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post #96001 of 100746 Old 08-06-2014, 03:00 AM
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TV Notes
GSN Joins The Naked Reality TV Trend With Skin Wars
By Dina Gachman, Forbes.com - Aug. 5, 2013

Watching strangers date naked, buy and sell houses in the buff, and scavenge for food and water without a stitch of clothes on is becoming de rigueur in the world of reality television. We’ve got VH1’s Dating Naked, TLC’s Buying Naked, Naked and Afraid on Discovery Channel, and now we can add Skin Wars to that list – GSN’s new body-painting competition show featuring artists who use nude models as their canvas.

GSN (formerly known as Game Show Network) has been developing more original content over the past few years, thanks in large part to the EVP of Programming Amy Introcaso-Davis, who came on in 2011 after working as an exec at Oxygen and Bravo. One of her first mandates when she stepped into her role at GSN was to tell her team to look for the “game-ification of trends,” and Skin Wars definitely fits the bill.

It’s hosted by Rebecca Romijn (who knows what it’s like to stand around and have your body painted for hours on end thanks to her role as Mystique in X-Men) and RuPaul is one of the judges. They also rounded up “body painting rock stars” Craig Tracy and Robin Slonina as judges, and the contestants are ten of the most versatile body painters in the country. Contestants_Rebecca_3

“It’s fun to be in the middle of a trend and we’re trying to make this channel much more relevant in terms of pop culture so that’s great,” Introcaso-Davis says. When producer Michael Levitt pitched her the show, the naked reality phenomenon hadn’t become a thing yet, and it was the artwork – and not the skin it’s painted on – that wowed Introcaso-Davis and her team. “When Michael brought it to us he said, ‘This probably isn’t right for you guys but I’m going to pitch it to you anyways,’” she says. “We’d been looking at the competition/reality area and we didn’t want to go into it with something that was ordinary. We needed something that we thought conceptually and visually was unique and special and we really think this one is it.”

Skin Wars will be the first reality TV show about body painting, and with shows like The American Bible Challenge and It Takes a Church, the network is no longer just about playing reruns of old game shows. Their core audience is women, and Skin Wars is focused on the “beauty” of the body art “as opposed to it being a more male thing with big ugly monsters,” says Introcaso-Davis.

As for premiering Skin Wars at the height of the naked TV trend, Introcaso-Davis says, “Television always sort of happens like this.” You won’t see any black censor lines or blurred out body parts on GSN’s show though – and you definitely won’t see buck naked, drunk singles flirting in a Jacuzzi.

“With Skin Wars, you kind of forget that they’re naked,” says Introcaso-Davis.

Skin Wars premieres Wednesday night on GSN.

http://www.forbes.com/sites/dinagach...ith-skin-wars/
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post #96002 of 100746 Old 08-06-2014, 03:08 AM
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TV Review
Morgan Spurlock’s ‘7 Deadly Sins’ (Showtime)
By Brian Lowry, Variety.com - Aug. 5, 2013

Cheeky in the extreme — and “extreme” is the operative word — Morgan Spurlock’s “7 Deadly Sins” takes Showtime into TLC territory, albeit operating with a bit more style and latitude. Serving as host from what looks like the old “Night Gallery” set, Spurlock guides viewers through out-there examples of each vice, from gluttony to lust, envy to wrath. With a trio of vignettes in each half-hour, the show is fast-paced, fun and voyeuristic: the pay-cable equivalent of empty calories, while mirroring what’s become a pretty saturated basic-cable subgenre.

Sporting a funereal black suit, Spurlock introduces each story, and frequently cites historical examples of the various sins. The taped pieces then focus on individual cases that demonstrate different forms of unorthodox or fetishistic behavior: A 700-pound woman whose work revolves around her weight, and the man who desires her; men who like dressing up in rubberized suits that approximate a woman’s body, and the company that sells them; an honest-to-God fight club; and a man who markets dildos modeled after, among other things, horses and dogs. (It is, we’re told, a lot safer for all concerned than actual bestiality.)

Spurlock and his collaborators (he created the show with Jeremy Chilnick) have a good eye for the absurd, and for presenting what amount to carnival-sideshow acts without engaging in excessive smirking. In that regard, this is a more intellectually provocative exercise than something like “Gigolos” and the other unscripted Showtime fare that occupy similar latenight environs.

That said, “Sins” is also such well-trod territory that TLC has already devoted an entire show to young men who harbor a sexual yen for elderly women (“Extreme Cougar Wives” for those keeping score at home), a thread that finds its way into the “Lust” episode.

“You like what you like because your brain is hard-wired that way,” the guy explains.

Four sins were screened (greed, sloth and pride remain), and the producers were wise to limit each to a half-hour, given the somewhat flimsy nature of the material.

Mostly, the series reflects Spurlock’s slightly tweaked curiosity, which has led him into a form of participatory journalism that easily expanded beyond longform documentary into the episodic TV realm — although mercifully, the hand’s-on approach he usually favors doesn’t figure into this.

“Who am I to judge?” Spurlock asks in closing a couple of the episodes.

But of course, it’s human nature to do just that, as well as to gawk. And inasmuch as the collective hunger to visit the outer regions of behavior borders on gluttony, it’s hard to be wrathful about “Seven Deadly Sins” lustily joining in the lucrative business of feeding those appetites.

Morgan Spurlock's '7 Deadly Sins'
(Showtime, Thurs. Aug. 7, 11 p.m.)


http://variety.com/2014/tv/reviews/t...ns-1201273065/
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post #96003 of 100746 Old 08-06-2014, 03:11 AM
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TV Review
‘Extreme Guide to Parenting,’ goofiness
The children's issues are real but the parents are something else
By Tom Conroy, Media Life Magazine - Aug. 4, 2013

It’s always disheartening when people engage us emotionally and then we realize they have something to sell.

That’s what happens with Bravo’s new documentary series “Extreme Guide to Parenting.” The profiles of families with varying approaches to child rearing are mostly engaging, raising issues that many parents have confronted. But all of the parents in the show are also promoting either a product or themselves, so we question their sincerity and the honesty of the show itself.

But since the self-promotion is a serious problem in only one of the three stories we see in the first two episodes, the show is worth checking out. Two out of three, as they say, ain’t bad.

The premiere episode, airing this Thursday, Aug. 7, at 9:30 p.m., profiles two families. The first is the Adlers, of Katonah, N.Y., who, according to an onscreen graphic, practice “parenting style #73 : eco-kosher, shamanistic, aromatherapy.”

The mother, Shira, is a cantor who was raised in an Orthodox Jewish family but now is strictly New Age. She believes she can read auras and has a line of “aromatherapy synergy sprays.” We come to suspect that she wouldn’t be using them so often on air if the cameras weren’t providing free publicity.

But the family has a serious and relatable problem: Shira’s 10-year-old son, Yonah, seems to have ADHD. Shira, however, has read his aura and has decided he’s an “indigo.”

