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post #97621 of 97635 Old 10-29-2014, 12:36 AM
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Obituary
'House of Cards' actress Elizabeth Norment dies
By Ann Oldenburg, USA Today - Oct. 28, 2014

Elizabeth Norment, 61, who appeared as Nancy Kaufberger on the show, died Oct. 13 at Memorial Sloan Kettering Cancer Center in New York, her sister, Kate, told The Hollywood Reporter.

She played the sharp secretary for diabolical politician Frank Underwood in the hit Netflix series House of Cards.

Her character, who always knew exactly what her boss wanted, worked for Underwood from the time he was a member of the House of Representatives from South Carolina through his upward political climb.

"Everyone at House of Cards is deeply saddened by Elizabeth's passing. She was a talented actress, a warm soul and a good friend to us all," series showrunner Beau Willimon said in a statement of behalf of the show.

Kevin Spacey also remembered her.

Kevin Spacey ✔ @kevinspacey
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RIP Elizabeth Norment. We all loved her and she leaves a void in all of us here at HoC's.
5:46 PM - 28 Oct 2014


According to an obituary on The Washington Post site, Norment attended the University of Chicago, graduated from Cornell University and received an MFA from Yale University. She had roles on numerous TV series including Law & Order, Blue Bloods and Doogie Howser, M.D.

http://www.usatoday.com/story/life/t...dies/18061763/
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post #97622 of 97635 Old 10-29-2014, 12:45 AM
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TV/Critic's Notes
A Modern Family With Issues
Heady Stakes for ‘Black-ish’ on ABC
By Jenna Wortham, The New York Times - Oct. 26, 2014

The first time I heard about “Black-ish,” ABC’s new sitcom about an affluent black family in Los Angeles, I was skeptical about its premise. Early commercials and previews played up tired stereotypes about “acting white,” made jokes about curvy behinds and took shots at the heritage of the show’s biracial matriarch, played by the effervescent Tracee Ellis Ross. The coup de grâce was the title, which seemed to suggest that the family’s status was not in line with it means to be authentically black in America.

But a few episodes in, the show has taken a much more nuanced and complicated dive into racial identity than initially advertised, particularly in the way it weaves plotlines around assimilation and appropriation, and how they impact black culture. In one episode, Anthony Anderson, who plays the father, frets over his son’s decision to go by Andy, instead of Andre, at his predominantly white school. In another, he lectures his son on the importance of acknowledging other black people he encounters, saying, “No matter who you are, or where you’re at, it’s your duty to give ‘the nod.’ ”

And hovering above all that is a more subtle — and quietly clever — narrative arc, involving the gap between parents and children and how each generation has a different awareness of what it means to be black in 2014.

“The PC way of handling culture has been to not talk about it,” Kenya Barris, the show’s creator, said in an interview. “But we should be talking about it.”

And so far, his approach seems to be a hit. The premiere resonated with critics and attracted a robust 11 million viewers, besides generating a lot of positive reactions and discussions on social media. In a vote of confidence, ABC has given the show a full-season order.

That news is thrilling because I am rooting for “Black-ish.” I want it to succeed because the show arrives when black characters on mainstream broadcast networks who directly deal with issues like race are incredibly rare.

Maybe it isn’t fair to hold a new show to such high expectations. But being a black consumer of media requires a certain disconnect from reality, since the world you see on screen rarely reflects your own. TV is resplendent with ethnically diverse casts, from procedurals like “Law & Order: SVU” and “NCIS: Los Angeles” to hits like “Scandal” and “Elementary” to sitcoms like “New Girl” and “Brooklyn Nine-Nine.”

But the characters on those series don’t often deal directly with racial issues in everyday life and, by not doing so, perpetuate another kind of colorblindness, one that homogenizes characters and treats race as inconsequential, when it is anything but. To those watching at home, it seems as if networks think that post-racial story lines are the only acceptable ways of showcasing black characters on television.

What black viewers are left with instead, said Dayna Chatman, a media researcher at the Annenberg School for Communication and Journalism at the University of Southern California, is a dynamic that “makes whiteness the norm.” Ms. Chatman noted that reality television often showcases African-Americans, but since that genre is often about over-the-top performances, she said, it isn’t “particularly representative or flattering.”

In other words, there’s no middle ground: Either race is largely absent or exaggerated to the point of caricature. The lack of texture and diversity on television is harder to ignore amid the rise of streaming and online series (say, Netflix’s “Orange Is the New Black” or Issa Rae’s “The Misadventures of Awkward Black Girl”) as well as social media like Instagram and Vine (see King Bach’s account). They offer a welcome and much more nuanced window into black humor and culture.

The last time I remember TV reflecting my world was the ’90s and early aughts. Growing up, I flipped among “Moesha,” “Martin,” “Girlfriends,” “Living Single,” “Family Matters,” “The Parkers” and “The Fresh Prince of Bel-Air” and drank in the stories of characters who looked and sounded a lot like me. I identified with the nerdy twin on “Sister, Sister” and related to the complicated dynamics in the friendships of Lynn, Joan (a younger Ms. Ross), Maya and Toni on “Girlfriends.”

It’s important to note that these shows didn’t appeal to me because they dealt with race. For the most part, they didn’t, at least not directly. They simply offered more fully rounded representations of the many types of people in the world.

I watched those shows — and many others — but didn’t realize how lucky I was to have so many options until they slowly disappeared, and little else emerged in their place. There’s Tyler Perry, who makes shows and movies with largely black casts for a largely black demographic, but his sensibility doesn’t resonate with every black viewer. I simply want a slate of offerings similar to the one white viewers get.

Shola Lynch, a curator at the Schomburg Center for Research in Black Culture in Harlem, said American networks and investors often avoided TV shows and movies with mostly black casts. Ms. Lynch, a filmmaker, is most familiar with the movie industry, although she said the situation extends to television as well.

