or Connect
AVS › AVS Forum › HDTV › HDTV Programming › Hot Off The Press: The Latest TV News and Information
New Posts  All Forums:Forum Nav:

Hot Off The Press: The Latest TV News and Information - Page 2887

post #86581 of 93800
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 25, 2013

THE DUST BOWL
PBS, 8:00 p.m. ET
PART 2 of 2.
This concluding half of Ken Burns' Dust Bowl documentary actually gets around to the Dust Bowl you thought this nonfiction film was about, after a first-part primer about previous dust storms and agricultural and environmental missteps. But that early groundwork served as the necessary roots system to make tonight's conclusion blossom - and, ironically, an abundance of groundwork, and a lack of roots system, is what led to the Depression-era Dust Bowl in the first place. Fascinating stuff, told by eyewitnesses who describe it in almost unbelievable chilling and depressing detail. Check local listings.

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

Tonight’s new episode is a flashback one, taking each character, including Zooey Deschanel’s Jess, back to the time when he or she lost his or her virginity. Set the “Awkward” dial to 11 – and enjoy.

GRIMM
NBC, 10:00 p.m. ET[
NEW DAY:
Viewers, to their credit, weren’t ready for NBC’s Ready for Love, a dating reality show that the network canceled after only a few viewings. And at NBC, the inventory is as thin as the quality, so instead of replacing Ready for Love with something new to follow The Voice, it’s moving Grimm from Fridays, where it’s been banished this season. This isn’t necessarily a recommendation, but by moving this show to Tuesdays, the evening, for NBC, is both a little more, and a little less, Grimm.

FRONTLINE: "TOP SECRET AMERICA"
PBS, 10:00 p.m. ET

Tonight’s installment is an updated version of an earlier report, Top Secret America, detailing the country’s war on terror since 9/11. It’s updated to include the Boston Marathon bombings, putting that attack in a wider context of home-soil terrorism. Check local listings.

INSIDE AMY SCHUMER
Comedy Central, 10:30 p.m. ET
SERIES PREMIERE:
Standup comic Amy Schumer gets her own series – one in which she tries, to quote a recent profile in The New York Times, to do her own Louie. That’s a commendable goal, but a tough landing to stick.


http://www.tvworthwatching.com/

* * * *

TV Review
'Inside Amy Schumer': Maybe Outside is Close Enough
By Eric Gould, TVWorthWatching.com - Apr. 30, 2013

Amy Schumer's stand-up act, which often skews funny, strings together slice-of-life bits about awkward sex and dating, punctuated by the blonde, girl-next-door-type going way-down raunchy in the punch lines. As she curses and scats sex phrases, it's sort of like watching a wide-eyed muppet go hard into the Christopher Walken rant from Pulp Fiction.

While Schumer's new Comedy Central sketch-comedy show, Inside Amy Schumer, which premieres Tuesday, April 30 at 10:30 p.m. ET, includes bits of her routine, the bulk of it is pretty much downhill from there. Much like The Sarah Silverman Program (2007-2010), The League and others, the show is a stream of bodily fluid references from start to finish.

Inside Amy Schumer starts with a satire of a casting call for a proposed knock-off of the infamous scat-porn YouTube video, "2 Girls 1 Cup," which featured two women sharing a cup of, presumably, human excrement. That's followed by a stand-up bit about taking the morning-after pill the night of; a sketch about a one-night stand with a boorish guy who gets aroused by and masturbates to the matronly model featured on a pasta sauce bottle label; and a spoof of first-person survival stories, including one about two brothers stranded at sea who were forced to drink each other's pee to survive.

If all this sounds unfunny, it is, and that's a bit of mystery given Schumer's steady rise through the stand-up circuit and the rave reviews she received for her performances at the Comedy Central roasts for Charlie Sheen in 2011 and Roseanne Barr in 2012. Those appearances led to Schumer's own highly-rated one-hour Comedy Central special, Mostly Sex Stuff, last year.

It's even harder to fathom if you read last week's lengthy background piece about the show in The New York Times, which delved into Schumer's comedy in intricate, scholarly detail. And while the piece praises Schumer's comedy, there's nothing provocative or illuminating in the premiere episode of Inside Amy Schumer, unless you find a chat about women who prank guys by asking them to email "dick pics" particularly funny.

The Times piece also mentions that Schumer's show was originally intended to be a talk show, but she instead insisted on doing a sketch series, saying, "I want to do my Louie."

Would that it were as simple, or easy, by just wanting to do a show like Louie. Sure, Louis C.K. incessantly jokes about jerking off, but it's against, and across, the whole spectrum of human narcissism and frailty.

Schumer's just as smart, but so far she seems happy enough to ride the one trick pony, playing the good-looking, wholesome girl with a cowboy mouth.

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=4841
post #86582 of 93800
Nielsen Notes
Nielsen To Measure Online TV Viewing With Digital Program Ratings
By HuffingtonPost.com - Apr. 30, 2013

Nielsen will now measure audiences who view TV content online with their new Nielsen Digital Program Ratings.

The pilot program includes A&E, ABC, AOL, CBS, The CW, Discovery, Fox, NBC and Univision. The test begins in May and will run through July.

“The pilot for Nielsen Digital Program Ratings is a major milestone for the industry,” Eric Solomon, SVP for Global Digital Audience Measurement at Nielsen, said in a statement. “As a companion product to Nielsen Online Campaign Ratings, Nielsen Digital Program Ratings will enable clients to better understand the online audience for their programming by harnessing the same methodology Nielsen already uses to measure the audience for related advertising.”

Nielsen Digital Program Ratings will provide overnight audience data such as unique audience, stream counts and reach by age and gender for TV programming viewed online.

A commercial release for Nielsen Digital Program Ratings is targeted for later in 2013 when Nielsen hopes to expand to additional content types and devices.

This is just the latest change Nielsen has announced to further understand the changing TV landscape. In February, Nielsen announced it will begin measuring broadband viewership. The company also announced it will partner with Twitter to measure social TV chatter.

“The potential to measure video viewing of specific programs on linear TV as well as the Internet is significant," Alan Wurtzel, President of Research and Media Development at NBCUniversal, said in a statement. "It's an important step toward reaching the ‘holy grail’ of true cross-platform measurement."

http://www.huffingtonpost.com/2013/04/30/nielsen-online-tv-viewing-digital-program-ratings_n_3185617.html?utm_hp_ref=tv
post #86583 of 93800
Nielsen Notes (Cable)
HBO’s ‘Game Of Thrones’ & ‘Veep’ Hit New Highs
By Dominic Patten, Deadline.com - Apr. 30, 2013

HBO had a good Sunday night. Not only did the cable station’s flagship series Game Of Thrones break another viewership record, but also its political satire Veep pulled in the largest audience of its second season. A series-high 5.3 million watched Game Of Thrones in its first run at 9 PM, marking the third week in a row the third season of the fantasy drama hit a new record. On April 21, the show drew 4.9 million viewers. The series debuted its latest season March 31 with 4.4 million viewers. Overall, Game Of Thrones was seen by 6.7 million over all its plays Sunday night.

Airing at 10 PM, the Julia Louis-Dreyfus starrer Veep garnered 1.3 million viewers, up from 1.1 million on April 21 and 1.2 million for the season debut April 14.

http://www.deadline.com/2013/04/hbos-game-of-thrones-veep-hit-new-highs/

* * * *

Nielsen Notes (Cable)
History’s ‘Vikings’ Season Finale Attracts 3.6M Viewers

History’s Vikings ended its first season with 3.6 million viewers Sunday. The first scripted series for the channel pulled in 1.8 million viewers in the adults 25-54 demo and 1.7 million adults 18-49 in its finale, making Vikings the top show on cable in total viewers and 25-54 in the 10 PM slot Sunday.

