Hot Off The Press: The Latest TV News and Information - Page 1037 - AVS Forum | Home Theater Discussions And Reviews
Forum Jump: 
 14808Likes
Reply
 
Thread Tools
post #31081 of 33391 Old 07-27-2019, 11:33 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Summer TCA 2019 Tour Notes (Cable)
‘Power’s Final Season To Air In Two Parts, Starz Says
By Dominic Patten, Deadline.com - Jul. 26, 2019

The sixth and final season of Power is coming next month, and next year.

At the TCA summer press tour today, Starz programming boss Carmi Zlotnik said that the first 10 episodes of the end of the Courtney Kemp-created New York City crime drama will air starting on August 25.

However, in the tradition of some other big cable exits over the years like Breaking Bad, the rest of the supersized last season of the Curtis “50 Cent” Jackson-EP’d series will air in January 2020, the exec reveled.

Praised onstage Friday as a “monster” by Starz COO Jeffrey Hirsch, the series starring Omari Hardwick, Lela Loren, Naturi Naughton, Joseph Sikora, Michael Rainey Jr., Rotimi and Alani “La La” Anthony will also get its own aftershow. Featuring interviews with the cast, EPs and special guests, Power Confidential will debut after the Season 6 opener in late August, Zlotnik said.

Onstage in their own panel, Kemp and Jackson teased that more information about Power spinoffs would be coming during TCA too.

Power is going out large off-screen as well with a Madison Square Garden premiere set for August 20. The cast and creators are expected to be in attendance for the event, which includes a one-hour concert headlined by hip-hop icon 50 Cent.

https://deadline.com/2019/07/power-f...rz-1202655117/

* * * *

TV/Summer TCA 2019 Tour Notes (Cable)
‘The Continental’: ‘John Wick’ TV Adaptation Unlikely To Air Before May 2021 & Starz Chief Refuses To Tease Keanu Reeves On-Screen Role
By Peter White, Deadline.com - Jul. 26, 2019

The Continental, Starz’s TV series spinoff of Keanu Reeves’ feature franchise John Wick, is unlikely to air until at least late 2021.

When asked whether the TV remake — which will focus on the inner workings of the exclusive Continental Hotel that serves as a refuge for assassins — would launch before the fourth film debuts in May 2021, Starz COO Jeffrey Hirsch admitted that it was unlikely.

“My sense is that where we are today, the movie date has been set but we’re still in early development on the series so [it will air] most likely after,” he said today at the summer TCA press tour.

The series, which was picked up by the Lionsgate-backed broadcaster in January 2018, comes from Lionsgate TV and is being written by Chris Collins who serves as showrunner. Other members of the team behind the film franchise that executive produce include Thunder Road Pictures’ Basil Iwanyk, Chad Stahelski, John Wick franchise screenwriter Derek Kolstad, along with Collins and David Leitch. Stahelski will direct the premiere episode.

Hirsch also revealed that the series would explore the origin story of the hotel. Last year, it emerged that Keanu Reeves would likely appear on screen in the series, in addition to joining as an exec producer.

However, Hirsch would not go into as to how much screen time Reeves would get in the adaptation. “That’s a really good question that I’m not going to answer. No answer is as good a tease you’re going to get,” he said. “It’s a great franchise, we’re exciting about bringing that show to the network.”

https://deadline.com/2019/07/the-con...21-1202655172/
dad1153 is offline  
Sponsored Links
Advertisement
 
post #31082 of 33391 Old 07-27-2019, 11:38 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Summer TCA 2019 Tour Notes (Streaming)
‘Transparent’ Creator Jill Soloway on Musical Finale: ‘This Was Our Chance to Heal’
By Joe Otterson, Variety.com - Jul. 27, 2019

“Transparent” creator Jill Soloway addressed how the show’s upcoming musical finale allowed the team behind the show to move beyond the scandal that saw series star Jeffrey Tambor exit the series.

“When people talk about musicals, when people turn to song instead of conversation, its because there are certain things that can’t be said with words,” Soloway said at the Television Critics Association summer press tour on Saturday.

“As storytellers and as artists, this was our chance to heal together,” they continued. “Every time we got together…we were just trying to find our way back to that holy belief that what we were doing mattered…We had to find our way back to joy and the musical allowed us to do that.”

In the musical finale of the Emmy-winning series, which is dubbed the “Musicale Finale,” when the Pfeffermans face a life-changing loss, they confront grief and come together to celebrate connection, joy, and transformation.

Created by Jill Soloway, with original music by Faith Soloway, the finale features returning cast including Judith Light, Gaby Hoffmann, Amy Landecker, Jay Duplass, Alexandra Billings, Kathryn Hahn, Shakina Nayfack, Trace Lysette, as well as a number of fan favorite characters. The series is executive produced by Jill Soloway, Faith Soloway, Andrea Sperling, and Joe Lewis.

The “Transparent Musicale Finale” debuts Sept. 27 on Amazon.

https://variety.com/2019/tv/news/tra...ay-1203282116/

* * * *

TV/Production Notes (Streaming)
Amazon Orders ‘The Banker’s Wife’ Series From ‘Homeland’ Executive Producers
By Will Thorne, Variety.com - Jul. 27, 2019

Amazon has ordered a series from two of the executive producers behind “Homeland.”

“The Banker’s Wife,” an international thriller based on the best-selling novel by Cristina Alger, has been handed an eight-episode order by the streamer. Meredith Stiehm will write all eight episodes, with fellow “Homeland” executive producer Lesli Linka Glatter in position to direct.

The series set in the world of global finance and follows two women searching for answers when a mysterious plane crash sets them off on parallel pursuits of truth. As they shine a light on hidden offshore accounts meant to be kept in the dark, the pair become embedded within a larger conspiracy of money laundering, powerful politicians and a web of terrorists and criminals.

“As soon as we read ‘The Banker’s Wife,’ we knew this would be a series that our Amazon Prime Video customers will love, a fast-paced, compelling story that pulls you in immediately,” said Amazon Studios head Jennifer. “We’re thrilled to be working with Meredith and Lesli to bring their vision to the screen.”

The series hails from Amazon Studios and Federation Entertainment, with both Stiehm and Linka Glatter exec producing alongside Sherry Marsh of Marsh Entertainment, and Ashley Stern and Pascal Breton. Alger is represented by ICM Partners.

https://variety.com/2019/tv/news/ama...es-1203282043/
dad1153 is offline  
post #31083 of 33391 Old 07-27-2019, 11:44 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV Review (Streaming)
‘The Boys’ Deconstructs the Superhero, With a Light Touch
By Mike Hale, The New York Times - Jul. 26, 2019

The team of Evan Goldberg and Seth Rogen (producers) and Garth Ennis (comics writer) has given us AMC’s “Preacher,” the most inventive, audacious and purely entertaining comics-based series of the past few years. With “Preacher” on the way out — its final season begins Aug. 4 — the three are getting right back in the game, with a new show based on an Ennis comic, “The Boys,” coming to Amazon Prime Video on Friday.

“The Boys” is not pitched at the feverish level of “Preacher,” in terms of either mayhem or dark comic style — its showrunner, Eric Kripke, is the maker of network series like “Supernatural” and “Timeless,” and the eight-episode “Boys” is like a high-end, more thoughtfully assembled, slightly bloodier and sexier version of one of those conventional shows. (“Preacher” is overseen by Sam Catlin, whose previous writing and producing experience includes “Breaking Bad.”)

“The Boys” is also a little more of a known quantity because it’s a superhero show. That it’s an anti-superhero show — in which the costumed crime fighters are the bad guys, arrogant and corporatized and heedless of collateral damage to innocent humans, and the Boys of the title are a motley, disreputable bunch who take them on — doesn’t change the basic equation. The visual takeaway is still people in tights who can fly and shoot lasers out of their eyes, the wrinkle being that we’re rooting for the guy fighting back with his wits and a crowbar.

All of that said, the series is quite enjoyable, particularly in a fast and clever first episode (written by Kripke and directed by Dan Trachtenberg) that introduces us to the show’s world — marginally exaggerated from our own — and gives the show’s real hero, the distinctly non-superpowered electronics salesman Hughie (Jack Quaid), a reason to hate the supes. In a judiciously horrifying scene, we witness the accidental obliteration of Hughie’s fiancée by an out-of-control Flash-like character, A-Train (Jessie T. Usher), who’s a member of the Seven, America’s premiere superhero team.

Branded and managed by Vought, an evil corporation occupying a futuristic tower not far from the Empire State Building, the Seven are led by a patriotic blond Übermensch, Homelander (played with a potently quiet creepiness by Antony Starr of “Banshee”). He is Superman gone sour, and the show merrily frames the Seven as exemplars of American privilege, patriarchy and fraudulent celebrity culture. Homelander’s wholesome facade hides a serial liar and stalker, while the aquatic hero the Deep (Chace Crawford) is a walking #MeToo nightmare. Vought covers up their excesses while selling their services to crime-ridden cities and lobbying to have them made responsible for national defense.

Hughie, a former fan boy now enraged and suffering from post-superhero stress, is recruited in a clandestine attempt to bring down the Seven by a bruiser named Billy Butcher (an amusing Karl Urban), who has his own reasons to want them stopped, or dead. More allies gradually join their vendetta, and the show loses some of its spark over subsequent episodes in part because of the unwieldy cast that needs to be introduced and kept busy — the Seven (including Erin Moriarty as the new member, an innocent from Des Moines), plus five Boys, plus Elisabeth Shue as a Vought executive, Simon Pegg as Hughie’s dad and Jennifer Esposito as a C.I.A. agent who has a past with Butcher. It’s a lot of bodies to pack into eight episodes.

Quaid, who took an arrow as Marvel in “The Hunger Games” (and is the son of Meg Ryan and Dennis Quaid), gives a charming, sympathetic performance as the overwhelmed but resilient Hughie, and you’re glad when he’s onscreen. And overall, the architecture of Ennis’s story — a lighter, less apocalyptic take on the kind of superhero deconstruction Alan Moore did in “Miracleman” and “Watchmen” — is interesting enough, and executed with enough panache, to pull you along. Putting the onus on Hughie to choose a true, human-scaled heroism isn’t a new idea, but it still has an emotional tug.

And the notion that the world needs to be saved from its superheros has another sneaky resonance: Vought, with its stable of 200 costumed heroes, its theme parks and film franchises (and a management Butcher calls “empty suits with Cornell degrees”), resembles nothing so much as the comics leviathans Marvel and DC. (The “Boys” comic book was first published, and then dropped, by a DC imprint.) When Hughie learns the truth about the Seven, he’s outgrowing the comic books of his youth — the kind of heroes DC and Marvel sell. “The Boys,” meanwhile, is offering the kind of smart, easygoing pleasure that most of the Marvel Netflix shows, its closest analogues, didn’t quite reach.

The Boys
Amazon Prime Video, Friday


https://www.nytimes.com/2019/07/26/a...zon-prime.html
dad1153 is offline  
Sponsored Links
Advertisement
 
post #31084 of 33391 Old 07-27-2019, 11:50 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Production Notes (Streaming)
‘Lord of the Rings’: Amazon TV Show Confirms Writing Staff and Creative Team
By Steve Greene, IndieWire.com - Jul. 27, 2019

The upcoming Amazon Prime Video adaptation of “Lord of the Rings” might be the most ambitious impending project in all of TV. While there are many details left to uncover about this new addition to the iconic fantasy saga, the team bringing it to life is a lot clearer now.

