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Hot Off The Press: The Latest TV News and Information - Page 2959

post #88741 of 93720
Originally Posted by Fastslappy View Post

"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


I love how CBS has been heavily advertising that the evil TWC will not grant them a 600% rate increase on their re-trans fees. rolleyes.gif
post #88742 of 93720
Originally Posted by ti-triodes View Post

I love how CBS has been heavily advertising that the evil TWC will not grant them a 600% rate increase on their re-trans fees. rolleyes.gif

I love how every other year TWC rolls over and accepts whatever ridiculous fee ESPN charge without making a big deal about it. rolleyes.gif
post #88743 of 93720
After fee negotiations failed between Time Warner Cable and CBS, the cable provider on Friday blacked out the network for customers in New York, Los Angeles, Dallas, Boston, Detroit, Chicago, Denver and Pittsburgh at 5 p.m. ET NBC News gleefully announces wink.gif

Showtime video stating what has happened

copy & paste I just got in my email box just now below . . . . . (I have DirecTV ) But I'm on Showtime's email as a subscriber smile.gif


Time Warner Cable has taken away Dexter®, Ray Donovan, Homeland and all of your other favorite SHOWTIME programming — all gone! Time Warner Cable and Bright House Networks customers will miss out on new episodes of hit shows, big movies and great sports programs – all because Time Warner Cable decided to drop SHOWTIME, premium channels you chose and paid for.

We gave Time Warner Cable the opportunity to keep SHOWTIME on the air even if an agreement could not be achieved. Time Warner Cable declined this offer.

We take pride in the fact that our networks have never gone dark until now and that our subscribers have never been deprived of their programming. Time Warner Cable, on the other hand, has taken nearly 50 channels off the air in the last five years in disputes like the one we are having right now.


Call Time Warner Cable now and tell them you want SHOWTIME back.


PM me & I'll tell you what happened on Dexter & Ray Donovan this Sunday ! tongue.gif
Edited by Fastslappy - 8/2/13 at 5:50pm
post #88744 of 93720
If only this had happened when NBC had something to put on air. biggrin.gif
post #88745 of 93720
Originally Posted by VisionOn View Post

If only this had happened when NBC had something to put on air. biggrin.gif
Hey at least they will be #2 this weekend Hooray ! eek.gif
post #88746 of 93720
Originally Posted by VisionOn View Post

If only this had happened when NBC had something to put on air. biggrin.gif

post #88747 of 93720
Originally Posted by VisionOn View Post

CBS is still on the air here incidentally.
You're not in an O&O market. Retrans negotiations are between the cable company and the owner of the local television station, not the network.
post #88748 of 93720
Originally Posted by DrDon View Post

Originally Posted by VisionOn View Post

CBS is still on the air here incidentally.
You're not in an O&O market. Retrans negotiations are between the cable company and the owner of the local television station, not the network.

Again, never said I was. You are far too quick jumping to conclusions. What I was saying was that this isn't a total blackout which the majority seem to think.

And because pettiness goes both ways, CBS are now blocking TWC broadband customers from accessing content over the internet.
Edited by VisionOn - 8/2/13 at 8:46pm
post #88749 of 93720
Originally Posted by VisionOn View Post

Again, never said I was. You are far too quick jumping to conclusions. What I was saying was that this isn't a total blackout which the majority seem to think.

And because pettiness goes both ways, CBS are now blocking TWC broadband customers from accessing content over the internet.

post #88750 of 93720
Originally Posted by VisionOn View Post

And because pettiness goes both ways, CBS are now blocking TWC broadband customers from accessing content over the internet.

Why would you expect anything different?

The only way this lunacy stops is if *every* cable and satellite company just says no. Every single time, no exceptions ... otherwise the ratchet wheel on the rack just continues to turn.
post #88751 of 93720
TV/Business Notes
After a Fee Dispute With Time Warner Cable, CBS Goes Dark for Three Million Viewers
By Bill Carter, The New York Times - Aug. 3, 2013

The war between CBS and Time Warner Cable intensified on Friday when the cable company withdrew the CBS stations of its three million customers in markets including New York, Los Angeles and Dallas.

CBS stations went black just after 5 p.m. Eastern time. Both sides then issued statements blaming the other for being unreasonable in the negotiations, which were extended from Monday.

The dispute centers on what are known as retransmission fees, which cable companies have increasingly been compelled to pay to broadcasters, despite vigorous protest. CBS’s president, Leslie Moonves, has been a leader in seeking retransmission fees for broadcasters.

The decision to black out the stations means that Time Warner Cable subscribers will not be able to watch CBS programming until a deal is reached. In the past, subscribers have reacted with anger at such suspensions, but generally because they have missed specific programs. In this case, the summer programming roster does not contain many highly popular shows that might drive a settlement. CBS’s biggest appeal this summer is from the show “Under the Dome,” which will not have a new episode until Monday.

But the network does have the P.G.A. golf championship coming in a week. CBS emphasized on Friday that this week’s P.G.A. event was being led by Tiger Woods, who always draws viewers. And CBS, which broadcasts two soap operas, is also likely to gain support from those viewers.

Further down the road is the N.F.L. season, which might be a driving factor in why Time Warner Cable acted now.

Richard Greenfield, a media analyst who follows the company for BTIG Research, said the cable company was in “a once-in-a-lifetime position” to fight this battle because at the moment it does not face the overwhelming leverage of N.F.L. games and the most popular prime-time shows.

In addition, two top series on the Showtime network, owned by CBS, “Dexter” (which is in its final season) and “Ray Donovan,” are now also off the air, even though customers pay a separate fee for them. Time Warner Cable said it would offer a rebate to Showtime subscribers, as well as access to other subscription channels like Starz.

Time Warner Cable has insisted that the fee increases that CBS is asking for are unreasonable; CBS has argued it provides far more value than many cable networks that require much higher fees. Some reports have said CBS is asking for an increase of about 100 percent, to $2 a subscriber, from $1.

A spokesman for the Federal Communications Commission said that the agency was disappointed that the companies had not reached an agreement. “We urge all parties involved to resolve this situation as soon as possible.”