“The business explanation is always that this isn’t what the marketplace is asking for,” Ms. Lynch said, adding that in her experience, that is not typically the case. She pointed to “Lee Daniels’ The Butler,” “Fruitvale Station” and “12 Years a Slave” as recent movies that performed very well with audiences and picked up prestigious awards, and noted that they were supported and initially financed by entities outside Hollywood. This month, “Dear White People,” a sharp comedy about a young biracial woman tired of dealing with microaggressions at her fictional Ivy League university, opened to much critical praise.

Mr. Barris said that there were signs of change in TV as well. He said ABC and cable networks pursued him and the “Black-ish” pilot “very aggressively.” Contrary to popular belief, networks “are looking for something that deals with diversity,” he said. “The problem has been timing and having the right package behind it.”

Gene Demby, a writer for Code Switch, an NPR blog on race and culture, said that the lack of mainstream black television, or even shows that deal with race, is strange given the current popular culture landscape, which is overflowing with prominent black figures. “This is the first time in American history where the most famous people in America are black,” he said, naming the Obama family and the musicians Kanye West and Beyoncé. “But there’s still a really obvious invisibility on television.”

That absence is in part what prompted my initial skepticism of “Black-ish,” one that was shared by friends and blogosphere types alike. After seeing few shows about black people on TV, to have one emerge that wanted to deal with race directly was unnerving, and we were all unsure whether it would simply reinforce stereotypes and clichés rather than explore the depth and breadth of black culture and the black experience in America.

Mr. Barris said he was determined to do more than create a successor to “The Cosby Show,” although “Black-ish” draws from its legacy. But while the popularity of the Huxtable family centered on its warmth and relatability, it was, Mr. Barris said, “about a family that happened to be black.” He added that he wanted his show to be much more cognizant of modern racial identity, and to reflect the class and racial dynamics of being black in America.

It’s a fine line to walk. Ms. Chatman, the media researcher, said that since there are so few shows — outside sketch comedy — that try to tackle the experience of African-Americans, the effort is fraught for the very audience that show runners are after.

“We are hyperaware of how people and the media perceive us,” she said. “And who gets it and who doesn’t get it.”

Ms. Chatman cited Dave Chappelle and how his attempts to use humor to destabilize racial stereotypes seemed to backfire.

In 2005, Mr. Chappelle walked away from his lucrative show on Comedy Central after expressing discomfort that the line between his social commentary and racial satire had grown too thin. Years later, he would tell Oprah Winfrey that he had begun to feel uncomfortable.

Today, there are a few other shows operating in the space left behind by Mr. Chappelle, including “Key & Peele” on Comedy Central and “Black Jesus” on Adult Swim. But those are cable outlets with smaller audiences, whereas “Black-ish” is on a mainstream network.

What legacy will “Black-ish” leave, if any? What shows might it pave the way for? Some that deal more directly and honestly with race, in the same way we see the rest of mainstream television deal with the complexities of the human experience?

Mr. Demby, of NPR, said that whether Mr. Barris is prepared for it, time will tell: “No show should be encumbered with the weight of representing a barrier for future television casts. But the crazy thing is, whether they want to or not, the creators of ‘Black-ish’ are weighted with that.”

http://www.medialifemagazine.com/sol...2-broke-girls/
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post #97623 of 97635 Old 10-29-2014, 01:00 AM
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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
8:30PM - The Goldbergs
9PM - Modern Family
9:31PM - Black-ish
10PM - Nashville
* * * *
11:35PM - Jimmy Kimmel Live! (Will Arnett; Lisa Kudrow; Lady Antebellum performs)
12:37AM - Nightline

CBS:
8PM - Survivor
9PM - Criminal Minds
10PM - Stalker
* * * *
11:35PM - Late Show with David Letterman (Jim Carrey; David Tennant)
12:37AM - Late Show with Craig Ferguson (Justin Long; Angelica Celaya)

NBC:
8PM - The Mysteries of Laura
9PM - Law & Order: Special Victims Unit
(R - Oct. 1)
10PM - Chicago P.D.
(R - Sep. 24)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Jake Gyllenhaal; Paul Reubens; She & Him performs; George Clinton sits in with The Roots)
12:36AM - Late Night with Seth Meyers (Edward Norton; author Michael Lewis; Jessie Ware performs)
1:36AM - Last Call with Carson Daly (Comic Tone Bell; Coves perform; "The Overnighters")

FOX:
8PM - 2014 World Series, Game 7: San Francisco Giants at Kansas City Royals (LIVE)

PBS:
(check your local listing for starting time/programming)
8PM - Nature: Snow Monkeys (R - Apr. 23)
9PM - NOVA: First Air War
9PM - How We Got to Now With Steven Johnson: Light

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

THE CW:
8PM - Arrow
9PM - The 100

TELEMUNDO:
8PM - Reina De Corazones
9PM - Los Miserables
10PM - Señora de Acero

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Ellar Coltrane)
11:31PM - The Colbert Report (Author Jill Lepore)
12:01AM - At Midnight (Jay Chandrasekhar; Kevin Hefferman; Steve Lemme)

TBS:
11PM - Conan (Jon Cryer; singer-songwriter Katharine McPhee; Bob Odenkirk)
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post #97624 of 97635 Old 10-29-2014, 05:24 AM
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Washington Notes
FCC Chairman Wants to Redefine Internet Video to Compete with Cable, Satellite Services
By Ted Johnson, Variety.com - Oct. 28, 2014

He also said that opening up access to programming for Internet video services will spur competition for high-speed broadband, something that he has said is lacking. “Those seeking to deploy new competitive broadband networks tell us that it’s hard to provide new high-speed Internet access without also being able to offer a competitive video package as well,” he wrote.
Yeah sure Tom, stop talking and act. Force the cableCos to separate content from delivery. Better yet, force them to open access or bite the bullet and make them public utilities.

