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Hot Off The Press: The Latest TV News and Information - Page 2832

post #84931 of 93678
Quote:
Originally Posted by DrDon View Post

Maybe it's just me, but a lot of the features this guy's bedazzled with have been available on other phones - most notably Windows Phones - for over a year, now. Consolidated inbox, guess-what-I'm-typing, voice texting, speech recognition and a version of Siri. Welcome to 2011, Blackberry. Don't get me wrong, I'll still GET one. But, dude, put down you iProduct and branch out a little.
Lol. Same thing I was thinking. And on Android, even if one of those features isn't built in, you're guaranteed to find an app that does it. Scratch that. You're guaranteed to find several apps that do it, and at least a few of them would do it well.
post #84932 of 93678
TLC today stands for Trash Loves Company. mad.gif
post #84933 of 93678
FRIDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #84934 of 93678
Nielsen Overnights
‘Undercover Boss’ Posts Season’s Best, ‘Shark Tank’ Up, ‘NAACP Awards’ Hits 4-Year High
By Dominic Patten, Deadline.com - Feb. 2, 2013

Coming back after last Friday’s repeats, the end of the week brought strong numbers for CBS last night. Undercover Boss (1.9/6) was even with its last original two weeks ago but the reality show had its biggest viewership of the season with a new high of 9.86 million. CSI:NY (1.5/5) was down a tenth from its last new show on January 18. At 10 PM, Blue Bloods (1.5/5) was even with its last original of January 18 but the family police drama was the most watched show of the night with an audience of 11.40 million. That’s a dip from the 11.5 million who watched two weeks ago, the largest viewership of the season for the show. CBS won the night in total viewership and among Adults 18-49 but ABC was just a nudge behind in the key demo.

ABC’s comedies Last Man Standing (1.3/5) and Malibu Country (1.1/4) started the network’s Friday. The former was even with its last new show two weeks ago while the latter dipped a tenth. Back with a new show after three weeks at 9 PM, Shark Tank (1.9/6) was up four tenths from its last airing. The would-be entrepreneur series also took its time slot among the 18-49s. With 5.08 million watching, 20/20 (1.5/5) was up from the 1.4 it got last week among Adults 18-49.

On NBC, The 44th NAACP Image Awards (0.8/3) sprinkled some of of the awards season on TV last night with top prizes given out to Scandal’s Kerry Washington, Flight’s Denzel Washington and Jamie Foxx. The live 8-10 PM show was even with last year’s broadcast in the ratings but actually rose 3% in viewership to 3.047 million – that’s a four-year high. Of course, being live the ratings for the NAACP Awards are approximate and it is likely that there could be a significant shift in the final numbers. Following the NAACP Awards, a new Dateline (1.1/3) was down a tenth from last week’s show. After a lack of competition last Friday, Fox’s Kitchen Nightmare (1.0/3) took a hit last night. The second week in the slot, the Gordon Ramsay hosted reality show was deflated 29% from its January 25th show. That was followed by an encore of The Following (0.7/2), which was down 36% from the repeat of the new series that ran last week. On The CW, and now facing a night of originals, Nikita (0.4/1) slipped from the 0.5/2 of last week’s season high.

http://www.deadline.com/2013/02/tv-ratings-undercover-boss-shark-tank-up-naacp-awards-hits-high-blue-bloods/
post #84935 of 93678
TV Notes
Which On-the-Bubble TV Series Will Get Renewed, and Which Will Get Axed?
By Josef Adalian, Vulture.com (New York Magazine)

The sudden yanking off the TV schedule of Don't Trust the B---- in Apartment 23 and Ben and Kate had one tiny upside: At least now fans won't have to suffer anymore wondering what will become of their shows. Such is not the case with a couple dozen other new and veteran series, so-called "bubble" shows whose ratings haven’t warranted cancellation but aren't so undeniably amazing that renewal is inevitable. As has become tradition 'round these parts, Vulture has assembled a list of the shows in various stages of limbo. After crunching the Nielsen numbers and studying the scheduling grids, we ran each of the shows though our world-famous Bubble Meter (now with retina display!) and arrived at a final score representing their odds of survival. A perfect score of ten means the show's return is as much of a slam dunk as NBC's breakout hit Revolution; the lowest rating of one represents a death as certain as that of the aforementioned Ben and Kate.

Before you click through the ratings, some explanatory notes: We don't include the shows that have already been renewed or, as has been more common this season, already canceled. (Hence no Animal Practice or Mob Doctor.) Long-running series whose ratings and contractual status are such that renewal is a formality are also absent (ergo, no Modern Family, New Girl, or NCIS). Ditto first-year series whose pickups are also slam dunks, though there are just two of those this season: NBC's Revolution* and CBS's Elementary. We also skip the CW (it has its own unique set of ratings standards); reality shows (they're never really dead); and Fox's animated shows, since they're produced far in advance and can end up on the air long after production has halted. (That said, industry insiders believe The Cleveland Show is not long for this world.) Finally, we're not including perennial bubble show Rules of Engagement or NBC sophomore Smash because neither series has had its season premiere yet.

Whitney (1 out of 10)
You can't say NBC didn't try: 38 episodes of the show will have been produced by the end of this season. Maybe sister network E! will invest in new half-hours, but the show's over on the Peacock.

Guys With Kids (1 out of 10)
It's three Pampers short of being anywhere near a second-season order.

The Good Wife (7 out of 10)
Sunday's episode was the lowest-rated hour of the show ever (at least among adults under 50). And yet: Good Wife still pulls in around 10 million viewers each week, and even more when DVR playback is recorded. While we could see CBS cutting back the number of episodes it orders, perhaps to thirteen or fifteen, we can't imagine the Eye letting the show go just yet.

Happy Endings (5 out of 10)
It may not seem like it, what with all the random Sunday airings and episodes airing out of order, but ABC brass claim to adore those crazy Chicago kids. Of course, they also said that about Cougar Town once upon a time. When it has been airing on Tuesdays after the completely incompatible Dancing With the Stars, ratings have been awful (though DVR viewing pushes the show's ratings up about 40 percent). We're going to think positively and predict this show will be back — if not on ABC, then somewhere.

The Mindy Project (4 out of 10)
If Mindy had aired during the 2011–12 season, when New Girl was on fire in the ratings, there's a good chance it would have a much bigger audience than it does now. But it's not, and what's worse, Mindy is only holding on to between 70 and 75 percent of even the diminished New Girl audience. It's struggling. The good news for the show is that its ratings seem to have stabilized and Fox chief Kevin Reilly seems determined to make Mindy work. For the show to snag a second season, however, it will have to show at least a little ratings momentum between now and May.

Up All Night (2 out of 10)
The show that at least a few of us enjoyed last season and this fall is no more, with creator Emily Spivey departing in the wake of a complete creative revamp. Perhaps the addition of more cameras and a laugh track will somehow convince viewers to check the show out again. We're not betting on it.

Chicago Fire (5 out of 10)
It's been doing about as well as Nashville this season and seems to be a good fit with SVU. Given NBC's other issues, Fire is doing fine. If it holds up through the spring, another season is more likely than not.

The Following (6 out of 10)
Only two episodes have aired, but so far, death becomes Kevin Bacon. Last week's premiere scored the best ratings of any new drama this season (among adults under 50), while Monday's second hour actually went up a tick. (It had the advantage of airing opposite repeats on CBS.) Fox really, really wants this show to work, so unless the ratings completely collapse in the next few weeks, The Following will be back next winter.

The Neighbors (4 out of 10)
No, we can't believe it's still on the air, either. But, having failed to make Work It work, ABC chief Paul Lee seems determined to prove that he's not crazy for recycling ABC sitcom plots from the eighties (Bosom Buddies, Mork & Mindy). So despite meh ratings, it wouldn't be surprising to see this show back, perhaps as part of the network's retro Friday sitcom block.

Deception (1 out of 10)
Hopefully producers are planning to wrap up all the loose ends in the season finale, because based on the quickly plummeting numbers for the show, there won't be a second season.

Parks and Recreation (6 out of 10)
Even as The Office has seen its ratings fade the past two seasons, Parks has remained stable; it also jumps up 50 percent once DVR viewing gets tallied. And with newcomers such as 1600 Penn and Animal Practice failing, Peacock executives have to realize that finding that broad comedy hit they crave won't be easy. Also: 30 Rock and The Office are done after this year. NBC would be foolish to try to completely start from scratch next season. (Since it hasn't yet debuted this season, we're not ranking the chances of Community returning. But if it fails to pop-pop next month, the odds of a Parks pickup will only get better.)