The writing team behind “Lord of the Rings” now includes Jason Cahill, Justin Doble, and Helen Shang. “Toy Story 4” writer Stephany Folsom will also serve as a consulting producer, with Lindsey Weber, Gene Kelly, Bruce Richmond, and Sharon Tal Yguado also on board as executive producers. With writing consultant Glenise Mullins, the team will tackle a new chapter in adapting J.R.R. Tolkien’s classic Middle Earth source material.

The announcement comes via a video from the series’ official Twitter account, which shares photos and relevant credits from a number of the newly announced team members:

“Star Trek” writers JD Payne and Patrick McKay were previously announced as developing the project for Amazon, with reports indicating that “Game of Thrones” vet Bryan Cogman and Gennifer Hutchison, who previously wrote on “Breaking Bad” and “Better Call Saul,” would also be part of the staff in various capacities.

Kate Hawley will serve as the series’ costume designer, alongside production designer Rick Heinrichs, and visual effects supervisor Jason Smith. The show also boasts a Tolkien scholar in Tom Shippey and concept artist John Howe, who worked on the Peter Jackson-directed film trilogy.

Amazon Studios head Jennifer Salke spoke to reporters at the Television Critics Association press tour about the new additions to the team.

“JD Payne and Patrick McKay have assembled a best-in-class team that have been working for months breaking the first season of this global series. The scripts have been outstanding and a global casting search is well under way,” Salke said.

Saturday’s announcements come weeks after reports that the series had found its first regular cast member in Markella Kavenagh, who is set to play an as-yet-unspecified role. J.A. Bayona — coming off “Jurassic World: Fallen Kingdom” — is set to direct the opening two episodes of the series, which still does not have a targeted release date as of yet.

https://www.indiewire.com/2019/07/lo...am-1202161469/
dad1153 is offline  
post #31085 of 33391 Old 07-27-2019, 11:50 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Critic's Notes (Cable)
HBO needs new stuff and lots of it. Get ready for more fantasy stories set in parallel worlds.
By Hank Stuever, Washington Post - Jul. 25, 2019

BEVERLY HILLS, CALIF. — A “Game of Thrones” prequel series just wrapped filming in Belfast. An impressive 137 Emmy nominations last week can’t be a bad thing. But alert viewers nevertheless sense HBO is changing before our eyes.

Since AT&T acquired HBO’s parent company, Time Warner, last year for $85 billion, the network has increased its overall hours of original programming by more than a third, expanding into Monday nights with “Chernobyl,” “Gentleman Jack” and “Years and Years.” As WarnerMedia prepares to launch a streaming service (dubbed HBO Max to capitalize on the brand) to compete with Netflix, Disney, et al., some longtime executives have departed — including chief executive Richard Plepler and documentary head Sheila Nevins. Last week, the network’s widely admired communications chief, Quentin Schaffer, said he’s leaving after 39 years at the network.

HBO’s chief of programing, Casey Bloys, told reporters Wednesday at the Television Critics Association’s summer press tour here that more HBO doesn’t mean less quality.

“The big challenge was to make sure that by doing [more] we aren’t just filling hours to fill hours,” Bloys said. “In the first half of 2019, we have a lot more programming and there’s not one show that we have aired that I wouldn’t have aired, you know, two years ago or five years ago.”

The big question HBO viewers always have is what’s next. “Game of Thrones” is done. “Veep” is done. There’s no such thing as a “Chernobyl 2.”

Fantasy seems to be the network’s ongoing obsession, with two big shows this fall built around complicated multiverse sagas. In October, the network will premiere creator Damon Lindelof’s divergent take on “Watchmen,” the cult-hit comic book from the 1980s (which bombed as a theatrical movie version in 2009).

Critics screened “Watchmen’s” pilot episode Tuesday night, but HBO begged us to reserve judgment for now, at least in print. Suffice to say Lindelof (known for “Lost” and “The Leftovers”) has taken “Watchmen’s” concept and aesthetic in a surprising and even topically risky direction that, among other things, involves the 1921 Tulsa race massacre and the rise of vigilante white supremacists in a parallel-reality America of 2019. Oscar and Emmy winner Regina King stars.

Lindelof, who is by now accustomed to viewers taking issue with his creative choices, said he’s pleased with his “Watchmen,” but he expects some will reject it. “You can only self-identify as a fan [of the original ‘Watchmen’ comics] and write this stuff for yourself, to some degree, and then hope that it connects with other people,” he said. “But, you know, if your intention is for everyone to love it, you’re not going to be able to do this job.”

HBO’s other lavish fantasy offering (co-produced with the BBC) is “His Dark Materials,” based on author Philip Pullman’s trilogy of young-adult novels set in a parallel world where animals are manifestations of human souls and a heroic 12-year-old girl named Lyra (Dafne Keen) uncovers a plot involving stolen children, linked to a mysterious substance called Dust.

I probably got half of that wrong — the pilot episode hurls viewers right into the deep end and expects them to swim — but I have some time to bone up before the show premieres in November. It also stars James McAvoy, Ruth Wilson and Lin-Manuel Miranda, who, judging from his enthusiasm at a panel discussion Wednesday, is clearly a superfan of the books.

Both shows make me wonder if HBO is in danger of nerding out to an extreme — even in today’s nerd-dominant culture. Maybe they could throw the rest of us a third season of “Big Little Lies”?

Don’t count on it, Bloys said. “To me, on the face of it, there’s no obvious place [for the story] to go,” he said. “That said, if they all came to me and said, ‘We have the greatest take: Listen to this,’ I would certainly be open to it. Who knows? It just doesn’t feel like it, but I’m certainly open.”

Elsewhere at the press tour’s cable TV portion, Lifetime has wasted no time ginning up a “ripped from the headlines” movie on a recent debacle: the college admissions scandal in which actresses Lori Loughlin and Felicity Huffman (among others), were accused of trying to buy admission to elite universities for their kids. Look for it this fall.

Nat Geo, now part of Disney after last year’s acquisition of most of Fox, brought its usual round of globally concerned programs to show critics (one begins to wonder just how many remotely assigned camera crews it will take to save the planet), along with news that the next chapter of its “Genius” scripted miniseries will be about Aretha Franklin. Previous seasons were about Albert Einstein and Pablo Picasso; no decision yet on who will play the Queen of Soul.

But Jake McDorman, last seen as Murphy Brown’s adult son Avery, will play pioneering astronaut Alan Shepard in a series adaptation of Tom Wolfe’s Space Age epic “The Right Stuff,” which began shooting last week. The network is hoping for more than just a limited series; they’d like to see it reach orbit for multiple seasons.

“From the WHY department,” I tweeted in knee-jerk disapproval, on behalf of everyone who considers the 1983 movie version of “The Right Stuff” to be damn near perfect.

Nat Geo’s social media team was quick to reply: “Don’t you think it deserves a multi-season series versus just a two-hour movie? We do!”

I could take that bait, but let’s not forget the TV critic’s sworn vow: Wait and see if it’s any good.

https://www.washingtonpost.com/enter...=.d80abce2b093
dad1153 is offline  
post #31086 of 33391 Old 07-27-2019, 11:54 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV Notes (Streaming)
‘Big Mouth’ Renewed for 3 More Seasons at Netflix
By Reid Nakamura, TheWrap.com - Jul. 26, 2019

Netflix has ordered three more seasons of the animated comedy “Big Mouth,” bringing the series through Season 6 at the streaming service.

Series creators Nick Kroll, Andrew Goldberg, Mark Levin and Jennifer Flackett have also signed an overall deal with Netflix, through their newly formed Brutus Pink production company, which will develop and produce new animated projects for the service.

“Big Mouth,” which is set to return this fall for its previously announced third season, stars Kroll, John Mulaney and Jessi Klein as a group of friends navigating puberty under the guidance of personified “hormone monsters.” Jenny Slate, Maya Rudolph and Fred Armisen also lend their voices to the series.

“‘Big Mouth’ brilliantly captures the most awkward phase in a person’s life, puberty, in a hilarious yet heartwarming way,” Mike Moon, head of adult animation for Netflix, said in a statement. “We couldn’t be more excited to continue our relationship with Brutus Pink and bring more stories, more humor, and more hormones to Netflix members around the world.”

“Netflix has given us the best creative experience imaginable, and we’ve been able to build an amazing community of talented writers, actors, producers and artists. We’re thrilled to be continuing with everyone for years to come,” the Brutus Pink team said.

https://www.thewrap.com/big-mouth-re...ns-at-netflix/
dad1153 is offline  
post #31087 of 33391 Old 07-27-2019, 11:58 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Legal Notes
Universal Headed to $77 Million Loss in 'Columbo' Profits Lawsuit
By Eriq Gardner, The Hollywood Reporter's 'THR ESQ.' Blog - Jul. 26, 2019

A panel of accounting referees, tasked with figuring out what Universal City Studios owed to the creators of the 1970s detective series Columbo, have concluded the right amount is $76.95 million.

The lawsuit was brought by heirs of William Link and Richard Levinson, who waited 45 years before getting their first profit participation check despite Columbo reaping hundreds of millions in revenue from broadcast and home video distribution.

The case went to trial in March, and the jury's conclusion was that the two hadn't waited too long to bring claims, and furthermore, that Universal wasn't entitled to deduct distribution fees in accounting to profit participants. Thereafter, the judge referred the matter to referees to analyze income and expense statements and competing interpretations from the parties' respective experts.

The panel's report, dated July 22, returned the results.

The referees concluded that Link's and Levinson's loan-out companies were shorted about $36 million and additionally tacked on nearly $41 million in prejudgment interest. The total amount wasn't quite the $105 million that the plaintiffs insisted was due, but it was certainly more than Universal's contention.

The report now goes to Los Angeles Superior Court Judge Richard Burdge, who will issue final judgment.

Details about Universal's potential liability in this case comes just as Disney settled a profits dispute over Home Improvement. The two cases had similarities. An appellate court's ruling reviving the Home Improvement case helped the Columbo profit participants with their contention that they had brought a timely claim, and ultimately, the Home Improvement case also addressed the issue of charging distribution fees.

The Columbo plaintiffs are represented by a team led by Alton Burkhalter at Burkhalter Kessler while Universal is being handled by a team led by Robert Klieger at Hueston Hennigan.

https://www.hollywoodreporter.com/th...awsuit-1227254
dad1153 is offline  
post #31088 of 33391 Old 07-27-2019, 12:04 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Business Notes (Streaming)
Amazon Signs First-Look Production Deal with Forest Whitaker, Connie Britton
By R. Thomas Umstead, Multichannel News - Jul. 27, 2019

Beverly Hills, Calif. — Amazon Saturday announced a first look production deal with actress Connie Britton and Forest Whitaker’s Significant Productions studio.

The agreements, announced during the streaming service’s Television Critics Association press tour event, calls for Britton (Nashville) and Significant -- co-founded by Whitaker and Nina Yang Bongiovi -- to develop exclusive television series on Amazon Prime Video, according to the service.

“Connie Britton is a multi-talented actress who has captivated audiences with her portrayal of smart, complicated women,” said Jennifer Salke, head of Amazon Studios in a statement. “Britton’s ability to create memorable characters and identify compelling stories makes her a perfect fit for Amazon Studios. We look forward to seeing what she creates for the global Amazon Prime Video audience.”

