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Hot Off The Press: The Latest TV News and Information - Page 2878

post #86311 of 93824
Quote:
Originally Posted by humdinger70 View Post

Did any of you watch Splash on ABC on Tuesday night? Anybody see the dive off the 10 meter platform by hosts Joey and Charissa? Did that reek of stunt doubles or not?
The giveaways were that they had said nothing previously about practicing or training, and that if their throw of their shoes just before the dive was real someone would have had to be hovering in mid-air to catch them.
post #86312 of 93824
Quote:
Originally Posted by dattier View Post

The giveaways were that they had said nothing previously about practicing or training, and that if their throw of their shoes just before the dive was real someone would have had to be hovering in mid-air to catch them.
Well, if it was faked, it's a pretty damn good piece of editing.
post #86313 of 93824
That it was.  The dives were more credible than the shoe throws.
post #86314 of 93824
Quote:
Indeed most realities are already fixed who's going to be the winner, includes all singing, talent, skills, etc.

Not to mention they are cheaply made. The networks are to greedy and cheap to pay for good programming that is why so many reality shows are on.
Edited by Jedi Master - 4/17/13 at 10:32pm
post #86315 of 93824
TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - Wife Swap
9PM - Grey's Anatomy
(R - Mar. 21)
10:02PM - Scandal
(R - Mar. 21)
* * * *
11:35PM - Jimmy Kimmel Live! (Chris O'Donnell; Ken Jeong; Phoenix perform)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
(R - Jan. 3)
8:31PM - Two and a Half Men
(R - Nov. 1)
9PM - The Big Bang Theory
(R - Oct. 4)
9:30PM - 2 Broke Girls
(R - Dec. 10)
10PM - Person of Interest
(R - Nov. 8)
* * * *
11:35PM - Late Show with David Letterman (Stupid human tricks; Johnny Depp; musician Bill Carter; Bill Carter and the Blame perform)
(R - Feb. 21)
12:37AM - Late Late Show with Craig Ferguson (Ginnifer Goodwin; author Salman Rushdie)

NBC:
8PM - Community
8:30PM - The Office
(R - Sep. 20)
9PM - Parks and Recreation
9:31PM - Parks and Recreation
10:01PM - Hannibal
* * * *
11:35PM - The Tonight Show With Jay Leno (Olivia Wilde; Nick Offerman; Buddy Guy and The Experience Hendrix All-Star Band perform)
(R - Mar. 12)
12:37AM - Late Night With Jimmy Fallon (Tracy Morgan; producer Andy Cohen; Deerhunter performs; B.J. Thomas sits in with The Roots)
(R - Apr. 2)
1:36AM - Last Call With Carson Daly (Singer-songwriter Jake Bugg; musical group The Trouble With Templeton; Angel Haze and Maximum Hedrum perform)
(R - Mar. 19)

FOX:
8PM - American Idol (LIVE)
9PM - Glee

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour (R - Oct. 18)
9PM - In Performance at the White House: Memphis Soul
(R - Apr. 16)
10PM - Antiques Roadshow: Cincinnati
(R - Apr. 15)

UNIVISION:
8PM - Porque el Amor Manda
9PM - Amores Verdaderos
9:57PM - Qué Bonito Amor

THE CW:
8PM - The Vampire Diaries
9PM - Beauty and the Beast

TELEMUNDO:
8PM - Pasión Prohibida
9PM - La Patrona
10PM - El Señor de los Cielos

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Author Mark Mazzetti)
11:31PM - The Colbert Report (Journalist Richard Engel)

TBS:
11PM - Conan (Eva Mendes; Chris Messina; Alt-J)

TBS:
11PM - Chelsea Lately (Julia Louis-Dreyfus; Bobby Lee; Natasha Leggero; TJ Miller)

FX:
11PM - Brand X with Russell Brand
post #86316 of 93824
TV Notes
TruTV Greenlights Three Series, Orders Five Pilots and Renews Two
By Philiana Ng, The Hollywood Reporter's 'Live Feed' Blog - Apr. 17, 2013

TruTV has announced a slew of programming.

The cable network has greenlighted three new series, including a competition series and a pawn shop docu-series; ordered five pilots; set two projects in development, including one about crowdsourcing; and renewed two shows as it targets a portion of viewers it is calling the "funseekers."

"We're using truTV's growing slate of comedic reality series to target an underserved audience we call funseekers," said Marc Juris, executive vp and chief operating officer of truTV. "We've already caught the attention of funseekers with hit shows like Impractical Jokers and Killer Karaoke. Now, we're ready to target them on a bigger scale, not only by creating more comedic reality series but also by giving them innovative opportunities to connect with their truTV favorites in the digital realm."

By the end of the year, truTV hopes to dedicate 50 percent of its schedule to programming for "funseekers," a demo the network defines as viewers (median age 35) who seek out comedic reality shows that are "exciting to watch" and "prefer humor that is suspenseful, edgy and irreverent."

The new series:

Panic Button, produced by Eleven Television, is what truTV is dubbing a "challenge show" that will find out who is bold enough to move forward or scared enough to hit the panic button. Twelve half-hour episodes have been ordered.

Cash Dome Pawn, from Endemol's 51 Minds Entertainment, has been given a six-episode order, and centers on Cash Dome, run by Josh "White Boy" Gallander.

