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post #95131 of 96966 Old 06-23-2014, 10:20 PM
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TV Review
‘Abby’s Studio Rescue,’ too too tutu
There's more fairy dust than substance in this Lifetime series
By Tom Conroy, Media Life Magazine

In the many reality shows in which an expert swoops in to rescue something that is failing — whether it be a restaurant, a hotel, a hair salon or a relationship — we viewers have to be convinced that the failing thing can be turned around in a few days after what seems like years of neglect.

Surprisingly often, we are convinced, providing we squint a little and clap when we’re asked if we believe in fairies.

Lifetime’s new reality series “Abby’s Studio Rescue,” in which Abby Lee Miller, the star of the channel’s “Dance Moms,” tries to help turn around a struggling dance studio, is less plausible than most rescue shows and therefore less entertaining. The blow-ups and bickering we’d expect from an Abby Lee Miller show are either refreshingly or disappointingly scarce. So the show fails to lift us up or let us get down and dirty.

In the premiere episode, airing Tuesday at 9 p.m., Abby travels to a dance studio in Warwick, R.I., that is owned and run by a woman named Marlaina. Although most rescue-show viewers would assume that the surprise arrival by the expert is actually announced in advance, Marlaina isn’t at the studio when Abby arrives.

Abby quickly learns that the studio is run-down, perhaps dangerously so, that the class schedule is erratic, that the teachers are inexperienced and that the dancers’ mothers are constantly complaining and gossiping.

She has to fix all that in four days.

In interview clips, Marlaina wipes away tears and says that the stress of running the studio, dealing with the mothers and worrying about finances is ruining her health.

After shaming Marlaina for being absent, Abby tells her that she has to hold a showcase performance for the studio in four days. We would expect to see Abby taking charge of the rehearsals for the routines, but she lets the inexperienced staff do most of the work.

Without spoiling whether or not the showcase is a success, we can say that viewers will have no idea whether Abby’s presence made a difference.

Although the building seems to have serious problems with electricity, sewage and general appearance, Abby says she’s going to renovate it overnight, using a small group of volunteer dance dads.

Probably because of contractual obligations relating to product placement, she admits later that they had help from some suppliers who donated materials. But it still seems unlikely that the results seen in the before-and-after shots could have been achieved in one night.

Abby repeatedly says that the gossipy, complaining mothers simply enjoy being negative. Her solution is to have Marlaina talk to them.

It’s possible that the studio’s problems were so numerous and complex that the episode couldn’t show how they were all resolved in an hour. But we don’t really see how any of them were resolved.

Abby is known for inappropriately harsh criticism of her young students, but she’s surprisingly gentle with Marlaina. Once Abby gets her to listen, their relationship runs smoothly.

The mothers’ grouchiness will be familiar to anyone who has spent time in a waiting room or in the stands, but it falls short of the blind, irrational rage we’ve come to expect from women on reality shows.

Before every commercial, we see “coming up” montages that invariably are more dramatic than the action they’re teasing.

In the beginning of the episode, Abby says that she isn’t going to promise that she can just wave a magic wand and make all the problems go away. But that description isn’t that far from what we see. “Abby’s Studio Rescue” is too much song and dance.

http://www.medialifemagazine.com/abb...-too-too-tutu/


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post #95132 of 96966 Old 06-23-2014, 10:34 PM
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TV Notes
On The Air Tonight
TUESDAY 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 - Extreme Weight Loss (120 min.)
10PM - Celebrity Wife Swap: Amanda Beard/Heidi & Spencer Pratt
* * * *
11:35PM - Jimmy Kimmel Live! (Roseanne Barr; Eric Dane; Tech N9NE performs)
12:37AM - Nightline

CBS:
8PM - NCIS
(R - Feb. 25)
9PM - NCIS: Los Angeles
(R - Mar. 4)
10:01PM - Person of Interest
(R - Jan. 7)
* * * *
11:35PM - Late Show with David Letterman (Melissa McCarthy; NBA champion Tim Duncan; Rachelle Lefevre presents the Top Ten List; Phish performs)
12:37AM - The Late Late Show With Craig Ferguson (Author David Sedaris; Moon Bloodgood)

NBC:
8PM - America's Got Talent (120 min.)
10:01PM - The Night Shift
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Louis C.K.; musicians Neil Young and Jack White; Neil Young performs)
(R - May 12)
12:36AM - Late Night with Seth Myers (Nick Offerman and Megan Mullally; comic Gilbert Gottfried; Kip Moore performs)
(R - Jun. 2)
1:37AM - Last Call With Carson Daly (Oscar nominee Freida Mock; Sirah performs; "Bad Words")
(R - Mar. 20)

FOX:
8PM - Family Guy
(R - Mar. 16)
8:30PM - Brooklyn Nine-Nine
(R - Nov. 5)
9PM - Brooklyn Nine-Nine
(R - Nov. 19)
9:30PM - The Mindy Project
(R - Jan. 7)

PBS:
(check your local listing for starting time/programming)
8PM - The March
(R - Aug. 27)
9PM - Freedom Summer: American Experience (120 min.)

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

THE CW:
8PM - Famous In 12
9PM - Supernatural
(R - Nov. 5)

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

COMEDY CENTRAL:
11PM - The Daily Show With Jon Stewart (Jennifer Esposito)
11:31PM - The Colbert Report (Edie Falco)
12:01AM - @ Midnight (Doug Benson; Nikki Glaser; Ron Funches)

TBS:
11PM - Conan (Meredith Vieira; Dean Norris; musical duo Cherub)

E!:
11PM - Chelsea Lately (Jenna Dewan-Tatum)


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post #95133 of 96966 Old 06-23-2014, 10:38 PM
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TV Review
A Few Hot Months of Solidarity and Violence
'Freedom Summer’ on PBS Looks Back at 1964
By Mike Hale, The New York Times - Jun. 24, 2014

The PBS documentary “Freedom Summer” won’t make many lists of the top television programs of the year, but it’s hard to imagine two hours better spent in front of a screen.

It continues the filmmaker Stanley Nelson’s commemoration of crucial moments in the civil rights movement under the auspices of “American Experience,” which gives it its premiere Tuesday. Following his “Freedom Riders” in 2011, Mr. Nelson celebrates the 50th anniversary of what was known as the Mississippi Summer Project, another instance in which blacks and whites came together to battle racism.

Mr. Nelson works in the talking-heads-and-archival-film style of Ken Burns, but he uses the similar techniques to make films that are more alive, more propulsive, combining Mr. Burns’s Olympian authority with an insistent rhythm and a clear current of emotion. Staying within standard feature-film time limits, he tells big stories with coherent, seamless elegance.

Such is the case with “Freedom Summer,” a compressed, complex history of the campaign for voter registration and education in Mississippi led by the Student Nonviolent Coordinating Committee. The film lays out the unbelievable realities of black life in the state and the slow progress of SNCC toward the decision to bus in around 1,000 volunteers, many of them white college students, to generate attention and force a change.

