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post #96601 of 98051 Old 09-04-2014, 11:33 PM
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Obituary
Joan Rivers, Legendary Comedienne, Dies at 81
By Duane Byrne and Mike Barnes, The Hollywood Reporter - Sep. 4, 2014

Joan Rivers, the blunt, tart-tongued celebrity and talk show host who reconstructed her career time and time again en route to becoming one of the most memorable female comics of all time, has died. She was 81.

The breakthrough standup comic, writer, actress, fashion critic, red-carpet doyenne, gossip and businesswoman died Thursday at 1:17 p.m. local time at Mount Sinai Hospital in New York, her daughter Melissa announced. She was rushed there Aug. 28 and placed on life support after she suffered from respiratory and cardiac arrest during surgery on her vocal cords in a doctor's office.

"My mother’s greatest joy in life was to make people laugh. Although that is difficult to do right now, I know her final wish would be that we return to laughing soon," Melissa Rivers stated.

Can we talk? Starting out as a gag writer, the Brooklyn native poked fun at her fondness for plastic surgery, never pulled a punch in a bid for a laugh and insulted just about everyone — no one was off-limits — to forge an impressive, and somewhat notorious, show business legacy.

Johnny Carson designated her as the first permanent guest host for The Tonight Show, and she stood in for him from 1983-86. But when Rivers signed with the then-fledgling Fox network to host The Late Show — a groundbreaking move for a woman — and thus go opposite Carson, he considered it an act of betrayal and refused to speak to her again.

“The first person I called was Johnny, and he hung up on me — and never, ever spoke to me again,” she told The Hollywood Reporter in December 2012, “and then denied that I called him. I couldn’t figure it out. I would see him in a restaurant and go over and say hello. He wouldn’t talk to me.”

Ironically, Rivers was a help to Carson when he was entertaining an idea to leave The Tonight Show in the early 1980s to start a late-night franchise at ABC.

According to a 2013 memoir by Carson’s former lawyer Henry Bushkin, Rivers and her husband Edgar Rosenberg hosted a clandestine meeting in their Beverly Hills home in which ABC execs pitched Carson on the move.

“I know this is top secret **** you guys are going over,” she says in the book. “I let all the staff off. No one else is in the place, so feel free to talk about your secrets — how much Barbara Walters makes, how much you have to pay plastic surgeons to keep Joan Collins’ boobs off the floor.”

After her Fox show plunged in the ratings and was canceled after just eight months, she hosted the syndicated Joan Rivers Show for five years and won an Daytime Emmy in 1990. She did not return to The Tonight Show until February, for Jimmy Fallon’s debut.

In 1987, a few months after the end of The Late Show, Rosenberg, who managed her career and produced her Fox show, committed suicide.

Rivers and Melissa in 1994 began hosting E! Entertainment’s red carpet show for the Golden Globes, and that led to their Fashion Police specials for the network. In 2004, she signed a lucrative three-year deal to cover carpets for the TV Guide Channel.

Rivers returned to E! for the reboot of Fashion Police as a half-hour series (and recently got into a messy tiff with the WGA over the non-union show). She and Melissa later starred in the reality series Joan and Melissa: Joan Knows Best?

She launched a TV Land reality series in 2009, How'd You Get So Rich?, a glimpse at the personal world of self-made multimillionaires. Her ancillary endeavors were vast: She launched the Joan Rivers Classics Collection of Jewelry on QVC in 1990 and a line of beauty products in 2000, including her signature fragrance, Now and Forever.

The revealing 2010 documentary Joan Rivers: A Piece of Work followed her around for 14 months, around the time she emerged victorious on Donald Trump’s Celebrity Apprentice.

More recently, Rivers guest-starred as herself on the FX plastic surgery drama Nip/Tuck, had sex with Louis C.K. on a 2011 episode on Louie and worked in the movies The Smurfs and Iron Man 3.

She was born Joan Alexandra Molinsky on June 8, 1933, in Brooklyn, the daughter of Russian-Jewish refugees. Rivers became interested in performing and at age 11, she sent her photograph to MGM.

Rivers attended the Adelphi Academy preparatory school in Brooklyn, and after graduation, landed a role as a teenager in the crowd in the 1951 movie Mister Universe. She attended Connecticut College for Women and, later, Barnard College, where she studied English and anthropology and graduated Phi Beta Kappa in 1954.

Rivers got a job in the shoe department at Lord & Taylor and progressed to fashion coordinator of Bond clothing stores. But she decided to pursue acting and appeared in a play titled Seawood on the Upper East Side of Manhattan as a knife-wielding lesbian with a crush on a character played by a then-unknown Barbra Streisand.

She gained exposure in Broadway USA, a 1960 show for the USO, and landed a gig with the Chicago-based improvisational acting troupe Second City, where she honed her now-familiar character of a neurotic Jewish woman. She returned to New York in 1962 and performed at such clubs as The Bitter End; started a comedy tour with Jim Connell and Jake Holmes; and signed a long-term, solo performance deal with a club called The Duplex.

In 1965, she landed a gig as a gag writer/participant on CBS’ Candid Camera and appeared for the first time on The Tonight Show, then hosted by Jack Paar. Later, she made appearances on The Ed Sullivan Show and other talk/variety shows.

Her contemporaries when she was starting out included Woody Allen, George Carlin, Richard Pryor, Bill Cosby, Rodney Dangerfield and Dick Cavett.

“Everybody broke through ahead of me,” she told THR. “I was the last one in the group to break through, or to be allowed to break through. Looking back, I think it was because I was a woman. Because in those days, they would come down to the Village and look at you for Johnny Carson. I was the very last one of the group they put on the Carson show.”

Rivers wrote and directed the 1978 feature comedy Rabbit Test, starring Billy Crystal as man who gets pregnant.

She voiced the baby in the John Travolta-Kirstie Alley box-office hit Look Who’s Talking (1989) and was heard in Mel Brooks’ Spaceballs (1987) as a character called Dot Matrix. She also appeared in such films as The Swimmer (1969), The Muppets Take Manhattan (1984), Serial Mom (1994), Goosed (1999) and Shrek 2 (2004) and on the TV series Suddenly Susan, Curb Your Enthusiasm, The Simpsons and Hot in Cleveland.

For the stage, she co-wrote and starred in Joan Rivers: A Work in Progress by a Life in Progress at The Geffen Playhouse in Westwood. It later had successful runs in Edinburgh and London. And she released comedy albums, including the Grammy-nominated What Becomes a Semi-Legend Most? in 1997.

In 1984, she penned The Life and Hard Times of Heidi Abromowitz, a New York Times best-seller based largely on her comic persona. Her other books included Men Are Stupid and They Like Big Boobs and Murder at the Academy Awards: A Red Carpet Murder Mystery.

“If there is a secret to being a comedian, it’s just loving what you do,” she told THR in 2012. “It is my drug of choice. I don’t need real drugs. I don’t need liquor. It’s the joy that I get performing. That is my rush. I get it nowhere else.

“What pleasure you feel when you’ve kept people happy for an hour and a half. They’ve forgotten their troubles. It’s great. There’s nothing like it in the world. When everybody’s laughing, it’s a party. And then you get a check at the end. That’s very nice.”

Survivors also include her grandson Cooper.

http://www.hollywoodreporter.com/new...edienne-728845
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post #96602 of 98051 Old 09-04-2014, 11:35 PM
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WEDNESDAY'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 #96603 of 98051 Old 09-04-2014, 11:40 PM
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Nielsen Overnights (18-49)
A finale surge for ‘So You Think You Can Dance’
Fox reality show averages a 1.3 in 18-49s, up 18 percent over last week
By Toni Fitzgerald, Media Life Magazine - Sep. 4, 2014

The season finale of Fox’s “So You Think You Can Dance” boogied to better numbers than last week.

In fact, the show hit a two-month high.

“Dance” averaged a 1.3 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, jumping 18 percent over last week.

The show drew its best rating since July 2, though it was down a tenth from last year’s season finale.

Elsewhere Wednesday, CBS’s “Big Brother” was the night’s top show with a 2.2 at 8 p.m., off a tenth from last week.

At 10 p.m., CBS’s “Extant” was even to last week’s series low with a 1.0.

