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post #30001 of 32555 Old 05-26-2019, 05:36 AM - Thread Starter
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Nielsen/TV Notes (Analysis)
TV Long View: Streaming Future Suffers from Lack of Transparency
By Rick Porter, The Hollywood Reporter - May 24, 2019

Several of the big media companies that own broadcast networks spent ample time at last week's upfronts touting their digital and streaming strategies. And with good reason: As viewing habits change, the primetime schedule is just one of a multitude of data points by which to measure the success of a show and how well it delivers eyeballs to the advertisers who are ponying up billions of dollars to showcase their products.

How many points? A lot. NBC's head of research, Jeff Bader, told reporters that for a show like The Good Place, his team gathers viewing data not just from Nielsen ratings, but also from a dizzying 14 different digital platforms: NBC.com, Hulu, the NBC app for both iOS and Android, Kindle Fire, AppleTV, AndroidTV, Chromecast, Roku, Vizio, Xbox One, Xbox 360, Samsung and Amazon FireTV.

Those are all the places where a viewer can access a given episode of The Good Place within a day or two of its on-air debut — and doesn't include things like Netflix, which streams full seasons a few months after their network runs.

Those digital options allowed the Mike Schur-created comedy to more than double its adults 18-49 rating from the seven-day Nielsen numbers: The Good Place grew from a 1.6 rating in the key ad-sales demographic after seven days to 3.65 with four additional weeks of delayed viewing and streaming, according to NBC.

That's an impressive build, but the key words in that sentence may be "according to NBC." Like its fellow broadcast networks, and HBO and Showtime and Netflix and Hulu and Amazon, NBC doesn't regularly release audience figures for streaming or other digital viewing. There will be the occasional bit of information: the Good Place data above comes from NBC's press release announcing the show's renewal. Fox noted in its season-end roundup that 911 and The Masked Singer both averaged more than 15 million multiplatform viewers, and of course HBO has touted its series-record numbers for Game of Thrones' final episodes, including streaming.

But unlike Nielsen ratings, which are out there for anyone to see every day, networks' and streamers' release of digital data tends to happen when they want to bolster a point. (See also the handful of worldwide sampling figures Netflix has included in its last two quarterly earnings reports.)

As the linear ratings for a show become less and less of its total, what does that mean for advertisers, for viewers and for the people who make shows? Networks can (and do) share more detailed data with advertisers about how their spots are connecting, but again, those data sets are, to borrow a horror cliché, coming from inside the house.

Nielsen is hardly a perfect system, but one advantage it does have is that it doesn't have any vested interest in whether the programs it measures are successful.

For audiences, the lack of transparency in digital viewing could lead to more situations like the cancellation of One Day at a Time with Netflix. A lack of public information about how many people had watched the show helped fuel confusion and outrage about why the streamer dropped the show — especially after Netflix lamented on social media about how sad the decision was.

With Disney+ launching in November and services from WarnerMedia and Comcast on the horizon, there will be even more places for people to watch TV, and likely proportionally less information about just how many people are actually watching. Viewers will still vote with their remotes, but the totals will largely be obscured from view.

https://www.hollywoodreporter.com/li...arency-1213623

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post #30002 of 32555 Old 05-26-2019, 05:41 AM - Thread Starter
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TV Review (Streaming)
Rim of the World: Stranger Things Rip-Off Is Dumb, but Watchable
By Jordan Hoffman, TVGuide.com - May 24, 2019

One of my favorite Internet memes is that shot of Steve Buscemi on 30 Rock in the backwards ball cap, "Music Band" t-shirt, and dopey smirk asking high schoolers "how do you do, fellow kids?" If you'd like to see this GIF as an entire feature film, I recommend the Netflix original Rim of the World.

Hoping to tap into Stranger Things-mania and the undying love of The Goonies, this extremely unoriginal tale throws four kids together on a fast-paced quest to save the world from invading space aliens.

The dialogue is a parade of cringeworthy overreaches. I mean, every 13 year-old kid makes jokes about Werner Herzog, references Gal Gadot's mastery of Krav Maga, but also confuses Star Wars and Star Trek, right? The clockwork storyline is brazen in its adherence to formula, as if a Learning Annex seminar somehow came to life and sat down and got ahold of screenwriting software. And yet! And yet! I can not deny that despite these very real and glaring issues (let's add cheapo special effects to the mix, too) this movie does kinda work in a very "I can't believe I haven't turned this off yet" type of way.

Lastly there's Gabriel (Alessio Scalzotto), who doesn't actually attend the camp, but happens to be at the lake retreat when the interplanetary invasion happens. His big secret is that he's dyslexic and, naturally, the fate of all mankind hangs in the balance when he has to type in a complex set of numbers into a NASA computer.

Okay, so, aliens invade, all communication is lost, the adults ditched our crew and then a capsule lands from the ISS. An astronaut hands Alex a key and says, "Get this to Dr. So-And-So at the JPL labs and we can win the day!" then croaks. Poorly rendered aliens arrive and everyone runs around screaming for a while (while also cracking jokes).

Just when the gang overcomes one obstacle, there's another. It zooms along and Bear McCreary's original symphonic score has that big John Williams vibe that evokes Amblin hits from the 1980s. It's watchable, totally watchable, but the epitome of a "no, you don't have to pause it" movie when you hit the kitchen for a snack.

Will 13-year-olds actually like it? I think they'll see through much of the phony baloney dialogue, but some of the interpersonal scenes come together nicely. Credit where it's due, a gag about "cockblocking," surprising in its good-natured vulgarity, really lands nicely.

Clichéd stories work better on younger viewers if for no other reason than they haven't been around long enough to have seen this movie a hundred times before. So maybe the "fellow kids" will do well with this after all.

Rim of the World premiered Friday, May 24 on Netflix.

https://www.tvguide.com/news/rim-of-...lien-invasion/

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post #30003 of 32555 Old 05-26-2019, 05:45 AM - Thread Starter
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Technology/Health Notes (Gaming)
"Gaming Disorder" Now A Recognized Illness According To World Health Organization
By Zack Zwiezen, Kotaku.com - May 25, 2019

The World Health Organization has decided to add gaming disorder to its list of recognized illnesses. The 194 members of the group made the decision today at the 72nd World Health Assembly.

WHO agreed to adopt the eleventh revision of the International Statistical Classification of Diseases and Related Health Problems, which is also known as ICD-11. This new revision of the ICD includes gaming disorder as an illness. According to WHO’s ICD-11 this is the definition and characterization of gaming disorder:

1.- “A pattern of persistent or recurrent gaming behavior (‘digital gaming’ or ‘video-gaming’), which may be online (i.e., over the internet) or offline, manifested by: Impaired control over gaming (e.g., onset, frequency, intensity, duration, termination, context);

2.- Increasing priority given to gaming to the extent that gaming takes precedence over other life interests and daily activities; and

3.- Continuation or escalation of gaming despite the occurrence of negative consequences. The behavior pattern is of sufficient severity to result in significant impairment in personal, family, social, educational, occupational or other important areas of functioning.”


According to Gameindustry.biz, WHO explained the decision to include gaming disorder was made by experts from different disciplines and regions and was based on reviews of available evidence.

In June of 2018, WHO finalized the ICD-11 and various video game industry organizations, such as the ESA, pushed back on the decision. Gameindustry.biz reported last year that the ESA felt the decision in June “recklessly trivializes real mental health issues like depression and social anxiety disorder.”

Today, WHO has announced the ICD-11 will go into effect on January 1, 2022.

Gaming addiction has long been a problem for some and has been a highly debated and often discussed topic among health officials, gamers, researchers and politicians. Dr. Douglas Gentile, a psychologist, and the Iowa State University’s Media Research Lab head told Kotaku in an interview in 2017 that, after surveying thousands of subjects, “We found that gaming precedes the depression if they’re damming enough areas of their life where it counts as a disorder.”

This classification and recognization of gaming disorder by The World Health Organization is a big step forward in the debate surrounding gaming addiction. Recently, members of the US Congress began creating legislation to ban addictive loot boxes.

https://kotaku.com/gaming-disorder-n...-to-1835026321
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post #30004 of 32555 Old 05-26-2019, 05:54 AM - Thread Starter
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Nielsen Overnights (Broadcast)
Friday Ratings: CBS Scores With ‘Whistleblower,’ ABC With ‘Marvel Agents Of S.H.I.E.L.D’
By Bruce Haring, Deadline.com - May 24, 2019

Most of the networks had something to cheer about on Friday, as the 18-49 demo race saw a dead heat between CBS, NBC, ABC and Fox heading into the holiday weekend. It was a night mostly for reruns, but a few gems glittered in the pile.

