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post #95911 of 98775 Old 07-31-2014, 11:03 AM
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Obituary
R.I.P. Movie Makeup Icon Dick Smith
By The Deadline.com Team - Jul. 31, 2013

Legendary Hollywood makeup artist Dick Smith has died at the age of 92. His protege and fellow makeup genius Rick Baker tweeted the sad news this morning.

“The master is gone. My friend and mentor Dick Smith is no longer with us. The world will not be the same.”

Smith’s iconic transformationsdick smith makeup appeared in films such as The Godfather, Taxi Driver and The Exorcist, in which he created the device that allowed Linda Blair to projectile vomit. He also transformed the look of F. Murray Abraham in Amadeus, as he aged in the film from his 40s to his 80s. In 2011, the Academy of Motion Picture Arts & Sciences presented Smith with an honorary Oscar (Smith’s second, his first was for Amadeus) at the Governors Awards. It was presented by Baker who called Smith “my idol, mentor, and friend for over 40 years, the greatest makeup artist of all time”. On accepting the award, an emotional, tearful Smith said ”When I watch the wonderful films they just showed, I thought, ‘What a wonderful career this fellow has had.’ I have loved being a makeup artist. To have had so much kindness is just too much.”

Earlier in his career, he worked on the vampire soap opera Dark Shadows, a project he credited with being valuable preparation for the 1970 film Little Big Man. In Dark Shadows, vampire Barnabas Collins was undergoing medical treatment to change him into a living human being. The experiment went awry and Barnabas began aging quickly, appearing as a man more than 175 years old.

His other notable work includes features The Sunshine Boys, The Deer Hunter, Starman and Altered States. Smith also won an Emmy for his work on Mark Twain Tonight! (1967).

http://www.deadline.com/2014/07/dick...p-artist-dead/

* * * *

Obituary
R.I.P. Robert Drew, Pioneer Of American Cinema Verite
Erik Pedersen, Deadline.com - Jul. 31, 2014

The documentary filmmaker who was called the “father of American cinema verite” died today at his home in Sharon, Conn. Robert Drew was 90. He was a Life magazine correspondent and editor when he formed Drew Associates in 1960 and hired a team of filmmakers that included then-unknowns D.A. Pennebaker, Albert Maysles and Ricky Leacock. Their first project was Primary, which followed handsome young senator John F. Kennedy as he campaigned in Wisconsin for the 1960 Democratic presidential nomination.

PrimaryStarting with Primary, Drew’s films pioneered a new journalistically minded code of documentary creation, including not directing subjects or using set-up shots or an on-camera narrator. The candid footage was edited into a dramatic narrative that gave the feeling of what it was like to be there as events occurred. His technique became known as cinema verite or direct cinema, though he liked to call it reality filmmaking.

Drew and his team re-engineered a motion picture camera and sound recorder so they could move freely and in sync with a subject, allowing them the mobility to capture real life as it unfolded before the lens. Primary and the 1963 docu Crisis: Behind A Presidential Commitment, which chronicled the president’s effort to integrate the University of Alabama, are part of the Library of Congress’ National Registry of historic films.

Born on Feb. 15, 1924, in Toledo, Ohio, Drew was a World War II fighter pilot before coming home and turning to filmmaking. He received the International Documentary Association‘s Career Achievement Award in 1993. His list of awards include Best TV Documentary at the 1966 Venice Film Festival for Storm Signal, a four-month look at the lives of a young married couple addicted to heroin; a Special Jury Prize at Cannes in 1962 for The Chair, about an Illinois death penalty case; and a Peabody Award for 784 Days That Changed America: From Watergate to Resignation in 1982.

Drew also scored a 1968 Emmy nom for his work on The Bell Telephone Hour. Four of the Drew team’s films screened as part of the 2010 Paley Center DocFest in a program called “Cinema Verite at 50: Robert Drew and Associates Transforms the Documentary.” His long list of credits also includes On the Pole With Eddie Sachs (1960), Mooney vs. Fowle (1961), Man Who Dances (1969), The Sun Ship Game (1971), On the Road with Duke Ellington (1974) and For Auction: An American Hero (1986).

http://www.deadline.com/2014/07/robe...erite-primary/
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post #95912 of 98775 Old 07-31-2014, 11:08 AM
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TV Notes
TV series ripple out to USA from across the pond
By Mark Lieberman, USA Today - Jul. 31, 2013

American television networks have a long history of adapting shows from across the Atlantic: The Office, adapted from a British sitcom, and Homeland, adapted from an Israeli drama, are two prominent examples. But networks are more often importing foreign shows directly, as with Britain's The Honorable Woman, starring Maggie Gyllenhaal, due Thursday on Sundance TV (10 ET/PT). Here's a sampling of recent shows lifted directly from other countries.

Sherlock and Downton Abbey (available on Amazon and iTunes): These U.K. imports have become popular in the USA, with Abbey setting viewership records for PBS. Holmes and Watson will return for a fourth season in 2015 or 2016, creator Steven Moffat has confirmed. Meanwhile, the fifth season with the Granthams arrives on PBS Jan. 4.

Broadchurch (available on Amazon and iTunes): David Tennant of Doctor Who plays a detective investigating a murder in a quaint English village in this ITV miniseries. The show attracted rave reviews when it premiered last year on BBC America. Fox's remake, Gracepoint, also starring Tennant and produced by series creator Chris Chibnall, debuts Oct. 2; a second season of Broadchurch, focusing on the killer's trial, also is in the works.

The Fall (Netflix): With Hannibal, The Bridge, Criminal Minds and The Following, American TV already featured plenty of serial killers last year, but this six-episode British series added another charismatic murderer to the mix, in the form of 50 Shades of Grey star Jamie Dornan. Gillian Anderson (The X-Files) plays the troubled detective tasked with hunting him down.

The Returned (Amazon, iTunes): This French series is the anti-Walking Dead: A show about zombies with almost no gore. Instead, the eight-episode first season follows a group of dead people, including an adolescent girl who perished in a bus crash, as they suddenly return to their small town with no memory of what's happened to them since they died.

Doll and Em (HBO Go): American viewers will recognize "Em" (Emily Mortimer) from The Newsroom and popular movies such as Hugo, but the "Doll" (Dolly West, Emily Mortimer's real-life best friend) is less familiar. Mortimer and West play fictionalized versions of themselves, and the British show's six episodes follow them as they move to Hollywood to kick-start their careers.

Vicious (PBS.org): Stage and screen legends Ian McKellen and Derek Jacobi subvert expectations with this risqué British sitcom, which aired on ITV and ends its season this Sunday on PBS (10:30 ET/PT, times may vary). The pair play a gay couple that oscillates between love and hate 48 years into their turbulent marriage.

http://www.usatoday.com/story/life/t...pond/13316239/
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post #95913 of 98775 Old 07-31-2014, 11:19 AM
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Quote:
Originally Posted by MRM4 View Post
I have had Comcast for internet for over 11 years. I have bought a modem since day one. During that time, I have had two of them and probably don't even have $150 in both of them. During that time, I would have paid out well over $700 in modem rental fees. One thing you have to be careful with them of late is getting some kind of crazy letter saying their records indicate you are not being charged for your modem when you own it. I got several of those and finally stopped getting them when I threatened to drop them if I got another one of those letters.


I'll never go back to Comcast for TV.
*shrug* I'm paying $90/mo. for all channels + HBO + 50mb HSI with them, getting the double play is a no-brainer esp. when my Tivo + Minis whole-home DVR solution runs rings around most everything out there. And I get something like this deal every year just by selecting the cancel option and getting to retentions when they try to jack the rate again. I do have U-Verse to throw against them, not sure if that helps.

Agree that you have to watch your bill like a hawk if you own your modem, tons of posts on DSLreports about Comcast trying to slip in rentals because their billing is so broken. Happened to my daughter too after I gave her one of my old modems, she had to complain to them for a few months.
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post #95914 of 98775 Old 07-31-2014, 03:50 PM
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Originally Posted by kingpcgeek View Post
Why would you ever rent a cable modem?
Because some cable companies have changed their rules and will not allow third-party modems on their systems. Charter did that a few months ago. Those that have third-party modems can keep them, but if they die, they will not allow the user to get their own replacement.

