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post #30211 of 34541 Old 06-06-2019, 11:13 AM
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A follow-up (quotes, links below) for my yesterday post regarding Ava DuVernay's ‘When They See Us’, as currently seen on Netflix. Rehash greets new furor.

Will social media "mob mentality" continue its demands for flesh? Will there be lawsuits? Will DuVernay and Netflix issue statements? Will viewer numbers for "When They See Us" match its publicity? Will there be further case development?

NYT clarifies the exchange between DuVernay and Fairstein.

Quote:
Ms. Fairstein’s lawyer disputed that account, saying that she “only requested that Ms. DuVernay take into account public records, transcripts, and written testimonies when writing her script about the Central Park Five.”
https://www.nytimes.com/2019/06/06/a...ey-see-us.html
A blog containing the 2014 WSJ article involving physicians commenting on their injury reports for the 1989 rape in question.

Quote:
Doctors Who Examined the Central Park Jogger: We Said Matias Reyes Did Not Act Alone
https://nicholasstixuncensored.blogs...tral-park.html

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post #30212 of 34541 Old 06-06-2019, 11:15 AM
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TV Sports/Nielsen Notes (Broadcast)
Raptors Take NBA Finals Lead, But Game 3 Ratings Crash To 12-Year Low
By Dominic Patten, Deadline.com - Jun. 6, 2019

If anyone thought the Toronto Raptors were going to go extinct against the Golden State Warriors once the 2019 NBA Finals moved to back to America, last night’s Game 3 tore that theory apart.
Bettors didnt buy extinction theory - one of the sportsbooks had over 60% of the $$ on raptors the highest for ANY warriors opponent in 14 mnths.

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post #30213 of 34541 Old 06-06-2019, 11:34 AM
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Bettors didnt buy extinction theory - one of the sportsbooks had over 60% of the $$ on raptors the highest for ANY warriors opponent in 14 mnths.
Quote:
Yes, if you were wondering why these NBA Finals have been so damn weird so far, well, the injuries are a good place to start.
https://www.mercurynews.com/2019/06/...s-time-game-3/
Quote:
And I’ll tell them about this game – that night when the Warriors, devoid of any and all options on offense, put their faith in #30 and went as far as he could carry them. Steph and the Warriors ran out of gas and fell to the Raptors 123-109 – but this is a performance that I’ll remember for a long time.
http://blogs.mercurynews.com/warrior...9-raptors-123/
Warriors, are you ready to rumble?
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post #30214 of 34541 Old 06-06-2019, 11:38 AM - Thread Starter
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DVR ALERT! Busy night of season premieres/finales for many smaller shows on cable.

TV Notes

On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Jun. 6 2019

ABC:
8PM - Celebrity Family Feud: Steph Curry vs. Chris Paul and Laurie Hernandez vs. Shawn Johnson East
(R)
9PM - The $100,000 Pyramid: Leslie Jones vs. Taye Diggs and Sara Foster vs. Erin Foster
(R)
10PM - To Tell the Truth: Ashley Graham; Jenna Elfman; Donald Faison; Alex Trebek
(R)
* * * *
11:35M - Jimmy Kimmel Live! (Taron Egerton; candidate for the Democratic nomination Sen. Amy Klobuchar (D-Minn.); The Specials perform)
(R)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
(R)
8:31PM - Young Sheldon
(R)
9:01PM - Mom
(R)
9:30PM - Life in Pieces
10PM - S.W.A.T.
* * * *
11:35PM - The Late Show With Stephen Colbert (Mindy Kaling; Seth Green)
12:37AM - The Late Late Show With James Corden (Cole Sprouse; Dan Levy; Jonas Brothers perform)
(R)

NBC:
8PM - 2019 Stanley Cup Final, Game 5: St. Louis Blues at Boston Bruins (LIVE)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Alexander Skarsgård; Sebastian Stan; Fontaines D.C. performs)
(R)
12:37AM - Late Night With Seth Meyers (John Lithgow; Beanie Feldstein; Democratic presidential candidate Julián Castro; Sebastian Thomson sits in with the 8G Band)
(R)
1:38AM - Last Call with Carson Daly (Ed Begley Jr.; HalfNoise performs; comic Nate Bargatze)
(R)

FOX:
8PM - Paradise Hotel (Season Finale, 120 min., LIVE)

THE CW:
8PM - iZombie
9PM - In the Dark

PBS:
8PM - The This Old House Hour
(R)
9PM - Seize and Secure: The Battle for La Fiere
10PM - Antiques Roadshow: Biloxi
(R)

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

CBSSN:
7PM - WNBA Basketball: Las Vegas Aces at Atlanta Dream (LIVE)

DISNEY XD:
7PM - Overwatch League: San Francisco Shock vs. Atlanta Reign (105 min., LIVE)

ESPN:
7PM - MLB Baseball: New York Yankees at Toronto Blue Jays (LIVE)
10PM - SportsCenter (LIVE)

ESPN 2:
7PM - Professional Fighters League (120 min., LIVE)
10PM - College Track and Field: NCAA Men's & Women's Outdoor Championships (2 1/2 hrs., LIVE)

HBO:
8PM - The Cold Blue (Premiere, 2018, 75 min.)

LIFETIME MOVIE NETWORK:
8PM - Movie: Psycho Stripper (2019)

MTV:
8PM - Double Shot at Love With DJ Pauly D and Vinny
9:01PM - How Far Is Tattoo Far? A Permanent Proposition
9:32PM - How Far Is Tattoo Far? Tony's Ultimate Challenge

HGTV:
8:30PM - House Hunters
9PM - Christina on the Coast
9:30PM - Unspouse My House (Series Premiere)
10PM - House Hunters
10:30PM - House Hunters International (Season Premiere)

NBCSN:
8:30PM - FIVB Volleyball Women's Nations League: United States vs. Brazil (120 min., LIVE)

A&E:
9PM - Live PD Presents: PD Cam
9:30PM - Live PD Presents: PD Cam
10PM - Hero Ink (Series Premiere)
10:30PM - Hero Ink

BRAVO:
9PM - Project Runway (90 min.)
10:31PM - Southern Charm: How They Got Here 2019
(R)
* * * *
11PM - Watch What Happens Live With Andy Cohen (TV show host Karlie Kloss and fashion mentor Christian Siriano ("Project Runway")
(R)

HISTORY:
9PM - Mountain Men (Season Premiere, 63 min.)
10:03PM - Alone (Season Premiere, 62 min.)

LIFETIME:
9PM - Little Women: Atlanta (63 min.)
10:03PM - Ms. T's Music Factory (Series Premiere)

PARAMOUNT:
9PM - Wife Swap: Icgoren vs. Legend (Season Finale)
10PM - Lip Sync Battle: Younger's Nico Tortorella vs. Molly Bernard

SCIENCE:
9PM - What on Earth? World's Deadliest Threats (Season Premiere, 120 min.)

WeTV:
9PM - Braxton Family Values (Season Finale, 90 min.)
10:30PM - Hustle & Soul (Season Finale, 71 min.)

SUNDANCE:
10PM - The Name of the Rose: Episodes 5 & 6 (127 min.)

TRUTV:
10PM - The Carbonaro Effect: 100th Episode Special

TV ONE:
10PM - The DL Hughley Show (Lewis Dix)

USA:
10PM - Queen of the South (Season Premiere)

COMEDY CENTRAL:
11PM - The Daily Show with Trevor Noah (TV Host James Corden, 36 min.)

SHOWTIME:
11PM - Desus & Mero (South Bend, Indiana Mayor Pete Buttigieg)

TBS:
11PM - Conan (Dana Carvey)


http://tvlistings.zap2it.com/?aid=gapzap
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post #30215 of 34541 Old 06-06-2019, 02:04 PM
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Legal Notes
46 ice cream trucks are being seized in a New York City crackdown

* * * *

If this isn't a ripped-from-the-headlines episode on next season's "Law & Order: Special Victims Unit" I will eat my tennis shoes. I mean, the "L&O" franchise already did an ice cream truck episode ("L&O: Criminal Intent's" Season 6 episode "Blasters," which also takes a not-so-veiled swipe at "Saved By the Bell"... one of those so-bad-it's-kinda-goofy-good filler episodes) but they're long overdue for a new one.

I really need to get a life!
The "special victims" being all those little kids who look forward to the daily visit from the Ice Cream Man during the hot summer months and have zero understanding as to why he's not there.

At the end of the episode, Olivia arrests the Mayor for not taking care of this during the winter. In the secong half of the episode a jury of young parents votes unanimously to put him away for life.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #30216 of 34541 Old 06-06-2019, 02:39 PM
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The "special victims" being all those little kids who look forward to the daily visit from the Ice Cream Man during the hot summer months and have zero understanding as to why he's not there.
Sometimes the kids are better off without the Ice Cream Man.
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post #30217 of 34541 Old 06-06-2019, 02:45 PM
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Sometimes the kids are better off without the Ice Cream Man.
You get the role of The Mayor, then.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #30218 of 34541 Old 06-07-2019, 08:53 AM - Thread Starter
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TV/Business Notes (Cable)
The Days of Getting a Cheaper Cable Bill by Threatening to Leave May Be Over
By Gerry Smith, Bloomberg.com - Jun. 5, 2019



When Joshua May learned recently that his TV bill would increase by about $40 a month, he called Charter Communications Inc., expecting his cable company to negotiate a better price.

His previous provider, Time Warner Cable, had extended a cheap promotional rate several times so May wouldn’t cancel. But that was before Charter took over the company. When he called this time, the rep wouldn’t budge on the 29% jump for his bundled TV, internet and phone service. So May cut the cord.