The season premiere of Whistleblower gave CBS something to toot about, scoring at 0.5/3 and 4.01 million audience. Meanwhile, ABC’s Marvel’s Agents of S.H.I.E.L.D. was up a tick to 0.5, helping boost the two-hour 20/20 that followed and scored an 0.5, up from last week.

At NBC, Blindspot returned from a long break with an 0.4 to match its previous new episode, while Dateline continued its recent strong run, up a tenth to 0.6.

The CW saw its season finale of Dynasty at an 0.1, holding its rating from a week ago.

https://deadline.com/2019/05/friday-...-d-1202622414/
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post #30005 of 32555 Old 05-26-2019, 05:58 AM - Thread Starter
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TV Review (Cable)
‘Hot Zone’ plays like horror show
By Rob Owen, Pittsburgh Post-Gazette's 'Tuned In' Column - May 23, 2019

National Geographic Channel’s “The Hot Zone” (9 p.m. May 27-29) is both horror show and thriller. Instead of a boogeyman with a knife or gun, the killer is the Ebola virus and its calling card for potential calamity is something as innocuous as a cough.

“The Hot Zone,” based on the nonfiction book by Richard Preston, manages to be both smart (mini lectures on infectious disease transmission via expository dialogue) and silly (a scientist spirits away dead, defrosting monkey corpses in a sedan’s trunk). And yet every time someone sneezes or dares to put in a contact lens, the tension is palpable.

It’s a weird dichotomy. If one can imagine a program as fodder for “MST3K,” that’s probably not a compliment, and yet this six-hour miniseries lends itself to “Don’t do that!” mockery even as it takes viewers on a fast, entertaining ride inspired by true events.

Do not watch while eating — vomit and blood are commonly shown — and prepare for some wooden dialogue that sounds like it was written in the late ‘80s when the story is largely set.

“Level Four air lock: This is where the real world meets ‘the hot zone,’” intones Dr. Nancy Jaax (Julianna Margulies, “The Good Wife”), the heroic U.S. Army lieutenant colonel who is beset upon by idiot men (who second guess her; comment on her appearance) even as she makes multiple stupid choices that flaunt protocol.

(Jaax is based on a real person and one has to wonder if to gain the real Jaax’s cooperation producers agreed to post an on-screen “thank you” at the end of the first episode that rattles off her real-life accomplishments to atone for what the fictional Jaax is shown doing on screen.)

“The Hot Zone” is stocked with a wealth of talented character actors, including Noah Emmerich (“The Americans”) as Jaax’s husband; Liam Cunningham (“Game of Thrones”) as Jaax’s mentor; Topher Grace (“That ‘70s Show”) as a know-it-all virologist; Robert Sean Leonard (“House”) as a mid-level commercial lab manager and Nick Searcy (“Justified”) as the janitor who brings Jaax her dead, frozen monkeys for research and is then hurt when she freaks out to receive whole bodies when she only wanted tissue samples (“They’re fresh, ma’am!” he implores. “They just died today!”).

Yes, “The Hot Zone” will probably provoke equal amounts of hilarity and horror with its mix of surreal situations and moments of “Oh no, he didn’t!” terror.
“I hate to use a sick day for a little fever,” says a worker at the Ebola-infected monkey facility before management lets on that there may be a problem with the monkeys.

Showrunners Kelly Souders and Brian Peterson, veterans of “Under the Dome” and “Smallville,” sprinkle in enough science to balance the crazier elements of “The Hot Zone,” Peak TV’s version of a summer disaster flick.

https://www.post-gazette.com/ae/tv-r...s/201905210105
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post #30006 of 32555 Old 05-27-2019, 02:52 AM - Thread Starter
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TV/Production Notes (Cable)
FX Is Remaking Peep Show With Women
By Anne Victoria Clark, Vulture.com (New York Magazine) - May 26, 2019

If you’re unfamiliar with the long-running British comedy Peep Show, I’m sorry to say that you are living very wrongly. The show ran for an astounding nine seasons and launched the career of Oscar-winner Olivia Colman.

Starz, Fox, and Spike have all attempted to re-create the magical inner-monologues of Mark and Jez for American audiences to no avail. But now, according to an essay in The Guardian by Sam Bain (one of the show’s original creators) we may finally be getting an American version.

It won’t just be a straight remake, though. Bain’s essay was on the importance of diversity in comedy, and he’s announced that the American version will feature female losers in the lead roles instead of male ones “What would Peep Show have been like with women as the two leads?” he wrote. “It’s a great question – and it’s one I’ll shortly have the answer to, because there is a script in development for a US Peep Show with two female leads. It’s at FX Networks and it will be written by top comedy brain Karey Dornetto (Portlandia, Community).”

This is so exciting, we might have to order four naan to celebrate.

https://www.vulture.com/2019/05/fx-i...this-time.html
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post #30007 of 32555 Old 05-27-2019, 03:00 AM - Thread Starter
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TV Notes (Broadcast)
Scott Pelley Claims He Lost 'CBS Evening News' Anchor Job Over "Hostile Work Environment" Complaints
By Hilary Lewis, The Hollywood Reporter - May 26, 2019

Former CBS Evening News anchor Scott Pelley claimed on CNN's Reliable Sources on Sunday that he lost his job as anchor of the network news program because he "wouldn't stop complaining to management" about the news division's "hostile work environment."

Pelley made the comment after Reliable Sources host Brian Stelter asked the 60 Minutes correspondent what it's been like to work for the news division which has seen a number of departures and staff changes over the past 18 months.

In reflecting on the shakeups, Pelley said, "I lost my job at the Evening News because I wouldn't stop complaining to management about the hostile work environment."

When Stelter followed up, Pelley explained that four or five years ago, he went to the "president of the news division," who at that time was David Rhodes, and told him, "that this hostile work environment couldn't go on, for women and men."

"And he told me if I kept agitating about that internally then I'd lose my job," Pelley continued, adding that he then went to Rhodes' "boss, who told me that he didn't share my concerns."

After that, Pelley said, he went to former CBS CEO Les Moonves, who exited the network in September after multiple women came forward with allegations of sexual misconduct.

"Having exhausted the possibilities in the news division, I went to the chairman of the CBS corporation who listened to me very concerned for an hour, asked me some penetrating questions about what was going on," Pelley explained. "I didn't hear back from him but in the next opportunity in my contact, I was let go from the Evening News."

Pelley said that while the "last several years" have been a "dark period" of "incompetent management and sort of a hostile work environment in the news division" he's optimistic about the future of CBS News, now being led by Susan Zirinsky, under acting CEO Joe Ianniello.

"It's all blue sky from here," Pelley, who spoke glowingly of his new bosses, including new 60 Minutes executive producer Bill Owens, said. "I know these people and I know we're on the right track."

On Sunday evening, in a statement to The Hollywood Reporter, a CBS News spokesperson responded to Pelley's appearance on Reliable Sources: "Scott was expressing his own opinion. We disagree. CBS News has been working hard to advocate for an inclusive, safe and dignified workplace for everyone at CBS News and Scott has been a supporter of these efforts."

Pelley signed off from the CBS Evening News in June of 2017 after being pushed out the month before following months of rumors. His departure from the role came months before a wave of sexual misconduct allegations rocked Hollywood and the media industry.

At the time of his departure, Pelley's exit was seen as tied to the broadcast remaining in third place in the ratings, as it had for decades, and as a way to fill up 60 Minutes' thin correspondent corps ahead of the venerable news magazine's 50th season, following the untimely death of Bob Simon in early 2015 in a car accident.

Doing as many as 20 pieces a season for 60 Minutes while hosting the nightly newscast left Pelley stretched rather thin, The Hollywood Reporter noted at the time.

Still the departure was not a smooth exit, as the news broke when The New York Post's "Page Six" reported that Pelley's office was being cleaned out while he was away on assignment, something that CBS News sources later stressed was at his request.

Pelley segued into a full-time position at 60 Minutes and was ultimately replaced at the Evening News by Jeff Glor and then Norah O'Donnell.

It's unclear whether Pelley's "hostile work environment" comments pertain to allegations of sexual misconduct but numerous claims of inappropriate behavior at CBS News have emerged over the past 18 months, beginning with accusations against former CBS This Morning host Charlie Rose, which came to light in November of 2017 and quickly led to Rose being fired from the CBS morning show.

CBS News found itself under additional scrutiny as a Washington Post investigation published in May of 2018 revealed there were more alleged incidents of sexual misconduct by Rose than previously reported and managers were warned about his conduct toward women at the network on three occasions over a period of 30 years, as early as 1986 and as recently as April 2017, according to people with firsthand knowledge of the conversations.