NBC’s 9 p.m. “America’s Got Talent” rebounded from last week’s season low, rising a tenth to a 1.9. That helped lead-out “Taxi Brooklyn” soar 29 percent from last week, to a 0.9.

The CW’s “Penn & Teller: Fool Us” hit a season-high 0.7 at 8 p.m.

CBS finished first for the night with a 1.4 18-49 rating and 5 share. NBC and Fox tied for second at 1.3/5, Univision and ABC tied for fourth with a 1.1/4, Telemundo was sixth with a 0.7/2, and the CW was seventh with a 0.5/2.

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.

CBS began the night in the lead with a 2.2 at 8 p.m. for “Brother,” while Fox was second with a 1.4 for “Dance.” Univision was third with a 1.3 for “Mi Corazon es Tuyo.” NBC placed fourth with a 1.1 for a repeat of “Talent,” ABC was fifth with a 1.0 for repeats of “The Goldbergs,” the CW sixth with a 0.7 for “Fool,” and Telemundo seventh with a 0.4 for “Reina de Corazones.”

NBC moved to first at 9 p.m. with a 1.9 for a new “Talent,” followed by Fox with a 1.4 for the second hour of “Dance.” Univision was third with a 1.2 for “Hasta el Fin del Mundo.” ABC and CBS tied for fourth with a 1.1 for repeats of “Goldbergs” and “Criminal Minds,” respectively. Telemundo placed sixth with a 0.6 for “En Otra Piel” and CW seventh with a 0.3 for a repeat of “The 100.”

At 10 p.m. ABC’s repeats of “Modern Family” and Telemundo’s “El Señor de los Cielos” tied for first with a 1.1 apiece, with CBS’s “Extant” and Univision’s “La Malquerida” tied for third at 1.0. NBC’s “Taxi Brooklyn” placed fifth with a 0.9.

Note: Household ratings were not available at press time.

http://www.medialifemagazine.com/fin...ink-can-dance/

* * * *

Nielsen Notes (Cable)
Cable overnights: TNT’s ‘Legends’ falls
By Media Life Magazine Staff - Sep. 4, 2014

The ratings for TNT’s new drama “Legends” aren’t living up to the show’s lofty name.

“Legends” drew 1.74 million total viewers Wednesday, according to Nielsen overnights, down 33 percent from its mid-August debut, which averaged 2.6 million.

In adults 18-49, it averaged 451,000 viewers, off 31 percent from the 658,000 it drew in its debut.

Wednesday’s top cable show in total viewers was History’s “American Pickers,” which averaged 3.2 million viewers. Fox News Channel’s “The O’Reilly Factor” was right behind with 2.96 million.

Among 18-49s, the top cable program on Wednesday was a repeat of “Family Guy” on Adult Swim that drew 1.53 million in the demo. In fact, the top seven shows were all repeats.

http://www.medialifemagazine.com/cab...legends-falls/
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post #96604 of 98051 Old 09-04-2014, 11:48 PM
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TV Notes
Supergirl TV Series in Works From Greg Berlanti, Warner Bros. TV
By Variety.com Staff - Sep. 4, 2014

Supergirl may be winging her way to the small screen.

Greg Berlanti is said to be developing a series focusing on the Supergirl character, a cousin of the Man of Steel in the DC Comics orbit. According to Deadline, Berlanti is working on a fresh take on Supergirl with Allison Adler, a writer who previously worked on Berlanti’s 2010 ABC drama “No Ordinary Family.”

Warner Bros. TV would not comment. Project is in the nascent stages and has yet to be shopped to networks. Berlanti has become DC’s go-to guy for TV adaptations, as he is shepherding the CW’s “Arrow” and the upcoming “The Flash” with Andrew Kreisberg and Marc Guggenheim.

Adler is also an alum of “Glee” who co-created the NBC comedy “The New Normal’ with Ryan Murphy.

http://variety.com/2014/tv/news/supe...tv-1201298289/
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post #96605 of 98051 Old 09-04-2014, 11:54 PM
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Technology Notes/TV Sports
NFL dials up digital blitz for 2014 season
By Jon Swartz, USA Today - Sep. 4, 2014

The NFL season kicks off tonight, so expect a torrent of TV programming and coverage in the traditional media.

Expect, too, an avalanche of digital content like never seen before. The newly christened digital network, NFL Now -- it boasts the largest digital library ever -- is part of a blitz onto mobile platforms unrivaled by any major sports league.

With video consumption up 48% year over year, the NFL can't produce enough video for the masses – nor is it concerned about inundating the airwaves and Internet with its product.

"The second-screen (experience) fleshes out players" and connects them more closely to fans, Twitter CEO Dick Costolo said in a panel sponsored by the NFL in Seattle on Wednesday. "We're nowhere close to saturation" in the intersection of tech and pro football.

"You program for ubiquity," Costolo said.

With the NFL, it seems there never is enough when it comes to media.

Since its visionary commissioner Pete Rozelle firmly planted the NFL in the TV age, the league has adroitly used visual media to reach millions and displace baseball as America's pastime. From network TV, it plunged into cable (ESPN), satellite (DirecTV) and the Internet. It created its own network, the NFL Network, along the way.

The annual draft, combine, off-season practices and preseason have made the NFL the rarest of sport leagues: It literally is in the news year-round, creating an insatiable appetite for any information. But even during the season, only 40% of the digital consumption happens on game day, with 60% of the consumption taking place the rest of the week.

So when the NFL Now app debuted a few weeks ago, it not only boasted the largest digital library but established itself as the "next step in the evolution" of the league's use of media, NFL Commissioner Roger Goodell says.

Hundreds of hours of content is available for free via iOS- and Android-based smartphones and tablets, as well as Amazon Kindle Fire, Roku, Microsoft Xbox and others.

"There is so much pent-up demand," says Perkins Miller, chief digital officer of the NFL. "There is broad penetration in interest, far beyond millennials staring at their smartphones."

The NFL has packed plenty of content into its digital network – all 32 teams are providing behind-the-scenes interviews with players and videos from practice; there is breaking news and features from the NFL Media studios in Los Angeles; original, unscripted series Finding Giants and Undrafted; and digital video from the vaults of NFL Films, NFL Network and NFL.com.

A premium service, NFL Now Plus, offers 500 to 600 highlights a week, and programs like A Football Life are available. It costs $1.99 a month.

Indeed, fans will be able to customize the app according to their favorite teams and fantasy players — so a San Francisco 49ers fan living in Boston can view video of their favorite team and players. "Technology profoundly affects the way viewers consume content," said Brian Rolapp, executive vice president of NFL Media.

"The technology of (NFL Now) is remarkable," says Deion Sanders, the Hall of Fame cornerback. "There is no excuse for a player to not be great now, with so much great video available."

The technology focus extends to football gear, too.

New noise-canceling headsets from Bose let NFL coaches on the sidelines and in booths communicate from within the most raucous stadiums such as Seattle's CenturyLink Field and Denver's Sports Authority Field at Mile High, Bose CEO Bob Maresca says.

http://www.usatoday.com/story/tech/2...dell/15068521/
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post #96606 of 98051 Old 09-05-2014, 12:01 AM
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The 2014/15 Season
Diversity in Action, as Well as in Words
ABC Aims for Diversity with Shows Like ‘Black-ish’ and ‘Fresh Off the Boat’
By Bill Carter, The New York Times - Sep. 3, 2014

It seems like a parody put together by a coalition of the activist groups that have dogged television networks for years about their halfhearted (or less) commitment to presenting a range of racial and ethnic groups among their series:

On Wednesday, a black family comedy; on Friday, a Hispanic family comedy; in midseason, an Asian family comedy; on Thursday, an anticipated new drama starring a standout black actress; and all the way through, an assortment of show creators just as diverse as the casts.

This is ABC’s actual new-season plan, and it is not one of those developments that seem to sweep over television all at the same time. The other new-season entries are hardly a festival of nonwhite faces. (One notable exception: the critical favorite “Jane the Virgin” on CW.) CBS, for example, pressed for evidence of diversity among its continuing lead roles, could come up with only one name: Lucy Liu, a star of “Elementary.”

“We did go out with a mission this year to reflect America,” said Paul Lee, the head of programming for ABC. The network sent a message to show creators in every shade and range of ethnicity: Bring us a personal story about people like you.