Despite recriminations on Friday from both sides, the negotiations are expected to resume as soon as Monday. That does not mean a quick settlement is likely, however. Mr. Greenfield said he could foresee CBS’s being dark “six weeks, if not more.” An executive close to the CBS side of the talks predicted 10 to 14 days.

In the meantime, CBS is sending messages on the radio and through other outlets urging viewers to complain to Time Warner Cable. The cable company, for its part, was telling customers to buy an antenna or sign up for Aereo, the new service that offers broadcast signals, and was also urging its customers to watch the missing CBS shows through streaming Web sites.

But for customers with Time Warner Cable broadband on Friday, CBS.com was blocking the streaming of shows, instead posting messages.

In almost every previous showdown over retransmission fees, the cable company’s stand has crumbled in short order. Mr. Greenfield said this time could be different because Time Warner Cable could take steps like appealing to Congress and selling CBS’s channel position to another bidder.

CBS stressed that it had never been taken off the air in a retransmission dispute and that it had not stopped offering extensions to keep the talks going.

Maureen Huff, a spokeswoman for Time Warner Cable, said, “We’ve accepted numerous extensions at this point, but it’s become clear that no matter how much time we give them, they’re not willing to come to reasonable terms.”

Brian Stelter contributed reporting.

post #88752 of 93720
TV Notes
NBC News and Chris Hansen Part Ways
By Michael O'Connell and Marisa Guthrie, The Hollywood Reporter's 'Live Feed' Blog - Aug. 2, 2013

Why don't you take a seat over there? Chris Hansen, the broadcast journalist who famously cornered alleged pedophiles for years on To Catch a Predator, is now a free agent.

NBC News confirms to The Hollywood Reporter that the Emmy-winning reporter's contract has not been renewed -- as first reported by TV Guide. Hansen's exit marks an end to a 20-year career with NBC. His time as a correspondent included Dateline coverage of breaking news events such as the Oklahoma City bombing, the Columbine shootings, the Unabomber and the crash of TWA Flight 800.

But in the wake of To Catch a Predator's conclusion and Dateline's move from breaking news to narrative murder mysteries and true crime, Hansen has seen his screen time diminished. NBC News also backed off on the controversial-but-popular Predator and its Dateline segments when the subject of one of its investigative pieces -- in which Hansen interrogated sexual predators on the show found online by the watchdog group Perverted-Justice -- committed suicide during a taping.

NBCUniversal ended up "amicably resolving” a $105-million lawsuit brought on by the man's sister.

Hansen, who could not immediately be reached for comment, is said to be moving on to hosting and producing projects to be announced. A seven-time Emmy winner and the recipient of four Edward R. Murrow Awards, he was most recently the subject of a tabloid scandal focused on his personal life.

post #88753 of 93720
TCA Summer 2013 Notes
Kathy Bates Tackles Serial Killer Socialite, Angela Bassett Plays Voodoo Priestess In ‘American Horror Story: Coven’
By Lisa De Moraes, Deadline.com - Aug. 2, 2013

Kathy Bates will play Louisiana-born socialite and serial killer Marie Delphine LaLaurie in Ryan Murphy’s American Horror Story: Coven debuting in October. Bates’ character was a big wheel in New Orleans until a fire broke out in her house in 1834 and people responding to help discovered bound and tortured slaves inside. Angela Bassett, meanwhile, will play Marie Laveau, a Louisiana Creole and Voodoo priestess who also lived in New Orleans in the 19th century. Jessica Lange will play a witch named Fiona, and Sarah Paulson will play her daughter, Cordelia. And no, it’s no coincidence Paulson’s character has the same name as King Lear’s good daughter — the one who winds up dead after Dad goes mad, AHS exec producer Tim Minear told TV critics at TCA Summer TV Press Tour 2013 this afternoon. Minear appeared onstage with Lange, Paulson, Bates and Bassett, and noted this is just part of the Coven cast, which he described as a “murders’ row of actresses.” Other names reportedly signed on for the coming season include Patti LuPone, Francis Conroy, Gabourney Sidibe, and Lily Rabe.

“The cast is off the hook — we could have gotten George Cukor to direct,” Minear joked — a reference to the director of classic late 1930s flick The Women with its all-female cast and based on the Clare Boothe Luce play of same name. This year’s AHS will look at “bigger themes” of oppression of minorities, and minority groups going after each other and doing the work of the larger culture,” Minear hinted. There is also a strong “feminist theme” running through AHS: Coven, he said. And a higher “fun quotient” this coming season than last, which has been set in an asylum. The fun quotient, he said, “might be a little more welcoming to an audience” than last season.


* * * *

TCA Summer 2013 Notes
‘The Bridge’ Producers Haven’t “Decided Which Path” FX Series Will Take
By The Deadline.com - Aug. 2, 2013

Diane Haithman contributes to Deadline’s TCA coverage.

As its 13 first-season episodes are wrapping production, executive producers of FX’s The Bridge assured today’s TCA crowd that the Texas-U.S. bordertown crime drama will not fall into the formula of solving one crime per season. The murder mystery in Season 1 will wrap up “even before the end of the season,” said executive producer Elwood Reid, who with EP Meredith Stiehm developed the series based on the Danish/Swedish series Bron. Of the second season, Reid said: “There won’t be one big crime. We are not going to have the killer of the season every year.” Stiehm said that, for the first season, the producers had the 10 episodes of Bron to use as a road map but “then we got to a place where there was no guide…we have not decided which path we start on yet.”

Oscar-nominated Mexican actor Demian Bichir (who stars with German Diane Kruger and American Annabeth Gish) was asked why there were not more Latinos on American TV. “I don’t know. There’s one fact that is really crucial in this economy, at least in California: We spend a lot of money. Mexicans, Latins, Hispanics — we shop,” the actor said. “So advertisers need more windows to [introduce] their products.” Bichir added he has been surprised by the lack of Latinos on TV. “We have a lot of great stories to tell. I wouldn’t be surprised if we see more in the future,” he said. The producers called it a “happy accident” that they were developing their Mexican border-themed series at the same time FX was already looking into that arena.

