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post #82441 of 87879
TV/Business Notes
NBC Unpacks Trove of Data From Olympics
By Amy Chozick, The New York Times - Sep. 26, 2012

afternoon in early August, a 41-year-old working mother in Los Angeles didn’t get much work done.

Instead, she watched the London Olympics on television. She went to NBC’s Web sites to stream the competitions, which that day included badminton, beach volleyball, tennis, cycling, judo and gymnastics. She watched swimming live on her tablet and chatted with friends about the Games on Twitter and Facebook. The only time that day she was not engaged in something related to the Olympics was when she appeared to be in the car — or asleep.

She was one of more than 50,000 participants in a dozen studies conducted by Comcast’s NBCUniversal unit as part of its so-called Billion Dollar Research Lab. The research did not cost $1 billion, but NBCUniversal paid more than four times that sum in 2011 to broadcast the Olympics through 2020. As part of that giant tab, the media company gets an exceptional opportunity to study viewers’ behavior.

The findings of the studies, shared with The New York Times, revealed vast shifts in the way people watched the Games this year compared with the Olympics in Vancouver in 2010 and in Beijing in 2008, and they offered insight into how television will further evolve into a multiplatform experience.

Think of it as the world’s largest “sandbox” in which media researchers can play, said Alan Wurtzel, president of research and media development at NBCUniversal. “It gives us a glimpse into the future.”

Mr. Wurtzel, whose office at 30 Rock in Manhattan is decorated with a brick-size cellphone and an antique calculator the size of a typewriter, among other relics, walked through 60 pages of charts and statistics. He will unveil the findings to advertisers next week at the American Marketing Association conference in Las Vegas and during an event related to Advertising Week in New York.

For research wonks there’s no event quite like the Olympics. Roughly 217 million people in the United States watched the London Games, making it the most watched television event in history. And unlike other big, live events like the Super Bowl or the Academy Awards, the Olympics offer researchers a prolonged, 17-day period during which to study behavior.

That sandbox showed that eight million people downloaded NBC’s mobile apps for streaming video, and there were two billion page views across all of NBC’s Web sites and apps. Forty-six percent of 18- to 54-year-olds surveyed said they “followed the Olympics during my breaks at work,” and 73 percent said they “stayed up later than normal” to watch, according to a survey of about 800 viewers by the market research firm uSamp.

Forty-six percent said they “delayed doing laundry and other household chores” to catch events like gymnastics, where the United States inched out a win over Russia and Romania for the gold, and swimming, where Michael Phelps narrowly came in second in the men’s 200-yard butterfly.

NBC will work its Olympics lab results into its advertising sales pitch. One study measured viewers’ recollections of 56 brands. The brands advertising during the coverage, especially if the ads were in some way related to the Olympics, registered better recall. Seventy-six percent of respondents said they “enjoyed watching commercials during the Olympics that are tied in some way to the Games.”

* * * *

The results signaled vast changes from just two years ago in Vancouver, when tablets and mobile video streaming were still in their infancy. The two most streamed events on any device during the London Olympics, the women’s soccer final and women’s gymnastics, surpassed all the videos streamed during the Vancouver Olympics combined.

The growing number of viewers who own tablets will only lead to more streaming. “That’s clearly a glimpse of where tablets are going,” Mr. Wurtzel said. Thinking ahead to the Winter Olympics in Sochi, Russia, in 2014 and to the Summer Games in Rio de Janeiro in 2016, he added: “All bets will be off as the price of tablets goes down.”

But perhaps the most important results for NBC’s business interests were its findings that the deluge of online viewing options did not cannibalize the coveted prime-time audience, Mr. Wurtzel said.

The findings won’t just inform the future, they also helped steer coverage as it happened. After nightly ratings showed that live streaming of events didn’t erode the prime-time ratings, NBC shifted course.

“To our great happiness we learned the digital experience was enhancing the TV experience, so we made the decision to stream the closing ceremony live,” said Mark Lazarus, the chairman of NBC Sports Group. NBC had not streamed the opening ceremony.

NBCUniversal joined forces with 16 research partners — including Omniture, Google, Arbitron and the GfK Group — to conduct daily consumer interviews and to track online and television viewing, among other measures.

In one study with comScore, 720 “Olympics enthusiasts” surveyed said they had spent 89 percent of their time watching television. People who tuned in using four devices — a TV, tablet, personal computer and smartphone — spent more time each day watching the Games, a total of five hours and 34 minutes, than viewers who watched only on TV, who logged three hours and 12 minutes.

* * * *

Before the Games, Mr. Wurtzel predicted that London would be “the first social Olympics,” and he said that proved to be the case. In a study conducted with Bluefin Labs, NBC counted 83 million Olympics-related comments on social media sites, or about 4.9 million comments a day.

Ninety-nine percent of that chatter took place between 7 p.m. and midnight, when flagship events like Gabby Douglas’s gold medal victory were broadcast on a time delay in the evening when viewers were home.

Social media banter wasn’t always positive. NBC’s social media measures counted a wave of Twitter criticism. Using the hashtag #NBCFail, a relatively small but vocal group of viewers protested the network’s strategy of broadcasting big events on a time delay.

Mr. Lazarus said Mr. Wurtzel’s Olympics findings had inspired NBC Sports to make more of its live sports events, like National Football League games, available to stream through an authentication model that prompts users to prove they are cable subscribers before they can watch.

