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Hot Off The Press: The Latest TV News and Information - Page 2870

post #86071 of 93688
Maybe he will appreciate Sci-Fi better where he is now.
post #86072 of 93688
Roger Ebert, Popular Film Critic, Dies at 70
By Douglas Martin, The New York Times - Apr. 4, 2013

Roger Ebert, the popular film critic and television co-host who along with his fellow reviewer and sometime sparring partner Gene Siskel could lift or sink the fortunes of a movie with their trademark thumbs up or thumbs down, died on Thursday in Chicago. He was 70.

His death was announced by The Chicago Sun-Times, where he had worked for many years.

Mr. Ebert’s struggle with cancer, starting in 2002, gave him an altogether different public image — as someone who refused to surrender to illness. Though he had operations for cancer of the thyroid, salivary glands and chin, lost his ability to eat, drink and speak (a prosthesis partly obscured the loss of much of his chin, and he was fed through a tube) and became a gaunter version of his once-portly self, he continued to write reviews and commentary and published a cookbook he had started, on meals that could be made with a rice cooker.

“When I am writing, my problems become invisible, and I am the same person I always was,” he told Esquire magazine in 2010. “All is well. I am as I should be.”

In recent years, Mr. Ebert had written extensively about his illness via Twitter, on Facebook and in his blog.

It would not be a stretch to say that Mr. Ebert was the best-known film reviewer of his generation, and one of the most trusted. He liked to say his approach — dryly witty, occasionally sarcastic, sometimes quirky in his opinions — reflected the working newspaper reporter he had been, not a formal student of film. His tastes ran from the classics to boldly independent cinema to cartoons, and his put-downs could be withering.

“I will one day be thin, but Vincent Gallo will always be the director of ‘The Brown Bunny,’ ” he wrote.

In 1975 he became the first film critic to win a Pulitzer Prize, for his Sun-Times reviews. His columns were syndicated to more than 200 newspapers in the United States and abroad, and he wrote more than 15 books, many by skillfully recycling his columns. In 2005 he became the first critic to be honored with a star on the Hollywood Walk of Fame.

“In the century or so that there has been such a thing as film criticism, no other critic has ever occupied the space held by Roger Ebert,” Mick LaSalle, movie critic for The San Francisco Chronicle, wrote in 2010. “Others as influential as Ebert have not been as esteemed. Others as esteemed as Ebert have not had the same direct and widespread influence. And no one, but no one, has enjoyed the same fame.”

With Mr. Siskel, Mr. Ebert essentially defined television film criticism. Their collaboration began in 1975, the year he won his Pulitzer. Mr. Ebert was asked to appear on WTTW, the public broadcasting station in Chicago, as co-host of a new movie-review program. He was intrigued, but then taken aback when told that Mr. Siskel, the film critic of The Chicago Tribune, would be his co-host.

“The answer was at the tip of my tongue: no,” Mr. Ebert told Time magazine in 1987.

As for Mr. Siskel, he said he initially had no desire to team up with “the most hated guy in my life.”

But the pairing worked. The show, originally titled “Opening Soon at a Theater Near You,” was a public television hit. It evolved into “Sneak Previews,” which went national when the Public Broadcasting Service began syndicating it in 1978. It eventually attracted more viewers than any other entertainment series in the history of public television.

Seeing its commercial potential, Tribune Entertainment acquired the show in 1982 and syndicated it under the title “At the Movies.” In 1986 Mr. Ebert and Mr. Siskel signed a contract with Buena Vista Television to syndicate the program under the titles “Siskel & Ebert” or “Siskel and Ebert at the Movies.”Most people knew the two as intellectually engaged, sweater-wearing, often contentious men sitting in cozy armchairs ad-libbing about a film’s strengths and weaknesses. Mr. Ebert was the portly one with the owlish eyeglasses, Mr. Siskel the taller one who was losing his hair. For all their combativeness, however, they actually agreed on a movie’s worth much more often than they differed.

“We liked each other; we even loved each other,” Mr. Ebert told Television Week in 2005. “And we also had days when we hated each other.”

They even hugged once, in 1985, when they appeared on “The Tonight Show” with Johnny Carson.

A typical Siskel and Ebert program reviewed five films. Either Mr. Ebert or Mr. Siskel would introduce a clip and then give his opinion. Then the other would weigh in. Their disagreements were more entertaining than their agreements, complete with knitted brows, are-you-serious head-shaking and gentle (or not so) barbs. Mr. Siskel once taunted Mr. Ebert about his weight: “Has your application for a ZIP code come through yet?” Mr. Ebert came back with a dart about Mr. Siskel’s receding hairline: “The only things the astronauts saw from outer space were Three Mile Island and your forehead.”

Finally, the denouement, harking back to the Roman Colosseum: both thumbs up, both down or, in a split decision, one of each. Mr. Ebert said that he was the one who had come up with the all-or-nothing gestures, and that Mr. Siskel had thought of trademarking them.

Mr. Siskel died of a brain tumor in 1999 at 53. Afterward, the show was renamed “Roger Ebert & the Movies” and began rotating co-hosts as a way of auditioning them. In September 2000 Richard Roeper, a fellow Sun-Times columnist, became the permanent co-host and the show was renamed “Ebert & Roeper.” Mr. Ebert left the show in 2006 because of his illness, and Mr. Roeper left in 2008.

Mr. Ebert believed a great film should seem new at every watching; he said he had seen “Citizen Kane,” his favorite, scores of times. His credo in judging a film’s value was a simple one: “Your intellect may be confused, but your emotions never lie to you.”

Roger Joseph Ebert, an only child, was born on June 18, 1942, in Urbana, Ill., to Walter Ebert and the former Annabel Stumm. The first movie he saw was the 1937 Marx Brothers comedy, “A Day at the Races,” at the Princess Theater in Urbana.

“It was part of a double feature shown with five cartoons, and you got four and a half hours of solid entertainment for exactly nine cents,” Mr. Ebert once recalled.