The result is that medley of comedies: “Black-ish,” created by Kenya Barris and its star, Anthony Anderson, about a successful African-American dad trying to ensure that his increasingly homogenized kids don’t forget their heritage, a story straight from Mr. Barris’s own experience; “Cristela,” created by the comic Cristela Alonzo, about a Latino family that does not always celebrate a young woman’s ambitions, exactly what happened in the star’s own life; and “Fresh Off the Boat,” based on the chef Eddie Huang’s memoir about his Taiwanese family’s experiences after emigrating to the United States.

ABC’s big drama for fall, “How to Get Away With Murder” will look to duplicate the success of “Scandal” with another black female lead, Viola Davis. Shonda Rhimes, the network’s prolific show creator known for her diverse casts (starting with “Grey’s Anatomy”) is an executive producer of this one as well. And John Ridley, the Oscar-winning writer of “12 Years a Slave,” has created the midseason drama “American Crime,” which will be deeply immersed in a racially charged murder case.

Mr. Lee said ABC was doubling down on what has already been working. “We’ve championed faces like Sofia Vergara on ‘Modern Family’ and Kerry Washington on ‘Scandal’ for a long time,” he said. “But here we really made a concerted effort to bring in these show runners. It’s an exciting plate. It’s not just diverse, it’s extremely authentic.”

He referred to the emphasis the creators, especially of the comedies, are putting on stories from their own experiences. “The specificity is everything,” Mr. Lee said.

Often, shows with ethnic casts have pronounced themselves generic at heart. Mr. Barris of “Black-ish” said: “I didn’t want to tell a story about a family that happened to be black, but about a family that was actually black. I felt like race was being talked about less than ever, when I feel it should be talked about more.”

Not in confrontational ways, he said, but in the way it takes place in his own home, with his children and wife, who is a doctor like the wife on the show, played by Tracee Ellis Ross. Mr. Barris and Mr. Anderson, who were joined in the production by Larry Wilmore of “The Daily Show” (and soon “The Minority Report,” the coming successor on Comedy Central to “The Colbert Report”), pitched the show to many networks. Mr. Lee won them over “by convincing us that what he wanted was complete honesty,” Mr. Barris said.

Ms. Alonzo’s script was turned down at first, but she wound up making a presentation tape instead of a full pilot, one that demonstrated how the comedy could match her experience. Mr. Lee noted how moved he was to hear Ms. Alonzo’s family spent eight years as squatters in an abandoned Texas diner. “Her comedy is so completely in the moment,” he said. “That’s what we were looking for.”

The question is why ABC alone seemed to be comprehensive in seeking material like this. Mr. Barris noted that black Americans are among the heaviest media consumers in the country, and the demographic inroads by the Hispanic population are well known.

Robert Thompson, who teaches courses in television at the S. I. Newhouse School of Public Communications at Syracuse University, said: “It is amazing it has taken so long for television to figure some of these things out. Look at some of the biggest shows of all time: ‘Cosby’ and ‘Roots.’ Then it takes Shonda Rhimes to convince the networks that diversity might be a good business model.”

Ms. Alonzo echoed the sentiment. “It feels weird to say ABC is being so edgy by trying to show an accurate representation of our country,” she said. “They’ve been edgy by not being edgy, by being realistic.”

What could account for the apparent reluctance by some networks to make this kind of commitment? A former network program executive told a story about “The Bernie Mac Show,” a trenchant black comedy that ended its run on Fox in 2006. (Mr. Wilmore created it.) The executive, who has since left the network and asked not to be identified because he still works in TV, said the show’s run was curtailed because advertisers would not pay high rates for the lower-income viewers who were a part of its audience.

Mr. Lee dismissed that example as irrelevant to ABC. “Look at how valuable our shows like ‘Scandal’ are,” he said. “They sell all over the world.”

Mr. Barris noted that ABC could hardly have concerns about selling the “Black-ish” audience to advertisers, because “they put us on the schedule after the show with the top rates on television.” (“Black-ish” will play Wednesdays after “Modern Family.”) He added: “Hollywood is not about black and white. It’s about green. They know there is money to be made with this show.”

Not that ad rates are the only risk involved. Both Mr. Barris and Ms. Alonzo conceded they felt some pressure to reflect their ethnic groups accurately.

Ms. Alonzo said, “Nobody wants to fail and have people say: ‘Oh remember when they tried to do those shows about real people, and they didn’t work?’ ”

And Mr. Barris said, “I don’t want to let my people down, or comedy, down.”

The key to avoiding that is, of course, being funny. “The better the show, the better the chance of succeeding,” Mr. Lee said. “But if you can be lucky enough to reflect America when you do succeed, all the better.”

Reflecting America could impose other challenges. For any Hispanic series, Mr. Thompson said, the contentious issue of immigration is an unavoidable topic. “To not reference that issue would make the show look like a throwback to days when Gomer Pyle could be in the Marines in the 1960s and not mention Vietnam,” he said. (Ms. Alonzo said her show would cover all the topics a family might encounter.)

And then there is the seemingly intractable issue of racial conflict that played like ominous theme music to the summer. Mr. Barris said his show, for all its emphasis on being funny, could probably not ignore the undercurrents from events. “Look at what’s gone on in Ferguson and with Donald Sterling,” he said, referring to the protests after a policeman shot an unarmed black teenager in Ferguson, Mo., and to the owner of the Los Angeles Clippers, who was forced to sell the team following his racially charged comments.

“We’re trying to be a comedy that is funny,” Mr. Barris said, “but if while doing that, we can actually make people think about some things, that’s not something bad.” He added: “It’s a time when we really need to start looking at our country and saying as a country we are a lot of different parts but it’s the sum that makes us strong. That’s why diversity is such a perfect thing.”

http://www.nytimes.com/2014/09/07/ar...elevision&_r=0
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post #96607 of 98051 Old 09-05-2014, 12:11 AM
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TV Notes
On The Air Tonight
FRIDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - Stand Up to Cancer (LIVE)
9PM - Shark Tank
(R - Oct. 4)
10PM - 20/20
(R)
* * * *
11:35PM - Jimmy Kimmel Live! (Terry Bradshaw; Mike Smith, John Paul Tremblay and Robb Wells; The Kooks perform)
12:37AM - Nightline

CBS:
8PM - Stand Up to Cancer (LIVE)
9PM - Hawaii Five-0
(R - May 2)
10PM - Blue Bloods
(R - Apr. 6)
* * * *
11:35PM - Late Show with David Letterman (Tina Fey; comic Moody McCarthy; Kevin Drew performs)
12:37AM - Late Late Show with Craig Ferguson (Seth Green; writer Lynette Rice)

NBC:
8PM - Stand Up to Cancer (LIVE)
9PM - Dateline NBC
10PM - Saving Dr. Brantly: The Inside Story of a Medical Miracle (Special)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Claire Danes; Little League Baseball pitcher Mo'ne Davis; Fences and Macklemore perform)
12:36AM - Late Night with Seth Myers (Stephen Colbert; Amy Sedaris; TV personality Matthew Berry)
(R - Sep. 2)
1:37AM - Last Call with Carson Daly (Brett Gelman; Sir Sly performs; musical group Skaters)
(R - Apr. 23)

FOX:
8PM - Stand Up to Cancer (LIVE)
9PM - Bones
(R - May 12)

PBS:
(check your local listing for starting time/programming)
8PM - Washington Week with Gwen Ifill
8:30PM - Charlie Rose: The Week
9PM - Kehinde Wiley: An Economy of Grace
10PM - American Masters - Sister Rosetta Tharpe: The Godmother of Rock & Roll
(R - Feb. 22, 2013)

UNIVISION:
8PM - Mi Corazón Es Tuyo
9PM - Hasta El Fin del Mundo
10PM - La Malquerida

THE CW:
8PM - Masters of Illusion
8:30PM - Whose Line Is It Anyway?
(R - Jul. 14)
9PM - America's Next Top Model
(R - Sep. 1)

TELEMUNDO:
8PM - Reina De Corazones
9PM - En Otra Piel
10PM - El Señor de los Cielos
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post #96608 of 98051 Old 09-05-2014, 12:17 AM
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Washington/Business Notes
FCC Chairman Says Regulators May Need To Promote Broadband Competition
By David Lieberman, Deadline.com - Sep. 4, 2014

Look out cable operators: Most people only have two choices for broadband service — and when it comes to the speedy connections modern families need there’s “simply no competitive choice for most Americans,” FCC Chairman Tom Wheeler said today in a major speech. He wants to change that. And while he didn’t call for specific policy changes, he laid out a potential rationale for ambitious regulatory initiatives — a hot topic as the FCC considers ways to protect net neutrality, and deals for Comcast to buy Time Warner Cable and AT&T to buy DirecTV.

