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post #97021 of 97487 Old 09-26-2014, 01:34 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 - Shark Tank (Season Premiere, 120 min.)
10PM - 20/20 (Season Premiere)
* * * *
11:35PM - Jimmy Kimmel Live! (Kaley Cuoco; Anthony Anderson; Bastille performs)
(R - Sep. 18)
12:37AM - Nightline

CBS:
8PM - The Amazing Race (Season and Time Slot Premiere)
9PM - Hawaii Five-0 (Season Premiere)
10PM - Blue Bloods (Season Premiere)
* * * *
11:35PM - Late Show with David Letterman (Ted Danson; stupid human tricks; comic Andrew Norelli)
12:37AM - Late Late Show with Craig Ferguson (Ben Kingsley; Bojana Novakovic)

NBC:
8PM - The Mysteries of Laura
(R - Sep. 24)
9PM - Dateline NBC: Before Dawn (Season Premiere, 120 min.)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Matthew Broderick and Nathan Lane; Robert Plant performs)
12:36AM - Late Night with Seth Myers (Luke Wilson; Max Greenfield; Banks performs)
(R - Sep. 8)
1:37AM - Last Call with Carson Daly (John Slattery; Night Terrors of 1927 perform; comic Cristela Alonzo)
(R - May 13)

FOX:
8PM - Utopia
9PM - Gotham
(R - Sep. 22)

PBS:
(check your local listing for starting time/programming)
8PM - America After Ferguson
10PM - Live From Lincoln Center - Sweeney Todd: The Demon Barber of Fleet Street in Concert With the New York Philharmonic -- PBS Arts Fall Festival (2 1/2 hrs.)

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 - Aug. 24)
9PM - America's Next Top Model
(R - Sep. 22)

TELEMUNDO:
8PM - Reina De Corazones
9PM - En Otra Piel
10PM - Señora de Acero

HBO:
10PM - Real Time with Bill Maher (LIVE; Social activist Naomi Klein; filmmaker Alexandra Pelosi; journalist Charles M. Blow; journalist John Feehery; Gen. Anthony Zinni)
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post #97022 of 97487 Old 09-26-2014, 01:38 AM
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Technology/Business Notes
U.S. FAA to allow six movie, TV companies to use drones
By Eric Beech and Alwyn Scott, Reuters.com - Sep. 25, 2014

U.S. aviation regulators loosened restrictions on the commercial use of drones on Thursday, granting six television and movie production companies permission to use the small, remotely piloted aircraft to shoot scenes on closed sets.

The Federal Aviation Administration said it would allow filming with drones provided the aircraft weigh 55 pounds (25 kg) or less, are used within sight of the remote pilot, who must hold a private pilot's license, and are flown under 400 feet (120 meters) in altitude, among other restrictions.

The approval marks a major advance for the growing drone industry, which is expected to generate billions of dollars in economic activity once restrictions on commercial use of drones are removed. The FAA currently bans most commercial drone flights, but is required by Congress to integrate drones into the U.S. airspace in coming years.

"This is the first step to allowing the film and television industry to use unmanned aircraft systems in our nation's airspace, and it's a milestone in the wider effort to allow unmanned aircraft for many different types of commercial use," Transportation Secretary Anthony Foxx said in a conference call.

The six companies that received FAA exemptions from the drone ban are Astraeus Aerial, Aerial MOB LLC, HeliVideo Productions LLC, Pictorvision Inc, RC Pro Productions Consulting LLC dba Vortex Aerial, and Snaproll Media, LLC.

The FAA said it has asked for additional information from Flying-Cam Inc, a seventh aerial video company that filed for exemptions with this group in June. The agency said it is working closely with the company to obtain the information.

In granting the exemptions, the FAA barred the six companies from making drone flights at night, required that flights take place on sets closed to the public, and said operators must inspect the aircraft before each flight.

The film and television industry hailed the FAA decision.

"Today's announcement is a great victory for the industry but also a great victory for audiences," Chris Dodd, chairman and chief executive officer of the Motion Picture Association of America, said on the conference call.

Dodd noted that drones have been used in other countries to film scenes in such movies as the James Bond film "Skyfall" and the "Harry Potter" series. "This is going to bring a lot of business back home to the United States," he said.

QUICK APPROVAL

The drone industry has mushroomed in recent years with the arrival of small, inexpensive remote-control aircraft that can carry cameras, sensors or other equipment that makes them useful for a wide range of uses, from inspecting oil pipelines to crop dusting to locating people lost in the wilderness.

The drone industry would create at least 70,000 U.S. jobs in the first three years after the aircraft are integrated into U.S. airspace, and generate nearly $14 billion in economic activity, according to the Association for Unmanned Vehicle Systems International, a trade group.

The FAA's approval shows the agency working relatively quickly to approve new uses, since the petitions for exemptions were filed in May and June. Under law, the agency had to respond to the requests in 120 days, said attorney Jonathan Hill, of counsel at Cooley LLP, who filed the exemption requests to the FAA.

"It's for the six specific companies on closed-set filming," said Hill. "It's restrictive and regulatory in nature. But it's a welcome first step."

The exemptions come as the FAA is still drafting proposed rules for integrating commercial drones into the national airspace. A draft set of those rules is circulating in Washington, according to industry sources, but the FAA is widely expected to miss a deadline of publishing the draft rules this year.

Final approval is expected to be years away, which means exemptions like those granted on Thursday are the only way businesses can legally get permission to use them.

Last year, the U.S. government created six sites for testing broader commercial uses, in Alaska, Nevada, New York, North Dakota, Texas and Virginia.

Among the potential uses: Google Inc has said it is developing airborne drones capable of flying on their own and delivering anything from candy to medicine. Amazon.com Inc announced plans last year to use drones to make home deliveries.

http://www.reuters.com/article/2014/...0HK2E220140925
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post #97023 of 97487 Old 09-26-2014, 01:47 AM
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TV Notes
Best tube bets this weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Sep. 26, 2013

FRIDAY

Best bet on broadcast
: ABC, “Shark Tank” 8 p.m. Season premiere.
Two-hour premiere includes a pitch for a free charging station for mobile devices.

Best bet on cable: CMT, “CMT Crossroads” 10 p.m. An interesting mash-up between John Legend and Lee Ann Womack.

Top sporting event: Golf Channel, “Ryder Cup Golf,” 2:30 a.m. Yes, it’s early, but it’s live coverage of this year’s Ryder Cup from Perthshire, Scotland.

SATURDAY

Best bet on broadcast
: NBC, “Saturday Night Live,” 11:30 p.m. Season premiere.
“Parks and Recreation” actor Chris Pratt hosts, with musical guest Ariana Grande.

Best bet on cable: Starz, “Outlander,” 9 p.m. Season finale. Claire tries to settle into her new marriage, while Frank intensifies his search for her.

Top sporting event: Fox Sports 1, “College Football,” 10 p.m. One of the best matchups of the day features No. 11 UCLA at No. 15 Arizona State.

SUNDAY

Best bet on broadcast
: Fox, “Family Guy,” 9 p.m. Season premiere.
The long-awaited hour-long crossover episode with “The Simpsons.”

Best bet on cable: Showtime, “Masters of Sex” 10 p.m. Season finale. Masters and Johnson release the results of their studies.

Top sporting event: NBC, “Sunday Night Football,” 8:20 p.m. Should be an entertaining NFC matchup between the Saints and Cowboys.


http://www.medialifemagazine.com/bes...ts-weekend-50/

* * * *

Nielsen Notes
Cable overnights: ‘South Park’ premiere scores
By Media Life Magazine Staff - Sep. 25, 2014

Comedy Central’s “South Park” is still going strong nearly two decades into its run.

The show’s 18th season premiere on Wednesday was cable’s No. 1 original show of the day, averaging a 1.4 adults 18-49 Nielsen rating.

