Hot Off The Press: The Latest TV News and Information - Page 2636

Business Notes
Viacom Profit Up in Q2 on Media Networks' Growth
By Tim Molloy, TheWrap.com - May 3, 2012

Viacom beat Wall Street expectations for the second fiscal quarter that ended in March, posting a 24 percent increase in adjusted net earnings thanks largely to higher affiliate revenues at its media networks.

The owner of Paramount, as well as cable networks including MTV and Comedy Central, reported that adjusted net earnings from continuing operations climbed 24 percent to $535 million compared to the same quarter a year ago. Adjusted diluted earnings per share were up 36 percent to 98 cents per share, beating analysts expectations' of 89 cents.

Media networks, which include the cable stations, had revenue growth of 5 percent, to $2.19 billion. It was driven mostly by an increase in affiliate fee revenues, partially offset by a decrease in ancillary revenue, Viacom said. Domestic advertising revenues increased just 1 percent.

The company's Nickelodeon hs struggled in for the last two quarters with lower Nielsen ratings.

Filmed entertainment revenues decreased 5 percent to $1.17 billion, reflecting lower theatrical and television license fee revenues, which were partially offset by higher ancillary revenues. Worldwide theatrical revenues decreased 19 percent as a slate of films, which were generally not as widely distributed as those released in the same quarter last year, failed to match the previous' films success. The recent quarter's releases included "The Devil Inside," "Jeff, Who Lives at Home," and the box-office bomb "A Thousand Words." The previous quarter's included such hits as "Rango" and "Justin Bieber: Never Say Never."

Worldwide filmed entertainment ancillary revenues increased 41 percent to $111 million in the quarter, principally driven by higher digital revenues. Home entertainment revenues also rose slightly.

http://www.deadline.com/2012/05/the-...t-next-season/

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Business Notes
Viacom CEO Defends Nickelodeon's Netflix Deal Again
By Georg Szalai, The Hollywood Reporter - May 3, 2012

Viacom CEO Philippe Dauman on Thursday defended digital licensing deals that his company has struck with the likes of Netflix for its cable networks, particularly Nickelodeon, amid suggestions that they have affected ratings.

Just on Wednesday, Time Warner CEO Jeffrey Bewkes had cited ratings gains for his Cartoon Network and became the latest to argue that Netflix availability of Nickelodeon content, such as iCarly and SpongeBob SquarePants, was hurting the network.

When analysts questioned Dauman about the issue during Viacom's quarterly earnings conference call, he said, "We are getting nice revenues through these subscription VOD deals."

Dauman pointed out that Netflix is in fewer than a quarter of U.S. households, and time spent on Nickelodeon content on Netflix is about 2 percent of the time spent on the Nickelodeon TV channel. The CEO said that this viewing "of course" is not "completely cannibalistic," has promotional value and serves audiences on new platforms. And he highlighted that Nickelodeon only has "some library content" on the streaming service.

Asked to explain what alternative reasons he sees for Nickelodeon's ratings declines, Dauman said things are "complicated," but he mentioned strong programming from competitors as one factor and reiterated that Nielsen ratings problems are also a key contributor.

One analyst asked if the Nickelodeon ratings declines aren't unprecedented. “We’ve seen this level of impact on other major networks in the past, and we have overcome it," Dauman said.

How will the network look to grow viewers again? While there is no silver bullet, Dauman said his team is investing in new original episodes and shows to reverse the Nickelodeon viewership slide. In the current fiscal year, Viacom's media networks are launching and developing more original programming than ever before, he said.

Nickelodeon has remained the number one cable network despite its challenges, and it is "poised to become bigger and better than ever," the Viacom CEO vowed. "The [content] pipeline is extremely strong."

Discussing the upcoming upfront advertising selling season, Dauman predicted "we will do quite well in the kids upfront."

http://www.hollywoodreporter.com/new...ratings-319904

Business Notes/TV Sports
Comcast continues to rally in FCC dispute with Tennis Channel
By Meg James, Los Angeles Times' 'Company Town' Blog - May 2, 2012

Cable giant Comcast Corp. appears to be headed for a tie-breaker in its long-running dispute with the small, independently owned Tennis Channel.

In December, a Federal Communications Commission administrative judge issued a tentative ruling that Comcast had discriminated against the Tennis Channel by putting it at a competitive disadvantage.

After winning that ruling, the Santa Monica network demanded that Comcast immediately add the channel to Comcast's most widely distributed programming package. The move, which Comcast has been resisting, would make Tennis Channel available to nearly all of Comcast's 22 million cable subscribers.

But on Wednesday the FCC general counsel said that the full FCC would decide the matter and that Comcast was not required to move Tennis Channel at this time.

The dispute, which began nearly three years ago, centers on Comcast's refusal to move the Tennis Channel to a less exclusive environment.

The Philadelphia company has said it placed the Tennis Channel in the sports tier as part of an agreement between the two companies when Comcast agreed to provide carriage. However, Comcast appeared to run afoul of the rules because it offers the sports channels that it owns, the Golf Channel and NBC Sports (formerly known as Versus), in the basic programming package.

The Tennis Channel has argued that its location unfairly limits its revenue potential because channels receive fees from cable operators based on number of subscribers.

If Comcast loses the case, it would be the first time that a cable operator was found in violation of federal anti-discrimination program carriage rules, which were established by the agency in 1993. Comcast lost a similar dispute Wednesday, this one with Bloomberg.

On Wednesday, the FCC General Counsel Austin C. Schlick said the full commission should settle the Tennis Channel score. It was not clear when the commission would make the final call.

"The interim stay granted by the Office of General Counsel regarding the Tennis Channel is a welcome development, and we hope the full commission will follow suit," Comcast said in a statement. "There were procedural and substantive flaws in the [administrative judge's] decision, and we continue to believe it should not be upheld."

For its part, the Tennis Channel said the interim stay didn't change the administrative judge's findings. Instead, it was "simply a continuation of the status quo while the commission decides the procedural question.... We are pleased that the commission continues to move forward in resolving this dispute."

http://latimesblogs.latimes.com/ente...s-channel.html

TV Sports
Critics: Tiger Woods bogeys video Q&A session
By Michael McCarthy, USA Today - May 2, 2012

Just when Tiger Woods was putting the scandal that cost him his marriage in the rearview mirror and regaining his mojo on Madison Avenue, the golf superstar is being ripped by critics for spurning the news media in favor of his own online video Q&A on Monday in which he answered questions from fans via social media.

Golf Channel TV anchor Eric Kuselias tweeted it was akin to "Soviet" pressers where Woods didn't have to answer tough questions about kicking clubs at the Masters.

"So he is basically saying, 'I am going to talk about the things that make me look good and that I feel like talking about,' " Kuselias said during Tuesday's Morning Drive show. "To me, when you are a public figure and you are a professional athlete and you only acknowledge things that are good for you, it's weak."

FoxSports.com's Robert Lusetich wrote Woods "double-bogeyed" media relations with the nearly 15-minute video. And what a coincidence, he noted, that two of his 19 answers were "thinly veiled infomercials" for sponsors Nike and Fuse.

"The nearly 15-minute session in which he appeared disturbingly, like a hostage alone in front of a video camera, was unadulterated fluff," Lusetich wrote.

Crisis PR expert Mike Paul of MGP & Associates wonders when stars such as Woods and LeBron James will learn they can't control the message. Pauls says Woods' problem is he's been surrounded by yes men since the death of father Earl Woods.

"If he were my client, I would tell him something he doesn't want to hear: Your father raised you better than this. If he were alive today and saw you acting this way, he would grab you by your ear, and you would straighten up. His father didn't play, his father didn't put up with this kind of stuff."

On the other hand, Kevin Sullivan, ex-White House and NBC Sports communications director, says Woods answered some "legit" golf questions. And he doesn't have a problem with Woods giving two shout-outs to sponsors.

But the same second-guessers roasting him now would be hailing him as a forward-thinking social media pioneer if he did the fan video in addition to, instead of, his usual news conference at the Wells Fargo PGA Tour event.