The FCC plans to boost its definition of “broadband” to services that offer download speeds of 10 Mbps, up from 4 Mbps. But Wheeler says that 25 Mbps “is fast becoming ‘table stakes’ in 21st century communications.” When families connect televisions, phones, computers, tablets and smartphones to the Web “it’s not hard to overwhelm 10 Mbps of bandwidth.”

Yet at 25 Mbps “three-quarters of American homes have no competitive choice for the essential infrastructure for 21st century economics and democracy. Included in that is almost 20% who have no service at all.” While most homes have access to 100 Mbps service, “it is not acceptable that more than 40% do not.”

What about phone company DSL services? They are “just not keeping up, and new DSL technologies, while helpful, are limited to short distances….Industry obervers believe cable’s advantage over DSL technololgies will continue for the foreseeable future.” Mobile also “is just not a full substitute for fixed broadband, especially given mobile pricing levels and limited data allowances.”

Wheeler says that the FCC will try to protect competition where it exists, and encourage it where it can. But it also will “shoulder the responsibility” to promote broadband competition where it “cannot be expected to exist.” He adds that “there is an inverse relationship between competition and the kind of broadband performance that consumers are increasingly demanding. This is not tolerable.”

That should justify a rejection of the Comcast-TWC deal, Consumers Union says. “Allowing Comcast to get even bigger and more powerful would chill the competition that the Chairman is seeking,” says Policy Counsel Delara Derakhshani. But BTIG’s Rich Greenfield says that the decision to define broadband at 10 Mbps instead of 25 Mbps “sounds positive for approval of Comcast/Time Warner Cable…..it does not sound like blocking the deal is a key part of the agenda.”

The National Cable & Telecommunications Association is more concerned that Wheeler might use today’s arguments to support reclassifying the Internet as a heavily regulated communications service instead of a lightly regulated information service. If he did that, then it would “stifle further competition and investment in the broadband marketplace…Under the light-touch regulatory regime that has been in place for almost two decades, the cable industry has invested over $210 billion since 1996 to build robust, next generation broadband networks that are available to 93% of American consumers.” The industry “is committed to meeting consumer demand for a world class Internet experience and competing in the marketplace with all wired and wireless Internet providers.”

http://deadline.com/2014/09/fcc-broa...heeler-829096/
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post #96609 of 98051 Old 09-05-2014, 12:24 AM
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TV Sports
Pam Oliver Breaks Silence on Being Replaced by Erin Andrews on Fox Sports Sidelines
By Debbie Emery, TheWrap.com - Sep. 4, 2014

When Fox kicks off its NFL coverage on Sunday, Pam Oliver will not be in the prime role that she has held for almost two decades.

The 53-year-old sports reporter has been replaced from her usual spot on the field by “Dancing With the Stars” co-host Erin Andrews, with Oliver being moved to the number two Fox team with Kevin Burkhardt and John Lynch.

The official announcement sent ripples through the sports world when it was reported by Sports Illustrated in July, and now Oliver has broken her silence on the issue in a new interview with Essence magazine.

“Even before my bosses told me what was going on, there had been rumblings that my days as a sideline reporter were coming to an end,” she told Essence, after Andrews was hired from ESPN two years earlier. “I knew they hadn't brought her on just to be a benchwarmer.”

Rather than getting caught up in a catfight, Oliver's colleagues credited her for the classy way she handled the situation as she kept her head down and did her job, but “still, I was humiliated.”

Finally by April, her bosses called a meeting and flew out to look her “in the eye” when they delivered the news that there would be a “change of direction within the company” and she would be working on Fox Sports 1, the secondary cable sports channel that launched in 2013, to work on specials and longer form stories.

The only hitch was Oliver wanted to stay on the sidelines interviewing players and coaches in the middle of the action. ”It was important to me to have a twentieth season — to end on 19 is wack! I wanted 20,” revealed the veteran reporter who joined Fox in 1995 as part of the network's number-one broadcast team of Joe Buck and Troy Aikman. Oliver was eventually given a role on the sidelines for her final year, but not with her usual crew, and she said having the trio split up after over a decade was difficult. “It hurt,” she admitted.

With 36-year-old Andrews taking the top role and Oliver being demoted, the African-American reporter was repeatedly asked if she thought it was anything to do with race. “No. I definitely do not,” she replied steadfastly. Whether it was because of the 17-year age difference, “Well, maybe,” she confessed. “The business is very demographic-oriented. As one executive said to me, Fox Sports will look radically different in the coming years. I assume that means they want to look younger.

“It's not difficult to notice that the new on-air people there are all young, blond and ‘hot.’ That's not to say that Erin isn't capable,” she said of the “Dancing With the Stars” host who began her career in 2000 at Fox Sports Florida, before joining ESPN in 2004.

“She's also popular on Twitter and social media, so I can see how that would also make her highly sought after. Still, covering the NFL is a big deal,” Oliver went on to say. “Stations like ABC and NBC entrust their programming to veterans. So when people talk about all networks making a turn to a particular type of girl on the sidelines, it doesn't hold water.”

For a while Oliver admitted she was initially “lost in sadness,” she understands that she has a lot to be grateful for. ”At times I'm ashamed of how tragic I was making things out to be. It's just a job change. I'm not out on the streets. I'm not unemployed. Everybody wins: Fox gets its coveted reporter in the lead role and I get to do my sideline job for my twentieth and final year.

“I love being on the sidelines. I love the ins and outs of the game. But I'm headed into this season knowing it's time to say my good-byes,” she said, before heading to the field on Sunday. “I'm going savor every moment.”

A spokesperson for Fox Sports told TheWrap: “We are looking forward to another great NFL on FOX season and once again, Pam is going to be a huge part of our overall success.”

Erin Andrews’ representative has also been contacted for comment.

http://www.thewrap.com/pam-oliver-br...rts-sidelines/
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I'm surprised at Pam's reaction. "Lost in sadness"? Sideline reporters, by their very nature, are mostly eye-candy since an intern could basically ask a coach how he feels about the game, what his concerns are, and provide injury updates. She covers the NFL where older players are replaced by younger ones all the time. It's part of the business. Why should lady sideline reporters be any different?

And it will happen to Erin soon enough (at 36 she's no spring chicken). Quicker, if she packs on a few surplus pounds. It's how the sports - and TV - business works.
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post #96611 of 98051 Old 09-05-2014, 09:16 AM
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Michelle Tafoya is 49
Lisa Salters is 48
Tracey Wolfsen is 39

Try again.
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post #96612 of 98051 Old 09-05-2014, 10:18 AM
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Quote:
Originally Posted by GqMagic View Post
Well at least with CBS doing the Thursday games they got rid of the sub par announcer and the motormouth sidekick.
Could not disagree more.

Nantz + Simms never shut up. Captain Obvious and his sidekick talk constantly and gum up the airways with useless trivia. They behave like they are on the radio or they are describing the action for the blind among us.

Simple mathematics: CBS + Nantz = Mute *2
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post #96613 of 98051 Old 09-05-2014, 10:26 AM
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I'm surprised at Pam's reaction. "Lost in sadness"? Sideline reporters, by their very nature, are mostly eye-candy since an intern could basically ask a coach how he feels about the game, what his concerns are, and provide injury updates. She covers the NFL where older players are replaced by younger ones all the time. It's part of the business. Why should lady sideline reporters be any different?

And it will happen to Erin soon enough (at 36 she's no spring chicken). Quicker, if she packs on a few surplus pounds. It's how the sports - and TV - business works.
Pure Eye Candy. You are so right. All you have to do is look at Holly Rowe (Age 48) to see the true meaning of eye candy.

Or maybe not.
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post #96614 of 98051 Old 09-05-2014, 10:57 AM
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Melissa Stark is the cutest thing to ever walk the sidelines, IMO.