It’s an awe-inspiring story, but Mr. Nelson keeps his focus close up on the details of organization and crisis management, and he is resolutely cleareyed, dispelling any notions about romantic young firebrands boarding buses for adventure. Organizers speak of the care with which the student volunteers were chosen, and the many who were rejected; for the safety of everyone involved, the project needed people “as together as it was possible to be at 19.”

But there is romance and tremendous poignancy in the story, and Mr. Nelson evokes it quietly. Unlabeled cuts juxtapose black-and-white images of the young activists and residents and scenes of them now, talking about the greatest moment in their lives. Rita Schwerner, the widow of one of the three men murdered in the summer’s most notorious incident of violence, speaks calmly about her husband’s death.

And the film quotes from a letter that Andrew Goodman, another of the victims, wrote to his parents, reassuring them upon his arrival in Mississippi, not far from where he would die: “I have arrived safely in Meridian, Miss. This is a wonderful town, and the weather is fine.”

American Experience: Freedom Summer
On PBS stations on Tuesday night at 9 (check local listings).


http://www.nytimes.com/2014/06/24/ar...ref=television


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post #95134 of 96966 Old 06-23-2014, 10:49 PM
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Critic's Notes
Vulture TV Awards: Amy Sherman-Palladino on the Amazing Dialogue of Sherlock
By Amy Sherman-Palladino, Vulture.com (New York Magazine)

We’re in the midst of our week-long Vulture TV Awards, honoring the best things television had to offer in the past year. In addition to the awards selected by our staff writers, we also asked a few industry luminaries to weigh in on their favorites. David Milch wrote about TV villains, Kurt Sutter discussed a death on Boardwalk Empire that particularly affected him, and to present her pick in the Best Dialogue category, we now give the floor to Gilmore Girls and Bunheads creator Amy Sherman-Palladino.

WINNER: Sherlock

I don’t believe in “the best” when it come to writing. Who the hell am I to judge what the “best” dialogue is? Awards were invented by cruel businessmen and fueled by insecure artists who are desperately looking for validation and that elusive hug from Mommy and — oh, wait! Sherlock! Uh ... okay, never mind that crap I just said. Sherlock has the best dialogue. Period.

The Sherlock Holmes series starring Benedict Cumberbatch and Martin Freeman is delicious. The snap, the humor, and the intelligence of the banter are addicting. It’s crack without the life-destruction and bad teeth. Words fly fast and furious. This is not a show you have on in the background while you make a sandwich. As Arthur Miller once said, attention must be paid.

But the real secret to great dialogue is finding the actors to say it. When the Sherlock team first heard Cumberbatch and Freeman read together, there must’ve been a sea of stunned faces in the room. No one gets that lucky without some sort of satanic pact involved. And the writers took that luck and ran with it. This past season hit new heights with a brilliant second episode thrusting Sherlock into the bizarre role of being the best man at Watson’s wedding. This involved a genius stag night sequence and a best man’s speech that was a verbal tour de force for Cumberbatch. A speech that was equal parts hilarious, insane, and poignant, and, yes, by the end of it, had also solved the case. It was written to exploit all of Cumberbatch’s quirky versatility and Freeman’s muppet-faced humanity, and it hooked right into the heart of the show, the bond between these two very different men. And yes, it actually is the best of the best.

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

* * * *

TV Notes
Vulture TV Awards: The Year’s Best-Dressed Characters
By Margaret Lyons, Vulture.com (New York Magazine)

We’ve looked at performances, shows, and networks during the Vulture TV Awards — now let’s turn our attention to getups, outfits, gowns, dresses, suits, ensembles. Everywhere we look these days, some character or another is killing it, whether it’s with sharply tailored officewear, sumptuous evening gowns, or functional pieces that help advance the story. Click through to witness the best of the best-dressed we saw on TV this year. [SLIDE SHOW BELOW]

http://www.vulture.com/2014/06/vultu...#photo=1x00004


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post #95135 of 96966 Old 06-23-2014, 10:54 PM
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TV Sports
'Tyrant' shows promise; 'Taxi Brooklyn' just silly
By Rob Owen, Pittsburgh Post-Gazette - Jun. 23, 2014

FX’s promising “Tyrant” and NBC’s trite “Taxi Brooklyn” represent the yin and yang, best and worst, of summer TV.

'TYRANT'
When: 10 tonight, FX.


FX already premiered the year’s best new series to date with “Fargo,” but the cable network may have another winner with “Tyrant” (10-11:32 tonight), an intense new Middle East-set family and political drama.

But there’s some reason for hesitation in crowning “Tyrant” with superlatives: It’s from two of the producers of the increasingly disappointing “Homeland,” although neither one is the buck-stops-here “Homeland” showrunner, so maybe the wariness is unwarranted.

”Tyrant” gets off to an engrossing start as it melds family drama with political intrigue and a clash of cultures.

The series follows Bassam “Barry” Al Fayeed (Adam Rayner), the younger son of a Middle East dictator who has lived in the United States for 20 years. He works as an emotionally constipated Los Angeles pediatrician who is reluctant to share his inner emotional strife – and damaged, dark childhood – with his wife, Molly (Jennifer Finnigan, “Better With You”).

Barry returns to his homeland, the fictional Abbudin, for his nephew’s wedding, bringing Molly and his two teenage children with him.

Flashbacks throughout the premiere episode offer some background on Barry and his older brother, the brutal and moody rapist Jamal (Ashraf Barhom), who is next in line for the presidency of Abbudin should something happen to their dictator dad.

In addition to the cultural tug of war Barry feels between his American life and his Abbudin upbringing, “Tyrant” sets up the culture clash for his family, who are accustomed to their American ways and find themselves fish-out-of-water in a new country.

The culture depicted in Abbudin seems to be a mix of several Middle Eastern countries The country is billed as hugely wealthy (a la Saudi Arabia), but other elements make it seem closer to Libya.

The pilot was written by Gideon Raff, who created the Israeli series that Showtime’s “Homeland” is based on (Mr. Raff is also a consultant on the American “Homeland”).

But Mr. Raff left “Tyrant” after the pilot over creative differences, according to a Hollywood Reporter story. “Tyrant” is now run by Howard Gordon, long-time showrunner of “24.”

Evidently there were differences over the direction of “Tyrant,” and the question of what the show will be after the pilot – A family drama? A political thriller? A little of both? – hangs over this first episode. That’s why there’s a hesitance to sing the show’s praises too loudly; it could all come crashing down as it goes along.

But through the first four episodes, “Tyrant” holds up pretty well.

The subsequent three episodes made available for review never quite match the urgency of the pilot but the writers balance the personal stories of Barry’s immediate family with the political drama of what’s essentially Abbudin’s royal court once Barry decides to stay and help govern his homeland.

The American family is used as a hook to draw American viewers in – actor Justin Kirk (“Weeds”) also shows up as a representative of the American embassy in Abbudin – but the focus shifts sharply to Abbudin’s internal political strife in episodes that deal with homegrown terrorists and the 20-year anniversary of a gas attack by the country’s ruler that killed 20,000 citizens.