Indigos, she says, are sent here to change the world, so she prefers to treat him with sprays and a singing bowl instead of medication. Her attention to Yonah seems to come at the expense of her 12-year-old daughter, Emma.

Yonah is a handful. When he comes home from school one day with a bullet, Shira says, “Please tell me you were not carrying that in your school bag.”

“I was not carrying it in my school bag,” he says.

“Where was it?” she asks.

“In my school bag.”

Shira’s boyfriend, Andy, gently tries to persuade her to try medication, as does a psychiatrist who sensibly points out that even indigos have to learn to wait in line. We genuinely become involved in Shira’s dilemma and worry about her decision.

That can’t be said for the other family in the episode, a Los Angeles gay couple named Scout Masterson and Bill Horn and their 3-year-old daughter, Simone. They go by “parenting style #22 : all baby, all the time.”

The men say they have changed their careers so they can work from home and be close to Simone. They pay Scout’s mother, whom they call Nana, to work as a part-time nanny.

Unsurprisingly, this relationship is tricky, but the way it plays out in the episode feels contrived. Scout and Bill constantly check on Nana, whom they treat so rudely that we become convinced they’re doing it for the cameras.

When Nana insists that the men let Simone have a sleepover at her apartment, they refuse, and she quits.

According to Bravo’s press materials, Scout and Bill are the “guncles” on Tori Spelling’s reality series “Tori & Dean: Home Sweet Hollywood.” On this episode, their story plays out like a plotline on a bad celebreality show, and the only insight we get is into the mentality of people who want to be famous.

The second episode features only one family, which has a more nuanced story. Nate and Christian Axness, of Sarasota, Fla., are raising their 16-month-old daughter, Ella, through “conscious attachment.”

They let Ella sleep with them, breast-feed whenever she wants and run around without a diaper. For potty training, they use a technique called “elimination communication”: The mother is expected to sense when the baby has to go. From what we see, this isn’t working so well.

Still, Christian teaches courses in the technique in the “organic children’s boutique” that she has recently opened. She also recommends placenta eating, public breast feeding and teaching infants sign language. Although she seems sincere, we can’t help wondering if her proselytizing on the show is also intended to drum up business at the store.

In an amusing and recognizable scene, Christian takes Ella to a mommy-and-me yoga class, where another mother is taken aback by Ella’s bare bottom and enthusiastic breast feeding. More seriously, we see the strain that Christian’s perfectionism puts on her friend Bethany, a working mother who can’t be with her own son as much as she’d like.

The episode addresses the issue of childhood vaccination. Christian doesn’t want to give Ella the chickenpox vaccine, preferring for her to get the virus naturally through a “chickenpox party.” This drives another wedge between Christian and Bethany and sets up some suspense when Christian starts to question her own convictions.

If “Extreme Guide to Parenting” can find more mothers like Christian, it will succeed. If it can find some whose only motivation to appear on the show is the desire to share their stories, it will thrive.

http://www.medialifemagazine.com/ext...ing-goofiness/
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TV Review
Cinemax’s Terrific The Knick Is a Statement About the Past
By Matt Zoller Seitz, Vulture.com - Aug. 5, 2013

“A servant doesn’t talk back to his master,” a loan shark tells a debtor in the *early-20th-century period drama The Knick, which is far and away the best thing Cinemax has ever produced. It’s just a throwaway line, but it comes close to summing up this series from creators Jack Amiel and Michael Begler and executive producer Steven Soderbergh, who directed every episode. The Knick is not merely set in the past; it’s a statement about the past, and a warning about how the past can reclaim the present if we’re not careful. Servants and masters (literal and figurative) are everywhere. Power dynamics are in the foreground of each scene.

The show’s title is a nickname for New York’s Knickerbocker Hospital, where Dr. John Thackery (Clive Owen), a cocaine addict and casual racist, has just been installed as chief of surgery following a sudden staff upheaval. John butts heads with Cornelia Robertson (Juliet Rylance), who runs the for-profit hospital on behalf of her social-reform-minded new-money dad, as well as with pretty much everyone else on staff, including Dr. Algernon Edwards (André Holland), an African-American surgeon with European hospital experience who’s been made the deputy chief of surgery, against John’s wishes, as a precondition of getting the place wired for electricity. As on all hospital shows, the building serves as a crossroads for the city and becomes a microcosm of the larger society, a petri dish in which social malaise can be treated and reforms incubated. Representatives of every class, race, and ethnicity pass through the Knick’s doors at one point or another, and the world’s issues are given an old-fashioned dramatic (often melodramatic) workout. Not since Deadwood has a period-drama production designed to a fare-thee-well and steeped in nasty atmosphere been so politically astute about who has power over whom and why—*although the subtler brand of gallows humor and Soderbergh’s fondness for intricately choreographed long takes aligns The Knick with a different TV classic that Deadwood creator David Milch worked on, Hill Street Blues. (The show feels a bit like BBC America’s Copper, right down to the black doctor, but it’s set nearly 40 years ahead on the American time line and is artistically superior in every way.)

Whether it’s women trying to mine a bit of autonomy from the margins of a male-dominated society or newly arrived European immigrants struggling with whether to assimilate or wall themselves off from Wasp culture or African-Americans less than a half-century away from slavery fighting to define themselves, every scene admits that, to quote the song, it may be the devil or it may be the Lord, but you’re gonna have to serve somebody. TV dramas set in the modern era rarely examine this stuff in such a head-on way, urging viewers to draw inferences about power relationships simply by how they arrange the material, yet always keeping the scene’s meanings fluid and open-ended, so that one can never accuse the writers of making a single, simplistic point about history and congratulating themselves on their supposed cleverness.

Consider a playful bit of crosscutting in the opening of episode two. The sequence juxtaposes Cornelia’s wake-up routine (servant girl opening her bedroom curtains, cooks and maids serving her and her father and mother breakfast) with that of Algernon, who rents a room in a seedy boardinghouse with a shared bathroom. As Cornelia enjoys her leisurely morning meal and discusses hospital business with her pop, Algernon inches along in a line with other boarders, all of them black and male. The juxtaposition has a simple message that we grasp right away, but within seconds the scene has morphed and is making a series of increasingly sophisticated points. Cornelia’s father’s condescension toward her reminds us that, for all her monetary privilege, she cannot entirely escape the paternalism at the heart of her daily life. Back at the boardinghouse, a tall African-American menaces Algernon, demanding to know how a black man acquired such fancy shoes. “Paris,” Algernon replies, then adds—*unnecessarily and surely out of resentment—“France.” “Nigger, I know where Paris is,” the man growls. Algernon barely has two dimes to rub together, but to this bully in the restroom line, he’s a rich brat putting on airs, and Algernon’s reaction to him isn’t drastically different from the way that certain whites on the hospital staff look at him: as if he’s an interloping nuisance at best, a threat at worst. (The confrontation over the shoes has one of the most satisfying conclusions I’ve seen in quite some time, and its final shot is truly badass.)

