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Hot Off The Press: The Latest TV News and Information - Page 2860

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TV Notes
On The Air Tonight
TUESDAY 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 - Splash (Series Premiere)
9PM - Dancing with the Stars: Exclusive First Look
10:01PM - Body of Proof
* * * *
11:35PM - Jimmy Kimmel Live! (Gerard Butler; Vanessa Hudgens)
12:37AM - Nightline

CBS:
8PM - NCIS
9PM - NCIS: Los Angeles
10PM - Golden Boy
* * * *
11:35PM - Late Show with David Letterman (Bill Cosby; ski racer Mikaela Shiffrin; Garbage performs)
12:37AM - The Late Late Show With Craig Ferguson (Michelle Monoghan)

NBC:
8PM - Betty White's Off Their Rockers
8:30PM - Betty White's Off Their Rockers
9PM - Go On
9:30PM - The New Normal
10PM - Smash
* * * *
11:35PM - The Tonight Show with Jay Leno (Jenna Fischer; former NBA player Dennis Rodman; Black Prairie performs)
12:37AM - Late Night with Jimmy Fallon (Selena Gomez; director David Steinberg; Pinback performs)
1:37AM - Last Call with Carson Daly (Singer-songwriter Jake Bugg; musical group The Trouble With Templeton; Angel Haze and Maximum Hedrum perform)

FOX:
8PM - Hell's Kitchen
9PM - New Girl
9:30PM - The Mindy Project

PBS:
(check your local listing for starting time/programming)
8PM - Time Team Special Edition (120 min.) (R - Aug. 19, 2009)
10PM - Frontline: Inside Japan's Nuclear Meltdown
(R - Feb. 28, 2012)

UNIVISION:
8PM - Porque el Amor Manda
9PM - Amores Verdaderos
10PM - Amor Bravio

THE CW:
8PM - The iHeartRadio Album Release Party With Justin Timberlake
9PM - Beauty and the Beast
(R - Mar. 14)

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Television personality Rachel Maddow.)
(R - Feb. 28)
11:31PM - The Colbert Show (Director Jon Favreau)
(R - Feb. 28)

TBS:
11PM - Conan (Kristen Stewart; Glenn Howerton; Lianne La Havas)
(R - Nov. 14)

E!:
Midnight - Chelsea Lately (Steve Carell; Ross Mathews; Sarah Tiana; TJ Miller)
[/quote]
Edited by dad1153 - 3/19/13 at 9:43am
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Nielsen Notes (Cable)
HBO’s ‘Girls’ Down In Season 2 Finale
By Dominic Patten, Deadline.com - Mar. 18, 2013

The second-season finale of HBO’s Girls at 9 PM drew 632,000 viewers Sunday night, down from the 1 million who watched the show’s Season 1 finale June 17. It also was down from the 866,000 who tuned in for the Season 2 premiere January 13, the same night creator/star/executive producer Lena Dunham won a Golden Globe for Best Actress in a Comedy Series and Girls won Best TV Comedy. Over three airings of last night’s show — which was co-written by Dunham and executive producer Judd Apatow — at 9 PM, 10 PM and 11 PM, Girls drew 1.13 million viewers.

The series has been averaging a gross viewership of the 4.6 million this season. Besides watching the show on HBO and on DVR, 27% of them watched on HBO Go and HBO On Demand. That makes Girls the most-watched show on the additional platforms of any current HBO series. Girls‘ first season premiere on April 15, 2012 pulled in 872,000 viewers.

http://www.deadline.com/2013/03/girls-ratings-season-2-finale-hbo/

* * * *

Nielsen Notes (Cable)
Cinemax’s ‘Banshee’ Wraps Solid First Season
By Nellie Andreeva, Deadline.com - Mar. 18, 2013

As all eyes are on the ratings for last night’s Season 2 finale of HBO’s Girls (expected any minute now), the season-finale numbers for Banshee, which airs on HBO sibling Cinemax, also came out today. While not as noisy as Girls and other cable series, the freshman drama executive produced by Alan Ball, which was already renewed for a second season, had a solid freshman run.

Its season finale Friday drew 455,000 viewers at 10 PM and 655,000 viewers for the two plays on the night. That is the largest audience yet for a Cinemax original series finale and third-highest for Banshee. Even before the finale, Banshee (average of 433,000 viewers in Live+Same Day/727,000 in Live+7) already outranked the two seasons of Cinemax’s Strike Back (303,000/512,000 for Season 2, 290,000/441,000 for Season 1).

http://www.deadline.com/2013/03/cinemaxs-banshee-wraps-solid-first-season/
Edited by dad1153 - 3/19/13 at 10:05am
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TV Notes
'Awkward.' season 3 premiere date, trailer released
By Sandra Gonzalez, EW.com's 'Inside TV' Blog - Mar. 18, 2013

Awkward fans, relief is in sight!

MTV has announced the show will return for a third season April 16 with two back-to-back new episodes starting at 10 p.m. ET/PT.

According to a release, the third season, which will feature new cast members Anthony Michael Hall and Nolan Funk, will open with Jenna experiencing a “wave of surprises and chances that potentially will impact her future in an indelible way.” And in the second episode, the death of a classmate causes Jenna to “reflect on loss, grieving, and taking responsibility for a secret she’s keeping from Matty.

Watch the trailer below. [CLICK LINK]

http://insidetv.ew.com/2013/03/18/awkward-season-3-gets-a-premiere-date/
Edited by dad1153 - 3/19/13 at 10:05am
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TV Notes
Jay Leno Calls NBC Execs 'Snakes' in 'Tonight Show' Monologue
By The Hollywood Reporter's 'Live Feed' Blog Staff - Mar. 18, 2013

Jay Leno isn't backing off the NBC jokes, despite a recent report that entertainment chief Robert Greenblatt is upset over his recent jabs at the network.

"You know the whole legend of St. Patrick, right?" Leno said in his monologue on Monday night's The Tonight Show. "St. Patrick drove all the snakes out of Ireland -- and then they came to the United States and became NBC executives. It's a fascinating story."

Leno and his fellow late-night hosts, including David Letterman and Jimmy Kimmel, have a long tradition of ribbing their networks. But according to a recent report in The New York Times, Greenblatt fired off an email to Leno after a Feb. 28 episode in which the late-night host skewered the network's falling to fifth place during sweeps month.

During the episode's opening monologue, Leno joked about NBC’s fifth-place status: "We are behind the Spanish-language network Univision -- or, as we call it here in Los Angeles, Cinco de Ratings." Other jokes included: "It’s so bad, The Biggest Loser isn’t just a TV show anymore; it’s our new motto" and "It’s so bad, NBC called Manti Te’o and asked him to bring in some imaginary viewers."

The exchange between Greenblatt and Leno is said to have occurred before The Hollywood Reporter reported March 1 that NBC was discussing an exit plan for Leno, which would see him cede his 11:35 p.m. timeslot in 2014, likely to be replaced by Jimmy Fallon. NBC has denied the report, but two high-level industry sources told THR the network was considering making an announcement in May.

http://insidetv.ew.com/2013/03/18/awkward-season-3-gets-a-premiere-date/
Edited by dad1153 - 3/19/13 at 10:04am
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Legal Notes
Supreme Court Refuses to Hear Streaming TV, Music Piracy Cases
By Ira Teinowitz, TheWrap.com - Mar. 18, 2013

The Supreme Court without comment rejected attempts to overturn two big entertainment cases on Monday.

In one, TV networks and TV station owners won a court order that effectively shut down Seattle pay-TV service ivi’s effort to offer viewers TV signals over the web without paying broadcasters retransmission fees.

While ivi argued it was acting no different than a cable system in giving viewers access to programming for a $4.99 a month package, broadcasters argued that it had acted illegally in retransmitting signals without permission.

Ivi, whose appeal of the district court ruling to the 2nd Circuit Court of Appeals was rejected in 2012 had asked the Supreme Court to overturn the case, suggesting the appellate court had failed to properly examine the question of whether the company was acting as a cable system.

An attorney for ivi told TheWrap Monday that the high court accepts few cases but otherwise offered no comment on the decision.

