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post #30061 of 33019 Old 05-30-2019, 03:55 PM
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Scripps National Spelling Bee on ESPN tonight BUT sportsbooks arent taking $$ wagers - they do amatuer events like college/olympics but evidently not this.
Bummer cause contestants from India won 11 in a row & 19 of 23.


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post #30062 of 33019 Old 05-31-2019, 09:46 AM - Thread Starter
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TV Notes (Broadcast)
NBC cancels Abby's, The Enemy Within and The Village
By Lynette Rice, EW.com - May 30, 2019

The experiment is over: NBC has canceled Abby’s, the freshman comedy about an outdoor neighborhood bar that was shot al fresco in front of an audience.

The series, which starred Natalie Morales in the lead role, only averaged 1.7 million viewers.

The network also axed The Enemy Within and The Village, two other shows that bowed midseason on NBC. Enemy only averaged 6.9 million viewers, and The Village, 5.7 million.

In case you missed it, A.P. Bio was yanked too.

Earlier this month, NBC unveiled a virtually unchanged prime-time schedule for fall 2019 — save the debut of a new Jimmy Smits drama on Mondays and two new comedies on Thursdays featuring Bradley Whitford and Kal Penn. The biggest news coming out of the network is the three-year renewal for This is Us, NBC’s three-year-old hit that trails only NCIS on CBS as broadcast TV’s most-watched drama (15.7 million versus 13.7 million).

https://ew.com/tv/2019/05/30/nbc-can...n-the-village/
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TV Notes (Broadcast)
NBC cancels Abby's, The Enemy Within and The Village
By Lynette Rice, EW.com - May 30, 2019

The experiment is over: NBC has canceled Abby’s, the freshman comedy about an outdoor neighborhood bar that was shot al fresco in front of an audience.
Crap.
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post #30064 of 33019 Old 05-31-2019, 09:49 AM - Thread Starter
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TV Notes (Broadcast)
Star Officially Dead, Creator Lee Daniels Confirms: 'It Ain't Happening'
By Andy Swift, TVLine.com - May 30, 2019

Despite the best efforts of series creator Lee Daniels, Fox’s Star — which was cancelled earlier this month after three seasons — will not be saved. Daniels made the announcement himself via an Instagram video on Thursday.

“OK, so I’ve got some bad news: It ain’t happening,” Daniels says in the video. “I tried my best, guys. You know, we got some incredible people. I mean, I can’t even list everybody. I’ll say it in a letter. But in a nutshell, it ain’t happening. I did my best. Just know that, like with Precious or with Empire … The Butler, Monster’s Ball, the next thing I do is going to be Star. It will exist in all of my work. I love you, all of the fans that have supported us.”

Of the 25 shows cancelled earlier this month, TVLine readers voted Star and ABC’s Whiskey Cavalier as the shows they most wanted to see un-cancelled. Unfortunately, neither show will return this fall.

The cast of Star included Jude Demorest as Star Davis, Brittany O’Grady as Simone Davis Rivera, Ryan Destiny as Alex Crane Jones, Amiyah Scott as Cotton Brown, Quincy Brown as Derek Jones and Queen Latifah as Carlotta Renee Brown.

Are you disappointed that Star won’t be coming back for Season 4? Or did you already accept its cancellation?

https://tvline.com/2019/05/30/star-s...fficial-video/

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post #30065 of 33019 Old 05-31-2019, 09:52 AM - Thread Starter
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Nielsen Overnights (Broadcast)
Ratings: ABC Dunks on Competition With Game 1 of Warriors-Raptors NBA Finals
By Tony Maglio and Jennifer Maas, TheWrap.com - May 31, 2019

The Toronto Raptors clawed their way to a Game 1 win Thursday to tip off the NBA Finals, which handed ABC a very easy victory.

Unfortunately, as anticipated, 2019’s first game of the championship series was down quite a bit from last year’s comparable contest, as were ABC’s primetime averages (-23%). Adding a Canadian team and subtracting LeBron James was not expected to work out for the league or it’s broadcast partner.

Due to the nature of live sports, the below fast national numbers for ABC should be considered subject to significant adjustment.

ABC was first in ratings with a 3.3 rating in the advertiser-coveted 18-49 demographic and in total viewers with an average of 9.6 million, according to preliminary numbers.

CBS was second in ratings with a 0.7 and in viewers with 4.9 million.

NBC and Fox tied for third in ratings with a 0.4. NBC was third in total viewers with 2 million and Fox was fourth with 1.5 million.

https://www.thewrap.com/nba-finals-g...riors-ratings/
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post #30066 of 33019 Old 05-31-2019, 09:57 AM - Thread Starter
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Technology/Research Notes (Mobile)
Don't take your smartphone to bed if you want a good night's sleep
By Edward Baig, USA Today - May 29, 2019

It’s bad enough that your kids can’t tear themselves from their smartphone screen during daylight hours. (You know that describes you, too.)

But as all-too-many parents know all too well, teens are also taking phones with them to bed – and mom and dad are doing the same.

A newly released online and telephone parent-teen study from Common Sense Media bears this out: Nearly 7 in 10 children, or a slightly lesser percentage than their parents, kept their mobile device either in bed or within easy reach. And 29% of the younger group actually sleeps with the device, compared to 12% of parents.

The sobering stats don’t end there: 40% of teens use a mobile device within five minutes of going to sleep; 26% of parents do that. Equally disturbing: 36% of teens wake up at least once during the night to check the device; about 1 in 4 parents do likewise.

Why having a phone in bed is bad
Suffice it to say having the phone nearby is detrimental to getting a good night’s sleep, which studies link to obesity, poor performance at school (or work) and behavioral problems.

Forty-five percent of teens who have their phone at bedtime say they’re using the device for personal use only. Just 2% said it was for schoolwork only. Half said it was for both.

“You end up with this weird tension,” says Michael Robb, senior director of research at Common Sense and the guy who ran the study. “Doctors and researchers have been articulating this message that people shouldn’t be using devices right before bed, but for a lot of people, there is a feeling that there’s a need to use it right before bed.”

MacKenzie Bezos is worth $35B: Here's why she plans to give half of it away

Pulitzer Prize 2019: Parkland student journalists recognized at Pulitzer Prize ceremony

If possible, make sure kids get going on their homework or school assignments earlier.

Meanwhile, if staring at the screen doesn’t keep you awake in the first place, then the notifications that may come in the middle of the night might wake you when you are asleep.

That's why, at minimum, you should put the device in silent or Do Not Disturb mode.

But there are other factors that may disturb your sleep, including the light emitted from the devices.

Of those teens who say they wake up to check their devices, about 4 in 10 claim they couldn't sleep and needed something to do. Around half check social media.

No, morning isn't really better
Even if you or your kid gets a decent night’s sleep, having the device right by your bed is likely to mean that’s the first thing you turn to in the morning, even before your feet hit the floor, fueling the screen time addiction problems we are all concerned about.

“The real question is, do you pee first, or do you use your phone?” asks James Steyer, CEO of Common Sense.

As part of the Common Sense study, 32% of teens and 23% of parents said they check their devices in the morning within five minutes of waking up; 64% and 62%, respectively, check within a half hour.

What you can do
What can parents do? For starters establish device-free zones and times in your house when using the phone is a no-no. This goes for parents and kids.

Consider charging the phone outside the bedroom as well.

Houston mom Emily Gilliam sets tight ground rules: Her 14-year-old son must park his device in the kitchen right after dinner; he can get the phone back in the morning.

Toni Abrusia Bollinger says her 12-year-old son doesn’t like parental controls that she imposes, nor that he has to surrender his phone each night. “I know many of his friends are on their phones at all hours of the night, and I do believe sleep is important at this age. Unfortunately, I do think if he had his phone at night, it would be a distraction.”

Steyer believes parental bedtime controls in the latest versions of iOS and Android, while welcome, don’t go far enough. He wants the tech industry to launch public awareness campaigns for parents and kids to put their phones away at least an hour before they go to sleep, similar to campaigns that educate the public on drinking and driving.

But he's not letting parents off the hook. “Parents aren’t being good role models either,” he says.

Steyer also has an answer for kids and parents who use their phones to wake them up in the morning. “Get an alarm clock for $10.”

https://www.usatoday.com/story/tech/...ne/1257805001/
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post #30067 of 33019 Old 05-31-2019, 10:02 AM - Thread Starter
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TV/Business Notes
Larry Wilmore Exits ABC Studios Overall Deal for Four-Year Universal TV Pact
By Lesley Goldberg, The Hollywood Reporter - May 30, 2019

Add Larry Wilmore to the ranks of producers who are cashing in with overall deals.

Wilmore, the former host of Comedy Central's The Nightly Show and a prolific scripted producer, has signed a sizable four-year overall deal with Universal Television. Wilmore is fresh off of a three-year pact with ABC Studios, whom sources say was among the outlets who pursued the producer and host for a new deal. Wilmore Films vp development Candace Rodney will also make the move to Universal TV.

Wilmore will create and develop new projects for the Pearlena Igbokwe-led Universal Television under his Wilmore Films umbrella. The overall brings Wilmore back to the Universal TV fold after he helped launch the studio's NBC hit The Office.

