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post #95731 of 95755 Old Yesterday, 12:05 AM
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TV Notes
On The Air Tonight
WEDNESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - The Middle
(R - Oct. 2)
8:30PM - The Goldbergs
(R - Dec. 10)
9PM - Modern Family
(R - Feb. 5)
9:31PM - The Middle
(R - Oct. 9)
10PM - Motive
* * * *
11:35PM - Jimmy Kimmel Live! (Gordon Ramsay; Bobcat Goldthwait; Common performs)
12:37AM - Nightline

CBS:
8PM - Big Brother
9PM - Extant
10PM - Criminal Minds
(R - Sep. 25)
* * * *
11:35PM - Late Show with David Letterman (Eric Stonestreet; summer toy demo; Brody Dalle performs)
12:37AM - Late Show with Craig Ferguson (Larry King)

NBC:
8PM - America's Got Talent (120 min.)
10PM - Taxi Brooklyn
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Robin Wright; Josh Charles; Weezer performs)
12:36AM - Late Night with Seth Meyers (Ricky Gervais; designer Zac Posen; G-Eazy performs)
1:37AM - Last Call with Carson Daly (Nasty Gal CEO Sophia Amoruso; L.P. performs; musical group Ume)
(R - May 5)

FOX:
8PM - So You Think You Can Dance (120 min.)

PBS:
(check your local listing for starting time/programming)
8PM - My Wild Affair: The Ape Who Went to College
9iPM - NOVA - Australia's First 4 Billion Years: Life Explodes
(R - Apr. 17, 2013)
10PM - Sex in the Wild: Orangutans

UNIVISION:
8PM - Mi Corazón Es Tuyo
9PM - Lo Que La Vida Me Robó
10PM - Qué Pobres Tan Ricos

THE CW:
8PM - Arrow
(R - Feb. 5)
9PM - The 100
(R - Apr. 16)

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

COMEDY CENTRAL:
11PM - The Daily Show With Jon Stewart (George Takei)
11:31PM - The Colbert Report (Mary Mazzio and Oscar Vazquez)
12:01AM - At Midnight (Jonah Ray; Emily Gordon; Kumail Nanjiani)
12:31AM - The Meltdown With Jonah and Kumail (Series Premiere)

TBS:
11PM - Conan (Stephen Moyer; producer Roger Corman; band Boy & Bear)

E!:
11PM - Chelsea Lately (Frank Grillo)
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post #95732 of 95755 Old Yesterday, 12:12 AM
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TV/Business Notes
WGA issues a 'call to arms' over proposed Fox-Time Warner deal
By Richard Verrier, Los Angeles Times' 'Company Town' Blog - Jul. 22, 2014

The Writers Guild of America, West is stepping up its fight over Rupert Murdoch's proposed $80-billion offer to acquire Time Warner Inc.

In an email letter to members Tuesday, the guild's leaders issued a "call to arms" in response to the offer from 21st Century Fox, saying the merger and other media deals threaten the livelihoods of writers.

"As writers, we face a landscape today that the founders of our Guild would hardly recognize," wrote Guild President Chris Keyser and negotiating committee Co-Chairs Chip Johannessen and Billy Ray. "For decades, there were dozens of significant buyers in television and movies. Then Federal limits on mergers disappeared."

The resulting industrywide consolidation has reduced opportunities for writers, the letter added: "Fewer movies being made. Fewer development deals. Smaller TV staffs. And lower quotes ... because the industry was suddenly in the hands of only six - six! - conglomerates. And the Writers Guild, without a voice in Washington to protest, was unable to save the business from strangling itself.

Now, those six conglomerates are threatening to swallow one another. Think of that. Between them, Fox and Time-Warner would control 40% of the industry’s writing jobs. What happens if more consolidation follows? What happens if one mega-company ends up devouring them all?"

Keyser and his colleagues concluded by asking members to contribute to the union's political action committee in Washington.

"The checks you write to your favorite Senate candidates cannot influence policy," they wrote. "But a powerful PAC, supporting candidates in the name of the WGA, gives us a fighting chance in the war against the corporate madness that threatens us all."

http://www.latimes.com/entertainment...722-story.html
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post #95733 of 95755 Old Yesterday, 12:19 AM
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Business Notes
Netflix Eyes Global Streaming Domination As It Crosses 50 Million Subscriber Mark
By Samantha Sharf, Forbes.com - Jul. 21, 2014

Netflix biggest hits give viewers up close and personal looks at two American institutions. House of Cards portrays the dark side of power in the federal government, while Orange is the New Black pulls back the curtain on the good, the bad and the ugly of our prison system. In its latest earnings report, however, the California based video streaming powerhouse made it clear that its ambition lies far beyond American shores.

Netflix reported $1.34 billion in second quarter revenue, up 36.9% from the same period last year with international streaming contributing $307 million, more than double international revenue a year ago. Overall net income came in at $71 million, up from just $29 million a year ago but slightly below Wall Street analysts’ consensus estimate. Earnings per share were $1.15, a penny ahead of the Street’s $1.14 estimate.

The company finished the second quarter with 50 million subscribers, adding 1.69 million from the end of the first quarter. This closely watched statistic also came in ahead of the company’s previous estimate for 49.8 million. Most of the growth came from outside of the United States with 1.12 million new international subscribers for a total of 13.8 million international members.

Looking to the third quarter, the company expects revenue to come in at $1.2 billion, with $877 million coming from domestic streaming and $347 million from international. Net income is anticipated to be $55 million and earnings per share 89 cents. By the end of the quarter Netflix anticipates a total of 53.74 million adding 3.69 million members with more than 60% of them coming from abroad.

That is because this September Netflix will launch in Germany, France, Austria, Switzerland, Belgium and Luxembourg. In a letter to shareholders Monday Netflix CEO Reed Hastings and CFO David Wells, noted,

This launch into markets with over 60 million broadband households will significantly increase our European presence and raise our current international addressable market to over 180 million broadband households, or 2x the number of current U.S. broadband households.

Our international contribution loss of ($15.3) million has been rapidly approaching contribution profitability as we see improvements across all existing markets. Our broad success from Argentina to Finland has convinced us to further invest aggressively in global expansion.”


On the content front, Hastings and Wells called Orange is the New Black Season 2 release, “every bit the global media event we had hoped for.” In the month after the full season came out it was the most watch series in every Netflix territory with many people even re-watching the first season. They added, “Reflecting the increasingly global nature of the Netflix service, we now have original series in production around the world, involving some of the best storytellers working in television and film today.”

Netflix shares initially popped about 2% following the after hours release, before settling at gains of less than 1% to about $453.70 about 45 minutes after the release. The slight gain added to upward momentum throughout the day that sharply contrasted the overall market downturn.