Big Sam's Kentucky Auction (working title), from ITV Studios America in association with Leepson Bounds Entertainment, will air six episodes. The half-hour series will follow Sammie's Auction.

The pilot orders:

Turbulence, from Howie Mandel's Alevy Productions and FremantleMedia North America, is a game show set on an airplane.

Payback With Trevor Moore (working title) is a hidden-camera prank show hosted by Moore. Funny or Die is producing.

Laugh Truck (working title) is a game show where three friends compete against each other as they ride in the back of a moving truck. NorthSouth Productions produces.

Cold Hard Catch centers on ice-fishing resort owner Daron Stenvold, who has 10 weekends a year to make enough money to keep his business afloat off of Mille Lacs Lake. Jupiter Entertainment and Brian Graden Media produce.

Barnstormers (working title) follows experts who bid on and buy old barns hoping to make money off the contents and the actual wood. Magilla Entertainment and Watson Pond Productions produce.

In development:

The Big Poll With John Henson (working title) is a half-hour comedy project hosted by Henson, which is being described as a "crowd-sourced comedy." The show's content will be driven off viewer results of trending, pop-culture polls, quizzes and challenges.

Mind Games (working title) will feature hypnotist and host Will Miner taking control of unsuspecting people and have them compete on a game show where they don't know they are players.

The renewals:

Guinness World Records Gone Wild!, hosted by Dan Cortese, has been given a 10-episode order.

Upload With Shaquille O'Neal, a viral video/prank/parody show hosted by the former NBA star, has been given a six-episode order for the new season.

(Guiness and Upload join previously renewed Impractical Jokers and Hardcore Pawn: Chicago.)

http://www.hollywoodreporter.com/live-feed/trutv-greenlights-three-series-orders-441455
post #86317 of 93824
TV Notes
Starz Renews 'Da Vinci's Demons' After Just One Episode
By Jethro Nededog, TheWrap.com - Apr. 17, 2013

Starz is showing a lot of confidence in its new period drama.

On Wednesday, the cable channel announced that it has greenlit a second season of original series "Da Vinci's Demons" after last Friday's debut episode scored more than 2.14 million viewers.

Production on Season 2 is expected to begin in May on location in Wales and slated to premiere in 2014.

“’Da Vinci’s Demons’ serves up action, adventure and history in a unique and highly entertaining way that only someone like David S. Goyer can,” Starz Chief Executive Officer Chris Albrecht said in a statement. “The first season premiered to strong audience engagement and we are excited to bring the next chapter of Leonardo da Vinci’s adventures to audiences around the world.”

Created by writer/producer Goyer ("The Dark Knight Trilogy," "Man of Steel"), "Da Vinci's Demons" reimagines artist and inventor Leonardo Da Vinci (Tom Riley) at 25 years old -- full of ambition and groundbreaking ideas.

“I'm excited that we get to continue the adventures of the world's most eccentric and glorious polymath," Goyer said. "Long live Leonardo and thanks to Starz for helping to make it happen."

Riley's co-stars include Laura Haddock ("Captain America: The First Avenger"), Elliot Cowan (“The Fixer”), Lara Pulver (“True Blood") and Blake Ritson (“Upstairs Downstairs”).

Goyer serves as showrunner and directed the first two episodes of the first season. Julie Gardner is Executive Producer, along with Adjacent Productions' Head, Jane Tranter.

"Da Vinci's Demons" airs Fridays at 9/8c on Starz.

http://www.thewrap.com/tv/article/starz-renews-da-vincis-demons-after-just-one-episode-86321
post #86318 of 93824
Nielsen Notes (Cable)
‘Awkward’ Slightly Up In Return For Opener High, ‘Deadliest Catch’ Premiere Solid
By Nellie Andreeva, Deadline.com - Apr. 17, 2013

The season three premiere of MTV’s comedy Awkward last night garnered a 2.3 P12-34 rating for each of the two back-to-back episodes. That was up 5% from the show’s season two premiere and up 35% from Awkward‘s series debut to set a new season opener high mark. The series created by Lauren Iungerich also had its highest rating ever among teens, with a 4.0 rating for the 10 PM episode and a 3.9 for the 10:30 PM episode. The two Awkward episodes ranked as the top 2 telecasts yesterday among 12-34, teens and female teens. Awkward was also the most social TV program of the day, with a quarter of all Twitter TV conversations centering around the series, according to Social Guide.

Meanwhile, the ninth season premiere of Discovery‘s Deadliest Catch drew a 1.6/4 in adults 18-49 and 3.5 million total viewers, up 12% in the demo and 11% in total viewers from last season to post the veteran reality series’ best score in almost two years. It boosted Discovery to No. 1 among cable networks in adults 18-49 (1.2/3).

http://www.deadline.com/2013/04/mtvs-awkward-slightly-up-in-return-for-premiere-high/
post #86319 of 93824
TV Notes
Fox denies that Seth MacFarlane's 'Cleveland Show' is canceled
By Scott Collins, Los Angeles Times - Apr. 17, 2013

Maybe it's not farewell for Cleveland Brown after all.

Fox is denying a report that its "Family Guy" spinoff "The Cleveland Show" has been axed after four seasons.

