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post #95341 of 96322 Old 07-07-2014, 02:12 AM
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TV Notes
On The Air Tonight
MONDAY 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 Bachelorette (120 min.)
10:01PM - Mistresses
* * * *
11:35PM - Jimmy Kimmel Live! (Gerard Butler; Meagan Goode; Matisyahu performs)
(R)
12:37AM - Nightline

CBS:
8PM - 2 Broke Girls
(R)
8:30PM - Mom
(R)
9PM - Mike & Molly
(R)
9:30PM - Two and a Half Men
(R)
10PM - Under the Dome
* * * *
11:35AM - Late Show with David Letterman (Halle Berry; writer Steve Young; War on Drugs performs)
12:37AM - The Late Late Show with Craig Ferguson (Comic Kathy Griffin; singer-songwriter Ingrid Michaelson)

NBC:
8PM - Last Comic Standing
(R)
9PM - American Ninja Warrior (120 min.)
(R)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Kiefer Sutherland; fashion designer Nicole Richie; Crosby, Stills and Nash perform)
12:36AM - Late Night with Seth Meyers (Brian Williams; model Chrissy Teigen; Charli XCX performs)
1:37AM - Last Call with Carson Daly (Rhys Darby; Band of Skulls performs.)
(R)

FOX:
8PM - MasterChef
9PM - 24: Live Another Day

PBS:
(check your local listing for starting time/programming)
8PM - Antiques Roadshow: Vintage Toronto
9PM - Antiques Roadshow: Vintage Secaucus
(R - Jul. 30, 2012)
10PM - POV: My Way To Olympia

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

THE CW:
8PM - Whose Line Is It Anyway?
(R)
8:30PM - Whose Line Is It Anyway?
(R)
9PM - Beauty and The Beast (Season Finale)

TELEMUNDO:
8PM - Reina de Corazones (Series Premiere)
9PM - En Otra Piel
10PM - El Señor de Los Cielos

TBS:
11PM - Conan (Martin Short; Jessica Pare; singer-songwriter Kelis)
(R)

E!
11PM - Chelsea Lately (Jenna Dewan-Tatum)
(R)
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post #95342 of 96322 Old 07-07-2014, 02:21 AM
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TV Sports
Tight Script of Soccer Isn’t Hostage to Advertisers
World Cup 2014: Soccer Broadcasts Have Fewer Commercials
By Richard Sandomir, The New York Times - Jul. 7, 2014

The World Cup has shown again that soccer is very kind in its brevity. A 90-minute game takes less than two hours to finish. Even one that needed 30 minutes of added time, like the United States’ loss to Belgium, ended in 2 hours 35 minutes — which would get you to the sixth inning of many Major League Baseball games.

With its constant action and lack of natural in-game stoppages, soccer avoids the bloated commercial breaks of other sports; timeouts that turn the final minute of N.B.A. games into dreary, real-time marathons; clock stoppages for first downs in college football; fidgeting pitchers and dawdling batters who should be on a clock; and video reviews. Soccer has its problems — flopping, game fixing, FIFA’s leadership, the choice of Qatar to host the 2022 World Cup — but the length of its matches is not one.

I wonder if ESPN, ESPN2 and ABC would have seen an average of 4.1 million viewers for the World Cup’s first 56 games — a 44 percent leap from 2010 — if there were timeouts and breaks that stretched the broadcasts by 30 or 45 minutes. (Would taking time to make some popcorn or use the bathroom dampen fan enthusiasm by breaking the spell of constant viewing?) If coaches had several sanctioned timeouts to huddle for two minutes, would fans love the event as much? Would letting players rest, rather than having them run until they’ve piled up miles on their sneakers, produce the same game?

“I haven’t seen anything to suggest that American sports are at a disadvantage because their duration is longer,” said Mike Mulvihill, senior vice president of programming and research at Fox Sports Media Group, whose networks such as Fox Sports 1 will carry the 2018 and 2022 World Cups. “But I do think the pace of soccer is an advantage; there are so many demands on people’s time, and it’s hard to get their attention for extended periods of time. To know a game will end in two hours respects their time.”

Major League Baseball and the N.F.L. are not necessarily disrespecting their fans with regular-season games that average three hours for baseball and 3:07 for the N.F.L., but they can try their patience, such as the Mets-Rangers game Friday night that required 4:08 to finish nine innings. All sports have their own long-accepted rhythms and stretches without action. But the lengths of their games are determined in part by the networks’ needs to monetize their climbing rights fees with more commercials.

Soccer does not have that problem. Its continuous-action format is not changing to accommodate networks’ needs for returns on investment from game broadcasts.

How much soccer’s brevity adds to the number of people watching is not known.

“If the format of soccer itself really had a major impact on viewing, we’d see a bump in ratings in league play,” said Scott Guglielmino, ESPN’s senior vice president of programming. “But as a soccer fan who played in college, I enjoy the uninterrupted halves where you get engrossed in the ebb and flow that is part of the lure of the game.”

There are multiple reasons, experts say, for the higher level of World Cup interest this year, including the growing Hispanic population; Title IX; the improvement of the United States team; the not-yet-wild success of Major League Soccer; nationalism; a generation of fans whose parents grew up with the New York Cosmos; the popularity of the English Premier League and the Champions League; mobile devices that make games more accessible, and EA’s series of FIFA video games that sell millions annually.

“The World Cup is different from soccer,” said Andrei Markovits, who teaches political science at the University of Michigan and has written widely about soccer. “What we have now is the Olympianization of soccer in America — a huge, quadrennial event that people watch. Soldier Field and the Jerry Dome were almost full of people watching on big screens. It’s an event-driven sensibility.”

Will fans who have expressed their fascination with the matches from Brazil stay fully devoted to the sport until Russia’s World Cup in 2018? There will be no mega-event on the M.L.S. calendar to attract 18.2 million viewers, as the game between the United States and Portugal did on ESPN. As popular as the Premier League was during its first season on NBCSN — on which games averaged 395,000 viewers, up 80 percent from the previous season on ESPN, ESPN2 and Fox Soccer — those games will not bring World Cup-like interest levels.

“I don’t think we’ll see a seismic jump in viewership for league play because of the World Cup,” Guglielmino said. “They’re different animals. But I see a halo effect, as U.S. team players go back to M.L.S. teams. We will try to make that connection.”

Fox will have to find a way to earn back its 2018 and ’22 World Cups investment of $400 million (quadruple ESPN’s payment for the 2010 and ’14 Cups) within the same advertising limits that help keep the game short: commercials before and after the games, and at halftime, with small ads attached to the constant score box.

http://www.nytimes.com/2014/07/07/sp...mmercials.html
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post #95343 of 96322 Old 07-07-2014, 02:29 AM
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Critic's Notes
Danger, Halle Berry! 'Extant' has promise
By Hal Boedeker, Orlando Sentinel's 'TV Guy' Blog - Jul. 5, 2014

"Lust in Space" would be a catchier title for "Extant," the coming week's biggest premiere.

Something unusual happened to astronaut Molly Woods (Halle Berry), who supposedly was alone for 13 months in space. Upon her return to Earth, Molly is stunned to learn that she's pregnant. What gives?

"Extant," debuting at 9 p.m. Wednesday on CBS, presents a memorably strange rendezvous that Molly can't forget. The hookup stands out in this ambitious drama from executive producer Steven Spielberg.

Back on Earth, Molly clashes with her driven husband (Goran Visnjic) about the robot son he has created. That plot echoes Spielberg's movie "A.I.," but Pierce Gagnon is suitably creepy as the machine child.

In this futuristic world, the space agency is now in the private sector, and "Extant" hints that Berry may be a cog in a corporate experiment. Bosses spy on her and discuss her. Cryptic notes come her way, a mystery figure pops up in her backyard, and she keeps flashing back to space. By putting Berry in eerie danger, "Extant" is off to an involving start.

