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Hot Off The Press: The Latest TV News and Information - Page 3006

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Nielsen Overnights
CBS Dramas, 'MasterChef Junior' and 'Shark Tank' Top Friday
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Oct. 12, 2013

CBS topped Friday night in both total viewers (9 million) and the targeted adults 18-49 demographic (1.4 rating), despite Undercover Boss (1.3 adults) and Hawaii Five-0 (1.4 adults) both showing modest losses -- like most of the night's broadcast offerings. The duo each shed a tenth of a point, while Blue Bloods (1.4 adults) held even at 10 p.m.

Last Man Standing (1.2 adults) started the night on ABC down two-tenths from last week, while The Neighbors (0.9 adults) dropped by just one. The softer lead-in saw Shark Tank (1.7 adults) drop two-tenths from last week's showing -- though the series still topped in the demo for the night by a healthy margin. 20/20 (1.1 adults) dropped a half of a point, giving ABC a nightly average of a 1.3 adults rating and 5.4 million viewers.

Dateline (1.1 adults) dropped two tenths of a point on NBC, and the net averaged a 1.0 rating with adults 18-49 and 4.4 million viewers for the night.

MasterChef Junior saw the night's lone growth, rising one-tenth to a 1.4 rating among adults 18-49 on Fox. The network pulled a 1.0 adults rating and 3 million viewers for the night.

America's Next Top Model (0.4 adults) held even on the CW, which averaged a 0.3 adults rating and 1.1 million viewers for the night.

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TV Notes
Meg Ryan Developing NBC Comedy as Starring Vehicle
By Tim Kenneally, TheWrap.com - Oct. 11, 2013

Meg Ryan is bringing her business to the small screen.

The “Sleepless in Seattle” star has entered a development deal for a new comedy, which Ryan would star in and executive produce.

Ryan will play Rose, a sunny, devoted and desperately non-confrontational single mom who decides to return to her New York publishing house where she was once a brilliant editor to find that she now works for Brenda, her neurotic 30 year old boss who was once her former intern.

Rose must find a way to keep her boss, her teenage kids, her almost ex-husband and her meddlesome mother in law all happy, which results in her over-complicating every situation and somehow always making it worse.

Ryan’s manager, Jane Berliner, is also executive producing the project, which comes via Universal TV.

Marc Lawrence (“Miss Congeniality”) is writing the project as well as executive producing.

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TV Notes
MTV renews 'Teen Wolf,' gives it talk show
By Yvonne Villareal, Los Angeles Times' 'Show Tracker' Blog - Oct. 12, 2013

MTV announced Saturday it plans to stay in the hirsute game, renewing "Teen Wolf" for a fourth season and pairing it with a "Wolf"-related talk show.

The series will return in 2014 with 12 episodes. And taking a cue from older cohorts like AMC and FX with postmortem after-shows (either on TV or on the Web), MTV will debut the new talk show "Wolf Watch," set to air weekly after each episode of "Teen Wolf." The announcements come as its devoted fans gather at New York Comic-Con.

That the network is beefing up the show's presence is hardly one to howl over. The first half of the third season averaged 2.8 million total viewers and a 2.5 among the 12-34 demo--making it the highest-rated and most-watched season to date, according to the network.

“Wolf Watch” will be hosted by Jill Wagner, who plays “Kate Argent” in the hit MTV series and will feature guest appearances from the "Teen Wolf" cast and, as the press release states, "celebrity super fans."

The talk show will make its debut when the second half of "Teen Wolf's third season begins on Monday, Jan. 6 at 10 p.m. ET/PT.

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Originally Posted by dad1153 View Post

TV/Business Notes
Jeffrey Katzenberg: We’ve Got Big Plans to Reinvent Voltron, He-Man, Bullwinkle
By Josh Dickey, TheWrap.com - Oct. 10, 2013

Jeffrey Katzenberg has good news for fans of Voltron, He-Man, Rocky & Bullwinkle and the dozens of other newly acquired Classic Media characters: DreamWorks Animation has ambitious plans to reinvent just about all of them for TV and/or the bigscreen — similar to what Disney did with Marvel.

Exactly how is this good news for fans?

I'm pretty sure that "reinvent" is code in Hollywood for "make a terrible new version of what was cool before".
post #90155 of 93674
Originally Posted by NetworkTV View Post

Exactly how is this good news for fans?

I'm pretty sure that "reinvent" is code in Hollywood for "make a terrible new version of what was cool before".
They've already tried that: They did a continuation of Voltron (Voltron Force) and a reboot of He-Man already, episodes in the can and broadcast and apparently interest in those properties waned. Please guys, let it go!
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TV Notes
On The Air Tonight
SUNDAY Network Primetime Options
(All shows are in HD unless noted; start times are ET)

7PM - America's Funniest Home Videos (Season Premiere)
8PM - Once Upon A Time
9PM - Revenge
10:01PM - Betrayal

7PM - 60 Minutes
8PM - The Amazing Race
9PM - The Good Wife
10PM - The Mentalist

7PM - Football Night in America (80 min., LIVE)
8:20PM - NFL Football: Washington Redskins at Dallas Cowboys (LIVE)

7PM - NFL Football: Regional Action (Continued from 4:25PM, LIVE)
7:30PM - The OT (LIVE)
8PM - MLB Baseball - American League Championship Series, Game 2: Detroit Tigers at Boston Red Sox (LIVE)

(check your local listing for starting time/programming)
8PM - Last Tango in Halifax (Season Finale)
9PM - Masterpiece Classic: The Paradise
10PM - Masterpiece Classic: Downton Abbey (120 min.)
(R - Jan. 8, 2012)

7PM - Aquí y Ahora
8PM - Mira Quién Baila (120 min.)
10PM - Sal y Pimienta

7PM - Movie: Ice Age (2002)
8:30PM - Movie: The Dark Knight (2008)
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Tim Gunn: A Lifetime of Making It Work
By Jennifer Conlin, The New York Times - Oct. 13, 2013

At Lincoln Center on the second day of New York Fashion Week, Tim Gunn quietly encouraged with a quick hug, a kiss on the cheek or a last-minute word of praise the four contestants who were about to show their final collections to a gathering audience of nearly a thousand invited guests. In turn, the designers smiled back at him, grateful for their mentor’s presence on the day that would determine the Season 12 winner of “Project Runway.”

Another group of designers, however, no longer seemed to care about Mr. Gunn’s “Make it work” mantra. “I don’t think they like me anymore,” he said of the four already-eliminated contestants working on the sidelines. Now acting as “decoys” for this Sept. 6 taping, so the identities of the finalists would not be revealed before the televised finale on Oct. 17, they too would be showing their collections that day.

“Some of them apparently think the show was rigged this season, which couldn’t be further from the truth,” Mr. Gunn said, his fingertips touching one another at waist level in his characteristically poised stance. “It couldn’t be further from the truth,” he added again for emphasis, looking annoyed.

Later, reflecting on this season’s drama, which included a fifth decoy designer who decided to pull out of the fashion show that morning, he said, “It goes without saying that when a designer is out and leaves the show, they are hugely disappointed and probably a little grumpy.”

“But there was a new flavor of it this season that was really quite unpleasant,” he added. “The level of anger and acting out and grumpiness was really beyond the pale. I will be blunt. I did not want to see them. They were just not pleasant.”

Then, more in keeping with his image as the show’s peacemaker — stepping in when the fractious squabbling among the contestants seemed to be veering toward physical altercation; soothing fragile egos when they had been bruised by a judge’s tough critique — Mr. Gunn softened his tone a bit: “I think it has to do largely with the fact that we have such a talented group.”