Renewed for a second season earlier this month, Vikings has emerged as the No. 1 new cable series of the year. Vikings drew 6.2 million viewers, 2.5 million adults 18-49 and 2.7 million adults 25-54 to its March 3 debut. With a lead-in from the Mark Burnett-produced miniseries The Bible for much of its first season, Vikings averaged 4.3 million total viewers, with 2 million 25-54 and 1.8 million 18-49.

The second season of Vikings is scheduled to air in early 2014.

http://www.deadline.com/2013/04/historys-vikings-season-finale-attracts-3-6m-viewers/
post #86584 of 93800
Quote:
Originally Posted by Jon J View Post

I simply cannot stand Sawyer's smarmy, oozy presentation style. She doesn't report...she emotes.
It's probably because she's juiced up on booze.

Diane Sawyer drunk?
post #86585 of 93800
TV Review
‘Family Tools,’ could use a makeover
The jokes fly fast and furious on this new ABC sitcom
By Tom Conroy, Media Life Magazine - Apr. 30, 2013

Back when most sitcoms were shot in front of studio audiences, writers had to leave time for the audience’s laughter to be heard — even if it had to be added in postproduction — and for the audience to get ready for the next joke.

Now that most sitcoms are shot with a single camera and no audience, writers tend to jam in as many jokes and sight gags as time will permit. The theory seems to be that since the jokes are coming thick and fast, they don’t all have to be gems. This is only a serious problem when none of them are gems.

Sadly, that’s the case with ABC’s new sitcom “Family Tools.”

Packed with jokes both subtle and broad as if quantity would make up for quality, it soon goes from unimpressive to annoying. Although the second episode slows the pace and lets the comedy breathe, the show still needs serious retooling.

In the premiere episode, airing this Wednesday, May 1, at 8:30 p.m., Jack Shea (Kyle Bornheimer) returns home to run the handyman business founded by his father, Tony (J.K. Simmons), who has just suffered a heart attack. Jack moves into the home of his aunt Terry (Leah Remini), who is trying to get Tony to improve his lifestyle and diet. Jack has to share the basement with his teenage cousin Mason (Johnny Pemberton).

He also has to put up with Tony’s freewheeling assistant, Darren (Edi Gathegi), whose sister, Stitch (Danielle Nicolet), has a crush on Jack. Conveniently for comedy purposes, she works in the hardware store where Jack shops for supplies.

Jack explains this premise to us in an opening credit sequence that makes us long for the days when sitcoms would pay for theme songs with lyrics.

Despite that spoken description, the premiere’s dialogue is mostly expository. To their credit, the writers try to make this exposition funny, but their consistent near success is worse than occasional success mixed with straight dialogue.

Even before Jack gets home, we learn that he is leaving a seminary (which, for some reason, is repeatedly referred to as “seminary school”), because, he says, “They didn’t appreciate my ideas about making the Bible shorter and less preachy.”

Through Jack’s conversations with various bystanders, we quickly learn that he has tried and failed to become a Navy SEAL, a park ranger and a police officer, among other jobs. When one person says that Jack always shoots himself in the foot, he replies that that only happened once and that in the Army he shot his lieutenant’s foot.

At Jack’s first day of work, it’s Darren’s job to keep the zingers coming. On his phone, he flirts with the grandmother of a girl he’s dating; then he jokes around with his nearly comatose grandfather; then he tries to make Jack give a lift to a friend who’s stealing a TV.

Trying to buy decking from Stitch after some rapid-fire flirting, Jack discusses the options: One brand is made from recycled diapers; another supports gay lumberjacks.

The show starts to feel like one of those co-workers who insist on trying to add a punch line to every utterance at company meetings. Viewers will want to lean toward the TV and say, “Just give it a rest for a few seconds.”

The second episode slows the pace without noticeably upping the quality of the comedy, but less is more. We actually get a chance to appreciate the jokes, if not necessarily laugh out loud.

The plot hinges on a clever conceit: that men with tool belts are invisible to white-collar workers. As soon as Jack takes his off, he runs into a sitcom staple: that unattainable pretty girl from high school who is suddenly available when you move back to your hometown.

The plot develops in predictable ways, as do the characters. Although the performers are talented, none seems likely to break out of the tightly constructed molds the writers have poured them in. When they behave unusually, it’s in the usual ways.

Kyle Bornheimer is so right on the nose of his particular sitcom type — the goodhearted, ineffectual everyman — that when he deviates even slightly from it, something feels wrong.

Since 2008, Bornheimer has been in the cast of three sitcoms that lasted under a season; in each, he played the same general type. Judging by “Family Tools,” he has to stop settling for what comes easy. The creators of the show, meanwhile, have to stop trying so hard.

http://www.medialifemagazine.com/family-tools-could-use-a-makeover/
post #86586 of 93800
Business Notes
Hulu adds two new shows as subscriber base swells to 4 million
By Matthew Fleischer, Los Angeles Times' 'Company Town' blog - Apr. 30, 2013

Hulu is adding more original content.

The online video site, which is owned by Walt Disney Co., News Corp. and Comcast, told advertisers Tuesday it was launching two new shows: the Wild West comedy “Quick Draw” from writer-director Nancy Hower and writer-star John Lehr, and the drama “East Los High,” which features an all-Latino cast, about an East Los Angeles high school.

The shows will premiere, along with nine other original shows, this summer.

Hulu’s push to increase the number of original shows comes as the subscriber base for its Hulu Plus service has expanded to 4 million. The company said it has seen an 800% growth in subscribers to its Hulu Plus service since 2011. In the first quarter of 2013 alone, Hulu Plus added 1 million subscribers. Mobile viewing, which the company didn’t even offer two years ago, accounts for 15% of all videos watched.

“Overall, Hulu continues to grow very quickly,” Hulu’s acting CEO Andy Fossell wrote in a blog post. “In Q1 of this year, we set new records for revenue, and for the first time ever, Hulu viewers streamed more than 1 billion content videos in a single quarter.”

http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-hulu-adds-two-new-shows-as-its-subscriber-base-doubles-20130430,0,34508.story
post #86587 of 93800
TV Review
'Manhunt' (HBO)
A Sisterhood Against Terror
By Mike Hale, The New York Times - May 1, 2013

The former C.I.A. analysts Cindy Storer and Barbara Sude don’t have the cheekbones or flame-red hair of Jessica Chastain, who played an analyst in the Oscar-nominated drama “Zero Dark Thirty.” They look like the women next door, a reality emphasized in the HBO documentary “Manhunt” (on Wednesday night) by an early scene of Ms. Storer driving out of her suburban cul-de-sac in a station wagon with an American flag mounted in a rear window.

But Ms. Storer, Ms. Sude and the other women interviewed in “Manhunt” — members of a Central Intelligence Agency team that identified the threat posed by Osama bin Laden long before the Sept. 11 attacks — have some things Ms. Chastain’s character was short on: personality, and a willingness to reflect openly on the costs and lessons of the long hunt for bin Laden and other leaders of Al Qaeda. When you take those into account, “Manhunt,” while it doesn’t approach the storytelling virtuosity of “Zero Dark Thirty,” may be the more profitable viewing experience.

Directed by Greg Barker (“Koran by Heart,” “Sergio”) and based on a book by Peter Bergen, “Manhunt” covers a broad swath of recent American history. The story of the group of female analysts labeled “the sisterhood,” who picked up on bin Laden’s financing of terrorism in the early 1990s, serves as a thread through the 100-minute documentary. But room is made for other material, like an account of Mr. Bergen and Peter Arnett’s television interview with bin Laden in 1997, as well as segments exploring the moral and practical dimensions of “enhanced interrogation” and so-called black sites, where it is carried out.

The result is a film that’s dense with information, some of which will be familiar if you’ve paid attention to the news over the last two decades, and occasionally a bit repetitive. The story is told through interviews with the members of the sisterhood as well as field agents, journalists and war-on-terror honchos like the former C.I.A. director Michael Hayden and the retired general Stanley A. McChrystal, who provides a particularly frank and thoughtful point of view. (General McChrystal was fired in 2010 after an article in Rolling Stone magazine quoted him and his staff making dismissive comments about the White House.)

