Hot Off The Press: The Latest TV News and Information - Page 3229 - AVS Forum
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post #96841 of 96861 Old Yesterday, 10:25 AM
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The 2014/15 Season
Watch, Skip, or Binge: Your Definitive Guide to Fall TV
By Wired.com Staff - Sep. 16, 2014

Every fall the major television networks unleash scores of new shows for you to watch while simultaneously bringing back your faves. Throw in all the prestige shows now populating cable channels and suddenly keeping up with everything you want to watch this fall seems impossible without losing sleep and/or hitting the max capacity of your DVR. We’d like to help. Below are our picks for what you should watch (because it’ll be necessary to your pop culture survival), what you should skip (because it’s all filler, no killer), and what you should save and binge later (because it’s good, but could be easily scarfed another time). Welcome to Watch, Skip, or Binge—the easiest way to manage your fall TV diet.
From what I've seen of the fall shows, this is probably the most accurate list so far. I SO want "Gotham" to succeed, but it's up against pretty stiff competition, including football. Won't last. I could be wrong, but the pace of "Gracepoint" is excruciatingly "bleak" to steal the author's words. If anybody's still watching by the 4th episode, I'll be shocked. They sent us the first seven episodes and some swag, so they're pretty worried about it, too.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #96842 of 96861 Old Yesterday, 03:25 PM
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Originally Posted by DrDon View Post
From what I've seen of the fall shows, this is probably the most accurate list so far. I SO want "Gotham" to succeed, but it's up against pretty stiff competition, including football. Won't last. I could be wrong, but the pace of "Gracepoint" is excruciatingly "bleak" to steal the author's words. If anybody's still watching by the 4th episode, I'll be shocked. They sent us the first seven episodes and some swag, so they're pretty worried about it, too.
Sadly the only thing I really want to watch when the new shows start is Gotham. I really want it to do well too, but I don't have my hopes up.

I still don't understand why they had to make Gracepoint. I already watch Broadchurch and even though I have a huge thing for David Tennant I'm not going to watch just to see him speak with an American accent.

I'm a 'hooker' and a knitter. I guess that makes me bi-stitchual :).
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post #96843 of 96861 Old Today, 12:05 AM
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TV Notes
Marc Maron's IFC Comedy Renewed for Season 3
By Tim Kenneally, TheWrap.com - Sep. 16, 2014

Rejoice, Marc Maron fans; your favorite funnyman/flawed human is coming back to IFC.

The network has renewed Maron's comedy series “Maron” for a third season, IFC said Tuesday, with a premiere slated for spring 2015.

“Maron,” which offers a fictionalized version of WTF podcaster Maron's life, as he makes misguided attempts to grow as a man. Where Season 2 found Maron struggling with romance and dealing with the pitfalls of success, the upcoming season will find Maron “confronting new issues, new guest stars and new ways to self-sabotage,” IFC said Tuesday.

“Usually Marc has a hard time maintaining long-term relationships, but luckily not with us,” IFC president Jennifer Caserta quipped. “He's committed to bringing his wry humor and refreshing perspective back to IFC for a third season.”

“I am very proud of both seasons of the show and thrilled we're doing another one,” Maron added. “Through all the episodes I can see the growth and evolution of the character, writing and comedy. I'm excited about getting back into the process. The character of Maron needs some work on and off screen and fortunately that's what drives the show.”

http://www.thewrap.com/marc-marons-i...-for-season-3/


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post #96844 of 96861 Old Today, 12:09 AM
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TV Notes
GSN Orders ‘Baggage’ Spinoff; Jerry Springer To Return As Host
By The Deadline.com Team - Sep. 16, 2014

GSN describes Baggage On The Road as a traveling version of its 2010-11 series Baggage. The network today announced a 20-episode order of Baggage On The Road, a half-hour comedic dating game show, with Baggage host Jerry Springer to return for the iteration. Contestants choose from three potential partners, all of whom come with their own quirky, annoying and sometimes truly shocking physical and emotional “baggage” that could eliminate them from the competition.

With Springer at the helm, contestants will be required to reveal the various intimate secrets and hidden flaws – housed inside literal suitcases – that typically aren’t revealed on a first date. Eventually, only one suitor will win a date with the contestant, as long as that person can also accept the contestant’s baggage in a final role-reversal round. It will travel to four U.S. cities, beginning with Austin and Baton Rouge in October for a 2015 premiere. Baggage On The Road is produced for GSN by Wilshire Studios. Lisa Tucker serves as exec producer.

http://deadline.com/2014/09/baggage-...ad-gsn-835213/


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post #96845 of 96861 Old Today, 12:14 AM
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Business Notes
Why Netflix Needs Europe
By Georg Szalai and Scott Roxborough, The Hollywood Reporter - Sep. 15, 2014

The European revolution will not be televised, but it will be available online.

Netflix launched in France on Monday, with services rolling out in Germany and four other European countries in the coming days, bringing the streaming video service that has forever altered American viewing habits to potentially millions of new European consumers.

"We are proud to bring the future of television to France," said Netflix CEO Reed Hastings in a statement released before sunrise Paris time. "French viewers will have instant access to a multitude of movies and series, where and when they wish."

Netflix is pulling out all the stops for its European bash, holding rolling red carpet galas across the continent this week, starting Monday in Paris and moving to Berlin on Tuesday.

CEO Hastings will be playing host, alongside stars from top Netflix' shows including Orange Is the New Black's Taylor Schilling, Laura Prepon and Uzo Aduba; Hemlock Grove executive producer Eli Roth and series star Famke Janssen; and DJ Cotrona and Zane Holtz of From Dusk Till Dawn.

Noticeably absent will be the stars of Netflix' House of Cards. The hit political drama airs on competing European networks: CanalPlus in France and Sky Deutschland in German-speaking Europe.

Launching in six countries in one week – including two of the world's biggest TV markets with France and Germany – is a bold move for Netflix. How well the streaming video group succeeds in establishing binge viewing in continental Europe could be a major factor in determining the company's overall fate.

In an interview with the Financial Times, Hastings called this week's European expansion "the biggest international launch we’ve ever done."