In fact, “Park” helped power a strong lineup for the network. Lead-out “Key & Peele” posted a 1.0, the night’s second-best rating in the demo.

A TBS repeat of “The Big Bang Theory” was the night’s top show in total viewers with 2.7 million.

http://www.medialifemagazine.com/cab...emiere-scores/
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post #97024 of 97487 Old 09-26-2014, 01:51 AM
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TV/Nielsen Notes
New Television Season Raises Red Flags for Fox
By Bill Carter, The New York Times - Sep. 26, 2014

The third night of network television’s premiere week provided good news for another new series, the comedy “Black-ish” on ABC, while further cementing CBS’s solid start and planting more red flags for the Fox network.

“Black-ish” looked hit-ish in its initial outing, scoring ratings that made it appear that it will be highly compatible with ABC’s biggest comedy hit, “Modern Family.” While that series continues to show erosion from its blockbuster days, it is still the strongest show on Wednesday night among the 18-to-49-year-old viewers that ABC sells to advertisers.

“Modern Family” hit a 3.7 rating in that category in the first ratings from Wednesday night — down from a 4.1 last season — with 10.9 million viewers. “Black-ish” retained a solid 3.3 rating in the 18-49 category and virtually matched its lead-in audience, with 10.8 million viewers.

The other prominent news on the night was further evidence of the indestructibility of CBS’s war horse, “Survivor.” The aptly named reality series, now in its 29th edition, managed 9.7 million viewers and a 2.7 rating in the 18-49 category, second best on the night. The young adult rating was up 4 percent from last year. CBS also got a solid 2.6 rating with just under seven million viewers for the finale of its summer reality series, “Big Brother.”

Those numbers are increasingly well beyond the reach of most of the offerings on the Fox network so far this season. The network had another night of near minuscule ratings Wednesday, a discouraging sign especially for its new, well-reviewed drama, “The Red Band Society.”

That series, in its second week, fell off 20 percent from a week ago. It managed only a 1 rating in the 18-49 category with 3.4 million viewers. Even with Fox’s own projections for seven days of delayed viewing, the show would climb to only a 1.6 rating, still the worst for the night.

Fox’s own longtime reality series “Hell’s Kitchen” is not showing the staying power of “Survivor,” with only a 1.3 rating in the 18-49 group and 3.7 million viewers.

The rest of ABC’s Wednesday comedy lineup performed adequately, but its 10 p.m. drama, “Nashville,” which included live song performances to juice its appeal, was off 25 percent from its premiere last season.

NBC’s lineup looked CBS-like in providing strong overall audiences, with mediocre reach among the 18-49 viewers that NBC covets.

“The Mysteries of Laura,” perhaps the most critically reviled new show of the season, proved surprisingly strong in holding almost all its total viewer number from a week ago, with just under 10 million. “Law and Order: SVU” at 9 and “Chicago PD” at 10 both held onto solid audience numbers with 10.1 million for “Law and Order” and 8.5 million for “Chicago PD."

http://www.nytimes.com/2014/09/26/bu...ref=television
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post #97025 of 97487 Old 09-26-2014, 03:07 AM
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Originally Posted by dad1153 View Post
Technology/Business Notes
U.S. FAA to allow six movie, TV companies to use drones
It looks like ABC has finally found a way to get out of last place.

"Die CBS! DIE! DIE! DIE!"
*BLAM! BLAM! BLAM!*

Let's just hope they televise the showdown.
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post #97026 of 97487 Old 09-26-2014, 04:22 AM
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Originally Posted by dad1153 View Post
So, how did "Black-ish" and all the returning shows did during their Wednesday debuts?
Another "did" "did", when it should be "did" "do".

"What do you say Beckett. Wanna have a baby?" - Castle to Det. Beckett
"How Long have I been gone?" Alexis after arriving home and seeing Castle and Beckett w/ the baby - Castle - 11/25/13
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post #97027 of 97487 Old 09-26-2014, 05:44 AM
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Hey dad, re best bets for the weekend, No. 11 UCLA at No. 15 Arizona State was played last night, not this Saturday night. Maybe they are going to show a repeat of it.
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post #97028 of 97487 Old 09-26-2014, 08:26 AM
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Originally Posted by dad1153 View Post
So, how did "Black-ish" and all the returning shows did during their Wednesday debuts?
They done did good!

I'm a 'hooker' and a knitter. I guess that makes me bi-stitchual :). Crap I say
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post #97029 of 97487 Old 09-26-2014, 09:08 AM
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Hey dad, re best bets for the weekend, No. 11 UCLA at No. 15 Arizona State was played last night, not this Saturday night. Maybe they are going to show a repeat of it.
Quick make a $$ bet with her....she can even have arizona st. +34 pts !!


edit:
dont see FS1 with a game that night so not sure where that came from.


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post #97030 of 97487 Old 09-26-2014, 09:24 AM
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Hey dad, re best bets for the weekend, No. 11 UCLA at No. 15 Arizona State was played last night, not this Saturday night. Maybe they are going to show a repeat of it.
Unlike my spelling errors (Arrggghh!) I'm not in control of what supposedly professional journalists present as their picks/opinions. I'm sure Louisa meant another game (or not), but there you go.
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post #97031 of 97487 Old 09-26-2014, 09:41 AM
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It's okay Dad, we all still love and appreciate all you do! {hugs}
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I'm a 'hooker' and a knitter. I guess that makes me bi-stitchual :). Crap I say
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post #97032 of 97487 Old 09-26-2014, 11:25 AM
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^^^ Thanks.

Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 26, 2014

TRANSPARENT
Amazon Prime Video, Check local listings
SEASON PREMIERE:
Just as the streaming video service Netflix put itself on the map, big time, by presenting the excellent drama House of Cards, Amazon Prime Video pulls the same trick, after a few seasons of original programming development, by unveiling Transparent, a new comedy-drama starring Jeffrey Tambor as a 70-year-old man who has decided to embrace his female side – henceforth her female side. Telling the family, including his ex-wife (Judith Light) is only one of the tricky paths to be negotiated. It’s a role that could have gone overboard so easily, and taken the series with it – but Tambor is stunningly real and exposed here, serving up yet another bold and brilliant acting triumph in a long career that’s full of them. Gaby Hoffman, Melora Hardin and Jay Duplass co-star as the grown children; Jill Soloway created the show. For a full review, listen to today’s Fresh Air with Terry Gross on NPR, or, after about 4 p.m. ET, visit the Fresh Air website. Also, for Eric Gould's take on Transparent, as well as other streaming content, stop by The Cold Light Reader.

SCARFACE
TCM, 8:00 p.m.

TCM presents a world-class double feature of gangster movies tonight. Howard Hawks’ 1932 Scarface, starring Paul Muni, heads things off at 8 p.m. ET, with ample support from Ann Dvorak, George Raft, Boris Karloff and others. Then, at 9:45 ET, TCM presents an even older entry in this classic film genre: 1931’s Little Caesar, starring Edward G. Robinson as the unhinged, tough-talking, trigger-happy Rico.

LIVE FROM LINCOLN CENTER: “SWEENEY TODD: IN CONCERT WITH THE NEW YORK PHILHARMONIC”
PBS, 9:00 p.m. ET

Attend the tale of Sweeney Todd: It began on Broadway in 1979, a stunningly aggressive and impressive Stephen Sondheim musical starring Len Cariou and Angela Lansbury. He played a bitter barber in Victorian London who used his razors to often deadly effect, and she played his willing accomplice, who disposed of the bodies by grinding them into filling for competitively stuffed meat pies. Watching it on Broadway, when it was in the final week of previews, was one of the best theater experiences of my life, and Sweeney has thrilled me ever since. Tim Burton’s movie version, starring Johnny Depp and Helena Bonham Carter, premiered in 2007, and a concert version TV special was released in 2001, starring George Hearn and Patti LuPone, and featuring Neil Patrick Harris as Tobias, the addled baker’s assistant. This year’s PBS Arts Fall Festival opens with a new concert version, filmed earlier this year at Lincoln Center and backed by the New York Philharmonic. Bryn Terfel and Emma Thompson play the leading roles, and they’re great, with Thompson, especially, an unexpected revelation, handling the tricky music well and the shades of comedy even better. I was there to watch that, too, and was blown away all over again. Sweeney! Sweeney! Sweeney! Sweeney! Check local listings.

