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Hot Off The Press: The Latest TV News and Information - Page 2875

post #86221 of 93675
Originally Posted by flint350 View Post

Well, no.  That would be that great earlier series "True Bloods, P.I.".  Nice try though.
I was thinking he was making some sort of a hair lip comparison... wink.gif
post #86222 of 93675
FRIDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #86223 of 93675
Nielsen Overnights
‘Happy Endings’ & ‘Vegas’ Hit Low, ‘Nikita’ & ‘Fashion Star’ Up
By Nellie Andreeva, Deadline.com - Apr. 13, 2013

With one month until the upfronts, bubble shows are running out of time to impress and clinch a renewal. Last night, ABC’s comedy Happy Endings gave back the ratings gains from last week to drop to a 0.8/3 and 0.6/2 in 18-49 for the two back-to-back originals at 8 PM. That was below the 0.9/3 and 0.7/3 the show logged in its first Friday outing two weeks ago, with the 0.6 rating last night marking a new low for the underrated comedy. Such numbers makes it almost impossible for ABC to justify a renewal but the show still looks like a good bet for USA should the cable network make a pickup financially feasible. Also hitting a new low was CBS’ freshman drama Vegas (0.8/3, 7 million), which held a little over half of its Undercover Boss demo lead-in (1.4/5, 7.3 million). Despite its respectable viewership, there is no scenario where the period mob drama comes back. The already renewed Blue Bloods (1.3/4, 10.3 million) was down a tenth in 18-49 while drawing the largest audience of the night by a mile.

The CW’s Nikita (0.4/1), which is eying a return for a final limited-run installment, ticked up a tenth from last week. A Carrie Diaries repeat did a 0.2, a tenth below the Cult original last Friday. The CW earlier this week yanked Cult from the schedule after first banishing the mystery series to Fridays. Giving the spot to Carrie Diaries reruns supports the speculation that the Sex And The City prequel series will likely return for a second season. NBC’s Fashion Star (0.8/3) continues its ratings yo-yo. After taking a drop last week, the reality series rebounded last night, up 33% to match its season high. Both newsmagazines last night followed repeats vs. originals last week. ABC’s 20/20 (1.5/5) was down 17%, while NBC’s Rock Center (0.8/3) was actually up a tenth.

post #86224 of 93675
TV Review
Louis C.K. has some 'Oh My God' moments
By Robert Lloyd, Los Angeles Times - Apr. 13, 2013

It is heartening in a way that perhaps the biggest comic in America — in a sense of cultural import if not necessarily in income, though he is obviously doing well there too — is a doughy, bald man of 45. It's heartening both from the aspect of one's own advancing age and as notice that kids these days are not entirely consumed with things made in their own image.

That experience counts for something is an explicitly stated theme of Louis C.K.'s new concert special, "Oh My God," which premieres Saturday on HBO: Real wisdom is a thing that only time can earn, he says. Of course, he also talks about how leaning over to put his socks on is "like folding a bowling ball in half" and that getting up out of a chair resembles "trying to get an old Honda out of a snowbank." More to the point, it involves him first asking the question, "Do I really want to be alive anymore?"

Though C.K. has been interesting for a long time, a morally ambitious comic with smart things to say offstage about his metier, it isn't surprising that his rise in status and stature has come alongside his brilliant FX series, "Louie." Because it embodies ideas — Louie, the character, is surrounded by other humans, who get to have their say — it's a vehicle more responsive to his ideas and sensibilities, delicate and brutal, than the stage, with its apparent absolute freedom to say anything, at length.

Still, it is good to see him leading this trip. Formally, there is not much space between the stand-up comic and the preacher; both are entertainers, both are concerned with truth, sometimes at the expense of facts; both seek to liberate their audience from old patterns of seeing. The lesser ones want you to think like them; but the greatest just want to break open your mind.

If the club circuit embodies a kind of trench warfare, where the comedian advances joke by joke under the fire of his audience, the concert stage is something else — a celebration of success. And while this mitigates failure and grants permission to wander where one will, it is also a strange place for a professional gadfly to find himself. The court jester was always a word away from decapitation, but the beloved comic is almost a king. It takes discipline not to cross that line.

The first quarter of "Oh My God," much of which is taken with making fun of animals, is oddly conservative. It feels easy and superior and a little wrong-headed. (Watching, I sweated the sweat of fretful fanship; I wanted C.K. to do well, but I also wanted to feel confirmed in my overall love for his work.) The first time I laughed out loud was when the comic spilled water on himself, because it suddenly made things real, bringing what is, after all, a highly crafted presentation, into the moment — spontaneously spontaneous, and not just theatrically so.

As with much comedy today, and some comedy always, sex is never far out of the picture, though C.K. is less interested in telling dirty jokes than in examining primal urges and what keeps us from expressing them publicly — these include a man's impulse to feel a woman's breasts; yelling at people in elevators the way you yell at them while driving ("I like to think I'm a nice person," he says, "but I don't know — a lot of it is context"); and, taking it to the limit, murdering one's children.

"That is a whole bunch of horrible thoughts right in a row," he says at one point.

The show, as it should, gets stronger as it goes on, and the last minutes run headlong into the horrible thoughts. A riff on progress and suffering and human history that brings the crowd into the equation is ingenious and powerful and, this being the indispensable point, funny.

For all his darkness, C.K. is a friendly performer; he smiles a lot onstage; he seems happy and declares himself so. (Divorce, he tells us, is good.) But when he finishes, to rapturous applause, the air seems to go out of him a bit.

He acknowledges the love of the crowd but doesn't bask in it and leaves the stage not in giddy triumph but soberly, having survived another turn on the wheel of fire.

Where: HBO
When: 10 p.m. Saturday

post #86225 of 93675
TV Review
'Naked Castaway' (Discovery)
Think Positive, and Try Not to Burn Your Bottom: Desert Island Dos and Don’ts
By Neil Genzlinger, The New York Times - Apr. 13, 2013

Some shows come with a strong-sexual-content warning. Some come with a graphic-violence warning. Not too many come with a buttocks warning.

But the Discovery Channel’s “Naked Castaway” does. “If you are easily offended by the sight of naked buttocks, please avert your eyes,” viewers will be advised in the opening moments of Sunday night’s premiere.

The buttocks belong to Ed Stafford, a British adventurer. For this surprisingly interesting reality series, he has himself deposited on a deserted island in the South Pacific with little more than a camera with which he intends to film himself as he tries to survive for 60 days.

Among the things he doesn’t bring are clothes, although if you’re tuning in because you’re an aficionado of the human behind — yes, that’s your spoiler-alert alarm going off — you’ll be disappointed by the midpoint of the premiere. Covering up is one of the first things Mr. Stafford has to address, not because of modesty but because of sunburn worries.

He is aided in this and many other things by the sad truth that there is apparently nowhere on earth that our trash will not wash up, if disposed of carelessly. Those wretched plastic drinking bottles seem particularly prone to bobbing their way to the South Pacific, and Mr. Stafford finds several ingenious uses for them.

We’ve seen some of this before on other “Survivor”-ish shows, but Mr. Stafford’s doing the filming himself adds a level of credibility to this variation; presumably there is no camera crew a few yards away to bail him out if something goes disastrously wrong. He does a pretty good job of narrating his own odyssey and of explaining what he is doing, like squeezing the entrails out of a gecko before he eats it.

His first and most immediate problem is finding drinkable water. “Mild dehydration affects energy,” he notes. “Anything more is a killer.”

But the long-term threat, he speculates, is entirely different.

“The biggest challenge I face will be solitude,” he says, adding, “I know isolation could make me depressed and affect my ability to think and act rationally.”

Some might say his ability to think and act rationally was in question when he agreed to be deposited nude on an uninhabited island. In any case, as the premiere ends, it seems as if future installments might shift from focusing on Mr. Stafford’s survival adaptations to focusing on his mental state, which would probably make this series a lot less watchable. No matter how real any psychological trauma he is projecting might be, it will be impossible to watch it and not think, “Oh, he’s doing Tom Hanks in ‘Cast Away.’ ”

Discovery Channel, Sunday nights at 10, Eastern and Pacific times; 9, Central time.

post #86226 of 93675
Originally Posted by VisionOn View Post

At this point I'm inclined to believe that all the TV critics are jumping on the hyperbolic C.K. adulation bandwagon. His standup remains the same as it always has, yet the amount of adulation he receives following his FX show is not something critics were dishing out a few years back.

If Lucky Louie was greenlit now I expect they would think it was genius too, instead of the disaster it was originally received as.

Glad I'm not the only one to question the adoration. I often enjoy his comedy, but it seems uneven to me. But most importantly, I just cant see the raving about his show.
post #86227 of 93675
TV Review
'Orchestra of Exiles' (PBS)
By Nancy deWolf Smith, Wall Street Journal - Apr. 11, 2013

The PBS documentary "Orchestra of Exiles" tells the story of the Palestine Symphony Orchestra, which the virtuoso violinist Bronislaw Huberman formed between 1933 and 1936 to provide jobs and a refuge for the best of Europe's Jewish musicians. Told in part through narration and archival film, it is a moving tale—especially because so many of the people interviewed are descendants of the violinists, French horn players, pianists and others who escaped Nazi Germany and other countries of prewar Europe. Their living legacy is also the music that some of their descendants play professionally in Israel today.

Tales of survival inevitably underline the loss of many more who were left behind. These include the musicians who did not make the grade in auditions and the ones who did but grew homesick in Palestine and went back to Europe, only to vanish in the Holocaust. And then there are the millions of ordinary folk who never had a chance.