"Had he done that, the story would not be about how he's trying to send the media message. It would be about how he effectively engaged with his fans one-on-one," Sullivan says.

http://www.usatoday.com/sports/colum...mpa/54669882/1

TV Review
SyFy's 'Treasure Island' a Treasure, Indeed
By Mike Donovan, TVWorthWatching.com - May 3, 2012

I’ve always thought of Robert Louis Stevenson’s Treasure Island as a kid’s book. I had some kind of Golden Book version as a boy, and always picture Long John Silver as Robert Newton in the 1950 Disney film. Not any more.

Syfy’s new four-hour version, premiering Saturday, May 5 at 7 p.m. ET is no longer a boy’s adventure story. Starring Eddie Izzard, Donald Sutherland and Elijah Wood, this version is an adult swashbuckler about treasure and treachery and a band of pirates who look and sound like I bet pirates looked and sounded in the 1800s.

The story still centers on young Jack Hawkins (Toby Regbo), who discovers a treasure map that belonged to the notorious Captain Flint (Sutherland). He shares the map with Dr. Livesey (Daniel Mays) and Squire Trelawney (Rupert Penry-Jones) and together they plan an expedition to the island. Trelawney, however, mistakenly hires some of Flint’s former crewmembers — including Long John Silver (Izzard) who, as pirates are wont to do, plan to mutiny and steal the treasure. It all comes to a head on the island with a bit of dueling, shooting and killing. In the meantime, a long-abandoned member of Flint’s crew, Ben Gunn (Wood), who has been living alone on the island and has gone a bit nuts, befriends Jack and helps him navigate the island.

There have been dozens of film and TV versions of Treasure Island — including the 1996 musical film, Muppet Treasure Island with Tim Curry as Long John — but I’ve never seen one quite this big and beautiful. From the shots in Ireland, which doubled as the town of Bristol on the coast of England, to the shots of and on the island, the pictures are beautiful. And the ocean voyage shots are so good that they could, under the right conditions, induce seasickness.

Although Donald Sutherland (right) really only appears briefly, he is a wonderfully evil Captain Flint, especially when he decides to murder or abandon his entire crew and keep all the treasure for himself. Toby Regbo does a great job of showing Jack Hawkins’ evolution from a naive boy into a young man capable of violence yet without losing his humanity. And the barely recognizable Elijah Wood (below, left) is a bizarre Ben Gunn with the bluest eyes I’ve ever seen.

But Eddie Izzard, whom I’ve seen wearing everything from women’s clothing to military uniforms, creates a novel take on everyone’s image of Long John. With his shaved head and head tattoos, he looks more like a character from Moby-Dick. But for a guy I think of as perhaps the funniest and most intelligent stand-up comedian I’ve ever seen (see his Emmy-winning HBO special Dress To Kill), Izzard does an amazing job playing a complex Long John who is cutthroat and cunning, yet not as savage and bloodthirsty as the rest of his crew. (He even shows a soft spot for young Hawkins.)

I’ve always been a fan of the novel and the Disney movie, but this outstanding production will be the one by which all others are judged.

Already a huge success in the U.K,. where it was shown over two nights, I’ll be interested to if an American audience will be able to sit still for a single four-hour event.

And, as an American audience member, this brings me to my one criticism — and it’s a big one: the heavy British accents. My review copy had no closed captioning and I could barely understand a word of dialog. I hope you’ll watch it and, if you do, leave the closed captioning off and let me know if it was just me and my old ears. Arrrrrgh.

http://www.tvworthwatching.com/BlogP...px?postId=1831

Technology Notes
Kessler: HBO Go Rolls to Kindle Fire With New Season of 'True Blood'
Authenticated 'TV Everwhere' streaming service becomes available June 10 on Amazon's, other's tablets
By Mike Reynolds, Broadcasting & Cable - May 3, 2012

New York -- HBO Go, the premium network's authenticated streaming service, will go to Amazon's Kindle Fire with the start of the upcoming season of True Blood.

Eric Kessler, co-president of HBO, told attendees of NewBay Media's "TV in Multiplatform World" conference here Thursday morning that HBO Go would become available on Kindle Fire on June 10, when the premium programmer will bow the fifth campaign of its hit vampire series True Blood on numerous Android-based tablets.

"Once Kindle Fire launches, HBO Go will be on the vast majority of devices that people use for streaming," said Kessler, who added that other platform rollouts would continue throughout the year.

HBO Go debuted on browser-versions for PCs and Macs on desktops and laptops two years ago. The "TV Everywhere" service then launched its app last May 1, backed by a major national advertising campaign. Kessler said at that juncture, HBO Go had distribution agreements that made the service available to 80% of HBO's affiliate base. Since then, it has concluded rollouts with major distributors, including Time Warner Cable and Cablevision in 2012, as well as a number of smaller distributors. "HBO Go is now available to 99% of all HBO's subs. And every week, a new smaller distributor comes on board," said Kessler.

In terms of platforms, Apple products and Android-operating system-enabled mobile devices were added to the fold last May. They were followed by the December connections with Roku's Internet set-top boxes, and in February with Samsung Internet-connected TVs. More recently, the programmer, to coincide with the April 1 second-season premiere of original fantasy series Game of Thrones, launched HBO Go on Microsoft's Xbox. "There is no better match than the Game of Thrones audience and the Xbox audience," Kessler noted.

http://www.broadcastingcable.com/art...rue_Blood_.php

As mentioned above, in the original it was a rarely used point of exclamation. In the reboot it was used as a substitute expletive and verb, adverb, noun and adjective just as Farscape frelling did all the frelling time.

TV Notes
'Person of Interest': An apt description
Interest in this new CBS drama has grown since fall
By Louisa Ada Seltzer, Media Life Magazine - May 3, 2012

CBS's "Person of Interest," about two men who try to fight crimes before they happen, launched with a good amount of buzz last fall, but its numbers weren't that impressive.

The show, which airs tonight at 9 p.m., debuted to a solid 3.1 adults 18-49 rating, well below the debuts for surprise hits "2 Broke Girls," "New Girl" and "Once Upon A Time."

Still, CBS shows have a way of gaining momentum. Now, more than six months later, "Person" may well be this season's best success story.

Its most striking feat is actually seeing its viewership rise as the season went on. The show hit a series high, a 3.3, a month ago, at a point where "Girls," "Girl" and "Time" had all dipped by nearly a third from their premieres.

It was no doubt helped by the strong ratings at midseason for CBS's "The Big Bang Theory," which leads off the network's Thursday lineup and has given all the shows following it some momentum.

"Interest" is the season's No. 1 new show among total viewers, averaging 13.3 million per week.

With that strong base and its improvement in 18-49s, it's not surprising that CBS has already renewed "Interest" for a second season. It was picked up along with 17 other shows in March, although just two new shows were on that list, "Interest" and "Girls."

http://www.medialifemagazine.com/art...escription.asp

TV Review
Rambug' characters can get a little squirrelly, but they're good allies in the city pest wars
By David Hinckley, New York Daily News - May 3, 2012

You'd expect a show about a family of pest exterminators to have a high Ick! factor, and Rambug delivers.

The stars of Rambug are a Brooklyn family, and near-family, headed by Robert Mercante. New Yorkers may have seen them riding through the streets, since their van with the giant red cockroach on top is nothing you'd confuse with your everyday Ford Focus or Honda Accord.

Rambug becomes the latest in a long and growing line of reality shows that hone in on jobs most people wouldn't want to do, from The Deadliest Catch to Ax Men.

The producers look for a small group of people who do that job and have enough ham in them that they don't mind cameras following them around.

The Rambug team, who in the show simply become Big Rob, Li'l Rob, Rose and so on, fill those requirements.

The Mercantes could pass for extras from The Sopranos, guys with big arms and the ability to look menacing at will.

Presumably, if you want someone to do battle with bad things that live in your house, it's not a bad idea if the guys you hire as your executioners look like they take no prisoners.

In the case of the adversaries here, no one wants prisoners. You want the enemy KIA.