THE KNICK
Cinemax, 10:00 p.m. ET

Police brutality, and the fatality of a young black man at the hands of a white cop, are at the center of tonight’s episode, which sounds like it was ripped from the headlines. Except that this medical drama is set in the year 1900, so those headlines would have been about 115 years old. Sadly, though, some things never seem to change – though, on this show, relationships between several staff members at the Knickerbocker hospital will change, as a result of the violence and unease around them. Clive Owen stars.

REAL TIME WITH BILL MAHER
HBO, 10:00 p.m. ET

Tonight’s scheduled guests include Naomi Klein, Gen. Anthony Zinni and a former Real Time contributing reporter, Alexandra Pelosi.


http://www.tvworthwatching.com/

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post #97033 of 97487 Old 09-26-2014, 11:32 AM
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So, how did Shonda Rhimes' shows DO versus the Giants-"Washington" game during their Thursday premieres?

THURSDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insights' Blog.
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post #97034 of 97487 Old 09-26-2014, 11:38 AM
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Nielsen Overnights (18-49)
Strong start for ABC’s Thursday night lineup
By Toni Fitzgerald, Media Life Magazine - Sep. 26, 2014

ABC’s Shonda Rhimes lineup got off to a strong start against tough competition on Thursday.

The network, which aired the Rhimes dramas “Grey’s Anatomy,” “Scandal” and “How To Get Away with Murder,” averaged a 3.5 rating and 11 share for the night among adults 18-49, according to Nielsen overnights, up 30 percent from the 2.7 it averaged on the first Thursday of last season.

Making the performance more impressive was the fact that it aired against CBS’s “Thursday Night Football,” which averaged a 4.2 rating from 8 to 11 p.m. As always, ratings for CBS’s NFL coverage are approximate as fast nationals measure timeslot and not actual program data.

The night couldn’t have been scripted any better for ABC.

At 9 p.m. its buzzy hit “Scandal” posted a series-high 3.8 rating among 18-49s, while the series premiere of “How To Get Away with Murder” matched that rating in the 10 p.m. timeslot. In fact, “Murder” was the night’s most-watched program, according to overnight ratings, averaging even more total viewers than the NFL game.

ABC even won the night among households with a 7.9 rating, just ahead of CBS’s 7.5.

But led by football CBS was first for the night among 18-49s with a 4.2 average overnight rating and a 13 share. ABC was second at 3.5/11, NBC third at 1.3/4, Univision fourth at 1.2/4, Fox fifth at 1.1/4, Telemundo sixth at 0.6/2 and CW seventh at 0.2/1.

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

CBS finished first during each hour with football, starting with a 3.4 at 8 p.m., followed by ABC with a 3.0 for “Grey’s Anatomy.” Fox was third with a 1.6 for “Bones,” Univision fourth with a 1.4 for “Mi Corazon es Tuyo,” NBC fifth with a 1.3 for “The Biggest Loser,” Telemundo sixth with a 0.4 for “Reina de Corazones” and CW seventh with a 0.2 for a repeat of “The Vampire Diaries.”

At 9 p.m. CBS was first with a 4.7 for football, followed again by ABC with a 3.8 for “Scandal.” NBC was third with a 1.4 for more “Biggest Loser,” Univision fourth with a 1.3 for “Hasta el Fin del Mundo,” Fox fifth with a 0.7 for a repeat of “Sleepy Hollow,” Telemundo sixth with a 0.6 for “En Otra Piel” and CW seventh with a 0.2 for a rerun of “The Originals.”

CBS was first again at 10 p.m. with a 4.5 for football, while ABC remained second with a 3.8 for “How To Get Away with Murder.” NBC was third with a 1.4 for “Parenthood,” Univision fourth with a 0.9 for “La Malquerida” and Telemundo fifth with a 0.8 for “Señora Acero.”

ABC finished first for the night among households with a 7.9 average overnight rating and a 13 share. CBS was second at 7.5/13, NBC third at 2.9/5, Fox fourth at 2.7/4, Univision fifth at 1.6/3, Telemundo sixth at 0.9/2 and CW seventh at 0.4/1.

http://www.medialifemagazine.com/str...-night-lineup/
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post #97035 of 97487 Old 09-26-2014, 11:46 AM
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Nielsen Notes
‘Jimmy Kimmel Live’ Tops Late-Night Thursday Ratings – Helped By ‘Scandal’
By Lisa de Moraes, Deadline.com - Sep. 26, 2014

ABC’s Jimmy Kimmel Live ranked as Thursday’s No. 1 talk show in late-night in households (3.0/8) in the 56 metered markets, and in the demo (1.2/6) in the 25 LPM markets, beating NBC’s The Tonight Show Starring Jimmy Fallon (2.5/7 and 0.9/4) and CBS’ The Late Show With David Letterman (2.7/8 and 0.9/5).

ABC had a very big night in primetime — launching its All Things Shonda Rhimes Thursday, including the 10 PM series premiere of How To Get Away With Murder, and the returns of Scandal and Grey’s Anatomy. In LPM, at 10 PM, NBC did a 1.2 demo rating, and ABC did a 4.4. At 11:30 NBC’s Tonight Show Starring Jimmy Fallon logged a 0.9 and JKL clocked a 1.2 with a Shonda-themed show that included a scheduled visit by Scandal star Darby Stanchfield. Kimmel’s show had great success last season with Scandal-themed Thursdays and, in fact, last night’s telecast marked JKL’s highest-rated on any night in late-night in both homes and adults 18-49 (tie) – since Jimmy Kimmel Live: Behind The Scandalabra tribute to last spring’s Scandal season finale last May.

http://deadline.com/2014/09/jimmy-ki...rhimes-841687/
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post #97036 of 97487 Old 09-26-2014, 11:53 AM
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Q&A
'Amazing Race' Host Phil Keoghan: Season 25 Has "Most Powerful Prize Ever"
By Kimberly Nordyke, The Hollywood Reporter's 'Live Feed' Blog - Sep. 26, 2014

The Amazing Race returns with 11 new competitors, a big new twist — and a new night.

The long-running CBS reality competition moves from Sunday to Friday nights this season, with the 25th installment set to debut at 8 p.m. Friday.

"We're excited about the new night," host Phil Keoghan tells The Hollywood Reporter. "We've heard a lot of parents say, 'Thank you so much,' because we don't have to worry about football overruns anymore and keeping the kids up late. It's such a family show, and this will get rid of a lot of the arguments parents were having with kids about bedtime on Sundays."

Among the competitors are surfer Bethany Hamilton and her husband, Adam Dirks, along with a pair of Survivor alums: Keith Tollefson and Whitney Duncan, who met on the South Pacific edition and are now engaged. (THR has an exclusive look at the opening credits, above.) At the start, the competitors find out that the team that finishes the first leg first will receive what is being called "The Save," which allows them to save themselves if they face elimination at any point during the competition.

Ahead of the show's two-hour season premiere, Keoghan talked to THR about what viewers can expect. [ED. CBS only shows a one-hour premiere airing tonight]

There's a new twist this season. What kind of impact does that have on the Race?
It's the most powerful Amazing Race prize ever. Essentially, if you win it, you become almighty and powerful — kind of like the king of a country. When the teams heard about it, they were very motivated.

