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post #30091 of 32505 Old 06-01-2019, 10:21 AM - Thread Starter
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TV Notes (Cable)
Silicon Valley Will End With Shortened Season 6
By Rachel Paige, TVGuide.com - May 31, 2019

After breaking the internet many times, and then attempting to try to fix the internet many times, the Pied Piper boys are calling it a day. HBO has announced that the upcoming sixth season of Silicon Valley will be its last.

"Silicon Valley has been a career and life highlight for us," executive producers Mike Judge and Alec Berg said in a statement, according to The Hollywood Reporter. "We'll miss it desperately, but we've always let Pied Piper's journey guide the way, and Season 6 seems to be the fitting conclusion. We are forever indebted to our incredible cast, crew and partners at HBO. At a certain point, there's only so much we can do to make the world a better place."

Season 5 of the comedy wrapped in May 2018, and production on Season 6 was pushed until Summer 2019, signaling that this might be the end. The final season will consist of seven episodes in total and will air sometime later this year.

Silicon Valley follows the ups and downs of a startup just trying to do its best every single day. The series, which stars Thomas Middleditch, Kumail Nanjiani, Zach Woods, Martin Starr, Amanda Crew, and Matt Ross, quickly became an awards show darling (with over 40 Emmy nominations). At the end of Season 4, the show weathered the abrupt departure of T.J Miller, who played big personality Erlich Bachman, leaving his character to meditate forever in Tibet. While Silicon Valley moved on without him, there are only so many times Richard and Co. can lose their funding.

Nanijani commented on the show's end on Twitter, writing, "Does anyone wanna buy two boats?"

Silicon Valley will return for Season 6 on HBO sometime in 2019.

https://www.tvguide.com/news/silicon...-season-6-hbo/
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post #30092 of 32505 Old 06-01-2019, 10:25 AM - Thread Starter
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Technology Notes
Apple Plans End of iTunes, to Reveal Glimpses of Its Next Era of Apps and Devices
By Mark Gurman, Bloomberg.com - May 31, 2019

Apple Inc.’s developer conference beginning Monday will move the company closer to a future in which the iPhone is no longer the central cog for other products and services.

Chief Executive Officer Tim Cook and other leaders will make a keynote presentation at the Worldwide Developers Conference in San Jose, California, to unveil updates of Apple’s operating systems and a new approach to apps.

The changes will showcase Apple’s new generation of devices and software: Apple Watches that are more independent from iPhones, iPads with software that reduces the need for a laptop, apps that run on any Apple device, and growth areas such as augmented reality and personal health-care management, according to people familiar with the plans.

While the developer conference is software-focused, the company often sprinkles new hardware announcements in at the event. This year, Apple won't show off a new Apple Watch or iPhone hardware until the fall, but has considered previewing the new Mac Pro at the conference.

Watch Independence
When Apple launched the Watch in 2015, it was positioned as the next major product after the iPhone. But sales haven’t reached iPhone levels and the Watch still relies on the handset. After adding cellular connectivity support to the device two years ago, the company will use its next software update, watchOS 6, to further break it free from the iPhone by adding an on-board App Store, new apps like a calculator and voice recorder, and new messaging features.

iPad as PC Replacement
Apple has pushed the iPad as a laptop replacement for years. But many pro users have noted that while the hardware is capable enough, the software is still behind. WWDC will reveal new efforts to bridge that gap. The company plans enhancements to the home screen and new features around using multiple apps at once to help the iPad satisfy more of your computing needs.

Unified App Strategy
Developers will get new tools to build iOS apps for Mac laptops and desktop computers, essentially unifying Apple’s app ecosystem. This follows last year’s rollout of iPad versions of Apple’s News, Voice Memos, Home, and Stocks apps on the Mac. The expectation is that single versions of all apps will eventually be able to run on every Apple device. As part of the shift, more underlying technologies will also merge.

“The transition might not be finished for a couple of years, but this is the strongest push Apple has made toward the unification of its two platforms,” said developer Steven Troughton-Smith. “Apple and developers can put more effort into one version of things instead of having to build everything twice.”

New Apps
Apple is also ensuring its own core apps are up to scratch after letting some languish in favor of system-wide features. The company is readying major revamps of the Reminders and Health apps and tweaks for Maps, Messages, Apple Books, Home, and Mail. It’s also planning to merge Find my iPhone and Find my Friends into a single app.

Augmented Reality
Since getting into augmented reality in 2017, Apple has added new AR features to its iPhone and iPad software annually. But until Apple launches its AR glasses, the technology, which superimposes 3-D images over views of the real world, is unlikely to take off. At first, the headset will probably need an iPhone for certain tasks. Internal versions of iOS 13 have begun to add technology that supports a future headset, according to people familiar with its development. Apple is unlikely to talk about this publicly at WWDC, but the moves indicate the company is ramping up development of the glasses, which could be showcased as early as 2020.

End of iTunes
iTunes has been the way Apple users listen to music, watch movies and TV shows, hear podcasts, and manage their devices for almost two decades. This year, Apple is finally ready to move into a new era. The company is launching a trio of new apps for the Mac – Music, TV, and Podcasts – to replace iTunes. That matches Apple’s media app strategy on iPhones and iPads. Without iTunes, customers can manage their Apple gadgets through the Music app.

Health
Health care has become a fundamental part of many Apple products. For this year, beyond the revamped Health app for iPhones, the company will push into monitoring hearing health – how loud the external environment is and how loud you’re playing sound on your device or headphones. It also plans more comprehensive menstrual cycle tracking on iPhones, and a pair of health apps for the Apple Watch: menstrual cycle tracking and pill reminders. There will also be a new Sleep Mode for Apple mobile devices and better support for hearing aids.

https://www.bloomberg.com/news/artic...vos-13-mac-pro
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post #30093 of 32505 Old 06-01-2019, 10:29 AM - Thread Starter
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TV/Business Notes (Carriage Dispute)
Small TV Stations Locked in Retrans Dispute with DirecTV
By Mike Farrell, Multichannel News - May 31, 2019

DirecTV is locked in a retransmission consent dispute with 17 small TV stations in 14 markets across the country that have gone dark to the satellite TV giant after attempts to hammer out a deal have failed.

According to DirecTV, stations owned by Deerfield Media, MPS Media, GoCom Media of Illinois, Howard Stirk Holdings, Roberts Media, Second Generation of Iowa, and Waitt Broadcasting went dark Friday May 31 to DirecTV, Uverse and DirecTV Now customers’ homes.

“We want to get these local stations back into our customers’ channel lineups as soon as possible,” DirecTV parent AT&T said in a statement. “But by law, each of their owners, who are represented collectively, has exclusive control over their carriage rights.”

Stations involved in the blackout are scattered across the country in cities like Rochester, New York, Flint, Michigan; Eugene, Oregon and Myrtle Beach, South Carolina and include one ABC, one CBS, four NBC, four Fox, six The CW, one MyNetwork TV affiliates and one independent.

According to several of the stations affected, their respective retrans deals expired on March 31, but continued to be available to the satellite giant’s customers through extensions. Two of the station owners — Howard Stirk Holdings and Roberts Media — said they offered DirecTV an unconditional extension earlier this week, but were rejected.

“WEYI-TV [Howard Stirk Holdings’ Flint, Michigan NBC affiliate] regrets the inconvenience this will cause to AT&T/DirecTV subscribers who want to continue to watch the extremely popular programming that airs on WEYI-TV,” WEYI said in a statement on its website.

On its website, KMTR, a Eugene, Oregon NBC affiliate owned by Roberts Media, said they too regretted the inconvenience to customers, adding that they could continue to receive programming through other means.

“The station wishes to remind these subscribers that numerous other means exist for receiving the station, including, Dish Network and local cable TV providers,” KMTR said on its website.

AT&T claimed that the stations refused to negotiate, instead opting to go dark as a group.

“We share our customers’ frustration since these owners have refused to negotiate with us and instead unilaterally removed their stations simultaneously,” AT&T said in a statement. “We continue to ask each of these owners to allow our customers to watch while we work this matter out privately. We need their permission to bring their stations back. Yet some have also disconnected their most loyal viewers before.”

“The fact is anyone can now watch all of the same shows for free over the air and, often, via their broadcast network websites or mobile apps,” AT&T continued. “Customers have sent a clear message. They don’t want to keep paying more for channels they don’t care as much about anymore. They deserve more choice over which channels they want to pay for, and the freedom to decide where, when and on what device they can watch their favorite programs.”

