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Hot Off The Press: The Latest TV News and Information - Page 2788

post #83611 of 93651
TV Sports
Dana Jacobson returns to sports yak on CBS Sports Radio
By Michael Hiestand, USA Today - Nov. 28, 2012

After prominent on-air roles on SportsCenter and First Take over a decade at ESPN, Dana Jacobson last spring did something you pretty much never see in TV sports -- she took herself off the air.

And while ESPN had offered her a new contract, she didn't have another on-air job lined up.

"I was looking for something different," she says. "Doing SportsCenter didn't seem challenging anymore. I had a chance at ESPN to build shows and I was looking for that again. And maybe they still saw me there as the person I was 10 years ago when I'd become a very different person."

Jacobson says she was partly motivated to leave ESPN's relatively pastoral locale to be able to live in Manhattan. Still, she wondered, "Am I really going to find this great job when I don't know what it is?"

Turned out, it's this: Being a rarity -- a female host on national sports talk radio.

Jacobson, with ex-NFL player Tiki Barber and longtime sports announcer Brandon Tierney, will host an as-yet unnamed morning show on CBS Sports Radio, which launches Jan. 2. Jacobson will also have still undetermined TV roles on the CBS Sports Network cable channel -- "for some people that would be nerve-wracking, but for me it's exciting" -- after starting the radio gig.

She'll be doing it in what might become the first true on-air threat to ESPN Radio's dominant morning show with Mike Golic and Mike Greenberg. ESPN declined to comment.

"ESPN's Mike and Mike is a very good national radio show," says Chris Oliviero, a CBS Radio executive vice president. "What we want to offer is a clear differentiation. ... And (Jacobson) brings a strong female perspective that's not on network sports radio, not in the overall marketplace."

Jacobson says radio can seem intimidating. On ESPN Radio, she sometimes subbed for Golic and Greenberg as well as Dan Patrick. She assumes largely male sports talk audiences are skeptical about female hosts, When she first filled in on the Mike and Mike show and for Patrick,"As a woman, I was scared to do it." She realized that on sports radio, "There's no safety net. It's me for hours. You have to have this 'no fear level' that I know what I'm talking about."

Now, Golic and Greenberg might end up a bit worried about Jacobson. While ESPN Radio is on about 350 radio stations full-time, it owns just four radio stations. And TV networks syndicating sports radio shows, such as NBC and Fox, don't own any.

CBS, partnering with Cumulus Radio on the radio venture, starts with more potential leverage: CBS owns 127 radio stations while Cumulus owns 525.

CBS will have at least nine of its stations, in markets including Philadelphia, Detroit and Houston, carrying full-time new sports yak, with a lineup of hosts to include ex-ESPN voices Jim Rome and Doug Gottlieb as well as author John Feinstein. At least two CBS-owned stations -- in Baltimore and Riverside, Calif. -- will convert from ESPN affiliates to full-time CBS radio while about 40 Cumulus stations now carrying ESPN Radio are expected to drop it and pick up CBS instead.

For Jacobson, the CBS gig is also a sign of career resilience. ESPN suspended her for a week after she was intoxicated and cursed at a roast -- for Golic and Greenberg -- in 2008. In retrospect, she says, "It made me realize it's not enough just to say people deserve second chances. I learned it at a deep level."

And now she's tanned, rested and ready after "my six-month adult vacation that everybody should take." She says she slept a lot and didn't think much about what exuberant yakkers Skip Bayless and Stephen A. Smith were sparring about on the First Take show she used to moderate and is now hosted by Cari Champion: "I can't say I watched them a lot, but not because I'm angry or anything. Occasionally, I'd turn them on and yell back at the TV. They didn't respond, just like they'd sometimes do on the set."

Running numbers: Major League Soccer commissioner Don Garber recently said retiring British import David Beckham "overdelivered" for the league's business in his six seasons. It's true some MLS indicators -- rising attendance and more teams and soccer-only stadiums -- are up. But not much happened to TV ratings: ESPN's MLS games averaged 0.2% of cable/satellite TV households in Beckham's first season and pretty much stayed there -- that's what they averaged this season. ... NBA TV on Wednesday (8 p.m. ET) airs the first return of guard James Harden to Oklahoma City since he was traded from the Thunder to the Houston Rockets in the preseason. ... TNT on Monday drew a 1.5 overnight rating for N.Y. Knicks-Brooklyn Nets, which translates into 1.5% of households in the 56 urban markets measured for overnights. TNT averaged 1.7% of cable/satellite TV households for NBA games last year, but this game aired on a night TNT usually doesn't carry NBA games and up against Monday Night Football. ... Not a surprise: ESPN's Monday matchup of losing teams -- the Carolina Panthers and Philadelphia Eagles -- drew a 7.8 overnight -- down 22% from comparable coverage of a New Orleans Saints-N.Y. Giants game last year.

http://www.usatoday.com/story/sports/columnist/hiestand-tv/2012/11/27/dana-jacobson-espn-cbs-sports-nfl-david-beckham-sports-radio/1729577/
post #83612 of 93651
Quote:
Originally Posted by dad1153 View Post

TV Sports
Dana Jacobson returns to sports yak on CBS Sports Radio
By Michael Hiestand, USA Today - Nov. 28, 2012

Now, Golic and Greenberg might end up a bit worried about Jacobson.

To give her congrats Greeny & Golic sent her a bottle of vodka.

