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Hot Off The Press: The Latest TV News and Information - Page 2961

post #88801 of 93719
Originally Posted by tomhunter8 View Post

Erin Andrews - I just don't get it.
She's a blonde & everyone remembers the naked hotel pix
She's too perky & disingenuous for me a female Joe Buck if you will L O L tongue.gif
Plus I don't think she's that Hot as well .
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Nielsen Notes (Cable)
Disney’s ‘Teen Beach Movie’ Mob Swells To Nearly 14 Mil
By The Deadline.com Team - Aug. 5, 2013

Remember last month when Disney Channel’s Teen Beach Movie attracted five times as many viewers as Syfy’s Sharknado! but, sadly, Damon Lindelof did not live-tweet the TBM premiere so the press largely declined to live-hyperventilate as it was premiering?

Well, Nielsen today reported the audience for TBM has swelled by more than 5 million viewers, bringing its Live+7 audience to 13.530 million viewers. That makes it the No. 2 most watched movie in cable TV history, behind only – you know it’s coming – High School Musical 2. HSM2 has an apparently unstoppable Live+7 tally of 18.639 million viewers. To put this in perspective, the most watched non-Disney Channel cable movie ever, TNT’s 2001 Tom Selleck western Crossfire Trail, based on the 1954 Louis L’Amour novel, averaged 12.519 million viewers L+7.

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SUNDAY'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 (18-49)
Preseason ‘SNF’ game kicks up NBC ratings
Network averages a 5.6 metered-market household rating
By Toni Fitzgerald, Media Life Magazine - Aug. 5, 2013

NBC’s “Sunday Night Football” kicked off the preseason with a dominating performance last night.

The Hall of Fame game between the Dallas Cowboys and Miami Dolphins gave NBC the highest-rated Sunday night for any network since ABC carried game five of the NBA Finals on June 16.

The network averaged a 5.6 household rating for the night, according to Nielsen metered markets, and a 6.7 for the game, easily the night’s top-rated show.

NBC averaged a 3.3 adults 18-49 rating for the primetime portion of the game, which ran from 8 to 11 p.m.

Elsewhere last night, other networks saw ratings fall with the bigger competition from the NFL. CBS’s “Big Brother” slid 4 percent from last week, to a 2.2 in 18-49s at 8 p.m., while lead-out “Unforgettable” fell 8 percent from last week’s season premiere to a series-low 1.2 at 9 p.m.

CBS ratings may have been hurt by its ongoing dispute with Time Warner Cable, which has blacked out CBS affiliates in about 3 million homes.

ABC’s “Secret Millionaire” earned a 1.2 for its third-season premiere at 8 p.m., off 20 percent from last year’s bow, which did not air opposite “SNF.” It drew ABC’s best number in the timeslot since the NBA finals wrapped in mid-June.

NBC was first for the night among 18-49s with a 2.9 average overnight rating and a 9 share. CBS was second at 1.3/4, Fox third at 1.2/4, ABC fourth at 0.9/2, Univision fifth at 0.8/2 and Telemundo sixth at 0.6/2.

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 7 p.m. NBC was first with a 1.4 for a repeat of “America’s Got Talent,” while ABC and CBS tied for second at 0.9, ABC for a rerun of “America’s Funniest Home Videos” and CBS for “60 Minutes.” Fox was fourth with a 0.8 for reruns of “American Dad” and “The Simpsons,” Univision fifth with a 0.5 for “Aqui y Ahora” and Telemundo sixth with a 0.3 for the end of the movie “Beverly Hills Chihuahua.”

NBC increased its lead at 8 p.m. with a 3.6 for its first hour of “SNF,” followed by CBS with a 2.2 for “Brother.” Fox was third with a 1.3 for repeats of “The Simpsons” and “Bob’s Burgers,” ABC fourth with a 1.2 for “Millionaire,” Univision fifth with a 0.8 for “Parodiando” and Telemundo sixth with a 0.5 for the movie “Apocalypto.”

At 9 p.m. NBC led with a 3.4 for football, with Fox second with a 1.6 for an hour of “Family Guy” reruns. CBS was third with a 1.2 for “Unforgettable.” ABC and Univision tied for fourth at 1.0, ABC for “Whodunnit” and Univision for more “Parodiando,” and Telemundo was sixth with a 0.8 for its movie.

NBC was first again at 10 p.m. with a 3.1 for football, followed by Telemundo with a 0.9 for its movie. CBS and Univision tied for third at 0.8, CBS for a repeat of “The Mentalist” and Univision for “Sal y Pimienta,” and ABC was fifth with a 0.5 for a repeat of “Castle.”

Among households, NBC finished first for the night with a 4.9 average overnight rating and an 8 share. CBS was second at 4.3/8, ABC third at 2.4/4, Fox fourth at 1.5/3, Univision fifth at 1.1/2 and Telemundo sixth at 0.7/1.

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Business Notes
Sony Rejects Third Point Offer to Spin Off Entertainment Assets
By Ted Johnson, Variety.com - Aug. 5, 2013

Sony has rejected Third Point’s proposal that it spinoff as much as 20% of its studio and other entertainment assets, saying that a “rights or public offering is not consistent with the company’s strategy for achieving sustained growth in profitability and shareholder value.”

Sony CEO Kazuo Hirai said in a four-page letter to Third Point’s Daniel Loeb that its Board of Directors “unanimously concluded that continuing to own 100% of our entertainment business is the best path forward and is integral to Sony’s strategy.”

Addressing concerns of Loeb that the performance of the entertainment assets are obscured by the overall company results, Sony said that it would increase disclosure of its entertainment business holdings, and said that it was in the midst of boosting profits in its film division. But he said that one of the rationales for spinning off the unit — to raise capital — could be done in other ways.

Hirai said that the additional disclosures would be made in the second quarter of its current fiscal year, and would be for certain categories within Sony Pictures and Sony Music, along with information so investors to calculate adjusted earnings before interest, taxes, depreciation and amortization, or EBITDA.

Reports surfaced last week that Sony was poised to reject Loeb’s proposal.

Loeb personally delivered a letter to Hirai in May, calling for such a spinoff as a way of boosting transparency, improving performance and margins in the entertainment division. Last week, Loeb stepped up his criticisms of Sony Pictures Entertainment chairman and CEO Michael Lynton and co-chairman Amy Pascal, calling into question their choices of recent box office misfires “After Earth” and “White House Down,” and calling the studio itself “underexposed, undervalued and underperforming.”

A spokeswoman for Third Point did not immediately respond to a request for comment. With a reputation as an activist investor, Loeb has been initially turned back by boards of companies like Yahoo, only to press forward and, in the case of Yahoo, succeed in getting the company to overhaul their operations. Third Point owns almost 7% of Sony stock.

That Sony even considered the proposal, rather than rejecting it out of hand, was viewed by some analysts as a sign of the changing business culture in Tokyo, albeit there is not the same tradition of brash, activist investors as there is in the United States.

In his letter, Hirai wrote that “many of your observations regarding our entertainment businesses, and in particular [Sony Pictures], are not consistent with the businesses that I know.”

The rejection of Third Point’s proposal is not a huge surprise, even if it proved unsettling to the studio. In an interview with Deadline on Friday, actor George Clooney blasted Loeb as “dangerous to our industry” because of his bottom line approach to a creative and cyclical business. (Third Point is a minority stakeholder in Variety Media, along with majority owner Penske Media Corporation, which also owns Deadline.)

In his letter, Hirai wrote that Sony Pictures and Sony Music “are critical elements of our strategy and fundamental drivers of Sony’s growth for the future. We expect that our strategy will result in increasing profitability through investing in high-growth, high-margin businesses, particularly in television production and international networks.” He cited investments in its global television business and the growth of international cable networks, more than doubling in revenue over the past five years.

Loeb had focused particular criticism on the film studio, claiming that it was not achieving the margins of other studios, and even said that if entertainment assets “achieved peer margins,” EBITDA would “increase nearly $800 million to just over $2 billion.”

Hirai, however, said that they were “very focused on increasing margins” in its feature division, and that they were “reducing costs.”

“While we believe our theatrical marketing costs have been and continue to be in line with our competitors, and that our margins are generally comparable to some other major studios, we recognize that our margins should be higher,” Hirai wrote. He cited efforts to “tighten controls and reduce costs,” and said that they have deployed “an even more exacting ‘green light’ process for film production, focusing more intensively on overall slate profitability as well as per film returns-on-investment.”

He also defended the compensation structure in the movie and music divisions, saying that it is linked to financial performance. Another argument made by Third Point was that a spinoff would free up capital, allowing Sony to invest in other businesses. But Hirai said that “should we require capital, or in the event of unanticipated events, our priority would be to raise it without selling a portion of an asset fundamental to our growth strategy, and without unnecessarily burdening Sony’s ability to execute our business strategy for both entertainment and electronics.”

Loeb also was critical of Sony for not taking greater advantage of synergies across divisions, but Hirai wrote that collaboration across divisions was increasing, and “a rights or public offering would put obstacles in our strategic path, creating the need for otherwise unnecessary and burdensome arm’s length intercompany relationships and for consideration of minority shareholder rights, thereby limiting our control and strategic flexibility.”

A copy of Hirai’s letter is here.

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TV Notes
Starz Cancels 'Magic City'
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Aug. 5, 2013

It's the end of the line for Starz's Magic City.

The premium cable network has opted to not move forward with a third season of the period drama.

"Magic City will be concluding its two-season run on Starz with Friday's series finale. We are tremendously proud of the series and everyone involved. From the writers, to the cast and crew, it has been an incredible collaboration," Starz said in a statement. "This was a story born from Mitch Glazer's singular vision of Miami, the Magic City of his childhood, and we are grateful to him for bringing it to life on Starz. The season's story arc will allow us to deliver a satisfying conclusion to the series, and we thank all the fans who checked in to the Miramar Playa."

Magic City was one of the network's first original scripted dramas that was initially ordered direct to series -- a pattern that has become the trademark of its development process. The network renewed Magic City for a second season ahead of its series premiere, as it did with Kelsey Grammer's Boss and most recently with Michael Bay's upcoming pirate drama Black Sails.

