Hot Off The Press: The Latest TV News and Information - Page 2754

Comment thread here: http://www.avsforum.com/t/1432173/time-warner-to-start-charging-rental-fees-for-cable-modems

My mistake. You responded to a post that mentioned phone GB usage, in addition to home usage, and I thought your response was for the phone usage.

This is the answer I was looking for.

Many cell phone and mobile broadband service providers offer tiered, rather than unlimited data plans--a lower price for up to 200MB of data access in a month, for example, versus a higher 2GB or 5GB data limit. To determine which mobile data plan is best for you, learn how much can you download or surf with each data limit and compare that to your needs and actual usage. Then find the best mobile data plan for you based on these numbers.

What You Can Do with a 2 GB Data Plan

Increasing your data access potential by about 10 times would cover, according to AT&T, on average: 8,000 text-only emails, 600 emails with photo attachments, 600 emails with other attachments, 3,200 web pages viewed, 30 apps, 300 social media posts, and 40 minutes of streaming video.

Edited by Aliens - 10/3/12 at 5:57am

He uses that term to describe a movie that snares you and you're forced to watch it through to the end once you start.

The problem is, that term has already been used to describe intricate or even hard to follow plots in films. I'm not sure "The Dude" is that complicated.

It was for him.

TBL is one of my all-time favorite films with maybe the highest re-watch factor of them all.

I'm going to hop on my soapbox for a moment...

We ARE seeing more typos, etc in our online print media. I think it's because the editors, fact checkers etc are simply no longer there, because PEOPLE ARE NO LONGER WILLING TO PAY FOR THIER PRINT MEDIA, so the media can no longer afford the luxury of paying for people who just check and polish other people's work. Why should this concern us? Because every time I see someone here commenting about how they never watch commercials I think then who's going to pay to make the quality programming you enjoy? It's true scripted television has never been better, but for how long? Already the new generation is getting the same attitude about TV that they have about music and print: that it just magically appears and doesn't need to be payed for. Inevitably, quality is going to suffer, and I worry that the whole industry could become economically untenable. Then we'll be reduced to watching re-runs and reminiscing about the good old days of original scripted dramas and comedies.

Cox has done this since day 1.

You're right: quality will suffer everywhere. It's happening right in front of us all the time.

It affects every one of us.

You misspelled "paid"...

Can i soapbox too....
I will watch the debates when they change the election to "the winner is the dude/dudette with the most votes."
Im in a state among many where the winner is already known so my vote is meaningless.
Besides when did this electoral college last win a bowl game or even challenge alabama for #1 anyways.

ps: i still wouldnt watch.

I’ll watch them when the moderators follow-up, follow-up, follow-up, until they get an honest answer, not an evasive one, to the question. And challenge, challenge, challenge their facts, and not let them get away with the same sound bites we’ve been hearing for the past year. IOW, do what reporters are supposed to do, which is fight for the truth, get substantive answers, and hold them accountable.

If Advertisers want people to see their Commercials they need to do the following:

1. Stop making their ads so obnoxious and /or insulting. It is said you can attract more flies with Honey than with vinegar. Lay off the Vinegar!

2. Reduce the number of times we see your ads. We know you exist, telling us about your product 10 or more times each hour will not entice us to purchase your product.

3. Realize WHO is watching TV at a given time. Certain Ads should NOT be aired WHEN CHILDREN ARE WATCHING.

Perhaps then we will be receptive to your Commercials, and will not seek means to avoid them.

Oops! Hard to see what I'm typing from why up on top of the soapbox, plus I had to let my fact-checker go...

Maybe you should try typing how this guy does it.

Well, they could run them in super slo mo so when my TiVo is fast forwarding through it it will be real time. They could get in a five second commercial to me that way.

TUESDAY'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)
New shows wilt on second Tuesday
Fox, NBC and CBS programs all fall
By Toni Fitzgerald, Media Life Magazine - Oct. 3, 2012

The second Tuesday of the new TV season saw some large declines versus week one, but it will be a couple weeks before it’s clear whether those dips were because people weren’t watching the new shows or because they were time-shifting them.

