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Hot Off The Press: The Latest TV News and Information - Page 2986

post #89551 of 93656
Originally Posted by dad1153 View Post

TV Sports
CBS Scores With 15-Year NFL Ratings High For Manning Brothers’ Faceoff
By Dominc Patten, Deadline.com - Sep. 16, 2013

Would have been nice to watch it, but noooo, we got the crappy Jags game instead mad.gif

post #89552 of 93656
I remember watching 240-Robert as a kid. I wish they would bring it to DVD.
post #89553 of 93656
Originally Posted by Nayan View Post

Would have been nice to watch it, but noooo, we got the crappy Jags game instead mad.gif

Redzone channel baby redzone channel....wouldve at least gotten some.

From 3:30 to 4:30 yesterday redzone was just insane with all the great finishes even Mike Greenberg on Mike & Mike was going on about it this morning.
post #89554 of 93656
Originally Posted by dcowboy7 View Post

Redzone channel baby redzone channel....wouldve at least gotten some.

From 3:30 to 4:30 yesterday redzone was just insane with all the great finishes even Mike Greenberg on Mike & Mike was going on about it this morning.
Or better yet NFLST, every game every Sunday. wink.gif
post #89555 of 93656
Originally Posted by dcowboy7 View Post

Redzone channel baby redzone channel....wouldve at least gotten some.

From 3:30 to 4:30 yesterday redzone was just insane with all the great finishes even Mike Greenberg on Mike & Mike was going on about it this morning.

I have Redzone so I saw all the action smile.gif. Would have been nice to see the whole game though too.
post #89556 of 93656
Originally Posted by dcowboy7 View Post

Redzone channel baby redzone channel....wouldve at least gotten some.

From 3:30 to 4:30 yesterday redzone was just insane with all the great finishes even Mike Greenberg on Mike & Mike was going on about it this morning.

Same here! Can't think of not seeing NFL games on a Sunday without the RedZone Channel. Shame they had to sign out before the Bucs-Saints game was over, that game went down to the wire but only folks in New Orleans and Tamba Bay saw them because it wasn't on any national channel. frown.gif
post #89557 of 93656
Nielsen Notes (Cable)
'Breaking Bad' is breaking ratings records
By Joe Flint, Los Angeles Times' 'Company Town' Blog - Sep. 16, 2013

The end of "Breaking Bad" is breaking big.

Sunday's episode averaged 6.4-million viewers, according to Nielsen, which is a record for the critically acclaimed drama about teacher-turned-crystal-meth-cook Walter White.

So far this season, AMC's "Breaking Bad" is averaging 5.2-million viewers, which is up more than 100% from last season.

The show also generates a lot of attention on Twitter. There were 604,765 tweets about the show Sunday night.

"Breaking Bad" has two more episodes left before its run ends. AMC has a spinoff in the works titled "Better Call Saul" about Saul Goodman, White's sleazy lawyer.

post #89558 of 93656
TV Notes
Damon Lindelof’s ‘The Leftovers’ Gets Series Order At HBO
By Joe Flint, Los Angeles Times' 'Company Town' Blog - Sep. 16, 2013

In his follow-up to Lost, Damon Lindelof has received a 10-episode series pickup by HBO for drama pilot The Leftovers, which was directed by Peter Berg. Co-written by Lindelof and Tom Perrotta based on Perrotta’s book and toplined by Justin Theroux, the project takes place after the Rapture happens, but not quite like it’s supposed to. It is the story of the people who didn’t make the cut — and a world that never will be the same. Warner Bros TV, where Lindelof and his Adventure Corps are under a rich overall deal, is producing in what marks the studio’s first series for HBO. The Leftovers, Lindelof’s first TV project after Lost, had a smooth sailing through development at HBO, where it was originally set up last summer, through pilot to a series order.

Like his fellow Lost co-showrunner Carlton Cuse, Lindelof picked cable for his next TV chapter after the Emmy-winning ABC drama. (Cuse is showrunner of A&E series Bates Motel and FX pilot The Strain.) Lindelof will serve as showrunner on The Leftovers, which he is executive producing with Perrotta, Berg, Sarah Aubrey, Ron Yerxa and Albert Berger. Berg and Aubrey’s Film 44 is co-producing. Co-starring alongside Theroux are Amy Brenneman, Christopher Eccleston, Liv Tyler, Chris Zylka, Margaret Qualley, Carrie Coon, Emily Meade, Amanda Warren, Ann Dowd, Michael Gaston, Max Carver, Charlie Carver, Annie Q, Paterson Joseph and Brad Leland.

post #89559 of 93656
TV/Business Notes
Hollywood Wants Numbers on the Digital Box Office
By Michael Cieply, The New York Times - Sep. 16, 2013

LOS ANGELES — The movie industry is whooshing toward its digital future, but some players are worried about getting stuck in an informational void along the way.

The business has long used box-office numbers, which are publicly sliced and diced ad infinitum. Similarly, disc sales and rentals for years have been monitored by the Rentrak data company and others.

But as consumers shift to new channels like Netflix and Amazon, there are no generally available industrywide data on the digital performance of individual movies.

While the studios get some information, it isn’t widely shared with filmmakers, agencies or the public — and those who hold the data have a distinct advantage when it comes to making deals or deciding which movies to back, or what to spend on them.

By and large, public reports of digital performance are currently limited to a handful of films, or they simply report rankings without numbers. As of Aug. 27, for instance, Rentrak’s public listing showed “The Great Gatsby” to be the top performing on-demand film as reported by its participating services, but it offered no stats.

In an address at the Toronto International Film Festival last Tuesday, Liesl Copland, a digital media expert from the William Morris Endeavor Entertainment agency, told a small group of documentary filmmakers about this large, if barely visible, problem.

Movies tumble into “analytic black holes” when they are viewed on subscription services like Netflix, on-demand providers like the cable companies and iTunes, or an advertising-driven distributor like SnagFilms, she said.

“Reporting hasn’t evolved with the rapidly increasing viewership patterns,” Ms. Copland noted. “There is still no uniform reporting system that aggregates all data on, say, a film or documentary across all of its platforms.”