That said, I've been told by a couple of local users that they have the Charter modem, but are not getting charged the monthly fee for it.

For business customers, which I am now one (installation on Monday), the modem is free.

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post #95915 of 98775 Old 07-31-2014, 04:50 PM
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Originally Posted by mrvideo View Post
Because some cable companies have changed their rules and will not allow third-party modems on their systems. Charter did that a few months ago. Those that have third-party modems can keep them, but if they die, they will not allow the user to get their own replacement.
Looks like they started that policy 2 years ago. As part of that policy Charter now hides the price of the modem in the price of Internet, no separate rental fee. That being said that is not a reason to not buy your own modem unless you are currently with Charter.

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post #95916 of 98775 Old 07-31-2014, 10:18 PM
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TV Review
A Twice-Killed Series Finally Ends It All
Final Season of ‘The Killing’
By Mike Hale, The New York Times - Aug. 1, 2014

“The Killing” returns on Friday for one last somber season, a six-episode coda on Netflix. The snakebit show was canceled twice by its original channel, AMC, the second time after a cliffhanger third-season finale in which the Seattle police detective Sarah Linden killed her lover — a fellow cop — when she figured out that he was a pedophilic serial killer. Thanks to Netflix, we get to find out what happens to Linden and her partner, Stephen Holder, in the aftermath.

Based on the Danish drama “Forbrydelsen,” “The Killing” will always be best known for something that had nothing to do with whether it was a good show. When AMC failed to make it clear that the initial murdered-girl story arc would not be wrapped up in one season, the series became the prime example of the new power of audience outrage. Critics who had praised the show through its first season suddenly started finding reasons to dislike it, and the producers of subsequent serialized crime series took pains to announce that their mysteries would be solved by the season finale.

The reputation of “The Killing” never recovered from the brouhaha. But the show nonetheless continued, in its second and third seasons, to be one of the better cable dramas around. Its complicated but smart plotting was mislabeled as confusing (which is what happens when you’re not really watching), and its stark, singular tone and style were dismissed as grim.

Above all, “The Killing” was steadily one of the best-acted shows on television. Ms. Enos and, particularly, Joel Kinnaman as Holder have been superb, and they’ve been matched by Michelle Forbes and Brent Sexton as the grieving parents in the first two seasons and by Bex Taylor-Klaus as the street kid Bullet in Season 3.

That quality carries over into the final season: Ms. Enos and Mr. Kinnaman are reliably good; Gregg Henry reprises his restrained, credible portrayal of the veteran Detective Reddick; and Joan Allen joins the cast as the tightly wound but compassionate commander of a military boarding school, a uniformed analog to the slightly inhuman Linden.

In other ways, the Netflix season, through four episodes, is a letdown. The style is intact, but the story, in which Linden and Holder’s efforts to cover up her execution of the bad cop run in parallel to a case involving a family slaughtered, execution-style, at home, feels routine and thin. It’s as if the writers, worried about shoehorning in both a new mystery and a sense of closure, overcompensated.

Instead of a dark, intriguing puzzle, we get familiar elements — the creepy guy with the wall of photos, the endangered witness unable to reach Linden — popping up in predictable fashion. A deliberate quotation, a moment in the fourth episode that mirrors a famous scene in the show’s pilot, doesn’t have the impact such coups de théâtre did in the past.

And the charge of unredeemed bleakness is now partly true. Having pushed Linden and Holder to the edge in Season 3, the writers, now forced into a quick denouement, take them to even greater extremes of despair, sometimes in ways that don’t make sense for their characters.

Which is all reason to be glad that “The Killing” is now a Netflix show. The entire season will be available on Friday morning, and, in one sitting, you can cruise through the so-so story and find out before lunch what the future holds for Linden and Holder. Happily ever after wouldn’t seem to be on the table, but with everything they and their show have been through, we can at least root for survival.

http://www.nytimes.com/2014/08/01/ar...elevision&_r=0
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post #95917 of 98775 Old 07-31-2014, 10:23 PM
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TV Sports
DirecTV CEO says he's open to mediation to resolve Dodgers TV dispute
By Joe Flint, Los Angeles Times' 'Company Town' Blog - Jul. 31, 2013

Satellite broadcaster DirecTV said it would be open to some sort of mediation to resolve its dispute with Time Warner Cable over carriage of SportsNet LA, the new local TV home for the Dodgers.

Speaking to analysts and investors during its second-quarter earnings conference call, DirecTV Chief Executive Mike White said he is "frustrated" with the negotiations with Time Warner Cable, which has distribution rights for the Dodgers-owned channel.

While White's remarks may be seen as cause for optimism for Dodgers fans, he also suggested that the team should be part of any talks.

"Without active participation of the Dodgers I'm not sure how you get any resolution to this dispute," White said.

So far, the team has shown little interest in getting actively involved in the standoff. Time Warner Cable acquired distribution rights for SportsNet LA in a 25-year deal worth $8.35 billion, according to a valuation by the Dodgers and Major League Baseball.

Earlier this week, Dodgers President Stan Kasten declined to comment when asked if the team would consider renegotiating that contract if it meant getting distribution for SportsNet LA. Besides DirecTV, other carriers who have passed on carrying SportsNet LA include Dish Network, Cox Communications, Verizon FiOS and Charter Communications.

On Monday, Rep. Brad Sherman (D-Sherman Oaks) wrote White and Time Warner Cable Chief Executive Rob Marcus encouraging the two companies to enter into binding arbitration to resolve the dispute. White said he appreciated the concern of Sherman and other lawmakers but did not commit to any sort of arbitration to resolve what he said is a "commercial dispute."

White noted that between the Dodgers deal and its earlier acquisition of TV rights for the Lakers, Time Warner Cable has created "stratospheric pricing" for sports in the Los Angeles market.

Separately, White said DirecTV has agreed on a price to carry ESPN's SEC Network, a college sports channel which launches in August. DirecTV still does not have a final deal with ESPN parent Walt Disney Co., but White said he is optimistic the satellite service will be carrying it from day one.

http://www.latimes.com/entertainment...731-story.html

* * * *

Business Notes
Dodger channel woes give Time Warner Cable revenue blues

The SportsNet LA debacle is starting to affect Time Warner Cable's bottom line.

Time Warner Cable lowered its revenue projections for 2014 Thursday because of its inability to distribute SportsNet LA, the new TV home of the Los Angeles Dodgers. The channel, which the Dodgers own, is managed by Time Warner Cable, which has been unable to sell it to other area distributors including DirecTV.

"Assume we do not sign affiliate agreements for the Dodger Network this year," said Time Warner Cable Chief Financial Officer Artie Minson on a conference call with analysts to discuss the cable company's second-quarter results.

The company said it was lowering its revenue projection growth for the year from 4.5% to as low as 3.5%. Operating income projections were lowered to 3.75%-4.75% from 5%-6%.

The unit that houses SportsNet LA saw its operating costs jump 56%. Profit for the unit dropped 26% to $173 million.

Earlier this week, in response to pressure from U.S. Rep. Brad Sherman (D-Sherman Oaks), Time Warner Cable said it would be willing to enter binding arbitration with DirecTV and other distributors to resolve the dispute over carriage of SportsNet LA. Other distributors have refused to carry the channel, citing the price Time Warner Cable is seeking. The standoff has left about 70% of Los Angeles pay-TV homes without access to the team's games.

Federal Communications Commission Chairman Tom Wheeler also sent a stern letter to Time Warner Cable about its inability to close deals with other distributors.

For the quarter ended March 31, Time Warner Cable posted profits of $499 million, or $1.76 a share, up from $481 million, or $1.64 a share, a year ago. Analysts had estimated $1.90 a share. Revenue grew 3.2% to $5.7 billion.

The company lost 152,000 video subscribers, which offset the almost 70,000 broadband subscribers it added.

