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Hot Off The Press: The Latest TV News and Information - Page 2830

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Quote:
Originally Posted by Amnesia View Post

The Matt Damon Jimmy Kimmel episode will re-air in primetime on Tuesday 29 January at 10 ET.
Seconded, one seriously-funny episode. My favorite part: Andy Garcia as the new-and-improved Guillermo biggrin.gif (one of seemingly dozens of stars who dropped by). And gotta give props to Kimmel for having the balls to let other people be funny and basically play a version of straight man for an entire hour during his show. You won't see Letterman (who did this in his early formative years at NBC) or Leno cede the spotlight completely over to a guest, that's the stuff only Craig Ferguson has been able to pull off.
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No political comments, please.

TV Notes
Fox News and Sarah Palin go their separate ways
By Meredith Blake, Los Angeles Times - Jan. 25, 2013

Fans of Sarah Palin will have to look a little harder to find their favorite vice-presidential-candidate-turned-media-personality on the airwaves in 2013. After three years as a highly paid contributor on the network, Palin has officially parted ways with Fox News.

The news was first reported Friday by the political website Real Clear Politics, and was later confirmed by the New York Times. A Fox News representative was not available for comment.

It was not immediately clear whether the breakup was mutual.

“We have thoroughly enjoyed our association with Gov. Palin. We wish her the best in her future endeavors,” said Fox News executive Bill Shine in a statement to the New York Times.

Palin signed her deal with Fox in early 2010, not long after resigning as governor of Alaska. and was, for a while, one of the network’s most popular personalities. Her lucrative deal earned her $1 million a year, making her the highest-paid contributor on the channel. But as her star began to fade, rumors began to swirl that she was on the outs at Fox News.

Network chief Roger Ailes stoked the fires when he publicly claimed that he only hired Palin because “she was hot and got ratings” and said she had “no chance” at being elected president.

The spat heated up once again this August, when Palin took to her Facebook account to grumble about being shut out of the network’s coverage of the Republican National Convention. She has not appeared on Fox News since December.

No word yet on what Palin plans to do with the studio Fox built in her Wasilla, Alaska, home in 2010, but there’s little doubt the publicity-friendly family will find a use for it. Husband Todd competed on the NBC series “Stars Earn Stripes” last year, and daughter Bristol followed up the poorly received “Life’s a Tripp” with her second stint on “Dancing With the Stars.” The former governor also took a stab at nonpartisan morning television, guest-hosting “Today” in April.

http://www.latimes.com/entertainment/tv/showtracker/la-et-st-fox-news-contract-sarah-palin-20130125,0,454754.story
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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)

ABC:
8PM - The Taste (120 min.)
(R - Jan. 22)
10PM - 20/20: Breaking Polygamy
(R - Nov. 23)

CBS:
8PM - NCIS: Los Angeles
(R - Nov. 15, 2011)
9PM - 48 Hours
10PM - 48 Hours

NBC:
8PM - Figure Skating, U.S. Championships: Ladies Short Program & Free Skate (Three hours, LIVE)
* * * *
11:29PM - Saturday Night Live (Adam Levine hosts; Kendrick Lamar performs; 93 min.)

FOX:
8PM - UFC: Johnson vs. Dodson (120 min., LIVE)
* * * *
11PM - The Ultimate Fighter, Team Jones vs. Team Sonnen - Enter the Octagon (90 min.)
(R - Jan. 22)

PBS:
(check your local listing for starting time/programming)
8PM - Austin City Limits: Bob Mould; Delta Spirit

UNIVISION:
8PM - Sábado Gigante (3 hrs.)

TELEMUNDO:
7PM - Movie: Rudyard Kipling's The Second Jungle Book: Mowgli and Baloo (1997)
9PM - Movie: Wrong Turn 2 (2007)
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TV Notes
Fox Officially Cancels 'Ben and Kate,' Shuts Down Production
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Jan. 25, 2013

Ben and Kate's uncertain fate has been decided.

Two days after the freshman comedy was pulled from Fox's Tuesday lineup, The Hollywood Reporter has learned that production on the 20th Century Fox Television produced series ended Friday.

The current episode will not finish shooting, and the final two episodes of its 18-episode order will not be completed. Six episodes remained, only three of which completed filming.

Fox said Wednesday that Ben and Kate's remaining episodes would be pushed to a later date. The move coincided with a decision to apparently nix the Tuesday two-hour block of half-hour comedies launched at the start of the 2012-13 season. After several weeks of doubling up on original episodes of Raising Hope in Ben and Kate's 8:30 p.m. slot, the network will bring Hell's Kitchen to the night.

The series' end comes on the heels of particularly low ratings, averaging just a 1.4 rating with adults 18-49 and 2.9 million viewers so far this season. And what Ben and Kate lacked in Live+Seven Day viewing, it did not make up for in DVR returns. The series, from creator Dana Fox (What Happens in Vegas), had especially modest growth after seven days of time-shifted viewing, growing just 21 percent in the key demo.

Comedies, particularly those on Tuesday, have not fared especially well on any network this season. Ben and Kate's cancellation comes on the heels of ABC pulling the plug on Tuesday laugher Don't Trust the B---- in Apt. 23. That series' former lead-in, Happy Endings, is under a similar threat.

And NBC's Tuesday comedic offerings, Go On and The New Normal, recently pulled numbers similar to Ben and Kate's, having lost a lead-in from The Voice.

Ben and Kate starred Dakota Johnson (Kate) and Nat Faxon (Ben) as adult siblings raising Kate's young daughter (Maggie Elizabeth Jones) together. Lucy Punch and Echo Kellum also starred.

There's no word on when the remaining completed episodes might air, though a small summer run is likely.

http://www.hollywoodreporter.com/live-feed/fox-officially-cancels-ben-kate-415546
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TV Notes
‘Bold & Beautiful’ And ‘General Hospital’ To Return As Daytime Soaps Stage Comeback
By Nellie Andreeva, Deadline.com - Jan. 25, 2013

What a difference a year makes. Between 2009 and 2012, daytime soaps went from 8 to 4, and by the end of 2012, Prospect Park’s effort to revive two of the departed, All My Children and One Life To Live, had hit a dead end. Then within the last month, NBC renewed its daytime drama, Days Of Our Lives, and Prospect Park got its plan for AMC and OLTL online series back on track. Now I hear that CBS is poised to renew The Bold And The Beautiful, and ABC has no plans to cancel General Hospital (the series is on a perpetual production track and doesn’t need formal renewals if the network wants to keep it on the air). CBS’ Young & The Restless, the highest-rated daytime drama, is two years into a three-year pickup, and casting and pre-production on AMC and OLTL is in full swing. That means that we will likely have more daytime dramas on next fall than we have this season — the first such year-to-year gain in 15 years, since NBC added Passions in 1998.

Daytime soaps’ improving fortunes is not a coincidence. After years of ratings erosion, numbers for the daytime dramas have stabilized, and they’ve even posted year-to-year gains this season. Bold And The Beautiful and General Hospital have made their networks’ decisions to keep them easy with impressive ratings increases. B&B averages 3.44 million total viewers (+6%), 1.6/9 in women 25-54 (+14%) and 1.1/7 in women 18-49 (+10%). Airing in an earlier slot to make room for Katie Couric’s new syndicated talk show, GH, which will mark its 50th anniversary April 1, averages 3 million viewers (+16%), a 1.6/9 in women 25-54 (no change) and 1.2/7 in women 18-49 (+9%).

Y&Rand Days Of Our Lives are down slightly: 4.74 million (-3%), 2.1/13 (no change) and 1.4/9 (-7%) for Y&R; and 2.64 million (no change), 1.3/7 (-7%) and 1.0/6 (-9%) for Days.

http://www.deadline.com/2013/01/bold-and-the-beautiful-general-hospital-returning-soap-opera-comeback/
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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jan. 26, 2013

RIPPER STREET
BBC America, 9:00 p.m. ET

It’s only the second episode of this series, and already there’s a special guest star: Joseph Gilgun from Misfits, playing a heavily tattooed bad guy who gets close to brothel owner Long Susan (MyAnna Buring). Her reasons for wanting to get closer, though, are much different than his.

AN IDIOT ABROAD 3
Science Channel, 9:00 p.m. ET

Karl Pilkington and Warwick Davis continue their oil-and-water traveling circus, this week going to India, where Pilkington gets to regale Davis with tales of how much he hated his previous visit. Davis, meanwhile, is determined to look on the bright side – though, with dour Karl along, that’s never easy, even when you take him to an outdoor "Happy yoga" session. It is, however, quite entertaining. And if you missed last week’s season premiere, you can catch up. It’s repeated at 8 p.m. ET, as a prelude to tonight’s new installment. For a full review, see Bianculli’s Blog.

LORD OF THE FLIES
TCM, 10:00 p.m. ET

Long, long before The Hunger Games, children were fighting for survival in this 1963 adaptation of the William Golding novel. As a matter of fact, it predates, and prefigures by decades, Lost as well. After a plane crashes on a remote island, the survivors split into tribes and work to both survive and conquer one another.

THE GRAHAM NORTON REPORT
BBC America, 10:15 p.m. ET

Among the guests on this week’s show is one very familiar guest: Denzel Washington, fresh off his searingly good performance in Flight. Here, though, it’s wild-man host Graham Norton who will try to turn everything upside down.

