato instead buys LEDs from multinationals like Cree of Durham, N.C.; Philips Lumileds, based in San Jose, Calif.; and Osram Opto Semiconductors of Regensburg, Germany.

The Chinese industry, with heavy debts from an earlier spasm of investment, is still largely relying on factory equipment purchased from 2009 to 2011. But with sales growing fast, Chinese companies started ordering considerable new equipment from Western suppliers early this year, which could improve their reliability.

As with many fast-growing Chinese industries, there have also been environmental problems. Wang Wei, the sales director at Foshan GuoLi Optoelectronics Technology Company, said in a recent interview that the company has struggled to limit acid runoff into water supplies.

Despite such issues, the LED industry is part of China’s broader push into clean energy. Three-quarters of China’s electricity still comes from burning coal, which contributes to severe air pollution as well as global warming.

China’s clean energy efforts are a major source of job creation. The Chinese LED industry has created tens of thousands of well-paid jobs for young community college graduates like Lin Lian Xing, who works at the Guangzhou Hongli Opto-Electronic Company, a state-controlled business here that is trying to produce higher-quality LEDs.

Ms. Lin, a 26-year-old who wears a white lab coat, face mask and hood, works over a microscope in a specially ventilated clean room to check the quality of miniature dies that are used to punch out tiny LED components from sheets of plastic resin.

She earns $500 a month plus medical benefits and free food and lodging in an air-conditioned dormitory where employees sleep four to six in a room. “I like the recreation center here best,” she said, looking up from her microscope.

But hanging over the LED industry have been trade frictions in the solar panel industry, which uses many similar technologies. The United States and European Union have both accused the Chinese government of violating global trade rules by providing export subsidies for solar panels, which China denies.

In the years after the global financial crisis in 2008, the solar and LED industries in China received huge loans at low interest rates from state-owned banks following directives from Beijing to lend to green energy projects. “There are subsidies — it’s on the bank loans,” said Meng Zhaochun, the general manager of Shenzhen APR Corporation, a Shenzhen-based manufacturer of important LED components.

China is now following the Obama administration’s example by encouraging greater domestic demand for energy-efficient lighting and moving away from subsidies. If domestic demand rises, it is harder for foreign governments to challenge past subsidies as trade violations.

Many Chinese companies are struggling to make a profit. If state-owned banks stop financing the Chinese industry with low interest rates, consolidation may be inevitable.

“There are too many Chinese players in this market and the price competition is very fierce,” Ms. Tao said. “Most of them can’t make a profit and it’s difficult for them to survive.”

Even as Chinese manufacturers gain worldwide market share, their issues may only mount. The frenzied competition is still prompting many of them to cut corners, said Li Junfeng, a senior Chinese energy policy planner.

“The problem,” he said, “is too many manufacturers with very low quality.”

http://www.nytimes.com/2014/06/18/bu...=business&_r=0
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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
(R - Apr. 23)
8:30PM - The Goldbergs
(R - Nov. 12)
9PM - Modern Family
(R - Jan. 22)
9:31PM - The Goldbergs
(R - Oct. 8)
10PM - Motive
* * * *
11:35PM - Jimmy Kimmel Live! (Mike Tyson; Young Fathers perform)
12:37AM - Nightline

CBS:
8PM - Hawaii Five-0
(R - Feb. 28)
9PM - Criminal Minds
(R - Feb. 19)
10PM - CSI: Crime Scene Investigation
(R - Jan. 15)
* * * *
11:35PM - Late Show with David Letterman (Dana Carvey; Ellie Kemper; Sam Smith performs)
12:37AM - Late Show with Craig Ferguson (Noah Wyle; Abigail Spencer)

NBC:
8PM - Law & Order: Special Victims Unit
(R - Feb. 5)
9PM - Law & Order: Special Victims Unit
(R - Apr. 2)
10PM - Chicago PD
(R - Apr. 9)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Rosario Dawson; animal handler Jeff Musial; Fun performs)
12:36AM - Late Night with Seth Meyers (Mike Myers; producer Shep Gordon; comic Whitney Cummings; Tove Lo performs)
1:37AM - Last Call with Carson Daly (Tony Revolori, Ron Josol, Kodaline)
(R)

FOX:
8PM - So You Think You Can Dance (120 min.)

PBS:
(check your local listing for starting time/programming)
8PM - Nature: Great Zebra Exodus (R - May 15, 2013)
9iPM - NOVA: At the Edge of Space
(R - Nov. 20)
10PM - Hawking
(R - Jan. 29)

UNIVISION:
8PM - De Que Te Quiero, Te Quiero
9PM - Lo Que La Vida Me Robó
10PM - Qué Pobres Tan Ricos

THE CW:
8PM - Arrow
(R - Oct. 30)
9PM - The 100
(R - Mar. 19)

TELEMUNDO:
8PM - La Impostora
9PM - En Otra Piel
10PM - El Señor de los Cielos

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Kevin Hart)
11:31PM - The Colbert Report (Authors Katty Kay and Claire Shipman)
12:01AM - @ Midnight (Chris D'Elia; Will Sasso; Bryan Callen)

TBS:
11PM - Conan (Elijah Wood; Jason Mantzoukas; The Both performs)
Midnight - The Pete Holmes Show (Singer-songwriter Andrew W.K.; Scott Hutchison, lead singer of Frightened Rabbit)

E!:
11PM - Chelsea Lately (TBA)

SYNDICATION:
Check Local Listings - Arsenio (Taye Diggs; Terrence Howard; Morris Chestnut; Harold Perrineau)
(R)
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post #95052 of 98051 Old 06-18-2014, 10:18 AM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 18, 2014

2014 WORLD CUP
ESPN, 12:00 p.m. ET

Today’s live telecasts feature all four teams in Group B undergoing their second games in this year’s World Cup, along with the remaining two teams in Brazil’s Group A. All games are shown on ESPN, with setup features presented 30 minutes earlier. First up, at noon ET, is Australia vs. the Netherlands. The Netherlands stunned the much-favored defending world champion Spain in the first round by drubbing them 5-1, while Australia fell to Chile, 3-1. Next at 3:00 p.m. from Group B is Spain vs. Chile. Spain was so embarrassed in its loss to the Netherlands, it’ll be desperate for a win against Chile – so, another tough game. And finally, at 6 p.m. from Group A, it’s Cameroon vs. Croatia. Both teams lost their opening matches, so will be equally keen on securing a win, rather than a draw or loss, today. In other words, all three games today should be played at a fast pace, and with extreme emotion.

SOUS LES TOITS DE PARIS
TCM, 8:00 p.m. ET

Tonight, TCM salutes French filmmaking pioneer René Clair, so Bianculli’s Best Bets will do the same thing – especially since this is the first time I can remember Clair’s films being presented, as a mini-marathon, on prime-time TV on any channel whatsoever. Clair made the transition from silent to sound, with strange little comic films that were brazen and brave in both technique and concept. The evening begins on TCM with this 1930, film, which translates as Under the Roofs of Paris. It’s a tale of a romantic triangle, told mostly in song and without dialogue. Albert Préjean, Pola Illéry and Gaston Modot star.