In Los Angeles, the company added video subscribers but Time Warner Cable Chief Executive Rob Marcus was reluctant to attribute the growth to subscribers signing up to get SportsNet LA.

Time Warner Cable is in the process of being acquired by Comcast Corp. The deal, which will be reviewed by the FCC and the Justice Department, is expected to close early next year.

http://www.latimes.com/entertainment...731-story.html
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post #95918 of 98775 Old 07-31-2014, 10:25 PM
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TV/Business Notes
Pay TV companies shed video customers, but revenue rises
By Mike Snider, USA Today - Aug. 1, 2013

Several pay TV companies lost video subscribers over the past three months, but reported revenue growth because customers paid higher bills.

Charter Communications, DirecTV and Time Warner Cable all reported video subscription declines in earnings announced today, but each saw revenue rise.

DirecTV beat estimates with net income up 22% to $806 million from $660 million, or $1.59 per share, compared to $1.18 in the same quarter last year. The top U.S. satellite provider saw revenue rise 5.3% to $8.1 billion from $7.7 billion.

In the USA, the nation's second-largest pay TV provider lost 34,000 subscribers — it maintains 20.2 million — but revenue rose, thanks to a 4% increase in the average revenue per user to $103.26. Overall, DirecTV has 39 million subscribers, thanks to growth in Latin American subscribers.

Time Warner Cable grew net income 3.7% to $499 million and total revenue 2.6% to $5.73 billion. Adjusted earnings of $1.89 per share fell short of analysts' expectations of $1.91 per share on revenue of $5.74 billion, according to Thomson Reuters I/B/E/S.

The nation's second-largest cable company — and second largest Internet provider — slightly grew revenue from home customers to $4.6 billion, despite losing a net decline in home customers of 34,000. It lost 152,000 video customers, too, but gained 67,000 broadband customers.

Average monthly spending by customers rose 1.7% to $106.98. Overall, the company has 14.5 million residential customers.

Charter Communications, despite a net loss of $45 million, compared to $95 million a year ago, exceeded expectations with its increased revenue per customer of $110.81, up 2%. Overall revenue rose 7.3% to $2.3 billion.

The takeaway from investment news site Seeking Alpha: "The U.S. consumer hasn't quite hit the breaking point yet on monthly bill charges."

Like Time Warner Cable, Charter also boosted its broadband customer base, adding 49,000 to partially offset 29,000 lost video customers; that compares to adding 38,000 broadband customers and losing 55,000 video customers in the same quarter last year. It has 11.1 million residential subscribers.

Each of the firms is currently involved in a merger, too. AT&T is seeking to acquire DirecTV for $48.5 billion, while Comcast has proposed a $45 billion deal to fold in Time Warner Cable. As part of that move, Charter would get 1.4 million current Time Warner Cable customers.

At the end of trading, Charter Communications had fallen 4.5% to $154.52; Time Warner Cable lost 4.2% to $145.10, and DirecTV eased 0.2% to $86.05.

http://www.usatoday.com/story/tech/p...loss/13405221/
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post #95919 of 98775 Old 07-31-2014, 10:29 PM
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TV Notes
‘Undateable’ Gets Second Season From NBC
By Tony Maglio, TheWrap.com - Jul. 31, 2013

NBC has renewed Chris D'Elia comedy “Undateable” for second season.

“Undateable” had premiered to the top rating for a summer comedy in five years (1.3) and the most viewers in seven years (3.9 million). That said, those would be soft numbers any other time of year, and there have not been many recent summer comedies.

“Undateable” follows Danny Burton (D'Elia), a 30-something single bro who has lost most of his friends to serious relationships. He finds a new group of friends — and a roommate — at a local bar. What his friends lack in game, Danny lacks in an ability to connect with people emotionally.

D'Elia tweeted the news on Thursday night.

http://www.thewrap.com/undateable-ge...ason-from-nbc/
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post #95920 of 98775 Old 07-31-2014, 10:35 PM
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Nielsen Notes (Cable)
'Sharknado 2' Sets Syfy Record With Nearly 4 Million Viewers
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Jul. 31, 2013

Some things truly are better the second time around — like Sharknado's ratings.

The Syfy original telepic Sharknado 2: The Second One set a network record on Wednesday night with 3.9 million viewers for its premiere telecast. That makes it the most-watched movie in network history. What's more: It nabbed 1 billion Twitter impressions, according to the cable network.

Both mark huge improvements from the first go-round last summer. In fact, the 1.6 million adults 18-49 actually eclipses the entire audience for the original. The sequel improved hugely over the original, up 190 percent in the key demographic.

Sharknado 2 topped most broadcast efforts as well, outrating CBS' Extant and Fox's So You Think You Can Dance. Looking at Twitter, a Syfy release boasts that Sharknado 2 is "the most social movie on TV ever" — which, while likely true, is awfully vague.

To be certain, the first Sharknado's audience never compared to its social media cachet. After a relatively middling 1.4 million viewers tuned in to the original telecast, awareness grew and encores eventually grossed 9.5 million viewers over six broadcasts last summer.

Syfy will likely have several more encores of Sharknado 2. Thus far, the only two on the calendar are set for Saturday and Sunday, Aug. 2 and 3.

http://www.hollywoodreporter.com/liv...-record-722514

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post #95921 of 98775 Old 07-31-2014, 10:38 PM
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Business Notes
Spell M-E-R-G-E-R
E.W. Scripps, Journal Communications Will Create TV-Station Powerhouse, Spin Off Newspapers
By David Lieberman, Deadline.com - Jul. 31, 2014

Here’s the latest installment in the media merger mania saga: Journal Communications shares are up 26.6% with E.W. Scripps +10.6% today after the companies unveiled a plan to merge TV operations and spin off their newspapers. The TV company will retain the E.W. Scripps name and be controlled by the Scripps family (which will retain control of the popular Scripps National Spelling Bee).

The company will become the No. 5 independent TV group, reaching 18% of all households with stations in 27 markets including eight political battleground states — Arizona, Colorado, Florida, Michigan, Missouri, Nevada, Ohio and Wisconsin. Scripps will own affiliates for all of the Big Four networks, but will be especially important to ABC with 15 of its affiliates.

“In one motion, we’re creating an industry-leading local television company and a financially flexible newspaper company with the capacity and vision to help lead the evolution of their respective industries,” says Scripps CEO Rich Boehne, who will continue to run the TV company. He adds — as execs usually do when deals like this are announced — that the companies are “both driven by a deep commitment to public service through enterprise journalism.” Still, shareholders should see “significant value.”

The newspapers and their digital counterparts will go to Journal Media Group. It will have publications in 14 markets including the Milwaukee Journal Sentinel and Memphis Commercial Appeal.

The transaction, which will need federal approval, will be structured as a stock swap: When the dust settles, current Journal investors will own 31% of E.W. Scripps. and 41% of Journal Media. Scripps shareholders also will receive a $60M special dividend.

http://www.deadline.com/2014/07/e-w-...station-power/
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post #95922 of 98775 Old 07-31-2014, 10:46 PM
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Critic's Notes
At Front Lines, Bearing Witness in Real Time
By David Carr, The New York Times' 'Media Equation' Column - Jul. 28, 2014

My social media feed has taken a bloody turn in the last few weeks, and I’m hardly alone. Along with the usual Twitter wisecracking and comments on incremental news, I have seen bodies scattered across fields and hospitals in Ukraine and Gaza. I have read posts from reporters who felt threatened, horrified and revolted.

Geopolitics and the ubiquity of social media have made the world a smaller, seemingly gorier place. If Vietnam brought war into the living room, the last few weeks have put it at our fingertips. On our phones, news alerts full of body counts bubble into our inbox, Facebook feeds are populated by appeals for help or action on behalf of victims, while Twitter boils with up-to-the-second reporting, some by professionals and some by citizens, from scenes of disaster and chaos.

For most of recorded history, we have witnessed war in the rearview mirror. It took weeks and sometimes months for Mathew Brady’s, and his associates’, photos of the bloody consequences of Antietam to reach the public. And while the invention of the telegraph might have let the public know what side was in ascent, images that brought a remote war home frequently lagged.