Lest you go into The Knick steeling yourself for a glorified homework assignment, it should be said that at no point is the show concerned solely with the political dimensions of its characters—such matters grow organically from the predicaments they find themselves in. And its one-damn-thing-after-another plotting keeps moving all the major players relentlessly forward, so that you’re always learning new things about them—little revelations that add new wrinkles to their personalities while jibing with what we already knew or suspected. John’s volcanic dourness, which is complicated by flashbacks to his friendship with his mentor (Matt Frewer), is deepened further when an ex-lover arrives, asking help in treating a hideous disease; but John never seems soft or “sensitive,” because The Knick shows how committed he is to his racist attitudes, favoring a mediocre white doctor, Everett Gallinger (Eric Johnson), over Algernon even when his bigotry is causing an almost farcically ridiculous level of harm to the hospital. The chain-smoking nun Sister Harriet (Cara Seymour) and a looming loudmouth ambulance driver named Tom Cleary (Chris Sullivan) spar verbally when the nun is on smoke breaks, but what seems a somewhat typical (if hilarious) rivalry turns troubling as the show goes on, as a direct result of Cleary learning that Sister Harriet has a secret life of sorts—one that’s a natural outgrowth of the power inequities the show illustrates so deftly.

The Knick is the rare series that works through its themes in visual as well as literary terms. The arrival of electricity at the hospital acquires great significance as the show goes on; it signifies the point at which one century formally passed on and another replaced it, but the technological changeover is hampered by incompetence (patients dying during operations, nurses getting shocked), by graft (the Tammany Hall kickback culture shortchanged the electricians), and by individual resentments (John vents his mounting fury on a fuse box, plunging an entire hospital wing into darkness). Soderbergh’s direction makes maximum rhetorical use of darkness and light, staging clandestine activities and the lives of poor people in grottolike interiors and favoring the rich with allover illumination. The Knick treats the politically progressive instinct as a humanistic light source, guiding previously marginalized people out of the gloom, and implicitly warns that without eternal vigilance, we could easily return to the dark days. When Algernon, effectively shut out of the daily life of the hospital, opens a secret clinic for the indigent in the basement, the episode cuts between his dungeonesque facilities and the brightly lit and enormous operating theater where the white surgeons and nurses work. At one point, Algernon blocks a window on the door leading to the secret clinic with the front page of a newspaper. It’s The Sun.

'The Knick'
Cinemax, Friday, 10 p.m.


http://www.vulture.com/2014/07/revie...h-cinemax.html
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post #96005 of 100746 Old 08-06-2014, 09:39 AM
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FOX finally announced their NFL broadcast team lineups:

1 Joe Buck, Troy Aikman, Erin Andrews
2 Kevin Burkhardt, John Lynch, Pam Oliver
3 Chris Myers, Ronde Barber, Jennifer Hale
4 Thom Brennaman, David Diehl, Laura Okmin
5 Kenny Albert, Daryl “Moose” Johnston, Tony Siragusa
6 Dick Stockton, Donovan McNabb/Brady Quinn/Kirk Morrison, Kristina Pink
7 Sam Rosen, Justin Kutcher, Brendon Ayanbadejo

So Erin up to 1, Pam down to 2, Albert down to 5 even though games 3 thru 5 are really interchangeable, 6 has a weekly analyst rotation, Brian Billick out, Tim Ryan left.

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post #96006 of 100746 Old 08-06-2014, 10:07 AM
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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)
ABC gets a rare Tuesday night victory
'CMA Music Festival' posts a 1.8 in 18-49s, down 10 percent
By Toni Fitzgerald, Media Life Magazine - Aug. 6, 2013

The “CMA Music Festival” had just enough ratings juice to lift ABC past usual Tuesday night winner NBC.

The special averaged a 1.8 adults 18-49 rating from 8 to 11 p.m., according to Nielsen overnights, down 10 percent from a 2.0 last year, when it aired on a Monday and not a Tuesday.

It finished as the No. 2 program of the night on broadcast, behind only NBC’s “America’s Got Talent,” which posted a 2.0. That was off 17 percent from last week, perhaps due to the added competition from ABC.

Earlier in the night, NBC’s “Food Fighters” posted a 1.2, down a tenth from last week but up two tenths from its debut two weeks ago.

ABC was first for the night among 18-49s with a 1.8 average overnight rating and a 6 share. NBC was a close second at 1.7/6, Univision third at 1.4/5, CBS fourth at 0.7/3, Telemundo fifth at 0.6/2, Fox sixth at 0.5/2 and CW seventh at 0.2/1.

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. ABC led with a 1.7 for the first hour of “CMA Music Festival,” followed by Univision with a 1.4 for “Mi Corazon es Tuyo.” NBC was third with a 1.2 for “Food,” CBS fourth with a 1.0 for a repeat of “NCIS,” Fox fifth with a 0.6 for reruns of “Family Guy” and “Brooklyn Nine-Nine,” Telemundo sixth with a 0.4 for “Reina de Corazones,” and CW seventh with a 0.2 for an “Arrow” rerun.

ABC was first again at 9 p.m. with a 2.0 for more “CMA,” while NBC moved to second with a 1.9 for “Talent.” Univision was third with a 1.6 for “Lo Que La Vida Me Robo,” CBS fourth with a 0.7 for a repeat of “NCIS: Los Angeles,” Telemundo fifth with a 0.5 for “En Otra Piel,” Fox sixth with a 0.4 for reruns of “New Girl” and “The Mindy Project,” and CW seventh with a 0.2 for a repeat of “Supernatural.”

At 10 p.m. NBC took the lead with a 2.1 for more “Talent,” while ABC slipped to second with a 1.8 for more “CMA.” Univision was third with a 1.2 for “Que Pobres Tan Ricos,” Telemundo fourth with a 0.8 for “El Señor de los Cielos” and CBS fifth with a 0.6 for a repeat of “Person of Interest.”

Among households, ABC was first for the night with a 4.4 average overnight rating and an 8 share. NBC was second at 4.3/8, CBS third at 3.9/7, Univision fourth at 1.7/3, Fox fifth at 0.9/1, Telemundo sixth at 0.8/1 and CW seventh at 0.4/1.

http://www.medialifemagazine.com/abc...night-victory/

* * * *

TV Notes
Robert Altman, in front of the camera
Epix documentary focuses on the late director, known for a style
By Louisa Ada Seltzer, Media Life Magazine - Aug. 6, 2013

There are few directors whose style is more distinctive than Robert Altman, the late director whose life and work are honored in the Epix documentary “Altman,” airing tonight at 8 p.m.

Altman was never a commercial director. He did have brief moments of commercial success, including films such as “M*A*S*H,” “Nashville” and “The Player,” but he never played to audiences’ tastes.

Instead, he pursued the films and scripts that appealed to his personal taste, never making concessions to popular opinion or what most studios would have been more comfortable with.

