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post #95161 of 98524 Old 06-25-2014, 11:18 AM
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Nielsen Overnights (18-49)
‘America’s Got Talent’ rerun tops Tuesday
Posts a 1.9 in 18-49s, way ahead of the original shows
By Toni Fitzgerald, Media Life Magazine - Jun. 25, 2014

Even in repeats, NBC’s “America’s Got Talent” is unbeatable.

The hit reality show was the No. 1 show on broadcast Tuesday night despite being a rerun.

“Talent” averaged a 1.9 adults 18-49 rating from 9 to 11 p.m., according to Nielsen overnights, 46 percent ahead of the night’s No. 2 show, ABC’s “Celebrity Wife Swap,” which averaged a 1.3 at 10 p.m. and posted its second-highest rating in a year.

In fact, the “Talent” repeat even led NBC to a nightly victory, against admittedly weak competition with Fox and CBS entirely in repeats.

NBC’s “The Night Shift” posted a 1.2 at 10 p.m., down 8 percent from last week, when it had an original, and much higher-rated, lead-in from “Talent.”

The Big Four’s only other original show, ABC’s “Extreme Weight Loss,” posted a 1.0 from 8 to 10 p.m., jumping 25 percent from last week.

NBC was first for the night among 18-49s with a 1.7 average overnight rating and a 6 share. ABC and Univision tied for second at 1.1/4, CBS was fourth at 0.9/3, Fox and Telemundo tied for fifth at 0.6/2 and CW was 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.

At 8 p.m. NBC was first with a 1.8 for the repeat of “Talent,” followed by CBS with a 1.1 for an “NCIS” rerun. ABC and Univision tied for third at 0.9, ABC for “Weight” and Univision for “De Que Te Quiero, Te Quiero.” Fox was fifth with a 0.7 for reruns of “Family Guy” and “Brooklyn Nine-Nine,” Telemundo sixth with a 0.5 for “La Impostora,” and CW seventh with a 0.2 for “Famous in 12.”

NBC was first again at 9 p.m. with a 2.1 for more “Talent,” while Univision moved to second with a 1.4 for “Lo Que La Vida Me Robo.” ABC was third with a 1.1 for more “Weight,” CBS fourth with a 1.0 for a repeat of “NCIS: Los Angeles,” and Fox and Telemundo tied for fifth at 0.5, Fox for reruns of “Brooklyn Nine-Nine” and “The Mindy Project” and Telemundo for “En Otra Piel.” The CW was seventh with a 0.3 for a “Supernatural” rerun.

ABC took the lead at 10 p.m. with a 1.3 for “Swap,” with NBC and Univision tied for second at 1.2, NBC for “Shift” and Univision for “Que Pobres Tan Ricos.” Telemundo was fourth with a 0.9 for “El Señor de los Cielos” and CBS fifth with a 0.8 for another “NCIS: LA” rerun.

CBS led the night among households with a 4.5 average overnight rating and an 8 share. NBC was second at 4.4/8, ABC third at 2.3/4, Univision fourth at 1.5/3, Fox fifth at 0.9/2, Telemundo sixth at 0.9/1 and CW seventh at 0.4/1.

http://www.medialifemagazine.com/ame...-tops-tuesday/

* * * *

TV Sports/Nielsen Notes (Cable)
Why the World Cup is doing so well
No, we're not suddenly a nation of soccer fanatics

More Americans watched the U.S.-Portugal match on ESPN and Univision Sunday evening than watched the final game of last fall’s World Series, the NCAA men’s basketball championship in April or the Daytona 500 in February.

ESPN drew a record 18.2 million total viewers for the contest, according to Nielsen, making it the most-watched soccer game ever on the network and its most-watched non-football program ever.

Another 6.5 million tuned in on Univision, bringing the total audience for the game to 24.7 million viewers.

To put that in perspective, no NBA finals game drew that many viewers this year.

And Nielsen isn’t even measuring the great crowds who are turning out at bars and other out-of-home venues to watch the games.

So does this mean we’re suddenly a soccer nation? Is all that talk about how Americans just can’t appreciate the beautiful game a bunch of hooey?

The answer: Not exactly.

Yes, there definitely are more soccer fans than there were a decade ago, for two simple reasons: There’s a bigger Hispanic population, with whom soccer tends to be much more popular, and there are more people who played soccer as kids, making it less of a fringe sport.

But the really reason for the World Cup’s popularity isn’t about the sport itself. It’s about national unity.

People are watching the games to support the U.S., much as they watch the Olympics and become fanatical about sports they’ll never care about again in their lives, like curling, beach volleyball, table tennis or trampoline.

The World Cup is unique because it’s as much about national pride as it is about the sport being played. There’s no other tournament like it; the scope is much bigger than the World Series of baseball, and there’s a team aspect to it unlike individual sports in which other professional athletes compete, like tennis or golf.

So while ratings for the World Cup may be huge, that doesn’t necessarily mean that ratings for Major League Soccer are about to take off.

The same thing happened in 1994, when the U.S. hosted the World Cup and pundits declared we had become a soccer nation. That wasn’t true then and it’s not true now, but that hardly matters to ESPN or Univision.

What matters is that the U.S. is poised to advance to the next round, which would mean more highly rated games.

* * * *

In cable ratings for the week ended June 22:


Top five networks in primetime (18-49s): ESPN, TBS, USA, Adult Swim, FX.

Top five networks in primetime (total viewers): ESPN, TNT, USA, Disney Channel, History.

Top five cable news networks in primetime (25-54): Fox News Channel, CNN, MSNBC, HLN, CNBC, FBN, Al Jazeera America.

Top five cable news programs (total viewers): 1. Fox News Channel’s “The O’Reilly Factor” (Monday, 8 p.m.); 2. Fox News Channel’s “The O’Reilly Factor” (Thursday, 8 p.m.); 3. Fox News Channel’s “The O’Reilly Factor” (Wednesday, 8 p.m.); 4. Fox News Channel’s “The O’Reilly Factor” (Tuesday, 8 p.m.); 5. Fox News Channel’s “The Kelly File” (Wednesday, 9 p.m.).

Top movie (total viewers): Cartoon Network’s “Shrek 2″ (Saturday, 6 p.m.) 2.66 million.

Top sporting event (total viewers): ESPN’s “World Cup: USA/Portugal” (Sunday, 5 p.m.) 13.77 million.

Shows making the top 10 among 18-34s, 18-49s and 25-54s: VH1′s “Love & Hip Hop: Atlanta” (Monday, 8 p.m.); USA’s “WWE Raw” (Monday, 10 p.m.); ESPN’s “World Cup: USA/Portugal” (Sunday, 5 p.m.); ESPN’s “World Cup: Ghana/USA” (Monday, 5:30 p.m.); ESPN’s “World Cup: Germany/Ghana” (Saturday, 2:30 p.m.); ESPN’s “World Cup: Nigeria/Bosnia-Herzegovina” (Saturday, 5:30 p.m.).

Show on the rise: E!’s “Keeping Up with the Kardashians,” Sunday, 9 p.m. The long-running reality show jumped 21 percent week-to-week among 18-34s, from 834,000 to 1.01 million.

Show on the decline: A&E’s “Duck Dynasty,” Wednesday, 10 p.m. The reality show averaged 1.96 million viewers 25-54, down 20 percent from the previous week’s 2.44 million.


http://www.medialifemagazine.com/world-cup-well/
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post #95162 of 98524 Old 06-25-2014, 11:22 AM
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TV Review
'Mystery Girls' (ABC Family)
By Allison Keene, The Hollywood Reporter - Jun. 25, 2014

The highlight of ABC Family's new three-camera comedy Mystery Girls is its meta appeal. The show, conceived of by Tori Spelling, reunites Spelling with her 90210 co-star Jennie Garth, who both play former co-stars of an extremely popular 1990s TV show (sound familiar?), called "Mystery Girls." The jokes that stem from there, including references to a fictitious Z-list reality series called "Celebrity Beekeeper," as well as an obligatory Shannen Doherty mention, come off not as too cutesy, but as sincere callbacks to their own careers and experiences.

Spelling is at her most hyperactive as the ditzy Holly Hamilton, who doggedly clings to her former fame (a familiar joke with Spelling that she readily acknowledges), while Garth remains calm as straight-woman Charlie Contour, who is now a suburban housewife and mother. The two have been estranged for the 14 years since the show concluded, but Holly still dreams of reuniting them in a way that would return the Mystery Girls to glory.

Early in the pilot, she gets the chance. A young man, Nick Diaz (Miguel Pinzon) has witnessed a mob hit, but refuses to give his statement to anyone except the Mystery Girls. That kind of delusional-super-fan touch is part of what makes Mystery Girls' self-awareness work, just like when Holly and Charlie are reunited, and Holly forces a selfie on her, hashtagging it as a reunion. Naturally, it goes viral, and even Charlie's family is excited that she's back in the spotlight. Galvanized by the attention and the fun the two have together, they decide to resurrect "Mystery Girls," but as a real crime-solving agency.

It seems that henceforth Mystery Girls will turn into a kind 40-something-year-old Nancy Drew series, as the pilot finishes up with Charlie and Holly working out the particulars of their new office, and taking their first case (a missing show pug). The series doesn't need a laugh track, but both Spelling and Garth worth with it like pros, with comedic timing that catches all the right beats. And, like their characters, the two have an easy rapport that makes it seem like they're actually having fun.

Despite some nice riffs about Lifetime Originals (which Spelling has indeed appeared in) as well as Holly's family selling her out to TMZ for a $50 tip, most of the pilot's jokes are broad, and none more so than those surrounding Diaz as an over-the-top gay character, whose sole purpose seems to be fawning over Holly and her outfits from "Mystery Girls'" early seasons.