And, as more allegations of inappropriate conduct at CBS News emerged, 60 Minutes executive producer Jeff Fager exited the network in September of 2018 after sending a "harsh" text to network reporter Jericka Duncan as she investigated allegations against him.

There were also numerous investigations into conduct at CBS and in its news division.

https://www.hollywoodreporter.com/ne...claims-1213757
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post #30008 of 32555 Old 05-27-2019, 03:05 AM - Thread Starter
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Obituary
Bart Starr, Green Bay Packers Legend and First Super Bowl MVP, Dies at 85
By Jeremy Fuster, TheWrap.com - May 26, 2019

Bart Starr, legendary quarterback for the Green Bay Packers and the MVP of the first Super Bowl, died Saturday at the age of 85, according to an announcement from the team.

“We are saddened to note the passing of our husband, father, grandfather, and friend, Bart Starr,” his family said in a statement. “He battled with courage and determination to transcend the serious stroke he suffered in September 2014, but his most recent illness was too much to overcome.”

“While he may always be best known for his success as the Packers quarterback for 16 years, his true legacy will always be the respectful manner in which he treated every person he met, his humble demeanor, and his generous spirit.”

Starr is considered to be one of the greatest quarterbacks in football history, leading the Packers to five NFL championships during his pro career from 1956-71. This was prior to the merger between the NFL and the American Football League in 1970, which gave birth to professional football as it is known today.

Starr’s career hit its peak in 1966, when he led the Packers alongside head coach Vince Lombardi to a 35-10 victory over the Kansas City Chiefs in Super Bowl I. The game, held at the Los Angeles Memorial Coliseum, was the first tournament held between the AFL and NFL champions, with the Packers pulling away from Kansas City in the second half, as Starr threw for 250 yards and two touchdowns en route to becoming the first Super Bowl MVP.

On New Year’s Eve 1967, Starr made history again in the famous extreme weather football games ever played. The NFL championship game between Green Bay and the Dallas Cowboys at Lambeau Field took place under a temperature of -15 degrees Fahrenheit, with a wind chill of -36 degrees. With less than five minutes left and temperatures dropping even further to -50 degrees, Starr led the Packers offense down the field, scoring the game winning touchdown himself.

The 21-17 victory would become known as the “Ice Bowl,” and would become the subject of multiple sports documentaries in the coming decades. The following month, the Packers would handily defeat the Oakland Raiders 33-14 in Lombardi’s final game as head coach, with Starr being named MVP again.

Starr’s number (15) was retired by the Packers in 1973, and he was inducted into the Pro Football Hall of Fame four years later. In 1989, the NFL unveiled the Bart Starr Award, given to the player in the league who “best exemplifies outstanding character and leadership in the home, on the field, and in the community.”

Starr died at his home in Birmingham, Alabama due to complications from a stroke he suffered in 2014 that greatly impaired his ability to travel. He made his last appearance at Lambeau Field in December 2015 for the number retirement ceremony of fellow Green Bay QB Brett Favre. Starr is survived by his wife, Cherry, his son and three granddaughters.

https://www.thewrap.com/bart-starr-f...rs-dies-at-85/
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post #30009 of 32555 Old 05-27-2019, 03:19 AM - Thread Starter
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Technology Notes
A laptop filled with six of the world’s most dangerous viruses is on sale for more than $1 million
By James Vincent, TheVerge.com - May 26, 2019

Some of the world’s greatest artworks are known for their elaborate backstory or complex history, but not many are actively dangerous to those who own them. ‘The Persistence of Chaos’ might be an exception. Created by internet artist Guo O Dong, this piece of art is an ordinary laptop filled with six of the world’s most dangerous pieces of malware. It’s perfectly safe — as long you don’t connect to your Wi-Fi or plug in a USB.

Speaking to The Verge, artist Guo O Dong says the intention behind the laptop was to make physical the abstract threats posed by the digital world.

“We have this fantasy that things that happen in computers can’t actually affect us, but this is absurd,” says Guo. “Weaponized viruses that affect power grids or public infrastructure can cause direct harm.”

The six viruses in the laptop (a 10.2-inch Samsung NC10-14GB) were chosen for the magnitude of economic damage they’ve caused. They include the ILOVEYOU virus, a computer bug from 2000 that often appeared as a “love letter” attached to emails; and WannaCry, a ransomware attack that shut down computers in hospitals and factories around the world in 2017, and which intelligence agencies blamed on North Korea.

Guo says WannaCry is the perfect example of how digital attacks can have physical consequences. “WannaCry ... caused the [UK’s National Health Service] the equivalent of $100 million in damages and led to the cancellation of tens of thousands of doctors’ appointments,” he says. “It is not a leap to say this caused significant human harm, though it might be hard to pinpoint the effects exactly down to the patient.”

And these are far from historic concerns. Just this month, a ransomware attack ravaged the city of Baltimore, freezing government systems and disrupting “estate sales, water bills, health alerts.” In total, Guo estimates that the six viruses on his Samsung laptop caused economic damage worth $95 billion.

The piece was commissioned by cybersecurity firm DeepInstinct, and is currently being auctioned online. You can watch a live stream of the laptop to make sure it doesn’t make any sudden moves, and keep an eye on the rising price tag, which currently sits above $1.2 million. That may seem like a lot to pay for an old laptop riddled with malware, but Guo says he likes to think of the artwork as “a kind of bestiary — a catalogue of historical threats.”

Next time you have to fix a relation’s computer and it turns up in a similar state, try telling yourself the same thing: “Ah, what a wonderful bestiary of historical threats!”

https://www.theverge.com/2019/5/25/1...aos-guo-o-dong
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post #30010 of 32555 Old 05-27-2019, 03:25 AM - Thread Starter
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TV/Critic's Note
Finale Fever – Expected and Unexpected
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - May 26, 2019

What’s so good about goodbye?
All it does is make you cry.

--“What’s So Good About Goodbye,” Smokey Robinson

If you’re looking for a proposition that can bring a polarized nation together, here’s a candidate: No one likes to see his or her favorite TV show end.

Take, say, Game of Thrones, whose fans have spent this week torching last Sunday’s final episode much the way Daenerys torched that unfortunate village a week earlier.

I offer no defense of the final episode, or season, in which character and story arcs were hurried along as if everyone had a party to get to.

I would, however, suggest taking a tiny step back and appreciating the fact that Game of Thrones actually got the chance to have an ending.

For shows with fewer viewers and thus less leverage in the programming war room, that’s a luxury, a fact that came to mind last week when Fox announced last week it was not renewing Star.

As a series, Star never played in the same league with GoT – or The Big Bang Theory, another TV god that came to the end of a long, adored run with a much better-received sendoff this month.

What turned out to be the final episode of Star, on May 8, drew 3.46 million viewers, some 14 million fewer than Game of Thrones. That gap further grows once you count the people who chose to be infuriated by the countless reairings of Game of Thrones.

Star, which focused on three flawed yet sympathetic young women in the treacherous and soapy world of pop music fame, was created by Lee Daniels, who earlier scored a megahit on Fox with Empire and was rewarded, let’s assume, by getting to create a second, somewhat similar show Fox hoped would catch similar lightning.

Star never did. Still, it was an entertaining show that drew a respectable audience by current prime-time broadcast standards, and several million fans took it as a hard slap when Fox shut it down.

And another thing I would like to clarify
Is how can farewell be fair?


That’s the TV game, of course. Shows end, often in the middle of what seems to be an ongoing storyline.

Star, however, took that frustrating truth to a level rarely seen even in a business as cold-blooded as TV cancellations.

[Alert: Spoiler incoming.] The last three minutes of the final episode were a contemporary reprise of GoT’s Red Wedding episode, only with guns instead of knives. We saw many shots, a lot of ducking, an equal amount of toppling, a good amount of blood, a roomful of screaming and then a cut to the instructions on how viewers can order the music from this week’s episode.

Maybe it was designed to show us what the final scene of The Sopranos might have looked like if the camera had rolled for another three minutes.

Probably not.

Maybe the Star ending was designed as a cliffhanger that would leave fans buzzing all summer about what would happen when things picked up in the fall. Except those fans will now just have to hang onto the cliff forever because no one is coming to rescue the story.

Well, okay, Hulu or Netflix or someone could pick it up. There could be a movie. As of now, however, we have no indication who’s dead, who’s alive or what happened to the baby.

Since you said goodbye to me
All I’ve known is misery


Game of Thrones fans may not like what happened with Tyrion Lannister or Bran Star or most of the other survivors, but at least they had something more or less concrete to complain about it.