Speaking to reporters last week at the semi-annual Television Critics Association's summer press tour, Starz CEO Chris Albrecht reiterated that the network was "fans of the show."

"Our policy process is one or two seasons of a show to really get behind something if we like the work. We’re now evaluating all the options with Magic City," he said. "But, like I said, we have a couple of little surprises in our pocket in store, so I can’t reveal too much other than you’ll have the answer to your question soon."

For Starz, the cancellation comes as the network continues to ramp up production on its original programming. The network has Black Sails and the recently renewed DaVinci's Demons among its originals set for 2014 as well as Ron Moore's Outlander, Curtis "50 Cent" Jackson's Power and Fortitude also set for next year as it makes a push to have 50 hours of originals on the air.

Magic City, starring Jeffrey Dean Morgan, was never a strong performer in the ratings -- and its Friday time slot was rarely a help to fellow axed drama Boss -- which also ended its run after its sophomore season. (Recent talks for a two-hour movie to wrap the series also fell through.) Magic City's series premiere fetched 965,000 total viewers over the entire weekend in 2012, softer than Boss, Spartacus and DaVinci's Demons.

First runs of Magic City have fetched between 300,000 and 500,000 viewers in the Friday hour, though a recent episode dipped to a near low of 320,000 viewers.

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TV Notes
MTV Renews 'Awkward,' Names New Showrunners
By Jethro Nededog, TheWrap.com - Aug. 5, 2013

MTV has given its coming of age comedy, "Awkward," a fourth season renewal.

It has also named Chris Alberghini and Mike Chessler ( “90210,” “Cashmere Mafia,” “Are You There, Chelsea?” and “Reba”) as the comedy's new executive producers/showrunners. Season 4 is slated to air in 2014.

They replace former showrunner and "Awkward's" creator Lauren Iungerich, who stepped down from the position at the end of production on Season 3. The second half of the third season will debut in October.

Additionally, MTV has greenlit three new unscriped series. One comes from pro skater-turned-face of MTV, Rob Dyrdek ("Ridiculousness," "Rob Dyrdek's Fantasy Factory"). The other from the executive producer of former hit, "Jersey Shore," and its spinoffs "Snooki & JWoww," "The Pauly D Prokect," and "The Show With Vinny."

The new series orders follows last week's announcement that the network had renewed Kesha's reality series and has greenlit two new comedies.

See below for descriptions:

“Untitled Virgins Project” – This series follows the lives of young adults trying to maneuver the often tricky world of virginity which includes messy love lives, awkward parental sex talks, sexually active friends, and the pressure to give in to their temptations -- all of which can make for a very tumultuous journey. Throughout each episode of this hour-long weekly show, MTV will explore the stories of different v-card-carrying cast members across the country, all dealing with the overwhelming question of keeping their virginity… or losing it. The series will be supported with informational resources from MTV's Emmy and Peabody-winning "It's Your (Sex) Life" campaign, which empowers young people to make better decisions about their sexual health.

Producers: Endemol USA
Executives in Charge for MTV: Lauren Dolgen, Colin Nash, James DeSimas, Julie Schwachenwald

“MTV’s House of Food” – In this drama-infused take on food TV, a group of young aspiring chefs with no formal culinary training are put to the ultimate challenge. “MTV’s House of Food” (working title) is a one hour, weekly docu-series that combines the exciting real-life competitive elements of culinary school, with the dramatic setting of a house reality show. The cast has been chosen for their passion for cooking and food culture, and their backgrounds are as varied as their personalities. With three of the country’s best chefs as their teachers and the gastronomically diverse city of Los Angeles as their classroom, this determined group will live together and learn together but only one will win an apprenticeship of a lifetime.

Producers: T Group Productions, Jenny Daly, Mike Duffy V Executives in Charge for MTV: Tony DiBari, Karen Frank, Elaine Metaxas, Matthew Parillo, Marcy Dyno

“SNACKDOWN” -- From the mind of Rob Dyrdek comes a new cooking competition show, which takes mundane munchies and elevates it to a fully baked art-form! “SNACKDOWN” (working title) is a half hour strip, cooking competition show where a group of amateur chefs battle it out in an array of “snack” inspired challenges. Host Eddie Huang brings his culinary skills and snack-expertise to help guide our contestants through these unique challenges. Then it’s up to our three judges to decide each amateur chef’s fate. The panel consists of supermodel and foodie fanatic Chrissy Teigen, master chef Jason Quinn, and a third judge TBA. The contestants are all vying for a cash prize, their recipe published in the “SNACKDOWN” cookbook, and the coveted golden spork necklace!

Producers: Superjacket Productions, Rob Dyrdek, Shane Nickerson; Broken Road Productions, Todd Garner
Executives in Charge for MTV: Lauren Dolgen, Kristina Edwards, Michelle Klepper

“The Ex and the Why” – All too often relationships end with unanswered questions and hurt feelings. In every episode of this half hour strip, someone gets the opportunity to finally get closure and just maybe a second chance at happiness and love. Each brokenhearted participant will walk us through the ups and downs of their failed relationship while our producers lure their ex into a surprise meeting. When all is finally revealed, will the exes get their lingering questions answered? And is there a chance to rekindle their relationship?

Producers: 495 Productions, SallyAnn Salsano
Executives in Charge for MTV: Lauren Dolgen, James DeSimas, Jennifer Russakoff

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Nielsen Notes (Cable)
'The Killing' finale caps season of mixed ratings for AMC
By Scott Collins, Los Angeles Times - Aug. 5, 2013

Ratings for Sunday's season finale of "The Killing" had news good and bad for AMC.

The moody crime drama drew a total of 1.5 million viewers, according to Nielsen. That's up 7% compared with the Season 2 closer in June 2012, and in line with overall ratings this season.

Still, that's probably not the kind of growth AMC was hoping for this year.

Last year, you'll recall, the network announced it wouldn't bring back "The Killing" for a third season. But the show returned in an unusual deal among the Fox studio, AMC and Netflix, with AMC getting TV rights to air the show again.

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TV Notes
Just 'Who' is Peter Capaldi anyway?
By Brian Truitt, USA Today - Aug. 5, 2013

In Europe, many folks thought that Peter Capaldi had a fairly good shot of being the next star of the British sci-fi showDoctor Who.

When the news was announced in a BBC America special on Sunday afternoon, the response for many in the USA probably was , "Who?"

Capaldi, the Scottish-born actor who will become the 12th Doctor later this year, has had a busy career in his native U.K., both on TV and in movies — plus in some films that you don't have to be an Anglophile to know.

Before Matt Smith "regenerates" into the 55-year-old Scotsman in the Doctor Who Christmas Special, here's a guide to catch up on all things Capaldi:

The Thick of It. Let's hope there is a "No swearing" sign somewhere in the TARDIS — Capaldi shows a true talent for hurling four-letter curses in the political comedy, which can now be streamed on Hulu. He won the British Comedy Award for best TV actor twice (in 2010 and 2012) as his acerbic and volatile government PR man Malcolm Tucker. (His R-rated encapsulation of Star Wars is a thing of brilliant, NSFW beauty.)

In the Loop. Capaldi reprised his role as Tucker in a Thick of It spinoff movie in 2009 that parodied the run-up to the 2003 invasion of Iraq by taking a tongue-in-cheek look at all the behind-the-scenes machinations. Also noteworthy for those who stream it on Netflix: the late James Gandolfini as a military assistant to the U.S. Secretary of defense.

Prime Suspect. The third season of the British cop drama in 1993 — which starred Helen Mirren as Scotland Yard detective Jane Tennison — revolved around a child pornography and prostitution ring, and Capaldi had a dramatic supporting role as a transsexual. (Episodes can be streamed on Amazon Prime, or just wait for the Prime Suspect: The Complete Collection to arrive on Blu-ray Aug. 27.)

Dangerous Liasions. Come for John Malkovich's over-the-top and scheming Sebastien de Valmont in Stephen Frears' 1988 period drama, stay for Capaldi as Valmont's loyal-to-a-fault valet Azolan.

The Lair of the White Worm. Hugh Grant, Catherine Oxenberg and Capaldi vs. a giant dragon/snake/worm hybrid in 1988. 'Nuff said, really.

The Hour. Before The Newsroom, there was The Hour, a British series about an English current-affairs program during the Cold War. Capaldi played Randall Brown, the eccentric 1950s-era head of news that garnered him a BAFTA nomination for supporting actor.

Doctor Who. Yep, Capaldi's turn as the Doctor won't be his first time on the series. In the 2008 episode "The Fires of Pompeii" opposite the 10th Doctor, David Tennant, Capaldi starred as a Pompeii merchant who has bought the Doctor's time-traveling TARDIS and is found by the Time Lord one day before Mount Vesuvius erupts.

Torchwood: Children of Earth. Set in the same sci-fi universe as Doctor Who, the third Torchwood series in 2009 featured Capaldi as John Frobisher, a government type who was — unfortunately for him, as the whole thing turned out — picked to be a liaison between the prime minister and a race of malevolent aliens known as the 456.

World War Z. If you can't find it at your local multiplex, check out the Brad Pitt zombie movie when it comes out on Blu-ray Sept. 17 to see Capaldi as a World Health Organization doctor who helps Pitt's Gerry Lane find a cure before the whole world is zombified.

Strictly Sinatra. Capaldi has had success behind the camera, too — he won a best live-action short Oscar in 1995 for Franz Kafka's It's a Wonderful Life, which can be streamed at Amazon. Head on over to Netflix, though, to check out Strictly Sinatra, Capaldi's 2001 film about a singer who gets in trouble with the Mob when a gangster's wife falls for him. The actor also is slated to direct the comedy Born to Be King, scheduled for release next year and starring Ewan McGregor and Kate Hudson.

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TV/Critic's Notes
'Sharknado' director moonlights with television critics
By Rob Owen, Pittsburgh Post-Gazette - Aug. 6, 2013

BEVERLY HILLS, Calif. -- One of the stranger discoveries of the Television Critics Association summer 2013 press tour is that the director of the Syfy social media hit cable flick "Sharknado" is one of us.

"Sharknado" director Anthony Ferrante is not a member of TCA, but he's a familiar presence at press tour as a journalist credentialed by the networks to cover the event.