Interestingly, Netflix is not going it alone in Europe. In France, Boygues Telecom will offer Netflix over its set-top boxes come November, making the service available on demand over TV sets. In Germany, the company is partnering with the country's leading Internet Service Provider Deutsche Telekom.

But the company also faces stiff resistance. In France telecommunications operators such as Orange have refused to carry the service on their popular Internet-connected TV set-top devices because they have been unable to agree on financial terms.

The continent’s film producers have complained the company is paying a fraction of the normal fee for rights to European movies and is avoiding contributing to France's film subsidy system by setting up in Amsterdam, where it is not liable to pay the French tax that bankrolls national cinema and public broadcasting.

To demonstrate its commitment to French production, Netflix has announced it is financing a Mediterranean-set political drama, Marseille, which promises to be a Gallic House of Cards. The show is set to launch in late 2014. Netflix also picked up popular French animated series Wafku last week just ahead of its launch and will complement its largely US series offerings with local hits like Un Village Francais.

Netflix' European roll out has already set competitors scrambling. In France last week, pay-TV group CanalPlus announced new Netflix-like features to its online service, including a suggestion engine based on previous choices, and it has bulked up its program offerings, acquiring local TV comedy production house Studio Bagel and signing a deal with HBO for rights to older series. 21st Century Fox's Sky Deutschland launched a SVoD service in Germany in anticipation of Netflix and broadcast competitors RTL and ProSiebenSat.1 have all pumped up their online services to ward off the expected onslaught.

For Netflix itself, Europe is about keeping its subscriber growth going. International operations have been driving subscriber growth at Netflix for years. This latest launch across six European territories gives the group access to a potentially massive market of 60 million broadband households. In a letter to shareholders this summer, Hastings and Netflix CFO David Wells said the Euro roll out will “significantly increase our European presence and raise our current international addressable market to over 180 million broadband households, or two times the number of current U.S. broadband households.”

So far, Netflix' timetable has seen it launch in a new international region roughly once a year. Its first foreign foray was to Canada in 2010, followed a year later by Latin America. In 2012, the company brought its service to the U.K. and Ireland, as well as Scandinavia. Last year, Netflix introduced its streaming services in the Netherlands. This week it will hit six European countries in one go (following France and Germany, Netflix will start operations in Switzerland, Austria, Belgium and Luxembourg).

Given the regular cadence of past launches, some on Wall Street predict further international expansion late in 2015.

"We also assume new markets, Spain and Italy, will be targeted for a fourth-quarter 2015 launch, which both pushes our subscriber forecasts above the [Wall] Street [consensus], but knocks international profitability well below," said MoffettNathanson analyst Michael Nathanson.

As of mid-year, Netflix had more than 50 million total subscribers, including 12.9 million paying and 13.8 million total subscribers outside the US. Revenue for its U.S. business amounted to $838 million in the second quarter, up 24.9 percent from $671 million. International revenue rose 84.9 percent over the same period to $307 million. Subscriber growth over the past year reached 6.40 million in the U.S. and 6.05 million internationally.

No wonder then that industry watchers say further international market launches will be a key growth driver for the company in the years ahead. But many predict the investment in international expansion will mean continued losses for Netflix's international business.

Excluding the latest European launches, the company's international business is on track to be profitable by the fourth quarter, management has said.

"Europe Gives, and Europe Takes," Morgan Stanley analyst Benjamin Swinburne said in the title of a new report on Monday to highlight the mixture of good news and bad news tied to the new launches. "We raise our international sub forecast for the fourth quarter and beyond, reflecting expectations for a stronger ramp in the six new markets launching this week," he wrote. "Based on third-quarter guidance for paid versus total subs, we estimate new markets contribute 1 million of non-paid net adds during the last two weeks of September alone."

As Netflix's U.S. business has reached a level of predictability, Nathanson that "international subscriber growth is the most important variable driving stock performance for the foreseeable future." He estimates that the company can reach around 7.9 million incremental subscribers in the new markets mid-term.

"We now project Netflix international paid subscribers will nearly reach 46 million in 2018 with the most amount of subscribers in Latin America, followed by Canada, U.K. & Ireland and the Nordics," he said.

Nathanson's year-end 2014 estimate is for 4 million subscribers in Canada, 3.6 million in Latin America, with U.K. and Ireland reaching 3.5 million and the Nordics 3.4 million. Out of the new markets, he projects Germany to have the most users by year-end with 700,000, followed by France with 600,000, and Belgium, Switzerland and Austria with 100,000 each. By end of 2016, Germany will have 3.3 million Netflix users, France 2.7 million, Switzerland and Belgium 400,000 each, and Austria 200,000, with Luxembourg not reaching a big number due to its small population, according to Nathanson.

For the company's financials, this will mean declining international losses. "In 2013, Netflix's international business represented 21 percent of streaming revenue and losses of $274 million," Nathanson said. "We project improving profitability from Netflix's international subscriber base from existing territories will continue to be offset by the new launches over the next couple of years leading to further, yet improving, international streaming contribution losses."

He expects an international loss of $193 million this year, $166 million in 2015 and around break-even in the following two years, followed by a $215 million international profit in 2018 when Nathanson expects Netflix will have 45.8 million international subscribers.

What do the latest launches mean for the stock price? "We think that Netflix's stock will continue to outperform over the next month as the Street has to revise up near-term international subscriber estimates," Nathanson said. "In the medium term, we think the Street will likely take a closer look at international losses, which could neutralize the stock's momentum."

Said Swinburne: "We would be buyers on weakness as our international subscriber analysis leads us to believe that the company is scaling overseas."

While Wall Street is discussing the expansion's financial impact, Netflix' focus in Europe this week is on reaching, and entertaining, a new audience. On its main Twitter feed on Monday, the company celebrated the move into France with the message "Bon voyage, @net flixFR".

We'll see what sort of welcome European users give them back.

Rhonda Richford in Paris contributed to this report.

http://www.hollywoodreporter.com/new...-europe-732815


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The 2014/15 Season
For CBS, football and a better year
Addition of Thursday NFL games will give the network a boost
By Toni Fitzgerald, Media Life Magazine - Sep. 16, 2014

Though CBS finished third among the Big Four last year among adults 18-49, it is still considered the most consistent of the broadcast networks. It is competitive nearly every night of the week.