This wasn’t some data lover’s plea for more, more, more. A former Netflix executive who now helps to package and sell films for one of Hollywood’s largest agencies, Ms. Copland comes to her topic with an insider’s sense of both the problems and the possibilities in movie data-sharing. In her current role, she desperately wants to know more about the digital audience, whose behavior is now crucial to structuring deals and advising clients as to whether a particular project will fly.

“Richer content and more engaged audiences” she posited, might result from access to shared data — and, of course, more deal-making leverage for agents.

Digital distributors, she pointed out, may know infinitely more about their customers than studios could glean from their box-office analytics, even when bolstered by focus groups, exit polls, prerelease tracking interviews and close monitoring of social media.

It is no trick for a subscription or on-demand movie service to figure out what you like, when you like to watch it, how much you’re willing to pay and even whether you are — i.e., sneaking a peak at a film or show, though you’ve promised to watch with a mate.

In making decisions about whether to back series like “House of Cards,” Ms. Copland reminded her listeners, Netflix relied heavily on its enormous bank of largely private information.

In truth, on-demand distributors share a great deal of data with the studios from which they’ve purchased films. For the last several years, moreover, the studios, large and small, have been sharing title-by-title information about digital downloads with one another via an arrangement with Rentrak, which collects the data and circulates it among roughly 170 entertainment company clients.

The studios also receive reports with some information on the streaming of individual titles from the NPD Group, another data company. But detailed streaming data are not routinely shared with filmmakers, agencies or news organizations.

Bruce Goerlich, Rentrak’s chief research officer, noted that the wall around digital performance information was simply an extension of confidentiality strictures that have long surrounded video performance numbers.

“Measurement can equal monetization can equal a fight,” he said of the entertainment industry’s tendency to conceal data.

Mr. Goerlich, who spoke by telephone last week, seconded what Ronald J. Sanders, the president of worldwide home entertainment distribution at Warner Brothers, had to say about the public availability of box-office numbers (which are also compiled under an industry arrangement with Rentrak, then distributed to the press and others), compared with the digital numbers.

“There’s less consumer interest in it,” Mr. Sanders said of the home entertainment numbers. If the general public were more interested in on-demand performance, he said, there would probably “be a stronger push to make it available.”

But there is plenty of industry interest. According to the Digital Entertainment Group, which monitors home entertainment spending, revenue from digital delivery of films and television shows in the United States was more than $3 billion for the first six months of 2013, up 24 percent from about $2.5 billion in the first half of last year. The growth rate promises a moment when digital revenue from movies and shows will rival the relatively flat North American motion picture box-office, which was about $10.8 billion 2012.

Recently, the Motion Picture Association of America identified 95 services providing digital access to films and television shows in the United States, up from fewer than 20 in 2006.

But what is actually happening to individual films on those services? “I can still only guess,” said Ms. Copland.

Pointedly, Ms. Copland delivered her Toronto address — titled “Digital On Demand: Show Us the Numbers” — to documentary filmmakers. That is because documentarians, whose films rarely perform well at the box office but often have a vibrant digital life, might gain the most from any immediate move toward digital transparency.

Still, documentary makers, feisty but fragile, lack the muscle to realize one of Ms. Copland’s more radical proposals: the marking of every film with a bar-codelike identifier that would then be tracked through every viewing in a way that is readily transparent to interested observers like herself.

(The film industry already tags many of its films; but public availability of the resulting information is another matter.)

That kind of change might have to be forced, she theorizes, by the Hollywood guilds, which are now preparing for a round of contract negotiations in which digital issues — of a kind that brought the film industry to a halt during the hard-fought writers’ strike of 2007 — will be central.

“Transparency could have a watershed moment in those negotiations,” suggested Ms. Copland, if studios could be boxed in to demanding, and disseminating, more information from the digital platforms.

A spokesman for the Writers Guild of America, West declined to say whether digital transparency could, or should, become a bargaining point in that guild’s next round of contract talks.

Until then, digital film revenue will keep growing; but most of us will have no way to know if a tiny documentary became a digital giant, or if a big-screen blockbuster underperformed among those who click-and-view.

“For the moment, this space is equivalent to a landfill in an earthquake,” said Ms. Copland. “All the patterns go haywire.”

Edited by dad1153 - 9/17/13 at 12:19am
post #89560 of 93656
Technology/Business Notes
Tablets to outsell PCs by year's end
By Jacqueline Sahagian,, USA Today/Wall St. Cheat Sheet - Sep. 16, 2013

Tablet shipments will exceed PC shipments before the year is out because consumers continue to favor mobile devices over personal computers, according to new research from IDC.

The study was on the worldwide smart connected device market, which includes PCs, tablets, and smartphones. PC shipments are still expected to beat out tablets for the full year, but will fall short of tablets during the fourth quarter. Tablets are expected to outsell PCs overall by 2015.

The overall smart-connected device market is expected to grow 10.6% in 2013, but that growth will slow to 3.1% by 2017 as the market becomes more saturated. The firm predicts that as the market becomes more heavily saturated, low-cost devices will become increasingly important, especially for emerging markets and the education sector.

IDC also cited price as the reason that smartphones and tablets are outgrowing PCs. Tablets have most of the same basic functions as a laptop but are cheaper and more portable, and so are becoming more popular among consumers.

"At a time when the smartphone and tablet markets are showing early signs of saturation, the emergence of lower-priced devices will be a game-changer," said Megha Saini, a research analyst with IDC's Worldwide Quarterly Smart Connected Device Tracker. "Introducing new handsets and tablet devices at cheaper price points along with special initiatives like trade-in programs from Apple and Best Buy will accelerate the upgrade cycle and expand the total addressable market overnight."

The high growth rate for tablets will eventually start to be eaten away by so-called phablets, or smartphones with screens 5 inches or larger, the firm predicts. The same principle that caused the cannibalization of laptops applies here, as well. If consumers can get a large smartphone that does everything a tablet can do, plus makes phone calls and is cheaper and smaller, then that's the device more people will choose to spend money on.

post #89561 of 93656
Nielsen Notes (Syndication)
‘Arsenio Hall Show’ Posts Strong Ratings in Premiere Week
By Rick Kissel, Variety.com - Sep. 16, 2013

Arsenio Hall is off to a good ratings start with his new latenight program, which scored the highest-rated premiere week for any syndicated talkshow in key demos in seven years.

