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dad1153's Avatar dad1153 02:02 PM 07-13-2014
TV Notes
Bianculli's Best Bets
By David Bianculli, - Jul. 13, 2014

ABC, 3:00 p.m. ET

Tonight’s championship, the Super Bowl and then some of what we call soccer, features Germany vs. Argentina. Starting with the round of 16, Argentina has scored two goals – one to secure the win against Switzerland, and one more against Belgium. (Argentina advanced to the finals by beating the Netherlands on end-of-play penalty kicks, 4-2). Germany, over the same period, has scored 10 goals: two in its 2-1 victory over Algeria, one in its victory over France, and seven against humiliated host nation Brazil. So picking a favorite isn’t too hard this time, though an early upset goal by a hard-pressing Argentina would make this a really exciting game to watch.

Showtime, 9:00 p.m.
Only Jon Voight, in his standout role as Ray’s loose-cannon father, got an Emmy nomination nod earlier this week. That’s a shame, because several actors, including series star Live Schreiber, have turned in really complicated work. But in Voight’s case, it’s hard to complain: He tackled this role from the start like a terrier on a tear. Season 2 begins tonight, and if any of the characters begin the season in a better place, then I’ve missed someone in my misery index evaluation.

FX, 10:00 p.m. ET
Guillermo del Toro co-wrote, and directs the pilot of, this new FX series, which treats ancient vampirism as a modern plague – and, as this show tells it, with very good reason. Corey Stoll stars.

Showtime, 10:00 p.m. ET
This new season begins with some shuffling of the deck, regarding both the personal and professional situations of the characters we’ve come to know and, if not love, at least love to watch. That goes for Michael Sheen as uptight sex researcher William Masters, and it certain goes for the only two cast members nominated for Emmys this week, star Lizzy Caplan as Virginia Johnson and recurring guest star Allison Janney as Margaret Scully.

WGN America, 10:00 p.m. ET
WGN America’s first original scripted series ends its season tonight, but fairly valiantly. It’s already earned a renewal for Season 2, and it packs tonight’s season finale with enough cliffhangers, revelations and bloody confrontations to make it move briskly from start to teasing finish. Not every character will survive the hour – but those who do are brewing up more trouble than ever. Double, double, toil and trouble… Janet Montgomery, Shane West star.

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TV Review
'Ray Donovan' Returns for Round Two
By Eric Gould, - Jul. 12, 2014

Last week, producer and series creator Ann Biderman was probably thinking she needed a baseball bat to get some Emmy attention for her Showtime drama Ray Donovan. And she knows one or two things about the persuasive use of that tough-guy device, since one shows up in the Season 2 opener, premiering Sunday night at 9 ET.

Biderman’s series (her latest after the cop drama Southland) got the cold shoulder for writing or directing in this year's Emmy nominations. So did Liev Schreiber for his work as Ray, a hardscrabble South Boston émigré now living the upper-middle class life as a fixer and muscle man for the wealthy in Los Angeles. Only Jon Voight got a supporting actor nomination for his role as Ray’s father, Mickey, a Whitey Bulger-type who ratted to the FBI to get out of prison last season.

Voight deservedly was acknowledged for all of Mickey’s ex-con antics, getting over on, and sponging off of, his emotionally stunted adult sons for whatever he needed.

Too bad for Biderman, who co-writes the first two episodes of Season 2 sent for review and Schreiber, who has switched up the current anti-hero model with a few new moral shadings. It’s hard to look at the Emmy nominees for best drama and not think Ray Donovan ought to have been there, and the flagging Downton Abbey or the ever more preposterous House of Cards should not. As universally acclaimed as the Peabody-winning Southland was, it never assembled more than a few Emmy stunt coordination nominations. Talk about damning with faint praise.

Ray Donovan continues to command attention with surprise twists and taut direction as it resets with noir and daring for its current season. In episode two, Ray has to step in and get the star of an American Idol-like show out of the bedroom of a famous rapper, where she's been shot in the arm by a jealous wife, and somehow get her onstage the same night to compete in the final – along with a generally plausible story.

And fans of last season’s memorable hallucinatory appearance of a suited Capuchin monkey to now-departed agent Miller (Frank Whaley) in a men’s room won’t be disappointed when another anthropomorphized mammal appears in Sunday night’s premiere.

Plot gymnastics aside, perhaps Ray Donovan’s badge of honor is its character study of Ray — a guy who is consistently outside the lines of the law but firmly rooted in his married life and family. While that takes a page from Breaking Bad’s Walter White, Ray has no illusions of getting out of his line of work or the lifestyle it provides him.

Last season, Ray and his brothers dispensed their own brand of street justice, late at night, to a pedophilic priest from the family's past inside the downbeat L.A. boxing gym of brother Terry (Eddie Marsan).

Now he’s off to marriage counseling with wife Abby (Paula Malcomson) because of the psychic gulf his underworld life has created between himself and his family life. That’s a Sopranos-style hood-in-therapy scenario, but Ray, unlike Tony, seems to authentically care about his kids' happiness (Kerris Dorsey, Devon Bagby). Perhaps more like Mad Men’s Don Draper, he hasn’t come to realize that his problems aren’t his dual roles – in Ray's case as a street-wise enforcer and suburban provider for his family. It’s the cost of the moral equivalence he’s made to keep them divided.

He can’t look his wife, or his kids, too straight in the face until he at least makes a try at making a straight living, although he probably won’t go the A-1 Carwash route, as Walter did.

In the meantime, Biderman and Ray Donovan continue to provide, too – among the best that television drama can achieve.

dad1153's Avatar dad1153 02:06 PM 07-13-2014
TV Review
‘Masters of Sex,’ season 2: We’re all grown-ups here
By Hank Stuever, Washington Post - Jul. 12, 2014

If there is such a thing as critical tumescence, then that’s what I have for Showtime’s “Masters of Sex.” Should I feel embarrassed? Not at all.

“Masters of Sex” (which returns Sunday night) is a fine example of why some of us are still happy to spend a little more on our cable bill. It treats viewers like grown-ups — grown-ups who are curious about sex of all forms. It is intelligent, witty, quick-paced and surprising; it is tragic without being emotionally devastating. Based on the life stories of noted sex researchers William Masters and Virginia Johnson (played by Michael Sheen and Lizzy Caplan), the show is an always satisfying exploration of American culture on the verge of loosening its grip.

Among its premium-channel peers, “Masters of Sex” is the rare drama that honors completely linear movement. Its hours are full. It doesn’t obfuscate key details or use quick-edit cuts as a tease. It doesn’t raise existential crises and mysteries that it then refuses to answer. Its characters don’t speak in riddles; they certainly have their sullen silences, but these moments tend to speak volumes rather than send us into sessions of post-show analysis.

Though the writing and acting are uniformly excellent, the themes can sometimes be too blunt, always reduced to this: What a bunch of uptight jerks and jerkettes we used to be when it came to the continuum of human sexual response, burdening ourselves with expectations that kept things in cruel (usually heteronormative, always sexist) order.

At times, “Masters of Sex” seems intent on demolishing any notion of the 1950s as the good ol’ days. But because it has been conceived and produced in the context of our contentious, present-day culture wars (hello, Hobby Lobby), it seems to also be sending signals to viewers that we are maybe only halfway there in becoming the enlightened society we imagine ourselves to be.

For example, in one upcoming story line, Masters finds himself at odds with the angry father of a baby born with ambiguous genitalia. Masters also has to fight the instinctive response of his fellow doctors, who rush to “fix” the infant with the easiest surgical solution rather than the more complicated treatment that would spare the child a lifetime of identity grief.

Whether or not the real-life Masters was as attuned to the issues that would preoccupy us in 2014 (where our understanding of gender identity is undergoing a radical shift of its own), “Masters of Sex” is nevertheless demonstrating a topical relevance in either era.

It doesn’t set out to be an educational show, but, like all good dramas, you come away feeling like you’ve learned a little something about the past and the present. And it’s worth noting that even though the period details in “Masters of Sex” are as on-point and lusciously rendered as those on “Mad Men,” it doesn’t waste effort fetishizing its own look. It’s a far more natural, less self-aware trip back in time.

Sunday’s episode picks up where we left off last fall, circa 1958, after Masters’s disastrous presentation to his Washington University colleagues of the outre research that he and his assistant, Johnson, spent months conducting, in which participants copulated and masturbated under observation.

Though their anonymity remains intact, it’s only a matter of time before Masters’s neglected wife Libby (Caitlin FitzGerald) will discover that her husband was in fact a participant in the study with Johnson, a divorced mother of two.

Masters is a portrait of a man ruled by contradictions and compartmentalizing, which Sheen plays to an understated perfection. Regarded as the hospital’s expert in helping couples make and deliver healthy babies, he is nevertheless coldly dismissive of Libby’s maternal instincts and ignores their infant. (“Masters of Sex” has been alternately forthcoming and coy about who really fathered the child, if not Masters, who claims infertility.)

At his worst, Masters became so fixated on the study that he alienated Johnson, who went to work down the hall for the socially awkward yet fiercely intelligent doctor Lillian DePaul (Julianne Nicholson), a *cancer-stricken gynecologist dedicating her final energies to raising awareness about pap smears and cervical health.

Driven out of the university hospital, Masters must find a new professional home and a way to continue his research. Happily for viewers, this entails the return of former prostitute Betty DiMello (Annaleigh Ashford), in an altogether different guise.

Masters and Johnson continue their research on one another, which Johnson is starting to recognize as love, and Masters is only barely willing to admit is an affair. In a few weeks, “Masters of Sex” will deliver what I think is its best episode to date, when the two of them unwittingly discover a path to greater intimacy: role playing.