National Association of Broadcasters EVP Dennis Wharton praised the court. “NAB is pleased that ivi’s petition was denied by the Supreme Court. This sends a strong message that copyright offenders will not be rewarded,” he said.

In the other case, the court let stand a decision that Jammie Thomas-Rasset, a Brainerd, Minn., single mother, owed various record companies $222,000 for illegally downloading 24 songs.

The case stemmed from attempts by the Recording Industry Association of American to fight illegal downloading of music by seeking settlements from individual who downloaded music.

RIAA claimed Thomas-Rasset downloaded more than 1,700 songs on file-sharing service Kazaa, though it brought action only on 24 tracks.

Thomas-Rasset, claiming she didn’t download the files, fought the charges, and a jury awarded music companies, $7,500 per song for her downloads.

Her attorneys in legal briefs with the high court questioned the legal basis for the award and contended that the amount of the damages was too severe for what happened.

The companies in the suit included Capitol Records Inc.; SONY BMG Music Entertainment; Arista Records LLC; Interscope Records; Warner Bros. Records Inc., and UMG Recordings Inc.

RIAA in a statement Monday said it has repeatedly unsuccessfully tried to settle the case, first for $5,000, then after a second trial for a $25,000 donation to MusicCares charity.

“We appreciate the Court’s decision and are pleased that the legal case is finally over. We've been willing to settle this case from day one and remain willing to do so,” the statement said..

Because the high court didn’t take on either case, their impact on future court decisions is far from certain. That’s especially true in the Thomas-Rasset case, where the amount of the jury verdict in that case and actions of a judge in letting the case go to trial, hasn’t been reflected in some similar cases.

http://www.thewrap.com/tv/column-post/supreme-court-refuses-hear-streaming-tv-music-piracy-cases-81681
Edited by dad1153 - 3/19/13 at 10:04am
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TV Notes
'Splash' is new wave of reality for ABC
By Mark Dawidziak, Cleveland Plain Dealer - Mar. 18, 2013

Weekly Dose of Reality: Is ABC catching the next wave of reality programming? Or are the network's programmers all wet with "Splash," a series first announced as "Celebrity Diving"?

A day after "Dancing With the Stars" returns with its 16th edition, ABC is taking a flying leap off the high board with a reality show that could be described as, Diving With the Stars. Or will that be, Belly-flopping With ABC? It premieres at 8 p.m. Tuesday, March 19, on WEWS Channel 5.

Now, we've seen just about everything on the reality TV front, so we're not surprised when concepts come along where it appears that someone has peed in the gene pool. And, of course, that doesn't mean the show won't hit the prime-time board and take off like a ratings rocket.

Olympic gold medal winners Greg Louganis and David Boudia are two of the judges for this reality show that puts celebrities out on a 10-meter-high diving board, challenging them to complete synchronized stunts, flips, twists and spins. Each week, the competition will get tougher.

Contestants range (and I do mean range) from 7-foot-2 basketball legend Kareem Abdul-Jabbar to 4-foot-3 Chuy Bravo, Chelsea Handler's sidekick on "Chelsea Lately." Also testing these reality waters are comedian Louie Anderson, former "Baywatch" star Nicole Eggert, former "Cosby Show" regular Keshia Knight Pulliam, actor Drake Bell, NFL star Ndamukong Suh, model Katherine Webb, extreme skier Rory Bushfield and reality-TV veteran Kendra Wilkinson.

http://www.cleveland.com/tv-blog/index.ssf/2013/03/splash_is_new_wave_of_reality_for_abc.html
Edited by dad1153 - 3/19/13 at 10:04am
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TV Review
‘How We Invented the World,’ sorta
Four-part Discovery series promises a history of the great inventions
By Tom Conroy, Media Life Magazine

Toward the end of TV’s pre-cable era (to be specific, in 1978 and 1979), the BBC and then PBS aired a 10-episode series called “Connections,” in which an unusually vehement but still charming science historian named James Burke revealed how seemingly unrelated breakthroughs and discoveries eventually came together to create certain modern technologies. One episode, for example, drew a winding but plausible line from the introduction of pikes in medieval warfare to the creation of lunar rockets.

That series, which had two sequels in the ’90s, probably inspired the creators of Discovery’s “How We Invented the World,” a four-part series that retraces the roots of the invention of certain modern marvels. The Discovery show is decent documentary filler, with some interesting facts and anecdotes sprinkled throughout, but its lazy writing and leaps in logic will disappoint viewers who are expecting something to rival the earlier series.

The premiere episode, which airs Tuesday, March 19, at 9 p.m., is about cell phones, the history of which, according to the narrator, Mike Rowe, includes such ingredients as “the world’s most beautiful woman,” “the inspiration for ‘Frankenstein’ ” and ” history’s most famous iceberg.”

The first item on that list refers to the Austrian-born Hollywood actress Hedy Lamarr, who tried to help the Allied war effort during World War II by designing a more secure method for sending signals to radio-controlled torpedoes. Invented with the help of a partner, this system, based on player-piano rolls, would allow rapid switching between radio frequencies.

Although the U.S. Navy didn’t adopt the technology, the narration tells us, a similar system allows cell phones to communicate with greater security.

The inspiration for “Frankenstein” is an experiment conducted in the early 19th century by a scientist named Giovanni Aldini, who succeeded in making the corpse of a recently hanged man move by applying electric shocks from batteries. The connection here, buried in a lot of verbiage, is that cellphones also use batteries. So the same anecdote could be reused in the future episodes that will discuss airplanes and cars, which have batteries as well.

History’s most famous iceberg is, of course, the one that sunk the Titanic. We learn that the young man who was in charge of the ship’s wireless telegraph had received a message from the nearest ship, the California, that a field of icebergs lay ahead. After he passed that message on to the bridge, the California continued to broadcast warnings, thus blocking the frequency for the Titanic’s outgoing messages.

The Titanic’s radio operator finally tapped out, “Shut up,” to the California’s operator, who went to bed, thus leaving the ship’s radio unmanned when the Titanic began broadcasting distress signals.

The disaster prompted regulations that led to some improvements in technology. Because of the many misleading rumors that circulated by radio, the government required that amateur radio operators be limited to shortwave frequencies, which have a shorter range. In response, amateurs developed a relay system much like the networks of towers that carry cell-phone signals today.

In addition to these connections, some of which are more tenuous than others, the episode presents some straightforward history. We hear the story of how Motorola developed the first portable phone in defiance of the current monopolist, AT&T, and how a scientist hacked his cell phone and his camera so that he could use the phone to post delivery-room photos of his newborn daughter on the internet.

The story of a man who was warned of the 2004 tsunami via a taxi driver’s cell phone and then used his own phone to shoot video and send photos of survivors to their families is worth hearing, but it has nothing to do with how the cell phone was invented.

The talking heads providing sound bites aren’t always enlightening. A SWAT guy participating in a training exercise expresses his gratitude to Hedy Lamarr for his secure means of communication, but one has the feeling he’s been coached a little.

The usual reenactments are silly to varying degrees. The actor playing the twitching corpse works hard. The actress playing Lamarr is dressed as if she were about to head out to the Brown Derby, but then we see her sketching scientific plans on her boudoir table.

Judging by this first episode, “How We Invented the World” isn’t a waste of time, but it’s nothing to phone home about.

http://www.medialifemagazine.com/how-we-invented-the-world-sorta/
post #85778 of 87336
Quote:
Originally Posted by dad1153 View Post

Legal Notes
Supreme Court Refuses to Hear Streaming TV, Music Piracy Cases
By Ira Teinowitz, TheWrap.com - Mar. 18, 2012

The Supreme Court without comment rejected attempts to overturn two big entertainment cases on Monday.

In one, TV networks and TV station owners won a court order that effectively shut down Seattle pay-TV service ivi’s effort to offer viewers TV signals over the web without paying broadcasters retransmission fees.

While ivi argued it was acting no different than a cable system in giving viewers access to programming for a $4.99 a month package, broadcasters argued that it had acted illegally in retransmitting signals without permission.