Also in the coming week:

Orlando server Francis Biondi has had an up-and-down ride on Fox's "MasterChef," but he's still in the derby. It continues at 8 p.m. Monday.

Jack Bauer's latest adventure, "24: Live Another Day," offers its penultimate episode at 9 p.m. Monday on Fox. Audrey (Kim Raver) has a higher profile as another world disaster threatens.

Several viewers told me they were over "Under the Dome" after the second-season premiere. That's saying a lot, because Stephen King wrote that episode. You can see if the series improves at 10 p.m. Monday on CBS.

PBS' "History Detectives Special Investigations" takes up the disappearance of bandleader Glenn Miller during World War II. This program, at 9 p.m. Tuesday, should have special interest for viewers who know Miller's music and his contributions to the Allied cause.

MTV has an intriguing drama in "Finding Carter," which debuts at 10 p.m. Tuesday. The story follows a teen girl, Carter (Kathryn Prescott,) who is stunned to learn she was abducted as a toddler and taken away from her family. That family includes a twin sister who is far different from Carter. The strong supporting cast includes Cynthia Watros ("Lost"), Alexis Denisof ("Buffy the Vampire Slayer"/"Angel") and Meredith Baxter. Here's the best sign: a pilot that makes you want to see more.

"The Bridge" returns for its second season at 10 p.m. Wednesday on FX. The show's greatest asset remains Diane Kruger, who gives a mesmerizing performance as Sonya, but the sprawling storytelling will test viewers.

Did you know that Leonardo da Vinci painted a second version of the Mona Lisa? That's the theory that "Secrets of the Dead" strongly endorses in "Mona Lisa Mystery" at 10 p.m. Wednesday on PBS.

NBC keeps trying to find a hit sitcom and rolls out two new entries on Thursday. "Welcome to Sweden," at 9 p.m., is more the more offbeat and echoes star Greg Poehler's own story of leaving the United States to live with his wife in Sweden. Amy Poehler, Greg's sister and an executive producer on the series, plays herself briefly and mocks herself grandly. Greg is charming, Josephine Bornebusch is appealing as his love, and Lena Olin is memorably nasty as her mother.

I wish this "Welcome" had more laughs, but it's funnier than "Working the Engels" at 9:30 p.m. Andrea Martin plays an overbearing matriarch to three hopeless adult children. Martin is expert at going over the top, but the show around her is feeble. Oh, for some of the old "SCTV" magic.

http://www.orlandosentinel.com/enter...0,2259105.post
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post #95344 of 96322 Old 07-07-2014, 02:34 AM
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Nielsen Notes (Broadcast)
‘Nightly News’ wins 27th straight quarter
By Media Life Magazine Staff - Jul. 6, 2014

“NBC Nightly News with Brian Williams” kept its streak intact during second quarter.

The newscast averaged 8.28 million total viewers during the quarter, according to Nielsen, finishing No. 1 for the 27th quarter in a row.

ABC’s “World News with Diane Sawyer” was No. 2 during the quarter with 7.59 million total viewers, with “CBS Evening News with Scott Pelley” third with 6.27 million.

ABC averaged 1.98 million viewers 25-54 during the three-month period, just edging out NBC’s 1.96 million. CBS was again third with 1.50 million.

NBC also finished first among total viewers for the 250th consecutive week during the week ended June 29, averaging 7.94 million, along with a 1.6 rating among adults 25-54. ABC’s “World News with Diane Sawyer” averaged 7.34 million viewers and tied in the demo with a 1.6 rating, followed by CBS’s “Evening News with Scott Pelley” with 5.85 million and a 1.1 rating.

In other dayparts ratings:

ABC’s “This Week” was the most-watched Sunday morning show on June 29 with 2.64 million tuning in. NBC’s “Meet the Press” was second with 2.55 million, CBS’s “Face the Nation” third at 1.99 million and “Fox News Sunday” fourth at 1.03 million.

In morning shows during the week ended June 29, ABC’s “Good Morning America” averaged 4.95 million viewers, with NBC’s “Today” at 4.3 million and CBS’s “This Morning” at 2.89 million. Among households, “GMA” averaged a 3.7 rating and 15 share, with “Today” at 3.2/13 and CBS’s “This Morning” at 2.1/8.

In late night during the week ended June 29, NBC’s “Tonight Show Starring Jimmy Fallon” averaged 2.86 million total viewers, with ABC’s “Jimmy Kimmel Live” at 2.46 million and CBS’s “The Late Show with David Letterman” at 2.45 million. In late late night, ABC’s “Nightline” averaged 1.45 million, with NBC’s “Late Night with Seth Meyers” at 1.27 million, CBS’s “The Late Late Show with Craig Ferguson” at 1.27 million and NBC’s “Last Call with Carson Daly” at 0.68 million. Among viewers 18-49, “Tonight” averaged a 0.88 rating, with “Kimmel” at a 0.63, “Late Night” at a 0.45, “Late Show” at a 0.43, “Nightline” at a 0.35 and “Late Late Show” and “Last Call” at a 0.25. NBC’s shows and Friday’s “Kimmel” and “Late Show” were encores.

http://www.medialifemagazine.com/nig...aight-quarter/
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post #95345 of 96322 Old 07-07-2014, 02:37 AM
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TV Review
Abandoning His Own Skepticism
Niko von Glasow Flouts Conventions in ‘My Way to Olympia’
By Neil Genzlinger, The New York Times - Jul. 7, 2014

Fans of the PBS documentary series “POV” are used to advocacy and alternative perspectives, but Niko von Glasow’s “My Way to Olympia,” a film on Monday about Paralympic athletes, might be baffling even to experienced “POV” watchers. That is partly because it has its flaws, but also partly because we’re so used to seeing stories about people with disabilities presented in a certain way that Mr. von Glasow’s aggressive flouting of those conventions is a challenge for any viewer.

Mr. von Glasow, a German born with severely shortened arms because of thalidomide exposure, begins with hostility toward the subject matter. He calls the Paralympics “a stupid idea.”

“I don’t know if it’s not a big show to disguise the big problem between society and disabled people,” he says.

The film chronicles his efforts to dispel his own skepticism by spending time with several athletes as they prepare for the 2012 Paralympics in Britain. And this is where he starts defying expectations. Because you’ve seen profiles of such athletes before, you expect straightforward interviews in which they talk about overcoming adversity and such, but Mr. von Glasow seems barely interested in those narratives.

“Do you remember your first kiss?” he asks Greg Polychronidis, a Greek boccia player with spinal muscular atrophy.

“Yes.”

“Can you tell me about it?”

“No.”

The interview style is so rambling and random that it’s close to off-putting, and not all of the film works, especially the parts where Mr. von Glasow makes a halfhearted effort to try boccia, archery, table tennis and the other sports represented. But the bottom line has to be this: By the film’s end, do you sense that you know these athletes’ stories and feelings better than you would have with a conventional approach? The likely answer is yes.

POV: My Way to Olympia
On PBS stations on Monday night (check local listings).


http://www.nytimes.com/2014/07/07/ar...ref=television
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post #95346 of 96322 Old 07-07-2014, 08:08 AM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jul. 7, 2014

SHOWBOAT
TCM, 8:00 p.m. ET

Oscar Hammerstein II musicals are showcased tonight on TCM – including, to lead off prime time, this 1951 movie version of his classic Show Boat musical, written with Jerome Kern. Howard Keel, Kathryn Grayson and Ava Gardner star.

24: LIVE ANOTHER DAY
Fox, 9:00 p.m. ET

We’ve gotten to the point in this truncated day of Jack Bauer’s that this is billed as the penultimate episode. The improbabilities have continued to stack up along with the hours, so maybe it’s good that this rebooted version of 24 is more like a 12.