By pretending to be other people, Johnson is at last able to discover some of the demons locked away inside her difficult lover. These are marvelously written scenes, set in a hotel room in which the television is broadcasting the December 1958 fight between light heavyweight boxing champ Archie Moore and challenger Yvon Durelle.

Learning a few boxing moves in her hotel bathrobe, Caplan continues to deliver a performance that is gorgeously sharp; only occasionally does it seem as if too much of the show’s central theses and motifs are filtered through her character’s sensibilities and monologues — enough so that she sometimes becomes less relatable. The future of all of America’s good sex hangs on her like a burden.

This season also further explores the marital woes of doctor Barton Scully (Beau Bridges), who, against his friend Masters’s advice, seeks electroshock therapy to cure his homosexuality. As Scully’s heartsick but empathetic wife, Margaret, Allison Janney is doing some of her best work since “The West Wing.” (No offense to her CBS sitcom “Mom.”)

More new characters are coming (played by Sarah Silverman and Courtney B. Vance, among others) and producers have hinted that “Masters of Sex” will soon shift the plot forward a few years. That’s welcome news, since the more fascinating parts of the Masters and Johnson story take place five and 10 years down the road, when they finally make it out of the lab and onto America’s nightstands and talk shows.

Masters of Sex returns Sunday at 10 p.m. on Showtime.
dad1153's Avatar dad1153 02:08 PM 07-13-2014
SATURDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
dad1153's Avatar dad1153 02:13 PM 07-13-2014
Summer TCA Tour Notes
NBC Renews ‘America’s Got Talent’, ‘American Ninja Warrior,’ ‘Last Comic Standing’
By Nellie Andreeva, - Jul. 13, 2014

Kicking off NBC’s TCA presentation, NBC chairman Bob Greenblatt announced the renewal of summer reality series America’s Got Talent, American Ninja Warrior and Last Comic Standing. The pickups join the recent renewal of medical drama Night Shift, which turned from a summer burnoff to a breakout, tying CBS’ Extant as the highest-rated new series debut this off-season.

Greenblatt underscored NBC’s ratings success during the season, reminding everyone that the network finished 2013-14 as No.1, and did so again for the summer. NBC has won every week other than the two that ABC had with the NBA Finals, which Greenblatt in a lapse called “the NBC finals.” Last Comic Standing returned for an eighth cycle this summer after a four-year break, the second time the show has been revived. AGT is in its ninth season, averaging a 3.1/10 in adults 18-49 and 12.4 million viewers. Last Comic Standing is averaging a 1.7/6 in 18-49 and 5.1 million viewers. American Ninja Warrior, which is shared with corporate sibling Esquire, is delivering a 1.8/6 in 18-49 and 5.3 million viewers.

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Summer TCA Tour Notes
NBC’s Bill Cosby Comedy To Be Created By Mike Sikowitz, Mike O’Malley, Who May Co-Star, Coming Summer Or Fall 2015

At its executive panel, NBC revealed more details about its Bill Cosby multi-camera comedy project. It will be created by Mike Sikowitz and Mike O’Malley and produced by Sony TV, where Sikowitz is under an overall deal, NBC Entertainment president Jennifer Salke said. Sikowitz is also tied as a showrunner to the Sony TV-produced new CBS comedy The McCarthys, so I had heard that O’Malley would be writing with Sikowitz supervising. Actor O’Malley, who is eyed for one of the show’s leads, had been active on the writing side, starting with a staff writing job on Shameless, and has written a couple of pilots. As for the premise, it is a multi-generational family show, Salke said.

“Bill plays the patriarch of the family, dispensing his classic wisdom on relationships and parenthood, with three daughters, husbands and grandchildren,” Salke said “It’s a classic big extended family sitcom.” The hope is for O’Malley to play one of the husbands, she added. The show is eyed for next summer or fall 2015.

The Bill Cosby project is part of NBC’s commitment to the multi-camera genre, Salke said. Both Salke and NBC chairman Bob Greenblatt spoke of the difficulty getting multi-camera comedies on the air that stick, having just unsuccessfully tried with Sean Saves the World. (The network has seen some encouraging numbers for Undateable this summer.) “There is a generation of writers and producers that has moved away from multi-camera,” Greenblatt said. Added Salke, “Nine out of 10 writers come in wanting to write single-camera comedy.”
dad1153's Avatar dad1153 02:21 PM 07-13-2014
Summer TCA Tour Notes
NBC Chiefs on Abortion Controversy, Emmy Snubs and 'Community's' New Home
By Lacey Rose and Marisa Guthrie, The Hollywood Reporter's 'Live Feed' Blog - Jul. 13, 2014

Bob Greenblatt was on hand Sunday for his much-deserved victory lap.

Having just wrapped the television season atop his rivals in the all-important 18-49 demo for the first time in a decade -- thanks to a schedule that includes The Voice, The Blacklist and Sunday Night Football -- the network chairman trotted out on stage at the Television Critics Association press tour with renewed energy. Flashing on screens that flanked the Beverly Hilton stage were bold declarations including “NBC’s resurgence is just beginning” as clips from the network’s portfolio accompanied them.

Before facing a deluge of questions, Greenblatt stood at the podium to rattle off a string of impressive statistics, including 27 percent growth in total viewers, an additional $300 million in upfront gains and big wins in late night, where Jimmy Fallon’s Tonight Show regularly trounces its rivals. Though NBC won’t have an Olympics assist this coming season, the net is poised to benefit significantly from the Super Bowl ratings boost in February.

Joined by his entertainment president Jennifer Salke and reality chief Paul Telegdy, the trio fielded questions about broadcast's challenges, the controversy still swirling around a rejected Obvious Child ad and Community's move to Yahoo.

Hey Bob, Fox could use your advice.
With Fox expected to announce its new chief -- or more likely, chiefs-- as early as this week, Greenblatt was asked to offer advice for turning around a ratings-challenged network as he’s done over the past three and a half years at NBC. He had a few pieces of wisdom to share. “You have to love the medium,” he noted first, adding: “If you don’t really want to be in the broadcast medium, you shouldn’t be. Also key: an appetite and an ability to be in the volume business as the job requires producing some 20 shows at any given time. The volume is the killer. If you're doing two shows a year you can hand craft them. But when you're doing 15 or 20 shows a year, the volume just gets a way from you. " And the last piece, he concluded: "Hiring good people not only to work on your programs but also to work in your executive ranks; and having the kind of management that offers support and latitude in the way Greenblatt insists NBCU CEO Steve Burke does.

Just how pissed were you on Emmy morning?
Greenblatt was not shy about his frustrations surrounding cable’s continued domination come Emmy time, using the TCA platform to express his dismay about the lack of love for The Blacklist, and its star James Spader. “Despite the fact that we tell ourselves it doesn’t matter, we of course want that validation,” he said, adding: “Cable has the advantage of doing shows that are darker, more interesting and that to some extant feel cooler than what we can do.” The latter gave way to a larger conversation about the challenges a network like NBC faces when it comes to producing cable-worthy fare as it does with critically-beloved Hannibal. Put simply: not enough viewers come. "Hannibal is one of the best shows we have creatively. I don’t know why 5 million or 8 million wont watch Hannibal on a broadcast network," he continued, noting that that "minute you try to do something that is dark and subversive you start to peel away the mass audience."

Tell us what really happened with that Obvious Child ad.
With the controversy over NBC's rejection of a digital ad for the film Obvious Child with the word "abortion" in it is still reverberating thanks in part to a Planned Parenthood petition signed by female pop culture celebrities including Lena Dunham and DJ Samantha Ronson, Greenblatt suggested the network does not have an "iron clad policy" about the word itself. That said, he acknowledged that he was not part of the internal discussion about the ad, which was among three submitted to the digital sales team. Clarifying, he added from the stage: "The sales group chose the path of least resistance. They chose the ad that did not have [the word abortion in] it."

So, how does that translate to programming?
While the entertainment industry had made progress in dealing with a perennially divisive issue – NBC's Friday Night Lights and Parenthood have both dealt with abortion — Greenblatt says it's still a topic that draws controversy. "I don't know that it's been off limits, but I think it's one of those hot-button issues that people are still afraid of for obvious reasons," he said. He went on to recount a struggle he was involved with while an executive at Fox when writer's of the network's popular 1990's drama Party of Five came up with a storyline that had Neve Campbell's character deciding to have an abortion. “It was a real fight internally whether or not we could tell that story and she lost the baby sort of on the way to get the abortion,” Greenblatt continued, putting air quotes around the word lost. “I thought [that was] a real cop out. And that was 20 years ago. I don't think we cop out like that anymore. But I still think writers and producers are nervous about it because it really does dividepeople.”

Dan Harmon's getting the last laugh, huh?
Speaking with reporters after his session, Greenblatt suggest he, too, was happy to see Harmon's ratings-challenged cult hit Community land on Yahoo since NBC's studio is a co-owner with Sony on the show. "Yahoo is in a different business than we are, trying to build their platform, and they made an extraordinary deal. We're the co-owners of that show and we're going to make money on it right away, which wouldn't have been the case if it had been on the network for another year," he said, noting that he feels "great" about his decision not to keep the ratings-challenged series on his network. "It just didn't make sense for us to have another season of it at that level of audience. I don't know if we'll ever know how many people watch it on Yahoo, I'm curious to see if they can get a bigger audience than we did."