This looks like it will be the defining question of the season, with early DVR playback ratings way up over last year.

Fox’s “Ben and Kate” and “The Mindy Project,” NBC’s “Go On” and “The New Normal” and CBS’s “Vegas” all fell double-digit percentages last night versus their average during premiere week.

“Kate” averaged a 1.6 at 8:30 p.m., according to Nielsen overnights, holding most of “Raising Hope’s” 1.7 lead-in.

It was down 24 percent from last week’s debut, not an unexpected result; last week it aired behind a much higher-rated episode of Fox’s “New Girl.”

“Mindy” drew a 1.9, dropping 21 percent of last week’s debut audience although lead-in “Girl” was actually up slightly, from a 2.7 to a 2.8. It was the only Big Four show to improve versus last week.

NBC’s “Go” fell 19 percent to a season-low 2.2 at 9 p.m., but there was an obvious reason for that. Lead-in “The Voice” was a recap episode rather than an original, and while it managed a still-respectable 2.9, that was down 31 percent from last week, giving “Go” a weaker lead-in.

“Normal,” which like “Go” received a full-season order yesterday, drew a 1.7 at 9:30, off 15 percent from last week. It has been seeing strong DVR gains, and more than likely so will Fox’s comedies, since they all skew young.

CBS, which finished first easily on the night led by No. 1 show “NCIS” with a 3.6, also saw 10 p.m. new drama “Vegas” fade. It dipped 21 percent from last week, to a 2.1.

Meanwhile, ABC didn’t air any new shows. “Dancing with the Stars Results” was well below last year’s average on the same night but did retain 100 percent of last week’s audience, a rarity on the night, drawing a 2.1 at 9 p.m.

Lead-out “Private Practice” fell 16 percent from last week to a 1.6.

The CW’s second-year drama “Hart of Dixie” made its debut at 8 p.m. last night and did pretty well, considering the declines on the other networks. It averaged a 0.8 in adults 18-34, even to last year’s series debut, despite moving to a new night and time.

* * * *

CBS was first for the night among 18-49s with a 2.9 average overnight rating and an 8 share. NBC was second at 2.2/6, Fox third at 2.0/6, ABC fourth at 1.7/5, Univision fifth at 1.5/4, Telemundo sixth at 0.5/2 and CW seventh at 0.5/1.

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 3.6 for "NCIS," followed by NBC with a 2.9 for "Voice." Fox was third with a 1.7 for "Hope" (1.7) and "Kate" (1.6), Univision fourth with a 1.4 for "Por Ella Soy Eva," ABC fifth with a 1.3 for a "Stars" clip show, CW sixth with a 0.7 for "Dixie" and Telemundo seventh with a 0.4 for "Rosa Diamante."

CBS was first again at 9 p.m. with a 3.1 for "NCIS: Los Angeles," while Fox moved to second with a 2.4 for "Girl" (2.8) and "Mindy" (1.9). ABC was third with a 2.1 for a "Stars" results episode, NBC fourth with a 2.0 for "Go On" (2.2) and "The New Normal" (1.7), Univision fifth with a 1.7 for "Abismo de Pasion," Telemundo sixth with a 0.5 for "Corazon Valiente" and CW seventh with a 0.3 for "The Next."

At 10 p.m. CBS was first with a 2.1 for "Vegas," with NBC second with a 1.7 for "Parenthood." ABC was third with a 1.6 for "Practice," Univision fourth with a 1.5 for "Amor Bravio" and Telemundo fifth with a 0.7 for "Pablo Escobar: El Patron del Mal" (0.9) and "El Rostro de la Venganza" (0.5).