"I'm beyond thrilled to be back at Universal Television to join Pearlena and her amazing team! As a teen I actually used to sneak on the Universal lot and dream of belonging there some day. It's nice to not have to sneak on anymore. I'm living my dream!" Wilmore said Thursday in a statement.

Wilmore, an Emmy and Peabody winner, currently hosts Larry Wilmore: Black on the Air for the Ringer Podcast Network. He has played a key role in creating and launching some of television's biggest hits over his 25-year career, including The PJ's, The Bernie Mac Show, The Office, The Daily Show With Jon Stewart, Black-ish, Insecure and Grown-ish. (He created or co-created four of those.)

"The number of successful shows that Larry has had a hand in launching is impressive and he shows no signs of slowing down," said UTV president Igbokwe. "I could not be more excited and consider us lucky that he has chosen to call Universal his home for the next few years."

Wilmore becomes the latest producer to make the jump to another studio as the overall deals market continues to sizzle. Phil Lord and Chris Miller departed 20th TV for a nine-figure pact with Sony, with the indie studio also handing out a significant payday to Homeland duo Alex Gansa and Howard Gordon (who also moved from the now Disney-owned 20th TV). Fresh Off the Boat's Nahnatchka Khan also moved her overall deal from 20th TV to UTV earlier this year. (UTV has not been immune from losing producers, either, as Mindy Kaling and Jason Katims departed their longtime home for a pact with Warner Bros. TV and Apple, respectively.)

At UTV, Wilmore joins a roster of producers that also includes Mike Schur (The Good Place) and Dick Wolf (Law & Order, Chicago franchises), among others.

Feeding the urgency for the frenzy of overall deals is the fact that multiple media behemoths — including Disney, NBCUniversal, WarnerMedia and Apple — are set to launch streaming platforms of their own late this year and in 2020. The ongoing feud between the Writers Guild of America and the Association of Talent Agencies over packaging fees has also made such pacts vital as studios can directly dial up their top producers for new development.

Wilmore is repped by 3 Arts and Hansen Jacobson.

https://www.hollywoodreporter.com/li...v-pact-1214612
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TV Notes (Broadcast)
Former ‘CBS Evening News’ anchor Jeff Glor moving to Saturday mornings
By Joey Morona, Cleveland Plain-Dealer - May 31, 2019

CLEVELAND, Ohio -- Former “CBS Evening News” anchor Jeff Glor is staying with the network.

Glor, whose 18-month stint on the newscast ended earlier this month, will co-host "CBS This Morning: Saturday" alongside current hosts Dana Jacobson and Michelle Miller. He replaces Anthony Mason, who moved over to weekday mornings.

During the week, Glor will serve as a special correspondent with his feature stories and investigative pieces airing on various CBS newscasts. He'll also start a new regular feature called "Who We Are," telling the inspiring stories of people across the countries.

“I have always wanted to do work that matters and still do. That is something that will never change," Glor said at the end of the May 6 newscast after CBS reshuffled anchors across the news division. Turns out, he’ll do it at the network he’s worked for since 2007.

Glor’s first day in the mornings is June 22. His replacement on the “CBS Evening News,” Norah O’Donnell, begins her new gig later this summer.

https://www.cleveland.com/entertainm...-mornings.html
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post #30069 of 33019 Old 05-31-2019, 10:09 AM - Thread Starter
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Technology/Critic's Notes (Mobile)
BlackBerry Messenger dies today, but it’ll never truly be gone
By Julia Alexander, TheVerge.com - May 31, 2019


BlackBerry Messenger icon

My favorite phone of all time is the BlackBerry Bold 9000. Unlike the iPhone 3G, which touted a revolutionary design when it was announced just a month later in 2008, the BlackBerry Bold wasn’t super flashy. But it had one thing the iPhone 3G didn’t: BlackBerry Messenger. It became a defining characteristic on BlackBerry devices and forever changed how business and casual conversations were held by phone users. Today, after years of dwindling usage and financial woes from BlackBerry developer RIM, BlackBerry Messenger is going away for good.

BlackBerry Messenger (better known as BBM) was one of the first instant messaging (IM) platforms that arrived on mobile devices in 2005. People could choose to use a BBM account tied to their unique BlackBerry Pin rather than send a standard text message. BBM managed to take traditional desktop messaging and translate it to the tiny computers in our pockets. It was astounding.

It wasn’t perfect, though. BBM looked like an early version of Facebook’s WhatsApp. The text bubbles were cluttered, the user interface felt clunky when navigating between messages, and if the wheel on your BlackBerry got stuck, good luck scrolling through messages. Despite BBM’s weaknesses, it became the app that defined my early high school experience for two main reasons: group chats and a striking similarity to desktop IM platforms like AIM.

I got my Bold 9000 in 2008. I was in the 10th grade and, like everyone else, my life revolved around my phone. My friends and I texted every single day and night. We all had BlackBerrys. Some people got new devices from their parents as birthday gifts, others used old recycled phones. Through BBM, those individual text messages soon morphed into elaborate, endless group chats. We became a perfect batch of new BlackBerry users. RIM already made a name for itself among businesses and governments, but then it started reaching a crucial new audience: young consumers. By 2013, BBM had 60 million monthly active users. My friends and I were some of the earliest ones.

It sounds silly to say today, when WhatsApp has more than a billion users and group chats are part of our daily lives, but back then, it was sensational. I didn’t have to wait until I was home to log on to MSN Messenger to continue talking to my friends.

It was also through BBM’s group chat function that I entered my first high school relationship. We became close through constant group chats with our pals, and eventually, we split off into direct messaging. Yes, in 2008, I did the BBM equivalent of sliding into the DMs. Every time I saw my Bold’s flashing green light turn red, signifying a new message, I experienced that little burst of warmth in the pit of my stomach. It was ridiculous and exhilarating. There was no difference for me at 15 between my physical relationship with this person and our life on BBM. If anything, the latter felt even more intimate and safe.

I wasn’t the only person who felt this way about BBM, either. Early messages on the Crackberry forum are full of people trying to sum up why BBM felt better to use than standard text messages. “It’s like an exclusive club,” one Crackberry member mused. “It makes SMS look ancient,” another added.

Ironically, one of the most cited reasons on Crackberry defending BBM’s superiority is also partially a reason why my relationship fizzled out. BBM helped create one of the most anxiety-inducing messaging features that still exists today: read receipts.

Read receipts were introduced alongside BBM in 2005. When a message was sent, a tiny letter “D” would appear beside it. When that same message was read, the “D” would change to an “R.” People thought it was genius. Colleagues knew when someone was available and could hear back instantaneously. But the read receipt function came back to bite me, a person who often reads a message and replies hours later.

In 2011, Urban Dictionary added the term “rbomb” to specifically address a cultural shift on platforms like BBM. People didn’t want the other person to know when a message was read. Multiple Reddit posts asking how to deal with “read receipt anxiety” started appearing. Just this year, Dazed Digital ran a piece about how read receipts can poorly affect people’s mental health. Read receipts haunted me for years after I left BBM. I only just turned them back on through iMessage recently as an experiment. The only difference between my anxiety now and then is not having to deal with an angry, blinking red light at the top of my phone. The BlackBerry, via BBM, demanded attention.

For all that made BBM sometimes frustrating to use, it gave me something I miss today: a private community. BBM felt like a tiny oasis in a growing field of social networks and sites that wanted everything to be bigger. Sites like Habbo Hotel and Twitter helped create the internet we know today, all based on giving people the ability to talk to one another. But BBM was different. Group chats provided emotional support and a closeness that other sites couldn’t replicate. The fact that it was on your phone, a thing that already feels incredibly personal because it lives in your hand, only strengthened that feeling. Today, during a time when the internet feels too noisy, I find myself wistfully thinking about those early BBM group chats.

New York Magazine’s Max Read says group chats are “making the internet fun again.” It feels like many of us are fighting to get back to a place that reminds us of quieter old-school forums and IM platforms. That never stopped being BBM for me. It was the platform that helped me fall in love with cellphones and the thing that encouraged me to share dumb memes. It was the service that showed me small online experiences are usually more fun.

In 2013, an investigative report from The Globe and Mail suggested one plan to help save RIM, a once burgeoning company that was failing to keep up with Apple and Android, was BBM. One executive pitched a plan “to push wireless carriers to adopt” BBM as a complete replacement for traditional text messaging. The plan never got off the ground. BBM hung around for a little, eventually becoming an optional messaging platform on Apple and Android devices, but it never managed to reclaim the cultural cache it once held.

I still use group chats today with my friends. I’m in about four. One lives on Facebook Messenger, the others are through iMessage or standard texting. Those friends are in their own group chats, too, across iPhones and a variety of Android phones. No one uses BlackBerry Messenger anymore, but it created the very foundation of how the world still communicates today.

https://www.theverge.com/2019/5/31/1...droid-imessage
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post #30070 of 33019 Old 05-31-2019, 10:16 AM - Thread Starter
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TV/Production Notes (Cable)
‘Work In Progress’: Showtime Orders Comedy Series Starring Abby McEnany; EP Lilly Wachowski Co-Writing
By Erik Pedersen, Deadline.com - May 30, 2019

Showtime has handed a series order to Work in Progress, an eight episode comedy series starring Abby McEnany, who co-created the show with pilot director Tim Mason. Lilly Wachowski will co-write and executive produce the first season.