“I expected they’d at least offer free HBO or Showtime,” said May, 34, who lives in Springfield, Ohio, and processes loans for a financial institution. “They did nothing.”

May’s experience reflects a growing trend, as pay-TV companies pull back discounts they’ve used for years to retain video subscribers. With internet service growing faster and more profitable, subscribers like May are becoming expendable.

“I’m sort of indifferent,” Charter Chief Executive Officer Tom Rutledge said at an investor conference last month. Two years ago, he said the second-largest U.S. cable company planned to add video customers. Now, they’re not even “a material driver” of Charter’s business, he said.

Over the past few years, pay-TV stocks have suffered wicked swings as investors reacted to growing subscriber losses. But they’ve recovered as the companies shift their focus to lucrative broadband services. Comcast Corp., the largest U.S. cable provider, is up 22% this year and Charter is up 36% to a 21-month high, outpacing the 12% gain for the S&P 500. That’s despite accelerating pay-TV subscriber losses at both companies last quarter.

‘It’s Been Fun’
“It used to be when customers would call and said, ‘I’m thinking of cutting the cord,’ they’d throw all sort of promotions to keep them from leaving,” said Craig Moffett, an industry analyst at MoffettNathanson LLC. “Now they’re saying, ‘Goodbye, it’s been fun, enjoy the broadband subscription.’”

Cable One Inc., a smaller cable company with about 305,000 residential video customers, even helps cord cutters choose between online alternatives like YouTube TV or Hulu’s live TV service, according to Moffett.

Executives at big cable companies say they have no plans to stop selling TV altogether, because offering more services along with internet access gives customers more reasons to stay. At the conference, Rutledge said Charter wants to create “relationships” with customers and “to the extent that video helps drive that or helps us market that, it’s a valuable asset.”

But cable executives are now focused on what they call “profitable” or “high-quality” video subscribers and less interested in cutting deals. At another investor conference in May, Comcast Chief Financial Officer Mike Cavanagh said he wants a subscriber who “really values video and our bundle despite the increases in prices,” and has “the wallet for a fuller video experience.”

Culling Customers
At the same conference, AT&T Inc. CEO Randall Stephenson said his company, which owns the satellite provider DirecTV, is “cleaning up the customer base” by letting go of subscribers who insist on keeping promotional prices when their contracts expire.

Pay-TV providers are making up for the lost revenue by charging everyone more. When subscribers cancel cable TV, they no longer get a discount for bundling TV with internet. When Optimum customers around the New York area cancel TV service, they also typically upgrade to faster -- more expensive -- internet, Altice USA CEO Dexter Goei said last month.

As customers drop pay TV, cable companies will actually see their profit margins widen, Moffett said. That’s because much of their pay-TV revenue goes right to channel owners, like Walt Disney Co. and its ESPN network, in the form of subscriber fees. Fueled by expensive sports rights, those fees are even rising faster than cable TV bills, hurting profits for companies like DirecTV and Comcast. Selling high-speed internet is far more profitable.

Profits Grow
Last quarter, Charter lost 26% more residential TV subscribers than a year ago. But it also added 19% more internet subscribers, fueling a 4.2% gain in adjusted earnings.

Charter appears to be courting internet-only subscribers through recent price changes, according to BTIG LLC analyst Rich Greenfield. Last year, the company raised the price of broadband bundled with other services by $5 a month, he said, while increasing internet-only service by $1. Internet without TV still costs a few dollars more, but Charter is closing the gap, he said.

“It appears as if you are purposefully pushing subscribers toward abandoning your video service,” Greenfield said in a note last fall addressing Charter executives.

‘Turkish Bazaar’
Since taking over Time Warner Cable in 2016, Rutledge has tried to end its promotional culture. He described Time Warner Cable as a “Turkish bazaar,” where customers called in and bargained with customer service reps. At one point, the company offered 90,000 different prices designed to keep cable-TV subscribers from cutting the cord.

When May called about his bill, Charter did offer him one alternative: a $15-a-month online-TV service called Spectrum TV Essentials. The new streaming service, which debuted in February, has more than 60 channels from programmers like Viacom Inc., Discovery Inc. and AMC Networks Inc.

May canceled after a few months because he missed the sports channels. Now, his Spectrum internet service costs $70 a month, and he gets Sling TV from Dish Network Corp. for another $40.

Since Charter acquired Time Warner Cable, efforts by customers to negotiate lower rates have gotten “much tougher,” according to Phillip Dampier, founder of the blog “Stop The Cap.”

“Do not be surprised if they shrug their shoulders and agree to your request to cancel your account on the spot,” Dampier said on his blog last month. “Spectrum, like many cable companies, has gotten pickier about who they offer promotions to, and are willing to say goodbye to barely profitable customers, especially those only subscribed to cable TV.”

https://www.bloomberg.com/news/artic...-bill-are-over
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post #30219 of 34541 Old 06-07-2019, 08:56 AM - Thread Starter
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TV Review (Cable)
'Big Little Lies' Season 2 is almost as exquisite as the original
By Kelly Lawler, Bloomberg.com - Jun. 5, 2019

In 2017, "Big Little Lies" was a sensation.

An HBO series with movie stars (Nicole Kidman and Reese Witherspoon plus Laura Dern, Shailene Woodley and Zoe Kravitz), it became a ratings hit for the premium cable network and won a bucket full of Emmy awards. The seventh and final episode of that season was adored, with a poetic and gorgeous ending to the tale of women in a rich California town involved in lies and (eventually) death.

So although it competed in the limited series category at the Emmys, it seemed all but inevitable that the network would go back to this prestigious well for more, a choice that made some fans and critics (including this one) worry that "Lies" would undo all its good work by stretching the story beyond its natural conclusion.

Creator David E. Kelley and producers Witherspoon and Kidman knew they had to find a compelling reason to return to Monterey, and, after a shaky start, they do.

From the first three episodes made available for review, the second season (Sunday, 9 EDT/PDT, ★★★½ out of four), is nearly as breathtaking as the original. "Lies" remains an immensely satisfying platform for superb performances (now with 100% more Meryl Streep), one that gives women’s issues, often seen as frivolous, the weight they deserve. The new season echoes themes from the first – abuse, trauma, anxiety, loneliness – and finds new dimension as the story of the big little lies tumbles into chaos.

The new season begins about a year later, and brings us back to the first day of school as Madeline (Witherspoon), Celeste (Kidman), Jane (Woodley), Bonnie (Kravitz) and Renata (Dern) reunite to drop off their children for elementary school. There's an unspoken bond between thes "Monterey Five," irrevocably linked by Perry's (Alexander Skarsgard) death at the school fundraiser.

Since then, each of the women has handled her role in it differently. Madeline doubled down on her mother-hen persona. Celeste, plagued by night terrors and lingering feelings for her late abusive husband, withers under the influence of her mother-in-law Mary Louise (a joyfully unrestrained Streep) and is unable to move on. Bonnie, the woman who actually pushed Perry down the stairs, has completely shut down. Jane, finally free from her rapist, is thriving at a new job and even trying to date. And Renata is just happy to be included in the group.

But as much as the women would like to put Perry in their past, Detective Quinlan (Merrin Dungey) still lurks, causing trouble. The secret, and all the little lies that built up to it, start to unravel fairly quickly, as Mary Louise and the women's husbands start to figure it out.

It's initially disappointing to see the story move on from that beautiful scene on the beach in the Season 1 finale. That first season was based on the Liane Moriarty novel, and there was no new material on which to base a second. But once the actresses start to dig into their roles again, and especially when Dern starts to unleash the full power of her Emmy-winning performance as Renata, the season justifies its existence (with the help of Moriarty, writing behind the scenes).

Not only does "Lies" find another story worth telling, it course corrects some of the first season's missteps. The new episodes dispense with the Greek chorus of Monterey citizens discussing the women and also gives far more screen time to Bonnie, the only woman of color in the central cast. Kravitz, who was criminally underutilized last time, shines as brightly as her co-stars.

Lots of praise and attention will be given to Streep, but in many ways, the Oscar-winning actress is incidental to the success of Season 2. She's wonderful, as she almost always is, but the real joy of "Lies" is the five core women, who have made their characters feel so lived in.

For once, Hollywood has found a way to gracefully re-create a phenomenon.

https://www.usatoday.com/story/life/...ep/1342341001/
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TV Review (Streaming)
Some grim news about ‘The Handmaid’s Tale’: It’s getting boring
By Hank Stuever, Washington Post - Jun. 4, 2019

The headlines keep providing all the context Hulu’s “The Handmaid’s Tale” will ever need: There’s a notable drop in birthrates; Bible classes are offered in public schools; Facebook accepts no responsibility for its users’ distortions of fact. And recent votes in state legislatures in Georgia, Missouri, Louisiana and other states seek to limit abortion to a prohibitive degree, bringing the ultimate goal within reach — a Supreme Court reversal of Roe v. Wade.

Chilled and angered by these developments, protests often include women who show up to statehouses wearing the familiar red robes and white bonnets required of the fictional handmaids of Gilead, a militaristic theocracy once known as the United States of America, first envisioned in Margaret Atwood’s 1985 novel and brought vividly to life in showrunner Bruce Miller’s acclaimed series. A red-robe event certainly gets a message across, but the more it happens, the more the image loses some of its potency, or can even be misconstrued as free publicity for the show. It’s also no surprise to hear the show’s most loyal fans talk about the fatigue that comes from watching too many episodes in a row. It is consistently depressing and sometimes just too close for comfort.