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Why would I care what they look like? I want to hear what the people they are interviewing say. Just have the camera person ask the questions off camera. No need for another talking head.
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post #96616 of 98051 Old 09-05-2014, 01:49 PM
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Sam Ryan looking spec-tac-u-lar at 45!

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post #96617 of 98051 Old 09-05-2014, 04:18 PM
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Why would I care what they look like? I want to hear what the people they are interviewing say. Just have the camera person ask the questions off camera. No need for another talking head.
You're old. KIDDING.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #96618 of 98051 Old 09-05-2014, 05:47 PM
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Why would I care what they look like? I want to hear what the people they are interviewing say. Just have the camera person ask the questions off camera. No need for another talking head.
Sorry, no. I can't remember a sideline reporter adding any value. At least looking at someone like Melissa Stark adds "value".
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post #96619 of 98051 Old 09-05-2014, 11:12 PM
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THURSDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog.
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Nielsen Overnights (18-49)
Big kickoff for Packers-Seahawks game
NBC earns a 16.8 metered-market household rating, third-biggest ever
By Toni Fitzgerald, Media Life Magazine - Sep. 5, 2014

The NFL returned bigger than last year last night.

NBC’s annual Thursday evening “NFL Kickoff Game” earned a 16.8 household rating, according to Nielsen metered-market numbers, up 4 percent from last year and the third-highest “Kickoff” ever in the metered markets.

The defending Super Bowl champion Seattle Seahawks thrashed the Green Packers 36-16.

Among the local markets, Milwaukee drew a 44 rating and 64 share, while Seattle posted a 42.2 rating and an impressive 73 share.

The overnight ratings for NBC are not accurate, as they do not account for time zone differences and only measure primetime timeslot data, not program data; the game went well past 11 p.m. Final numbers for the game, including total viewers, will be out later today.

Meanwhile, elsewhere on broadcast last night, the other Big Five networks aired only two original programs against the big competition on NBC.

CBS’s 9 p.m. reality show “Big Brother” did well despite facing football, growing 10 percent over last week to a 2.2 adults 18-49 overnight rating. ABC’s “The Quest” was even to last week with a 0.3 at 8 p.m.

NBC posted a dominant victory for the night, averaging an 8.4 adults 18-49 rating and 26 share in the overnights. CBS was second at 1.5/5, Univision was third at 1.2/4, Telemundo was a rare fourth with a 0.6/2, Fox was fifth with a 0.5/2, ABC was sixth with a 0.4/1, and the CW was seventh with a 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.

NBC led every hour of the night handily, starting with a 7.3 at 8 p.m. CBS was second with a 1.6 for repeats of “The Big Bang Theory” (1.8) and “The Millers” (1.4). Univision’s “Mi Corazon es Tuyo” placed third with a 1.3, Fox’s “Sleepy Hollow” repeat was fourth with a 0.5, the first hour of “Quest” on ABC was fifth with a 0.4, Telemundo’s “Reina de Corazones” took sixth with a 0.3, and a repeat of the CW’s “The Vampire Diaries” placed seventh with a 0.2.

At 9 p.m., NBC lengthened its lead with a 9.4 for football. CBS remained second with a 2.2 for “Brother,” with Univision’s “Hasta el Fin del Mundo” third with a 1.3. Fox’s “Bones” repeat and Telemundo’s “En Otra Piel” tied for fourth with a 0.6 apiece. The second hour of “Quest” on ABC was sixth with a 0.3, and a repeat of “The Originals” on the CW was seventh with a 0.2.

At 10 p.m., NBC’s football game drew an 8.5, followed by Telemundo in a rare second-place finish with a 1.0 for “El Señor de los Cielos.” Univision’s “La Malquerida” finished third with a 0.9, CBS’s “Elementary” rerun was fourth with a 0.8, and ABC’s “Shark Tank” repeat took fifth with a 0.6.

Among households NBC was equally dominant in primetime, posting a 13.1 household rating and 22 share, better than the other six networks combined. CBS was second with a 3.6/6, Fox was third with a 1.9/3, Univision was fourth with a 1.5/3, ABC was fifth with a 1.4/2, Telemundo was sixth with a 0.9/2, and the CW was seventh with a 0.5/1.

http://www.medialifemagazine.com/big...seahawks-game/
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post #96621 of 98051 Old 09-05-2014, 11:21 PM
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Obituary
R.I.P. Newsman Bruce Morton
By The Deadline.com Team - Sep. 5, 2014

The Emmy- and Peabody-winning TV and radio newsman died today of cancer at his Washington D.C. home. Bruce Morton was 83. He spent nearly three decades at CBS News, where he covered the Vietnam War, the space program, presidential campaigns, the Nixon impeachment hearings, the mid-’60s urban riots and contributed to the network’s reports on the assassinations of Sen. Robert F. Kennedy and Rev. Martin Luther King Jr and the unrest in China’s Tienanmen Square. He moved to CNN in 1993 and retired from there in 2006. “All of us who worked with Bruce knew him to be a reporter’s reporter; a man who cared deeply about journalism, politics and people,” CNN Washington Bureau Chief and SVP Sam Feist said in a note to staffers today. “Bruce could tell a story like no other, as he effortlessly weaved facts, emotion and history into every one of his news stories.”

Morton won six News Emmys during his career, including one for the 1977 CBS News Special Report “Watergate: The White House Transcripts” and another for his coverage of the 1971 court martial of Lt. William Calley, who was on trial for the infamous My Lai Massacre during the Vietnam War. In 1975, he became a co-anchor of CBS Morning News, a gig that earned him a Peabody Award.

Born on Oct. 28, 1930, in Norwalk, Conn., the Harvard grad got his start at a Boston radio station while still in school. He later worked as a London and Washington correspondent for News Associated and Radio Press before reporting on conflicts in Africa for ABC News from 1962-64.

When Bruce retired from CNN in 2006, Wolf Blitzer ended his Situation Room broadcast by saying, “Bruce brings something very special to television journalism, a truly unique voice, smart and wry, with a perspective you could only get by covering politics for five decades.”

http://deadline.com/2014/09/bruce-mo...ietnam-830021/
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post #96622 of 98051 Old 09-05-2014, 11:30 PM
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TV/Business Notes
CBS' Showtime Could Offer An Online-Only Subscription
By Dorothy Pomerantz, Forbes.com - Sep. 5, 2014

CBS COO Joseph Ianniello dropped a potential bombshell on the crowd at the Nomura Digital Media Conference in New York Thursday when he pointed out that nothing in Showtime’s contracts with cable and satellite providers prevents it from offering the channel direct-to-consumers. In other words, there’s nothing stopping CBS from offering an online standalone Showtime service that cord cutters could subscribe to without a cable or satellite subscription.

Ianiello didn’t say that anything like this is in the works but still, it’s a big deal. Networks like Showtime are cable’s bulwark against cord cutters abandoning the service in droves. The cable companies are quickly making it easier than ever to watch content online through apps like HBO Go, FXNow and WatchESPN but there’s a catch. In order to use them you have to authenticate that you have a cable or satellite subscription.

Showtime, home to popular shows like Homeland, Masters of Sex and Ray Donovan, could potentially change that model. If CBS does offer the network as an online subscription, it will be the first shot fired at the hegemony of cable. If other networks started to follow suit, we could be moving into an a la carte world where you only pay for the networks you want to watch.

Showtime isn’t the only player discussing an online-only option. Dish Network recently signed a long term agreement with Disney that allows Dish to offer Disney channels, like ABC, Disney Channel and ESPN, as a standalone package to people who don’t subscribe to Dish. Dish CEO Charlie Ergin hasn’t been shy about his ambition to offer what’s known as over the top services.

And with Time Warner rejecting Rupert Murdoch’s $80 billion merger deal, there are discussions that a standalone HBO Go could boost Time Warner’s bottom line and stock price. Janney Capital Markets media analyst Tony Wible estimates that for every 10 million subscribers who move to a direct-to-consumer HBO, Time Warner would gain $600 million in revenues and $7.2 billion in market cap.

Don’t expect big changes any time soon. Companies like CBS and Time Warner don’t want to anger the cable overlords just yet. As we’ve seen many times, these disputes can easily lead to blackouts and CBS doesn’t suddenly want viewers sut out of The Big Bang Theory.

