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post #95611 of 97108 Old 07-18-2014, 10:20 AM
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Nielsen Overnights (18-49)
Univision wins Thursday with awards show
Spanish language network surges to No. 1 with a 1.7 in 18-49s

By Toni Fitzgerald, Media Life Magazine - Jul. 18, 2013

Univision doesn’t win many nights among adults 18-49, but there is one it consistently dominates: The night “Premios Juventud” airs.

The youth awards show boosted the network to an easy victory in the demo Thursday, averaging a 1.7 adults 18-49 rating from 8 to 11 p.m., according to Nielsen overnights.

That was down slightly, by a tenth, from last year. The program peaked with a 1.8 at 10 p.m., the only hour of the night where Univision placed first.

CBS’s 9 p.m. reality show “Big Brother” was the night’s No. 1 program with a 2.1, even to last week.

Fox’s lineup surged from last week, with “Hell’s Kitchen” growing 13 percent at 8 p.m., to a 1.7, and new drama “Gang Related” jumping 29 percent, to a 0.9, its best rating since May 29.

On NBC, the second week of the new comedies “Welcome to Sweden” and “Working the Engels” were each down a tenth, to 0.8 and 0.6, respectively.

Univision led the night among 18-49s with a 1.7 average overnight rating and a 6 share. CBS and Fox tied for second at 1.3/5, NBC was fourth at 0.9/3, ABC fifth at 0.8/3, Telemundo sixth at 0.6/2 and CW seventh at 0.1/0.

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.

Fox started the night in the lead with a 1.7 at 8 p.m. for “Kitchen,” followed by Univision with a 1.4 for its first hour of “Premios.” CBS was third with a 1.3 for repeats of “The Big Bang Theory” and “The Millers,” NBC fourth with a 1.1 for “Hollywood Game Night,” ABC fifth with a 0.6 for “Black Box,” Telemundo sixth with a 0.5 for “Reina de Corazones” and CW seventh with a 0.1 for a repeat of “The Vampire Diaries.”

At 9 p.m. CBS was first with a 2.1 for “Brother,” while Univision remained second with a 1.9 for “Premios.” ABC and Fox tied for third at 0.9, ABC for “Rookie Blue” and Fox for “Gang.” NBC was fifth with a 0.7 for “Sweden” (0.8) and “Engels” (0.6), Telemundo sixth with a 0.5 for “En Otra Piel” and CW seventh with a 0.1 for a rerun of “The Originals.”

Univision was first at 10 p.m. with a 1.8 for the final hour of “Premios,” with NBC second with a 1.1 for “Last Comic Standing.” ABC was third with a 0.9 for “NY Med,” Telemundo fourth with a 0.8 for “El Señor de los Cielos” and CBS fifth with a 0.5 for a repeat of “Elementary.”

CBS was first for the night among households with a 3.3 average overnight rating and a 6 share. ABC was second at 3.2/6, Fox third at 2.3/4, NBC fourth at 2.1/4, Univision fifth at 2.0/4, Telemundo sixth at 0.8/1 and CW seventh at 0.3/1.

http://www.medialifemagazine.com/univision-wins-thursday-awards-show/

* * * *

TV Notes
TNT renews three summer dramas
By Media Life Magazine Staff - Jul. 18, 2013

TNT has renewed two veteran shows and a newcomer after a strong start to the summer.

The network on Friday morning picked up “Major Crimes,” “Falling Skies” and “The Last Ship.” All three rank among the top five scripted series on basic cable among adults 25-54 and total viewers.

“Ship,” which bowed this summer, got a 13-episode pickup for season two, three more than it will produce for its first season.

The show ranks No. 1 this summer among all scripted shows in 18-49s and 25-54s, according to Nielsen live-plus-seven-day-DVR-playback ratings.

“Crimes,” which is up slightly in total viewers this summer, received a 15-episode order for its fourth season.

And “Skies” will produce 10 episodes for what the network said will be its fifth and final season.

Notably absent from the network’s pickup list: The new drama “Murder in the First,” from producer Steven Bochco. Its ratings have not been as good as “Ship’s.”

http://www.medialifemagazine.com/tnt-renews-three-summer-dramas/


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post #95612 of 97108 Old 07-18-2014, 10:42 AM
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Summer TCA Tour/TV Notes
CBS gives 'Good Wife' new lead-in
By Rob Owen, Pittsburgh Post-Gazette - Jul. 18, 2014

BEVERLY HILLS, Calif. — CBS will pair its returning prestige project, “The Good Wife,” with a newcomer that tries to give off a similar polish. Tea Leoni stars in “Madam Secretary” (8 p.m. Sunday starting Sept. 21) as a CIA analyst tapped to become the new U.S. secretary of state.

Barbara Hall, executive producer of “Joan of Arcadia” and “Judging Amy,” is the showrunner behind “Madam Secretary,” which follows Ms. Leoni’s character on the job and in her home life with two children and a religious studies professor husband (Tim Daly, “Wings”).

“I wanted [her to have] a recognizable and active home life,” Ms. Hall said. “One of the things that’s challenging in trying to show a strong woman in a position of leadership is showing them going back and forth between those worlds.”

In addition to following the title character on the job handling global politics, the series also will track the politics of the State Department.

“Interoffice politics are the same whether it’s the State Department or working at a corporation or a school,” Ms. Hall said. “Interoffice politics are recognizable, and people would see those issues happening in the State Department and feel comfortable in that environment.”

Ms. Hall said her experience as a writer on Showtime’s “Homeland” led her to add a conspiracy element to “Madam Secretary” involving the circumstances surrounding the death of the previous Secretary of State.

“I thought it would be an extra conflict or challenge to step into a place with something untoward,” she said. “It’s an extra tentacle that may affect her for a long time. It’s hard enough for her to step into this job, but she’s got to unravel some seeds that were planted.”

CBS rethinks late night

CBS Entertainment chairman Nina Tassler said the network is exploring all options for replacing Craig Ferguson when he leaves “The Late Late Show” at the end of the year.

“We‘*re trying to look at the entire landscape and we're also looking at it in terms of formats," Ms. Tassler said. ”There is a knee-jerk reaction to do a more traditional, behind-the-desk interview format, but who knows. This is an opportunity to look at all different kinds of hosts, not only from the comic world but maybe there's the political world. We're just keeping an open mind.“

So it might not even be a talk show?

"It might not, but it also might be," Ms. Tassler said.

‘Facts of Life’ reunion

"Facts of Life" stars Lisa Whelchel (aka Blair) and Kim Fields (aka Tootie) reunite on screen for the first time since 2001's "Facts of Life Reunion" TV movie in Hallmark Channel's "For Better or Worse" (9 p.m. Saturday), based on a novel of the same name by Diann Hunt.

The film, about a wedding planner (Ms. Whelchel) who falls in love with a divorce attorney (Antonio Cupo), was directed by Ambridge native Marita Grabiak, who also has directed episodic TV, including "Lost," "Everwood" and "Battlestar Galactica."

And it turns out Ms. Fields is a Steelers fan.

At a Hallmark Channel party earlier this month, Ms. Fields, who is not from Pittsburgh, said she likes the Steelers and especially coach Mike Tomlin.
"I thought when head coach Mike Tomlin was running on the sidelines and all that kind of thing, that was cool," she said.

Ms. Fields said with "For Better or For Worse" she was eager to get into business with Hallmark.

"That was a big draw for me because we had already started dialoguing with them about other projects and seeing what synergy existed between my brand and theirs," Ms. Fields said.

She said working with Ms. Whelchel offers a comfortable sense of timing but otherwise it's different from when they worked together on "Facts of Life."

"The characters are different and you are different," Ms. Fields said. "She's grown with grown children and I'm grown with much younger children. ... Having the history comes into play more so for off-camera, knowing you're not gonna end up on set with a nut, a fool every doggone day."

Immortality lives in ‘Forever’

ABC’*s "Forever" probably benefits from the fact that few viewers will remember Fox‘*s 2008 drama "New Amsterdam." Both shows are about immortal guys who don't want to be immortal anymore.

In "Forever" (previews 10 p.m. Sept. 22), Ioan Gruffudd ("Horatio Hornblower") stars as a New York medical examiner who dies and then comes back to life in a body of water.

Executive producer Matt Miller ("Human Target") said he came up with the idea of the series when his 5-year-old son asked, "Daddy, will you die someday?"

Mr. Miller's initial response was, “I'll never die,” but then he thought he shouldn't lie so he said, "I will die someday but it won't be a for a very long time and by then you will probably want me to be dead," at which point his son burst into tears, his wife rushed in to take over and Mr. Miller was banished.

"I got to thinking about it and what if a character couldn't die... and the curse of immortality, the affliction," Mr. Miller said, particularly the notion of outliving his son.

As for similarities to "New Amsterdam," Mr. Miller was unaware of it until he read comments online on stories about ABC picking up "Forever."

"I had not seen the show. I understand in hindsight it was on Fox and Fox had made an offer on this show so they didn't see it as being too similar and they were obviously very familiar with it," Mr. Miller said.

