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post #30421 of 30854 Old 06-18-2019, 10:33 AM - Thread Starter
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Nielsen Overnights (Broadcast)
TV Ratings: 'Bachelorette' Ties Season High, Helps 'Grand Hotel' Premiere
By Rick Porter, The Hollywood Reporter - Jun. 18, 2019

The Bachelorette tied its season high in Monday's ratings, and it helped ABC's Grand Hotel put up decent premiere numbers as well.

Back in its regular home after a Tuesday airing a week ago, The Bachelorette scored a 1.5 rating among adults 18-49, up 0.2 week to week and tying with its June 3 high. It's also at a season high in total viewers with 5.53 million.

Grand Hotel, meanwhile, debuted with a 0.7 in adults 18-49, tying for the lead at 10 p.m., and 3.72 million viewers. Those figures are on par with the debut of The Proposal (0.8, 3.79 million) in the same spot a year ago.

NBC's American Ninja Warrior held steady in its move to Monday night after opening the season Wednesdays. It scored a 0.9 in adults 18-49, even with its last airing two weeks ago, and improved by 9 percent in viewers (4.75 million versus 4.35 million). Dateline recorded a 0.7 and 4 million viewers at 10.

Fox's Beat Shazam was steady at a 0.6 in adults 18-49, but So You Think You Can Dance slipped a little to 0.5. Penn & Teller: Fool Us premiered with a 0.3 on The CW, even with its average last summer. Whose Line Is It Anyway? posted a 0.2 for its premiere.

ABC led the night in adults 18-49 with a 1.2 rating, holding a 50 percent lead over second-place NBC (0.8). Fox posted a 0.5, and a night of repeats on CBS averaged 0.4. The CW drew a 0.2.

https://www.hollywoodreporter.com/li...7-2019-1219324
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post #30422 of 30854 Old 06-18-2019, 10:38 AM - Thread Starter
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TV Notes (Cable)
Pose Renewed for Season 3 at FX
By Dave Nemetz, TVLine.com - Jun. 18, 2019

This news gets all “10”s from us: FX has renewed the LGBT period drama Pose for Season 3, less than a week after the show’s Season 2 premiere.

Pose stars MJ Rodriguez as Blanca, a transgender woman in 1980s New York City who acts as den mother to a collection of LGBT misfits who compete in underground “ball” competitions, strutting their stuff in makeshift fashion shows. Billy Porter co-stars as ball host Pray Tell, Dominique Jackson plays Blanca’s former mentor and current frenemy Elektra, and Indya Moore plays the street-smart Angel.

Season 2 kicked off last Tuesday, with a time jump to 1990 and the release of Madonna’s “Vogue,” which shone a spotlight on the ball community. The season premiere clocked in as the series’ most-watched episode ever, according to FX, with a total audience of 1.2 million in Live+3 viewing.

“Pose has elevated our culture and the TV landscape like few shows before it,” FX chairman John Landgraf said in a statement, “and we are honored to partner with co-creators Ryan Murphy, Brad Falchuk and Steven Canals on a third season.”

https://tvline.com/2019/06/17/pose-renewed-season-3-fx/
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post #30423 of 30854 Old 06-18-2019, 10:42 AM - Thread Starter
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TV/Washington Notes
Broadcasters to FCC: Leave Satellite TV Fee Alone
By John Eggerton, Multichannel News - Jun. 17, 2019

The FCC should not levy the same user fee on satellite stations that it does on their mother ships.

That is according to station group owners Nexstar and Gray Television in comments filed at the FCC on the commission's proposed revise of its user fees per a congressional mandate to revisit them. They said to "obliterate" that distinction would boost satellite TV user fees "drastically."

The FCC charges regulated entities according to how many full-time equivalent (FTE) employees it takes to screw in their respective regulatory light bulbs--oversee interference issues, mergers, facilities changes, regulatory or deregulatory requests, etc.

Currently the FCC charges a per-sub fee for full-power stations and a flat fee for the associated satellite stations, which retransmit a station's programming to extend its reach or get to hard-to-reach place, but lack the same rights as full powers.

The FCC moved to the flat fee for satellites in 1995, after the 1994 FCC reauthorization bill put in a separate fee for satellite TV stations, noting: “Congress intended the Commission to charge license fees based on the regulatory burden they impose, yet satellite stations require much less regulatory oversight than full powered stations;” and (2) applying full-power television station fees to satellite stations “would place an unfair and illogical burden on small market licensees who use satellite television stations to reach remote areas in their markets.”

The FCC proposal to scrap the flat fee was in response to the RAY BAUMS Act, the first reauthorization of the FCC since that 1994 legislation.

Nexstar and Gray say Congress and the FCC got it right in 1994-95 and that to change now would be arbitrary and capricious.

By law (the Administrative Procedure Act), FCC decision must be defensible policy changes. The broadcasters point to the fact that the Notice of Proposed Rulemaking that proposed standardizing the fees "spends a mere four words referring to the new approach while failing even to acknowledge the sea change it is proposing—much less explain why the change is warranted."

"The proposed elimination of a separate flat fee for satellite stations is unjustified as a matter of policy, would be arbitrary and capricious if implemented, and has been insufficiently noticed to regulatees," they said. "For all these reasons, the Commission should not adopt the proposal and should instead revert to its decades-long practice of imposing a lower fee on satellite stations."

https://www.multichannel.com/news/br...e-tv-fee-alone
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post #30424 of 30854 Old 06-18-2019, 10:46 AM - Thread Starter
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TV/Nielsen Notes (Cable)
ABC News’ ’20/20’ Beats NBC’s ‘Dateline’ in Season-Long Ratings for First Time in 4 Years
By Tony Maglio, TheWrap.com - Jun. 18, 2019

EXCLUSIVE: Our top story this morning: ABC News’ “20/20” has beaten NBC News’ “Dateline” in season-long ratings among adults 25-54 for the first time in four years.

ABC’s “20/20” also topped “Dateline” in total viewers for the first traditional September-May broadcast television season in three years. The ABC News program averaged 4.9 million total viewers, counting a week’s worth of delayed viewing, vs. the NBC News show’s 4.7 million viewers. That’s a difference of 200,000 total viewers per episode, or +4% in favor of “20/20.”

The two newsmagazine shows tied for the Nielsen season among adults 18-49, though 25-54 is considered the key demographic for news programing. Among adults 25-54, “20/20’s” 1.3 average rating was 8% above “Dateline’s” 1.2.

The key was the combination of dramatic growth at “20/20” and heavy declines at “Dateline.” The ABC News program jumped +26% in total viewers and +29% in the advertiser-sought demographic, year over year. “Dateline” dropped -19% and -25%, respectively, from the 2017-18 TV season.

“I’m grateful our viewers have embraced this re-imagined version of 2020 that is an immersive, embedded experience with a production value and style that is more evocative of a premium documentary rather than a newsmagazine,” “20/20” senior executive producer David Sloan told TheWrap.

Nielsen’s recently wrapped broadcast season ran from Sept. 24, 2018 to May 22, 2019.

https://www.thewrap.com/abc-20-20-be...ne-in-ratings/
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post #30425 of 30854 Old 06-18-2019, 10:51 AM - Thread Starter
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Obituary
'Seeking Sister Wife' star Bernie McGee dead at 41
By Sasha Savitsky, FoxNews.com - Jun. 17, 2019

"Seeking Sister Wife" star Bernie McGee has died. He was 41.

TLC shared the news on Facebook Sunday.

"Our hearts go out to the McGee family following the loss of husband and father Bernie McGee. Our thoughts are with them during this difficult time," the network wrote in a statement.

Bernie and his wife Paige were featured on the reality show that gives viewers a look at couples who are looking to add a sister wife to their family.

According to screenshots posted by Soapdirt.com, Paige posted in a private "Seeking Sister Wife" Facebook group that Bernie had a "heat stroke/heart attack."

"Thank you for your thoughts and prayers. Bernie was out riding his bicycle and called me, saying he wasn't feeling well and to come pick him up," Paige wrote according to the website. "By the time I got there, EMTs were working on him, but I could already tell."

An obituary for the father of two said Bernie died on Saturday and is survived by his wife Paige, and their two sons.

Some of his fellow "Seeking Sister Wife" co-stars shared their condolences on social media.

https://www.foxnews.com/entertainmen...nie-mcgee-dead
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post #30426 of 30854 Old 06-18-2019, 11:17 AM - Thread Starter
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TV Notes (Cable)
Andrea Savage’s ‘I’m Sorry’ Renewed For Season 3 By TruTV
By Nellie Andreeva, Deadline.com - Jun. 18, 2019

TruTV has ordered a 10-episode third season of scripted comedy series I’m Sorry, created by and starring Andrea Savage, to air in 2020. The renewal comes three months after the second season of I’m Sorry, from Gloria Sanchez, A24 and Lonely Island, wrapped its 10-episode run on TruTV. Pickup for another scripted series, breakout comedy Tacoma FD, is pending.

This marks the first major programming decision for the WarnerMedia network following the recent regime change, with Kevin Reilly, president of TBS, TNT and Chief Creative Officer Turner and Direct-to-Consume, adding oversight of TruTV and TruTV president Chris Linn departing after shepherding its rebrand as a comedy network with a distinct point of view through such series as I’m Sorry. Virtually all the network’s top execs have since left the network, which laid off nearly 40% of its staff last month.

I’m Sorry, which TruTV said grew its audience in Season 2 without providing details, has been lauded for its nuanced TV mom portrayal. It follows a confident comedy writer, wife and mom Andrea (played by Savage), who comically exposes her inner immaturity and neuroses through unexpected life situations. She is joined by her husband Mike (Tom Everett Scott), their inquisitive daughter Amelia (Olive Petrucci), and her divorced parents (Kathy Baker and Martin Mull), as well as a close circle of friends.