Stop talking about how HSI competition sucks and do something about it, even if it leads to a court fight. Opening up internet TV is not going to lead to more companies stringing fiber, it's going to lead to the entrenched players imposing caps and charging whatever they can get away. They want their money no matter what and they know they have a captive audience.
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post #97625 of 97635 Old 10-29-2014, 11:09 AM
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TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insights' Blog.
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BIANCULLI’S BEST BETS


2014 WORLD SERIES
Fox, 8:00 p.m. ET

Last night, the Kansas City Royals exploded with a second-inning outburst of run-scoring small ball that led to an ultimate 10-0 thrashing of the San Francisco Giants. And that, in turn, evened the series at 3-3, which leads to tonight’s winner-take-all Game 7, one of the most exciting contests in all of sports. The Giants have recent history on their side, in the form of several recent World Series crowns – but the Royals have home-field advantage, and momentum, and a fairy tale story that won’t quit. But the Giants have a fairy tale story, too – both of these teams made it into the postseason by winning thrilling wild card games. And the Giants also have the postseason’s most dominant pitcher, Madison Bumgarner, ready to step in if needed. In fact, both of tonight’s starting pitchers – Tim Hudson for the Giants and Jeremy Guthrie for the Royals – will have to dominate early or expect to be replaced early, with their respective managers prepared to go to the bullpen, or to not-quite-rested starting pitchers from previous games, to win this deciding Game 7. Don’t miss it. Sports doesn’t get much better than this.









PSYCHO
TCM, 8:00 p.m. ET

You want a classic Halloween movie on tap? Then record this 1960 Alfred Hitchcock thriller. Filmed by the TV unit for Alfred Hitchcock Presents, this was, and remains, one of the best horror movies ever made. Janet Leigh stars -- but not for long.








MODERN FAMILY
ABC, 9:00 p.m. ET

This sitcom has established a tradition of fantastic Halloween episodes, usually led by Claire Dunphy (Julie Bowen) and her over-the-top costumes and decorations. But tonight, other characters get to express themselves in costume – including Jay (Ed O’Neill), whose Prince Charming costume, and its accompanying full head of hair, really goes to his head.









AMERICAN HORROR STORY: FREAK SHOW
FX, 10:00 p.m. ET

Part 2 of 2. This show’s creepy two-part Halloween episode continues, with Wes Bentley continuing his guest role as the menacing Edward Mordrake. He’s come to claim some bodies for Halloween, even if they aren’t dead yet. And chances are, given this show’s track record, he’ll succeed in his quest.









WEB THERAPY
Showtime, 11:00 p.m. ET

Gwyneth Paltrow continues her guest role as Maya Ganesh, in a Skype-centric argument that has two famous blondes (series star Lisa Kudrow, as web therapist Fiona Wallace, is the other) sharing screen time. Literally.







http://www.tvworthwatching.com/
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post #97627 of 97635 Old 10-29-2014, 05:53 PM
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Nielsen Overnights (18-49)
‘S.H.I.E.L.D.’ up with help from ‘Avengers’
ABC drama grows a tenth to 1.7 in 18-49s as Marvel airs footage
By Toni Fitzgerald, Media Life Magazine - Oct. 29, 2014

When a show is struggling, it’s always nice to have the most anticipated movie of 2015 to prop it up with.

Marvel, which produces the “Avengers” franchise and ABC’s “Marvel’s Agents of S.H.I.E.L.D.,” debuted new footage from next year’s sequel, “Avengers: Age of Ultron,” on the second-year drama last night, and it goosed up ratings after last week’s series low.

“S.H.I.E.L.D.” averaged a 1.7 adults 18-49 rating at 9 p.m., according to Nielsen overnights, up a tenth from last week.

It tied the show’s best rating since its premiere, and “S.H.I.E.L.D.” often goes up a tenth when final ratings come out.

The “Avengers” footage was heavily promoted on TV and online.

Elsewhere it was a mixed night for broadcast against Game 6 of the World Series, which led Fox to No. 1 for the night.

NBC’s entire lineup fell double-digit percentages against the unusual competition. “The Voice” still finished as the No. 1 non-sports show with a 2.8, but that was off 15 percent from last week.

New comedy “Marry Me” fell 11 percent from last week in episode three, to a 1.6 at 9 p.m., while lead-out “About a Boy” dropped to a series-low 1.2 at 9:30 p.m.

And “Chicago Fire” was also off 11 percent, to a 1.7.

CBS’s “NCIS” (2.5) and “Person of Interest” (1.6) both rose a tenth from last week, but “NCIS: New Orleans” declined a tenth.

On the CW, “The Flash” continued to post strong numbers, though it was down a tenth from last week, to a 1.3.

Fox led the night among 18-49s with a 3.0 average overnight rating and a 9 share. CBS was second at 2.1/6, NBC third at 2.0/6, ABC fourth at 1.3/4, CW fifth at 1.1/3, Univision sixth at 1.0/3 and Telemundo seventh at 0.6/2.

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

Also, ratings for Fox’s World Series coverage are approximate as fast nationals measure timeslot and not actual program data.

At 8 p.m. Fox was first with a 2.9 for the World Series, followed by NBC with a 2.8 for “Voice.” CBS was third with a 2.5 for “NCIS,” CW fourth with a 1.3 for “Flash,” Univision fifth with a 1.2 for “Mi Corazon es Tuyo,” ABC sixth with a 1.1 for “The Great Halloween Fright Fight” and Telemundo seventh with a 0.4 for “Reina de Corazones.”

Fox was first again at 9 p.m. with a 3.2 for baseball, while CBS moved to second with a 2.3 for “NCIS: NO.” ABC was third with a 1.7 for “S.H.I.E.L.D.,” NBC fourth with a 1.4 for “Marry” (1.6) and “Boy” (1.2), Univision fifth with a 1.2 for “Hasta el Fin del Mundo,” CW sixth with a 0.8 for “Supernatural” and Telemundo seventh with a 0.5 for “Los Miserables.”