If you know your Dana J. history you get it. biggrin.gif
post #83613 of 93651
Quote:
Originally Posted by dad1153 View Post

Technology Notes
Dear Santa, Please bring me an iPad
By Media Life Magazine Staff - Nov. 27, 2012
Nintendo’s Wii U moved more than 400,000 units in its first week, at a price of $300 a pop.

But impressive as those stats are, that’s not the item that’s topping most kids’ holiday wish list.

In a study conducted by Nielsen, an iPad was No. 1 on the list of items that kids 6-12 hope to get in the next six months, outranking all video game consoles.

Forty-eight percent of respondents said that they want an iPad. The Wii U, No. 2 on the list, was desired by 39 percent of respondents (they could choose more than one item).

Apple seems pretty popular with the tween and pre-tween set. Rounding out the top five most-desired items were an iPod Touch (36 percent), iPod Mini (36 percent) and an iPhone (33 percent).

By comparison, just a third said they want a computer.

Wii U was clearly the dominant console. Kinect for Xbox 360 was the second most desired at 31 percent, and the Nintendo 3DS/3DS XL, a portable gaming system, was third at 29 percent.

Apparently kids don’t care for tablets other than iPad. Only 9 percent said they want a Samsung Galaxy Note or Tab and 6 percent said they want a Surface, Microsoft’s new tablet.
http://www.medialifemagazine.com/dear-santa-please-bring-me-an-ipad/

Well, duh...

Kids always want what's popular. You don't ask for Go Bots and Brix Blox when everyone else is sporting Transformers and Legos. Kids are shallow and completely dependent on the opinions of their peers.

Sure, adults keep some of that with them, but at a certain point, value and function also plays a role in decision making. It's not enough just to be seen walking around with the device - it has to do something to earn its keep. After all, unlike kids, adults aren't playing with house money.

The thing is, it doesn't matter what kids ask for. It's what they actually get that counts at the end of the day.
post #83614 of 93651
Quote:
Originally Posted by dad1153 View Post

TV Notes
Angus T. Jones issues profuse apology for 'Men' slam
By James Hibberd, EW.com's 'Inside TV' Blog - Nov. 27, 2012
And here it is. Angus T. Jones has issued a profuse apology to all involved with his hit sitcom Two and a Half Men following his viral video hit bashing the show. The actor issued this press statement via Deadline:
“I have been the subject of much discussion, speculation and commentary over the past 24 hours. While I cannot address everything that has been said or right every misstatement or misunderstanding, there is one thing I want to make clear.

Without qualification, I am grateful to and have the highest regard and respect for all of the wonderful people on Two and Half Men with whom I have worked and over the past ten years who have become an extension of my family.

Chuck Lorre, Peter Roth and many others at Warner Bros. and CBS are responsible for what has been one of the most significant experiences in my life to date. I thank them for the opportunity they have given and continue to give me and the help and guidance I have and expect to continue to receive from them.

I also want all of the crew and cast on our show to know how much I personally care for them and appreciate their support, guidance and love over the years. I grew up around them and know that the time they spent with me was in many instances more than with their own families. I learned life lessons from so many of them and will never forget how much positive impact they have had on my life.

I apologize if my remarks reflect me showing indifference to and disrespect of my colleagues and a lack of appreciation of the extraordinary opportunity of which I have been blessed. I never intended that.”

http://insidetv.ew.com/2012/11/27/angus-t-jones-apology/

Wow. And who says PR firms don't earn their fees? tongue.gif

What I wish he had "said" was something along the lines of..."Without qualification, I am grateful to and have the highest regard and respect for all of the wonderful people on Two and Half Men with whom I have worked and over the past ten years who have become an extension of my family... even though they are all heathen minions of Satan who deserve to be unemployed."
post #83615 of 93651
Quote:
Originally Posted by DrDon View Post

Ok, guys, let's take the cut-the-cord conversation to that thread, please.
I say that every time the same 3 people show up and rail about the price of TV here...
post #83616 of 93651
Quote:
Originally Posted by archiguy View Post

Wow. And who says PR firms don't earn their fees? tongue.gif
What I wish he had "said" was something along the lines of..."Without qualification, I am grateful to and have the highest regard and respect for all of the wonderful people on Two and Half Men with whom I have worked and over the past ten years who have become an extension of my family... even though they are all heathen minions of Satan who deserve to be unemployed."

LOL! Yeah that would have been nice biggrin.gif.
post #83617 of 93651
Quote:
Originally Posted by dad1153 View Post

Technology Notes
'The Hobbit' will usher in a new technology at movie theaters
The film was shot at 48 frames a second, twice the rate of traditional films. Advocates say the picture is richer and sharper, but critics find it jarring.
By Richard Verrier, Los Angeles Times - Nov. 27, 2012

Isn't this the equivalent to TVs that are 120hz? Some folks complain about the movement in those sets too.
post #83618 of 93651
Quote:
TV Sports
Dana Jacobson returns to sports yak on CBS Sports Radio
By Michael Hiestand, USA Today - Nov. 28, 2012

Now, Golic and Greenberg might end up a bit worried about Jacobson
Quote:
Originally Posted by dcowboy7 View Post




To give her congrats Greeny & Golic sent her a bottle of vodka.
If you know your Dana J. history you get it. biggrin.gif
You must mean this . . . . . .




09f8792766df6f6504d4ec42584cd179_dana%20jacobson%20drink.jpg
post #83619 of 93651
Quote:
Originally Posted by MRM4 View Post

Isn't this the equivalent to TVs that are 120hz? Some folks complain about the movement in those sets too.

Yea kinda....the tvs with the motionflow, trumotion etc with frame interpolation to give film a smoother look losing all that judder.

