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post #31201 of 33297 Old 08-02-2019, 12:06 PM - Thread Starter
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Nielsen Overnights (Broadcast)
TV Ratings: NFL Preseason Opens With Lows for Hall of Fame Game
By Rick Porter, The Hollywood Reporter - Aug. 2, 2019

The other networks are largely steady Thursday, with CBS' 'Big Brother' and Fox's 'Masterchef' leading the non-sports slate.

Ratings for the NFL's preseason opener look to be at an all-time low for the second year in a row.

NBC's broadcast of the Hall of Fame Game from Canton, Ohio, drew a 4.1 household rating in metered markets Thursday night. That's down about 15 percent from a 4.8 last year — which ended up translating to 6.77 million viewers in the finals, a low for the game that marks the beginning of the league's preseason slate.

For what it's worth, the ratings for last year's Hall of Fame Game were not at all predictive of the regular season, which stopped two years of declines and improved across all of the league's broadcast windows in 2018.

NBC also had a comfortable lead over the other broadcast networks in primetime, which were pretty steady despite the presence of football.

CBS' Big Brother led the non-sports slate with a 1.0 rating among adults 18-49 and 3.78 million viewers, on par with its recent performances. Love Island was also steady at 0.5 and 2.41 million viewers.

Masterchef tied its season high of 0.8 in adults 18-49 on Fox, while Spin the Wheel was steady at 0.5. ABC's Holey Moley (0.7) ticked up week to week, while Family Food Fight (0.4) and Reef Break (0.3) held steady.

The series finale of iZombie on The CW hit a season high in viewers with 800,000 to go with a 0.2 rating in the 18-49 demographic. The Outpost also scored a 0.2, along with 652,000 viewers.

NBC led the night among adults 18-49 with a 1.4 rating, pending updates for its live broadcast. Fox came in second with a 0.7, edging the 0.6 for CBS. ABC averaged 0.5 and The CW 0.2.

https://www.hollywoodreporter.com/li...1-2019-1228845
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post #31202 of 33297 Old 08-02-2019, 12:10 PM - Thread Starter
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TV/Production Notes (Cable)
'The Biggest Loser' host Bob Harper says 2020 reboot will be 'bigger and better'
By Sara M Moniuszko, USA Today - Aug. 2, 2019

"The Biggest Loser" is coming back – and host Bob Harper says the reboot will be better than ever.

The personal trainer talked about the relaunch of the competition reality show during an interview on the "Today" show Friday.

"We're gonna have new trainers, we're gonna have a new medical team," he said. "I mean, this show is going to be bigger and better than ever."

He also addressed previous criticism the show has received over fat-shaming and extreme weight-loss measures.

"Whenever you talk about weight loss, it's gonna be always controversy," he said. "But what we really want to do, we're trying to approach it in a completely different way. We want to help them while they're on the show and when they go home, the after care I think is going to be super important for them too."

"Biggest Loser" first ran from 2004 to 2016 on NBC. The reboot will move to USA Network in 2020.

Harper also gave an update to his personal health journey after suffering a heart attack two and a half years ago.

"It's been a big adjustment, and I'll tell you this – that's why I'm so excited to come back on to 'The Biggest Loser,' because I related to those contestants way more than I've ever related to them," he said. "Because I went from being this CrossFit-er, working out so hard every day to not being able to walk around a city block without getting winded."

He continued, "So I was having to start back from square one, so I really want to bring my recovery onto the show because I know what they're going through. It is a struggle and you just do the best that you can."

https://www.usatoday.com/story/enter...er/1898912001/
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post #31203 of 33297 Old 08-02-2019, 12:18 PM - Thread Starter
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TV Review (Cable)
HBO's A Black Lady Sketch Show Is Pure, Funny Fire
By Jen Chaney, Vulture.com (New York Magazine) - Aug. 2, 2019

“Sometimes I wish I was just an okay bitch,” says a member of the Bad Bitch Support Group in the first episode of A Black Lady Sketch Show (11 p.m. ET on HBO).

Her comment is met with gasps of horror from the pedicured, glossy-lipped women who surround her. Just being okay, when you can be bad? Why would anyone want to do that?

A Black Lady Sketch Show, a new half-hour HBO comedy series created by Robin Thede, host of the prematurely canceled BET talk show The Rundown, subscribes to a similar philosophy. It never settles for just okay. Every sketch starts on one level, then keeps building on it until you have no idea how hilariously far from Earth it’s going to go. Anchored by four extremely versatile, hilarious black women — Thede, who also previously served as head writer for The Nightly Show With Larry Wilmore; Ashley Nicole Black, formerly of Full Frontal With Samantha Bee; comedian Quinta Brunson; and Insecure’s Gabrielle Dennis — A Black Lady Sketch Show isn’t just funny. Its sketches are consistently clever and surprising, often concluding with twist endings that add a whole other layer to the jokes that had us rolling a couple of minutes ago.

