Hot Off The Press: The Latest TV News and Information - Page 2745

Maybe they would if TWC wasn't playing hardball with Cox and others on rates for carriage of its TWC Sports Network. Lakers and Aztec fans being held hostage.

In larger markets there is often game time conflicts between sports and even teams of the same sport. That said, it's money, money is the reason there's so many RSNs. The Yankees make a killing with their YES Network and hear that NESN up in the Boston area also uses large dumps trucks when they make a bank deposit. As long as we the viewer pay those cable/sat bills they'll keep starting new RSNs. And then there's the fact that viewers watch sports live, meaning the ads have a much better chance of being seen over say a DVR'ed prime time show.

Although it's already been noted here many times, The Dodgers next TV contract will generate in the neighborhood of $5 to $8 billion, and we the viewers get to pay for a big chunk of that, and I'll be one of those paying as I want to see the Dodgers play.
Edited by keenan - 9/20/12 at 8:53pm

Because CBS is starting their new seasons next week.

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

Nielsen Overnights (18-49)
‘The X Factor’ grows in second week
Fox show rises 6 percent from last week's debut
By Toni Fitzgerald, Media Life Magazine - Sep. 20, 2012

Not having to face NBC’s hit singing show “The Voice” appears to have helped Fox’s “The X Factor.”

“Factor” grew 6 percent last night compared to last week’s debut, when it faced a special edition of “Voice.”

Last night there was no original “Voice,” and “Factor” averaged a 3.5 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights.

That was a season high for the show, which also airs on Thursdays.

It indicates that the audience between “Voice” and “Factor” do indeed overlap. During the 8 p.m. hour last week, when both shows aired, “Voice” drew a 3.3 to “Factor’s” 2.7.

Last night “Factor” grew to a 3.0 in its first hour, then peaked with a 4.0 in its second.

The show did face some competition. The 90-minute premiere of CBS’s “Survivor: Philippines” aired at 8 p.m. and finished with a 3.1, second behind “Factor” in the timeslot, though the shows tied in their first hour.

“Survivor” matched the 3.1 for the premiere of last spring’s “Survivor: One World.”

Also on CBS last night, the season finale of “Big Brother” from 9:30 to 11 p.m. averaged a 2.5, down from a 2.9 last year.

Fox led the night among 18-49s with a 3.5 average overnight rating and a 10 share. CBS was second at 2.8/8, NBC and Univision tied for third at 1.4/4, ABC was fifth at 1.1/3, Telemundo sixth at 0.5/1 and CW seventh at 0.4/1.

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

At 8 p.m. CBS and Fox tied for first at 3.0, CBS for "Survivor" and Fox for "The X Factor." NBC was third with a 1.7 for a repeat of "The Voice," Univision fourth with a 1.5 for "Por Ella Soy Eva," ABC fifth with a 1.0 for reruns of "The Middle" and "Suburgatory," CW sixth with a o.4 for "Oh Sit!" and Telemundo sixth with a 0.3 for "Rosa Diamante."

Fox took the lead at 9 p.m. with a 4.0 for more "X Factor," while CBS slid to second with the end of "Survivor" (3.3) and start of "Brother" (2.6). Univision was third with a 1.7 for "Abismo de Pasion," ABC fourth with a 1.4 for repeats of "Modern Family" and "Suburgatory," NBC fifth with a 1.2 for repeat of "Law & Order: Special Victims Unit," Telemundo sixth with a 0.4 for "Corazon Valiente" and CW seventh with a 0.3 for a rerun of "Supernatural."

At 10 p.m. CBS was first with a 2.5 for more "Brother," with NBC second with a 1.2 for a repeat of "Revolution." Univision was third with a 1.1 for "Noticias Univision Presenta – El Gran Encuentro con el Gobernador Romney," its candidate forum with Mitt Romney. ABC and Telemundo tied for fourth at a 0.7, ABC for a repeat of "Revenge" and Telemundo for "Pablo Escobar: El Patron del Mal" (0.8) and "El Rostro de la Venganza" (0.6).

Fox and CBS tied for first for the night among households, each with a 5.5 average overnight rating and a 9 share. NBC was third at 3.3/5, ABC fourth at 2.5/4, Univision fifth at 1.8/3, Telemundo sixth at 0.7/1 and CW seventh at 0.6/1.

http://www.medialifemagazine.com/the-x-factor-grows-in-second-week/

Business Notes
HBO Promotes Richard Plepler CEO as Bill Nelson Retires
By Sharon Waxman, TheWrap.com - Sep. 20, 2012

HBO CEO Bill Nelson announced on Thursday he would retire and Richard Plepler would take his place as chief executive at the end of the year.

Under the new management structure, Eric Kessler (left) will serve as President and COO and Michael Lombardo (below right) will serve as President, Programming.

Until Thursday's announcement, Plepler (at right, above, with Nelson) had been co-president with Kessler. He is a long-time trusted deputy of Time-Warner CEO Jeff Bewkes who has led the premium cable network to a strong financial and creative position since the departure of Chris Albrecht in 2007.

The team that was promoted on Thursday is one of the most stable business and creative teams in the industry, which has maintained the cable channel's cultural relevance in the face of rising cable challengers like AMC, Showtime and the BBC.

HBO has approximately 30 million subscribers and produces some of the most ambitious and talked-about shows on television, including "Boardwalk Empire," "Game of Thrones," "Girls" and "True Blood."

The cable network is expected to clean up at the Emmys on Sunday, as has become a near-annual ritual.

“Bill and I have worked together for many, many years and though I’m sad to see him leave,
I respect his decision to enjoy retirement," said Jeff Bewkes, Chairman and CEO of Time Warner Inc. "He is a world-class CEO and leaves the company well-positioned for the future."

He added, "Richard and Eric are twenty-plus year veterans of the company who, as Co-
Presidents, helped HBO re-establish its pre-eminence over the past five years, and Mike
Lombardo has done an exceptional job in developing the best slate in HBO’s history.”

A company executive explained that although Lombardo's title has not changed, he will take on added responsibility because of Plepler's promotion. Kessler has traditionally been responsible for affiliate sales, marketing and international channels.

Said Nelson: "I feel very comfortable in taking this step now because I know HBO will continue
in its tradition of innovation and acclaimed programming and retain its superior position in our
industry in the hands of Richard, Eric, Mike and the entire team.”

Here is the news release: [CLICK LINK BELOW]

http://www.thewrap.com/tv/article/hbo-names-57256

TV Notes
TLC Network Said to Be in Talks to Pick Up Ancestry Show
By Mark Milian, Edmund Lee and Andy Fixmer, Bloomberg.com - Sep. 20, 2012

Discovery Communications Inc. ’s TLC is in talks to pick up “Who Do You Think You Are,” a show that works with Ancestry.com Inc. to unearth the genealogy of celebrities, two people familiar with the discussions said.

Producers of the television show, which was canceled by NBC earlier this year, are also in talks with other networks, said the people, who asked not to be identified yesterday because the discussions are private. Negotiations with the TLC cable network are at an advanced stage, one of the people said.