The stock gained 300% in 2013 and is up close to 23% year-to-date. The S&P 500 Index is up just under 7% in the same period. Netflix’s momentum has been largely positive since the streaming company reported first quarter earnings in April. In late May shares crossed the $400 mark for the first time helping cofounder and CEO Reed Hastings join the billionaire ranks. FORBES’ Brian Solomon reported,

Most of Hastings’ fortune is tied up in Netflix stock and options, which Forbes calculates at over $900 million. His total estimated net worth surpasses $1 billion when you factor in his other assets, including about $120 million in post-tax profits from stock sales over the last 5 years.”

http://www.forbes.com/sites/samantha...bscriber-mark/
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post #95734 of 95755 Old Yesterday, 03:40 AM
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Quote:
Originally Posted by rezzy View Post
I wouldn't stake my life on it, but I believe she said Versa. The Yaris is a Toyota brand.
Haha. Of course, I had to search... Google "Yaris and Chloe on Smallville?"
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post #95735 of 95755 Old Yesterday, 02:12 PM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jul. 23, 2014

BULLIT
TCM, 8:00 p.m. ET

This 1968 Steve McQueen movie, featuring one of the best car chases ever filmed, is one of four movies selected and presented tonight by guest programmer William Friedkin, who directed one of the other all-time speeding-car classics, The French Connection. Friedkin has great taste in movies, based on this quartet, all of which can and should be devoured and enjoyed. After Bullitt, TCM and Friedkin present 1948’s The Treasure of the Sierra Madre (10:15 p.m. ET), 1967’s Belle de Jour (12:30 a.m. ET), and 1966’s Blow-Up (at 2:15 a.m. ET). I know why I love those films – but tune in, as I will, to learn why Friedkin does.

EXTANT
CBS, 9:00 p.m. ET

Episode three of this summer sci-fi series advances plot lines that should have percolated to the surface almost immediately: How does Molly’s husband react to news of her out-of-this-world pregnancy, and how do other parents at their boy’s school react to his status as a humanoid robot? Halle Berry stars.

WHO DO YOU THINK YOU ARE?
TLC, 9:00 p.m. ET
SEASON PREMIERE:
This Lisa Kudrow nonfiction series, which first appeared as a TV series on NBC, now appears on TLC, with a mix of old and new episodes. Tonight’s new one, at 9 p.m. ET, features an exploration of the family tree of Sex and the City star Cynthia Nixon, and the steps that she’s retracing take her to a Missouri prison. The old episodes, bookending it on either side, feature another Sex and the City star, Sarah Jessica Parker at 8 ET, and her real-life husband, Mathew Broderick, at 10 ET. Talk about keeping it all in the family – which, given the program, is completely appropriate.

THE BRIDGE
FX, 10:00 p.m. ET

Diane Kruger and Demian Bichir star in a drama series that, once again this season, involves a high-profile, highly volatile case, with plenty of suspects and discoveries that are no less volatile.

THE DIVIDE
We, 10:00 p.m. ET

Marin Ireland and Damon Gupton star as two people on opposite sides of a Death Row murder case – and tonight’s second episode, now airing in the show’s regular 10 p.m. ET slot, reveals their respective positions to be even more complicated and nuanced than before.


http://www.tvworthwatching.com/
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post #95736 of 95755 Old Yesterday, 02:18 PM
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TV Notes
Adieu to That Dapper Detective
David Suchet Reflects on 25 Years as Poirot
By Craig Thomashoff, The New York Times

LOS ANGELES — As David Suchet walks into the green room backstage at the Ahmanson Theater, a half-finished jigsaw puzzle on a table catches his eye. “Someone in the cast must be working on that,” mused Mr. Suchet, who is appearing in a production here of “The Last Confession.” “Personally, I’m not one who particularly enjoys putting together puzzles.”

You’d think that after 25 years playing one of fiction’s most legendary detectives — Agatha Christie’s Hercule Poirot — he might have picked up a few clues about how to solve puzzles. However, as his final shows get set to air in the United States, Mr. Suchet, a British actor, seems determined to put some distance between himself and his tailored-suit-wearing, walking-cane-toting alter ego.

“It’s a pleasure to talk about him, but there will come a time very soon where I say, ‘I’ve done that, I am closing the door and moving on,’ ” explained Mr. Suchet, 68, clad in a very un-Poirot-like blue dress shirt and jeans. “He can leave my mind, but, hopefully, the work will live on for generations to come.”

He’s lived with the character for 70 episodes of “Agatha Christie’s Poirot,” or just about all the stories ever written about this Belgian detective. The final five will be broadcast in the United States starting next Sunday, the first two on PBS and the final three exclusively on Acorn TV, the streaming service that concentrates on British programming. According to Mr. Suchet, some 730 million viewers worldwide have seen at least one. His role has inspired hundreds of ardent fans to send him their paintings of him as Poirot. A 12-year-old boy recently came to a performance of “The Last Confession” completely decked out as Poirot, right down to a custom-made homburg.

“David Suchet is the definitive Poirot,” said Eirik Dragsund, a Christie expert and creator of a blog that chronicles every episode of the series. “With a meticulous attention to detail and respect for Christie’s stories, he has worked consistently to bring the much-loved Belgian to life. The walk, the accent, the order and the method make Poirot recognizable and, more importantly, believable.”

James Hobbs, another Christie authority who operates the Hercule Poirot Central Facebook page and website, added, “I’ve read every Poirot novel and short story, and I can tell Suchet has paid attention to Poirot’s personality.”

Even Christie’s daughter, Rosalind Hicks, invited him to dinner to explain how much her mother, who died in 1976, would have loved his portrayal of her famous creation. It was “the most moving thing said to me during filming of the show,” Mr. Suchet recalled. “I was always scared stiff, because it was well known Agatha Christie was never happy with any of the cinematic portrayals of her characters. But Rosalind had my wife and I over to the family house, and it made me absolutely well up when she said, ‘My mother would have been absolutely delighted with what you’ve done.’ It meant so much because that was my whole reason for doing this role.” (Ms. Hicks died in 2004.)

Despite his eagerness to honor Christie’s detective, he admits he never read her books while growing up. He did appear as a different character in a 1985 Poirot telefilm “Thirteen at Dinner,” in which Peter Ustinov played the detective. However, when the British network ITV approached him to star in a Poirot series, he first intended to say no.

“I only knew the character from seeing Albert Finney and Peter Ustinov play him,” Mr. Suchet recalled, referring to Mr. Finney’s Oscar-nominated role in “Murder on the Orient Express” and Mr. Ustinov’s turn in several films and television movies. “So when they offered me the role, those were my only reference points for Poirot. I rang my brother to ask his opinion, and he thought that the character seemed a bit thin. I thought it might be done as light comedy, very two-dimensional. It was only when I started reading the novels that I discovered what Agatha Christie had written was not what I had been seeing.”

After reading several Poirot novels and short stories, Mr. Suchet quickly discovered there was more to the Belgian investigator than a French accent, a healthy paunch and a mustache that looked much like a stray piece of black licorice. In fact, “some areas of my life touched his,” he said. “Some areas of his life touched mine. So we grew closer very quickly.”

For instance, they are both formal men with a fondness for suits and ties, a penchant for holding doors open for women and a love of order that borders on OCD. (“I do like symmetry as much as he does. If I see chaos on my desk, I feel chaos.”) Then there was a kinship between their childhoods. Mr. Suchet was “brought up with a father who was very Edwardian,” so when he decided to take the role, “I realized Poirot would have grown up in the Edwardian era. So I really went back to study that period’s attitude and etiquette.”

He was also so determined to capture the “inverted exclamation point” look of the character, as described by Christie, that he had Poirot’s suits tailored so that “when my feet were together, and I stood straight up, you never saw any gap” between the legs. Thus, he, too, became an inverted exclamation point.

The attention to detail clearly worked, because the ITV series would be repeatedly renewed for the next two decades and make its way to America via PBS’s “Masterpiece.” Despite the continued success, however, Mr. Suchet never received more than a one-year contract for his services.