Whether American viewers are willing to stick with “Tyrant,” particularly given the depressing tone of news coming out of the Middle East these days, remains an open question. But in its early episodes, “Tyrant” is as engaging when it focuses on family drama as when it veers more in the direction of taut, serialized, political thriller.

* * * *

'TAXI BROOKLYN'
When: 10 p.m. Wednesday, NBC


From the potentially sublime to the definitely ridiculous, NBC’s “Taxi Brooklyn” (10 p.m. Wednesday, WPXI) is pretty much as silly as they come.

A French co-production shot in Brooklyn, “Taxi Brooklyn” stars Chyler Leigh (“Grey’s Anatomy”) as Detective Cat Sullivan. You know she’s rebellious because she wears her hair short, drives like a maniac and gets called a menace by her partner.

After chasing a speeding taxi over Brooklyn streets, Sullivan is put on foot patrol by her captain (James Colby).

She winds up teaming with that charming French-African taxi driver, Leo (Jacky Ido), after a period of wariness about his motives. (Again, she shows she’s tough by hurting his pinky finger when he hits on her and calling him “just another [expletive]-bag [expletive]-hole.”)

She needs a pair of wheels because she can’t drive on the job herself and he needs ... what exactly? He seems a little smitten with her, so maybe that’s why he’s always giving her rides, offering psychological profiles of suspected perps and essentially acting as her de facto partner. Also, his immigration status is dicey, and Sullivan has some influence over a cop who would otherwise turn Leo in.

That’s the nutty premise of this series, which is based on the Luc Besson-scripted 1998 French film “Taxi,” which was remade with the same title as a Jimmy Fallon-Queen Latifah vehicle in 2004.

Wednesday’s series premiere, written by Gary Scott Thompson (“Las Vegas,” 2008’s “Knight Rider”), is full of cliches and predictable plot turns, including two potential ongoing arcs: Turns out both Sullivan and Leo have Daddy Issues – hers is dead and she’s hunting his killer while butting heads with her mother (Ally Walker, “Sons of Anarchy”), and his father went missing long ago.

But those are in the background; the emphasis is on the murder of the week and Sullivan gets an assist from Dr. Monica Pena (Jennifer Esposito, late of CBS’s “Blue Bloods”) on those cases .

While Ms. Leigh’s character is a pastiche of cliched archetypes, Mr. Ido’s taxi-driving scoundrel is a charmer. But it will take more than charm to watch “Taxi Brooklyn” and not feel like you’re being taken for a ride you’ve been on too many times before.

http://www.post-gazette.com/ae/tv-ra...s/201406240030


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post #95136 of 96966 Old 06-24-2014, 05:44 AM
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Business/Legal Notes
Will A Federal Court Clear The Way For Unbundled Pay TV?
By David Lieberman, Deadline.com - Jun. 23, 2014

...................
http://www.deadline.com/2014/06/viac...federal-court/

I would love it if they could stop forcing all these sports channels down our throats. Since some of them are very expensive and we have no option to omit them.
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post #95137 of 96966 Old 06-24-2014, 07:39 AM
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I would love it if they could stop forcing all these sports channels down our throats. Since some of them are very expensive and we have no option to omit them.
Even though I love sports, I agree with you. I like having the big/main channels (ESPN, MLB Network, NFLN, etc) but most all of the extra regional channels can go. Why do I need, and have to pay for, Fox Sports Detroit here in Florida if I cannot watch any of the games they show? Why should you have to pay for mine? It's really gotten out of hand.

I'm a 'hooker' and a knitter. I guess that makes me bi-stitchual :).
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post #95138 of 96966 Old 06-24-2014, 08:01 AM
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I think we're starting the see the beginnings of real pushback with that insane TWC deal to carry the Dodgers - D* and E* are telling them to pound sand for what they want to charge and I don't blame them, so maybe other guys will start to get the hint and turn around to tell the sports involved that we're not going to keep paying this money to you. And of course then it rolls downhill to ticket prices, player/coach salaries etc.

Way overdue for this kind of shakeup given the obscene amounts involved IMO.
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post #95139 of 96966 Old 06-24-2014, 08:24 AM
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Uhm, we've discussed this to death several times in this thread. Unless there's something new, let's not revisit the same arguments over and over. Can't remember if we had a dedicated thread for this, but if not, maybe it's time to start one. Though I can't imagine any new ground will get covered.

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post #95140 of 96966 Old 06-24-2014, 01:27 PM
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I would love it if they could stop forcing all these sports channels down our throats. Since some of them are very expensive and we have no option to omit them.

The court case in question has NOTHING to do with how cable/DBS companies package the programming to the consumer. Its about how the programmers package the programming to the cable companies. But, it's a start.
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post #95141 of 96966 Old 06-24-2014, 01:34 PM
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The court case in question has NOTHING to do with how cable/DBS companies package the programming to the consumer. Its about how the programmers package the programming to the cable companies. But, it's a start.
Technically, it's not even that, either.

It's about Viacom forcing a monetary penalty for refusing to carry certain channels in what would normally be a bundle.It's not about the bundle so much as what happens when you break it.
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post #95142 of 96966 Old 06-24-2014, 09:35 PM
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TV/Business Notes
Fox gets San Francisco TV stations in swap with Cox
By Joe Flint, Los Angeles Times' 'Company Town' Blog - Jun. 24, 2014

Fox has landed two television stations in San Francisco.

The media giant, which has long wanted stations in the nation's sixth-largest market, traded its Boston and Memphis stations to Cox Media Group for its San Francisco outlets.

The two San Francisco stations are KTVU-TV, a Fox affiliate, and KICU-TV, an independent station. The Fox stations that Cox is getting are WFXT-TV Boston and WHBQ-TV Memphis, which are in the seventh- and 48th-largest markets, respectively.

San Francisco appeals to Fox because the network has the rights to the National Football Conference and the city is home to the 49ers.

As a deal sweetener for Cox, Fox struck long-term affiliation deals with the Boston and Memphis stations.

Gregg Kelley, the general manager of Fox's Boston station, will relocate to San Francisco to run KTVU-TV and KICU-TV.

The trade will require approval from the Federal Communications Commission, but the addition of the two San Francisco stations will not put Fox in violation of the regulatory agency's caps on TV station ownership.

http://www.latimes.com/entertainment...624-story.html


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post #95143 of 96966 Old 06-24-2014, 09:38 PM
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TV Reviews
Nostalgia on the Air
‘Girl Meets World’ and ‘Mystery Girls,’ Sitcoms From Disney
By Mike Hale, The New York Times - Jun. 25, 2014

It’s ’90s teenage-show nostalgia week on Walt Disney Company networks, where a pair of new shows are built on memories of series that went off the air just as the current century was starting.

It seems unlikely that the target audience of the Disney Channel is familiar with “Boy Meets World,” the warmhearted sitcom that ran on ABC from 1993 to 2000, and only slightly more probable that viewers of ABC Family have spent much time watching “Beverly Hills 90210,” the influential drama that ran on Fox from 1990 to 2000. But Disney is the home of “Girl Meets World,” a true sequel series, beginning on Friday, and ABC Family is carrying “Mystery Girls,” a comedy with a strong “90210” connection, beginning on Wednesday.