Kruger portrays a different minority: Her character, Detective Sonya Cross, has Asperger’s syndrome. Her condition remains mysterious during the first episodes, a move the the producers called deliberate. “We really strongly liked the idea that the original is bold enough not to define it,” said Stiehm, adding that in real life people don’t say: “Hello, I’m Sonya and I have Asperger’s.” Added Reid: “This is cable, where we don’t have to hold the audience’s hand, explain every little thing.”

The Bridge has gotten off to a strong start for FX. The series premiere July 10 drew 3.04 million viewers the first night, a number that grew to 4.64 million viewers when DVR viewing was factored in — making it the network’s most time-shifted new series debut to date. Inclusive of Live+7 ratings, the premiere delivered 5.07 million total viewers and 2.17 million adults 18-49. The viewership total makes it the second-most-watched series premiere in FX history behind The Americans.

post #88754 of 93720
TCA Summer 2013 Notes
Kathy Bates on NBC: ‘They Treated Us Like ****
By AJ Marechal, Variety.com - Aug. 2, 2013

Kathy Bates had harsh words for the Peacock during the FX panel for “American Horror Story,” stating that NBC “disrespected” the now-defunct legal drama “Harry’s Law.”

“They disrespected us, and our seven to 11 million viewers,” the thesp angrily said to the TCA journos. “They treated us like **** and kicked us to the curb.”

The David E. Kelley drama, which bowed on NBC in January 2011 and starred Bates, was canceled after two seasons on the net. It averaged around 11.5 million viewers during its first run, and just under 9 million during its second. Show was also picked up several Emmy noms.

“I think they’re getting what they deserve this year,” Bates continued, referring to NBC’s slumping ratings and difficulty in launching new dramas. “Thank you.”

Bates, who also recurred on NBC’s “The Office” stars on the third season of FX anthology “American Horror Story.”

post #88755 of 93720
TCA Summer 2013 Notes
'Sons of Anarchy' Premiere Will Genuinely Shock People
By Tim Molloy, TheWrap.com - Aug. 2, 2013

"Sons of Anarchy" returns with a Season 6 premiere next month that is going to shock people. We won't say what it is, but will say this: We're very surprised the show goes where it goes.

Speaking at a Television Critics Association panel Friday, creator Kurt Sutter said he talked with FX CEO John Landgraf about the storyline, which draws from hotly debated recent events. (And that's all the description we'll give.) Landgraf is know for giving his showrunners more creative freedom than they would likely get elsewhere.

Also read: Kurt Sutter Attacks TV Bloggers -- Our Rebuttal and His Response

"This is a story that I've wanted to do for a while and although it's controversial I wasn't not going to tell it because of that," he told TheWrap.

Sutter is known for pushing boundaries -- have you read his @sutterink tweets? -- and the storyline in the Sept. 10 episode promises to go further than ever.

"This is a story that is not being done to be sensational. I'm hoping that it's not spoiled and it's not leaked out in any capacity before the premiere, and that it is truly the catalyst for the final act of our morality play," Sutter said.

So don't Google SOA spoilers, okay? Sutter will tell the story better than that grumpy blogger can, and Sept. 10 is just over a month away.


* * * *

TCA Summer 2013 Notes
W. Kamau Bell on What White People Can Bring to Race Discussions
By Tim Kenneally, TheWrap.com - Aug. 2, 2013

How can the discussion about racism in America be enriched?

According to "Totally Biased" host W. Kamau Bell, the answer is a little less conversation.

The comedian, who's show returns in a new nightly format to FX offshoot network FXX on Sept. 4, offered his thoughts on the topic when asked at the Television Critics Association on Friday.

"I think what's missing from the dialog on race is white people doing this," Bell offered, before nodding silently. "I feel like every white person should practice that. that's your 'listening to racism' face. You need to listen to the story before you come to the conclusion."

"I feel like a lot of times the worst thing a white person can say to a person of color is, 'I don't think that's racist,'" Bell continued, adding, "You can have an opinion, but you cant have the final word."With "Totally Biased" ramping up its production from its previous weekly incarnation on FX, Bell discussed the various changes that the new format would entail, such as the need for more guests. Bell offered his thoughts on who he'd like to bring aboard, and it was quite the varied dream assemblage.

"I have a wish list. If our first week could be Denzel Washington, Joel Osteen, Rush Limbaugh and Oprah, I'd be pretty happy," Bell said. "So can you put that out there for me?"

That diversity, he said, will hopefully extend to the correspondents' roster as it's fleshed out with the new nightly format.

"We're currently scouting black women; that's a voice we've been missing," Bell noted. "I'm not trying to necessarily be the United Colors of Benneton, but I do understand that if something happens in the news with a Chinese person, it would be great to have a Chinese person address that thing."

While his late-night profile will be upped with the increase of episodes, Bell dismissed notions that he'll be put in competition with fellow late-night personalities such as Jay Leno and Jimmy Kimmel. And he's particularly happy about the return of Arsenio Hall to the late-night airwaves this fall.

"I'm so happy that Arsenio's coming back, believe me," Bell enthused. "Because he gets to take all of that black-guy-on-late-night heat that I feel I was taking a little bit of."

post #88756 of 93720
Critic's Notes
'Dobie Gillis,' 'Awesomes,' 'Casting By,' 'Broadchurch'
By Robert Lloyd, Los Angeles Times - Aug. 1, 2013