But as more and more viewers move to watching the majority of shows online, offering those shows directly might become too good of an opportunity to ignore.

http://www.forbes.com/sites/dorothyp...-subscription/
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post #96623 of 98051 Old 09-05-2014, 11:38 PM
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TV Sports
Redskins Firestorm: How the TV Networks Will Handle the Name Controversy
By Debbie Emery, TheWrap.com - Sep. 5, 2014

The 2014 NFL season will kick off in full force Sunday following Thursday's opening game with a mounting controversy over the racial connotations that the Washington Redskins’ name that has created an uncomfortable dilemma for sportscasters: how will they refer to the team?

The New York Daily News announced this week that the paper is not going to refer to the franchise as the Redskins, nor will it feature the Native American feathered logo. Instead the Daily News will print an image that uses the team's burgundy and gold colors to alert readers to stories, columns and statistics relating to Washington. A week earlier, the team's local Washington Post banned the “R-word” from its editorial page.

The team, which originated as the Boston Braves in 1932 but had its name changed to the Boston Redskins a year later, has been the focus of a racial debate raging throughout the NFL off-season, with owner Dan Snyder saying he won't give in to pressure to change it.

“A Redskin is a football player,” Snyder told ESPN's “Outside the Lines” during a recent interview. “A Redskin is our fans, the Washington Redskin fan base. It represents honor, represents respect, represents pride, hopefully winning.”

Even Capitol Hill is split on the issue, according a Washington Post poll, with 48 Democrats and one Repbublican saying it should be changed, 33 not offering an opinion and 11 thinking Congress should weigh in.

With Washington's season kicking off this Sunday at 1 p.m. ET against the Houston Texans airing on Fox, TheWrap asked the major broadcast networks how they plan to handle the situation, see their responses below.

CBS:

“We don't tell our announcers what to say about any topic television. That is true about team names also,” CBS Sports chairman Sean McManus said during the Television Critics Association conference in June. A spokesperson for the network confirmed with TheWrap on Friday that their policy has remained unchanged. “It's a topic that's obviously gotten a lot of attention,” he added, “it's a very sensitive topic to a lot of people.”

CBS’ lead analyst and former New York Giants quarterback Phil Simms said last month that he plans to limit the use of the word as much as possible. “My very first thought is it will be Washington the whole game,” Simms told The Associated Press. “I never really thought about it, and then it came up and it made me think about it.”

ESPN:

The self-professed “worldwide leader in sports” released a statement to TheWrap explaining, “Our consistent company policy will continue: using official names and marks as presented by the teams, leagues and conferences we cover. We do, however, recognize the debate over the use of ‘Washington Redskins’ and have afforded individuals the opportunity to decide how they will use those words when reporting on the team.”

The cable network's on-air talent is divided on the issue, however, with ”Monday Night Football” commentators Mike Tirico, Jon Gruden and Lisa Salters offering their own personal opinions in a media call on Wednesday.

“That is the name. I'm going to refer to every team as the team they like to be referred to. I have a lot of respect to people's opinion, I'm going to refer to them as the Redskins,” said Gruden.

Fellow “MNF” commentator Tirico said beyond the opinion of ESPN executives and viewers, the most significant issue is what Native Americans think of the name. “I've been aware of the sensitivity and things that are perceived by many Native American communities as slurs for a couple decades now,” he said. When calling the game for over three hours as opposed to being in the broadcast booth, “you might make hundreds of references to it by first name of the city or by nickname. Also, if you broadcast a home game from D.C., the word Redskins is painted in the end zone and the logo with the head dress is in the middle of the field, so by not saying it are you lessening the impact of the nickname? It's there in front of you. I don't think we're going have a computer graphic blur that out.”

Tirico went on to say that there is a contractual issue and they have an obligation to use the names and the marks of the teams because the league sells the right to do the games, but stressed: “I have my own personal feelings on the name. I think it's time for Dan Snyder and the league together to truly take a long look at making a change. The appropriate approach for me is minimize the use of the nickname but not completely avoid it,” he concluded.

Salter said her opinion is simple. “I never want to offend anyone with my actions or my words, so if I offend one person with the use of the nickname, I'd rather not use it. In our preseason pregame coverage, I chose to just say Washington. No one noticed, no one said anything. So that's just how I handle it.”

Fox:

During a press call this week celebrating the 20th anniversary of Fox's coverage of the NFL, network spokesperson Dan Bell explained that “until the facts are different, the Redskins is the official name of the team. Rather than make ourselves part of the story, we will still use the name,” however when it comes to the on-air talent, “based on anyone's personal convictions, no one is obliged to use the name.”

Super Bowl MVP-turned Fox analyst Troy Aikman said he isn't giving in to pressure and stressed that “as long as their nickname is the Redskins, then that is what I am going to call them as that's what I've always called them. I am sensitive to the issue, but to broadcast a Washington game for three hours and not refer to them as the Redskins is pretty naive. It is what I have known them to be for as long as I've been around.”

NBC:

The broadcast network boasting “Sunday Night Football” is also letting their talent decide. ”For all of our sports properties, our on-air commentators have full discretion to reference participating teams by their city/region/state name, team nickname or both,” the network said in a statement to TheWrap.

However, analyst and Super Bowl-winning coach Tony Dungy, who is one of most prominent voices in the league, said: “I will personally try not to use Redskins and refer to them as Washington. Personal opinion for me, not the network.”

NFL Network:

Although it is not airing a Washington game this season, the NFL Network's talent will be sure to talk about the team a lot. “We don't instruct our analysts and hosts on exactly how to refer to each club. As a network that covers the NFL 24 hours a day, we will continue our practice of using the official name and logo of each of the 32 clubs in our programming,” Alex Riethmiller, spokesman for NFL Network told TheWrap.

http://www.thewrap.com/redskins-fire...e-controversy/
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post #96624 of 98051 Old 09-05-2014, 11:51 PM
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TV Notes
Steve Buscemi's First Passion
A former firefighter, Buscemi produced new HBO documentary on FDNY
By Lucy Feldman, Wall Street Journal - Sep. 4, 2014

Steve Buscemi was lounging on a therapist's couch in an old firehouse, two days after he'd wrapped up shooting "Boardwalk Empire," the TV drama he's starred in for the past five years. Then his mind turned, as it often does, to his days as a New York City firefighter.

Before becoming an actor, Mr. Buscemi worked for the Fire Department of New York for four years in the 1980s. Then 13 years ago, firefighters clearing debris at Ground Zero spotted someone among them who looked a lot like "the guy from 'Con Air.'" Now he has been working on the HBO documentary "A Good Job: Stories of the FDNY," which first airs Monday at 9:00 p.m. ET.

The documentary features vintage fire footage and scenes from the Sept. 11 terror attacks and Hurricane Sandy. For commentary on events in FDNY history, Mr. Buscemi and director Liz Garbus interviewed current and retired members of the force. One subject, Lt. Dennis Gordon, has known the actor since they lived on opposite sides of East 10th Street and spent their time outside the firehouse doing performance pieces with people like Laurie Anderson.

"Oftentimes when you make documentaries you spend a year doing trial and error of getting to know people and trying to figure out who has great stories to tell," Ms. Garbus says. "The good news was that Steve had been doing that for a lifetime."

The filmmakers still faced challenges convincing firefighters to share details about their experiences. "The really, really good ones, they don't brag," Mr. Buscemi says. But the actor's history with the department helped, says John Nolan, a retired lieutenant: "He was able to tell our story from our perspective, so there's like a trust—that trust you get in the firehouse kitchen, you know?"

Mr. Buscemi described himself as the quietest guy in the house when he first arrived at Little Italy's Engine 55 in 1980. He joined because his father, a sanitation worker, was a believer in civil service. "Whatever test came up when I turned 18, if it was the cops or the firefighters or sanitation, I was going to take that test as long as I was living under his roof," he says. He kept his acting aspirations to himself.

On the job, Mr. Buscemi was "all about" the hose. "Everybody sort of wanted to be on the nozzle…That was where the action was," he says. "In the beginning you're like, a lot scared. It's not that you become less afraid—I think you know how to deal with it. You learn how to breathe." Back at the firehouse, there was a sense of communal accomplishment. "In theater I remember feeling the same way, just being really, really nervous before going onstage. Getting out there, getting through it and enjoying it."