Ivi, whose appeal of the district court ruling to the 2nd Circuit Court of Appeals was rejected in 2012 had asked the Supreme Court to overturn the case, suggesting the appellate court had failed to properly examine the question of whether the company was acting as a cable system.

Hmmm.. isn't this the same thing Aereo is doing? Would this decision also apply to them too in the current appeals? I know it's a different appeals court but this sets a precedent.
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MONDAY'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 Overnights (18-49)
Bigger bow for ‘Dancing with the Stars’
Veteran ABC reality show grows 24 percent over last fall
By Toni Fitzgerald, Media Life Magazine - Mar. 19, 2013

Season 16 of ABC’s “Dancing with the Stars” is off to a much more promising start than season 15.

Last night’s two-hour premiere averaged a 3.1 adults 18-49 rating at 8 p.m., according to Nielsen overnights, up 24 percent over last fall’s bow.

The show was the highest-rated program on broadcast last night in the demo, and it averaged 16.7 million total viewers, better than all but one edition of Fox’s “American Idol,” TV’s top reality show, this season.

It was undoubtedly a relief for ABC, which saw “Stars” fall to series lows last fall with an all-star edition. Last night’s strong premiere indicates it may have been the format and not the show that led to last fall’s declines.

Still, “Stars” was down from last spring’s bow, which drew a 3.5.

The return of “Stars” appeared to hurt ratings for CBS’s comedies, three of which saw declines from their most recent original episodes three weeks ago: “How I Met Your Mother” (2.9, off 12 percent); “2 Broke Girls” (series-low 2.7); and “Mike & Molly” (season-low 2.4).

Several other shows also saw notable gains last night.

NBC’s season finale of “The Biggest Loser” shot up 30 percent from last week to a 2.6. It was also up 18 percent over last year’s finale, when the show aired on a Tuesday and not Monday.

That boosted lead-out “Deception” to its best rating since Jan. 21, a 1.3.

And on the CW, “The Carrie Diaries,” which is on the bubble for renewal, posted its highest-rated episode among 18-49s (0.5) and 18-34s (0.6) in five weeks.

ABC was first for the night among 18-49s with a 2.8 average overnight rating and a 7 share. CBS was second at 2.4/6, NBC and Fox tied for third at 2.2/6, Univision was fifth at 1.5/4, Telemundo sixth at 0.6/2 and CW seventh at 0.3/1.

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

At 8 p.m. ABC led with a 3.0 for “Stars,” followed by CBS with a 2.5 for “Mother” (2.9) and “Rules of Engagement” (2.2). NBC was third with a 2.4 for “Loser,” Fox fourth with a 2.0 for “Bones,” Univision fifth with a 1.3 for “Porque el Amor Manda,” CW sixth with a 0.5 for “Carrie” and Telemundo seventh with a 0.4 for “Pasion Prohibida.”

ABC was first again at 9 p.m. with a 3.1 for more “Stars,” while NBC moved to second with a 2.8 for more “Loser.” CBS was third with a 2.6 for “2 Broke Girls” (2.7) and “Mike & Molly” (2.4), Fox fourth with a 2.4 for “The Following,” Univision fifth with a 1.6 for “Amores Verdaderos,” Telemundo sixth with a 0.8 for “La Patrona” and CW seventh with a 0.2 for a repeat of “Hart of Dixie.”

At 10 p.m. ABC finished first with a 2.2 for “Castle,” followed closely by CBS with a 2.1 for “Hawaii Five-0.” Univision was third with a 1.4 for “Amor Bravio,” NBC fourth with a 1.3 for “Deception” and Telemundo fifth with a 0.5 for “El Rostro de la Venganza.”

ABC also led the night among households with a 9.5 average overnight rating and a 15 share. CBS was second at 5.1/8, Fox third at 4.4/7, NBC fourth at 3.7/6, Univision fifth at 1.8/3, Telemundo sixth at 0.8/1 and CW seventh at 0.5/1.

http://www.medialifemagazine.com/bigger-bow-for-dancing-with-the-stars/

* * * *

TV Notes
‘Splash,’ alas, unlikely to make one
Stars learn how to do platform dives. Sound familiar?
By Louisa Ada Seltzer, Media Life Magazine - Mar. 19, 2013

Already one show about celebrity divers has done a belly flop on broadcast this season.

But in a reminder that there are very few original ideas on television, along comes a second program about celebrity divers premiering tonight at 8 p.m. on ABC.

“Splash” follows the usual group of D-list celebs looking for another five minutes of fame, including Kareem Abdul-Jabbar, comedian Louie Anderson, “Baywatch’s” Nicole Eggert and “The Cosby Show’s” Keshia Knight Pulliam.

The celebrities have been training for weeks to compete on the springboard and platform diving boards.

This is a bit different from Fox’s “Stars in Danger: The High Dive,” a one-time special that aired in January. On that show the diving was played for laughs and the stars were lightly ridiculed.

But ABC’s take on the diving challenge is more like “Dancing with the Stars.” The 10 amateur divers have been paired with professionals, and they’ll be competing against each other for scores each week in front of professional judges, including Greg Louganis, the Olympic gold medal champ.

The chances of “Splash” actually drawing good ratings are dim, however. “Stars in Danger” mustered a mere 1.3 adults 18-49 Nielsen rating in January, and “Splash” airs on a night, Tuesday, where ABC has struggled mightily at midseason.

After a slew of midseason misses for ABC, if “Splash” makes it through its entire run without getting yanked, that may be the most success the network can hope for.

http://www.medialifemagazine.com/splash-alas-unlikely-to-make-one/
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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Mar. 19, 2013

NCAA BASKETBALL TOURNAMENT
TruTV, 6:40 p.m. ET

The “First Four,” as the games for final qualifiers looking to make it into this year’s NCAA basketball tourney are called, feature eight teams who have to win one “play-in” game to advance to spots held for them in the final bracket. Two games are shown tonight, two more tomorrow, all on TruTV. (Get used to finding basketball in unusual places this month). Tonight’s games: North Carolina AT&T vs. Liberty at 6:40 p.m. ET, followed by Middle Tennessee vs. Saint Mary’s at 9:10 p.m. ET.

NEW GIRL
Fox, 9:00 p.m. ET

This episode is a follow-up to “the kiss,” in which Jess (Zooey Deschanel) and Nick (Jake Johnson) stopped being platonic roommates – but only for one long, revealing, impulsive passionate embrace. On tonight’s new episode, Jess, once again, gets mushy – but this time it’s because her brain’s a little mushy, too, a side effect of her pain meds.

HOW WE INVENTED THE WORLD
Discovery, 9:00 p.m. ET
SERIES PREMIERE:
This new series about interconnected scientific discoveries asks how the smartphone was made possible by, for example, Frankenstein’s monster, movie star Hedy Lamarr, and the Titanic? There’s no need asking, though how they invented How We Invented the World. In theory, it’s a ripoff of James Burke’s classic science series of the 1970s, Connections.

SMASH
NBC, 10:00 p.m. ET

The biggest diva on this show, right now, is the one played by guest star Sean Hayes, who’s playing a popular comic actor with a huge ego and a sudden compulsion (fed by Megan Hilty’s Ivy) to take acting seriously. Is the transition working? Based on this point in the rehearsals for Les Liaisons Dangereuses, the answer is a resounding no. And over at rehearsals for Bombshell, and for the other show within this show, Hit List, things aren’t so great, either.

JUSTIFIED
FX, 10:00 p.m. ET

I’ve seen the previews, so calling this week’s show an explosive episode is by no means an exaggeration. There’s one point where a lot of things, in the words of those Farm Film Report guys from SCTV, “blow up real good.” Could you expect any less, with Boyd and the Detroit mob on one side, and Raylan and the elusive Drew Thompson on the other? What a show.


http://www.tvworthwatching.com/
post #85782 of 87336
Quote:
Originally Posted by dad1153 View Post

On The Air Tonight

8PM - Solash (Series Premiere)
typo up there
Quote:
9PM - Go On (R - Jan. 15)
9:30PM - The New Normal (R - Jan. 15)
According to tvguide.com, titantv.com, and nbc.com, there are new episodes tonight for both of those series.