He had a special ear for dialogue, and the proof of his genius was in who worked with him. Everyone wanted to, including hugely talented actors like Meryl Streep and comedians like Lily Tomlin and action stars like Bruce Willis.

The documentary on Altman won’t be a great commercial success, either. Ratings will be minimal for Epix, a premium channel with 10 million subscribers.

But to those who know Altman and his films, it’s a must-watch master class in how to make a movie without compromising.

http://www.medialifemagazine.com/rob...of-the-camera/
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post #96008 of 100746 Old 08-06-2014, 10:16 AM
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TV Notes
Disney Channel Renews 'Girl Meets World' for Season 2
By Philiana Ng, The Hollywood Reporter's 'Live Feed' Blog - Aug. 6, 2013

Girl Meets World is getting another season.

Disney Channel has renewed the Boy Meets World update for a sophomore run after just five episodes, The Hollywood Reporter has learned.

Production on the second season starts in November in downtown Los Angeles.

Since its late June debut, Girl Meets World — which returns original stars Ben Savage and Danielle Fishel as Cory and Topanga, respectively — has ranked as the top series among kids and tweens demographics. The half-hour comedy premiered to a strong 5.2 million viewers on June 27.

Girl Meets World, in the middle of a 20-episode freshman order, is a modern-day story centered on Cory and Topanga's tween daughter Riley (Rowan Blanchard) and her best friend, Maya (Sabrina Carpenter), as they navigate the ups and downs of junior high. August Maturo, Peyton Meyer and Corey Fogelmanis also star.

Several characters from Boy Meets World appear throughout the season, such as Mr. Feeney (William Daniels), Minkus in the Aug. 15 episode (Lee Norris), Shawn (Rider Strong), Harley (Danny McNulty), Cory's younger brother Joshua (Uriah Shelton) and Cory's parents (William Russ and Betsy Randle).

"The series swiftly became a favorite of kids and their parents, many of whom grew up with Boy Meets World," said Adam Bonnett, executive vp original programming at Disney Channels Worldwide. "We're looking forward to watching Riley Matthews and Maya Hart make the world their own, as Cory and Topanga teach them life lessons along the way."

In a chat with THR earlier this year, Savage posited that the 14-year gap between the end of Boy Meets World and the start of Girl Meets World was the perfect amount of time.

"It was good timing in everyone's lives. A lot of kids who grew up with Boy Meets World are parents now," he said at the time. "Some of the most meaningful, special emails or messages or tweets that I've gotten have been from people saying, 'I grew up with Boy Meets World and I can't wait to watch this show with my own kids.' It feels great to hear that."

For Disney Channel's part, the pickup establishes Girl Meets World as a cornerstone in the network's live-action scripted portfolio, which includes the upcoming K.C. Undercover, Liv & Maddie, I Didn't Do It, Jessie, Austin & Ally and Dog With a Blog.

Michael Jacobs, who also executive produces, and April Kelly (Boy Meets World) co-created Girl Meets World. It is produced by It's a Laugh Productions.

Girl Meets World airs at 8:30 p.m. on Fridays on Disney Channel.

http://www.hollywoodreporter.com/liv...-season-723684
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Quote:
Originally Posted by dcowboy7 View Post
FOX finally announced their NFL broadcast team lineups:

1 Joe Buck, Troy Aikman, Erin Andrews
2 Kevin Burkhardt, John Lynch, Pam Oliver
3 Chris Myers, Ronde Barber, Jennifer Hale
4 Thom Brennaman, David Diehl, Laura Okmin
5 Kenny Albert, Daryl “Moose” Johnston, Tony Siragusa
6 Dick Stockton, Donovan McNabb/Brady Quinn/Kirk Morrison, Kristina Pink
7 Sam Rosen, Justin Kutcher, Brendon Ayanbadejo

So Erin up to 1, Pam down to 2, Albert down to 5 even though games 3 thru 5 are really interchangeable, 6 has a weekly analyst rotation, Brian Billick out, Tim Ryan left.

After 7 straight years of being the number 2 team, for Albert and Co. to be dropped to number 5 is a huge fall. Stockton also continues his slow slide.
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Business/Legal Notes
Robert Redford Sues NY State Over $1.6 Million Tax Bill for Sundance Channel Sale
By Tim Kenneally, TheWrap.com - Aug. 6, 2013

“All the President's Men” star Robert Redford is once again taking on the government. And this time, it's financial.

Redford has filed a lawsuit against the New York State Department of Taxation and Finance and the department's commissioner, Thomas H. Mattox, saying he's being unfairly taxed over revenues from the sale of the Sundance Channel.

The suit, filed in New York Supreme Court, claims that the state hit him with a bill for $845,000 in taxes and $723,000 in interest over the sale — money the actor contends he doesn't owe.

The lawsuit says that Redford, a Utah resident, sold off a portion of the interest in the Sundance Channel in 2005.

Redford claims that his take from the sale “was included in the income tax return Plaintiff filed with his home state of Utah and was fully taxed by that State.”

However, the suit goes on to say, New York's tax department treated the money as New York source income — a decision that Redford obviously disagrees with.

“[Redford's Sundance T.V. Inc] and Plaintiff determined that the gain was non-New York source income and reported it as such [on] their New York State tax returns,” the lawsuit reads.

“Plaintiff did not use his ownership interest in [Sundance T.V. Inc.], nor did he use his indirect ownership interest in Limited or Channel, in any trade or business carried on by him in New York,” the suit reads. “Further, Plaintiff did not have any property, payroll or receipts located in or deemed attributable to the conduct of a trade or business in New York.”

Redford is asking for a judgment that he doesn't owe New York the taxes and interest, plus attorneys’ fees and costs.

Pamela Chelin contributed to this report.

http://www.thewrap.com/robert-redfor...-channel-sale/
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post #96011 of 100746 Old 08-06-2014, 10:23 AM
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TV Sports/Business Notes
Regulators Ready to Take the Field for Dodgers Dispute
By Ted Johnson, Variety.com - Aug. 6, 2013

The impasse over rights to the Los Angeles Dodgers, which has left 70% of television viewers in the market unable to access broadcasts of the hometown baseball team’s games, indicates that there may just be a limit to the stratospheric cost of sports rights.

More than halfway through the season, Time Warner Cable has been unable to come to an agreement with DirecTV or other major distributors to carry SportsNet LA, the channel that carries only Dodgers programming, including all games, for which it snapped up rights at the staggering cost of reportedly more than $8 billion over 25 years. It is seeking between $4 and $5 per subscriber to pay the freight.

The imbroglio has federal regulators and elected officials paying increasing scrutiny to the complex world of regional sports networks, in which demand for live events drives programmers to pay increasing rates that are at least in part passed on to the consumer.

The situation with the Dodgers, though, is an extreme case of rights gone awry — and there could be long-term implications.