The New Normal (4 out of 10)
Its ratings are worse than lead-in Go On, but here's one thing it has going for it: a loyal core audience. TNN jumps by more than 40 percent when DVR replay gets figured in, a much greater bump than Go On or many other comedies see. Perhaps it moves to 9 p.m. after The Voice as NBC seeks to create a very young-skewing Tuesday next fall. Or NBC could also decide the show is never going to be a broad hit and cuts bait sooner rather than later. This one's a tough call.

Two and a Half Men (8 out of 10)
CBS executives have already publicly said they want the show back. The only reason we even put Men on this list is because there's still no signed deal, and it's always possible Ashton Kutcher will hold off for too much money. Nah: It'll be back.

Malibu Country (6 out of 10)
Terrible reviews didn't stop folks who watch Last Man Standing from staying tuned to watch Reba collect a paycheck. What's more, a surprisingly large number of folks actually set their DVRs to watch this show later. Very likely to be back, unless ABC really falls in love with its comedy development.

Law & Order: SVU (7 out of 10)
One day, there won't be a Law & Order series still in production. But no time soon: While its audience of just under 10 million viewers (including DVR replays) is much smaller than it used to be, Dick Wolf's murder-by-numbers drama is still outperforming newer Peacock drama attempts such as Deception. It also does well in syndication and internationally, making it a profit machine for NBC.

CSI (8 out of 10)
The original recipe is still pulling in more than 13 million viewers every week. It's not going anywhere.

CSI: NY (4 out of 10)
Ratings are decent, but the price tag is high. If CBS executives are really optimistic about their new drama development, there's a good shot that the youngest member of the CSI family will take the hit.

Go On (5 out of 10)
When it airs behind The Voice, Matthew Perry's sitcom does quite well. When it doesn't? Ratings this winter have fallen by more than 30 percent compared to this fall. Despite this clear sign of audience rejection, it's easy to see NBC giving the show another shot — either keeping it behind The Voice or possibly pairing it with its new Michael J. Fox comedy. (Two generations of Must-See TV, united!)

Nashville (6 out of 10)
Great cast, good buzz, and consistent (if not stellar) Nielsen numbers mean the Bluebird should be open on ABC for a second season.

Raising Hope (6 out of 10)
Compared to Fox's new comedies, Hope is doing pretty well, pulling in a 1.7 same-day rating in the network's target demo of adults under 50. The argument in favor of a renewal is that the show has a loyal audience, and Fox has proven with Ben and Kate that it can do much, much worse (ratings-wise) in the 8 p.m. hour. Tipping the scales toward cancelation is the likelihood that creator Greg Garcia will be working on a new show next fall (he has two pilots in development) and the possibility that Fox opts to cut back to one hour of comedy on Tuesdays, leaving no room for Hope. The former scenario seems more likely, which is why we think there's a better than 50-50 shot it'll be back.

Parenthood (6 out of 10)
It regularly won its time slot among adults under 50 this fall and gets a huge 60 percent bump from DVR replay. On numbers alone, a renewal is a no-brainer. The only possible stumbling block: Parenthood's massive cast of amazing actors doesn't come cheap. If NBC can make the financials work, we should get another batch of episodes.

1600 Penn (2 out of 10)
It's been losing viewers every week since its premiere, and NBC decided to pull this week's planned episode so as to not hurt the premiere of new drama Do No Harm. You don't need to be Nate Silver to realize a second term is not in the works.

Vegas (4 out of 10)
By most measures, the Eye's Sin City–set drama has crapped out: It loses more than 4 million viewers from its NCIS: Los Angeles lead-in, and among adults under 50, it finished behind Parenthood for most of January. And yet, it still draws over 11 million viewers each week. It's possible the Eye could relocate the show to Fridays and pair it with Blue Bloods. But, if CBS's drama development season goes well, Vegas could easily end up buried in a desert graveyard.

Last Man Standing (7 out of 10)
It's more than keeping the lights on in a difficult Friday time slot for ABC. The only way it's not back is if Tim Allen decides to ask for a giant raise.

http://www.vulture.com/2013/01/which-on-the-bubble-tv-series-will-get-renewed.html
post #84936 of 93678
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. 21)
8PM - America's Funniest Home Videos
(R - Oct. 28)
9PM - Shark Tank
(R - May 4)
10PM - Modern Family
(R - Oct. 10)
10:30PM - Modern Family
(R - Oct. 10)

CBS:
6:25PM - Super Bowl XLVII: Baltimore Ravens vs. San Francisco 49ers (LIVE)
10PM - Elementary (Special Time)

NBC:
8PM - Betty White's Off Their Rockers
(R - Apr. 4)
8:30PM - Betty White's Off Their Rockers
(R - Apr. 11)
8PM - Betty White's Off Their Rockers
(R - Apr. 18)
8:30PM - Betty White's Off Their Rockers
(R - Apr. 25)
9PM - Live From New York: The First 5 Years of Saturday Night Live (128 min.)
(R - Feb. 20, 2005)

FOX:
7PM - Bob's Burgers
(R - Nov. 18)
7:30PM - The Cleveland Show
(R - Nov. 18)
8PM - The Simpsons
(R - Nov. 18)
8:30PM - Bob's Burgers
(R - Nov. 11)
9PM - Family Guy
(R - Sep. 30)
9:30PM - America's Dad
(R - Nov. 18)

PBS:
(check your local listing for starting time/programming)
8PM - Masterpiece Classic: Downton Abbey
(R - Jan. 27)
9PM - Masterpiece Classic: Downton Abbey
10PM - Masterpiece Classic: Downton Abbey
(R - Feb. 3)

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

TELEMUNDO:
7PM - Movie: El Embustero (1983)
9PM - Movie: El Tahur (1980)
post #84937 of 93678
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Feb. 3, 2013

PUPPY BOWL IX
Animal Planeet, 3:00 p.m. ET

Presented all afternoon and evening in two-hour blocks, this annual Animal Planet distraction is up to its ninth annual telecast now, presenting cute puppies running around an ultra-tiny “football field” while playing with toys and each other, enjoying water and treats, or even taking naps. The kitties come out at halftime (no word on whether their meows are lip-synced) – and there are other animals, too.

SUPER BOWL XLVII
CBS, 6:25 p.m. ET

The Baltimore Ravens and San Francisco 49ers take to the field in New Orleans, fighting for the Vince Lombardi trophy and bragging rights as the triumphant team of the 2012-13 pro football season. On each sideline, as coach, stands a Harbaugh: Jim for the 49ers, John for the Ravens. CBS is bound to make the most of this high-profile sibling rivalry, but there’s a lot going on when the teams aren’t competing, as well. For one, there are all those commercials, which some viewers anticipate even more than the game. Then there’s the halftime show, which this year presents Beyoncé, who promises that her performance, on this program, will be entirely live, without any attendant lip-sync controversy.

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

In Episode 5 of Season 3, the residents of the Abbey, as well as the workers downstairs, are still shaken from what happened in last week’s episode. (No spoilers here, this time – but what a strong hour it was!) Lady Cora (Elizabeth McGovern), particularly, is having a rough time, and it shows, whether she’s with others or alone. Check local listings.

ELEMENTARY
CBS, 10:00 p.m. ET

The idea of calling in an FBI profiler to help solve the case of a vicious murderer is nothing new – but doing it on a period show such as Elementary, where the police already have Sherlock Holmes at their disposal, might seem like overkill – and not on the part of the murderer. But in this case, this episode is getting the coveted spot after the Super Bowl, so CBS wanted to pull out all the stops – including featuring Kari Matchett as a particularly fetching FBI expert, working alongside Holmes (Jonny Lee Miller) and Watson (Lucy Liu).