Many of the stations were formerly owned by Sinclair Broadcast Group and are still operated by the company through separate shared services agreements. According to sources, many of the stations have hired former Nexstar Broadcast Group exec Duane Lammers, now head of MAX Retrans, to negotiate their deals.

https://www.multichannel.com/news/sm...e-with-directv
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post #30094 of 32505 Old 06-01-2019, 10:30 AM
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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.”
If you haven't seen it yet, it is well worth watching.
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post #30095 of 32505 Old 06-01-2019, 10:33 AM - Thread Starter
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TV Sports/Notes (Cable)
Mets analyst Nelson Figueroa fired from SNY
By Andrew Marchand, EW.com - May 31, 2019

Mets TV analyst Nelson Figueroa has been fired from his job with SNY, The Post has learned.

Figueroa was let go Friday morning after he showed up Thursday in what was described by sources as a state not fit to work. Figueroa allegedly demanded to still appear on SNY’s evening program, “Baseball Night in New York,” but was not permitted to appear.

An SNY spokeswoman confirmed that Figueroa is no longer working at the network. She declined to provide further details.

Figueroa, 45, had been a Mets analyst since 2015, when he replaced Bobby Ojeda. Before this season, Figueroa was demoted as the No. 1 studio analyst, replaced by Todd Zeile, on the Mets’ pregame and postgame shows. Figueroa still appeared on the program, but mostly did spots on SNY’s ancillary programming, such as “SportsNite”.

SNY already was down one analyst. Ron Darling has been out after surgery to have a mass removed from his chest. As a result, Zeile was shifted to game analyst.

Darling is expected to return to the booth this month. Former Mets general manager Jim Duquette is another SNY studio analyst.

Messages left for Figueroa were not immediately returned. His agent, Maury Gostfrand, declined to comment.

Figueroa, a Brooklyn native, is popular among his co-workers and there was shock over the news. Besides SNY, Figueroa has worked in studio for MLB Network.

Figueroa pitched for the Mets for two out of his nine years in the majors. He was 20-35 with a 4.55 ERA.

https://nypost.com/2019/05/31/mets-a...ired-from-sny/
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post #30096 of 32505 Old 06-01-2019, 10:35 AM - Thread Starter
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TV/Production Notes (Cable)
Patrick J. Adams To Star As John Glenn In Nat Geo Astronaut Drama Series ‘The Right Stuff’
By Nellie Andreeva, Deadline.com - May 31, 2019

EXCLUSIVE: In his first series-regular role since Suits, Patrick J. Adams will lead the cast of National Geographic’s scripted series The Right Stuff, based on Tom Wolfe’s best-selling nonfiction book.

Adams will play Maj. John Glenn in the drama from Leonardo DiCaprio’s Appian Way and Warner Horizon Scripted Television. It takes a look at what would become America’s first “reality show,” as ambitious astronauts and their families become instant celebrities in a competition that either will kill them or make them immortal in the quest to be a part of Project Mercury.

Glenn is a revered test pilot and committed family man with unwavering principles. He is the only astronaut to have experienced fame before Project Mercury, and he immediately locks horns with Alan Shepard in an unrelenting fight to be the first man in space.

In the 1983 feature adaptation of Wolfe’s book, Glenn was played by Ed Harris.

The first season of The Right Stuff, which uses Wolfe’s book as its starting point, starts at the height of the Cold War. To combat a national sentiment of fear and decline, the U.S. government conceives of NASA’s Project Mercury, igniting a space race with the Soviets and making instant celebrities of a handful of the military’s adrenaline-fueled test pilots. These individuals, who come to be known as the Mercury Seven, are forged into heroes long before they have achieved a single heroic act. At the heart of a historic drama populated by deeply human characters, archrivals Glenn and Shepard jockey to become the first man in space.

Production will begin this fall in Cocoa Beach, FL. for a 2020 premiere globally on National Geographic.

Subsequent seasons of The Right Stuff will carry through to the epochal Apollo Space Program, where humankind saw one of its greatest achievements — man setting foot on the moon — and missions beyond.

DiCaprio and Jennifer Davisson are executive producers, along with Mark Lafferty, who will serve as showrunner. David Nutter is set to direct and executive produce the series’ premiere episode. Will Staples also is an executive producer. Michael Hampton shepherded this project on behalf of Appian Way.

Since wrapping a seven-season run as a co-lead on USA Network’s Suits, Adams has recurred on the third season of Amazon’s Sneaky Pete. He earned a SAG Award nomination for his role on Suits and directed several episodes of the legal drama, including its 100th.

Adams is repped by ICM Partners, Andy Corren Management and attorney Lev Ginsburg.

https://deadline.com/2019/05/patrick...ay-1202624981/
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post #30097 of 32505 Old 06-01-2019, 10:39 AM - Thread Starter
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Technology Notes
Microsoft warns 1 million computers are still vulnerable to major Windows security exploit
By Tom Warren, TheVerge.com - May 31, 2019

Microsoft revealed a major Windows security vulnerability earlier this month, that could see a widespread “wormable” attack that spreads from one vulnerable computer to the next. We saw a similar flaw back in 2017 which led to the WannaCry malware causing mayhem for thousands of machines.

While Microsoft has released patches for Windows systems, even for older server and Windows XP machines, recent reports have revealed there are at least 1 million systems connected to the internet that can be attacked. “Microsoft is confident that an exploit exists for this vulnerability,” warns Simon Pope, director of incident response at Microsoft’s Security Response Center (MSRC). “It’s been only two weeks since the fix was released and there has been no sign of a worm yet. This does not mean that we’re out of the woods.”

Pope notes that it was nearly two months after the release of patches for the previous EternalBlue exploit when WannaCry attacks began, and despite having 60 days to patch systems, a lot of machines were still infected. The EternalBlue exploit was leaked publicly, allowing hackers to create malware freely. This new BlueKeep flaw hasn’t yet been publicly disclosed, but that doesn’t mean there won’t be malware. “It is possible that we won’t see this vulnerability incorporated into malware,” says Pope. “But that’s not the way to bet.”

This new major Windows security exploit involves a critical remote code execution vulnerability in Remote Desktop Services that exists in Windows XP, Windows 7, and server versions like Windows Server 2003, Windows Server 2008 R2, and Windows Server 2008. These operating systems still make up a big chunk of the overall Windows machines in use, especially in corporate environments. Microsoft is now strongly advising system admins to update machines as soon as possible.

https://www.theverge.com/2019/5/31/1...curity-exploit
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post #30098 of 32505 Old 06-01-2019, 10:52 AM - Thread Starter
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TV Review (Cable)
Deadwood: The Movie, At Long Last
By Matt Zoller Seitz, Vulture.com (New York Magazine) - May 31, 2019

WARNING: SPOILERS for "Deadwood: The Movie" in this review.

Deadwood: The Movie is parting as sweet sorrow. It’s also a film about the necessity of saying good-bye, even when the initial parting occurred long ago, and was so abrupt that no one involved could make sense of it. For a full decade after powerbroker, saloon owner, and gangster pimp Al Swearengen (Ian McShane) was last seen scrubbing the blood of a woman he had to kill in order to save another woman’s life, there were rumors of a pair of movies, or another season, something that would help complete the story and leave fans with something other than the lingering trauma of sudden, violent separation.

At long last, here it is. And true to the spirit of series creator David Milch—an idealist, but in no way a sentimentalist, and a theatrically-minded dialogue-writer whose greatest creation amounted to Sam Peckinpah’s Our Town—it’s not a delayed extension of the old show. Rather, it’s a gentle exploration of why we so desperately wanted one, why it was always impossible to will something like that into creation, and why, contrary to that voice whispering in our ear, we never truly needed it. That need was a metafictional equivalent of one of the intoxicants on display throughout the initial run of Deadwood: a depressant, numbing agent, or hallucinogen, like booze or opium or laudanum or a ball of dope, that kept us from facing the fact that it was time to move on.

Like so many sets of Deadwood episodes, the movie observes Aristotelian unities of time and place, unfolding within the span of three days, never leaving the town except during its opening shots of Alma Garret Ellsworth (Molly Parker) and her now-teenage daughter Sofia (Lily Keene) arriving by train at the same time that Calamity Jane (Robin Weigert) travels by horse to pitch woo to her beloved Joanie Stubbs (Kim Dickens). The working title of the movie was Deadwood: Statehood, in this writer’s opinion a better summation than what HBO ultimately assigned it—not just because it tips off viewers to the story’s organizing milestone (South Dakota being finally inducted into the union), but because it prepares us for a wider reckoning or stock-taking. Ten years on, all of Deadwood’s surviving major players are gathering together to assess the state of the town, the state of their relationships, and their goals for the future, if they have any. (Some don’t. It’s to Milch’s credit that, as in life, a lot of his characters still seem to be living without plans—which, as Al once said, are a way to make God laugh.)

Within these two hours, Milch nestles many moments of public, communal catharsis—what I like to call “Deadwood moments” even when I see them in a context other than Deadwood. Trixie (Paula Malcomson) gives birth to her child with Sol Star (John Hawkes), her labor provoked by the arrival of the gold mogul turned California senator and pontificating ****heel George Hearst (Gerald McRaney), and then marries her man in a ceremony where Al, once her pimp, gives her away.

