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post #95401 of 95421 Old Today, 09:18 AM
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Emmy Notes
New shows lead Emmy nominations
HBO's 'True Detective,' FX's 'Fargo' and Netflix' 'Orange' receive nods
By Toni Fitzgerald, Media Life Magazine - Jul. 10, 2014

This year’s Emmy nominations are a mix of old and new.

A number of first-year shows, including HBO’s “True Detective,” FX’s “Fargo” and Netflix’ “Orange is the New Black,” racked up nods this morning.

But there were also a number of familiar shows and actors in the running, including AMC’s “Breaking Bad” and “Mad Men,” ABC’s “Modern Family,” and PBS’s “Downton Abbey.”

For the 14th straight year, HBO led all networks with 99 nominations.

Netflix scored more than double last year’s nods, amassing 31, more than many TV channels, including Fox.

HBO’s “Game of Thrones” had the most nominations, 19. “Fargo,” which was entered as a miniseries much like FX’s “American Horror Story,” garnered the second most at 18.

“Black” earned 12 nods, the most for any comedy, while HBO’s original movie “The Normal Heart” had 16 nominations, the most for any film.

“Saturday Night Live” came close to tying its 2011 record for a variety program by scoring 14 nods, two fewer than in 2011.

Other new shows getting nods included Fox’s “Brooklyn Nine-Nine,” which picked up a supporting actor nod for Andre Braugher, and CBS’s “Mom,” which earned a supporting actress nomination for Allison Janney.

The Emmys will be presented on Aug. 25, a Monday night, on NBC. The ceremony traditional airs on Sunday but NBC airs “Sunday Night Football” on that night.

Here is the list of major nominees:

Outstanding Comedy Series:
“The Big Bang Theory” (CBS)
“Louie” (FX)
“Modern Family” (ABC)
“Orange is the New Black” (Netflix)
“Silicon Valley” (AMC)
“Veep” (HBO)

Outstanding Drama Series:
“Breaking Bad” (AMC)
“Downton Abbey” (PBS)
“Game of Thrones” (HBO)
“House of Cards” (Netflix)
“Mad Men” (AMC)
“True Detective” (HBO)

Outstanding Lead Actor in a Comedy Series:
Louis C.K., “Louie”
Don Cheadle, “House of Lies”
Ricky Gervais, “Derick”
Matt LeBlanc, “Episodes”
William H. Macy, “Shameless”
Jim Parsons, “The Big Bang Theory”

Outstanding Lead Actress in a Comedy Series:
Lena Dunham, “Girls”
Edie Falco, “Nurse Jackie”
Julia Louis-Dreyfus, “Veep”
Melissa McCarthy, “Mike & Molly”
Amy Poehler, “Parks & Recreation”
Taylor Schilling, “Orange is the New Black”

Outstanding Supporting Actor in a Comedy Series:
Fred Armisen, “Portlandia”
Andre Braugher, “Brookyln Nine-Nine”
Ty Burrell, “Modern Family”
Adam Driver, “Girls”
Jesse Tyler Ferguson, “Modern Family”
Tony Hale, “Veep”

Outstanding Supporting Actress in a Comedy Series:
Mayim Bialik, “The Big Bang Theory”
Julie Bowen, “Modern Family”
Anna Chlumsky, “Veep”
Allison Janney, “Mom”
Kate McKinnon, “Saturday Night Live”
Kate Mulgrew, “Orange is the New Black”

Outstanding Lead Actor in a Drama Series:
Bryan Cranston, “Breaking Bad”
Jeff Daniels, “The Newsroom”
Jon Hamm, “Mad Men”
Woody Harrelson, “True Detective”
Matthew McConaughey, “True Detective”
Kevin Spacey, “House of Cards”

Outstanding Lead Actress in a Drama Series:
Lizzy Caplan, “Masters of Sex”
Claire Danes, “Homeland”
Michelle Dockery, “Downton Abbey”
Julianna Margulies, “The Good Wife”
Kerry Washington, “Scandal”
Robin Wright, “House of Cards”

Outstanding Supporting Actor in a Drama Series:
Jim Carter, “Downton Abbey”
Josh Charles, “The Good Wife”
Peter Dinklage, “Game of Thrones”
Aaron Paul, “Breaking Bad”
Mandy Patinkin, “Homeland”
Jon Voight, “Ray Donovan”

Outstanding Supporting Actress in a Drama Series:
Christine Baranski, “The Good Wife”
Joanne Froggatt, “Downton Abbey”
Anna Gunn, “Breaking Bad”
Lena Headey, “Game of Thrones”
Christina Hendricks, “Mad Men”
Maggie Smith, “Downton Abbey”

Outstanding Miniseries:
“American Horror Story: Coven” (FX)
“Fargo” (FX)
“Luther” (BBC America)
“Treme” (HBO)
“The White Queen” (Starz)

Outstanding TV Movie:
“Killing Kennedy” (National Geographic Channel)
“Muhammad Ali’s Greatest Fight” (HBO)
“Sherlock: His Last Vow (Masterpiece)” (PBS)
“The Normal Heart” (HBO)
“The Trip to Bountiful” (HBO)

Outstanding Lead Actor in a Miniseries or a Movie:
Benedict Cumberbatch, “Sherlock: His Last Vow (Masterpiece)”
Chiwetel Ejiofor, “Dancing on the Edge”
Idris Elba, “Luther”
Martin Freeman, “Fargo”
Mark Ruffalo, “The Normal Heart”
Billy Bob Thornton, “Fargo”

Outstanding Lead Actress in a Miniseries or a Movie:
Helena Bonham Carter, “Burton and Taylor”
Minnie Driver, “Return to Zero”
Jessica Lange, “American Horror Story: Coven”
Sarah Paulson, “American Horror Story: Coven”
Cecily Tyson, “The Trip to Bountiful”
Kristen Wiig, “The Spoils of Babylon”