Expected to premiere this year, Work in Progress follows a 45-year-old self-identified, fat, queer dyke from Chicago (McEnany) whose misfortune and despair unexpectedly lead her to a vibrantly transformative relationship. Theo Germaine and Karin Anglin co-star alongside Celeste Pechous, with Saturday Night Live alum Julia Sweeney appearing as herself.

Showtime acquired the project after its Sundance premiere in the Indie Episodic program this year. It will join the premium cable net’s comedy series Kidding and Black Monday, both of which have been renewed for second seasons.

“We adored the pilot of Work in Progress at Sundance and were so thrilled that Abby and Tim and Lilly wanted to work with us to expand it into a Showtime comedy series,” said Gary Levine, who made the announcement along with Jana Winograde, his fellow President of Entertainment at Showtime Networks. “Abby is as distinctive as she is appealing. She will make you laugh, she might make you cry, but she will definitely make you fall in love with her.”

McEnany is a mainstay of the Chicago improv scene, where her one-woman shows became the foundation for the series. She and Mason also executive produce Work in Progress alongside Wachowski; Lawrence Mattis, Ashley Berns and Josh Adler of Circle of Confusion; and Tony Hernandez of Jax Media.

The Matrix‘s Wachowski most recently wrote, produced and directed Netflix’s Sense8 and the feature Jupiter Ascending.

https://deadline.com/2019/05/work-in...ng-1202624416/
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post #30071 of 33019 Old 05-31-2019, 10:20 AM - Thread Starter
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TV Review (Cable)/Critic's Notes
Zachary Quinto breaks bad in dull ‘NOS4A2’
By Rob Owen, Pittsburgh Post-Gazette's 'Tuned In' Column - May 30, 2019

AMC’s “NOS4A2” (read: “Nosferatu”) offers occasional creepy chills but mostly dwells on dull domestic disharmony.

Premiering at 9 p.m. Sunday on AMC, the series stars Green Tree native Zachary Quinto (“Heroes,” “Star Trek”) as ancient, rotting Charlie Manx, a vampire-like creature who appears to drain the life out of the children he kidnaps.

Manx spirits children away to Christmasland, which appears to be an icy grave, not the amusement park its name implies. The children appear to be in some sort of suspended animation beneath an ice field.

Despite the title, Manx isn’t really the show’s lead.

“NOS4A2,” adapted for television by Jani O’Brien and based on the first third of the 2013 novel by Joe Hill, spends the most time with Vic McQueen (Ashleigh Cummings, “The Goldfinch”), a Massachusetts teen from a broken family who seems to have some sort of psychic connection with Manx.

Vic sees a covered bridge near her home but then learns the bridge was torn down 15 years earlier. Yet she manages to ride over the bridge to retrieve lost items that the bridge somehow leads her to.

Much of the show’s slow build over its first two episodes is spent with Vic’s sad, messy and unpleasant home life, which also ties into Manx’s motivation: He kidnaps children whose parents don’t pay them enough attention.

“If every day was Christmas for a child instead of another day of misery and woe, wouldn’t that be wonderful?” Manx says in episode two before defending his method of kidnapping these neglected kids. “It’s a matter of rescue and retrieval. Any child would give their teeth to live an eternity in Christmasland.”

“NOS4A2” clearly puts Vic and Manx on a collision course, but by episode two she’s only transported over her bridge as far as Here, Iowa, where psychic Maggie Lee (Jahkara Smith) tries to help local police solve one of Manx’s child abductions.

Quinto is creepy from the get-go. As Manx ages backward, he remains disturbing even as he comes to resemble a contemporary Quinto. “NOS4A2” helps Quinto distinguish Manx from his last bad guy — Sylar on “Heroes” — by giving Manx a rationale for the evil he does and hints at a backstory for the character. The makeup Quinto sports, particularly his gross teeth, also conveys the idea that Manx isn’t just evil, he’s rotting from the inside out.

But all that effort does little to make “NOS4A2” compelling television. The stories are disconnected at the outset and Vic’s home life is one-note rote.

Quinto on Manx
In February during the Television Critics Association winter 2019 press tour in Pasadena, Calif., Quinto said he was eager to immerse himself in a character that transforms, which is exactly what Manx requires with his aging and de-aging and back again throughout the first season of “NOS4A2.” Some days the makeup process took up to four hours to complete before any filming of Quinto as Manx could begin.

“Finding the physicality was really exciting. And vocally, it's like, once you put this kind of restriction on your body, it naturally affects vocalization,” Quinto said of speaking from under layers of latex and makeup. “And so, you know, embracing that and staying connected to it, and in a way that I hope is grounded and believable, was a big challenge.”

Quinto said even though Manx is the villain, he worked to understand the character’s motivation.

“It's about looking at who this character was, looking at the depth of the trauma that he was exposed to, and then kind of building this foundation that supports the character as he is today,” Quinto said. “He was this incredibly isolated, neglected child who was exposed to horrible violence and exploitation as a kid. And it's interesting that he evolves into an adult who both exploits and manipulates the vulnerabilities of other children. There is a psychological anger there. And on a lot of levels, he does genuinely believe that he's giving these kids a better life and a better opportunity for themselves than they would have otherwise. That's a warped and twisted way to look at it, but it's the only way that he can look at it and do what he does. So I'm fascinated by that complexity.”

Kept/canceled
HBO renewed “Gentleman Jack” for a second season.

NBC canceled comedy series “A.P. Bio” late last week after two seasons.

Channel surfing
Public Television’s “EcoSense for Living” (7:30 p.m. June 6, WQED-TV) explores the Clean Air Act in an episode that includes a look back at the 1948 toxic smog incident in Donora. ... Carla Gugino (“The Haunting of Hill House”) has been cast as a newspaper crime reporter in “Manhunt: Lone Wolf,” which begins filming in Pittsburgh next week. ... The first season of CBS All Access’ “The Good Fight,” a spinoff of CBS's “The Good Wife,” will air on CBS beginning at 9 p.m. June 16.

https://www.post-gazette.com/ae/tv-r...s/201905280109
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TV Review (Streaming)
Ava DuVernay's ‘When They See Us’ gets to the human heart of the Central Park Five
By Robert Lloyd, Los Angeles Times - May 30, 2019

Ava DuVernay, director of the movies “Selma” and “13th” and co-creator of television's "Queen Sugar," has made a docudrama in four parts — one might even say "movements," for each has its own musical speed and spin — about the Central Park Five. "When They See Us" premieres Friday on Netflix, and perhaps because DuVernay, a co-writer here as well as the sole director, has experience both in documentary and drama, it works much better than such projects often do. A human story teased from history, it is personal and political, inextricably and in equal measure.

If this bit of history has faded from your memory, or never made it that far — and one suspects DuVernay has made this film specifically to remedy either possibility — it involved the arrest and wrongful conviction of five black and Latino Harlem juveniles, for the 1989 rape and beating of a white female jogger, Trisha Meili, in New York’s Central Park. Occurring the same night that a large group of teenagers ran through another part of the park, some committing random acts of violence — they would be characterized as a "wolf pack" — it was a literal tabloid sensation in a crime-ridden city. That tone infected mainstream coverage, as well, and in many minds, the case was settled almost as soon as it started. Within two weeks, Donald Trump, characterized here as a "real estate hustler," took out full-page ads in four newspapers, calling for the reinstatement of the death penalty in New York. Those were not different times.

Five boys — Raymond Santana, Kevin Richardson, Antron McCray, Yusef Salaam and Korey Wise (formerly Kharey Wise) — were charged with the assault on Meili. Their mutually contradictory confessions, made under duress, were quickly recanted, but all were convicted on the strength of those confessions, in spite of a lack of physical evidence. The convictions were vacated in 2002, when the actual rapist came forward; DNA evidence and his detailed knowledge of the event supported the confession. After more than a decade of stalling, the city of New York settled with defendants for $41 million.

One reason “When They See Us” remains compelling from beginning to end is that DuVernay subtly changes her approach from episode to episode, moving deeper into character as the series progresses. She generally avoids speechifying; there is a bit at the end, but to be fair, someone is making a speech.

The first half of the series is the more straightforward. Episode 1, which looks at the attack and the arrest, differentiates quickly its large cast of characters, and it catches the confusing energy of the streets and the suffocating air of the police station. Director of photography Bradford Young ("Selma," "Arrival") works mostly in a hand-held, shallow-focus style that mixes the floating swing of documentary footage with intentional art photography — his camera is a sort of extremely discerning fly on the wall.

Episode 2 focuses on the trial, where every defendant had his own lawyer, of varying experience, style and competence — Joshua Jackson and Blair Underwood are among the actors playing them. Vera Farmiga plays prosecutor Elizabeth Lederer, whom DuVernay treats as something of a voice of reason, critical of assistant district attorney Linda Fairstein, the zealous head of the city's sex crimes unit — played here, in a bit of topical irony, by college admissions scandal celebrity Felicity Huffman — and her elastic treatment for evidence.