While talented they may be (though regular viewers of the show may have a less charitable view of the contestants’ design skills than Mr. Gunn), if past seasons’ results are any guide, then the moment when one of them is named a winner may well be the highlight of his or her career as a fashion designer.

Because, for all the opportunities that come with that victory (and this year the cash and prizes total more than half a million dollars, as well as the chance to design and sell a collection at Belk department stores), the track record of past winners is not an encouraging one.

While some former contestants have gone on to minor celebrity (an hourlong documentary was made about the Season 1 winner, Jay McCarroll, Chris March had a short-lived reality show, Santino Rice is a regular panelist on “RuPaul’s Drag Race” and several of the designers, including Malan Breton, Daniel Vosovic and Irina Shabayeva, have shown their own collections at New York Fashion Week), only Christian Siriano, the winner of Season 4, has emerged from the show with anything remotely approaching a high profile in the fashion world.

In fact, for all the made-for-television tension that accompanies the announcement of the winning designer, it is fair to say that no one has benefited more from the show’s success than the three original judges and Mr. Gunn himself.

Though Michael Kors was an established designer before joining “Project Runway,” the show has made him a bona fide celebrity, and his TV fame could not have been an insignificant factor in his highly lucrative initial public offering nearly two years ago. Nina Garcia was the little-known fashion director at Elle when she joined the show, and is now creative director of Marie Claire. These days, she is on ABC doing red-carpet commentary for the Oscars, working as a consultant for J. C. Penney and doing a deal with the co-founder of Netflix. And Heidi Klum, already a noted Victoria’s Secret and Sports Illustrated model, has turned into a global fashion conglomerate, with a line of active wear for New Balance and a jewelry collection on QVC, while also starring as a judge on yet another reality show, “America’s Got Talent.”

But perhaps no one has come further (or benefited more from the show’s success) than Mr. Gunn, who for more than two decades was a largely anonymous administrator and teacher at Parsons the New School for Design in New York.

Since the show began in 2004, first with Bravo and now on Lifetime, Mr. Gunn, who turned 60 this summer, has nearly too many accolades to list. He has published three books (one written with Kate Moloney and one with Ada Calhoun); had an animation role on a Disney show; a period as chief creative officer at Liz Claiborne Inc.; numerous guest appearances on hit television shows like “How I Met Your Mother,” “Gossip Girl” and “Ugly Betty” (usually playing himself); a spinoff makeover show on Bravo that lasted two seasons called “Tim Gunn’s Guide to Style”; red-carpet Oscar interviews with the likes of Helen Mirren; and a couple of invitations to the White House — the latest being to a lunch hosted by Michelle Obama. He and Ms. Klum also just walked away with the Emmy for hosting a reality TV show (beating out, among others, Ryan Seacrest and Betty White) at the most recent award ceremonies.

As even he would admit, the show has made him an unlikely celebrity, one whom Ms. Klum described in a recent e-mail as “the kindest, most humble person you’ve ever met,” and whom his longtime “Project Runway” executive producer, Sara Rea, calls “such a good person,” one who will “stop and give an autograph or take a photo with anyone who asks.”

Prompted to talk about his many accomplishments, Mr. Gunn can’t help but admit his good fortune. “I am just a lucky guy and a very happy guy,” he said recently, sitting in the elegant Upper West Side penthouse apartment he bought in 2009 after 25 years of renting. “There is nothing more that I would even think of wishing for, because if I did, and if there is a higher authority in power, it would strike me down with a bolt of lightning for the hubris of it.”

It’s been a long journey to get here.

* * * *

Raised in Washington by a mother who helped found the library for the C.I.A. and a father who worked as an F.B.I. agent under J. Edgar Hoover, Mr. Gunn did not have an easy youth.

“On the topic of my own sexuality, for years and years and years I knew what I wasn’t, but I didn’t really know what I was,” he explained in his apartment as he talked about his childhood, adding that he grew up with “a very distant, aloof father, who I knew I was a disappointment to in so many ways.” And a mother who was “very attentive, very caring,” but not warm. “I don’t remember ever being hugged by her,” he said.

Mr. Gunn says he still remembers clearly the feelings of “despair and anguish” he experienced as a teenager. “How to describe it?” he said, pausing to find the right words. “It was a huge human pothole.” He added that he, like others in his position, had few public role models in the gay community to look up to.

“I had people like Paul Lynde, and the fey decorator in a Doris Day movie, and I thought: ‘Well that is not me either. I am not like that,’ ” he recalled, and then moments later, in a brief moment of levity, added, “Well, maybe I am!” laughing loudly.

He has now publicly acknowledged that he tried to kill himself at 17 with an overdose of pills. After that crisis, he found the help he needed in the medical community and among his family.

“Whenever there was a crisis that I presented to them, and trust me there were many, my father was always there,” he said lovingly. “He was the stabilizer, he was the negotiator, he was utterly fabulous, and my mother would fall to pieces, completely fall to pieces, and not advance the plot in any way. But Dad was there.”

But comfort was not the same as acceptance, and Mr. Gunn says he never came out about his sexuality to his parents, knowing they would disapprove. His father died 18 years ago and his mother 3 years ago.

He knew that his second book, a New York Times best seller, “Gunn’s Golden Rules” (in which he discusses being gay), which was published in September 2010, just before his mother’s death, would “trigger a hugely emotional and incendiary response” from her. As he told an interviewer at the time, “If she’s still alive when the book is published, then it will kill her.”

Instead, after the book came out, she wrote what Mr. Gunn describes as a very long “tome.”

“It’s in a 9-by-12 envelope that is half an inch thick, I think,” he said. “Still unopened.”

Since discussing his own suicide attempt, however, including making an emotional video for the “The Trevor Project,” a national organization for L.G.B.T. and questioning youth, he has found that parents often bring their teenagers up to him after public speaking events.

“And I know what it is about,” he said, tearing up and pausing in an attempt to gain his composure. “And I am very proud to be that person,” he continued, still choked up. “To say: ‘Look, it is not an easy road ahead. It is going to be filled with obstacles and you have to navigate them, and we learn from these things. But you need the help of people around you, people you trust, people you feel comfortable speaking to, whether it’s a family member, friends, a teacher, whomever it may be, because I would not be here if it had not been a for a major intervention and hospitalization.’ ”

Just before he turned 50, and a few years after being named chairman of the fashion department at Parsons (“In fashion education in this nation it does not get any better than that”), Mr. Gunn was approached by the production team of Jane Lipsitz and Dan Cutforth of Magical Elves (then best known for their involvement with “Project Greenlight,” a reality series about fledging filmmakers) about a show in development called “Project Runway.” Months later, he agreed to be a consultant.

But then, after seeing Mr. Gunn interacting with the young designers at the auditions — reviewing their portfolios and asking about their goals and inspirations — the producers changed their minds. “They said to me, ‘What if you were the mentor in the workroom?’ ” Mr. Gunn said, remembering his first reaction was concern that he would have to live in the same residence as the designers.

“Conceptually, I was not altogether persuaded that when it was all said and done, this whole show wouldn’t be about sexual antics at the Atlas apartments,” he said, laughing.

During the development of the show, Mr. Gunn was responsible for two major changes. First, he insisted that the designers make their own clothes (the original plan had been for a roomful of seamstresses to sew the competitors’ patterns), and second, he argued that the workroom should close every night so as not to become a competition of endurance rather than talent. (It was planned as a 24-hour work space.) “Some people can survive on four hours of sleep like Martha Stewart, and others are frail flowers who need nine,” he argued. (The change also gave the added tension of a clock ticking away, as the hour that the workroom had to close increasingly neared each night.)