NBC and Fox, which finished ahead of CBS last season, both got gigantic boosts from the NFL.

Now CBS is the one that stands to benefit from the league.

The network introduced a new limited-run eight-week series, “Thursday Night Football,” that debuted to strong ratings last week. “TNF,” combined with CBS’s usual steady schedule, should lift the network’s numbers this season, a rarity in broadcast.

Given those ratings gains, CBS should move into second place among the Big Four networks this season, a prediction based on Media Life’s analysis of the fall schedules and input from media buyers and planners.

Here’s how the network looks heading into the new season, which begins next Monday, Sept. 22.

Last season’s average
CBS averaged a 2.4 adults 18-49 rating during the 2013-’14 season, down 17 percent from the previous season but just a tenth behind second-place Fox.

Top returning shows:

“The Big Bang Theory” (Mondays at 8 p.m. until Oct. 20; Thursdays at 8 p.m. thereafter)

The No. 1 scripted series on broadcast, “Bang” should bump up temporary lead-out “Mom” on Monday nights during the first five weeks of the season, giving CBS’s overall ratings a lift.

“NCIS” (Tuesdays at 8 p.m.)
Entering its 12th season, the show is still CBS’s top drama in total viewers and 18-49s.

“The Millers” (Thursdays at 8:30 p.m.)
Lead-ins still matter: “Millers,” which airs behind “Bang,” was CBS’s No. 3 show in 18-49s and did well among the 25-54s the network targets.

Most troubled returning show: “2 Broke Girls” (Mondays at 8 p.m.)
Heading into its fourth season, the comedy’s ratings are down sharply and CBS is benching it until October in favor of “Bang.”

Top new show: “NCIS: New Orleans” (Tuesdays at 9 p.m.)
This spinoff of the network’s hit “NCIS” is expected to draw big numbers among total viewers and compete for first in its timeslot in the key demos.

New show most likely to be canceled: “The McCarthys” (Thursdays at 9:30 p.m.)
The sitcom’s lead-in, “Two and a Half Men,” is in its last, low-rated season. It won’t do well enough to boost the bland “McCarthys.”

Most improved timeslot
CBS moved “NCIS: Los Angeles” from Tuesdays at 9 p.m. to Mondays at 10 p.m., an hour where it struggled mightily last season. “LA” will be a huge upgrade in the hour.

The prediction
With a boost from the NFL and several solid-looking new shows, CBS will have a better season and will finish second among 18-49s.

http://www.medialifemagazine.com/for...a-better-year/[/QUOTE]


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post #96847 of 96861 Old Today, 12:27 AM
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Critic's Notes/Business Notes
NFL should be rattled by Budweiser statement
By Nancy Armour, USA Today - Sep. 16, 2014

Now the NFL has real trouble on its hands.

Fed up with the league's woeful inconsistencies on domestic violence and its belligerent insistence on protecting misbehaving players, Anheuser-Busch took the NFL to task on Tuesday. No, it didn't say it was pulling its $1.2 billion, six-year contract – yet.

But it doesn't take a marketing genius to see what's down the road if the NFL doesn't get its act together. And fast.

BREAKING NEWS: Vikings deactivate Adrian Peterson indefinitely
Anheuser-Busch: Deep concern of NFL handling of abuse cases

Already, Radisson has temporarily cut ties to the Minnesota Vikings following general manager Rick Spielman's inept statement Monday that star running back Adrian Peterson was simply "disciplining a child" when he left welts and bruises on his young son's body that resulted in an indictment on charges of child abuse.

"We are disappointed and increasingly concerned by the recent incidents that have overshadowed this NFL season. We are not yet satisfied with the league's handling of behaviors that so clearly go against our own company culture and moral code," Anheuser-Busch said in a statement to USA TODAY Sports.

"We have shared our concerns and expectations with the league."

With a mere three sentences, the beer maker managed to do what that ugly Ray Rice video and the sickening photos of the injuries to Peterson's son could not. The fear of ticking off big-money sponsors is what keeps Roger Goodell awake at night, and if he and the NFL owners don't get now that coddling players accused of beating their wives and children is unacceptable, they never will.

"We understand," NFL spokesman Brian McCarthy said in a statement. "We are taking action and there will be much more to come."

Anheuser-Busch is one of the league's largest sponsors, spending $149 million just on Super Bowl commercials from 2009-13, according to Adweek. It is also a local sponsor of more than three-quarters of the 32 teams. That's hardly pocket change, even in a league that generates more than $9 billion a year.

Remember when Dallas Mavericks owner Mark Cuban predicted a few months ago that the NFL was due for an "implosion" in the next 10 years? Take away Budweiser and Bud Light, and it would be more like two or three.

"The implications of that, in terms of the investment, not to exaggerate but it would be staggering over the years," said Chris Cakebread, a Boston University professor who specializes in sports advertising. "It would be a very, very difficult process for the league to replace that because there just aren't that many brands that have that kind of money.

"They were probably waiting for everything to blow over," Cakebread added. "This is not blowing over."

The NFL has made some moves to address its shortcomings on domestic violence. In addition to tougher penalties, Goodell announced Monday that he had expanded the role of one female vice president and was adding three women to help advise him on the issue.

On Tuesday, he announced the addition of another female executive, Cynthia C. Hogan, who will be the league's senior vice president of public policy and government affairs.

But the San Francisco 49ers have stubbornly stood by Ray McDonald, who is facing domestic assault charges. The Vikings originally reinstated Peterson, though they reversed course Wednesday by deactivating him. Greg Hardy, who was convicted by a judge of domestic assault and is now awaiting a jury trial, could return to the Carolina Panthers this week after sitting out last weekend.

Goodell and the teams claim they're waiting for legal proceedings to be resolved, but that's just another excuse. Employers suspend or discipline employees accused of wrongdoing all the time – often for offenses far less serious than this.

