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

Hot Off The Press: The Latest TV News and Information - Page 2984

post #89491 of 93703
Originally Posted by dad1153 View Post

On April 8, 2014, it's the "end of life" for Windows XP. Now, that doesn't mean XP will suddenly stop working. You can keep using it if you want, but I wouldn't recommend it.

Well, guess what? The two computers that are running XP will be running it for a long time to come. There is software on both of these that have not, and can not, be upgraded to work with even Win 7. Software that I use.

I don't use Internet Exploder. My browsing is done on my Unix boxes. Neither of the XP boxes is directly exposed to the outside world. You can't ping them, you can't hunt for open ports, etc. You try poking at ports and you'll see my Solaris server.

I even have a W2K box that is still running software that I need that was never upgraded for XP. Hell, there is even a Win98SE box that has some stuff on it. It is normally off.
post #89492 of 93703
Originally Posted by MRM4 View Post

But didn't you miss the national championship game? It was on ESPN, not OTA. I'm like the other guy, I gotta have my sports.

For the 2011 national championship game I went to Buffalo Wild Wings and watched the game on four 80 inch screens in their main area. It only costed me $10 for dinner. For the 2012 national championship game I watched it at a friends house.

These games used to be on free OTA tv for 40 years before ESPN bought the rights to them. And to pay for the rights they jack up the price of their channel and make everybody pay for them even if they watch them or not. Even if your not a sports fan and if you are you are now paying more for pay TV thanks to ESPN's greed. Crap like this needs to be regulated. Its a darn shame.
Edited by Jedi Master - 9/14/13 at 1:21am
post #89493 of 93703
Originally Posted by mhufnagel View Post

It used to be like that for the Big 10 too. We'll see how it plays out a couple of years after the network is launched. I bet in 3-4 years most, if not all, of the big rivalry games will only be shown on the SEC Network. But even if ESPN remains a player for those games, CBS will lose out, thus only crumbs ota.

Or the SEC network will go down the crapper like ESPN's 3D channel and The Longhorn Network.
post #89494 of 93703
Originally Posted by archiguy View Post

Call me crazy, but when there's a sporting event I'm interested in watching I like to hear it, including the commentary, as well. I've never been to an active bar, let alone a sports bar, where that's possible.

In Buffalo Wild Wings they had the sound turned up where you could hear it. But at times the full restaurant would be cheering at the game at times where you couldn't hear it. I went to a sports bar called CJs where I live to watch the NFL Draft back in April. The 3 man crew of a local sports radio show that I listen to was there and me were the only 4 people in the room. We even had access to the remote where we could change channels and the sound on the huge flat panel TV.

There is some hassle to not having pay TV but not as much hassle from sending the pay TV company over $5,000 the last 5 years since I canceled my subscription. When your sporting event isn't on you are stuck with 100 channels full of reality crap.
post #89495 of 93703
Originally Posted by dcowboy7 View Post

dvd ? is it next to your betamax & 8 track player ? tongue.gif

It is next to my VCR. But DVD and Blu-ray is the only way you can watch movies that aren't filled with screen clutter, butchered to pieces, and saturated with commercials. My favorite movies and TV shows are sitting in my bookcase and I'm not paying a high price to support all the reality garbage on pay TV these days.

Also I have shows on VHS that aren't on DVD, Blu-ray, or on any channel.
post #89496 of 93703
TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)

8PM - College Football: Notre Dame at Purdue (LIVE)

8PM - Mike & Molly
(R - Nov. 12)
8:30PM - Two and a Half Men
(R - Jan. 10)
9PM - Under the Dome
(R - Sep. 9)
10PM - 48 Hours

8PM - The Million Second Quiz: Day 6 (LIVE)
9PM - American Ninja Warrior (120 min.)
(R - Sep. 2)
* * * *
11:29PM - Saturday Night Live (Justin Timberlake hosts and performs; 93 min.)
(R - Mar. 9)

7PM - College Football: Ohio State at California (LIVE)
* * * *
11PM - Animation Domination High-Def (60 min.)

(check your local listing for starting time/programming)
8PM - Austin City Limits: Sonic Youth; The Black Keys (R - Jan. 22, 2011)

8PM - Sábado Gigante (3 hrs.)

6:30PM - Movie: Against the Dark (2009)
8:30PM - Movie: The Incredible Hulk (2008)
post #89497 of 93703
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 14, 2013

Sundance, 8:00 p.m. ET

Future Dark Knight Christian Bale was just a kid when he starred in this 1987 film by Steven Spielberg, a faithful adaptation of J.G. Ballard’s novel about a British boy who was in Shanghai in 1941 when the Japanese invaded, making him a prisoner of war in a strange land. John Malkovich and Miranda Richardson co-star, but this movie belongs mostly to Bale, and to Spielberg’s beautiful cinematic images.

TCM, 8:00 p.m. ET

A night of movies about ships in trouble is on hand tonight on TCM – a fleet of films that includes 1957’s Abandon Ship! (10 p.m. ET) and 1953’s Titanic (midnight ET). But the evening leads off with a really good one: Alfred Hitchcock’s 1944 Lifeboat, which takes place aboard the confining craft of its title. So how does Hitch work his trademark cameo appearance into this film? It’s worth tuning in just to find out… And you’ll stay for the rest, a gripping wartime character study starring Tallulah Bankhead, William Bendix and Walter Slezak.

Starz!, 9:00 p.m. ET

In this new episode, the Queen leaves her royal chambers and heads to the battlefield, where what she sees leads to a new perspective on her kingdom, and her future plans. And she’s not the only powerful woman roaming the battlefields, either…

SyFy, 9:00 p.m. ET

The latest Syfy movie with a funny title, but no reason to watch, is tonight’s new Robocroc, which endows an artificial crocodile with Terminator-type sensors and sensibilities. I’m not asking you to watch it – just to spend a minute imaging some future possibilities for similar Syfy films along similar lines. A mechanical wild pig named Cyboarg, perhaps? An artificial insect named Antroid? Or perhaps a boxing, hopping-mad Australian machine called Kangaroobot? I eagerly await your own suggestions… All of which will be more fun than tuning in to Robocroc.

HBO, 9:45 p.m. ET
Part 1 of 2.
This is a repeat of last Sunday’s episode, but one that’s scheduled handily in case you missed it, as a catch-up session prior to tomorrow’s Season 2 finale. It’s election night 2012 on this show, and the gang at the newsroom is working as hard as it can to recapture its credibility and make no mistakes – sort of like Aaron Sorkin, behind the scenes, is working hard to stick the landing on this redemptive second season.

post #89498 of 93703
TV Notes
‘Rizzoli & Isles’ Showrunner Janet Tamaro Steps Down
By Nellie Andreeva, Deadline.com - Sep. 14, 2013

It’s never good news when the creator/showrunner of a successful series exits. That has happened on TNT’s flagship drama Rizzoli & Isles, with Janet Tamaro, who developed the series based on the novels by Tess Gerritsen and served as executive producer/showrunner on the first four seasons. The departure of Tamao, who will remain as a consultant while developing new projects, comes less than a month after production on Rizzoli & Isles was shut down and the show’s writers had to regroup following the suicide of co-star Lee Thompson Young.