Alot of peeps dont like it cause it gives film a videotape look.

I love it though as i have my 240hz set on motionflow high & its totally sweet....looks like looking out a window at something actually happening right now not that old film look.

Good to see guys like jackson & cameron coming over to the light side. biggrin.gif

edit: ^^
yep thats the Dana.
Edited by dcowboy7 - 11/28/12 at 10:38am
post #83620 of 93651
Quote:
Originally Posted by dad1153 View Post

NASHVILLE
ABC, 10:01 p.m. ET

I’m betting this will prove to be worth the wait. For the first time this season, we see – and hear – a duet between Rayna (Connie Britton) and Juliette (Hayden Panettiere). That’s on stage, at the famed Ryman Auditorium – but off stage, before and after, is where to find the real drama.

I'm betting that the song will end up on iTunes.
post #83621 of 93651
Quote:
Originally Posted by mrvideo View Post

I'm betting that the song will end up on iTunes.

Hayden even already has a song on the Billboard country top 40 chart as 'telescope' moves from #40 to #37 on next weeks chart.
post #83622 of 93651
Quote:
Originally Posted by MRM4 View Post

Isn't this the equivalent to TVs that are 120hz? Some folks complain about the movement in those sets too.

No, it is not. The source material is still only 29.97 frames/s for interlaced video and 59.94 frames/s for progressive video. The sets are playing games to fill in the time gaps.

With 48 fps movies, there really are 48 separate frames a sec.

Keep in mind that the old film projectors were actually projecting at a minimum of 48 fps, using 24 fps source. Some projectors were triple bladed.
post #83623 of 93651
Quote:
Originally Posted by slowbiscuit View Post

I say that every time the same 3 people show up and rail about the price of TV here...
Use Report Post, next time, and they won't be ABLE to post here, again. wink.gif
post #83624 of 93651
Quote:
Originally Posted by mrvideo View Post

No, it is not. The source material is still only 29.97 frames/s for interlaced video and 59.94 frames/s for progressive video. The sets are playing games to fill in the time gaps.
With 48 fps movies, there really are 48 separate frames a sec.
Keep in mind that the old film projectors were actually projecting at a minimum of 48 fps, using 24 fps source. Some projectors were triple bladed.

But isnt it kinda the same.....motionflow is creating thru an algorythm the extra in between frames so you are seeing more fps.
post #83625 of 93651
Critic's Notes
Vince Guaraldi's 'A Charlie Brown Christmas' score is a gift
The nearly 50-year-old TV soundtrack by the jazz pianist has a unique quality that makes it endure. Last month it was re-released for the third time, offering cheer to fans of jazz and the Peanuts holiday special.
By Chris Carton, Los Angeles Times

It's here. The holiday season. And with it, an ever-creeping onslaught of music stuffed with enough synthetic cheer to weave a polyester overcoat for Dodger Stadium.

Hearing such tidings of great joy seems innocent enough, but repeated exposure could very well cause outbreaks of seasonal affective disorder on sunny days. But for all the bland and often cynically motivated holiday music produced each year (John Travolta and Olivia Newton-John, anyone?) there's one constant beacon within the genre that can soften the hardest heart.

Originally recorded in 1965, Vince Guaraldi's soundtrack of "A Charlie Brown Christmas" was re-released last month for a third time in various formats including cheery green vinyl for record-philes. Its connection to the most genuine and heart-warming (if vaguely depressive) Christmas special ever released makes it one of the most beloved holiday albums recorded — and the latest remastering makes it sound that much brighter.

But there is a not-so-hidden message to "A Charlie Brown Christmas," and it's not Linus' spotlighted moment with the second chapter of Luke, which endears the timeless special to church theater companies. It's the broader message of jazz carried by Guaraldi's evocative score and how a nearly 50-year-old cartoon acts as a potential gateway drug for any generation that falls under its spell.

When most jazz fans list the album that triggered their interest, titans such as Duke Ellington, Miles Davis and John Coltrane are often invoked. While these are fine choices, for a generation that came of age with an annual prescription ofCharlie Brown and his little barren Christmas tree, Vince Guaraldi has been heard by more people than even the canonical "Kind of Blue."

"I don't think I'm a great piano player," the San Francisco-born Guaraldi reportedly said in 1958. "But I would like to be able to have people like me, to play pretty tunes and to reach the audience." He first recorded with Cal Tjader in the '50s and later with Brazil's Bola Sete, and Guaraldi also won a Grammy for best original jazz composition for 1962's "Cast Your Fate to the Wind." But he's indelibly linked with the Peanuts gang, having performed the music for all their specials until his death at just 47 in 1976.

In a loving essay in the new edition's liner notes, writer Derrick Bang confirms that he was also first brought to jazz by the pianist's work, and this year's recognition of Guaraldi's score by the Library of Congress for permanent preservation indicates he is far from alone.

And who could blame any of us, really? The special's opening scenes, which include the melancholy Charlie Brown lamenting his uniquely grown-up sort of unhappiness, is framed by Guaraldi's "Christmas Time Is Here," a song that for all its contemplative pleasures is one of the least effervescent holiday standards ever written, and it's all the better for it.

As the endearing chorus of children's voices dips behind the dialogue, there's Guaraldi's piano, patiently flickering atop a gently feathered cymbal hiss. The song's lovely, even melancholy murmur sounds like a first snowfall, quiet reflection and a realization that the holidays inspire a whole world of emotions in addition to joy. In contrast to something like "Santa Claus Is Coming to Town," producer Lee Mendelson couldn't have asked for a more evocative backdrop for the special's one-of-a-kind, thoughtful pace.