UNDER THE DOME
CBS, 10:00 p.m. ET

Is this Stephen King drama making any more sense in Season 2 than it did in Season 1? Not so far – but this series continues to work, and succeed, as the TV equivalent of a summer beach read. Just don’t think about it too long. The writers certainly aren’t.

CAROUSEL
TCM, 10:00 p.m. ET

This Oscar Hammerstein II collaboration with Richard Rogers was staged for the screen in 1955, starring Gordon MacRae as Billy Bigelow, Shirley Jones as Julie, and Cameron Mitchell as Jigger. TCM will show this film in its proper widescreen format –which, since it was filmed in CinemaScope 55, makes quite a difference.

MURDER IN THE FIRST
TNT, 10:00 p.m. ET

The more hours of this serialized murder mystery go by, the easier it is to evaluate whether it’s worth the time and trouble to watch, and whether it’s adding anything new to the genre or the form. And though the jury will continue to be out for another few weeks, the preliminary verdict is, in respective order, no, no and no.


http://www.tvworthwatching.com/
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post #95347 of 96322 Old 07-07-2014, 08:32 AM
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Fantasy football is just bringing in the $$....

DirecTV is adding a live fantasy football channel to 'NFL Sunday Ticket'

Fantasy football owners are getting their own channel as part of DirecTV’s exclusive “NFL Sunday Ticket” package for the 2014 season.

For The Win has learned that the network will add the DirecTV “Fantasy Zone” to its lineup, with the channel residing next to its popular “Red Zone” channel, where host Andrew Siciliano currently spends eight hours every Sunday jumping around the live action games showcasing every scoring and otherwise relevant play.

The Fantasy Zone channel will also be broadcasting while games are in progress, but will focus solely on how the live action is affecting the day’s fantasy stats, with up to the minute game-to-game analysis, stats and on-screen tickers that offer projections and key player updates. Hosting the channel will be former NFL linebacker Dhani Jones and Kay Adams, who has established herself as a fantasy sports expert for NBC Sports’ Rotoworld site.

Unlike the Red Zone Channel, which airs from DirecTV’s Los Angeles headquarters, the Fantasy Zone will be broadcast from a loft in New York. The setting sounds more similar to MLB’s “Fan Cave” concept than Siciliano’s rapid fire game-surfing, as there will be celebrity guest hosts, a live studio audience and even an on-set kitchen where a full-time in-studio chef will whip up gameday recipes for viewers at home.

The channel is all part of the existing NFL Sunday Ticket Max package, which in addition to the standard afternoon CBS and FOX games, gives subscribers access to the Red Zone Channel and allows them to stream live games onto computers and mobile devices.

http://ftw.usatoday.com/2014/07/dire...-zone-football

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post #95348 of 96322 Old 07-07-2014, 09:25 AM
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Originally Posted by dad1153 View Post
Nielsen Notes (Cable)
June’s winners and losers on cable
......................
Al Jazeera America

Not to belabor the point, since AJA has made the losers list for several months now, but the news network is struggling. It lost 1,000 viewers in the key news demo of adults 25-54 from May to June, falling to just 4,000 in primetime.

http://www.medialifemagazine.com/jun...-losers-cable/

......................
Really? Only 4000? I just started watching AJA more since FiOS added the HD channel. Now most of the news I watch is from this channel. I guess I'm one of the 4000 if they count my TiVo viewership. I record several hours a day from AJA now.

With numbers like, that I wonder how long it will stay around?

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post #95349 of 96322 Old 07-07-2014, 11:12 AM
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Perhaps its following the path of the Fox Business Channel ?

.

There he goes again... Good Ol' R. Reagan's favorite Troll line !
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post #95350 of 96322 Old 07-07-2014, 01:40 PM
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Quote:
Originally Posted by aaronwt View Post
Really? Only 4000? I just started watching AJA more since FiOS added the HD channel. Now most of the news I watch is from this channel. I guess I'm one of the 4000 if they count my TiVo viewership. I record several hours a day from AJA now.

With numbers like, that I wonder how long it will stay around?
I'd watch it more but it's in SD on DirecTV, and as we all know, SD is just awful on D*.
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post #95351 of 96322 Old 07-07-2014, 11:33 PM
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SUNDAY'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 #95352 of 96322 Old 07-07-2014, 11:37 PM
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Nielsen Overnights (18-49)
‘Big Brother’ finishes first on Sunday again
Veteran CBS reality show posts a 1.8 in 18-49s, even to last week
By Toni Fitzgerald, Media Life Magazine - Jul. 7, 2014

“Big Brother” stayed on top for the second straight Sunday night.

The long-running CBS reality show posted a 1.8 adults 18-49 rating at 8 p.m., according to Nielsen overnights, even to last week’s Sunday debut.

It was significantly ahead of the competition. ABC’s “Rising Star” and Fox’s “Family Guy” repeat tied for No. 2 with a 1.2 apiece.

“Star” helped push ABC to No. 1 in primetime, just slightly ahead of CBS, which had much lower ratings the rest of the night after “Brother” finished up.

At 9 p.m., the new drama “Reckless” posted a 0.7, which was up a tenth from last week’s series debut, while lead-out “Unforgettable” drew a series-low 0.7.

ABC’s “Wipeout” tumbled 17 percent from last week, to a 1.0.

ABC led the night among 18-49s with a 1.1 average overnight rating and a 4 share. CBS was second at 1.0/4, Fox third at 0.9/3, NBC fourth at 0.7/2, and Univision and Telemundo tied for fifth at 0.6/2.

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 started the night in the lead with a 1.0 at 7 p.m. for “60 Minutes,” followed by ABC with a 0.9 for a repeat of “America’s Funniest Home Videos.” NBC, Fox, Univision and Telemundo all tied for third at 0.5, NBC for a repeat of “American Ninja Warrior,” Fox for “Brain Games,” Univision for “Aqui y Ahora” and Telemundo for the end of the movie “Monster House.”

At 8 p.m. CBS increased its lead with a 1.8 for “Brother,” followed again by ABC with a 1.0 for “Wipeout.” Fox was third with a 0.9 for reruns of “The Simpsons,” NBC fourth with a 0.8 for more “Ninja” and Univision and Telemundo tied for fifth at 0.6, Univision for “Bailando por un Sueño” and Telemundo for the movie “Transformers: Dark of the Moon.”

ABC and Fox tied for first at 9 p.m., each with a 1.2 rating, ABC for “Star” and Fox for repeats of “Family” and “American Dad.” NBC was third with a 0.8 for “Miley Cyrus: Bangerz Tour.” CBS and Telemundo tied for fourth at 0.7, CBS for “Reckless” and Telemundo for “Transformers,” and Univision was sixth with a 0.6 for more “Bailando.”

At 10 p.m. ABC was first with a 1.1 for more “Star,” while CBS and Telemundo tied for second at 0.7, CBS for “Unforgettable” and Telemundo for the end of “Transformers.” NBC and Univision tied for fourth at 0.6, NBC for its Miley Cyrus special and Univision for “Sal y Pimienta.”

CBS was first for the night among households with a 3.9 average overnight rating and a 7 share. ABC was second at 2.4/4, NBC third at 1.4/3, Fox fourth at 1.3/2, Univision fifth at 1.0/2 and Telemundo sixth at 0.6/1.

http://www.medialifemagazine.com/big...-first-sunday/

* * * *

TV Notes
Study: Want top TV shows? Hulu’s your best bet
By Media Life Magazine - Jul. 7, 2014

Hulu is the go-to streaming video service for those looking for the widest variety of TV content, while Netflix holds the crown when it comes to movies.

Among the 75 most popular primetime shows over the past four years, 51 percent are available on Hulu, according to analysis by Piper Jaffray. Netflix is second with 32 percent of those shows available, and Amazon third with 12 percent.

Little wonder: Hulu is owned by the parent companies of ABC, Fox and NBC.

While Amazon lags behind in TV content, it’s slowly making up ground–last year a similar analysis showed Amazon had just 7 percent of the top TV shows.

