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post #96241 of 96270 Old 08-18-2014, 01:51 PM
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TV Notes
Al Pacino, Keanu Reeves’ ‘Devil's Advocate’ Rebooted by NBC
By Travis Reilly, TheWrap.com - Aug. 18, 2014

“The Devil's Advocate” is being prepped for the small screen. NBC has ordered a put pilot from producers John Wells and Arnold Kopelson and writer Matt Venne (“Bag of Bones.”)

If NBC doesn't order the pilot, which focuses on a public defender who joins a law firm literally run by the Devil, to series the network will be forced to pay a substantive fine to the studio.

The 1997 Warner Bros. film, which starred Keanu Reeves, Al Pacino and Charlie Theron, was directed by Taylor Hackford. Reeves played an ambitious young lawyer who is tempted to trade his soul to the Devil (Pacino) for supernatural courtroom skills. The movie made $153 million dollars.

“The Devil's Advocate” series is produced by WBTV and John Wells Prods. Wells, Kopelson and Andrew Stearn are executive producing, with Venne serving as a co-executive producer.

WBTV and JWP have teamed up already on Showtime's “Shameless.” Wells previously directed Meryl Streep and Julia Robets in “August: Osage County.”

This story was first reported by Deadline.

http://www.thewrap.com/al-pacino-kea...booted-by-nbc/
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post #96242 of 96270 Old 08-18-2014, 01:55 PM
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TV Sports/Business Notes
CBS Seeks More Than $500K for Ads in ‘Thursday Night Football’
By Brian Steinberg, Variety.com - Aug. 18, 2014

CBS is seeking more than half a million dollars for a 30-second spot in its coming “Thursday Night Football” broadcasts,which will be simulcast on cable’s the NFL Network — the latest signal that TV networks believe live football gives them a greater advantage in reaching the large crowds of consumers their sponsors expect.

At $500,000 or more, a spot in the show, which is being broadcast on CBS via a partnership established in February with the National Football League, would cost advertisers more than any other program on primetime TV except for NBC’s “Sunday Night Football,” according to a Variety survey of primetime ad prices. NBC was able to command an average of $628,000 for a 30-second spot in last season’s series of games, according to the survey.

The second most-expensive primetime show last season was ESPN’s “Monday Night Football” broadcasts, which cost advertisers an average of $408,000, according to the survey.

Even football, however, is facing greater scrutiny from potential sponsors. Advertisers tamped down the amount of money they have been willing to place on advance ad inventory in this year’s annual “upfront,” so even these highly-viewed pieces of content are not sold out.

“There is still space available” in CBS’ Sunday-afternoon and Thursday-night football broadcasts, said John Bogusz, the network’s executive vice president of sports sales and marketing, in an interview. “We are happy with where we are,” he said of the amount of advertising sold.

Lowe’s and Verizon will sponsor the first half-hour and second half-hour, respectively, of the Thursday pre-game show while Lexus will sponsor halftime and Mazda will support the post-game show.

CBS is guaranteeing a 12.3 household rating for the games, which is not far behind performance of NBC’s Sunday-night matches from last season. That rating would be a cume of the broadcasts on both CBS and NFL Network — and an underlying factor in why the CBS games cost less than NBC’s, according to ad buyers.

Bogusz said CBS has seen good demand for football from automobile manufacturers, movie studios, fast food chains, beverage marketers and telecommunications advertisers.

In a Monday presentation, CBS Sports chairman Sean McManus said, “The entire CBS Corp. is behind” the new Thursday-night broadcasts. “We are determined to work with the NFL to make sure this is a success.” The eight-game CBS package is expected to run Sept. 11 to Oct. 30.

http://variety.com/2014/tv/news/cbs-...ll-1201285415/
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post #96243 of 96270 Old 08-18-2014, 02:01 PM
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Emmy/Critics' Notes
Who Should Win in the Comedy Races?
By Margaret Lyons and Brian Steinberg, Vulture.com (New York Magazine) - Aug. 18, 2014

The 66th Emmy Awards are next Monday (yep, Monday) and all this week, Vulture will be breaking down the major categories. Instead of giving our predictions for which shows and actors will take home awards, let’s focus on the question that matters more: Who should win? Today, we kick things off with the comedy races.

Outstanding Supporting Actress
Mayim Bialik, The Big Bang Theory
Julie Bowen, Modern Family
Anna Chlumsky, Veep
Allison Janney, Mom
Kate Mulgrew, Orange Is the New Black
Kate McKinnon, Saturday Night Live


Merritt Wever dethroned Julie Bowen last year (and, oddly, is not in contention), so it's time for new blood. Anna Chlumsky's verbal viciousness is always on point, but only ever the fifth or sixth best part of Veep, and SNL MVP Kate McKinnon submitted an excellent episode ("Anna Kendrick," last season's high point) that featured tightly wound German chancellor/would-be party girl Angela Merkel. But for our money, Kate Mulgrew deserves all the kudos for her total transformation in the episode "Tit Punch," which introduced Red as the vulnerable Russian wife and proprietor she was before becoming prison kitchen kingpin. Her titular tit punch was also pretty damn funny.

Outstanding Supporting Actor
Fred Armisen, Portlandia
Andre Braugher, Brooklyn Nine-Nine
Ty Burrell, Modern Family
Adam Driver, Girls
Jesse Tyler Ferguson, Modern Family
Tony Hale, Veep


Tony Hale. Come on! Hale submitted "Crate," Veep's penultimate episode of the season, which includes the scene where he and Julia Louis-Dreyfus collapse onto a bathroom floor, laughing and reeling at the news that she's about to be president. Hale's Gary is silly, but he isn't stupid, and for someone who could just be a vacuous lackey, Gary knows he and Selina have a special relationship. Special enough to make his nose bleed with joy and excitement.

Outstanding Actress
Lena Dunham, Girls
Edie Falco, Nurse Jackie
Julia Louis-Dreyfus, Veep
Melissa McCarthy, Mike and Molly
Amy Poehler, Parks and Recreation
Taylor Schilling, Orange Is the New Black


No one will balk when JLD wins her umpteenth Emmy after that showcase presidential run on Veep (like Hale, Louis-Dreyfus submitted “Crate,” and the aforementioned bathroom scene alone wins everything). But it is Amy Poehler’s turn, goddamnit. Golden Globe voters got it together this year. Why shouldn't the Emmys? It would be a well-earned miracle if the TV Academy could at last reward the many shades of unconquerable civil servant Leslie Knope, who survived a recall this season (and who, let’s face it, gets to be human far more often than Selina Meyer). Not to mention this is Poehler's seventh acting nomination (two for SNL, five for Parks). It’s time, Emmys.

Outstanding Actor
Louis C.K., Louie
Don Cheadle, House of Lies
Ricky Gervais, Derek
Matt LeBlanc, Episodes
William H. Macy, Shameless
Jim Parsons, The Big Bang Theory


There's a real misery factor to this category this year: Many of these roles could easily be classified as dramatic, and most of the characters have a deep, sad longing to them. (Parsons is the only one playing for sheer yuks, which might explain why he's won three out of the last four years.) William H. Macy's Frank is the most depraved of them all, scrounging for booze and pills on his deathbed, drinking even though he's received a liver transplant, and encouraging his 12-year-old son to drink. Yet Macy gives Frank a real sense of dignity and purpose, and rather than seeming like the villainous monster he kind of is, Frank seems almost rascal-ish. Frank's an awful person, and yet all these people are devoted to him — and Macy's performance is what explains why. Charisma!

Outstanding Writing
Episodes, "Episode Five," David Crane and Keffrey Klarik
Louie, "So Did the Fat Lady," Louis C.K.
Orange Is the New Black, "I Wasn't Ready," Liz Friedman and Jenji Kohan
Silicon Valley, "Optimal Tip-to-Tip Efficiency," Alec Berg
Veep, "Special Relationship," Simon Blackwell, Armando Iannucci, and Tony Roche


Orange Is the New Black has one of the strongest pilots in living memory, setting up the show's premise, its characters, and their deals, but also the show's tone and sensibility, right away. The show confidently mines humor from degrading, dehumanizing circumstances, and even as our characters are being cavity-searched and humiliated, we can see them as the funny, charming — complicated — people they are.

Outstanding Comedy
The Big Bang Theory
Louie
Modern Family
Orange Is the New Black
Silicon Valley
Veep


Quibble with the comedy categorization all you want: Orange Is the New Black is smart, deep, and unmatched in originality. And character work. And, yes, laughs. (Pennsatucky! Pornstache!) Both Orange and Louie at times can feel like a collection of beautiful thematic vignettes, but Orange gets points for breadth (inmates, guards, people on the outside, all with their own fleshed out stories). At the same time, any of these would be better than yet another win for Modern Family.

http://www.vulture.com/2014/08/emmys...hould-win.html
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post #96244 of 96270 Old 08-18-2014, 02:11 PM
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TV Notes
A&E To Air Docuseries ‘Lachey’s Bar’ With Nick & Drew Lachey
By Nellie Andreeva, Deadline.com - Aug. 18, 2014

A&E Network’s breakout The Wahlburgers will soon be joined by another docu series about famous brothers opening an eatery. The cable network has ordered 10 episodes of Lachey’s Bar (working title) from Leftfield Pictures, for premiere in 2015. The nonfiction series, currently in production, will follow brothers Nick and Drew Lachey as they follow their lifelong dream of opening a bar in their hometown of Cincinnati, Ohio. The project was originally announced at A+E Networks’ upfront in May as a potential series for upstart network FYI. It is now getting a formal green light and is shifting to flagship A&E, with its format also being tweaked from more lifestyle, which is FYI’s brand, to docu-reality, fitting A&E’s identity.

