Hot Off The Press: The Latest TV News and Information - Page 2182

TV Notes
Maria Bello To Star In NBC's 'Prime Suspect'
By Nellie Andreeva, Deadline.com - February 16th, 2011

NBC has found its Prime Suspect. Maria Bello is in final negotiations to play the iconic role originated by Helen Mirren in NBC's remake of the hit British series.

Prime Suspect, from UMS and ITV Studio, centers on an iconoclastic female detective (Bello) who has to make her bones in a tough New York precinct that is dominated by men. The pilot was originally picked up last season but was pushed after difficulties casting the lead. (Back then, Bello was a top choice for NBC brass too.) The adaptation was given a revamp this development season with a new producing team, Peter Berg and Sarah Aubrey of Film 44, and new writer, Alexandra Cunningham. The three are executive producing the pilot, with Berg also set to direct.

History of Violence co-star Bello, repped by CAA, manager John Carrabino and attorney Bob Myman, has a history at NBC. She spent a season on ER and did a two-episode arc on Law & Order: SVU last year.

http://www.deadline.com/2011/02/mari...prime-suspect/

TV Sports
Will Comcast Tighten Ebersol's Purse Strings?
Complicating matters for Ebersol are rival nets ESPN and Fox
By Anthony Crupi, AdWeek.com - February 16th, 2011

Dick Ebersol may be hamstrung in his latest bid to land the media rights to the 2014 and 2016 Olympics, as his new boss at NBC Universal suggested he's ready to put an end to the Peacock's free-spending ways.

Speaking to investors during Comcast's fourth-quarter earnings call Wednesday, NBCU CEO Steve Burke declined to confirm whether the broadcast unit would throw down the requisite billions to ensure its reign as the home to the Winter and Summer Games.

We're here to make money, and we're going to be disciplined, Burke said, when asked about bolstering NBC's sports properties. We're going to concentrate on businesses that have good returns.

While it's a tremendous promotional platform and an undeniable feather in NBC Sports' cap, the Olympics may be too rich for Comcast's blood. Despite putting up robust ratings, NBC lost $223 million on the 2010 Winter Games in Vancouver--the first time an Ebersol-produced Olympics has failed to generate a profit--and the fiscally sober cable giant may be disinclined to invest in the Sochi and Rio package.

All told, the 2010/2012 package cost $2.2 billion: $1.18 billion for the London games, $820 million for Vancouver and $200 million that GE invested in a global Olympic sponsorship.

Complicating matters for Ebersol are rival nets ESPN and Fox, both of which also plan to make a run at the 2014/2016 rights bundle. Naturally, the more bids there are on the table, the greater the cost of securing the Games. Already partners on the NCAA March Madness tournament, CBS and Turner Sports are expected to put in a joint bid.

The International Olympic Committee said it expects to have a deal in hand by July.

Meanwhile, back in New York, Burke pointed out that the NBCU cable channels, which include top-ranked USA Network as well as Bravo, Syfy and MSNBC, are the engine of growth at the programming unit, responsible for 80 percent of all profits. He added that it could take as many as four or five years to turn things around at NBC, which he characterized as a real weakness.

One of the advantages of waiting 13 or 14 months to get a deal closed ... is you get a chance to really get to know the assets, really get to know the people, Burke said, adding that in the run-up to landing regulatory approval for the Comcast-NBCU deal, his team was able to create a set of goals and plans and priorities for the future.

Comcast last month assumed a 51 percent stake in NBCU, paying GE $6.2 billion in cash.

In the same call, Comcast chairman and CEO Brian Roberts dismissed speculation that the newly-minted media titan would look to unseat the outlet that boasts a virtual monopoly over the TV sports landscape. People talk about ESPN and other things, [but] I don't really see that as a realistic thing, Roberts said, adding that the programmer will instead concentrate on exploring synergies between the various NBC Sports assets and Comcast cable channels Versus and Golf Channel. I think we have a long-term opportunity to do some big things with these brands.

The nation's largest cable operator reported net income of $1.02 billion, or 36 cents per share, for the final three months of 2010, up from $955 million, or 33 cents, a year ago. Revenue grew 7 percent to $9.72 billion.

http://www.adweek.com/aw/content_dis...520c1cc34dee40

TV Notes
CNN Is Back to Covering Fashion
By Eric Wilson, The New York Times's 'Front Row' Fashion Column - February 17th, 2011

It has been 10 years since CNN pulled the plug on “Style With Elsa Klensch,” and in that time we’ve gone from seeing a camera crew at Fashion Week as a novelty to seeing anyone in the audience without a camera phone as a nobody.

A generation of editors and journalists, this one included, grew up with a view of fashion in the 1980s and ’90s that was informed by the distinctively florid voice of Ms. Klensch. But, oh, how times have changed, now that viewers can consume fashion instantly through any number of media. Except, during all that time since, on CNN.

Alina Cho, a national correspondent and contributor to “American Morning” who joined the network in 2004, has pushed the network to be more inclusive of fashion and has filed reports from the runways periodically, in addition to her normal routine of, say, covering President Obama’s inauguration or reporting from North Korea or being host to an annual special on celebrities who give to charities.

But this week her presence has been especially obvious at Fashion Week, as Ms. Cho, in a purple Lanvin dress and a beaded Yves Saint Laurent necklace, has been interviewing designers and editors in preparation for her first half-hour fashion special, scheduled to be broadcast Feb. 19 at 2:30 p.m. She was at Prabal Gurung, Alexander Wang and Victoria Beckham, and at Milk Studios for a long night of presentations of Suno, Billy Reid and Altuzarra.

“There is room for fashion in our coverage,” Ms. Cho said shortly after the Jason Wu show. “Our viewers crave hard news. They want the headlines about Egypt. But we shouldn’t discount the fact there are other topics we can cover, and I don’t think it makes me any less of a journalist to cover fashion.”

If all goes well with the special, called “Fashion Week: Backstage Pass,” Ms. Cho hopes the network will make it a recurring feature, but she is not under the illusion that CNN will fully revive the “Style” concept. Ms. Klensch covered something like 4,000 shows during her tenure, reporting from Milan and Paris in her trademark Sonia Rykiel jacket and glossy bob. Ms. Cho went to the Paris collections for the first time just last fall, on her own time, tagging along with her friend John Demsey, a group president for Estée Lauder. (Ms. Cho is not shy about pushing herself onto the social circuit, serving as a chairwoman, for example, of the New Yorkers for Children spring gala.)

“Elsa covered fashion in a really grand way,” Ms. Cho said. “What we want to do now is be aspirational, and also accessible.”

Her special will include segments on the rise of Asian designers in fashion, model casting and front-row politics, and a sit-down with Ms. Beckham, Ms. Cho said, because, “even if you don’t follow fashion, you know who she is.”

Designers are thrilled to have CNN looking at them again.

“She is fashion-obsessed,” said Michael Kors, who appears on the special. “She knows everything about the designers, and she’s also curious about what’s happening.”

