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Hot Off The Press: The Latest TV News and Information - Page 3016

post #90451 of 93675
TV Notes
Tina Fey gets a new NBC comedy with '30 Rock' writer
By Lorena Blas, USA Today - Oct. 31, 2013

Tina Fey has been cooking up a new comedy, and NBC is placing an order.

Fey, whose 30 Rock comedy series ran on the network for seven seasons, is doing the project with writing and executive producer partner Robert Carlock. Actress Ellie Kemper is set to star in the series, which is about a woman who leaves a doomsday cult and starts her new life in New York City.

The comedy, which has a 13-episode order from NBC, is set to debut next fall.

"We have been lucky enough to work at NBC for our entire careers (except when Robert worked at The Dana Carvey Show, now available on DVD) and we thank Bob and Jen for their continued support." said Fey and Carlock in a statement about NBC Entertainment chairman Robert Greenblatt and NBC Entertainment president Jennifer Salke.

In a news release from the network, Salke said: "Original voices like Tina and Robert don't come along very often and we wanted them back on the air as soon as possible. And to have them working with Ellie Kemper — who we watched grow up on The Office from supporting player to leading actress — puts the whole package together. We feel fortunate to be in business with this entire creative team on something so funny, unique, and attention-getting."

Carlock worked with Fey for all seven seasons of 30 Rock, which ended its run in January.

http://www.usatoday.com/story/life/tv/2013/10/31/tina-fey-comedy-ellie-kemper-nbc/3325923/
post #90452 of 93675
TV Notes
Starz, Owen Wilson Developing FBI Drama 'WonderWorld'
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Oct. 31, 2013

Starz is teaming with Owen Wilson and Law & Order's Rene Balcer to develop a period FBI drama.

Set during the Reagan era and inspired by one of the biggest undercover operations in FBI history, WonderWorld revolves around two straight-arrow agents as they infiltrate the Mob-controlled porn industry of the 1980s, facing dire consequences for both themselves and their families.

Emmy winner Balcer will pen the script, executive produce and serve as showrunner on the drama should it move to series. Fred Berner will reteam with his former L&O and L&O: Criminal Intent colleague to serve as executive producer. The project marks his follow-up to Magic City, which Starz recently canceled after a two-season run. Regina Lee will produce the project for Owen Wilson's newly launched TV production entity. Prior to joining Wilson's banner, she was a development exec at Hugh Jackman's Seed Productions, where she served as the executive in charge of Fox's X-Men Origins: Wolverine, among others.

Wilson and Balcer are repped by UTA. Berner is with Verve.

For Starz, WonderWorld comes as the premium cable network looks to have 75 hours of original programming on its airwaves in the coming years. The network recently gave an early second-season renewal to Michael Bay's pirate drama Black Sails ahead of its freshman season premiere. It also has 50 Cent-produced drama Power and fantasy drama Outlander set for 2014 along with the second season of DaVinci's Demons.

http://www.hollywoodreporter.com/live-feed/starz-owen-wilson-developing-fbi-652201
post #90453 of 93675
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 - Stolen at Birth: A 20/20 Investigation
* * * *
11:35PM - Jimmy Kimmel Live! ("Modern Family'' cast; Ben Rector performs)
(R - Oct. 7)
12:37AM - Nightline

CBS:
8PM - Undercover Boss: Alfred Angelo
9PM - Hawaii Five-0
10PM - Blue Bloods
* * * *
11:35PM - Late Show with David Letterman (Morgan Freeman; comic Brian Regan)
12:37AM - Late Late Show with Craig Ferguson (Geoffrey Rush; Dale Earnhardt Jr. Jr. performs)

NBC:
8PM - Why We (Heart) Vampires (Special)
9PM - Grimm
10PM - Dracula
* * * *
11:34PM - The Tonight Show With Jay Leno (Melissa McCarthy; TV host Andy Cohen; Empire of the Sun performs)
12:36AM - Late Night With Jimmy Fallon (Harrison Ford; cookbook author Padma Lakshmi; Big Sean and Kid Cudi perform with The Roots)
1:36AM - Last Call with Carson Daly (Humor Abuse; Tomahawk performs; The Pack A.D.)
(R - Oct. 21)

FOX:
8PM - MasterChef: Junior Edition
9PM - Sleepy Hollow
(R - Sep. 30)

PBS:
(check your local listing for starting time/programming)
8PM - Washington Week with Gwen Ifill
8:30PM - Charlie Rose: The Week
9PM - Great Performances: Moby Dick From San Francisco Opera (2 1/2 hrs.)

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

THE CW:
8PM - The Carrie Diaries
9PM - America's Next Top Model

TELEMUNDO:
8PM - Marido en Alquiler (120 min.)
10PM - Santa Diabla

HBO:
10PM - Real Time with Bill Maher (LIVE; Commentator Ann Coulter; Rob Lowe; director Rob Reiner; astrophysicist Neil deGrasse Tyson; Rep. Debbie Wasserman Schultz (D-Fla.)

E!:
11PM - Chelsea Lately (Johnny Knoxville)
(R - Oct. 24)

SYNDICATION:
Check Local Listings - Arsenio (Simon Cowell; Paulina Rubio; Regina King and Tracee Ellis Ross)
post #90454 of 93675
Washington Notes
F.A.A. Moves to Ease Electronics Ban, Opening the Runways to Angry Birds
By Matthew L. Wald, The New York Times - Nov. 1, 2013

WASHINGTON — The days of airline passengers being hounded to turn off their tablets or e-readers for takeoff and landing are coming to an end.

On Thursday, the Federal Aviation Administration announced that passengers would be able to use electronic devices to listen to music, read and play games in all phases of flight, though the ban on using cellphones to talk and text will remain.

The normally conservative F.A.A. moved with unexpected speed in changing its policy, after an advisory committee recommended it a month ago, and the agency won unusually broad praise from pilots, flight attendants and members of Congress, along with passengers.

The changes will most likely take effect before the end of the year, the F.A.A. said, after airlines determine that their aircraft can tolerate the interference.

Passengers will still be prohibited from browsing the web and checking email once the plane’s doors have been closed and until its Wi-Fi network has been turned on, usually above 10,000 feet.

The administrator of the F.A.A., Michael P. Huerta, said he expected that, with rare exceptions, airlines would allow the use of tablets, MP3 players and smartphones in “airplane mode,” with their cell network connections turned off. The airlines will have to conduct tests on their equipment and submit the results to the F.A.A. for approval, he said at a news conference at Ronald Reagan National Airport, outside Washington.

Soon after Mr. Huerta spoke, Delta Air Lines and JetBlue announced that they had submitted plans for passengers to use electronics in flight. JetBlue also planned to introduce a high-capacity Wi-Fi service by the end of the year that may work at lower altitudes, said a spokeswoman, Jennifer Dervin.