“I have never banked on another year of ‘Poirot,’ ” he said. “However much people would say they were considering another season, I never banked on it. I never said Poirot was going to be a part of my life.”

It didn’t help his sense of security that there have been gaps of up to four years between seasons. No matter how much time lapsed between episodes, though, Mr. Suchet employed the same approach when it came time to slip on the crafty Belgian’s mustache again. He’d sit with Christie’s books right next to the scripts based on those stories and “take gestures from them and write them into the script,” he said. “As I always said, my whole modus operandi was to get the character right for her.”

The research wasn’t the only tradition Mr. Suchet has kept over the years. There’s also that mustache, which has played a significant role for all 25 years. “I’d be getting ready in makeup, thinking about the character and the day’s work ahead, but I’d be speaking as myself. As soon as the mustache went on over my lips, the Belgian in me came out, and my voice went up. It was the catalyst for me to become Poirot.”

These days, the mustache hangs in a frame in Mr. Suchet’s home in Britain, alongside Poirot memorabilia like the detective’s cane. He filmed the last five episodes of “Agatha Christie’s Poirot” more than a year ago — “It felt devastating to see the final one,” he said — and has been trying to purge Poirot from his system ever since. That process includes spending much of 2014 touring with “The Last Confession,” a play about the election and death of Pope John Paul I.

Because the series managed to turn every Poirot novel and short story into an episode, Mr. Suchet insists there is no reason for him to ever play the character again.

“I have heard rumors that a new book might be written and a big feature film might get made, but for me to play him again would be doing it for very much the wrong reasons,” he said. “If I’ve been anything, I’ve been Agatha Christie’s Poirot, so now I can happily pass the baton to another actor. And I do hope there will be another. I just also hope my body of work will be regarded as most true to her original work.”

http://www.nytimes.com/2014/07/20/ar...elevision&_r=0
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post #95737 of 95755 Old Yesterday, 02:24 PM
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TV Notes
CW Pulls Comedy Series ‘Backpackers’ & ‘Seed’, Moves Up Premiere of ‘Top Model’
By Nellie Andreeva, Deadline.com - Jul. 23, 2014

The CW is pulling the plug on its latest attempt to launch scripted comedies. Online-to-TV transplant Backpackers and Canadian import Seed are coming off the schedule immediately. Next Monday, the CW’s lineup was already pre-empted for the Young Hollywood Awards. For the two following Mondays, the network will air Arrow repeats behind an original and encore of Whose Line Is It Anyway? On August 18, the CW logo21st cycle premiere of America’s Next Top Model will air in the hour, where the veteran reality series will spend six weeks before moving to its regular Friday 9 PM time slot. (Its lead-in will be Whose Line original and repeat on August 18 and magic series Masters Of Illusion and Whose Line rerun starting the following Monday.) Top Model originally was slated to return on August 22 it its Friday 9 PM berth. It now will be double-pumped for the first six weeks, with repeats airing on Fridays.

The CW used Whose Line to launch Backpackers and Seed, each following an episode of Whose Line in Week 1. The network tried a different strategy in the second week, with an hour of Whose Line followed by the two comedies, also changing the order of the new series. Nothing worked, with both comedies pulling in a 0.2 in 18-49 in their premieres and Backpackers falling to a 0.1 this past Monday. “It wasn’t as successful as I hoped, to be launching Backpackers and Seed behind Whose Line,” CW President Mark Pedowitz acknowledged at TCA last week, reaffirming that the network’s goal continues to be “to use Whose Line as time goes on to see if we can launch other comedy, whether it be in the summer or in spring or alternative shows behind it. We believe our niche now for alternative is much more comedic reality. We feel that we’ll be far more successful with that than anything else.”

http://www.deadline.com/2014/07/cw-p...-to-monday-cw/
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TV Notes
Fox Cancels ‘Jump of the Century,’ Cites Costs and Timing
By Tony Maglio, TheWrap.com - Jul. 23, 2014

Maybe next century, stunt fans.

Fox has cancelled its special “Jump of the Century,” which was set to feature stuntman Eddie Braun and daredevil Big Ed Beckley attempting to recreate Evel Knievel's famous Snake River Canyon jump — hopefully with better results than the original, of course.

On Sunday, Sept. 8, 1974, Knievel jumped the Idaho canyon from south rim to north rim, before winds caused his “Skycycle” to drift back into the canyon. He sustained only minor injuries, but perhaps had his life saved by narrowly missing the water.

Forty years later, Fox's push for “eventizing” lent itself to a re-do of sorts, by Braun and Beckley. However, Fox's reality TV chief Simon Andreae and his team decided that the project was no longer cost effective to tackle the expensive production. Plus, the fall airdate was creeping dangerously close.

A Fox spokesperson simply told TheWrap, ”Due to production timelines and budget concerns, we have decided to not move forward with the ‘Jump of the Century.'”

http://www.thewrap.com/fox-cancels-j...es-and-timing/
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TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog.
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Nielsen Overnights (18-49)
Lukewarm debut for NBC’s ‘Food Fighters’
New reality show posts a 1.0 in 18-49s for its premiere
By Toni Fitzgerald, Media Life Magazine - Jul. 23, 2013

“Food Fighters” was like days-old leftovers to TV viewers on Tuesday night: Not overly appealing.

The new reality show posted a 1.0 adults 18-49 rating at 8 p.m., according to Nielsen overnights.

Though it tied for first in its timeslot with Univision’s telenovela and a repeat of “NCIS” on CBS, it was a lackluster rating, barely ahead of ABC’s “Extreme Weight Loss” (0.9), the only other competing original show on the Big Four.

“Food” did grow by a strong 33 percent from its first to its second half, from a 0.9 to a 1.2, likely because people were switching channels to get ready for “America’s Got Talent” at 9.

“Talent” was, as usual, the No. 1 show on Tuesday night, posting a 2.4. The program moved into its new timeslot, 9 to 11 p.m., after airing from 8 to 10 p.m. to start the season.

NBC led the night among 18-49s with a 2.0 average overnight rating and a 7 share. Univision was second at 1.2/4, ABC third at 0.9/3, CBS fourth at 0.8/3, Telemundo fifth at 0.7/2, Fox sixth at 0.5/2 and CW seventh at 0.3/1.

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won’t be available for several weeks. Forty-nine percent of Nielsen households have DVRs.

At 8 p.m. CBS, NBC and Univision tied for first, each with a 1.0 rating, CBS for a repeat of “NCIS,” NBC for “Food” and Univision for “Mi Corazon es Tuyo.” ABC was fourth with a 0.9 for “Weight,” Fox fifth with a 0.6 for repeats of “Family Guy” and “Brooklyn Nine-Nine,” Telemundo sixth with a 0.5 for “Reina de Corazones” and CW seventh with a 0.3 for an “Arrow” repeat.

NBC took sole possession of first place at 9 p.m. with a 2.4 for “Talent,” while Univision was second with a 1.4 for “Lo Que La Vida Me Robo.” ABC was third with a 0.9 for more “Weight,” CBS fourth with a 0.8 for a repeat of “NCIS: Los Angeles,” Telemundo fifth with a 0.6 for “En Otra Piel,” Fox sixth with a 0.4 for reruns of “The Mindy Project” and CW seventh with a 0.2 for a repeat of “Supernatural.”