Outstanding Supporting Actor in a Miniseries or a Movie:
Matt Bomer, “The Normal Heart”
Martin Freeman, “Sherlock: His Last Vow (Masterpiece)”
Colin Hanks, “Fargo”
Joe Mantello, “The Normal Heart”
Alfred Molina, “The Normal Heart”
Jim Parsons, “The Normal Heart”

Outstanding Supporting Actress in a Miniseries or a Movie:
Angela Bassett, “American Horror Story: Coven”
Kathy Bates, “American Horror Story: Coven”
Ellen Burstyn, “Flowers in the Attic”
Frances Conroy, “American Horror Story: Coven”
Julia Roberts, “The Normal Heart”
Allison Tolman, “Fargo”

Outstanding Variety Series:
“The Colbert Report” (Comedy Central)
“The Daily Show with Jon Stewart” (Comedy Central)
“Jimmy Kimmel Live” (ABC)
“Real Time with Bill Maher” (HBO)
“Saturday Night Live” (NBC)
“The Tonight Show Starring Jimmy Fallon” (NBC)


http://www.medialifemagazine.com/new...y-nominations/
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post #95402 of 95421 Old Today, 09:21 AM
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TV Notes
Rosie O’Donnell Returning as ‘View’ Co-Host
By The Hollywood Reporter's 'Live Feed' Blog Staff - Jul. 10, 2014

After days of rumors, The View made it official shortly after noon Thursday, tweeting that Rosie O’Donnell would return as co-host for season 18 of the ABC daytime show.

The View's Twitter account posted the below announcement.

It's official! ABC confirms Rosie O'Donnell returns as co-host of #TheView w/ moderator Whoopi Goldberg for Season 18 pic.twitter.com/oRCAcxAZE5
— The View (@theviewtv) July 10, 2014


Just an hour earlier, Whoopi Goldberg told viewers she and the rest of the show's cast and crew didn't know who was coming in. O'Donnell, who was a panelist on The View for the 2007-2008 season, left after that one year.

O'Donnell had a notably stormy tenure on the show, often fighting with conservative panelist Elisabeth Hasselbeck, who suggested on Fox News on Wednesday that O'Donnell had been plotting her return to the show for "a very, very long time."

Hasselbeck also claimed that Barbara Walters' farewell episode on May 15 was effectively O'Donnell's "hello show," adding that O'Donnell produced the broadcast.

O'Donnell is the first new addition to the show's panelists for season 18, following news that current panelists Sherri Shepherd and Jenny McCarthy would be leaving at the end of this season. Since Barbara Walters' retirement as View co-host in May, Whoopi Goldberg remains the only current co-host returning for next season.

O'Donnell and The View failed to confirm rumors and reports earlier in the week that O'Donnell would be returning to the show, but O'Donnell weighed in on a few View issues on Twitter Wednesday night.

http://www.hollywoodreporter.com/liv...ning-as-717742

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post #95403 of 95421 Old Today, 09:22 AM
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Originally Posted by HDTVChallenged View Post
... yet.
You know very well that it will never happen. The public alone would shout so loud that it would never come to be, let alone the outcry from the manufacturers. Hell, I wouldn't be surprised if stations would vote against it.

It would require each and every ATSC equipped device to have a unique ID. The stations would have to constantly field calls from irate viewers attempting to get their brand new device to receive the local stations. The poor owner could end up calling a dozen, or more, stations in a market. The poor stations would have to spend $$$ on equipment, and staff, to manage the constantly changing database.

What about people who have TVs in mobile homes, etc.?

Yep, not gonna happen.

Oh, and

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Originally Posted by dad1153 View Post
Here is the list of major nominees:

Outstanding Lead Actress in a Drama Series:
Lizzy Caplan, “Masters of Sex”
Claire Danes, “Homeland”
Michelle Dockery, “Downton Abbey”
Julianna Margulies, “The Good Wife”
Kerry Washington, “Scandal”
Robin Wright, “House of Cards”
Why does the TV Academy hate Tatiana Maslany so much? I'm not an "Orphan Black" fan but the woman does an amazing one-person showcase of multiple-lead acting talent in every episode I've seen. Last season's snub of her was an aberration, this time it's an unqualified spit in the face of what the award is supposed to represent.

Sorry, off the soapbox I come. But I'm not even a fan of the show and I'm pissed, I can imagine how the fans and producers of the show must feel.
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post #95405 of 95421 Old Today, 09:30 AM
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I'm still trying to figure out how Orange is the new Black can be considered a comedy, even by the people who produce the show.

It isn't even close to a comedy. How can they get away with entering it in that category?

This year's list is a mess. Good stuff/actors/actresses get passed over, yet again.

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post #95406 of 95421 Old Today, 10:02 AM
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I'm still trying to figure out how Orange is the new Black can be considered a comedy, even by the people who produce the show.

It isn't even close to a comedy. How can they get away with entering it in that category?

This year's list is a mess. Good stuff/actors/actresses get passed over, yet again.
Agreed about Orange is the new Black, also, I haven't watched it in a while, but when I watched, I would be hard pressed to consider Nurse Jackie a comedy.
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post #95407 of 95421 Old Today, 10:03 AM
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Or why 'Fargo' is a "miniseries", but 'True Detective' is a series.

Yep, it's even more of a mess than usual.
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Yeah, they didn't even considered Tatiana? maybe her show aired to late was was out of this year's nomination? Might as well only nominate Julianna because she always wins.

Fargo should get some awards, if not there's no justice in this world.

I'm also rooting for Captn. Janeway to take one home.

RIP Mom, we always love you 8/18/13
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I'm also rooting for Captn. Janeway to take one home.
She actually got up to vice admiral in 2378.