Otherwise, Dad1153, thank you as always.
post #85783 of 87336
Nielsen Notes
National Ratings For ‘Downton Abbey’ Confirm It’s PBS’ Highest-Rated Drama Ever
By Nancy Tartaglione, Deadline.com - Mar. 19, 2013

Downton Abbey‘s third-season opener and closer on Masterpiece Classic strongly outpaced ratings for comparable Season 2 shows — the February 17 finale even beat all of its broadcast and cable competition in primetime. So, it’s no surprise that national household ratings for the entire season were record-breakers. In news that might make even Carson crack a smile, PBS and WGBH said today that a total of 24M viewers tuned in to visit with the Crawley family over seven weeks of Season 3 episodes. That’s a 7M-viewer increase from last year and makes the show PBS’ highest-rated drama ever. The season had a 7.7 average and an average season audience of 11.5M viewers, according to Nielsen Live+7 data. Those figures are up 64% and 65%, respectively, over Season 2. On the UK’s ITV, Season 3 was also the biggest so far and had an overall average of 9.7M viewers.

The figures are notable given the high-stakes spoilers that were parading around the Internet while the show was airing in the UK ahead of its U.S. broadcast. They also set up quite a challenge for Season 4, which is currently shooting with a series of new castmembers — and sans some important ones who ducked out last year.

Via PBS’ online and mobile services, full episodes of Season 3 have been viewed 9.7M million times, an increase of 2.1M views over Season 2. The Masterpiece website also had more visitors on the day after the Season 3 finale than any day in its history. And, the season has also been the No. 1 show on both iTunes and Amazon Instant Video since the January 7 launch.

http://www.deadline.com/2013/03/national-ratings-for-downton-abbey-confirm-its-pbs-highest-rated-drama-ever/
Edited by dad1153 - 3/19/13 at 10:03am
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Obituary
'Homeland' Writer-Producer Henry Bromell Dies of Heart Attack
By Lacey Rose, The Hollywood Reporter - Mar. 19, 2013

Homeland executive producer Henry Bromell has died of a heart of attack.

The acclaimed writer/producer had been part of the Emmy-winning drama’s six-member writing staff since its first season. In addition to a rich resume, which includes Northern Exposure, Homicide: Life on a Street, Chicago Hope, Rubicon and Showtime’s Brotherhood, Bromell, 66, brought with him personal experience as his father had worked for the CIA.

"We were lucky to work with Henry on and off for the past 18 years. He was a supremely talented writer and as kind and warm a person as you could ever meet. He will be deeply missed at the studio and on Homeland. Our hearts and prayers go out to his wife and children," studio Twentieth Century Fox TV and Fox 21 said in a statement Tuesday morning.
In recent months, Bromell had been particularly involved in luring new staff members to the Homeland’s writers room ahead of the show’s third season. Among the hires: James Yoshimura, who had worked with Bromell years earlier on Homicide.

Like much of the Showtime drama’s pedigreed staff, he had been blown away with the show’s breakout success, which included a string of award show acclaim for the series as well as its cast.

“When we were writing the first season, we had no idea this would hit the zeitgeist. We were trying to write a really good television show. The last time this happened to me was on Northern Exposure. First it was the reviews, and then it was President Obama is watching. It’s cool, but then it’s, ‘Oh god, now we’re going to let everyone down,’” he told The Hollywood Reporter during a 2012 set visit for the fifth episode of the Emmy-winning drama’s second season, which Bromell had written.

He noted at the time that his “secret fantasy” was that the episode would win star Damian Lewis an Emmy.

Bromell is survived by his wife, Sarah, and two sons.

http://www.hollywoodreporter.com/news/homeland-writer-producer-henry-bromell-429701
Edited by dad1153 - 3/19/13 at 10:03am
post #85785 of 87336
Quote:
Originally Posted by dattier View Post

typo up there
According to tvguide.com, titantv.com, and nbc.com, there are new episodes tonight for both of those series.

Ooops, sorry 'bout that. tongue.gif It's fixed.
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Quote:
Originally Posted by dad1153 View Post

Ooops, sorry 'bout that.  It's fixed.
Molto grazie.
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TV Notes
New CBS/Showtime hype for Floyd Mayweather
By Michael Hiestand, USA Today - Mar. 19, 2013

Having surprised the boxing world by grabbing Floyd Mayweather from HBO, CBS-owned Showtime will today announce its plan to hype the boxing superstar's Showtime pay-per-view debut May 4 against Robert Guerrero.

CBS/Showtime, including re-airs, will have more than 100 hours of boxing fight replays and new documentary content on Mayweather -- including 20 original hours.

The Mayweather programming will include a prime-time documentary April 3 on Showtime that will detail the boxer's stint in prison last year, a four-part All-Access series starting April 10 as well as a prime-time special on CBS on April 27.

Independent producer Ross Greenburg, a former president of HBO Sports who produced Mayweather documentaries for HBO, will for the first time be involved in Showtime boxing programming.

What Showtime has lined up seems like the type of programming HBO pioneered to hype its fights.

"It should feel a little different than what we did at HBO," Greenburg tells USA TODAY Sports. "But it's still about following the obvious major stories around this fight. And you have a built-in reality TV star in Floyd Mayweather."

http://www.usatoday.com/story/sports/columnist/hiestand-tv/2013/03/19/boxing-floyd-mayweather-showtime-cbs/1999585/
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Nielsen Notes (Cable)
‘Bates Motel’ Premiere Hits A&E Drama High
By Dominic Patten, Deadline.com - Mar. 19, 2013

Guess a lot of people are checking in to A&E Network’s Bates Motel. The premiere of the Psycho prequel series last night pulled in 3 million viewers for its 10 PM debut. Bates Motel garnered 1.599 million viewers among Adults 18-49 and 1.633 million among Adults 25-54 demographic. Those Monday results make the new series the most watched original drama in the key demos in the network’s history. The previous demo drama high for A&E was the debut of Breakout Kings on March 6, 20111 which received 1.564 million viewers among the 25-54 and 1.522 million among the 18-49.

Bates Motel ended up getting 4.6 million viewers overall Monday with an encore airing after the original premiere. Put together, that gave Bates 2.5 million in Adults 25-54 and 2.4 million among Adults 18-49. The series details the dark backstory of Norman Bates (Freddie Highmore) and how deeply intricate his relationship with his mother, Norma (Vera Farmiga), truly is.

http://www.deadline.com/2013/03/bates-motel-premiere-hits-ae-drama-high/
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TV Notes
'One Life To Live' Story Details, 'All My Children' Time Jump Confirmed
By HuffingtonPost.com - Mar. 19, 2013

"One Life to Live" story details have been revealed!

The soap returns to life along with "All My Children" on April 29, but there are a few key pieces of info fans should know before heading back to Llanview and Pine Valley, according to production company Prospect Park.

When "All My Children" returns to life, the series will be set approximately five years in the future from the time the last episode aired in September 2011. "One Life to Live," which ended in January 2012, will have advanced in real time.

Both soap operas return on Monday, April 29 and will be available on Hulu, Hulu Plus and iTunes with new 30-minute episodes.

“I am so pleased that our dream of bringing these two series back to life is coming to fruition," "AMC" and "OLTL" creator Agnes Nixon said in a statement when the premiere dates were announced. "I am grateful to Prospect Park for their unwavering commitment to this project and to the amazingly talented casts of ‘All My Children’ and ‘One Life to Live’ -- their devotion to these franchises has made this moment possible. And to the fans – well, we wouldn’t be here without you."

Check out a teaser trailer from Hulu below. [CLICK LINK]

http://www.huffingtonpost.com/2013/03/19/one-life-to-live-story-details_n_2906794.html?utm_hp_ref=tv
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Technology/Business Notes
Unwanted Electronic Gear Rising in Toxic Piles
By Ian Urbina, The New York Times - Mar. 19, 2013


Discarded televisions and computers in Philadelphia. (Mark Makela for The New York Times)

Last year, two inspectors from California’s hazardous waste agency were visiting an electronics recycling company near Fresno for a routine review of paperwork when they came across a warehouse the size of a football field, packed with tens of thousands of old computer monitors and televisions.

