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Hot Off The Press: The Latest TV News and Information - Page 2777

post #83281 of 93675
Can't say I'm unhappy about Simon Cowell failing so hard.
post #83282 of 93675
Originally Posted by skyehill View Post

Can't say I'm unhappy about Simon Cowell failing so hard.

It's okay. He has a really thick pile of money to cushion his fall.
post #83283 of 93675
Originally Posted by archiguy View Post

It's okay. He has a really thick pile of money to cushion his fall.

I think the bigger danger is in him falling off that pile of money. He'll probably break Baumgartner's record if that happens.
post #83284 of 93675
TV Notes
AMC And Netflix Near Deal To Resurrect ‘The Killing’
By Nellie Andreeva, Deadline.com - Nov. 8, 2012

EXCLUSIVE: It looks like The Killing will be coming back for a third season after all. Two and a half months after AMC opted not to renew the mystery drama for a third season, I hear the cable network is close to a deal to bring the show back, this time in tandem with streaming giant Netflix. I hear AMC would get first window.

A deal, which is still being hammered out, would be the culmination of a relentless effort by The Killing producer Fox TV Studios to keep the series alive. When The Killing‘s cancellation was announced, the studio vowed to “try to find another home for the show” and talked with a number of potential buyers before zeroing in on Netflix. The talks, which were touch and go for awhile, subsequently brought AMC back into the equation. I hear a strong third-season pitch by series’ developer/executive producer Veena Sud helped get the modestly-rated drama back on the cable network which will now share its The Killing-associated costs with Netflix. Fox TV Studios already had the cast, including breakout stars Mireille Enos and Joel Kinnaman, locked in for Season 3, which also made a renewal an easier proposition. I hear feelers are now being sent out to key behind-the-scene auspices to return, and Season 3 is eying a February production start. AMC, Netflix and FtvS declined comment.

The split window deal for The Killing resembles that for NBC’s critically praised drama Friday Night Lights, which was on the verge of cancellation after Season 2 before the broadcast network partnered with DirecTV. In that case, the satcaster got the premiere run of the show, with NBC airing the seasons a few months later.

A renewal of an established series like The Killing would give AMC more breathing room as it faces the departure of Breaking Bad and has likely two seasons left in Mad Men. (Additionally, the future of Western drama Hell On Wheels is in limbo following the exit of showrunner John Shiban.)

The Killing, an adaptation of a Danish format, launched strong in 2011. Its first-season finale was one of the most talked about episodes of television in the past few years, triggering controversy with the decision not to reveal the killer. The show returned lower in Season 2 and never quite regained its ratings momentum but remained an OK performer.

post #83285 of 93675
TV Notes
'Chicago Fire' Gets Full-Season Order at NBC
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Nov. 8, 2012

Chicago Fire continues to burn bright for NBC.

The network has give a full-season order to the freshman drama, The Hollywood Reporterhas learned.

The Wednesday night drama about the complex and heroic men and women of the Chicago Fire Department stars Taylor Kinney and Jesse Spencer, became the first new drama of the season to beat its premiere rating (a modest 1.9 among adults 18-49) with a 2.3 rating among adults 18-49 during its fourth episode. The Nov. 7 episode marked a 44 percent jump from its last original which earned just a 1.6 rating among adults 18-49. It was also the first time it outpaced its direct freshman competitor in ABC's critically hailed Nashville.

This most recent showing benefited greatly from a boosted lead-in from The Voice, as it normally airs after Law & Order: SVU.

“We all love this thrilling new drama with its sexy breakout cast. We are excited to see it gaining traction on our schedule,” said NBC Entertainment president Jennifer Salke. “Executive producer Dick Wolf and all the producers have done an amazing job developing a high-stakes series with lots of great heroic characters whose exploits are depicted in Dick’s typically epic storytelling style. We are incredibly invested in this one and can’t wait to hear about their plans for the back-nine.”

Fire joins fellow first-year entries The New Normal, Revolution and Go On as having received full-season orders at the network. Fellow rookie Guys With Kids has received a five-script order as it awaits news of its future.

Freshman comedy Animal Practice, meanwhile, will not move forward and recently wrapped its 13-episode run.

post #83286 of 93675
Nielsen Notes (Cable)
'Duck Dynasty' ratings beat 'American Horror Story'
By James Hibberd, EW.com's 'Inside TV' Blog - Nov. 8, 2012

The most-watched TV show on cable Wednesday night was … Duck Dynasty?

Okay, let’s try that again.

The highest-rated TV show in the adults 18-49 demographic last night was …

Again? Really?

Yes, that A&E reality series about the millionaire family of Louisiana duck call makers firmly beat out FX’s critical-favorite high-concept shock-fest American Horror Story in both metrics.

Duck delivered 3.6 million viewers and a 1.7 demo rating, compared to AHS‘s 2.6 million and a 1.5. Like AHS, Duck Dynasty airs in the 10 p.m. hour, along with another red state favorite, Discovery’s Moonshiners (3.1 million, 1.5), which also does really well.

Duck Dynasty has been doing great on Wednesday nights, so this performance isn’t really shocking, but it’s fun to compare these two very different shows, apples to ducks.

UPDATE: From the comments it seems not all of you are familiar with Duck Dynasty. Well, we must remedy that. You have to know your viewing options, America. Here’s a clip: [CLICK LINK BELOW]

Edited by dad1153 - 11/8/12 at 9:10pm
post #83287 of 93675
TV Notes
On The Air Tonight
FRIDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

8PM - Last Man Standing
8:30PM - Malibu Country
9PM - Shark Tank
10PM - 20/20
* * * *
11:35PM - Nightline (LIVE)
Midnight - Jimmy Kimmel Live (Daniel Craig; author Stephenie Meyer; Boys Like Girls perform)

8PM - Undercover Boss: Tilted Kilt
10PM - Blue Bloods
* * * *
11:35PM - Late Show with David Letterman (Anderson Cooper; comic Myq Kaplan; Alberta Cross performs)
12:37AM - Late Late Show with Craig Ferguson (Eric Idle; Emily VanCamp)

8PM - Go On
(R - Sep. 11)
8:30PM - Guys with Kids
(R - Oct. 3)
9PM - Grimm
10PM - Dateline NBC
* * * *
11:35PM - The Tonight Show With Jay Leno (Meredith Vieira; columnist Richard Cohen; Christina Perri performs)
12:37AM - Late Night With Jimmy Fallon (Taylor Lautner; comic Kevin Pollak; The Wallflowers perform; Cody Chestnutt performs with the Roots)
1:37AM - Last Call with Carson Daly (T.J. Miller; photographer Michael Muller; White Arrows perform)