Then came radio reports in World War II, with the sounds of bombs in the background, closing the distance between men who fought wars and those for whom they were fighting. Vietnam was the first war to leak into many American living rooms, albeit delayed by the limits of television technology at the time. CNN put all viewers on a kind of war footing, with its live broadcasts from the first gulf war in 1991.

But in the current news ecosystem, we don’t have to wait for the stentorian anchor to arrive and set up shop. Even as some traditional media organizations have pulled back, new players like Vice and BuzzFeed have stepped in to sometimes remarkable effect.

Citizen reports from the scene are quickly augmented by journalists. And those journalists on the ground begin writing about what they see, often via Twitter, before consulting with headquarters about what it all means.

Bearing witness is the oldest and perhaps most valuable tool in the journalist’s arsenal, but it becomes something different delivered in the crucible of real time, without pause for reflection. It is unedited, distributed rapidly and globally, and immediately responded to by the people formerly known as the audience.

It has made for a more visceral, more emotional approach to reporting. War correspondents arriving in a hot zone now provide an on-the-spot moral and physical inventory that seems different from times past. That emotional content, so noticeable when Anderson Cooper was reporting from the Gulf Coast during Hurricane Katrina in 2005, has now become routine, part of the real-time picture all over the web.

The absence of the conventional layers of journalism — correspondents filing reports that are then edited for taste and accuracy — has put several journalists under scrutiny, mostly for responding in the moment to what they saw in front of them.

A reporter from The Wall Street Journal wondered on Twitter what the patients at a Gaza hospital thought of Hamas’s leadership setting up shop in the same location. Ayman Mohyeldin, an NBC News correspondent, was purportedly pulled out of Gaza after posting on Twitter about an Israeli strike that killed four Palestinian boys, accompanied by the hashtag #horror .

Diana Magnay of CNN found herself reassigned to Moscow after she complained on Twitter that she was being threatened by Israelis who were watching the attacks on Gaza from a hill in Israel, calling them “scum.”

And it’s not just a one-way broadcast. Ms. Magnay’s name-calling caused an immediate uproar on the Internet. A Sky News reporter, Colin Brazier, was upbraided on Twitter after going through the belongings of the victims of the downed aircraft in Ukraine during a live shot. He promptly apologized. And after removing Mr. Mohyeldin from Gaza, NBC News was widely criticized on social media, including by many journalists, and it is worth noting that he was reinstated to the assignment. The megaphone goes both ways.

The public has developed an expectation that it will know exactly what a reporter knows every single second, and news organizations are increasingly urging their correspondents to use social media to tell their stories — and to extend their brand. (Unless the reporter says something dumb. Then, not so much.)

Anne Barnard, a reporter for The New York Times covering the Israeli-Palestinian conflict, was criticized on Twitter for ... not tweeting. She sees journalistic value in the short-form text service. Interviewed on NPR, Ms. Barnard said: “I think over all it brings more benefits than problems. I think we just — again, we have to remember our primary work is the reporting we’re doing on the ground. You know, our job isn’t to tweet in real time.”

Twitter’s ability to carry visual information has made it an even more important part of the news narrative. A message may be only 140 characters, but we all know a picture is worth many, many words.

Often, it is a single image that comes to represent big, complicated events. The children fleeing napalm in Vietnam, an incinerated soldier along a “highway of death” during the gulf war or the hooded prisoner standing on a box in Abu Ghraib.

Barbie Zelizer, a professor at the University of Pennsylvania’s Annenberg School for Communication, says social media has not fundamentally altered the vocabulary of war.

“It is a difference of degree, not of kind,” she said. “There are more pictures more frequently from more people, but they still serve the same purpose, which is to give us a glimpse, a window, into conflict.”

But we no longer have to wait for those moments.

Tyler Hicks, a longtime photographer for The Times, was at a hotel in Gaza City across from the beach where the four Palestinian boys died. He tweeted the news immediately, took a photo that was hard to glance at and then wrote about what it was like to be standing there.

Continue reading the main storyContinue reading the main story
He said that he felt horrified, but that in a clinical sense he also felt exposed. “If children are being killed, what is there to protect me, or anyone else?”

The act of witness, a foundation of war reporting, has been democratized and disseminated in new ways. The same device that carries photos of your mother’s new puppy or hosts aimless video games also serves up news from the front.

Many of us cannot help looking because of what Susan Sontag has called “the perennial seductiveness of war.” It is a kind of rubbernecking, staring at the bloody aftermath of something that is not an act of God but of man. The effect, as Ms. Sontag pointed out in an essay in The New Yorker in 2002, is anything but certain.

“Making suffering loom larger, by globalizing it, may spur people to feel they ought to ‘care’ more,” she wrote. “It also invites them to feel that the sufferings and misfortunes are too vast, too irrevocable, too epic to be much changed by any local, political intervention.”

So now that war comes to us in real time, do we feel helpless or empowered? Do we care more, or will the ubiquity of images and information desensitize us to the point where human suffering loses meaning when it is part of a scroll that includes a video of your niece twerking? Oh, we say as our index finger navigates to the next item, another one of those.

As war becomes a more remote, mechanized activity, posts and images from the target area have significant value. When a trigger gets pulled or bombs explode, real people are often on the wrong end of it. And bearing witness to the consequences gives meaning to what we see.

http://www.nytimes.com/2014/07/28/bu...html?ref=media
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Critic's Notes
'Killing' stumbles through life on Netflix
By Rob Owen, Pittsburgh Post-Gazette - Aug. 1, 2014

The summer of unending TV series premieres — aka the new normal — continues this weekend with today’s return of former AMC drama “The Killing,” back for its final six episodes, available only via Netflix streaming.

When season three of “The Killing” ended on AMC, Detective Sarah Linden (Mireille Enos) had murdered her boss/former lover Lt. James Skinner once she discovered he was the Pied Piper serial killer responsible for killing multiple teenagers.

Season four picks up with Linden showering the bloody evidence off herself, mopping up the crime scene and plotting a cover-up with partner Stephen Holder (Joel Kinnaman).

Linden also maintains her title as TV’s Most Morose Cop to the point that she almost gives away the cover-up to a colleague who notes, “What’s wrong with Linden? She smiled at me!”

While this surely feels like a chickens-coming-home-to-roost season — Linden has become the kind of lawless monster she pursues — there’s one more case to work before the somber homicide detective gets caught.

A wealthy family turns up dead in their shoreline mansion with only one son, Kyle Stansbury (Tyler Ross), surviving. Did he murder his parents and siblings? Or is Col. Margaret Rayne (Joan Allen), the chilly headmaster at Kyle’s all-boys military academy, somehow involved?

Fans of this hit-or-miss crime serial — and of Linden and Holder, in particular — may want to stream these final episodes just to see what kind of miserable state the show leaves poor Linden in, but “The Killing” long ago ceased to be required viewing for cultural currency. (That ship sailed after the non-ending that failed to wrap up the first season.)

AMC’s under-the-radar Western “Hell on Wheels” (9 p.m. Saturday) steams in for its fourth season this weekend. Set in 1868, the new season finds Thomas Durant (Colm Meaney) broke, Elam Ferguson (Common) presumed dead and Cullen Bohannon (Anson Mount) trapped in a fort with his pregnant wife (Mackenzie Porter) and the Swede (Christopher Heyerdahl).

Early next week Kelsey Grammer (“Frasier,” “Boss”) makes his TV return with FX’s “Partners” (9 and 9:30 p.m. Monday), another comedy that follows the 10/90 business model: Producers make 10 episodes, and if they reach a certain ratings threshold, then FX automatically orders another 90 episodes.

As with past series that follow this business plan, Charlie Sheen’s “Anger Management” and George Lopez’s “Saint George,” the prospect of 100 half-hours of “Partners” is pretty unwelcome, although it’s slightly less painful a notion than dozens of episodes of those previous 10/90 shows.