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post #95410 of 95421 Old Today, 11:25 AM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jul. 10, 2014

WELCOME TO SWEEDEN
NBC, 9:00 p.m. ET
SERIES PREMIERE:
This new NBC series, starring Greg Poehler (Amy’s brother) as an American who experiences culture clash after moving impulsively to Sweden, may sound like the sitcom equivalent of Netflix’s Lillyhammer, which starred Steven Van Zandt as a New York mobster who accepted a witness protection program relocation to Norway, in Lillehammer. But Poehler’s character here, Bruce, is moving not out of fear, but out of love: He’s moved to live with his Swedish girlfriend, Emma, (played by Josephine Bornebusch). Bornebusch is a real find here – beautiful, funny, and seemingly natural, and a good fit for Poehler’s reserved brand of comedy – and the always wonderful Lena Olin, playing Emma’s mother, is laugh-out-loud funny with her droll remarks, even though most of them are subtitled. I really like this new Swedish import series, which also makes room for extended cameos by Amy Poehler, Will Ferrell and others, and I’m not alone.

THE SIXTIES: "THE BRITISH INVASION"
CNN, 10:00 p.m. ET

Tonight’s installment of The Sixties is one that CNN sneak previewed back in February, to coincide with the golden anniversary of the beginning of the British Invasion in 1964. And if you don’t know the particular event that sparked that event, your cultural ignorance in this respect doesn’t exactly please, please me.

RECTIFY
Sundance, 9:00 p.m. ET

First poor Daniel (Aden Young) spent 19 years imprisoned for murder before being released after new evidence exonerated him. Then he was beaten nearly to death, and fell into a coma. Now that he’s out of his coma, as well as out of jail, Daniel is taking his first post-prison trip to a big city – in his case, Atlanta. If you don’t like Atlanta, insert your own joke here.

WORKING THE ENGELS
NBC, 9:30 p.m. ET
SERIES PREMIERE:
I’ve been a major fan of Andrea Martin ever since her earliest SCTV days (“Can you drah-ha me to la loto?”), and was amazed by her onstage energy in Pippin. But here, as the matriarch of a goofy clan that finds itself suddenly without a patriarch, even her comic timing can’t make this sitcom as entertaining as it needs to be. It wants to be Arrested Development, but doesn’t come close to gelling, or of making its comic anarchy pay off. Try it for yourself, if you like, but this is more warning than recommendation.

NY MED
ABC, 10:00 p.m. ET

It’s another intense hour for NY Med, with cases that demonstrate just how wide is the range of cases some doctors can deal with on a daily basis. One of tonight’s cases, for example, involves a 19-year-old plane crash victim – he was piloting the plane as a student learning to fly, and his instructor was killed on impact. Also: a tough motorcycle cop who has a stroke at a relatively young age, which reveals a heart defect so serious, he must be operated on immediately


http://www.tvworthwatching.com/

* * * *

Critic's Notes
Poehler Opposites in NBC's Inviting 'Welcome to Sweden'
By Ed Bark, TVWorthWatching.com - Jul. 9, 2014

Talk Swedish to me, baby.

NBC’s new summertime comedy plus, Welcome to Sweden (premiering Thursday night at 9 ET), does so at length in most of its 10 episodes. The network sent all of them for review, and I kept watching until the supply was exhausted. The Swedish language turns out to be intoxicating, with English subtitles provided so that the gentle amusements won’t be lost in translation. Valkommen!

Greg Poehler (top, right), who in real life has lived in Sweden since 2006, joins his sister, Amy Poehler, as the show’s executive producer. A former lawyer, Greg Poehler became a standup comic two years ago, and is married to Sweden native Charlotta Poehler.

For the purposes of Welcome to Sweden, Poehler is a dissatisfied, New York-based accountant to the stars named Bruce Evans. Weary of their constant demands, he relocates to Stockholm with new girlfriend Emma Wiik (Josephine Bornebusch, top, left). She’s a blonde beauty and he’s pretty much a nebbish. But that’s standard operating procedure in American sitcoms, except that it’s usually been a tubby guy landing the looker in series such as King of Queens, According to Jim and -- way back when -- The Honeymooners.

Amy Poehler (right) plays herself -- and a still possessive client of Bruce’s -- in Episodes 1, 3, 7, 9 and 10. Will Ferrell and Gene Simmons also drop in as Will Ferrell and Gene Simmons (Episodes 2 and 4 respectively), while Parks and Recreation co-star Aubrey Plaza is in multiple episodes as a neurotic, self-entitled stalker of Bruce. Abba member Bjorn Ulvaeus largely steals Episode 7, with a skeptical Bruce as his sounding board.

Welcome to Sweden also accommodates Patrick Duffy (below, with Greg Poehler) and Illeana Douglas as Bruce’s off-putting parents. Seen briefly at the end of Episode 5, they come visiting in Episode 6. This doesn’t go very well, of course, and neither does this particular episode, which feels forced and derivative.

The series usually is at its best when in the midst of Emma’s family. The still luminous Lena Olin is terrific as Emma’s bilingual mother, Viveka. Swedish otherwise is the language of choice for Emma’s tall, tradition-bound father, Birger (Claes Mansson). Her dense brother, Gustaf (Christopher Wagelin), and Uncle Bengt (Per Svensson) round out the featured homeland contingent. The latter owns a video store that does next to no business but makes him an encyclopedia of American actors and their roles.

Bruce can be a little too dense in that regard, even looking puzzled when Bengt references Robert De Niro’s signature “You talking to me?” line from Taxi Driver. Emma, on the other hand, is appreciably more mature and worldly. She also has landed a banking job that brings the couple to Stockholm, where Bruce remains adrift, unemployed and often clueless. Both have acclimated themselves to a traditional sitcom greeting, though. Namely, “Honey, I’m home.”