8PM - Kitchen Nightmares
9PM - Fringe

(check your local listing for starting time/programming)
8PM - Washington Week in Review
8:30PM - Need to Know
9PM - The Mind of a Chef: Noodle (Series Premiere)
9:30PM - The Mind of a Chef: Pig
10PM - The Mind of a Chef: Memory
10:30PM - The Mind of a Chef: Spain

8PM - Por Ella Soy Yo
9PM - Amores Verdaderos
10PM - El Amor Bravio

8PM - America's Next Top Model
9PM - Nikita

8PM - Rosa Diamante
9PM - Corazón Valiente
10PM - Pablo Escobar: El Patron del Mal
10:30PM - El Rostro de la Venganza

10PM - Real Time with Bill Maher (LIVE; Political strategist James Carville; author S.E. Cupp; author Andrew Sullivan; actor Samuel L. Jackson)

11PM - Chelsea Lately (John C. Reilly; Brody Stevens; Loni Love; Gary Valentine)
(R - Oct. 31)
post #83288 of 93675
TV Notes
The CW to Give "Nikita" Leadoff Spot on Fridays Beginning November 30
By TheFutonCritic.com - Nov. 7, 2012

The CW is giving "Nikita" a new home following the November sweeps period.

The Friday drama will shift to the 8:00/7:00c hour (from 9:00/8:00c) beginning November 30, network sources confirmed to the site this afternoon.

Repeats of freshman hit "Arrow" will follow at 9:00/8:00c until at least January 18.

To recap:

Friday, November 9
8:00/7:00c - "America's Next Top Model: The Girl Who Freaks Out On Horseback"
9:00/8:00c - "Nikita: Consequences"

Friday, November 16
8:00/7:00c - "America's Next Top Model: The Girl Who Becomes America's Next Top Model" (Season Finale)
9:00/8:00c - "America's Next Top Model: The Girl With The Best Top Model Freakout" (Special)

Friday, November 23
8:00/7:00c - "Grandma Got Run Over by a Reindeer" (Repeat)
9:00/8:00c - "The Happy Elf" (Repeat)

Fridays (November 30-January 18)*
8:00/7:00c - "Nikita" (New Time Slot)
9:00/8:00c - "Arrow" (Repeats)

* note that holiday specials will fill the night on December 14 and December 21 as previously announced (read the story)

post #83289 of 93675
Originally Posted by DrDon View Post

I read that as the ratings account for live and same day THAT day as well as any other show from another day replayed between midnight and 3.

AIUI, the quick overnight ratings are the live metered numbers, plus DVR playback until 3 am the next day (with midnight being the start of the next day).

So, if someone DVRs a Thursday primetime show, the viewer has until 3 am that night to view it.

If they view a Wednesday show after 3 am Thursday morning, that is taken into account for the 7 day DVR playback ratings.

I believe there is a DVR 3 day window rating as well.

That is why I say the wording of that sentence is wrong. If that is the wording from Nielsen, no wonder the networks are complaining about the numbers that Nielsen is grabbing. If they can't word that sentence correctly, how can you expect them to gather ratings correctly. biggrin.gif
post #83290 of 93675
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Nov. 9, 2012

Public Television, Check local listings

Last week, because the New York-based Bill Moyers team was hit hard, and left literally powerless, by what was left of Hurricane Sandy, Moyers & Company had no choice but to scrap its scheduled pre-election show and present a repeat of the series’ pilot. This week, post-election, Moyers debriefs three journalists about their analysis of the 2012 election results, and what they suggest about things to come: James Fallows, Bob Herbert and Reihan Salam. To find where and when the show runs in your area, check the Moyers & Company website.

TCM, 8:00 p.m. ET

Clint Eastwood played The Man with No Name in this 1964 spaghetti Western, which led Sergio Leone to direct some sequels and led Eastwood to forsake TV’s Rawhide for good to pursue movie stardom. Good bet, Clint. And tonight, TCM follows up this Eastwood Western by showing more. At 9:45 p.m. ET, 1965’s For a Few Dollars More is televised, followed at midnight ET by 1966’s The Good, the Bad, and the Ugly.

Fox, 9:00 p.m. ET

Last week, Peter (Joshua Jackson) became so devoted to the cause of overthrowing the Observers that he became a real pain in the neck – or, at least, endured one, by intentionally allowing an Observer piece of body-altering hardware to burrow into the back of his neck and attach itself to his central nervous system. The result? Based on previews, Peter now operates at the same super-speed, and super-strength, as the Observers. But he doesn’t yet sport a fedora.

Cinemax, 10:00 p.m. ET

In tonight’s episode, Jack Turner (Patrick Malahide, a favorite of mine since The Singing Detective) begins to reveal the hidden insidiousness of his business plans – a wide-ranging global scheme of misdeeds that has a lot in common with the secret agendas on Rubicon. And if you liked that AMC espionage thriller, you should be watching this. This, in addition, has Melissa George as Sam, another major asset for any TV series.

HBO, 10:00 p.m. ET

The day after the election, Bill Maher was on MSNBC’s Hardball, trying out punch lines on host Chris Matthews. But he had some smart observations as well, specifically about the “Republican bubble” that he’s been featuring on his show all year. Tonight, he gets to make his point one last time, with help from such special guests as James Carville, Andrew Sullivan and Samuel L. Jackson. And, since Maher donated a million dollars to Obama’s campaign, he gets to put his mouth where his money is – and crow about the results.

post #83291 of 93675
Tech/Business Notes
Dish's AutoHop is about leverage as much as it's about skipping ads
By Joe Flint, Los Angeles Times' 'company Town' Blog - Nov.8, 2012

CBS Chief Executive Leslie Moonves has not been shy about his ill feelings towards the AutoHop, a new feature from satellite broadcaster Dish Network that makes skipping ads in TV shows recorded off of ABC, CBS, NBC and Fox as easy as pushing a button.

"I can't produce premium shows like 'CSI' without advertising," Moonves told the Los Angeles Times this year. He reiterated that thought on a call with Wall Street analysts Wednesday saying, "the fact of the matter is, we produce content and need to get paid for it."

But every man apparently does have his price, even Moonves. S&P Capital analyst Tuna Amobi asked Moonves on the call if there were "any scenarios where you might consider trading off advertising revenue if you felt that you could be adequately compensated by pay TV affiliate operators that are offering ad skipping functionalities?”

"I suppose if Dish wanted to pay us $5 a sub, we might consider letting them do that," Moonves responded.

Although Moonves was being flip, his remark points to what this battle is really about -- and it's not just skipping commercials.