Ms. Cho, 39, grew up in Vancouver, Wash.; studied journalism at Boston College and Northwestern; and made her way to CNN via WFTS in Tampa, Fla.; CNBC, and ABC News. She has always had a love for fashion, not necessarily shared by her colleagues in broadcast television, but she said she considered it “a gift” that CNN let her cover the shows anyway. And, like Ms. Klensch, Ms. Cho is determined to make viewers take fashion more seriously.

“My joke these days is that my two big interview ‘gets’ are Kim Jong-il and Anna Wintour,” she said. “Actually, I don’t know which one is harder to get.”

http://www.nytimes.com/2011/02/17/fa..._r=1&ref=media

Nielsen Notes
Maybe the last word for '$#*! My Dad Says'
The Twitter-based CBS sitcom wraps up season one
By Louisa Ada Seltzer, Media Life Magazine - February 17th, 2011

Tonight at 8:30 p.m. marks the season finale of CBS's "$#*! My Dad Says," and it could well be the series finale as well.

"Dad" was one of the more anticipated new shows of the season, with its cool, quirky concept, a comedy based on a Twitter feed about all the outrageous things that a twentysomething guy's dad says.

The concept was great, but the execution wasn't.

Critics have bashed the show, which stars the hammy William Shatner as the titular dad, and while ratings aren't terrible, that's mostly a credit to "Dad's" lead-in, the hit "The Big Bang Theory."

"Dad" has averaged a 3.1 adults 18-49 rating this season, according to Nielsen, retaining 72 percent of "Bang's" 4.3 average.

What's more telling about "Dad" is how it performs following a "Bang" rerun.

Three weeks ago an original "Dad" behind a "Bang" repeat posted a series-low 2.3, indicating that people are only watching the show as an afterthought after "Bang."

CBS could put just about any show, and certainly one with more creative potential than "Dad," in that timeslot and draw similar numbers.

That's likely why the network is testing veteran sitcom "Rules of Engagement" in the timeslot over the next few months, starting next week.

Still, even if "Dad" is quietly canceled, it will definitely be remembered as a trendsetter. Already several other networks have ordered pilots for next season based on Twitter feeds.

On tonight's finale, "Real Housewives of Beverly Hills" star Camille Grammer guests as a reality star who helps Bonnie and Vince look for a house.

http://www.medialifemagazine.com/art...-Dad-Says-.asp

TV Notes
Networks look ahead to fall by looking back
By Gary Levin, USA Today - February 17th, 2011

Networks are stocking up on cops, lawyers and doctors, who populate many of the 80 pilots vying for a spot on their fall lineups to be unveiled in May. Even teen-friendly CW is trying its luck with all three.

But after last year's caution bred a lackluster current season, some are taking bigger swings with more ambitious projects designed to stand out as Glee or Lost did.

And if it seems many are in lock step, it's merely coincidence. "They don't buy with the idea of a trend," says CBS Studios chief David Stapf. "They buy what they like and the trend follows."

What they like so far:

Period pieces. Inspired by Mad Men, several potential dramas hark back to the past: ABC has Pan Am, a '60s soap about stewardesses and pilots (some of whom turn out to be spies), and Poe, in which the detective author solves mysteries in 1840s Boston. NBC is looking at Reconstruction, a post-Civil War Western.

Remakes. Always popular as marketing-friendly comfort food, ABC is angling for a Charlie's Angels reboot, and NBC is eyeing new versions of Wonder Woman (from producer David E. Kelley and starring Adrianne Palicki) and Prime Suspect. But CBS passed on Wild, Wild West.

Musicals Jumping on the Glee bandwagon are NBC's Smash, which follows the makings of a Broadway musical and would star Debra Messing and American Idol runner-up Katharine McPhee. ABC's Grace is set in the dance world, and Hallelujah, from Desperate Housewives producer Marc Cherry, features a gospel choir.

Graphic novels. Though The Cape fell to earth, there's still interest in fantasy projects: Fox's Locke & Key is a thriller about a family that moves to a haunted house; J.J. Abrams is behind CBS' Person of Interest, about an ex-CIA agent, thought dead, who teams up with a billionaire to solve crimes; and NBC's Grimm is a cop drama with characters based on the fairy tales. CW has new genre shows about zombies and witches.

Family comedies. New-series development often lags behind hits, so it took an extra season for would-be Modern Familys to surface: Fox is considering Council of Dads, Family Album, Outnumbered and I Hate My Teenage Daughter, while ABC is eyeing Bad Mom, My Freakin' Family and Smothered (titles self-explanatory).

"It definitely feels like there are a lot more comedy pilots than in years past," says ABC comedy chief Samie Falvey, but networks hedge their bets because sitcoms "tend to have a lower success ratio." With drama scripts, "you can sense what the final product will look like," she says, but "there's so much magic and chemistry that goes into comedy that one little piece can send it into the stratosphere or send it crashing down.

http://www.usatoday.com/life/televis...rks17_ST_N.htm

Obituary
Len Lesser, character actor who had recurring role on 'Seinfeld,' dies at 88
By Los Angeles Times Staff - February 16th, 2011

Len Lesser, 88, a veteran character actor best known for his recurring role in the 1990s as Uncle Leo on the hit NBC-TV comedy "Seinfeld," died Wednesday in Burbank, publicist Laura Stegman said. He had pneumonia and cancer.

Starting in the early 1950s, Lesser built a reputation for mostly playing the heavy in dozens of movies and hundreds of TV appearances while nurturing his love of the theater. But the bald, hook-nosed actor took his career to a higher plane once he established himself as Jerry Seinfeld's annoying Uncle Leo with his trademark greeting "Hello!"

"He's the kind of guy who is a total nuisance at times and the kind of guy you avoid," Lesser said of Uncle Leo in a 1998 interview with the Los Angeles Times. "He's a very expansive character, and that has an attraction to it."

Born Dec. 3, 1922, in New York, Lesser received a bachelor's degree in economics and government from the City College of New York in 1942. He served in the Army during World War II then returned to New York to study acting.

He moved to Los Angeles in 1954 and began working in television and commercials. Movie roles followed, including small parts in "Kelly's Heroes," "Papillon" and "The Outlaw Josey Wales."

Besides "Seinfeld," he also had a recurring role in the CBS sitcom "Everybody Loves Raymond" as Raymond's father's friend Garvin.

He appeared frequently on local stages, including in "Cold Storage" at the Gnu Theatre in 1993, "Cantorial" at the Actors Alley in 1992 and "Awake and Sing!" at A Noise Within last year.

http://www.latimes.com/entertainment...,3473959.story

Critic's Notes
Despite a Promising Star, Will the 'Wonder Woman' Remake Be a Disaster?
By Maureen Ryan, AOL.com's 'TV Squad' - February 17th, 2011

This might be one of those good news, bad news situations.