That is an easy fix, though, and the rest of Mystery Girls flows by breezily, with plenty of one-liners and room to grow, never asking more of its audience than to just sail along and have fun. Spelling is not afraid to make fun of herself (not only as the proud winner of "Celebrity Beekeeper," but also for being mistaken repeatedly as a sex worker), and Garth does a great job of grounding Spelling's often over-exuberant acting. "We weren't real detectives," Charlie says to Holly, trying to talk her out of the business venture. "But we were a real team," Holly replies. Spelling and Garth were and are. Mystery Girls is silly, with broad humor, but the nostalgic appeal of these two broads being back together is no mystery.

MYSTERY GIRLS
The Bottom Line: Playing up the meta appeal and jokes related to Spelling and Garth working together again, 'Mystery Girls' is silly and harmless fun.
Airdate: 8:30 p.m. Wednesday, June 25 (ABC Family)


http://www.hollywoodreporter.com/rev...-review-714446
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post #95163 of 98524 Old 06-25-2014, 11:33 AM
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Critic's Notes
Vulture TV Awards: The Best Sketch of the Year Is on Inside Amy Schumer
By Jesse David Fox, 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. Following up on his picks for Best Late-Night Moments is Vulture writer Jesse David Fox presenting his choices for Best Sketch of the Year.

America's interest in sketch comedy tends to go in waves, and right now it feels like we are in an unprecedented surge, not only with more sketch shows, but with a more diverse assortment of sketch shows. We did a list of the best Saturday Night Live sketches a few weeks ago, so for our TV awards, we thought we'd highlight the best of the rest. Here are 12 of the best. [CLICK LINK AT BOTTOM TO SEE YOUTUBE CLIPS]

12. Inside Amy Schumer, "Animal Rescue Hotline"
There is a reason Amy Schumer won Best Female Comedy Performer earlier in the week. She's great on Inside Amy Schumer. But she is great in a different way from a lot of other sketch performers on the list, whether they are Fred Armisen, Nick Kroll, or Key & Peele. Amy Schumer excels at playing herself more than anything else. She's doesn't create fully realized, absurd characters; she just examines the world through her nuanced comedic persona. "Animal Rescue Hotline" showcases just that, by presenting someone who wants to care about animals but doesn't actually want to — the well-intentioned *******, if you will.

11. Comedy Bang! Bang!, "Tear Down"
Comedy Bang! Bang! is a weird hybrid of a show — part late-night-show parody, part sketch show. Though the interviews are sketches in a way, the show's true sketches are often fantastic.
Comedy Bang! Bang! particularly excels at bringing new life to the reality-show parody, as is the case with "Tear Down." Host and creator Scott Aukerman, who used to write on Mr. Show, knows exactly how to kill a joke so thoroughly that it becomes funnier than before.

10. Portlandia, "Social Bankruptcy"
In Portlandia's fourth season, Carrie Brownstein really came into her own as an actress, especially in roles where she's playing a version of herself. "Social Bankruptcy" highlights that. She captures the overwhelming frustration yet addiction to social media that is seemingly inescapable these days. Well, there's one way out, but it has a Twilight Zone–esque ending.

9. The Birthday Boys, "Too Many Terms"
One of the Birthday Boys' most frequent targets of satire is satire, often making fun of the idea that comedy should say something. "Too Many Terms" is a brilliant anti-comedy in which a bunch of bankers just say seemingly legitimate finance terms at each other. The payoff is the lack thereof.

8. Key & Peele, "Insult Comic"
Key & Peele tends to be the most structurally tight sketch show out there (I'll get into that further down the list), but "Insult Comic" is a little bit rougher around the edges. Peele's character, with his burns and pain medication, is in a horrific situation, and they let the gravity of that raise the stakes. Tasked with having to make fun of him, you end up feeling more sympathetic for the comedian. Feeling for the comedian over the man with face burns — that's good comedy writing.

7. Kroll Show, "Dr. Armond – 'Can I Finish'"
It's hard to categorize Kroll Show as a sketch show. It's more of a sketch-sitcom hybrid. He tells long-term stories in sketchlike settings with sketchlike characters, creating something wholly unique. As a result, it's difficult to pick out one moment. "Can I Finish" is a reccurring bit, parodying the extreme of cable-news talking heads, and here it is applied to the story of Dr. Armond's trial. Due to the nature of the structure of "Can I Finish," you get a quick look at so much of this universe so quickly.

6. The Birthday Boys, "Keepin' the Beat"
As mentioned before, the Birthday Boys are opposed to comedy that feels too heavy. This results in sketches often about the most minute observations. "Keepin' the Beat" does an incredible job at capturing the personality of every drummer — regardless of the seriousness of the band. Beware: That song will get stuck in your head.

5. Portlandia, "The Best Part Is Going Home"
Concerts are terrible, and this Portlandia sketch perfectly captures this fact. But there is more to it. Ultimately, it's a trenchant portrayal of getting older and your priorities changing.

4. Inside Amy Schumer, "The Food Room"
"Food Room" will be studied in sketch-writing classes for years to come. It is a perfect Aaron Sorkin parody. There's not much more to say.

3. Comedy Bang! Bang!, "Movie Trailer"
Sometimes a bad joke done on purpose is a good joke. It's not everyone's cup of tea, but this fake movie trailer nails it. Made up of a series of very, very dumb plays on words, the comedy is able to get more and more absurd while sticking to the silly premise of a trailer that uses movie-review clichés and takes them very literally. It is brilliant and so stupid.

2. Key & Peele, "Mr. T PSA"
As I alluded to before, no one writes a tighter sketch than Key & Peele. With Ian Roberts, one of the founders of the Upright Citizens Brigade Theatre, as co-showrunner, the sketches hold very true to the improv school's idea of "game." The sketch establishes the unusual thing — in this case, Mr. T is doing a PSA, but he's only teaching lessons that apply to him — and then very deliberately heightens the specific premise a few times. Not much time is spent meandering and letting the premise sink in; instead, they hit the concept with laser precision. This one stands out for how tragic Peele's Mr. T is.

1. Inside Amy Schumer, "A Very Realistic Military Game"
Sketch shows tend to have moments. Key & Peele and Portlandia had them in their first seasons, and Inside Amy Schumer had one this year. It's that palpable feeling of relevance. "A Very Realistic Military Game" was one of the sketches that broke out, and it's easy to see why. It is an impressive piece of comedy, taking a dark subject and not really letting up, allowing the severity to stay there. Still, it expertly balances tone, making sure there's enough laugh lines and things are presented silly enough that it doesn’t feel like a lecture. It is Inside Amy Schumer at its best: unflinching, no holds barred, hilarious.

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

* * * *

TV Notes
Vulture TV Awards: Damon Lindelof on the Year’s Best Plot Twist
By Damon Lindelof, 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 a particularly iconic TV villain. Amy Sherman-Palladino discussed the dialogue of Sherlock. Up next: Damon Lindelof, the executive producer of HBO’s upcoming drama The Leftovers singles out a moment from House of Cards as his pick in the Best Plot Twist category.

As told to Jen Vineyard.


[Warning: The rest of this article discusses major plot points from season two of House of Cards and season four of Game of Thrones. If you haven't yet watched those, come back later.]

Spoiler!


http://www.vulture.com/2014/06/vultu...#photo=1x00004
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TV Review
HBO's 'The Leftovers' a tour de force of devastation and grief
Damon Lindelof and Tom Perrotta brilliantly adapt Perrotta's novel about a Rapture-like event
By Alan Sepinwall, HitFix.com - Jun. 25, 2014

What divine madness could have possibly compelled Damon Lindelof to involve himself with "The Leftovers"?

Why would the co-creator and longtime showrunner of "Lost," who endured so much public abuse because of that series' finale, decide that his next TV project would be a complicated story marked by despair, spirituality and a complete lack of answers to a sweeping cosmic mystery — in other words, three of the things "Lost" fans tended to hate the most? Why would he work with Tom Perrotta to adapt Perrotta's novel about a Rapture-like event, and find a way to make what was already a dark and melancholy story feel so unsparingly bleak that, when I described the show to my wife, she responded, "It doesn't sound like it's a real show. It sounds like it's a psychological experiment Lindelof did to see how many TV critics he could get to commit suicide"?

Maybe it's masochism. Lindelof finally quit Twitter last fall (appropriately, on the date of the show's mysterious Departure), after spending three years flagellating himself in response to the tweets of "Lost" finale haters, and perhaps he needed another source of pain and discomfort.

Or maybe he was drawn to "The Leftovers" — a show that in many ways feels even more deserving of the title "Lost" than that one about the island filled with polar bears, pirate ships and ranch dressing — because he saw in Pertotta's book the chance to do something truly special. Maybe he saw a way to get at many of the same concerns that suffused "Lost," but without the same sci-fi trappings and mythological obsessions that eventually swallowed that show's reputation whole. Maybe he saw a way to take advantage of being on HBO and tell the rawest, most unflinching, most ambitious version of this story — a meditation not only on loss and grief, but on fundamental questions of the meaning of life, death and whatever cosmic force may have placed us here — and not worry in the slightest about commercial considerations, or about raising the ire of all the people who still want to complain about the outrigger, the sideways universe and the numbers.

Maybe he saw the opportunity in "The Leftovers" to make something great. Because he sure as hell has.

Even in a television landscape that includes "The Walking Dead," "Hannibal" and HBO's own "Game of Thrones" — dramas so committed to a violent, despairing worldview that they all but dare you to keep watching — "The Leftovers" (it debuts Sunday night at 10) is a show that will make some of its viewers want to slit their wrists. Many will hate it. But there will be viewers in whom it strikes a chord so deeply that they will feel themselves overwhelmed by it in the best possible way: not like they're drowning in the misery, but like it's teaching them a new way to breathe.