“This is what we all dream of getting to do,” Tamaro said in a statement. “And I got to do it for four phenomenal seasons. I’m at the top of my game, thanks in large part, to this unbelievable experience and show. It’s time to challenge myself and develop new projects. TNT and Warner Horizon have been a dream to work with, and I look forward to doing it again. The heartache for me will be leaving the day-to-day working relationship with an incredible cast and crew.”

Under Tamaro’s helm, Rizzoli & Isles became TNT’s #1 show of all time, eclipsing The Closer. It ranks as the #2 scripted series in the history of ad-supported cable television, behind only The Walking Dead.

post #89499 of 93703
Business Notes
Madison Square Garden Enlists JPMorgan to Help Sell Fuse
By Alex Sherman, Bloomberg.com - Sep. 13, 2013

Madison Square Garden Co. (MSG), the sports and entertainment company that owns the namesake arena in Manhattan, hired JPMorgan Chase & Co. to explore a sale of its music-TV channel Fuse.

“We have been approached by certain parties expressing interest in Fuse and have retained JPMorgan to explore all strategic alternatives,” the New York-based company said today in an e-mailed statement.

Selling Fuse would let the company’s TV business focus on its more lucrative sports networks, which broadcast New York Knicks and Rangers games. Fuse could be worth $300 million to $400 million in a sale, said Amy Yong, an analyst at Macquarie Group, who has the equivalent of a buy rating on MSG shares.

The music channel, which reaches about 64 million households, competes with networks such as Viacom Inc. (VIAB)’s MTV and VH1 and Mark Cuban’s AXS TV. Fuse charges pay-TV providers about 6 cents per month per customer, according to research firm SNL Kagan. That’s far less than what popular sports networks fetch.

Shares of Madison Square Garden, which also owns real estate and sports teams, rose 1.6 percent to $55.99 at the close in New York. The stock has gained 26 percent this year.

The New York Post reported earlier on the potential sale of Fuse.

post #89500 of 93703
TV Review
War Is Over, but Enemies Are Afoot in London
In ‘Foyle’s War,’ the Hero Switches to Intelligence Work
By Mike Hale, The New York Times - Sep. 14, 2013

“Foyle’s War” returns to PBS on Sunday night with the same Foyle but a new war.

This is a good-news, middling-news proposition. The series has been one of the best cop shows on television for a decade, primarily because of Michael Kitchen, who plays the tenacious British detective Christopher Foyle, and nothing about that has changed.

As a quiet man who makes a religion of honor, responsibility and competence, Mr. Kitchen gives a performance that is, by current standards, miraculously understated. The cast of his eyes and the set of his lips communicate fine shades of irritation and disapproval as well as dry humor, while the awkward tics of his speech indicate both shyness and the care with which Foyle thinks. The words flow more freely, in machine-gun bursts, only when the detective finally springs the trap on his prey, who is likely to be someone supposedly on the up and up — a local aristocrat or a high-ranking British officer.

Until now, Foyle did his sleuthing in the fictional seaside town of Hastings while World War II was being fought just across the channel. In the new season, having retired from police work — and with Hastings having been bombed — he’s recruited to the British intelligence agency MI5 in London. Instead of corrupt bureaucrats and black marketeers, he is now dealing with Soviet spies and cold war secrecy. The chronology may have advanced by only a year, to 1946, but the show has entered a different world.

And fans of the old “Foyle’s War” may find the new surroundings not entirely to their liking. The rural charms of Hastings are gone, taking with them a good deal of the show’s formerly mellow tone and picturesque look. Foyle’s indispensable sidekick, Sam Stewart (Honeysuckle Weeks), remains, but her role in his detective work is diminished now that she’s the wife of a rising young Labour politician.

“Foyle’s” has always been known for its thoughtful handling of history, and the politics of postwar Britain are one of the many topics that Anthony Horowitz, the show’s creator and still its principal writer, mines in these three episodes. The essential Foyle dynamic has been the defense of the civilian — his privacy, his right to the rule of law — against the excesses of military rule and patriotic fervor, and the cold war setting allows Mr. Horowitz to extend that theme in timely ways. Among Foyle’s discoveries are the nascent field of enhanced interrogation, the disturbing surveillance capabilities of his own spy agency and how shaky the moral ground can be when your enemy isn’t as clearly evil as the Nazis were.

This grayer, chillier “Foyle’s War” may not suit everyone, but it’s admirable, and a bit remarkable, that Mr. Horowitz has moved the show forward in a way that makes historical and dramatic sense. It wouldn’t work, of course, if Mr. Kitchen did not remain at the center, communicating an entire worldview in the way he says “Oh, I see” or tells a weaselly major, “I’ve come to give you another opportunity to tell me the truth.”

Masterpiece Mystery! Foyle’s War
On PBS stations on Sunday night (check local listings).

post #89501 of 93703
Business Notes
Cesar Conde Named NBCU EVP, Resigning as President of Univision Networks
By Tim Molloy and Tony Maglio, TheWrap.com - Sep. 13, 2013

Cesar Conde is resigning as president of Univision Networks to become an executive vice president a NBCUniversal.

In this newly created role, he will focus on business development, strategic priorities and special business projects across the NBCUniversal portfolio. He also will oversee the International Group led by Chairman Kevin MacLellan, who was appointed this week to replace Jeff Shell. Conde will be a member of the NBCUniversal Executive Committee.

“Cesar is an impressive business executive with both traditional and emerging media expertise,” said NBCU CEO Steve Burke. “His experience leading multiple domestic and international businesses will be instrumental in maximizing all the opportunities to grow our portfolio.”

Conde served several roles at Univision since joining in 2003, and helped the network make huge ratings gains, occasionally beating its English-language competitors. During his tenure, Univision Networks’ portfolio grew from three broadcast and cable networks to 14 broadcast and cable networks. He also announced the launch of the company’s first-ever English language network, Fusion, a joint venture with Disney’s ABCNews.

“We are appreciative of Cesar’s contributions to Univision over the last decade,” said Randy Falco, president and chief executive officer of Univision Communications, Inc.