The rule banning use of personal electronic devices during some parts of the flight had become an increasing source of frustration for passengers who saw it as outdated in a technology-dependent age, a point that Mr. Huerta acknowledged.

Jodi Fleisig, who lives in Atlanta with her husband and two boys, ages 11 and 9, welcomed the change. “It’s great when you have kids, because you can get them settled in and settled down, and it makes a huge difference in the quality of the flight,” she said. “They can play games on their iPads, or they can read or watch a movie.”

Ms. Fleisig, a senior vice president at Porter Novelli, a public relations firm, added that “As a business traveler, I’m in the air a lot, and the fact that I can sit down and start working right away and get incredible amounts of work done is a lifesaver.”

Mr. Huerta stressed that passengers would be told to turn off their electronics when the flight attendants gave preflight safety briefings about what to do in an emergency, and that the airlines would have to develop new rules about stowing electronics during takeoff and landing.

While flight attendants have no effective way to determine whether a cellphone or tablet is really in airplane mode during flight, Mr. Huerta said, “There’s no safety problem if they’re not, but you’re going to arrive at your destination with a dead battery,” because the device would continue looking for a cell connection and would not find it.

Mr. Huerta also noted that change would not be universal. “In some instances of low visibility, 1 percent of flights, some landing systems may not be proven to tolerate the interference,” he said. “In those cases, passengers may be asked to turn off personal electronic devices.”

Mr. Huerta said the airlines had favored the change, to “enhance the customer experience,” but that they did not have a uniform position. The industry’s main trade association, Airlines for America, supported the decision in a statement.

Senator Claire McCaskill, a Missouri Democrat who had pressed for the change, praised the announcement as well. “This is great news for the traveling public,” she said in a statement, “and frankly, a win for common sense.”

The president of the Association of Flight Attendants, Veda Shook, said the change was “welcome news.”

“We’re not going to run away from technology,” she said, “but we’re not going to run away from safety, either.” Flight attendants would be relieved of the job of making passengers turn off their devices when the plane descended, she added, but they would have to enforce new rules about what had to be stored under a seat or in an overhead bin, and what could be held or put in a seat back pocket.

She said she hoped the rules would be uniform across the airlines, to minimize confusion among passengers

And, she said, the old rules were still in force now, although she added, “I’m pretty sure people are going to think they can do this today.”

The new rule applies to all United States carriers. The European Aviation Safety Agency, which participated on the F.A.A. review panel, said on Thursday it would analyze the decision before clarifying its own policy.

“The position the F.A.A. announced today is actually a step in the direction of the way it works in Europe,” Dominique Fouda, a spokesman for the European agency in Cologne, said in an email. In Europe, he said, “there is per se no ban” on the use of mobile phones and other personal electronic devices. Rather, it is the responsibility of the airlines to demonstrate that they do not interfere with cockpit equipment.

One winner in the new policy is Amazon, which makes the Kindle e-book reader and whose representative worked on the F.A.A. panel that made the recommendation. Drew Herdener, a spokesman, said: “We’ve been fighting for our customers on this issue for years — testing an airplane packed full of Kindles, working with the F.A.A. and serving as the device manufacturer on this committee. This is a big win for customers and, frankly, it’s about time.”

Nicola Clark contributed reporting from Paris.

http://www.nytimes.com/2013/11/01/business/passengers-to-be-free-to-use-electronics-on-flights-faa-says.html?ref=technology&_r=0
post #90455 of 93675
TV/Business Notes
Netflix Needs Cable, But the Feeling Isn’t Always Mutual
By Todd Spangler, Variety.com - Oct. 31, 2013

Netflix is banking on getting on cable set-top boxes to hit aggressive growth targets in the next few years — but not every U.S. operator is eager to play ball with a company they view as a rival.

On Thursday, Danish broadband provider Waoo announced a deal to add Netflix access to customers’ set-tops. The pact is Netflix’s third with a European operator, following similar agreements with the U.K.’s Virgin Media and Sweden’s Com Hem.

“We’d rather make Denmark’s best fiber broadband than try to make a streaming service to compete against the world’s best,” Waoo CEO Anders Christjansen said in announcing the deal.

Operators in the States may not be of the same mind. In the U.S., Netflix has been actively exploring deals with operators, including Comcast, Time Warner Cable, Cox Communications and Charter Communications. (Netflix has a deal with Google Fiber, which currently offers service in parts of the Kansas City market.)

Striking MSO distribution deals is a matter of finding the right business terms, according to Netflix CEO Reed Hastings. “I’m really hopeful we can do that with both Comcast and other people in the industry,” he said on the company’s earnings call last week.

But Comcast, for one, is in no rush to add Netflix into the mix. ”Our customers can receive Netflix in a number of ways, so it’s not really a high priority for us,” Comcast Cable president and CEO Neil Smit said on the company’s earnings call Wednesday.

John Malone, whose Liberty Media owns a stake in Charter, has dismissed the notion that MSOs should pair up Netflix. At the company’s annual investor day this month, he said cable operators should team up to create a Netflix-like subscription VOD service, criticizing the industry for being slow to respond to over-the-top competitors.

Cable boxes represent the last TV-connected devices that Netflix is not available on. Netflix added 1.29 million net new streaming subscribers in the third quarter of 2013, to reach 31.1 million domestically.

Longer term, Netflix projects that it can be two or three times larger than HBO’s current linear base — with 60 million to 90 million subs in the U.S. Hitting those numbers would likely require pay TV deals, to reach consumers who don’t want a separate box for streaming Internet video.

For operators like Comcast, the benefit of adding Netflix chiefly lies in providing a one-stop-shop for all things video. The thinking goes like this: Cable customers are watching Netflix anyway on other devices, so why not plug the service so they don’t have to switch over to an Apple TV or Roku?

Netflix also reinforces the value of cable’s broadband services, and could provide a way for MSOs to upsell subscribers to higher-speed tiers. As with distribution deals with consumer-electronics makers, Netflix is offering to pay cable operators for new subscriber signups; according to cable industry sources, this potential incremental revenue stream isn’t a major factor in determining whether they’ll offer Netflix.

One sticking point for cable operators is that Netflix, as a condition of being added to a set-top, is requiring them to house caching servers in their data centers, under its Open Connect content distribution network. But MSOs object to that, saying that simply offloads Netflix’s delivery costs to them with no real benefit to customers.

Netflix now positions itself as a “movie and TV series network” — like HBO or Showtime — with a mix of library and original content. But the company also says this in its long-term view: “We are a relief from the complexity and frustration that embody most MVPD (multichannel video programming distributor) relationships with their customers.”