Overall, according to Nielsen estimates in its 56 metered markets, CBS Television Distribution’s “The Arsenio Hall Show” averaged a 1.5 rating/6 share last week — up 50% from the year-ago time periods for the stations on which it airs. It was especially strong in New York, where WPIX (1.3/3) was up 86%, and in Los Angeles, where the 1.9/6 on KTLA repped a 138% time period improvement.

In adults 18-49, Hall’s 0.7 rating/3 share tied with “Tonight Show With Jay Leno” on NBC as the top-rated post-primetime talkshow — ahead of the likes of Jimmy Kimmel (0.6/3), Jon Stewart (0.6/2), Steve Colbert (0.5/2) and others. And in adults 25-54, it trailed only Leno.

The last new syndicated talkshow to fare better in 18-49 and 25-54 in its premiere week was “Rachel Ray” in 2006.

The week of Sept. 9-13 also saw a decent bow in the nation’s biggest markets for “Bethenny” from Warner Bros. Television Distribution, following the show’s trial run last year on six stations owned by Fox Television Stations Group.

According to Nielsen estimates for the show’s primary runs, “Bethenny” did a 1.1/7 in New York — up 10% over her “Wendy Williams” lead-in and up 38% from “Doctor Oz” a year ago. Other big-market highlights included big gains over “Wendy Williams” in Los Angeles, Chicago and Dallas, while in Philadelphia, “Bethenny” held her “Wendy Williams” lead-in and more than doubled last year’s “Dr. Oz.”

Bethenny Frankel’s show still has room for improvements in other markets, including top-25 Houston, Seattle and Phoenix, where it under-performed. Overall, “Bethenny” earned a 0.6 rating/4 share in women 25-54, on par with its lead-in and the year-ago time period. In households, its 1.0/3 was down from a 1.2/4 for both its lead-in and the time period of September 2012.

Edited by dad1153 - 9/17/13 at 12:22am
post #89562 of 93656
Business Notes
Analyst: Netflix Could Exceed 40 Million Streaming Subscribers By 2015
By Paul Bond, The Hollywood Reporter - Sep. 16, 2013

A day after Netflix won a couple of Primetime Creative Arts Emmy Awards, a Wall Street analyst on Monday predicted the subscription service could surpass the 40 million subscribers mark in 2015, up from roughly 31 million today.

"We see no reason why Netflix cannot exceed 40 million streaming subscribers by year-end 2015," BTIG analyst Richard Greenfield wrote in one of two blog entries about Netflix on Monday.

Greenfield laid out several reasons for his optimism, including "a growing stable of high-quality original programming," which, of course, includes House of Cards, which took two Creative Arts Emmys on Sunday and is also nominated for best drama. Kevin Spacey and Robin Wright are also nominated in the acting categories.

Greenfield says a low monthly price of $7.99, which he notes is "about half of HBO's retail price," is also driving adoption of Netflix's streaming product, as is "rapid escalation in personal entertainment media devices and the acceleration in the penetration of IP-enabled/connected televisions."

Ease of use -- nothing beyond broadband access is needed -- also is contributing to subscriber growth, as well as a "diverse offering including a compelling array of kids content positioned as a free add-on to the core service."

Later on Monday, Greenfield dissected subtle changes made to a document called "Netflix Long Term View" a few weeks ago by Netflix CEO Reed Hastings (the document was originally written in April).

Added to the document were a few lines indicating that Netflix will dedicate more of its resources to original programming, given that Hastings sees the first five originals as homerun successes.

Gone from the statement is a reference to spending just 10 percent of its programming budget on original content. Now the document says, "We'll steadily grow our original content spending." This, says Greenfield, "could be read negatively for those licensing content to Netflix."

Another addition Hastings added states that original programming "helps both retention and acquisition of members in a way that previously seen series do not."

post #89563 of 93656
TV Reviews
Good and bad on Fox
By Rob Owen, Pittsburgh Post-Gazette - Sep. 16, 2013

Tonight Fox debuts one of the more promising new comedies of the fall and the absolute worst comedy of the fall.

This yin and yang is bizarre. Do Fox executives really think viewers who tune in for the execrable "Dads" will stayed tuned to watch the smarter "Brooklyn Nine-Nine" (at 8 and 8:30, respectively on WPGH)?

That seems unlikely.

'Brooklyn Nine-Nine'

Let's begin with a show that might actually be worth watching. Fox provided only the first episode, which has its share of problems, but given the creative auspices -- writers Dan Goor ("Parks and Recreation") and Mike Schur ("Parks" and "The Office," on which he also played Mose in addition to writing) -- there's reason to hope for improvement.

Andy Samberg ("Saturday Night Live") stars as goofball detective Jake Peralta, who is as immature as he is a skilled crime solver. When by-the-book Capt. Ray Holt (Andre Braugher, "Men of a Certain Age") takes over the precinct, cultures clash. At first blush, Holt seems like a stock character viewers have seen a million times, but "Brooklyn Nine-Nine" throws in a twist that's unexpected and welcome.

And that may be the show's greatest detriment: A little bit of Mr. Samberg's character goes a long way, and although Fox has had great success with smartest-guy-in-the-room rule-breakers in the past (see: "House"), Peralta's cocky childishness doesn't play as well or as broadly.

As with the first seasons of "The Office" and "Parks," the supporting characters are underdeveloped, but these writers know how to shape secondary roles over time. So that's less of a concern.

The humor quotient in the pilot proves to be a mixed bag. The laugh lines come, but they're fairly inconsistent.

Still, when they do hit -- particularly during a canvassing door-knock scene that includes a Fred Armisen ("SNL," "Portlandia") cameo -- it's easy to see "Brooklyn Nine-Nine's" potential to develop into a good, maybe even great, prime-time comedy.

When: 8:30 tonight, Fox.

* * * *


Alas, there is no hope for "Dads," an obvious sitcom that plays on racist stereotypes and isn't at all funny.

The opening credits -- wistful music, a photo collage of pictures of dads and their kids -- suggest it could be a sweet exploration of the relationship between fathers and sons. "Dads" is anything but.

Video game entrepreneurs Eli (Seth Green, "Robot Chicken") and Warner (Giovanni Ribisi, "Friends") bond over their fractured relationships with their out-of-touch fathers.

Warner sees his dad, Crawford (Martin Mull, "Clue"), as a golden retriever with whom he shares a mutual avoidance of conflict; Eli sees his father, David (Peter Riegert), as an absentee parent in his childhood.