Conde’s resignation came with a reorganization in Univision’s executive ranks that will include three executives now reporting directly to Falco: Alberto Ciurana, president of Programming and Content; Isaac Lee, president of News; and Juan Carlos Rodriquez, president of Univision Deportes.

post #89502 of 93703
Originally Posted by Jedi Master View Post

When your sporting event isn't on you are stuck with 100 channels full of reality crap.

Once again you're the one that's full of crap here, but since you don't sub you don't know any better. Or you just like to purposefully distort the truth, can't figure out which.
post #89503 of 93703
Enough. We have a whole thread devoted to cord-cutting. Move this discussion there, please.

On another note. Watched screeners for "The Michael J. Fox" show, "The Goldbergs" and "Ironsides." Fox's show should be a hit. His comedic timing is as good as ever. And I didn't think they overdid the Parkinson's jokes. Very funny. Though they WAY overdo NBC "product placement" for lack of a better term.

"Ironsides" is a typical procedural, though amped quite a bit up from the Raymond Burr original. That said, I enjoyed it. This Michael Ironsides is a break-the-rules kind of cop. Beating up suspects.. that sort of thing. It'll probably do well just because it's different.

I just don't get "The Goldbergs." Obvious jokes you see coming a mile away that aren't laugh-out-loud funny at all. But then, I felt the same way about "The Neighbors" and look how well it's done.
post #89504 of 93703
FRIDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #89505 of 93703
Here's another opinion story on the new season. I thought it was kind of interesting, so here is the intro, and then click on the link to see the full story.

The Only 13 New TV Shows Worth Watching This Fall

This fall, there will be more than 33 new shows on television.

From family sitcoms like "Moms" and "Dads," to buddy-cop crime shows like "Almost Human" and "Brooklyn Nine-Nine," how do you decide where to pledge your viewership?

We've read the reviews of upcoming network and cable pilots and compiled a list of the 13 best new series.

So as you anticipate the long-awaited return to "Homeland" and introduction to the mother on "How I Met Your Mother," consider freeing up some space on your DVR for this promising crop.

post #89506 of 93703
Originally Posted by dad1153 View Post

TV Review
War Is Over, but Enemies Are Afoot in London
In ‘Foyle’s War,’ the Hero Switches to Intelligence Work
By Mike Hale, The New York Times - Sep. 14, 2013

“Foyle’s War” returns to PBS on Sunday night with the same Foyle but a new war.


Can't wait, he is one cool cool.gif customer. I have faith the change will still be entertaining. I thought Lewis or possibly his mentor, Morse was the best Detective series across the pond, but after watching Foyle's War this summer, I think I've changed my mind.
post #89507 of 93703
Originally Posted by rebkell View Post

Can't wait, he is one cool cool.gif customer. I have faith the change will still be entertaining. I thought Lewis or possibly his mentor, Morse was the best Detective series across the pond, but after watching Foyle's War this summer, I think I've changed my mind.
Yes, spectacular character and a spectacular series, loved every episode and was extremely happy to see they brought the show back for some new ones!

Apparently Honeysuckle Weeks is back too, even better!
post #89508 of 93703
Originally Posted by keenan View Post

Yes, spectacular character and a spectacular series, loved every episode and was extremely happy to see they brought the show back for some new ones!

Apparently Honeysuckle Weeks is back too, even better!

Oh yeah, Honeysuckle Weeks(aka Sam Stewart), gotta love that name, wouldn't be the same show without her, I wonder if Milner will be around any?
post #89509 of 93703
TV Notes
On The Air Tonight
SUNDAY Network Primetime Options
(All shows are in HD unless noted; start times are ET)

7PM - America's Funniest Home Videos
(R - May 19)
8PM - 20/20 - Pageant Confidential: The Road to Miss America
9PM - The 2014 Miss America Competition (120 min., LIVE)

7PM - NFL Football: Regional Coverage (continued from 4:25PM, LIVE)
7:30PM - 60 Minutes
8:30PM - Big Brother SD
9:30PM - The Good Wife
(R - Apr. 28)
10:30PM - The Mentalist
(R - May 5)

7PM - Football Night in America (80 min., LIVE)
8:20PM - NFL Football: San Francisco 49ers at Seattle Seahawks (LIVE)

7PM - American Dad
(R - Apr. 28)
7:30PM - The Simpsons
(R - May 5)
8PM - The Simpsons
(R - Apr. 28)
8:30PM - Bob's Burgers
(R - Apr. 28)
9PM - Family Guy
(R - May 29)
9:30PM - Family Guy
(R - Mar. 10)

(check your local listing for starting time/programming)
8PM - Last Tango in Halifax
9PM - Masterpiece Mystery! Foyle's War, Series VII: The Eternity Ring (Season Premiere, 90 min.)
10:30PM - The Bletchley Circle
(R - Sep. 6, 2012)

7PM - Fiesta Mexicana (Special)
8PM - Mira Quién Baila (Season Premiere, 120 min.)
10PM - Sal y Pimienta

7PM - Movie: El Tahur (1980)
9PM - Movie: Como México No Hay Dos (1981)
post #89510 of 93703
Critic's Notes
Howard Kurtz: new network, familiar guests
By Hal Boedeker, Orlando Sentinel's 'TV Guy' Blow - Sep. 14, 2013

Anyone who misses Howard Kurtz's style on "Reliable Sources" can turn right over to "MediaBuzz," his new show.

The network may be new: Fox News Channel instead of CNN.

But the time slot is the same: 11 a.m. Sundays.

And some "MediaBuzz" guests will be familiar to viewers of "Reliable Sources." This weekend Kurtz will talk to Lauren Ashburn, Steve Roberts and David Zurawik (of the Baltimore Sun), and they were frequent guests when Kurtz was at CNN. Other guests this weekend are Jim Pinkerton, Dana Milbank of The Washington Post, John Sullivan of The Washington Times and Mark Whitaker, formerly of Newsweek, NBC and CNN.

The topics will include the coverage of President Barack Obama's policy on Syria, the premiere of CNN's "Crossfire," Tina Brown's leaving The Daily Beast and the media's interest in Anthony Weiner's run for New York mayor.

Back on CNN, Patrick Gavin of Politico will host "Reliable Sources." CBS' Charlie Rose and NPR's Deborah Amos will discuss the media coverage of Syria. Will Tracy, editor-in-chief of The Onion, will help mark that publication's 25th anniversary.


* * * *

Critic's Notes
President Barack Obama talks to ABC's 'This Week'

In a Sunday morning exclusive, ABC's George Stephanopoulos will interview President Barack Obama for "This Week." The program airs at 11 a.m. on WFTV-Channel 9.

"This Week" offers a panel discussion Rep. Justin Amash, R-Mich.; Rep. Donna Edwards, D-Md.; Paul Gigot of The Wall Street Journal; and ABC's Cokie Roberts and Matthew Dowd. The program will spotlight playwright Robert Schenkkan.