“There is something wrong when people can’t access television coverage of their hometown baseball team, and that has to be corrected,” said Rep. Henry Waxman (D-Calif.). “Consumers are stuck in the middle.”

The situation drew public condemnation by D.C. lawmakers last week. Rep. Tony Cardenas (D-Calif.) and seven other members of the state’s congressional delegation urged the FCC to step in and mediate the dispute. Rep. Brad Sherman (D-Calif.) and five other lawmakers pressed TW Cable and DirecTV to enter into binding arbitration. TW Cable agreed to the concept; DirecTV did not.

The situation is not without precedent. In 2003 Cablevision came to an agreement with YES Network, which carries New York Yankees baseball and Nets basketball, after a yearlong impasse that ultimately ended when New York Mayor Michael Bloomberg helped set up mediation.

In the case of SportsNet LA, there has been a wider bombshell — with tremors felt in corporate boardrooms. FCC chairman Tom Wheeler fired off a letter last week to TW Cable CEO Rob Marcus, noting that lawmakers are concerned that the dispute has the potential to become a model in which vertically integrated companies hold consumers hostage to assert “unfair market dominance.” He cited a provision of the 1992 Cable Act that authorizes the FCC to stop anticompetitive activity in the pay-TV marketplace.

One avenue to exert that authority: merger review. While the FCC is holding off for now, Paul Gallant of Guggenheim Partners, which owns the Dodgers, wrote that Wheeler could use the dispute to address the broad issue of rising pay-TV prices.

For its part, TW Cable said it was grateful for the FCC’s intervention. While that politesse may reflect confidence that there is nothing unfair about the way it has been negotiating carriage deals for the Dodgers, the cabler has every reason to appear friendly: The FCC is reviewing the proposed acquisition of TW Cable by Comcast, and the baseball standoff may well add to the scrutiny the agency pays to the wider transaction.

While the Justice Dept. will look at the merger on antitrust grounds, the FCC will examine whether the deal is in the public interest — which gives it much more leeway in making its decision.

Amanda Wait, antitrust attorney and partner at Hunton & Williams in Washington, D.C., said that during such reviews, a company’s track record is part of the public-interest standard. “The FCC might be thinking that if TW Cable is not playing nice in the sandbox today, and it becomes part of an even bigger cable company with even more power, that would give it less incentive to play nice in the future,” Wait said.

While many on Wall Street predict the Comcast-TW Cable merger will go through, Gallant wrote that a concern for the merged company is that the FCC will demand “onerous conditions.” That might include the idea of a la carte pricing, in which a consumer could single out which channels to pay for, rather than having to choose among pre-bundled options. DirecTV is arguing for a la carte pricing in its dispute with TW Cable over the Dodgers. The satcaster said that forcing all its subscribers to ante up for SportsNet LA would be like demanding everyone “bail Time Warner Cable out” of a bad deal.

The problem is that it’s doubtful such economics would work. Offered a la carte, the Dodgers channel would cost much more than $4 to $5 a month — perhaps exponentially more.

But David Rone, president of Time Warner Cable Sports, called DirecTV’s argument hypocritical, noting that the satcaster’s customers have a “regional sports fee” on their bills, with the price raised earlier this year in what Rone contended was anticipation of landing a Dodger deal that hasn’t come to pass. Rone also said that what they are seeking a deal to distribute Sportsnet LA “in the same manner DirecTV distributes every other sports network in the country.”

DirecTV contends that the fee increase was to cover the cost of carrying the Lakers network, which TW Cable also distributes.

Meanwhile, as the first-place Dodgers — flush with a lineup of pricey stars, financed in large part by their rich sports rights deal — seem headed for the playoffs, pressure figures to mount to get a deal done, while many Angelenos try to wrap their minds, and wallets, around the idea of paying for games they used to watch for free.

http://variety.com/2014/tv/news/regu...rs-1201276090/
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post #96012 of 100746 Old 08-06-2014, 10:26 AM
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TV/Business Notes
Look Out Netflix
Time Warner May Make HBO GO A Gateway For Others’ Streaming Video
By David Lieberman, Deadline.com - Aug. 6, 2013

HBO‘s online platform could also offer videos from Time Warner‘s Turner networks, Warner Bros, “and, frankly, other networks,” CEO Jeff Bewkes told analysts today. “Should offerings be determined for consumers based on what a company owns?” he asked rhetorically. “That’s not how consumers arrange their dial….We’re anticipating people might want more than that.” The Time Warner chief says that HBO is “investing in top talent, software developers in Seattle” to improve on what’s already “a very good consumer experience.” Fox’s aborted effort to acquire Time Warner was driven, in part, by a desire to create its own centralized online service.

This was part of Bewkes’ theme that Time Warner has lots of growth options, including in digital. To that end, he’s “not philosophically opposed” to the idea of teaming up with Dish Network’s planned personal streaming service — one that would cost less than the pay TV bundle, but have fewer channels and would only be available to individuals, not entire households. “We just have to believe it will be additive to the overall situation,” Bewkes says. A lot will depend on its advertising model and the quality of service. Disney was first to sign on and, yesterday, A+E Networks unveiled a deal with Dish. While Bewkes doesn’t want to be pinned down on this yet, they’re taking “directionally the right philosophical approach.”

http://www.deadline.com/2014/08/hbo-...reaming-video/
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post #96013 of 100746 Old 08-06-2014, 10:32 AM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 6, 2014

ALTMAN
Epix, 8:00 p.m. ET

I have a triple affinity for director Robert Altman. First, he was a fabulously influential and experimental director, pushing the boundaries regarding the way audiences would accept both sights and sounds – he was a true maverick (and a truly nice guy, when I interviewed him). Second, he directed some fabulous movies, from his well-regarded classics MASH and Nashville to such underappreciated cult classics as Brewster McCloud and my personal favorite, Images. And third, he came up from television, clocking about a decade on everything from Alfred Hitchcock Presents and The Millionaire to Maverick, Bonanza and Combat! This new biography of Altman covers some of that ground, at least. It’s directed by Ron Mann, who did Comic Book Confidential, and includes home movies provided by Kathryn Altman, Robert’s widow. And if Altman whets your appetite for seeing more, Epix is happy to oblige, and follows the documentary, at 9:45 p.m. ET, with 1973’s The Long Goodbye, starring Elliott Gould as Philip Marlowe, and at 11:45 p.m. ET by 1980’s Popeye, with Robin Williams and Shelley Duvall as Popeye and Olive Oyl.

I AM A FUGITIVE FROM A CHAIN GANG
TCM, 8:00 p.m. ET

It’s Paul Muni night (and day) on TCM, and the evening part of the tribute begins with one of his most important starring roles. Made in 1932, it told the based-on-fact story of a man who was wrongly imprisoned, and, at the time the movie was released, still on the run from authorities, like a true-life Richard Kimble. And the reaction to this film, and Muni’s performance, was so potent that, as happened decades later with the subject of the sympathetic biopic Hurricane, its protagonist was pardoned.