To win over Comcast and other heavyweights, Netflix still has to convince them that it’s a friend — not a foe.

http://variety.com/2013/digital/news/netflix-needs-cable-but-the-feeling-isnt-always-mutual-1200781848/
post #90456 of 93675
Quote:
Originally Posted by dad1153 View Post

TV/Business Notes
Netflix Needs Cable, But the Feeling Isn’t Always Mutual
By Todd Spangler, Variety.com - Oct. 31, 2013

Netflix doesn't need cable to grow. The way it's been growing it could easily reach 40 - 50 million subscribers all on it's own. Now if they want that 60 - 90 million figure, then they will need cable partners. While Netflix can be considered the enemy, due to cord-cutters and people avoiding cable subscriptions altogether using it, it has helped to build up audiences for several cable programs. It has also helped cablecos by encouraging people to pay more for better internet speeds. I bet providing internet service is just as if not more profitable than plain old television service.
post #90457 of 93675
Quote:
Originally Posted by mhufnagel View Post

Netflix doesn't need cable to grow. The way it's been growing it could easily reach 40 - 50 million subscribers all on it's own. Now if they want that 60 - 90 million figure, then they will need cable partners. While Netflix can be considered the enemy, due to cord-cutters and people avoiding cable subscriptions altogether using it, it has helped to build up audiences for several cable programs. It has also helped cablecos by encouraging people to pay more for better internet speeds. I bet providing internet service is just as if not more profitable than plain old television service.
It already is, I don't know about total revenues but providing Internet service is already far more profitable percentage-wise than standard TV service with some providers banking 85-95% of every dollar they charge for Internet.
post #90458 of 93675
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Nov. 1, 2013

WHY WE (HEART) VAMPIRES
NBC, 8:00 p.m. ET

This is a warning, not a recommendation. I’ve been a TV critic so long that I remember when it was natural, and easy, to fan the flames of outrage whenever a local newscast would spend part of its time doing a feature story obviously tied to one of its prime-time offerings. That practice has become so accepted, nobody even blinks any more, not even TV critics. But tonight’s prime-time network special, presented under the auspices and corporate flag of NBC News, is called Why We (Heart) Vampires, and is a direct, blatant tie-in to its newest drama series, Dracula – which conveniently follows two hours later, at 10 p.m. ET. This sort of shameless, manipulative cross-promotion is Why I (Hate) Network TV, at least when it pulls garbage like this. Even under the flimsy excuse of putting the appeal of vampires in a context of both historical fact and popular culture (the Twilight movies!), this kind of tacky tie-in special is a Vlad idea. Oh, and by the way: NBC’s Dracula, the series, is awful.

IT HAPPENED ONE NIGHT
TCM, 8:00 p.m. ET

Frank Capra directed this fast-moving delight of a screwball comedy, which swept all the major Oscar awards in 1934 – becoming the first movie to do so. Clark Cable stars, and the one scene Claudette Colbert doesn’t steal with her charm and wit, she steals with her legs.

REAL TIME WITH BILL MAHER
HBO, 10:00 p.m. ET

What a lineup! Neil DeGrasse Tyson shows up to argue science in a way that makes sense, two Hollywood Robs – Reiner and Lowe – show up to argue their political views, and Ann Coulter shows up to represent the conservative side.

HAVEN
SyFy, 10:00 p.m. ET

Duke (Eric Balfour) and Nathan (Lucas Bryant) come out swinging in tonight’s new episode, which is called “Crush” – and, for the record, is about scrunching things, not falling in love with them. Although, given the behavior of Duke and Nathan regarding Emily Rose’s Audrey a.k.a. Lexie, maybe it’s both.

HIS GIRL FRIDAY
TCM, 10:00 p.m. ET

Here’s another classic screwball comedy from TCM tonight. This one, from 1940, is directed by Howard Hawks, and stars Cary Grant and Rosalind Russell in an especially saucy version of the Ben Hecht play The Front Page. Anyone who’s ever stepped foot in a newspaper newsroom loves this movie. But how many people are stepping into newspaper newsrooms these days? Sigh.


http://www.tvworthwatching.com/

* * * *

TV Review
Life-Affirming: Shotime's 'Time of Death'
By Ed Bark, TVWorthWatching.com - Nov. 1, 2013

Milton Berle’s Private Joke File, all 642 pages of it, has lots more to say about dentists than death. For that matter, even parrots get more ink.

Death, after all, is no laugh riot, although Berle gave it a shot with this one-liner: “I looked at the obituaries the other day and I realized something -- everybody dies in alphabetical order!”

Showtime’s Time of Death documentary series, premiering Friday, Nov. 1, at 9 p.m. ET, perhaps is best served with a punch line before this review gets underway. Friday night escapism it’s not, which Showtime entertainment president David Nevins fully realizes. In his note accompanying the review DVDs, Nevins says in part: “It is not the easiest show to watch, but I’ve always wanted to explore the subject in detail. Death is the most universal topic there is, and yet its examination is largely taboo in our culture.”

There are six weekly episodes in all, with 48-year-old Maria Lencioni’s story spotlighted in all of them while other subjects near death play what amount to major supporting parts. I’ve watched the first two, and came away teary-eyed each time. This is a powerfully affecting series, and an enduring memorial to otherwise ordinary people whose last days ended up being anything but camera shy.

Maria, who lives on a farm in Santa Cruz, CA, is the divorced mother of three children: 25-year-old Nicole (also called “Little”), 15-year-old Julia and 14-year-old Andrew. She has terminal Stage 4 breast cancer and so far has been more willing to talk about this with the filmmakers than with her offspring.

“They shouldn’t be faced with all this cockadoodle,” Maria says in Episode 2.

Nicole, heavily tattooed and long at odds with her mother, has moved back to Santa Cruz with the goal of gaining custody of her two siblings. Neither wants to live with their biological father, who allegedly was “abusive.” He’s unseen in the first two episodes, but will make a “surprise visit” in Hour 4, according to publicity materials.

The turbulent family dynamics of the Lencionis are raw and interesting to a point. But Time of Death gets much of its punch and immediacy from the up-close looks at those whose lives will span just a single episode.

Friday’s premiere introduces Michael John Muth, a 47-year-old Navy veteran in the final stages of a rare cancer called rhabdomyosarcoma. Living his last days in a hospice, he’s also a veteran of two divorces (“I was the bad guy in both marriages; let’s put it that way”), with an early history of drug abuse.

Nonetheless, his father is steadfastly by his side, as is Michael’s stepmother. “I profusely apologize to this man for all the **** I put him through growin’ up,” Michael says.

Episode 2 features Lenore Lefer (right), a sunny side up 74-year-old mother and grandmother with inoperable pancreatic cancer. As a psychotherapist specializing in death and dying, she has opted to forego further medical treatment in order to spare survivors the agony of watching her combat the debilitating effects of harsh drug treatment.

“We live in a death-denying culture, and I don’t want it to be that way,” she says. “I want my life to have made some difference.”

She and Lenore’s husband, Mel, were divorced for a brief period before remarrying and spending 53 years of their lives together. They have two sons, but lost a third to a teenage drowning death.