The good news is, Adrianne Palicki has been cast in the title role of NBC's 'Wonder Woman.' Palicki is best known for playing Tyra Collette on 'Friday Night Lights,' a role the actress approached with great skill and heart. If anyone deserves to get a leading role in a high-profile project, it's Palicki.

The probably bad news (and it's not really news, at this stage): 'Wonder Woman' is being reimagined by TV uber-producer David E. Kelley, and the things Kelley is doing to the 'Wonder Woman' franchise is filling many TV observers and Diana Prince fans with dread.

First of all, he's created three different personas for Palicki to play. She'll be the crime-fighting Wonder Woman, of course, but she'll also play W.W.'s alter ego, corporate executive Diana Themyscira, and Diana's assistant, Diana Prince.

Huh? That seems a little ornate, if not confusing. And it's disheartening to read that The Daily Beast's Jace Lacob called Kelley's 'Wonder Woman' pilot script "laughably bizarre." He also said the pilot was "outdated," "cloying" and full of "stilted dialogue" and "bizarre narrative conceits." Sure, the script might undergo some alterations before the pilot is shot, but various early reactions to the project aren't exactly promising.

Even before Kelley's script surfaced, TV Squad writer and Wonder Woman fan Chris Harnick voiced some very understandable fears about the NBC reboot.

As Chris noted, the idea of updating the iconic character is certainly an attractive one. Wonder Woman has had so many different identities over the years that a smart TV makeover could be just what the character needs. But it hasn't been easy to find the right tone and story for a 'Wonder Woman' remake. The quest has stymied many writers, including Joss Whedon, a guy who knows a thing or three about writing complex and heroic female characters.

Chris, who'd read a short description of Kelley's script, pointed out that "neither Wonder Woman nor Diana Prince would be a corporate executive. Having a secret identity was almost always an after-thought for W.W. In almost all of her incarnations, her mission has been to bring peace to the outside world."

Kelley's script doesn't appear to have much time for that kind of noble pursuit, and it's hard to see his idiosyncratic vision -- which is wordy, quirky and sometimes frustratingly glib -- melding gracefully with the framework of the superhero genre. There's a sincerity at the heart of the Wonder Woman legend, whatever campy elements crept into the '70s series of the same name. Certainly as a girl growing up in that era (I was nine when the first TV version debuted), I idolized Wonder Woman's integrity and strength as much as I coveted her golden bracelets and invisible jet.

If anyone can make this odd hybrid work, it'll be Palicki. But will it be worth the effort? It seems unlikely.

Think back to NBC's 2007 remake of 'Bionic Woman,' which may serve as a cautionary tale. It's not that audience won't go for a female action hero -- I certainly think they will, if the project is done with smarts and style (just one example: The first couple seasons of 'Alias'). But are we going to get another 'Woman' remake that is hamstrung by NBC's odd decisions?

'Bionic Woman' seemed to reflect the ongoing chaos at NBC: There were too many cooks in the show's kitchen, as it were, and nobody could seem to decide who the lead character was from week to week. Four years later, the struggling network, which has a new exective team in place, has decided to make a big bet on a prominent showrunner. But Kelley isn't the right one.

It strikes me as strange that the network would want Kelley's take on this character. Why not hire one of the many TV writers in Hollywood who grew up reading graphic novels and watching various female heroines kick butt on the small screen? Why not recruit someone with a passion for this character and this genre, not a well-known producer who's had a lot of success with a series of legal shows? Furthermore, as critic Alan Sepinwall points out, Kelley's portrayal of female characters is problematic at best. It'd be especially painful to see Wonder Woman riddled with the kind of neurosis and insecurity that Kelley's female characters often display.

(Another wrongheaded NBC move with an iconic female character: The network is going ahead with a 'Prime Suspect' remake. I'm sure Maria Bello will make us all forget Helen Mirren's performance as London detective Jane Tennison. Sigh.)

It's worth noting that Kelley's characters, when they make a positive impression, excel at talking; they're simply not action-oriented. Of course, 'Wonder Woman' should have great dialogue, but is Kelley's brand of aggressive, showboating quirkiness right for this particular character? Based on what I know about the 'Wonder Woman' remake at this stage, I don't think so. He just doesn't seem like the right person for this project, and it'd be a shame if one more iconic female character got put through the wringer and quite possibly put back on the shelf, which is a definite possibility if the execution of this reboot is bungled.

If NBC likes the pilot and commissions a full series, my fingers are crossed that it'll be worthy of Wonder Woman's history -- and Palicki's talent. Full hearts and all that. But my clear eyes see danger ahead.

http://www.tvsquad.com/2011/02/17/wonder-woman-palicki/

Nielsen Overnights
Tuesday Final Ratings (Network)
From Marc Berman's MediaWeek.com Blog (Posted by Travis Yanan: http://travisyanan.blogspot.com/) - February 16th, 2011

ABC CBS NBC FOX The CW

No Ordinary Family
- 5.033 million viewers
- 3.0/5 HH
- 1.5/4 A18-49

V (61 minutes)
- 5.430 million viewers
- 3.3/5 HH
- 1.9/5 A18-49

Detroit 187 (59 minutes)
- 5.199 million viewers
- 3.4/6 HH
- 1.2/3 A18-49

NCIS
- 19.395 million viewers
- 11.7/19 HH
- 3.6/10 A18-49

NCIS: Los Angeles
- 16.799 million viewers
- 10.3/16 HH
- 3.3/9 A18-49

The Good Wife
- 11.427 million viewers
- 7.5/13 HH
- 2.0/6 A18-49

The Biggest Loser (120 minutes)
- 7.702 million viewers
- 4.7/7 HH
- 2.7/8 A18-49

Parenthood
- 5.115 million viewers
- 3.4/6 HH
- 1.9/6 A18-49

Glee (61 minutes)
- 10.525 million viewers
- 6.3/10 HH
- 4.2/12 A18-49
- 4.5/14 A18-34
- 6.1/18 W18-34

Raising Hope
- 5.359 million viewers
- 3.3/5 HH
- 2.2/6 A18-49

Traffic Light (29 minutes)
- 3.487 million viewers
- 2.2/4 HH
- 1.4/4 A18-49

One Tree Hill (94% coverage CW normally 95%)
- 1.644 million viewers
- 1.1/2 HH
- 0.8/2 A18-49
- 0.9/3 A18-34
- 1.2/4 W18-34

Hellcats
- 1.576 million viewers
- 1.0/2 HH
- 0.7/2 A18-49
- 0.9/3 A18-34
- 1.2/4 W18-34

Source: Nielsen Media Research

Note: Previous overnight ratings are available at Marc Berman's Programmers Insider blog.

http://pifeedback.com/eve/forums/a/t.../969100353/p/4

Nielsen Overnights
Tuesday Final Ratings (Cable)
From Marc Berman's MediaWeek.com Blog (Posted by Travis Yanan: http://travisyanan.blogspot.com/) - February 16th, 2011

The Game (BET, 10pm)
- 4.204 million viewers
- 2.4/4 HH
- 1.9/5 A18-49
- 3.3/9 W18-34