At 10 p.m. NBC was first again with a 2.4 for more “Talent,” with Univision second with a 1.3 for “Que Pobres Tan Ricos.” ABC and Telemundo tied for third at 0.8, ABC for “Celebrity Wife Swap” and Telemundo for “El Señor de los Cielos,” and CBS was fifth with a 0.7 for a “Person of Interest” rerun.

Among households, NBC was first for the night with a 4.9 average overnight rating and a 9 share. CBS was second at 4.5/8, ABC third at 2.1/4, Univision fourth at 1.6/3, Fox and Telemundo tied for fifth at 0.8/1 and CW was seventh at 0.5/1.

http://www.medialifemagazine.com/luk...food-fighters/

* * * *

TV Notes
For Lifetime, heels kicking up high
'Bring It!,' about a Southern hip-hop dance team, returns
By Louisa Ada Seltzer, Media Life Magazine - Jul. 23, 2013

The whole dancing theme is working pretty well for Lifetime right now.

The network’s hit show “Dance Moms” spun off another show, “Abby’s Ultimate Dance Competition,” earlier this year.

And “Bring It!,” which returns tonight at 9 p.m. for the second half of its first season, has drawn good numbers.

“Bring” hit series highs among the female adult demos for its spring finale, which also averaged 2.3 million total viewers.

The show follows the members of the Dancing Dolls, a hip-hop majorette dance troupe in the South, and their relentless coach, Dianna Williams, aka Miss D.

It can be just as cringe-inducing as “Dance Moms.” Miss D is constantly looking to weed out the weakest links on her award-winning team, even though that means cutting some veterans.

Last spring one girl had a nasty fallout with the coach during the year’s biggest dance competition.

The fact that these girls are truly still girls, ranging in age from 7 to 17, makes it harder to watch sometimes, though half the fun of reality shows is reminding yourself you’re not nearly as nuts as the people on TV. So Miss D’s battiness and the parents’ zealousness are also part of the program’s appeal.

http://www.medialifemagazine.com/lif...-heels-summer/
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TV Notes
'Gun Hill' with Larenz Tate aims to be BET's next drama hit
By Greg Braxton, Los Angeles Times' 'Show Tracker' Blog - Jul. 23, 2014

BET scored this year when it launched its first original scripted drama, "Being Mary Jane," starring Gabrielle Union as a popular cable TV personality with no shortage of personal and professional difficulties.

Now the network is moving forward with a possible new entry in its drama arena — "Gun Hill," a gritty cop drama featuring Larenz Tate ("Dead Presidents"), who plays identical twins on opposite sides of life and the law.

Reggie Rock Bythewood ("New York Undercover," "Get On The Bus") wrote and directed the pilot, which premiered this month and will be repeated Thursday.

In the film, Bird, a con, assumes the identity of his twin brother, a policeman named Trane, when he is killed. In taking on his brother's identity, Bird hopes for redemption.

Said Bythewood, "There is a central question here — can someone who is not redeemable be redeemed? What makes us good? What makes us bad?"

http://www.latimes.com/entertainment...722-story.html
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TV Notes
CBS to Keep Colbert’s ‘Late Show’ in New York
By Ted Johnson, Variety.com - Jul. 23, 2014

CBS’ “Late Show” will remain in New York at the Ed Sullivan Theater with Stephen Colbert takes over hosting of the show next year, under an agreement announced on Wednesday by the network’s CEO Leslie Moonves and New York Gov. Andrew Cuomo.

CBS will be eligible for at least $11 million in tax credits over five years and $5 million in grants, the latter to cover the cost of renovations to the historic theater. In turn, the network is committing to about 200 year-round jobs, based in New York.

When David Letterman announced his retirement from the show in April, it almost immediately started an effort by Los Angeles and New York to lure the show. Los Angeles Mayor Eric Garcetti fired off a letter to Moonves, although such a move has been regarded as a longshot. Colbert, too, has roots in Manhattan, where he has better access as host of “The Colbert Report” to political guests than he would have in Los Angeles.

“The television and film industries are thriving in the Empire State – creating jobs and fueling dozens of other sectors across the state. Les Moonves and CBS have made the right decision in choosing to continue investing in New York, and as David Letterman passes the baton to Stephen Colbert, I look forward to watching ‘The Late Show’ from the historic Ed Sullivan Theater for years to come,” Cuomo said in a statement.

Moonves said, “David Letterman has graced this hall and city with comedy and entertainment that defined a generation. When Dave decides to pass the baton next year, we look forward to welcoming Stephen Colbert, one of the most innovative and respected forces on TV, to this storied television theater. I would also like to applaud Gov. Cuomo for all that he has done to keep New York a vibrant and attractive location for all forms of television production. We’re excited to be here in late night for many years to come.”

CBS’s tax credits will come from the Excelsior tax credit program, which is primarily geared toward job creation. The $11 million will come over five years to “cover eligible costs based on the proposed significant level of investment and job commitments.”

Update: Garcetti released a statement this afternoon, suggesting that the city of Los Angeles can’t compete because it doesn’t have the tax credits to give. “This announcement underscores the importance of my work to expand the film and television credit program to create jobs and boost our economy here in California. I am focused on passing AB 1839 and improving the filming infrastructure in Los Angeles so that we can once again compete with other states and countries and welcome the next generation of storytellers to the entertainment capital of the world.”

http://variety.com/2014/biz/news/ste...rk-1201267630/
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post #95743 of 95755 Old Yesterday, 02:43 PM
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TV Notes
'Halo' TV Series in Limbo Following Xbox Shake-up
By Natalie Harvey, The Hollywood Reporter's 'Live Feed' Blog - Jul. 23, 2014

Microsoft's July 17 decision to shutter Xbox Entertainment Studios is a warning for technology companies jumping into the original programming game.

The closure, part of a Microsoft-wide cost-cutting effort that could result in 18,000 layoffs, comes from new CEO Satya Nadella as he looks to transform the Redmond, Wash., company into a "more agile" operation. That means refocusing the Xbox One as a gaming console and not an all-encompassing entertainment hub as was once intended.
Insiders say Microsoft's disconnect from Hollywood was apparent from the beginning. The studio lacked focus, say several sources, and didn't have a clear programming strategy, leading to dealmaking delays.

The challenges have only grown more apparent since the February departure of longtime CEO Steve Ballmer, who hired CBS veteran Nancy Tellem in 2012 to lead the 200-person studio's efforts to produce original interactive programming for a predominantly male demographic. Under Ballmer's leadership, Microsoft pursued premium advertising opportunities on the Xbox console and saw original content as a key piece of that strategy. But Pivotal Research analyst Brian Wieser says Microsoft appears to be minimizing its advertiser relationships by cutting originals.

"It's one of the areas where they had a really credible opportunity," says Wieser. "But they've decided against it. It raises questions about whether they want to be working with large brands."

Microsoft followed digital leader Netflix into the original programming space along with Amazon, Hulu, AOL and Yahoo, among others. Xbox Studios was considered to have a distinct advantage because it boasted an established platform, which counts 48 million Xbox Live users. But despite its potential, the studio struggled to develop a programming slate in a timely fashion. After 22 months, it launched just two originals -- live broadcasts from the Bonnaroo music festival and a soccer reality series timed to the World Cup.