CBS also finished first for the night among households with a 9.4 average overnight rating and a 15 share. ABC was second at 6.0/9, NBC third at 3.9/6, Fox fourth at 2.4/4, Univision fifth at 1.9/3 and CW and Telemundo tied for sixth at 0.7/1.

http://www.medialifemagazine.com/new-shows-wilt-on-second-tuesday/

Nielsen Notes (Cable)
'Sons of Anarchy' Beats Networks Head-to-Head in Key Demo
By Tim Kenneallyl, TheWrap.com - Oct. 3, 2012

"Sons of Anarchy," FX's biker drama, rolled ahead of the networks Thursday night, beating out the Big Three in head-to-head competition in the key demographic and taking third place in total viewers.

Airing at 10 p.m., "Sons" grabbed a 2.88 rating in the advertiser-cherished 18-49 demographic, placing it ahead of its timeslot competitors: CBS's "Vegas" (which scored a 2.1), NBC's "Parenthood" (1.7) and ABC's "Private Practice" (1.6).

In total viewers, "Sons" compared impressively but less favorably, taking a narrow third place ahead of "Parenthood," with 4.6 million versus "Parenthood"'s 4.5 million.

In the 8 to 11 p.m. primetime overall, "Sons" placed fifth.

Tuesday's "Sons of Anarchy," which was the third highest-rated episode of the series in the demo, showed marked improvements over last week's episode, which scored a 2.45 in the demo and drew 3.8 million total viewers.

http://www.latimes.com/entertainment/tv/showtracker/la-et-st-nickelodeon-teenage-mutant-ninja-turtles-20121002,0,4166781.story

TV Notes
Cinemax’s ‘Strike Back’ Renewed For Third Season
By Nellie Andreeva, Deadline.com - Oct. 3, 2012

Cinemax has renewed its first primetime drama series Strike Back for a third season with a 10-episode order for a 2013 premiere. The third season, which will shoot in South Africa and Hungary, will once again be produced by Cinemax/HBO, Left Bank and Sky, which will air the series in the U.K. Returning for season three will be Left Bank’s Andy Harries as executive producer, series producer Michael Casey and head of production Marigo Kehoe. Others returning for season three include director Michael Bassett and writers Simon Burke, James Dormer and Richard Zajdlic. As it did with the second-season renewal announcement, Cinemax would not confirm which cast members will continue in Season 3 “due to plot spoilers in upcoming episodes of season two.”

The Strike Back renewal comes two weeks before the premiere of Cinemax’s second original primetime drama, Hunted. It will be followed by Banshee in 2013.

The second season premiere of Strike Back in August drew 390,000 viewers. That was down 31% from the series’ launch last August though 35% above the Season 1 average (289,000). Debuting in 2011, the series was the first collaboration between Cinemax/HBO and Sky. It centers on an unlikely pair of operatives in the stealth counterterrorism unit Section 20: Sgt. Michael Stonebridge (Philip Winchester), an exceptional British Special Forces (SBS) soldier, and the less-conventional Damien Scott (Sullivan Stapleton), a former U.S. Delta Force member. The second season, which will end its run Oct. 12, co-stars Rhashan Stone and Michelle Lukes.

http://www.deadline.com/2012/10/cinemaxs-strike-back-renewed-for-third-season/

TV Notes
Syfy Takes Canadian Sci-Fi Spin-Off Series 'Primeval: New World'
By Etan Vlessing, The Hollywood Reporter - Oct. 3, 2012

TORONTO – The U.S. Syfy channel has picked up Primeval: New World, the Canadian spinoff of the UK sci-fi series Primeval, as part of a deal with distributor Entertainment One.

Brit producer Impossible Pictures partnered with Canadian indie Omni Film Productions on the Canadian sci-fi series, a Canada-UK co-production that uses characters and story-lines from the British Primeval series, while inserting new Canadian characters and story-lines into the local version.

The 13-episode series stars Niall Matter, Sara Canning (The Vampire Diaries) and Danny Rahim as a team of animal experts and scientists investigating paranormal events, while battling both prehistoric and futuristic creatures.

Amanda Tapping, who starred in the Syfy series Sanctuary, is on board to direct several episodes.