"The Many Loves of Dobie Gillis" (Shout Factory DVD). One of television's great comedies, collected completely: 20 discs, 147 episodes, immaculately transferred, compactly packaged. I mean to get around to speaking of its virtues at length in some future piece, but briefly: For all that we are living in a so-called Platinum Age of Television -- somebody said that once, and it seems to have stuck -- when personal expression is the order of the day, TV has 1) always been a writer's medium, expressive of individual vision, and 2) never lacked for talent. They may have had narrower lines and stricter rules to deal with in the olden Golden days, the envelopes may have not been the sort you could push very far -- as if that were a good in itself -- but works of pop genius, even crazy pop genius, are not exclusive to the post-"Sopranos" TV era. "The Many Loves of Dobie Gillis," the 1959-1963 CBS series in which Max Shulman adapted his short story collection of the same name -- a movie version, the 1953 "The Affairs of Dobie Gillis," with Bobby Van is less well remembered -- starred Dwayne Hickman as a perennially lovestruck high school (then a junior college) student. While the series nestled in the common settings of teenhood -- school, home, park, malt shop and the grocery store run by Dobie's parents, played by the alliteratively paired Frank Faylan and Florida Friebus (despairing and doting, respectively) -- it had a slightly surreal edge, and ran on highly musical dialog that mixed the archaically formal with contemporary (and invented) vernacular. Phrases like "not a smidgen of an iota of a chance" and "grapple me to your bosom" and "Unhand me, wench." The show is probably best known for Bob Denver's Maynard G. Krebs, America's sweet-tempered beatnik, but also featured, in its first year at least, Tuesday Weld as the money-minded Thalia Menninger and Warren Beatty as rich-kid Milton Armitage (replaced by Steve Franken's rich-kid Chatsworth Osborne, Jr.). Steadfast through the series was Sheila Kuehl (then Sheila James, later a California state legislator) as the smart and determined Zelda Gilroy, whom Maynard calls Small Girl and whose passion for Dobie is her great blind spot: "He’s weak and bewildered and helpless; he needs me to guide his faltering feet." Some of these characters provided the model for the Scooby Gang, it has been acknowledged: Maynard for Shaggy, Zelda for Velma, Dobie for Fred, Thalia for Daphne.

"The Awesomes" (Hulu). The attack of the streaming networks continues, with two new Hulu series produced in-house: the animated superhero comedy "The Awesomes" and the semi-improvised Western comedy "Quick Draw." Both perform that half-twist, familiar from Adult Swim's "Venture Brothers" and Comedy Central's "NTSF:SD:SUV::" and FX's "Archer" and Joss Whedon's "Dr. Horrible's Sing-Along Blog," not to mention a pack Mel Brooks films before them, in which heroes and villains are cast in an ordinary light, leading lives of banality, trivia and confusion. Starring and co-created by Seth Myers (with "Saturday Night Live"/"Jimmy Fallon" producer Michael Shoemaker), "The Awesomes" is a cartoon about a team of reject superheroes led by Myers' weak but smart Prock (for "professor doctor") in the wake of his famous superheroic father's leaving Earth to get some reading done. (It's "The Bad News Bears," formally, as so much is.) "Our bar is lower," teammate Muscle Man (Ike Barinholtz of "The Mindy Project") suggests as a motto. (His stopping for felafel on the way to a battle is a typical gag.) The marquee cast includes "SNL" personnel Taran Killam, Emily Spivey, Paula Pell, Kenan Thompson (as a hero who can embody his thoughts, but only in the form of his smothering mother) and Bill Hader as smooth, Montalbanesque supervillain Dr. Malocchio. As crush object Hotwire, Rashida Jones lights up the soundtrack, if such a synesthetic figure may be allowed; that Ann Perkins sweetness comes through. Given the talent, the jokes can be surprisingly creaky, but it's amiable enough. ("The Powerpuff Girls" was more radical.) It has an adult bent (bleeped expletives, sexual situations, a planet where everyone has breasts for eyes, some blood, a cute little lion-cub villain declaring "Silence, whore, or I will rip your throat from your gullet"). I suppose that's the point, but with a little surgery -- those aren't the best jokes in any case, and there aren't so many of them that the show would fall to pieces with their removal -- "The Awesomes" might be Fun for the Whole Family. And might be in any case, of course, depending on your family.

"Casting By" (HBO, Monday). To someone who spends his life watching television -- professionally, friends, professionally -- it seems self-evident that casting is, if not, everything, then ... nah, it's everything. No idea, no matter how clever, no script, no matter how well written or directed, can flourish when the actors are wrong for the parts, or even not sufficiently right. The great casting directors can look into the future; they see before a film or pilot is made what everyone else will see afterward. Tom Donahue's zesty, clip-filled, start-studded documentary focuses on casting genius Marion Dougherty, whose career began in the beginnings of television, when it was a New York enterprise that looked to the theater, and took her eventually to Hollywood and executive positions at Paramount and Warner Brothers. She helped start the screen careers of James Dean, Robert Redford, Jack Lemmon, Robert Duvall, Glenn Close and Diane Lane; she suggested Jon Voight and Dustin Hoffman for "Midnight Cowboy," sent Gene Wilder in for Willy Wonka and matched Danny Glover with Mel Gibson in "Lethal Weapon." But it looks around in the process, especially to her Hollywood counterpart Lyn Stalmaster, the first casting director to get his own title card in an opening credit -- he was certainly the first casting director whose name I recognized the way I would a cinematographer or costume designer, though I also thought he was a she. (And this is, we learn, a professional dominated by women -- many trained by Dougherty.) Actors discuss their early failures and big breaks. It's also a story of changes in megacorporate Hollywood, with its desire for prettiness above all else. And Taylor Hackford, then president of the Directors Guild, appears as the spoiler, who believes only directors should be called directors of anything at all, in movie credits, and that people who cast ("casting people") should not receive Oscars -- they don't -- because, because, because, because. Because he makes the decision. Other directors, including Woody Allen, Clint Eastwood, Martin Scorsese and George Roy Hill, with whom Dougherty worked repeatedly, prove less threatened by this well-established semantic convention.

"Broadchurch" (BBC America, Wednesdays). Premiering this week and already announced for an American remake. (This is the proverbial well enough that wants to be left alone.) A detective serial set on the dramatic Dorset coast, it stars David Tennant as a big-city cop in retreat from a previous public failure who winds up in the job Olivia Coleman had thought was hers. Immediately, there is a dead child at the bottom of a beachside cliff. There's much here that's standard for the genre: antagonistic partners learning to work together, ambitious journalists getting in their way, the dour mood that has become de rigueur for prestige crime series. And I have some thoughts about the ending we can discuss privately later. But the sense of place, quality of performance and natural dialog quash most qualms. (The seaside small town setting and richly pictured locals make it kind of like downbeat "Doc Martin.") Tennant, bearded and dark and seemingly thinner and pointier than ever, keeps memories of his beloved Tenth Doctor at bay; Coleman, who has a long history in British comedy (you can watch her now on Hulu as the sparky wife of Tom Huddleston's "Rev"), is wonderful as a policewoman, wife, mother and mourner torn this way and that. Some other "Who" connections: Euros Lyn, who directed Tennant there, directs some episodes here, and Eleventh Doctor companion Arthur "Rory" Darvill appears as the local vicar -- suspicious, because that's just how it goes with vicars now. Plus another great performance from David Bradley (who'll play First Doctor William Hartnell in the upcoming docudrama "An Adventure in Space and Time"), as a man who keeps a shop, and (like everyone here) a secret.