The brothers are already hard at work at the bar in their hometown where a group of childhood friends are ready to fill their new establishment. Nick and wife Vanessa split their time between Los Angeles and New York but Drew returned to Ohio years ago. With the show, Nick and Vanessa will likely establish a home base in Cincy where they have a house right next door to Drew’s.

Lachey’s Bar is produced for A&E Network by Leftfield Pictures, part of Leftfield Entertainment, an ITV Studios company. Brent Montgomery, David George, Jordana Hochman, Will Nothacker and Jason Hollis are exec producing for Leftfield. Nick Lachey and Drew Lachey also serve as executive producers. Drew Lachey is repped by The Katz Co. and CESD Talent Agency; Nick Lachey is with Brillstein Entertainment Partners and ICM Partners.

http://deadline.com/2014/08/ae-to-ai...lachey-820976/
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post #96245 of 96270 Old 08-18-2014, 02:17 PM
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TV Review
‘Atlanta Exes,’ rich women in their hurt
Here's a refreshing twist: Women who bond over their losses
By Tom Conroy, Media Life Magazine - Aug. 18, 2014

The main appeal of Bravo’s “Real Housewives of…” shows and VH1′s “…Wives” shows (e.g., “Basketball Wives” and “Mob Wives”) seems to be the verbal and sometimes physical violence among the usually prosperous women in the casts.

Viewers enjoy watching the shows’ villains attacking and being attacked.

But VH1 seems to be trying to launch a pacifist franchise in the “wives” reality genre, starting in 2012 with “Hollywood Exes” and continuing now with “Atlanta Exes.”

The Georgia version has many of the virtues and some of the vices of its West Coast forebear, but it’s still a change of pace for viewers who want to get involved in rich women’s business but aren’t up for a fight.

Premiering tonight at 9:30, “Atlanta Exes,” like the Hollywood version, features women who were seriously involved with men who are actual celebrities. Tameka Raymond, the emotional center of the show, is the ex-wife of the singer Usher and is still recovering from the death of her son Kile.

Christina Johnson is the ex-wife of the singer Cee-Lo Green, with whom she is still friendly. Sheree Buchanan was married to the NFL player Ray Buchanan. Monyetta Shaw was engaged to the singer Ne-Yo, who still lives with her and their children when he is in Atlanta.

Also like “Hollywood Exes,” the show features one ringer who seems to have relocated solely to join the cast and who talks about how much she misses her children. In this case, it’s Torrei Hart, wife of the comedian Kevin Hart. She claims that she’s moved to Atlanta to restart her own comedy career, even though one would think staying in L.A. would be a much better plan.

Although all the male partners but Cee-Lo are off-camera, the women — many of whom seem to have met their exes before they were famous — share some interesting insights about them. Most say that the man they knew pre-fame wasn’t the man they knew post-fame, implying that the post-fame guy was much more fond of infidelity.

The first episode opens as Tameka is about to pack up the house she shared with Usher. The other four women come to help.

They all tease Tameka for being unable to throw anything away, but Christina tells the camera, “She’s been through so much hurt and pain that she holds on to stuff.”

Although the scene, like most of the episode, was probably staged for the cameras, it has some emotional resonance.

A brief scene with Cee-Lo mostly serves to get Cee-Lo into a scene. He and Christina shop for new outfits for her and then discuss whether she’s been dating.

She reminds him that he’s found someone new. He says that he’s hoping they’ll soon allow polygamy in the state so he can be with Christina, too.

Ne-Yo’s mother and sister come for a family dinner at the house, where the mother, Loraine, tells Monyetta she doesn’t have to wait for Mr. Right. “Mr. Right Now provides fun,” Loraine says, adding, “All work and no play make you a dried-up granny.”

Christina and Sheree take Torrei out to a bar to introduce her to the local dating scene. Torrei asks Sheree, “Where the ballers be at?”

Sheree replies, “The strip club.”

Later, Sheree and Tameka have a bit of a run-in when Sheree asks Tameka, who is a professional stylist, to help her buy an outfit for her daughter’s 12th-birthday party. Tameka thinks the outfits that Sheree favors are inappropriately sexy, and Sheree takes this as a comment on her parenting skills.

So we’re expecting the traditional episode-ending blowup — with the potential for tossed drinks and pulled weaves — when all of the women assemble at a restaurant for what Christina says is their weekly meeting. (Warning: Spoiler follows.)

Tameka says that the flamboyantly dressed Sheree looks as if she’d just flown in from Saudi Arabia and that “some people need complete makeovers and don’t know it.” But rather than take the bait, Sheree suggests that Tameka is lashing out because she hasn’t mourned the end of her marriage.

Although Tameka doesn’t want to listen, the other women join in with encouraging words, and the episode ends on a sweet note.

“Atlanta Exes” is probably just as faked as its more negative counterparts, but the falsity is promoting female solidarity and kindness. These are lies we can live with.

http://www.medialifemagazine.com/atl...in-their-hurt/
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post #96246 of 96270 Old 08-18-2014, 03:11 PM
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TV Sports/Business Notes
CBS Seeks More Than $500K for Ads in ‘Thursday Night Football’
By Brian Steinberg, Variety.com - Aug. 18, 2014

CBS is guaranteeing a 12.3 household rating for the games, which is not far behind performance of NBC’s Sunday-night matches from last season.
That rating would be a cume of the broadcasts on both CBS and NFL Network.

The eight-game CBS package is expected to run Sept. 11 to Oct. 30.
No way they get a 12 rating thats like 20 million viewers.
Matchups just arent as good as SNF they werent meant to be + thursday isnt as big as sunday the #1 tv viewing night.

Also this runs to oct 23 not oct 30 so thats 7 thursdays + a saturday night game dec 20.

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post #96247 of 96270 Old 08-18-2014, 05:08 PM
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They'll still get a hefty price because it's mostly non-dvr viewing on the last television night before the weekend movie openings and store sales. Prime mass-appeal advertising real estate. It's going to be movie-trailer nirvana. On the downside, it's also going to be a local car dealer commercial bonanza.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #96248 of 96270 Old 08-18-2014, 05:25 PM
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They'll still get a hefty price because it's mostly non-dvr viewing on the last television night before the weekend movie openings and store sales. Prime mass-appeal advertising real estate. It's going to be movie-trailer nirvana. On the downside, it's also going to be a local car dealer commercial bonanza.
Yup, the best and worst of TV advertising all in one show, some fun trailers to watch but also endless repeats of (enter auto company) sales events at your local dealer, sometimes even repeating in the same break!
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post #96249 of 96270 Old 08-18-2014, 06:19 PM
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The problem we see is not just with the 22 episodes/season, but the multiple-season mind-set. Why couldn't the Dome show been a single season?

PittCaleb
Simple: syndication revenue.

A one and done show won't garner decent resale value later in syndication on cable networks.

Plus, when a show runs for a few seasons, it becomes very cheap to produce compared to the first season, where the cost of the sets and initial development gets ammortized.

It's not until around season 5 or 6 where the cost starts going up again when the acting contracts come up for renewal and they demand higher salaries.

Last edited by NetworkTV; 08-18-2014 at 06:25 PM.
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post #96250 of 96270 Old Yesterday, 06:10 AM
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The good news (for Thursday advertisers): Movie trailers are among the few ads I'll actually sit through and watch.

The bad news (for Thursday advertisers): That pretty much just works the first time. The next dozen+ times I see it starting I'm reaching for the remote, and taking out the rest of the ads with it.
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post #96251 of 96270 Old Yesterday, 07:52 AM
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TV Notes
Al Pacino, Keanu Reeves’ ‘Devil's Advocate’ Rebooted by NBC
By Travis Reilly, TheWrap.com - Aug. 18, 2014

“The Devil's Advocate” is being prepped for the small screen. NBC has ordered a put pilot from producers John Wells and Arnold Kopelson and writer Matt Venne (“Bag of Bones.”)

If NBC doesn't order the pilot, which focuses on a public defender who joins a law firm literally run by the Devil, to series the network will be forced to pay a substantive fine to the studio.

The 1997 Warner Bros. film, which starred Keanu Reeves, Al Pacino and Charlie Theron, was directed by Taylor Hackford. Reeves played an ambitious young lawyer who is tempted to trade his soul to the Devil (Pacino) for supernatural courtroom skills. The movie made $153 million dollars.