“We’ll use this information to inform what we do for every sports product we have on air,” Mr. Lazarus said.

http://www.nytimes.com/2012/09/26/business/media/nbc-unpacks-trove-of-viewer-data-from-london-olympics.html?ref=technology&_moc.semityn.www
post #82442 of 87879
Quote:
Originally Posted by dad1153 View Post

10:00PM - Revenge (Season Premiere)

Technically not the premiere, which is Sunday. This is a recap show, which isn't even produced by ABC Studios.
post #82443 of 87879
Quote:
Originally Posted by mrvideo View Post

True. But viewers know that newspieces are recorded.
The problem with this show is that they are trying to pass off the whole show as being live. The really live segments even go so far as to "throw" it to a taped segment. No where at the beginning of the show to they put up some text saying "some segments pre-recorded." They do that with new Jimmy Kimmel shows by putting up "Recorded earlier."
I'll have to look at the closing credits to see if there is a disclaimer. Nope, no disclaimer. I don't have the beginning, so I can't check that, but do not remember there being one.
I see plenty of news shows "throwing" to taped pieces - and taped pieces throwing back as if it's all live.

This is nothing new.

In fact, it's been done far worse on local news channels that somehow have "live remote" shots without even owning a remote trucks.

I'm not sure why this particular case bothers you so much when there have been far, far worse examples in the past and will also be in the future.
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Local news? Do you mean the sensationalistic "Murder/Amber Alert" report or the "serious" informercials that feature retired, but respected newsreaders from that station?
post #82445 of 87879
Quote:
Originally Posted by NetworkTV View Post

I see plenty of news shows "throwing" to taped pieces - and taped pieces throwing back as if it's all live.
This is nothing new.
No kidding. To me, "live" means covering a live event. If you have to shift a few interviews just to catch celebs while you can, that's still a live event. If the piece was recorded last Tuesday, then it's not. Nobody argues that the NFL is a live show, but half the time we're watching replays or viewing a sideline interview that actually happened while they were in commercial. The event or program as a whole was happening as the coverage was. That, to me, and for legal purposes, is live.

The Disney Thanksgiving Day Parade, which is usually recorded weeks in advance, is not.
post #82446 of 87879
Quote:
Originally Posted by dad1153 View Post

Q&A
ABC's 'The Neighbors': The Story Behind Fall's Craziest New Show
They forgot one part of the story: How the hell it got greenlit.
Quote:
JAMI GERTZ (human Debbie Weaver) I was sitting by myself at home, laughing out loud, which rarely happens during pilot season.

I'd like Jamie to point to the part of the script that had her laughing out loud. I've seen the pilot and I'm betting whatever it was, it's on the cutting room floor.

If it makes it to Halloween, I'll be totally shocked.
post #82447 of 87879
that bad.. huh doc?
Quote:
Originally Posted by DrDon View Post

They forgot one part of the story: How the hell it got greenlit.
I'd like Jamie to point to the part of the script that had her laughing out loud. I've seen the pilot and I'm betting whatever it was, it's on the cutting room floor.
If it makes it to Halloween, I'll be totally shocked.
post #82448 of 87879
Quote:
Originally Posted by DrDon View Post

They forgot one part of the story: How the hell it got greenlit.
I'd like Jamie to point to the part of the script that had her laughing out loud. I've seen the pilot and I'm betting whatever it was, it's on the cutting room floor.
If it makes it to Halloween, I'll be totally shocked.
I was tempted to check this out, but figured all the territory had been covered better in "3rd Rock from the Sun".

My guess, the fallback jokes for this type of shows will be things like embarrassing differences in anatomy, misunderstandings of pop culture and odd names of characters with double meanings like Willie Johnson and Pixie Durst. There will have to likely be frequent references to famous people who are also aliens.

The Halloween episode will, of course, allow them to go out in their normal forms...
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Quote:
Originally Posted by jim tressler View Post

that bad.. huh doc?
I'd stake a case of beer on it. This makes "Mr Sunshine" look highbrow.
Quote:
Originally Posted by NetworkTV View Post

I was tempted to check this out, but figured all the territory had been covered better in "3rd Rock from the Sun".
My guess, the fallback jokes for this type of shows will be things like embarrassing differences in anatomy, misunderstandings of pop culture and odd names of characters with double meanings like Willie Johnson and Pixie Durst. There will have to likely be frequent references to famous people who are also aliens.
The Halloween episode will, of course, allow them to go out in their normal forms...
You're right with all but the Halloween part. I don't expect the show will GET that far.

Then, again, I'm shocked "Bob's Burgers" is still on.
post #82451 of 87879
Never overestimate the taste of the average American televiewer. It'll probably be a smash hit. How many years has 'Jersey Shore' darkened our airwaves (er, cablewaves)...?
post #82452 of 87879
Quote:
Originally Posted by archiguy View Post

Never overestimate the taste of the average American televiewer. It'll probably be a smash hit. How many years has 'Jersey Shore' darkened our airwaves (er, cablewaves)...?
VERY true. But I remember panning "How To Be A Gentleman" before ITS first episode aired and I found that more entertaining than this.
post #82453 of 87879
Quote:
Originally Posted by mrvideo View Post

Technically not the premiere, which is Sunday. This is a recap show, which isn't even produced by ABC Studios.
Got it, it's fixed. Thanks.smile.gif
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TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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Nielsen Overnights (18-49)
CBS wins Tuesday with ease over NBC
Averages a 3.3 in 18-49s, led by the night's top show, 'NCIS'
By Toni Fitzgerald, Media Life Magazine - Sep. 26, 2012

As readers predicted, CBS won the first Tuesday of the new TV season, and the glut of sitcoms at 9 p.m. struggled to distinguish themselves.

And that’s before ABC adds two more comedies to the hour next month.

CBS won the night with a 3.3 adults 18-49 rating and 9 share, according to Nielsen overnights, well ahead of No. 2 NBC, which averaged a very solid 2.7/8, continuing its strong start to the season.

CBS drama “NCIS” was the night’s highest-rated show with a 4.1 at 8 p.m. The program, now in its 10th season, was off only 5 percent from last fall’s premiere.

CBS won every hour of the night, with “NCIS: Los Angeles” dominating its timeslot with a 3.4, down 6 percent from last year, and new drama “Vegas” drawing a 2.5 at 10 p.m.