Race and ‘Black-ish’

Despite the title "Black-ish" (9:30 p.m. Sept. 24), the new fall ABC sitcom is not about race according to its producers.

Title confusion is not new at ABC. Last year at this time ABC executives were asked about the wisdom of naming a show "Trophy Wife" and if that title might be limiting. "Trophy Wife" has since been canceled.

Anthony Anderson stars in “Black-ish” as a father who gets outraged when he learns his work promotion comes with a string attached: He's getting promoted to a newly created "urban" division and at the same time he sees his children are less interested in African-American culture than he is.

"This is a show about culture and ultimately about a family," said series creator Kenya Barris. "It's a show about what it's like to raise a family during a different time.

"The show has so much less to do with race than culture," Mr. Barris said. "We feel like we are living in a post-Obama society where race and culture are talked about less than ever before."

Executive producer Larry Wilmore was quick to point out, "He's been called the first black president, but he's mixed, so he's really the first black-ish president."

Actor Laurence Fishburne has a recurring role as Mr. Anderson's father – Mr. Fishburne will also recur on NBC's "Hannibal," which is somewhat surprising because his character looked likely to be dead (Jack Crawford lives or is seen in flashbacks? Discuss!) -- and Tracee Ellis Ross ("Girlfriends") plays Mr. Anderson's wife, who is half-black and half-white.

"It's really fun for me to play a mixed woman on television," she said, noting that's her personal background as well but she's always played black in past roles. "I am actually out as a mixed woman."

Channel surfing

TV Land airs an animated episode of sitcom “Hot in Cleveland” at 10 p.m. July 30. … Lifetime renewed “Little Women: LA” (10 p.m. Tuesday) for a second season. … Carnegie Mellon University grad Cote de Pablo (“NCIS”) will star in “The Dovekeepers,” a four-hour CBS miniseries for 2015 based on an historical novel about four women whose lives intersect during the siege of Masada. … “Breaking Bad” star Bryan Cranston will reprise his Tony-winning role as President Lyndon Johnson in an HBO adaptation of the stage play “All the Way,” according to The Hollywood Reporter. …“Entertainment Tonight” co-host Rob Marciano is leaving the showbiz show for a return to weather coverage, according to TheWrap.com. He likely will take over weekend weather duties on "Good Morning America," a position that has been vacant since Ginger Zee was elevated to the weekday program last year. ... Debra Ann Woll (“True Blood”) will play the love interest of the title character in Netflix’s Marvel comics adaptation “Daredevil.”

http://www.post-gazette.com/ae/tv-radio/2014/07/18/CBS-gives-Good-Wife-new-lead-in/stories/201407180040


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post #95613 of 97108 Old 07-18-2014, 11:28 AM
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TV Notes
Best tube bets this weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Jul. 18, 2013
I wonder how many people actually watch a "tube" when they watch TV, or how long before "tube" becomes an archaic synonym for television.

My very humble setup:
Man Cave:Vizio E500i-A1 "Smart TV" (50-in 1080p 120Hz LED/LCD, has Netflix app.), Blu-ray players (Sony BDP-S3100, old LG BD390), Roku (the original model: N1000), PC (Windows 7), Comcast Internet (25Mbps/5Mbps).
Bedroom:LG 32LV3400-UA TV (32-in 768p 60Hz LED/LCD), HD DVR (Motorola RNG200N), Xfinity Comcast cable (Digital Starter Package), DVD/VHS player.
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post #95614 of 97108 Old 07-18-2014, 11:56 AM
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You still dial a phone number, don't you?
When's the last time you touched a rotary phone?
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post #95615 of 97108 Old 07-18-2014, 01:10 PM
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tv sports/business notes
standoff over dodgers games could be defining moment in sports tv
by joe flint, los angeles times' 'company town' blog - jul. 17, 2014



http://www.latimes.com/entertainment...ry.html#page=1

yea!
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post #95616 of 97108 Old 07-18-2014, 01:14 PM
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I wonder how many people actually watch a "tube" when they watch TV, or how long before "tube" becomes an archaic synonym for television.
I still do, in fact my Mits has three 9" tubes in it, one each for red, green and blue.

Good point about "tube" though, much like "dialing" a phone.

Oops, I see it was mentioned already.
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post #95617 of 97108 Old 07-18-2014, 01:26 PM
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I wonder how many people actually watch a "tube" when they watch TV, or how long before "tube" becomes an archaic synonym for television.
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You still dial a phone number, don't you?
When's the last time you touched a rotary phone?
Further, they still call them "Record Companies" despite the fact that the majority of music isn't even sold on any physical medium at all.

The call published stories "books", even when there is no book - just a device that allows you to view the words. The same applies to "audio books".

People say "I filmed it" when they mean "video recorded it".

We call movies "films" despite many of them being shot and edited digitally.

People refer to all kinds of vehicles as "cars", even referring to minivans or SUVs.

People call screw-in LEDs "light bulbs", even though they aren't really light bulbs.

Finally, they call topical discussions "water cooler talk" even when there's no water cooler to be seen.

"The Tube", a shortened form of the slang term "The Boob Tube", is in our nomenclature. It's not going away any time soon. Further, it's no less appropriate than saying "TV" when a lot of people watch programming on tablets or smart phones.
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post #95618 of 97108 Old 07-18-2014, 01:37 PM
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Summer TCA Tour Notes
CBS’ ‘The McCarthys’ Too “Dark” As Single-Cam Comedy, Says Creator Brian Gallivan
By Lisa De Moraes, Deadline.com - Jul. 17, 2014

The pilot episode includes glowing mentions of CBS’ The Good Wife, as well as USA’s former series The Closer. Gallivan explained he is obsessed with The Good Wife. But when dubious critics wondered if CBS would allow the sitcom to plug any current, non-CBS series, Gallivan responded pluckily,
The Closer was on TNT

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post #95619 of 97108 Old 07-18-2014, 02:32 PM
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I wonder how many people actually watch a "tube" when they watch TV, or how long before "tube" becomes an archaic synonym for television.
That's right, but I bet youtube will have to change website name also, maybe to youstream

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post #95620 of 97108 Old 07-18-2014, 04:30 PM
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..."The Tube", a shortened form of the slang term "The Boob Tube", is in our nomenclature. It's not going away any time soon. Further, it's no less appropriate than saying "TV" when a lot of people watch programming on tablets or smart phones.
Actually it's a shortened form of Cathode Ray Tube, the primary component of TV and other video displays for the first half century or more of TV's history. "Boob Tube" was a slang for that.
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post #95621 of 97108 Old 07-18-2014, 07:31 PM
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Actually it's a shortened form of Cathode Ray Tube, the primary component of TV and other video displays for the first half century or more of TV's history. "Boob Tube" was a slang for that.
Oh, how I like that you did that!
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post #95622 of 97108 Old 07-18-2014, 09:28 PM
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Summer TCA Tour Notes
The CW's Mark Pedowitz on Metrics, Genre and a 'Virgin'
By Lacey Rose and Marisa Guthrie, The Hollywood Reporter - Jul. 18, 2014

CW chief Mark Pedowitz trotted out on stage Friday to salsa music.

“Life is great,” he said as he took a seat and began fielding questions from reporters gathered at the Television Critics Association. He made no explicit mention of his network’s Nielsen upticks, though he could have: In a bid to broaden, The CW rounded out the 2013-14 season up 14 percent in adults 18-49 and 5 percent in total viewers, while staying flat among its core 18-34 demo.

Over the course of the half-hour, he did speak often about the evolution of his younger-skewing brand, which has moved away from being a niche female network during his three-plus years in the job. Arrow was an important first step in opening up his network to male viewers, and Pedowitz is looking to lure still more with shows like Flash while still appealing to women with such offerings as Jane the Virgin.
Here’s a look at the other topics addressed during the panel:

(Not Quite) a Genre Network

Despite The CW’s success with such shows as Arrow and The Vampire Diaries, Pedowitz insisted he had no plans to make it a genre network. Rather, he stressed the need for the kind of balance that broadcast demands, reiterating his hopes for securing a good family show with Jane the Virgin. “The one thing that we have learned is that audiences do not come to us to watch procedurals,” he acknowledged, adding that other networks, including corporate cousin CBS, have cornered that market. What do viewers look to The CW for? “Interesting characters in serialized form.” Pedowitz will continue to try to crack comedy and comedic reality, too.

A Slightly Different Metric

Success is defined differently at The CW, which Pedowitz has never tried to hide. Take Beauty and the Beast, which he renewed despite unimpressive on-air ratings earlier this spring. His explanation, which he has stated before, has more to do with the benefits it provides The CW's parent companies than it does anything else: "Beauty and the Beast has a very engaged fan base and a very big international following," he said, adding: "It’s a very profitable show for everybody." Other CW series have been granted a longer life because of their popularity online, as was the case a year ago with The Carrie Diaries. At a certain point, however, a series can only survive long-term if it becomes financially feasible, which the since-canceled Carrie Diaries ultimately did not.