Dish's AutoHop works only on the four big broadcast networks even though cable television has a lot more commercials per hour on average. Dish has said the AutoHop feature on its digital video recorder works only on broadcast shows because those are the most popular programs. But many cable programs have audiences as big as broadcast shows.

This is really about leverage. Broadcasters such as CBS are seeking higher payments from pay-TV distributors such as Dish. The AutoHop gives Dish leverage to try and lower so-called retransmission consent fees.

Negotiations over the AutoHop will likely have to wait until the law weighs in. CBS, NBC and Fox have sued Dish claiming the AutoHop violates copyright infringement. No trial dates have been set. On Wednesday, Fox's request for a preliminary injunction to stop Dish from offering the AutoHop was denied.

Dave Shull, Dish's senior vice president of programming, said Moonves and other broadcasters "would do well to tune into the consumer. Give the customer choice and control, give the customer a better experience and you will win every single time."

The choice CBS and others may ultimately make though will be to not sell programming to Dish.

post #83292 of 93675
Very surprising and very welcome news on The Killing. Season 2 finished very strong. Excited for a 3rd season.
post #83293 of 93675
Originally Posted by Elvis Is Alive View Post

Very surprising and very welcome news on The Killing. Season 2 finished very strong. Excited for a 3rd season.

Me too. Looking forward to it. Terrific cast and I enjoyed all the red herrings - even over two seasons - as much as some disliked them.
post #83294 of 93675
Um, ok. But I still think the show would be a lot better if they got rid of the tone-deaf Veena Sud.
post #83295 of 93675
Originally Posted by Elvis Is Alive View Post

Very surprising and very welcome news on The Killing. Season 2 finished very strong. Excited for a 3rd season.

+1, we really like this show.
post #83296 of 93675
THURSDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #83297 of 93675
Nielsen Overnights (18-49)
‘Big Bang’ lifts CBS to Thursday win
By Toni Fitzgerald, Media Life Magazine - Nov. 9, 2012

CBS won the third Thursday of sweeps with relative ease despite the fact that ABC and NBC saw gains on the night.

CBS averaged a 3.2 adults 18-49 rating and 9 share in primetime, according to Nielsen overnights, 33 percent better than second-place Fox with a 2.4/6.

“The Big Bang Theory” was easily the highest-rated show of the night with a 5.0, matching a season best in the demo. It also averaged 16.54 million total viewers, tying its best-ever performance.

Lead-out “Two and a Half Men” was the night’s No. 2 show in 18-49s with a 4.0, 11 percent better than last week.

NBC and ABC both saw gains during their first two hours. NBC aired a special edition of “The Voice” at 8 p.m., which hit a three-year non-sports timeslot high with a 3.0.

That lifted lead-out “The Office” to a season-high 2.5, its best rating since March. Lead-out “Parks and Recreation” was also up over its previous outing two weeks ago, to a 1.8.

On ABC, the 8 p.m. drama “Last Resort,” still hoping to secure a full-season order, was up 8 percent to a still-small 1.4 rating. It was preempted last week by the “CMA Awards.”

Lead-out “Grey’s Anatomy” at 9 p.m. drew a 3.2, up 7 percent from two weeks ago.

Fox’s “The X Factor” was even to two weeks ago with a 2.3. Lead-out “Glee,” returning from a month-long hiatus due to baseball playoffs, drew a 2.4, down 8 percent from its most recent outing but growing on its lead-in.

With CBS in first and Fox second for the night, ABC finished third at 2.2/6, NBC fourth at 2.1/6, Univision fifth at 1.4/4, CW sixth at 1.1/3 and Telemundo seventh at 0.6/2.

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

At 8 p.m. CBS was first with a 4.5 for "Bang" (5.0) and "Men" (4.0), followed by NBC with a 3.0 for "Voice." Fox was third with a 2.3 for "Factor" and Univision fourth with a 1.6 for "Por Ella Soy Eva." ABC and CW tied for fifth at 1.4, ABC for "Last Resort" and CW for "The Vampire Diaries," and Telemundo was seventh with a 0.6 for "Rosa Diamante."

ABC moved to first at 9 p.m. with a 3.2 for "Grey's," while CBS slipped to second with a 2.9 for "Person of Interest." Fox was third with a 2.4 for "Glee," NBC fourth with a 2.2 for "Office" (2.5) and "Parks" (1.8), Univision fifth with a 1.5 for "Amores Verdaderos," CW sixth with a 0.7 for "Beauty and the Beast" and Telemundo seventh with a 0.6 for "Corazon Valiente."

CBS regained the lead at 10 p.m. with a 2.2 for "Elementary," with ABC second with a 2.0 for "Scandal." Univision was third with a 1.2 for "Amor Bravio," NBC fourth with a 1.1 for "Rock Center with Brian Williams" and Telemundo fifth with a 0.6 for "Pablo Escobar: El Patron del Mal" (0.8) and "El Rostro de la Venganza" (0.5).

Among households, CBS was first for the night with an 8.6 average overnight rating and a 14 share. ABC was second at 4.6/7, NBC third at 3.8/6, Fox fourth at 3.6/5, Univision fifth at 1.9/3, CW sixth at 1.5/2 and Telemundo seventh at 0.8/1.


* * * *

TV Notes
CW picks up ‘Beauty and the Beast’
By Media Life Magazine Staff - Nov. 9, 2012

The CW has picked up the second of its three new shows this season.

The network gave a full-season order to “Beauty and the Beast” Friday afternoon, evidently pleased with a week-to-week ratings gain for the 9 p.m. lead-out to “The Vampire Diaries.”

“Beast” was up 9 percent Thursday night among total viewers, to 1.85 million, holding 62 percent of “Diaries’” lead-in.

“Beast” is averaging a 1.3 women 18-34 rating and a 0.9 in adults 18-34 this season, according to Nielsen.

The show has been in line with the performance of last year’s “Diaries” lead-out “The Secret Circle,” which lasted just one season.

The CW had already picked up a full season of “Arrow,” its breakout Wednesday night hit, which has already become the network’s No. 1 program.

The network’s third show, “Emily Owens, M.D.,” has delivered low ratings on Tuesdays but has received an order for additional scripts.

So far 11 new shows have received full-season pickups and just two have been canceled.

post #83298 of 93675
Critic's Notes
Gee, Conan, That Joke Seems Familiar
By Jason Zineman, The New York Times - Nov. 10, 2012

It’s been a few years since Conan O’Brien left “The Tonight Show,” and he still hasn’t moved on.

In a video bit shot for Halloween on his TBS show, “Conan,” which just turned two, he referred to a costume store’s big-chinned Devil mask as Jay Leno. Minutes later, a conversation with Chelsea Handler turned awkward when he mentioned that she now uses his “Tonight Show” theater. “We put a lot of work into that,” he said, before putting on a shellshocked face.