While not saying anything on the record, Fox sources say the show -- about black patriarch Cleveland Brown and his family -- hasn't been canceled, although the network hasn't ordered any new episodes, either. It's possible that the show could go on hiatus for awhile as Fox focuses on "The Simpsons," "Family Guy," "Bob's Burgers" and other animated shows for next season.

It wouldn't be unprecedented for "Cleveland" to come back: Both "Family Guy" and "King of the Hill" were taken off the schedule and returned later.

The cancellation news came from a blog posting by Steve Hulett of the Animation Guild, a trade union associated with IATSE.

If Fox does stick with "Cleveland," it won't be due to the show's enormous audience. Last season, the series averaged fewer than 4 million total viewers and was No. 16 out of 19 shows on Fox, according to Nielsen.

http://www.latimes.com/entertainment/tv/showtracker/la-et-st-fox-denies-that-seth-macfarlanes-cleveland-show-is-cancelled-20130417,0,885980.story
post #86320 of 93824
Quote:
Originally Posted by humdinger70 View Post

Did any of you watch Splash on ABC on Tuesday night? Anybody see the dive off the 10 meter platform by hosts Joey and Charissa? Did that reek of stunt doubles or not?

I mean, come on, those dives were too good and too perfect in form for it to be them. Yeah, they were in the pool and were soaking wet afterward, but... rolleyes.gif

Then Louie Anderson made his return and jumped (that was no dive) off the same platform. I'll give him kudos for even doing that.


I rewatched the dives by the hosts a couple of times and thought they must have had heavy gymnastic training as children, if it was them at all.
post #86321 of 93824
Quote:
Originally Posted by NetworkTV View Post


Just the fact that these shows have "writers" says it all...

Writers for realities shows have a harder time than writers for scripted fiction. While writers for scripted shows make up dialog to suit the needs of the scene, writers for reality shows have to cull the hours of dialog that the contestants have already said into a compelling narrative. It is not an easy job. Just because they're called writers does not mean they have any say in what the show participants say or do. They just decide what we see of it.
post #86322 of 93824
Opening 2013 NFL Kickoff game on NBC is thursday sep 5 -- Super Bowl champ baltimore ravens @ peyton mannings denver broncos.....excellent.

edit:
NFLN has a 3 hour show tonite + ESPN2 has a 2 hour show (yes 5 hours of schedule release shows) both @ 8:00pm going over the entire schedule & of course nfl.com, espn.com etc will have it posted too.
Edited by dcowboy7 - 4/18/13 at 9:30am
post #86323 of 93824
Quote:
Originally Posted by PJO1966 View Post

Writers for realities shows have a harder time than writers for scripted fiction. While writers for scripted shows make up dialog to suit the needs of the scene, writers for reality shows have to cull the hours of dialog that the contestants have already said into a compelling narrative. It is not an easy job. Just because they're called writers does not mean they have any say in what the show participants say or do. They just decide what we see of it.
That's not writing, that's editing.
post #86324 of 93824
And more importantly, you can bet your ass the producers have plenty to say about what version of 'reality' the show participants partake in.
post #86325 of 93824
Quote:
Originally Posted by NetworkTV View Post

Just the fact that these shows have "writers" says it all...
It says nothing.

Competition shows need writers to decide what the contestants will attempt and how the host will introduce it or deal with the possibilities.

Even glimpse-into-life reality shows need writers to pen the host's or narrator's words.  Some also have situations set up, for which they need writers.

So a reality show's having a writer credit does not prove that it's scripted, much less that it's wholly scripted.

Doesn't disprove it either, of course.
post #86326 of 93824
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 18, 2013

WHICH WAY IS THE FRONT LINE FROM HERE?: THE LIFE AND TIMES OF TIM HETHERINGTON
HBO, 8:00 p.m. ET

In 2010, co-directors Sebastian Junger and Tim Hetherington released Restrepo, an Oscar-nominated nonfiction film documenting their year embedded with a platoon in one of the most dangerous battle areas of Afghanistan. The following year, Hetherington was killed in battle in Libya – and tonight, his former war-correspondent colleague, Junger, presents this new HBO documentary, a profile and salute to his slain friend.

CAROUSEL
TCM, 8:00 p.m. ET

Rodgers and Hammerstein’s musical about romance in turn-of-the-century New England goes to the big screen, loaded with vibrant show-off colors, in this 1956 movie, starring Gordon MacRae, Shirley Jones – and, yes, a massive carousel, with a lot of horses of different colors.

INSIDE COMEDY
Showtime 2, 8:30 p.m. ET
SEASON FINALE:
Here’s a prime-time, same-week repeat of Monday’s late-night Inside Comedy season finale – David Steinberg’s tasteful, memorable, thoroughly impressive visit with Robert Schimmel, the stand-up comedian who endured several personal tragedies and travails, only to die after a car accident six months after this interview was filmed. This season finale proves at least three things: Schimmel was a veteran talent who deserved larger exposure than he got, Inside Comedy deserves larger exposure than it’s gotten, and all episodes of this program should be devoted to one comic per show. Oh, and Steinberg? Solid, smart interviewing. Imagine how much more vibrant The Tonight Show would have been like had Steinberg, not Leno, gotten the nod years ago…

GLEE
Fox, 9:00 p.m. ET

If you remember the start of this series – when the gang of musical misfits stopped the show, and launched it at the same time, by singing Journey’s “Don’t Stop Believin” – there’s a knowing echo in tonight’s show, when Rachel (Lea Michele) sings the song as part of her Broadway audition for Funny Girl. Her old buddies are there in spirit, if not on stage, for a number that refers to the pilot-episode climax that started it all.