At 10 p.m. Fox was first with a 2.8 for more baseball, with NBC second with a 1.7 for “Fire.” CBS was third with a 1.6 for “Interest,” ABC fourth with a 1.1 for “Forever,” Telemundo fifth with a 0.8 for “Señora Acero” and Univision sixth with a 0.7 for “La Malquerida.”

CBS was first for the night among households with an 8.9 average overnight rating and a 14 share. Fox was second at 6.9/11, NBC third at 4.9/8, ABC fourth at 2.8/4, CW fifth at 1.6/2, Univision sixth at 1.5/2 and Telemundo seventh at 0.8/1.

http://www.medialifemagazine.com/s-h...help-avengers/

* * * *

TV Review
‘Weekend Fix,’ trips you needn’t take
Esquire Network show works at creating a sense of spontaneity
By Tom Conroy, Media Life Magazine Staff - Oct. 29, 2014

Travel journalism often tells us about things we can’t do: For example, not everyone can afford to charter a yacht. And it often tells us about things we don’t want to do: For example, many people don’t enjoy museums.

The Esquire Network’s new travel show “Weekend Fix” is remarkable for how much of its content falls into either or both of those categories. And the show’s gimmick — its hosts supposedly plan everything they do over a weekend on the fly, by using social media and the web — is simply a gimmick, adding little informational or entertainment value.

Premiering tonight at 10, “Weekend Fix” features the actor Omar Miller and the fashion entrepreneur Andres Izquieta, who in each episode go to a different city with supposedly no itinerary, relying mainly on Andres’ browsing and social-media skills on his smart phone.

In fact, some of the activities in the two episodes provided for review clearly required either advance planning or simply a phone call or email. But the premise gives the episodes a distinctive loose vibe.

In the premiere episode, the friends visit San Francisco. They pick up an electric car that they’ve booked through some app — Omar points out that many of the companies behind the sharing economy were founded in the Bay Area.

They find a hipster boutique hotel that they say is popular with tech types. It features artwork made with floppy discs and graffiti in the stairwell.

It’s easy to believe that they could find and book the hotel while driving. It’s harder to believe that they didn’t get permission to show up with a camera crew far in advance.

After a haircut, a hippie tour of the city and a stop at a beer garden, Andres says he’s found someone through another app who is willing to assemble and deliver a Big Wheel to San Francisco’s most twisty street. The friends take turns riding the tricycle down the steep hill.

This falls into the category of things that most people wouldn’t want to do anywhere and that almost all people wouldn’t waste their time doing in one of America’s most interesting cities.

Having heard that chefs from former British colonies have a cricket league, Omar and Andres go to a park for a game. The cricketers suit them up, give them lessons and let them play. This falls into the category of things that the rest of us couldn’t do.

Omar makes a speech about how much he respects the sport. Andres says, “That was a wonderful cultural exchange.”

Among other activities, they take kayaking lessons in the bay. Omar learns quickly; Andres flips his kayak.

This is a dubious use of their limited time in the city and a definite waste of our limited time on this planet.

In next week’s episode, Omar and Andres visit Brooklyn. After getting a hipster bowling alley to open early just for them — there isn’t an app for that — they bowl with Omar’s actor friends Dulé Hill and Jaleel White. For five minutes that seem much longer, we’re trapped in an episode of “Celebrity Bowling.”

The guys stress that Brooklyn is a center of “the maker movement.” They visit a place that makes high-end custom sneakers and a glass-blowing workshop that gives lessons.

For some reason, everything at the glass workshop sounds dirty. The instructor asks Omar, “Can you get on your knees and blow?”

They also attend a hipster dinner theater that’s located in Manhattan. Manhattan is not Brooklyn.

Although each episode has its moments, we don’t see much of what makes either city special. And we don’t learn much about how Andres uses the apps to maximum effect.

What we do learn from “Weekend Fix” is the importance of planning ahead. That can’t be what they had in mind.

http://www.medialifemagazine.com/wee...s-neednt-take/
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post #97628 of 97635 Old 10-29-2014, 05:57 PM
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TV/Nielsen Notes
DVR Ratings Helping Struggling New TV Shows Stay Afloat
By Cynthia Littleton, Variety.com - Oct. 29, 2014

ABC is a turnaround story in the making. CBS went four-for-four with pickups for its new fall series. Fox is giving thanks for “Gotham.” And NBC is enjoying its bench strength with dramas, even if comedy remains a harder nut to crack.

Overall, the broadcast nets have gotten off to a good start this season, with a few frosh series, notably ABC’s “Black-ish” and “How to Get Away With Murder,” and CBS’ “Scorpion,” standing out from the pack. ABC likes “Black-ish” so much that last week it tacked on two more episodes, lifting its order to 24. The Alphabet also handed out additional episodes for comedy “The Goldbergs” and six other shows.

In something of a fall rarity, almost all of the new series survived their first month — a far cry from last year, when CBS’ “We Are Men,” ABC’s “Lucky 7” and NBC’s “Ironside” all had fallen with the leaves.

It could be that the same-night ratings bar has lowered enough to make the difference between a dud and a worthwhile performer insignificant. Or the improved survival rate could be a function of the networks waiting for more time-shifting data before making any decisions. Then again, ripping up the schedule and trying to market new shows might be simply too expensive and disruptive.

Or perhaps it’s all of the above.

ABC’s “Selfie,” NBC’s “A to Z” and Fox’s “Red Band Society” and “Mulaney” have all produced Nielsen numbers as low as some of last year’s quickly departed, but they may have enough going for them to last longer than expected.

Fox’s ultra-ambitious reality series “Utopia” is likely to be the season’s next casualty, after ABC pulled the plug on “Manhattan Love Story” on Oct. 24. It’s doubtful that the little-watched “Utopia” will stay on Fox’s air past November.