You also kicked off the season in Times Square in May, and invited fans to come out to the start of the Race.
What really makes this season so different is that from the start, we really embraced social media. For so long, we tried to keep secret what we were doing, where we were, how we got there. It was becoming more and more of a challenge because the world is not the way it was when we first started. People weren't tweeting and Instagramming. Now people are literally shooting video of us and firing it up around the world in real time. Personally I think it is very exciting. I don't think anybody is put off watching the show because they see that we are in a particular place. If anything, it makes it more exciting: "I can't wait to see what happened when they came through here." They get caught up in that energy. The energy in Times Square was palpable, and so many Race fans turned up who never had an opportunity to see that before. It's something we hope to keep doing on an ongoing basis.

Let's talk about the teams.
We have such a good combination and mix of teams this year — some sweethearts, sisters, firefighters, scientists, mother and daughter …

You also have a couple of Survivor alums, and interestingly, this season Survivor features a pair of Race alums ("Twinnies" Nadiya and Natalie Anderson). Do you think Keith and Whitney have an advantage?
It's such a different experience. From what I hear about Survivor, there is more downtime, more thinking time, more strategy time, more alliance time, where you are spending a lot of time thinking about how you are going to outwit and outplay somebody. On Race, there really isn't time for that. I would venture to say it's much more on-the-spot thinking and reacting to what is happening and less long-term planning.

How did Bethany Hamilton come to be on the show?
I don't know exactly, but I do know that having her on the show has created such a new wave of interest with young women. It's quite staggering, actually. She is such an inspiration to many young women in particular that she's going to bring a huge amount of interest. She doesn't talk about the fact that she doesn't have one of her arms; she talks about what she wants to do in life and gets on with it. You'll see her kick some serious butt. If anybody is foolish enough to misjudge her, they'll find out the hard way that this young woman is not messing around.

She's also obviously very athletic. Does that give her an edge?
It's more about her mindset. We've had very capable, fit, strong people — from the military, from professional sports teams, personal trainers, people who have run marathons — ultimately, I don't believe that is the key ingredient to doing well on the Race. It really is a blend of brains and brawn and determination and people really wanting to win. And Bethany is one of those people.

What can you tell us about the challenges we'll see this season?
Right out of the game, the teams head to the U.S. Virgin Islands. From there, they go to England and at some point end up at a Parliamentarian pancake race. People do really nutty, crazy things. One of the cool places we got to go was the Shetland Islands; we've never been there before. It's very isolated, way up in the North Sea, and a very rugged part of the world.

http://www.hollywoodreporter.com/liv...keoghan-735521
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So, how did Shonda Rhimes' shows DO versus the Giants-"Washington" game during their Thursday premieres?
She done did do do all over the game

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"How Long have I been gone?" Alexis after arriving home and seeing Castle and Beckett w/ the baby - Castle - 11/25/13
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TV Notes
‘Devious Maids’ Renewed For Season 3, Ric Swartzlander & Brian Tanen Named Co-Showrunners
By Nellie Andreeva, Deadline.com - Sep. 26, 2014

More than two months after Devious Maids finished airing its second season, the mystery comedy-drama has been picked up by Lifetime for a 13-episode third season. Why did it take so long? In addition to the usual license fee haggling between a network and a studio (Devious Maids hails from ABC Studios), there was another issue that held up the renewal — creator/executive producer Marc Cherry’s reluctance to continue as a full-time showrunner. Cherry has been open about it. “The time is coming to a close on my day-to-day showrunning,” he told Deadline earlier this summer. “I’m just getting old. I just had my 52nd birthday.” To alleviate his workload, veteran showrunner Ric Swartzlander who, like Cherry, comes from a comedy background, has been brought in as executive producer/co-showrunner, and Brian Tanen, who has been on Devious Maids since the beginning as producer/supervising producer and also worked for Cherry on Desperate Housewives, will also serve as co-showrunner. They will co-run the show with Cherry, who will remain as executive producer/showrunner. Keeping Cherry and his voice on the show had been crucial to Lifetime for renewing the series.

Ratings-wise, Devious Maids has earned a renewal. Its second season premiere in April was on par with its series debut in total viewers (2 million) and climbed 15% in 18-49. It didn’t experience the ratings upswing of the dramedy’s freshman season, which grew to 3 million in the finale, but has averaged a healthy 1.8 million viewers in Live+same day. Compare that to the 700,000 for new Lifetime drama The Lottery, which is not expected to come back.

Created by Marc Cherry inspired by a telenovela, Devious Maids stars Ana Ortiz, Dania Ramírez, Roselyn Sánchez, Edy Ganem, Judy Reyes, Rebecca Wisocky and Susan Lucci. Cherry executive produces with Eva Longoria, Swartzlander, Sabrina Wind, Larry Shuman, David Lonner, John Mass and Televisa USA’s Paul Presburger and Michael Garcia. Tanen’s credit is being negotiated.

As for what Cherry plans to do in his spare time, “There’s some exciting talent out there I would like to supervise,” he told Deadline. I’m eyeing other opportunities. People know I’m interested in theater and I’m getting calls from New York, and there are screenplay opportunities.” But he was clear, “As long as Devious is going, I want to be a part of it. We are the little show that could.”

http://deadline.com/2014/09/devious-...unners-841978/
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TV Notes
‘Home Improvement’ Reunion Set for Tim Allen, Patricia Richardson on ‘Last Man Standing’
By Ryan O'Connell, TheWrap.com - Sep. 26, 2014

Tim Allen will be reunited with his former TV wife Patricia Richardson on his current sitcom “Last Man Standing,” ABC confirmed to TheWrap.

Allen and Richardson played Tim and Jill Taylor on “Home Improvement” for eight seasons.

On “Last Man Standing,” Richardson will play Helen Potts, a newly divorced neighbor of Allen's character Mike. Potts annoys another neighbor on the block after she insists on using her loud tile saw early in the morning.

Sounds an awful lot like the female incarnation of Tim “The Tool Man” Taylor.

Richardson marks the third “Home Improvement” alum to guest-star on Allen's current sitcom. Jonathan Taylor Thomas, who played the middle son on “Home Improvement,” has appeared on “Last Man Standing” three times. Richard Karn, who played Allen's sidekick Al Borland, guest-starred in 2013.

“Last Man Standing's” fourth season will return with a one-hour premiere on Friday, Oct. 3 at 8 pm ET.

http://www.thewrap.com/home-improvem...-man-standing/
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TV Sports
For KDOC-TV, Dodger deal with Time Warner Cable is big windfall
By Ryan Faughnder, Los Angeles Times' 'Company Town' Blog - Sep. 26, 2014

The Los Angeles Dodgers may have clinched the NL West title, but nobody is winning in the ongoing issues that have prevented most residents from watching the season on television.

Nobody except, perhaps, local TV station KDOC-TV Channel 56.

TV viewers are flocking to the station as it carries the final Dodgers games of the regular season, and the additional viewership has been a ratings boon for an outlet best known for its reruns of popular TV shows like "Seinfeld" and "Rules of Engagement."

The late-season arrangement was unusual because Time Warner Cable is compensating KDOC for the programming block. The cable giant is simultaneously running the games on SportsNet LA, the channel owned by the Dodgers that Time Warner Cable distributes. It is also handling advertising sales for the telecast because it already has relationships with advertisers who want to appear during sports events.

KDOC and Time Warner Cable declined to provide specific financial details, but the audience numbers show a ratings win for KDOC.

Most homes in the region don't have access to SportsNet LA. Major cable and satellite distributors including DirecTV have refused to pay the big fees Time Warner Cable wants to carry the Dodgers channel.

Wednesday's division-winning contest, in which star pitcher Clayton Kershaw led the Dodgers to a 9-1 victory over the San Francisco Giants, averaged a whopping 459,000 viewers, according to Nielsen.