“I am so, so thrilled to have another season to prove wrong the theory that just because you are a mom, you are not allowed to find buttholes funny. #godswork ,” Savage said.

I’m Sorry is executive produced by Savage, Joey Slamon, A24’s Ravi Nandan, Gloria Sanchez’s Jessica Elbaum, Will Ferrell and Adam McKay, and Lonely Island’s Andy Samberg, Jorma Taccone and Akiva Schaffer.

https://deadline.com/2019/06/andrea-...tv-1202634096/
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post #30427 of 30854 Old 06-18-2019, 11:20 AM - Thread Starter
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TV Notes
Ashton Kutcher says he has 'nothing to do with' MTV's 'Punk'd' reboot
By Georgia Slater, USA Today - Jun. 18, 2019

Ashton Kutcher isn't "punking" fans with his latest tweet.

The actor, 41, tweeted that he will not be joining the revival of "Punk'd," the MTV comedic prank series he created and starred in during the early 2000s.

"I have nothing to do with the new punk'd situation," Kutcher tweeted late Monday night. "Hope they get it right."

The series, which aired until 2007 with a brief reboot in 2012, will return in March for a new season without Kutcher.

The "Punk'd" revival will bring in different celebrity hosts each week, including Justin Bieber, Miley Cyrus, Kellan Lutz and others to prank their famous friends, according to the show's website.

MTV Studios earlier this month announced a deal with Quibi, a new short-form TV and movie app, that revived "Punk'd" and "Singled Out" , according to Deadline and People.

Kutcher made it clear that he will not be back in his role as host this time around.

However, Chris McCarthy, president of MTV said he is “...excited to be working with Jeffrey, Doug and the Quibi team to reinvent 'Punk’d' and 'Singled Out' for a new generation of fans,” according to People.

Kutcher currently stars on the Netflix series, "The Ranch," which will end in 2020 after airing its final 20 episodes.

https://www.usatoday.com/story/life/...tv/1485647001/

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post #30428 of 30854 Old 06-18-2019, 11:32 AM - Thread Starter
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TV/Technology Notes
Apple is adding picture-in-picture mode to the Apple TV
By Chris Welch, TheVerge.com - Jun. 18, 2019

Apple seemingly left one new, upcoming tvOS feature out of the company’s WWDC keynote earlier this month: picture-in-picture. 9to5Mac reports that today’s developer beta of tvOS 13 allows Apple TV users to shrink down any video playing in the Apple TV app to a corner of the screen and continue browsing through other content and menus — while still watching whatever video was originally playing. Unfortunately a public beta for tvOS 13 isn’t yet available and is expected in July.

For now, picture-in-picture is said to be limited to the Apple TV app, but hopefully the same functionality comes to Netflix, Amazon Prime Video, Hulu, and other popular streaming services. If nothing else, it’d allow you to start watching something “eh” and dig through the selection of other apps in hopes of finding a better pick. Or maybe you’d be able to keep tabs on a sports game while playing an Apple Arcade title. Some third-party apps like PlayStation Vue already have their own picture-in-picture solutions; you can watch four live channels simultaneously with Sony’s TV service.

If you’ve ever used picture-in-picture mode on an iPad, this basically looks the same. Inside the smaller video window you’ll see options to maximize it back to full screen or exit out of the content entirely.

There’s the possibility that PIP might not make it into the final tvOS update this fall — especially since it didn’t get a mention from Apple onstage — but it’s a pretty straightforward feature and nice complement to the other tvOS 13 additions like multi-user support.

https://www.theverge.com/2019/6/17/1...r-beta-feature
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post #30429 of 30854 Old 06-18-2019, 11:42 AM - Thread Starter
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TV Review (Streaming)
‘Too Old to Die Young’: Only God Forgives This Sh-tshow
Nicolas Winding Refn’s extended tale of stoic antiheroes and avenging angels isn’t TV — it’s self-parody
By David Fear, Rolling Stone - Jun. 18, 2019

Pop quiz: What’s your favorite Nicolas Winding Refn movie?

Let’s hope most folks are coming to Too Old to Die Young, the Danish writer-director’s pulpy-as-**** TV series for Amazon Prime, as something akin to fans. Or, at the very least, as viewers semi-aware of his back catalog. Because God help you if this is your first official entry into Refnworld — it’s either the worst possible introduction to his signature brand of steroidally stylized neon noir, or the “best” introduction in the worst possible way. Mileage, as always with this provocateur, varies to a divisive degree. To anyone dropped into his landscape of stoic antiheroes and lurid violence and water-torture pacing without a map, we wish you the best of luck.

But back to the quiz question above: Is it any part of the Pusher trilogy, the three-part, three-perspective tale that helped break Refn internationally and introduced future Hannibal Lecter/Bond villain/internet boyfriend Mads Mikkelsen to the world? Is it Bronson, a staggeringly brilliant biopic of British convict Charles Bronson featuring Tom Hardy hitting Kabuki-levels of theatricality? It’s most likely Drive, his Ryan Gosling star-vehicle riff on getaway drivers; it probably isn’t the duo’s follow-up Only God Forgives, though hey, different strokes, etc. (Their Thailand-based thriller is better than its reputation suggests.) Or maybe it’s The Neon Demon, his welcome-to-Hell-Ay parable about professional models eating their own.

OK, now: Imagine said favorite film was extended to 13 hours. Same amount of story, really. Might be divvied up into parallel narratives. Maybe a few extra detours here and there. But the same basic narrative grist for the mill. Stretched. Out. To. 13. Hourrrs.

Unless your name is Ken Burns or David Lynch, maybe you need to think long and hard about whether that time length, parceled out over 10 installments with an average length of an hour and 15 minutes, is a necessity or simply an indulgence. (Some episodes run up to 90 minutes; the last one runs a mere half hour. Call it a coda.) Especially if your primary motive to do something in a longer, serialized format is because hey, everyone seems to be doing this streaming stuff, so I’d better do one, too! That was more or less the excuse Refn gave at this year’s Cannes, where he showed two middle episodes, for making this extended, existential gaze into both the abyss and his own navel involving cops, crooks, cartels, and creative ways of torturing carbon-based lifeforms. He also said that this wasn’t TV — a medium he defines as “reality shows and the news” — but, y’know, a very long movie. Right. Of course, your majesty. The sense that you’re watching something from an auteur who somehow believes he’s slumming virtually emanates from your screen.

So what does our man paint on this large canvas? We start with a cop named Martin (Miles Teller), the sort of strong, silent type that suggests either post-traumatic suffering on lockdown or a purposefully blank slate. His partner (Lance Gross) has the ability to turn a routine traffic stop into a situation that threatens to go full Bad Lieutenant in a blink; still, it’s surprising when someone simply walks up to him and puts a bullet in his head. The tragedy earns Martin a promotion to detective. It does not earn him a pass from a local gangster (Babs Olusanmokun), who forces him to take on his late partner’s role as a personal killer for hire. Nor does it stop you from being skeeved out over the fact that he’s dating a 17-year-old high school student (Nell Tiger Free).

We then follow the shooter, Jesus (Augusto Aguilera), south of the border. The police officer had murdered the killer’s mom, a famous female drug lord. His uncle (Emiliano Díez) takes him in and teaches him the way of the cartel. When a power shift happens, Jesus and the old man’s ward — a young woman named Yaritza (Cristina Rodlo) he rescued from the desert and raised as his own, though not without certain untoward implications — are married. The couple is then sent to America, with the intention of protecting the organization’s interests. There is also unfinished business regarding that revenge killing. There always is. Also, did we mention that Yaritza may or may not be the human embodiment of an ancient folklore legend/Tarot mainstay known as the High Priestess of Death?

More characters will wade into the fray, notably a one-eyed ex-FBI agent (Deadwood‘s John Hawkes) who becomes a mentor to Martin and a New Age healer (Jena Malone) who employs said former fed to hunt down particularly predatory sex offenders. There are also rape-porn magnates, pedophiles, methheads, #MeToo harassment case studies, more Trump stand-ins than you can shake an Access Hollywood tape at and, occasionally, just your run-of-the-mill scumbags. Plenty of toxic masculinity to go around, in other words — which is the point. The rogue’s gallery of underworld bottom feeders and serial child molesters and violent misogynists that Refn and his co-creator, comic writer extraordinaire Ed Brubaker, have come up with don’t just represent the worst of society to them so much as Society Circa 2019, a who’s who of everyday degenerates and deplorables. And as with the world we inhabit, a lot of that boils down to the evil that men do. “The good guys” is an oxy-moron here.

It will take an angel of death to cleanse the world of abusive dudes, which is why the series and your focus keeps circling back to Yaritza. She’s the vehicle for the director’s more supernatural, surreal inclinations, which have been growing since Only God Forgives and his decision that he’d rather be Alejandro Jodorowsky redux than a poor man’s Michael Mann. It also helps that she’s played by Rodlo, an actor who knows how to hold a screen no matter what size it is. She’s a great observer with a killer side eye, a performer who knows how to make stillness and minimalist touches count in a maximalist splatter-mess. It goes without saying that Refn, a filmmaker who never met a colored lighting gel he didn’t biblically love, and legendary cinematographer Darius Khondji (The City of Lost Children, Seven) bathe everything in hallucinogenic hues and dark-night-of-the-soul shadows and a distinct netherworld-as-a-nightclub vibe. It also bears mentioning how her character is the only one who actually seems tailored to fit the show’s tone and vision; not even Teller, giving the best Robert Mitchum impersonation of the 21st century, can sync up his Chandleresque sketch of a protagonist to the narrative. Someday, someone will make a super-cut of Rodlo’s scenes and give us one hell of a three-hour XY-chromosome nightmare.