By the time of her 75th birthday, Lenore was too weak to get out of bed. But she wanted the family to celebrate anyway. And so they do, before everyone joins her for a birthday video of past milestones together. I’m getting misty just writing about it.

Time of Death tells its stories without appearing to be voyeuristic or intrusive. Lenore didn’t want cameras present for her final minutes, and so the filmmakers step aside. It would have been quite something, though, with Mel later relating that his wife looked fondly at him and said twice, “It was terrific.”

In a culture awash in share-it-all “social media” and seemingly all-seeing phone cams, most of us likely would still prefer to die in private. Time of Death breathes new life into a handful who chose otherwise. And with this series, they also chose pretty wisely.

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=6164
post #90459 of 93675
Quote:
Originally Posted by keenan View Post

It already is, I don't know about total revenues but providing Internet service is already far more profitable percentage-wise than standard TV service with some providers banking 85-95% of every dollar they charge for Internet.

Yep, and many other countries have much faster broadband speeds for lower customer cost. Another instance of us paying more and getting less for it than just about anywhere else in the world. frown.gif

Who invented the Internet again?
post #90460 of 93675
Nielsen Overnights (18-49)
Broadcast takes a hit on Halloween
Number of households using television declines dramatically
By Toni Fitzgerald, Media Life Magazine - Nov. 1, 2013

ABC won the first night of the November sweeps for the first time in six years, albeit on a night when TV viewing levels were way down from last week.

The network averaged a 2.6 adults 18-49 rating and 8 share, according to Nielsen overnights, 30 percent of No. 2 CBS with a 2.0/6.

The network’s 10 p.m. drama “Scandal” finished as the top show of the night with a 2.9, though that was down a tenth from last week.

At 9 p.m. “Grey’s Anatomy” drew a 2.6, down 7 percent from last week and tying a series low, while the 8 p.m. special “It’s the Great Pumpkin Charlie Brown” drew a 2.2, off 19 percent from last year but still second in the hour.

The opening night of sweeps fell on Halloween, explaining the week-to-week dips for most shows on broadcast last night.

People using television (PUT) levels always fall on Halloween, as people go trick or treating or out to celebrate the holiday instead of staying home and watching TV.

Last night broadcast’s PUT levels among 18-49s and households were down several percentage points from last week across every hour of the night.

Baseball also threw a wrench into the night. The World Series finished up Wednesday night with Game 6. Game 7 was to take place Thursday night if needed, but since the series was over, Fox instead ran a highlights special focusing on the top 12 contestants on “The X Factor” that drew dreadfully low ratings, including a 0.7 in 18-49.

CBS ran a repeat of its top show, “The Big Bang Theory,” in anticipation of facing baseball on Fox. The lack of an original “Bang” to lead off the night resulted in lower ratings for all of its original shows, including two new comedies.

“The Millers” fell to a series-low 2.0 at 8:30 p.m., and “The Crazy Ones” dropped to a 1.9 at 9 p.m.

Another new sitcom, NBC’s “The Michael J. Fox Show,” managed just a 1.1 at 9:30, a new series low.

But the network’s “Sean Saves the World,” also a new sitcom, grew a tenth week to week, to a 1.2. It was the only original Big Four show to see week-to-week gains.

With ABC in first and CBS in second for the night, NBC placed third at 1.4/4 and Univision fourth at 1.0/3. Fox and the CW tied for fifth at 0.7/2 and Telemundo was seventh at 0.4/1.

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.

CBS began the night in the lead with a 2.3 at 8 p.m. for a repeat of “Bang” (2.5) and a new “Millers” (2.0), followed by ABC with a 2.2 for “Brown.” NBC was third with a 1.7 for a “Saturday Night Live” Halloween special, and Univision fourth with a 1.3 for “Porque el Amor Manda.” Fox and CW tied for fifth at 0.8, Fox for the “Factor” special and CW for “The Vampire Diaries,” and Telemundo was seventh with a 0.3 for “Marido en Alquiler.”

ABC took the lead at 9 p.m. with a 2.6 for “Grey’s,” while CBS slipped to second with a 2.0 for “Crazy” (1.9) and another “Bang” rerun (2.0). NBC was third with a 1.2 for “Sean” (1.2) and “Fox” (1.1), and Univision fourth with a 1.0 for “La Tempestad.” Fox and CW tied for fifth at 0.6, Fox for a repeat of “Glee” and CW for “Reign,” and Telemundo was seventh with a 0.4 for more “Marido en Alquiler.”

At 10 p.m. ABC led again with a 2.9 for “Scandal,” with CBS second with a 1.7 for “Elementary.” NBC was third with a 1.3 for “Parenthood,” Univision fourth with a 0.8 for “Mentir para Vivir” and Telemundo fifth with a 0.4 for “Santa Diabla.”

CBS was first for the night among households with a 5.9 average overnight rating and a 10 share. ABC was second at 5.3/9, NBC third at 2.9/5, Fox fourth at 1.7/3, Univision fifth at 1.5/2, CW sixth at 1.3/2 and Telemundo seventh at 0.6/1.

http://www.medialifemagazine.com/broadcast-takes-hit-halloween/

* * * *

Cable Overnights (18-49)
Cable overnights: ‘Coven’ cooks up a win

It seems fitting that, on the eve of Halloween, “American Horror Story: Coven” was the No. 1 show on cable.

The FX drama averaged 3.714 million total viewers on Wednesday night, according to Nielsen, nearly 800,000 more than the night’s No. 2 program, Fox News Channel’s “The O’Reilly Factor.”

“Coven” also drew a 2.0 adults 18-49 rating.

The show was down slightly from last week’s 3.779 million total viewers and 2.1 18-49 rating. It marked the first time this season that “Coven” has led the night on cable. Up till last week, A&E’s “Duck Dynasty” had been cable’s No. 1 program on Wednesdays, but it wrapped up its season last week.

The No. 2 program on cable Wednesday night among 18-49s, TBS’s “Family Guy” repeat, averaged a 1.4.

http://www.medialifemagazine.com/cable-overnights-coven-cooks-win/
post #90461 of 93675
Nielsen Notes
CBS’ ‘Hostages’ Audience Now Nearly 16 Mil, Fox’s ‘Sleepy Hollow’ At 26.4 Mil, And Other 30-Day Viewing News
By Lisa De Moraes, Deadline.com - Nov. 1, 2013

Broadcast network Premiere Week numbers for 30-day multi-platform playback on DVR, VOD, online, etc. are out, confirming that overnight Nielsen ratings are now very preliminary reads and the broadcast networks got off to a much better start this season than originally reported. CBS weighed in this morning, reporting that the overall audience for the premiere episode of new Monday drama Hostages – initially reported at a disappointing 7.41 million viewers, based on Nielsen fast nationals issued the next morning — now stands 15.54 million strong. That’s a jump of 110% with the 30-day multi-platform playback factored in. Similarly, the opening audience for Chuck Lorre’s new CBS comedy Mom jumped 72%, from 7.99 million viewers, to 13.77 million. And the crowd for the opening night of David E. Kelley’s new Robin Williams comedy The Crazy Ones now stands at nearly 24 million viewers, after growing 52% over the 30 days.