During their varied one-on-one discourses, Emma and her mother still talk in the native tongue. These are splendid scenes through and through. Plus you’ll get to improve your reading comprehension.

Malaprops also are used to good effect. As when lumbering brother Gustaf says, “It’s like Tom Cruise’s bar in Cockpit.”

“Cocktail,” says Bruce, somehow knowing this while not knowing who directed Taxi Driver. “Yes, please,” goes Gustaf.

Welcome to Sweden is more charming and amusing than laugh-out-loud funny. But its charms are considerable and the overall premise is bracingly unique. NBC spent tons of time and money in the past season on heavily promoted, high profile sitcoms starring Michael J. Fox and Sean Hayes. Both turned out to be epic failures.

If Welcome to Sweden doesn’t work, its failure won’t be epic. But during what used to be the throwaway summer season, this is a shining example of a comedy series that has a lot going for it in a smaller way.

GRADE: B+

http://www.tvworthwatching.com/BlogP...px?postId=7710
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Emmy/Critic's Notes
Emmy Snubs: ‘The Blacklist,’ ‘Brooklyn Nine-Nine,’ James Spader, Andy Samberg Join ‘The Walking Dead,’ Tatiana Maslany And Jay Leno On The Dissed List
By Lisa De Moraes, Deadline.com - Jul. 10, 2014

Every year on this day we pay tribute to those who made The Dissed List, giving you a place to foam over:

The Good Wife. Neither the violent bumping off of Will Gardner (Josh Charles) in one of the TV season’s most buzzed about developments, nor the extremely aggressive For Your Consideration ad campaign, in which the show pointed out how easy is life for its competition with their 7-episode (Mad Men), 8-episode (Breaking Bad), and 12-13 episode (Homeland, House of Cards) seasons, compared to the grueling challenges of a CBS drama, appears not to have impressed the Academy in the best-drama category (though Charles and star Julianna Margulies are nommed).

The Walking Dead. Despite high hopes among its fan base that this would be the year AMC’s Dead broke out of the makeup and special effects nomination categories, the show instead will have to stagger along with its astounding demo ratings success — including a take-down of NFL football – but no Best Drama Emmy prestige.

Tatiana Maslany. After being snubbed by the TV Academy but showered with love by TV critics for her groundbreaking performance as not one, not two, but eight clones and counting, on BBC America’s Orphan Black, many industry navel lint gazers thought this would be the year the TV Academy finally got it right. They were wrong.

Duck Dynasty. When the TV Academy announced it had split the Best Reality Program derby into two categories this year — Structured and Unstructured – it gave four examples of series that had never won: eight-times a bridesmaid Antiques Roadshow, and four-time non-winner MythBusters would qualify in the Structured division, the academy said. And the org hinted to its members, by naming Duck Dynasty, and Pawn Stars as possible players in the Unstructured competition. This morning, Roadshow and Mythbusters picked up their usual noms. Duck Dynasty and Pawn Stars? Snubbed.

The Blacklist. Sure it’s the most CBS-ish primetime series that’s not actually on CBS, and Emmy nom voters don’t much like CBS dramas as a rule – but doesn’t’ the series get any credit for saving NBC?

James Spader. Nobody gives a big ol’ Emmy-targeting-episode speech like Spader – it’s won him three previous Best Drama Actor Emmys. But Spader could not overcome the fact he’s starring in a broadcast drama and the Academy these days is infatuated with drama actors on cable and streamed series. Adding to the poignancy, two of the Drama-Series Actor slots that might have gone to Spader instead went to the stars of HBO’s True Detective — actors who always said they were doing just one season and out, on the program that will have a new storyline each season, and some felt strongly should have been required to compete as a miniseries.

Burton and Taylor. Did academy members mistake this BBC America movie, in which Helena Bonham Carter and Dominic West played acting couple Richard Burton and Elizabeth Taylor as they prepare for a 1983 theatrical production, with that other Liz life movie starring Lindsay Lohan?

Brooklyn Nine-Nine. Sure a best comedy nomination for a freshman series is always a long-shot with the TV Academy, but there was an impressive door opener for this NBC series: a Golden Globe win.

Andy Samberg. Samberg won for Best Performance by an Actor in a Television Series – Comedy or Musical at this year’s Golden Globes, for Brooklyn Nine-Nine. TV Academy members were not amused.

Jay Leno. Sure, he had to endure getting dumped — twice — from NBC’s Tonight Show. Sure he had to pretend – again – that he was proud to turn over his late-night desk to the younger guy. But now he has to watch Fallon get the nom during Jay’s last eligible year as show host? That’s the very definition of Emmy snub.

The Newsroom. No need to make room among the crowd of West Wing best-drama statuettes in Aaron Sorkin’s curio cabinet. Maybe the HBO show will catch an Academy last-season break next time around. There’s still time to write in an appearance by President Josiah Bartlet.

Homeland. Best Drama Series winner in 2012, Best Drama Writing winner in 2013, and the show’s Best-Actor winner of 2012, Damian Lewis got bumped off in mid-season, thereby semi-qualifying for the TV Academy’s weakness for TV series executions — and still, no Best-Drama nom this year for the Showtime series.

Michael Sheen. A Brit, with a film career, and a starring role in a cable TV series that’s medically-themed (kinda) – Sheen seemed like a good bet, to start a Hugh Laurie-esque run. But it was not to be.

Liev Schreiber. Critics hailed his understated, powerful performance on Showtime’s Ray Donovan, so Schreiber had looked to be a contender. Too ‘noir’ for the TV Academy – or too new?

The Americans. The Academy’s cold war against FX’s spys-among-us period drama continues, despite its Washington setting so in vogue these days on TV. The series got left out in its genre; stars Kerri Russell and Matthew Rhys also woke up to no noms .