That episode was no exception. On Tuesday Mr. O’Brien responded defensively to a self-deprecating comment by Brian Austin Green about working on cable. “Hey, don’t knock cable,” Mr. O’Brien said. “I’m on cable now, too.”

The next day Mindy Kaling, talking about her Fox show, “The Mindy Project,” said that when you put your name in the title, you were harder to replace. “That’s why I did it,” Mr. O’Brien said, pausing so that everyone got the implication. “What an unpleasant little cul-de-sac we just wandered into.”

Isn’t it time to leave this dead end? While some grudges can be leveraged into explosive comedy, this one risks turning Mr. O’Brien into a darkly obsessed figure out of “The Larry Sanders Show.”

Certainly he went through a public ordeal in early 2010, when, only seven months after replacing Mr. Leno on “The Tonight Show,” he was told by NBC that it would reinstall Mr. Leno in the 11:35 time slot and push Mr. Conan’s “Tonight Show” to 12:05. Mr. O’Brien wouldn’t go along with the plan and left, though with a hefty severance (reportedly $32 million) in hand.

But let’s face it: jokes about Mr. Leno are even more tired than Mr. Leno’s jokes. And when Mr. Leno and David Letterman appeared on the shows of Craig Ferguson and Jimmy Kimmel last week, the late-night wars settled into a tense peace. Mr. O’Brien’s fixation on what he lost also reveals something about what he gained.

His brand of heady silliness was long suspected as being too quirky and rarefied for mainstream tastes. That common wisdom helped fuel the outpouring of support for Mr. O’Brien after NBC abruptly pulled its support.

But when he moved to TBS, he was liberated from the pressure of network television. He didn’t need to worry about living up to a legacy or beating “Late Show With David Letterman” in the ratings. So it’s been disappointing that Mr. O’Brien has produced a fairly conventional talk show, albeit with less famous guests. (Brian Austin Green?)

That’s not to say that it isn’t funny. Any video with Triumph the Insult Comic Dog is a pleasure. In the sidekick role, Andy Richter has deadpan poise and precise repartee that provide a steady anchor to Mr. O’Brien’s Ping-Pong-fast wit. And no talk show on television books better comics. At its best, as in an election sketch that included a voting machine come alive and a table of chattering pundits that rolled on- and offstage, the show achieves a deliriously silly momentum.

His monologue, however, remains standard fare, mostly banal topical jokes delivered in between familiar manic tics, like his string-pulling dance or his overreactions to ordinary audience responses. Whereas Mr. Letterman’s refusal to pander can come off as fascinatingly grumpy, Mr. O’Brien’s hectic need to please can wear on you.

That same jittery energy shows up in his interviews, where he often doesn’t seem to trust the conversation and interrupts with a gibe or by mugging. He himself seemed to acknowledge as much in a blandly sober, Charlie Rose-style interview show he started online this year, “Serious Jibber Jabber.” In the only episode so far, he told the historian Edmund Morris that the seven minutes they talked on his show was insufficient. Mr. Morris responded that Conan dominated the discussion so much that he had only one minute to talk.

What makes the modest ambition of “Conan” so strange is that Mr. O’Brien has one of the most inventive comic minds of his generation. Not only did he write one of the best “Simpsons” episodes ever (“Marge vs. the Monorail”), but the early years of his NBC show, “Late Night,” are vastly underrated. Critics focused on his greenness, not the exciting flurry of ideas packed into each show.

With a writing staff that included Louis C. K., Bob Odenkirk and Robert Smigel, those raw shows played nothing straight. A premium was put on the unexpected, whether it was Tom Brokaw’s crushing saltines in his hands for a bit in which New Yorkers warned Mr. O’Brien that he had better be good, or a waiter’s interrupting an interview with Kevin Nealon for a wine tasting. Sketches were frequently integrated in a way that tried to reinvent celebrity chat. It was consistently, wonderfully odd.

It also had a cheerfully irreverent style that served as the bridge between Mr. Letterman’s more hard-edge sarcasm and the more radical deconstructions of talk shows today. Mr. O’Brien also showed off a gentler side, ending one week with an appealingly sentimental campfire song with all his guests. It wasn’t that funny, but so what? It was different in a way that felt heartfelt and honest.

By contrast, on “Conan” rarely is there a joke you could never imagine on another show. For late-night experimentation, Mr. Ferguson’s freewheeling monologues are far more daring. Of course, over the last two decades Mr. O’Brien, who turns 50 next year, has matured. But what’s become clear from his new show is the extent to which he is a traditionalist at heart.

Mr. O’Brien’s precocious career had been spent almost entirely in prestigious comedy institutions, like The Harvard Lampoon, “Saturday Night Live” and “The Simpsons.” When his upwardly mobile trajectory stopped at “The Tonight Show,” Mr. O’Brien said he wouldn’t move it to midnight because that would damage the franchise and legacy of the show.

Such deference to tradition seems out of step in an era of viral videos and podcasts. Or maybe it’s always been at odds with the rambunctious essence of comedy. In “The War for Late Night,” a book by Bill Carter of The New York Times, Jerry Seinfeld appears baffled by Mr. O’Brien’s rationale.

“There is no tradition!” he says. “Conan has been on television for 16 years. At that point, you should get it: there are no shows! It’s all made up!”

In his last “Tonight Show,” Mr. O’Brien told young people to avoid cynicism, saying it “doesn’t lead anywhere.” Perhaps. But naïveté can be just as paralyzing.

post #83299 of 93675
Critic's Notes
'Battlestar Galactica: Blood & Chrome' goes back to Adama's rookie days
Prequel series pilot makes its debut on YouTube
By Alan Sepinwall, HitFix.com - Nov. 9, 2012

The night that Sci Fi executives screened the "Battlestar Galactica" finale for critics and VIPs, we were told two things: 1)The channel's name was changing to Syfy, which was pronounced the same, spelled in a more goofy manner, but which, we all assumed, would be trademarkable in a way that "Sci Fi" was not; and 2)With the end of "BSG," The Channel About To Be Formerly Known As Sci Fi was also shifting away from the spaceships and other hard science fiction trappings in favor of more earthbound shows like "Warehouse 13" that would be the slightly weird second cousin to what was airing on USA.

Part of that "science fiction doesn't have to have spaceships" philosophy led to the "BSG" prequel series "Caprica," which attempted to fuse sci-fi and soap opera and unfortunately wound up alienating fans of both genres. By and large, the soap fans didn't want killer robots, the sci-fi fans didn't want their killer robot to have the soul of a teenage girl, and everyone wanted the show to be better and more cohesive than it was.