That’s a decent number when compared with how other 10 p.m. shows have fared of late, though it’s down from the 2.9 “Unforgettable” averaged in the same timeslot last fall.

As for the comedies, Fox’s “New Girl” averaged a 2.7 at 9 p.m., even to its spring finale though way off from last year’s 4.8 for its premiere. “Girl” also drew a 2.7 for a special 8 p.m. episode.

NBC’s “Go On” drew a 2.7 as well in the same timeslot. That was down 21 percent from last week, when it aired against little competition. But it’s probably enough to secure a full-season order soon for the Matthew Perry comedy, which improved on last year’s timeslot occupant by 13 percent.

Fox did pull ahead of NBC at 9:30 p.m. with a 2.4 for the series debut of “The Mindy Project,” a so-so start. The show retained 89 percent of “Girl’s” lead-in, but it finished third in its timeslot behind “NCIS: LA” and ABC’s “Dancing with the Stars.”

The other 9:30 comedy, NBC’s “The New Normal,” lost 26 percent of “Go’s” lead-in and fell to a 2.0, its lowest rating in three outings.

Earlier in the night, Fox’s other new comedy, “Ben and Kate,” bowed to a 2.0, third in its timeslot behind “NCIS” and “The Voice.”

NBC’s singing competition continued to do well despite falling from last week’s 4.7. It averaged a 4.0 at 8 p.m., the night’s second-highest-rated show, and pushed NBC to second for the night.

ABC’s “Dancing with the Stars,” the night’s other reality show, saw more declines following Monday’s debut. Last night the two-hour show managed just a 2.0, down 31 percent from last fall.

That undoubtedly hurt lead-out “Private Practice,” which managed just a 1.9 at 10 p.m., though it was up from last spring’s finale.

With CBS in first and NBC second, Fox finished third in primetime at 2.5/7, ABC fourth at 2.0/6, Univision fifth at 1.5/4, Telemundo sixth at 0.5/1 and CW seventh at 0.2/1.

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

At 8 p.m. CBS led with a 4.1 for "NCIS," followed closely by NBC with a 4.0 for "Voice." Fox was third with a 2.4 for a new "Girl" (2.7) and "Kate" (2.0), ABC fourth with a 1.7 for "Stars," Univision fifth with a 1.5 for "Por Ella Soy Eva," Telemundo sixth with a 0.4 for "Rosa Diamante" and CW seventh with a 0.2 for a repeat of "Hart of Dixie."

CBS was first again at 9 p.m. with a 3.4 for "NCIS: LA," while Fox moved to second with a 2.6 for "Girl" (2.7) and "Mindy" (2.4). ABC and NBC tied for third at 2.4, ABC for more "Stars" and NBC for "Go" (2.7) and "Normal" (2.0), with Univision fifth with a 1.7 for "Abismo de Pasion," Telemundo sixth with a 0.6 for "Corazon Valiente" and CW seventh with a 0.2 for "The Next."

At 10 p.m. CBS was first with a 2.5 for "Vegas," with ABC second with a 1.9 for "Practice." NBC was third with a 1.8 for "Parenthood," even to last week. Univision finished fourth with a 1.4 for "Amor Bravio" and Telemundo fifth with a 0.6 for "Pablo Escobar: El Patron del Mal" (0.8) and "El Rostro de la Venganza" (0.4).

CBS was also first for the night among households with a 10.6 average overnight rating and a 17 share. ABC was second at 6.7/11, NBC third at 4.7/7, Fox fourth at 3.0/5, Univision fifth at 2.0/3, Telemundo sixth at 0.7/1 and CW seventh at 0.4/1.

http://www.medialifemagazine.com/cbs-wins-tuesday-night-with-ease-over-nbc/
post #82456 of 87879
Quote:
Originally Posted by archiguy View Post

Never overestimate the taste of the average American televiewer. It'll probably be a smash hit. How many years has 'Jersey Shore' darkened our airwaves (er, cablewaves)...?

It is sad, very sad. mad.gif
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TV Notes
The CW Renews 'Oh Sit!' and 'Breaking Pointe'
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Sep. 26, 2012

The CW will continue to play musical chairs.

After seeing its best reality debut in a year, the network has given a second season order to Oh Sit! and fellow unscripted freshman Breaking Pointe. Network president Mark Pedowitz announced the renewals Wednesday, though premiere dates will be announced at a later time.

Oh Sit!, the network's late-summer ratings winner, has earned as high as a 0.5 rating among adults 18-49. It's also been able to retain its recent demo (0.4 adults rating) hold despite recent competition from The Voice and The X Factor. The intense version of musical chairs, which pits 12 competitors in an obstacle course version of the children's game, is created and executive produced by Phil Gurin, Richard Joel and Deena Dill. It's produced by The Gurin Company and 405 Productions in association with Warner Horizon Television.

Breaking Pointe, which debuted earlier in the summer, is docu-drama about a Salt Lake City ballet studio and the young men and women trying to make dance their career. It's produced buy Dancing With the Stars' Izzie Pick Ashcroft and Jane Tranter of BBC Worldwide Productions.

Summer debuts that have yet to be given a green light for future installments are The Catalina and The Next, the latter of which concludes its freshman season on Oct. 4.

http://www.hollywoodreporter.com/live-feed/cw-renews-oh-sit-breaking-pointe-374382
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Update
Sherman Hemsley's Long Journey to the Grave Delayed by DNA Test
By Tim Kenneally, TheWrap.com - Sep. 26, 2012

"The Jeffersons" star Sherman Hemsley won't be moving on down, into the ground until at least November, it appears.

In the latest development in a protracted legal saga that began after the former sitcom star's death, a judge has ordered a man claiming to be Hemsley's brother to undergo a DNA test, the Associated Press reports.

Also read: Sherman Hemsley Still in Cold Storage a Month After Death

The claim of fraternity has prevented the actor's burial, more than two months after his death.