Like most family-business reality shows, Rambug offers entertainment on two levels. One is the work, the other is the internal office drama.

Work means wading into situations that give every New Yorker, and probably almost everyone anywhere, nightmares.

They're called to tackle bedbugs who have so thoroughly infested a room that maggots are feeding on the dead ones. They're called to remove rats.

Their battle strategy follows the path you'd expect, and sometimes it involves putting on hazmat suits. That sounds ominous, but through it all they remain relentless optimists. In the first few episodes, at least, they vow that one way or another, these pests and critters can be vanquished.

Back at the office, meanwhile, the clan does what almost all reality show families do: bicker.

Big Rob, who runs the place, tries to keep everything on schedule that is, professional. Rose, who nominally keeps the books and does the scheduling but in reality sort of runs the place herself, has the same goal.

Li'l Rob, on the other hand, is the class goofoff. Starting time is 9 a.m. and he rolls in around 11, saying gee, sometimes it's just hard to wake up in the morning.

This infuriates Ralph, Big Rob's older brother, who at one point decides he needs to settle this thing once and for all.

It doesn't come to mayhem, except for the rats, but this ongoing tension does create the reality equivalent of a continuing plot.

At the end of the day, you're glad the Rambug guys are on our side in the war against ick."

'RAMBUG'
Network / Air Date: Saturday at 10 p.m., A&E
Rating: ★★★ (out of five)

http://www.nydailynews.com/entertain...icle-1.1071260

Q&A
Ask Matt: House, Once vs. Grimm, Fringe Renewal
By Matt Roush, TVGuide.com (posted online Apr. 30, 2012)

Question: Needless to say, the very end of last week's House episode was a shocker. Do you think that this will be some catalyst to finally cause a permanent change in House and that the last episodes are watching that happen? That being said, I hope that next week's portrayed ending is not as drastic as it appears [in the teaser]. Irony aside, it just wouldn't be fair to the impacted character, and it would be too pedestrian a reason for such a transformation in House. Suzie

Matt Roush: Nice job tip-toeing around last week's big reveal, and SPOILER ALERT for those who haven't been watching, but Dr. House's BFF Wilson (Robert Sean Leonard), a cancer doctor, revealed last week in an out-of-nowhere game changer that he has cancer, and I have to assume with a storyline and character of this magnitude that we will be watching the fallout over the final weeks to come. Fox has been circumspect in revealing storylines, but tonight, in an episode directed by Hugh Laurie, we're told they "take a little vacation" (which isn't likely to be as relaxing as it sounds), and by next week, House will have "mysteriously gone missing" to his team, and so on. This does sounds like Wilson's illness will be a wake-up call for House to (as the series finale description indicates) "examine his life, his future and his own personal demons." Many had speculated House would die (for his sins?) in the finale, titled "Everybody Dies," which I always felt was unlikely, but forcing him to confront the mortality of the one friend and colleague he not only respected but who kept him tethered however tentatively to humanity is at least a more potent dramatic hook than we've seen lately on this show. True, it's also potentially a rather pat and tidy device, but let's see where the show takes us in these last episodes before judging.

Question: As I watch House limp (ha!) towards its unremarkable conclusion, I am interested in your analysis of its decline. The ratings are dismal, and they continue to fall despite all the press about the approaching series finale. I've heard all the explanations about aging shows, loss of cast, etc. But then I remember M*A*S*H, which ran for 11 seasons, had to replace half of its major characters and bowed out with 106 million viewers. There are similarities between the shows: a complex and not always likable lead, deeply flawed supporting characters and a repetitious storyline. What did M*A*S*H do that was so right, and what has House done that has gone so wrong? Alex

Matt Roush: The situations are so different it's hard to know where to start except to be fair by pointing out that even hit shows have been struggling in the ratings this spring for whatever reason, though it's true that House's numbers haven't got much of a ticking-clock-to-the-end boost. I'm curious if that will change given the Wilson storyline, causing lapsed fans to tune back in at long last to see how this tragic twist in the bromance turns out. (Wilson's Song, anyone?) Even at its height, though, House was never a M*A*S*H-level phenom. Almost nothing is anymore the way it was when only three networks ruled the airwaves and a long-running show like this became part of the national consciousness. The M*A*S*H finale was such a monumental event, a shared experience, signaling not only an end to a fictionalized war but also an era of irreverent and socially conscious comedy on CBS. Comparing Hawkeye to House is like comparing a lovable rascal to an incorrigible misanthrope. We're meant to love or at least admire House despite his flaws, but as he jumped on and off the redemption bandwagon, more than a few fans lost patience over the seasons. But for me, the real difference is in how successfully M*A*S*H repopulated its ensemble none more memorable than Harry Morgan as Col. Potter, taking over for the mourned Henry Blake while House dropped that ball repeatedly. I will never fully fathom why the show felt the need to shake up and break up the original team so early in its run, and then replacing them with dour, dull and this season unbearable characters made even less sense. For me, that's the biggest reason for the fall of House, although this has been a wildly successful run by almost any contemporary measure.

Question: My girlfriend and I watched The Killing all last year and didn't return for this year. (Whenever I mention the show, she curls into a ball, rocks back and forth mumbling like Brando: "...the sweaters... the sweaters..."). Mainly, like a lot of people, we felt taken for a (water) ride, but caught up in the decision to seek dryer ground was that we felt we were slowly becoming voyeurs of a band of devolving, dysfunctional drips, churning through scene after scene, episode after episode with the show's central, least-likable, most-depressing, omnipresent character: the dank, dark, Seattle overcast. How the reader who "all in one gulp" watched the first season in two weeks lived to tell the tale is a small miracle. Please send them the antidote: Both seasons of Pushing Daisies. Stat!

For us, the most entertaining new show of 2011-12 is Once Upon A Time, but, like us, when you started watching, did you get the impression that the show might be the victim of its own success? After all, when the heroine rescues everyone, the show's over which might take years but that's what we've all tuned in to see at the end of this year. Now we love the show: They've done a wonderful, creative job within the bounds of the traditional characters and stories (and no ugly sweaters in sight), but doesn't any show having a singular pillar holding it up have to feel the strain from the diametrically opposed force from the obvious commercial need to keep such a popular show in production? How long do you think the show can postpone its resolution before it devolves into "How I Met Your (Fairly God) Mother"? Wes From Cincinnati

Matt Roush: First, your take on The Killing is a scream. Another frustrated viewer, Michael M., wrote in desperately wanting to know "how many episodes are left in The Killing. I feel like I want my money back on this show. I can't wait for it to finish." (The answer, if I'm doing the math right, is roughly June 17, so the light at the end of that tunnel is distant indeed.) And yes to Pushing Daisies as a TV cure-all! And your question about Once, so cleverly phrased, touches on the challenge facing any high-concept premise: how to keep it going in the long run without frustrating viewers (who'd like to see the Evil Queen vanquished, and soon), which often means finding a way to reinvent and refresh the show from season to season while staying faithful to the spirit and tone of the conflict that drew us to the show in the first place. There's no easy way to handle any of this, but the fun is in watching them try.

Question: It's been a while since we saw Belle's character on Once Upon a Time and wondered if the show has any plans of exposing the truth about where she is being held and who is holding her, and Regina knowing that she is alive and not dead. Or do the writers plan to just let this go and focus on other plots? Estela

Matt Roush: I try not to get ahead of where the story is going on shows like this, but I think it's fair to assume (given these producers' track records) that all of these characters will be revisited at some point, when it helps drive the plot. That includes Belle.