No, the NFL assumed it could weather the fallout just as it has the bad publicity from the concussion crisis. Former players are dying at an alarming rate from brain trauma suffered during their careers, and it hasn't even put a dent in the NFL's bottom line.

But shrugging your shoulders at players who beat women and children isn't just reprehensible, it's bad math.

About 45% of the NFL's fan base is female, according to an NFL-commissioned report last year by C. Keith Harrison, an associate professor at the University of Central Florida. Citing another study, Harrison also said women influence 85% of purchasing decisions related to disposable income.

In other words, all those women the NFL panders to with pink apparel in October spend a lot of money the other 11 months out of the year, too.

"It's not just a bunch of old guys drinking beer in their man caves. You've got a sizeable portion of women," Cakebread said. "Advertisers are really reluctant to lose that, and they're being very conscious in their reaction."

In other words, money talks. The NFL had better be listening.

http://www.usatoday.com/story/sports...rson/15728397/


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Nielsen Notes (Cable)
Elisabeth Hasselbeck Thriving on Fox News’ ‘Fox & Friends’
By Rick Kissell, Variety.com - Sep. 16, 2014

While “The View” undergoes an extreme makeover, one of its former cast members — Elisabeth Hasselbeck — is thriving on Fox News Channel’s “Fox & Friends.”

Today marks the one-year anniversary of Hasselbeck joining the morning program, which is outdrawing the combined tune in of its CNN and MSNBC competitors.

According to Nielsen estimates for August, “Fox & Friends” averaged 973,000 total viewers from 6 to 9 a.m., well ahead of CNN’s “New Day” (388,000) and MSNBC’s “Morning Joe” (339,000). The Fox show was also up 7% vs. last August in the key news demo of adults 25-54 (248,000), beating the combined totals of “New Day” (133,000) and “Morning Joe” (80,000).

For the third quarter to date in all of cable for the 6-9 a.m. timeslot, “Fox & Friends” maintains its No. 1 position in total viewers. It has also vaulted to fourth place in adults 25-54, up from eighth in August 2013.

Hasselbeck replaced Gretchen Carlson on “Fox & Friends” last September, and co-hosts the program weekdays with Steve Doocy and Brian Kilmeade.

She had been a regular member of “The View” panel for nearly 10 years (from November 2003 to July 2013), usually presenting a conservative viewpoint.

http://variety.com/2014/tv/news/eliz...ds-1201306933/


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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 - May 21)
8:30PM - The Goldbergs
(R - May 13)
9PM - Modern Family
(R - May 14)
9:31PM - Modern Family
(R - May 21)
10PM - Nashville
(R - May 14)
* * * *
11:35PM - Jimmy Kimmel Live! (Ty Burrell; TV personality Len Goodman; Paolo Nutini performs)
12:37AM - Nightline

CBS:
8PM - Big Brother (LIVE)
9PM - Criminal Minds
(R - May 14)
10PM - Extant (Season Finale)
* * * *
11:35PM - Late Show with David Letterman (Michael Cera; dock diving dogs; Lyle Lovett performs)
(R - Aug. 25)
12:37AM - Late Show with Craig Ferguson (Paul Reiser; Aimee Garcia)

NBC:
8PM - America's Got Talent (Season Finale, 120 min., LIVE)
10:01PM - The Mysteries of Laura (Series Premiere)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Liam Neeson; director/screenwriter Terry Gilliam; Tim McGraw performs)
12:36AM - Late Night with Seth Meyers (Tina Fey; Adam Pally; Grouplove performs)
1:36AM - Last Call with Carson Daly (Comic Marc Maron; Kaiser Chiefs perform; singer-songwriter Chuck E. Weiss)
(R - May 7)

FOX:
8PM - Hell's Kitchen
9PM - Red Band Society (Series Premiere)

PBS:
(check your local listing for starting time/programming)
8PM - The Roosevelts: An Intimate History - The Storm (1920-1933) (120 min.)
10PM - The Roosevelts: An Intimate History - The Storm (1920-1933) (120 min.)
(R)

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

THE CW:
8PM - Penn & Teller: Fool Us
9PM - The 100
(R - Jun. 11)

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Professor and author Zephyr Teachout)
11:31PM - The Colbert Report (Viggo Mortensen)
12:01AM - At Midnight (Adam Cayton-Holland; Nate Bergatze; Beth Stelling)
12:31AM - The Meltdown with Jonah and Kumail

TBS:
11PM - Conan (Marisa Tomei; comic Jim Jefferies; band Old Crow Medicine Show)


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TV Notes
Netflix orders two seasons of the Judd Apatow comedy 'Love'
By Meredith Blake, Los Angeles Times - Sep. 16, 2014

Netflix is showing Judd Apatow some "Love."

The online streaming service has ordered two seasons of "Love," a half-hour comedy created and written by Apatow, Lesley Arfin and Paul Rust.

The series follows a couple, played by Rust and Gillian Jacobs of "Community," "as they navigate the exhilarations and humiliations of intimacy, commitment, and other things they were hoping to avoid," according to Netflix.

“Judd Apatow has a unique comedic voice that manages to be delightful, insightful, and shockingly frank -- often at the same time,” said Netflix Chief Content Officer Ted Sarandos in a press release. “Together with Paul and Lesley, he’s bringing a whole new level of agony and ecstasy to this modern day comedy of manners.”

It is the latest romantic comedy venture from Apatow, the writer-director-producer who's explored contemporary relationships in films including "This Is 40" and "Knocked Up." He is also executive producer of the Lena Dunham series "Girls," which airs on HBO, one of Netflix's primary rivals in the prestige-TV business.

Arfin is a former staff writer on that show and came under fire for her response to criticism of its lack of racial diversity. She was also a writer and producer on the MTV series "Awkward" and the Fox sitcom "Brooklyn Nine-Nine."

Rust's writing credits include the fourth season of "Arrested Development" on Netflix and "Comedy Bang! Bang!" on IFC. As an actor, he has appeared in "Inglorious Basterds," "I Love You, Beth Cooper" and "Super Fun Night."

"Love" will have 10 episodes in 2016 and 12 the following year. It is produced by Legendary Television and Apatow Productions.

