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 2958

post #88711 of 93856
Nielsen Overnights (18-49)
Big bump for NBC’s new drama ‘Camp’
Rises 20 percent over last week to a 1.2 in 18-49s
By Toni Fitzgerald, Media Life Magazine - Aug. 1, 2013

Another scripted series saw improvement last night.

NBC’s “Camp,” a new drama that has the good fortune to air behind top show “America’s Got Talent,” jumped 20 percent over last week to a 1.2 adults 18-49 rating at 10 p.m., according to Nielsen overnights.

“Camp” tied with CBS’s “CSI” repeat for first in the timeslot, though that did include one minute of overrun from “Talent.”

Overnights are based on timeslot and not actual program ratings. When final ratings come out later today, that minute will be removed and could cause “Camp’s” rating to dip.

Still, “Camp” has been drawing decent numbers for a 10 p.m. show and has a shot at returning next summer along with another scripted series that was recently renewed, CBS’s hit “Under the Dome.”

Elsewhere last night, most other shows were down from last week. “Talent” dipped 4 percent, though it was up 15 percent over the same night last year, to a 2.3. It was the night’s No. 1 program, just edging Fox’s “MasterChef,” which averaged a 2.2 and was also down 4 percent from last week.

CBS’s “Big Brother” slid 13 percent from last week, to a 2.0 at 8 p.m.

NBC finished first for the night among 18-49s with a 1.7 average overnight rating and a 5 share. Fox was second at 1.6/5, CBS third at 1.4/4, Univision fourth at 1.2/4, ABC fifth at 0.8/3, Telemundo sixth at 0.5/2 and CW seventh at 0.2/1.

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. CBS led with a 2.0 for “Brother,” followed by NBC with a 1.5 for a repeat of “Talent.” Univision was third with a 1.4 for “Porque el Amor Manda,” Fox fourth with a 1.0 for a repeat of “MasterChef,” ABC fifth with a 0.7 for reruns of “The Middle” and “Suburgatory,” Telemundo sixth with a 0.5 for “Dama y Obrero” and CW seventh with a 0.3 for a repeat of “Arrow.”

NBC took the lead at 9 p.m. with a 2.3 for a new “Talent,” with Fox a close second with a 2.2 for a new “MasterChef.” Univision was third with a 1.2 for “La Tempestad,” CBS fourth with a 1.0 for a repeat of “Criminal Minds,” ABC fifth with a 0.8 for reruns of “Modern Family” and “The Neighbors,” Telemundo sixth with a 0.5 for “Marido en Alquiler” and CW seventh with a 0.2 for a repeat of “Capture.”

At 10 p.m. CBS and NBC tied for first at 1.2, CBS for a repeat of “CSI” and NBC for “Camp.” Univision was third with a 1.1 for “Que Bonito Amor,” ABC fourth with a 0.9 for “The Lookout” and Telemundo fifth with a 0.5 for a Mexican league soccer match.

NBC was also first for the night among households with a 4.3 average overnight rating and a 7 share. CBS was second at 3.7/6, Fox third at 2.5/4, ABC fourth at 2.1/4, Univision fifth at 1.8/3, Telemundo sixth at 0.7/1 and CW seventh at 0.6/1.


* * * *

TV Notes
Alas, no heroics for this reality show
'The Hero' wraps up on TNT with half the audience
By Louisa Ada Seltzer, Media Life Magazine - Aug. 1, 2013

TNT has a slew of hugely successful scripted series. “Falling Skies” is the No. 1 cable scripted show among adults 18-49 this summer, and “Rizzoli & Isles” is tops among total viewers.

Even “Major Crimes,” “Perception” and “King & Maxwell,” which draw smaller audiences, rank among cable’s top 10 scripted shows.

But while TNT’s scripted coffers are overflowing with hits, its non-scripted series have struggled. The latest example is “The Hero,” which wraps up its first season tonight at 8 p.m.

“Hero,” in which regular people compete in crazy challenges to prove their heroism, debuted to 1.5 million total viewers in early June. By last week in its penultimate episode, that audience had fallen to just 784,000.

The show isn’t lacking for star power, with popular actor and wrestler Dwayne “The Rock” Johnson hosting. And TNT gave it plenty of promotion during its coverage of the highly rated NBA playoffs.

But it’s hardly the first unscripted series that has had trouble drawing a following on TNT. The network moved another new summer reality show, “72 Hours,” from Thursday to Friday after it posted disappointing numbers. Last week’s episode averaged only 709,000 viewers.

And last year’s reality show “The Great Escape” was canceled after just one season.

It may simply be that viewers aren’t used to looking to TNT for reality.

It’s long promoted itself as the network for drama, and while reality shows may be dramatic, they’re not technically dramas. There are a number of other cable networks, like VH1 and Bravo, best known for reality shows.

post #88712 of 93856
TCA Summer 2013 Notes
Fox's Kevin Reilly talks 'Glee,' 'American Idol' and ratings
By Joe Flint, Los Angeles Times - Aug. 1, 2013

The drug-related death last month of “Glee” star Cory Monteith will be addressed in the third episode of the Fox musical comedy when it returns next month, although it remains unclear if the circumstances of his passing will be part of the plot of the fictional show.

Speaking to the media at the Television Critics Assn. press tour, Fox Entertainment Chairman Kevin Reilly initially said the episode in question "will deal directly with the incidents" of Monteith’s passing.

But in subsequent remarks Reilly seemed to backpedal from the suggestion that the character Finn Hudson would meet a fate similar to Monteith's, noting that the show’s creator Ryan Murphy was still working on the episode.

Given that Monteith died only a few weeks ago, there was some surprise that “Glee” didn’t take a long break before returning to production. Reilly said “Glee” star Lea Michele and Ryan wanted to “get back to work.”

Fox will also produce public service announcements featuring cast members talking about the untimely passing of Monteith and the perils of drug addiction.

Reilly spent much of his time in front of critics talking about the need for more accurate television ratings that take in viewing done on all platforms, including online and video-on-demand. While such measurements are available, a one-size-fits-all rating is still lacking.

“Measurement is something we've really got to do a better job of getting our hands around,” Reilly said, noting that these days the ratings that come the day after a show airs are becoming less relevant in determining the popularity of a particular program.

Reilly noted that “The Following,” “Glee” and “New Girl” all see their ratings in the coveted 18-49 demographic increase by more than 50% when viewing from digital video recorders is factored into the mix.

“Sometimes I read stories that nobody is watching network television anymore; well, that's a lot of nobodies,” Reilly said. “The audiences are still enormous across multiple platforms.”

With that in mind, Reilly implored the media to dig deeper than next-day numbers when passing judgment on how a show is performing. Shows on cable and Netflix, he observed, are often called hits even though their audience is smaller than programs on Fox.

“You have to combine 'Louie' and 'Girls' together to get anywhere close to Mindy’s rating,” Reilly said while discussing the ratings for the network’s comedy “The Mindy Project” compared to those two critical darlings.

As for Netflix, Reilly chided the streaming service for not making information about viewership of its shows available.

“Netflix speaks loudly to an unreported mystery audience,” he cracked, adding later that he was jealous that the company doesn’t have to play the ratings game. “Good for them, they get to live in that world,” he said.

While Reilly was trying to make the case broadcast ratings no longer tell the whole story, he didn’t shy away from the fact that Fox is coming off a season in which it saw declines in ratings and had several flops, including “Mob Doctor” and “Ben and Kate.”

“We were down last year and that's the fact. We're going to be up this year," he promised.

One key to turning Fox around will be fixing “American Idol,” which is coming off a very disappointing season. The only judge returning in January will be Keith Urban. Reilly said there was no news on who else would be tapped to succeed Randy Jackson, Mariah Carey and Nicki Minaj.

The Fox executive confirmed there have been talks with Jennifer Lopez about her returning to the show, but no deal is on the horizon. He also said too much emphasis has been on the judges, both on the show and in the marketing behind it.

Reilly also took heat from critics about the politically incorrect humor of the network’s new situation comedy “Dads,” which is from Seth MacFarlane, the creator of “Family Guy” and director of the hit movie “Ted.”

“I really ask you with that show in particular to have the discussion in January,” he said. The critics did not seem willing to play ball on that one.

Fox also announced it was going to make its own version of the hit British drama “Broadchurch,” about the mysterious death of a young boy and how it tears apart his seaside hometown.

post #88713 of 93856
Doctor Who’s New Doctor to be Unveiled in Live Special Sunday on BBC AMERICA

It’s Official: ‘Doctor Who’s New Doctor to be Unveiled in Live Special Sunday on BBC AMERICA


And here’s the official word, Doctor Who fans: the next Doctor will be revealed before a live studio audience in a special set to air Sunday, August 4 at 2 pm ET on BBC AMERICA, according to a release today (August 1).

The media alert in full:


The next Doctor of BBC AMERICA’s hit series Doctor Who will be announced during a live special this Sunday afternoon.

Sunday, August 4, 2 pm ET LIVE on BBC AMERICA and BBC One in the U.K.

Widely regarded as one of the most hotly contested roles in British television, the special’s host Zoe Ball will unveil the Twelfth Doctor in their first-ever interview in front of a live studio audience. The half-hour show will include live special guests, Doctors old and new, as well as companions and celebrity fans. Current Doctor Matt Smith and lead writer and executive producer Steven Moffat will both give interviews in the special.

Steven Moffat says: “The decision is made and the time has come to reveal who’s taking over the TARDIS. For the last of the Time Lords, the clock is striking twelve.”

Matt Smith will make his penultimate appearance in the 50th Anniversary special on Saturday, November 23, and his Eleventh Doctor will regenerate in the Christmas Special. Doctor Who is produced by BBC Cymru Wales.
post #88714 of 93856
Originally Posted by NetworkTV View Post

Way to cherry pick.

You ignored well received shows (by audiences, award shows and critics alike) like The Walking Dead, Game of Thrones and Phineas and Ferb are on the list. Further, you ignore the fact that it's summer and many of the high quality dramas are on hiatus. The top 20 in a few months will be a different animal.

Sorry if that goes against your ability to shake your fist in anger at TV, but there are both good and bad shows on TV and always have been. It's up to you to decide which to watch.

It's not cherry picking when I picked two shows out of the top five. Four out of the top five shows are reality crap and the one that is not is a horror show about zombies. With the price the pay TV companies are charging there should be decent programming all year.
post #88715 of 93856
Originally Posted by mhufnagel View Post

I've answered his posts on quality before. What I get from him is that he detests most newer programming in the first place. So any show that others find as quality programming automatically gets downgraded because it isn't in b&w @ 480i.

I detest reality programming. Since most most newer programming is reality crap I detest most newer programming.
post #88716 of 93856
TCA Summer 2013 Notes
'Dads' cast, creators discuss offensive humor
Is the new Seth MacFarlane live-action sitcom racist?
By Alan Sepinwall, HitFix.com - Aug. 1, 2013

Under any circumstances, the press tour panel for FOX's "Dads" was going to be an awkward affair. The live-action comedy from Seth MacFarlane and fellow "Family Guy" writers Alec Sulkin and Wellesley Wild stars Seth Green and Giovanni Ribisi as best friends and business partners whose estranged fathers (Peter Riegert and Martin Mull) breeze into town and offend everyone with their old-school attitudes. Among other gags, it has Mull dubbing a boxing video game "Punch the Puerto Rican," has Riegert offended by being mistaken for the Eric Stoltz character in "Mask," and has Green and Ribisi convincing an employee played by Brenda Song to dress up like a giggling anime schoolgirl to impress a group of Asian investors.

It is, for those jokes and so many others, pretty universally the least popular fall pilot among the TCA. And then FOX president Kevin Reilly stoked the flames in his executive session by saying, "Do I think all the jokes right now are in calibration in the pilot? I don’t." He also begged the TCA's patience on the matter, reading excerpts of scathing reviews for "The Big Bang Theory" pilot. (That is, indeed, a show many critics hated at the start but have come to like, but it wasn't one being dinged for racism back in 2007.)

