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Hot Off The Press: The Latest TV News and Information - Page 2755

post #82621 of 93827
TV Notes
After 50 years, Don Francisco’s ‘Sabado Gigante’ is as big as ever
By Edgar Sandoval, New York Daily News - Oct. 4, 2012

Hundreds of fans flocked to the Museum of the Moving Image in Queens to honor Don Francisco, host of the longest-running television show in TV history — a rollicking collection of celebrities, contests and bikini-clad babes called “Sabado Gigante.”

Francisco, a Chile-born son of German-Jewish Holocaust refugees, has hosted the Spanish-language show since 1962 — the last 30 on Univision.

His groundbreaking show — which translates to “Giant Saturday” — almost never got off the ground.

“My father wanted me to be a tailor, a designer of men’s clothes,” he recalled.

But then he visited New York City as a young man and saw something that changed his life.

“I saw this new type of radio, except it wasn’t a radio. It had images in it,” said Francisco, whose real name is Mario Kreutzberger. “I knew my future was going to be in there.”

He returned to his native country and, inspired by the likes of Jerry Lewis and other talk shows, pitched an idea to a fledgling Chilean station in 1962.

The show — a kitschy, and often-parodied, carnival of game shows, interviews and sexiness — became a hit.

Now on Univision, the show reaches Spanish speakers all over the world. Francisco has hosted more than 2,600 episodes and says he has no plans to retire.

“I plan to come back to celebrate the show’s 60th year,” he said. “I’m in the business when you don’t retire. They retire you.”

That’s not likely to happen soon. Francisco was inducted into the Television Academy Hall of Fame this March — and has even weathered a sexual harassment claim several years ago.

“Being popular, it looks easy, but it’s not,” he said. “But I still feel young. I know you don’t believe me, but I do.”

post #82622 of 93827
TV Notes
Cable prices not out of whack, a la carte won't work, analyst says
By Joe Flint, Los Angeles Times' 'Company Town' Blog - Oct. 5, 2012


If you want to save money, you might be better off getting rid of your dog before you cancel your pay-TV service, a prominent media analyst says.

In a report issued Friday, Sanford C. Bernstein analyst Todd Juenger takes a contrarian approach to all the talk about skyrocketing cable bills and the calls to let consumers pick the channels they want instead of having to pay for dozens they never look at.

With regard to cost, Juenger notes that while pay-TV prices are rising faster than inflation, the growth is slower than a lot of other products and services including pet food, public transportation, gas and even coffee.

Currently, the typical cable bill is $72 a month, compared to $55 in 2005. This is just for video services, not broadband or phone or other offerings from pay-TV distributors. That is a compound annual growth rate of about 4.7%. Juenger checked with the American Pet Product Manufacturing Assn., which said in 2005 the average cost of caring for a dog was $131 a month and has grown by 4.8% on a compound annual basis since then.

Juenger isn't really suggesting people should stark kicking their dogs to the curb to save a few bucks. After all, who will we pet while watching "Here Comes Honey Boo Boo"?

But he does note that even that 4.7% compound annual growth rate for pay TV can be challenged. TV viewership, Juenger said, has risen over the past five years, as have the number of channels and (arguably) quality of programming. "The real unit price of pay-TV has been growing even slower than 4.7%," Juenger said.

Despite that, there are still many who want to be able to choose their own channels in the hopes that this would keep prices low. It's a nice idea, but, as Juenger points out, one that wouldn't work. That's because the dozen channels one subscriber might want would not be the same that his neighbor would want. ESPN charges about $5 per-subscriber, per-month to be in every home. If ESPN were suddenly in one-third of those homes, that price would triple in order for ESPN to pay for all the sports it carries.

The same is true for entertainment channels. Nickelodeon goes for 55 cents per subscriber, but if it were suddenly in far fewer homes, the channel would have to raise its prices or say goodbye to "SpongeBob SquarePants" and "Dora the Explorer."

"The fact that the current bundled model is filled with cross-subsidies works both ways for every household," Juenger said. "On one hand they are forced to pay for channels they don't want. On the other hand, other people are helping subsidize channels they do want."

Juenger said he is not unsympathetic to those concerned about the rising cost of pay-TV but does feel that the industry has become an easy target for academics and consumer advocates.

"The proportionality has been overblown, at least to those of us who make a living studying the economics of the industry, because the focus of the discussion has been centered on the rising cost of sports rights and affiliate fees, as opposed to the rising price to consumers of pay TV," he concluded.

That may be, but I'm not getting rid of my cats.

post #82623 of 93827
Regarding Don Francisco's 50 years with "Sábado Gigante", three other people besides him have hosted the same show for 50 years (or seasons) or more. They are:

Eva Uranga de Zárate, host of the Guadalajara, Mexico cooking show "Hasta la cocina" since December 1, 1960

Mac McGarry, host of the Washington, D.C. high school quiz "It's Academic" from October 7, 1961 to June 25, 2011 (I was in the studio audience for Mac's final two shows)

Carl Pellonpaa, host of "Finland Calling" on WLUC-TV in the upper peninsula of Michigan since March 25, 1962
post #82624 of 93827
^^^ But, unlike Don Francisco, these guys have only been local and stayed local. Even when he started in '62 on Chilean TV Don Francisco's show was national.

FRIDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
Edited by dad1153 - 10/7/12 at 11:29am
post #82625 of 93827
Nielsen Overnights
‘Shark Tank’ Up To Top Night, ‘Made In Jersey’ Falls, ‘Grimm’ Steady
By Nellie Andreeva, Deadline.com - Oct. 6, 2012

With ABC’s Friday lineup in full force after a preemption for a Last Resort rerun last week, the network easily won Friday night in adults 18-49 to go two-for-two since the beginning of the season. (ABC and CBS finished tied in the demo last Friday). ABC was buoyed by Shark Tank (1.7/6 in adults 18-49), which rebounded after a premiere week dip, up 13% to rank as the top program of the night in 18-49. For the rest of the night, it was steady wins the race for ABC, as the network didn’t win another time period but its shows stayed competitive — What Would You Do? (1.4/5) and 20/20 (1.2/4) — to secure ABC’s nightly victory.

CBS’ once formidable scripted Friday lineup is in desperate need of a tune-up. While its series finished 1-2-3 in total viewers to give the network a nightly win (8.2 million), in adults 18-49 they couldn’t crack the Top 4. Blue Bloods and CSI: NY (1.2/4) were tied with 20/20 for fifth, while freshman Made In Jersey (0.8/3) fell 27% from its underwhelming premiere last week to rank as the lowest-rated telecast on the Big 4 networks, behind repeats of The Voice and The X Factor. As much as applaud CBS for not abandoning scripted programming on Friday, it seems like Undercover Boss may be joining the lineup soon.