Whitaker's Significant Productions has produced such films as Fruitvale Station, Songs My Brothers Taught Me, Roxanne Roxanne, and Sorry to Bother You.

“Significant Productions, fueled by the vision of Forest Whitaker and Nina Yang Bongiovi, has given a platform to emerging talent and created brilliant, critically acclaimed, and commercially successful projects across film and television,” said Albert Cheng, COO and co-head of Television, Amazon Studios in a statement. “We are looking forward to working with Significant Productions as they continue to develop fresh voices to tell even more important, inclusive stories.”

https://www.multichannel.com/news/am...connie-britton

* * * *

TV/Business Notes (Streaming)
Amazon Studios Signs Development Deal with Lena Waithe

Beverly Hills, Calif. — Amazon Studios has signed production deals with actor/producers Lena Waithe and Forest Whitaker’s Significant Productions, the streaming service announced Saturday morning at the Television Critics Association press tour.

Waithe (Showtime’s The Chi) will create and produce original series exclusive to the Amazon Prime Video platform, according to Amazon. Her first show will be Amazon’s upcoming original horror anthology series THEM, according to the streaming service.

“Lena is a powerhouse writer and producer who also has a gift for identifying exciting and authentic voices,” said Jennifer Salke, head of Amazon Studios in a statement. “Our upcoming series THEM is the result of her rare ability to cultivate brilliant voices like Little Marvin and bring his wholly original and compelling vision to Amazon. We look forward to collaborating with Lena and her team for years to come.”

Amazon also announced that it has ordered eight-episode drama series The Banker’s Wife, based on the best-selling novel by Cristina Alger. The series spotlights two women who find themselves racing for answers when a mysterious plane crash sets them off on parallel pursuits of truth, according to Amazon.

Meredith Stiehm (Homeland) will write all eight episodes, with award-winning director Lesli Linka Glatter (Homeland, Now and Then) directing all eight, according to the streaming service.

https://www.multichannel.com/news/am...th-lena-waithe
dad1153 is offline  
post #31089 of 33391 Old 07-27-2019, 12:11 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Critic's Notes (Cable)
From ‘Mad Men’ to zombie spinoffs: AMC has been trampled by its own revolution
By Mary McNamara, Los Angeles Times - Jul. 25, 2019

“Another ‘Walking Dead’ spinoff is confirmed; Danai Gurira says she’s leaving.”

A recent Times headline out of Comic-Con pretty much said it all: AMC is quadrupling down on zombies. At least one additional spinoff series (the first, “Fear the Walking Dead,” is now in its fifth season ) and three feature films appear to be turning what was once a television network into yet another “Walking Dead experience” — and Gurira is not the only one looking for other options.

Its lineup teeming with zombies, witches, demons and vampires, AMC — the network that started the revolution behind peak TV, digital disruption and far too many Funko pop figures — seems, if not to have given up the ghost, then at least given in to it.

“The Walking Dead,” “Fear the Walking Dead,” “Preacher,” “NOS4A2 ,” “A Discovery of Witches” (the last codistributed with sister network Sundance Now) — even the promising second season of “The Terror,” which deals with the actual horror of Japanese internment camps, does so with a little help from some type of craven spirit.

As “Better Call Saul” approaches the events of “Breaking Bad,” all I can say is there had better not be a spinoff in which Saul turns into a vampire or Jesse is haunted by Walter and Gus.

Seriously. I mean it. Bob Odenkirk is pretty much the only thing keeping the network from being renamed American Monster Classics. No one loves monster TV better than me, but AMC is not a niche network — its legacy should remain tied to the grander ambitions of its original vision.

After all, it was only 12 years ago that AMC changed the world.

In 2007, the network best known for old movies stepped out of its comfort zone, defying conventional wisdom that hourlong drama was dead, and with its hat-trick of “Mad Men,” “Breaking Bad” and “The Walking Dead,” kick-started a revolution.

“Mad Men” immediately became the most talked-about show in decades, with such a resounding cross-cultural impact that the New York Review of Books eventually felt obligated to unleash a “you’ve all been conned” diatribe. The show proved you didn’t need gangsters or HBO to make a prestige drama, that men really do look good in white button-downs and that first-night ratings were not the only way to judge success.

“Breaking Bad” turned the antihero trope (and Bryan Cranston’s comedic career) on its head, becoming a slow-grow hit that illuminated the importance of second-platform viewing and figuring out how a series should end before you start writing it. Then “The Walking Dead” shocked many in the now-watching world by refining the definition of “prestige” to include (rather than preclude) high ratings, while laying to rest any notion that genre television was kid stuff.

Together, they owned “what to watch” lists, recapping culture and magazine covers; “Mad Men” and “Breaking Bad” dominated the Emmys for years in nominations and awards. (Also noticeable was the Television Academy’s bizarre refusal to acknowledge “The Walking Dead” in the major categories.)

More important, their success helped spark a wildfire of scripted drama on a wide array of basic cable networks that had previously given no thought to such a thing. Talent that once worked exclusively in film began flocking to television. The broadcast networks, which, overrun by reality shows, had begun despairing of the hourlong drama, took heart and picked up their game.

For 10 years, everyone talked about nothing but television, with AMC at the dead center of the conversation.

Nowadays, there’s plenty of dead in AMC’s lineup — in addition to “The Walking Dead,” “Fear the Walking Dead” and the forthcoming spinoffs, the network’s slate leans increasingly supernatural — but not so much talk.

“Lodge 49” has its fans, but only “Better Call Saul” remains part of the critical conversation and is the only AMC show to receive any Emmy nominations (11) this year. Before you start screaming “27” at me, let me be clear: I am talking about AMC, the network. AMC Networks, the parent company, which also owns BBC America, IFC, SundanceTV and Acorn TV, received 27 nominations in all. And yes, the second season of the highly popular “Killing Eve” (nine nominations) aired simultaneously on BBC America and AMC — but it is a BBC America show.

“Killing Eve” is also one of the reasons that Sarah Barnett, the former head of BBC America, was promoted last year. After launching Sundance TV’s foray into scripted series and green-lighting “Killing Eve,” she became president, entertainment networks, overseeing all the networks listed above.

And unless she’s OK with the flagship being overrun by zombies, she has her work cut out for her.

While SundanceTV was getting all sorts of prestige attention for “Rectify,” “Top of the Lake” and “An Honorable Woman,” AMC’s attempts to recapture its glory have either failed to catch fire (“Halt and Catch Fire,” “Humans”), been plagued by controversy (“The Killing”) or vanished after one season (“The Prisoner,” “Rubicon,” “Dietland”).

Not every show is a good show (thank God for that, right?), and not every good show is a great show. But without the validation of that early media fanfare, AMC often seemed to have a tough time sticking to its programming convictions.

When the recently “rediscovered” “Rubicon” premiered in 2010, it was inevitably compared to “Mad Men” and “Breaking Bad,” to its detriment. Slow-moving and complex — the protagonist worked for a think tank! — “Rubicon” got generally positive reviews and high (for AMC) premiere viewership, but not the ecstatic reaction AMC was looking for. It was canceled in the old-fashioned way: It vanished from sight. (The fact that AMC recently put it on its streaming site after years with no streaming deal and no DVD release speaks volumes.)

“The Killing,” which premiered the following year, was perhaps the first victim of joystick-criticism. Beloved and obsessed over when it debuted, the series was then battered nearly to death by the outrage many felt when the first season did not end the way they thought it should. AMC prevaricated, renewing it for another season then canceling it, then renewing it for a third season when it looked like another outlet would take it. The show finally limped off to Netflix for a fourth and final season of six episodes.

The network found shows to stand behind, if by “stand behind” you mean not canceling after one season: “Humans,” “Turn,” “Hell on Wheels.” “Halt and Catch Fire” is the closest the network has come to recapturing the early magic, but it could never seem to make enough noise to be heard.

Virtually every show that wasn’t “Better Call Saul” quickly became lost in the network’s new brand: “The Walking Dead.” Decisions to build a lineup around the fading majesty of the “Dead” franchise increasingly outnumbered attempts to return to AMC’s nonhorror legacy. “The Night Manager” made everyone sit up and take note for a few minutes, though its far more stylish and adventuresome follow-up, “The Little Drummer Girl,” did not.

And for reasons known only to them, AMC execs repeatedly “forgot” the Netflix-enhanced history of “Breaking Bad.” Some shows are born great, others need time and a little help from secondary platforms.

Most recently, “Dietland” and “The Terror” were left completely in the lurch. Both were very good (if not perfect) shows that disappeared as soon as they were over. “Dietland,” now streaming on Hulu, had a big marketing push and generated a lot of positive buzz; its cancellation after one season took many by surprise. And even with the supernatural element — based on a book by Dan Simmons, the series followed the actual fate of the HMS Erebus and HMS Terror during their polar exploration, but with a snow monster — “The Terror” was classic prestige and should have been an Emmy contender for at least Ciarán Hinds and Jared Harris (who just got his due for “Chernobyl”). Instead, it debuted to little fanfare, and for a full year after its finale was streaming only on AMC’s low-profile, in-house platform, AMC Premiere.

To be fair, AMC has revived “The Terror” as an anthology series. The first season can be seen on Hulu , and the network is pushing the second, “The Terror: Infamy,” with the fervor it deserves, most recently bringing the creators and cast, including the indomitable George Takei, to Comic- Con.

But AMC is going to have to get its head out of Comic-Con for a few minutes if it hopes to reclaim its place in the admittedly more chaotic landscape of 2019.

Or there’s my suggested name change: American Monster Classics has a ring to it.

https://www.latimes.com/entertainmen...ca-summer-2019
dad1153 is offline  
post #31090 of 33391 Old 07-27-2019, 12:16 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jul. 27, 2019

WILD SINGAPORE
BBC America, 9:00 p.m. ET
SERIES PREMIERE:
If you’re a fan of nature documentaries, you’ve probably already seen footage of the animals of Singapore – not the ones in the unpopulated areas, but the monkeys and other creatures who have found a way to not only survive, but thrive, in the dense city landscape. Now there’s a whole series devoted to that city, and topic – and it gives entertaining new meaning to the term “urban jungle.”

THE MOVIES MINI-MARATHON
CNN, 9:00 p.m. ET

Tomorrow night, this CNN documentary series on the cinema will premiere an installment devoted to “The Seventies,” one of my favorite decades of film. But tonight, as an out-of-sequence appetizer, CNN is repeating the three episodes of The Movies it has aired thus far, covering the 1980s to the present. It’s a great way to catch up, and get set for what’s still to come.

GORDON RAMSAY: UNCHARTED
National Geographic, 10:00 p.m. ET
SERIES PREMIERE:
Gordon Ramsay seems to be all over the Fox schedule – but for this new National Geographic series, he sets out to conquer the world. Or, at least, to visit it, one remote community at a time. The setting for the premiere is Peru’s Sacred Valley, and Ramsay tours the area, climbs trees, samples food, and even cooks his own variations on local recipes. The program’s eagerness to go to distant places and try unusual things is a nod to, if not a petty theft of, the late Anthony Bourdain, but Ramsay is a bit more set in his ways. When he samples a fried caterpillar, he spits it out – whereas, long ago on another culinary travel series, that program’s host, Michael Palin of Monty Python fame, bit into a similarly exotic offering, smiled, and ad-libbed wickedly, “Good grub!”


http://www.tvworthwatching.com/

* * * *

TV/Critic's Notes (Cable)
Finally Back In View: HBO's Pathfinding and Exhilarating 'From The Earth To The Moon'
By Ed Bark, TVWorthWatching.com's 'Uncle Barky's Bytes' - Jul. 27, 2019

Lost in space for far too many years, HBO’s brand-defining, landmark From the Earth to the Moon at last is back amongst us in newly remastered HD form on all of the premium cable network’s “platforms.”