“The Devil's Advocate” series is produced by WBTV and John Wells Prods. Wells, Kopelson and Andrew Stearn are executive producing, with Venne serving as a co-executive producer.

WBTV and JWP have teamed up already on Showtime's “Shameless.” Wells previously directed Meryl Streep and Julia Robets in “August: Osage County.”

This story was first reported by Deadline.

http://www.thewrap.com/al-pacino-kea...booted-by-nbc/
Reminds me of 666 Park Avenue, and failed, and who the heck is Charlie Theron? (who spell checks these articles?)
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RIP Mom, we always love you 8/18/13
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The problem we see is not just with the 22 episodes/season, but the multiple-season mind-set. Why couldn't the Dome show been a single season? The concept behind Prison Break lent itself to just 1 or 2 seasons. I'm watching The Last Ship right now and worry it's going to get quite stupid as they try to milk it for all its worth.

There are some excellent short story concepts that are more than worth of 15-25 epsiodes (10-20 hours of screen time) and not a minute more. The old "mini series" mentality expanded.
Basically to milk by making bs up
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post #96253 of 96270 Old Yesterday, 11:40 AM
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MONDAY'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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post #96254 of 96270 Old Yesterday, 11:46 AM
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Nielsen Overnights (18-49)
Fox’s reality shows grow on Monday night
'MasterChef' bumps up 11 percent, to a 2.0 in 18-49s
By Toni Fitzgerald, Media Life Magazine - Aug. 19, 2013

Fox’s reality lineup saw gains Monday night, helping the network tie NBC for first place in primetime.

The 8 p.m. Gordon Ramsay program “MasterChef” was the night’s top show with a 2.0 adults 18-49 rating, according to Nielsen, up 11 percent over last week.

“MasterChef” finished as the night’s top program, a tenth ahead of NBC’s “American Ninja Warrior.”

At 9 p.m., another Ramsay program on Fox, “Hotel Hell,” also grew from last week, up 14 percent to a 1.5.

“Ninja,” meanwhile, posted a 1.9 in the demo and drew 6.1 million total viewers, its best audience in two years. However, that may be slightly inflated by local NFL preemptions on NBC affiliates.

Elsewhere Monday night, ABC’s “Bachelor in Paradise” posted a 1.3 in 18-49s, off 13 percent from last week, though the show has been rising a tenth when final numbers come out.

Lead-out “Mistresses” managed just a 0.7 at 10 p.m., a new series low.

CBS’s “Under the Dome” drew a 1.5 at 10 p.m., even to last week.

And the 21st season premiere of the CW’s “America’s Next Top Model” posted a 0.5 at 9 p.m., down a tenth from last year, when it bowed with a two-hour episode on a Friday.

Fox was first for the night among 18-49s with a 1.7 average overnight rating and a 6 share, while NBC also posted a 1.7 rating but a 5 share. Univision was third at 1.3/4, CBS fourth at 1.1/4, ABC fifth at 1.1/3 and CW and Telemundo tied for sixth at 0.6/2.

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

At 8 p.m. Fox started the night in the lead with a 2.0 for “MasterChef,” followed by Univision with a 1.3 for “Mi Corazon es Tuyo.” ABC and NBC tied for third at 1.2, ABC for “Paradise” and NBC for “Running Wild With Bear Grylls.” CBS was fifth with a 0.9 for repeats of “2 Broke Girls” and “Mom,” CW sixth with a 0.6 for “Whose Line Is It Anyway,” and Telemundo seventh with a 0.6 for “Reina de Corazones.”

NBC took the lead at 9 p.m. with a 1.8 for “Ninja,” while Fox and Univision tied for second at 1.5, Fox for “Hotel” and Univision for “Lo Que La Vida Me Robo.” ABC was fourth with a 1.3 for more “Paradise,” CBS fifth with a 0.9 for reruns of “Mike & Molly” and “Two and a Half Men,” Telemundo sixth with a 0.6 for “En Otra Piel” and CW seventh with a 0.5 for “Model.”

At 10 p.m. NBC led again with a 2.1 for more “Ninja,” with CBS second with a 1.5 for “Dome.” Univision was third with a 1.1 for “Que Pobres Tan Ricos,” Telemundo fourth with a 0.8 for “El Señor de los Cielos” and ABC fifth with a 0.7 for “Mistresses.”

CBS finished first for the night among households with a 3.6 average overnight rating and a 6 share. NBC was second at 3.2/5, ABC third at 3.1/5, Fox fourth at 2.9/5, Univision fifth at 1.6/3, CW sixth at 0.9/2 and Telemundo seventh at 0.8/1.

http://www.medialifemagazine.com/fox...-monday-night/

* * * *

TV Notes
Hey, it’s Harry Potter, all growed up
Daniel Radcliffe excels in 'A Young Doctor's Notebook'
By Louisa Ada Seltzer, Media Life Magazine - Aug. 19, 2013

Not many child stars grow up to have a career in Hollywood, let alone show real promise as an actor.

But Daniel Radcliffe, the young man who played the titular wizard in the eight Harry Potter films, is looking like the exception.

By choosing a range of odd and unexpected roles since his Potter days, including the lead in Ovation’s “A Young Doctor’s Notebook,” which airs its second-season premiere tonight at 10 p.m., Radcliffe is proving a solid and very interesting actor.

The show originated in the UK, where it originally aired on Sky Arts.

“Doctor” is based on the autobiography of Mikhail Bulgakov, a Russian playwright, and takes place during the early 20th century in Russia.

Radcliffe plays a brilliant young physician who becomes a morphine addict while working at a small hospital. “Mad Men’s” Jon Hamm plays an older version of Radcliffe’s character, who offers foreshadowing of events yet to come.

Radcliffe grew as an actor throughout the Potter series, and he creates an intriguing and sympathetic character in “Doctor.” His interactions with Hamm are a highlight.

Ovation is available in just 43 million homes and draws a very small audience, so this show won’t do anything notable ratings-wise. But when a network that small can air a program with two such well-known actors, it definitely helps its buzz, which is valuable.

Nearly two years ago, Ovation was dropped from Time Warner Cable and Bright House Networks, which claimed it did not have enough viewers or original content to justify continued carriage.

But the two picked up the channel again last year when it pledged to deliver more than 200 more hours of original content, including imports like “Notebook.”

http://www.medialifemagazine.com/see...potter-growed/
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post #96255 of 96270 Old Yesterday, 11:51 AM
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Obituary
Don Pardo, the Voice of ‘Saturday Night Live,’ Dies at 96
By Neil Genzlinger, The New York Times - Aug. 19, 2014

Don Pardo, who literally introduced television viewers to some of America’s biggest stars and soon-to-be-stars as the longtime announcer for “Saturday Night Live,” died Monday in Tucson. He was 96.

His death was confirmed by his daughter Dona Pardo.

Mr. Pardo, whose career began in the radio age, continued through the end of last season’s “SNL” in May, when he performed the introductions on the finale, hosted by Andy Samberg.

Mr. Pardo was with “SNL” from the show’s first episode in October 1975, and performed the introductions for 38 seasons, missing only Season 7. For many viewers, the names of scores of stars — from Chevy Chase to Eddie Murphy to Tina Fey — were first heard in his sonorous baritone, which announced the cast each week at the end of the opening skit.

“Every year the new cast couldn’t wait to hear their name said by him,” said Lorne Michaels, the show’s creator, who hired Mr. Pardo in 1975.

But for an older generation, Mr. Pardo was familiar long before Mr. Michaels started “Saturday Night Live.” He was the announcer for an assortment of widely watched game shows, including two of the most popular television has ever seen, “The Price Is Right” and “Jeopardy!”

While not many people knew his face, practically every American for a span of more than half a century knew his voice. And for the long line of budding stars who came out of “SNL,” that voice was validation. As Maya Rudolph told Mr. Pardo in a video tribute when he was inducted into the Academy of Television Arts and Sciences Hall of Fame in 2010, “The moment you said my name was the height of my career.”

Dominick George Pardo was born on Feb. 22, 1918, in Westfield, Mass. (It was George Washington’s birthday, the source of his middle name.) His father, also named Dominick, a bakery owner, and his mother, Viola, were immigrants from Poland. Mr. Pardo’s eventual first name was the result of a several-step process to distinguish himself from his father.

“They used to call me Nicky, and I didn’t like that,” he said in an oral history he recorded in 2006 for the Archive of American Television. “So when I got into radio, I took up Dom.” That, though, didn’t stick. “People would always say ‘Don,’ ” Mr. Pardo continued. “I said, the heck with it; I’ll be Don.”

Mr. Pardo had become interested in oratory and theater while a student at Norwich Free Academy in Connecticut, and in 1938, while living in Providence, R.I., he began working with local theater troupes, among them the 20th Century Players, which sometimes performed on WJAR, the NBC affiliate in Providence. After about a year, the station manager there, impressed with Mr. Pardo’s voice, offered him a job as an announcer for $30 a week — a pay cut from his job at Brown & Sharpe, a machine tool manufacturer, but his new bride, Catherine Lyons, told him to take it anyway.