Fox, which launched new series before Premiere Week, had already reported 30-day multi-platform total audiences for the majority of its premieres delivered lifts of 80% to 108% versus the series’ same-day deliveries. Fox’s premiere of Sleepy Hollow on September 16 soared 108% to 26.4 million viewers across Live, DVR, VOD and streaming on Hulu.com and Fox.com. Brooklyn Nine-Nine climbed 97% to 14.6 million viewers across platforms. Returning New Girl and The Mindy Project snagged lifts of 80%. Fox also noted a 76% increase in viewing of its in-season shows on Hulu than at same point last season (34.3 mil views vs. 19.5 mil).

Important to note: Networks are measuring multi-platform viewing differently. CBS, for example, reports on “average audience,” the average audience of each minute of viewership. Fox’s numbers reflect “total audience,” the number of viewers who watched at least 6 minutes of the episode. Fox argues this is more akin to the way streaming views are measured.

In other CBS 30-day news: The season premieres of NCIS and The Big Bang Theory both grew to more than 26 mil, and the opening-night audience for Elementary has swelled from 10.18 million viewers to 15.99 mil.

You’ve probably seen the news reports about the jump in time-delayed viewing this season, as late-adopters (older viewers) are joining the trend — older viewers being a key component of CBS’ “We are broadcasters” message. “This season we already are seeing a substantially greater use of time-shifting by viewers to expand their viewing horizons, leading to larger overall audiences for the most popular programs, including both the established hits and the hot newcomers,” CBS Chief Research Officer David Poltrack said in this morning’s news.

More to come…

http://www.deadline.com/2013/11/cbs-opening-night-hostages-audience-now-nearly-16-mil-and-other-30-day-viewing-news/
post #90462 of 93675
Technology Notes
Planned Obsolescence, as Myth or Reality
By Catherine Rampell, The New York Times' 'Economix' Column - Oct. 31, 2013

The new iPhone is out. That means, as I wrote in a column for the coming issue of The New York Times Magazine, that conspiracy theories again abound about ways that older models start to become more unattractive and dysfunctional around the time that a shiny new upgrade is available.

Among the evidence that Apple is supposedly engaging in the great capitalist sin of “planned obsolescence” — that is, deliberately limiting the useful life of a product so that consumers will be forced to replace it – is the slowing of older models. The iPhone 5S and 5C models coincided with a release of a new iPhone operating system, which happens to make the iPhone 4 and 4S very sluggish. When my iPhone 4 notified me that the operating system was available for download, there was no warning that the software might affect the speed of my model.

There’s also the matter of the battery, which, like all rechargeable batteries, has a finite number of charges and generally runs down much faster by the time service providers offer a subsidized upgrade. Apple makes it difficult for customers to remove and replace iPhone batteries at home, since the batteries are sealed into the phone body with special five-point screws. Having your battery replaced by Apple instead costs $79, just $20 less than the typical subsidized price for a new iPhone 5C.

These are ways in which your old phone looks unattractive not only compared with the new models, but compared with itself just a year or two earlier.

Of course, lots of these signs of “planned obsolescence” have alternative and more benign explanations, related to design, efficiency and innovation. Sure, software upgrades may make older phones run more slowly, but that could be a side effect rather than the primary intention; newer software does more sophisticated stuff (3-D maps! Photo filters! AirDrop!) intended to take advantage of the hardware capabilities of the newest phones, and these more sophisticated features happen to be quite taxing on previous-generation hardware.

Likewise that batteries are hard to replace could be justified by Apple’s commitment to design aesthetics. IPhones are sleeker and lighter with batteries screwed in, rather than manufactured with clunky, detachable phone tumors. And if Apple expects users to want to upgrade in two years as hardware innovations become available, it doesn’t make sense for the company to include batteries that last much longer than that. Consumers may not be willing to pay higher prices for that additional longevity if it’s not useful to them. Just as a clothing retailer probably doesn’t want to sell an infinitely durable pair of skinny jeans if its customers are likely to switch to bell bottoms next year anyway, Apple probably doesn’t want to equip its phones with a much longer-lasting — and potentially much costlier — battery.

Point being, it’s actually very hard to infer a company’s motives for designing a feature a certain way, and whether that decision was intended to hasten degradation of older products, as some insist that the famously secretive Apple is doing. (Apple declined to comment when I called about accusations of planned obsolescence.)

I spoke with a lot of technology experts for the Magazine column, and their interpretations of Apple’s design decisions were all over the map. Some suggested that yes, Apple is deliberately limiting its technology’s lifespan to harvest more sales from its existing user base. Others said no — the brand hit that Apple would take for doing this would be too damaging, and Apple knows it. Since the column was published, I have likewise seen plenty of reader emails and technology blog posts insisting that Apple is either obviouslyengaging in planned obsolescence or obviously not.

But the answer is not particularly obvious. The best one can do is look at whether Apple would even have the incentive to cause its products to deteriorate more quickly over time. Economic theory is somewhat ambiguous on this point; it really depends on your assumptions about the competitiveness of the high-end smartphone market.

In a notable paper from 1986, Jeremy Bulow asserted that a monopolist not threatened by entry would have an incentive to produce goods with “inefficiently short useful lives.” But if consumers have the option to switch to good substitutes — as arguably they do now in the smartphone market — the incentives could run in the opposite direction. Your company might capture a larger share of the market if consumers believe your products are more durable.

“If people are rational and forward-looking and are able to anticipate the shenanigans that company might pull, they will take that into account when buying the thing originally,” said Austan Goolsbee, an economics professor at the University of Chicago’s Booth School of Business.

On the other hand, if consumers faced substantial “switching costs” if they wanted to flee to your competitor, that could also increase your incentives to limit durability. For example, iPhone users would lose iOS-compatible apps they’ve bought if they switch to Android phones. These network effects could increase Apple’s incentives to force its existing customers to upgrade by making older models gradually become more dysfunctional – but again, that’s assuming Apple believes it can practice such Machiavellian scheming without damaging its brand too much.

Already Apple is accused of planned obsolescence (and even sued for it, in Brazil) more than most. That’s partly a function of just how big a player it is, and how suspicious consumers become when a luxury product so closely associated with excellence doesn’t meet their expectations. But these sorts of market pressures, trade-offs and concerns about public perceptions exist in other industries too — particularly for any company whose market power makes people suspect it is capable of arm-twisting customers into upgrades. Successful video game companies have received blowback every time theyrelease new consoles that are not backward-compatible with old games, for example; such design decisions could be explained by planned obsolescence, or they could be explained by other considerations related to quality and price trade-offs.