Philadelphia resident Richard Thornton, Hemsley's self-professed sibling, is contesting the actor's will, which left Hemsley's estate to his longtime manager, Flora Enchinton.

The trial over Hemsley's estate has now been rescheduled to begin Oct. 31. In the meantime, Hemsley's body is being kept in cold storage at an El Paso funeral home until the dispute is resolved.

Court papers put Hemsley's estate at more than $50,000.

Hemsley died of lung cancer at age 74 on July 24 in El Paso, Texas, where the actor had lived for the past two decades. He was born in Philadelphia, but Enchinton told the Associated Press last month that she had never heard Hemsley mention any relatives in the past.

http://www.thewrap.com/tv/article/sherman-hemsleys-long-journey-grave-delayed-dna-test-58096
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Nielsen Notes (Cable)
‘Boss’ Rebounds, ‘Haven’ Up In Return
By Nellie Andreeva, Deadline.com - Sep. 26, 2012

Starz’s drama Boss, which recently received an endorsement from Oprah Winfrey, drew a total of 1.2 million viewers last weekend. That was up 20% from the previous weekend and a bit over the show’s second season premiere.

Airing against Boss in the Friday 10 PM slot, the season three premiere of Syfy‘s Haven averaged 2.0 million total viewers, up 6% from the July 2011 Season 2 premiere, and 899,000 adults 25-54, up 13% and the series’ best delivery in that demo in two years.

http://www.deadline.com/2012/09/boss-rebounds-haven-up-in-return/
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TV Review
CBS' "Elementary" imagines a contemporary Sherlock Holmes
By Joanne Ostrow, Denver Post

The backbone of "Elementary," the Sherlock Holmes adaptation debuting this week, is pure CBS crime procedural.

The rest of it — the quirky attitudes, the peculiar asexual tension, the difficult central character — are a bit of a reach for the "CSI" network.

In this umpteenth remake of the timeless sleuth's tale, Holmes (played by Jonny Lee Miller) has been shipped to New York by his British tycoon father. There, Sherlock and Dr. Jane Watson (Lucy Liu) crack the cases the NYPD can't and, in the pilot, exhibit an awkward chemistry meant to keep viewers off balance.

Purists will miss the trappings of 221B Baker Street. But "Elementary," premiering Thursday at 9 p.m. (10 p.m. ET/PT) on Channel 4, is appealing on several counts. Count No. 1 is Miller.

Miller ("Trainspotting") is riveting as the brilliant oddball, whether putting his nose to work in carpet fibers or deducing outcomes that are evident only to his dazzling brain.

In this interpretation, Holmes and Watson are both damaged souls in need of rehab. She is a disgraced surgeon; he battles addiction. She has been hired to monitor him through detox; he wants no part of her help.

If they can tolerate each other long enough, they may begin to heal, even as they solve seemingly impossible cases.

Miller plays a gritty, unapproachable Holmes, a more deeply troubled character than his friend Benedict Cumberbatch created in the wonderful PBS "Sherlock." The CBS version puts an emphasis on the character's addiction (Holmes' cocaine use is mentioned but not highlighted in the original stories), which gives it a darker tone.

Both Sherlock's father and his nemesis, Moriarty, are set to turn up in coming episodes.

Producer Rob Doherty sees his Sherlock as having more of a moral compass than some incarnations of the character. Whereas some depictions have cast him as a sort of sociopath who cares about nothing except being right, this Sherlock has a sense of justice: "Something terrible happened to him in London. He spiraled out of control," Doherty told critics this summer.

"And I think ... our Sherlock has emerged with what I think is, at his core, just a tiny kernel of self doubt where one previously never existed." He is driven to solve puzzles, but "at the end of the day, he believes in justice."

The gender-blind and color-blind casting of the Watson role adds another new element to the chemistry, although Sherlock is awkward no matter who he's relating to. The fact that this Watson is a female is just another wrinkle.

The challenge for "Elementary" will be to honor Sir Arthur's Conan Doyle's original material while going somewhat darker — and to avoid becoming just another American TV detective hour.

http://www.denverpost.com/television/ci_21584896/cbs-elementary-imagines-contemporary-sherlock-holmes
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TV Review
Promising 'Last Resort' could easily go overboard
By Robert Bianco, USA Today - Sep. 26, 2012

For the crew of the nuclear submarine USS Colorado to survive, cooler heads will have to prevail.

Admittedly, the prospects of TV survival for Last Resort (★★★ out of four; ABC, Thursday, 8 ET/PT) grow a bit less likely next week, with an off-kilter second episode that crosses from hyperbole to hysteria. But Thursday's more-promising launch of this taut conspiracy/adventure carries off one of the season's riskiest and most intriguing premises in much more promising fashion -- and as promise is in limited supply this season, let's just assume the first outing is more indicative of where this sub is sailing.

Created by Karl Gajdusek and The Shield's Shawn Ryan, who knows something about risks and about keeping complicated conspiracy series afloat, Last Resort is a convincingly produced thriller with more than action on its mind.

VIDEO:See a clip of 'Last Resort'

As a constitutional crisis roils Washington, American sub captain Marcus Chaplin receives a mysterious order to launch a nuclear weapon against Pakistan. When he asks for a more formal confirmation, his sub is attacked by our own Navy -- forcing him and his crew to seek refuge at a remote island until they can figure out who is behind the conspiracy and how they can prove they're heroes rather than traitors.

That's a lot for one pilot to ask, as it requires us to accept that some rogue arm of our government would nuke Pakistan and attack one of our own subs while also asking us to believe that one man could persuade his crew to follow him into exile.

While the first part is still up for debate, the second hurdle proves to be easily surmounted. All it took was turning the captain's role over to Andre Braugher, a terrifically capable actor who exudes such wry intelligence and steely authority, you immediately believe that most of his men and women would follow him anywhere.