While Atwood prepares to release a new novel in September — a sequel the author says takes place 15 years after “The Handmaid’s Tale” — Miller and company often struggle to move their ongoing story of June (Elisabeth Moss) along at a pace that is both consistent and intriguing. They’ll rev it up in one episode, only to ramp it down in the next; they’ll terrify us in one moment and then rectify a life-threatening crisis almost as fast. The show is full of pauses and quiet close-ups (mostly of June, who narrates). There’s a lot of silent seething and slow-motion segues between plot developments.

The third season, which begins streaming Wednesday with three new episodes, sustains many of the qualities that first made the show such a talker (and award winner), with memorable performances and a fascinating vision of government oppression and cruelty in the name of God. As dour as the viewing experience can be, that’s the good news.

The bad news is that the first half of this season (six episodes were made available for this review) often lapses into the realm of the deadly dull, making long and redundant loops around its original premise and revisiting already established resentments and animosities between characters.

In a land where sinners and suspected insurgents are publicly executed and then strung up to rot in town squares, June continues to demonstrate a knack for skirting past the worst consequences. She’s a fighter who keeps getting forgiven for her transgressions. In June’s final days as Offred, the handmaiden assigned to Commander Fred Waterford (Joseph Fiennes) and his wife, Serena Joy (Yvonne Strahovski), she delivered a baby daughter, Nicole, who was secretly fathered by Fred’s chauffeur, Nick (Max Minghella).

At the end of Season 2, June convinced Serena, who had recently petitioned Gilead’s rulers to let women and girls be allowed to read the Bible (and had a finger chopped off for her troubles), that Nicole would never have a full life in Gilead. While the Waterford mansion went up in flames, Serena helped Offred escape with the baby to Canada. But Offred, who still hopes to one day rescue her older daughter, broke her promise to Serena and instead gave the baby to Ofjoseph (Alexis Bledel), who was whisked away to the border in a van driven by the resistance.

Commander Joseph Lawrence, played by Bradley Whitford, is capriciously contradictory. (Elly Dassas/Hulu)

Serena (Yvonne Strahovski) grieves for her daughter in the Hulu show’s third season. (Elly Dassas/Hulu)
And so, in this season, it’s all about the baby, the baby, the baby, the baby. There is now more talk of babies in “The Handmaid’s Tale” than you’d find at a weekday Mommy and Me playgroup — too much even for a show that’s a protracted metaphor about the reproductive rights of women. Almost immediately, a grieving Serena decides she wants her baby back (I’ll leave out the spoiler details of where the infant and Ofjoseph wind up after last season’s cliffhanger), leading Fred and the rulers of Gilead to treat the infant’s kidnapping as an international crisis, Elián González-style.

After a period of punishment at the Red Center, June is reassigned to become Ofjoseph, ostensibly to bear a child for Commander Joseph Lawrence (Bradley Whitford), an intellectual leader among Gilead’s policy framers. As viewers learned last season, Commander Lawrence is capriciously contradictory — helping the handmaids and the baby to escape, while taking a sadistically ambivalent, mainly academic interest in the dystopian nightmare he helped create. For a character with so much potential and insider knowledge, it feels as if the writers don’t know what to make of him. Whitford does what he can with the material he’s given.

Although she ended last season with a paring knife in her back, Ann Dowd returns as Aunt Lydia. By far the show’s most interesting character, she has acquired what might be interpreted as an evolving perspective on Gilead’s treatment of its handmaids, whom she loves with a mix of religious zeal and vicious discipline. One senses in her this season a seed of doubt or misgiving, a crack in her hardened shell.

If you can make it through the sluggish start (five long, poorly structured episodes), things improve in Episode 6, as June/Ofjoseph is summoned to Washington, D.C., and the home of the high grand poobah Commander Winslow (Christopher Meloni). At last we see the Gileadean version of the capital, where handmaids have it a lot worse than even Aunt Lydia could have imagined.

And wait until you see what those bastards have done to Union Station, the Washington Monument and Lincoln Memorial. It recaptures that unique combination of dread and outrage that “The Handmaid’s Tale” originally meant to convey. It’s also the sort of thing that might inspire one to dust off the protest bonnet and head for the Mall.

Correction: An earlier version of this review said that Serena Joy had a finger cut off for petitioning Gilead’s rulers to let women have a say in government. Her finger was actually cut off because she proposed that women and girls be allowed to read the Bible. The story has been updated.

The Handmaid’s Tale (13 episodes) returned with three episodes Wednesday on Hulu. A new episode streams each week, beginning June 12.

https://www.washingtonpost.com/enter...=.75eb7e7bcc6b
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post #30221 of 34541 Old 06-07-2019, 09:04 AM - Thread Starter
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TV Notes (Streaming)
'Lucifer' Renewed for Fifth and Last Season on Netflix
By Rick Porter, The Hollywood Reporter - Jun. 6, 2019

Lucifer will remain on Earth for one more run.

Netflix has renewed the drama for a fifth and final season. The series, starring Tom Ellis and based on the DC Comics title, came to the streamer after Fox canceled it in May 2018 after three seasons.

Lucifer made its Netflix debut on May 8 with a shortened 10-episode run; previous seasons on Fox had run at least 13 episodes each.

"We are so incredibly thankful to Netflix for resurrecting our show last season, and now letting us finish the story of Lucifer on our terms," showrunners Joe Henderson and Ildy Modrovich said Thursday in a statement. "Most importantly, we want to thank the fans for their incredible passion and support. The best is yet to come!"

Said Netflix in a statement, "We are thrilled that Lucifer fans around the world have embraced this series on Netflix, and we can't wait to give them the big finish they've all been waiting for."

The series, produced by Warner Bros. TV, was a steady but not spectacular performer during its Fox run. Lucifer was one of a number of shows cut from the network at the end of the 2017-18 season as it prepared to separate from sister studio 20th Century Fox TV (a deal that finally happened in early 2019 with Disney's $71.3 billion purchase of the studio and other 21st Century Fox assets).

Netflix doesn't regularly release viewing figures for its series.

Lucifer's cast also includes Lauren German, Kevin Alejandro, Lesley-Ann Brandt, Aimee Garcia, Inbar Levi and Graham McTavish.

https://www.hollywoodreporter.com/li...etflix-1216431
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Technology/Business Notes (Gaming)
Google's Stadia Game Service is Officially Coming November: Everything You Need to Know
By Sean Hollister, TheVerge.com - Jun. 6, 2019

Today, Google has revealed the key details that were conspicuously missing from its March announcement of the new Stadia game streaming service. Namely, what the heck we’re going to be able to play, how much we’ll pay, and when we can get started with the exciting new service — which beams high-end console and PC games to any Chrome web browser, Chromecast Ultra TV dongle or Pixel 3 smartphone from beefy new Google servers.

The short version: Google Stadia will launch in November, in 14 different territories including the US, UK and Canada, with at least 31 games from 21 different publishers, for an initial “Founder’s Edition” price of $130 for a hardware starter kit with three months of premium service, and $10 a month afterwards. There’s a separate free tier coming in 2020.

Pre-orders for the “Founder’s Edition” are now open, and I’ll explain what it is in a tad, but there’s something important you should know first.

While you’ve probably heard predictions that Google’s Stadia will be the “Netflix of games,” it turns out the analogy only goes so far. While Google intends to eventually have a back catalog of free games included for your $10 monthly fee, Stadia is not primarily a subscription service. The subscription only includes a single game as of today — Destiny 2. Primarily, Google tells us you should expect to buy, not rent cloud games for the same retail prices you’d find on other platforms like PlayStation Network, Xbox Live, and Steam.

“We will sell these games like any other digital storefront,” Google’s director of games Jack Buser tells The Verge.

So you’re probably wondering: which games and game studios are on board? I won’t leave you in suspense any longer.

Bandai Namco - Dragon Ball Xenoverse 2
Bethesda - DOOM Eternal, DOOM 2016, Rage 2, The Elder Scrolls Online, Wolfenstein: Youngblood
Bungie - Destiny 2
Capcom - TBD
Coatsink - Get Packed (Stadia exclusive)
Codemasters - GRID
Deep Silver - Metro Exodus
Drool - Thumper
Electronic Arts - TBD
Giants Software - Farming Simulator 19
Larian Studios - Baldur’s Gate 3
nWay Games - Power Rangers: Battle for the Grid
Rockstar Games - TBD
Sega - Football Manager
SNK - Samurai Shodown
Square Enix - Final Fantasy XV, Tomb Raider Definitive Edition, Rise of the Tomb Raider, Shadow of the Tomb Raider
2K Games - NBA 2K, Borderlands 3
Tequila Works - Gylt (Stadia exclusive)
Warner Bros. - Mortal Kombat 11
THQ - Darksiders Genesis
Ubisoft - Assassin’s Creed Odyssey, Just Dance, Tom Clancy’s Ghost Recon Breakpoint, Tom Clancy’s The Division 2, Trials Rising, The Crew 2


Google says this isn’t the entire list of games, either, with more set to be announced next week during E3 and in the run-up to the November launch. Still, it already looks like a who’s who of video game publishers are interested in the idea; some enough to bring brand-new games from high-profile franchises like Borderlands, Wolfenstein, Doom, Darksiders and Ghost Recon to Stadia’s catalog.

Buser says that the just-announced Baldur’s Gate 3 will ship simultaneously on Stadia and PC, in fact — and that those two platforms will be the only ways to play it.

Nevertheless, that list of games doesn’t necessarily have a killer app, Google isn’t talking about its own internally developed Stadia-exclusive titles quite yet, and the quality and reliability of Google’s service is (mostly) unproven in the wild.