NBC’s cancellation contributed to a plunge that shaved a third of Ancestry.com’s market value earlier this year. A new show would help attract more users and boost prospects for the sale of the company, which has been talking to potential buyers, people familiar with the discussions said last month.

Shares of Provo, Utah-based Ancestry.com rose less than 1 percent to $31.42 at the close in New York yesterday. The stock then rose as much as 3.7 percent in after-market trading. Discovery climbed 1.6 percent to $59.44.

“Who Do You Think You Are” was adapted from a British show and lasted three seasons on NBC, where it delved into the ancestry of such celebrities as Sarah Jessica Parker, Gwyneth Paltrow and Spike Lee. The show, which touted Ancestry.com’s genealogical data, would typically find surprising facts about each week’s guest.

Michelle Russo, a spokeswoman for Silver Spring, Maryland- based Discovery, declined to comment yesterday, as did Heather Erickson, a spokeswoman at Ancestry.com.

Potential Buyers

Ancestry.com gets most of its revenue from online subscriptions, which let users study their family trees. The final season of the NBC show accounted for 5 percent to 7 percent of Ancestry.com’s marketing budget, Chief Financial Officer Howard Hochhauser said on a conference call in July.

Shares have surged 39 percent since June 5, when Bloomberg reported that the company had hired Frank Quattrone’s Qatalyst Partners LLC to find buyers.

Ancestry.com asked potential buyers including Permira Advisers LLP and TPG Capital LP to increase their competing bids for a possible buyout, two people with knowledge of the matter had said last month. They asked not to be identified because discussions are private. Ancestry.com turned down a bid of $35 a share, one person had said.

“Ancestry.com being a profitable market leader is very attractive for private equity,” Raghavan Sarathy, an analyst at Dougherty & Co., said in a recent interview.

Ancestry.com, founded in 1983 as a publisher of genealogical books and magazines, reported second-quarter sales and profit in July that topped analysts’ estimates, citing user gains and demand for new products. The company raised its sales forecast for 2012 to as much as $480 million and said it passed the 2 million-user milestone in the period by providing access to more information, including on DNA and U.S. census figures.

http://www.bloomberg.com/news/2012-09-19/tlc-network-said-to-be-in-talks-to-pick-up-ancestry-show.html

Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 21, 2012

MOYERS & COMPANY
Public Television, Check local listings
On this weekend’s program, Bill Moyers interviews former FEC Chairman Trevor Potter, who explains to Moyers, and to us, the differences between corporations and individuals when it comes to funding election campaigns – regardless of what the U.S. Supreme Court has ruled. Moyers & Company airs from Friday to Sunday on local public TV stations; to find it in your local area, click the BillMoyers.com website.

SHOGUN
Encore, 8:00 p.m. ET
Part 5. Having earned the trust and gratitude of Toranaga, Anjin-San (Richard Chamberlain) is offered the return of his old ship. But what does that mean, and does the British sailor actually want to return to his old homeland?

MELANCHOLIA
Showtime, 8:00 p.m. ET
Even by Lars von Trier standards, this is a gloomy movie. But this 2011 drama is, if nothing else, visually evocative, and emotionally haunting. It also features some very unadorned and committed performances, starting with Kristen Dunst as the bride who may be witnessing a celestial disaster on her wedding night. But also, watch for some of the other members of the wedding party, including Kiefer Sutherland from 24 and Alexander Skarsgard from True Blood.

PATHS OF GLORY
TCM, 9:15 p.m. ET
On TCM’s Adolphe Menjou night, this early Stanley Kubrick movie gets a prime-time showing. This is the anti-war film, starring Kirk Douglas, that so impressed the actor that he reached out to Kubrick to take the helm on Spartacus. This 1957 movie has fewer ornate set pieces than the usual Kubrick film, but the hand-held scenes of trench warfare, as well as the top-brass arguments afterward, are electrically charged.

REAL TIME WITH BILL MAHER
HBO, 10:00 p.m. ET
Among tonight’s guests: author Salman Rushdie and MSNBC host Chris Matthews. Given the uprisings and political gaffes this week, both men should have an awful lot to say.

http://www.tvworthwatching.com/

Emmy Notes
Emmy Anticipation Runs High for PBS
By Brian Stelter, The New York Times - Sep. 21, 2012

Every year PBS earns dozens of Emmy nominations and comes away with an armful of golden statuettes. But Paula Kerger, the PBS president, has never gone to the “Primetime Emmy Awards” — until now. “This is such an exciting year, I want to be in the room,” she said.

Her date? Donald Thoms, a PBS vice president for arts and cultural programming. Her dress? On Wednesday she laughed at that question. “I haven’t quite figured that out yet,” she said.

She has until Saturday, when she’ll fly to Los Angeles for Sunday night’s celebration of all things television, to be broadcast live on ABC and hosted by Jimmy Kimmel.

What’s different this year, for PBS, is the sheer number of nominations — 58, up from 43 and 32 the two prior years — and the tantalizing possibility of winning what is arguably the most sought-after award of the night: best drama. The British historical drama “Downton Abbey,” brought to America by PBS and “Masterpiece,” is up for best drama alongside AMC’s “Mad Men” and “Breaking Bad,” HBO’s “Boardwalk Empire” and “Game of Thrones,” and Showtime’s “Homeland.”

“Mad Men,” set in the 1960s, has won the award four times in a row. Since the award was established in 1951 (the winner that year was “Pulitzer Prize Playhouse”) no drama has ever won five times, lending the Emmy proceedings this year a dramatic plot of its own: Can “Mad Men” make history? Or will a new entrant like “Downton Abbey” or “Homeland” break the streak?

Attention has centered on “Homeland,” the psychological thriller starring Claire Danes and Damian Lewis, in part because it is seen as Showtime’s best chance yet to upstage HBO, the network that consistently wins more Emmys than any other, and AMC, the network of “Mad Men.” Ms. Danes is a favorite in the category of best actress in a drama. Recognition at the Emmys would be well timed for “Homeland,” which has its second season premiere on the Sunday after the awards broadcast.

The third season of “Downton,” on the other hand, won’t start in the United States until January. (It had its premiere in Britain this week, provoking gripes from American fans about the delay.) “Downton” took home the prize for best mini-series or movie last year, but was submitted in the series category instead this year. Ms. Kerger called it extraordinary to be nominated for best drama. Public broadcasting last won an Emmy in the category in 1977, for “Upstairs, Downstairs,” another British import.

There’s been considerable online debate about the acting categories, since the “Breaking Bad” star Bryan Cranston has won the best actor award thrice, depriving the “Mad Men” star Jon Hamm of a win. Mr. Hamm’s female counterpart on that show, Elisabeth Moss, similarly has yet to win best actress. Julianna Margulies, who won best actress last year for “The Good Wife,” is in contention again this year.

Though the Emmys, presented by the Academy of Television Arts & Sciences, tend not to turn niche dramas into mainstream successes (“Mad Men” drew two million to three million viewers per episode to its fifth season this year), they do signal to the wider world which shows have managed to break through the cultural clutter.