SATURDAY NIGHT LIVE
NBC, 11:29 p.m. ET

Tonight’s guest host, on this new edition, is Adam Levine. He’s not the musical guest, though: That would be Kendrick Lamar. A few days ago, one of my college students identified Lamar as his favorite musical artist, and I had to admit I’d never heard of him. Now I have. Good for Lamar, for hitting the mainstream. And good for my student, for being ahead of the curve.


http://www.tvworthwatching.com/
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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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Nielsen Notes (Broadcast)
Fox’s ‘Following’ Gets DVR Boost In Live+3
By Nellie Andreeva, Deadline.com - Jan. 26, 2013

Fox viewed DVR play so important for new midseason drama The Following, it ran “Set Your DVR!’ ads for the show as part of the launch campaign, the first time anyone had done that. Many viewers did put the Kevin Bacon serial killer drama on their DVRs, and in Live +3, The Following’s Monday premiere rose to a 4.3/10 among adults 18-49, up +34% from its L+SD rating (3.2).

The Following remains the second-highest rated drama debut of the season behind NBC’s Revolution (5.4/15 in Live+3, 33% gain vs. L+SD), just ahead of CBS’ Elementary (4.2/12). It also edged Fox’s cancelled 2011-12 dramas Terra Nova (4.1 in the L+3) and Alcatraz (4.0).

http://www.deadline.com/2013/01/foxs-following-gets-dvr-boost-in-live3/
Edited by dad1153 - 1/26/13 at 10:59am
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TV Review
‘Monster Squid: The Giant Is Real’
A creature from the deep fuels researchers' fascinating quest on Discovery
By David Hinckley, New York Daily News - Jan. 25, 2013

Imagine “Moby Dick” with a happy ending, and you’ve got the essence of this tale about a quest to see the long-elusive giant squid in action.

The subterranean creature, which can be up to 45 feet in length (including tentacles), lives deep in the ocean and hates paparazzi. So even though we know it exists, because carcasses have washed up on shore, no sighting has ever been documented.

In this two-hour special, a cluster of scientists who have separately spent many years trying to find the squid team up for the expedition they hope will finally end their shutout.

The voice-over narration works hard to inflate the giant squid into an epic homicidal monster that has haunted human dreams, but that’s not the interesting part of the show.

True, you wouldn’t want to encounter something that has long tentacles with hundreds of suckers and a mouth full of razor-sharp teeth.

Equally true, you never will, unless you hang around half a mile under the ocean.

No, this isn’t a monster quest. It’s a treasure hunt, conducted by a dozen very smart, serious people who want to do something other smart and serious people have not been able to do.

Accordingly, it’s not as sensational as the overheated narrative would suggest.

The squid itself, however, is every bit as spectacular as the team imagined.

We first see it circling a remote camera, then we see it again when it feeds on bait placed outside a submersible craft.

That’s a great way to see it, because it isn’t captured and displayed, King Kong-style, for our gawking pleasure. It’s simply having lunch, and for a little while we get to watch, in the company of people we know are really appreciating it.

MONSTER SQUID: THE GIANT IS REAL
Network / Air Date: Sunday at 8 p.m., Discovery.
Rating: ★★★ (out of five)


http://www.nydailynews.com/entertainment/tv-movies/tv-review-monster-squid-giant-real-article-1.1246983
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Nielsen Overnights
Biggest 'Nikita' in a year
By James Hibberd, EW.com's 'Inside TV' Blg - Jan. 26, 2013

On an otherwise super quiet Friday night in the broadcast ratings, The CW’s Nikita edged higher to post its most-watched episode in more than a year and deliver a season-high rating among adults 18-49.

Nikita had 1.6 million viewers and a 0.5 rating in the demo, up a tenth of a point from last week. (Hey, we didn’t say the ratings were really good — it’s Nikita! — but this is still the modest drama’s biggest numbers in a quite a while). Nikita had its most-seen hour since December 2011, and highest-rated episode since last March.

Otherwise, not much happened. All the other scripted broadcast shows were in repeats. Fox aired an encore telecast of its The Following premiere to pick up another 3.2 million viewers and a 1.1 in the demo. The network notes that the Kevin Bacon thriller’s Monday debut rating climbed 34 percent now that another three days of DVR playback has been added — that’s a good gain; it’s the same percentage NBC’s Revolution rose after its Monday premiere last fall.

http://insidetv.ew.com/2013/01/26/nikita-ratings/
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TV Notes
On The Air Tonight
SUNDAY Network Primetime Options
(All shows are in HD unless noted; start times are ET)

ABC:
7PM - America's Funniest Home Videos
(R - Oct. 7)
8PM - Once Upon A Time
(R - Oct. 14)
9PM - Movie - Hallmark Hall of Fame: The Makeover (2013)

CBS:
7PM - 60 Minutes
8PM - NCIS
(R - Nov. 20)
9PM - The Good Wife
10PM - The Mentalist

NBC:
7PM - 2013 Probowl (Four Hours, LIVE)

FOX:
7PM - Bob's Burgers
(R - May 20)
7:30PM - The Cleveland Show
8PM - The Simpsons
8:30PM - Bob's Burgers
9PM - Family Guy
9:30PM - America's Dad

PBS:
(check your local listing for starting time/programming)
8PM - Masterpiece Classic: Downton Abbey
(R - Jan. 20)
9PM - Masterpiece Classic: Downton Abbey
10PM - The Abolitionists: American Experience - Part Three: 1854-Emancipation and Victory
(R - Jan. 22)

UNIVISION:
7PM - Aquí y Ahora
8PM - Lo que Más Quieres (Series Premiere, 120 min.)
10PM - Sal y Pimienta

TELEMUNDO:
7PM - Movie: Happy Feet (2006)
9PM - Movie: Jumper (2008)

Edited by dad1153 - 1/26/13 at 11:23pm
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TV Notes
Paul Ryan on ‘Meet the Press’
By Hal Boedeker, Orlando Sentinel's 'TV Guy' Blog

On the Sunday morning lineup:

Rep. Paul Ryan, R-Wis., talks to NBC's “Meet the Press” at 9 a.m. on WESH-Channel 2. The panel will be former Sen. Jim DeMint, R-S.C., who is incoming president of the Heritage Foundation; Ben Jealous, president and CEO of the NAACP; Bob Woodward of The Washington Post; and NBC’s Andrea Mitchell.

Sen. Dianne Feinstein, D-Calif., and New York Police Commissioner Ray Kelly discuss an assault weapon ban on CBS’ “Face the Nation” at 10:30 a.m. on WKMG-Channel 6. Rep. Marsha Blackburn, R-Tenn., and Newt Gingrich discuss the future of the Republican Party. A political panel features David Sanger of The New York Times, David Ignatius of The Washington Post, Democratic strategist Stephanie Cutter and Republican strategist Kevin Madden.

Col. Martha McSally and Lt. Gen. Jerry Boykin talk to “Fox News Sunday” at 10 a.m. on WOFL-Channel 35. They discuss the Pentagon’s decision to let women serve in combat. Sen. Dick Durbin, D-Ill., and Sen. Bob Corker, R-Tenn., are other guests. The panel will be Juan Williams, Brit Hume, Jeff Zeleny of The New York Times and Kimberley Strassel of The Wall Street Journal.

Gen. Stanley McChrystal (Ret.), former U.S. Commander in Afghanistan, is a guest on CNN’s “State of the Union” at 9 a.m. and noon. Other guests are Sen. Feinstein and Gen. Michael Hayden (Ret.), former CIA director. A panel on the GOP features Mayor Mia Love, R-Saratoga Springs, Utah; Gov. Bob McDonnell, R-Va.; Gov. Scott Walker, R-Wis.; and Carlos Gutierrez, former secretary of commerce and former adviser to Mitt Romney.

Mark Boal, producer and writer of “Zero Dark Thirty,” will be a guest on ABC’s “This Week” at 11 a.m. on WFTV-Channel 9. Other guests are Mark Bowden, author of “Black Hawk Down”; Sen. John McCain, R-Ariz.; and Sen. Robert Menendez, D-N.J. The panel will be George Will; Democratic strategist Donna Brazile; Chris Hughes, owner and publisher of The New Republic; Steve Inskeep, host of NPR’s “Morning Edition”; and Rep. David Schweikert, R-Ariz.

King Abdullah II of Jordan and Dmitry Medvedev, prime minister of Russia, are guests on “Fareed Zakaria GPS” at 10 a.m. and 1 p.m. on CNN.

http://blogs.orlandosentinel.com/entertainment_tv_tvblog/2013/01/nancy-pelosi-on-real-time-with-bill-maher-paul-ryan-on-meet-the-press.html
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TV Review
'House of Cards' (Netflix)
By Tim Goodman, The Hollywood Reporter - Jan. 26, 2013

If Netflix wanted to come out of the gates strong as a content provider worthy of any cable channel, it picked a stellar choice in House of Cards, a remake of the Brit series starring a riveting Kevin Spacey and directed by David Fincher (at least the first two episodes, which were shown to critics before Netflix releases all 13 for streaming Feb. 1).

The streaming and DVD-by-mail service got its original-content feet wet a year ago with Lillyhammer, starring Steven Van Zandt as a New York gangster who goes into witness protection in Norway, but it is really making its mark with a slate of five new series rolling out in 2013. It’s a concerted, calculated slate that says, “We’ve arrived -- and what are you going to do about it?”

As a threat to higher-end niche cable channels that traffic in acclaimed dramas, Netflix’s likeliest competitors are FX, AMC and Starz. But there’s a ton of money on the screen in House of Cards -- produced by Media Rights Capital and launched with a reported $100 million investment for two 13-episode seasons -- and it looks as slick and stylish as any HBO or Showtime offering.