The crumbling cardboard boxes, stacked in teetering rows, 9 feet high and 14 feet deep, were so sprawling that the inspectors needed cellphones to keep track of each other. The layer of broken glass on the floor and the lead-laden dust in the air was so thick that the inspectors soon left over safety concerns. Weeks later, the owner of the recycling company disappeared, abandoning the waste, and leaving behind a toxic hazard and a costly cleanup for the state and the warehouse’s owner.

As recently as a few years ago, broken monitors and televisions like those piled in the warehouse were being recycled profitably. The big, glassy funnels inside these machines — known as cathode ray tubes, or CRTs — were melted down and turned into new ones.

But flat-screen technology has made those monitors and televisions obsolete, decimating the demand for the recycled tube glass used in them and creating what industry experts call a “glass tsunami” as stockpiles of the useless material accumulate across the country.

The predicament has highlighted how small changes in the marketplace can suddenly transform a product into a liability and demonstrates the difficulties that federal and state environmental regulators face in keeping up with these rapid shifts.

“Lots of smaller recyclers are in over their heads, and the risk that they might abandon their stockpiles is very real,” said Jason Linnell of the Electronics Recycling Coordination Clearinghouse, an organization that represents state environmental regulators, electronics manufacturers and recyclers. In February, the group sent a letter to the Environmental Protection Agency asking for immediate help dealing with the rapidly growing stockpiles of the glass, much of which contains lead.

With so few buyers of the leaded glass from the old monitors and televisions, recyclers have collected payments from states and electronics companies to get rid of the old machines. A small number of recyclers have developed new technology for cleaning the lead from the tube glass, but the bulk of this waste is being stored, sent to landfills or smelters, or disposed of in other ways that experts say are environmentally destructive.

In 2004, recyclers were paid more than $200 a ton to provide glass from these monitors for use in new cathode ray tubes. The same companies now have to pay more than $200 a ton to get anyone to take the glass off their hands.

So instead of recycling the waste, many recyclers have been storing millions of the monitors in warehouses, according to industry officials and experts. The practice is sometimes illegal since there are federal limits on how long a company can house the tubes, which are environmentally dangerous. Each one can include up to eight pounds of lead.

The scrap metal industry estimates that the amount of electronic waste has more than doubled in the past five years.

A little over a decade ago, there were at least 12 plants in the United States and 13 more worldwide that were taking these old televisions and monitors and using the cathode ray tube glass to produce new tubes. But now, there are only two plants in India doing this work.

In 2009, after television broadcasters turned off their analog signals nationwide in favor of digital, millions of people threw away their old televisions and replaced them with sleeker flat-screen models. Since then, thousands of pounds of old televisions and other electronic waste have been surreptitiously unloaded at landfills in Nevada and Ohio and on roadsides in California and Maine.

Most experts say that the larger solution to the growing electronic waste problem is for technology companies to design products that last longer, use fewer toxic components and are more easily recycled. Much of the industry, however, seems to be heading in the opposite direction.

Cathode ray tubes have been largely replaced by flat panels that use fluorescent lights with highly toxic mercury in them, said Jim Puckett, director of Basel Action Network, an environmental advocacy group. Used panel screens from LCD televisions and monitors, for example, do not have much recycling value, so many recyclers are sending them to landfills.

State and federal environmental policies have also become victims of their own success. Over the past decade, environmental regulators have promoted “take-back” programs to persuade people to hand in the more than 200 million old televisions and broken computer monitors that Americans are thought to have stored away in closets, garages and basements.

The same programs have courted businesses to divert their electronic waste away from landfills to avoid the hazardous chemicals in this toxic trash from leaching into groundwater. More than 290,000 tons of the high-tech castoffs are now directed away from landfills and toward recyclers each year.

“The problem now is that the collection of this waste has never been higher, but demand for the glass that comes from it has never been lower,” said Neil Peters-Michaud, the chief executive of Cascade Asset Management, a recycling company.

Roughly 660 million pounds of the glass is being stored in warehouses across the country, and it will cost $85 million to $360 million to responsibly recycle it, according to a report released in December by TransparentPlanet, an organization focused on electronic waste research.

The stockpiling problem is especially worrisome to electronics companies and to state and federal officials since they might have to pick up part of the tab if the stockpiles were abandoned and declared federal Superfund sites.

At least 22 states have laws that make electronics manufacturers like Sony, Toshiba and Apple financially responsible for recycling their old products. But lack of oversight of these programs has led to rampant fraud. In one tactic, quietly known in the industry as “paper transactions,” recyclers buy paperwork to indicate that they collected a certain amount of electronic waste that they never actually collected.

The Obama administration, more than any of its predecessors, has strengthened oversight of electronic waste. In 2012, the General Services Administration enacted rules discouraging all agencies and federal contractors from disposing of it in landfills. The federal government, which is among the world’s largest producer of electronic waste, disposes more than 10,000 computers a week on average.

Federal agencies are failing to sufficiently track their electronic waste, and large amounts of it are still being disposed of through public or online auctions, according to a Government Accountability Office report last year. In these auctions, the waste is often sold to a first layer of contractors who promise to handle it appropriately, only to have the most toxic portion subsequently sold to subcontractors who move it around as they wish.

Some of this waste is dumped illegally in developing countries, the G.A.O. found. Congress is considering legislation to ban certain types of unprocessed and nonworking electronics and electronic waste from being exported to developing countries from the United States.

Recyclers say there is still money to be made on processing the old monitors and televisions if companies charge a price that more genuinely reflects the expense of disposing of the glass properly. But practices like “greenwashing,” whereby companies pretend to engage in environmentally responsible disposal practices, hinder such progress.

“They’re skimming off the computers, cellphones and printers that can be recycled profitably because they have more precious metals,” said Karrie Gibson, the chief executive of Vintage Tech Recyclers. “Then they stockpile the CRTs, or dump it in landfills or abroad.”

The sheer quantity of the glass accumulating at some recycling plants has contributed to environmental and workplace safety problems. In Yuma, Ariz., for example, Dlubak Glass, one of the country’s largest recyclers of glass from televisions and monitors, found itself overwhelmed.

When state regulators visited the site in 2009, they found a mountain of the lead-rich glass, several stories tall. Dust from the shimmering mound of recycled glass had contaminated the surrounding soil, including a nearby orchard, with lead at 75 times the federal limit, according to state documents.

“We have it entirely under control now,” said Herb Schall, a Dlubak plant manager.

In September, California passed an emergency measure allowing companies to send monitors and televisions to hazardous landfills for the next two years.

Charlotte Fadipe, a spokeswoman for the California Department of Toxic Substances Control, said her office’s investigation of the abandoned warehouse near Fresno is continuing, and investigators are still trying to locate Charles Li, the owner of the company, TRI Products.

Over the past four years, TRI has been paid more than $1 million by the state to recycle electronic waste from local schools, hospitals and federal agencies, including the F.B.I., the I.R.S. and Immigration and Customs Enforcement, according to state and company documents.

After a reporter found him to be running another electronic waste disposal company, Mr. Li did not respond. But when he was contacted online by another recycler and asked whether he was still looking to buy electronic waste, he immediately replied yes, with one caveat.

“Right now, we can take PC, server, telephone, printer and household e-waste,” he wrote. “I cannot take your CRT/TV as e-waste because we don’t have equipment to recycle the tubes.”

http://www.nytimes.com/2013/03/19/us/disposal-of-older-monitors-leaves-a-hazardous-trail.html?hp&_r=0
Edited by dad1153 - 3/19/13 at 11:30am
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Business Notes
End of an era for Daily Variety
Lots of Hollywood honchos need to change their reading habits: The Tuesday edition is Daily Variety's last. Instead, the industry news source is focusing on its website and weekly magazine.
By Joe Flint, Los Angeles Times - Mar. 19, 2013

Leslie Moonves has had the same morning routine for decades.

"The first thing I do after getting out of the shower is pick up Daily Variety and have a cup of coffee," the CBS Corp. chief executive said. "It's a 30-year habit."