“Girl Meets World” is more interesting in a conceptual sense: Two of the “Boy Meets World” actors, Ben Savage and Danielle Fishel, return playing the same characters 14 years later. As Cory and Topanga, they’re now married with two children: Riley (Rowan Blanchard) is the girl meeting the world, a middle schooler (as Cory was in the first season of “Boy Meets World”) with a younger brother, Auggie (August Maturo).

The new show, created by the same team (Michael Jacobs and April Kelly) that created “Boy,” is less interesting in an adult-viewing sense — this time around, it’s aimed at 6- to 14-year-olds. It has more of the feel of a traditional family sitcom than the louder, jokier competition on Nickelodeon, but the humor is still pretty broad and the plotting blunt for anyone outside that age group. Riley is sweet and prone to having her heart broken; Auggie is weirdly precocious; and Riley’s best friend, Maya (Sabrina Carpenter), is a caustic sidekick in the mold of Jennette McCurdy’s Sam on Nickelodeon’s “iCarly.”

“Mystery Girls” is intended for an older demographic, though age would seem to be less important than a general lack of standards. Tori Spelling and Jennie Garth, “90210” stalwarts whose characters there briefly ran a clothing store together, now play actresses who once starred in a television detective series called, yes, “Mystery Girls.” The roles play on the performers’ post-“90210” lives and careers: Ms. Garth’s Charlie is the uptight mom who’s decamped for the suburbs, while Ms. Spelling’s Holly is a tabloid fixture trying to live off her former fame. (Both have teenage daughters who will probably play larger roles as the show goes on.)

Through some predictable coincidences, Holly persuades Charlie to revive their partnership, not as actresses but as actual detectives. This being a mystery comedy, their first case involves tracking down a rumored sex tape made years ago by Holly. The writing is mostly painfully unfunny, but there is one small surprise: Ms. Spelling has emerged from her string of junky, increasingly exploitative reality shows as a competent comic actress, effectively deploying her squeaky voice and wide eyes. If only she weren’t given lines like: “Blood, fiber, semen, lay it on me! Away from my face and hair, if you can.”

Mystery Girls
ABC Family, Wednesday nights at 8:30, Eastern and Pacific times; 7:30, Central time.


Girl Meets World
Disney Channel, Friday night at 9:45, Eastern and Pacific times; 8:45, Central time.


http://www.nytimes.com/2014/06/25/ar...elevision&_r=0


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post #95144 of 96966 Old 06-24-2014, 09:39 PM
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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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post #95145 of 96966 Old 06-24-2014, 09:43 PM
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Nielsen Overnights (18-49)
Stealth move: NBC slides to No. 1 with ‘Ninja’
Night's highest-rated show posts a 1.8 in 18-49s, up 13 percent
By Toni Fitzgerald, Media Life Magazine - Jun. 24, 2014

“American Ninja Warrior” helped NBC jump to No. 1 on Monday night.

The reality show, airing from 9 to 11 p.m., averaged a 1.8 adults 18-49 rating, according to Nielsen overnights, up 13 percent over last week.

It finished as the night’s No. 1 program on broadcast, slightly ahead of Fox’s “MasterChef,” which drew a 1.7, down 6 percent from last week.

ABC’s “The Bachelorette” was also off from last week, falling 12 percent to a 1.5.

But the CW’s “Whose Line Is It Anyway?” was up a tenth from last week, to a 0.6 for the 8 p.m. episode.

A CBS special previewing the return of “Under the Dome” next week drew unremarkable numbers, averaging a 0.8 at 10 p.m.

NBC led the night among 18-49s with a 1.6 average overnight rating and a 5 share. Fox was second at 1.5/5, ABC third at 1.3/4, Univision fourth at 1.1/4, CBS fifth at 0.9/3, Telemundo sixth at 0.6/2, and CW seventh at 0.4/1.

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.

At 8 p.m. Fox began the night in the lead with a 1.7 for “MasterChef,” followed by ABC with a 1.5 for “The Bachelorette.” CBS, NBC and Univision all tied for third at 1.0, CBS for reruns of “2 Broke Girls” and “Mom,” NBC for a repeat of “Last Comic Standing” and Univision for “De Que Te Quiero, Te Quiero.” The CW took sixth with a 0.6 for “Whose” and Telemundo seventh with a 0.4 for “La Impostora.”

NBC took the lead at 9 p.m. with a 1.7 for “Ninja,” while ABC remained in second place with a 1.5 for more “Bachelorette.” Fox and Univision tied for third at 1.4, Fox for “24: Live Another Day” and Univision for “Lo Que La Vida Me Robo.” CBS was fifth with a 1.1 for repeats of “Mike & Molly” and “Two and a Half Men,” Telemundo sixth with a 0.5 for “En Otra Piel” and CW seventh with a 0.3 for “Beauty and the Beast.”

At 10 p.m. NBC was first again with a 1.9 for more “Ninja,” with Univision second with a 1.1 for “Que Pobres Tan Ricos.” ABC was third with a 1.0 for “Mistresses,” Telemundo fourth with a 0.9 for “El Señor de los Cielos” and CBS fifth with a 0.8 for an “Under the Dome” recap episode.

ABC finished first for the night among households with a 3.5 average overnight rating and a 6 share. Fox was second at 3.3/6, CBS third at 3.1/5, NBC fourth at 2.8/5, Univision fifth at 1.4/2, Telemundo sixth at 0.9/1 and CW seventh at 0.7/1.

http://www.medialifemagazine.com/ste...lides-1-ninja/

* * * *

Nielsen Overnights (Cable)
Big rating for ‘Love & Hip Hop’
By Media Life Magazine Staff - Jun. 24, 2014

VH1’s “Love & Hip Hop” didn’t just dust the other primetime cable shows Monday night.

It also topped the broadcast network competition in the key adults 18-49 demo.

“Love” averaged a 2.0 rating in 18-49s, according to Nielsen overnights, flat to last week and 0.2 ahead of the No. 1 show on broadcast for the night, NBC’s “American Ninja Warrior.”

The VH1 program finished a third ahead of the No. 2 program on cable in the demo, “WWE Raw,” which averaged a 1.5 on USA.

TNT’s “Major Crimes” was the top show of the night in total viewers, averaging 4.9 million.