The analysis notes Netflix has an advantage when it comes to original series, with hits including “House of Cards” and “Orange is the New Black.”

When it comes to the top 50 movies of the past three years, Netflix is home to 12 percent, compared to just 6 percent for Amazon and only 1 percent for Hulu. Amazon lost ground in this department versus last year, when it had 11 percent of the top movies.

http://www.medialifemagazine.com/stu...ulus-best-bet/
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post #95353 of 96322 Old 07-07-2014, 11:46 PM
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TV Notes
IFC Orders ‘Spoils of Babylon’ Sequel
By Tim Molloy, TheWrap.com - Jul. 7, 2014

IFC has ordered a follow-up to “The Spoils of Babylon,” its bizarre, star-studded and bizarrely star-studded parody miniseries.

The original “Spoils,” which aired this year, found A-listers like Tobey Maguire and Kristen Wiig in a love triangle with a mannequin in the service of Eric Jonrosh, a drunken author played by Will Ferrell. “Spoils of Babylon” was presented as an extremely low-budget adaption of his book of the same name, and Ferrell introduced each never-before-seen segment. Tim Robbins, Jessica Alba and Michael Sheen also starred.

The new miniseries, based on Jonrosh's first book, “The Spoils Before Dying,” follows a jazz-pianist turned private eye who becomes embroiled in a murder investigation that spins wildly — and romantically — out of control.

The sequel/literary prequel event will premiere in summer 2015 with six episodes and a new all-star cast led by Ferrell.

“The Spoils Before Dying” is executive produced by Ferrell, Adam McKay, Matt Piedmont, Andrew Steele and Nate Young. Steele and Piedmont return as writers, with Piedmont also directing.

“With IFC's renewed partnership with Funny or Die, Eric Jonrosh and his most-prized works will continue to entertain and enthrall audiences for generations to come,” said Jennifer Caserta, IFC's president.

“Hang on to your hats America! This one's going to be totally bonkers!” said Ferrell.

Piedmont added: “Television audiences haven't clamored this much for a second season since After M*A*S*H*.”

“Eric Jonrosh is a drunk who urinated in my sink when he came to our house for dinner, but damn he writes great miniseries,” said Steele.

McKay concluded: “The first ‘Spoils’ mini-series beat the NFL and ‘Big Bang Theory’ in ratings (adults: ages 74-92) and changed the way Americans talk, think and prepare meat. We anticipate this new series from Jonrosh with Steele and Piedmont becoming the most watched television event in the history of earth.”

http://www.thewrap.com/ifc-orders-sp...abylon-sequel/
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TV Notes
Sarah Palin’s Sportsman Channel Show Renewed for Second Season
By Maane Khatchatourian, Variety.com - Jul. 7, 2014

The Sportsman Channel has renewed “Amazing America With Sarah Palin” for a second season.

According to the the niche cable channel, the show’s first season propelled it to “triple-digit year-over-year growth in households and key male demographics.”

“Sportsman Channel has experienced tremendous growth this year and Sarah Palin’s involvement has proved to be an exciting boon for our network and programming initiatives,” Marc Fein, Sportsman Channel’s exec VP vice of programming and production, said in a press release.

Sarah Palin’s show about American outdoor enthusiasts will return in early 2015. Craig Piligian, Jake Shelton and Brett Boydstun are exec producing for Pilgrim Studios.

The former Alaska Governor previously starred in the TLC reality show “Sarah Palin’s Alaska.”

http://variety.com/2014/tv/news/sara...ed-1201258889/

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TV Notes
Don Matheson, Star of ABC's 'Land of the Giants,' Dies at 84
By Mike Barnes, The Hollywood Reporter - Jul. 7, 2014

Don Matheson, who played one of the stranded "little people" on the Irwin Allen 1960s ABC sci-fi series Land of the Giants, has died, his daughter told The Hollywood Reporter. He was 84.

Matheson, who worked as a Detroit narcotics cop before becoming an actor, died June 29 in his sleep in the Woodland Hills home of his daughter, actress and musician Michele Matheson, and her family. He had been diagnosed with lung cancer 10 months ago.

Matheson played short-tempered businessman Mark Wilson on Land of the Giants, which aired for two seasons from September 1968 until March 1970. It replaced another Allen-produced series, Voyage to the Bottom of the Sea, on Sunday nights on ABC and was extremely expensive to make, costing a reported $250,000 an episode. John Williams did the theme music.

Set in the year 1983, the 20th Century Fox hourlong series revolved around the crew and passengers of the spaceship Spindrift, which on the way to London crashed on a planet whose humanoid inhabitants were hostile and unbelievably huge.

The athletic Matheson and his castmates did many of their own stunts, such as being dropped into specimen jars or climbing ropes, as they tried to remain alive with hopes of returning home. The little people were filmed from cranes high above, while images of the "giants" were captured from the floor with hand-held cameras.

Matheson wed another star on the show, Deanna Lund, in 1970 shortly after Land of the Giants was canceled, but their marriage ended in divorce. He never remarried, and their daughter said they remained the best of friends.

"They talked several times a day, laughed and drove each other nuts and lived across the street from one another or within a couple blocks for the last 35 years," said Michele, who had a recurring role on the 1985-90 ABC sitcom Mr. Belvedere.

Before Land of the Giants, Matheson appeared as an evil amphibian in a 1967 episode of Voyage and in two installments of yet another legendary Allen sci-fi series Lost in Space.

Later, Matheson played the henchman Mr. Padgett on CBS primetime soap Falcon Crest and millionaire industrialist Cameron Faulkner on ABC's daytime serial General Hospital.

His TV résumé also included such shows as McHale's Navy, Death Valley Days, Emergency! The Waltons, Eight Is Enough, Dynasty and 7th Heaven.

Matheson also was a jazz drummer who often was invited to play on stage by his friend, Buddy Rich.

A native of Dearborn, Mich., Matheson served in the Korean War and was awarded the Bronze Star. He joined the Detroit police force, and while investigating a crime at a theater, asked the theater director how to get involved when he noticed everyone who worked there "looked so happy," his daughter said. He returned to perform a monologue from A Streetcar Named Desire and joined the group, launching his acting career.

In addition to Deanna and Michele, survivors include his son-in-law, Jason, grandchildren Jack and Jolene and stepchildren Randy and Kim.

http://www.hollywoodreporter.com/new...-giants-716821
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TV Review
Stolen From Cradle, Now Back to Rage
‘Finding Carter,’ Starring Kathryn Prescott, Debuts on MTV
By Jon Caramanica, The New York Times - Jul. 8, 2014

Young adult television typically cleaves into two camps — it’s either about the absurd comedy of teenage life, or its unending tragedy. The plotlines aren’t that different, but in the first category, characters respond to pain with charm and wit, while in the other, their shoulders droop, and they stew in bad lighting.

MTV has lately excelled with signature Technicolor dramedies like “Awkward” and “Faking It,” shows that are like “My So-Called Life” by way of “Clueless.” They’re graphic novels come to life, full of vivacious characters who’d rather roll their eyes than weep any day. ABC Family is home to the other clique, with shows like “Pretty Little Liars” and “Switched at Birth,” which have horrible ruptures at their core and characters who pinball from one questionable decision to the next.

Carter Stevens (Kathryn Prescott) is a hero of that first kind of show trapped in the amber of the other on “Finding Carter,” which has a two-hour premiere on MTV on Tuesday night.

After Carter is arrested, she learns that the woman who raised her, Lori (Milena Govich), is not, in fact, her birth mother, but the woman who kidnapped her from her family when she was 3. Now 16, Carter is summarily thrust back into her birth family: a cold mother, Elizabeth (Cynthia Watros), who also happens to be a police officer looking for the kidnapper; a limp father, David (Alexis Denisof), whose only success as a writer came in the form of a book about the family tragedy; a goody two-shoes twin sister, Taylor (Anna Jacoby-Heron); and a savant younger brother, Grant (Zac Pullam), the only emotionally articulate family member.

