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post #31111 of 33390 Old 07-28-2019, 05:14 PM - Thread Starter
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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.
Damn, this guy's good! You'd think me and Daniel Rucks (the host) are best buds from the way he thanks me and my mom. The just-for-this-show intro (first minute) was assembled with the footage I sent to the producers.

The whole anniversary show is online: https://www.facebook.com/domingopara...8498928802337/ APPROX. 3:04:40 into 4:20:00 video is when Daniel pauses the show to send me his shout-out. Facebook account required; Spanish fluency optional, but you already know what he's saying.
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post #31112 of 33390 Old 07-28-2019, 07:52 PM
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Kinda surprised how little publicity there is for 'The Boys' on Amazon. It is actually pretty damn good.
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post #31113 of 33390 Old 07-29-2019, 04:29 AM
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^^^ Better yet, go see "Once Upon A Time in Hollywood" in theaters to beat the heat. Long movie, but terrific entertainment and such a lovely time capsule of late 60's Americana (the good and the ugly). I'm no Tarantino fan (don't dislike any of his movies, just don't think he's the cinematic Messiah his fanboys claim him to be), but the 2 hrs. 40 min. running time just flew by and I was ready to rewatch it immediately. My second favorite Tarantino flick after what I consider his blemish-free masterpiece, 1997's "Jackie Brown."
Loved the movie. Brad Pitt's character was awesome. And that ending was phenomenal!

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post #31114 of 33390 Old 07-29-2019, 07:47 AM - Thread Starter
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TV/Summer TCA 2019 Tour Notes (Cable)
Epix’s ‘Godfather Of Harlem’ & The Connection With Malcolm X
By Anthony D'Alessandro, Deadline.com - Jul. 27, 2019

Chris Brancato and Paul Eckstein’s new Epix series Godfather of Harlem tells the story of crime boss Bumpy Johnson (Forest Whitaker), a figure in the early 1960s who returned from a ten-year jail stint to find his neighborhood overrun by the Italian mob.

One of the more intriguing true-life historical points played out in the series is his relationship with Malcolm X, as the two join forces to manage the social upheaval and mob war that looms. In the trailer, Malcolm X says to Johnson, “You have guns, but I have an army.”

“Bumpy has his hustle going, and Malcolm has his,” Brancato told Deadline following the TCA afternoon session.

Brancato shared with the TCA press corps that as part of the creators’ research about the duo’s unique relationship, they not only combed through books about Malcolm X and Johnson, but interviews were conducted with “surviving heirs” of the two. “The entire goal was to keep the spirit of the time and the characters… we sought to put their attitudes and specific words in their mouths,” said Brancato.

An interesting tidbit here is that actor Nigel Thatch is playing Malcolm X for the second time, his first being in Ava DuVernay’s Selma. In each project, Thatch played a different facet of Malcolm X’s life. In Selma, it’s a post-Mecca Malcolm X whereas in Godfather of Harlem it’s 1963 around the time he had a rift with Nation of Islam head Elijah Muhammad over his extramarital affairs with young Nation secretaries.

Whitaker, who also serves as EP, knew about Johnson from movies such as Hoodlum and American Gangster, but Godfather of Harlem piqued his interest further.

“I really didn’t realize his influence on the community,” said the Oscar winner, “I didn’t know about his family life, his connection to Malcolm X, and his (pursuit) going after our needs and our desires for a great life.”

Godfather of Harlem debuts on Sept. 29 at 10PM on Epix.

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

* * * *

TV/Summer TCA 2019 Tour Notes (Cable)
‘NFL: The Grind’ Lines Up Brett Favre, Terrell Owens, More As Contributors On Epix Series
By Anita Bennett, Deadline.com - Jul. 27, 2019

Some heavy hitters will be suiting up as contributors on NFL: The Grind, Epix announced today at the Television Critics Association Summer Press Tour.

The weekly series from the premium cable net and NFL Films is being billed as offering fans the final word on the week in football.

Joining the show’s roster of contributors are Pro Football Hall of Famers Brett Favre, Charles Woodson and Terrell Owens, along with legendary players DeMarcus Ware, Chad Johnson, Clinton Portis, and Michael Vick.

“Our goal with NFL: The Grind is to present fans with deeper insight and a more unique point of view of storytelling than they have seen during the NFL season,” said Epix President Michael Wright. “These legendary personalities will bring insight, access and perspective to the stories they will be part of that can’t be manufactured; it will be authentic, real and passionate.”

Added Ken Rodgers, NFL Films VP and senior coordinating producer: “No one knows the NFL like its former superstars, and we’re excited to bring these NFL legends back to where they feel most comfortable – onto the sidelines, into the locker rooms and up close and personal with The Grind of the 2019 NFL season.”

The series will be hosted by longtime sports journalist Rich Eisen.

NFL: The Grind will kick off on Epix at 9 p.m. ET on September 11, after Week 1 of the league’s 100th anniversary season.

https://deadline.com/2019/07/nfl-the...ca-1202655830/
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post #31115 of 33390 Old 07-29-2019, 07:53 AM - Thread Starter
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TV/Legal Notes (Broadcast)
'Criminal Minds' Crewmember Files Sexual Harassment Lawsuit
By Trilby Beresford and Ashley Cullins, The Hollywood Reporter - Jul. 26, 2019

A Criminal Minds crewmember claims he was repeatedly sexually harassed by a supervisor on set, according to a complaint filed Friday in Los Angeles County Superior Court.

Todd Durboraw, a 2nd assistant cameraman, alleges that Greg St. Johns, whose title was director of photography at the time, touched him in a sexual manner "approximately two to three times a week on average" from the time the plaintiff was hired and began working for the defendant in 2011.

Durboraw is suing St. Johns, ABC Studios, CBS, Warner Bros. and Entertainment Partners Enterprises, alleging a host of claims including assault, battery, sexual harassment and retaliation. (Warners doesn't produce Criminal Minds and may have been named as a defendant in error.)

The suit describes the harassment in graphic detail, further stating, "On at least one occasion, while Plaintiff was squatting down, Defendant St. Johns came up behind Plaintiff and touched Plaintiff’s groin and buttocks with his foot." On other occasions, the defendant would "grab and flick Plaintiff’s nipples."

The suit also alleges that Durboraw was discriminated against and harassed, including being prevented from taking days off work to attend to his daughter’s life-threatening condition. Durboraw also claims that he was invited to take a promotion, but it was then implied that if he accepted, he would soon be fired. Colleagues who accepted St. Johns' harassment were rewarded with gifts and better assignments, the plaintiff claims.

Durboraw is seeking general, special and punitive damages.

https://www.hollywoodreporter.com/ne...awsuit-1227437
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post #31116 of 33390 Old 07-29-2019, 08:05 AM - Thread Starter
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Technology Notes (Gaming)
Esports injuries real for pros and at-home gamer, from finger sprains to collapsed lungs
By Jennifer Jolly, USA Today - Jul. 29, 2019

Inside an 8,000-square-foot state-of-the-art esports training facility in Santa Monica, California, the five players who compete in "League of Legends" for Team Liquid push their bodies to the limit.

“I play eight-to-12 hours a day, not including our games on the weekends,” Jake Puchero tells me over the phone. “That’s around 500 actions per minute. Mind, body, hands, wrists. It takes a lot of mental focus and physical stamina.”

Puchero, better known by his in-game name “Xmithie,” is a 28-year-old professional "League of Legends" player for Team Liquid.

For those not following esports, "League of Legends" is an online multiplayer game that pits two teams of five players against each other in an online battle arena, and it’s one of the most popular sporting events on the planet. More people now watch the League of Legends World Championship than the World Series and the NCAA Basketball Final Four – combined.

Competing at a high level in a game with as many as 100 million active players isn’t just difficult – it’s a full-time job, and players’ bodies often pay the price.

The new pro athletes of esports

The young men and women playing in top matches don’t look like any other professional athletes I’ve ever seen.

They don’t run. Or jump. Or move much at all. Instead, the players sit statue-like behind wide-screen monitors, headsets on, shoulders rounded in front of displays, eyes barely darting, fingers tapping so fast you hardly notice any movement.

I still make air quotes when I talk about an “esport athlete,” I admit to my friend, Chicago-based entrepreneur Marc Rosenberg, who first spoke with me about the rise in esport injuries last December.