For the past two years ABC’s “Modern Family,” the country’s most-watched sitcom, has won the best comedy series award; this year it’s up against “30 Rock” on NBC, “The Big Bang Theory” on CBS, and “Girls,” “Veep” and “Curb Your Enthusiasm” on HBO.

HBO took an early lead, as it usually does, at the Creative Arts Emmy ceremony for technical achievement last Saturday, with awards for everything from “Girls” to the original movies “Game Change” and “Hemingway & Gellhorn” to the documentary “George Harrison: Living in the Material World.” Its “Game of Thrones” won six awards, the most of any single series. ReelzChannel will show portions of the Creative Arts awards on Saturday night, the night before the main event on ABC.

The prime-time Emmys show, produced last year by the reality television whiz Mark Burnett and watched by 12.4 million viewers, is back this year in the hands of Don Mischer, the special events producer and director, himself a winner of 15 Emmy Awards.

One of the biggest variables this year, as it is every year, is the choice of host, Mr. Mischer said. This year’s choice, Mr. Kimmel, has been drumming up press for the telecast by promising “genuinely weird stuff” and other surprises. His late-night talk show, “Jimmy Kimmel Live,” is up for a variety series award, vying with “The Daily Show With Jon Stewart,” which has won for nine years in a row.

After ceremonially rolling out a red carpet outside the Nokia Theater in Los Angeles on Wednesday, Mr. Kimmel told The Associated Press: “I have an idea for a prank, and if it goes well, it will be great. If it goes badly, it won’t be so great.” The prank, he said, will be on non-Emmy viewers: “If you’re watching, you’ll be in on it. If you’re not, you might get caught up in the prank.”

Mr. Mischer also said the producers of the telecast are “trying some new things with some of the nominees that we hope will bring life and humor” to the show, declining to elaborate.

The biggest challenge for the producers is the total numbers of awards — 26 this year — that must be squeezed into prime time. This year, Mr. Mischer said, there was no discussion about reducing the total, though he thinks the show would benefit by reducing the number of directing and writing awards to four from eight, “with the categories alternating every other year.” The directing and writing guilds would almost certainly not approve such a plan, he noted.

Mr. Mischer’s team began full-time work on the telecast in June. “The biggest variables are host, nominees, winners, and acceptance speeches,” he said. “As producers we have absolutely no control over anything other than the selection of the host.”

Of course, as he acknowledged, unexpected wins and emotional acceptance speeches make or break the show. Mr. Mischer said in an e-mail message, “My old friend Gil Cates, who produced the Oscars for many years, used to say: ‘The award gods either smile on you ... or they don’t!’ ”

http://www.nytimes.com/2012/09/21/arts/television/emmy-anticipation-runs-high-for-pbs.html?ref=television&_moc.semityn.www

Emmy Notes
Handicapping The Major Races
By The Deadline.com Team - Sep. 20, 2012

Ray Richmond contributes to Deadline’s TV coverage.

Several streaks will be tested at the 64th Primetime Emmy Awards this Sunday. Will Mad Men win a record fifth Emmy in a row for Outstanding Drama Series? Will Bryan Cranston make it four consecutive lead acting wins for Breaking Bad and Jim Parsons three in a row for The Big Bang Theory? Can Modern Family pull a top comedy series three-peat? And can The Daily Show With Jon Stewart make it a decade as the Emmy winner for best variety series? At the Creative Emmy Awards last weekend, HBO’s fantasy drama Game Of Thrones‘ bagged the most Emmys, six. Will GOT be able to hold onto its lead Sunday? And will Mad Men finally win an acting trophy? While waiting for all those questions to be answered Sunday, here are some final predictions for how things might go down in some of the top categories.

DRAMA SERIES
The Nominees: Mad Men (AMC), Breaking Bad (AMC), Homeland (Showtime), Downton Abbey (PBS), Game of Thrones (HBO), Boardwalk Empire (HBO)

Who’s Going to Win: Let’s go out on a limb and say Breaking Bad is going to get it done. It would be highly unusual for a drama to win its first Outstanding Drama Series Emmy in its fourth season, but Breaking Bad is a highly unusual show whose buzz has sailed off the charts of late. “What a lot of people might forget,” one producer told me, “is that this award is for Season 4, not Season 5, when Breaking Bad arguably peaked. Just personally, all my friends voted for it. Take from that what you will.” I’ll take it as an omen for a semi-upset.

Then Again: One can make the argument that Breaking Bad is simply too dark for the TV Academy mainstream. And if that turns out to be the case, a Mad Men triumph would surprise few. That would give it a record five statuettes in the category, an accomplishment that eluded four-timers Hill Street Blues, The West Wing and L.A. Law. But as one writer told me, “I don’t feel the love for Mad Men this time. The perception is that it’s time to honor someone else.” That could also mean Homeland, which has both the advantage and disadvantage of being a rookie.

Not Bloody Likely: Downton Abbey has a small shot, but would have had a better one by staying in the miniseries race that it dominated last year. Game Of Thrones is hot but also is the kind of violent fantasy that will never win an academy majority. As for Boardwalk Empire, not this time… or any other time in the foreseeable future.

LEAD ACTOR – DRAMA SERIES
The Nominees: Bryan Cranston, Breaking Bad (AMC); Damien Lewis, Homeland (Showtime); Jon Hamm, Mad Men (AMC); Hugh Bonneville, Downton Abbey/Masterpiece (PBS); Steve Buscemi, Boardwalk Empire (HBO); Michael C. Hall, Dexter (Showtime)

Who’s Going to Win: Well, if the name inside the envelope isn’t three-time champ Bryan Cranston, they may need to consider doing a recount. His fourth Emmy would tie him with Dennis Franz of NYPD Blue for the most by an individual in the category. But Franz didn’t win his on consecutive nominations while Cranston would – a first. As one TV Academy member argues, “I think Bryan is as close to a slam-dunk as I’ve ever seen at the Emmys.” The reason is that Cranston is simply so good as Breaking Bad’s ever-evolving Walter White that it renders anyone else winning nearly unthinkable. The only reason he failed to take home the trophy a year ago is he wasn’t eligible. That seems to be the only way to stop him.

Then Again: “Now watch, as soon as we say Jon Hamm doesn’t have a chance, this’ll be the year he wins,” predicts one producer with tongue planted firmly in cheek. It’s unlikely, but could happen, though a likelier upset (if any are possible) would be Damien Lewis for his arresting performance in Homeland.

Not Bloody Likely: Hugh Bonneville, Steve Buscemi and Michael C. Hall are simply filling out the category this time, barring an upset of epic proportions. Like Hamm, this is Hall’s fifth nomination in a row. But also like Hamm, his best shot to win came in a previous year.