The Nielsen Problem

Pedowitz used the platform to remind the room that The CW has been a pioneer in using multiple measurement companies including DoubleClick and ComScore to create an integrated media buy. And now, as more viewers move away from live linear viewing, TV ratings behemoth Nielsen has been forced to innovate and now offers multiple multiplatform and out-of-home measurement services. But Pedowitz acknowledged the shortcomings of Nielsen's TV ratings service, which underpins the bulk of the billions of ad dollars being spent on the networks. "I only wish Nielsen had a bigger sample," he said. "At the moment that is the system we have to work with. We have to have some faith in it even though it sometimes is a little bit flawed."

A Diversity Push

With diversity once again a hot button topic at the semiannual press tour, Pedowitz fielded multiple questions about his network's record. "Diversity has always been a top priority," he said, pointing to upcoming fall shows including telenovela Jane the Virgin, which has a largely Latino cast and many Latinos in behind-the-camera positions, as well as The Flash, which co-stars Jesse L. Martin and Candice Patton, who is both Asian- and African-American. "I believe our shows need to reflect what America looks like. It is something I believe in," he continued. "We're an immigrant nation. We go out of our way to find that diversity. We've made great strides in this area. We can always do better."

http://www.hollywoodreporter.com/new...s-genre-719621

* * * *

Summer TCA Tour Notes
'Jane the Virgin' Showrunner Wants ' 'Ugly Betty' Meets 'Gilmore Girls' '
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Jul. 18, 2014

Comparisons to Ugly Betty are inevitable for Jane the Virgin. Not only is it one of the few American telenovela adaptations to make it to the air, it's the second Latino family dramedy to come from executive producer Ben Silverman.

But Silverman kept relatively mum during Jane the Virgin's Friday panel at the Television Critics Association, with showrunner Jennie Snyder Urman instead talking about how she sees her show resembling Ugly Betty.

"I wanted to describe it as Ugly Betty meets Gilmore Girls," explained Snyder Urman, saying the three generations of women depicted in her dramedy most closely resemble the WB/CW show where she briefly served as a writer. "The two of them together is that strange mark I'm trying to hit."

Based on Venezuelan telenovela Juana la virgen, The CW's spin is decidedly less soapy, and Snyder Urman promises it will never stray too far.

"I have a very specific tone that I'm trying to hit," she said. "At the same time, this is a telenovela. It's a tricky tone. It's one I'm excited about handling. I didn't want to do a straight adaption and a satire. You're writing an ode to the telenovela."

Extreme telenovela storylines — evil twins are not off the table — are something the executive producer wants to throw in occasionally, hoping it will be funny as long as the characters remain "grounded and relatable."

Speaking of being grounded, the extreme premise of Jane the Virgin will not be ignored. Jane's (Gina Rodriguez) accidental insemination during a routine gynecologist visit will have lingering effects outside of just her pregnancy.

"I find it incredibly hard to believe a girl who gets accidentally inseminated who doesn't sue," Snyder Urman admitted. "That's something we'll explore."

As for the series' star, Rodriguez charmed the room when she was asked why she passed on a role with the predominantly Latina cast on Lifetime soap Devious Maids.

"I became an actor to see myself onscreen," she said. "Every role that I've chosen has been one that I think will push forward the idea of my culture. I wasn't going to let my introduction to the world be a story that's been told many times."

http://www.hollywoodreporter.com/liv...ts-ugly-719620


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post #95623 of 97108 Old 07-18-2014, 09:34 PM
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Summer TCA Tour Notes
CW's ‘Flash’ Producer Talks Odds of a ‘Batman v. Superman’ Crossover
By Tim Kenneally, TheWrap.com - Jul. 18, 2014

It doesn't sound likely that CW's upcoming DC Comics adaptation “The Flash” will follow Marvel's example by crossing over with the company's movie adaptations.

Marvel has linked its TV and film storylines with plotlines that run through ABC's “Agents of S.H.I.E.L.D” and the films about the many “Avengers.” But DC Entertainment chief creative officer Geoff Johns said at a Television Critics Association panel Friday that DC wants to keep TV and film separate.

“At DC, we really see film and TV as separate worlds,” Johns said.

That split in the universe may send fanboys running for their parents’ basements in anguish. But they can take heart.

Though the heroes of CW's “Flash” and “Arrow” may never meet Superman or Batman, they will encounter other DC characters. “Flash” executive producer Greg Berlanti announced Friday that “Prison Break” star Wentworth Miller will play longtime Flash nemesis Captain Cold.

Berlanti, who also produces “Arrow,” said he's thrilled to bring the archer and speedster to the CW.

“We don't really see a difference between film and TV. We see storytelling and characters and the opportunity,” Berlanti said. “We'll have, between the two shows ["Arrow" and "The Flash"] this year, I think we'll have half the Justice League on our shows.

“It's not a second prize. It is the prize, for us, to have an opportunity to tell these stories for these characters.”

The CW's president Mark Pedowitz also talked about potential crossover during his executive panel Friday, saying that whether to share between TV and the movies is up to Warner Bros.

“At the moment in time we've had no further discussions of whether Arrow or The Flash will appear in any of these movies; that's up to the studio,” Pedowitz said.

Also during the panel, one reporter asked whether “The Flash” would be able to maintain its expensive-looking production values throughout the season.

“We're thinking about starting a Kickstarter,” executive producer Andrew Kreisberg joked. “The pilot was a steep learning curve … we're hoping we're going to be able to retain the same level of action and adventure and excitement. And, so far, with what we've been doing, we feel we can.”

http://www.thewrap.com/cws-flash-pro...man-crossover/

* * * *

Summer TCA Tour Notes
‘Supernatural’ Stars, Producer Talk Season 10, When It's Time for Show to End
By Jethro Nededog, TheWrap.com - Jul. 18, 2014

“Supernatural” showrunner Jeremy Carver and stars Jared Padalecki and Jensen Ackles looked back on their nine seasons of the show with pride and spoke a bit about what to expect on Season 10.

When we last left the brothers, Dean Winchester (Ackles) has been turned into a demon, the very thing he and his brother, Sam (Padalecki), had dedicated their lives to slaying.

“We'll see, of course, a side of Dean that we've never see in Demon Dean,” said Carver. “We'll be staying with Demon Dean for more than one episode. You'll probably see a side of Demon Dean that you won't expect. We're really excited about that.”

Carver also said that while Sam is hunting for his brother, “another rather mysterious character who is on the same hunt will be causing all kinds of complications for the boys.”

And what about Castiel (Misha Collins)? “Castiel is very much in the picture at the beginning of Season 10,” Carver said.

He continued, “His grace is sinking and he could die if he doesn't find a way to stop it.”

In regards to when the show should meet its end, Padalecki said he'll know when it's time.

“If the show quality diminishes, which I don't think it will in [Carver's] capable hands,” Padalecki said. “If the show gets to the spot where we've said what needs to be said, I truly, deeply love the character of Sam Winchester. I turn 32 years-old tomorrow and I've spent nine years of my life with him. I don't want him to be broken down into something I don't respect.”

“There's so much story to tell, which is remarkable to think about since we're on Season 129 now,” Carver added.

http://www.thewrap.com/supernatural-...r-show-to-end/


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Nielsen Notes (Cable)
USA’s ‘Rush’ Off to Slow Ratings Start; FX’s ‘Married’ Scores With Young Auds
By Rick Kissell, Variety.com - Jul. 18, 2014

On a Thursday night that saw both USA and FX debut a pair of series, the latter’s comedy “Married” fared best in hitting its target audience. It was slow going, though, for USA drama “Rush,” with the net doing a little better with “Satisfaction.”

According to “Live + same-day” Nielsen estimates, USA’s “Rush” (pictured) averaged a 0.39 rating in adults 18-49 and 1.704 million viewers overall in its 9 p.m. premiere. This puts it near the bottom of drama series premieres on cable this summer — ahead in the demo of AMC’s “Halt and Catch Fire” (0.34), but well behind most others, including TNT’s “The Last Ship” (1.18), FX’s “The Strain” (also 1.18), MTV’s “Finding Carter” (0.73), FX’s “Tyrant” (0.61) and ABC Family’s “Chasing Life” (0.53).

“Rush,” starring Tom Ellis as a bad-boy doctor who provides services to the rich and famous in L.A., also didn’t fare well relative to its lead-in, falling off from an encore of “Law & Order: SVU” at 8 o’clock (0.55 in 18-49, 1.951 million viewers overall).

USA followed up “Rush” with “Satisfaction” (0.49 in 18-49, 1.707 million), which built on its lead-in by about 25% in the demo while building slightly in total viewers. Most of the gains came courtesy of men, with “Satisfaction” building on “Rush” by 32% in men 18-49 (0.41 vs. 0.31).