It was the independent film "Parting Glances" (1986) that drew Mr. Buscemi away from the firehouse for what he initially thought would be a brief leave of absence. But the offers kept coming, and he extended his leave again before making it official. "I just thought, 'This is my moment. If I don't take this, I don't know when it will come back.'"

"I really did think that I was going to do it for 20 years or more," he says. His next step would have been a test to become an engine "chauffeur" (driver)—not an easy task on the narrow streets of Little Italy, he adds.

After Mr. Buscemi officially left in 1985 and moved to Brooklyn in the early 1990s, he lost touch. But the day after Sept. 11, he found himself wandering around Ground Zero until he found his old team. For nearly a week, he reported to Engine 55 to ride to the site, dressed in his old gear. "A Good Job" features footage he shot on a hand-held camera, walking through the site.

"In the beginning it really was just people digging and just lifting up debris and just clearing it," he says, motioning slowly with his hands. He filled buckets and passed them down the line, sometimes handling victims in body bags. Once the ground was clear enough for machines to step in, he feared getting in the way and stopped going.

"There's a lot of silent stuff," says Mr. Gordon, who was on duty the day the planes crashed—but he's also talking about the job in general. "[Steve] is really trying to personalize people's experiences and show what they went through, whether it's 9/11 or the everyday fear," he says.

Mr. Buscemi says his aim in the film is to inspire young people to consider careers in the department and encourage firefighters to seek support for injuries, both emotional and physical. "There's no time limit on trauma," he says. "I just want people to know what it is that they do."

http://online.wsj.com/articles/steve...ion-1409853141
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post #96625 of 98051 Old 09-06-2014, 12:02 AM
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TV Notes
TV Land Gives ‘The Exes’ 12 More Episodes in Season 4
By Sebastian Torrelio, Variety.com - Sep. 5, 2014

TV Land has ordered an additional 12 episodes of original sitcom “The Exes” for its upcoming fourth season.

The announcement ups “The Exes’” fourth season episode count from 12 to 24, the first of which will premiere in November alongside “Hot in Cleveland’s” sixth season premiere. Series regulars Donald Faison, Wayne Knight, David Alan Basche, Kelly Stables and Kristen Johnson are set for the additional episodes, as is recurring guest star Leah Remini.

“Everything we’ve seen from the upcoming season of ‘The Exes’ is telling us it’s going to be the best one yet,” said TV Land president Larry W. Jones. “Last week, we crossed the 50th episode threshold, and we thought, ‘these episodes are so good, let’s keep them going!’”

TV Land also recently renewed “The Soul Man” for a fourth season. Starring Cedric “The Entertainer” and Niecy Nash, the new season is set to premiere in 2015. In July, the network canceled Kirstie Alley’s “Kirstie” after one season, following the leave of showrunner Marco Pennette.

“The Exes” is executive produced by Mark Reisman (“Frasier”), along with Michael Hanel and Mindy Schultheis (“Reba,” “Titus”). Franco Bario is co-executive producer.

“The Exes” fourth season premiere will air at 10:30 p.m. on Wednesday, Nov. 5 on TV Land.

http://variety.com/2014/tv/news/tv-l...-4-1201298900/
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post #96626 of 98051 Old 09-06-2014, 12:06 AM
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TV Notes
'The Walking Dead' companion series gets pilot greenlight
By James Hibberd, EW.com's 'Inside TV' Blog - Sep. 5, 2014

The Walking Dead companion series pilot is a go.

EW can exclusively report that AMC has officially ordered a pilot set in the same zombie-plagued universe as TV’s top-rated drama series. The as-yet-untitled project will go into production later this year, and will be set in a different location than the original series and star a new cast of characters. (Since the characters are different, the series not technically a “spinoff.”)

The Walking Dead executive producers Robert Kirkman, Gale Anne Hurd and David Alpert are all on board for the new project. Dave Erickson (Sons of Anarchy) was tapped as showrunner back in March. Kirkman and Erickson recently turned in a pilot script, which we’re told really impressed AMC’s executive ranks.

“Almost from the beginning of The Walking Dead on AMC, fans have been curious about what is going on in the zombie apocalypse in other parts of the world,” said AMC President Charlie Collier. “In fact, beyond requests for zombie cameos, it’s the question I get asked the most. Obviously, we all take our stewardship of the original franchise incredibly seriously and we, along with Robert, Gale, David and now Dave, are all proceeding with extreme care in order to ensure that we are offering fans something truly compelling, engaging and distinct. We’re thrilled to be taking this next step with these remarkable partners.”

AMC has not released any details about the series, except that it will be set somewhere other than Georgia. “There are many corners of The Walking Dead universe that remain unseen in the shadows,” Kirkman said. “Being given the opportunity to shine a light into those corners and see what lurks out there is an absolute thrill. I know the fans are anxious to hear what Dave and I have been cooking up for this new universe of The Walking Dead, and I’m happy to be one step closer to sharing it with them.”

The proposed series has been in development since last year. Kirkman told IGN: “It definitely won’t be set in Georgia—I can at least say that. It’s important to us that this show exists on its own. The spinoff has to be a show worthy of existing, or else we’ve all sold out. So that’s something we’re all working hard towards doing, and I think we can pull it off. I think that the ideal situation is, when you’re watching the spinoff, you’re like, ‘Wow, this is a really awesome show.'”

The Walking Dead returns for its fifth season on Oct. 12. For more, be sure to check out Dalton Ross’ full coverage of the upcoming season, such as the cast discussing what’s to come and co-star Norman Reedus on Daryl’s next arc.

http://insidetv.ew.com/2014/09/05/wa...panion-series/
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TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)

ABC:
7:30PM - NASCAR Racing, Sprint Cup: Federated Auto Parts 400 (LIVE)

CBS:
8PM - Person of Interest
(R - May 6)
9PM - 48 Hours
(R - Jun. 22, 2013)
10PM - 48 Hours
(R - Oct. 12)

NBC:
7:30PM - College Football: Michigan at Notre Dame (LIVE)
* * * *
11:29PM - Saturday Night Live (Louis C.K. hosts; Sam Smith performs, 93 min.)
(R - Mar. 29)

FOX:
6:30PM - College Football: Michigan State at Oregon (LIVE)
* * * *
11PM - Animation Domination High-Def (60 min.)
(R)

PBS:
(check your local listing for starting time/programming)
8PM - Austin City Limits (Emmylou Harris & Rodney Crowell) (R - Nov. 22)

UNIVISION:
8PM - Sábado Gigante (Three Hours)

TELEMUNDO:
6:30PM - Movie: How to Train Your Dragon (2010)
8:30PM - Movie: Knowing (2009)
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post #96628 of 98051 Old 09-06-2014, 12:20 AM
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The 2014/15 Season
Modern Romance, With Laughs
‘Manhattan Love Story’ and ‘A to Z,’ New Network Sitcoms
By Mike Hale, The New York Times - Sep. 7, 2014

Are you one of the people mourning the loss of the old-fashioned (as in 1990s) rom-com? Do you feel that romantic comedies haven’t been the same — or haven’t even existed — since the last time Meg Ryan and Tom Hanks made a movie together?

Then you might find some relief in an unexpected place: the fall television season, where two new sitcoms are doing their part to keep the tradition alive.

ABC’s “Manhattan Love Story” (beginning Sept. 30) and NBC’s “A to Z” (Oct. 2) are taking the same unusual approach. Each promises to tell the complete story of a particular romance, from first meeting to — well, that’s unclear, though it’s hard to imagine they’d have unhappy endings, other than early cancellation. “A to Z” even tells us how long its couple will date, down to the hour. (It’s a little over eight months). And the makers of both shows — perhaps feeling that a romantic comedy without well-known stars is a tough sell in the current TV marketplace — are emphasizing the movielike gimmicks in their storytelling.

In addition to that ticking clock, “A to Z” comes with narration (by Katey Sagal) that telegraphs the twists of the narrative and occasionally points out when the characters aren’t being honest with each other. “Manhattan Love Story” has a similar device to save the writers time and effort in drawing the characters: We sometimes hear the couple’s thoughts, usually when the thoughts directly contradict what one of them is about to say.