"If this show still (has) low hanging-fruit jokes that seem in bad taste and haven’t been earned with intelligence," Reilly said, "and the characters have not become full blown over the course of the next summer months — number 1, the show’s not going to work. And number 2, you should take it to task, and we’ll talk about that in January."

So by the time the "Dads" cast and creative team (which included comedy veteran Mike Scully, who once ran "The Simpsons" and has worked on "Everybody Loves Raymond," "Parks and Recreation" and other hits) arrived late in the day, we had a pilot that many in the room found offensive, as well as one even the head of the network only partly defended.

The panelists knew what kind of room they were walking into, though. This wasn't like the "2 Broke Girls" fiasco from a few tours back, where creator Michael Patrick King was completely unprepared for, and defiant about, questions about ethnic stereotyping. Everyone on the stage knew what was coming, and they had answers at the ready.

Early on, for instance, Sulkin acknowledged, "In the pilot, we all noticed some things that we'd like to change or tweak moving forward. We ideally want to keep it insulting and irreverent, but the most important thing is that it's funny. If we missed the mark a few times in the pilot, I think we're aiming to hit it better."

Scully noted the evolving nature of good and bad taste, and how Homer Simpson strangling Bart was once controversial and "is now considered just a lovable act of child abuse," and noted that context is everything. When Mr. Burns says something racist, or Krusty dusts off an old routine full of outdated racial stereotypes, it makes sense because of context; "If Marge said it, it would be wrong."

So far, so good. Then Green attempted to set the bar far higher than "Dads" — at least the version suggested by the pilot — can clear by comparing the show's more controversial moments to "All in the Family" or "The Jeffersons," and the way those landmark '70s sitcoms tackled race relations, the war in Vietnam, and other hot-button topics.

"I think that we've become a really careful culture," Green said. "I've had the weirdest conversations with people about what they feel is racist."

Perhaps realizing their leading man had overreached, Sulkin joked, "I think having Brenda in that (schoolgirl) costume is our anti-Vietnam stance."

"We don't want the show to be the racial insult comedy show," said Scully. "It's a comedy about fathers and sons, and you want to strike that relateable thing, and they're telling stories about their dads and the inappropriate things they do,but also how that then slips out through you... As you get older, you sometimes find things slipping out of you, and you go, 'Oh, ****, that's my dad coming out.'"

"It's the racist canary in the coal mine," added Wellesley. "'That's my dad. Are we becoming those guys?'"

Sulkin admitted, "That was something that we didn't think was a socially provocative moment... We thought it would lead to a funny scene. And if that didn't land with you guys or a lot of people, we understand that. We're trying to learn the things that land and don't, and learn from that and change it in upcoming shows."

Vanessa Minnillo, who plays Ribisi's wife, said she grew up in Charleston, SC dealing with a lot of racial prejudice and misunderstanding and enjoyed the way the pilot shines a light on that kind of boorish, insensitive behavior.

"To be fair," added Green, "these are some pretty disparaging portraits of white men."

Scully insisted he didn't find the "Punch the Puerto Rican" joke offensive, and Mull said, "When I delivered the line, I felt no animus whatsoever."

"I worked on 'Everybody Loves Raymond,' which is not considered by any means an offensive show, but we did an episode where Frank Barone used the word "Chinaman" twice in telling a story about the war," Scully recalled. "There was no flak about it. It was real, out of his mouth. If Ray said it, it would be wrong, because Ray comes from a different generation. I always go back to context for material like this. Sometimes, when you're trying to push a line or push the boundaries, you're going to go across it a few times. Hopefully, we'll spot that ourselves or the audience will indicate it to us and we'll make a decision based on that."

There were times when the critics and panelists seemed to be understanding each other, even if they didn't agree, and others where the two groups seemed to be talking past one another. And though the room's biggest objection was to Song in the fetish outfit, Song herself barely said a word until the panel's final question, when someone innocuously asked her to tell us about her character. Song was clearly wound up by all that had been discussed, and noted that, as a Disney Channel veteran doing an adult comedy, "No matter what I do, it's going to offend someone, somehow." She said she found the "Dads" pilot funny, and that she and her friends sometimes pretend to be stereotypical Asian immigrants to get out of being hit on by guys ("Oh, sorry, me no speak English!" she said in a thick accent).

She justified the schoolgirl gag as her character doing whatever it took to close the deal, but also admitted that when she read that scene in the script, she had to say to herself, "'Alright, Brenda, this is your job!' And you go in and you do it." It's possible her hesitation had more to do with the skimpy outfit than any racial implications, but the session ended abruptly before anyone could ask a follow-up.

"I get to do what I've been dreaming about since I was 7 years old," Song said right before a FOX publicist ended the Q&A, "and I get to do it in such great company that I can't complain."

What Reilly said about comedies evolving and changing over time is true. "The Big Bang Theory" pilot is pretty terrible, but that show found itself after a while. On the other hand, "2 Broke Girls" never learned from its mistakes (and its ratings are too good for King to believe he's making any mistakes at all), and it's not like "Family Guy" is exactly a bastion of sensitivity and understanding; it just has an easier time getting away with this stuff because we accept certain things from cartoon characters that we don't when they're flesh-and-blood. (As Scully, who's worked extensively in both animation and live-action, put it, "There's a level of separation that lets the audience accept more, and hopefully we'll find that line as we go on.")

Because both groups in the room were willing to engage in a dialogue, there was never the tinge of ugliness that we sometimes get with shows that the critics strongly dislike. But I also don't know that anyone left the panel convinced that "Dads" would be turning into a 21st century Norman Lear sitcom by midseason.

post #88717 of 93856
Well, the live reveal of the newest Doctor on BBCA will mean that there won't be any commercials, as the BBC does not take any breaks.
post #88718 of 93856
Critic's Notes
Spoofy Heroes, Super and Otherwise, Join the Streaming Fray
‘The Awesomes’ and ‘Quick Draw’ Are New on Hulu
By Mike Hale, The New York Times - Aug. 1, 2013

One way to judge a streaming-video service — the only way, if you look at recent news coverage — is by its original series. By that measure, Hulu is the scrappy, undersized contender of the Big Three, ranking below Netflix, the steamrollering champion, but above Amazon, which is still standing outside the ring lacing its gloves.

The analogy holds regardless of what you think about ballyhooed Netflix series like “House of Cards,” “Orange Is the New Black” and the rebooted “Arrested Development” and whether you think the company’s streaming-video wing deserves its 14 Emmy nominations. It’s undeniable that the shows Netflix has developed have a substance and sheen comparable to the output of premium cable channels like HBO and Showtime. The original series at Hulu are slighter and cheaper, falling somewhere between basic cable and YouTube.

They’re also less frequent: “The Awesomes,” Hulu’s latest (it goes live on Thursday) and most high-profile original show, is its first since the travel series “Up to Speed” last August. All of Netflix’s heavyweight shows have appeared since then, dominating the market.

“The Awesomes,” an animated superhero spoof featuring the “Saturday Night Live” mainstay and future “Late Night” host Seth Meyers, isn’t going to shift the current balance of power. Neither is “Quick Draw,” another Hulu original (beginning Monday), in which the actor and writer John Lehr parodies both grim westerns of the “Deadwood” variety and forensic cop shows like “CSI.” Both shows are lightweight, gag-driven, hit-or-miss comedies that have their charms but won’t be drawing any votes when next year’s Emmy Awards come around.

Is that just further proof that Hulu, recently taken off the auction block by its owners (21st Century Fox, the Walt Disney Company and NBCUniversal) but still facing an uncertain future, is doomed to second- or third-class status in streaming video? Perhaps, if all you pay attention to is original series. But they make up a tiny fraction of these companies’ offerings, and it’s worth stepping back to look at the overall picture.

While Netflix and Amazon, as well as the Walmart service Vudu, have much more extensive movie offerings than Hulu, things are considerably different when it comes to TV, and especially current shows. Netflix is great for past seasons, but for episodes from current seasons, you’re pretty much limited to Amazon Instant and Hulu. (Vudu and iTunes also offer current shows, but little or no original-series content.)

The television selections at Amazon and Hulu overlap, and Amazon has more extensive offerings. The key difference — strangely seldom remarked on — is that Amazon charges at least $1.99 for each episode of many of the shows you would want to watch. That’s on top of the $79 annual Amazon Prime membership. A Hulu Plus subscription of $8 a month gives you free viewing of all shows available on Hulu. This summer, that includes quite a few of the more noteworthy or popular series: “The Bridge” from FX, “Twisted” and “The Fosters” from ABC Family, “Graceland” from USA, “Longmire” and “The Glades” from A&E, “Devious Maids” from Lifetime, “Mistresses” and “Rookie Blue” from ABC.

And beyond the category of “original” lies the broader category of “exclusive,” generally referring to foreign TV series receiving their American premieres on just one online service. Netflix scored a coup here recently with the British crime show “The Fall,” but Hulu has done the best job of securing and promoting interesting foreign shows, from the Israeli drama “Prisoners of War” (the inspiration for “Homeland”) to the Irish comedy “Moone Boy” and the Danish “Curb Your Enthusiasm” clone “Klown,” added two weeks ago.

The big downside at Hulu — and for many viewers it’s a deal breaker — is the presence of commercials. But given the available selection and the price, many people may forgive 90-second ad breaks at the naturally occurring spots in TV shows. It’s not that much more irritating than fast-forwarding through the commercials on your DVR.

The real issue with Hulu’s original series, as opposed to those on Netflix, is that they look insubstantial next to the regular TV fare, which is what you’re really paying for. “The Awesomes,” with Mr. Meyers as the voice of a very minor superhero who assumes the leadership of a Justice League-style team, is cute but, in its pilot episode, surprisingly ordinary. The live-action “Quick Draw,” with Mr. Lehr as the irritating, Harvard-educated sheriff in a dangerous Kansas town, is looser and funnier and might turn out to be more interesting.

But they both leave Hulu waiting for its first big thing. It has a few more chances before the end of the year, including “The Wrong Mans” (Nov. 11), a new British comedy whose cast includes very funny people like James Corden and Dawn French.

post #88719 of 93856
TCA Summer 2013 Notes
'Hollow' gets a fresh horseman
By Robert Bianco, USA Today - Aug. 1, 2013

Meet Ichabod Crane, Horseman Hunter.

Forget the cowardly schoolteacher who gets chased out of town by the Headless Horseman in Washington Irving's famous short story The Legend of Sleepy Hollow. For Fox's sci-fi suspense series Sleepy Hollow, Crane is now a Revolutionary War hero who wakes up in present-day Sleepy Hollow to battle a super-charged Headless Horseman — who, it turns out, is one of the Four Horsemen of the Apocalypse.

Well, of course he is.

So why bring back a now heroic Crane? Co-creator Alex Kurtzman says making him a Revolutionary War hero who had a close connection to the ideals of the Founding Fathers, allows the show to draw contrasts between America's past and present. "He can be this lens through whom we can see this world. ... What happens when you wake up, to see what became of those ideals 250 years later?"

In the pilot, Crane is not just shocked by social changes — he's shocked to see the Horseman reborn as a hell-spawn demon with a super-heated ax, wandering Sleepy Hollow searching for his head. "We wanted to show the Headless Horseman in a new light," says co-creator Len Wiseman. "That's where the fun comes in."

And despite the end-of-the-world scenario, Wiseman insists "fun" is one of the show's main goals. "We really want it to be a fun and entertaining show, to be honest. Just finding the right balance of horror and suspense and the fantasy element, but we first wanted to make sure it was fun."

He's even looking forward to the episode where Headless is captured and interrogated. He may not be able to talk, says Wiseman, "but he can still write."