This isn't to say Guaraldi's music exclusively views the holidays through the lens of Charlie Brown's glum leanings. The twinkling descent on "Skating" marks a gleefully airy backdrop for a sequence of children catching snowflakes, and the manic "Surfin' Snoopy" (an interlude not included on the soundtrack) weaves through a hard-swung pace with a muted trumpet as a certain beagle embraces the commerciality of the season. It's a subversive acknowledgment of a culture shift that now seems quaint as compared with consumption-crazed 2012.

Guaraldi's way with arrangements is equally striking, particularly to young ears. "O Tannenbaum" may be the simplest of Christmas carols, one that every kid learns in grade school. But with a lightly swung, off-center pace and Guaraldi's tumbling improvisations, the familiar song becomes enchantingly different. Reimagining the song's melody as he jabs and curlicues around its original orbit, Guaraldi set the table for a generation to be mystified by the power of expression and reinvention in jazz, a legacy that continues even as new standards are defined by today's piano trios led by Brad Mehldau and Vijay Iyer.

And as much as Guaraldi's agreeable way with a song is to be celebrated — particularly the irresistible "Linus and Lucy," which is impossible to hear without imagining Charles Schulz's creations exulting in dance — it's what he left behind every holiday that endures. Even if so many only knew Charlie Brown and Snoopy as an echo of their own voices while confined to newspapers, Guaraldi showed how a piano, bass and drums can capture a feeling and character in living color, particularly if those feelings are complex, conflicted or even simply too beautiful for words.

It's the kind of realization that, even unconsciously, opens the door for later discoveries in Bill Evans,Thelonious Monk, Robert Glasper and everything beyond, to say nothing of all the other sounds and ensembles waiting to be heard with jazz at its pulse. Any time of year, it's a remarkable gift.

http://www.latimes.com/entertainment/music/posts/la-et-ms-ca-notebook-guaraldi-charlie-brown-christmas-20121125,0,3214724.story
post #83626 of 93651
TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #83627 of 93651
Nielsen Overnights (18-49)
‘DWTS’ finale foxtrots to a season high
ABC reality show draws a 3.0 in 18-49s for all-star ender
By Toni Fitzgerald, Media Life Magazine - Nov. 28, 2012

“Dancing with the Stars” isn’t the ratings powerhouse it used to be; that’s been clear all season. But it can still stir up some interest in the finale.

The show grew to a season high for last night’s two-hour season ender for the all-star edition, boosting ABC to its first win of the season on a Tuesday night, an evening where it has struggled this fall.

“Stars” averaged a 3.0 adults 18-49 rating from 9 to 11 p.m., according to Nielsen, up from a 2.0 for last week’s Tuesday results show.

The finale was off 9 percent from last spring’s season ender, which drew a 3.3, and down even more sharply from last fall’s 13th-season finale, which drew a 4.1.

“Stars” averaged 16.6 million total viewers last night.

Among 18-49s it was easily ABC’s best Tuesday of the season thanks to solid ratings for its Christmas specials in the 8 p.m. hour. in addition to “Stars’” season best.

“Dr. Seuss’ How the Grinch Stole Christmas” drew a 2.4 at 8 p.m. and lead-out “Shrek the Halls” averaged a 2.5. Both were down 4 percent from last year.

Elsewhere on the night, NBC and Fox both saw their comedy lineups surge, mirroring ratings gains seen across broadcast on Monday night as well.

Every Fox comedy was up at least 13 percent, with “Ben and Kate” improving the most, 27 percent, to a still-low 1.4 at 8:30.

“New Girl” improved from last week’s series low by 15 percent, drawing a 2.3. But it still finished behind NBC’s 9 p.m. timeslot competitor, “Go On,” for the second straight week, as the latter surged to its best rating since Oct. 9, a 2.5.

“Go” continues to benefit from its strong lead-in from “The Voice,” the night’s top program with a 3.8 at 8 p.m.

CBS’s “NCIS” was also up double-digit percentages over last week, drawing a 3.5, 17 percent better than last week.

But CBS’s 10 p.m. drama “Vegas” struggled, tying its lowest rating yet with a 1.6 opposite the increased competition from the similarly older-skewing “Stars.”

ABC was first for the night among 18-49s with a 2.8 average overnight rating and a 7 share. CBS was second at 2.7/7, NBC third at 2.5/7, Univision fourth at 1.8/5, Fox fifth at 1.7/5, Telemundo sixth at 0.5/1 and CW seventh at 0.4/1.

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

NBC started the night in the lead with a 3.8 at 8 p.m. for "The Voice," followed by CBS with a 3.5 for "NCIS." ABC was third with a 2.4 for "Grinch" (2.4) and "Shrek" (2.5), Univision fourth with a 1.9 for "Por Ella Soy Eva," and Fox fifth with a 1.6 for "Raising Hope" (1.7) and "Ben" (1.4). Telemundo and CW tied for sixth at 0.5, Telemundo for "Rosa Diamante" and CW for "Hart of Dixie."

At 9 p.m. ABC and CBS tied for first at 2.9, ABC for "Stars" and CBS for "NCIS: Los Angeles." NBC was third with a 2.1 for "Go" (2.5) and "The New Normal" (1.7), Univision fourth with a 2.0 for "Amores Verdaderos," Fox fifth with a 1.9 for "Girl" (2.3) and "The Mindy Project" (1.5), Telemundo sixth with a 0.6 for "Corazon Valiente" and CW seventh with a 0.3 for "Emily Owens, M.D."