So when Syfy and a group of "BSG" producers — including David Eick, Michael Taylor, David Weddle and Bradley Thompson — took a second crack at a prequel series, they wound up embracing far more of the traditional space opera trappings with "Battlestar Galactica: Blood & Chrome," starring Luke Pasqualino from the UK's "Skins" as a young William Adama, a rookie pilot in the Colonial military in the middle of the first Cylon war.

The two-hour "Blood & Chrome" pilot was shot back in early 2011, using sets that were mostly created in the digital effects house, in the same fashion Starz builds the world of "Spartacus." (In an early scene, for instance, Adama reports for duty on a much younger, more pristine version of the Galactica, and the computer effects were modeled on the sets from the previous series.) But then Syfy began to hem and haw about what to do with it, frequently suggesting that its inevitable home might be in the digital world, and then after a while, everyone stopped discussing "Blood & Chrome" altogether. Only a few weeks ago, I spoke with someone who had worked on the pilot to see what, if anything, the status was, and they said they hadn't heard anything new in a long time.

And then all of a sudden on Monday, it was announced that "Blood & Chrome" would be seeing the light of day — and very rapidly, at that. The pilot will be streamed, a couple of pieces at a time, on the YouTube channel Machinima Prime — the first two segments debuted this morning, and are embedded below, and the remaining installments will roll out over the next several Fridays — and will then air on Syfy sometime next year before eventually being released as an unrated DVD.

I don't know whether this is a sign of new life for the series, or just a company trying to make back some money on an expensive project with a familiar brand name. But I'm glad that we'll at least get to see it, even if I've been lukewarm on most of the "BSG" prequels (not only "Caprica," but the TV-movies "Razor" and "The Plan"), and even if the 20 minutes I've seen of "Blood & Chrome" (I was only allowed to watch the two segments that are now on YouTube) makes it hard to assess the creative viability of the project.

You can tell a few things from what's premiered. First, the CGI-generated sets look impressive, and mostly convincing. (The effects house relies a lot on lens flares to hide some of the digital seams, at times making it look like the best cable pilot J.J. Abrams never made.) Second, there are some allusions to the events of "Caprica," but none that would require first-hand knowledge of the series to understand.(*)

(*) Like "Caprica" recycled a few "BSG" actors in new roles, "Blood & Chrome" does the same with a few members of the larger "Caprica" ensemble.

Third, this is leaning very much into the military history aspects of the Moore/Eick "Battlestar." There may be references to religion, politics, dreams and some of the other aspects that made "BSG" so dense, but right now it's a pretty familiar — at times bordering on too familiar — story of a cocky young hotshot whose ego is writing checks his body may not be able to cash, the weary veteran co-pilot (played by Ben Cotton) who can't believe he has to deal with this kid, and the mission they go on together.

At the very least, I'm glad to be back in this world, in a version produced by some of the key people who made "BSG" so great. Whether the whole pilot works — and whether this is the end of "Blood & Chrome," or just the beginning — remains to be seen.

post #83300 of 93675
TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)

8PM - College Football: Notre Dame at Boston College (3 1/2 hrs., LIVE)

8PM - Vegas
(R - Oct. 2)
9PM - CSI: Crime Scene Investigation
(R - Feb. 29)
10PM - 48 Hours

8PM - Revolution
(R - Nov. 5)
9PM - Chicago Fire
(R - Oct. 31)
10PM - Law & Order: Special Victims Unit
(R - Oct. 31)
* * * *
11:29PM - Saturday Night Live (Anne Hathaway hosts; Rihanna performs; 93 min.)

7:00PM - College Football: Kansas State at Texas Christian (3 hrs., LIVE)
* * * *
11PM - Masterchef (New Episode)
Midnight - 30 Seconds to Fame SD
(R - Jul. 24, 2002)

(check your local listing for starting time/programming)
8PM - ACL Presents: Americana Music Festival 2012

8PM - Sábado Gigante (3 hrs.)

8PM - Fútbol Mexicano Primera División: CF Pachuca vs. Jaguares de Chiapas (120 min., LIVE)
10PM - Viaje Al Centro de la Tierra (1999)
post #83301 of 93675
TV Review
TBS' 'Wedding Band' Hits a Few Beats
By Ed Bark, TVWorthWatching.com - Nov. 8, 2012

The self-anointed "Very Funny" network at last rises to a modicum of merriment in Wedding Band.

It's an aberration in other ways, too. This is a one-hour comedy series without a laugh track. And it's the first original scripted TBS production to get a prime-time Saturday slot — 10 p.m. ET. That's usually code for "throwaway," but Wedding Band might be worth a fling.

Brian Austin Green, the venerable former heartthrob of Beverly Hills 90210, stars as aging bachelor Tommy. Heavily armed with tats — including a giant python on his arm — he's the lead singer/Lothario of Mother of the Bride. Tommy and his three mates will play just about any gig, with weddings their specialty but bar mitzvahs, reunions and anniversaries always welcome.

Tommy's married best friend, Eddie (Peter Cambor), is on lead guitar while his Jack Black lookalike brother Barry (Derek Miller) pounds the skins. New to the band is Stevie (Lost's Harold Perrineau), a veteran session musician yearning to be an official member of something.

"Nothing against us, but why would you want to play with us?" Tommy wonders. Not a bad line. File under "Modicum of Merriment."

Three episodes of the series — which premieres Saturday, Nov. 10 — were sent for review. And the most surprising aspect is the music. It goes down pretty well, whether the boys are doing a country version of "I Will Survive" (a wedding reception must) or one of their enthusiastically received originals. In the Saturday, Nov. 17 episode, a rockin' bachelor party tune played at a strip club includes the lyrics, "You and me, baby, ain't nothin' but mammals. Let's do it like they do on The Discovery Channel." Not exactly Lennon and McCartney, but kinda goo goo g'joob.

Tommy does it like he does it with a variety of women while Eddie juggles the responsibilities of two pre-teen kids and his police detective wife, Ingrid (Kathryn Fiore). Their disparate lifestyles clash, crash and sometimes burn. Wedding Band is basically supposed to be a comedy of errors, which also makes it hit 'n' miss.

Badly missing is a sequence in which Tommy's ex-girlfriend still pines for him on her wedding day after hiring Mother of the Bride to play the tunes. He talks her down and then pops a celebratory bottle of champagne backstage. But the errant cork deflates one of the bride's breast implants, which doesn't go well with her wedding dress. Low comedy has its place, but not in this case.

Wedding Band also enlists primo event booker Roxie Rutherford (Melora Hardin) and her rookie assistant, Rachel (Jenny Wade rebounding from The Good Guys). Roxie is a prototypically bullying boss, informing Tommy, "You screw up this wedding and I will cut off your balls and wear them as earrings." That said, she's soon in bed with one of the boys.