If that leaves you a bit confused, you're not the only one. Tom Mison, the British actor playing Crane, says the show makes it easy for him to tap into Crane's confusion with the modern world. "I'm genuinely that baffled."


* * * *

TCA Summer 2013 Notes
An 'Almost Human' look at the future

Humans love playing almost human.

From Robbie to Data to C3PO, actors playing mechanical people have often stolen scenes from their fellow humans. The latest to try is Michael Ealy, who plays the android cop Dorian in Fox's futuristic Almost Human.

So what's the appeal of these roles? "It's something we can't really conceive," says Ealy. "We can't step outside of ourselves and imagine."

His approach to playing Dorian, says Ealy, is to "make him somewhat childlike, his innocence in observing what's going on around him…It's interesting to play someone who's constantly trying to grasp something he'll never have."

While that distance makes Dorian fun to play, it also adds a level of difficulty, Ealy says. Actors generally draw on their own life experience to play a role — and Dorian doesn't have any. "The hardest thing in terms of playing Dorian is to act like I don't have that. To bring that kind of innocence to him, because he doesn't have that life experience."

As an actor, Ealy has often had to draw on his powers of observation. But he also used them when he was waiter. Whenever a man and woman were dining together, Ealy says, he could always tell whether the couple had had sex yet.

How? "I hate to say it, but as a guy, we lose some of our manners."

post #88720 of 93856
TCA Summer 2013 Notes
Simon Cowell Likens Last Year’s ‘X Factor’ Judge Panel To A Bad Dinner Party
By Lisa De Moraes, Deadline.com - Aug. 1, 2013

“It’s like having a dinner party – you invite people for dinner and sometimes it’s a fun night and sometimes not as fun as you thought it was going to be,” Simon Cowell said of last year’s judge panel on his singing competition series. When did Simon realize last season’s “dinner party” — Britney Spears, LA Reid, Demi Lovato and Simon – wasn’t going well? “It was more of a feeling it was similar to what everyone else was doing and I had this impatience to get on to Season 3 so I could do what I wanted to do,” Simon told TV critics at TCA Summer TV Press Tour 2013. “This is a fun dinner party,” added Simon of his new all-girl judge panel, seated with him on stage. Last May, Fox announced former Destiny’s Child member Kelly Rowland, and Mexican singer/actress Paulina Rubio had replaced Reid and Spears. Rowland is not new to the gig, having been a judge on the Brit version in ’11.

“We said at the time ‘it’s a girls world at the moment in the music business,” Simon explained this afternoon of the switch. “We thought the panel should reflect it.” Brit and Lovato had been added last season – replacing Season 1’s Paula Abdul and Nicole Scherzinger — in hopes of jump-starting the show’s ratings, after the first season clocked half as many viewers as Cowell had promised. But, with Lovato, Spears, Reid and Cowell on the judging bench, last season’s numbers weren’t too hot either and, after last season wrapped, both Brit and Reid announced they had discovered they were too busy to return. X also shed one of last season’s two co-hosts —Khloe Kardashian — in an effort to contain the viewer loss. Judge Mario Lopez survived, as did judge Demi.

Earlier in the press tour, The Voice judge Adam Levine insisted singing competitions don’t actually have to find stars to survive and thrive (because, of course, The Voice hasn’t produced one yet). Horseradish, Simon said this afternoon. (The Voice beats The X Factor, ratings-wise).

“No show can survive without [launching careers],” Simon insisted. “You’re making a promise to contestants, you’re going to turn them into a real live artist. You can’t guarantee, but that is your commitment. Otherwise it’s a game show.”

post #88721 of 93856
TCA Summer 2013 Notes
Gordon Ramsay Swore Around Little Kids Only Twice While Filming 'MasterChef Junior'
By Tim Kenneally, TheWrap.com - Aug. 1, 2013

Infamously hot-headed celebrity chef Gordon Ramsay, paired up with a bunch of little kids in an environment filled with sharp objects? It's the kind of scenario that has the potential to end up in gruesome newspaper headlines. But according to Ramsay, he managed to keep his notorious temper in check during the filming of Fox's upcoming reality show "MasterChef Junior."

"I don't think I swore once across two months," Ramsay said during the panel for the show at the Television Critics Association press tour on Thursday.

Actually, the kids were quick to remind him, he let fly with the potty-talk twice.

"And we know the F word meant 'food,' right?" Ramsay tried to persuade the kids.

The young contestants did note that Ramsay wasn't completely temper-free during the filming of the series -- though the wrath wasn't directed at the culinary-minded tots.

"I think he got kind of frustrated with some of the waiters, but it wasn't towards us, it was never towards us," vowed Dara, a young contestant from Culver City, Calif..

At the end of the day, however, "MasterChef" is a Gordon Ramsay competition show. Which means, inevitably, that judgments will be dished out. Eliminations will occur. And hearts might break, as tiny as those hearts might be.

Ramsay acknowledged as much during the panel, but asserted that there's a positive aspect to subjecting children to heated competition.

"I think pressure is healthy," Ramsay put forth, later noting, "I'm brutally honest; I get straight to the point, and the kids, I think, welcome that ... When it was bad they got told it was bad; when it was good they got told it was bad."

"MasterChef Junior" premieres Sept. 27 at 8 p.m.


* * * *

TCA Summer 2013 Notes
Andy Samberg on Why He's Doing Another Series After 'SNL'

Unlike many of his "Saturday Night Live" predecessors who've focused on developing a big-screen career after leaving the late-night sketch show, Andy Samberg has thrown himself back into another series, the upcoming Fox police comedy "Brooklyn Nine-Nine."

During Thursday's Television Critics Association press tour, Samberg explained why he decided to hitch up with another series. Samberg noted that it was the work that the series' creators, Michael Schur and Dan Goor, had done on "Parks and Recreation" -- starring Samberg's fellow alum Amy Poehler -- that drew him in.

"I was not looking to do a TV series at all but I was a huge fan of "Parks,' and I'd seen what these guys had done with Amy," Samberg recalled. "They came to me and said, 'How would you feel about doing a series? This is the idea.' And I was like, 'Give me a couple of days to think about it,' but i already knew i was going to say yes, because it was too good to pass up."

On "Brooklyn Nine-Nine" -- which also stars Andre Braugher, Terry Crews, Chelsea Peretti and Stephanie Beatriz, among others -- Samberg plays hot-shot detective Jake Peralta, who's paired with a new captain (Braugher) who has a lot to prove.

Despite Samberg's comedic background -- and the fact that the show is a comedy -- Schur stressed during the panel that the producers and writers took pains to prevent the show from slipping into spoof territory.

"This is not like 'Police Squad.' As big a fan as I am of 'Police Squad,' this is not 'Police Squad.' It's a workplace comedy that happens to be set in a police precinct," Schur said. "The idea that they're real cops and that the crimes that they're investigating are real crimes and that they're real human beings doing real things ... we want it to seem like its a real police precinct; that was the goal."

Even so, Schur admitted, the temptation to veer into parody is heavy.

"I think because of 'Police Squad' and 'Naked Gun' and how formative those are for 38-year old comedy writers, its hard not to write those jokes."

post #88722 of 93856
Originally Posted by SeattleAl View Post

It's the N.Y.T.

An explanation is in this article http://www.nytimes.com/2007/03/06/business/media/19asktheeditors.html?pagewanted=all

"Q. Could you explain the distinction between the punctuation in H.I.V. and in AIDS, and maybe generalize your policy to words like scuba. "

I read that article (and that Q&A), and in my opinion it is B.S. because they are not consistent with their stated usage.

LOL, I'm done now.
post #88723 of 93856
TV Notes
On The Air Tonight
FRIDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

8PM - Shark Tank
(R - May 17)
9PM - Would You Fall For That?
10PM - 20/20: The Naked Truth
* * * *
11:35PM - Jimmy Kimmel Live! (Larry David; Naya Rivera; Backstreet Boys perform)
(R - Jul. 30)
12:37AM - Nightline

8PM - Undercover Boss: Squaw Valley
(R - Mar. 8)
9PM - Hawaii Five-0
(R - Sep. 24)
10PM - Blue Bloods
(R - Mar. 15)
* * * *
11:35PM - Late Show with David Letterman (Hugh Jackman; Lisa Kudrow; Jason Isbell performs)
(R - Jul. 23)
12:37AM - Late Late Show with Craig Ferguson (TV host Josh Wolf; Georgia King)

8PM - Betty White's Off Their Rockers
(R - Jun. 25)
8:30PM - Betty White's Off Their Rockers
(R - Jul. 9)
9PM - Dateline NBC (120 min.)
* * * *
11:34PM - The Tonight Show With Jay Leno (Meredith Vieira; comic Jim Norton; Charlie Worsham performs)
12:36AM - Late Night With Jimmy Fallon (Bryan Cranston; Common; Miranda Hart; Robin Thicke performs)
1:36AM - Last Call with Carson Daly (Filmmaker Andrew Jenks; blacksmith Tony Swatton; Titus Andronicus performs)
(R - Feb. 25)

8PM - Bones
(R - Mar. 24)
9PM - The Following
(R - Mar. 25)

(check your local listing for starting time/programming)
8PM - Washington Week
8:30PM - Charlie Rose: The Week
9PM - Great Performances: Vienna Philharmonic Summer Night 2013 (90 min.)
10:30PM - Architect Robert A.M. Stern: Presence of the Past

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

8PM - America's Next Top Model (Season Premiere; 120 min.)

8PM - Dama y Obrero
9PM - Marido en Alquiler
10PM - El Señor de Los Cielos

10PM - Real Time with Bill Maher (Season Finale; LIVE; Actor Larry Miller; rapper Jay-Z; journalist Josh Barro; former Rep. Barney Frank (D-Mass.); activist Alexis Goldstein)

11PM - Chelsea Lately (Rachel Bilson; Chris Franjola; April Richarson)
(R - Jul. 25)
post #88724 of 93856
TV Notes
'Continuum' Renewed for Third Season at Syfy
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Aug. 1, 2013

Syfy is going back to the future of Continuum.

The cable network on Thursday announced it has renewed the original scripted drama for a third season of 13 episodes for 2014.

The drama stars Rachel Nichols and ranks as the No. 1 original cable drama in its Friday time slot among adults 18-49, 25-54 and total viewers. Factoring in seven-day DVR numbers, the series is averaging 728,000 viewers among the advertiser-coveted 18-49 demo, 836,000 with the 25-54 set and 1.8 million total viewers -- up 21 percent, 18 percent and 21 percent, respectively, from its freshman run.

Nichols stars as Kiera Cameron, a cop from the future who finds herself trapped in the present day, swept along when a group of terrorists escape their planned execution in 2077 by vaulting back in time.

The drama, from Shaw Communications, joins a Syfy slate that includes Ron Moore's freshman series Helix, the second season of Defiance and the final six episodes of Warehouse 13.

Syfy is currently mulling pilots and scripts -- as well as a few miniseries -- to complete its 2014 lineup.

"We're really trying to figure out what our next year is going to be," Syfy president of original programming and co-head of original content at UCP Mark Stern recently told THR. "We have Helix in January; we're trying to figure out what our summer series is going to be. We have a lot of different options. We know that Defiance is going to come back in the summer, and the last six episodes of Warehouse 13 are going to be back along with Defiance. Then there's this big gray zone after that of what follows. We definitely have a miniseries we want to try to do for December of 2014 -- Jamie Foxx's [five-episode horror anthology] is a series of half-hours we might do for Halloween of 2014. We're looking to do a big four-hour miniseries -- a tentpole mini -- at the end of 2014, and we're trying to figure out what that's going to be."

post #88725 of 93856
Business Notes
Sony reports $35 million net profit for first quarter
By Daniel Miller, Los Angeles Times' 'Company Town' Blog - Aug. 1, 2013

Sony Corp. reported net income of $35 million for the fiscal first quarter ending June 30, buoyed by an improvement in its mobile products division and the depreciation of the yen.