À NOUS LA LIBERTÉ
TCM, 9:45 p.m. ET

This 1931 comedy about mechanization predates Charlie Chaplin’s Modern Times by five years, yet anticipates its humorous approach to the dehumanization of man via the assembly line. This time it’s a phonograph factory, which allows director René Clair to have a great deal of fun with pre-recorded music. Which he does. And which, if you tune in, so will you, as this is regarded as one of Clair’s classic achievements in film. Raymond Cordy stars.

LE MILLION
TCM, 11:15 p.m. ET

The 1931 René Clair French film Le Million translates, roughly, as The Million. (Always here to help.) It’s about a poor artist who wins a lottery for a million (Dutch florins, not dollars, but still…), and spends the rest of the movie trying to locate and retrieve the winning lottery ticket. What makes this movie such a landmark, cinematically, isn’t its plot, but Clair’s use of music and sound, at a time when The Jazz Singer broke the movie sound barrier only a few years before. René Lefèvre and Annabella co-star.

THE GRAND MANEUVER
TCM, 12:45 a.m. ET

This 1955 film is from much later in the career of director René Clair, and shows his eventual reliance upon, and comfort with, dialogue-heavy comedy. It’s about an officer who bets that he can seduce a young beauty in the local village before he’s sent away to training camp just before what would eventually become to be known as World War I. Gérard Philipe stars as the officer, and Michèle Morgan as the object of his wager – but look for another beauty, in a supporting role. She’s played by Brigitte Bardot, the year before she exploded as the star of ...And God Created Woman.


http://www.tvworthwatching.com/
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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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Nielsen Notes
NBC dominates Tuesday with ‘Talent’
Reality show posts a 2.6 among 18-49s, flat to last week
By Toni Fitzgerald, Media Life Magazine - Jun. 18, 2014

“America’s Got Talent” lifted NBC to a big victory on Tuesday night, as usual.

The talent show averaged a 2.6 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, flat to last week.

That was easily the top show of the night. In fact, NBC had the top two programs of the evening on broadcast, with “Talent” lead-out “The Night Shift” posting a 1.4, off 7 percent from last week but still easily the evening’s No. 2 program.

Elsewhere on broadcast, ABC’s “Extreme Weight Loss” averaged a 0.8 from 8 to 10 p.m., sliding 33 percent from last week. The episode was patched onto the schedule as a last-minute replacement for the NBA finals, which wrapped up on Sunday in five games. Game six would have aired on ABC last night.

CW’s “Famous in 12″ fell to a series-low 0.2 in the demo at 8 p.m.

NBC finished first for the night among 18-49s with a 2.2 average overnight rating and a 7 share. Univision was second at 1.1/4, CBS third at 0.9/3, ABC fourth at 0.8/3, Telemundo fifth at 0.7/2, Fox sixth at 0.5/2 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.

NBC was first during each hour, beginning with a 2.4 at 8 p.m. for “Talent,” with CBS and Univision tied for second at 0.9, CBS for a repeat of “NCIS” and Univision for “De Que Te Quiero, Te Quiero.” ABC was fourth with a 0.8 for “Weight.” Fox and Telemundo tied for fifth at 0.6, Fox for reruns of “Family Guy” and “Brooklyn Nine-Nine” and Telemundo for “La Impostora,” and CW was seventh with a 0.2 for “Famous.”

At 9 p.m. NBC led with a 2.8 for more “Talent,” followed by Univision with a 1.3 for “Lo Que La Vida Me Robo.” CBS was third with a 0.9 for a repeat of “NCIS: Los Angeles,” ABC fourth with a 0.8 for more “Weight,” Telemundo fifth with a 0.6 for “En Otra Piel,” Fox sixth with a 0.4 for “Brooklyn” and “The Mindy Project” reruns, and CW seventh with a 0.3 for a repeat of “Supernatural.”

NBC was first again at 10 p.m. with a 1.4 for “Shift,” while Univision and Telemundo tied for second at 1.0, Univision for “Que Pobres Tan Ricos” and Telemundo for “El Señor de los Cielos.” CBS was fourth with a 0.8 for a repeat of “Person of Interest” and ABC fifth with a 0.7 for a “Celebrity Wife Swap” rerun.

Among households, NBC was first for the night with a 5.8 average overnight rating and a 10 share. CBS was second at 4.3/7, ABC third at 1.9/3, Univision fourth at 1.4/3, Telemundo fifth at 0.9/2, Fox sixth at 0.9/1 and CW seventh at 0.5/1.

http://www.medialifemagazine.com/nbc...uesday-talent/

* * * *

TV Notes
Ahh, remember Melissa and Joey?
The '90s icons now star on 'Melissa & Joey' on ABC Family
By Louisa Ada Seltzer, Media Life Magazine - Jun. 18, 2014

Nostalgia marketing is a thing now.

It’s when ads seize upon your happy memories from childhood to try to sell you a product, such as trotting out the cast of “Full House” in a commercial for yogurt or reminding listeners of their senior year of high school with a song suggestion on Spotify.

And ABC Family’s “Melissa & Joey” has clearly benefitted from the same sort of nostalgia ploy.

The show, which airs its third-season finale tonight at 8 p.m., follows a successful politician (Melissa Joan Hart) who enlists a down-on-his-luck financial whiz (Joey Lawrence) to help her raise her niece and nephew.

The show harkens back to the 1980s and ‘90s in many ways.

The premise is similar to “Who’s the Boss,” the ‘90s show that also featured a will-they-or-won’t-they couple where the dark-haired guy was an in-house employee to the blonde-haired woman.

And Lawrence and Hart are both ‘90s icons who starred on “Blossom” and “Sabrina the Teenage Witch,” respectively.

There is, though, one thing about the show that’s very modern, and that’s how people watch it. “Melissa” is one of the most TiVo’d programs on cable.

For the week of May 26, the most recent week available, the ABC Family comedy was the 10th-most-TiVo’d cable show, with a 79.7 percent boost from its live rating, more than any broadcast show except for the CW’s “The 100.”

That shows that nostalgia really is a valuable thing: People are actually seeking out “Melissa” after it originally airs and making sure they watch it, rather than just catching it if they happen to stumble on ABC Family while flipping channels.

http://www.medialifemagazine.com/ahh...-melissa-joey/
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Legal/Business Notes
Redskins Trademark Canceled, Called Derogatory
By Eriq Gardner, TV Hollywood Reporter's 'Hollywood Esq.' Blog - Jun. 18, 2014

On Wednesday, the United States Patent and Trademark Office weighed in on a controversy that has been simmering for decades, but has heated up in the past couple of years. In a 177-page opinion, the Trademark Trial and Appeal Board ruled that the "Redskins" mark enjoyed by the professional football team in the nation's capital must be canceled because it disparages Native Americans.

