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Hot Off The Press: The Latest TV News and Information - Page 3008

post #90211 of 93824
Quote:
Originally Posted by dad1153 View Post

TV/Nielsen Notes
Cancellation Clock Is Ticking for a Handful of New Series
By Rick Kissell, Variety.com - Oct. 15, 2013

Adults 18-49:
1. Sunday Night Football (NBC), 8.4/22
2. The Walking Dead (AMC), 8.2/19
3. The Big Bang Theory (CBS), 5.1/17
4. The Voice-Monday (NBC), 4.6/13
5. Monday Night Football (ESPN), 4.4/13
6. Modern Family (ABC), 3.9/11
7. Duck Dynasty (A&E), 3.2/10
8. The Blacklist (NBC), 3.1/9
8. Scandal (ABC), 3.1/9
8. Thursday Night Football (NFLN), 3.1/9
8. American Horror Story (FX), 3.1/9
12. The Millers (CBS), 3.0/9
12. The Voice-Tuesday (NBC), 3.0/9
12. How I Met Your Mother (CBS), 3.0/9
15. Marvel’s Agents of SHIELD (ABC), 2.9/9
15. Glee (Fox), 2.9/8
17. NCIS (CBS), 2.8/9
17. Grey’s Anatomy (ABC), 2.8/8
17. Sleepy Hollow (Fox), 2.8/7
20. NCIS: Los Angeles (CBS), 2.6/7
20. Criminal Minds (CBS), 2.6/7

I like how they do that list combining broadcast + cable.
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TV Notes
Matt And Trey Make History Blowing ‘South Park’ Deadline, Blame Power Outage
By Lisa De Moraes, Deadline.com - Oct. 16, 2013

For the first time in South Park‘s 17-season, 240-ish-episode history, its creators blew deadline. Tonight’s episode did not get finished, Comedy Central said this afternoon. “On Tuesday night, South Park Studios lost power,” the network said. “From animation to rendering to editing and sound, all of their computers were down for hours, and they were unable to finish episode 1704 Goth Kids 3: Dawn of the Posers in time for air tonight.” Said co-creator Trey Parker in a statement, “It sucks to miss an airdate, but after all these years of tempting fate by delivering the show last minute, I guess it was bound to happen.”

The new episode will air October 23. Tonight, Comedy Central offered a rerun Live-Tweeted (I know, oxymoronic) presentation of Scott Tenorman Must Die at 10 PM ET/PT. The animated comedy series is much-loved by fans for its on-the-fly production schedule, which allows Parker and Matt Stone to weigh in very quickly on hot-button issues of that moment. Except when there’s a power outage that bites them in the backside.

Here’s an action shot of the South Park team dealing with the blackout. Check out a few more after the jump: [CLICK LINK BELOW]

http://www.deadline.com/2013/10/matt-and-trey-make-history-blowing-south-park-deadline-blame-power-outage/
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TV Notes
Time Warner Cable to Bring Ovation Back to Its Roster
By Tim Kenneally, TheWrap.com - Oct. 16, 2013

After nearly a year-long standoff, Ovation will return to Time Warner Cable and Bright House systems on Jan. 1.

Under a new carriage agreement, Ovation — which airs the Jon Hamm-Daniel Radcliffe series “A Young Doctor’s Notebook” — has committed to deliver 200 more hours of original programming dedicated to the arts in the next year.

By 2015, Ovation has committed to carry 250 hours per year of new and original programming growing to 300 hours for each subsequent year of the term.

Time Warner Cable cut ties with Ovation on Jan. 1 of this year, saying that it had only a small amount of original arts programming. In the ensuing 10 months, the network has worked to remedy that situation with the British series “A Young Doctor’s Notebook” and the launch of its in-house production unit Ovation Studios.

”We’re pleased to reach an agreement with Ovation that will deliver a much better value for our customers,” said Melinda Witmer, EVP and chief video and content officer for Time Warner Cable. “Time Warner Cable has a responsibility to select unique, valuable and compelling options for our customers, and Ovation’s recommitment to its mission as an arts channel strengthens and differentiates their programming. We always look for opportunities to work with networks to enhance our diverse channel lineup.”

Ovation’s chief operating officer Chad Gutstein added that the network had remained “inent on restoring Time Warner Cable’s belief in Ovation” throughout the year-long blackout.

“After losing carriage on TWC, we never stopped listening to what they had to say, and responded to it. Our new ‘Art Everywhere’ branding is a reflection of that. We were intent on restoring Time Warner Cable’s belief in Ovation. Consumers demand that the arts belong on TV and Ovation has shown that the arts can encompass many things — from theater, film and music to graffiti, fashion and tattooing,” Gutstein said.

http://www.thewrap.com/time-warner-cable-bring-ovation-back-roster/
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TV Notes
HBO Sets Premiere Date for Season Three of ‘Girls’
By AJ Marechal, Variety.com - Oct. 16, 2013

“Girls” will return to HBO’s lineup for its third season on Sunday, Jan. 12 with back-to-back episodes at 10 p.m.

Matthew McConaughey-starrer “True Detective” will lead in to the Lena Dunham dramedy at 9 p.m. that night, the network announced. Freshman series “True Detective” centers on Louisiana detectives, played by McConaughey and Woody Harrelson, whose lives collide and entwine during a 17-year hunt for a killer.

Season three bow of “Girls” follows its 2013 Primetime Emmy noms in categories including directing, actress and comedy series.

HBO also announced the series debut of “Looking.” Program, which revolves around three gay men in San Francisco, will roll out on Sunday, Jan. 19 at 10:30 p.m., following “Girls.”

http://variety.com/2013/tv/news/hbo-sets-premiere-date-for-season-three-of-girls-1200731125/
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TV Notes
'The Goldbergs,' 'Trophy Wife' Earn Additional Script Orders
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Oct. 16, 2013

ABC is expressing confidence in its Tuesday-evening comedy lineup.

The network has picked up three additional scripts for freshman comedies The Goldbergs and Trophy Wife, The Hollywood Reporter has learned.

The comedies air as part of ABC's all-new Tuesday lineup, which starts with Marvel's Agents of S.H.I.E.L.D.

The Goldbergs, a 1980s-set, semi-autobiographical comedy from Adam F. Goldberg, had the benefit of a monster bow from Agents of S.H.I.E.L.D. and topped its Sept. 24 competition at 9 p.m. with a 3.2 rating among adults 18-49, ranking as ABC's best comedy launch in more than a year.

Family comedy Trophy Wife, meanwhile, drew a 2.3 rating among adults 18-49 in its Tuesday spot at 9:30 p.m.

Both series have slipped in subsequent weeks as S.H.I.E.L.D. has softened in recent weeks.

The ABC comedies join Fox's Dads and Brooklyn Nine-Nine as well as The CW's Reign, Tomorrow People and The Originals as having received additional scripts this season. S.H.I.E.L.D., meanwhile, ranks as the only ABC show that was given a full-season order. Fellow freshman drama Lucky 7 was the season's first cancellation, getting the ax after two episodes on Tuesdays at 10 p.m.

http://www.hollywoodreporter.com/live-feed/goldbergs-trophy-wife-earn-additional-649133
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TUESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
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Nielsen Overnights (18-49)
NBC edges CBS for Tuesday night win
'The Voice' is the night's top show with a 3.9 in 18-49s
By Toni Fitzgerald, Media Life Magazine - Oct. 16, 2013

NBC won another Tuesday night on the strength of “The Voice,” though the network’s veteran reality show “The Biggest Loser” posted its lowest-ever debut rating.

“Voice” averaged a 3.9 adults 18-49 rating, according to Nielsen overnights, easily the highest-rated program of the night.

The evening’s No. 2 program, “NCIS,” was well behind with a 3.0.

Airing behind “Voice,” second-year show “Chicago Fire” also won its timeslot with a 2.4 at 10 p.m., 0.3 ahead of CBS’s competing “Person of Interest.”

At 8 p.m. NBC’s “Loser” was third in the timeslot with a 2.2, down 27 percent from last season’s premiere, which aired on a Sunday night, and the lowest in the show’s 15 seasons.

It’s expected that a program that’s been on the air for 15 seasons, like “Loser,” will decline. The reality veteran did match the 2.2 it averaged for last season’s finale.

Elsewhere last night, ABC’s new lineup still hasn’t quite settled in. “Marvel’s Agents of S.H.I.E.L.D.” led off the night with a 2.7, down 11 percent from last week. The show has been rising a tenth or two when the final ratings are released at the end of the day.

The 9 p.m. comedy “The Goldbergs” fell 16 percent from last week, to a 1.6, and lead-out “Trophy Wife” was off a tenth to a 1.3.

Fox’s “Dads” jumped a tenth from last week to a 1.4 at 8 p.m. while lead-out “Brooklyn Nine-Nine” was steady with a 1.5. “New Girl” fell 14 percent to a series-low 1.8, and lead-out “The Mindy Project” drew a 1.4, flat to last week.

The CW had a strong night, posting its best Tuesday night rating in four years among 18-49s, a 1.1. “The Originals” grew to a series-best 1.1 in its fourth episode. It also posted a series-high 1.5 in women 18-34, the network’s target audience, while lead-out “Supernatural” hit a two-year best in that demo with a 1.3.

NBC led the night among 18-49s with a 2.8 average overnight rating and an 8 share. CBS was second at 2.6/7, ABC third at 1.6/5, Fox fourth at 1.5/4, Telemundo fifth at 1.3/4 and Univision and CW tied for sixth at 1.1/3.

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.

CBS started the night in the lead with a 3.0 at 8 p.m. for “NCIS,” followed by ABC with a 2.7 for “S.H.I.E.L.D.” NBC was third with a 2.2 for “Loser,” Univision fourth with a 1.5 for “Porque el Amor Manda,” Fox fifth with a 1.4 for “Dads” (1.4) and “Brooklyn” (1.5), CW sixth with a 1.1 for “Originals” and Telemundo seventh with a 0.9 for “Junto al Tri.”

NBC took the lead at 9 p.m. with a 3.9 for “Voice,” while CBS slipped to second with a 2.6 for “NCIS: Los Angeles.” Fox was third with a 1.6 for “Girl” (1.8) and “Mindy” (1.4), ABC fourth with a 1.5 for “Goldbergs” (1.6) and “Trophy” (1.3), Telemundo fifth with a 1.4 for soccer pregame and the start of a match between Mexico and Costa Rica, CW sixth with a 1.1 for “Supernatural” and Univision sixth with a 1.0 for “La Tempestad.”

At 10 p.m. NBC was first again with a 2.4 for “Fire,” with CBS second with a 2.1 for “Interest.” Telemundo was third with a 1.7 for soccer, Univision fourth with a 0.8 for “Mentir para Vivir” and ABC fifth with a 0.7 for a “Scandal” rerun.