The Tokyo consumer electronics and media giant lost $312 million in the same quarter a year ago.

Sony, maker of the popular PlayStation series of video game consoles and Xperia smartphones, posted net income per share of 3 cents, an improvement from a net loss of 31 cents per share a year earlier.

Revenue was up 13% to $17.3 billion, an improvement Sony largely attributed to favorable foreign exchange rates. A weaker yen helps the company because profits become enlarged when foreign currency -- like the U.S. dollar -- is returned to Japan and converted to local coin.

Sony's mobile products division posted operating income of $60 million, a significant improvement from an operating loss of $356 million a year earlier. The company attributed the turnaround to an increase in the sale of smartphones.

The company released earnings just days after activist investor Daniel Loeb, the chief executive of hedge fund Third Point, sharply criticized Sony's entertainment group in a July 29 letter to investors in his company.

The entertainment arm, Sony Entertainment Inc., includes film and television studio Sony Pictures Entertainment, Sony/ATV Music Publishing and Sony Music Entertainment.

Sony Pictures posted operating income of $38 million. The division recorded an operating loss of $62 million a year earlier.

The company said the improvement was largely due to the sale of Sony Pictures' music publishing catalog. While Sony incurred lower theatrical marketing expenses than a year earlier, it was hurt by lower theatrical revenues -- at least in part due to the disappointing performance of the Will Smith film "After Earth." The sci-fi picture has grossed $242 million worldwide.

In ratcheting up the rhetoric in his call for Sony to make an initial public stock offering of up to 20% of its entertainment arm, Loeb said that part of the company "remains poorly managed."

Loeb's Third Point owns about 7% of Sony. He began calling for the spinoff in May.

He also used the letter as a platform to criticize Sony President and Chief Executive Kazuo Hirai for giving "free passes" to Sony Pictures' Chairman and Chief Executive Michael Lynton and co-Chairman Amy Pascal.

Loeb labeled "After Earth" and another underperforming Sony Pictures release -- the Channing Tatum vehicle "White House Down" -- "2013's versions of 'Waterworld' and 'Ishtar' back-to-back," referencing two of the most famous flops of all-time.

Loeb said that Lynton and Pascal were "responsible for these debacles," and castigated Hirai for comments the executive made at July's Allen & Co. conference in Sun Valley, Idaho. Loeb quoted Hirai saying, "I don't worry about the Entertainment business, it's doing just fine."

"Unfortunately, Mr. Hirai’s remark is consistent with accounts we have heard repeatedly from key industry players and others: under Mr. Lynton and Ms. Pascal’s leadership, Entertainment’s culture is characterized by a complete lack of accountability and poor financial controls," Loeb said.

A Sony spokesman said in a statement on July 29 that the company was reviewing the Loeb proposal.

Japan's Nikkei newspaper reported Wednesday that Sony's board is expected to reject Loeb's proposal.

“The Sony board and management continues to review the Third Point proposal, and we have no comment on this report,” said Sony spokesman Jim Kennedy in a statement.

post #88726 of 93856
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 2, 2013

Encore, 8:00 p.m. ET

When I recommended Tootsie as a Best Bet last week, I ended up watching it. (Yes, sometimes I catch myself taking my own advice.) And couldn’t stop, because every scene had something or someone else that was wonderful. I especially got a kick out of Dabney Coleman, Bill Murray and Geena Davis, supporting actors who all brought something special and playful to every scene. Put Dustin Hoffman, Jessica Lange, Sydney Pollack and the rest in the mix, and this 1982 movie is a sure-fire piece of entertainment – even if you did see it last week.

PBS, 9:00 p.m. ET

This concert, keyed to the 200th birthdays of Giuseppe Verdi and Richard Wagner, was taped on May 30, during a violent rainstorm – in terms of mood-setting, perfect for Wagner, but not Verdi good for Giuseppe. Conductor Lorin Maazel, tenor soloist Michael Schade and the Vienna Philharmonic stuck with it, holding court in what they said later was an exhilarating concert experience. And here it is, though viewers at home can stay dry. Check local listings.

HBO, 9:00 p.m. ET

This is a repeat showing of the latest edition of this fine sports series, but it’s got one report that really caught my attention. Soledad O’Brien’s feature on Chivas USA, a major league soccer franchise beginning to import its home-grown discriminatory hiring practices, is the exact opposite of a puff piece. Unless the puff is smoke – and where there’s smoke, there’s fire.

HBO, 10:00 p.m. ET
This is Maher’s last show until he returns in September, and he’s stacking the deck. Jay Z is scheduled to appear, and Barney Frank, and comedian Larry Miller. Oh, and yes, Jay Z has officially dropped his hyphen. This throws my whole sense of celebrity spelling topsy turvy, as well as willy nilly.

TCM, 10:00 p.m. ET

It’s Doris Day – or, more accurately, Doris Day Day – on TCM. Highlights include 1951’s Lullaby of Broadway at 11 a.m. ET, a 1976 appearance on The Tonight Show on Carson on TCM at 7:45 p.m. ET, and this 1960 comedy, which stars David Niven as a drama critic who moves his wife and family to a rollicking life in the country, based on the stories by Jean Kerr. When the TV version was made in 1965, he became a college professor played by Mark Miller, and she became a newspaper columnist played by Patricia Crowley – on whom, at age 12, I had a huge crush. I was too young to know Doris Day had originated the role in a movie, but I’m not sure that would have made any difference. Tonight, though, I’ll be focused entirely on Doris Day.

post #88727 of 93856
TV Notes
Best tube bets this weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Aug. 2, 2013


Best bet on broadcast
: CW, “America’s Next Top Model” 8 p.m. Season premiere.
The 20th season includes both male and female models.

Best bet on cable: Discovery Channel, “Saint Hoods,” 10 p.m. Series premiere. New “reality” show about gangs in Boston.

Top sporting event: ESPN, “Summer X Games,” 9 p.m. Events tonight include the bicycle motocross big air finals and multiple skateboarding events.


Best bet on broadcast
: NBC, “Wrestlemania: The World Television Premiere,” 9 p.m.
If you missed the highly publicized match between The Rock and John Cena earlier this year, here’s your chance.

Best bet on cable: Lifetime, “The Hunt for the Labyrinth Killer,” 8 p.m. A judge is accused of being a serial killer who murders his victims after luring them through elaborate labyrinths.

Top sporting event: ESPN2, “Pro Football Hall of Fame Induction,” 7 p.m. This year’s class includes Cris Carter, Bill Parcells, Warren Sapp and Larry Allen.


Best bet on broadcast
: ABC, “Secret Millionaire,” 8 p.m. Season premiere.
First up this season is the founder of Auntie Annie’s Pretzels.

Best bet on cable: AMC, “The Killing,” 9 p.m. Season finale. Just as one case has ended, someone close to _____ disappears.

Top sporting event: NBC, “Sunday Night Football,” 8 p.m. The annual Hall of Fame Game, which started in 1962, pits the Dallas Cowboys versus the Miami Dolphins.

post #88728 of 93856
Technology Notes
Chromecast, Simply and Cheaply, Flings Web Video to TVs
By David Pogue, The New York Times' 'Bits' Column- Aug. 1, 2013

Ever hear the old saying, “Information wants to be free?” Well, here’s a corollary for you: “TV wants to be à la carte.”

Take the story of the iTunes store. The instant somebody offered the chance to buy songs individually, the world changed forever. Hello, music à la carte. Goodbye, Tower Records.

Now it’s cable TV’s turn.

We are engaged in a great civil movement, testing whether that business, or any business so conceived and so dedicated, can long endure. The number of people who cut the cord, or cancel the satellite, in favor of getting all their TV from the Internet is still small — maybe 1 percent of us a year. But the online alternatives to cable TV are growing. And once it becomes simple and easy to get Internet video from our laptops and phones to the actual television, well, the term “TV drama” will have a whole new meaning.

Actually, that has just happened. Google’s new Chromecast gizmo is the smallest, cheapest, simplest way yet to add Internet to your TV. It looks like a portly flash drive or maybe a fat keychain — and it costs $35. That’s not a typo.

So what does it do? If you have a Wi-Fi wireless network in your home, the Chromecast can perform two useful stunts.

Stunt 1: It lets you watch videos from YouTube, Netflix and Google Play (Google’s movie and TV store for Android gadgets) on your big screen. You use your phone or tablet (Apple or Android) as a remote control.

Stunt 2: The Chromecast displays Web sites on your TV — by broadcasting from Google’s Chrome browser on your Mac or PC. More on this in a moment.

Google’s promotional videos depict a fantasy of effortlessness: a hand slides the Chromecast into an HDMI jack on the back of a big-screen TV, clicking like a key into a lock. And then suddenly everything good on the Internet seems to be watchable on that TV, to the ecstasy of many young, attractive, multiethnic couch potatoes.

The videos leave out the fact that the Chromecast requires power. You can plug it into a power outlet or a USB jack on the TV itself, but either way, the result isn’t as clutter-free as the ads make it seem. Still — $35, remember?

Then you download a setup program, introduce it to your Wi-Fi network, name your Chromecast and so on. The whole setup process takes about five minutes; a child could do it. (Adults may need slightly longer.)

To perform Stunt 1, you open the YouTube, Netflix or Google Play app on your phone or tablet. Find a video to play. A special icon appears at the edge of the touch screen, resembling a rectangle with Wi-Fi signal waves in the corner. To begin watching that video on the TV, tap that icon and choose your Chromecast’s name.

Your phone is not actually transmitting anything. The Chromecast gets the video from the Internet directly; you use your phone or tablet only to find the movie and control its playback. You can even adjust the volume using the physical volume keys on the side.

The good news: this arrangement means you can do other things on your phone or tablet during playback, like working in another app or even turning the thing off.

The bad news is that the phone/tablet is the only remote control you’ve got. So if you want to pause, rewind or mute the video, you first have to find your phone/tablet, wake it up, enter the password if required, and finally reopen the app that’s doing the playing. It’s not especially graceful.

On Android gadgets, at least the Pause button appears right on the lock screen. You don’t have to unlock the device and reopen the app.

Otherwise, all of this is effortless and excellent. Even if you can already get Netflix and YouTube on your TV because they’re built into the TV, Xbox, TiVo or Blu-ray player, you may prefer the Chromecast; it’s just much easier to search for videos, thanks to the on-screen keyboard and voice dictation. You can also cue up several videos to play in sequence. That’s especially handy for YouTube videos, which are not exactly, you know, epic in length.

On the other hand, Netflix and YouTube aren’t much. Rival boxes, like Apple TV and Roku, can bring many other paid and free Internet services to your TV, like iTunes video, Amazon Prime video, HBO Go, Hulu Plus, Vudu, Vimeo, Spotify, Flickr, ESPN, Major League Baseball TV and others.

Fortunately, Google says that more services are on the way. For example, Pandora radio is up next. Hulu Plus, Vimeo, Redbox Instant, AOL and eight other companies have all suggested that they’re coming soon.

Besides, you might not have to lose sleep over the wait, thanks to Stunt 2: the ability to broadcast Web pages to your TV from your Mac or PC.

Just fire up the Chrome browser, open the site you want, and click that little Chromecast icon on the toolbar. The Web page now appears on the TV, complete with whatever videos you’d like to play.

Now you can sit there on the couch, laptop before you, and call up any darned Internet service you want. Hulu your head off. MLB my guest. HBO Go crazy.

Hard though those Internet services have tried to keep their videos confined to computer screens, the Chromecast flings them onto the TV. An exception: Chromecast doesn’t like the QuickTime format. It sends only the video, not the audio. Therefore, you can’t play videos from, for example, Apple’s movie-trailer site.