post #88757 of 93720
TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)

8PM - Zero Hour
9PM - Zero Hour (Series Finale)
9PM - 20/20: The Sixth Sense
(R - Oct. 26)

8PM - The Mentalist
(R - Nov. 4)
9PM - 48 Hours
10PM - 48 Hours

8PM - American Ninja Warrior
(R - Jul. 29)
9PM - WrestleMania: The World Television Premiere
10PM - Do No Harm
* * * *
11:29PM - Saturday Night Live (Anne Hathaway hosts; Rihanna performs; 93 min.)
(R - Nov. 10)

8PM - Soccer - Guinness International Champions Cup, Semifinal: Real Madrid vs. Everton (LIVE)
* * * *
11PM - Axe Cop
11:15PM - High Schol USA!
11:30PM - Axe Cop
(R - Jul. 27)
11:45PM - High School USA!
(R - Jul. 27)
Midnight - The Cleveland Show
(R - Apr. 28)

(check your local listing for starting time/programming)
8PM - Austin City Limits: Fleet Foxes; Joanna Newsom (R - Jan. 21, 2012)

8PM - Sábado Gigante (3 hrs.)

7PM - Movie: Transporter 3 (2008)
9PM - Movie: Second in Command (2006)
post #88758 of 93720
Originally Posted by dad1153 View Post

TCA Summer 2013 Notes
Kathy Bates on NBC: ‘They Treated Us Like ****
By AJ Marechal, Variety.com - Aug. 2, 2013

Kathy Bates had harsh words for the Peacock during the FX panel for “American Horror Story,” stating that NBC “disrespected” the now-defunct legal drama “Harry’s Law.”

“They disrespected us, and our seven to 11 million viewers,” the thesp angrily said to the TCA journos. “They treated us like **** and kicked us to the curb.”
Kelley's gotta share some responsibility for this. The first season with the street-level law office and shoe shop was quirky fish-out-of-water fun. Then they converted it into "Ally McBeal" for the second season.
post #88759 of 93720
Originally Posted by DrDon View Post

Kelley's gotta share some responsibility for this. The first season with the street-level law office and shoe shop was quirky fish-out-of-water fun. Then they converted it into "Ally McBeal" for the second season.
More like " Ally McBeal on a Soapbox " rolleyes.gif
post #88760 of 93720
Originally Posted by DrDon View Post

Kelley's gotta share some responsibility for this. The first season with the street-level law office and shoe shop was quirky fish-out-of-water fun. Then they converted it into "Ally McBeal" for the second season.

Perhaps the change (which I didn't like much either) was at the insistence of NBC?
post #88761 of 93720
Originally Posted by dad1153 View Post

TV/Business Notes
After a Fee Dispute With Time Warner Cable, CBS Goes Dark for Three Million Viewers
By Bill Carter, The New York Times - Aug. 3, 2013

CBS stressed that it had never been taken off the air in a retransmission dispute and that it had not stopped offering extensions to keep the talks going.

CBS took its O&Os off Dish for a few days in 2004, in a retransmission dispute.
post #88762 of 93720
Critic's Notes
TCA Awards Highlights: Louis C.K., Chuck Lorre Have Eyes on the Prize
By Jon Weisman, Variety.com - Aug. 3, 2013

The running gag at Saturday’s TCA Awards was for the winners to weigh on on how crappy the actual trophy was, but regardless, it was a night to appreciate and be appreciated.

Louis C.K., receiving his individual comedy achievement award in person from the Television Critics Assn. after accepting the same prize on video a year ago, was the first to comment on the keepsake.

“My favorite part is when I open a diner, I can put the drink specials in this,” he said in all good humor. “It’s literally a plastic piece of **** with a paper stuck in it.”

Exec producer Chuck Lorre, of comedy series co-winner “The Big Bang Theory,” agreed – “Yeah, it’s ******”– but co-winner Michael Schur of “Parks and Recreation” kindly offered, “I think it’s fine.”

While thanking the TCA, Lorre also had counterpoints for C.K., who thanked members for their role in keeping shows alive, and to exec producers Joe Weisberg and Joel Fields of new program honorees “The Americans,” who described how they stayed up into the wee hours reading every word blogged and tweeted about their show after each episode.

“If I had followed all the tweets, I would have hung myself years ago,” Lorre said, before turning to C.K. “They can also sneak into the nursery and kill the baby. Your write a show and it’s called putrid, it sticks with you. The word lingers.”

A capper on the night was when Norman Lear and Rob Reiner, receiving the TCA Heritage Award for “All in the Family,” reenacted scenes from the recent documentary “Our Nixon” that included the late president’s fixation with the depiction of homosexuality on the famed 1970s comedy.

Things got off to a first-rate start with an hysterical opening sequence by hosts Keegan-Michael Key and Jordan Peele, in their “Key & Peele” guise as President Obama and his anger translator, Luther. At one point, the pair noted how much secret information Wikileaks had compiled, but “they couldn’t get them Netflix ratings, though.”


* * * *

Critic's Notes
‘Breaking Bad’ Voted Top Program at TCA Awards

“Breaking Bad” was named program of the year by the Television Critics Assn. at the 29th annual TCA Awards on Saturday at the Beverly Hilton.

Last year’s program of the year, “Game of Thrones,” was honored for achievement in drama, while “The Big Bang Theory” and “Parks and Recreation” shared kudos for comedy.”

“Shark Tank” grabbed reality honors, while doc “The Central Park Five” was tops in news and information and “Bunheads” best in youth programming.

“The Americans” earned the award for top new program; “Behind the Candelabra” did the same for achievement in movies, miniseries and specials.

Among individuals, Tatiana Maslany of “Orphan Black” and Louis C.K. of “Louie” followed their Critics Choice Television Awards in June with individual achievement honors in drama and comedy at the TCAs. For C.K., it was his second consecutive TCA win in that category.