Which is probably why Google’s catering to early adopters willing to drop $130+ on a “Stadia Founder’s Edition” before it goes any further. For less than the price of a new PS4 or Xbox One, the company’s cobbled together its own console of sorts — a Chromecast Ultra to plug into your TV and a limited-edition dark blue version of Stadia’s surprisingly cool controller.

Since each of those devices will retail for $70 on their own, you’re arguably getting your money’s worth in gadgets right away, plus the chance to choose a special founder username before anyone else. You’ll also get three months of the Stadia Pro tier of service for you and a friend — who, like you, will also be able to play on a Pixel 3 or Pixel 3A phone (Google says it hopes to expand to other phones and platforms “over time”) or in the Chrome web browser with the standard HID controller of your choice.

Stadia Pro gives you 4K, 60fps streaming with HDR and 5.1 surround sound assuming you’ve got the required 35Mbps of bandwidth, plus access to Stadia’s eventual free catalog, and exclusive discounts on games. The free tier launching in 2020 is limited to 1080p60 with stereo sound, and requires 10Mbps of bandwidth to stream at 720p.



Then there’s Destiny 2. As rumored, Bungie’s Destiny 2 is coming to Stadia, and it’s the streaming service’s flagship title in many ways. It’s the only game guaranteed to let you pick up where you left off on Xbox or PC thanks to new cross-save functionality — Stadia project manager Andrey Doronichev says “we’re still working with PlayStation to figure out the transition” — and the only one that’s confirmed to include DLC, with the Stadia version bundling every single add-on including the brand-new Shadowkeep expansion.

Maybe as importantly, Destiny 2 is the only game that comes free with the Stadia Founder’s Edition and the only game Google’s confirmed you won’t need to buy separately. Though like any other free-with-Stadia Pro title, it’s only available so long as you keep paying that $10 monthly.

GOOGLE STADIA LAUNCH REGIONS AND PRICING:

Territory / Founder's Edition / Stadia Pro (monthly) / Stadia Controller


US $129.00 $9.99 $69.00
Canada $169.00 $11.99 $89.00
UK £119.00 £8.99 £59.00
Ireland €119.00 €9.99 €69.00
France €129.00 €9.99 €69.00
Germany €129.00 €9.99 €69.00
Italy €129.00 €9.99 €69.00
Spain €129.00 €9.99 €69.00
Netherlands €129.00 €9.99 €69.00
Belgium €129.00 €9.99 €69.00
Finland €129.00 €9.99 €69.00
Denmark DKK999 DKK69 DKK549
Sweden SEK1,399 SEK99 SEK749
Norway NOK1,299 NOK99 NOK699


Note: Google says Stadia won’t be available in Hawaii or Guam at launch.

Of course, you don’t need to drop the initial $130 or $10 a month on Stadia if you’re willing to wait until 2020, and you don’t necessarily need to buy into Google-branded hardware at all if you’re willing to wait. It's coming to more Android phones, and when I ask if we can expect the service to eventually hit Apple TVs, Rokus, maybe even iOS devices, Doronichev says the goal is to go as broad as possible: “We want to be everywhere.” He says there’s no particular spec another Android phone would need to support Stadia, merely certification to ensure it’s a good experience. (You won't need to re-pair the Stadia controller over and over to each supported device, by the way - it's a Wi-Fi device that communicates directly with Stadia's servers so you can swap platforms easily.)

WOULD YOU PAY $130 TO PLAY DESTINY 2?
Note that “everywhere” doesn’t necessarily include playing games on the go over a cellular connection quite yet though, merely Wi-Fi and wired Ethernet to start. “You should not expect your existing cellular connection to work,” says Doronichev, adding that the company’s bullish on 5G’s potential to change that.

And Google says not all of Stadia’s lofty vision from its March announcement at GDC — see our video below — will necessarily make it by launch. While that nifty feature that lets you click through a YouTube video ad for a game and instantly start playing should be available, and Ghost Recon will offer split-screen multiplayer with friends, it’s not clear that YouTubers will be able to simultaneously play and livestream a game to YouTube quite yet, nor invite their fans to join in (perhaps for good reason, considering YouTube’s challenges right now).

Over time, Buser says we should not only see additional exclusive games on Stadia, but also cross-platform games doing things on Stadia “that would be impossible to do on a console or PC.” Instead of dividing up virtual worlds into tiny "shards" where only 100 or 150 players can occupy the same space at a time because of the limitations of individual servers, he says Google’s internal network can support living, breathing virtual worlds filled with thousands of simultaneous players.

It’s not clear how the economics support throwing additional cloud compute power at a game, though, if people are paying the same $60 to buy a game that they do today. Since Stadia’s servers are powerful enough to actually let you play games, they likely cost more to maintain than the ones digital distribution platforms like Steam, Sony, Microsoft and Nintendo use to let you merely download files over the internet. (Buser wouldn’t say.)

But Google may feel a need to aggressively compete to be a leader in cloud gaming, since the competition looks like it may be fierce. Microsoft says it will “go big” at E3 next week, presumably with its own xCloud service as well as a new Xbox console, and Sony said this week that it will take its own PlayStation Now service “to the next level later this year.” There’s evidence that Amazon may have its own cloud gaming service, and we exclusively revealed in January that Verizon was testing one too.

We don’t know if Stadia is any good yet. We hope to find out soon. But either way, it seems like the cloud gaming wars are nearly here.

https://www.theverge.com/2019/6/6/18...bisoft-e3-2019
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Obituary
Dr. John, Hall of Fame Singer Who Brought New Orleans to the World, Dead at 77
By Andy Green and David Browne, Rolling Stone - Jun. 6, 2019

Mac Rebennack, the New Orleans pianist, singer-songwriter and producer better known as Dr. John, died Thursday at the age of 77. The cause of death was a heart attack, according to his family.

“Towards the break of day on June 6, 2019, iconic music legend Malcolm John Rebennack, Jr., professionally known as Dr. John, passed away of a heart attack,” his family said in a statement. “As a Rock N Roll Hall of Fame inductee, six-time Grammy winner, songwriter, composer, producer and performer, he created a unique blend of music which carried his hometown, New Orleans, at its heart, as it was always in his heart. The family thanks all whom have shared his unique musical journey, and requests privacy at this time. Memorial arrangements will be arranged in due course.”

“A true friend and fellow musical traveler died today,” the Allman Brothers Band wrote on Twitter. “The Allman Brothers Band family express their sincere sadness in his passing. Mac played many times with the Brothers. Walk on Gilded Splinters our Old Friend, we will all meet up at The Right Place.”

“God bless Dr. John,” Ringo Starr wrote on Twitter. “Peace and love to all his family. I love the doctor.”

“There was no other performer like Dr. John, and there never will be,” Louisiana native Ellen DeGeneres wrote. “Tonight my heart is in New Orleans.”

Although best known for his Seventies solo work and radio hits like “Right Place, Wrong Time,” Rebennack had a career that spanned pop history. He was a key part of the “Wrecking Crew” stable of ace Los Angeles session musicians in the Sixties. He played on recordings by Cher, Aretha Franklin, Canned Heat, Frank Zappa and countless others, fusing funk with R&B and boogie woogie.

Rebennack began putting out his own records in 1968 with the release of his debut album Gris-Gris. It was the beginning of his larger-than-life Dr. John Creaux the Night Tripper character, with Rebennack incorporating elements of voodoo into his outrageous stage show. He quickly grew a large following, introducing much of America to New Orleans music.

Born Malcolm John Rebennack on November 21st, 1940, Dr. John was immersed in the music of his native city from an early age. He started banging on a piano when he was three, venturing to African-America clubs when he was teenager and working at a studio in town during that time. His first instrument was the guitar, not the piano, and he soon met and began playing with Professor Longhair, the New Orleans piano icon. As a teenager, Dr. John had played in bands, wrote songs for local acts like Lloyd Price and Jerry Byrne and worked an A&R job at Ace Records.

His life and music took a fateful turn when, in 1960, he broke up a fight and his left index finger was hit by a bullet. With that, he switched to piano, which would be his primary instrument throughout his career. When the New Orleans music scene gave way to Detroit’s Motown world and other hot cities, Dr. John relocated to Los Angeles in 1964, where he began his session-man career.

Originally, he had planned for another musician to play the “Dr. John” character, modeled after a voodoo priest, but when that player opted out, Rebennack took over the part himself. “I had it all planned and set to go, so I just did it myself out of spite,” he once said. “I never thought I would be doing another record. I never wanted to be a frontman. All of a sudden, I got into it, and it wasn’t as bad as I thought.” He soon had fully renamed himself and started a solo career that blended New Orleans, blues and psychedelia, with accompanying robes and headdresses of his new character.

Signing with Atlantic, by way of legendary producer Jerry Wexler, Dr. John found his groove and his voice, starting with Gumbo, the landmark 1972 album that featured his renditions of “Iko Iko,” “Let the Good Times Roll” and other New Orleans classics. The next year, he hit his commercial peak, when his funky stomp “Right Place, Wrong Time” hit the Top 10. Those albums showcased not only his loose growl and rhythmic sense but his piano playing, which incorporated boogie and swinging syncopation.

Speaking to Rolling Stone in 1973, Rebennack discussed his internal battle over making “commercial” music. “The only thing that makes a record commercial is if people buy it,” he said. “Originally, I felt to go commercial would prostitute myself and bastardize the music. On reflecting, I thought that if without messin’ up the music and keeping the roots and elements of what I want to do musically, I could still make a commercial record I would not feel ashamed from, I’m proud of, and still have a feel for, then it’s not a bad thing but it even serve a good purpose.”