Top 10 Cable Programs
Ranked on Total Viewers
June 23

# Program Net (000)
1 MAJOR CRIMES-06/23/2014 TNT 4909
2 WWE ENTERTAINMENT-06/23/2014 USA 4330
3 WWE ENTERTAINMENT-06/23/2014 USA 4041
4 LOVE & HIP HOP ATLANTA 3-06/23/2014 VH1 3832
5 WWE ENTERTAINMENT-06/23/2014 USA 3723
6 LONGMIRE-06/23/2014 AEN 3507
7 SWAMP PEOPLE-06/23/2014 HIST 2854
8 THE OREILLY FACTOR-06/23/2014 FOXNC 2656
9 MURDER IN THE FIRST-06/23/2014 TNT 2654
10 FAMILY GUY-06/23/2014 ADSM 2480
Source: Nielsen


Top 10 Cable Programs
Ranked on Adults 18-49
June 23

# Program Net (000)
1 LOVE & HIP HOP ATLANTA 3-06/23/2014 VH1 2507
2 WWE ENTERTAINMENT-06/23/2014 USA 1883
3 WWE ENTERTAINMENT-06/23/2014 USA 1676
4 HIT THE FLOOR 2-06/23/2014 VH1 1665
5 WWE ENTERTAINMENT-06/23/2014 USA 1591
6 FAMILY GUY-06/23/2014 ADSM 1463
7 BIG BANG THEORY, THE-06/23/2014 TBSC 1325
8 BIG BANG THEORY, THE-06/23/2014 TBSC 1219
9 LOVE & HIP HOP ATLANTA 3-06/23/2014 VH1 1201
10 AMERICAN DAD-06/23/2014 ADSM 1182
Source: Nielsen

http://www.medialifemagazine.com/cab...-love-hip-hop/


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post #95146 of 96966 Old 06-24-2014, 09:46 PM
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Nielsen Notes (Cable)
About 809,000 Watch Lawrence O’Donnell Return To MSNBC, Emotionally: Video
By The Deadline.com Team - Jun. 24, 2014

About 149,000 of those 809,000 viewers who watched Lawrence O’Donnell’s emotional return to MSNBC fell in the news demo. His numbers were up 11% over the network’s June-to-date in the demo and 39% over MSNB’s June to date in total viewers.

In his return, O’Donnell described the taxi accident in which he and his brother were injured. He also talked about David Koch, who’d given large sums of money to the hospital at which O’Donnell was treated. In April, MSNBC said O’Donnell would be off the air for several weeks while he recovered from the crash, which happened while he vacationing out of the country.

His Last Word comeback beat CNN Tonight at 10 PM. But he got pounded by FNC’s Hannity, which virtually doubled O’Donnell’s return in overall audience (1.562 million viewers) and nearly quadrupled him in demo viewers (400,000 demo viewers).

Watch here: [CLICK LINK]

http://www.deadline.com/2014/06/lawr...koch-brothers/


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post #95147 of 96966 Old 06-24-2014, 10:18 PM
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So, DrDon, have you seen the first Extant episode yet?

I watched it yesterday. I'm ready for more episodes. I shan't say anything else, except:

Spoiler!

"What do you say Beckett. Wanna have a baby?" - Castle to Det. Beckett
"How Long have I been gone?" Alexis after arriving home and seeing Castle and Beckett w/ the baby - Castle - 11/25/13
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post #95148 of 96966 Old 06-24-2014, 10:22 PM
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Oh great, another bug in the VB 3.8 software. I did not post the above twice. The 2nd one is an edit of the first one.

"What do you say Beckett. Wanna have a baby?" - Castle to Det. Beckett
"How Long have I been gone?" Alexis after arriving home and seeing Castle and Beckett w/ the baby - Castle - 11/25/13
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post #95149 of 96966 Old 06-25-2014, 05:49 AM
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Quote:
Originally Posted by mrvideo View Post
I shan't say anything else, except:
Spoiler!
Out of respect for Mr. Video's decision to mark that as a spoiler I've left it that way in the quote, but network spots for the show have already been showing that exact thing, and it's not a plot point, so I wouldn't consider it a spoiler myself.
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post #95150 of 96966 Old 06-25-2014, 07:53 AM
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Breaking News: Aereo loses

http://consumerist.com/2014/06/25/su...against-aereo/

http://www.nbcnews.com/news/us-news/...ervice-n140486

I'm a 'hooker' and a knitter. I guess that makes me bi-stitchual :).
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post #95151 of 96966 Old 06-25-2014, 08:35 AM
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AEREO thread

mrvideo Didn't come with the physical disc I got, so I didn't even know there was one. I'll log onto the company servers tonight.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #95152 of 96966 Old 06-25-2014, 09:29 AM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 23, 2014

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

Today’s games decide the fates of the teams in Groups E and F. On ESPN, play begins at noon ET with Group F’s Nigeria vs. Argentina. Argentina already has earned its way into the upcoming knockout round, while Nigeria can advance if it earns a win, or a draw, against Argentina, which has plenty of reasons to save some resources for the next game. Then, at 4 p.m. ET, ESPN presents Group E’s Ecuador vs. France match. If France wins or draws, it will win the group and advance to knockout play – but if Ecuador wins, it will advance. So this game will be the much more intense of the two, since both teams are still in play.

2014 WORLD CUP
ESPN 2, 12:00 p.m. ET

Meanwhile, over on ESPN2, concurrent games are played from each group. At noon ET, the remaining two teams in Group F, the ones not playing on ESPN, are shown here: Bosnia and Herzegovina vs. Iran. Only Iran still has a chance to advance, and it needs to win this game, and hope that Nigeria loses to Argentina – and even then, Iran still has to score enough goals to win a tiebreaker. Then, at 4 p.m. ET, ESPN2 presents Group E’s Honduras vs. Switzerland, two teams that are still possibilities to advance, but only with an outright victory, and lots of help from other teams in Group E.

NATURE: "FABULOUS FROGS"
PBS, 8:00 p.m. ET

Sir David Attenborough is the presenter of this lighthearted new documentary, which means he’s on camera, not just narrating. And whenever Attenborough is on camera, it’s must-see nature TV, because he’s positively peerless in both his knowledge and his enthusiasm about the natural world. In Fabulous Frogs, he reveals that frogs were the first animals he kept as a kid –and the ease with which he lets them crawl all over him, and gently strokes them to coerce them to croak, demonstrates that he hasn’t lost his early passion, or his touch. The photography here is wonderful, the musical score playful, and the whole hour another easily digested, beautifully photographed magical nature tour. Guaranteed as fun, and fascination, for the whole family, regardless of age. Check local listings.

DILLINGER
TCM, 8:00 p.m. ET

Lawrence Tierney stars as tough-guy gangster John Dillinger in this crisp 1945 crime drama, which co-stars the lovely Anne Jeffreys. Tierney plays a good bad guy, and his toughness only got tougher with age: Almost 50 years after starring in this crime classic, he co-starred in another, as the growly Joe, who organizes the gangster squad for 1992’s Reservoir Dogs.

WILFRED
FXX, 10:00 p.m. ET
SEASON PREMIERE:
I’ve never been totally sold on this series, about a man whose pet is either a dog or a man in a dog suit – but those who have will want to know that it returns tonight for its fourth and final season. And that, though it was launched on the FX network, it now appears on that channel’s sister network, FXX.


http://www.tvworthwatching.com/


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post #95153 of 96966 Old 06-25-2014, 09:33 AM
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Obituary
Eli Wallach, ‘The Good, the Bad and the Ugly’ Star, Dies at 98
By Carmel Dagan, Variety.com - Jun. 25, 2014

Tony- and Emmy-winning actor Eli Wallach, a major proponent of “the Method” style of acting best known for his starring role in Elia Kazan’s film “Baby Doll” and for his role as villain Tuco in iconic spaghetti Western “The Good, the Bad and the Ugly,” died on Tuesday, according to the New York Times. He was 98.