Another release from the past: Al’s been a little bit in love with Trixie all these years, while Trixie has felt somehow bound to Al, and is as shocked and pleased as we are when he wills the Gem Saloon to her. The simultaneous arrival of Hearst and Alma—yin and yang, dark and light—is another Deadwood moment, gathering the whole town together for a somewhat stilted ceremony designed to once again award Hearst, a murderous man-child who neuters elections that fail to ratify his will, the validation he continually seeks. (Trixie, God bless, won’t give it to him.)

This daytime gathering in the thoroughfare is mirrored by a nighttime incident of mob violence. Seth Bullock (Timothy Olyphant), accessing his inner savagery, allows it to go on until he sees his wife Martha (Anna Gunn), the better angel of his nature, looking on with a mix of disappointment and hope. Seth’s increasing ability to shape and direct, if not necessarily control, his temper is more evidence in this tale of how progress can happen even where you may not expect it.

But here, too, that persistent Milchian awareness of the limits of hope comes into play. We’re aware that a monster like Hearst, powered by money and made respectable by official title, is unlikely to ever be decisively defeated. He can only be temporarily humiliated in a symbolic victory: The rich bastard knocked down in the mud, kicked around a bit, and put in jail for one night, or maybe just a few hours. On a show that’s mainly about the noble but endless and often frustrating war between civilization and savagery, community and individual will, you take any win you can get, however small it may be.

More than anything else, we come away from the film feeling healed somehow. It’s not about any specific promises or assurances. It’s more of a mood. A vibe. And a lot of that comes from a recurrent sense that all of these characters are better off squaring off against the inevitable, accepting defeat where victory is impossible, and making peace with physical decay because none of us can stop it, only slow or hide it. (“Swellings and saggings to the tit I lay at the exactions of time,” Al told Hearst in season three.)

The film is an ironically inverted mirror of the great closing scene of Al in bed, being tended to by Trixie and Jewel (Geri Jewell)—possibly at death’s door from cirrhosis of the liver, though maybe not, but in any case softly raging against the dying of the light. “Our father who art in heaven,” Trixie says. “Let him ****in’ stay there,” Al replies. The final shot of the movie—one of the best in Deadwood history—suspends us at at decision point: a physical Morse code tap that seems to signal a letting-go, yet Al’s hand remains connected to Trixie’s.

But where Al seems determined to live, if only one day more, the show’s creator—who is losing his memory to Alzheimer’s disease, and is keenly aware that this could be his last screenwriting credit—seems to be gently arguing the opposite: Let it go. Let me go. Just let go. Milch, Deadwood’s Prospero, surveys his creations for what is likely the last time, and releases them from their obligations to him, and himself from his obligation to them, and to us. “Release me from my bands,” Shakepeare’s old sorcerer implores the audience, in the play’s closing monologue, “With the help of your good hands.” That Milch would write one of his greatest works and have it subtly argue against the urgent necessity of its own existence is a magic trick worthy of the great Ricky Jay, who—along with so many regular Deadwood castmembers, including Powers Boothe (Cy Tolliver) and Ralph Richeson (Richardson), and so many beloved characters, including Wild Bill Hickock (Keith Carradine), Whitney Ellsworth (Jim Beaver), and Jen (Jennifer Lutheran), the Gem prostitute killed in place of Trixie—didn’t live long enough to see this small miracle.

In the end, the film is more song or eulogy than admonishment—a work of empathy, persuasion, and comfort. We can see with our own eyes that the story went on in Deadwood, just as it did for us. Life went on, even though we weren’t able to keep watching it unfold. Everyone is older now. Some are thicker, greyer, or both. Wu (Keone Young) has consolidated his power and is now as much of a fixture in town as any of the so-called legitimate business people. Samuel Fields (Franklyn Ajaye) has returned to the place that brought him so much grief, going from being self-protectively neutral to aligning himself with the needs of the camp, and his words both herald and encourage the emotional progress of the others. (Fields’ monologue to Bullock about the impossibility of a man with his skin color being treated fairly sums up the show’s unusual awareness of racial as well as class and gender dynamics.) The only significant new character is Caroline (Jade Pettyjohn), a young would-be sex worker whose first couple of days in town amount to a rundown of how different things are than they were ten years ago, as well as an argument presented by multiple characters—including Trixie, who lets Caroline hold her newborn baby, and Jen’s boyfriend Johnny (Seth Bridgers), who says she reminds him of his beloved—as to why she shouldn’t, and needn’t, choose the exact same path as other women who come here. (There are many more women in town than there were on the series, subtly communicating that this is now a slightly more civilized place.)

Fields describes his murdered friend Charlie Utter (Dayton Callie) as seeming as if a weight had been lifted, but many of Milch’s other characters unburden themselves as well, of delusions and denials, unexpressed dreams and ambitions, and false senses of self. Alma lets go of Seth and Seth of Alma, while Martha lets go of her anxiety about Seth still being in love with Alma. (The final image of the Bullocks kissing in the doorway is a callback not just to the iconic final shot of The Searchers, but of the final shot in season two’s “A Lie Agreed Upon Part 1,” which showed Seth embracing Alma in the doorway of her apartment after abandoning his newly-arrived wife in the home that he built for her.

Deadwood: The Movie is so generous, practically profligate, in its fondness for this memory-flash device that the result is a rare example of a film or TV show making good on the old, usually ridiculous notion of a drama’s setting somehow being “another character.” It feels like the hive-mind here, dreaming and speaking, as well as the cinematic embodiment of another long-deceased character, Reverend H.W. Smith (future Rectify creator Ray McKinnon), standing over the grave of Wild Bill and paraphrasing Corinthians: “For the body is not one member but many. He tells us: ‘The eye cannot say unto the hand, I have no need of thee; nor again the head to the feet, I have no need of thee.’ […] All are necessary.”

To that end, Milch, who wrote the script, and director Daniel Minahan, a series veteran, have inserted a number of brief, wordless flashbacks into the story. These at first seem entirely functional—a way of summarizing important bits of backstory for fans who didn’t have time to rewatch the entire series, and perhaps giving non-fans the gist, though honestly it’s hard to imagine why anyone who’d never watched a frame of the series would want to see this coda. But by the time we reach the halfway mark of the story, and they’re still happening, they begin to seem more like 1970s art house cinema-style emotional fragments, collective recollections by the town itself struggling to remember so as not to forget. It’s hard to imagine that Milch, who wrote and rewrote this script while battling the initial stages of Alzheimer’s, was unaware of the extra-dramatic metaphor he was serving up. Upon repeat viewings (as of this writing, I’ve watched the movie three times) the result seems more like a gift from the storyteller to himself, in addition to its value as a summation, benediction, and farewell, a final parting remark on the thoroughfare before tipping the hat and turning to walk away: Say good-bye to Deadwood, and remember.

The final four minutes are the film’s closing Deadwood moment, and one of the very finest, jumping from place to place, character to character, home to home: Alma and Sofia, Seth and Martha, Jane and Joanie, Al and Jewel and Trixie, and on and on, as the score plays an instrumental version of “Waltzing Matilda,” the song that Jewel couldn’t remember the words to. And, suddenly, quietly, as if in a dream, snow begins to fall. Western fans may be reminded that Milch always adored the films of Robert Altman, the directorial version of a Spinoza-styled, non-interventionst God who devised fictional communities—collective organisms, Milch has called them—in order to scrutinize them through art. Milch’s very favorite Altman film, and a huge inspiration on Deadwood, is McCabe and Mrs. Miller, a town-based Western set against snowy backdrops. The show’s language is often called Shakepearean, but it’s also Joycean, as in James, with its spiraling, swooping, constructions and unexpected continuations and stopping points. The final few minutes of Deadwood: The Movie bring Joyce and Altman together, specifically through the perfect closing lines of Joyce’s “The Dead”:

“Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.”

https://www.vulture.com/2019/05/dead...ie-review.html
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Media/Legal Notes
Harvey Weinstein’s $44-million settlement with his accusers is in jeopardy
By Stacy Perman, Los Angeles Times - Jun. 1, 2019

Almost as soon as an attorney stood up in a U.S. Bankruptcy Court in Delaware last week and announced that a tentative $44-million deal had been struck between Harvey Weinstein, his former film studio’s board and a number of women who have accused the disgraced movie mogul of sexual misconduct, the squabbling began anew.

Rather than a round of handshakes, various parties to the negotiations circled the wagons. At once, the proposed settlement was denounced as offering inadequate compensation to the victims while enabling Weinstein and the directors of the Weinstein Co. to evade accountability or liability. The Hollywood producer behind such Oscar-winning hits as “Shakespeare in Love,” “Chicago” and “The King’s Speech” was fired from his company in October 2017 after dozens of women accused him of sexual misconduct.