Question: Now that the season is winding down, what are your thoughts about Grimm vs. Once Upon a Time? When the two fairy-tale shows premiered last fall, I really thought I'd prefer Once Upon a Time, because Grimm looked too, well, grim. But now I enjoy Grimm tremendously, while Once Upon a Time is annoying me more and more each week! I find good character growth in Grimm, as Nick wrestles with the effects of his new calling on his relationship with his girlfriend, and I love his growing friendship with the Blutbad, Monroe. And it's a hoot watching him trying to keep Wesen from panicking every time they realize he's a Grimm! But Once Upon a Time is getting boring and frustrating for me and I'm not keeping up with it anymore. What's your take on these two shows? Pat

Matt Roush: Regarding the frustration element of Once, see the earlier question. It comes with the territory. My take on these fairy-tale-derived shows is that they're very different creations aimed at very different sorts of audiences. Once Upon a Time is trying to reach as broad and demographically wide an audience as possible, which means it lapses frequently into the land of the corny, obvious and twee. But despite a few thudding episodes, and a general yearning to throttle the sanctimonious Mary Margaret and how stupid is David for getting drawn into Regina's web (by lasagna?) I tend to enjoy Once as a pleasurable, relaxing hour of mass-appeal entertainment. And there's nothing wrong with that. It's easily my favorite ABC show on Sundays now. I also figure if Once was going about it the way of Grimm, it might also be airing on Friday nights to a fraction of the audience. Which isn't a slam on Grimm, which has grown on me as well, as it has deepened its mythologies while finding its own clever horror twists on fairy-tale legends. I'm still not enamored with the lead Grimm, but I can't get enough of Monroe. Bottom line: I enjoy them both for what they are, and am not inclined to give one higher critical marks simply because it appeals to a passionate cult. One of the nicest surprises about this TV season is that both of these shows were able to defy expectations and find their own path to success.

Question: Like all Fringe fans, I am delighted by the news that Fringe has been renewed for a 13-episode final season. I am relieved that Fox found a way to make it happen, despite the fact that Fringe is not exactly prospering as far as ratings are concerned. However, while I have been nervous about the uncertain future of Fringe all season, I had long expected that Fox would give Fringe a chance to end properly, and here's why:

1. At this point, Fringe is an established show. If this had been Fringe getting renewed for a second or even third season, it would not have surprised me if Fox had pulled the plug on it, considering the ratings. But this is a show going into a fifth season. By this point, both Fox and fans have invested a lot in the show. It has been allowed to get this far, and it only seems reasonable that it be allowed closure. 2. Fringe is well loved by critics, fans and Fox executives alike. Sure, a network loves all its shows and wants them all to succeed. But I've always gotten the impression that Fox executives had a more personal interest in Fringe, almost like they too were invested in seeing how the show would end. In any case, knowing how committed Fringe fans are, it seems the smartest move Fox could make would be to renew the show for one final run with enough notice that fans could prepare themselves and show-runners could properly wrap things up. 3. Fringe has been in the Friday night death slot. Fox would have to take that into consideration as well when making the renewal decision.

All that said, I've seen various statements claiming that all of these considerations are meaningless and the one and only reason Fox renewed Fringe was because they got an amazing deal from Warner Bros. I've seen it suggested that Fox executives could care less if fans love Fringe if that is not reflected in the ratings. While I completely understand that Fox is a business and they are not in the business of losing money, I believe that Fringe is one of those rare exceptions where there was more factoring in to their decision than the ratings and the deal. It just seems narrow-minded for that to be the only reason to renew Fringe. And if that really was all that mattered to Fox, I don't think they would have tried so hard to renew Fringe. What are your thoughts? Was Fringe in a unique position? Does it really not matter to Fox how much support fans have shown Fringe? Michelle

Matt Roush: Of course it matters. All of it matters. The survival of Fringe into an unlikely fifth season is a testament to the value of viewers' engagement with a show, even if it isn't reflected in the same-night ratings. Fringe's situation really is a perfect storm of circumstances where everything plays a part in the argument for renewal. If Fringe weren't so well and thoughtfully executed, it would be gone. If the media hadn't embraced it, it would be gone. If Fox didn't believe in it, it would be gone. If it aired on another night of the week, where it dragged down ratings that made more of a difference, it would be gone. If Warner Bros. didn't make it financially feasible for Fox to take it to the end, it would be gone. It's wrong to oversimplify this extraordinary renewal as merely a business decision (although that's part of it), because if Fringe weren't this special, none of it would have mattered.

Question: What will ABC do with its post-Desperate Housewives Sundays-at-9/ET timeslot? Could newcomer Revenge inherit that spot? Will Grey's Anatomy return to Sunday nights? It seems unlikely a new show would launch in that slot, especially since the time slots on either are currently occupied by newcomers [Once Upon a Time at 8/7c and GCB at 10/9c]. Rion

Matt Roush: All good guesses, but we're still a few weeks away from knowing for sure just how ABC will rebuild Sundays. Unfortunately, the network's experiments this season to create the next Housewives weren't exactly slam-dunks: Pan Am was a sleek-looking dud and GCB a spirited but pale shadow. Unless ABC develops what it believes to be a new instant home run the way Housewives was, you may be right that an established show would be the best thing to move into its longtime home and the most likely candidate might be Once Upon a Time, now ABC's most successful show on the night (although I personally prefer it airing in the 8/7c time period as a family-friendly launching pad). GCB is also an option, but will have to step up to be a self-starter, which I'm not sure it can pull off. Moving Revenge would leave an open hole on Wednesday that ABC struggled for years to fill, so it may be too soon and not the right fit, though it does have momentum and buzz. Returning Grey's to Sunday for what could be the show's final stretch would be an interesting move, but it has long been a valuable anchor on Thursdays, and though long in the tooth, still does well enough there. This is obviously a critical hour for ABC to program strategically. In the best-case scenario, ABC would introduce a can't-miss new property it will put a ton of promotion into launching (again, the way it worked with Housewives and Lost during that magical fall of 2004)

Question: Here's my Ringer Season 2 pitch: Having been cast aside by the men they love, with no money and no hope, the sisters must move in together. Bridget and Siobhan share an apartment in the city and wacky high jinks ensue. Did I mention I was rebooting as a comedy? Thoughts? Who do I contact about this? Steven

Matt Roush: Just be careful that whoever has rights to the old corny classic The Patty Duke Show doesn't sue. There's even a ready-made theme song, substituting "sisters" for "cousins," and you get: "Still they're sisters. Identical sisters and you'll find, They laugh alike, they walk alike, at times they even talk alike you can lose your mind! When sisters are two of a kind!" Actually, we could retitle Ringer as Two of a Kind. Oh wait, didn't the Olsen twins already do that? Thanks for the laugh.

Question: What's with the version of the season finale list that shows Person of Interest and Awake both at 9/8c on Thursday, May 17? Please tell me that's not so! The two shows that I really like on at the same time? I'm hoping it's a mistake and will expect an Awake season finale at another time. But it would be nice if you would reassure me! Judy

Matt Roush: Well, you're in luck. The original plan was for NBC to air a two-hour season finale of Awake on May 17 being the last Thursday of the official broadcast season, it's full of finales airing opposite each other, what a mess. Awake's first hour would have gone head-to-head with Person of Interest's finale. But late last week, it was reported that NBC instead is going to blow out the remaining episodes of Community that night, three in all plus the 30 Rock finale forming a two-hour comedy block. Awake now will air the first part of its finale in its regular 10/9c time period, with the actual finale now airing a week later, on May 24, when there won't be nearly as much conflict. (But airing the episode outside the regular season isn't much of a sign of confidence in Awake's future, which shouldn't be a surprise, though it makes me sad this is another of the season's big swings that didn't catch on.)