He was barely able to write when he started his journalistic career, publishing The Washington Street News in his basement and delivering copies to a dozen neighborhood houses. He worked at his grade school newspaper, edited his high school paper and by age 15 was earning 75 cents an hour covering high school sports for The News Gazette in Champaign. He went to many movies and found time to publish a science fiction magazine called Stymie. In 1958 he won a statewide speaking contest for simulating radio broadcasts.

In 1964 Mr. Ebert graduated as a journalism major from the University of Illinois at Urbana-Champaign, where he was editor of The Daily Illini. He also served as president of the United States Student Press Association.

He did graduate study in English at the University of Cape Town under a Rotary International Fellowship. He then became a doctoral candidate in English at the University of Chicago but left to become a feature writer at The Sun-Times.

Though his knowledge of film was limited, he was named the paper’s first movie critic in 1967, when he was 24; newspapers at the time wanted young film critics to speak to the young audiences being attracted to movies like “The Graduate” and “Bonnie and Clyde” as well as New Wave films by French directors like François Truffaut and Jean-Luc Godard.

Mr. Ebert got some firsthand moviemaking experience by writing the screenplay for the 1970 movie “Beyond the Valley of the Dolls” for Russ Meyer, a director known for his campy B-flicks featuring busty women. Panned by fellow critics (“gratuitously violent,” Mr. Siskel said), the film seemed a point of pride for Mr. Ebert, who was paid $15,000 and never tired of talking about it. He wrote a half-dozen more screenplays for Mr. Meyer, one of which was produced: “Beneath the Valley of the Ultra-Vixens” (1979).

As a critic, Mr. Ebert quickly gained traction. In 1970 Time magazine called him “a cultural resource of the community.” In 1973 the Chicago Newspaper Guild cited him as “ushering in a new era of criticism in Chicago.”

Mr. Ebert spoke out against the Motion Picture Association of America’s rating system, saying it lurched between being too restrictive and too lenient. He criticized Hollywood for not supporting documentaries and relying too much on digital effects and what he called gimmicks, like 3-D.

He revived his television career in January 2011 with a new film-review program on public television. Using a computer-generated facsimile of his own voice, he discussed classic, overlooked and new films while co-hosts handled the “thumbs” judgments.

The thumbs-up-or-down approach drew scorn from some critics, who said it trivialized film criticism. Speaking to Playboy magazine in 1991, Mr. Ebert agreed that his program at the time was “not a high-level, in-depth film-criticism show.” But he argued that it demonstrated to younger viewers that one can bring standards of judgment to movies, that “it’s O.K. to have an opinion.”

Mr. Ebert’s books included the essay collections “The Great Movies” and “The Great Movies II” and a collection of reviews titled “I Hated, Hated, Hated This Movie.” He also wrote a book about being a pedestrian in his favorite city: “The Perfect London Walk.”

In July 1993 Mr. Ebert married Chaz Hammelsmith, who survives him.

Since 1999 he had been host of “Eberfest,” a film festival in Champaign, Ill. It is sometimes called Roger Ebert’s Overlooked Film Festival.

Mr. Ebert — who said he saw 500 films a year and reviewed half of them — was once asked what movie he thought was shown over and over again in heaven, and what snack would be free of charge and calorie-free there.

“ ‘Citizen Kane’ and vanilla Haagen-Dazs ice cream,” he answered.

post #86073 of 93688
Originally Posted by BoilerJim View Post

Yes, I just saw that. He and Gene Siskel made a great team. Now they're together again.

Siskel is currently giving Ebert a review of his life. wink.gif
post #86074 of 93688
Originally Posted by Distorted View Post

Maybe he will appreciate Sci-Fi better where he is now.

Ebert is one of the few legitimate film critics who actually liked science-fiction. Considering the vast majority of sci-fi on the big screen is mediocre and forgettable his batting average is pretty good. He liked Predator.

A film critic should be watching every genre and from all over the world and know the difference between Truffaut and Tarantino. That's something sadly lacking in the current age of online blog critics, who have no real interest in the history of film and the influences behind them.

Ebert did a good job of balancing the art and the popular. And did so while sounding less pretentious than most.
post #86075 of 93688
Originally Posted by VisionOn View Post

Leno's contract is up next year so it would need renegotiating. I expect Fallon is much, much cheaper.

I enjoy the variety show aspect of Fallon but I can't see anyway he can translate that to appeal to Leno's demo. Fallon has gadget blog guests and plays video games.

Considering they are building him a brand new studio in NYC and will either have to fire and then rehire a bunch of people to man it or have to pay huge relocation benefits to a bunch of people and since Leno already took a huge pay cut, I wonder how much money, if any, they are actually saving.

It also seems strange to me that they'd be willing to go to NYC where there are fewer guests available than in LA and end up getting Letterman's sloppy seconds every night, instead of staying in LA and competing with Kimmel for guests, It seems like a more even match up against Kimmel to me.

But frankly, the Tonight Show style talk show format with it's short form, inane and shallow interviews is a dying format. For anyone that really wants to hear an interview with the performer du jour, there's zillions of long form, in-depth interview on the internet for free and there's Rotten Tomatoes and zillions of other sites for the people that are interested in what movies are coming out.

If NBC really wants to dominate this time slot, they should drop the talk show format and try something entirely different.
post #86076 of 93688
I always liked it when they named their "Dog of the week" (when they were on PBS) it was changed to "Stinker of the week when it was syndicated and the name changed from Sneak Previews to At the Movies. biggrin.gif RIP Mr. Ebert.
post #86077 of 93688
Originally Posted by Mac The Knife View Post

But frankly, the Tonight Show style talk show format with it's short form, inane and shallow interviews is a dying format. For anyone that really wants to hear an interview with the performer du jour, there's zillions of long form, in-depth interview on the internet for free and there's Rotten Tomatoes and zillions of other sites for the people that are interested in what movies are coming out.

I agree that Late Night is just a repetitive loop of forced anecdotes and promotional soundbites but I think it's a long way from dying. As long as there are movie studios with things to plug and audiences who don't want to watch someone talking for longer than five minutes the format is going to stick around. Especially on TV.