It’s also very much what its title implies: a series dominated by black women and shaped by their viewpoints. While race informs a lot of the comedy, it’s never explored in relation to whiteness. In fact, there are no white people on this show, at least in the six episodes I’ve seen. Whiteness in this realm is, basically, irrelevant. Between A Black Lady Sketch Show, Sherman’s Showcase, and South Side, it’s a great moment for black-centric TV comedy, one that will hopefully last much longer than just a moment.

Right from the opening credits, in which puppet versions of the four principals engage in various forms of bad behavior while Megan Thee Stallion blasts on the soundtrack, A Black Lady Sketch Show establishes itself with confidence and hot girl summer attitude. The first episode, which debuts Friday night on HBO, features the first parts of a sketch that recurs throughout the season in which Thede, Black, Brunson, and Dennis spend a girls’ weekend at Thede’s house while a catastrophe unfolds outside. Their primary concerns, though: Who’s still got R. Kelly tracks stored on their phones, and why black women really should sleep with a head scarf at night.

Another recurring sketch casts Black as Trinity, who’s a perfect spy because she’s the kind of black woman who is routinely ignored or deemed unimportant by society. At one point while chasing down a target, Trinity runs into a T.J. Maxx–type store. “It’s a trap,” she whispers. Within seconds, several well-dressed shoppers approach her, asking, “You work here, right?”

The bits on A Black Lady Sketch Show slyly and inventively highlight the challenges of being a black woman in America by pointing out society’s unfair expectations or unfair lack of expectations. A riff on the FX series Pose stages a competition called the Basic Ball in which an authentic lack of glamour is what’s rewarded. (“The category is … clinical depression.”) One of the house leaders in this parody of the show? Mother Exhausted From the House of Tired.

In another sketch, Thede plays a woman coerced by her co-worker to try going without makeup, Alicia Keys–style; when she does, an increasingly alarming cascade of emergencies ensue. When two women decide to go to a new neighborhood soul-food restaurant to support the community, a series of events make that increasingly impossible. (The restaurant has a “bring your own silverware” policy, and honestly, that’s the least of its problems.) Even a reboot of the sitcom 227 — in which Thede does an impression of Jackée’s Sandra that is so accurate, it could fool federal authorities — veers in wild, unexpected directions. Moments of shock or horror constantly collide with comedy in ways that make A Black Lady Sketch Show much more interesting than a mere delivery engine for laughs.

While the core cast holds it down in most scenes, there are great cameo appearances sprinkled throughout the season. Issa Rae, who’s an executive producer, shows up, as does her Insecure co-star, Yvonne Orji. Legends like Angela Bassett and Patti LaBelle make appearances, as does Thede’s former boss, Larry Wilmore. Veterans of classic sketch-comedy shows, including Garrett Morris of Saturday Night Live and David Alan Grier of In Living Color, do pop-ins as well, implying that A Black Lady Sketch Show is a successor to those greats. It certainly seems like it could be. This is TV’s best new sketch-comedy series, out of the gate, since Key and Peele.

But I hesitate to refer to A Black Lady Sketch Show as the new Key and Peele, because that would do it a disservice. It’s absolutely its own thing, a fact that comes across with joy and humor in episode six’s “Black Lady Courtroom” sketch. Slowly, the courtroom stenographer, the bailiff, the defense attorney, the prosecutor, and the defendant realize that all the people in the courtroom are black women. Then the judge, played by Yvette Nicole Brown, walks in and she’s a black woman, too! They can’t believe it. They’re supposed to get down to business, but they can’t stop themselves from singing out, “Black lady courtroom!” whooping it up, and cackling.

That moment is like A Black Lady Sketch Show is miniature. It’s a happy surprise, filled with laughter, that celebrates black women. It’s also long, long overdue.

https://www.vulture.com/2019/08/a-bl...bo-review.html
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post #31204 of 33297 Old 08-02-2019, 12:37 PM - Thread Starter
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TV/Critic's Notes (Streaming)
Why Netflix’s Derry Girls is the perfect show to stream this weekend
By Noel Murray, TheVerge.com - Aug. 2, 2019

There are so many streaming options available these days, and so many conflicting recommendations, that it’s hard to see through all the crap you could be watching. Each Friday, The Verge’s Cut the Crap column simplifies the choice by sorting through the overwhelming multitude of movies and TV shows on subscription services and recommending a single perfect thing to watch this weekend.