THE DIVIDE
WeTV, 9:00 p.m. ET

The plot continues to thicken, almost to gumbo level, as things happen on all sorts of fronts. One of them: Christine contacts her estranged family for help, once her investigation results not only in some new information, but some unexpected dangers.

SCARFACE
TCM, 9:30 p.m. ET

Paul Muni plays a ruthless gangster named Tony in this 1932 Howard Hawks mobster movie – but it’s pretty obvious he was playing Al Capone, or a very close approximation thereof. (The real Capone reportedly enjoyed this movie enough to own his own copy – and that was about 45 years before home video.) The cult classic of the same name, starring Al Pacino in 1983, follows the same brutal and tragic trajectory – but watch this one for Ann Dvorak as his sister Poppy, and George Raft and Boris Karloff as fellow thugs.

EXTANT
CBS, 10:00 p.m. ET

Josh Malina from Sports Night, among many other things, shows up tonight as one of the doctors guiding Molly (Halle Berry) through her pregnancy. If that’s what it is…


http://www.tvworthwatching.com/
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post #96014 of 100746 Old 08-06-2014, 11:08 AM
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Quote:
Originally Posted by Aliens View Post
After 7 straight years of being the number 2 team, for Albert and Co. to be dropped to number 5 is a huge fall.
Yea but like i mentioned 3 thru 5 are basically the same so not as big as it may seem.
For example week 1 Myers #3 has panthers/buccaneers while Albert #5 has bills/bears which may actually get a higher distribution %.
One thing they do lose though is a divisional playoff game every other year.

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post #96015 of 100746 Old 08-06-2014, 01:47 PM
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Originally Posted by dcowboy7 View Post
Yea but like i mentioned 3 thru 5 are basically the same so not as big as it may seem.
For example week 1 Myers #3 has panthers/buccaneers while Albert #5 has bills/bears which may actually get a higher distribution %.
One thing they do lose though is a divisional playoff game every other year.
Do the announce teams really matter except to the announcers? I don't pick a game to watch based on them, especially since I don't have a dish. I just watch whatever the network shows me. I don't think I am not going to watch a game because of the announcers.
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post #96016 of 100746 Old 08-06-2014, 02:33 PM
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Quote:
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Do the announce teams really matter except to the announcers? I don't pick a game to watch based on them, especially since I don't have a dish. I just watch whatever the network shows me. I don't think I am not going to watch a game because of the announcers.
I hit "mute". Can't stand any of them. Wish they'd offer the stadium announcer as a second audio program so I could get some benefit from the SAP button on the remote.

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post #96017 of 100746 Old 08-06-2014, 03:11 PM
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Quote:
Originally Posted by kjpjr View Post
Do the announce teams really matter except to the announcers? I don't pick a game to watch based on them, especially since I don't have a dish. I just watch whatever the network shows me. I don't think I am not going to watch a game because of the announcers.
To me when certain announcers do a game it feels like a bigger game as opposed to others....really though it doesnt matter much since you could probably fill an entire piece of paper with mistakes/odd analysis/pc bs from whatever announcers do a game.

Quote:
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I hit "mute". Can't stand any of them. Wish they'd offer the stadium announcer as a second audio program so I could get some benefit from the SAP button on the remote.
Dont like mute cause it kills the crowd noise....could try muting the center channel on the surround & just using the other 4 + woofer....although with the networks "expert" use of their audio tech probably still get some announcer bleed into the main speakers.

Gotta say thats reason #27 whats great about the redzone channel bout time you get tired of the announcers its onto another game.
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post #96018 of 100746 Old 08-06-2014, 04:46 PM
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If I'm watching the Panthers play at home I usually mute the network guys and listen to the radio play-by-play. The problem comes when the radio broadcast is delayed by a few seconds and the play is already over when the radio announcer says its beginning. Makes it impossible to listen to the radio broadcast if I'm actually at the game, too. I've complained to the station, but to no avail.
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post #96019 of 100746 Old 08-06-2014, 05:17 PM
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If I'm watching the Panthers play at home I usually mute the network guys and listen to the radio play-by-play. The problem comes when the radio broadcast is delayed by a few seconds and the play is already over when the radio announcer says its beginning. Makes it impossible to listen to the radio broadcast if I'm actually at the game, too. I've complained to the station, but to no avail.
Not much you can do. If the station uses HD Radio technology, then the analog has to be delayed so it'll sync with the digital. The station can kill the digital if they like, but there's still the profanity delay. Thanks to a number of athletes who think nothing of dropping an F bomb during an interview or fans who think nothing of screaming one into the crowd mic, the 7-8 second delay is becoming less and less likely to be bypassed. Add HD synchronizing to the profanity delay and it's a good 20 seconds. We used to dump both for ballgames, but not so much any more. With all the new cars having HD Radios and all the athletes failing to self-censor, it's just not worth it, anymore. The number of people listening to the radio at a home ballgame or trying to synchronize the radio to the television is miniscule. In fact, when we DID drop the delays, DSS customers and cable customers with DVRs complained that the radio was too far ahead of the television.

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post #96020 of 100746 Old 08-06-2014, 05:30 PM
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So television always has that 7 second delay as well? I tells ya', I've seen some one-finger salutes and such that somehow sneaked past!
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post #96021 of 100746 Old 08-06-2014, 06:43 PM
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Why does football have sideline reporters? Baseball doesn't have dugout reporters.
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post #96022 of 100746 Old 08-06-2014, 07:39 PM
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Quote:
Originally Posted by Aliens View Post
After 7 straight years of being the number 2 team, for Albert and Co. to be dropped to number 5 is a huge fall.
Just another update (why do they make simple things so difficult):

FOX sent out their press release & on part of it they have Albert #3 yet on the other part #5 so who knows ?

http://www.foxsports.com/content/dam...oadcasters.pdf


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Why does football have sideline reporters? Baseball doesn't have dugout reporters.
Guess theres only so many times they could ask "How many bags of sunflower seeds is that tonight ?"

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post #96023 of 100746 Old 08-06-2014, 08:20 PM
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Why does football have sideline reporters? Baseball doesn't have dugout reporters.
Sex. Sex sells so they stick a female reporter on the sidelines. This is the NFL, is there a more misogynistic sport out there???
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post #96024 of 100746 Old 08-06-2014, 09:38 PM
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Remember when the Chicago Bears fired their cheerleaders, the Honey Bears, because they were good in the mid 80's.