NBC’s Grimm (1.6/5) held steady from last week to finish second behind Shark Tank and rank as the No.1 scripted series of the night. Fox’s Fringe (1.0/3) was down a tenth from its final season premiere last Friday. The CW’s America’s Next Top Model (0.5/2) was flat.

post #82626 of 93827
TV Review
'Songs of Johnny Cash'
Man in Black gets feted with retrospective worthy of pioneering artist
By David Hinckley, New York Daily News - Oct. 5, 2012

The idea of Johnny Cash singing a Nine Inch Nails songs at first sounded like the idea of Frank Sinatra harmonizing with the Grateful Dead.

But Cash sang it anyhow, and that it became takeoff point for this cool six-part retrospective on the songs of the Man In Black.

Cash died in 2003 at the age of 71, the kind of rugged larger-than-life American persona who, like John Wayne, transcended ideology to become an artist who helped define a form.

"Songs of Johnny Cash" takes the interesting tack of starting at the end, focusing on Cash's last sessions for Rick Rubin and specifically the song "Hurt," written by Trent Reznor of the hard rock band Nine Inch Nails.

The chilling “Hurt” video has long been considered a classic and it’s described by several writers and musicians here as one of the most raw songs Cash, or maybe anyone else, ever recorded.

He performs it as a painful personal confession, leading Reznor to say here that Cash found more in the song than he did.

This “Songs” series alludes repeatedly to the hard road Cash followed through his life, though it paints an almost beatific picture of his life with his second wife, June Carter Cash.

Like the bio-pick “I Walk the Line,” this special credits June with putting his life back on the rails, well enough that singer Grace Potter, among others, talks about his long and satisfying life.

Other reminiscences from the likes of Tom Petty and Ben Folds are equally warm, though the special points out that by the 1980s, before he hooked up with Rubin to start recording his version of the American songbook, he was considered a country oldies act.

This series makes it clear he didn’t walk that line.

Network / Air Date: Ovation, Sunday night at 8 p.m.
Rating: ★★★ (out of five)

post #82627 of 93827
TV Notes
'Wonder Woman': Adrianne Palicki Reflects On Failed NBC Pilot
By HuffingtonPost.com Staff - Oct. 5, 2012

Adrianne Palicki isn't ashamed of NBC's failed "Wonder Woman" pilot.

"I'm incredibly proud of that project," she told CraveOnline. "I was so grateful to get to play Wonder Woman. That was a childhood dream of mine and I’m proud of the outcome. I do wish it would have gone to series but everything happens for a reason. Looking at it as a positive, I got to work with some amazing actors, [an] amazing writer and I got to wear the outfit. It was not comfortable but it was totally worth it."

The "Friday Night Lights" star played the title role in David E. Kelley's pilot NBC produced for the 2011-2012 TV season. According to Palicki, politics killed the pilot, which was well on its way to being picked up. In fact, some press materials produced by NBC for the 2011-2012 Upfront included "Wonder Woman."

"It was shocking," she said. "There were obviously politics involved. It had gotten picked up as far as I knew so when we got that call it was incredibly shocking. We were set up to go to Jimmy Kimmel and everything else so it was a real shock. It was hard to take at first."

Kelley's pilot script leaked before filming and was maligned by critics.

A new project based on the classic DC Comics character is currently in development at The CW. "Grey's Anatomy" writer and comic book scribe Allan Heinberg is reportedly working on a script starring Wonder Woman before she got the title. It's currently under the working title of "Amazon."

Lynda Carter, who helped make Wonder Woman iconic in the 1970s, said she was excited about the proposed project.

“I am delighted to hear this news," Carter told The Huffington Post when asked about the new CW project. "Wonder Woman is a fantastic, inspirational character who should be introduced to a new generation. I wish them great luck and look forward to seeing it on air."

Check out a fan-made video of opening credits for Palicki's "Wonder Woman" pilot below.

post #82628 of 93827
TV Review
'Nashville' is a country-strong prime-time soap
By Rob Owen, Pittsburgh-Post Gazette - Oct. 7, 2012

Fans of serialized drama -- aka prime-time soaps --take note: a pilot worth your attention arrives this week with the debut of ABC's "Nashville" (10 p.m. Wednesday, WTAE).

Created and written by Callie Khouri, the Oscar-winning screenwriter of "Thelma & Louise," "Nashville" introduces a passel of plots in its premiere, including an "All About Eve" scenario, unrequited love, questionable paternity and family turmoil. And it all blends together in an entertaining, easily digestible hour.

And yet, ABC executives are clearly nervous about how "Nashville" will be perceived.

At the Television Critics Association summer press tour in July, any mention of the new soapy drama was met with a quick, defensive, "It's not just about country music" response.

It's an understandable reaction. The show's title alone conjures an image of honky-tonks. Sometimes image is everything.

"Nashville" stars Connie Britton, who previously led the cast of "Friday Night Lights," which had a similar perception problem. "FNL" was a character-driven, quality drama with a football backdrop but the football aspect of the show scared away viewers who usually watch quality dramas and football fans tuned out after it was clear the show was not about football.

ABC may be luckier with "Nashville" because it seems likely to draw the country music audience and the audience for serialized drama. (Just to be clear, the "Nashville"-"FNL" comparison is about form, not quality. "Nashville" is an entertaining show but the pilot lacks the heart and humanity of "FNL.")

Is "Nashville" too country? Not for me. Country music is not my genre of choice but the music in "Nashville" was not off-putting. That said, the pilot is at its best using music -- particularly in a montage near the end of the premiere -- to advance the plots rather than in straight-on performance sequences that might encourage the non-music fans to drift away from the TV.

Ms. Britton stars as Rayna Jaymes, country music's reigning female vocalist who finds her dominance of the charts eroding as a new generation of artists emerge, including Juliette Barnes (Hayden Panettiere, "Heroes"), an entitled up-and-comer with a deadbeat mom on her tail.

Rayna's dislike of Juliette's sound ("It sounds like feral cats to me") grows when new managers at Rayna's record label suggest she go on tour with Juliette and open for her, a slap to Rayna's ego.

Rayna's turmoil isn't limited to career woes. Her father, Lamar Wyatt (Powers Boothe, "Hatfields & McCoys"), schemes his way through business and politics, including a new plan that directly impacts Rayna and her husband, Teddy (Eric Close, "Without a Trace"), a down-on-his-luck businessman.