Stunt 2, alas, isn’t as refined or successful as Stunt 1. No wonder Google labels this feature “Beta.”

This time, you really are sending audio and video from your computer through the air. So it doesn’t work well unless you have a newish, high-horsepower computer and a fast, uncluttered Wi-Fi network. And even then, there’s a one-second lag between laptop and TV playback.

The video doesn’t always seem as crisp as it does during Stunt 1, either, and some people experience occasional stutters or audio glitches.

Now, plenty of people are saying that Chromecast is Google’s answer to Apple TV, Roku 3 and Plair, which are compact plastic boxes that also bring hi-def Internet video to the TV — but cost $100.

Truth is, the comparison isn’t quite apt. Those gadgets are a good deal more ambitious. They have their own remote controls and on-screen menus, so you can use them even if you don’t own a phone or computer. They use many more Internet services, too. The Apple TV can also display photos and videos from your iPhone or iPad.

Apple TV can also project anything from your Mac screen, not just Web pages — a fact beloved by PowerPointers and teachers everywhere.

But although most people miss it, so can the Chromecast.

In your Chrome browser, clicking the Chromecast icon produces a menu; within it, a tiny down-pointing triangle offers the command “Cast entire screen (experimental).” Sure enough: it broadcasts your entire Mac or PC screen to the TV, making it handy for board rooms, classrooms and hotel rooms. It may be experimental, and it doesn’t transmit audio, but it otherwise works beautifully.

Of course, the Apple TV works primarily with Apple products. It doesn’t work with Windows and Android, at least not without add-on software (or iTunes for Windows) and a bit of tolerance. In that regard the Chromecast is a bit more flexible.

And for goodness’ sake, it’s $35.

That’s already a fine price for what this gadget does, and it will seem better and better the more video apps are made to work with it.

Don’t look now, but there’s a corollary to the corollary. TV wants to be à la carte, but Internet video wants to be Chromecast.

post #88729 of 93856
TV/Business Notes
CBS’ Head Of Alternative Programming Jennifer Bresnan To Exit
By Nellie Andreeva, Deadline.com - Aug. 1, 2013

Jennifer Bresnan, who has headed CBS’ alternative programming department since 2008, will be leaving the network. She is relocating to New York, where her husband, CBS Corp COO and Leslie Moonves’ right-hand man Joe Ianniello, and family live. For the past few years, Bresnan had been shuttling back-and-forth between New York and LA where he job is based.

This is the second reality chief of a broadcast network to depart in the past couple of months, following Mike Darnell’s exit from Fox. But while the search for Darnell’s replacement is still ongoing, I hear CBS is expected to fill the vacancy immediately, with SVP Chris Castallo, Bresnan’s strong No. 2, rumored to succeed her. Bresnan will step down from her day-to-day role in the department at the end of the summer but will continue to work at CBS consulting on unscripted series.

“Jen has been an outstanding leader of this department, with tremendous passion for the genre and creative energy for our shows,” said Nina Tassler, President of CBS Entertainment. “She launched the most successful new network reality show in years with Undercover Boss, and has worked closely with our producers to keep Survivor, The Amazing Race and Big Brother at the top of their game — three popular, long-running franchises that continue to play an important role in the network’s ratings leadership.”

Undercover Boss, which launched as the most watched post-Super Bowl series debut in 2010, is a rare recent broadcast unscripted hit as the networks have struggled to produce new tentpole shows beyond NBC’s The Voice and Fox’s Gordon Ramsay franchise.

“I am so grateful to Leslie Moonves and Nina Tassler for bringing me into the CBS family and for their remarkable support,” Bresnan said. “It has been an incredible honor to work with the strongest reality brands in the business, and I have the deepest respect for my team and all the producers whose passion keeps these shows thriving. It’s easier stepping down when it’s not goodbye, just a different location, and I am very excited to begin a new chapter of my life on the East Coast.”

post #88730 of 93856
TV Notes
For 'Breaking Bad' team, it's been a brutal, heady ride to the end
Creator Vince Gilligan, stars Bryan Cranston, Aaron Paul and Anna Gunn reflect on their journey to the final season.
By Greg Braxton, Los Angeles Times

ALBUQUERQUE — Five months after scoring his second Emmy for playing tortured junkie Jesse Pinkman on AMC's"Breaking Bad," Aaron Paul paraded around a massive soundstage at Albuquerque Studios, carrying another kind of prize on his back.

With a playful grin, the pencil-thin Paul was giving his bride-to-be, documentary filmmaker Lauren Parsekian, a piggyback ride as other members of the "Breaking Bad" cast and crew began preparing a night of shooting that would stretch past midnight. Eventually, the couple approachedBryan Cranston, who stars as Walter White, the cancer-stricken chemistry teacher turned lethal criminal mastermind and Pinkman's partner in crime.

Cranston eyed Paul's passenger: "Well, this makes sense, Aaron," he joked. "I've been carrying you for the past six years!"

The banter was illustrative of the loose camaraderie of the company, far from the distractions of Hollywood. Though there was a lot of work ahead, there were no signs of fatigue or pressure. Executive producer Michelle MacLaren, directing the episode, was in good spirits as around 50actors and technicians moved into position.

But on this February evening, it was anything but business as usual at the home base of the show, which has grown in five seasons from a low-profile cable entry series to one of prime time's most elite and honored dramas. Production was gradually winding down — the scenes being filmed were for the show's final episodes, which will start running Aug. 11.

The approaching finish line gave the proceedings an extra emotional charge. One scene being rehearsed was a tense confrontation that would be filmed the following week in a remote desert area that was also the site of White's maiden voyage into meth manufacturing inside a recreational vehicle during the first episode.

Just a few minutes after kidding around, Paul and Cranston slipped into "Breaking Bad' mode for a scene in which Pinkman and White (a.k.a. the deadly drug kingpin "Heisenberg") are talking on the phone. Though the actors weren't physically facing each other, the explosiveness of their conversation, flavored with words of violence and rage, exposed two characters very much on the brink.

The white-hot exchange between the mesmerizing duo is but one guarantee that the series is not going gently into the good night — which will be welcome news to the devotees who have clung to every brutal twist and turn of White's hellbent mission to build a drug empire, no matter what the cost to friends and family. Last season's episodes contained a kaleidoscope of calamity — an attack on a police station with giant magnets, a breakneck heist of a train in the desert, the gunning down of an innocent boy who unwittingly witnessed the robbery and White's murder of henchman Mike Ehrmantraut (Jonathan Banks).

Now as the saga of White's journey from "Mr. Chips to Scarface," as creator Vince Gilligan puts it, winds down, major questions remain: How large will the final body count be? And will Walter White, who first turned to crime after his cancer diagnosis to provide money for his survivors but then betrayed his family, poisoned innocent children and wreaked havoc throughout New Mexico, be punished for his crimes? Will his cancer, which had been in remission, return?

Said Jake Wilbanks on the Whatculture! blog: "The prediction that I've heard made a thousand times over is that Jesse is going to end up killing Walt, but that's the most predictable ending there could be, and 'Breaking Bad' is anything but predictable.'"

The ultimate outcome has made the end of "Breaking Bad" perhaps the most anticipated TV finale since the curtain dropped ambiguously in 2007 on "The Sopranos."

A series apart

While sitting within the cradle of celebrated shows that have centered on charismatic antiheroes such as "The Sopranos," "The Shield," "Dexter," "Mad Men" and "Sons of Anarchy," TV scholars say "Breaking Bad" is a standout because of its foundation of an Everyman who does the wrong thing for the right reasons.

Said Barbara Miller, collection curator for the New York-based Museum of the Moving Image, which just opened an extensive "Breaking Bad" exhibition: "Walter White is really someone that people can relate to. They feel empathy for him. He's always been human in his motivations, even though he made horrible choices."

The buildup to the finale has approached Hollywood blockbuster proportions. Film Independent at the Los Angeles County Museum of Art hosted a standing-room-only live reading of the drama's pilot episode directed by Jason Reitman. And in what is certain to be a somewhat chaotic scene, the final episode airing Sept. 29 will be screened that evening at Hollywood Forever Cemetery. Paul is planning to attend.

The hoopla is a long way from the show's under-the-radar launch in 2008. Unlike "The Sopranos" or "Mad Men," the concept of turning a humble and decent middle-class man into a monster was not genre-based. The cast was primarily below-the-line character actors, and the best-known performer was Cranston, who seemed an unlikely choice for a dramatic lead since he was coming off seven seasons of playing goofy father Hal on "Malcolm in the Middle."

Gilligan, a former film student from Farmville, Va. had a few screenplay credits ("Wilder Napalm" and co-writer of "Hancock") as well as a notable writing and producing stint on the landmark series "The X-Files" but was an unknown quantity as a show runner.

Unfailingly polite, easygoing and humble — unlike the hard-driven, obsessive producers at the helm of many quality dramas — Gilligan was uncertain whether there was an audience prepared for the darkness of his sinister brainchild. There was initial resistance: FX, which has a reputation for producing edgy material, was among the networks that passed on his pilot script.

Even after AMC picked up the series, he never envisioned "Breaking Bad" lasting six years: "Not even close. I thought we were lucky to make the pilot in the first place. Once we were up and running, I would have said we would last two seasons, maybe at the outside four seasons."

Said Jamie Erlicht, president, programming for Sony Pictures Television, which produces the show: "We knew a series like this wouldn't be easy. Most networks eliminated the concept right off the bat. But we knew it was an idea that would pay dividends."

"Breaking Bad" received immediate critical acclaim during the first season, which only grew (said Variety's Brian Lowry, "For a show about meth cookers, 'Breaking Bad' is simply one of TV's great addictions."). Cranston's three consecutive Emmy victories for lead actor in a drama series boosted interest, and viewership increased.

The innocuous story line of the pilot that had echoes of "Les Misérables" — a mild-mannered man who turns to crime temporarily to provide for his family — evolved into a universe clouded by blurred morality, brutality and over-the-top characters: Walt indirectly caused a plane collision that killed hundreds; a fast-food chicken chain was the front for an elaborate meth-selling operation. Ruthless drug kingpin Gus Fring (Giancarlo Esposito) slashed the throat of an accomplice with a box cutter and threatened Walter's family. Walt then planned an elaborate revenge scheme that ended with Fring's face being blown off in an explosion at a nursing home.

The raves were universal. Though he admired it, The Times' Robert Lloyd felt in the show's later years that White's story arc was wearying: "Walt has long since crossed the line in which it is possible for me to feel for him."

"Breaking Bad" opened its fifth season last July to its largest audience, some 2.9 million viewers. Along with "Mad Men," "The Walking Dead" and "The Killing," the series was also pivotal in establishing AMC's elite status in the cable universe.

It also caught the first wave of a new phenomenon that was unheard of when it premiered — binge viewing. As buzz over the show grew, the curious began checking out the earlier seasons on DVDs and streaming services.

"It was pure dumb luck," Gilligan said, typically low-key. "We timed it perfectly. I know we were on the bubble at the beginning, but binge watching saved our bacon."

Thrilling endgame

In an interview last year before the final half of the season was written, Gilligan suggested that White should go straight to hell, that extremely evil people need to be punished for their misdeeds.

Whether that philosophy is carried out is being guarded with National Security Agency-level stealth. But for Gilligan, the cast and producers at Sony, the end of the journey has been simultaneously exhilarating and wrenching.

Cranston, who just scored another lead actor Emmy nomination, said the countdown to the final installments has been "a mixture of dread, anxiety, excitement and thrills. There's been a lot of tears, rejoicing and lamenting. The full spectrum. The whole thing ends in a very 'Breaking Bad' way. I think fans will embrace it."

Anna Gunn, who plays White's embittered wife, Skylar, and was also nominated this year for an Emmy, said there were scenes that "were difficult and emotional."