Still, he said: “I couldn’t really believe that ‘Project Runway’ would end up being a show that was really about the creative process. I wanted to believe it, but fundamentally I had doubts.”

He wasn’t alone.

While observing the judges being taped in a question-and-answer session with the contestants during Season 1, a woman standing next to him suddenly said, “Who wants to watch this?”

“She corroborated my worst thoughts!” he recalled. Later, Mr. Gunn said he learned that woman was Lauren Zalaznick, then the president of the Bravo Network, the NBC channel that had bought the series. (Project Runway moved to Lifetime in Season 6, creating a contract dispute with NBC that was eventually resolved.)

Indeed, early signs were not good. Initial viewer ratings for the first few episodes hovered around the 350,000 mark, and it seemed the show was destined to be a one-and-done failure. “I don’t want to pretend that we cried ourselves to sleep at night,” Mr. Cutforth told The New York Times in 2005, “but it was really quite depressing.”

But Ms. Zalaznick turned out to be a believer, running repeated episodes of the show so viewers would find it, and by the time the show’s finale was broadcast in February 2005 — with Mr. McCarroll named the winner — its audience was about five times as big and a second season was ordered. The show later went on to be nominated for an Emmy in the outstanding reality-competition category.

Versions of it sprung up from Belgium (“De Designers”) to Brazil (“Projeto Fashion”), complete with mentors and judges. But it would be hard to imagine any mentor doing the job better than Mr. Gunn, whom Ms. Rea, the show runner, says, “is not playing a part but just himself.”

Though seen critiquing the designers’ work for a few minutes during the weekly challenges, Mr. Gunn actually spends a good hour, if not more, with each of the contestants, giving advice on their ideas, urging them to follow their instincts and bolstering their confidence.

“Everyone believes in you here, Alexandria,” Mr. Gunn reassured Alexandria von Bromssen during the taping of one episode this season, when she was upset by Ms. Garcia’s criticism that some of her garments were not “show worthy.” “You can’t please everyone; Heidi liked everything,” he told her reassuringly. “Wipe it out of your head,” he said, stroking her arm.

Justin LeBlanc, the first beneficiary of the “Tim Gunn Save” (which was introduced this season to give Mr. Gunn one chance to overrule the judges’ decision to eliminate a contestant), said: “I have goose bumps talking about him. He is the same on camera as off. He taught me the confidence to stay true to myself.”

As for the show’s lack of big-name success stories, Mr. Gunn says that within 30 seconds of meeting the most famous alumnus of the group, Mr. Siriano, he knew the 21-year-old contestant was “an old soul and a design prodigy.” (Most recently, Christina Hendricks of “Mad Men” wore a well-received Siriano gown to the Emmys.) As for the others, “Not everyone wants to be Michael Kors” — meaning that some have other ambitions than to be a commercial designer — and “the recession has not helped.” He said that the Season 2 winner, Chloe Dao, did not want to leave her family and hometown, Houston, to move to New York, but is still doing very well in Texas with her own retail store and regular appearances on QVC.

“There are many ways you can establish your own path,” he said, sounding very much like the teacher he is. “The reason I love my catch phrase, ‘Make it work,’ is because it is not just about what is happening in the workroom, it is about life. Taking the existing conditions, the things we have available to us, and rallying them to ascend to a place of success.”

As for his own future, Mr. Gunn, who is single and has been for decades, says that he can see himself growing “older and wiser and wrinklier with someone,” but that the person could be a man or a woman and the relationship wholly platonic.

“In terms of romance and that element of dating — yuck, no thank you, I don’t need it,” he said, adding that his life is already so busy he often feels “a hair shy of a psychotic breakdown.”

He says this with the air of someone who knows that all that he has now was not exactly preordained.

“Had I been successful with that suicide attempt,” he said in a quiet moment back at his apartment, “none of this would have happened to me.”

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TV Notes
Rand Paul on CNN
By Hal Boedeker, Orlando Sentinel's 'TV Guy' Blog - Oct. 10, 2013

Christine Lagarde of the International Monetary Fund speaks to NBC's "Meet the Press" at 9 a.m. on WESH-Channel 2. Other guests are Leon Panetta, former secretary of defense and former director of the CIA; Sen. Dick Durbin, D-Ill.; and Sen. Rob Portman, R-Ohio. The panel will be CNN's Chuck Todd, PBS' Judy Woodruff, Kathleen Parker of The Washington Post and former Rep. Harold Ford Jr., D-Tenn.

Sen. Joe Manchin, D-W.Va., and Sen. Bob Corker, R-Tenn., will talk to "Fox News Sunday" at 10 a.m. on WOFL-Channel 35. Another guest is Rep. Jim Jordan, R-Ohio. The panel will be George Will, Juan Williams, Dana Perino of "The Five" and former Sen. Evan Bayh, D-Ind. The program will salute Senate Chaplain Barry Black.

Sen. Rand Paul, R-Ky., will be a guest on "State of the Union" at 9 a.m. and noon on CNN. Discussing the shutdown will be former Gov. Brian Schweitzer, D-Mont., and Newt Gingrich, co-host of "Crossfire" and former speaker of the House.

Sen. Charles Schumer, D-N.Y., and Sen. Kelly Ayotte, R-N.H., talk to CBS' "Face the Nation" at 10:30 a.m. on WKMG-Channel 6. Sen. John McCain, R-Ariz., is another guest. The panel will be Dan Balz of The Washington Post, Dee Dee Myers of Vanity Fair, Kimberley Strassel of The Wall Street Journal and CNN's Gingrich.

Fareed Zakaria will ask how the country got to such political dysfunction at 10 a.m. and 1 p.m. on CNN. His guests include CNN's Jeffrey Toobin, Norm Ornstein of the American Enterprise Institute and Vanessa Williamson, co-author of "The Tea Party and the Remaking of Republican Conservatism." The other guests on "Fareed Zakaria GPS" are Lloyd Blankfein of Goldman Sachs, James Rogers of Duke Energy and Denis O'Brien of Digicel Group.

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Critic's Notes
How the VCR Brought Film's Artistry Home
Pre-VHS recorder, the canon was about reputation, not experience.
By Terry Teachout, Wall Street Journal - Oct. 10, 2013

Is film a fine art? I don't know many people who'd claim otherwise, even after watching this summer's parade of brain-deadening blockbusters. Any medium that has been used to create such masterpieces as, say, "Chinatown," "Rashomon" or "The Rules of the Game" no longer has anything to prove. But was film a fine art in 1913? And how about 1933, or 1963? While most moviegoers would likely answer in the affirmative, I beg to differ. As far as I'm concerned, it wasn't until 1983—just 30 years ago—that movies became more than a species of purely popular entertainment.

Born in 1956, I grew up in a small Missouri town that had only one single-screen movie theater. The only "arty" films I saw there were Franco Zeffirelli's adaptation of "Romeo and Juliet" and Stanley Kubrick's "2001: A Space Odyssey." What's more, the nearest public television station was in St. Louis, just beyond the range of our rooftop antenna (this was well before the coming of cable TV). It wasn't until after I left home that I saw any pre-1950 movies, be they great or lousy, other than "The Wizard of Oz."