In coming to the decision, the USPTO reviewed the testimony of Native Americans, newspaper articles, reports, official records and letters. The agency noted that the Washington Redskins alleged honorable intent and manner of use of the term wouldn't contribute to its determination of whether "Redskins" is disparaging. Here's the full ruling.

This isn't the first time the USPTO has addressed the "Redskins" issue. In the 1990s, a challenge was made to the football team's nickname, and in 1999, Native American groups found luck in convincing the board of its disparagement. But the decision was later overturned by a federal court on the grounds that opposers had waited too long to object to the 1967 trademark. An appeals court then reversed that decision—holding that the wrong standard for laches was applied—but didn't address the merits of whether "Redskins" was disparaging or not.

Afterwards, a newer set of Native Americans came forward and today, have prevailed.

Washington Redskins owner Dan Snyder has been adamant that there won't be any team name change, despite growing pressure from advocacy groups, media pundits and even President Barack Obama. Snyder will likely pursue an appeal of the USPTO's decision and seek a stay of enforcement.

The ramification of the decision, if it holds up, means that the team will have a tougher time stopping others from using the name and logo. However, the team could fall back on other common law rights, and in its opinion, the USPTO acknowledges that it lacks statutory authority on the subject of use of trademarks. Barring a team name change, the team's controversial use of "Redskins" will be a subject of legal dispute for many years to come.

http://www.hollywoodreporter.com/thr...ogatory-712771
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Quote:
Originally Posted by grittree View Post
It's unfortunate, but journalism is sinking to new lows. No good reporter, nor any qualified editor, should have let this article go to print without getting somebody to stick a 'kill-a-watt' on a cable box and see how much power it actually drew.
Someone (maybe) read it on the internet so it must be true.
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Legal/Business Notes
Redskins Trademark Canceled, Called Derogatory
By Eriq Gardner, TV Hollywood Reporter's 'Hollywood Esq.' Blog - Jun. 18, 2014

The ramification of the decision, if it holds up, means that the team will have a tougher time stopping others from using the name and logo.

http://www.hollywoodreporter.com/thr...ogatory-712771
After this, who is going to use the name? And companies are anxious to run out and use the logo? Seriously? I support Dan Snyder, which I seldom do, and the Redskins position, and so do the majority of Native Americans.
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post #95058 of 98051 Old 06-19-2014, 02:07 AM
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Technology Notes
First Look: Will Amazon phone catch Fire?
By Edward C. Baig, USA Today - Jun. 18, 2014

SEATTLE — Given the cutthroat competition and Amazon's status as a smartphone latecomer, CEO Jeff Bezos almost had to announce something different with the Fire phone unveiled Wednesday.

Sure, we'd all be paying attention, anyway — Amazon is one of those companies, after all. But as a newbie to the market, Amazon's approach to hardware had to make something of a statement. And so did the way in which Amazon would deliver and price the phone.

Amazon made a statement, all right, but whether consumers buy in remains to be seen. "The customers get to decide how big does it get, and I like it that way," Bezos told USA TODAY in an interview.

Bezos indeed introduced a phone with what appears to be some very cool new features. Start with Firefly, a way to instantly recognize "more than 100 million items" — books, CDs, phone numbers, Web addresses, music, artwork, even the precise scenes within a TV show or movie that it detects. You can summon the feature through a dedicated button on the side.

It's a potentially seductive way to get you to buy more stuff through Amazon. And sure, says Bezos, Firefly can help people use the phone to take care of shopping chores, but that's "not what Firefly is about."

"Think about it as way to illuminate the world around you," he says.

Among its features: Firefly can instantly use the song it recognizes to seed a custom radio station in iHeart Radio. Amazon is making a Firefly developer kit available to software developers. The Vicino wine service, for example, can let you instantly scan a wine label to identify wines.

As had been long rumored, Bezos also showed off an eye-tracking 3-D technology that Amazon calls Dynamic Perspective, made possible by knowing where the user's head is at all times. The phone includes four corner cameras, each with built-in infrared technology.

Earlier efforts to sell 3-D to phones have gone nowhere — just ask LG and HTC how many 3-D phones they were able to sell. And 3-D TVs have been a bust, too.

"None of those (3-D phone) products ever knew where your head was," Bezos says. "If you look at one of the 3-D phones from a few years ago, no matter how you moved the phone (or) your head, you're never seeing more. You're not in control of that experience. With Dynamic Perspective, you're the one moving the phone and as you move the phone, you're changing what you are seeing."

Amazon's approach to 3-D comes across as less gimmicky, though we'll have to see how it works in practice. Dynamic Perspective lets you tilt to change, well, the perspective, of what you see. It's applicable to games. You can tilt the screen to auto-scroll (at varying speeds depending on the angle of the tilt) through a news article or a Kindle book. The technology also applies to how you view the lock-screen. One question to be determined once I've had a chance to review the phone: any impact on battery life.

Among the features worth cheering is unlimited cloud storage for your photos.

And Amazon smartly includes the free live Mayday 24-by-7 tech support service on the phone that made its debut on the Kindle Fire HDX last fall.

"I think you need help with phones more often than just tablets," Bezos says, whether you're dealing with roaming issues or setting up Bluetooth in your car. Amazon is handling Mayday staffing but can put you in touch with AT&T on a live Mayday call if the issue that you're trying to resolve (billing, network, etc.) is carrier-specific.

AT&T will be the exclusive wireless provider on the phone. That's good for the carrier but not so good for consumers who want a choice. Bezos wouldn't disclose how long Amazon's exclusive arrangement with AT&T will last, but if the phone catches on, I would imagine Amazon will welcome other wireless partners. "If you live in a region or geography where you don't have good coverage except on a particular carrier, then maybe right now, it's not the right product for you," Bezos concedes.

The phone arrives July 25, though you can start pre-ordering it now. It will cost $199 with a 2-year contract, and comes with 12 months of free Amazon Prime service (normally $99), and 32 gigabytes of storage. If you're streaming Prime movies or music, and you're not on Wi-Fi, it will count against your AT&T data bucket, despite some pre-launch speculation to the contrary.

I, for one, thought Amazon might deliver a less expensive phone. But Bezos says you're paying for a "premium product, " a device with those extra corner cameras, a lovely 4.7-inch display and stereo speakers.

http://www.usatoday.com/story/tech/c...ions/10735669/
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TV Notes
How Movies And TV Shows Are Changing The Way You Think About Love
By Taryn Hillin, HuffingtonPost.com - Jun. 18, 2014

The movies and TV shows watched by millions aren't just entertaining; a new study says they're affecting how people view romance and changing how they behave in relationships.