(And let’s briefly consider the fate of past sitcoms titled “Partners”: There was the 1995-96 “Partners” on Fox, which deserved a second season, and the 2012-13 CBS “Partners,” which stole much of the premise from the Fox show and was quickly canceled, which is what it deserved.)

This latest “Partners” on FX stars Mr. Grammer as high-end lawyer Allen Braddock, who gets fired by his father from the family law firm for reasons unrevealed and winds up in business with ethically upstanding attorney Marcus Jackson (Martin Lawrence), who operates a Chicago storefront law practice.

“Partners” is your basic odd couple comedy with Mr. Grammer attacking his part with his trademark zeal and Mr. Lawrence wandering through the motions in somnambulant fashion. It’s a stark energy contrast but a secondary problem for “Partners,” which mostly stumbles on predictable plotting that flows from pedestrian writing.

The pilot is all about the pair meeting and viewers getting to know the characters. Even though he’s without a moral compass, Mr. Grammer’s Allen Braddock is the more likable of the pair. (“I’m well versed in legal ethics. How do you think I’ve avoided them for so long?”) Mr. Lawrence’s Marcus Jackson comes off like a doormat who’s unwilling to fight for himself in a divorce case that hits close to home.

“Partners” does benefit from the work of its supporting players, including TV veteran Telma Hopkins (“Family Matters”) as Marcus’ mom and newcomer Rory O’Malley, a 2003 grad of Carnegie Mellon University’s School of Drama, as Marcus’ paralegal. But without good writing, even winning performances can’t help “Partners” feel like it would be a better fit among the ’90s throwback sitcoms that pass for original programming on TV Land.

Renewals

Comedy Central renewed “Drunk History” and “Nathan for You” for their third seasons.

MTV renewed “Teen Wolf” for a 20-episode fifth season.

VH1 renewed “Hit the Floor” for a third season to air in May 2015.

Disney XD ordered second seasons of animated series “Marvel’s Avengers Assemble” and “Marvel’s Hulk and Agents of S.M.A.S.H.” for fall.

Cartoon Network re-upped “Adventure Time,” “Regular Show,” “Uncle Grandpa,” “Steven Universe” and “Clarence” for an additional season each.

TNT ordered a 10-episode third season of reality crime drama “Cold Justice” to air in early 2015.

‘Steve Harvey’ upgraded

WTAE announced Thursday that “Steve Harvey” will escape overnights to air weekdays at 3 p.m. beginning Sept. 8 in place of the canceled “Katie Couric.”

Newcomer “The Meredith Vieira Show” will air at 10 a.m. weekdays on Channel 4, displacing “The Rachael Ray Show,” which moves to WPXI at 11 a.m. starting Sept. 15.

I’ll have details on all that’s new in syndicated programming closer to the start of the new TV season.

Channel surfing

Syfy's "Sharknado 2: The Second One" drew 3.9 million viewers Wednesday night to become the network's most-watched original movie ever. ....“Girls” star Allison Williams will play the title role in NBC’s Dec. 4 production of “Peter Pan Live!” … CBS castoff pilot “The Gaffigan Show,” starring comedian Jim Gaffigan, landed a 10-episode order for 2015 from TV Land (episodes will later play on Comedy Central). … Another awards show goes to the dogs: The CW will air the inaugural broadcast of “The World Dog Awards” in January. … This week CBS moved the Halle Berry summer drama “Extant” from 9 to 10 p.m. Wednesday. … The sixth season of FX’s “The League” debuts at 10 p.m. Sept. 3. … Season five of AMC’s “The Walking Dead” debuts at 9 p.m. Oct. 12 followed by “Talking Dead” (10 p.m.) and “Comic Book Men” (midnight). … “The Big Bang Theory” star Mayim Bialik will host TV Land’s reboot of “Candid Camera” (8 p.m. Aug. 11). … A new season of Investigation Discovery’s “Homicide Hunter: Lt. Joe Kenda,” starring the Western Pennsylvania native, begins at 10 p.m. Aug. 19. … Hit Western miniseries “Lonesome Dove” celebrates its 25th anniversary this year and is now available for free online streaming at Hulu.com along with sequels “Return to Lonesome Dove,” “Larry McMurtry’s Streets of Laredo” and “Larry McMurtry’s Dead Man’s Walk.” … Western Pennsylvania native “Wild” Bill Wichrowski of Discovery’s “Deadliest Catch” (season finale Tuesday with a “Behind the Lens” special at 9 p.m. Aug. 8) returns home to be deputy marshal for the Irwin 150th Parade at 2 p.m. Aug. 9.

http://www.post-gazette.com/ae/tv-ra...s/201408010008
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TV/Business Notes
Pay TV companies shed video customers, but revenue rises
By Mike Snider, USA Today - Aug. 1, 2013

Several pay TV companies lost video subscribers over the past three months, but reported revenue growth because customers paid higher bills.
Imagine that.
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TV Notes
On The Air Tonight
FRIDAY 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 - Shark Tank
(R - May 9)
9PM - What Would You Do?
(R)
10PM - 20/20
(R - Oct. 18)
* * * *
11:35PM - Jimmy Kimmel Live! (John Stamos; comic Todd Glass; OK Go perform)
(R - Jul. 22)
12:37AM - Nightline

CBS:
8PM - CSI: Crime Scene Investigation
(R - Nov. 6)
9PM - Hawaii Five-0
(R - Jan. 17)
10PM - Blue Bloods
(R - Jan. 31)
* * * *
11:35PM - Late Show with David Letterman (Emma Stone; comic Nathan Fielder; American Authors performs)
(R - Jul. 16)
12:37AM - Late Late Show with Craig Ferguson (Cat Deeley; author Marcia Clark)

NBC:
8PM - Running Wild With Bear Grylls: Zac Effron
(R - Jul. 28)
9PM - Dateline NBC
10PM - Hannah Anderson: Anatomy of a Kidnapping (Special)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Martin Lawrence; Jenny Slate; Aloe Blacc performs with The Roots)
12:36AM - Late Night with Seth Myers (Keri Russell; baseball analyst Kevin Millar and broadcaster Sean Casey; actress Michelle Wolff)
(R - Jul. 10)
1:37AM - Last Call with Carson Daly (Director Gareth Edwards; together PANGEA performs; comic Jimmy Ouyang)
(R - May 15)

FOX:
8PM - MasterChef
(R - Jul. 28)
9PM - Bones
(R - Jan. 10)

PBS:
(check your local listing for starting time/programming)
8PM - Washington Week with Gwen Ifill
8:30PM - Charlie Rose: The Week
9PM - Great Performances: Dudamel Conducts the Verdi Requiem at the Hollywood Bowl (120 min.)

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

THE CW:
8PM - Masters of Illusion (Series Premiere)
8:30PM - Whose Line Is It Anyway?
(R - Apr. 25)
9PM - Penn & Teller: Fool Us
(R)

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

HBO:
10PM - Real Time with Bill Maher (LIVE; Political activist Ralph Nader; author Douglas Brinkley; deputy chief of staff to the House Majority Leader, Doug Heye; Rep. Barbara Lee (D-Calif.))

E!:
11PM - Chelsea Lately (Natasha Lyonne and Uzo Aduba)
(R - Jul. 24)
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 1, 2014

JANE FONDA MOVIE MARATHON
TCM, 6:00 a.m. ET

Friday nights are good times to nestle into the couch and watch a good movie on TV – and August is the month when TCM devotes every day, as well as every night, to a single star or filmmaker, presenting a 24-hour marathon of related movies. This year, the celebration begins with Jane Fonda, and the party’s already begun (it started at 6 a.m. ET) with 1960’s Tall Story, the actress’ first movie, in which she played a cheerleader opposite star college basketball star Anthony Perkins. Other movies on the schedule today trace her very quick development: 1962’s Walk on the Wild Side (9:45 a.m. ET) gives her a role that morphs from sweet innocent to hardened prostitute; 1979’s The China Syndrome (5:45 p.m. ET) gives her a great role in a great movie, playing a fluff TV reporter determined to report on meatier stories, and stumbling into a nuclear power plant contamination story in an intense drama (Jack Lemmon is fabulous) that exploded in theaters just as Three Mile Island almost exploded in real life. And later tonight, there’s the giddy cowboy comedy Cat Ballou (9:15 p.m. ET), as well as Fonda’s first personal Oscar-winner, Klute (12:15 a.m. ET), in which she plays a high-priced prostitute who may be the key to murders investigated by Donald Sutherland. He’s the one named Klute by the way. She’s Bree.