Shameless. Showtime’s onetime Best Drama contender switched camps hoping it would have better luck competing as a comedy. “No dice,” responded the TV Academy this morning.

http://www.deadline.com/2014/07/emmy...inees-snubbed/
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Network TV continues to slide farther and farther down the TV totem pole with regards to quality programming when you look at the Emmy nominations. At the same time, it's also a shame a quality show like Person of Interest gets no nods of any kind, particularly with cast members. Still, can network TV writers not write the same kinds of shows that dominate cable without all the cussing and other stuff that cause some of these shows to be placed on cable in the first place?
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Emmy Notes
Emmys Comedy Race: ‘Girls’ Replaced by ‘Silicon Valley,’ a Show Without Girls
By Tim Molloy, TheWrap.com - Jul. 10, 2014

In one of the biggest Emmy reshuffles, voters welcomed “Silicon Valley” to the Outstanding Comedy Category — essentially replacing “Girls” with another HBO show with almost no girls.

Besides “Girls,” the only show nominated in the category that didn't return this year is the Tina Fey-led “30 Rock” — which wasn't eligible because it ended. But it wasn't all bad news for women-dominated shows: Netflix's “Orange Is the New Black” also joined the category.

It wasn't all bad news for “Girls”: Star and creator Lena Dunham was still nominated for Outstanding Lead Actress in a Comedy Series, and her co-star Adam Driver got a supporting actor nod.

“Girls” has plenty of strong male characters, but “Silicon Valley” is light on women. Amanda Crew, who plays Monica, provides the only regular dose of estrogen in “Silicon Valley,” a show that is, like the real Silicon Valley, dominated by men.

It's a situation the show's executive producers plan to change in future seasons. But in their first season, they said they were simply reflecting the realities of the tech world.

“It's definitely one of those super relevant hot-button issues that if we're lucky enough to do a second season we would love to steer right in the middle of,” Alec Berg told TheWrap. “That and the class issues and gentrifying, these are super relevant things and if we can come up with the definitive satirical take on them — if not this show, then who?”

“It's not an excuse, but the most sexist shot in the entire series is a real shot we got when we were at TechCrunch Disrupt of this massive room and there's like two women and 300 dudes in it,” he added. “And it's a real shot. It's not something we crafted.”

http://www.thewrap.com/emmys-comedy-...without-girls/
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TV/Business Notes
Aereo Now Considers Itself a Cable Company
Letter filed with New York district court
By Erik Oster, AdWeek.com - Jul. 10, 2014

Aereo is not dead yet.

Lawyers representing Aereo filed a letter to a New York district court yesterday, stating that the company now considers itself a cable provider, which was documented in a post on the company's blog.

Aereo suspended its service last month following a ruling by the Supreme Court that found its offerings to be illegal. Aereo backer Barry Diller previously stated that such a decision would mean that the company would be "finished," but now it seems Aereo is not willing to give up the fight. The letter comes one week after CEO Chet Kanojia called on subscribers to petition lawmakers to change copyright laws, TechCrunch reported, pointing out that this makes Aereo's latest strategy something of a "backup backup plan" despite initially appearing to not want to fight the Supreme Court decision. But since the Supreme Court based that decision on a comparison to Aereo as equivalent to service offered by a cable provider, the company is now attempting to use that ruling to its advantage in its latest legal argument.

"The Supreme Court’s holding that Aereo is a cable system under the Copyright Act is significant because, as a cable system, Aereo is now entitled to the benefits of the copyright statutory license pursuant to the Copyright Act," said Aereo's lawyers in their letter to the district court judge. "Aereo is proceeding to file the necessary statements of account and royalty fees."

Broadcasters, however, argue that Aereo can't claim this defense, since its past statements claimed that the company was not a cable provider.

In their decision, the Supreme Court affirmed "non-simultaneous playback from copies created by consumers," which has led TechCrunch, among others, to conjecture that "we could see the company continue with options for users to play back TV shows later" should their latest defense fail. For now, there's at least hope for Aereo, which many assumed was ready to throw in the towel.

http://www.medialifemagazine.com/new...y-nominations/
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TV Sports/Nielsen Notes
Univision’s World Cup Pitch to Women Pays Off
By Richard Sandomir, The New York Times - Jul. 10, 2014

Three months before the World Cup, Univision unveiled its plan to reach female viewers, many of whom are devoted to the Spanish-language media giant’s daytime talk shows and telenovelas.

The primary weapon has been a series of promotional ads that overtly emphasize the multitude of manly qualities of various star footballers — with a woman’s sultry voice-over.

“Ladies, the wait is over,” the narrator says, as video of players like Lionel Messi, Cristiano Ronaldo, Javier Hernández, Iker Casillas, Fabian Johnson and Gonzalo Higuaín fills the screen, mostly in slow motion. “The perfect man is arriving. Athletic. Sensitive. Devoted. Talented. Passionate. Nothing can stop him. He strives to get my attention. Very soon, we’ll admire the perfection of those men who give it all for love.”

The strategy to link soccer and the steaminess of telenovelas appears to have worked. Combined with other elements designed to attract female fans of Univision’s lifestyle programming, weekday World Cup viewership for women 18 to 49 has soared by 74 percent, to 646,000, from the regular programming in the month before the tournament began.

“With the tremendous growth we’re seeing, we assume the campaign helped,” said Debbie Shinnick, Univision’s senior vice president for network sales and strategy research. “We can look to see the percentages of people who saw the promos and tuned in to the World Cup.”

Over all, Univision’s World Cup viewership has climbed 38 percent, to 3.25 million, through the first 60 matches preceding Germany’s 7-1 thrashing of Brazil on Tuesday. So it is likely that more women were already going to watch the games. But Univision wanted to be certain that it attracted as many women as possible to matches at a time when they were already watching the network.