And then there's Rayna's band leader, Deacon Claybourne (Pittsburgh native Charles Esten), who has unrequited love for the singing superstar. Other characters include Deacon's niece, Scarlett (Clare Bowen), and her potentially trouble-making boyfriend (Jonathan Jackson, "General Hospital") and her Bluebird Café co-worker, Gunnar (Sam Palladio, "Episodes"), who has a crush on Scarlett.

Ms. Khouri wrote the "Nashville" pilot and executive producer R.J. Cutler ("The War Room") directed it in a way that builds a believable universe. The show feels real.

It helps that the series films on location but it's the clear writing and the blunt, brass tacks portrayal of Rayna's business dealings that give credibility to the characters and authenticity to the situations in "Nashville."

10 p.m. Wednesday, ABC.

Read more: http://www.post-gazette.com/stories/ae/tv-radio/tuned-in-nashville-is-a-country-strong-prime-time-soap-656516/#ixzz28aFU4dRG
post #82629 of 93827
TV Notes
On The Air Tonight
SUNDAY Network Primetime Options
(All shows are in HD unless noted; start times are ET)

7PM - America's Funniest Home Videos (Season Premiere)
8PM - Once Upon A Time
9PM - Revenge
10:01PM - 666 Park Avenue

7PM - NFL Football: Regional Action (LIVE, continued from 4:25PM)
7:30PM - 60 Minutes
8:30PM - The Amazing Race
9:30PM - The Good Wife
10:30PM - The Mentalist

7PM - Football Night in America (80 min., LIVE)
8:20PM - NFL Football: San Diego Chargers at New Orleans Saints (LIVE)

7PM - The Simpsons: Treehouse of Horrors XXII
(R - Oct. 30)
7:30PM - The Cleveland Show (Season Premiere)
8PM - The Simpsons: Treehouse of Horrors XXIII
8:30PM - Bob's Burgers
9PM - Family Guy
9:30PM - American Dad

(check your local listing for starting time/programming)
8PM - Call the Midwife
9PM - Masterpiece Classic - Upstairs Downstairs: A Faraway Country About Which We Know Nothing (Season Premiere)
10PM - Broadway: The American Musical - Give My Regards to Broadway (1893-1927)

7PM - Aqui y Ahora
8PM - Mira Quién Baila (125 min.)
10:05PM - Sal y Pimienta

7PM - Movie: Salt (2010)
9PM -Yo Me Llamo (120 min.)
post #82630 of 93827
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Oct. 7, 2012

Various Networks, 12:00 p.m. ET

The unprecedented wild-card playoff system instituted this year, which had the St. Louis Cardinals and Baltimore Orioles advancing in sudden-death games, makes this first Sunday of postseason play especially complicated. Game 2 of the Oakland Athletics-Detroit Tigers contest is played at noon ET, available on the MLB Network. The rest of the day’s games are on TBS: Washington Nationals vs. the Cardinals at 3 p.m. ET, New York Yankees vs. the Orioles at 6 p.m. ET, and, finally, the Cincinnati Reds vs. San Francisco Giants at 9:30 p.m. That’s a solid 12 hours of postseason baseball, for those willing to enjoy or endure.

Fox, 8:00 p.m. ET

I really feel old around this time each year – not because of my imminent birthday, but because The Simpsons serves up another Treehouse of Horror, an annual pre-Halloween treat which is now up to Roman numeral XXIII. I treasure these episodes as among the show’s most inventive, and they almost always have a MAD magazine-level tossaway sight gag that leaves me laughing, and smiling, for a long time. This year, as part of a quick playlet on the Mayan doomsday prophecies, takes us back in time and shows us street-level Mayan everyday life: including a storefront operation called – I love this – “Quetzal’s Pretzels.”


CBS, 9:30 p.m. ET

Last week’s season premiere, with all its unexpected political intrigue regarding a routine traffic stop, was an instant reminder of why this drama series remains one of the best shows on broadcast TV. It also was a reminder of why Kalinda (Archie Panjabi), now face to face and a lot more with her ex-husband (Marc Warren), also deserves our loyal attention. And in a new recurring role as a trustee advising the law firm, Nathan Lane made a strong first impression as well. Welcome back, Good Wife.

PBS, 9:00 p.m. ET

This serves as a dual reminder: Not only does PBS present Episode 2 of the excellent new British import Call the Midwife tonight at 8 ET, but that’s followed at 9 p.m. ET by the Season 3 premiere of the new Upstairs, Downstairs on Masterpiece Classic, featuring Laura Haddock as Beryl Ballard. Check local listings.

Showtime, 10:00 p.m. ET

Last week’s Season 2 premiere was everything we’d hope Homeland would be when it returned – and tonight’s follow-up episode is even better. Both Carrie (Claire Danes) and Brody (Damian Lewis) get in a bit too deep, and rely on their own wits to extricate themselves.

post #82631 of 93827
TV Notes
Tommy Lasorda, Tony La Russa on ‘Face the Nation’; Bill O’Reilly on ‘This Week’
By Hal Boedeker, Orlando Sentinel's 'TV Guy' Blog

You’ll hear a lot about presidential politics on Sunday morning, but CBS’ “Face the Nation” plans a baseball panel to celebrate Washington’s first postseason play in 79 years.

The panel will feature former managers Tony La Russa of the St. Louis Cardinals and Tommy Lasorda of the Los Angeles Dodgers. La Russa is promoting a book, “One Last Strike.” Another guest is Jane Leavy, who has written “The Last Boy: Mickey Mantle and the End of America’s Childhood.” CBS hints that there will be a “TBA wild card guest.”

The program starts at 10:30 a.m. Sunday on WKMG-Channel 6. David Axelrod, senior adviser to the Obama campaign, discusses the president’s strategy in the final 30 days before the election. A reporters’ panel brings together John Fund of The American Spectator, Michael Gerson of The Washington Post and CBS’ Norah O’Donnell and John Dickerson.

Also Sunday:

***Bill O’Reilly of Fox News Channel will be a guest on ABC’s “This Week” at 11 a.m. on WFTV-Channel 9. Other guests are Robert Gibbs of the Obama campaign and Ed Gillespie of the Romney campaign. The roundtable features Democratic strategist James Carville, Republican strategist Mary Matalin, Paul Krugman of The New York Times, Peggy Noonan of The Wall Street Journal and ABC’s Jonathan Karl.

***Sen. Kelly Ayotte, R-N.H.; Gov. Martin O’Malley, D-Md.; and debate coach Brett O’Donnell will be guests on “Fox News Sunday.” The program starts at 10 a.m. on WOFL-Channel 35. The panel will be Brit Hume, Mara Liasson, Kimberley Stassel of The Wall Street Journal and Kirsten Powers of The Daily Beast.