LEAD ACTRESS – DRAMA SERIES
The Nominees: Claire Danes, Homeland (Showtime); Julianna Margulies, The Good Wife (CBS); Kathy Bates, Harry’s Law (NBC); Elisabeth Moss, Mad Men (AMC); Michelle Dockery, Downton Abbey/Masterpiece (PBS); Glenn Close, Damages (DirecTV)

Who’s Going to Win: It will be Claire Danes. Unless it’s Claire Danes. Then again, it could also be… Claire Danes. While no one was paying particularly close attention, Danes sneaked in and seized the mantle as television’s most revered actress. She swept all the honors in 2010, including the Emmys, for her work in HBO’s Temple Grandin, and now she looks to be a lock for her role as the troubled, damaged CIA agent Carrie Mathison on the first season of Homeland. One voting producer said, “I’d vote for Claire Danes if she was playing a tree. Everyone in town wants to work with her.”

Then Again: Voters could decide to honor Julianna Margulies again after her triumph in the category last year for The Good Wife. That would be a far better possibility were Danes not in the race, however. One can also never count out a performer with the chops of Glenn Close, although as a writer noted, “We’ve already given (Close) a couple of Emmys (in 2008 and ’09) for this show. That seems like enough.”

Not Bloody Likely: Kathy Bates just won last weekend for comedy guest actress in Two and a Half Men (her first win in 10 Emmy nominations). She won’t be getting another this year. If an actress from Mad Men is going to break the show’s Emmy acting shutout, it will be Christina Hendricks, not Elisabeth Moss. Downton Abbey‘s Dockery, in her first nom, is unfortunately no Dame Maggie Smith.

COMEDY SERIES
The Nominees: Modern Family (ABC), Girls (HBO), The Big Bang Theory (CBS), Curb Your Enthusiasm (HBO), Veep (HBO), 30 Rock (NBC)

Who’s Going to Win: It appears nothing is going to stand in the way of a three-peat for Modern Family, in spite of whatever ill will might have been inspired by the cast’s poorly-timed (if brief) salary holdout. No series has yet stepped up to the plate to challenge the ABC half-hour in terms of sheer laughs. “I’m glad to see that funny is being rewarded in comedy again, instead of just how cool and artsy a show happens to be,” says one voter. Having a 2012 Golden Globe victory in its pocket (its first) and undiminished ratings doesn’t hurt Modern Family’s Emmy chances, either.

Then Again: It’s possible, if unlikely, that the Academy was so wowed by Lena Dunham and her HBO freshman buzzfest Girls that it snatches the gold away from Family. No other series would seem to have a genuine shot at the gold, but Girls has the kind of water-cooler cache that occasionally pulls an upset. It has undeniably become a popular culture phenom almost overnight. “I’m voting for Girls,” admits one producer, “just for its sheer bravery. We need to reward that kind of daring.”

Not Bloody Likely: Curb Your Enthusiasm remains a darling of the comedy community, but Larry David turns off too many people to capture the trophy. 30 Rock has three wins in its back pocket but its best days are behind it. Veep is more about star Julia Louis-Dreyfus than the show itself. And The Big Bang Theory is from Chuck Lorre, who is destined always to be the bridesmaid.

LEAD ACTOR – COMEDY SERIES
The Nominees: Louis C.K., Louie (FX); Jim Parsons, The Big Bang Theory (CBS); Don Cheadle, House of Lies (Showtime); Larry David, Curb Your Enthusiasm (HBO); Alec Baldwin, 30 Rock (NBC); Jon Cryer, Two And A Half Men (CBS)

Who’s Going to Win: The TV Academy is going to want to honor Louis C.K. if for no other reason than to save the embarrassment of conferring seven nominations on him without a single win. This category seems like it’s C.K.’s best shot for the statuette, even though he’ll have to beat Jim Parsons to do it. He will also have to defeat the two men (Parsons and Alec Baldwin of 30 Rock) who combined have won the last four Emmys in the category. But C.K. will do it. “Everybody loves this guy and what he’s doing with his show,” says one comedy writer. “We want to show we appreciate the kind of creative license he’s been granted.”

Then Again: Parsons is still seen as the favorite by many, as he’s going for his third straight win. Number 3 is a tough one to get. Baldwin couldn’t do it. However, Parsons also has the advantage of being on an enduringly popular network series. “If I had money,” says one voter, “I’d put it on Jim.

Not Bloody Likely: Larry David is simply too divisive a personality to ever win. Don Cheadle is too new and hidden-from-view in Showtime’s House of Lies. And 2009 victor Jon Cryer, switching this year from supporting to the lead category, was fortunate to get a nomination at all.

LEAD ACTRESS – COMEDY SERIES
The Nominees: Amy Poehler, Parks And Recreation (NBC); Julia Louis-Dreyfus, Veep (HBO); Zooey Deschanel, New Girl (Fox); Melissa McCarthy, Mike & Molly (CBS); Lena Dunham, Girls (HBO); Tina Fey, 30 Rock (NBC); Edie Falco, Nurse Jackie (Showtime)

Who’s Going to Win: “As great as it would be to see Amy Poehler finally get her due, I can’t see anyone but Julia Louis-Dreyfus winning this thing,” believes one voting producer. It’s hard to argue. This is Louis-Dreyfus’ 13th Emmy nomination overall. And while she’s won only twice before – once for Seinfeld in 1996 and once for The New Adventures of Old Christine in ’06 – her work in Veep is as good as anything she’s ever done (Seinfeld included). It’s also precisely the kind of role that seems to have Emmy written all over it. This year, it will.

Then Again: Poehler could pull off an upset in her third consecutive nomination as Parks And Rec’s Leslie Knope. The fact she is so universally well-liked in the industry helps, but obviously hasn’t helped enough thus far. Also looming as a longshot is the white-hot Lena Dunham, nominated this year as producer, writer, director and lead actress for Girls. Not bad for a kid in her mid-twenties in the first year of her first series.

Not Bloody Likely: Of the category’s other four nominees, all but first-timer Zooey Deschanel have won in the category before: Edie Falco (2010 for Nurse Jackie and three previous times for The Sopranos), Tina Fey (2008 for 30 Rock) and Melissa McCarthy (last year for Mike & Molly). Of the four, Deschanel has the best shot as the adorable, fresh-faced semi-newcomer. But she will have to wait her turn.

MADE-FOR-TV MOVIE/MINISERIES
The Nominees: Game Change (HBO), American Horror Story (FX), Hatfields & McCoys (History), Sherlock: A Scandal in Belgravia (Masterpiece) (PBS), Luther (BBC America), Hemingway & Gellhorn (HBO)

Who’s Going to Win: Because this is falling so closely to a typically fractious Presidential Election, Game Change gets the nod despite general acknowledgement that it’s a less than great film. It’s a very good movie filled with terrific acting work from Woody Harrelson and Julianne Moore in particular. Of the two actual movies among the nominees, Game is far superior to the plodding Hemingway & Gellhorn (a rare longform misfire from HBO that nonetheless got nominated, which speaks volumes about the state of the longform business. The liberal voter base aren’t likely to let a sympathetic political film lose the Emmy race this time.