It's rare that people want to see an in-depth interview anywhere. If you can't fit something into a 3 minute YouTube clip then people will just click off to something else. Probably involving cats or babies. I'm a big fan of Kevin Pollak's Chat Show. One interesting guest and almost ninety minutes (or more) of conversation with nothing to promote. I can't even imagine a TV network that would attempt to put that on it's schedule.
post #86078 of 93688
I was under the impression that in Boston WGBH had retransmission consent with WGBX sub channel carriage a condition of the consent.
post #86079 of 93688
Originally Posted by chitchatjf View Post

I was under the impression that in Boston WGBH had retransmission consent with WGBX sub channel carriage a condition of the consent.

And you formed this impression...how??
post #86080 of 93688
Originally Posted by Distorted View Post

Maybe he will appreciate Sci-Fi better where he is now.

On an alternate time-line?
post #86081 of 93688
Nielsen Notes (Morning)
'Good Morning America' Tops 'Today Show' For First 1Q Win Since 1993
By Tim Kenneally, TheWrap.com - Apr. 4, 2013

"Good Morning America" had an especially good morning on Wednesday.

Scoring another ratings win over NBC's morning show "Today," ABC's a.m. offering won the first quarter of 2013 in both the key 25-54 demo and in total viewers. The victory marked the first time that the show has won a first quarter in the demo since 1993.

To put that in perspective, the last time that "GMA" pulled off a ratings win in the first quarter of year, host George Stephanopoulos was just beginning his tenure with the Clinton administration.

"Good Morning America" last won a first quarter in total viewership in 1994.

Winning all 13 weeks of the quarter, "Good Morning America" averaged 2.026 million viewers age 25-54, compared to the 1.978 million averaged by "Today." In total viewers, the ABC morning show averaged 5.389 million, versus the 4.718 million that "Today" averaged.

This marks the third consecutive quarterly win in total viewers for "Good Morning America," which last occurred in 1994.

post #86082 of 93688
TV Notes
FX To Rerun Most Recent Episode Of ‘The Americans’ Online Due To Listings Error
By the Deadline.com - Apr. 4, 2013

FX says it is posting last night’s episode of The Americans on its website because of an error by its publicity department.

“The correct listings information was not properly disseminated to television listings services that provide information to media outlets, cable and satellite providers. As a result of the error, electronic guides which trigger the run times of DVRs incorrectly recorded the total running time of one hour (10-11 PM), therefore cutting off the final seven minutes of the episode”, FX said in a statement.

John Solberg, SVP of Media Relations, FX Networks, apologized to the show’s fans, calling the error “regrettable”.

post #86083 of 93688
TV Review
'Mad Men' same as it ever was in season 6
AMC drama lets its characters change, but remains one of the best dramas ever
By Alan Sepinwall, HitFix.com

Midway through the "Mad Men" sixth season premiere (Sunday at 9 p.m. on AMC), Don Draper and Pete Campbell have a conversation that is not only like every conversation they've ever had, but about every conversation they've ever had, and how they are all the same. The show has been on for so long that everyone — Don, Pete, "Mad Men" creator Matt Weiner, the viewers at home — knows exactly how it works.

On many an aging series, that level of familiarity might become a problem. Even a classic series like Weiner's previous show, "The Sopranos," struggled at time with formula in its later seasons, to the point where the actors (who were often just as in the dark as their audience) would start guessing which one of their new co-stars would turn out to be, as James Gandolfini once put it, "the new Richie Aprile: the guy we yell at for nine months."

But the familiarity of "Mad Men" at this point only enhances the experience, because it's always been a show driven more by character and theme than by plot. What's going to happen next is never remotely as important as how and why it happens, which is why I've always felt that Weiner's handwringing over spoilers does a disservice to his own creation. There are at times surprises — Don's true identity, Peggy's baby — but the most interesting aspects of them are rarely the surprises themselves, but what they tell us about these people. Lane Pryce's suicide last season, for instance, would have been considered a shock before the season began, but by the time we got there, we'd witnessed the disintegration of this lonely man's life to the point where it would have been surprising if he hadn't hanged himself in the office.

Instead, "Mad Men" focuses on change, sometimes big (the rise of the counterculture, or how far Peggy's career has come), sometimes smaller (Harry Crane turning out to be a lazy pig), and sometimes unsuccessful (Don's attempt last year to throw himself into a happy, monogamous marriage to Megan). Don and Pete may say roughly the same words to each other over and over again, but they're not the same men each time, which makes the same conversation feel very different.

The premiere, called "The Doorway" is another two-hour affair checking in on the emotional state of Don Draper, but it doesn't feel in any way like a rehash of last season's "A Little Kiss." And as the series gets closer to its ending (barring something unexpected, next season will be the last), it's become ever more aware of how much the times, and the characters, have changed — and how hard it is in those who don't want to change.

Without giving away the exact date (last season ended in April of 1967), we're now deep enough into the '60s that when Don has a meeting with the twentysomething writers and artists on his team, they appear to be from different species. They work in the same office, doing the same work, but they have nothing else in common. It’s not just the clothes and hair that have transformed, but entire states of mind.

(“Mad Men” has always distinguished itself from most ‘60s period pieces by taking the side of the straights. When we see beatniks or hippies, it’s almost always from the perspective of an establishment character like Don or Peggy or Betty.)

When we see Peggy, it’s clear she’s absorbed an awful lot from Don; other than context and Elisabeth Moss’s usual great performance, there’s virtually no resemblance between this Peggy and Don’s mousey secretary from season 1.

Again and again throughout the premiere, we see characters who have adapted to the changing times, and their own changed circumstances, and others who are trying to carry on as they always have, even as that position becomes less and less tenable with each passing year.

One of the show’s most entrenched — and funniest, thanks to the way John Slattery delivers every brilliant one-liner he’s given — characters is Roger Sterling, who at one point in the premiere tries to suggest that change is pointless. He compares the journey of life to going through doorways that are supposed to take you to new places, but inevitably leave you exactly where you were before.