“Don't be naive, JJ,” Rosenberg tells me over the phone, “esports will generate more than $1.1 billion – with a B – in revenue this year alone,” he says. He also mentions that more than 120 North American colleges offer varsity esport teams now, too. “And now, there are all these pro esport athletes getting hurt, you know video gamers at home are, too,” Rosenberg adds. “People need to know more about this issue.”

New sport, new injuries

When you see two football players collide or a baseball player slide across home plate at full speed, it’s easy to see the risks they face. With esports athletes, the potential for injuries is often far less obvious, but very real.

“I’ve heard the horror stories,” Puchero says, “somebody has to retire as a result of overuse injuries or players whose lungs collapse because they hunched over too long.”

”I see carpal tunnel, tennis elbow, severe shoulder, back, neck, and foot pain,” Dr. Levi Harrison tells me over the phone. “These can be severe, career-ending injuries,” he says.

Dr. Harrison is an orthopedic surgeon based out of Los Angeles. He’s also one of the biggest names in modern esports medicine, and players travel from all over the world to see him. “Pro or elite gamers spend 12 hours a day playing. The body is meant to do a lot of things; it’s not meant to do that," he said.

Prolonged play sessions are often to blame for everything from eye strain and back pain to blood clots and collapsed lungs. The minor injuries are annoying and painful, but the more severe conditions can even be life-threatening.

Still, just like other professional athletes, esports pros often push themselves to play through the pain. And the kids watching them and playing video games at home? Now they do it, too.

“Injuries come at a high cost for elite competitors, but what about the kids playing 'Fortnite' at home? We have to make a sociological shift,” Dr. Harrison says. “We have to retrain (gamers) concerning posture, body alignment, mindfulness, nutrition – all of it."

Changing the game

Players, coaches, and team owners alike might still face a stigma with injury reporting, too. Some players told me if they let anyone know they're hurt, it's a sign of weakness. They worry they won't get picked for a team or sponsorship.

“We talk about it a lot. We even have a personal trainer who works with the team,” says Team Liquid co-owner Steve Arhancet. “We also have a physical therapist. The personal trainer (might go) to the gym with the player.” These programs aren’t mandatory, but they’re available to the players who want to participate. “Some of them use it, some don’t,” Arhancet notes, "but we want to make this sport as healthy as possible for everyone involved."

The team also has nutritional guidelines that promote health and facilitate longer play sessions. They monitor caffeine intake, for instance, to ensure that players don’t binge on coffee or energy drinks and then crash in the middle of a play session.

Of course, a teenager staying up all night to best his or her buddies at "Fortnite' doesn’t have a team of trainers and nutritionists watching out for them, leaving that responsibility to fall to parents, friends, and even gear-makers.

A new esport industry emerges

Just like the NFL tests new helmet prototypes that could improve both comfort and safety for players, there are some people, like Rosenberg, who are reinventing some of the essential gear in every esports player’s arsenal. The vast majority of esports players spend much of their day sitting at a desk, the design of which has remained mostly unchanged for centuries.

Rosenberg’s Edge Desk, a Kickstarter darling that raised over $400,000, is a far cry from the standard four legs and flat top. Looking like a marriage between an elliptical bike and an office chair, the Edge Desk shifts much of your weight from your butt to your legs, promoting a natural upright posture.

The company’s beta-testing a new version of the desk specifically for gamers called the Edge Desk Esports Command Center. Players not only sit in a more ergonomically-sound position, but they can customize several aspects of the desk as well, from an oversized mouse pad to monitor and camera mounts. The starting price of the new Command Center desk will be around $500, and Rosenberg says he expects it to go on sale in the fall of 2020.

Watching esports' next move

The future is undeniably bright for esports as an industry, with booming revenue and ballooning viewership. As the sport matures, it will be forced to grapple with the same kinds of issues that crop up in all sports, with player health and safety a primary concern. “We’re still in the very early stages here,” Arhancet says. “Still figuring out, what are the best practices?”

Harrison has an entire YouTube series with strength and conditioning routines specifically for gamers. He also recommends regular exercise and getting plenty of outdoor and off-screen activity, too.

“Today’s game requires you to be your best mentally and physically,” Jake Puchero adds. “You can’t (do that) if you play twenty hours on end in a dark basement living on junk food.

Jennifer Jolly is an Emmy Award-winning consumer tech contributor and host of USA TODAY's digital video show TECH NOW.

https://www.usatoday.com/story/tech/...rs/1832131001/

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post #31117 of 33390 Old 07-29-2019, 08:12 AM - Thread Starter
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TV Review (Streaming)
Hulu’s ‘Four Weddings and a Funeral’
By Caroline Framke, Variety.com

After many were ready to proclaim their untimely death, romantic comedies have resurrected with a vengeance. “Crazy Rich Asians” was a cultural and box office sensation, and Netflix has struck gold with a series of low-stakes movies that subsequently created an entire cottage industry that runs on earnest charm and flirty banter. Combine that burgeoning success with Hollywood’s beloved “everything old is new again” ethos and it was probably only a matter of time before we got something like Hulu’s “Four Weddings and a Funeral,” a shiny new adaptation of one of the most iconic romantic comedies of all time.

The limited anthology series from Mindy Kaling and Matt Warburton — the team behind “The Mindy Project,” a sitcom love letter to the rom-com genre — isn’t a reboot of Richard Curtis’ 1994 film. It rather just uses its premise of a group of friends weathering four weddings and a funeral together (for better and for worse), as a basic structure for their own perfectly pleasant stories. It’s also still based in London for seemingly no reason other than nostalgia; all four of the main characters are American Anglophiles who returned to the U.K. after spending a transformative semester there in college.

Now facing down the other side of 30, the hapless in love and life friends are trying to figure out what it is they really want from life, and if it’s so wildly different from the paths they’ve otherwise chosen. Maya (Nathalie Emmanuel) is an ambitious congressional aide with terrible timing and taste in men. Investment banker Craig (Brandon Mychal Smith) has found himself living large with a ton of money and a brash live-in girlfriend (Sophia La Porta) after years of playing the field; harried teacher Duffy (John Reynolds) has nursed a debilitating crush on Maya for a solid decade. Ainsley (Rebecca Rittenhouse) is a picture perfect blonde with the Notting Hill townhouse and handsome boyfriend Kash (Nikesh Patel) to match, and it’s her extravagant wedding (or more accurately, its aftermath) that sets everything into motion.

They’re all, in other words, deliberate rom-com stock characters that the show hopes to flesh out over the course of ten episodes, a downright luxurious amount of time versus the movie’s two-hour runtime. The show doesn’t radically flip the script so much as tweak it in slightly more three-dimensional directions; even the typical conceited rival role, embodied this time in Ainsley’s competitive British friend Gemma (Zoe Boyle), gets to stretch beyond the confines of her stereotype. It is, however, worth noting that 2019’s “Four Weddings and a Funeral” is somehow overall more heterosexual than 1994’s, which included a groundbreaking moment in which one friend gives a eulogy for the man he loved. Rather than taking the opportunity to make that subtext text, the TV version makes the odd and frankly disappointing choice to keep its incidental queer characters on the outer margins of the story.

So while this “Four Weddings and a Funeral” is purposefully distinct from its source material, the inevitable comparisons both work for and against it. On the plus side, Hulu’s “Four Weddings and a Funeral” establishes itself as different from the original by the sheer fact of its casting not being entirely white. Kash’s storyline in particular is one that Curtis’ movies would — or could — never touch, and Patel reveals himself to be an able lead even as Kash is often isolated from the other characters. Emmanuel, who revealed a capacity for comic timing even in her usually dour “Game of Thrones” role, clearly relishes the chance to anchor her own story and seizes the opportunity with palpable enthusiasm. Rittenhouse and Reynolds are endearing in often flat roles, though they’re rarely a match for Smith, who steals just about every scene he’s in.

The trouble comes as the show tries to sell the camaraderie and fiercely loyal bond between the characters, which should be the glue that keeps the show together. Instead, the sporadic times they all share the screen rarely spark in the way that the joyfully chaotic group scenes of the first “Four Weddings and a Funeral” did. We hear an awful lot about what good friends they are without the series doing much to sell it. It’s perfectly nice to spend a few hours with them, but they’re not likely to make a huge impression beyond their inevitably happy endings.