Co-created and written by Beau Willimon (The Ides of March), House of Cards is the right lead-off show because it has “player” written all over it. Luscious cinematography that shows off Washington, D.C. -- a central force in this political series -- never gets old to look at, especially the opening montage.

The series focuses on House Majority Whip Francis Underwood (Spacey), a wheeler-dealer who was essential in getting new president Garrett Walker (Michael Gill) elected, plus -- and more important to his plans for power -- landing Linda Vasquez (Sakina Jaffrey) as chief of staff, who will give Francis access and the policy changes he wants as he pushes for Secretary of State.

But there’s only one problem with that: After the inauguration, the hard-nosed Linda gives Francis the bad news that he’s not getting the Cabinet job. (The president isn’t even present at the break-it-to-him meeting). Instead, the administration wants Francis just where he is, because he’d be more valuable there helping shepherd new legislation through in the first 100 days.

Knocked on his heels and bitterly disappointed, Francis appears spun-around crushed. But his equally conniving and power-hungry wife, Claire (Robin Wright), won’t allow that. “My husband doesn’t apologize, even to me,” she tells him. Their main connection seems to be they crave power and influence more than any other couple and feed off it in an almost sexual way. The setback also has hurt Claire’s efforts at restructuring her nonprofit to be more high profile. It doesn’t take long for Francis to recover from the blow. And what he’s got on his mind isn’t all that hard to figure out: revenge.

But he’s not just interested in making the new administration regret screwing him so cold-bloodedly; he wants to prove where the real power rests if such a person has the wherewithal and spiteful backbone to move all obstacles to get it done. And Francis does. He is gleefully manipulative, causing havoc and headaches in the first two episodes to establish he’s not to be messed with, while sublimely coming off in person -- and to the faces of those he’s sinking -- as if he’s on their side. It’s master-manipulation, and Spacey, using a wonderfully seductive and disdainful Southern accent, truly nails every line.

Now, the big conceit in House of Cards is that Spacey breaks the fourth wall and talks directly to the camera, one of the most dicey stylistic choices any series can make. But it’s not unique; Don Cheadle, yet another fantastic and magnetic actor, pulls it off with aplomb on Showtime’s House of Lies. That’s clearly the key: You need someone absolutely convincing to make that trick work. In House of Cards, Spacey gives a master class in how this is done, his dialogue dripping either with disdain or the calm dismissiveness of a man who already has set damaging events in motion and knows before anyone else the fallout that’s about to occur. Spacey also has a well-honed half eye-roll/half dead-eye stare that’s glorious to behold as he breaks that wall and engages the viewer.

“You know what I like about people?” he asks, staring into the camera. “They stack so well.” He’s been reading newspaper coverage of the carnage he’s created. When he eviscerates a candidate's nomination, Francis looks at the camera and says the man will go home and realize how he was sliced and diced him and conclude, “My God, all I ever amounted to was chitlins.”

It’s not all one-liners and sneering contempt, however. Spacey’s character is allowed some inoffensive exposition and often tells the viewer what someone is thinking and will do. When they do it, Francis will look into the camera, his faced drained of any emotion, letting you know it’s almost too easy for him. This is why you keep a guy like him on your side.

Meanwhile, Wright’s performance is a unique blend of ice-queen power player and loyal, equal-partner wife who keeps Francis directed. Fincher’s shots of them enduring people they don’t like in Washington -- where the elected officials, lobbyists and other players see each other in church, at the symphony, at fundraisers, etc. -- solidifies a viewer’s belief that the duo combine to be the same type of predator.

For Francis to pull the strings that crush the best-laid plans of the administration that screwed him, he needs a capable team and web of other players. His chief of staff Doug Stamper (Michael Kelly) is a peacetime consigliere with an equally blunt approach. He and Francis also needed a loyal soldier who will follow orders and find one in Congressman Peter Russo (Corey Stoll), whose proclivity for women, booze and drugs eventually lands him in the majority whip’s doghouse and thus creates the makings of an indebted, loyal soldier.

What might be less effective -- especially for those of us in the world of journalism -- is the construct of Zoe Barnes (Kate Mara), who works at the fictional Washington Herald and is doing meaningless features and feeling wasted, though it’s clear she’s still quite young and green. She’s painted as more of a social-media/blogger type than a seasoned journalist, though she has a voracious desire to cover politics (and has some hard-earned understanding of the players to help her). “This is the Washington Herald, not TMZ,” an editor tells her. She replies, “Do you know how many people watch TMZ?” But senior political writer Janine Skorsky (Constance Zimmer) wants no part of her.

Zoe wants to shake things up in a new-media kind of way: getting a blog, going to parties, doing more unsourced stuff for online, which leads to derision from those at the paper. But a trip to the symphony and a picture of Francis glancing at her ass while she walks in -- just a captured fleeting moment -- leads Zoe to make a bold proposition to Francis: Be my source; give me anything, and I’ll run with it. She wants access, and he realizes press manipulation will keep his Machiavellian plans in motion.

Now, Mara is excellent in this role, but it’s a bit of a stretch to think that someone so savvy as Francis would make a link with someone so unproven. She hooks him by saying she’s better than what she’s being asked to do, which is precisely what’s happening to (and fueling) Francis, so that’s when he agrees.

Once you get over the dubious alliance, the dramatic function of being able to manipulate things through the press becomes intriguing and essential. One night when they secretly meet in the shadows at a museum, Francis makes Zoe prove her smarts by trying to figure out what he’s about to give her and how it will play out. It’s a wonderful scene, allowing viewers to realize Zoe really is more talented than her entry-level job. Francis then gets up, looks at painting of two rowers and mentions that it’s his favorite. As he departs, Francis says: “We’re in the same boat now, Zoe. Be careful not to tip it over. I can only save one of us from drowning.”

Willimon clearly is having fun with the writing on this series, and he’s deftly able to make it shift characters and moods with ease. That means Francis isn’t always devouring people. In one scene, we find that he -- like so many others -- owes a great deal to lobbyists. And when he’s shown being threatened to make promises come true, he says to the camera: “It’s degrading, I know. But everybody gets in line when the tit’s that big.”

In other scenes, Willimon makes sure he fleshes out the characters so they’re not one-dimensional. If they’re doing awful things, he finds subtle ways to make that reverberate. For example, Claire makes her loyal office manager fire 18 people and then walks in and fires the office manager; later, Claire is ordering from a Starbucks-like chain, and the older woman running the cash register -- clearly someone who recently was downsized and needs work -- is mystified by the process and lost. As Claire endures the screw-up while a younger barista fixes things, Fincher keeps the camera tight on Wright’s face to find the cracks in her character’s emotions.

Even better is when Willimon does the unexpected. Outside on the street, a crazy man -- half naked, dirty and with wild, stringy hair -- is grunting and roaring like an animal. Francis walks over, bends down and looks him in the eyes, which eventually calms the man. Says Francis: “Nobody can hear you. Nobody cares. Nothing will come of this.” Let the nice men take care of you, he says; part paternal offering, part command. It’s a great scene.

House of Cards needn’t worry about ratings, of course. That’s not how Netflix -- or HBO or Showtime -- operates. So the series is in no peril, already having been picked up for a second season. It’s a heavyweight new contender in the drama category, just as Netflix now is as a content provider.

HOUSE OF CARDS
The Bottom Line: Kevin Spacey shines in this heavyweight new contender in the drama category that makes Netflix a major player as a content provider.
Premieres: Feb. 1 (Netflix)


http://www.hollywoodreporter.com/review/house-cards-netflix-tv-review-415589
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TV Review
‘The Makeover’ is ‘Pygmalion’ on the Charles
By Matthew Gilbert, Boston Globe - Jan. 24, 2013

We’re about to undergo another moment, fellow Bostonians, so brace yourselves wicked good. Next week, a family-portrait series called “Southie Rules” will premiere on A&E and unleash another set of Boston stereotypes upon an unsuspecting country. And next month’s “Boston’s Finest” on TNT, produced by Donnie Wahlberg, will do the same as it follows members of the Boston Police Depaaaahment.

But first, on Sunday, ABC will present a Hallmark Hall of Fame movie that was filmed here, and that is about here, more or less. Called “The Makeover,” it’s a riff on “Pygmalion” and “My Fair Lady,” with an uptight professor named Hannah Higgins (Julia Stiles) remaking a working-class neighborhood guy named Elliot Doolittle (David Walton), who says to her, “Must be nice to be too smaaaht.” That’s right: Not only will you be hit over the head with forced Boston accents and the word “wicked,” you will be hit over the head with George Bernard Shaw. Higgins’s friend and co-worker is, of course, Colleen Pickering (Camryn Manheim), after Henry Higgins’s friend Colonel Pickering.

What can I say? The squawking sounds mostly strained and ridiculous to me, as much of it did in “The Fighter,” “The Departed,” and any Kennedy movie ever. “The Makeover,” Sunday at 9 on Channel 5, is a romantic comedy, and so, happily, at times director John Gray manages to use the broad accents and the stereotypes solely for laughs. Early in the movie, we see Bostonians going gaga for the TV weatherman who’s running against Higgins; and indeed, we Bostonians do have a thing for our weathermen, do we not? And instead of seeing Higgins coach Doolittle with “The Rain in Spain,” we get Doolittle trying to recite, “I parked the car in the far part of the yard” while using his “r” sounds. You can see Walton clearly having a better time of it when he’s able to be over-the-top. The more dramatic and romantic elements in “The Makeover” leave him, and us, empty-handed.