Sitting in a darkened room of the studio during a break, Paul, who was again nominated for his role as Pinkman, seemed the most upset about the approaching end. "My heart starts to race a little when I think about it," he said. He decided to relive his "Breaking Bad" experience by watching all the episodes from the pilot. "It's very hard to let go," he said.

Gilligan appears to be a bit more at peace. Just a few weeks before the farewell hoopla began ramping up, he sat among several boxes in his Burbank office containing props, mementos and story notes.

The toys, puzzles and Play-Doh that Gilligan and his writing staff had fidgeted with during brainstorming sessions had been packed away. Still unboxed and on a shelf by itself was a clay figurine of a severed head on top of a tortoise, one of "Breaking Bad's'' more gruesome — and darkly humorous — images.

"I'm really happy to say, as sad as I am to be sitting in this office, with these boxes all around me, the one thing I haven't lost any sleep over, the one thing I'm not sad about, is that we're ending it now," he said. "I don't think we overstayed our welcome, not for a minute. That was a big concern for me."

Now that the series is edited, some members of the troupe have moved on. Cranston is preparing to play President Lyndon B. Johnson in the American Repertory Theater premiere production of Robert Schenkkan's "All The Way" in Cambridge, Mass., in September. Gilligan is excited about developing a possible "Breaking Bad" spinoff that would feature Saul Goodman, the shady lawyer played by Bob Odenkirk that was one of the show's more humorous characters.

Gilligan is making one promise to "Breaking Bad" fans about the finale: "To quote a famous movie, there will be blood," he vowed with a wicked chuckle.

post #88731 of 93856
2013 premieres for lotsa shows:

Saturday Night Football ABC 8:00 PM Saturday, August 31, 2013
It's Always Sunny In Philadelphia FXX 10:00 PM Wednesday, September 04, 2013
League, The FXX 10:30 PM Wednesday, September 04, 2013
Totally Biased with W. Kamau Bell FXX 11:00 PM Wednesday, September 04, 2013
Sunday Night Football NFL Season Kickoff NBC 8:00 PM Thursday, September 05, 2013
Fox College Saturday FOX 7:00 PM Saturday, September 07, 2013
Sunday Night Football NBC 8:30 PM Sunday, September 08, 2013
Boardwalk Empire HBO 9:00 PM Sunday, September 08, 2013
Monday Night Football ESPN 7p/10:30p Monday, September 09, 2013
Million Second Quiz, The NBC 9:00 PM Monday, September 09, 2013

Sons Of Anarchy FX 10:00 PM Tuesday, September 10, 2013
X Factor, The (Weds) FOX 8:00 PM Wednesday, September 11, 2013
X Factor, The (Thur) FOX 8:00 PM Thursday, September 12, 2013
Thursday Night Football NFLN 8:30 PM Thursday, September 12, 2013
Haven Syfy 9:00 PM Friday, September 13, 2013
Foyles War PBS 9:00 PM Sunday, September 15, 2013
Dancing with the Stars ABC 8:00 PM Monday, September 16, 2013
Bones FOX 8:00 PM Monday, September 16, 2013
Monday Night Football (Time Period Premiere) ESPN 8:30 PM Monday, September 16, 2013
Sleepy Hollow FOX 9:00 PM Monday, September 16, 2013

Dads FOX 8:00 PM Tuesday, September 17, 2013
Brooklyn Nine-Nine FOX 8:30 PM Tuesday, September 17, 2013
New Girl FOX 9:00 PM Tuesday, September 17, 2013
Mindy Project, The FOX 9:30 PM Tuesday, September 17, 2013
Survivor CBS 8:00 PM Wednesday, September 18, 2013
Key and Peele Comedy ? Wednesday, September 18, 2013
Last Man Standing ABC 8:00 PM Friday, September 20, 2013
Neighbors, The ABC 8:30 PM Friday, September 20, 2013
Shark Tank ABC 9:00 PM Friday, September 20, 2013
65th Annual Emmys CBS 8:00 PM Sunday, September 22, 2013

How I Met Your Mother CBS 8:00 PM Monday, September 23, 2013
Voice, The (Monday) NBC 8:00 PM Monday, September 23, 2013
2 Broke Girls CBS 9:00 PM Monday, September 23, 2013
Mom CBS 9:30 PM Monday, September 23, 2013
Blacklist, The NBC 10:00 PM Monday, September 23, 2013
Castle ABC 10:00 PM Monday, September 23, 2013
Hostages CBS 10:00 PM Monday, September 23, 2013
Marvel's Agents of S.H.I.E.L.D. ABC 8:00 PM Tuesday, September 24, 2013
NCIS CBS 8:00 PM Tuesday, September 24, 2013
Voice, The (Tuesday) NBC 8:00 PM Tuesday, September 24, 2013

Goldbergs, The ABC 9:00 PM Tuesday, September 24, 2013
NCIS: Los Angeles CBS 9:00 PM Tuesday, September 24, 2013
Trophy Wife ABC 9:30 PM Tuesday, September 24, 2013
Chicago Fire NBC 10:00 PM Tuesday, September 24, 2013
Lucky 7 ABC 10:00 PM Tuesday, September 24, 2013
Person Of Interest CBS 10:00 PM Tuesday, September 24, 2013
Middle, The ABC 8:00 PM Wednesday, September 25, 2013
Revolution NBC 8:00 PM Wednesday, September 25, 2013
Back in The Game ABC 8:30 PM Wednesday, September 25, 2013
Criminal Minds CBS 9:00 PM Wednesday, September 25, 2013

Law & Order: SVU NBC 9:00 PM Wednesday, September 25, 2013
Modern Family ABC 9:00 PM Wednesday, September 25, 2013
CSI CBS 10:00 PM Wednesday, September 25, 2013
Nashville ABC 10:00 PM Wednesday, September 25, 2013
South Park Comedy 10:00 PM Wednesday, September 25, 2013
Big Bang Theory, The CBS 8:00 PM Thursday, September 26, 2013
Parks and Rec NBC 8:00 PM Thursday, September 26, 2013
Crazy Ones, The CBS 9:00 PM Thursday, September 26, 2013
Glee FOX 9:00 PM Thursday, September 26, 2013
Grey's Anatomy ABC 9:00 PM Thursday, September 26, 2013
Michael J. Fox Show, The NBC 9:00 PM Thursday, September 26, 2013

Two and a Half Men CBS 9:30 PM Thursday, September 26, 2013
Elementary CBS 10:00 PM Thursday, September 26, 2013
Parenthood NBC 10:00 PM Thursday, September 26, 2013
Junior MasterChef FOX 8:00 PM Friday, September 27, 2013
Undercover Boss CBS 8:00 PM Friday, September 27, 2013
Dateline NBC 9:00 PM Friday, September 27, 2013
Hawaii Five-0 CBS 9:00 PM Friday, September 27, 2013
Blue Bloods CBS 10:00 PM Friday, September 27, 2013
48 Hours CBS 10:00 PM Saturday, September 28, 2013
Saturday Night Live NBC 11:30 PM Saturday, September 28, 2013
60 Minutes CBS 7:00 PM Sunday, September 29, 2013

Amazing Race CBS 8:00 PM Sunday, September 29, 2013
Once Upon A Time ABC 8:00 PM Sunday, September 29, 2013
Simpsons, The FOX 8:00 PM Sunday, September 29, 2013
Bob's Burgers FOX 8:30 PM Sunday, September 29, 2013
Family Guy FOX 9:00 PM Sunday, September 29, 2013
Good Wife, The CBS 9:00 PM Sunday, September 29, 2013
Homeland SHO 9:00 PM Sunday, September 29, 2013
Revenge ABC 9:00 PM Sunday, September 29, 2013
American Dad FOX 9:30 PM Sunday, September 29, 2013
Betrayal ABC 10:00 PM Sunday, September 29, 2013

Eastbound & Down HBO 10:00 PM Sunday, September 29, 2013
Masters of Sex SHO 10:00 PM Sunday, September 29, 2013
Mentalist, The CBS 10:00 PM Sunday, September 29, 2013
Hello Ladies HBO 10:30 PM Sunday, September 29, 2013
We Are Men CBS 8:30 PM Monday, September 30, 2013
Super Fun Night ABC 9:30 PM Wednesday, October 02, 2013
Ironside NBC 10:00 PM Wednesday, October 02, 2013
Vampire Diaries, The CW 8:00 PM Thursday, October 03, 2013
Millers, The CBS 8:30 PM Thursday, October 03, 2013
Welcome to the Family NBC 8:30 PM Thursday, October 03, 2013

Originals, The CW 9:00 PM Thursday, October 03, 2013
Sean Saves the World NBC 9:00 PM Thursday, October 03, 2013
Michael J. Fox Show, The (Time Period Premiere) NBC 9:30 PM Thursday, October 03, 2013
Scandal ABC 10:00 PM Thursday, October 03, 2013
America's Funniest Home Videos ABC 7:00 PM Sunday, October 06, 2013
Witches of East End Lifetime 10:00 PM Sunday, October 06, 2013
Hart Of Dixie CW 8:00 PM Monday, October 07, 2013
Beauty And The Beast CW 9:00 PM Monday, October 07, 2013
Biggest Loser, The NBC 8:00 PM Tuesday, October 08, 2013
Originals, The (Time Period Premiere) CW 8:00 PM Tuesday, October 08, 2013

Voice, The (Tuesday) Time Period Premiere NBC 9:00 PM Tuesday, October 08, 2013
Supernatural CW 9:00 PM Tuesday, October 08, 2013
Arrow CW 8:00 PM Wednesday, October 09, 2013
Tomorrow People, The CW 9:00 PM Wednesday, October 09, 2013
Once Upon A Time in Wonderland ABC 8:00 PM Thursday, October 10, 2013
Walking Dead, The AMC 9:00 PM Sunday, October 13, 2013
Talking Dead, The AMC 10:00 PM Sunday, October 13, 2013
Reign CW 9:00 PM Thursday, October 17, 2013
Comedy Bang! Bang! IFC 10:00 PM Friday, October 18, 2013
Carrie Diaries, The CW 8:00 PM Friday, October 25, 2013

Grimm NBC 9:00 PM Friday, October 25, 2013
Dracula NBC 10:00 PM Friday, October 25, 2013
Almost Human FOX 8:00 PM Monday, November 04, 2013
Bones (Time Period Premiere) FOX 8:00 PM Friday, November 08, 2013
Raising Hope FOX 9:00 PM Friday, November 08, 2013
Enlisted FOX 9:30 PM Friday, November 08, 2013
Atlantis BBCA ? Saturday, November 23, 2013

post #88732 of 93856
NFL Network is showing all 65 preseason games, some LIVE, some joined in progress, the rest tape delayed:

Thursday, August 8
4:00pm -- Cowboys vs Dolphins
11:00pm -- Seahawks @ Chargers *Live* JIP

Friday, August 9
1:00am -- Broncos @ 49ers
4:00pm -- Broncos @ 49ers
7:30 pm -- Patriots @ Eagles *Live*
10:30pm -- Cowboys @ Raiders *Live* JIP

Saturday, August 10
1:00am -- Cardinals @ Packers
7:00am -- Rams @ Browns
10:00am -- Ravens @ Buccaneers
1:00pm -- Chiefs @ Saints
4:00pm -- Jets @ Lions
7:30pm -- Giants @ Steelers *Live*

Sunday, August 11
12:00am -- Texans @ Vikings
3:00am -- Bengals @ Falcons
7:00am -- Dolphins @ Jaguars
10:00am -- Bears @ Panthers
1:30pm -- Bills @ Colts *Live*
5:00pm -- Redskins @ Titans
8:00pm -- Broncos @ 49ers
11:00pm -- Seahawks @ Chargers