He was popular enough by 1976 to be invited to perform at The Band’s Last Waltz alongside Bob Dylan, Neil Young, Eric Clapton, Muddy Waters and other greats of the era, but his commercial fortunes waned in the Eighties and an addiction to heroin hobbled his career for years. He kicked the drug in 1989, around the time that Ringo Starr helped revive his career by bringing him on the road for his inaugural All Starr Band Tour. He was inducted into the Rock and Roll Hall of Fame in 2011.

Rebennack released dozens of albums over the course of his career as both a solo musician and member of Bluesiana Triangle, a trio he formed with jazz giants Art Blakey and David “Fathead” Newman. He made jazzy pop (1979’s City Lights), pre-rock pop standards (1989’s In a Sentimental Mood) and homages to his home town (1992’s Goin’ Back to New Orleans). In 2012, he released the Dan Auerbach-produced album Locked Down, which landed on Rolling Stone‘s Best Albums of the year.

He continued to tour heavily until 2017 when health problems took him off the road. “I don’t go out to each too much,” he told Rolling Stone in 2010. “I can’t eat things like lamb because I have cirrhosis of the liver. So I have a pretty limited diet and I like to eat a lot of seafood. So that’s kind of depressing.”

Rebennack summed up his career back in 1973, when he told Rolling Stone that audiences didn’t need to know anything about New Orleans or voodoo to enjoy his music. “If you’re gonna get off on somethin’ you don’t need to know nothin’ about it, music is a universal language,” he said. “If it’s opera in Italian, you ain’t supposed to know nothin’ about Italy. You can just sit there and dig on it.”

[CLICK LINK BELOW TO SEE CLIPS OF DR. JOHN PERFORMING]

https://www.rollingstone.com/music/m...ituary-845445/
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TV/Criminal Notes
Missing Mouseketeer: Remains found in southern Oregon home confirmed to be Dennis Day
By Shane Dixon Kavanaugh, The Oregonian - Jun. 6, 2019

A corpse found months ago in the southern Oregon home of Dennis Day, one of the original members of TV’s “The Mickey Mouse Club," has been confirmed to be the missing man, his family said Thursday.

Day’s niece Janel Showers made the announcement on the “Help Us Find Dennis Day!” Facebook page.

“The cause of death is under investigation by the Oregon State Police so we will not be making any comments or answering any questions at this time," Showers wrote. “We are truly thankful to all of you for your love and support.”

The former Mouseketeer was first reported missing last summer. But it wasn’t until April that investigators found a body in the Phoenix, Oregon, home Day shared with his husband, Ernest “Ernie” Caswell.

Day, 76, appeared on “The Mickey Mouse Club” during the show’s original 1950s run. Caswell, who suffers from memory loss and was in the hospital at the time, reporting him missing July 15.

According to missing persons reports, Day “uncharacteristically” left his dog with a friend on the day he disappeared. His car was found at the Oregon coast July 26.

But the investigation didn’t pick up steam until December, when Day’s family was told of a local news report about the missing persons case.

In February, “Dateline” spoke with Day’s family members -- including his sister and original performing partner Nelda Adkins -- who voiced their displeasure with what they called a “poorly handled” investigation.

“We are devastated," Day’s niece Denise told the NBC news program. “We had no idea anything was happening, and six months into it, we figured it out. We should have been notified.”

Friends and relatives helped set up the “Help Us Find Dennis Day!” Facebook page.

The Oregonian/OregonLive’s Michael Russell contributed to this report.

https://www.oregonlive.com/news/2019...ennis-day.html
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TV Review (Cable)
'Moon and Me,' from a mind behind 'Teletubbies,' has a dreamy charm
By Robert Lloyd, Los Angeles Times - Jun. 6, 2019

Back at the end of the last century, the Teletubbies were born — four brightly colored, plush baby-things, each with a video screen on its stomach and an antennae atop its head. They lived (on television, in a BBC-produced show called "Teletubbies") in a dome in a verdant valley, with real rabbits and a baby-faced sun, played, ate tubby custard and led well-regulated lives between getting out of and going to bed.

“Teletubbies” co-creator Andrew Davenport has a new show, called "Moon and Me,” which recently made its American debut on the premium cable network Universal Kids. (In between came a series called "In the Night Garden," with which I'm not familiar.) Like "Teletubbies," — which ran originally from 1997 to 2001 and was revived in 2015 and is still doing its work in the world — "Moon and Me” is targeted to the very young. It’s slow and repetitive and otherworldly, qualities that purportedly made the original “Teletubbies” a favorite of club kids coming down after a long night of EDM, but which also appealed to … me. And I have the stuffed Po to prove it.

"Moon," which originates from the BBC’s children’s channel CBeebies, is a night show, obviously, where "Teletubbies" is very much about the day. And where earlier series featured grown humans gamboling in costume, the new one is made as puppet animation, the most magical of animated mediums. Crafted in three actual dimensions, in materials like fabric and clay and wood, it reads on camera as real, because it is. You want to reach in and touch it.

Each episode begins with a child's voice: "Hush, hush, says the moon. It's time to go to sleep." She puts her dolls to bed in a dollhouse, with other elements — a couple of paper crowns, say, or a toy carousel — that will play a part in the story to come.

"Moon, can we have a story?" asks the child.

"A story," answers the moon, whose voice belongs to the familiar British actress Nina Sosanya ("Nathan Barley," "Last Tango in Halifax," "Killing Eve," "Good Omens" and lots more). “What a good idea."

When the lights go out, a doll named Pepi Nana, who bears a resemblance to the human child, gets out of bed and writes a letter to the Moon. Moon Baby, who has a royal presence and lives in a cavern there, receives it, flies down to Earth and wakes the dollhouse with his lunar glow.

Living alongside Pepi Nana are Mr. Onion, an onion; Colly Wobble, a sort of clown; Sleepy Dibillo, a narcoleptic rabbit; Lambkin, a lamb on wheels; and Little Nana, a very tiny doll, who sleeps in a matchbox. (There is also Lily Plant, who stays put.) Sosanya sometimes speaks their dialogue, in complete sentences, but left to their own devices most tend to repeat a a single phrase or sound. Pepi Nana says "Tiddle toddle,” Mr. Onions says "Onions," Little Nana says "Poop poop," Lambkin goes "baaa."

When everyone is awake, Moon Baby takes out a magical thumb piano, plays something that sounds a bit like the theme to John Huston's "Moulin Rouge," and they all go to Storyland, a sunlit countryside where the characters will act out a story. It is meta, in its way.

After the story, there is a song. My favorite, which is sung by Michael Bublé, is about a horse in the house: "If there were a horsey in the house/The horsey would be bigger than the house."

Then comes tea. Everyone gets sleepy and goes to sleep. Moon Baby scoots home moonward.

If “Moon and Me” lacks the psychedelic weirdness of "Teletubbies" and is based in an idea that has been around forever — toys coming to life while the humans sleep — it has its own outside charm. In part it's because it's actually foreign, a British import, and its children's television has always looked different from ours, less hectic, more pastoral; "Moon and Me" is not too many stops down the track from "Thomas & Friends" (adapted for American audiences as "Shining Time Station").

The show is what might be called pre-psychological; it has an amniotic warmth. There are no lessons; there is no conflict, no challenge greater than not quite being able to reach something. There is no judgment other than that things are very nice. Decisions are made, and always approved. Who doesn’t need that from time to time? Life can’t be all dragons and regicide.

"Once upon a time," says the Moon, for example, "Mr. Onion had a bridge. ("Onions," says Mr. Onion.)

"I will cross my bridge," says Mr. Onion. (He should have added, "When I come to it," but to be fair, he was already there.) He crosses; he crosses back. Pepi Nana wants to cross the bridge; not to be spoilery, but she gets across. (She does a little tap dance on it, friskily.) It is that kind of high-watt drama. It's not a Billy Goats Gruff situation. It's not a dangerous bridge. It's just "step, step, step."

"Mr. Onion loves his bridge,” says the Moon. “And that is the end of the story."

At the same time, “Moon and Me” isn't simple; there are layers of play and reality that, if we must be psychological about it, might be said to mirror the porous, amorphous world of early childhood, with its indistinct layers of play, dreams and reality. When the characters sit down to tea, back in the toy house after an adventure in which tea was taken, Little Nana objects, "We've already had tea."

"That was tea in a story," Pepi Nana replies. "This is pretend tea. It's much more proper."

‘Moon and Me’
Where: Universal Kids
When: 8 a.m. weekdays


https://www.latimes.com/entertainmen...606-story.html
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Nielsen Notes (Cable)
TV Ratings: CMT Music Awards Reaches 2.7 Million Viewers
By Will Thorne, Variety.com - Jun. 6, 2019

The 2019 CMT Music Awards, which recognizes the best videos in the country music space, saw a significant bump in viewership from last year’s edition.

Last night’s awards show, which was hosted by Little Big Town, hit 2.7 million total viewers across the multiple channels on which it was broadcast (CMT, Paramount, TVLand, MTV, MTV2, and Logo), which represents 29% increase on last year’s viewership. This growth was driven partly by the addition of MTV’s suite of brands. This was the first show since Chris McCarthy expanded his role of president of MTV, VH1 and Logo to include CMT.

The show scored a cumulative rating of 0.63 in adults 18-49 across the multiple Viacom networks on which it aired.

In terms of the voting results last night, Carrie Underwood continued her domination, emerging as the biggest winner with two trophies and continuing her streak as the most awarded artist in CMT Music Awards history. Underwood won best female video for “Love Wins” and video of the year for “Cry Pretty,” taking her overall total wins to 20.