PARKS AND RECREATIONS
NBC, 9:00 p.m. ET

Patton Oswalt, last seen as a friend of Raylan’s on Justified who was beaten nearly to death, yet stoically refused to surrender information the bad guys were trying to force out of him, and whose personal reaction to the Boston Marathon bombings went viral this week, shows up in another guest-star role tonight. But this one’s a lot lighter, and a lot closer to his comedy roots: He plays a political rival of Amy Poehler’s Leslie, who tries to thwart a scheduled City Council vote by staging a “citizen filibuster” – one entirely improvised by Oswalt on the spot.


http://www.tvworthwatching.com/

* * * *

TV Review
The Life and Death of a War Photographer
By Eric Gould, TVWorthWatching.com - Apr. 18, 2013

From firsthand interviews with Tim Hetherington, it has become clear how a photographer, searching for hard news – world news – grows into the dangerous line of war work. In Hetherington's case, we also learn how they sometimes get too close, and pay the ultimate price for it.

Hetherington's early years, and eventually his death in 2011 in Libya, are assembled together in the upcoming HBO documentary Which Way is the Front Line from Here?: The Life and Times of Tim Hetherington, directed by friend and war-reporting colleague Sebastian Junger. (They co-directed the Oscar-nominated Afghanistan documentary Restrepo in 2010.) It premieres Thursday, April 18 at 8 p.m. ET.

The documentary features an early interview with Hetherington, in which he tries several times to describe, in the clearest terms possible, why he reports on war, and the stories he's trying to tell. It all sounds so much like canned B.S. that Hetherington repeatedly chuckles, apologizes and starts over.

It's a repeated theme throughout the 75-minute documentary. Hetherington, the soldiers he covers, and Junger himself, with seriousness and straight to the camera, give many descriptions of the true nature of war, and why they go. It's debatable whether they get to one, legitimate moment.

The film features interviews with Hetherington's friends, family and colleagues, as well as a wealth of personal photographs and video diaries that flesh him out as a prolific, creative soul and a gregarious friend. It is a stunning portrait of an impassioned artist, loving son and principled photojournalist.

Which Way is the Front Line begins gently enough, showing young Hetherington on bohemian, itinerant adventures in India during his post-college years — a young man unsure of where he wants to be in the world, but sure he isn't going to be stuck inside an office.

Hetherington soon discovers photojournalism, and sees it as a way of satisfying his wanderlust while expressing himself as an artist, communicating the truth of what he sees to an audience.

His work took him to Liberia in the early 2000s; there he won acclaim for photos he took at a school for the blind (above) and of rebels fighting to overthrow the government (below).

As these early Liberia photos show, Hetherington was a photographer of enormous talent, whether he was shooting war or not. But his real interest was in armed conflicts. His experiences following the young, teenage rebel fighters in Liberia led him to Afghanistan, where he not only photographed but also served as a videographer for Restrepo (below, right).

Shane Smith of the just-launched HBO news-documentary series VICE recently said in a promotional clip for that show that he and other war reporters are not "action junkies," but it's hard not to think otherwise, as the camera follows Hetherington into Libya as rebels assemble in 2011 to overthrow the Gaddafi regime.

Some of the final moments Hetherington and others captured on video that day show mortar rounds and RPGs flashing by and exploding within yards of the cameras crew. Interviews with reporters who were there with Hetherington recount how he cut ahead of soldiers that day to get as close to the fighting as possible to capture footage.

Hetherington was well aware of risks associated with the habituation of his job. He calmly recounts in one interview that, when it comes to war reporters, most casualties occur among older reporters who have been around armed fighting for a while, begin to see it as routine and develop a veneer of invulnerability.

This attitude is counter to his first brush with war in Liberia. "You really kind of think 'man, you wanted this, but this has gone too far," Hetherington says in an early interview. "Like you've really f#*ked it now. You're gonna end up dead. You've let everybody down, for what, a picture?'"

Which Way to the Front Line is not just the story of how Hetherington became a war reporting — it also illustrates how he lost his fear of it.

During the film Hetherington and Junger each reach for crystalline reasons for why they do what they do. They're journalists looking for total immersion and attempting to understand human nature. They're focused on telling the soldier's point of view, to explain how the troops fight to keep the men around them alive.

It occurs to me, though, that the answers to Hetherington's and Junger's questions — the reasons for war and killing — maybe weren't ever at the front lines at all, but somewhere behind the reporters. They're most likely inside the governments and military institutions that mechanize for conflicts, use them as a method for negotiating, and when pushed, set them into motion.

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=4732
post #86327 of 93824
TV Notes
Final 'Apartment 23' Episodes to Bow Online
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Apr. 18, 2013

The bitch is back -- online.