'Four Weddings and a Funeral'
Premieres Wednesday, July 31 on Hulu.
Limited series, 60 mins.
(10 episodes; 7 watched for review.)


https://variety.com/2019/tv/reviews/...ng-1203278099/
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post #31118 of 33390 Old 07-29-2019, 08:13 AM
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TV/Summer TCA 2019 Tour Notes (Cable)
‘NFL: The Grind’ Lines Up Brett Favre, Terrell Owens, More As Contributors On Epix Series
By Anita Bennett, Deadline.com - Jul. 27, 2019

Some heavy hitters will be suiting up as contributors on NFL: The Grind, Epix announced today at the Television Critics Association Summer Press Tour.

The weekly series from the premium cable net and NFL Films is being billed as offering fans the final word on the week in football.

Joining the show’s roster of contributors are Pro Football Hall of Famers Brett Favre, Charles Woodson and Terrell Owens, along with legendary players DeMarcus Ware, Chad Johnson, Clinton Portis, and Michael Vick.

“Our goal with NFL: The Grind is to present fans with deeper insight and a more unique point of view of storytelling than they have seen during the NFL season,” said Epix President Michael Wright. “These legendary personalities will bring insight, access and perspective to the stories they will be part of that can’t be manufactured; it will be authentic, real and passionate.”

Added Ken Rodgers, NFL Films VP and senior coordinating producer: “No one knows the NFL like its former superstars, and we’re excited to bring these NFL legends back to where they feel most comfortable – onto the sidelines, into the locker rooms and up close and personal with The Grind of the 2019 NFL season.”

The series will be hosted by longtime sports journalist Rich Eisen.
So, let me guess. The NFL Network (where you would expect to find this show) & Epix are owned by the same media conglomerate?
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post #31119 of 33390 Old 07-29-2019, 08:21 AM - Thread Starter
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TV/Business Notes (Broadcast)
CBS and Optimum Parent Altice Reach New Carriage Deal
By Debbie Emery, TheWrap.com - July 29, 2019

CBS and Optimum parent company Altice have reached a comprehensive, multi-year content carriage agreement, the network announced on Monday morning.

The new deal covers retransmission consent for CBS-owned stations and the carriage of Showtime, CBS Sports Network, Pop TV and Smithsonian Channel on Altice’s Optimum and Suddenlink cable systems. It also enables Altice to continue offering the Showtime’s digital streaming service to its broadband customers.

Financial terms of the deal have not yet been disclosed.

“We are pleased to strike a fair marketplace deal with Altice for CBS, Showtime, CBS Sports Network, Pop TV and Smithsonian Channel well in advance of our expiration and without any disruption to consumers. We appreciate the value Altice places on delivering America’s #1 network to its customers,” Ray Hopkins, president, Television Networks Distribution, CBS Corporation, said in a statement.

“Altice USA is committed to delivering a wide array of high-quality content for our customers at competitive, fair rates, and this new agreement with CBS allows us to meet that objective,” Yossi Benchetrit, head of Programming for Altice USA, continued. “We are pleased to extend our longstanding partnership with CBS, enabling the CBS network portfolio to remain available to our customers as part of Altice’s Optimum and Suddenlink TV lineups.”

The deal with Altice comes just over a week after CBS went dark on DirecTV, DirecTV Now and AT&T U-verse in many major markets after the two sides could not come to a new distribution agreement. Smithsonian Channel and CBS Sports Network were also made unavailable on DirecTV nationwide, while CBS Sports Network was dropped from DirecTV Now nationally.

CBS said earlier this month that it offered AT&T a 30-day extension to continue negotiations, but that the DirecTV owner declined. However, AT&T said they were willing to negotiate and called CBS a “repeat blackout offender.”

On July 24, AT&T CEO Randall Stephenson said on his company’s earnings call: “We sent what I thought was a reasonable, fair offer over five days ago and it’s been crickets. We haven’t heard anything — haven’t even had a response to the offer.”

https://www.thewrap.com/cbs-and-opti...carriage-deal/
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post #31120 of 33390 Old 07-29-2019, 08:27 AM - Thread Starter
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So, let me guess. The NFL Network (where you would expect to find this show) & Epix are owned by the same media conglomerate?
Actually no. The NFL owns NFL Network, and MGM/Viacom owns Epix. Sometimes a licensing deal can be arranged when the financial terms for the product work out so nicely for all involved the licensee doesn't care that the product isn't airing on its in-house network. Epix gets prestige NFL programming and The NFL gets its product showcased in a pay network with a niche audience. It's the same reason the new "Pennyworth" show isn't airing on DC Online, HBO or an AT&T-owned network. If Epix is willing to fork over enough cash, the suits are all too happy to let the product go outside the corporate tent.

You know, just like WB's "Friends" aired on NBC, ABC Studio's "C.S.I." aired on CBS and countless syndicated shows produced by the networks end up on competing stations. Money talks, and bull^%$ comes out of David Mamet's mouth.
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post #31121 of 33390 Old 07-29-2019, 08:32 AM
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^^^
Exactly. No different than when HBO aired Inside the NFL.
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post #31122 of 33390 Old 07-29-2019, 08:40 AM - Thread Starter
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^^^ Great minds think alike.

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Kinda surprised how little publicity there is for 'The Boys' on Amazon. It is actually pretty damn good.
This reminds me of the millions of dollars in hype, production values and advertising Netflix spent building up Baz Luhrman's "The Get Down" back in the summer of 2016. "Most expensive TV production to date," etc. But a month before "The Get Down" premiered on August 12th of 2016, a little show with zero hype, unknown actors and a weird premise premiered on Netflix. By the time "The Get Down" premiered "Stranger Things" had taken over the hype machine. The only reason I even remember "The Get Down" is because I searched for the name on Luhrman's IMDB page.

Just saying that just because "The Boys" isn't getting hype now doesn't mean it won't get some if the show is good and people discover it (like they did "Man in the High Castle"). It's just that we're inundated with so many weekly streaming premieres of new and returning shows it's tough for a new IP to break through, even in the dog days of summer.

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post #31123 of 33390 Old 07-29-2019, 08:42 AM
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Originally Posted by dad1153 View Post
Just saying that just because "The Boys" isn't getting hype now doesn't mean it won't get some if the show is good and people discover it (like they did "Man in the High Castle"). It's just that we're inundated with so many weekly streaming premieres of new and returning shows it's tough for a new IP to breakthrough, even if the dog days of summer.
Yep - it was made more stark by the hype Netflix was doing for 'Another Life' - which pales in comparison to 'The Boys'. Just since I posted this though, there has been a lot of social media promotion of 'The Boys'. I guess when you know you have a good product, best to just get the free promotion now!
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post #31124 of 33390 Old 07-29-2019, 08:52 AM - Thread Starter
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TV/Production Notes (Cable)
Snowpiercer Cast and EP Talk Class Warfare, 'Bug Bars' and Apocalypse Golfing in TBS' Series Adaptation
By Kimberly Roots, TVLine.com - July 29, 2019

When Snowpiercer premieres on TBS, pay close attention to the accommodations in the back of the titular, globe-circumnavigating train, says star Daveed Diggs: Things aren’t necessarily what they seem.

“The tail end is essentially stowaways. There’s not much there. So they make a lot out of a little,” he says in the video above. “All the beds are made out of, like, discarded golf clubs that I assume they stole from all the rich people’s luggage?” He laughs incredulously. “Because they thought they were going to play golf in the apocalypse?”

Showrunner Graeme Manson quips: “There’s a pitch-and-putt in First Class.”

If you haven’t seen the 2014 thriller on which the show is based, you need to know that a) Earth has become a frozen and uninhabitable wasteland, b) the only survivors of the snowpocalypse are living on a train that will never stop circling the planet, and c) the locomotive is sectioned off by class, with the well-off living like kings in the front while the poor survive by eating protein-rich “bug bars” near the caboose.

The show also takes place seven years after Earth’s freezing — instead of 15, like in the movie — which “just makes everybody’s wounds a little fresher,” Manson said. “The world that ended was our world, this world.”