Early focus on tonight's premiere has been on the boys' racist insistence that one of their Asian employees, Veronica (Brenda Song), dress up like an Asian school girl to impress potential Chinese investors. It's a humiliating request that she agrees to but only after demanding a promotion and a week of vacation.

If that's not bad enough, "Dads" insults all viewers with its lowest common denominator humor. The sitcom, created by Seth MacFarlane ("Family Guy," "Ted"), Alec Sulkin ('Family Guy," "Ted") and Wellesley Wild ("Family Guy," "Ted"), offers a greatest hits list of time-worn, tired gags: Crawford shows up in his son's kitchen, wearing only a towel, which eventually drops to the floor in front of his daughter-in-law ("Well, now that you've seen it, I won't be needing to wear a towel from here on out"); in the show's second episode, the dads eat pot brownies and their personalities completely change.

The show's penchant for offending won't be going away. If anything, the second episode doubles down. When Crawford offers Eli a penguin meat sandwich, Eli replies, "No, I'm Jewish."

"It's free," Crawford says, playing into yet another ethnic stereotype.

Here's hoping Fox will dump dumb "Dads" posthaste.

When: 8 tonight, Fox.

post #89564 of 93656
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 - Movie: Iron Man 2 (2010)
* * * *
11:35AM - Jimmy Kimmel Live! (Amy Poehler; Stephen Merchant; Bastille performs)
12:37AM - Nightline

(R - May 14)
9PM - NCIS: Los Angeles
(R - May 14)
10PM - Person of Interest
(R - May 9)
* * * *
11:35PM - Late Show with David Letterman (Bill Murray; Lenny Kravitz and Gladys Knight perform)
(R - Aug. 29)
12:37AM - The Late Late Show With Craig Ferguson (Queen Latifah; author John Lloyd; Laura Mvula performs)

8PM - The Million Second Quiz: Day 8 (LIVE)
9PM - America's Got Talent (120 min., LIVE)
* * * *
11:34PM - The Tonight Show with Jay Leno (Neil Patrick Harris; singer Demi Lovato; Five for Fighting performs)
12:36AM - Late Night with Jimmy Fallon (Orlando Bloom; kids from "The Short Game''; Elvis Costello performs with The Roots)
1:36AM - Last Call with Carson Daly (Kal Penn; director Shane Carruth; The Neighbourhood performs)
(R - May 7)

8PM - Dads (Series Premiere)
8:30PM - Brooklyn Nine-Nine (Series Premiere)
9PM - New Girl (Season Premiere)
9:30PM - The Mindy Project (Season Premiere)

(check your local listing for starting time/programming)
8PM - Latino Americans: Foreigners in Their Own Land; Empire of Dreams (Series Premiere; 120 min.)
10PM - Frontline: Egypt in Crisis (Season Premiere)

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 - Aug. 20)
9PM - Capture

8PM - Dama y Obrero
9PM - Marido en Alquiler
10PM - Santa Diabla

11PM - The Daily Show With Jon Stewart (Jake Gyllenhaal)
11:31PM - The Colbert Report (U.S. Secretary of Education Arne Duncan)

11PM - Conan (Diane Kruger; Stephen Rannazzisi; Atlas Genius)

11PM - Chelsea Lately (Comic John Caparulo; comic April Richardson; comic Dov Davidoff; comic Cameron Esposito)

Edited by dad1153 - 9/17/13 at 12:23am
post #89565 of 93656
Nielsen Notes (Cable)
‘Crossfire’ Week 1 Ratings Lower Than Timeslot Predecessor ‘The Situation Room’
By Tim Kenneally, TheWrap.com - Sep. 16, 2013

CNN’s revived “Crossfire” didn’t have much of a reason to celebrate as it went into the weekend: the resuscitated squawking-heads show dropped throughout its first week back on the air, hitting its lowest point yet with its Friday broadcast.

What’s more, the new iteration of “Crossfire” also declined compared to the previous week, when “The Situation Room” aired in its timeslot, dropping 14 percent in total viewers and slipping 7 percent in the key 25-54 news demo.

Friday’s “Crossfire” was down 47 percent in total viewers compared to its Monday premiere, drawing 312,000 viewers. Among the key demo it didn’t fare much better, dropping 40 percent from its premiere.

Granted, that’s for a Friday night, when viewership is bound to be lower. But compared to the week before it premiered, though the overall weekly decline doesn’t bode well for the new series. which moved up its premiere to cover the Syrian crisis.

post #89566 of 93656
TV Notes
Four Centuries, Countless Influences
‘Latino Americans’ on PBS Recounts a Complex History
By Julia Preston, The New York Times - Sep. 15, 2013

In 1944, when Americans were fighting for the Pacific island of Saipan, a feisty young Mexican-American Marine named Guy Gabaldon ventured on his own behind Japanese lines, defying the orders of his commander. With a few phrases of Japanese he had learned as a boy in Los Angeles, Mr. Gabaldon coaxed enemy soldiers from caves where they were hiding, making them believe a regiment was close behind.

In one day, Mr. Gabaldon single-handedly captured more than 800 Japanese fighters, an American military record. Yet when Hollywood made a movie about his exploits after the war, Mr. Gabaldon, who is short with dark hair, was played by a tall, blond actor. His Latino identity was never mentioned.

That omission, and many others in which Hispanic people have been casually excluded or purposefully expunged from the record of American history, has begun to be addressed in “Latino Americans,” a series of six one-hour documentaries that PBS will broadcast on three Tuesday nights starting this week (check local listings). Its producers took on no small task. They set out to weave into one story line the saga of Spanish-speaking people on the American continent from their arrival to the present, starting with the Spanish admiral who laid claim to St. Augustine, Fla., in 1565 — more than four decades before the English founded a fort at Jamestown, Va.

The documentaries bring together for the first time for national television the disparate experiences of Latinos with different national origins, from the Mexican-Americans whose ancestors inhabited the Southwest before the United States were united; to the Puerto Ricans, Dominicans and Cubans who flocked to the East Coast during the past century; to the Central and South Americans who spread across the country in recent decades.

For PBS the series also repairs a historical record of its own. Latinos were outraged that none of their veterans were included in the 14-hour series about World War II made in 2007 by the documentarian Ken Burns. Hispanic groups successfully pressured Mr. Burns to re-edit some episodes to add several Latinos. They also demanded more shows by and about Latinos on PBS stations.