In 1944, he and a friend, Hal Simms, who would also become a top radio and TV announcer, made a fateful weekend trip to New York, visiting the NBC studios to watch some of their smooth-voiced heroes at work. When Mr. Pardo stopped by to thank Patrick J. Kelly, the supervisor of announcers, for arranging the tour, he ended up with a job offer. He started at NBC in New York on June 15, 1944.

“I was put on the night staff, naturally, 6 to signoff,” Mr. Pardo recalled. “Signoff was 2 a.m.”

As a staff announcer, he did more than introduce shows and read commercials. The announcer also played the role of engineer, getting the radio programs going and cuing up the right bits at the right time. If you could not do those chores, he said, you would not last as a radio announcer.

But Mr. Pardo had joined the network just as NBC was experimenting with programming in a new medium, television, so he quickly found himself out of his radio comfort zone. One day in 1946, the boss came in and asked if he knew anything about baseball. He and another announcer wound up calling three televised baseball games.

Mr. Pardo called the games as a radio announcer would, following the maxim never to allow any dead air, which proved a poor mix with a medium in which viewers could see the action. In his Hall of Fame acceptance speech, he recalled that one reviewer dismissed his efforts with this phrase: “He doesn’t know the game, and he wouldn’t shut his mouth.”

Mr. Pardo found himself shuttling between radio and television, but the newer medium increasingly took up his time; he was assigned to a variety of programs, including “The Colgate Comedy Hour” and some early game shows. An assignment he received in 1956 proved to be a keeper: the original “Price Is Right,” hosted by Bill Cullen. The show’s popularity made his voice famous, and the occasional on-air mention by Mr. Cullen began to attach a name to that voice. (He even filled in for Mr. Cullen once. “I was terrified,” he recalled in the oral history.)

Mr. Pardo said the way “The Price Is Right” was shot led him to develop his peculiar elongated delivery. “The cameras are moving so slowly, and that’s the way I had to describe it: slowly,” he said of the merchandise on the show, which he would describe before contestants tried to guess its price. “Those cameras were large then. You want to make sure you describe what the camera is on.”

The show, based in New York, switched to ABC in 1963, but Mr. Pardo chose to stay with NBC. He was still a staff announcer, which meant he had other duties besides “The Price Is Right.” He was, for instance, the first to tell viewers of WNBC, the network’s flagship station, that President John F. Kennedy had been shot, breaking into a “Bachelor Father” episode to do it.

Mr. Pardo’s decision to stay at NBC when “The Price Is Right” departed was fortuitous because that left him available to announce a new NBC show that made its debut in 1964, “Jeopardy!” A trivia show in which contestants tried to provide the questions after seeing the answers, it was hosted by Art Fleming, who made a point of thanking Mr. Pardo by name in each episode, helping to elevate him further out of the announcer anonymity of radio.

The original “Jeopardy!” ran until 1975, again a serendipitous endpoint because “Saturday Night Live” began the next year. The show’s creator, Mr. Michaels, was born the year that Mr. Pardo started at NBC. He has said he liked Mr. Pardo for the job as a sort of counterpoint to the wackiness of the show.

“It couldn’t have been a more different culture,” Mr. Michaels said. “But it was perfect for us.”

“That authority voice” botched the very first opening, calling the Not Ready for Prime-Time Players the “Not for Ready Prime-Time Players.” But the inauspicious beginning was quickly forgotten, and Mr. Pardo became a signature part of the show, not just announcing the cast, musical guest and host at the beginning, but also introducing “Weekend Update” and playing an integral role in many other bits. He missed only Season 7, after Mr. Michaels had stepped away temporarily from the show.

Mr. Pardo, who had a lifetime contract with NBC, retired in 2004, but he continued to do “SNL” even though he had moved to Arizona after his wife died in 1995. For years he would fly to New York each week. In more recent seasons, he recorded his material in Tucson.

Over the years he had countless odd moments and memorable encounters as he became a pop-culture touchstone. In 1976, he appeared in a Frank Zappa performance on “SNL.” In 1984, he had a voice cameo in the Weird Al Yankovic song “I Lost on Jeopardy.” He was in the Woody Allen movie “Radio Days” in 1987 and was a guest star on a 2009 episode of “30 Rock.”

In addition to his daughter Dona, Mr. Pardo is survived by two other daughters, Paula and Katherine; two sons, David and Michael; five grandchildren; and three great-grandchildren.

Mr. Michaels said “Saturday Night Live” would surely present a tribute to Mr. Pardo in the new season, which begins this fall. “It was a happy accident and in some great way our lives intertwined,” he said. “It was always exciting. Whatever montage we did to open the show, whatever pictures we used it didn’t really come alive till you heard him say it.”

Bill Carter contributed reporting.

http://www.nytimes.com/2014/08/19/ny...t-96.html?_r=0
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TV Notes
On The Air Tonight
TUESDAY 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 - Extreme Weight Loss (120 min.)
10PM - 20/20
(R)
* * * *
11:35PM - Jimmy Kimmel Live! (Chloë Grace Moretz; light heavyweight champion Jon "Bones" Jones; The Mighty Mighty Bosstones performs)
(R - Aug. 6)
12:37AM - Nightline

CBS:
8PM - NCIS
(R - Nov. 12)
9PM - NCIS: Los Angeles
(R - Apr. 8)
10:01PM - Person of Interest
(R - Apr. 15)
* * * *
11:35PM - Late Show with David Letterman (Joseph Gordon-Levitt; tennis player Novak Djokovic; Robby Johnson performs)
12:37AM - The Late Late Show With Craig Ferguson (Susan Sarandon; author Garrison Keillor)
(R - Jun. 4)

NBC:
8PM - Food Fighters
9PM - America's Got Talent (120 min., LIVE)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Pierce Brosnan; Tavi Gevinson; The Madden Brothers perform)
12:36AM - Late Night with Seth Myers (Anna Paquin; comic Marc Maron; chef Elizabeth Karmel)
(R - Jul. 15)
1:37AM - Last Call With Carson Daly (Oscar nominee Freida Mock; Sirah performs; "Bad Words")
(R - Mar. 20)

FOX:
8PM - Family Guy
(R - Nov. 17)
8:30PM - Brooklyn Nine-Nine
(R - Mar. 11)
9PM - New Girl
(R - Apr. 15)
9:30PM - The Mindy Project
(R - Apr. 22)

PBS:
(check your local listing for starting time/programming)
8PM - The Search for Josiah Henson ... The Man Behind the Story of Uncle Tom's Cabin, A Time Team America Presentation
9PM - The Bones of Badger Hole: A Time Team America Presentation
10PM - Frontline: The Retirement Gamble
(R - Apr. 23, 2013)

UNIVISION:
8PM - Mi Corazón Es Tuyo
9PM - Hasta El Fin del Mundo
(R)
10PM - Qué Pobres Tan Ricos

THE CW:
8PM - Arrow
(R - Apr. 16)
9PM - Supernatural
(R - Mar. 22)

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

TBS:
11PM - Conan (Jessica Alba; photographer Marcus Haney; musician Tove Lo performs)

E!:
11PM - Chelsea Lately (Chloe Grace Moretz)
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 19, 2014

DOCTOR WHO TAKEOVER WEEK
BBC America, 8:00 a.m. ET

The all-week “Doctor Who takeover” on BBC America continues today – and tonight – running the rest of Season 2, and starting the reruns of Season 3, of Doctor Who, starring David Tennant as the Doctor and Billie Piper as his latest Companion, Rose Tyler. Any time you tune to BBC America today, after 8 a.m. ET, you’ll be seeing the Doctor.

COOL HAND LUKE
TCM, 5:45 p.m. ET

Today is Paul Newman day on TCM, and one of the best Newman movies on its lineup is this 1967 film, in which Newman plays a convict determined not to conform, even when his clashes with a sadistic chain-gang overseer leads to a classic “failure to communicate.” I also feel compelled to point out one of my all-time favorites, 1969’s Butch Cassidy and the Sundance Kid (at 10 p.m. ET), but another reason to point out this particular showing of Cool Hand Luke: Less than a week ago, another Luke was added to the global census. To paraphrase Darth Vader: "Luke, I am your grandfather!"

DRUNK HISTORY
Comedy Central, 10:00 p.m. ET

Tonight’s new episode is set on my long-time stomping grounds: Philadelphia. And in an installment that also makes room for Stephen Merchant and David Cross, it also presents the story of Benedict Arnold and his personal Lady Macbeth, Peggy Shippen – a scheming duo played, quite amusingly, by Chris Parnell and Winona Ryder.

TYRANT
FX, 10:00 p.m. ET

Last week’s episode really shifted around the alliances and directions of this narrative: Barry (Adam Rayner) revealed to his American government contact (Justin Kirk) that he wanted to run for election and take the country from his brother Jamal (Ashraf Barhom). Meanwhile, Jamal confided to his wife Leila (Moran Atias, pictured) that Barry had helped him dispatch of a rival regional leader – and Leila let Barry know that she knew, which complicated Barry’s coup plans considerably. Or did it?