Episode 2 is on better footing during Tommy's attempts to baby-sit Eddie's six-year-old daughter. Green has some amusing scenes with her. And the hour also includes a genuinely nifty cello & xylophone version of "West End Girls" by Barry and Stevie. But Episode 3 is mostly lame, with the band coming to the aid of two sex-starved nerds by throwing a party for them.

Wedding Band all in all is more of a reach than a grasp. It's not an embarrassment, though. The music has its moments and the comedy occasionally rattles home. Not nearly often enough to make it "Very Funny." But worth a few grins and maybe even a shimmy shake.


post #83302 of 93675
TV Notes
Syfy Renews 'Haven' for Season 4
By Philiana Ng and Etan Vlessing, The Hollywood Reporter's 'Live - Nov. 8, 2012

Syfy has renewed Haven.

The cable network has ordered a 13-episode fourth season, it was announced Friday by Mark Stern, president original content, Syfy and co-head original content, Universal Cable Productions. The new season will launch next year.

Haven has averaged 2.4 million total viewers and among adults 18-49, attracted 942,000. The current third season has also seen the drama's best adults 25-54 average, with 1.2 million.

"We couldn’t be happier to see the story of Audrey Parker and the creepy, quirky town of Haven continue next year. Season three has hit a creative and critical high and we’re very excited to see where the talented production team takes our colorful cast of characters led by the perfect trifecta of Emily Rose, Eric Balfour and Lucas Bryant in season four," said Stern in a statement.

Canadian broadcaster Showcase has also renewed Haven ahead of its planned Dec. 21 third season finale in the U.S. and Canada. The series also airs internationally on Universal Networks International.

Based on Stephen King's novella The Colorado Kid, the eOne-produced Haven -- filmed in Canada -- follows ex-FBI agent Audrey Parker, who becomes a cop in the small town of Haven, Maine and discovers the town's secrets, which hold the key to the mysteries of her past.

Haven is executive produced by John Morayniss, David MacLeod, Lloyd Segan, Shawn Piller, Scott Shepherd and Matt McGuinness.

post #83303 of 93675
TV Sports
College playoff TV rights may be split
By George Schroeder, USA Today - Nov. 9, 2012

College football's new four-team playoff could be worth at least $500 million annually in TV rights, according to multiple reports and confirmed by a person familiar with the negotiations with ESPN. The person spoke to USA TODAY Sports on the condition of anonymity because of the sensitive nature of the negotiations.

But several issues remain to be resolved – including whether the package should be shared by more than one network.

The next round of BCS meetings is scheduled for Monday in Denver. Conference commissioners will meet in the morning, then report on several issues to the BCS oversight committee of school presidents in the afternoon.

The biggest current item on the agenda is the TV deal. A committee of five commissioners has been in negotiations with ESPN as part of an exclusive window, which began Oct. 1. Sports Business Journal reported Friday a deal might be near, and put the total package for a 12-year deal at $7.3 billion.

But the person said the deal "does not have support at this time," adding that the commissioners are interested in exploring what other networks like Fox, NBC or Turner might bid. The person said reports of $500 million a year were "in the ballpark," but added: "You don't know the true value until you go to the open market."

In a twist, the person said commissioners also are willing to explore the potential of splitting the package between networks, something like Major League Baseball does with its postseason, or the Big 12 and Pac-12 have done with their regular-season packages between ESPN and Fox. If nothing else, the idea of splitting the package is a good negotiating tactic, according to A.J. Maestas, president of Navigate Research, a Chicago-based firm that does athletics multimedia rights valuations.

"There's not a lot of games to promote the actual inventory, but I don't think it's a bad idea," Maestas said. "The reason people like the Pac-12 out-kicked their coverage (in securing TV rights worth $3 billion over 12 years) is they were willing to put (splitting the package) on the table. I don't think it's likely to happen, but it couldn't hurt."

In preparation for Monday's meeting, commissioners held a teleconference Wednesday. Among the other agenda items for Monday:

•Whether to add a seventh bowl to the six-game playoff hosting rotation. Though it appears unlike to happen, the Big 12 and Pac-12 are pushing the idea in order to provide their conferences with another guaranteed berth, like the Big Ten and SEC already achieved by a deal with the Orange Bowl. Five other non-power conferences, led by the Big East, also want a seventh bowl as a way to provide guaranteed access for the highest-rated team from their leagues. ESPN reported Friday that commissioners are expected to vote down the idea.

•Revenue distribution. Always expected to be one of the more difficult issues to wrangle, it remains undetermined.

•Organizational structure. Under the current BCS system, bowls provide infrastructure. The new format is expected to require more staffing by the BCS. Also uncertain: How often the Rose, Sugar and Orange bowls, which have conference tie-ins on both sides, will serve as semifinals in the 12-year contract period.

"We're just grinding away on structure and revenue distribution," Big 12 commissioner Bob Bowlsby told USA TODAY Sports earlier this week. "There's still an active debate on both of those things."

post #83304 of 93675
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Nov. 10, 2012

AMC, 8:00 p.m. ET

This isn’t a very good movie – but on this occasion, that’s the reason to tune in. This movie, made in 2006 by Wolfgang Petersen, should be better than it is. Starring Kurt Russell, it’s a remake of the 1972 disaster film The Poseidon Adventure (pictured) – and Petersen, who directed the brilliant Das Boot, knows his way around water-based dramas. So it has its moments, which are interesting. And this remake is followed, at 10 p.m. ET, by the original movie: the one starring Gene Hackman, Ernest Borgnine and Shelley Winters.

Showtime, 8:00 p.m. ET

This 1992 Quentin Tarantino breakout film – now 20 years old – has been televised a lot the past few weeks, but certainly stands up to repeated viewings. It’s fun to watch Steve Buscemi, two decades before Boardwalk Empire, and to see that even then, Harvey Keitel was the epitome of one-screen cool.

TCM, 8:00 p.m. ET

Once again, TCM comes to Saturday night TV’s rescue, with a prime-time showing of another cinema classic. This 1933 movie version of a hit Broadway play, one of the screwiest of all screwball comedies, features an all-star cast led by Marie Dressler, Wallace Beery, Jean Harlow, and two different Barrymores: Lionel and John.

TCM, 10:00 p.m. ET

The proposed remake of this film, starring Johnny Depp, reportedly has hit a speed bump or two. But while we’re waiting to see if he indeed manages to revive yet another vintage show-biz property, tonight we can enjoy the original article: the first of the Thin Man movies, which spawned many a sequel. William Powell and Myrna Loy star as the ultra-smooth Nick and Nora Charles.