If this all sounds heavy, don’t worry — there were plenty of laughs when Diggs, Manson and cast members Lena Hall, Jennifer Connelly, Alison Wright, Mickey Sumner and Steven Ogg stopped by TVLine’s San Diego Comic-Con 2019 interview suite. So, as Connelly says in the interview, “Prepare to brace” and press PLAY on the video below [CLICK LINK] to take a ride with the Snowpiercer passengers.

https://tvline.com/2019/07/28/snowpi...eason-1-video/
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post #31125 of 33390 Old 07-29-2019, 08:58 AM - Thread Starter
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Media/Technology Notes
Reminder: UltraViolet shuts down July 31st, so safeguard your digital movies now
By Chris Welch, TheVerge.com - July 29, 2019

UltraViolet, Hollywood’s original attempt at a cross-platform digital movie locker service, is shutting down this week on July 31st. If you’ve redeemed your fair share of codes that came with Blu-rays or DVDs through the years, you’ll definitely want to make sure you’ve linked your UltraViolet collection to another retailer so you can continue accessing and streaming those titles after the service goes offline.

Walmart-backed Vudu is the best bet for people in the United States. I don’t foresee it shutting down anytime soon, and it supports Movies Anywhere, so you’ll be able to watch your UltraViolet collection across popular streaming devices and apps like Amazon Video or Apple TV. But you can also go with FandangoNow or Kaleidescape; the latter is only really useful to people with a fancy theater room somewhere in their house. Here’s how to make sure everything is linked correctly: How to safeguard your UltraViolet collection.

There is a chance that some movies or TV shows might vanish from your collection once UltraViolet goes dark. Such is the risk of never truly owning your digital content, and a shutdown FAQ acknowledges this possibility. But I don’t think it’ll be something most of us have to deal with.

I also don’t know what sort of person would have a large UltraViolet catalog without having ever linked it to Vudu or another service by now. But time is running out if that’s somehow the predicament you’re in.

One last piece of advice: don’t manually unlink or close your UltraViolet account prior to the 31st, as “UltraViolet and retailers will be working together to maximize your continued access to movies and TV shows,” and doing so might throw a wrench into that process.

https://www.theverge.com/2019/7/28/8...uly-31-warning
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post #31126 of 33390 Old 07-29-2019, 09:24 AM - Thread Starter
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jul. 29, 2019

EXPERIMENT IN TERROR
TCM, 8:00 p.m. ET

In 1962, director Blake Edwards and composer Henry Mancini teamed for this tense bank-heist drama, starring Glenn Ford and Lee Remick. Ford plays the good guy, trying to help Remick, who plays a bank employee being forced to steal from her own bank. The mastermind behind the robbery has abducted her younger sister, and threatened to kill her unless the older sister follows instructions. The villain is played by Ross Martin, a few years before he co-starred in The Wild Wild West, and the younger sister is portrayed by Stefanie Powers, a few tears before she starred as The Girl from U.N.C.L.E. – but wait, there’s more. One year after filming Experiment in Terror, Edwards and Mancini would team again, on the first Pink Panther movie.

YEARS AND YEARS
HBO, 9:00 p.m. ET
MINISERIES FINALE:
Tonight brings the final installment of Russell T. Davies’ hauntingly memorable futuristic drama (and really: wasn’t the body-strewn beach scene one of the most gripping TV scenes yet of this TV season?). In the drama, the episode begins in the year 2029 – only a decade from now. But given what’s happened to the characters, and in politics, it seems a lot longer. And a lot scarier.

LEGION
FX, 10:00 p.m. ET

Tonight’s episode focuses on Syd, and provides a potential back story – starting with infancy, as it did when introducing David, her eventual boyfriend, enemy, quarry, and now what? Things have a way of shifting on Legion. How did the narrator introduce last week’s opening-tease synopsis of recent events and clips from the show? Something like “Purportedly on Legion”?


http://www.tvworthwatching.com/

* * * *

TV Review (Streaming)
Netflix’s ‘The Great Hack:’ How Your Personal Data was Harvested and Swung the U.S. Presidential Campaign
By Alex Strachan, TVWorthWatching.com's 'TV That Matters' - Jul. 29, 2019

Cambridge Analytica, John Oliver noted in a Last Week Tonight monologue last season, is not the Latin, scientific name for John Oliver, sadly.

Would that it was. Around the time of Oliver’s monologue, news of the Cambridge Analytica scandal and how consultants there manipulated undecided voters to help Donald Trump win the US presidential election — aided and abetted by user profiles provided by the ever-helpful Facebook — was all media wonks were talking about, it seemed.

Today, Cambridge Analytica is no longer with us, at least not in the form it was then. Facebook has been forced into the glare of the media spotlight and endless government hearings in both the US and Europe. And Trump is still president, happily awaiting re-election next year.

The just-released Netflix documentary The Great Hack seeks to expose exactly what happened, when, where, and how. The why we already know.

The Great Hack has divided critics, largely along — surprise! — ideological lines. TheEconomist, a conservative-minded publication slightly to the right of the Wall Street Journal, labeled it “a misinformed documentary about misinformation.” The Guardian, a liberal-minded publication somewhere to the left of the New York Times, dubbed it a “searing exposé of the Cambridge Analytica scandal.”

(FYI: The Orwell Prize-winning journalist Carole Cadwalladr, who broke the news of the scandal for the Observer, is featured prominently in the Netflix documentary. For those who may not know, theObserveris the Sunday edition of the Guardian; the two share the same owners and have a joint operating agreement (JOA) though they maintain separate newsrooms. For now.)

Thankfully, none of this matters to most casual readers of TV Worth Watching because the primary questions for the site are: Is The Great Hack good TV, and is it worth watching?

The answer, on both counts, is yes and yes.

At just under two hours, The Great Hack moves briskly, with a vibrant, lively snap. It’s stylish, easy on the eyes, tightly edited and, unlike most made-for-TV documentaries, it has understated background music that’s unobtrusive and yet eerily effective. Small wonder, because unlike most HBO and PBS documentary programs, it was composed by an actual human being, not stitched together by a computer-generated algorithm from a library of pre-recorded music tracks.

The Great Hack has a number of stylistic flourishes, too. People’s personal data — “Data rights are human rights” is one of the film’s recurring catchphrases — is shown as a dazzling computer-generated effects: little bits and pieces of data dust, millions of tiny crystals of electronic data, the information about ourselves we’ve shared with Facebook and Snapchat, credit card companies and banks, our smartphones and our personal screens, pouring out of office towers and rising from traffic-choked streets, evaporating into thin air like so many clouds of gleaming electronic glass. The message is clear and simple to understand: Every piece of information about ourselves, from our childhood likes and dislikes to our most recent credit card purchases, from our “likes” and dislikes on social media to the personal, private details we share in emails and direct messages, is recorded in cyberspace and stored, to be shared at some future date by whoever meets the asking price.

Cambridge Analytica understood, on behalf of its paying clients, that the most valuable voters in any political campaign or referendum are the undecideds, the “persuade-ables” to use Cambridge’s own term for them.

Cambridge’s crime, and to a lesser extent, Facebook’s, was not so much getting that information as it was not telling anyone what they were doing.

As The Great Hack shows, most of us know already what we believe in and, by extension, who we’re going to vote for. What the Trump campaign did was focus on undecided voters, and then feed them targeted misinformation. Real news is telling people what they need to know, not want they want to hear; the Trump campaign took the opposite tack. And why not? Telling people what they want to hear is a powerful marketing tool.

The Great Hack doesn’t just focus on the Trump campaign, of course.

Cambridge Analytica’s role in the Brexit mess in the UK plays a major part, along with less sexy campaigns like suppressing the voter turnout in Trinidad and Tobago, of all places. If there’s an underlying theme, it’s to make us question how much personal information we’re willing to share about ourselves through our online habits, knowingly or unknowingly, blissfully unaware of how that information may be used — or misused — in future.

In terms of filmmaking, The Great Hack is one of those stream-of-consciousness documentaries that doesn’t rely on a narrator, and it’s better for it.

It takes real skill to make a coherent program that doesn’t rely on a voiceover to tell us what to think and when to think it. The effect is two-edged. Not only does it make The Great Hack more fun to watch — each and every viewer’s voice becomes the inner narrator — but it’s a reminder of just how cheap and tawdry most TV documentary-making is, from bullying narration to loud, obnoxious, computer-generated music, noise for people to watch Nova by, program-making aimed at the lowest common denominator, and just one level above reality TV: George Orwell, as told on Big Brother.

The Great Hack is sleek and entertaining, but you also come away thinking about what you’ve just seen. Would you ever consider deleting your Facebook account? It’s a question you might never have asked yourself until you saw The Great Hack. (Personally, I wouldn’t and I won’t, though I have friends who’ve done exactly that, some of them after seeing The Great Hack.)