Netflix, which has had remarkable success with one-hour series including the political drama "House of Cards" and the prison dramedy "Orange Is the New Black," has recently begun to push more aggressively into original comedy. On the slate for 2015 is "Grace and Frankie," starring Jane Fonda and Lily Tomlin as two rivals thrust together unexpectedly when their husbands become romantically involved.

http://www.latimes.com/entertainment...916-story.html


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TV Review
'The Mysteries of Laura'
Debra Messing plays a detective and is the key to police drama that tries to add sitcom elements
By David Hinckley, New York Daily News - Sep. 16, 2014

Debra Messing’s new police drama battles valiantly against one of the stiffest artistic challenges of the the fall season.

“The Mysteries of Laura” seeks to marry a procedural to a sitcom, and while many police dramas have incorporated humor — hello, “Castle” — few have given their sitcom side the airtime it gets here.

Keeping the two parts of the story from stepping on each other presents a challenge that creator Jeff Flake meets some of the time.

Happily, he’s got a strong weapon in Messing.

She plays Laura Diamond, an NYPD detective with the kind of quirky, brilliant mind we’ve seen back to Columbo and see today with, say, Sherlock.

She has no use for a dress code, nutrition guidelines or most other behavioral norms. She has no hesitation about shooting a suspect in the head when his hostage’s head is only six inches away.

She also has twin boys, 4, who behave as if they were raised by wolves, only with opposable thumbs. Her efforts to tame them have been undermined by her husband Jake (Josh Lucas), whom she is divorcing for other reasons.

So for half her life she’s an overscheduled Mom trying to keep at least one wheel on the road, and for the other half she’s solving a crime of the week.

Messing is most agreeable, hitting her comedy marks and credible as supercop. Her partner Billy (Laz Alonso) soon becomes an intriguing character on his own.

Now the show has to make all the laughs and the cop stuff work together, which will take time. It also can’t just show the twins being obnoxiously awful, because a little of that goes a long way.

In the end, it wants to hitch its wagon to Laura.

'The Mysteries of Laura'
Network/Air Date: NBC, Wednesday at 10 p.m.
Rating: ★★★ (out of five)


http://www.nydailynews.com/entertain...icle-1.1941921


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TV Review
‘Red Band Society’: Too much sentiment could be fatal
By Matthew Gilbert, Boston Globe - Sep. 16, 2014

This new young-adult Fox series is certainly going to divide audiences. For one thing, it tends to romanticize being young and sick. “Red Band Society” is set in a light-filled pediatric hospital ward whose large poster-filled rooms look like dorm caves, where half a dozen teens with serious illnesses flirt, party, and sneak off campus. (Cough, medical marijuana, cough.) And no one, including Octavia Spencer’s fierce boss Nurse Jackson and Dave Annable’s McDreamy Dr. McAndrew, really minds because, well, the kids aren’t all right healthwise.

One boy, Charlie (Griffin Gluck), is in a coma, but his thinking is perky and funny as he provides the voiceover narration. “This is me talking to you from a coma,” he says at the start of the premiere Wednesday night at 9. “Deal with it.” Comas, it seems, might be kind of a cool space.

And the show, adapted from a Spanish series by executive producer Steven Spielberg, can be unabashedly manipulative. You can’t be surprised when a sappy montage starts rolling along to the ethereal moanings of Coldplay; the show comes directly out of the tear-jerker tradition of movies such as “Love Story,” “Dying Young,” and, most obviously, “The Fault in Our Stars.” There’s no question: It is trying to break your heart.

But then, what can I say? It does break your heart, to some extent, if you’re willing to let go of your cynicism for an hour. Over the decades, we’ve seen plenty of teen material on TV. Long before the book world fell deeply in love with Young Adult fiction, TV was all over the YA experience, with entire networks, including MTV, ABC Family, and the CW, devoted to questions of sexuality, bullying, depression, alcohol, drugs, and parental divorce. ABC’s “My So-Called Life” from 1994 remains a benchmark of all YA stories. “Red Band Society” is just another prettied-up TV YA tale, but with issues of mortality wound into it. The kids are coming of age and facing the usual conflicts, but the present threat of death makes it all seem a bit more high-stakes and poignant.

I’m not going to hold the illness theme against the show, though I will defect if the sentimentality becomes overplayed and cloying. The idea of anyone, kids or adults, putting on a brave front in the face of suffering can be very powerful, but not if we get our faces rubbed in it.

The premiere does a quick job of introducing each character in the ward, including a heartless mean girl cheerleader named Kara (Zoe Levin) who is stricken with heart failure and now waiting for a transplant. I’m hoping each of the patients will become more specific and layered after the pilot, which, like so many pilots, tries to accomplish too much too quickly; unfortunately, Fox provided critics with only one episode. Some of the actors are likable and promising, particularly Charlie Rowe as the rebellious but soulful Leo and Nolan Sotillo as his roommate, the quiet newcomer Jordi. Both of these characters have bone cancer, and their bond has great dramatic potential.

And Spencer is a rich no-nonsense presence, with her “Scary Bitch” coffee mug and the way she refers to Kara as “Rosemary’s Baby.” Let’s hope the writers make her into more than just a godsend with a heart of gold. The kids deserve better, and so do we.

'Red Band Society'
Network: Fox
Show date: Wednesday
Show time: 9-10 p.m.


http://www.bostonglobe.com/arts/tele...0GK/story.html


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TV Sports
CBS: Rihanna out of NFL "Thursday Night Football" telecast
By CBSNews.com Staff - Sep. 16, 2014

CBS and Rihanna are splitting up after more fallout from the Ray Rice domestic abuse scandal.

The network said Tuesday it was permanently editing a song featuring Rihanna's voice out of its Thursday night NFL telecasts -- after the singer issued a profane tweet about it.

A portion of Jay Z's "Run This Town" featuring Rihanna was cut from last Thursday's game because CBS was covering the controversy over Rice's assault of his then-fiancee. CBS planned to use the song Thursday and for the rest of the season, but Rihanna objected to that in a tweet sent to her 37 million followers.