Then Again: The highly rated History Channel mini Hatfields & McCoys has a better than outside shot to claim the prize itself, particularly if academy voters are feeling nostalgic for a well-crafted period piece. As one longform writer told me, “I was blown away by how good Hatfields & McCoys was. And judging by the ratings, it seems a lot of other people were, too.” Of course, that probably only means it will finish a close second.

Not Bloody Likely: The fact that this is one of the oddest apples-vs.-oranges years ever in the category won’t help such strange bedfellows as FX’s American Horror Story (which qualified as a mini), BBC America’s Luther and PBS’ Sherlock: A Scandal in Belgravia. “It’s just a weird collection of nominees,” one voter insists. “I was shocked that the TV Academy even knew how to spell ‘Belgravia’.”

REALITY-COMPETITION PROGRAM
The Nominees: The Amazing Race (CBS), Top Chef (Bravo), The Voice (NBC), So You Think You Can Dance (Fox), Project Runway (Lifetime), Dancing With the Stars (ABC)

Who’s Going to Win: It will be The Amazing Race yet again – for the ninth time in 10 years. The only time the long-running CBS series has lost since it first qualified for nomination was in 2010 when Bravo’s Top Chef pulled off a shocker. And while Chef is back again, no one expects that kind of lightning to strike twice. It doesn’t seem to be a case of continuing enthusiasm for Race so much as the lack of anything else to get excited about. As one producer admits, “I think we all just vote for Amazing Race because we’re not sure how not to. And who else are we going to go for, Dancing With the Stars?”

Then Again: NBC’s The Voice, the singing competition show that displaced Fox’s American Idol on the Emmy ballot after nine consecutive nominations and no wins, has the look of potential Race-beater. Not that it’s the way to bet. Also, if Top Chef won it before, it could do it again.

Not Bloody Likely: If it seems there’s a certain sameness to the nominees in this category year after year, it’s because there is. Project Runway has been tabbed here eight straight years, Dancing With the Stars seven straight, So You Think You Can Dance a mere two. All of them, however, have something in common: They never win. They won’t this time, either.

DRAMA SERIES WRITER
The Nominees: Julian Fellowes, Downton Abbey/Masterpiece “Episode 7″ (PBS); Alex Gansa, Howard Gordon and Gordon Raff, Homeland: Pilot (Showtime); Matthew Weiner and Semi Chellas, Mad Men: “The Other Woman” (AMC); Andre Jacquemetton and Maria Jacquemetton, Mad Men: ”Commissions and Fees” (AMC); Matthew Weiner and Semi Chellas, Mad Men: “Far Away Places” (AMC)

Who’s Going to Win: This shapes up as a heavyweight two-horse race pitting Julian Fellowes and the second-season finale of Downton Abbey vs. Matthew Weiner-Semi Chellas and the controversial Mad Men episode “The Other Woman”. The pick here is Fellowes, who won last year for Downton in the movie-mini category, if only because it’s difficult to bet against a Best Screenplay Oscar winner (as Fellowes was in 2002 for Gosford Park). On the other hand, Weiner won in this category three years running (2008-09-10), and with “The Other Woman” he co-wrote a much-buzzed hour that found Joan (Christina Hendricks) being prostituted out by the firm to land a major client.

Then Again: If Mad Men snares its fifth straight Emmy for top drama series, Weiner and Chellas could well take the writing statuette, too. And this year, they have two chances, also nominated for the Mad Men seg “Far Away Places”. One series writer observes, “This is such a Golden Age for drama. Having to choose between Julian Fellowes and Matt Weiner is ridiculous. They’re both just astoundingly good.”

Not Bloody Likely: The Mad Men hour from husband-and-wife Andre Jacquemetton and Maria Jacquemetton is a victim of Men category excess, while the Homeland pilot teleplay from Alex Gansa, Howard Gordon and Gordon Raff was a standout, but not as much as was the episode’s nominated direction.

DRAMA SERIES DIRECTOR
The Nominees: Michael Cuesta, Homeland: Pilot (Showtime); Vince Gilligan, Breaking Bad: “Face Off” (AMC); Brian Percival, Downton Abbey/Masterpiece: “Episode 7″ (PBS); Tim Van Patten, Boardwalk Empire: “To The Lost” (HBO); Phil Abraham, Mad Men: “The Other Woman” (AMC)

Who’s Going to Win: As with the drama writing category, the result here largely depends on how the top drama race itself plays out. If Breaking Bad manages to sneak past Mad Men for that win, it’s easy to see Vince Gilligan carting off the directing Emmy for his intense and extraordinarily artful fourth-season closer “Face Off. But if Homeland somehow pulls an upset, Michael Cuesta’s dynamic work in the Homeland pilot could well follow its coattails. As it stands, Gilligan gets the nod here due to the sheer tonnage of Breaking Bad’s buzz (even if that buzz was more for Season 5 than Season 4).

Then Again: Homeland is certainly going to get some winning attention Sunday night with Claire Danes, and Cuesta is the guy who directed her. A fellow TV director stresses, “That Homeland pilot was a masterwork, as cinematic in its look as anything I’ve seen on TV this year. Michael did just a brilliant job.”

Not Bloody Likely: Tim Van Patten is good at getting nominated (this is his 11th) but has never won for his directing. Brian Percival is vying for his second Emmy in as many years for Downton Abbey, but last year’s came in the movie-mini category. As for Phil Abraham, his episode “The Other Woman” is perceived as more a tour de force for its acting and writing.

COMEDY SERIES WRITER
The Nominees: Lena Dunham, Girls: Pilot (HBO); Chris McKenna, Community: “Remedial Chaos” (NBC); Amy Poehler, Parks And Recreation: “The Debate” (NBC); Louis C.K., Louie: “Pregnant” (FX); Michael Schur, Parks And Recreation: “Win, Lose Or Draw” (NBC)

Who’s Going to Win: It’s already becoming clear that this is Lena Dunham’s world. The rest of us just live in it. She’s got to take home an Emmy on Sunday night. The question is whether it will be more than one, and which category or categories it will be for. Perhaps her best shot is for the writing of her brilliant and jarring Girls pilot, which served notice that this was one singularly fearless writer-performer. The prediction is she will win here, the first of what is likely to be multiple Emmys. The fact that it’s rare for a woman to win for comedy writing – unless your name is Tina Fey – won’t be a factor. As one writer told me, “Everybody is talking about Lena, and it’s with awe.”

Then Again: Amy Poehler has to win an Emmy for Parks And Recreation, and if it isn’t for her acting, maybe it will be for her writing. Her nominated episode “The Debate” is considered one of the show’s funniest ever. While Louis C.K. is nominated for pretty much everything this year, his better shot would seem to be in directing for his more acclaimed episode “Duckling”.