Overall, Huberman is believed to have rescued nearly 1,000 people, including 56 members (and some of the loved ones) of the orchestra of exiles, which had its inaugural performance on Dec. 26, 1936, in Tel Aviv. One of the lighter moments in a generally tense account of Huberman's race against time and bureaucratic and financial obstacles is a description of what happened when dozens of musicians, each used to playing the first chair, had to learn to share the spotlight and play together in the Promised Land.

Sunday 10 p.m. PBS

post #86228 of 93675
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 14, 2013

MeTV, 12:00 p.m. ET

Me-TV is saluting the recently departed Annette Funicello by presenting four out of five episodes of her guest stint on Danny Thomas’ Make Room for Daddy sitcom in 1959. She played foreign exchange student Gina Minelli, a role that predated her first Beach Party movie by four years. For TVWW tributes to the former Mouseketeer, see Ed Bark’s Uncle Barky’s Bytes and Bill Brioux’s TV Feeds My Family.

CBS, 2:00 p.m. ET

After three days of play, Angel Cabrera and Brandt Snedeker lead the pack at seven under par. Right behind them are three Australians, which is significant because no Aussie golfer has ever won the Masters. (Oy! Oy! Oy!) But Adam Scott (at six under par), Marc Leishman and Jason Day (at five under par) are right in the thick of it. Completing the first page of the leader board are two U.S. players, Matt Kuchar (four under par) and Tiger Woods (three under par). Tomorrow could be quite a day, when that green jacket finally is handed out.

CBS, 9:00 p.m. ET

It’s getting down to the election, and that’s not the only battle line being drawn in this episode. There’s one confrontation, for example, between Peter and Will – and they’re not talking politics. They’re talking Alicia.

Showtime, 9:00 p.m. ET
When this series began, Edie Falco’s character was defined by her addictions. Now, at the start of this season, she’s being redefined by the lack of them. Can Jackie play it straight? Perhaps, and perhaps not. But Edie Falco, by now, has proven she can play just about anything.

AMC, 10:00 p.m. ET

Last week’s season premiere ended with a surprise very similar to the twist that ended this series’ very first episode: Jon Hamm’s Don Draper going to bed with a woman we didn’t suspect. This time it was the doctor’s wife, played by surprise guest star Linda Cardellini – who’s come a long, long way from Freaks and Geeks. I expect to see more of her tonight, but with Mad Men, you can never tell.


* * * *

TV Review
SyFy's 'Defiance' Engaging on Multiple Levels
By Ed Bark, TVWorthWatching.com - Apr. 12, 2013

Editor's Note: For a behind-the-scenes look at the Defiance set, see Ed Martin's TV Mix.

The ripping good special effects of Syfy’s Defiance harken to Fox’s recently failed and likewise futuristic Terra Nova, which also popped the eyes.

In each case, the bigger your DVD screen, the better. Another shared trait: the scripts and story lines tend to be cliche-heavy and sense-dulling predictable.

But Defiance, premiering Monday, April 15 at 9 p.m. ET with a two-hour episode, is decidedly different in one new worldly respect. Syfy, owned by NBC Universal, is touting it as a “transmedia event” being launched “as both an original series and a multi-platform video game … Each week viewers will follow an immersive character drama set in the boom-town of Defiance, which sits atop the ruins of St. Louis, while in the game, players will experience the new frontier of the San Francisco Bay area.”

Furthermore, “events in the show will impact the game, and events in the game will impact the show, creating an unprecedented interactive storytelling experience,” according to Syfy publicity materials.

Frankly, that sounds like a little too much work. But go for it if you’d like while these spaces stick to a review of just the show.

Here are the basics. A huge incursion of seven different alien races led to a “Terraformed Earth” 33 years into the future. All-out war has left a lot of devastation. But in Defiance, formerly St. Louis, the famed arch remains while various groups of aliens and humans strive to live peaceably. Alas, they’re also subject to periodic attacks by vicious outside forces.

Viewers are first introduced to former Marine and latter day “tracker” Joshua Nolan (Grant Bowler, far left from Lifetime’s recent Liz & Dick) and his fiery adopted daughter, Irisa (Stephanie Leonidas, left). She’s an Irathient by birth, and they often don’t get along very well. Still, dad and daughter manage to act in perfect harmony during a spirited and quite prolonged sing-along to Johnny Cash’s “Jackson.” It’s their road music for a salvage mission that yields a blue, glowing ball. It looks like a thrift store castoff but supposedly is worth millions. And this time Joshua promises to parlay any riches into Irisa’s dream trip to the promised land of Antarctica, which she has seen only in a postcard book.

Meanwhile, Defiance is being run by new mayor Amanda Rosewater (Julie Benz, right), who delivers what’s supposed to be a stirring speech (but isn’t) on Armistice Day. The scheming Albino-like Castithan couple of Datak and Stahma Tarr (Tony Curran, Jaime Murray, below left) are in attendance, as is grumpy mining magnate Rafe McCawley (Graham Greene). Another central character, Amanda’s sister, Kenya (Mia Kirshner), runs the NeedWant bar and brothel.

Rafe’s rebellious daughter, Christie (Nicole Munoz), wants to marry the Tarrs’ son, Alak (Jesse Rath). Friction ensues between the families while Defiance also girds for a major invasion by the bad-nasty Volges. Will Joshua stick around to help out after the mayor delivers a paint-by-the-numbers pep talk to the citizenry? Might he end up being the town’s new “Lawkeeper?” You already know those answers.

Bowler tries hard to be a jaunty, glib Joshua, but the script does him no favors. And the way he says “Yeahhhh” Sunday night is very reminiscent of Gary Cole’s delivery of that word as the unyielding bossman of Office Space.

But the mayor and Greene’s Rafe get stuck with most of the clunkier lines. In next week’s Episode 2, hear the old man bellow, “If you walk out that door again, there’s no coming back.” And later: “Predicting the future’s a sucker’s game.” Viewers also will learn that Rafe’s dad was “Chow Down Brown,” a prosperous dog food merchandiser. It’s downright painful when Joshua sings the company’s jingle while Rafe grouses some more.

But at least Irisa, also known as “Little Wolf,” emerges as a standout character in the three episodes sent for review. And the Tarrs can be some fun with their quirky ways and villainous sneers. Wife Stahma also rocks some outfits that would be even too abbreviated for Dancing with the Stars.

All the while, Defiance certainly doesn’t look cheap. The big battle climaxing Episode 1 is pretty much a wowser. Landscapes are breathtaking throughout and those big bad “Hellbugs” in Episode 3 are also impressively rendered. The accompanying, frequently deployed mood music doesn’t fare nearly so well. Particularly a lengthy “Ooh, ooh child, things are gonna get easier” tableau at the end of Episode 3. It’s one big “Please stop!” groaner.

Defiance is definitely a treat for the eyes, though, if not always the ears. It’s good to see a cable network aspiring to do something big and bold rather than again dipping into America’s seemingly bottomless pit of “real-life” hillbillies, bumpkins and big-bearded non-bathers. So thanks for that, Syfy. Now please get to work on the basics.


Edited by dad1153 - 4/14/13 at 12:38am
post #86229 of 93675
TV Notes
On The Air Tonight
SUNDAY Network Primetime Options
(All shows are in HD unless noted; start times are ET)

7PM - America's Funniest Home Videos
(R - Nov. 18)
8PM - Once Upon A Time
9PM - Revenge
(R - Feb. 17)
10:01PM - Red Widow
(R - Mar. 24)

7PM - 60 Minutes
8PM - The Amazing Race
9PM - The Good Wife
10PM - The Mentalist

7PM - The Voice (120 min.)
(R - Apr. 7)
9PM - All-Star Celebrity Apprentice (120 min.)

7PM - Bob's Burgers
(R - Feb. 10)
7:30PM - The Cleveland Show
8PM - The Simpsons
8:30PM - Bob's Burgers
9PM - Family Guy
9:30PM - American Dad

(check your local listing for starting time/programming)
8PM - Call the Midwife
9PM - Masterpiece Classic: Mr. Selfridge: Part 3
10PM - Orchestra of Exiles (2012, 90 min.)

7PM - Aquí y Ahora
8PM - Nuestra Belleza Latina (125 min.)
10:05PM - Sal y Pimienta

6PM - Fútbol Mexicano Primera División: Chivas de Guadalajara vs. Atlante FC (LIVE)
8PM - Movie: Transformers (2007)
post #86230 of 93675
TV Sports
Faldo goes from ripping Tiger to supporting Masters
By Michael Hiestand, USA Today - Apr. 13, 2013

CBS golf lead analyst Nick Faldo, after Tiger Woods finished play in the Masters on Saturday, sounded a bit nostalgic.

Talking about Woods' two-stroke penalty as a result of a rules violation Friday, Faldo noted golf rules were relatively cut-and-dried in the past -- with players generally disqualified for infractions. Now, he suggested, interpretations are more nuanced. Said Faldo on-air: "We're in a new era, under new rules."

And, said Faldo, given various new rules, "you have to accept" Woods' two-stroke penalty rather than being disqualified by Augusta National.

The Woods controversy was front and center as CBS opened its Masters coverage Saturday. But that led to an opening that was a bit sedentary -- the network took 13 minutes to get to any golf shots -- and finished with Faldo making comments that seemed to back off what he said earlier in the day.

Faldo started Saturday morning on the Golf Channel saying Woods should "man up" and withdraw.

"Tiger should really sit down and think about this and what it will leave on his legacy," Faldo said on GC. "Personally, I think this is dreadful."

When Faldo took to CBS, the three-time Masters champ suggested that given "the timeline" of the episode -- Woods making comments on the drop after signing his scorecard Friday and Augusta National reacting specifically to those comments -- that it seemed "correct" that Woods be allowed to keep playing.

Faldo, to be helpful to casual fans who don't understand all the complicated rules, should have elaborated on why he changed his mind during his initial comments. Later in the broadcast he addressed it again, but he focused on the decision by Masters officials and not whether Woods acted properly.