Barbara Walters was honored with the TCA’s career achievement award, and “All in the Family” was bestowed with the Heritage Award.

FX and HBO each won two awards, as did ABC if Walters’ award is counted. In addition to the Heritage Award, CBS won one kudo and shared another,

More than 220 journalists are members of the TCA, which is in the midst of its summer press tour. Keegan-Michael Key and Jordan Peele of Comedy Central’s “Key & Peele” hosted the kudofest.

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John Palmer, NBC News Veteran, Dies at 77
By Aaron Couch, The Hollywood Reporter - Aug. 3, 2013

John Palmer, the journalist whose career with NBC News spanned 40 years, has died. He was 77.

Palmer died after a brief illness Saturday, NBC News announced.

“We are deeply saddened to share the news that we have lost a valued friend and colleague," NBC News said in a statement. “John was a brilliant, brave, and tireless journalist who guided viewers through many of the most significant events of the past half-century – from the early days of the civil rights movement through the tragedy of 9/11."

Palmer joined NBC News in 1962 and stayed with the network through 1990. He rejoined in 1994 and was with the network until his retirement from journalism in 2002. He most recently served as a national news correspondent based in Washington, D.C. During his career, he served as Today news anchor from 1982-1989. Before that, he was NBC’s White House correspondent during the Carter and Reagan administrations. Palmer earned a number of awards during his career, including an Emmy Award for his reporting on the African famine.

On April 25, 1980, Palmer reported from the White House lawn to break the news of the aborted rescue attempt of American hostages held in Iran. That story and the following coverage made him the first broadcast journalist to earn the White House press corps' Merriman Memorial Award for Excellence in Presidential news coverage. Palmer also anchored the first hours of coverage of the Challenger Space Shuttle tragedy on January 28, 1986, and other special reports.

Before covering the White House, Palmer was based in Paris from January 1976-September 1979. Previously, he was based out of Beirut, where he covered the 1973 Arab-Israeli war, the Arab oil embargo, the war in Cyprus and the civil war in Angola.

"His kindness is remembered by all of us, and it built lasting bonds throughout our news division," the NBC News statement continued. “John held many positions over the course of his long career with NBC News, but his most treasured role was that of husband and father. Our love and support are with Nancy, Molly and Lee, Carter, Hope, and the entire Palmer family.”

Palmer was from Kingsport, Tennessee, and graduated from Northwestern University before earning his Master’s Degree from Columbia University.

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FRIDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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Nielsen Overnights
‘America’s Next Top Model’ Back Strong, ABC Wins Night
By Dominic Patten, Deadline.com - Aug. 3, 2013

On a Friday night ruled by repeats, news magazine shows and nothing at all if you have Time Warner Cable and wanted to watch CBS in LA, NYC, Dallas and several other markets, there still was a bit of glam to be found on TV thanks to the CW. Returning for its 20th season, America’s Next Top Model (0.6/2) was back last night. Not only is this year the Tyra Banks-lead show’s 10th anniversary but it was also the first time the show has had more than 14 contestants and the first time male models have competed as well. And that must have held some attraction because AMTM: Guys & Girls was up. Last night’s two-hour premiere rocketed up 50% among adults 18-49 from the show’s August 24, 2012 debut. While it cut contestants from 35 to 16 in the first show, ANTM was also up the same percentage among the 18-34 demo as well for the show’s best results since its Season 17 debut in September 2011. In terms of total viewership, last night’s premiere pulled in 1.57 million. That’s also up compared to the 1.1 million who watched Season 19’s debut last year.

On the Big 4 it was a mix and match with ABC and NBC running some originals and CBS and Fox all repeats. With originals of Would You Fall For That? (0.9/3) and 20/20 (1.1/4), ABC won the night among Adults 18-49 with a 1.1/4. WYFFT was up a tenth from last week while 20/20 rose three tenths. NBC, who aired a two-hour Dateline (1.0/3), was tops in terms of total viewers with 4.5 million watching. Though down a tenth from its July 27th show in the demo, Dateline was the most watched show of Friday’s primetime with 5.28 million viewers and an 8 PM Shark Tank (1.2/5) encore was the highest rated show of the night.

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TV/Business Notes
Nickelodeon on the Mend, Profit Soars at Viacom
By Brian Stelter, The New York Times - Aug. 3, 2013

Nickelodeon’s resurgence and a new online streaming deal with Amazon contributed to a 20 percent increase in profits at Viacom in its latest financial quarter of the year, the company said on Friday.

“Nickelodeon is clearly on the way back, with new live-action and animated hits that fueled robust ratings,” the Viacom chief executive, Philippe Dauman, said.

Ratings have been stabilizing at Nickelodeon, Viacom’s all-important children’s network, nearly two years after a sudden plunge that hurt the company’s ad sales and stoked concerns about future growth. Mr. Dauman said the month of July was Nickelodeon’s “sixth straight month of year-over-year ratings growth.”

Revenue at the company’s media networks division, which includes Nickelodeon and other cable channels like MTV and Comedy Central, increased 13 percent to $2.57 billion in the quarter, exceeding analysts’ expectations. But the results weren’t quite as bright at Paramount Pictures, the company’s filmed entertainment division. Revenue there was up 15 percent to $1.16 billion, but profits tumbled by more than half, largely, Viacom said, because of the timing of two film releases, “Star Trek Into Darkness” and “World War Z.”

“Next quarter will show significant profitability for Paramount, including from these two films,” Mr. Dauman told analysts in an earnings conference call. “But it will likely be moderately less than we anticipated due to the crowded tentpole schedule this summer and the delay of certain film licensing deals into next fiscal year.” Over all, Viacom reported net income of $643 million, or $1.31 a share, up from $534 million, or $1.01 a share, in the same quarter a year ago.

How pleased was the Viacom chairman, Sumner M. Redstone? For the second quarter in a row he called Mr. Dauman “the wisest man I have ever known” on the earnings call.

Analysts were impressed by Viacom’s 6 percent year-over-year increase in domestic advertising sales and its prediction of further increases in the summertime. The significance of digital distribution was underlined by a 28 percent increase in what Viacom calls domestic affiliated revenue, which includes new services like Amazon and Hulu. Mr. Dauman, like his rival chief executives at other major media companies, reiterated his view that the market for digital distribution was strong and growing.