NBC, 11:29 p.m. ET

Promoting her new movie, Les Miserables, Anne Hathaway returns to host SNL for the second time. The first time, she showed off her strong singing voice and her brave commitment to her material – two elements that may have helped lead to her appearance in the movie musical. Tonight’s SNL musical guest is worth watching, too: Rihanna.

post #83305 of 93675
Nielsen/Business Notes
Call for seven-day window to count ratings grows louder
By Joe Flint, Los Angeles Times - Nov. 9, 2012

If you watch an episode of ABC's "Modern Family" within three days of recording it on your digital video recorder, Madison Avenue loves you.

But if you watch it four days after you recorded it, you're worthless in the eyes of advertisers.

Some media executives want to change that. While most people who record shows with a DVR watch them within three days of airing, the number of people who don't is growing.

On a conference call with analysts Thursday, Walt Disney Co. Chairman Robert Iger said it is time for advertisers to take a look at using a seven-day window when looking at ratings, as opposed to the current three-day window.

Iger joins CBS Chief Executive Leslie Moonves and NBC Broadcasting Chairman Ted Harbert, who have both been vocal about this issue.

"We want to be paid for every impression we deliver," Harbert said.

Of course, not all advertisers will embrace this. If a movie studio has a big film opening on the weekend, the fact that someone watched the spot they bought in Friday night's episode of NBC's "Grimm" on Tuesday isn't going to mean a lot.

But, as CBS CEO Leslie Moonves point out in a recent interview with the Los Angeles Times, "if you are advertising Kraft Macaroni and Cheese and it is five days later, it should count."

One fix to this issue would be to find a way to insert fresher commercials into recorded programs stored in cable boxes. Such a practice, known as dynamic ad insertion, is already being used for programming viewed via video-on-demand.

Ultimately, the networks are hoping that video-on-demand will replace DVRs as the device of choice for consumers. Although Nielsen says that almost half the people watching shows via DVR do not skip advertisements, the fast-forward mechanism can be disabled on VOD.

Edited by dad1153 - 11/10/12 at 12:58pm
post #83306 of 93675
TV Reviews
When the Stones Were on a Roll
By John Anderson, Wall Street Journal - Nov. 9, 2012

Among the many wonderful moments in "Crossfire Hurricane," Brett Morgen's thoroughly captivating Rolling Stones documentary, is a virtually tossed-off scene that speaks volumes about who the subjects were and where they were going in the band's earliest days. In the ancient black-and-white clip, the very young Stones, with their then-manager and mastermind Andrew Loog Oldham, are shown inside a British rail car, singing the popular wartime ditty "Maybe It's Because I Am a Londoner." They all know the words; Keith Richards, the baddest of the carefully branded "bad boys," is smiling broadly. The Stones may have wanted to be black American bluesmen, but like most British war babies they had the English music hall in their DNA, not the plantation. And it was the sweetness of youth, and melody, that made their music mainstream and accessible to a public that turned a deaf ear to Muddy Waters.

It's this kind of thing that elevates Mr. Morgen's artfully crafted collage, which has a free-associative attitude but a very precise tone of voice. Constructed out of archival materials that include newsreel footage and some never-before-seen outtakes from the better films on this much-documented band (including the Maysles brothers' 1970 "Gimme Shelter" and Robert Frank's 1972 documentary with the unmentionable title), the movie is full of ripe moments, as well as a sense of being under someone's thumb: Although 80 hours of interviews were reportedly conducted for the documentary, no cameras were permitted in the room. And certain aspects of the Stones' history—including their relationship with the problematic business manager Allen Klein, or their history of "borrowing" material, including guitar licks from Ry Cooder—are omitted.

But so are the past 30 years of a group that celebrates 50 years as a pop institution this year, whose youngest member is 65, and which remains one of the most profitable live acts in show business. While the story line may be hagiography, the most acidic statement made by "Crossfire Hurricane"—whose name comes, fittingly, from a mid-1960s hit, "Jumpin' Jack Flash"—is its time frame.

From the opening musical number, "Street Fighting Man," shot at Madison Square Garden in 1972, the movie concentrates either on the Stones in their infancy, with Brian Jones, or the great post-Jones incarnation, with guitarist Mick Taylor and original bassist Bill Wyman (who quit the band in 1993). Everything post-'70s is written off.

You never quite know who's talking behind the pictures, unless it's Mr. Jagger, whose plummy tones are familiar enough, or Mr. Richards, whose voice sounds like something percolating through gravel. You're not even quite sure, sometimes, what they're saying. But it doesn't really matter. What Mr. Morgen is after is something true to the Stones as they once existed—as the anti-Beatles, the antiheroes of the British Invasion and an entity that bespoke hedonism, nihilism and narrow escapes.

The film closes with a shot from Martin Scorsese's concert film "Shine a Light," shot in 2006, but it otherwise ends about 1978, just before "Some Girls," probably the band's last great album. Have the Rolling Stones released any really memorable new material since? It's debatable. Swirling around Mr. Morgen's remarkable filmmaking is a decided sense of melancholy. According to "Crossfire Hurricane," what made the Stones the Stones blew away long ago. What remains is, like much of contemporary pop, a kind of perpetual déjà vu.

Thurs., Nov. 15, at 9 p.m. on HBO

* * * *

Mick Jagger once appeared on "Family Guy," the gleefully vulgar animated series that was canceled in 2001, brought back in 2004, and celebrates its 200th episode Sunday. His contribution? The complete and mercilessly unabridged version of "Dancing in the Streets" performed by Mr. Jagger and David Bowie—a low point in the history of music videos.

Why did it pop up in "Family Guy"? Why not? The anarchic show, created by the multitalented Seth MacFarlane, is inevitably inconsistent, since it dances along the edge of what still passes on television as propriety. But sometimes the strategy pays off: In 2010, the Rodgers-and-Hammerstein-inspired "Down-Syndrome Girl," a number that broke out in the middle of an episode, was nominated for an Emmy and must be seen to be believed.

Nothing nearly as laugh-out-loud funny happens in episode 200, which is titled "Yug Ylimaf" because Brian, the Griffin family's pseudointellectual talking dog, has been misusing the time machine created by Stewie, the family's homicidal, Brit-accented infant. The flow of time has been reversed, which means the sight gags have to be figured out backward, which allows for some typically risqué humor that occasionally verges on the disgusting, and a showcase for what makes "Family Guy" special: a highly sophisticated style of telling some very dirty jokes.