***Two Ohio politicians, Attorney General Mike DeWine and former Gov. Ted Strickland, will be guests on “State of the Union.” The program starts at 9 a.m. and noon on CNN. A panel on the economy and jobs brings together Jackie Calmes of The New York Times; Douglas Holtz-Eakin, former director of the Congressional Budget office; and Mark Zandi, chief economist of Moody’s Analytics.

***NBC’s “Meet the Press” looks at the state of the presidential race through a roundtable discussion at 9 a.m. on WESH-Channel 2. The guests are Robert Gibbs, senior adviser to the Obama campaign; former Republican presidential candidate Newt Gingrich; Democratic strategist Hilary Rosen; Republican strategist Mike Murphy; and NBC’s Chuck Todd.

***”Fareed Zakaria GPS” looks at the economy with Lloyd Blankfein, chairman/CEO of Goldman Sachs; John Chambers, chairman/CEO of Cisco Systems; and Andrew Liveris, president, chairman and CEO of the Dow Chemical Co. The program starts at 10 a.m. and 1 p.m. on CNN. The other guests are author Salman Rushdie and retired Gen. Michael Hayden, former director of the National Security Agency and CIA.

post #82632 of 93827
TV Notes
Cameron Diaz Movie 'Bad Teacher' Being Adapted by CBS
By Tim Kenneally TheWrap.com - Oct. 5, 2012

CBS is adapting the 2011 Cameron Diaz comedy "Bad Teacher" for TV, an individual with knowledge of the project told TheWrap.

The comedy will be written for the network by Hilary Winston, whose credits include "My Name Is Earl," "Happy Endings" and "Community." Winston will also executive-produce.

Gene Stupnitsky and Lee Eisenberg, who wrote the film, will also executive-produce.

The film, which raised eyebrows with its raunchiness, starred Cameron Diaz as a hard-drinking, pot-smoking middle-school teacher skating by on the job while waiting to marry her rich fiance, until she's dumped after her fiance realizes that she just wants his cash. Justin Timberlake and Jason Segel also starred.

Also read: "Homeland" Duo Lands FBI Drama Pilot With CBS

The project comes from Sony Pictures Television and the Mosaic Media Group.

News of the "Bad Teacher" adaptation comes a day after the network put in a pilot order for a very different type of project -- the drama "Anatomy of Violence," from "Homeland" creators Howard Gordon and Alex Gansa, will center on a female FBI agent who starts working with a mysterious psychiatrist with whom she shares a past connection.

post #82633 of 93827
TV Review
‘Titanic: Blood and Steel,’ not so riveting
Encore miniseries tells the story of the building of the ocean liner
By Tom Conroy, Media Life Magazine

A Titanic miniseries without the iceberg? Wouldn't that be like making "The Dark Knight" without the Joker?

Encore's miniseries "Titanic: Blood and Steel" takes a different approach from that of the many movie and TV treatments of the 1912 shipping disaster. It tells the story of the building of the ship, stopping just as the Titanic is beginning its only voyage.

The miniseries presents characters from the entire spectrum of turn-of-the-century Belfast society, in the process dramatizing such topics as the labor movement, feminism, Catholic-Protestant tensions and the fight for Irish independence. Unfortunately, at least in the first 4 of the 12 episodes, the characters feel like stock figures used to illuminate those topics. The impending disaster casts its shadow, but it feels oddly irrelevant to the action. Viewers will likely lose patience long before the final rivet is hammered in.

Premiering with two hour-long episodes next Monday, Oct. 8 (two episodes will run every night through Saturday), the series begins in New York City, where Dr. Mark Muir (Kevin Zegers), a metallurgist, persuades the financier J.P. Morgan (Chris Noth), whose business interests include the White Star shipping line, to hire him to test the safety of the materials and construction methods used in the building of what will be the world's largest passenger liner.

Muir returns to his native Belfast to work at the Harland and Wolff shipyard, which is run by the liberal Lord William Pirrie (Derek Jacobi). Quickly taken into the city's Protestant high society, he befriends Kitty Carlton (Ophelia Lovibond), a flamboyantly indiscreet socialite.

Muir seems better suited to be with Sofia Silvestri (Alessandra Mastronardi), an Italian immigrant who works as a copyist at the shipyard. Among her friends and family members are several workers who are trying to unionize the city's shipping industry. Her circle provides various romantic subplots.

Muir sets to work looking at pieces of steel through a microscope and subjecting them to stress tests. One scene of this is too much, but we get many. It's unclear if we'll ever learn that his findings could have prevented the sinking of the ship.

At least his work allows him to hire Sofia to make drawings of his samples, setting up many scenes of them flirting as they discuss impurities and the proper temperature to roll steel.

Surprisingly for a metallurgist, Muir has little chemistry with either Sofia or Kitty. He and Sofia feel like nerdy kindred spirits. His lack of admiration, affection or lust toward Kitty makes the prospect of their coupling distasteful.

We learn early on that Muir has a big secret that may make a relationship with either woman impossible.

The scenes of unionizing make some interesting points. The British government is accused of trying to incite violence in order to discredit the movement, which they see as a threat not only to manufacturing but also to British rule of Ireland.

But in the first four episodes, it's never clear what labor unrest and the independence movement have to do with the impending maritime tragedy. If anything, our knowledge that hundreds of innocents will soon die makes these struggles seem less important. The same goes for the romances.

As the episodes continue, there should be some dramatic tension when we start to wonder which, if any, of the characters will board the Titanic. But it feels as if that will be too little, too late.

The series was originally scheduled to air this April, around the 100th anniversary of the disaster. The fact that Encore has pushed it back and has crammed it into six nights suggests that the channel has little confidence in the project.

A more unfortunate scheduling issue is the miniseries' debut after "Downton Abbey," a drama with many characters from a range of social strata that is also set in the early 20th century. In that series, the political issues are driven by the richly drawn characters and their compelling stories.

In "Titanic: Blood and Steel," the issues overwhelm the characters. The sinking feeling starts early.

post #82634 of 93827
Originally Posted by dad1153 View Post

TV Notes
On The Air Tonight
SUNDAY Network Primetime Options
(All shows are in HD unless noted; start times are ET)

7PM - NFL Football: Regional Action (LIVE, continued from 4:25PM)
7:30PM - 60 Minutes
8:30PM - The Amazing Race
9:30PM - The Good Wife
10:30PM - The Mentalist

Note: CBS's schedule in the West has the normal 7pm, 8pm, 9pm, and 10pm starting times.
post #82635 of 93827
^^^ That's why below the headline there's a 'starting times are ET' notice.
post #82636 of 93827
That may be true, but you have to remember that it is drilled into our heads, from the networks, that it is ET/PT. It is quite possible that the CBS programming could start on the hour in the Mountain time zone as well. Domino92024's point is worth noting.
post #82637 of 93827
Originally Posted by Jedi Master View Post

If the Braves continue on the trend they have been on the last 20 years they will choke in the postseason again. They could be one and done Friday.