Carter — “My other mom’s a felon; she’s the one I take after,” she says — is a hellion, stomping through her new house with glee, stealing the family’s car and getting drunk at parties soundtracked by Iggy Azalea. Pried from her life and dumped into foreign territory, she is pure disruption, inspiring envy in Taylor and admiration in Grant. And she doesn’t give Elizabeth an inch: “You’re stiff! You’re humorless! You’re a control freak! You operate from this place of fear!”

Taylor is the china in a bull shop, wanting desperately to be broken. “I lived in constant fear of the terrible thing that happened to my sister,” she says, explaining why she has values that are effectively Amish.

Much like the shows on ABC Family, “Finding Carter” has a muted palette, and is full of double crosses, shifting sympathies and warring dualities: Carter and Taylor, fighting for attention from family and boys; Carter and her birth mother, both searching for Lori; Elizabeth and David, each selfishly looking to bond with Carter and outflank the other; and Elizabeth and Lori, each trying to be Carter’s mother.

And there’s a very teenage cynicism at this show’s root: the idea that all families are built on lies. Carter, still stunned by the turn of events, believes that her new life is a sham and hasn’t yet come to grips with the fact that her old life was one, too. Both are the byproduct of extreme parental intrusion: her old one is a result of kidnapping, and her new one suffers from the heavy-handed tactics of Elizabeth, who’s been shattered by the upheaval and is determined not to let Carter out of her sight. “Want to find my abductor?” Carter shouts at her. “It’s you!” (But come on, all mothers are kind of police officers, no?)

Carter has friends, but they’re mostly “Breakfast Club” archetypes. The one exception is Ofe (Jesse Carere), the rare sui generis sidekick on a teen show. A bookie, a grifter and a nest of neuroses, he’s Jesse Eisenberg meets John Cusack, confident in his eccentricity. “If drug dealers were on Yelp, he would be getting five stars,” he tells Carter before giving her some ecstasy, then adds, “A Yelp for drug dealers — that’s potentially a huge idea.”

Naturally, by the second episode, Carter is splattering her paint all over her new canvas: getting Taylor drunk, giving Grant hope for a cool life, even helping Elizabeth and David to communicate with each other. But no one’s quite gotten to her yet. She’s creating her own little “Pleasantville,” letting everyone around her breathe for the first time while she decides whether to stay or go.

Finding Carter
MTV, Tuesday nights at 10, Eastern and Pacific times; 9, Central time.


http://www.nytimes.com/2014/07/08/ar...elevision&_r=0
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TV Review
‘Extant,’ heading off in two directions
There are two plots at work in this new CBS sci-fi drama
By Tom Conroy, Media Life Magazine - Jul. 7, 2014

At a certain point, a subplot gets so big that it becomes a second premise. At that same point, viewers can get irretrievably confused.

That happens quickly in the premiere episode of CBS’s new 13-episode sci-fi miniseries “Extant.” It seems to be setting up two premises, each of which could by itself drive a movie or miniseries.

But rather than doubling our fun, the two situations clash with each other, reducing our interest in either one and, consequently, reducing our interest in sticking around to see how the story will turn out in 13 weeks or even next week.

Although the production is handsome and professional, with star power both behind and in front of the camera, it may not be worth the time.

In the premiere, airing this Wednesday, July 9, at 9 p.m., Molly Watts (Halle Berry), an astronaut who has just spent 13 months solo on a space station, is having a hard time adjusting to life back home with her husband, John (Goran Visnjic), a scientist, and their son, Ethan (Pierce Gagnon).

The reasons are revealed relatively early in the hour, but viewers who want to be surprised in real time should stop watching now.

We first learn that Ethan, who is to all outward appearances a young boy, is actually an artificially intelligent robot. John says that he and his associate, Julie Gelineau (Grace Gummer), have succeeded in duplicating the process by which humans learn, both intellectually and morally. But Ethan’s behavior is increasingly odd.

Then Molly’s doctor, Sam Barton (Camryn Manheim), tells her that she is pregnant and that based on the timing, the fertilization occurred while she was supposedly alone in space.

So to sum up, an astronaut returns from space mysteriously pregnant, and she has a son who is an android. Without spoiling further, we can divulge that the space-pregnancy and artificial-son plots clash just as violently at the end of the hour as they do at the beginning.

Actually, we’ll spoil a little further: The first time the title, “Extant,” appears onscreen, it has morphed from the word “Extinct.” Presumably, the survival of humanity is somehow at stake.

Molly asks the doctor to keep her pregnancy a secret until she can tell John, so it’s also kept a secret from the now privatized space program, which in turn is controlled by an evidently wealthy man named Hideki Yasumoto (Hiroyuki Sanada), who works in a supervillain lair complete with the world’s smallest T. rex skull.

Executive-produced by Steven Spielberg, among others, the miniseries is mysterious in a clear and straightforward way, unlike many similar TV shows, which tend to use dark lighting, oblique dialogue and even mumbling to keep viewers guessing. The production looks expensive.

Halle Berry’s star power isn’t too big for the small screen or for her costars, but she still holds our attention.

The show is set in a technologically advanced future, although the advances aren’t too much fun or too imaginative. The characters have driverless cars, translucent tablet computers and extra-efficient trash compactors.

The space station’s computer has a HAL-like voice, suggesting that no one in this future has seen “2001: A Space Odyssey.”

The most intriguing development, a perfectly lifelike android boy with arguably real emotions, has already appeared in Spielberg’s movie “A.I.” Mysteriously pregnant heroines have appeared in too many TV shows and movies to mention.

Partly because we know that Berry is a bigger star than Goran Visnjic and Pierce Gagnon, we know that her pregnancy will turn out to be central to the story. But even after the revelation of some details that give an emotional resonance to her situation, it’s not as interesting as that little boy.

The lack of experience of the show’s writer, Mickey Fisher, is troubling, even though we can have some confidence that Spielberg, one of the great storytellers of our time, will have worked his magic on the plot.

Also arguing in favor of watching more than one episode is the fact that for better or worse, the story will end in 13 episodes. Some series have dragged out one fantastical premise for years. This one will be done with two much sooner.

http://www.medialifemagazine.com/ext...wo-directions/
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post #95358 of 96322 Old 07-08-2014, 12:16 AM
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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: Joe Piscopo/Barry Williams
* * * *
11:35PM - Jimmy Kimmel Live! (NBA champion Tony Parker; Eric Bana; Linkin Park performs)
(R - Jun. 19)
12:37AM - Nightline

CBS:
8PM - NCIS
(R - Mar. 18)
9PM - NCIS: Los Angeles
(R - Oct. 1)
10:01PM - Person of Interest
(R - Feb. 25)
* * * *
11:35PM - Late Show with David Letterman (Joan Rivers; Capital Cities performs)
12:37AM - The Late Late Show With Craig Ferguson (Tim Meadows)

NBC:
8PM - America's Got Talent (120 min.)
(R - Jun. 3)
10:01PM - The Night Shift
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Halle Berry; Chris Colfer; Florida Georgia Line performs)
12:36AM - Late Night with Seth Myers (Gary Oldman; TV show hosts The Kratt Brothers; artist Jeff Koons)
1:37AM - Last Call With Carson Daly (Judy Greer; Sarah Lee Guthrie and Johnny Irion perform)
(R - Apr. 8)

FOX:
8PM - Family Guy
(R - Mar. 23)
8:30PM - Brooklyn Nine-Nine
(R - Jan. 7
9PM - Brooklyn Nine-Nine
(R - Feb. 4)
9:30PM - The Mindy Project
(R - Jan. 21)

PBS:
(check your local listing for starting time/programming)
8PM - Time Scanners: St. Paul's Cathedral
9PM - History Detectives Special Investigations: The Disappearance of Glenn Miller
10PM - Frontline: Secrets of The Vatican (90 min.)
(R - Feb. 25)

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. 20)
9PM - Supernatural
(R - Nov. 19)

TELEMUNDO:
8PM - Reina De Corazones
9PM - En Otra Piel
10PM - El Señor de los Cielos

TBS:
11PM - Conan (Julie Bowen; comedian Billy Eichner; musician Ziggy Marley)
(R - May 5)

E!:
11PM - Chelsea Lately (Guest TBA)
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post #95359 of 96322 Old 07-08-2014, 07:20 AM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jul. 8, 2014

2014 WORLD CUP
ESPN, 4:00 p.m. ET

This year’s World Cup has been thrilling to watch, partly because of the aggressive style of play utilized by many teams, and partly because, at so many of this year’s games, the Cup runneth over – going not only into extra time, but bonus play and shootouts. Today, the home country’s team, Brazil, fights it out with Germany. In their previous matches, Brazil eliminated the feisty Colombia, while Germany outfought and outlasted France.