The Star ending reminded me of why the Sopranos ending was awful – because it told the viewer, in effect, to grab a piece of paper and write his or her own ending.

Sorry, no. It was your story we watched all these years. Don’t walk out of the room before you tell us how it ends.

In any case, sticking the ending of any good TV show is way harder than it might look, and sometimes the better and more complex the show, the harder it is to remain faithful to the story and also acknowledge the legitimate expectations of the audience.

(The complexity of that challenge comes up repeatedly, by the way, in a new book called Television Finales, edited by Douglas Howard and a guy TVWW readers might have heard of, David Bianculli.)

Some people who write TV shows will tell you they have an ending in their head before they write the first episode. Others find their ending as they go along, and in either case, they count themselves lucky when the show runs the full course, and they get to implement it.

Moreover, with the number of quality TV shows out there these days, every year gives us another round of finales. At various points not too far in the future, we’ll see the end of shows like Homeland, The Blacklist and maybe even The Walking Dead – though TWD, like GoT, has an afterlife through sequels, prequels, spinoffs and anything else that might keep the flame burning.

More immediately, there’s a unique finale at the end of this month: the long-awaited, almost mythical Deadwood movie.

Deadwood was initially sketched out for four seasons. It only ran three, so a wrap-up movie (originally two movies) became the consolation prize. On May 31, HBO delivers it.

Full disclosure: To me, Deadwood may have been the best TV series ever, right in there with Mad Men, The Honeymooners, and The West Wing. Further disclosure: The last scene of the third and final season of the Deadwood series was maybe the best finale ever.

So to me, Deadwood will have two finales. Which is what many Game of Thrones fans probably wish they could have. Star fans would have settled for one.

If leaving causes grieving
And depart can break your heart
Tell me what’s so good about it
I coulda done without it
What’s so good about goodbye?


http://www.tvworthwatching.com/BlogP...x?postId=18268
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TV Review (Cable)
‘The Hot Zone,’ flaws and all, captures a near-catastrophic epidemic
By Lorraine Ali, Los Angeles Times - May 23, 2019

Riding the subway, picking up a pencil or purchasing a pack of gum portend human catastrophe in National Geographic’s “The Hot Zone,” a six-part biohazard thriller that will have you reaching for the hand sanitizer if not a hazmat suit.

The miniseries, which premieres Monday and airs over three consecutive nights, follows a team of 1980s scientists who discover a new mutation of the Ebola virus in a lab just 20 minutes outside of Washington, D.C.

The deadly pathogen has a 90% mortality rate, there’s no known cure and the clock is ticking to identify its carriers, contain the disease and find an antidote.
Based on the bestseller by Richard Preston and influenced by true events, “The Hot Zone” highlights the heroic role scientists played in the race against a fatal epidemic.

At the center of unraveling this lethal riddle is veterinarian and chief pathologist at the U.S. Army Medical Research Institute of Infectious Diseases, Lt. Col. Nancy Jaax (Julianna Margulies), whom like the real-life figure the character is based upon, is key to winning the battle.

Centers for Disease Control researcher Wade Carter (Liam Cunningham) represents institutional knowledge on how to grapple with the Ebola demon. The story moves between their two respective timelines — 1989 Virginia and 1976 Zaire — as it tracks Ebola’s origins and spread from the jungles of Africa to America’s capital. All it takes is one vomiting airline passenger and a sick lab monkey or three.

Each hour-long episode, however, suffers from another sort of plague: ill-timed and clunky dialogue that distracts from the sheer urgency of the situation. When the otherwise persuasive Carter explains to a doubter why he must risk his life to conquer Ebola, he offers this forgettable argument: “We need to observe it. Get inside its head.”

When Carter journeys to an African village where there have been reports of the disease, his nervous junior researcher quips: “No one would be happier than me to just run into some boring old flu. … Well, maybe my mom.” Not the best setup for the forthcoming scenes of dead pregnant women, blood-soaked bedding and pox-ravaged nuns.

There’s also the issue of repetition. Viewers learn over and over that U.S. authorities have never contained anything like this on our own soil. “I want to stick to procedures,” says one by-the-book researcher. “If you find any, let me know,” says another. There is no protocol, we’re reminded by several more panic-stricken responders over each hour-long episode. You mean it’s unprecedented? Like never happened before?!

The pacing of each installment, however, is brisk despite a great deal of necessary scientific and medical background. Accounts of how the virus developed in the jungles of Africa, was first discovered domestically in Virginia, which agencies were involved and the frantic reaction of a public already rocked by the AIDS crisis are interspersed with anecdotes of the how easily the disease is spread. And it’s a graphic journey.

If squeamish, you should know now that “The Hot Zone” is generous when it comes to projectile vomiting: on planes, in office hallways, hospital rooms and huts across Zaire. There are also festering body blisters, oozing blood clots, profuse fever sweats and grisly monkey autopsies.

We’d expect no less from a “Level 4 hot agent.” Virologist Peter Jahrling (Topher Grace) is one of the unfortunate fellows who underestimated Lt. Col. Jaax and her findings, and let’s just say the bespectacled wunderkind isn’t as cocky by Episode 4. If only he’d listened to her.

Convincing Jahrling and all the other dismissive or reticent men from various government agencies isn’t Jaax’s only challenge. She’s torn between her duty to protect humanity and her loyalty to her own family.

Her husband (Noah Emmerich) is furious when he finds out she moved the kids’ baseball gear into the back seat of the car to make room in the trunk for the highly contagious corpses of frozen simians. But there was no time for official transport, she argues.

The gender-specific subdrama is of the era but also speaks to the modern struggles of working women, making it a powerful addition to the already tense narrative.
Plus there’s nothing that spells out impending doom like monkey blood dripping from the trunk of a late-model sedan.

Though flawed, “The Hot Zone” is an effective, real-life horror story whose key points are hard to brush aside. Ex: One sneeze on a subway, and a million hot particles can be dispersed. Perhaps it’s best to stay home today.

https://www.latimes.com/entertainmen...526-story.html
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TV/Business Notes
CBS unlikely to pay Lionsgate’s $5.5 billion price tag for Starz
By Richard Morgan, New York Post - May 24, 2019

Lionsgate’s chances of selling its Starz TV network to CBS for $5.5 billion just shrank — by about $2 billion.

Investors in the film studio behind “The Hunger Games” made it abundantly clear this week that they don’t see CBS writing a $5 billion-plus check to Lionsgate to acquire Starz, the station behind “The Spanish Queen” and other popular miniseries.

Investors did this by sending Lionsgate’s stock down 6.8% on disappointing earnings news — a decline that pushed the company’s market value down to $3.1 billion.

At one point Friday, the stock plunged as much as 10% to $13.50 — a price that would make Starz worth 91% more than the company containing it if it were sold for $5.5 billion, according to FBN analyst Robert Routh.

The stock slide follows reports last week that Lionsgate asked CBS to boost a $5 billion informal offer to buy Starz, which Lionsgate acquired for $4.4 billion in 2016, to $5.5 billion.

Routh said he found the stock drop disconcerting in light of the fact that Lionsgate, even without Starz, “would still own and distribute a sizable film and TV library,” including “The Hunger Games,” “The Twilight Saga” and “Saw,” as well as the third installment of “John Wick,” which has grossed more than $100 million since opening last weekend.

Routh blamed the company’s plummeting value in part to recent bullish comments on Starz’s burgeoning international streaming service, StarzPlay.
Lionsgate Chief Executive Jon Feltheimer spoke so passionately about StarzPlay in an earnings call Thursday “analysts ended the call thinking Lionsgate will never sell [Starz],” Routh said.

In the call, Feltheimer said StarzPlay will be in 51 countries by July 1, “making us one of the three leading pure-play subscription video on-demand services in the world.” He then predicted StarzPlay would attract up to 25 million new international subscribers by 2025.

https://nypost.com/2019/05/24/cbs-un...tag-for-starz/
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TV Notes (Q&A)
Bullock’s Last Stand: Timothy Olyphant on ‘Deadwood: The Movie’ and David Milch
By Alan Sepinwall, Rolling Stone

Timothy Olyphant was never happy with his performance during the original three-season run of Deadwood. “I recall barely having my head above water,” he told me in the fall, “and I recall regretting every single choice made and begging David [Milch] to let me walk him back and change it.” Actors can be their own worst critics, and Olyphant was pretty wonderful in his role as hot-tempered Deadwood marshal Seth Bullock. He is, remarkably, even better in Deadwood: The Movie, which premieres on HBO on May 31st. While the long-awaited reunion is very much an ensemble piece, with significant story arcs for beloved characters from Sol Starr (John Hawkes) to Trixie (Paula Malcomson), Calamity Jane (Robin Weigert) and, of course, Al Swearengen (Ian McShane), among others, it also features the single best work I’ve ever seen Olyphant do on screen, whether in the original series, on Justified, or anywhere else. The film finds Bullock in a very happy and successful phase of his life as business partner to Sol, husband to Martha (Anna Gunn) and father to kids they’ve had since the events of the series. Then the arrival of old friends and enemies threatens that peace and fulfillment in myriad ways. Olyphant is called on to play a wide range of intense emotion in a short period of time, and he does it spectacularly.