ABC was first at 10 p.m. with a 3.0 for more "Stars," with NBC second with a 1.8 for "Parenthood." CBS and Univision tied for third at 1.6, CBS for "Vegas" and Univision for "Amor Bravio," and Telemundo was fifth with a 0.5 for "Pablo Escobar: El Patron del Mal" (0.7) and "El Rostro de la Venganza" (0.4).

Among households, CBS led the night with a 9.0 average overnight rating and a 14 share. ABC was second at 8.7/13, NBC third at 4.4/7, Fox fourth at 2.2/3, Univision fifth at 2.1/3, CW sixth at 0.8/1 and Telemundo seventh at 0.7/1.

http://www.medialifemagazine.com/dwts-finale-foxtrots-to-a-season-high/
post #83628 of 93651
TV Notes
Fox Buries Remaining 'Mob Doctor' Order, Gives 'Touch' a 2-Hour Premiere
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Nov. 28, 2012

After this coming Monday (Dec. 3), Fox is shuffling the remaining four episodes of The Mob Doctor's season one order. The struggling freshman will conclude its run rather quickly, over the nights of Saturday, Dec. 29, Monday, Dec. 31, Saturday, Jan. 5 an Monday, Jan. 7.

The move makes room for the previously announced American Country Awards on Monday, Dec. 10, holiday programming on Dec. 17 and a block of Raising Hope encores on Christmas Eve.

Fox's announcement coincides with a decision to move up the season two premiere of Touch to Friday, Feb. 8. Airing one week after originally scheduled, a two-hour opener will kick off the next run of the Kiefer Sutherland drama.

As for The Mob Doctor, the move doesn't come as much of a surprise, since the show has been languishing in the ratings. Premiering Sept. 18 to an unfortunate 1.5 rating with adults 18-49, it at one point dropped to a 0.9 rating in the key demo -- though, as of late, it has picked up, pulling a 1.2 as recently as Monday.

http://www.hollywoodreporter.com/live-feed/mob-doctor-canceled-fox-jordana-spiro-373786
post #83629 of 93651
TV Notes
The game is delayed - 'Sherlock' won't return until late 2013/early 2014
By Alan Sepinwall, HitFix.com

By making only three stories per season, "Sherlock" producer Steven Moffat has already turned the 21st century Sherlock Holmes series (not to be confused with the one on CBS) into a rare enough treat that we have to wait long intervals to consume. And now it sounds like the wait for the next batch is even longer.

EW is reporting that because of the busy schedules of Moffat (who also runs "Doctor Who") and stars Benedict Cumberbatch (who's the villain in the next "Star Trek" movie) and Martin Freeman (who is appearing in the 57 films that are being adapted from the 300-odd pages of "The Hobbit"), production on the next trio of "Sherlock" episodes has been pushed back from January to March, which will in turn delay when those episodes will air, first on the BBC (likely late 2013 now) and then PBS (possibly early 2014).

http://www.hitfix.com/whats-alan-watching/the-game-is-delayed-sherlock-wont-return-until-late-2013-early-2014
post #83630 of 93651
TV-on-DVD Notes
Imperial Rome Writ Large and Perverse
By Thomas Vinciguerra, The New York Times

The making of the 1976 BBC mini-series “I, Claudius” was fraught with headaches. The specter of an ill-fated, unfinished 1937 movie version starring Charles Laughton loomed large. At one point the project died when negotiations between the BBC and London Films, which owned the rights to the Laughton effort, broke down. When taping did begin, the actors struggled with everything from their makeup to making sense of their roles as the early rulers of the Roman Empire.

But Robert Graves, who wrote the original 1934 novel and its 1935 sequel, “Claudius the God,” was unperturbed. “I’ve communed with Claudius,” he said at the time, “and he reassured me that this would be a great success.”

Indeed it was. First shown in the United States 35 years ago this month, “I, Claudius” pushed the limits of small-screen sex and violence and foreshadowed seamy family dramas like “The Tudors,” “The Borgias” and even “The Sopranos.”

“I, Claudius” also brought to widespread attention several of its stars, notably Derek Jacobi as the stammering, twitching, limping, ostensibly simple-minded title character, who survived decades of murder and intrigue to become the fourth emperor of Rome.

“I owe ‘Claudius’ so much on both sides of the Atlantic,” Mr. Jacobi said in a telephone interview. “If he has haunted me, it’s been a beneficent ghost.” He even reprised the role for a six-part adaptation on BBC Radio 4 in 2010.

The durability of “I, Claudius” began with Graves’s books. Cast as the secret memoirs of Claudius himself, they were grounded in exhaustive scholarship but imbued with a novelist’s imagination. They had plenty of skulduggery, perversion and other delectable malfeasance, set against the marble majesty of Roman antiquity.

The TV version, however, came close to missing the mark. “It was so badly received in its first two weeks,” recalled Sian Phillips, who played the empress Livia, “because it was so different.”

That difference lay in the series’s down-to-earth treatment of epic material. Despite its imperial setting “I, Claudius” was a small studio effort devoid of huge sets and sprawling battle scenes.

In whittling down Graves’s tomes (which total some 1,000 pages in paperback) to a little over 11 hours of television, the scriptwriter Jack Pulman, who died in 1979, effectively rendered them as a soap opera, emphasizing the dysfunctional relations inherent in any extended clan. At various points he called his teleplay a Jewish family comedy and a treatment of a Mafia dynasty.