CBS finished first for the night among households with a 9.4 average overnight rating and a 15 share. NBC was second at 5.9/9, ABC third at 3.2/5, Fox fourth at 2.1/3, Univision fifth at 1.7/3 and CW and Telemundo tied for sixth at 1.4/2.

http://www.medialifemagazine.com/nbc-edges-cbs-tuesday-night-win/

* * * *

TV Review
‘Reign,’ Mary Queen of Scots as a hottie
The CW drama fractures one of of history's great stories
By Tom Conroy, Media Life Magazine - Oct. 16, 2013

It’s nearly impossible for modern people to imagine what it must have been like to be a teenage girl who was not only the queen of Scotland but also engaged to the future king of France. For proof of that statement, we can simply watch The CW’s new drama “Reign,” which has no clue.

The show turns the story of the young Mary Queen of Scots into a tween romance, with dashes of sex, court intrigue and possibly paranormal activities.

Despite the British accents, the show feels like what would happen if “Gossip Girl” did an episode in which the principals attended a murder-mystery party in which they had to wear Renaissance costumes. The awkward plot has a further distancing effect.

In the premiere episode, airing this Thursday, Oct. 17, at 9 p.m., it’s 1557, and the 16-year-old Mary (Adelaide Kane) is in hiding in a convent when the nun who has been serving as her taster is poisoned. Already betrothed to the French prince Francis (Toby Regbo), she flees to the court of his parents, King Henry II (Alan Van Sprang) and Queen Catherine (Megan Follows).

Mary and Francis are instantly attracted to each other, but like most teen guys, he starts acting like a total jerk once he realizes she has a crush on him. Then he explains to her that he has big-picture issues: Specifically, he’s not sure that an alliance with Scotland is the right thing for France right now.

Worse, Queen Catherine has been consulting with the soothsayer Nostradamus (Rossif Sutherland), who tells her that the marriage will cost Francis his life.

reign1Fortunately, Mary has a romantic option: Francis’ scruffy half-brother, Sebastian (Torrance Coombs), a.k.a. Bash, the king’s son by his mistress, Diane de Poitiers (Anna Walton). Mary’s dilemma will hold little suspense for historically savvy viewers who know that she will go on to marry Francis. Viewers who are even more historically savvy will know that Mary couldn’t have married Bash even if she wanted to because Henry and Diane didn’t have any children.

Mary is soon joined by four young ladies-in-waiting from Scotland, who have been given names that could have come straight out of “Gossip Girl”: Greer (Celina Sinden), Kenna (Caitlin Stasey), Lola (Anna Popplewell) and Aylee (Jenessa Grant). They’re soon shaking things up by dancing with one another at the wedding reception of one of the king’s other sons. They’re also featured in a “Pretty Woman”-style montage as they dress and put on their makeup.

Lola stands out because her boyfriend, Colin (Ashley Charles), suddenly turns up in her room while she’s taking a bath. His reason for coming to the French court is the clumsiest and most out-of-the-blue twist in a show that’s full of them.

But the most jaw-dropping moment belongs to Kenna, who evidently becomes aroused while witnessing the consummation of the royal marriage and scurries off to a secluded part of the palace to take matters into her own hands. That scene alone is reason for us to declare this show off-limits for history-minded middle-school girls.

reign2As if things hadn’t already strayed far enough from the historical record, the show throws in what may be a friendly ghost and a mysterious warning about unspecified dangers in the forest surrounding the castle.

The real Mary had one of the most eventful and scandalous lives in an eventful and scandalous era. Surely the writers could have found some real incidents from her teen years to fill an hour.

But that would involve stretching their imaginations and trying to get in the heads of people whose lives and world view were fundamentally different from ours. Conversely, the show could have loosened up and reveled in anachronisms, like the 2001 movie “A Knight’s Tale.”

As is, we fail to get insight, or humor, or drama.

As for the acting, the young stars smile or frown prettily; the grown-ups, some of whom could probably have stolen a scene or two, seem to have been instructed not to upstage their younger colleagues.

To paraphrase Bob Dylan, “Reign” is gonna fall hard.

http://www.medialifemagazine.com/reign-mary-queen-scots-hottie/
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TV Sports
NFL games on Netflix or Google? It could happen
By Scott Collins, Los Angeles Times' 'Show Tracker' Blog - Oct. 16, 2013

Is the NFL next on Netflix's conquest roster?

Now that the digital service has shaken up the TV world with original series such as "House of Cards," a report Wednesday suggests that it might make a deal with the NFL for broadcast rights for at least some games.

The league has "considered selling the Thursday package to a nontraditional media partner, including online players like Netflix Inc. or Google Play," according to the Wall Street Journal.

If such a development occurred, Netflix subscribers wouldn't be the only ones noticing a change. Football games are among the most-watched programs on TV. The NFL has enabled NBC to dominate Sunday night ratings. ESPN is usually at the top of the cable heap with Monday games. If some telecast rights went to an online platform, it would give broadcasters serious competition -- in real time. Unlike "House of Cards," viewers wouldn't watch NFL games at their convenience. They would want to see them live, as they are played.

Here's the caveat. Netflix has long told investors it doesn't do live sports or news. And a spokesman reiterated that principle to Show Tracker on Wednesday. (Funny thing about corporate strategy, though: It's always changing.)

And NFL officials, for their part, say the Thursday games - which currently air on the league's own NFL Network - aren't going anywhere.

"That's news to us," league spokesman Brian McCarthy said of the Journal's report about the Thursday package.

However, other games could be in play. DirecTV's contract for Sunday afternoon games, packaged as Sunday Ticket, expires in 2014, which would give NFL officials some games to negotiate with soon. Is an online provider possible? Well, note that NFL Commissioner Roger Goodell did take meetings at Google back in August.

The league has deals for Sunday games with Fox, CBS and NBC. Those contracts expire in 2022. The ESPN agreement is up in 2021.

McCarthy declined to discuss whom the league was talking to, of course, but added: "We're not ruling anything out."

What do you think? Would you watch NFL games on Netflix or Google?

http://www.latimes.com/entertainment/tv/showtracker/la-et-st-nfl-games-on-netflix-or-google-it-could-happen-20131016,0,7397071.story
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Legal/Business Notes
Jury clears Mark Cuban of insider trading charges
By Byron Acohido, USA Today - Oct. 16, 2013

Mark Cuban is off the hook. A Dallas jury determined that the billionaire owner of the NBA's Dallas Mavericks did not trade on inside information when he sold his shares of Canadian search company Mamma.com in 2004.

Cuban's attorney, Stephen Best, told USA TODAY the case should have never been brought to trial.

"It took somebody with Mr. Cuban's resources to stand up, do what's right and take this to the end," Best said. "This should be a wake-up call for the SEC to filter their cases."

Best said the mood in Cuban's camp was celebratory. "I want to make something very clear," Best said, "Mark Cuban didn't do anything wrong. Mark Cuban didn't get away with anything. This case should never have been brought to trial."

The Securities and Exchange Commission took Cuban to task for selling $7.9 million of stock in Mamma.com after he learned confidentially of a negative development.

Prosecutors argued at a two-week trial that Cuban sold his stake soon after learning from Mamma.com Chief Executive Guy Faure that the Montreal-based company was planning a private placement that would dilute his holdings in the company.

Mamma.com shares dropped 9.3% on the morning after the offering was announced. By that time, Cuban had already sold his shares.

But a nine-member jury deliberated for about four hours to reach the conclusion that the SEC failed to prove Cuban used non-public information to make the trade.

"Mark Cuban is not going to be found guilty of insider trading in Dallas, Texas, because he's a hero down there," says Chicago securities attorney Andrew Stoltmann. "The SEC had an uphill climb from the very beginning."

Cuban's Mavericks won the 2011 NBA world championship. During the trial, Cuban, who's known for berating NBA referees and who was once a celebrity contestant on Dancing With The Stars, sparred verbally with government lawyers.

Cuban gave several reasons for divesting his shares of Mamma.com. One was that he learned about ties between the company and a convicted stock swindler.

After the verdict, Cuban addressed reporters and made a reference to his NBA team: "It's not like winning a Mavs championship," adding that he would not allow the SEC's lead trial lawyer, Jan Folena, to bully him.

John Nester, an SEC spokesman, issued an e-mailed statement: "While the verdict in this particular case is not the one we sought, it will not deter us from bringing and trying cases where we believe defendants have violated the federal securities laws."

A jubilant Best opined that the relatively brief duration of jury deliberations says something. "The jury returned a verdict in 3½ hours and did what the SEC couldn't do in six years, and that is, see the light — this case wasn't worth the paper it's written on."

http://www.usatoday.com/story/money/business/2013/10/16/mark-cuban-trial/2995827/
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TV Notes
On The Air Tonight
THURSDAY 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)

ABC:
8PM - Once Upon A Time In Wonderland
9PM - Grey's Anatomy
10PM - Scandal
* * * *
11:35PM - Jimmy Kimmel Live! (Kerry Washington; Science Bob Pflugfelder; Sleigh Bells perform)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
8:31PM - The Millers
9:01PM - The Crazy Ones
9:31PM - Two and a Half Men
10:01PM - Elementary
* * * *
11:35PM - Late Show with David Letterman (Selena Gomez performs)
12:37AM - Late Late Show with Craig Ferguson (Allison Janney; Ben Schwartz)

NBC:
8PM - Parks and Recreation
8:31PM - Welcome to the Family
9PM - Sean Saves the World
9PM - The Michael J. Fox Show
10PM - Parenthood
* * * *
11:34AM - The Tonight Show With Jay Leno (Dana Carvey; Cee Lo Green and Goodie Mob perform)
(R - Sep. 25)
12:36AM - Late Night With Jimmy Fallon (Tina Fey; Goldfrapp performs; Thundercat performs with The Roots)
(R - Sep. 26)
1:36AM - Last Call With Carson Daly (Filmmaker Matthew Cooke; photographer Johnny Tergo; Grape St. performs)
(R - May 20)

FOX:
7:30PM - MLB Baseball - American League Championship Series, Game 5: Boston Red Sox at Detroit Tigers (LIVE)

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour
9PM - Call the Midwife
(R - Jan. 29, 2012)
10PM - Antiques Roadshow: Hartford, CT
(R - May. 25, 2009)

UNIVISION:
8PM - Porque El Amor Manda
9PM - La Tempestad
10PM - Mentir Para Vivir

THE CW:
8PM - The Vampire Diaries
9PM - Reign (Series Premiere)

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

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Activist Malala Yousafzai)
(R - Oct. 8)
11:31PM - The Colbert Report (Tom Hanks)
(R - Oct. 9)

TBS:
11PM - Conan (Jared Leto; Kaitlin Olson; Ricky Skaggs and Bruce Hornsby)

E!:
11PM - Chelsea Lately (UFC fighter Brendan Schaub; comic Brad Wollack; comic Heather McDonald; comic Bryan Callen)

SYNDICATION:
Check Local Listings - Arsenio (Andrew Dice Clay; Nene Leakes; Amber Riley & Derek Hough)
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Historical Notes
The rise and decline of AM radio
By Adrian McCoy and Maria Sciullo, Pittsbugh Post-Gazette

First in a Series, Next Week: Talk Radio.