The Great Hack does have flaws, but they’re minor. The central point-of-view character, Brittany Kaiser (right), is a former Obama volunteer campaign staffer who became a prominent, high-profile consultant for Cambridge Analytica and a valuable — incalculably valuable, some might say — go-between between Cambridge Analytica and the Trump campaign, one of the data-sharing firm’s key clients at the time (the other being the UK’s Leave EU campaign, chief architects of the Brexit mess).

Kaiser makes a flighty, unreliable witness at first, opinionated and strangely superficial, blissfully unaware of the consequences of her actions and blissfully unaware of the disconnect between working for the Obama campaign one minute and then going all-in on the Trump campaign.

The filmmakers know what they’re doing, though. They’re telling a story.

Toward the end of The Great Hack, they reveal why Kaiser behaved the way she did. It’s a heartbreaking revelation. It speaks to the core of how and why working people have to work for a living, and it shows how personal crises can throw even the most carefully laid career plans for a loop.

For that reason alone — and it’s reason enough — The Great Hack makes for absorbing, at times thrilling TV.

Imagine if you will, a documentary about politics and political scandal that, in the end, transcends politics. It becomes something else entirely — a film about why we do the things we do, who knows, and what they can then do with that information.

The Economist said The Great Hack is misinformed, and the Guardian called it a searing exposé. In the end, it’s neither. It’s something bigger, and better. It’s about life itself. And it just might be the best documentary you’ll see all year.

http://www.tvworthwatching.com/BlogP...x?postId=18573
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post #31127 of 33390 Old 07-29-2019, 09:36 AM - Thread Starter
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TV/Business Notes
Neal Moritz Re-Ups Overall Deal At Sony Pictures TV
By Nellie Andreeva, Deadline.com - Jul. 26, 2019

EXCLUSIVE: Prolific producer Neal H. Moritz has signed a new three-year overall deal with Sony Pictures Television for his Original Film banner.

Under the new pact, Moritz and Pavun Shetty, who has closed a new deal to remain Head of TV at Original, will continue to work on the company’s existing series for Sony TV: Preacher, which is heading into its final season on AMC, S.W.A.T, picked up for a third season at CBS, and The Boys, recently renewed for a second season by Amazon ahead of its series premiere today.

Additionally, Moritz and Shetty will continue to shepherd development of new live-action drama and comedy series as well as animation for network, cable and streaming platforms. The company’s current development slate includes I Know What You Did Last Summer at Amazon, a YA horror series based on the Moritz-produced hit movie franchise, with James Wan attached to direct and Shay Hatten writing; and The Wanted at FX, “America’s most epic true crime story,” written by Shawn Ryan based on the upcoming novel by journalist John Tayman, which tells the history of the FBI’s Top Ten Most Wanted Program.

“We are elated to be continuing our partnership with Neal and Pavun. They are among the most esteemed and prolific producers in all of television and we have enjoyed much success together,” SPT President Jeff Frost said. “Their taste and producing acumen is beyond compare and we look forward to continued mutual prosperity together.”

In a competitive situation, Sony TV stepped up to keep Moritz who has emerged as one of the studio’s most prolific producers since returning to Sony four years ago. Since then, Original has generated four series for the studio, Preacher, S.W.A.T., The Boys and Syfy’s Happy!, all of which have gone on to multiple seasons.

“At this point in my career, the most important thing to me is to be able to work with partners who give me true creative freedom and incredible financial support so that I can make great television,” Moritz said. “I’m thrilled to be extending our relationship with Mike (Hopkins), Jeff, Chris (Parnell), Jason (Clodfelter) and their team at Sony.”

Moritz, whose Original Film has a first-look movie deal at Paramount, is behind the Fast & Furious franchise, and is currently in production on Fast & Furious 9, as well as 21 Jump Street franchise. The company’s upcoming feature slate also includes Art Of Racing In the Rain, Sonic the Hedgehog, Bloodshot, Escape Room 2 and Wonderland. In TV, Moritz previously executive produced The Big C for Sony TV as well as Prison Break. He is repped by UTA for television and attorney Howard Abramson.

https://deadline.com/2019/07/neal-h-...tv-1202652994/
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post #31128 of 33390 Old 07-29-2019, 09:43 AM - Thread Starter
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TV/Business Notes
David Spade talks new Comedy Central show and apologizes for 8 Heads in a Duffel Bag
By Dan Snierson, EW.com - Jul. 29, 2019

David Spade — clever purveyor of snark and self-effacement; veteran of Saturday Night Live, Just Shoot Me, Rules of Engagement, and Joe Dirt — returns to weekly television with Lights Out with David Spade, a pop culture-centric late-night series slated to air after The Daily Show. We allow the 55-year-old actor/comedian/Instagram must-follow to promote his new show… if he apologizes for a previous project. Enjoy this latest installment of Watch This/Sorry About That.

WATCH THIS
Lights Out debuts Monday at 11:30 p.m. on Comedy Central.

“I’d like to say the show is different than any you’ve ever seen, but it’ll be about four percent different. It’s going to be a pop culture show, but I don’t love that term. I would say: current events focused on Hollywood. But no real politics, unless Cardi B runs for mayor. I don’t want my crowd to be arguing when they see the show. My tagline should really be, ‘The thinking stops here,’ because it’s just going to be kind of dumb. I train with Cardi B’s brother — Cardi O — and he was saying, ‘I like that you have smart jokes.’

Social media is running everyone’s life while it’s ruining everyone’s life. We will poke fun at Instagram, such as girls promoting tummy tea — which is basically a diuretic — because I see it in my feed all day and it’s ripe for the pickings. [Lights Out] really will be a lighter look at what’s going on. And I’ve always made fun of stuff going on in Hollywood at dinners. When anyone in showbiz gets together, they’re always ripping on everything happening. This show is a big version of me putting my filthy fingerprints on all this stuff.”

SORRY ABOUT THAT
Spade starred with Joe Pesci and Kristy Swanson in the 1997 mobster comedy 8 Heads in a Duffel Bag.

“I apologize for a few reasons. I went into it with high hopes because the writer wrote Dead Poets Society. I guess in my head that meant, ‘Do I really have to read it first? I’m sure it’s great!’ People could understand I would do this movie when you hear that a gangster cuts off eight people’s heads and puts them in a duffel bag and takes them across the country and I’m a witness to all this — as I’m saying it, I don’t really understand the movie. I knew they were all in a washer and dryer, and the heads were singing at one point.

I apologize for not letting the hair department touch my hair. I want to say it looked so stupid you can’t even picture it, but you can because it’s pretty much the way I wore it for 10 years. I just said, ‘Don’t even do anything. I like it like this.’ Why didn’t anyone tackle me with a blow dryer? Some gel, anything, spike it, a wig. My part was somewhere near Alaska in the top corner of my head. I’m surprised they didn’t rent that quarter of my head out for ads, because they would have cleaned up. It was basically dried-out hay at a split-end convention. I also apologize for having my shirt off for part of that movie. People didn’t realize I had my pecs removed because I thought my character wouldn’t need pecs.