Words such as “brand-defining” and “landmark” usually are reserved for HBO series such as The Sopranos, Sex and the City, and The Wire, or in later years, Deadwood, Curb Your Enthusiasm, and Game of Thrones.

But the twelve-part Earth to the Moon pre-dated all of them as HBO’s first major big-budget miniseries and a maiden voyage for Tom Hanks as an executive producer who went on to helm or co-helm the likes of Band of Brothers, The Pacific, John Adams, Game Change, and Olive Kitteridge. All six of these HBO productions won Emmys as their respective year’s best miniseries or movie.

I reviewed Earth to the Moon when it originally aired in 1998, and also was at the HBO interview session that touted it. Hanks already had won two Best Actor Oscars for Philadelphia and Forrest Gump, and was en route to a nomination for 1999’s Saving Private Ryan. Binge-watching Earth to the Moon in recent days is first and foremost a thrilling voyage of rediscovery. It still stands as HBO’s most affirming and aspirational miniseries, a proof positive look at a U.S. space program that, in the end, yielded six moon landings from 1969 to 1972. The unabashed joy of those touchdowns, with astronauts grinning from ear to ear, is infectious on each and every occasion.

Hanks is the on-camera host for all but the 12th episode, in which he instead acts the part of an aide to French filmmaker Georges Melies, who in 1902 directed the visionary Le Voyage dans la Lune. He’s otherwise all-business, striding toward the camera in crisp business suits, shirts and ties to briefly tease what we’re about to see. Hanks is a marvel to behold as his younger self, which at the time was his early 40s. His duties also included directing Episode 1 and writing Episode 12 while also assisting as a co-writer for three other hours.

One of Hanks’ second-in-commands, Graham Yost, went on to create and executive produce FX’s Justified, one of that network’s signature series. For Earth to the Moon, he’s the sole writer of Episode 2 and the sole director of Episode 5 while joining Hanks as a co-writer of Episode 6.

Save for Episode 11, the entire depiction is very white male – as it was in those times. Sally Field is the solo director for the penultimate hour, titled “The Original Wives Club.” She also briefly appears, unbilled, as Trudy Cooper, the spouse of astronaut Gordo Cooper. Most of these marriages ended in divorce.

Each episode’s cast is listed in alphabetical order. Not that there were any major feature film stars involved, save for the limited duties of Hanks and Field. A big chunk of the production’s reported $65 million budget went to special effects. The casts were mostly made up of actors who had made their names in television, but not in big ways. In Bryan Cranston’s case, he was still a no-name. Cast as astronaut Buzz Aldrin (principally in Episode 6), Cranston otherwise had yet to co-star in Fox’s Malcolm in the Middle and was still a decade away from AMC’s Breaking Bad.

There are a number of pleasant surprises, none more so than comedian Dave Foley from Kids in the Hall as drawling, wide-eyed astronaut Alan Bean in Episode 7. Foley, who also narrates this hour, turns out to be perfectly suitable in both cases.

Also look for:

*** Max Wright, the goofy dad from NBC’s ALF, as the boundlessly enthusiastic and eccentric Guenter Wendt, launch pad leader for the Mercury, Gemini and Apollo programs. He’s joined in this Episode 3 by Mark Harmon as astronaut Wally Schirra. Harmon’s performance is letter-perfect as the wisecracking, cocksure member of the Original Seven.

*** Ted Levine, who comes to the fore as trailblazing astronaut Alan Shepard in an Episode 9 that affords him a second chance to be more than the one-and-done guy who seemed fated to spend just fifteen minutes in space as a veritable test monkey.

*** Peter Scolari, who came to fame along with Hanks in the ABC sitcom Bosom Buddies before mostly fading from view. In Episode 1, he portrays astronaut Pete Conrad before being supplanted in Hour 7 by Paul McCrane in that role.

*** Hanks’ wife, Rita Wilson, as astronaut Frank Borman’s wife, Susan. She’s especially good in the aforementioned “Original Wives Club” episode.

*** A pre-Mad Men John Slattery as Sen. Walter Mondale, a NASA naysayer in Episode 2 after a training mission fire took the lives of three astronauts. Episode 1 offers a few glimpses of ill-fated future U.S. senator Al Franken in the role of President Kennedy’s science advisor, Jerome Wiesner.

*** Last and by no means least, character actor Lane Smith is a connective thread throughout as fictional TV news anchor Emmett Seaborn. The newsman most associated with the moon landings, Walter Cronkite, is recurrently shown in archival footage. But Seaborn steals the show, particularly in an Episode 8 that finds him being pushed aside by young gun reporter Brett Hutchins (Jay Mohr), who ushers in an “infotainment” approach to storytelling.

Smith died in 2005 and also played excitable Daily Planet editor Perry White in ABC’s Lois & Clark: The New Adventures of Superman. He richly deserved an Emmy for his portrayal of Seaborn. But in the end, Earth to the Moon unjustly went without any acting nominations at all among the seventeen it received and three it won.

Earth to the Moon, whose twelve episodes are each distinctive mini-movies, also had no hesitation in embracing the science behind the lunar missions championed by President Kennedy. His ringing declaration – “Not because they are easy but because they are hard” – is heard throughout in the opening credits.

All these years later – and a full 21 years since HBO first aired this pathfinder – we are a severely divided country torn further into fragments by “social media” platforms that didn’t exist back then and two partisan cable news networks (MSNBC and FNC) that were still in their infancy when Earth to the Moon first launched. NASA’s space exploits also became controversial in time, leading to the abandonment of manned lunar missions after the last one on Dec. 11, 1972.

But on July 20, 1969, the world watched as one while Neil Armstrong and Buzz Aldrin set foot on the moon while Michael Collins orbited around it in the command module upon which all three then returned safely to Earth. From the Earth to the Moon is an exhilarating time travel back to the days when it all started. If you haven’t yet seen it, by all means take the plunge. And if you have, there’s no time like the present to re-immerse yourself in the sheer can-do and invigorating audacity of it all.

http://www.tvworthwatching.com/BlogP...x?postId=18559
dad1153 is offline  
post #31091 of 33391 Old 07-27-2019, 12:23 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Critic's Notes (Cable)
“Watch What Happens Live” Offers a Break from the Drudgery of Late-Night TV
By Naomi Fry, New Yorker - Jul. 23, 2019 Issue

I don’t watch late-night TV very often, and whenever I do I recall the reason for my aversion. Each time I sit through an episode, usually while eating some ill-advised snack (I’ve had a long day and I deserve some jouissance, goddammit!), I find myself wondering, Why can’t these shows be just a bit more unexpected, a bit more fun, a bit more . . . joyful? There are occasional exceptions, of course. (Keanu Reeves’s recent appearance on “The Late Show with Stephen Colbert,” for instance, or Rihanna’s segment, in June, on “Late Night with Seth Meyers.”) But, generally speaking, most late-night talk shows seem rote affairs in which celebrities dutifully promote their latest projects, and hosts dutifully facilitate the promotion. Every cute on-set anecdote feels canned—likely talked through during a show’s pre-interview process—and surprises and high jinks are nil. Affable but largely mirthless, the faces of both host and guest seem to suggest: We came here to work, not to party.

In this landscape, “Watch What Happens Live with Andy Cohen” is refreshing. The half-hour show, which airs from Sunday to Thursday, at 11 p.m., on Bravo, is celebrating its tenth anniversary. Despite—or, perhaps, because of—its somewhat slapdash idiosyncrasy, and its airing on a niche network now chiefly known for its reality-television fare, it seems to me exactly what the late-night genre needs. It’s not that Cohen didn’t come here to work: with his role as an executive producer of Bravo’s long-standing “Real Housewives” franchise, his Sirius radio program, his touring two-man show with Anderson Cooper, and his three memoirs, he is a tireless soldier of entertainment. This doesn’t mean, however, that he didn’t also come here to party. There is no pre-interview on “W.W.H.L.,” so guests have no idea what will be discussed on the show. Alcohol is served on the air (often in the form of “shotskis,” sometimes served by a changing cast of amateur bartenders tangentially linked to the Bravo universe; in a taping of the show that I attended a couple of years ago, the drinks were poured by the two young assistants of “Real Housewives of New York” ’s Sonja Morgan). And the show is recorded live in a small downtown studio referred to as the Clubhouse, which looks like the mid-sixties living room of an executive who has just started experimenting with psychedelics, all Pop-y memorabilia and orange, brown, and purple tones.

All of this makes the show unpredictable in the best way. Cohen, who is fifty-one, is a handsome, salt-and-pepper-haired gay man who is exceedingly gregarious, almost gladhandy, in a way that might turn some off. (“But he’s like a smile on a stick!” an acquaintance said once, when I mentioned my love for the host.) But, for me, watching his show is pure joy. “W.W.H.L.” began, in 2009, as an online-only, once-a-week after-show, and it retains some of the Wild West feel of the Internet’s slightly younger days. You never know whose tongue might be loosened, what questions will be asked, or how they’ll be answered. Cohen often plays parlor games with his guests. In “Plead the Fifth,” for instance, guests can refuse to answer only one question, and must otherwise respond to the tricky rest. The revelations are minor but have a don’t-give-a-**** spirit. In one memorable moment, Shaquille O’Neal shared his penis size; in others, Ray Liotta said that his worst onscreen kiss was Sigourney Weaver, and Susan Sarandon confessed that she almost always attends awards shows stoned.