Radio, as we know it, may have begun on a bet.

Frank Conrad, assistant chief engineer for Westinghouse in the early 20th century, wanted to see whether a new watch was keeping correct time. In 1912, he made a $5 wager with colleague Thomas Perkins. But how to verify his claim?

Tinkering with materials in his Wilkinsburg garage, Conrad created a small receiver capable of picking up time signals from the U.S. Naval Observatory in Arlington, Va.

He won his bet and went on to design bigger and better radios for Westinghouse. In turn, Westinghouse became a key player in turning the hobby of a few radio enthusiasts into an industry that changed the world.

Pittsburgh's radio history is the history of modern radio.

For AM radio -- and the radio industry in general -- the hits just keep coming. Rapid technological changes, government legislation, aging demographics and a shifting media landscape have combined to erode AM's once massive audience. Better clarity through FM, HD and satellite, and more diverse programming have resulted in AM leaning heavily on two formats: talk and sports.

Still, it all started here.

"Most people don't know the name Frank Conrad. He's not thought of like Edison or Marconi or Bell," said Forest Hills' Rick Harris, whose drive to create a permanent radio museum has spanned decades. "It just so happened that Conrad worked for Westinghouse from around the 1890s as a boy and worked his way up. He didn't invent radio, essentially, but I think you could really say he pioneered the broadcasting industry.

"He brought all the concepts that were in existence at that time and added them to others, like the transmitter."

Using a crystal set -- basically copper wire wrapped around a cylinder and connected to a crystal that allowed the user to troll for signals without need of electricity -- Conrad "was an unsung genius," Mr. Harris said.

Conrad built a transmitter, then obtained an amateur license in the summer of 1916. In 1919, his station, 8XK, played music from phonograph records. A Wilkinsburg record store sponsored his show.

"The store owner says, 'You can have anything you want as long as you tell people where they can buy the records,' " Mr. Harris said. "In effect, that created the first [radio] advertising."

A KDKA program honoring the 50th anniversary of the station included ad copy from a 1920 edition of The Pittsburgh Sun. Beneath a Joseph Horne Co. advertisement for folding chairs (a steal at 40 cents each) was one describing the "wireless concerts" from Conrad's garage, mentioning that readers could join the fun by purchasing their own Amateur Wireless Sets for $10.00 up.

Who was manufacturing those sets? Westinghouse, of course. The company had been involved in radio equipment during World War I and owned many patents.

But it wasn't until the autumn of 1920 that Conrad's successful little radio show would inspire something even greater. Westinghouse vice president H.P. Davis pushed for the company to obtain a commercial license, which it received Oct. 27.

With Conrad helping to quickly put together an equipment room -- just a shack on the roof of a Westinghouse East Pittsburgh Works building in Turtle Creek -- the newly christened KDKA read results of the presidential election between Warren G. Harding and James Cox.

In between readings, KDKA played music.

A photograph -- often reprinted but occasionally misidentified as a shot of that first historic broadcast -- shows operator William Thomas, announcer L.H. Rosenberg and telephone line handlers R.S. McClelland and John Frazier.

Two men most responsible for this historic achievement -- chief engineer Donald Little and Conrad -- are not in the picture.

In the photograph, it is daytime. In reality, the world's first commercial broadcast took place in the dark of night, and it's possible McClelland wasn't there.

Radio takes off

Two months later, according to KDKA sources, a live broadcast from Calvary Episcopal Church in Shadyside became the world's first regularly scheduled church service and the first remote pickup.

In the choir loft were Westinghouse engineers -- one of them Jewish, another Catholic -- dressed in surplices for anonymity.

Edwin Jan van Etten, rector of Calvary, was quoted as saying, "Even now, as I think of their presence there, it seems to me that they symbolize the real universality of radio religion."

Early adopters listened to radio broadcasts via fairly complicated receiver units sold by Westinghouse for $65 to $125. But home use really took off in 1921 when KDKA designed a small (6 inches by 6 inches by 7 inches) wooden box housing a crystal set.

The Aeriola Jr. cost $25 and required headphones. Within the year, Westinghouse began manufacturing home radios incorporating vacuum tubes, and two years later, the first thermionic vacuum tube sets that could run on electricity instead of batteries.

Broadcast radio was off and running. In 1926, Westinghouse, RCA and General Electric formed the National Broadcasting Co., which would spin off into two separate channels, Red and Blue.

Although KDKA dominated the early years with its programming and superior signal and marketing, it wasn't alone on the airwaves.

KQV-AM was another early pioneer. It signed on as experimental station 8ZAE in 1919. In 1921 it took the call letters KQV, which stood for "King of the Quaker Valley," and was licensed as a commercial station in 1922.

In the next two decades, stations such as KDKA, WCAE and KQV would broadcast scripted dramas, boxing prizefights, newscasts, symphonic concerts from KDKA's Grant Building studio, church services, and even Dilworth's Little German Band, with its canine mascot, Schnitzel.

If Westinghouse was busy developing its broadcast technology during World War I, WWII brought drives to raise money for war bonds and a heightened sense of duty.

Declaring "radio too important to victory," a wartime advertisement read: "At KDKA, high on a commanding hill, visitors are challenged by a searchlight, a directionally amplified voice and a gun, and they state their business into a microphone before they come near the tower."

Pop goes the station

TV displaced radio as the main form of home entertainment in the 1950s. But AM radio found a new lease on life with the pop music explosion that began in the '50s.

The repeated playing of top hits launched the Top 40 format. Music gave rise to a new kind of radio star -- the disc jockey. Starting with Porky Chedwick at WHOD-AM and later WAMO-AM/FM and other Pittsburgh stations, the Pittsburgh airwaves were filled with the voices of radio hosts who not only played the hits, but in some cases helped make them.

Mr. Chedwick is credited with breaking some of R&B's earliest radio hits. He's also remembered for his one-of-a-kind on-air patter and for coining nicknames for himself such as "Platter Pushin' Poppa," "Pork the Tork" and "Daddio of the Raddio." Now 95, Mr. Chedwick remains a beloved icon in Pittsburgh broadcasting.

An African-American woman -- Mary Dee Dudley -- broke race and gender barriers with her popular "Movin' Around" show on WHOD. Other African-American hosts such as Bill Powell and Sir Walter (real name John Christian) had solid followings on the former WILY-AM and WAMO.

Rege Cordic's popular morning show on KDKA redefined radio as an entertainment medium during the '50s and '60s. "Cordic & Company" started on WWSW-AM and moved to KDKA in 1954. Cordic, along with Robert McCully, Sterling Yates, Bob Trow and Karl Hardman created memorable comedy sketches starring a zany cast of characters: space alien Omicron, Louie the Garbage Man and domineering station manager Mr. Murchison. The show was a ratings hit for KDKA.

Pittsburgh native David Brown was a big fan of Cordic and as a kid used a reel-to-reel recorder to tape some of the host's programs. Over the years, he has encountered others who loved Cordic's madcap humor.

"Because it was AM radio, people would be listening to Rege's skits and they would pull off the road. They would not go through the tunnel at Mount Washington, because they knew they would miss the signal.

"Another fellow who worked at a lab told me he would pull into the parking lot just before 8 o'clock, when Rege was doing one of his skits, then wait until he was finished.

"He said 'When the skit was finished, car doors would open all over the parking lot with people getting out, having also waited.'"

Cordic left for Los Angeles in 1965 and was replaced by Art Pallan and Bob Trow, and in 1968 by Jack Bogut. KDKA remained the dominant player in morning radio.

The '60s start swinging

During the '60s, hosts on some of the smaller AMs -- such as Mad Mike Metrovich on the former WZUM-AM and Terry Lee on the former WMCK/WIXZ-AM -- developed loyal teen followings.

The advent of FM radio was a game changer for AM. In 1967, the Federal Communications Commission required station operators to have different programming on their AM and FM frequencies. Music formats moved to the FM dial, where the sound was better and where programmers weren't limited to playing short two- to three-minute pop songs. WAMO-FM host Ken Reeth, better known as Brother Love, was among the first to play records by Jimi Hendrix, Frank Zappa and the Mothers of Invention and The Doors.

Veteran radio programmer Ed Salamon launched a successful career that started in Pittsburgh. He went on to program WHN-AM in New York and later became president of programming at Westwood One. He was hired in 1970 to work on KDKA's 50th anniversary, and then moved into programming music. He's the author of "WHN: When New York City Went Country" and "Pittsburgh's Golden Age of Radio."

"It was an exciting time to be in radio in Pittsburgh," Mr. Salamon says of the 1970s. "You had these AM stations that were king and trying to hold on to what they had, and FM stations were looking for something new, creating opportunities for young guys like me."

Opportunity knocked on the AM side for him. WEEP-AM, a country music station that was at the bottom of the ratings chart, hired him in 1973.

"I thought the audience for country music could be broader than it was -- less of niche and more mass appeal," Mr. Salamon said. He added artists who weren't traditional country -- like The Eagles and Olivia Newton-John. The station rocketed to second place.

In 1975, KQV dropped Top 40 and switched to the all-news format it still has today. KQV-FM played music: it later switched call letters to WDVE.

By 1978, FM's listenership overtook that of AM.

The future of radio

With music migrating to FM, AM turned to talk radio. In 1987, the FCC repealed the Fairness Doctrine, which required radio operators to give both sides of an issue equal airtime. That opened the doors for a lineup of opinionated political talk show hosts such as Rush Limbaugh. These shows became ratings and revenue generators and gave AM a much needed boost. By the 1990s, many of those shows migrated to FM talk stations, leaving AM with a programming vacuum once again.

April 10, 1992, is known as "The Day the Music Died" on KDKA: the station played Don McLean's "American Pie," and switched to all news and talk. Local talk hosts flourished here in the '90s, with Mike Pintek and the late Fred Honsberger on KDKA and Lynn Cullen and the late Doug Hoerth on the former WTAE and WPTT-AM.

By the time radio moved into the 21st century, powerhouse AMs such as KDKA, WBZ-AM in Boston and KYW-AM in Philadelphia no longer topped the ratings charts.