The previous two games also drew plenty of viewers. Monday's extra-innings loss to the Giants scored an average of 259,000 people, more than three times the number who watched on the Dodgers' own channel. On Tuesday, the Dodgers' victory averaged 297,000 viewers.

All those results are sharply higher than the average of 18,000 viewers KDOC had for its weeknight prime-time lineup this month before the games began airing.

"It's been a good week," said KDOC's general manager, John Manzi, who has run the station since 2009. "Without question, these Dodgers games have been a substantial boost to our audience."

The Dodgers broadcasts have shone a rare spotlight on the Santa Ana-based station that started airing in 1982.

The station, which employs 40 people, has been owned by Ellis Communications since 2006. Bert Ellis and Anaheim Ducks owners Henry and Susan Samueli bought it for nearly $150 million. Its previous operator was Golden Orange Broadcasting, partly owned by singer Pat Boone.

Famously, KDOC was the longtime TV home of conservative talk show host Wally George until 2003, the year he died. As the host of "Hot Seat," George rose to popularity during the Ronald Reagan administration and was known for his often combative interviewing style.

The station used to rely heavily on classic TV series including "Kojak" and "Hawaii Five-O" but has recently moved to more contemporary programming. KDOC started bringing on more recent shows in 2008, and just began airing "Cougar Town" reruns this week.

Manzi hopes the Dodgers telecasts will increase exposure for shows including "Cougar Town," which has been airing after the games. He also wants to use baseball to bring people to KDOC's recently added news programming.

In January, the station started airing an hour of news from KABC-TV Channel 7 staff at 8 p.m., anchored by David Ono and Coleen Sullivan. KDOC also runs a rebroadcast of KABC's 11 p.m. Eyewitness News telecast at midnight.

Though the games have bumped the weekday evening news program, the station is hoping to use their popularity to promote the telecasts. It's a smaller-scale version of a common tactic networks use when carrying "event" programs such as the Super Bowl and the Oscars.

Mark Ramsey, a San Diego media consultant, noted that live local sports are a major draw for audiences, even more so when access has been restricted.

"It's hugely smart," Ramsey said. "They're looking for a bridge between something everyone is interested in and everything else they have to offer."

Besides reruns and sports, KDOC relies on niche programming such as weekend religious broadcasts and daytime judicial talk shows.

Manzi said KDOC's status as an independent local station makes it well-suited to make quick programming changes to make room for baseball.

The success of the games could result in a future windfall for the station. Analysts said the big sports events could attract more advertisers and drive up KDOC's ad rates if the new viewers stick around to watch other shows.

"If I were KDOC, I'd be trying to capitalize on this all I could," said Cathleen Campe, director of media investment at RPA, an independent ad agency.

Meanwhile, the ratings boost should continue through the weekend as the Dodgers finish out the season Friday, Saturday and Sunday — all on KDOC.

"It's gotten us a lot of new viewers," Manzi said. "We know, over time, more people are going to find it."

http://www.latimes.com/entertainment...926-story.html
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TV Notes
Josh Holloway cast in 'Lost' producer's new sci-fi drama
By James Hibberd, EW.com's 'Inside TV' Blog - Sep. 26, 2014

USA Network is staging a Lost reunion, casting fan favorite Josh Holloway in writer-producer Carlton Cuse’s new sci-fi drama pilot Colony.

EW has confirmed that Holloway will star in project, follows characters living in a modern-day Los Angeles during a state of occupation by alien forces. “Some collaborate with the authorities and benefit from the new order, while others rebel and suffer the consequences.”

Holloway will play the main character, Will Bowman, a former FBI agent who is forced to collaborate with the occupational government seeking to crush a growing resistance movement in order to protect his family.

If greenlit, the project will mark Holloway’s return to TV following last season’s short-lived CBS procedural Intelligence and marks the first time the actor has worked with Cuse (The Strain, Bates Motel) since the producer served as a showrunner on Lost.

http://insidetv.ew.com/2014/09/26/jo...loway-colony/?
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TV Notes
Empire Renewed
‘Star Wars Rebels’ Emulates the Trilogy of Old
By Brooks Barnes, The New York Times - Sep. 28, 2013

SAN FRANCISCO — Forget the new “Star Wars” movie for now. At Lucasfilm headquarters here, the pressure is arguably more intense on a new animated TV series: “Rebels,” making its cable debut early next month, not only represents a dramatic shift back to non-prequel stories — for the first time since 1998 — it also formally ushers in the studio’s Disney era.

In short, “Rebels” is the runway that J. J. Abrams’s “Episode VII” will use next year in its bid for box office lightspeed.

But nobody can say for sure how the very vocal “Star Wars” fan base will react to the TV show, which will have its premiere on Friday on Disney Channel before moving to its brother network Disney XD. George Lucas is no longer involved, having sold Lucasfilm to Disney for $4 billion two years ago, and more than a few “Star Wars” loyalists still distrust the Magic Kingdom’s intentions. Will “Rebels” be overly cute? Jedi Minnie and Obi-Wan Mickey?

“If you mess up,” said Freddie Prinze Jr., who voices a ponytailed Jedi in the new series, “there is no cage.”

Disney’s lightly watched XD channel — this is no ordinary animated series. To make sure the “Star Wars” base is on board while successfully introducing the space opera to a new generation, longtime Lucasfilm artists have painstakingly engineered the series to sound, look and feel like the 1977 movie that started it all.

The Oscar-nominated supervising sound editor Matthew Wood, a 24-year Lucasfilm veteran, incorporated effects from the original film — the steady metallic hum of Luke Skywalker’s lightsaber, the putter of Princess Leia’s blockade-running ship. By obsessively sorting through archival files, Joel Aron, a visual effects supervisor who cut his teeth on “Schindler’s List” and “Jurassic Park,” figured out how give the computer-animated “Rebels” a grainy film look akin to that of the original “Star Wars.”

“Very analog, very ’70s-looking” is how Kilian Plunkett, an art director known for an older animated series, “Star Wars: The Clone Wars,” described the “Rebels” scenery, cities, spacecraft and characters.

Dave Filoni, the creator of “Rebels,” who led “Clone Wars” and cocreated “Rebels,” labored to instill the new series with all of the original “Star Wars” hallmarks: the distinct notes of humor and tragedy, the unique pacing, the retro lighting.

As Gary Marsh, president of Disney Channels Worldwide, put it, “We were determined to echo both thematically and artistically what George Lucas first did 37 years ago.”

In case you need a Wookiee to pound it into you: Disney is changing Lucasfilm. It is trying to steer the boutique studio back to its glory days and away from the overwrought prequels — “The Phantom Menace,” “Attack of the Clones” and “Revenge of the Sith” in theaters and “The Clone Wars” on television — that were loved by some devotees, loathed by others and more or less tolerated by most.

“I know a lot of fans were worried when Disney bought Lucasfilm,” Mr. Filoni said. “ ‘Oh, no! What are they going to do?’ Hopefully, ‘Rebels’ will end that once and for all. They really want to get it right.”

“Star Wars Rebels” got its start in spring 2013, not long after Disney bought Lucasfilm. Returning the franchise to bedrock would help introduce it to a new generation. Mr. Abrams’s similarly old-school movie would follow. “Continuity” became a watchword. (Mr. Filoni said that Mr. Lucas, unconcerned in recent years that his stories had become confusing, once told him, “Continuity is for wimps.”)

Lucasfilm and Disney decided “Rebels” would be set ever so slightly before the first “Star Wars” movie. The Galactic Empire is tightening its grip on Outer Rim planets, including Lothal, where a teenage street urchin, Ezra, joins up with the rebel occupants of the starship the Ghost: Kanan, a Jedi survivor in hiding; Zeb, a brawny purple enforcer; Sabine, a female version of the mercenary Boba Fett from the films; and Hera, an ace pilot and maternal figure.