That habit is ending for Moonves and lots of other Hollywood power players, movie and television stars, producers and publicists and thousands of wannabes: Daily Variety is ceasing as a print publication after almost 80 years. Tuesday's edition is its last.

The decision shows that Daily Variety has had to grapple with the forces reshaping the industry it covers. Just as the entertainment business has had to adapt to changing media consumption habits, so have the outlets that cover it.

"They're getting out of the buggy whip business," said Stan Rosenfield, a veteran Hollywood publicist whose client list includes George Clooney and Robert De Niro.

So Variety is doing what all aging Hollywood stars do when they want to feel better about themselves: It's getting an expensive makeover. The website has been redesigned and is now free to access. Starting next week, a revamped version of the 108-year-old weekly edition of Variety will make its debut.

The green-logo Daily Variety, the West Coast publication of the older red-logo weekly Variety, was long known for its catchy headlines and insider language such as "ankled" for an executive leaving a job and "boffo" for a big box-office result. Rising in importance as the film business came of age in Los Angeles and the music and TV businesses increasingly left New York, the trade delivered daily doses of box-office, ratings, casting and executive-shuffle news.

Daily Variety even became a Hollywood star itself. The paper often popped up in TV shows and movies, most recently having a cameo in the Oscar-winning "Argo."

Getting a mention in Daily Variety was a sign that one had arrived. Moonves, who was an actor before becoming an executive, even once took out his own quarter-page ad to commemorate his guest-starring appearance on TV's "The Six Million Dollar Man."

"It was a huge investment in my future," he cracked.

With more readers getting their news from the Internet, the print version of Daily Variety has become passe and less profitable. Advertising revenue at the paper has dropped dramatically over the last several years, and a move to charge for Variety's content online drove customers to the free websites of its chief rivals Deadline Hollywood and the Hollywood Reporter. Variety made about $6 million last year, a far cry from the more than $30 million it made in 2006.

"We were delivering a print product telling you stories you've already read on our website," Variety Publisher Michelle Sobrino said. "Financially it didn't make sense."

Engineering the overhaul of Variety is Jay Penske, the 34-year-old son of auto parts billionaire Roger Penske, who acquired the publication last October for $25 million from Reed Elsevier. Penske first made a splash in Hollywood in 2009 when he spent several million dollars for Deadline.com, the entertainment industry blog edited by the hard-charging and vitriolic Nikki Finke.

Penske's strategy with Variety is similar to the one employed by the Hollywood Reporter, which stopped publishing its daily print edition in 2010 in favor of a glossy weekly magazine and souped-up website.

Whereas the Hollywood Reporter tries to appeal to both show business insiders and those who love the glamour of Hollywood — a recent cover story was about stylists to the stars — Variety plans to keep its coverage focused sharply on the inner workings of the entertainment industry.

"We want to dedicate ourselves to producing a print product that this industry wants to read," Sobrino said. "You're going to see Variety have a point of view and much deeper analysis."

Sobrino has been giving sneak peeks of the new publication around town. So far it is getting a thumbs-up from those who have seen it.

"I get a sense that they are going to emphasize in-depth news stories and also increase their coverage of the digital space," said John Solberg, a senior vice president at the News Corp.-owned cable channel FX. "It's a nice layout, and the design really looks good."

Good looks don't guarantee a payoff. Although profits have shrunk at Variety, the daily edition was still able to command as much as $60,000 for an advertisement and had a circulation of 28,000. (The weekly Variety has a circulation of about 30,000.) Ads on its and rivals' websites are much cheaper.

"That money has to be made up somewhere," publicist Rosenfield said.

Sobrino thinks the new weekly publication will be able to carry the load. "We're delivering a far superior product compared to anything we've ever delivered," she said.

Variety has been beefing up its editorial staff both to make sure its website is competitive and to create fresh content for the magazine. Recent hires include Scott Foundas, the well-regarded film critic formerly of the Village Voice.

Although a case could be made for combining Variety and Deadline, since both are fighting for the same scoops and the same eyeballs, Sobrino said the two "will remain separate and distinct."

Indeed, one would never know from reading Deadline.com that it and Variety are now owned by the same parent. Finke has never been shy about criticizing Variety and other Hollywood trades and when the plans to shut Daily Variety in favor of a bigger Web presence and the weekly magazine were unveiled, the story about it on Deadline bore the headline, "Can This Failing Trade Be Saved?"

Asked about Finke's caustic coverage of Variety's efforts to revitalize itself, Sobrino declined to comment.

Although much of Hollywood is now accustomed to getting its news on computers, tablets and phones, Wednesday will still be an adjustment for those used to starting their day with the industry's last remaining trade daily.

"Being an old-timer, I still like to hold things in my hand," Moonves said. "Now in the morning it'll just be me and my BlackBerry."

http://www.latimes.com/entertainment/envelope/cotown/la-fi-ct-variety-20130319,0,1372906,full.story
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Quote:
Originally Posted by dad1153 View Post

TV Notes
'One Life To Live' Story Details, 'All My Children' Time Jump Confirmed
By HuffingtonPost.com - Mar. 19, 2013

"One Life to Live" story details have been revealed!

The soap returns to life along with "All My Children" on April 29, but there are a few key pieces of info fans should know before heading back to Llanview and Pine Valley, according to production company Prospect Park.

When "All My Children" returns to life, the series will be set approximately five years in the future from the time the last episode aired in September 2011. "One Life to Live," which ended in January 2012, will have advanced in real time.

Both soap operas return on Monday, April 29 and will be available on Hulu, Hulu Plus and iTunes with new 30-minute episodes.

“I am so pleased that our dream of bringing these two series back to life is coming to fruition," "AMC" and "OLTL" creator Agnes Nixon said in a statement when the premiere dates were announced. "I am grateful to Prospect Park for their unwavering commitment to this project and to the amazingly talented casts of ‘All My Children’ and ‘One Life to Live’ -- their devotion to these franchises has made this moment possible. And to the fans – well, we wouldn’t be here without you."

Check out a teaser trailer from Hulu below. [CLICK LINK]

http://www.huffingtonpost.com/2013/03/19/one-life-to-live-story-details_n_2906794.html?utm_hp_ref=tv

They will be producing these shows at the CT Film Center in Stamford, CT which I drive by every day. They were having a party on the street corner yesterday outside the studio announcing their return.
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TV Notes
'Enlightened' Canceled by HBO
By Tim Kenneally, TheWrap.com - Mar. 19, 2013

"Enlightened" is no more.

HBO has canceled the drama-comedy, which starred Laura Dern, after two seasons.

"It was a very difficult decision," the network said. "We’ve decided not to continue 'Enlightened' for a third season. We’re proud of the show and we look forward to working with Mike White and Laura Dern in the future."

The second, eight-episode season of "Enlightened" wrapped in early March.

Created by "The School of Rock" writer Mike White, "Enlightened" starred Dern as Amy Jellicoe, who decides to become an agent of change after suffering a mental breakdown.

Luke Wilson and Diane Ladd also starred.

Though the series had its fans, "Enlightened" failed to capture much of an audience. With its Seaon Two premiere in January, the series drew just 300,000 viewers, which though small, was a 43 percent boost over the series premiere.

http://www.thewrap.com/tv/article/enlightened-canceled-hbo-81846
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Critic's Notes
Why Broadcast Networks Can’t (or Won’t) Make a New Reality Hit
By Josef Adalian, Vulture.com - Mar. 19, 2013

More than a decade after Survivor altered the TV landscape forever, reality TV continues to be a potent weapon for broadcasters: Last week, the top-rated shows on ABC, Fox, and NBC were all unscripted series. But here's what's not so great: Those three shows — The Bachelor, American Idol, and The Biggest Loser — were all conceived during or before George W. Bush’s first administration. There's nothing wrong with enduring franchises. But while cable seems to invent a new reality phenom every other month, the Big Four haven't launched an unscripted success since 2011, the year of the Idol-inspired The Voice (NBC) and The X Factor (Fox). CBS's last breakout reality hit was 2010's Undercover Boss, and ABC has been unable to come up with an unscripted game-changer since 2008's Wipeout, though 2009's Shark Tank has grown into a solid success over time. (ABC's newest attempt, the celebrity-diving competition show Splash, debuts tonight.) So what's behind what one network insider concedes is a "crisis of confidence" for broadcast reality? Vulture talked to multiple reality producers and executives; based on what they told us, we came up with five factors that may be contributing to the dry spell.