In 1975 I enrolled in a small college located in a suburb of Kansas City, Mo. I had a tiny TV set in my dorm but was too busy going to class to watch it more than sporadically, and my school had no film series. At that time, Kansas City was home to two "art houses," one of which showed first-run foreign films and the other domestic revivals. I doubt I saw more than a dozen "classic" films in the second of those theaters, none of them more than once. As a result, I failed to absorb the concept of Film as Art. For me, a classic film was a one-off event, like a fireworks display, rather than something to be experienced over and over, like a sculpture or a symphony.

What changed my point of view? The VHS videocassette recorder, which was introduced to the U.S. by JVC in 1977. Like many other Americans, I bought my first VCR in 1983, six years later, right around the time that prices were coming down. "Citizen Kane" and "Grand Illusion" were the first "classic" films of which I owned VHS copies. I'd never seen either one before, and I'll never forget how thrilling it was to be able to view them at will.

If you're under the age of 50, or if you grew up in a film-friendly city like Chicago or New York, my experience will almost certainly be alien to you. I can assure you, though, that it was not merely common but normal. Today's youngsters simply can't imagine the overwhelming power of the cultural transformation that was made possible by the invention of the VCR. Sure, countless full-fledged art films were released prior to 1983, and there was a considerable amount of good film criticism as well. But scarcely anyone could get to know a great film in anything more than a superficial way. (In fact, you usually couldn't even buy a copy of the script.)

The resulting situation was not unlike that of the proverbial tree falling in the forest. I knew that "Citizen Kane" was a great film—but I didn't know it for myself. For me, as for most people, the film canon was all about reputation, not first-hand experience. That's why it was the VCR that turned film into a true art form: Starting in the early '80s, you could own a film the way you owned a book, making it possible for anyone to study it closely and write about it with the same specificity and intimacy that we take for granted in other forms of criticism.

If you're still skeptical, consider this: Jazz, which came along at the same time as film, is now widely and rightly regarded as a great art form in its own right…but what if the phonograph had never been invented? Would jazz have spread throughout the U.S., much less the world? Or would it now be nothing more than a historical curiosity, a form of dance music that was played in New Orleans around the turn of the 20th century, after which it was forgotten save by antiquarians?

Today, of course, the VCR has long since been relegated to the technological junk pile. But I'll never forget what the folks at JVC did for the world of art when they came up with the VHS format in 1976. Just as the invention of the phonograph enabled the dissemination and preservation of jazz, so did the invention of the VCR give film what literary scholars call a "usable past." As a result, it is universally acknowledged as a narrative medium directly comparable in stature and significance to the novel. So the next time you slip a knowing reference to a sled called Rosebud into a conversation, remember why the person you're talking to gets it—and be thankful.

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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Oct. 13, 2013

Fox, 8:00 p.m. ET

Again, it’s a single-game day, with only one night game offered to postseason baseball fans. Tonight, pre-empting Fox’s Sunday animation lineup, it’s Game 2 of the American League Championship Series. The Detroit Tigers lead the Boston Red Sox, 1-0, but tonight’s game results could erase that advantage. Or double it.

CBS, 9:00 p.m. ET

Last week, the impending defection to the new firm created some unexpected allies, as Alicia (Julianna Margulies) found a sudden, crucial influx of funds provided by her own mother (Stockard Channing). This week, Will (Josh Charles) learns of Alicia’s plans – and he, too, reacts unexpectedly.

AMC, 9:00 p.m. ET
This gripping series begins Season 4 with what looks like a lull in the action – a respite in which Rick (Andrew Lincoln) has traded his gun for a hoe, and taken to feeding the ever-increasing band of survivors taking refuge behind the prison fence. But outside the fence, there’s an ever-increasing gathering, too – of walkers. The season starts as strongly as last season ended, so strap in.

Showtime, 9:00 p.m. ET

Season 3 has begun by shuffling the deck substantially: Last week, Carrie (Claire Danes) was seemingly betrayed by Saul (Many Patinkin) during his subcommittee testimony, leaving her feeling completely alone. And this week, for the first time this season, we focus on Brody (Damian Lewis), who certainly can relate.

Showtime, 10:00 p.m. ET

This week, Michael Sheen’s William Masters pores over his piles of data about sexual activity, and decides he has to get closer to the truth. At the same time, he hopes to get closer to his co-researcher, Lizzy Kaplan’s Virginia Johnson, as well. Anything for science.


* * * *

TV Review
Reality Has A Log Life In The PBS Showcase '56 Up'
By Eric Gould, TVWorthWatching.com - Oct. 13, 2013

If reality programming is your thing, you'll need to tune in on the grandfather of all reality concepts, Director Michael Apted's Up series. It began 40 years ago on the UK's Granada Television, following the ups and downs of the lives its subjects.

Part armchair anthropology and part video diary, the next three-hour installment, called 56 Up —Apted has done one every seven years since 1964—airs Monday on the PBS POV documentary series (at 10 pm, ET but check local listings).

Since it began, Apted has seen his subjects as kids (when he was a young researcher for the original), and then in seven year increments, as adolescents at age 14, young adults at 21, and then marriages and careers, and on and on, at 28 and 35. This is the eighth installment. These kids are now 56.

Apted (Gorky Park, Gorillas in the Mist) is off camera asking gentle, yet sharp questions about whether life has been happy or, now that they are over 50, if there is, like a real version of Sinatra’s My Way, a trail of stubborn regret. Most, in fact, have the rounded glow of middle age, of having lived and made the best of their choices – even Neil, who went homeless for a while.

Another subject, Symon (left), grew up in an orphanage, and went on to various labor jobs and has since foster-parented dozens of other kids. Apted asks, "Do you see life as some parts failure and some parts success, or do you not think like that?"

Symon answers, "You might go down the wrong road -- it doesn't mean that's the end of the road. There's no judge. You have to turn around and come back and start again."

Apted's series, which won a 2013 Peabody Award, follows all kinds of kids from all kinds of economic backgrounds. They went on to various professional, clerical and blue-collar careers. We find participants in their own segments as they are today, and then cut to clips from the original Seven Up episode. Successive interviews from other installments are layered in to show choices made and unforeseen U-turns that life sometimes serves up.

It's a fascinating tapestry of lives playing out over decades, with changing hairstyles, clothing-- and waistlines-- marking the chapters.

Clips of the group as young adults trying to imagine their future, followed by immediate cuts of how it all actually played out are captivating. Also startling (although how can we really be surprised?) is the video footage of them as children and how much of their personalities they revealed, even at the age of seven.

The dominant theme of 56 Up is the burden of those early dreams coupled with the rear-view of middle age and the reconciliation and acceptance and what's now behind them. It might be a video version of the same internal conversations viewers inevitably have when their lives are jarred by change, good or bad.

There’s probably some comfort in this documentary’s insights for older viewers at the same stages. But perhaps more worthy is what 56 Up might say to younger viewers who can identify with the group as kids and young adults – and then see them advance decades forward in the flash of a few scenes.

It's then when 56 Uppoignantly implies how short life is – and how it is, simply, what you make of it. Suzy, who opted out of college and never envisioned kids (top photos), and who later married and began a family, says, "You know, we all make mistakes, in everything, from parenting to decisions in life. You make mistakes and that's how you become the person you are."

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TV Review
ESPN’s 30 for 30 Doc ‘No Mas’
By Brian Lowry, Variety.com - Oct. 13, 2013

The Sugar Ray Leonard-Roberto Duran fights in 1980 launched the phrase “No mas” into the global lexicon, while triggering what amounted to a mystery about what could inspire one of the scariest boxers on the planet to quit in the middle of a fight. “No Mas,” ESPN’s latest “30 for 30″ documentary, explores that question, doing a bang-up job of revisiting those events, before committing a serious misstep by reuniting the two fighters, in what feels like a reality-TV stunt. Producer-director Eric Drath’s film is still worth seeing, but unlike Leonard, this one bit of showboating nearly results in a technical knockout.