How nervous are you about the CBS' Thursday night football play?
NBC's producers and stars may be concerned that CBS' big Thursday Night Football play will crush the peacock net's lineup this fall, but Greenblatt suggests he's not. Or at least he sees a silver lining in the move: his new comedies won't have to come out of the gate competing against CBS' comedy behemoth The Big Bang Theory, which finished last season as the top scripted entry. "I think it gives us a little opening for those comedies [Bad Judge and A to Z]," he said of his new entrants, acknowledging the challenges NBC's Thursday night comedy efforts including The Michael J. Fox Show and Sean Saves the World have faced of late. What's more, he doesn't expect CBS' Thursday night games to immediately rival the juggernaut status of his net's Sunday Night Football. "I'm hoping that those Thursday games are going to take a long time to take root," he added. "We know football is potent, but I don't think you're going to see the kind of ratings that we see on Sunday night."

Guess it's not all bad news for NBC's comedy department.
CBS' next-morning report had Extant proving this summer's biggest scripted bow, but Greenblatt revealed that the network spoke to soon. Once the official numbers came in later in the week, Extant fell slightly, putting it on par with NBC's surprise -- and recently renewed -- breakout The Night Shift. And unlike the heavily touted Halle Berry vehicle, Night Shift lacked big stars or a hefty promotional campaign. Its ability to connect with audiences has been reassuring to Greenblatt, who admits broadcast nets used to throw on lesser fare during the summer months. No longer. In fact, he and Salke suggested that the network's Bill Cosby sitcom could find itself landing on NBC's late summer schedule in 2015.

But that's not to say NBC has comedy all figured out.
Salke called the demise of The Michael J. Fox Show and Sean Saves the World "heartbreaking," with Greenblatt noting that he had hoped that the series' stars -- Fox and Sean Hayes, respectively -- would have helped the network cut through on a particularly challenged night (Thursdays) for NBC. That neither did is a revealing, if frustrating, commentary on the state of the competitive marketplace. Looking ahead, NBC is making a bet that audiences are eager for romantic comedies, a genre that hasn't had a heavy presence on network schedules of late, with freshman efforts including A to Z and Marry Me. Both execs added that the network will continue to try to lure producers back to the broader, cheaper and considerably less sexy multicamera comedy genre, too.

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Summer TCA Tour Notes
Christopher Walken to Play Captain Hook in NBC's 'Peter Pan'
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Jul. 13, 2014

NBC is going big for its upcoming live performance of Peter Pan.

Oscar winner Christopher Walken will star as Captain Hook in NBC's follow-up to The Sound of Music, The Hollywood Reporter has learned. NBC Entertainment chairman Bob Greenblatt is expected to make the announcement during his session Sunday at the Television Critics Association's summer press tour.

The casting reunites Walken with Craig Zadan and Neil Meron after his starring role in the producers' film adaptation of Hairspray.

"He's one of the most unique actors in our business," Greenblatt said. "He might really just be a song and dance man at heart. ... This might be the first tap dancing Captain Hook you've ever seen." Speaking to reporters after his Sunday session, the exec said that he was out to Kristen Bell to star as Peter but they couldn't work out timing due to her commitment to Showtime's House of Lies.

"We were talking about doing it with a man at one point, but we've had several women who wanted to do it and they're either busy or their schedules don't work. It's not like we can film this at any time; I need this person from Aug. 5-Dec. 5, so that knocks out the Kristen Bells of the world, who was somebody I talked to about doing it and she was interested but she's doing House of Lies," he said, noting he spoke with the Frozen star before she announced her pregnancy. "It's tricky finding the right person in the schedule that we need it but we're actually close. [Peter is] going to be female."

Based on James M. Barrie's revered book and musical, NBC's new take, which hails from Universal Television, comes after the network in 1955 staged a live broadcast of the Broadway production of Peter Pan that opened in 1954. The show, starring Tony winners Mary Martin and Cyril Richard drew 65 million viewers — the highest rating for a single night program at the time. NBC later broadcast the show live again in 1956 and 1960. It was also the first broadcast of a musical in color.

"The exhilarating thing about doing these live musicals is giving the stage to a thrilling performer like Chris, and seeing his once-in-a-lifetime performance unfold at the same moment the audience is watching at home," executive producers Zadan and Meron said.

Added Walken: "I started my career in musicals and it’s wonderful after all this time, at this point in my career, to be in this classic musical I watched as a child and to work with Neil Meron and Craig Zadan again after Hairspray. It’s a chance to put on my tap shoes again."

Walken has appeared in more than 100 feature films and TV series. He won the Oscar for his role in the The Deer Hunter and was nominated for Steven Spielberg’s Catch Me If You Can." His credits also include film musicals including Pennies From Heaven in which he danced to “Let’s Misbehave." He's currently dancing again in Clint Eastwood’s adaptation of Broadway hit Jersey Boys. His 13 Broadway credits include his Tony-nominated performance in James Joyce’s The Dead as well as for the 2010 play A Behanding in Spokane, in which he also played a man with a severed hand.

Walken, repped by ICM Partners, joins Dustin Hoffman and Colin O'Donoghue, who played Hook in the feature film and on ABC's Once Upon a Time.

NBC's decision to repeat the live musical performance comes as broadcast networks are looking to draw eyeballs (and awards-season cachet) in an increasingly competitive landscape and DVR era.
dad1153's Avatar dad1153 02:28 PM 07-13-2014
Summer TCA Tour Notes
Emmys Chief on Fishy Category Entries: ‘We Definitely Need to Look at It’
By Jethro Nededog, - Jul. 13, 2014

Reporters pressed Television Academy's chairman and chief executive office Bruce Rosenblum to explain possible abuses of category rules by producers/networks hoping to increase their chances of winning an Emmy.

“Orange Is the New Black” and “Shameless” entered as comedies? “Treme” entered as a miniseries? Why is someone considered a guest star when they appear in as many episodes as series regulars? Should 22-episode per season dramas compete against dramas with less than half the episode order?

Early in the Television Critics Association press tour panel for the 66th Primetime Emmy Awards, Rosenblum seemed less enthused about taking a look at these possible abuses, saying that the organization doesn't reexamine itself based on criticism.

“We look at rules every year, but it's possible that we will,” he said.

It became clear over the course of the panel that the issue hadn't been put to bed for reporters.

“This isn't a new problem,” he said. “I remember ‘Desperate Housewives’ entered into the drama category. So, this isn't something that is a new issue for the category to be raised. It predates my tenure her.”

Nevertheless, Rosenblum went on to say, “But as an organization, should we look at refining those rules? We should definitely look at it.”

He later would add, “I think it's less about the rules and more about our industry is evolving. Just look at the kinds of shows that are being produced and the networks that are ordering those shows. We didn't have Netflix and we didn't have HBO ordering just eight episodes… I do think we need to step back and take another look at the rules, again not responding to criticism but by the evolution of the industry.”

Executive producer Don Mischer weighed in. “There is a blurring of the content nowadays and with these different platforms. It's really difficult to have straight, ironclad procedures that clearly delineate where all these shows fall. It's just really tough. And the solution to that is not to simply add more and more awards. We just have to do the best we can do.”

“For the record,” host Seth Meyers interjected and lightened the mood. “We tried to enter ‘Late Night’ as a miniseries and they didn't let us.”

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Summer TCA Tour Notes
Seth Meyers Says Emmys Telecast Will Be 'Fun' and 'Playful,' Less 'Morbid'
By Philiana Ng, The Hollywood Reporter - Jul. 13, 2014

Seth Meyers is ready for his Emmy close-up.

The Late Night show was optimistic about his upcoming stint leading the 66th annual Primetime Emmy Awards, airing on a weekday for the first time in years. As Meyers told it, he'll stick mainly to his strengths: telling jokes.

"We want to approach it like anything we do, which is to be upbeat and fun. Certainly we don't want it to feel morbid. We want it to feel like a celebration of TV," Meyers told reporters Sunday during NBC's Television Critics Association summer press tour session.

"No matter how much TV changes, our job is still to be entertaining for three hours in an old-school way," he added later. "It's the same thing of taking over a late-night show. You have to give the best version of yourself, build the show that is best for my skill set."

Unlike his Tonight Show lead-in Jimmy Fallon, who is comfortable with performing in musical sketches and comedy bits, Meyers will flex his muscles during the opening monologue.

"I’m limited by the fact that I can't sing or dance. So I have to tell jokes and the monologue is the best place to tell jokes," Meyers said. "That first 10 minutes [of the ceremony] is the best time to get the audience to laugh because as the night goes on, they get more disappointed."

Producer Don Mischer praised the choice of Meyers, saying that in looking for an Emmy host, "you want to have somebody who wants to be there and loves television and is comfortable there," he said. "[Seth] can roll with the punches and pick up on things that go wrong and need commenting."

Meyers' past experiences leading the ESPYs and the White House Correspondents' Dinner have better prepared him for the grueling task of hosting the Emmys, NBC's late-night host gathered. "It's more playful than cutting and biting," he said in reference to the White House Correspondents' Dinner.

Meyers cited Saturday Night Live's Lorne Michaels' belief of how to approach jokes as an approach he'll borrow. "Try not to tell a joke where you'd want to leave a cocktail party if they showed up," he said.

Meyers and the producing team behind the Emmys, including his Late Night producer Mike Shoemaker, will likely keep with tradition, with one or two pre-taped pieces where Meyers could potentially appear in. And most importantly, the Emmy team emphasized the importance of keeping the show moving, with Mischer citing "expediency" and "efficiency" as key.