The second half is more poetical and free-floating, with older actors replacing younger ones as the five. (Ethan Herisse, Asante Blackk, Marquis Rodriguez and Caleel Harris make up the younger cast; Chris Chalk, Justin Cunningham, Jovan Adepo, Freddy Miyares the older, with Jharrel Jerome playing Wise throughout. All are exceptional.) Episode 3 looks at them in prison, but mostly just emerged from it, as they return to the world and family and ordinary people with different degrees of welcome and success.

This is a story about parents and children as much as it is about justice and race — the series has plenty of contemporary resonance on the latter account — and there is strong work from Niecy Nash, John Leguizamo, Aunjanue Ellis and Michael Kenneth Williams among the older generation. The final episode focuses at length on Wise, the oldest of the boys, as he struggles to survive life in an adult prison and is unexpectedly presented the key that will clear their names.

Filtered through the layers of invention and manipulation that surround any dramatic work — original dialogue, acting choices, editing, camera angles and music, not to mention production design, costuming and makeup — the film inevitably amounts to a take on the truth, the theory of a case. (There are those, of course, including Fairstein, Trump and some detectives, who continue to stick to their version of events; we hear some do so here.) In that a docudrama makes a story out of raw facts, it is something like a trial itself. Choices are made — we see detectives constructing, changing and rehearsing the confessions the boys will commit to videotape — making concrete something some would characterize as disputed.

That is not to say “When They See Us” is factually incorrect. But any thought-provoking work of historical fiction or re-creation should send one back to sources, and "When They See Us" is perhaps best watched in tandem with the 2012 documentary "The Central Park Five," directed by Ken Burns, Sarah Burns (on whose study "The Central Park Five: A Chronicle of a City Wilding" is based, and which merits reading in turn) and David McMahon. (DuVernay re-creates some scenes seen there.) As is often the case in historical drama, “When They See Us” ends with footage of the people whose story it's just told; but it's a different experience seeing and hearing them speak for themselves. They are powerful.

‘When They See Us’
Where: Netflix
When: Any time, starting Friday


https://www.latimes.com/entertainmen...529-story.html
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TV/Critic's Notes
12 Shows That Also Deserve Deadwood-style Movies for Closure
By Brian Tallerico, Vulture.com (New York Magazine) - May 31, 2019

Fans of David Milch’s Deadwood were given a gift denied to almost all fan bases of canceled TV shows: closure. Deadwood: The Movie, premiering almost 13 years after the HBO critical darling was unceremoniously cut off, allows fans to catch up with characters they never thought they’d see again in any form. It got us thinking: What other shows need the same treatment? We’re not demanding a reboot or a new season à la Twin Peaks — although that would be fine too in a lot of these cases — but just a feature-length film to tie up loose ends and give us the goodbyes that the cruel television industry has withheld from us for so long.

There are dozens of shows that can be classified as “brilliant but canceled,” but these are the programs from that subcategory that really feel like they have something more to say (unlike HBO’s incredible Enlightened, for example, whose second and final season finale felt satisfying). And if any of these show’s do end up getting a movie made, we’re taking full credit.

Carnivale (2003–2005)
If you put the tent up, they will come. There’s a whole legion of fans — some of whom self-identify as “Carnies” — looking at the Deadwood movie and asking, “Why not us too?” Both cancellations came about in an era when HBO was trying to find its next big hit and axing shows with large budgets (Deadwood, Rome, Carnivale). The cult status of this two-season wonder has only grown over the 14 years since its cancellation with fan sites, forum activity, and even something called CarnyCon. Set during the Great Depression, Daniel Knauf’s vision followed the people of a traveling carnival and weaved a deep sense of American mythology through the lives of its unforgettable characters. Nick Stahl and Clancy Brown led the series as two very different men who discover they have very unusual powers. It was a moody, smart show that drew comparisons to Twin Peaks but never quite got its hooks into average viewers. Despite that, fans have clamored for its return for over a decade now, especially after it ended with a cliffhanger that just begs for resolution.

Community (2009–2015)
They got six seasons, now where’s the movie? To be honest, it was an effort just to get this Dan Harmon creation to six seasons — Harmon was fired for a season, it went to a streaming service, etc. — but if the show can survive that, it can get a movie across the finish line, right? The fandom around Greendale Community College and its unforgettable students was always fiercely loyal, and some of the graduates (Donald Glover, Alison Brie) have only grown more popular since this TV school shuttered for good. Community aired on NBC for five seasons, pushed through some behind-the-scenes drama, and even had a sixth season air on something called Yahoo! Screen. An in-joke on the show produced the hashtag #SixSeasonsAndaMovie , and it looked like it might come true. Producers and even Harmon have talked about it, with Harmon saying he needs to miss the Community crew before he can think about writing their reunion film. Cast members like Danny Pudi and Joel McHale were talking about how much they want to do it just last year. It’s high time.

Freaks and Geeks (1999–2000)
Picture it. In fall 2020, two decades after NBC canceled one of the best shows it ever had the privilege to air, the network pays whatever it takes to bring Judd Apatow and the cast back together for a reunion. There are so many ways it could be done. A 20th high-school reunion seems kind of obvious. What about a Big Chill version in which one of the characters — whoever is too busy to do the reunion (looking at you, James Franco) — has died and everyone is getting together for his or her funeral? Freaks and Geeks was so far ahead of its time in the way it wrote to both adults and teenagers about adolescence that it would still be a massive critical darling (and probably find a bigger audience) if NBC aired it today. And the cast remains one of the most remarkable future-star factories of all time: Franco, Linda Cardellini, Seth Rogen, Jason Segel, Martin Starr, Ben Foster, Lizzy Caplan, and more. It might cost money to get them all back together. It would be worth every penny.

Gravity Falls (2012–2016)
Alex Hirsch’s brilliant Disney Channel creation was reportedly canceled on its creator’s terms, so it’s a little different from other shows on this list, but we’re still clamoring for more adventures of Dipper and Mabel Pines and the weird happenings of the Mystery Shack. Part of the pain comes from the fact that animated hits typically go on for years and years, but there were only two seasons of Gravity Falls — a scant 40 episodes. With phenomenal voice work by Jason Ritter, Kristen Schaal, Linda Cardellini, and others, Gravity Falls was one of the smartest family shows of the ‘10s, a program that plays equally to kids and their parents or guardians. It ended in 2016, and there have been rumors of a movie ever since (Hirsch did produce a graphic novel of new adventures). This is a show that will only grow in popularity when people find it on Disney+. Hey, Mouse House, why not launch a series of movies on your new streaming service?

Hannibal (2013–2018)
On the one hand, the fact that we got a show as dark and brilliant as Bryan Fuller’s Hannibal on NBC at all was something of a miracle, especially for three whole seasons. On the other hand, we need more Dr. Lecter. Mads Mikkelsen stepped into the iconic shoes of Hannibal Lecter and made the character his own, just as Fuller weaved elements of the Thomas Harris novels and the films adapted from them into his violent, beautiful vision. After its cancellation in 2015, there were rumors of other networks’ picking it up or even producing a film, but talks reportedly fell apart and everyone moved on. For now. If we had to bet on one show from this list actually returning, it would be Hannibal, and that’s (mostly) not just wishful thinking. Earlier this year, Mikkelsen revealed that Fuller was still working on something related to Hannibal, a possible fourth season — a reworking of Clarice Starling and The Silence of the Lambs. Yes, please, now.

Jericho (2006–2008)
This CBS hit returned from the dead once — why not again? It was canceled after its first season in 2007, but fans were so smitten that they started a grassroots campaign that persuaded CBS to change its mind … and it actually worked! Then CBS canceled it again. The fans remain rabid, however, because of how many plot threads season two left unresolved, and there were rumors of a film way back in 2009. Interest has remained strong enough that there have been “seasons” in comic-book form about this postapocalyptic vision of how people would band together and break apart after society crumbled. Given how much we’ve loved incarnations of the end of the world in the decade since the show was canceled — everything from Mad Max: Fury Road to The Walking Dead — it feels like Jericho was ahead of its time.

The Last Man on Earth (2015–2018)
“Oh farts.” Will Forte’s four-season Fox comedy ended with a cliffhanger, as everyone’s favorite group of survivors discovered that they were very much not alone. For its 2015–18 run, Forte and his talented ensemble deftly balanced episodic comedy with an overall arc about the quirky personalities who thought they were, yes, the last people on Earth. And then the fourth season ended with a surprise: They spotted dozens of people in gas masks. And then … Fox canceled it. Sixty-seven episodes of plot, and we don’t get to know what happens next? Let’s tie it up! Forte has even revealed what was going to happen next. Surely Netflix, Amazon, or even Fox could make this happen for the fans who have devoted dozens of hours to this show.