There are usually two guests, and their pairing is often quirky: the actor Maggie Gyllenhaal and the rapper 50 Cent; the comedian Amy Sedaris and the spiritual teacher Deepak Chopra; the Oscar winner Jennifer Lawrence and “Real Housewives of New York” ’s Bethenny Frankel and Luann de Lesseps. This mixing has a levelling effect. It suggests that in Andy’s Clubhouse, A-listers and reality stars will be treated the same, with amiable but shameless nosiness. Occasionally, guests turn the tables on Cohen by asking him invasive questions—as when the model Amber Rose wondered if he and Anderson Cooper were sleeping together, or when the musician John Mayer asked him whether he’d rather live without oral sex, cheese, or marijuana—and he is always game to answer. All this makes the show feel a little sexy, a little vulgar, and, more often than not, authentic. I sometimes recall that, at the taping I attended, in which the guests were Morgan and her fellow-Housewife Kyle Richards, the two women and Cohen got up and danced during the commercial breaks, bumping and grinding exuberantly. At that moment, they seemed, really and truly, to be having the time of their lives.

https://www.newyorker.com/recommends...-late-night-tv
dad1153 is offline  
post #31092 of 33391 Old 07-27-2019, 12:50 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Jul. 27, 2019

ABC:
8PM - Shark Tank
(R)
9PM - Press Your Luck
(R)
10PM - Card Sharks
(R)

CBS:
8PM - Million Dollar Mile
9PM - 48 Hours: The Mysterious Death of Casey Kasem
(R)
10PM - 48 Hours - Lorenzen Wright: No Defense
(R)

NBC:
8PM - Bring the Funny
(R)
9PM - Dateline NBC: Somebody's Daughter (120 min.)
(R)
* * * *
11:29PM - Saturday Night Live: Rachel Brosnahan hosts; Greta Van Fleet performs (93 min.)
(R)

FOX:
8PM - So You Think You Can Dance
(R)
9PM - Beat Shazam
(R)
* * * *
11PM - MasterChef
(R)

PBS:
8PM - Austin City Limits: Cyndi Lauper
(R)

UNIVISION:
7:55PM - Fútbol Mexicano Primera División: León vs. América (LIVE)
9:55PM - Fútbol Mexicano Primera División: Cruz Azul vs. Toluca (LIVE)

TELEMUNDO:
7PM - Movie: Americano (2011)
9PM - Movie: Fast & Furious 6 (2013)

CBSSN:
6PM - World TeamTennis: Springfield Lasers at Washington Kastles (2 1/2 hrs., LIVE)
8:30PM - World's Strongest Man
(R)
9PM - BIG3 Basketball: 3's Company vs. Killer 3s (LIVE)
10PM - BIG3 Basketball: Ball Hogs vs. Triplets (LIVE)
* * * *
11PM - BIG3 Basketball: Bivouac vs. Aliens (LIVE)

ESPN 2:
7PM - MLL Lacrosse: All-Star Game (2 1/2 hrs., LIVE)
9:30PM - XVIII Pan American Games (120 min., LIVE)

ESPN:
8PM - UFC 240: Holloway vs. Edgar - Prelims (120 min., LIVE)

HLN:
8PM - Lies, Crimes & Video (Season Finale)

LIFETIME:
8PM - Movie: V.C. Andrews' Heaven (2019)

MTV:
8PM - Ridiculousness: Chanel and Sterling CXXV

NBCSN:
8PM - Premier Lacrosse League: Chaos LC at Whipsnakes LC (120 min., LIVE)
10PM - Motocross Racing, Lucas Oil Series: Washougal National (120 min.)
* * * *
Midnight - Swimming: 2019 FINA World Aquatics Championships (90 min.)

NICKELODEON:
8PM - Henry Danger: The Musical (Special, 47 min.)
8:47PM - All That (29 min.)

A&E:
9PM - Live PD (120 min., LIVE)

BBC AMERICA:
9PM - Wild Singapore (Premiere)

HALLMARK:
9PM - Movie: Rome in Love (2019)

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

SHOWTIME:
9PM - Boxing: Gervonta Davis vs. Ricardo Nunez (3 1/2 hrs., LIVE)

ESPN NEWS:
10PM - NWSL Soccer: North Carolina Courage at Utah Royals (LIVE)

HBO:
10PM - Share (2019, Documentary Premiere, 90 min.)

NAT GEO:
10PM - Gordon Ramsay: Uncharted (Series Premiere)

ADULT SWIM:
11PM - Dragon Ball Super
11:30PM - Attack on Titan
Midnight - Fire Force (Series Premiere)
12:30AM - Lupin the 3rd Part 5
1AM - Food Wars!
1:30AM - Black Cover
2AM - Boruto: Naruto Next Generations
2:30AM - Naruto: Shippuden
3AM - Mobile Suit Gundam the Origin: Advent of the Red Comet
3:30AM - My Hero Academia
4AM - Gemusetto Machu Picchu
(R)


https://tvlistings.zap2it.com/?aid=gapzap
dad1153 is offline  
post #31093 of 33391 Old 07-27-2019, 12:54 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Business Notes (Analysis)
‘Death of A Salesman’ Playing Out at TV Networks
Senior ad sales execs losing jobs to consolidation, cost cutting, technology
By Jon Lafayette, Broadcasting & Cable - Jul. 26, 2019

Like so many wing-tipped Willy Lomans, hundreds of senior television ad sales executives have been put out of their jobs in the past year and more are worried that their cushy, well-paid way of life is disappearing as the industry rapidly changes.

This “Death of the TV Ad Salesman” is being caused by a number of factors, among them industry consolidation, cost-cutting, changes in consumer behavior cutting into TV ratings and ad revenue and technology.

How much this talent drain will hurt the TV networks as they compete for ad dollars with digital media is uncertain. It’s not likely to stop any time soon, industry executives said.

Opinions differ as to what kinds of jobs displaced ad sales executives will be able to find as the TV business shrinks. It’s unlikely they’ll earn the $750,000 and up they were accustomed to, or that they’ve have access to perks like lunches at Del Frisco’s Double Eagle steakhouse, Super Bowl tickets and trips to Cannes.

The most recent example is at AT&T, which last year acquired Time Warner and its Turner cable TV unit. Earlier this month, the company announced that Donna Speciale, who had been the popular president of sales for Turner, and two of her executive VPs--Frank Sgrizzi and Dan Riess, both 20-year Turner veterans--would be leaving the company, along with about 20 other lower-level salespeople.

The bloodbath at AT&T was just the latest in a series of layoffs, downsizings and right-sizings of TV ad sales organizations.

"With the TV business contracting, there are many talented, experienced people that are being displaced,” said former Fox Network Group ad sales president Toby Byrne.

“Relationships are a very important asset for experienced executives as well as the skill sets that can translate to an emerging company in the media business,” added Byrne, now president of Zefr, a technology company with a growing video contextual-targeting platform. “Not everyone will be able to pivot, but the most progressive TV sales executives will have a lot to offer as they seek new opportunities."

Hard numbers for advertising sales staffers and senior ad sales executives are hard to come by. Erik Sorenson, CEO of Sucherman Group, which does executive search, strategic counsel and industry intelligence for the entertainment and media industry, estimates that hundreds of senior executives have lost jobs and that if you look at all ad sales personnel the number could be in the thousands.

‘Crazy Times’

Sorenson, a former executive at CBS News, MSNBC and Court TV, said his firm used to get about 10 calls a week from ad sales executives out of work or concerned they might be soon who wanted to brush up their resumes and make sure they were on recruiters’ radar. Now, Sucherman is getting 10 to 15 calls per day, about 10 times more.

“These are pretty crazy times. I have never seen anything like it in almost 40 years in the business. The disruption, the perfect storm of technology, consolidation, automation, artificial intelligence, consumer behavior changing in ways I've never seen. We've always had these shifts in demographic dynamics, but what's going on right now is just unprecedented,” Sorenson said.

When WarnerMedia announced the departure of those senior ad executives, chief revenue officer Gerhard Zeiler sent out a memo that it was “obvious that everyone understands how much the industry is transforming and that we need to change to enable us to stay at the top and lead the industry.”

Similarly, in November 2018 when 50 ad sales positions were eliminated by NBCUniversal, the company said it was part of “an effort to rightsize its business and allocate resources to future growth areas such as new development in advanced advertising, automation, and technology systems.” Executive VPs Mike Rosen and Scott Schiller left the company at that point.

Industry mergers haven’t helped. Many more ad sales positions disappeared a year ago when Discovery acquired Scripps Networks Interactive. Discovery’s ad sales president Ben Price left after the top job went to Jon Steinlauf of Scripps (Price is now with NBCU). It happened again when the Walt Disney Co. bought 21st Century Fox. In addition to president for ad revenue Joe Marchese, executive VPs including Bruce Lefkowitz of Fox Network Group and Michael Teicher of Twentieth Television were without a position at either Disney or Fox.

Additional cuts will come if CBS and Viacom finally merge as industry observers expect.

“What we’re seeing before our eyes is you’re eliminating the top third of the industry,” said one former network sales head.

Sales executives with 20 years of experience are being replaced by people who understand automation, programmatic sales and algorithms. “Technology is changing the game in every facet of the business including manpower,” the executive said. “This is just the end result of what we’ve been seeing develop over 10 years and it doesn’t mean that the people being laid off have opportunities that are going to be at the same level. Those jobs are gone forever.”

Relationship Status

The network brain drain is starting to be felt.

“The biggest change that is underway and will continue is that the business becomes less and less relationship based and more transactional. Good or bad, relationships have been at the core of how agencies work with networks. It allows us to ‘get things done’ for our clients that might not ordinarily be expected,” said Dave Campanelli, executive VP and co-chief investment officer at Horizon Media. “But, somewhat like digital, deals are becoming more transactional now it seems.”

In Advertiser Perception surveys of marketing executives, there’s a diminishment of advertisers' willingness to call sales teams “excellent” in different ways, whether it’s knowledge, creativity, innovation or customer service.

“We definitely see those numbers starting to slip,” said Andy Sippel, executive VP at Advertiser Perceptions.

Advertiser ratings of network sales forces are down 10% with some well-regarded organizations down 20% over the past five years.

The decline could be a reaction to media buyers and advertisers having fewer people servicing their business. And the drop in the regard for TV sales organizations comes as digital firms like Google and Facebook are upgrading their sales staffs to help marketers make advertising on their platforms more effective.

“The question for the networks is, why are you rushing towards being a commodity quicker than you have to,” Sippel said.

Network CEOs have to be careful not to throw out the baby with the bathwater when cutting costs.

“TV companies need to identify their core pieces of business and they need to hold onto those relationships. You can use data too. That doesn’t mean you get rid of the people with gray hair,” Sippel said. “They're needed because they have those relationships and they actually are pretty good consultative sellers, whether you think they’re just transactors or not. They actually understand clients' businesses. You can supplement them with people who can come in and do the analytics.”

Sippel added that the bigger issue is the future of advertiser-supported television. “With Disney+ and Netflix and HBO Max and all these services that are about to launch, I think there's a huge fear that everything is going to go without ads,” he said. “Big parts of the ecosystem now run without ads, and there’s likely more to follow. So that is really what hanging over everybody's heads right now.”

Get Ready

So what’s a nervous ad sales executive to do?

Byrne said that he left Fox in 2016, “didn't see the trajectory changing for big media companies in the near term, so I turned my focus to finding a company that was in growth mode, on the other side of the disruption in the business.”

He found that with Zefr, which is profitable and growing. "To pivot into a different area of the business, it certainly helped that I ran a very large national ad sales operation that encompassed all of our digital sales for the last six years I was at Fox. My purview was broader than TV, and I was involved right from the beginning with the launch of Hulu, originally a joint venture between Fox and NBC.”

Former Discovery ad sales executive VP Sharon O’Sullivan moved into the digital realm as chief revenue officer of Ozy.

To survive at a digital company, “you better be good at multiple things. It's very hard now to be successful, especially in the media business without having skills in multiple areas” said O’Sullivan, who left Ozy in May and is now consulting.

“The reality is strong executives just have to learn, adapt and evolve. You do it personally but you do it for the business too,” O’Sullivan said. “I do think that if you're willing to adapt and evolve and push business forward in the direction of the consumer to bring great value.”

Sorenson questions how much of a senior ad sales executive’s skills are transferable to other businesses.

“Television ad sales in primarily a set of relationship skills and understanding the market and who you're partnering with on the brand side. And I don't know how transferable that is to other things,” he said. “It's such a specialized--and I only work in media. Maybe there's another industry that is parallel or similar.”

Carrie Pryor, managing director of executive search firm Greenwich Harbor Partners, said digital companies are interested in TV executives. “So long as they can prove that they can truly get things done,” she added.

Greenwich Harbor recently did a chief revenue officer search for a software company in the media business.

“We talked a lot about relationships versus technical skills,“ said Ted Pryor, also managing director at Greenwich Harbor. “We agreed as a group--that's the CFO the CEO and ourselves--that relationships will help get you in the door. It'll get you a lunch. It will get you to the first meeting. It'll help get you in a position where you can identify who are the right people to talk to in the organization, but after that it's a technical sale.”