Stealing scenes is Chopper, a cantankerous old droid reminiscent of R2-D2. He emits a “a rusty squeak — too clacky, too clicky,” Mr. Wood said.

Chopper often bumbles his way to saving the day. In one early scene that gets a big laugh, he bumps his head.

“We want those little details to be perfect,” said David Acord, another Lucasfilm supervising editor. “Should that bump sound like a metal tap? Or should it be a sillier frying pan clunk?” (Frying pan.)

Mr. Wood added: “It’s not like we say, ‘O.K., we’re working on a TV show, we’re going to drop the bar from what we do on movies.’ It has to be just as good.”

Animation aficionados will notice that “Rebels,” while clearly computer animated, has a spare visual style (particularly in nature settings) and rich color palette (burned oranges, lush blues), that is reminiscent of the work of Hayao Miyazaki, the Japanese animé master. Mr. Filoni said that was intentional, a nod to one of his heroes. The other primary visual influence came from Ralph McQuarrie, the conceptual artist responsible for the look of classic “Star Wars” spacecraft and characters, including Darth Vader and Chewbacca. (He died in 2012.)

Although “Rebels” looks expensive — Lucasfilm declined to talk numbers — the creative team was clearly aware of working on a budget. “We liked the idea of focusing on a small group of people, in part because it would mean fewer big battles that would cost us a lot of money,” Mr. Filoni said.

Mr. Plunkett, the art director, added, “We avoided long hair, which is not easy on a TV schedule and budget.”

At times, the “Rebels” crew found itself a little too close to the original “Star Wars,” Mr. Plunkett said. The Ghost spacecraft, for instance, initially looked “too on-the-nose Millennium Falcon-flavored,” he said. So the final design shifted toward a diamond shape.

“It’s still reminiscent of the Falcon, but that’s O.K.,” Mr. Plunkett said. “The Falcon isn’t the only pickup truck in the world.”

He credited Disney with influencing Chopper’s final design. “They worried he looked too much like R2-D2, and they were right,” he said. The sidekick droid initially had a round head; now it’s shaped like the bottom of a bucket.

Although Disney and Lucasfilm expect adult fans to watch “Rebels,” the series is very specifically aimed at children. In other words, the tone will not closely resemble “The Clone Wars,” which ran on Cartoon Network from 2008 to 2013 and was at times less a fun animated romp than hard-edge drama. Mr. Lucas famously used “Clone Wars” to comment on whatever was on his mind; multiple episodes explored the global banking crisis. (A Lucasfilm spokeswoman said Mr. Lucas, who is retired and was given a “Rebels” screening this month, was not available for an interview.)

Disney hopes “Rebels” will finally put the five-year-old Disney XD on the map. The channel, aimed at boys 6 to 14 and available in 80 million homes, has lacked a breakout hit, with the somber “Tron: Uprising” a particular disappointment.

“We spoke to Lucasfilm extensively about including more comedy,” said Mr. Marsh of Disney Channels Worldwide. “The comedic element is what’s going to make ‘Rebels’ break through.”

Words like that make some fans tense up. They worry — perhaps irrationally, given Disney’s strong track record with two other acquisitions, Marvel Entertainment and Pixar — that the company will exert too much control over Lucasfilm artists.

“It’s a love-hate thing,” explained Tyler Blevins, a 22-year-old “Star Wars” addict who attended Comic-Con International in July wearing a full-body Stormtrooper costume. “We love Disney. But we don’t yet trust that they love us, the fans, and that this big global conglomerate truly understands the ‘Star Wars’ DNA.”

The good news: While there are still holdouts (“too ‘Disney,’”ScreenRant.com wrote recently of “Rebels” clips), early blogger reaction has been mostly positive.

“I just want every ‘Star Wars’ fan to know that greatness is coming our way,” wrote Jason Ward, the editor of the MakingStarWars blog, after catching “Rebels” footage at Comic-Con. “They’ve nailed this. Disney’s first real outing with ‘Star Wars’ is a success.”

From his lips to Yoda’s ears.

http://www.nytimes.com/2014/09/28/ar...elevision&_r=0
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TV/Technology Notes
How to Overcome a Binge-Watching Addiction
The key to the cure? Understanding how TV scripts and your willpower work
By Michael Hsu, Wall Street Journal - Sep. 28, 2013


Zohar Lazar

Binge-watching television shows—viewing episodes back-to-back for hours on end—may be America's new favorite pastime, but it's brought me to some pretty dark places. At 3 a.m., bleary-eyed and faced with the choice of watching another episode or going to bed so I could be ready for work and family the next day, I've often found myself opting for "just one more" hit.

I've struggled with this habit intermittently for more than a decade (my first all-nighter was season 1 of "24" on DVD). I would hit the Netflix hard and reach rock bottom, then go cold turkey by canceling my membership—only to start the cycle again when I thought I had the wherewithal to watch responsibly.

But it wasn't until recently—when my compulsive late-night viewing of "Extant" was making me so tired that it was undermining my ability to be a good father, husband and friend—that I sought a viable long-term cure. I scoured self-help blogs, researched parental Internet controls that would limit my access to streaming video. Ultimately, I discovered that freedom from TV might be hidden in the structure of the episodes themselves.

One trick: Don't watch an episode to the end, because at that point, it's almost impossible to resist continuing to the next one. Instead, stop about three-quarters of the way in. The next time you watch, pick up from that point until most of the way into the following episode.

I know this sounds illogical. After all, how can it be easier to stop mid-show than at the end? But there's usually a lull in the narrative arc, when story lines get wrapped up and the pacing slows down. The show actually gets pretty boring.

"People unconsciously write this way," said Charlie Rubin, area head of television writing at the Tisch School of the Arts and a former writer for "Seinfeld" and "Law & Order: Criminal Intent." "It's inhale and exhale. There's always a dramatic moment, and then you pull back from it."

What's more, each episode weaves together multiple story lines, Mr. Rubin explained. The "A" story—the one involving the star—is what keeps you watching episode after episode (even the ones that don't end with obvious cliffhangers). The "B" and "C" stories involve the supporting characters.

"The usual rule of the universe is that you end your stories in order of their importance," with the minor ones wrapping first, Mr. Rubin said. "The order of finish is C-B-A."

Recovering binge-watchers can use this knowledge to their advantage. Although each show has its own template, you should try to quit at the end of the B or C story, said Mr. Rubin. "Once you cycle back to that A story, you want to see what's going to happen to Tina Fey or Tony Soprano. "

Colleagues who helped me test the theory (using "Scandal" and "Dr. Who") found that the sweet spot varies by series—but you can intuit it after watching a few episodes. In a roughly 45-minute episode (without commercials), it'll usually fall somewhere around 30 minutes in. Technology simplifies this offset-viewing process, too: Netflix, Hulu, Amazon Instant Video and other streaming services automatically start an episode wherever you leave off.

If this approach is too esoteric for you—or if you get too absorbed in watching to track the story lines—there are other strategies to try.

An essential one: disabling auto-play, a feature found on services like Netflix and Hulu that automatically starts the next episode in a series when the one you're watching ends. (In Netflix, check "Playback Settings" on the "Your Account" page. With Hulu, the option is located within the playback-control area.)

According to Roy Baumeister, a psychologist at Florida State University and author of the best-selling book "Willpower," auto-play can be particularly perilous because "it takes more self control to interrupt the sequence of behavior than to simply continue doing whatever you're doing."

What's more, exercising self-restraint gets more difficult when our energy levels drop (as is the case late at night). Eating or drinking might help.

"A lot of evidence has shown that getting some food into you can restore your self-control when you're depleted," Dr. Baumeister said. In his experiments, subjects were given lemonade. "I hesitate to recommend sugar to anyone," he said, but it might work "if you want to get a burst of energy" to bolster your willpower late at night.