Check out the full list of last night’s winner below:

VIDEO OF THE YEAR
Carrie Underwood – “Cry Pretty”

MALE VIDEO OF THE YEAR
Kane Brown – “Lose It”

FEMALE VIDEO OF THE YEAR
Carrie Underwood – “Love Wins”

DUO VIDEO OF THE YEAR
Dan + Shay – “Speechless”

GROUP VIDEO OF THE YEAR
Zac Brown Band – “Someone I Used To Know”

BREAKTHROUGH VIDEO OF THE YEAR
Ashley McBryde – “Girl Goin’ Nowhere (At Marathon Music Works)”

COLLABORATIVE VIDEO OF THE YEAR
Keith Urban feat. Julia Michaels – “Coming Home”

CMT PERFORMANCE OF THE YEAR
Luke Combs and Leon Bridges – “Beautiful Crazy (From CMT Crossroads)”


https://variety.com/2019/tv/news/tv-...rs-1203235220/
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TV Notes (Syndication)
Emma Boettcher's Jeopardy! Run Ends 3 Games After She Bested James Holzhauer
By Mahita Gajanan, TIME - Jun. 7, 2019

Emma Boettcher, the Jeopardy! champion who ended James Holzhauer’s legendary run on the quiz show just as he was set to break a significant record, lost after a three-game streak, coming in third in the episode that aired Thursday.

“Being on Jeopardy! had to end sometime, and I’m not unhappy with the way it did,” Boettcher, 27, told the New York Times. “It was just marvelous to be there.”

Boettcher, a librarian at the University of Chicago, brought Holzhauer’s 32-game-long winning streak to an end right as he was set to top the $2.52 million held by Ken Jennings during his historic 2004 stint on the show. She went on to win the next two games; her loss marks a return to the more typical length of time contestants stay on Jeopardy!

In Thursday’s game, Boettcher arrived at Final Jeopardy just $200 behind leading player Brendan Roach, the Times reports. But in response to the final clue — Steinbeck called him “just a voice and a guitar” but said his songs embodied “the will of a people to endure and fight against oppression” — Boettcher gave an incorrect answer, “A. Guthrie.” (The correct answer was Woody Guthrie). Still, she added the $1,000 prize given to third place winners to the $97,002 she’d won over her three-game run.

https://time.com/5602877/emma-boettcher-loses-jeopardy/

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Nielsen Overnights (Broadcast)
Ratings: Life in Pieces Eyes Lows, Stanley Cup Game 5 Dominates Night
By Matt Webb Mitovich, TVLine.com - Jun. 7, 2019

Again leading out of back-to-back-to-back sitcom reruns, CBS’ terminal Life in Pieces this Thursday drew 4.2 million total viewers and a 0.6 demo rating, ticking down on both counts to hit and match series lows.

Closing the Eye’s night, Elementary (3.7 mil;0.5) dropped a few eyeballs while steady in the demo.

Elsewhere on Thursday:

NBC l Coverage of the Stanley Cup Final Game 5 (5.3 mil/1.5) was up a tick from the fast nationals for Monday’s hockey match, dominating the night in the demo.

ABC | A Celebrity Family Feud rerun somehow delivered Thursday’s largest audience (5.55 million).

FOX | Paradise Hotel (1.3 mil/0.4) dipped week-to-week with its finale

THE CW | iZombie (720K/0.2) and In the Dark (610K/0.1) were both steady.

https://tvline.com/2019/06/07/life-i...n-4-cancelled/
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TV/Business Notes
AT&T eyes $16-$17-a-month streaming service: WSJ
By Reuters.com Staff - Jun. 6, 2019

(Reuters) - AT&T Inc’s WarnerMedia may price its streaming service between $16 and $17 per month, instead of a multi-tiered plan, the Wall Street Journal reported on Thursday, citing people familiar with the matter.

The package may include HBO, sister channel Cinemax and the vast library of Warner Bros TV shows and movies into one offering, the report said.

AT&T did not immediately respond to a Reuters request for comment.

This move comes at a time when audiences are getting a host of offers and attractive monthly bills for digital entertainment. For instance, Apple, Disney’s streaming video service Disney+ and others plan new streaming services.

In April, Disney priced its highly anticipated Disney+ below Netflix in an aggressive move to challenge the dominant streaming service and entice families to buy yet another monthly subscription.

AT&T has been bleeding out pay-TV subscribers. In its first quarter, the company lost higher-than-expected premium TV subscribers, a category that includes DirecTV satellite and U-verse television customers.

https://www.reuters.com/article/us-a...-idUSKCN1T72GK
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 7, 2019

DESIGNATED SURVIVOR
Netflix, 3:00 a.m. ET
SEASON PREMIERE:
The former ABC series moves to Netflix for more episodes, similar to how Netflix recently served up a few more hours of the former Fox series Lucifer. Kiefer Sutherland continues to star as the “accidental President” – but this season, he sets out to make it official, by competing in an election rather than occupying the White House because every more senior government official was killed in a terrorist attack.

I AM MOTHER
Netflix, 3:00 a.m. ET
MOVIE PREMIERE:
This is another Netflix acquisition – this time an independent sci-fi film presented at Sundance and gobbled up by Netflix for TV distribution. It’s a tale of a freshly apocalyptic future – whatever the mysterious “extinction event” referred to in the opening scene’s superimposed graphic titles, it took place the day before the movie begins – in which a robot named Mother unfreezes and begins to revive a human fetus, which she brings to term, names Daughter, and raises her as her own. Which, since they’re the only “living” occupants of a heavily fortified repopulation facility, Daughter technically is. All goes well for about 20 years, with Daughter (played, in adult form, by Clara Rugard) schooled and tested and emotionally supported by Mother (voiced by Rose Byrne). But then there’s a visitor from outside – an outside that’s supposed to be lifeless and toxic – whom Daughter lets inside the facility and, at first, hides from Mother in an act of rebellion. The outsider is played by Hilary Swank. And once she arrives on the scene, I Am Mother opens up, in terms of both setting and genre, and shifts into a film that shifts into action and terror mode, without sacrificing or forgetting its emotional underpinnings. Directed by Grant Sputore, it’s a low-budget futuristic story that’s more entertaining and original than expected. Well, than I expected, anyway…

XY CHELSEA
Showtime, 9:00 p.m. ET
DOCUMENTARY PREMIERE:
This is the Showtime premiere of the new documentary XY Chelsea, which tells the story of trans woman Chelsea Manning, who was convicted and temporarily imprisoned for violating the Espionage Act of 2013, after leaking classified U.S. documents to Wikileaks. The former U.S. Army soldier and intelligence officer tells her reasons for disseminating those documents (which, among other things, detailed illegal torture practices by the military), and also describes her stay in prison, which was anything but uneventful.

REAL TIME WITH BILL MAHER
HBO, 8:00 p.m. ET

One of the many presidential candidates hoping to earn the nomination for 2020 is entrepreneur Andrew Yang – and he’s Bill Maher’s scheduled opening guest tonight.

THE GRAHAM NORTON SHOW
BBC America, 11:00 p.m. ET

David Tennant and Michael Sheen, co-stars of the entertaining new Amazon adaptation of the Good Omens story by Terry Pratchett and Neil Gaiman, are on the couch tonight for a very British – and, I’m guessing, fairly bawdy – installment of Graham Norton’s freewheeling talk show.


http://www.tvworthwatching.com/

* * * *

TV Review (Streaming)
Season 3 of 'Designated Survivor' Debuts – On Netflix
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Jun. 7, 2019

Key members of President Tom Kirkman’s administration are resigning in waves. The Senate is about to vote down one of his hardest-fought and most important bipartisan initiatives. His own staff doesn’t seem at all convinced he has a shot at winning re-election.

And then just when you think things can’t go any further South, his tween daughter Penelope tells him she doesn’t want him to call her “Little P” anymore.

Welcome to Netflix, President Kirkman.

Designated Survivor, which stars Kiefer Sutherland as President Tom Kirkman and played out its first two seasons on ABC, has moved to Netflix, where its 10-episode third season becomes available Friday.

A few of the changes are modest and predictable. Certain words that would be broadcast-unfriendly make several appearances, including from the mouth of Penelope (Mckenna Grace).

Other changes may have more profound implications.

For starters, Kirkman has hired a new chief of staff, Mars Harper (Anthony Edwards), following the resignations first of Aaron Shore (Adan Canto) and then Kirkman’s long-time trusted aide Emily Rhodes (Italia Ricci).

Harper is a no-nonsense sort of fellow who strikes fear into the heart of almost everyone who serves at the pleasure of the president. That includes press secretary Seth Wright (Kal Penn).

At the risk of a spoiler, however, fans need not fear that Kirkman’s whole posse will disappear. The big news here will likely be the additions, including people to run the independent presidential campaign he has decided to conduct.

Given Kirkman’s lack of connection to the Washington insiders who tend to run most of these campaigns, don’t be surprised if he ends up with someone who’s a bit more of a wild card.

It’s also not clear what will happen with Hannah Wells (Maggie Q), the FBI agent who was instrumental in pursuing the disturbing truth about the terrorists whose bombing of the Capitol made Kirkman president in the first place.

What seems clear is that the show has shifted its focus inward. Where the first two seasons were a cascade of crises, many involving international incidents and threats from malignant global forces, the first episode of the new season focuses almost entirely on domestic politics.

Kirkman, who renounced party allegiance in an attempt to bring a shaken America together, is being challenged on the Republican side by Cornelius Moss (Geoff Pierson), a former president and Kirkman ally who now wants the job back for himself. There will also be a Democrat, and both those candidates will have formidable party machines in place.