By 2011, AM listenership dropped to 15 percent, according to a survey by the investment firm Veronis Suhler Stevenson.

In 2001, the introduction of satellite radio and Apple's launch of the iPod further eroded AM's audience. SiriusXM Satellite Radio offers listeners a wide range of channels for every taste, along with conservative and liberal talk channels that carry most of the top syndicated radio hosts. iTunes, Internet radio services and mp3 players let people create their own playlists.

The car is where most people listen to radio. With satellite and Internet radio available in cars, AM began to lose the battle of the dashboard that started years ago with the introduction of cassette and 8-track players in cars.

AM radio faces new competition from devices such as smartphones and other consumer electronics, which interfere with the AM signal.

These days, the local AM band is a mix of news, talk, sports talk, ethnic and religious programming. There are only a handful of music stations, including WJAS-AM, with a standard hits/nostalgia format, WDDZ/Radio Disney, which is aimed at the teen/preteen audience and WZUM-AM, which plays classic R&B.

Mel Check was the chief engineer at KDKA for 34 years and has a radio museum at his home in East Brady, Clarion County. "It's to the point now where teenagers and kids coming through here, they don't know they have AM on their radios."

Yet there are those who believe in a future for AM. FCC Commissioner Ajit Pai is committed to keeping AM alive.

"I'm often asked why we should care about the future of AM radio ... . If you care about diversity, you should care about AM radio. If you care about localism, you should care about AM radio," he said in a speech at the 2013 Radio Show in September. "Many AM radio stations provide a vital forum for discussing the issues of the day."

The FCC has proposed efforts to help AM operators, including access to translators, which would simulcast their programming on the higher quality FM band.

Robert Dickey Jr. and his sister Cheryl Scott own KQV and are committed to keeping the all-news format their late father Robert Dickey launched 35 years ago.

"The AM band is under a lot of strain," Mr. Dickey said. "Sound has been compromised terribly on the AM dial. It's a struggle for us as well as others."

KQV's strategy has been to adapt to new technologies -- such as apps for mobile devices and streaming online.

"You have to continue to explore other platforms that allow you to extend," Mr. Dickey said. "We have to move forward. We have to keep our minds open to any and all new forms that allow us to do that in the most cost-effective way."

"My concern is not so much for AM radio, but the free over-the-air radio that allows information and entertainment at no cost to everyone," Mr. Salamon said. "I don't want to see that disappear. I don't want to see a gap in this country where people who can afford it are able to have more than they can watch or listen to, and other people have nothing."

http://www.post-gazette.com/stories/ae/tv-radio/the-rise-and-fall-of-am-radio-707433/
post #90222 of 93824
Character actor Ed Lauter dies

LOS ANGELES (AP) — Veteran character actor Ed Lauter, whose long, angular face and stern bearing made him an instantly recognizable figure in scores of movies and TV shows during a career that stretched across five decades, died Wednesday. He was 74.

Lauter died of mesothelioma, a rare form of cancer most commonly caused by asbestos exposure, said his publicist, Edward Lozzi.

Whether he was an irascible authority figure, a brutal thug or a conniving con man, Lauter's presence made him all but impossible to miss in any film he was in. That was so even on those occasions when he was playing a character more bumbling than menacing, although menacing was clearly his forte.

He was the brutal prison guard who was Burt Reynolds' nemesis in the 1974 comedy-drama The Longest Yard and the sleazy gas station attendant in Alfred Hitchcock's last film,The Family Plot.

In Death Wish 3, he was the violent cop who teams with Charles Bronson's vigilante to rid New York City's streets of criminals, not by incarcerating them but by killing them.

More recently he was the butler to Berenice Bejo's French ingenue in the 2011 Oscar-winning film The Artist.

Lauter described himself in a 2010 interview with Cinema Shock magazine as a "turn" actor, someone who shows up at some point in the film and suddenly turns the plot in a different direction.

He credited the cast of real-life characters he grew up observing in his native Long Beach, N.Y., as inspiring many of the characters he would go on to portray.

He laughed at being someone frequently recognized in public for his roles.

"But sometimes people don't know my name," he said. "They'll say, 'Oh, yeah! There's that guy! You were in … you were in … ."

He was in Trouble With the Curve in 2011 with Clint Eastwood and in Born on the Fourth of July with Tom Cruise. He was also in The New Centurions with George C. Scott and in My Blue Heaven, Revenge of the Nerds 2 and Not Another Teenage Movie, among many other films.

TV appearances included The Office, ER, Murder, She Wrote and The Rockford Files.

Among his favorite roles, he said in 2010, was The Longest Yard.

He recalled that director Robert Aldrich told him he didn't have to read for the part but would have to accompany Aldrich to a nearby park so the director could ensure that he could throw a football like a quarterback would. When he hit former NFL receiver Pat Studstill, who was a stuntman in the movie, right in his jersey number with the first pass, Lauter said Aldrich told him he had the job.

Lauter, who continued to work until a few months ago, had completed roles in several films still to be released.

http://www.usatoday.com/story/life/people/2013/10/16/veteran-character-actor-ed-lauter-dies/2997877/
post #90223 of 93824
Quote:
Originally Posted by dcowboy7 View Post

I like how they do that list combining broadcast + cable.

Isn't it normally that way? Just that cable used to not have the numbers to be in the top 20?
post #90224 of 93824
Quote:
Originally Posted by aaronwt View Post

Isn't it normally that way? Just that cable used to not have the numbers to be in the top 20?

I dont think so i cant remember seeing an 18-49 broadcast/cable list usually its just total viewers or seperate lists.

+ MNF is a cable show that would always have the numbers to be in the top 20.
post #90225 of 93824
WEDNESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #90226 of 93824
Nielsen Overnights (18-49)
‘Toy Story’ boosts ABC to two-year high
Halloween special averages a 3.0 among adults 18-49
By Toni Fitzgerald, Media Life Magazine - Oct. 17, 2013

The popular “Toy Story” franchise boosted ABC’s ratings on Wednesday night.

A Halloween special starring the gang of Pixar cut-ups, “Toy Story of Terror!,” averaged a 3.0 adults 18-49 rating at 8 p.m. last night, according to Nielsen overnights, posting the network’s best rating in the timeslot since November 2011.

Among kids 2-11 the special did even better, no surprise. It averaged a 5.7, the network’s best rating in the timeslot since 2007 and broadcast’s highest-rated animated special since November 2011.

“Toy” helped ABC to a three-way tie for No. 1 on Wednesday night with Fox, which carried game four of the American League Championship Series, and CBS.

The rest of ABC’s schedule had mixed results. New comedy “Back in the Game” held steady to last week with a 1.8 at 8:30 p.m., thanks to a much stronger lead-in than last week’s “The Middle” (2.2).

At 9 p.m. “Modern Family” drew a 4.0, up 3 percent from last week and the night’s highest-rated show. But in its third episode, lead-out “Super Fun Night” slid 16 percent from last week to a 2.1.

And at 10, “Nashville” grew a tenth from last week, to a 1.7.

CBS had two shows up from last week despite the stronger competition on Fox, where the primetime portion of the ALCS game averaged a 2.4, 0.2 better than “The X Factor” did in the timeslot last week.

“Criminal Minds” and “CSI” were both up a tenth versus last week.

NBC’s schedule also posted mixed results, with “Revolution” falling a tenth from last week to a series-low 1.4 and 9 p.m.’s “Law & Order” rising a tenth from last week to a 1.7. At 10 p.m. new drama “Ironside” continued to struggle with a 1.1, though that was flat to last week.

The CW saw some promising results from its lineup, with “Arrow” posting its best 18-49 rating since February (1.1), up 22 percent from last week. The show was up week to week in 18-34s (13 percent) and women 18-34 (13 percent) too.

The network’s new “The Tomorrow People” also saw week to week gains, rising 20 percent in 18-34s and women 18-34 to a 0.6, though it did lose a third of “Arrow’s” lead-in in those demos.

Fox, ABC and CBS tied for first for the night among 18-49s, each with a 2.4 average overnight rating and a 7 share. NBC was fourth at 1.4/4, Univision fifth at 1.2/3, CW sixth at 0.9/3 and Telemundo seventh at 0.5/1.

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.

Also, ratings for Fox’s playoff baseball coverage are approximate as fast nationals measure timeslot and not actual program data.

At 8 p.m. CBS was first with a 2.5 for “Survivor,” followed by ABC with a 2.4 for “Toy” (3.0) and “Game” (1.8). Fox was third with a 2.3 for baseball, Univision fourth with a 1.5 for “Porque el Amor Manda,” NBC fifth with a 1.4 for “Revolution,” CW sixth with a 1.1 for “Arrow” and Telemundo seventh with a 0.4 for “Dama y Obrero.”

ABC took the lead at 9 p.m. with a 3.1 for “Family” (4.0) and “Fun” (2.1), while CBS slipped to second with a 2.7 for “Minds.” Fox was third again with a 2.5 for baseball, NBC fourth with a 1.7 for “SVU,” Univision fifth with a 1.3 for “La Tempestad,” CW sixth with a 0.8 for “Tomorrow” and Telemundo seventh with a 0.5 for “Marido en Alquiler.”

At 10 p.m. Fox moved to first with a 2.3 for baseball, with CBS second with a 2.0 for “CSI.” ABC was third with a 1.7 for “Nashville,” NBC fourth with a 1.1 for “Ironside,” Univision fifth with a 0.9 for “Mentir para Vivir” and Telemundo sixth with a 0.5 for “Santa Diabla.”

CBS led the night among households with a 6.3 average overnight rating and a 10 share. Fox was second at 5.1/8, ABC third at 4.5/7, NBC fourth at 3.8/6, CW fifth at 1.7/3, Univision sixth at 1.6/3 and Telemundo seventh at 0.7/1.

http://www.medialifemagazine.com/toy-story-boosts-abc-two-year-high/
post #90227 of 93824
TV Review
Take It, and Run With It
‘The Birthday Boys,’ a New Sketch Comedy on IFC
By Neil Genzlinger, The New York Times - Oct. 17, 2013

The question isn’t whether “The Birthday Boys” is funny. The question is whether you can stand any more sketch comedy with a white male sensibility.

The series, which begins on Friday night on IFC, features the seven-member all-male troupe of the title, with Bob Odenkirk (fresh off his role as Saul on “Breaking Bad”) turning up occasionally too.

Mr. Odenkirk, who is also an executive producer of the show, has been around forever in television comedy, as a writer (“Saturday Night Live” and other late-night shows) and performer (“Mr. Show With Bob and Dave”). This kind of comedy — smart but not too offensive or boundary-pushing — seems as if it has been around forever too. It’s in particularly abundant supply these days, thanks to Comedy Central and Web offerings like those on FunnyorDie.com. It’s as if the Kids in the Hall had all become sperm donors and their progeny were sprouting up everywhere.