“Satisfaction,” which follows a married couple whose relationship takes a major turn for the worse, is seen as more of a drama departure for the typically blue-sky network, so its growth over “Rush” is an encouraging sign

Over at FX, comedy “Married” opened to a 0.65 rating in adults 18-49 and 1.12 million viewers overall in the 10 o’clock half-hour, building on its lead-in from the movie “21 Jump Street” (0.8 in 18-49, 1.5 million). In its time period, it stood as the No. 1 program — broadcast or cable — in men 18-34 (0.81 rating), a core demo for the network.

The net’s new 10:30 p.m. comedy, “You’re the Worst,” fell off from there, averaging a 0.44 in 18-49 and 765,000 total viewers.

http://variety.com/2014/tv/ratings/u...ds-1201264804/


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Summer TCA Tour Notes
Showtime’s David Nevins On Emmy Category Controversy, ‘Happy-ish’, ‘Halo’ Future, ‘Nurse Jackie’s End Game
By Nellie Andreeva, Deadline.com - Jul. 18, 2014

Showtime‘s Shameless switching from drama to comedy was part of the Emmy category rules debate of the past several months. “There is always a degree of arbitrariness,” Showtime boss David Nevins said about the Emmy category assignments. He argued that whatever genres and categories are out there, Showtime’s DNA would be to defy them and push the limits. In the case of Shameless, he said executive producer John Wells had always wanted to submit the show as a comedy, with Showtime backing him up this year after competing as a drama for three years. The move paid off, with star William H. Macy earning a first lead actor nomination. “He is giving a comedic performance,” Nevins said.

Nevins gave an update on the status of Happy-ish, the dark comedy project the network had just picked up to series when star Philip Seymour Hoffman suddenly died in February. “I’m sitting on five scripts from (creator) Shalom Auslander that I think are brilliant,” Nevins said. “If we cast it the right way, I would make it.” Showtime had been quietly reaching out to A-list actors for the past few months to take over the role played by Hoffman. If the lead is recast, “it wouldn’t necessarily go straight to series.” But Nevins was adamant that the pilot starring Hoffman would not air.

Nevins confirmed that the TV series adaptation of Halo is still on track despite Microsoft’s announcement yesterday that it would shut down its XBox Entertainment Studios division, which was to develop and produce the series with Amblin TV in partnership with Showtime.

“My understanding is that they are not going to build a new streaming service, but Halo is their biggest property, and there is enormous will to find a way to bring it to a new media,” Nevins said. “Those conversations are ongoing.” A decision will be made at the end of the year, with Halo eyed to air on Showtime anytime next year.

Nurse Jackie, renewed in March for a seventh season, is Showtime’s longest-running series currently on the air. Ending the show is “a topic of conversation,” but no decision has been made yet. As for reviving another long-running Showtime series, Dexter, “it is always within the realm of possibility” but there is nothing going on at the moment. Nevins denied that the network put pressure on the Dexter producers to keep the title character alive so the door is open for followups. He actually noted that the only conversation of killing off the main character was on Californication where star David Duchovny was pushing for his demise.

After the session, Nevins said that Lisa Kudrow, who toplines the web-to-TV improv comedy series Web Therapy on Showtime, asked for permission to do the upcoming Comeback sequel on HBO. “We said, go for it,” Nevins said.

http://www.deadline.com/2014/07/davi...-showtime-tca/

* * * *

Summer TCA Tour Notes
‘Supernatural’ Stars, Producer Talk Season 10, When It's Time for Show to End
By Diane Haithman, Deadline.com - Jul. 18, 2014

OK, he admits it: Homeland showrunner/executive producer Alex Gansa said the lack of a drama series Emmy nomination in 2014 “hurt.” The critics hurt, too. “I don’t know how you can look at the last episodes of the season, especially the last two episodes [and not believe] they are the best we’ve ever done,” Gansa said at today’s TCA. “But we’re going to get back on the mountain again.”

Gansa was speaking at a luncheon panel along with executive producers Alexander Cary and Meredith Steihm. The three revealed a few plot developments for Season 4, which Showtime announced earlier in the day would premiere October 5.

Gansa started off with the joking promise to “only kill most of your favorite characters,” adding to laughter: “I can guarantee that Dana Brody will not be back for Season 4” (a reference to Brody’s moody teenage daughter whom many critics thought got way too much moping screen time in Season 3).

But the writer-producers dropped a few real story tidbits: Claire Danes’ Carrie Mathison’s bipolar illness has stabilized and in her new Middle Eastern setting will be on the tail of a new character, “someone whom she’s recruiting and trying to get his trust.” Steihm added that this is just one of “5 or 6 new characters” who will be added. Steihm confirmed that the character Carrie pursues as a recruit is portrayed by Life Of Pi‘s non-CGI star Suraj Sharma.

The writers also said they are “very invested” in developing the character of Peter Quinn (Rupert Friend) as a Brody-like foil for Carrie. They said that Saul (Mandy Patinkin) would be moving into the private sector in the contracting business. His move will have an “intelligence complication” since he will be involved in Middle East reconstruction after the U.S. withdrawal of troops.

Gansa declined to reveal how the series will handle the death of actor James Rebhorn, who portrayed Carrie’s father, the custodian of her baby as she relocates to the Middle East.

The three spent most of their time defending Season 3. Carey said that some characters’ actions might seem baffling to viewers but make sense when one is privy to the behind-the-scenes world of the CIA. When asked about the final plot twist, he insisted: “We got it right.”

Another thing they got right: Deciding not to shoot in the Middle East. “For about two weeks we thought about shooting in Israel and we’re really happy that we didn’t,” Gansa said.

http://www.deadline.com/2014/07/home...ls-alex-gansa/


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Summer TCA Tour Notes
Showtime is having an 'Affair'
By Gary Levin, USA Today - Jul. 18, 2014

Showtime is having an affair.

Its next new drama, The Affair, due Oct. 19, is set (and filmed) in Montauk, on the tip of Long Island, N.Y., about Noah, a schoolteacher (Dominic West) who begins a tryst with Alison (Ruth Wilson), a waitress recovering from a tragedy. The story is told in separate tracks from Noah and Alison's distinct (and possibly inaccurate) points of view, using flashbacks to tell the tale. Their spouses are played by Joshua Jackson and Maura Tierney.

"I was interested in telling a story in a Rashomon structure; I wanted to structure a story about differences in perspectives," says (newly married) Sarah Treem, who created the show with Hagai Levi, her partner on HBO's In Treatment. "You're never privy to what your lover is thinking even when you're married to them," but the secrets of cheating spouses the secrets are even greater.

"We tried not to judge either character," Treem says. "By chance, they're both in very vulnerable places and by chance they meet someone who they come to believe is their true love."

But "the show is about the lives of these characters, not a mystery," says Jackson, so it's not building toward a major revelation at the end of its 10-episode first season.

Showtime chief David Nevins says he wanted to a show that "explore(s) the complexity of marriage … through an affair," Though the subject has been addressed frequently in movies, "I thought it hadn't been tackled in a really substantive way on television."

For West, known for playing McNulty on HBO's The Wire, says, "I'm trying to think if I've ever not played an adulterer. I suppose it gives you an evil edge. I played a lot of villains, so I was delighted to be cast as a hero but as you can see it's in a villain context."

http://www.usatoday.com/story/life/t...lson/12864535/

* * * *

Summer TCA Tour Notes
Kobe Bryant wants to score with Showtime documentary
By Greg Braxton, Los Angeles Times' 'Show Tracker' Blog - Jul. 18, 2014

Los Angeles Lakers star Kobe Bryant is not only preparing for the final phase of his championship career, he's also getting ready for his close-up.

Bryant is the focus of an upcoming documentary, "Kobe Bryant's Muse," a feature-length film about his life, inspirations and challenges, which will air on Showtime this fall.

The project, which is being directed by Gotham Chopra, has been in production for 10 months and is still being shot. It is scheduled to be broadcast in November.

"This is about what has inspired me in my life and career," Bryant said during an appearence at the Television Critics Assn. "It's about looking forward to the challenge of what the next stage will be."

Bryant, who is returning to the Lakers this season after missing most of last season due to injury, is one of the executive producers of the documentary, along with Chopra.

Bryant also took a few minutes to talk about the coming NBA season, saying he is healthy and eager for the season to start so he can play basketball.

He said the Chicago Bulls, which signed Bryant's friend and former teammate Pau Gasol, has become a title contender ("Christmas came early for them"), while the Cleveland Cavaliers have done a "180 degree" turnaround with the return of LeBron James.

As for the Lakers, Bryant he was very pleased with the team's management: "They've done phenomenally well" in pursuing former free agents James and Carmelo Anthony, even though the Lakers did not manage to sign the stars. "I would say I am 100% happy with their effort."