Pushing Daisies (2007–2009)
Bryan Fuller’s fantasy-mystery hybrid was one of the best shows of the aughts but never quite found the audience it needed to stay on ABC. One has to imagine that if the show had been canceled after only 22 episodes today, some streaming service would pick it up and continue the adventures of Ned, Chuck, Emerson, and Olive Snook. Lee Pace starred as a baker who can bring dead things back to life. Want to know who killed someone? Ned can wake them up and ask them. The concept probably sounded too cheesy and out-there for 2007–8 audiences, but those who did check out this wonderful show fell in love. In just two seasons, Pushing Daisies landed 17 Emmy nominations and has been rumored for reboot in some form for the past decade — there were even stories of a potential Broadway musical. It even won an award in 2015 from Esquire for the show that fans most wanted to see rebooted. Cheers to that.

Reunion (2005)
Some shows are on this list because they were brilliant. Some shows are on this list because they were beloved. ABC’s Reunion wasn’t really either, but there’s something so cruel about the way it ended. It’s a mystery that never got solved. Imagine reading half of a mystery novel only to learn that the back half is full of empty pages. That’s what happened to fans of Reunion, a 2005 drama about the murder of someone on the night of their 20-year class reunion. The show jumped back and forth in time, filling in the lives of the leading character and inching closer to which one may be a killer. And then it was canned after only nine episodes had aired (four more were filmed but never broadcast in the U.S.). In some international markets, a narrator tied up some of the plot threads, but it’d definitely be appropriate for a show called Reunion to have one of its own to solve its mystery.

Santa Clarita Diet (2017–2019)
The ink is barely dry on the eviction notice given to this show by Netflix, so the cast and creative team are probably still available. Grab them while you can and give us a Netflix original movie that ties up the saga of Joel and Sheila Hammond, California Realtors caught in a unique situation when Sheila dies and comes back to life with a taste for blood. The depressing thing about the SCD cancellation is that the show has gotten smarter and funnier with each season, and it contains a ramifying mystery that will now never be solved. The chemistry and timing between Timothy Olyphant and Drew Barrymore have only improved as it went on. Why give a show like this so much time to develop into something great only to pull the rug out from under it? And what’s particularly frustrating is that Netflix shows often have a clause that stops them from being picked up by another network for as many as five years or more. If it takes that long, forget one movie — maybe someone like Amazon or Hulu could do a few. And maybe they could each be half an hour long. And there could be like 12 of them.

Southland (2009–2013)
One of the best cop shows of the Peak TV era, Southland was already resurrected once — rebooted by TNT after being canceled by NBC after one season. It really found its footing on TNT, developing into a brilliant ensemble piece anchored by Michael Cudlitz and Regina King. However, it ran for only four more years there. Not only did it feel like there were more stories to tell with these rich, complex characters, but the fifth season ended on a cliffhanger, with Cudlitz’s John Cooper being shot by responding officers after an altercation. It feels like a cheat that TV history should correct. If you need any more convincing: Regina King, who’s won a gaggle of Emmys and an Oscar since then, says she’s ready.

Terriers (2010)
FX has been one of the most ambitious and protective networks when it comes to nurturing unique programming (Legion and Baskets likely wouldn’t find a home anywhere else). So what happened with Terriers? It would appear to have fallen awkwardly between the network’s two eras — the one that defined it with shows like The Shield and Rescue Me and the current one of daring programming like Pose and Fosse/Verdon. Donal Logue and Michael Raymond-James starred as California private eyes in a program that also pushed genre definitions a decade before that was commonplace. Critics adored Terriers, with a number of important ones putting it on their top-ten lists, but that wasn’t enough to keep it from being canceled after only 13 episodes. FX has come so far since axing this in 2010, why not close the circle by giving fans a reunion movie a full decade later?

https://www.vulture.com/article/tv-s...ve-movies.html
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TV
TUESDAY
MAY 28: BIANCULLI’S BEST BETS


RUNNING WITH BETO
HBO, 8:00 p.m. ET
Wonder if his wife got a chance to watch with taking care of 3 kids & all.
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^^^ The family can probably afford the DVR surcharge.

TV/Production Notes (Broadcast)
ABC Orders Multi-Cam Comedy Pilot From Nate Bargatze, Jerrod Carmichael
By Joe Otterson, Variety.com - May 30, 2019

ABC has formally ordered a pilot for the comedy series based on the life of comedian Nate Bargatze, Variety has learned.

The untitled multi-cam project was originally set up with a put pilot commitment at Fox before moving to ABC last year. Bargatze will star in the series in addition to writing and executive producing. The project will be in contention for a potential midseason pickup.

The series follows Nate and his wife, who choose to move from California to Nate’s native Tennessee, where his parents still live, to raise their six-year-old daughter. They find the pursuit of a simple life to be much more complicated than they imagined.

Jerrod Carmichael will co-write and executive produce along with Bargatze. Ari Katcher and Dan Shaki will also write and co-executive produce. Danielle Sanchez-Witzel will executive produce and serve as showrunner. Tim Sarkes and Alex Murray of Brillstein Entertainment Partners will executive produce. 20th Century Fox Television will produce. Both Carmichael and Sanchez-Witzel are set up under overall deals at 20th TV.

Bargatze is a stand up comedian known for multiple appearances on shows like “The Tonight Show Starring Jimmy Fallon,” “Conan,” and “@midnight.” He released his first one-hour special “Nate Bargatze: Full Time Magic” in 2015 and appeared on “Comedy Central Presents” in 2011.

Carmichael, meanwhile, has been very active in the multi-cam space for some time now. He previously created and starred in the NBC multi-cam “The Carmichael Show” and executive produced the Fox multi-cam “Rel.” Carmichael is also an executive producer on the Hulu single-cam comedy “Ramy.”

Bargatze is repped by UTA, Brillstein Entertainment Partners, and Ginsburg Daniels. Shaki is repped by APA and Ginsburg Daniels. Carmichael is repped by UTA and APA for touring. Katcher is repped by UTA. Sanchez-Witzel is repped by UTA.

ABC picked up very few comedies for the 2019-2020 broadcast season. The only shows ordered were the “Black-ish” prequel “Mixed-ish” and the Sony-produced multi-cam “United We Fall.”

https://variety.com/2019/tv/news/abc...ot-1203229586/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - May 31, 2019

GOOD OMENS
Amazon Prime Video, 3:00 a.m. ET
MINISERIES PREMIERE:
Neil Gaiman himself wrote the teleplay adaptations for this new six-part miniseries version of the book he and Terry Pratchett wrote, about the coming of the Apocalypse. The result is a playful, visual and musical modern fairy tale that plays like the spiritual and literary descendant of Douglas Adams’ Hitch Hikers’ Guide to the Galaxy. And not just because, in both, the Earth is facing imminent destruction. Good Omens is filled with lively characters and character actors, including Michael McKean as a witchfinder, Miranda Richardson as a dubious spiritualist, Mireille Enos as War, Bill Paterson as a British neighborhood watch “patrolman,” and Jon Hamm as Archangel Gabriel. But the show’s stars, and genial antagonists and eventual teammates, are David Tennant and Michael Sheen, playing, respectively, a demon and an angel, whose relationship, like the scope of this story, dates back to the Garden of Eden. All that, and the music of Queen and Tori Amos, too…

MY NEXT GUEST NEEDS NO INTRODUCTION WITH DAVID LETTERMAN
Netflix, 3:00 a.m. ET
SEASON PREMIERE:
This season’s guests include Ellen DeGeneres, but David Letterman’s guest guaranteed to get the most attention this season, because of the seeming oil-and-water chemistry between host and guest, is Kanye West.

MARVEL'S AGENTS OF S.H.I.E.L.D.
ABC, 8:00 p.m. ET

Last week’s episode was a rarity, played mostly for laughs upon a galactic casino. This week, S.H.I.E.L.D. gets back to its more dour basics: saving the universe while looking out for fellow team members.

DEADWOOD: THE MOVIE
HBO, 8:00 p.m. ET
MOVIE PREMIERE:
Oh, my, what a total treat this is. Thirteen years after ending abruptly and prematurely, HBO’s Deadwood returns – with a telemovie sequel that serves as a perfect end to one of TV’s most perfect series. The acting is fabulous, and Milch’s script is a triumph. For my full review on NPR’s Fresh Air with Terry Gross listen to today’s show or visit, later this afternoon, the Fresh Air website. (The Friday program I host also makes room for replays of vintage interviews with Deadwood star Timothy Olyphant and series creator David Milch.)


http://www.tvworthwatching.com/

* * * *

TV Review (Cable)
The Aim is Perfect in 'Deadwood: The Movie'
By Ed Bark, TVWorthWatching.com's 'Uncle Barky's Bytes' - May 31, 2019

The abundant profanity remains in place. How could it not?

This time, though, add equal parts poignancy. Deadwood, the series that died too soon after three season on HBO, breathes its last with a letter-perfect eulogy. Deadwood: The Movie (Friday, May 31 at 8 p.m. ET) reunites the principal characters and serves each of them exceedingly well. Who could ask for anything more?

The film is set in 1889, a decade after the series left off. In real time, it’s been close to 13 years since HBO aired the last original episode of Deadwood on August 27, 2006. Although it’s been a long time in coming, with several false starts, the movie couldn’t come soon enough for creator David Milch. In 2018 he was diagnosed with Alzheimer’s disease. He has no other projects in the works, so this could be his epitaph.