Set in Vancouver against the backdrop of the Pacific Northwest, the Canadian sci-fi spin-off is due to bow on Canada’s Space channel in November.

Other pre-MIPCOM sales of Primeval: New World include Hulu taking the SVOD rights in the U.S., Syfy taking the pay-TV rights in France, and D-Smart snapping up the pay-TV rights in Turkey.

http://www.hollywoodreporter.com/news/syfy-primeval-new-world-canada-376131

TV Notes
Discovery’s ‘Curiosity’ slams a jet into the desert floor to study the damage in a plane crash
By Don Kaplan, New York Daily News - Oct. 3, 2012

She faced a fiery certain death from the moment her wheels left the ground.

A Boeing 727 jet, nicknamed Big Flo, roared into history last April, when she was loaded with crash test dummies, high speed cameras and other sensors and intentionally slammed into the Mexican desert.

This was no hijacking. Behind the controls were scientists hoping to learn what actually happens inside the cabin during an airliner disaster.

The results can be seen Sunday at 9 p.m. on the first episode of Discovery’s new documentary series, “Curiosity.”

“Cars are crash-tested all the time” said Howard Swartz, Discovery Channel’s vice president. “But no one crash-tests airliners, and at the end of the day, what we wanted to do was perform a controlled crash of a large passenger jet and put passenger safety to the ultimate test — it wasn’t a stunt for stunt’s sake.”

He added, “We wanted to walk away with data that could benefit the whole scientific community.”

Big Flo had been built in 1974 and had carried hundreds of thousands of travelers. At one point she was even used by former Senator Bob Dole as a campaign plane during his 1996 presidential run.

But for this crash and burn, the scientists posed questions like:

-- Where is the safest place to sit?

-- Is there such a thing as assuming a proper crash position?

-- Are massive airframes really designed to withstand crashes?

The plan was initially to create the world’s largest drone using a remote control to safely pilot the plane to its doom.

But even though the crash was to take place in an uninhabited part of the Mexican desert, Big Flo had to fly over populated areas and authorities demanded that the plane have a crew for that part of the trip.

The solution was a gutsy group of retired military pilots who leaped out of Big Flo a few miles from the crash zone and parachuted to safety.

A chase plane, manned by another test pilot, took over the controls — using the same hand-held radio that model plane enthusiasts use to pilot their far smaller aircraft.

But the radio signal could only travel 150 yards — so the chase plane had to chart a harrowing flight path right behind the 727, all the way to impact.

When Big Flo finally hit the ground, nose down going just under 200 m.p.h., the result was chilling — and spectacular.

“The plane was pretty messed up,” Swartz said. “The cockpit ripped completely clear of fuselage. It would not have been a good day for the pilots or first class.”

Producers had initially hoped to do the test in the U.S., but the FAA politely steered them to Mexican authorities, Swartz said.

A similar 1984 test by NASA ended in disaster when scientists lost control of their aircraft on final approach and the plane disintegrated, destroying all the testing equipment .

Fox also attempted to produce its own prime-time airliner crash 1999, but the project was shut down by the FAA.

http://www.nydailynews.com/entertainment/tv-movies/discovery-high-impact-special-eyes-plane-crash-article-1.1172279

TV Notes
CBS and Yahoo in Talks to Rename 'The Insider' as 'omg! NOW'
'Entertainment Tonight' spinoff to relaunch in January
By Ben Grossman, Broadcasting & Cable - Oct. 3, 2012

EXCLUSIVE: Syndicated news magazine The Insider will take on a new name and new look as part of a new deal currently under discussion between CBS Television Distribution and Yahoo, according to multiple sources with knowledge of the situation. The show -- originally a spinoff from Entertainment Tonight -- will be renamed omg! NOW, which is the name of a popular current Yahoo online vertical.

The changes are expected to take place as of January if the deal closes soon, as expected.