THE CRAIG FERGUSON SUPER BOWL SPECIAL
CBS, 11:35 p.m. ET

Elementary isn’t the only CBS show getting a post-Super Bowl bump tonight. Another is The Late Late Show with Craig Ferguson, which gets a special Sunday-night showing, and (for it) an earlier time slot, with this on-location special. Ferguson and his skeleton robot sidekick, Geoff Peterson, head to New Orleans, where Craig interacts with tourists and locals on Bourbon Street, dances with the San Francisco 49ers cheerleaders, jokes with Neil Patrick Harris, and barely catches a football thrown by New Orleans Saints QB Drew Brees… and more.


http://www.tvworthwatching.com/
post #84938 of 93678
TV Sports
It takes sweat and a lot of practice to broadcast the Super Bowl
Wanting to be ready for any situation, CBS honchos have studied game film, brought in high school players to mimic the Ravens and 49ers, and even rehearsed the coin toss.
By Joe Flint, Los Angeles Times - Feb. 2, 2013

NEW ORLEANS — Lance Barrow doesn't leave anything to chance.

Striding out onto the field of a dimly lighted, virtually empty Superdome just days before Super Bowl XLVII kicks off, the husky Texas native explains why CBS needs five times as many cameras as it would for a regular-season game.

"I just want to make sure we have everything covered," says Barrow, who as CBS' lead football producer will be quarterbacking the Sunday broadcast for the 100 million people watching in living rooms and bars across the country as the Baltimore Ravens take on the San Francisco 49ers.

Barrow will have at least 20 of the network's 62 cameras positioned on the field, with dozens more in the stands — including a couple parked in the highest reaches of the 72,003-seat arena.

He'll watch all those cameras from inside a trailer nearly 20 yards long stuffed with $30-million worth of video equipment that's parked in back of the Superdome. His Sunday will be spent in his captain's chair staring intensely at a wall of 167 monitors that will show him and his production team every angle of every play.

"It's the biggest event and biggest production in all of television," said Sean McManus, the chairman of CBS Sports. "The amount of coverage and the complexity of coverage far exceeds anything we've ever done."

CBS pays the NFL an average of $650 million per season for its package of games, and getting to broadcast a Super Bowl every three years (CBS rotates with Fox and NBC) is one huge payoff. Big ratings will just about guarantee that CBS will finish first in overall viewers and the coveted demographic of 18-to-49-year-olds for the 2012-13 television season.

Not only is CBS charging advertisers such as Budweiser and Pepsi about $4 million for a 30-second commercial, it is also using its coverage as a platform to promote the entire network. CBS took over Jackson Square in the French Quarter, from where it aired many of its shows in the days leading up to the big game, including its morning and evening news programs.

CBS won't say how much it costs to produce the Super Bowl. However, an executive at a rival network that is also in the Super Bowl rotation said it typically costs more than $1 million.

"It is a fraction of the overall revenue that is generated on this day," is all McManus would say.

For Barrow, this year's Super Bowl is a homecoming of sorts. The first Super Bowl he worked, in 1978 — as an assistant to broadcaster Pat Summerall — was also played in the Superdome. For that game, CBS used only 28 cameras.

Of course, there's more to producing the Super Bowl than lots of cameras, generators and trailers — although the network has plenty of those.

Barrow spent much of the last two weeks studying game film of the Ravens and 49ers to familiarize himself with how the teams play. Knowing how they run their offenses will help him anticipate the flow of the game. That is crucial when it comes to determining how many replays can be shown between plays or how much time he'll have for crowd shots.

Like a wedding, there are also a lot of rehearsals before the opening kickoff. Even the coin toss to determine who will receive the ball first got a dry run. The 49ers and Ravens team captains weren't required as the head official for the game practiced his toss and Barrow's crew worked the angles to get the best view of the coin twirling through the air and landing on the field.

"We rehearse everything," said Barrow.

A local high school team — the Rummel Raiders from Jefferson Parish — was brought into the pre-game action as stand-ins for the Ravens and 49ers. As a practice run for the CBS production crew, the Raiders executed plays the two teams will likely use.

"We will play like we are on the air for two hours," Barrow said. "You have all this equipment and all these cameras so you don't want to walk in here on Sunday morning having to make sure everything is working."

CBS has also been assembling hours of clips from previous games to show between plays when appropriate. For example, the network has the first pro quarterback sack by Ravens middle linebacker Ray Lewis (who is playing in his final game), which just happened to be against Jim Harbaugh, who is now head coach of the 49ers.

"What we want to do is make sure that we have everything that might come up in this game," Barrow said, even though he knows much of the hard work of his producers will be for naught. "If we get lucky we'll get 2% of it on the air."

On Super Bowl Sunday Barrow will head to the truck a good 61/2 hours before kickoff and start chugging iced tea. He estimates that he'll consume gallons of it during the game, but having dropped nearly 100 pounds over the last 18 months, he will not overindulge on the doughnuts and pizza that typically fill production trailers.

"I have to really watch myself because I can go crazy," acknowledged Barrow.

For all the focus Barrow and his crew will put on getting the game just right, he knows there's one thing even more important to his bosses at CBS than nailing the winning touchdown.

"You don't ever want to ever miss a commercial, especially in a game like the Super Bowl," he said. "That's our job."

http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-super-bowl-show-20130202,0,693173,full.story
post #84939 of 93678
Profile
The Fifth Quarter
By David Amsden, The New York Times - Feb. 3, 2013

On the Friday before the presidential inauguration, Michael Strahan paid impromptu homage to Michelle Obama’s new bangs during a taping of “Live With Kelly and Michael,” the morning show he co-hosts with Kelly Ripa. Seated next to Ms. Ripa at the desk they share five mornings a week, Mr. Strahan entertained the crowd in the show’s studio by donning a wig, batting his lashes and staring longingly into the camera — a ridiculous gesture for any man, let alone one who stands 6 feet 5 inches, weighs 240 pounds and helped the New York Giants win the Super Bowl in 2008 with his talent for driving quarterbacks into the turf.

Not that he has forgone his past life completely. Two days later, Mr. Strahan was on millions of television screens once again, this time in a dapper suit and wide plaid tie, offering as a co-host of “Fox NFL Sunday” a nuanced breakdown of the flaws in the Atlanta Falcons’ defense before the team took on the San Francisco 49ers in the playoffs.

“Man, I haven’t really had any free time in, basically, forever,” Mr. Strahan said on a blustery afternoon not long ago. He was exiting the minimalist lobby of his Upper West Side apartment building, hoping to squeeze a quick shopping excursion into a schedule no more forgiving than when he played football. He purchased the apartment, which is a few blocks from the “Live” studio at ABC’s headquarters, last September, after beating out dozens of entertainment veterans (Seth Meyers and Bryant Gumbel among them) to replace Regis Philbin, the show’s host for nearly a quarter of a century.

For Mr. Strahan, the job is the apex of what has been one of the more curious and unexpected professional journeys in recent memory. The combination of his two shows, each No. 1 in its time slot, means he is beamed into a larger, more demographically diverse subset of America than even Ryan Seacrest. And when either show is off the air? There’s Mr. Strahan in Subway’s national ads; there he is in the celebrity-spattered campaign for St. Jude’s Children’s Hospital; and there he is lending his support to same-sex marriage. This fall, he was christened by People magazine one of the Sexiest Men Alive; last month he was selected as a finalist for the Pro Football Hall of Fame (the announcement will be on Saturday) — conclusive evidence that Mr. Strahan has established himself as the rare media personality as recognizable to housewives as he is to their adolescent sons.

“He had a following before,” said Michael Gelman, the longtime producer of “Live.” But with this show, “you have three to four million people watching you five days a week. When you think about it, who else is seen by so many people for so long?”

Wearing a puffy black down jacket and crisp bluejeans, Mr. Strahan, 41, ducked into the back seat of a GMC Denali idling out front of his building; his driver, Greg, was at the wheel. “Thing is, I don’t really like free time,” Mr. Strahan said as the vehicle made its way into rush-hour traffic. “People are always warning me that I’m going to burn out” — a justifiable concern given that “Fox NFL Sunday” tapes in Los Angeles, giving Mr. Strahan a single jet-lagged day off each week and meaning his Monday tapings of “Live” are often done “in a delirium” straight off a red-eye.

“But the truth is,” he added, “the only thing that tires me out is hearing people tell me that. Opposite shows, opposite coasts, opposite demographics, opposite everything — I love it, man!”

Here Mr. Strahan flashed his disarming smile: the ear-to-ear half moon punctuated by a cavernous gap between his front teeth — a physical manifestation of the cuddly, confidently clownish personality that won over the core audience of “Live.”