If there was any worry over moving the Emmys earlier in the year and to a Monday night, the creative team certainly didn't let on. Paul Telegdy, president of alternative and late night programming at NBC Entertainment, noted that NBC would utilize Sunday Night Football the night before as a launch platform. "

I would never refer to it as an annoying distraction, whether in late August or early September," said Bruce Rosenblum, chairman and CEO of the Television Academy of this year's airdate. "We may have an advantage being on a Monday night," Mischer added. "We stand a chance to get more attention on Monday night."

As for the fluid changes in the TV landscape, Rosenblum fielded multiple questions from critics about major snubs and lax rules in regards to many of its categories. Shameless' switch from drama to comedy series, Treme's move from drama series to miniseries were among the switches Rosenblum was grilled about.

Saying that the nominations were determined by a body that includes 19,000 voters, Rosenblum assured that a closer look will be paid attention to. He also indicated that there are no plans to add more categories to the ceremony or to add more nominees to fulfill the growing TV offerings. "There are some subtle rules that as an organization we should take a look at," he said.
dad1153's Avatar dad1153 02:33 PM 07-13-2014
Technology/Business Notes
Technology for the underserved is catching on — slowly
By Jon Swartz, USA Today - Jul. 13, 2014

SAN FRANCISCO — While the debate rages over tech's record on diversity and economic inclusion, there is little argument over the intentions of venture-capital firm Accion and its clients, which include start-up Quippi.

They've teamed up to offer technology for the underserved, those typically either unable to afford tech or gain ready access to it. It's a multibillion-dollar opportunity in multiple markets. "The market is ripe for disruption," says Michael Aleles, CEO of Quippi, which offers what it says is the first international shopping card that lets immigrants send money home without being gouged by onerous wire-transfer fees. The market is pegged at $22 billion between the USA and Mexico, where Quippi is focusing its first efforts.

Aleles, a former executive at Intel Capital, the venture-capital arm of the computer chip giant, says several countries, including El Salvador, are interested in the service. "This is the way for retailers in one country to reach consumers in another country."

Technology for the disenfranchised could be an immense market, but it has evolved slowly.

About 60% of the world's population (4.2 billion) will remain unconnected to the Internet through this year, according to a report on Internet usage by the International Telecommunication Union.

Yet dozens, if not hundreds, of companies are jumping in to snare a slice of the action, says Paul Breloff, managing director of Accion Venture Lab, which invested in a $2 million round in Quippi. "Sure, there is a huge opportunity for markets not served — but start-ups also see a chance to take advantage of a (digital) infrastructure now at (people's) fingertips," he says.

Many of the entrants focus on financial services, where they believe they can assess risk better than banks and reach consumers more conveniently, Breloff says. The candidates include Xoom, an online money-transfer service; StreetShares, a social-lending marketplace; M-Kopa Solar, an asset-financing company; and consumer-lending firms Lending Club and Prosper.

Last year, Quippi laid an early claim to a fledgling industry that has been largely ignored. It developed technology that lets consumers buy shopping cards good in Mexico on its website,, and at certain wireless outlets, grocery stores and liquor stores in California and Texas. The cards can be redeemed at several major chains in Mexico — department store Coppel, grocery store Chedraui and Office Depot. A large pharmacy chain, Farmacias Benavides, is about to join. The catch is that Quippi does not charge a commission or a fee to exchange money.

"With so many Mexicans in the U.S. (about 35 million) and their families in Mexico, it is important to give them the safety they require to make sure their money is spent the way it is meant to be," says Arturo Hernández Martínez, chief marketing officer at Office Depot, one of Quippi's retail partners.

Lourdes Marin, who lives in Anaheim, Calif., has sent Quippi-issued cards to friends and family in Mexico for several months. She recently gave a Coppel card to Gomer Lopez. Previously, she used Western Union, which was costly and complex. The Quippi card has "worked well," she said. "I've had no issues."

Sending money back home — otherwise known as remittance transfers — is a major source of wealth for countries such as Mexico. Last year, remittances from U.S. migrants to Mexico topped $22 billion . The growth of mobile banking and online money transfers has made it easier to send money, Aleles concedes, but the market has been slow to adopt tech.

"The bottom of the pyramid consumers are usually ripped off," Aleles says. "These are generally people who are not comfortable with tech."

Actor Sean Penn has been active in lobbying tech companies to contribute their products and expertise to the needy, such as victims of the Haitian earthquake in 2010. In an interview several months ago, the Academy Award winner barely hid his disdain for the underwhelming reaction among tech behemoths to his efforts. "I have no expectations now," he said, taking a drag off an e-cigarette while rolling his eyes. "Only Salesforce and a few others have come through" over the years.

Increasingly, start-ups and major retailers see long-term benefits.

"It takes time," Martinez says. "But we think, during the back-to-school season, our programs will grow effectively. We're excited about (the Quippi partnership)."

Indeed, there is movement among companies to address emerging markets, especially in South America (Brazil) and Africa (Ghana and Nigeria), says Wayne Sutton, general partner at Buildup, an organization that brings together innovators. "There is a lot of back and forth on this — some people think it is crazy," he says. "But the opportunity is great."
dad1153's Avatar dad1153 02:46 PM 07-13-2014
TV Notes
'Sam & Cat' Cancelled! Nickelodeon Cancels Series After One Season
By Mitch Thorpe, - Jul. 13, 2014

It's the end of an era.

Nickelodeon has just announced that there will not be a season two for the Ariana Grande and Jennette McCrudy show Sam and Cat.

The hit show saw the two reprise their roles of Sam Puckett and Cat Valentine from iCarly and Victorious as they become roommates and start their own babysitting business.

The show became such a hit that after only a month into the first season the network doubled the episode order from 20 to 40. It seemed that the show would definitely be renewed for season two, however shortly into filming the first season, reports emerged that claimed there was drama behind the scenes.

Click here to read all about what went down on set.

Reports from McCurdy claimed that she was being treated unfairly by the producers and crew of the show. Fans speculated that the attitude change was due in part to nude photos being leaked of Jennette.

Other reports claimed that McCurdy was unhappy because she found out that Grande was getting paid more than her per episode. These rumors were later denied by both of the stars.

The drama on set forced the show to go into hiatus earlier this year, with a second season not looking promising. After months of waiting, fans have learned that Nickelodeon has decided to ax the second season. On top of this news, fans also learned that they wouldn't get to see all 40 episodes of season one since only produce 36 of the 40 episodes were produced.

The final two episodes #WeStealARockStar and #GettingWiggy with air this Saturday and next Saturday, with the latter serving as the series finale.
dad1153's Avatar dad1153 02:53 PM 07-13-2014
Summer TCA Tour Notes
Katherine Heigl Discusses Her Career, Her Mother, And NBC’s ‘State of Affairs’
By Lisa De Moraes, - Jul. 13, 2014

Katherine Heigl’s appearance at Summer TV Press Tour 2014, to discuss her return to series TV, was as dramatic as you’d expect. The hall was packed with press to hear Heigl talk about her new NBC series State of Affairs, in which she plays a CIA analyst who presents the President of the United State’s daily briefing on security issues facing the country. Heigl, you’ll remember, is the actress who became a major star on ABC’s Grey’s Anatomy, but left that series to focus on her film career — but only after alienating some on Grey’s for, among other incidents, telling the media she had not submitted herself for Emmy consideration one season because she did not think she had been given good enough material.

Then there was that Vanity Fair interview she gave after filming comedy Knocked Up, from writer/director Judd Apatow, starring opposite Seth Rogen, Paul Rudd, and Leslie Mann, in which Heigl said she enjoyed the work, but not so much the film, because it was “a little sexist,” “paints the women as shrews, as humorless and uptight, and it paints the men as lovable, goofy, fun-loving guys.” For those comments, the media described her as an “ungrateful traitor,” among other yeasty comments.

Before Heigl’s Q&A, a TV critic asked NBC Entertainment president Jennifer Salke why Katherine’s mother, “stage mom” Nancy was scheduled for that Q&A and listed as one of State of Affairs’ EP’s. Salke explained that Katherine came with her mom to pitch the show during development season, and that Nancy Heigl had been “incredibly smart through this process.” “She is someone who has strong opinions, but we found her to be nothing but additive,” Salke insisted, acknowledging “Katie really relies on her in her life, and it’s a real partnership that seems to work for both of them.” She called Nancy “momager,” “best friend,” “partner in her life” to Katherine Heigl.

During the show’s Q&A, the same reporter asked Nancy Heigl what she was doing on the show.”She bakes us cookies,” Katherine Heigl stage-muttered. Her mother, however, answered that the project had been pitched to her and her daughter, adding, “I am her mother for sure, so, of course I care about her,” adding, ” but I am just learning about exec producing, and am learning from those who really know….I’m a newcomer to it.”

Later, a TV critic asked Katherine Heigl to address “stories” that she and her mother were difficult to work with, and whether she thought Hollywood had punished her in her career for her outspokenness. She also was asked to explain what she meant when she said in a recent interview that her career had gotten a little out of her control.

State of Affairs exec producer Ed Bernero attemped to step in, asking the TV critic, rhetorically, if he could say something on that score.

“No,” the critic responded, explaining he wanted to hear what Heigl had to say.

Bernero appeared to react like someone who just got bitten by a bunny rabbit. Recovering after a momentary shock, he continued trying to speak. Again the critic cut him off, explaining the question had been addressed to Heigl for a reason, –only this time the critic was part of a chorus telling Bernero to put a sock in it. This time Bernero reacted like someone who’d just been bitten by a herd of rabbits.

“Wow! That’s rude!” he said.