WIZARD WARS
SyFy, 10:00 p.m. ET
SERIES PREMIERE:
The latest magic-show series of the summer (an odd but by now obvious coincidence) stars Penn & Teller, who already headline the CW import Penn & Teller: Fool Us. This time, the gimmick is to have teams of magicians compete for the chance to go against some resident experts in a final challenge – sort of like a sleight-of-hand version of Iron Chef. And while the quickly improvised magic tricks aren’t that amazing, this premiere episode is worth catching just to see Teller’s variation on the old shell game, using tiny tins of breath mints, and followed by Penn Jillette’s revelatory explanation. Kids, do try this at home!


http://www.tvworthwatching.com/
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TV Notes
FX’s ‘The Strain’ Renewed For Second Season
By Nellie Andreeva, Deadline.com - Aug. 19, 2014

Six weeks into its 13-episode freshman run, FX’s The Strain has been given a long-expected 13-episode order for a second season to air in 2015. The vampire drama from Guillermo del Toro and Carlton Cuse marked the first time FX has aired an original series on Sunday night. The Strain’s premiere drew 4.73 million total viewers and 2.43 million adults 18-49 in Live+Same Day. With Live+7 data, VOD, digital and electronic purchases, that number tripled to 12.7 million viewers to become the network’s highest-rated series premiere ever. The horror drama also ranks as the No. 1 new series on cable (broadcast or premium) in 2014 in delivery of adults 18-49.

“We’ve never had any doubts about The Strain,” said FX CEO John Landgraf, who indicated a renewal was coming at TCA last month. “Working with Guillermo del Toro, Carlton Cuse, and the brilliant cast led by Corey Stoll has been everything we had hoped it would be and more.” The Strain was one of two new drama series introduced by FX this summer, along with Tyrant. After a slow-ish start, the Middle Eastern drama has been very consistent, with its renewal chances considered good. At TCA last month, Landgraf also said he was “very bullish” on new comedies Married and You Are The Worst.

On a weekly basis, The Strain, from FX Prods., is averaging 11 million total viewers and 5.2 million adults 18-49 inclusive of VOD and online viewing (most current). On a first-run-only Live+7 basis, the series is averaging 4.5 million total viewers and 2.6 million adults 18-49. The Strain’s 1.2 million adults 18-34 (first-run L+7) places it in a tie for the top spot in that demo among all new cable series to launch in 2014.

“I am thrilled! Another season to spread the virus!” said del Toro, who directed the pilot and co-wrote the best-selling books with Chuck Hogan. “Working with Carlton, Chuck and FX has been immensely rewarding and we have such sights to unveil in the upcoming episodes — the blood hits the fan on this one, mankind becomes an endangered species.” Added Cuse, “I am grateful for all the blood, sweat and tears (but mostly blood) given to the project by all involved, and I could not be more excited to continue telling this epic story.”

http://deadline.com/2014/08/the-stra...son-fx-821592/

* * * *

TV Notes
MTV Renews ‘Finding Carter’ For Second Season
By the Deadline.com Team - Aug. 19, 2014

MTV has picked up a 12-episode second season of its breakout scripted series Finding Carter. The unconventional family drama centers on Carter (Kathyrn Prescott), a teenage girl who thinks she has the perfect life until one night after a police bust at a high school party she is told that the woman who she believes to be her biological mother actually abducted her as a toddler. Now Carter must return to the family who thought they had lost her. As she navigates brand-new parents, a twin sister, high school and boys, Carter vows to find Lori before the police capture the only mom she’s ever known and put her behind bars. Anna Jacoby-Heron, Cynthia Watros, Alexis Denisof, Zac Pullam, and Alex Saxon also star.

The coming of age drama is currently the No. 1 new cable series with 12-34 year-olds and teens. To date, the series is averaging a solid 2.0 P12-34 rating and 2.2 million total viewers (Live+3). Finding Carter is Executive Produced by Terri Minsky (Carrie Diaries), Deborah Spera (Army Wives), Maria Grasso (Army Wives), and Alexander Motlagh (Single Ladies), and was created by Emily Silver (Bones).

http://deadline.com/2014/08/finding-...season-821653/
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Nielsen Notes
Summer Ratings Slump Should Have TV Execs Sweating
Viewing habits are changing, and the industry needs to keep up.
By Daniel Wroclawski, Reviewed.com - Aug. 19, 2013

I'm probably a TV exec's worst nightmare.

A twenty-something fresh out of grad school, I don't have a cable subscription, I love my Apple TV, I subscribed to the now-defunct Aereo, and I have both Netflix and Amazon Instant Video accounts.

For the longest time, this setup perfectly served my needs. So it was with shock and anger that I watched the Supreme Court strike Aereo down at the behest of broadcasters desperate to preserve the status quo.

Still, Aereo's fall hasn't brought me back into cable's fold. If anything, it's strengthened my resolve to cut the cord. As a result, I haven't been watching much TV this summer. And thanks to all of the available streaming and DVR services, it looks like I'm not alone.

Re/code reports that TV ratings have been falling steadily since April. That's not unusual: Viewership typically drops in the summer months, when networks are showing repeats and reality shows. But it's the year-over-year trends that should have TV execs concerned.

For the month of July, broadcast viewership was down about 3.7 percent and cable viewership dropped 6.8 percent compared to the same period in 2013. And some are forecasting that the erosion will only accelerate next year.

This ongoing change in viewing habits has even prompted FX to stop distributing "live plus same day" ratings numbers. The channel will now only publicize "live+3" ratings—numbers for same-day and time-shifted viewing up to three days after airing.

"Live+7" ratings are also frequently bandied about, though a recent study by Bloomberg Businessweek and marketing firm Ebiquity argued most viewers watch shows within the live+3 period. According to their numbers, the extra four days only provide only small gains.

But while the industry is steadily heading toward global acceptance of ratings models that include time-shifted viewing, advertisers remain skeptical. Viewers who watch DVR'd TV can skip ads, and if networks can claim a larger viewership, ad rates could quickly rise.

Aside from DVR viewership, the other factor in the overall ratings decline is pretty simple: time spent elsewhere.

Peter Kafka of Re/code suggests that we may be spending more time on both streaming services and activities unrelated to TV viewing, like Facebook.

He notes that BTIG Research found Netflix subscribers now watch an average of 103 minutes a day on the service. That's 103 minutes when TV networks (and the advertisers who sustain them) can't count on capturing crucial pairs of eyeballs.

At this point, it's clear that TV advertising needs to get with the times. With live viewership steadily declining, advertisers need to find ways to get their ads in front of modern viewers. How that's going to happen is anyone's guess, but we'd put our money on more prominent product placement.

After all, viewers want to watch shows on their own schedule, not the network's. And one way or another, they're going to do it.

http://televisions.reviewed.com/news...execs-sweating
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Thank you Don Pardo.
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TV Sports/TV Notes
The NFL Wants Its Super Bowl Halftime Performer to Pay
By Lindsey Weber, Vulture.com (New York Magazine) - Aug. 19, 2014

On the one hand, when artists play the highly watched Super Bowl, they stand to get a huge bump in not only album sales but ticket sales for their tours. On the other hand, the NFL has never asked for money before. For the first year in history, The Wall Street Journal reports, the NFL is asking artists (or record labels, rather) to pay for the privilege of headlining the 2015 Super Bowl.

They've put out the request to their top three choices: Rihanna, Coldplay, and Katy Perry — who, unsurprisingly, aren't thrilled. "The pay-to-play suggestion got a chilly reception from the candidates' representatives." If they won't pay, the NFL is asking whether the musicians "would be willing to contribute a portion of their post-Super Bowl tour income to the league." A pop star layaway program, you could say.