He said Lakers General Manager Mitch Kupchak has done well in putting together a revamped Lakers team: "Now it's time for me to do my job."

http://www.latimes.com/entertainment...718-story.html


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TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)

ABC:
8PM - Bet On Your Baby (Season Finale)
9PM - Mistresses
(R - Jul. 14)
10PM - Nightline Prime

CBS:
8PM - 48 Hours
9PM - Bad Teacher
9:30PM - Bad Teacher
10PM - 48 Hours

NBC:
8PM - Dateline NBC (120 min.)
(R - Sep. 16, 2011)
10PM - The Blacklist
(R - Mar. 17)
* * * *
11:29PM - Saturday Night Live (Kerry Washington hosts; Eminem performs, 93 min.)
(R - Nov. 2)

FOX:
8PM - Hell's Kitchen (120 min.)
(R - Jul. 10, 2014)
* * * *
11PM - Animation Domination High-Def (60 min.)
(R)

PBS:
(check your local listing for starting time/programming)
8PM - Austin City Limits (Sarah Jarosz; Milk Carton Kids) (R - Feb. 1)

UNIVISION:
8PM - Sábado Gigante (Three Hours)

TELEMUNDO:
7PM - Movie: The Marine 3: Homefront (2013)
9PM - Fútbol Mexicano Primera División: Club León vs. Club América (LIVE)


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TV Review
'The Lottery' review: Could be Lifetime's shot at something great
By Diane Werts, Newsday - Jul. 17, 2014

THE SHOW "The Lottery"

WHEN | WHERE Premieres Sunday at 10 p.m. on Lifetime

WHAT IT'S ABOUT
Any minute now, the world's women stop having babies. Reasons unknown. By 10 years in, it's a full-blown crisis. An all-encompassing U.S. Fertility Commission winks at "bar beds" for conception attempts, compels mandatory fertility testing, and keeps a scary-close eye on those precious "last six" kids birthed in 2019.

If this dystopian future echoes the 2006 film "Children of Men," that's because Timothy J. Sexton wrote them both. But "The Lottery" is a TV series, affording more space to explore the crisis' human impact and its political gameplay.

Lifetime knows how to deliver the former. What about the latter? Politics fuels the conflict that keeps the drama tense. Government officials play both villain (Martin Donovan's wide-reaching fertility czar) and, seemingly, heroine. It's the president's chief of staff (Athena Karkanis, "Low Winter Sun") who envisions a lottery after a research lab finds a way to create 100 viable embryos: "Let every woman out there feel like she has the chance to hit the jackpot . . . a shot at something great."

That shot seems to elude the research lab chief (Marley Shelton, CBS' "Eleventh Hour"), when she's summarily dismissed by Mr. Fertility Despot, but of course Lifetime women don't play that. The canny doctor connives around his game, even as it proves lethal. A kindred rebel arises in an everyday-dude single father (Michael Graziadei, "The Young and the Restless"), after his one-of-the-last-six son draws disturbing government interest.

MY SAY Protect the kids, and make some more. Is that a Lifetime bull's-eye or what? "The Lottery" adds power trips, market forces, espionage and sheer human desperation on an end-of-world scale. The pilot hour directed by ace show-starter Danny Cannon ("CSI," "Alcatraz," "Gotham") is not your auntie's Lifetime show. Which means it might be yours and your brother's -- a broad attraction for a channel with its own desperate desire to shed that women-in-jeopardy tag.

Just so it doesn't pick up other labels. Like, say, conspiracy yarn. How many dramas get lost in their own mysteries of overarching malevolence? "The Lottery," with otherwise sage setup and promising performances, merits its own shot at something great.

BOTTOM LINE It could just beat the odds.

GRADE: B

http://www.newsday.com/entertainment...reat-1.8822933


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TV Notes
'Married at First Sight' draws a rebuke
By Maria Sciullo, Pittsburgh Post-Gazette - Jul. 19, 2014

In the “I-could-have-written-this-item-months-ago” department, the American Pastors Network has decried the new show “Married at First Sight” as a mockery of marriage.

“Marriage is not a game show, a contest or something to entertain the masses,” American Pastors Network president Sam Rohrer said. “Trying a partner out for up to six months is hardly a healthy way to choose a marriage mate.”

Well, yeah.

The FYI channel (until recently, Biography) debuted its new offering last week. Here‘s the premise: three couples agree to get legally married, sight unseen, and are then studied by a sexologist, psychologist, sociologist and spiritual adviser. The couples can get free divorces if they so desire within six months.

In the series debut, six fairly attractive people in the mid-20s/early 30s demographic are paired after what appears to be a complex matching process. The first surprise is that — aside from getting married to a stranger — they don‘t appear to be the kind of vain simpletons who so often populate reality shows such as “The Bachelor.”

One is a delivery room nurse. Another is an EMT who is taking care of his terminally ill mother and, on the side, is a professional wrestler. All seem to be grounded, with friends and family ties.

Of course, the show’s concept is terrible. It does undercut the sanctity of marriage, but its emphasis on relationships has some redeeming value. Quick hookups are a staple of reality programming but that‘s not really the emphasis here.

• • • •

Syfy’s seventh season of ”Face Off‘ returns Tuesda, and the local ties are more binding than usual.

Thanks to the Douglas Education Center’s Tom Savini Special Make-Up Effects Program, any number of grads and alumni have populated the Los Angeles sets, but this time there is a former instructor as well.

Drew Talbot, who lives in the Mexican War Streets on the North Side, taught at DEC and also attended the program. Others who learned to make monsters in Monessen include contestants Keaghlan Ashley, Barry Mahoney and Cig Neutron. George Troester attended the Art Institute of Pittsburgh.

Mr. Mahoney is from Massachussetts; the others are from California. Yet another artist, Gwen Crew, lives in Swissvale.

There will be 16 contestants when the show airs next week, but two will be eliminated before the first spotlight challenge.

The theme of this season is “Life and Death,” which is pretty much the underlying theme every year. The show has a strong tie-in to the Universal Orlando Resort and Universal Studios Hollywood theme parks (Syfy and Universal are both owned by Comcast). So beginning Sept. 19, original designs from “Face Off” will be featured on some of the creatures walking the streets and mazes during the “Hollywood Halloween Nights.”

• • • •

This is the time of summer when NBC‘s “America’s Got Talent” (new shows Tuesdays and Wednesdays) gets down to judging which 48 acts will advance to the live rounds at New York‘s Radio City Music Hall. Given the panel’s early enthusiasm for two local acts, it‘s likely viewers might see Peters Township “mystifier” Mike Super and young musician Adrian Romoff on next week’s program.

Promos for Judgment Week include brief glimpses of Adrian playing “Rhapsody in Blue” on the piano and Mr. Super doing a stunt with Howie Mandel.

http://www.post-gazette.com/ae/tv-ra...s/201407190008


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Critic's/Business Notes
In Modern Media Realm, Big Mergers Are a Bulwark Against Rivals
By David Carr, The New York Times' 'Media Equation' Column - Jul. 17, 2014

When the news broke on Wednesday that 21st Century Fox, Rupert Murdoch’s huge media and entertainment company, made an $80 billion offer to buy Time Warner Inc., another big media conglomerate, it seemed like a seismic jolt in the business landscape. If the deal is ever consummated, 21st Century Fox, a public company in name only that the Murdoch family essentially controls, would oversee much of the content consumed by Americans.

But the path and logic to this potential merger had already been cleared. In 2011, when Comcast, the nation’s biggest cable company, bought NBCUniversal, one of four broadcast networks and a movie company to boot, the merger won easy approval. Then this February, Comcast announced plans to buy Time Warner Cable, the second-biggest cable company, in a deal that would give Comcast control of 40 percent of the broadband in the United States.

Everybody waited for regulators to finally signal that things were getting out of hand. That shoe never dropped.

Those moves have had some unintended, but predictable, consequences. Comcast’s bold strategy of acquisition kicked off a wave of defensive consolidation, fueled by a combination of fear and abundant capital in the media realm.

I talked to the head of one company that creates television and movies, who expressed a common sentiment. “When Comcast decided to get bigger,” he said, “we all had to ask ourselves, Are we big enough? We all have to think about getting bigger.”

And why not? No one is stopping them.

With big data, a Big Brother government and now big media, size creates its own prerogatives. When Amazon used its market dominance to limit access to Hachette books over a price dispute, regulators yawned. When AT&T and DirecTV propose a tie-up in response to Comcast, the market issues are just another deal point. Cable companies slowed down content from clients (which are also competitors) like Netflix, and it was treated as a business dispute.

For the most part, the current government has passed on regulating potential monopolies, and as citizens, we have become inured to the consequences of bigness. With technology behemoths like Facebook and Google owning part of our everyday lives, we can’t get too wound up about which media outfit owns Conan O’Brien’s show.

The giant market capitalizations and market power residing in Silicon Valley have rippled into the rest of the economy. The people behind this sudden surge of proposed media mergers say they are only going on steroids to avoid getting sand kicked in their face by even bigger bullies in the technology world. Comcast will contend that it is not just competing with Cablevision and Charter Communications, but also with Google, Amazon and Apple. And people who make programming will assert that they are trying to grow just so they do not get pushed around by Comcast.