Not Bloody Likely: Chris McKenna figures to suffer from Community’s much-publicized behind-the-scenes issues and the May ouster of showrunner Dan Harmon. And Michael Schur, while blessed with a significant past Emmy pedigree, has too much competition this tim

COMEDY SERIES DIRECTOR
The Nominees: Robert B. Weide, Curb Your Enthusiasm: “Palestinian Chicken” (HBO); Lena Dunham, Girls: “She Did” (HBO); Louis C.K., Louie: “Duckling” (FX); Steven Levitan, Modern Family: “Baby On Board” (ABC); Jason Winer, Modern Family: “Virgin Territory” (ABC); Jake Kasdan, New Girl: Pilot (Fox)

Who’s Going to Win: It will be tough to beat Robert Weide, a five-time comedy directorial nominee who won in this category for an installment of Curb Your Enthusiasm once before (in 2003). This time, the Emmy-nominated episode, “Palestinian Chicken”, already copped the DGA Award honor, which is a pretty fair barometer. All that stands in the way for Weide is, well, the other five nominees, headed by Louis C.K.’s acclaimed episode of his FX series Louie entitled “Duckling” that’s already considered something of a classic. In other words, this is a competition most fowl, pitting a chicken and a duckling.

Then Again: There’s Lena Dunham yet again, this time for directing the Girls episode “She Did”. She’s looking to buck some difficult history here – the comedy directing Emmy has been won by a woman only once before: Betty Thomas for HBO’s Dream On in 1993.

Not Bloody Likely: Steven Levitan has been denied only a win for directing among his prizes for Modern Family, and he’s going to be passed over again. The same goes for Levitan’s cohort Jason Winer. This is Jake Kasdan’s first Emmy nod, and while he comes from a long line of directing talent, he won’t be taking home a trophy for New Girl.

http://www.deadline.com/2012/09/emmys-2012-primetime-nominees-lead-actors-actresses/

The Texas Rangers have a hot dog that costs $26.

http://sports.yahoo.com/blogs/mlb-big-league-stew/26-hot-dog-texas-rangers-serve-2-foot-173601862.html

Granted that it's two feet long, piled high with fixin's, and will feed 4 people!

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

Nielsen Overnights (18-49)
Limp return for NBC’s Thursday sitcoms
'The Office' averages a 2.1 in 18-49s, down from a 2.3
By Toni Fitzgerald, Media Life Magazine - Sep. 21, 2012

To this point, NBC’s early debut strategy has delivered very strong ratings.

Last night, however, not as much.

The season premieres of the network’s Thursday comedy lineup were unimpressive, possibly hurt competing against Fox’s “The X Factor,” which continued to grow in its second week.

“The Office” was the highest-rated of the bunch, averaging a 2.1 adults 18-49 rating, according to Nielsen overnights.

That was down sharply from last fall’s premiere, when the show aired during the first week of the regular season, when TV viewership tends to be higher. It averaged a 3.9 for last year’s bow, which wrapped up a cliffhanger based on Steve Carell’s departure.

The decline thus was expected. “Office” fell 9 percent from last spring’s finale, which averaged a 2.3.

Lead-out “Parks and Recreation” also fell versus last September, down 21 percent to a 1.7, but it matched last spring’s finale.

At 8 p.m., the first of two election-themed “Saturday Night Live Weekend Update Thursday” editions airing the first two weeks of the season averaged a 1.6, and lead-out “Up All Night” drew a 1.3 for its second-season debut.

Meanwhile, Fox’s “Factor,” airing at 8 p.m. opposite “SNL” and “Night,” drew a 3.4, tops for the night and up 10 percent from last week. It was the second straight night the show has grown.

Lead-out “Glee” drew a 2.9, down 6 percent from last week’s bow.

Fox was first for the night among 18-49s with a 3.1 average overnight rating and a 9 share. CBS was second at 1.8/5, NBC third at 1.5/4, Univision fourth at 1.4/4, ABC fifth at 1.2/4, and Telemundo and CW tied for sixth at 0.5/2.

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

At 8 p.m. Fox led with a 3.4 for "Factor," followed by CBS with a 2.2 for reruns of "The Big Bang Theory." Univision was third with a 1.6 for "Por Ella Soy Eva." ABC and NBC tied for fourth at 1.4, ABC for "Wipeout" and NBC for "SNL" (1.6) and "Night" (1.3). The CW was sixth with a 0.5 for a repeat of "The Vampire Diaries" and Telemundo seventh with a 0.4 for "Rosa Diamante."

Fox was first again at 9 p.m. with a 2.9 for "Glee," while NBC moved to second with a 1.9 for "Office" (2.1) and "Parks" (1.7). CBS was third with a 1.8 for repeats of "Two and a Half Men," Univision fourth with a 1.6 for "Abismo de Pasion," ABC fifth with a 1.3 for a "Grey's Anatomy" rerun," CW sixth with a 0.6 for "The Next" and Telemundo seventh with a 0.5 for "Corazon Valiente."

At 10 p.m. CBS took the lead with a 1.3 for a repeat of "Person of Interest," with NBC second with a 1.1 for "Rock Center with Brian Williams." ABC and Univision tied for third at 1.0, ABC for a repeat of "Scandal" and Univision for a special election forum with President Barack Obama. Telemundo was fifth with a 0.6 for "Pablo Escobar: El Patron del Mal" (0.8) and "El Rostro de la Venganza" (0.4).

Fox also finished first for the night among households with a 5.2 average overnight rating and an 8 share. CBS was second at 4.9/8, NBC third at 2.7/4, ABC fourth at 2.6/4, Univision fifth at 1.8/3, CW sixth at 0.9/1 and Telemundo seventh at 0.7/1.

http://www.medialifemagazine.com/limp-return-for-nbcs-thursday-sitcoms/

Emmy Notes
The Five Emmy Races I’m Most Excited For
By Matt Zoller Seitz , Vulture.com (New York Magazine) - Sep. 21, 2012

The annual Emmy telecast (ABC, Sept. 23, 8 p.m.) tends to be long and dull, but individual categories can be exciting if you’re pulling for certain people or shows. Here are the five Emmy races I’m most invested in.

Outstanding Actor in a Drama Series.
Nominees: Steve Buscemi, Boardwalk Empire; Bryan Cranston, Breaking Bad; Michael C. Hall, Dexter; Hugh Bonneville, Downton Abbey; Damian Lewis, Homeland; Jon Hamm, Mad Men

I’d be happy with any of these actors taking the top prize, particularly Damian Lewis, a journeyman character actor who’s given strong, understated performances since his breakthrough in HBO’s Band of Brothers back in 2001. But Jon Hamm really needs to win. Mad Men is a multifaceted, expansive drama that’s constantly at risk of devolving into art film chaos; the mix of alertness, arrogance, and terror that Hamm brings to Draper anchors it. That he’s never won just seems bizarre, even if he is constantly competing with Bryan Cranston, who has already taken this prize four times.

Outstanding Actress in a Drama Series
Nominees: Glenn Close, Damages; Michelle Dockery, Downton Abbey; Julianna Margulies, The Good Wife; Kathy Bates, Harry’s Law; Claire Danes, Homeland; Elisabeth Moss, Mad Men

Claire Danes is probably the front-runner here, and not only am I fine with that, I’ll be deeply irritated if she loses, even if the prize goes to Elisabeth Moss, who moved up to the Best Actress category for Mad Men. (I don’t think Moss was in the foreground quite enough to really qualify for this category, as Mad Men concentrated so much on Don and Megan this year, but that’s a subject for another column.)