It’s a performance he might not have given. Owing to his hard feelings about his original work on the series, Olyphant was reluctant to sign onto the movie at all. That’s one of many topics we discussed over the course of an hourlong conversation on the movie’s set. He didn’t want to do this interview either, postponing our scheduled chats several times. But as we sat on a bench outside Bullock and Starr’s new hotel (which stands where their hardware store was on the original show), Olyphant opened up at length about the experience of doing the original three seasons, his memories of the abrupt cancellation, his affection and admiration for series creator Milch and much more. At the end of it, he admitted to me that while he’d been averse to talking at first, “I’m glad I did.” That could apply just as easily to his work in the movie itself. I’m thankful he changed his mind about both.

In the 12 years since Deadwood was canceled, was there a point at which you assumed this reunion wouldn’t happen?
I never thought it would happen.

Why not?
I wasn’t all that keen on it, to be honest with you. So, I just figured it wouldn’t happen because I wasn’t really interested in it happening. But it’s been really lovely. And contradicting that, I always was hoping to have the opportunity to work with David [Milch] again. [Playing Bullock again] had some appeal but I was more interested in working with David.

Obviously, Deadwood: The Movie can’t exist without you and it can’t exist without Ian McShane.
That’s nice of you to say. I never assumed that to be true.

At what point —
I’m being sincere about it. Put this mustache on anyone, it could work.

At what point did you start to understand that this had a real chance of happening, and that you wanted to do it?
I didn’t know I wanted to do it until about a few weeks ago. But I knew it had a chance a year or so ago. There was a natural script. David and I, we’d met a couple of times. I knew he was enthusiastic about it. So, I knew it was real. It feels like it’s almost been a year or so.

What made you decide to say yes, given your ambivalence?
For practical reasons, it worked. I was available, it shoots here and the money was good. And I’m glad I did it.

The scene you filmed yesterday had Bullock at his angriest and most violent. It had been a while since I’d seen you in that mode. What’s it been like returning to that character, having to play these extreme emotions?
I’ve enjoyed it. I’ve enjoyed the scenes, I’ve enjoyed the job. And there are times where I’ve realized it feels like just yesterday I was doing this, and at the same time, it feels like it’s been a long time. It’s a surreal experience, and so far a really lovely one.

The process on the movie seems less chaotic than it was on the show. I know HBO insisted on a locked script; David is limited in what he can change. How has it felt not having the huge, last-minute alterations that were his hallmark?
To criticize my own personal feelings about where people are in their lives and what they’re going through, I feel a little ripped off. Because one of the great appeals of working with David is the chaos. And in the same respect of feeling like I don’t know why these ****ers blew this show up 12 years ago, there’s a tinge of me feeling ripped off that these ****ers didn’t get this thing going sooner. Because what I do miss, without getting too much in the weeds about why I may have not been as interested in this as perhaps others, I always thought if we’re going to do it, we should go back and give David the opportunity to do what he does best, which is multiple episodes.

He’s one of the greatest episodic writers the genre has ever seen. And to some degree, my concern has always been, for our movie, what’s the ****ing point? My recollection of what made the show great was never the plot. What made the show great was spending time with these characters, and that whatever characters were on screen, the show might as well be about them. And when you do a movie, you just don’t have the real estate. So, nobody wants to see The Untouchables where the lady with the baby carriage at the train station has 20 pages of material, because you’ve got to take out 20 pages that goes to Eliot Ness and there lies the rub. Right? So, the idea of doing a movie of this show, by its very nature, my concern was, “Are we not destroying the show? Are you killing the very thing by handcuffing it?” But all that being said, I’m glad I did it.

Process aside, does the material feel like Deadwood to you?
Every draft I read, every page I read, what’s very much alive is the poetry and the characters. And my experience when I read the first draft, and this was a couple of years ago, is you start flipping pages and I had the same experience on every page: “Wow! This is beautiful writing,” and, “Jesus, what a great character.” And two or three pages later, “Oh, Jesus! What a great character. I forgot about this guy. Oh, Jesus! I forgot about her. What a wonderful character.” That was my experience flipping through the pages, and that was my experience when I first got the pilot, and every episode that David handed in — or, I shouldn’t say he handed in an episode. He never handed us an episode, he handed us pages. But every time he handed us pages, I just thought, “Jesus, what a great scene, what a great character.”

I don’t feel like that’s been diluted. That feels just as alive as ever, and I also will say, not that I’m the best perspective on this, when I read this draft I thought, “There’s been nothing like this since this thing existed, and there’s still nothing like this.” And I only hesitate to say that with any great authority because I really don’t watch television so much. For all I know there is. So, what the **** do I know? But I’ve not seen anything like it. I’ve not seen anything like it prior to this show coming on the air 14 years ago or whatever it’s been, and I haven’t seen it since.

David read his daily letter to the cast and crew this morning. Before he was diagnosed with Alzheimer’s, he used to do that kind of stuff off the cuff. What’s it like standing there as he reads these things?
Every minute with David Milch is a blessing and I cherish it, and that’s how I felt then. And the reason I say that I was always keen on working with David again is because of those moments. Because of that type of thinking, that type of passion, that type of creativity. I miss it. My memory of being on the show, and I say this knowing memory is not a very reliable narrator, I feel like I had a very full experience and really took it in. Even when quite honestly I felt completely overwhelmed and drowning in it, I really was very keen on what I was seeing, watching and learning from David.

What I didn’t know at the time was how much that experience was the gift that would just keep giving. I’ve been lucky enough to go on and do other shows, but I took those experiences of working with David to all those other shows. I’ve seen what was possible. And it was extremely helpful, always being able to stop and say, “What would David do? Just pretend to be David and do that.”

There’s a bunch of things that are lovely about coming back to this in particular, but I imagine it applies to a lot of things if you ever get the opportunity to return to something — just the high school ****ing reunion, for all I care. Because you get to see the people again, and you get to share stories and take people in, and hold it up to the memory of what those experiences were and ask, “Do you remember it the way I do? Is that how it was for you? Was I the way I thought I was?” And that’s a very rare opportunity. When I say that I’ve always been very keen on the idea of working with David again, it’s always been about how I’d love to go back and see what’s changed and at the same time see what remains the same. I was always hoping to have another opportunity to collaborate with him, and I would be lying if I didn’t admit I’m a bit saddened that that opportunity has been somewhat diminished by life’s other plans. It’s hard not to be a little selfish about that. I’m an actor after all. But at the same time, I feel very blessed to be around him again.

I’ve heard many conflicting accounts of the cancellation over the years, including one that pinned it to a panic that ensued after you bought a new house. Care to clarify?
I’ll tell you my version, and I already said this earlier: I fully understand that my memory of how it happened may not be how it happened, even for me. This is a story I’ve told over the years and every time you tell it, it changes. And let me also preface this with, I’ve never been one to let truth get in the way of a good story. So, if you are holding onto facts and you’re going to call me on these facts, go **** yourself.

Sure.
OK. Fair enough. Here is what I remember. First of all, Ian and I in Season Three were renegotiating our deal. We were getting ready to start the season and our deals had not been completed. At the time, the late, great James Gandolfini, God rest his soul, had been in the papers quite a bit for refusing to go back to work. Well, Mr. McShane and I didn’t want to be those guys, so we’re like, “We’ll go back to work in good faith, and we’ll work this out as we go.” As I recall, we must have shot seven, eight episodes at least, before I remember getting the call that we had come to a new understanding. And the two of us got a lovely raise and back pay for all the episodes we had already shot. I say that only because when I did go buy a house, I felt confident that my conservative estimate was, “Only count on one more season, because anything more than that, even though they’ve just given us this big raise, you never know.” See how funny it sounds now? So, yeah, I went and bought a house. I think a lot of cast members bought houses that year. Why would they give us a raise if they were going to turn around [and cancel it]? I wonder if the HBO people have an understanding that they gave Ian and I a big raise when obviously the show was going to blow up. They would never even have had those negotiations. It’s hysterical to think how backward-ass that situation was. So anyway, I bought a house, and yes, I don’t think I had been in the house but a few days when Mr. Milch called me in the morning and said, “Bad news, the show is over.” And I said, “Really?” He said, “Yeah.” And I told him he should come over and see the house before I sell it.