If you are reaching the saturation point with this type of sketch work, “The Birthday Boys” may cause you to sigh at the sameness of it all. But if you’ve stayed away from those other yucksters, these ones provide fairly consistent midlevel laughs.

The troupe likes to use premises that recur throughout an episode, which provides room to stretch out. In the premiere, the running gag is a parody of all those documentaries about Silicon Valley wizards whose big idea began in a garage. Here, the wizards aren’t much interested in talking about their computer breakthrough; it’s the garage itself that they view as their main achievement. The sketch is an example of what these kinds of troupes do best: find comedy by turning a cliché on its head.

THE BIRTHDAY BOYS
IFC, Friday nights at 10:30, Eastern and Pacific times; 9:30, Central time.


http://tv.nytimes.com/2013/10/18/arts/television/the-birthday-boys-a-new-sketch-comedy-on-ifc.html?ref=television&_r=0

* * * *

TV Review
Nuggets of Frontier Greed and Justice
Discovery Channel Digs Deep With ‘Gold Fever’ Documentary

The Discovery Channel is teaching a pretty good lesson in money’s power to make human beings behave badly, with a four-part documentary about the California gold rush called “Gold Fever.” In recounting the story of that mid-1800s stampede westward in search of quick wealth, the program serves up one historical tidbit after another that seems like an allegory about the toll greed takes.

Episode 3, for instance, being broadcast on Friday night, includes a reference to the discovery that a particular substance would bond to any gold that remained in the dregs from a sifting operation, enabling a miner to pick out tiny bits that would otherwise have been missed.

“The miracle substance did most of the work,” the narration says. “All the miners had to do was reach in and find their fortune.” Too bad that the miracle substance was mercury. Grab for gold, suffer catastrophic health consequences.

Parts 1 and 2 of the program, which had their premiere last week and are being rebroadcast on Friday afternoon, recounted how the fever spread rapidly after the initial discovery of gold in the American River in January 1848. In Parts 3 and 4, which are being shown back to back, scrappy individual miners are being shoved aside by corporations and by opportunists like Sam Brannan, a pivotal figure in San Francisco history.

It’s all dressed up with a lot of snazzy re-enactments that emphasize colorful characters like Brannan. Talking heads, the death of many a history documentary, are kept to a minimum, and some of those who do turn up are modern-day miners rather than academics, an amusing touch.

It’s glossy stuff, but substantive enough to leave you contemplating greed then versus greed now. The gold rush, a reckless, lawless time, seemed to dole out its own sorts of consequences, whether mercury contamination or a bullet. Today’s financial manipulations and stock shenanigans might often seem consequence-free by comparison.

GOLD FEVER
Discovery Channel, Friday night at 9, Eastern and Pacific times; 8, Central time.


http://tv.nytimes.com/2013/10/18/arts/television/discovery-channel-digs-deep-with-gold-fever-documentary.html?ref=television
post #90228 of 93824
TV Notes
TNT’s ‘Franklin & Bash’ Renewed For Fourth Season
By Nellie Andreeva, Deadline.com - Oct. 17, 2013

TNT‘s Franklin & Bash has snagged another late renewal. The legal dramedy has become the last of the cable network’s summer scripted series to learn its fate, scoring a 10-episode fourth-season pickup. In Season 3, stars Breckin Meyer and Mark-Paul Gosselaar were joined by Heather Locklear, who had a one-year deal, so I hear a new agreement needs to be ironed out for her to return for Season 4.

Franklin & Bash opened its third season in the new Wednesday 9 PM slot with 2 million Live+Same Day viewers and closed it out with 2.2 million for the finale. Created by Kevin Falls and Bill Chais, the buddy show is produced by FanFare Prods in association with Sony Pictures TV.

Franklin & Bash joins TNT’s recently renewed Rizzoli & Isles, Major Crimes, Perception and Falling Skies, while King & Maxwell was cancelled.

http://www.deadline.com/2013/10/tnts-franklin-bash-renewed-for-fourth-season/
post #90229 of 93824
TV Notes/Q&A
Jimmy Fallon: I am doing 'The Tonight Show' now
By Hal Boedeker, Orlando Sentinel's 'TV Guy' Blog - Oct. 17, 2013

Jimmy Fallon knows a few things about birthing babies these days.

After a five-year struggle, he and wife Nancy Juvonen became parents in July via surrogate. They welcomed daughter Winnie.

And early next year, the "Late Night" host will deliver his next baby: hosting "The Tonight Show" and succeeding Jay Leno. I talked to Fallon on Wednesday while his visited NBC affiliate WESH-Channel 2.

How is fatherhood?
Fatherhood is amazing. For anyone out there struggling to have a baby, me and my wife went through a bunch of stuff. Hang in there if you can. I know it’s hard. It’s awful, actually. But when you finally get to the end of the road it’s a miracle, and you have this little bundle. You just fall in love. It’s unbelievable. Gosh, she’s great. It’s a lot of burping, a lot of crying, a little throw-up. I’m just talking about my freshman year at college. The baby is good.

And what about the other birth that's coming?
We’re doing a live birth of "The Tonight Show" Feb. 17. I’m taking over from my man Jay Leno. It’s an honor, it’s a privilege, I’m very, very lucky. I hope to make everyone proud. I hope you choose to go to sleep watching me every night. It would be an honor for me if you did that.

What are you proudest of on "Late Night"?
I’m proud of the crew we assembled, the staff of people we have around us. It’s a joy to come into to work. I think that’s really hard. When you host these shows, you don’t think you have to manage people or an office, but you do. We have a great team of people. We created a fun show that invites everyone in. A show like that didn’t really exist. We live in an iPod generation where you have a mix of different genres of songs. That’s what we do on our show. We mix it all together and just make everyone appreciate different types of music, different types of people. We have movie stars, we have TV stars, human interest, people off the street. The goal is just that we smile and have a good time and entertain everybody.

How do sustain that style on "The Tonight Show"?
We’re on an hour earlier and we have better sofas. We have nicer upholstery.

Will you continue "Downton Abbey," "Glee" and other spoofs?
We have to. That’s my background from "Saturday Night Live." I do sketches, I act, I do impressions. It’s just part of my background, so I have to do that stuff. There's a hole in late night for that. No one else is doing it. We started doing it five years ago and we’ve gotten really good at it. I’m doing musical stuff, 'cause I love music and so do the Roots. And people look forward to doing musical stuff when they come on our show.

What about hiring Josh Lieb as producer?
I’m very excited about this. Josh Lieb is a genius, he is a comic genius, a very funny guy. He produced "The Daily Show" for years and won probably 350 Emmys. He also wrote for "The Simpsons." He’s smart as well as funny. I think that’s going to give us an edge, not just for our monologue, but also a lot of our other pieces -- give an intelligent edge to our jokes that we didn’t have before.

Will you do more politics?
Not necessarily, but just more of a sharper take on things.

What do you say to fans worried that your style might suffer at an earlier hour?
I don’t think it will suffer at all. I think people are psyched to see us an hour earlier. We’re doing our show as if we were doing "The Tonight Show." It’s news to everyone else. We have been doing "The Tonight Show." Jay Leno has been great to me. As soon as I got "Late Night," I called Jay and said, "I want to let you know I want to start on the right foot. I respect you." I’ve been a guest on the show numerous times. I said, "I’m not gunning for your job. I’m not trying to plot anything. Whenever you’re ready to step down, let me know. But I’m happy at 12:30. And please give me advice on anything." He said "Great." We started off on the right foot, and he’s been fantastic to me the whole way.

And the transition has been smooth?
He called me and said, "I think I’m ready." I go, "Let’s do it the right way, the way it should be, with respect to the guy who’s been No. 1 over twentysomething years." The only reason I'm doing well is because of him, his lead-in. Gradually this is the way numbers work. People just fall asleep as the night goes on.

What concerns you about what happened to Conan O’Brien?
We’re different people. And I think I'll handle it differently. I have Jay's blessing on this. I know he was behind Conan, too, I guess. But I really don’t know the details. I was concentrating on "Late Night."

What is the best advice Leno has given you?
Longer monologues. I was doing about a three-, four-minute monologue. He was like, "Make it like seven, eight minutes." He said some people don’t have time to see the news and they catch up on the news from your monologue sometimes. Give them a good monologue, a good solid eight- to 10-minute monologue. We’ve been doing it for the past three months, up to eight, nine minutes. We’re adding video into the monologue now and more graphics, making it more exciting to watch the first 15 minutes of the show.

What’s your best advice to Seth Meyers in taking over "Late Night"?
I haven’t had a chance to sit down with the guy. I just know I support him and I’ll help him out any way I can. I’ve known him for years. I did Weekend Update on "Saturday Night Live" before he did Weekend Update. It’s almost like everything I end up doing I start giving him advice on. We kind of have a shorthand. He’s a smart guy, and I think he’s going to knock it out of the park. We’re two floors away, so it’s not like L.A. and New York. We’re so close. Whenever he needs me, I’m there for him.

What is it like competing against someone named Jimmy?
It’s confusing. It’s awful. I wish he would change his name. To Jacob? Jason Kimmel or Jim? Can it be Jim Kimmel? That just doesn’t roll off the tongue, does it?

How do you see late night now?
There’s room for everybody. Letterman’s great. Everyone’s good, everyone’s got different styles, different types of shows. It’s up to the audience to decide who they like better, who they want to go to sleep to. I’d be honored if you chose me to fall asleep to. Because that’s what I did when I grew up. I watched Johnny Carson. I looked forward to ending my nights and my long days going, "What’s Johnny up to today?" Then I’d laugh. He’s getting another divorce.

You’ve repeated that line choose to fall asleep to me. Why?
That’s what it is. It’s what I did when I grew up. I don’t remember if I made it through the end of it.

That line choose to fall asleep to me – is that part of your promotion?
No I don’t think so. NBC wants people to stay up for Seth.

Will you be taking any of Leno’s material?
No. It’s going to be all us. I’ve love to have Headlines or Jaywalking, but that wouldn’t make any sense. Now it’s time for Jaywalking with Jimmy Fallon. (He laughed.) It’s a good bit. But we’re doing our own thing. I just don’t want to be handed stuff. I want to work and be creative and think of new ideas and keep changing. Ten years ago there was no such thing as Twitter. We embraced it early on. Other shows are making fun of it. We took it seriously. When I was doing press for "Late Night," they said: Are you going to involve social media? Crazy question. It’s part of the world. I’m not doing it to be hip or young. It’s what people do. Everyone has a cell phone that does more than make phone calls.