As the film makes clear, boxing was riding high in the late 1970s, thanks to the combination of the stable of fighters introduced by the 1976 Olympics and the movie “Rocky.” Of those Olympians who quickly became stars in the professional ranks, nobody shone brighter than Leonard, who mixed flash and showmanship with a dazzling set of skills.

Still looking remarkably fit, Leonard and a slew of analysts and participants recount his first faceoff with Duran, whose bruising style and swaggering machismo made the normal pre-fight posturing unusually personal and pointed. “I hated that sonofabitch,” Leonard recalls, while Duran — whose hostile gestures included flipping off Leonard’s then-wife — is shown in an interview saying he “wanted to break him into pieces.”

The first bout was a war, with Leonard choosing to go toe to toe with Duran instead of out-boxing him, and losing in a decision. “He hurt me to the body,” Leonard marvels. “Nobody hurt me to the body.”

That sets up the rematch, where Duran — after being dominated and humiliated by Leonard in the early rounds — simply threw up his hands and quit.

That inexplicable act dogged both men, casting a pall over Leonard’s victory and making Duran a pariah in his native Panama, after his previous victory had turned him a national hero.

So far, so good. But the film arranges (or at least agrees to film) an awkward meeting between the two in Panama, made even more silly by staging the meeting in a boxing ring. It’s an unnecessarily theatrical touch, particularly since the present-day Duran — exhibiting little evidence of the eye of the tiger he once possessed — doesn’t come across as someone prone to much in the way of introspection, second-guessing or confessionals.

It’s too bad, since until then, “No Mas” (Spanish for “No more,” a phrase Duran insists he never uttered, blaming Howard Cosell) does a terrific job of capturing that era, when big fights could still seemingly brought the world to a stop, creating big personalities and an gladiatorial quality around the sport’s epic pairings.

By contrast, the film’s glaring flaw is clearly a product of its current time, once again demonstrating how in today’s age of media overkill, a little less is often mas.

ESPN 30 OF 30: "NO MAS"
ESPN. Tue. Oct. 15, 8 p.m. ET

post #90162 of 93674
Originally Posted by dad1153 View Post

TV Notes
Meg Ryan Developing NBC Comedy as Starring Vehicle
Given her always-smiling botox-inspired expression, sitcoms are about all she's good for.
post #90163 of 93674
Meg Ryan was once one of the world's cutest humans. I've always felt that if you began with that much of a head start you could afford to age gracefully. Helen Mirren, Diane Lane, and Julianne Moore are wonderful examples of women who defied the expectations of Hollywood and have done just that.
post #90164 of 93674
Originally Posted by archiguy View Post

Meg Ryan was once one of the world's cutest humans. I've always felt that if you began with that much of a head start you could afford to age gracefully. Helen Mirren, Diane Lane, and Julianne Moore are wonderful examples of women who defied the expectations of Hollywood and have done just that.
Ah yes, Diane Lane, the lady is ageless.

post #90165 of 93674
Originally Posted by keenan View Post

Ah yes, Diane Lane, the lady is ageless.

My favorite role for Diane Lane is, was, and always will be "Lorena" in Lonesome Dove.
post #90166 of 93674
Originally Posted by BoilerJim View Post

My favorite role for Diane Lane is, was, and always will be "Lorena" in Lonesome Dove.
Yup, I've enjoyed her in almost everything she's done.

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Now that's a cow "poke!" biggrin.gif
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SATURDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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TV Reviews
Leavening TV ‘Reality’ With Jolts of Hardship
HBO Presents ‘Redemption,’ About Struggling Can Collectors
By Neil Genzlinger, The New York Times - Oct. 14, 2013

Sometimes television accidentally presents illuminating, dismaying contrasts, and Lifetime and HBO have inadvertently combined to serve up a doozy.

On Thursday, Lifetime rolled out “Million Dollar Shoppers,” a braying reality show about gratingly annoying people who shop for some of the New York area’s super-rich. On Monday night, HBO offers the documentary short “Redemption,” a delicate portrait of those bedraggled people, some of them homeless, who walk New York City streets collecting cans and bottles for the nickel deposit.

Watching one, then the other, might make you apoplectic. “Redemption” is by Jon Alpert and Matthew O’Neill, whose earlier films — like “Section 60,” about the families of war dead — showed that the most powerful documentary technique can be simply to observe. Here that approach is applied to the people many New Yorkers explicitly try not to observe as they pass by on the street, pushing carts and lugging bags full of cans and bottles. We hear their voices and see how they live.

“Fifty cans: $2.50,” says a 60-year-old named Walter, holding a Starbucks drink. He likes to describe such things in terms of how many cans he’d need to buy them. Later, in front of a town house with a for-sale sign, he says, “A hundred million cans.”

These canners are well aware of how they are viewed by the rest of the city.

“It bothers people to see us digging in the trash,” one woman says. “What are we supposed to do? There’s no work.”

At one point “Redemption” walks through a one-bedroom apartment where a canner lives with six other people. Even given that the people on “Million Dollar Shoppers” may be caricatures of the actual rich, it’s disheartening to see that one client’s clothes-filled closet doesn’t look all that much smaller.

“I hear angels,” Barbet, one of the personal shoppers, says ecstatically about this closet. “Angels are singing, and there’s a white light, and it’s the closet light.” Are you sure those angels weren’t crying?

“Redemption,” unlike “Million Dollar Shoppers,” has moments of humanity: the canners, despite occasional fights over territory, often look out for and support one another. There is also humanity in two other documentary shorts that HBO presents with “Redemption” on Monday night: “Open Heart” and “Mondays at Racine.”

“Open Heart” is about an effort to provide surgery for children in Rwanda who have rheumatic heart disease. The operations are free, courtesy of the Italian medical organization Emergency, but they are performed at the Salam Center in Sudan, which means a long trip for the children. The film, by Kief Davidson, follows one group’s journey. The doctor behind it all, Gino Strada, isn’t on camera much, but you have to admire his effort.

“Mondays at Racine,” by Cynthia Wade, starts out at a beauty salon in Islip, on Long Island, that offers free services to women with cancer, but it’s not really about the salon. It’s about the women who go there for support, a series of miniportraits that reveal their fears, struggles and strengths. It’s been a long time since breast cancer was a subject no one mentioned, but even so, discussions of it rarely get as personal as these vignettes.

HBO, Monday night at 9, Eastern and Pacific times; 8, Central time.

HBO, Monday night at 9:40, Eastern and Pacific times; 8:40, Central time.

HBO, Monday night at 10:20, Eastern and Pacific times; 9:20, Central time.

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Nielsen Notes
Premiere Week Live+7 Ratings: Networks In Positive Territory
‘Agents Of SHIELD’, ‘Big Bang’ & ‘Sleepy Hollow’ Post Biggest Gains
By Nellie Andreeva, Deadline.com - Oct. 13, 2013

Here is some good news for the broadcast networks — viewers are not abandoning broadcast, they are just taking their sweet time watching the shows. The Live+7 ratings for premiere week came out today, and it painted a pretty good picture — all nets were up or flat vs. last fall. Compare that with the Live+Same Date ratings for the opening week of the season where only ABC and NBC were up in adults 18-49 and only NBC up in total viewers, while everyone else was down.