Around these interviews, Mr. Barker establishes a sense of foreboding with the extensive use of clips from Qaeda videos, many featuring bin Laden, and staged scenes of the female analysts staring into their computers and taping photos of terrorists to whiteboards. Subdued woodwinds and shots of blowing leaves, Middle Eastern streets at night and a surreal Baghdad firefight — with a lone dog trotting across the screen as the tracers fly — contribute to an atmosphere of stylized menace reminiscent of an Errol Morris film.

“Manhunt” treads much of the same historical ground as “Zero Dark Thirty” and the National Geographic Channel drama “SEAL Team Six,” with an important exception: the May 2011 attack in Abbottabad, Pakistan, that killed bin Laden, a centerpiece of the fictional films, is noted in passing. The documentary is less about finding bin Laden than about the American assumptions and vulnerabilities that the hunt for him exposed.

As in “Zero Dark Thirty,” a major theme is a male hierarchy’s ignoring the judgments and warnings of women, but “Manhunt” provides a different and more complete chronology. The women of the sisterhood, eventually part of a C.I.A. team focused on bin Laden called the Alec Station, were among the voices loudly warning of an attack before Sept. 11; after the World Trade Center attack, we’re told, their small group was “dwarfed by newcomers.”

The documentary also contradicts the dramatic notion of the impatient lone-wolf agent single-handedly achieving crucial insights. “We have patience and perseverance, and we’re not always looking for the sexy payoff immediately,” says the former analyst Nada Bakos, explaining why women are well suited for a field, counterterrorism, that relies on the slow accumulation and interpretation of enormous amounts of information by coordinated teams of experts.

(It’s a happy coincidence that “Manhunt” is appearing at the same time as the mini-series “The Bletchley Circle,” about a group of underappreciated female code breakers who solve a mystery in postwar London. It concludes on Sunday on PBS.)

As it tells the story of the sisterhood and Alec Station, “Manhunt” also presents an evenhanded, sometimes powerful conversation about subjects like torture, targeted killings and the roots of terrorism. The women in the film tend to be more conflicted in their thinking than the men, but they arrive at similar conclusions.

“The paradox of wanting to save the women and children of Iraq and kill someone in order to do that wasn’t lost on me by any means,” Ms. Bakos says. “But I can justify that for myself.”

One of the least gung-ho voices in the film is that of General McChrystal, who bemoans Americans’ lack of knowledge about the Middle East.

“I’m not sure America has made the effort that it needs to to understand what it is we just went through,” he says. If as many people saw “Manhunt” as saw “Zero Dark Thirty” (domestic gross: roughly $96 million), it would be a small step in the right direction.

MANHUNT
HBO, Wednesday night at 8, Eastern and Pacific times; 7, Central time.


http://tv.nytimes.com/2013/04/30/arts/television/inside-amy-schumer-on-comedy-central.html?ref=television&_r=0
post #86588 of 93800
TV Notes
TNT renews 'Dallas' for a third season
By Bill Keveney, USA Today - Apr. 30, 2013

J.R. is gone, but Dallas will return.

TNT picked up the drama for a third season today, ordering 15 episodes. It will premiere in early 2014.

"Dallas has built a passionately loyal following with its expertly woven story lines, clever twists and turns and numerous outstanding performances by a cast that spans generations," TNT program chief Michael Wright said in a statement accompanying the announcement. "Although we said goodbye to Larry Hagman and his iconic character, J.R. Ewing, this year, Dallas has many more stories to tell and the Ewing clan will continue to honor J.R.'s memory by keeping its audience surprised and delighted."

Dallas picks up from the classic soap that ran from 1978 to 1991, continuing the inter-generational stories of the oil-rich Ewings and those around them.

Hagman, who made J.R. into a legendary TV character in the CBS original, died during the filming of the second season. The series acknowledged the character's passing with a memorial during the season.

The current Dallas features other stars from the original, including Patrick Duffy as J.R.'s brother Bobby and Linda Gray as his ex-wife, Sue Ellen. Josh Henderson, Jesse Metcalfe and Jordana Brewster also star.

Dallas averaged 3.8 million viewers per episode in its second season.

http://www.usatoday.com/story/life/tv/2013/04/30/tnt-renews-dallas-for-a-third-season/2124321/
post #86589 of 93800
TV Review
‘The Big Brain Theory,’ nerdy good
Discovery competition pits techies against one another
By Tom Conroy, Media Life Magazine

Often the skill that is supposedly being tested in a reality competition show isn’t the skill that will lead to success in that field. To take an obvious example, “American Idol” contestants usually sing other people’s hits. If they’re going to make it in pop music, they’ll have to be able to put across songs that no one has heard before.

Discovery’s new competition show “The Big Brain Theory” is supposedly designed to find the next great American innovator in technology, but the competition seems more likely to find the participant with the best combination of people skills and machine-tooling experience.

On the plus side, the techies in the competition are not your usual reality-show attention junkies, and the challenges they face might spark the imagination of future scientists and engineers. Since the type of viewer attracted to this subject matter probably isn’t sick of the reality-competition format, the show could work for them.

Premiering Wednesday, May 1, at 10 p.m., “The Big Brain Theory” starts off with a bang. In a desert landscape, the host, the actor Kal Penn — who points out that although he’s known for playing goofy characters, most notably as one of the stoners in the “Harold and Kumar” movies, he’s also worked as a youth liaison in the White House — directs the attention of the 10 contestants to two trucks loaded with explosives, which proceed to crash into each other, setting off an impressive blast.

Following the “Top Chef” format closely, the show starts with a quick challenge: The contestants, who are mostly tech workers and grad students, are told to sketch out a way of preventing a cargo of explosives from blowing up in a similar crash. They present their ideas to the two judges, Mark Fuller and Christine Gulbranson, who each run what seem to be forward-looking companies.

The winner and the runner-up in this challenge pick teams for the main challenge, which is to construct an actual mechanism to prevent the explosion. The teams are given $4,000 to purchase materials and can spend the next three days working in a well-equipped shop.

Each week, the judges will eliminate one contestant. The last one standing will win $50,000 and a job at Fuller’s company, Wet.

By the usual standards of this kind of show, the teams work together well. The team led by Joe, the winner of the initial challenge, decides to place the explosives on a rail in the truck’s bed that will allow the package to decelerate in a crash. The other team, led by Amy, have a similar idea but elevate the rail to roof level so that it can be lengthened.

Joe winds up delegating most of the decision making to an alpha nerd named Gui, who can’t seem to get everyone to work together. Amy is more in control of her team, but one team member, Dan, keeps suggesting a design flaw.

Viewers who have seen lots of competitions shows know that the producers are trying to keep us guessing who will win, so we take all of this information with a grain of salt. We spend more time judging whether we’re being misdirected than judging the actual designs.

Oddly, many of the contestants seem to be gifted welders. In fact, the contest turns out to hinge on the manufacture of the designs, not the designs themselves. It’s doubtful that Bill Gates’ or Steve Jobs’ success in life hinged on their talent with an acetylene torch.

Each contestant is identified with a graphic listing their name, job or academic status and IQ; the latter numbers range from 120 to 142. Confirming stereotypes, the most aggressive of the males is a 120; one of the wimpiest and most cerebral is a 142.

On the other hand, the producer seem neither to have sought out outwardly geeky types nor to have encouraged the contestants to play up that side of their personalities. The absence of caricatures is startling.

After the mechanisms are tested, with surprising results, the judges have the team members defend their work. The blaming and backbiting are less rabid than on most competition shows. Refreshingly, two men claim complete responsibility for their team’s failure.