Question: Bones has always been one of the worst offenders of "embedded advertising," but a recent episode reached a new level of ridiculous. Sure, I'll buy that everyone on the show drives a Toyota, but the "Look at my fancy GPS! And I get sports scores!" conversation between Booth and Sweets had me rolling my eyes and saying "Seriously?" I can deal with the Toyota promotion on Modern Family, where everyone drives them but doesn't constantly talk about all the awesome features of their cars, so why is Bones so in your face about it? Who makes the decisions for such obnoxious advertising within shows, and why is it worse on some shows than others? Are we likely to see more embedded advertising since more people are DVRing shows and fast forwarding through commercials Alex F

Matt Roush: I didn't see this particular episode, but I can't say I'm surprised. Product placement has become more obvious and intrusive in this DVR age, and some do it better than others. Any time you feel like you're watching an ad instead of a show, it's not a good thing for the show and most times not the advertiser, because it rarely breeds good will. But in many cases this is the cost of doing business and staying alive in this new marketplace, so the answer to your question is yes, it's likely to get worse before it gets better, if it ever does.

http://www.tvguide.com/News/Ask-Matt-House-1046655.aspx

It's Feldercarb , not "felgercarb" , & I believe it was the SH* bomb, not the "F" Bomb

TV Notes
Mick Jagger to Host, Perform on 'Saturday Night Live' Season Finale
By Philiana Ng, The Hollywood Reporter's 'Live Feed' Blog - May 3, 2012

Rolling Stones frontman Mick Jagger has been set to host the season finale of Saturday Night Live.

Jagger's appearance will mark the rocker's first time leading the late-night NBC comedy show and will be his third time as the musical guest.

Last December, during Jimmy Fallon's SNL episode, Jagger made a cameo in one of the skits as Fallon's reflection. (Watch video of the skit below.)

This is the 50th anniversary of the Stones, which formed in 1962. Earlier this year, it was announced that a 352-page book The Rolling Stones: 50, by Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood, would hit stores July 12 and Ed Sullivan Show performances would be released. Stones guitarist Ronnie Wood said in April that the group is "throwing some ideas around" for new songs and then, preparing for their big tour in 2013.

The Stones have released dozens of studio albums since they formed and have sold more than 200 million copies.

New York Giants quarterback Eli Manning and Rihanna are set for May 5, while Will Ferrell returns to his old stomping grounds the following week with musical guest Usher.

The SNL finale is slated to air May 19 on NBC.

http://www.hollywoodreporter.com/liv...-stones-319924

In TechTV-related news, Discovery acquired Revision3.

Part of me is hoping that this will somehow translate to a return of The Screen Savers to television, or at least a resurgence in tech and gadget related shows on Discovery networks, but I doubt it. As much as I like watching HD Nation and TekZilla online for the old TechTV alums I'd still prefer to be able to just watch something on a regular channel.

Won't mean return of The Screen Savers with its main star, Leo Laporte. Being that he owns Revision3's main online broadcast network competitor TWIT, I doubt he would go to work for Revision3.

No, it's FELGERCARB 'G', not 'D'. Wikipedia and Google both verified it. (Cripes, give me credit for knowing how to spell! )

EDIT: You're right about it being the 'SH*' bomb, not the 'F* bomb. And according to the Battlestar wiki, 'feldercarb' was an alternate spelling (apparently some people had difficulty distinguishing between the 'g' sound and the 'd' sound)

Except Laporte wouldn't be working for Revision3 now, he would be working for Discovery and Revision3 isn't guaranteed to stay the same anyway.

Based on the last few corporate takeovers that Patrick Norton has had to go through I'm half expecting him to leave for some other venture.

There's a real technology vacuum on television and more than enough channels that have the space to fill it. Back in the death throes of TechTV I think I remember hearing discussion about The Screen Savers heading to Science Channel. Just as Top Gear was rebooted for the BBC I think a "reboot" of Screen Savers could still be done.

Technology Notes
Xbox bundle would be next step in console price wars
By Hayley Tsukayama, Washington Post - May 3, 2012

Microsoft is reportedly set to release an Xbox 360 (4GB) bundle that features a Kinect and two years of Xbox Live for $99, according to The Verge. The package would come with a $15 per month subscription fee to Xbox Live Gold and “possibly some additional streaming content” from cable providers or others, the report said.

The move would just be the latest effort from console makers to appeal to customers who may be wary about sinking a lot of money into consoles that, while still largely on pace with game development capabilities, have been on the market for several years.

This wireless carrier-like approach from Microsoft is new, since game makers have always accepted a loss on hardware that they expect to make up in game sales. The bundle, as is, would cost $459 in total, around $40 more than buying an Xbox and Kinect bundle with two years of Xbox Live Gold separately. So if the rumor is true, it makes sense to include some kind of access to one of Microsoft’s many partner services to make the subscription plan worth your while.

Still, it’s a huge drop for the console, which costs $399 with the Kinect. And $99 is a long way from the 360’s original price, which started at $299 as a stand-alone console.

Even so, it’s not the largest price drop we’ve seen from this generation of consoles. That prize would go to the PlayStation 3, which launched at a starting price of $499 — $599 if you wanted more memory. Now you can get a console for $249. Sony’s actually in one of the best positions to offer some sort of bundled service deal, given its easy access to movies and music.

The Wii has also seen its share of price drops and bundled deals. Nintendo’s console is now $100 below its original price, just $150 with a free copy of New Super Mario Bros. Wii and a Mario Music CD.

Of the three major consoles, however, Nintendo is the only company that has announced a next-generation console, the Wii U.

Microsoft could be dropping the price of the Xbox ahead of Nintendo’s presentation on the Wii U at the Electronic Entertainment Expo in June, or could simply be planning to use this as a way to lure people into its multimedia Xbox Live service.

http://www.washingtonpost.com/busine...IzT_story.html

TV/Technology Notes
For TV networks, social is hugely important
By Jefferson Graham, USA Today's 'Talking Tech' Blog - May 3, 2012

LOS ANGELES — In the heyday of television, networks and advertisers craved the hottest TV shows, those capable of producing "water cooler" conversation the next morning.

My, how times have changed in the digital era. "The water cooler used to be the next day, now it's while the show is going on," says Greg Kahn, executive vice president of ad-buying firm Optimedia.

For a small but very influential segment of the TV audience, the notion of passive viewing has changed dramatically.

Now, as the networks prepare to unveil their fall lineups and make ad deals for the coming season, "social" TV viewing is a key component of what they will be touting. (NBC and Fox will be the first to present to advertisers, on May 14.)

Posting comments about TV shows on Twitter, Facebook and other social platforms grew 194% from April 2011 to April 2012, says Mark Ghuneim, CEO of Trendrr, which tracks social-media trends in television. "If you had to hire a marketing company to get 1 million people to talk about your show, I don't know what it would cost," he says. "Here it happens organically."

Rick Haskins, executive vice president of the CW network, says fans don't tweet during the commercials. "They jump when there's an OMG (oh my God) moment, when something happens on the show. That's when we see the spikes."

Kahn says he'd much rather have his ads in a show with 2 million active online followers, vs. a show with little online social interaction.

"If they're more engaged with the show, they'll be more engaged with the advertisement," he says.

The most discussed shows online tend to be the live events — such as Fox's American Idol,ABC's Dancing with the Stars, NBC's The Voice and sports and award shows. Scripted series gear toward animated favorites such as Fox's The Simpsons and Family Guy, and cult favorites such as the CW's The Vampire Diaries and ABC Family's Pretty Little Liars.

Viewers today "want to have a more social experience around TV and see their friends' reactions," says David Wertheimer, president of digital for Fox. Fox has more than 220 million likes and followers on Facebook and Twitter. (The Simpsons and Family Guy together account for nearly 100 million.)

CBS says it has 160 million followers; ABC, 86 million; CW, 50 million; and NBC, 48 million.

Networks are looking to apps to keep people viewing and commenting on their smartphones. The NBC, ABC and CW networks have their own apps to watch entire shows for free on smartphones and tablets. Fox and CBS have show-specific apps, but only news programs can be viewed for free on the phone and tablets.

Meanwhile, there are several new TV fan-based apps to keep viewers engaged and informed and chatting with each other:

•GetGlue. The most popular of the TV apps, with more than 2 million users, it encourages fans to "check in" and let friends know what they're watching, and provides a forum to discuss the shows.

•Viggle. Get paid to watch TV. That's the concept for this app, which offers rewards (movie tickets, music downloads, gift cards) for watching certain shows.

•Yap. The app offers a visual guide to what's airing on TV and offers tweeting and live chats with other fans.

•IntoNow. The Yahoo-owned app identifies live TV shows as they're airing, connects to fans and social discussions, and identifies what you and others are watching.