Danes is one of the most emotionally accessible actresses around, and has been ever since My So-Called Life; her work on Homeland puts a scrim over that accessibility, so that you always know what she’s feeling but not necessarily why she’s feeling it. Her character, government profiler Carrie Mathison, is as slippery, even untrustworthy, as her quarry, Damian Lewis’s Brody. You root for her to succeed and be happy even though you can never quite get a read on precisely why she’s doing what she’s doing. It’s a difficult part, and she aces it.

Outstanding Actor in a Comedy
Nominees: Jim Parsons, The Big Bang Theory; Larry David, Curb Your Enthusiasm; Don Cheadle, House of Lies; Louis C.K., Louie; Alec Baldwin, 30 Rock; Jon Cryer, Two and a Half Men

This could be Louis C.K.’s year; his FX comedy Louie has been acclaimed as an auteur’s triumph since its debut, but the star hasn’t been recognized for his unaffected, low-key, mostly reactive performance until somewhat recently. But I’d like to see Larry David take the statuette, because he makes me laugh harder than anyone on TV, and without him and his great HBO series Curb Your Enthusiasm, Louie and other comedies of mortification would be unimaginable.

Outstanding Variety Series
Nominees: The Colbert Report; The Daily Show With Jon Stewart; Jimmy Kimmel Live; Late Night With Jimmy Fallon; Real Time With Bill Maher; Saturday Night Live

I really want The Colbert Report to take this category. It’s consistently more lively and surprising than The Daily Show because of the star’s elaborately imagined title character; it’s not just a hosting gig, it’s a performance, and the push-pull of Colbert as himself and Colbert as right-wing blowhard continues to fascinate.

Outstanding Movie or Miniseries
Nominees: American Horror Story; Game Change; Hatfields & McCoys; Hemingway & Gellhorn; Luther; Sherlock: A Scandal in Belgravia

This is another category where I won’t be crying foul if my favorite loses; these are all excellent programs. My money’s on History Channel’s miniseries Hatfields & McCoys, a brutal, sad, admirably controlled historical drama that reminded me a little bit of John Sayles’s 1987 classic Matewan. And I have a soft spot (in my head, baDUM-TSHHHHH!) for Philip Kaufman’s Hemingway & Gellhorn, a glossy, often very silly epic romance with some stirring, truly beautiful filmmaking.

But my heart is with American Horror Story, an anthology show that I didn’t know was an anthology show until … Oh, hell, I won’t spoil it for newbies. Suffice it to say the series is batshit crazy in a way that television very rarely is: a soap, a screeching psychodrama, a black comedy, a midnight movie, and about nine other things, too. It was the most original thing to air during the Emmy qualification period, on any network, in any category.

http://www.vulture.com/2012/09/seitz-the-five-emmy-races-im-most-excited-for.html

TV Sports/Business Notes
NFL Said to Have Deal With Time Warner for NFL Network
By Scott Soshnick, Bloomberg.com - Sep. 21, 2012

The National Football League reached agreement with Time Warner (TWC) Cable Inc. to carry the league-owned NFL Network and RedZone Channel, two people with direct knowledge of the situation said.

The multiyear accord may be announced later today, according to the people, who were granted anonymity because the contract hasn’t been signed. New York-based Time Warner, the second-largest U.S. cable company with about 12 million subscribers, had been the only major cable provider without the NFL Network.

It isn’t known when the channels will appear on Time Warner systems, one of the people said. NFL Network will show the Cleveland Browns at the Baltimore Ravens on Sept. 27.

“It was inevitable,” cable television consultant Lee Berke said in a telephone interview. “Once the other carriers have it, then it would’ve put Time Warner at a competitive disadvantage.”

The agreement comes about a month after the most-watched U.S. sports league reached agreement with Cablevision Systems Corp. to carry the two channels.

According to one of the people, NFL Network will be placed on Time Warner’s digital basic tier, while RedZone will join the carrier’s Sports Pass, which includes NHL Network and Tennis Channel.

NFL Network airs 13 primetime regular-season games. RedZone is a game-day network that shows touchdowns and important plays inside the 20-yard line.

Time Warner spokeswoman Maureen Huff declined to comment. NFL spokesmen Brian McCarthy and Dan Masonson didn’t immediately return e-mails and phone calls seeking comment on whether an agreement had been reached.

http://www.bloomberg.com/news/2012-09-21/nfl-said-to-have-deal-with-time-warner-for-nfl-network-redzone.html

TV Notes
‘Battlestar Galactica’s Ron Moore To Adapt ‘A Knight’s Tale’ As Drama Project For ABC
By Nellie Andreeva, Deadline.com - Sep. 21, 2012

EXCLUSIVE: A Knight’s Tale, the 2001 feature starring Heath Ledger, is headed to the small screen in a series adaptation written by Battlestar Galactica developer/executive producer Ron Moore. ABC has bought the project, from Sony Pictures TV, with a script commitment.

The Knight’s Tale feature was a 14th century romantic adventure set in the world of jousting to a music score of popular rock songs that centered on William Thatcher (Ledger), a peasant posing as a knight. (See the original tralier below.) The series is expected to stay close to the premise and the style of the movie — it is described as a medieval fantasy incorporating modern music and themes that follows the journey of a young man who starts out impersonating a knight of the realm and ends up becoming one. In addition to writing, Moore is executive producing with his producing partner at Tall Ship Prods. Maril Davis as well as the film’s writer-director-producer Brian Helgeland and producer Todd Black. The title is part of the Sony library as the movie, which featured Ledger in his first lead role, was produced by Columbia Pictures. It was a worldwide box office success, turning the 22-year-old actor into a movie star.

For CAA-repped Moore, the project stems from his new overall deal with Sony TV he inked in March. At ABC, A Knight’s Tale would be a good fit for hit Once Upon A Time and other fantasy dramas the network has in development for next season, including A Kingdom Far Away from feature writer Justin Marks and di Bonaventura Television. Meanwhile, Sony TV is behind another series adaptation of a hit movie, Beverly Hills Cop, which has a pilot production commitment at CBS with Shawn Ryan writing/exec producing and Eddie Murphy exec producing and potentially recurring.

http://www.vulture.com/2012/09/seitz-the-five-emmy-races-im-most-excited-for.html

TV/Business Notes
'I Love Lucy' still a cash cow for CBS
By Joe Flint, Los Angeles Times' 'Company Town' Blog - Sep. 20, 2012

The last new episode of "I Love Lucy" was broadcast over 50 years ago, but the classic sitcom is still a cash cow for CBS.

Speaking at Goldman Sachs Communacopia Conference in New York on Thursday, CBS Chief Executive Leslie Moonves said "I Love Lucy" is still delivering about $20 million in revenue. Reruns of the show still run on a regular basis on the cable channel TV Land.

During much of the interview, Moonves stressed the value of CBS' new and old content, particularly as new platforms such as Netflix and Amazon are spending heavily for product.