In the meantime, we have this limping, baggy megillah, which fails to justify its marathon-length running time as anything more than a self-satisfying, hardboiled-by-numbers folly. You can, naturally, make a pulpy crime story look perversely gorgeous, piling everything from narco chic costume design to Pop Art visual schematics onto your palette. You can give your gangster a quirk by having him be a vintage ska fanatic and you can stage a ridiculously elongated car chase to Barry Manilow’s “Mandy,” the series’ set piece/action-flick middle finger du jour. You can cast Morgan Fairchild as White Privilege and give William Baldwin a seven-course meal of scenery to chew on, complete with onanistic power moves. You can use misogynistic imagery in the name of upping the revenge ante and female empowerment, even though every single person really wishes you wouldn’t. You can even use extreme violence as an exercise in fetishized carnage. Who doesn’t love a well-made cinemassacre? Or, for that matter, watching a Nazi get shot in the dick?

But when you’re given the chance to engage in longform storytelling and translate that into nothing but letting scenes play out to infinite lengths simply because you can, or mistake the exploitation of slow-cinema vocabulary with instant depth, or fail to realize that maybe less is more when it comes to your art-to-grindhouse aesthetic, you may get called on it. Refn’s right: This is not TV. It’s self-parody. And it doesn’t take half a day’s worth of viewing to figure out that maybe we’re getting too old for this ****.

'Too Old To Die Young' is streaming on Amazon Prime Video. ★★ (out of five)

https://www.rollingstone.com/tv/tv-r...review-848860/
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post #30430 of 30854 Old 06-18-2019, 11:51 AM - Thread Starter
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Technology Notes/Q&A (Gaming)
Nintendo's President on Streaming, 5G Wireless, and E-Sports
By Lisa Marie Segarra, Fortune.com - Jun. 18, 2019

When presenting on stage at E3, one of the world’s biggest video game conferences, it’s easy for executives to get nervous. And few have more reasons to be nervous than Nintendo’s North America president Doug Bowser.

Putting aside the usual pressures that come with E3, the press conferences, the announcements, the consumer reactions, Bowser has a legacy to uphold. He took over after his predecessor, Reggie Fils-Aimé, retired earlier this year, and many are still waiting to see what exactly the new leader has to offer.

Yet, Bowser looks calm while sitting in Nintendo’s booth at E3, even when discussing the growing list of companies vying for dominance in gaming, and leaks that spoiled Nintendo’s announcements at its annual press conference, Nintendo Direct, earlier that day.

Fortune sat down with Bowser to discuss the gaming market, its future, and where Nintendo fits into it. The following has been edited for length and clarity.

Fortune: First off, I need to ask, are you tired of people making jokes about your last name being Bowser like the character from the Mario games?
Doug Bowser:
No, not at all. It’s a signal to me that we have an amazing, passionate following, and our fans are embracing it. It’s ironic that we share the same name, and there are times when it’ll be fun and we’ll play with it, but we’re two very, very different characters. I’m not tired of it at all though.

Nintendo has been a leader in the handheld market ever since the original GameBoy. How do you see 5G [the high-speed wireless technology that is supposed to replace 4G LTE] impacting that?
If the promise of 5G comes to fruition, I think it enhances that ability to play anywhere. It will allow for a stronger connection, especially for online play.

That also leads into streaming, the latest gaming trend that allows players to stream games rather than pre-downloading them. Where do you see Nintendo’s efforts there going?
There’s a lot of talk about it this week. It’s interesting to see what various companies are working on when it comes to tech and new technology that may be able to enhance gameplay. It’s obviously something that we’re closely watching. For now, we feel the Switch [Nintendo’s latest console] delivers on a lot of those promises. It’s a device where you can play anywhere at any time with anyone.

You’re seeing a lot of companies come into game streaming like Google, which is a tech company but not a gaming company. What’s your reaction to seeing them and similar companies enter the industry?
I think it speaks to the strength of gaming. I believe it speaks to the industry. Right now it’s the second largest form of entertainment in the world, second only to TV, and that includes both streaming and network TV. It’s growing. Companies are seeing it as an opportunity.

Do you see Google as a competitor?
We choose not to use the word “competitor.” But I think in this industry as people participate if more consumers will come into the industry as a result of that, it’s good for the industry.

There is a Netflix game, Dark Crystal, based on the upcoming Netflix series, in your lineup. How do you feel about Netflix here at E3 talking about bringing its original content to life in games?
It’s interesting to see how various forms of entertainment are able to transform themselves onto other platforms. I think it’s an exciting opportunity for all of us because in the end it allows us to continue to expand our content and bring more people into it. I think it’s a positive.

Nintendo isn’t considered an e-sports powerhouse. But there’s a lot of competitive gameplay especially around games like Smash Brothers, which had a new release about six months ago. Do you see more e-sports opportunities for Nintendo or maybe launching your own league?
There’s a strong set of leagues out there that support competitive play and have the ability to license our product in those tournaments. But we’re not going to underwrite teams and create our own tournament structure with prize money and everything else. We think there are already channels for that out there that are very strong. We just want to be a part of it.

It feels like last year was a really big year for Nintendo after a number of notable titles were released. How do you look back on 2018 now?
The games that we released last year fueled the hardware results. Through two years we sold 34 million Switch units worldwide, and we’re continuing that momentum. Switch is up 22% in the U.S. year-over-year. I think a lot of that is being fueled but the catalog of games we’re creating. It’s this relationship between hardware and software that has allowed us to continue the momentum on Switch through the year.

The closing of Nintendo’s Direct event at E3 was pretty impactful with the announcement of the sequel to Breath of the Wild. Did you have any fear in following up on the massive hit that Breath of the Wild was in 2017?
I guess the direct answer would be no. I think our developers have done an incredible job over the years, and I do mean years, finding ways to take our iconic original characters and worlds and creating games that are respectful to the history of the franchise that was there before. I think that will be the same. The producers and the director that are working on this particular version of Legend of Zelda worked on the Breath of the Wild.

How do you feel now that the Direct is done?
I don’t know if I’m anxious. I’m excited. I’m always excited to see how people are going to react to our content and the story we have to tell. One of our goals is to surprise and delight, and we take a lot of care to make sure we keep things close to the chest and in the vault until we’re ready to launch.

What was your reaction to the leaks, in which an anonymous Twitter user posted unannounced news from Direct, especially since it’s so important to you to surprise everyone?
I think you answered my question. Our developers, our company put a great deal of effort into creating our content, in creating our message, and wanting the message to be presented in a way consumers could truly understand what is coming. And we want to have the ability to tell that story when it’s right. Leaks take away from that.

http://www.fortune.com/2019/06/18/ni...t-doug-bowser/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 18, 2019

DRUNK HISTORY
Comedy Central, 10:00 p.m. ET
SEASON PREMIERE:
One of the guest stars in tonight’s Season 6 opener of this goofy yet entertaining Comedy Central series is Colin Hanks, who portrays the oddball amateur aviator known as Lawnchair Larry. The real L.L., in 1982, attached 40 weather balloons to a lawn chair, sat in it holding a pellet gun and a sandwich, and went aloft outside of Los Angeles. Hanks has been on Drunk History before, playing iconic children’s TV host Fred Rogers. He did that, by the way, before his father, Tom Hanks, agreed to play Fred Rogers in a Hollywood movie being released later this year – making this one of the first times, surely, that father-and-son actors have portrayed the same role in different projects.

THE LATE LATE SHOW WITH JAMES CORDEN
CBS, 12:37 a.m. ET

James Corden is back in his home town of London this week – and yesterday, Michelle Obama, as head of the unofficial US dodgeball team facing Corden’s U.K. squad, was more charismatic and comedic than most stars of most TV sitcoms – and Tom Hanks (see how today’s Best Bets tie together? See what I did there?), on the guest couch with Gillian Anderson, was charming also, as was she. Corden puts a lot of thought and effort into these hops across the pond, so stay tuned.


http://www.tvworthwatching.com/

* * * *

TV Review (Broadcast)
'The Lavender Scare' Highlights Early LGBTQ Persecution – in the U.S. Federal Government
By Mike Hughes, TVWorthWatching.com's 'Open Mike' - Jun. 18, 2019

Frank Kameny was 6 when he chose a career in astronomy.

He got a master's degree and a doctorate from Harvard, then a federal job. He dreamed of being an astronaut; instead, he was fired in 1957, for being homosexual.

Dwight Eisenhower had announced the policy in 1953, "The pervert is easy prey to the blackmailer," one person explained.

Or not. The Lavender Scare– a compelling documentary Tuesday on PBS at 9 p.m. ET (check local listings) – says there were no known cases of homosexuals revealing state secrets.

Still, the government pushed ahead, filing elaborate reports. The supposedly damning information about one woman was that she was "not at all feminine (and) uses very little lipstick."

Lavender Scarehas interviews, some relatively recent, with two of the people who worked those reports as well as some of the people who were fired – including Kameny, who died in 2011 at 86.

For his final 50-plus years, he didn't hold a job. Supported by family and friends, he backed others who had been fired, eventually winning. In 1995, Bill Clinton rescinded a policy that had been on the books for 42 years; later, Barack Obama and others praised Kameny as a civil-rights icon.

And one TV note: Lavender Scare shows up on a surprisingly good TV night. Remember when summer seemed confined to reality and reruns? By comparison, consider this June 18 line-up, a Mike Hughes set of Best Bets, if you will:

– 8 p.m. ET, Good Trouble, Freeform. Usually a good show, this time it offers a great episode, focusing on the verdict in the case of a cop who shot a black teenager. Boosted by a percussion soundtrack (part of a second storyline), it has a powerful impact.