CBS opened coverage with announcer Jim Nantz interviewing Fred Ridley, chairman of the tournament's rules committee, on the Woods decision.

The interview involved arcane issues only a rules aficionado would cherish. The bottom line, though, was Ridley saying Woods didn't get any preferential treatment: "We look at every player the same."

When Woods is in contention in a golf tournament on Sundays, ratings can easily get a 50% boost -- or even double. So no matter what one's opinion on any specific golf rules, it's indisputable that Augusta National and CBS and everybody else could safely predict that weekend action at the Masters with Tiger Woods is going to draw more far attention than play without him.

post #86231 of 93675
TV Notes
'I Love Jenni' on Mun2 carries on after Jenni Rivera's death
The reality show's third season will be divided between the singer's life before her death and her family's experiences after the jet crash.
By Yvonne Villareal, Los Angeles Times - Apr. 13, 2013

When it came to mass recognition in the United States, the late Latin music star Jenni Rivera used to say she wasn't Coca-Cola, and maybe she wasn't Pepsi either. But she wasn't going to let anyone tell her she wasn't at least akin to Fanta.

The sentiment — more colorfully expressed in Rivera's words according to friend and manager Pete Salgado during a recent interview in Studio City — may partly explain why the Mexican regional superstar floated under the radar of most non-Spanish-language outlets before her death last year. More loosely, it's the sort of fun-loving, unfiltered confidence the Long Beach native revealed in her cable reality series "I Love Jenni," which aired on Mun2 (pronounced moon dos), Telemundo's Los Angeles-based bilingual cable network.

The series offered a peek inside the 43-year-old Rivera's chaotic lifestyle as a mother and in-charge music star who sold more than 20 million albums worldwide. Now four months after the banda and norteña singer's plane crashed, Mun2 will roll out Sunday the third and last season of the series that helped put the decade-old network on the map.

"It's like we get to hang out with her a little while more," said Salgado, who is also an executive producer of the show.

The television show isn't the only medium poised to say farewell to the beloved singing star, whose birth name was Dolores Janney Rivera. Her memoir, "Unbreakable," is set to publish in Spanish and English in July.

Also, an English-language album the singer had been working on is expected to be released by the end of the year, an exhibition called "Jenni Rivera, La Gran Señora" will be on display at the Grammy Museum in downtown L.A starting in May, and there's been talk about a biopic as well.

Rivera's death raised an immediate question for the series — should it continue at all? Production, which wasn't supposed to wrap until March, had just started when her plane plunged 28,000 feet in 30 seconds over Mexico on Dec. 9.

First, the family had to decide. Rosie Rivera, Jenni's sister and a growing presence on the series, addressed Jenni's five children, who range in age from 12 to 27, in late December about the show's future. A decision was reached within 10 minutes.

"I spelled it out: I said you guys let me know. I'm not going to force you guys to do anything you don't want to do," recalled Rosie, who also served as co-host to Jenni's radio show, "Contacto Directo Con Jenni Rivera." "It was immediate. There was no pondering, 'Oh, it's going to be too hard' or 'I can't do it.' They were like, 'We're going to do this for mom.'"

In January, Jenni Rivera Enterprises Inc., the late singer's corporation, was one of four companies named in a lawsuit filed in Los Angeles County Superior Court by the families of the four members of Rivera's entourage who were also killed in the plane crash. The cause of the luxury jet crash still has not been determined and may not be known for a year, according to authorities.

The family had no comment on the lawsuit, and their attorney added no decision has been made about whether they will pursue legal action against Starwood Management, the Las Vegas-based company that owned the jet.

This last season of "I Love Jenni" will unfold in chronological order, according to the network, and will be divided between the singer's life before the crash and her family's experiences after the tragedy.

A good part of this season originally was supposed to feature material from Rivera's experiences developing a new comedy for ABC, in which she would star as a struggling single mom. The pilot, from Robert L. Boyett ("Full House") and Robert Horn ("Designing Women"), was to begin casting in February.

Also, with Rivera gone, the confessional interviews with the star about events already filmed — a hallmark of the show — would have to be dropped.

"It was really hard looking back at some of the footage we had of her," said Shari Scorca, an executive producer on the show. "You realize she's not going to be there anymore. She's not there to let us in anymore."

Rivera, whose life had made for tabloid fodder in the Spanish media, hadn't always wanted to take part in the reality fishbowl frenzy. A few Spanish-language networks had made offers to Rivera about reality series, but the outspoken singer was hesitant.

"She wanted creative control," Salgado said. "That was really important to Jenni, especially because TV was a new venture for her. I remember people thought she was out of her mind because Mun2 is such a small cable network. But they were the ones who let her have a say."

Before Rivera became one of the network's ace reality personalities, though, the "Diva de la Banda" developed a series about a group of young Latinas in Los Angeles. That idea eventually became 2010's "Jenni Rivera Presents Chiquis and Raq-c," which Rivera executive produced; it featured her eldest daughter Janney "Chiquis" Marin as she helped manage Rivera's business empire.

"My mom got a taste of it," Marin said, referring to Rivera's occasional appearances on the show. "It was almost like it clicked. She wanted to let fans know who she was, not who they thought she was because there had been so much said about her. And she wanted to take care of us. She envisioned this being a platform that would help us, that we could use to our benefit."

By March 2011, Rivera got her own spinoff in "I Love Jenni." The show scored record ratings for the network.

In its first season, the show averaged 60,000 viewers watching live or within seven days using DVRs. Ratings jumped 34% in the second season — big numbers for the small network that averages about 100,000 viewers in prime time. The viewership helped establish the Rivera clan as the royal family of Mun2 — with specials and another spinoff launching from there.

"It was the brand-defining show for us," said Diana Mogollon, general manager of Mun2, which is owned by media giant NBCUniversal. "The network is 11 years old, but we're still in diapers. 'I Love Jenni' helped us find our groove. We had done reality before, but we hadn't found our secret sauce. Young Latinas have nothing out there for them. It really opened up a whole new world of possibilities."

For Marin, a little bit of TV is a longed-for respite amid the commotion.

"I have episodes of the show saved on my DVR," she said, fighting back tears. "It comes on, and I hear her voice. It'll be 4 o'clock in the morning, and I just sit there with her. It's like we're still together. And that helps."

Where: MUN2
When: 6 p.m. Sunday

post #86232 of 93675
Critic's Notes
Pol Watchers: Everyone’s a Bad Guy
By Alessandra Stanley, The New York Times - Apr. 14, 2013

Mr. Smith never goes to Washington anymore.

One glaring omission in the many series about government — and the list includes “Veep,” “Scandal,” “House of Cards” “Homeland” and “The Americans” — is the ingenuous outsider. Dishonest senators, sleazy political advisers, unprincipled reporters and conniving spouses abound, but, oddly, it is almost impossible to find a Frank Capra-esque newcomer who channels the idealism and frustration of viewers.

That formula doesn’t work in today’s climate. Governance is not a calling on television, it’s a pop-culture spectacle that favors process over outcome: 24-hour sports coverage without a final score.

“Veep,” the HBO comedy starring Julia Louis-Dreyfus as a self-serving vice president, is steeped in the latest shade of cynicism. The second season begins on Sunday with Vice President Selina Meyer as callous and calculating as ever, and even she is not as heartless as her more experienced colleagues in the West Wing. Selina asks a White House aide why the administration isn’t doing something to free American hostages. We are doing something, he replies: “Nothing. Until the numbers support intervention doing nothing is the most positive thing we can do.”

“Veep” is funny and relentlessly meanspirited; the president of the United States, referred to by the insider acronym “Potus,” is never seen and is held up as an almost irrelevant bystander.

The show is a telling counterpoint to “Commander in Chief,” an ABC show that began in 2005 and starred Geena Davis as a vice president who takes over the Oval Office when the president has a stroke. There were devious senators and aides in the mix, but the first female vice president was a feminist and straight-talking idealist. It lasted barely a season.

It is no accident that “Veep” is an Americanized version of “The Thick of It,” just as “House of Cards,” the Netflix series about ambition and corruption in the nation’s capital, is an adaptation of a BBC series by the same name. American television writers, by contrast, have an ingrained habit of trying to make even the most boorish characters lovable. “1600 Penn” on NBC is an irreverent sendup of a blundering president and his gaffe-prone family that tries to end each episode on a sweet note.

Cable doesn’t have the same feel-good mandate as network, and that’s why HBO, Showtime and others look to British television for inspiration. Writers there are more coldblooded, and, especially when it comes to politics, they serve up scalding satire without lapses into sentiment and sensitivity. For some reason that kind of cruelty is ripe for import.

Denmark is another promising source. “Borgen,” which returns for a third season on Link TV in the fall, is a dark Danish thriller about a prime minister struggling to hold onto her parliamentary coalition and her marriage. It’s more humane and character driven than “Veep,” but it too offers a deeply skeptical view of politics and the political consultant (the “spindoktor,” as they say in Copenhagen). An American version is in the works.

But government bashing is also an indigenous craft. And it speaks to the temper of the times that the heroine of the ABC drama “Scandal,” a Shonda Rhimes nighttime soap opera about Washington, is a high-priced image consultant who has an affair with the president. Olivia Pope (Kerry Washington) is not even the bad girl whom audiences learn to love. Compared with the president, the first lady, White House aides and most of Congress, Olivia Pope has principles, though they mostly consist of guiding her clients past press stakeouts and prosecution.

There are no redeeming main characters on “House of Cards.” That series provides a one-sided portrait of politics: everyone is corrupt or conniving. Even Zoe Barnes (Kate Mara), the sweet-faced cub reporter, is sneaky, cold and unburdened by scruples. She makes a Faustian deal with the House majority whip, Frank Underwood (Kevin Spacey), to write whatever he tells her (“I won’t ask any questions”) in exchange for scoops that can advance her career.