Attorneys for two of the alleged victims rejected the proposal outright; while another questioned whether this was an attempt to derail the deal and maximize their clients’ position and grab the lion’s share of compensation. Victims expressed disgust at the entire process; one called it “absolutely re-traumatizing.”

The sniping and brinkmanship being played out in public exposed months of behind-the-scenes infighting as negotiations lurched forward. It also revealed several issues and pressure points that have threatened to torpedo the deal at numerous junctures, raising questions about the difficulties inherent in achieving any kind of meaningful settlement for the victims.

“It’s very difficult, in a very high-profile case involving a very large company with significant assets and liabilities, to have everyone come to an agreement,” said Dmitry Gorin, a former L.A. County deputy district attorney who is a partner at the Los Angeles-based law firm Eisner Gorin LLP. “But that is what bankruptcy court is designed to do. Not everyone is going to be satisfied, but you’re limited by what the assets are.”

At stake is a dwindling pot of money, largely put up by insurance companies, to be divided among a growing number of plaintiffs — and paid to lawyers. Under the proposed terms, $30 million would be allocated to the accusers, unsecured creditors and former Weinstein Co. employees; while the remaining $14 million would go to pay legal fees of the studio’s directors and officers. The company filed for bankruptcy in March 2018 and later sold off most of its assets to private equity firm Lantern Capital Partners for $289 million.

Underscoring the challenges, a court hearing scheduled for Tuesday to approve the deal was canceled on Friday, giving the parties more time to hash out their differences, some speculated.

From the start, according to various parties involved, the negotiations have always been fraught and complex. The settlement is contingent upon all of the plaintiffs being in alignment. In this case, there are numerous accusers across multiple jurisdictions, each with their own claims and agendas.

In addition to a class-action suit of alleged victims and former Weinstein Co. employees, there are at least 18 women with individual suits against Weinstein for sexual misconduct, assault or harassment. (Weinstein faces separate criminal charges in New York over multiple accusations of sexual assault.)

According to court filings during the past year, the mediator conducted at least 11 sessions, some of which were described as “highly adversarial.”

While numerous hurdles have threatened to scuttle the deal throughout the process, they have also jeopardized the amount of any potential payout. The current sum on the table is less than half of what was initially proposed when an investor group sought to buy the Weinstein Co. assets last year. That deal, which eventually collapsed, included a victims’ fund of up to $90 million.

According to an individual familiar with the confidential negotiations, last December the parties agreed to a $60-million deal — $50 million of which would go to the victims. Eighteen women pursuing individual lawsuits would each receive $1 million. Then Harvey Weinstein’s insurance company refused to contribute 5% to the fund. Some of the attorneys wanted to proceed despite shortfall, while holdouts refused, and the agreement collapsed.

Then in April, a judge dismissed the former directors and officers of the Weinstein Co. from a federal lawsuit in which several women alleged the directors enabled the producer’s misconduct. The compensation dropped from $1 million to $500,000 since the directors were no longer on the hook to contribute to the victims’ fund.

From the very beginning, I never thought we’d see a penny.

A continuing point of contention is whether to accept the amount on offer with the individual suits receiving $500,000, and the remainder to be split among the so-called class-action lawsuit applicants. The class payout will be determined based on suffering and severity of the claim.

Consensus about what path to follow remains elusive.

While some victims are outraged that Weinstein is not personally contributing to the settlement, others say they are willing to sacrifice if it means a settlement for some.

A small number of attorneys, including those with clients whose allegations are the subject of a criminal investigation, said they would seek to pursue Weinstein individually for a settlement or a jury verdict and are waiting for a resolution of criminal proceedings before moving forward.

“It’s problematic the way it’s being approached by people trying to orchestrate a settlement,” said Thomas Peter Giuffra, attorney for Alexandra Canosa, a producer on the Netflix series “Marco Polo,” who alleges that Weinstein raped her.

He finds it particularly distasteful that former board members will have their legal fees reimbursed. “It doesn’t sit well with me.” Singling out Bob Weinstein, he said, “I’m hard-pressed to think he didn’t know this was going on and to take money out of the pockets of the actual victims is just wrong.”

A representative of Bob Weinstein could not be reached. Harvey Weinstein has denied claims that he engaged in non-consensual sex. A spokesman for the former mogul declined to comment.

Insurance companies, potentially including Chubb Limited and AIG, are expected to make the payment on behalf of the Weinstein Co., which filed for bankruptcy last year.

Attorneys Douglas Wigdor and Kevin Mintzer said their client Wedil David, who alleges that Weinstein raped her in a Beverly Hills hotel room in 2015, also rejected the deal. They released a statement calling the process “fundamentally flawed and unfair,” and criticized the terms as “inadequately compensating victims while providing millions of dollars to the ultra-wealthy directors of the Weinstein Company … and their big firm lawyers.”

Aaron Filler, a lawyer representing actress Paz De la Heurta, said he believes the settlement is a fair compromise. “It’s been a long, complex process, and we do feel this settlement provides a measure of justice, though it’s not everything one might hope for,” he said.

A person familiar with the negotiations who was prohibited from discussing them publicly said the agreement could still go forward even if several victims oppose the settlement, though a deal will be harder to reach if enough people oppose it.

While the settlement, no matter how large, will never erase the trauma for some, it is the only means they have to receive a measure of justice.

Zoe Brock, a New Zealand-born former model who was one of the six women who filed a class-action suit against Weinstein and the studio he co-founded in 2017, wants the deal to go through, but she doesn’t think it sends a strong enough signal.

“From the very beginning, I never thought we’d see a penny,” Brock said. “But I still wanted a landmark judgment that would change the world. I did this as a civil rights case to create real change. It’s not the amount of money I might get that I’m complaining about, but I wanted to see an amount that corporations would think twice about before they harbored another Harvey Weinstein or Les Moonves.

“Everyone told us victims that we were changing the world,” she said. Looking back at the past two years, she says “the system is broken. The process shows that nothing has changed.”

https://www.latimes.com/business/hol...601-story.html
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TV/Nielsen Notes (Analysis)
TV Long View: DVR Catchup Slows Broadcast Bleeding, But Not by Much
By Rick Porter, The Hollywood Reporter - Jun. 1, 2019

Delayed viewing will always make a given show's ratings look better. But the first set of complete DVR numbers from the 2018-19 TV season show it's hardly a cure-all for losses of viewers on the front end.

Top-10 shows like Grey's Anatomy and This Is Us recovered a little bit of their season-to-season declines with three days of extra viewing. Those shows are also still well behind where they were in the same measure last season. CBS' Young Sheldon and Fox's 911 are either flat or actually lost a little bit relative to their same-day numbers.

Grey's Anatomy is ABC's top-rated show among adults 18-49, coming in at a 2.6 rating in the demographic after three days of delayed viewing. That's about 13 percent behind its three-day average in 2017-18 (3.0), and also bit of an improvement on the nearly 19 percent decline the series had in the same-day ratings.

CBS' Young Sheldon, the top-rated comedy that will return next season, was down 22.6 percent in the 18-49 demo in the same-day ratings and remains at exactly that number after three days. Fox's top drama, 911, retreated slightly, going from a 21 percent dip in the same-day ratings to being down 22 percent after three days.

This Is Us, meanwhile, narrowed its losses from 34.5 percent in the same-day 18-49 ratings to just under 32 percent after three days. (The declines are somewhat steeper than they might otherwise be as the NBC drama had a post-Super Bowl airing in 2018.)

Even Chicago Fire, which was up in the same-day ratings, is off slightly year to year after three days. Through May 12, it was even with last season in the seven-day tally.

Some of those lost viewers may have migrated to digital platforms, which Nielsen doesn't measure in these ratings. But while delayed viewing makes up some, it can't plug all the leaks.

Below are the top 25 non-sports shows (including ties) for the 2018-19 season in live plus three-day ratings, along with comparisons to their averages from 2017-18 where applicable.