“He was certainly an out-of-the-box choice,” Mr. Gelman said. “Frankly, I wasn’t that aware of him. But whatever we threw at him, he was game, which is rarer than you’d think.”

Ms. Ripa agreed with the assessment, pointing to a particular instance during Mr. Strahan’s auditioning phase that convinced her and others he was right for the job. “Channing Tatum was on the show promoting ‘Magic Mike,’ ” she recalled, referring to the hit film about male strippers. “And Michael says something like, ‘You’re not the only Magic Mike on this stage,’ and ripped off these tearaway pants and started dancing. It takes a special person to come up with that and pull it off.”

Even athletes fortunate enough to find work in television upon retirement typically have to accept radically diminished prospects. “All the sacrifice, all the pain, it can be like you were renting a life and the rental is up; I didn’t want that, no way,” said Mr. Strahan, who is undoubtedly earning more than the $5 million he made during his 15th and final season with the Giants, in 2007-8. Terry Bradshaw, the Hall of Fame quarterback and one of Mr. Strahan’s co-hosts on “Fox NFL Sunday,” joked last fall that Mr. Strahan was now pulling in $16 million, a not unreasonable estimate given Ms. Ripa’s reported $20 million salary. (Mr. Strahan declined to to divulge his salary. “I’m doing fine,” he said, “but that’s just Terry being a knucklehead. I wouldn’t tell him what I was making because he might ask me for a loan.”)

The evening’s shopping expedition turned out to be a good perch from which to witness the diversity of Mr. Strahan’s current fan base, as people ranging from construction workers to 20-something women made a point of saying hello. His first stop was T. Anthony, a luggage and leather goods shop on Park Avenue, where he hoped to find a backgammon board. “Nicole got me into playing,” he said, referring to Nicole Murphy, Mr. Strahan’s fiancée (and Eddie Murphy’s ex), with whom he shares his homes in New York and Bel Air.

The instant he stepped out of the car, he was spotted by a young man driving by, who leaned out his window and, with a pump of his fist, shouted: “Yo, Strahan! Love you, man!”

Moments later, after picking out a leather-encased backgammon set — and wincing at the $1,500 price tag as he handed over his American Express Black Card — he was back out on the street, where a woman who looked to be in her 40s passed him on the sidewalk.

“I watch you every morning,” she told him. “Love you and Kelly!”

Today, Mr. Strahan’s admirers also include a number of fellow athletes, who see his trajectory as evidence that sports broadcasting is not their only option upon retiring. “When you’re a 20-something-year-old athlete and you’re getting a six-figure check every week, you’re not thinking about next week,” he said. “You’re not thinking, ‘I’m going to be broke,’ or ‘I’m going to need another job.’ But I’ll tell you, there are a lot of broke athletes out there — I know plenty — and I didn’t want to end up as one.”

Mr. Strahan recently started a management company with two partners, focusing in part on helping athletes navigate their post-playing-career pursuits. Among his clients are Deion Sanders, the Hall of Fame cornerback, and Tony Gonzalez, the tight end for the Atlanta Falcons, who said in an interview that he was “95 percent sure” he played his final game two weeks ago, when his team lost to San Francisco in the playoff game that Mr. Strahan, of course, was discussing.

“I had other people representing me, but after seeing what Michael’s been able to do, I switched,” Mr. Gonzalez said. “I mean, replacing Regis? Are you kidding me? Michael’s become the model of what’s possible for a lot of us who aren’t going to be playing much longer. Tiki tried it, you know, but he couldn’t get it done.”

Mr. Gonzalez was referring to Tiki Barber, once the running back for the Giants and Mr. Strahan’s former teammate, who caused a stir when he left the sport in his prime after the 2006 season to pursue a career in broadcasting. Poised and handsome, Mr. Barber appeared to be an executive producer’s dream: a star in one world who would effortlessly make the transition into another. He was awarded as such, securing a coveted contract with NBC to work as a correspondent on both “Sunday Night Football” and the “Today” show.

Mr. Barber’s success, however, was fleeting. For starters, his natural charisma turned out to be less infectious once he was off the field permanently. On “Sunday Night Football,” he was demoted from the studio to the sidelines, and on “Today” he struggled for airtime and reportedly clashed with his fellow correspondents. Then it was revealed that Mr. Barber was having an affair with a “Today” intern while his wife was pregnant, a public scandal that no doubt contributed to NBC’s decision not to renew his contracts. Over the past three years, Mr. Barber has all but disappeared from public view.

“Yeah, yeah, people say to me all the time, ‘You have the career Tiki thought he was going to have,’ ” Mr. Strahan said. (When he was named Mr. Philbin’s replacement, New York magazine’s culture blog reported it with one sentence: “Somewhere, Tiki Barber is weeping.”) “Thing about Tiki, he said what he wanted and, in a sense, he got it. What he wanted all along was more on the news side, kind of like Matt Lauer. He’s more intense than I am, more methodical. To be that locked in, it would drive me nuts.”

But like Mr. Barber, Mr. Strahan is no stranger to having unsavory rumors about his personal life play out on the front pages of newspapers. In 2006, he filed for divorce from his wife, Jean, after seven years of marriage, a split that rapidly turned ugly, with Mr. Strahan accused in court of adultery and, in a particularly tabloid-worthy moment, of secretly videotaping his sister-in-law undressing. It was not exactly the sort of behavior, in short, that would endear a man to a daytime television audience. Though all of the charges against him were dismissed, Mr. Strahan was ordered to pay his former wife $15.3 million and child support for their twin daughters — a significant sum for someone who at the time was worth $22 million. (He has two more children, a boy and a girl, with his first wife.)

Though Mr. Strahan knew he was a few years from retirement, he said he didn’t have time to worry that the scandal could derail a potential television career. “That was the last thing I was thinking about at the time,” he said, as his car made its way down to the meatpacking district. “I had my girls, my twins, and I was only worried about not saying something that one day they’d see in a newspaper and say, ‘Daddy, why did you say this about Mommy?’ ”

Unlike Mr. Barber, Mr. Strahan benefited from the fact that he was still playing football at the time of his divorce. By the time he won the Super Bowl, he had been rechristened a local hero. And if his appearances on “Live” served as the final step in pushing the details of his divorce into the recesses of the public imagination, Mr. Strahan believes that this period in his life ultimately helped him prepare for the show.

“It was horrible, of course, but at the same time it was one of the best things to ever happen to me,” he said. “You have all these things being said about you, things that aren’t true, but you can’t control any of it. At first I was freaking out, but then I just realized: the only thing I can be is me. I used to be really worried what people thought, and I always tried to act in ways to make sure I was liked. And you know what? Suddenly none of that mattered. So I just started being myself, and I got really comfortable with that, and I think that’s what people like about seeing me on the show.”

He was in the meatpacking district now, a neighborhood where he lived for a stint during his playing days. He stopped into the Jean Shop, a bespoke denim store, to purchase a few pairs of jeans and say hello to the owner — one of many old friends he has collected over the years. Before leaving, the two did a shot of tequila.

If Mr. Strahan’s anything-goes personality is largely responsible for his success, it also belies a focused ambition. After all, the first time Mr. Strahan was ever on “Live,” a few days after the Giants won the Super Bowl in 2008, Mr. Philbin asked about Mr. Strahan’s plans after football. Their exchange has become something of a legend among the staff:

Mr. Strahan: “Well, there’s a show that I’m on right now that, you know, maybe you want to. ...”

Mr. Philbin: “Are you saying?”

Mr. Strahan: “Live with Michael and Kelly!”

“I wasn’t serious at all,” Mr. Strahan said, back in his car and heading home. “It was just a joke, but it makes me think that maybe if you speak something, it comes true.”

http://www.nytimes.com/2013/02/03/fashion/michael-strahan-is-playing-on-a-new-field.html?ref=television
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TV Notes
Fox reviving 'The Swan' as celebrity special
By James Hibberd, EW.com's 'Inside TV' Blog - Feb. 1, 2013

Reality TV fans, brace yourselves.

Fox…

Is bringing back …

The Swan!

And this time …

They’re famous.

The broadcaster is reviving its infamous plastic surgery makeover series for a celebrity version that will serve as primetime special.