What to watch
The first episode of Derry Girls
, a sitcom created by Northern Irish playwright Lisa McGee for Britain’s Channel 4. Based loosely on McGee’s experiences growing up in Londonderry, Northern Ireland, in the early 1990s, in the waning years of the sectarian violence familiarly dubbed “the Troubles,” the show acknowledges the era’s mounting tensions while also telling lighthearted, hilariously profane stories about teens being teens. The first episode — titled “Episode One” — introduces the cast of Catholic schoolgirls. Saoirse-Monica Jackson plays Erin, an intensely self-conscious youngster who is stuck rooming with her weirdo cousin Orla (Louisa Harland). The two are pals with the skittish Clare (Nicola Coughlan) and the cocky Michelle (Jamie-Lee O’Donnell). At the start of a new school year, Michelle has been saddled with her own cousin, James (Dylan Llewellyn), an English kid assigned to be the first male to attend the all-girls Our Lady Immaculate College. (The authorities are afraid he’ll be beaten up at a boys’ school.)

Why watch now?
Because Derry Girls’ second season has just been made available in its entirety on Netflix.


Not enough Netflix subscribers know about the delight that is Derry Girls, a fast-paced, funny show that packs a lot of snappy dialogue and adolescent antics into each 22-minute installment, mixed with some rich period detail. In the second of the series’s six-episode seasons, the kids from Our Lady Immaculate scramble to get concert tickets and make plans for a prom — typical teenage business. But they also attend a symbolic peacemaking summit with a Protestant school, and they look forward to a state visit by President Bill Clinton, in hopes the US can help stabilize the region.

Season 1’s first episode establishes Derry Girls’ 1990s milieu, with its references to Macaulay Culkin and Pulp Fiction. But its most telling sign of the times comes with the opening image of soldiers in an armored vehicle, rolling through the Londonderry streets while the Cranberries’ “Dreams” plays on the soundtrack. Within the first minutes of episode 1, Erin’s family is hearing reports about an unexploded bomb on the bridge that leads to the school, and they’re wondering whether that day’s classes will be canceled.

At the same time, the world-weary tone the characters take to the Troubles is an immediate tip-off that Derry Girls won’t be too heavy. (Orla’s mother, on finding out that a potential explosion might keep her from hitting the tanning bed, grumbles, “I don’t know about the rest of you, but I’m not enjoying this bomb.”) The political situation is just context. A more common moment for the show is when Erin’s mother won’t let her wear a denim jacket to the school instead of the Our Lady Immaculate uniform blazer. When the denim-jacketed Clare sees Erin has wussed out on their planned wardrobe switch, she quickly takes hers off too, saying, “I’m not being individual on my own!” That sort of wry humor is what Derry Girls is all about.

Who it’s for
Fans of comedies about unruly women.


In the early 1990s, British comedian Jennifer Saunders wrote and starred in the bawdy sitcom Absolutely Fabulous, about an aging libertine and her equally wasted best friend, still trying to live like hip 20-year-olds well into their 40s. The show was enormously influential, inspiring a wave of American TV shows (like Cybill, Veronica’s Closet, and Sex and the City) about ladies inclined to overindulge in everything from sex to intoxicants to the latest luxury goods. That spirit lives on in series like the Pop Channel’s current Florida Girls, where the wanton women aren’t rich, but they also aren’t letting minor setbacks like probation and unpaid bills keep them from enjoying wild times.

Similarly, the girls in Derry Girls don’t let restrictive nuns or bomb threats keep them from swearing, fighting, and lusting after boys. (At least they don’t smoke, although Orla does carry a lighter because, as she says, “I just like meltin’ stuff.”) Much of the first episode is about the ladies getting sent to after-school detention for threatening to beat up an annoyingly unflappable first-year student — an offense Michelle insists was merely “attempted bullying,” unworthy of punishment. The big appeal of this show is that these characters’ self-centered concerns feel so real. There are bombs in the streets, but they’re more upset when a nun confiscates a lipstick that’s been discontinued. Whether viewers are willing to admit it, this kind of “But how does this affect me?” tunnel vision is honestly relatable.