1. Networks don't step up to the plate enough.
While cable has seemingly unlimited shelf space for launching new unscripted shows, broadcast real estate is much more limited. Think about it: Cable schedules most of its original series in bursts of six, ten, or thirteen episodes, resulting in prime-time lineups that change every few months, allowing for plenty of chances to try out something new. Broadcasters are still largely wedded to an ancient nine-month schedule in which the goal is to keep the same number of shows in the same slot week after week, year after year. What's more, advertisers generally pay less for commercial time during unscripted material than they do during scripted. That’s a major reason that networks try to limit reality shows to "one third to one fourth of their schedules," according to one industry insider. And the number of potential at-bats for new unscripted series is actually even smaller because established hits from the reality boom days (American Idol, The Bachelor, The Amazing Race, Celebrity Apprentice, et al) refuse to die, and some, like Idol, can gobble up to three hours out of a network’s weekly schedule. "Every network has several of these shows," says Mike Darnell, president of Fox's alternative division. "They take up a lot of hours, they cover a lot of holes … and in this age, they're still doing a good number." And when you’ve got a hit, even if it’s not as strong as it used to be, it doesn’t make sense to let it go. John Saade, ABC's executive VP in charge of alternative and late-night programming, says keeping these veteran series healthy has become "a big part" of the job for reality execs. "The shows that are working have become sports leagues," he says. "They keep going and going and going in a way scripted shows don't."

But while it's logical that nets would invest so much energy in keeping these old flames burning, limiting the number of new show launches makes it that much harder to come up with the next big success for when the old standbys finally fade. A cable network such as TLC produces hit after hit in part because it throws out dozens of reality concepts every year: For every Here Comes Honey Boo Boo, there are two or three flops like Sin City Rules or Starter Wives. By contrast, the Big Four broadcasters will have unveiled just six unscripted concepts combined by the time the season ends in May: Four series (CBS's already-dead The Job; ABC's The Taste, Splash, and Bet on Your Baby; NBCs Ready for Love) and one special (Fox's Stars in Danger: The High Dive). The networks will try out more new shows in the summer, but even with those projects, the overall tally of new reality is still relatively tiny. What's more, while networks don’t hesitate to spend literally tens of millions each year on expensive drama and comedy pilots — most of which will never see the light of day — executives seem unwilling to shell out even a fraction of that amount on unscripted pilots. Says one veteran reality producer, "If you get them to be really frank, they'll admit they have a hard time getting [their bosses] to pilot and do new things.”

2. When networks do develop new shows, they play it safe.
It used to be easy for reality execs to take chances and try something new because, during the early years of the modern reality era, such gambles usually resulted in success. "Any idea would pop, and at least a portion of the audience would be interested," Darnell says. ABC's Saade notes that at least one out of every two shows launched back in the early aughts would work, and he's probably being conservative. Because reality had such a high rate of success, it was relatively easy for alternative execs to convince their bosses to roll the dice. Cheesy celebs doing ballroom dancing? Why not! A dating show where suitors wore masks to hide their looks? Let's do it! In other words, taking chances wasn't actually all that risky.

But these days, network reality shows seem to have the same success/failure ratio as scripted series: Most fail, few break out big. And since reality execs get far fewer at-bats than their drama and comedy peers — NBC will have launched ten scripted shows by the end of this season, and just one new reality series — the stakes are that much higher. Programmers "land in a safety zone. They say, 'Let's do stuff we've seen before'," one reality vet admits. "It's just like with dramas, where it's like, 'Let's do another forensic show or procedural.' There's a safety net [in doing the familiar]." After all, if a "safe" idea fails — the seventh music competition or yet another twist on The Bachelor — it's easy to blame it on poor marketing or a tough time slot. But if an exec tries something radical and viewers don't show up, the postmortem might easily focus on why anyone thought something so different had a shot at working. "This whole business puts you in a scaredy-cat place," another unscripted insider laments. "It's hard to try to stay fearless." Andy Dehnart, who's been covering unscripted TV via his Reality Blurred website for more than a decade, argues the networks' cautiousness ignores the recent history of the form. "They rarely take chances, which is both unsurprising and ironic, considering how Survivor was rejected by everyone but completely altered broadcast television to this day, from the presence of reality TV to the lack of summer reruns," he says. "When someone does take a risk and it pays off, everyone else follows, rather than taking their own risks."

3. Cable has saturated the marketplace, making it harder for the networks to stand out.
While there are only a few slots open for new network reality shows, there's apparently no limit to the number of unscripted series that can be produced for cable. As noted above, reality giants such as TLC, Discovery, A&E, Bravo, or E! debut dozens of new series or specials every year, some of which come and go without anyone even noticing they were on. And it seems there's virtually no cable network that hasn't expanded into unscripted programming, including channels that wouldn't automatically seem amenable to such fare: IFC, AMC, the Weather Channel, and, just a few weeks ago, CNBC. "Original content on TV is booming," says Eli Holzman, president of All3Media America and the executive producer of Undercover Boss. "I've read that something like 600 new shows premiered on TV last year, and this year, there could be 1,200." What's more, the moment some new reality idea shows even a hint of catching on, the cable reality factory kicks into high gear and starts shooting out clones. "There's a saturation factor going on," one reality insider explains. "If you put a pawn show on cable, a year later, there's 25 of them." And because cable floods the marketplace with every conceivable twist on an idea, "there are fewer and fewer untapped categories that rise to the level of a network show," Holzman says. "It's so crowded, they have to be that much bigger and different." Or as Fox's Darnell puts it, "The genre has gotten mature. It means that less is going to work, just because there's a cynicism that's set in with the audience. You can't shock people with an idea that would have before."

4. Broadcasters keep drawing from the same small gene pool.
Network executives say their doors are "always open" to anybody with a good idea. But the reality is, broadcasters have increasingly started relying on just a handful of producers they know and trust — Mark Burnett (Survivor, Shark Tank, Celebrity Apprentice), Arthur Smith (Hell's Kitchen), FremantleMedia (American Idol, The X Factor), Endemol (Big Brother) — rather than trusting someone new and untested. "Show me the series the networks have bought from the unknown guy lately," says one longtime unscripted producer. "They don't open themselves up to new suppliers." One network exec concedes this is an issue: "There has been a consolidation of producers. All the networks have shrunk their list to a number of people they're willing to make multi-million commitments to." In the past, rolling the dice on an unknown (as Burnett was pre-Survivor) wasn't such a big deal because unscripted fare was seen as "alternative" programming. These pre-Survivor shows (think Real People or Kids Say the Darndest Thing) were what broadcasters used to plug holes in their schedules or air instead of repeats. "It was filler," explains Holzman. But now Fox builds its entire lineup around Idol and X-Factor; NBC's ratings go to hell when The Voice is off the air. "It's no longer the alternative," Holzman adds. "It's the mainstay." One network exec concedes that "we're partially at fault for relying on the same people," but notes the huge stakes involved in putting together a network show demands a level of experience only a few producers have. "It takes a certain skill [level] to run one of these shows," the executive says.

5. Networks refuse to experiment with cable's most successful format: the docu-soap.
A&E's Duck Dynasty now outdraws almost everything on NBC. Here Comes Honey Boo Boo is a bona fide cultural phenom. Bravo churns out Real Housewives spinoffs like they were Marvel comics. All three franchises are variations on the so-called "docu-soap" format, personality-driven shows that focus on outrageous characters instead of extraordinary competitions. They're all over cable but completely nonexistent on broadcast. Networks say the genre is simply "too cable," a distinction Dehnart dismisses as a relic of an age when the Big Four dominated. "The division between broadcast and cable is arbitrary and artificial, a way to make excuses to higher-ups who lack vision and creativity," he says.