“We agreed right at the beginning that we weren’t going to make a period piece,” said the director, Herbert Wise, 88. “We wanted to make it contemporary. We wanted to make the point that human psychology hasn’t changed much in the last 2,000 years. We don’t throw people to the tigers anymore, but we still fight.”

Pulman made the story even more accessible by eschewing the pseudo-classical dialogue that was a feature of innumerable sword-and-sandal films. When the emperor Tiberius (George Baker) brings out Claudius’s sister-in-law, Agrippina (Fiona Walker, who would go on to marry Mr. Wise) in chains, he declares, “My dear, you look like a Greek tragedy.”

“And you look like a Roman farce,” she replies.

Pulman “was a brilliant adapter,” said John Hurt, who played the mad emperor Caligula, “and his literary passion does come off the page. It’s immensely playable. You learn it in five minutes.”

To compensate for the production’s physical modesty Mr. Wise urged grand performances — “bold, poster-color acting,” as Ms. Phillips put it.

“There was certainly a theatricality about it,” said Patrick Stewart, who was the treacherous commander of the Praetorian Guard, Aelius Sejanus. “Many of the characters were really larger than life.”

But making outsize Romans seem believable was a challenge. Brian Blessed, a k a Augustus, said that at least initially, “we were all very stiff, and we thought, ‘This isn’t going to work at all.’ ”

Mr. Jacobi recently complained, “The ghost of Charles Laughton was sitting on my shoulder.”

The old-age makeup worn by many of the principals was also onerous; Mr. Jacobi found he could remove it painlessly only while submerged in a bathtub and breathing through a snorkel.

Perhaps no actor worked harder than Ms. Phillips, whose scheming Livia got rid of anyone who stood between the throne and her son, Tiberius. During early rehearsals she vainly tried to find rational motives for her ruthlessness. “I wasn’t achieving anything much,” she said. “I knew it, and they knew it. They would stand there and look faintly worried.”

Finally, as Mr. Wise says in a documentary that accompanies the 35th-anniversary “I, Claudius” DVD set from Acorn Media, “I was able to say to her: ‘Just be evil. The more evil you are, the funnier it is, and the more terrifying it is.’ ”

Mr. Jacobi said of the series as a whole, “I think one of the saving graces of it was that it was done with so much humor that it didn’t become offensive.” In the very first episode, as Livia covertly poisons Marcellus, Augustus’s nephew and heir apparent, his doctor exclaims, “He’s bringing up green slime!”

“Perhaps it’s a good sign,” Ms. Phillips responds.

Topping off the show was its unforgettable opening sequence — a snake slithering across a tile mosaic bearing a likeness of Mr. Jacobi and the title “I, CLAVDIVS” (the source of many a phonetic joke), accompanied by a score by Wilfred Josephs that practically hissed evil intrigue.

Unlike imperial Rome “I, Claudius” may well be imperishable. Last year it was announced that HBO and BBC2 had joined to remake the mini-series, probably for 2013, with the creative team that produced the HBO series “Rome” in charge.

But looking back wryly weeks ago on the original production, Mr. Wise recalled that it did not seem destined for greatness. In Britain, The Guardian review of “I Claudius,” he said, began, “There should be a society for the prevention of cruelty to actors.” The all-important Radio Times refused to feature the show on its front page.

“They said that people wouldn’t be able to pronounce the names,” Mr. Wise said, “let alone remember them.”

http://www.nytimes.com/2012/11/25/arts/television/i-claudius-returns-in-a-35th-anniversary-dvd-set.html?ref=television&_r=0
post #83631 of 93651
Quote:
Originally Posted by BoilerJim View Post

Uh, isn't that what he said, started as Krebs, remembered as Gilligan?

That's the way I read it, although I've always thought he's really just one character--Maynard Gilligan Krebs. smile.gif
post #83632 of 93651
Quote:
Originally Posted by dad1153 View Post

TV/Business Notes
Another 'Waterworld'? Believe It Or Not, Syfy Might Make One
By Jeff Bercovici, Forbes.com - Nov. 26, 2012
NBC Universal’s Syfy cable network is making a $100 million play for the videogame market, as I report in the new issue of FORBES. What I didn’t mention in that story is that Syfy is also pushing into the movie business — and that it may even remake “Waterworld,” one of the most notorious Hollywood bombs of all time.
Syfy has been looking for a way into film for years, ever since NBC merged with Vivendi Universal Entertainment in 2004. That marriage provided Syfy — known as Sci Fi Channel until a 2009 brand makeover — with access to Universal Pictures’ vast trove of intellectual property.
“Having a theatrical film label is not only a natural fit for Syfy,” says Dave Howe, the network’s president. “It’s also a gap in the marketplace.”
In Hollywood, “science fiction” is virtually synonymous with “megabudget CGI-laden summer action movie.” Howe and his team at Syfy saw an opportunity for a different kind of science fiction film, one driven less by expensive stars and special effects than by storytelling.
They started pitching the idea of a Syfy Films slate shortly after the merger and revisited the idea every year or so, but met with little interest from the Universal side. “They’ve always been polite and responsive, but that lower-budget movie hasn’t been something they wanted to explore,” says Howe.
But in late 2009, Universal Pictures got a new management team. A year later, Syfy Films was a reality, with both companies putting money into a joint development fund. Initially, it announced plans to release its first movies in 2012, although the horizon has been pushed back somewhat. Howe says Syfy Films is “actively developing scripts.”
“Waterworld” isn’t an obvious candidate, considering that the original was exactly the kind of grossly overbudgeted Hollywood monstrosity that Howe proposes to avoid. Its $235 million cost reportedly made it the most expensive movie ever at the time, a title since usurped by “Titantic,” and it only avoided losing money through home video sales.
Yet Howe sees it as an underexploited piece of intellectual property. That’s because every time it airs on Syfy, it attracts a surprisingly large viewership. (Around 400,000 viewers watched the last airing.)
While a theatrical sequel of “Waterworld” was “never really on the cards,” according to Howe, a series inspired by the film is something that has been “talked about endlessly” and remains a possibility, he says.
http://www.forbes.com/sites/jeffbercovici/2012/11/26/more-waterworld-believe-it-or-not-syfy-is-considering-it/