What do you think of all the competition in late night?
You have a lot of options, choices. We’re there. We’re going to put on a great show. Wait till you see the studio. It’s going to be gorgeous. We have these acoustic audio "nerds" -– in the best way. They did Lincoln Center in New York City. So the acoustics, every wall is different. The Roots, where they are, the acoustics will sound best for them. The acoustics will sound great behind my desk. It’s going to be the best-sounding show in the history of television.

But the same Jimmy style?
Yes, same style, just a classier set. We’re adding 100 seats. I wanted to keep it small and intimate so it’s fun.

Do you have the first guests lined up?
I can say yes. I can’t tell you who, but it’s fun.

Big?
Yeah, big. We have no problem with guests. We get everybody. I’ve slow-jammed with the president of the United States, I’ve danced with the first lady.

You must be proud of those bits?
Beyond proud. I don’t really enjoy them when they’re happening because I’m nervous everything will go OK. It’s like throwing a party. I want to make sure everyone is having fun. I’m nervous about that stuff.

Are you nervous now?
A little bit. I’m excited. I don’t know what it’s going to be like. It’s like that moment behind the curtain before you’re about to go on. You see the spotlight hit the curtain. I can almost see the audience, but not really. Then the Roots are playing, and the curtain opens up, and it’s that bright spotlight in your face. It’s literally walking to the light. Either I’m going to heaven or I’m going to hell. It’s going to be a rough night or it’s we’re going to have a great time. I’m used to it now and I feel comfortable in that studio in the suit. I look forward to being that person. I love pop culture.

So the main message is it's the same show?
It’s more eyeballs watching, but it’s the same show. I’m not going to change anything. There are couple of sketches that are a little immature that I won’t be doing, like dumping chocolate syrup on people in the audience. That was then, this is now.

What about the tradition of "The Tonight Show"?
When you start thinking like that, you go crazy. I don’t run away from it. I wish Steve Allen were around to see what I’m doing. I think he’d love our show. This whole business should be fun, right? That’s why we’re doing it. There’s nothing like the rush of getting people to laugh. Hopefully I’ll be around another year, and we’ll have another interview.

http://www.orlandosentinel.com/entertainment/blogs/tv-guy/os-jimmy-fallon-i-am-doing-the-tonight-show-right-now-20131016,0,2482064.post
post #90230 of 93824
Critic's Notes
TV Picks: 'Dancing on the Edge,' 'Clash,' 'Birthday Boys,' 'Nashville'
By Robert Lloyd, Los Angeles Times' 'Show Tracker' Blog - Oct. 17, 2013

"Dancing on the Edge" (Starz, Saturdays). Stephen Poliakoff ("The Lost Prince") wrote and directed this early-1930s period piece set at the intersection of jazz and aristocracy. Chiwetel Ejiofor plays Louis Lester, a black British jazz genius whose career starts to get traction when he crosses paths with hustling music journalist Stanley Mitchell (Matthew Goode) and gets himself a pair of singers (Angel Coulby and Wunmi Mosaku). A kind of "Upstairs/Backstage" drama, with a mystery attached, the five-part miniseries (plus a long epilogue -- appendix might be the better word -- in the form of interviews) takes its time with the material. Scenes have room to breathe and conversation is not every word to the point. (The series addresses issues of race as well as the usual ones of class.) The pace is mostly languorous, despite the jazz theme, and even when the going gets going, steps are only slightly quickened. It's not perfect -- the music (all original, and written by Adrian Johnson) is mostly wrong for the year, and the public scenes are underpopulated, possibly from the price of hiring so many speaking parts. (The excellent cast also includes John Goodman, Jacqueline Bisset, Janet Montgomery, Anthony Head, Allan Corduner and Jenna-Louise Coleman, whom you may know as Clara Oswald, companion to Matt Smith's Eleventh Doctor). The solution to the mystery is made obvious pretty early, though Poliakoff sews enough doubt to keep you from quite making up your mind. But the faults are small and noticeable, really, only because so much else feels right. It is all very pretty and seductive and draws you in and draws you along, just as the characters are seduced and drawn along, by music or money or sex or love.

"The Clash: The Last Gang in Town" (www.funnyordie.com, online at your pleasure). Making the rounds of the Web-fed platforms is this piece from and starring Fred Armisen -- late of "Saturday Night Live" and still of "Portlandia" -- as Ian Rubbish, the 1970s bottle-blond British punk rocker he introduced in an April edition of "SNL" and brought back for his swan song in May, with an indie-history supergroup that featured Steve Jones, Kim Gordon, J. Mascios, Aimee Mann and Michael Penn. Here, in a "short doc" nominally directed by Rubbish himself, Armisen sits down with Mick Jones and Paul Simonon of the Clash -- really -- and gets up with them to play his "Hey Policeman!" Its brief extended theme, to overthink this slightly, is the way that lesser artists ape greater ones, without seeing the difference or a problem: "What we did with the Clash," Ian says of his old band, the Bizzaros, "is they would say something political and we would say something like, 'We agree with the Clash,' or, 'What they said.'" And: "I remember 'White Riot.' We had a song called 'White Riot, As Well." More Rubbish, though not much more, can be found at www.ianrubbish.com, including downloads of "Hey Policeman," "It's a Lovely Day" (the swan-song song mentioned above) and Rubbish's confusing odes to Margaret Thatcher ("There's a lady in 10 Downing / Check her out, she's quite astounding"). "We thought it was a joke," Sex Pistol Steve Jones says in the fauxcumentary that introduced the character. (You can find it if you try). "Turned out he just really liked her."

"The Birthday Boys" (IFC, Fridays). An engaging new sketch comedy, both funny ha-ha and funny strange, from the L.A.-based sketch group of the same name. (They work out of the Upright Citizens Brigade Theater.) Producers include Bob Odenkirk, who is also essentially a co-star, Ben Stiller (on whose own sketch comedy, "The Ben Stiller Show," Odenkirk worked), and Stuart Cornfeld, who (besides co-producing "The Elephant Man" and a mess of Stiller films) played Judge Reinhold's boss in "Fast Times at Ridgemont High." (In the interest of full disclosure, his sister Lois sold me my first car, a 1966 maroon VW Squareback. It was not 1966.) A mix of perfectly-realized media parody, meta-humor, small ideas taken to extremes (the ramifications of the phrase "nothing to write home about," for example) and random weirdness, each episode -- the two I've seen, anyway -- knits itself into something resembling a whole, in the manner of "Monty Python's Flying Circus," as if that all happened now, and in Southern California. The cast remains anonymous; catch phrases are busted out only to make fun of catch phrases.

"Nashville" (ABC, Wednesdays). After a first season that seemed to run increasingly away from all the things that made this show special -- most of them rooted in music, and a convincing portrayal of its making and selling -- and toward the kind of extravagant drama better left to the same network's "Scandal" and "Revenge," "Nashville," for the moment at least, is back on track. After a busy second-season opener that raised and took care of various strands of old business, the story feels life-sized and believable. There are signs of craziness ahead, but it is not currently troubling its remarkable leads: Connie Britton's Rayna James (country classic), Hayden Panettiere as Juliette Barnes (glam, looking to get real), and Clare Bowen's Scarlett O'Connor (young old soul). Panettiere, especially, was asked to act out extravagantly in the first season; but she is getting to play human again, and Britton and Bowen seem incapable of ever being anything less than real, whatever they're given to do or say. And Lennon Stella, as Rayna's older daughter Maddie, seems ready to make that trio a quartet. (The men have their part to play, but they are really secondary characters.) There's a new boss in town this season (Jeff Fordham), whose eyes are dollar signs, with a new hot-young singer (Aubrey Peeples), who is giving Juliette a taste of what Juliette gave Rayna, all-about-Eve-wise. Y'all come back now, hear?

http://www.latimes.com/entertainment/tv/showtracker/la-et-st-tv-picks-dancing-on-the-edge-ian-rubbish-class-birthday-boys-nashville-20131017,0,3776547.story
post #90231 of 93824
TV Notes
On The Air Tonight
FRIDAY 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)

ABC:
8PM - Last Man Standing
8:30PM - The Neighbors
9PM - Shark Tank
10:01PM - 20/20
* * * *
11:35PM - Jimmy Kimmel Live! (Rapper Kanye West)
(R - Oct. 9)
12:37AM - Nightline

CBS:
8PM - Undercover Boss: Donato's
9PM - Hawaii Five-0
10PM - Blue Bloods
* * * *
11:35PM - Late Show with David Letterman (Barbara Walters; writer Steve Young; White Denim performs)
12:37AM - Late Late Show with Craig Ferguson (Rosie Perez; comic Nick Cobb)

NBC:
8PM - The Michael J. Fox
(R - Oct. 17)
8:30PM - Sean Saves The World
(R - Oct. 17)
9PM - Dateline NBC (120 min.)
* * * *
11:34PM - The Tonight Show With Jay Leno (Vince Vaughn; Olivia Munn; Vintage Trouble performs)
(R - Sep. 5)
12:36AM - Late Night With Jimmy Fallon (Scarlett Johansson; Drake performs)
(R - Sep. 13)
1:36AM - Last Call with Carson Daly (Michelle Rodriguez; singer Hanni El Khatib; The Men perform)
(R - May 23)

FOX:
8PM - MasterChef: Junior Edition
9PM - Sleepy Hollow
(R - Oct. 14)

PBS:
(check your local listing for starting time/programming)
8PM - Washington Week with Gwen Ifill
8:30PM - Charlie Rose: The Week
9PM - Great Performances: 40th Anniversary Celebration (90 min.)
10:30PM - Atchafalaya Houseboat
(R - Dec. 5, 2007)

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

THE CW:
8PM - Reign
(R - Oct. 17)
9PM - America's Next Top Model

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

HBO:
10PM - Real Time with Bill Maher (Filmmaker Oliver Stone; former Under Secretary of State Jim Glassman; political commentator Chris Matthews; author Carol Roth)
(R - Oct. 11)

E!:
11PM - Chelsea Lately (Sofia Vergara; comic Ian Karmel; comic Jessimae Pelluso; comic Dov Davidoff)
(R - Oct. 9)

SYNDICATION:
Check Local Listings - Arsenio (Leah Remini; Nene Leakes; Gary "G Thang" Johnson)

Edited by dad1153 - 10/17/13 at 11:45pm
post #90232 of 93824
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Oct. 18, 2013

ROSEANNE MARATHON
WE TV, 10:00 a.m. ET

Today in 1988, on October 18, ABC premiered Roseanne, starring Roseanne Barr, and ushered in another of TV’s influential, significant family sitcoms. Today in 2013, starting at 10 a.m. ET, We TV presents a seven-hour marathon of its favorite Roseanne episodes. The action begins with a pair of episodes from the show’s first year – so watch for George Clooney, who was a cast member the first few seasons, playing one of the co-workers at Roseanne’s factory. ER and fame, at that point, were still six years away.