“It wasn’t so much a challenge, but an opportunity,” said Jessica Rodriguez, executive vice president for the Univision Agency, which runs the media planning for the company’s television, radio and digital operations. “When you think of World Cup, you think men will be there and they’ll watch. The World Cup was being in Brazil, and so many of our countries were being represented on our home turf, in daytime.” She added, “So we overtly focused on women in our campaign — and we went unabashedly after them.”

On June 17, the Brazil-Mexico match attracted 1.6 million women from 18 to 49, a shade more than the 1.5 million men in the same age group who were watching.

In addition to the ads emphasizing the players’ myriad attributes, Univision produced an ad with two men and a woman watching soccer in a bar, which Rodriguez said would probably have featured three men four years ago; carried a 15-minute segment on the morning show “Despierta América” with a group of women discussing the preceding day’s matches; and informed viewers of its World Cup studio shows about players’ wives and children.

Univision was not the only network to benefit from increased female viewership. Through the quarterfinals, ESPN, ESPN2 and ABC averaged 656,000 women in the 18-to-49 age group, up 39 percent from four years ago.

With the World Cup about to end, Univision is appealing to the women who tuned in to the tournament to return to the regular daytime schedule. “We believe a lot of women who watched the matches aren’t necessarily core telenovelas viewers,” Rodriguez said. “Now we can tell them, ‘You loved the sexy strong men in the World Cup — and they’re waiting for you in the telenovelas.’ ”

http://www.nytimes.com/2014/07/10/sp...ref=media&_r=0

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Nielsen Overnights (18-49)
Okay premiere for CBS drama ‘Extant’
Much-hyped Halle Berry show draws a 1.7 in 18-49s, winning its hour
By Toni Fitzgerald, Media Life Magazine - Jul. 10, 2014

CBS’s highly anticipated new drama “Extant” had a so-so premiere last night.

The new show did become the top debut of the summer among adults 18-49 and total viewers, but it barely finished ahead of a repeat of “America’s Got Talent” in its timeslot.

“Extant” posted a 1.7 18-49 rating, according to Nielsen overnights, winning the 9 p.m. timeslot by 0.1 over a “Talent” rerun.

“Extant” got a good lead-in from “Big Brother,” the night’s highest-rated show, which posted a 1.9 at 8 p.m. And the new drama averaged a strong 9.4 million total viewers and was the night’s top show among adults 25-54 with a 2.4.

But considering the big promotional push behind “Extant,” which stars Oscar winner Halle Berry, the bow didn’t have a lot of oomph.

Elsewhere last night, Fox’s “So You Think You Can Dance” posted a 1.2 in 18-49s, down a tenth from last week.

And NBC’s “Taxi Brooklyn” was even to last week with a 1.0.

CBS finished first for the night with a 1.6 rating and 6 share. NBC was second with a 1.3/5, Fox and Univision tied for third with a 1.2/4 apiece, ABC was fifth with a 1.0/3, Telemundo was sixth with a 0.6/2, and the CW was seventh with a 0.3/1.

At 8 p.m., CBS’s “Brother” took first with a 1.9, followed by the first hour of NBC’s “Talent” repeat in second with a 1.3. Fox’s “Dance” finished third with a 1.2, Univision’s “De Que Te Quiero, Te Quiero” was fourth with a 1.0, ABC’s repeats of “The Middle” and “The Goldbergs” were fifth with a 1.0, Telemundo’s “Reina de Corazones” was sixth with a 0.5, and the CW’s “iHeart Radio Pool Party” was seventh with a 0.3.

At 9 p.m., CBS stayed in first with a 1.7 for “Extant.” NBC moved to second with a 1.6 for the second hour of the “Talent” repeat, followed by Univision’s “Lo Que La Vida Me Robo” in third with a 1.3. Fox’s “Dance” tied with repeats of ABC’s “Modern Family” and “Middle for fourth with a 1.2. Telemundo’s “En Otra Piel” took sixth with a 0.5, and the CW’s “Whose Line is It Anyway?” placed seventh with a 0.2.

CBS’s “Criminal Minds” repeat and Univision’s “Que Pobres Tan Ricos” tied for first place at 10 p.m., each with a 1.2. NBC’s “Taxi” placed third with a 1.0, Telemundo’s ” El Señor de los Cielos” was fourth with a 0.9, and ABC’s “Motive” was fifth with a 0.8.

Among households, CBS finished first for the night with a 4.7/8. NBC was second with a 3.4/6, Fox was third with a 2.6/5, ABC was fourth with a 2.5/4, Univision was fifth with a 1.6/3, Telemundo was sixth with a 0.8/1, ION was seventh with a 0.7/1, and the CW was eighth with a 0.6/1.

http://www.medialifemagazine.com/oka...-drama-extant/
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TV Notes
TruTV Adds Four Unscripted Series to Revamped Slate
By Shelli Weinstein, Variety.com - Jul. 10, 2014

Cabler truTV has greenlit four unscripted series as part of its continued brand evolution and has expanded the episode order for upcoming reality show “Way Out West.”

“Branson Famous” (working title) goes behind the scenes of the longest-running variety show in Branson, Mo., “The Baldknobbers Jamboree.” The show follows the Mabe family’s challenges as the show slips into financial decline and faces difficulties in town.

“Hack My Life,” a comedic take on the never-ending supply of life hacks designed to save time, money and effort. The show offers step-by-step instructions on how to incorporate the cheats into everyday life.

“Kart Life” takes viewers into the world of kart racing, following the kids and parents as they pursue the prize: landing a national ranking and a shot at one day becoming a professional driver.

"The Shake Up,” a competition reality series, seeks to settle which bar owners have the best recipe for success. In each episode, comedian Mo Mandel (Comedy Central) travels to a different city and pits two bar owners against each other by challenging them to turn the most profit while running the other’s bar.