Heigl came to his rescue, beginning to speak for herself. She insisted she did not say her career had gotten a little out of control — she said she had stopped challenging herself in her movie roles. “I love doing romantic comedies,” she explained, but stopped “exercising different muscles of my ability,” which let down her audience too because “I wasn’t challenging them either.” She said she took this role on State of Affairs because it’s “an extraordinary role, and an extraordinary story, and the opportunity to flex different muscles. I hope my audience will be excited about it.. As far as your other question: I can’t speak to that.. I can only say I don’t see myself as being difficult. I would never intend to be difficult. I don’t think my mother intends to be difficult. It’s important to everybody to conduct themselves respectfully, and professionally, and kindly. If I ever disappointed somebody it was unintentional.”

* * * *

Summer TCA Tour Notes
NBC Mulling Pickup Of Maya Rudolph Variety Show, No Return Date Yet For ‘Celebrity Apprentrice’
By Nellie Andreeva, - Jul. 13, 2014

NBC is in “an active creative discussion” for more of The Maya Rudolph Show, either as a weekly series or a series a specials, NBC’s president of alternative Paul Telegdy said during the NBC executive session. The variety show, starring the Saturday Night Live alumna and produced by SNL boss Lorne Michaels, started as a special that aired on May 20 behind The Voice. That special is looked at as an “imperfect first episode,” Telegdy said. A discussion is undergoing about thestruc ture and format, the music quotient over sketches, he added said. “It is a show we were really proud of,” Telegdy said. “On balance, we really enjoyed the experience. Added NBC chairman Bob Greenblatt, “we were very encouraged by the ratings.” In a Q&A with Deadline last month, Michaels was optimistic about the future of the show.

Also today, Telegdy was asked about the upcoming season of Celebrity Apprentice, which has been in the can for awhile but has not been scheduled yet. No update on a premiere date yet, Telegdy said. Celebrity Apprentice‘s most recent season aired in the spring of 2013. Greenblatt noted that the network has taken long hiatuses with other long-running reality series, like The Biggest Loser. “You look at what your needs are,” he said.
dad1153's Avatar dad1153 02:58 PM 07-13-2014
TV Review
The Strain, Guillermo del Toro’s New Vampire TV Show, Is Perfect Summer Schlock
By Matt Zoller Seitz, (New York Magazine) - Jul. 11, 2014

During high school and college I used to go to a decrepit mall on the other side of town. Most of the spaces that normally would have held stores had been empty for years, but the pedestrian areas were open and filled with flea market–type stalls where people sold homemade and used goods. People brought dogs and cats into the mall. On weekends you could sometimes buy freshly laid eggs and homemade tamales and churros there. You'd see people having tailgate parties in the parking lot. The only "respectable" business holdout was the movie theater, which showed films for a dollar. My friends and I used to go there on Friday or Saturday nights to catch the midnight shows, which were raucous affairs. Cigarettes and joints were smoked. People talked back to the screen. Beer was openly consumed. It was a rare screening that didn't include the sound of bottles accidentally being dropped on the concrete floor and rolling slowly toward the front of the bowling alley–sized "auditorium."

Most of the movies that played at this mall were stupid and trashy and terribly made. But once in a while you'd get a film that was stupid and trashy but well-made — something that had personality and a sense of fun, like The Hidden or The Kiss or Child's Play 2 or The Serpent and the Rainbow or The Crush or John Carpenter's Prince of Darkness. Then again, maybe they weren't all that well-made; maybe they were just not totally terrible and they seemed good because we were drunk or high. I can't say for sure; mists of time, etc. Once in a very great while you'd see an objectively awesome work of pure bloody gold there, like Stuart Gordon's Re-Animator or From Beyond, and it was a day-improving surprise, like finding a five dollar bill on the sidewalk. But you didn't necessarily expect those kinds of tiny miracles. The movie was just part of the experience. As long as it wasn't dull, you liked it.

Anyway: This biographical warm-up is context for me to tell you precisely what you're getting getting into when you watch FX's science-fiction vampire horror miniseries The Strain. It's a TV show, not a movie, but it if were a movie, it would have played at that theater. I could kind of smell churros as I watched it. Quality-wise, it's closer to Child's Play 2 or The Kiss than it is to Re-Animator — which truly is awesome, as anyone who's seen it will testify — but I love the fact that The Strain seems to be trying to evoke these sorts of better-than-government-work horror midnight time-wasters. At one point it even quotes from Re-Animator, in a morgue scene in which shambling supernatural creatures ambush a lone coroner while Neil Diamond's "Sweet Caroline" plays on a transistor radio. I had a great time watching the first four episodes, mainly because I watched them with my teenage daughter, who's a wiseass, and because Guillermo del Toro, who co-executive produced the series and directed the pilot from a trilogy of schlocky bestsellers he co-wrote with Chuck Hogan, seems to be enjoying himself immensely as he sets up one creepy and/or horrifying set-piece after another, even when the plot doesn't necessarily require one at that particular juncture.

The program is dumb, dumb, dumb, dumb, dumb, and derivative as hell, and the characters behave in ways that make no sense. One second the Center for Disease Control investigators played by Corey Stoll and Mia Maestro act all haughty about the proper protocol for investigating a possible scene of biological or viral infection — a jumbo jetliner that has landed at JFK airport with the passengers and crew comatose with little puncture wounds in their necks; gawrsh, I wonder what caused those? — and a couple of scenes later they come across a huge black coffin inscribed with Satanic-looking runes, and they just open it up to see what's in it, and they aren't even wearing hazmat suits. ("Because what could go wrong?" my daughter said. "It's clearly just the sleeping quarters of a hellbeast.") They keep doing this all the way through the series. They make Scully and Mulder from The X-Files seem like models of caution. I have mentioned elsewhere that Corey Stoll's hairpiece is Shatner-level awful and that I hope it factors into the plot. Perhaps it will foreshadow traumatic hair loss that will restore the actor's bald-domed glory. Or maybe it will set up a shocking midpoint revelation that the toupee is itself a vampire hunter, a thousand-year-old hairpiece that taught the show's unofficial Van Helsing manqué, a sword-cane–toting Holocaust survivor named Abraham Setrakian (David Bradley), everything he knows. Perhaps the toupee will speak with the voice of Alec Baldwin.

I digress yet again. I'll close with a list of things I liked about The Strain: the evil one-percenters who are secretly masterminding the slowly spreading vampire infestation; the way that the show's troublemaking-henchman-in-chief, Thomas Eichorst (Richard Sammel), sits at a makeup mirror and affixes false skin and a false nose to his time-rotted true face, like a vampiric Blanche DuBois preparing to greet a gentleman caller; the genuinely unnerving relationship between a father and a daughter who was on that flight and really should be dead but isn't, exactly; the way that ace exterminator Vasiliy Fet (Kevin Durand, who's fast becoming one of my favorite "Hey, it's that guy!" actors) struts around scenes of vermin infestation like the Steven Seagal of rat-catching. Most of all I liked watching it on a muggy summer night with somebody who didn't take it especially seriously either, but was willing to admit that at certain points it was, in fact, quite scary, so much that you should probably not start watching an episode too late. Lots of delis are open after midnight, but not enough of them sell garlic.

Sundays at 10:00 p.m. on FX
DrDon's Avatar DrDon 03:01 PM 07-13-2014
w/r/t "retro skin." I can't recall the time and place of the conversation I had nor with which admin I had it, but a huge percentage of AVS members use the retro skin. Was one of the biggest issues with switching over both ways. These guys just like the old "theater" theme AVS started with and want to keep it (myself included). So, it's in everyone's best interest to keep that in mind when using color in posts. FWIW, nobody's complained about the blue in dad's posts. But I see a lot of posts in a lot of sections that are flat invisible to me without highlighting the text.

aaronwt's Avatar aaronwt 04:55 PM 07-13-2014
Originally Posted by mrvideo View Post
Not on my monitor. Using dark, I can barely read it and with retro, it is impossible to read it. The point is that it should not be harder to read.

One of the major rules of graphics design and web design is to NEVER use dark text against a dark background and bright text against a bright background. By definition, blue is a dark color.

Red happens to be one of those colors that works with bright and dark backgrounds. Blue does not.

Also, the red is in the page source as #FF0000 , while blue is not, meaning the actual color that is displayed by the user's browser may not be #0000FF . It is supposed to.

This is a test of forcing blue with the hex code

This is a test of setting blue with the color's name

On my display they are the same.

This is darkgoldenrod (#B8860B)

This is readable just fine with retro. After posting, I'll see how it looks with dark and the default.

UPDATE: The darkgoldenrod works on all three desktop skins. I strongly urge that blue go to the wayside and be replaced with a color that works on all three skins, like the darkgoldenrod.
You mention the blue changing. I just looked at the three again with this post. The blue text is the same on all three when I look at it. And the Goldenrod text is also the same color on all three.
ti-triodes's Avatar ti-triodes 05:29 PM 07-13-2014
Originally Posted by dad1153 View Post
TV Notes
El Rey Network Renews ‘Matador’ for Season 2
By Tony Maglio, - Jul. 10, 2014

El Rey Network has renewed the spy soccer thriller “Matador” for a second season — nearly a week before the series debuts.

Great network! I just wish D* would transmit it in HD.
mrvideo's Avatar mrvideo 08:27 PM 07-13-2014
Originally Posted by dad1153 View Post
Sorry, mrvideo, I just don't want to mess with the color scheme Fredfa selected all those years ago that has served the "HOTP" thread so well until the recent changeover. It could be worse though. I really like light green as my personal favorite color but when I tried to incorporate that into my posts I got nearly kicked off the plant.
I have no clue as to why others do not have the issue. Maybe my ASUS 1920x1080 monitor has issues with dark text on a dark background.

Fredfa probably selected the colors using the white background and never checked other skins.