Deadwood’s closing episode as a series ended with vile, vengeful, land-grabbing George Hearst (Gerald McRaney) riding out of town while Marshal Seth Bullock (Timothy Olyphant) sneered his contempt for him. Now Hearst is back, this time as a U.S. senator on the occasion of South Dakota becoming the 40th state. For purely voracious business purposes, he covets the land owned by longtime Deadwood resident Charlie Utter (Dayton Callie), who remains adamant about not selling. But Hearst, as he’s shown before, will stop at nothing.

Bullock is still Deadwood’s straight-shooting, deliberate striding, flinty-eyed marshal. Married to Martha Bullock (Anna Gunn) out of duty as much as love (she had been the wife of his late cavalryman brother), Bullock retains feelings for Alma Ellsworth (Molly Parker), herself a widower whose daughter Sofia (Lily Keene) has grown into a young lady.

Meanwhile, brothel owner Al Swearengen (Ian McShane), fastest f-bomber in the West, is fading fast from a life of heavy drinking and very bad behavior. At the end of the series, he slit one of his prostitute’s throats and put her in a coffin as a stand-in (so to speak) for Trixie (Paula Malcomson), who had tried to kill Hearst but only wounded him. The ruse worked. But 10 years later, Hearst has come to believe he was duped.

Calamity Jane (Robin Weigert) also has returned to town, riding a horse in her usual drunken state while hoping to rekindle a beyond platonic relationship with Joanie Stubbs (Kim Dickens). Weigert’s performance has always been my favorite, and she continues to excel. Another key character, Bullock’s best friend, Solomon “Sol” Star (John Hawkes), has hankerings, too – for Trixie.

Scenes from the series’ past – it's been a long time, after all – are nicely intercut in very brief form to remind viewers of events that continue to resonate. Deadwood’s trademark blend of literacy and crudity continues to harmoniously co-exist. Bullock can be a man of few words, all of which count for something. “My job ain’t to follow the law,” he tells Swearengen in no uncertain terms. “My job is to interpret it, then enforce it – accordingly.”

A few major characters are missing, but through no fault of Milch’s. Principally among them is the late Powers Boothe, who played cutthroat Cy Tolliver. Titus Welliver, who played Swearengen cohort Silas Adams, was otherwise occupied as the star of his Amazon Prime series Bosch.

Deadwood: The Movie ends with beautifully paired scenes featuring Bullock and Swearengen. Both are moving in their own distinctive ways, bringing one of HBO’s very best series to an end that does David Milch proud. Very proud indeed.

http://www.tvworthwatching.com/BlogP...x?postId=18290
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TV Review (Streaming)
'Good Omens' (Amazon Prime)
By Tim Goodman, The Hollywood Reporter - May 29, 2019

Before delving too deep into the delightful, intoxicating world of Amazon's new series, Good Omens, first this: Suzanne M. Smith.

She cast this beauty, and David Tennant and Michael Sheen are a fantastically fun dynamic duo, joining Sandra Oh and Jodie Comer from Killing Eve as television's most magnetic pair of leads at the moment. But Good Omens also has a wonderfully deep cast and, beyond the ones mentioned soon enough, you will find a number of ridiculously spot-on cameos from actors (not spoiled here, since that's part of the fun of the series) who seemed to be having an enormously great time while making this limited series (though a second season is not off the table).

Based on the book Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, by esteemed writers Terry Pratchett (Discworld) and Neil Gaiman (American Gods, The Ocean at the End of the Lane), both of whom are legends in the fantasy world (and Gaiman beyond), Good Omens was a labor of love that finally came about, Gaiman has said, because one of the last things Pratchett told him before his death in 2015 was to make sure a filmed version became reality.

It finally has, with great world-building fantasy glee, as Gaiman wrote all six episodes and shepherded the complex (and funny) story to an end that works both as a full conclusion should he not want to write a second season (Gaiman has a lot of projects) and as a pause before a logical second season.

The series was directed entirely by Douglas Mackinnon (Sherlock, Doctor Who, Line of Duty), giving it visual panache and, when the fantasy elements call for it, visual humor as well.

The end result is a feel-good romp and creative triumph that is easily digestible and never flags in search of entertainment.

Riffing on (and debunking) biblical themes, Good Omens is primarily the story of Aziraphale (Sheen) and Crowley (Tennant), two angels we first meet guarding the Garden of Eden. In creative flashes both forward and backward, we quickly find out that Crowley (formerly Crawly when he was a snake) quickly became a fallen angel and is now, well, a demon. He's serving Satan, while Aziraphale is serving God, and both of them are ambassadors on Earth, which as you know is a mere testing ground for humans and the prequel for the ultimate war between heaven and hell, good and evil.

While that grand plan — "ineffable," in some ways, as Aziraphale notes — is sliding through the centuries to its beginning, with the birth of the antichrist and the end of the world, Aziraphale and Crowley happen to realize that it might not matter what they do.

"So we're both working very hard in damp places and we're just canceling each other out," Crowley notes, after years of essentially sitting on the shoulders of humans, either guiding them to bad things or keeping them from that temptation. "It would be easier if we just stayed home."

And so the two end up becoming, at first, complicit in a scheme to cover for the other and make their long lives easier. And then they become friends. And then they become the best of all friends. And it's no stretch at all to imagine, after you've seen all six episodes of Good Omens, that this might be one of the most convincing, lovingly told (if chaste) gay love stories in TV history.

But in the meantime, that friendship is funny, with Sheen's Aziraphale becoming something of a legendary gourmand (once almost falling to the guillotine when he left England for a good meal in France) and Tennant's Crowley being something of a glamorous rock star, in all-black, driving fast cars and finding creative if not very painful ways to torture humans (like the M25, the London Orbital Motorway, which is a traffic nightmare, or knocking out cell reception periodically in all of England, etc.). In hell, Satan's minions are mostly a gross lot, with peeling skin, hordes of flies around them or frogs and other animals on their heads, with drab, stinking clothing, while Crowley is all swagger and suave. Both angel and demon, it turns out, kind of love Earth and the people who are creating things in it. And so they want to protect it from the coming end.

Though Good Omens leaps around with creative abandon, the main story is the birth of the antichrist 11 years ago (the exact nature of when "now" is remains unclear, but there are iPhones, if that helps) and how, through a series of "human" errors, the plan to switch the baby of an American ambassador (Nick Offerman) with said antichrist goes awry. The story also involves the most prophetic and accurate witch ever (played to many moments of wry smiles), which helps guide her ancestors and many others here. Too much more of the plot will spoil the ensuing fun, plus it's not exactly easy to explain the whimsical choices that Pratchett and Gaiman made in the book (though this series, thanks to Gaiman, never seems too complicated and each new twist is often absurd enough to just go with).

The entire thing is narrated by Frances McDormand as God.

As they go about their business on Earth, Aziraphale reports to the Archangel Gabriel (Jon Hamm), and Crowley reports to Beelzebub (Anna Maxwell Martin), while being tormented by one of hell's watchers, Hastur (Ned Dennehy), who assumes, correctly, that Crowley isn't really spreading evil and converting people on the planet the way he should be.

Adam (Sam Taylor Buck) is flanked by representatives of heaven and hell: angel Aziraphale (Michael Sheen, left) and demon Crowley (David Tennant). For the latter, who was the snake that tempted Eve in Eden, fabrics were lined with red embroidery to symbolize shed scales.

But as others conspire against them (and, of course, the world is about to end in 11 days), Crowley and Aziraphale, disparate souls, need each other more than ever. It's a testament to Good Omens and, as noted above, Smith, that while all the madcap plot twists and eccentric cameos keep things humming right along, it's the performances of Tennant and Sheen that make every minute they are in it stand out. While Tennant gets the juicier role, exaggerating his walk to be half runway model, half rock god, with flowing redheaded locks and steam punk sunglasses, that only works as it does because of Sheen's delightfully worried, stammering sweetness (and Aziraphale's love of fine but staid clothing), constantly worried about the rules they are breaking to stave off the war of heaven and hell.

These two actors are so emphatically into their roles that they make the hourlong episodes fly by and the absolute need for a second season apparent — if for nothing else than to watch further tales of this disparate duo meeting throughout history to enjoy each other's company.

Your willingness to embrace the show will probably rely, beyond those two magnetic performances, on your interest in fantasy and sweet-natured comic absurdity, not unlike what unfolds in, say, the Harry Potter movies with just enough snark and cynicism to nudge it toward sharper angles (though coming up plenty shy of something darker like Lord of the Rings).

But much of the fun in Good Omens comes from the over-the-top fantastical elements and how the various surprise cameos (and others best left for their own discovery) make everything feel buoyantly, giddily surreal in a tale well told. Listen, this is a story that not only involves the modern-day appearance of the Four Horsemen of the Apocalypse (Pestilence is replace by Pollution), two of which are played by women and all of them on thundering motorcycles, but also the appearance of the Kracken and the rise of the Lost City of Atlantis. So if that's going to be a problem for you, maybe look elsewhere.

Everyone else who is all-in should not only devour Good Omens but hope that Gaiman and Amazon can make a second season miraculously appear.