The story, as in Perrotta's book, involves a mysterious event in which two percent of the world's population simply vanishes, the missing chosen seemingly at random, with no accounting for race, nationality, age, gender or creed. It is the Rapture, but not in any way the Scriptures have described, and no one knows what to make of it — least of all the traditional representatives of organized religion, who have thrown up their hands at the whole thing, and who have been elbowed aside by unsettling new religious orders.

Of the show's main characters, one has joined a cult called the Guilty Remnant, whose members dress all in white, chain smoke as a sacrament, communicate only through handwritten notes, and silently stand in judgment of the people around them who have attempted to go on with their lives as if this world-shaking cataclysm never happened. Another has become the acolyte of a charismatic man who claims to be able to "hug the pain out of people." And another is an Episcopal minister who has taken it upon himself to hand out fliers detailing the many sins of the disappeared, in hopes they won't all be viewed as saints (or, as they are officially designated by government bureaucracy, "heroes").

The bulk of the action takes place three years after the disappearances, in a world that has seemingly gone back to normal, but with cracks everywhere in society's foundation. The lack of an explanation for the departure, or even a pattern of those who left, is driving everyone else a little mad. No one knows what this means, for either those who were taken or those who weren't, and so some grow numb (the first episode features the least sexy teenage sex party in the history of filmed entertainment), while others lash out. (Though the violence isn't nearly as frequent as on most of its HBO colleagues, it is very graphic when it comes; Peter Berg, who directed the first two episodes, clearly wants you to feel the difference between the more traditional forms of death and the silent, bloodless, mysterious departures.)

The questions the show's characters have are the same ones we grapple with in the real world every day — Why are we here? Why do bad things happen to good people? What happens when we die? Is there any order lurking underneath all this chaos? — but brought into sharp focus by the very public and baffling event that has transformed this fictional universe. To the people of "The Leftovers," God is unquestionably real, even if He (or She, or It) may not be quite as we've been told for centuries. And proof of God's existence provides no answers, but only more questions.

In that way, it is very much like "Lost," even though the shows on the whole could not feel more different. The characters on "The Leftovers" are curious about what caused the departure, and what it all means, but the series itself has no interest in either of those questions. It simply wants to explore what it would feel like to go through an experience like this — even if the answer, fairly consistently, is "Just terrible, thank you."

Our guide to all this madness — and someone possibly in its grip — is Kevin Garvey (Justin Theroux), police chief of the fictional New York hamlet of Mapleton. Kevin did not, as far as we know at the series' beginning, lose anyone in the Departure, but it has shaken his life and family to pieces. He is trying to maintain order in a place where everyone is confused, and angry, and the show smartly toys with Theroux's likeable, sturdy screen presence by hinting that there may be something seriously wrong with Kevin. It's a complex, riveting performance that basically allows for any interpretation of the character to be revealed as valid down the line, which isn't an easy thing to pull off.

As Laurie, a local woman who has joined the Guilty Remnant, Amy Brenneman is extraordinary. It is a wordless performance, and the nature of the cult generally leaves its members with only two expressions — smug secretiveness and withering disdain — and yet she finds a world of emotion in the silence and the stony looks, and along the way helps you understand why anyone would abandon their lives to join this menacing pack of loons. And as Matt, the minister handing out all the fliers about the sins of the departed, Christopher Eccleston is a marvel of cheerful perseverance in the face of overwhelming anger and mockery.

Berg has always been an expressionistic director, but usually in a jittery fashion that give his other films and TV shows (including both versions of "Friday Night Lights") the feel of a documentary. "The Leftovers" is more classically composed, and yet it is every bit as much of an immersive experience as going to the football fields of Dillon, Texas. This show's broken world is a hard one to shake off, and for me a hard one simply to step away from. In the age of second and third screens, social media and push alerts, it becomes difficult to sit through an episode of even the best shows on television without feeling the siren call of my inbox or my Facebook wall, yet I wanted to do nothing while watching each episode of "The Leftovers" (HBO made four of the first five available to critics) than to finish it — not to hasten the end of an unpleasant experience, but to keep from breaking the show's emotional spell.

I realize this spell will elude many, who will turn off the show shaking their heads about the depressing tone, or at Lindelof for again giving us a group of disparate survivors of a tragedy, grappling with mysteries he'll never be able to explain to his audience's satisfaction. (Not that he wants or needs to in this case.)

I imagine Lindelof could have tried for a more commercial take on the material, one that wasn't so relentless in its sense of doom, maybe one that mixed in some wisecracks (maybe Wayne the magical hugger could give people nicknames right before wrapping them in his powerful arms), and a genuine attempt to get to the bottom of what caused the Departure. But anything short of the approach Lindelof, Perrotta, Berg and the rest took would ring false. This is a show about grief, and how and why we move on from it — or how we can't let go of it — and it has to put you through the wringer in confusing, uncomfortable fashion if it has any hope of working.

Maybe a more overtly "Lost"-y approach would make the tent a little wider, but then it would be a show where a lot of people would say "I'm not sure what to make of this, but, um, maybe I'll keep watching? Because HBO?" This way will be more polarizing than anything Lindelof did on ABC, and many viewers may find it tougher to get through than the episode where Jack got his tattoos. But viewers who find themselves on the right emotional wavelength for what "The Leftovers" is doing will find themselves becoming (sorry) lost in it, even in the face of friends and loved ones shaking their heads and trying to slip Prozac into their smoothies.

Maybe believing that there's an audience for this show, however selective even within the HBO universe, makes me as much of a holy fool as Reverend Matt, or as Lindelof himself. But I believe in "The Leftovers." And I want to see more of it. Now.

http://www.hitfix.com/whats-alan-wat...ef/single-page
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post #95165 of 98524 Old 06-25-2014, 03:18 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!
So it sounds like Extant might be worth watching? The previews didn't do anything for me.


I am looking forward to watching "The Leftovers". FiOS is suppsoed to have a free HBO preview this weekend. So if I like it then I hope the 50% off offer for a year is still valid so I can sign up for HBO again.

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I'll letcha know if I get time to see it before it airs. Assuming it's still on the server.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #95167 of 98524 Old 06-25-2014, 03:24 PM
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Quote:
Originally Posted by dattier View Post
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.
Oh really! I do not watch CBS, NBC, or Fox networks, so I do not see their promos. I see some ABC promos because I watch the local ABC affiliate's news, Jimmy Kimmel and Nightline. I see the CW promos because I capture the sat feed for them.

As for it not being a plot point, who says that it isn't? We'll have to watch the series to determine that.

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Originally Posted by DrDon View Post
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.
You watched the pilots via a disc. I'm assuming that it was a DVD. Ouch, 480i video. I watched all of them via 1080p (1080i IVTC to 1080p).

As for Extant, it was just released to the affiliates on Monday.

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Originally Posted by mrvideo View Post
As for it not being a plot point, who says that it isn't? We'll have to watch the series to determine that.
I think he meant "one of those plot points people would be upset by if you didn't put spoiler tags around it." Yeah, it's the well-publicized title animation.

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So it sounds like Extant might be worth watching? The previews didn't do anything for me.
For me, it has an interesting start. We'll see if the next few episodes can keep up the suspense as to what happened on the station and where they go with the other major plot line.

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I think he meant "one of those plot points people would be upset by if you didn't put spoiler tags around it." Yeah, it's the well-publicized title animation.
Not having seen the CBS promos, I didn't know that they were showing the complete title sequence. So, I considered it a plot point. To me, it is a plot point, in that it will become part of the reveal as to why the pregnancy. Oh well.

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CBS Sports has added former NFL official Mike Carey to its broadcast team for Thursday Night Football, which airs on CBS and NFL Network.
Carey will also contribute to The NFL on CBS coverage on Sundays during the NFL season.

Carey's duties will be to provide rules analysis, interpretation and explanations on Thursday nights from the game site, as well as NFL Network's studio in Culver City, Calif., and on Sundays from the CBS Broadcast Center in New York City.

http://www.cbssports.com/nfl/eye-on-...broadcast-team


This is good basically CBS is copying Mike Pereira from FOX.

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Only 3 weeks from friday the bills open training camp.
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AEREO thread

I'll log onto the company servers tonight.
Hope that irs dude aint in charge of those servers too.

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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 26, 2014

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

The third and final game played by the U.S. team in Group G, the so-called “Group of Death” because of its competitive toughness, is televised by ESPN today at noon ET, preceded by a 30-minute pregame show. The previous U.S. game was a thriller down to the last minute – and beyond, since it was in the final minute of bonus time that a goal by Portugal robbed the U.S. of victory, and an automatic trip to the knockout round. Now the U.S., like Germany, has to play today’s game to advance – but will do so with either a win or a draw, and Germany pretty much moves on no matter what. Even if the U.S. loses, though, there are ways for the team to advance based on the outcome and score of the other Group G match, but root for a win, or a tie, just to make it simple. Then, at 4 p.m. ET, ESPN presents a Group H game, Korea Republic vs. Belgium. Belgium has qualified for the next round already, while South Korea needs to win this game, and get some help from other teams in its group, to have a chance.

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

The first game shown today on ESPN2 is Group G’s Portugal vs. Ghana. Fans with a rooting interest in the U.S. should back Portugal in this game, because the U.S., even with a loss to Germany, probably will emerge with the edge in the goal-differential tiebreaker. Both of these teams, though, need Germany to win, and many other things to happen, before they can move on. Then, at 4 p.m. ET in Group H, Algeria plays Russia. Algeria advances if it wins, while Russia has to win this game, plus get some help from other Group H outcomes.