Researchers from The University of Michigan studied 625 college students (392 of whom were female) to determine if movies and TV shows were influencing their love lives.

Participants were given a list of 93 romantic films, such as "500 Days of Summer," "Crazy Stupid Love," and "In Time" and asked how many they had seen.

Next, they were given a list of 17 sitcoms including "How I Met Your Mother" and "Big Bang Theory" and were asked how many they watch and how often. Lastly, they were asked if and how often they watch marriage-themed reality shows like "The Bachelor" and "Millionaire Matchmaker."

Researchers then analyzed the students' ideas about love and also gauged whether or not participants believed that TV portrayed real life or saw it as total fantasy.

At the end of the study, three conclusions emerged:

-- More exposure to romantic movies led to a greater tendency to believe "love finds a way" and can overcome all obstacles.

-- More exposure to marriage-themed reality shows led participants to believe in "love at first sight" and that true love will be nearly perfect (what researchers call "idealization").

-- On the other hand, watching TV sitcoms led to a negative view of romance and very little endorsement for concepts like "love finds a way," "love at first sight," "idealization" and the "one and only".

Thus, the researchers suggest that the behaviors shown in each entertainment genre are actually being imprinted into our views of romance. For example, watching lavish dates on "The Bachelor" leads viewers to idealize love, while watching a couple bicker on a sitcom leads to a more negative impression of marriage.

So what does this mean for your own love life?

"Previous research suggests that beliefs about relationships can have implications for relationship satisfaction and longevity," study author Julia Lippman wrote in an email to The Huffington Post.

Indeed, past studies have illustrated that people who can be classified as romantic appear to have more successful romantic relationships: they report high levels of love for a current partner, higher levels of relationship satisfaction, greater commitment, and a decreased tendency to engage in extramarital sex.

However, as Lippman points out, while certain romantic ideals can lead to stronger relationships, they can have negative consequences as well.

"Seeing your partner through rose-colored glasses is associated with higher levels of relationship satisfaction, but it is easy to see how seeing a partner who is bad news through rose-colored glasses (say, someone who is abusive) could have negative implications," such as staying in a bad relationship for too long. More research is needed to explore that topic further.

The findings were recently published in the journal Psychology of Popular Media Culture.

http://www.huffingtonpost.com/2014/0...ent+Inbound%29
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post #95060 of 98051 Old 06-19-2014, 02:17 AM
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TV/Business Notes
Wily Indies Succeed on Digital Channels Where Majors Struggle
By Cynthia Littleton, Variety.com - Jun. 18, 2014

It’s the TV equivalent of undeveloped beachfront property, but so far only a handful of ritzy hotels have sprung up.

The recent decision by the ABC owned stations group to pull the plug on its Live Well Network in January shows how little progress has been made by the industry’s largest station groups on developing digital multicast channels.

With the transition to all-digital broadcasting, full-power stations can beam out as many as four digital channels in addition to the mothership signal.

Despite the wealth of programming resources at the major media congloms, the most successful digital multicast efforts to date have come from independent outfits. The Big Four O&O groups have experimented, in varying degrees, with different options but nothing has taken off in a big way.

The business model for digital multicast is in flux but it’s clear there’s a syndication-esque market for 24/7 program slates packaged into niche advertising-supported channels that are offered to other stations on a market-by-market basis.

CBS has yet to go public with a multicast plan. NBC has tried several efforts, most recently a channel dubbed Cozi TV devoted to vintage TV shows and movies. Fox last year partnered with Chicago-based Weigel Broadcasting to launch the Movies! service, a channel tailored for classic film buffs.

ABC was able to get the distribution of the Live Well lifestyle channel up to 64% of U.S. TV households. Most of Live Well’s programs were produced inhouse at ABC’s eight O&Os, which meant they could keep Live Well’s operating costs low.

Industry insiders figure that the major groups are so preoccupied with the pace of change at the local and national level that they don’t have the time to innovate in the multicast sandbox. In other words, it’s hard enough to program the primary channel, let alone worry about drawing a crowd to three or four startup outlets. And the moneymaking potential of multicast channels is still limited by a number of factors, which also doesn’t provide a lot of incentive for larger companies to invest in the space.

That has opened the door to entrepreneurs like the founders of Bounce TV, which targets African-American viewers in the 25-54 age range. Bounce has grown over the past three years to reach 72% of U.S. TV households (and 89% of African-American homes).

Weigel Broadcasting’s vintage channel MeTV has been one of the most prominent digital success stories. The service is lovingly programmed for TV buffs with indelible shows that don’t require much marketing to draw a reliable breed of couch potato: “I Love Lucy,” “MASH,” “Cheers,” “Gilligan’s Island” et al. MeTV, which went national in 2010, reaches 91% of TV households across 161 affiliate partners.

Weigel keeps seven minutes of advertising time per hour, while affils get five minutes. MeTV is broadly carried on local cable systems, but it doesn’t receive direct carriage fees, which means profits are dependent on ad sales. Fortunately, ratings have been growing.

Weigel’s success with MeTV convinced Fox to give the company the keys to its film vault to launch “Movies!” which also licenses titles from Paramount and Sony Pictures. (In 2008, Weigel launched a movie channel, This TV, with MGM which has since been taken over by Tribune Broadcasting.)

The track record of digital multicast outlets to date proves that these channels need care and feeding just like any other outlet. Weigel invested “tens of millions of dollars” in licensing just the right mix of oldies but goodies, says vice chairman Neal Sabin.

“MeTV has compelling brands. We have (the TV equivalents of) Coke, McDonald’s, Apple,” he says. “We knew we weren’t ever going to succeed unless we had a significant number of the best programs ever produced for TV.”

http://www.huffingtonpost.com/2014/0...ent+Inbound%29
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Nielsen Notes (Cable)
Hillary Clinton Fares Better On Fox News Channel Than On CNN, Ratings-Wise
By Lisa De Moraes, Deadline.com - Jun. 18, 2014

Four times as many people watched presumed 2016 Democratic presidential candidate Hillary Clinton appear on Fox News Channel yesterday as watched her on CNN at 5 PM. About 2 million people watched the former Secretary of State tangle with FNC’s Greta Van Susteren and Bret Baier from 6:45-7:15 PM – 313,000 of them in the news demo.

Meanwhile, about 521,000 people watched Christiane Amanpour and audience members question Clinton during a CNN town-hall confab at 5 PM — 115,000 in the news demo. FNC’s The Five clocked a bigger audience in the 5 PM timeslot: 1.88 million, and 336,000 demo viewers.