Multiple sources also said that newsmagazine and talk show veteran Brad Bessey is in talks to return to CBS as showrunner of the revamped daily show. Bessey's credits include launching CBS's The Talk as well as a 15-year run at industry standard ET, where he served as co-EP under Linda Bell Blue, as well as a senior consultant on the show he is about to recreate, The Insider. Blue maintains an EP credit on the new show as well. Bell Blue is a B&C Hall of Famer, who is in her 17th season of executive producing Entertainment Tonight and has been EP of The Insider since its launch in 2004.

In its ninth season, The Insider is hosted by Kevin Frazier and Brooke Anderson, who are expected to stay in place in the new format. CTD had been shopping the idea of a co-branded remake of The Insider to other outlets before deciding on a potential deal with Yahoo.

An announcement could happen as soon as this week, but may have been pushed back by the news Tuesday that CTD chief John Nogawski was relieved of his duties by the company.

http://www.broadcastingcable.com/article/489702-Exclusive_CBS_and_Yahoo_in_Talks_to_Rename_The_Insider_as_omg_NOW_.php

Well they have to pay for the Lakers somehow.

I don't know why anyone would rent their cable modem.

Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Oct. 4, 2012

LAST RESORT
ABC, 8:00 p.m. ET
Last week’s series premiere set up the unusual, high-concept premise of this new action drama series: a U.S. submarine, commanded by Andre Braugher, goes against a direct order to fire missiles upon Pakistan, and ends up being counter-attacked by its own American military. That was last week. So what happens this week, and how does this mutinous standoff translate to a weekly series? Stay tuned – and, as our critics agree in this year’s TVWW Fall TV Preview, it’s one of the new few series worth a second look.

THE BIG BANG THEORY
CBS, 8:00 p.m. ET
This sitcom has managed to stay fresh over the years, due more than a little by giving more screen time, and story weight, to the female cast members and focusing on the geeks’ significant others. This week, Penny is considering severing ties with Leonard – again – and Sheldon learns about it before his roommate does.

30 ROCK
ABC, 8:00 p.m. ET
SEASON PREMIERE: This show’s seventh and last season begins as Tina Fey and company present the final round of zany stories involving their core crazy characters. As the season begins, it’s a time of changes: Jack (Alec Baldwin) is single, Jenna (Jane Krakowski) is getting married, and Kenneth (Jack McBrayer) and Liz (Fey) are in solid relationships – though not to each other.

FARGO
AMC, 8:00 p.m. ET
This 1996 Coen Brothers murder mystery comedy is where Frances McDormand broke into the starring ranks, where William H. Macy reached a more recognizable level of stardom, and where Steve Buscemi absolutely stole his scenes and cemented his character-actor favored status. All that, and it’s a wild, entertaining movie, based on a grisly murder case that actually happened.

PERSON OF INTEREST
CBS, 10:00 p.m. ET
Finch is still missing, and Reese is still looking for him – and tonight, he gets help from a source who may look very familiar. She’s played by Margo Martindale, who won an Emmy as the mountain matriarch on Justified two seasons ago.

http://www.tvworthwatching.com/
Edited by dad1153 - 10/3/12 at 9:39pm

TV Notes
Jerry Seinfeld Defends Use of the Word 'Really' in Angry Letter to New York Times Critic
By Kimberly Nordyke, The Hollywood Reporter - Oct. 3, 2012

Jerry Seinfeld penned an angry letter to New York Times critic Neil Genzlinger after being unable to, uh, wrap his head around the writer's column on the use of the word "really" in scripted TV.

In his piece, Genzlinger criticizes TV writers for what he perceives as their overuse of the word when it's "delivered with a high-pitched sneer to indicate a contempt so complete that it requires no clarification."

"Civilization crumbles a little bit almost every time I turn on the television, and a single word-and-punctuation-mark combination is inflicting the damage," he wrote. "You’ve heard it too, no doubt, and if you’re a person who values grace and urbanity and eating with utensils rather than burying your face in the plate, you’ve winced whenever some TV character has spewed it. It’s the snarky 'Really?' and it’s undoing 2,000 years’ worth of human progress."