– 9 p.m. ET, Lavender Scare, PBS.

– 10:30 p.m. ET, Alternatino with Arturo Castro, debut, Comedy Central. Castro is a Guatemalan native who does drama – he played the drug lord's son in Narcos– but does comedy brilliantly. If this opener is typical, we're looking at the next great sketch-comedy star.

– And, of course, Pose at 10 p.m. on FX. That's the show capturing the 1990 ball scene, a vibrant time for gays and transexuals. The series is richly crafted and makes us wish for time travel. That way, we could show it to all those 1950s investigators, thus causing their heads to explode.

http://www.tvworthwatching.com/BlogP...x?postId=18386

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TV Notes
On The Air Tonight
TUESDAY 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. 18, 2019

ABC:
8PM - The Conners
(R)
8:30PM - American Housewife
(R)
9PM - Modern Family
(R)
9:30PM - The Goldbergs
(R)
10PM - Modern Family
(R)
10:30PM - Black-ish
(R)
* * * *
11:35PM - Jimmy Kimmel Live! (Joel McHale; Betty Gilpin; Santana performs)
12:37AM - Nightline

CBS:
8PM - NCIS
(R)
9PM - FBI
(R)
10PM - Blood & Treasure
* * *
11:35PM - The Late Show With Stephen Colbert (Chris Matthews; Jessie Buckley talks and performs)
12:37AM - The Late Late Show With James Corden (Lily James; Millie Bobby Brown; Little Mix performs)

NBC:
8PM - America's Got Talent (120 min.)
10:01PM - Songland
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Willie Nelson talks and performs; Adam DeVine)
12:37AM - Late Night With Seth Meyers (Eva Longoria; Jacki Weaver; Michael Torpey; Jessica Burdeaux sits in with the 8G Band)
1:38AM - Last Call With Carson Daly (Benedict Wong; Phoebe Bridgers performs; Drew Tarver)

FOX:
8PM - First Responders Live
(R)
9PM - 9-1-1
(R)

THE CW:
8PM - The Flash
(R)
9PM - The 100

PBS:
8PM - Secrets of the Dead: Cleopatra's Lost Tomb
(R)
9PM - The Lavender Scare (2017)
10PM - Frontline - Documenting Hate: New American Nazis
(R)

UNIVISION:
8PM - La Reina Soy Yo
9PM - La Rosa de Guadalupe
10PM - Por Amar Sin Ley

TELEMUNDO:
8PM - CONMEBOL Copa América 2019: Brasil vs. Venezuela (LIVE)
10:30PM - Hoy en la Copa América Brasil 2019 (LIVE)

UNIMAS:
7PM - CONCACAF Copa Oro 2019: Panamá vs. Trinidad y Tobago (LIVE)
9:30PM - CONCACAF Copa Oro 2019: Estados Unidos vs. Guyana (LIVE)

ESPN:
7PM - 2019 College World Series, Game 3: Mississippi State vs. Vanderbilt(LIVE)
10PM - SportsCenter (LIVE)

A&E:
8PM - The First 48: Teens on the Edge
9PM - The First 48: Teens on the Edge (62 min.)
10:02PM - Kids Behind Bars: Life or Parole (63 min.)

ESPN 2:
8PM - NBA Mock Draft Special

FREEFORM:
8PM - Good Trouble (Season Premiere)

USA:
8PM - WWE SmackDown! (120 min., LIVE)
10PM - Chrisley Knows Best
10:31PM - The Radkes

DISNEY:
8:30PM - Sydney to the Max

BET:
9PM - Games People Play
10PM - Ladies Night

ID:
9PM - Diabolical
10PM - True Conviction (Season Finale)

OWN:
9PM - The Haves and the Have Nots
10PM - Ambitions (Series Premiere)

TRUTV:
9:30PM - Impractical Jokers: Inside Jokes
10PM - Paid Off With Michael Torpey (LIVE)

COMEDY CENTRAL:
10PM - Drunk History
10:30PM - Alternatino With Arturo Castro (Series Premiere)
* * * *
11PM - The Daily Show with Trevor Noah (Democratic National Committee Chair Tom Perez, 36 min.)

FX:
10PM - Pose (72 min.)

HBO:
10PM - Wig (Documentary Premiere, 2019, 95 min.)

TNT:
10PM - Animal Kingdom (62 min.)

TV ONE:
10PM - The DL Hughley Show (Professional wrestler Naomi)

WGN:
10PM - Pure

CBSSN:
10:30PM - WNBA Basketball: Washington Mystics at Los Angeles Sparks (LIVE)

TBS:
10:30PM - The Detour (Season Premiere)
* * * *
11PM - Conan (Sean Penn)
(R)


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

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TV/Washington Notes
AT&T Files 'Bad Faith' Retrans Complaint Against Nine Broadcasters
By John Eggerton, Multichannel News - Jun. 19, 2019

On behalf of DirecTV, DirecTV Now or U-Verse, AT&T has filed a complaint against nine TV station owners who it says have collectively "pulled" 20 stations from those services on May 30 and June 10, blackouts it said continued at press time "with no end in sight." AT&T said all the stations have shared services agreements with Sinclair, which it says appears to "manage and control" the stations, but AT&T did not target that broadcaster in the complaint.

The takeaways from the complaint are that the nine stations have ignored individual proposals and refused to negotiate "for several months." The station groups cited are Deerfield Media, GoCom Media of Illinois, Howard Stirk Holdings, Mercury Broadcast Group, MPS Media, Nashville License Holdings, Roberts Media, Second Generation of Iowa and Waitt Broadcasting.

“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 earlier this month. “But by law, each of their owners, who are represented collectively, has exclusive control over their carriage rights.”

The "refusal to negotiate" is the operative phrase. Broadcasters are under no government obligation to strike deals for their signals and can require they be taken off an MVPD after their existing contract expires if there has been no settlement or agreement on an extension. But they are required by the FCC, and Congress in the STELAR Act, to negotiate in good faith. If they don't, the FCC is empowered to step in.

Congress is currently beginning the process of renewing the STELAR Act, including whether to add language, pushed by MVPDs, that would make blackouts de facto bad faith. AT&T is also said to be trying to send a signal to other stations that it is serious about reining in rising retrans costs.

AT&T tells the FCC the "ostensibly independent" stations "appear to be managed and controlled by Sinclair..." and that they refused to respond after their contracts with AT&T expired and they went dark. AT&T says that violates both the letter and the spirit of the FCC's good-faith rules, calling it just the kind of gamesmanship the rules were meant to prevent.

AT&T claims the impasses are not over substantive issues but instead a part of a strategic delay, with consumers bearing the brunt.

Broadcasters continue to point out, as they did to legislators in recent video marketplace hearings, that their signals continue to be available free to MVPD customers over the air.

AT&T wants the FCC to find that each station has not negotiated in good faith, force it to the table to do so, require forfeitures and anything else the FCC deems appropriate.

The stations at issue and off its platforms at press time, according to AT&T, were KBTV Beaumont, Texas (Fox); WSTR Cincinnati (My Net); WPMI Mobile, Ala. (NBC); WJTC Mobile (independent); WHAM Rochester, N.Y. (ABC); WHAM-DT Rochester (CW); KMYS San Antonio (CW); WBUI Champaign, Ill. (CW); WCCU Champaign (Fox); WRSP Champaign (Fox); WWMB Myrtle Beach, S.C. (CW); WEYI Flint, Mich. (NBC); KMTW Wichita (My Net); WFLI Chattanooga (CW); WNBW Gainesville, Fla. (NBC); WTLF Tallahassee (CW); WSWB Wilkes Barre/Scranton (CW); WNAB Nashville (CW); KMTR Eugene, Ore. (NBC); KFXA Cedar Rapids (Fox); and KMEG Sioux City (CBS).

According to several of the stations, their retrans deals expired March 31, but continued to be available to AT&T's customers via extensions. Howard Stirk Holdings and Roberts Media said they offered DirecTV an unconditional extension early this month, but were rejected.

Mike Farrell contributed to this story.

https://www.multichannel.com/news/at...e-broadcasters
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TV Notes (Cable)
‘Yellowstone’ Renewed For Season 3 By Paramount Network, Josh Holloway Joins Cast
By Nellie Andreeva, Deadline.com - Jun. 19, 2019

On the eve of Yellowstone’s second season premiere tonight, Paramount Network has ordered a 10-episode third season of its flagship drama starring Kevin Costner. Joining the show for a major recurring role in Season 3 is Lost and Colony alum Josh Holloway, Deadline can reveal exclusively.

Co-created by Taylor Sheridan and John Linson, Yellowstone follows the Dutton family, led by John Dutton (Oscar winner Costner), who controls the largest contiguous ranch in the United States, under constant attack by those it borders – land developers, an Indian reservation, and America’s first National Park.

In a season-long arc, Holloway will play Roarke Carter, a handsome, charming, shaggy-haired hedge fund manager with ambitious plans in Montana.

The first season of Yellowstone averaged 5.1 million total viewers per episode, making it 2018’s most-watched new cable series and ranking second across all cable TV series for the year. In addition to a ratings juggernaut, Yellowstone also has become a brand-defining series for Paramount Network, setting the creative direction for the newly launched network.

“We really want things to be cinematic with really great storytelling and have complex, nuanced, complicated characters where the setting is almost like a prime character of the whole piece,” Kent Alterman, President of Comedy Central, Paramount Network, and TV Land, told Deadline in May about the vision for Paramount Network. “The best example of that is Yellowstone. It’s very cinematic. It has a movie star in Kevin Costner. It’s got really deep, rich, complicated characters, the great interpersonal family relationships, and it can just keep exploring a lot of different stories with those characters.”