I was right. The trend continues. Countless errors by the Braves, 5 out of 6 of the Cardinals runs were unearned, and Kris Medlan who was unbeatable during the regular season couldn't get the win. Last year they got their choking done early and choked away the whole month of September.

Then the Bulldogs got embarrassed by getting blown out by South Carolina 35-7. It should be a great week on the local sports radio talk shows here in Georgia.
post #82638 of 93827
OK, I have to ask...

What has baseball, or any sport that is discussed like the above posting, have to do with this thread?
post #82639 of 93827
Originally Posted by mrvideo View Post

OK, I have to ask...
What has baseball, or any sport that is discussed like the above posting, have to do with this thread?
It doesn't, but - in this thread - we're a bit more tolerant of an OT post or two so long as it sticks to the "cracker barrel" feel of the thread and doesn't go overboard. We approach some of the local threads much the same way depending on whether the local posters want it that way or not.

But as always, if it takes over the thread and someone PMs me (Report Post works, but you don't often get ME), then I'll come in and wipe the whole thing off the face of the earth. biggrin.gif
post #82640 of 93827
Originally Posted by dad1153 View Post

TV Review
'Nashville' is a country-strong prime-time soap
By Rob Owen, Pittsburgh-Post Gazette - Oct. 7, 2012
Fans of serialized drama -- aka prime-time soaps --take note: a pilot worth your attention arrives this week with the debut of ABC's "Nashville" (10 p.m. Wednesday, WTAE).

Definitely on my Tivo's season pass list, I'd watch Connie Britton read the phonebook after FNL.
post #82641 of 93827
Originally Posted by DrDon View Post

It doesn't, but - in this thread - we're a bit more tolerant of an OT post or two so long as it sticks to the "cracker barrel" feel of the thread and doesn't go overboard. We approach some of the local threads much the same way depending on whether the local posters want it that way or not.
But as always, if it takes over the thread and someone PMs me (Report Post works, but you don't often get ME), then I'll come in and wipe the whole thing off the face of the earth. biggrin.gif
But what if the order comes from the secondary backup artic network? Do you still pull the trigger or question the order? wink.gif
post #82642 of 93827
TV Review
Stellar cast reinforces 'Steel Magnolias' remake
Queen Latifah, Alfre Woodard, Phylicia Rashad, Condola Rashad, Jill Scott and Adepero Oduye star on Lifetime.
By Mary McNamara, Los Angeles Times - Oct. 5, 2012

There is no one compelling reason to remake Robert Harling's 1989 weeper "Steel Magnolias" with an all black cast, but there are six pretty good ones.

The doomed but determined young woman plotline seems hopelessly (and medically) retro and the original tagline ("I'd rather have 30 minutes of wonderful than a lifetime of nothing special") sentimentally absurd (if your doctor advises you to not get pregnant, honey, don't get pregnant).

But in a world where roles for black women are few and far between, "Steel Magnolias" does offer the chance for half a dozen of our finest actors to work together without donning maids uniforms or the native garb of the "The No. 1 Ladies Detective Agency." (Memo to HBO: Bring back this show. Please.)

Consider the cast: Queen Latifah, Alfre Woodard, Phylicia Rashad, her daughter and Tony nominee Condola Rashad, Jill Scott (of the aforementioned "No. 1 Ladies Detective Agency") and Adepero Oduye. Coming together, on Lifetime no less, for the second TV remake of the iconic sobfest.

No offense to Harling's tale, which still retains its hypnotic influence over heart and tear ducts, but surely there is a better use for this fine ensemble, each of whom could easily anchor a television series or film. It is difficult to understand a world in which, say, Zach Galifianakis has a busier career than Woodard.

But they do bring life to the remake because as in the original film, it is the group that surrounds the lovely but diabetically foolish Shelby (Condola Rashad) that provides the film's power and the glory. As M'Lynn, Shelby's devoted and occasionally controlling mother, Latifah is strong but uncharacteristically subdued, her signature sass battened down into a lifted eyebrow here, a sideways glance there, which proves mostly effective. It's difficult though not to long for a more Latifah-like reaction to the news of Shelby's ill-advised pregnancy.

M'Lynn allows herself to loosen up a bit around her old friends, who regularly gather at Truvy's salon to, well, let their hair down. Truvy (Scott, Dolly Parton's role in the original film) may have troubles of her own, including a husband increasingly depressed by employment worries, but she is the sweet-voiced, sweet-faced heart of the group, which includes Clairee (Phylicia Rashad), former wife of the mayor; Ouiser (Woodard), a cantankerous, outspoken widow, and Annelle (Oduye), a troubled young woman Truvy hires as her assistant.

All of the characters seem slightly filed down from the original cinematic versions, which is not surprising since that cast included Parton and Shirley MacLaine gleefully playing their parts as just that — Characters, with a proud and capital C. In this version, the women ring truer as people and, more important, as friends.

The easy humor and palpable love in the ensemble scenes give this "Steel Magnolias" just enough buoyancy to survive the pools of syrup over which it must traverse. If the material is not quite fine and fresh enough for its performers, it gave these six women an excuse to be in the same room together. And that is something to see.

Where: Lifetime
When: 9 p.m. Sunday

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TV Reviews
Sherlock Got Sex Appeal
By Nancy DeWolf Smith, Wall Street Journal - Oct. 5, 2012

The latest iteration of the world's greatest detective makes a fantastic debut in the new CBS crime drama "Elementary." Approaching a house in Brooklyn, N.Y., Dr. Joan Watson looks up at a window to see a woman pulling on a T-shirt after what was unmistakably a night of sex. The other half of the couple, when Watson finally sees him, is naked from the waist up and tattooed. Sherlock Holmes never looked so good.

Updated to the max—and seeing how is one of the pleasures of watching—Holmes is otherwise what we have come to expect. Jonny Lee Miller, who plays him, has a British accent. His Holmes also is quirky and aloof, and it's no surprise when he tells Watson (Lucy Liu) that he finds sex repellent but it gives his body what it needs, like food, now and then. He's had a drug problem, and is in the U.S. after a stint in rehab. Watson, in fact, has been hired by Holmes's father to live with him and make sure he doesn't relapse.