Light green would have been fine with me, but it probably would not have looked good on a white background.

What plant would you have been kicked off of?

ADDED INFO: I did a sample of the screen and did a couple of things. First I wanted to make sure that the display was indeed using #FF0000 for red and #0000FF for blue. It was. Then I chenged the image into grayscale to compare brightness levels of the colors. The background was 87%, which is the baseline. Red was 58%, which is a good contrast to the background, which is why the red was easy to see. But, the blue was 80%, which is not good. That makes for hard viewing, and to my eyes the blue is indeed had to read.
mrvideo's Avatar mrvideo 08:41 PM 07-13-2014
Originally Posted by DrDon View Post
FWIW, nobody's complained about the blue in dad's posts. But I see a lot of posts in a lot of sections that are flat invisible to me without highlighting the text.
I guess I'm a nobody.

I've had to highlight as well and have had to do it to Dad's blue every now and then when I didn't know what the line of text was.
mrvideo's Avatar mrvideo 08:42 PM 07-13-2014
Originally Posted by aaronwt View Post
You mention the blue changing. I just looked at the three again with this post. The blue text is the same on all three when I look at it. And the Goldenrod text is also the same color on all three.
I said, that it might be different, not that it was. Wasn't different for me either.
domino92024's Avatar domino92024 10:48 PM 07-13-2014
Originally Posted by mrvideo View Post
I guess I'm a nobody.

I've had to highlight as well and have had to do it to Dad's blue every now and then when I didn't know what the line of text was.

I really don't see a reason for complaint. I use the (default?) blue/gray background, and all text (including Dad's colors) are fine.
DrDon's Avatar DrDon 02:25 AM 07-14-2014
Ok, back to the topic.
dad1153's Avatar dad1153 02:33 AM 07-14-2014
Summer TCA Tour Notes
NBC Showrunners Talk 'Dud Scripts,' Emmy Snubs and Cable 'Envy'
By Lacey Rose, The Hollywood Reporter's 'Live Feed' Blog - Jul. 13, 2014

"Comfortable shoes."

That's what Grimm's David Greenwalt suggested was the key to surviving as a showrunner in today's increasingly competitive marketplace. He was joined by those who share that opportunity and that burden — The Blacklist's John Eisendrath, Chicago Fire and Chicago P.D.'s Matt Olmstead and Parenthood and About a Boy's Jason Katims — as part of a Television Critics Association panel titled "Showrunners Confidential" on Sunday.

When pressed about the hardest part of the gig, Katims suggested it was the juggling of responsibilities that come with the job of showrunner. At any given time, he is touching six or seven different episodes in various forms, whether that entails him being in the writers room, writing a script or being in an editing bay. At the same time, he noted, that balancing act is also a draw to people like him.

Olmstead says his biggest challenge is consistently delivering good stories. "When you get a dud script on a Friday afternoon from a new writer and you realize that your weekend just evaporated might be up there with the more challenging aspects of the job," he told those gathered in the Beverly Hilton ballroom. Greenwalt, too, suggested a particularly tough part of the gig is the need to consistently feed the beast.

What none of them listed was the crushing 22- to 24-episode schedule of broadcast, with Olmstead at one point claiming that he missed that frenzied pace when he was working in cable (on A&E's Breakout Kings). In making a case that surprised many in the room, he said he preferred having the "bigger canvas" that broadcast offers, as well as the longer time span with his writers to let the stories breathe. Eisendrath countered to chuckles: "Having never done a 12-episode season, I'm totally envious."

More surprising, the half-hour panel failed to delve into a discussion about cache — or at least the perception of cache — that cable often garners, with the men only briefly touching on the quality divide with regard to last week's Emmy nominations. Eisendrath was honest about his disappointment after The Blacklist's snubs, telling the room: "I would be lying if I said I wasn't disappointed and that [James Spader] isn't completely deserving of it. The reality is the competition is fierce ... And hopefully we're on long enough for people to reconsider the decisions they made this year."

* * * *

Summer TCA Tour Notes
'Marry Me' Producers Vow NBC Comedy Isn't a 'Wedding-Centric Show'
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Jul. 13, 2014

Happy Endings alums — and newlyweds — David Caspe and Casey Wilson vowed that their new semi-autobiographical NBC comedy Marry Me would not just be about planning a wedding.

The comedy stars Ken Marino and Wilson as a longtime couple who get engaged, only to learn that planning a wedding is harder than it looks.

"The show going forward is not really about a wedding or a marriage, but about a couple and their parents," Caspe said Sunday during NBC's day at the Television Critics Association's summer press tour. "We'll be doing general stories. Occasionally we'll do stuff about the wedding. It's not episode two is the dress and episode three is we need another dress."

Caspe, who saw ABC's critical darling but ratings underperformer Happy Endings conclude after a three-season run, stressed that he wanted Marry Me to feel very relatable and noted the series will fully explore Annie's (Wilson) two gay dads (played by Tim Meadows and Dan Bucatinsky) as well as her friends (portrayed by Sarah Wright, Tymberlee Hill and John Gemberling).

While Wilson's Annie is very similar to her Happy Endings character, Penny, the actress said she tried to make "subtle differences" between the two. "I hope Annie is slightly less desperate than Penny," she noted.

Marry Me, Caspe said, won't just be Wilson's Annie exploding and apologizing — a sentiment Marino quickly echoed. "When I got married, I went off the rails as well, and I'm assuming we'll explore that," he said with a laugh. "Going off the rails isn't just for ladies anymore!"

The series is loosely inspired by Caspe and Wilson's real-life relationship, with elements written into the series and others based on their friends' experiences. "I'm just as crazy and irrational, but we did not go through that," Wilson quipped of Annie's outburst in the pilot.

Meanwhile, producers Caspe and Gordon also noted that they're still unclear how to handle the multiple "f—" references in the pilot, but that they could continue writing it into scripts and simply bleeping it. "I think 'f—' is NBC-friendly now," Marino joked.
dad1153's Avatar dad1153 02:37 AM 07-14-2014
Summer TCA Tour Notes
‘Constantine’: Producers Talk Casting Zed, Bisexuality and Smoking
By Laura Prudom, - Jul. 13, 2014

Latina actress Angélica Celaya has been cast in “Constantine” as comic book character Zed, the NBC show’s executive producers confirmed at the Television Critics Assn. summer press tour Sunday.

Celaya’s Zed will replace Liv (Lucy Griffiths) as the female lead of the show following the pilot.

In the comics, Mary “Zed” Martin is an artist who becomes John Constantine’s lover and joins his fight against the forces of darkness.

“Constantine” hails from David S. Goyer, Neil Marshall and Daniel Cerone. Matt Ryan stars as the titular hero, Harold Perrineau Jr. and Charles Halford co-star.

On Griffiths’ exit, Cerone said, “Pilots are great because they’re a bit of a litmus test, we get to figure out what works and what doesn’t … Liv is a great character, she’s wide-eyed, she’s reactive, [but] we felt a bit hamstrung by her, frankly.” Liv was a character invented specifically for the show, whereas Zed has a history with Constantine in the comics canon.

In terms of how closely the show will hew to the Hellblazer comics on which it is based, the producers promised to be loyal to the source material, particularly in regards to the character’s smoking habit.

“He is a smoker in the show, we’re not shying away from it, but we’re not glorifying it,” Goyer said, after it was pointed out that the character is only seen stubbing out a cigarette in the pilot.

“[NBC] are beholden to broadcast standards too,” Cerone noted. “We know the universe that we’re existing within — we heard plenty of pitches like ‘let’s give him a patch or have him chew a lot of gum,’” but the producers decided that seeing him stubbing out a cigarette was more authentic to the character.

One aspect of John Constantine’s character that seemingly won’t be explored is his bisexuality, which has been mentioned in a number of comics since Hellblazer debuted, most notably in Brian Azzarello’s 2002 run, “Ashes & Dust in the City of Angels.”

“There are no immediate plans” to explore Constantine’s bisexuality, Goyer told critics at TCA, since that was just one interpretation of the character from Constantine’s 30-year history.

Comics fans can expect plenty of DC easter eggs in the pilot and sprinkled throughout the series (including the possible introduction of other DC Comics characters), something Warner Bros. has demonstrated to great effect through “Arrow” on The CW.

Goyer admitted that he considers Constantine to be “one of the best characters in modern literature,” and that he was Goyer’s first choice when offered a DC Comics property to adapt. “The thing I loved about Constantine was that he was a smartass in a world of superheroes and demons… a working class bloke with a wicked sense of humor,” Goyer said.

Celaya is represented by Innovative and DePaz Management‎.
dad1153's Avatar dad1153 02:56 AM 07-14-2014
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)

8PM - The Bachelorette (120 min.)
10:01PM - Mistresses
* * * *
11:35PM - Jimmy Kimmel Live! (Susan Sarandon; Ramon Rodriguez; Robin Thicke performs; MLB player Yasiel Puig)
(R - Jul. 2)
12:37AM - Nightline

8PM - 2 Broke Girls
(R - Oct. 21)
8:30PM - Mom
(R - Jan. 20)
9PM - Mike & Molly
(R - Dec. 2)
9:30PM - The Big Bang Theory
(R - Apr. 3)
10PM - Under the Dome
* * * *
11:35AM - Late Show with David Letterman (Kurt Russell; comic Hannibal Buress; Sturgill Simpson performs)
12:37AM - The Late Late Show with Craig Ferguson (Comic Margaret Cho; Zachary Levi)

8PM - Last Comic Standing
(R - Jul. 10)
9PM - American Ninja Warrior (120 min.)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (TV host Michael Strahan; Diane Kruger; Phish performs)
12:36AM - Late Night with Seth Meyers (Former MLB player Pete Rose; Betty Who performs)
1:37AM - Last Call with Carson Daly (Jared Harris; The Growlers perform; composer Andrew Schultz)
(R - Apr. 22)

8PM - MasterChef
9PM - 24: Live Another Day (Series Finale)

(check your local listing for starting time/programming)
8PM - Antiques Roadshow: Vintage Baltimore
9PM - Antiques Roadshow: Vintage Los Angeles
(R - Jul. 24)
10PM - POV: Getting Back To Abnormal (90 min.)