Did they ever get them back?
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post #96025 of 100746 Old 08-07-2014, 01:33 AM
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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 - The Quest
9PM - Rookie Blue
10PM - NY Med
* * * *
11:35AM - Jimmy Kimmel Live! (Mickey Rourke; Jordana Brewster; Banks performs)
12:07AM - Nightline

CBS:
8PM - The Big Bang Theory
(R - Jan. 9)
8:31PM - The Millers
(R - Oct. 7)
9:01PM - Big Brother (LIVE)
10PM - Elementary
(R - Oct. 31)
* * * *
11:35PM - Late Show with David Letterman (Jason Segel; Liv Tyler; Trampled by Turtles performs)
12:37AM - 2014 PGA Championship Highlights
1:07AM - Late Late Show with Craig Ferguson (Breckin Meyer; Morena Baccarin)

NBC:
8PM - Hollywood Game Night
(R - Feb. 3)
9:01PM - Welcome to Sweeden
9:30PM - Working the Engels
10PM - Last Comic Standing
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Will Arnett; T.I. performs with The Roots)
12:36AM - Late Night with Seth Myers (Michael Fassbender; Allison Tolman; author Joshua Ferris)
1:37AM - Last Call with Carson Daly (Giovanni Ribisi; Tinariwen performs; director Gillian Robespierre)
(R - May 22)

FOX:
8PM - Sleepy Hollow
(R - Oct. 7)
9PM - Gang Related

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour (R - Feb. 20)
9PM - Last Tango in Halifax
(R - Dec. 24)
10:30PM - Antiques Roadshow: Vintage Rochester
(R - Jul. 8)

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 - Mar. 6)
9PM - The Originals
(R - Jan. 21)

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Director Tracy Droz Tragos)
11:31PM - The Colbert Report (Airbnb co-founder Brian Chesky)
12:01AM - At Midnight (Doug Benson; Steve Agee; Megan Neuringer)

TBS:
11PM - Conan (Megan Fox; comic Todd Glass)

E!:
11PM - Chelsea Lately (Chandler Parsons)
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post #96026 of 100746 Old 08-07-2014, 01:37 AM
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Business Notes
Paramount's thin film slate puts drag on Viacom profit
By Meg James, Los Angeles Times' 'Company Town' Blog - Aug. 6, 2014

Viacom is hoping some muscular turtles can stomp out the doldrums at its Paramount Pictures movie studio.

Paramount this week releases the "Teenage Mutant Ninja Turtles" movie, which comes on the heels of the studio's summer blockbuster, "Transformers: Age of Extinction."

However, the two films did not arrive in theaters in time to boost parent company Viacom's lackluster fiscal-third-quarter earnings.

The media company's profit dropped 5.1% to $611 million during the April-through-June quarter. Cost-cutting helped: Earnings of $1.40 a share compared with $1.31 a share in the previous year period.

Viacom revenue fell 7% to $3.42 billion for the quarter.

The company, controlled by Sumner Redstone, missed Wall Street's earnings estimates.

Viacom's all-important cable TV networks, including MTV and BET, have been grappling with droopy ratings. Softer-than-expected advertising sales were not enough to help Viacom's bottom line.

Media networks generated revenue of $2.6 billion during the quarter, an increase of 1%. Operating income for the TV networks slipped 3% to $1.1 billion. Television ad revenue, while up 1% domestically, was weaker than analysts had been expecting.

But the real stinker was Paramount.

The Los Angeles-based movie studio simply has too thin of a film slate to be a reliable profit engine for the media company.

Paramount generated $856 million in revenue, a 26% decline from the year-earlier period. Box-office revenue plummeted 43% to $264 million. Home entertainment revenue tumbled 24% to $209 million.

The current quarter should see an improved picture for Paramount. The studio released "Transformers" at the end of June, and thus, it had to record the marketing expenses in the April-June quarter. However, most of the film's profits arrived later.

"The big miss came from the less important film segment, while [TV] networks was actually ahead of consensus, but below our estimate due to softer domestic advertising," Wells Fargo Securities media analyst Marci Ryvicker said in a research note Wednesday.

Still, Viacom's management was upbeat.

"We see a lot of opportunity at Viacom," Chief Executive Philippe Dauman told analysts on a conference call Wednesday morning. "We believe we create a lot of value to shareholders by returning capital to them."

http://www.latimes.com/entertainment...806-story.html
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post #96027 of 100746 Old 08-07-2014, 01:42 AM
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TV Notes
‘X Factor UK’ Coming to America on AXS TV
By Tony Maglio, TheWrap.com - Aug. 6, 2014

The “X Factor” on Fox may have been canceled, but the franchise is returning to the States, as the U.K. version is coming to America via AXS TV.

The cable channel has signed an agreement with FremantleMedia International (FMI) and Syco Entertainment, bringing the British version of the singing competition to the U.S. for the first time ever. Each of Season 11's 34 episodes will air in America 24 hours after they run overseas.

Simon Cowell‘s ”X Factor UK” is co-produced by Syco Entertainment and Thames TV (part of FremantleMedia UK).

This season, Cowell makes his return to the judging panel for the first time in three years. Additionally, former Spice Girl and “America's Got Talent” personality Mel B will make her first appearance as a full-time judge, after previously serving as a guest on the series.

Joining the duo is U.K. pop singer Cheryl Fernandez-Versini, who is also returning for the first time in three years, and music manager Louis Walsh, making his 11th consecutive appearance since 2004.

Award-winning broadcaster and host Dermot O'Leary will emcee the show, while also providing support to the aspiring stars.

“‘The X Factor UK' is a perfect addition to the AXS TV lineup, as we continue to showcase the best music programming on television,” said channel founder Mark Cuban. “The level of talent that the series has produced is unprecedented, and to have Simon Cowell back as a judge — I'm confident that our audience will embrace these new stars wholeheartedly. I'm proud that AXS TV has the opportunity to be at the forefront of this popular music franchise to showcase talented vocalists.”

On Sundays, “X Factor UK” will air at 8 p.m. ET, beginning on Aug. 31. The Monday episodes kick off the following night, also at 8.

Below, AXS TV newsman Dan Rather and Cowell discuss the importance of the UK's “X Factor” coming to America. Beneath that is AXS TV's “X Factor UK” promo.

The full Rather-Cowell interview airs on Monday, Aug. 25 at 8 p.m. ET on AXS TV's “The Big Interview.”

Watch the videos: [CLICK LINK BELOW]

http://www.thewrap.com/x-factor-uk-c...-axs-tv-video/
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Business Notes
‘Black Jesus’ (Comedy Central)
By Brian Lowry, Variety.com - Aug. 6, 2014

Crossing the third rails of race and religion, “Black Jesus” is guaranteed to offend some people. In fact, one might accuse Cartoon Network’s Adult Swim of a certain naivete in greenlighting a project where the rewards, even in success, are likely to be overshadowed by the negative blowback, with various faith groups having already weighed in. That said, this live-action series from “The Boondocks'” Aaron McGruder and director Mike Clattenburg is also disarmingly and pretty consistently funny, buoyed by Gerald “Slink” Johnson’s portrayal of You Know Who. Strictly in comedy terms, the road to Hell has been paved with a lot worse shows than this.