Also Sunday:

CBS' "Face the Nation" talks to Sen. Bob Corker, R-Tenn.; Sen. Carl Levin, D-Mich.; and former Secretary of State Madeleine Albright. The program airs at 10:30 a.m. on WKMG-Channel 6. A panel discussion features David Gergen of Harvard University, Michael Gerson of The Washington Post, Peggy Noonan of The Wall Street Journal and Susan Page of USA Today. John Miller will preview his "60 Minutes" interview with former Deputy CIA Director Michael Morell. The program will draw on reporting by Elizabeth Palmer in Damascus and Margaret Brennan, who is traveling with Secretary of State John Kerry.

NBC's "Meet the Press" features Sen. Bob Menendez, D-N.J., and Sen. Roy Blunt, R-Mo., at 9 a.m. on WESH-Channel 2. A panel on U.S. power brings together Tom Friedman of The New York Times, Robin Wright of the Woodrow Wilson International Center, Jeffrey Goldberg of The Atlantic and Bloomberg View, and NBC's Andrea Mitchell. A discussion on the fifth anniversary of the economic crash brings together former Treasury Secretary Hank Paulson, CNBC's Maria Bartiromo and former Rep. Barney Frank, D-Mass. A discussion about President Obama and Syria will feature Bob Woodward and Kathleen Parker of The Washington Post, Republican strategist Ana Navarro and Richard Wolffe of MSNBC.com.

"Fox News Sunday" welcomes Rep. Chris Van Hollen, D-Md.; Rep. Michael McCaul, R-Texas; and Rep. Tom Price, R-Ga. The program starts at 10 a.m. on WOFL-Channel 35. The panel will be Brit Hume, Bill Kristol, Charles Lane of The Washington Post and former Rep. Jan Harman, D-Calif., who is president of the Woodrow Wilson Center. The program will salute Mark Knoller of CBS Radio.

CNN's "State of the Union" starts at 9 a.m. and noon. A panel on Obama and Syria features Rep. Jason Chaffetz, R-Utah; Rep. Elijah Cummings, D-Md.; Rep. Mike Rogers, R-Mich.; and Rep. Adam Schiff, D-Calif. A panel on politics brings together S.E. Cupp and Newt Gingrich, co-hosts of CNN's new "Crossfire"; CNN political commentator Cornell Belcher; and Neera Tanden, president and CEO of the Center for American Progress. The noon hour will feature a Syria discussion with Sen. Bob Casey, D-Pa., and Sen. Ron Johnson, R-Wis. A panel on Syria and Russia features former State Department official Nick Burns, former weapons inspector David Kay and Gen. Anthony Zinni (ret.), former CENTCOM commander-in-chief. A panel on politics offers Republican strategist Ana Navarro; Democrat strategist Donna Brazile; Jeremy Bash, former chief of staff to Defense Secretary Leon Panetta; and Danielle Pletka of the American Enterprise Institute.

post #89511 of 93703
Critic's Notes
Movie stars happily flocking to TV
Once, it was unheard of for a movie star to do TV. Not anymore. Filmdom's finest are jumping to the small screen, where the best stories are being told these days.
By Mary McNamara, Los Angeles Times - Sep. 13, 2013

The Berlin Wall was a thing of chicken wire and Kleenex compared with the barrier that once stood between film and television in America.

Unlike British actors, who moved easily between stage, television and film, American movie stars were essentially instructed not to bother with TV. Oh, Brad Pitt might guest star on "Friends," but everyone understood that that was just a favor to his then-wife. Anything more was an admission of failure; the trajectory of success went from television to film, not the other way around.

As recently as 10 years ago, when "Angels in America" sent Meryl Streep and Al Pacino up the Emmy red carpet in 2004, journalists could not believe their eyes — "Is This the Emmys or the Oscars?" ran far too many headlines. A few years later, stars including Kyra Sedgwick, Sally Field and Holly Hunter took lead roles in television shows, but even then, it was seen as a "female complaint." Women of, ahem, a certain age could not find roles in film and so were forced to, bravely, stoically, with heads held high, darling, find work in (shudder) television.

Now, of course, that divide, like the one in Berlin, is but a memory. Oscar-winning films such as "Zero Dark Thirty" and "Argo" run on supporting casts pulled almost entirely from television, while small-screen credits regularly look like a chunk of sidewalk outside the Chinese.

Martin Scorsese and Steve Buscemi of "Boardwalk Empire," Laura Dern and Mike White of "Enlightened," Kevin Costner in "Hatfields & McCoys," Jessica Lange and James Cromwell in "American Horror Story," Laura Linney in "The Big C," Claire Danes in "Homeland," Jane Campion and Hunter of "Top of the Lake," David Fincher, Kevin Spacey and Robin Wright of "House of Cards."

And it's not just HBO (which for years distanced itself from its own medium with that "It's not TV, it's HBO" tagline) or even cable. Kathy Bates lighted up "Harry's Law" until NBC saw fit to dis the show's large but apparently demographically undesirable audience and cancel it. (Yes, NBC, Bates is not the only one still angry.) Last year, Vera Farmiga and Freddie Highmore headlined the cast of A&E's surprisingly fantastic "Bates Motel," Kevin Bacon signed on for Fox's horror procedural "The Following," with Hugh Dancy and Laurence Fishburne following suit on NBC's "Hannibal."

Though both "The Following" and "Hannibal" received wildly mixed reviews, and more important, no Emmy nominations, the trend shows no signs of slowing. This fall, some stars are returning to their roots — Robin Williams in CBS' "The Crazy Ones," Michael J. Fox in NBC's "The Michael J. Fox Show," Clark Gregg in ABC's "Marvel's Agents of S.H.I.E.L.D," James Spader in NBC's "The Blacklist." And, of course, James Caan in "Back in the Game," Greg Kinnear in the midseason "Rake" and Queen Latifah on her own talk show.

The shift is fueled in part by simple employment issues. In case you hadn't heard, the film industry is having a tough time producing anything other than franchise fodder and Oscar bait, while high-production scripted television is busting out all over.

Actors will tell you they follow the stories, and it's past arguing that some of the best stories are being told on television. But actors and writers and directors, like most of population, also follow the love. And right now, audiences are in love with television. Truly, madly, deeply, and in ways difficult to sustain in film or the theater.

Episodic television is regularly deconstructed in a way once reserved for Shakespeare or the Romantic poets. Meanwhile, the people creating the shows we're all mad for are similarly lionized. TV stars are the new movie stars, so of course movie stars want a piece of the action.