Fans of “Top Chef” and “Project Runway” will find this show disappointingly tame. But gearheads and tech nerds should enjoy watching their soul mates try to work things out. Parents of science-fair devotees might consider recording it for their own future Gateses and Jobses.

http://www.medialifemagazine.com/the-big-brain-theory-nerdy-good/
post #86590 of 93800
Nielsen Notes (Cable)
CNN Gains in April as Fox Wins Again, Is Among Top Cable Networks Overall
By Tim Kenneally, TheWrap.com - Apr. 30, 2013

CNN's ratings dramatically improved in April, but Fox was so dominant among cable news stations that it cracked the Top 3 among all cable networks in total viewers. HLN, meanwhile, knocked MSNBC out of third place for the month.

In a busy news month that included the Boston marathon bombings and the deadly explosion in West Texas, CNN had a 79 percent boost in total viewership, averaging 638,000 total-day viewers, compared to last April's 356,000. In the key 25-54 news demographic, the network climbed 109 percent with a total-day average of 228,000.

One reason for CNN's boosts is that it was so far down this time last year: April 2012 was its worst month since August 2001 in both the key demo and total viewers.

Fox remained far ahead of its cable news rivals. It averaged 1.233 million total viewers, a 14 percent boost over last April, and 278,000 viewers in the key demo, a modest gain over a year ago.

In April, the network ranked second in total viewers only to USA Network in primetime cable. CNN was 17th and MSNBC 27th. In total-day numbers, Fox ranked third in all of cable, compared to 13th for CNN and 28th for MSNBC.

Fox swept the top 13 cable news programs in total viewers, with "The O'Reilly Factor," "Hannity," "Special Report with Bret Baier," "The Five" and "The Fox Report with Shepard Smith" comprising the five most-watched cable news shows.

CNN also had some good news about several of its shows this past month. The network's new 4 p.m. show, "The Lead With Jake Tapper," grew 108 percent in the key demo and 54 percent in total viewers over the ratings for the 4 p.m. hour of "The Situation Room With Wolf Blitzer," which was airing in the timeslot last April. "The Lead" averaged 258,000 viewers in the demo and 829,000 total viewers throughout the month.

"Erin Burnett OutFront," "Anderson Cooper 360," "Piers Morgan Live" and "The Situation Room" also grew triple digits in the demo and total viewers. "The Situation Room," in its 6 p.m. timeslot, showed the most dramatic growth of any show on CNN, Fox News and MSNBC, jumping 224 percent in the demo and 124 percent in total viewers, while "OutFront" grew the most in total viewers, jumping 145 percent to 1.004 million.

MSNBC was the only cable news network to decline in April, dropping 4 percent in total viewers compared to a year ago with an average 407,000 and remaining steady in the key demo with 139,000 viewers aged 25-54 in total-day numbers. That put the network in fourth place in the demo behind CNN sister station HLN, which averaged 142,000 viewers in the demo, a 43 percent jump over last April. (MSNBC retained third place in total viewers, compared to HLN's total-day average of 390,000 for the month.)

http://www.thewrap.com/tv/column-post/ratings-cnn-shows-big-april-gains-fox-takes-month-88561
post #86591 of 93800
TV Notes
Salt Lake City NBC Affiliate Yanks 'Hannibal' From Schedule
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Apr. 30, 2013

Hannibal just got harder to find in Utah. KSL TV, the Salt Lake City NBC affiliate which has previously vetoed The Playboy Club and The New Normal over content issues, announced on its Facebook page that it will no longer be airing the spin on Silence of the Lambs.

"After viewing the past few episodes, as well as receiving numerous complaints from viewers, KSL TV will cancel the airing of the NBC show Hannibal on Thursday evenings," reads the post. "This decision was made due to the extensive graphic nature of this show. The time slot will be replaced with a special edition of KSL 5 News at 9 p.m. NBC remains a valued partner to KSL TV. KSL is confident that with the proliferation of digital media, those who wish to view the program can easily do so."

KSL is owned by Bonneville International Corporation, a Church of Jesus Christ of Latter-day Saints company. The Mormon ownership and largely Mormon audience in the market make the move a not entirely unsurprising one. Ahead of the 2012-13 season, KSL preemptively pulled Ryan Murphy's gay couple comedy New Normal for what it called "rude and crude dialogue."

As it has in the past, KUCW (an Ogden-licensed station with ties to The CW, ABC and NBC) has picked up KSL's discards. The affiliate will air Hannibal on Saturday nights after fellow NBC series Saturday Night Live.

This is not the first preemption news for Hannibal. At the insistence of showrunner Bryan Fuller, NBC opted not to air an April 25 episode about violent children out of respect after the Boston Marathon bombing. Parts of the episode were later repurposed for a series of web shorts.

http://www.hollywoodreporter.com/live-feed/salt-lake-city-nbc-affiliate-449193
post #86592 of 93800
TV Notes
On The Air Tonight
WEDNESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - The Middle
8:30PM - Family Tools (Series Premiere)
9PM - Modern Family
9:31PM - How to Live With Your Parents (For the Rest of Your Life)
10PM - Nashville
* * * *
11:35PM - Jimmy Kimmel Live! (Pierce Brosnan; Greta Gerwig; Alice Russell performs)
12:37AM - Nightline

CBS:
8PM - Survivor: Caramoan -- Fans vs. Favorites
9PM - Criminal Minds
10PM - CSI: Crime Scene Investigation
* * * *
11:35PM - Late Show with David Letterman (Tobey Maguire; Tom Odell performs)
12:37AM - Late Show with Craig Ferguson (Comic Michael Ian Black; Lena Headey)

NBC:
8PM - Dateline NBC
9PM - Law & Order: Special Victims Unit
10PM - Chicago Fire
* * * *
11:35PM - The Tonight Show With Jay Leno (Kathy Griffin; Eli Roth; Cheap Trick performs)
12:37AM - Late Night With Jimmy Fallon (Ben Kingsley; Kal Penn; Johnny Marr performs)
1:36AM - Last Call with Carson Daly (Guillermo Diaz; Clairy Browne & The Bangin' Rackettes; The Stepkids perform)

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

PBS:
(check your local listing for starting time/programming)
8PM - Nature: Legendary White Stallions
9PM - NOVA - Australia's First 4 Billion Years: Strange Creatures
10PM - Secrets of the Dead: Bugging Hitler's Soldiers

UNIVISION:
8PM - Porque El Amor Manda
9PM - Amores Verdaderos
9:55PM - Qué Bonito Amor

THE CW:
8PM - Arrow
9PM - Supernatural

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Author Kay Bailey Hutchison)
11:31PM - The Colbert Report (Music group Macklemore & Ryan Lewis)

TBS:
11PM - Conan (Bo Burnham)

E!:
11PM - Chelsea Lately (Sarah Chalke; Josh Wolf; Mary Lynn Rajskub; Jo Koy)
post #86593 of 93800
Quote:
Originally Posted by dad1153 View Post

TV Notes
Salt Lake City NBC Affiliate Yanks 'Hannibal' From Schedule
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Apr. 30, 2013

Are they forcing them to view it and keeping their eyelids open?

I gather there's no HBO, Showtime or Starz there..
post #86594 of 93800
Quote:
Originally Posted by DrLar View Post

Quote:
Salt Lake City NBC Affiliate Yanks 'Hannibal' From Schedule
Are they forcing them to view it and keeping their eyelids open?

I gather there's no HBO, Showtime or Starz there.
And apparently no V-chips either.

But that logic is based on the fallacy that the decision was intended for mollifying viewers.  Its true motivation was to placate advertisers; the problem was that Utahns would decline to watch it, not that they can't, and that some crank groups would watch just to see which advertisers they could call for boycotts against.

HBO, Showtime, and Starz don't depend on advertisers.
Edited by dattier - 5/1/13 at 8:53am
post #86595 of 93800
Kenucky Derby post draw 5:00pm NBC Sports Network -- Derby post time saturday 6:24pm NBC.
post #86596 of 93800
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - May 1, 2013

MANHUNT
HBO, 8:00 p.m. ET

This new documentary looks at the sort of lengthy, patient, ongoing investigative work that led to the identification of the whereabouts of Osama bin Laden. Its narrative begins well before that of Zero Dark Thirty, and its female protagonists are a bit different than Jessica Chastain’s character in that film, but this is the real deal.