Now Tellem and a small team, including executive vp Jordan Levin, will remain for a time to shepherd the studio's final projects, such as Amblin Entertainment's long-gestating Halo series, which is expected to land at Showtime. Network president David Nevins told reporters July 18 that he remains interested in the project despite Xbox Studios' problems and what would be a hefty financial commitment.

In another signal that Xbox is returning to its gaming roots, the remaining development execs have been instructed to focus on series based on existing franchises or dramas that have the potential to turn into franchises, according to one knowledgeable source. The studio is likely to scrap all other projects, including unscripted pilot Fearless, which a source says Xbox spent about $500,000 to produce. Some projects, such as Jash Presents Rubberhead, a variety show based on the YouTube channel from a group of comedians that includes Michael Cera and Sarah Silverman, are expected to land at new homes shortly.

"You might see a flurry of deals get closed," says one digital dealmaker, noting that there's no lack of buyers willing to "pounce" on available projects.

http://www.hollywoodreporter.com/new...bo-xbox-720225
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Nielsen/Critic's Notes
Understanding Under the Dome’s Underwhelming Ratings
By Josef Adalian, Vulture.com (NY Magazine) - Jul. 22, 2014

The residents of Chester’s Mill are still trapped Under the Dome, but the rest of us are finding it increasingly easy to escape the clutches of CBS’s Monday-night thriller. Per Nielsen same-day ratings, Dome’s fourth episode of season two averaged 6.8 million viewers and scored a 1.5 rating among viewers under 50 last night, numbers which in and of themselves are pretty solid for a random Monday in the summer. But those same figures also represent the smallest same-day audience for Dome yet in the show’s two-season history and continue a troubling trend for the show: Every episode this season has been watched by fewer viewers, while the show’s overall audience has declined sharply — by some metrics, more than 40 percent — versus last year. And while a year ago, Dome regularly beat everything else on TV Mondays, last night the show had fewer same-day viewers than ABC’s The Bachelorette, and a lower adults-18-49 rating than Fox’s MasterChef and NBC’s American Ninja Warrior. Dome may not be doomed, but it’s definitely been dented.

To a degree, it’s not at all surprising that Dome is down over last summer, particularly its early episodes. After all, CBS mounted a massive, months-long marketing campaign on the show’s behalf in 2013, starting with a spot in the Super Bowl. The Eye network wanted the show to serve as a signal to viewers that the network was super-serious about scripted programming in the summer, and it spent heavily to ensure viewers knew this show was not something it was burning off in the warm-weather months, or a cheap Canadian import (sorry, Rookie Blue). That effort paid off with a stunning tune-in for the premiere: Lured by promises of bovine division, nearly 14 million viewers caught the first episode the night it aired. Some of that audience disappeared immediately, of course, and within a few weeks, Dome’s same-day audience was hovering around 11 million viewers. With a far more modest marketing push this summer (CBS saved its heavy artillery this year for newcomer Extant), it made sense (even if it wasn’t ideal) that Dome would fail to reach last summer’s highs with its season-two debut. And that’s what happened: Last month’s season premiere averaged 9.4 same-day viewers, a roughly 30 percent drop year-to-year. But, unfortunately for CBS, the audience erosion didn’t stop there. As noted earlier, each of the three episodes after the season-two premiere have attracted smaller same-day audiences, with the show falling from 9.4 million at premiere to last night’s record low 6.8 million viewers. Compared to the fourth episode of season one, Monday’s hour was down over 40 percent. Instead of stabilizing, the audience bleed is getting worse. In other words, it’s not just that viewers who watched last season didn’t come back; some who decided to give season two a shot seem to have given up, too.

Or maybe not. Any discussion of TV viewership these days must include the very real impact of time-shifting on audience levels. Dome doesn’t get the massive DVR lifts that some cable shows do, but its numbers are substantially impacted by it. That 9.4 million figure for the Dome season-two premiere? Tally audiences who watched the premiere within seven days of its initial broadcast, and that number rises to 14 million. The 2013 series premiere also got a DVR lift, jumping to 17.8 million in the so-called L+7 ratings. But when you compare Dome’s L+7 numbers for 2013 and 2014, its audience decline is 22 percent, rather than the 30 percent drop-off when comparing same-day numbers. Neither number is great, but losing less than a quarter of the audience is better than kissing good-bye nearly one third. What we won’t know for several weeks is whether the DVR audience for Dome keeps building the way it has for cable shows such as Fargo and The Americans. It could be that, instead of losing viewers every week, more and more of Dome’s audience is simply putting off watching episodes, either for a few days or a few weeks. (Labor Day Dome binge-watch, anyone?) Then again, it’s equally plausible that viewers really are losing interest in the show, don’t like its creative direction, and are simply bailing on it, as the same-day numbers suggest. Truth is, we don’t know yet.

One last point worth remembering: CBS will still make tons of money from Dome. As Vulture noted last year, the Eye’s innovative deal with Amazon to stream episodes a few days after they air on CBS, combined with big international sales, means the network starts each season of the show in profit. Every ad dollar it sells is, essentially, money in the bank. Now, if CBS guaranteed bigger ratings to ad buyers than it’s currently delivering with Dome, some of that free money will start to dry up. And unless CBS’s season-two deal with Amazon guarantees the streaming giant has to pay the same per-episode license fee for the show every season going forward — which is possible — Amazon could cut its investment in Dome going forward if it feels the show has lost its buzz. But the basic business model for Dome always envisioned modest broadcast ratings for the show. CBS green-lit the series because it wanted to replace low-rated summer reruns and bring new viewers to the network in the summer while also paving the way for even more original scripted shows in the summer and more programming assets it could sell to international TV markets hungry for U.S. dramas. If Dome had premiered last summer to the numbers it’s doing now, Eye execs would have been justified declaring victory. The fact that the show has faded fast is most certainly a summer bummer — but it’s hardly a disaster.

http://www.vulture.com/2014/07/under...s-decline.html
I'm pretty sure the drop in viewers is because of the lack of quality of the show, not the lack of quantity of the marketing.
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I'm pretty sure the drop in viewers is because of the lack of quality of the show, not the lack of quantity of the marketing.

Surely you jest, sir!

The quality of the show is "pretty good", as you can see from this review of the most recent episode:

http://www.tv.com/shows/under-the-do...-140597077441/

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Surely you jest, sir!

The quality of the show is "pretty good", as you can see from this review of the most recent episode:

http://www.tv.com/shows/under-the-do...-140597077441/

I love those reviews. LOL
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One last point worth remembering: CBS will still make tons of money from Dome. As Vulture noted last year, the Eye’s innovative deal with Amazon to stream episodes a few days after they air on CBS, combined with big international sales, means the network starts each season of the show in profit
Technical nit. The CBS network does not make these deals with Amazon, nor does it get any income from international sales. CBS Studios owns the rights as the production company. Yes, they are both part of the same top level company, but each have their own books. These days the lines are so gray, that it is hard to keep the players separate.

I'm surprised that the international buyers aren't screaming about the fact that the shows are so short. The last one was only 39:35 in length. That is horrible.

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I'm surprised that the international buyers aren't screaming about the fact that the shows are so short. The last one was only 39:35 in length. That is horrible.
I think they learned from a few focus groups that making the show any longer provokes the urge to hit oneself in the head repeatedly with the nearest blunt object. Thankfully, during their research, there was nothing more dangerous in the room than an "everything" bagel.