At this point, it's difficult to imagine the trend reversing itself. The participation of good actors, directors, writers and cinematographers from the film world will only increase the quality and variety of television content. Filmmakers can only benefit from the growing artistic credibility of the stars it hires from television too.

And for viewers, who increasingly don't distinguish between big screen, small screen and smartphone screen, it's a win/win.

Even if the Brits did think of it first.

post #89512 of 93703
Nielsen Overnights
NBC Wins Night As ‘Million Second Quiz’ Hits New Low
By Nellie Andreeva, Deadline.com - Sep. 14, 2013

As the clock counts down on The Million Second Quiz (0.8/3) so seemingly do the ratings. Five nights in, the live one-hour Ryan Seacrest multi-platform game show hit a new low on Friday. On a night with no X-Factor, no Big Brother, no new So You Think You Can Dance or any other competition, MSQ was down from Thursday’s previous low of 1.1/4. In fact, a repeat of Undercover Boss (0.9/3) actually won the time slot over MSQ last night. With questions like who admitted they had an affair with Jay Leno when she was 25 and who is the new PM of Norway (not the same person BTW), the show also fell in viewers from September 12’s 4.2 million to 4 million last night. Heading towards its September 19 conclusion, The Million Second Quiz continues tonight but is off on Sunday for NFL Football – because nothing gets between NBC and its football.

A two-hour Dateline (1.4/4) at 9 PM was up 17% over last week to hit its best result among adults 18-49 since May 31. With that and a 1.2/4, NBC was No. 1 for the night among the key demo. The network was also tops and in viewers with 5.79 million watching. ABC came second among the demo with a 0.9/3 while CBS was No. 2 in viewers with 4.81 million.

The only original on ABC last night, 20/20 (1.1/4) was even with its September 6 show. At 8 PM, the CW’s Perfect Score (0.3/1) was up a tenth from last week while America’s Next Top Model (0.4/2) was down by the same amount from its September 6 show.

CBS ran encores on Friday and Fox aired a repeat of this week’s SYTYCD (0.52) season finale.

post #89513 of 93703
Technology Notes
IBC: Do We Really Need to Go Beyond HD?
By Carolyn Giardina, The Hollywood Reporter - Sep. 14, 2013

AMSTERDAM -- When considering a move to 4K, think “before you trash your share prices,” warned U.K.-based journalist and media commentator Raymond Snoddy during a spirited debate held Saturday at the International Broadcasters Convention.

During the session, industry vets (who were handed sides, not based on their individual company affiliation) were asked to argue for or against a move beyond HD toward 4K or higher. At the conclusion, the audience took a vote on the issue.

Snoddy warned the audience to pay attention to the audience and not to proceed down “the path of diminishing returns.”

He also debunked the argument that market research shows that consumers want Ultra HD TV. “They want Ultra HD TV, but haven’t seen it. What does that tell you about the market research? ... Consumers want to change their TVs as often as their phones?

Dream on.”

Also arguing against higher resolution was U.S. based media consultant and engineer Mark Schubin. “Unquestionably, you can see the difference between HD and 4K. So what?” he asked. “It’s the difference between very good and very good.”

Arguing for a move to higher resolution, Ericsson’s Giles Wilson asserted: “Ultra HD is about a sense of presence, not resolution. It’s about moving from viewing it to experiencing it.”

Arris' Sean McCarthy urged the audience not to liken this decision to 3D. “You don’t have to have everything (i.e. the content, the set penetration) at one time,” he said. “An HD signal on an Ultra HD TV looks so much better [than on an HD set]. It’s a step by step process.”

In the end, the audience voted by a show of hands whether they felt the industry should go beyond HD. Both sides got votes, but in the end, most voted against it.

Do you argue with the outcome? Share your views on the subject in our comments section below.

post #89514 of 93703
TV Sports/Business Notes
Going to the Game, to Watch Them All on TV
By Ken Belson, The New York Times - Sep. 15, 2013

JACKSONVILLE, Fla. — Inside EverBank Field, during the second half of the Jacksonville Jaguars’ lopsided loss to the Kansas City Chiefs last Sunday, Carlos Boria finally found a reason to cheer.

“Yeah, baby,” he screamed as tight end Jimmy Graham scored a touchdown. But Graham is not a member of the Jaguars. He was playing for the Saints, about 500 miles away, at the Superdome in New Orleans.

Boria’s cheer was part of the cacophony in the new 7,000-square-foot fantasy football lounge at the Jaguars’ stadium, where fans were primarily following not the game they had bought tickets to attend, but those in other N.F.L. cities involving players on their fantasy teams.

In recent years, sports sites have increasingly been outfitted with high-definition video scoreboards, and high-definition televisions in the concourses, the better to essentially create a broadcast of the game that fans are also watching live. But lounges like the one the Jaguars have unveiled take that one step further. They attempt, in essence, to entice fans to watch not just the game that is being played a few hundred feet away from them but every other one going on around the league as well — and to spend money on food and drinks while doing so.

The lounges function as technology-friendly sports bars, with great locations and, because fans need to enter the stadiums first, expensive cover charges.

“We have to have a very compelling reason for fans to come to the game,” said Shahid R. Khan, the Jaguars’ owner.

Many times, that reason may not be the game on the field. Though the Jaguars limped to a 28-2 defeat last week, Boria, 41, happily tracked the performances of his fantasy players, like Graham, on a Microsoft tablet computer mounted to a table in the lounge, and on the nine large screen TVs nearby.

“That will be my spot from now on,” said Boria, who, as a Jaguars’ season-ticket holder, pays an average of $40 a game for a seat that he plans to rarely visit.

Traditionalists might scoff at a fan who buys a ticket, drives to a stadium and then spends the game in a lounge focusing on out-of-town scores using televisions, computers and smartphones. But N.F.L. teams have been challenged in recent years by the growing number of fans who prefer the game-day experience in the comfort of their own homes, where high-definition TVs and high-speed Internet access — not to mention recliners and cheaper food and beverage options — provide a more suitable place for taking in several contests at the same time.

Enter areas like the Jaguars’ lounge, which is open to any fan in the stadium for no extra charge and offers air-conditioning, fast WiFi connections, video-game stations, comfortable recliners and food and drinks. The field of play is partly visible from the lounge, but that is almost incidental, and last Sunday, the Jaguars’ game was merely one of several on the TVs.

The Jaguars realize that in the fight for fans’ attention and wallets, their competition is not just from college football and other sports, but from fantasy football, social media and the highlights, statistics and online discussion that can sometimes be hard to follow in stadiums but have become an essential part of N.F.L. Sundays.

“The most important thing is to make sure they have a good game-day experience,” said Khan, who, during the game, stopped by the lounge, above the end zone on the stadium’s south side. “Teams like us are looking for every competitive advantage.”