•Miso. App offers a summary of plot lines for the show you're watching and provides slide shows, polls and discussions.

But does all the online chatter produce higher ratings for shows? "When you empower fans to tweet or post to Facebook while a show is on the air, you're telling all your friends to watch it," says Natan Edelsburg, who covers social TV for the Lost Remote blog. "That has the potential to improve ratings."

Deb Roy, co-founder of Bluefin Labs, a Cambridge, Mass.-based social-media researcher, says that some 25 million TV viewers are actively engaged in talking TV online. (Nielsen says there are 290 million U.S. TV viewers.)

CW, which appeals to younger viewers than CBS, NBC, ABC and Fox, is dead last in the Nielsen rankings, but it has an outsize percentage of social-media interaction. Its shows, which include The Vampire Diaries, 90210 and Supernatural, often appear at the top of Trendrr's ranking of the most-discussed social TV programs.

With more 50 million Facebook likes for CW's roster, Haskins says he'd now rather market his shows to that crowd than beg for more on-air promotion.

The fans "have already raised their hand and said they love the show," he says. "I know they will eat up an exclusive photo — and probably tune in to watch when the show airs."

The folks engaged in social TV discussions tend to be young — teens and college age. But Kahn sees this audience becoming the norm. "Most of the brand decisions are made by this (demographic) group. We pay serious attention to these trends, because they will be mainstream in the coming years."

http://www.usatoday.com/tech/columni...-tv/54705524/1

TV Notes
Starz Greenlights ‘Treasure Island’ Prequel Pirate Series Exec Produced by Michael Bay
By Nellie Andreeva, Deadline.com - May 3, 2012

EXCLUSIVE: Starz is heading out to the high seas with a straight-to-series order for a pirate adventure drama executive produced by Michael Bay. The series, tentatively titled Black Sails, was created by Jon Steinberg and Robert Levine. The eight-episode drama is set 20 years before the events in Robert Louis Stevenson’s classic Treasure Island and chronicles the adventures of fabled buccaneer Captain Flint and his men. Flint, the most brilliant and feared pirate captain of his day, takes on a fast-talking young addition to his crew who goes by the name John Silver. Threatened with extinction on all sides, they fight for the survival of New Providence Island, the most notorious criminal haven of its day — a debauched paradise teeming with pirates, prostitutes, thieves and fortune seekers, a place defined by its enlightened ideals and stunning brutality.

“Starz is excited to be working with a visionary like Michael,” said Starz CEO Chris Albrecht. “Along with the high-octane action that is a hallmark of a Michael Bay production, it has the elements that Starz originals are striving to bring to the premium landscape: epic, larger-than-life, cinematic storytelling. The series is also a property we believe will appeal to the global content marketplace with broadcasters around the world.” The latter is important to Starz because, like with the Spartacus franchise and Magic City, Starz owns all domestic and international rights to Black Sails.

This marks the first series for Bay, director-producer of such blockbusters as the Transformers and Bad Boys movie franchises, who over the past couple of years has focused on expanding his brand to television through his Platinum Dunes banner. “I’m excited to branch out into television, especially doing a long-form series for Starz, a network known for supporting cutting-edge programming,” Bay said. And like his brand of big-budget, high-octane movies, Black Sails too is expected to be an elaborate, high-end drama in the vein of HBO’s Game Of Thrones. While he will not direct the series, Bay has developed the visual idea for what the show would look like. He is executive producing Black Sails with his Platinum Dunes partners Brad Fuller and Andrew Form. On the unscripted side, WME-repped Bay has a series in development at A&E.

Black Sails is one of four high-profile pirate drama series projects in the works. But while it had been kept under wraps until now, Black Sails was actually set up at Starz in December 2010, months before any of the other three projects: NBC’s The Republic Of Pirates produced by Walter Parkes and Laurie MacDonald, Fox’s Port Royal produced by Graham King and Gale Anne Hurd, and Fox’s Pyrates produced by Ridley and Tony Scott. After Jericho co-creator and Human Target developer Steinberg and Human Target writer Levine wrote the pilot script based on an idea by Steinberg, Starz ordered a second script. The two also put together an outline for the season and assembled a writing team, while Starz hired a line producer and began scouting locations, settling on South Africa. With a significant amount of prep work already done, the series is on track to shoot at Cape Town Studios later this year and be the first of the four pirate projects to hit the air.

In addition to Black Sails, WME-repped Steinberg has pilot Beauty And The Beast in contention at ABC.

This marks a return to the fantasy/adventure genre for Starz, which started off its original scripted series efforts with Spartacus and Camelot before moving on to contemporary political drama Boss and the 1960s Miami drama Magic City.

http://www.deadline.com/2012/05/star...y-michael-bay/

TV Notes
'Vampire Diaries,' 'Supernatural' and '90210' Renewed by the CW
By Tim Kenneally, TheWrap.com - May 3, 2012

The CW has given early pickups to its series "The Vampire Diaries," "Supernatural" and "90210," the network said Thursday.

The renewals aren't particularly surprising; "The Vampire Diaries" is the network's top-rated show, while "Supernatural" has a loyal fan base and "90210" has been a reliable hit for the network.

"The Vampire Diaries," based on the series of books by L.J. Smith, is returning for a fourth season, while "90210" -- a revamp of the classic'90s series "Beverly Hills, 90210" -- is coming back for a fifth season. "Supernatural," meanwhile, will begin its eighth season for the network in the 2012-2013 season.

http://www.thewrap.com/tv/article/va...newed-cw-38451

Business Notes
JP Morgan plans to acquire major stake in Technicolor
By Richard Verrier, Los Angeles Times' 'Company Town' Blog - May 3, 2012

In a move to reduce its debt load, Technicolor said JP Morgan Chase & Co. would acquire as much as a 29% stake in the Paris-based media and entertainment technology company.

Technicolor, which has a large digital services and post-production operation in Hollywood, said the JP Morgan transaction and a related stock offering would reduce the company's debt by as much as 126 million euros, slashing annual debt service payments by 10 million euros.

"I am delighted that JP Morgan plans to make a substantial investment in Technicolor to become a long-term shareholder in the company,'' Frederic Rose, chief executive of Technicolor, said in a statement Thursday. "The capital increase we are planning will provide the company with a stronger financial structure and a stable shareholder base to implement its growth strategy."

JP Morgan Chase already has a 1% stake in Technicolor.

"We believe that the company has defined a strategy that will deliver long-term value to Technicolor's shareholders," said David Walsh, managing director at One Equity Partners, a private investment arm of JP Morgan Chase. "We look forward to working closely with management to help it execute this strategy by investing for growth, enhancing market-leading positions and delivering upon its financial objectives."

Technicolor, which reports limited financial results quarterly, recorded revenues of 800 million euros in the first three months of this year, down 1.5% from the prior year. The company did not disclose profit figures but said it was on track to generate pre-tax earnings of 475 million to 500 million euros this year.

http://latimesblogs.latimes.com/ente...jor-stake.html

TV Notes
The Kentucky Derby: How NBC is Covering Saturday's Race
By The Hollywood Reporter Staff - May 3, 2012

When the Kentucky Derby starts at precisely 6:24 p.m. ET on Saturday evening, it will count for just a few moments of several days of exhaustive coverage across the NBCUniversal networks.

In addition to live coverage from Churchill Downs between 4 and 7 p.m. ET on NBC affiliates, NBC Sports Network has coverage of classic derbies, pre-event commentary from the track and day-long programming on Saturday.

Today will also report from Churchill Downs on Friday, with Jenna Wolfe speaking with the network's on-horse reporter Donna Brothers. She'll also appear on the Sunday broadcast, speaking with the winning jockey and trainer. Elsewhere on Today, Kathie Lee Gifford and Hoda Kotb will give away a trip to the Derby to a viewer who creates the most interesting hat.