Now, as I understand it from others, no one else had been informed of that. So my then calling my rep to say, “Hey, the show has been canceled,” led to a series of phone calls. It was a bit of a grass fire, if you will, that became difficult for the two sides to then walk back. In fact, the show was not over at all, but that by the time that spread around, no one wanted to back down from it. And so, it just became fact.

Did you wind up selling the house?
No. I’m a glass-half-full type of mother****er, and I said to myself, “Well, thank God I didn’t know they were going to cancel the show. I would never have bought this house.” And let me put this under the list of why these people owe me. What we have to thank for this is the villain in [Live Free or] Die Hard and a ****ing bald head in Bulgaria shooting Hitman. That’s what that phone call led to. “How about the villain of Die Hard?” I said, “Sure.” And they’re like, “Do you want to read the script?” I said, ” I get it. I’m in. I just bought a house. Did you not hear? They just canceled my ****ing show. Yes, I’ll do it.” “What about this video game adaptation?” “Yes to that too. I’m in. I’ve got to make up some TV money.” You know what, though? Those experiences were equally valuable. Oddly enough, those kinds of experiences, perhaps arguably more valuable than these. You know? Find yourself bald in Bulgaria doing some pile of ****, that will get you up a little earlier in the morning and make you work a little harder.

In the original show there’s basically just the one bit at the end of the pilot, when Bullock and Hickock kill the bandits, where you draw your gun and shoot somebody. Then you go off to be Raylan Givens on Justified, you’re doing that basically two or three times an episode.
Oh, come on, now. You’re exaggerating. Two or three times a season.

Being back here doing a gunfight today, does it feel more natural to you than it might have back when you were doing the pilot?
First of all, there’s nothing worse than an actor telling people they didn’t like their performance when other people probably loved it. So, I will only say this: I don’t remember much feeling natural on this show. It was a big opportunity for me at the time, and I recall barely having my head above water, and I recall regretting every single choice made and begging David to let me walk him back and change it. I recall being an actor who’s just trying not to get fired.

But this experience led to others. By the time I got to Justified, I recall being an actor that showed up and said, “I’m just going to assume everyone else here has bad ideas until proven otherwise, and I’m just going to do it the way I would do it and fall on my own sword, thank you very much. And then we’ll go from there.” And it was just a wonderful experience. I wasn’t concerned about being fired. I was concerned about whether or not I wanted to quit. You’re just at a different place along the journey. And that really is the biggest difference. Showing up here, worrying about losing my job; showing up to that one down the road, a similar type of role, worrying about whether I wanted to fire the show or not. By the way, I’m not suggesting that was a possibility or even in my mind. But it’s just, you’re at a different place along the journey, and your mind is on other things.

This has been a very interesting and a strange experience, to be asked to do a role that you were doing at a time that, had you been given a second chance, would you even have done it the same way? It’s a strange experience, and I don’t think one that I would expect, for example, Ian, to have. When Ian came to the show at that point in his journey — there were so many veterans on the set. I was watching so many guys at just the top of their game, not a care in the world. But hopefully you’re smart enough to watch and learn. It’s a funny little game that I seem to be playing in the last couple of weeks here, to come back and do a role that you did 14 years ago and not make all the same mistakes you did 14 years ago. We’ll see.

Everyone on set seems to have hundreds of David Milch stories that they’re swapping any chance they get. What’s one of the crazier ones that you remember vividly?
Just to name one, I can tell you the whole scene fighting with the Native American guy, all made up on the day. The stunt guys had been working on a fight between me and this Native American dude for a week and they had the whole thing mapped out. Then on the day we showed it to Milch, the guy comes running up, hits me with this tomahawk after my horse has already been hit with an arrow, and then I crawl out and this whole giant fistfight breaks out. David says, “I bought all of it right up until he got hit with the tomahawk.” Which is essentially the first moment. And so the whole holding onto the guy’s leg while he was dancing and yelling the stuff in his language, that was David just saying, “Hey, do this. Right? You just stand over him and, ‘**** you. You killed my friend.’ ” Which was hilarious to me. And me just hanging onto his leg until eventually he foolishly lost his balance and then I beat him with a rock. That was all on the day. And it wasn’t even working until this guy that they had cast all of a sudden started doing the thing that you see now that kind of gives you chills, some kind of war song. It was, like, our fifth take or something. David kept trying to talk to him like he was from Brooklyn. All of a sudden that came in. I remember saying to the guy, “What the **** was that?” He said, “I just remembered this song I learned when I was a kid in camp.” It just came to him. He said, “I’ll do that.” That was just one of these remarkable days, the willingness of David to throw out what was false and to go with his gut.

I can go all day. I remember so many things that he did in terms of direction. The scene where Bullock is beating the **** out of Jack McCall in the mud, and Garret [Dillahunt, who played McCall] is trying to get the **** out — Milch told us the story about him being in an alleyway and these guys are walking towards him, and he keeps thinking, “Oh, I’m going to beat the **** out of these guys.” And now they’re kicking the **** out of him, and he’s like, “I’m about to pounce because I’m like a leopard. These guys have no idea.” And he goes, “Now they’ve taken all my things and they’ve set my clothes on fire. Now they’re walking away.” They’re turning down the alley and they’re leaving him there. And he says, “These guys have no idea how lucky they are.” He tells Garret that story, and he’s like, “That’s how you would play the scene.” And that was so genius.

I remember a scene with Anna. The Bullocks are arguing in the house. We shot it, it was fine, it worked great. Then he comes in and tells me, say your line like that’s the last line in the argument, and then walk out the door. But just before you leave, hang your coat up and then walk out. And then she has her next line. And he says, “Now, Tim, come running back in the room, grab your coat as if you’re ready to leave and then come running back in. And now say your line, and then hang up your coat and walk out. And then come back in and grab your coat.” I must have done it three times, hang up my coat and walk out, walk back in and grab my coat. Hang up my coat and walk out, come back in and grab my coat. It was so funny. I was like, “This guy …” Then at the end he says, “Do it again.” I said, “No. That’s it. I don’t have any more lines.” He said, “OK, put on your coat like a flaming homosexual.” I remember thinking very clearly, “Well, so much for that Steve McQueen role you thought you got.”

Very rarely do you ever see this in any creative endeavor, and it’s the thing that everybody is striving for, which is a man who’s completely engrossed, and committed, and well versed, and studied in the subject matter in the world. And in the same breath a willingness to disregard it all and go with whatever gut instinct he has. And I’ve always felt going forward, I did not graduate first in my class in Yale, but everybody’s got a gut instinct, and it’s really just about the willingness to go with it, do the work, and then the willingness to fail and just go with your gut. It was literally David on my shoulder going into the Justified writers’ room and saying, “You know, what if [Danny Crowe] just fell in a hole?” And they’re like, “What the **** are you talking about?” I was like, “I saw it in a cartoon once. It’s going to work.” Because it’s just a willingness to be like, “Wait. I know what to do here. This would be fun. I saw David do it.”

He was famous for writing on the spot.
It was so enjoyable to watch, just a guy with all his toy soldiers in this little sandbox. I remember doing a scene where I’m walking across the road here and he stops and says, “Remind me, what episode is this?” And someone whispers to him. He goes, “It would be wonderful if we could connect this. Are the Chinese here? Do we have the Chinese?” ****ing all three ADs are on the walkie-talkie: “How soon can we have the Chinese? We can have the Chinese here in an hour and a half, Dave.” “Great. Is there something else we can shoot in the meantime?” “Well, there’s that scene down at the Bullock house you were talking about.” “Yes. Perfect. I can get those pages out in a few minutes. Let’s go shoot that and come back to this.” It was just absurd and wonderful. Exhausting as well. That’s what no one wants to admit. It ****ing was exhausting.

Jimmy Smits quit NYPD Blue over it.
Listen, I might have done a small victory dance when [David] told me the show was over. But I at the same time have never been a part of anything quite this special. I always talk about the show and this experience, and the experience of working with David. It’s the gift that keeps on giving. My wife’s like, “Yeah, but Tim, it was a pain in the ass.” And I said, “Yeah, I remember that too.” It’s nice to come back to it. It’s nice to come back to it after having been around the block a few times, and to realize that so much has changed and yet not very much. That’s a wonderful realization.