In the original 2004 series, “ugly” women are given extreme makeovers by a team that included a personal trainer, a therapist, a dentist and cosmetic surgeons. Each week followed two women who were transformed over a three-month period. The contestant who turned out prettier went on to compete in a pageant held at the end of the season.

TV critics, as you might expect, weren’t really huge fans. But the show’s ultra-extreme makeover format made it a must-watch for some reality TV aficionados. Moreover, The Swan generated plenty of pop-culture buzz at a time when networks were trying to figure out the boundaries of the unscripted genre.

By re-vamping the show as a celebrity special, Fox will add some star wattage while reducing potential controversy about the format (judging the appearance of celebrities who get plastic surgery, after all, happens in the media every day).

Here’s the official logline for the two-hour special: “Celebrity Swan will feature female celebrities and will offer these popular women the incredible opportunity to undergo physical, psychological and career changes as cameras follow them through the transformative process. This opportunity will allow these women to come back better than ever, have a second chance at personal and career redemption and re-introduce themselves to their supportive fans in a whole new way.”

The production will start casting ASAP. There is no air date yet. But if you’re famous and need some work done, give Fox a call. I’m sure EW readers will have some suggestions about who might make a good contestant on Surgery with the Stars.

http://insidetv.ew.com/2013/02/01/fox-the-swan/
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TV Notes
‘Law & Order’ Boss Dick Wolf Praises ‘SVU’ Episode Featuring Mike Tyson
By Nellie Andreeva, Deadline.com - Feb. 2, 2013

Dick Wolf, creator of the Law & Order franchise, has weighed in on the controversial upcoming episode of Law & Order: SVU, which guest stars former boxer Mike Tyson in his first acting gig playing someone other than himself. Tyson’s casting has come under attack from advocate groups protesting the involvement of a convicted rapist (Tyson served three years for a 1991 incident involving a Miss Black America pageant contestant) on a show dedicated to sex crime victims.

In the SVU episode, titled Monster’s Legacy, Tyson plays Warning: Spoiler! (Click to show)
Reggie Rhodes, a murderer on death row whose violent actions may in part be the byproduct of sexual abuse as a child. His case attracts the attention of Benson (Mariska Hargitay) and defense attorney Bayard Ellis (Andre Braugher) during an SVU investigation.
Also guest starring in the episode is Ed Asner. “It focuses on what can happen when there is an emotionally charged rush to judgment and it is, in my opinion, one of our strongest episodes in the last five years,” Wolf said in a note accompanying screeners for Monster’s Legacy. Originally scheduled for Feb. 13, the episode has been moved up to Feb. 6, sparking speculation that the shift may have been made so that the Mike Tyson episode does not air on the eve of One Billion Rising, a global event supporting rape and abuse survivors.

http://www.deadline.com/2013/02/law-order-boss-dick-wolf-praises-svu-episode-featuring-mike-tyson/
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Quote:
Originally Posted by dad1153 View Post

TV Notes
Which On-the-Bubble TV Series Will Get Renewed, and Which Will Get Axed?
By Josef Adalian, Vulture.com (New York Magazine)

The Neighbors (4 out of 10)
No, we can't believe it's still on the air, either. But, having failed to make Work It work, ABC chief Paul Lee seems determined to prove that he's not crazy for recycling ABC sitcom plots from the eighties (Bosom Buddies, Mork & Mindy). So despite meh ratings, it wouldn't be surprising to see this show back, perhaps as part of the network's retro Friday sitcom block.

http://www.vulture.com/2013/01/which-on-the-bubble-tv-series-will-get-renewed.html

OK. I'll admit it. This comedy has grown on me. It's now my favorite new comedy of the season.
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^^^ You just joined Dr. Don in an elite club here at HOTP. biggrin.gif
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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 Review
‘Monday Mornings,’ needs a quarterback
TNT hospital drama has no lead character to set it apart
By Tom Conroy, Media Life Magazine - Feb. 1, 2013

When TV creators produce a new show in a timeworn genre — such as medical, police and legal — they usually billboard whatever arguably makes the show new. If they can get that innovation into the title, so much the better.

The title of TNT’s new hospital drama “Monday Mornings” signals its one innovation: Each episode features scenes at the surgery department’s weekly meetings, at which they discuss the various gaffes that the staffers have made.

But that’s the only tweak on a genre whose traditions and clichés prove overwhelming. “Monday Mornings” is so familiar that it hardly registers. The ensemble cast is talented and charismatic, but there’s not enough show to go around.

Premiering Monday, Feb. 4, at 10 p.m.,“Monday Mornings” never quite establishes a lead character, although by the end of the first three episodes, Dr. Harding Hooten (Alfred Molina), the hospital’s chief of staff, is pulling ahead of the others. He leads the post-operation discussions, which are often post mortems.

At the meetings, held in an amphitheater-like lecture hall, Hooten, who has an English accent and favors bowties, invites one of his surgeons onstage, asks him or her to describe a recent procedure and then points out exactly how the surgeon has been stupid, lazy, inconsiderate or hubristic.

Two neurosurgeons on the staff, Tyler Wilson (Jamie Bamber) and Tina Ridgeway (Jennifer Finnigan), seem to be soul mates, even though she’s married. They both clash with the abrasive Dr. Buck Tierney (Bill Irwin), who handles the hospital’s transplants.

The other principals are Dr. Jorge Villanueva (Ving Rhames), the trauma chief; Dr. Sydney Napur (Sarayu Rao), a driven cardiothoracic surgeon; the socially awkward and linguistically challenged Dr. Sung Park (Keong Sim); and Dr. Michelle Robidaux (Emily Swallow), the requisite junior surgeon.

In the premiere, Wilson performs a risky operation on a boy with a brain tumor, while Park treats a devout Christian patient whose hands shake uncontrollably. Though the outcomes of the operations are different, Hooten manages to find fault with both surgeons’ procedures.

Flashbacks are intended to show why this case is especially significant to Wilson, but they don’t quite succeed in making us understand.

The show is based on a novel by Dr. Sanjay Gupta, the CNN medical correspondent. When a fresh voice like Gupta enters scripted TV, one hopes that he’ll bring with him some new insights or at least some surprising anecdotes. But the cases in the first three episodes are run of the mill: A precocious 13-year-old girl prefers to live for a few more months rather than risk death through a surgical procedure that may not work; a homeless man recovers his memory after surgery and learns that his wife has remarried; and a gang member who has been shot in the head may have his organs taken for transplant.

The show was created by Gupta and David E. Kelley, the TV veteran who brought us “Chicago Hope,” “Ally McBeal” and “Harry’s Law.” In both his legal and his medical shows, Kelley has always kept us guessing about the outcome of the cases: No matter how skilled the surgeon/attorney or appealing the patient/client, things could go bad.

But perhaps because we’re so used to being misdirected, it’s harder and harder to become emotionally involved in the outcomes. One starts to wonder if the writers are just tossing a coin in the air and saying heads they live, tails they die.

Kelley, however, has always been strong in courtroom scenes. A subplot in which a slick malpractice lawyer deposes Tierney raises the energy level. The Monday-morning presentations are essentially cross examinations, and Alfred Molina makes the most of his lines, which occasionally raise issues of some weight.

The other characters aren’t as well served. After three episodes, all we really know about Wilson and Ridgeway is that they have a crush on each other and probably should get together because their children would be so good-looking.

Hiring a powerful actor like Ving Rhames and giving him so little to do is like using a dump truck to build sandcastles.

Even the musical cues are out of whack. In shows like this, obscure folk-pop ballads are usually employed in episode-ending montages that reveal the emotional repercussions of the hour’s action. Such songs are dropped randomly throughout “Monday Mornings.”

On the plus side, the show lasts a full three episodes without a single one of those hot-and-heavy, furniture-banging sex scenes that are so popular in both comedies and dramas these days.