Mistrust of Washington isn’t new — in 1962 Hollywood released both “Advise and Consent,” based on Allen Drury’s novel, and “The Manchurian Candidate” — there’s just so much more of it in popular culture.

“The West Wing,” which began in 1999, was the exception. In that series everyone in the White House — and even some Republicans — were idealistic and well-meaning. “The West Wing” was a hit that was either ahead of its time or behind it, but it certainly proved out of sync with the prevailing bad mood that has continued to today.

On “The Americans” on FX, the most principled people in Washington are a pair of KGB spies working undercover against Reagan’s America.

Washington gets no respect, yet the setting has cachet. HBO, which replaced “Entourage” with “Veep,” substituted the West Wing for West Hollywood. Ms. Rhimes moves on from “Grey’s Anatomy” and a teaching hospital in Seattle, to “Scandal” and the incorrigible corridors of power. Sigourney Weaver is famous for battling extraterrestrial life forms in the movie “Alien” and its many sequels; as a Hillary Clinton-like secretary of state in “Political Animals,” last summer on USA she fought off predatory reporters.

To some extent the shift was inevitable. After the Sept. 11 attacks, and most recently the 2008 financial meltdown, national issues and international crises have become daily preoccupations. The nation’s capital is the center of action — or, more accurately, inaction. And thanks to blogs, Twitter, online news and gossip sites like Politico, Huffington Post and TMZ, and all the 24-hour cable news shows on Fox, CNN and MSNBC, politics have become like football on ESPN, the subject of nonstop coverage, gossip and hyperbolic on-air banter.

The faces of politicians and their strategists, advisers and image consultants are familiar. They have become cable celebrities who are interchangeable with chefs, actors and advice gurus.

Anchors like Brian Williams and Bob Schieffer play themselves in fake news broadcasts; Chris Matthews recently reported on a terrorist attack on the White House in the movie “Olympus Has Fallen.” Political reporters evidently don’t worry that make-believe journalism hurts their credibility, they worry more about their visibility.

And all those revolving doors make Washington seem accessible — especially to those with means and money.

Shows like “American Idol” and “The Voice” have persuaded teenagers that they too can be pop stars; all kinds of people think they should be in public office. That includes rich businessmen like Michael Bloomberg and Jon Corzine, but also actors like Alec Baldwin and, for a nanosecond, Ashley Judd. (Fred Thompson began as a lawyer and politician before becoming a recurring character on “Law & Order.”)

Small wonder, then, that writers seek material in the White House mess or the Senate cloakroom. At the moment, with the public deeply mistrustful of Congress, there is no better vehicle than Washington for the parade of human failing.

Police headquarters and hospital emergency rooms can never be as unseemly. Even darker shows, like “Vegas” on CBS or the recently canceled “Mob Doctor” on Fox, that linger on the shadier side of the street have to follow the action. It’s hard not to ennoble cops and surgeons in a narrative that revolves around capturing killers and saving lives.

Show business has more currency. “Nashville” and “Smash” are series that thrive on backstage ego and backstabbing, but there, talent can trump contempt. A great voice or dance number makes up for any number of corrupt practices or bad personalities.

Business has some traction. The title of a Showtime series about devious management consultants sums up the plot: It’s called “House of Lies.” But corporate malfeasance is too often hidden in quarterly reports and harder for most people to follow. Political skulduggery is done in the open — and on C-Span — and is easier to portray.

There’s an old saying in Hollywood that people have two businesses: their own, and show business. Nowadays it’s the business of politics that keeps us entertained.

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TV Notes
Primetime Pilot Panic: More Early Buzz
By Nellie Andreeva, Deadline.com - Apr. 13, 2013

Related: PRIMETIME PILOT PANIC: The Early Buzz

There is exactly one month to go until the broadcast networks begin to unveil their 2013-14 schedules to advertisers during premiere week. The first completed pilots have just started to come in, but we’re still a couple of weeks away from getting a more realistic picture of the this year’s pilot standings. For now, the info we share is based on buzz (thus the headline), and early insights from table reads, tapings, dailies and rough cuts. So don’t forget to pick up a large grain of salt before reading this. Now that you have been warned:


Chuck Lorre has done it again. Not that his clout alone was not enough to make his newest pilot Mom an instant frontrunner for the fall schedule the day it was greenlighted by CBS in December. Still, for CBS’ peace of mind, they were hoping the show would come together well. The network brass just got their wish with a rousing table read. The only remaining question surrounding Mom is where it will land on the schedule. I hear Monday 8:30 PM as a likely possibility. It makes a lot of sense, as How I Met Your Mother is already a strong launching pad that most recently helped establish 2 Broke Girls last year. Next season, the veteran comedy is expected to get extra sizzle from the fact that it is going into its final season that will finally reveal who the mother is. Plus, HIMYM and Mom will likely share sensibilities as they share the same director, Pam Fryman. As I wrote in my first early pilot buzz post, CBS brass appear very pleased with their comedy development this season, so if they pick up more multi-camera pilots, Friends With Better Lives is hot, and the Greg Garcia multi-camera pilot starring Will Arnett is coming off a solid table read. Competition is shaping to be as cutthroat on the single-camera side where CBS will likely opt for at least two shows to form a single-camera block. Greg Garcia’s Super Clyde was an early standout, with Crazy Ones boasting an in-form Robin Williams. The Bad Teacher remake and Irish American family comedy The McCarthys also seem to be in the mix, with the long-brewing Rob Greenberg pilot and Rottenberg/Zuritsky garnering positive very early buzz.

The picture is still pretty murky on the drama side where most pilots appear in contention ahead of delivery and testing. Beverly Hills Cop continues to look like a sure bet, with the Jerry Bruckheimer-produced conspiracy thriller Hostages also strong. While not as flashy as its predecessors and eliciting somewhat of a mixed reaction, the NCIS: LA spinoff still is considered a solid bet for the schedule. With so few slots available, it will be a fierce battle among the number of other contenders.


The Andy Samberg-starring Mike Schur/Dan Goor cop comedy has kept its momentum and is rumored for a possible early series order. Another male-centered comedy, which already received an early series order, Dads, had an imperfect first taping but Fox brass continue to be bullish on the project, which will undergo some tweaks. Two other male-skewing pilots also continue to get buzz, Army-based Enlisted and dating comedy I Suck At Girls starring Christopher Meloni. On the female/family comedy side, Us And Them and To My Future Assistant are possibilities.

Drama-wise, Rake, starring Greg Kinnear and directed by Sam Raimi, continues to look like a frontrunner. There is speculation that Gang Related and The List, both headlined by Latino actors, may be competing for a slot, with Alex Kurtzman/Bob Orci/Len Wiseman’s Sleepy Hollow possibly competing with Inhuman, from the Fringe duo of J.H. Wyman and J.J. Abrams. After a quiet start, Delirium, based on popular young-adult books, could be a dark horse though it skews a bit younger.


No major shakeups in the early standings at ABC where corporate synergy-friendly titles look strong. The first pilot from Disney-owned Marvel, Joss Whedon’s S.H.I.E.L.D., is all but assured a spot on the schedule. Big Thunder, based on the Disney ride, is a major contender. The Once Upon A Time spinoff, set in Wonderland, is expected to gain momentum as shooting on the short presentation just wrapped. Also hot is the McG-directed Romeo and Juliet-esque soap Venice, along with Gothic soap Gothica. Influence is getting notices for the chemistry between leads Christian Slater and Steve Zahn, with Betrayal, Reckless, The Returned and Murder In Manhattan also in contention. Doubt has been quiet because of its late casting but it comes from House creator David Shore.

On the comedy side, the Cullen Bros. project starring James Caan is red-hot. Also strong are Adam Goldberg’s How The Hell Am I Normal and the David Spade starrer Bad Management, while the untitled John Leguizamo comedy is gaining momentum. Several female-driven comedies are in the mix, including Keep Calm And Karey On, Middle Age Rage, early pickups Trophy Wife starring Malin Akerman and Super Fun Night starring Rebel Wilson as well as ensemble Mixology.


Will Julie Plec have three series on the air next season? Over the past week, The Tomorrow People, an adaptation of the cult British sci-fi series, has emerged as a major contender at the CW whose brass are also about to see a cut for The Vampire Diaries planted spinoff The Originals, which has enjoyed great buzz and is considered a shoo-in. Tomorrow People comes from Plec, executive producer of the already renewed Vampire Diaries and The Originals, and Greg Berlanti, who too is assured at least one series on the CW next season, the recently renewed Arrow. Another sci-fi-tinged drama, The 100, is also going strong. The royal Reign and The Selection are getting early praise for their visuals as both are filmed in Europe. (There was a production hiccup on Reign, chalked up to the long distance between Hollywood and Ireland where the pilot is filmed, which has been resolved.) But can CW pick up two projects about kings and queens? CW president Mark Pedowitz has long touted his idea for limited orders (Cult was the first series he ordered under that model). So if Reign and The Selection both pass muster, it is possible that they get limited-run orders to alternate in a “royal” time slot. With so many high-concept/fantasy/sci-fi pilots (human-alien love story Oxygen also is in the running), the “normal” Blink and Company Town look like the odd men out in the early going.


The network is moving full steam ahead with the planted Chicago Fire spinoff, which is now filming and is likely to factor into NBC’s series pickup decisions. The comic book-driven The Sixth Gun, executive produced by Carlton Cuse, continues to get strong early buzz, along with the James Spader-Megan Boone starrer The Blacklist. Also in contention is the Pete Berg-directed Bloodline, the J.J. Abrams-Alfonso Cuaron Believe, the Charlize Theron-produced Hatfields & McCoys, the untitled Rand Ravich project and early pickup After Hours. Despite the behind-the-scene shakeup with executive producer Katie Jacobs exiting, legal drama I Am Victor starring John Stamos continue to have supporters at NBC.