Higgins is making over Doolittle, and we know that Doolittle is also changing Higgins; he learns not to wear a baseball cap, while she learns to stop correcting everyone’s grammar and relax. Why is she trying to change him in the first place? After running unsuccessfully for Congress, Higgins learns from voter surveys that she is too professorial to win in Boston. So, during a bet with Pickering, she decides to turn Doolittle into a viable political candidate for the next election — a special election, as it happens, after the serving congressman is electrocuted (long story).

For Massachusetts viewers, now special-election experts, the political scenarios in the movie are lousy with possible Brown-Warren interpretations. None of them quite parse through the entire story line, though. Higgins is the Elizabeth Warren figure, who is said to be too academic and stiff; but of course Higgins loses in the movie, and Warren won despite that characterization by some. And Doolittle comes off as the Scott Brown stand-in, a local boy with a good haircut. But Doolittle is a gentle soul who would rather drop out of the race than attack his competitor, even after he’s handed damaging information about the guy. Brown was not reluctant when it came to going after Warren. So this is not “Game Change: Massachusetts,” although that’s a movie I’d like to see.

Doolittle’s mother is a Southie spectacular who gets into all kinds of scraps with the law. She is played by Frances Fisher with an accent that veers absurdly from Dorchester to Brooklyn, N.Y. Melissa Leo, she is not. Higgins pays her to keep a low profile during the election. Doolittle’s sister, Allie, meanwhile, is a financially struggling salt-of-the-earth single mother with three children who is wicked protective of her brother. She is played by Georgia Lyman, who is from Boston, with the best accent in the movie, not that being from the area automatically makes you good at the local accents.

Lyman also gets to scream out the movie’s best line, when she tells the kid across the street not to vandalize or steal Higgins’s car. “Hey, John,” she yells to a sullen boy, “JOHN. This lady’s a friend of mine, K? So her car’s gonna be fine, K? If not, I’m gonna hunt you down and make earrings out of your kidneys. K?”

'HALLMARK HALL OF FAME: THE MAKEOVER
Network: ABC, Channel 5
Show date: Sunday, Jan. 27
Show time: 9-11 p.m.


http://www.bostonglobe.com/arts/2013/01/24/the-makeover-pygmalion-charles/424UPqVaVoZfJii6oR6tzM/story.html
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Quote:
Originally Posted by dad1153 View Post

TV Review
‘Monster Squid: The Giant Is Real’
A creature from the deep fuels researchers' fascinating quest on Discovery
By David Hinckley, New York Daily News - Jan. 25, 2013

MONSTER SQUID: THE GIANT IS REAL
Network / Air Date: Sunday at 8 p.m., Discovery.
Rating: ★★★ (out of five)


http://www.nydailynews.com/entertainment/tv-movies/tv-review-monster-squid-giant-real-article-1.1246983

I'll be checking this out. Late night or tomorrow of course. Showtime's comedy/drama comes first tongue.gif
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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jan. 27, 2013

60 MINUTES
CBS, 7:00 p.m. ET

Here’s another reminder why this series remains the best prime-time newsmagazine on television. Steve Kroft, in tonight’s installment, conducts a joint interview with re-elected President Barack Obama and outgoing Secretary of State Hillary Clinton. The interview was recorded Friday, and it’ll be worth tuning in to see if Clinton will be as outgoing, so to speak, as she was in her recent appearance before the Senate.

19TH ANNUAL SCREEN ACTORS GUILD AWARDS
TBS, 8:00 p.m. ET

This awards show is not as meaningless as the Golden Globes, but usually isn’t as entertaining, either. But, like the Globes, awards are handed out in both film and TV, so that makes it doubly involving. And the SAG Awards, focused as they are on acting, have some categories the others don’t, such as Best Ensemble, a sort of Dream Team honor. Among the movies competing in that category this year: Lincoln. Simulcast on TNT.

THE GOOD WIFE
CBS, 9:00 p.m. ET

The previous two episodes of this series have been excellent, and have made great use of Michael C. Fox in his recurring role as a rival attorney who usually gets the best of Julianna Margulies’ Alicia. Last episode, he didn’t – at least not in a battle over deposing a witness. But when it was over, he dropped a big bombshell, that he now was holding the note on the debt incurred by Alicia’s law firm. Let the panic begin.

MASTERPIECE CLASSIC: "DOWNTON ABBEY"
PBS, 9:00 p.m. ET

In Episode 4 of Season 3, Sybil (Jessica Brown Findlay), who’s usually overlooked in the primary plots, comes front and center, whether she’s absent or present. When she’s not around, her family is worried about her. And when she is – her family is worried about her. Check local listings.

GIRLS
HBO, 9:00 p.m. ET

Once again, Lena Dunham, as both writer and star of this series, dares to go someplace different and not always flattering or politically correct. In tonight’s new episode, trying to please an editor who encourages her to write edgy stories based on her own experiences as a young New Yorker, seeks out cocaine to describe her first experiment with that drug – but it ends up being anything but a controlled experience.


http://www.tvworthwatching.com/
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SATURDAY'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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TV Notes
Comeback, a Scene at a Time
By Joe Rhodes, The New York Times - Jan. 27, 2013

SUN VALLEY, CALIF. — She walked back and forth across a parking lot behind a converted-warehouse soundstage here on the industrial fringes of the San Fernando Valley. Brett Butler was smoking a cigar, her hair in curlers, practicing her lines — of which there were not many — over and over again.

“You may not know this because you’re” an idiot, she said, in character as she paced. “But women who base their self-esteem on their looks are usually pretty insecure.”

She only had one scene that late-December day. That’s all she ever has. Ms. Butler, whose role on the sitcom “Grace Under Fire” made her one of America’s biggest television stars in the 1990s, is not a cast regular on “Anger Management,” the Charlie Sheen comedy that just began its second season on FX, but is a recurring guest star. She plays a bartender, a character who appears only occasionally, usually to deliver a few plot-advancing lines, most of them laced with punch lines written by somebody else.

“Actually I’m writing a book,” her character would say in that day’s scene, when asked why someone so smart was working at a bar. “It’s called ‘Conversations With Idiots.’ ”

She delivered the line with just enough lilt to make it seem more amused than venomous, a put-down softened by her Georgia accent and dimpled but world-weary smile. It’s the same barbed-magnolia delivery that got her noticed as a stand-up comic in the early ’90s and became her trademark on “Grace Under Fire,” in which she played a sharp-tongued, blue-collar, single mom.

That show, which ran on ABC from 1993 to 1998, was a Top 10 hit its first two seasons. Ms. Butler was nominated twice for Golden Globes and seemed destined to be the next Roseanne Barr. Then it all came crashing down, an ugly cascade of behind-the-scenes fights for creative control that spilled into on-set tantrums and threats. Crockery was thrown. Obscenities were shouted, sometimes with audiences in attendance. Ms. Butler, a recovering alcoholic who had been sober seven years when she got the show, descended into a Vicodin addiction that, by her own admission, made her unreliable, irrational and, at the end, unable to function.

The show, by then slipping badly in the ratings, was canceled five weeks into production in 1998. Ms. Butler, her reputation and career ruined, retreated to her home in the Hollywood Hills and proceeded to fall apart. She was, at the time, 40 years old. She had survived a traumatic childhood, an abusive first marriage to an alcoholic husband and years of working as a waitress in run-down bars. But she couldn’t survive success.

“I lost my husband, my job, the respect of people I admire greatly, everything,” she said during a lengthy interview at a coffee shop two nights before that week’s “Anger Management” filming. “But I still didn’t sober up for another six months. The closeness that I came to dying was really remarkable.”

And now, 15 years later, Ms. Butler is slowly making her return to television. “She’s awesome,” said Mr. Sheen, who shares a manager, Mark Burg, with Ms. Butler. “Seriously, I think she’s forgotten what a comedic genius she is.” Sobriety, finally achieved after some attempts at rehab and what Ms. Butler regards as divine intervention, wasn’t the hardest part, she says now. It was coming to terms with the damage she’d caused, to others certainly, but mostly to herself.

“I don’t recommend journeys of forced enlightenment,” she said. “I spent a long time trying to dig my way out of being unforgiven for how bad I’d been in Hollywood. I would meet people I’d never met before, and they’d say, ‘I hear you’re a monster.’ ”

She spent the first few years after “Grace Under Fire” in what she calls a self-imposed exile, rarely leaving her house, rejecting the few offers of work that came her way.

“I thought maybe by taking myself away from everything I was good at, or punishing myself, it would correct something in the universe,” she said. “But that didn’t help anybody.”

She gained 100 pounds over the course of a few years and found herself more and more isolated. No longer drinking, smoking or taking drugs, it slowly began to dawn on her that she had another underlying problem.

“I remember telling a therapist once, ‘I’m not depressed; I’m famous,’ ” she said. “I’m the kid that runs around saying the emperor’s naked. And now they’re all staring at me.”

But depression, she finally realized, was at the root of much of her self-destruction. It ran in her family (“We drive at high speeds,” she said, “next to the wall”) and explained a lot of her behavior. “I tend to think of alcoholism and depression as an illness in someone else and a moral failing in myself,” she said. “I didn’t realize until about two years into it how depressed I was. I took a quiz online and basically, when I finished it, it said, ‘Go to the hospital.’ For a smart woman, I was really slow to pick up on it.”