2013 NATIONAL LEAGUE CHAMPIONSHIP SERIES
TBS, 8:30 p.m. ET

Game 6. The St. Louis Cardinals are ahead in this series 3-2, but the Los Angeles Dodgers, fighting to come from behind, can tie the NLCS tonight – or lose it all. And for this game, the Cards have home-field advantage.

GREAT PERFORMANCES: "40TH ANNIVERSARY CELEBRATION"
PBS, 9:00 p.m. ET

Taped at Lincoln Center last year, this salute to Great Performances is a mix of stories (from Julie Andrews and others) and performances (Audra McDonald, Izhtak Perlman, and many, many others), all in honor of this long-running, culturally valuable PBS arts anthology series. Check local listings.

OUT OF SIGHT
The Movie Channel, 8:00 p.m. ET

This 1998 movie, a very clever, very sexy crime story, showed us the sparkling side of three different artists. George Clooney plays a bank robber with personal ethics and lots of personal charisma. Jennifer Lopez plays Karen Sisco, a U.S. marshal who gets her man, in more ways than one. And the movie is based on a novel by Elmore Leonard, whose writings subsequently inspired two TV series: Karen Sisco, a short-lived ABC spinoff starring Carla Gugino, and the superb Justified, the FX series starring Timothy Olyphant as another member of the U.S. marshal service.

HAVEN
SyFy, 10:00 p.m. ET

Audrey (Emily Rose) is back in Haven now, but not as Audrey – she’s convinced she’s another woman entirely, a sassy bartender named Lexie. And given how strange things are, and get, in Haven, perhaps she’s right…


http://www.tvworthwatching.com/

* * * *

Critic's Notes
End of the Makeover: Farewell to 'What Not to Wear'
By Monique Nazareth, TVWorthWatching.com - Oct. 18, 2013

Breaking Bad it isn’t, but some of us will be sad to see a favorite reality show end this week.

After ten years and roughly 350 makeovers, TLC’s What Not To Wear is coming to an end on Friday. The show’s hosts, Clinton Kelly and Stacy London, have already moved on to other projects, but they’ll be together on the screen for a final tribute to the show that made us question our sense of style.

Stephanie Eno, senior director of production for TLC and WNTW executive producer, described the show this way, “The WNTW team has always had one mission – to make a woman feel like her beautiful, true self. Their popular mantras have included: ‘dress for the body you have, not the body you want’, ‘fit is everything’, and for the past 10 years for any great outfit – ‘color, pattern, texture and shine.’ ”

What Not to Wear is based on a popular British show of the same name, long gone. The U.S. WNTW premiered in 2003, a year before Project Runway, with a different cast.

The basic WNTW format is simple. Women (and a few men) are nominated by their friends, family and/or coworkers. They are secretly filmed wearing awful clothing. Producers-- pretending to be market researchers-- quiz a nominee about her particular style.

The fashion victim is typically “ambushed” by the two hosts, as well as family, friends and/or coworkers.

Then the nominee is offered a $5,000 debit card for handing over her wardrobe-- and pride-- and agreeing to learn the “rules” of successful clothes shopping in New York. She’s subjected to a 360-degree mirror, as Kelly and London point out the problems with the clothing and then suggest more stylish alternatives. Eventually her entire wardrobe inevitably ends up in the bin and the dejected woman is be sent off to shop, first alone and then with help from the hosts.

The next step: Hair and make-up. And then, voila, a whole new person.

It sounds simple and formulaic, perhaps even somewhat materialistic and superficial.

But the show tapped into how someone can bring out their best self and even gain confidence through style. Inevitably the fashion victim bares her soul as to why she dressed the way she did.

And that, co-host London, (left) has argued, makes the show a little bit more than a fashion program. She told NPR last year, “I think it would be naive to say that not caring about your appearance doesn't matter. It does matter. It matters, also, in terms of your self-esteem. And more importantly, I really think that it's a great way to reconnect with yourself.

“You know, I think it's very dangerous to say that style - as opposed to, let's say, the fashion industry - is superficial. I think this really goes to the heart of how we feel about ourselves, and showing ourselves self-respect.”

WNTW ultimately was respectful of their protégés. Never was a woman made to feel bad for her body or who she was under those wretched clothes. Yet questioning and changing her style often elicited very real emotional responses from women, who were then returned to their lives with a new sense of confidence.

That confidence even extended to a few stars, including Mayim Bialik who was under the spotlight in 2009, a year before she was cast as Amy on The Big Bang Theory.

“When we first started the show I didn’t realize what an impact the show would have on the [people we featured]. It was just about making some snarky comments and funny television and giving women some advice on how to dress better,” Kelly told the Washington Post. “After doing it for a while, I realized this is not just a makeover show and this is not just comedy, either. These are people’s lives we are dealing with. Back then it was 95% snark and 5% psychology. Now I think it is a little more balanced. I go into it with, I think, 75% psychology and 25% fashion.”

When TLC decided to end the show after season ten, Kelly and London admitted they were relieved.

Though proud of their work, Kelly told Today.com, "I'm not sure I could do that show for another year if I had to… It gets to a certain point where it's monotonous. You know, don't get me wrong, everybody's story is a personal one and every week is different. But I just sort of found myself rolling my own eyes at my own words as they're coming out of my mouth, like, 'How 'bout you try a structured jacket?' 'How 'bout dark-washed jeans?' 'How 'bout a ballet flat?'"

Kelly certainly showed he’d hit his limit on the penultimate show, with Megumi, a 39-year-old realtor who dressed like a Japanese schoolgirl, with animal hats, knee-highs, and tiny miniskirts.

In her insistence on keeping youthful she even suggested botox for the WNTW host. That hit a button. “I’m getting too old for this s#$t!,” he told London.

Perhaps it’s WNTW that’s gotten too old. Eno admitted its time has passed, (though not in daytime where it will live on in reruns): “The personal makeover genre certainly had its heyday and WNTW has always been gold standard, but I think the on-air presence of the traditionally formatted ‘before and after’ fashion show has sort of gone to the wayside.”

For their final season, WNTW has tried gimmicks. That included working with three friends who had the three common problems; a behind the scenes look with the camo-wearing nominee who almost didn’t make it to the end; and a Barbie-wanna-be who left the show vowing to return to her old self.

Eno says the producers were finally taking the opportunity to do the things they always talked about doing: “As producers, we know this is a completely authentic experience for our contributors and we always thought it would be fun to pull that curtain back and show the avid WNTW fans exactly what it takes to bring this experience to life. It just so happened that the person we had scheduled for that week was an example of someone truly struggling with even the notion of the process.”

The final episode takes the show over the top, and out. Kelly and London take a road trip from New York to Las Vegas for a WNTW farewell party. Along the way, they visit with protégés-- about 100 will show up again at the event. And they meet one last fashion victim, which the show claims, “could be one for the books.”

London’s happy WNTW is obliging its adventurous in the final season. She tells People magazine, "I do love that we are going out with a bang."

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=6071
post #90233 of 93824
TV Notes
Best tube bets this weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Oct. 11, 2013

FRIDAY

Best bet on broadcast
: CBS, “Blue Bloods” 10 p.m.
Danny looks into the case of a teen who may have been pushed onto subway tracks.

Best bet on cable: IFC, “The Birthday Boys” 10:30 p.m. Series premiere. New sketch comedy show that Media Life reviewer Tom Conroy says hits the mark about half the time.

Top sporting event: TBS, “Major League Baseball,” 8 p.m. Game six of the National League Championship Series between the Dodgers and Cardinals, with St. Louis leading 3-2.

SATURDAY

Best bet on broadcast
: ABC, “College Football,” 8 p.m.
ABC’s primetime games typically win the night, and it should be no different this week as No. 5 Florida State takes on No. 3 Clemson.

Best bet on cable: BBC America, “The Graham Norton Show,” 10 p.m. Season premiere. Actors Harrison Ford and Benedict Cumberbatch are among the gusts.

Top sporting event: Fox, “Major League Baseball,” 4:30 p.m. Game six of the ALCS between the Tigers and Red Sox in Boston.

SUNDAY

Best bet on broadcast
: Fox, “Major League Baseball,” 8 p.m.
Game seven between the Red Sox and Tigers, if necessary. If not, it’s reruns of the networks usual animated comedies.

Best bet on cable: AMC, “The Walking Dead,” 9 p.m. Can the drama possibly build on the success that was last week’s record-setting season premiere?

Top sporting event: NBC, “Sunday Night Football,” 8:20 p.m. Quarterback Peyton Manning, who played for the Indianapolis Colts for 14 years, takes on his old team for the first time as QB of the Denver Broncos.


http://www.medialifemagazine.com/best-tube-bets-weekend-8/
post #90234 of 93824
Speaking of marathons tomorrow History is again showing all 9 eps of the 1st season of "Vikings" from 10am-7pm guess to coincide with this weeks blu release.
post #90235 of 93824
THURSDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insight's Blog
post #90236 of 93824
TV Notes
BBC America Orders ‘Intruders’; Original Series From ‘X-Files’ Alum Glen Morgan
By Nancy Tartaglione, Deadline.com - Oct. 18, 2013

BBC America has greenlit Intruders, an eight-episode original series based on Michael Marshall Smith’s 2007 novel The Intruders. Glen Morgan (The X-Files, Those Who Kill) is the writer and executive producer on the series that’s about a secret society devoted to chasing immortality by seeking refuge in the bodies of others. BBC Worldwide Prods is producing, with production to begin in early spring 2014. Jane Tranter and Julie Gardner are exec producing, and BBC Worldwide is handling global distribution.

The Intruders joins BBC America’s breakout original drama Orphan Black. Meanwhile, the network rankled fans when it cancelled its first original scripted series, Copper, last month.

http://www.deadline.com/2013/10/bbc-america-orders-intruders-original-series-from-x-files-alum-glen-morgan/
post #90237 of 93824
Nielsen Overnights (18-49)
CBS’s new Thursday comedies see gains
By Toni Fitzgerald, Media Life Magazine - Oct. 18, 2013

Expect a full-season order for “The Millers” later today.

The new CBS comedy continued to post solid numbers, growing week to week in its third outing.

“Millers” averaged a 3.2 adults 18-49 rating last night, according to Nielsen overnights, up 7 percent from a 3.0 last week.

And that was despite its strong lead-in, “The Big Bang Theory,” actually sliding a tenth from last week, to a 5.0.

“Millers” has shown decent retention out of “Bang,” but just as importantly, it’s not seeing the huge week-to-week falloffs that so many other new shows have experienced this season.