There were some reports of minor eye injuries from being exposed to the "zingyness" of the toppings in the midst of the hysteria, though. However, they were able to calm everyone down with exposure to more intellectual content, such as an episode or two of "Hogans Heroes".

Unfortunately, that tactic had the side of effect of them finding entries on the "Under the Dome" comment cards, such as "we loved those crazy Germans, despite the fact they trapped all those people under that dome. We're pretty sure that Hogan guy will eventually get them out, though...."

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Unfortunately, that tactic had the side of effect of them finding entries on the "Under the Dome" comment cards, such as "we loved those crazy Germans, despite the fact they trapped all those people under that dome. We're pretty sure that Hogan guy will eventually get them out, though...."
Their hope dissolved, however, upon exposure to the second half of season two, when Big Jim underwent another character revision and suddenly began to know nussing, hear nussing, and see... nu-ssing!
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TV Notes
On TV, comic books turn a new page
By Bill Keveney, USA Today - Jul. 23, 2014

Comic-book heroes may find themselves facing new rivals – each other – as their numbers grow on television.

Four DC Entertainment properties – Fox's Gotham, NBC's Constantine and CW's The Flash and midseason iZombie – are scheduled to hit the small screen in the upcoming TV season, along with another Marvel character, ABC's midseason Agent Carter.

Those shows, which will be featured this weekend at Comic-Con in San Diego, will add to a population that includes ABC's Marvel's Agents of S.H.I.E.L.D. and CW's Arrow.

Comics have had recent TV success, including Smallville's 10-year run and, decades earlier, The Incredible Hulk, though a recent attempt to redo Wonder Woman never got off the ground.

The current surge, part of Warner Bros. and Disney's efforts to mine popular properties, comes amid the success of comic-book characters in movies and the mighty ratings performance of AMC's graphic-novel-based The Walking Dead.

Grant Gustin, who plays The Flash (aka Barry Allen), senses the early interest of a built-in fan base. "I see it (on Twitter). I can feel their excitement. It gets me more excited."

Devoted comics fans could give these shows an initial boost, but programmers will be watching to see whether the field gets overcrowded.

"There's a danger in overexposing anything, but at the moment, I think they're different enough from one another, and the genre audience is always there for you in the beginning," NBC Entertainment chairman Robert Greenblatt says. "There seems to be a big appetite for it. Will we overstay our welcome? That's a good question."

CW president Mark Pedowitz, who has had success with Arrow, isn't worried about a glut.

"In the theatrical film business, there's been no saturation," says Pedowitz, whose lower-rated network doesn't need to attract as many fans as the larger broadcasters. "The fans will tell us when they hit (a saturation) point, but at this point in time I don't think there is."

DC Entertainment was able to launch so many new shows this season because of their diversity, chief creative officer Geoff Johns says. "Gotham is very different than Flash is very different than Constantine is very different than iZombie. As long as everything finds its own niche ... and we don't get repetitive, there's room for everything," he says.

Series shouldn't be lumped together under one broad comic-book label, either, says Jeph Loeb, head of television at Marvel, which has a deal for four more comics-based series, including 2015's Daredevil, with Netflix.

"For all intents and purposes, S.H.I.E.L.D. is a procedural that has espionage to it and then, on top of that, there is the world of the extraordinary," he says. "Are there too many medical shows? Are there too many legal shows? We think good TV will drive a great audience."

Comics titans Marvel and DC diverge when it comes to how their TV shows connect — or don't — with movies.

In April, S.H.I.E.L.D., with an underwhelming audience response, appeared to enjoy a creative jolt when it picked up the sleeper-agent infiltration theme of the newly released Captain America: The Winter Soldier.

"We did something that was unprecedented, in that we actually changed what was going on in the mythology of our show (as a result of a) a major motion picture, and it stayed current. We'd love to do it again, so keep your eyes open," says Loeb, who wouldn't confirm a tie-in with the May 1 theatrical release of Avengers: Age of Ultron. "It is one big universe."

DC takes the opposite tack: Arrow and The Flash will intersect with each other, but not with DC's theatrical films, Johns says. "It's a separate universe than film, so the filmmakers can tell the story that's best for film while we do something different in a different corner of the DC universe on television."

Gotham's Ben McKenzie, whose detective James Gordon is pre-Commissioner Gordon of Batman lore, disagrees with critics who say fans won't respond unless they see capes and costumes. "What really pulls me in is when a character can't put on a cape and fly away, when they genuinely are fallible, flawed and very human."

He thinks Gotham will be able to stand out in the crowd. "The aesthetic is a little starker and grimmer than a lot of these superhero shows out there and a little more adult," he says. "I think we have room. We'll see."

http://www.usatoday.com/story/life/t...n-tv/13039397/
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Summer TCA Tour Notes
PBS ‘Nova’ Panelists Scorch Jenny McCarthy Over Vaccine Position
By Lisa De Moraes, Deadline.com - Jul. 23, 2014

During a PBS Q&A session for its Nova program, Vaccines: Calling The Shots, the conversation eventually wound its way around to Jenny McCarthy. Which is to say a TV critic asked the panelists to weigh in on McCarthy, who has become the celebrity most closely associated with the vaccine debate. (McCarthy has said in interviews she is not “anti-vaccine” — she’s demanding “safe vaccines” and to “reduce the schedule and reduce the toxins.” In a 2009 interview with Time, she was quoted as saying, “If you ask a parent of an autistic child if they want the measles or the autism, we will stand in line for the f**king measles.”)

“I made a decision that we didn’t want to go down the path that wasn’t scientifically solid,” the program’s writer/director/co-exec producer Sonya Pemberton said by way of explaining why the show makes no mention of McCarthy. “As far as I can tell, Jenny McCarthy hasn’t published any scientific papers, and doesn’t have a degree” in the field.

“I think Jenny McCarthy has done a lot of harm and continues to do a lot of harm,” added Alison Singer, president of the Autism Science Foundation. “I think she has put children at risk” by failing to acknowledge what the data clearly says, Singer charged. And, “when confronted with the data, her response is ‘I don’t care’ and says she knows in her heart when her son received the MMR [Measles, Mumps, Rubella] vaccine, the light left her son’s eyes and he became autistic. That’s very compelling. … it gets you on Oprah,” Singer continued. “What Jenny likes to say is ‘Show me the study that proves that vaccines don’t cause autism.’ There will never be a study — you cannot prove a negative,” Singer said. “She continues to get a lot of air time for a lot of ideas that are putting children in harm’s way.”

Another panelist took issue with TV programs that have featured McCarthy on the subject. Finally, Dr. Paul Offit, an infectious disease specialist, got asked about McCarthy. “We’re just friends,” he joked. Then he dove in with the others: “She’s a celebrity and typically when celebrities they use that platform to do good. She sadly has used that platform to do harm. ” On the bright side, he noted, it’s maybe not bad that McCarthy has become the celebrity spokesperson for that position. “You don’t want Meryl Streep,” He said. “I don’t think [McCarthy] is seen as having a tremendous amount of gravitas.”