You can also strike the problem at the source: your Wi-Fi router. Many models allow you to shut down access to the Internet on a set schedule; Netgear routers can target specific websites at certain times—for example, Hulu and Netflix between 1 a.m. and 6 p.m. The advantage of this approach is that all of your Internet-connected devices—whether an iPad, Roku or your Wi-Fi-enabled television—will be locked down. And at that point what else is there to do but go to bed?

http://online.wsj.com/articles/how-t...ion-1411748602
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TV Reviews
Once Upon A Time’ Gets ‘Frozen’ – And Cooler
‘Resurrection’ Stays Lifeless
By Brian Lowry, Variety.com - Sep. 26, 2013

“Frozen” might not be able to glide through all the mazes that have taken “Once Upon A Time” from boundless promise to convolution, but incorporating characters from Disney’s animated smash has made the ABC series feel a whole lot cooler. The season premiere is heavily driven by the arrival of Elsa, the movie’s ice queen, in a continuing plot that will have her searching for her sister Anna. Frankly, it’s still surprising the studio would risk such a formidable asset in this manner, but the stunt should help rekindle interest in a program whose happiest days appeared well behind it.

If that’s the good news in ABC’s Sunday lineup, the bad would be “Resurrection,” one of the more intriguing pilot concepts in recent memory, which gradually spiraled out of control and now returns (pardon the expression) seemingly desperate to hit the reset button. Yet the latest contortions don’t work, suggesting this is one of those concepts tailor-made to a limited series – one in which the trip to the Great Beyond should rightfully be a one-way affair.

Without spoiling either episode, “Once Upon a Time’s” “Frozen” detour involves the sisters delving into details surrounding their parents’ death, which results in Anna (Elizabeth Lail) embarking on a quest while bringing a concerned Elsa (Georgina Haig) to Storybrooke.

ABC will wisely precede the premiere with a one-hour special seeking to catch viewers up on the series, which has cross-pollinated so many different fairy tales at this point as to have become almost dizzying. While that process felt refreshing at first, it gradually began to dilute the franchise, which was spinning plates, yes, but hardly conjuring much magic.

The larger mystery, given what a goldmine “Frozen” has been, is why Disney would grant the producers access to the characters. Because while the integration keeps “Frozen” alive Disney labors to exploit the property in every conceivable way – a film short, theme-park attractions, a Broadway version and the inevitable sequel – it stands to benefit the show more than the movie, and thrusts the duo into a world that has delighted in subverting long-held notions about fairy-tale heroes and villains.

Still, the “Frozen” crossover is indeed a bit of a blast, and the visual effects are especially good. Although the show’s darkness might not be appropriate for five-year-old girls who can belt out all the lyrics to “Let It Go,” the visitation from Arendelle should be an enticement to many of their parents who, willingly or otherwise, also have that song drummed into their heads.

“Resurrection,” by contrast, wrote itself into a corner at the end of last season – which saw the army descending on the town like an occupying force and interning “The Returned,” or those who had risen from the dead – and this early attempt to regain a sense of equilibrium feels wholly unsatisfying.

Admittedly, there are still things to like about the show – mostly having to do with the casting. Two more fine actresses, Donna Murphy and “Game of Thrones’” Michele Fairley, pop up in the season opener, the latter as the late mother of Kurtwood Smith’s character. (At times, “Resurrection” appears to be reenacting the old novelty song “I’m My Own Grandpa.”)

Unfortunately, the series hasn’t figured out how to bring any sense of order to the ranks of those who come back, and feels as if it builds much of the first hour around a twist that’s telegraphed far in advance.

Then again, “Resurrection” has consistently veered away from both the existential and messy details associated with the implications of the dead returning – especially in numbers – to pursue limp soap-opera and family-drama subplots, like what happens when a pregnant girlfriend comes back and you’re married to someone else.

If the French drama “Les Revenants,” a.k.a. “The Returned,” which played on Sundance Channel, elicited chills from such scenarios, “Resurrection” seems content to be the zombie version of “Brothers & Sisters.”

Nothing is more mysterious than the prospect of an afterlife, but the producers here look indifferent to the answers – or even posing the right questions. And while it’s possible the series could find its way back toward being a worthy addition to one’s DVR menu, with Elsa now leading into it, there’s probably a better chance of Hell freezing over.

'Once Upon A Time'/'Resurrection'
ABC, Sun. Sept. 28, 8 and 9 p.m.


http://variety.com/2014/tv/reviews/t...ss-1201312265/
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post #97045 of 97487 Old 09-27-2014, 02:24 AM
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TV Notes
'Simpsons' rides nostalgia wave into Season 26
By Bill Keveney, USA Today - Sep. 26, 2014

It's been quite a celebration for The Simpsons lately — and the new season hasn't even started.

Fox's iconic animated comedy, which opens its 26th season Sunday (8 p.m. ET/PT), has grabbed the entertainment spotlight with a recent 12-day marathon of all 552 episodes on FXX, a three-night musical extravaganza at the Hollywood Bowl and news of the upcoming launch of Simpsons World on the FXNOW app.

"One of the lucky things is that (the show) is still around in time for the nostalgia to catch up with the originals. We're benefiting from both waves at once. Just seeing the (past) episodes was emotional for me," says executive producer Al Jean, who was especially pleased that the most-watched day was the one with the most-recent episodes. The Bowl shows were "totally for the fans. I was so happy how it turned out."

Looking ahead, Sunday's season premiere, titled Clown in the Dumps, is also drawing attention following Jean's revelation that one of the characters will die. In the episode, Krusty the Clown decides to retire after a celebrity roast goes bad.

"I think it's an emotionally resonant episode and people will really like it," says Jean, who has been with the show since its first season. Some people have correctly guessed who dies, he says, but others "are radically off base in what they think is going to happen."

Later that night, Family Guy (9 p.m. ET/PT) has a one-hour crossover episode, The Simpsons Guy, that takes the Griffins to Springfield, where they meet Simpsons characters. That production, which illustrates the tonal differences between the shows, was in the hands of the Family Guy producers, led by former Simpsons writer Richard Appel. Simpsons producers read the script and had only a few minor suggestions, Jean says.

"I thought it was really funny," he says. "It looks terrific. If it were a DVD, I would buy it."

The Simpsons' annual Treehouse of Horror episode (Oct. 19) will take a look back in Simpsons history as the current-day characters meet up with their animated predecessors from shorts that ran on The Tracey Ullman Show. They look and sound a little different. Another segment, A Clockwork Yellow, pays homage to A Clockwork Orange.

On Nov. 9, The Simpsons goes into the crossover business itself, merging with Futurama, another animated comedy from Simpsons creator Matt Groening. In Simpsorama, Futurama robot Bender has been programmed to travel back in time to kill someone.

"Matt consulted with himself," Jean says. Master imbibers Bender and Homer "get along great."

In upcoming episodes, Jane Fonda plays a Nancy Pelosi-type character who falls in love with Mr. Burns; Mr. Burns tries to kill inventor/investor Elon Musk, who plays himself; and the show visits the home planet of aliens Kang and Kodos.

Cast deals expire at the end of this year, but Jean says he anticipates more Simpsons seasons to come. (The series averaged 5.8 million viewers for original episodes last season and performed strongly among advertiser-coveted young adults.)

"Nobody has said anything to me about ending it or doing a finale. My guess is at least two more years or maybe four or maybe more," Jean says. "We're doing pretty well right now."

The current episode order will get the series to 581 episodes, just behind Lassie and within shooting distance of Gunsmoke, the prime-time entertainment series with the most episodes.