On the bigscreen Wallach had few turns as a leading man, but none was as strong as his first starring role in 1956’s “Baby Doll,” in which he played a leering cotton gin owner intent on seducing the virgin bride (Carroll Baker) of his business rival (Karl Malden). But he appeared in more than 80 films, offering colorful turns in character roles in movies such as “The Magnificent Seven,” “The Good, the Bad and the Ugly,” “Nuts,” “Lord Jim,” “The Misfits” and “The Two Jakes.”

The actor, who appeared in a wide variety of stage, screen and television roles, was often paired with his wife Anne Jackson, particularly onstage. In 1948 he was one of the core of 20 who joined Kazan, Cheryl Crawford and Bobby Lewis in starting the Actors Studio, where he studied with Lee Strasberg. Others included Jackson, David Wayne, Marlon Brando, Patricia Neal and Maureen Stapleton.

Wallach received an Honorary Academy Award at the second annual Governors Awards, presented on Nov. 13, 2010, for “a lifetime’s worth of indelible screen characters.”

His career began in earnest in the ’50s, when he achieved triumphs in Tennessee Williams’ “The Rose Tattoo,” for which he won a Tony, and the revival of George Bernard Shaw’s “Major Barbara.”

Times were lean early in Wallach’s acting career until he got a role in “Mister Roberts,” with which he stayed for two years until 1951, when Williams cast him opposite Stapleton in “The Rose Tattoo,” directed by Kazan. After playing the role for 18 months he went right into Williams’ “Camino Real” — for which he turned down the role of Maggio in “From Here to Eternity.” Frank Sinatra did it instead and won an Oscar; “Camino Real” closed after 60 performances. But Wallach claimed to have no regrets.

Wallach starred Off Broadway in “The Scarecrow” with Jackson and Neal and in 1954 as Julien in Anouilh’s “Mademoiselle Columbe” opposite Julie Harris. (He and Harris later starred in “The Lark” on TV).

Afterwards he went off to London, spending a year in “Teahouse of the August Moon.” He then did “Major Barbara,” with Charles Laughton and Burgess Meredith, on Broadway in 1956. Other stage roles included “The Chairs” and “The Cold Wind and the Warm,” with Stapleton.

For Don Siegel he appeared in magnificent film noir “The Lineup.” He played a bad guy, and did the same in “Seven Thieves” and “The Magnificent Seven.” In 1960 he joined the cast of John Huston’s “The Misfits” with Gable, Monroe, Clift and Thelma Ritter.

Over the next decade he appeared in supporting roles in a wide variety of films, including “How the West Was Won,” “The Victors,” “Act One,” “Lord Jim,” “How to Steal a Million,” “MacKenna’s Gold,” “A Lovely Way to Die,” “How to Save a Marriage,” “The Brain” (in French and English) and Sergio Leone’s classic “The Good, the Bad and the Ugly.”

Stage work was also satisfying, including Ionesco’s “Rhinoceros” with Zero Mostel and Jackson, “Brecht on Brecht,” Murray Schisgal’s “The Tiger and the Typist” (which he and Jackson made into a film in 1967 called “The Tiger Makes Out”) and “Luv.” They later did “The Typist” on television.

Also for TV he did Reginald Rose’s drama “Dear Friends” on “CBS Playhouse” (drawing an Emmy nomination), Clifford Odets’ “Paradise Lost” and “20 Shades of Pink.” He played Mr. Freeze on two episodes of “Batman.” He won an Emmy for his role in the TV film “Poppies Are Also Flowers.”

Through the ’70s he did several more spaghetti Westerns, as well as films including “The Angel Levine,” “Cinderella Liberty,” “The Deep,” “Nasty Habits,” “Movie, Movie,” “Winter Kills” and “Girlfriends.”

He also flourished in telepics such as “The Wall,” “The Executioner’s Song,” “The Pirate” and “Seventh Avenue,” while achieving a triumph with Jackson in 1973 in Anouilh’s “Waltz of the Toreadors.”

In the late ’70s, Wallach and Jackson toured in “The House of Blue Leaves” and a revival of “The Diary of Anne Frank,” with their two daughters.

He began to slow down in the ’80s but still turned in some good work in “Tough Guys,” “Nuts” and 1990’s “The Two Jakes” and “The Godfather: Part III,” and on the smallscreen he picked up another Emmy nom for the movie “Something in Common” with Ellen Burstyn.

Well into his 90s Wallach continued to draw supporting roles in prestige features, appearing in “Mystic River” (though uncredited), Lasse Hallstrom’s “The Hoax,” a segment of “New York, I Love You” as well as Roman Polanski’s “The Ghost Writer” and Oliver Stone’s “Wall Street: Money Never Sleeps,” both in 2010.

The actor continued to do occasional TV work, guesting, for example, on “Law and Order” in 1992, on Sidney Lumet’s “100 Centre Street” in 2001, on “ER” in 2003, “Studio 60 on the Sunset Strip” in 2006 and “Nurse Jackie” in 2009 (drawing two more Emmy noms for these last two perfs); he recurred on “The Education of Max Bixford” in 2002. More frequently he did voiceover work, including for 2006 Oscar-winning animated short “The Moon and the Son.”

The Brooklyn-born Wallach was educated at the U. of Texas and City College of New York, where he received his B.A. and M.S. in education. Though he felt the odds were against him — “I was a little guy,” he wrote in a New Yorker self-profile — he started studying acting as an avocation. He trained with Sanford Meisner, one of the early advocates of the Stanislavski method.

But his thespic ambitions were cut short by the draft. He entered the Army in 1941 and was a Medical Corps administrator for more than four years, serving in the Pacific and Europe and achieving the rank of captain by the time of his discharge.

One of his first acting jobs out of the Army in 1945 was in an Equity Library Theater production of Tennessee Williams’ one-act “This Property Is Condemned.” Also in the play was young actress Anne Jackson, whom he married in 1948.

His Broadway debut came at the end of 1945 in the drama “Skydrift.” The following year he joined the American Repertory Theater, performing Shakespeare, Shaw and even “Alice in Wonderland,” in which he played a duck and the Two of Spades. His stage career took off in the early ’50s.

In 2005, the actor released his wittily titled autobiography, “The Good, the Bad and Me: In My Anecdotage.”