RISKY BUSINESS
IFC, 8:00 p.m. ET

It’s been 30 years now since Tom Cruise slid across that floor in his stocking feet — but this movie still has charm and energy to spare, and makes it clear why Cruise cruised to stardom so quickly, and has stayed there ever since. Rebecca De Mornay co-stars, as the female escort who complicates his life, and jeopardizes his college admission status.

MODERN FAMILY
ABC, 9:00 p.m. ET

There’s a Career Day exhibition at school in tonight’s new episode, but there’s a lot of show and tell at home, as well. For example, Mitchell and Cam enlist a visiting Haley (Sarah Hyland) to play the role of the Tooth Fairy – a role she really takes to heart.

60 MINUTES SPORTS
Showtime, 9:00 p.m. ET

Among the reports shown tonight, in this new Showtime edition of this 60 Minutes spinoff, are an entertaining Lesley Shahl profile of R.J. Dickey – and a piece on a usually ignored sport, big in the U.K. but not so much here. Namely, darts.

THE AMERICANS
FX, 10:00 p.m. ET
SEASON FINALE
The entire season has been building, cleverly, to tonight’s season finale, with agents from both sides of the Iron Curtain circling each other and getting ever closer to discovering each other’s identities. Stan (Noah Emmerich) has commissioned arists sketches that may help him get closer to Elizabeth (Keri Russell) and Phillip (Matthew Rhys) – even though they could hardly be closer, since they live across the street.


http://www.tvworthwatching.com/

* * * *

Critic's Notes
'Manhunt' Asks Hard Questions About Terrorism
By Eric Gould, TVWorthWatching.com - Apr. 30, 2013

Given the recent Boston Marathon bombings, the HBO documentary, Manhunt — about the CIA's hunt for Al-Qaeda and Osama bin Laden — is not only timely, but illuminating. It's a sobering look at the roots of violent extremism, and a reminder that winning a war on terrorism requires more than drone strikes.

Manhunt, from director Greg Barker, premieres Wednesday, May 1 at 8 p.m. ET, and gives the now well-known back-story of the bin Laden investigation as shown in last year's Oscar-nominated Zero Dark Thirty. It also features first-time recollections from some main players of the CIA analyst group (all now retired) who were initially tasked with understanding whether terrorist groups training in Afghanistan in the early '90s were organized as one group, or were non-affiliated cells.

The analyst group, code-named "Alec Station" but known informally as "The Sisterhood" (for its female leadership), was headed by Cindy Storer. In Manhunt she gives an extensive background on the group's work, and suddenly, the depiction of CIA analysts in Henry Bromell's 2010 AMC series, Rubicon, makes sense. Says Storer, "Even in the analytical community, there's a smaller percentage of people who are really good at 'pattern analysis' — making sense of information that doesn't seem connected."

Storer authored the threat analysis memo delivered to the Bush White House in August 2001, just before the 9/11 attacks. The low point for her and "The Sisterhood" came in the months immediately following the tragedy, when the congressional finger-pointing began and the search was on for CIA scapegoats.

A soundtrack from the congressional hearings still brings tears to her eyes. It's a reminder that a painstaking decade of terrorist intelligence came up short against the success of the 9/11 attacks. She asks rhetorically, "Really? What did you [senators and representatives] know about bin Laden before 2001? Nothing. You didn't help us at all. And now, you're blaming us for having tried."

Manhunt also recounts the worldwide, post-9/11 search for senior Al-Qaeda leaders, chronicling the spy recruitment and tradecraft that lead to the identification of bin Laden's courier and the now famous raid of 2011. Aided by computerized organizational charts and flow diagrams (done by the production house The Mill, which also did the main titles for History Channel's Vikings, the focus of a recent TVWW profile) Manhunt unravels the complicated web of figures and connections that Storer and other analysts had to understand to defeat the organization and its leadership.

It's here where the documentary gets to its crucial, opposing viewpoints. Ex-CIA spy runner Marty Martin, a good ol' Southern boy, sees organized terrorists as hardcore "straight-up haters."

"There's no reasoning with them," says Martin, who believes dealing with terrorists by any means necessary is justified.

Barker then cuts to ex-interrogators and counter-terrorism officials who recount how most of the valuable information they coaxed from detainees at Guantanamo and European black sites was obtained through conventional techniques, without water-boarding.

Nada Bakos (top photo), presumably the role model for the "Maya" character in Zero Dark Thirty and the lead investigator in the hunt for bin Laden after 9/11, observes that bin Laden spread his ideology more successfully than perhaps even he imagined he could, even as Al-Qaeda, as an organization, was being degraded and all but erased.

"How do you kill an ideology?" asks Bakos. "Killing one person doesn't end that." (Barker points out that for all of bin Laden's blustering about how jihadis loved death more than Westerners loved life, no one was more well hidden, and tried to stay alive, longer than bin Laden himself.)

Near the end of Manhunt, retired Gen. Stanley McChrystal, the former commander of U.S. forces in Afghanistan, and the man who successfully tracked and killed Iraqi Al-Qaeda leader Abu al-Zarqawi, adds, "Some (drone) strikes are necessary, but if our solution to this kind of problem is just to strike, without taking efforts to prevent the rise of a threat, it's endless. The really key part, is not how to do these operations, the thing to understand is why the people that we are fighting are doing what they're doing. Why is the enemy the enemy?"

"Why is the enemy the enemy?" has been one of the questions emerging since the recent Boston Marathon bombings that left four dead and over 200 injured. How do people radicalize to the point that murder and mayhem become plausible religious choices? As McChrystal points out, "If you don't understand why they're doing it, it's very difficult to stop."

Manhunt doesn't presume to know the answers, but it does frame the right questions.

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=4829
post #86597 of 93800
TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #86598 of 93800
Nielsen Overnights (18-49)
ABC and NBC make gains at 10 p.m.
'Grimm' averages a 2.0 in 18-49s with a boost from 'Voice'
By Toni Fitzgerald, Media Life Magazine - May 1, 2013

On a rather lackluster night for broadcast, ABC and NBC saw improvements in the 10 p.m. timeslot.

NBC’s “Grimm” averaged a 2.0 adults 18-49 rating at 10 p.m., up 54 percent from its most recent Friday outing and winning the hour on broadcast.

It doubled the rating for last week’s NBC 10 p.m. show, the now-canceled “Ready for Love.”

Still, “Grimm” did lose quite a bit of its substantial lead-in from “The Voice,” which averaged a season-low 3.7 for a two-hour episode at 8 p.m.

Meanwhile, on ABC, Diane Sawyer’s interview with Amanda Knox averaged a 1.7 at 10 p.m., second in the timeslot and marking a 12-week high for the network in the hour.

It improved on last week’s rating for regular timeslot occupant “Body of Proof” by 13 percent.

Elsewhere last night the news was not as good. The other networks declined against the additional competition from “Voice” at 9 p.m., including ABC’s “Dancing with the Stars Results” (series-low 1.5), CBS’s “NCIS: Los Angeles” (series-low 2.2), Fox’s “New Girl” (off 9 percent to a 2.0) and Fox’s “The Mindy Project” (off 13 percent to a 1.3).

CBS’s 8 p.m. drama “NCIS” did buck the downward trend, rising 7 percent from last week to a 3.0 and finishing as the night’s No. 2 show behind “Voice.”

NBC finished first for the night among 18-49s with a 3.1 average overnight rating and a 9 share. CBS was second at 2.2/6, Fox third at 1.8/5, ABC and Univision tied for fourth at 1.4/4, Telemundo sixth at 0.7/2 and CW seventh 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-eight percent of Nielsen households have DVRs.