2014 TOUR DE FRANCE
NBCSN, 8:00 p.m. ET

One of our readers asked why we hadn’t listed this famous cycling race in our Best Bets. Good question. Would you believe the answer is that I was waiting for the tournament to move to home turf, and shift from England to France for Stage 4, as it does tonight?

DRUNK HISTORY
Comedy Central, 10:00 p.m. ET

It may be a failing that I enjoy this series even as I cringe at it, and that I learn from it even as it makes me uncomfortable. Try it, as it settles into Season 2, and decide for yourself.

TYRANT
FX, 10:00 p.m. ET

The story of Tyrant is getting more complex, and much more nuanced, than it may have seemed when judging only from the series premiere. It’s worth staying with this show for a few more episodes, as it reveals what it is it really intends to attempt with this drama set in the Middle East. And for that alone, it deserves some special attention.

FINDING CARTER
MTV, 10:00 p.m. ET
SERIES PREMIERE:
In this new MTV drama series, Kathryn Prescott stars as a 16-year-old who discovers, suddenly that her parents aren’t really related to her. It sounds like almost every rebellious 16-year-old’s fantasy, but this story line is taken seriously. It has to do with a very different birth family, some intrigue from the past, and other plot points better left unexplained.


http://www.tvworthwatching.com/
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post #95360 of 96322 Old 07-08-2014, 07:25 AM
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TV/Business Notes
Emmy ad blitz escalates
By Yvonne Villareal, Los Angeles Times' 'Company Town' Blog - Jul. 8, 2014

The big television networks and studios have shelled out millions of dollars marketing their shows for Emmy consideration, and on Thursday they'll find out if that spending paid off when nominations are announced.

But what will they get for all that money if a nomination leads to a win?

Although a film might see a box-office bump after earning Oscar gold, an Emmy win has little influence on television ratings. The rewards instead come from the cachet it brings to a show, the type of projects and talent it drives to a network, and the heft it adds when shopping for syndication rights.

"All broadcasters want to be associated with quality and an Emmy gives that distinction," said Warren Littlefield, the former NBC head of entertainment who is now a producer behind FX's miniseries "Fargo." "It gives a network or a studio bragging rights."

Television is undergoing a considerable growth spurt in original programming as broadcasters are being elbowed by streaming sites such as Netflix and Amazon. For perspective, there were 29 shows submitted for outstanding drama series in 1992 and today that number has swelled to 108.

The crowded field for an Emmy is causing a battle royale in ad spending, with some networks budgeting as much as $3 million on "For Your Consideration" campaigns.

There are those cover wraps on newspapers and trade publications, and mock front or back pages. Websites are bustling with banner ads. Buses with "FYC" ads swoosh by on L.A. streets already teeming with advertising on buildings and billboards.

The advertising blitz is targeting the more than 15,000 voting members of the Academy of Television Arts and Sciences who determine the nominations, as well as the winners when the award show is broadcast Aug. 25.

"It's madness out there," said Richard Licata, head of publicity for NBC and dubbed the wizard of Emmy campaigning after two decades of such work. "Yes, it's about winning the gold, but just is as important with the campaigning is branding your network and shows and talent — the perception can lure advertisers to consider you if they haven't before."

He said that the competition has intensified so much that networks never stop campaigning for Emmy nominations, unlike in years past. "It's become a year-round thing," he said. "There's a lot out there and you can't leave the thinking to the last minute if you want to make a dent."

The glut of programming is also forcing networks to become more creative. They are entering shows into different categories from previous years in the hope of scoring a win.

For instance, Showtime's gritty hourlong "Shameless," which centers on a brood of dysfunctional Chicago siblings and their alcoholic father, this year was submitted in the comedy category after years of entering as a drama. And HBO's close-ended, eight-part "True Detective" was submitted in the drama category instead of what many felt should have been miniseries.

At six pounds and 15.5 inches tall, an Emmy brings heft to a show's standing, said veteran TV producer Mark Burnett.

A big player in the reality genre, Burnett said Emmy wins helped his shows be taken seriously. His formidable "The Voice" on NBC last year became the first singing competition to win an Emmy in the reality competition category — and that can be the best kind of advertising.

"It says to the public, 'Hey, this is worth your time. The Academy thinks this is one of the best shows of the year,'" Burnett said.

On the network side, the dogged campaigning helps stroke the egos of top-tier talent on shows. This helps keeps A-list actors happy and helps networks attract other top-tier producers and actors.

Basic and premium cable networks are also relying on Emmys to keep their subscribers at a time when many people are cutting the cord to save money. Such networks have done particularly well in the drama category with hits including "Breaking Bad" and "Boardwalk Empire."

That has left the four major networks (NBC, CBS, ABC and Fox) eager to prove they're not outdated after being shut out from the drama category in recent years.

A major win for Netflix or Amazon could signal a turning point for streaming sites as a home to high-quality exclusive content that can't be missed. That could spur the streaming sites to crank up production of more shows to attract subscribers.

The cable industry had long been shut out of the Emmys until FX's police drama "The Shield" scored a best actor win in 2000. The award drew the attention of advertisers and prompted networks to pursue more original programming.

There are also the financial rewards that come with an Emmy win.

Studios stand to benefit when shopping Emmy-award-winning shows for syndication. For instance, 20th Century Fox Television landed a blockbuster deal to air reruns of "Modern Family" on USA Network in part because of its four Emmys for best comedy.

An Emmy doesn't have an immediate ratings impact because the telecast airs during the summer when most shows are on hiatus. But the buzz could draw more viewers for the next season.

Before its Emmy win, "Modern Family" averaged 8.2 million viewers in its first season; the season after the win, that rose to 9.6 million. Similarly, "The Shield" went from 2 million viewers to 2.2 million. Those increases helped the shows fetch higher advertising rates.

But that's not always the case. Some shows are critically acclaimed but unpopular with viewers. For instance, a best comedy win for the quirky "Arrested Development" during its debut season didn't help during the second season when viewership dropped 5%.

Tim Brooks, a television historian, said an Emmy win doesn't necessarily translate to a bump in viewership because TV is a casually consumed medium.

"It's easy to tune in and out any time you want," he said. "There's no real urgency."

http://www.latimes.com/entertainment...708-story.html
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post #95361 of 96322 Old 07-08-2014, 07:31 AM
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TV/Legal Notes
Fox Challenges Dish Network’s Sling Service
By Ted Johnson, Variety.com - Jul. 7, 2014

Bolstered by a victory for broadcasters against Aereo last month, Fox on Monday challenged the legality of a Dish Network feature that allows subscribers to watch station feeds on devices outside the home.

In oral arguments before the 9th Circuit Court of Appeals, Fox’s legal team sought to reverse a lower court ruling in which a federal judge refused to grant a preliminary injunction that would put an immediate halt to Dish’s Dish Anywhere service, concluding that they had not proven they would suffer irreparable harm if it continued.