ABC has scheduled the eight remaining unaired episodes of sophomore comedy Don't Trust the B---- in Apartment 23 for a May 17 bow on ABC.com, iTunes and Hulu, according to star Krysten Ritter.

The actress, who's currently filming NBC comedy pilot Assistance, took to her Twitter page Wednesday to share the news that the last remaining episodes of the comedy co-starring James Van Der Beek would be released after all.

"Exciting news for all you Don't Trust the B---- in @apt23 fans! On May 17th the remaining episodes will be available on Abc.com, itunes, and hulu! 8 episodes of genus B---- hilarity! Can't wait for you all to see them. I love you." she wrote.

ABC pulled the struggling comedy in January after Apartment 23 and Happy Endings -- which is now airing on Fridays -- were given early end dates in March, a move that was considered a burn-off at the time. Apartment 23 failed to make it that far.

Van Der Beek, meanwhile, has also booked a pilot and will continue to explore comedy with CBS' Friends With Better Lives.

http://www.hollywoodreporter.com/live-feed/apartment-23-episodes-online-441770
post #86328 of 93824
TV Notes
Malaria is the tragedy of HBO's 'Mary and Martha'
By Bill Keveney, USA Today - Apr. 17, 2013

Death brings two women together on a mission of hope in Mary and Martha.

In the HBO film (Saturday, 8 ET/PT), American Mary (Hilary Swank) and Englishwoman Martha (Brenda Blethyn) meet in Africa after both have lost sons to malaria. They turn their personal loss into a political cause, pushing the U.S. government to provide more aid to fight a preventable disease that claims more than 500,000 children per year.

"The idea of family and loss and unexpected friendships, and the twists and turns and curves of life and how we navigate around them and through them, was what appealed to me in the beginning," two-time Oscar winner Swank says.

"Once I found out the facts, that it's a completely preventable disease, I could understand why it was part of (writer Richard Curtis') purpose to try and eradicate this disease and shed more light on the matter," she says.

Malaria's real-life toll inspired Curtis (Love Actually, Four Weddings and a Funeral) to write the film. For years, he has participated in the United Kingdom's Comic Relief effort to raise funds and awareness for charitable causes, including the fight against malaria, caused by a parasite transmitted by mosquitoes.

"I consider it a good thing to get more information and familiarity about malaria out there, so that if the government says we're going to give some money to this thing, it rings a bell with people," he says.

However, he wanted the film, which is directed by Phillip Noyce, to be broader, to engage as well as inform.

"It wouldn't be a worthwhile endeavor if you didn't hope that it was going to be an interesting, emotional (movie) that deals with issues that are outside malaria: fathers and sons, mothers and children, and how you deal with grief and relationships and friendships," he says.

In the film, Mary, an interior designer from Virginia, takes her son George (Lux Haney-Jardine) on an educational adventure in Africa. After being bitten by a mosquito, he becomes ill and dies before Mary can get him treatment. She later meets Martha, whose grown son, Ben (Sam Claflin), has died from the disease while teaching in Africa.

Bonded by their grief, they develop a strong friendship after they meet in Africa. Eventually, Mary, supported by her father (James Woods) and Martha, pushes the U.S. government for more aid to fight malaria.

"What I found really interesting is how these people from two very different worlds collide under the circumstances. That friendship is forged so profoundly because they understand each other on an unspoken level," Swank says. "When you go through such severe trauma, the one thing you need is someone who can understand. It's an unspoken understanding that brings them so close together and helps ease that pain."

Blethyn has seen the problem of malaria firsthand, having traveled to Uganda as part of the Comic Relief effort.

"It was really heartbreaking. There were people queuing around the block with their small children," she says. "I want the people who are watching it (outside Africa) to feel very fortunate that it has been eradicated here and ... maybe spare a thought for those people who are suffering."

Mosquito nets, diagnostic kits and anti-malarial treatments are among the tools used to fight the disease. (For more information on efforts to combat the disease, visit malarianomore.org.)

Curtis says the focus on a couple of malaria victims is meant to bring attention to the larger loss of life. He is pleased that the death toll has been dropping but wants to see more progress.

"In these (fundraising) films we do, the doctors and the nurses and the people are all Africans. I was just trying to find a way in. At one point (Mary) says, 'There was a one in a million chance it would happen to my son,' but that doesn't mean that there aren't a million children dying of this disease," he says.

"In a way, the dramatic shape I chose to go for was to make you care tremendously about the one person from the U.K. and America, and then try and show you that the other lives matter as much."

http://www.deadline.com/2013/04/mtvs-awkward-slightly-up-in-return-for-premiere-high/
post #86329 of 93824
WEDNESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #86330 of 93824
Nielsen Overnights (18-49)
Fox wins another Wednesday as ‘Idol’ grows
Singing show averages a 3.3 adults 18-49 rating
By Toni Fitzgerald, Media Life Magazine - Apr. 18, 2013

“American Idol” posted a week-to-week gain for the fourth straight episode, boosting Fox to its 14th straight Wednesday win last night.

“Idol” averaged a 3.3 adults 18-49 rating from 8 to 10 p.m., according to Nielsen, up a tenth from last week.

“Idol’s” been on the rebound since dropping to series lows several weeks ago. The hit singing show has five finalists left.