Yellowstone headlines Paramount Network’s scripted roster, which also includes the upcoming series Paradise Lost (working title) starring Josh Hartnett; 68 Whiskey, from Ron Howard and Brian Grazer’s Imagine Entertainment; and the new Darren Star dramedy Emily in Paris, headlined by Lily Collins.

Yellowstone is co-produced by 101 Studios. Executive producers are John Linson, Art Linson, Taylor Sheridan, Kevin Costner, David C. Glasser and Bob Yari.

Holloway executive produced and starred as Will Bowman on all three seasons of USA’s sci-fi drama Colony. Probably best known for his role as James ‘Sawyer’ Ford’ in hit ABC drama Lost, he also produced and starred in CBS’ action drama Intelligence. On the feature side, Holloway was seen in the action drama Sabotage, Paranoia and Mission: Impossible- Ghost Protocol. He is repped by UTA.

https://deadline.com/2019/06/yellows...st-1202633866/
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Technology/Business Notes (Retail)
What's the future for cash? Target register outages prove physical loot still has its place
By Edward C. Baig, USA Today - Jun. 19, 2019

Does the use of cash have an expiration date?

The evidence that physical loot is on borrowed time is slowly but surely mounting. But don’t read the last rites for cash just yet.

If anything, the checkout register outages at Target stores over the weekend were a reminder that point-of-sale machines aren’t foolproof, and nothing beats cash when technology fails.

With that in mind, you may want to keep a modest stash handy.

Still, you’ve gotten quite comfortable leaving most bills and coins behind. More of you, in fact, are placing your smartphone or smart watch near the checkout registers to pay for this or that thing, using services such as Apple Pay or Google Pay. Your wallet, and any money stashed inside, remains in your pocket.

You’re equally cool, and so are your buddies, settling debts and swapping funds digitally, via the likes of Venmo, PayPal or Zelle.

Americans generally are becoming less reliant on physical currency, with 29% of U.S. adults indicating in a recent Pew study that they make no purchases using cash during a typical week, up from 24% in 2015.

Facebook's cryptocurrency
You can’t help but look to the future assaults on cash either. At the very least you’re curious, if a long way from being sold yet, on the idea behind the Libra global “cryptocurrency” that Facebook announced Tuesday. The social network is pushing this alternate digital payment system with more than two-dozen financial and tech partners, including eBay, Uber, Lyft, PayPal, Spotify, Coinbase, Mastercard and Visa, and basing the pricing on other financial instruments.

Never mind that you’re still baffled by concepts such as Bitcoin and blockchain, and aren’t exactly thrilled with Facebook’s lousy reputation concerning privacy. That has to be a cause of concern for Facebook as it also launches a new subsidiary with plans for a crypto-digital wallet called Calibra, expected to launch on Messenger, WhatsApp and as a standalone app in 2020.

You may even be wondering where you might carry cash someday, given the inevitable long-term demise of the Costanza-sized physical wallet.

Sixty-eight percent of smartphone owners surveyed by SurveyMonkey Audience on USA TODAY’s behalf recently say it is likely that smartphones will eventually replace the need for wallets entirely. Nearly half (45%) think wallets will be obsolete in five years or less.

How much cash should you keep for an emergency?
The Target episode proved that you shouldn’t count out cash. Some Target shoppers on Sunday reported that the stores could accept cash (or checks) but not process their credit cards, though this snag was much smaller than far bigger outages that took out Target registers a day earlier, which prevented payments via plastic, and yes, cash too.

“I think (the Target episode) is a blip that everybody will quickly forget about,” says Greg McBride, chief financial analyst at Bankrate.com. “However, it is a reminder to all of us that we have to have a certain amount of cash just in case of isolated occurrences,” such as in the aftermath of a hurricane when the power goes out.

How much cash you should keep around for emergencies varies of course, depending on your circumstances. McBride, who frequently travels for business, says he keeps enough to hop in a cab to the airport.

Other people USA TODAY canvassed said they typically carry between $20 and $50, though the amount is sometimes less.

“The big picture still is you don’t want to have an overabundance of cash either in your pocket or stuffed under the mattress due to the risk of loss and theft. Plastic offers protections against those scenarios, cash does not,” McBride says.

As you would expect, Mastercard senior vice president for communications Seth Eisen makes a similar pitch.

While acknowledging that "cash will have a role to play in the foreseeable future in some cultures and for some type of purchases," Eisen says that "Electronic payments – the credit, debit and prepaid cards we’re all familiar with no matter what form they take – are an opportunity to provide people and businesses with greater security, greater transparency and greater certainty when they make a payment or are paid themselves.”

Eisen also believes the focus on "maximizing the technologies, programs and partners that have the potential to evolve the payments industry and enhance the value we can deliver to our customers and cardholders...drives financial inclusion and will help drive more participation in our increasingly digital economy," including among unbanked consumers.

Cash is still king when it comes to the smallest purchases. Forty-five percent of consumers who own rewards credit cards polled last year by CreditCards.com were using cash for purchases under $10. That compared to 30% of consumers who use debit cards for such purchases, and 23% who use credit cards.

The survey also found that $25 was the median purchase total at which rewards cardholders indicated it made sense to use credit.

“I’m tempted to quote Mark Twain. The death of cash has been greatly exaggerated,” says McBride. “It’s definitely in decline and will continue to decline. When it goes away completely, it’s hard to put a time frame on it.”

https://www.usatoday.com/story/tech/...wn/1490495001/
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Nielsen Overnights (Cable)
MTV Movie & TV Awards Ratings Plummet
By Rick Porter, The Hollywood Reporter - Jun. 18, 2019

The 2019 MTV Movie & TV Awards telecast on Monday night gathered its smallest audience in at least four years, falling sharply from the 2018 kudocast.

The awards ceremony, hosted by Shazam star Zachary Levi, drew 1.8 million viewers across MTV, VH1, Comedy Central, Nickelodeon, BET and CMT. That's a 42 percent drop from the 3.08 million who watched on those channels a year ago.

The show also aired on fellow Viacom channels TV Land, MTV2, MTV Classic and BET Her; figures for those weren't immediately available. The 2018 outing averaged 3.37 million viewers across all 10 channels.

The demographic ratings for this year's telecast also took a nosedive. In MTV's core audience of adults 18-34, the show's 1.3 rating fell by 46 percent year-over-year.

Among adults 18-49, the six channels for which numbers are available averaged 0.8, down 43 percent from 1.4 a year ago.

On MTV alone, the awards ceremony drew just 434,000 viewers — less than half the 903,000 who watched on MTV last year. The telecast also fell by more than 50 percent in adults 18-49, from 0.5 in 2018 to 0.2 on Monday.

MTV says the combined audience across linear and social channels was 3 million viewers, which is still down 11 percent from the TV-only audience in 2018.

The previous low for a simulcast was 2.3 million viewers (on just four channels) in 2015.

Avengers: Endgame won the award for best movie at the ceremony, which was taped Saturday, and Game of Thrones took home the trophy for best TV show.
Bookmark THR.com/Ratings for more ratings news and numbers.

https://www.hollywoodreporter.com/li...lummet-1219500
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TV/Production Notes (Streaming)
Rosamund Pike to Star in Amazon's Wheel of Time Series Adaptation
By Michael Ausiello, TVLine.com - Jun. 19, 2019

Gone Girl‘s Rosamund Pike is taking the wheel of Amazon’s forthcoming series adaptation of The Wheel of Time, TVLine has learned. The actress will play the lead role of Moiraine in the project, which is based on Robert Jordan’s fantasy novels.

The Wheel of Time, which was greenlit at Amazon last October, is set in a “sprawling, epic world where magic exists and only certain women are allowed to access it,” per the official logline. The story follows Pike’s Moiraine, “a member of the incredibly powerful all-female organization called the Aes Sedai, as she arrives in the small town of Two Rivers. There, she embarks on a dangerous, world-spanning journey with five young men and women, one of whom is prophesied to be the Dragon Reborn, who will either save or destroy humanity.”

Onetime Survivor contestant-turned-TV writer Rafe Judkins will serve as showrunner and executive producer. “For so many people, including me, this book series has served as a world to escape to, to lose yourself in, to devour and inhabit completely,” Judkins said in a statement last fall. “And I couldn’t be more honored to be the one finally bringing that world to life on screen, for old fans to lose themselves in all over again and new fans to discover for the very first time.”

Pike most recently starred opposite Chris O’Dowd in SundanceTV’s short-form series State of the Union.

https://tvline.com/2019/06/19/rosamu...s-amazon-cast/
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TV/Nielsen Notes
Syndication Ratings: James Holzhauer Loss Leads to 'Jeopardy!' Win
By Paige Albiniak, Broadcasting & Cable - Jun. 18, 2019

Super contestant James Holzhauer gave CTD’s Jeopardy! a parting gift with his June 3 defeat, leading the veteran game show to its 10th straight week of leading all of syndication, even though the show dropped 14% in the week ended June 9 to a still-strong 6.8 live plus same day household rating, according to Nielsen Media Research.

That was 24% better than last year at this time, and was helped by a gigantic lift for the show’s June 3 shocker, when the seemingingly undefeatable Holzhauer fell to Emma Boettcher, a 27-year-old librarian from Chicago. The rating for that day hit a single-day 9.0 in households, up 70% from the same week last year.

The week was a challenging one for access shows, thanks to competition from games four and five of hockey’s Stanley Cup finals between the St. Louis Blues and Boston Bruins, and games three and four of the NBA championships between the Golden State Warriors and the Toronto Raptors.