In the business that's called a sober companion, though when Holmes introduces Watson to the New York police captain (played by Aidan Quinn) for whom he consults on cases, he refers to her only as his "personal valet." We can guess that Holmes will one day find his new companion useful. But for now, Watson realizes, he regards her as little more than a "glorified helper monkey." Or a chattering distraction. "For future reference," he informs Watson this week, "when I say I agree with you, I'm not listening."

In case you're wondering, it doesn't matter that there is already an updated, and justly celebrated, Holmes and Watson on PBS's "Sherlock." There's enough room left in the genre for another modern pairing, and Mr. Miller and Ms. Liu bring something memorably new to each character.

With their wary eyes and hard-set expressions, this couple may be more alike than they know. There are indications that each is damaged and emotionally blocked. Watson, for instance, stopped practicing surgery when she lost a patient, although Ms. Liu has already telegraphed that things go deeper than that.

Yet it is Holmes who has built the taller wall around himself. And—in what makes for an important distinction between him and Holmeses past—it is likely a man-made wall, not an inborn asociality. The time when he chooses his words carefully to spare Watson's feelings, it isn't a ritual social skill he has taught himself, but evidence of a desire, normally suppressed, to be kind to another human being. In such tiny moments does this Holmes seem more human, more alive under the skin, than many of his forbears.

Romance may be out of the question for this particular twosome. But they have dramatic chemistry that only a man and woman can generate. She may get him doing exercises, but he will breathe life into her again.

None of this would matter if the crime stories at the center of each episode weren't well plotted, allowing Holmes to strut his stuff with detecting that is inspired but not impossibly peculiar. This week, which begins with the abduction of a child, takes a twist nobody can see coming. For the first time, too, we feel Holmes's passion.

Often droll and occasionally very funny, "Elementary" leaves its characters wiggle room to change without losing their fictionally famous characteristics. The Holmes that generations were raised with carried a whiff of vulnerabilities, even of past loves. But he was essentially a static character, never moving forward. This modern one can't move too far or he would no longer be recognizably Holmes. But Mr. Miller keeps him always at the very edge of waking up to the world around him. Together or alone, he and Ms. Liu are more exciting to watch than the crimes they solve.

Thursdays at 10 p.m. on CBS

* * * *

"Nashville" introduces so many characters that watching the first episode of this ABC drama feels like being on the spinning teacup ride at Disneyland. But a few things are clear. The show begins with an "All About Eve" vibe as longtime country sensation Rayna Jaymes (Connie Britton) comes face-to-face with the reality that the young hottie Juliette Barnes (Hayden Panettiere) is out to take her crown. In fact, the ratings battle may already be over, and Juliette is now making runs at the men in Rayna's life.

As distressing as this is (and Juliette, "Country Strong" style, has bad-family problems and demons of her own) Rayna has more to worry about than her sputtering career. Her powerful and über-manipulative father (Powers Boothe) has recruited her husband Teddy (Eric Close) to run for mayor of Nashville, and she knows Teddy has just sold his soul to the devil.

Also in orbit for episodes to come are some soulful singers, songwriters and music producers of Rayna's age and some soulful aspiring singers, songwriters, etc. for the younger set. The women are all pretty and so are most of the men, although not many of the actors can really sing. Around and around they'll go, and how it will end nobody knows.

Wednesdays at 10 p.m. on ABC

* * * *

The new season of "Upstairs Downstairs" on PBS is set after the Munich Agreement in 1938 that set the stage for the invasion of Czechoslovakia. The aristocratic couple who bought the London townhouse at 165 Eaton Place are still in residence and so are the servants below stairs.

But the times are changing, the diplomat Sir Hallam Holland (Ed Stoppard) has a bored wife, bosses intent on appeasing Hitler and a sister-in-law shacked up with a German officer in Berlin. Below stairs, the butler Mr. Pritchard (Adrian Scarborough) tries to keep to the old ways, alongside the Sikh secretary Amanjit Singh (a standout here, played by the wonderful Art Malik). As moving as their plights are, the lovelorn chauffeur and exploited maids are upstaged at regular intervals by the aristos-gone-wild upstairs, including a dissolute member of the royal family and the a torrid "Well of Loneliness" lesbian love affair.

No sooner has "Upstairs" veered toward farce than it redeems itself, again and again. The scene of Jewish refugee children disembarking from a train on a London night, silhouetted in the fog like the little creatures in "Close Encounters"—that moment alone makes up for any false notes.

Sundays at 9 p.m. through Nov. 11 on PBS

post #82644 of 93827
Originally Posted by mrvideo View Post

OK, I have to ask...
What has baseball, or any sport that is discussed like the above posting, have to do with this thread?
Says the Guy who keeps bringing up the spelling issue into this thread . . . .
I'd much rather see a sports post than a spelling correction post . rolleyes.gif
Edited by Fastslappy - 10/7/12 at 8:00pm
post #82645 of 93827
Originally Posted by DrDon View Post

then I'll come in and wipe the whole thing off the face of the earth. biggrin.gif

I always knew you were mean! biggrin.gif
post #82646 of 93827
Ladies, please! Be nice. wink.gif

SATURDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #82647 of 93827
Business Notes
MIPCOM 2012: Kevin Spacey, Robin Wright: Why Netflix’s ‘House of Cards’ Is the Future of TV
By Scott Roxborough, The Hollywood Reporter - Oct. 7, 2012

CANNES – If its pitchmen are to be believed, House of Cards, the first drama series commissioned by VOD service Netflix, is the future of TV.

Kevin Spacey and Robin Wright, who star in the modern-day political drama, flew into Cannes to hype the series, which Media Rights Capital is co-producing and Sony Pictures Television is selling worldwide. Sony screened the first two episodes of House of Cards to international buyers. Netflix will put all 13 episodes of the first season online at once in February.

With a budget north of $100 million for the two, 13-episode seasons commissioned by Netflix and with David Fincher on board as an executive producer – and director of the first two episodes – House of Cards has the potential to either be a game changer for the VOD business or a costly mistake for Netflix and its partners. The series is based on a BBC show of the same name from the 1990s which stared Ian Richardson as an ambitious and ruthless British politician.

“This is a really new perspective…to drop them all at once but I think that’s how we watch TV now,” Spacey said.

“This is the future, streaming is the future,” said Beau Willimon, the Oscar-nominated screenwriter of Ides of March who adapted the original BBC series and acts as headwriter and showrunner on House of Cards. “TV will not be TV in five years from now…everyone will be streaming.”

Spacey, speaking to reporters ahead of the industry screening, said Netflix gave he and the other series creators (Spacey has an executive producer credit on House of Cards) complete creative freedom making the show.