CNN actually did better with its repeat of the Clinton town hall at 9 p.m., when 593,000 tuned in — 146,000 in the demo — which was the network’s biggest naul of the night (though it came in behind FNC’s The Kelly File (2.126 million, 337,000 demo viewers) and MSNBC’s Rachel Maddow Show (918,000 viewers, 167,000 demo viewers).

http://www.deadline.com/2014/06/hill...-ratings-wise/
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Critic's Notes
Vulture TV Awards: The Year’s Best Child Actor Is Game of Thrones’ Maisie Williams
By Allison Jones, Vulture.com (New York Magazine) - Jun. 17, 2014

All this week, we’re presenting our Vulture TV Awards, honoring the best in television from the past year. Vulture contributor Julie Klausner kicked things off with an epic opening monologue, and now we’re dishing out the virtual hardware. Vulture writers have already honored Amy Schumer, H. Jon Benjamin, and The Fosters. Best Child Actor is up next, and we took this one to our first industry expert: casting director Allison Jones, whose impressive resume includes Freaks and Geeks, Arrested Development, and Parks and Recreation. Via a short phone interview with Vulture writer Jennifer Vineyard, Jones explains what sets Maisie Williams apart from her peers.

Winner: Maisie Williams (Game of Thrones)
There are three outstanding kids on Game of Thrones, and I would have to say Maisie Williams is the most amazing. So are Sophie Turner (Sansa Stark) and Art Parkinson (Rickon Stark), but Art hasn’t been on this season, and Sophie might not even be considered a child anymore at 18. But Maisie Williams, I have to say ... Maisie Williams is really good. It sounds trite, but I think she’s viciously talented. She’s very natural and very watchable. Her character is vicious and could be considered very aggressive, and there aren’t many young actresses who could play that role, Arya Stark. I don’t know if that was her first role or not, I have no idea [Editor’s note: Arya is indeed Williams' first role.], but she has so much integrity and so much dignity as that character. She’s not bratty at all — and sadly, too many child performances could be considered bratty, or too precocious. But she’s not precocious, she's just good. [During auditions,] she probably had a gravitas about her, and an intelligence that had to be with that character. She must have been only about 9 when she started [Editor’s note: Williams was 13 when filming on Game of Thrones began.], but she had a real royal quality about her when the show began, so I’m sure they were jumping up and down when she came in the room. I can’t imagine she was anything else but mind-blowing when she came in, because day one, from the first line that came out of her mouth, she was so strong. Oh God, she’s impressive.

Honorable mentions:

Hadley Delany and Ursula Parker (Louie)

I also think the two girls from Louie are outstanding, especially the younger one. That doesn’t take anything away from the older girl, but Ursula Parker is only 10 or something. They’re just incredibly natural, and even though that’s the style of that show, kids can really screw that tone up. But those kids are unbelievably natural, and sympathetic, and able to be real. Very, very real. He kids around with them, and their reactions are so real. Like, they adore him, and they're wise beyond their years a little bit. Together, they're such real kids. They're not scene-stealer kids — they’re just very present and very natural.

Troy Gentile (The Goldbergs)
It’s just very tough to find natural kids. I work in L.A. mostly, and in L.A., they’re coached and they’re commercial, they’re used to going out for a lot of commercials and stuff. There are still some very good kids when it comes to movies, but they tend to get overcoached by parents here. I remember for Freaks and Geeks, we [did not find] that many of the kids in L.A. They were from out of town. That helped immensely. And that acting style — to be real, to be natural — it’s so tough! To look like you’re not acting? It’s tough for adults and kids. And I have to say, kids are all directable, but if they come in and they’re just natural, it’s amazing, actually. Yet it’s also very tough to be a kid like Troy Gentile on The Goldbergs, who is an unbelievably funny kid. [Editor's note: The boyish Gentile is, in fact, a stealthy 20 years of age. Color us surprised.] He has the instincts of an old comic. And he’s also amazing because he’s not precious [or] bratty. He has such good comedy instincts. He’s genuinely funny. Many kids are fake funny. Troy makes me laugh out loud, and not many kids do that.

Please note: To appease the many insatiable Kiernan Shipka fans who have descended upon the comments section, we present to you a quote from Allison Jones about the impressive 14-year-old Mad Men actress that we culled from the original interview due to editorial reasons:

Jones: Kiernan Shipka is also very good and very natural. You have to give the material some credit, because the show is so good, but she has an intelligence about her.


http://www.vulture.com/2014/06/vultu...-williams.html

* * * *

TV Notes
Vulture TV Awards: The Year’s Best Couple Is The Americans’ Philip and Elizabeth
By Jenni Konner, Vulture.com (New York Magazine) - Jun. 17, 2014

Closing out day one of our four-day awards-a-thon, here’s Girls co-showrunner Jenni Konner to give her enthusiastic endorsement of The Americans’ Philip and Elizabeth Jennings as the best TV couple of the year.

Winner: The Americans’ Philip and Elizabeth Jennings
If you can put aside the betrayal, murdering, and spying, Elizabeth and Philip just might be the healthiest couple on television. Here’s what they have going for them.

1. Open communication
Though they spend their days lying to literally every single person around them, they keep it real with each other. It’s a job requirement. Elizabeth tried to keep a secret from Philip once. It did not go well. It actually led to the brutal torture of Philip as Elizabeth listened in a nearby room menacingly papered with pictures of their children. But they did what any good couple does when they encounter an obstacle: They talked it through and picked things up the next day, a little wiser and a little more in touch with each other’s needs.

2. Shared interests
In the case of the Jennings family, there are really only two interests that matter: their love of Mother Russia and their commitment to bringing the omnivorous capitalist beast known as the American empire to its knees. And they’ll do whatever it takes. Together. A great example of the power of a shared hobby.

3. Common parenting goals
When Paige came home with a Bible and a newfound interest in religion, Elizabeth and Philip reacted as if their daughter had fallen under the spell of opium, rather than simply the opiate of the masses. Sure, their modes of discipline were different: Elizabeth urged Paige to do some chores while Philip destroyed her Bible in a vengeful rage. But the message was clear and united: our house, our rules.

4. Sexual growth
Experts say a couple must be able to grow together sexually as well as emotionally. After two kids and years of marriage, these two are still all over each other in innumerable positions (and one famously numerable one) in every room of their suburban home. But unless they want Paige to join a nunnery, they really need to invest in a bedroom lock.