“Mulaney” hasn’t done much better, but it does have exec producer Lorne Michaels going for it, plus there is inhouse good will for star John Mulaney and his efforts to right the ship. Meanwhile, “Red Band Society” is a good illustration of how delayed viewing is making it much harder to call hits and misses.

In an attempt to provide the media with a better overall picture of the television audience for their shows, ABC, CBS and NBC this fall joined Fox in including Live+7 projections in their next-day ratings analysis. These estimates can sometimes be off by as much as 20% or more — but they are likely here to stay.

While a week’s worth of DVR playback can make a good performer look great, it can’t miraculously do much for a show that draws a tiny same-night rating and doesn’t have much buzz.

“Manhattan Love Story,” for example, bowed Sept. 30 to a low 1.3 rating in adults 18-49, and also proved to be the smallest Live+7 gainer among the week’s scripted shows (rising a mere 0.2). It fell to a 0.7 same-night rating in its most recent outing, and got the axe even after ABC had ordered more scripts of the show.

“Red Band,” on the other hand, did a 1.1 same-night rating that week (its third episode), but shot up to a 1.9 in L+7 — an indication that while it may not be a show viewers choose to watch on Wednesdays vs. “Modern Family” or “Criminal Minds,” it remains on the radar of a sizable group of young adults who have made a point to keep up with it at their convenience.

This explains in part why Fox ordered four more scripts for “Red Band.” Of course, the fact it hails from Steven Spielberg’s Amblin TV and ABC Studios doesn’t hurt — as Fox wants to demonstrate its openness to product from outside studio suppliers following the streamlining of leadership at the network and at the 20th Century Fox TV production division.

Fox gave a full-season nod to Warner Bros. TV’s “Gotham” on the heels of the show’s big opening. ABC made a statement with its early pickups of “Black-ish” and “How to Get Away With Murder.” NBC has extended “The Mysteries of Laura” and CW did the same with “The Flash,” which sprinted out of the gate; its “Jane the Virgin” got by on good looks and glowing reviews.

The premieres of both “Gotham” and “Murder” gained more than 2 full demo ratings points in L+7. “Murder” set a U.S. television record, when nearly 7 million viewers watched it in the seven days following its premiere.

Also looking pretty good (and performing consistently) are CBS’ “Madam Secretary” and NBC’s “The Mysteries of Laura,” older-skewing shows that nonetheless have performed solidly enough in adults 25-54 to earn full-season pickups. And ABC’s “Forever” and “Cristela” have hung in there, with the former giving the net a Tuesday-at-10 pulse.

In addition to “Scorpion” and “Madam Secretary,” CBS has also renewed “Stalker” and “NCIS: New Orleans,” the latter of which has shown strong retention of its mothership lead-in.

NBC launched three comedies, and has yet to launch its drama biggie, Katherine Heigl’s “State of Affairs” (premiering Nov. 17). Thursday sitcom “Bad Judge,” like “A to Z,” has been middling at best, but there’s support internally for both shows and their stars. The jury’s still out on “Marry Me” (which debuted Oct. 14).

In this season of time-shifting and schedule-juggling, perhaps the biggest surprise of all is that the major networks have more greenlights flashing than red lights — so far.

http://variety.com/2014/tv/news/dvr-...at-1201341462/
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post #97629 of 97635 Old 10-29-2014, 06:07 PM
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Technology/Business Notes
Apple vs. Retail - who wins mobile p
By Jefferson Graham, USA Today - Oct. 28, 2014

LOS ANGELES — The topic of mobile payments — and specifically, Apple Pay — is so hot that it helped the stock of Chinese e-commerce giant Alibaba become the latest to blow past $100 a share, before closing just below it.

The stock's rise on Tuesday was tied to comments made by Alibaba Chairman Jack Ma during a conference Monday in California. Ma said he'd be receptive to working with Apple on a mobile payments system. Alibaba owns Alipay, a payment service that has its own mobile payments system.

For years, analysts have predicted that paying for goods with a smartphone was going to be the next big thing. Apple, which launched its mobile payment system last week, already claims it is No. 1, registering 1 million credit cards in just three days.

"We've been told by MasterCard and Visa that if you summed up everyone else in mobile payments, we're already No. 1," Apple CEO Tim Cook said at the WSJDLive conference here, where Ma also spoke.

But Apple Pay is only available at a handful of retailers, including Whole Foods Market, McDonald's and Macy's. To grow, Apple will have to convince more retailers to sign on.

Big retail is developing a competing system set for launch in 2015, one it hopes will help the industry avoid steep credit card processing fees and help it with customer loyalty programs and other consumer data. And Google, meanwhile has laid the groundwork for its Google Wallet, which is accepted at many stores but has yet to find much consumer acceptance.

So which system will ultimately win? And will more big retailers give in and start accepting Apple Pay?

Analysts are pondering such questions in the wake of the decision by CVS and Rite Aid to disable in-store mobile payment pinpads — initially set up for Google Wallet — because iPhone owners were using them with Apple Pay.

"They'll cave," says Creative Strategies analyst Tim Bajarin. "The demand from the consumer to use Apple Pay will be just too great."

Walmart, Best Buy, Sears and others are part of the Merchant Customer Exchange, which is developing its own mobile payment system, CurrentC. It is being tested in Minnesota. Unlike Apple Pay, which works only with the latest iPhones and a built-in NFC chip, any smartphone would work with CurrentC using a QR code to secure the transaction.

Walmart said MCX members "believe merchants are in the best position to provide a mobile solution because of their deep insights into their customers' shopping and buying experiences."

Can big retail make credit card fees go away? James Anderson, a senior vice-president with MasterCard, doubts it.

"If they want to execute this new plan, go for it, and good luck," he says. By not accepting Apple Pay, "they make a decision that could upset their customer base. That's a brave decision to make."

Deepika Pandey, a group vice president with Walgreens, says mobile payments at the pharmacy chain have doubled since Apple Pay launched. "We're very happy with the results," she says. The company has been working with Google since it launched Google Wallet.