She took antidepressants for a few years, and in 2007, convinced she needed to get away from Hollywood, Ms. Butler moved back to Georgia, buying a farm 70 miles northwest of Atlanta, starting what she hoped would be a less stressful life. It didn’t work out that way.

Because of circumstances she’d rather not discuss, other than to say “It was totally my fault,” Ms. Butler lost what was left of her once-substantial resources last year. The farm went into foreclosure, and she was, for a time, homeless. She was broke.

But not, she says, despondent. Life on the farm had improved her physical and mental health. She lost most of the weight she had gained and also felt herself getting in touch with what she calls a psychic gift, the ability to connect with departed souls. And yes, she knows how that sounds.

“No one rolls their eyes at this more than I do at this,” she said. “But it’s real. It’s what they call claircognizance, where I can be around people and information just sort of appears. I’m not sure what to do with it, but there’s going to be something. My dream would be to do some sort of traveling tent revival, but funny. And with no hellfire.”

In the meantime, though, there were bills to be paid, which is why last March, traveling with four dogs and three cats, Ms. Butler, now 55, returned to Los Angeles. She jumped at the chance when Mr. Sheen asked her to be on “Anger Management,” in spite of the very small role.

Mr. Sheen doesn’t deny that he saw something of himself in Ms. Butler’s story, a sitcom star self-destructing in public and being fired from her own show, which was created and originally produced by Chuck Lorre. As it happens, Mr. Lorre was the creator and producer of “Two and a Half Men,” which starred Mr. Sheen until his own meltdown in 2011.

“Somebody we have in common tried to extinguish that flame,” Mr. Sheen said of Ms. Butler. (Mr. Lorre declined to comment for this article.) “And it didn’t work. That kind of talent never goes away, you know? I always tell her: ‘Don’t forget who you are. Don’t forget how good you are.’ ”

So every few weeks Ms. Butler shows up and does a scene behind the bar, grateful for the chance to start over in Hollywood and hoping it might lead to something more.

“I’m just trying to show up and be a good worker,” she said, asked if was difficult to be on a set of someone else’s sitcom, to know she’s no longer the star. “It does feel a little bit like being on probation, but that’s not necessarily a bad thing. I’m grateful just for the shot.”

http://www.nytimes.com/2013/01/27/arts/television/brett-butler-on-charlie-sheens-anger-management.html?ref=television&_r=0
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TV Notes
The Adventures of Pete & Pete Twentieth Anniversary Show Draws a Crowd of Once-Rumpled Kids
By Brian Janosch, Vulture.com (New York Magazine) - Jan. 27, 2013

Some time around 1993 at a Nickelodeon research center in New Jersey, Chris Viscardi and Will McRobb were forced to sit behind a sheet of mirrored glass and observe a dozen kids watch their new half-hour TV show The Adventures of Pete & Pete. Eleven of those kids contorted their faces in such a way that the creators knew what they were thinking — "This is stupid." But one kid, with rumpled clothes and unkempt hair and food stains on his shirt, was smiling.

When the show concluded and the pint-sized subjects were asked for their thoughts, the eleven pointed out that no brothers would ever share the same first name and that kids obviously can't get tattoos. Viscardi and McRobb urged the group’s rumpled outlier to proclaim his love, save their show, for the love of God say anything. He didn't.

Fortunately for rumpled outliers everywhere, the show received the go-ahead anyway and ran from 1993-1996. Twenty years later, at the Marine Memorial Theater as part of the 12th annual SF Sketchfest, a live comedy festival spanning seventeen nights, 600 of those kids — all grown up now and clothes a little tighter — got to band together and revel in each other’s strangeness. Viscardi and McRobb served as MCs Friday night, telling the story of the Nickelodeon research center before welcoming Michael C. Maronna (Big Pete), Danny Tamberelli (Little Pete), Toby Huss (Artie, “the strongest man … in the wooorld"), Rick Gomez (Endless Mike), and Mark Mulcahy, who provided much of the music that defined the show including the title song "Hey Sandy." Together they read scenes, shared stories, and more or less acted like their 1993 weirdo selves again.

If you closed your eyes for most the readings, all of them among the show's most memorable scenes, it was easy to feel like you were 10 years old again sitting in front of a big, boxy television that Mom and Dad had just outfitted with a cable box. From Maronna's guiding narration of a squid murder — his voice and cadence hasn’t changed a bit — to Huss's uncanny delivery of every line (“I don’t believe you can catch me for I ... am super freaky!”), it was clear the actors were legitimately having fun retrieving these characters from the attic, like a box of old G.I. Joes. It became increasingly clear as the night wore on that Pete & Pete was not the product of typical writers and actors deciding to make a slightly strange kids show; it was a bunch of slightly strange writers and actors making a kids show that felt normal to them. How else could it have seemed so natural for a stage full of grown men performing for adults tell one another to suck chowder or bite my scab? At one point, the crowd of hundreds loudly cheered a video montage of a man in red pajamas fighting a bowling ball.

Little Pete’s catchphrases and Artie montages may have been expected, but that’s not to say that super fans weren’t treated to some insider information to contribute to their next nostalgic SNICK conversation. Everyone learned that Huss's Artie character came to life in an Iowa City bedroom with a girl named Mary Jo Berry, where Huss, perhaps a little stir crazy in the frigid winter, hiked his long underwear up to his armpits and declared himself “the strongest man ... in the wooorld!” in order to get a laugh. We learned that Tamberelli got his first kiss in the back of a car while a production assistant drove the eighth-grade make-out artists back to their waiting parents. And we learned that "blowhole" used as a derisive term will get the attention of the Nickelodeon standards and practices team (but playing dumb and pointing out that it's just a muscular flap on a sea mammal will get it by them).

The most unexpected surprise of the night, however, came in the form of special guests Colin Hanks, Doug Benson, James Urbaniak, and Paget Brewster, all of whom read bit parts as memorable supporting characters. Hanks shouted woefully as heartbroken bus driver Stu Benedict, and Benson stuck a flashlight out his right sleeve to mimic hook-handed, conditioned-air-obsessed shop teacher Mr. Slurm, while Brewster read as Ms. Fingerwood, a math teacher obsessed with the number two. But the performance of the night may have belonged to Urbaniak channeling his best Adam West to read the role of Principal Schwinger, declaring triumphantly that “Johnny Earwax opened my ears to the sound of life!”

When I first took my seat earlier in the evening, a man in the row behind me half-joked to his wife, “It’s a room full of people just like you.” More than an hour later, as the audience and cast members sang a song together from the episode “Hard Day’s Pete,” it was clear that that man in Row F was more right than he could have imagined.

http://www.vulture.com/2013/01/san-francisco-sketchfest-adventures-of-pete-and-pete-20th-anniversary-show.html
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TV Notes
Hines Ward to appear as zombie on 'Walking Dead'
By Maria Sciullo, Pittsburgh Post-Gazette - Jan. 27, 2013

Well, Hines Ward has looked better ...

The former Steelers receiver is busy in his life's second act: working as a sports commentator for NBC, cooking up wings on the Food Network and training for the Ironman world championships.

Somehow, he found time to play dead.

"It was an amazing experience," said Mr. Ward, who will be a zombie extra when AMC's hit series "The Walking Dead" returns to haunt Sunday nights Feb. 10. [CLICK LINK BELOW TO SEE PICTURE]

"Just being in makeup preparing me for my role was cool. I actually scared myself when I looked in the mirror for the first time after."

AMC scored big in ratings when it ran the first half of Season 3. It was the top basic cable program in terms of total viewers, as well as adults ages 18-49.

IronE Singleton, the actor who played the character T-Dog -- played being the operative word, as poor T-Dog went out in a blaze of glory a few months back, saving one of his friends in a zombie attack -- attended the University of Georgia on academic and football scholarships.

"A former Georgia teammate of mine is one of the stars of the show, and my agent thought it would be something fun and different for me to do," Mr. Ward said.

A good part of the show is shot on location in rural Georgia. Yet there is another strong Pittsburgh connection to "The Walking Dead" -- executive producer Greg Nicotero.

The special effects makeup guru who co-founded Hollywood's KNB Efx Group is a North Hills native and graduate of Sewickley Academy. He is a co-executive producer and has directed several episodes.

"The show is so popular, and I thought it would be cool, so I agreed," Mr. Ward said. "And I had a blast doing it."

http://www.post-gazette.com/stories/ae/tv-radio/hines-ward-to-appear-as-zombie-on-walking-dead-672163/
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TV Notes
SAG Awards TV: ‘Downton Abbey’, ‘Modern Family’ Top Field Of Fresh Drama
Returning Comedy Winners, Alec Baldwin Completes ’30 Rock’ Sweep
By Nellie Andreeva, Deadline.com - Jan. 27, 2013

On TV, comedies repeat much better than dramas. SAG-AFTRA applied that rule to its awards this year, picking first-run winners on the drama side and repeat ones in comedy.

The biggest surprise of the night came in the final TV category, best ensemble in a drama series, which went to British import Downton Abbey. Only five actors of the show’s 22-member cast were on hand to accept the award, and all appeared stunned. “Shut the french windows!,” co-star Phyllis Logan exclaimed Downton Abbey-style for one of the most original winner reactions ever. This marked the first SAG Award for Downton Abbey in its first year competing as a drama series against such heavyweights as Homeland, Boardwalk Empire, Mad Men and Breaking Bad.