This couple has overcome countless infidelities (plus a second marriage, in one case), dozens of bad wigs, the apparent scarcity of reliable babysitters in early-’80s D.C., and a whole bunch of murders. Maybe they have something to teach us all.

http://www.vulture.com/2014/06/vultu...elizabeth.html
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TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - Black Box
9PM - Rookie Blue (Season Premiere, 120 min.)
* * * *
11:35AM - Jimmy Kimmel Live! (NBA champion Tony Parker; Eric Bana; Linkin Park performs)
12:07AM - Nightline

CBS:
8PM - The Big Bang Theory
(R - Jan. 9)
8:31PM - Mom
(R - Nov. 18)
9:01PM - Two And a Half Men
(R - Mar. 6)
9:31PM - The Millers
(R - Mar. 6)
10:01PM - Elementary
(R - Feb. 6)
* * * *
11:35PM - Late Show with David Letterman (Paul Rudd; comic Jeff Altman; John Doe performs)
12:37AM - Late Late Show with Craig Ferguson (Carson Kressley; Shantel VanSanten)

NBC:
8PM - Hollywood Game Night
9PM - Undateable
9:30PM - Undateable
10PM - Last Comic Standing
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (George Lopez; Pitbull performs)
12:36AM - Late Night with Seth Myers (Al Roker; Jenny Slate; screenwriter Paul Haggis)
1:37AM - Last Call with Carson Daly (Icona Pop, Risk, "The Missing Picture")
(R)

FOX:
8PM - Hell's Kitchen
9PM - Gang Related

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour (R - Nov. 14)
9PM - Masterpiece Mystery! Endeavour, Series 1: Rocket (90 min.)
(R - Jul. 21)
10:30PM - Antiques Roadshow: Vintage Providence
(R - Jun. 16)

UNIVISION:
8PM - De Que Te Quiero, Te Quiero
9PM - Lo Que la Vida Me Robó
10PM - Qué Pobres Tan Ricos

THE CW:
8PM - The Fourth Annual Critics' Choice Television Awards (120 min., LIVE)

TELEMUNDO:
8PM - La Impostora
9PM - En Otra Piel
10PM - El Señor de los Cielos

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Hamid Al-Bayati)
11:31PM - The Colbert Report (Former White House press secretary Jay Carney)
12:01AM - @ Midnight (David Wain; Michael Showalter; Michaela Watkins)

TBS:
11PM - Conan (Kevin Hart; Rhona Mitra; Atmosphere performs)
Midnight - The Pete Holmes Show (Kumail Nanjiani)
(R)

E!:
11PM - Chelsea Lately (Megan Good)

SYNDICATION:
Check Local Listings - Arsenio (Mike Tyson; Niecy Nash; Cedric The Entertainer)
(R)
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TV Review
Hark the herald! There are angels in 'Dominion' on Syfy
By Rob Owen, Pittsburgh Post-Gazette

While the premise and plot of Syfy’s “Dominion” (9 p.m. Thursday) are laughable, the 90-minute pilot entertains in a B-movie sort of way.

Granted, this series, based on the 2010 movie “Legion,” is fairly predictable and cribs from other pop culture outlets -- there’s a hint of “Hunger Games” in one arena battle scene – but the show’s cast of acting veterans manage to sell the silliness, except perhaps when the angel characters have giant wings that erupt from their backs.

An on-screen scroll tells viewers “Dominion” is set 25 years after extinction (25 AE) when “God disappeared,” a nicer way of saying God got annoyed with humankind and sent his angels to bring about an apocalypse, the premise of “Legion.”

The TV show pins the fall not on God but on the archangel Gabriel (Carl Beukes, “Wild at Heart”), who started the fight. Archangel Michael (Tom Wisdom, “300”) sides with humankind and helps beat back Gabriel’s advances to a sort of stalemate, which is where the TV show begins.

Humans are living in fortified cities, including Vega, which is abandoned Las Vegas. Soldiers have taken over the New York New York casino as their base of operations while Michael swans around the top of the Stratosphere tower where he also appears to host orgies (like ya do).

The TV show picks up the film’s thread about a “chosen one” who will lead humankind out of darkness and war. By the end of the pilot, the show has anointed the chosen one though observant viewers will pick up on it much sooner, possibly even in the first scene when soldier Alex Lannon (Christopher Egan, “Kings,” “Eragon”) does battle with some demony-looking, black-eyed angels who turn out to be “eight-balls,” the lowest form of angels who possess human hosts, driving out their souls.

Lannon is in love with Claire Riesen (Roxanne McKee), daughter of practical-minded General Riesen (Alan Dale of “Ugly Betty,” “Lost” and tons of other shows, not playing the baddie for once).

Claire is part of some sort of religious order and finds herself ceremonially engaged to William Whele (Luke Allen-Gale), the son of Senator David Whele (Anthony Stewart Head, “Buffy the Vampire Slayer”), who seems to rule Vega with an iron fist. The senator is prone to bad choices, which include bringing an eight-ball into the city for display purposes, leading to a riot and deaths. Oops!

Writer Vaun Wilmott (“Sons of Anarchy”) wisely creates an entirely new backdrop for the TV show, building out the Vega society that’s developed in the 25 years since the events in “Legion.” This layering is necessary so the TV series has something to explore beyond winged angels fighting. The pilot doesn’t go into much depth on the Vega culture but it’s clear that there’s plenty to explore, including religion, politics and a caste system.

“Dominion” will never be confused with sophisticated TV but in its pilot episode, the only episode made available for review, it’s surprisingly more entertaining and a better yarn than plenty of other Syfy efforts.

http://communityvoices.post-gazette....minion-on-syfy
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TV Review
'Rectify' riveting as ever in Season 2
By Chuck Barney, San Jose Mercury News - Jun. 17, 2014

The age-old complaint that "there's nothing good on TV" is tired and played out. The truth right now is there's so much quality television that some shows tend to get lost in the flood -- especially if you don't know where to look for them.

Case in point: "Rectify." It's a spare and somber drama that doesn't call a lot of attention to itself. And it airs on Sundance -- a cable network your remote might need a GPS to find.

"Rectify" debuted last year with six episodes that were extraordinary enough to earn a place on a number of critics' Top 10 lists. The drama about a former death-row inmate is back for a 10-episode second season, and it still has a fascinating story to tell.

That story is pegged to Daniel Holden (Aden Young), a man who spent nearly 20 years in prison after being convicted of raping and murdering his high-school girlfriend. At the start of Season 1, his sentence was vacated, thanks to the relentless efforts of his devoted sister Amantha (Abigail Spencer) and some new DNA evidence.

But freedom, Daniel learned, comes with its own kind of pain. After being stuck in a small cement box for all those years, he struggled mightily to adjust to a world that he no longer understood.

Season 1 spanned the initial six days of Daniel's post-prison life, a period during which he tried to find his place in a reconfigured family, with adult siblings he was meeting for the first time. Plus, he encountered all kinds of crazy new technologies. For Daniel, a sensitive, sad-eyed introvert, it was a case of sensory overload to the max.

"I think I may be too broken," he said, assessing his chances of achieving a successful fresh start.

Complicating matters are the bitter residents of Daniel's small Georgia community -- including his stepbrother, Ted (Clayne Crawford) -- who still think he might be guilty. In the Season 1 finale, that hostility reached the breaking point when a group of vigilantes beats Daniel to a bloody pulp, leaving him in a medically induced coma.