Adults 18-49

Rank Show Network Live +3 18-49 rating Plus/minus vs. 2017-18

1 The Masked Singer Fox 3.5 n/a
2 The Big Bang Theory CBS 3.4 -0.6 (-15%)
3 This Is Us NBC 3.2 -1.5 (-31.9%)
4 Grey's Anatomy ABC 2.6 -0.4 (-13.3%)
5 Manifest NBC 2.4 n/a
Young Sheldon CBS 2.4 -0.7 (-22.6%)
7 The Bachelor ABC 2.3 +0.1 (+4.5%)
8 The Good Doctor ABC 2.1 -1.1 (-34.4%)
911 Fox 2.1 -0.6 (-22.2%)
The Conners ABC 2.1 n/a
America's Got Talent: The Champions NBC 2.1 n/a
12 Modern Family ABC 2.0 -0.5 (-20%)
Survivor CBS 2.0 -0.2 (-9.1%)
14 New Amsterdam NBC 1.9 n/a
The Voice - Monday NBC 1.9 -0.5 (-20.8%)
16 Chicago PD NBC 1.8 -0.2 (-10%)
Chicago Fire NBC 1.8 -0.1 (-5.3%)
Empire Fox 1.8 -0.7 (-28%)
19 A Million Little Things ABC 1.7 n/a
NCIS CBS 1.7 -0.2 (-10.5%)
Chicago Med NBC 1.7 -0.2 (-10.5%)
The Voice - Tuesday NBC 1.7 -0.5 (-22.7%)
23 Law & Order: SVU NBC 1.6 -0.3 (-15.8%)
Last Man Standing Fox 1.6 even (vs. 2016-17 on ABC)
The Goldbergs ABC 1.6 -0.3 (-15.8%)
Mom CBS 1.6 -0.3 (-15.8%)
American Idol - Sunday ABC 1.6 -0.4 (-20%)
The Titan Games NBC 1.6 n/a
Ellen's Game of Games NBC 1.6 -0.6 (-27.3%)

Total Viewers

Rank Show Network Live +3 viewers (millions) Plus/minus vs. 2017-18 (millions)

1 The Big Bang Theory CBS 16.88 -2.02 (-10.7%)
2 NCIS CBS 14.85 -2.17 (-12.7%)
3 Young Sheldon CBS 13.93 -2.56 (-15.5%)
4 This Is Us NBC 12.23 -5.21 (-29.9%)
5 Blue Bloods CBS 12.15 -1.14 (-8.6%)
6 America's Got Talent: The Champions NBC 11.85 n/a
7 FBI CBS 11.67 n/a
8 The Good Doctor ABC 11.24 -5.48 (-32.8%)
9 Manifest NBC 11.11 n/a
10 The Masked Singer FOX 10.88 n/a
11 Chicago Fire NBC 10.85 +0.85 (+8.5%)
12 60 Minutes CBS 10.65 -0.8 (-7%)
13 Chicago Med NBC 10.58 +0.1 (+1%)
14 The Voice - Monday NBC 10.38 -1.49 (-12.6%)
15 Bull CBS 10.26 -4.27 (-29.4%)
16 Chicago PD NBC 10.19 -0.31 (-3%)
17 NCIS: New Orleans CBS 9.92 -2.69 (-21.3%)
18 Mom CBS 9.82 -1.27 (-11.5%)
19 New Amsterdam NBC 9.76 n/a
20 The Voice - Tuesday NBC 9.66 -1.75 (-15.3%)
21 Hawaii Five-0 CBS 9.65 -1.59 (-14.1%)
22 NCIS: Los Angeles CBS 9.56 -1.15 (-10.7%)
23 Grey's Anatomy ABC 9.41 -1.69 (-15.2%)
24 The Conners ABC 9.33 n/a
25 Survivor CBS 9.20 -1.16 (-11.2%)

Source: Nielsen, THR research

https://www.hollywoodreporter.com/li...little-1214926
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TV Review (Cable)
‘American Princess’ on Lifetime
By Daniel D'Addario, Variety.com - May 31, 2019

Jenji Kohan is a creative force helping to define two of the best shows of the streaming era — “Orange Is the New Black,” which she created, and “GLOW,” on which she is an executive producer. “American Princess,” which she produces with creator Jamie Denbo, takes key elements of the Kohan playbook — a character placed in an unfamiliar community with its own distinct rules, a combination of utopian politics and disregard for cultural orthodoxy, a willingness to be gross and odd at times. Say this for Lifetime’s “American Princess,” then: Its failure makes clear what precise alchemy goes into making a show a success.

The pilot, for instance, is constructed with attention to story beats and to seeding conflicts, and paying them off with drama. Amanda Klein (Georgia Flood), a New York freelance writer, is gearing up for her gruesomely elaborate upstate wedding when she inadvertently discovers her soon-to-be-spouse bedding a sex worker. Soon enough, she’s split from him and gone AWOL, stumbling onto the campus of a non-stop Renaissance fair. But the show also makes it impossible to root for Amanda or even to be vaguely interested in what happens to her, so outright unpleasant company is she. The ambient sense that something is very off here, that the bones of a warm and charming comedy are being subsumed by a lack of writerly control, first really kicks in when Amanda inadvertently-ish attacks sex worker Helen (Erin Pineda). Her head smashes a table and spurts blood all over Amanda; we’re later informed that she’s bitten off and swallowed part of her tongue, and when Helen reappears, she speaks with a pronounced lisp.

This isn’t funny — nor is it funny when Amanda rips the nipple ring off her Ren-Faire love interest (Lucas Neff), leaving a bloody, gaping wound, or when Amanda sees the pubic hair of the Faire’s self-styled Queen (Seana Kofoed) and reports to her fellow performers about quite how unruly it is. The show uses bawdy body humor to express a fundamental disrespect for its characters, ripping them apart in hopes it can provide a moment’s amusement, even as the aftertaste is increasingly grotty. The gross-out comedy is a particularly poor brand fit for Lifetime — whose recent stabs at savvy, urbane satirical dramas, “Unreal” and “You,” both made more sense on their air and felt, from the beginning, far more fully formed.

The same sensibility applies to Amanda, who spews lines that seem from one angle relentlessly stupid and from another ingenious, designed as they are to represent her as someone who cannot back away from her own vanity and ignorance. When she says she should be able to master a task because she graduated summa cum laude from Vassar, she fails splashily seconds later, as though the director knew the punchline was too obvious to bother building tension. Asked to practice her curtsying to fulfill the duties of the Renaissance Faire she decided to join, Amanda replies “The only person I bow down to in real life is Beyoncé.” Confronted with a new style of parenting, she remarks, “I read about this in Vanity Fair, i think — or a BuzzFeed listicle.”

That’s clearly meant to elicit a laugh, even as it’s less than meaningless. Once Amanda’s friends (played diffidently by Mimi Gianopulos, Helen Madelyn Kim, and Tommy Dorfman) arrive on the scene, the game becomes clear; we’re meant to be rooting for Amanda to transcend a social milieu even more obnoxious than is she. (There are jokes about feeling triggered; someone says “hashtag-me-too” to agree with a statement.) But so much time has been spent with Amanda’s unhumble brags and her unceasing monologue that life at the Ren Faire has not been allowed to exist as anything but the alternative to the familiar. Why is this, precisely, where she should be and towards which she should aspire, just as elsewhere in the Kohan oeuvre Piper sheds her skin in prison and Ruth reinvents herself in a wrestling troupe? Here, the answer is “no reason, but keep watching.” Unfortunately for Lifetime, a network lately pushing to find a millennial audience but having trouble finding a hit, it’s hard to imagine who’d take that bet.

“American Princess.” Lifetime. Sunday, June 2 at 9 p.m.
Ten episodes (four screened for review).


https://variety.com/2019/tv/reviews/...an-1203229476/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 1, 2019

BAD TIMES AT THE EL ROYALE
HBO, 8:00 p.m. ET

Drew Goddard, who came up through the TV writing and producing ranks in such inventive genre series as Buffy the Vampire Slayer, Angel, Lost, and Daredevil (not to mention the quirky comic The Good Place), wrote and directed this stylized 2018 movie, set in the early 1970s at a fictional but fanciful Lake Tahoe hotel. The place is built on the state line dividing Nevada and California, so rooms on one side of the hall are in a different state, and designed thematically with different decor, than those across the hall. That’s not the plot of El Royale, which has something to do with a hidden satchel of money, but it sure is a spiffy bit of set design. Stars include Dakota Johnson, Jeff Bridges, Jon Hamm, and Chris Hemsworth.

WEST SIDE STORY
TCM, 8:00 p.m. ET

In 1961, Rita Moreno won the Best Supporting Actress Oscar for playing Anita in this seminal screen musical. This summer in New York, a new version of West Side Story is being filmed – by director Steven Spielberg, with the participation of Stephen Sondheim (who told me about it approvingly and excitedly a year ago) and a revised story by Tony Kushner. And there’s a part in this new film, all these years later, for Rita Moreno. She’s playing Valentina, a new character created by Kushner, a female replacement for Doc, who ran what used to be the West Side soda shop and corner store where Tony worked. So this time, no singing – unless Sondheim is writing a new number especially for her, which isn’t completely out of the question… and eventually, when the movie remake is released, we’ll find out what’s up, Doc…


http://www.tvworthwatching.com/

* * * *

TV Review (Streaming)
'Good Omens' is a Bad Night of Viewing
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - May 31, 2019

Good Omens, despite a good cast, is not especially good television.

Good Omens began life as a novel by the late Terry Pratchett, published in 1990 and quite the cult fave.

Neil Gaiman (Lucifer and American Gods) created the six-part TV adaptation that becomes available Friday on Amazon Prime after years of trying to make it into a movie.