Kirkman must consider, then, whether to make an interesting argument: that the system he leads is so broken only someone with minimal institutional ties can represent what the people really want.

If that second clause sounds like Donald Trump’s playbook, Designated Survivor largely stays away from real-life references. Even a small subplot about disaster aid to Puerto Rico focuses on the logistics of that aid, not a battle over it.

Perhaps as part of keeping a little space between this TV-show presidential campaign and the real one that’s already underway, the new season of Designated Survivor also spends more time on the personal lives of its characters.

Admirers will call it greater character development. Skeptics may think it’s getting a little soapier.

In either case, with the new season only having 10 episodes, the pace will likely speed up, meaning some resolutions may arrive more quickly.

Through it all, President Kirkman still seems to be the same man who was thrust into this job like a deer into the headlights. He’s essentially decent and fair-minded. He’s also flawed. He can be impulsive, and he makes rookie mistakes. But we trust him and find him essentially honorable.

If he can maintain that aura through what’s sure to be a nasty election campaign, perhaps that’s the main message Designated Survivor wants to send to real-life America.

http://www.tvworthwatching.com/BlogP...x?postId=18321
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TV Sports/Technology Notes (Soccer)
Comcast, Dish, fuboTV Announce 4K Women’s World Cup Distribution
By Daniel Frankel, Multichannel News - Jun. 7, 2019

Comcast, Dish Network and fuboTV have all announced distribution of the FIFA Women’s World Cup France in 4K.

Starting today, Comcast said it will present live games on X1 via FOX in English and Telemundo in Spanish. The cable operator has hoisted the kind of destination “hub” area on X1 for event feature coverage, accessible via Voice Remote search terms such as “soccer” and “Women’s World Cup.” There’s also easily accessible onscreen data displays of tournament schedules, standings, etc.

Dish, meanwhile, is offering 30 games in 4K and in English on channel 52 to customers who have its Hopper 3 set-top.

And for its part, fuboTV will be the only vMVPD carrying the games in Ultra HD through its 4K beta. The virtual pay TV service will feature games in English on FOX, FX1 and FX2.

https://www.multichannel.com/news/co...orld-cup-in-4k
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TV Review (Streaming)
I Am Mother: Hilary Swank's Robot Baby Mama Drama Is Rewarding in the End
By Jordan Hoffman, TVGuide.com - Jun. 7, 2019

Robots! Causing us puny fleshbags nothing but trouble since Czech playwright Karel Čapek first dreamt them up in 1920!

Surely by now we know not to trust advanced artificial intelligence, right? They'll kill us all! Or maybe the cold pursuit of predetermined goals by an unstoppable force is the only thing that could secure a future for humanity during a species-threatening event? Food for thought! Or maybe there's an in-between.

This is the push-pull conflict underlying I Am Mother, a smart, low-budget science fiction head-scratcher that doesn't exactly jump out and thrill you, but offers interesting twists beneath its stillness. It's also one of those movies where you kinda-sorta know the ending way in advance, but don't quite know how it is going to get there. There ought to be a word for this very specific (and agreeable) kind of filmmaking. Is "aha!core" taken?

I Am Mother begins as we plunge deep into a futuristic bunker. Booms are heard from outside. It's the end of the world, or at least that's what we're led to believe. A humanoid robot (the titular Mother, voiced by Rose Byrne) starts poking around in her embryo factory and voila! a child is born. First-time director Grant Sputore assembles a growing-up-robostyle collage that feels weirdly plausible but also visually unnerving. It's undeniably funny to see a robot reading to a toddler. We then skip ahead and "Daughter" (Clara Rugaard) is a young woman, though I advise you to maybe hit freeze-frame and grab an abacus if you want to get a jump on one of the movie's forthcoming plot maneuvers.

Daughter's life in the bunker is focused on study. She knows that the potential for a larger family exists, but Mother is waiting until she is "ready." Until then, she's a skilled lab scientist well-versed in the works of Immanuel Kant and, oddly, Johnny Carson. The first crack in the seal comes when Daughter sees a rat scurrying around. She's been told that nothing can survive outside: It is a post-apocalyptic wasteland, right?

Well, wrong, because next thing you know a knock comes on the door and it is a frantic, wounded stranger (Hilary Swank). Could Mother — the woman, err, robot who nurtured Daughter — could she have told a lie? Or was she programmed to tell a lie for a higher purpose? It's an argument we've been having about AI since the HAL 9000 attacked Frank Poole in 2001: A Space Odyssey. Only this time it involves Hilary Swank running down sleek corridors getting blood everywhere.

When I told a friend that I saw I Am Mother, she said she'd seen the trailer and wanted to know "who was the bad guy: Hilary Swank or the Robot?!?" I am not going to answer that, but I will say that this question cuts to the heart of this film. (Well done, trailer-making team.) Science fiction is often a great gateway to philosophical discussion, and I Am Mother is part of that tradition. My previous knowledge of Immanuel Kant was mostly from an old Monty Python routine and now I've at least visited his Wikipedia page.

But if that sounds like it could be a little dry, well, there's a bit of truth to that. I Am Mother is a two-hour movie set mostly in one airtight location, and that's a tough sell for a Netflix watch. There's a stretch in the middle that isn't "nuanced, slow cinema," it's just good ol' fashioned boring. Power through the zone-out though, because the reward is there, and don't let the other flashy objects in your house distract you. If you do, you'll look up and say, "wait, what the hell is happening now?" and you'll have to go back. And have you tried rewinding Netflix? It's alarmingly not that easy, at least on my Roku. I go too far back, then I have to go forward and next thing you know you are slaloming all over the timeline trying to find your place. Where's the AI to help with this, huh?!?!

Anyway, look for Grant Sputore to become a significant Hollywood director, as I Am Mother is one hell of a calling card.

I Am Mother is now on Netflix.
Rating: 4/5


https://www.tvguide.com/news/i-am-mo...eview-netflix/
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TV/Production Notes (Cable)
AMC To Adapt Mona Awad’s ‘Bunny’ Novel For TV; Megan Mostyn-Brown To Pen Pilot
By Denise Petski, Deadline.com - Jun. 7, 2019

EXCLUSIVE: AMC Networks has acquired the rights to Mona Awad’s (13 Ways of Looking at a Fat Girl) anticipated forthcoming novel Bunny to develop as a television series.

Playwright Megan Mostyn-Brown is attached to write the pilot as part of her overall deal with AMC. Bunny will be released June 11 by Viking, an imprint of Penguin Random House.

The novel tells the story of Samantha Heather Mackey, who couldn’t be more of an outsider in her small, highly selective MFA program at New England’s Warren University. A scholarship student who prefers the company of her dark imagination to that of most people, Samantha is utterly repelled by the rest of her fiction writing cohort—a clique of unbearably twee yet menacing rich girls who call each other “Bunny.” When Samantha receives an invitation to the Bunnies’ fabled “Smut Salon,” everything suddenly changes and she finds herself inexplicably drawn to their front door—ditching her only friend, Ava, in the process. As Samantha plunges deeper and deeper into the sinister yet saccharine world of the Bunny cult and starts to take part in their ritualistic off-campus “Workshop,” the edges of reality begin to blur, and her friendships with Ava and the Bunnies are brought into deadly collision.

Bunny is described as a spellbinding, down-the-rabbit-hole tale that combines elements of fairy tale, horror, satire, and classic teen movies like Heathers and The Craft in a riveting exploration of women, relationships, desire, and the creative and destructive power of the imagination.

Awad’s debut book, 13 Ways of Looking at a Fat Girl, about a woman’s lifelong struggle with body image issues, won the Amazon.ca First Novel Award and was shortlisted for the Scotiabank Giller Prize in 2016.

Mostyn-Brown serves as a Supervising Producer on the Joe Hill adaptation NOS4A2 for AMC. Previously, Mostyn-Brown was an Executive Story Editor for the Fox series Gotham. Her plays include: The Secret Lives of Losers, Going After Alice, The Bends, Nora Gets a Boyfriend, and Nancy Blue: Girl Detective.

Awad is repped by The Clegg Agency and Anonymous Content.

https://deadline.com/2019/06/amc-ada...wn-1202628755/
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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 - Jun. 7, 2019

ABC:
8PM - Jimmy Kimmel Live! Game Night: Jamie Foxx and Corinne Foxx
8:30PM - NBA Countdown (LIVE)
9PM - 2019 NBA Finals, Game 4: Toronto Raptors at Golden State Warriors (LIVE)
* * * *
12:05PM - Jimmy Kimmel Live! (Kevin Costner; Tim Robinson; The Lumineers perform)
1:07AM - Nightline

CBS:
8PM - Whistleblower
9PM - Hawaii Five-0
(R)
10PM - Blue Bloods
(R)
* * * *
11:35PM - The Late Show With Stephen Colbert (Elisabeth Moss; Matt Bomer)
12:37AM - The Late Late Show With James Corden (Zach Braff; Ben Platt talks and performs)
(R)

NBC:
8PM - American Ninja Warrior: Atlanta City Qualifiers (120 min.)
(R)
10PM - Dateline NBC: The Overlook
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Dana Carvey; model Emily Ratajkowski; comic Chloe Hilliard)
(R)
12:37AM - Late Night With Seth Meyers (Olivia Wilde; Christopher Abbott; comic Janine Brito; Sebastian Thomson sits in with the 8G Band)
(R)
1:38AM - Last Call With Carson Daly (Nate Corddry; Rayland Baxter performs; Griffin Newman)
(R)

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

THE CW:
8PM - Masters of Illusion (Season Premiere)
8:30PM - Masters of Illusion
9PM - The Big Stage (Series Premiere)
9:30PM - The Big Stage

PBS:
8PM - Washington Week
8:30PM - Firing Line With Margaret Hoover
9PM - American Masters: Lorraine Hansberry (120 min.)
(R)

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 2:
6PM - College Baseball, NCAA Tournament (Super Regional, Game 1): Duke vs. Vanderbilt (LIVE)
9PM - College Baseball, NCAA Tournament (Super Regional, Game 1): Michigan vs. UCLA (LIVE)

CBSSN:
7PM - WNBA Basketball: Dallas Wings at Indiana Fever (LIVE)
9PM - Lion Fight 55 (120 min.)