"Rectify" is the rare TV drama that favors understatement and an unhurried pace. (It's the anti-"Scandal".) As with the preceding episodes, Season 2 unfolds in novelistic leisure, with Daniel still confined to a hospital bed. But thanks to some artfully rendered dream sequences and flashbacks to his prison experiences, we're not deprived of Young's fine work.

The Australian actor is again in Emmy-caliber form, delivering a gripping character study of a man who isn't comfortable in his own skin. Stoic to the core, Young still manages to give us a feel for Daniel's psychological texture, while revealing the horror his life has become.

All moody and haunting, "Rectify" spends much of its time dwelling in Daniel's head. But plot lines are developing. The police are busy trying to track down his assailants, though some would rather look the other way, and the local senator (Michael O'Neill) remains determined to reopen the case against Daniel. Meanwhile, Ted's marriage may be unraveling because he's convinced that his kindhearted, God-fearing wife, Tawney (Adelaide Clemens), has feelings for the former prisoner.

Clearly, Daniel's newfound freedom continues to have a ripple effect on the people around him.

'RECTIFY'
Rating: ★★★½ (out of four)
When: 9 p.m. Thursday
Where: Sundance TV


* * * *

MOVING PICTURES: The still-vibrant documentary series "POV" opens its 27th season on PBS (10 p.m. Monday, KQED) with "When I Walk," an inspiring tribute to the powers of creativity and courage.

The film tells the story of Jason DaSilva, who was a rising independent filmmaker when he was diagnosed with multiple sclerosis at age 25. Naturally, DaSilva decided to make a film about his experiences.

"When I Walk," an official selection of the 2013 Sundance Film Festival, follows DaSilva's ups and downs over a five-year period, during which his disabilities greatly intensify. But his spirits -- and the film -- get a boost from his mother's tough love and a new romantic interest in Alice Cook, a woman he meets in a support group.

Cook, a Stanford graduate whose mother has MS, married DaSilva and helped him complete the film. "When I Walk" is the first production for which she earned writing, editing and producing credits.

http://www.mercurynews.com/entertain...-ever-season-2

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TV Review
‘The Pool Master,’ grab your waders
The host of this new Animal Planet reality show is a talker for sure
By Tom Conroy, Media Life Magazine - Jun. 18, 2014

“You could call it charm. Some people call it bulls—.”

The speaker is Anthony Archer-Wills, the star of Animal Planet’s new reality series “The Pool Master,” describing the way he handles the clients for whom he designs and builds natural looking swimming pools. But it’s also a fairly good description of how viewers could react to the show and its genre.

Like most shows of this type, in which a purportedly colorful crew of specialists collaborate on extraordinary custom creations — be they cakes, ice sculptures, tree houses or fish tanks — “The Pool Master” stretches its coverage of the process long past the point of diminishing returns.

Some viewers might find the little jokes, digressions and arguments that pad out the episode to be charming, but most will likely get out of the pool before the hour is over.

In the premiere episode, airing this Friday, June 20, at 9 p.m., Anthony and his team — Ed the excavator and Dave the site manager — travel to Kentucky to install a swimming pool near a cliff-side cabin. One would think that site would involve some interesting complications, but it doesn’t.

For example, after Anthony lays out where he plans to dig, the owner warns him that they might hit rock before they can get down to the requisite 10 feet. It turns out that the dirt is sufficiently deep.

Anthony specializes in using boulders to give his pools a natural look. When he and his team find a flat rock to serve as a diving platform, Ed has to drag it out using a rope and heavy equipment. To provide needless suspense, Anthony and Dave stand too close by, just in case the rope snaps.

When the owners, a young couple who run a cabin-renting company, come to see the work in progress, they say they wanted something “awe-inspiring adventurous.”

Anthony decides that they would like a zip line over the pool. He says he has to give zip-lining a try so that he can understand it better. Wouldn’t you know it? He’s afraid of heights!

In another strained storyline, Anthony saves a blueberry plant that Ed nearly ran over. Ed says to Anthony, “You’re painting me as a tree hater.”

Usually on this type of show, the team finds itself struggling to make a deadline, which is often arbitrary. Anthony says something about being worried that the pool won’t be ready in time for tourist season, but the show basically lets that source of tension slide.

Although the technical details are sketchy, moments in the excavating of the hole and the stacking of the rocks are interesting. Anthony claims that filtering the water takes away the need for chemicals, but the sight of children and a dog enjoying the finished product makes a little chlorine sound like a good idea.

All those picturesquely jagged rocks look a little dangerous for kids. Let’s hope the pool rules include the customary bans on horseplay and roughhousing.

Whether it’s charm or BS, Anthony is good company. His precise but hesitant British diction makes everything he says seem more worthy of attention than it actually is. Ed is exaggerating, however, when he says, “You can’t help but love the guy.”

Even in the summer, TV gives us plenty of decent viewing options of various depths. “The Pool Master” is strictly for viewers who want to paddle around in the shallow end.

http://www.medialifemagazine.com/poo...r-grab-waders/
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TV Notes
ABC Renews ‘Extreme Weight Loss’ for a Fifth Season
By Tim Kenneally, TheWrap.com - Jun. 18, 2014

Get ready to watch another batch of big losers on ABC.

The network has ordered a fifth season of its reality offering “Extreme Weight Loss,” placing an order for 13 new two-hour episodes, the network said Wednesday.

The upcoming season will include three special editions to be dubbed “Extreme Weight Loss Love Can't Weight,” in which personal trainers Chris and Heidi Powell help three couples whip themselves into shape for each of their weddings.

Season 4 of the series, which focuses on the year-long journeys of super-obese” people as they attempt to bring themselves down to a healthier weight, currently airs Tuesdays at 8 p.m. The series’ fourth season ranks second in the 18-49 demographic in its time slot, behind NBC's “America's Got Talent.”

http://www.thewrap.com/abc-renews-ex...-fifth-season/
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Nielsen Overnights (Cable)
Lower return for ‘Rizzoli’
By Media Life Magazine - Jun. 18, 2014

“Rizzoli and Isles” packed a little less firepower in its fifth-season debut.

The TNT drama averaged 5.81 million total viewers Tuesday at 9 p.m., according to Nielsen overnights, falling 12 percent from last season.

It took a much bigger hit among adults 18-49, where it posted a 1.0 rating, down 29 percent from a 1.4 last summer.

“Rizzoli” was still the No. 1 program on cable in total viewers, finishing ahead of two World Cup games on ESPN.

http://www.medialifemagazine.com/cab...eturn-rizzoli/
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Technology Notes
First Look: Will Amazon phone catch Fire?
By Edward C. Baig, USA Today - Jun. 18, 2014

.........................
http://www.usatoday.com/story/tech/c...ions/10735669/
IF the Amazon Fire phone had come out three years ago, in 2011, then it would have been a good phone. But in 2014, with a 4.7 inch screen and only 720P? I know that would be going backwards for me. I would never even consider using a phone like that now. It would be like me going back several years and getting the first Kindle Fire with it's lower specs. It was fine when it came out, but in 2014 it wouldn't cut it.