Carrie Pryor says she tells TV sales executives that there are steps they can take to make themselves more marketable in a changing media environment.

“Brush up on your skill set and make sure that you can understand statistics and you're comfortable talking some quantitative analysis. Maybe that's a night school class. Maybe an online class,” she said.

But the million-dollar comp packages for TV sales execs are fading away and digital compensation packages often include stock that might never become valuable.

“They’re pushing out the million dollar people and bringing much younger people getting paid half,” Pryor said. “It’s a very tough time to be in ad sales right now,” she said.

https://www.broadcastingcable.com/ne...at-tv-networks
dad1153 is offline  
post #31094 of 33391 Old 07-27-2019, 12:57 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Summer TCA 2019 Tour Notes (Streaming)
‘Carnival Row’: Creator & Cast Address Production Challenges – “Reshoots Were A Gift”
By Peter White, Deadline.com - Jul. 27, 2019

The creator and cast behind Amazon’s forthcoming big-budget fantasy drama Carnival Row defended the fact that the show went through a number of reshoots.

Orlando Bloom, who stars as human detective Rycroft Philostrate in the eight-part drama alongside refugee faerie Vignette Stonemoss Cara Delevingne, called the reshoots a “gift”.

“It’s hugely ambitious and it was only when we were on the ground and physicalizing so many different aspects of the character development that you could see there were some gaps that we needed to fill in and we’re very blessed that Amazon believes in the show and were right behind it. The confidence to do those reshoots was the greatest gift to us. I’m so grateful that we got to go back and do another take of some of the first work we did,” he told Deadline at the TCA summer press tour.

The show, which filmed in Prague, is set in a Victorian fantasy world mythological immigrant creatures whose exotic homelands were invaded by the empires of man. Philostrate and Stonemoss rekindle a dangerous affair despite an increasingly intolerant society and Vignette harbors a secret that endangers Philo’s world during his most important case yet: a string of gruesome murders threatening the uneasy peace of the Row.

Travis Beacham, who created the project 17 years ago as spec script A Killing On Carnival Row, added, “The advantage of when you have a true series order like this is that you shoot all eight episodes, then you can go back and look at the whole and watch as well as we can watch. Are we setting up the things that pay off as well as we can set them up? It’s a function of the size of it and the scope of what we’ve been allowed to do.”

He added, “There’s stigma when it comes to reshoots but increasingly in this world of peak TV where shows are getting bigger and bigger, it becomes necessary.”

Showrunner Marc Guggenheim agreed, saying that “some of the most ambitious things we did in the first season were done during those reshoots”.

The show, which launches August 30, has already been picked up for a second season and the cast and crew promise that it will be even “bigger and better”.

Elsewhere, Delevingne jokes that she’d like Amazon to build a Carnival Row theme park to get across the world.

Carnival Row is from Amazon Studios and Legendary Television, with executive producers Guggenheim, Rene Echevarria, Jon Amiel, Bloom and Beacham.

https://deadline.com/2019/07/carniva...ft-1202655633/

* * * *

TV/Summer TCA 2019 Tour Notes (Streaming)
Amazon Strikes First-Look Deal With Blake Lively & Is In Development With Two Projects

Amazon has struck a first-look deal with A Simple Favor and The Shallows star Blake Lively as it continues to strike overall deals with high-profile talent.

Amazon Studios has just closed the deal with Lively, who broke out via teen drama Gossip Girl, and is now in development with a couple of projects including a series set in New York that includes a “fashion component.”

The news was revealed Saturday during Amazon’s exec session at the TCA summer press tour.

Amazon Studios head Jennifer Salke told Deadline, “It took a long time but we just closed a deal with Blake, we closed a first-look deal and we’re talking and developing a show. It’s not ready. It’s set in New York, there’s a fashion component.”

The second project is based around a piece of IP, although the SVOD service did not provide details.

Next up for Lively is the Reed Morano-directed spy film Rhythm Section. The femme spy pic is set to be released in November, after it was pushed back from its February bow.

Based on Mark Burnell’s series of Stephanie Patrick novels, Rhythm Section centers on Lively’s protagonist who takes on an assassin’s identity so she can wage revenge against those who orchestrated a plane crash that killed her family. Barbara Broccoli and Michael G. Wilson are producing under their EON banner. IM Global financed. Paramount Pictures took global rights.

https://deadline.com/2019/07/amazon-...ll-1202655536/

Last edited by dad1153; 07-27-2019 at 01:58 PM.
dad1153 is offline  
post #31095 of 33391 Old 07-27-2019, 01:53 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Summer TCA 2019 Tour Notes (Streaming)
Jennifer Salke Says Amazon Isn't in Volume Business (but Wants More 'Fleabag')
By Natalie Jarvey, The Hollywood Reporter - Jul. 27, 2019

Much of the discussion about the growing competition in the streaming space has centered on how it will impact Netflix, but TV press lobbed a question at Amazon Studios chief Jennifer Salke about how the changing landscape is affecting her business.

The Amazon Studios business, Salke explained, is unlike many of its streaming competitors because of its function as an add-on for Prime customers. "We have a very unique business in the sense that our entire north star is to entertain and delight Prime customers all over the world, so there's a different strategy there," she told the Television Critics Association on Saturday. "We will curate shows to bring to that global, diverse audience. We're not in the volume business. We're in the curated business."

Salke also distinguished Amazon from Netflix by explaining that despite the other company's increased disclosure of selective viewership data, that's not part of her plan. "We talk about this all the time," she said. "I came from the network business, as did all of us, where you're used to being able to go out talk about success in viewership numbers. Our company doesn't embrace that strategy."

Co-head of TV and COO Albert Cheng chimed in, explaining that while they don't share "absolute numbers" with creative partners, they have other ways to talk about the response to programming. "We get together with them around a table and walk them through how it has performed."

Prime has given Amazon Studios access to more than 100 million subscribers in over 200 territories around the world. A little more than a year into her tenure at the business, Salke is starting to make her mark on the service, with Amazon unfurling announcement after announcement during the company's Saturday morning TCA appearance, including deals with Lena Waithe, Forest Whitaker and Connie Britton and details of the creative team behind its highly anticipated Lord of the Rings series (production is set to begin in 2020, Salke said). Salke and top lieutenants Cheng and co-head of TV Vernon Sanders continued the trend on stage, revealing the cancellations of Patriot, The Romanoffs and Too Old to Die Young, the season five renewal of The Expanse, early sophomore pickup for Carnival Row and confirming its first-look deal with Blake Lively.

Despite trying to move Amazon Studios forward since former chief Roy Price resigned in late 2017 following allegations of sexual harassment, Salke and company still received a question about the status of projects in development from his time at the company.

"We absolutely have things that are still in development from the time before Jen arrive and before I arrived," Sanders said, avoiding mentioning Price's name. "We don't make a distinction between those projects. It's all about the quality of the material." Salke also weighed in, explaining, "There's no conversation around like these are Roy Price projects. They're just all our projects."

The conversation also, unsurprisingly, turned to whether there is any "wiggle room" in Phoebe Waller-Bridge's comments that the second season of Fleabag is the Emmy breakout show's last. "I dream of wiggle room," Salke said. "Anything Phoebe wants to do, we are signed up to do. Nothing would make us happier than to have her bring another season of that show or anything else she wants to do."

https://www.hollywoodreporter.com/li...leabag-1227472
dad1153 is offline  
post #31096 of 33391 Old 07-27-2019, 01:57 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Summer TCA 2019 Tour Notes (Streaming)
Anne Hathaway, Cristin Milioti Series ‘Modern Love’ To Charm Amazon This October, Trailer Unveiled
By Anthony D'Alessandro, Deadline.com - Jul. 27, 2019

Modern Love, Amazon Prime’s new romantic comedy anthology series from John Carney, will stream on Oct. 18.

The series is based on the popular New York Times column of the same name, and explores all the different facets of amour.

Here at TCA today was Cristin Milioti who appears in an episode about a young women dealing with an unexpected pregnancy, and actor Gary Carr and Anne Hathaway, the latter who tries to find love while dealing with her bipolar disorder.

Many of the episodes are based on true stories, and consulting producer and editor of the “Modern Love” column Daniel Jones says that many of the original writers are as well.

Milioti said her episode is “beautifully nuanced” as her protagonist finds help in her doorman. A father/daughter love forms. “They make a huge impact on each other, so much is unspoken which so beautiful. It’s the energy in between them,” says Milioti, “It’s a love that’s hard to put your finger on, which some say is the best kind of love.”

Said Hathaway about her story, which revolves around a character named Lexi, “(my character) has a lot to learn that we’re worth loving.” Her love interest gives her the space to get through with what she needs to weather.

Asked today at TCA about how romantic comedies have transferred from the big screen to the small, Hathaway said “It clearly means there’s still an audience for them” and that audiences’ “time has become structured” and “what gets them to the movie theater” has changed. “People have figured out these more intimate stories are worth staying at home. I’m grateful they’re not extinct,” said the Les Miserables Oscar winner.

Also starring in the show is Sofia Boutella, Olivia Cooke, Brandon Victor Dixon, Tina Fey, John Gallagher Jr, Andy Garcia, Julia Garner, Catherine Keener, Dev Patel, Andrew Scott, and John Slattery and Shea Whigham.

Once and Sing Street helmer Carney writes, directs and serves as EP. Additionally, Sharon Horgan (Catastrophe, Divorce), Tom Hall (Sensation) and Emmy Rossum (Shameless) directed episodes of the series. Horgan directed the Fey-Slattery led episode, which she also penned. Hall also wrote his episode and Rossum will direct an episode written by the late Audrey Wells (Under the Tuscan Sun, The Hate U Give).

Todd Hoffman executive produces alongside Carney, and Trish Hofmann serves as co-executive producer. Sam Dolnick and Choire Sicha of The New York Times also serve as EPs. Modern Love is produced by Amazon Studios, Storied Media Group and The New York Times.

https://deadline.com/2019/07/anne-ha...er-1202655653/

* * * *

TV/Summer TCA 2019 Tour Notes (Streaming)
Amazon’s ‘The Family Man’ Puts Bollywood’s Manoj Bajpayee At Center Of India Din
By Dade Hayes, Deadline.com - Jul. 27, 2019

James Farrell, head of international originals for Amazon Studios, said during a TCA summer press tour panel Saturday that hopes are high for The Family Man, an action drama launching in September.

India as both seedbed for storytelling and emerging commercial marketplace is a territory Amazon has long been committed to, and the company indications that this show can keep the ball rolling.

“I think it’s going to do really well,” he said of the 10-episode series. “It’s not a coincidence this is the one we’re featuring here today.”

Amazon’s two top-performing international originals from outside of the U.S. among U.S. viewers are both Indian shows, Farrell added, though he didn’t quantify that any further. “We know we have a big audience here. We’re super-excited about this one and there’s a lot more coming. … We’re super-bullish.”

Establishing production ties in India has long been a priority for Amazon on a broader corporate front as many companies see it as an emerging market with lower barriers to entry than other global territories. Netflix also has put a stake in the ground in India, bidding aggressively for projects and announcing earlier this month the launch of a mobile-only version of its service that will debut in India.