In the individual drama acting categories the SAG Awards corrected some head-scratching previous snubs. Bryan Cranston won his first SAG Award for his acclaimed performance on AMC’s Breaking Bad. And Homeland’s Claire Danes landed her first SAG Award for her role after the Showtime drama was inexplicably shut out from the nominations last year. Cranston ended his SAG Award drought in a big way, winning twice tonight, also sharing in Argo‘s best feature ensemble win.

SAG-AFTRA members love Alec Baldwin. “Oh my god, this is ridiculous,” were Baldwin’s first words when taking the stage to accept his seventh consecutive SAG Award, completing his streak of winning the award for every season of his departing NBC comedy 30 Rock. The series, whose finale airs on Thursday, received a nice farewell tonight, with statuettes for both of its stars, Baldwin and series creator Tina Fey. Fey used her acceptance speech to plead for viewers to watch the 30 Rock series finale, which airs against CBS’ juggernaut The Big Bang Theory. “Just tape The Big Bang Theory for once for crying out laud,” Fey said. Still smarting over Girls creator/star Lena Dunham’s apparent age dig at the Golden Globes, Fey said about fellow nominee and long-time friend Amy Poehler, “I’ve known you since you were pregnant with Lena Dunham.” Two weeks ago at the Golden Globes, Dunham raised eyebrows when she thanked fellow best comedy actresses, including Fey and Poehler, who “got me through middle school,” triggering a quick snarky response from Globes hosts Fey and Poehler.

More than any other voting group, SAG tends to stick with favorites. For the past six years, only three actors have won for best actor/actress in a comedy series: Baldwin, Fey (4 times) and Betty White (2). The SAG Awards also went with a repeat winner in the best comedy series ensemble category, which went to ABC’s Modern Family for a third consecutive year.

On the longform side, the SAG Awards rubber-stamped Julianne Moore and Kevin Costner’s awards season sweep as the duo added Actor statuettes to the Emmys and Golden Globes they won for their starring roles in HBO’s Game Change and History’s Hatfields & McCoys, respectively.

In one of best matched SAG Award presenter-recipient pairs, Moore, who won for her portrayal of Vice Presidential candidate Sarah Palin, introduced the best actress in a comedy series category, which was won by the other actress known for her spot-on impersonation of Palin, Fey. “You betcha,” Moore exclaimed when opening the envelope, using Palin’s most famous catch phrase, before reading off Fey’s name.

http://www.deadline.com/2013/01/screen-actors-guild-awards-2013-tv-winners-analysis-sag-awards/
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TV Review
‘Built,’ male eye candy with hammers
Style re-do show focuses the cameras on the workmen's bodies
By Tom Conroy, Media Life Magazine

Men and women have different tastes, but their favorite things have counterparts. For example, sometimes people refer to the wedding-announcements section of the Sunday newspaper as “the women’s sports pages.”

A team of desperate reality-TV producers must have been trying to come up with the female equivalent of lingerie football when they thought up Style’s new show “Built,” in which five young male models in tight sleeveless T-shirts and jeans do high-end home renovations.

With lingerie football, both lingerie fans and football fans can find far better examples of their interests elsewhere, but “Built” will probably satisfy people who enjoy watching renovation shows and those who enjoy looking at men’s pecs and abs, if only because those people already have low expectations.

In the series premiere, airing next Monday, Jan. 28, at 9 p.m., the five men, who work for a company called Hott and Handy, construct a suite of dressing rooms for a woman named Adina who lives in a fanciful mansion in northern New Jersey. A striking blonde, Adina acts and dresses as if at any moment she might be called to fill in on “The Real Housewives of New Jersey.”

Since her husband, Jay, a lawyer, is hogging all of the closet space in their master suite, Adina’s wardrobe space is up a narrow spiral staircase in the attic. It houses, among other things, $300,000 worth of handbags. Adina says she likes to talk to them.

As is usually the case in this type of show, “high end” doesn’t mean “high class.” Adina, who favors pink, gold and Swarovski crystals, says that when she thinks of antiques, “I think of George Washington and Roosevelt. I think of really ugly things. I wanna vom.”

Kim, the designer with whom the models work, gets Adina to settle on hot pink walls, mirrors along one of the sloping ceilings and a bank-vault-style door for a special closet that will showcase her handbags.

When the men arrive at her house in their studwear, Adina is all over them, lifting up their shirts to check out their taut bellies. When she compliments the “brains” of the group, Mike, on his “six-pack,” he says, “Eight — but who’s counting?”

“I get to touch them and play with them and watch them work and get all sweaty,” she says.

During a break, Mike starts doing push-ups in a living area downstairs. Adina tries a couple herself, accusing him of checking out her cleavage. When Gage, the “artistic” member of the team joins them, Adina sits on his back while he does a few reps.

Jay, who has the brusque manner of a “Real Housewives of New Jersey” husband, occasionally drops by to remind the models that he has surveillance cameras all over the house, which he can check on his iPhone.

It’s hard not to envy Adina’s unlimited budget and available space, but even the most charitable viewers are likely to question her taste. Shows like this are often said to be “aspirational,” but they’re usually the opposite. Is there a word for that? Demotional?

The building process is uneventful. Kim struggles to get Adina to buy antiqued mirrors. She insists they look dirty.

One of the models, Donny, is the designated stupid one. He fills the role so eagerly that people will assume the opposite is true. He’s inordinately proud of helping Kim persuade Adina to go with the antiqued mirrors.

Most of the commercial breaks are preceded with clips suggesting that Adina is going to see the finished product and hate it. Maybe once in the history of home-renovation shows an episode has ended that way, but the odds of that are so small that you have to wonder why producers keep trying to fool us.

Although the construction scenes have plenty of male eye candy, we get a concentrated serving in a brief segment in which Mike models underwear at the offices of a well-known designer. The tight shots will be a bit much for most viewers.

But they can’t say they weren’t warned. The creators of “Built” weren’t being aspirational when they came up with this concept. Like Adina’s new dressing rooms, it’s frivolous, gaudy and probably not built to last.

http://www.medialifemagazine.com/tv-reviews/built-male-eye-candy-with-hammers/
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TV Notes
On The Air Tonight
MONDAY 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 - The Bachelor (120 min.)
10:01PM - Castle
(R - Oct. 15)
* * * *
11:35PM - Jimmy Kimmel Live! (Jude Law; J.B. Smoove; Gavin DeGraw performs)
12:35AM - Nightline

CBS:
8PM - How I Met Your Mother
(R - Oct. 24)
8:30PM - The Big Bang Theory
(R - Nov. 17, 2011)
9PM - 2 Broke Girls
(R - Nov. 19)
9:30PM - Mike & Molly
(R - Mar. 19)
10PM - Hawaii Five-0
(R Oct. 1)
* * * *
11:35PM - Late Show with David Letterman (Melissa McCarthy; David Morrissey; David Byrne & St. Vincent performs)
12:37AM - The Late Late Show with Craig Ferguson (Comic Kathy Griffin; Michael Weatherly)

NBC:
8PM - The Biggest Loser (120 min.)
10:01PM - Deception
* * * *
11:35PM - The Tonight Show with Jay Leno (Catherine Zeta-Jones; TV personality Donny Deutsch; Lady Antebellum performs)
12:37AM - Late Night with Jimmy Fallon (Journalist Brian Williams; actor Max Greenfield; Eric Burdon performs
1:37AM - Last Call with Carson Daly (Sports journalist Rich Eisen; Divine Fits perform)

FOX:
8PM - Bones
9PM - The Following

PBS:
(check your local listing for starting time/programming)
8PM - Antiques Roadshow: Boston
9PM - Market Warriors
(R - Oct. 29)
10PM - Independent Lens: The Revisionaries

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

THE CW:
8PM - The Carrie Diaries
9PM - 90210

TELEMUNDO:
8PM - Pasión Prohibida
9PM - La Patrona
10PM - El Rostro de la Venganza

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Bob Costas)
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Critic's Notes
Why J.J. Abrams Gives ‘Star Wars: Episode VII’ A New Hope
By Tod Goldberg, Wall Street Journal's 'Speak Easy' Blog - Jan. 26, 2013

Let’s dispense with the important information directly, since establishing geek credibility is extremely important when discussing anything having remotely to do with “Star Wars”: I still have all of my toys, including my Landspeeder, which is currently perched on my bookshelf next to a copy of “The Rhetoric of Fiction”, and my full-sized Boba Fett doll which, as I’m sure you’ll all recall, had an eye you could stare through, as well as a very soft cape. On a rather frigid night recently, I almost ordered a sleeping bag that is shaped like a Tauntaun, but was ultimately dissuaded from doing so when I grew concerned that I would sleep in it to the exclusion of my own bed, which is where my wife sleeps, too. I think Greedo deserved to die. I think among the most beautiful things I’ve seen in my life is Princess Leia in that gold bikini number. I have a better relationship with Lando Calrissian than with my father. I have seen the first three films approximately 500 times each. I have seen the second three films more times than I’m comfortable admitting, even though I dislike them thoroughly. And when Disney land recently opened their new “Star Wars” ride…well…I was planning on going to the park that day, anyway. Really.

So, basically, I am your average 42 year old male constantly grasping for the dying shreds of his childhood.

With that established, I view the news that J.J. Abrams will be helming the Disney-revival of the “Star Wars” franchise with both joy and fear. Last night, Disney officially announced that Abrams (co-creator of “Lost,” and the director of the rebooted “Star Trek” movies) will direct “Star Wars: Episode VII,” the first of a new series of films in the relaunched movie franchise (Michael Arndt will write the screenplay).