And it turns out, he's also the director of several low-budget horror films.

Mr. Ferrante said he was attending the current press tour, while juggling meetings thanks to the "Sharknado" success, because he had previously scheduled assignments for Geek magazine. Over the years he has also worked or freelanced for Cinescape, If and Assignment X.

He started working on movies eight years ago doing special-effects makeup and second unit work while his day job as a journalist paid the bills.

"Sharknado" was the second film he directed for Syfy, and he said he has written five or six others.

As for the social media success of "Sharknado," it caught him by surprise.

"I thought people would go, 'These guys are high. It's unhinged,' " he said, particularly because there are no military or science types in the movie to address the notion of sharks caught up in a tornado over the ocean then dropped onto land.

"With Syfy, you pitch a lot of crazy stuff," Mr. Ferrante said. "Sooner or later you'd end up with sharks in a tornado."

His favorite pitch Syfy didn't bite on: "Benjamin Frankenstein."

Mr. Ferrante said he thinks "Sharknado" became a buzzy hit because it's a "safe" disaster film: Viewers don't have to worry about anything they see in it ever happening in real life.

Now he says folks in Hollywood are coming out of the woodwork wanting to have meetings with him, which he is taking but without forsaking his prior commitments. "Sharknado" was shot in 18 days on a $1 million to $2 million budget. Now Mr. Ferrante just wants to direct more movies with bigger budgets. His dream goal: directing a superhero film based on Marvel's "Moon Knight," his favorite comic book.

Mr. Ferrante said he's not yet signed for "Sharknado 2," but it sounds like he expects to be back. The concept is to move the film's setting to New York, and although he admits it may be difficult to come up with anything more outrageous than Ian Ziering chain sawing his way out of a shark, he has dreams of a "Towering Inferno"/"Die Hard"-style scene of sharks in a skyscraper. "Sharknado 2" will air on Syfy in July 2014.

With his directing career poised for liftoff, Mr. Ferrante acknowledged this may be the last TV critics press tour he's able to attend. Or maybe he'll be back for a panel on "Sharknado 2" at the January TCA, moving from his seat among journalists in the audience to the stage where stars, writers, directors and executives sit during press conferences.

"That would be the most bizarre thing," he said. "We'll see where everything heads."

Interest in "Sharknado" continues unabated. The movie hit a ratings high -- 2.1 million viewers -- in its third airing on July 27. Shortly after that, Syfy announced plans for "Sharknado" merchandise, including possibly T-shirts and posters. The Hollywood Theater in Dormont will play "Sharknado" at 7 and 9 p.m. Friday.

"A woman came up to me at Comic-Con and said, 'Thank you for making this movie. I've seen it six times,' " Mr. Ferrante said. "When you make movies you want to get a reaction, and to think I made some lady happy with this silly little movie, that made my day."

'Masterchef' with kids

Fox's "Masterchef Junior" (8 p.m. Sept. 27) looks cute, and I'm sure children, who watch more Food Network than you'd think, will love it, but I'm still not a fan of putting kids on reality shows.

Children may think they want to go on TV as themselves, but they don't consider the consequences of opening themselves to abuse. At least child actors are shielded somewhat by playing characters; kids on reality shows are just themselves. So when viewers inevitably tear them down on social media sites, there's no artificial barrier to protect them.

Consequently, I'm not a fan of the casting of "Masterchef Junior" regardless of how entertaining it may turn out to be. But I have no doubt a little blond girl named Sarah will be the show's breakout star. She's a firecracker.

"I've seen almost all of Gordon Ramsay's shows, but I wasn't really frightened about it because he can't be really mean cause we're kids!" Sarah said.

Mr. Ramsay said he didn't think he swore while filming the show, although the kids corrected him and said he swore twice.

"I think he got frustrated with some of the waiters, but it was never toward us," said young Dara. "He has kids."

Mr. Ramsay said he thinks pressure on kids is healthy, whether they're playing basketball or competing on "Masterchef Junior." He also tried to frame it as an educational exercise in learning to cook for the show's young contestants, who range in age from 8 to 13.

'The Goldbergs' on ABC

ABC's "The Goldbergs" (9 p.m. Sept. 24), a family comedy told through the lens of a video camera-toting preteen son, has the potential to be a hit -- if it doesn't give viewers headaches.

Based on the childhood of executive producer Adam Goldberg ("Breaking In"), the Goldbergs have a tendency to yell. A lot. Probably too much in a pilot that's otherwise sweet and nostalgic.

Jeff Garlin ("Curb Your Enthusiasm") stars as the voluble family patriarch. He defended the show's sound level.

"There are a couple quiet moments. Did you ever watch 'Seinfeld'?" Mr. Garlin said. "Yelling's good. Yelling is funny. When it became annoying I'll stop and I'll be the first to notice. Until then, I'll yell. ... Jews and Italians -- we love our yelling."

Mr. Goldberg said his real-life family, who are featured in the pilot's end credits, is fine with him cherry-picking from their life, even his brother, who became a sister for "The Goldbergs."

"His only issue is he does not run like a tool. He wanted everyone to know that," Mr. Goldberg said. "My mom was most excited. This just validated everything she ever did."

Some viewers are sure to see some similarities to "The Wonder Years" -- albeit instead of an '80s show looking back at the '60s, this is a 2010s show looking back at the '80s -- which producers used as part of their pitch for the series to ABC.

"Enough time has gone by that you look at it fondly," said executive producer Doug Robinson. "I think what's old becomes new again. Every 25 years, people are ready to look back."

Pittsburghers on 'Street'

PBS's "Sesame Street" returns for its 44th season on WQED on Sept. 16 with several Pittsburgh icons making guest appearances and a new Cookie Monster segment, "Cookie's Crumby Pictures."

This new five-minute Cookie Monster segment is designed to provide children with strategies and activities that promote self-regulation.

In addition, a new Latino neighbor, Armando (Ismael Cruz Cordova), moves onto the block.

Steelers star safety Troy Polamalu and "Mike & Molly" star Billy Gardell, a Swissvale native, will be among the celebrity guests in the show's new season.

Pop culture spoofs scheduled to air include "Homelamb" (a take-off of "Homeland") and "Sons of Poetry" (a riff on "Sons of Anarchy").

Channel surfing

An alternate ending to MTV's "The Hills" will air as part of "RetroMTV Brunch" at 11:30 a.m. Friday.

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TV/Business Notes
Update: Time Warner Cable to offer CBS 'a la carte'?
By Erin Strecker, EW.com's 'Inside TV' Blog - Aug. 5, 2013

Time Warner Cable has issued an open letter to CBS president Leslie Moonves regarding the contract disputes that have left Time Warner Cable customers without the station in New York, Los Angeles and other markets since Friday afternoon.

In the letter released this afternoon, Time Warner Cable’s Chairman and Chief Executive Officer Glenn Britt proposes, that in the interest of getting the station back soon, ”CBS and Time Warner Cable immediately agree to resume the carriage with the new economics TWC reluctantly agreed to during our negotiations, while employing all the other terms and conditions of our recently expired contracts.” They also propose that they would be “willing to resume carriage by allowing CBS to make its station available on an a la carte basis at a price and on terms of its choosing.”

Finally, the letter asks CBS, regardless of its response to other parts of the proposal, to “Cease its blocking of CBS.com content from TWC’s high-speed internet customers.”

Update: Here is CBS’s response: “Today’s so-called proposal is a sham, a public relations vehicle designed to distract from the fact that Time Warner Cable is not negotiating in good faith. Anyone familiar with the entertainment business knows that the economics and structure of the cable industry doesn’t work that way and isn’t likely to for quite some time. In short, this was an empty gesture from a company that is expert at them.”

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TCA Summer 2013 Notes
Gareth Neame On Shakespeare-Based PBS Mini ‘The Hollow Crown’
By Lisa De Moraes, Deadline.com - Aug. 5, 2013

Gareth Neame came to Summer TV Press Tour 2013 to talk about PBS’ broadcast of The Hollow Crown – NBCUniversal International’s filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II; Henry IV, Part 1; Henry IV, Part 2; and Henry V. Collectively, they’re the first miniseries, says Neame, the managing director of Carnival Films (Downton Abbey) – the production company he sold to NBCU in ’08. The lavish series chronicles the rise and fall of three kings who shaped English history. The series starts with vain, self-indulgent Richard II (Ben Whishaw), who is ultimately overthrown by his cousin Bolingbroke (Rory Kinnear), who ascends the throne as Henry IV (Jeremy Irons). Henry IV’s reign is marred by his own guilt over Richard’s death, civil war, and the fear that his son Hal (Tom Hiddleston) is a wastrel and unworthy of the throne.

These Shakespearan plays are completely interconnected and intertwined, Neame said this afternoon. “And in this age where we’re all talking about these 10 or 12-part [miniseries] about power and family, I looked at this as the beginning of it… These four together, watch the continuity of them, and it is amazing to look at – 300 years ago the same sense of narrative as modern narratives.”


* * * *

TCA Summer 2013 Notes
Nigel Lythgoe Admits “Personality Wins Over Technique” On ‘So You Think You Can Dance’
By The Deadline.com - Aug. 5, 2013

Diane Haithman contributes to Deadline’s TCA coverage.

Nigel Lythgoe, ousted in June as an EP of American Idol, did not offer comment about that show during this morning’s TCA panel on So You Think You Can Dance, where Lythgoe serves as a judge.

But at the panel (held on the SYTYCD stage at CBS Television City) he did offer a friendly dig at the dance competition’s network, Fox. Joining the other producers in talking about the longevity of the show, now in its 10th season, Lythgoe dryly lauded the dance show for “providing Fox with over half of its Emmy nominations this year.” (SYTYCD got 7, including a host nom for Cat Deeley).

Lythgoe was also asked to comment on ABC’s Dancing with the Stars‘ plan to reduce its competition shows from two nights to one. “I didn’t know of that,” he said but called it “a shame” that the actual dancing and the announcement of who’s getting axed will now necessarily be on the same program.