MOYERS & COMPANY
Public Television, Check Local Listings

Bill Moyers doesn’t usually load his show with old-fashioned star power, but his latest installment does just that. The guest is John Lithgow, who’s currently starring in the title role in the Public Theater’s Shakespeare in the Park free production of King Lear – and Moyers is set to ask him about the meaning and importance of free theater, and of acting… and, in this current, fast-moving century, of Shakespeare. For dates and times when this series runs in your area, check the Moyers & Company website. Check local listings.

GREAT PERFORMANCES: VERDI'S "REQUIEM"
PBS, 9:00 p.m. ET

There’s nothing like an outdoor Requiem Mass to make a summer night slip away – and for this particular evening of TV entertainment, Verdi’s Requiem is performed onstage at the cavernous Hollywood Bowl, featuring soprano Julianna Di Giacomo and those home-town faves, the Los Angeles Philharmonic. Given the participants and the material, expect this particular Great Performances offering to be Verdi good indeed. Check local listings.

DAVID BOWIE: FIVE YEARS
Showtime, 9:00 p.m. ET

“Five Years” is the name of the opening track on David Bowie’s 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. This documentary, also called Five Years, looks at the pop icon’s development and reinvention by focusing on five years in Bowie’s life – his transmogrification into Ziggy Stardust being one of them.

REAL TIME WITH BILL MAHER
HBO, 10:00 p.m. ET
MIDSEASON FINALE:
For his final episode before his routine summer hiatus, Maher loads the deck on his comic talk show. Among the scheduled guests: Ralph Nader, Andrew Ross Sorkin, and Chris Hardwick.


http://www.tvworthwatching.com/
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THURSDAY'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)
Few accompany ABC on its ‘Quest’
New competition show bows to a 0.7 in 18-49s, fourth in timeslot
By Toni Fitzgerald, Media Life Magazine - Aug. 1, 2013

When you produce a show that’s a lot like a Renaissance fair, you know you’re appealing to a relatively small crowd.

And few of them tuned in last night to the premiere of “The Quest,” ABC’s new reality competition series.

The show bowed to a 0.7 adults 18-49 rating, according to Nielsen overnights, finishing fourth in its 8 p.m. timeslot.

“Quest” dipped slightly from its first to its second half hour, from a 0.7 to a 0.6, never a good sign for a new show.

CBS’s “Big Brother” was, as usual, the top program of the evening, averaging a 2.1 at 9 p.m., even to last week.

That lifted CBS into a tie with Univision as the No. 1 network on a slow night.

CBS and Univision tied for first for the night among 18-49s, each with a 1.4 average overnight rating and a 5 share. NBC was third at 0.9/3, ABC fourth at 0.8/3, Fox and Telemundo tied for fifth at 0.6/2, and CW was 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.

CBS began the night in the lead with a 1.4 at 8 p.m. for reruns of “The Big Bang Theory” and “The Millers,” followed by Univision with a 1.3 for “Mi Corazon es Tuyo.” NBC was third with a 1.0 for a repeat of “Hollywood Game Night,” ABC fourth with a 0.7 for “Quest,” Fox fifth with a 0.5 for a “Sleepy Hollow” rerun, Telemundo sixth with a 0.4 for “Reina de Corazones” and CW seventh with a 0.1 for a repeat of “The Vampire Diaries.”

At 9 p.m. CBS extended its lead with a 2.1 for “Brother,” while Univision remained second with a 1.6 for “Lo Que La Vida Me Robo.” ABC was third with a 0.9 for “Rookie Blue,” Fox fourth with a 0.7 for “Gang Related,” NBC fifth with a 0.6 for “Welcome to Sweden” (0.7, off a tenth from last week) and “Working the 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 took the lead at 10 p.m. with a 1.3 for “Que Pobres Tan Ricos,” 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 0.7 for a repeat of “Elementary.”

Among households, CBS led the night with a 3.5 average overnight rating and a 6 share. ABC was second at 2.8/5, NBC third at 2.0/4, Univision fourth at 1.8/3, Fox fifth at 1.3/2, Telemundo sixth at 0.8/1 and CW seventh at 0.4/1.

http://www.medialifemagazine.com/accompany-abc-quest/
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Imagine that.
It kind of feels like the oil companies. Those guys must rub their hands together and give off some sort of evil laugh any time a hurricane or a war takes place somewhere near where oil production occurs. It gives them an excuse raise gas prices, then later announce record profits for that year.

Apparently, profits inline with normal years aren't enough.
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What are the odds of Under a The Dome getting renewed ? I know there are those who do not like this show but I do and want to see it come back for a Season 3 !

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What are the odds of Under a The Dome getting renewed ? I know there are those who do not like this show but I do and want to see it come back for a Season 3 !
Hopefully the odds are high since the show is supposed to already be making a profit before CBS even airs it.

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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 - Aug. 1, 2013

FRIDAY

Best bet on broadcast
: NBC, “Tonight Show Starring Jimmy Fallon” 11:35 p.m.
Martin Lawrence and Jenny Slate guest, and Aloe Blacc performs.

Best bet on digital: Netflix, “The Killing” 12:01 a.m. The show’s fourth and final (really this time) season becomes available on the streaming service.

Top sporting event: ESPN, “Basketball,” 9 p.m. The U.S. national team plays a White vs. Blue game as it preps for the FIBA Basketball World Cup.

SATURDAY

Best bet on broadcast
: NBC, “Crossbones,” 8 p.m.
The pirate drama ends its run with back-to-back episodes.

Best bet on cable: AMC, “Hell on Wheels,” 9 p.m. Season premiere. Cullen waits for the birth of his child while working at Fort Smith.

Top sporting event: Fox, “Soccer,” 4 p.m. A good preseason matchup between Manchester United and Real Madrid in the International Champions Cup in Ann Arbor.

SUNDAY

Best bet on broadcast
: ABC, “Rising Star,” 9 p.m.
The remaining 13 singers all perform, and only eight will move on to the next round.

Best bet on cable: E!, “#RichKids of Beverly Hills,” 10 p.m. Season premiere. Dorothy invites the group to an event in China, while Morgan questions her relationship with Brendan.

Top sporting event: NBC, “Sunday Night Football,” 8 p.m. The New York Giants take on the Buffalo Bills in the annual Hall of Fame Game in Canton, Ohio.


http://www.medialifemagazine.com/bes...ts-weekend-43/
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Hopefully the odds are high since the show is supposed to already be making a profit before CBS even airs it.
Cool news aaronwt :-) thanks !

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Legal/Business Notes
Aereo Loses Bid For Emergency Court Ruling To Keep It From “Bleeding To Death”
By David Lieberman, Deadline.com - Aug. 1, 2014

U.S. District Court Judge Alison Nathan declined today to grant Aereo’s emergency motion to be defined as a kind of cable company — even after it said yesterday that it “will likely not survive” without a quick determination because it is “figuratively bleeding to death.” CEO Chet Kanojia warned that he’s spending about $1M a month. Without help from the court, he said, the streaming service ”will not be able to generate additional revenue or additional investments.” That means “the company simply will not be able to survive and the substantial investment of time, effort, and money will be irretrievably lost.”

Aereo wants to be deemed a cable company so it can qualify for a so-called compulsory license from the U.S. Copyright Office. That would enable it to pay a relatively low, government determined fee to retransmit broadcast programming. The U.S. Supreme Court ruled in June that Aereo could not stream broadcasters’ over-the-air fare without payment, in part because it seemed to resemble cable companies that are required to pay.

But Nathan says today that Aereo’s request for an emergency decision “jumped the gun.” She will follow a longer course to determine the company’s fate. Plaintiffs have two weeks to offer a proposed order in light of the Supreme Court ruling. Aereo has up to two weeks to reply. And broadcasters can reply a week later.