Genzlinger went on to argue that "Really?" is a "cop-out word" both on TV and in real life whose "moment passed several years ago" and that its use has "jumped the shark" on television. He also name-checked Seinfeld's former co-star Julia Louis-Dreyfus.

"In the season finale of the HBO comedy Veep in June, what did Julia Louis-Dreyfus’jerr Selina, the vice president of the United States, say to a staff member who had prematurely sent out a news release about his own promotion? 'Really?' John C. Calhoun and who knows how many other oratorically inclined former vice presidents turned over in their graves," he opined.

He continued: "'Really?' was once an expression of wonderment that also acknowledged a gap in the user’s knowledge. Back when Einstein first announced that energy equals mass times the speed of light squared, the 'Reallys?' that resulted were saying: 'I am astounded by your discovery, so much so that I can scarcely wrap my head around it. You, sir, are a genius.'"

But Seinfeld -- who has recently been appearing in his own web series, titled Comedians in Cars Getting Coffee -- took issue with the column, writing in a letter to The Times that the piece was "so deeply vacuous that I couldn’t help but feel that you have stepped into my area of expertise."

"Really, Neil? Really? You’re upset about too many people saying, 'Really?'? I mean, really," he wrote. "OK, fine, when it’s used in scripted media, it is a little lazy. But comedy writers are lazy. You’re not fixing that. So, here’s the bottom line. If you’re a writer, fine, don’t use it. But in conversation it is fun to say."

He also mocked Genzlinger's use of the phrase "wrap my head around it."

"What I do not say or write, as you did in the part about responses to Einstein's theories, is 'wrap my head around it,'" he wrote. "Are you kidding? No, no, no, Neil. No sir. When I hear people say, 'If you can wrap your head around it,' I want to wrap their heads around something, like a pole," he wrote. "There’s no 'wrapping.' There’s no heads going around. Don’t preach to us about 'Really?' and then wrap our heads around things. You crumbled a bit of civilization off there yourself. Really."

http://www.hollywoodreporter.com/news/jerry-seinfeld-really-new-york-times-julia-louis-dreyfus-376286

He also misspelled 'THEIR'.

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)
‘X Factor’ grows on Wednesday night
Averages a 3.4 in 18-49s, easily the top show
By Toni Fitzgerald, Media Life Magazine - Oct. 4, 2012

In just the second week of the season, the broadcast networks’ schedules were put on pause last night for the first presidential debate, which aired from 9 to 11 p.m. on all the major broadcast networks save the CW.

Viewership numbers for the debate won’t be out until late this afternoon. But it’s clear who won the early part of the night: Fox.

“The X Factor” was the night’s top-rated show with a 3.4 adults 18-49 rating at 8 p.m., according to Nielsen overnights, up 3 percent over last week’s two-hour episode.

“Factor’s” first hour jumped 10 percent compared to the first hour of last week’s show.

CBS’s “Survivor” was the night’s No. 2 entertainment show with a 2.9, off 6 percent from last week.

NBC’s “Animal Practice” and “Guys With Kids” became the first new shows to grow their audience week to week. “Practice” rose 7 percent, to a 1.5, and “Kids” was up 13 percent, to a 1.8.

On ABC, new comedy “The Neighbors” plunged 38 percent from last week’s solid debut, to a 2.0, but that was not a surprise. Last week “Neighbors” aired behind “Modern Family,” the week’s No. 1 scripted show.

Last night it aired behind “The Middle” and its lead-in was less than half what it was last week. “Neighbors” did retain 91 percent of “Middle’s” rating.

Finally, the return of “Supernatural” on the CW matched last year’s rating in both 18-49s (0.8) and 18-34s (0.7) and drew its best audience in total viewers since February (1.8 million).

Fox led the night among 18-49s with a 3.1 average overnight rating and an 8 share. CBS was second at 2.8/7, NBC third at 2.7/7, ABC fourth at 2.6/7, Univision fifth at 1.3/3, CW sixth at 0.6/2 and Telemundo seventh at 0.5/1.