Other than that, the movie, when I signed on was me and Damon Wayans as the leads. Damon fell out a week before shooting, and they got Joe Pesci, who is a great actor, but it was a little different. We shot it as an R and it came out as PG-13, which I didn’t even know was possible or legal, and I’m telling you: It kills jokes. At the end of the shoot, they go, ‘Hey, can you loop in one for airplanes and TV when it runs five years down the line?’ I’m like, ‘What do I say for “f—face?”‘ They’re like, ‘I dunno, “steakpants?”‘ I’m like, ‘Sure, this’ll be funny when you’re on an American Airlines flight at 30,000 feet.’ So I do it and they use all my TV takes. America, obviously I have more to apologize for, but I’m only gonna cop to this one for now.”

https://ew.com/tv/2019/07/29/david-s...-a-duffel-bag/
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post #31129 of 33390 Old 07-29-2019, 09:49 AM
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Quote:
Originally Posted by xnappo View Post
Yep - it was made more stark by the hype Netflix was doing for 'Another Life' - which pales in comparison to 'The Boys'. Just since I posted this though, there has been a lot of social media promotion of 'The Boys'. I guess when you know you have a good product, best to just get the free promotion now!
It was renewed for Season 2 before the first season premiered, so there is some internal commitment. At least if people find it a little later in the summer there will be a Season 2 to follow in 2020.
https://www.thewrap.com/the-boys-sea...sh-stormfront/

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TV Notes
On The Air Tonight
MONDAY 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. 29, 2019

ABC:
8PM - The Bachelorette (120 min.)
10:01PM - Grand Hotel
* * * *
12:05AM - Jimmy Kimmel Live! (Melissa McCarthy; Michael Peña; Mac DeMarco performs)
1:07AM - Nightline

CBS:
8PM - Love Island
9PM - The Big Bang Theory
(R)
9:30PM - The Neighborhood
(R)
10PM - Bull
(R)
* * *
11:35PM - The Late Show with Stephen Colbert (Idris Elba; Maude Apatow; Perry Farrell performs)
12:37AM - The Late Late Show With James Corden (Jeff Goldblum; Andie MacDowell; Bishop Briggs performs)

NBC:
8PM - American Ninja Warrior: Oklahoma City City Qualifiers (120 min.)
10PM - Dateline NBC: Deadly Secret
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Rachel Brosnahan; Carla Gugino; the Fortnite World Cup solo champion; Ty Dolla $ign performs)
12:37AM - Late Night With Seth Meyers (TV host John Oliver; MLB player CC Sabathia; Mini Mansions perform; Jeff Quay sits in with the 8G Band)
1:38AM - Last Call With Carson Daly (Rhys Darby; Drab Majesty performs; comedy duo Rhett & Link)
(R)

FOX:
8PM - Beat Shazam
9PM - So You Think You Can Dance

THE CW:
8PM - Penn & Teller: Fool Us
9PM - Whose Line Is It Anyway? (Guest comic Heather Anne Campbell)
9:30PM - Whose Line Is It Anyway? (Guest comic Jeff Davis)
(R)

PBS:
8PM - Antiques Roadshow: Vintage Providence 2019
9PM - Antiques Roadshow: Vintage Providence 2014
(R)
10PM - POV: Inventing Tomorrow (90 min.)

UNIVISION:
8PM - La Reina Soy Yo
9PM - La Rosa de Guadalupe (120 min.)

TELEMUNDO:
8PM - Un Poquito Tuyo
9PM - Betty en NY
10PM - La Reina del Sur

SCIENCE:
6PM - Space's Deepest Secrets: NASA's Alien Voyages (3 hrs.)
9PM - How the Universe Works: Alien Doomsday Stars (120 min.)

ESPN U:
6:25PM - XVIII Pan American Games (3 hrs. 35 min., LIVE)

CBSSN:
7PM - World TeamTennis: Springfield Lasers at New York Empire (2 1/2 hrs., LIVE)

DISCOVERY (SHARK WEEK):
7PM - Laws of Jaws: Sharkmania
8PM - Sharks of the Badlands
9PM - Legend of Deep Blue
10:01PM - The Sharks of Headstone Hell
* * * *
11:02PM - Shark After Dark: Shark Mavericks (58 min., LIVE)

ESPN:
7PM - MLB Baseball: Atlanta Braves at Washington Nationals (LIVE)
10PM - SportsCenter (LIVE)

USA:
8PM - WWE Monday Night RAW (3 hrs., LIVE)

VH1:
8PM - Love & Hip Hop: Atlanta
9PM - Girls' Cruise
10PM - Love & Listings (Series Premiere)

GSN:
9PM - America Says: Weekend Hikers vs. Servers

HBO:
9PM - Years and Years: Part 6 (Finale)
10:01PM - Divorce

MTV:
9PM - Teen Mom OG
10:01PM - The Hills: New Beginnings *62 min.)

TVONE:
9PM - ATL Homicide
10PM - ATL Homicide
(R)
* * * *
11PM - The DL Hughley Show (Guest TBA)

FX:
10PM - Legion (72 min.)

PARAMOUNT:
10PM - Cops
10:30PM - Cops
(R)

COMEDY CENTRAL:
11PM - The Daily Show With Trevor Noah (Angela Bassett)
11:30PM - Lights Out With David Spade (Series Premiere: Dana Carvey, Al Madrigal, Sarah Tiana)*
*
(Simulcast on Paramount Network and TV Land)

E!
11PM - Nightly Pop

SHOWTIME:
11PM - Desus & Mero (Comedian Billy Eichner)

TBS:
11PM - Conan (Dana Carvey)
(R)

BRAVO:
11:15PM - Watch What Happens Live with Andy Cohen (TV personalities June Foster, Colin Macy-O'Toole and Sandy Yawn)

ADULT SWIM:
11:30PM - Final Space: Arachnitects (30 min.)


https://tvlistings.zap2it.com/?aid=gapzap
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post #31131 of 33390 Old 07-29-2019, 10:23 AM - Thread Starter
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Quote:
Originally Posted by blade005 View Post
["The Boys"] was renewed for Season 2 before the first season premiered, so there is some internal commitment. At least if people find it a little later in the summer there will be a Season 2 to follow in 2020.
TV executives (regardless of platform, so cable and streaming are included) are human, with the usual range of likes and dislikes. Sometimes shows get renewed despite ratings that clearly indicate cancellation is warranted just because the people in charge are fans. "Fringe," a show owned by Warner, aired at least two seconds past its prime because Fox Network executives were fans and wanted the show to continue. Heck, I'm sure SyFy suits liked "The Expanse" and wished to keep it going, but weren't able to internally justify the production costs. The fact a season 5 has been ordered ahead of Season 4 means people in charge at Amazon not only believe in "The Expanse," but like it enough to gamble using the company's (bottomless?) account.
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post #31132 of 33390 Old 07-30-2019, 09:59 AM
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Media/Technology Notes
Reminder: UltraViolet shuts down July 31st, so safeguard your digital movies now
By Chris Welch, TheVerge.com - July 29, 2019

UltraViolet, Hollywood’s original attempt at a cross-platform digital movie locker service, is shutting down this week on July 31st. If you’ve redeemed your fair share of codes that came with Blu-rays or DVDs through the years, you’ll definitely want to make sure you’ve linked your UltraViolet collection to another retailer so you can continue accessing and streaming those titles after the service goes offline.

Walmart-backed Vudu is the best bet for people in the United States. I don’t foresee it shutting down anytime soon, and it supports Movies Anywhere, so you’ll be able to watch your UltraViolet collection across popular streaming devices and apps like Amazon Video or Apple TV. But you can also go with FandangoNow or Kaleidescape; the latter is only really useful to people with a fancy theater room somewhere in their house. Here’s how to make sure everything is linked correctly: How to safeguard your UltraViolet collection.

There is a chance that some movies or TV shows might vanish from your collection once UltraViolet goes dark. Such is the risk of never truly owning your digital content, and a shutdown FAQ acknowledges this possibility. But I don’t think it’ll be something most of us have to deal with.

I also don’t know what sort of person would have a large UltraViolet catalog without having ever linked it to Vudu or another service by now. But time is running out if that’s somehow the predicament you’re in.

One last piece of advice: don’t manually unlink or close your UltraViolet account prior to the 31st, as “UltraViolet and retailers will be working together to maximize your continued access to movies and TV shows,” and doing so might throw a wrench into that process.

https://www.theverge.com/2019/7/28/8...uly-31-warning
The question now becomes what will Paramount and Lionsgate do when UV closes shop tomorrow? They do not belong to Movies Anywhere as of yet and there has no news on what their eventual plans may be.
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The question now becomes what will Paramount and Lionsgate do when UV closes shop tomorrow? They do not belong to Movies Anywhere as of yet and there has no news on what their eventual plans may be.
Watch them on Vudu.
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post #31134 of 33390 Old 07-30-2019, 11:51 AM
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^^ This is why it's vital that physical formats continue.

Digital continues to prove itself to be one BS fad after another that exists solely at the whim of whichever the way the winds blow in any given week. Physical media (aside from a few manufacturing issues here and there) can be played as long as you have a player for it.

I can't wait until the "digital currency" people eventually get their way and money starts disappearing with whatever banking whim occurs.
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TV Notes (Cable)
Comedy Central Pulls Tonight’s ‘Alternatino’ Episode With Mass-Shooting Sketch After Gilroy Killings
By Omar Sanchez, TheWrap.com - Jul. 30, 2019

The Comedy Central sketch show “Alternatino” is pulling tonight’s originally scheduled episode, “The Gift,” which includes a sketch with a mass-shooting theme, TheWrap has learned exclusively. Instead, the Viacom network will air next week’s original episode in its place and plans to run “The Gift” next week. The decision was made two days after three people were killed in an active shooter situation in Northern California.