At 6’5″, Johnson cuts an imposing figure as the wigged Jesus, who hangs out with a group of pals in Compton (his robe has a way of frequently getting caught in car doors), smokes most of their weed and cheerfully reminds them — when they dare question him — that he “died for your mother-f—— sins.”

With the exception of their landlord (Charlie Murphy), who considers Jesus a con man, everyone pretty much takes it on faith that Jesus is who he claims he is. When asked to perform a miracle, he also reminds them he isn’t in charge of that area. “That’s Pops,” he says.

Jesus’ not-quite-apostles include Fish (Andra Fuller), an ex-con with a temper; Boonie (Corey Holcomb), who’s usually drunk; and Jason (Antwon Tanner), who seems pretty content hanging out and getting high, much to the chagrin of his beautiful girlfriend (Valenzia Algarin), who happens to be a cop. There’s also Boonie’s mom (Angela Gibbs), who loves the Lord, yes, but loves the money she earns selling pot more.

Obviously, “Black Jesus” doesn’t appear overly concerned about trafficking in stereotypes. But there’s a sweetness underneath its scabrous, sacrilegious exterior, as Johnson’s Jesus puts his own spin on all the greatest hits — saying things like, “I still love your bitch ass” — while endeavoring to establish a community garden. (An equal-opportunity offender, in the second episode, that effort runs afoul of Mexican gang members.)

Even on the usually sedate comics page, McGruder has always been an acerbic social commentator, and this series — essentially a live-action cartoon in tone — certainly fits that profile. Indeed, “Black Jesus” is funny in part because it ventures so eagerly into areas most producers and networks, worn down by years of calls for sponsor boycotts and bad publicity, have simply decided it’s easier to avoid.

So while there’s an audience within the Adult Swim profile that should find “Black Jesus” to its liking, the show’s flock had better show up in reasonably good numbers (by latenight standards, anyway), and relatively soon. Because in the modern history of TV, it doesn’t take much to give the higher powers a bad case of cold feet or, when faced with a controversy, prompt them to wash their hands of it.

'Black Jesus'
(Cartoon Network, Thur. Aug. 7, 11 p.m.)


http://variety.com/2014/tv/reviews/t...us-1201276024/
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Nielsen Notes (Cable)
Cable overnights: ‘Catch’ finale finishes first
By Media Life Magazine Staff - Aug. 6, 2014

The season finale of Discovery Channel’s “Deadliest Catch” hauled in a No. 1 finish Tuesday night.

The reality show posted a 1.0 adults 18-49 rating, according to Nielsen overnights, even to last week and finishing as the top original program on cable for the day.

It was a tenth ahead of two other cable originals, ABC Family’s “Pretty Little Liars” and TNT’s “Rizzoli & Isles.”

“Isles” finished, as usual, as the night’s top show in total viewers, posting 5.09 million, more than 2 million ahead of the No. 2 program, Fox News Channel’s “The O’Reilly Factor.”

Top 10 Cable Programs
Ranked on Total Viewers
August 5
# Program Net (000)
1 RIZZOLI & ISLES-08/05/2014 TNT 5092
2 THE OREILLY FACTOR-08/05/2014 FOXNC 2797
3 PERCEPTION-08/05/2014 TNT 2751
4 BIG BANG THEORY, THE-08/05/2014 TBSC 2703
5 FAMILY GUY-08/05/2014 ADSM 2549
6 FAMILY GUY-08/05/2014 ADSM 2542
7 DEADLIEST CATCH-08/05/2014 DISC 2512
8 BIG BANG THEORY, THE-08/05/2014 TBSC 2500
9 AMERICAN DAD-08/05/2014 ADSM 2365
10 SPONGEBOB-08/05/2014 NICK 2227
Source: Nielsen

Top 10 Cable Programs
Ranked on Adults 18-49
August 5
# Program Net (000)
1 FAMILY GUY-08/05/2014 ADSM 1478
2 FAMILY GUY-08/05/2014 ADSM 1460
3 AMERICAN DAD-08/05/2014 ADSM 1394
4 BIG BANG THEORY, THE-08/05/2014 TBSC 1301
5 DEADLIEST CATCH-08/05/2014 DISC 1259
6 BIG BANG THEORY, THE-08/05/2014 TBSC 1234
7 PRETTY LITTLE LIARS-08/05/2014 FAM 1203
8 RIZZOLI & ISLES-08/05/2014 TNT 1174
9 AMERICAN DAD-08/05/2014 ADSM 1116
10 ROBOT CHICKEN-08/05/2014 ADSM 996
Source: Nielsen

http://www.medialifemagazine.com/cab...inishes-first/
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TV Review
Demure, Deadpan and Smutty, an Offshoot of Girl Power
Garfunkel and Oates,’ a Comic Female Duo on IFC
By Mike Hale, The New York Times - Aug. 7, 2013

Garfunkel and Oates are Riki Lindhome and Kate Micucci, a pair of comedians, actresses and songwriters who bear a glancing physical likeness to Art Garfunkel (Ms. Lindhome is tall and blond) and John Oates (Ms. Micucci is short and dark haired).

Naming their act — funny songs, stand-up, web videos and now a television show, “Garfunkel and Oates,” beginning Thursday on IFC — after a pair of famous supporting players signals Ms. Lindhome and Ms. Micucci’s intentions. They practice the comedy of female semi-empowerment, in which confidence (tending toward narcissism) and a still somewhat startling sexual frankness combine with old-fashioned insecurity and self-abasement, all of them generating laughs.

Varieties of it abound on television, from “Girls” to “Inside Amy Schumer” to “Broad City.” The version in “Garfunkel and Oates,” in which the women play fictional versions of themselves, striving Los Angeles performers and best friends, is on the kooky-fey-demure end of the spectrum. But that doesn’t make the show any less funny. It holds its own with its rougher competitors.

Working for the first time at sitcom length, Ms. Lindhome and Ms. Micucci operate just beyond sketch comedy. Episodes have A and B story lines and thematic hooks (gag reflexes, pornography doppelgängers, women who don’t talk on dates), but the point is really the smart, deadpan jokes and the surprisingly elaborate and usually smutty songs. These are billed as folk but sound a lot like Off Broadway. You can imagine the duo writing its own version of “Avenue Q,” and indeed the second episode includes an audition for a children’s puppet show much like “Sesame Street.”

The show’s theme song is a peppy girl-power number with a very 21st-century message: Instead of “You’re going to make it after all,” it ends with “Don’t stop being cool.” But the Mary Tyler Moore connection is clear, and the desirable Riki and second-banana Kate have a slight Mary-Rhoda correlation. The difference across 40 years: One of Ms. Lindhome and Ms. Micucci’s songs begins: “I’ve been down here for a minute or two/My neck is at a weird angle and I don’t enjoy the view." Mary and Rhoda wouldn’t even have known what that meant.

Garfunkel and Oates
IFC, Thursday night at 10, Eastern and Pacific times; 9, Central time.


http://www.nytimes.com/2014/08/07/ar...ref=television
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