In effect, teams are trying to marry live football with the digital experience. In fantasy football, fans create “teams” with real players and compete to see whose players perform the best statistically in any given week.

“Fans are left in the dark when they go to the stadium because the home experience has improved so dramatically,” said Phil de Picciotto, the president of Octagon, a sports marketing agency. The fantasy lounge in Jacksonville, he said, is “in part life imitating art imitating life and in part, if you can’t beat them, join them.”

It is a far cry from the years when about the only way to see your favorite team was to buy a ticket and the only way to get details of other games while sitting in the stands was to have a transistor radio handy.

Smartphones have helped blend the home and stadium experiences, allowing fans to check their fantasy scores while at games. Yet overloaded networks have made for spotty connections, and the technological advantages of staying home gave fans a reason to do just that. It is one reason that after peaking in 2007, leaguewide attendance has slowly declined. The challenge is especially great for struggling teams like Jacksonville, which finished 2-14 last season.

“The teams are asking whether the TV has gotten so good that the snake starts to eat its own tail,” said Andrew Billings, who teaches sports media at the University of Alabama and is a co-author of “The Fantasy Sport Industry: Games Within Games.” “You’ve offered such a good product at home that people don’t go. Yet the product is good in part because you have so many screaming fans.”

The Jaguars, the Philadelphia Eagles and the New England Patriots are among an increasing number of teams that have improved wireless signals in their stadiums and added areas like the Jaguars’ lounge, scoreboards with more video capabilities and other amenities to recreate the living room experience. Jacksonville and the Jaguars will spend $63 million next year to install an enormous scoreboard and make other stadium improvements. One reason the Cowboys chose AT&T as the naming rights partner for their stadium was the company’s technological savvy.

In some ways, the N.F.L. is a victim of its own success. Interest in games is high because fans have so many ways to follow the games, yet the profusion of options is starting to drown out the in-stadium experience, even as teams have raced to keep up with technology. One TV channel, NFL RedZone, shows every scoring play in the league as it happens, providing a real-time highlight show every Sunday.

Still, the N.F.L.’s many media deals generate billions of dollars a year. This summer, for instance, Verizon Wireless expanded its agreement with the N.F.L. so that next season, the company’s customers can watch more games on their smartphones.

“Changes in technology scare a lot of incumbents, but consumption is going up, and the pie is getting bigger,” said Brian Rolapp, who oversees NFL Network, NFL.com and the league’s other media holdings. “I don’t know if there is a normal way to watch the game.”

In Jacksonville last Sunday, more than 1,000 unique users tapped into the WiFi connection in the lounge, which was so crowded that bouncers controlled how many fans could enter.

With the temperature outside in the mid-80s, some fans surely came to simply enjoy the air-conditioning. Others ate the food being sold, like chicken scallopini. The bartenders were rarely idle, and fans lined up to play video games.

Most, though, appeared to enjoy the chance to satisfy their omnivorous football appetites.

“Last year, by the end of the game, my phone would be dead from checking scores so much,” said Susie Leary, who was keeping tabs on her five fantasy football teams on the tablet Boria used to check his two. “It’s nice to have the WiFi.”

post #89515 of 93703
Critic's Notes
Theme Songs of the Obscure
By Jim Fusilli, Wall Street Journal

If television is in a new golden age, some credit for the revival is due to the composers whose music has enriched the mood, story and character of the programs they score. Yet to the viewing public, composers of TV music are a near-invisible breed.

"I've learned over the years to labor in obscurity," said Jeff Beal, the three-time Emmy Award winner nominated this year for his work on Netflix's "House of Cards."

Not long ago, composing for TV was seen by some as a next-best gig. "Even my mentor Elmer Bernstein said TV would hurt my film career," said Bear McCreary, who has been nominated for his theme to Starz's "Da Vinci's Demons."

But today there's a sense that music for TV is as compelling and effective as it's ever been.

"There's a trend toward quality," said David Schwartz, who has been nominated for his music for "Arrested Development," also on Netflix. Cable and webcasting are generating more-innovative projects. "It's much easier to write great music" for a great TV series, he said.

And yet original TV music is not given the respect that feature-film scores get. In the press release announcing the Emmy candidates, the music categories come after the list of nominees for outstanding prosthetic makeup for a series, miniseries, movie or a special. And unlike the Oscars, where the nominated music is celebrated as part of the televised ceremony, the Emmys' music categories will not be presented during the Sept. 22 broadcast, but instead at a separate ceremony, excerpts of which will be telecast the following Saturday on the FXX channel.

For the composers, relative obscurity may be inevitable, given the task.

"In general, the function of music is to help tell the story—to be the subconscious of the story," said composer Michael Levine, a governor of the music peer group of the Academy of Television Arts & Sciences, which presents the Emmys. Accordingly, he added, viewers are not supposed to be aware of the underscoring or themes that reintroduce characters or hint at motivation. "If you listen to television shows from the '50s and '60s, [the music] is saying 'be happy here.' 'Be sad here.' It's not like that today."

Original main-title theme music, an aural indicator of a series' tone and scope, is intended to be memorable. "People may not remember the score to 'The X Files,' but they remember the theme," said Mr. Levine, who has written music for "Cold Case" and "Close to Home." Themes like those for "Mission Impossible" by Lalo Schifrin and "Hawaii Five-O" by Morton Stevens remain memorable several decades after they were introduced.

Much of the music nominated in the outstanding music composition for a series category seems to go unheard. Few, if any, viewers can recall the cues in "Downton Abbey" that helped define the many characters. But underscoring and bridge themes do heighten the experience. "Music is a huge part of any story," Mr. Beal said. "So much of the power of film is nonverbal. A good score can make or break it."

For "House of Cards," Mr. Beal wrote recurring phrases for the major characters, including a rumbling bass part for the malevolent House majority whip played by Kevin Spacey. And like other composers who write for programs online or on cable, Mr. Beal took advantage of the longer programs. It begins with his opening title theme, which runs about 95 seconds. Earle Hagen's memorable theme for "The Andy Griffith Show" ran for 23 seconds; Mark Snow's "The X-Files" title theme was 45 seconds long.

Scoring multiepisode and multiseason series requires massive amounts of compelling music. The 13 episodes of "House of Cards," for example, span more than 11 hours. As Mr. McCreary points out, he's written more music for AMC's "The Walking Dead" than John Williams did for the "Star Wars" franchise or Howard Shore for "The Lord of the Rings" trilogy.

"When the canvas was expanded, TV started to embrace dynamic scoring," Mr. McCreary said, referring to the power and color of orchestras. "When I speak to directors, we're not thinking TV. We're thinking of eight hours or more of music." He said he's writing music for a 70-piece orchestra for Joss Whedon's "Marvel's Agents of S.H.I.E.L.D.," to premiere later this month on ABC.