At 8 p.m. NBC led with a 3.4 for “Voice,” followed by CBS with a 3.0 for “NCIS.” Fox was third with a 1.9 for “Hell’s Kitchen,” Univision fourth with a 1.3 for “Porque el Amor Manda,” ABC fifth with a 0.9 for “Splash,” CW sixth with a 0.5 for “Hart of Dixie” and Telemundo seventh with a 0.4 for “Pasion Prohibida.”

NBC was first again at 9 p.m. with a 4.1 for more “Voice,” while CBS remained second with a 2.2 for “NCIS: LA.” Univision was third with a 1.7 for “Amores Verdaderos,” Fox fourth with a 1.6 for “Girl” (2.0) and “Project” (1.3), ABC fifth with a 1.5 for “DWTS Results,” Telemundo sixth with a 0.8 for “La Patrona” and CW seventh with a 0.2 for a repeat of “America’s Next Top Model.”

At 10 p.m. NBC was on top with a 2.0 for “Grimm,” with ABC second with a 1.7 for the ABC News special. CBS and Univision tied for third at 1.3, CBS for “Golden Boy” and Univision for “Que Bonito Amor,” and Telemundo was fifth with a 0.9 for “El Señor de los Cielos.”

Among households, CBS was first for the night with an 8.2 average overnight rating and a 13 share. NBC was second at 6.1/10, ABC third at 5.3/8, Fox fourth at 2.4/4, Univision fifth at 1.8/3, Telemundo sixth at 0.9/1 and CW seventh at 0.8/1.

http://www.medialifemagazine.com/abc-and-nbc-make-gains-at-10-p-m/

* * * *

Nielsen Notes (Cables)
Lockout schmockout: NHL ratings soar
NBC Sports Network draws best regular-season viewership

Perhaps absence really does make the heart grow fonder, at least for sports leagues.

After the brief NFL lockout in 2011, regular-season viewership rose to record levels. The same happened for the NBA in 2012. And now it’s happened again for the NHL.

The abbreviated 2013 season, which lost about a third of its games to a lockout, scored the best regular-season cable TV ratings in 19 years.

NBC Sports Network averaged 392,000 total viewers per game, according to Nielsen, up 18 percent over last year, when the network drew 332,000 per game.

It was the most-watched regular season ever on the cable network, which began broadcasting the NHL in 2005.

And it was the most-watched regular season since ESPN averaged 474,000 viewers per game in 1993-’94.

That certainly bodes well for the NHL playoffs, which opened on Tuesday.

And it proves that despite fans’ anger during the lockout, when the entire season was threatened by a dispute over money between players and owners, they don’t hold a grudge.

Based on the strong results for the NFL, NBA and now the NHL in the seasons right after their lockouts, it appears that fans really only care about watching their favorite teams.

They may be annoyed by the late starts to the season, but they are so eager to watch the sport that they don’t follow through on any threats of boycotts.

The one exception to this rule seems to be when a labor dispute cancels an entire season, which has only happened twice in recent years.

Following the Major League Baseball strike in the early ‘90s and the NHL lockout of 2004-’05, viewership dropped to record lows.

The lesson seems to be that you can have a lockout, but don’t let it drag on too long, lest fans forget about you before you come back.

* * * *

In cable ratings for the week ended April 28:

Top five networks in primetime (18-49s):
TNT, ESPN, A&E, TBS, USA.

Top five networks in primetime (total viewers): TNT, USA, Disney Channel, ESPN, A&E.

Top five cable news networks in primetime (25-54): Fox News Channel, CNN, MSNBC, HLN, CNBC, FBN.

Top five cable news programs (total viewers): 1. Fox News Channel’s “The O’Reilly Factor” (Monday, 8 p.m.); 2. Fox News Channel’s “The O’Reilly Factor” (Wednesday, 8 p.m.); 3. Fox News Channel’s “The O’Reilly Factor” (Thursday, 8 p.m.); 4. Fox News Channel’s “The O’Reilly Factor” (Friday, 8 p.m.); 5. Fox News Channel’s “The O’Reilly Factor” (Tuesday, 8 p.m.).

Top movie (18-49s): FX’s “Iron Man 2″ (Sunday, 8:51 p.m.) 1.71 million.

Top sporting event (total viewers): ESPN’s “NFL Draft” (Thursday, 8 p.m.) 6.20 million.

Shows making the top 10 among 18-34s, 18-49s and 25-54s: A&E’s “Duck Dynasty” (Wednesday, 10 p.m.); ESPN’s “NFL Draft” (Thursday, 8 p.m.); TNT’s “NBA Basketball: L.A. Lakers/San Antonio” (Wednesday, 9:52 p.m.).

Show on the rise: History’s “Swamp People,” Thursday, 9 p.m. The reality show averaged 1.88 million viewers 18-49, up 25 percent from 1.51 million the previous week.

Show on the decline: MTV’s “Awkward,” Tuesday, 10 p.m. The second episode of the new season average 1.34 million total viewers, off 37 percent from the previous week’s 2.14 million.

http://www.medialifemagazine.com/cable-recap-may-1/
post #86599 of 93800
Business/Legal Notes
Les Moonves Says CBS Could Go To Cable In “A Few Days” If It Loses Aereo Suit
By Dominic Patten, Deadline.com - Apr. 30, 2013

Les Moonves is out to get Aereo by any means necessary, but he “doesn’t lose sleep over it,” the CBS Corp president and CEO told the Milken Institute’s Global Conference today. “Barry Diller has done what he likes to do, disrupt things,” Moonves added. However, the CBS chief did say that if the situation couldn’t be resolved in the courts, he is more than willing to take CBS to cable. “We can do it in a few days. If we go to cable, if we are forced to, then about 10% of America will not get our signal and I don’t think they will like that,” Moonves said Tuesday. The CBS chief said that with around 2,000 subscribers in NYC, the “illegal” Aereo won’t hurt the network but that he still intends to shut them down. “We will go after them in the courts and if that doesn’t work there are other remedies. There are financial remedies; there are congressional remedies.” On Monday at the conference, IAC CEO Diller said that CBS and the other broadcasters suing Aereo want Congress to save them if their copyright infringement suits fail. Fox and Univision have also threatened to move to cable if Aereo prevails.

Moonves was joined on the panel by by Sony Entertainment CEO Michael Lynton, Clear Channel CEO Robert Pittman and Valhalla Entertainment CEO and Walking Dead executive producer Gale Anne Hurd. On the subject of new platforms, Moonves said that he thought the obviously-for-sale Hulu would eventually end up as a pay service like the current Hulu Plus. CBS does not participate in free Hulu. “I didn’t think it was a good idea to be in business with my competitors. My content is my family jewels. I don’t want to share that,” he said of the decision to stay off Hulu. Lynton told the well-heeled crowd that he was not interested in Sony buying Hulu.

Talking about the power of social media to influence box office, the Sony boss did venture into how much heft marketing has in modern Hollywood. “When it is good, it spreads fast. When it is bad, it spreads fast,” he said of digital word-of-mouth for movies, especially on opening weekends. “There is only a percentage of what we do that is very good, the rest is marketing,” he said to laughter from his fellow panelists.

Shifting gears to the movie business, Lynton predicted that “it’s going to be a good summer in terms of box office. It’s a scary summer when I see the giant movies that are coming, but they are big brands and movies that people want to see,” he added. However, the Sony Entertainment CEO also noted that blockbusters aren’t the only movies Hollywood should or can make. “The mistake that people make about the mid-range movie and that it is the DMZ — you don’t want to trip into who it is for. If you make a $50 million movie that is for older men, like The Expendables, you clean up,” he argued.

http://www.deadline.com/2013/04/les-moonves-cbs-cable-threat-aereo-lawsuit/
post #86600 of 93800
TV Notes
Booted 'Smash' Creator Speaks Out: See, It Wasn't My Fault
By Jethro Nededog, TheWrap.com - Apr. 30, 2013

For the ousted creator of NBC's "Smash," the responsibility for the show's demise doesn't lie at her feet.