The only thing that’s probably better left unsaid is the passage of time, certain people who are no longer with us, others who are not in great health. And I think that the audience may not appreciate the experience at all, but from a personal standpoint it’s one of the reasons I’m really glad I said yes, to come back and be with everybody again. Some really, really wonderful people. Wonderful people that made a profound impact on my life. And funny, because it wasn’t even that long. Three very intense years.

https://www.rollingstone.com/tv/tv-f...erview-835207/
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post #30014 of 32555 Old 05-27-2019, 04:04 AM - Thread Starter
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I'm off to Upstate NY help cook a Memorial Day barbecue, not to mention help organize my 9-year old niece's birthday party. Will try to update "HOTP" Tuesday, but there's a good chance I won't be able to get back to normal until Wednesday afternoon due to work commitments. Sorry!

HAPPY MEMORIAL DAY EVERYBODY!
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post #30015 of 32555 Old 05-27-2019, 06:32 AM
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TV Notes (Q&A)
Bullock’s Last Stand: Timothy Olyphant on ‘Deadwood: The Movie’ and David Milch
By Alan Sepinwall, Rolling Stone

Al Swearengen (Ian McShane)...


https://www.rollingstone.com/tv/tv-f...erview-835207/
If you are a fan of Ian McShane and get Audience Network, he will be interviewed tonight on - Off Camera with Sam Jones.
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post #30016 of 32555 Old 05-27-2019, 07:15 AM
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I'm off to Upstate NY help cook a Memorial Day barbecue, not to mention help organize my 9-year old niece's birthday party. Will try to update "HOTP" Tuesday, but there's a good chance I won't be able to get back to normal until Wednesday afternoon due to work commitments. Sorry!

HAPPY MEMORIAL DAY EVERYBODY!
Don’t worry about it, enjoy your family, they’re more important than TV.
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post #30017 of 32555 Old 05-27-2019, 08:22 AM
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If you are a fan of Ian McShane and get Audience Network, he will be interviewed tonight on - Off Camera with Sam Jones.

https://www.youtube.com/channel/UCHS...ldp-qfJDZ0_iyA

THEOFFCAMERASHOW YouTube channel has a good collection of clips from many of his guests.

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post #30018 of 32555 Old 05-27-2019, 02:23 PM
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This week's Jeopardy! shows were recorded on March 6th.

"VCR was in the closet. Still works. Can't get the clock to stop blinking, though."
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post #30019 of 32555 Old 05-28-2019, 03:41 AM
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Former Biggest Loser Contestant Daniel Wright Dead At 30

I really ought to act more like a woman of my advancing years, but I’m growing old disgracefully.
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post #30020 of 32555 Old 05-28-2019, 06:55 AM
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Film
‘Kingsman 3’ Will Wrap The Eggsy/Harry Relationship, Says Director Matthew Vaughn
By Bruce Haring - Deadline - May 26

Director Matthew Vaughn said that the forthcoming Kingsman 3 will wrap up the saga of Taron “Eggsy” Egerton and his mentor, Colin “Harry” Firth.

The gimmicky British spy saga has seen the two survive the wipeout of virtually all of their fellow Kingsmen in 2017’s The Golden Circle, the sequel to 2014’s The Secret Service.

Vaughn told Digital Spy that “We’ve got to finish off the Eggsy and Harry relationship. The final chapter of their relationship needs to be told, which we’ve got ready to do, and I’m hoping to shoot that later this year or the beginning of next year.”

That’s no doubt because Egerton and Vaughn collaborated on Rocketman, which just bowed, and Vaughn has a Kingsman prequel, The Great Game, due out next February. That film has Harris Dickinson and Liam Neeson on board.

“As Taron was saying, he’s looking forward to becoming Eggsy again, because emotionally it’s a lot less draining.”

The third Kingsman film by writer/director Vaughn and co-writer Jane Goldman was planned to come out in November of this year. The films are based on Dave Gibbons and Mark Millar’s comic series, The Secret Service. The films are beloved for their stylized action sequences.

https://deadline.com/2019/05/kingsma...hn-1202622761/

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post #30021 of 32555 Old 05-28-2019, 07:07 AM
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This week's Jeopardy! shows were recorded on March 6th.
Is that why on last week's shows Alex had his real hair where the teacher's tournament the week before had him wearing his wig?
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post #30022 of 32555 Old 05-28-2019, 07:41 AM
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TV
TUESDAY
MAY 28: BIANCULLI’S BEST BETS


THE LION KING
ABC, 8:00 p.m. ET
This animated Disney musical came out in 1994, making this its silver anniversary – 25 years since we first heard “Hakuna Matata,” sung by Nathan Lane and Ernie Sabella. Other voices in this well-written, nicely performed Disney movie include Matthew Broderick as Simba, Jeremy Irons as Scar, and James Earl Jones as Mufasa. And, of course, the music is by Elton John, and the lyrics by Tim Rice – the same Tim Rice who teamed with Andrew Lloyd Webber for Jesus Christ Superstar. And here, again, is a rousing musical about a protagonist with severe daddy issues.


RUNNING WITH BETO
HBO, 8:00 p.m. ET
This new documentary takes to the campaign trail with Beto O’Rourke – but it’s not the trail you might expect. Instead of covering his current run hoping to capture the Democratic nomination for President of the United States, Running with Beto takes place during the 2018 midterms, when the young congressperson came within a few hundred thousand votes of unseating Republican incumbent Ted Cruz in the U.S. Senate race in Texas. Why focus on that race now, when O’Rourke’s subsequent political ambitions and moves have generated so much interest? Perhaps HBO’s motto, when it comes to documentary political coverage, is: Beto late than never…


SONGLAND
NBC, 10:00 p.m. ET
SERIES PREMIERE: This new music competition series could be an instant hit, a slow roll, or an equally instant flop. Like American Idol and The Voice, it has aspiring talents performing in front of a panel of attention-stealing judges. The slight twist, this time around, is that the contestants are songwriters, not merely singers – so the songs they sing are their own, pitched to the week’s guest artist. For the premiere, that guest artist is John Legend, fresh (or relatively fresh) off his stint as judge on NBC’s The Voice, shows up to give an opening-night boost to this new show, and the songwriters pitch songs they hope he will not only like, but record. And there’s another Voice connection, too: This show comes from veteran Voice judge Adam Levine. The big question with this new summer TV competition show, of course, is whether viewers will tune in and give the program momentum. If so, it can be a successful franchise, like this new show’s NBC lead-in, America’s Got Talent. If not, it’ll vanish, like The Great American Band. Never heard of it? My point exactly.


FOSSE/VERDON
FX, 10:00 p.m. ET

MINISERIES FINALE: This is the eighth and final episode of Fosse/Verdon, the FX miniseries that covers much of the same territory, using many of the same cinematic tricks, as choreographer-director Bob Fosse’s stunningly original movie pseudo-autobiography, All That Jazz. And quite fittingly, and perhaps unavoidably, this finale is all about Fosse making the movie All That Jazz, a movie touching on his complicated long-time relationship with Gwen Verdon. Sam Rockwell plays Fosse, and Michelle Williams, in an unflaggingly smart and strong performance, portrays Verdon.

http://www.tvworthwatching.com/BestBets.aspx

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post #30023 of 32555 Old 05-28-2019, 07:50 AM
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Ratings
TV Ratings Sunday: NASCAR wins the night, ‘Good Girls’ finale rises
By Alex Welch - TVBythenumbers - May 27, 2019

FOX’s broadcast of the NASCAR Coca-Cola 600 race took the top spot in the Sunday primetime ratings this week, scoring a 0.7 average rating among adults 18-49 with 4.07 million viewers.

Elsewhere, NBC’s “American Ninja Warrior: All Star Skills Special” came second in the night with a solid 0.6 average and 2.84 million viewers. The “Good Girls” season 2 finale followed it with a 0.6 as well, up one-tenth from the 0.5 its penultimate episode scored a week ago.

On the CW, the network’s “Top 10 Greatest Animal Movies of All Time” special posted a 0.1 with 511,000 viewers, while CBS and ABC took the night off, airing only reruns.

Complete ratings grid:
https://tvbythenumbers.zap2it.com/da...y-may-26-2019/

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post #30024 of 32555 Old 05-28-2019, 07:58 AM
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(apologies if this is a repeat)

HDTVs
New Samsung Ad Campaign For QLED 8K TV Celebrates Apollo 11 Moon Landing
The campaign includes a new TV ad, branded content and a three-part digital video series.
By Phil Kurz - TVTechnology - May 24, 2019

Samsung this week announced a new TV commercial and multiplatform campaign with CNN Films for its QLED 8K TV celebrating the July 1969 landing of Apollo 11 moon landing.