Meanwhile, the amount of money the NFL is asking remains undecided, but I'm sure Katy Perry would be happy to sing the "Are You Ready for Some Football?" song.

http://www.vulture.com/2014/08/nfl-w...ure+Inbound%29
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TV Notes
On The Air Tonight
WEDNESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - The Middle
(R - Mar. 12)
8:30PM - The Goldbergs
(R - Apr. 29)
9PM - Modern Family
(R - Oct. 23)
9:31PM - Modern Family
(R - Jan. 8)
10PM - Motive
* * * *
11:35PM - Jimmy Kimmel Live! (Ted Danson; Eva Green; Jake Owen performs)
(R - Aug. 5)
12:37AM - Nightline

CBS:
8PM - Big Brother
9PM - Extant
10PM - Extant
* * * *
11:35PM - Late Show with David Letterman (Kathy Griffin; documentarian Ken Burns; Jeremy Messersmith performs)
12:37AM - Late Show with Craig Ferguson (Ricky Gervais; Keb Mo performs)
(R - Jun. 6)

NBC:
8PM - America's Got Talent: Cutdown
9PM - America's Got Talent: Results (LIVE)
10PM - Taxi Brooklyn
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Jared Leto; Amy Brenneman; Thirty Seconds to Mars performs; Tom Bailey sits in with The Roots)
12:36AM - Late Night with Seth Meyers (Regis Philbin; TV host John Henson; Broods perform)
(R - Jul. 16)
1:37AM - Last Call with Carson Daly (Author Veronica Roth; The Preatures perform; band MisterWives)
(R - Mar. 25)

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

PBS:
(check your local listing for starting time/programming)
8PM - Nature - Echo: An Elephant to Remember (Oct. 17, 2010)
9PM - NOVA - Finding Life Beyond Earth: Are We Alone?
(R - Oct. 19, 2011)
10PM - Hawking
(R - Jan. 19)

UNIVISION:
8PM - Mi Corazón Es Tuyo
9PM - Hasta El Final del Mundo
(R)
10PM - Qué Pobres Tan Ricos

THE CW:
8PM - Penn & Teller: Fool Us
9PM - The 100
(R - May 14)

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

TBS:
11PM - Conan (Pierce Brosnan; Jaime King; comic Hampton Yount)

E!:
11PM - Chelsea Lately (Loni Love)
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TV Review
Fighting Crime and Pain of Loss
In ‘Happy Valley,’ a Woman’s on the Case
By Mike Hale, The New York Times - Aug. 20, 2013

On PBS, which is still America’s main source of televised British crime shows, a glance at the current “Masterpiece Mystery!” schedule reveals a boy’s club: Inspector Lewis, Detective Constable Morse, Hercule Poirot, David Tennant as a tricky lawyer, Jack Davenport as a crusading doctor.

Only good old Miss Marple pushes back against this male tide.

Yet British television is full of female coppers. To find them, go online. The current season of “Vera,” starring Brenda Blethyn, is exclusive to Acorn. Seasons of “Scott & Bailey” and the long-running favorite “New Tricks” are available on Hulu and Amazon. The latest addition to this roster is “Happy Valley,” a hit this year in Britain whose six episodes becomes available for streaming on Netflix on Wednesday. It was created for the BBC by Sally Wainwright, who also created “Scott & Bailey” for ITV, giving her successful shows about crime-solving women on Britain’s two primary TV networks.

“Happy Valley” is, more than anything, a tour de force for its star, Sarah Lancashire, a veteran actress best known for her 13-year stint on the nighttime soap opera “Coronation Street.”

On PBS, which is still America’s main source of televised British crime shows, a glance at the current “Masterpiece Mystery!” schedule reveals a boy’s club: Inspector Lewis, Detective Constable Morse, Hercule Poirot, David Tennant as a tricky lawyer, Jack Davenport as a crusading doctor.

Only good old Miss Marple pushes back against this male tide.

Yet British television is full of female coppers. To find them, go online. The current season of “Vera,” starring Brenda Blethyn, is exclusive to Acorn. Seasons of “Scott & Bailey” and the long-running favorite “New Tricks” are available on Hulu and Amazon. The latest addition to this roster is “Happy Valley,” a hit this year in Britain whose six episodes becomes available for streaming on Netflix on Wednesday. It was created for the BBC by Sally Wainwright, who also created “Scott & Bailey” for ITV, giving her successful shows about crime-solving women on Britain’s two primary TV networks.

“Happy Valley” is, more than anything, a tour de force for its star, Sarah Lancashire, a veteran actress best known for her 13-year stint on the nighttime soap opera “Coronation Street.”

HAPPY VALLEY
Available for streaming on Netflix.


http://www.nytimes.com/2014/08/20/ar...ref=television
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TV Notes
'Intruders' makes immortality a conspiracy
By Brian Truitt, USA Today - Aug. 19, 2014

The stars of Intruders are starting to feel more like "intriguers."

The eight-episode BBC America series (Saturday, 10 p.m. ET/PT) is chock full of secrets and mysteries, from Mira Sorvino playing two versions of the same character to James Frain's ruthless assassin becoming someone else entirely later in the run.

And that's just the stuff they can talk about, which isn't much at all.

"All these characters are intertwined. We can't tell you how, but there's so much to come," Sorvino says.

The conceit of Intruders, written and executive-produced by Glen Morgan and based on Michael Marshall Smith's 2007 novel, is that a secret society called the Qui Revertiis devoted to finding immortality among its members by inhabiting the bodies of others.

Jack Whelan (John Simm) left behind his violent past as an L.A. cop and now lives in Washington state with wife Amy (Sorvino). An old high school friend (Tory Kittles) shows up out of nowhere, seeking Jack's help with a murder case, but Jack's life gets spun around when he discovers Amy has disappeared and finds strange text messages on her phone.

Whelan is the guy who leads viewers "by the hand into this crazy supernatural scary thing," Simms says. "Everything happens around him, and you find out as he finds out, and hopefully share his sense of incredulity and horror."

Morgan has been throwing audiences for a loop for more than 20 years — his resume includes The X-Files, Millennium, The Others, The River and the Final Destination movie series.

What was different about Intruders was its mix of horror and detective genres and its exploration of reincarnation, an interest Morgan's father passed on to him.

"Michael managed to take that topic and find a very adult, very smart, paranoid atmospheric thriller," Morgan says.

But only the first four episodes, directed by Eduardo Sanchez (The Blair Witch Project), stay close to the book — the last four veer off and were a pleasant surprise for the cast, Sorvino says.

Sanchez found certain aspects of the early scripts "frustratingly mysterious," but he says Morgan has created an array of enigmatic parts that keep you hooked. "If you're asked to explain what exactly is going on, you can't. But you are entertained."

Frain's Richard Shepherd is a shady killer "just wasting fools left and right" in the first episode. Who he's aligned with is anyone's guess at first, but early on "you see the first inkling of a human being behind this monstrous presence," he says. "How he relates to the other characters is quite profound."

It's Sorvino, though, who must be the most secretive because of the twists involving Amy later in the series. "The range of the role is really extraordinary — it goes from vulnerable broken-wing bird to Machiavellian and passionate and full of hubris," she says.

Sorvino feels there's a relevant theme in Intruders with the idea of "the one percent...the power elite of the world that controls and knows things none of the rest of us know. That could be a very real reality, even though in our story it has supernatural proportions."

She also was interested in showing different sides of characters, and for Morgan it's a metaphor for anyone having another soul or person inside of them.

"When you're having a fight with your significant other and you go, 'Who's this? It's an intruder.' Or when you look in the mirror and you go, 'Why did I say that? Oh, it had to be an intruder,' " Morgan says.

"And to be able to talk about eternity and eternal love and what happens when you go, that topic never strays from interest."

http://www.usatoday.com/story/life/t...ries/14017343/
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TV/Business Notes
DirecTV, Dish Network to vie for political cash with customized ads
By Meg James, Los Angeles Times' 'Company Town' Blog - Aug. 19, 2014

Satellite TV giants DirecTV and Dish Network are looking for a landslide this fall — in political dollars.

For the first time, satellite broadcasters will be jockeying with other media outlets for a share of political spending that could top $3 billion this year. They've historically been shut out of the avalanche of campaign cash because their commercials were directed to a national audience, and didn't have the local reach of TV and radio stations.

"Broadcasters have had this market to themselves because they could offer that local reach," said Warren Schlichting, Dish's senior vice president of media sales. "But we think we've built a better mousetrap."

DirecTV and Dish are using digital technology to match voter registration information with subscriber homes, and are now offering political campaigns the ability to send targeted ads to select households. For example, politically conservative satellite customers might see a TV commercial for a Republican candidate, while their liberal neighbor gets an ad for a Democrat.

Until recently, there weren't enough homes that received digital TV transmissions to make customized ads economically feasible on a large scale.

But with more than 55 million homes now equipped with DVRs, pay-TV companies increasingly are experimenting with so-called addressable advertising. Internet giants already use the technology to tailor their advertisements, and cable companies, including Comcast, have been offering political campaigns localized buys. But now it's coming to satellite television.

"This really revolutionizes the way that TV ads can be purchased," said Keith Kazerman, DirecTV's senior vice president of ad sales. "And when ads are more relevant to consumers, they are more likely to pay closer attention to the message."

DirecTV and Dish this year formed a partnership called D2 Media Sales to sell targeted spots to candidates and ballot measure organizers. The partnership represents the nation's "largest household addressable TV advertising platform," the companies said, with more than 20 million homes.

Working with a handful of consulting firms, the two satellite giants now have access to databases containing voter information on 190 million people. That trove of data enables them to create a new sales pitch: transmit ads into the homes of partisan voters, frequent voters and swing voters, in specific states.

D2 Media Sales struck a partnership in June with the Arlington, Va., political firm i360, which focuses on targeting Republican and conservative voters. Then, last week, D2 entered into a similar arrangement with Clarity Campaign Labs and TargetSmart Communications, left-leaning data firms that help campaigns mine Democratic National Committee voter databases.

Politicians across the country have been eager to use data analytics after President Obama's 2012 reelection.

His campaign team applied analytics to hunt for potential voters who were most likely to be in sync with Obama on the issues. They also hired data firms, including the Oregon-based measurement company Rentrak, to provide TV ratings to help decipher what programs these voters might watch.