On the comedy side, the untitled Sean Hayes/Victor Fresco pilot continues to go strong. Also getting solid early buzz are the Bill Lawrence-produced Undateable and About A Boy. Additionally, talked about are family/parent comedies The Gates, Family Guide and Welcome To The Family and the Krysten Ritter-starring workplace vehicle Assistance. One of the two Greg Daniels-produced pilots — the untitled Robert Padnick project and the Craig Robinson project — is expected to go, with the Robinson one having a slight edge at the moment.


Let’s not forget that the broadcast networks are not the only ones that are currently assessing pilots. The two completed TNT pilots, popcorn dramas The Last Ship, produced by Michael Bay, and Legends, produced by Howard Gordon, both appear strong after some reshoots and are in contention for the network’s adventure-themed Sunday night anchored by Falling Skies.


The network appears happy with its first scripted pilot, Rita, based on a Danish series and starring Anna Gunn. Bravo had been planning to launch its first scripted series in the fourth quarter. It originally ordered two scripted pilots, with the second, The Joneses, not going forward.

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TV Notes
National Geographic Channel makes the case for the '80s as 'The Decade That Made Us'
By David Hinckley, New York Daily News - Apr. 14, 2013

To the increasingly rickety population that actually remembers the 1970s, it’s not as hard as you might think to find good things in that decade.

Secretariat in the 1973 Belmont. Bob Dylan’s “Idiot Wind,” Bruce Springsteen’s “Badlands,” the Chi-Lites’ “Oh Girl.” “M*A*S*H.” Carlton Fisk. Reggie Jackson. The Tall Ships.

Still, the ’70s were 10 years that began with Kent State, proceeded on to Watergate and day-glo polyester lapels, then ended with “Escape (The Pina Colada Song).” Small wonder the comic strip Doonesbury eulogized it as “a kidney stone of a decade.”

The beneficiary of all this was the 1980s, which started with a bar so low almost anything would have been an improvement.

And things did improve, National Geographic stresses in “The ’80s: The Decade That Made Us,” a three-night, six-part series that launches at 8 p.m. Sunday.

In fact, NatGeo vigorously argues, the ’80s really did make us what we are today.

We owe our obsession with outrageous celebrity fashion to the likes of Madonna and Cyndi Lauper, the show declares.

We owe our smartphones, the ones that will eventually give us a generation with thumbs the size of lobster claws, to the Sony Walkman and the personal electronic revolution of the ’80s.

We owe our sedentary indoor recreation lifestyle to Pac-Man.

We owe our political dialogue to Ronald Reagan, love him or hate him.

We owe our personal fitness industry to Jane Fonda.

We owe our music to the hip-hoppers who busted out of the Bronx and conquered the radio.

“We are telling the real story of how things happened that created the world that we all live in now,” says executive producer Jane Root.

To make that point, “The ’80s” sometimes skates lightly over the past, since almost everything it chronicles was seeded decades earlier. The sight of women’s knees shocked the 1920s every bi t as profoundly as Madonna’s “Boy Toy” belt buckle shocked the ’80s.

The ’80s also was hardly a decade of unbroken triumph. People shot the Pope and the President. We had Iran-Contra. AIDS germinated in the 1980s. John Lennon was killed and the Challenger exploded.

Rob Lowe, who narrates this special, torpedoed his own career in 1988 when he starred in a sex tape with a 16-year-old girl.

What the ’80s did masterfully, though, was market its product. It was in the ’80s that Super Bowl ads became more memorable than the football game.

Darryl McDaniels, better known in the ’80s as DMC of Run-DMC, says the big difference between then and now is that back in the day, the music and the culture were about something.

Today, he says, it’s just about getting paid.

“Most rappers today have no idea what’s going on,” says McDaniels. “They’re punks and they cheapen the music.

“We grew up listening and paying attention. We could talk to you about Dylan or ‘ something happening here’ [Buffalo Springfield’s “For What It’s Worth”]. We made that part of our music. That’s why it lasts. We knew about history and we had something to say.”

In fact, he says, that’s how Run-DMC finally got MTV to play a rap video, “Rock Box.”

“We knew if you put some rock chords with the hip-hop beats, they’d have to play it.

“Everyone then was listening to everyone else and trying to do better. You’d hear KRS-One or Public Enemy and we’d be thinking about how we could make our next record better than that.

“Today it all sounds the same.”

The ’80s had its share of artists who came and went. It was the decade of Men Without Hats, Wang Chung, Nena, Rockwell and Milli Vanilli.

But Lauper says she finds audiences still enjoy her songs as much today as they did 25 years ago, and not just because it evokes their childhood.

“I didn’t make disposable music,” she says. “You make it so it will last.”

She says one of her most satisfying moments came when Miles Davis recorded her song “Time After Time.”

Root says National Geographic approached this series with the same premise: that after sifting through hundreds of possible segments to select the several dozen featured in the show, they wanted the survivors to resonate.

“We were looking for stories you can actually trace back to a precise moment when something really changed.” she says.

For instance: those Jane Fonda workout tapes.

“Jane Fonda was making ‘The China Syndrome,’ ” says Root. “She falls over and breaks her ankle, and she’s really worried because she’s supposed to wear a bikini in her next movie.

“She can’t do ballet for exercise anymore, so she kind of just stumbles upon aerobics, starts dancing, creates a studio.

“Then the thing that is amazing is that she connects up with this new form of technology which gives us the video machine.

“So you have not only aerobics and sports and gyms happen from that accident, but a fundamental change in entertainment.”

This special’s focus on flashpoints of historical significance does leave one casualty: ’80s fashion, which recedes into a supporting role.

“Quite honestly, one could do hours and hours on hairstyles of the ’80s, and that would be really cool and fun,” says Root. “But that wouldn’t be the show that we are making.”

It has been suggested that the upswing of the ’80s started on Feb. 22, 1980, when the U.S. Olympic hockey team stunned the Soviet Union hockey team, which to that point was the master of the hockey universe.

That 4-3 victory invigorated the whole country, right down to people who didn’t know a hockey puck from a hambone.

“The country needed a lift,” says Jim Craig, the goaltender for that U.S. team, and this collection of rowdy young amateurs was the perfect ensemble to provide it.

“We had nothing to lose,” he says. “We were kids in our early 20s. We were doing it for pride, not money.

“We had a sense of what it meant to people then. But I also find that as time goes by it means more and more to me.”

Vincent Paterson, who worked with Michael Jackson on the “Thriller” video, says he thinks the key to that project’s impact was that he and Michael started with a blank storyboard.
“We had no rules,” Paterson says. “We had no boundaries. It was like being a kid in Santa’s workshop.

“We created the framework for everything that followed, whether it was a tour or a music video.”

Maybe not, however, the framework for modesty.

Sunday 8 p.m., National Geographic

post #86235 of 93675
Originally Posted by dad1153 View Post

TV Notes
National Geographic Channel makes the case for the '80s as 'The Decade That Made Us'
By David Hinckley, New York Daily News - Apr. 14, 2013

In fact, NatGeo vigorously argues, the ’80s really did make us what we are today.

We owe our obsession with outrageous celebrity fashion to the likes of Madonna and Cyndi Lauper, the show declares.

We owe our smartphones, the ones that will eventually give us a generation with thumbs the size of lobster claws, to the Sony Walkman and the personal electronic revolution of the ’80s.

We owe our sedentary indoor recreation lifestyle to Pac-Man.

We owe our political dialogue to Ronald Reagan, love him or hate him.

We owe our personal fitness industry to Jane Fonda.

Sunday 8 p.m., National Geographic


I don't really buy many of those assertions made above:

1 - Outrageous fashion in celebrity types was already washing over us with the likes of the Brady Bunch and The Partridge Family well before the 80's. However, what we owe our current fashion trends is the likes of Nike, Tommy Hilfiger and Donna Karan, which all made sure brand became more important that style.
2 - We our our smart phones to the "brick" phones of the 80's that made mobile phones actually possible (as opposed to the car-based systems that came before) and early attempts at PDA devices that are no longer with us, such as the Newton, Palm and the Axim.
3 - We do not owe our sedentary recreation lifestyle to Pac-Man. Pac-Man was origionally released as an arcade game, meaning you had to go out to an arcade and stand in front of it while you played. We owe the "indoor recreation lifestyle" to Atari, which brought all those games into the home.
4 - This would be true if we actually had that sort of dialog anymore. Clinton would probably the last time we had a president people really bought into and were engaged with as a likeable person. The rest since the 80's have merely been talking heads for political messages and movements and symbols of partisan politics.
5 - I think Jack Lalanne would have something to say about that. But, if you really want to see the beginning of the current trend of fitness (specifically, the use of specialized fitness equipment), you only have to look at Suzanne Somers and the Thighmaster.
Edited by NetworkTV - 4/14/13 at 9:06pm
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SATURDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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TV Notes
On The Air Tonight
MONDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

8PM - Dancing with the Stars (120 min., LIVE)
10:01PM - Castle
* * * *
11:35PM - Jimmy Kimmel Live! (Jennifer Hudson; comic Bob Saget; Yeah Yeah Yeahs perform)
12:37AM - Nightline

8PM - How I Met Your Mother
8:30PM - Rules of Engagement
9PM - 2 Broke Girls
9:30PM - Mike & Molly
10PM - Hawaii Five-0
* * * *
11:35PM - Late Show with David Letterman (Steve Carell; Emilia Clarke; Josh Ritter performs)
(R - Mar. 12)
12:37AM - The Late Late Show with Craig Ferguson (Rob Lowe)