"The world is a beautiful place, we're going to get paid more and more and more," Moonves said.

That said, CBS is still more conservative than other programmers when it comes to selling content to online streaming services and Moonves does not plan on changing that strategy. For example, ABC parent Walt Disney Co. recently sold the first seasons of its dramas "Revenge," "Scandal" and "Once Upon a Time" to Netflix. CBS does not sell episodes of any series currently on its air to a streaming service out of fear that it could hurt potential rerun sales down the road.

"Syndication is still the big dog here versus the online stuff," Moonves explained. One key reason CBS takes that approach is that its dramas such as "NCIS" and "CSI" have sold very well in syndication in part because the shows are not serialized but rather self-contained. Serialized shows such as "Revenge" don't traditionally sell well in syndication but are popular on services such as Netflix where viewers can consume several episodes at once.

Heading into the fall season, Moonves said he expects CBS to again finish first in viewers. The network, which also has the Super Bowl this season, is also predicted to lead the way in the key 18-to-49 demographic. Despite that, CBS doesn't always get the same critical attention that other networks receive.

"We are the least-sexy network, we get less buzz," he said, quickly adding, "all we do is get more viewers and more money."

Moonves said he would be interested in acquiring a general entertainment cable channel to complement CBS' assets but didn't see any deals in the near future because the price tag would likely be too high.

"We’re not going to take our money and spend it in a silly manner," he said.

http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-cbslucy-20120920,0,2434164.story

Well, with the enormous success of "Cop Rock", I foresee a huge hit with this one.

It's not a musical. It's just a medieval tale that was made cooler/dumber for the kids by having a contemporary rock soundtrack and comedy dialog.

BBC's Merlin with a soundtrack by Queen.

I know, but it was the most stupid TV show I could think of that tried using popular music - but ended up doing so in an uncomfortable way.

Meanwhile Charter makes you pay $10 a month for access to it.

^^^ Don't fear, someway/somehow we TWC slaves will be paying for it... dearly and through the nose.

No what it will do is lead people to pirate those shows and CBS gets NADA. As far as Lucy still making money. Kind of shows how whacked our copyright laws are. CBS will still have copyright of those shows for another 30-35 years. Of course by then CBS and Disney et al will pay off enough members of Congress to extended copyright from 95 to 120 years or more. Should my future college aged great grandchildren really have to pay for access to Lucy?

Well in that case I feel much better

Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 22, 2012

SHOGUN
Encore, 8:00 p.m. ET
Conclusion. If you’ve been watching all week, this is the payoff. If you haven’t, you should have been. And this is the big ending with the showdown at Osaka Castle, and with Anjin-San (Richard Chamberlain) battling side-by-side with Toranaga (Toshiro Mifune).

GILDA
TCM, 8:00 p.m. ET
Glenn Ford is putty in the gloved hands of Rita Hayworth’s Gilda in this 1946 romantic melodrama – and who can blame him? You can put the blame on Mame if you want – but it’s Hayworth, singing that song, who casts the spell that proves so potent.

DOCTOR WHO
BBC America, 9:00 p.m. ET
Rubik is not to blame here, but tonight the Doctor (Matt Smith) and his companions are confronted by some mysterious cubes. They’re less harmless than they seem – but on this entertaining series, isn’t everything?

CHRIS ROCK: BIGGER AND BLACKER
Comedy Central, 10:00 p.m. ET
From 1999, this is one of the early Chris Rock specials for which he prepared like a heavyweight, coming out with all-new material and determined to land an early knockout punch. Which, by the way, he does.

SATURDAY NIGHT LIVE
NBC, 11:29 p.m. ET
The last time Joseph Gordon-Levitt showed up to guest host, he came with an impressive amount of energy, and a willingness to do a lot more than might have been expected of him. Now that he’s set his personal bar so high, the writers should respond in kind, making this a potentially strong outing. Musical guests: Mumford & Sons.

http://www.tvworthwatching.com/

Critic's Notes
Star judges like Christina Aguilera and Demi Lovato are eclipsing new talent on competition shows
By David Hinckley, New York Daily News

We get that producers of TV talent singing competitions have decided their ticket to victory is big-name star judges.

We just don’t get why.

To explain our skepticism, there’s no need to look any further than Carly Rose Sonenclar, the 13-year-old who stopped the show on “X Factor” last week with Nina Simone’s “I’m Feeling Good.”

The scramble for star judges has been under way for a while. “The Voice” launched with four of them — Christina Aguilera, Cee Lo Green, Adam Levine and Blake Shelton — while “American Idol” was raising the bar from Ellen DeGeneres to Jennifer Lopez and Steven Tyler.

When J.Lo and Tyler left, “Idol” recruited Mariah Carey, to whom it has now added Nicki Minaj and Keith Urban.

Meanwhile, “X Factor” clearly decided part of the reason for its disappointing first season is that it needed judges with more star power. So it spent millions on Britney Spears and Demi Lovato.

Not to be outdone, “The Voice” interrupted its own third cycle this week to announce that in the fourth cycle, Aguilera and Green will be replaced by Usher and Shakira.

Stop. Just stop.

The reason “Idol” became a phenomenon a decade ago is not that we loved watching Paula Abdul pick up a Coke cup. It’s because we became engaged with the contestants.

We rooted for Kelly Clarkson, the waitress, and for Carrie Underwood. We lined up with Ruben Studdard or Clay Aiken. We wondered how far Adam Lambert could get. We gnashed our teeth that a golden voice wasn’t enough for Melinda Dillon.

“Idol” gave us good stories and fresh, engaging characters, and that’s still the surest road to success. Carly Rose Sonenclar’s audition on “X Factor” last week created the moment for which these shows live.

We don’t watch because we still get teary-eyed over “Hero.”

Okay, it’s no mystery why the shows think they need a new coat of paint. As the field gets more crowded and the novelty wears off, their audiences are getting smaller and — just as worrisome — older.

Last year’s “Idol” finale drew 25% fewer viewers than the year before. Its average audience fell below 20 million for the first time since its first season, and its share of 18- to 49-year-olds, the viewers networks sell to advertisers, fell 30%.

“The Voice” started this season with 11-12 million viewers, down from last season’s average of 15.7 million. The number went up this week, but it’s still off 30%-40% from last season’s opener among 18-49s.

“X Factor” opened this year with 8.7 million viewers, down from last year’s opening of about 12.5 million.

Maybe the producers are right. Maybe more stars is the way to stop this erosion.

But it seems even more likely that focusing a show’s attention on the judging table turns the contestants into afterthoughts — and could turn the show into yesterday’s news.

http://www.nydailynews.com/entertainment/tv-movies/star-judges-christina-aguilera-demi-lovato-eclipsing-new-talent-competition-shows-article-1.1162948/

I can't remember the last time 3 broadcast networks aired college football in primetime at the same time.

Yep, really stupid IMO - they put the best games of the day head-to-head in primetime instead of spacing them out through the day. They're just begging for people to channel flip when commercials come on.