The creators of “Monday Mornings” are trying something slightly new and falling a little short. Unfortunately, in today’s crowded TV world, a little goes a long way.

http://www.medialifemagazine.com/monday-mornings-needs-a-quarterback/
Edited by dad1153 - 2/3/13 at 2:49pm
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Nielsen Notes
Post Mortem: What Led To ‘Do No Harm’s Historic Ratings Flop
By Nellie Andreeva, Deadline.com - Feb. 1, 2013

In the days leading to last night’s premiere of NBC‘s new drama Do No Harm, tracking was soft, with awareness weak across the board and intent to see below average, leading to modest ratings expectations. Rival networks were predicting a premiere 18-49 rating a little below the 2.0 that fellow midseason NBC drama Deception recently opened to, with a 1.8 rating considered a reasonable target. But Do No Harm came in at a 0.9, the lowest in-season premiere rating for a series on the Big 4 broadcast networks. Ever. It was even lower than the dismally rated newsmagazine Rock Center With Brian Williams averaged in the Thursday 10 PM hour (1.0) this season. Do No Harm‘s viewership was a paltry 3.1 million viewers. The shocking underperformance was reminiscent of the fall 2010 debut of Fox’s drama Lone Star. Launching behind House with a major marketing campaign behind it, the well-reviewed drama was projected to deliver a premiere 18-49 rating above a 2.5. Instead, it opened to a 1.3, dropping to a 1.0 in the second week before Fox yanked it off the schedule. NBC did not rush to cancel Do No Harm today as executives there were as puzzled by the abysmal ratings as everyone else, but will likely do so next week unless Do No Harm‘s ratings miraculously rebound, something that almost never happens.

The soft pre-launch tracking suggested that many viewers didn’t know of the show or weren’t sure what it was about, something that can be chalked up in part to the modest marketing campaign supporting the launch. Do No Harm also was saddled with a weak lead-in from an original The Office (1.9) on a night where NBC’s lights had been off for a long time. And it faced spirited competition in the 10 PM hour from the pre-Super Bowl episode of Elementary and hot sophomore Scandal. While all of those factors contributed to Do No Harm‘s demise, the magnitude of the flop indicates that the show was utterly rejected by the audience. Why? For starters, reviews were pretty bad across the board, indicating that Do No Harm was probably not going to be appointment television. Then comes the cast which some say was not compelling enough to draw people in. Because of its setup, the show rests on the shoulders of young Steven Pasquale in his first leading role. He is not a household name to begin with (best known for his supporting role on Rescue Me), and the key art for the show scrambled his face to a point where it was unrecognizable.

And then there is the Jekyll and Hyde premise of a successful neurosurgeon with an evil alter ego (Pasquale). Interestingly, it was NBC that tried the Jekyll and Hyde dual-personality premise most recently with the 2008 drama My Own Worst Enemy. Toplined by Christian Slater, it too died a quick death. There has been a host of dual-reality series in the past couple of years, including Kyle Killen’s Lone Star and Awake, which fizzled in the same NBC Thursday 10 PM slot last midseason — one of three new NBC dramas to come and go in the hour last season, along with Prime Suspect and The Firm. The post-mortem consensus on most of those complex-narrative dramas has been that they are likely better suited for cable. Especially with an antihero at the center like Do No Harm‘s Dr. Jason Cole.

http://www.deadline.com/2013/02/post-mortem-what-led-to-do-no-harms-historic-ratings-flop/
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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
* * * *
11:35PM - Jimmy Kimmel Live! (Melissa McCarthy; Mark Duplass; Anita Baker performs)
12:35AM - Nightline

CBS:
8PM - How I Met Your Mother
8:30PM - Rules of Engagement (Season Premiere)
9PM - 2 Broke Girls
9:30PM - Mike & Molly[
10PM - Hawaii Five-0
* * * *
11:35PM - Late Show with David Letterman (New Jersey Gov. Chris Christie; Cody Ray Slaughter performs)
12:37AM - The Late Late Show with Craig Ferguson (Zooey Deschanel; actor Adhir Kalyan)

NBC:
8PM - The Biggest Loser (120 min.)
10:01PM - Deception
* * * *
11:35PM - The Tonight Show with Jay Leno (Hugh Jackman; Jessica Chastain; Michael Bolton performs)
12:37AM - Late Night with Jimmy Fallon (Russell Brand; Katharine McPhee; Jim James perform)
1:37AM - Last Call with Carson Daly (Nicholas Hoult; Curtis Peoples performs)

FOX:
8PM - Bones
9PM - The Following

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

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 (Author Michelle Rhee)
11:31PM - The Colbert Report (Supreme Court Justice and Author Sonia Sotomayor)

TBS:
11PM - Conan (Guests TBA)

E!:
11PM - Chelsea Lately (Allison Williams; Ben Gleib; Heather McDonald; Brad Wollack)
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TV Sports
Super Bowl MVP Joe Flacco Drops F-Bomb on CBS
By Aaron Couch, The Hollywood Reporter - Feb. 3, 2013

Baltimore Ravens quarterback and Super Bowl MVP Joe Flacco had plenty to celebrate after his team’s victory Sunday night – and his raw choice of words expressing his feelings made it to air in all their glory.

“This is f—king awesome,” he exclaimed while embracing teammate Marshal Yanda after the game. The offending word was captured by a boom microphone and aired uncensored on CBS. The network’s commentators did not acknowledge the expletive, and it is unclear if the event was being broadcast on a delay, which might have allowed the network to bleep the word.

Flacco’s f-bomb lit up Twitter, with Donald Trump Jr. writing “Flacco just dropped the F-bomb on national TV and no one edited it out. Someone is getting fired.”

After the game, CBS announced Flacco will join David Letterman Monday as a guest on the network's The Late Show, marking the ninth year in a row the Super Bowl-winning quarterback has appeared on the show.

Flacco’s Ravens defeated the San Francisco 49ers 34-31. He threw for 287 yards and three touchdowns, with no interceptions.

The Hollywood Reporter has reached out to CBS for comment.

Watch video below. [CLICK LINK]

http://www.hollywoodreporter.com/news/super-bowl-mvp-joe-flacco-417739
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Flacco actually said it twice!
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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Feb. 4, 2013

BONNIE AND CLYDE
TCM, 8:00 p.m.

Every year, the impending arrival of the Academy Awards telecasts leads to the “Month of Oscars” tradition on TCM, where award-winning movies, in various categories, are crammed into the prime-time schedule (and beyond) all month long. Tonight, the festivities begin with one of the Sixties movies that helped changed the direction of cinema. Warren Beatty’s 1967 movie upped the ante for stylized violence, and anti-hero dramas, and idiosyncratic filmmaking, all in one stylish burst. Beatty and Faye Dunaway star, Gene Hackman made his mark, and the music, photography, editing and story line, in this period story about Depression-era bank robbers, all screamed modern.

MEA MAXIMA CULPA: SILENCE IN THE HOUSE OF GOD
HBO, 9:00 p.m. ET

Alex Gibney’s documentary literally gives voice to the deaf, retracing and recounting the story of deaf boys who were sexually abused while in the care of and supervision of a Catholic priest – and following their story to the highest levels of the Vatican. The tone of Mea Maxima Culpa is ominous, but never slips into melodrama – and the reporting appears to be thorough, fair and careful throughout.

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.

COOL HAND LUKE
TCM, 10:00 p.m. ET

What we have here is failure… of nothing. Everything in this 1967 movie is just right, from Strother Martin’s classic “What we’ve got here is failure to communicate” line to Paul Newman’s complicated, yet thoroughly charming, performance as a rebellious convict.

MONDAY MORNINGS
TNT, 10:00 p.m. ET
SERIES PREMIERE:
David E. Kelley and co-executive producer Bill D’Elia have been making TV a long time, and most of it has been terrific: Ally McBeal, The Practice, Boston Legal, Harry’s Law. They even worked together on Kelley’s Chicago Hope, a medical series that premiered the same week as ER – and here they are again, almost 20 years later, with a new medical series, this one based on a novel by Dr. Sanjay Gupta. The standout in the series pilot is Alfred Molina, as the no-nonsense chief of surgery, but this one, at least initially, feels a lot more stiff, and a lot less imaginative, than most Kelley series to date. So give it a look, and decide its prognosis for yourself[/B]


http://www.tvworthwatching.com/

* * * *

TV Review
Medical Drama 'Monday Mornings' Puts Docs Under the Exam Room Glare
By Eric Gould, TVWorthWatching.com - Feb. 4, 2013

If cop and lawyer shows are the bread and butter of TV drama, then the doctor show is surely the vanilla ice cream.

Even though it's life and death each week, it's a wonder what new can be brought to the medicine game. House juiced up the format with every kind of obscure illness and topped it with an unhinged Doc who might be as dangerous as the disease he was treating.