Reigning Super Bowl MVP Eli Manning hosts Saturday Night Live on Derby day, and while he's rehearsing, he'll sit down for a live interview with Bob Costas to talk about the broadcast during NBC's Derby coverage. NBC will also check in with E! News host Catt Sadler as she interviews various famous guests expected at the event, including National Anthem performer Mary J. Blige. Style Network's Jeannie Mai joins the broadcast as the network's first ever fashion correspondent in on-air coverage.

Bravo's Cat Cora, co-host of Around the World in 80 Plates, is also joining NBC Sports Network's Friday coverage for a segment on Derby-related meals.

The Kentucky Derby is always a rating boon for NBC Networks. Though 2011 saw a 12 percent drop to 14.5 million viewers, it followed a record-breaking showing of 16.5 million in 2010 -- the most-watched derby in 22 years.

http://www.hollywoodreporter.com/new...ing-snl-319947

TV Notes
'How To Be A Gentleman' Returning To CBS Saturdays
By HuffingtonPost.com Staff - May 3, 2012

CBS's canceled "How To Be a Gentleman" is coming back. According to The Hollywood Reporter, CBS will air the canceled sitcom with back-to-back episodes on Sat., May 26 starting at 8 p.m. ET as part of the network's summer schedule.

David Hornsby created, wrote and starred in "How to Be a Gentleman" alongside "Entourage" veteran Kevin Dillon and "24's" Mary Lynn Rajskub. When CBS launched "How To Be a Gentleman" on Thursdays at 8:30 p.m. after "The Big Bang Theory," it debuted to an audience of about 9 million viewers. The show lasted two weeks in the Thursday timeslot before being canceled and moved to Saturdays in favor of "Rules of Engagement."

However, CBS yanked "Gentleman" off of its schedule in October shortly after the move to Saturdays. A "Two and a Half Men" rerun bested "How To Be a Gentleman" in its first Saturday outing in October.

http://www.huffingtonpost.com/2012/0...n_1475630.html

TV Notes
AMC Announces Two New Murder-Mystery Pilots
By Josef Adalian, New York Magazine's 'Vulture' Blog - May 3, 2012

AMC is doubling down on development: The network just announced that it's green-lit production on a pair of murder-mystery pilots, with both projects in contention for a 2013 debut. One project comes from writer Richard LaGravenese (Water for Elephants) and producer Tony Goldwyn (Justified), while the other, called Low Winter Sun, is based on a 2006 British miniseries, with writer Chris Mundy (Criminal Minds) adapting for the U.S. This is the first time AMC has announced two pilot orders at once.

As for the details of the two projects, the untitled LaGravenese and Goldwyn hour is described by AMC as "a legal thriller with major political, personal and ethical stakes. It centers on a District Attorney who uncovers new evidence that prompts the reinvestigation of a sensational murder case. The series is an exploration of personal morality." Goldwyn will direct the pilot, which is being produced in-house at AMC. As for Low Winter Sun, the network calls it a "contemporary story of murder, deception, revenge and corruption in a world where the line between cops and criminals is blurred." It'll be set in Detroit and follow the murder of a cop by one of his colleagues. AMC is producing the show in conjunction with Endemol Studios, with Mundy writing and serving as showrunner. While skeptics might suggest that AMC is adding two murder-dramas to its roster in anticipation of The Killing going away, it's also quite possible the network could pair one of the new projects with a third season of The Killing.

http://www.vulture.com/2012/05/amc-pilots.html

TV Notes
Friday’s Highlights: ‘In Plain Sight’ on USA
By Los Angeles Times' 'Show Tracker' Blog - May 3, 2012

[ALL TIMES LISTED ARE PACIFIC TIME]

'IN PLAIN SIGHT's' Marshal Mary Shannon (Mary McCormack) hangs up her badge as the drama series comes to an end after five seasons at 10 p.m. on USA. With Frederick Weller as Marshall Mann.

SERIES

Who Do You Think You Are? Rashida Jones learns about her family history on her mother’s side, in this new episode (8 p.m. NBC).

Shark Tank: The sharks hear pitches from the inventor of Rollerblades, who has created an innovative monorail bike system and a woman with a line of accessories that can turn any shoes into boots (8 p.m. ABC).

Supernatural: Castiel (Misha Collins) awakens from his coma, and Meg (Rachel Miner) contacts Sam and Dean (Jared Padalecki, Jensen Ackles) in this new episode (9 p.m. KTLA).

Fringe: Walter (John Noble) is forced to revisit his painful past when a fringe event causes people to spontaneously combust in the opener of the two-part season finale, which concludes next Friday (9 p.m. Fox).

Finding Your Roots With Henry Louis Gates, Jr.: Samuel L. Jackson, Condoleezza Rice and Ruth Simmons trace their African ancestors in this new episode (9 p.m. KOCE).

Blue Bloods: In this new episode Danny and Jackie (Donnie Wahlberg, Jennifer Esposito) investigate the death of a high-rolling investor who was supposedly in a fight but has no marks on his hands. With Tom Selleck, Will Estes and guest star Frank Whaley (10 p.m. CBS).

Goldfathers: This new series focuses on the search for gold in Alaska (10 p.m. National Geographic).

SPECIALS

The Comedy Awards Playlist: This new special features performances by nominees from this year’s Comedy Awards, including Donald Glover, Daniel Tosh and Louis C.K. (9 p.m. Comedy Central).

SPORTS

Baseball: The Dodgers visit the Chicago Cubs (11 a.m. FS Prime); the Toronto Blue Jays visit the Angels (7 p.m. FSN).

Basketball: NBA Playoffs: The Atlanta Hawks visit the Boston Celtics (4:30 p.m. ESPN); the Chicago Bulls visit the Philadelphia 76ers (5 p.m. ESPN2); the Lakers visit the Denver Nuggets (7:30 p.m. KCAL and ESPN).

Hockey: NHL Playoffs: The Phoenix Coyotes visit the Nashville Predators (4:30 p.m. NBCSP).

http://latimesblogs.latimes.com/show...ighlights.html

Good for Tiger


...what they've learned is that they are better off controlling the message than leaving it to putzes like you


I think it's a very good thing that he is not your client. How in the h'll do you know what his father would say?

Regardless of what you might think about the media's access to him, Tiger has been an asshat for a long time now. A lot of folks hoped he would change after what he did to Elin (and he himself said he needed to) but it appears little has.

Nielsen Notes (Cable)
Eliot Spitzer's 'Viewpoint' Ratings Predictably Plummet Since Olbermann's Current Exit
By Michael O'Connell, The Hollywood Reporter - May 3, 2012

Keith Olbermann's fiery and abrupt exit from Countdown's home of less than a year, Current TV, was bound to trigger a drop in ratings for the 8 p.m. hour.

Replacement Eliot Spitzer pulled an anemic 47,000 total viewers in the first outing of Viewpoint, with just 10,000 among adults 25-54. The weeks since saw an early rebound, particularly in the demo, but in its four weeks on air Viewpoint has steadily declined in both respects.

Compared to Olbermann's average in March, over the same time period, Nielsen has Viewpoint's four-week average down 62 percent with adults 25-54 (14,000 from 38,000) and 68 percent with total viewers (46,000 from 145,000). The demo average managed to reach 19,000 in its second week, but dropped to 12,000 in the third and just 9,000 in the fourth.

To Current's advantage, the network is now courting a new audience. Nielsen also shows Viewpoint is pulling a higher percentage of viewers with incomes over $150,000 per year (25 percent over 19 percent), viewers who've completed four or more years of college (61 percent over 49 percent) and viewers with professional/managerial careers (25 percent over just 10 percent).

And in the absence of a flagship personality, the network does see growth in other time slots. The Young Turks with Cenk Uygur has the 7 p.m. hour up 229 percent in total viewers, year over year, and since Olbermann's departure is now the network's highest rated program in with all key demos.

In the morning, and after five weeks on air, Full Court Press: The Bill Press Show (6 to 9 a.m.) and Talking Liberally: The Stephanie Miller Show (9 a.m. to 12 p.m.) have the six-hour block up 200 percent in total viewers compared to the first quarter. Press is also up 25 percent with adults 25-54, with Miller up 160 percent.

http://www.hollywoodreporter.com/new...rent-tv-319983

TV Review
'My Momma Throws Down,' potluck
TV One's new reality cooking show is an odd concoction
By Tom Conroy, Media Life Magazine

Here's a recipe: Take two unrelated TV shows. Mash them up. Add ethnic flavoring. Half-bake.