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

8PM - Whose Line Is It Anyway?
8:30PM - Backpackers (Series Premiere)
9PM - Whose Line Is It Anyway?
(R - Jun. 2)
9:30PM - Seed

8PM - Reina de Corazones
9PM - En Otra Piel
10PM - El Señor de Los Cielos

11PM - The Daily Show with Jon Stewart (Writer Dahlia Lithwick)
11:31PM - The Colbert Report (Jad Abumrad and Robert Krulwich)
12:01AM - At Midnight (Dannah Phirman; Danielle Schneider; Matt Besser)

11PM - Conan (Jason Biggs; Ellie Kemper; comic Mark Normand)

11PM - Chelsea Lately (Ben Falcone)

dad1153's Avatar dad1153 03:00 AM 07-14-2014
TV/Business Notes
20th Century Fox TV chiefs Walden, Newman to helm Fox network
By Joe Flint, Los Angeles Times' 'Company Town' Blog - Jul. 13, 2014

Fox Broadcasting is getting new leadership.

The network, which is coming off a disappointing season, will be overseen by Gary Newman and Dana Walden, the co-chairmen of 20th Century Fox Television, the television production unit of 21st Century Fox, people familiar with the matter said. An announcement of the restructuring, which had been anticipated, could happen as early as this week.

A Fox spokeswoman declined to comment.

Newman and Walden would essentially be filling the void left by the surprise departure of Kevin Reilly as chairman of entertainment for Fox at the end of May. The duo, who have overseen 20th Century Fox Television for about 15 years, will continue in that role as well.

Reilly's departure came just weeks after Fox had unveiled its fall schedule to advertisers and the timing raised questions as to how confident Reilly's bosses were about the lineup of new shows he had assembled. Those concerns, combined with the significant drop in ratings last season, led senior management at 21st Century Fox to reassess the network's role in the larger company.

Walden and Newman are viewed as two of 21st Century Fox's top executive talents. Among the shows that 20th Century Fox Television makes are the ABC hit "Modern Family" and Fox's long-running cartoon hit "The Simpsons." The studio also produced "How I Met Your Mother" for CBS, which ended its run last season.

However, the studio has not had much luck getting shows on its sister Fox network as of late. That has been a source of tension in the relationship between the network and the studio and something that will likely change now that the network will officially be under the studio's control.
dad1153's Avatar dad1153 03:03 AM 07-14-2014
TV Notes
'Hollywood Today Live' muscles into the TV market
By Ann Oldenberg, USA Today - Jul. 13, 2014

Although it may feel like there already are plenty of places to get entertainment news on television, Ron Bloom doesn't see it that way.

The founder and CEO of BiteSize TV is determined to "break through the clutter and reinvigorate the industry." And he hopes to do it with Hollywood Today Live, an online offering that launched in November and is getting a test run starting Monday as a syndicated one-hour TV show.

It's joining several online shows that already have made the leap to television, such as PopSugar Now on TVGN, ENTV on Ion Television and syndicated HollyscoopTV, an offshoot of Their hope: Luring younger viewers to a field now appealing to an over-40 crowd and beyond on established shows such as Entertainment Tonight and Access Hollywood.

According to Nielsen, the median age of an ET viewer is 58.6. Skewing slightly younger are TMZ Live, averaging 47.7, and Dish Nation, a syndicated celeb news show launched in 2011, at 45.8.

"You're always trying for younger," says Bill Carroll, analyst with Katz Television Group. Hollywood Today Live will begin airing Monday on nine markets on Fox-owned television stations including New York, Los Angeles, Minneapolis and Charlotte, mostly in daytime hours.

Carroll says that it makes sense for Fox to try the show in daytime "because Fox tends to skew younger, Fox tends to skew urban and so you're going to develop product or experiment with product aimed at that audience."

For Frank Cicha, senior vice president of programming for Fox Television Stations, the online edge was part of the appeal. "It was interesting that it had an incubation period online," he says, adding, "We have a need primarily in daytime for new programs."

Offering a little bit of TMZ Live feel as it shows the producers and staff along with hosts, Hollywood Today Live is hosted by four unknowns — Kristen Brockman, AJ Gibson, Tanner Thomason, and Porscha Coleman —- broadcasting from a glass studio at the corner of Hollywood and Vine. But neither the hosts nor the space were taken lightly.

"We probably went through 100" potential hosts," says Bloom, before arriving at these four. He also felt that a sense of place was key. "Why does it have to be virtual? Let's come from the heart of entertainment."

As for any worries about there being a glut of entertainment shows, Cicha isn't worried. "It gets consumed so voraciously. There doesn't seem to be a ceiling on how much is too much."
dad1153's Avatar dad1153 03:07 AM 07-14-2014
TV Review
‘Backpackers,’ this trip you can skip
The best thing about this CW sitcom, the only thing, is the views
By Tom Conroy, Media Life Magazine - Jul. 14, 2013

It’s said that the three most important things in real estate are location, location, location. They shouldn’t be the only good things in a TV show.

But the shots of picturesque tourist sites in Europe are just about all there is to enjoy in The CW’s new sitcom “Backpackers,” a tepid sex comedy with a weak premise and weaker jokes. Even viewers desperate for a vacation are advised to stay closer to home.

In the premiere episode, airing tonight at 8:30, Ryan (Noah Reid) is shocked when his fiancée, Beth (Meghan Heffern), suggests they take separate no-strings-attached vacations in Europe just before their marriage so that they won’t regret having missed out on any sexual experiences. Nonetheless, he agrees, and they promise to have no contact with each other during their trips.

Ryan and his lady-killing best friend, Brandon (Dillon Casey), are first seen in Paris, where they manage to attract a huge group of good-looking women to a party at their hostel. Even though a pretty girl throws herself at him, Ryan can only think of Beth. He persuades Brandon to leave the party mid-threesome so they can track Beth down.

Having peeked at her itinerary, Ryan knows that Beth’s first stop will be Italy. After some purportedly comical mishaps, the friends hitch a ride with two pretty girls who apparently see something in the guys that audiences won’t.

“Backpackers” was originally intended to be a digital series, but it doesn’t look cheap. The savings, evidently, were in the scripts.

Heading to Italy on the train, the guys become convinced that the thuggish types sitting across from them are hit men. When they catch the thugs hovering over what appears to be a dead body, they jump off the train.

Puzzled viewers will wait in vain for a punch line. Evidently, Ryan and Brandon did witness a murder.

In the second episode, Brandon spots Isabella Cucinota (Maria Cristina Heller), the star of the sexy Italian movies he remembers from his adolescence. She invites them to her apartment.

(Spoiler alert!) Assuming she’s interested in them, they remove their pants, but all she wants to do is give them autographed pictures.

More bedroom farce ensues when Ryan is mistaken for a famous Spanish soccer player.

Although the writers could have fun mocking various national characteristics, they either ignore differences or go for the stereotypes. A French policeman, for example, keeps saying “how do you say” before attempting English idioms. He refers to Beth and Ryan’s trips as their “last ha-ha.”

The women whom Brandon and Ryan meet are underwritten. Most are indistinguishable party girls.

The softcore-porn-quality writing and subject matter will naturally lead some viewers to expect the occasional payoff in the form of nudity, but this is a broadcast show. The naughty bits, seen only briefly, are blurred out.

The series seems to have been shot on the theory that the first take is good enough, so it’s unfair to criticize the actors.

The show’s press materials suggest that another plotline, involving Ryan’s stolen journal, will be developed in future episodes; they also mention a third male lead. So it’s possible that the stories will improve. We might even see a punch line for that hit-man scene.

But like backpacking around Europe, “Backpackers” will likely be one of those things that most people try only once, if at all.
dad1153's Avatar dad1153 03:11 AM 07-14-2014
TV Review
'Seed' review: Conceiving a nontraditional family sitcom
By Dave Wiegand, San Francisco Chronicle - Jul. 12, 2014

Harry is a bartender, a womanizer, not much into settling down and certainly not planning on being a parent anytime soon, but the past has ways of coming back to haunt you, as it does in the new CW sitcom "Seed," premiering Monday.

In Harry's case, the past is a series of brief visits to a sperm bank when he was younger and needed money. Now his donations are paying dividends, as it were, when first 9-year-old Billy (William Ainscough) and then teenager Anastasia (Abby Ross) come knocking at his door to meet their "father."

Harry's not the daddying kind, but Billy could do with a guy friend to help him navigate the dangerous social waters of middle school, while Anastasia's parents are well-meaning but overprotective and more about following child psychology books than their own parental instincts when it comes to raising a teenager contemplating becoming sexually active.

Billy's two moms have differing viewpoints about the presence of their son's sperm donor in their lives. Michelle (Amanda Brugel) thinks Harry is a bad influence, while Zoey (Stephanie Anne Mills) gets that Harry can help Billy learn to become cooler at school.

Anastasia's mom, child psychologist Janet (Laura de Carteret), calls the shots in that household, while dad Jonathan (Marr Baram) feels threatened by a self-confident alpha male in their midst.