The turnaround was biggest for Fox, which went from being down 15% year-to-year in 18-49 and down 13% in total viewers in Live+SD to +9% and +7%, respectively. It was fueled by freshman Sleepy Hollow (5.3 18-49 rating), which posted the biggest percentage Live+7 gain in adults 18-49 (70%) and tied CBS’ The Big Bang Theory for the second biggest absolute gain (2.2 rating). That was still good enough for Fox to rank fourth among the Big 4 networks (2.9, 7.5 million total viewers). NBC (3.8, up 6%; 11.5 million, up 17%) remained the leader in 18-49, paced by the premiere of The Blacklist (5.5, up 43%). CBS was still No.1 in total viewers (13 million, up 1%) and moved up from third to second in 18-49 (3.1, nc). Its top performer was the hourlong Big Bang Theory (7.8 in 18-49, up 40%), the highest rated program of premiere week in 18-49.

CBS also claimed the most watched program, NCIS, 24.7 million, followed closely by Big Bang (24.2 million). ABC (3.0, up 7%; 7.9 million, -1%) was No.4 in 18-49 but claimed 3 of the Top 5 programs in absolute 18-49 gain: No.1, Marvel’s Agents of S.H.I.E.L.D. (7.0, up 2.3), No.4, Modern Family (6.2, up 2.1), and No.5, Grey’s Anatomy (5.1, up 1.7). While the networks’ Live+7 gains are all good for bragging rights, the networks still don’t have a way of monetizing viewing outside of the Live+3 window.

Here are network rankings and a full list of all programs’ Live+7 18-49 performance: [CLICK LINK BELOW]

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Originally Posted by dad1153 View Post

TV Review
Reality Has A Log Life In The PBS Showcase '56 Up'
By Eric Gould, TVWorthWatching.com - Oct. 13, 2013

If reality programming is your thing, you'll need to tune in on the grandfather of all reality concepts, Director Michael Apted's Up series. It began 40 years ago on the UK's Granada Television, following the ups and downs of the lives its subjects.

Part armchair anthropology and part video diary, the next three-hour installment, called 56 Up —Apted has done one every seven years since 1964—airs Monday on the PBS POV documentary series (at 10 pm, ET but check local listings). http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=6036

Thank you for posting this. If anyone hasn't seen this series, it's a great (and free) opportunity to see an fascinating piece of film work. Highly recommended for everyone.

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TV Notes
On The Air Tonight
MONDAY 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 - Dancing With the Stars (120 min., LIVE)
10:01PM - Castle
* * * *
11:35PM - Jimmy Kimmel Live! (Woody Harrelson; singer Ke$ha; Ben Rector performs)
12:37AM - Nightline

8PM - How I Met Your Mother
8:30PM - 2 Broke Girls
9PM - The Big Bang Theory
(R - Sep. 26)
9:30PM - Mom
10PM - Hostages
* * * *
11:35PM - Late Show with David Letterman (Ray Romano; James Franco)
12:37AM - The Late Late Show with Craig Ferguson (Malin Akerman; author Jo Nesbo; Vintage Trouble performs)

8PM - The Voice (120 min.)
10:01PM - The Blacklist
* * * *
11:34PM - The Tonight Show with Jay Leno (Sandra Bullock; comics Key & Peele; Gregory Porter performs)
(R - Sep. 27)
12:36AM - Late Night with Jimmy Fallon (Ben Affleck; Mindy Kaling; Pixies perform)
(R - Sep. 16)
1:36AM - Last Call with Carson Daly (California Lt. Gov. Gavin Newsom; artist Phil Hansen; Purity Ring performs)
(R - May 9)

8PM - Bones
9PM - Sleepy Hollow

(check your local listing for starting time/programming)
8PM - Antiques Roadshow: Hartford, CT (R - May. 25, 2009)
9PM - Genealogy Roadshow
10PM - POV: 56 Up (2 1/2 hrs.)

8PM - Porque el Amor Manda
9PM - La Tempestad
10PM - Mentir Para Vivir

8PM - Hart of Dixie
9PM - Beauty and the Beast

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

11PM - The Daily Show with Jon Stewart (Kerry Washington)
(R - Oct. 3)
11:31PM - The Colbert Report (Author Chris Matthews)
(R - Oct. 2)

After the MLB Playoff Game - Conan (Steven Yeun; Eric Andre; Aparna Nancheria)

11PM - Chelsea Lately (Rapper Nelly; comic comic Chris Franjola; comic Arden Myrin; comic Gary Valentine)

Check Local Listings - Arsenio (Eric Stonestreet; Laura Prepon; Ron Isley Ft. KEM)

Edited by dad1153 - 10/14/13 at 8:08am
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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Oct. 14, 2013

CBS, 8:00 p.m. ET

With the wedding almost here, so are the in-laws. Tonight’s episode features two of Robin’s future in-laws: Wayne Brady, who’s made several appearances already this season as Barney’s brother, and Frances Conroy, moonlighting from American Horror Story: Coven to show up as Barney’s mother.

TBS, 8:00 p.m. ET

The St. Louis Cardinals emerged victoriously in each of the first two games against the Los Angeles Dodgers in this year’s National League Championship Series. Tonight is Game 3, at Dodger Stadium. It’ll have to be some game to beat last night’s Tigers-Red Sox game, which was one thrilling, unexpected finish to a postseason baseball game.

TCM, 8:00 p.m. ET

Giullietta Masina, the actress wife of Italian film director Federico Fellini, starred in his 1957 early triumph, an evocative cinematic daydream about a wide-eyed prostitute hoping for a better life, but constantly undone by unreliable men. This version restores the controversial eight-minute sequence edited out after the film’s original release.

POV: "56 UP"
PBS, 10:00 p.m. ET

Michael Apted has worked on every one of the entries in this long-running all documentary biography series, and directed all but the first one. Every seven years, it revisits the same U.K. natives first visited when they were seven years old – revisits, that is, as many who agree to take part each time around – to talk to them about their dreams, lives, regrets and reflections. It’s an amazing series, and each entry makes it even richer. The previous one, 49 Up, was somewhat depressing – but this one, 56 Up, capturing its subjects at age 56, is notably different. Check local listings.

TCM, 10:00 p.m. ET
Tonight is Part 7
, which means we’ve almost reached the halfway point of this excellent, inspirational film history documentary. Tonight’s focus is 1957-1964 – The Shock of the New, Modern Filmmaking in Western Europe. And though we have to wait to catch the exciting American cinema being generated at that same time, this episode allows us to revel in, and marvel at, early works by Federico Fellini out of Italy, and the French filmmakers whose combined efforts were known as cinema’s “New Wave” – a veritable tsunami of creative moviemaking. And later tonight, you’ll be able to catch some of those new waves, including Francois Truffaut’s brilliant 1959 film, The 400 Blows, at 3:45 a.m. ET.

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TV/Business Notes
Netflix in Talks to Offer Online Video Service Via Comcast, Other U.S. Pay TV Firms (Report)
By Georg Szalai, The Hollywood Reporter - Oct. 14, 2013

Netflix is in talks with such U.S. pay TV companies as Comcast to make its popular online video service available via their set-top boxes, the Wall Street Journal reported, citing people familiar with the situation.

The report also mentioned that smaller cable firm Suddenlink Communications is among the firms that are considering offering Netflix content via an app.

The news of the discussions come after two recent similar agreements with cable operators in Europe. Britain's Virgin Media and Sweden's Com Hem struck the deals in the hope of retaining subscribers by offering Netflix content. Analysts have also argued that Netflix subscribers are more likely to pay for faster broadband services provided by cable firms.