In a spirited email exchange with BuzzFeed's chief Los Angeles correspondent, Theresa Rebeck feels that the show's rapidly dwindling ratings and exile to live out the rest of its days on Saturday nights proves that she wasn't the one who ruined the show.

"If in fact Theresa Rebeck was the problem with 'Smash' and the train wreck it became, wouldn't things have gotten better – rather than drastically worse – once she left?" Rebeck wrote the site in the third person.

Rebeck was removed from the show in March 2012 in what she had called "an explosive situation" in which she "was treated quite badly."

A month later, "Gossip Girl" executive producer Josh Safran was named as her replacement.

Season 2 premiered on Feb. 5, "Smash" drew an anemic 1.1 rating/3 share in the advertiser-coveted 18-49 demographic -- its lowest-rated episode at that date, and down 71 percent from the show's series premiere. It was also down 39 percent from its May 14 season finale. It moved to Saturdays in April.

Ratings are definitely an indicator that a show has gone off the rails, but Rebeck wants to make sure she's clear that they aren't the cause.

"Most media reporters would agree that the second season was a complete disaster," she wrote. "And that the troubles with a once promising show go far beyond faring poorly in the ratings."

http://www.thewrap.com/tv/column-post/booted-smash-creator-speaks-out-see-it-wasnt-my-fault-88656
post #86601 of 93800
TV Notes
Sundance Channel Renews ‘Rectify’
By AJ Marechal, Variety.com - May 1, 2013

Sundance Channel has ordered a second season of “Rectify,” the cabler’s first wholly owned original scripted series.

Drama, which bowed on Sundance on April 22, centers on a man released from prison after spending almost twenty years on death row. The Aden Young-starrer is from the producers of “Breaking Bad” and received positive response from critics.

“We feel as though this story has tapped into something truly unique, with both critics and audiences using their platforms to share such strong, personal reactions to this very distinctive TV series,” said Sarah Barnett, topper of the cable network. “There’s so much drama and character that’s been set up in the first season, it will be electrifying to see where ‘Rectify’ goes in season two.”

Sundance ordered 10 episodes for the program’s second run, and plans to bow them next year.

“Rectify’s” first season — a relatively short six episodes — will come to a close on May 20.

“Rectify” is created and written by Ray McKinnon and executive produced by Mark Johnson and Melissa Bernstein.

http://variety.com/2013/tv/news/sundance-channel-renews-rectify-1200433195/
post #86602 of 93800
Business Notes
Big Four Networks Face Big Pain at TV Upfronts
By Marisa Guthrie, The Hollywood Reporter - May 1, 2013

The broadcast networks remain a dominant platform for media buyers. But they no longer are the dominant platform. As network executives screen dozens of pilots and cram for their annual star-studded presentations to Madison Avenue that kick off May 13, they are staring down what analysts predict will be another weak TV upfront bazaar.

Much of the blame can be placed on the sluggish economy and the ongoing fragmentation of the media environment. Last year's upfront (when networks unload the bulk of advertising inventory for the upcoming season) was boosted by the record-breaking Summer Olympics and nearly $10 billion in political spending. Broadcast networks booked $9.25 billion in primetime upfront commitments (a gain of only 1 percent year-over-year), while cable was up 5 percent to $9.8 billion, according to the Cabletelevision Advertising Bureau. This season, ABC, Fox and NBC are down year-over-year in primetime among viewers 18-to-49, while CBS, which sits atop the Nielsen charts, is flat. In a season of no new hits, flat may be the new up.

To what extent has cable stolen broadcast's thunder? Publicis Groupe's ZenithOptimedia predicts U.S. TV advertising will grow a mere 2.8 percent this year to $63.9 billion, with spending on broadcast down 2 percent and cable up 7 percent. Others aren't as optimistic: Nomura Securities analyst Michael Nathanson predicts broadcast ads will decline 2.5 percent while cable will rise 5 percent. Even perennial upfront chest-beater Leslie Moonves is tempering expectations. The CBS Corp. president and CEO has declined to make his usual double-digits-CPM-increases prediction, explaining in March at the Deutsche Bank media conference that he missed his target last year when CPM (cost per thousand viewers) rates were up only 9 percent. With a 1 percent increase in volume, Pivotal Research Group analyst Brian Wieser predicts CBS will realize 7 percent CPM increases and other networks will come in at 4 percent to 6 percent.

NBC this season has endured ridicule for its low-rated comedies and a pricey flop in Smash. But the network looks a lot better on paper thanks to a strong fall with The Voice and Sunday Night Football and a relatively steady spring with more Voice. As such, Morgan Stanley analysts predict NBC will increase its dollar share for the first time since 2002. Most of its gains are expected to come at the expense of Fox, which has had trouble launching hits as its formerly dominant American Idol experiences huge declines with new judges Mariah Carey, Nicki Minaj and Keith Urban. (THR's April 23 report that producers considered replacing Carey midseason with Jennifer Lopez will not quell doubts about Fox's most important franchise.) For the first 30 weeks of the season, Fox is down 22 percent among viewers 18-to-49 to a 2.5 rating average, edging third-place NBC (2.4) and well behind leader CBS (3.0). ABC, which is down 8 percent, has fallen to fourth (2.2).

The hot issue leading into the upfront continues to be the debate over currency on which ad buyers accept guarantees. Seven years after adopting C3 (three days of delayed viewing), TV execs want to tack on another four days of playback. Moonves has been the loudest C7 cheerleader -- 40 percent of CBS' primetime consumption comes from delayed viewing -- but he has been joined by Disney's Bob Iger and NBCUniversal's Ted Harbert. Credit Suisse analyst Michael Senno, in a March note, wrote that C7 is "inevitable at some point, but the bigger question is how much impact it will have." Many commercials are time-sensitive. Although C7 could boost ratings by 2 percent to 3 percent, Senno wrote, "price deflation could offset some of the upside." That said, having surveyed media buyers, Senno believes this year's upfront could be a carbon copy of the 2012-13 sell-off. Despite the broadcast malaise, that haul brought a 5 percent increase compared with 2011-12.

Meanwhile, the digital insurgency is accelerating at the second annual "newfront" that began April 29 and featured announcements with A-list auspices. (Ed Helms created a comedy for Yahoo; Cheryl Hines will star in another; Saturday Night Live's Seth Meyers is producing an animated comedy for Hulu.) But while digital outlets have made originals a priority -- including YouTube channels and Netflix's pricey push into series -- the shift in ad dollars from network to digital will be incremental, say analysts. There are reasons for the lag: lack of scale, dearth of quality and no accepted currency. ComScore is the biggest player in digital measurement, but "the movement of network dollars to digital remains almost impossible without a Nielsen rating," says RBC Capital Markets analyst David Bank.

Nielsen introduced Nielsen Online Campaign Ratings in 2011, and many companies use a combination of measurements to track digital, mobile and social activity and structure 360 deals. But the only digital players with modest scale using Nielsen OCR are the networks' online hubs. From a structural perspective, adds Bank, "the online players need the Nielsen ratings currency to take meaningful dollars from network TV into digital."

http://www.hollywoodreporter.com/news/tv-upfronts-abc-nbc-cbs-449204
post #86603 of 93800
Business/TV Notes
Netflix Loses 1,800 Titles as License Deals Expire
By Maura McGowan, AdWeek.com - May 1, 2013

Netflix lost almost 1,800 titles this morning as license deals with MGM, Warner Bros. and Universal expired.

In what Slate referred to as "the great Netflix purge," users have lost access to a bulk of titles, including Adaptation, The Delinquents, Sports Night and MGM's James Bond catalogue. Slate originally said that the Warner Brothers titles would become exclusive to Warner Archive Instant, but that report was incorrect.

Netflix argued that this is not all that big of a deal. "Netflix is a dynamic service," the company said in a statement. "We constantly update the TV shows and movies that are available to our members. We will add more than 500 titles May 1, but we also have titles expiring. This ebb and flow happens all the time."