THE SIXTIES: "A LONG MARCH TO FREEDOM"
CNN, 9:00 p.m. ET
Part 5.
A Long March to Freedom examines and recounts the civil rights battle as it exploded in the 1960s – a tall order, and one which already has sparked an excellent documentary series of its own (PBS’s Eyes on the Prize). But The Sixties, thus far, has found a way to mine local TV footage to look at old stories in new ways, so expect the same here.

RECTIFY
Sundance, 9:00 p.m. ET

Last week’s Season 2 premiere took place with Daniel (Aden Young), the death row inmate freed after 19 years in prison because of overturned evidence, in a coma after his brutal beating. In this episode, he emerges from that coma – if not, there’s no series, so don’t yell “Spoiler Alert!” – and faces an even more traumatic return to society than when he first was released from prison.

NY MED
ABC, 10:00 p.m. ET
SEASON PREMIERE:
This ABC medical documentary summer series returns tonight, with another set of intertwined stories observing patients, physicians and caregivers at specific New York area hospitals. As with previous outings, the stories are told patiently and artfully, and everywhere the camera turns, it captures humanity at its most unvarnished. This is not reality TV – it’s reality, on TV. And this season, I set a personal record, and didn’t cry until midway through the second hour.


http://www.tvworthwatching.com/

* * * *

TV Notes
ABC's 'NY Med': Just What The Doctor Ordered
By David Bianculli, TVWorthWatching.com - Jun. 26, 2014

ABC’s [color="red"]NY Med[color] is the type of nonfiction series that makes you appreciate life. And at the same time, it also succeeds at making you appreciate television…

NY Med, which returns for another limited summer run Thursday at 10 p.m. ET, has more than proven itself in previous incarnations. It’s not a reality show, though it’s often labeled as one. NY Med, like previous variations on the same theme by executive producer Terence Wrong, is a documentary series. It’s nonfiction TV the way it used to be made, back when networks took their prime-time news specials seriously: with lots of filming, lots of commitment, and lots of patience.

And, in the case of NY Med, lots of patients.

The title NY Med, actually, is a misnomer, since the series also spends time in New Jersey – at the trauma wards of Newark’s University Hospital – as well as such New York venues as Manhattan’s New York-Presbyterian Hospital, Roosevelt Hospital and St. Luke’s. No matter where the hospital is located, though, the premise is the same: No one knows what’s going to transpire on any given day.

And the crews of NY Med were on hand to observe for many, many given days. Off and on, about two years’ worth.

The beauty, and value, of this type of commitment is immediately and constantly evident. In case after case, we see not only the initial diagnosis, but the progress of the patient over days, weeks, even months – if there is progress. And we see these stories not only from the points of views of the patients, but those of their loved ones and the doctors and nurses. Everyone is humanized, but no one is canonized or demonized.

“We’re all about fixing you,” one young doctor explains to the camera, “whether you’re a high-powered CEO or a homeless guy.” The patient he and his fellow staffers had just expended so much care and energy trying to help was, indeed, indigent – and his treatment did, indeed, reflect that altruistic sentiment.

Some of the cases presented in NY Med – at least in the six hours provided for preview – are gripping life-and-death stories, packaged with the same intensity of an episode of ER or Grey’s Anatomy, but without the scripted artifice. In fact, the musical interludes have been toned down this season, making NY Med even more straightforward. This is a series that respects its audience, as well as its subjects.

The only big name on camera in this series, in TV terms, is Dr. Mehmet Oz, in a return appearance. It’s a relief to see him, and I presume for him it’s a relief to be seen, as a practicing, caring physician, rather than as someone embroiled in a controversy over espousing the medical merits of green coffee.

Debbie Yi, another doctor remembered well from the previous round of NY Med, is back, too – and, once again, floors me wth her personal story and dedication.

But every doctor, and every nurse, is shown here not only in a positive light, but in an unblinking one. These caregivers are shown and followed, warts and all – sometimes exhausted, sometimes uncertain, and sometimes unsuccessful. Welcome to real life.

One emergency room nurse is being photographed by the NY Med crew, in the middle of a typical shift, when she’s thrown a curve that neither she nor the documentary crew could predict. She’s fired, suddenly and summarily, for having posted a cellphone photo of the ER after a particularly bloody evening of trauma treatment. One minute she’s in the hospital, caring for patients. The next minute, she’s out on the curb, quite literally.

The patients, too, will get to you. The young Marine who collapses the week after completing boot camp, and learns he has a dangerously enlarged and inefficient heart. The nurse who has her own heart issues. The young man who was violently beaten while trying to protect his fiancé during a home invasion – and the ER that treated them both, separately. And if these stories don’t get you, others will.

NY Med works so well because of its taste, time and effort, and its overall determination to make a quality TV documentary series that matters. Achieving something this good requires a belief that the result is worth the expense and the commitment, but only by spending this type of time and money can something like NY Med appear on television. It’s a simple equation that most networks today avoid, in which effort expended equals excellence achieved. It’s not brain surgery.

Except, as on NY Med, when it is...

http://www.tvworthwatching.com/BlogP...px?postId=7657

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WEDNESDAY'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 Overnights (18-49)
A slight gain for ‘Big Brother’ premiere
By Toni Fitzgerald, Media Life Magazine - Jun. 26, 2014

“Big Brother” can still draw a crowd in its 16th year.

The CBS reality show returned to slightly higher ratings than last year with Wednesday night’s premiere.

The program averaged a 2.3 adults 18-49 rating, according to Nielsen overnights, up a tenth from its 2013 bow.

That was easily the top show of the night on broadcast, with NBC and ABC’s schedules peppered with repeats.

The return of “Brother” appeared to take a bite out of Fox’s “So You Think You Can Dance,” which posted a 1.4 from 8 to 10 p.m., falling 18 percent from last week’s season high.

Elsewhere last night, the new drama “Taxi Brooklyn” posted a 1.0 for its debut at 10 p.m. on NBC. While not a big number, it was enough to win the hour comfortably over CBS and ABC.

“Brother” lifted CBS to a nightly victory over usual Wednesday winner Fox.

CBS was first for the night among 18-49s with a 1.5 average overnight rating and a 5 share. Fox was second at 1.4/5, Univision third at 1.3/4, NBC fourth at 1.2/4, ABC fifth at 0.9/3, Telemundo sixth at 0.6/2 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.

CBS began the night in the lead with a 2.3 at 8 p.m. for “Brother,” followed by Fox with a 1.4 for “Dance.” NBC was third with a 1.2 for a repeat of “America’s Got Talent,” and Univision and ABC tied for fourth at 1.0, Univision for “De Que Te Quiero, Te Quiero” and ABC for reruns of “The Middle” and “The Goldbergs.” Telemundo was sixth with a 0.5 for “La Impostora,” and CW seventh with a 0.2 for a repeat of “Arrow.”

At 9 p.m. NBC, Fox and Univision all tied for first at 1.5, NBC for more “Talent,” Fox for more “Dance” and Univision for “Lo que La Vida Me Robo.” CBS was fourth with a 1.3 for a repeat of “Criminal Minds,” ABC fifth with a 1.1 for repeats of “Modern Family” and “Goldbergs,” Telemundo sixth with a 0.6 for “En Otra Piel,” and CW seventh with a 0.2 for a rerun of “The 100.”

Univision led at 10 p.m. with a 1.3 for “Que Pobres Tan Ricos,” with NBC second with a 1.0 for “Taxi.” CBS and Telemundo tied for third at 0.8, CBS for a repeat of “CSI” and Telemundo for “El Señor de los Cielos,” and ABC was fifth with a 0.7 for “Motive.”

CBS was also first for the night among households with a 3.9 average overnight rating and a 7 share. NBC was second at 3.7/7, Fox third at 2.8/5, ABC fourth at 2.4/4, Univision fifth at 1.6/3, Telemundo sixth at 0.9/1 and CW seventh at 0.7/1.

http://www.medialifemagazine.com/sli...ther-premiere/

* * * *

Nielsen Notes (Cable)
Cable overnights: Ho-hum bow for ‘Tyrant’
By Media Life Magazine Staff - Jun. 26, 2014

FX’s new Middle East-focused drama “Tyrant” will have to build from a mediocre base.

The show premiered to okay but hardly great ratings Tuesday, averaging 2.1 million total viewers, according to Nielsen overnights.

That was down from the 2.65 million who watched another highly touted recent FX premiere, “Fargo.”

“Tyrant” averaged a 0.6 adults 18-49 rating, and it was down 24 percent in the demo from “Fargo’s” bow.

“Fargo” saw very strong DVR playback gains, and certainly the same could be the case for “Tyrant,” a gritty drama about a displaced American family.

Elsewhere on cable Tuesday night, Discovery’s “Deadliest Catch” was the No. 1 original show with a 1.2, up two tenths from last week.

OWN’s “The Haves and the Have Nots” and ABC Family’s “Pretty Little Liars” also grew, up a tenth to a 1.0.

http://www.medialifemagazine.com/cab...um-bow-tyrant/

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TV Sports/Nielsen Notes
Here's Sad Proof Middle America Doesn't Care About World Cup
By Tim Molloy, TheWrap.com - Jun. 26, 2014

Soccer still isn't scoring with Middle America this World Cup.

Have a look at TheWrap's infographic, above and blown up below. [CLICK LINK] Each soccer ball represents one of ESPN's top 25 markets for Sunday's thrilling U.S.-Portugal game, which averaged 18.2 million viewers.

You'll note that almost all the balls are scattered along the coastal states, especially in the densely populated Northeast.

Why? Perhaps because soccer is an international game, and the coastal states are the most convenient places for soccer fans from foreign lands to take up residence. Perhaps they have the strongest ties to the Old World, where soccer is a religion. But we don't really know.

Washington, D.C., a city teeming with people from around the world, or who often travel in the name of diplomacy and shenanigans, was the largest market, with a 13.3 household rating. (It's tough to say what that means in terms of real people, because each market is different. Sorry.)