We reached out to McCarthy for comment; a representative sent us an op-ed piece she wrote in the Chicago Sun-Times in which she referenced that ’09 Time interview; she declined to comment further.

http://www.deadline.com/2014/07/tca-...cine-position/
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TV Review
‘The Killing,’ The Final Season on Netflix
By Brian Lowry, Variety.com

“The Killing” didn’t necessarily deserve an ending after its third-season cliffhanger, but the one-time AMC series — which went from sensation to scorned in near-record time — needed one. Recognizing a property with binge potential and name recognition, Netflix has obliged, punching up a six-episode final season that reunites the central characters and picks up pretty much where they left off — with baggage that spills over into, and largely eclipses, a new, fairly uninspired case. Despite flashes of what initially made the Danish adaptation so intriguing, this stretch drive can’t escape the feeling of a show ready to be put out of its misery.

The dense mood and mystery won the skein a rabid following, only to squander much of that goodwill when the first season didn’t wrap up the opening investigation. The second arc dragged, and a third — under a shared arrangement with Netflix — embarked on a new story that was engaging only about half the time.

That’s the foundation for season four, which finds detectives Linden (Mireille Enos) and Holder (Joel Kinnaman) dealing with the aftermath of dispatching a murderer, facing the uncertainty of whether they’ll be caught and endangering their careers. There’s an interesting cat-and-mouse game in that, raising the question of whether detectives can escape detection, especially with a skeptical colleague (Gregg Henry) in their midst.

Meanwhile, the duo is assigned a grisly new multiple homicide that has left a family dead, and its military cadet son (Tyler Ross) looking like a potential suspect — although, as always, all is not as it might seem.

Joan Allen plays the administrator of the military academy seeking to shield the boy from the investigation, and while it adds another high-octane actor to the show’s guest cast (Peter Sarsgaard lent heat to season three), she’s underemployed, at least initially, in a rather one-note role.

These two threads alternate as the program progresses — exploring the toll deception can exact, while adding drama to the interplay between Kinnaman and Enos. For starters, Enos looks even more pained than usual, while Kinnaman’s character also suffers, but invariably gets all the best lines. Told some evidence is inconclusive, for example, he mutters dryly, “Religion’s inconclusive. That don’t stop 5 billion people from believin’ what they believe.”

The exclusive shift to Netflix does offer premium-channel latitude that the show fully exploits, from saltier language to longer episodes, running close to a full hour. For the most part, though, showrunner Veena Sud’s U.S. version remains the grim, deliberate creature it always has been, playing out threads that, at this point, feel as if they’ve been teased too long.

Practically speaking, the streaming services have apparently seen the value in properties with established brand equity and recognition, which also includes Yahoo rescuing “Community.”

These episodes remain watchable enough (four were made available), and the subset who eagerly sat through or binged prior seasons will no doubt be curious as to how it all ends, even if the show perhaps warrants a “Fool me twice” disclaimer. In the final analysis, though, “The Killing” had its moment, and instead of turning into the killer franchise it had the potential to become, it wound up shooting itself in the foot.

'The Killing,' The Final Season on Netflix
(Series; Netflix, Aug. 1)


http://variety.com/2014/tv/reviews/r...on-1201259780/
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TV Review
WGN takes a big step forward with its 'Manhattan' project
Historical drama a pleasant surprise after the campy 'Salem'
By Alan Sepinwall, HitFix.com - Jul. 23, 2013

"Salem," WGN's first original scripted drama, is an unapologetic piece of trash, perhaps best summed up by the scene in the pilot where a naked Janet Montgomery — playing an actual Salem witch in a way that weirdly justifies all of the religion-fueled paranoia of the period — lets a toad suckle at a nipple on her thigh. While a channel's first scripted show isn't always representative of what follows, they tend to create expectations for what's to come, and it would have been easy to assume that WGN's plan was to lean heavily on campy genre fare.

But "Manhattan," WGN's second original drama (it debuts Sunday night at 9), is as far in tone and ambition and quality from "Salem" as the New Mexico desert of 1943 is from 17th century Massachusetts. At a minimum, it suggests you shouldn't assume anything about whatever the channel's going to do next.

Created Sam Shaw and directed by Emmy winner Thomas Schlamme ("The West Wing"), the show deals with the women and (mostly) men of the Manhattan Project, whose job it is to build a working atomic bomb before the Germans can, and to bring an end to World War II before the American casualty total gets too big.

In the dusty hills of Los Alamos, on a military base simply called Nowhere, we meet two rival teams working on different bomb designs. One is led by the smooth, handsome, highly-polished physicist Reed Akley (David Harbour), whose underlings all look machine-minted. The other is led by Frank Winter (John Benjamin Hickey, aka ChumHum boss Neil Gross from "The Good Wife"), a brusque, rumpled iconoclast whose smaller team features misfits of various sizes, genders and national origins. Guess which one we're supposed to root for? Would it help if I told you that Winter's mentor and colleague Glen Babbit is played by Daniel Stern sporting a very long and eccentric white beard?

The show does play with our sympathies a bit by assigning Nowhere newcomer — and the audience's surrogate — Charlie Isaacs (Ashley Zukerman) to Akley's team, and by showing Winter treating him badly. But overall, "Manhattan" makes its intentions fairly plain, including its desire to evoke other historical dramas about brilliant but prickly men (like "Masters of Sex," where Shaw previously worked).

At least in the two episodes I've seen, it's not at the level its progenitors were at the same stage. Even for a show about secrets, where the men aren't allowed to tell their wives what they do for a living — the bomb itself is referred to as "the gadget" — Winter is perhaps too much of a riddle in the early going for Hickey to be able to carry the show, while Isaacs is too much a collection of naive new guy tropes.

But the show also does interesting things with the wives — particularly Frank Winter's wife Liza (Olivia Williams), a botanist struggling to feel good about a life that for the moment has been turned over entirely to her husband's secret work — and the period itself is inherently fascinating.

And Schlamme's contributions can't be overstated. The rise of visually adventurous cable dramas in recent years may have overshadowed Schlamme's gliding, classical compositions and outstanding work with actors on network shows like "The West Wing," "Sports Night" and more. But his participation was the best thing about ABC's short-lived "Pan Am," and his work is even more striking and engrossing on "Manhattan." The opening scene — Winter hitting golf balls in the middle of a windy, dusty desert night, lit only by his car's headlights — is gorgeous, and his style blends perfectly in with the period. There are many scenes of characters walking and talking, but also sequences that are extremely tense, or surprising, or strange, simply for the way Schlamme shoots them.