"CBS you pulled my song last week, now you wanna slide it back in this Thursday? NO, F*** you! Y'all are sad for penalizing me for this," she wrote.

She followed that up with another message: "The audacity..."

CBS issued a statement saying that it was "moving in a different direction" with different theme music.

http://www.cbsnews.com/news/cbs-riha...ball-telecast/


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FOX:
8PM - Hell's Kitchen (Season Finale)
Wow, that was a very short run

I'm a 'hooker' and a knitter. I guess that makes me bi-stitchual :).
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^^^ Yikes! Fixed, thanks.


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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 17, 2014

THE ROOSEVELTS: AN INTIMATE HISTORY
PBS, 8:00 p.m. ET
Part 4.
This is my favorite episode of The Roosevelts – a shining installment that rises above even the rest of this documentary series’ glorious standards. In this two-hour segment, Franklin Roosevelt, at age 39 and with a growing family and the most promising of political careers, suddenly is stricken with infantile paralysis from polio, and finds himself, overnight, unable to walk. Edward Herrmann, in giving voice to Franklin’s memories of that period, is hauntingly evocative. So is this series’ writer, Geoffrey C. Ward, a polio survivor himself, who appears on camera to explain how Franklin must have felt – and succeeds with such empathy that it becomes this show’s most unforgettable moment. To hear my review on NPR’s Fresh Air with Terry Gross, which includes audio samples from several episodes, visit the Fresh Air website. Check local listings.

RED BAND SOCIETY
Fox, 9:00 p.m.
SERIES PREMIERE:
This new series has been widely, and accurately, described as The Breakfast Club in the children’s wing of a hospital. Octavia Spencer stars as an autocratic nurse who seems frightening but has a warm heart underneath, the character who guides viewers through the show’s story (Griffin Gluck) is narrating from a coma, and the various young patients, with their various illnesses, include such identifiable stereotypes as the haughty cheerleader, the brooding loner and the untamed troublemaker. The problem, with this series opener, is that bonds between these disparate types are forged even before the opening episode is over. The commendable thing, though, is that Red Band Society contains many helpful aphorisms and understated teaching moments – and should be applauded, at least, for introducing teen characters with something more significant to confront than self-absorption and an obsession with popularity.

EXTANT
CBS, 10:00 p.m. ET
SEASON FINALE:
For this final entry in this season’s continuing story line on Extant, astronaut Molly (Halle Berry) dons her space suit once again, and heads into space, this time on a different and more dangerous type of mission. But will her mission ever end? To date, CBS hasn’t confirmed a second-season order for this series – so after tonight, there’s a good chance that Extant will become Extinct.

THE MYSTERIES OF LAURA
NBC, 10:01 p.m. ET
SEASON PREMIERE:
This is a warning, not a recommendation. Debra Messing is a very likable actress. The Mysteries of Laura, however, is a very unlikable show. She plays a detective juggling an intense and dangerous life at work with a hectic and harried life at home, thanks to two wild young boys who won’t behave and a husband from whom she’s separated, and on the verge of divorcing. One immediate problem with this opening episode: The boys are such terrors, and their misbehavior so unaddressed, the viewer is all but forced to dislike and dismiss the parents as irresponsible, and the entire series as indefensible.

TOP CHEF: DUELS
Bravo, 10:00 p.m. ET

Hey, look who the guest judges are on tonight’s installment: Cast members from Brooklyn Nine-Nine!


http://www.tvworthwatching.com/

* * * *

TV Review
Life, Death and Taxing Teens in Fox's 'Red Band Society' Hospital Drama
By Ed Bark, TVWorthWatching.com - Sep. 17, 2014

The 12-year-old narrator remains in a coma, which alone makes Fox’s new Red Band Society a unique departure from the mushrooming narrative norm.

Then there’s the welcome casting of Oscar-winner Octavia Spencer (The Help) in the lead role of Nurse Jackson. She’s saucy and authoritarian, of course, with a coffee cup that says, “Scary Bitch.” She’s also dedicated, without overtly showing it, to the mostly teenage patients of Los Angeles’ Ocean Park Hospital. Whether new or somewhat entrenched, they’re afflicted with illnesses ranging from cancer to heart failure to an eating disorder.

Narrator Charlie (Griffin Gluck), who weighs in early and often, goes undiagnosed in Wednesday’s premiere episode (at 9:00 p.m. ET/PT). For now he’s simply flat on his back in bed, making it clear that he doesn’t blame his dad for however he got this way.

Comparisons to The Breakfast Club have been made and are welcomed by the show’s executive producers. One of them, Margaret Nagle, had a brother who was in a coma “for a very, very long time,” she said during an interview session at the summer Television Critics Association “press tour.” He could hear what others were saying, she says. And so can Charlie.

The title Red Band Society comes from the wrist wraps distributed by Leo Roth (Charlie Rowe), who’s lost both his hair and part of a leg to cancer. Incoming patient Jordi Palacios (Nolan Sotillo) faces the same operation. So they bond, with Leo telling Jordi, “They can never cut into your soul.” Yes, things can get a bit cloying and pretentious. But there are affecting moments as well, and plenty of possibilities for new patients and story lines.

Another first-timer at the hospital is Kara Souders (Zoe Levin), a mean girl cheerleader who collapses at practice to the merriment of just about everyone else in attendance. She winds up talking smack to “Coma Boy” Charlie, but begins to get religion after passing out and then communicating with him in a sort of netherworld.

The other principal patients, in the early going at least, are Emma Chota (Ciara Bravo) and Dash Hosney (Astro from The X Factor). She has an aversion to food and he has cystic fibrosis. Both are also part of Leo’s orbit.

Spencer’s Nurse Jackson is the necessary adult supervisor/modulator of all this teenage angst. Other staffers include Dr. Jack McAndrew (Dave Annable), the hunky pediatric surgery whiz, and naive new nurse Brittany Dobler (Rebecca Rittenhouse). Wilson Cruz, little seen in the opening hour, was a late addition to the series as openly gay nurse Kenji Gomez-Rejon.

For starters at least, Red Band Society has enough lightness of being and appealing characters to counterbalance its overall sobering premise. There’s no RX for smash hit here. But the prospects for survival perhaps approach 50-50.