"It's a combination of things," said Anton Sanko, who has been nominated for his score for "Ring of Fire," Lifetime's June Carter Cash biopic. "Studios and creators are aware of the importance of music, coupled with the fact that we're dealing with long forms. Directors are taking their time. They will linger on a reaction or a vista." Those scenes require evocative music.

"For the most part, the music is more subtle now," Mr. Levine said. "It allows for sublime ideas."

Mr. Fusilli is the Journal's rock and pop music critic.

post #89516 of 93703
Critic's Notes
Is There Any Satisfying Way to End a Modern Drama?
By Matt Zoller Seitz, Vulture.com (New York Magazine) - Sep. 15, 2013

Walter White goes free. Walter White redeems himself. Walter White dies of cancer. Walter White gets buried in the desert and eaten alive by ants. Walter White goes to the Black Lodge from Twin Peaks and has coffee and pie with Special Agent Dale Cooper.

One of these potential endings might satisfy you, or none might. But Breaking Bad creator Vince Gilligan and his collaborators had to come up with something to finish their AMC crime drama, which airs its series finale September 29, and may or may not collect the Emmy for Outstanding Drama Series on September 22. The end is a show’s most important moment, because it ­retroactively shapes what we think about everything that came before it. Audiences understandably crave answers to the basic questions. Can Buffy ever return, or is this the end for her? How will all of the conspiracy threads on The X-Files tie together? What were Lost’s smoke monster and golden pool about, and was the show’s “sideways timeline” real or glimpses of an alternate universe? But they want answers to the big questions, too: What was this show trying to say about human nature, about ­society, about life? Was it ever saying anything? Did it deserve all the time and emotion I invested in it?

A satisfying finale was no small achievement even in the pre-Sopranos era, when most episodes of shows played like self-contained stories rather than chapters of an ongoing serial, but some managed to pull it off. The snow-globe pullout that ended St. Elsewhere is still a head-scratcher, because it implies that the globe’s owner is a child who somehow knew everything there was to know about medicine and TV history, but it’s of a piece with the surreal randomness that fueled that great eighties drama. The end of Newhart was ­delightfully humble: By having Newhart wake up in bed next to Suzanne Pleshette and realize the whole thing was a dream, the finale tacitly admitted that, whatever the sitcom’s charms, it was no The Bob Newhart Show. The Cheers finale lent sneaky heft to a light comedy by peeling away the major characters until womanizing hero Sam Malone was left in the bar. The closing scene confirmed that Cheers was to some degree about loneliness, or aloneness, and the necessity of seeking happiness within. The jail-cell payoff of Seinfeld, on the other hand, divided fans. It confirmed that the ­creators did, in fact, have a point of view on all the petty monstrousness they’d shown us, but some viewers balked at the implication that by enjoying the characters’ bad behavior for nine seasons, they were virtual accessories after the fact.

In the mid-nineties and early aughts—the heyday of Buffy the Vampire Slayer, The Sopranos, The Wire, Battlestar Galactica, The Shield, and ­other dramas driven by mythology, long-form storytelling, or both—a new conundrum presented itself: How to sum up an experience that has made a point of saying, “I am large, I contain multitudes”? The great modern TV drama is not a discrete, self-contained story, like a movie, a play, or a novel. It’s a living thing that grows and changes over time. It’s subject to the vagaries of production: A certain actor wants out of his contract; a producer has to be fired because he’s always late delivering episodes; the star is tired of working in Vancouver and wants to shoot in Los Angeles. (The latter isn’t a ­hypothetical: It happened on The X-Files.) Making television is not merely an artistic endeavor but an athletic one: a display of in-the-moment ingenuity and endurance. The answer to the question “Did you have a plan, or were you making it up as you went along?” is always “Both.” Gilligan’s Breaking Bad writers, for example, realized midway through writing season three that they weren’t happy with the story’s direction, so they killed off their two main antagonists and focused on a new one. Gilligan’s crew did a lot of this sort of thing in seasons three through five, and because they’re Carol Burnett–level masters of Acting Like They Meant to Do It, and equally good at cleaning up loose ends after the fact, the show hangs together better than it probably should.

The post-Sopranos dramas embraced these built-in aspects of chaos, telling viewers “Neat storytelling is not the only valid kind of storytelling.” But then the ends draw nigh, and the shows are expected to deliver a socko, all-questions-answered finale and pretend that they always planned to end up in that place, by that route, on that timetable, by way of a map they’d drawn years ago. Incredibly, some modern programs achieved this preposterous feat. The end of The Wire, for instance, felt structurally and philosophically right because its ­layer-cake drama was built on the foundation of one basic question: “Why do our institutions fail us?” The last half of the finale hazarded an answer: “Because institutions are run by people, and people are flawed and weak and easily discouraged and tend to reach a point where they’d rather give in than fight.” Other series had a harder time. Fans still grumble that the endings of Lost and Battlestar Galactica were too mystical or too obscure—or worse, a payoff that made them regret the years they spent watching.

It’s probably especially hard to write an ending for an anti-hero, like the ones on dark post-Sopranos dramas such as Breaking Bad, Dexter (which ended last week), and Mad Men (which enters its final season next year, and will compete with Breaking Bad at the Emmys), because a big part of such shows’ excitement comes from the dual pleasure of simultaneously loathing and cheering the protagonist. Old audience habits die hard: For all David Chase’s innovations in attraction-­repulsion storytelling, a lot of viewers still seem to think that a “satisfying” ending is one that punishes destructive characters, as in gangster films of yore. To quote a commenter on one of my Breaking Bad recaps on ­Vulture, “It will end with Justice or No Justice, so to speak. It will be the creators’ and writers’ final say on what they believe.” No pressure or anything.

There are big problems with both “justice” and “no justice” endings. If the anti-hero is punished, the viewer is guilty by association: the Seinfeld effect. But if the anti-hero is let off the hook—or has to “live with himself”—the show can seem amoral, or at least wishy-washy. Even a more nuanced or ambiguous nod toward one end of the scale or the other could backfire, seeming to neaten up a worldview that was intriguingly complicated. On top of all that, there’s the vision thing: Endings put a frame around the story and suggest why it was told to us, and what we should take away from it. If the anti-hero walks free, some might think the creator is a cynic, or a provocateur testing our moral compass for years but declining to say what direction the show was really headed in. Gilligan has addressed all this in the run-up to the finale, telling Vulture that he understood and shared the audience’s “yearning” to see “bad people” punished, but that he didn’t “feel any real pressure to pay off the characters, morally speaking.” He sounded blasé, but anyone who’s spent time around writers knows how agonizingly hard it can be to devise the one and only perfect ending. If there were a drug that treated choice paralysis, every writer’s room in Hollywood would be packed with addicts.