Given what we’ve seen of Roger over the previous five seasons, it’s not surprising he would feel this way. But the world around him is changing, as are many of the people. The show that portrays them, on the other hand, both has and hasn’t changed. It’s arguably a richer, deeper, more experimental work than it was at the start, and it’s been willing to transform its characters with the time. (And the performances by people like Moss, Slattery, Jon Hamm, Vincent Kartheiser and others have only gotten better the more we and they have grown to understand these people.)

But it is, fundamentally, still “Mad Men” — which means it continues to be one of the most satisfying dramas in the history of the medium. It’s great to have it back.

post #86084 of 93688
TV Notes
Ali Velshi Becomes Al Jazeera America's First Anchor
By Adam Martin, Vulture.com (New York Magazine) - Apr. 4, 2013

One day after Ali Velshi announced his last day at CNN would be Friday, the newly formed Al Jazeera America said it had hired the former chief business correspondent as its first news anchor. Velshi, who was at CNN for 12 years, will host a half-hour business show in prime time. It's a gig he described on his departure from CNN as "a great opportunity to stretch some new muscles and grow something, and it appeals to my entrepreneurial side."

Once the news of his move was public, Velshi told The New York Times' Brian Stelter he was drawn to Al Jazeera's "commitment to building a strong news organization," and said, "I think the product will trump any preconceived notions that people may have going into it." But we know why he really took the job: They must have offered him a nicer windbreaker.

Edited by dad1153 - 4/5/13 at 12:02am
post #86085 of 93688
TV Notes
On The Air Tonight
FRIDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

8PM - Happy Endings
8:30PM - Happy Endings
9PM - Shark Tank
10PM - 20/20
* * * *
11:35PM - Jimmy Kimmel Live! (Bruce Willis; Zendaya; Divine Fits perform)
(R - Mar. 27)
12:37AM - Nightline

8PM - Undercover Boss: Fatburger
9PM - Vegas (Time Slot Premiere)
10PM - True Bloods
* * * *
11:35PM - Late Show with David Letterman (Chelsea Handler; comic Ross Bennett; Yeah Yeah Yeahs perform)
12:37AM - Late Late Show with Craig Ferguson (Musician Trace Adkins; actress Naya Rivera)
(R - Mar. 1)

8PM - Fashion Star
9PM - Grimm
10PM - Rock Center with Brian Williams
* * * *
11:35PM - The Tonight Show With Jay Leno (Animal handler Julie Scardina; comic Demetri Martin; Gin Wigmore performs)
12:37AM - Late Night With Jimmy Fallon (Anderson Cooper; Taran Killam; prankster Stuart Edge; Cat Power performs)
1:36AM - Last Call with Carson Daly (Mark Webber; ASAD and White Arrows perform)
(R - Feb. 21)

8PM - Kitchen Nightmares
(R - Feb. 15)
9PM - Touch

(check your local listing for starting time/programming)
8PM - Washington Week
8:30PM - Need to Know
9PM - Michael Feinstein's American Songbook: Show Tunes (Season Premiere)
10PM - Michael Feinstein's American Songbook: Let's Dance

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

8PM - Nikita
9PM - Cult

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

10PM - Real Time with Bill Maher (Filmmaker Sebastian Junger; science education activist Zack Kopplin; political commentator Abby Huntsman; economist Steve Moore; Sen. Bernie Sanders (Ind-Vt.))

11PM - Chelsea Lately (Compilation Special: Tim McGraw; Luke Bryan; Rascal Flatts)
(R - Mar. 27)

Edited by dad1153 - 4/5/13 at 4:42pm
post #86086 of 93688
TV Notes
Alt-news mogul aims to rock prime-time with 'Vice'
With an approach likened to National Geographic meets Hunter S. Thompson, Shane Smith's media group project for HBO is creating a new journalism geared for the Gen-Y crowd.
By Joe Flint, Los Angeles Times - Apr. 3, 2013

Big and beefy with a scraggly beard, Shane Smith looks more like an aging roadie than a thrill-seeking foreign correspondent or a budding media mogul.

But Smith is both those things. Vice Media Group, the company Smith co-founded and is chief executive of, has gone from a single magazine aimed at tattooed teeny-boppers to a media empire with more than 30 offices around the globe, a large digital presence, a record label, an advertising agency and a book publisher. The closely held Vice is projected to hit nearly $200 million in revenue this year and has a valuation approaching $1 billion, according to people close to the company.

Along the way, the 43-year-old Smith has picked up a who's who of backers and advisors including former MTV chief Tom Freston and Hollywood super-agent Ari Emanuel, co-chief executive of the powerful WME Entertainment LLC. Smith also has the attention of Madison Avenue and Silicon Valley because he's managed to create content in print and online that young men — the hardest demographic for advertisers to reach — gobble up.

Now Smith's trying to prove that Generation Y will watch news, or at least his version of it. On Friday, HBO will premiere "Vice," a half-hour weekly news magazine that promises viewers in its opening credits that it will be there "uncovering the news, culture and politics that expose the absurdity of the modern condition."

The world got a taste of that absurdity last month when a story "Vice" was shooting in North Korea inadvertently led to a bizarre meeting between former NBA star and tabloid fixture Dennis Rodman and North Korea's secretive leader, Kim Jong Un, that garnered national headlines.

"We're not saying Dennis Rodman is Morley Safer. He's an absurd character and North Korea's an absurd place," Smith said over one of his trademark boozy lunches. But, he was quick to add, "I have a one-of-a-kind documentary with one-of-a-kind access to one of the hardest countries in the world to film."

Smith, a punk-rock fanatic who relishes being something of a bad boy and drops expletives into most every sentence, is sensitive to criticism that sending Rodman to Korea was stunt journalism.

"If I can generate a stunt which involves meeting the hardest man in the world to meet to promote my TV show, then every company should hire Vice to do their marketing for them," he said.