These companies know, after all, that not offering backward-compatibility might drive loyal customers to switch to a competitor in a fit of pique. As I said, economic theory is somewhat ambiguous on when planned obsolescence is actually in a company’s best interest. (As with other economic questions, there are too many other-other-other-other hands!)

The best way to render an older model effectively obsolete is not to make it self-destruct, of course, but to introduce a new product that people really want. The phrase “planned obsolescence” was popularized in the 1950s by the industrial designer Brooks Stevens, who intended it to refer not to building things that deteriorate easily, but “instilling in the buyer the desire to own something a little newer, a little better, a little sooner than is necessary.” Today the term has come to be associated with conspiracies to degrade older products, but in the past it was more closely associated with innovation in new ones. Of course, innovation is expensive, and not easy to come by.

http://economix.blogs.nytimes.com/2013/10/31/planned-obsolescence-as-myth-or-reality/?hp&_r=0
post #90463 of 93675
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 #90464 of 93675
TV Notes
Law & Order: SVU Cops to Guest Star on Chicago PD
By Ileana Rudolph, TVGuide.com - Oct. 31, 2013

EXCLUSIVE: It's not just the firefighter neighbors who will drop in on Chicago PD, NBCs midseason police-centric Chicago Fire spin-off. Dick Wolf's new cop show gets an official welcome to the Law & Order family when SVU detectives Fin (Ice-T) and Rollins (Kelli Giddish) share their expertise in an episode most likely airing after February's Winter Olympics, TV Guide Magazine has learned exclusively.

The New York sex-crime cops visit the Windy City precinct, PD executive producer Matt Olmstead confirms, for "a case that involves a serial rapist/killer, who the cops believe started his spree in New York and moved on to Chicago. Finn and Rollins are brought in by Detective Voight [Jason Beghe] who heads the [Intelligence] Unit," Olmstead says. "They work very well with their Chicago counterparts." Sounds like a return crossover visit to the Big Apple could be in the future.

Chicago PD premieres Wednesday, Jan. 8 at 10/9c, following Law & Order: SVU (9/8c).

http://www.tvguide.com/News/SVU-Chicago-PD-Crossover-1072875.aspx
post #90465 of 93675
TV Notes
Best tube bets this weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Nov. 1, 2013

FRIDAY

Best bet on broadcast
: NBC, “Why We Love Vampires” 8 p.m.
Special looking at why so many Americans find vampires appealing. Undoubtedly the network will air lots of promos for its new drama “Dracula,” which airs two hours later.

Best bet on cable: Showtime, “Time of Death” 9 p.m. Series premiere. Profiling terminally ill people in their final days.

Top sporting event: ESPN, “NBA Basketball,” 8 p.m. The defending champion Heat take on the Nets in Brooklyn.

SATURDAY

Best bet on broadcast
: Fox, “Animation Domination High Def,” 11 p.m.
The animated shows “Axe Cop” and “High School USA!” end their first seasons.

Best bet on cable: Investigation Discovery, “I’d Kill for You,” 9 p.m. Series premiere. A married man and his younger neighbor have an affair that ends in murder.

Top sporting event: ABC, “College Football,” 8 p.m. A huge ACC matchup between No. 7 Miami and No. 3 Florida State.

SUNDAY

Best bet on broadcast
: Fox, “The Simpsons,” 8 p.m.
Homer, Marge, Mr. Burns and Kent Brockman rehash regrets following a death in town.

Best bet on cable: Food Network, “Restaurant Express,” 9 p.m. Series premiere. Nine chefs compete for a chance to own their own restaurant in Las Vegas.

Top sporting event: NBC, “Sunday Night Football,” 8:20 p.m. Indianapolis versus Houston, which looked like a good matchup before the Texans’ season was derailed.


http://www.medialifemagazine.com/best-tube-bets-weekend-10/
post #90466 of 93675
Quote:
Originally Posted by dad1153 View Post

TV Notes
Law & Order: SVU Cops to Guest Star on Chicago PD
By Ileana Rudolph, TVGuide.com - Oct. 31, 2013

EXCLUSIVE: It's not just the firefighter neighbors who will drop in on Chicago PD, NBCs midseason police-centric Chicago Fire spin-off. Dick Wolf's new cop show gets an official welcome to the Law & Order family when SVU detectives Fin (Ice-T) and Rollins (Kelli Giddish) share their expertise in an episode most likely airing after February's Winter Olympics, TV Guide Magazine has learned exclusively......
http://www.tvguide.com/News/SVU-Chicago-PD-Crossover-1072875.aspx

How in the World could they not let Munch have a bit in this episode ... further cementing his "most shows as character" record!
post #90467 of 93675
Quote:
Originally Posted by MeatChicken View Post

How in the World could they not let Munch have a bit in this episode ... further cementing his "most shows as character" record!

Bad timing, I guess. Munch/Belzer might return for guest appearances (hasn't been ruled out) so it could still happen, but it "Chicago P.D." bombs then yep, it's a missed opportunity that the bean counters at NBC/Wolf Films maybe felt just wasn't worth the effort. Pleasing TV nerds isn't their priority right now.
post #90468 of 93675
Quote:
Originally Posted by archiguy View Post

Who invented the Internet again?

Al Gore? biggrin.gif

With the rate of Internet adoption for so many essential societal functions, access should become regulated as a public utility, along with electricity and water, as it's fast becoming a necessity, rather than a luxury. It's too bad that won't be happening.
post #90469 of 93675
Q&A
‘It Takes a Choir’s’ Gareth Malone: ‘American Idol-Type’ Shows Create ‘Negative Associations With Singing’
By Jethro Nededog, TheWrap.com - Nov. 1, 2013

Through his many hit series in the U.K. and his new USA Network show, “It Takes a Choir,” Gareth Malone hopes to counteract some of the negative views on singing created by TV talent competitions. It premieres Saturday night at 11 p.m. ET.

“Just getting that message into the mainstream is sometimes quite hard,” Malone told TheWrap, “especially if there a lot of quite negative associations with singing, like the auditions, ‘American Idol’ and all those sorts of things, the expectation is – unless you are a brilliant pop star singer than you aren’t good enough. This is a different kind of show.”

Like on his U.K. show, “The Choir,” Malone pinpoints a group he feels could gain something from the community and challenges of building a choir. Unlike his other show, he doesn’t have eight or so months to get them together.

What’s it like to have only eight days to work with the choirs?
It doesn’t have that slow build that the British version has — haircuts don’t change, people don’t have babies during the course, which happens on the U.K. series.

But it’s still intense because people are doing songs they never sung, they haven’t gotten the preparation time to get used to the idea. They suddenly find themselves on stage in front of a whole community singing a song they learned five or six days ago. It really brings out extraordinary things in people.