Will we? Well, it helps that he's getting strong support from Scott Speedman, who is making a welcome leading-man return to TV as Marcus' second in command, and that many of his adventures will play out against a lush landscape (with Hawaii supplying visual splendor, as it did for Lost).

The show also has a wide range of stories at its command: the mystery playing out in Washington; the internal fights among the crew; the split opinions of the islanders; and Marcus' chess game with his adversaries. And don't discount the appeal of that sub, which adds a high-tech edge of claustrophobia.

Still, this is a show walking a tightrope, and next week it falls off, as the relative restraint of Thursday's pilot is thrown over for an overdose of melodrama. Too many performances become too broad (whether it was his choice or the director's, the last thing this show needs is Robert Patrick chewing the scenery as the sub's master chief), and too much of what happens in Washington raises concerns that the conspiracy plot is going to spiral out of control, as has happened in so many other shows.

If you want us to stay onboard, you'd better calm the waters.

http://www.usatoday.com/life/tv/story/2012/09/26/promising-last-resort-could-easily-go-overboard/57846186/1
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TV Notes
'Honey Boo Boo' gets more episodes
By James Hibberd, EW.com's 'Inside TV' Blog - Sep. 26, 2012

TLC is breeding more episodes of Here Comes Honey Boo Boo.

While stopping shy of an (inevitable) second season order, the network just announced additional editions of the unlikely breakout hit. While TLC is remaining quiet on how many episodes, exactly, will be unleashed on the general public, the network will reveal there are three holiday specials (or, as the network’s press release calls them, “HOLLAday specials”). TLC will air a Halloween, Thanksgiving and Christmas episode (presumably in that order).

“Here Comes Honey Boo Boo has become a pop culture phenomenon,” said Amy Winter, general manager of TLC. “What you see is what you get and we are excited to share even more of Alana and her family’s unbridled hilarity, sincerity and love with our viewers.”

The show has averaged 2.3 million viewers so far.

http://insidetv.ew.com/2012/09/26/tlc-orders-more-honey-boo-boo/
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TV Notes
Andy Williams, a TV Star When Variety Shows Were Just Hanging On
By Bill Carter, The New York Times' 'Media Decoder' Blog - Sep. 26, 2012

Andy Williams, who died Wednesday at the age of 84, was mostly known for his mellow crooning style but he was, for much of the 1960’s, well traveled in the declining genre called the variety show.

“The Andy Williams Show,” appeared in various forms, and for various networks — Mr. Williams had shows on each of the three broadcast networks during his career. He started with summer series first on ABC in 1958, and then on CBS in 1959, but he was best known for his initial five-year run on NBC.

None of the shows was ever a significant hit, which probably accounted for its many different locations on the television schedule. The NBC show alone played on Thursday night, Tuesday night, Monday night and Sunday night. And it never cracked the top 30 rated shows on television. Despite that, he won three Emmy Awards over the years for outstanding variety series.

The program, which also introduced the Osmond Brothers to big-time show business, came in an era when many variety shows built around mainstream singers, like Perry Como and Dinah Shore, were fading from television. Mr. Williams’s second NBC entry made an effort to be more contemporary, with a psychedelic set and music guests that rocked a bit more than the Osmonds (the Bee Gees and Creedence Clearwater Revival were booked, though Liberace and, yes, the Osmonds, also appeared). By that time, the variety genre had shifted mainly to comedy stars like Carol Burnett.

Later, Mr. Williams mainly stuck to popular Christmas specials, which also helped him sell a lot of albums.

http://mediadecoder.blogs.nytimes.com/2012/09/26/andy-williams-a-tv-star-when-variety-shows-were-just-hanging-on/?ref=television
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TV Notes
The End of NBC's Golden Age of Weird - the Thursday Comedies
By Tim Molloy, TheWrap.com - Sep. 26, 2012

It looks like the end of an era for NBC's Thursday comedies -- simultaneously the smartest and dumbest shows on television.

That's a compliment. For years, "30 Rock," "The Office," "Community" and "Parks and Recreation" have brought to primetime Thursday the kind of smart-stupid absurdist comedy that David Letterman and Conan O'Brien developed in late night.

You never knew if the next joke would be about geopolitics or goofy animals. Sometimes the political joke was deliberately dumb and the animal joke head-scratchingly smart.

Never in primetime have the two dueling forces of wit and stupidity met so beautifully.

But this is the last season for "The Office" and "30 Rock," and "Community" has already been shuffled to Fridays because of chronically poor ratings. With its new crop of shows, NBC seems to be backing away from its critically adored mix of smart and stupid and going after ratings.

It is keeping the animals. But not the jokes about North Korea.

"I think we're going to transition with our comedy programs and try to broaden the audience," entertainment chairman Bob Greenblatt told reporters over the summer. "Those Thursday comedies, which the critics love and we love, tend to be a bit more narrow than we want going forward."

The network's new hopes include "Animal Kingdom," about a wacky veterinary hospital, and "Guys With Kids," about just that. None of the new sitcoms air on Thursday.

The season only officially started Monday, so it's too soon to identify trends. But so far the new sitcoms are earning better ratings than the Thursday shows -- in part because viewers want to see if the new shows are worth watching.

The Matthew Perry group therapy comedy "Go On" premiered to a strong 3.2 rating in the key 18-49 demograpic, and 8.6 million total viewers -- the best premiere so far for an NBC comedy. "The Office," which last season was NBC's top-rated scripted show, seems unlikely to repeat that feat this season: It premiered last week to a so-so 2.1 rating and 4.3 million, which was better than the network's other Thursday shows performed.

Thursdays have always been special for NBC: They were the home of "The Cosby Show," "Cheers," "Seinfeld," "Friends" and a slew of other smart, beloved shows. But only "Seinfeld" delved into the kind of absurdist humor that became a calling card of NBC Thursday nights in the middle of the last decade.