Vice first rose above lad-magazine status with "Heavy Metal in Baghdad," the critically acclaimed 2007 documentary about an Iraqi metal band trying to make it in a war zone. Since then its online news and travel efforts have gotten praise for their raw and often irreverent approach to journalism. Its blend of the tragic ("Ground Zero: Syria — Assad's Child Victims") and the absurd ("The Biggest Ass in Brazil") make Vice seem like both "60 Minutes" for hipsters and TMZ with a travel budget.

"If National Geographic and the late, great gonzo journalist Hunter S. Thompson were able to mate and have a baby, the newborn would be Vice," said Eason Jordan, a former CNN executive who now heads the video news service NowThis News. "It's not old-school journalism and it doesn't pretend to be."

Often serving as host of Vice's stories, Smith's style is to talk to the camera as if he's chatting with a friend rather than an audience. Setting the stage for an interview with a former Taliban member for a piece on child suicide bombers in Afghanistan, he leans into the camera and cracks, "We're going to go talk to him and hopefully he won't kidnap us."

Smith also isn't afraid to wear his emotions on his sleeve or express an opinion. He tears up during a particularly tense moment in the suicide-bomber segment.

"If you don't get verklempt, you're not a human being," he said. "We're not trying to be these autobots."

HBO is banking on that authenticity and intentional lack of polish to be a good fit with "Real Time With Bill Maher," the no-holds-barred political talk show that will precede "Vice" on Friday nights.

"It's an audience that has inherent wariness and cynicism about what they are reading and hearing. They want someone speaking their truth," said Michael Lombardo, president of HBO Programming. "There is a style of delivering news that has to evolve for a generation that doesn't want their information feeling quite so packaged and cares less about the gloss and more about the unvarnished story-telling."

For Smith, getting to do a show for HBO is a chance to show Vice can play in the big leagues.

"I want to be able to say I make some of the best content in the world for the hardest guys to make content for," Smith said. "It has forced us to think about things in a different way and kick it up a notch."

HBO has committed to eight episodes of "Vice," but if it doesn't catch on, Smith still has plenty on his plate, including an online news channel that is expected to launch later this year.

"No one is really doing a global news channel for young people online," Smith said. "It's a golden time for content."

Although bankers and deal-makers often knock on Vice's door looking to either sell the company or take it public, Smith isn't interested. For starters, if he went public or went to work for someone else, he'd probably have to kiss his rock-and-roll lifestyle goodbye and lose his taste for adventure.

"The idea of sitting in a boardroom and dealing with lawyers all day does not appeal to myself," he said. "I hang out with a lot of ex-CEOs and 100% of the time they say the saddest day of their life was when they sold their company."

Where: HBO
When: 11 p.m. Friday

post #86087 of 93688
R.I.P Ebert. frown.gif
post #86088 of 93688
>> Critic Roger Ebert Dies at 70
Another loss to absorb. Mr Ebert was always very generous with his time . He communicated with my nephew and inspired him to write reviews.
Paul Rodgers is the next generation critic. Check him out and let me know what you think.

Tee Jay
post #86089 of 93688
THURSDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #86090 of 93688
Nielsen Overnights (18-49)
‘Hannibal’ premiere: Not great, not awful
Critically praised new drama draws a mere 1.6 in 18-19s
By Toni Fitzgerald, Media Life Magazine - Apr. 5, 2013

NBC’s well-reviewed new drama “Hannibal” premiered to unremarkable numbers last night.

The show averaged a 1.6 adults 18-49 rating, according to Nielsen overnights, finishing a distant third in the hour behind ABC’s “Scandal” and CBS’s “Elementary.”

But though its rating wasn’t great, there were some promising signs for the show. It bettered the network’s season average in the timeslot by 45 percent. And it drew NBC’s best rating in the hour since March of last year.

It would be foolish to expect “Hannibal,” NBC’s third different program in the hour this year, to notch huge ratings in its debut.

This is, after all, a timeslot where the network has been struggling for four years, and it had a dismal lead-in from “Go On,” which managed just a 1.1 in a 9:30 p.m. tryout.

If “Hannibal” can maintain or even grow its debut number, the show could be back next season based on its creative promise.

Elsewhere on broadcast last night, CBS’s “The Big Bang Theory” was, as usual, the night’s top program, drawing a 4.9. Lead-out “Two and a Half Men” posted a 3.8, the night’s No. 2 show and up 12 percent over its most recent episode.

Fox’s “American Idol” tied last week’s series low with a 2.8 at 8 p.m. Lead-out “New Girl,” which usually airs Tuesdays, drew a 2.0, down 9 percent from its most recent original episode last week.

ABC’s “Scandal” had its best-ever retention rate out of “Grey’s Anatomy,” drawing a 2.7 at 10 p.m., equal to its 9 p.m. lead-in.

CBS finished first for the night among 18-49s with a 3.1 average overnight rating and a 9 share. Fox was second at 2.3/7, ABC third at 2.2/7, Univision fourth at 1.5/4, NBC fifth at 1.4/4, Telemundo sixth at 0.5/1 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. CBS was first with a 4.4 for “Bang” (4.9) and “Men” (3.8), followed by Fox with a 2.8 for “American Idol.” Univision was third with a 1.5 for “Porque el Amor Manda.” ABC and NBC tied for fourth at 1.2, ABC for “Wife Swap” and NBC for “Community” (1.0) and “Parks and Recreation” (1.5), and Telemundo and CW tied for sixth at 0.4, Telemundo for “Pasion Prohibida” and CW for a repeat of “The Vampire Diaries.”

ABC and CBS tied for first at 9 p.m., each with a 2.7 rating, ABC for “Grey’s” and CBS for “Person of Interest.” Fox and Univision tied for third at 1.7, Fox for “Girl” (2.0) and “The Mindy Project” (1.4) and Univision for “Amores Verdaderos,” with NBC fifth with a 1.7 for “The Office” (1.7) and “Go On” (1.1), Telemundo sixth with a 0.6 for “La Patrona” and CW seventh with a 0.2 for a “Beauty and the Beast” rerun.