GRADE: B-minus

http://www.tvworthwatching.com/BlogP...px?postId=8155


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TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog.


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Nielsen Overnights (18-49)
Big jump for penultimate ‘America’s Got Talent’
Averages a 2.5 in 18-49s, up 32 percent from last week
By Toni Fitzgerald, Media Life Magazine - Sep. 17, 2014

There was a lot of excitement for the next-to-last episode of “America’s Got Talent” last night.

The NBC show posted a 2.5 adults 18-49 rating from 9 to 11 p.m., according to Nielsen overnights, surging 32 percent over a 1.9 last week.

“Talent” was also up 4 percent over last year’s 2.4 for its penultimate episode, notable because very few programs have seen year-to-year gains this summer.

“Talent,” which airs its season finale tonight, was the night’s top program among 18-49s, on an evening with a slew of original shows.

Fox premiered its two returning comedies, “New Girl” and “The Mindy Project,” one of which came back to better numbers than it left with last spring.

“Girl” posted a 1.6 at 9 p.m., up 33 percent from May’s season finale and its highest-rated episode since February. That was, however, down sharply from a 2.9 for last fall’s season debut.

“Mindy” averaged a 1.3 at 9:30, even to May’s finale but dropping 32 percent from last fall’s season premiere, which posted a 1.9.

Earlier in the night, the new reality show “Utopia” posted a 1.0 rating, up 11 percent from last week.

ABC’s “Dancing with the Stars” averaged a 2.1 for its 8 p.m. results episode, and it drew 12.3 million total viewers, the best of the night on broadcast.

CBS’s “Big Brother” was the No. 2 show of the night behind “Talent,” drawing a 2.3 at 8 p.m. That was even to last week.

NBC finished first for the night among 18-49s with a 2.1 average overnight rating and a 7 share. CBS was second at 1.3/4, Fox and Univision tied for third at 1.2/4, ABC was fifth at 1.1/4, Telemundo sixth at 0.7/2 and CW seventh at 0.3/1.

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

CBS began the night in first place with a 2.3 at 8 p.m. for “Brother,” followed by ABC with a 2.1 for “Stars.” Univision was third with a 1.3 for “Mi Corazon es Tuyo,” NBC fourth with a 1.2 for a repeat of “Talent,” Fox fifth with a 1.0 for “Utopia,” and CW and Telemundo tied for sixth at 0.4, CW for a repeat of “Arrow” and Telemundo for “Reina de Corazones.”

NBC took the lead at 9 p.m. with a 2.5 for a new “Talent,” while Fox moved to second with a 1.5 for “New Girl” (1.6) and “The Mindy Project” (1.3). Univision was third with a 1.4 for “Hasta el fin del Mundo” and CBS fourth with a 0.9 for a repeat of “NCIS: Los Angeles.” ABC and Telemundo tied for fifth at 0.7, ABC for a rerun of “Marvel’s Agents of S.H.I.E.L.D.” and Telemundo for “En Otra Piel,” and CW was seventh with a 0.3 for a “Supernatural” rerun.

At 10 p.m. NBC was first again with a 2.5 for more “Talent,” with Univision and Telemundo tied for second at 0.9, Univision for “La Malquerida” and Telemundo for “El Señor de los Cielos.” CBS was fourth with a 0.8 for a repeat of “Person of Interest” and ABC fifth with a 0.6 for “20/20: From Hell.”

NBC was also first for the night among households with a 5.7 average overnight rating and a 10 share. ABC was second at 4.1/7, CBS third at 3.5/6, Fox fourth at 1.7/3, Univision fifth at 1.5/3, Telemundo sixth at 0.9/1 and CW seventh at 0.7/1.

http://www.medialifemagazine.com/big...as-got-talent/

* * * *

TV/Nielsen Notes
For ‘Extant,’ the blastoff that didn’t
The Halle Berry astronaut drama wraps up its first season
By Louisa Ada Seltzer, Media Life Magazine - Sep. 16, 2014

The new drama “Extant” airs its season finale tonight at 9 p.m. with a two-hour episode on CBS. [ED: It's actually a one-hour season finale at 10:00 p.m.]

It may well be the show’s series finale as well.

“Extant” had a lot going for it coming into the summer. It starred a well-known actress, Oscar winner Halle Berry, and had a big name behind the camera, executive producer Steven Spielberg.

It also debuted amidst higher-than-usual hopes for summer scripted series, following the success of CBS’s “Under the Dome” last year. It seemed viewers were finally ready to embrace scripted series on broadcast during June, July and August.

But “Extant” struggled from the start.

It posted a 1.6 among adults 18-49, according to Nielsen, though it did better among total viewers, drawing 9.6 million.

Ratings have dropped sharply since then. About a month into its run, CBS moved the show from 9 to 10 p.m. and swapped in “Criminal Minds” repeats in the earlier hour, never a good sign.

And the network wrapped up the show a week early with tonight’s double episode, not wanting its low ratings—last week’s episode managed a mere 0.8 rating and 4.6 million viewers—to seep into the regular season.

The show has not been renewed and there’s no indication CBS plans to bring it back.

So what went wrong for “Extant?”

It was probably a combination of three things. First, broadcast generally had a weak summer and that was reflected in shows on every network. Second, expectations were too high for the program because of its impressive pedigree.

Third, the obscure name confused viewers. Very few people know what extant means, and you don’t tune in to a drama for a vocabulary lesson. If you find it confusing, you just skip the show.

And for those still wondering, extant means “still existing.”

http://www.medialifemagazine.com/for...ff-that-didnt/


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TV Notes
Bill Hader returns to 'SNL'
By Ann Oldenburg, USA Today's 'Entertain This!' Blog - Sep. 17, 2014

Will we soon be seeing Stefon again!? We can only hope!

NBC has announced that Bill Hader is returning to Saturday Night Live to host the Oct. 11 show. Hader, who was on SNL for eight seasons, is starring in a new movie, The Skeleton Twins, with Kristen Wiig.

Hey, maybe she’ll pop in?