The show's setup is promising, and very of the moment. Yes, Harry is only a bar rag away from Mark Ruffalo's character in the film "The Kids Are All Right," but as portrayed by Adam Korson, he's a likable enough chap and anyone could see he has parenting potential, even if he's just an overgrown kid like the Will Freeman character in Nick Hornby's "About a Boy." In other words, the more he exercises his dormant paternal instincts, the more he's learning to grow up himself.

The show is pleasant without being as good as it could be. Creator Joseph Raso has done OK laying the groundwork; now he and his fellow writers need to make it sharper and funnier, and distinguish the show from its obvious cinematic influences.

One thing "Seed" isn't is something viewers would expect from the CW, known for teen-viewer-baiting shows like "The Arrow" and the sexy "Vampire Diaries." No one's especially hot, there doesn't seem to be a rippling muscle in sight, and "Seed" does qualify as "a new take on a family comedy series," as the network describes it. Granted, it's not the usual definition of "family," but then again, what is the usual definition these days?

9:30 p.m. Monday on the CW.
dad1153's Avatar dad1153 04:42 AM 07-14-2014
TV Notes
Bianculli's Best Bets
By David Bianculli, - Jul. 14, 2014

CBS, 8:30 p.m. ET

If you watched last night’s Season 2 premiere of Showtime’s Masters of Sex, you saw some amazingly haunting dramatic work by Allison Janney as Margaret Scully, concerned wife of closeted homosexual played by Beau Bridges. That was last night. Tonight she’s featured opposite Anna Faris in a repeat of this CBS sitcom, portraying the playfully broad comic character of Bonnie Plunkett, an outrageous recovering-alcoholic mom – and recent grandmother. Two very, very different roles, and Janney was just nominated for an Emmy for both of them. For Masters of Sex, she’s up as Guest Actress, and here, she’s up for Supporting Actress. And, for the record, both nominations are well-deserved.

The CW, 8:30 p.m.
This is not a recommendation – just a note.
As summer series go, this new CW effort at least reflects what a lot of its young viewers may actually be doing this summer in real life. Noah Reid plays Ryan, and Dillon Casey portrays Brandon, two young men who find themselves backpacking across Europe (in tonight’s pilot, it’s to try and find Ryan’s fiancé). Produced on location in various cities overseas, this modern road-trip series (a sort of I Spy with tennis, or intrigue) might be more satisfying to watch if the characters wouldn’t get in the way – of the scenery.

Fox, 9:00 p.m. ET
Technically, this may be the season finale, because 24 has presented its series finale once before – only to come back from the TV dead to, as its subtitle proclaims, Live Another Day. But tonight’s culminating episode of this 2014 story line differs from all others in the 24 canon in that it includes at least one non-consecutive time shift, jumping to another point in time as in most other dramas. Even the episode’s title reflects this: “Day 9: 10:00 PM – 11:00 AM.” And in these final hours – 12 of them, crammed into one final installment – Jack (Kiefer Sutherland) has a chance to, once again, save the world.

CBS, 10:00 p.m. ET

Last week’s episode featured lots and lots of butterflies, as well as lots of close shaves. There’s a close shave in tonight’s episode as well – when Big Jim (Dean Norris) goes to the barber shop. Though there are many cutthroat characters imprisoned under the dome, don’t expect a cut throat to be the result of this particular encounter. The character played by Norris, who moved here straight from Breaking bad, means too much to this town – and, specifically, to this show.

PBS, 10:00 p.m. ET

The subject of this documentary is New Orleans, and this program might as well be an unofficial episode of HBO’s Treme. It’s about local politics, racial tensions and corruption in that city, three of David Simon’s favorite topics, in Treme as well as in his previous TV series, the classic The Wire. In this case, in real life, tonight’s POV is about the re-election campaign of Stacy Head, who’s already served in her city council seat, but is finding opposition to her bid for another term. One reason? She’s white, in an area traditionally represented by African-Americans. Check local listings.
dcowboy7's Avatar dcowboy7 10:55 AM 07-14-2014
Erin Andrews is replacing Pam Oliver on FOX #1 nfl crew with Buck/Aikman.
Pam moves to the Burkhardt/Lynch crew in what will also will be her final season as SLR.

FOX also is adding Holly Sonders (who just left the golf channel) as a sideline report too (not sure which teams she assigned too yet) & she will also be on their golf coverage.

dad1153's Avatar dad1153 11:04 AM 07-14-2014
SUNDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
dad1153's Avatar dad1153 11:08 AM 07-14-2014
Nielsen Overnights (18-49)
Big gains for CBS’s ‘Big Brother’
By Toni Fitzgerald, Media Life Magazine - Jul. 14, 2014

CBS’s reality competition “Big Brother” saw solid gains versus the previous week on Sunday night, on what was otherwise a very slow night for broadcast TV viewing.

“Brother” posted a 2.1 rating among viewers 18-49 in its 8 p.m. timeslot, according to Nielsen overnights, up 17 percent from a 1.8 the previous Sunday.

That made it easily the top show of the night in the demo, comfortably ahead of a repeat of ABC’s “America’s Funniest Home Videos,” which was No. 2 for the night with a 1.5 rating.

Still, the solid rating for “Brother” wasn’t enough for CBS to overcome ABC. The latter was first for the night in the demo with a 1.2 average overnight rating and a 4 share.

CBS was a close second at 1.1/4, with Fox third at 0.8/3, Univision fourth at 0.7/2 and NBC 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.

At 7 p.m. ABC was first with a 1.5 for a repeat of “America’s Funniest Home Videos,” followed by CBS with a 1.0 for “60 Minutes.” Univision was third with a 0.6 for “Aqui y Ahora,” and NBC, Fox and Telemundo all tied for fourth with a 0.5 rating, NBC for a repeat of “American Ninja Warrior,” Fox for “Brain Games” and Telemundo for the end of the movie “Puss in Boots.”

CBS took the lead at 8 p.m. with a 2.1 for “Big Brother,” while ABC slipped to second with a 1.3 for “Wipeout.”

Fox was third with a 1.0 for reruns of “The Simpsons,” NBC fourth with a 0.8 for more “Ninja,” Univision fifth with a 0.6 for “Bailando por un Sueño” and Telemundo sixth with a 0.5 for the movie “Karate Kid.”

ABC regained the lead at 9 p.m. with a 1.4 for “Rising Star,” followed by Fox with a 1.1 for repeats of “Family Guy” and “American Dad.” CBS was third with a 0.9 for “Unforgettable,” Univision fourth with a 0.8 for more “Bailando” and NBC and Telemundo tied for fifth at 0.6, NBC for a repeat of “Law & Order: Special Victims Unit” and Telemundo for its movie.

At 10 p.m. NBC, Univision and Telemundo all tied for first, each with a 0.8 rating, NBC for another “SVU” rerun, Univision for “Sal y Pimienta” and Telemundo for the end of “Karate Kid.” ABC was fourth with a 0.7 for a repeat of “Castle” and CBS fifth with a 0.6 for “Reckless.”

Among households, CBS led the night with a 3.9 average overnight rating and a 7 share. ABC was second at 2.8/5, NBC third at 1.6/3, Fox fourth at 1.2/2, Univision fifth at 1.1/2 and Telemundo sixth at 0.8/1.

* * * *

TV/Nielsen Notes
The day winds down once more for ’24′

Jack Bauer winds up another incredibly long day tonight at 9 p.m. in the finale of “24: Live Another Day,” Fox’s miniseries revival of the long-running hit show “24,” which went off the air in 2010.

In some ways the show was a success.

It generated a lot of buzz for Fox, and ratings during the regular season, when the miniseries debuted, were much higher than what the network had been averaging in the timeslot.

But viewership fell off as the weeks went on, and ultimately the show was nothing special. Last week’s penultimate episode drew a 1.4 adults 18-49 Nielsen rating. By comparison, lead-in “MasterChef” posted a much-higher 2.0.

“24’s” producers and star Kiefer Sutherland had said they were open to making more “24” miniseries in the future if this one was a success.

While the “24” revival was not a failure, it’s hard to see that happening. The return didn’t really live up to expectations, and so it would be harder for Fox to sell advertising for another miniseries at the same prices.

What the “24” miniseries’ ultimate impact may be is to temper expectations for next year’s “Heroes” miniseries on NBC. The network plans to reboot the show similar to “24,” blending in new characters with the old from the original drama, which ran from 2006 to 2010.

The lesson may be that, while viewers are very sad in the moment to say goodbye to their favorite shows, they’re not necessarily clamoring for them to come back. Once the story arcs have been closed, there’s little reason to reopen them.

Though “Live Another Day” brought us up to date on Jack’s life for the past four years, doubtless there are many fans who consider his 2010 sendoff the real last word on “24.”
dad1153's Avatar dad1153 11:12 AM 07-14-2014
TV Notes
Unaired ‘Don’t Trust The B-’ Episodes To Air On Logo TV
By The - Jul. 14, 2014

After ABC canceled Don’t Trust the B— In Apt 23 midway through its second season, it made the eight unaired episodes available online only. Logo TV today unveiled a deal to air the entire series — and put the unaired shows on network TV for the first time. The cable channel will air a The B Is Back marathon this Saturday from 1-10 PM ET/PT, with those final eight episodes rolling out each Saturday at 10 PM.

Don’t Trust The B– was one half of ABC’s long-suffering Tuesday comedies (along with Happy Endings before it was yanked from the schedule in January 2013. It wasn’t called a cancellation, but the low-rated sophomore comedy never came back even via the time-honored tradition of burning off final episodes during summer.
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