Monday, August 12
2:00am -- Cowboys @ Raiders
10:00am -- Jets @ Lions
1:00pm -- Cardinals @ Packers
4:00pm -- Patriots @ Eagles
8:00pm -- Chiefs @ Saints

Tuesday, August 13
12:00am -- Rams @ Browns
3:00am -- Bills @ Colts
10:00am -- Texans @ Vikings
1:00pm -- Ravens @ Buccaneers
4:00pm -- Cowboys @ Raiders
8:00pm -- Seahawks @ Chargers

Wednesday, August 14
12:00am -- Bears @ Panthers
3:00am -- Redskins @ Titans
10:00am -- Chiefs @ Saints
1:00pm -- Giants @ Steelers
4:00pm -- Cardinals @ Packers
8:00pm -- Jets @ Lions

Thursday, August 15
12:00am -- Broncos @ 49ers
3:00am -- Ravens @ Buccaneers
10:00am -- Bears @ Panthers
1:00pm -- Patriots @ Eagles
4:00pm -- Texans @ Vikings

Friday, August 16
12:00am -- Falcons @ Ravens
3:00am -- Giants @ Steelers
10:00am -- Dolphins @ Jaguars
1:00pm -- Lions @ Browns
4:00pm -- Panthers @ Eagles

Saturday, August 17
12:00am -- Raiders @ Saints
3:00am -- Chargers @ Bears
7:00am -- Panthers @ Eagles
10:00am -- Falcons @ Ravens
1:00pm -- 49ers @ Chiefs
4:30pm -- Cowboys @ Cardinals *Live*
7:30 pm -- Jaguars @ Jets *Live*
10:30pm -- Broncos @ Seahawks *Live* JIP

Sunday, August 18
1:00am -- Buccaneers @ Patriots
4:00am -- Raiders @ Saints
7:00am -- Lions @ Browns
10:00am -- Vikings @ Bills
1:00pm -- Dolphins @ Texans
4:00pm -- Packers @ Rams

Monday, August 19
12:00am -- Cowboys @ Cardinals
3:00am -- Titans @ Bengals
10:00am -- 49ers @ Chiefs
1:00pm -- Vikings @ Bills
4:00pm -- Broncos @ Seahawks

Tuesday, August 20
12:00am -- Chargers @ Bears
3:00am -- Dolphins @ Texans
10:00am -- Buccaneers @ Patriots
1:00pm -- Titans @ Bengals
4:00pm -- Falcons @ Ravens
8:00pm -- 49ers @ Chiefs

Wednesday, August 21
12:00am -- Steelers @ Redskins
3:00am -- Colts @ Giants
10:00am -- Dolphins @ Texans
1:00pm -- Jaguars @ Jets
4:00pm -- Packers @ Rams
8:00pm -- Broncos @ Seahawks

Thursday, August 22
12:00am -- Panthers @ Eagles
3:00am -- Vikings @ Bills
10:00am -- Cowboys @ Cardinals
1:00pm -- Raiders @ Saints
4:00pm -- Steelers @ Redskins

Friday, August 23
12:00am -- Patriots @ Lions
3:00am -- Packers @ Rams
10:00am -- Titans @ Bengals
1:00pm -- Colts @ Giants
4:00pm -- Patriots @ Lions
11:00pm -- Bears @ Raiders *Live* JIP

Saturday, August 24
1:00am -- Panthers @ Ravens
4:00am -- Bears @ Raiders
7:00am -- Steelers @ Redskins
10:00am -- Panthers @ Ravens
1:00pm -- Patriots @ Lions
4:30pm -- Bills @ Redskins *Live*
11:00pm -- Chargers @ Cardinals *Live* JIP

Sunday, August 25
1:00am -- Chiefs @ Steelers
4:00am -- Seahawks @ Packers
7:00am -- Buccaneers @ Dolphins
10:00am -- Jets @ Giants
1:00pm -- Bengals @ Cowboys

Monday, August 26
12:00am -- Eagles @ Jaguars
3:00am -- Rams @ Broncos
10:00am -- Bengals @ Cowboys
1:00pm -- Bills @ Redskins
4:00pm -- Browns @ Colts
8:00pm -- Falcons @ Titans

Tuesday, August 27
12:00am -- Chargers @ Cardinals
3:00am -- Eagles @ Jaguars
10:00am -- Falcons @ Titans
1:00pm -- Bears @ Raiders
4:00pm -- Seahawks @ Packers
8:00pm -- Chiefs @ Steelers

Wednesday, August 28
12:00am -- Vikings @ 49ers
3:00am -- Browns @ Colts
10:00am -- Buccaneers @ Dolphins
1:00pm -- Rams @ Broncos
4:00pm -- Jets @ Giants
8:00pm -- Saints @ Texans

Thursday, August 29
12:00am -- Bengals @ Cowboys
3:00am -- Falcons @ Titans
10:00am -- Chargers @ Cardinals
1:00pm -- Chiefs @ Steelers
4:00pm -- Vikings @ 49ers
7:30pm -- Giants @ Patriots *Live*
10:30pm -- 49ers @ Chargers *Live* JIP

Friday, August 30
1:00am -- Cardinals @ Broncos
10:00am -- Jaguars @ Falcons
1:00pm -- Ravens @ Rams
4:00pm -- Packers @ Chiefs
8:00pm -- Texans @ Cowboys

Saturday, August 31
12:00am -- Raiders @ Seahawks
3:00am -- Saints @ Dolphins
7:00am -- Lions @ Bills
10:00am -- Redskins @ Buccaneers
1:00pm -- Giants @ Patriots
4:00pm -- Eagles @ Jets
8:00pm -- Titans @ Vikings

Sunday, September 1
12:00am -- Cardinals @ Broncos
3:00am -- 49ers @ Chargers
7:00am -- Eagles @ Jets
10:00am -- Colts @ Bengals
1:00pm -- Steelers @ Panthers
4:00pm -- Texans @ Cowboys
8:00pm -- Browns @ Bears

Monday, September 2
12:00am -- Packers @ Chiefs
3:00am -- Ravens @ Rams

props to jetblast from the506 for the list
post #88733 of 93856
Technology Notes
Cox Said to Discuss Merger With Malone-Backed Charter
By David Pogue, The New York Times' 'Bits' Column- Aug. 1, 2013

Cox Communications Inc., the third-largest U.S. cable provider, has held talks about combining with Charter Communications Inc. (CHTR), according to two people with knowledge of the matter.

Cox President Pat Esser has discussed a deal with representatives from Liberty Media Corp. (LMCA), which owns a 27 percent stake in Charter, said one of the people, who asked not to be identified because the negotiations are private. The structure of a potential deal hasn’t been determined, including which company might be the acquirer, the other person said. Cox and Charter also haven’t begun direct talks, the people said.

Liberty and Charter are also still pursuing an acquisition of Time Warner Cable Inc. (TWC), the people said. Billionaire John Malone, who controls Englewood, Colorado-based Liberty, has said he wants Charter to get bigger so it can gain leverage in negotiations with TV networks, which have sought higher prices for the use of their programming.

Charter, the fourth-largest U.S. cable company by subscribers, jumped as much as 7.3 percent in New York trading after Bloomberg reported on the Cox talks. It was the biggest intraday gain in more than a month. Time Warner Cable slumped as much as 8 percent, the most intraday since Jan. 31.

‘Makes Sense’

Cox has 4.8 million video subscribers, while Charter has 4.4 million, according to Craig Moffett, an analyst at Moffett Research LLC in New York.

“A Cox deal, if available, makes a ton of sense for Charter,” Moffett said today in a research note. “Nosebleed leverage wouldn’t be necessary; a merger of equals would leave balance sheet room for subsequent deals, while still giving Charter the benefit of a doubling of scale.”

Todd Smith, a spokesman for Atlanta-based Cox, declined to comment. Courtnee Ulrich, a spokeswoman for Liberty, didn’t return phone and e-mail messages.

Malone sees mergers as an appealing way for the cable industry to cope with the lower video profit margins that have come from higher programming costs and fewer new customers, he said at Liberty Media’s annual meeting in June.

“The whole name of the game in the cable business is scale,” he said then. Charter has the opportunity to be a “horizontal acquisition machine, looking at other assets in the U.S. cable business that lack scale to have synergy,” he said.

Over-the-Top Strategy

Malone’s strategy isn’t just about traditional cable. The high-speed Internet connections that companies like Charter provide to U.S. households are the key to the future of the TV industry, Malone said at the June meeting. He cited the growing viewership of streaming-video services, also known as over-the-top.

“Everyone recognizes that high-speed connectivity will be the controlling attribute that drives market share in the video business,” he said. “As more and more content is available over-the-top, the ability to provide flexible high-speed connectivity I think will become a dominant trait.”

A potential change in the ownership structure of Cox Enterprises Inc., owner of Cox Communications, may make a deal more likely. James Cox Kennedy, chairman of closely held Cox Enterprises, asked a judge earlier this week to dissolve a 1941 trust for Anne Cox Chambers, his billionaire aunt and the company’s biggest shareholder, to free the money for relatives and charities.

Dissolving the trust is a step toward Cox gaining flexibility to merge the cable company, one of the people said.

Cox would serve as another option for Charter if Time Warner Cable, which has been resistant to a combination, refuses to agree to a deal, said the people.

Charter was up 3.7 percent to $132.73 at 1:05 p.m. in New York. Liberty Media rose 1.7 percent to $146.48, and Time Warner Cable fell 1.3 percent to $116.14.

post #88734 of 93856
THURSDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #88735 of 93856
Nielsen Overnights (18-49)
CBS’s ‘Big Brother’ matches season high
By Toni Fitzgerald, Media Life Magazine - Aug. 2, 2013

“Big Brother’s” ratings roll continues.

The CBS reality show, now in its 15th season, tied last week’s season high last night, averaging a 2.5 adults 18-49 rating at 9 p.m., according to Nielsen overnights.

The show also drew a season-high 7.04 million total viewers.

It has seen ratings bump up over the past three weeks, ever since an online controversy erupted over racist comments made by several contestants on the live web feed of the show.

“Brother” was easily the night’s top show in 18-49s. CBS’s repeat of “The Big Bang Theory” was No. 2 for the night, earning a 2.1 at 8 p.m.

Elsewhere last night, ABC’s “Wipeout” rebounded from last week’s season low, up 20 percent to a 1.2, matching a season high.

Both ABC’s “Rookie Blue” (1.0) and NBC’s “Hollywood Game Night” (1.2) fell a tenth from last week in the 10 p.m. timeslot.

CBS was first for the night among 18-49s with a 1.8 average overnight rating and a 6 share. Univision was second at 1.2/4, ABC and NBC tied for third at 1.0/3, Telemundo fifth at 0.8/3, Fox sixth at 0.6/2 and CW seventh at 0.3/1.

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

At 8 p.m. CBS was first with a 1.9 for reruns of “Bang” (2.1) and “Two and a Half Men” (1.7), followed by Univision with a 1.4 for “Porque el Amor Manda.” ABC was third with a 1.2 for “Wipeout,” NBC fourth with a 0.9 for a repeat of “America’s Got Talent,” Telemundo fifth with a 0.6 for “Dama y Obrero,” Fox sixth with a 0.5 for a “Glee” rerun and CW seventh with a 0.3 for the “Young Hollywood Awards.”

CBS increased its lead at 9 p.m. with a 2.5 for “Brother,” while Univision remained second with a 1.3 for “La Tempestad.” NBC was third with a 0.9 for “And the Winner Is…,” and ABC fourth with a 0.8 for “Motive.” Fox and Telemundo tied for fifth at 0.6, Fox for repeats of “New Girl” and “The Mindy Project” and Telemundo for “Marido en Alquiler,” and CW was seventh with a 0.2 for its awards show.