“I won’t lie to you. I hate doing the results,” Lythgoe said. He said fans didn’t like hearing the bad news before the dancing on SYTCD so they moved their own announcements to the end of the show. “It’s horrible,” Lythgoe said, adding of DWTS: “I don’t know why they’ve gone to once a week, but I think it’s a shame.”

Related: Even ‘American Idol’s Nigel Lythgoe Gets Weary of Product Placement

Lythgoe was also blunt about what makes a winner on SYTCD: personality, not dance technique. “We are an entertainment show. Dance is a very niche market,” he said. “We need to bring as many people to the party as possible.”

He said celebrity guest judges are often chosen for their “large social following” rather than knowledge of dance. And as for winners, “51 percent is personality on this show,” he said, appearing on the panel with judge Mary Murphy, host Deeley, choreographers and dancers. “ Personality wins over technique. It’s just one of those things we have to deal with on our show.”

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Business/Critic's Notes
Billionaires’ Latest Trophies Are Newspapers
By Andrew Ross Sorkin, The New York Times' 'Dealbook' Column - Aug. 5, 2013

$250 million.

That’s all Jeffrey P. Bezos paid on Monday for The Washington Post, which was once worth several billion dollars.

$70 million. That’s all John Henry paid on Friday for The Boston Globe, a paper The New York Times had acquired for $1.1 billion in 1993.

Next to nothing. That’s what IBT Media paid to buy Newsweek over the weekend from IAC, which itself had paid only $1 plus $40 million in pension obligations to buy it two years ago.

How do you explain the prices that these storied media institutions have been sold for over the last 72 hours?

The answer has little to do with dollars and cents, spreadsheets and valuation metrics. If it did, in truth, the buyers might have paid even less.

If it wasn’t clear that newspapers have become trophies for the wealthy with an interest in journalism or power — or a combination of both — it should be now.

“These deals don’t make financial sense,” said Ken Doctor, an analyst at Outsell, a research and consulting firm for the publishing industry.

He suggested that Mr. Bezos’s valuation of The Washington Post was a generous gift. “It is a combination of good will and real estate,” he said, before adding, “I mean good will in the moral sense, not the financial sense.”

Mr. Bezos, the chief executive of Amazon.com, is paying cash for The Washington Post out of his own personal wealth, currently estimated at more than $25 billion. The Post will cost him roughly 1 percent of what he owns in Amazon stock alone.

Some billionaires like cars, yachts and private jets. Others like newspapers.

“Newspapers have gone from the public markets to the hands of a relatively few billionaires who have an appetite for social, civic and financial roles,” Mr. Doctor said.

Based on the math, it is hard to justify a $250 million valuation for The Washington Post. The company reported it lost nearly $50 million for the first half of the year on its newspaper operation that generated $138.4 million in revenue. Of the $50 million loss, nearly $40 million was a noncash pension expense. So you could argue that the company lost only $10 million on operations. But it lost $33 million in the first half of 2012, too, also including pension costs. Circulation fell about 7 percent in the first half of 2013.

At the end of last year, the company valued its newspaper assets at $293.6 million, no doubt a generous figure.

For the Washington Post Company, which will remain publicly traded and renamed, probably to reflect its focus on its education business, Kaplan, and its television stations, the sale of the newspaper represents a very small part of its business. The Washington Post Company’s market value is $4.2 billion.

But the newspaper, which has been owned by four generations of the family since 1933, was not just a business.

Underscoring the size of the newspaper to the company, Katharine Weymouth, publisher of the newspaper, justified the sale by saying this in an interview with The Washington Post: “If journalism is the mission, given the pressures to cut costs and make profits, maybe (a publicly traded company) is not the best place for The Post.”

By taking the newspaper private, Mr. Bezos can afford to be a patient owner. Profit and loss is probably the least of his concerns. A running joke on Monday was this from Ben Popper, the editor at the Web site the Verge, on Twitter: “Jeff Bezos has reputation for building great companies with little to no profit, perfect guy to own a newspaper.”

While Mr. Bezos may not be buying the paper for immediate profits, it may not be entirely altruistic either. His parents, Jackie and Mike Bezos, run the Bezos Family Foundation, which is not expected to be involved in the business.

As part of the deal, Mr. Bezos is assuming the pension obligations of the current employees of the newspaper. Compared with the deal John Henry, owner of the Boston Red Sox, struck for The Boston Globe on Friday, Mr. Bezos looks like a lavish benefactor. Mr. Henry paid $70 million, but The Boston Globe has approximately $110 million in pension obligations, which The New York Times Company is keeping on its books.

One billionaire who has been bullish on newspapers, not just as a benefactor, but as a business, is Warren Buffett. His company, Berkshire Hathaway, has acquired a series of newspapers, including The Omaha World-Herald, where he lives and grew up, and more from Media General.

In my conversations with him over the last year, he has stressed that he likes small, community newspapers because there is a built-in audience that can’t get the news elsewhere. But he has expressed doubts about regional newspapers, like The Los Angeles Times. Berkshire is a major shareholder of the Washington Post Company and Mr. Buffett was on the board for many years, until 2011.

At Berkshire’s annual meeting, Mr. Buffett said he expected his newspapers to make a profit, but “it’s not going to move the needle at Berkshire.”

On Monday night, just hours after The Post announced its sale to Mr. Bezos, James Fallows, a former editor of U.S. News & World Report who writes for The Atlantic, said the deal put him in a state of shock.

“Let us hope,” he wrote, “that this is what the sale signifies: The beginning of a phase in which this Gilded Age’s major beneficiaries reinvest in the infrastructure of our public intelligence.”

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TCA Summer 2013 Notes
The Amazing Story of How MLK Ad-Libbed the 'I Have a Dream Speech'
By Tim Molloy, TheWrap.com - Aug. 5, 2013

Clarence Jones, the advisor to the Rev. Martin Luther King, Jr. who co-wrote an early draft of the "I Have A Dream Speech," recounted the story Monday of how King delivered the most famous part of the speech spontaneously.

Jones was part of a Television Critics Association panel Monday about PBS's "The March." Denzel Washington provides the narration for director John Akomfrah's PBS film about the 1963 March on Washington. It airs on Aug. 27, the eve of the 50th anniversary of the march.

The day culminated in King's address to hundreds of thousands of people at the Lincoln Memorial, and millions watching him on television for the first time.

"Very few people know -- most people do not know -- that the speech that he gave was not the speech that he had intended to give," said Jones, author of the books "What Would Martin Say?" and "Behind the Dream: The Making of the Speech That Transformed a Nation."

The speech might have turned out very differently if not for an exhortation from King's favorite gospel singer, Mahalia Jackson, Jones said.

"As he was reading from the text of his prepared remarks, there came a point when Mahalia Jackson, who was sitting on the platform, said, 'Tell them about the dream, Martin! Tell them about the dream," Jones continued.

"Now I have often speculated that she had heard him talk in other places talk and make reference to the dream. On June 23, 1963, in Detroit, he had made very express reference to the dream.

"When Mahalia shouted to him, I was standing about 50 feet behind him... and I saw it happening in real time. He just took the text of his speech and moved it to the left side of the lectern. ... And I said to somebody standing next to me: 'These people don't know it, but they're about to go to church.' I said that because I could see his body language change from the rear. Where he had been reading, like giving a lecture, but then going into his Baptist preacher mode.

"Had there been anyone else -- anyone else -- who had shouted anything to him -- I think he would have been a little taken aback. I'm not so sure he would have departed from the text of his speech. But Mahalia Jackson was his favorite gospel singer. When Mahalia said that it was almost like a mandate to respond."


* * * *

TCA Summer 2013 Notes
Tom Hiddleston on Move from 'Avengers' to Shakespeare - Loki Is 'Quite a Shakespearean Villain'

As you sat through "Thor," little did you know you were getting a dash of Shakespeare -- courtesy of Tom Hiddleston.

The British actor stars in the new PBS series "The Hollow Crown," an adaptation of the Bard's Henriad: "King Richard II," "King Henry IV, Part 1," King Henry IV, Part 2," and "King Henry V." Hiddleston's Prince Hal becomes King Henry V over the course of the plays.

Hiddleston said in a Television Critics Association panel on Monday that he saw similarities between Hal and Loki, the Norse God of Mischief he played in "Thor" and "The Avengers." So did his "Thor" director, Shakespearean actor and director Kenneth Branagh.

"When I was building Loki as a character with Kenneth Branagh, all of my references -- both of our references -- were Shakespearean," said Hiddleston. "There's a version of Loki in Branagh's film that is sort of Prince Hal-like. He's a prince wrestling with the authority of his father.

"And I was borrowing from Julius Caesar: 'Cassius has a lean and hungry look.' I was stealing from Iago and his capacity for strategy and tact. He's an immaculate tactician who's acting out of self interest. ... I think he's quite a Shakespearean villain, in many regards."

"The Hollow Crown," which Sam Mendes produced for BBC2 last year, will begin airing on PBS's "Great Performances" beginning Friday, Sept. 20.

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TV/Business Notes
Turner Broadcasting promotes David Levy to president
By Ryan Faughnder, Los Angeles Times' 'Company Town' Blog - Aug. 5, 2013

The management shakeup continues at Time Warner Inc.'s Turner Broadcasting unit.

Turner Broadcasting System Inc. on Monday promoted David Levy to president to oversee channels including TBS and TNT. He had been president of sales, distribution and sports for Turner.

The promotion comes a few weeks after Time Warner Chief Executive Jeff Bewkes picked John Martin as Turner's new chief executive when current CEO Phil Kent steps down in 2014. Levy had been a potential candidate for that post.

Levy will oversee domestic entertainment, animation and young-adults networks and business portfolios for the cable unit as well as continuing to oversee sports and advertising. In addition to TBS and TNT, Levy will be in charge of the company's Turner Classic Movies, TruTV, Cartoon Network, Boomerang and Adult Swim.

The new role for Levy will essentially add a layer to Turner management once Martin takes over. Interestingly, while Turner and Kent are based in Atlanta, Martin and Levy are New York-based. The appointment of Martin has some speculating that Turner's Atlanta operation may shrink in the coming years as more key executives are located elsewhere.