Gene Munster, an analyst with Piper Jaffray, says there is no motivation for consumers to use the competing MCX program.

"The odds of it being successful is about 1%," he says. "This is not a technology game, it's about getting customers to use it. Apple has a powerful way to get people involved."

Alibaba shares closed up 1.9%, to $99.68 and had been as high as $100.67 during the day. At its Sept. 18 initial public offering, shares were initially priced at $68 a share.

(Contributing: Matt Krantz.)

http://www.usatoday.com/story/tech/c...-win/18068443/
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TV Notes
History offers for-credit college course with University of Oklahoma
By Patrick Kevin Day, Los Angeles Times - Oct. 29, 2014

Three credits shy of your college degree? Cable TV may have the solution for you.

In recent years, History has made a name for itself airing stuff like "Pawn Stars," "Ice Road Truckers" and "Ax Men," as well as the scripted hit, "Vikings." Now it's getting into the college education business.

The channel has teamed with the University of Oklahoma for what's called the fist "network-branded online course for college credit."

The course is called "United States, 1865 to the Present" and will cover such topics as industrialization and urbanization, the Gilded Age and progressivism, the two World Wars, the Cold War, Vietnam, Watergate and America in the current century.

The 16-week course, which will begin in January, is being taught by OU professor Steve Gillon, who also has the distinction of being History's "scholar-in-residence."

The course will use the Janux online learning community system created by OU.

Prospective students will have the option to sign up for the $500 version for three college credits or the $250 version that is just the class with no credit.

For an additional $2.99 you can rent "Animal House" on Amazon and have Dean Wormer tell you that going through life fat, drunk and stupid is no way to go through life.

Further courses between History and the University of Oklahoma are in the works for future semesters.

More information can be found here.

http://www.latimes.com/entertainment...029-story.html
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TV Review
The long and short of Frances McDormand in HBO's 'Olive Kitteridge'
Great performances, but perhaps the wrong length for adapting Elizabeth Strout's book
By Alan Sepinwall, HitFix.com - Oct. 29, 2014

The last time HBO turned a Pulitzer Prize-winning novel set in Maine into a miniseries, it was 2005's "Empire Falls," which boasted a star-studded cast but was exactly the wrong length at four hours: too short to properly tell all of the books' stories and give the audience the necessary feeling of living among these characters, and much too long for the thin slice the filmmakers were able to carve out of the book.

HBO's new miniseries "Olive Kitteridge" (it debuts Sunday night at 9) is also adapted from a Pulitzer Prize-winning novel set in Maine, and also clocks in at four hours. And though I haven't read the Elizabeth Strout book on which it's based, it certainly feels like the same mistake has been made about its length.

Directed by Lisa Cholodenko ("The Kids Are All Right") and written by HBO movie veteran Jane Anderson ("Normal," "The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom"), the miniseries presents vignettes over 25 years in the life of Olive (Frances McDormand), an unyielding Yankee who holds her husband Henry (Richard Jenkins), her son Christopher (played by Devin McKenzie Druid as a kid and John Gallagher Jr. as an adult), and the world at large to a very high standard, and has no problem telling people in the bluntest possible terms how they've failed to live up to that standard. (Christopher grows up to become a doctor, but she dismisses his accomplishments: "You're a podiatrist; it doesn't count.") She lacks the patience for displays of sentiment — when Henry acts dismayed that she's throwing out a Valentine's Day card that he just gave her, she says, "I read it" — and good manners are what she expects from other people, and not necessarily from herself.

At one point, Christopher understandably objects to how she treats him, and Olive replies with a "Poor you" that sounds very much like it came from the mouth of the worst HBO mother of them all. Tony Soprano once recalled the way his mother treated his father, and marvels that "she wore him down to a nub." Watching "Olive Kitteridge," viewers may feel like Henry is suffering the same fate in real time right in front of them.

As Christopher notes, Olive tends to behave more warmly towards people outside her immediate family — a trait she and her husband (who is otherwise her temperamental opposite) share. Olive looks out for troubled kids in school and is attracted to English teacher Jim O'Casey (Peter Mullan from "Top of the Lake"), while Henry has an almost pathological need to rescue the various mousey women who cross his path. (The most prominent, and appealing, of these is pharmacy assistant Denise, played by Zoe Kazan.) The Kitteridge union is simultaneously broken and functional: Olive and Henry don't seem to belong together, but one of the best things the miniseries does is to illustrate the ways in which they do love and take comfort in each other, despite how irritating it is for each to be around the other day after day, year after year.

Along the way, we get glimpses of the other characters who made up the 13 interlocking tales of Strout's book — Rosemarie DeWitt as a mentally ill pharmacy customer, Cory Michael Smith (the would-be Riddler on "Gotham") as the grown-up son who inherited her condition, Libby Winters as Christopher's bride-to-be — but they're not around long enough to make much of an impact, even as it's clear in each case that there's much more of their stories to be told than the miniseries has room for.

And as great as both McDormand and Jenkins are in the lead roles (both are early Emmy frontrunners), their story ultimately feels too repetitive — the miniseries plays as a collection of anecdotes designed to make the same point over and over and over again — to justify the running time. After a while, one begins to feel trapped in the Kitteridge marriage right along with them; that may be exactly what Cholodenko and Anderson were going for, but unlike Olive and Henry, I had the ability to (frequently) put their relationship on pause to find something less suffocating to enjoy. Things liven up in the final hour, thanks to Bill Murray as a wealthy neighbor whom Olive gets to know late in life, but it's a mark of how dour the majority of the project is that Murray feels like a ray of sunshine even underplaying a depressed character.

So much of Olive's story is about repetition: the routine of a marriage in good times and bad, the way that certain character traits — or illnesses — can be passed from generation to generation. On that level, the structure makes sense, but the mini becomes such a slog to get through — especially with everyone outside the marriage (who could have provided some respite from it) reduced to cameos — that the destination isn't worth the long and difficult journey.