40TB unRAID1--53TB unRAID2--36TB unRAID3
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post #95070 of 98051 Old 06-19-2014, 10:22 AM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 19, 2014

2014 WORLD CUP
ESPN, 12:00 p.m. ET

Of the three games to be played today, all televised by ESPN and prefaced by 30-minute pre-game shows, the most pivotal is the one beginning at 3 p.m. ET, when England faces Uruguay. Both of these Group D teams dropped their initial games, and only the winner of this game has a realistic chance to advance past the group stage. Also played today, at 6 p.m. ET, is another game with similar stakes, this time from Group C: Japan vs. Greece, who lost their first games as well. But starting the day, at noon ET, is a contest pitting the two in Group C that won their first time out: Colombia and the Ivory Coast.

THE SIXTIES: "THE WAR IN VIETNAM"
CNN, 9:00 p.m. ET

Part 4. Ken Burns is working on a Vietnam documentary slated for a few TV seasons from now, and the PBS Vietnam: A Television History series did an excellent job on the same topic way, way back in 1983. But in between the past and the future of TV Vietnam documentaries, CNN’s The Sixties gives us this present: a new installment called The War in Vietnam, which looks at how America, and Americans, responded to being increasingly embroiled in a war that seemed both unwinnable and, in some ways, unacceptable. Sound familiar?

RECTIFY
Sundance, 9:00 p.m. ET
SEASON PREMIERE:
Season 1 of Rectify ended with Daniel (Aden Young), the death row inmate freed after 19 years in prison because of overturned evidence, being beaten what looked like to death by vengeful citizens of his home town. Had Rectify not been renewed, that’s probably how Daniel’s story would have ended. But with the miniseries renewed, Rectify returns – with the character in a coma, and the narrative alternating between flashbacks from Daniel’s prison days, significant dreams, and ways in which Daniel’s family, friends and enemies react to his brutal beating and comatose condition. It’s a rough road, but instantly and thoroughly compelling, just like last year’s story.

DOMINION
SyFy, 9:00 p.m. ET
SERIES PREMIERE: This is a warning, not a recommendation.
This new Syfy series is an inept, inexplicable continuation of the little-seen movie Legion, which dramatized an earthbound battle between angels, involving humans as pawns or prey or precious beings to be protected. The movie was nothing special, but this TV continuation, set 25 years later mostly in a reconfigured Las Vegas called Vega, is a lot worse than that. So skip it. Every time a viewer tunes in to Dominion, an angel loses his wings.

FOURTH ANNUAL CRITICS’ CHOICE TELEVISION AWARDS
The CW, 8:00 p.m. ET

There’s some irony, I suppose, that this new awards show celebrating TV’s best is televised by CW, which doesn’t have a single dog in the hunt in any category. That says something about the voting body of critics, of which I am a member – but good taste doesn’t necessarily make for good TV, so we’ll have to see, as this awards show is broadcast live. Cedric the Entertainer hosts.


http://www.tvworthwatching.com/

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TV Review
Still Unforgiven: ‘Rectify’'s Freed Felon Returns for Season Two
By Eric Gould, TVWorthWatching.com - Jun. 19, 2014

When the terms “literary” or “novel-like” are used for a television series, that usually means it’s a drama where nothing explodes and no one is shot. That wasn’t strictly true for the debut season of Sundance Channel’s Rectify last year – one shot was fired – but most of the story was embedded inside one tight family, indeed, inside their house. And instead of a fiery blast, lead character Daniel Holden (Aden Young) was beaten within an inch of his life in the season finale, and we find him in a medically induced coma to start season two.

Sundance, part of the AMC network family along with IFC, has hit the mark in 2013 with the miniseries Top of the Lake and the wonderful oddball horror import, The Returned. (This year’s series about an unwilling rogue cop, The Red Road, was less impressive). With Rectify, Sundance has enjoyed a winner with a somewhat Southern Gothic tale, in the style of William Faulkner or Carson McCullers, that follows the aftershock in a small Georgia town when Holden returns after being released from prison, after 19 years, for the murder of his then-girlfriend. New DNA evidence has vacated his conviction, and some of the back-story last season revealed that two high school buddies of Holden’s were there, with one of them committing suicide after his release. It’s still unclear, however, whether Holden is completely innocent, since he originally confessed – although his motivation for that is still unclear, too.

The upside of Rectify has been lead actor Young, who in the first season has ably embodied a character essentially erased by incarceration, who has returned to a world where everything – technology, culture, his family – has changed in his absence. He was literally a walking blank slate last season, surprised by everything. This year, within his dream state of his coma and in episodes to come, we see a more definitive side, perhaps the until-now unseen aggressive Daniel who may have been capable of murder. The new season of Rectify begins tonight (Thursday) at 9 ET on Sundance.

In addition, writer and creator Ray McKinnon (Reverend H.W. Smith in Deadwood) has fashioned the claustrophobic and treacherous fictional town of Paulie, Georgia, where he can morally excavate Holden’s possible innocence and its effect on the locals who may or may not believe in him, and why.

The downside this year, in the first three episodes sent for review, is that Rectify -- zeroed in as it is on Holden’s small, blended family (his father died shortly after he went to prison and he has a new step-father, a step-brother and a half-brother whom he has never known) -- is so tightly wound, it sometimes feels like it has nowhere to go. The B-story of Holden’s scheming red-necky step-brother Ted (Clayne Crawford) and Ted’s angelic wife (Adelaide Clemens), who’s expressed affection for Daniel, grows tedious.

So does spiteful sister Amantha who is Daniel’s most ardent defender to the indifferent, or disbelieving town folk. (Spencer has appeared in Mad Men, Season 3, as Susanne Farrell, one of Sally Draper’s school teachers, and one of Don Draper’s conquests. She’s gotten wide acclaim for her work on Rectify, and should soon go on to bigger roles.)

Rectify’s first season was six episodes, and followed the first week of Daniel’s release. The pace contributed to the series’ novel-like sensibility as it tracked Daniel’s re-entry into society day by day. This season, the timeline stretches out and we get more of the backstory of the murder and who was behind the assault on Daniel that almost took his life. Most interesting is when hangdog Sheriff Carl Daggett (JD Evermore) has to investigate the attack on Daniel, and he can’t get cooperation from witnesses, or even his own officers.

We also get sobering flashbacks to Daniel's time on death row where the most basic need is human contact, even if all it can be is talking to a cellmate on the other side of a painted concrete block wall.

McKinnon and the writers can be forgiven for having to navigate the usual problems of a sophomore year while trying to fill the time. Rectify gets more of it right than wrong, including cinematography that celebrates the quirky quietude of a small town and its conflicted characters.

Consider it a summer literary escape to a small town away from the usual cops and robbers.

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