Good Omens
Premieres: Friday (Amazon Prime)
The Bottom Line: Oh, absolutely. Have some fun.


https://www.hollywoodreporter.com/re...review-1214258
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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)
From Zap2it.com's TV Grid - May 31, 2019

ABC:
8PM - Marvel's Agents of S.H.I.E.L.D.
10PM - 20/20: The Final Act
* * * *
11:35PM - Jimmy Kimmel Live! (Jon Hamm; Naomi Scott; Mavis Staples and Ben Harper perform)
(R)
12:37AM - Nightline

CBS:
8PM - Whistleblower
9PM - Hawaii Five-0
(R)
10PM - Blue Bloods
(R)
* * * *
11:35PM - The Late Show With Stephen Colbert (Anne Hathaway; attorney Ari Melber)
(R)
12:37AM - The Late Late Show With James Corden (Max Greenfield; Maggie Siff)
(R)

NBC:
8PM - Blindspot
9PM - Blindspot (Season Finale)
10PM - Dateline NBC: Facing the Music
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Emma Thompson; Sophie Turner; Paula Pell; baker Amirah Kassem)
(R)
12:37AM - Late Night With Seth Meyers (Tracy Morgan; TV personality Willie Geist; Ingrid Andress performs)
(R)
1:38AM - Last Call With Carson Daly (Anna Chlumsky; Robert DeLong performs; King Keraun)
(R)

FOX:
8PM - Beat Shazam
(R)
9PM - MasterChef
(R)

THE CW:
8PM - Masters of Illusion 21st Anniversary Special
9PM - Whose Line Is It Anyway? (Charles Esten; guest comic Jeff Davis)
(R)
9:30PM - Whose Line Is It Anyway? (Guest comic Greg Proops)
(R)

PBS:
8PM - Washington Week
8:30PM - Firing Line With Margaret Hoover
9PM - Monrovia, Indiana (Premiere, 2018, 2 1/2 hrs.)

UNIVISION:
8PM - La Reina Soy Yo
9PM - Silvia Pinal, Frente a Ti
10PM - Por Amar Sin Ley

TELEMUNDO:
7PM - Un Poquito Tuyo
9PM - Betty en NY
10PM - La Reina del Sur

ESPN:
7PM - 2019 Women's College World Series: Arizona vs. UCLA (LIVE)
9PM - Women's College World Series Update (LIVE)
9:30PM - 2019 Women's College World Series: Oklahoma State vs. Oklahoma (LIVE)

ESPN 2:
7PM - College Baseball, NCAA Tournament: Ohio State vs. Vanderbilt (LIVE)
10PM - WNBA Basketball: Las Vegas Aces at Phoenix Mercury (LIVE)

ESPN U:
7PM - College Baseball: NCAA Tournament: Stony Brook vs. LSU (LIVE)
10PM - College Baseball, NCAA Tournament: Cincinnati vs. Oregon State (LIVE)

CBSSN:
7:30PM - WNBA Basketball: Seattle Storm at Atlanta Dream (LIVE)
10PM - Lion Fight 55 (120 min.)

HBO:
8PM - Deadwood: The Movie (Premiere, 2019, 120 min.)
10PM - Real Time With Bill Maher (LIVE: Presidential hopeful and former Gov. William Weld (R-Mass.); filmmaker John Waters; political analyst Kirsten Powers; political reporter Jonathan Swan; defense analyst Lawrence Wilkerson)
* * * *
11PM - Wyatt Cenac's Problem Areas

HISTORY:
8PM - Ancient Aliens: Declassified - The Desert Codes
9PM - Ancient Aliens: Return to Antarctica (Season Premiere, 63 min.)
10:03PM - Unidentified: Inside America's UFO Investigation (Series Premiere, 62 min.)

LIFETIME MOVIE NETWORK:
8PM - Movie: Secrets of the Sisterhood (2019)

MTV:
8PM - Ridiculousness: Kane Brown
8:30PM - Ridiculousness: Chanel and Sterling CXIII

NBCSN:
7PM - Swimming, FINA Champions Series: Day 1 (120 min., LIVE)
9PM - Monster Jam: Orlando - Racing

A&E:
9PM - Live PD (3 hrs., LIVE)

SHOWTIME:
9PM - Wu-Tang Clan: Of Mics and Men (Finale)
10PM - Quiet Storm: The Ron Artest Story (Documentary Premiere, 2019)

WeTV:
9PM - Mama June: From Not to Hot (Season Finale, 86 min.)

CINEMAX:
10PM - Warrior

BBC AMERICA:
11PM - The Graham Norton Show (Jessica Chastain; Michael Fassbender; Sophie Turner; James McAvoy)

COMEDY CENTRAL:
11PM - The New Negroes With Baron Vaughn and Open Mike Eagle: Representation
11:30PM - The New Negroes With Baron Vaughn and Open Mike Eagle: Fear (Season Finale)


https://tvlistings.zap2it.com/?aid=gapzap

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Technology/Critic's Notes
‘Screen Time’ Is Over
The phrase can’t remotely capture our ever-shifting digital experience, social scientists say. Say hello to the “screenome.”
By Benedict Carey, The New York Times - May 31, 2019

The debate over screen time is typically accompanied by a good deal of finger-wagging: The digital experience is a ruinous habit, akin to binge-eating curly fries, gambling on rooster fights or drinking whiskey with breakfast.

Meanwhile, social scientists who are trying to study the actual psychological effects of screen time are left in a bind. For one thing, good luck finding a “control group” of people living the nondigital life or anything close to it. Children pick up devices early, and by their teens are spending six hours a day and more on screens — with phones, laptops and iPads, guzzling from the spigot of Netflix, Hulu and YouTube.

Moreover, standard measures such as “average daily Facebook usage” are now practically meaningless. Consider what a person can do in just the time it takes to wait for a bus: text, watch a comedy skit, play a video game, buy concert tickets, take five selfies, each with a different set of cartoon ears.

Learning how that behavior shapes an individual’s life experience requires an entirely new approach, one that recognizes that screen time is no mere habit but now a way of life. So argued a consortium of social and data scientists recently in the journal Human-Computer Interaction. The phrase “screen time,” they noted, is too broad to be scientifically helpful; it cannot remotely capture the fragmented, ever-shifting torrent of images that constitutes digital experience.

“It’s very counterintuitive to say at this stage, but the fact is, no one really knows what the heck people are seeing on their screens,” said Byron Reeves, a professor of communications at Stanford and an author on the paper. “To understand what’s happening, we need to know what exactly that is.”

Researchers have linked daily time spent on specific platforms, like Facebook, to measures of well-being and mental health. But to build a more compelling understanding of the effects of digital experience, they’ll need far more, the new paper argues. Scientists need to look over people’s shoulders, digitally speaking, and record everything, on every device, that an individual sees, does, and types. The researchers call this ultra-fine-grained record a “screenome,” adapting the concept from “genome,” the full blueprint of one’s genetic inheritance. Each person’s daily screenome is similarly unique, a sequential, disjointed series of screens.

“The point is, your thread is yours, mine is mine, and we use it to regulate our emotions, to balance facts with fun, in our own idiosyncratic way,” said Dr. Reeves, whose colleagues on the paper included researchers from Penn State University, Boston University, Apple Inc. and Toyota Research Institute. “We are not beholden to media companies to organize or direct what we do.”

In arguing to develop such an approach, the researchers presented the digital threads of several dozen people, recorded with consent: screenshots taken every few minutes for periods ranging from a day to several days. Those records showed that people switched from one screen activity to another continually, every 20 seconds on average, and rarely spent more than 20 minutes uninterrupted on any one activity, even a full-length movie.

One participant’s digital thread revealed when during the day her screen use was most- and least-concentrated, and where she was during those periods. Another subject’s record made clear why he stopped reading a news story about a couple being dragged off a United Airlines flight and switched to another site: in order to confirm his own reservations on United for an upcoming trip.

Perhaps most intriguing, the paper presented color-coded graphs of the digital threads of 30 college students, monitored over four days. The graphs revealed wide differences in what people used their screens for, as well as in their patterns of switching from one kind of activity, like email, to another, such as entertainment or news. Some people sprinkle brief periods of work between huge chunks of streaming movies and YouTube, for instance; others appear to be bouncing between email, work, and news sites compulsively.

These patterns can vary day to day, of course, for any of us. The deeper question for researchers, and one which they have not had an easy way to study, is how these shifting patterns shape daily experience. The most commonly cited downside of excessive screen time is low mood, or depression. In a recent study, researchers led by Johannes Eichstaedt of the University of Pennsylvania examined (with permission) the Facebook activity of 114 people diagnosed with depression. Using machine-learning algorithms, the team analyzed the content of the users’ posts from the months and years before receiving the diagnosis, and compared these to the posts of similar people who did not go on to develop depression.

The analysis found differences in how frequently certain kinds of words appeared. For instance, people who later received a depression diagnosis talked about themselves on Facebook measurably more often than people who did not develop the mood problem. The analysis, while small by big-data standards, was the first to link to diagnoses in medical records, and it solidified previous correlations between online language content and low moods.