The service also announced that it will be adding another new original series to its catalogue after recent successes with original content. Hour-long episodes of Orange is the New Black will premiere on July 11.

Last month, Netflix CEO Reed Hastings said he was considering discontinuing licensing deals with Viacom, which means users could lose content from MTV, VH1, BET and other networks before the end of May.

Netflix also rolled out changes in its interface this morning, to the ire of many users. The Instant Queue will be replaced by "Your List," and users will see titles arranged by preference as well as other metrics like popularity.

http://www.adweek.com/news/technology/netflix-loses-1800-titles-license-deals-expire-149067
post #86604 of 93800
Quote:
Originally Posted by dad1153 View Post

TV Notes
Sundance Channel Renews ‘Rectify’
By AJ Marechal, Variety.com - May 1, 2013

Sundance Channel has ordered a second season of “Rectify,” the cabler’s first wholly owned original scripted series.

Drama, which bowed on Sundance on April 22, centers on a man released from prison after spending almost twenty years on death row. The Aden Young-starrer is from the producers of “Breaking Bad” and received positive response from critics.

“We feel as though this story has tapped into something truly unique, with both critics and audiences using their platforms to share such strong, personal reactions to this very distinctive TV series,” said Sarah Barnett, topper of the cable network. “There’s so much drama and character that’s been set up in the first season, it will be electrifying to see where ‘Rectify’ goes in season two.”

Sundance ordered 10 episodes for the program’s second run, and plans to bow them next year.

“Rectify’s” first season — a relatively short six episodes — will come to a close on May 20.

“Rectify” is created and written by Ray McKinnon and executive produced by Mark Johnson and Melissa Bernstein.

http://variety.com/2013/tv/news/sundance-channel-renews-rectify-1200433195/

Why this show doesn't have its own thread I do not know. The first three episodes have been very good.
post #86605 of 93800
Quote:
Originally Posted by dad1153 View Post

TV Notes
Salt Lake City NBC Affiliate Yanks 'Hannibal' From Schedule
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Apr. 30, 2013

Hannibal just got harder to find in Utah. KSL TV, the Salt Lake City NBC affiliate which has previously vetoed The Playboy Club and The New Normal over content issues, announced on its Facebook page that it will no longer be airing the spin on Silence of the Lambs.

http://www.hollywoodreporter.com/live-feed/salt-lake-city-nbc-affiliate-449193
Not that I watch any of the shows mentioned, but I can safely say that I will never willingly ever live in Utah - especially Salt Lake City. Thank goodness there are no real network television operations worth working for there.

People really need to learn to use the buttons marked "CH▲" and "CH▼". They're magic buttons that remove one show from the screen and put another one there in its place.
post #86606 of 93800
Quote:
Originally Posted by dad1153 View Post

Business/TV Notes
Netflix Loses 1,800 Titles as License Deals Expire
By Maura McGowan, AdWeek.com - May 1, 2013

Netflix lost almost 1,800 titles this morning as license deals with MGM, Warner Bros. and Universal expired.

In what Slate referred to as "the great Netflix purge," users have lost access to a bulk of titles, including Adaptation, The Delinquents, Sports Night and MGM's James Bond catalogue. Slate originally said that the Warner Brothers titles would become exclusive to Warner Archive Instant, but that report was incorrect.

Netflix argued that this is not all that big of a deal. "Netflix is a dynamic service," the company said in a statement. "We constantly update the TV shows and movies that are available to our members. We will add more than 500 titles May 1, but we also have titles expiring. This ebb and flow happens all the time."

The service also announced that it will be adding another new original series to its catalogue after recent successes with original content. Hour-long episodes of Orange is the New Black will premiere on July 11.

Last month, Netflix CEO Reed Hastings said he was considering discontinuing licensing deals with Viacom, which means users could lose content from MTV, VH1, BET and other networks before the end of May.

Netflix also rolled out changes in its interface this morning, to the ire of many users. The Instant Queue will be replaced by "Your List," and users will see titles arranged by preference as well as other metrics like popularity.

http://www.adweek.com/news/technology/netflix-loses-1800-titles-license-deals-expire-149067

This is why I prefer DVDs and Blu-Rays over Streaming. Someone is going to logon to Netflix only to discover a Movie or Program they want to watch (Foe example the James Bond Movies) only to discover they're gone. eek.gifmad.gif Not me, I have them all on DVD. I can watch them any time I want to, and after I finish watching them, I get to keep them! biggrin.gif
post #86607 of 93800
Quote:
Originally Posted by borntocoast View Post

This is why I prefer DVDs and Blu-Rays over Streaming. Someone is going to logon to Netflix only to discover a Movie or Program they want to watch (Foe example the James Bond Movies) only to discover they're gone. eek.gifmad.gif Not me, I have them all on DVD. I can watch them any time I want to, and after I finish watching them, I get to keep them! biggrin.gif
And how much does that cost and how much storage space does it take and how many folks can afford to buy all their favorites? James Bond will still be available via streaming, just not from Netflix, and MGM, WB, etc., will get all the fees for their properties. Granted, we'll now have to subscribe to one or more new services, but I've been saying that was going to happen for a long time and I'm okay with it.
post #86608 of 93800
Quote:
Originally Posted by DoubleDAZ View Post

And how much does that cost and how much storage space does it take and how many folks can afford to buy all their favorites? James Bond will still be available via streaming, just not from Netflix, and MGM, WB, etc., will get all the fees for their properties. Granted, we'll now have to subscribe to one or more new services, but I've been saying that was going to happen for a long time and I'm okay with it.

I've been spending about $65.00 a Month since January of 2007. Needless to say I've built up a HUGE Library of TV Shows, Movies, Serials and Documentaries on Home Video (That's Blue-Ray, DVD and even VHS (My player still works, and I have a Backup sitting in the closet still in its box in case my current player fails) for those of you in Rio Linda). biggrin.gif Needless to say that $65.00 was the fee I was paying each month to the Cable Company to watch Cable TV. After I "Cut the Cord" in 2007 I shifted that spending to home video. I have accumulated over 35,000 hours of Entertainment to watch at my leisure. My Den has shelves on all four walls to house all my disks and tapes. I saw something like this (The 1,700 Movies getting "Yanked" by the Studios) coming. You are not alone. People who use "Cloud Storage" Devices such as the Big River's "Kindle" have also had bad things happen to them. They will read a chapter of a book the "bought", then turn off the device and call it quits for the night. The next evening they turn on the device, key up the book only to be greeted with a message that the provider didn't have the "Rights" to that book and therefore they had to DELETE IT. eek.gif (They do get a refund, but that's a mute point for whoever was reading that book, especially if it's out of print and no longer available in stores). Soon, you'll have to stream from multiple sources in order to get what you want. I would not be surprised soon you'll be paying as much for streaming as you are for Pay-TV. I'm still paying as much for my Videos today as I did when I started my hobby in 2007. What happens if I buy a Show and it then gets recalled because the Studio says all the "Rights" weren't cleared? Nothing! I already have it, biggrin.gif and if anyone wants that title they can have it, after they pry my cold, dead hands from around it! mad.gif
Edited by borntocoast - 5/1/13 at 6:23pm
post #86609 of 93800
Unfortunately, I thought the discussion was your $65 a month vs streaming on Netflix for $8.99. Giving up pay TV in favor of buying DVDs, etc., is another topic altogether. And, as has been said many times, if everyone went in your direction, things would either rise in price or not get made to begin with. At any rate, I get your point even though I don't believe it would work for everyone.
post #86610 of 93800
And I thought we had hit rock-bottom already:

'Top Hooker' reality show ordered http://insidetv.ew.com/2013/04/30/top-hooker-reality-show-ordered/?hpt=hp_t5
New Posts  All Forums:Forum Nav:
  Return Home
  Back to Forum: HDTV Programming
AVS › AVS Forum › HDTV › HDTV Programming › Hot Off The Press: The Latest TV News and Information