Like the novel, the TV series has the modest premise of telling the history of the world from its inception to its apparent doom.

It does so largely through the angel Aziraphale (Michael Sheen) and the demon Crowley (David Tennant), who have lived on Earth since its creation in 4004 BC and represent, respectively, heaven and hell.

Crowley takes credit for getting the serpent to entice Eve into taking a bite of the forbidden apple in the Garden of Eden, thus toppling the first domino that leads humankind to the brink of The End. Aziraphale keeps believing that good will ultimately triumph.

Hmmm, you’d almost think this mirrors discussions that real-life people have been having ever since they learned how to talk.

Most of Good Omens takes place in the last days before things are all teed-up to implode, with some surprising events and alliances that are designed either to expedite the final termination or thwart it.

Sheen and Tennant have some A-list support as they attempt to implement their agendas. Jon Hamm plays the archangel Gabriel, and Anna Maxwell Martin plays Beelzebub. Frances McDormand is the voice of God, and Benedict Cumberbatch is the voice of the devil.

While it’s fun to see or hear them, however, Good Omens often feels dense and unfocused. Much of Gaiman’s background is in graphic novels, and even a reasonably successful show like Preacher illustrates how difficult it can be to convey the magic of an illustrated print page to a live-action TV drama.

Good Omens frames itself as droll comedy, echoing the novel with running gags that include the assertion only one prophecy has ever been accurate.

For the record, it was written in the 17th century by Agnes Nutter. Nutter, played here by Josie Lawrence, was a witch, and for her service in that enterprise, she was burned at the stake.

That’s not the comedy part. The humorous elements here, covering a range from slapstick to punnery, are scattered broadly and often centered on Crowley and Aziraphale.

As fellow veterans of the same war for the soul of Earth, adversaries or not, they have become quite close companions. Aziraphale, who has developed a deep fondness for human food on the premise that he must understand the human experience to save human souls, will, for example, take Crowley to his favorite restaurant in a given city.

Crowley doesn’t order food. He does suggest that for a nightcap, they go out and drink for six days.

That sort of interplay and byplay is harmless enough, and at times, humorous. It’s also, too often, silly, forcing Sheen and Tennant to overact and turn into refugees from, well, a graphic novel.

Given its premise, Good Omens is naturally laced with monologues and exchanges about the nature of good and evil, and who is ultimately responsible for the flawed character of humans, and that sort of thing. Here again, some of it is witty, and some of it is too witty, admiring its own cleverness rather than advancing a compelling story.

In the end, Good Omens suggests that an extensive series of side trips do not necessarily add up to an epic journey.

http://www.tvworthwatching.com/BlogP...x?postId=18291
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Nielsen Overnights (Broadcast)
Ratings: Blindspot Eyes Lows With Penultimate Finale, S.H.I.E.L.D. Rises
By Matt Webb Mitovich, TVLine.com - Jun. 1, 2019

Blindspot‘s first hour on Friday night drew 2.7 million total viewers and a 0.4 demo rating, holding steady week-to-week. But the Season 4 finale itself slipped to 2.1 mil and a 0.3, marking series lows.

TVLine readers gave the NBC drama’s explosive season ender an average grade of “A-.” Blindspot will return with its final season in the year 2020.

Elsewhere on Friday:

ABC | Agents of SHIELD (2.44 mil/0.5, read recap) ticked up week-to-week; if those numbers hold (and last week they didn’t), they’ll mark season highs. Leading all of Friday in the demo was 20/20, which scored a 0.6.

CBS | Whistleblower (4.2 mil/0.4) ticked up in the demo; a Blue Bloods rerun drew Friday’s biggest audience (4.6 million).

THE CW | Master of Illusion‘s anniversary special did 1.5 mil/0.3.

https://tvline.com/2019/06/01/blinds...turns-in-2020/
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TV/Critic's Notes (Streaming)
David Letterman 2.0, the Non-Ironic Version
On his Netflix show “This Guest Needs No Introduction,” he defers to fame, skips jokes and rarely challenges his guests. What happened?
By Jason Zinoman, The New York Times - May 31, 2019

On the first week of his original late-night talk show, David Letterman appeared on the streets of New York with a microphone in hand. “Much has been said about Alan Alda, the TV star, the film star, the writer, the humanitarian, the champion of minority causes,” he said in the grave voice of a “60 Minutes” correspondent. “But it’s surprising we don’t know much about Alan Alda, the lover of Chinese food.”

Then he interviewed employees of Chinese restaurants about what Alda liked to eat. A wonderfully dry spoof of celebrity culture, Letterman followed it with similarly deadpan ones investigating the dry cleaning, shoes and auto repair of the stars.

In the just-released second season of “My Next Guest Needs No Introduction,” Letterman, 72, is again asking about the mundane details of celebrity life, but this time, with total seriousness. When he sits down with Kanye West, he begins by inquiring about what he had for breakfast, his weight and what songs he sings to his children before bedtime. (“I freestyle,” West answers.) Letterman tells Melinda Gates, “My mother-in-law wants to know what music you and your family listen to.”

Over the years, Letterman has evolved away from his acerbic, experimental roots, but on his Netflix show, which centers on long conversations with famous people, he can seem like a bizarro version of the talk-show host who once revolutionized late night: a cheerful, earnest man, deferential to fame, a Letterman without irony.

No late-night talk show host ever displayed more antagonism toward show business. He didn’t just mock the obsession with celebrities; he teased them to their face, displaying studious indifference to the projects they were promoting and a smirking skepticism to their hints of pretentiousness, self-importance or eccentricity. When he said he had “an insatiable appetite about celebrities,” he clearly meant the opposite.

David Letterman once terrified stars (not to mention their publicists and managers) so much that the fear of being a guest was the subject of a short story by David Foster Wallace. Kanye West is exactly the kind of grandiose character whom Letterman would once have approached with rigorous Everyman sarcasm, and in their conversation, the rapper provided plenty of opportunity for eye rolls, like when he said he would know his work was done when there was world peace.

Letterman never went for the deflating joke. Much of this season’s conversations go by without laughs. Instead, with West, he asked for fashion advice and got a set of new clothes from West’s house that he showed off to Kim Kardashian. When Letterman, the Indiana-born broadcaster who was last fashion-forward wearing sneakers with a suit, told West, “I heard you refer to Hermès as the pinnacle,” I nearly did a spit take.

There was some brief conflict when they moved onto the subjects of President Trump (West said he didn’t vote, and Letterman balked) and #MeToo , the latter discussion seeming highly edited. West said men in powerful positions were afraid to talk about this issue, and Letterman, who faced a sex scandal that nearly derailed his career, responded that the fear men felt couldn’t compare to that of women. Then the conversation quickly shifted.

Letterman’s famously self-critical streak seems mostly absent. In fact, he is in a surprisingly good mood, delighted by Tiffany Haddish, effusively praising her talent and even giving her a foot rub. In an episode with the British racecar driver Lewis Hamilton, who as Letterman himself acknowledges probably does need some introduction for many people, he rides go-karts with a couple of kids. (Hamilton got his start racing karts, though this interlude still seems an odd detour.)

When Haddish starts dancing and encourages him to do the same, Letterman stands up awkwardly and later says: “I know I looked stupid, but I really enjoyed that.” For a man who once told Johnny Carson on the “Tonight” show, “I don’t know if you heard, but I have a policy. I don’t sing. I don’t dance. I don’t like to be near anyone who is,” this was an unexpected twist.

In the previous season of “This Guest,” Letterman made news by doing the first talk-show interview with President Barack Obama after he left office. He also spoke to some guests with whom he had long, friendly on-air relationships, like Howard Stern, Tina Fey and George Clooney. This new season is shorter (just five episodes) and the guests have less history with him. It’s tempting to imagine a version of the show that is more like Marc Maron’s podcast and digs deeply into tortured relationships from the past. (A reunion with Jay Leno or Sandra Bernhard could be fascinating.)

But Letterman doesn’t seem interested in looking back so much as discovering new things. He approaches these interviews with modesty, putting the spotlight on the guest, deferring to them, rarely challenging or probing too far. This strategy proves effective in the best episode, the conversation with Ellen DeGeneres, a fellow talk-show legend. For the first time, she opens up about her abuse at the hands of her stepfather, and when she brings it up, Letterman approaches it with sensitivity, allowing her to lead the way into wrenching detail.

Over the last decade of his late-night show, David Letterman shifted the emphasis away from comedy bits and toward long conversations with guests, and it’s understandable that he would grow out of some of his youthful snark.

Talk shows are chummier, less powerful institutions today, and being less than friendly to guests risks backlash on social media. That’s what happens to a Letterman-like host played by Emma Thompson in the forthcoming movie “Late Night,” a portrait of the world of talk show-hosting that offers more possibility for hope than “Larry Sanders” or “The King of Comedy” ever did.