Manoj Bajpayee, an established Bollywood star, anchors the cast of The Family Man. Per Amazon’s description, the show is “an edgy action-drama series, which tells the story of a middle-class man who works for a special cell of the National Investigation Agency. While he tries to protect the nation from terrorists, he also has to protect his family from the impact of his secretive, high-pressure, and low-paying job.”

Bajpayee said the show will connect him with viewers not only in the U.S. but in 200-plus countries, in different languages. “For the first time, people who don’t speak Hindi or weren’t aware of my work” will get a chance to see him, he said. “It’s great for me to reach out to each and every corner of the world.”

Raj Nidimoru, the show’s co-creator, producer, director and writer, said the show has a very “pan-India” essence. It blends dialects and languages (including a bit of English) as well as mixing physical locations stretching from Mumbai to Kashmir to Syria. Bajpayee said shooting on location in Mumbai drove the crew “crazy,” with a din of car honks, shouts and street noise (some of which was throngs of people shouting his name).

Despite the goal of reaching a broad audience, Nidimoru said nothing was watered down at Amazon’s request during production. Farrell said a reference to the “26-11 attacks,” which refers to the Mumbai terrorist attacks in November 2008, was allowed to stand because “audiences today are so smart” and the material has more impact if it is not over-explained.

“We didn’t have to underline anything,” Nidimoru said. “The more local the angle, the more global it gets. … It’s fun to see that [the character] are like you, but they’re also dissimilar.”

https://deadline.com/2019/07/amazon-...ru-1202655625/
dad1153 is offline  
post #31097 of 33391 Old 07-27-2019, 02:01 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
Obituary
Gabe Khouth, Actor in ‘Once Upon a Time,’ Dies at 46
By Anna Tingley, Variety.com - Jul. 27, 2019

Actor Gabe Khouth, known for his role on ABC’s “Once Upon a Time,” died unexpectedly on July 23 following a cardiac arrest. He was 46.

Khouth’s friend Peter Kelamis, a fellow actor and comedian, took to Twitter on Thursday morning to confirm the news, writing, “On July 23rd, my friend, Gabe [Khouth] appeared to suffer a cardiac arrest while riding his motorcycle and tragically died as a result. Gabe ALWAYS put a smile on everyone’s face. My deepest condolences to his Family and friends RIP-You kind, kind soul.”

The Canadian born actor is best known for playing Sneezy/Tom Clarke on the fantasy drama “Once Upon a Time,” but he’s been a regular on TV since the 1990s, playing leading roles in a variety of TV movies. In recent years, Khouth could be seen on “Life Sentence,” “A Series of Unfortunate Events,” “iZombie,” and “Supernatural.” He was also known for his voice work as Peng in the “Fruit Ninja” series and as Ken in “Beyblade Burst.”

“Once Upon a Time” creator Adam Horowitz also wrote on Twitter to share the sad news. “Terribly saddened to learn of the passing of Gabe Khouth… a lovely man, a great talent, and an indelible part of Once Upon A Time since the beginning,” Horowitz wrote. But more importantly, he was our friend. He will be missed. RIP, Gabe.”

https://variety.com/2019/tv/news/gab...me-1203281324/
dad1153 is offline  
post #31098 of 33391 Old 07-27-2019, 03:14 PM
AVS Forum Special Member
 
Nayan's Avatar
 
Join Date: Jan 2009
Location: Melbourne, FL
Posts: 5,120
Mentioned: 15 Post(s)
Tagged: 0 Thread(s)
Quoted: 1468 Post(s)
Liked: 2562
Quote:
Originally Posted by dad1153 View Post
TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jul. 27, 2019


GORDON RAMSAY: UNCHARTED
National Geographic, 10:00 p.m. ET
SERIES PREMIERE:
Gordon Ramsay seems to be all over the Fox schedule – but for this new National Geographic series, he sets out to conquer the world. Or, at least, to visit it, one remote community at a time. The setting for the premiere is Peru’s Sacred Valley, and Ramsay tours the area, climbs trees, samples food, and even cooks his own variations on local recipes. The program’s eagerness to go to distant places and try unusual things is a nod to, if not a petty theft of, the late Anthony Bourdain, but Ramsay is a bit more set in his ways. When he samples a fried caterpillar, he spits it out – whereas, long ago on another culinary travel series, that program’s host, Michael Palin of Monty Python fame, bit into a similarly exotic offering, smiled, and ad-libbed wickedly, “Good grub!”[/size]
I saw the first episode and it was a 'one and done' for me. It just felt bland and unexciting.

I really ought to act more like a woman of my advancing years, but I’m growing old disgracefully.
Nayan is offline  
post #31099 of 33391 Old 07-27-2019, 03:21 PM
AVS Forum Club Gold
 
Keenan's Avatar
 
Join Date: Aug 2003
Location: Santa Rosa, CA
Posts: 34,303
Mentioned: 22 Post(s)
Tagged: 0 Thread(s)
Quoted: 4071 Post(s)
Liked: 3798
Quote:
Originally Posted by Nayan View Post
I saw the first episode and it was a 'one and done' for me. It just felt bland and unexciting.
So no Anthony Bourdain then? (as if...)
Aliens and Nayan like this.
Keenan is online now  
post #31100 of 33391 Old 07-27-2019, 03:45 PM
AVS Forum Special Member
 
Aliens's Avatar
 
Join Date: Jun 2001
Location: Virginia
Posts: 9,700
Mentioned: 11 Post(s)
Tagged: 1 Thread(s)
Quoted: 2168 Post(s)
Liked: 3327
Quote:
Originally Posted by Keenan View Post
So no Anthony Bourdain then? (as if...)
Not everyone can have a great meal, enjoy good booze, smoke some weed, and shoot the breeze while making you feel right at home like Anthony could.
archiguy, aaronwt, Keenan and 3 others like this.
Aliens is offline  
post #31101 of 33391 Old 07-27-2019, 03:49 PM
AVS Forum Club Gold
 
Keenan's Avatar
 
Join Date: Aug 2003
Location: Santa Rosa, CA
Posts: 34,303
Mentioned: 22 Post(s)
Tagged: 0 Thread(s)
Quoted: 4071 Post(s)
Liked: 3798
Quote:
Originally Posted by Aliens View Post
Not everyone can have a great meal, enjoy good booze, smoke some weed, and shoot the breeze while making you feel right at home like Anthony could.
Yep, a true one of a kind.
Keenan is online now  
post #31102 of 33391 Old 07-27-2019, 03:49 PM
Super Moderator
 
DrDon's Avatar
 
Join Date: Mar 2002
Location: Metro Detroit, Tampa Bay
Posts: 17,218
Mentioned: 41 Post(s)
Tagged: 0 Thread(s)
Quoted: 2339 Post(s)
Liked: 4458
Quote:
Originally Posted by Aliens View Post
Not everyone can have a great meal, enjoy good booze, smoke some weed, and shoot the breeze while making you feel right at home like Anthony could.
I see you never met my mother.

Walking the fine line between jaw-dropping and a plain ol' yawn.
DrDon is offline  
post #31103 of 33391 Old 07-27-2019, 04:26 PM
AVS Forum Addicted Member
 
archiguy's Avatar
 
Join Date: Mar 2001
Location: Charlotte, NC
Posts: 25,675
Mentioned: 23 Post(s)
Tagged: 0 Thread(s)
Quoted: 6317 Post(s)
Liked: 6977
Quote:
Originally Posted by DrDon View Post
I see you never met my mother.
Sounds like a great broad!
DrDon and Nayan like this.
archiguy is offline  
post #31104 of 33391 Old 07-27-2019, 05:02 PM
Super Moderator
 
DrDon's Avatar
 
Join Date: Mar 2002
Location: Metro Detroit, Tampa Bay
Posts: 17,218
Mentioned: 41 Post(s)
Tagged: 0 Thread(s)
Quoted: 2339 Post(s)
Liked: 4458
Quote:
Originally Posted by archiguy View Post
Sounds like a great broad!
She was. There were zero places to park at her funeral and it was a HUGE place. I broke into tears seeing cars parked along the thoroughfare leading in. SRO inside the chapel. Hundreds of people I'd never met. When I asked dad who they all were, all he'd say was "A lot of people loved your mother." Ya THINK??
joblo, archiguy, aaronwt and 4 others like this.

Walking the fine line between jaw-dropping and a plain ol' yawn.
DrDon is offline  
post #31105 of 33391 Old 07-28-2019, 11:00 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
^^^ Today's the 32nd anniversary of "Domingo Para Todos," El Salvador's longest-running live gameshow/variety TV show (the local "Sabado Gigante"). I've been sending to the producers via DropBox dozens of hours of MP4 video compilations of my VHS tapes from the early 80's, which turned out to be the only copies of the early years of the show that still exist today. The producers back in the 80's and 90's erased, recycled or threw out the tapes of the old shows (ala the network TV purges of the late 60's), and the few original masters they kept were lost during a fire in the mid-aughts. They've been running "DPTO2 Retro" segments for the past couple of months, all based on footage I've sent them.

The show's original-and-still host and I talked last Wednesday, and he told me he'd give me a big personal shout-out during today's live show (2-6PM ET on CentroAmerica TV, or CATV). I asked the host if he could give a personal shout-out to the memory of my late mother, who passed away nearly two years ago. The woman not only held on to my personal collection of DPTO2 VHS' when I left El Salvador in 1989, she kept taping new episodes for me and sending them to the States throughout the 1990's and up until the early 2000's. Without my mother I wouldn't have an archive of shows to share with the producers. The host guy told me (paraphrasing): 'That's a tall order. It's a live anniversary show, we're supposed to be partying and having a good time.' 'I know,' I told him, 'but that's why they pay you the big bucks. Think of my mother's mention as your sponsors. You enthusiastically sell the virtues of dishwashing liquid and condensed milk. So share my mother's story with the audience and make it entertaining. You owe me, sir!'

I'm about an hour away from finding out how this veteran gameshow host (the guy's 57, he was 24 when the show started in '87) pulls this off. Whether he flubs or rises to the occasion, it's a one-in-a-million TV experience that will be seen my me, hundreds of friends and relatives (my mother was also as popular with a lot of people I didn't know about as Dr. Don's mom) and, hopefully for the show, millions of local Salvadoreans and ex-pats watching the show live.

If you have Facebook just type 'Domingo Para Todos' and you can follow along with the show via posted pictures and messages.
DrDon, bobby94928, Nayan and 2 others like this.

Last edited by dad1153; 07-28-2019 at 11:38 AM.
dad1153 is offline  
post #31106 of 33391 Old 07-28-2019, 11:14 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
Nielsen Overnights (Broadcast)
Friday Ratings: NBC And ‘American Ninja Warrior’ Win Once Again On Rerun Heavy Night
By Bruce Haring, Deadline.com - Jul. 27, 2019

Repeats, reruns, encores or rebroadcasts – call them what you will, but they are the staples of summertime programming. So it was no surprise that a night filled with the “R” word saw a repeat showing come out on top in the demo wars.

The two-hour American Nina Warrior on NBC scored a solid 0.5/3 and 2.37 million viewers to take home top demo honors on the evening. It was followed by an encore of Dateline that also did well, scoring an 0.4/3 and 2.61 million, allowing the peacock network to take home the demo trophy on the night.

Meanwhile, a new episode of CBS reality show Love Island wasn’t feeling the audience love. The racy show scored an 0.3/3 and 2.04 million viewers, down from its previous 0.5 and 2.16 million. That led to reruns of Hawaii Five-0 and Blue Bloods limping home.