Let's Stay Together (BET)
- 2.505 million viewers
- 1.5/3 HH
- 1.0/3 A18-49

Real Housewives of Beverly Hills (BRAVO, 10pm)
- 1.121 million viewers
- 0.8/1 HH
- 0.5/1 A18-49

Tosh.0 (CMDY, 10pm)
- 2.889 million viewers
- 1.8/3 HH
- 1.7/5 A18-49
- 3.2/10 M18-34

Onion Sportsdome (CMDY)
- 1.056 million viewers
- 0.7/1 HH
- 0.6/2 A18-49
- 1.1/4 M18-34

Lights Out (FX, 61 minutes)
- 0.700 million viewers
- 0.5/1 HH
- 0.3/1 A18-49

Only in America (HIST)
- 3.058 million viewers
- 1.8/3 HH
- 1.1/3 A18-49

Seriously Funny Kids (LIF, 9pm)
- 0.395 million viewers
- 0.3/0 HH
- 0.2/0 A18-49

Seriously Funny Kids (LIF, 9:30pm)
- 0.422 million viewers
- 0.3/0 HH
- 0.1/0 A18-49

One Born Every Minute (LIF)
- 0.587 million viewers
- 0.4/1 HH
- 0.3/1 A18-49

Teen Mom (MTV, 10pm)
- 3.702 million viewers
- 2.5/4 HH
- 2.1/6 A18-49
- 5.2/15 W18-34
- 2.0/8 T12-17

What Not to Wear (TLC, 9pm)
- 1.128 million viewers
- 0.8/1 HH
- 0.3/1 A18-49

Southland (TNT)
- 1.977 million viewers
- 1.3/2 HH
- 0.7/2 A18-49

Hardcore Pawn (TRU, 10pm)
- 2.276 million viewers
- 1.4/2 HH
- 0.9/3 A18-49

Hardcore Pawn (TRU, 10:30pm)
- 2.275 million viewers
- 1.4/3 HH
- 1.0/3 A18-49

Westminster Dog Show (USA, 8pm, 180 minutes)
- 3.522 million viewers
- 2.2/4 HH
- 0.8/2 A18-49

RuPaul's Drag Race (VH1 rerun of LOGO original, 9pm)
- 0.537 million viewers
- 0.4/1 HH
- 0.3/1 A18-49

Source: Nielsen Media Research

http://pifeedback.com/eve/forums/a/t.../969100353/p/4

Q&A
Community Directors Joe and Anthony Russo on Tonight's Mockumentary Episode and Outdoing Modern Warfare'
By Josef Adalian, New York Magazine's 'Vulture' Blog - February 17th, 2011

This season, NBC's Community has dramatically upped the ante with big, loud episodes. Inspired by the positive response to season one's epic paintball battle ("Modern Warfare," for you title geeks), creator Dan Harmon has gone wild in the show's sophomore year: zombie Halloween, fake space shuttles, stop-motion animation, and an entire half-hour built around a game of Dungeons and Dragons. Key to pulling off these visually ambitious episodes: Joe and Anthony Russo, Harmon's executive-producing partners and the show's in-house directors since the pilot. The sibling duo cemented their reps as small-screen innovators by directing the pilot (and more than a dozen subsequent episodes) of Arrested Development skills they make good use of with tonight's Community. Dubbed "Intermediate Documentary Filmmaking," it's a chance to see the Greendale gang filmed in the mockumentary style made popular by Arrested and utilized much more successfully these days on ABC's Modern Family. We rang up the brothers Russo to talk about the half-hour, along with the possibility of a "Modern Warfare" sequel, the likelihood of an Arrested movie, and their nascent plan to reunite with Will Arnett.

So how was the idea for doing a mockumentary episode born?
Joe: It came out of the desire to attempt another style. Really what we've been trying to do the last two years is to see how [big] a sandbox we can create for the show to play in. We're testing genres and styles to see what boundaries the show has or if it has no boundaries. So this was just another popular style for us to attack.

Why this particular plot for the mockumentary experiment?
Joe: The idea for the plotline came first [from Harmon]. We thought putting Pierce (Chevy Chase) in the hospital would allow this ploy to work, to have Pierce employ Abed (Danny Pudi) to document this incident. It's a very emotional episode. It's coming to a point where Pierce needs a great deal of redemption. We heard a lot from people after the D&D episode that people felt he was so evil, he'd crossed such a line, that they weren't sure if they'd ever find him a redemptive character again. But I think this episode goes a long way, and this particular style goes a long way, toward allowing the audience to understand what's going on emotionally with the character.

Do you think there'll be a backlash against mockumentaries now that they've become so common in prime time?
Anthony: It seems to have become an established genre in TV, so it's probably not going to go anywhere. It'll be a useful tool in the toolbox for years to come. It's become almost as elemental as the audience in a multi-camera show. It's a hybrid between reality TV and comedy that strikes a chord and speaks to people. I don't know that it's going anywhere, even if it's becoming a bit overused.
Joe: I'm sure that if you asked Dan, he'd probably say that sticking the landing without the ability to talk to the camera is a higher degree of difficulty in certain respects. It is more difficult to get exposition out, and narrative out, while also telling jokes and not having that luxury of being able to stop and explain things to viewers. But in this episode, it was very handy for us.

You pull off so many ambitious episodes, which is impressive given that network budgets are so tight these days.
Joe: We have to figure out ways to execute this stuff as part of a production model ... where we don't finish our season $2 million over budget. We've taken some big swings with this show. There've been some really expensive episodes that run over in [production] days. So we earn those days back [by shooting less on] other days episodes like "Cooperative Calligraphy" or the D&D episode, where we shot almost everything in one room but used camera work and sound to open it up.

The biggest episode you've done to date has been the paintball episode, "Modern Warfare." A lot of fans have wondered if there will be a direct sequel.
Joe: The question is, do we go right back at that and try do outdo the original? Or do we do something in the same voice as that, but something different? We've got a few cards hiding up our sleeves. I think there will be something as interesting and ambitious as "Modern Warfare" hitting the air soon.
Anthony: The one thing you know we won't do is literally "Modern Warfare 2." It will be that plus something else.

Is it frustrating that Community doesn't get bigger ratings?
Joe: I wish to God we had double or triple the ratings we have. But the ratings we have are just good enough for us to exist on the network. It allows us to experiment with the show because it's not that high of a risk. We don't have to worry about maintaining that 4.3 [rating]. NBC is very happy with the fanatical base we've built. Our agenda this season was just to be as noisy as possible, to attract as much attention as possible because we had nothing to lose.
Anthony: Community gets to be the indie movie, while a Modern Family gets to be the big blockbuster release. They service that big massive audience and we service a smaller audience. But we get a lot of creative freedom. We have a friend on Modern Family who told me last week that all they talk about in their writers' room is Community. I said I'd gladly trade my back-end in Community for his.