Hello Operator? This is an Emergency!
Get me Dr. Kevorkian!
Edited by borntocoast - 11/28/12 at 5:44pm
post #83633 of 93651
Quote:
Originally Posted by dcowboy7 View Post

But isnt it kinda the same.....motionflow is creating thru an algorythm the extra in between frames so you are seeing more fps.

Seems to me the difference isn't how many frames are projected, but how many frames are exposed. I can remember people complaining at least 30 years ago of the stupid 24 fps film standard. Apparently there were many experiments with different frame rates? They settled on the cheapest they could get away with. Me, I don't know, but that's what a lot of people think, and have thought, for a long time.

Not clear to me if they're talking only digital cameras, or film as well.
post #83634 of 93651
Quote:
Originally Posted by fjames View Post

Seems to me the difference isn't how many frames are projected, but how many frames are exposed.

While the frame rate of US interlaced video is 29.97 fps, there are two fields (odd and even rows) which are sent with an offset of 1/2 frame time. This makes the field rate twice the frame rate. The motion on interlaced live cameras is usually updated on each field (sensor refresh time) which means motion is updated twice per frame at 59.94hz. This is the same motion update rate as 60p formats. The sensor is usually exposed for most of that 1/60th of a second giving it a shutter time of around 1/60th second. Effectively the frames have little time missing between them that were not captured by the sensors. On motion blur the leading edge on one frame will closely match the trailing edge on the next.

24p production, which is an emulation of film techniques, updates motion every 1/24th second. Because of the slower frame rate, motion blur would be an issue, so a shutter time of 1/2 the frame rate is used, or 1/48th second (aka a 180 degree shutter angle). This also gave film cameras time to move the film from one frame to the next. The slower frame rate with the faster shutter time is what gives 24p a distinct judder look. There is a gap of the motion blur between frames because of the time gap between the exposure of the frames. Psychologically this can create some "distance" for the viewer which can aid the story telling. Newer electronic displays with motion interpotlation can create in between frames to give the appearance of a higher frame rate. However if it's at 60hz or more (such as 120hz or 240hz) the shutter time effectively becomes slower than the frame rate, which is a bit like lag. Another drawback is that the motion smoothing isn't perfect and can add motion artifacts. But I think the general public likes the effect and is getting used to smoother motion. The mystique of the 24p look may be fading.

From what I've read, the Hobbit is using a 270 degree shutter angle, or 1/64th of a second exposure time, at 48 fps. Throwing out every other frame for a 24 fps version creates a 135 degree shutter angle ((24/64) * 360) which increases the judder. But the 48 fps presentation should look much smoother and the judder is much less as there is only 90 degrees (1/192 sec) of missing exposure time.

An interesting question is how it will be translated to a 60 field or frame presentation. One frame per field with the 4th one repeated for 2 fields (or frames in 60p) might be a little choppy.
Edited by TVOD - 11/28/12 at 7:29pm
post #83635 of 93651
Quote:
Originally Posted by borntocoast View Post

Hello Operator? This is an Emergency!
Get me Dr. Kevorkian!
I think I saw him on The Walking Dead.
post #83636 of 93651
Quote:
Originally Posted by dcowboy7 View Post

But isnt it kinda the same.....motionflow is creating thru an algorythm the extra in between frames so you are seeing more fps.

That is the point. It is MANUFACTURED frames vs. REAL frames.

Me, I'll stick with real frames.
post #83637 of 93651
Quote:
Originally Posted by TVOD View Post

I think I saw him on The Walking Dead.


Hmm I thought one of those Zombies look familiar eek.gif

Djoel
post #83638 of 93651
TV Notes
On The Air Tonight
THURSDAY 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)

ABC:
8PM - Last Resort
9PM - Grey's Anatomy
10:01PM - Scandal
* * * *
11:35PM - Nightline (LIVE)
Midnight - Jimmy Kimmel Live! (Martin Short; Suraj Sharma; Ne-Yo performs)
(R - Nov. 14)

CBS:
8PM - The Big Bang Theory
8:31PM - Two and a Half Men
9:01PM - Person of Interest
10:01PM - Elementary
* * * *
11:35PM - Late Show with David Letterman (Tom Hanks; Tony Bennett performs)
(R - Oct. 22)
12:37AM - Late Late Show with Craig Ferguson (Kristin Davis; Nat Faxon)

NBC:
8PM - 30 Rock
8:30PM - Up All Night
9PM - The Office
9:30PM - Parks and Recreation
10PM - Rock Center with Brian Williams
* * * *
11:35PM - The Tonight Show With Jay Leno (Newt Gingrich; reality TV personality Ron Shirley; Grouplove performs)
12:37AM - Late Night With Jimmy Fallon (Robert Pattinson; Carrie Underwood performs)
(R - Nov. 8)
1:36AM - Last Call With Carson Daly (Keegan-Michael Key and Jordan Peele; Ceremony performs)
(R - Nov. 13)