All four series are slated to air this fall and winter. The Western reality series “Way Out West” is set to premiere July 21.

Earlier this year the network began revamping its programming lineup with series such as “The Carbonaro Effect” and “Motor City Masters,” seeking to offer a variety of action, comedy and competition series with new setttings and stories.

“TruTV is working with an outstanding group of creators who are providing each of our series with a unique and surprising point of view,” said Chris Linn, president and head of programming for truTV, in a statement. “We are creating innovative and clever programming with a goal to make truTV a fun ride for grownups and a refreshing alternative in a landscape where so many shows look and feel the same.”

The Turner-owned network, which at one time was Court TV, also is rolling out a slightly tweaked logo to reflect its refreshed programming.

http://variety.com/2014/more/news/tr...te-1201260111/
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Summer TCA Tour Notes
TNT ‘Legends’ Stars Chronically Killed-Off Sean Bean, Worrying TV Critics
By Lisa De Moraes, Deadline.com - Jul. 10, 2014

Sean Bean may be the most killed off actor working today. By some accounts, he’s been hanged, shot, and otherwise whacked about 25 times. He’s even compiled a list of My Top 5 Death Scenes. Now, he’s starring in a new TNT series, Legends, debuting next month, playing an undercover agent working for the FBI’s Deep Cover Operations division. TV critics attending a Q&A session for the show at Summer TV Press Tour 2014 naturally wondered how long he’d last on the series– especially given that TNT had distributed T-shirts with the hashtag #DoneKillSeanBean before he took the stage.

“I’m going to be on this for a while,” Bean said, convincing few.

“What do you think about people’s interest in your characters dying on film and TV?” asked a critic.

“It’s quite bizarre,” he admitted. “I’ve died quite a few times, actually…maybe it’s the quality of my death people are fascinated by.

“Do you have a favorite death?” one critic asked, in rather loud taste.

“I liked the Lord Of The Rings [death]. It was quite an epic death,” Bean reminisced, fondly.

Critics asked exec producer David Wilcox point blank if Bean had been cast in the lead role because producers love knocking him off. “It’s not the main reason Sean was cast, but it’s certainly kind of a fun benefit that it’s gonna be a question,” Wilcox answered coyly, undoing Bean’s assurances.

In May of ’13, TNT greenlit spy drama Legends, starring Games Of Thrones alum Sean Bean and executive produced by Homeland‘s Howard Gordon and Alexander Cary. TNT has ordered 10 episodes of the series, which is being produced by Fox 21, for debut next month. Based on the book by master spy novelist Robert Littell, Legends centers on Martin Odum (Bean), an undercover agent working for the FBI’s Deep Cover Operations division. Martin has the uncanny ability to transform himself into a completely different person for each job. But he begins to question his own identity when a mysterious stranger suggests that Martin isn’t the man he believes himself to be.

http://www.deadline.com/2014/07/tnt-...me-of-thrones/
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Emmy Notes
Here’s Why True Detective and Fargo Won’t Be Competing Against Each Other at the Emmys
By Denise Martin, Vulture.com (New York Magazine) - Jul. 10, 2014

You may be wondering why True Detective is competing in the Best Drama category at this year’s Emmys against long-running series like Breaking Bad. It’s a good question, and one that doesn’t have a logical answer. By all appearances and nearly every measure we can think of, True Detective is a limited series. Or a miniseries. Or an event series. Or whatever you want to call an eight-episode show that will reset its story, characters, and cast for its second season. You know which other show is doing that? FX’s Fargo, which also has plans to reincarnate entirely (save for the title). But look over there — Fargo is competing in the miniseries category. What gives?

Here’s how the Academy of Television Arts and Sciences defines a miniseries:

A miniseries is based on a single theme or story line, which is resolved within the piece. In a single awards year, all of the parts must be presented under the same title and have continuity of production supervision. A miniseries consists of two or more episodes with a total running time of at least four broadcast hours (at least 150 program minutes).

That’s pretty straightforward, and applies to both True Detective and Fargo. However, there is a caveat! The ruling on Emmy eligibility goes:

A limited-run series with a "created by" credit CANNOT enter as a miniseries unless the producer for the limited run series applies for and receives entitlement to dual qualification, i.e. qualification in more than one category, because of an affirmative determination by the Awards Committee that the limited run series has elements of both drama series and miniseries categories.

So, because True Detective executive producer Nic Pizzolatto has a “created by” credit — a classification the Writers Guild of America gives to the creators of a regular series — True Detective is eligible only for the Emmys’ drama series category by default. In fact, Pizzolatto would have had to petition ATAS’s awards committee to move out of the drama race and into the miniseries category. That’s what American Horror Story co-creator Ryan Murphy had to do for American Horror Story, which was revealed to be a closed anthology series after the first season’s story concluded. As for Fargo, the credit executive producer Noah Hawley received reads “created for television by” — and because that’s not the exact same thing as “created by,” the show was free to submit into the miniseries category without fuss.

Why True Detective and HBO would opt to compete in the more competitive drama race is another matter. We had a few theories, among them the idea that True Detective stands a much better chance of trumping the final season of Breaking Bad than Game of Thrones, and it has been several years since HBO took home best in show for drama, the most prestigious award doled out at the Emmys.

The ruling that the “created by” credit determines all is a weird technicality that probably needs to be revisited. Vulture asked ATAS senior vice-president of awards John Leverence if the organization was bothered that True Detective and Fargo, two shows that have the same closed structure and designs on rebooting next season, would be competing in separate categories. He told us, “The fact that you’re asking that question probably answers the question.”

http://www.vulture.com/2014/07/emmys...explainer.html
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Emmy/Critic's Notes
Tim Goodman on Emmy Nominations: Academy Needs to Adapt After Atrocious Snubs
By Tim Goodman, The Hollywood Reporter's 'Bastard Machine' Blog - Jul. 10, 2014

It's easy to find outrage every year when the Emmy nominations are announced. But if you temper it for the sake of the Big Picture, some of the smaller surprises can be a salve.