Monday Mornings, the latest David E. Kelley offering premiering on TNT Monday (10 p.m. ET), doesn't have House-like anarchy. But it does have a bit of a new slant by showing us patients who are – surprise – dying, and doctors who are under the spotlight for the possible errors made while treating those patients.

The cases gone wrong are reviewed in M&M conferences - short for Morbidity and Mortality. Held, of course, on Monday mornings, they're chaired by Chief of Surgery Dr. Harding Hooten (Alfred Molina, Spider-Man 2) who sits at a desk in the M&M amphitheater with a clear glass pitcher, pouring himself cold glasses of water while similarly dousing the inflamed egos of the doctors defending their failures.

The ensemble of docs (including Jamie Bamber as Dr. Tyler Wilson, top photo) likewise stand before their peers in the spotlight at a crystal clear lectern, metaphorically unable to hide behind even a piece of solid furniture. Not even the most reputable doctor is safe from the examination by Dr. Hooten, who gives the equivalent of a Sherlock Holmes-level prosecution at the climaxes of both of the two episodes sent for review.

Kelley, the genius behind such memorable series as Ally McBeal and Picket Fences, is adapting the novel of the same name here by doctor and CNN contributor Sanjay Gupta. It doesn't have any poetic McBeal-style hallucinations or any of the Denny Crane (William Shatner) antics from his 2004-08 Boston Legal. But it has the dramatically lit amphitheater and the requisite yet quirky ensemble, including Dr. Park (Keong Sim, Glee), who tells patients in broken English that if they don't agree to risky procedures they won't survive. ("Don't do, die.")

Ving Rhames (Pulp Fiction) is also along, as a cranky and crack doc who can diagnose a case from across a busy ER.

Monday Mornings has the craft and the pace Kelley is known for, although the medical cases here dwell in the usual TV emergency brain surgeries. There is some worthy territory traveled, though, with one subplot delving into doctors' appropriate and necessary level of compassion towards their patients. And we see ambitious, sometimes overly aggressive know-it-all docs get theirs when they indeed have it coming, because they didn't foresee all the details of their cases.

There may never be the equivalent of another St. Elsewhere (1982-88) the NBC series which reinvented the genre, and showed us an imperfect hospital and its even more dysfunctional staff. In current drama, we take the gritty underside of things for granted these days, but it took that show to take us get us here.

Of course, no medical show has gotten down to the actual horror of waiting for the nurse to finally arrive with the pain medication, or your doctor walking out before you had a chance to finish your last question.

Patients who have survived that get a bit of payback in the form of Monday Mornings.

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=4231
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TV Sports
Superdome goes dark during Super Bowl XLVII
By Aaron Couch, USA Today - Feb. 3, 2013

NEW ORLEANS — The power went out for 33 minutes in half of the Superdome, not long after singer Beyonce finished her high-powered halftime show.

At 7:37 p.m. CT, the lights flicked off on the side of the stadium where the San Francisco 49ers bench, TV and radio booths and press box are located. CBS' broadcast was briefly knocked off the air, and all of the video boards in the stadium went dark. Full power was not restored until 7:58 p.m., and play resumed at 8:10 p.m.

"Stadium authorities are investigating the cause of the power outage," the NFL said in a statement. A league spokesman declined further comment.

Mayor Mitch Landrieu called the power outage "an unfortunate moment in what has been an otherwise shining Super Bowl week for the city of New Orleans."

"In the coming days, I expect a full after action report from all parties involved. For us, the Super Bowl isn't over until the last visitor leaves town, so we're focused on continuing to show our visitors a good time."

Play was suspended following a 6-yard sack of San Francisco quarterback Colin Kaepernick, and players retreated to their bench areas during the delay. San Francisco players milled about calmly while players from Baltimore — leading 28-6 — sat on the turf to stretch their legs. Several Ravens players tossed a football back and forth.

Fans, meanwhile, entertained themselves by chanting and singing, including multiple renditions of Baltimore's rally song Seven Nation Army by the White Stripes. Some fans tried to start the wave, and booed when the wave stopped on the far side of the stadium.

A few blocks away in the French Quarter, the power remained on the whole time. Fans watched TVs in restaurants and bars in stunned disbelief as the game came to a halt while the Superdome regained power.

Renee Mendoza, a 49ers fan from San Jose, Calif., watched from a table at the Royal House Oyster Bar. Her husband, Ray, who was at the game, was texting her updates and pictures from inside the Superdome during the blackout. She said she hoped the outage would slow the Ravens' momentum.

"Hopefully it'll throw the Ravens off and the 49ers will get their head back in the game," Mendoza, 49, said. It did. After the power came back on, San Francisco began a comeback.

After Beyonce's halftime set concluded, but before the second half began, a fire alarm went off in the press box in a hallway in the upper level of the stadium, between the Ravens' coaches booth and a radio broadcast booth. The alarm resumed its chirping when power was restored and was not turned off for another six minutes.

The outage caused multiple problems in the stadium. Radio communication was at least temporarily lost between the AFC coaches booth and the sideline. An elevator went out of service, and air conditioning and Internet service were lost.

CBS was able to power up its set on the far side of the stadium, just past the Baltimore bench in order to broadcast updates during the outage.

"Immediately after the power failure in the Superdome, we lost numerous cameras and some audio powered by sources in the Superdome," the network said in a statement. "We utilized CBS' back-up power and at no time did we leave the air. ... All commercial commitments during the broadcast are being honored."

Superdome spokesman Eric Eagan apologized for the outage once play resumed, but had no further explanation for the outage.

Entergy, the local electric company, said in a message posted on its Twitter account that there were no power issues outside of the Dome, and the "power issue at the Superdome appears to be in the customer's side."

While the power outage at the Superdome was a nightmare for some, it presented a golden marketing opportunity for some brands.

Buffalo Wild Wings, Audi, Tide and Oreo were among the brands that used the break in action to engage with their fans during the power outage.

For example, Audi tweeted about sending LED lights to the Superdome. The tweet received more than 8,000 retweets and was favorited more than 2,000 times.

For the 49ers, the break was a way to regroup. Jim Harbaugh gathered his team and talked about the logistics of where they were on the field and the time left.

"I told them we'd get our spark back," he said after the game.

Ravens linebacker Terrell Suggs jokingly suggested that Harbaugh may have had something to do with the power outage. "We're going to investigate that," he said.

Players were asked about it after the game. Donte Whitner said it didn't reflect poorly on New Orleans.

"That's happened to us in San Francisco," Whitner said. "They got it taken care of."

While San Francisco was plotting its resurgence after it was over, the Ravens were talking about not losing their edge.

"We had to stay poised. ... All these guys here, we are here for a reason," defensive tackle Arthur Jones said. "We are here to win. This is the end of the Ray Lewis chapter and we wanted to end it right for him."

Contributing: Rick Jervis.

http://www.usatoday.com/story/gameon/2013/02/03/superdome-black-out-super-bowl-xlvii/1889009/
post #84952 of 93678
TV Notes
'Smash' is going through some changes as it begins its second season on NBC
By David Hinckley, New York Daily News - Feb. 3, 2013

As NBC’s Broadway-musical drama “Smash” prepares to launch its second season at 9 p.m. Tuesday, it’s no secret the network thinks the show needs some resets to get back onto the star track.

Want proof?

In a short, lighthearted scene toward the end of Tuesday’s episode, Debra Messing’s Julia Houston is lovingly advised to dial back on the bulky scarves that emerged as her first-season fashion signature.

The scarves became a lightning rod for Internet discussion last year, with a vocal faction arguing they did not serve Julia well.

So yes, the scarves might make Julia a metaphor for the show itself. New season, new attitude.

NBC’s broader concern about “Smash” became evident in March, when with two months to go in the first season, the network announced it was getting a new showrunner.

That’s like a team firing the manager or the coach, only more so. The departing showrunner, Theresa Rebeck, had created the series. Messing’s character was modeled after Rebeck, who likes to wear scarves.

Rebeck stepped down at a time when the show, which is expensive to produce, had lost several million viewers, dropping from a strong audience to an okay audience. There were also grumblings from critics and network creative people that “Smash” wasn’t focused as sharply as it needed to be.

Those complaints were a little vague, but one recurring component was that “Smash” is a show about Broadway and Broadway music, so that’s what it needed to focus on selling.
It’s also got soap, but the thinking was that if you focus on the show and the people who are making it, they’ll generate plenty of suds on their own.