Debmar-Mercury’s Family Feud remained in second place, holding steady at a 6.1, while Jeopardy! stablemate, CTD’s Wheel of Fortune, slid 3% to a 5.7.

Further back, Disney’s Who Wants to be a Millionaire, which will end its 17-year run after this season, broke even at a 1.5. Entertainment Studios’ Funny You Should Ask was unchanged at a 0.5 for the 13 straight week.

Disney’s viral video show RightThisMinute maintained at a 1.2.

Elsewhere in access, magazines, like the games, found it difficult to advance against much stronger than usual competition.

CTD’s Inside Edition was the genre’s sole gainer, rebounding 4% from a season low in the prior week to a 2.7. CTD’s Entertainment Tonight, Warner Bros.’ TMZ and NBCU’s Access all held their ground at a 2.5, 1.2 and 1.1, respectively. Warner Bros.’ Extra eased 10% to a 0.9, tying CTD’s DailyMailTV. Twentieth’s Page Six TV remained at a 0.6, while Trifecta’s Celebrity Page lost 33% from a 0.3 to a 0.2.

In daytime, CTD’s Judge Judy, coming off its May sweeps household-ratings win, was in repeats for part of the week and held steady at a 6.5.

Further down the docket, CTD’s Hot Bench, also partially in reruns, returned 5% to a 2.1.

Warner Bros.’ People’s Court climbed 7% to a 1.5. Warner Bros.’ Judge Mathis moved down 10% to a 0.9 and Twentieth’s Divorce Court forfeited 14% to a 0.6, matching its series low.

CTD’s Dr. Phil continued to lead the talkers with a steady 2.4, extending its winning streak in the household ratings to 144 weeks in a row – almost three years -- with five ties, despite being in repeats on all five days.

Among daytime’s key demographic of women 25-54, however, Phil was second to Disney’s Live with Kelly and Ryan, which led with a 1.0 to Phil’s 0.9.

In households, Live held at a 2.1 and was the second highest-rated talk show for the 15 straight week.

Warner Bros.’ Ellen DeGeneres recovered 12% to a 1.9. NBCU’s Maury moved down 8% to a new season-low 1.2, rounding out the top five talkers. NBCU’s Steve, which will end its run after this season, held steady at a 1.1 in a week partially filled by repeats.

Debmar-Mercury’s Wendy Williams went on hiatus and aired previously seen programs all week, backing off 23% to a new season-low 1.0 and tying NBCU’s Steve Wilkos, which weakened 9% to also drop to a new season-low 1.0.

CTD’s Rachael Ray retreated 10% to a new season low 0.9, tying Sony Pictures Television’s Dr. Oz, which was stable. Warner Bros.’ The Real ratcheted down 17% to a new season-low 0.5, tying CTD’s The Doctors, which remained at its series-low 0.5 for a fourth straight week.

Disney’s Pickler & Ben belted out a 0.4 for the 20 consecutive week, tying the syndicated run of NBCU’s out-of-production Jerry Springer, which has remained at a 0.4 for the entire broadcast season.

Among the rookies, CTD’s canceled Face the Truth witnessed a 0.7 for an eighth straight week. Debmar-Mercury’s freshman courtroom drama Caught in Providence settled for an unchanged 0.5.

The first full week of a three-week test run of Warner Bros.’ daily talker RuPaul on Fox stations in seven markets averaged a weighted 0.5 rating/1 share, down 17% from both its lead-ins and its year-ago time period averages. In the key women 25-54 demo, the opening week earned a 0.2/1, off 33% from both lead-ins and June 2018 time periods.

Turning to true crime, NBCU’s Dateline remained the leader for the 39th straight week with a steady 1.3. SPT’s off-A&E Live PD Police Patrol detected an 18% decline to a 0.9, while off-Investigation Discovery’s True Crime Files was flat at a 0.3.

Syndication’s lone scripted strip, NBCU’s Chicago PD, backtracked 10% to a 0.9.

Warner Bros.’ The Big Bang Theory dipped 2% to a 4.1 to lead off-net sitcoms. Twentieth’s Last Man Standing sprinted 5% to a 2.2. Twentieth’s Modern Family fell 6% to a 1.7. SPT’s The Goldbergs grew 8% to a 1.4. Warner Bros.’ Two and a Half Men moved down 7% to a 1.3, tying Twentieth’s Family Guy, which remained at a 1.3 for the fourth straight week. ABC’s Black-ish backed off 8% to a 1.1, tying Warner Bros.’ Mike & Molly, which was flat at a 1.1. Warner Bros.’ 2 Broke Girls stood pat at a 1.0 for the 20th consecutive week, tying SPT’s Seinfeld, which held steady for a 14th straight week.

https://www.broadcastingcable.com/ne...o-jeopardy-win
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TV Notes (Cable)
‘Lindsay Lohan’s Beach Club’ Canceled After 1 Season at MTV
By Jennifer Maas, TheWrap.com - Jun. 19, 2019

“Lindsay Lohan’s Beach Club” has been canceled after one season at MTV, TheWrap has learned.

A source close to the show says the cable channel was looking to “rework some things,” as there were “creative differences” behind the scenes, but Lindsay Lohan’s representatives put out statements saying that the actress would not return for another season.

According to Page Six, Lohan Beach House, the Mykonos nightclub where the show is set, has closed — though TheWrap’s source was unable to verify this information at the time of publication.

MTV and representatives for Lohan did not immediately respond to TheWrap’s request.

“Lindsay Lohan’s Beach Club” followed Lohan as she attempts to build an empire with her club in Mykonos, Greece, which opened in May 2018. The hour-long docuseries debuted with a 0.39 rating in the 18-34 demographic on Jan. 8. The show’s 12-episode Season 1 run ended March 25.

The series starred Lohan and her business partner Panos Spentzos, along with twelve club ambassadors, with five selected to continue working with the brand by the end of the season: Gabi Andrews, Billy Estevez, Brent Marks, Aristotle Polites and Jonitta Wallace.

Gil Goldschein, Julie Pizzi, Farnaz Farjam and Andrea Metz executive produce the series for Bunim/Murray Productions. Lily Neumeyer, Jessica Zalkind and Ben Hurvitz are executive producers for MTV.

https://www.thewrap.com/lindsay-loha...season-at-mtv/

* * * *

TV Notes (Cable)
‘Chambers’ Canceled After One Season at Netflix
By Reid Nakamura, TheWrap.com - Jun. 19, 2019

Netflix has canceled the horror-drama “Chambers” after one season, TheWrap has learned.

“Chambers will not return for a second season,” the streaming service said in a statement. “We’re grateful to creator and showrunner Leah Rachel for bringing this story to us and to her fellow executive producers Alfonso Gomez Rejon, Steve Gaghan from Super Emotional, Winnie Kemp and Wolfgang Hammer from Super Deluxe, and Jennifer Yale. We’re also thankful to the tireless crew, and to our incredible cast, especially Uma Thurman, Tony Goldwyn and talented newcomer Sivan Alyra Rose.”

Led by Tony Goldwyn and Uma Thurman, “Chambers” centered on a young heart attack survivor who becomes consumed by the mystery surrounding the heart that saved her life and her donor’s sudden death.

The 10-episode series, which debuted in April, is written and created by Leah Rachel, who executive produced alongside Alfonso Gomez-Rejon, with Winnie Kemp, Wolfgang Hammer, Jennifer Yale and Steve Gaghan also serving as producers.

In addition to Thurman and Goldwyn, Sivan Alyra Rose, Lilliya Scarlett Reid, Nicholas Galitzine, Kyanna Simone Simpson, Lilli Kay, Sarah Mezzanotte and Griffin Powell-Arcand also starred in the series.

https://www.thewrap.com/chambers-can...on-at-netflix/
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Technology/Business Notes (Manufacturing)
Apple plans to move some manufacturing out of China, reports Nikkei
By Jon Porter, TheVerge.com - Jun. 19, 2019

Apple is exploring moving between 15 and 30 percent of its hardware production out of China, according to a new report by Nikkei. The company reportedly has a growing team looking into moving production, and has asked key manufacturing partners like Foxconn, Pegatron, and Wistron to evaluate the available options.

The catalyst for the shift is the ongoing trade war between China and the US, which is expected to intensify at the end of this month with the introduction of 25 percent tariffs on devices including phones, laptops, and tablets. However, Apple reportedly wants to shift production regardless of whether the trade dispute gets resolved.

”A lower birthrate, higher labor costs and the risk of overly centralizing its production in one country. These adverse factors are not going anywhere… with or without the final round of the $300 billion tariff,” one executive, apparently from an Apple supplier, told Nikkei.

Although Trump has repeatedly claimed that Apple was open to the idea of shifting manufacturing from China to the US, it’s likely that production will instead move to countries in South East Asia, with India and Vietnam considered to be front runners for iPhone production, according to Nikkei. Apple has previously produced lower-cost iPhone models in India, and last year was reportedly considering shifting production of its more premium models to the country in order to avoid its tariffs on imported smartphones. Foxconn recently said that it has the capacity to move production of all US iPhones out of China if necessary. Along with Vietnam and India, Mexico, Indonesia, and Malaysia are also thought to be under consideration.

Shifting production out of China, which has built up a huge ecosystem of logistics and components suppliers around Apple, will be a “painful and difficult” process, according to one supplier quoted by Nikkei. The country has a huge workforce of skilled workers, and its infrastructure is more resilient and less prone to problems like power shortages, which can have serious consequences for large manufacturers. Moving production won’t be a quick process. It is expected to take 18 months at a minimum, with results expected to emerge in between two to three years.

Around five million Chinese jobs are thought to rely on Apple’s manufacturing in the country, and Apple employs around 10,000 people directly in China. It’s unclear how many of these jobs would be impacted by losing 15 to 30 percent of production.