"Watch out, Lassie," Jean jokes. "We're on your tail."

http://www.usatoday.com/story/life/t...tion/16272577/
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post #97046 of 97487 Old 09-27-2014, 02:30 AM
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TV/Business Notes
'Shahs of Sunset': Bravo, Ryan Seacrest Productions Drop Striking Editors
By Jonathan Handel, The Hollywood Reporter - Sep. 26, 2014

The latest twist in the Shahs of Sunset labor dispute occurred Friday, as Ryan Seacrest Productions said it could no longer work with the editors who had been picketing, and Bravo took over the production. A Bravo spokesperson said that "no decision" had been made on whether to replace the striking workers, but sources told The Hollywood Reporter that the network has decided to replace the editors.

"Bravo controls the rights to Shahs of Sunset and as a result, makes all final decisions regarding production and budgetary matters," said a Ryan Seacrest Productions spokesperson in a statement. "RSP has deferred to the network's decision for Bravo to assume all remaining production duties on Shahs of Sunset. RSP will be unable to continue working with the editors that were previously engaged on this production."

Bravo acknowledged the takeover in a statement to THR. "Bravo is assuming control of production ‎of season four of Shahs of Sunset from Ryan Seacrest Productions." The network added, "No other decisions have been made about the show," including as to whether to replace the striking workers.

Sources told THR that a decision had been made and that the striking editors would not be rehired. That drew condemnation from the union seeking to represent the editors, IATSE's Motion Picture Editors Guild.

"The right to organize, including the right to strike, is enshrined in federal law," said the guild in a statement. "It is an egregious violation of the law for any employer to discharge or otherwise retaliate against employees for exercising their right to organize. The Editors Guild and IATSE will aggressively defend the rights of our membership against all such violations."

Meanwhile, the RSP statement included what does sound like a farewell. "We appreciate the passion, commitment and contributions these editors made to the fourth season of Shahs of Sunset, and we're extremely proud of the show and applaud all the great work that the cast, producers and crew have made to date."

http://www.hollywoodreporter.com/new...uctions-736002
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Critic's Notes
Grown Accustomed to Her Phone
By Neil Genzlinger, The New York Times - Sep. 28, 2014

A batch of new shows begins in the next few days, but the most fearless of them may be the ABC comedy “Selfie.” Whether that’s “fearless” in a good way remains to be seen.

The series has the chutzpah to take a revered stage work — either “My Fair Lady” or the George Bernard Shaw play it was based on, “Pygmalion,” your choice — and transport it into the age of cellphones and self-absorption.

Karen Gillan, whom “Doctor Who” fans will recognize from her turn as Amy Pond, plays Eliza Dooley, a shallow, egomaniacal young woman who can’t go 30 seconds without checking her phone. An embarrassing incident on an airplane causes her to realize what a caricature she has become, and she asks a co-worker, Henry (John Cho), to help her improve. He’s skeptical.

“You can’t be helped,” he tells her. “You are addicted to the instant gratification of unearned adulation from a group of perfect strangers you insist on referring to as your friends.”

A brilliant updating of a classic premise, or just dumb? We’ll find out when the ratings for Tuesday’s premiere come in.

http://www.nytimes.com/2014/09/28/ar...ref=television
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TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)

ABC:
8PM - College Football: Notre Dame at Syracuse (LIVE)

CBS:
8PM - Madam Secretary
(R - Sep. 21)
9PM - Scorpion
(R - Sep. 22)
10PM - 48 Hours (Season Premiere)

NBC:
8PM - The Voice: Blind Audition Premiere Relived
9PM - Music for Change: The Global Citizen Festival
10PM - Saturday Night Live: Richard Pryor; musical guest Gil Scott-Heron
(R)
* * * *
11:29PM - Saturday Night Live (Season Premiere; Chris Pratt hosts; Ariana Grande performs, 93 min.)

FOX:
8PM - College Football: Baylor at Iowa State (LIVE)
* * * *
11PM - Animation Domination High-Def (60 min.)
(R)

PBS:
(check your local listing for starting time/programming)
8PM - Austin City Limits: Coldplay (R - Dec. 30, 2011)

UNIVISION:
8PM - Sábado Gigante (Three Hours)

TELEMUNDO:
7PM - Yo Soy El Artista (120 min.)
(R - Sep. 21)
9PM - Fútbol Mexicano Primera División: CF Pachuca vs. Tigres UANL
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post #97049 of 97487 Old 09-27-2014, 02:45 AM
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TV Notes
'48 Hours' probes Costa Rican case against Ann Bender in the death of her husband, ex-Wall Street trader John Bender
By David Hinckley, New York Daily News - Sep. 25, 2014

You've never seen anything like the house John Bender died in.

“I can guarantee you that,” says Susan Spencer, correspondent for CBS’ “48 Hours.”

Beyond the house, however, Spencer says there aren’t many sure things in the mysterious death of Bender, 44, a Wall Street rainmaker who ditched it all to move with his wife Ann to the Costa Rican rainforest.

They built a four-story, 8,000-square-foot house that Spencer describes as a “spaceship on a mountaintop.”

It was virtually all glass, with no walls. Whatever lived in the surrounding jungle, from insects to snakes, could wander in, and that was OK with the Benders, because the house was the center of what they envisioned as a 5,000-acre wildlife preserve.

That was one of the ways they were going to spend the estimated half-billion dollars Bender had made as a Wall Street trader.

He was on his way to becoming a billionaire in his mid-30s, Spencer says, when he and Ann decided they had enough. In 2000, they exiled themselves to what they hoped would be a simpler, more rewarding life.

But two other things they bonded over, besides a love for animals and solitude, were bipolar disorder and depression.

“They were both seriously depressive,” says Spencer. “When the depression came, they depended on each other.”

On Jan. 8, 2010, Ann Bender says, she found John in bed holding a gun. She tried to grab it, she says, and it went off, killing him.

Costa Rican authorities were not convinced. The position of his body and the fact he was shot in the back of the head, they say, made suicide unlikely.

Ann Bender was charged with murder and found not guilty. Under Costa Rican law, the prosecution appealed the verdict. So Ann remains in Costa Rica while that appeal is heard.

Spencer and the “48 Hours” team traveled twice to Costa Rica — the first time going in by helicopter — and talked with pretty much everyone involved.

That included Ann Bender, her attorneys and the prosecution. Then “48 Hours” brought in its own forensics team.

In the end, says Spencer, it was as complicated on the inside as it looked outside.

“You can usually get a sense of who’s telling the truth,” she says. “I didn’t come away after talking to Ann Bender with any sense of that.

“I defy anyone who looks at all the facts in this story to say definitively, ‘This is what happened.’ ”

That very mystery, though, Spencer says, makes it an intriguing story, with an unexpected intriguing element.

“The house becomes a character in itself,” she says. “I mean, they had more than 400 Tiffany lamps in the bedroom. Where do you even find 400 Tiffany lamps?”

And even those may not shed enough light.

“Paradise Lost,” Saturday at 10 p.m., kicks off the 2014-15 “48 Hours” season.

http://www.nydailynews.com/entertain...icle-1.1951232
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TV Notes
Penn & Teller’s ‘Wizard Wars’ Gets Six More Episodes On Syfy
By The Deadline.com Team - Sep. 28, 2014

Syfy has conjured up a half-dozen more episodes of its magician competition series. Wizard Wars, judged by master illusionists Penn & Teller, premiered in August with 1 million-plus Live+Same Day viewers and has bolstered its time slot for the cable net. The series puts everyday objects in the hands of magicians who try to impress the judges which their trickery.

The new episodes — featuring prestidigitators from Chicago, Philadelphia, Las Vegas and elsewhere — likely will premiere in January. Wizard Wars is produced by A. Smith & Co. Arthur Smith, Kent Weed, Frank Sinton, Tim Eagan, Penn Jillette and Teller exec produce.

http://deadline.com/2014/09/wizard-w...isodes-841838/
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