Darnell, who was behind docu-soap pioneer The Simple Life, insists he's not closed to any concept. "I'm open to anything that works. I'm absolutely willing to try docusoaps or comedies," he says. "But one of the reasons [cable docu-soaps] work is the multitude of times in a week they air." That's true: Cablers blanket their daytime lineups with repeats of docu-soaps and devote entire weekends to replaying full seasons of such shows. But broadcast networks can still stream on Hulu or on their own websites; they could also experiment with reality repeats in daytime and late night. Refusing to delve into an entire genre of unscripted TV just seems silly, particularly when networks are bleeding viewers in most time slots and broadcast reality is in a creative slump. There will inevitably be flops, but so what? Almost all of the networks' new comedies and dramas flopped this fall, but the Big Four are currently spending hundreds of millions to produce pilots for dozens of new scripted shows. If broadcasters want to find a new generation of reality hits, they're going to have to take some truly bold chances and expect to suffer some embarassing failures. But as Reality Blurred's Dehnart says, “Without failure, how do you know what would or wouldn't work? How do you learn?”

http://www.vulture.com/2013/03/why-major-networks-cant-make-new-reality-hits.html
post #85795 of 87336
TV Notes
NBC announces finale dates, return of 'AGT'
By Lynette Rice, EW.com's 'Inside TV' Blog - Mar. 19, 2013

Quittin’ time! NBC announced finale dates for several of its shows today, along with the return of the summer reality show America’s Got Talent.

Here are the dates:

•Whitney, March 27
•1600 Penn, March 28
•The New Normal, April 2
•Go On, April 11
•Parks and Recreation, May 2
•Community, May 9
•Fashion Star, May 10
•Chicago Fire, May 15
•The Office, May 16
•Grimm, May 17
•Celebrity Apprentice, May 19
•Revolution, May 27
•Law & Order: SVU, May 22
•The Voice, June 18
•Hannibal, June 27


Meanwhile, America’s Got Talent will return for its eighth season on Tuesday, June 4 from 9-11. Mel B and Heidi Klum will join Howard Stern and Howie Mandel on the judge’s panel.

http://insidetv.ew.com/2013/03/19/nbc-announces-finale-dates-return-of-agt/
post #85796 of 87336
TV Notes
On The Air Tonight
WEDNESDAY 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 Middle
(R - Jan. 9)
8:30PM - The Neighbors
9PM - Modern Family
(R - Jan. 23)
9:30PM - Suburgatory
10PM - Nashville
(R - Feb. 27)
* * * *
11:35PM - Jimmy Kimmel Live! (Halle Berry; Elle Fanning; RDGLDGRN performs)
12:35AM - Nightline

CBS:
8PM - Survivor: Caramoan -- Fans vs. Favorites
9PM - Criminal Minds
10PM - CSI: Crime Scene Investigation
* * * *
11:35PM - Late Show with David Letterman (Eva Mendes; racecar driver Graham Rahal presents the Top Ten List; comic Andy Hendrickson; The Airborne Toxic Event performs)
12:37AM - Late Show with Craig Ferguson (Aaron Eckhart; singer Kellie Pickler)

NBC:
8PM - Whitney
8:30PM - Whitney
(R - Feb. 6)
9PM - Law & Order: Special Victims Unit
10PM - Chicago Fire
* * * *
11:35PM - The Tonight Show With Jay Leno (Vanessa Hudgens; Chris O'Dowd; Gary Clark Jr. performs)
12:37AM - Late Night With Jimmy Fallon (Former New York City Mayor Rudy Giuliani; director Judd Apatow; Chef Marcus Samuelsson)
1:36AM - Last Call with Carson Daly (Musician Chloe Chaidez; Coup and Glossary perform)

FOX:
8PM - American Idol (120 min., LIVE)

PBS:
(check your local listing for starting time/programming)
8PM - Nature: The Loneliest Animal (R - Apr. 19, 2009)
9PM - NOVA: Smartest Machine for Earth
(R - Feb. 9, 2011)
10PM - Secrets of the Dead: The World's Biggest Bomb
(R - May 17, 2011)

UNIVISION:
8PM - Porque El Amor Manda
9PM - Amores Verdaderos
10PM - Amor Bravio

THE CW:
8PM - Arrow
9PM - Supernatural

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Journalist Steven Brill)
(R - Feb. 21)
11:30PM - The Colbert Report (James Franco)
(R - Mar. 5)

TBS:
11PM - Conan (Mel Brooks; Kristen Schaal; Jon Dore)
(R - Nov. 27)

E!:
11PM - Chelsea Lately (Gerard Butler; Lynn Rajskub; Heather McDonald; Matt Braunger)
post #85797 of 87336
TV Sports
ESPN makes it official: It keeps the (for now) Big East
By Michael Hiestand, USA Today - Mar. 19, 2013

The conference called the Big East, at least for now, and ESPN made it official Tuesday: ESPN will keep that conference's TV rights through 2020.

But after the loss of some high-profile programs, the conference ends up getting less than $19 million annually from ESPN -- after turning down an ESPN offer in 2011 for more than $130 million annually.

Oh, well, at least it got something after ESPN, which has covered the league since its creation in 1979, last month matched a bid from NBC.

Conference commissioner Mike Aresco onTuesday tried to find something to be upbeat about: "We're confident now that (all league schools) are on the same page. ... We've been through a lot."

At least that's something indisputable. Otherwise, the league still faces lots of questions -- such as what to call itself.

Schools leaving the conference, and taking the Big East name with them, include seven Catholic colleges -- such as Georgetown and Marquette -- whose TV basketball rights are expected to be sold to Fox, in part to provide on-air tonnage for the new Fox Sports 1 sports channel that debuts Aug. 17. Fox's formal announcement, and the announcement that Xavier will be joining the new Big East, are expected Wednesday

Aresco, who was a CBS Sports programmer after starting his TV sports career at ESPN, says the unnamed league's top priority is, of course, "rebranding." Aresco says a new name "could possibly come in April or early May. ... We're not going to set a deadline."

And there's still an unknown about where, besides ESPN, the league's games might air on national or regional TV. ESPN has the rights to sub-license the TV rights to games it doesn't air. ESPN senior vice president Burke Magnus on Tuesday said "we expect there will be some interest from national broadcasters, but there's nothing firm yet."

Then there's the question of where to hold league's conference basketball tournament, which historically has been staged in New York's Madison Square Garden. "It's pretty much a given that the tournament will be on a campus site," Aresco says.

And there's the issue of adding another school so the league has enough football programs -- the minimum of 12 -- so it can stage a conference title game.

By the 2015 season, when Navy football joins the league, the league will have at least 11 football programs, including Connecticut, Cincinnati, East Carolina, Houston, Memphis, South Florida, SMU, Temple, Tulane and University of Central Florida. Tulsa is a possibility to become the 12th football program.

But who knows when they'll play? Aresco notes the conference plays football games on Thursday and Friday nights -- allowing for TV exposure away from college football's glut of games on Saturdays -- and says he wants to schedule football "creatively" for TV. And on that, he manages to point to an issue involving the league that seems to have been settled: "We won't be playing (football) on Mondays and Tuesdays and ESPN hasn't asked us to do that."

Good to have that cleared up.

http://www.usatoday.com/story/sports/columnist/hiestand-tv/2013/03/19/big-east-tv-rights-espn-fox-cbs-nbc/2000245/
post #85798 of 87336
Quote:
Originally Posted by dad1153 View Post

Critic's Notes
Why Broadcast Networks Can’t (or Won’t) Make a New Reality Hit

I do not want reality crap on Broadcast TV, I want scripted shows.
post #85799 of 87336
Speaking of reality shows, when does Wipeout make its return? With the change in the 3rd person of the announce team, from Vanessa Lachey back to Jill Wagner, there's been no Winter or Spring edition of the show in 2013.

I need my Wipeout fix. biggrin.gif
post #85800 of 87336
Quote:
Originally Posted by mrvideo View Post

I do not want reality crap on Broadcast TV, I want scripted shows.
Amen!!!!
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