It didn’t hurt that it faced minimal competition. ABC’s top show, “Modern Family,” was a repeat, and CBS aired only one original program, the 8 p.m. “Survivor.” NBC’s only new show was “Dateline NBC” at 8 p.m.

ABC did have some original comedies. Back-to-back episodes of “Suburgatory” averaged a 1.5 and a 1.7. The 8:30 episode was the season finale. The network hasn’t said whether the show will return next season.

The 9:30 p.m. comedy “How to Live with Your Parents (For the Rest of Your Life)” drew a 2.0, holding 100 percent of “Family’s” repeat audience. It hasn’t been renewed yet, either, but the fact that it didn’t fall into the 1s helps its chances.

Fox finished first for the night among 18-49s with a 3.3 average overnight rating and a 9 share. CBS was second at 1.8/5, Univision third at 1.6/4, ABC fourth at 1.5/4, NBC fifth at 1.1/3, Telemundo sixth at 0.7/2 and CW seventh at 0.5/1.

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-eight percent of Nielsen households have DVRs.

At 8 p.m. Fox was first with a 3.1 for “Idol,” followed by CBS with a 2.6 for “Survivor.” ABC and Univision tied for third at 1.6, ABC for the two episodes of “Suburgatory” and Univision for “Porque el Amor Manda,” NBC was fifth with a 1.2 for “Dateline,” and CW and Telemundo tied for sixth at 0.4, CW for a repeat of “Arrow” and Telemundo for “Pasion Prohibida.”

Fox was first again at 9 p.m. with a 3.5 for more “Idol,” while ABC moved to second with a 2.0 for a repeat of “Family” (2.0) and a new “Parents” (2.0). Univision was third with a 1.8 for “Amores Verdaderos,” CBS fourth with a 1.7 for a repeat of “Criminal Minds,” NBC fifth with a 1.1 for a rerun of “Law & Order: Special Victims Unit,” Telemundo sixth with a 0.8 for “La Patrona” and CW seventh with a 0.5 for a repeat of “Supernatural.”

At 10 p.m. Univision took the lead with a 1.4 for “Que Bonito Amor,” with CBS second with a 1.2 for an “Elementary” rerun. NBC and Telemundo tied for third at 1.0, NBC for a repeat of “Chicago Fire” and Telemundo for “El Señor de los Cielos,” and ABC was fifth with a 0.9 for a repeat of “Nashville.”

Fox was also first for the night among households with a 7.5 average overnight rating and a 12 share. CBS was second at 4.9/8, ABC third at 3.2/5, NBC fourth at 3.1/5, Univision fifth at 1.9/3, and CW and Telemundo tied for sixth at 1.0/2.

http://www.medialifemagazine.com/fox-wins-another-wednesday-as-idol-grows/

* * * *

TV Notes
‘Project Runway,’ still a bit of strut left
Aging show remains one of Lifetime's top hits
By Louisa Ada Seltzer, Media Life Magazine - Apr. 18, 2013

“Project Runway” is nothing if not plucky.

The show, now in its 11th season, has survived a huge amount of off-camera drama, including a controversial move from Bravo to Lifetime that sparked dueling lawsuits and the high-profile divorce of its host, Heidi Klum, which filled the tabloids for months.

Tonight at 9 p.m. the show airs part one of its two-part season 11 finale, which has been supersized to two hours.

The finalists will put on runway shows at Lincoln Center and one will have a chance to make his or her Fashion Week debut.

“Runway” doesn’t pull nearly the numbers it did during its peak on Bravo in season three, when it regularly drew 5 million total viewers.

Last week’s episode, for example, managed just 2.23 million.

But it remains one of Lifetime’s top shows, finishing behind only “Army Wives” and “Dance Moms” last week, and it draws a desirable, high-income audience.

The show may hit a season high next week when the winner is announced. But even if it’s a season low, “Runway” will return for season 12, still pumping away despite all the distractions.

http://www.medialifemagazine.com/project-runway-still-a-bit-of-strut-left/
post #86331 of 93824
TV Notes
Netflix tries to build on in-house brand with 'Hemlock Grove'
By Steven Zeitchik, Los Angeles Times - Apr. 17, 2013

OSHAWA, Canada — The fireflies in this coastal Ontario town had begun to materialize over the estate's sprawling lawn. Inside a macabre-looking residence, the actors Famke Janssen and Bill Skarsgard slipped through elegant rooms and chilly corridors, a bone-creepy tableau that might be described as "The Addams Family" meets Guillermo del Toro. Her voice musical but no-nonsense, Janssen issued an order to Skarsgard; he responded by trying very hard to look aloof.

The location for the production of "Hemlock Grove" — a piece of small-town American Gothic about a murder, a shady company and rampaging werewolves — was quaint, even archaic.

But if the design was a throwback, the stakes are decidedly modern.

"Hemlock" is a Netflix original series from the horror maestro Eli Roth. On Friday, all 13 episodes, each about 50 minutes, will be made available for streaming — an experiment that will begin to tell whether the Silicon Valley upstart, fresh off the critical success of its Beltway drama "House of Cards," is a bona fide entertainment power or more of a one-hit wonder.

"It's a little ironic," Janssen said in an interview. "This is a show with a very old-world feel, yet it could help create the future of television."