8PM - The Voice (120 min., LIVE)
10:01PM - Revolution
* * * *
11:35PM - The Tonight Show with Jay Leno (Jerry Seinfeld; entrepreneur Mark Cuban; Jose James performs)
(R - Mar. 17)
12:37AM - Late Night with Jimmy Fallon (Justin Timberlake; Timothy Olyphant; the latest "All-Star Celebrity Apprentice'' castoff; Justin Timberlake performs)
(R - Mar. 11)
1:37AM - Last Call with Carson Daly (Filmmaker Eli Roth; musician Alexander Spit; Family of the Year performs)
(R - Feb. 26)

8PM - Bones
9PM - The Following

(check your local listing for starting time/programming)
8PM - Antiques Roadshow: Cincinnati
9PM - Market Warrios
10PM - Independent Lens: Wonder Women! The Untold Story of American Superheroines

8PM - Porque el Amor Manda
9PM - Amores Verdaderos
9:55PM - Qué Bonito Amor (Series Premiere)

8PM - Oh Sit! (Season Premiere)
9PM - 90210

8PM - Pasión Prohibida
9PM - La Patrona
10PM - El Señor de los Cielos (Series Premiere)

11PM - The Daily Show with Jon Stewart
11:31PM - The Colbert Report

11PM - Conan (Chelsea Handler; Beng Washburn)

11PM - Chelsea Lately (Will.i.am; Michael Yo; Jen Kirkman; Ross Mathews)
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TV Sports
CBS gets suspense amid soggines
By Michael Hiestand, USA Today - Apr. 14, 2013

This wouldn't seem like a recipe for boffo TV box office: Dreary dark skies, lots of missed putts, steady rain dribbling down CBS' camera lenses and a leaderboard at the Masters on Sunday mainly topped by three Australians and an Argentinian ranked No. 269 in the world.

And yet final-round coverage was mediagenic, because CBS pretty much stuck to action itself. Tough to praise the beauty of Augusta National when it looked so soggy.

CBS Sean McManus told USA TODAY Sports on Sunday, "There was a point in the tournament when there weren't a lot of roars, memorable shots Sunday -- but then things became fast and furious."

On the lack of U.S. stars beyond Tiger Woods, who was only theoretically in contention, McManus says "the game of golf is so international now, the world is used to seeing these international stars.

There was unpredictability and suspense. As CBS reporter David Feherty put it late in the round: "This is some kind of a Greek drama. We don't know if it will be a tragedy or comedy."

CBS pounding away that an Australian had never won the Masters seemed overwrought initially, but turned out to be prescient. After Australian Adam Scott's winning putt on the second extra hole, lead analyst Nick Faldo said Scott "is now officially the wizard of Oz" -- which might have been head-scratching for viewers who didn't know the Lucky Country's own nickname for itself. CBS' Ian Baker-Finch, an Australian native, noted Scott had come from "Down Under to the top of the world." Good line.

Baker-Finch noted that "we're a proud sporting nation and it would mean more than I can say." (While announcers on U.S. TV aren't supposed to say "we" during international events, that one was OK.) During a pause in extra-hole play, Faldo volunteered that "the whole of Australia can go through its breathing exercises."

With Argentina's Angel Cabrera in contention for his second green jacket, Sunday, CBS' Verne Lundquist broadened the international angle: "Golf fans are holding their breaths in Australia. And now they are holding their breaths in Argentina!"

Which was no doubt great for TV ratings in those countries, but not exactly what U.S. broadcasters normally desire. In a taped segment late in the telecast, Scott didn't seem all that psyched -- "If I'd be the first Australian, it'd be a nice little asterisk by my name." Still, when he made a long birdie putt at the last hole in regulation -- "the most vital putt in his life," said Faldo -- to temporarily take a lead before the playoff, Faldo lip-read that Scott was yelling, "Come on Ozzies!" (Fans of Australia probably added, "Oy, oy, oy" -- completing the unofficial national cheer.)

Playoff action, in any sport, usually helps TV ratings because audiences for events tend to build the longer they run. Woods, who tied for fourth, also likely helped ratings by being onscreen a lot Sunday. As Woods began the back nine, Faldo was refreshingly candid in suggesting he would essentially need to birdie every hole.

Woods later said on CBS that he "had a hard time getting accustomed to the speed" of the wet greens as they "were so much slower." Faldo's take on Woods was that his shots "are just 5% off, so these other (tournament leaders) are just a little bit better." Anchor Jim Nantz said Woods "just didn't hole the crucial putts on Sunday, and it's been that way since he won last won here in 2005."

But Woods wasn't in CBS' big picture. As Nantz signed off Sunday, he reminded us of why we should all be excited: "The drought is over. Australia is wearing the green jacket!" Well, it did look like it could be early autumn at Augusta.

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Business/Critic's Notes
More Cracks Undermine the Citadel of TV Profits
By David Carr, The New York Times' 'Media Equation' Column - Apr. 15, 2013

For the longest time in the media business, the concept of the bundle has been foundational. Ads go with editorial content in print, commercials go with programming on television and the channels you desire are paired with ones you did not in your cable package.

People were free to shop for what they wanted, as long as they were willing to buy a bunch of other stuff they did not. The box score last night for your home team? It was wrapped inside a bundle of paper that included everything from foreign news to ads for lingerie. If you liked a song, you generally had to buy an album full of others to get the goods.

As for advertisers, the audience they wanted was bundled inside a much larger audience of people they did not. To get at the milk, both consumers and businesses had to buy the cow.

Television has thrived on this kind of systematic stacking, but though bundles may be a handy way of protecting things, they also tend to obscure the weaknesses within. Those flaws are becoming more apparent as the practice of bundling comes under attack.

Networks are stepping up the fight against Dish Network’s Hopper, which automatically skips the commercials in network programming. Aereo won a court decision on April 1, letting it continue its rollout of a service through which consumers can access broadcast signals online without Aereo paying any of the estimated $3 billion that broadcasters will take in from retransmission fees by 2015.

And tellingly, there has been some breaking of ranks between the companies that make content and the people who send it through the pipes to consumers. Most notably, Cablevision filed an antitrust suit against Viacom challenging its requirement that the cable company carry rarely viewed channels to get access to Viacom’s more popular ones. (Verizon did not join the lawsuit, but is also asking for less bundling and more options.)

Finally, there is the success of Netflix’s “House of Cards,” original programming delivered over the Internet, with no cable required. The company announced on Facebook that customers had watched four billion hours of streaming video in the first three months of the year. As Peter Kafka pointed out in AllThingsD, Richard Greenfield of BTIG Research calculated that eye-popping number would make it the most-watched cable television network. Except it isn’t on cable, isn’t on television and isn’t a network.

Those initiatives represent assaults on different parts of the business, but each is an attack on the bundle, and the legacy industry is reacting ferociously. Aereo is a finger in the eye of broadcasters, prompting some to suggest they might turn off their broadcast signals and become cable channels — as Fox threatened last week. (The biggest losers in that situation would be the more than 11 million cable-less households that still depend on antennas.)

Charles Ergen, the chairman of Dish Network, was recently called the “most hated man in Hollywood” by The Hollywood Reporter because he dared to give consumers the ability to unbundle advertising and programming with a touch of a button using Hopper. It brings to mind the scene from Ken Auletta’s book “Googled,” when Mel Karmazin, then chief executive of Viacom, visited Google and saw a demonstration of the company’s ability to target ads. He declared that the company was, um, messing “with the magic.”

That’s because media companies have another word for those consumer inefficiencies: profits.

“The bundle is the Gibraltar of the media business,” said Tim Wu, the author of “The Master Switch,” a history of media revolutions. “It keeps the entire ecosystem alive, which is why it is so heavily and successfully defended. But there are hairline fractures beginning to appear, and you are seeing alliances shift.”

Historically, once the consumer decides, it doesn’t matter what stakeholders want. They can’t stop what’s coming.

The advent of the Internet presented an existential challenge to bundles. Once consumers got their hands on the mouse and a programmable remote, they began to attack the inefficiencies of the system. When seeking information, they sought relevant links, not media brands. And DVRs put them in the control room of their own viewing universe.

Susan Crawford, a professor at the Benjamin N. Cardozo School of Law and the author of “Captive Audience,” says she thinks television bundles will be with us for a while — six to eight years — regardless of what the consumer wants.

“It’s like the picked-on kid who tries to get home to his front porch; he has to make it past all the bullies first,” she said. “We have a heavily defended, heavily concentrated programming industry and a monopoly in distribution, with none of the big players willing to act like a maverick. No one wants to break ranks because the current system has been so lucrative.”

Of course, the government could get involved, as it did in breaking up Hollywood’s closed system of production and distribution in the 1930s and ’40s. The result was a lot of disruption, a blossoming of cinema in the ’60s and ’70s, and by the way, a movie industry that still has scale and profits.

But government intervention doesn’t seem likely, given the current bent of the Federal Communications Commission. A senior executive at a cable company who did not want to speak for attribution at a delicate time for the industry said that the government has already done plenty — by ensuring that telecommunication companies like Verizon were allowed to compete in the television business, and by empowering programmers in negotiations with cable providers.

But other sources of pressure are being brought to bear. Producers of content can put distributors and programmers over a barrel because the public has an expectation of what will be there when they turn on their televisions. Programming like the Olympics, the Oscars and the National Football League are all seen as almost inalienable viewing rights.

Then again, some of the big attractions on network television are becoming content providers themselves. Like many Americans, I spent this weekend watching the fight to wear a green jacket at the Masters. But a funny thing happened on the way to the clubhouse at Augusta, Ga.: I took a detour. The Masters app, which let me omnisciently check the leader board, scan for my own highlights and toggle between specific groups or holes, sucked me in.