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. Fox was first with a 3.4 for "The X Factor," followed by CBS with a 2.9 for "Survivor." ABC was third with a 2.1 for "Middle" (2.2) and "Neighbors" (2.0), NBC fourth with a 1.7 for "Animal" (1.5) and "Kids" (1.8), 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 0.3 for "Oh Sit!"

NBC was first at 9 p.m. with a 3.5 for the debate, while ABC and CBS tied for second at a 3.0 for their debate coverage. Fox was fourth with a 2.8 for the debate, Univision fifth with a 1.4 for its debate coverage, CW sixth with a 0.8 for "Supernatural" and Telemundo seventh with a 0.5 for "Corazon Valiente."

Debate coverage continued at 10 p.m., with NBC first at a 3.0, ABC second at 2.6, CBS third at 2.5 and Univision fourth at 1.0. Telemundo was fifth with a 0.6 for "Pablo Escobar: el Patron del Mal" (0.8) and "El Rostro de la Venganza" (0.5).

CBS finished first for the night among households with a 6.1 average overnight rating and a 9 share. ABC was second at 5.5/8, NBC third at 5.1/8, Fox fourth at 4.7/7, Univision fifth at 1.6/2, CW sixth at 0.8/1 and Telemundo seventh at 0.7/1.

http://www.medialifemagazine.com/x-factor-grows-on-wednesday-night/

TV Notes
Netflix’s ‘House Of Cards’ Set To Premiere February 1, 2013
By the Deadline.com Team - Oct. 4, 2012

The entire 13-episode first season of Netflix’s first original series produced by Media Rights Capital will be available for members to watch beginning February 1, 2013.

Kevin Spacey, Robin Wright and Kate Mara star in the political drama based on the BBC miniseries of the same name that takes viewers through the back halls of greed, sex, love and corruption in modern Washington, D.C. Spacey plays Francis Underwood, the House Majority Whip, who’s described as masterful, beguiling, charismatic and ruthless. He and his equally ambitious wife Claire (Wright) stop at nothing to ensure their ascendancy.

The series comes from director David Fincher (The Girl With The Dragon Tattoo, The Social Network), screenwriter Beau Willimon (Farragut North, The Ides Of March) and Eric Roth (Forrest Gump, Munich). House Of Cards is executive produced by Fincher, Willimon, Joshua Donen, Eric Roth, Kevin Spacey, Dana Brunetti, Andrew Davies, Michael Dobbs and John Melfi. The one-hour drama is produced by Donen/Fincher/Roth and Trigger Street Prods. in association with Media Rights Capital for Netflix.

http://www.deadline.com/2012/10/netflixs-house-of-cards-set-to-premiere-february-1-2013/
Edited by dad1153 - 10/4/12 at 10:32am

Critic's Notes
No Mass. Exodus: 'Old House' Stays Close to Home this Season
By Tom Brinkmoeller, TVWorthWatching.com - Oct. 3, 2012

It was 1979. Cable television still was nothing more than a small crop of rural community antennas. Many of the "experts" on a channel or two of that medium who today are remodeling kitchens, bathrooms, backyards and basements were still collecting Matchbox Cars. But This Old House was off and running — proving that apples may fall near the tree, but some roll far from it.

The series started as one of many good ideas from the mind of Russell Morash (e.g., The French Chef with Julia Child, The New Yankee Workshop, The Victory Garden, among others), programming innovator par excellenceof Boston public-TV station WGBH since its early days. It continues as one of public television's most popular series, an "appointment television" phenomenon long before the phrase was coined.

This Thursday at 8 p.m. ET (check local listings), the PBS series kicks off its 33rd season by taking on a 19th century Victorian home in Cambridge, Mass (above). The 1887 building has lots of architectural restrictions that control how it can look on the outside but whose owners have enough carte blanche inside to remodel the former two-family into an especially non-Victorian style: Scandinavian Modern. Fifteen episodes later, the "after" pictures will compare — as always — immeasurably better than those viewers of the initial episode will see.