DISCOVERY:
8PM - BattleBots (Season Premiere, 122 min.)
10:02PM - Jeremy Wade's Dark Waters (Season Finale)

ESPN:
8PM - NBA: The Jump (LIVE)
8:30PM - College Track and Field: NCAA Men's & Women's Outdoor Championships (2 1/2 hrs., LIVE)

LIFETIME MOVIE NETWORK:
8PM - Movie: Recipe for Danger (2019)

MTV:
8PM - Ridiculousness: Tyron Woodley
8:30PM - Ridiculousness: Chanel and Sterling CXIV

OXYGEN:
8PM - Dateline: Secrets Uncovered
9PM - Oxygen Investigates: Kidnapping of Jaycee Dugard (Series Premiere)

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

SHOWTIME:
9PM - XY Chelsea (Documentary Premiere, 2019, 95 min.)

WeTV:
9PM - Love After Lockup: Most Arresting Moments from Season 2 (101 min.)

CINEMAX:
10PM - Warrior (Season Finale)

HBO:
10PM - Real Time With Bill Maher (LIVE: Presidential hopeful and entrepreneur Andrew Yang; author Bret Easton Ellis; columnist Charles Blow; Rep. Katie Porter (D-Calif.); national security analyst Clint Watts)
* * * *
11PM - Wyatt Cenac's Problem Areas (Season Finale, 35 min.)

BBC AMERICA:
11PM - The Graham Norton Show (Chris Hemsworth; singer Gloria Estefan; David Tennant; Michael Sheen; the Jonas Brothers perform)


https://tvlistings.zap2it.com/?aid=gapzap
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TV Review (Streaming)
The More, Further (Final?) ‘Tales of the City’
Netflix gives Armistead Maupin’s modern-day fable of San Francisco lives and lifestyles a fourth go-round.
By Mike Hale, The New York Times - Jun. 5, 2019

When it comes to “Tales of the City,” the nostalgia just keeps compounding. The original television mini-series was already a wistful evocation of a disappearing San Francisco. And even as it played on PBS in early 1994, the internet was slouching into existence down the peninsula. With Netflix offering a new, 10-episode installment — a contemporary sequel, and the fourth series based on Armistead Maupin’s novels — both the first series, and the late-bohemian 1970s San Francisco it depicted, seem lost in the fog of time.

Yet there’s Laura Linney, fresh and funny as ever, once again reprising the role of Mary Ann, the Midwestern ingénue who’s forever arriving in the city by the bay and having her life changed. And Olympia Dukakis, still formidable as Anna Madrigal, whose 90th birthday is the device that brings Mary Ann back to Anna’s enclave in the fictional hilltop wonderland of Barbary Lane.

Their presence, though, as comforting as it is, doesn’t quite justify the effort expended on the new series or the nine-plus hours it will take you to watch it. The real nostalgia that this slack, earnest, self-help tract of a show evokes is for a time when a TV drama’s main job was to tell a story.

Developed by Lauren Morelli, whose previous TV writing and producing experience was on “Orange Is the New Black,” this “Tales of the City” has the requisite web of plots, or at least character complications. Mary Ann’s surprise visit to San Francisco is predictably extended and she struggles to come to terms with the ex-husband, Brian (Paul Gross, again), and the daughter, Shawna (Ellen Page), whom she left behind.

Her old friend Mouse, now played by Murray Bartlett of “Looking,” still lives at Barbary Lane and still has relationship issues. Anna is once again involved in a mystery, which gets Mary Ann and the others out of the house for some amateur sleuthing and even a comic ride-sharing car chase.

But there’s no energy or conviction in the storytelling, and while Linney, Gross, Bartlett and Page occasionally strike some sparks when they’re onscreen together, scene after scene goes by free of any real dramatic or emotional payoff.

Or maybe there are nothing but emotional payoffs, depending on your expectations. “Tales of the City” was of course famously trailblazing in its depictions of gay and transgender life and love in 1994; the current series expands its representation, with new Barbary Lane residents who include a young transgender man, Jake (played by a transgender and nonbinary actor, Garcia), and his girlfriend, Margot (May Hong), who are both questioning their sexuality. (And behind the camera, the show’s writers and directors are mostly L.G.B.T.Q.) Jake, in particular, plays out situations with family and lovers that are new to mainstream TV.

But the story lines involving the younger characters consistently default to flat, safe conversations about gender and queerness — the show can start to feel like an extended TED Talk, or a long night at a boring but very affirmative gathering of friends. For a celebration of diverse identities and lifestyles, with a healthy amount of nudity and some graphic depictions of sex, it’s resolutely square.

This effect rules even though the writers undercut the characters’ pieties now and then. One of the few really distinctive and lively scenes in the series is a direct example of this: At a dinner party, a group of affluent, white, middle-aged gay men react angrily when Mouse’s younger, nonwhite boyfriend calls them out for what he sees as their privilege. The ideas aren’t very clear, but the emotions are sharp because actors like Dan Butler, Malcolm Gets and Brooks Ashmanskas are brought in to play the guests. Stephen Spinella gets a nice meta-moment, snapping that the boyfriend doesn’t understand their struggle just because he saw “Angels in America.”

That scene stands almost alone, though. A 1960s flashback episode, showing Anna’s early days in the city, has a shape to it, at least, and benefits from the performances of the transgender actresses Jen Richards and Daniela Vega (star of the Chilean film “A Fantastic Woman”). And other performers make welcome appearances in small parts, including Mary Louise Wilson and John Glover as residents of a queer nursing home and Danny Burstein as Shawna’s uncle.

The original formula of “Tales of City” involved putting Linney’s screwball-comedy energy as Mary Ann at the center of a sexed-up but fairly conventional soap opera plot. That’s still the template, but what was quirky and entertaining then — with Richard Kramer, a “Thirtysomething” veteran, on board as a writer and executive producer — is draggy, preachy and a little morbid now. Might as well blame it on the internet along with everything else.

https://www.nytimes.com/2019/06/05/a...w-netflix.html
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post #30236 of 34541 Old 06-07-2019, 11:47 AM
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TV/Business Notes
AT&T eyes $16-$17-a-month streaming service: WSJ
By Reuters.com Staff - Jun. 6, 2019


https://www.reuters.com/article/us-a...-idUSKCN1T72GK
Good luck with that pricing AT&T, in my opinion, it's too high by at least 30%. I get that they need to protect their legacy HBO contracts so they should just leave HBO separate and charge around $7 per month for the rest of the catalog.
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post #30237 of 34541 Old 06-07-2019, 11:52 AM
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Good luck with that pricing AT&T, in my opinion, it's too high by at least 30%. I get that they need to protect their legacy HBO contracts so they should just leave HBO separate and charge around $7 per month for the rest of the catalog.
As a Dish customer that no longer gets HBO that way, I am paying $15 a month for HBO Now today. That's no difference than what I was paying Dish to begin with. I was also paying $10 a month for Cinemax for a total of $25 a month. If I read this ATT plan correctly I would get HBO/Cinemax and all the rest of the channels for $16 to $17 a month. That sounds like a winner to me. We'll just have to see how it pans out.
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TV Sports/Technology Notes (Soccer)
Comcast, Dish, fuboTV Announce 4K Women’s World Cup Distribution
By Daniel Frankel, Multichannel News - Jun. 7, 2019
FiOS announced on twitter they will also have the Women's World Cup in 4K.


"Hey Fios TV One customers. Did you know that you can watch the FIFA Women’s World Cup™ on FOX, FS1 and FS2 in 4K? Check out channels 1498-1499."

https://twitter.com/VerizonSupport/s...782972416?s=20
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post #30239 of 34541 Old 06-07-2019, 12:46 PM
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Is HBO still that popular? When satellite first arrived, getting HBO was like having Christmas every day. Every motel/hotel advertised it on their billboards. I think some still do. But with the number of viewing options, it doesn't have the same appeal to me it once did. I think it's been over 20 years since I last subscribed. The satellite companies will occasionally have their Cinemax/HBO/Showtime/etc., etc., 'previews', but I rarely if ever record a movie. They'll air an occasional special that I'll record, but the majority of time the weekend or week preview comes and goes and I don't feel like I missed anything. YMMV.
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post #30240 of 34541 Old 06-07-2019, 12:47 PM
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Originally Posted by bobby94928 View Post
As a Dish customer that no longer gets HBO that way, I am paying $15 a month for HBO Now today. That's no difference than what I was paying Dish to begin with. I was also paying $10 a month for Cinemax for a total of $25 a month. If I read this ATT plan correctly I would get HBO/Cinemax and all the rest of the channels for $16 to $17 a month. That sounds like a winner to me. We'll just have to see how it pans out.
I just think they're asking too much for a service that will have content people may not be interested in, such as HBO/Cinemax, they may see it as paying for something they don't want, just like they're doing with regular cable/sat today. Especially when Netflix's most popular tier is only $13 per month and with all the other services even lower than that(Disney $7!). My bet is that pricing and packaging will not be the final product, I bet it's different when it finally hits the market.
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