Like the dragons in HBO’s “Game of Thrones,” big new digital players are hovering over the media landscape. You don’t want to be wandering around with a tiny sword if your adversaries are airborne and fire-breathing. Many suggest that the only hedge in a consolidating world is high-quality content.

“Rupert did not try to buy Time Warner because he wants to get to own a bunch of cable networks,” Richard Greenfield of BTIG Research said. “He clearly feels that as other players try to enter the media business, content will be more valuable and he wants to get his hands on as much content as possible.”

Beyond bigness, there is no compelling logic driving a merger of Time Warner and 21st Century Fox. They are about the same size and neither would be filling strategic holes in the other’s portfolio. But at 83, Mr. Murdoch continues to be a man in a hurry, and he likes to stir the pot.

Time Warner’s chief executive, Jeffrey L. Bewkes, is in the position of seller and not buyer because selling is what he has mostly done since taking over in 2008. In an effort to raise the company’s stock price, Mr. Bewkes has spun off what he either could not or did not want to run. AOL, Time Warner Cable and most recently, Time Inc., have all been given the heave-ho, and the market has applauded every move — Time Warner’s stock has nearly doubled in the last two years.

But that has left a company once thought of as a behemoth as takeover bait. The same things that make it attractive to Wall Street — a pure-play television and movie company — make it attractive to buyers as well. When you are not actively building a business, there’s a pretty good chance you will end up as a brick in someone else’s.

Mr. Bewkes has complained in the past that if the Comcast merger passes regulatory muster, which seems likely given the company’s close ties to Washington, Comcast will have too much leverage in negotiations over programming and will own much of the consumer data that now drives programming decisions. But he has to ask himself, Who put Time Warner Cable into play in the first place? In the end, he was outrun by Comcast, which always seems to be a few steps ahead.

And who is to say whether sometime soon, perhaps if Time Warner stays up for grabs, one of the Silicon Valley players will simply buy its own content factory instead of negotiating for rights with those already in the business? As silly and inefficient as the Hollywood system is — pilot season anyone? — no one else has determined how to make mass entertainment, other than the N.F.L.

Think about it. Amazon, Apple and Google have all promised to remake the television experience in some way, and so far, not much has happened. Google, through YouTube, spent $100 million on developing its own channels and stars, but does not have much to show for it. The best Apple has come up with is a better way to navigate the same old pile of shows. And Amazon’s efforts at creating its own series — crowdsourced choices and all — have not shown signs of clicking.

If you can’t render them irrelevant, why not buy them?

Of course, the execution risks are considerable. When I first started covering this beat at the turn of the century, it was clear that paradigms were shifting and the existing players had to respond, to do something, anything, to meet the coming challenge. That’s when AOL and Time Warner decided to merge.

http://www.nytimes.com/2014/07/17/bu...html?ref=media


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Nielsen Notes (Cable)
VH1′s ‘Dating Naked’ Delivers OK Debut, ‘Leann And Eddie’ Soft
By Dominic Patten, Deadline.com - Jul. 18, 2014

The sayings are that sex sells and controversy gets coverage and certainly VH1 were betting on a bit of both with Naked Dating. To that end, last night’s 9 PM debut of the self explanitory reality series from Lighthearted Entertainment delivered – somewhat. The 1-hour Naked Dating had 826,000 total viewers with 480,000 among Adults 18-9. Not only was that 0.5 rating the best non-Monday premiere in the Viacom channel has had since Mob Wives launched on April 17, 2011 with a 0.9 but it saw huge leaps up from the last quarter.

Naked Dating had a 150% increase among the demo and a 147% rise in total viewers over the same time period last quarter. Now granted, VH1 didn’t have any original programming on Thursday nights between March 29 and June 29, but triple digit rises are nothing to be scoffed at. Then again, Naked Dating’s debut was far far behind the January 6th Season 3 premiere of Single Ladies, which pulled in 2.6 million viewers that Monday. With its 11 PM encore, the Amy Paffrath-hosted Naked Dating had a total viewership of 1.289 million last night.

The rest of VH1’s new programming on VH1 might have wanted to strip down a bit to do better. Coming after the 551,000 who watched the debut of Candidly Nicole, the 10:30 premiere of Leann And Eddie was seen by a total 374,000 audience of 374,000. The former was up 51% from last quarter among the 18-49s with 325,000 watching while the later up just 19% over the last quarter’s average in the time slot with 252,000 viewers in the demo.

http://www.deadline.com/2014/07/dati...nne-and-eddie/


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post #95632 of 97108 Old 07-18-2014, 10:28 PM
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Summer TCA Tour/Critic's Notes
Tim Goodman on How He Learned to Love The CW
By Tim Goodman, The Hollywood Reporter's 'Bastard Machine' Blog - Jul. 18, 2014

A very strange thing happened Friday at the Television Critics Association summer press tour. The CW and I became BFFs.

Yes, that level of strange.

It started simple enough. I watched its new fall dramas -- Jane the Virgin and The Flash -- and loved them. Now, in fairness I'd already liked The Arrow and gave it a good review. I liked Nikita as well (plus, you know, was crazy for Maggie Q). Eighteen seasons ago or whatever it was, I also liked Supernatural and returned periodically to it and found it as well done as anything on CBS, for example.
So there's some history.

But whoa, I have really and utterly hated a lot of the CW's programming. For a while there, I was pulling muscles just jumping up and down on some of their offerings. The odd piano-wiring, shiv-in-the-back hootenanny and straight-up beat-downs became a tiring exercise.

Toss in the fact that I called it "the network of magical thinking" because it always touted itself, in executive sessions, as doing just fantastically -- when there was no concrete evidence of that in the real world -- and you have a recipe for, well, two entities that don't belong in the same room.

For me, the zenith of our relationship (sure, the CW might think this was the nadir), was just last summer when I asked CBS CEO Leslie Moonves how it was that CBS had worked at optimal efficiency for so long and, conversely, "how is it possible that the lights are still on at The CW?"

"So, one softball and one thrown right at my head" Moonves said, laughing. "I would expect no less from you, Tim, you know?"

Oh, I know. I'm not shy about calling ******** and for the longest time couldn't believe The CW was still in business.

But hell, Moonves gave me an answer I'd been seeking for a long, long time to no avail from The CW, which is sometimes prone -- and I say this with affection now that there's so much love in the air -- to talking about buzz and social media influence and voodoo, instead of hard Nielsen numbers. Said Moonves: "The CW, by the way, as an entity may lose some money. However, CW is owned by two companies that produce the shows. The shows bring us more revenue than the losses do. So it’s still valuable, and there’s still a marketplace for it. How’s that?"

That was perfect. And then I proceeded to ferociously hate that next batch of CW shows. So, that should give you an indication of how -- I think "miraculous" might be a good word for it -- this newfound affection really is.

The CW and I hugged it out. No, really, I actually did hug one of their publicists on Friday -- twice, I think.

And my tweets from the panels for Jane the Virgin and The Flash were not just positive, but positively giddy. I had all the feels, as the kids at the CW probably don't say, but still. I had them. I have them now.

And let me just reiterate that Jane the Virgin isn't just a great pilot -- it was thoroughly enjoyable, filled with solid writing, the superb execution of a complicated idea and a whip-smart accuracy on the show's tone, which until you see it you won't understand how difficult that was to pull off. The acting performances were universally impressive. But right in the midst of all that goodness is Gina Rodriguez, who plays the title character. Not only is Rodriguez flat out amazing in this role, she will be, without a doubt, the breakout star of the fall season.

I said just that -- more than once -- on Twitter during that session. As did so many other critics. The vast majority of that room, watching the Jane the Virgin panel, were flipping out over Rodriguez. The CW really has a gem in her. Other networks would kill to have a star pop that way in a room full of critics and TV writers.

The Flash, too, was a real revelation. The pilot is impressive -- any number of critics have already proclaimed that it's their favorite of the fall. I was not a comic book kid and, like Arrow and some of the other DC and Marvel characters, I'm a bit lost on the mythology and supporting heroes and villains. But that's fine -- what I saw in that pilot has me hooked. I'll be putting season passes on Jane and Flash as soon as I move out of residence at the Beverly Hilton, home of the TCA press tour.

(And yes, people who follow me on Twitter were tweeting back, "Who are you and what have you done with Tim Goodman?)

But this new BFF status with the CW doesn't stop with its bright fall shows. The channel runs Whose Line Is It Anyway? -- a longtime unscripted fave. I will get back on the Arrow bandwagon for sure (playing catch-up as the summer winds down). And a few critic friends have been periodically nagging me to give The Vampire Diaries another shot (after I really loathed the first few episodes of the first season, then was meh on it not that long ago). Hey, bygones. Here's another hug. It's a brand new day.

Beyond that, I'm going to make amends on The 100 as well. Having torn a rotator cuff and probably severed my own retina beating on a succession of CW shows, I passed entirely on The 100 out of fatigue (or a vacation, I can't remember), then heard good things about it from some critics I trust. So, I've made a date with that show as well.