Apple is not reported to have set a deadline for when suppliers need to respond with plans for where to shift production. The company did not immediately respond to a request for comment.

https://www.theverge.com/2019/6/19/1...de-war-tariffs
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TV/Production Notes (Streaming)
Mary Poppins heads to Shondaland: Julie Andrews cast in Netflix's Bridgerton series
By Joey Nolfi, EW.com - Jun. 19, 2019

Netflix has added a spoonful of sugar to its new series.

The streaming giant announced Wednesday Hollywood legend and Mary Poppins actress Julie Andrews will join its Shonda Rhimes-produced episodic adaptation of Julia Quinn’s Bridgerton novels in a key role.

The 83-year-old Oscar-winner is set to voice the character of Lady Whistledown, described as an anonymous, “mysterious, sharp-tongued gossip writer” who “uses a curious mix of social commentary and scathing insult” to cause a societal ruckus in wealthy circles across London, per a Netflix press release.

Currently untitled, the Bridgerton series will unfold across eight one-hour episodes set in the “sexy, lavish, and competitive world of Regency London high society,” the synopsis continues, as it follows the Bridgerton family (and its eight close-knit siblings) as they search for romance, adventure, and love.

After 15 years producing shows for ABC, Rhimes — the mind behind Grey’s Anatomy, Private Practice, and Scandal — signed a major, multi-year production deal with Netflix in late 2017. In addition to the Bridgerton series, Rhimes is currently working on adapting the true story of infamous Manhattan socialite and con-woman Anna Delvey, among several other projects.

Though she has dozens of earlier acting work to her credit, Andrews has primarily performed in voice-only roles as of late, including performances in two Despicable Me films, several Shrek titles, and a small part in last year’s DC Comics epic Aquaman. She also fronted one season of Netflix’s educational program Julie’s Greenroom in 2017.

The untitled Bridgerton series will premiere on Netflix sometime in 2020.

https://ew.com/tv/2019/06/19/julie-a...gerton-series/
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TV/Critic's Notes (Streaming)
Is Black Mirror Not Cynical Enough for the Internet Anymore?
By Emily Yoshida, Vulture.com (New York Magazine) - Jun. 18, 2019

I haven’t been able to stop thinking about “Striking Vipers.” Black Mirror’s best episodes are about relationships, and how technology can facilitate forms previously impossible in a pre-digital era. That’s why “San Junipero” has remained such a classic entry of the show, not only for its uncharacteristically sunny conclusion but for its bold imagining of new spaces and times and capacities in which people might someday be able to love one another. “Striking Vipers” has similar ideas on its mind, but digs more into an already extant strangeness for us here in 2019 — the distinct way we build online relationships in tandem with IRL ones, and how one can take on elements absent from the other.

“Striking Vipers” follows two friends (Anthony Mackie and Yahya Abdul-Mateen II) who reunite in a VR version of a Street Fighter–esque game, and almost instantly begin an intense, virtual sexual relationship in the form of their Day-Glo avatars. That the episode immediately invited a stream of gay-panic memes is predictable but disappointing — what is so provocative about it is how it resists being about any one type of sexuality. Danny and Karl are platonically intoxicated by each other as younger men, and as soon as a technology emerges that can embody the plane on which they are attracted to each other, they go for it. The compromise of the episode’s conclusion feels bittersweet-to-tragic to me: Danny opted into one platform (heterosexual marriage) before he realized that this altogether more satisfying platform existed, and nobody really wins in the end.

“Striking Vipers” is Black Mirror at full potential, potential it hasn’t always risen to, especially since coming under the Netflix umbrella. As an anthology show, Black Mirror is a mixed bag by design, and the sometimes dense amount of world-building and concept-introducing it has to do in an hour can verge on corny and/or blunt. But I find this more forgivable with Charlie Brooker’s show, which I see as something like a dramatic can opener — a tool which can be used either to access something previously hard to get at, or to bash someone over the head with. The bashing has tarnished its reputation over the last few seasons, but when it’s good — as I think the latest season mostly is — it feels indispensable.

It’s hard to remember, but there was a time when you had to explain to people what Black Mirror was, and it took more than two full sentences to do so. (“It’s this British show, it’s kind of like The Twilight Zone but about tech, there are only three episodes per season, you have to stream it off a sketchy Russian website but it’s so good, you’re going to love it!”) Now that “Black Mirror” has become a shorthand for any downfall-by-tech narrative, and the number of episodes has ballooned to a downright decadent 21, plus a Christmas special and an interactive movie, what the show is and what people expect it to be have become more diffuse.

Thanks in part to a handful of bleaker (and I would say weaker) episodes, Black Mirror now regularly invites a sneering backlash on social media, with a sample criticism reading something like “Cor blimey, the computers’ll **** you up proper, mate!” The joke being that the show is (1) alarmist, (2) alarmist about things that smart people have already thought about and don’t think are worth discussing further, and (3) British. It’s not even really British anymore in the Netflix era, so that one we can set aside for the time being, other than the fact that there’s a lot of overlap in jokes about Black Mirror and jokes about Radiohead.

I would argue that there’s some narcissism of small differences going on here. Especially for a certain subset of Twitter, where one of the perennial most popular topics is “this website” and what it’s doing to our “broken brains,” the dominant acceptable posture to take when a new season of Black Mirror comes out — a show that uses fiction to examine what this and many other websites are doing to our broken brains — is to dismiss it whole cloth. (Critics’ reviews of the new season are more thoughtful in their dismissal, but generally less favorable.) I don’t mean to suggest that Black Mirror doesn’t deserve a sharp critical eye, especially when it’s dealing with issues so near and dear to our online lives — and that it doesn’t always stand up to such scrutiny. But I do think that something about that proximity invites extra cynicism.

I’ve had a few IRL conversations about “Smithereens,” the second episode of the new season. It’s the one where Andrew Scott is an Uber driver named Chris, who takes a Smithereen (i.e., Twitter) intern hostage and demands to speak to CEO Billy Bauer (i.e., Jack Dorsey). A common gripe with the episode seems to focus on the reveal that Chris’s life fell apart after he was tweeting and driving, and since that day he has held Bauer and the company responsible for how they’ve colonized our brains. “It’s a don’t text and drive PSA,” comes the critique. Perhaps because it has long since infused itself into mainstream culture, habits, even our very muscle memory, it seems we have a low capacity to think metaphorically about technology. As soon as something specific is fingered (texting and driving, playing too many video games), we fixate on it, so the story must literally be about that. And if your fake Google/Facebook/Twitter is unconvincing, we’re out.

But, first of all — and I hate to sound as uncool as a PSA here, but maybe don’t text and drive? And secondly, you have to hold “Smithereens” at arm’s length to see it as a mere scold. The trajectory of Chris’s desperate, not-at-all heroic attempt to simply be heard feels intensely relatable, stripped of the situational specifics. Almost everyone with an online life has felt smushed at one time or another by any number of tech lords — whether it was being targeted by unmoderated hate speech on Twitter, losing a job due to the whims of Facebook’s algorithms, or running on fumes in order to make a living with Uber. This is real desperation; Chris’s lethal tweeting is a stand-in for all of it. (And, cruelly, the more he rants about it, the crazier he looks.) As a story about a man making all the wrong decisions for incredibly real emotional reasons, “Smithereens” feels a bit like a modern Dog Day Afternoon.

But once you mention texting and driving, something about “Smithereens” shatters for people; they figure they’re being lectured to and start watching defensively. Lecturing is not not in Brooker’s repertoire, but I don’t think Black Mirror, for all its highs and lows, is the scold people make it out to be. It has a strong, intentionally silly streak (see: “Rachel, Jack and Ashley Too”), can be incurably romantic (“San Junipero,” “Hang the DJ”), and regularly gets great performances out of great actors. Because these are, more often than not, human stories — about no less than what it is to be human in a world whose every corner has been digitally augmented, and what new forms humanity might take, for better or worse.

https://www.vulture.com/2019/06/blac...-cynicism.html
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 19, 2019

THE HANDMAID'S TALE
Hulu, 3:00 a.m. ET

A new episode of The Handmaid’s Tale appears on Hulu today – and Serena, each week this season, has revealed herself as a little bit less redeemable. It’s a trend that you shouldn’t expect to be overturned this week.

THE LATE LATE SHOW WITH JAMES CORDEN
CBS, 12:37 a.m. ET

So far, in this year’s London visit, James Corden is 2 for 2. Monday, he had Michelle Obama stealing the show as an aggressive, taunting dodgeball captain. And last night, he and Chris Hemsworth played dueling waiters, trying to prove which of them could give better service as a posh London restaurant. Spoiler Alert: Hemsworth won, handily. When he takes you to your table, he really takes you to your table…


http://www.tvworthwatching.com/
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Nielsen Overnights (Broadcast)
TV Ratings: 'Songland' Improves as NBC Cruises to Victory
By Rick Porter, The Hollywood Reporter - Jun. 19, 2019

America's Got Talent and Songland gave NBC a big ratings win Tuesday, with an 18-49 average that beat the combined totals for rerun-heavy lineups on ABC, CBS and Fox.

Songland improved a little after two weeks of declines following its series premiere. The songwriting competition drew a 1.0 rating among adults 18-49, up 0.1 versus last week, and 4.85 million viewers, the most since its premiere May 28.

America's Got Talent, meanwhile, reached a season high in total viewers with 9.87 million and held steady week to week in adults 18-49 at 1.5.

The other English-language broadcast networks were light on originals, with only CBS' Blood and Treasure (0.4 in adults 18-49, 3.79 million viewers, on par with last week) and The CW's The 100 (0.2, 731,000) airing opposite NBC's lineup.