Aereo declined to comment.

A delay could be important. In asking for an emergency ruling, Kanojia said Aereo would be “immediately, irreparably, and gravely harmed” without one because it is ”incurring staggering costs without accruing any revenue.” The company suspended its service after the Supreme Court decision. It disclosed yesterday that it has more than 100 employees whose jobs would be in jeopardy. It also has “significant continuing obligations” linked to data centers it has built in more than a dozen cities including Boston, Atlanta, Dallas, and Houston.

He added that Aereo had spent more than $17M through mid-2012, when the District Court denied broadcasters’ request for an injunction to stop the service from doing business. Since then it has spent “tens of millions of dollars more on continued operations and expansion.” At the end of 2013 Aereo had 77,596 subscribers, it told the Copyright Office.

Yesterday, Barry Diller’s IAC took a $66.6M charge for “write-downs of certain investments,” which include Aereo.

http://www.deadline.com/2014/08/aereo-loses-bid-court/
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post #95935 of 98775 Old 08-01-2014, 11:18 PM
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TV Review
‘Partners’ (FX)
By Brian Lowry, Variety.com - Aug. 1, 2014

Every bit as generic as its title, “Partners” is the latest big-name-toplined (Kelsey Grammer, Martin Lawrence) throwback, courtesy of Debmar-Mercury’s 10/90 model, which predicates whether a series runs 100 episodes on the first batch meeting certain ratings benchmarks. Like “Anger Management,” featuring Charlie Sheen, the show itself is practically an afterthought, inasmuch as it’s designed to feel like an instant rerun — something that can help fill the sitcom-starved syndication pipeline. But yikes, watching these two comedy veterans trying to keep such a leaky, woefully flat vehicle afloat is more depressing than nostalgic.

Grammer plays Allen Braddock, an ethics-challenged lawyer being fired from dad’s influential law firm for reasons unknown as the pilot opens. Desperate for a job, he by chance encounters Marcus Jackson (Lawrence), a community activist who operates a law practice out of his basement, in a house he shares with his mother (Telma Hopkins), daughter (Daniele Watts) and for all intents and purposes, assistant (“The Book of Mormon’s” Rory O’Malley).

Allen offers to assist Marcus with his divorce settlement, in exchange for a place to hang his shingle. Yet the goal of establishing them as a mismatched pair in the pilot (written and run by sitcom veterans Robert L. Boyett and Robert Horn), as well as a subsequent episode, proves stale and weakly defined from the get-go — especially in the latter, when the two masquerade as a gay couple who want to get married on behalf of a client.

In what feels like a vague echo of “Cheers” (although any comparison should go no further), Allen’s younger trophy wife goes unseen, though his teenage stepdaughter (McKaley Miller) makes periodic appearances, presumably as a demographic pander more than anything else.

Grammer, Lawrence and Hopkins have certainly been around this block, but it’s just too damn hard to make any hay with lines like, “I can tell somebody’s judgmental just by looking at them,” or Allen’s assertion that Marcus’ misguided ethics are “the reason you’re taking it in the assets.”

Mostly, the 10/90 shows — hitching their wagons to sitcom veterans willing to bet on themselves and cash in should they succeed — have been birthed to fill a void. With fewer comedies breaking out on the major networks, TV stations and cable channels need product to help flesh out their lineups.

Fair enough. What remains a mystery is why the purveyors seem so committed to producing sitcoms that, other than being a trifle more risque, would have been inordinately banal back in the 1990s. By that measure, even if “Partners” passes the requisite bar to extend its run, it’s not much of an asset.

'Partners'
(FX, Mon. Aug. 4, 9 p.m.)


http://variety.com/2014/tv/reviews/t...rs-1201269197/
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post #95936 of 98775 Old 08-01-2014, 11:24 PM
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Critic's Notes
We Need More TV Shows About Scientists
By Margaret Lyons, Vulture.com (New York Magazine) - Aug. 1, 2014

WGN's Manhattan debuted last week, joining Masters of Sex in the "TV shows about science" club. It's a good club. But it has far too few members. There should be so many more science shows! Shows about scientists, about their work, their home lives, the weird experiments they do — there's no end to the stories that could be told. Here are a few humble suggestions.

Bad Apple: an eight-episode Netflix drama about the Stanford Prison Experiment
Premise: College students simulate a prison environment, and the "guards" begin psychologically torturing the "inmates" within three days.
People never cite the second half of that apple aphorism — a few bad apples ruin the whole bunch. They all become bad apples! That's just apple science, I guess. The real experiment only lasted six days, but each episode could include Orange Is the New Black–style flashbacks to people's regular lives, plus the psychologists organizing the study are good for an episode or two.

Surely You’re Joking: a Showtime series about Richard Feynman
Premise: He's a scientist, an amateur safe-cracker, a bongo-enthusiast, and a gnarly womanizer.
It could be a companion piece to Masters of Sex, a warts-and-all depiction of a person who contains multitudes.

Malleable: an FX series about "repressed memories"
Premise: A look at the once-common scientific phenomenon, out of fashion ever since cognitive scientist Elizabeth Loftus's work helped demonstrate the fallibility of personal accounts.
This could be a murky psychological drama set in the '90s, perhaps centering on a legal case that relies on repressed memory testimony. Do people believe this witness? Get some funky '90s cellphones and educate America about how unreliable memories are and how easy it is to convince someone that something happened.

Assayer: a Cinemax show about Galileo
Premise: Come on, you know who Galileo is.
Historical dramas are hot right now, and Cinemax already has The Knick — why not go a few hundred years further back? The show could focus specifically on heliocentrism and Galileo's battles with the church, and because it's TV, there will probably have to be some sword-fighting at some point, accuracy be damned.

Obedience: an MTV show about the Milgram Experiment
Premise: Subjects are told to administer increasingly powerful electrical shocks to a person in another room. Mostly they do so.
People are obedient. Sometimes that keeps society running smoothly (e.g., we stop at stop signs), and sometimes that leads to folks torturing each other (“I was just following orders ...”). What Catfish did for social fraud Obedience could do for compliance. Plus, at the end of each episode, when the subjects are told that they've been part of a study on following commands, we can watch people realize they're secretly monsters. You agreed to administer what you thought was a life-threatening electrical shock just because someone in a lab coat told you to! Get it together, humanity.

http://www.vulture.com/2014/08/tv-sh...ow-please.html
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post #95937 of 98775 Old 08-01-2014, 11:35 PM
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TV Review
‘Hell on Wheels’
The track takes AMC's rewarding rail series to unexpected areas, with Anson Mount, Colm Meaney, MacKenzie Porter and Robin McLeavy
By David Hinckley, New York Daily News - Aug. 1, 2014

The path for AMC’s “Hell on Wheels” has turned out to be as unchartable as the path of the transcontinental railroad whose construction the show chronicles.

Season four starts Saturday night with our main man Cullen Bohannon (Anson Mount) locked in a bizarre camp that’s really a prison run by The Swede (Christopher Heyerdahl).

The Swede started as head of security for Doc Durant (Colm Meaney), the unsentimental capitalist who aims to get rich from building the railroad.

Now, however, The Swede’s inner charlatan preacher has taken over.

Cullen, for his part, is also sorting out how he feels toward his pregnant teenage Mormon bride, Naomi (MacKenzie Porter, returning after a season’s rest). So that’s an issue.

Add side dramas with branded woman Eva (Robin McLeavy) and other townsfolk, and sometimes we almost forget the reason we’ve all gathered here is to build a railroad, people.

Doc Durant hasn’t forgotten. Meaney has parlayed Durant into a virtual co-star, and deservedly so.

As we open the new season, Doc is determined to run a train across the Missouri River without benefit of a bridge. He wants to run it on the winter ice.

Some of his crew are taking bets on how long before the engineer jumps. Doc remains confident. We viewers wish Cullen were here to enjoy it.

We also miss Common, who is MIA after having a bad encounter with a bear last season. His fate apparently is being saved for a proper reveal.