At 10 p.m. ABC led with a 2.7 for “Scandal,” with CBS second with a 2.1 for “Elementary.” NBC was third with a 1.6 for “Hannibal,” Univision fourth with a 1.4 for “Amor Bravio” and Telemundo fifth with a 0.5 for “El Rostro de la Venganza.”

CBS was also first for the night among households with an 8.3 average overnight rating and a 13 share. Fox was second at 4.8/8, ABC third at 4.7/8, NBC fourth at 2.1/3, Univision fifth at 2.0/3, Telemundo sixth at 0.8/1 and CW seventh at 0.6/1.


* * * *

TV Notes
Best tube bets this weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Apr. 5, 2013


Best bet on broadcast
: NBC, “Late Night with Jimmy Fallon,” 12:35 a.m.
Check out the new “Tonight Show” host before he makes his move next year. Anderson Cooper guests and Cat Power performs.

Best bet on cable: HBO, “Vice,” 11 p.m. Series premiere. First episode of the newsmagazine looks at violent political rivals in the Philippines.

Top sporting event: CBS, “College Basketball,” 6 p.m. The Final Four in Atlanta starts with Louisville versus Wichita State, followed by Syracuse versus Michigan.


Best bet on broadcast
: ABC, “20/20,” 9 p.m.
Katie Couric examines the soap “General Hospital” as it celebrates its 50th anniversary.

Best bet on cable: Lifetime, “A Mother’s Rage,” 8 p.m. Movie stars Lori Loughlin as a mother taking her daughter to college, but the pair runs into trouble on the road.

Top sporting event: HBO, “Boxing,” 10:15 p.m. Brandon Rios takes on Mike Alvarado for the interim WBO light-welterweight championship.


Best bet on broadcast
: CBS, “Academy of Country Music Awards,” 8 p.m.
Tim McGraw, Taylor Swift and Carrie Underwood are among the performers at the 48th annual awards ceremony.

Best bet on cable: AMC, “Mad Men,” 9 p.m. Season premiere. Don kicks off a new ad campaign and Roger hears startling news.

Top sporting event: ABC, “NBA Basketball,” 3:30 p.m. All-Los Angeles matchup between the Lakers and Clippers.

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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Mar. 29, 2013

Public Television, Check local listings

Marking this week’s 45th anniversary of the assassination of Martin Luther King, Jr., this weekend’s edition of Moyers & Company has Bill Moyers reexamining the civil rights leader’s other primary battle for equality: economic equality for all, in an “Economic Bill of Rights.” Moyers and his guests, historian Taylor Branch and author and theologian James Cone, discuss King’s vision – and his legacy – while noting the even harsher economic realities faced in 2013. Moyers & Company airs from Friday to Sunday on local public TV stations; to find it in your local area, visit the BillMoyers.com website.

TCM, 8:00 p.m. ET

With a prime-time telecast of this 1945 tearjerker, TCM launches a new month-long Friday night showcase: “A Woman’s World: The Defining Era of Women on Film.” And joining Robert Osborne as host of the screenings of these 17 movies is a woman who helped define an era of women herself: Cher. Tonight’s theme is Motherhood, which explains leading off with Mildred Pierce. Joan Crawford plays the mother, and Ann Blyth the ultimately ungrateful daughter. And stay tuned – for more movies, and more Cher.

PBS, 9:00 p.m. ET
Two new installments of Michael Feinstein’s passionate and intelligent study of popular music are shown tonight, and all I have to do is drop a couple of names, and musical-theater fans will be setting their DVRs to record. In the first hour, Feinstein’s interview subjects, discussing musical theater, include Stephen Sondheim and Angela Lansbury. In the second hour, his guests include Liza Minnelli. Check local listings.

HBO, 10:00 p.m. ET

Maher’s guests tonight include one whom I expect to be particularly passionate, as well as articulate: The Perfect Storm author Sebastian Unger, who co-directed the Oscar-nominated Restrepo film with war photographer Tim Hetherington. The photographer was killed by mortar fire in Libya two years ago, and Unger has just directed a new documentary, Which Way is the Front Line from Here? The Life and Time of Tim Hetherington, which premieres on HBO April 18.

HBO, 11:00 p.m. ETT

SERIES PREMIERE: “Unfamiliar. Unfiltered. Unafraid.” That’s the slogan for this new HBO series, which takes a high-risk, in-your-face, look-at-me approach to news and social affairs coverage. It’s definitely got the energy of youth, as well as the conviction – and whatever your response to its packaging and attitude, the images and information it provides are worth absorbing.


* * * *

Critic's Notes
HBO'S 'VICE': It's Not Your Father's '60 Minutes'
By Eric Gould, TVWorthWatching.com - Apr. 5, 2013

HBO's new newsmagazine show, VICE, offers a rush of stories that go where reporters rarely go — or would want to go, for that matter. But they do go — to ferret out rebel militiamen in Philippines or meet with the Taliban in Afghanistan — and it's that sense of risk and the feistiness of the VICE brand that makes the show captivating.

The gonzo journalism series, premiering Friday, April 5, at 11 p.m. ET, is a spinoff of the website of the same name, a one-time print magazine that evolved into a digital spot for Gen-Y news, entertainment and culture.

The weekly cable series is being brought to viewers by executive producer Bill Maher and his Maher Productions. You can understand the appeal of VICE to Maher: while he conducts panel discussions on the hot-button issues of the times, the VICE crew gets up off the couch and faces the issues head-on.

In the first segment of episode one, "Assassination Nation," VICE travels to the Philippines to report on the region's epidemic political assassinations, and goes in search of the rebel BIFM Militia that's alleged to be responsible for the mass execution of a prominent political family. VICE finds squadrons of boys armed to the teeth with illegally made, untraceable automatic weapons (top and right).

The show's second segment, "The Killer Kids of the Taliban," has VICE magazine founder and lead correspondent Shane Smith traveling to Kabul to report on the Afghanistan capital's relentless suicide bombings, with a focus on the children who are conscripted out of Pakistani madrassas by the Taliban to carry out the deeds.