Wallach and Jackson had three children, Peter David, Roberta and Katherine.

http://variety.com/2014/film/news/el...98-1201246070/


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post #95154 of 96966 Old 06-25-2014, 09:45 AM
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TV Notes
On The Air Tonight
WEDNESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - The Middle
(R - Apr. 30)
8:30PM - The Goldbergs
(R - Oct. 1)
9PM - Modern Family
(R - Sep. 25)
9:31PM - The Goldbergs
(R - Dec. 3)
10PM - Motive
* * * *
11:35PM - Jimmy Kimmel Live! (Gary Oldman; Nathan Fielder; Bleachers performs)
12:37AM - Nightline

CBS:
8PM - Big Brother (Season Premiere, HD Premiere)
9PM - Criminal Minds
(R - Feb. 26)
10PM - CSI: Crime Scene Investigation
(R - Jan. 22)
* * * *
11:35PM - Late Show with David Letterman (Mark Wahlberg; Ben Falcone; Hurray for the Riff Raff performs)
12:37AM - Late Show with Craig Ferguson (Alfred Molina)

NBC:
8PM - America's Got Talent (120 min.)
(R - Jun. 17)
10PM - Taxi Brooklyn (Series Premiere)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Amanda Seyfried; Will Ferrell and musician Chad Smith; Red Hot Chili Peppers perform)
(R - May 22)
12:36AM - Late Night with Seth Meyers (Dan Bakkedahl; Demi Lovato performs)
(R - Jun. 4)
1:37AM - Last Call with Carson Daly (Former MLB player Jay Williams; Syd Arthur performs; "Our Vinyl Weighs a Ton")
(R - Mar. 24)

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

PBS:
(check your local listing for starting time/programming)
8PM - Nature: Fabulous Frogs
9iPM - NOVA: Deadliest Earthquakes
(R - Jan. 11, 2011)
10PM - NOVA - Surviving the Tsunami: A Nova Special Presentation
(R - Sep. 28, 2011)

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 - Nov. 6)
9PM - The 100
(R - Mar. 26)

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Keira Knightley)
11:31PM - The Colbert Report (Congresswoman Eleanor Holmes Norton)
12:01AM - @ Midnight (Steve Byrne; Owen Benjamin; Roy Wood Jr.)

TBS:
11PM - Conan (Eric Bana and Andy Serkis; Conway performs)

E!:
11PM - Chelsea Lately (Guest TBA)


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post #95155 of 96966 Old 06-25-2014, 09:49 AM
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TV Notes
Diane Sawyer stepping down from ABC's 'World News'
By Ann Oldenburg, USA Today - Jun. 25, 2014

Get ready to say goodbye to Diane Sawyer at ABC's World News desk.

And hello to David Muir.

ABC News today announced new roles for Sawyer, 68; Muir, 40; and George Stephanopoulos, 53.

Sawyer will be "stepping aside" to lead "new programming tackling big issues and extraordinary interviews," says the announcement from ABC President James Goldston.

Muir will become anchor and managing editor of World News, starting Sept. 2.

Stephanopoulos, anchor of Good Morning America and This Week, has been promoted to chief anchor of ABC News, handling special reports and breaking news. (Don't worry, GMA fans, he'll still be doing the morning gig.)

"After wonderful years at World News I decided it is time to move to a new full time role at ABC News," says Sawyer in the announcement.

She says she'll be "dedicated to enterprise reporting, innovative approaches to breaking news and new ways of thinking about big issues and events around the world."

http://www.usatoday.com/story/life/t...muir/11348847/


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post #95156 of 96966 Old 06-25-2014, 09:55 AM
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TV Notes
Reactions: Aereo’s Chet Kanojia Says “We Will Continue To Fight”; More
By Dominic Patten and David Lieberman, Deadline.com - Jun. 25, 2014

The industry is weighing in on the Supreme Court’s ruling this morning that the Aereo streaming service violates broadcast companies’ copyrights. Refresh for latest…

Chet Kanojia, Aereo CEO and founder
“Today’s decision by the United States Supreme Court is a massive setback for the American consumer. We’ve said all along that we worked diligently to create a technology that complies with the law, but today’s decision clearly states that how the technology works does not matter. This sends a chilling message to the technology industry. It is troubling that the Court states in its decision that, ‘to the extent commercial actors or other interested entities may be concerned with the relationship between the development and use of such technologies and the Copyright Act, they are of course free to seek action from Congress.’ (Majority, page 17) That begs the question: Are we moving towards a permission-based system for technology innovation?

“Consumer access to free-to-air broadcast television is an essential part of our country’s fabric. Using an antenna to access free-to-air broadcast television is still meaningful for more than 60 million Americans across the United States. And when new technology enables consumers to use a smarter, easier to use antenna, consumers and the marketplace win. Free-to-air broadcast television should not be available only to those who can afford to pay for the cable or satellite bundle.”

“Justice Scalia’s dissent gets its right. He calls out the majority’s opinion as ‘built on the shakiest of foundations.’ (Dissent, page 7) Justice Scalia goes on to say that ‘The Court vows that its ruling will not affect cloud-storage providers and cable television systems, see ante, at 16-17, but it cannot deliver on that promise given the imprecision of its results-driven rule.’ (Dissent, page 11)”

“We are disappointed in the outcome, but our work is not done. We will continue to fight for our consumers and fight to create innovative technologies that have a meaningful and positive impact on our world.”

Gordon Smith, National Association of Broadcasters president and CEO
“NAB is pleased the Supreme Court has upheld the concept of copyright protection that is enshrined in the Constitution by standing with free and local television. Aereo characterized our lawsuit as an attack on innovation; that claim is demonstrably false. Broadcasters embrace innovation every day, as evidenced by our leadership in HDTV, social media, mobile apps, user-generated content, along with network TV backed ventures like Hulu.

“Television broadcasters will always welcome partnerships with companies who respect copyright law. Today’s decision sends an unmistakable message that businesses built on the theft of copyrighted material will not be tolerated.”

21st Century Fox
"21st Century Fox welcomes the U.S. Supreme Court’s ruling, a decision that ultimately is a win for consumers that affirms important copyright protections and ensures that real innovation in over-the-top video will continue to support what is already a vibrant and growing television landscape.”

CBS
“We are pleased with today’s decision which is great news for content creators and their audiences.”

Cablevision
“We are gratified that the Court’s decision adopted a sensible middle ground, holding that unlicensed retransmission services like Aereo violate the copyright law, while protecting consumer-friendly, cloud-based technologies, such as RS-DVR. The real winner today is the consumer who will continue to benefit from future innovation.”

Disney
“We’re gratified the Court upheld important Copyright principles that help ensure that the high-quality creative content consumers expect and demand is protected and incentivized.”

SAG-AFTRA
“SAG-AFTRA applauds the U.S. Supreme Court’s decision in the Aereo case, which sends a clear and strong message that the Court will not permit companies like Aereo to use inconsequential technical workarounds to evade Congress’ intent to protect content creators and owners in the Copyright Act. By adopting a practical analysis that recognizes the extraordinary similarity between Aereo and the cable systems Congress expressly regulated in the Act, the Court rightly focuses on the use of copyrighted works and refused to be sidetracked by the inconsequential technical details with which Aereo attempted to cloak itself. But in doing so, the Court properly limited the scope of the decision so that cloud services and other technological innovations are neither inhibited nor limited. This decision gives the creative community greater confidence that copyright law cannot be so simply evaded and restores the proper balance to the system.”