Enter “Latino Americans.” It aspires to do for Hispanics something like what PBS did for African-Americans with its documentary series “Eyes on the Prize,” first broadcast in 1987, a chronicle of the civil rights era that earned a permanent place in the black historical canon.

The new series has similarly large ambitions. In a civil rights spirit, it portrays people of Hispanic heritage who, despite strong roots in the United States, have continually faced dispossession and discrimination and struggled for recognition.

“It is a retelling of history that factually corrects the record and rightly puts Latino culture squarely in the middle of the American experience,” said Benjamin Bratt, the actor — Latino through his Peruvian mother — who brought star appeal to the project as the gravely sober narrator.

Early reactions from Latino organizations suggest they are ready to forgive.

“PBS is redeeming itself,” said Lisa Navarrete, a top leader at NCLR, also known as the National Council of La Raza, one of the groups that led the criticism of Mr. Burns’s series. “There is an idea out there that we are all recent arrivals. These documentaries go a long way to showing people that we are not new. We have a lot of history in this country.”

Jeff Bieber, an executive producer of the series, said he was watching the acrimonious debate over illegal immigration that was gathering fervor when he first conceived the series five years ago. Mr. Bieber, a vice president at WETA, the PBS flagship station in Washington, said he wanted to provide context about Latinos that would “change the national conversation” around immigration.

A delicate decision for Mr. Bieber was the selection of a series producer. Initially some advocates worried that his choice, Adriana Bosch, a filmmaker born in Cuba, might not comprehend the experience of Mexican-Americans. As it turned out, Ms. Bosch had never been wedded to one Latino region. She grew up in New Jersey and California and worked for decades as a filmmaker in Boston.

She brought in more Hispanic producers, from a different national origins. The project they undertook was vast.

“We wanted to tell the whole story,” Ms. Bosch said. “But it was a very tall order, constructing one narrative that captured the different threads. There are many groups, they have parallel histories, and some intersect and some don’t.”

After the recession hit in 2008, a series originally planned for eight hours was reduced by tight funds to six. The result is a panorama, which can sometimes be dizzying, as the action sprints from San Francisco to San Antonio to Santo Domingo.

There is the story of Juan Seguín, a Mexican who fought with the hapless defenders of the Alamo in 1836 and went on to become mayor of San Antonio. But settlers from the East were pushing Mexicans off their Texas land, and Mr. Seguín became one of them, forced to live out his life on the run as “a foreigner in my native land.” Mindful of the controversy with Mr. Burns, the producers of the Latino series devote a full hour to World War II, including the heroics of Mr. Gabaldon but also the painful aftermath for Latino veterans, whose experiences braving combat together with other soldiers raised their expectations for equal treatment once they returned home. An infantryman named Macario García, who received a Medal of Honor for his daring, was denied service two weeks later in a whites-only restaurant near his hometown in Texas.

One episode shows the cultural moment when a Puerto Rican performer, Rita Moreno, won an Oscar for her role as the defiant Anita in “West Side Story.” For years Ms. Moreno had been relegated to what she called, in an interview, her “dusky maiden” roles: buxom, submissive girls in dark makeup. Anita was her chance to play a Hispanic woman with character.

“It marked the first time I would be actually playing a person of dignity and strength,” said Ms. Moreno, who is now 81.

The broadcast of the new series has turned out to be timely. Latinos, the country’s largest minority, are closer than ever to having a shared national identity. Different groups have been unified in their rejection of the caustic rhetoric of some politicians in the immigration debate. Last year, Latinos demonstrated new electoral clout when their votes helped re-elect President Obama.

PBS hopes to tap in to that dynamic. Since January, advance screenings of “Latino Americans” have been held with panel discussions and fiestas, primarily with Hispanic organizations. The series’s Web site has invited Hispanic viewers, in both English and Spanish, to submit their own videos recalling family traditions and lore.

Ray Suarez, a senior correspondent for the nightly “PBS NewsHour,” has written a companion book and a school curriculum was developed. V-me, the Spanish-language public television network, will broadcast the series on six Fridays starting on Friday.

Yet, when it comes to dealing with contemporary immigration issues, the producers walk on tiptoe. They show faces of Latino immigrants hit with deportation, but avoid any position that might raise partisan hackles. “What’s going on today is so raw and current, they are shying away from taking a stand,” Ms. Navarrete of NCLR said. “That will be for another documentary.”

post #89567 of 93656
Originally Posted by dad1153 View Post

Same here! Can't think of not seeing NFL games on a Sunday without the RedZone Channel. Shame they had to sign out before the Bucs-Saints game was over, that game went down to the wire but only folks in New Orleans and Tamba Bay saw them because it wasn't on any national channel. frown.gif
You'd think the league would get a waiver (after all, the NFL owns the channel) to allow them to broadcast beyond the 8:00 PM Eastern limit if circumstances beyond their control delayed a game (like the lightning delay).
post #89568 of 93656
Originally Posted by humdinger70 View Post

You'd think the league would get a waiver (after all, the NFL owns the channel) to allow them to broadcast beyond the 8:00 PM Eastern limit if circumstances beyond their control delayed a game (like the lightning delay).
Is it because they want eyes on the NBC game instead?
post #89569 of 93656
Originally Posted by TheRatPatrol View Post

Is it because they want eyes on the NBC game instead?

Yep even though the game doesnt kick til 8:31 their 8:00-8:30 FNIA show was the #11 rated show last year.
post #89570 of 93656
Originally Posted by TheRatPatrol View Post

Is it because they want eyes on the NBC game instead?
Kinda. It's because NBC paid a ton for a single, national, exclusive game on Sunday nights. The NFL won't bite the hand that feeds it.
post #89571 of 93656
For TV Shows, It's a Seller's Market

Broadcasters No Longer Have First Dibs in Race for Original Series


Broadcast TV networks used to get first crack at all the best scripts in Hollywood. Nowadays, they are mere participants in a mad scramble.

TV-show creators this year are taking their pitches far beyond the networks, says Jennifer Salke, president of NBC Entertainment. "They are taking them to Netflix, they are going to HBO, they are hitting every cable outlet," she says. "It just puts you in the position of being even more of an underdog."