Viacom also said on Friday that it would return yet more capital to shareholders by increasing its stock repurchase program to $20 billion, from $10 billion.

Reacting to that announcement, a Morgan Stanley analyst, Benjamin Swinburne, wrote in a note to investors on Friday morning that “four years after the recession, the media industry continues to be more aggressive optimizing portfolios (through spinoffs and M.& A.) and their balance sheets through higher return-of-capital levels.” Viacom, he said, “has now just raised the bar for the group.”

Viacom stock, which has gained 50 percent so far this year, closed at $79.17 on Friday, up more than 6 percent from its previous close.

But, citing concerns about debt, Moody’s Investors Service downgraded Viacom’s long-term ratings to Baa2, from Baa1.

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TV Review
Slow plot development doesn't help 'The White Queen'
By Rob Owen, Pittsburgh Post-Gazette - Aug. 4, 2013

Remember when "The Tudors" arrived on Showtime in 2007 and a European costume drama on cable seemed like a decadent, unusual treat? How times change.

In just six years, such royal programming has become common.

Showtime followed up with "The Borgias," Starz attempted "Camelot," HBO commissioned "Game of Thrones," this fall The CW introduces a Mary Queen of Scots story with "Reign" and this week Starz debuts "The White Queen" (9 p.m. Saturday).

Even if a certain style of programming is less than fresh, that doesn't make it unworthy; but just as some viewers feel crime drama fatigue after the third iteration of "CSI," folks who like costume dramas may feel a little exhausted after the umpteenth "Tudors"-inspired show.

The good news: "The White Queen" gets off to an entertaining start. The bad news: In subsequent episodes it gets bogged down in then-this-happened, then-that-happened jumps through history.

Set in 1464 England -- pointedly before the beginning of the Tudor dynasty -- "The White Queen" is based on the historical novel series "The Cousins War" by Philippa Gregory, specifically the books "The Red Queen," "The White Queen" and "The Kingmaker's Daughter."

Elizabeth Woodville (Rebecca Ferguson), a commoner whose family was devoted to the House of Lancaster, seeks out the House of York's King Edward IV (Max Irons) for help after her husband was killed in battle fighting against the Yorks. Edward takes an interest in Elizabeth, almost rapes her and then marries her in secret.

Their union does not sit well with Lord Warwick (James Frain, "The Tudors"), aka "The Kingmaker," who had been eyeing a French bride for an alliance. Snub the Kingmaker at your own peril.

Edward's mother, Duchess Cecily (Caroline Goodall), also disapproves of her son's marriage, which brings out a fierceness in Elizabeth's spell-casting mother, Jacquetta (Janet McTeer, "Albert Nobbs"), prompting her to scold the Duchess: "I believe you do know the proper custom when presented to the queen of England is to curtsy."

These calculated, back-biting zingers make "The White Queen" zip along, but when they're absent, the story drags.

A strong focus on female characters distinguishes "The White Queen" from its predecessors. While the men are nominally in charge, it's the power broker women who really drive the plot.

In addition to Elizabeth, the White Queen, the story also tracks Margaret Beaufort (Amanda Hale), the Red Queen, a York-loyal, crazy-eyed religious zealot who thinks her son, Henry Tudor (Reece Pockney), has been ordained by God to become king. Her husband is less certain.

"Edward is also anointed by God, so how should he know which one to pick? Perhaps God is confused and doesn't know himself," Sir Henry Stafford (Michael Maloney) says.

Kingmaker's daughter Anne Ne-ville (Faye Marsay), the third woman who takes a leading role, delighted in playing queen as a child with her sister, Isabel (Eleanor Tomlinson), before experiencing some horrific unintended consequences of having to flee to France.

While the upcoming CW drama "Reign" takes this genre in a more fun and youthful direction by incorporating modern music and a quick pace, "The White Queen" offers traditional storytelling that may satisfy costume drama fans depending on their tolerance for plodding plots.

When: 9 p.m. Saturday, Starz.

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TV Reviews
Noir Down Under
By Sohrab Ahmari, Wall Street Journal

A debt collector knocks on the door of a ramshackle bungalow in a quiet suburban development. He is let in, only to be greeted by a World War-II era pistol pointed at his face. But the gunman is shaking from the combined effects of age and alcohol, allowing the debt collector to smack the firearm out of his hand and lock him in a bedroom. After locating the money he came for, the debt collector calls an associate with the good news, wryly adding that next time, "I wouldn't mind being warned about the armed and the desperate."

The collector is Jack Irish (Guy Pearce), the eponymous antihero of this intelligent, hard-boiled thriller set in Melbourne, Australia. It's the first episode in a series based on the novels of Peter Temple, Australia's answer to James Ellroy. "Jack Irish: Bad Debts" aired Down Under last year and is now finding a U.S. audience online thanks to AcornTV.

Jack is a criminal-defense lawyer by training who abandoned the profession after a client, enraged by what he saw as an inadequate courtroom performance, shot and killed Jack's gorgeous new wife before turning the gun on himself with the words, "You're listening now, Jack!" Ever since, he's been adrift, surviving on strong drink, whiling away his time betting on horses and building cabinets, and cashing in on his seedy connections to support a new career as a debt collector and private eye.

This sad existence is interrupted when another former client, a newly released convict named Danny McKillop (Simon Russell) is killed by police in the dead of night after leaving multiple harried voicemails for Jack. The official explanation is that Danny pulled a gun on the cops. Awakened from his moral stupor, Jack suspects still fouler play. Years ago, Jack (unsuccessfully) defended Danny against hit-and-run charges arising from the death of a housing activist who had been leading protests against a big new development. Could sinister forces have run down the pestering activist, framed Danny for it and returned to eliminate him?

Of course they could have. This is a classic noir, and we quickly identify the bad guys: an alliance of corrupt officials, greedy developers and clergymen with a taste for underage flesh. For Jack and his journalist sidekick/lover, Linda (Marta Dusseldorp), the question that matters isn't whodunit, but how and why. The answer is complicated—too complicated—and it takes longer than necessary to get there (104 minutes to be exact). It involves labyrinthine business arrangements, hidden photographs, fake lottery winnings and a Nat "King" Cole album.