Univision
“Univision Communications is pleased with the Supreme Court’s decision to uphold our country’s well-established and critically important copyright laws. This is a major victory for all consumers and content creators.”

http://www.deadline.com/2014/06/reac...me-court-loss/


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Nielsen Notes (Cable)
‘Teen Wolf’ Season 4 Premiere Returns Steady
By Jason Hughes, TheWrap.com - Jun. 24, 2014

The fourth season of “Teen Wolf” kicked off on MTV Monday night, with the show appearing to have found its ratings peak. Last season, the supernatural teen drama broke a record with its Season 3 premiere, and then set a new one for its mid-season premiere in January 2014.

With 2.2 million total viewers, according to the network, the Season 4 premiere came in just shy of both the Season 3 premiere, at 2.4 million, and the season 3B premiere, with 2.43 million. It did still outperform the premieres for both Season 1 (2.17 million) and Season 2 (2.11 million).

With 2.2 million viewers at its launch, “Teen Wolf” is on par with the Season 3B average, though, which saw the show's highest sustained ratings across its 12 episodes.

The premiere also earned a 1.9 rating among viewers 12-34 years old, MTV's target demographic, down 17 percent from the Season 3 premieres. Both Season 3 and Season 3B notched a 2.3 rating in this demo for their launches.

The “Teen Wolf” Season 4 premiere also enjoyed a strong social media presence, with several related hashtags trending in the top ten nationwide on Twitter, both during and after the show's initial broadcast at 10/9c.

It was the most-watched show on all television in its timeslot, and the No. 2 show for the night across all television.

http://www.thewrap.com/ratings-teen-...eturns-steady/


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post #95158 of 96966 Old 06-25-2014, 10:05 AM
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TV/Technology Notes
ABC News launches on Apple TV with live and local content
By Brianna Sacks and Ryan Faughnder, Los Angeles Times' 'Company Town' Blog - Jun. 23, 2014

ABC News is launching an online video programming service via Apple TV.

The Apple TV app features both live news content as well as video clips from ABC News shows such as "World News Tonight" and "Good Morning America." Users will also have access to ABC's news archives.

Users of ABC News on Apple TV will not need a pay-TV subscription to access the platform.

This differs from Disney's other apps for Apple TV, which include WatchESPN for sports and Watch ABC for entertainment and news programming. Both of those apps require a pay-TV subscription.

The creation of a news app on Apple TV for non-cable or satellite subscribers is part of an effort to reach younger consumers, many of whom go online for news in lieu of traditional broadcast and cable news outlets.

“We are delighted to deliver ABC News to a whole new and growing audience,” said James Goldston, president of ABC News, in a statement.

CBS is also exploring creating a so-called over-the-top streaming news service.

The ABC News Apple TV app features four separate live video streams, allowing users to alternate between coverage of events such as White House press conferences and breaking news reports.

On the local side, the app delivers news updates and video highlights from nine major-market ABC TV stations, including KABC in Los Angeles and WABC in New York. The offering also includes 50 years' worth of historical footage from the ABC News archives.

"Our goal is to put our users in control of their news," said Joe Ruffolo, senior vice president of ABC News Digital.

The Cupertino, Calif.-based tech giant has long-established ties with the Burbank entertainment colossus. In 2011, Disney's chief executive Robert Iger was named to Apple's board of directors following the death of Steve Jobs. Disney was the first major studio to sign on when Apple started providing video content through iTunes.

The ABC News app isn't yet available for devices such as Roku and Google's Chromecast, which compete with Apple TV.

http://www.latimes.com/entertainment...624-story.html


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TV Review
Odd Couple, Chic Borough
‘Taxi Brooklyn’ Features Savvy Cabby and Curt Cop
By Jon Caramanica, The New York Times - Jun. 25, 2014

Leo Romba (Jacky Ido) is an expert body-language reader and a stunning tactical driver, can tell which part of Peru a dab of cocaine comes from, and can throw a perp up against a wall without wrinkling his shirt. In “Taxi Brooklyn,” a goofy tale of an unlikely alliance between cop and cabby, he is the seer and the center of all power, a hero for a troubled borough.

He is also the cabby.

That’s just one of the groan-worthy strokes in this too glossy, too skeletal procedural, which begins on Wednesday on NBC. Leo’s sidekick is Caitlyn Sullivan (Chyler Leigh), known as Cat, a detective with a bad driving record and a chip on her shoulder the size of Barclays Center about the unsolved murder of her father, also a cop.

The shtick is that Leo drives Cat around on her cases, and she tries to address his immigration and legal troubles. By the second episode, he is likening the relationship to slavery. (Leo is black; Cat is white.)

He also apparently never has to return the cab to the garage, one of many small absurdities on this show. There are the continuing yuks of a cop’s forever showing up for police business in a taxi. Also, in the premiere episode, bank robbers depend on hailing cabs — in Brooklyn — for getaway vehicles. As if.

Most gratuitously, Mr. Ido is an actor of such intense charisma that he feels wholly out of place on an American procedural. Most hourlong network dramas are built on a fundamental dourness, its actors radiating mediocre heat (the work of Shonda Rhimes excluded).

But Mr. Ido is a sun, making even Leo’s most preposterous moments seem mildly plausible: flirting with Cat when she arrests him; telling her, “You would like nothing more than to curl up in bed and cry, but you’re afraid if you start crying, you’ll never stop”; popping up in her mother’s bed.

He easily outmaneuvers Ms. Leigh, who tries mightily to be aggrieved or vulnerable or flirty, but can’t quite manage. Leo does the heavy lifting here; she’s the dead weight.

In the first episode, she wears a tight tank top under a plaid shirt, to telegraph the fact that she’s soft and tough all at once. (In the second episode, she swaps plaid for military green.) Her ex-husband, an F.B.I. agent (Bill Heck), is also defined by his outfit; you know he’s bad news because of his oiled-back, longish hair, paired with a scraggly 8 o’clock shadow. Better are James Colby as Cat’s comically exasperated captain, and Ally Walker as her knowing, broken mother. But Jennifer Esposito, as a forensics specialist, looks as if she might be reading lines off the papers she always seems to be carrying.

“Taxi Brooklyn” is loosely drawn from the 1998 Luc Besson film, “Taxi,” which had already been mishandled in the 2004 film adaptation with Jimmy Fallon and Queen Latifah. It has aired in France and elsewhere, and is the first foreign TV production to receive a state tax credit for filming here.

At least the borough looks beautiful, the aerial shots of the waterfront an act of love. But the closest the show comes to capturing local color is a character selling $30 tie-dyed “Keep Brooklyn Weird” T-shirts in the premiere. Apart from that, the use of Brooklyn is just branding, the commodification of fringe frisson. See, maybe in Manhattan, a cabbie wouldn’t be allowed to handle evidence at a crime scene. Maybe in Manhattan, the cops are more well rounded.

Cat is unimaginative enough to needle Leo by calling him Sherlock and Columbo. But, of course, Leo is savvy enough to retort that he prefers David Addison, the man-child prince of “Moonlighting.” Which presents the question: Will they or won’t they? The answer: They shouldn’t. He can do better.

Taxi Brooklyn
NBC, Wednesday nights at 10, Eastern and Pacific times; 9, Central time.


http://www.nytimes.com/2014/06/25/ar...ref=television


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TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog


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