“As we mark the 50th anniversary of Samsung Electronics and the first steps on the moon by a human, it’s only fitting that our ‘Making History’ QLED 8K TV commercial and multimedia campaign with CNN celebrates the past while giving a glimpse into how Samsung will continue to bring people together in the future through the power of 8K,” said Grace Dolan, VP, Home Entertainment Demand Generation, Samsung Electronics America.

The “Making History” QLED 8K TV ad campaign, created by adam&eveNYC, includes footage licensed from “Apollo 11,” a documentary created with newly discovered 70mm footage of lunar landing mission.

Samsung will sponsor the broadcast premiere June 23 (at 9-11 p.m. EDT) of “Apollo 11” on CNN. The airing will include a special 60-second version of the “Making History” commercial, the company said.

The documentary, directed and produced by Todd Douglass Miller, draws on never-before-seen footage and 11,000 hours of uncatalogued audio recordings from NASA and the National Archives.

Two years in the making, “Apollo 11,” which will be re-aired on CNN on June 29 and July 20 at 9 p.m. EDT, is the third collaboration between Miller and CNN Films.

The Samsung 8K QLED campaign includes branded content produced by CNN’s Courageous brand studio that features retired astronaut Scott Kelly narrating his experience with space travel. It will launch on CNN’s social handles on the anniversary of the July 20, 1969, moon landing, Samsung said.

Samsung will also sponsor a three-part digital video series from CNN that’s tied to the anniversary, the company said.

Separately, at the 2019 NAB Show in April the Korean government-funded Electronics and Telecommunications Research Institute (ETRI) showed the results of a project to bond two 6MHz ATSC 3.0 channels for over-the-air delivery of 8K content.

https://www.tvtechnology.com/news/ne...1-moon-landing

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post #30025 of 32555 Old 05-28-2019, 08:05 AM
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Film..er, uh.. digitally recorded feature-length productions
Marvel might bring Deadpool to the MCU with Spider-Man’s help
By Chris Smith - BGR.com - May 27, 2019

Avengers: Endgame is history and Spider-Man: Far From Home will conclude the third phase of Marvel Cinematic Universe films. Marvel and Disney will soon announce their plans for Phase 4 — we already know the dates of several upcoming MCU movies, although we don’t have the actual titles of those future movies. Separately, Disney is prepping a variety of MCU-based Disney+ shows that will star some of the actors we’re used to seeing in Avengers films. On top of that, Disney has just completed its Fox purchase, which means Marvel Studios has the rights to explore several additional Marvel properties, including X-Men, Fantastic Four, and Deadpool.

Of all the existing Marvel projects at Fox, only Deadpool has been kept in place — and now we’re finally getting the Deadpool-MCU news we’ve been dreaming of. A rumor says that Marvel is exploring ways to bring the Merc with a Mouth to the MCU, including one that involves Wade Wilson partnering with Peter Parker.

There are several options on the table right now, MCU Cosmic reports, citing a reliable source who is said to have provided accurate information in the past. Marvel is said to be looking at three ideas for bringing Wade to the MCU, including incorporating the MCU into the standalone Deadpool 3 movie, a Disney+ limited series, or a Deadpool guest appearance in Spider-Man 3. The last one is the most exciting of the three, although the others don’t sound too bad either.

Deadpool and its sequel proved that audiences respond well to R-rated superheroes movies, and the character is definitely unlike anything we had seen before that from Marvel. However, a Deadpool that works in the MCU would have dial down his humor all the way to PG-13, in MCU fashion.

What’s clear is that Marvel has a golden egg here, and it would be a massive failure not to bring Deadpool to the ever-expanding MCU. Considering how Endgame concluded, we probably won’t get to see Deadpool and Iron Man team up, which probably would have been the most amazing pairing possible when it comes to dialogue alone. Then again, this is Marvel, so we might still see these two interact in some fashion.

On the other hand, the rumor also implies there’s a third Spider-Man installment in the works at Marvel, which would be Tom Holland’s sixth MCU movie.

https://bgr.com/2019/05/27/mcu-phase...-3-rumor-says/

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post #30026 of 32555 Old 05-28-2019, 08:15 AM
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Tech
Apple Announces a New iPod Touch Starting at $199

By Luke Bouma - cordcuttersnews - May 28, 2019

Today Apple announced an updated version of its iPod touch with an A10 Fusion system-on-a-chip and storage starting at 32GB for $199. Or you could get the $399 iPod Touch with 256GB of storage. (Right now the iPhone 7 currently starts at $449.) You can find the iPod Touch available in six different colors and will be available on Apple’s website later today.

“We’re making the most affordable iOS device even better with performance that is twice as fast as before, Group FaceTime and augmented reality starting at just $199,” said Greg Joswiak, Apple’s vice president of Product Marketing. “The ultra-thin and lightweight design of iPod touch has always made it ideal for enjoying games, music and so much more wherever you go.”

The good news is you can now use the iPod touch to access FaceTime something the old iPod Touch could not do. Sadly you won’t find a lot of the newer features found in current iPhones. No Touch ID or Face ID are some of the main features that are missing from the new iPod Touch.

https://www.cordcuttersnews.com/appl...arting-at-199/

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post #30027 of 32555 Old 05-28-2019, 08:20 AM
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Streaming
Fox Nation Off to Stellar Start, Says SVP
Fox News’ OTT service, which launched six months ago, costs $64.99 yearly
By Michael Malone - Broadcasting and Cable - May 28, 2019

Fox Nation, the subscription streaming service launched by Fox News six months ago, is off to a strong start, according to John Finley, senior VP of development and production, Fox News. Fox Nation costs $5.99 monthly and $64.99 yearly. It launched Nov. 27.

“It’s done exceptionally well,” said Finley. “We’re very excited about the response we’ve gotten from the audience.”

Finley would not share subscription figures. He did say Fox Nation is on pace to surpass internal targets for its fiscal year, which closes in June, and noted that a seven-day free trial has been vital for pulling in subscribers.

Finley also said the Fox Nation audience is down for watching a wider scope of programming than some figured, including sports show Ed Henry’s Front Row Seat and a cooking show hosted by Steve Doocy.

Fox Nation announced a new slate of shows that will premiere the week of June 10. Nuffsaid features wrestler Tyrus sitting with prominent figures as they discuss their path to success. Get Tammy Bruce shows Bruce pulling back the curtains on identity politics. Keeping Up With the Jones has Lawrence Jones debating the issues with a guest and Man on the Street is an extension of Jones’ segments for Hannity on Fox News.

“Some of the stuff will knock people’s socks off,” said Finley.

Those programs join the shows Fox Nation launched with. Rob Schmitt and Carley Shimkus co-host Primetime Highlights at 7 a.m. weekdays and Fox & Friends’ After the Show Show airs at 9 a.m. Tomi Lahren hosts First Thoughts at 9:30 a.m, while Judge Andrew Napolitano hosts a live show also at 9:30.

At noon, it’s Deep Dive, breaking down the news of the day. Lahren is on again at 6 p.m. for Final Thoughts. UN-PC, co-hosted by Britt McHenry and Tyrus, streams at 6 p.m. Tom Shillue hosts Quiz Show at 7 p.m.

A Sean Hannity show premiered January 30.

With the 2020 election starting to heat up, Fox Nation will be all over the campaigns. Finley calls that “our Super Bowl, our Olympics.”

https://www.broadcastingcable.com/bl...start-says-svp

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post #30028 of 32555 Old 05-28-2019, 08:28 AM
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Thought I'd have more time, this morning, but got caught up in a lengthy business call. Apologies.

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post #30029 of 32555 Old 05-28-2019, 09:33 AM
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Quote:
Originally Posted by mrvideo View Post
This week's Jeopardy! shows were recorded on March 6th.
Quote:
Originally Posted by MRM4 View Post
Is that why on last week's shows Alex had his real hair where the teacher's tournament the week before had him wearing his wig?
Yes. The teacher's tournament shows were recorded the beginning of April. This week's shows were recorded the same day as his announcement.
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post #30030 of 32555 Old 05-28-2019, 02:42 PM
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Is that why on last week's shows Alex had his real hair where the teacher's tournament the week before had him wearing his wig?
As previously posted, the teachers (plural, not possessive) tournament was recorded on 4/1-2/19. None of the shows recorded after this date have aired yet. I won't know the recording date for next week's shows until this Friday.

"VCR was in the closet. Still works. Can't get the clock to stop blinking, though."
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