Stepping away from Community: Mitch Hurwitz is planning to direct the Arrested movie himself. Why aren't you guys doing it?
Joe: We're very close with Mitch. This is Mitch wanting to stretch a different muscle and get a more intimate approach to his own material. He understands the medium as well as any show-runner we've been around, so I believe it's a natural progression for him.

Will you be involved at all?
Joe: There's always going to be some sort of collaboration, whether it's completely on the periphery or more formally involved. Anything we can do to help him, we will do.

Do you think the movie will ever get made?
Joe: I think so. Mitch is very committed and very focused. I think the next six months of his life will be about that film. It's a very complicated concept to encapsulate into two hours. There are so many stories you could tell from that [series]; it's difficult to pull the thread through. But I think everything's finally lining up.

You worked with Will Arnett in both Arrested and the pilot for Running Wilde, which you directed. You're directing a new pilot for Fox, The Council of Dads. Any chance he'll pop up in that?
Anthony: We love Will. We'd do anything for him. We're actually talking about doing another show with Will something very edgy, something very different on cable. We're talking about a very funny concept where there's not a lot of limitations, where he can swear and do dangerous material. Hopefully HBO or Showtime, that's what we're talking about. Will's just a funny mother****er.

Does being siblings help your process as directors?
Joe: We get to cover an incredible amount of ground. It helps us with the ambitious parts of show: We can divide and conquer get more stuff done with less money.

Any plans for one of you to have a sex change at some point?
Joe: We're going to flip a coin when I turn 40.

http://nymag.com/daily/entertainment..._brothers.html

TV Review
'The Battle for Marjah' (HBO)
A Mission Documented With a Filter of Despair
By Mike Hale, The New York Times - February 17th, 2011

The Battle for Marjah enters the crowded field of Iraq and Afghanistan battlefield documentaries, where films like Restrepo, Gunner Palace and The War Tapes have already made their marks. What will distinguish this British production for the American viewer is its mood of poetic fatalism, even despair.

An account of one Marine company's experiences during Operation Moshtarak, the major offensive carried out in southern Afghanistan last February, The Battle for Marjah is both an absorbing record of combat on the ground and an attempt to assess the larger battle for hearts and minds. It seems clear, though, that the filmmakers consider that battle hopeless as far as the Afghans are concerned. The only hearts and minds that are really in play are those of the American Marines themselves.

The British journalist Ben Anderson spent two months embedded with Bravo Company of the First Battalion, Sixth Marines to report the film, which was shown in Britain last year under the title Bravo's Deadly Mission. It receives its American premiere on Thursday night on HBO.

Mr. Anderson records the company's commander, the square-jawed, straight-out-of-central-casting Capt. Ryan Sparks, declaring before the operation that the Marines are masters of controlled chaos and violence. What we see once Bravo Company lands are five days of fighting so highly controlled because of restrictive rules of engagement intended to clamp down on civilian casualties that the troops seem like marionettes as they advance and retreat among the mud huts.

There is tension and profanity to spare, though relatively little bloodshed, as the film makes real the movie cliché of American troops as sitting ducks for guerrilla fighters. The beautiful and coherent cinematography by Mr. Anderson is also a cliché by now when it comes to war documentaries, but it's no less impressive for that.

Meanwhile the director, Anthony Wonke, splices in news footage of generals and politicians discussing the lofty goals of the fighting, along with high aerial shots of the landscape, in a superfluous effort to make a point about big pictures and small pictures. His use of ominous, droning music and funereal-looking white-on-black text also contributes to an artiness (in the service of the film's pessimistic outlook) that's irritating but easily ignored.

The final half-hour covers the aftermath of the battle, as the Marines try to win favor sprucing up a small park, making condolence payments for civilians killed by an American rocket and put an Afghan security force in place. Mr. Anderson and Mr. Wonke give their take by showing us the blank stares of the residents and their sensible protestations that life with the Taliban was normal compared with the new situation.

Captain Sparks, looking back on the battle, declares that continued pressure will eventually cause the Taliban to become irrelevant, but his eyes often tell a different story. His real summation comes on the field, with helmet, body armor and sunglasses in place, when he says, Let's continue the game.

THE BATTLE FOR MARJAH
HBO, Thursday night at 9, Eastern and Pacific times; 8, Central time.

http://tv.nytimes.com/2011/02/17/art...ref=television

Nielsen Overnights (18-49)
Strong debut for CBS's 'Suspect Behavior'
'Criminal Minds' spinoff averages a 3.3 in 18-49s
By Bill Cromwell, Media Life Magazine - February 17th, 2011

There was nothing suspect about the premiere of CBS's spinoff "Criminal Minds: Suspect Behavior" last night.

The new Forest Whitaker drama posted a 3.3 rating among viewers 18-49 in the 10 p.m. hour, according to Nielsen overnights, winning its timeslot and placing No. 3 for the night behind Fox's "American Idol" (8.1) and ABC's "Modern Family" (4.3).

The 3.3 was up 43 percent from the 2.3 the network averaged at 10 p.m. last week with the cop drama "Blue Bloods."

"Suspect Behavior" was also the second most-watched show of the night among total viewers, averaging 12.91 million, behind "Idol's" 22.84 million.

As always with new shows, the real test for "Suspect Behavior" will be whether viewers return in the coming weeks. But CBS may be encouraged by the fact that viewers largely stuck with the show through the hour; the program averaged 13.08 million from 10 to 10:30 before falling slightly to 12.71 million the 10:30 p.m. half hour.

Meanwhile, on the strength of "American Idol" Fox led the night among 18-49s with an 8.1 average overnight rating and a 23 share. CBS was second at 3.2/9, ABC third at 2.3/7, Univision fourth at 1.5/4, NBC fifth at 1.4/4 and CW sixth at 0.3/1.

As a reminder, all ratings are based on live-plus-same-day DVR playback. Seven-day DVR data won't be available for several weeks. Thirty-nine percent of Nielsen households have DVRs.

At 8 p.m. Fox was first with a 7.2 for the first half of "Idol," followed by CBS with a 3.2 for "Survivor." ABC was third with a 2.0 for "The Middle" (2.3) and "Better With Your" (1.8), Univision fourth with a 1.8 for "Eva Luna," NBC fifth with a 1.1 for "Minute to Win It" and CW sixth with a 0.4 for a repeat of "Nikita."

Fox was first again at 9 p.m. with a 9.0 for more "Idol," while ABC moved to second with a 3.5 for "Modern Family" (4.3) and "Mr. Sunshine" (2.6). CBS was third with a 3.2 for "Criminal Minds," Univision fourth with a 1.5 for "Triunfo del Amor," NBC fifth with a 0.9 for more "Minute" and CW sixth with a 0.3 for a repeat of "The Vampire Diaries."

CBS moved to first place at 10 p.m. with its 3.3 for "Suspect Behavior," with NBC second with a 2.2 for "Law & Order: Special Victims Unit." ABC was third with a 1.5 for "Off the Map" and Univision fourth with a 1.1 for "Rosa de Guadalupe."