The second screen experience slowly replaced the first — I barely looked up at the television. CBS’s reverent, almost whispered coverage took a back seat as I programmed my version of the Masters. The function that would have allowed me to throw the Internet coverage to my big-screen television was not enabled, but that’s only a matter of time. Change often comes very slowly, but then happens all at once.

CBS paid dearly for rights to the Masters, marketers ponied up to advertise in limited spots and my cable provider paid a hefty toll in terms of retransmission fees, but there I was, staring at the device on my lap, looking at a bright future — no cable, no commercials, no bundle required.

post #86240 of 93675
TV Review
'Defiance': Interspecies feudin'
By Brian Lowry, Variety.com

The description of “Defiance” as a “transmedia” event arouses suspicion from the get-go. Strip away the jargon, and this Syfy series has been developed in concert with an online game, offering a modern variation on “He-Man” cartoons that pushed toys. The difference is that this caters to (young) adults, mashing up sci-fi concepts into a nondescript TV program whose visual effects are infinitely more enterprising than its characters. For all but the subset willing to buy in and participate on multiple levels, think of the “Star Wars” cantina scene stretched into a series, then perhaps think about watching something else.

A spoken prologue helps explain (not very well) the elaborate backstory, about eight alien races having descended on Earth and blasted the hell out of the place. The series picks up 15 years after an armistice was declared, leaving the disparate survivors trying to make a go of living together in harmony, albeit with a kind of “Road Warrior”-meets-”Star Trek” vibe.

The central character, Joshua (Grant Bowler, fresh off playing the perpetually drunk half of the Lifetime movie “Liz & Dick”), is an ex-Marine with an adopted alien daughter (Stephanie Leonidas). Their travels bring them to the outpost known as Defiance, a mining town set up on the remnants of what was St. Louis, which, frankly, never looked better.

Of course, it helps that almost all the aliens are humanoid in form, limiting the makeup requirements upon the poor actors. But there’s no obscuring the fact the first flurry of episodes introduce a bunch of characters the audience has little reason to care about, some of whom happen to have strange physiognomy and customs.

Like “Battlestar Galactica,” the show skirts profanity by coining new words that obviously connote better-known ones (“Promises are shtako“), and there are some big action sequences — which look at least as good as what Fox’s since-extinct “Terra Nova” conjured, on a likely bigger budget — to go with the soapy shenanigans.

The other residents include Julie Benz as the mayor, Graham Greene, and Tony Curran and Jaime Murray as an alien couple with shadowy motives. If only they had more to do in the premiere scripted by Rockne S. O’Bannon (“Farscape”), Kevin Murphy (a “Desperate Housewives” alum) and Michael Taylor, a veteran of “Galactica” and its spinoffs.

Granted, “Defiance” isn’t any worse than some of the so-so international imports Syfy has picked up to add original spice to its lineup, but the ingenuity that went into the process of conceiving the game and show together — as well as the nifty look, visual effects and makeup — simply aren’t matched by similar effort regarding story and plot.

Sure, the show might help push the game, but viewed strictly on its own, it’s pretty much just more of the same old shtako.

Syfy, Mon. April 15, 9 p.m.)

post #86241 of 93675
Originally Posted by dad1153 View Post

Business/Critic's Notes
More Cracks Undermine the Citadel of TV Profits
By David Carr, The New York Times' 'Media Equation' Column - Apr. 15, 2013[

As for advertisers, the audience they wanted was bundled inside a much larger audience of people they did not. To get at the milk, both consumers and businesses had to buy the cow..

Bad example.

Milk is heavily subsidized by tax dollars, meaning everyone is paying for milk they may never drink. You also pay for yogurt you may never eat (yogurt companies benefit highly from subsidized milk they sell as yogurt for about $15 a gallon). It's exactly the media model he's discussing in the article.
Of course, the government could get involved, as it did in breaking up Hollywood’s closed system of production and distribution in the 1930s and ’40s. The result was a lot of disruption, a blossoming of cinema in the ’60s and ’70s, and by the way, a movie industry that still has scale and profits.
To do that, the government would have to undo the deal they allowed Comcast to make for Universal and order Time Warner to divest itself of either it's cable or TV channel holdings. Perhaps even all the studios would have to divest themselves of the channels they own. That's not happening.

The example he cites was a matter of vertical integration, not the packaging of the product - which movie studios are still free to do when they only let theaters have a blockbuster if they also take the smaller, more risky movies. That's why only cineplexes can have a real chance of competing. Small theaters can show the mutiple films they would need to in order to get the prime content. Yet, that was not prevented in the decision that led to the breakup of the studio system.

In other words, "buy this to get that" has not been shown to be a legal issue in the course of doing business.
Edited by NetworkTV - 4/15/13 at 7:19am
post #86242 of 93675
I hope SyFy does "Childhoods End" justice. One of my favorites from Arthur C Clarke. My expectations are quite low however, given I am sure it will have a miniscule budget.
post #86243 of 93675
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 15, 2013

NBC, 8:00 p.m. ET

After presenting as many audition shows as it could get away with, The Voice now shifts to phase two – a less satisfying phase, the battle stage, when two singers enter a boxing-type “ring” and perform duets. They’re trying to stand out more than blend, though, so it’s always an odd dynamic. But here we go…

Fox, 9:00 p.m. ET

I’ve stayed with this series, trying to find enough reasons to justify my continued loyalty. And so far, the scripts have let me down, and only a few performances – by Kevin Bacon as the haunted ex-FBI agent Ryan Hardy, Natalie Zea as the cult leader’s ex-wife, and Valorie Curry (pictured) as cult follower Emma. But last week, the show finally served up a genuine surprise: a flashback in which young Hardy was shown forcing the drugged-out killer of his father to inject himself with a fatal overdose. It may be too little, too late, but it’s a start. Finally.

Sundance, 9:00 p.m. ET
Elisabeth Moss, who’s back as Peggy on Mad Men, concludes her run in this imported miniseries, playing a detective who returns home to New Zealand and ends up pursuing a missing-persons case. The miniseries’ final two episodes are shown back to back tonight, so watch or record accordingly.

PBS, 10:00 p.m. ET

This new documentary is fairly lightweight, like a comic book – but, like a comic, there’s plenty of subtext and symbolism to be found if you look for it. Interview subjects discussing the role of Wonder Woman, and other female heroines, through pop-culture history include Lynda Carter, who played the Amazon on TV in the 1970s, and Gloria Steinem, who selected the comic con Wonder Woman as the cover of the first issue of Ms. magazine that same decade. Trace the lineage, from the 1940s Wonder Woman to the more modern Buffy the Vampire Slayer and Xena: Warrior Princess. Check local listings.

Showtime, 11:00 p.m. ET
Even though this is a talk series about comedy, David Steinberg saved the most serious installment for last. It’s an interview with Robert Schimmel, a standup comic who endured and survived, and drew comic material from, his bouts with Non-Hodgkin’s lymphoma. But shortly after recording this interview with Steinberg, Schimmel died in a car crash in 2010, making this a sort of salute, retrospective, and last laugh, all in one.


* * * *

TV Review
Female Power That Took Flight With Wonder Woman
By Eric Gould, TVWorthWatching.com - Apr. 15, 2013

She started off as a deep jungle Amazonian warrior in the 1940s, became a '70s television star, and was demoted to a vulnerable, metropolitian Clark Kent doppelganger in the '80s. And she's still around today, in her original comic book form, roping modern-day evildoers with her trademark golden lasso.

Wonder Woman had strength, courage and sex-appeal. She's also the embodiment of an American movement, and is the first of many superheroines profiled in the Independent Lens documentary Wonder Women! The Untold Story of American Superheroines, which premieres Monday, April 15 at 10 p.m. ET on PBS (Check local listings)..

Wonder Women! is a study of the evolution of media characters as powerful archetypes, and how they developed along with the women's rights movement. It's a smart look back at mid-century culture and media, and how these fictional female characters mirrored the changes women demanded and fought for, especially post-war and through the '60s and '70s.

Wonder Woman graced the first cover of Ms. in 1972 (along with many subsequent covers), and the magazine's founder and editor Gloria Steinem is extensively interviewed for the documentary. She looks back fondly on the character, and talks of how Wonder Woman has served as a symbol for the times.

"Wonder Woman is someone who doesn't kill her adversaries, she converts them," says Steinem. "She has a magic lasso that compels everyone to tell the truth. She bounces bullets off with two magic bracelets. It's been many years since I was a child, but I always buy two bracelets, never just one."

Filmmakers Kelcey Edwards and Kristy Guevara-Flanagan play out the legacy of the solitary Wonder Woman figure through succeeding comic book characters, and then move on to TV and film characters who blazed new territory while transforming the popular image of women from supporting roles to leading ones.

They present a compelling chain of media icons, first interviewing actress Linda Carter (left), star of the Wonder Woman television series (1975-79), and The Bionic Woman's Lindsey Wagner.

Segments on other action women follow, including one on Ripley (Sigourney Weaver) from the Alien film francise, and the Sarah Conner character (Linda Hamilton) from Terminator. The film also looks at one of academia's most-studied heroines, Buffy, Sarah Michelle Geller's character from TV's Buffy the Vampire Slayer.

Wonder Women! omits one of my super-faves from the '90s, Æon Flux, the enigmatic and avant-garde graphic-novel title character (right) who appeared on the animated MTV series, Liquid Television. That character, wonderfully reprised in the 2005 film version starring Charlize Theron, ran around in tight-fitting dominatrix outfits, and is a prime example of an issue the film addresses: superheroines who win through wit and strength, but remain sexuaized by their fashion.