In the U.S., Netflix has been mentioned as a possible reason for consumers to cut the cable cord. The talks with pay TV companies there are in early stages, meaning that no agreements are near or guaranteed, according to the Journal.

One development has helped the talks. Netflix has this year managed to change its content deals with Hollywood players that previously made deals with U.S. pay TV distributors difficult, the Journal said.

Some pay TV firms also see Netflix as possible added leverage in retransmission consent and carriage fee disputes. During possible future network blackouts that deprive consumers in an operator's territory of popular shows, companies could highlight that Netflix provides programming alternatives.

But one point of contention in talks with U.S. pay TV firms is that Netflix wants them to use its own technology for delivering streaming video to ensure the best quality, the Journal reported. Cable companies believe though that their own broadband networks can handle all Netflix traffic.

post #90175 of 93674
Originally Posted by dad1153 View Post

Critic's Notes
How the VCR Brought Film's Artistry Home
Pre-VHS recorder, the canon was about reputation, not experience.
By Terry Teachout, Wall Street Journal - Oct. 10, 2013

If you're still skeptical, consider this: Jazz, which came along at the same time as film, is now widely and rightly regarded as a great art form in its own right…but what if the phonograph had never been invented? Would jazz have spread throughout the U.S., much less the world? Or would it now be nothing more than a historical curiosity, a form of dance music that was played in New Orleans around the turn of the 20th century, after which it was forgotten save by antiquarians?

I'm not sure I buy that comparison.

Classical muisc and operas came along well before it was possible to record any of it, yet it has exactly the same following it always had: the artistic crowd and the wealthy. The fact is, classical music and opera were never for the masses. It was always comissioned by royalty and the wealthy and placed out of the hands of the groundlings who couldn't afford to attend performances - or who would rather see the more pedestrian performances of the time.

Just like today, the general public had little patience for symphonies that lasted for 15-30 minutes at a time and Italian operas you had to dress up to attend.

Artists who created the music and other performances did so mainly for one thing: the money. Works of music occurred for the same reason major works of art did - someone paid the cost of it in hopes rich people would pay to experience it and create a return on investment.

Does that make it any less of an artistic work? Of course not. It's just important to remember that great artists of long ago didn't just carve giant statues of guys thinking or paint church ceilings out of some self imposed need to express themselves. Someone paid them to do it. Only now, instead of script doctors, ratings boards and shareholders deciding what the work should contain, back then it was nings, dukes and the church that decided what was right and proper for a work.

As far as Jazz, I would submit that a real fan of Jazz would say the only way to listen to Jazz is in a live performance. Jazz is filled with improvisation, and you lose that aspect in recordings that are identical every time you listen to them.

Sure, recordings allow us to experience performances we missed out on and get a taste of the works of artists long dead, but recordings take away a lot of the chance to reflect on the moment. When we can just go back and rewatch or listen again, we lose that first impression we got when we didn't know what was going to happen.

Further, when we can listen or watch in an unlimited fashion ,we suddenly start picking things apart. That great moment of first contact goes away and we start seeing the cracks in the paint on the canvas.

After enough viewings, you start wondering if even the Mona Lisa is taking herself too seriously.
Edited by NetworkTV - 10/14/13 at 8:40am
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TV/Business Notes
The Big Bang Theory Gets the Highest Ad Rates Outside of the NFL
A pricing guide to the 2013-14 broadcast season
By Anthony Crupi, AdWeek.com - Oct. 14, 2013

Just as in the cosmological model that explains how the universe sprang into existence from an infinitely dense singularity, CBS’ The Big Bang Theory has grown with such explosive force that it appears to be its own ever-expanding universe.

According to media buyers surveyed by Adweek, The Big Bang Theory in its seventh season now commands a staggering $326,260 per 30-second spot, topping the likes of NBC’s The Voice ($264,575 for the higher-rated Wednesday night show), ABC’s Modern Family ($257,435) and Fox’s The Simpsons ($256,963).

The robust unit cost is a function of Big Bang’s monster ratings—three episodes into the fall season, Chuck Lorre’s sitcom is averaging 19.2 million viewers and a 5.6 rating in the adults 18-49 demo—and its seemingly unstoppable growth. After posting full-season highs two years running, Big Bang’s ratings are currently trending up 12 percent versus the 2012-13 campaign.

Check out the comprehensive price list for the 2013-14 broadcast season here.

While the NFL commands the highest unit cost of any TV property—Fox’s roster of eight late national NFC games fetches a jaw-dropping $595,000 per :30, while each unit in NBC’s Sunday Night Football franchise is worth around $570,000 a throw—the general entertainment programs enjoy a longer run: 35 weeks when lower-priced repeats are factored in.

Among the Big Four broadcast nets, CBS earns the biggest average premiums for its freshman series. The Crazy Ones, the new Tuesday 9 p.m. anchor starring Robin Williams as an idiosyncratic ad agency boss, boasts an average unit cost of $175,200—the highest rate for any new comedy. The defending ratings champ also earns top dollar for Big Bang lead-out The Millers ($122,390), Lorre’s latest multicamera sitcom Mom ($138,575) and the ratings-challenged serialized thriller Hostages ($134,420).

ABC’s established reach vehicles (Modern Family, Grey’s Anatomy and, more recently, Scandal) and its popularity with younger, affluent women have allowed it to remain competitive despite ongoing ratings hiccups. But it’s a new male-skewing series that’s really leading the charge this fall, as Marvel’s Agents of S.H.I.E.L.D. is pricing at an average rate of $169,730 per :30. Lead-out comedies The Goldbergs ($93,200) and Trophy Wife ($91,175) are roughly on par with the former time slot occupants, while the canceled lottery drama Lucky 7 was a bad bet at $86,355 a pop.

ABC’s new Rebel Wilson sitcom Super Fun Night is fetching around $130,823 for each 30-second spot, an increase of some 33 percent compared to its predecessor, The Neighbors.

Having inherited the plum Voice lead-out from Revolution, NBC’s The Blacklist enjoys the distinction of being the most valuable new series on the dial ($198,667). And while that has helped establish NBC as the most expensive environment on Monday nights, pricing parity hasn’t trickled down to new shows like Ironside ($71,500) and Welcome to the Family ($62,370). That said, The Michael J. Fox show commands a healthy $110,050 per spot.

Fox’s lighter load of newbies includes broadcast’s best new bargain (Sleepy Hollow, $139,120), the underperforming Dads ($120,100) and the on-the-bubble Andy Samberg comedy Brooklyn Nine-Nine ($96,225).

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SUNDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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TV Review
‘The Arsenio Hall Show,’ too late
He was the fresh, hip talker of late night TV two decades ago
By Tom Conroy, Media Life Magazine - Oct. 11, 2013

Many performers succeed through energy alone. With only average talent, they manage to work up an audience by convincing them that where they are is the place to be.

For a brief time during its original 1989-1994 run, “The Arsenio Hall Show” actually felt like a hipper alternative to Johnny Carson’s and then Jay Leno’s “Tonight Show,” which felt staid and hopelessly white by comparison. But with the premiere of “The Late Show With David Letterman” on CBS, viewers had the choice of a cool host who actually had good jokes and an interesting way with guests. Letterman also took away many of Hall’s syndication slots, and soon “Arsenio” was gone.