January will bring the second project of the new season, a 1930s cottage in relatively unpopulated and bucolic Essex, Mass., that the owners are remodeling into a senior-friendly home for their aging parents. Here, where the building is newer and hasn't an historical pedigree, rules aren't as set in stone — though a large rock ledge that greatly pre-dates Queen Victoria has to be blasted away before work can proceed, as viewers will see during the 11-part renovation.

Guiding the two disparate projects will be the series' senior producer, Deborah Hood, a young woman who says she "grew up watching This Old House".

More than 10 years ago, while she was working for a company that makes documentaries, she heard about and applied for a job as a TOH production assistant — but heard nothing back. More than a year later, Morash decided her resume was right for a different job and she was hired. Her first job as a producer was a 2003 remodel in Bermuda. She was made senior producer in 2009, a year in which the program won an Emmy for its post-Katrina New Orleans project.

Hood (left center) has worked alongside the series' experts (Norm Abram (far left), Tom Silva, Rich Trethewey and Roger Cook) for more than a decade and with the host, Kevin O'Connor (left, on right), since he joined the series in 2003. Because both homes are so close to the show's Boston home base, the five will be seen more often than in years in which one of the project homes is in another state. General contractor Silva's company is in charge of both projects.

She says "the pressure on him is immense," but knows he'll turn both jobs into the kinds of successes that have marked his work over the years.

This Old House is a rare public-television hybrid. It was born at WGBH, but was sold to Time Inc. more than a decade ago. The program is still presented under the WGBH banner and remains subject to the strict PBS rules against commercialization. That doesn't bother the corporate parents, apparently:

"We enjoy an incredible independence," Hood said. Owners of the homes always have paid for their projects, and though the show works with suppliers to get them reduced prices, goods are never traded for editorial exposure, she said.

Keeping both projects within driving distance wasn't a cost-saving effort, she added, but "the luck of the draw. It wasn't the economy so much as it was getting two wonderful options with two separate story lines."

Of the different homes submitted for consideration by last spring's deadline (criteria/guidelines can be viewed online), the two in Massachusetts were judged best. The fact that each is reachable without standing in a single airport-security line is an rare added bonus.

Construction sites, stereotypically, are male strongholds and women are treated, at best, as intruders. But that's not the case with this program, she said."Ours is such a respectful group, I can honestly say I have never felt a hint of sexism or discrimination. I think Tom Silva (right, with Hood) sets the tone for that on his job site — he is the father of a daughter my age, but I also think that is just who he is."

Even so, there is one drawback: "That being said, sometimes it's no fun being one of the only females on site, especially during the phase when we have no bathrooms or running water."

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=3345

TV Notes
M. Night Shyamalan's 'Lost Horizon' Project Lands With NBC
By Tim Kenneally, TheWrap.com - Oct. 4, 2012

M. Night Shyamalan is about to get "Lost" with NBC.

"Sixth Sense" director Shyamalan has placed a new drama project, "Lost Horizon," with the network. individuals familiar with the project told TheWrap.

The network has given it a put-pilot commitment, meaning that the NBC is subject to penalties if the pilot doesn't air.

Also read: M. Night Shyamalan, Bryan Fuller Enter Pilot Deals With Syfy

The project, which revolves around a small East Coast fishing village, will be executive-produced by Shyamalan, who is also attached to direct the pilot.

John Glenn, who wrote the 2008 action thriller "Eagle Eye" and "The Lazarus Project," will write as well as executive-produce.

Sony Pictures Television and Shyamalan's Blinding Edge Pictures will produce "Lost Horizon."

In August, Shyamalan entered a pilot deal with Syfy for the drama "Proof," which follows the son of a tech magnate who offers a reward for anyone who can provide proof of an afterlife, after his parents die in a tragic accident. Shyamalan will direct that project, as well as co-write and serve as one of its executive producers.

Deadline first reported the news of "Lost Horizon."

http://www.thewrap.com/tv/article/m-night-shyamalans-lost-horizon-project-lands-nbc-59156