Fox was also first for the night among households with a 12.7 average overnight rating and a 20 share. CBS was second at 7.4/12, ABC third at 4.1/7, NBC fourth at 3.0/5, Univision fifth at 2.0/3 and CW sixth at 0.6/1.

http://www.medialifemagazine.com/art...-Behavior-.asp

WEDNESDAY's fast affiliate overnight prime-time ratings - along with Media Week Analyst Marc Berman's view of what they mean -- have been posted on his blog: http://pifeedback.com/eve/forums/a/t...51/m/213103353.

Critic's Notes
Google And Celebrity Content: The Uh-Oh Moment For TV?
Not yet. It's a distraction, not yet a defection.
By Tim Goodman, The Hollywood Reporter - February 17th, 2011

Google's endless reach and ubiquitous presence are not the primary elements of hair-pulling, roof-jumping worry for television executives. It's not even that they own YouTube, easily the biggest threat to the future of the television industry (but currently only a mild pest, a time-waster of stupid animal and human tricks, etc.).

No, the big worry has always been Google's cash. Google doesn't just have piles of cash - silos of cash -- it's essentially printing money. There are no corporate overlords at any of the five broadcast networks who are printing cash, much less coins. With cash comes worry.

New York Magazine's Vulture blog reported that YouTube is planning a new initiative to get famous celebrities to create short-form content for special celebrity channels within YouTube, and that the company was going to make this happen by raining down money on them. Plus, after they soak up Google's largesse, they get to keep the content. Head over to CBS and see if you can get that deal from Les Moonves. "You give me $5 million, Les, and I give you three minutes of content. Which I own entirely." Do not underestimate Moonves' ability to dole out a swift kick in the ass and maybe run you head-first, arms-back, through a plate glass window.

Now, normally spending millions for celebrities to have side projects that might seem super cool on YouTube and either boost their popularity or extend the life of it, would be very worrisome to others involved in the content distribution business. Because it creates distraction. And distraction is bad for business. See, distraction in the form of viral videos is already diluting the television ratings pool. And before the advent of the viral phenomenon, the proliferation of cable content had, for almost a decade, diluted the network dominance of the total viewing audience.

Just take a look at the Nielsen ratings. What was barely a hit five years ago would be considered a ratings champ now.

If Google/YouTube get in the original content business -- from celebs, not non-pros -- in a meaningful and dedicated manner, then doctors and pharmacists will be processing a lot more prescriptions upping the dosage on Xanax and Paxil throughout the greater Los Angeles area.

The key here is meaningful. Three minutes is not going to kill the television business so much as annoy it. If YouTube ever strays from its belief in the Short Attention Span Nation and expands celebrity content to, say, 20+ minutes, then you've got blood on the ground all over Los Angeles.

One hundred and eighty seconds is not a visual neutron bomb. Look at FunnyorDie.com -- which is the first thing that Google/YouTube should have thought about. Cool site, larded with celebrities doing highly polished videos, spoofs, etc. Not a network killer. Not a game changer. Just more distraction.

If that's what Google wants to do -- pissing away millions of dollars on people who already have millions of dollars, then godspeed. But if there's something else in the nascent stages that's going to be longer, star-studded, well-funded and -- important distinction here -- dedicated and ongoing? Well, yeah. That's the Uh-Oh Moment for networks. That's when Google starts chopping your beef. And you don't want that -- because it's not a distraction. It's the first death-knell.

http://www.hollywoodreporter.com/blo...-moment-101091

TV Notes
Lesley-Ann Brandt To Leave Starz's 'Spartacus', Role Of Naevia Will Be Reacst
By Nellie Andreeva, Deadline.com - February 17th, 2011

EXCLUSIVE: Spartacus will not be the only recast role on the second season of Starz's flagship series Spartacus: Blood and Sand.

I hear Lesley-Ann Brandt, who played Naevia, body slave to Lucretia (Lucy Lawless) and lover of Crixus (Manu Bennett) on the first season of the show and in the prequel, Spartacus: Gods of the Arena, has decided not to renew her contract and won't return for season 2. She just started a recurring role on CSI: NY and opted to also pursue broadcast pilots, which are currently casting. The part of Naevia, a fan favorite, will now be recast.

Starz is known as being less restrictive in its actors contracts, which allowed Jane Lynch to leave Party Down when she was cast in Fox's Glee. Season 2 of Spartacus: Blood and Sand will also introduce Liam McIntyre as the new Spartacus. He replaced ailing original star Andy Whitfield. Production on the second season of the sward-and-sandal drama is slated to begin shortly.

http://www.deadline.com/2011/02/lesl...ill-be-reacst/

Critic's Notes
At what point does 'Two and a Half Men' try to work without Charlie Sheen?
By Alan Sepinwall, HitFix.com - February 16th, 2011

Here's the one question I haven't seen a satisfactory answer to in this whole mess involving Charlie Sheen and "Two and a Half Men" that seems to get messier by the day: Why does no one at the show seem willing to consider the idea of seeing - either in the short or long term - if the show can work without Sheen?

I've mostly stayed out of this story, in part because so much of it is a tabloid thing (which isn't what either HitFix or I are interested in), in part because I'm not a "Men" fan. But it's the most popular comedy on television, and at this point the story is as much about the show - and the many people whose livelihood depend on it - being kept in limbo as it is about Sheen's personal demons.

My friend Linda Holmes from NPR has been similarly reluctant to write about it, but yesterday, she found what I thought was the perfect way into the story. I strongly recommend going to read the whole thing, but the short version is that she broke down the facts of the situation so far (Sheen's obvious, public, unapologetic problems with addiction; the amount of money the show makes for CBS, Warner Bros. and the many people who work on it; Sheen's record of being able to show up for work through most of his episodes; and Sheen's comments on Dan Patrick's radio show in which he all but dared CBS and Warner Bros. to not let him go back to work). Then she said this all raises an impossible question:

It's the question, "Is there any point at which you do not keep a guy in a high-profile job in family entertainment simply because using the considerable power of your television network to support the road he's on is so irresponsible that it defeats the profit motive as well as the desire to keep everyone else on the show employed?"

The problem, of course, is money. This thing is enormously profitable, and as Linda puts it, "There's just so much money. People do amazing things when there's that much money."

What the hell does "Men" producer Chuck Lorre do here? What does Warner Bros. do? If their big star is publicly insisting he can report for duty, if his team is planting stories on gossip websites about how he's sober again and Lorre is keeping Sheen and all the cast and crew out of work, and yet if it's clear from all of Sheen's comments that these problems will crop up again, and likely very soon, what does anybody do?

Forget the profits the corporations make, or even the big money that Lorre, or Jon Cryer or co-creator Lee Aronsohn make per episode. This is a show that employs a lot of people, many of whom will be in big trouble if they miss more than one or two paychecks. For their sake, the show needs to go on. But if acceding to Sheen's demands just enables his behavior, what's he going to do next? How long can this reasonably continue before something bad happens to him or someone else?