“Because this is the first time they (Netflix) are doing drama, they don’t even have the offices to do this compared with the other networks,” Spacey said. “I feel sorry for the makers of the third series they do – when they have the offices (and can interfere).”

Willimon said Netflix didn’t interfere “in any way” with his or Fincher’s vision for the series.

“They didn’t give notes, like you’d see in other series. They trusted us to deliver, creatively,” he told THR.

Willimon and Spacey were loath to divulge much of the plot of the series but Willimon did confirm that Spacey’s character, Francis Urquhart, a Conservative in the BBC version, would be the Democratic Chief Whip in the U.S. incarnation. The American series kicks off just after the 2012 election when Urquhart is snubbed for a key post in the new administration and decides to seize power himself by any means necessary.

Spacey and Wright said it was the creative freedom that drew them back to TV.

“I was lucky to get into film at a time (the 1990s) that was very interesting for drama,” Spacey said. “But if you look now, the focus is not on the same kind of films that were made in the 90s. When I look now, the most interesting plots, the most interesting characters, they are on TV.”

“Everything now is escapism, because that’s where the money is,” said Wright. “There is a vacuum for serious drama. The mid-budget serious drama is something you don’t experience anymore.”

Spacey argued that Netflix’s approach to the series – commissioning 26 episodes upfront without first screening a pilot – will give House of Cards greater continuity. “We know exactly where we are going,” he said.

Joshua Donen, Eric Roth, Dana Brunetti, Andrew Davies, Michael Dobbs and John Melfi will also have executive producer credits on House of Cards, which Donen/Fincher/Roth and Trigger Street Productions are co-producing in association with Media Rights Capital. The first season will wrap production later this month. Season two is set to begin shooting in the Spring of 2013.

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TV Notes
Dick Wolf’s Drama: This Is His Story
By Amy Chozick, The New York Times - Oct. 7, 2012

Dick Wolf, at center in jacket, celebrating the 300th episode of
“Law & Order: SVU” at Chelsea Piers. (Joshua Bright for The New York Times)

A couple of writers on “Law & Order: Special Victims Unit” huddled with a casting director. “What we need is the girl who looks like the adorable big sister, but then she turns out to be a pedophile’s accomplice,” an executive producer, Warren Leight, told his team.

Since its 1999 debut, “SVU,” the stalwart sex-crimes sibling of the original “Law & Order,” has delivered viewers a predictable, and beloved, formula of whodunit storytelling. Now the creator of the “Law & Order” brand, Dick Wolf — whose name is so tethered to television drama that just hearing it evokes an ominous chung-chung sound in many viewers’ minds — is branching out. He is taking his signature fast-paced realism (or what he calls “trompe l’oeil cinéma vérité”) outside New York to a Chicago firehouse. And unlike his strict procedural style, which gives little character back story, “Chicago Fire“ hinges as much on the messy personal lives of firefighters and paramedics as the fires, car accidents and other calamities they handle.

Mr. Wolf’s team calls “Chicago Fire,” which begins Wednesday on NBC, “Dick Wolf 2.0,” a slightly evolved approach for a big-name producer firmly committed to the creative doctrine that made “Law & Order” a billion-dollar property and one of the most lucrative franchises ever on television.

But “Law & Order” and its offshoots have taken a hit lately, a product of changing tastes in broadcast television toward character-focused dramas with story lines that stretch from episode to episode. For Mr. Wolf, after decades of prime-time ubiquity, the current television season represents a crossroads. The question is whether he can depart successfully from his formula, especially after his previous prime-time efforts to break with the format, the NBC show “Conviction” and ABC’s “L.A. Dragnet,” didn’t catch on. Early reviews of “Chicago Fire” have been mixed. (The Huffington Post said, “For a show about fire, it lacks any kind of spark.”) That raises the stakes for Mr. Wolf as he pushes into fresh territory unrelated to “the police who investigate crime and the district attorneys who prosecute offenders.”

In 2010 NBC canceled “Law & Order” after 20 years and more than 450 episodes. It canceled “Law & Order: L.A.” after a single season last year, which is when “Law & Order: Criminal Intent” concluded its run on USA. “SVU,” now in its 14th season, may outrank most other NBC dramas in the ratings, but the numbers have fallen since one of its stars, Christopher Meloni, departed in 2011.

“I have a very selfish agenda: my shows,” Mr. Wolf said over breakfast at the Four Seasons in New York. Newly slim, he adheres to the “cave-man diet,” eating only foods presumed to have been consumed in the Paleolithic era. He carries the luxurious leather briefcase of a high-priced defense attorney and wears orange socks with New Balance sneakers.

“I recognize that in the 26 years I’ve been on the air there’s probably never been a day when someone said, ‘Do you love NBC today?’ ” he said. “It’s a very long-term, very, very profitable business relationship, and 95 percent of the time our goals are the same. The other 5 percent of the time the network has its own agenda.”

Bob Greenblatt, chairman of NBC Entertainment, said he and Mr. Wolf discussed his branching out beyond “Law & Order. “I said to him, ‘You’ve obviously done all the versions of ‘Law & Order’ anyone could imagine, and that’s been brilliant and long going, but it’s time to move into a different franchise,” Mr. Greenblatt said.

“Chicago Fire,” an ensemble drama pitched to NBC as “ ‘E.R.’ in a firehouse,” is the result of those discussions. The show has continuing story lines, like the fallout from a paramedic’s accidentally plunging a needle through a girl’s heart and a rookie’s adaptation to life in the firehouse. But each episode also has plots neatly resolved after 42 minutes.

“This is one of our more character-driven shows,” said Peter Jankowski, an executive producer on each “Law & Order” iteration and on “Chicago Fire.” But he added: “I feel strongly that there’s always a place for procedurals on TV. Part of me thinks ‘Law & Order’ died an early death.”

Mr. Wolf said he didn’t have to venture too far from his preferred brand of storytelling to keep the network happy. He has worked with NBC since “Hill Street Blues” in the mid-’80s, through several owners and many different network chiefs, and he said he understood that tastes change depending on who is in charge. Mr. Greenbatt tends to prefer serialized dramas like the musical drama “Smash” and the apocalyptic sci-fi series “Revolution.” Even “SVU” more frequently uses story lines that stretch across episodes without venturing too far from its standard crescendo.

Mr. Wolf thought back to an early writing job in the mid-’80s on “Miami Vice,” alongside Michael Mann. “ ‘Miami Vice’ wasn’t serialized, but they all wore white suits, and there were alligators,” so everyone thought it was different, he said.