The truth of the matter is that no one ever slept out in front of their local movie theater waiting for the release of the latest “Star Wars” film because they couldn’t wait to hear George Lucas’ dialogue or to witness his deft direction – in both arenas, Lucas always had a clunky hand, which wasn’t important to me when I was a kid, but which the latter three films highlighted in often cringe-inducing fashion (three words: Jar Jar Binks). The longer Lucas stayed in the universe he created, the less emotionally sophisticated his movies became, to the point that they began to feel like little more than infomercials for the video games and cartoons that came next, both of which contained complexity and depth far beyond the embarrassment of Anakin Skywalker’s wailing cries.

Abrams proved with his reboot of “Star Trek” that there was a place for complex drama amidst the CGI, that the fantastical world of space is still just a place, and in that place are humans (or humanoid like creatures, anyway)with problems that can’t be solved with just a laser. If anything else, “Star Wars” has always been about people fighting against oppression of one kind or another, and what’s more complex than that? I don’t suspect Abrams is going to go against everything else he’s ever done and move “Star Wars” into overtly dark terrain (unless he’s been hiding a Christopher Nolan-like desire to make every toy I’ve ever owned into a mess of psycho-sexual pain and suffering), but I do have a slight fear of the winking earnestness of “Super 8,” though that may be more about Steven Spielberg than Abrams himself. Nevertheless, the “Star Wars” franchise has always been a little goofy, which lines up well with Abrams ability to find rakish humor in the midst of otherwise otherworldly events – he did this exceptionally on “Lost” but it’s one of many things missing from his latest show, the Abercrombie & Fitch -in-dystopia “Revolution” – and I can only hope that Abrams, unlike Lucas, creates characters more for their ability to enhance a scene dramatically than to fill the coffers of Hasbro .

“Star Wars” is nearly a public trust at this point; it belongs more to the people than it does to any director or screenwriter and in that way the film Abrams makes will be in the same unenviable position Lucas’ final three films found themselves: compared not to the original movies, but to our romantic memory of sitting in the dark and seeing the words “A long time ago in a galaxy far, far away…” for the first time, the rousing score, the lumbering hull of a spaceship, the feeling that you were seeing something that you’d never seen before. Replicating that sense of astonishment is impossible, of course, so hopefully Abrams will just make a damn good movie. One thing I know for certain: I’ll be there.

Tod Goldberg is the author of a number of books including “Living Dead Girl.”

http://blogs.wsj.com/speakeasy/2013/01/26/why-j-j-abrams-gives-star-wars-episode-vii-a-new-hope/
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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jan. 28, 2013

BOUND
IFC, 8:00 p.m.

I admit it: This is one of my “spider-web movies.” And there are plenty of reasons to be ensnared, repeatedly, by this 1995 modern film noir – but the two biggest, for me, are Jennifer Tilly and Gina Gershon as scheming lovers, who hatch a plan to separate a low-level mob guy (Joe Pantoliano, who’s terrific, too) from his money, and more.

THE MARK OF ZORRO
TCM, 8:00 p.m. ET

Douglas Fairbanks starred in the original version of this movie, a swashbuckling silent film released in 1920. This movie, however, was made two decades later, with Tyrone Power playing the vigilante swordsman who leaves his mark with the tip of his sword, righting wrongs and defending the little guy in early California. Power to the people!

THE FOLLOWING
Fox, 9:00 p.m. ET

In tonight’s episode two, Debra Parker, played by Annie Parisse from Person of Interest, joins the FBI manhunt as the new person in charge. This is the episode where the Edgar Allen Poe masks come out, and where the violence gets even more unsettlingly portrayed. Kevin Bacon stars.

DALLAS
TNT, 9:00 p.m. ET
SEASON PREMIERE:
The Season 2 opener, like a handful of other episodes about to be televised, features scenes with Larry Hagman, as J.R. Ewing, filmed before Hagman’s recent death. It’s Hagman’s last work, and that’s more than enough reason to tune in and appreciate it.

INDEPENDENT LENS: "THE REVISIONARIES"
PBS, 10:00 p.m. ET

It’s no secret that the textbooks from Texas, for decades, have been the tail wagging the national dog – but this 2011 documentary by director Scott Thurman hones in on some aggressive new moves by the Texas State Board of Education to question evolution and push creationism in their state’s science books. However, since this documentary was made, the Texas State legislature shifted control to local school districts, which makes the problem more complicated but less monolithic. In any event, The Revisionaries is just what you’d want a documentary on textbooks to be: educational. Check local listings.


http://www.tvworthwatching.com/

* * * *

Critic's Notes
Larry Hagman's Death Sets Up a New J.R. Story on 'Dallas'
By Ed Bark, TVWorthWatching.com - Jan. 28, 2013

Commanding center stage seldom if ever presented a problem for Larry Hagman in his signature role of J.R. Ewing.

But now every sighting is something of an event as TNT's Dallas fires up a 15-episode sophomore year with back-to back episodes on Monday, Jan. 28 (9 to 11 p.m. ET).

Hagman completed filming on about one-third of Dallas' second season before dying on Nov. 23 at age 81. The show's executive producer, Cynthia Cidre, recently told TV Guide that a new murder mystery, with echoes from the "Who Shot J.R.?" phenomenon of more than three decades ago, will be hatched in tandem with J.R.'s funeral on the March 11 episode.

"We all felt having J.R. die of natural causes would have been completely inappropriate not only to the character, but also to Larry Hagman," Cidre said. It also would deprive the show of a very promotable storyline. Which of course is the bottom line.

For the immediate future, though, Hagman's J.R. is still standing, wheeling and dealing. He's relatively little seen in Monday's first episode but is very much in play during the second hour. Fans can first glimpse him with his feet up on nefarious son John Ross's desk after he sneaks into his office over the protests of a secretary.

"Don't worry about it," John Ross (Josh Henderson) says. "You know how slippery snakes can be."

To which J.R. retorts, "Now that ain't a way to talk about your father."

Dallas ended last season with the revelation that Christopher Ewing's (Jesse Metcalfe) now estranged wife, Rebecca Sutter (Julie Gonzalo), in reality is Cliff Barnes' scheming daughter, Pamela Rebecca Barnes. Those wheels keep turning in the early going, with Pamela angling for a 30 percent share of Christopher's fledgling methane company while John Ross plots to screw one and all with help from his daddy.

Other storylines include Sue Ellen's (Linda Gray) continuing run for governor in the face of bribery charges and Ann Ewing's (Brenda Strong) pursuit of her long-lost daughter while husband Bobby (Patrick Duffy) frets and occasionally flares up.

John Ross also deeply resents the rekindled romance/alliance between Christopher and Elena Ramos (Jordana Brewster). This leads to J.R.'s signature, symbolic scene early in Episode 2. John Ross seethes at the sight of Christopher and Elena smooching on Southfork Ranch property before the old man sidles up behind him and casts a long, figurative shadow.

"Makes you wanna punch somethin', doesn't it?" he says.

"I don't feel anything," John Ross lies before J.R. lays out his essential rules for prospering at the expense of others: "It's OK if you do," he counsels. "You're young. Use it. Love. Hate. Jealously. Mix 'em up and they make a mean martini. And when we take over Ewing Energies, you'll slake your thirst — with a twist."

He then pats his son on the shoulder and smiles that diabolical smile before the opening credits and ever-resonant theme song kick in. It's as perfect a scene as Dallas has ever had. And all because of Hagman's rock-steady grip on the role of his lifetime.

The first season of TNT's Dallas reboot was far better than many had anticipated. These early stages of Season 2 likewise keep the faith.

The Ewings are still prime-time's serial drama royalty, not from the standpoint of prestigious awards but from the sheerly entertaining, oft-dopey melodrama of it all. Threats, vows, sex, scandals, chicanery, etc. "Bidness" as usual, even if it's on a much smaller ratings scale than those Big Tex CBS glory years.

Hagman's J.R. Ewing still roams this land, chortling, winking, hood-winking and occasionally actually doing a semblance of something nice. Watch for a tender, very well-played scene between J.R. and Sue Ellen at the close of Monday's Episode 2. It comes shortly after he's typically complimented John Ross by telling him, "Good Boy. Son, you've got the devil in you."

J.R.'s better angel just never could get the upper hand. Dallas soon will face a bumpy afterlife without him, even while milking his death for a few more twists and turns. If only it were all a dream. Been there, done that.

GRADE: B

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=4180
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TV Notes
'The Americans' on FX bets viewers will warm up to Cold War
The new 1980s-set FX series stars Keri Russell and Matthew Rhys as KGB agents posing as a married couple in the U.S., but here it's the Soviets wearing the white hats.
By Steve Zeitchik, Los Angeles Times - Jan. 26, 2013

NEW YORK — On a bone-rattlingly cold winter morning, Keri Russell and Matthew Rhys are sitting in a Lincoln sedan the size of a small barge, adjusting Walkman-era fashion accouterments and whispering about the Reagan assassination attempt.

Russell and Rhys are not oddball nostalgists. The actors are shooting a scene for FX's "The Americans," a Cold War thriller set in the early 1980s that premieres Wednesday.