Which again, makes me puzzled that no one seems willing to even acknowledge the possibility that the show could go on, even temporarily, without Sheen.

Yes, Sheen is enormously popular with the show's fans, who have barely blinked at the revelation that the guy who plays a hard-partying bad boy is, in real life, a hard-partying bad boy. But there are another 1 1/2 men in the title. Surely in the short term, an episode or two could be produced in which Charlie is out of town and Alan gets into more trouble than normal without his brother, or where Alan tries to woo back the Courtney Thorne-Smith character without Charlie to serve as a reluctant sounding board.

All the reports I've read suggest no one at CBS and Warner Bros. is willing to contemplate this. I suppose the fear is in offending Sheen, but at this point how much more volatile and/or insubordinate can he get? If you frame it publicly as "We love Charlie, and the show needs Charlie, but we also don't want to keep the crew out of work and we think he needs more time off to get help," then you potentially put him in a position where even the Sheen fans acknowledge their guy is in the wrong.

I'm not saying the show can or will work without Sheen, but why will no one even try? There was an episode or two of "Frasier" that had to drastically minimize Frasier's presence while Kelsey Grammer dealt with various issues, and the show was able to stay afloat while that happened.

For that matter, I'm curious about whether the show could actually do more without Sheen than muddle through a few weeks.

Like I said, I'm not a fan, but my wife enjoys it, so it's often on in our living room while I'm doing other things. And my impression has always been that Charlie's role is primarily to comment on the things that Alan or Jake or the others are doing. Sometimes, plots will derive out of an action Charlie takes (say, the episode where he briefly becomes a kids' music star, which I actually quite liked), but mostly when I watch, he's reacting, not acting. And not to dismiss Sheen's deadpan cool, which I've enjoyed going all the way back to his bit part in "Ferris Bueller's Day Off," but I think there are other people who could potentially do what he does. Just looking at the pool of Brat Pack and/or "Young Guns" alums, I could definitely imagine Christian Slater (assuming his new FOX show "Breaking In" doesn't work) showing up as Alan's long-lost cousin and playing a similar but not identical role in the series. Hell, given the amount of money that Sheen makes per episode - that at this point is built into the cost of making this juggernaut - why not shoot for the moon and see if $2 million per episode might be enough to entice someone like John Cusack away from the movie business?

I recognize that there's a certain alchemy to creating any hit TV show - a formula that's not easily replicated or changed. And I recognize that "Two and a Half Men" is the biggest comedy on TV, and how hard it is to make a big hit sitcom these days. So I can see everyone's reluctance to try to fundamentally alter the show, either for a handful of episodes or long term.

This story keeps changing, seemingly by the minute. As I was writing this post, Sheen went on Patrick's show again and said he's now reporting back to work on March 1, has no problems with Lorre, etc., etc., etc. By tomorrow - hell, by dinnertime tonight - it may have been through six more twists and turns. And because everything seems so volatile, it just feels like somebody on a high level at this show has to start working on a Sheen-less contingency plan.

http://www.hitfix.com/blogs/whats-al...-charlie-sheen

For the same reason they don't consider seeing if "Modern Family" can work without Ed O'Neil: it's just not likely to happen. Ok, soapboxing here a little bit (mod hat off), but while Sheen is probably partying way too hard, he's really not doing anything that doesn't happen in Hollywood every single weekend. [strikeout]Hookers[/strikeout] Porn Stars notwithstanding, I really doubt he's doing any more blow and booze than half of the stars you see on TMZ. It's just that they're a lot more discreet about it. Or at least the people they party with aren't the kind that'll facebook about it in the morning.

He doesn't have a "problem" in the "hopeless addict" sense. He needs to dial it back, but he's not drunk or high on the set. I guarantee you a lot of other stars ARE. And I don't see articles wondering why producers of those shows aren't looking for options.

Charlie's not going anywhere.

Watch List
Thursday Watch List: BEAR!
By Drew Magary

Welcome to Watch List, where we identify five things on TV to watch while you stay at home and groom the bearskin rug. LET'S GO!

MAN VS. WILD - 9:00PM (Discovery) Bear Grylls is back! BEAR! Oh, my darling Bear, you have been missed. It's been months since I've watched you drink your own urine and dive naked into icy lakes for my amusement. This is just the energy I need! Name me one other performer so willing to endure this kind of suffering for the camera. David Blaine is a daisy compared to Bear. Anyway, in tonight's season premiere, Bear heads to Arizona and survives the blazing desert and frozen mountains. But he can survive the state's lenient gun laws and nutjob vigilante border posses? That's a bit dicier. Bear also eats a scorpion. Not Klaus Meine! He had an angel's voice! ANTICIPATION: BEAR!

OUT OF THE WILD - 10:00PM (Discovery) Can't get enough of people being stranded in remote places and being forced to eat live insects? Me neither. This new Discovery series features nine people dropped into the Venezuelan wilderness and trying to get back to civilization. Pfft. Amateurs. Bear can do that ALONE, if you don't count the 50-man crew off camera. ANTICIPATION: HARD LIVING!

SINS AND SECRETS - 10:00PM (id) This new show takes a look at how terrible crimes can have a lasting impact in various communities. Your first case is a carjacking murder that rocked the citizens of Knoxville, TN. ANTICIPATION: SAD!

JERSEY SHORE - 10:00PM (MTV) Ronnie is sad because Sammi left him. But that's nothing twenty shots of Patron and a triple kiss with two skanks at a club can't easily remedy, right Ronnie? In fact, I think Ronnie began that recovery program even before he and his lady broke up, which shows great preparation on his part. ANTICIPATION: DUMB!

THE OFFICE - 9:00PM (NBC) If you love Rashida Jones (And why wouldn't you? What are you, some kind of horrible person? Do you also hate sunshine?), you get a double dose with her resurfacing here at The Office and then again at 9:30 with her regular gig at Parks & Recreation. It could be the most pleasant hour of TV you watch all year. ANTICIPATION: RASHIDA!

http://www.nbcwashington.com/blogs/p...116396804.html

NOTE: Even though it has nothing to do with TV, Drew wrote an amazing piece about his trails and failures during his college experience. Quite a great read if you have 10 minutes during the day.

I repeat...YUM!

^^^ Is that a candid shot while she was doing home remodeling? Or was she washing her feet in the kitchen sink? What the...?

TV Notes
Remaking Wookiee: Chewbacca Becomes a Character on Star Wars: The Clone Wars'
By Dave Itzkoff, The New York Times' 'Arts Beat' Blog - February 17th, 2011

Chewie, is that you? In this case, the answer is a resounding Rrrrrrrowwwwr, which we're fairly certain means yes.

Chewbacca, the wild and wooly Wookiee who fought at Han Solo's side through the three original Star Wars movies, will appear in the two-part season finale of Star Wars: The Clone Wars, the Cartoon Network animated series, with some assistance from Peter Mayhew, the actor who has portrayed Chewbacca in George Lucas's live-action films.