Ah, it's amazing how less tense I feel. (And what are all of these colorful and beautiful flowers surrounding the hotel?) This newfound feeling is deeply weird, though. I mean, I'm more of an FX kind of guy and, well, was recently lukewarm on its last two dramas, Tyrant and The Strain, while being vociferously disappointed about its latest two comedies, Married and You're the Worst, which premiered Thursday night.

And now I'm genuinely excited about The CW. I have a feeling people affiliated with the network and its showrunners are probably more freaked out and wary about this turn of events than even I am.
I'll have to give them a big hug next time I see them.

http://www.hollywoodreporter.com/bas...-how-he-719779


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post #95633 of 97108 Old 07-18-2014, 11:49 PM
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Originally Posted by mscottc View Post
Actually it's a shortened form of Cathode Ray Tube, the primary component of TV and other video displays for the first half century or more of TV's history. "Boob Tube" was a slang for that.
Not when the average viewer said it. The term "Boob Tube" was, as you said, slang for the technical term, but people calling it "The Tube" was a shortened form of "Boob Tube", which was a popular term to describe TV. In short, "tube" when most people say it is slang for another slang term.

I realize where the technical origin of "tube" comes from, but people didn't refer to it that same way.


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post #95634 of 97108 Old 07-18-2014, 11:57 PM
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Nielsen Notes (Cable)
VH1′s ‘Dating Naked’ Delivers OK Debut, ‘Leann And Eddie’ Soft
By Dominic Patten, Deadline.com - Jul. 18, 2014
Sometimes comedy writes itself....
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post #95635 of 97108 Old 07-19-2014, 12:23 AM
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Originally Posted by NetworkTV View Post
Not when the average viewer said it. The term "Boob Tube" was, as you said, slang for the technical term, but people calling it "The Tube" was a shortened form of "Boob Tube", which was a popular term to describe TV. In short, "tube" when most people say it is slang for another slang term.

I realize where the technical origin of "tube" comes from, but people didn't refer to it that same way.

"Boob Tube" makes no sense until the meaning of "Tube" is established and it was derived from "Cathode Ray Tube".
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post #95636 of 97108 Old 07-19-2014, 02:21 AM
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"Boob Tube" makes no sense until the meaning of "Tube" is established and it was derived from "Cathode Ray Tube".
Yes, "Cathode Ray Tube" (CRT) is the correct technical terminology, but the common term was "picture tube", occasionally shortened to "tube", e.g., "What's on the tube tonight?"

The slang term "boob tube" was probably derived from "boob" for stupid person + "picture tube" or "tube" for television, implying that television viewing was, on the most part, foolish or a wasteful use of time.

I haven't heard anyone say "picture tube" or even "tube" in a very long time, except for the "Direct View (single tube) CRT Displays" forum here on AVSFORUM or from people reminiscing of the tele of decades ago.

Without "picture tube" or "tube" in common usage any more, "best tube bets" will become a verbal archaism, like "dialing" a telephone, watching a "film", or watching the "trailers", now that telephones no longer have dials, what we see in the movie screen (or TV screen) is most likely an electronic file instead of emulsion on a transparent ribbon, and the coming attractions have been moved from the trailers of the movie films to the leaders of the movie films (and now in the electronic equivalent, coming attractions are shown before the main feature).

So, here we are, wasting our time on a forum dedicated to foolish or wasteful use of our time by watching large high-definition boob tubes that, for most of ours, don't even use cathode ray tubes.

And I don't even miss the 8-in B&W boob tube of my younger years.

My very humble setup:
Man Cave:Vizio E500i-A1 "Smart TV" (50-in 1080p 120Hz LED/LCD, has Netflix app.), Blu-ray players (Sony BDP-S3100, old LG BD390), Roku (the original model: N1000), PC (Windows 7), Comcast Internet (25Mbps/5Mbps).
Bedroom:LG 32LV3400-UA TV (32-in 768p 60Hz LED/LCD), HD DVR (Motorola RNG200N), Xfinity Comcast cable (Digital Starter Package), DVD/VHS player.

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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jul. 19, 2014

HOOK
BBC America, 7:00 p.m. ET

On the heels of the deliriously wonderful news that NBC has hired Christopher Walken to play Captain Hook in its upcoming live telecast of the musical Peter Pan, this seems the right time to give another look to Steven Spielberg’s 1991 version of the classic children’s story. This version starred Robin Williams as a grown-up lawyer with a Peter Pan soul, so to speak, and featured Julia Roberts as a punk-haired Tinker Bell. But since, right now, it’s fair to think ahead to the NBC version, pay particular attention to Dustin Hoffman as Hook – especially his pirate outfit. Those boots were made for Walken…

THE INTERNSHIP
HBO, 10:00 p.m. ET

In this 2013 comedy co-written by Vince Vaughn, Vaughn and Owen Wilson star as hard-pressed salesmen who decide to chase a new dream, and a new career, by applying for the highly competitive internship track at Google. It’s like a companion piece to Mike Judge’s Silicon Valley, but featuring Rose Byrne as the female lead. Byrne is an interesting acting chameleon: She can be relentlessly dark, as in her starring role opposite Glenn Close in TV’s Damages, or confidently playful, as with her self-obsessed British pop-star, Jackie Q, in the Russell Brand-Jonah Hill comedy, Get Him to the Greek. Here, she’s on the lighter aside again, and injects some spark into what could have been an utterly thankless girlfriend role.

BAD TEACHER
CBS, 9:00 p.m. ET

Two new episodes of this series are shown tonight – and on summer Saturdays, that counts as at least an option. And in the first episode, in which Meredith (Ari Graynor) finds and claims money that was lost by Ginny (Kristin Davis) but earmarked as a school-trip fund, the guest star is Colin Hanks, fresh from Fargo.

I WAS A JET SET STEWARDESS
Smithsonian, 9:00 p.m. ET

This new Smithsonian documents the long-ago period when air travel was glamorous, from the spacious seats and elegantly served meals to the individual service and beautiful stewardesses. Some of today’s flight attendants, as they prefer to be called these days, are just as attractive and attentive – hey, I have a flight scheduled very soon, so why risk payback? – but the glitz, like the seat size, has shrunken notably since the early jetliner era recalled in this program.

ALMOST ROYAL
BBC America, 10:00 p.m. ET

This installment is the most ripe for cross-cultural sarcasm, because fake royals Georgie (Ed Gamble) and Poppy (Amy Hoggart) descend upon Washington, D.C. They’re confused, initially, in their sightseeing quest for the White House, because a lot of the houses look white. And when these faux royals begin chatting up and querying some actual Washington politicians – well, it’s like The Daily Show with a British accent. Which, I guess, makes it exactly like The Daily Show last summer, when John Oliver took over temporarily, and very capably, for Jon Stewart.


http://www.tvworthwatching.com/

* * * *

TV Sports
British Open: A Test of Golf Skills... And a Beatles Pop Quiz
By Gerald Jordan, TVWorthWatching.com - Jul. 19, 2013

It’s half past The Open Championship and dramatic tales abound: Cinderfellas, Les Miserables, Aesop’s Fables and many others.

John Singleton, after his fairytale appearance in golf’s self-proclaimed greatest competition, will return to the routine of his day job at Advanced Electrical Varnishes. And when he does, it’s a good bet that the forklift he steers will have a bumper sticker that reads “I’d Rather Be Driving a Titleist.” The Liverpool factory worker lived for two rounds the Everyman Dream: he played in The Open Championship at Royal Liverpool. His opening-round 78 (six over par) dampened his spirit, but his two under round Friday almost spared him from the weekend cut. (The final cut number: two over par.)

“The greatest feeling ever,” he told ESPN of his walk to the 18th green Thursday.

The Open and familiar competitors looked terrific Thursday. Conditions allowed a field of the best golfers in the world to share Singleton’s greatest feeling. Several of the best squirreled away low numbers, taking advantage of a beautiful day that turned breezy and difficult Friday. Weather forecasters say the weekend will be worse, though early-morning conditions for Saturday's round improved dramatically after the opening hour.

Tiger Woods' first-round 69 left fans’ hearts aflutter over the possibility of the Tiger of old. On Friday, the Tiger of more recent old did show – the one who couldn’t find a fairway to save his round. His “terrible start,” by Woods’ own account and “not so good” round left him seated precariously on the cut line, needing an 18th-hole birdie to play on the weekend. He got it.

Rory McIlroy exorcised the demons that recently have played his second rounds, and ran off a string of birdies that will ensure the weekend cameras will be on McIlroy. His four-shot lead over Dustin Johnson and six-shot lead over six others give McIlroy a comfortable margin in anticipation of a rough-weather weekend. After an hour of Saturday morning play, McIlroy led the field with 11 under par.