Letterman speaks with Marc Maron on his podcast this week, and it’s a revealing conversation. He sounds like he’s looking for a new, redemptive chapter in his storied career, someone who now grasps there are more important things than comedy.

He regrets not having children earlier and talks about being medicated for depression and also about meditating. Distance from the daily grind has given him perspective on his old life. “Not being consumed by show business,” he says, “has made me a better person.”

https://www.theverge.com/2019/5/31/1...curity-exploit
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post #30105 of 32505 Old 06-01-2019, 11:26 AM - Thread Starter
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TV Notes (Syndication)
James Holzhauer Is Less Than $60,000 Away From Breaking Ken Jennings’ ‘Jeopardy!’ Record
By Margeaux Sippell, TheWrap.com - May 31, 2019

Friday’s episode of “Jeopardy!” gave whiz kid James Holzhauer his 32nd consecutive win, bringing him that much closer to breaking Ken Jennings’ all-time record of highest winnings in regular season play. As it stands, Holzhauer is only $58,484 away from matching Jennings’ 2004 record of $2,520,700.

Holzhauer brought his total winnings up to $2,462,216 by answering this question in Final Jeopardy: “It’s the last name of Alfred, Lionel, David, Emil, Thomas and Randy, who with 90 nominations are the most Oscar-nominated family.”

Holzhauer correctly answered: “What is Newman?”

At this point, it’s not so much a question of if he’ll beat Jennings, but when. Surpassing Jennings’ record on Monday’s episode shouldn’t be too difficult for Holzhauer. He currently holds the record for most single-game earnings with $131,127, so for him to win $58,000 in one game is entirely possible.

Here are some stats comparing the two biggest “Jeopardy!” champions in history. According to a video posted to Jeopardy.com last Friday, on average, Holzhauer’s responses have been 97% accurate, while Jennings’ were only 91% accurate. Over the 74 games Jennings played, his average daily winnings were $34,064 — as of Holzhauer’s first 31 games, his average daily winnings were $76,858. If Holzhauer beats Jennings’ record on Monday, it will have taken him 33 games — less than half the time it took Jennings.

Ratings for the syndicated game show have spiked by double-digit percentages since Holzhauer began his winning streak. Holzhauer will compete again on Monday’s episode as the returning champion — see what time “Jeopardy!” airs in your area here.

https://www.thewrap.com/james-holzha...opardy-record/
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post #30106 of 32505 Old 06-01-2019, 11:47 AM - Thread Starter
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TV Notes
On The Air Tonight
SATURDAY 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 - Jun. 1, 2019

ABC:
8PM - Shark Tank
(R)
9PM - The Good Doctor
(R)
10PM - 20/20: What Happened to Abby
(R)

CBS:
8PM - God Friended Me
(R)
9PM - 48 Hours: Don't Scream
(R)
10PM - 48 Hours: FindJodi
(R)

NBC:
8PM - Songland
(R)
9PM - Dateline NBC: Under the Desert Sky (120 min.)
(R)
* * * *
11:29PM - Saturday Night Live: Emma Thompson hosts; Jonas Brothers perform (93 min.)
(R)

FOX:
7PM - MLB Baseball (Los Angeles Angels at Seattle Mariners or Chicago Cubs at St. Louis Cardinals or Boston Red Sox at New York Yankees, LIVE)
* * * *
11PM - MasterChef
(R)

PBS:
8PM - Austin City Limits: Jason Isbell & the 400 Unit; Amanda Shires
(R)

UNIVISION:
8PM - Como Dice El Dicho
9PM - Pequeños Gigantes: La Semifinal (120 min.)

TELEMUNDO:
7PM - Movie: Max (2015)
9PM - Movie: The Secret Life of Pets (2016)

ESPN:
7PM - 2019 Women's College World Series, Game 9: Oklahoma State vs. TBA (LIVE)
9:30PM - 2019 Women's College World Series, Game 10: Arizona vs. TBA (LIVE)

ESPN 2:
7PM - College Baseball, NCAA Tournament: Florida State vs. Georgia (LIVE)
10PM - ESPN Bases Loaded (LIVE)
10:30PM - MLS Soccer: Los Angeles FC at Portland Timbers (LIVE)

ESPN U:
7PM - College Baseball NCAA Tournament, Oxford Regional Game 4: Clemson vs. Mississippi (LIVE)
10PM - College Baseball NCAA Tournament, Los Angeles Regional Game 4: UCLA vs. Loyola Marymount (LIVE)

CBSSN:
8PM - Major League Rugby: Houston SaberCats at Utah Warriors (LIVE)

LIFETIME:
8PM - Movie - Pride & Prejudice: Atlanta (2019)

NBCSN:
8PM - 2019 Stanley Cup Final, Game 3: Boston Bruins at St. Louis Blues (LIVE)

NICKELODEON:
8PM - Game Shakers
8:30PM - Cousins for Life

TLC:
8PM - Trading Spaces
9:01PM - Nate & Jeremiah by Design
10:01PM - Meghan & Harry: It's a Boy! (Special)

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

AMC:
9PM - The Son

ANIMAL PLANET:
9PM - Dodo Heroes (Season Premiere)

HALLMARK:
9PM - Movie: Wedding at Graceland (2019)

HGTV:
9PM - Lakefront Bargain Hunt: Renovation (Season Premiere)
10PM - Lakefront Bargain Hunt: Renovation

OWN:
9PM - Iyania, Fix My Life
10PM - To Have and to Hold: Charlotte

ADULT SWIM:
11PM - Dragon Ball Super
11:30PM - My Hero Academia
Midnight - The Promised Neverland
12:30AM - Sword Art Online: Alicization
1AM - JoJo's Bizarre Adventure: Diamond Is Unbreakable
1:30AM - Black Cover
2AM - Boruto: Naruto Next Generations
2:30AM - Naruto: Shippuden
(R)
3AM - Hunter X Hunter
3:30AM - Gemusetto Machu Picchu
(R)


https://tvlistings.zap2it.com/?aid=gapzap
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post #30107 of 32505 Old 06-01-2019, 04:01 PM
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TV Long View: DVR Catchup Slows Broadcast Bleeding, But Not by Much

CBS' Young Sheldon, the top-rated comedy that will return next season, was down 22.6 percent in the 18-49 demo in the same-day ratings and remains at exactly that number after three days.
I wonder if the fact that CBS cuts this show down to only 19+ minutes in order to force ads on us affects the ratings.
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post #30108 of 32505 Old 06-01-2019, 04:56 PM
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I wonder if the fact that CBS cuts this show down to only 19+ minutes in order to force ads on us affects the ratings.
Probably not. Most 30-minute broadcast shows vary between 19 and 21 minutes. I can't see anyone saying, "Well, that's one more minute of ads, I'm going to bail on this show." Either they like it or they don't. Lord knows my favorite hour-long scripted shows run between 40 and 43 minutes per week. Another two minutes of "NCIS" or "Chicago Fire" isn't going to be a deal-breaker.

More likely, YS doens't have quite the legs of BBT or its target audience isn't big into delayed viewing. Never seen it, so I don't know. But I do know one additional minute of ads doesn't make much difference. Especially when the minute is cut from the intro like Survivor and Amazing Race do.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #30109 of 32505 Old 06-01-2019, 07:19 PM
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Technology Notes
Microsoft warns 1 million computers are still vulnerable to major Windows security exploit
By Tom Warren, TheVerge.com - May 31, 2019
EXCERPT
Microsoft revealed a major Windows security vulnerability earlier this month, that could see a widespread “wormable” attack that spreads from one vulnerable computer to the next. We saw a similar flaw back in 2017 which led to the WannaCry malware causing mayhem for thousands of machines.
https://www.theverge.com/2019/5/31/1...curity-exploit
These "warnings" should ramp up as Microsoft attempts to sell XP and 7 owners newer but not necessarily better solutions.
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post #30110 of 32505 Old 06-01-2019, 07:22 PM
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TV/Critic's Notes (Streaming)
David Letterman 2.0, the Non-Ironic Version
On his Netflix show “This Guest Needs No Introduction,” he defers to fame, skips jokes and rarely challenges his guests. What happened?
By Jason Zinoman, The New York Times - May 31, 2019
EXCERPT
https://www.theverge.com/2019/5/31/1...curity-exploit
Ellen and David share my viewership.

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post #30111 of 32505 Old 06-01-2019, 07:30 PM
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Media/Legal Notes
Harvey Weinstein’s $44-million settlement with his accusers is in jeopardy
By Stacy Perman, Los Angeles Times - Jun. 1, 2019
EXCERPT

Zoe Brock, a New Zealand-born former model who was one of the six women who filed a class-action suit against Weinstein and the studio he co-founded in 2017, wants the deal to go through, but she doesn’t think it sends a strong enough signal.

https://www.latimes.com/business/hol...601-story.html
Of course she wants the deal to go through. She has two credits at IMDb. Yes, that's two more than me.