The powers that be needed Wookiees, Mr. Mayhew said in a recent telephone interview from California, and they found, right, There's a Wookiee waiting. We'll see if he's available.' We were available.

Though Lucasfilm Animation is keeping specific plot details under wraps, the Clone Wars finale, scheduled for April 1, will see Chewbacca cross paths with Ahsoka Tano, the Jedi apprentice to Anakin Skywalker (a k a the future Darth Vader). To prepare for these episodes, titled Padawan Lost and Wookiee Hunt, the Clone Wars supervising director Dave Filoni and his team of animators and artists delved into the Lucasfilm archives for original Chewbacca reference materials and costumes, and invited Mr. Mayhew to their studios in Marin County, north of San Francisco, to advise them on the process of bringing Chewie to digital life.

They had maquettes and drawings, said Mr. Mayhew, who stands 7-foot-3 and speaks in a voice that is much more melodic than his character's. But remember that Chewie has a peculiar walk which is unique to me. The whole body language is there, even the head movements and eye movements especially. When he's mad, the eyes come open and the jaw starts working, and consequently you can't do this unless you've actually got it on tape, to watch it, slow it down and animate it.

Mr. Mayhew, who spent most of his life in Britain and now resides in Texas, developed the physical vocabulary of Chewbacca over the course of Star Wars (released in 1977) and its sequels The Empire Strikes Back and Return of the Jedi, all while wearing a costume made originally from knitted mohair and yak hair.

As Mr. Mayhew recalled, his Chewbacca regalia was not awkward, but it's energy-consumption-ing. He added: It takes a lot of energy to get that costume. Stormtroopers, right, it's a piece of plastic. Chewie is slightly different.

For the 2005 prequel film Star Wars - Episode III: Revenge of the Sith, in which Mr. Mayhew reprised the character, a new Chewbacca costume was created. It was a lot better because we had a coolant suit, Mr. Mayhew said. So within 30 seconds of finishing filming, we get the cool suit on, and it would make cooling very, very much quicker than it had been in the past.

To portray Chewbacca for The Clone Wars, Mr. Mayhew was not required to don the outfit at all. (I was doing it in my own clothing, he said.) However, he did record dialogue for the character, having learned over the years to emulate the blend of bear growls and other animal noises used to create Chewie's voice.

Lucasfilm hasn't said yet if Chewbacca will return for future episodes of The Clone Wars, but Mr. Mayhew said he was happy to have been so closely associated with the character for nearly 35 years.

I always reckon that I've got the best job in the world, he said, purely because I know what I'm talking about, it's a pleasure to talk and you get paid for doing it. So that can't be bad, can it?

At this point, nobody can reasonably argue with Mr. Mayhew about how Chewbacca should be played. And, he added, Nobody wants their arms pulled out, either.

Watch a trailer for Chewbacca's appearance in the season finale of Star Wars: The Clone Wars [CLICK LINK BELOW]:

http://artsbeat.blogs.nytimes.com/20...ref=television

Grabbing some nice natural light for the photographer. Works for me!

FOX Sweep of Sweep Continues for Households, A18-49s and P2+ Viewers in 2011 February Sweep

After the first two weeks of the 2011 February Sweep, 'Super Bowl'- and 'American Idol'-fuelled FOX is still maintaining a huge lead in A18-49s with a 6.82 average. Of particular note, FOX has ranked first in A18-49s on 12 of 14 nights so far in the Sweep (there have been a few ties).

CBS is second with a 2.79 average in A18-49s, ABC is third with 1.94, while NBC is in fourth place with a 1.56 average in A18-49s so far. Univision sits in fifth with 1.28, The CW is sixth with a 0.78 A18-49 average, while ION sits in last place with 0.38.

FOX also leads in households with a 9.3HH average and in P2+ viewers with a 19,050,000 P2+ average.

Year-over-year, the seven leading broadcast nets are down -11% in A18-49s, down -10% in households and down -9% in P2+ viewers, although all of that decline is due to the fall-off in NBC numbers from last February when they had six nights of 'Winter Olympics' coverage factored into their averages.

A18-49	net-	A18-49	A18-49	%	nts won	nts won
Rank	work	2011	2010	chg	2011	2010
1	FOX	6.82	3.36	103%	10.3	4
2	CBS	2.79	5.38	-48%	3.33	4
3	ABC	1.94	2.10	-8%		1
4	NBC	1.56	4.20	-63%	0.33	5
5	UNI	1.28	1.36	-6%
6	CW	0.78	0.82	-5%
7	ION	0.38	0.30	26%
T	total	15.54	17.52	-11%	14	14
HUT	net-	HUT	HUT	%	nts won	nts won
rank	work	2011	2010	chg	2011	2010
1	FOX	9.3	5.4	74%	6	3
2	CBS	7.0	9.1	-23%	8	6
3	ABC	3.9	4.0	-1%
4	NBC	3.5	8.2	-58%		5
5	UNI	1.8	1.7	1%
6	CW	1.1	1.3	-12%
7	ION	0.8	0.7	19%
T	total	27.4	30.3	-10%	14	14
P2+	net-	P2+	P2+	%	nts won	nts won
rank	work	2011	2010	chg	2011	2010
1	FOX	19.050	9.385	103%	6	4
2	CBS	11.540	17.194	-33%	8	5
3	ABC	6.379	6.236	2%
4	NBC	5.480	14.445	-62%		5
5	UNI	3.405	3.544	-4%
6	CW	1.814	1.830	-1%
7	ION	1.260	1.070	18%
T	total	48.93	53.70	-9%	14	14

FOX's strong hold on first place in the 2011 February Sweep comes from the masterful scheduling that has seen FOX ranking first in A18-49s on 12 of 14 nights of the Sweep to date, with 9 outright nightly wins and 3 ties with other nets.

But how many of those stars would be allowed to get away with saying in an interview that they advocate the use of crack cocaine?

At the least they would be forced to retract the statement but most likely they would be out of a job.

Not so with Sheen, who once again is getting a free pass.

I imagine if they worded it exactly like he did, all of them. And, yeah, he got a pass. They all do. If studios drug tested actors, "Sunrise Earth" would quickly become a prime time network program.

Admit it, what you really want is a poster of KO posing like that.

... and Sesame Street would likely be yanked off the air.

Sunrise Earth, isn't that a sleep drug unto itself....

No, they don't all get a pass. If a major television star hits the media spotlight for the wrong reason they get called on it and none of them have made has many repeated mistakes as Sheen has.

It's one thing to mess up your personal life in private, but another in public. He's the highest paid star on television on the highest rated sitcom with one of the largest profiles. If he can't be held accountable for what he does or says then the next time someone else says something that other people don't like then they should get a pass too.

ESPN fired one of their presenters for just speaking out of turn with a colleague last month. It happens all the time, except where CBS and massive amounts of money and ratings are involved.