FOX:
8PM - The X Factor (LIVE)
9PM - Glee

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour
9PM - A Girl's Life
(R - Dec. 30, 2009)
10PM - Antiques Roadshow: Baltimore, Maryland
(R - Jan. 14, 2008)

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

THE CW:
8PM - The Vampire Diaries
9PM - Beauty and the Beast

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Author Calvin Trillin)
11:31PM - The Colbert Report (Author Sean Carroll)

TBS:
11PM - Conan (Jason Sudeikis; Dick Van Dyke; NAS)

E!:
11PM - Chelsea Lately (Blake Shelton; Brody Stevens; Arden Myrin; Chris Hardwick)

FX:
11:01PM - Totally Biased With W. Kamau Bell (Season Finale)
11:31PM - BrandX With Russell Brand (Season Finale, 59 min.)
post #83639 of 93651
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Nov. 29, 2012

THE BIG BANG THEORY
CBS, 8:00 p.m. ET

There’s a lot going on in tonight’s new episode, and the lot in question is a college parking lot. The university at which Sheldon (Jim Parsons) works has taken away his parking spot, and given it to Wolowitz (Simon Helberg). My advice to Howard: Curb your enthusiasm.

30 ROCK
NBC, 8:00 p.m. ET

Tonight’s new episode is called “Mazel Tov, Dummies!” – which may be a hint about the content, since it’s supposed to be about the sudden wedding of Liz (Tina Fey) and Criss (James Marsden). It also features Liz’s ex-boyfriend Dennis, played by Dean Winters, who’s been playing Mayhem in those insurance commercials. So, I’m guessing, the show’s title is a line of dialogue from Dennis himself.

TWO AND A HALF MEN
CBS, 8:30 p.m. ET

Angus T. Jones, by being captured on video begging people not to watch his sitcom because it’s “filth,” has guaranteed the biggest bump in free-publicity viewership for Two and a Half Men since Charlie Sheen left in a whirlwind of misbehavior and Ashton Kutcher joined the cast. Tonight’s episode does have one thing going for it besides controversy: the return of former recurring player April Bowlby, who played Kandi, the sizzlingly hot actress girlfriend, and eventually second wife, of Jon Cryer’s Alan. She hasn’t appeared on Men since 2007, but Kandi is back tonight, and, once again, has Alan in her sights. Meanwhile, TVWW contributor Noel Holston has Two and a Half Men in his sights. Check out his take on the Jones furor in The Grassy Noel.

GLEE
Fox, 9:00 p.m. ET

It’s Thanksgiving on Glee, arriving a week later. It’s also Sectionals time again – and this year, the New Directions team has a new direction: They’re doing one production number “Gangnam Style,” in what surely will be the best Glee number ever sung in Korean.

PARKS AND RECREATION
NBC, 9:31 p.m. ET

There are more reasons for Leslie (Amy Poehler) to resent the neighboring Eagleton tonight: Architects from that community are submitting designs for Leslie’s latest park. And they’re good, which has Leslie more than a little envious and angry.


http://www.tvworthwatching.com/
post #83640 of 93651
TV Notes
'Emily Owens, M.D.' Canceled by The CW
By Philiana Ng and Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Nov. 28, 2012

The CW's freshman medical drama Emily Owens, M.D. will not be getting a full-season pickup.

Emily Owens, which wraps production on its initial order next week, will have all 13 episodes aired on the network. The CW had ordered additional scripts in October.

After the lowest-rated premiere of the fall season, Emily Owens never grabbed the attention of this season's two other new CW series Arrow and Beauty and the Beast. And though its season average of a low 0.4 rating among adults 18-49 is matched by other network series (90210, Gossip Girl), it never had their DVR growth.

Season-to-date, Emily Owens was improving an extremely low tenth of a point with each original episode. That makes it the smallest grower across scripted television.

Arrow and Beauty and the Beast both have received full-season orders. The network will launch 1980s-set The Carrie Diaries in January.

http://www.hollywoodreporter.com/live-feed/emily-owens-canceled-395320

* * * *

TV Notes
MTV Cancels 'Inbetweeners'
By Philiana Ng, The Hollywood Reporter's 'Live Feed' Blog - Nov. 28, 2012

MTV is not moving forward with another season of The Inbetweeners.

"While we won’t be moving forward with another season of The Inbetweeners, we enjoyed working with the show's creators and such a talented, funny cast," a MTV spokesperson said in a statement.

Actor Zack Pearlman, who played Jay Cartwright, wrote on his blog Wednesday afternoon: "This was a crazy experience, but one that I will always be able to look back at and smile knowing that we did a fantastic job."

Inbetweeners was a remake of the popular British series of the same name, centered on the misadventures of four high school friends as they navigate the transition into adulthood. The half-hour series premiered in August to nearly 1 million viewers, before finishing its 12-episode order earlier this month to a little more than 600,000.

The news comes after Lifetime and WB Network veteran Susanne Daniels was appointed president of programming Nov. 12, replacing programming chief David Janollari.

Brad Kopeland penned the U.S. version of Inbetweeners, serving as showrunner and executive producer alongside Iain Morris, Damon Beesley and Aaron Kaplan.

For its part, MTV is bringing back scripted properties Teen Wolf and Awkward, while rookie series Underemployed is in the middle of its first-season run.

http://www.hollywoodreporter.com/live-feed/mtv-cancels-inbetweeners-395288
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