At ABC, Marvel’s Agents of S.H.I.E.L.D. was down a tick, bringing in an 0.4/3 and 2.16 score. A 20/20 rerun scored an 0.4.

Fox took the night off, as reruns of First Responders Live was at 0.3, with MasterChef coming in with a similar 0.3.

The CW was the lone beacon of original programming light. Its Masters of Illusion was up to 0.3/2 and 1.39 million audience, up from last week’s 0.2. Variety show The Big Stage had a similar boost, up to 0.2/1 and 0.94. A rerun of The Outpost closed the night, holding steady at 0.1.

https://deadline.com/2019/07/friday-...ng-1202655678/
dad1153 is offline  
post #31107 of 33391 Old 07-28-2019, 11:19 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/TCA Summer 2019 Tour Notes (Cable)
Court TV to Dive Into Original Programming With 37-Part OJ Simpson Murder Trial Docuseries
By Tim Baysinger,, TheWrap.com - Jul. 27, 2019

Court TV, which came back on the air in May, has set a 37-part docuseries looking back on the O.J. Simpson double-murder trial. It will be Court TV’s first foray into the original programming space.

The series, titled “OJ25,” will look back at the “Trial of the Century,” with each episode focusing on every week of the 37-week trial. Court TV has every minute of the trial in its library.

“OJ25,” which will premiere in January 2020, will present, explore and contextualize the main events of the trial coinciding with the same week 25 years earlier.

Exclusive new interviews with the key players in the case will take people behind-the-scenes of the trial, providing fresh perspective and insight on legal strategies and maneuverings, missteps, lost opportunities and more, according to Court TV.

Legal analyst Roger Cossack, who has appeared frequently on ESPN and truTV, will host the series.

“Mining the vast Court TV library of more than a thousand trials provides the new opportunity to tell compelling true-crime stories and create captivating content supporting our live, gavel-to-gavel coverage of the country’s top current trials,” said Jonathan Katz, president and CEO of Katz Networks, which owns and operates Court TV.
“Everyone knows one line from Johnnie Cochran. They don’t know what really happened,” Scott Tufts, vice president and managing editor for Court TV, added Saturday during the Television Critics Association press tour. “For many viewers under the age of 40, this will be their first opportunity to see the trial.”

“OJ25” is the first of the “Court TV Mysteries,” which is what the network’s calling its new original docuseries programming. According to Court TV, these will “present real-life stories of betrayal, greed and murder leading to justice in the courtroom. These sordid stories will be told through Court TV trial footage, stylized re-creations, expert investigative insights and exclusive legal and law enforcement analysis.”

The original Court TV, which went off the air in 2008, gained notoriety for its extensive coverage of the Simpson trial, as well as the murder trials of Casey Anthony and the Menendez brothers. Katz, owned by the E.W. Scripps company, acquired Court TV’s intellectual property, including the trademark, website and complete, original 100,000-hour Court TV library from Turner Broadcasting back in December of last year.

https://www.thewrap.com/oj-simpson-m...l-programming/
dad1153 is offline  
post #31108 of 33391 Old 07-28-2019, 11:27 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV/Critic's Notes (Cable)
When it comes to ‘Succession,’ greed is good
By Matthew Gilbert, Boston Globe

Time to get to work. The second season of “Succession” premieres on Aug. 11 on HBO, so you need to catch up on the first season if you missed it. It’s perfect summer viewing — soapy, well-acted, and at times quite funny. I won’t say it’s one of those major dramas that will go on all-time lists, like “The Sopranos” and “Breaking Bad.” It’s more along the lines of “Billions,” as it features a lot of bad people doing a lot of bad things for a lot money.

The Roys are a media family like the Murdochs, and the children are struggling to be dad Logan Roy’s favorite — and the inheritor of his massive empire. The four kids are creeps, just like everyone on this show about greed and excess — but their amorality is tons o’ fun. You never know which ones are banding together against the other. It’s the Murdochs, yes, but it’s also the Carringtons. These people can’t even enjoy their power because they’re so insecure about losing it. They’re the worst of the 1 percent, and the best at making us laugh and cringe.

https://www.bostonglobe.com/arts/tel...pVJ/story.html
Nayan likes this.
dad1153 is offline  
post #31109 of 33391 Old 07-28-2019, 11:30 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
TV Notes
On The Air Tonight
SUNDAY 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 - Jul. 28, 2019

ABC:
7PM - America's Funniest Home Videos
(R)
8PM - Celebrity Family Feud: Maulers vs. Brawlers; Descendants 3 vs. American Housewife
9PM - The $100,000 Pyramid: Anthony Anderson vs. Jay Pharoah; Jeff Ross vs. Pete Holmes
10PM - To Tell The Truth: Norman Lear, Bob Saget, Joel McHale, Rita Moreno

CBS:
7PM - 60 Minutes
8PM - Big Brother
9PM - Instinct
10PM - The Good Fight

NBC:
7PM - Hollywood Game Night
(R)
8PM - Track and Field: USATF Outdoor Championships (LIVE)
9PM - America's Got Talent: Judge Cuts 2 (120 min.)
(R)

FOX:
7PM - Last Man Standing
(R)
7:30PM - Last Man Standing
(R)
8PM - The Simpsons
(R)
8:30PM - Bob's Burgers
(R)
9PM - Family Guy
(R)
9:30PM - What Just Happened??! With Fred Savage

THE CW:
8PM - Pandora
(R)
9PM - Pandora
(R)

PBS:
8PM - Poldark on Masterpiece
(R)
9PM - Grantchester on Masterpiece
10PM - Jamestown

UNIVISION:
7PM - Aquí y Ahora
8PM - Movie: Fantastic Four (2015)
10PM - Crónicas: Historias Que Hacen Historia

TELEMUNDO:
7PM - MasterChef Latino (120 min.)
9PM - La Reina del Sur, De Película (120 min.)

CBSSN:
6PM - World TeamTennis: Springfield Lasers at Philadelphia Freedoms (2 1/2 hrs., LIVE)

DISCOVERY (SHARK WEEK):
7PM - Shaq Does Shark Week: Sharkmania
8PM - Expedition Unknown: Megalodon
9PM - Shark Trip: Eat Prey Chum
10PM - Shark Trip: Eat Prey Chum
* * * *
11PM - Shark After Dark: Chumming With Friends (Season Premiere, LIVE)

ESPN:
7PM - MLB Baseball: New York Yankees at Boston Red Sox (LIVE)
10PM - SportsCenter (2 1/2 hrs., LIVE)

NBCSN:
7PM - Track and Field: USATF Outdoor Championships (LIVE)
8PM - Beach Volleyball (90 min.)
9:30PM - Cycling: UCI BMX World Championships (120 min.)
* * * *
11:30PM - 2019 Tour de France, Stage 21: Rambouillet to Paris (3 1/2 hrs.)

VH1:
7PM - Nick Cannon Presents: Wild 'n Out (Shiggy)
7:30PM - Nick Cannon Presents: Wild 'n Out (T-Pain)

BBC AMERICA:
8PM - Top Gear (87 min.)

BET:
8PM - Sunday Best
9PM - Murder in the Thirst

ESPNU:
8PM - XVIII Pan American Games (4 1/2 hrs., LIVE)

HALLMARK:
8PM - Good Witch

LIFETIME:
8PM - Movie: Anniversary Nightmare (2019)

MTV:
8PM - Ridiculousness: Chanel and Sterling CXXVI

TLC:
8PM - 90 Day Fiancé: Happily Ever After? Tell All: Part 2 (Season Finale, 62 min.)
10:02PM - sMothered (Season Finale)
* * * *
11:02PM - Unexpected

TVONE:
8PM - Movie: Deadly Dispatch (2019)

STARZ:
8:03PM - The Rook (57 min.)
9PM - Sweetbitter

AMC:
9PM - NOS4A2 (Season Finale, 120 min.)

CNN:
9PM - The Movies: The Seventies (120 min.)

E!:
9PM - Revenge Body With Khloé Kardashian
10PM - Nightly Pop

MSNBC:
9PM - American Swamp (Series Premiere)
10PM - Headliners: Pete Buttigieg

SHOWTIME:
9PM - City on a Hill
10PM - The Loudest Voice: Part 5

TBS/TNT:
9PM - Claws

ESPN 2:
10PM - Formula 1 Racing: Mercedes-Benz Grand Prix of Germany (2 1/2 hrs.)*
*
(shown at 7PM ET on ESPN News)

HBO:
10PM - Euphoria
* * * *
11PM - Last Week Tonight with John Oliver (40 min.)

ADULT SWIM:
Midnight - Mike Tyson Mysteries: The Yung and the Restless
12:15AM - Mike Tyson Mysteries: A Mystery in Little Italy


https://tvlistings.zap2it.com/?aid=gapzap
dad1153 is offline  
post #31110 of 33391 Old 07-28-2019, 11:36 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,259
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3231 Post(s)
Liked: 2852
Send a message via Yahoo to dad1153
Obituary
Russi Taylor, Voice Actress Behind Minnie Mouse, Dies at 75
By Nate Nickolai, Variety.com - Jun. 27, 2019

Russi Taylor, the voice actress behind the famed Disney character Minnie Mouse, died Friday in Glendale, California, the Walt Disney Company confirmed. She was 75.

“Minnie Mouse lost her voice with the passing of Russi Taylor. For more than 30 years, Minnie and Russi worked together to entertain millions around the world—a partnership that made Minnie a global icon and Russi a Disney Legend beloved by fans everywhere, said Disney chairman and CEO Bob Iger. “We’re so grateful for Russi’s talent as well as the tremendous spirit and great joy she brought to everything she did. It was a privilege to have known her and an honor to have worked with her, and we take comfort in the knowledge that her work will continue to entertain and inspire for generations to come. Russi will be sorely missed and our hearts go out to her family and friends, along with our deepest condolences.”

Taylor is best known as the official voice of Minnie Mouse, a role she first took on 30 years ago after beating out 200 other Minnie Mouse hopefuls during a 1986 audition. After assuming the character, she has since appeared in hundreds of Disney projects, including television shows, theme park experiences, animated shorts and theatrical films.

While working for Disney, Taylor also met her husband Wayne Allwine, who had voiced Mickey Mouse since 1977. The two married in 1991 and remained together until Allwine’s death in 2009.

As Minnie Mouse, Taylor’s Disney film credits span a wide swath of classics including “Who Framed Roger Rabbit,”” Runaway Brain,” “Get a Horse!” and “Mickey, Donald, Goofy: The Three Musketeers” in addition to the television series “Mickey MouseWorks,” “House of Mouse,” “Mickey Mouse Clubhouse” and “Mickey and the Roadster Racers.”

However, as the years went by, Taylor expanded her voice acting chops to other Disney characters which include Nurse Mouse in “The Rescuers Down Under” and Donald Duck’s nephews, Huey, Dewey and Louie in the “Ducktales” animated series. Outside of Disney, she voiced Martin Prince and the twins, Sherri and Terri, on “The Simpsons.”

https://variety.com/2019/tv/news/rus...es-1203282259/
dad1153 is offline  
Sponsored Links
Advertisement
 
Reply HDTV Programming

Thread Tools
Show Printable Version Show Printable Version
Email this Page Email this Page


Forum Jump: 

Posting Rules  
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off
Trackbacks are Off
Pingbacks are Off
Refbacks are Off