If these premises and techniques sound vaguely familiar, you may be remembering CBS’s “How I Met Your Mother,” which ended its run this spring. It also employed an omniscient narrator, like “A to Z,” and presented itself as the story of a single, successful romance. The difference was that “Mother” set itself up as a mystery — we didn’t know who the female half of the couple would turn out to be — and that element of delayed gratification became a problem as the popular series stretched out over nine seasons. “A to Z” and “Manhattan Love Story” take an opposite approach, appearing to put all their cards on the table, a tactic that may make the shows easier to follow but also seems as if it might work against extended runs.

Beyond the storytelling devices, the shows present a resolutely conventional picture of modern romance — the same picture, actually, just with the genders reversed. In each case an alpha — defensive, superior, emotionally semi-available — meets a sensitive, slightly scattered, easily wounded beta.

In “Manhattan Love Story” the alpha is the male, Peter (Jake McDorman), a young New Yorker first seen walking down the street giving a mental yes or no to every woman he sees. We’re supposed to hold his obsession with appearances against him at the same time that we recognize it as typically masculine. This is the sort of show in which men are evil, or gay, until proven otherwise.

Peter’s opposite number is Dana (Analeigh Tipton of “America’s Next Top Model”), a new arrival from Atlanta whose femininity is largely defined by her inability to send text messages correctly. She’s the naïve, sentimental one, though this being a contemporary comedy her thoughts sometimes run to orgasms and expensive handbags. Peter’s tragic flaw, as it turns out, is not his shallow focus on cheekbones and breasts but his “hip ironic distance” (the show’s words), his tendency to make a joke out of everything. In terms of romantic comedy tradition, sarcasm apparently has replaced pomposity or indifference or a wandering eye as the quality that the heroine must beat out of the hero for the wedding to take place.

In “A to Z,” it’s the woman, a lawyer named Zelda (get it?) played by Cristin Milioti, who’s the hard case. Because she’s a woman in a network sitcom — and not in a spring replacement show like “Bad Teacher” — she can’t be shallow and predatory like Peter. Instead she’s defensive and suspicious of men, with an explanatory back story involving a hippie mother who couldn’t tell her who her father was.

The soft half here is Andrew (Ben Feldman of “Mad Men”), who — in a device that’s either cleverly twisted or simply implausible — works for an Internet dating service and maintains a deep belief in soul mates and true love. “A to Z” is the more sentimental of the two shows, and this is reflected in how Andrew and Zelda meet: She walks into Wallflower Online Dating to register a complaint, and he’s riveted by her, staring across a crowded office-park atrium. In “Manhattan Love Story,” by contrast, Peter and Dana meet through a dreaded setup.

So while Dana tries to humanize Peter, Andrew will try to break down Zelda’s defenses. (Each of these campaigns seems largely to have succeeded by the end of the pilot. Apparently we need that kind of reassurance to come back in future weeks to see what can go wrong.) You hope none of them get to see NBC’s “Marry Me,” another new sitcom (beginning Oct. 14) about a modern relationship.

“Marry Me” is the writer and producer David Caspe’s follow-up to his ABC show “Happy Endings,” and once again his emphasis is on never-ending, call-and-response gags, pop-culture references and wordplay, on defining characters through their verbal resources. (The characters here are actually guilty of what Peter is accused of in “Manhattan Love Story.”) Behind the barrage of dialogue is a story about a couple (Casey Wilson and Ken Marino) who have been together for six years without marrying, and who, in the pilot, make a series of disastrous attempts at proposing to each other that leave them unsure whether they truly belong together, or even really know each other. The incipient couples of “Manhattan Love Story” and “A to Z” wouldn’t want to see this in their futures, but to a lot of mating-age 21st-century TV viewers, it might look a lot more real.

http://www.nytimes.com/2014/09/07/ar...ref=television
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post #96629 of 98051 Old 09-06-2014, 12:24 AM
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TV Review
‘The Chair,’ snuggle in for a long sit
Interesting concept: Young directors get a shot at doing a movie
By Tom Conroy, Media Life Magazine - Sep. 4, 2014

No one should be surprised to learn that two young directors would have a hard time getting their first movie started. So it shouldn’t be surprising when a series about that process also has a hard time getting started.

Starz's new reality show “The Chair” has an interesting premise that may pay off richly, but getting there could be a chore. The first two episodes, which cover the pre-production of two movies shot by two first-time directors and based on the same script, lack the action necessary to keep us interested.

In future episodes, when the actual shooting begins, and the directors have to start controlling their cast and crew, the show will probably take off, but many viewers may have decided by then that it’s not worth the time.

Premiering this Saturday, Sept. 6, at 11 p.m., “The Chair” will remind many viewers of HBO and Bravo’s “Project Greenlight,” especially because Chris Moore, who was Ben Affleck and Matt Damon’s producing partner on that series, is the creator of this show.

Moore says that when he, Affleck and Damon were starting out on “Good Will Hunting,” they worked with several different directors before settling on Gus Van Sant. He says “The Chair” is intended to show how two directors could take the same material and come up with very different movies.

Unlike “Project Greenlight,” “The Chair begins with the directors already selected. They seem to have been chosen for maximum contrast.

Anna Martemucci is an NYU film graduate who thinks of herself primarily as a screenwriter. She has paid her dues interning and working on small independent movies.

Shane Dawson, after failing to get any work as an actor on Disney shows, started posting funny videos on YouTube. His channel now has 10 million subscribers, most of them young.

Moore explains the rules: Each director starts with the same script, a coming-of-age story about high school friends returning to Pittsburgh for their first Thanksgiving home from college. The directors are given the same budget, $600,000, and have to make a feature-length movie that is R-rated or less. Unlike most first-time directors, they will get final cut.

An audience vote will pick the winner, who will receive $250,000.

Neal Dodson, one of the many people on the show who have the word “producer” as part of their title, admits that he’s biased in favor of Anna because her husband, the writer and director Victor Quinaz, is his best friend. If that relationship violates TV’s strict game-show rules, no one mentions it.

The screenwriter, Dan Schoffer, gets some rough treatment. Both directors want to eliminate or change characters, and they ask Dan to do rewrites.

Shane wonders whether he can get co-writing credit based on the notes he gave. He also decides to cast himself as the lead.

Unfortunately, contemptuous treatment of screenwriters is a commonplace in both fictional and nonfictional works about Hollywood. The nuts-and-bolts preproduction activity is less interesting.

The editing constantly provides suggestions that the two finished movies will differ wildly. In the second episode, Anna scouts moody locations in Pittsburgh’s industrial areas. Meanwhile, Shane tests a hose that will be used to produce projectile vomit.

Anna constantly expresses self-doubt; Shane appears overconfident.

But as they assemble their production crews, it becomes harder and harder to tell everyone apart. The show gives too much screen time to its own producers, who include the actor Zachary Quinto. Typically for producers, they keep pitching the show to us as we watch it.

We keep hearing why Anna and Shane are such good choices and why Pittsburgh is such an important location. Not only is Quinto from there, but the city is also trying to encourage film production. Quinto gently suggests to Anna that she shouldn’t have her characters refer to the city as a “s— hole”

Both directors deal with significant setbacks in the second episode, but the setbacks both happen off-camera. Neither is dramatic enough to justify an entire hour of low-key action.

The following episodes, which will presumably show the auditions, casting and shooting, are likely to be more compelling and funny. Viewers will also be eager to compare and contrast the final movies.

But too many viewers might not come back for a third or even a second episode. One would think that a show called “The Chair” would be better at keeping asses in the seats.

http://www.medialifemagazine.com/the...or-a-long-sit/
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post #96630 of 98051 Old 09-06-2014, 08:37 AM
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Quote:
Originally Posted by aaronwt View Post
Why would I care what they look like? I want to hear what the people they are interviewing say. Just have the camera person ask the questions off camera. No need for another talking head.
I don't want to hear anything from anyone on the field, because it's ALWAYS the same old trite stuff you hear all the time. All I need is injury updates and as mentioned any available intern can take care of that simply by relaying them to the main announcer.

Sideline reporters are almost always useless eye candy fluff. Here's a perfect example - was watching the Pitt-BC game last night on ESPN. Guess what they switched to the sideline chick for? No, it wasn't the game being shown, it was mostly to promo the USC-Stanford game today.
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