In addition to its virtues as puzzle and provocation, The Sopranos’ ending also represents an end run around the ­problems outlined above, though, of course, that’s not why Chase chose it. Any grousing about Chase making us write an ending for him was eventually subsumed by appreciation for that finale’s sheer audacity, as well as the larger questions it provoked. It felt fresh and singular, so much so that it’s hard to imagine any subsequent drama attempting an enigmatic ending without coming off as a pathetic Sopranos wannabe. And really, the vast majority of viewers don’t want that kind of ending. They’re not watching for the aesthetic ambition, however much they may appreciate it; they’re watching for the story and the characters. While they may not demand that the ending be tied up in a neat little bow, they won’t turn one down if it’s pretty, and tied with skill. And when the show is done, they want to move on. Yes, people want art, but more than that, they want answers, and finality. It’s not wrong to want these things. It’s human.

Curiously, though, television history is littered with countless examples of what you might call an accidental cut-to-black: finales that were never intended as finales, but served that function because the shows were canceled, and that in some cases grew to seem perfect, or at least backhandedly satisfying. Sometimes this is because the writers learned that cancellation was certain or likely and wrote a season finale that doubled as a series finale. Other times the feeling of closure is just a happy (or unhappy) accident. The closing episode of the one-­season wonder Freaks and Geeks, which showed the academically gifted heroine ditching the “straight” life to go follow the Grateful Dead, works fine as a series ender. The end of Deadwood is perhaps an even more dramatic example of a nonending that feels somewhat like an ending. David Milch’s Western drama was meant to run five years but got axed after three. The program inadvertently ended on a despairing note, with the forces of commerce lording it over the show’s Milch-style loquacious outlaw anti-hero: If nothing else, it felt like an oblique admission of why there were no more episodes of Deadwood. Like the endings of so many prematurely canceled series, it wasn’t ideal, but it had to do, because that’s where the curtain fell. That’s how life is, in a way: It’s ultimately about coming to terms with death. Some deaths you see coming. Others appear without warning. An end is an end is an end.

post #89517 of 93703
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 15, 2013

TCM, 5:45 p.m. ET

Vertigo, Alfred Hitchcock’s moody 1958 masterpiece staring James Stewart and Kim Novak, is part of a TCM Sunday salute that is followed, in prime time, by two other Hitchcock classics. Both of them, coincidentally, star the luminous Grace Kelly. In 1954’s Rear Window (8 p.m. ET), she plays opposite Stewart – and in 1955’s To Catch a Thief, which follows (10 p.m. ET), her leading man is Cary Grant. What a wonderful triple feature.

ABC, 9:00 p.m. ET

Lots of changes on the Miss America front: It’s called a competition now, not a pageant, and it’s back in Atlantic City, where the event began in 1921. Right around Boardwalk Empire time, which tonight’s ABC special finds itself competing against.

AMC, 9:00 p.m. ET

Last week’s show left me gasping, and inspired two of our TVWW writers to delve deeply and enthusiastically into what had happened, what was left hanging, and what might happen next. (See Eric Gould’s Cold Light Reader and Mark Bianculli’s The Son Also Criticizes.) And tonight? How many bodies will be left in the desert? Only one thing, at this point, is certain: Bryan Cranston’s Walter White will survive to fight another day. Because that’s exactly what he’s done, in this show’s infrequent, mysterious fast-forwards.

Showtime, 9:00 p.m. ET

This is the penultimate episode of Dexter – which means it’s well past time for the characters to be making some sense, and some sensible moves. This show’s “Trinity” season earned my loyalty until the end, but the end’s almost here, and it’s certainly not building the way it could or should be. Yet – but the showdown with Saxon is coming right up.

HBO, 10:00 p.m. ET
SEASON FINALE, Part 2 of 2.
It’s Election Night 2102, and everyone at ACN is determined to get through the long, important night without making a mistake. Well, that didn’t work out so well in Part 1, which was televised last week – but there’s a chance the staffers will get away with it, while chasing an unexpected story that adds even more stress to this last episode of the season.

post #89518 of 93703
Originally Posted by dad1153 View Post

TV Sports/Business Notes
Going to the Game, to Watch Them All on TV
By Ken Belson, The New York Times - Sep. 15, 2013

In Jacksonville last Sunday, more than 1,000 unique users tapped into the WiFi connection in the lounge, which was so crowded that bouncers controlled how many fans could enter.

With the temperature outside in the mid-80s, some fans surely came to simply enjoy the air-conditioning. Others ate the food being sold, like chicken scallopini. The bartenders were rarely idle, and fans lined up to play video games.

Most, though, appeared to enjoy the chance to satisfy their omnivorous football appetites.

“Last year, by the end of the game, my phone would be dead from checking scores so much,” said Susie Leary, who was keeping tabs on her five fantasy football teams on the tablet Boria used to check his two. “It’s nice to have the WiFi.”


Wow, this story is amazing to me, thanks Dad. Never imagined that people would pay an average of $40 and up per game for a season ticket, then not even bother sitting in the stands to watch the team they paid for. Seems like it would be a lot cheaper to go to a good local sports bar with all the games and good WiFi, but whatever floats your boat I guess.
post #89519 of 93703
Originally Posted by dad1153 View Post

Critic's Notes
Is There Any Satisfying Way to End a Modern Drama?
By Matt Zoller Seitz, Vulture.com (New York Magazine) - Sep. 15

It’s probably especially hard to write an ending for an anti-hero, like the ones on dark post-Sopranos dramas such as Breaking Bad, Dexter (which ended last week), and Mad Men (which enters its final season next year, and will compete with Breaking Bad at the Emmys), because a big part of such shows’ excitement comes from the dual pleasure of simultaneously loathing and cheering the protagonist.


Umm, Dexter has two episodes remaining...
post #89520 of 93703
Originally Posted by ToddR View Post

Umm, Dexter has two episodes remaining...

Yes, but my interest has pretty much ended. This final season is more like treading water. It does not advance the narrative at all.

His decision to postpone leaving town with his son and hot blond girlfriend for a new life in Argentina makes zero sense. Go. Get the heck outa Dodge. Now.

Or, instead, stay in Miami to make one more kill and and endanger the people you care about and probably force your own demise.

The difference between the final season of Dexter and Breaking Bad is huge.
New Posts  All Forums:Forum Nav:
  Return Home
  Back to Forum: HDTV Programming
AVS › AVS Forum › HDTV › HDTV Programming › Hot Off The Press: The Latest TV News and Information