At 10 p.m. Telemundo took the lead with a season-high 1.3 for “El Señor de los Cielos,” with NBC second with a 1.2 for “Game.” Univision was third with a 1.1 for “Que Bonito Amor,” ABC fourth with a 1.0 for “Blue” and CBS fifth with a 0.9 for a repeat of “Elementary.”

CBS also led the night among households with a 4.0 average overnight rating and a 7 share. ABC was second at 2.9/5, NBC third at 1.6/5, Univision fourth at 1.6/3, Fox fifth at 1.1/2, Telemundo sixth at 0.9/2 and CW seventh at 0.5/1.


* * * *

TCA Summer 2013 Notes
Fusion slates debut date
The Univision- and ABC-backed channel will bow Oct. 28

Fusion, the new news channel from Univision and ABC, finally has a launch date, as well as a broader target audience.

The network will bow on Oct. 28, its parents said in a release sent out during the Television Critics Association summer tour yesterday.

The primetime schedule is set, and Univision and ABC are looking beyond the bilingual Latinos that Fusion was originally intended to target to encompass Millennials too.

“We believe our programs — visually compelling, creatively produced and laced with humor and irreverence — will resonate with Latinos and non-Latinos alike,” said acting president Beau Ferrari.

Its primetime lineup will kick off at 8 p.m. with a news show called “America with Jorge Ramos,” the veteran Univision anchor.

The focus on Millennials becomes clear at 9 p.m., where Fusion has slated a sports talk and comedy sketch show called “Sports Bar.”

It will be followed at 9:30 with something new to cable news, an as-yet-untitled sports satire program from former “The Daily Show with Jon Stewart” executive producer David Javerbaum.

Studies have shown that more Millennials get their news from satires like “Daily” than any traditional newscasts.

At 10 p.m. Fusion will air “Open Source with Leon Krauze,” a talk show hosted by KMEX’s evening news anchor.

Fusion also slated two shows for earlier in the evening. “D.N.A.,” focused on social issues, will be hosted by Derrick N. Ashong at 6 p.m., and former “HuffPost Live” anchor Alicia Menendez will host a yet-unnamed 7 p.m. program focused on sex, money and politics.

Meanwhile, ABC is still hashing out carriage deals for the network. It has not yet reached an agreement with the country’s four biggest carriers (Comcast, DirecTV, Dish Network and Time Warner Cable), but Cablevision, Cox, Verizon FiOS and Charter have agreed to carry the new network.

Along with the Fusion launch date, here’s some of the other news that came out of the TCA summer tour yesterday, all of it from Fox, which held its session with entertainment president Kevin Reilly:

* “Glee” will address the circumstances of Cory Monteith’s death from a drug overdose in the third episode of the season. Though Reilly did not say specifically whether Monteith’s character, Finn, will die of an overdose as well, he did note that there will be drug PSAs aired during the episode.

* Reilly also said that “Glee” will almost certainly wrap up after its sixth season. It is going into season five.

* Keith Urban has become the only “American Idol” judge to commit to returning next year. Mariah Carey, Nicki Minaj and Randy Jackson are all leaving.

* Fox is still looking for a replacement for reality guru Mike Darnell, who exited earlier this year.

post #88736 of 93856
TCA Summer 2013 Notes
FX Boss John Landgraf on Becoming a Heayweight, 'Louie' and Netflix
By Tim Molloy, TheWrap.com - Aug. 2, 2013

FX CEO John Landgraf likens his networks expansion to FXX to a boxer moving up in weight class.

At a Television Critics Association panel Friday, he said the network is expanding partly because it needs more space for its shows. He also talked about the creative freedom FX gives shows like "Louie" and about competing with Netflix, a rival that doesn't release ratings data.

In addition to a growing roster of scripted shows, The FX networks now have agreements to air about two-thirds of all recent North American blockbusters -- "more than twice as many films as all of our competitors combined in terms of films over $100 million."

"You can punch above your weight for a couple of rounds, but if you put a middleweight in the ring ith a heavyweight and it goes 10 rounds, I think you can usually guess who's going to win that fight," Landgraf said. "So we just decided, look, we've been punching above our weight for a long time... we're going to have to try to go into heavyweight if we want to really be a top, top brand in what is sure to be an incredibly competitive future."

The pugnacious metaphor is typical of a network known for a DIY approach and a slightly male slant. The new FXX will target a slightly younger audience, and will launch in September. "Always Sunny in Philadelphia" will anchor the new network.

"Sunny" helped create the FX model of giving showrunners less upfront money but far more creative freedom than they would likely find elsewhere.

"Louis C.K. had some writer's block before he wrote the third season and he put a note up on his desk that said 'This show can be anything,'" Langraf said. "And I think part of why 'Louie' is in my opinion is the best comedy on television right now is he threw out the form and he's just writing from the heart."

"Louie" just became the first basic cable show to receive an Emmy nomination for Outstanding Comedy Series.

Landgraf also said he wished Netflix would release ratings.

"If I were the mayor of television -- look, I think all competitive industries should have verified third-party information," he said. "But I'm not the mayor of television. In fact, there is no mayor of television."

But that he also said the streaming service deserves credit for the shows it's creating. He noted its success in earning an Outstanding Drama Series nomination for "House of Cards."


* * * *

TCA Summer 2013 Notes
'The League' No Longer Begging for NFL Player Cameos
By Tony Maglio, TheWrap.com - Aug. 2, 2013

"The League" doesn't need to chase down NFL stars for cameo appearances anymore.

The players -- more specifically their agents -- are now reaching out to the show, according to executive producer Jeff Schaffer. That said, they're being mindful not oversaturate the program with cameos -- a la "Entourage."

And it's not just limited to football anymore. Baseball player Kevin Youkilis, currently of the New York Yankees, approached the cast and producers recently to talk about what a fan he is. The Los Angeles Kings even spent some time with the cast recently, EP Jackie Marcus Schaffer added.

San Diego Chargers tight end Antonio Gates was the show's first major guest athlete in season 1 episode 4. Since then, Chad Johnson, Terry Bradshaw, Josh Cribbs, Terrell Suggs, Maurice Jones-Drew, Matt Forte, Robert Griffin III, Trent Richardson, Jason Witten, DeSean Jackson, Deion Sanders and Adrian Peterson have appeared on the program ... to name just a few.

In the upcoming fifth season, Houston Texans defensive end JJ Watt will be guest starring.

Stars Nick Kroll (Ruxin), Paul Scheer (Andre), Stephen Rannazzisi (Kevin) and Jon Lajoie (Taco) joined executive producers Jeff Schaffer, Jackie Marcus Schaffer on stage at FX Network's panel for "The League" at TCAs Friday.

The show's fifth season premieres Wednesday Sep. 4 at 10:30 on FXX. A sixth season has already been ordered.

Edited by dad1153 - 8/2/13 at 12:32pm
post #88737 of 93856
TV Notes
Ellen DeGeneres To Host Oscars
By Jon Weisman, Variety.com - Aug. 2, 2013

And the next host of the Academy Awards is … Ellen DeGeneres.

It will be DeGeneres’ second tour of duty as Oscar host, having previously emceed the 79th annual Academy Awards in 2007 and earning an Emmy nomination. The popular syndicated talkshow host also fronted the Emmys in 2001 and 2005 (co-hosting them in 2003).

“I am so excited to be hosting the Oscars for the second time,” DeGeneres said, joking that “you know what they say – the third time’s the charm.”

The 86th annual Academy Awards, which will take place March 2, are being exec produced for the second year in a row by Craig Zadan and Neil Meron.

“We are thrilled to have Ellen DeGeneres host the Oscars,” said Zadan and Meron jointly. “As a longtime friend, we had always hoped to find a project for us to do together and nothing could be more exciting than teaming up to do the Oscars. There are few stars today who have Ellen’s gift for comedy, with her great warmth and humanity. She is beloved everywhere and we expect that the audience at the Dolby Theatre, and in homes around the globe, will be as excited by this news as we are.”

post #88738 of 93856
TCA Summer 2013 Notes
'It's Always Sunny' episode to mock Emmy snubs
By James Hibberd, EW.com's 'Inside TV' Blog - Aug. 2, 2013

FX’s It’s Always Sunny in Philadelphia is on track to become cable’s longest-running comedy, and is set to tent-pole the launch of a whole new channel next month with its ninth season premiere (FX’s comedy focused spin-off channel FXX). Yet the cult-favorite series is perennially snubbed for Golden Globes and Emmys — not only has Sunny never won a major award, it’s also never even been nominated.*

But the cast is going to tackle the issue in an episode this fall titled “The Gang Desperately Tries to Win an Award.” The setup: They realize all the other local bars win awards and so they visit the competition to see what they’re doing “right.” Then they change Paddy’s Pub to try and fit the formula. Naturally, the makeover doesn’t go very well.

When the subject was brought up while the gang was on a press tour panel in Beverly Hills on Friday, there was naturally some riffing about this:

“I didn’t even realize the nominations came out until a couple days later,” said co-star Kaitlin Olson. “I was like, ‘oh, it’s a shame again this year.’”

“Gary Oldman hasn’t won an Academy Award,” said co-star Glenn Howerton. “We’re the Gary Oldman of shows.”

“There’s traffic and then you have to put the suit on…” co-star Danny DeVito said.

“You have to do makeup and stuff…” Olson added.

More seriously, creator Rob McElhenney thought that the show’s trajectory may be a reason for being overlooked, too. “We were off the radar for so long, by the time we’re [more visible] in the fifth season, the Emmy voter is thinking, ‘That’s not the new show, it’s the old show,’” he said. “Honestly, we haven’t made a concerted effort to [try to win].”

Other episodes next season include an Flowers for Algernon-inspired episode penned by Game of Thrones showrunners David Benioff and Dan Weiss where Charlie takes a drug that makes him smarter, a Thanksgiving-themed episode where the gang invites all their enemies to dinner, they’re also doing another Lethal Weapon parody, plus Gale the Snail (Mary Lynn Rajskub) and Bill Ponderosa (Lance Barber) are coming back.

*There was one nomination for a minor category: An Emmy nom this year for Outstanding Stunt Coordination for a Comedy Series or a Variety Program, which sounds like a self-effacing joke the show itself would make.


* * * *

TCA Summer 2013 Notes
Billy Bob Thornton cast in FX's 'Fargo'

FX’s adaptation of the film Fargo has found its lead: Billy Bob Thornton will star in the show.

The casting marks the Armageddon and Bad Santa’s actor’s first TV series regular role since his breakout performance in Sling Blade in 1996. That’s actually the same year the Coen brothers released their Oscar-winning Fargo film.

FX has picked up the show for a close-ended 10-episode limited series with Noah Hawley (Bones) writing the script.

The original film followed a pregnant sheriff who unraveled a botched kidnapping plot. But the series tells an entirely different story, with new characters (one is a young deputy in her 20s). Thornton will play Lorne Malvo, “a rootless, manipulative man who meets a small town insurance salesman and sets him on a path of destruction.”

FX Networks CEO John Landgraf said Friday that the show successfully captures the spirit of the film. “It’s hard to describe how remarkably true to the film it is,” he said, noting that when he sent Hawley’s script to the film’s writer-directors Joel and Ethan Coen, the brothers replied “we don’t know how to give notes, can we rewrite it?” But then just sent back “half dozen pages with a few dialogue suggestions.”

“I think people are going to be entranced with that show,” Landgraf said. “[Hawley's] managed to [create] a new version of Fargo that’s its own thing.”

post #88739 of 93856
"Secretariat" Craig Ferguson's Fake Horse is gonna die :frown.gif

TWC has taken off the CBS shows from their cable system due to a money dispute

post #88740 of 93856
Woo hoo, I'm expecting a massive drop in my cable bill now thanks to all the money TWC will save by not paying CBS! No price increase next year! Ain't that right Britt? wink.gif

CBS is still on the air here incidentally.
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