Rentrak recommended buying time in TV programs that were ignored by other politicians, such as old reruns that ran late at night on the TV Land cable channel. Obama's campaign bought commercial time on niche cable entertainment channels, rather than depend primarily on news programs on Fox News, CNN, MSNBC and local TV stations.

"The reality is that you are going to find the hard-to-reach voters somewhere else," said Chris Wilson, Rentrak's president of national television.

Campaigns no longer want to spend most of their budget on ads to galvanize their base. Loyal supporters already are motivated to show up at the polls and vote for a particular candidate, so the trick increasingly is finding and winning over the "persuadable" voters.

"The Obama campaign was really the first to really execute on that strategy using our data," Wilson said. "And now others are trying to find high concentrations of these persuadable voters and targeting them."

Michael Palmer, president of i360, called the method "focused research."

"Instead of hitting everybody, including the people who won't vote, or won't vote the way we'd like them to, we focus the ads and the dollars on just the voters that candidates want to persuade," Palmer said.

Advances in technology that enable tailored ads coincided with an explosion of campaign cash. Changes in election laws, including the landmark Citizens United decision in 2010, which gave corporations the green light to spend freely, opened the floodgates. TV outlets have been raking in hundreds of millions of dollars more than in years past.

Nearly $6.3 billion was spent on U.S. election campaigns in 2012, which represented a $1-billion increase from 2008, according to the Center for Responsive Politics. Congressional candidates collectively spent nearly $3.7 billion two years ago. Totals include advertising, overhead and other campaign expenditures reported to the Federal Election Commission.

"It's just so much easier to spend money in politics than it was in the past," said Travis Ridout, a Washington State University professor and co-director of the Wesleyan Media Project, which tracks campaign spending.

"There has been enormous growth in outside groups getting involved — and actually influencing the political agenda and the media — in some instances more than the candidates themselves," Ridout said.

Campaign consultants have long mined public information on voters kept by county election supervisors. They used that information to generate mailing lists to flood voters' mailboxes with campaign literature. Tailored TV ads are expected to supplement those direct-mail campaign fliers.

The DirecTV and Dish initiative is offering its service on statewide levels, but in future years could offer politicians more segmented regions, such as individual counties or congressional districts.

Consultants and ad executives say the technology enables campaigns to save money by sending ads to a narrower group of voters.

"This really is just the beginning of what is going to be an increase in data-driven advertising strategies used by campaigns across the country," Palmer said.

Campaigns also are employing analytics to suss out the issues that are important to voters they are trying to persuade — as Obama did in 2012. Young adults might be hit with ads that focus on education or the environment. Older viewers might see messages about a candidate's position on security issues or Social Security.

"If they are a satellite TV subscriber, then we can send an ad directly to their house," Schlichting said. "Just like in the past when people sent a mailer to your home. Now we are mailing a 30-second spot directly to a person's digital video recorder."

http://www.latimes.com/entertainment...ry.html#page=1
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Nielsen Notes (Cable)
FX’s ‘Partners’ Hits New Low, Back Order Unlikely
By Dominic Patten, Deadline.com - Aug. 19, 2014

Facing formidable preseason Monday Night Football on ESPN and a rising Hotel Hell on Fox last night, FX’s Partners fell to its lowest result yet last night. Make that limbo lows for the struggling Kelsey Grammer and Martin Lawrence sitcom. In its third week, the 10/90 series from Lionsgate TV and Debmar-Mercury drew just 380,000 total viewers for its 9 PM broadcast and 450,000 for its 9:30 PM airing. That’s a drop of 55% among total viewers from last week’s 9 PM show and 36% from the 9:30 PM. Among adults 18-49 Partners had 125,000 for its first show last night and 178,000 for its second. That’s a stone cold 72% drop from its 9PM August 11 airing and a 46% fall from last week’s 9:30 PM show.

With two back-to-back episodes a week since its August 4 debut, that 9 PM show was the fifth episode for Partners and hence halfway through the initial 10 episodes that have to meet a ratings threshold in order for FX to pick the show up for a further 90 under the model employed successfully by Lionsgate and Debmar-Mercury’s Anger Management back in June 2012.

http://deadline.com/2014/08/fxs-part...likely-821625/

* * * *

Nielsen Notes (Cable)
FXX’s ‘Wilfred’ Series Finale Hits Season High

After four seasons, it really was all about a man and a degenerate dog and a big reveal teased in the very first show. Hitting a season high for its last 10-episode run, the August 13 series finale of Wilfred was a long way from its 2011 debut. For one thing, the series starring Elijah Wood and Jason Gann started on FX and ended on FXX. For another, Wilfred’s debuted to 2.5 million viewers on June 25, 2011, and ended its first season that September 8 with a total audience of 900,000.

This year on its new home, the comedy based on Gann’s two-season Australian series launched its final season June 25 to 242,000 total viewers and 195,000 among the 18-49 demo, according to Live+3 ratings. After an original lead-in, Wilfred’s last show at 10:30 PM August 13 had 250,000 total viewers in Live+Same Day. That number went up 61% to 404,000 in Live+3. In terms of the key demo, Wilfred’s last show had a strong turnout of 323,000 in DVR’d results – also a season high for the series.

http://deadline.com/2014/08/wilfred-...n-gann-821862/
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Nielsen Notes (Cable)
Discovery’s ‘Shark Week’ Sets Ratings Record Among Women, Tops All of TV in Young Men
By Rick Kissell, Variety.com - Aug. 19, 2014

Discovery’s Shark Week has made its biggest ratings splash yet in several key ratings categories, including a first-place finish among all networks — broadcast and cable — in men under 50.

The 27th edition of Shark Week (Aug. 10-16) became the most-watched ever for the event in women 18-49 (639,000), women 25-54 (621,000) and adults 25-54 (1.4 million), according to Nielsen’s “live plus same-day” estimates. The women 18-49 total is also the highest ever for any week in Discovery history.

During the seven-day stretch, Discovery had six of the top 10 ad-supported cable originals among adults 18-49, adults 25-54 and men 25-54 and eight of the top 10 among men 18-49.

For the week of Aug. 11-17 (which included the final six nights of the event), Discovery was the No. 1 primetime cable network in adults 18-49 (1.17 million), adults 25-54 (also 1.17 million) and adults 18-34 (540,000). And in men 18-49, its 636,000 made it the No. 1 network on all of television.

Overall, a cume audience of more than 42 million tuned into the network during Shark Week — third best all-time for the event, behind only 2010 and 2013. The average audience during any minute was 2.48 million, according to Nielsen.

The biggest draw during Shark Week was the opening night movie “Shark of Darkness: Wrath of Submarine,” which averaged 3.83 million viewers, including 2.38 million adults 18-49. It ranks as the No. 1 non-sports cable telecast of the third quarter in men 18-49 and 25-54.

Also scoring big were Monday’s hourlongs “Monster Hammerhead” (3.45 million; 1.93 million adults 18-49) and “Jaws Strike Back” (3.41 million, including 2 million adults 18-49) and Tuesday’s “Alien Sharks: Return of the Abyss” (3.11 million; 1.82 million adults 18-49) and “Lair of the Mega Shark” (2.78 million; 1.64 million adults 18-49).

The return of Shark Week’s latenight talkshow, “Shark After Dark,” was up 3% from last year and outrated cable competitors including Comedy Central’s “The Daily Show With Jon Stewart,” TBS’ “Conan” and HBO’s “Last Week Tonight With John Oliver.”

Shark Week stood as Discovery Channel’s most social programming event to date. On Facebook, 13 million people had more than 21 million interactions around Shark Week content, a 110% increase from last year’s event. Ten premiere telecasts during Shark Week ranked in the Daily Top 5 on Nielsen’s SocialGuide throughout the week and generated 70 primetime Trending Topics on Twitter over 7 days.

On SharkWeek.com, video streams were up 16% vs. 2013, while page views saw a 76% increase, marking the strongest year ever online.

http://variety.com/2014/tv/ratings/d...en-1201286183/
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TV Sports/Nielsen Notes (Cable)
NBC Sports Group's Premier League Soccer Season Kicks Off to U.S. Ratings Record
By Khalil Garriott and Tony Maglio, TheWrap.com - Aug. 19, 2014

American soccer fans are looking for their fix after the 2014 World Cup, leaving NBC Sports Group to reap the ratings rewards.

A U.S. record 3.3 million people tuned in to NBC Sports Group's opening weekend of Premier League coverage — featuring England's best club teams – NBC said Tuesday. Last year, the opening Premier League weekend pulled in 3.2 million, three percent fewer viewers.

It wasn't just the weekend's total audience that set a record for NBC Sports — several other benchmarks were reached throughout the weekend: Arsenal's 2-1 win over Crystal Palace on Saturday was the most-watched opening weekend match in U.S. history, up 12 percent from 2013's Swansea City-Manchester United game.

Also, Sunday's Newcastle-Manchester City match on NBCSN averaged 514,000 viewers, topping the previous cable record, owned by ESPN (Aug. 18, 2012's 476,000 viewers).