Maybe in order to show us the raw reality that otherwise gets sanitized for broadcast — or, perhaps, to just kick us in the groin — the segment plainly shows a severed hand being carried away from a bombing scene, and a decapitated head lying peacefully face up on the asphalt. (The news segments on the VICE website show similar stories, such as the graphic reports on the recent French military incursion into Mali.)

Smith's heartbreaking piece features interviews with poor, illiterate boys who were arrested before they were able to explode their bombs. The boys say they were told that the explosives they were wearing couldn't hurt them because the bombs only explode outward, away from them. Others weren't told they were carrying bombs in their vests, just important documents. The explosives hidden on these unlucky ones are detonated remotely, by cell phone.

Smith actually arranges a sit-down with a Taliban official, who is understated and evasive when asked about the Taliban view of Islam's prohibition on killing.

Smith and the other VICE reporters remind viewers about the constant threat of peril they face on their intrepid adventures, and there's an initial sense that the show is anxious to sell its danger-brand to its young, target audience. But it's also a fact that journalists walk into these sorts of stories, and never walk out. So when Smith meets the Taliban official, and other VICE correspondents interact with the Philippine militia, it's hard to feel as though these are stunts first, journalism second.

The second episode, premiering Firday, April 12, follows North Koreans trying to escape the dictatorship on a stowaway route through Laos. The show also goes to the Indian Kashmir border with Pakistan for a story on the nuclear brinksmanship between the two countries.

In a future episode, VICE also goes to North Korea where it followed ex-NBA player Dennis Rodman and members of the Harlem Globetrotters to Pyongyang to meet with leader Kim Jong-un. Rodman and Jong-un (right), acting like old college buds, watched the Globetrotters and VICE correspondent Ryan Duffy compete against North Korea's "Dream Team." (The air date of that episode has not yet been announced.)

Current TV began a like-minded documentary series, Vanguard, in 2007, with young reporters ferreting out similar fringe stories. But Vanguard's content tended to be restrained, and less confrontational. VICE goes straight for the jugular, and its compressed, 30-minute format forces the show to get to the points quickly.

Not all VICE content is from the precipice of war and disaster. An upcoming episode goes more eclectic, taking viewers to Mauritania, a country rife with poverty and food shortages. In Mauritania the daughters of the wealthy are sent to eating camps, because being fat is desirable. Another future VICE report looks at the sumo/mixed martial arts craze that has swept Senegal.

Says Smith in a recent press release, "We've always been a little more raw in the content we make. When you're presenting a variety of totally insane stories from around the world, then that's the only style that really works. You can't present these stories in a teacup. You have to tell the story in a way that grabs the viewer and delivers a punch in the face. ... Oh, and we get to swear."

It's one thing to think and write about terrorism and war, and quite another to walk right up to it and capture it on video. VICE, at least at the start, brings viewers scenes that won't be found on other news channels. And the VICE team should be congratulated for bringing the hard images, and what feels like the wide world, into American living rooms.

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TV Notes
History’s ‘Vikings’ Renewed For Second Season
By Dominic Patten, Deadline.com - Apr. 5, 2013

History Channel announced today that it is picking up another season of Vikings. The first scripted drama for the network, Vikings will return for 10-episode second season next year. Production is set to begin this summer. The show’s first season finale will air on April 28 at 10 PM. The renewal today comes five episodes into what has been a very successful first run for the series. With a lead-in from the Mark Burnett-produced The Bible, Vikings had 6.2 million viewers, 2.5 million Adults 18-49 and 2.7 million Adults 25-54 in its March 3 debut. Topping the broadcast networks at 10 PM among the 18-49 demo in its debut, the show has emerged as the number one new cable series of the year.

“Vikings is a win win for us. As our first scripted series, Vikings has paid off in a big way with critical acclaim, strong ratings and a passionate, loyal fan base. It came out of the gate strong and has stayed on top, solidifying History as a major player in the scripted genre, just as we are in reality,” said Dirk Hoogstra, EVP, Development and Programming for History in a statement today.

Vikings follows the adventures of Ragnar Lothbrok, an ambitious man looking to discover new worlds to conquer. Vikings is created and written by Michael Hirst. Hirst also serves as Executive Producer along with Morgan O’Sullivan of World 2000, John Weber of Take 5 Productions, Sherry Marsh, Alan Gasmer, James Flynn and Sheila Hockin. Hoogstra and Julian P. Hobbs are the Executives in Charge of Production for History.

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Originally Posted by dad1153 View Post

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

7PM - Undercover Boss: Fatburger

7pm ???
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Originally Posted by dad1153 View Post

Nielsen Overnights (18-49)
‘Hannibal’ premiere: Not great, not awful
Critically praised new drama draws a mere 1.6 in 18-19s
By Toni Fitzgerald, Media Life Magazine - Apr. 5, 2013

Top sporting event: HBO, “Boxing,” 10:15 p.m. Brandon Rios takes on Mike Alvarado for the interim WBO light-welterweight championship.

That fight was last week.
HBO2 does have boxing @ 2:00pm tomorrow though.

Good scifi saturday night on the movie channels:
HBO prometheus (so cool in 3D)
Starz total recall
Cinemax dark shadows
post #86096 of 93688
Originally Posted by domino92024 View Post

7pm ???