I'm not entirely sure how I feel about "Manhattan" at this point. But I like the cast (Schlamme's old "West Wing" pal Richard Schiff has a great guest turn in episode 2) and love the setting and what Shaw and Schlamme do with it. And the production as a whole is such a huge leap forward from "Salem" that I simply wanted to give WGN an attaboy for setting its sights so much higher the second time around.

http://www.hitfix.com/whats-alan-wat...hattan-project
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TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - Black Box (Season Finale, 120 min.)
10PM - NY Med
* * * *
11:35AM - Jimmy Kimmel Live! (Justin Theroux; Angie Harmon; 5 Seconds of Summer performs)
12:07AM - Nightline

CBS:
8PM - The Big Bang Theory
(R - Dec. 5)
8:31PM - The Millers
(R - Jan. 30)
9:01PM - Big Brother (LIVE)
10PM - Elementary
(R - Nov. 14)
* * * *
11:35PM - Late Show with David Letterman (Former Staff Sgt. Ryan M. Pitts; comic Michael Somerville; Sharon Van Etten performs)
12:37AM - Late Late Show with Craig Ferguson (David Duchovny; Gloria Estefan performs)

NBC:
8PM - Hollywood Game Night
9:01PM - Welcome to Sweeden
9:30PM - Working the Engels
10PM - Last Comic Standing
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Morgan Freeman; singer Kesha; Tweedy performs)
12:36AM - Late Night with Seth Myers (Hank Azaria; Mary Lynn Rajskub; Brendan Gleeson)
1:37AM - Last Call with Carson Daly (Writer Nicholas Stoller; Cerebral Ballzy performs; comic Theo Von)
(R - May 6)

FOX:
8PM - Hell's Kitchen (Season Finale)
9PM - Gang Related

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour (R - Feb. 6)
9PM - Last Tango in Halifax
(R - Dec. 10)
10:30PM - Antiques Roadshow: Vintage Salt Lake City
(R - Jul. 21)

UNIVISION:
8PM - Mi Corazón Es Tuyo
9PM - Lo Que la Vida Me Robó
10PM - Qué Pobres Tan Ricos

THE CW:
8PM - The Vampire Diaries
(R - Feb. 6)
9PM - The Originals
(R - Dec. 3)

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Journalist Fareed Zakaria)
11:31PM - The Colbert Report (CEO Elon Musk)
12:01AM - At Midnight (Kyle Kinane; Marc Maron; Sara Schaefer)

TBS:
11PM - Conan (Dwayne Johnson; Taye Diggs; Tori Amos performs)

E!:
11PM - Chelsea Lately (Natasha Lyonne and Uzo Aduba)
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Nielsen Notes (Cable)/TV Sports
Swing and a miss for the British Open
Final-day rating slides by 28 percent, to a 2.6 in households
By Toni Fitzgerald, Media Life Magazine - Jul. 23, 2013

It’s hard to get viewers to tune in when the winner’s a foregone conclusion.

With Rory McIlroy leading by six strokes en route to his first British Open victory Sunday, ESPN saw ratings cool off considerably from last year, when Phil Mickelson stormed back from a five-stroke deficit to win.

The network’s Sunday coverage of the Open averaged a 2.8 household rating, according to Nielsen, off 22 percent from last year, when ESPN’s final-day coverage posted a 3.6.

Granted, last year was a very strong year for the major, its best since migrating from broadcast to cable in 2010. That made for tough comparisons for this year’s final round.

But this year was still tied for the lowest-rated since ESPN acquired all the rights to the event four years ago. Previously the final round had aired on ABC.

McIlroy ended up winning by two strokes but the victory was never really in doubt thanks to the huge lead he built in the first three rounds.

The smaller ratings were really a reminder of two things.

First, if there’s little question about the outcome of a sporting event, even when it’s a biggie like the British Open, ratings are going to drop.

People don’t like watching sports where there’s no drama.

And second, with Tiger Woods no longer contending for every major, golf has yet to find someone who can generate the same sort of ratings.

McIlroy is three-quarters of the way to a career Grand Slam, with the British Open marking his third different major victory. Only 15 other golfers in history have done that.

But the 25-year-old Irish golfer has not captured casual fans’ interest as Woods once did, and it’s possible he never will.

As becomes more clear with each passing year Woods does win a major, his magical run at the start of his career may never be equaled, in either play on the course or ratings.

* * * *

In cable ratings for the week ended July 20:

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

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

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

Top five cable news programs (total viewers): 1. Fox News Channel’s “The O’Reilly Factor” (Thursday, 8 p.m.); 2. Fox News Channel’s “The O’Reilly Factor” (Wednesday, 8 p.m.);3. Fox News Channel’s “The O’Reilly Factor” (Monday, 8 p.m.); 4. Fox News Channel’s “Special Report with Bret Baier” (Thursday, 6 p.m.); 5. Fox News Channel’s “Hannity” (Thursday, 10 p.m.).

Top movie (total viewers): Disney Channel’s “The Little Mermaid” (Tuesday, 10:30 a.m.) 2.59 million.

Top sporting event (total viewers): ESPN’s “2014 Home Run Derby” (Monday, 9:03 p.m.) 5.40 million.

Shows making the top 10 among 18-34s, 18-49s and 25-54s: VH1′s “Love & Hip Hop: Atlanta” (Monday, 8 p.m.); ESPN’s “2014 Home Run Derby” (Monday, 9:03 p.m.).

Show on the rise: TNT’s “Major Crimes,” Monday, 9 p.m. The drama averaged 1.55 million viewers 25-54, up 13 percent from the previous week’s 1.37 million.

Show on the decline: ESPN’s “2014 Home Run Derby,” Monday, 9:03 p.m. Hampered by a rain delay, the annual event averaged 5.40 million total viewers, down 19 percent from 6.65 million the previous week.


http://www.medialifemagazine.com/swi...-british-open/

* * * *

Nielsen Notes
Cable overnights: ‘Rizzoli’ rises in 18-49s
By Media Life Magazine Staff - Jul. 23, 2013

“Rizzoli & Isles” nearly always tops the chart among total viewers, but Tuesday night it also made a play for No. 1 among original adults 18-49 shows, too.

The TNT drama grew a tenth from last week to post a 1.0 adults 18-49 rating, according to Nielsen overnights, tying ABC Family’s “Pretty Little Liars” and Discovery Channel’s “Deadliest Catch” for the top new show on cable.

“Liars” and “Catch” were both even to last week in the demo.

“Rizzoli” finished first by a wide margin in total viewers, posting 5.2 million, a 2 million advantage over the night’s No. 2 show, Adult Swim’s “Family Guy.”

Top 10 Cable Programs
Ranked on Total Viewers
July 22
# Program Net (000)
1 RIZZOLI & ISLES-07/22/2014 TNT 5228
2 FAMILY GUY-07/22/2014 ADSM 3210
3 FAMILY GUY-07/22/2014 ADSM 3174
4 AMERICAN DAD-07/22/2014 ADSM 2863
5 PERCEPTION-07/22/2014 TNT 2853
6 HAVES AND THE HAVE NOTS-07/22/2014 OWN 2796
7 THE OREILLY FACTOR-07/22/2014 FOXNC 2731
8 AMERICAN DAD-07/22/2014 ADSM 2518
9 DEADLIEST CATCH-07/22/2014 DISC 2488
10 KELLY FILE, THE-07/22/2014 FOXNC 2444
Source: Nielsen

Top 10 Cable Programs
Ranked on Adults 18-49
July 22
# Program Net (000)
1 FAMILY GUY-07/22/2014 ADSM 1886
2 FAMILY GUY-07/22/2014 ADSM 1748
3 AMERICAN DAD-07/22/2014 ADSM 1647
4 AMERICAN DAD-07/22/2014 ADSM 1399
5 BIG BANG THEORY, THE-07/22/2014 TBSC 1300
6 DEADLIEST CATCH-07/22/2014 DISC 1276
7 RIZZOLI & ISLES-07/22/2014 TNT 1249
8 PRETTY LITTLE LIARS-07/22/2014 FAM 1223
9 HAVES AND THE HAVE NOTS-07/22/2014 OWN 1085
10 ROBOT CHICKEN-07/22/2014 ADSM 1054
Source: Nielsen

http://www.medialifemagazine.com/cab...-rises-18-49s/
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