Even as the network languished in fourth place, it received critical praise for "The Office," which debuted in 2005, and "30 Rock," which arrived the next year. "30 Rock" quickly began racking up Emmy nominations and wins, bringing glory to a network badly in need of bragging rights.

The success of those shows emboldened the network to risk similarly strange, off-kilter and often-brilliant shows like "Community" and "Parks and Recreation."

If "Parks" is renewed for another season after this one, it will be the last of the NBC Thursday shows that successfully mixes of insightful social commentary and flat-out silliness.

NBC's new shows take on serious issues -- "Go On" is about a man grieving the loss of his wife, and "New Normal" tries to challenge prejudice against gays in general, and gay parents specifically. But none of the shows seem likely to become playgrounds of the mind, or to wreak havoc with the space-time continuum, as "Community" did in one episode.

NBC's Golden Age of Weird may be ending. It only lasted as long as it did because the network gave its writers, producers and actors room to be ridiculous. The writers and stars -- from "30 Rock" mastermind Tina Fey to "Parks and Recreation" star Amy Poehler, Fey's former "Weekend Update" cohost -- were often plucked from "Saturday Night Live," the late-night cornerstone of NBC's comic empire.

Others skipped "SNL" and came directly to primetime from the improv stages that are often a pipeline to late night.

Audrey Plaza arrived at "Parks" from Poehler's Upright Citizens Brigade Theater in New York. Her co-star, UCB alum Aziz Ansari, quickly landed the MTV show "Human Giant" before going on to "Parks." "The Office" players Ed Helms, Ellie Kemper and Zach Woods also emerged from UCB, as did Donald Glover, a writer on "30 Rock" before he became one of the stars of "Community."

It's a little amazing: Performer after performer landing on a major broadcast network, in primetime, after honing their craft by making up new routines, night after night, in a 150-seat basement theater under a grocery store, near a New York housing projects. (A Los Angeles theater draws big-name talent as well.) Comedy nerds pay $5 to watch legends and future stars alike make magic with only a stage, slamming doors and a few chairs.

UCB teaches its students to use "the top of your intelligence" -- in other words, to play each scene as realistically as possible, and to always go for the smart joke over the dumb, easy one. Its shows are more likely to feature debates about historian Doris Kearns Goodwin -- Kemper discussed her at length in one improvised scene a few years back -- than the usual comedy-club dilemmas about dating.

UCB thrills in the smart-dumb comedy Letterman and O'Brien practiced on NBC, before both eventually left. Fey made it a trademark of "30 Rock." An extended recent plot point focused on escalating hostilities with North Korea, and others have involved a corporate buyout modeled on Comcast's acquisition of NBC Universal.

But those complex subjects shared the screen with a string of absurdities, from Jack Donaghy meeting his past and future selves to Tracy Jordan dressing as a white woman to see whether white women or black men have it harder.

Besides spawning much of the talent on "30 Rock," UCB also helped shape Adam Pally and Casey Wilson, two stars of ABC's "Happy Endings." (Wilson had her first big break on "SNL.") Meanwhile, "Happy Endings" vets David Guarascio and Moses Port were brought in to run "Community" after the firing of Dan Harmon, who deserves the credit or blame, depending on who you ask, for much of the show's unpredictability. Brothers Joe and Anthony Russo executive produce both "Happy Endings" and "Community."

"Community" has been the strangest of NBC's strange Thursday shows. One episode featured reality splitting into several different realities, depending on which of its characters answered a door. It would have been a weird "Doctor Who" episode. But it aired on NBC at 8 p.m.

It may be a long time before any network shows anything so strange at that hour again.

It's often said that all sitcoms are focused around work or family, and NBC's new lineup continues a shift from work shows ("The Office," "30 Rock," "Parks") to family shows (including "Up All Night," and "New Normal"). Family shows also include those about replacement families made up of friends, and the best example is "Friends." Other friends-as-family shows might arguably include "Go On" and "Guys With Kids."

The move to family shows -- especially about non-traditional families -- is no surprise given the success of "Modern Family," one of TV's highest-rated sitcoms and currently its most praised. On Sunday it picked up its third consecutive Emmy for Outstanding Comedy series, showing once again that it has replaced "30 Rock" as Emmy voters favorite sitcom.

Family shows can lend themselves to absurdity, but lend themselves more easily to sap. "Modern Family," the first primetime show to feature a lovable gay couple adopting, is an obvious exception. "The New Normal," which features a gay couple adopting from a surrogate mother, tries to build on that by adding complications, including a bigoted mother of the surrogate. Ellen Barkin plays the bigot.

But "New Normal" seems unlikely to play ping-pong with race, gender and politics the way "30 Rock" and "Parks" delightedly do. It seems fixated on addressing and sometimes embracing the sterotype that gay men are fussy and fashion-forward, a stereotype "The Office" undercut years ago with the low-key Oscar Martinez character.

"New Normal" co-creator Ryan Murphy has said Barkin character is "100 percent" a member of One Million Moms, a fringe conservative group that objects to the gays on the show. It previously became worked up over the openly gay Ellen DeGeneres shilling for J.C. Penney.

But taking on groups so cartoonishly extreme doesn't lend itself to the kind of nuance that fuels great comedies. "30 Rock" thrills in exploring the tight crevices where there is simply no comfortable position, like the debate over whether racism or sexism is worse.

Murphy's other occasionally political show, "Glee," makes broad points along the lines of, Acceptance is good, and bigotry is bad.

It's a message we should shout from the rooftops, and air in primetime.