“Hell on Wheels” plays with big ideas about redemption, sin and forgiveness, so Cullen’s detour and the religious component of other subplots fit the show’s tone and direction.

But at some point it would still be good for Cullen to get back into the track-and-crossties game.

'HELL ON WHEELS'
Network/Air Date: Saturday at 9 p.m., AMC
Rating: ★★★★ (out of five)


http://www.nydailynews.com/entertain...icle-1.1887570
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Originally Posted by dad1153 View Post
Critic's Notes
We Need More TV Shows About Scientists
By Margaret Lyons, Vulture.com (New York Magazine) - Aug. 1, 2014

WGN's Manhattan
-- Thumbs Up, like it so far.

Bad Apple: an eight-episode Netflix drama about the Stanford Prison Experiment -- Not interested.

Surely You’re Joking: a Showtime series about Richard Feynman -- I'll give it a try.

Malleable: an FX series about "repressed memories" -- Not interested.

Assayer: a Cinemax show about Galileo
-- I'll check it out.

Obedience: an MTV show about the Milgram Experiment -- Not interested.
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post #95939 of 98775 Old 08-01-2014, 11:44 PM
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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 - Marvel's Agents of S.H.I.E.L.D.
(R - Mar. 11)
9PM - 20/20
(R)
10PM - 20/20
(R)

CBS:
8PM - 48 Hours
9PM - Hawaii Five-0
(R - Jan. 31)
10PM - 48 Hours

NBC:
8PM - Crossbones
9PM - Crossbones
10PM - Law & Order: Special Victims Unit
(R - Jan. 15)
* * * *
11:29PM - Saturday Night Live (Jim Parsons hosts; Beck performs, 93 min.)
(R - Mar. 1)

FOX:
8PM - Brooklyn Nine-Nine
(R - Oct. 1)
8:30PM - Brooklyn Nine-Nine
(R - Oct. 8)
9PM - Gang Related
(R - Jul. 31)
* * * *
11PM - Animation Domination High-Def (60 min.)
(R)

PBS:
(check your local listing for starting time/programming)
8PM - Austin City Limits (Jim James; The Black Angels) (R - Nov. 16)

UNIVISION:
8PM - Sábado Gigante (Three Hours)

TELEMUNDO:
7PM - Movie: Eagle Eye (2008)
9PM - Fútbol Mexicano Primera División: Club Leon vs. Monarcas Morelia (LIVE)
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post #95940 of 98775 Old 08-01-2014, 11:50 PM
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TV Sports/Business Notes
Deep-Pocketed Bayern Munich Is Open for Business in U.S.
By Richard Sandomir, The New York Times - Aug. 1, 2014

Bayern Munich, the mightiest of the clubs in Germany’s Bundesliga, picked an appropriate time to begin building a year-round presence in the United States.

It won five titles last year, including the trophies for the Champions League and the European Super Cup, and the Bundesliga signed a global television deal with 21st Century Fox.

Germany won the World Cup last month with seven Bayern players; eight others were also on World Cup rosters.

Now the team is in the United States, having defeated Chivas Guadalajara of Mexico, 1-0, on Thursday night at Red Bull Arena in Harrison, N.J., before facing the Major League Soccer All-Stars on Wednesday at Providence Park in Portland, Ore. The trip is part of Bayern’s plan to make fans feel closer to the team of Thomas Müller, Franck Ribéry and Arjen Robben while adding revenue it would not make in Munich.

“We are coming to the States, and we are staying here,” said Rudolf Vidal, the managing director of Bayern’s United States division, which has a mandate to market sponsorship possibilities to American companies and sell merchandise to American fans through a new website and online store.

The revenue will help finance transfer fees, further bolstering a profitable club that has been valued at $1.85 billion by Forbes.

“That’s what it’s all about,” Vidal, a former goalkeeper for Bayern’s youth team, said last week during an interview at the club’s newly opened office in Midtown.

The decision to open an office in New York, and another in Asia next year, came in July 2013 after the hiring of Jörg Wacker as Bayern’s head of internationalization and strategy.

“He felt we needed new revenues in different markets, and he came to identify these markets,” Vidal said. “And with partners like Audi, Allianz and Adidas” — each of which owns 8.3 percent of the team — “they wanted us to come to the United States first.” Adidas, an M.L.S. sponsor, has a strong link to Bayern through Hubert Hainer, the chief executive of Adidas, who is supervisory board chairman of Bayern.

Don Garber, the M.L.S. commissioner, said, “There’s a real connection between us, like a triumvirate of M.L.S., Adidas and Bayern doing something that’s good for the sport.”

So now a club that has not played a summer exhibition in the United States since 2004 is trying to become a major part of the American sports scene.

“We knew when we came here, we had to do more than play one game and go home,” Vidal said.

The strategy behind establishing a full-time United States office was conceived shortly before the Fox deal with the Bundesliga, which, in the United States, will start in 2015 and last for five years. That will give Bayern and the league a boost with American audiences that could be similar to the success NBCSN had last season with Premier League games from England.

“Bayern is without a doubt the dominant team in the Bundesliga,” said David Nathanson, the chief operating officer of Fox Sports 1 and 2, which will show the league’s games. “They’ve had some great rivals, but ultimately, it is the winningest team in Germany. For them to be a global powerhouse, opening an office in New York will let them have more touch points in this country.”

Continue reading the main storyContinue reading the main story
International soccer clubs have long traveled to North America in the summer to play exhibitions as part of their preseason training. Real Madrid, Barcelona, Milan and Manchester United have used these trips to expand their fan bases, which in recent years have increasingly been able to watch European and South American clubs on television.

But while the summer games have become a regular part of the sports landscape, few teams have opened permanent offices in the United States. Two European clubs, Liverpool and Roma, have offices in Boston because they have American owners. Barcelona once had an office in New York but closed it. Meanwhile, Manchester City is in a partnership with the Yankees to create New York City F.C., an M.L.S. expansion team that will start play next year at Yankee Stadium.

Vidal said it was essential to the club’s strategy to open an office in Manhattan rather than try to manage its American efforts from Munich.

“To make a difference, to take it really seriously, it’s better to be here,” he said. “People say, ‘Wow, you have an office here.’ You have to be on-site and face the market.”

From Boston, Liverpool has done some of what Bayern wants to do. But Liverpool has the advantage of its tie to the Boston Red Sox, through the mutual ownership of John Henry.

“We have an active sales team that sells Liverpool regularly,” said Billy Hogan, the chief commercial officer for Liverpool, which is touring the United States for the second time in three years. “In the U.S., it’s about partnerships with companies like Dunkin’ Donuts and Subway and developing new relationships that will bring the club and fans closer together.”

Hogan said Liverpool’s sponsorship with Warrior Sports, which makes club apparel, began when the company’s parent, New Balance, passed on making a deal.

“Warrior had no presence in football, but they said, ‘Let’s see the power of what a global brand can do,’ ” Hogan added.

That is similar to the Bayern message Vidal said he was pitching to sponsors — an association with a team that has nearly 300 million supporters around the world and is the most successful squad in a league that might be playing the best soccer in the world.

“Companies can get a huge audience out of doing business with us,” Vidal said.

Mark Noonan, a former executive with M.L.S. and U.S. Soccer, said there was little downside to Bayern’s efforts.

“This is about the global companies with headquarters in the U.S. that Bayern Munich can get close to,” he said.

Bayern wants to link corporations to the team’s tradition and to a roster with Robben, Müller, Mario Götze, Bastian Schweinsteiger and Julian Green, the 19-year-old German-American who played for the United States national team in the World Cup in Brazil and scored the team’s only goal in its loss to Belgium.

Garber said Bayern’s decision to expand its business to the United States came as it and other clubs in the league had added players of various nations and ethnicities.

“They do a good job of managing their league, but it had been, until recently, somewhat insular,” he said. “Now that’s changed, and they finally said, ‘Let’s take the next step.’ ”

http://www.nytimes.com/2014/08/01/sp...rssnyt&emc=rss
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