After the two NBC shows, the top performers in the 18-49 demographic were reruns of The Conners and Modern Family on ABC and NCIS on CBS and a Copa America soccer match on Telemundo — all came in at 0.5.

NBC's 1.3 average in adults 18-49 in primetime was more than three times better than second-place networks: ABC, CBS, Telemundo and Univision all tied at 0.4. Fox drew a 0.3 and The CW a 0.2.

https://www.hollywoodreporter.com/li...8-2019-1219680
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TV Notes (Cable)
Showtime Acquires UK Comedy ‘Back to Life’ From ‘Fleabag’ Producers
By Reid Nakamura, TheWrap.com - Jun. 19, 2019

Showtime has acquired the comedy series “Back to Life,” created by and starring “Episodes” alum Daisy Haggard and “Fleabag” duo Harry and Jack Williams.

The six-episode comedy follows Miri (Haggard) in her first few weeks after serving 18 years in prison, as she navigates her way in a new world, trying (and frequently failing) to lead a normal life in her picturesque but claustrophobic seaside hometown. Miri attempts to rekindle old relationships, make new ones, look for work and readjust to life outside, while desperately waiting for the world to forget about what happened that fateful night.

The cast also includes Geraldine James, Richard Durden, Jo Martin, Jamie Michie, Christine Bottomley, Adeel Akhtar and Liam Williams. It will debut on Showtime on Sunday, Oct. 6.

“‘Back to Life’ is a gem of a series that we are thrilled to bring across the pond,” Showtime president Gary Levine said in a statement. “Daisy Haggard, whom Showtime audiences will remember from our series ‘Episodes’ as Myra, the network comedy exec with absolutely no sense of humor, is wildly impressive, both as writer and star of this intriguing, touching and funny, character comedy.”

“Back to Life” first aired on BBC Three earlier this year. It is produced by Two Brothers Pictures in association with all3media international. Haggard wrote the series with Laura Solon, with Debs Pisani producing and Chris Sweeney directing. Executive producers are Harry and Jack Williams (“Fleabag,” “The Missing”) alongside Sarah Hammond of Two Brothers Pictures, and Haggard, Solon and Sweeney.

https://www.thewrap.com/showtime-acq...bag-producers/
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TV Notes
On The Air Tonight
WEDNESDAY 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. 19, 2019

ABC:
8PM - Press Your Luck
9PM - Card Sharks
10PM - Match Game
* * * *
11:35PM - Jimmy Kimmel Live! (Miles Teller; Ayesha Curry; Hollywood Vampires perform)
12:37AM - Nightline

CBS:
8PM - The Amazing Race
9PM - NCIS: The Cases They Can't Forget
10:01PM - S.W.A.T.
(R)
* * *
11:35PM - The Late Show With Stephen Colbert (Ice Cube; comic Tig Notaro)
12:37AM - The Late Late Show With James Corden (Ian McKellen; singer-songwriter Louis Tomlinson; Simon Pegg)

NBC:
8PM - Ellen's Game of Games
(R)
9PM - Ellen's Game of Games
(R)
10PM - The InBetween
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Michael Strahan; wrestling legends Nikki Bella and Brie Bella; Sleater-Kinney performs)
12:37AM - Late Night With Seth Meyers (Amy Poehler; sex therapist Dr. Ruth Westheimer; Philip "Fish" Fisher sits in with the 8G Band)
(R)
1:38AM - Last Call With Carson Daly (Rapper Killer Mike; Lucy Dacus performs; Shane West)
(R)

FOX:
8PM - MasterChef
9PM - First Responders Live (LIVE)

THE CW:
8PM - Penn & Teller: Fool Us
(R)
9PM - Jane the Virgin

PBS:
8PM - Rivers of Life: The Nile (Series Premiere)
9PM - When Whales Walked: Journeys in Deep Time (120 min.)

UNIVISION:
8PM - La Reina Soy Yo
9PM - La Rosa de Guadalupe
10PM - Fútbol Central (LIVE)
10:15PM - CONCACAF Copa Oro 2019: México vs. Canadá (LIVE)

TELEMUNDO:
8PM - CONMEBOL Copa América 2019: Argentina vs. Paraguay (LIVE)
10:30PM - Hoy en la Copa América Brasil 2019 (LIVE)

ESPN:
7PM - 2019 College World Series, Final Game: Texas Tech vs. Florida State (LIVE)
10PM - MLB Baseball: San Francisco Giants at Los Angeles Dodgers (LIVE)

A&E:
8PM - Live PD (120 min.)

FREEFORM:
8PM - Grown-ish

MTV:
8PM - Catfish: The TV Show (62 min.)
9:02PM - The Hills: Shadiest Moments Ever (62 min.)

NBCSN:
8PM - 2019 NHL Awards (120 min., LIVE)

SCIENCE:
8PM - BattleBots (120 min.)

VH1:
8PM - Basketball Wives (Season Premiere)

CNBC:
9PM - Deal Or No Deal
10PM - Deal Or No Deal

OWN:
9PM - Queen Sugar (62 min.)

TV ONE:
9PM - Legacy Lives On
10PM - The DL Hughley Show (Singer Johnny Gill)

FXX:
10PM - Archer (32 min.)

PARAMOUNT:
10PM - Yellowstone (Season Premiere, 64 min.)

SYFY:
10PM - Krypton (58 min.)

TV LAND:
10PM - Younger (37 min.)

TBS:
10:30PM - Full Frontal with Samantha Bee
* * * *
11PM - Conan (Comic Bill Burr)
(R)

COMEDY CENTRAL:
11PM - The Daily Show with Trevor Noah (Comedian Arturo Castro, 36 min.)


http://tvlistings.zap2it.com/?aid=gapzap
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TV Sports/Legal Notes (Broadcast)
Carrie Underwood, the NFL, and NBC Sued Over 'Sunday Night Football' Theme Song
By Daniel Goldblatt, TheBlast.com - Jun. 19, 2019

Carrie Underwood is being sued by a woman who claims she submitted a song to the superstar's producer who then turned it into the "Sunday Night Football" theme song without giving her any credit ... or money.

According to court documents obtained by The Blast, Heidi Merrill claims she and three other writers came up with a song called "Game On" in late 2016.

She claims she uploaded the song to YouTube in March 2017 and even got featured during a broadcast of "CBS Inside College Basketball."

In August of 2017, Merrill claims she attended a conference in Nashville in large part because she knew that Underwood's producer, Mark Bright, would be in attendance.

She says she knew that Underwood was looking for a new song for the 2018 NFL season and told Bright she had a song she thought would be good for Underwood.

Merrill claims that Bright told her to submit it to his assistant, which she claims she did via email. About two months later, she says she got an email back saying, "I'm sorry, we're going to have to pass."

Fast-forward almost a year and when "Sunday Night Football" premiered on September 6, 2018, Underwood performed a song called "Game On" ... which she claims is "substantially — even strikingly — similar, if not identical" to her own song of the same name.

Merrill claims Underwood's song is similar "not only in title but in many other ways, including in tempo, meter, time signature, rhythmic contours and patterns, melodic contours and patterns, hooks ... note progression and use, and chord progression."

In her lawsuit, Merrill cites a similar lawsuit where Underwood and Bright were essentially accused of the same thing with the song "Something in the Water." That case was eventually dismissed.

Merrill and her songwriters are suing Underwood, Bright, NBC, the NFL, and others and are seeking unspecified damages.

https://theblast.com/c/carrie-underw...otball-lawsuit
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post #30448 of 30854 Old 06-19-2019, 02:10 PM
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Quote:
Originally Posted by rad View Post
They are launching one more, T16, which is scheduled to launch on the 20th.
Did it ever launch? Those posts are from Summer 2018. Yet within the last six months or so, ATT mentioned they weren't launching anymore DirecTV satellites.

Edit:. That must have been their last Satellite launch. In late November 2018, that is when the CEO of ATT said they had launched their last satellite.
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post #30449 of 30854 Old 06-19-2019, 02:23 PM
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Originally Posted by aaronwt View Post
Did it ever launch? Those posts are from Summer 2018. Yet within the last six months or so, ATT mentioned they weren't launching anymore DirecTV satellites.

Edit:. That must have been their last Satellite launch. In late November 2018, that is when the CEO of ATT said they had launched their last satellite.
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T16 for AT&T/DIRECTV launch tomorrow, http://www.arianespace.com/mission/ariane-flight-va248/
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post #30450 of 30854 Old 06-20-2019, 04:29 AM - Thread Starter
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TV Notes (Streaming)
The Rain Renewed at Netflix for Third and Final Season
By Rachel Paige, TVGuide.com - Jun. 19, 2019

Netflix's first Danish series is coming to an end, but it's still got one last season to go. The streaming service has announced that The Rain has been renewed for a third and final season.

In an announcement first posted to Facebook (and later confirmed by Netflix's See What's Next Twitter), and accompanied by a picture of Rasmus (Lucas Lynggaard Tønnesen), the post states that it will be coming back for one final season in 2020.

The show follows the story of two siblings after just about the entire population of Scandinavia has been wiped out due to — wait for it — rain. Their father leaves them in a bunker to try and wait out the rain (which contains a deadly virus), and almost a decade later Simone (Alba August) and Rasmus (Tønnesen) emerge looking for answers — and their father (Lars Simonsen).

The first season of the show consisted of eight episodes, while the second season only had six. No word yet on the episode count for Season 3, but hopefully it's more than enough to wrap up the show and leave us with some sort of closure (and no lingering questions).

The first two seasons of The Rain are available on Netflix.

https://www.tvguide.com/news/the-rai...celed-netflix/
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