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TV Notes
On The Air Tonight
TUESDAY 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 - Extreme Weight Loss (120 min.)
10PM - Body of Proof
(R - Apr. 2)
* * * *
11:35AM - Jimmy Kimmel Live! (Julia Louis-Dreyfus; Nick Offerman; Michael Kiwanuka performs)
12:37AM - Nightline

(R - Dec. 11)
9PM - NCIS: Los Angeles
(R - Apr. 9)
10PM - Person of Interest
(R - Nov. 1)
* * * *
11:35PM - Late Show with David Letterman (Salma Hayek Pinault; Tony Hale; Houndmouth performs)
(R - Jul. 10)
12:37AM - The Late Late Show With Craig Ferguson (Diane Kruger; Tony Hale)

8PM - Hollywood Game Night
(R - Aug. 1)
9PM - America's Got Talent (120 min., LIVE)
* * * *
11:34PM - The Tonight Show with Jay Leno (President Barack Obama; Patti LaBelle performs)
12:36AM - Late Night with Jimmy Fallon (Jane Fonda; matchmakers Steve Ward and Monica Ward; The Head and the Heart perform; Nile Rodgers performs with The Roots)
1:36AM - Last Call with Carson Daly (Chef Tom Colicchio; The Dinner Party Download; Walk the Moon performs)
(R - Mar. 1)

8PM - So You Think You Can Dance (120 min., LIVE)

(check your local listing for starting time/programming)
8PM - Secrets of the Dead: The Man Who Saved the World
(R - Oct. 23)
9PM - Cuban Missile Crisis: Three Men Go to War
(R - Oct. 23)
10PM - History Detectives
(R - Jun. 27, 2007)

8PM - Porque el Amor Manda
9PM - La Tempestad
10PM - Qué Bonito Amor

8PM - Whose Line Is It Anyway?
8:30PM - Whose Line Is It Anyway?
(R - Jul. 23)
9PM - Capture

8PM - Dama y Obrero
9PM - Marido en Alquiler
10PM - Santa Diabla (Series Premiere)

11PM - The Daily Show with Jon Stewart (Liam Hemsworth)
11:31PM - The Colbert Report (Guest TBA)

11PM - Conan (Steve Martin; Edie Brickell; Leven Rambin)

11PM - Chelsea Lately (Tamar Braxton; guest host Loni Love; John Caparulo; Sarah Colonna; Chris Franjola)
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TCA Summer 2013 Notes
More TVWW Questions, More TCA Press Tour Notes
By Ed Bark, TVWorthWatching.com - Aug. 5, 2013

BEVERLY HILLS, CA -- The annual Television Critics Association summer "press tour" is finally nearing closure, with only PBS left standing among all the show-and-tell networks.

Before winging it back home, here's a second installment of material directly generated by TV Worth Watching's questions. They were posed during an assembly line of group interview sessions held in the same sprawling hotel ballroom that accommodates the Golden Globe awards. Thanks, you've been a great audience. And here we go:

CBS Corporation president/CEO Leslie Moonves pinch-hit for entertainment head Nina Tassler when she left town to attend the funeral of a close friend. Moonves is no slouch, and genuinely enjoys parrying and thrusting with TV writers. It gets interesting and just a bit combative when he's asked to compare and contrast NBC's treatment of late-night ratings king Jay Leno with CBS's continued support of the now 66-year-old David Letterman. Leno, three years younger than Letterman, has dominated him for years in the battle for the biggest late-night audiences. But after February's Winter Olympics telecasts, NBC again will be ending Leno's tenure as Tonight Show host, this time in favor of Jimmy Fallon.

"I heard a rumor that they were going to put him at 10 p.m. (ET)," Moonves jokes, referring to NBC's disastrous ploy the last time around. "I think that would be a really good idea. What do you think?"

"Don't discount that," TVWW replies. But seriously, why is Letterman seemingly bullet-proof in comparison?

"Look, I consider David Letterman the best guy in late night," Moonves says. "I think Leno is great, I think (Jimmy) Kimmel is great, I think Fallon is great. We love having David Letterman. He's the dean. He's the best there is. Other than Johnny Carson, he's probably the best there ever was. We like the stability. We like the relationship we have with Dave. He's our guy, and despite what people think, we don't like drama at 11:30 (ET).

Yes, but "you don't tolerate failure in prime time," Moonves is told.

"I don't consider David Letterman a failure in any way, shape or form," he retorts. "Dave is still making money for us. He still does the best show and we're very happy to have him."

Veteran executive producer David E. Kelley (Ally McBeal, Boston Legal) is a prolific writer who is used to having his actors and actresses follow the script. But in CBS's new fall comedy series The Crazy Ones, he has a guy who's just as likely to fend for himself. Namely, Robin Williams as the rather addled head of an ad agency. So how much is Williams "looking at what you wrote and then doing what he wants or 'improv'-ing a lot?"

"He says my words perfectly," Kelley answers. "Then he uses his. He manages well 'inside the box.' Then he gets the box down and we give him a few takes where he gets to break out of it . . . So what you have in the end is the architecture of the script, but you've got ad libs and spontaneity and the joy of those moments on top of it."

Williams interjects to say, "The bottom line is he (Kelley) writes great stuff. It's a great base and i've got great people to play off. It's like heaven."

Kelley says that once Williams had agreed to star, "I knew I'd be a fool to try and lasso him inside my script. It was daunting because it feels like I'd been handed the keys to a car that I was ill-equipped to drive."

But the series' co-executive producer and director, Jason Winer, "comes from the world of improv," Kelley notes. "So the first thing I did was try and lasso him on top of Robin and say, 'Would you help me?' Jason was kind enough to do that. At which point, I quickly gave him the keys and said, 'OK, you drive.' "

Um, whatever works.

"We live in fertile vampire times," executive producer Julie Plec of The CW's new The Originals is told. It's a spinoff of the network's The Vampire Diaries in times when there's no shortage of blood-sucking, neck-biting big- and small-screen dramas. "Do you feel like there's a saturation point?"

"If I may say, that was the best way of stating the 'Dammit, why so many vampires?' question," Plec says. "When we did The Vampire Diaries, I got that exact same question because of Twilight and True Blood. Aren't you afraid of being the tipping point? And we were like, 'Yes, we're so afraid because it's going to happen. We're going to be the thing that kills it forever.'

"Not only did it not kill it forever, but it thrived. And it even reinvigorated the genre and opened the doors to a lot of other shows that have been able to have a lot of success. So it's the same answer. Yep, this could be the thing that makes people say, 'No more vampires, darn you.' Or it could just continue to breathe that powerful life in a genre that's been around in literature, film and television for 100 years."

Sticking with the supernatural genre, the producers of Fox's new Sleepy Hollow begin and end the pilot episode with The Rolling Stones' "Sympathy for the Devil." And it's the original Mick Jagger vocal, not a sound-alike. But in most cases, it's deemed too expensive to keep such music in the finished on-air product. Except, as it turns out, in this case.

"We have no money for the other episodes now," says co-executive producer Len Wiseman. "But no, we were very lucky and we've been supported, too, by the studio [20th Century Fox]. So we've got that song and it's him (Jagger)."

"I balance it out by being very cheap," adds series lead Tom Mison, who plays Ichabod Crane as a wisecracking action hero.

Those who thought the primary mission of NBC's The Voice is to create big new music stars are mis-informed according to judges Adam Levine and Christina Aguilera, and host Carson Daly. At least that's what TVWW is told at length after asking, "The ratings have stayed strong, but the overall goal is to find a new star. Do you feel the show has fallen a bit short there?"

"The fact that it hasn't happened yet doesn't seem like a shortcoming of the show," Levine contends. "It just seems like something that hasn't happened yet (in four editions). I would love that. We would all love that. But what we're doing is we're trying to prepare all these guys. And by the way, there's been a lot of success, depending on how you define the term 'success.' "

Daly then chips in. "It's not the end goal," he says. "We're in a day and age that's much different than 10 years ago, trying to have a breakout star. You've got four of the biggest names in music (Levine, Aguilera, CeeLo Green, Blake Shelton) that are offering an experience. Danielle Bradbury won last year. Danielle Bradbury is 16 years old. If we're going to break an artist, we'd rather break a career artist. And that's not going to happen overnight. She has eight years to figure it out -- her voice, an album, whatever it might be. And in eight years she'll be the same age as Taylor Swift is right now. She's got time."

"Well, she's already been on iTunes," judge Aguilera notes. Then Levine puts himself back in play.

"We totally understand why (not turning out a bonafide music star) would seem to have been a failure on the show's part," he says. "I get how you could draw that conclusion. But we're grooming these people to become successful in any way that they can in the music industry. That's what we do. So I guess the answer to the question is -- I don't even know what the hell the question was, to be honest."

OK then, back to you, Christina.

"Sometimes it's not like everything needs to be like boom, boom, boom, then the record deal, then the No. 1 success," she says. "It doesn't happen like that. It didn't happen that way for me either."

Aguilera is referring to her short stint on a latter-day version of The Mickey Mouse Club, whose alumni also include Britney Spears, Justin Timberlake and Ryan Gosling.

"Right after the show, did we rocket to success?" she asks. "No," she answers. "It takes time. You absorb like a sponge in this business every single opportunity. And it's up to you to sort of use that opportunity and take it to the next level."

Levine wants a last crack: "By the way, if you're not in the negative in this business, you're succeeding," he says. "I remember when all I wanted to do was pay the rent. And you realize that if you're playing music and you're getting paid enough money to live your life, you're winning. So there's this over-blown, over-magnified idea of what success is. Especially in our business."

Jeff Garlin stars as a loud-mouthed dad in ABC's The Goldbergs after playing Larry David's oft-vexed manager in eight seasons worth of HBO's Curb Your Enthusiasm. In the pilot episode for the new 1980s-set series, he spends a good part of the time yelling or singing at the top of his lungs. "Can you hold out for an entire 22-episode season at that decibel level?" he's asked. Let the give-and-take begin.

"In the pilot, I do get a couple of quiet moments and stuff," Garlin says. "Did you ever watch Seinfeld? Very funny. Yelling is good. Yelling is funny. When it becomes annoying I'll stop and I'l be the first to notice. Until then I'm going to yell. You look so disappointed at my answer. I'm just looking at you and you're like 'OK, all right. If that's the way you want to answer it, I'll go with that. We've been here all day. I don't like any of these shows.' "

"Would you just yell at me for about 20 seconds?" Garlin is asked.