The one place in Middle America where soccer has truly penetrated is Ohio, which we'll explain in a bit.

Every World Cup — the international competition is held every four years — American fans hope this will be the moment when soccer finally explodes domestically. And each year it gains traction. But as our admittedly snarky graphic shows, soccer isn't going to replace football anytime soon as America's national sport, especially inland. (Yes, soccer fans: I know they call it football everywhere else. I'm on your side.)

In Middle America — which people on the coasts generally describe as “everywhere but the coasts” — soccer still barely registers. Sure, our graphic has a few scattered balls representing Phoenix, Las Vegas, and St. Louis, but none of them were among the top 20 markets for Sunday's game. Two markets that did are Kansas City (No. 13) and Atlanta (No. 7). (Though not coastal, Atlanta is the largest city in a coastal state, for what it's worth.)

Soccer's one bona fide heartland success is Ohio. Columbus was the game‘s No. 2 market in the entire country, and two other Ohio markets, Dayton and Cincinnati, also made the Top 25.

The reason? Again, we can't say for sure. But the last 15 years have made Columbus, Ohio's capital and biggest city, something of a hotbed for the beautiful game. Columbus Crew Stadium, home of Major League Soccer's Columbus Crew, was the first U.S. stadium built specifically for professional soccer in the game‘s modern era. Since opening in 1999, it has hosted 10 U.S. men's soccer team matches, and four consecutive World Cup qualifying matches against Mexico.

Of course, not every Midwestern city can or will build a stadium. But Columbus’ experience shows that the “Field of Dreams” rule may apply: If you build it, they will come. And watch overseas games, too.

Is it fair to make sweeping generalizations about Americans’ viewing habits based on one game? It's arguable. But we would contend that by focusing on the U.S.-Portugal game, we're actually being generous, since it was the most-ever viewed match in the United States.

The U.S. has a big game against Germany on Thursday, but it may not be as widely watched as the Portugal game, because it takes place during business hours. (And Americans work a full eight hours, Europeans! That's why we aren't as good as you at soccer.)

Portugal's team also featured Cristiano Ronaldo, arguably the best player in the world. He's certainly one of the most watchable — Americans are still smarting from his setting up a last-second, tying goal.

Could the middle states embrace soccer if we keep getting games as exciting as Sunday's? Or if our team keeps doing well?

Of course. But we say that every year.

For those who hate looking at soccer balls (perhaps you live in Nebraska), here are ESPN's top 25 household markets for the U.S.-Portugal game, followed by the Top 25 markets for last week's American win over Ghana. As you'll see, the heartland didn't tune in en masse for that game, either.

ESPN's Top 25 Household Household Markets for U.S.-Portugal on Sunday:

1. Washington, DC … 13.3 household rating
2. Columbus… 12.6
3. New York… 12.5
4. Boston… 11.5
5. Hartford & New Haven… 11.3
6. Providence… 11.2
7. Atlanta… 11.1
8. Baltimore… 11.0
9. Norfolk… 10.5
10. Orlando… 10.5
11. Sacramento… 10.5
12. Seattle-Tacoma… 10.2
13. Kansas City… 10.1
14. San Diego… 10.1
15. West Palm Beach… 10.1
16. Cincinnati… 9.6
17. Los Angeles… 9.4
18. Miami-Ft. Lauderdale… 9.4
19. San Francisco… 9.2
20. Philadelphia… 9.2
21. Las Vegas… 9.0
22. Dayton… 8.9
23. St. Louis… 8.7
24. Phoenix… 8.6
25. Jacksonville… 8.4

ESPN's Top 25 Household Markets for U.S.-Ghana on June 16:

1. Washington, DC… 11.8
2. New York … 10.2
3. Hartford and New Haven… 10.1
4. Boston… 10.0
5. Columbus… 8.9
6. Baltimore… 8.7
7. Providence… 8.4
8. Orlando…8.3
9. San Francisco… 8.1
10. Norfolk… 7.8
11. San Diego… 7.7
12. Atlanta… 7.6
13. Jacksonville… 7.6
14. Richmond-Petersburg… 7.5
15. West Palm Beach… 7.5
16. Kansas City… 7.4
17. Cincinnati… 7.3
18. Philadelphia… 7.0
19. Portland… 6.9
20. Miami-Ft. Lauderdale… 6.9
21. Sacramento… 6.8
22. Seattle-Tacoma… 6.8
23. Los Angeles… 6.7
24. Buffalo… 6.5
25. Dayton… 6.5

CLICK INFOGRAPHIC FOR LARGER VIEW [BELOW]

http://www.thewrap.com/heres-sad-pro...p-infographic/
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TV Sports/Nielsen Notes
Here's Sad Proof Middle America Doesn't Care About World Cup
By Tim Molloy, TheWrap.com - Jun. 26, 2014
Or It could be that the game is even more boring and exhausting to watch than .... er ... cricket.
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TV Notes
ABC News Anchor Shuffle: Who, What, When, Where, And Why
By Lisa De Moraes, Deadline.com - Jun. 26, 2014

TV news industry navel lint gazing broke out today as ABC News announced that Diane Sawyer was stepping down as anchor of its evening newscast. Some highlights:

1) Diane Sawyer likes to go out on top. ABC World News won the May sweep in the news demo – the newscast’s first sweep demo win in more than six LisaDeMoraesColumnyears. Last time ABC’s newscast won a sweep was February of ’08, with Sawyer’s predecessor, Charles Gibson. Sawyer took over the show in December of ’09. “Look at Diane’s career – she always likes to go out on top,” said one industry observer. “She won the May book, why not go out on top – that’s very typical of her,” said another.

2) ABC News is trying to split the baby. Giving to David Muir the World News chair, while naming Chief Anchor title and giving him Sawyer’s chair during breaking news events and specials (presidential election coverage, etc.) had navel lint gazers trying to figure out “who won.” Some say Stephanopoulos got “passed over,” but others dismiss that as old school, noting Stephanopoulos co-anchors the news division’s morning show, which is more important these days. (Matt Lauer, the reigning king of morning infotainment TV recently re-signed at NBC’s Today for more than $20 million a year, which eclipses the reported $12 mil a year Sawyer has been making). George Stephanopoulos to the new ABC News logoMuir fans speculate Stephanopoulos’ new Chief Anchor thing is window dressing, and the anchor chair will be filled by whichever man is best positioned at that moment when there is major breaking news, etc.

3) Stephanopoulos wasn’t going to get the evening news gig. The story at ABC News…is GMA surpassing Today for the first time in 16 years,” one industry pundit noted. “Everything they have argued — to the press, to viewers, to people they want to go work [at ABC News], to guest bookings — is about how that show is now No. 1. Anything you say about this has to be looked at through the prism of GMA – it’s by far the most important thing they have going. Virtually nothing else is as important.”

4) So much for ABC News being the showcase for the most accomplished women in TV news. Not so long ago, ABC boasted its news division was home to the most accomplished women in TV news. With Sawyer and Barbara Walters stepping down and stepped, respectively, from their regular gigs, and Katie Couric a thing of the past, today’s hair-tearing was over the return of Three White Guys configuration at the broadcast evening news programs.

5) Muir’s newscast will be more GMA-ish. Muir’s newscast will be more GMA-ish. While Muir is not nearly as well-known a commodity with the public as is Sawyer, or Stephanopoulos, he’s well respected and described by some as more malleable. “World News with David will be a little more like GMA than World News with Diane Sawyer … there’s going to be more of an editorial mix,” speculated one source; others agreed. And, everyone was in lock-step with the notion Muir will young-up ABC’s newscast, because he’s 40, and Sawyer is in her late 60s – and NBC’s Brian Williams and CBS’ Scott Pelley are in their late 50s.

http://www.deadline.com/2014/06/abc-...tephanopoulos/

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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
10PM - NY Med (Season Premiere)
* * * *
11:35AM - Jimmy Kimmel Live! (Bob Newhart; Nicola Peltz; Spoon performs)
12:07AM - Nightline

CBS:
8PM - The Big Bang Theory
(R - Feb. 6)
8:31PM - The Millers
(R - Mar. 13)
9:01PM - Big Brother
10PM - Elementary
(R - Mar. 6)
* * * *
11:35PM - Late Show with David Letterman (Medal of Honor recipient Lance Cpl. William "Kyle" Carpenter; Mark Ruffalo)
12:37AM - Late Late Show with Craig Ferguson (Jane Lynch; Keke Palmer)

NBC:
8PM - Hollywood Game Night
(R - May 8)
9PM - Undateable
9:30PM - Undateable
10PM - Last Comic Standing
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Jennifer Lawrence; Craig Robinson; a performance from Broadway's "A Gentleman's Guide to Love and Murder")
(R - May 15)
12:36AM - Late Night with Seth Myers (Jonah Hill; Laura Dern; comic Nick Turner)
(R - Jun. 5)
1:37AM - Last Call with Carson Daly (Author Veronica Roth; The Preatures perform; band MisterWives)
(R - Mar. 25)

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. 21)
9PM - Masterpiece Mystery! Endeavour, Series 1: Home (90 min.)
(R - Jul. 28)
10:30PM - Antiques Roadshow: Vintage Tampa
(R - Jun. 23)

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

THE CW:
8PM - The Vampire Diaries
(R - Oct. 24)
9PM - The Originals
(R - Oct. 29)

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Melissa McCarthy)
11:31PM - The Colbert Report (Paul Rudd)
12:01AM - @ Midnight (Harley Morenstein; Grace Helbig; Hannah Hart)

TBS:
11PM - Conan (Joel McHale; film directors Freddie Wong and Matthew Arnold; comic Daniel Sloss)

E!:
11PM - Chelsea Lately (Guest TBA)
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post #95181 of 98524 Old 06-26-2014, 11:15 AM
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TV Notes
Desperate for the Next 'Duck Dynasty': Explaining Reality's Growing Pains
By Lacey Rose, The Hollywood Reporter - Jun. 26, 2014

The only thing more troubling than Duck Dynasty's 46 percent season-to-season ratings slide is that its genre has no heir apparent.