But Richard Stone of Jenner & Block, representing Fox, said that stations do suffer harm because Nielsen does not measure ratings from the devices. “We are losing viewership because it is not being measured,” he said. Fox also contends that the service would affect its retransmission negotiations with other multichannel distributors.

Dish is using Slingbox technology for its Anywhere service, and has made much of the fact that the broadcasters have not challenged its legality up until now. The Slingbox was first introduced in 2005 and deployed in the Dish services in 2012.

Stone compared Dish’s Sling service to Aereo, the streaming company that halted last month after the Supreme Court ruled that it was infringing in offering broadcast streams without permission. Although Dish does license rights to retransmit Fox content, Stone said its contract with Fox prohibits it from streaming their stations over the Internet.

Nevertheless, Judge Marsha Berzon seemed skeptical of the Dish-Aereo comparison.

“The Supreme Court has all sorts of caveats about how this is about Aereo and nothing else,” she said. She added. “I don’t think you can stand there and say it’s the same thing.”

Dish’s legal team, led by Josh Rosencranz of Orrick, argues that the Aereo decision does not impact their case. Aereo’s system used centralized remote antennas assigned to each subscriber, while Sling “is just like a DVR or VCR — it is built right into the Hopper with Sling DVR in customers’ living rooms.”

“Customers pay for the right to receive works, with Fox’s authorization, and do receive them at home before sending them to themselves,” Dish’s lawyers wrote in a letter to the court last month.

Dish says that their Sling technology is no different from that used by consumers when they bought Slingboxes on their own.

Fox claims that Dish has used a “rhetorical sleight of hand” to confuse the court into believing that they are challenging the legality of standalone Slingboxes. Rather, they contend that their case is over the service that Dish provides in deploying Sling technology.

“By refusing to enforce Fox’s property rights, the district court has imposed a compulsory license no different than forcing a landowner to allow trespassers to travel across her property as long as they pay a toll set by the court,” Fox’s legal team said in its brief. “That can’t be right.”

Fox also is in the midst of separate litigation over Dish’s offering of Hopper features that allow subscribers to automatically delete commercials from programming they record.

http://variety.com/2014/tv/news/fox-...ce-1201258558/
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post #95362 of 96322 Old 07-08-2014, 07:36 AM
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Summer TCA Tour Notes
TCA: Burning Questions for TV's Top Execs
By Michael O'Connell and Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Jul. 7, 2014

It's that time of year again. Hundreds of journalists descend on the Beverly Hilton over the next two weeks as the TV networks pitch their new fall offerings. Execs will regale members of the Television Critics Association with tales of their latest successes — and the critics are certain to remind them of their failures.

Up first for the broadcast nets is NBC on Sunday, with entertainment chairman Bob Greenblatt having reason to celebrate the Peacock's first season at No. 1 in a decade. ABC, CBS and The CW follow before things wrap up with Fox on July 20-21. (Word is still out on who exactly will be fielding those queries with Kevin Reilly now out of the picture.) Here are the top questions on deck:

ABC
Welcome back, Paul Lee, we weren't certain we'd see you! Following another ratings-challenged season that saw the network return only one comedy (The Goldbergs) and two dramas (Agents of SHIELD, Resurrection) from its freshman class, the main question is: Can ABC find success outside of its Shondaland Thursday? And is your approach of "Let's throw everything against the wall and see what sticks" the best one? With Shonda Rhimes' veteran Grey's Anatomy holding down its Thursdays at 8 p.m. slot, why not spread the Shonda love around the schedule with Scandal and new Viola Davis starrer How to Get Away With Murder? This is a roomful of critics, so go ahead and get your defense ready for the canceled Trophy Wife, too. And yes, that'll lead in to the perennial "Why have you struggled so much with the post-Modern Family slot?" There will be questions about the significant push to embrace diversity this season, not only in your casting but also in your storylines. We applaud the move, but we'll have questions nonetheless. Rising Star will be a topic of discussion, no doubt, and we expect to hear more than simply superlatives. Oh, and you'll probably take some heat about fairy-tale musical comedy Galavant. That one didn't play particularly well at the upfronts, and it seems to have a lot of folks remembering that one time you greenlighted — and defended — critical punching bag Work It a few years back.

CBS
This might not be all "Kumbaya," Nina Tassler. No longer No. 1 (or even No. 2), CBS took the biggest hit of the Big Four last season. Lucky for you — and again, kudos — the coup of scoring Thursday Night Football will be an automatic lift to ratings and spirits. Ditto for landing Stephen Colbert, easily the swiftest, most impressive passing of the baton in late night. Now you have Craig Ferguson's chair to fill, and you best believe we'll have questions about that. (We'll likely want more on what CBS Colbert will look like, too.) We'll have scheduling questions as well. Mondays have been difficult — is doubling down on dramas (Scorpion and the migrating NCIS: Los Angeles) going to work against NBC's The Voice and ABC's ever-reliable Dancing With the Stars? And what about Thursdays? Comedies slide as soon as the Big Bang Theory credits roll and an aging Two and a Half Men is about to ride off into the sunset, just like most of its cast did a few years ago.

Fox
More than a month after entertainment chairman Kevin Reilly exited the network, just whom will we be speaking with during the executive session? Will big boss Peter Rice field our questions? Maybe marketing guru (and COO) Joe Earley, who's increasingly involved on the programming side, could join him? Or perhaps studio honchos Dana Walden and Gary Newman will have signed contracts by then? Reilly's left big shoes to fill; he may have struggled to lure viewers of late, but the man had little trouble winning over a roomful of reporters. To whoever lands in the hot seat: Expect to get grilled on Fox's next chapter. Are we still mourning pilot season? Is the comedy brand still beloved but niche? And are we supposed to expect the same old Idol? It won't stop there. We'll want the real story behind axing ancient Egyptian Game of Thrones look-alike Hieroglyph. We hear it was cost overruns and a lack of creative vision, but who makes the call when there's no network chief? What are we supposed to make of Broadchurch Gracepoint, a nearly frame-for-frame remake of the recent British original? And about that Glee renewal, where does the aging musical fit in on the schedule, and just how many episodes of the low-rated dramedy will comprise its swan song?

NBC
Breath easy, Bob Greenblatt. This might be your most pleasant visit to the Beverly Hilton yet. You wrapped the year at No. 1, your summer is going swimmingly and — perhaps nicest of all — NBC's new shows don't look half bad. But you're not totally in the clear. Fall and spring remain anchored by The Voice, and with last season suffering a ratings dip — and singing competitions in general circling the bowl — your magic goose has a fixed number of golden eggs left to lay. How do you plan to prolong the glory? And more significantly, what's next? And what about comedy, where you've publicly struggled to broaden the genre with missteps like Sean Saves the World and The Michael J. Fox Show? You're finally dismantling the long-suffering Must-See Thursday block, and veteran darling Parks & Recreation is closing up shop. Is Marry Me your greatest hope (its predecessor Happy Ending had critics drooling but it was light in the viewers department), or is it How I Met Your Mother descendant A to Z? On the unscripted side, you — or your unscripted partner, Paul Telegdy — will likely get the "What's happening with The Apprentice?" question because, well, Trump is Trump. (We're hoping you'll use the TCA platform to make some news and renew some of the other reality stalwarts like American Ninja Warrior and America's Got Talent.) Oh, we're going to want to talk about Emmy audience expectations. That Monday move still has us scratching our heads.