What was the biggest cultural difference between Americans and the British for you?
I definitely think the attitude thing. They’re similar and different. Getting men to sing is as problematic over here as it is in the U.K. — certain types of singing are not seen as manly. But people in the U.S. are kind of up for it and more excited about it in a way that is a little bit more reserved in the U.K., which is so cliché but definitely find true in singing. People over here are just a little bit more prepared to show their emotional side to their singing.

What would you consider your most difficult episode or group?
I would say the senior citizens in West Covina, just east of L.A., because they were dreadful when we started. I mean they just couldn’t have cared less, they were hard of hearing, very tired, and so I could only rehearse with them for 45 minutes. People kept getting up, leaving, some of them were actually quite cantankerous and difficult to rehearse with. They are at that time of life where, you know, they don’t need this, this young man coming in and telling them what to do — and they let me know what they thought.

I think that the school kids were hard in Pittsburgh. You know, it was an inner-city school, kids that had any number of problems and then I come along all cheery, saying come and join the choir. Some of the rehearsals were very, very difficult, trying to get these reluctant kids to engage and to concentrate long enough to actually learn the music. It could have gone really badly.

Watch Malone create sweet music with the stars of USA below: [CLICK LINK]

http://www.tvguide.com/News/SVU-Chicago-PD-Crossover-1072875.aspx
post #90470 of 93675
TV Notes
Lifetime Cancels 'The Client List’
By Lesley Goldberg and Philiana Ng, The Hollywood Reporter - Nov. 1, 2013

Lifetime has canceled The Client List.

The Jennifer Love Hewitt-toplined drama had finished its sophomore season in June, The Hollywood Reporter confirms. The Client List, produced by Sony Pictures TV, followed Riley Parks (Hewitt) as she balanced being a single mother and working as a massage therapist.

The decision to not move forward with the drama comes after lengthy negotiations with star and executive producer Hewitt.

The actress had been in talks with producers about the creative direction of the storyline. Hewitt is engaged to co-star Brian Hallisay and wanted their real-life relationship and pregnancy written into the show. Hallisay started as a recurring character and was ultimately promoted to regular in season two.

Sources say the actress' vision did not gel with what producers had in mind. Lifetime declined comment.

The Client List's cancellation comes as the female-skewing cable network recently axed its longest-running original scripted drama Army Wives after seven seasons. The network recently renewed Drop Dead Diva for a sixth season after temporarily canceling the drama after its fourth season. Additionally, Devious Maids will return for a second season and likely will renew freshman drama Witches of East End.

On the development side, Lifetime is prepping Nicholas Sparks' two-hour backdoor pilot Deliverance Creek and dramas HR, The Lottery and Unreal. Meanwhile, the Hewitt is developing a modern-day Pride & Prejudice at Lifetime under her overall development deal with the network, which she inked in 2011.

Though The Client List movie was a ratings boon for Lifetime, pulling in 3.9 million viewers in 2010, the series never matched the telepic. The first season enjoyed more robust numbers, debuting to 2.8 million viewers, but the sophomore run dipped and ultimately wrapped with 2.1 million viewers and a more troubling 0.7 rating with adults 18-49.
Michael O'Connell contributed to this report.

http://www.hollywoodreporter.com/live-feed/lifetime-cancels-client-list-652577
post #90471 of 93675
TV Notes
Rollins returns to TV with history-themed '10 Things'
By Whitney Matheson, USA Today's 'Pop Candy' Blog - Nov. 1, 2013

Our old pal Henry Rollins has conquered nearly every genre, with successful albums, books, films and TV shows to his credit. On Saturday, he returns to the small screen with a series for History's H2 channel called 10 Things You Don't Know About.

In each episode, Rollins attempts to uncover little-known facts surrounding some of history's greatest events and artifacts. (The premiere deals with presidential assassinations.)

"To me, the only way to make history talk, for it to really grab you, is to get as close to it as possible", Rollins shares in a statement released by H2. "You need incredible access and a great deal of persistence to get where you want to go. We did it."

I admire Hank's confidence, along with the shaggier hairstyle he sports in the trailer.

10 Things You Don't Know About kicks off its second season — its first with Rollins as host — Saturday at 9 p.m. ET.

http://www.usatoday.com/story/popcandy/2013/11/01/rollins-h2-tv-series/3346759/
post #90472 of 93675
The Nov 17 SNF packers/giants game was just flexed out to 4:25.
The shocking part is flexed in is chiefs/broncos a game which was protected by cbs making this the 1st time ever a protected game was flexed in.

Per CBS: "We had originally protected the Kansas City-Denver game for Week 11. After discussions with the NFL we made a one-time accommodation so that the game can be seen by a national audience which we could not provide during our regionalized singleheader weekend."

CBS must be getting some real nice concession down the line.
post #90473 of 93675
Quote:
Originally Posted by keenan View Post

It already is, I don't know about total revenues but providing Internet service is already far more profitable percentage-wise than standard TV service with some providers banking 85-95% of every dollar they charge for Internet.

And they threaten to limit us, I guess they want 99 cents out of every dollar they charge. Geez.
post #90474 of 93675
Quote:
Originally Posted by rebkell View Post

Quote:
Originally Posted by keenan View Post

It already is, I don't know about total revenues but providing Internet service is already far more profitable percentage-wise than standard TV service with some providers banking 85-95% of every dollar they charge for Internet.

And they threaten to limit us, I guess they want 99 cents out of every dollar they charge. Geez.

I would ask for a source for that "85%-95%" figure. Hardly seems that 5%-15% would cover infrastructure.
post #90475 of 93675
Quote:
Originally Posted by dcowboy7 View Post

The Nov 17 SNF packers/giants game was just flexed out to 4:25.
The shocking part is flexed in is chiefs/broncos a game which was protected by cbs making this the 1st time ever a protected game was flexed in.

Per CBS: "We had originally protected the Kansas City-Denver game for Week 11. After discussions with the NFL we made a one-time accommodation so that the game can be seen by a national audience which we could not provide during our regionalized singleheader weekend."

CBS must be getting some real nice concession down the line.

If it was ESPN they wouldn't have gave up the rights to it for anything.
post #90476 of 93675
TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)

ABC:
8PM - College Football: Miami at Florida State (LIVE)

CBS:
8PM - Mike & Molly
(R - Apr. 15)
8:30PM - Mike & Molly
(R - Jan. 21)
9PM - Criminal Minds
(R - Feb. 6)
10PM - 48 Hours

NBC:
8PM - 2013 Breeder's Cup (LIVE)
9PM - The Blacklist
(R - Oct. 14)
10PM - Saturday Night Live (Edward Norton hosts; Janelle Monáe performs)
(R - Oct. 26)
* * * *
11:29PM - Saturday Night Live (Kerry Washington hosts; Eminem performs)

FOX:
7PM - College Football: Oklahoma State at Texas Tech (LIVE)
* * * *
11PM - Animation Domination High-Def (60 min.)