The A&E juggernaut remains cable's reality king, averaging 6.3 million viewers for first-run episodes this year, but its swift decline typifies a challenge for the genre as newer series siphon off viewers yet fail to capture the buzz (or ratings highs) of past breakouts. Duck, which catapulted the Robertson family to fame soon after it premiered in 2012, is arguably the genre's last bona fide hit to emerge, and finding the next one has proved more difficult than ever.

Though executives have publicly cited a crisis of creativity in reality's derivative culture, the bigger culprit is fragmentation. After all, the number of primetime hours devoted to fresh unscripted programming jumped another 16 percent in 2013, thanks in part to a growing crop of new entrants, including CNN, USA and TNT, with unscripted fare now comprising 79 percent of all first-run hours in primetime.

"It's just supersaturated," History executive vp and GM Dirk Hoogstra told THR this year, adding: "You had this proliferation of cable networks, all of them doing reality, all of them chasing the same kinds of shows. Consumers got a little overwhelmed. It's never been more challenging to launch an unscripted hit."

Of the top 10 reality series on cable this year, not one was launched during the past 12 months. In fact, only three (Duck, VH1's Love & Hip Hop: Atlanta and History's Mountain Men) came out as recently as 2012, and No. 9, Discovery's Deadliest Catch, has been on the schedule since 2005 and is enjoying its strongest season in three years.

At the same time, the genre's newer series have had an increasingly difficult time breaking in, with 2013 marking the fourth consecutive year in which the number of cable shows debuting to an audience of at least 1 million viewers in the target 25-to-54 demographic has declined. In fact, only 24 percent of new unscripted cable series averaged north of 1 million, down from 35 percent in 2010. (Broadcast has had its own set of troubles, with NBC's 2011 entry The Voice the last to launch big. )

Another reality veteran notes the genre used to have the advantage of being different, and now so much of it is the same (see: a multitude of series about hoarders, pawn stars and rednecks). "The need for all these hours on so many channels only poisons the well even more," says the executive, "because it creates an ecosystem where the majority of shows blend rather than stand out."

Making matters worse, unscrip*ted series' ability to repeat -- a way not only to establish an audience for a show but also to generate profits -- is no longer as certain in today's crowded landscape. Not that cable's marathon strategy will be abandoned anytime soon, as evidenced by A&E's decision to air Duck Dynasty 1,431 times, not including specials, during the 2013-14 season. But with so many original options elsewhere and multiple viewing platforms on which to watch, repeats of reality programming across the top 20 cable networks are down 9 percent year-over-year.

None of this is to say the genre has lost its status as cable's most dependable workhorse, nor is it to suggest viewers have lost their appetite for reality TV. Much the opposite, with longer-running series including The Real Housewives of Atlanta still notching ratings records and the time devoted to watching unscripted programming on cable up 2 percent this year.

And to the point of Brian Hughes, senior vp audience analysis at Magna Global: "It's so much cheaper to produce than scripted that even if ratings aren't exactly where a network might want them to be, it's a less risky investment to make than if spending $4.5 million on a drama pilot that then ends up failing."

There are signs of potential promise, too, with 2014 newcomers such as Wahlburgers and hip-hop series Bring It! making an impact on ratings for A&E and Lifetime, respectively. One-off stunts featuring such daredevils as Nik Wallenda also have managed to generate big interest and ratings (13 million viewers watched Wallenda's Grand Canyon walk on Discovery in 2013).

And though it's not clear they'll translate to big viewership, quick turnaround series led by Lifetime's True Tori, which film mere weeks before they hit the air, are providing a much-needed fresh take on the genre. The same could be said for the recent cadre of nude-themed shows (VH1's Dating Naked, Discovery's Naked and Afraid), which have managed to generate ink at a time when so much else has been written off.

"It's not like it's a dire situation," says Sam Armando, senior vp and director of strategic intelligence at media-buying firm SMGx, "but there are peaks and valleys in any genre, and we might be experiencing a valley for reality."

http://www.hollywoodreporter.com/new...laining-714361
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TV Notes
ABC News Anchor Shuffle: Who, What, When, Where, And Why
By Lisa De Moraes, TheWrap.com - Jun. 26, 2014
I think it's more like "why spend money on something that's becoming less relevant every day?" Americans just don't watch the evening news as much because they have access to news all day. Morning shows work because those same Americans don't have time to check phones and computers in the mornings. Or at least that's my opinion.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #95183 of 98524 Old 06-26-2014, 11:22 AM
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Technology Notes
Google ramps up Android ambitions
By Jessica Guynn, USA Today - Jun. 26, 2014

SAN FRANCISCO — Google is taking Android beyond smartphones and tablets as it escalates competition with rivals for the next-generation of Web-connected consumer devices.

You can now have the popular mobile software on your wrist, in your car and in your living room as Google aims to be the operating system for your life.

"Google has no intent of ceding any ground to rivals as it reaches well beyond the smartphone base," said Ross Rubin, principle analyst at Reticle Research.​​

Among the announcements Wednesday at its annual software developers conference, Google unveiled two new models of Android-powered smart watches months ahead of its rival Apple.

The Samsung Gear Live and the LG G Watch are now on sale in the Google Play online store. A third watch from Motorola goes on sale this summer.

So that consumers can keep track of their health and fitness on wearable devices, Google introduced Google Fit, its answer to Apple's recently announced Health Kit, a way for developers to create apps that track your exercise, among other things.

Google is also going head to head with Apple with Android Auto, which connects your Android phone to your car. The software is voice-enabled to make it easier to take phone calls, play music and get directions.

And Google debuted Android TV, its bid to grab a seat in your living room. The software will run on smart TVs from a number of TV manufacturers, including Sony and Sharp.

Google had tried to invade the living room with Google TV, a set-top box with clunky software that was widely rejected by consumers. The new Android TV seems focused on software primarily, and a familiar name and interface that consumers already enjoy using.

Danny Sullivan, editor of the Search Engine Land website, says Google realized trying to dictate the hardware was a mistake. "Android TV shifts the focus to the software, making it easier for anyone to integrate into their own boxes and devices," he said.

Other analysts noted how the tech behemoths are all angling to reach consumers no matter where they happen to be.

"Each device reinforces use and adoption of the others. This used to be Apple's specialty, but Google is quickly mastering this approach," said Greg Sterling, an analyst with Opus Research.

Analyst Jan Dawson at Jackdaw Research said Google's vision for increased integration across platforms echoes a theme from both Microsoft's Build developer conference and Apple's WWDC conference.

"What's striking is the way each of these three major companies — Google, Microsoft and Apple — are seeking to participate across four key domains: the home, the car, the body and the mobile world at large," Dawson says.

Google shares had risen ahead of Google I/O and closed Wednesday at $578.65, up 2.5%.

Contributing: Nancy Blair and Jefferson Graham

http://www.usatoday.com/story/tech/2...e-io/11360023/
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post #95184 of 98524 Old 06-26-2014, 11:29 AM
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TV Review
'Girl Meets World' marks a switch in the Disney program
By Robert Lloyd, Los Angeles Times - Jun. 26, 2014

In that other country called the 1990s, on a network called ABC, Friday nights were dedicated to family viewing — "TGIF" was the name of the programming block, and though it has been fitfully revived and abandoned in the 21st century, you will not likely see its like again, family viewing itself having become a thing of the past in the each-to-his-own-niche world of modern multi-platform screen-watching. Which is to say, life.

Disney Channel, whose tween-to-teen narrowcasting exemplifies this state of affairs, acquired ABC in 1996 and with it "Boy Meets World, " a top TGIF performer for seven seasons from 1993 to 2000 and in continual reruns since. Friday, appropriately, it issues a sequel, "Girl Meets World"; for many viewers who came of age alongside the first series' characters, "long-awaited" is not too strong a description.

And though it is not exactly in the spirit of the original, it should satisfy any "Boy" fans eager to see it. Younger viewers will just accept the fact that another sitcom has been made in their idealized self-image, and accept it as their due.

In the original, Ben Savage and Danielle Fishel played Cory and Topanga, whom the seasons took from sixth-grade unsuspecting soul mates to on-camera married couple. Now they have children: worried but not worrisome seventh-grader Riley (Rowan Blanchard), the titular girl, and 5-year-old Auggie (August Maturo), who is there to be cute.

That Savage and Fishel are part of the draw and the deal means that they spend more time on screen, and have more substantive things to say and positive things to contribute, than do the parents in most youth-channel sitcoms, where anyone over the age of 30 is around mostly for bumbling comic relief. It is significant perhaps that creators Michael Jacobs and April Kelly, who also invented "Boy Meets World," have never been part of the Nickelodeon or Disney systems, but come from old-school network television and an age of comedies about and for the whole family.

Still, the new series — whose aspect is fundamentally sweet and whose jokes range from the obvious and efficient to the sometimes strange and surprising — feels torn by conflicting impulses.

The central middle-school foursome — Riley, street-smart best-friend Maya (Sabrina Carpenter, who is 15 to Blanchard's 12, and seems it); conventional crush-object Lucas (Peyton Meyer); and moony human cartoon Farkle (Corey Fogelmanis) — have an odd structural resemblance to the central characters of "My So-Called Life." One senses, especially in the pilot, a desire to dig a little deeper, get a little more real, than a Disney Channel sitcom will allow.

I am pretty sure how things will turn out in the battle for this unobjectionable series' soul, and also sure that we are not going to be following Riley and Maya into adulthood. That is not how things roll in Neverland.