Joining as musical guest is Irish singer Hozier, whose Take Me to Church is topping the Alternative Radio charts.

The new Saturday Night Live season kicks off with host Chris Pratt and musical guest Ariana Grande on Sept. 27 on NBC. For the Oct. 4 show, look for Masters of Sex actress/comedian Sarah Silverman to host, withMaroon 5 as musical guests.

http://entertainthis.usatoday.com/20...ay-night-live/


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Critic's Notes/Analysis
White House Photo Ops, Old School
‘The Roosevelts,’ Documentary Series on PBS
By Elizabeth Jensen, The New York Times

[This story was originally published on Sept. 14]

Geoffrey C. Ward had to cut away from watching a presidential news conference to talk to a reporter about “The Roosevelts: An Intimate History,” the new Ken Burns documentary series he wrote.

That brought Mr. Ward to a favorite theme: his conviction that neither Theodore nor Franklin D. Roosevelt could be elected president today. Teddy Roosevelt, with his shrill voice and penchant for outbursts, was “too hot” for the cool medium of television, he said, while “clearly, Franklin was a cripple,” paralyzed from the waist down after contracting polio in 1921, at 39, and today’s press “would compete to see who could find him most helpless.” Yet both succeeded, in part by skillful manipulation of their images in the news media of their eras, one of many threads the 14-hour series explores.

PBS stations will broadcast the sweeping documentary, which weaves together the lives of both presidents and the first lady Eleanor Roosevelt into a family narrative, starting Sunday, in two-hour increments for seven straight nights. The entire series will stream on PBS member station websites beginning on Monday.

The film starts with Theodore Roosevelt’s birth in 1858 and ends with the 1962 death of Eleanor, Theodore’s niece and Franklin’s wife (and fifth cousin). High-profile biographies of all three have been published in recent years, but viewers may not be aware of the “rather dramatic interfamily relationship between the three Roosevelts,” said David Woolner, a senior fellow and resident historian at the Roosevelt Institute, and an adviser on the series. “There’s an interconnectedness that we just don’t really pause to think about.”

When it came to the presidents as media masters, the filmmakers found some 25,000 images from which to draw, Mr. Burns said, including one that purports to show Theodore Roosevelt (who led the nation from 1901 to 1909) capturing thieves out West. The incident was real but the photograph was staged: Friends posed as the bad guys. And while Theodore built the White House’s first press room and loved to have cameras around, Mr. Ward said, no photos were unearthed of him playing his daily tennis match. He thought the game would make him look effete.

The documentary, Mr. Ward said, is also the “first systematic treatment on film” of all the efforts Franklin Roosevelt — president from 1933 to his death in 1945 — made to appear to walk. It took him seven years to perfect the move of swinging his body forward while holding onto someone’s arm. The man who used a wheelchair and couldn’t get to the bathroom on his own “made everyone believe he stood up to greet them,” Mr. Ward said. “He was an absolute magician.”

The modern view “is to see a kind of conspiracy on the part of Franklin Roosevelt to hide the fact that he had this disability from the public,” Mr. Woolner said.

But he added that the public was well aware of his polio; there were fund-raisers every year for research into the disease. What the public didn’t know, he said, “was the extent of his disability,” his ability to put people at ease somehow convincing them that he had overcome it.

Political necessity required an image of strength and health while running for election as the country struggled with the Depression. “If he were photographed looking helpless, people would not vote for him,” Mr. Ward said. “Pity was poison.”

The effort was aided by a complicit news media. While some photographs from Franklin’s first presidential campaign show aides snapping on his braces, that ended when he was elected, Mr. Ward said. He was an accessible president, holding 998 news conferences, but the press corps agreed not to photograph his struggle to walk. The Secret Service at times also confiscated the film of average citizens.

Still, some images slipped through. Researchers turned up a clip of the president getting off a train in Bismarck, N.D., and an unused snippet from a newsreel when Franklin met Winston Churchill. “We hoped to find enough around the edges of all the edicts,” Mr. Burns said, to help viewers understand just what an extraordinary physical struggle it was.

The series was essentially completed when an eight-second clip surfaced showing him in braces, laboring to walk up a ramp at the 1937 Major League Baseball All-Star Game with the help of an aide. The filmmakers re-edited to insert the home-movie footage, which had been donated to the Pennsylvania Historical and Museum Commission.

The gap between image and reality is of particular interest to Mr. Ward, who had polio when he was a child and wears braces. Through his long collaboration with Mr. Burns — he wrote “Jazz,” “Baseball” “The War” and “Prohibition,” and was a writer of “The Civil War” — Mr. Ward has never gone on camera. But in this series, he appears as an expert, and when discussing Franklin in the fourth episode — much of which is devoted to Roosevelt’s polio struggle — he becomes emotional.

“Part of getting to know Franklin Delano Roosevelt is empathy,” Mr. Burns said.

Mr. Ward, who wrote the biography, “A First-Class Temperament: The Emergence of Franklin Roosevelt,” and, with Mr. Burns, the companion book for the series, said he wants viewers to understand that “this man triumphed, even though he couldn’t walk,” leading the country through the Depression and World War II, the two greatest crises of the 20th century.

“Thank God” his image was manipulated, Mr. Ward said. “He was perfectly capable of being president.”

http://www.nytimes.com/2014/09/14/ar...elevision&_r=0


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Originally Posted by dad1153 View Post
TV/Nielsen Notes
For ‘Extant,’ the blastoff that didn’t
The Halle Berry astronaut drama wraps up its first season
...
So what went wrong for “Extant?”

It was probably a combination of three things. First, broadcast generally had a weak summer and that was reflected in shows on every network. Second, expectations were too high for the program because of its impressive pedigree.

Third, the obscure name confused viewers. Very few people know what extant means, and you don’t tune in to a drama for a vocabulary lesson. If you find it confusing, you just skip the show.

http://www.medialifemagazine.com/for...ff-that-didnt/
Or, maybe some of us got tired of the intense Robot Boy focus in the first few episodes and just stopped watching. Wanted to see Halle. Wanted to see extraterrestrial mystery. Didn't want to see "Astro Boy, The Prequel."
Mark12547 likes this.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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