For all the first-season problems, NBC always insisted it believed in “Smash,” seeing it as a kind of show that could help give the network a cool, exciting image while also drawing a substantial audience.

There’s a sense among many people who have seen early episodes of season two that this faith could be rewarded, because the renovations are giving the show some fresh sparkle.

It still won’t be easy. For one thing, “Smash” doesn’t have NBC’s most popular nonsports show, “The Voice,” feeding viewers into it this year.

Some of its core viewers — Broadway fans, who were among the most assiduous micro-analysts of the first season — are also nervous about replacing Rebeck, a real-life Broadway songwriter, with Josh Safran, who is best known lately as the showrunner for the CW’s just-concluded teen drama “Gossip Girl.”

Safran’s most important first job was to reassure fans that “Smash” had not just cashed in all its Broadway cred to chase TV trends.

When NBC presented a “Smash” panel to television critics in Pasadena last month, Safran repeated what he has said before, which is, “I don't think it’s changed that much.”
To get more specific about such an assertion, though, requires a mixture of honesty and diplomacy that can be hard to achieve in an unscripted monologue.

So Safran’s next sentence, in full, went like this:

“I think that, you know, the stuff from last year that you loved is still there, and the stuff from last year that maybe some people thought was, you know, a little went off on tangents we looked at and we sort of tried to find a way to circle back together, but it still is the same ‘Smash,’ just sort of maybe bigger, more music, sort of a little bit maybe younger in some regards, some of our new cast members, but I hope the people who watch it still see the same show that they loved.”

It’s okay to breathe again now.

Executive producer Neil Meron said sort of the same thing, except he added that Safran was the right guy to change what needed changing and leave the rest alone.

“I read everything,” Meron said of the reaction to season one. “I read the love. I read the hate. I read the bad. And I hope I was objective enough to say, ‘Well, that makes sense.’

“When Josh came in for the second season and addressed all of those issues, it seemed that it was really the right fit. First-season shows need time to find themselves, to really lock into what they are. Especially a show like ‘Smash’ that has so many moving parts, it’s still in that process of finding itself.”

One place it will be looking, says executive producer Craig Zadan, is toward a suggestion that another executive producer, a fellow named Steven Spielberg, made back when “Smash” was just a proposal.

“He said, ‘Wouldn’t it be great if each year we did another musical?’,” recalls Zadan.

In the first season, the show revolved around “Bombshell,” a musical about Marilyn Monroe.

This year it will add “Hit List,” a very different kind of production, without the big, splashy classic-Broadway numbers of “Bombshell.”

“Hit List” is smaller, edgier, a show whose creator almost sees it as the anti-Broadway.

“Smash” fans have been reassured by the casting for the creators of “Hit List”: Andy Mientus and Jeremy Jordan, actors who themselves are deeply entrenched on Broadway.

They aren’t nearly as big on bulky scarves as Julia. They also have a different attitude toward success, though in the end they also want it.

So Meron says season two of “Smash” will be like the greatest hits of season one, and he thinks that will deliver exactly the hit that NBC is hoping for.

“It’s a fantastic show,” Meron says, “and when it works, I dare anybody to say what could be better entertainment.”

http://www.nydailynews.com/entertainment/tv-movies/smash-starts-season-article-1.1251321
post #84953 of 93678
Quote:
Originally Posted by dad1153 View Post

^^^ You just joined Dr. Don in an elite club here at HOTP. biggrin.gif

And all five members of my sister's family agree with me (about "The Neighbors.") That's rare!
post #84954 of 93678
Quote:
Originally Posted by dad1153 View Post

TV Sports
Super Bowl MVP Joe Flacco Drops F-Bomb on CBS
By Aaron Couch, The Hollywood Reporter - Feb. 3, 2013

Baltimore Ravens quarterback and Super Bowl MVP Joe Flacco had plenty to celebrate after his team’s victory Sunday night – and his raw choice of words expressing his feelings made it to air in all their glory.

“This is f—king awesome,” he exclaimed while embracing teammate Marshal Yanda after the game. The offending word was captured by a boom microphone and aired uncensored on CBS. The network’s commentators did not acknowledge the expletive, and it is unclear if the event was being broadcast on a delay, which might have allowed the network to bleep the word.

Flacco’s f-bomb lit up Twitter, with Donald Trump Jr. writing “Flacco just dropped the F-bomb on national TV and no one edited it out. Someone is getting fired.”

After the game, CBS announced Flacco will join David Letterman Monday as a guest on the network's The Late Show, marking the ninth year in a row the Super Bowl-winning quarterback has appeared on the show.

Flacco’s Ravens defeated the San Francisco 49ers 34-31. He threw for 287 yards and three touchdowns, with no interceptions.

The Hollywood Reporter has reached out to CBS for comment.

Watch video below. [CLICK LINK]

http://www.hollywoodreporter.com/news/super-bowl-mvp-joe-flacco-417739

When are we going to stop all this nonsense and just accept this as a word in our language, in this case it was just in place of "really". No one has ever been able to give me an answer on who decided what words where bad and why.
post #84955 of 93678
48.1 highest overnite rating ever !!
post #84956 of 93678
Quote:
Originally Posted by RemyM View Post

When are we going to stop all this nonsense and just accept this as a word in our language, in this case it was just in place of "really". No one has ever been able to give me an answer on who decided what words where bad and why.

I agree. I am always reminded of George Carlin's take on 'words', especially the f one. It's just a word, get over it.
post #84957 of 93678
Quote:
Originally Posted by Nayan View Post

I agree. I am always reminded of George Carlin's take on 'words', especially the f one. It's just a word, get over it.
It's a word that would have gotten a bar of soap shoved in my mouth when I was a kid. Is nothing sacred any more?
post #84958 of 93678
With all their pre-game preparation and hype, CBS obviously neglected to prepare for a power outage. Seems like some key components weren't connected to the generator truck.
post #84959 of 93678
Quote:
Originally Posted by BoilerJim View Post

It's a word that would have gotten a bar of soap shoved in my mouth when I was a kid. Is nothing sacred any more?

There's quite a few things we would have been in hot water for that aren't seen as a big deal today. When it comes to picking battles, there's bigger ones than just a word that someone uttered in excitement on TV.

And to keep it sort-of on topic smile.gif the game looked awesome here in Orlando, Beyonce's show I thought stunk and I liked The Next Big Thing commercial. And for some reason we did not see the Kate Upton washing cars, which made my son and hubby a bit sad.
post #84960 of 93678
Quote:
Originally Posted by Jon J View Post

With all their pre-game preparation and hype, CBS obviously neglected to prepare for a power outage. Seems like some key components weren't connected to the generator truck.
Looks like we/they were as prepared as they can be. Never lost the picture. Just the press box. Maybe some cameras, but not all.

I had a chance when the Final Four was in town to sit in with the engineering crew and learned a lot about the setup and contingency plans. The production trucks and more than a handful of cameras are almost never on shore power to begin with. Always on generators. I'm just guessing, but I would imagine running generator lines up to the press box is not an easy task if it's possible at all. Probably some code against it. Most of the press boxes I've been associated with have their own backup power systems, anyway. Surprised this one either didn't or it failed. You can bet that'll get fixed.

That said, the usual course of action when you lose the press box is to throw to New York. Well, for the Super Bowl, the studio crew is also on-site and usually handled by a second production truck. Personally, I think they found 'em all and got them to the sideline set in good order. Though that set is on shore power, too. Had they lost that, we'd have had a lot of Tasker/Wilcots sideline reports and anybody-you-can-grab interviews.

Even when the trucks are on shore power (rare, as I said. The FF here in Detroit was the only time that crew could remember running on shore power, but the generators ran the whole time in case a switch was needed) they only need 30 seconds or fewer to switch power plus whatever time it takes for things that need to boot to boot. I was told everything is fully operational in under two minutes. Since we had picture and graphics, I think it's safe to assume that the trucks were on generators and functioning normally.

I'd really love to know what we'd have seen had the whole stadium gone south. Probably Tasker anchoring coverage from inside the production truck until JB or Nantz could get there. I believe that's what they told me would happen. I have had beer since then.

This being a first for SB coverage, you can bet that Ian Eagle or someone is going to be camped out on the NY set, next time, so they'll have someone to pick it up if they lose the press box.
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