A few of the subplots are a little weak. When he's not unraveling murderous conspiracies, Jack apprentices with Charlie (Vadim Glowna), a cabinetmaker who dispenses cringe-inducing homespun advice: "Until you make something nice out of it, it's only a piece of wood." Perhaps the character is fleshed out in greater detail in later episodes or in the novels. Here, however, the Charlie sequences merely baffle.

But if the show's pacing and character development aren't as crisp as they should be, "Jack Irish" more than compensates with terrific atmospherics and solid acting. Like "Chinatown" and other American noirs whose spirit it channels, most of the action here takes place in well-lit exteriors, rendering the evil it depicts all the more terrible. Deserted cityscapes provide an eerie backdrop for the conclusion's rapid-fire action sequences. "Jack Irish" also benefits from Mr. Pearce's and Ms. Dusseldorp's understated and good-humored performances; the larger cast of characters, especially Jack's shady racetrack partners, provide additional comic relief.

One final note. Almost everyone here speaks with a heavy Australian accent, in addition to which there is much slang that will be unfamiliar to U.S. viewers. But this isn't a major cause for concern. Noir is an international language.

Acorn.TV (Streaming)

* * * *

"One of the first things I learned is never to ask a man why he's in a hurry," says Robert Mitchum's gangland middleman in "The Friends of Eddie Coyle," the great 1973 movie about the Boston underworld. The Boston bookies and loan sharks on parade in the Discovery Channel's "Saint Hoods" are all in a hurry, too, but the series explores their activities in a stale, uninspired reality-TV format.

"The city of Boston has always been run by neighborhood crews," a shadowy figure explains in the show's opening sequence. The three main "crews" are centered in the neighborhoods of South Boston, Dorchester and Roslindale. The "Southie" crew, the largest and most powerful of the three, is run by Pat Nee, who has served long prison stints for shipping weapons to the Irish Republican Army and for participating in an armored-truck robbery. He's also supposedly a rival of Whitey Bulger, the criminal mastermind and FBI informant currently on trial in Boston for 19 murders and much, much more.

Most of the other characters are small-time low-lifes who seem to revel in playing Al Capone in front of the camera. There's "Tin Man" from Dorchester, who dourly informs us that "When the s— hits the fan, I got no heart, I take care of business." There are surly bartenders and sultry "neighborhood girls." There is, too, much talk of mayhem and assault, but only hints of it appearing onscreen. "Saint Hoods" is neither in-depth enough to qualify as a serious documentary exposé nor contrived enough to rise to the level of good crime fiction.

Friday nights on The Discovery Channel

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TV Notes
On The Air Tonight
SUNDAY Network Primetime Options
(All shows are in HD unless noted; start times are ET)

7PM - America's Funniest Home Videos
(R - Mar. 10)
8PM - Secret Millionaire (Season Premiere)
9PM - Whodunnit?
10PM - Castle
(R - Feb. 11)

7PM - 60 Minutes
8PM - Big Brother SD
9PM - Unforgettable
10PM - The Mentalist
(R - Mar. 10)

7PM - America's Got Talent
(R - Jul. 31)
8PM - NFL Football, Hall of Fame Game: Dallas Cowboys vs. Miami Dolphins (LIVE)

7PM - American Dad
(R - Mar. 24)
7:30PM - The Simpsons
(R - Feb. 10)
8PM - The Simpsons
(R - May 5)
8:30PM - Bob's Burgers
(R - Mar. 17)
9PM - Family Guy
(R - Oct. 7)
9:30PM - Family Guy
(R - Nov. 18)

(check your local listing for starting time/programming)
8PM - Queen Victoria's Empire: Engines of Change; Passage to India (120 min.)
(R - Jun. 18, 2001)
10PM - Call the Midwife
(R - Mar. 10)

7PM - Aquí y Ahora
8PM - Parodiando (120 min.)
10PM - Sal y Pimienta

6PM - Movie: Beverly Hills Chihuahua (2008)
8PM - Movie: Apocalypto (2006)
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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 4, 2013

AMC, 9:00 p.m. ET
Last week’s episode, with its extended conversations between Linden (Mireille Enos) and death row inmate Seward (Peter Sarsgaard) and its almost unbearably intense climax, got us fully involved in The Killing again. Now comes the two-hour season finale – with at least one more killing for Linden and Holder (Joel Kinnamon, pictured with Enos) to confront, and solve, before this season’s story line concludes. Presuming, that is, it does conclude…

Showtime, 9:00 p.m. ET

Sing along with this new Dexter ditty: Warning: Spoiler! (Click to show)
“Dex and Debra sittin’ in a tree, K-I-L-L-I-N-G.”
It’s odd, but while we know these are the final episodes for this show, it doesn’t quite yet feel like them. Plot lines, like Warning: Spoiler! (Click to show)
Dr. Vogel’s abduction,
still seem more like detours than a forceful march to the ultimate conclusion. But perhaps that will change tonight. Michael C. Hall, Jennifer Carpenter star – for a little longer.

HBO, 10:00 p.m. ET

I still enjoy, and recommend, this show, despite its excesses of character silliness in the romance department. But I will say, without revealing too much, that in tonight’s episode, the deep secret altering both the outlook and appearance of one character on The Newsroom reminds me a bit too much of the climactic “strangled chicken” memory haunting Hawkeye on the famous finale of M*A*S*H. Just for the record.

Showtime, 10:00 p.m. ET

I’d like to say with conviction, right now, that Jon Voight will be in the running next year for an Emmy for Outstanding Supporting Actor. It’s unimaginable, based on his performance so far, that he won’t. I’d like to say that – but I’m not completely certain it’ll happen, because, in my opinion, this year’s Emmy nominations, in the same category, could be filled completely with actors from Justified, and not one of them was recognized by the voters. The category, like the snub, is completely un-Justified.

TNT, 10:00 p.m. ET
In this Season 3 finale, the fate of the planet hangs in the balance. No, it really does. And the only way to save Earth is to use a weapon given by one alien species to battle another – without knowing the true motives of either. Noah Wyle stars.[/size]

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