That seems to be how we got TV One's new cooking-competition series "My Momma Throws Down." In the show, two African-American mothers whip up a "signature dish" and then an assigned meal, judged by a semi-famous panel, a la "Top Chef," as their loved ones cheer them on, a la "Family Feud."

Although the ethnic angle provides some fresh flavor and the game-show format sets up some spontaneous chuckles, the ingredients never quite come together. Channel-browsing viewers might nibble at the show for a few minutes, but they're likely to resume searching at the next commercial break.

Premiering this Friday, May 4, at 8 p.m., the show is hosted by the comedian Ralph Harris, who introduces himself as "Carol's oldest boy" and keeps things moving skillfully. In the episode submitted for review, the contestants are two experienced home cooks: Thea is accompanied by her husband and three grown sons; Marilyn by her brother, niece, sister and grown daughter.

The families spend much of the show standing behind "Family Feud"-style counters, but they have little to do otherwise. Once we meet everyone and see taped segments in which we learn that the families think the mothers are good cooks, the competition begins with each mother presenting her signature dish to the judges.

Marilyn's is macaroni and cheese, which she says has special ingredients that include eight cheeses, onions, green peppers, love and pride. The judges are the very serious Dr. Jessica B. Harris, an expert in the history of African-American cuisine, and three actresses from the series "Soul Food": Malinda Williams, Vanessa Williams and Nicole Ari Parker.

Thea's dish is eggplant parmesan, which she says she used to serve because her boys wouldn't eat vegetables. For no good reason, the mothers taste each other's dish before they learn whom the judges have chosen to receive the $500 prize for the round.

In the main competition, the women have 40 minutes to put together a squash casserole, a green salad and a dish of their own choosing. The time constraint adds a little suspense, which is lessened when Harris says that all they're competing for is $2500 and "bragging rights." Throughout, the judges provide color commentary, praising, for example, Thea's calmness under pressure.

Breaking a little with the typical game-show format, the action is frequently interrupted with cuts to talking-head interviews in which the women discuss what's going on. For example, one of the mothers says that when she got her instructions about the main competition, she immediately thought about what her optional dish should be and said to herself, "I really want to win this." We probably could have guessed that without her telling us.

The families participate in odd ways. Before the main competition, two of them square off in a short version of the African-American insult game called the dozens. At stake is an extra two minutes of prep time. Marilyn's daughter says to one of Thea's sons, "Your mama's cooking is so bad that on Thanksgiving, the only thing people are thankful for is that it's over."

He replies that people say her mother's cooking is a national disaster. Somehow the judges think this is a tie, and they give each cook an extra minute.

As the mothers cook, Harris asks each family one food-related question. Thea's family, for example, has to guess which of three cheeses is her favorite. The mothers gain or lose two extra minutes of cooking time based on their answer.

Finally one member of each family is blindfolded and brought backstage. Later, he or she comes back to taste each mother's food and guess which one prepared which dish. Harris tells us that the judges' decision can be "swayed" by whether or not the family members get this right. He doesn't say how or why. Like many details of this show, the quiz feels extraneous.

Watching the women cook on "My Momma Throws Down" can be inspiring. They know what they're trying to make and are skilled at putting it together. It would be nice if we could say the same for this show's producers.

http://www.medialifemagazine.com/art...n-potluck-.asp

TV Review
'Sherlock' returns with seduction through deduction intact
Benedict Cumberbatch and Martin Freeman are in fine form as Sherlock and Watson for Season 2 on PBS' 'Masterpiece Mystery.'
By Mary McNamara, Los Angeles Times - May 4, 2012

For those in preemptive mourning for Fox's Sherlock Holmes-inspired "House,"which comes to an end later this month, a bit of comfort: Season 2 of "Sherlock," the BBC's flirty but still faithful contemporary rendition of the unforgettable detective, begins on PBS' "Masterpiece Mystery" Sunday night (check local listings for time/station).

As reimagined by British TV maestro Steven Moffat ("Doctor Who," "Jekyll") and Mark Gatiss ("Doctor Who"), this Sherlock, played with aquamarine and alabaster radiance by Benedict Cumberbatch, is a London consulting detective as brilliant, icy and occasionally preening as the original. He resides at 221 B Baker Street with John Watson (Martin Freeman), a military doctor last posted in Afghanistan whom Holmes met during a search for a roommate; the show's premiere episode was titled, "A Study in Pink," a play on the first Sherlock Holmes story, "A Study in Scarlet."

Watson, undone by his war experience, is now content to aid Holmes in his various cases, blogging about such cases as "The Geek Interpreter" and "The Speckled Blonde," hilarious twists on original titles, so we know the playfulness of the paean will continue. Deepen, actually, to include in this season's first moments such canon-phile treats as 1895 — the number of hits Watson has on a particular blog is surely a reference to a famous line from one of the first Sherlockian odes — and the appearance of the famous deerstalker hat.

After picking up where the last story left off — Watson swathed in explosives, arch nemesis Moriarty (a crazy great Andrew Scott) cackling threats in the background — this season's three episodes tackle the duo's most famous cases, including "A Scandal in Bohemia," "The Hound of the Baskervilles" and "The Final Problem," all renamed and refurbished with Moffat's signature alchemy of high-energy tension and cleverly literate humor. "We are in Buckingham Palace, the very heart of the British nation. Sherlock Holmes, put your trousers on," says Sherlock's brother Mycroft (Gatiss doing wonderful double duty) at one point in the proceedings.

In "A Scandal in Belgravia," we meet the famous Irene Adler, originally a former actress who earned the detective's lifelong admiration by outwitting him during a case involving her past indiscretions with a member of foreign royalty. This being the third millennium, Adler (Lara Pulver) is now a dominatrix, her secret papers are photos involving a member of the British family. The case is much more complicated than that of course, so much more that it, as with the episodes that follow, occasionally threatens to collapse under its own writhing weight.

Fortunately, the thrill of Sherlock Holmes was never so much plot as character. The cases came and went and our eyes were always on the man at the center — seduction through deduction. "Smart is the new sexy," concurs this Adler, only there's nothing new about it. We've always thrilled to both the character's obsession with facts and his fractured attraction to those around him, and Cumberbatch, the most physically beautiful man to inhabit the role thus far, infuses his Sherlock with a passion that is as dangerously intense as it is highly selective.

Whether turning a younger brother's ire on Mycroft ("I'll play mother," Mycroft says, pouring tea; "And there you have our childhood in a nutshell," snaps Sherlock), defending Mrs. Hudson (Una Stubbs) against both rudeness and danger, or crossing intellectual and sexual swords with Adler, this Sherlock is a man of painfully restrained passion. His mind may whirl at breakneck speed (cleverly annotated by onscreen definitions of what he is seeing) but his heart beats never far behind.

That, more than the blogs or the cellphones, is the true modernization of the character, one that takes into account the general de-stiffening of the national upper lip and the shifting needs of contemporary drama. Mycroft, Mrs. Hudson and even Det. Inspector Lestrade (Rupert Graves), originally crafted almost purely for exposition, are all granted a depth and freedom that adds, in turn, to the complexity of the central character. But it's Watson who benefits the most, with Freeman capturing the careful balance of fascination, irritation, admiration and love with a subtle mastery that, in the 11th hour, saves the season's final episode from all its necessary contrivances.

It is Watson who reminds us, as he always did, that it wasn't the monograms on cigarette ash or the specialized knowledge of London's various topsoils that made Holmes such an enduring character. It was the man who delighted in disguises, who got bored and shot holes in his wall, who steadfastly admired the woman who bested him. It was never the brain, or the hat, that made the man; it was the brief but undeniable flashes of his humanity.

http://www.latimes.com/entertainment...,2718136.story