'Girl Meets World'
Where: Disney
When: 9:45 p.m. Friday


http://www.latimes.com/entertainment...26-column.html
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Or It could be that the game is even more boring and exhausting to watch than .... er ... cricket.
But for some reason Baseball is popular. Now that can be very boring to watch.

I can't say I've really watched cricket. I know FiOS added an HD channel called "Willow" that is a Cricket channel. But I guess every sport has their own channel now.

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Critic's Notes
Vulture TV Awards: This Year’s Most Disappointing Show Is How I Met Your Mother
By Margaret Lyons, Vulture.com (New York Magazine)

We’re in the midst of our week-long Vulture TV Awards, honoring the best things television served up in the past year. We’ve already singled out Amy Schumer, Julianna Margulies, and others actors for their solid performances, given props to director Cary Fukunaga for a particularly wonderful scene from True Detective, and welcomed David Milch, Amy Sherman-Palladino, and other industry luminaries as guest judges. Up next: Most Disappointing Show by Vulture writer Margaret Lyons.

MOST DISAPPOINTING SHOW: How I Met Your Mother

It's been more than two months since the finale of How I Met Your Mother aired, and yet the dismay and irritation has not worn off. After nine years, the mother died, and it turned out Ted was accidentally telling the story of how he fell in love with Robin — a kind of one-two punch of sad decisions that made the whole series feel like a cruel misdirection. Thanks a lot, show!

The disappointment here comes from a few factors, not the least of which is that HIMYM was once a terrific show. In its later seasons, the quality and earnestness of the series waned, and the series finale was a chance to repackage that decline, to go out on a high note that told fans, "You were right to have stuck by us!" The entire ninth season, painfully and needlessly spent covering only the events of Barney and Robin's wedding weekend, was so sour and unfun that it compounded the confusion and dissatisfaction with the finale — I sat through all of that for this?

I suppose it's bold to kill off the title character on How I Met Your Mother, but that's not really the kind of boldness I'm in the market for. I liked HIMYM's bold silliness, its (early) bold sincerity, its series-long running jokes. I'm not against the show having sad episodes — the one about the death of Marshall’s father is among the best of the series. But killing the Mother just felt so mean and pointless. HIMYM spent most of its run after their dalliance in season one begging us to give up on Robin and Ted as a couple, which got easier when Robin and Barney became a really great comic pair down the stretch. But then the show reneged on that in a single episode. Suddenly, we were being asked not only to root for Robin and Barney to get divorced but for Ted to become a widower, so that Robin and Ted could finally get back together after, what, twenty years?

Of all the shows that didn't need a twist ending, How I Met Your Mother did not need a twist ending. It needed a boost, a really joyous and exuberant exit, and what we got instead was a rushed divorce, and offscreen death, and ferociously awful wig. It still stings.

(Dis)honorable mentions

Downton Abbey: Finally, the rape story line we've all been waiting for...

Homeland: R.I.P., Brody. Too bad it had to end like this.

House of Cards: Turns out things are less interesting without Corey Stoll and Kate Mara!

New Girl: This season wasn't flat because it focused on Nick and Jess as a romantic couple. But it certainly didn't help.

Nashville: Oh, for the love of god, Nashville. Scarlett's meltdown made me yearn for the days of the rich subtlety of Emily Valentine's downward spiral on Beverly Hills 90210.

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

* * * *

TV Notes
The 10 Best TV Shows You (Probably) Didn’t Watch This Season

All week long here on Vulture, we’ve been saluting some of the best and most significant shows, performances, and moments from the past year of television. But not every show can be a banner hit. There are some gems that seem to slip through the cracks, somehow not garnering the attention, adulation, or audience they deserve. Here are the ten best shows you might have missed this season.

Being Mary Jane, BET
In the era of prestige drama — and as often as not, "prestige" drama — we sometimes lose sight of the scintillating joys of the prime-time soap. BMJ stars Gabrielle Union as a successful, glamorous news anchor whose personal and family life is a mess; her boyfriend is married, her folks are kind of crummy, her brother's sobriety is in question, etc. If it's occasionally formulaic, so be it. It can also be gutsy and sexy and the right amount bonkers. (She saves a guy's sperm in her regular freezer in her kitchen. The guy doesn't know. Not okay in many ways!) There's an inclination to compare Mary Jane to Scandal's Olivia Pope — there aren't a lot of shows with black female leads, plus both characters are stylish, enmeshed in adulterous love triangles, and oenophiles. But the more apt comparison for Mary Jane might be Melrose Place's Amanda Woodward: brilliant but a little dangerous, loyal to those on the inside but a seeming villain to those on the outside. If the second season continues the first's upward trajectory, we're in for an exquisitely costumed melodramatic treat.

Trophy Wife, ABC
It's hard to know what's worse: ABC's inability to title shows (see also: Cougar Town) or its baffling refusal to air Trophy Wife in the Modern Family block. Whichever it was, somehow this darling, hilarious series was doomed. R.I.P., Trophy Wife.

Enlisted, Fox
Speaking of wonderful but doomed comedies, R.I.P. also to Enlisted, a show Fox inexplicably squandered. Both Trophy and Enlisted took a not-funny-on-its-face setup (a third marriage; an army base) and populated those worlds with unusually funny and delightful characters. They're also both shows about characters who love one another, giving the world a welcome respite from scream-focused CBS sitcoms about people who hate each other. Brooklyn 99 became Fox's comedy darling this season, but Enlisted has twice that show's heart, not to mention twice the jokes.

The Returned, Sundance
French ghosts! Who doesn't love a French ghost? The Returned, a French import, is set in a small town where one day its dead former residents start reappearing, having no idea that they've died. A teen girl who died in a bus crash years ago shows up at her house, stunned to discover that her twin has aged. A sexy biker dude who died on his way to his wedding can't believe he has a daughter he never got to meet. The show swirls back and forth between intensely realistic emotion-driven moments and a darkly dreamy what-if atmosphere: What if the people we'd been grieving for actually came back? What if it wasn't how you imagined? What if something … ominous was afoot?

Sleepy Hollow, Fox
To be fair, many, many people do watch Sleepy Hollow. But a lot more could and should be — it's a show that's a hit when it could be a phenomenon. Sleepy sounds like the dumbest crapfest in the world: Revolutionary War soldier Ichabod Crane wakes up to find himself in present-day Westchester, where the headless horseman turns out to be one of the horsemen of the apocalypse, and there are witches and spells and George Washington's Bible and demons and inpatient mental-health facilities, and also it's a buddy-cop show. I know, it's ridiculous. But Sleepy gets exactly how a supernatural action series should operate. It's self-aware and witty when it needs to be, quick-paced, and explosion-heavy now and then, and every character has a strong identity, a reason they really care. "Fun" isn't a vice.

Nurse Jackie, Showtime
For years, Nurse Jackie felt like two shows sloppily stitched together: One was a powerfully gripping addiction and family drama, and the other was a baffling slapstick comedy set in a hospital filled with mostly terrible characters. (Except for Zoe and Thor. They are great.) In its sixth season, though, Jackie has ditched most of the hospital nonsense — she still works there, but O'Hara's gone, Akalitus is finally sane and relevant, and Coop's story lines have never been less annoying. At the same time, the show has doubled down on how intense Jackie's addiction and recovery stories are, as she relapses, picks fights with her wonderful cop boyfriend, Frank, watches helplessly as her daughter, Grace, continues to rebel, and finds — and ditches — a new sponsor. This is by far the best Jackie has ever been, and it's one of the better seasons of TV period in recent years. If you fell off the Jackie wagon, hop back on.

Mom, CBS
Elsewhere in the addiction-story universe is Mom, a Chuck Lorre comedy that manages not to be the things some of us hate about other Chuck Lorre comedies. It's not hateful, it's not misogynistic, and it's not predictable. Instead, Mom's a show about big, big feelings. Anna Faris stars as Christy, a recovering alcoholic and single mom; Allison Janney plays Faris's formerly party-hearty mother Bonnie, who's also a recovering alcoholic. It's still very broad and bawdy, of course, but it takes its characters' struggles seriously. We see AA meeting. We see the resentment Christy still has toward Bonnie. And we see Christy's teen daughter put her baby up for adoption. And yet, it's still funny.

city.ballet., AOL
This one isn't a TV show, it's a web series. From AOL of all places. (Watch the whole thing here.) Sarah Jessica Parker produced and occasionally appears in segments of the twelve-episode series, which goes inside the New York City Ballet, explaining the inner workings of the company and profiling several of its members. My biggest complaint is that it's too short: I watched the whole thing twice because I was dying for more stories. Expertise and passion are almost inherently interesting, and there's a reason there are so many ballet documentaries — it's because ballet is a combination of expertise, passion, and elegance.

Playing House, USA Network
Lennon Parham and Jessica St. Clair's previous show, Best Friends Forever, met a cruel, untimely death back in 2012. If there's a TV God, let's pray he or she does not let that happen to Playing House. Creators Parham and St. Clair star again as BFFs; Parham plays Maggie, the more grounded of the pair, who stayed in their hometown. St. Clair plays the less reliable Emma, who hadn't been back in years — until a very pregnant Maggie needed her. The prodigal daughter returned, hilarity ensued, and there's even the possibility of rekindling her old romance with her ex-boyfriend, Keegan-Michael Key (beyond charming in this role). A million familiar comedy faces, including John Lutz and Jason Mantzoukas in the season's best episode, "Drumline," fill out the rest of the cast.