If rain forces delays, I hope that ESPN treats audiences to more Beatles vignettes and tour pro pop quizzes as the sports network did Thursday. By far the funniest feature required the pros to name the Beatles. Even a couple of the Brits choked. Ian Poulter clutched over several takes until he completed the task by naming George Harrison. Briton Lee Westwood calmly named the Fab Four. American Bubba Watson didn’t even venture a guess at their names, but rattled off the instruments they played. Northern Irelander McIlroy (right), at 25 a youngster in any environ, couldn’t pass the test. He offered George Lucas as a Beatle.

Best ad lib, though, goes to Peter Alliss, the BBC announcer whose experienced vocal tones convey golf history. Alliss was visiting at the ESPN anchor desk while the Beatles’ quiz ran. He allowed as how generation gaps might lead youngsters to be unaware of notable artists, but it got his goat when Alliss recalled how his housekeeper asked about a recording he was enjoying. It was Sammy Davis Jr. When the youngster asked Alliss “Who’s Sammy Davis Jr.,” he said “I could have choked her.” No real violence conveyed; just generation-gap frustration writ large.

Day One was a fun day. Day Two showed how difficult links golf can be.

John Singleton’s coworkers at Advanced Electrical Varnishes got Thursday off to watch him play. Singleton had hoped to make the cut so that his finish would encourage a sponsor. He’s a man grateful for his day job, but eager to quit it.

And now, Day Three...

http://www.tvworthwatching.com/BlogP...px?postId=7800


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Summer TCA Tour Notes
‘Ray Donovan’s Jon Voight Rehearses For Emmy; EP Takes On ‘Sopranos’ Comparison
By Diane Haithman, Deadline.com - Jul. 18, 2014

Homeland producers grumbled about their 2014 Emmy nomination snub for drama series at today’s TCA, but Jon Voight seemed happy to carry the Emmy nom flag for Showtime at today’s panel on his second-season series, Ray Donovan. The supporting actor nominee appeared on the panel with stars Liev Schreiber, who plays the title character, a Hollywood fixer, Paula Malcomson, Season 2 guest stars Hank Azaria and Wendell Pierce, creator/EP Ann Biderman and EP Bryan Zuriff.

For Zuriff, this marks a return to the executive producer ranks of the series following his high profile arrest and subsequent indictment for allegedly running an illegal gambling operation this time last year that prompted his temporary exit from the show. Zuriff actually touched upon his history when the cast and producers were asked to attest to the accuracy of some of the crazy storylines on the show. “We’ve all had a little bit of a past, so there’s stuff that we can draw on in the writers’ room that we can have some fun with,” he said.

Earlier this year, Voight won a Golden Globe for his performance (star Schrieber got a nom for lead actor in a drama). When asked about Emmy, Voight could have been rehearsing his Emmy speech. The abridged version of his reply: “Let me just say, I feel very blessed and very fortunate to have had so many wonderful experiences as an actor. I am really enjoying this family that’s making Ray Donovan. It’s almost like I earned this role over years of struggling and failing and experimenting and succeeding…” He praised the “wonderful artists” he works with on Ray Donovan and reached back into the past to praise earlier collaborators John Schlesinger, Dustin Hoffman, Hal Ashby and Andrei Konchalovsky.

Schreiber was equally effusive about his colleagues as he talked about directing a Season 2 episode of the show. “It was relly intense. I didn’t know how difficult it would be to acting at the same time I was directing,” said Schreiber.

He added that the job of the director is to deal with scene transitions, and it’s hard to see transitions while performing. “The cast and crew came to my rescue. I never felt so supported, so appreciated and so lucky as I did during that week and a half working with the cast and crew,” he said.

Biderman was asked if introducing the character of a therapist, as well as the story line, is an homage to The Sopranos. Nope. “No one’s in therapy for very long in this show, it’ s not a conceit we’ve carried for any length of time”, she said. Crime and family, well, that’s universal. “Any time you do a story about a family relationship and marriage and crime, there’s going to be complicity on some level,” she said. “I’m flattered by the comparison. It’s not a bad thing”.

Biderman said her process includes writing at least the first and last episodes of any TV season and usually a few in between. “I’m not Aaron Sorkin,” who writes every episode, but “the way I run the room is so specific my voice is in them, certainly. It’s not a total democracy. I’m very clear about what I want”.

Biderman sounded a little like one of her characters-of-few-words when asked how she manages to create a gritty, male-dominated world. “I think men write women and women write men. Thank you, I guess. Go figure,” she said.

Azaria offered the non sequitur of the session by adding, brightly: “I think we can reveal that most of the story is based on the life of David Schwimmer.”

http://www.deadline.com/2014/07/ray-...iev-schreiber/


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TV Review
Sass and Slow-Motion Bullets
‘Gunslingers,’ an American Heroes Channel Docudrama Series
By Neil Genzliner, The New York Times - Jul. 19, 2013

You can always learn something by watching television. On Sunday night, it’s this:

“Do not take a drunk dentist to an arrest.”

Those words to live by come from one of the engaging talking heads in the first installment of “Gunslingers,” a spunky six-part series that begins on Sunday on the American Heroes Channel. The dentist is Doc Holliday, who tagged along with his pal Wyatt Earp to the notorious gunfight at the O.K. Corral.

This tale in the first episode and most of the others in this series have been told again and again on the big and small screen, but the treatment here makes the revisiting enjoyable for admirers of the Wild West and of history cheekily conveyed. The episodes are executed sort of like many hourlong TV docudramas, combining re-enactments (which are especially slick here) with explanatory comments from assorted experts and others. One is Kurt Russell, who played Earp in the 1993 film “Tombstone.” But Earp himself joins in the narration (via an actor’s voice), and some amusing camera tricks add to the fun. Love those slow-motion bullets.

The experts are not the usual dry academics. That crack about Holliday comes from Bob Boze Bell, the man behind True West magazine. They dress like people who have a genuine affection for the subject matter. You could stock a Western hat store with what’s on their heads.

The only problem with the series is that it means that the channel may have already outgrown its new name. It switched only a few months ago from “The Military Channel,” hoping “American Heroes Channel” would acknowledge that not all heroics are performed by people in the armed services. But future installments of this series look at Billy the Kid and Jesse James, among others. Heroes to some, maybe, but outlaws by definition.

Gunslingers
American Heroes Channel, Sunday nights at 10, Eastern and Pacific times; 9, Central time.


http://www.nytimes.com/2014/07/19/ar...elevision&_r=0


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post #95640 of 97108 Old 07-19-2014, 05:49 AM
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Critic's Notes
It’s Time for TV Rom-Coms
By Margaret Lyons, Vulture.com (New York Magazine) - Jul. 19, 2013

FX's new comedy You're the Worst is about two awful shitbags who kind of fall in love. He's a British writer with a serious immaturity problem; she's a publicist to the stars, with a deep fear of commitment. They meet at a wedding and, as it often does, the misanthropy leads to festive boning. Maybe we're so wrong for each other that it's almost right, they decide. It's a rom-com setup, vaguely reminiscent of a Friends With Benefits kind of idea, but it's also surprisingly fun and sexy. It has a strong cynical side, but that's tempered by an overwhelming sense of romance. These two crazy kids are gonna make a go of things! I'm genuinely rooting for them, partially because I'm a softie and partially because the leads' chemistry is fantastic, but mostly because I want You're the Worst to kick off an era of TV romance. Let me love love!

The frustrating current dearth of rom-com means there's a real opportunity here; as a people, we are hungry for smooches, and movies are not meeting that need. TV has a long, proud history of will-they-or-won't-they relationships, and it's easy to imagine a new wave of that as just when-will-they. (See: Danny and Mindy on The Mindy Project.) Conventional wisdom says that TV love stories tend be most interesting in their prelude phases, because once the couple gets together, the story's largely over. But that's a bigger problem when the show didn't plan on that couple's story from the get-go (like Nick and Jess on New Girl, who did not initially seem like they were destined for each other), or when a show was already running out of steam (sorry, Bones). A show can still find plenty of stories as long as the characters themselves have substantial defining traits beyond "he can't see the love of his life is right in front of him" or "she's great at her profession, but also a klutz."

Or what if a series did for romance what American Horror Story does for horror? An anthology miniseries with a new setting and characters each season, with each love story unfolding over 13 episodes. The mere existence of You're the Worst proves that romance and schmaltz are not synonymous. You can have serious drama or bawdy humor or full-on Hallmark Channel schlock — Broooklyn Nine-Nine and the upcoming Gotham are both cop shows, but one's a goofy single-camera comedy and the other is a moody Batman prequel. There are lots of kinds of love stories. It's just a matter of shifting the focus: Instead of a lawyer show where characters happen to fall in love, it's a love show where characters happen to be lawyers. We have so many lawyer shows. Can't one of them be this?

The new fall season has a few attempts at romance-centric shows: ABC has Manhattan Love Story and NBC has Marry Me and A to Z. And You're the Worst has plenty going for it, though it is perhaps not as naughty as it thinks. (Sorry, I am not scandalized by the mention of period sex.) So let this be the beginning of the tides turning, the rise of the well-told love story. It's either that or another damn sheriff.

http://www.vulture.com/2014/07/tv-ro...the-worst.html


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