The new version of “The Arsenio Hall Show” that premiered this fall, also in syndication, entered a changed late-night landscape. Although Leno still leads in the ratings, viewers now have numerous hipper alternatives, on both broadcast and cable. Even Leno himself has updated his format and material.

The only thing that hasn’t changed is Hall himself, right down to his appearance: He doesn’t seem to have aged a day in the nearly two decades since his last episode. But where he once represented the cutting edge, he’s now probably the most mainstream talk-show host on late night. After viewing two episodes from earlier this week, it’s difficult to see why anyone would choose Hall from the many options available.

arsenio1Hall is still using the slang that seemed so fresh back in the early ’90s: As Dana Carvey’s “Carsenio” pointed out in a mordant 1991 “Saturday Night Live” sketch, a “posse” is a band, a “house” is a studio, and a “crib” is a house.

But most of Hall’s references and comic targets could fit comfortably in a Jay Leno monologue, although many are dated. Mocking his own casual dress on Wednesday, Hall said he could be the guy who turns the cages for Siegfried and Roy. When one of his guests on Tuesday, the “Grey’s Anatomy” actress Chandra Wilson, gestured while describing a medical procedure, he said she was having “a Lorena Bobbitt moment.”

Even Hall’s references to “urban” culture feel mainstream. In a prepared bit, he had Wilson guess whether he was naming a medical term or a black baby name. Although the fact that Hall and Wilson are black made the bit less risky, Hall didn’t bring a different take to what is an old comic observation.

In a topical joke in his Wednesday monologue, Hall flashed a picture of the “God particle” on the monitor: It was a photo of Oprah. Behind that joke lies an inconvenient truth: Black culture is more mainstream than it was 20 years ago, when Hall’s presence felt both extraordinary and necessary.

When Johnny Carson made a joke about Michael Jackson, we felt he was speaking from across a cultural divide. That’s less true now when, for example, Conan O’Brien makes a Kanye West joke.

Without the race card in his pocket, Hall’s middling skills as a comedian and an interviewer are more problematic. He has little ability to ad-lib, so when a monologue joke fails, it just lies there.

During interviews, he’s unironically engaged in the conversation, but too often the only laughter in the studio is coming from Hall’s own seat.

Interviewing Margo Martindale, an actress from “The Millers,” on Wednesday, Hall introduced the fact that she is an Elvis fan, a conversational gambit that went nowhere slowly.

Hall seemed fearful that James Caan, the lead guest on Tuesday, would get angry. After rather confusingly introducing the fact that his band leader (or is it posse leader?), Robin DiMaggio, is a friend of Caan’s, Hall dragged over a conga drum. Caan halfheartedly banged on it for about 20 seconds before making a “cut” gesture.

In another sign of the mainstreaming of black culture, Hall isn’t the only talk-show host with an R&B-inflected band, but his has to be the most boring. Nearly every segment is played in and out with a generic funk jam over one or two chords. One can only assume that this is done to save on royalty payments.

Understandably, Hall refers frequently to his glory days. Introducing the pioneering hip-hopper MC Lyte, he mentioned how well she did on his “old joint” back in the ’90s. Out of the blue, he spoke of the 1988 film “Coming to America,” in which he costarred. And he had Paula Abdul, reportedly an ex-girlfriend, appear on Tuesday’s show to introduce a tap dancer with whom she had a tentative relationship.

Everything on this show has the sad aftertaste of better times. Hall used to be able to feed off the audience’s excitement about being where something was happening. Now he seems to be the only person in his house who is happy to be there, and that happiness is starting to look like a front.

Hall still ends the show by saying, “I’ll see you in 23 hours.” After sitting through a one-hour episode, that feels like a very long time.

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Nielsen Overnights (18-49)
Sunday Night Football Rises Against MLB Postseason Competition
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Oct. 14, 2013

Averaging a 7.3 rating among adults 18-49 and 19.6 million viewers, Sunday Night Football topped all telecasts in Fast National returns. The scores, which will see further improvement when final ratings arrive, are massive 28 percent improvement from last week's initial numbers. The three half-hour installments of Football Night in America averaged a 1.9, 3.2 and 5.8 adults rating, giving NBC an early nightly average of a 6.0 rating with adults 18-49 and 16 million viewers.

Sports coverage served Fox well, with NFL overrun surging at 7 p.m. (8.0 adults), thanks to the Patriots' nail-biting win over the Saints. A special broadcast of the ALCS championship series, also subject to adjustments, averaged a 2.4 rating with adults 18-49 -- up from the 1.3 Fast National rating for last year's comparable game. Fox averaged a 4.1 rating with adults 18-49 and 12.7 million viewers.

Without the benefit of NFL overrun this week, 60 Minutes (1.5 adults) dropped 61 percent from the previous week. The Amazing Race (1.8 adults), The Good Wife (1.2 adults) and The Mentalist (1.3 adults) all hit series lows in early returns, falling a respective six-, four- and two-tenths of a point. CBS took a 1.5 adults rating for the night and 9.1 million viewers.

ABC also saw lows in the face of twice the sports competition. America's Funniest Home Videos (1.1 adults) returned four-tenths of a point down from last year's opener for its lowest premiere to date. Once Upon a Time (2.3 adults) and Revenge (1.7 adults) were both at fall lows, dropping a respective three- and two-tenths of a point. Betrayal (0.9 adults) fell another two-tenths for a series low. ABC averaged a 1.5 rating with adults 18-49 and 5.4 million viewers.

post #90180 of 93674
TV/Business Notes
Cable TV: Government to implement ‘pick and pay’ services
The Conservative government’s throne speech will force cable and satellite TV providers to offer ‘pick and pay’ services, James Moore says.
By Terry Pedwell, Toronto Star - Oct. 13, 2013

OTTAWA—The federal government will unveil plans this week to force cable and satellite TV providers to offer consumers so-called pick-and-pay services, says a prominent cabinet minister.

The move will be part of a consumer-first agenda to be included by the Conservatives in this week’s speech from the throne.

Consumers are frustrated over being forced to buy large bundles of channels they don’t want when they sign up for satellite and cable TV services, says Industry Minister James Moore.

Companies such as Vidéotron in Quebec are already moving in the pick-and-pay direction, largely because consumers are shying away from traditional TV and are instead watching programming over the Internet.

And as viewer habits evolve, there’s no reason why television service providers can’t offer consumers the ability to pick and choose the channels they want, says Moore.

“We don’t think people should be forced to buy bundled television channels when they’re not interested in watching those channels and those shows,” Moore said in an interview.

“We should have a pick-and-pay model when it comes to television channels.”

The two largest cable and satellite TV service providers — Bell and Rogers — offer subscribers basic packages that include the main television networks and selected other channels. But upgraded packages, at a higher cost, have channels bundled together by category.

Quebec’s Vidéotron has recently offered subscribers the ability to choose five individual channels at a time from a list of choices, on top of their basic service.

Canada’s broadcast regulator, the Canadian Radio-television and Telecommunications Commission, urged cable and satellite companies in 2011 to adopt a pick-and-pay pricing model when it unveiled new regulations aimed at preventing television broadcasters from restricting consumer choice.

But the pricing model wasn’t made mandatory, and Moore said it’s about time for that to happen.

“It’s not a command economy, we’re not going to put in place onerous regulations. We’re a government of deregulation,” Moore insisted.

“But from time to time, we think that the best interest of consumers need to be enforced in the marketplace.”

The throne speech will also lay out the government’s plans for ensuring air travellers are somehow compensated when they are inconvenienced by airline overbooking.

Whether that includes enforced, specific compensation amounts remains to be seen, said Moore.

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