Masters of Sex, Showtime
For a show about sex, Masters is often not all that sexy. The sex on the show is largely in a clinical setting; two subjects, with EKG wires stuck to them, have sex in a lab while Dr. Masters (Michael Sheen) and his assistant Virginia (Lizzy Caplan) stand to the side and record physiological measures. Try not to get too aroused! But when Masters removes some of the sexiness from sex itself, what's left is the sexiness of everything else. What's intimacy? What's attraction? What's love? The show's underwhelming first half might have turned some viewers off, but with season two just around the corner, you should give it another chance, if only for Allison Janney's captivating performance as a middle-aged woman finally experiencing a sexual awakening.

http://www.vulture.com/2014/06/best-...tv-awards.html

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Technology Notes
FIFA hands Luis Suarez nine-match international ban
By Jeff Borzello, CBSSports.com - Jun. 26, 2014

Uruguay star Luis Suarez has been suspended for nine international matches and four months of soccer-related activity for biting an opponent, FIFA announced on Thursday.

Suarez bit Italy defender Georgio Chiellini in Tuesday's 1-0 Uruguay win, but was not discplined on the field.

Suarez's World Cup is over. He will miss the next nine Uruguay matches, which could last more than a year, depending on how far Uruguay advances this month. The Copa America in Chile is next summer, and the 2016 event is in the United States. Moreover, qualification for the 2018 World Cup will likely begin at some point during the suspension. Suarez will be able to play in friendlies.

Suarez will also miss the first two months of Liverpool's Premier League campaign, as four months from today brings us into late October. That would mean Suarez will miss up to nine Premier League matches and potentially three Champions League matches -- before he's even allowed to practice with the team.

“Such behaviour cannot be tolerated on any football pitch, and in particular not at a FIFA World Cup when the eyes of millions of people are on the stars on the field. The Disciplinary Committee took into account all the factors of the case and the degree of Mr. Suárez's guilt in accordance with the relevant provisions of the Code. The decision comes into force as soon it is communicated,” said Claudio Sulser, chairman of the FIFA Disciplinary Committee.

The nine-match suspension is the longest World Cup suspension ever handed out.

Suarez has now been banned for 34 matches since 2010 -- without receiving a single red card.

This is Suarez's third biting incident, previously biting PSV's Otman Bakkal in 2010 (seven-game suspension) and Chelsea's Branislav Ivanovic in 2013 (10-game suspension).

There was some question whether "football-related activity" included inability to transfer clubs -- given the Suarez-to-Barcelona rumors -- but FIFA said he would be allowed to transfer.

http://www.cbssports.com/world-cup/e...ernational-ban
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post #95188 of 98524 Old 06-26-2014, 11:51 AM
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Critic's Notes
Why the Evening-News Anchor Is No Longer the Most Important Person on TV
By Brian Steinberg, Variety.com - Jun. 26, 2014

Hosting the evening newscast turned Walter Cronkite, Dan Rather and Tom Brokaw into luminaries and national statesmen. ABC News has now declared that the person who leads that national institution no longer has to be the most important face on the screen.

Sure, we expect to see David Muir, the hardworking correspondent who is set to succeed Diane Sawyer as the managing editor and anchor of ABC’s flagship “World News,” holding forth during times of great import. But ABC News made it clear Wednesday that viewers should largely expect to welcome George Stephanopoulos on the screen when disaster strikes, war breaks out, or the nation gathers in its living rooms to suss out matters of great import.

Stephanopoulos, who already sits at the head of two of ABC’s best-known newscasts – “Good Morning America” and “This Week” – is set to become “Chief Anchor” of ABC News. He will be the go-to guy “for major special events and breaking news at ABC, driving our live network coverage for the biggest stories.” said James Goldston, president of the news division, in a prepared statement. The former White House operative has anchored such mass-scaling events as the retirement of Pope Benedict and the manhunt for the Boston bomber (spending 11 hours on the air). ABC News’ new strategy is to look first to put Stephanopoulos in the chair when similar stuff erupts.

In a different era, such a division would be unthinkable. Muir, who will continue on with his “20/20” duties even as he helms “World News,” has been a constant presence on ABC, anchoring special reports when Stephanopoulos has not been available (Sawyer has not anchored a breaking report on ABC in some time, as anyone who monitors the network’s telecast can likely tell you). Had he won the evening-news chair just 10 or 15 years ago, Muir would not only have led the evening newscast, but all important coverage.

That tactic made more sense in a different decade, when the evening newscast was, along with something called a daily newspaper, a commanding source of the important news of the day. In this era of breaking tweets and smartphone alerts, however, the evening newscast has been weakened. A good chunk of people watch it, but another good chunk can’t even get home from work in time to tune it in. For whatever reason, the networks haven’t been able to find ways to distribute it smartly enough in time-delayed fashion to make it worth anyone’s while. Shouldn’t Diane Sawyer, Scott Pelley and Brian Williams be available on VOD within hours of their newscasts ending?

These days, the best-known on-air personalities must instead be freed up to pursue original reporting and scoops that the network can “own” and blast across all of its shows, as well as digital properties. Consider “CBS Evening News” anchor Pelley’s recent trip to Jordan to cover refugees in Iraq and Syria – a story that is likely to garner more attention and secure broader interest than his daily recital of the day’s headlines on the flagship show. In a memo to staffers about the shake-up, Goldston took pains to look at the enterprise work done by both Muir and Sawyer. The importance of such efforts seems likely to increase.

Such reportage is becoming more significant for ABC’s rivals. Look at the lengths to which NBC recently went to promote Williams’ exclusive interview with whistleblower Edward Snowden. These stories can be trumpeted across digital and social media, teased on the morning show and given a full airing on the primetime newsmagazine.

More than anything else, ABC News’ decision illustrates strongly for one and all just how much power now resides at the network morning programs. These are the shows that get the broadest tune in, generate tons of ad cash and still serve an audience that relies on them for updates and info in those critical hours before setting out to work. NBC News didn’t launch a SiriusXM radio channel Wednesday devoted to its “Nightly News” after all, but rather “Today.”

Stephanopoulos will have his work cut out for him. The anchor will remain in place on both ABC’s Sunday public-affairs program “This Week,” as well as at “GMA,” where he is now the sole male anchor following the departures of Sam Champion and Josh Elliott. ABC likely could not remove him after so much recent churn at the show, but the recent promotion of Lara Spencer to co-anchor seems to carry even more meaning now. And so long as Robin Roberts holds forth on the show, Stephanopoulos is likely more free to leave his perch when news requires.

A day will soon come when unrest spills out overseas, a terrorist attack breaks out on home shores or the nation elects a president – and the leader of ABC’s flagship evening newscast will not anchor the proceedings. The next David Brinkley may well be found offering health tips on “GMA” or joshing with the crowd during the third hour of “Today.”

http://variety.com/2014/tv/news/why-...tv-1201246639/
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post #95189 of 98524 Old 06-26-2014, 12:21 PM
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Originally Posted by aaronwt View Post
But for some reason Baseball is popular. Now that can be very boring to watch.
Agreed ... in fact I almost wrote baseball. But, I actually like baseball when viewed as it was meant to be: Live and in person at the park ... on a lazy afternoon ... with cold "refreshments" and a hot-dog or two. .... Good times.

TV just kills the game ... although Mr. Cuban's attempt to "fix" BB broadcasts on HDNet were a worthy effort.
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TV/Business Notes
Audit: Tens of millions in cable fees sit unspent in L.A. city fund
By Emily Alpert Reyes, Los Angeles Times' 'Company Town' Blog - Jun. 26, 2014

Tens of millions of dollars in fees paid by Los Angeles cable customers remain unspent in city coffers, with no plan for using much of the money as it piles up, according to a new audit released Thursday by the city controller.

A portion of city fees charged to cable companies -- and ultimately passed on to customers through their bills -- flow into a special fund separate from the day-to-day city budget.

Year after year, the ending balance in the fund has swelled, growing from $3 million to nearly $29 million between 2009 and 2013. At the end of this May, the money in the Telecommunications Fund added up to $35 million, according to the controller's office.

Some of that money is being saved for future uses. An estimated $20 million is earmarked for a new studio for Channel 35, which broadcasts city council meetings and other city programming.

But the rest is just stacking up -- the unspent money could reach $25 million by 2017, City Controller Ron Galperin said in the report. Galperin argued that the city needs to reexamine the unspent money and explore new, creative ways to put it to use.

"It doesn't do anybody good if it's sitting there," Galperin said Thursday.

Part of the problem is that the city faces legal restrictions in how it can spend some of the money. One of the cable fees, which poured more than $6 million into the fund last budget year, must be used for capital expenses tied to public, educational and government programming. Cities have typically used that money for buildings and equipment for public access channels, like Channel 35 in Los Angeles.

Galperin questioned if the city could explore new and inventive ways to spend the money that suit the changing ways Angelenos get information. If the law is too restrictive, he said, the city should work with other cities and telecommunications companies to lobby for more flexibility in spending the fees. Possible uses could include public wireless internet or websites to share city programming, his office said.

"We're in a new era," Galperin said. "The old rules that envisioned everybody getting their programming from cable are changing before our very eyes ... We need to do everything we can to reach out to people."

If the money continues to linger unspent in the city fund, L.A. cable customers will soon ask why they have to pay the fees at all, "because they're the ones that are paying it on their bills," Galperin said.

The fees are at the heart of a court battle being waged by the city. Earlier this year, the city sued Time Warner Cable over allegedly unpaid fees, claiming that nearly $10 million is still owed to the city. The company has denied the allegations.

In addition to spotlighting the unspent fees, the report also found that the city's Information Technology Agency had not done timely audits of cable television companies to make sure they had paid the right amounts to the city.

In a statement emailed to The Times on Thursday, the agency said it welcomed the report and supported its recommendations. It noted that its "cable regulatory function" had been severely reduced from 25 staffers down to a single position as a result of budget cuts.

http://www.latimes.com/local/lanow/l...626-story.html
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