But it's not very funny.

http://www.thewrap.com/tv/column-post/golden-age-weird-end-era-nbcs-thursday-comedies-58201
post #82466 of 87879
TV Sports/Nielsen Notes (Cable)
After Controversial 'MNF' Ending, ESPN Scores Most-Viewed 'SportsCenter'
By Mike Reynolds, Multichannel News - Sep. 26, 2012

Seattle receiver Golden Tate’s controversial touchdown on the final play of the Seahawks game against Green Bay may not have done much for the NFL's image, but it provided a major ratings’ boost for ESPN’s SportsCenter following its Monday Night Football coverage.

The 90-minute postgame edition – during which the worldwide leader’s on-air talent questioned the ruling that Tate gained simultaneous possession with Packers’ safety M.D. Jennings for a game-winning touchdown, criticized the replacement refs and questioned whether the continued use of the substitute officials is compromising the league’s integrity -- was the most-viewed and second-highest-rated SportsCenter (for a telecast lasting 20 minutes or longer) ever.

SportsCenter recorded a 4.5 U.S. rating, 5.2 cable rating, 5.09 million households and 6.46 million watchers, according to Nielsen data., making it the most-viewed edition of ESPN's flagship news show, surpassing the Nov. 14, 2011 show following the Minnesota-Green Bay game. The postgame SportsCenter also ranks as the second-highest-rated on record behind the Christmas night show in 1994 that scored a 5.3 rating, after the telecast between the Detroit Lions and Miami Dolphins.

The Sept. 24 MNF averaged a 10.3 U.S. rating, 12.0 cable rating, 11.8 million households and 16.2 million viewers, accounting for the third-largest audience (second in households) on ESPN and all of cable in 2012 behind the 24.2 million for the BCS National Championship Game between Alabama and LSU on Jan. 9 and the 17.6 million who watched Wisconsin and Oregon battle in the Rose Bowl on Jan. 2.

The Seattle-Green Bay MNF -- the top telecast on TV, whether broadcast or cable, on Monday which helped ESPN win the night among households, viewers and all key male and adult demos -- peaked between 11:45 p.m. – 12 a.m. (ET), as the final 15 minutes of the game delivered a 13.8 household coverage rating.

Through the first three weeks of its NFL telecast season covering four games, ESPN’s MNF has averaged an 8.6 national rating, 10.0 cable rating, nearly 9.8 million households and 13.4 million viewers, virtually even with last season.

http://www.multichannel.com/news-article/after-controversial-mnf-ending-espn-scores-most-viewed-sportscenter/139460
post #82467 of 87879
Quote:
Originally Posted by DrDon View Post

They forgot one part of the story: How the hell it got greenlit.
I'd like Jamie to point to the part of the script that had her laughing out loud. I've seen the pilot and I'm betting whatever it was, it's on the cutting room floor.
If it makes it to Halloween, I'll be totally shocked.
Yeah, I have just sat through it, Hallowen seems about right for the ending, not sure how many alien out of planet stories thay can tell. It was, at times, painful.
post #82468 of 87879
TV Sports
Daopoulos: NFL, NFLRA deal is done
By Mike Florio, ProFootballTalk.com - Sep. 26, 2012

NBC picked the right year to hire an officiating consultant.

Jim Daopoulos, a long-time official and supervisor of officials, joined NBC this season. And he tells PFT that the NFL and NFL Referees Association have signed a new deal.

A crew is being assembled to work Thursday night’s game between the Browns and Ravens. Then, on Friday, the officials will travel to Dallas to retrieve their equipment and receive their game assignments for Sunday and Monday, with the same crews working together as last year.

Details are still not clear, but Daopoulos says that the much-debated pension issue was resolved with the current defined-benefit plan remaining in place for five years before switching to a 401(k)-style defined contribution plan.

Also, it’s believed that the deal will cover five more years before this one, which means that we’ll potentially be doing this again in 2018.

UPDATE 10:56 p.m. ET: Daopoulos has provided some more facts. The officials will vote on the deal in Dallas on Friday, at which time it will become final. They’ll then participate in a clinic, and head on Saturday to the game sites. Also, the officials will receive a pay raise of four percent, with 12 guaranteed game checks this year and 19 in subsequent years (including preseason). As to the checks they’ve missed this year, the officials will divvy up $2.5 million.

http://profootballtalk.nbcsports.com/2012/09/26/daopoulos-nfl-nflra-deal-is-done/
post #82469 of 87879
Technology Notes
B&N heats up tablet market with Nook HD
By Edward C. Baig, USA Today - Sep. 26, 2012

NEW YORK -- Joining an increasingly crowded tablet market, Barnes & Noble today unveiled two tablets coming this fall that are lighter both on your wallet and in your hands.

The Nook HD starts at $199 for a model with a 7-inch screen and 8 gigabytes of storage; $249 for 16 GB. The Google Nexus 7 tablet and the Amazon Kindle Fire HD also sport 7-inch screens. Apple is rumored to have plans to introduce a mini version of its iPad.

Barnes & Noble's 9-inch Nook HD+ device will go head-to-head with Amazon's 8.9-inch Kindle Fire HD and edge near the 10-inch iPad.

But the larger Nook HD+ models are cheaper than their rivals, priced at $269 and $349 for 16 GB and 32 GB of storage, respectively. The larger-screen Kindle Fire starts at $299 for 32 GB; the newest iPad starts at $499 for 16 GB. Barnes & Noble will be phasing out its older Nook Color and Nook Tablet.

The freshest Nooks come on the heels of a separate announcement from Barnes & Noble of a new Nook Video movie-and-TV rental and purchase service that is coming this fall. Titles are promised from HBO, Sony, Starz, Disney and Warner Bros.

Movies will be stored in the Nook Cloud. Users will be able to integrate compatible physical Blu-rays and DVDs with their digital-video collections. You'll be able to watch across Nook devices and apps, and through third-party applications.

The 7-inch Nook HD weighs a shade more than 11 ounces, is less wide and about 20% lighter than the Kindle Fire HD. The Nook HD+ weighs a little more than 18 ounces, roughly 5 ounces lighter than the iPad. Both Nooks have lovely high-resolution screens and impressive graphics.