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post #30112 of 32505 Old 06-01-2019, 10:32 PM
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These "warnings" should ramp up as Microsoft attempts to sell XP and 7 owners newer but not necessarily better solutions.
Hell will freeze over before I'll buy/install Win10.
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post #30113 of 32505 Old 06-01-2019, 11:52 PM
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I have 10 installed on a couple of computers, but rarely use it. Its there for the odd ball program I might have to run that actually needs windows to run. All 5 computers I use around the house are Linux and have been for years.
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post #30114 of 32505 Old 06-02-2019, 07:10 AM
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TV/Real Estate Notes (Cable)
You can now buy The Sopranos house
By Marcus Jones, EW.com - May 31, 2019

The house has a starting price of $3.4 million.
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.
NJ in da house !!
$3.4m wow thats 170,000 lap dances at the bada bing.

Realtor.com has value $1.5m so that really is a big bump.
The house next to it is actually even a little bigger & is $1.6m.

I met meadow she sang the national anthem at the meadowlands ironically the possible home of jimmy hoffa.
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post #30115 of 32505 Old 06-02-2019, 07:27 AM
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NJ in da house !!
$3.4m wow thats 170,000 lap dances at the bada bing.

Realtor.com has value $1.5m so that really is a big bump.
The house next to it is actually even a little bigger & is $1.6m.

I met meadow she sang the national anthem at the meadowlands ironically the possible home of jimmy hoffa.
My favorite Soprano, Meadow.

The show took a big chunk of Jamie-Lynn Sigler's life, age 16 - 26. She's keeping busy, with 50 credits shown at IMDb.
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post #30116 of 32505 Old 06-02-2019, 07:38 AM
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Hell will freeze over before I'll buy/install Win10.
Same here. I want nothing to do with Win10.

I'm not a Microsoft hater. I've been using their operating systems since 1991. I was even a Windows 95 beta tester. IMHO every version of Windows was an improvement over the previous version up until Windows 8. I really hated Win8, but with the Win8.1 release I thought MS was getting back on the right track. That's not to say I actually liked 8.1, it just sucked a lot less than 8. Then Windows 10 came along and Microsoft lost me forever. I'm holding on to Win7 on my main HTPC for as long as I can. My other PCs dual-boot Win7 and Linux. If Microsoft doesn't decide to extend Win7 support at the last minute like they did for XP, on January 15th they will no longer dual-boot. I'm not mad at Microsoft, just disappointed.
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post #30117 of 32505 Old 06-02-2019, 02:10 PM - Thread Starter
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Same here. I want nothing to do with Win10.

I'm not a Microsoft hater.
Really?

TV Review (Cable)
'American Princess' (Lifetime)
By Robyn Bahr, The Hollywood Reporter - Jun. 2, 2019

My first job was at a Renaissance faire. When I was 16, I was strapped into a cleavage-amping corset, forced to remove my brand-new nose ring for historical accuracy and set up at the local chainmail booth owned by a woman who cutesily referred to mustard as "mouse-turds." We slept communally in the back of the shop and ate turkey legs and attended jousting shows during breaks. I was paid in chainmail, not currency, because teenagers shouldn't be allowed to negotiate their wages.

Which is all to say that Lifetime's snappy and winsome new hourlong comedy, American Princess, is almost shockingly accurate in its deep-lens view of the ren faire lifestyle, especially from the perspective of a bratty New Yorker who can't quite gel with upstate vibes, as was also my case. (The casting of multiple thickly built women! The casual polyamory!) Georgia Flood stars as Amanda, an upper Manhattan belle juive who discovers her fiancé mid-blowjob on the morning of their pastoral wedding and absconds after accidentally assaulting the interloping seductress.

She soon finds herself stranded in the countryside and stumbles on a mid-summer Renaissance faire, where she encounters an eclectic community of accepting folk who worship the fantasy of Merry England — and act as emotional refuge from the flaming wreckage of her socialite existence. You can practically imagine the pitch meeting: "What if Charlotte York ran away to join the fat nerd circus?!"

Co-producer Jenji Kohan has a predilection for humbling beautiful upper-crust women, and American Princess shares many beats with the first season of Orange Is the New Black: a snobbish but well-meaning Seven Sisters grad slips down the rabbit hole after wrongdoing; an eccentric group of lovable and cliquish misfits who slowly welcome her into their grotty little den; an obsession with gross-out humor that also serves to educate the audience about a hidden subculture; and a supercilious redheaded grimalkin whom our hero must mollify in order to win the game of thrones. (There it was the Russian mafiosa Galina "Red" Reznikov. Here it's a seasoned thespian who plays the faire's Queen Elizabeth I.) The show's title is both a nod to European monarchal culture and a sly reference to a somewhat anti-Semitic slur used by many Long Island and New York City middle schoolers to describe each other.

American Princess might have just been a one-off rom-com in another life, like a Ren Faire-set Overboard, but the show soon settles into something smarter, darker and emotionally richer than its high-concept fish-out-of-troubled-water conceit might indicate. Amanda isn't merely a gilded dumb-dumb, constantly resisting the call of the wild for our amusement, but a former English major and amateur historian who puts her whole heart into embracing this weird, bawdy and muddy new place. (Or, as she describes, “It’s like what if super horny nerds designed an amusement park.")

The former "clean beauty and wellness" freelancer works to develop a new faire persona as a bosomy alewife, all the while defending her choices to her termagant relatives and friends. The series also tackles aging, addiction, parenting, ethical non-monogamy and how feminism fits into a nostalgic, mythologized vision of early modern Europe.

Amanda becomes closest with Lucas Neff's David (a.k.a. Pizzle Humpsalot, the village's abased dirtlord), a dead-sexy charmer who tries to help her realize she's an alcoholic, and Mary Hollis Inboden's Delilah (aka Prunella the Washer Wench), a chirpy, jocund maenad who delights in teaching her the ways of the "Rennies." These two are the standouts in a sprawling cast that includes Broadway stars and Oscar nominees, and Inboden, in particular, is a firework who kindles every scene she's in. Delilah is the most realistic of the main cast as an effervescent, Rubenesque faire worker, and her need to nurture Amanda into oblivion may remind you of Elmyra Duff from Tiny Toon Adventures.

The show's grotesque sexuality won’t be everyone’s cup of mead, and the writing will definitely test your tolerance for sticky fluids-based joke-telling. (The first four episodes flood you with sludge, spit, blood, barf, pee, farts, lice, breast milk, used condoms, pubic hair, screaming orgasms, droning vibrators, head-bobbing oral sex, explosive diarrhea and busted nipple piercings.) But the details that showcase the drudgery of performance elevate American Princess from being a simple workplace comedy set at a summer camp for adults. In one scene, David makes a dirty joke while collecting tips after his mud show. But what seems like a kitschy, off-the-cuff one-liner for us the first time becomes a signifier of monotony when you hear him make the same joke again, a little wearier now, later in the episode.
Creator Jamie Denbo is inventive in her character development, giving Delilah an evangelical background to have rebelled against and the faire's affected William Shakespeare, Brian (Rory O'Malley), a desire to repent from his pretensions. Brian is the secret heart of the series, an awkward, literary gay man in his late 30s recovering from the traumas of coming of age before it was more accepted to be out as a teenager. American Princess may very well be the next great summer comedy, which is no surprise given characters called "Pickle Wench" and "Meth Pushcart Monkey."

American Princess
Premieres: Sunday, 9 p.m. ET/PT (Lifetime)
The Bottom Line: The next great summer comedy if gross-out humor is your cup of mead.


https://www.hollywoodreporter.com/re...review-1215001

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post #30118 of 32505 Old 06-02-2019, 02:15 PM
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Really?
I still like github. For now.
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post #30119 of 32505 Old 06-02-2019, 02:36 PM
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I tried Win10 back when MS was giving it away from free. Loaded it up and... my Brother laser printer would no longer work. Tried calling MS. You can imagine how that went. Then tried calling Brother. No joy. They literally could not figure out if MS (or their own engineers) had written MS10 drivers for their own effing products, and this was nearly a year after Win10 went live. I finally gave up, uninstalled it (another multiple day nightmare) and reinstalled Win7. I'm keeping it until MS pries it from my computer's cold dead hard drive.
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post #30120 of 32505 Old 06-02-2019, 02:58 PM
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I guess I'm one of the lucky ones. I've been running Win10 for 2 years and have had no problems. My older computer is another story. When they came out with the free Win10 to replace Win7 things went well for a month or so. Then one night they did an update and it caused me to lose everything. I was able to get it back up and running and was able to save everything until it crashed again the next day. This crashing went on for several days and I decided to go back to Win7 and haven't had any problems since.
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