Ms. Salke says NBC aggressively pursued one big comedy project from a major outside studio this season, but "the creators decided to negotiate with Netflix instead."

That one of the major broadcast networks would feel like an underdog highlights the increasingly competitive landscape in the world of television.

As the traditional broadcasters—Fox, ABC, NBC and CBS—kick off another fall TV season this week, an explosion of original programming from cable networks and online video is giving consumers ever-greater choices. The growing demand for new series also is creating a scarcity of writers, directors and even actors available to produce certain types of shows.

Many writers who networks would turn to for dramas, for example, are already tied up making shows for cable networks, industry executives say.

"The best writers are in demand now in multiple places," says Patrick Moran, the executive vice president of ABC Studios, part of Walt Disney Co.

"We're seeing everyone participating in this derby," says Kevin Reilly, chairman of entertainment for Fox Broadcasting Co. "It's at a fever pitch right now."

Some network executives say the broadcasters need to rethink their approach to producing programming around an official September to May season.

In Mr. Reilly's view, the broadcasters' current system is "insane": The major networks all race to buy scripts and produce 10 to 20 pilots each on the same timeline, hustling to get pilots made in the weeks before big annual presentations to advertisers in the spring, when they show off the ones they have picked up for airing.

That leads to artificially intense competition for talent in the last-minute frenzy. Mr. Reilly says there are times when actors he doesn't know—and has to look up on entertainment database IMDb—have six or seven offers broadcast networks and cable outfits.

"We're trying to lead the way to get out of that outdated system," Mr. Reilly says. He says the official TV season makes no sense when cable rivals are putting out their top shows at all times of year.

Network executives say they are answering the challenges by stepping up their original programming investment and ordering up more "limited series," closer in length to typical cable series. Shorter-run series make it easier to attract talent.

Viewership at the Fox network last season dropped 21%. In an interview, Mr. Reilly makes no excuses—calling the season "tough." Fox plans to spend $150 million more this fiscal year to develop new series—representing a 10% bump over the previous year in programming spending—as it adds scripted shows to the summer.

This week Fox will launch new shows including serialized drama "Sleepy Hollow," sitcom "Dads," and police station comedy "Brooklyn Nine-Nine." But then in the spring it will launch a comeback of the counterterrorism thriller "24,"' followed by mid-summer launch of "Wayward Pines" from creator M. Night Shyamalan.

(Fox network-owner 21st Century Fox FOXA -0.03% was part of the same media company as Wall Street Journal-owner News Corp NWSA +0.21% until June.)

Some network executives are weighing whether to skip pilots altogether for some projects, to attract high-quality talent. NBC, owned by Comcast Corp., ordered "The Michael J. Fox Show," a comedy debuting on Sept. 26 loosely based on its star's own struggles with Parkinson's disease, off the pitch— without so much as a script, let alone a pilot.

"We just jumped on board because we didn't' think we should be in a position to lose that project," Ms. Salke says.

Starz Chief Executive Chris Albrecht estimates there has been a 33% increase in the number of scripted dramas on television since 2010. Last season, he says, there were about 180 scripted dramas throughout the entire television ecosystem. "I've been in this business for decades, and it is more competitive than I've ever seen it," says Mr. Albrecht, a former HBO CEO.

With all the competition between new shows, it is also harder for winners to break through. "This day and age, 'The Wire' wouldn't make it beyond the first season," says Mr. Albrecht.

For the 2013-14 season, Needham Insights estimates that there are 70 cable networks that ordered their own scripted series. In 2002 there were "fewer than a dozen" doing that outside of the premium outlets like HBO and Showtime, estimates media industry analyst Jack Myers.

Time Warner Inc.'s TNT and TBS expect to boost original episodes by 40% this year. AMC Networks on Monday announced it is developing a companion series for zombie thriller "The Walking Dead."

The proliferation of original shows elsewhere has taken a toll on repeats that broadcasters have long used to plug holes in their 36-week official season and throughout the summer. Over the past decade, ratings of prime-time repeats on the major networks among 18 to 49-year-olds have fallen 64%, according to Fox's analysis of Nielsen data.

"It doesn't make sense to dedicate airtime to repeat programming," says Benjamin Swinburne, a media and entertainment analyst at Morgan Stanley. "Everyone is increasing the number of programming hours and making it more of a yearlong schedule."

post #89572 of 93656
Well, that's a first. I had that very article read to me on WWJ on my way home, today. Deja Vu.
post #89573 of 93656
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 #89574 of 93656
TV Notes
'Mad Men' to split final season and end in 2015
By Bill Keveney, USA Today - Sep. 17, 2013

Mad Men fans will have longer to say goodbye.

AMC has added an episode to the initial 13-episode order and will split the Emmy-winning drama's seventh and final season into two even parts, one running in the spring of 2014 ("The Beginning") and the second in the spring of 2015 ("The End of an Era").

The split-season format has worked well for another AMC series, Breaking Bad, which started its final season last year and is in the middle of running its last eight episodes now. The show is scoring strong ratings.

"This approach has worked well for many programs across multiple networks, and most recently for us with Breaking Bad, which attracted nearly double the number of viewers to its second-half premiere than had watched any previous episode," AMC president Charlie Collier says in a statement accompanying the announcement. "We are determined to bring Mad Men a similar showcase."

Mad Men creator Matthew Weiner says the scheduling structure will work well for the final-season story. "We plan to take advantage of this chance to have a more elaborate story told in two parts, which can resonate a little bit longer in the minds of our audience."

Mad Men, which stars Jon Hamm as 1960s ad man Don Draper, has won four Emmys for outstanding drama series. The extra season will give the series another year of Emmy consideration.

post #89575 of 93656
Nielsen Overnights (18-49)
Strong start for Fox’s ‘Sleepy Hollow’
New drama draws a 3.4 in 18-49s in its debut
By Toni Fitzgerald, Media Life Magazine - Sep. 17, 2013

Fox’s new drama “Sleepy Hollow” is off to a promising start.

The show became Fox’s highest-rated fall drama premiere in six years last night, averaging a 3.4 adults 18-49 rating at 9 p.m., according to Nielsen overnights.

That was the best rating for any fall Fox drama since 2007, and it marked the best premiere for any broadcast drama in a year, since “Revolution’s” strong bow last September.