Neither new Nook has a camera. (There's a front-facing camera on the Fire HD, and front and rear cameras on the iPad.) "At some point, you have to make hard choices," Barnes & Noble CEO William Lynch said in an interview. "We didn't see a use case for cameras. We decided to invest in screens and make the price point accessible."

On the content side, Barnes & Noble says it now offers more than 3 million books, including nearly 3,500 English-language interactive books for kids, and a stable of more than 100 magazines with a new visual table of contents feature that reveals thumbnails of the entire periodical.

Barnes & Noble has more than 10,000 apps. But that's a blip compared with what Apple offers for iPad.

http://www.usatoday.com/tech/story/2012/09/26/bn-heats-up-tablet-market-with-nook-hd/57843222/1
post #82470 of 87879
TV Review
ABC's 'Last Resort' is the fall's best new drama
Andre Braugher plus Shawn Ryan plus nukes equals thrills
By Alan Sepinwall, HitFix.com - Sep. 26, 2012

In the first episode of ABC's exciting new drama series "Last Resort" (8 p.m. Thursday), Navy submarine captain Marcus Chaplin refuses a sketchy order to nuke Pakistan, evades an attack by his own countryman, and takes over an island in French Polynesia, threatening America and the rest of the world with his boat's nuclear arsenal if they don't leave him alone.

This is, to put it mildly, a messy situation — one where the stakes and players and rules seem to be constantly shifting, and where Marcus and his executive officer Sam Kendal have to keep making things up as they go.

It's also a messy premise for a weekly television show. There's no formula for a series like "Last Resort," which combines a bunch of elements that you don't ordinarily see together — part Tom Clancy thriller, part "Lord of the Flies"/"Lost," part psychological drama, among other pieces — in a way that doesn't suggest a clear structure for how stories will be told each week, or how on Earth this fragile situation can be maintained for the seasons on end required of a successful TV show.

But "Last Resort" (it debuts tomorrow night at 8) has two men involved who give me hope. One is Andre Braugher, who plays Marcus Chaplin, and is among the best, most convincing actors we have — the kind of magnificent talker(*) who could tell you the moon is made of delicious green cheese and leave you looking for a rocket and a really big grater. When Marcus swears to Sam (played by Scott Speedman) that he'll get them out of this catastrophe, I believe him.

(*) Braugher's signature role remains "Homicide" cop Frank Pembleton, who once described his skills at interrogation as "an act of salesmanship — as silver-tongued and thieving as ever moved used cars, Florida swampland, or Bibles. But what I am selling is a long prison term, to a client who has no genuine use for the product." Marcus Chaplin is not Frank Pembleton, but they share a similar verbal gift.

The other is Shawn Ryan, who co-created the series with screenwriter Karl Gajdusek ("Trespass"). Ryan was the mind behind "The Shield," one of the all-time champions of crafting storylines that seemed impossible to sustain — its pilot, after all, concluded with one of its cop main characters shooting the other in the head — but which kept on convincingly, beautifully going and going and going.

The "Last Resort" pilot episode is far and away the best I watched for this fall season. There are some bumps in the next two episodes, but also some very promising signs that, coupled with the talent involved, has me wanting to believe there is a great series here, and not just a great pilot that the series can't possibly live up to.

Of course, the pilot has Martin Campbell — not only one of the best action directors alive ("Casino Royale"), but the director of the quintessential "Homicide" episode "Three Men and Adena" — behind the camera. He gives the thriller scenes an added zip, and he makes all the disparate pieces — the submarine, the island, and scenes on the homefront involving Sam's wife Christine (Jessy Schram) and weapons contractor Kylie Sinclair (Autumn Reeser) — feel like one cohesive whole. The pilot has to cover more story ground in an hour than I would like — if networks still consistently made two-hour drama pilots, this would be an ideal candidate — but the writing, direction, and performances by Braugher, Speedman, Robert Patrick (as chief of the boat Joseph Prosser) and Australian actor Daniel Lissing (as James King, a Navy SEAL traveling on the Colorado at the time of the Pakistan incident) make it work. And even if the rest of the pilot was a catastrophe, it would be worth it simply for Braugher's delivery of the speech where Marcus tells the world the new rules and his intentions towards anyone who tries to break them.

The next two episodes were directed by Kevin Hooks and Michael Offer, who each have experience with action (Hooks did "Passenger 57"), but who don't have Campbell's facility with it (nor the budget he had to work with on the pilot), and there are more rough patches in the later episodes, particularly the Hooks-directed second installment, where the actors seem to be moving at half-speed in several sequences meant to be thrilling. The island/mainland split also becomes starker in that episode, and while the actors deliver certain corny lines in the pilot with enough conviction to get by, they're clunkier in week two. James spends much of his time on the island getting drunk and trying to stay out of everything, until rookie officer Grace Shepard, played by Daisy Betts, tells him, "One of these days, you're going to have to decide what you believe in." (Braugher can get away with a line like that. Betts — the weakest link in the cast in the early going — can't.)

The third episode smartly confines most of the tense material to the sub itself, as it's an accepted part of the genre that actors standing on a set tensing themselves for depth charge explosions will always seem exciting. And in a storyline involving local crimelord Julian (Sahr Ngaujah), the show seems to acknowledge that a premise this complicated will not allow for the kind of neat, tidy and safe resolutions we're used to from network TV. And the tension remains believably, fascinatingly high between the members of the crew who are 100 percent loyal to Marcus and those who don't understand what they're doing disobeying orders and conquering a tropical island.

What Marcus is doing should probably not work long-term. But if "Last Resort" wants to be around a while, it's going to have to find a way. There are enough good signs in these early episodes to suggest it's possible.

http://www.hitfix.com/whats-alan-watching/review-abcs-last-resort-is-the-falls-best-new-drama
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