"By the way," he replies, "when I walk with Susie Essman (his wife on Curb) down the street, people stop us and ask, 'Will you yell at me?' It happens all the time. I don't have it that bad."

"You seem hoarse already," he's told.

Garlin agrees. "I actually hurt my throat years ago doing WALL E when I was the captain. I worked three years on that and I blew out my vocal cords. I've been suffering ever since. so I have to be careful when we're working . . . But I'm good. Is that better for you? I don't know. The look of disappointment is unsettling."

Later in the session, TVWW asks Garlin whether he's "figured out Larry David yet" and if he thinks another season of Curb is in the cards. In an earlier interview, David had said he's still undecided but "ask me in six months."

"I'm not trying to figure out Larry David," he says. "I'm just appreciating Larry David at all times. And I think there's a decent chance we'll do more. I don't even ask him. I'll just get a call, 'Hey, do you want to do more?' And then that will be it. So I embrace him. I don't try and figure him out."

"Thank you. I'm happy with that answer," Garlin is informed.

He laughs agreeably, and all seems quite well with the world.

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Originally Posted by dad1153 View Post

TCA Summer 2013 Notes
The Amazing Story of How MLK Ad-Libbed the 'I Have a Dream Speech'
By Tim Molloy, TheWrap.com - Aug. 5, 2013

Clarence Jones, the advisor to the Rev. Martin Luther King, Jr. who co-wrote an early draft of the "I Have A Dream Speech," recounted the story Monday of how King delivered the most famous part of the speech spontaneously.

Jones was part of a Television Critics Association panel Monday about PBS's "The March." Denzel Washington provides the narration for director John Akomfrah's PBS film about the 1963 March on Washington. It airs on Aug. 27, the eve of the 50th anniversary of the march.

The day culminated in King's address to hundreds of thousands of people at the Lincoln Memorial, and millions watching him on television for the first time.

"Very few people know -- most people do not know -- that the speech that he gave was not the speech that he had intended to give," said Jones, author of the books "What Would Martin Say?" and "Behind the Dream: The Making of the Speech That Transformed a Nation."

The speech might have turned out very differently if not for an exhortation from King's favorite gospel singer, Mahalia Jackson, Jones said.

"As he was reading from the text of his prepared remarks, there came a point when Mahalia Jackson, who was sitting on the platform, said, 'Tell them about the dream, Martin! Tell them about the dream," Jones continued.

"Now I have often speculated that she had heard him talk in other places talk and make reference to the dream. On June 23, 1963, in Detroit, he had made very express reference to the dream.

"When Mahalia shouted to him, I was standing about 50 feet behind him... and I saw it happening in real time. He just took the text of his speech and moved it to the left side of the lectern. ... And I said to somebody standing next to me: 'These people don't know it, but they're about to go to church.' I said that because I could see his body language change from the rear. Where he had been reading, like giving a lecture, but then going into his Baptist preacher mode.

"Had there been anyone else -- anyone else -- who had shouted anything to him -- I think he would have been a little taken aback. I'm not so sure he would have departed from the text of his speech. But Mahalia Jackson was his favorite gospel singer. When Mahalia said that it was almost like a mandate to respond."


Also "Very few people know -- most people do not know" that the speech is locked down by copyright, if you want to hear it in it's entirety you'll need to plunk down a $20 bill for the DVD from the MLK family business. Apparently there's bits and pieces of it on YouTube and elsewhere, very poor copies, but they're all in violation of the copyright. Nice family...
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TV Notes
Does spelling still matter?
By Olivia Barker and Maria Puente, USA Today - Aug. 5, 2013

Glance at any "c u soon"-splattered smartphone screen and it's obvious: The nation's spelling is in jeopardy.

The orthographic schism between the YOLO generation and its elders came into stark relief over the weekend when a Connecticut eighth-grader told his local newspaper that he was "cheated" out of a Jeopardy! victory for "just a spelling error," scribbling "emanciptation" instead of "emancipation" in answer to a question about the 13th Amendment.

Cue the Facebook furor, with some posters pointing the finger at Alex Trebek and company for their "bad call" and others calling Thomas Hurley III of Newtown a "cry baby."

But in an age of auto-correct typing and acronym-adorned texting, is, as 12-year-old Thomas said, a spelling mistake "just" a spelling mistake?

After all, technology has already pocked our punctuation, hampered our handwriting and grated at our grammar. What does it mean for spelling to take a swipe?

A lot, according to those adamant about correctly arranged letters.

"Spelling absolutely counts," says Paige (yes, that's "Paige" with an "i") Kimble, executive director of the Scripps National Spelling Bee and the contest's 1981 champion. Indeed, in Thomas' case, spelling counted to the tune of thousands of dollars. "What we know is that good spelling is a tremendous reflection on an individual's overall knowledge and attention to detail. We love that Jeopardy! took a stand."

Precisely because technology can get tripped up — distinguishing between, say, "your" and "you're" or those thorny twins "its" and "it's" — "spelling is as important as it's ever been," says J. Richard Gentry, an expert in reading and spelling education and the author of Spel is a Four-Letter Word. "I'm all in favor of treating spelling as seriously as it should be. It matters when a doctor writes a prescription and, apparently, when you have to write an answer on Jeopardy!"

Typos, intentional or not, occur in all realms of society, even among elite academics. On Monday, a University of Virginia football scholarship offer letter made the cyber-rounds — for printing "formerly" instead of "formally." In the first paragraph.

Big Government has also flopped when it comes to combining consonants and vowels. In February, an e-mail from Defense Secretary Leon Panetta misspelled "consistant," "personel," "contine" and, up top in all caps, "memorandom." Yikes.

But spelling stumbles don't just induce cringes; in everyday life, they can have real repercussions, from landing a job to landing an online date.

"We still evaluate people based on how we present ourselves in writing," says Mignon Fogarty, aka "Grammar Girl," an author of books on grammar and spelling and the founder of a popular website, Quick and Dirty Tips. "It suggests how detail-oriented you are, how rushed, how much care you put into your writing."

Spelling influences who Fogarty reads. "I follow a lot of writers of fiction and non-fiction on Twitter, and if I see a fiction writer who misspells a lot, I'm much less likely to give the books a try."

And even if the rules don't necessarily apply to texting teens, grownups are paying attention. "Employers are checking your Twitter feed and Facebook accounts when you apply for a job," she says.

Spelling doesn't just bother schoolmarms. "I see complaints every day, from a spectrum of people — young, old, highly educated, less educated people," Fogarty says. Though Fogarty is a grammarian, the majority of questions she gets are about spelling. "People who have learned English as a second language are the most frustrated with lazy English. They say, 'We learned the rules, why aren't Americans using them?' "

Dismissed as "mindless memorization and drudgery," spelling drills, like penmanship and diagramming sentences, have largely disappeared from most grade schools, except for a few hold-out Catholic institutions, Gentry says. Many state education regulations say students should be expected to spell correctly by third grade but don't actually explain how to achieve that.

"Principals tell teachers you don't have to teach spelling because it's not on the state test," Gentry says. But "kids not taught spelling are not likely to do as well on the state reading and writing tests."

Moreover, he says, the latest neuroscience research suggests that the way young children learn to read and write might be constrained by the new ways of teaching, including the downgraded emphasis on learning to spell.

Kimble doesn't buy the argument that tablets and spellcheck have rendered the rules obsolete, if not irrelevant. "Language evolves over time, and I have to believe that our language is evolving now just in the ways it did hundreds of years ago. I'm not sure our times are more extraordinary now," considering communication's long, twisty trajectory from oral to written to typewritten.

The tiff over Thomas' added "t" is predictable. "Of course, people have different opinions about language, that's not surprising," says Kimble, who, incidentally, calls "emancipation" a "great" spelling bee word — for a fourth-, fifth- or sixth-grader. "Individuals who do not spell well would love for there to be in society a little more permission to misspell more often" — for Thomas Hurley III to be their poster boy.

Sandra Wilde, a Hunter College education professor and the National Council of Teachers of English elementary section chair, is less rigid about orthographic rules. "In ordinary life, I think spelling is too overblown," she says. "You expect it to be 100% correct and you don't cut a lot of people slack. Even in The New York Times there is an occasional spelling error."

It's about prioritizing when spelling doesn't count — on a shopping list, for instance — and when it does — on a neon restaurant sign or a tattoo. Or a game show.

"If you read the (official form) you signed, spelling really, really matters there," Wilde says. She knows: She competed on Jeopardy! about 15 years ago, coming in second.

Thomas' error was arguably more about bad proofreading than bad spelling. During Final Jeopardy's 30-second answer window, "when the Jeopardy! music is playing, that really is plenty of time. You can make a mistake and cross it out again," Wilde says. "It really is forgiving."

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TV/Nielsen Notes
Study Links TV Viewership and Twitter Conversations
By Brian Stelter, The New York Times - Aug. 6, 2013

A first-of-its-kind study by Nielsen has affirmed what nearly everyone in the television industry already suspected: Twitter conversations sometimes do cause people to turn on the TV.

The study, to be released on Tuesday, examined Twitter chatter and minute-by-minute Nielsen ratings of 221 episodes of prime-time shows on major networks. Most of the time, there was no statistically significant relationship between the two sets of data. But Twitter messages were shown to cause a “significant increase” in ratings 29 percent of the time, said Mike Hess, an executive vice president at Nielsen and the senior researcher involved in the study.

A casual connection was also shown in the other direction as well: that is, the ratings had an impact in the volume of related tweets 48 percent of the time. Some genres of shows were much more likely to benefit from Twitter conversation than others.

“Over all, this does validate that additional research around this influence is worth pursuing,” Mr. Hess said.

Nielsen and Twitter are business partners — they are promoting a new metric called a Nielsen Twitter TV Rating that measures online conversations about shows — so the study may provoke some skepticism. Its findings, though, are likely to be cheered by networks and marketing firms that have invested heavily in social media. Anecdotes about spikes in the ratings credited to Twitter chatter have given producers and advertisers new hopes of assembling mass audiences.