I know, I know. It's fixed! smile.gif
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Originally Posted by dad1153 View Post

TV Notes
Ali Velshi Becomes Al Jazeera America's First Anchor

Does Al Jazeera America have a start date yet?
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NFL 2013 national tv preseason schedule is released & features every playoff team:

Hall of Fame game:
Sun, Aug 4 - Dallas vs. Miami , NBC 8PM

Week 1:
Thu, Aug 8 - Cincinnati at Atlanta , ESPN 8PM

Week 2:
Thu, Aug 15 - San Diego at Chicago , ESPN 8PM
Fri, Aug 16 - Tampa Bay at New England , FOX 8PM
Sun, Aug 18 - Indianapolis at NY Giants, FOX 8PM
Mon, Aug 19 - Pittsburgh at Washington , ESPN 8PM

Week 3:
Thu, Aug 22 - Carolina at Baltimore , ESPN 8PM
Fri, Aug 23 - Seattle at Green Bay , CBS 8PM
Sat, Aug 24 - St. Louis at Denver , CBS 8PM
Sun, Aug 25 - New Orleans at Houston , FOX 4PM
Sun, Aug 25 - Minnesota at San Francisco , NBC 8PM

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

8PM - The Middle
(R - Jan. 16)
8:30PM - How to Live With Your Parents (For the Rest of Your Life)
(R - Apr. 3)
9PM - 20/20 - General Hospital: The Real Soap Dish
10PM - 20/20: Wedding Confidential
(R - Jan. 18)

6PM - 2013 NCAA Basketball Tournament: Wichita State vs. Louisville (LIVE)
8:30PM - 2013 NCAA Basketball Tournament: Michigan vs. Syracuse (LIVE)

8PM - The Voice
(R - Apr. 3)
9PM - Smash
10PM - Saturday Night Live (Bruno Mars hosts and performs)
(R - Oct. 20)
* * * *
11:29PM - Saturday Night Live (Melissa McCarthy hosts; Phoenix performs; 93 min.)

(R - Feb. 3)
(R - Mar. 2)
9PM - The Following
(R - Apr. 1)
* * * *
11PM - Hell's Kitchen
(R - Jul. 2)
Midnight - Minute to Win It
(R - Oct. 31, 2002) SD

(check your local listing for starting time/programming)
8PM - Austin City Limits: Bon Iver (R - Oct. 13)

8PM - Sábado Gigante (3 hrs.)

7PM - Movie: The Lion King (1994)
9PM - Movie - X-Men Origins: Wolverine (2009)
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TV Sports
Behind the scenes of CBS' Final Four coverage
By Michael Hiestand, USA Today - Apr. 5, 2013

Whether you'll watch the NCAA men's basketball Final Four on a mobile app or giant flat-screen TV, Mark Wolff and Bob Fishman will literally decide how you see it. They'll draw on their experience working in sports television since the 1970s.

Wolff, as CBS' producer, and Fishman, CBS' director, will sit in a production truck in the bowels of Atlanta's Georgia Dome staring at a wall of TV screens with feeds from 16-17 cameras -- up from the 7-8 cameras during regular-season action.

That will include robotic cameras on cables above the court and ones on top of backboards. Still, says Wolff, the CBS/Turner coverage won't be able to get every shot he would like to see.

"I'd like to strap a (tiny) camera to a player's head and an official's head," Wolff, sounding semi-serious, tells USA TODAY Sports. "That would be tremendous. That's a direction we'd like to pursue."

CBS, of course, would need permission for anything like that to happen. But in some areas, the power of the CBS production team can be absolute -- which was on display when Louisville's Kevin Ware suffered the traumatic leg injury in Sunday's regional final victory against Duke.

Wolff and Fishman, working that game, showed the injury on replay twice -- with neither shot being a closeup. Fishman says "there was no debate" about showing any more replays.

"I can't imagine anybody thinking that wasn't the right thing to do," Fishman says. "Even if we had a closeup with a particularly gory angle, we wouldn't put it up."

Did CBS have such a gory angle? "No," he says. "But there was another angle that is more explicit. ... But I haven't seen it and don't want to ever see it."

How CBS will handle Ware in Louisville's game against Wichita State on Saturday is the big TV question going into Final Four coverage. CBS will have a pregame feature that will include a taped interview with Ware. And Wolff says he spoke with Ware on Thursday -- "he seems in good spirits" -- but couldn't game-plan how significant Ware would be in the coverage without knowing where he'll be sitting or whether he would be willing to go on-air Saturday.

"We're going to talk to the school to see what we can do with him on the pregame or the game coverage," says Wolff, the Final Four lead producer for the first time, replacing Bob Dekas. "We're hoping he'll be somewhere near the bench. But he didn't shed any light to me on what his plans are."

On the replay of his injury, says Wolff, Ware "told me he's never seen it and never will."

But Ware's potential presence is only one variable in the coverage. When it comes to getting mikes in team huddles, says Wolff, it's done on a "team-by-team, coach-by-coach basis, where you have to build trust" that coaches and their teams won't be embarrassed by anything picked up by such eavesdropping.

In getting cameras in locker rooms for pregame or halftimes, Wolff says Michigan and Wichita State are willing to allow them this weekend. "But we're always in negotiation. You know TV people -- we're a pushy sort."

During games, as Clark Kellogg, Steve Kerr and Jim Nantz call the action, Wolff and Fishman will make constant adjustments. Depending on the action, they'll change which players to have cameras isolated on them.

And while the Final Four schools will supply CBS in advance with seat locations for players' parents -- and famous alums who might be there -- Fishman says he personally checks out who's sitting where before tipoff.

"The problem is they give us the seat location but inevitably switch seats," Fishman says. "But the camera guys find people."

Another consideration for CBS is the camera isolation on coaches rather than players. College coaches are often better-known than many of the players -- especially to casual Final Four viewers who otherwise don't watch much college basketball. Wolff says it's a "delicate balance" to juggle on-course action with coaches' sideline histrionics.

When it comes to focusing on celebrity coaches, such as Louisville's Rick Pitino, says Wolff, "There are times when every producer has to pull back a little bit."

Fishman, working his 31st Final Four, notes while TV technology has changed over the years, his job has largely remained the same: "Nothing has changed about my main responsibilities, which are to get the best emotion shots and to not confuse viewers with camera changes" -- meaning quick cuts that leave viewers confused about what's going on.

How to juggle those two can depend on who's playing. "If a team has a slower pace, like Syracuse, you can take some chances on showing closeups before the ball crosses halfcourt," says Fishman. "But it's not so much like that with a faster-paced team like Louisville."

But there's at least one firmly pre-planned element of CBS' coverage, says Fishman: How to handle game-deciding final shots.

"It not like we make that up as we go," he says. "You have to see the game clock, the shooter's feet and hands. ... But even though we have more (TV) equipment these days, it's still basketball -- not brain surgery."

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