As it looks at why we need heroes and archetypes, Wonder Women! visits the "Reel Grrls" filmmaking summer camp for girls, held each year in Seattle, Washington. Young girls go there to learn about making films, but more importantly, are encouraged to develop story ideas that counter the assertion that looks and beauty equate winning and success. From what the girls write about and film, it gives hope that there might be a new wave of media and culture coming that might free women, and, yes, men too, from a constant bombardment of images of physical perfection.

As director Guevera-Flanagan writes, there should be more emphasis on deeds and accomplishments; "I loved the idea of looking at something as populist as comics to reveal our cultural obsessions, and in particular, how women’s roles have changed over time. For some it’s Lara Croft, for others it’s Buffy the Vampire Slayer, but we all need those iconic heroes that tell us we have the power to slay our dragons and don’t have to wait around to be rescued.”

post #86244 of 93675
Originally Posted by Elvis Is Alive View Post

I hope SyFy does "Childhoods End" justice. One of my favorites from Arthur C Clarke. My expectations are quite low however, given I am sure it will have a miniscule budget.
I hope so, too.

If they actually see a new revival market for Sci-Fi, they might change their name back to...Sci-Fi...

...then we can starting working on MTV...
post #86245 of 93675
TV Notes
AMC Moves 'Hell on Wheels' to Saturdays this Summer
By Marisa Guthrie, The Hollywood Reporter's 'Live Feed' Blog - Apr. 15, 2013

AMC is shifting Western drama Hell on Wheels to Saturdays this summer beginning Aug. 3 with the show’s third season premiere. The move will open up a third night of original programming for the network which is home to critical hits Mad Men and Breaking Bad and audience favorite Walking Dead. But unlike the broadcast networks’ habit of reruns and schedule spackle on Saturdays, AMC is moving Wheels to capitalize on the success it has had on Saturdays with reruns of classic Western movies.

“A new episode of Hell on Wheels on Saturday night after a full day of western fan favorites is going to be like the saddle on top of the horse,” Charlie Collier, AMC president and general manager, said in a statement. “This is a programmer’s dream – to have a genre specific, 14-hour lead-in to one of your highest rated originals. We are so excited about this opportunity to entertain AMC’s audience in a new way.”

Hell on Wheels averaged 2.4 million viewers in its second season, a respectable rating that is likely to drop off with the show's move to Saturdays during the summer months when fewer viewers are watching television. (By way of comparison, Mad Men pulled in 3.4 million viewers for its two-hour April 7 season six bow, the show's second most-watched episode ever.) But AMC sees an opportunity to capture the men watching its weekend Westerns on a night that is almost universally filled with reruns or news programming including the CBS program 48 Hours. As insurance, AMC is adding to its inventory of classic Westerns with a slew of new acquisitions from Paramount Pictures including El Dorado, The Man Who Shot Liberty Valance, The Shootist and The Sons of Katie Elder. The network also will attempt to bring more buzz to the night with anniversary celebrations several classics westerns including the 60th anniversary of Hondo and the 50th anniversary of McLintock!, both starring John Wayne, as well as the 45th anniversary of Hang ‘em High and the 40th anniversary of High Plains Drifter, both starring Clint Eastwood.

The network has also acquired the television series, Rawhide, starring Eastwood, which joins Rifleman beginning April 20. Additionally the network will rerun the miniseries Lonesome Dove and bow its sequel, Return to Lonesome Dove.

Hell on Wheels endured some production delays at the outset of its 10-episode third season. John Shiban - who had been elevated to showrunner after AMC declined to renew the contracts of original showrunners Joe and Tony Gayton - departed the series before the start of production on season three to work on a horror drama for FX with Sons of Anarchy's Kurt Sutter.

post #86246 of 93675
The problem with Hell on Wheels is that they're basically rebooting the show after killing or driving off most of the characters. Anson Mount is outstanding in the lead role but he's pretty much all that's left. I'm not surprised they've had delays to figure out what they're going to do next.
post #86247 of 93675
SUNDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #86248 of 93675
Business Notes
Dish Offers $25.5B for Sprint
By Tim Molloy, TheWrap.com - Apr. 15, 2013

Dish Network, the country's second-biggest satellite TV company, has made a surprise $25.5 billion offer for Sprint.

The cash-and-stock offer is an attempt to ward off an attempted acquisition of Sprint by Japan's SoftBank Corp. Dish said its offer would give Sprint greater ownership in a company better positioned in terms of spectrum, products, subscribers and financial scale.

As Reuters noted, Sprint's shares surged to their highest level since September 2008, at a value well above that of the Dish offer. Dish stock fell.

The offer was another bold move for Dish, which already had an offer on the table for Clearwire Corp, a wireless company in which Sprint had a majority stake. Dish Chairman Charlie Ergen has spent billions buying up wireless spectrum to prepare for some sort of wireless deal.

Sprint, the country's third-biggest 3 U.S. mobile services provider, agreed in October to sell 70 percent of its shares to SoftBank for $20 billion. But no date has been set for a vote on the deal.

“A transformative DISH/Sprint merger will create the only company that can offer customers a convenient, fully-integrated, nationwide bundle of in- and out-of-home video, broadband and voice services," said Ergen in a statement. "Additionally, the combined national footprints and scale will allow DISH/Sprint to bring improved broadband services to millions of homes with inferior or no access to competitive broadband services. This unique, combined company will have a leadership position in video, data and voice and the necessary broadband spectrum to provide customers with rich content everywhere, all the time.”

As of 11:10 a.m. ET Monday, Dish stock was down nearly 7 percent to $35.01 per share. Sprint stock was up nearly 14 percent to $7.08 per share.

post #86249 of 93675
Nielsen Overnights (18-49)
Masters playoff lifts CBS to Sunday win
Final hour of the year's first major averages a 4.1 in 18-49s
By Toni Fitzgerald, Media Life Magazine - Apr. 15, 2013

An exciting finish to the Masters lifted CBS to an easy primetime victory last night.

The final hour of the year’s first major averaged a 4.1 adults 18-49 rating at 7 p.m., according to Nielsen overnights, topping the average of the other five major broadcast networks combined.

The Masters peaked with a 4.4 from 7 to 7:30 as Adam Scott prevailed in a sudden-death playoff to win his first title at Augusta.

The runover boosted CBS to first at 8 p.m. as well with “60 Minutes” drawing a 2.4, up 71 percent from last week.

That came against admittedly weak competition. ABC was entirely in repeats last night, and Fox’s animated shows had lackluster numbers, with “The Simpsons” falling to a season-low 1.8 at 8 p.m.

Fox’s 9 p.m. “Family Guy” was the top scripted series of the night with a 2.2, down 8 percent from its most recent original three weeks ago.

NBC’s “Celebrity Apprentice” logged a 1.7 from 9 to 11 p.m., up 21 percent over last week and its best rating in four weeks.

CBS was first for the night among 18-49s with a 2.6 average overnight rating and a 7 share. Fox was second at 1.6/5, NBC third at 1.4/4, Univision fourth at 0.9/3, ABC fifth at 0.9/2 and Telemundo sixth at 0.4/1.

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

At 7 p.m. CBS was first with the 4.1 for golf overrun, followed by ABC with a 1.0 for a repeat of “America’s Funniest Home Videos.” Fox was third with a 0.9 for a repeat of “Bob’s Burgers” (0.7) and a new “The Cleveland Show” (1.1). NBC and Univision tied for fourth at 0.7, NBC for a repeat of “The Voice” and Univision for “Aqui y Ahora,” and Telemundo sixth with a 0.3 for a Mexican league soccer match.

CBS was first again at 8 p.m. with a 2.4 for “60 Minutes,” while Fox moved to second with a 1.7 for “Simpsons” (1.8) and a new “Bob’s Burgers” (1.6). NBC was third with a 1.4 for more “Voice,” ABC fourth with a 1.3 for a “Once Upon a Time” recap episode, Univision fifth with a 1.0 for “Nuestra Belleza Latina” and Telemundo sixth with a 0.4 for the start of the movie “Transformers.”

Fox took the lead at 9 p.m. with a 2.2 for “Family” (2.4) and “American Dad” (2.0), while CBS slipped to second with a 2.0 for “The Amazing Race.” NBC was third with a 1.7 for “Celebrity Apprentice,” Univision fourth with a 1.1 for more “Latina,” ABC fifth with a 0.6 for a repeat of “Revenge” and Telemundo sixth with a 0.5 for its movie.

NBC led at 10 p.m. with a 1.8 for more “Apprentice,” with CBS second with a 1.7 for “The Good Wife.” Univision was third with a 1.0 for “Sal y Pimienta,” ABC fourth with a 0.5 for a “Red Widow” rerun and Telemundo fifth with a 0.4 for “Transformers.”

CBS also finished first for the night among households with a 7.8 average overnight rating and 13 share. NBC was second at 2.9/5, ABC third at 2.5/4, Fox fourth at 2.0/3, Univision fifth at 1.4/2 and Telemundo sixth at 0.4/1.

post #86250 of 93675
Originally Posted by dad1153 View Post

Business Notes
Dish Offers $25.5B for Sprint
By Tim Molloy, TheWrap.com - Apr. 15, 2013

Dish Network, the country's second-biggest satellite TV company, has made a surprise $25.5 billion offer for Sprint.

I heard this on the radio this morning.

That's all we need: another company Charlie can strip down and take the life force out of.

Blockbuster was pretty bad before the takeover, but it's far worse than it ever was now that Dish owns it.

Of course, this might be like some of those other BS attempts to buy something that seem to fall through and only serve to put the company he's seeking's plans on hold while they go through the motions. D*'s HD expansion plans were pushed back months when E* looked to buy them, only to have the deal not be approved by regulators - and when that didn't work, they tried to buy D*'s satellites out from under them while they were being built.

Calling Charlie a rat is an insult to rats everywhere.
Edited by NetworkTV - 4/15/13 at 9:56am
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