Mitchell J. Lovett, a professor at the University of Rochester who has studied Twitter-television correlations, said that demonstrating causality had proved difficult in the past.

“It is hard to distinguish whether Twitter (or other social media) activity simply reflects existing interest (the person talks about the show because of an interest in watching or plans to watch) rather than causes it,” he wrote via e-mail. For that reason, the Nielsen study “could be groundbreaking,” he said, though he cautioned that he had not examined its methodology yet.

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TV Notes
CNN To Launch Overhauled ‘Crossfire’ Same Night ABC Launches Overhauled ‘Dancing With The Stars’
By Lisa De Moraes, Deadline.com - Aug. 6, 2013

Tapping into viewer interest that gets ginned up around the start of the broadcast network TV season, Jeff Zucker’s CNN announced this morning it’ll launch some of its most interesting new programs on Monday, Sept. 16. That’s’ the week walking up to the start of the broadcast TV network’s official 2013-14 TV season, and a week in which some of the broadcasters’ new products are unveiling. CNN’s most anticipated new series, a half-hour remake of Crossfire, debuts that Monday, Set. 16 at 6:30 PM ET – which, in one of those incredible coincidences, is the same night ABC launches the remake of its dance competition series Dancing with the Stars. This time Crossfire stars Newt Gingrich, Stephanie Cutter, S.E. Cupp and Van Jones. CNN said the show will “resemble the show’s original format with passionate conversation” – or, as Jon Stewart called it back in 2004, “partisan hackery” that was “hurting America.” CNN, understandably, focused on Crossfire having “cemented its status in the political and cultural lexicon” when President Bill Clinton joked during his remarks at the 1997 White House Correspondents’ Association Dinner that the newly opened Newseum featured an exhibit with “CNN’s very first Crossfire: from the left, Alexander Hamilton, from the right, Aaron Burr, topic, gun control.”

Anderson Cooper’s primetime show will now be called AC 360 Later, because it will air, well, later – Monday through Thursdays at 10 p.m. It’ll also launch that Monday. AC 360 Later will be a panel conversation show, focusing on the day’s news and events. The network landed on this timeslot and format for Cooper after his nightly George Zimmerman trial rehash show in the hour proved a bigger hit than other programs the network auditioned in the hour. Wolf Blitzer’s The Situation Room took one for the team – it’s been busted down to 90 minutes, 5-6:30 PM to make room for Crossfire. On the bright side, he’s hanging on to that 1 PM hour of Newsroom.

post #88822 of 93719
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 6, 2013

The CW, 8:00 p.m. ET

Tonight’s guest star is Wilson Bethel, who plays Wade on the CW’s Hart of Dixie. That’s the down side of having this revival of Whose Line televised by CW – shameless and pointless self-promotion. But the core improv players, including Wayne Brady and Ryan Stiles, make this giddy little show worth watching anyway.

IFC, 8:00 p.m. ET

It’s a good night for movies on TV, starting with this Oscar-winning 2008 drama about an orphan in India who gets a chance at fame and fortune on a local TV quiz show. The orphan is played by Dev Patel, now one of the stars of HBO’s The Newsroom.

Sundance, 8:00 p.m. ET

This 1975 movie is a perfect example of the type of great film that was made in the 1970s, just before Hollywood started becoming obsessed by blockbusters (Jaws was released that same year, and changed the rules). Jack Nicholson is brilliant as the nonconformist who winds up in a mental ward, and keeps trying to stir up trouble, as well as his fellow inmates.

TCM, 8:00 p.m. ET

Alfred Hitchcock directed this 1940 film, a fairly early example of his artistry at milking psychological drama out of every situation (although a glass of milk, brilliantly lit from within, wouldn’t show up until Suspicion the following year). It’s his first movie made in Hollywood, and stars Laurence Olivier, Joan Fontaine and Judith Anderson, in a tale that proves it’s not paranoia if they are out to get you.

Comedy Central, 10:00 p.m. ET

Tonight’s show recounts history that took place in San Francisco, including Kristen Wiig as kidnapped heiress Patty Hearst – where the inebriated narrator explains that the media baron’s daughter was grabbed by a radical group, blindfolded, and held for almost two months in a closet “the size of a closet.”

post #88823 of 93719
Tonight 10:00 HBO Hard Knocks Cincinnati Bengals starts the 5 episode run.

Tomorrow 9:00 NFL Network has a fantasy football show & with fantasy drafts coming soon + key injuries already can never have too much info.

Also FOX didnt mention in their release but Erin Andrews joins Pam Oliver on team 1 starting Thanksgiving thru Super Bowl XLVIII.
Edited by dcowboy7 - 8/6/13 at 9:37am
post #88824 of 93719
TV Review
‘Broadchurch’: This British Murder Mystery Will Be Your Next Television Obsession
By Jace Lacob, TheDailyBeast.com

The British have an insatiable appetite for crime fiction, whether it appears in print or on television screens. Putting aside the twee tea cozy mysteries of Agatha Christie’s Miss Marple or Hercule Poirot, however, these thrillers are not only taut but also bleak depictions of the psychological fallout from murder: tracing, as novelist Ruth Rendell has done so well in her work, how crime affects not just the victim, but also those left behind. Murder doesn’t just destroy a single life; it corrupts everyone with which it comes in contact.

ITV’s superlative murder mystery Broadchurch, which wrapped an eight-episode run in April in the U.K. (it heads Stateside Wednesday at 10 p.m. on BBC America), explores just that, a gorgeously realized and emotive thriller that revolves around the murder of an 11-year-old boy, Danny Latimer (Oskar McNamara), in a seaside town on the Dorset coast, and the investigation by the police and the media to unmask his killer.

Created by Chris Chibnall, Broadchurch is, in many ways, a homegrown response to the riveting Nordic Noir television trend, which has captured the imagination of U.K. viewers in a very unexpected and palpable way. Like Forbrydelsen before it, Broadchurch focuses on both the police investigation—embodied here by churlish Detective Inspector Alec Hardy (David Tennant) and eager-to-be-liked Detective Sergeant Ellie Miller (Olivia Colman)—and how Danny’s family copes in the wake of such monumental grief. ITV’s Broadchurch—which was deemed “another jewel in the channel’s drama crown” by The Independent—has proven to be a huge success in its native Britain, luring in roughly 9 million consolidated viewers, putting it on par with the massively successful Downton Abbey.

Everyone is a suspect in Danny’s death, from the cheerful local vicar (Doctor Who’s Arthur Darvill) and the grizzled newsagent (David Bradley) to Danny’s own father, Mark (Andrew Buchan). Secrets have a way of spilling out in a murder investigation, and Broadchurch does a fantastic job of charting the numerous atomic explosions that follow in its wake. Everyone in the idyllic seaside town has something to conceal, something they’re running from, a terrible past that they’re looking to forget. Even Danny, the poor dead boy at the center of the story, seems to have harbored some terrible secret, one worth killing him over. Just what that is—and whodunit—remains the overarching plot that carries an electric current throughout the action.

Tennant’s Alec Hardy—whose name would appear to be a clear allusion to Jude the Obscure author Thomas Hardy—is no exception to the above. Unlikable and snarky, he’s an outsider who has come to Broadchurch with scandal trailing him, after he failed to put away a different child murderer in another town. Expectedly, his and Ellie’s partnership is of the chalk and cheese variety; returning from maternity leave, Ellie discovers that Alec has not only joined the local force, but has taken the position that was hers by right. But rather than fall into stereotypical patterns, Broadchurch instead weaves a different pattern, setting up Alec as a dark influence upon Ellie. While he’s fleeing demons of his own, he represents a man who has seen clear into the void, whose own moral corruption is the opposite of Ellie’s sunny optimism and trust.

But this being a mystery in the vein of Forbrydelsen (or even of Twin Peaks) means that Ellie will have to face the obliteration of her own trusting nature as she’s forced to see her neighbors for what they truly are. Suspicion and fear lurk around every corner in Broadchurch, and by the time the seventh episode rolls around, numerous lives have been destroyed by persecution and doubt. Not least of which is the marriage between Danny’s parents, handyman Mark and receptionist Beth (Jodie Whittaker). After 15 years of marriage, Mark and Beth’s relationship in not only on the rocks, but is completely splintering after crashing against them. Even a family has secrets from one another and the Latimers—including Danny’s 15-year-old sister Chloe (Charlotte Beaumont), living a secret life of her own—are no exception. The unspoken question that hovers uneasily in the misty air is: how well do we ever know anyone, even our family members?

What follows is an intense and often-merciless portrayal of grief and loss, as the Latimer clan unravels after Danny’s murder. Whittaker delivers a soul-stirring performance as the inconsolable Beth, a mother’s heartbreak etched all over her face. Over the course of the seven episodes thus far, it’s her performance that often anchors Broadchurch, much in the way that Ann Eleonora Jørgensen’s did in Forbrydelsen: a mother’s grief becomes a thread that weaves its way through the labyrinth of loss on display here. It’s both a tether and a knife in the gut.

The rest of Broadchurch’s cast is equally as accomplished: Colman (Peep Show), so fantastic in the 2011 dramatic film Tyrannosaur, proves once again that she’s equally adept at comedy and drama, rendering Ellie’s journey from innocence to awareness as something fascinating and troubling to watch. Tennant is tremendous as Alec Hardy, his caustic exterior belying an unexpectedly tender and wounded interior life that is littered with discarded emotion. (Unlike Sofie Gråbøl's grim-faced and emotionally taciturn Sarah Lund.) His own struggles are rendered with bleak clarity here, the sense that this is his last chance at redemption only too tangible. Special praise is required for Pauline Quirk for her fantastic turn as the menacing Susan Wright, a dog-walking, chain-smoking hellion who lives in a caravan and oozes with malice. (A confrontation between her and Carolyn Pickles’ Maggie Radcliffe, the editor of the local paper, gave me chills.)