The five games on NBC and NBC Sports Network averaged 545,000 viewers – up 23 percent from last year (443,000); the four that aired on cable also set an opening-weekend mark on that realm.

In the digital world, fans streamed more than 8.9 million minutes of action – tops for a Premier League weekend – via NBC Sports Live Extra, the live-streaming product for desktops, mobile devices and tablets. That figure is a 56 percent increase from last year's (5.7 million minutes) debut weekend of the Premier League season.

Among major U.S. markets tuning in, Washington, D.C. ranked first, followed by Boston, Baltimore, West Palm Beach, Fla., and Chicago.

When coverage resumes this weekend with Aston Villa-Newcastle at 7:45 a.m. ET, NBC Sports Group is counting on the positive post-World Cup momentum to continue.

Here are the Top 15 markets from the weekend:

1. Washington, D.C.
2. Boston
3. Baltimore
4. West Palm Beach
5. Chicago
6. Las Vegas
7. Norfolk
8. Providence
9. Seattle
10. Sacramento
11. New Haven
12. Dallas
13. Philadelphia
14. New Orleans
15. Denver

http://www.thewrap.com/nbc-sports-gr...atings-record/

* * * *

Nielsen Notes (Cable)
Cinemax's ‘The Knick’ Ratings Climb in Second Week
By Tim Kenneally, TheWrap.com - Aug. 19, 2014

“The Knick” is showing definite signs of ratings health.

The Cinemax series, which stars Clive Owen as a drug-dependent doctor in 1900, grew appreciably in the ratings with its second episode Friday night.

The second episode of the series drew nearly 600,000 viewers on Friday night — an 18 percent bump over the series’ premiere.

In other news, HBO's “The Leftovers” on Sunday night grabbed 1,636,000 total viewers — its best showing since its June premiere, which drew 1.8 million. Across two airings, the series — from “Lost Alum” Damon Lindelof – accumulated 1.9 million total viewers.

http://www.thewrap.com/cinemaxs-the-...n-second-week/
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TV Sports/Nielsen Notes (Cable)
FXX to air every 'Simpsons' episode ever
By Maria Sciullo, Pittsburgh Post-Gazette - Aug. 20, 2014

FXX is running a marathon of every “The Simpsons” episodes ever? (Tent fingertips together and reply in a sinister Mr. Burns voice): “Excellent....”

From 10 a.m. Thursday until the close of Labor Day, the venerable animated Fox comedy series will air all of its episodes in chronological order, as well as feature film “The Simpsons Movie” (D’oh!).

Each day during the “Every.Simpsons.Ever.” event, the Post-Gazette will be highlighting a Springfield Moment. It might be a memorable quote or the citation of the start of a series-long running gag. With 552 episodes from which to choose, there’s no way of saying which episodes are the best ever, but let this be your brief glimpse into the weird, the historic, the Homeric humor of “unexplained bacon.”

Matt Groening’s creation began life as a short recurring feature on “The Tracey Ullman Show” in 1987. It was picked up by Fox as a regular series in 1989 and, 25 seasons later, remains a pop culture icon.

When the marathon is over, FXX will air “The Simpsons” in a regular time slot. The network also plans shorter marathons, starting with the eminently binge-worthy 24 half-hour installments of “Treehouse of Horror” Oct. 26.

The “Simpsons World” app also launches in October. Verified users will be able to watch any episode, accessing scenes, quotes, art and social media links.

http://www.post-gazette.com/ae/tv-ra...s/201408200011
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Emmy/Critics' Notes
Who Should Win in the Drama Races?
By Margaret Lyons and Brian Steinberg, Vulture.com (New York Magazine) - Aug. 19, 2014

The 66th Emmy Awards are next Monday (yep, Monday), and all this week, Vulture will be breaking down the major categories. Instead of giving our predictions for which shows and actors will take home awards, let’s focus on the question that matters more: Who should win? We’ve already tackled the comedy races. Today, we focus on drama.

Outstanding Actor
Bryan Cranston, Breaking Bad
Jon Hamm, Mad Men
Matthew McConaughey, True Detective
Woody Harrelson, True Detective
Kevin Spacey, House of Cards
Jeff Daniels, The Newsroom


Trusting that Jon Hamm will see his day for the final run of Mad Men episodes next year (seriously, it can’t not happen), and not discounting the tremendous work of Woody Harrelson, this race comes down to Bryan Cranston’s carefully calibrated performance in “Ozymandias” and Matthew McConaughey’s showdown with the abyss in the finale of True Detective. Either would be a worthy choice for voters (no matter whether or not you think the latter deserves to compete against a continuing series). Cranston’s already won three times in this category, so we say let the McConaissance continue. Matthew McConaughey for all the awards!

Outstanding Actress
Claire Danes, Homeland
Lizzy Caplan, Masters of Sex
Michelle Dockery, Downton Abbey
Julianna Margulies, The Good Wife
Kerry Washington, Scandal
Robin Wright, House of Cards


This is not a banner year for this category; the Tatiana Maslany and Elisabeth Moss snubs still chafe, and each character in this category is defined by her relationship with a man far more than their male counterparts are defined by their relationships with women. Claire Danes won the last two years, but this season of Homeland was such a letdown that it's hard to want to reward any part of it; Robin Wright just didn't have a lot to do on this season of HOC other than facilitate some sensuous bodyguard hookup time. Maybe it's time for another Julianna Margulies win.

Outstanding Supporting Actor
Jim Carter, Downton Abbey
Peter Dinklage, Game of Thrones
Aaron Paul, Breaking Bad
Mandy Patinkin, Homeland
Josh Charles, The Good Wife
Jon Voight, Ray Donovan


No problem if Josh Charles sneaks in a surprise win here for seething his way through heartbreak in “Hitting the Fan,” but Peter Dinklage seethed just a bit harder during the trial of Tyrion Lannister. You’d think sentencing Tyrion to the bowels of King’s Landing might mean less action for the smartest man in Westeros. Not so! Peter Dinklage won the Emmy for season one’s “Baelor,” in which Tyrion met Shae and told her the hideous story of his first marriage, and three seasons later, that relationship has gone to ****. Shae betrays Tyrion in the worst way, and Dinklage summons up the hellfire in his belly to throw down with the entire screwed-up court system. It's almost scary.

Outstanding Supporting Actress
Anna Gunn, Breaking Bad
Maggie Smith, Downton Abbey
Christine Baranski, The Good Wife
Christina Hendricks, Mad Men
Lena Headey, Game of Thrones
Joanne Froggatt, Downton Abbey


It's a crime that no Mad Men performer has won an Emmy for his or her work, which is among the reasons to root for Christina Hendricks. But this wasn't a major year for Joan. (Sorry, Bob Benson.) This was, however, a major year for Cersei Lannister, and Lena Headey was more than up to the task. There's a fullness to Headey's performance — it's very easy to see and understand Cersei as a dangerous puppetmaster, a grieving mother, an abuse survivor, a political power-player, a dismissed daughter, and vengeful sister all at once. It's a very complete portrait.

Outstanding Writing, Drama
Breaking Bad, “Ozymandias,” Moira Walley-Beckett
Breaking Bad, “Felina,” Vince Gilligan
Game of Thrones, “The Children," David Benioff and D.B. Weiss
House of Cards, “Chapter 14,” Beau Willimon
True Detective, “The Secret Fate of All Life,” Nic Pizzolatto


“Ozymandias” is Breaking Bad’s true climax, beginning with a flashback to calmer times for Walt and Jesse in the desert and coming back to Hank’s summary execution — and that’s just the jumping-off point. The wreckage quickly snowballs: Walt tries to grab his family and run, but Skyler fights him off at knifepoint. Walt kidnaps their daughter Holly. And then there’s the phone call, perhaps Walt’s greatest performance yet absolving Skyler of any crimes but brimming with real resentment. Even series boss Vince Gilligan said it was “the best episode we ever had or ever will have.” A devastating gut-punch built on five seasons of story. None of the other contenders — not even the Breaking Bad finale itself — come close.

Outstanding directing for a drama series

Boardwalk Empire, "Farewell Daddy Blues," Tim Van Patten
Breaking Bad, "Felina," Vince Gilligan
Downton Abbey, "Episode 1," David Evans)
Game of Thrones, "The Watchers on the Wall," Neil Marshall)
House of Cards, "Chapter 14," Carl Franklin
True Detective, "Who Goes There," Cary Joji Fukunaga


It's the one with the six-minute tracking shot. Cary Fukunaga all the way.

Outstanding Drama

Breaking Bad

Downton Abbey

Game of Thrones

True Detective

House of Cards

Mad Men


True Detective certainly impressed a lot of people this season, Game of Thrones went all out for its annual battle episode, and Mad Men gave us a severed nipple. But Breaking Bad deserves one last prize for its final season. The show's final arc was devastating, fascinating, surprising, and complete, somehow achieving what feels like an impossible task these days: ending a series well.

http://www.vulture.com/2014/08/emmys...hould-win.html
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