I like the idea of HBO as a place where serious novels can be adapted with top talent, and in a relatively faithful fashion that doesn't have to pander to box office in the way a feature film would. But the next time the channel's execs get their hands on a sprawling novel and designate it for a four-hour treatment, they should think serious about either doubling that time or cutting it in half.

http://www.hitfix.com/whats-alan-wat...ive-kitteridge
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post #97632 of 97635 Old 10-29-2014, 06:29 PM
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TV Review
‘The McCarthys'
The play's the thing for sports-mad family in new CBS sitcom with Jack McGee, Jimmy Dunn, Joey McIntyre and Kelen Coleman
By David Hinckley, New York Daily News - Oct. 29, 2014

It's an amazing coincidence that all six members of the McCarthy family were born as sitcom characters.

One mother, one father, three sons, one daughter — and it’s almost impossible to imagine any of them outside a sitcom.

Never more than a half sentence from its next gag, “The McCarthys” is even into sports betting. It’s betting that the mystique of Boston sports is enough of a foundation on which to build everything else.

Arthur McCarthy (Jack McGee) coaches high school basketball. With his last season coming up, he’s desperate to win a title.

Arthur and two of his sons — Sean (Jimmy Dunn) and Gerard (Joey McIntyre) — are consumed by sports. So is his daughter, Jackie (Kelen Coleman), who dresses and acts like what she imagines to be every athlete’s fantasy.

The third son, Ronny (Tyler Ritter), is gay. He has somehow resisted knowing much about sports despite spending much of his life with his family watching the Sox, Celtics, Pats and Bruins.

Ronny is, however, the favorite son of his mother Marjorie (Laurie Metcalf). They watch “The Good Wife” together.

Essentially, the show is a half hour of heartwarming wrapped in wisecracks, sports gags and the small crises of working-class life.

Sitcoms have succeeded on less, and while “The McCarthys” won’t dazzle anyone with spectacular dunks, it’s counting on the fundamentals being enough.

‘The McCarthys’
Network/Air Date: Thursday at 9:30 p.m., CBS
Rating: ★★★ (out of five)


http://www.nydailynews.com/entertain...icle-1.1990222
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post #97633 of 97635 Old 10-29-2014, 06:41 PM
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TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - It's the Great Pumpkin, Charlie Brown (Special)
(R - Oct. 27, 2006)
9PM - Scandal
10PM - How To Get Away With Murder
* * * *
11:35AM - Jimmy Kimmel Live! (Scott Foley; Smokey Robinson, Aloe Blacc and JC Chasez perform)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
8:31PM - Mom (Season Premiere)
9:01PM - Two and a Half Men (Season Premiere)
9:30PM - The McCarthys (Series Premiere)
10PM - Elementary (Season Premiere)
* * * *
11:50PM - Late Show with David Letterman (Brian Williams; Perfume Genius performs)
12:52AM - Late Late Show with Craig Ferguson (Cedric the Entertainer; Jayma Mays)

NBC:
8PM - The Biggest Loser
9PM - Bad Judge
9:30PM - A to Z
10:01PM - Parenthood
* * * *
11:34AM - The Tonight Show Starring Jimmy Fallon (Gordon Ramsay; "Fallonventions"; Little Big Town performs)
12:36AM - Late Night with Seth Myers (Zooey Deschanel; Ken Marino; writer Brad Meltzer)
1:36AM - Last Call with Carson Daly (Director Dan Gilroy; Broods performs; comic Grant Cotter)

FOX:
8PM - Bones
(R - Apr. 14)
9PM - Gracepoint

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour
9PM - Masterpiece Classic - The Paradise, Series 2: Episode 5
(R - Oct. 26)
10PM - Antiques Roadshow: Jacksonville
(R - Oct. 27)

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

THE CW:
8PM - The Vampire Diaries
9PM - Reign

TELEMUNDO:
8PM - Reina de Corazones
9PM - Los Miserables
10PM - Señora de Acero

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Rock band Spoon)
11:31PM - The Colbert Report (Politician David Miliband)
12:01AM - At Midnight (Steve Agee; Brian Posehn; Aisha Tyler)
12:31AM - Adam Devine's House Party (Sabrina Jalees, Nick Rutherford and Jesus Trejo perform)

TBS:
11PM - Conan (Jake Gyllenhaal; Judy Greer; rock band The War on Drugs)
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post #97634 of 97635 Old 10-29-2014, 06:49 PM
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TV Notes
Peter Pan Drama ‘The League Of Pan’ Set At Fox With Imagine TV & Andrew Miller
By Nellie Andreeva, Deadline.com - Oct. 29, 2014

EXCLUSIVE: League Of Pan, a modern day twist on Peter Pan, has landed at Fox with a script commitment plus penalty. The mystery drama hails from 20th Century Fox TV and studio-based Imagine Television. Written by Andrew Miller, developer/executive produced of CW’s The Secret Circle, League Of Pan is described as a grounded, edgy, soapy thriller featuring updated versions of all favorite Neverland characters. It picks up the Lost Boys fifteen years after they left Neverland. Now men and very much estranged, the Lost Boys are forced back together when they realize someone is killing them off one by one. To find out who and why and stay alive, they’ll have to get past the bitter rivalries and bad blood that forced them out of paradise and rediscover the magic that made them fearless. This time in the very real world of contemporary Los Angeles.

Miller executive produces with Imagine’s Brian Grazer and Francie Calfo.

20th TV and Imagine first took a stab at League Of Pan two seasons ago when they optioned a script by newcomer Brian McCauley Johnson with the idea of bringing in a showrunner to write a script based on the basic premise. Miller will write a new script, with Johnson getting a producer credit.

The Lost Boys, who originated in J.M. Barrie’s play Peter Pan, are boys lost by their nannies who have been whisked off to Neverland to live with Peter Pan. In Barrie’s play and subsequent novel, the Lost Boys return to London with the Darling kids to live with their family, while in the Disney movies they stay at Neverland with Peter.