Yeah, not this year.

This is not one of those years when Emmy voters get forgiveness on their oversights simply because they seemed to be progressive in a few categories. That's because the rubber-stamping seemed especially gratuitous and the Big Mistakes seemed more prominent and damning.

Tasked with celebrating and rewarding the achievements from within their own industry, Emmy voters continue to come off as half-involved, behind-the-times clock watchers instead of guardians. It's as if the admittedly daunting task of actively sampling the industry's ever-changing content makes them crumble before even making an effort.

I mean, even by the low bar of Emmy standards, 2014 is a real omnishambles.

If you're paying attention at all, Tatiana Maslany from BBC America's Orphan Black is not a dark-horse contender anymore. She should have been a slam dunk, not a snub for the second year running. Overlooking The Americans and The Good Wife as best drama is almost startling. In a world where Downton Abbey is going to get a slot, add Masters of Sex and The Walking Dead to that list.

Part of the yearly problem with the Emmys is the institutional habit of returning an ungodly percentage of past winners into the nomination ranks despite downturns in series' quality or superior acting performances from competitors. Modern Family has been on a creative slide and shouldn't have been rubber-stamped again this year (same goes for Downton Abbey), while an actor like Matthew Rhys loses out to Jeff Daniels, who's a fine actor, but neither he nor HBO's The Newsroom had the quality of Rhys or FX's ascendant series The Americans.
Even if Rhys was considered a long shot, James Spader was not. His exclusion qualifies as baffling even in a category so insanely competitive as best actor.

Perhaps the biggest issue that the Emmys haven't addressed adequately is reconfiguring the rules to reflect the magnitude of the industry. Even though "who got snubbed" stories will always be a staple of awards shows, the ferocity of those addressing Emmy snubs should be a clarion call for the Emmys to allow nomination totals to flex where necessary.

Television is clearly too vast for Emmy voters to adequately reward deserving participants within it. This is only a problem if your job is to do just that. Ahem. So what's holding back the notion of expanded totals in the categories? There need not be some hard and fast rule that each category will have 10 nominations (instead of five or six). Even though we're in an era where that kind of number could be filled pretty easily, concerns over padding are legitimate if there's ever a downturn (though, looking back over the last decade, the trajectory of both content and quality is skyrocketing north, not dipping south). But if such concerns are impeding an overdue fix, simply allow for expansion on a per-category, per-year basis.

That way even when Emmy voters find room for, say, a comedy newcomer like HBO's Silicon Valley — a deserving contender — they don't also leave out Fox's Brooklyn Nine-Nine, NBC's Parks and Recreation or ABC's The Goldbergs. It would also allow for broader representation of comedies like FX's It's Always Sunny in Philadelphia (and the worthy inclusion of that show's Kaitlin Olson among the actresses; or Wendi McLendon-Covey from The Goldbergs, as another example).

Expanding the categories also reduces the damage done by, say, having a wonderful actress like Edie Falco, whose role on Nurse Jackie is not particularly funny, squeeze out the aforementioned Olson or McLendon-Covey. Because when that happens, as it did this year, it magnifies the egregious mistakes of Emmy voters — highlighting such elements as ongoing historic snubs (It's Always Sunny) and modern mistakes (Brooklyn Nine-Nine and its own Andy Samberg, The Goldbergs and McLendon-Covey, etc).

Expanded nominations would reduce the damage done by allowing a show like Nurse Jackie to be considered a comedy, or Showtime's other overt drama, Shameless, to shift into the comedy category. Yes, it got William H. Macy a nomination but did nothing to help the fact that Emmy Rossum has been one of the best drama actresses of the last few years with nothing to show for it. Larger categories also, by the way, eliminate the need to use fine actors like Daniels and Falco as the culprits behind larger snubs; they can rightly be recognized on their own merits.

Clearly something has to be done to the Emmys so that what happened this year doesn't continue to happen. It's great that HBO's True Detective and Netlix's Orange Is the New Black had such strong showings. But the former is really a miniseries and should be in that category. However, since HBO was clearly of the mind that True Detective was likely its best shot for a drama win (since Game of Thrones has been ignored), allowing it in the drama category doesn't hurt The Americans or Masters of Sex or The Walking Dead or Orphan Black if the category itself is allowed to expand. Without that flexibility, critics like myself are left to smack our heads and weep about The Americans (including Keri Russell's omission in the best actress category, plus some wonderful acting work on those other aforementioned dramas).

You're seeing a pattern here, yes?

Perhaps the biggest gripe generated by so many oversights this year is that it didn't need to happen but will most assuredly happen again if something isn't done — and fast — to fix it. With Netflix and Amazon and Hulu generating content from their platforms and niche cable channels delivering quality dramas and comedies and the acting performances to go with them, it's glaringly obvious that the Emmys have been caught flat-footed at the evolution of their own industry.

There's an embarrassment of creative riches in television right now. If the Emmys can't find a way to recognize that, then the emphasis shifts off of the creative riches and onto the embarrassment. Which is precisely where we are now.

http://www.hollywoodreporter.com/bas...academy-717730
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Originally Posted by dad1153 View Post
(quoting "Emmy/Critic's Notes" by Lisa De Moraes on Deadline.com from July 10, 2014)

Brooklyn Nine-Nine. Sure a best comedy nomination for a freshman series is always a long-shot with the TV Academy, but there was an impressive door opener for this NBC series: a Golden Globe win.

"This NBC series"?  So how did I receive it on Fox?

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