In the sketch in question, comedian and show creator Arturo Castro plays a Guatemalan immigrant who is taking a “Welcome to the United States” class when his teacher cautions them about gun violence, including mass shootings. Castro’s character is in disbelief that shootings are so prevalent and seemingly random in the United States.

When reached by TheWrap, Comedy Central had no comment on the programming decision.

“Alternatino” is a sketch comedy show in its first season. Sketches on the show have explored topics like President Donald Trump’s aid to Puerto Rico after the 2017 hurricanes, Latino stereotypes and Latino representation in film and TV.

The show has been well-received by critics, with a current score of 92% on Rotten Tomatoes and a 63 on Metacritic.

https://www.thewrap.com/alternatino-...arturo-castro/
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TV/Production Notes (Streaming)
WWE Star Paul 'The Big Show' Wight to Headline Netflix Family Comedy
By Rebecca Iannucci, TVLine.com - Jul. 30, 2019

Netflix has some big news — literally! — for WWE fans.

Pro wrestler Paul Wight, better known by his stage name The Big Show, will star in a freshly ordered family comedy series, the streamer announced Tuesday.

Appropriately titled The Big Show Show, the half-hour sitcom will focus on a fictionalized version of the WWE star, who quickly becomes outnumbered and outsmarted after his teenage daughter comes to live with him, his wife and two other daughters. “Despite being seven feet tall and weighing 400 pounds,” the show’s description reads, “he is no longer the center of attention.”

Allison Munn (Nicky, Ricky, Dicky & Dawn), Reylynn Caster (American Housewife), Juliet Donenfeld (Pete the Cat) and relative newcomer Lily Brooks O’Briant round out the cast as The Big Show’s wife and three children. Josh Bycel (Happy Endings) and Jason Berger (LA to Vegas) will serve as executive producers and showrunners.

Though The Big Show is best known for his wrestling, he also has a career as an actor, with TV credits including Happy!, Psych and Burn Notice.

Production on The Big Show Show‘s 10-episode first season begins next month in Los Angeles.

https://tvline.com/2019/07/30/the-bi...dy-series-wwe/
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^^ This is why it's vital that physical formats continue.

Digital continues to prove itself to be one BS fad after another that exists solely at the whim of whichever the way the winds blow in any given week. Physical media (aside from a few manufacturing issues here and there) can be played as long as you have a player for it.

I can't wait until the "digital currency" people eventually get their way and money starts disappearing with whatever banking whim occurs.
Agree to some extent - but the real problem is DRM. If you have digital DRM-free copy of something, we will likely still be able to play it in 50 years.
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TV/Production Notes (Cable)
Joss Whedon's HBO sci-fi drama The Nevers casts 12 actors
By James Hibberd, EW.com - Jul. 30, 2019

Joss Whedon‘s return to series television is revealing its full ensemble cast.

The Firefly and Buffy the Vampire Slayer creator has an HBO sci-fi drama series in the works titled The Nevers “about a gang of Victorian women who find themselves with unusual abilities, relentless enemies, and a mission that might change the world.”

Below is the newly released full cast list that includes some familiar names — such as former Da Vinci’s Demons‘ star Tom Riley and Shaun of the Dead‘s Nick Frost.

Whedon is billed as executive producer, showrunner, writer, and director on the project, so The Avengers director is definitely all-in on this show. He’s joined on the writing-producing side by Buffy alums Jane Espenson and Doug Petrie. Also, GoT‘s battle-tested Bernie Caulfield has joined as an executive producer.

Here’s the new cast list:

Laura Donnelly (Outlander) as Amalia True (previously announced) – The most reckless, impulsive, emotionally damaged hero of her time. A menace to stuffy Victorian society, she would die for the cause and kill for a drink.

Olivia Williams (Dollhouse) as Lavinia Bidlow – A wealthy spinster and champion of the “Touched,” Lavinia funds the Orphanage (where Amalia and many of the Touched live) through her vast family fortune. She is stern and old-fashioned, but as strong-willed and clever as anyone she confronts.

James Norton (Grantchester) as Hugo Swann – A pansexual posh boy whose charm has about five years left on its lease. He runs a secret club and a side trade in blackmail. He’s devoted to fulfilling everyone’s worst impression of him — and fascinated by the Touched.

Tom Riley (Da Vinci’s Demons) as Augustus “Augie” Bidlow – A sweet, disarming nerd and Lavinia’s younger brother. A keen ornithologist, Augie is happy to let his older sister take the reins of the family fortune. He finds the Touched unnerving, but is drawn to them by his increasing infatuation with Miss Adair, and by the schemes of his nefarious best friend, Hugo.

Ann Skelly (Little Women) as Penance Adair – Amalia’s dearest friend, and one of the first women to join her cause. A devout — yet heretically progressive — Irish girl, Penance has genius for invention. She is delighted by her power, and her default is love and acceptance. But she’s firm in her moral sense, and will be guided by what’s right over what’s expedient every time.

Ben Chaplin (Snowden) as Detective Frank Mundi – Big, gruff, and deeply moral, Detective Mundi trusts no one, least of all himself: his reputation for sudden violence (and excessive drink) is not unwarranted. Frank finds himself caught between the powerful, who ignore the laws of the land, and newly empowered, who ignore the laws of physics.

Pip Torrens (The Crown) as Lord Massen – Staunch, unflappable and merciless in his defense of the British Empire, this former General, now Peer, may be the only man who sees clearly what havoc these few strange people can wreak upon the established order. Which he will protect, one way or another.

Zackary Momoh (Seven Seconds) as Doctor Horatio Cousens – One of the few successful West Indian physicians in London. Married with a young son, Horatio’s fortunes took a dark turn when he met Amalia and discovered his own ability. Now he works with her, and with the Beggar King, those who don’t care who is or isn’t “different.”

Amy Manson (Being Human) as Maladie – Committed by her husband (and genuinely unstable), she’s been warped by a power she can’t understand, and tortured by doctors intent on finding its source. She now lives underground, runs a gang and is on an infamous murder spree. She affects a theatrical parody of a bedlam waif, but mad as she is, she’s a woman with a purpose.

Nick Frost (Shaun of the Dead) as Declan Orrun, aka The Beggar King – Charismatic and brutal, Declan runs — or has a piece of – most of the low-level criminal activity in the city. He’s perfectly happy to help Amalia and her cause — and equally happy to sell them out. He backs winners, and the Touched are long odds.

Rochelle Neil (Episodes) as Annie Carbey, aka Bonfire – Annie is a career criminal who landed the ability to control fire and is happy to hire it out. Came up rough, stayed that way, but she’s neither impulsive nor cruel — just looking out for herself. No matter who she works with or for, Annie trusts only Annie, and the fire.

Eleanor Tomlinson (Poldark) as Mary Brighton – Gentle but surprisingly resilient, Mary pursued her dream of singing on stage. A disappointing career and a broken engagement haven’t diminished her spirit. She’s going to be great. She’s going to be very surprised how.

Denis O’Hare (Big Little Lies) as Dr. Edmund Hague – A gifted American surgeon, he uses his skills in the coldest, most brutal way possible. But it’s all in the name of progress!

That would seem to be a pretty full cast, but HBO noted that there’s more casting yet to come. The series doesn’t yet have a premiere date.

https://ew.com/tv/2019/07/30/joss-wh...o-nevers-cast/
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TV/Summer TCA 2019 Tour Notes (Broadcast)
How PBS adaptation of Jane Austen's unfinished novel 'Sanditon' introduces the author's first black character
By Kelly Lawler, USA Today - Jul. 30, 2019

BEVERLY HILLS, Calif. – It's hard to pick up where Jane Austen left off, but PBS is trying anyway.

The new Masterpiece Theater drama "Sanditon," due in 2020, is based on the legendary "Pride and Prejudice" author's unfinished novel, which she was writing when she died in 1817.

"She didn’t really get any further than introducing the characters and the premise of the story," writer/producer Andrew Davies told the Television Critics Association Monday. Davies, who wrote the 1990s "Pride" adaptation for PBS starring Colin Firth, explains that while Austen was "very ill" when she wrote "Sanditon," she was "breaking new ground."