If it's to define that future, though, "Hemlock" must overcome several challenges. Netflix is, after all, still relatively new to the original-content business. And the genre spin it is attempting here, a kind of horror-themed "Twin Peaks," has struggled to find a broad audience even on standard set-top boxes.

Produced by Gaumont International and based on a novel by Brian McGreevy, who serves as a writer and executive producer, "Hemlock Grove" follows the goings-on in a Pennsylvania steel town that has long been dominated by an enigmatic old-money family known as the Godfreys. There's Roman (Skarsgard), his mother, Olivia (Janssen), Roman's uncle Norman (Dougray Scott) and Roman's ghoulish sister Shelley (Nicole Boivin); they control a mysterious biotech company, among other things.

Into this mix drops a newcomer, Peter Rumancek (Landon Liboiron), a wanderer who with his mom (Lili Taylor) moves into a trailer in a shabby part of town, setting tongues wagging with whispers of beastly powers. Matters get even more hairy when the attractive teenager Brooke Bluebell is brutally murdered, putting the town and its two-bit police department on edge.

The show practices a narrative sleight-of-hand — as Bluebell says not long before she turns up dead, "There's just so much more happening than what you see" — as it moves between clues and genres. (Roman, for instance, may be a vampire.)

But for all the bloodsuckers and moon-bayers, creators say they're aiming for something more human.

"One of the central ideas I had was to look at community and what it means to be an outsider," McGreevy said. "Beneath all the tropes, I wanted to explore what it was like not to belong." He said he created "Hemlock" as an antidote of sorts to "Twilight." "I'm not sure when the vampire mythology became about marrying someone barefoot on a beach in Hawaii," he quipped.

Roth was similarly compelled. Despite his pedigree as the so-called godfather of torture porn, the "Hostel" director wants "Hemlock" to aim for nuance.

"This is in the horror universe. But you're not watching a terrifying story," he said, rattling off comparisons to "Twin Peaks" and "The X-Files." "It's about an unfolding mystery and the larger forces at play. I see it as a soap opera of a small town."

(He acknowledged he did want to put some more graphic scenes into the first episode of "Hemlock," which he directed, but Netflix nixed them because they were "too strong.")

The company, which already has development chips on a variety of genres, sees "Hemlock" as a chance to shore up a fan base. AMC zombie series "The Walking Dead" racks up huge numbers (in part through a deal with Netflix, coincidentally). Horror films, executives believe, are already weatherproof at a stormy box office. Why not offer the genre digitally, only this time 10 or 12 hours at a clip instead of 90 minutes every year or two?

"Look at 'Evil Dead,' both the original and the new one," said Netflix chief content officer Ted Sarandos. "There's a hard-core audience for this that we think we can target."

Reminded that devotion doesn't always mean broad popularity, he said that "Hemlock" involved a "proportionately lower investment" than "Cards," allowing for it to draw a smaller audience and still be financially viable. (The company will not release audience totals for "House of Cards.")

For creators, Netflix's involvement offers a few advantages. On set, McGreevy and his collaborator Lee Shipman talk about a creative freedom beyond studios or even cable networks.

And shooting in one lump amount allows for creators to avoid many of TV's built-in problems, including the need for artificial stops before commercials and at each episode's end, as well as the ability to circumvent the limits of special effects. Without the rigid constraints of an eight-day shoot (standard for TV shows), "Hemlock," Roth noted, was able to scatter pieces of production for an elaborate werewolf set piece throughout the shoot.

Still, it isn't simple for Netflix to release a new show. Without the benefits of lead-ins and in-network promos, the company has to rely on marketing and word of mouth. A program has to work that much harder to gain viewers.

And the Netflix seal of approval — in addition to "House of Cards" the company also has the highly anticipated "Arrested Development" returning next month — actually could work against it. Already "Hemlock" reviewers, who have not been kind, have begun to make the comparison to other Netflix shows. "Here comes the company's first truly bad series," wrote the Hollywood Reporter in a scathing review that said the program "barely makes sense."

Sarandos plays down the early critical response. "This show's not made for critics — it's made for viewers," he said.

Creators, meanwhile, say they're making this show with not only populist aims but demographic ones.

"I want high school and college students to watch this," said Roth, noting that people first exposed to "Twilight" in grade school were ready for something harder-edged. "I want people to be freaked out, like in a sex-ed class where you show a video of a childbirth, and the whole class is screaming and laughing." He added: "And because it's Netflix, I want people to rewind and watch it again."

http://www.latimes.com/entertainment/tv/showtracker/la-et-st-hemlock-grove-20130418,0,1256699.story
post #86332 of 93824
Quote:
Originally Posted by dattier View Post

It says nothing.

Competition shows need writers to decide what the contestants will attempt and how the host will introduce it or deal with the possibilities.

Even glimpse-into-life reality shows need writers to pen the host's or narrator's words.  Some also have situations set up, for which they need writers.

So a reality show's having a writer credit does not prove that it's scripted, much less that it's wholly scripted.

Doesn't disprove it either, of course.

And I believe in Santa Claus. I see him at the mall every December, so there! tongue.gif
post #86333 of 93824
Quote:
Originally Posted by humdinger70 View Post

Did any of you watch Splash on ABC on Tuesday night?
Nope ! Catherine Webb is gone due a injury , I recorded each show & FF to see just her . She's gone now & So am I >mad.gif
post #86334 of 93824
Quote:
Originally Posted by dattier View Post

It says nothing.