Unlike “Revolution,” which aired behind “The Voice,” “Hollow” didn’t have a huge lead-in. The 8 p.m. ninth-season premiere of Fox’s “Bones” drew a 2.2, down a tenth from last season’s bow.

“Hollow” also grew from a 3.4 in its first half hour to a 3.5 in its second, always a good sign.

Fox promoted its new shows heavily during NFL games the past two weekends and throughout the summer. But it remains to be seen if “Hollow” will hold up next week, when it faces more original competition on the other networks.

Still, “Hollow” did square off with ABC’s “Dancing with the Stars” and still did very well.

“Stars” had a decent bow, averaging a 3.2 from 8 to 10 p.m. and peaking with a 3.4 in its second hour. It finished even to last spring’s debut and up 28 percent from last fall.

However, that rating may be slightly inflated as “Stars” was preempted on ABC’s Pittsburgh affiliate for NFL coverage last night.

Also last night, the season finale of CBS’s “Under the Dome” grew 33 percent from last week, to a 2.8, its best rating since July 29.

The show has already been renewed for next summer.

Fox was first for the night among 18-49s with a 2.8 average overnight rating and an 8 share. ABC was second at 2.6/7, CBS third at 1.9/5, NBC and Univision tied for fourth at 1.2/3, Telemundo sixth at 0.5/1 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.

ABC led at 8 p.m. with a 3.0 for “Stars,” followed by Fox with a 2.2 for “Bones.” CBS and Univision tied for third at 1.4, CBS for reruns of “How I Met Your Mother” and “2 Broke Girls” and Univision for “Porque el Amor Manda.” NBC was fifth with a 1.1 for “Million Second Quiz,” Telemundo sixth with a 0.4 for “Dama y Obrero” and CW seventh with a 0.2 for a repeat of “Hart of Dixie.”

At 9 p.m. ABC and Fox tied for first at 3.4, ABC for more “Stars” and Fox for “Hollow.” CBS and NBC tied for third at 1.6, CBS for repeats of “2 Broke Girls” and “The Big Bang Theory” and NBC for “American Ninja Warrior.” Univision was fifth with a 1.2 for “La Tempestad,” Telemundo sixth with a 0.6 for “Marido en Alquiler” and CW seventh with a 0.2 for “Breaking Pointe.”

CBS took the lead at 10 p.m. with a 2.8 for “Siberia,” with ABC second with a 1.5 for a repeat of “Castle.” Univision was third with a 1.1 for “Que Bonito Amor,” NBC fourth with a 0.8 for “Siberia” and Telemundo fifth with a 0.5 for “Santa Diabla.”

ABC was first for the night among households with an 8.6 average overnight rating and a 13 share. Fox was second at 5.4/8, CBS third at 4.6/7, NBC fourth at 2.1/3, Univision fifth at 1.7/3, Telemundo sixth at 0.7/1 and CW seventh at 0.4/1.

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TV Notes
Howard Stern’s On Demand TV Show to End
By Sara Morrison, TheWrap.com - Sep. 17, 2013

The King of all Media has been dethroned — when it comes to pay-per-view television.

Howard TV, the premium pay channel that airs videos of Stern’s SiriusXM radio show and other Stern-related content, will end, the radio host and “America’s Got Talent” judge announced on his radio show on Monday.

“After almost eight years of programming the Howard TV On Demand service, iN Demand’s contract with Howard Stern Productions is expiring shortly,” iN Demand said in a statement. “We and Howard’s management team have decided jointly to sunset the service in its current iteration on Dec. 16, 2013.”

Though Stern said Howard TV would be expanding with new services to be announced at a later date, a producer at the channel told TheWrap that staff were informed in the beginning of September that the channel would almost certainly be shut down by the end of the year. Some, if not all, of Howard TV’s staff will then be out of a job.

“We have had a wonderful partnership with Howard and his production team, and are very appreciative of the hundreds of thousands of fans who enjoyed Howard TV over the years,” iNDemand said. “We did our very best to provide them with a highly entertaining video channel that was authentic and true to Howard Stern’s satellite radio show, its staff and celebrity guests, with original programming plus thousands of hours of the most popular library content from his iconic radio show through the decades.”

Howard TV launched in 2006 at the same time as Stern moved his show from the terrestrial airwaves to satellite radio, and is available for a subscription fee on the Bright House, Comcast, Cox and Time Warner cable services.

Stern did not immediately respond to requests for comment.

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TV Notes
It's Official: Fox News Launching Megyn Kelly in 'Hannity' Time Slot
By Michael O'Connell, The Hollywood Reporter - Sep. 17, 2013

Fox News Channel has firmed up plans for its new primetime lineup. After months of speculation about where Megyn Kelly would land in her move from daytime, the rising network star will debut in the choice 9 p.m. hour after The O'Reilly Factor. That leaves time slot veteran Sean Hannity moving to 10 p.m.

“Hannity is the leading conservative voice in America," said executive vp programming Bill Shine. "He has been a major star on both radio and television for more than a decade and we were happy to accommodate his schedule and retain him as a vital part of our lineup."

Kelly, who anchored the two-hour news program America Live up until her recent maternity leave, will now fall under Shine's programming purview with The Kelly File. And if that title sounds familiar, it's because it was also the name of Kelly's recurring segment on O'Reilly.

FNC's shuffle also means a move for Greta Van Susteren. On the Record, formerly the 10 p.m. broadcast, takes the vacancy left last week by Shepard Smith, who was promoted into a larger role at the network.

"After 11 [and a half] years number one at 10 p.m. and driving home near midnight, I am 'to the moon thrilled' at a new challenge," said Van Susteren. "And a new drive. Half the year I won't even need headlights!"

All changes will go into effect Monday, Oct. 7, which happens to double as the dominant cable news network's 17th anniversary.

"As the network continues to dominate with the top 13 programs in cable news, Fox News already redefined primetime viewing to extend well beyond the antiquated 8-11 p.m. format," said FNC chairman and CEO Roger Ailes. "We’ve developed a deep bench of engaging and thought-provoking personalities that have grown with Fox News as it has evolved into the most influential and successful cable network in television. These changes will enable the network to continue setting the industry standard for years to come."