The CW
Let's keep it brief: Mark Pedowitz, you've done good. Your play for men is starting to pay off, and you've managed to schedule a few shows, led by breakout Arrow, that even the crusty critics can get behind. Now, we're all (almost) just as excited about The Flash as you are — though as you move deeper and deeper down the genre rabbit hole, what are the expectations for sudsy dramedy Jane the Virgin? The telenovela update brought smiles during upfronts, but putting it on Monday nights with Vampire Diaries spinoff The Originals seems a bit odd, no? Seems a better match for Hart of Dixie or since-canceled The Carrie Diaries. And why is so much staying on the bench for midseason, especially when you're leaving a gaping hole on Fridays? It seems like a waste to keep iZombie off the schedule for so long while creator Rob Thomas is still riding what's left of that Veronica Mars kickstarter goodwill.

Cable
Sorry, Vince Gilligan, but Charlie Collier isn't here to talk about AMC's anemic pool of originals, so you're going to have to field questions about how the network is doing without your beloved Breaking Bad. You'll get more topic queries, too. What's behind the delay for spinoff Better Call Saul? And just how much jumping around in time do you expect there will be? (Congrats on that early season-two renewal, by the way.)

AMC isn't the only cable titan with troubles. FX recently has been criticized (a rarity) for Middle East-set drama Tyrant. Now that it's off and running, how do you feel about the show's prospects and the critical venom being spewed, John Landgraf? And how are you feeling about your ratings over at Starz, Chris Albrecht? Additionally, can we talk about The Chair, from Project Greenlight EP Chris Moore. It looks a lot like the Emmy-nominated original, coincidentally revived just a few weeks ago by HBO. And HBO chiefs Richard Plepler and Michael Lombardo, you can expect to be peppered with True Detective questions, including "Where are they with casting season two?" It's also been five months since the sudden death of Philip Seymour Hoffman, with no news on how (or if) his Showtime comedy Happy-ish will carry on with a new lead. Expect David Nevins to get a few casting queries, as he's been vocal about still being very interested in the project.

Over on the streaming side, Amazon will bring The X Files guru Chris Carter back to TCA for The After. Where have you been, buddy?

http://www.hollywoodreporter.com/liv...tvs-top-716651
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post #95363 of 96322 Old 07-08-2014, 07:39 AM
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TV Notes
‘The Walking Dead’ is back! Well, kinda.
AMC reveals the show's secrets in 'Inside the Walking Dead'
By Louisa Ada Seltzer, Media Life Magazine - Jul. 8, 2014

It’s summer. Ratings for your network are down, your top show is on hiatus, and none of your new shows has really caught on. So what do you do?

If you’re AMC, you put something related to your record-breaking top show on the air, even if it’s not a new episode.

Hence tonight’s special, “Inside the Walking Dead,” which airs at 10 p.m. on AMC. The documentary explores the making of the smash hit zombie drama, including how the show’s story arcs are mapped out and how they apply that killer makeup.

“Inside” is the second of three “Dead” specials AMC has planned leading up to July 25, when the network will premiere the highly anticipated trailer for the show’s fifth season at Comic Con.

Last fall, following similar hype and buildup, “Dead” returned to record ratings. It’s easily the No. 1 non-sports show on cable and it lifted AMC to all-time ratings highs last year.

This summer, however, has been a different story for the network. Its new shows, “Halt and Catch Fire” and “Turn,” have drawn only okay ratings, and viewership among adults 18-49 was down 11 percent in primetime in June, according to Nielsen, following a 6 percent dip in May.

http://www.medialifemagazine.com/the...ck-well-kinda/
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post #95364 of 96322 Old 07-08-2014, 08:11 AM
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TV/Legal Notes
Fox Challenges Dish Network’s Sling Service
By Ted Johnson, Variety.com - Jul. 7, 2014

Bolstered by a victory for broadcasters against Aereo last month, Fox on Monday challenged the legality of a Dish Network feature that allows subscribers to watch station feeds on devices outside the home.
... and so it begins ... Don't say I didn't warn y'all ...
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post #95365 of 96322 Old 07-08-2014, 10:07 AM
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It's completely ridiculous for Fox to in any way compare Aereo to Sling, and this will get quickly shot down in the courts. Sling clearly falls under existing fair use rulings, the only problem here is that Fox doesn't like that it's legal to do whatever you want (privately, not publicly) with their shows once you record them.
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post #95366 of 96322 Old 07-08-2014, 10:13 AM
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TV/Critic's Notes
You can cut cable and get sports, news, shows
By Kim Komando, USA Today - Jul. 4, 2014

For sports, news and syndicated shows, an indoor HD antenna is a great choice. It will bring you high-definition over-the-air broadcasts from local networks for less than the cost of one month of cable. And you can keep it for years.

After the initial purchase, it's basically free TV. Just be sure you know what stations you'll get before you buy with a site like TVFool.
http://www.usatoday.com/story/tech/c...hows/11646827/
LOL, clearly written by a casual sports fan (if not a sports avoider). I'd like to see how her antenna picks up currently showing NASCAR, MotoGP, Formula 1, and IndyCar races. And that's just racing. Um, World Cup anyone? Gee, need ESPN for that.

Other examples abound - if you are a serious sports fan like me, there's no substitute for pay TV. But once again overly simplified articles about this rule.
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post #95367 of 96322 Old 07-08-2014, 11:52 AM
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LOL, clearly written by a casual sports fan (if not a sports avoider). I'd like to see how her antenna picks up currently showing NASCAR, MotoGP, Formula 1, and IndyCar races. And that's just racing. Um, World Cup anyone? Gee, need ESPN for that.

Other examples abound - if you are a serious sports fan like me, there's no substitute for pay TV. But once again overly simplified articles about this rule.
I laughed when I read the article. I, like you, like my sports and in order to get my full fix I need cable.

I'm a 'hooker' and a knitter. I guess that makes me bi-stitchual :). Crap I say
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post #95368 of 96322 Old 07-08-2014, 12:43 PM
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LOL, clearly written by a casual sports fan (if not a sports avoider). I'd like to see how her antenna picks up currently showing NASCAR, MotoGP, Formula 1, and IndyCar races. And that's just racing. Um, World Cup anyone? Gee, need ESPN for that.

Other examples abound - if you are a serious sports fan like me, there's no substitute for pay TV. But once again overly simplified articles about this rule.
There is still plenty of sports still available OTA, plus there is many options for streaming...yes you don't get the full enchilada like cable but here are some examples:

All World Cup games were available OTA via Univision or on ESPN3 is your ISP has a deal with ESPN(no cable sub needed).
All but 26 games of the NFL season OTA, plus the playoffs and Super Bowl.
Between 3-5 College Football games OTA every Saturday.
World Series is OTA
NBA Finals is OTA
Golf virtually every weekend OTA
College Basketball every weekend from Feb thru March Madness and Championship OTA.

Streaming Options include Mlb.tv(a games is usually free online daily), NBA League Pass online, NHL Center Ice online, NFL Sunday Ticket Online, CBS Sports ULive for College Sports( some conferences like Mtn West are free)

...You get the point. YMMV
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post #95369 of 96322 Old 07-08-2014, 01:05 PM
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... and so it begins ... Don't say I didn't warn y'all ...
You didn't warn us.
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post #95370 of 96322 Old 07-08-2014, 01:50 PM
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There is still plenty of sports still available OTA, plus there is many options for streaming...yes you don't get the full enchilada like cable but here are some examples:

All World Cup games were available OTA via Univision or on ESPN3 is your ISP has a deal with ESPN(no cable sub needed).
All but 26 games of the NFL season OTA, plus the playoffs and Super Bowl.
Between 3-5 College Football games OTA every Saturday.
World Series is OTA
NBA Finals is OTA
Golf virtually every weekend OTA
College Basketball every weekend from Feb thru March Madness and Championship OTA.

Streaming Options include Mlb.tv(a games is usually free online daily), NBA League Pass online, NHL Center Ice online, NFL Sunday Ticket Online, CBS Sports ULive for College Sports( some conferences like Mtn West are free)

...You get the point. YMMV
This will be the first NFL season where a Playoff game will be on cable. ESPN will air a first week play off game in January 2015. Although the two teams local markets will still have access to the game from an OTA channel.

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