Firefighters have never matched doctors, lawyers or cops as TV’s go-to characters. “Rescue Me” on FX had a small but devoted following. NBC canceled “Third Watch” in 2005, and Fox’s “L.A. Firefighters” burned out after six episodes. Lest the cast and crew of “Chicago Fire” forget that the show should represent the Wolf Brand, a photo of the producer dressed in full fire captain regalia hangs in the background of a set.

In all of Mr. Wolf’s shows the audience can never be ahead of the characters. In “Chicago Fire” that means a camera wouldn’t enter a burning building before the firefighters. “It’s that not knowing that creates the tension,” Joe Chappelle, an executive producer and director on “Chicago Fire,” said during a break from shooting.

Mr. Wolf’s formula also includes the ability to kill off major characters if actors get too demanding. He built that same insurance policy into “Chicago Fire.” Of firefighting, he said, “It’s a very dangerous profession.”

Visually Mr. Wolf insists that his shows have a raw naturalism, the antithesis of glossy crime dramas like “CSI” on CBS and “White Collar” on USA. The recreation room at the firehouse is littered with fliers and old copies of The Chicago Sun-Times. The Hollywood good looks of the cast, led by Taylor Kinney (“The Vampire Diaries”) and the “House” alumnus Jesse Spencer, are played down with frumpy T-shirts and scrubs.

“Dick wanted that beat-up feel,” said Steve Chikerotis, a veteran Chicago firefighter who trained actors on how to properly hold an ax and climb ladders. He added, “And when it comes from Dick, it’s more than a suggestion.”

Several “Law & Order” veterans have been hired to run “Chicago Fire,” but ultimately it’s Mr. Wolf who signs off on scripts, casting and editing. Arthur W. Forney, who has worked on every “Law & Order” series, recalled an early meeting with Mr. Wolf. “He said: ‘Always remember, you can’t talk me out of anything. I still have six frames on the pilot of ‘Law & Order’ that I wish hadn’t made it in there,’ ” Mr. Forney said.

Mr. Wolf did agree to reshoot the opening of the “Chicago Fire” pilot to add a scene that shows how the firefighter Andy Darden dies, a thread throughout the series that had only been alluded to before. “I hate reshooting, but you have to be able to look at stuff and say it doesn’t work,” Mr. Wolf said.

“Chicago Fire” is filmed in Chicago, and Mr. Wolf said his dream would be a franchise of shows set there that could employ local actors and become part of the town’s fabric the way “Law & Order” did in New York. “It’s like a polite New York,” he said of Chicago. The series, if successful, would anchor Wolf Films in the Midwest, where Illinois provides generous tax credits.

Even as he tries to build his Chicago franchise, Mr. Wolf is working to keep “SVU” relevant. After breakfast he headed to Chelsea Piers, where “SVU” is shot. The cast and crew took a break to toast a milestone: the drama’s 300th episode. Already a syndication gold mine, the longer “SVU” remains on NBC, the more original episodes the studio can sell to cable channels that pack their schedules with marathons of repeats. “Thank you all, and let’s go make another 300,” Mr. Wolf told the crowd.

But the celebration didn’t last long. “SVU” is the yeoman’s work of episodic television, and shortly after, a crew member yelled, “Back to work, peasants!”

Last season Mr. Leight, a veteran of “Law & Order: Criminal Intent,” replaced the longtime “SVU” executive producer and made changes, like moving the writing staff to New York from Los Angeles. “We needed writers who knew the right ethnic groups and didn’t write chase scenes in alleys,” he said.

Still, it’s hard not to feel that “SVU,” the last remaining “Law & Order” spinoff, could soon be a victim. It delivers solid ratings for NBC, particularly among women 18 to 34, yet the network put it on Wednesday at 9 p.m., against “Modern Family” on ABC, “Criminal Minds” on CBS and “The X Factor” on Fox. “We’re like the Australian soldiers at NBC,” Mr. Leight said. “They throw us in the toughest situations.”

On NBC’s schedule before “SVU” are the freshman sitcoms “Animal Practice,” about a veterinarian, and “Guys With Kids,” about dads in their 30s. “That’s my lead-in, a monkey show,” Mr. Wolf said. (The two-hour Sept. 26 premiere of “SVU” captured an average of 7.2 million viewers, putting it in fourth place in the time slot.)

Mr. Greenblatt said that Wednesday night would be tough for any show. “We wanted ‘SVU’ to go there because it has a loyal audience, and I wanted it to lead into ‘Chicago Fire,’ ” he said.

“Chicago Fire” uses the same Chicago soundstages as last year’s short-lived “Playboy Club,” a constant reminder of the challenges a new NBC drama faces.

Mr. Wolf acknowledged that no one knows what shows will work. “ ‘Chicago Fire’ could turn out to be a hit. I could be so busy I’ll say, ‘What the hell did I do this for?’ ” he said. “Or on the other hand, I could be politely out of business on Oct. 21. Those are the stakes.”

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TV Notes
'The Price is Right' picks first male model
By Ann Oldenburg, USA Today - Oct. 5, 2012

He beat out "hundreds of hopefuls," says CBS.

Rob Wilson, a model/actor who hails from Boston, has been named as the winner of The Price is Right's first male model search, the show announced today.

The field was narrowed down to 26, who then competed in a series of challenges that aired on priceisright.com.

The models were put to several tests, including writing and singing original lyrics to the show's iconic theme music, showing their excitement as they were each called to "come on down" and experiencing the frantic pace of a costume change.

When the dust settled, Wilson, Clint Brink and Nick Denbeigh were named as finalists, with fans voting online for their choice from Sept. 28 - Oct. 4.

Wilson told viewers, "I grew up watching The Price Is Right with my family and loved it so much I'd even fake being sick to stay home from school to watch! Currently, I'm an actor and model, who is featured in TV, film and print throughout the world! When I'm not pursuing my career, I spend my spare time playing basketball, football, and hiking."

He begins his week-long gig on Oct. 15.

post #82650 of 93827
Originally Posted by Jedi Master View Post

Originally Posted by Jedi Master View Post

If the Braves continue on the trend they have been on the last 20 years they will choke in the postseason again. They could be one and done Friday.

I was right. The trend continues. Countless errors by the Braves, 5 out of 6 of the Cardinals runs were unearned, and Kris Medlan who was unbeatable during the regular season couldn't get the win. Last year they got their choking done early and choked away the whole month of September.

Then the Bulldogs got embarrassed by getting blown out by South Carolina 35-7. It should be a great week on the local sports radio talk shows here in Georgia.

At least the Falcons eeked out a victory. wink.gif
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