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TV/Technology Notes
Content Creators Use Piracy to Gauge Consumer Interest
By Nick Bilton, The New York Times' 'Bits' Column - Sep. 17, 2013

You would think that Netflix, HBO and the like don’t think too highly of video piracy Web sites. After all, two of the biggest hits on Netflix — Orange Is the New Black, a show about a women locked up in prison, and House of Cards, about a conniving politician — are among the most pirated content online. HBO’s Game of Thrones was the most pirated show of 2012.

But last week, a senior Netflix executive said the company itself used pirating Web sites — to determine the genre of new shows viewers might be interested in, and the type of content Netflix produces or licenses.

“With the purchase of a series, we look at what does well on piracy sites,” Kelly Merryman, vice president of content acquisition at Netflix, told the Web site Tweakers, a Netherlands-based news outlet. “Prison Break” is exceptionally popular on piracy sites,” Ms. Merryman said, while noting that this was part of the reason Netflix decided to license the show.

While piracy proponents have been arguing that companies should embrace illegal downloads for some time, it seems that companies like Netflix are finally agreeing.

Laurence H. Tribe, a professor of constitutional law at Harvard Law School, said Netflix, HBO and others can gain important information on customers by paying attention to online pirates.

“I have little doubt that some companies are starting to see how they might benefit from the information they can reap by being subjected to online piracy,” Mr. Tribe said in an interview. “Whether they see those benefits as large enough to offset their losses discounted by the high costs of constructing sufficiently strong anti-piracy protections is likely to be a function of a hard-headed, context-based cost-benefit calculation framed by imagination.”

In the past Reed Hastings, Netflix’s chief executive, has seemed nonplussed by the reality that people illegally download shows from his company.

“Certainly there is some Torrenting that goes on and that’s true around the world, but some of that just creates the demand,” Mr. Hastings told Tweakers in an interview when asked how he feels about people pirating content on the site. “Netflix is so much easier than Torrenting.”

In the interview, Mr. Hastings implied that pirating builds demand, and then when the service becomes available in a new country, people switch to the easier, paid product. ”In Canada ********** is down by as much as 50 percent since Netflix launched three years ago,” he said.

It seems that Netflix isn’t alone in lauding piracy Web sites, or at least nodding to the importance of them as a barometer for the public’s interest in a show.

Earlier this year Time Warner’s chief executive, Jeffrey L. Bewkes, said on an earnings call that pirated content can be “a tremendous word-of-mouth thing.” While talking about HBO’s Game of Thrones, Mr. Bewkes said the discovery that the show was the most pirated TV brand of 2012 could be “better than an Emmy.”

Even the music industry is learning that piracy can pay. According to a study issued in March by the European Commission’s Joint Research Centre, a scientific and technical arm of the European Commission, illegal downloads of songs do very little to harm music industry sales.

The study of 16,000 Europeans found that “piracy can actually provide a boost to music revenues online, irrespective of the genre, and that it should not be viewed as a pressing issue by the industry at all.” In many instances, the study found, if the music was available in a digital form for a fee people would be willing to pay for it. This is the same reality HBO and Netflix seems to be learning, too.

Of course, as I’ve noted before, some of this could be content producers choosing to throw their hands in the air when it comes to illegal downloads. Stopping online piracy is like playing the world’s largest game of Whac-A-Mole.

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Nielsen Notes (Cable)
CNN’s ‘New Day’ Ratings Continue to Plunge
By Alex Stedman, Variety.com - Sep. 17, 2013

CNN’s “New Day” has been struggling to bring up its already ailing ratings, as the new morning show fell behind its previous lows on Monday and lost to competitors Fox and MSNBC.

According to Nielsen, “New Day’s” Monday ratings were down 17% in total audience and 5% in the 25-54 demographic from last week and is down 19% in both total audience and 25-54 demo in the third quarter.

Despite scoring major interviews from Prince William to Mark Zuckerberg, the project of CNN president Jeff Zucker has failed to find its footing since its start in June. Even its big interview with President Obama in late August saw a ratings drop, despite the president’s appearance on “The Tonight Show” earlier that month resulting in rating highs.

Earlier this summer, it was competitive with MSNBC’s “Morning Joe,” but has not been able to fair as well as the show continued.

Meanwhile in the same time slot, “Fox & Friends” fared well with Elisabeth Hasselbeck’s first day as co-host. The former “The View” co-host brought in a boost of 4% overall and 19% in the 25-54 compared to the Monday before.

Overall, “Fox & Friends” brought in 1,166,000 total viewers, “Morning Joe” saw 432,000 and “New Day” came in last with 250,000.

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TV Notes
Jay Leno’s ‘Tonight’ Staff Begins To Bail
By Lisa De Moraes, Deadline.com - Sep. 17, 2013

EXCLUSIVE: The Tonight Show With Jay Leno staff isn’t necessarily waiting around for the show’s February finale. Bob Read and LiAnne Read, for instance, are moving over to Chelsea Lately. Bob Read is now supervising producer for Chelsea Handler’s late-night talker, producing all celebrity guests. LiAnne Read is associate producer in the talent department. They both started in 2001 — Bob Read was most recently a co-producer while LiAnne Reed was a talent coordinator

In early August, Tonight EP Debbie Vickers told staff that, per terms of Leno’s exit deal with NBC, cast and crew would be paid until his contract expires next September. The Jay Leno-hosted Tonight Show will air its last episode February 6. It was unclear how many crew and staff were at that meeting on the show’s Burbank lot. At one point it was reported Tonight had about 170 total staffers, including some contract workers. NBC declined comment on today’s news.

At NBC’s upfront presentation to advertisers in May, the network officially announced that Leno would end his 22-year run on Tonight Show during the week leading up to the 2014 Winter Olympics — which start February 7. NBC also announced Jimmy Fallon would replace him on Monday, February 24, the night after the closing ceremony, followed by the debut of Late Night With Seth Meyers at 12:30 AM. Fallon’s Tonight Show will be broadcast from New York City; Lorne Michaels is exec producing, and Fallon’s Late Night writer Amy Ozols has been named producer.

Vickers’ announcement was made one week after NBC Entertainment chief Bob Greenblatt confirmed the network is having talks with Leno about “various ideas” for Leno after he ends his run. “Nothing would make us happier for Jay, a la Bob Hope, to have presence at the network, we’re really hoping to do that, post February,” Greenblatt told TV critics at the TCA Summer Press Tour.

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