CBS’s new 9 p.m. sitcom, “The Crazy Ones,” also grew week to week, from a 2.4 to a 2.5. It finished second in its timeslot, just a tenth behind ABC’s “Grey’s Anatomy.”

ABC, meanwhile, is seeing the usual issues with its 8 p.m. Thursday show, where it hasn’t had a good fit since “Ugly Betty.” Last night the spinoff “Once Upon a Time in Wonderland” plunged 29 percent from last week’s debut to a 1.2.

That may have hurt lead-out “Grey’s,” which tied a series low with a 2.6. But it didn’t appear to affect the network’s red-hot 10 p.m. drama, “Scandal,” which posted its second-best rating ever, a 3.3. In fact, “Scandal” bettered the combined competition of NBC’s “Parenthood” (1.3) and CBS’s “Elementary” (1.6).

NBC struggled once again earlier in the night, though all but one of its shows saw week to week gains. “Parks and Recreation” (1.3), “Welcome to the Family” (0.9) and “Sean Saves the World” (1.1) were all up a tenth from last week.

The new 9:30 comedy “The Michael J. Fox Show” was even to last week with a 1.2.

On the CW, the new 9 p.m. historical drama “Reign” struggled to hold the lead-in audience for “The Vampire Diaries.” The premiere episode averaged a 1.0 in the network’s target demo of women 18-34, losing nearly half of “Diaries’” 1.8 lead-in, though it was up over the CW’s average same week last year.

“Diaries” had its best 18-49 rating (1.3) since March and finished fourth in the 8 p.m. timeslot, ahead of NBC and ABC.

CBS was first for the night among 18-49s with a 2.6 average overnight rating and an 8 share. ABC and Fox tied for second at 2.4/7, Univision was fourth at 1.4/4, NBC fifth at 1.2/3, CW sixth at 1.0/3 and Telemundo seventh at 0.5/1.

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.

Also, ratings for Fox’s playoff baseball coverage are approximate as fast nationals measure timeslot and not actual program data.

At 8 p.m. CBS led with a 4.0 for “Bang” (4.9) and “Millers” (3.2), followed by Fox with a 2.3 for Game 5 of the American League Championship Series. Univision was third with a 1.7 for “Porque el Amor Manda,” CW fourth with a 1.3 for “Diaries,” ABC fifth with a 1.2 for “Wonderland,” NBC sixth with a 1.1 for “Parks and Recreation” (1.3) and “Welcome to the Family” (0.9) and Telemundo seventh with a 0.4 for “Dama y Obrero.”

ABC took the lead at 9 p.m. with a 2.6 for “Grey’s,” while CBS and Fox tied for second at 2.3, CBS for “Crazy” (2.5) and “Men” (2.1) and Fox for baseball. Univision was fourth with a 1.4 for “La Tempestad,” NBC fifth with a 1.2 for “Sean” (1.1) and “Fox” (1.2), CW sixth with a 0.8 for “Reign” and Telemundo seventh with a 0.5 for “Marido en Alquiler.”

At 10 p.m. ABC was first again with a 3.3 for “Scandal,” with Fox second with a 2.8 for baseball. CBS was third with a 1.6 for “Elementary,” NBC fourth with a 1.3 for “Parenthood,” Univision fifth with a 1.0 for “Mentir para Vivir” and Telemundo sixth with a 0.5 for “Santa Diabla.”

CBS also finished first for the night among households with a 6.7 average overnight rating and an 11 share. Fox was second at 5.2/8, ABC third at 5.1/8, NBC fourth at 2.3/4, Univision fifth at 1.7/3, CW sixth at 1.5/2 and Telemundo seventh at 0.7/1.

http://www.medialifemagazine.com/cbss-new-thursday-comedies-see-gains/

* * * *

Nielsen Overnights (Cable)
‘Coven’s’ spell wanes in week two

Fewer viewers were bewitched by “American Horror Story: Coven” in its second week.

The FX drama averaged a 2.5 adults 18-49 rating Wednesday at 10 p.m., according to Nielsen overnights, off 17 percent from a 3.0 for the show’s third-season debut the previous week.

That’s still a very good number. “Coven” placed second to “Duck Dynasty” (2.9) on cable for the night, and it won the 10 p.m. hour against both broadcast and cable competition.

“Coven” usually ads a good deal of viewers from DVR playback, so some of the lost audience could be made up by time shifting.

The show averaged 4.5 million total viewers, down from 5.34 million last week.

“Dynasty” was also the night’s top cable show in total viewers, drawing 7.26 million, down slightly from 7.4 million last week.

TBS’s Game 5 of the National League Championship Series between the St. Louis Cardinals and Los Angeles Dodgers was third for the night on cable with 3.73 million viewers.

With news of the deal to end the federal government shutdown, the cable news networks surged Wednesday night. Fox News was up 50 percent from its third quarter average, to 489,000 adults 25-54, while CNN doubled last week’s showing in the demo with 375,000. MSNBC’s lineup surged to 338,000.

The night’s top cable programs:

18-49s
:
1. A&E’s “Duck Dynasty” (10 p.m.) 2.9; 2. FX’s “American Horror Story” (10 p.m.) 2.5; 3. A&E’s “Bad Ink” (10:30 p.m.) 1.5.

Total Viewers: 1. A&E’s “Duck Dynasty” (10 p.m.) 7.26 million; 2. FX’s “American Horror Story” (10 p.m.) 4.51 million; 3. TBS’s “MLB NLCS” (4 p.m.) 3.73 million.

http://www.medialifemagazine.com/covens-spell-wanes-week-two/
post #90238 of 93824
TV/Business Notes
Aereo Expands to Detroit
By Brent Lang, TheWrap.com - Oct. 18, 2013

Aereo, the online television company broadcasters despise, is hitting the Motor City.

The company will bring its internet age antenna technology to the Detroit metropolitan area on October 28. The announcement follows its expansion earlier this year to such cities as Boston, Atlanta, Miami, Salt Lake City, Houston and Dallas. The company said earlier that it plans to offer its service in more than 20 cities by the end of 2013.

Broadcasters have gone to court to prevent Aereo from gaining ground and market share, with networks like CBS, ABC, FOX and NBC suing the company and charging it with copyright violations. Aereo has countered that the airwaves are public domain, so it is free to capture the signal and retransmit programming through its constellation of tiny antennas.

Broadcasters have asked the Supreme Court to weigh in on the legality of Aereo’s business model.

“We’re thrilled to be launching in the Detroit metro area, the birthplace of Motown and the Motor City,” Aereo CEO and Founder Chet Kanojia said in a statement. “Across the country, the message from consumers is clear: they want more choice and flexibility when it comes to how they watch television and they don’t want to be fenced into outdated and cumbersome technology. ”

Aereo’s service permits subscribers to view local TV stations on the web or on a cellphone and to DVR programming.

http://www.thewrap.com/aereo-expands-detroit/
post #90239 of 93824
TV Notes
CBS Orders Full Seasons of New Comedies ‘The Crazy Ones,’ ‘Mom,’ ‘The Millers’
By AJ Marechal, Variety.com - Oct. 18, 2013

CBS has handed full seasons to freshman comedies “The Crazy Ones,” “The Millers” and “Mom.”

The back-nine orders arrive after a strong showing by the Eye Thursday night, as “The Millers” and “The Crazy Ones” helped CBS sweep in total viewers and adults 18-49 with “The Big Bang Theory” serving as a juggernaut lead-in. This week, “The Millers” nabbed 12.2 million viewers overall in its Thursday 8:30 p.m. timeslot, and “Crazy Ones” drew 9.5 million at 9 p.m.

“Mom” — Chuck Lorre’s latest comedy entrant — attracted 6.7 million viewers this week on Monday, though CBS’s lineup that evening is struggling against NBC’s “The Voice” and “The Blacklist,” along with ABC’s “Dancing With the Stars.” Vote of confidence in “Mom” with a full season pickup could mean an eventual rejiggering of CBS comedy scheduling, where the Anna Faris-starrer could be comfortably seated with more solid lead-ins. “Mom” is currently averaging just under 8 million viewers on CBS.

“We’re proud of CBS’s leadership position in comedy and excited to build on it with the back nine pick-ups of these three new comedies,” said Nina Tassler, President, CBS Entertainment. “These series are creatively distinct, continue to improve each week and are led by strong showrunners, writing and production staffs, and feature amazingly talented casts.”

While “Mom,” “The Millers” and “The Crazy Ones” have received full seasons, CBS has already pulled the plug on freshman comedy “We Are Men,” which was drawing less than 6 million viewers — a solid comedy series number for rival Big Four nets, but a weaker showing for CBS, which routinely breaks 10 million viewers with its laffers.

http://variety.com/2013/tv/news/cbs-orders-full-seasons-of-new-comedies-the-crazy-ones-mom-the-millers-1200738272/
post #90240 of 93824
TV/Business Notes
Canadian Cable Unbundling Blowback: Will U.S. Broadcasters Say No?
By Etan Vlessing, The Hollywood Reporter - Oct. 18, 2013

TORONTO - The Canadian government this week unveiled plans to compel cable and satellite TV providers to allow subscribers to pick-and-pay for TV channels they want to view.

So how will U.S. suppliers of popular primetime series like The Walking Dead and Homeland react?

Canadian industry players are debating whether Hollywood will say no if CNN and AMC are no longer bundled with MSNBC and BET on high-penetration tiers.

"U.S. specialty channels are more than likely to say no way to cable carriers in agreeing to pick and pay because they are set against any precedents that might spill over into the U.S. markets," Michael Hennessy, president and CEO of the Canadian Media Production Association, argued.

The Canadian producers' rep added the CRTC, the country's TV watchdog, may strike U.S. broadcasters off of the list of authorized services here if they don't fall into line with the new cable unbundling regime.

And that would have Canadians fuming when they could no longer view their favorite American shows.

Ken Engelhart, senior vp of regulatory affairs for Rogers Communications, the country's biggest cable operator, said American and Canadian broadcasters may well say no to a new pick-and-pay regime.

But Engelhart, who supports some package unbundling to stop consumers from cutting the cord, added the CRTC will pressure domestic broadcasters into accepting a new regime.

And he added U.S. suppliers, as global players, will accept new rules and requirements to remain in the Canadian market.

That compliance may well follow lobbying in Ottawa and court challenges, and bring about difficult contract renewal talks between broadcasters and carriers as a consequence.

But it will come, Engelhart ventured: "Even though they don't have to, they (American suppliers) will often voluntarily comply with local rules because that's the way they do business."

http://www.hollywoodreporter.com/news/canadian-cable-unbundling-blowback-will-649401
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