I have my own hunch about who is behind Danny Latimer’s murder, but I won’t reveal my thoughts here lest I spoil the series for American viewers, because half of the thrill of Broadchurch is in watching the way that the suspicion falls on each potential suspect in turn, and how each party’s secrets are laid bare by the harsh glare of the investigation. Like the Nordic Noir dramas before it, this is a show that demands analysis and conjecture from its viewers, rather than passive viewing. If you're not turning over the clues in your mind over and over again, you're not watching properly.

With insight and conviction, Broadchurch depicts how a sleepy seaside town is roused from its slumber by a horrific crime, and how closed off we are from one another. It’s a hard truth that’s challenging for the characters to come to terms with and likely for viewers as well. One can only hope, however, that the transcendent, poignant, and perfect Broadchurch gets the audience it so richly deserves when it heads to BBC America later this year. The alternative would be nothing less than a gross injustice.

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TV/Business Notes
CBS blackout puts start-up Aereo in spotlight
By Scott Martin, USA Today - Aug. 6, 2013

SAN FRANCISCO — Start-up Aereo is enjoying the spotlight for its online TV service in the wake of a Time Warner Cable-CBS battle over fees that has left major markets with a CBS blackout.

New York-based Aereo allows subscribers to watch TV online without a cable hookup. That hasn't sat well with networks, and TV programmers filed suit last year alleging copyright abuses. But founder Chet Kanojia came out on top in surprise federal court victories for Aereo.

At $8 a month, the digital service is a far cheaper alternative to big-ticket cable bills.

CBS has been a vocal opponent of the brash new player. The service is now available in three cities, including New York, one of the markets affected by the blackout. And it has ambitious expansion plans.

Aereo uses thousands of dime-size antennas to grab TV signals from the air. It assigns an antenna to each user of the service for a personal stream. Kanojia says Aereo complies with the law and that consumers have the right to an antenna. So far, the courts have agreed.

Now Aereo has become the unlikely beneficiary of none other than a network. Negotiations between Time Warner Cable and CBS over retransmission fees, the money cable systems pay broadcasters to air their material, broke down at 5 p.m. ET Friday. CBS went off the air in eight markets: New York, Los Angeles, Dallas, Boston, Detroit, Chicago, Denver and Pittsburgh.

"This Time Warner-CBS conflict highlights the need for alternatives in the market," says Kanojia. "The issue that consumers are penalized in the market is unfathomable."

Reports have surfaced that Time Warner may start recommending Aereo to concerned CBS customers as a bargaining chip if the dispute doesn't end soon.

Armed with legal victories, Aereo is also moving fast into new cities. Aereo serves Atlanta and Boston as well as New York, and plans to move next into Chicago and Salt Lake City. And more is on the way, with plans to be in 23 cities by year's end.

Aereo subscribers can get 20 to 30 over-the-air television channels as well as Bloomberg Television. For $8 a month, customers receive 20 hours of digital video recorder storage. For $12, customers get 60 hours of DVR storage.

Kanojia says Aereo offers an unbeatable price proposition for over-the-air TV viewing. He says this generation's cord-cutters have a compelling alternative to costly cable bills by using both his service and Netflix all for a low price of $20: "None of the installers, none of that silliness."

Aereo does not provide membership figures nor revenue and profitability numbers, citing its status as a private company.

"We see an acceleration of over-the-top" service, says Kanojia of his business and others such as Netflix. "We think most consumers will start making that choice."

post #88826 of 93719
MONDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #88827 of 93719
Nielsen Overnights (18-49)
‘Bachelorette’ hits season high in finale
Averages a 2.6 in 18-49s, topping CBS's 'Under the Dome'
By Toni Fitzgerald, Media Life Magazine - Aug. 6, 2013

ABC’s “The Bachelorette” surged to a season-high rating in its ninth-season finale last night.

“Bachelorette” averaged a 2.6 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, up 8 percent from last week, its previous season high.

It peaked with a 2.9 in its final half hour at 9:30 as Desiree made her final choice.

The finale did slide 16 percent from last summer’s season-ender, which averaged a 3.1.

It marked the first time since CBS’s “Under the Dome” premiered in June that “Dome” has not been Monday night’s top show in 18-49s.

“Dome,” which airs at 10 p.m., fell to a season-low 2.5 against “The Bachelorette: After the Final Rose,” which averaged a 2.5 as well.

Elsewhere last night, the series finale of Telemundo’s “El Señor De los Cielos” drew a series-high 1.5 at 10 p.m., placing well ahead of Spanish-language rival Univision in the 10 p.m. timeslot.

ABC led the night among 18-49s with a 2.6 average overnight rating and a 7 share. CBS was second at 1.6/5, Univision third at 1.2/3, NBC fourth at 1.1/3, Telemundo fifth at 0.8/2, Fox sixth at 0.7/2 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. ABC was first with a 2.4 for the first hour of “Bachelorette,” followed by Univision with a 1.5 for “Porque el Amor Manda.” NBC was third with a 1.4 for “American Ninja Warrior,” CBS fourth with a 1.1 for repeats of “How I Met Your Mother” and “2 Broke Girls,” Fox fifth with a 0.8 for an hour of “Raising Hope” reruns, Telemundo sixth with a 0.5 for “Dama y Obrero” and CW seventh with a 0.2 for a repeat of “Hart of Dixie.”

ABC was first again at 9 p.m. with a 2.8 for more “Bachelorette,” while CBS and NBC tied for second at 1.3, CBS for reruns of “2 Broke Girls” and “Mike & Molly” and NBC for “Get Out Alive.” Univision was fourth with a 1.1 for “La Tempestad,” Fox fifth with a 0.7 for repeats of “New Girl” and “The Mindy Project,” Telemundo sixth with a 0.6 for “Marido en Alquiler” and CW seventh with a 0.1 for “Breaking Pointe.”

At 10 p.m. ABC and CBS tied for first at 2.5, ABC for “Rose” and CBS for “Dome.” Telemundo was third with a 1.5 for “Cielos,” Univision fourth with a 1.0 for “Que Bonito Amor” and NBC fifth with a 0.7 for “Siberia.”

ABC was also first for the night among households with a 5.8 average overnight rating and a 9 share. CBS was second at 4.1/7, NBC third at 2.1/3, Univision fourth at 1.6/3, Fox fifth at 1.1/2, Telemundo sixth at 1.0/2 and CW seventh at 0.4/1.


* * * *

TV Notes
The late-night guest in chief
President Obama makes his sixth appearance on 'Tonight'
By Louisa Ada Seltzer, Media Life Magazine - Aug. 6, 2013

It has been a rather rough start to the second term for President Barack Obama. His administration has been battered by one controversy after another, from the IRS allegedly targeting tea party groups to the leaking of National Security Agency documents.

So perhaps the president was looking for a bit of an image boost when he booked tonight’s visit on “The Tonight Show with Jay Leno,” airing at 11:35 p.m. on NBC.

Obama has appeared five times previously on the show, and he’s always a good guest, telling interesting, relatable stories and reminding voters of the charisma that helped get him elected to two terms.

At this point the novelty of a president visiting a late-night show has worn off a bit compared to Obama’s first term, when it was a rarity. But his administration has used appearances on “Late Show with David Letterman,” “The Daily Show with Jon Stewart” and even “SportsCenter” spots to help Obama stay connected with the electorate.

Still, it could give “Tonight’s” ratings a boost. The show is averaging 1.073 million viewers 18-49 during third quarter, up 6 percent over last year, according to Nielsen, and easily beating its CBS and ABC competition in the demo.

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Business/Legal Notes
Hollywood Labor Backs Viacom in YouTube Dispute
By Dave McNary, Variety.com - Aug. 6, 2013

Hollywood’s major unions have backed Viacom in its attempt to overturn rulings in its copyright infringement case against Google subsidiary YouTube.

Attorneys for the Directors Guild of America, SAG-AFTRA, IATSE, the Intl. Brotherhood of Teamsters and the American Federation of Musicians filed a 24-page friend of the court brief Friday in support of Viacom’s motion to the Second Court of Appeals seeking a judge to replace U.S. District Court Judge Louis Stanton.

Stanton ruled on April 18 in favor of YouTube, finding that the Google-owned site was not liable for infringing on Viacom’s copyrights when its users uploaded thousands of clips from shows like “The Daily Show with Jon Stewart” and “South Park.” Stanton granted summary judgment to YouTube, as he had in 2010, finding that the site fell within the “safe harbor” provision of the Digital Millennium Copyright Act.

The unions noted that they had filed similar briefs in support of Viacom in 2010.

“YouTube’s role in the rampant, systematic distribution of content in violation of the exclusive rights of copyright holders caused and continues to cause harm to the entertainment industries and the members of the Guilds and Unions working in those industries,” the unions said. “We urge the Court to consider the full ramifications of YouTube’s actions, and request that the Court reverse the lower court’s decision.”

The Aug. 2 filing noted that the members of the unions and their pension and health plans rely on residuals.

“As the revenues generated by these works in certain markets are diminished or eliminated, so too are the incomes, benefits and jobs of the the guilds and union members,” the filing said. “Accordingly, the guilds and unions and their members have a significant interest in the outcome of the litigation.”

A spokesperson for YouTube said the brief “recycles” the unions’ brief from the first appeal in 2010 and asserted that the unions have not followed developments in the case or recognized the changes to YouTube’s place in the entertainment ecosystem.

“The Court has twice rejected Viacom’s unfounded copyright infringement claims,” the spokesperson said. “And even Viacom has conceded it doesn’t object to how YouTube has operated for the last five years. YouTube has signed licensing agreements with every major movie studio and record label, has developed an industry-leading Content Identification system used by 4,000 media partners, and does more to prevent piracy than any other major video hosting provider.”

post #88829 of 93719
Originally Posted by dcowboy7 View Post

Also FOX didnt mention in their release but Erin Andrews joins Pam Oliver on team 1 starting Thanksgiving thru Super Bowl XLVIII.
HOe NOOOe's ?? ?? Joe Buck & Erin Andrews both at the same Time ! It's the End Of Times !

post #88830 of 93719
Erin Andrews - great to look at, horrible to listen to. Pretty much like every other sideline reporter in other words. But if they ever put her in the booth I'll have to watch the game on mute, because she's got a voice that makes nails on a chalkboard sound good (in this southern boy's not so humble opinion of course).
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