PBS:
(check your local listing for starting time/programming)
8PM - Austin City Limits (Emmylou Harris & Rodney Crowell)

UNIVISION:
8PM - Sábado Gigante (3 hrs.)

TELEMUNDO:
7PM - Movie: Kung Fu Panda (2008)
9PM - Movie: Season of the Witch (2011)
post #90477 of 93675
TV Notes
ABC Gives Full Season Orders To ‘Trophy Wife’ & ‘Goldbergs’
Partial Order To ‘Super Fun Night’, Cancels ‘Back In The Game’
By Nellie Andreeva, Deadline.com - Nov. 1, 2013

ABC this afternoon has made its comedy pickup calls, giving Back 9, full-season orders to The Goldbergs and Trophy Wife and a Back 4 order (four additional episodes) to Super Fun Night. The network is not picking up more episodes of its fourth freshman comedy, Back In The Game, which won’t be pulled and will air the remainder of its original 13-episode order.

ABC put the biggest promotional muscle on the comedy side behind The Goldbergs, from Sony TV, which was a favorite of the network brass and considered most likely to continue. The pickup was sealed after the 1980s comedy became the only ABC freshman half-hour to build on its lead-in this Tuesday, going up 42% from a Marvel’s Agents Of S.H.I.E.L.D. repeat and holding its rating from the previous week despite its lead-in shrinking dramatically.

Three of ABC’s freshman comedies pulled a 1.7 18-49 rating this week: the picked-up The Goldbergs and Super Fun Night and the cancelled Back In The Game. While the lowest rated among the four first-year ABC comedies, Trophy Wife – which drew a 1.4 this week — is the only one without an established lead-in, the only one owned by ABC, and it has a lot of support at the network. The Malin Akerman starrer also has been airing with virtually no marketing support. Back In The Game, from 20th TV, has shown solid lead-in retention and viewership numbers and has James Caan, while Super Fun Night, from Warner Bros. TV boasts Rebel Wilson. The decision to go with Super Fun Night likely was tied to Wilson’s fan appeal as the show just posted a new low with its lead-in, Modern Family, airing a repeat this week.

http://www.deadline.com/2013/11/trophy-wife-goldbergs-pickup-back-in-the-game-cancelled/
post #90478 of 93675
Technology/Business Notes
Panasonic To Exit The Plasma HDTV Business
By Geoffrey Morrison, Forbes.com - Oct. 31, 2013

Today Panasonic announced that it will no longer sell plasma HDTVs, starting in March, 2014. Rumors have been circulating for over a month, but in an announcement on their website they explained “in order to create a business structure that can respond to changes in the business environment and to accelerate the growth strategy of the company, the company will end production of plasma display panels (PDP) in December 2013…”

Currently, Panasonic makes and sells both kinds of the common flat panel TV technologies: LCD and Plasma. Only Samsung and LG do the same, all other TV companies sell only LCD.

Plasma televisions are beloved for their better contrast ratios and overall better picture quality, though have faced tough competition against stronger marketing and the brighter in-store performance of LCDs.

More Details

Panasonic has said that the Amagasaki P3 and P5 Factory have already suspended production. The P4 Factory will continue to operate until March, 2014.

“In the display panel business,” their press release explains, “Panasonic has been promoting the development of non-TV applications and carried out various restructuring measures, such as reduction of fixed costs, for both PDP and LCD panels. Through further fundamental business restructuring, the company is aiming to optimize the business and focus its management resources.”

They also give some insight as to why, “with the rapid development of large-screen LCDs, and facing the severe price competition in the global market brought on by the Lehman Shock in September 2008, the company consolidated production in the Amagasaki P4 Factory, made a shift towards commercial applications and worked to improve the earnings of the business.”

“Until now, due to the superiority of the picture, Panasonic’s PDPs have received high appraisal and there has been firm demand from customers worldwide. However, due to rapid, drastic changes in the business environment and a declining demand for PDP in the flat panel display market, it was judged that continuing the business would be difficult and a decision was made to stop production.”

You can read the full press release here (PDF).

What does this mean?

Samsung and LG are still making and selling plasma televisions. HDGuru.com got quotes from both companies saying that they will be offering new plasma models next year. These models will be announced at the International Consumer Electronics show in January (CES 2014).

From a business standpoint, Panasonic has been losing money for years (as has most of the TV business), and despite often glowing reviews of their TVs, they haven’t sold in the numbers to justify the business.

The other issue is Ultra HD “4K.” This year has seen the rise of Ultra HD TVs that offer 4 times the resolution of a “normal” 1080p TV. Though the usefulness of this resolution is dubious in smaller screen sizes, the pertinent fact is that it is difficult to make an Ultra HD plasma in the sizes people buy (50-65 inches). The only Ultra HD TV Panasonic has announced is in fact an LCD (that also has HDMI 2.0).

But What About OLED?

OLED, or Organic Light Emitting Diode televisions, are a next-gen TV technology that promises better picture quality than anything seen before. I reviewed Samsung’s KN55S9C and said it was “as close to a perfect television as I’ve seen.” At CES 2013, Panasonic and Sony SNE -2.9% showed 56-inch Ultra HD OLED prototypes. The two companies are working together, but as yet have not announced products.

Panasonic’s press release left the door open for OLED and/or other technologies: “However, by selecting display panels that are most suitable for each product for both consumer and commercial use, Panasonic will work to develop and provide appealing products which meet the demands of customers, and will aim towards new development of its visual and display businesses.”

Conclusion

While closing a money-losing division is a good idea for any company’s bottom line, TV fans looking for the best picture quality are losing one of the best values in the TV market. Big, relatively inexpensive, plasmas were a hidden gem in the market. It’s going to be many years before we see that level of picture quality for that little money (OLED TVs are very expensive to make right now).

Hopefully Samsung will continue to make their plasmas until OLED comes down in price. We shall see.

http://www.forbes.com/sites/geoffreymorrison/2013/10/31/panasonic-to-exit-the-plasma-hdtv-business/
post #90479 of 93675
Quote:
Originally Posted by domino92024 View Post

I would ask for a source for that "85%-95%" figure. Hardly seems that 5%-15% would cover infrastructure.
I'll look for it(some of it was at DSL Reports, Ars Technica, Multichannel News, sites of that nature), but it came from the financial reports of the biggest providers. The gist of it being that the bulk of the infrastructure is already built out, at this point it's basically just the cost of maintaining it. AT&T/Verizon are not actively deploying any more fiber, Comcast and the like are nor making any more large scale infrastructure deployments - Comcast basically finished all their hardwire a year or so ago, if you're not in a 860/1000Mhz system now you won't be anytime soon, I think I just read that Comcast lost more video subs again this last quarter yet Internet sub counts went up - same pipe, with a much cheaper to deliver higher profit margin product.
post #90480 of 93675
Deleted.
Edited by dad1153 - 11/8/13 at 11:02am
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