Competition shows need writers to decide what the contestants will attempt and how the host will introduce it or deal with the possibilities.

Even glimpse-into-life reality shows need writers to pen the host's or narrator's words.  Some also have situations set up, for which they need writers.

So a reality show's having a writer credit does not prove that it's scripted, much less that it's wholly scripted.

Doesn't disprove it either, of course.
The problem is, these shows have gone from "reality", to "unscripted" to simply "competion shows" or "situational dramas". I suppose the next step will be calling them "dynamic entertainment".

These shows have been shown time and again to be almost completely orchestrated from beginning to end. Even if they aren't "written", the producers create conditions to get the scene they want - and that starts with getting performers that fit specific profiles designed to create conflict. At the opposite end, editing ensures only the results they wanted are seen by the viewer.

It's all about poking a hornet's nest, then cutting things up to emphasize it.

So, if the want an angry bully, they'll get an angry bully even if he is only angry under a few choice circumstances.

That's not writing. That's known as "the long con". In other words, you set people in motion in the direction you want them to go in, but make them think it was their idea all along.
post #86335 of 93824
I suspect that in the shows where particiapants are voted off by other participants they sign a contract/waiver about telling them who to vote off and disclaimer to not tell the public this was fixed..

The ones with jugdes are even more clearer, and most of the general public voting have also final "jugde" involvement.
post #86336 of 93824
Quote:
Originally Posted by mhufnagel View Post

And I believe in Santa Claus. I see him at the mall every December, so there! tongue.gif
If you're trying to say that the existence of mall Santa Clauses neither proves nor disproves the existence of an actual one, you're right.  If you're trying to say that a person who says that their existence neither proves nor disproves his existence must therefore believe he exists, you're wrong.
post #86337 of 93824
Quote:
Originally Posted by NetworkTV View Post

That's not writing. That's known as "the long con".
Is most, if not all, reality television contrived and faked? I'm sure it is, but the contrivances and the fakery have to be thought up by someone. Somebody has to come up with the details for the long con, particularly the words with which it is placed on screen, and has to commit those words or ideas to a rereadable medium to be learned by the people who will appear on screen, whether you or I consider them participants or performers.

That isn't Pulitzer material, but it and your grocery list still count as writing.
 
post #86338 of 93824
Quote:
Originally Posted by dattier View Post

If you're trying to say that the existence of mall Santa Clauses neither proves nor disproves the existence of an actual one, you're right.  If you're trying to say that a person who says that their existence neither proves nor disproves his existence must therefore believe he exists, you're wrong.

I'm saying the the existence of Santa Claus is just as believable as believing that these shows are unscripted.
post #86339 of 93824
Quote:
Originally Posted by mhufnagel View Post

I'm saying the the existence of Santa Claus is just as believable as believing that these shows are unscripted.

Hey, if you're gonna drop bombs like these, at least put them in spoiler tags.
post #86340 of 93824
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)

ABC:
8PM - Happy Endings
8:30PM - Happy Endings
9PM - Shark Tank
10:01PM - 20/20
* * * *
11:35PM - Jimmy Kimmel Live! (Rachel McAdams; author Kelly Oxford; Kid Rock performs)
12:37AM - Nightline

CBS:
8PM - Undercover Boss: Popeyes Louisiana Kitchen
(R - Mar. 2)
9PM - Vegas
10PM - Hawaii Five-0
(R - Oct. 1)
* * * *
11:35PM -Late Show with David Letterman (James Franco; national grocery bagging champion Andrew Borracchini; Ed Sheeran performs)
(R - Mar. 25)
12:37AM - Late Late Show with Craig Ferguson (Harrison Ford; Melissa Rauch)

NBC:
8PM - Fashion Star
9PM - Grimm
10PM - Rock Center with Brian Williams
* * * *
11:35PM - The Tonight Show With Jay Leno (Kim Kardashian; TV personality Willie Geist; Imagine Dragons performs)
(R - Mar. 28)
12:37AM - Late Night With Jimmy Fallon (Justin Timberlake; actress Hayden Panettiere; Justin Timberlake performs)
(R - Mar. 15)
1:36AM - Last Call with Carson Daly (Musician Chloe Chaidez; Coup and Glossary perform)
(R - Mar. 20)

FOX:
8PM - Kitchen Nightmares (120 min.)
(R - Feb. 1)

PBS:
(check your local listing for starting time/programming)
8PM - Washington Week
8:30PM - Need to Know
9PM - Live From Lincoln Center - Celebration: Stephanie Blythe Meets Kate Smith
10PM - Havana, Havana! -- PBS Arts
(R - Jul. 27)

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

THE CW:
8PM - Nikita
9PM - Oh, Sit!
(R - Apr. 15)

TELEMUNDO:
8PM - Pasión Prohibida
9PM - La Patrona
10PM - El Señor de los Cielos

HBO:
10PM - Real Time with Bill Maher (Guests TBA)

E!:
11PM - Chelsea Lately (Avril Lavigne; John Caparulo; Heather McDonald; Mo Mandel)
(R - Apr. 11)
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