“This is a well-documented process, that suffering generally contracts focus on the self, whereas mental well-being extends focus beyond the self,” Dr. Eichstaedt said.

The researchers found that, by analyzing Facebook language in this way, they could predict whether a person was on their way to being diagnosed with depression about 70 percent of the time. “That’s about the rate you get with clinical questionnaires, and we haven’t been able to do better so far,” he said.

Incorporating screenomes from even a sample of people who became depressed would put the Facebook data in a far richer context, and possibly clarify whether online experience indeed lowered people’s moods — and why. It might also reveal shared patterns of use in those who recovered from depression.

The link between screen time and personality is another area of intense interest for researchers. In a 2015 study, Dar Meshi, a cognitive neuroscientist at Freie University in Berlin, led a group of researchers who described the brain circuits that support the impulse to share, and which are likely linked to levels of social-media use.

Here, too, gathering the full screenomes of at least some heavy users of social media might clarify how brain biology relates to screen use. “There are so, so many different variables that devices can record, not just content but speed of use, keyboard habits, frequency of switching sites,” said Dr. Meshi, who is now at Michigan State University. “We would be foolish to ignore these” as data sources.

For now, screenome analysis may appeal primarily to people drawn to biotechnological self-discovery — those who send their saliva to DNA-testing companies or wear devices that track their footsteps and heart rate.

But if the idea takes hold in social science, it could prompt a fundamental shift in the kinds of questions researchers pose. “How much screen time is too much” is a puzzle for a past era. Asking which patterns of screenome activity are problematic, and for whom, is the better inquiry for today.

Benedict Carey has been a science reporter for The Times since 2004. He has also written three books, “How We Learn” about the cognitive science of learning; “Poison Most Vial” and “Island of the Unknowns,” science mysteries for middle schoolers.

https://www.nytimes.com/2019/05/31/h...screenome.html

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Once upon a time, Nayan woke up very early (2 am to be exact) to be one of the (many) first ones to play one of World of Warcraft's new expansions. Nayan also woke up early today (2 am to be exact) to watch Good Omens (David Tennent in leather pants...come on!). Nayan will also fight like mad to stay awake to watch the Deadwood movie tonight. May she make it

Good Omens...10 stars. Watch it.

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TV Notes (Broadcast)
NBC cancels Abby's, The Enemy Within and The Village
By Lynette Rice, EW.com - May 30, 2019

The network also axed The Enemy Within and The Village, two other shows that bowed midseason on NBC. Enemy only averaged 6.9 million viewers, and The Village, 5.7 million.
Double Crap!

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Scripps National Spelling Bee on ESPN tonight BUT sportsbooks arent taking $$ wagers - they do amatuer events like college/olympics but evidently not this.
The bookies never would have guessed an 8-way tie.
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Next week's Jeopardy! shows were recorded 3/12 (and I suspect on 3/13 for the week after).

Spoiler!

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The bookies never would have guessed an 8-way tie.
8 payouts kinda like Super Bowl XIII on a way smaller level.
Was after midnight but i thought they would just keep going - even if they exhausted the harder words just mental fatigue should start kicking in.
Theyre going to have to do something again though - theyve had tiebreakers but scrapped it this yr - cause the last few yrs now theyve broken the bee.

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TV Notes (Broadcast)
NBC cancels Abby's, The Enemy Within and The Village
By Lynette Rice, EW.com - May 30, 2019

The experiment is over: NBC has canceled Abby’s, the freshman comedy about an outdoor neighborhood bar that was shot al fresco in front of an audience.

The series, which starred Natalie Morales in the lead role, only averaged 1.7 million viewers.
Bah! Abby's was just getting into a groove and I was enjoying the banter. It had a slow start but really seemed to get it's legs mid season. The Village was OK, I enjoyed it but odds are I'd have dropped out after a bit as I did with This is Us, that show just got to be too much for me.
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TV Notes (Broadcast)
Former ‘CBS Evening News’ anchor Jeff Glor moving to Saturday mornings
By Joey Morona, Cleveland Plain-Dealer - May 31, 2019
EXCERPT
CLEVELAND, Ohio -- Former “CBS Evening News” anchor Jeff Glor is staying with the network.

Glor, whose 18-month stint on the newscast ended earlier this month, will co-host "CBS This Morning: Saturday" alongside current hosts Dana Jacobson and Michelle Miller. He replaces Anthony Mason, who moved over to weekday mornings.

https://www.cleveland.com/entertainm...-mornings.html
Saturday mornings, network Siberia.
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Saturday mornings, network Siberia.
Though it's still "warmer" than CBSN.
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TV Notes (Broadcast)
The CW Acquires Season 3 of Legal Drama ‘Burden of Truth’
By Margeaux Sippell, TheWrap.com - May 31, 2019

The CW has acquired the rights to the third season of Canadian legal drama “Burden of Truth.”

Season 3 will have eight hour-long episodes, and production will begin this summer in Winnipeg, Manitoba, Canada. The Canadian-produced series will air on The CW in 2020.

Season 2 of the series will make its U.S. debut this Sunday, June 2 at 8/7c, on The CW.

“Burden of Truth,” stars Kristin Kreuk as Joanna Chang, a big city lawyer who returns to her hometown to take on what she thinks is a simple case, only to find herself in a fight for justice for a group of sick girls. The series also stars Peter Mooney (“Rookie Blue”), Alex Carter (“NCIS”), Benjamin Ayres (“Saving Hope”), Nicola Correia-Damude (“Shadowhunters: The Mortal Instruments”), Meegwun Fairbrother (“Hemlock Grove”) and newcomer Star Slade.

The storyline for Season 3 has not yet been announced.

Per the network, after fighting for the justice of five sick girls in her hometown of Millwood, corporate attorney Joanna Chang (Kreuk) finds herself at a top law firm in Winnipeg ready to make a fresh start away from her previous firm. There, a new client draws her into the shadowy world of hackers, activists, and a political movement that won’t take any prisoners. The case leads Joanna through many twists and turns, until she eventually becomes a killer’s target. Her estranged father tries to assist her, which leads to an event that will change both their lives forever.

ICF Films, Entertainment One and Eagle Vision will produce, with executive producers Ilana Frank (“Rookie Blue,” “Saving Hope”), Linda Pope (“Saving Hope”), Adam Pettle (“Rookie Blue”), Jocelyn Hamilton (“Cardinal”), and Kristin Kreuk (“Smallville”). The legal drama is produced with the participation of the Canada Media Fund and Manitoba Film and Music, and with the assistance of the Government of Manitoba – Manitoba Film & Video Production Tax Credit, and the Canadian Film or Video Production Tax Credit. eOne has worldwide rights to the series.

Season 2 of “Burden of Truth” airs Sunday, June 2 at 8/7c on The CW.

https://www.thewrap.com/the-cw-acqui...rden-of-truth/
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TV Notes (Cable)
Vida Renewed for Season 3 at Starz
By Dave Nemetz, TVLine.com - May 31, 2019

Starz just gave Vida fans a reason to celebrate this weekend: The half-hour drama has been renewed for a third season, less than a week after its Season 2 premiere.

Vida stars Melissa Barrera and Mishel Prada as Mexican-American sisters Lyn and Emma, who move back into their L.A. childhood home after their mother passes away. The sisters couldn’t be more different — Lyn is a vegan free spirit, and Emma is a Type-A corporate type — but their mom’s death helps bring them together, especially when they inherit a family-owned bar in her will. In Season 2, “Lyn and Emma must contemplate the relationships in their lives, including their own, and are forced to dig deep to unearth what their mother’s legacy means to them,” per the official description.

The supporting cast includes Ser Anzoategui as Eddy, Chelsea Rendon as Marisol, Carlos Miranda as Johnny and Roberta Colindrez as Nico. Tanya Saracho serves as creator and showrunner. Season 2 of Vida currently airs Sundays at 9 and 9:30 pm on Starz.

“It is a rarity in television today to have a series earn this level of critical praise for two consecutive seasons and spark cultural conversation in the way that Vida has,” Starz COO Jeffrey Hirsch said in a statement. “We are proud to continue to tell this story with Tanya and the incredible cast and crew she has assembled.”

https://tvline.com/2019/05/31/vida-r...eason-3-starz/
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TV/Real Estate Notes (Cable)
You can now buy The Sopranos house
By Marcus Jones, EW.com - May 31, 2019

20 years after the HBO show’s premiere, Tony Soprano’s house on The Sopranos is the newest pop culture pad up for sale.

Located in North Caldwell, New Jersey, the 5,600-square-foot home served as the set of the show’s pilot and is actually the house James Gandolfini, as Tony, drives up to at the end of the show’s iconic opening credits.

The house has a starting price of $3.4 million and is being sold by the Recchia family who has lived in it for 32 years.

If the price feels a bit much, the house really is selling for more than other comparable homes in the neighborhood. The owner tells the New York Times that he believes the home is better viewed as memorabilia than as just another house in the wealthy Jersey suburb.

The house has often gotten visitors from Emmy-winning show’s legions of fans, so the Recchia family has cleverly set up the email address [email protected] to field the many offers bound to pour in for the house.

https://ew.com/tv/2019/05/31/sopranos-house-for-sale/
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