Peter Pan has been very much in the zeitgeist since 20th TV and Imagine first identified League Of Pan. ABC’s fairytale drama Once Upon A Time did a Peter Pan arc. This development season, NBC has single-camera modern-day romantic comedy Wendy And Peter, inspired by Peter Pan, which also has a script order with penalty. And NBC has the upcoming Peter Pan Live!, a live staging of the Broadway musical.

Imagine TV and 20th TV also have thriller Digital Fortress, based on Dan Brown’s novel, set up at ABC with a put pilot commitment. The companies’ new hip-hop family drama series Empire is coming up this season. Miller is with WME.

http://deadline.com/2014/10/league-o...miller-865100/

* * * *

TV Notes
‘American Gigolo’ Series In Works At Paramount TV With Jerry Bruckheimer
By Nellie Andreeva, Deadline.com - Oct. 29, 2014

Paramount Television is pulling another marquee title from Paramount’s movie library for a series adaptation with top original auspices attached. The company is developing a television adaptation of the film noir classic, American Gigolo, with Jerry Bruckheimer, who was a producer of the 1980 movie with Richard Gere and Lauren Hutton, executive producing. The film’s director and writer, Paul Schrader, will serve as an executive consultant. “With its signature noir aesthetic, American Gigolo has remained a deeply entertaining, psychological thriller and I’m thrilled to partner with (Paramount’s) Brad (Grey) and Amy (Powell) on remaking it into a television series,” said Bruckheimer.

Jerry Bruckheimer Television’s Jonathan Littman will be an executive producer, KristieAnne Reed will serve as co-executive producer, and Michael Azzolino will produce.

In a star-making turn, the 1980 movie featured Gere as Julian Kaye, a male escort in Los Angeles. Here is a trailer: [CLICK LINK]

Paramount TV is co-producing Minority Report, a drama, based on the Paramount movie, which has a big put pilot commitment at Fox. The company also has a live staging of Grease at Fox, a 13-episode pickup by sibling cable network Nickelodeon for a live-action musical comedy based on the 2003 Paramount feature School Of Rock and is developing a Shutter Island series for HBO with Martin Scorsese and a Shooter drama adaptation at TNT with the movie’s star Mark Wahlberg producing.

http://deadline.com/2014/10/american...er-1201266695/
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post #97635 of 97635 Old 10-29-2014, 06:54 PM
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TV Notes
Navy SEAL Who Killed Osama Bin Laden to Reveal Identity on Fox News
By Jordan Chariton, TheWrap.com - Oct. 29, 2014

Fox News has landed an interview with the Navy SEAL who killed Osama bin Laden, the network announced Wednesday.

Correspondent Peter Doocy will host a two-part documentary, “The Man Who Killed Usama Bin Laden,” on November 11th and 12th from 10-11p.m.

The exclusive interview with the Navy SEAL who says he fired the shots that killed the terrorist leader will delve into the U.S. raid into bin Laden's compound and the events that led up to the historic mission.

Known as “The Shooter,” the SEAL will reveal his identity for the first time. He previously spoke with Esquire last year, complaining that his health care had ended when he left the military. In that interview, the SEAL didn't reveal his identity.

The raid has already been depicted in several documentaries, and on the big screen in “Zero Dark Thirty.”

http://www.thewrap.com/navy-seal-who...y-on-fox-news/
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post #97636 of 97635 Old 10-29-2014, 11:49 PM
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TV Notes
History offers for-credit college course with University of Oklahoma
By Patrick Kevin Day, Los Angeles Times - Oct. 29, 2014

Three credits shy of your college degree? Cable TV may have the solution for you.
So the History Channel finally caught up with the early 1960s!

I remember "Sunrise Semester" being on TV early in the morning where people could sign up and get college credit, and that was before anyone on our block had color TV. And I recall the show being listed in the TV listings in the Los Angeles Times.

And now that I live in Oregon instead of eight miles south of Mt. Wilson, the local community college has been broadcasting lectures of selected classes for years so people could register for one of those courses and have to show up on campus only for taking tests. (Now I don't think they even have to be on campus.)

For the past decade there have been several classes where one can register online, stream the lectures, participate in a forum, and take tests, all without setting foot on campus at the local community college, and get credit.

At least now what History Channel is doing is in color and in high definition, neither of which were true from my memories of Sunrise Semester of some 50 years ago.

My very humble setup:
Man Cave:Vizio E500i-A1 "Smart TV" (50-in 1080p 120Hz LED/LCD, has Netflix app.), Blu-ray players (Sony BDP-S3100, old LG BD390), Roku (the original model: N1000), PC (Windows 7), Comcast Internet (25Mbps/5Mbps).
Bedroom:LG 32LV3400-UA TV (32-in 768p 60Hz LED/LCD), HD DVR (Motorola RNG200N), Xfinity Comcast cable (Digital Starter Package), DVD/VHS player.
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post #97637 of 97635 Old Yesterday, 05:09 AM
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TV Notes
History offers for-credit college course with University of Oklahoma
By Patrick Kevin Day, Los Angeles Times - Oct. 29, 2014

In recent years, History has made a name for itself airing stuff like "Pawn Stars," "Ice Road Truckers" and "Ax Men," as well as the scripted hit, "Vikings." Now it's getting into the college education business.
Damn, why didn't I come up with the idea of teaching history on the HC? I guess that's why they are executives and I'm not. Hopefully, they will be airing classes on self-esteem because I feel so inferior.
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Damn, why didn't I come up with the idea of teaching history on the HC? I guess that's why they are executives and I'm not. Hopefully, they will be airing classes on self-esteem because I feel so inferior.
I think you'll have to wait until the Self-esteem Channel launches. Watch it quickly though because within 12 months they will only be showing Law and Order, 2.5 Men and Big Bang Theory reruns.
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