Casual viewers won't get the inside stuff, which since the show's debut in 1999 has grown increasingly arcane. Ernie the Giant Chicken shows up to engage idiot paterfamilias Peter Griffin in another of their epic street fights. There's even a reference by Stewie to Lacey Chabert, the actress who voiced long-suffering daughter Meg Griffin in the earliest episodes of the show. Time is flowing backward after all. The hope here is that "Family Guy" continues to move forward, toward a nit-witted sublime.

Sunday, Nov. 11, at 9 p.m. on Fox

* * * *

The 2010 feature documentary "Catfish" was a reality show writ large: A good-looking young man, infatuated with a good-looking young woman he meets on the Internet, sets out to find her, and discovers a catalog of sad secrets.

That young man, Nev Schulman, now joined by a sidekick, Max Joseph, is hosting "Catfish: The TV Show," a venue apparently quite happy to be seen as the leading launch pad for downwardly moving vehicles. Which is not to say that the series won't provide a cautionary something for a youth culture in which personal identity seems increasingly amorphous: The subjects are in relatively long-term exchanges (10 years, in one case) with people they've never met, and who are suspiciously reticent about moving the relationship into the reality-based universe. In the initial episodes, at least, one can see the heartbreak coming a mile away.

The movie raised a lot of questions about how much the filmmakers manipulated the story, and how much they knew before the big "reveal." Likewise the TV show raises the question of whether its presenters know in advance of their various subjects' circumstances. But the veracity of this series is, in the end, less important than what it says about a culture in which people blithely create online worlds on a collision course with the truth. Schadenfreude may be the lifeblood of reality television, but in "Catfish," it's fairly guilt free.

Begins Monday, Nov. 12, at 11 p.m. on MTV

post #83307 of 93675
TV Review
‘Wedding Band,’ a limited repertoire
TBS sitcom quickly slips into a traditonal men-as-boys comedy
By Tom Conroy, Media Life Magazine

TV viewers should by now be used to this old bait-and-switch: We see a premiere episode that suggests a series will be at least slightly different, and then the second episode suggests that the creators either ran out of ideas in the pilot or decided it would be a better idea to stick with the tried and true.

TBS's new comedy "Wedding Band" has an original premise that it burns through in its first hour. In the second and third episodes, the series settles into being a familiar ensemble buddy comedy that is based on the unoriginal insight that men will be boys. The result is an adequate entertainment for viewers who are hungry for scripted comedy on a Saturday night.

Premiering this Saturday, Nov. 10, at 10 p.m., "Wedding Band" is about four not-so-young-anymore men in a band called Mother of the Bride, which specializes in playing weddings, although they mostly play other types of events in the three episodes made available for review.

Tommy (Brian Austin Green) is the lead singer, rhythm guitarist and lady-killer. His best friend, Eddie (Peter Cambor), the lead guitarist, has a real job and is married to Ingrid (Kathryn Fiore), a no-nonsense police detective, with whom he has two young children.

Eddie's brother Barry (Derek Miller), the drummer, loves to create out-of-scale pyrotechnics for their smallish gigs. The newest member is the bassist Steve (Harold Perrineau), a successful studio musician who wants the camaraderie of being in a band.

The premiere episode is the sole one revolving around an actual wedding. The script not only front-loads too many insights and jokes about wedding bands but also uses up an inevitable romantic-comedy story line that probably should have been saved for later: Tommy's ex-girlfriend Sarah (Bree Turner) asks him and the band to play at her wedding.

Since Steve is a new member, the other guys tell him the secrets of being a successful wedding band: For example, they should befriend a loser guy by naming him an honorary member of the band. In exchange, the guy will slip them free drinks.

Steve balks at playing "I Will Survive" until he learns that if a woman sings along loudly, she's probably an easy pickup.

Early in the hour, we start to think that every episode will be filled with equally sharp jokes about weddings, which are a ripe if familiar target for satire. But the development and resolution of the ex-girlfriend plot is an uneasy mix of rom-com moments and slapstick.

One of the reasons Tommy accepted the gig is that he wanted to impress the planner, Roxie Rutherford (Melora Hardin), who gets the best-paying clients. Eddie, who has promised to take his kids to see Yo Gabba Gabba, has to lie to Ingrid, setting up a pattern that persists through the next two episodes.

In the second, the band plays an elf-themed wedding at a sci-fi and fantasy convention, where, through a convoluted turn of events, they wind up promising to throw a party for two high school geeks, so that the geeks can score with their dream girls. Eddie is again caught in a lie.

The main source of humor in the episode is nerd and fanboy culture — Harold Perrineau gets to take a shot at his old show "Lost" — with some non-ironic borrowing from teen sex comedies.

The third episode is even more convoluted: Tommy has promised Roxie's assistant Rachel (Jenny Wade) that he'll watch over her fiancé at his bachelor party. But he has to baby-sit Eddie's kids, whom he eventually winds up taking to a stripper bar. The farcical conclusion would be more fun if the script didn't have so many gaping holes.

By the end of this episode, the wedding-band premise is more of a subtext, although every episode has at least one segment in which the band covers a familiar hit. The dominant theme of the series is the band's refusal to grow up, with Eddie serving as a negative example of what happens to men who do. This is not a new situation in TV comedy.

The principals do a fine job playing boy-men, although the casting directors succeeded too well in finding a Jack Black type to play Barry. Melora Hardin slightly tweaks the crazed cougar she played in "The Office."

The dialogue is usually good. Roxie tells Tommy, "If you screw up this wedding, I will cut off your balls and wear them as earrings."

"That's kind of a bad idea," he replies. "One of them might hang lower."

Sometimes, however, the jokes are the stuff you can type but can't say. At the elf wedding, Rachel tells Roxie, "I'm being hit on more than the ball at a quidditch tournament."

Though hardly original, jokes like that at least reveal some sincere effort and commitment. That's really all we want from a wedding band. Lenient Saturday-night viewers just might let "Wedding Band" slide by.

post #83308 of 93675
Originally Posted by dad1153 View Post

TV Notes
Syfy Renews 'Haven' for Season 4

Excellent news!! smile.gif
post #83309 of 93675
Originally Posted by dad1153 View Post

Nielsen/Business Notes
Call for seven-day window to count ratings grows louder
By joe Flint, Los Angeles Times - Nov. 9, 2012
Although Nielsen says that almost half the people watching shows via DVR do not skip advertisements, the fast-forward mechanism can be disabled on VOD.

Tvbythenumbers had an article about this saying shows just basically gain the same ratings % ratio respective of their dvr+3 ratings in that extra 4-7 day window.
Yea the viewer total #s will naturally be higher but when comparing show to show the overall rankings stay basically the same.

+ weve been thru this before that theyre saying if you ask 100 people almost 50 will say they NEVER skip commercials....pu-leez.rolleyes.gif
post #83310 of 93675
FRIDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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