Created by former CIA officer Joseph Weisberg, the show stars Elizabeth (Russell) and Phillip (Rhys) as KGB agents who are sent to live in America, start a family and blend in as the all-American couple next door. The couple's task is dangerous: They must feed information to the motherland while covering their tracks so that their neighbors — including a suspicious FBI agent — don't catch wind of their Kremlin ties.

"Some of the younger people on set have been asking me 'What was it like back then?'" Rhys said to a reporter between takes. "And I'm thinking 'Back then?' This wasn't the 1800s. Lincoln wasn't president. We had indoor plumbing."

You can forgive the millennials their naivete. Thirty years since the first Reagan administration and "The Day After"-like fears that went with it, the Cold War seems very far away, well removed from today's concerns of Chinese economic dominance and Islamic radicalism.

On television, though, such fears don't ever disappear; they simply get rehabilitated for prime time. And so "The Americans" seeks to revisit them, playfully piecing together bits of Cold War entertainment ("The Manchurian Candidate," "Mission: Impossible," "No Way Out") in its own hybrid mosaic.

Where many TV and film offerings from that era blurred the line between the Cold War superpowers to up the thriller stakes, "The Americans" turns the Soviets into the good guys to explore questions of identity and values.

"This is a show where the enemies are the heroes, with all the questions that come with that," Weisberg said. "You couldn't do that right after the Cold War. But you can do it 30 years later."

Ready to serve

Weisberg didn't set out to become a go-to Hollywood writer on covert affairs. Coming of age in Chicago during the late 1970s and early 1980s, he wanted to be in on the action. He bought the Reagan talk of evil empires and strategic defensive initiatives and, shortly after college, enlisted in the CIA.

Weisberg spent four years with the organization in the early 1990s, largely at its headquarters in Langley, Va., then left to write novels and freelance scripts inspired by his experiences. Now less of an ideologue, he mixes CIA recollections with the conventions of espionage thrillers.

The idea for "The Americans" came about because he thought it was time to address the personal costs of a career in espionage.

"One of the things that struck me about the CIA is that parents don't tell the truth about what they're doing to their kids," he said. "It's such a painful and difficult thing, but it's the kind of thing that isn't portrayed very much on screen."

Though this has been a season of entertaining spies — "Zero Dark Thirty" and "Skyfall" have been ringing up movie-theater cash registers, while Showtime's thriller "Homeland" has been on a serious awards streak — "The Americans" largely rode a separate track. The show was developed as a pilot before "Homeland" was even on the air and was green-lighted to series status a year ago when the Showtime program was still just a niche hit.

FX, for its part, was looking for a series that would follow in the steps of "24," which aired for years on its sister network, and also wanted a show that would fit the mold of current character-driven genre pieces such as "Sons of Anarchy" and "Justified."

"The thing that interested me was the notion of a show about family and marriage and fidelity but in a very heightened context," said FX chief John Landgraf. He and others felt "The Americans" was similar to "The Shield" (the dark hit that put the network on the map a decade ago), only with geopolitics instead of police-department corruption.

Perhaps the most difficult choice in crafting "The Americans," creators say, was casting. Elizabeth's character was more unadorned ideologically than Phillip and less attracted to an American way of life — "an icy automaton," in the words of David Madden, president of lead production company Fox Television Studios — which required a friendly face to take the edge off. Enter Russell, who as the likable, soft-spoken star of the series "Felicity" and the 2007 movie "Waitress" would give viewers license to sympathize with a character bent on undermining the U.S.

Weisberg and co-creator Joel Fields also wanted the cast to capture the sense of paranoia that existed at that time, on both the Soviet and American sides. The period setting, they thought, could help.

"The thing that makes it so exciting to me is there was no technology," Russell said. "If you wanted to find out what someone was up to, you had to drive by several times and leave a message under a rock."

In creating that period detail, creators have avoided more garish touches; those expecting a "Mad Men"-style piece drenched in vintage flourishes might be disappointed. The fashions are of the '80s but without the exaggerated colors or hairstyles of many shows set in the decade.

Back to 1981

As the director yells "Action," Russell and Rhys get out of the Lincoln parked on a Queens street, then walk briskly up to the suburban home of a nurse they'd learned treated President Ronald Reagan after he was wounded in an assassination attempt. Their characters are trawling for information about the president's condition — it wasn't clear at that moment, to them or the world, that the Kremlin wasn't behind it.

Assuming the guise of vice presidential aides, they coax the nurse to admit that Reagan is going to be OK. They then turn on their heels — she in 1980s-style pumps, he in a very Cold War-era trenchcoat — and head back to the car.

But for all the appeal of '80s nostalgia, will today's young viewers relate to a show that essentially examines the fears of their parents?

Weisberg said he sees echoes of the show in today's headlines. Modern viewers, he said, can watch "The Americans" and understand how we got here.

"This is a show about the Cold War, which we did win, and what does it mean to be smack in the middle of another war that came right out of it," he said.

But principals also say that the issues the show raises aren't necessarily political.

"I see a lot of the spy issues as a metaphor for a marriage," Russell, married with two children, said of her character "It sounds funny, but there are similarities to spy work, because you can never really know what your spouse is doing or who they're talking to."

Madden calls it "a show about trust. At a very personal level it's about how two people can trust each other, and at a very global level it's about whether two countries can trust each other."

Those behind the show, which shoots in New York for Washington, D.C., say they hope that by drilling down into the two main characters and their relationship issues, it can avoid the obvious pitfall.

"The stakes of the show are not whether America will survive the Cold War," Landgraf said. "We know it will. It's whether these two people will survive the Cold War."

http://www.latimes.com/entertainment/tv/showtracker/la-et-st-the-americans-fx-keri-russell-matthew-rhys-20130127,0,7642109,full.story
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TV Sports
Big game: Super Bowl by the numbers
Facts, figures and a few surprises about the Feb. 3 game
By Toni Fitzgerald, Media Life Magazine

Here’s a look at the Super Bowl, which airs Feb. 3 on CBS, by the numbers:

$1.85 billion –spent on Super Bowl advertising from 2003 to 2012

130 –brands that advertised in the big game in that span

$683.6 million – spent by the top five advertisers in that span

$248.6 million – spent by the top advertiser, Anheuser-Busch, in that span

$3.8 million – average price of a 30-second Super Bowl ad this year, a record

$2.7 million – average price of a 30-second Super Bowl ad five years ago

$42,000 – average price of a 30-second Super Bowl ad 30 years ago

0.07 – percentage of people who tune away during a Super Bowl ad

4 – percentage of people who tune away during a regular TV show

47 – average minutes of commercial time during the three most recent Super Bowls

104 –ads during the 2010 Super Bowl, the last time CBS aired the game

15 – ads longer than 60 seconds during the 2012 game, a record

18 – percentage of first-time advertisers in the 2008 game

30 – percentage of first-time advertisers in the 2012 game

5 – advertisers who spent at least 10 percent of their full-year advertising budgets on the Super Bowl last year

7 – auto manufacturers that advertised in last year’s game

3 – auto manufacturers that advertised in the 2009 game

$262.5 million – spending on 2012 Super Bowl advertising

$153 million – spending on 2012 World Series (four games)

$183.8 million – spending on 2012 men’s NCAA basketball Final Four games

111.3 million – viewers who watched last year’s game, the most for any program in TV history

3 – straight years the Super Bowl has set an all-time viewership record

114 million – viewers who watched Madonna perform in last year’s halftime show, the biggest audience ever

50 percent – how much Go Daddy’s market share has risen since it began advertising in the big game

614 –people who have signed a petition to the White House asking that the day after the Super Bowl be made a national holiday

100,000 –signatures organizers were hoping for

10 – blocks in New York City that will be closed off for a fan fest before next year’s Super Bowl, which is being played in New Jersey

1,200 – average number of calories consumed during the game per person

17 – average number of people at a Super Bowl game party

3 – percent of people who watch the game at a restaurant or bar

4 – number of NFL teams that have never played in a Super Bowl

1.25 million – chicken wings eaten during last year’s game

325 million – gallons of beer consumed during the game

27 billion – calories’ worth of chips consumed during the game

29 – times the team that scores first has won the game

16 – times the team that scores first has lost the game

73 – percentage of times the odds-on favorite has won the game


Note: Statistics courtesy of Nielsen, Kantar Media, Treehugger.com, U.S. National Chicken Council and Calorie Control Council.

http://www.medialifemagazine.com/television/sports-tv/big-game-super-bowl-by-the-numbers/
post #84898 of 87883
Quote:
Originally Posted by dad1153 View Post

TV Sports
Big game: Super Bowl by the numbers
Facts, figures and a few surprises about the Feb. 3 game
By Toni Fitzgerald, Media Life Magazine

Here’s a look at the Super Bowl, which airs Feb. 3 on CBS, by the numbers:

$1.85 billion –spent on Super Bowl advertising from 2003 to 2012

 

 

And just where the heck did all that money go? Who got rich?

post #84899 of 87883
Quote:
Originally Posted by dad1153 View Post

TV Sports
Big game: Super Bowl by the numbers
Facts, figures and a few surprises about the Feb. 3 game
By Toni Fitzgerald, Media Life Magazine

29 – times the team that scores first has won the game

16 – times the team that scores first has lost the game

Something is amiss since we never had a tie....

This is SBXLVII so that means XLVI have been played yet those #s of XXIX & XVI only total XLV ?

Me thinx the #s are really XXX & XVI.
post #84900 of 87883
Quote:
Originally Posted by drummerguy View Post

And just where the heck did all that money go? Who got rich?

The top 5%. biggrin.gif
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