The biggest departure for Austen was her inclusion of Georgiana Lambe, a black West Indian heiress played by Crystal Clarke ("Black Mirror") in the series.

"The 'mulatto Miss Lamb,' that’s Jane Austen’s description," Davies says. In the series, Georgiana is far wealthier than many of the white English people she interacts with, and her relationship to polite society is a big part of the plot.

"What's great is Georgiana hasn’t just been slotted in there just for the sake of diversity," Clarke says. "She was included in the original novel. I do hope to see more (people of color) but it’s also just really nice that it’s something that comes organically ... (black people) were actually a thing back then."

Clarke hopes the recent trend of including more and more diverse black characters in historical dramas is promising.

"It’s really important for us to have the knowledge of that history of black people, people of color," she says. "That history goes much farther back than (you think) ... it would be great to see more of it."

She also emphasizes that it's important how characters of color are portrayed, not just that they're included as tokens.

"We don’t want just diversity; we want representation."

https://www.usatoday.com/story/enter...er/1861841001/

* * * *

TV/Summer TCA 2019 Tour Notes (Broadcast)
'Country Music' director Ken Burns on 'Old Town Road' breaking chart record: 'Water is wet'

BEVERLY HILLS, Calif. – Legendary documentary director Ken Burns isn't at all shocked about the chart dominance of Lil Nas X and Billy Ray Cyrus' "Old Town Road," especially after making a 16-hour documentary series about the history of country music.

"We always make it in our media culture a binary thing. So everybody's fretting," he told USA TODAY Monday while promoting his new PBS documentary, "Country Music," an eight-part epic chronicling the origins of the music genre and its evolution through the 20th-century. "And I said, it's just like 'Country Music.' Everybody's listening to it, everybody loves it, so it's a No. 1 song!"

This week, "Road" overtook Mariah Carey's "One Sweet Day" for most weeks at No. 1 on the Billboard chart. Carey set the record in 1996, and the only song to come close to breaking it was "Despacito," which tied the 16-week record in 2017. This milestone is even more notable after the controversy caused when Billboard, at the beginning of the song's reign, chose to remove the original version from its country music chart for having too much hip-hop influence.

"Now that Billboard has just ratified it, that's like saying the sky is blue and water is wet," Burns says. "We already know this! So this proves every point that we make in the series. There are no borders between this stuff."

Ken Burns of "Country Music A Film By Ken Burns" speaks during the PBS segment of the Summer 2019 Television Critics Association Press Tour.
Burns also points out that one of the legends of country music also had hip hop and rap influences.

"And just remember what Johnny Cash's last years were like, with Rick Rubin, who's a rap and hip-hop producer, helping Johnny Cash resurrect his career. There's nothing new under the sun."

But, most, importantly, Burns believes "Road" is just "a great song."

One of the central tenets in Burns' "Country" (Sept. 15, check local listings) is that the genre isn't as cordoned off from the rest of popular music as many people think, something the director emphasized to reporters earlier Monday.

"Country is one of the parents of rock and roll with R&B; the porousness of it is the theme," he says. "What people discover is that they know a lot more about country music than they think they do."

https://www.usatoday.com/story/enter...rd/1868610001/
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Nielsen Notes
Syndication Ratings: 'Dr. Phil' Extends Talk Winning Streak to 150 Weeks
By Paige Albiniak, Broadcasting & Cable - Jul. 30, 2019

CBS Television Distribution’s Dr. Phil made it 150 weeks in a row, with five ties, as syndication’s top talker in the week ended July 21.

The talk show managed the feat even though it’s been in repeats for the past eight weeks, holding its ground at a 2.2 live plus same day national household rating, according to Nielsen Media Research.

Phil could have been number one for 154 straight weeks, but for four weeks of Olympics during Rio 2016 and Pyeongchang 2018 when the show was retitled and broken out. The show last lost the talk race in the week ending Aug. 7, 2016, to Disney’s Live with Kelly.

In daytime’s key demographic of women 25-54, Phil also led with a 0.9.

Syndication in general was stable in the sleepy mid-summer stanza.

Live with Kelly and Ryan, running up a streak of its own, was the silver medalist on the talk-show podium for the 21st straight week with a steady 1.9.

Warner Bros.’ Ellen DeGeneres declined 7% to a 1.4 in repeats. NBCUniversal’s Maury, also in repeats, continued at its season-low 1.2 for a seventh consecutive week, tying Debmar-Mercury’s unchanged Wendy Williams, which aired four originals and one rerun. NBCU’s Steve, nearing the end of its run, stayed at a 1.0, tying NBCU’s Steve Wilkos, which recovered 11%.

Sony Pictures Television’s Dr. Oz and CTD’s Rachael Ray both remained at a 0.9.

CTD’s newcomer Face the Truth, which will end after this season, stayed at its series-low 0.6 for a sixth straight week. CTD’s The Doctors also stayed at its series-low 0.5 for a tenth week in a row, tying Warner Bros.’ The Real, which also held steady.

The syndicated version of NBCU’s out-of-production Jerry Springer sprang back up 33% to a 0.4. Disney’s Pickler & Ben, produced by E. W. Scripps, broke even at a 0.3.

Meanwhile, week two of the six-week test of revamped comedy game show Punchline delivered a 0.3 rating/1 share weighted metered market household average on select Fox stations, down 50% from its lead-ins and off 40% from July 2018 time periods. Among women 25-54, the show logged a 0.2/1, down 33% from both lead-in and year-ago.

Elsewhere, CTD’s Judge Judy, in reruns on two of the five days, topped all of syndication for a second straight week with a steady 6.3.

CTD’s Hot Bench, with three days of repeats, was on par with the prior frame at a 2.0 and ranked as the number-three show in daytime for the fourth straight week behind only Judy and Phil.

Warner Bros.’ People’s Court and Judge Mathis, Twentieth’s Divorce Court and Debmar-Mercury’s freshman Caught in Providence all were flat at a 1.3, 0.9, 0.6 and 0.5, respectively.

Games were mixed. Debmar-Mercury’s Family Feud inched up 2% to a 6.0 to lead the category for a sixth straight week. CTD’s Jeopardy!, which has declined in six of the past seven weeks as things settled down after super-contestant James Holzhauer's run, slipped 2% to a 5.5. CTD’s Wheel of Fortune also fell 2% to a 5.1.

Further back, Disney’s soon-to-end Who Wants to be a Millionaire maintained a 1.5. Entertainment Studios’ Funny You Should Ask remained at a 0.5 for the 19th consecutive week.

Disney’s viral video show RightThisMinute clocked an unchanged 1.2.

Magazines were mostly steady. CTD’s Inside Edition was flat at a 2.6, while sister show Entertainment Tonight gave back 4% to a 2.4. NBCU’s Access, soon to be known as Access Hollywood again, was steady at a 1.1 and for a second straight week was the only magazine to outperform last year, improving 10% from the same frame in 2018.

Warner Bros.’ TMZ stood pat at a 1.1, tying Access. Warner Bros.’ Extra, CTD’s DailyMailTV, Twentieth’s Page Six TV and Trifecta’s Celebrity Page all held steady at a 0.9, 0.9, 0.5 and 0.2, respectively.

In off-net, NBCU’s Dateline remained the true-crime leader with a steady 1.3. SPT’s off-A&E Live PD Police Patrol detected a 1.1 for the fourth consecutive week, while off-Investigation Discovery’s True Crime Files revealed an unchanged 0.3.

NBCU’s scripted procedural Chicago PD backtracked 11% to a 0.8.

Warner Bros.’ The Big Bang Theory rose 3% to a 4.0 to remain the leader of the off-network sitcoms. Twentieth’s Last Man Standing and Modern Family, SPT’s The Goldbergs and Warner Bros.’ Two and a Half Men all were flat at a 2.1, 1.7, 1.3 and 1.3, respectively. Twentieth’s Family Guy grew 8% to a 1.3, tying Goldbergs and Men. Disney’s newcomer Black-ish banged out a 1.0, tying Warner Bros.’ unchanged Mike & Molly and SPT’s Seinfeld. Warner Bros’ 2 Broke Girls posted a 0.9 for the sixth straight week.

https://www.broadcastingcable.com/ne...k-to-150-weeks
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