Where to see it
Netflix.
For a male-centered version of the Derry Girls-style foul-mouthed UK high school hijinks, try the sitcom The Inbetweeners, which is also available on Netflix.

https://www.theverge.com/2019/8/2/20...recommendation
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post #31205 of 33297 Old 08-02-2019, 12:55 PM - Thread Starter
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When I went to college from 1991 to 1995 at the State University of New York in New Paltz (Upstate NY), there was only one local TV station in the nearby city of Kingston that could be seen by air antenna: WTZA, Ch. 62. New Paltz was smack between New York City and Albany, so we were too far from either city to get their broadcast stations OTA. The college had an agreement with the station to allow students to use WTZA's studio and control room for school projects when there were no newscasts or local productions using it. I worked camera on a "College Bowl"-type high school quiz show and, in my free time, assisted and watched them do live newscasts. I even became buddies with WTZA's sportscaster Brian Kenny, who went on to work for ESPN but to me will always be the host of a half-hour sports trivia show he hosted at 10:30PM after the local news aired.

The story below is about what remains of WTZA-TV's spectrum and signals after the station became WRNN-TV the year I graduated from college.

TV/Washington Notes
FCC Grants Channel-Sharer WRNN's Market Mod Petition
By John Eggerton, Multichannel News - Aug. 2, 2019

What the FCC took, it is now giving back.

The FCC has granted the market modification petition of New York independent TV station WRNN, primarily due to the "changed circumstance" of the FCC's own broadcast incentive auction.

The FCC encouraged broadcasters to participate in the auction, including sharing others' spectrum after they gave up theirs, and WRNN did, giving up its spectrum for a payout and the ability to stay on the air via a sharing agreement, which it has with WWOR Secaucus.

WRNN is an independent station that had been transmitting out of Kingston in upstate New York and is now co-located atop One World Trade Center in Manhattan and licensed to New Rochelle.

While Time Warner Cable (now Spectrum) was able to get the FCC to remove Bergen County communities from the station's market 20 years ago (based on it being so far from Bergen County), WRNN pointed out that with the move to downtown, it was now much closer to those viewers, and should be able to serve them, as WWOR does and historically has.

The FCC usually looks at historic carriage in a market as a key reason for granting such petitions. WRNN has none, but that is where the special circumstance comes in, the circumstance of the FCC's own prompting.

"We will consider the Station’s dramatic change in circumstances due to its change in community of license and transmitter site relocation as mitigating circumstances with respect to the Station’s lack of historic carriage," the Media Bureau said. But it also warned that this did not mean it was signaling to other channel-sharers.

The bureau said the decision "should not be interpreted as prejudging future market modifications filed by relocated channel sharing stations or affected cable systems.

All market modifications are evaluated on the specific facts and circumstances presented in those proceedings."

The FCC has to take a bunch of factors into account two of which are 1) whether "other stations located in the same area, have been historically carried on the cable system or systems within such community," WWOR is, and 2) and whether the station offers "coverage or other local service" to the community.

The FCC concluded that since Spectrum carries not only WWOR but other co-located and "nearby" stations, "[it] believes that WRNN would be at a competitive disadvantage if Spectrum did not also carry WRNN in the Communities."

The FCC concluded WRNN met the second prong, not because of local programming, but because of the local service of its signal coverage, geographic proximity and "shopping and labor patterns."

The FCC warned that this did not mean other repack station channel-sharers could expect similar treatment when seeking market mods.

The FCC is currently in phase four of its 10-phase repack, which is scheduled to be completed by July 3, 2020.

https://www.multichannel.com/news/fc...t-mod-petition
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post #31206 of 33297 Old 08-02-2019, 01:06 PM - Thread Starter
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TV/Summer TCA 2019 Tour Notes (Cable)
‘City On A Hill’: Showtime Renews Kevin Bacon & Aldis Hodge Drama For Second Season
By Peter White, Deadline.com - Aug. 2, 2019

City on a Hill, starring Kevin Bacon and Aldis Hodge, is to return for a second season at Showtime. The premium broadcaster has handed the crime drama another run ahead of its season one finale.

Showtime said that the Sunday night drama was reaching 3.5M viewers per week. The announcement was made by Gary Levine and Jana Winograde, Presidents of Entertainment, Showtime Networks, at the TCA summer press tour.

Created, written and executive produced by Chuck MacLean (Boston Strangler) and based on an original idea by Affleck, City on a Hill is set in early 1990s Boston when the city was rife with violent criminals emboldened by local law enforcement agencies in which corruption and racism was the norm, until it suddenly all changed. The drama is a fictional account of what was called the “Boston Miracle.” Driving that change is assistant district attorney Decourcy Ward (Hodge), who comes from Brooklyn and forms an unlikely alliance with a corrupt yet venerated FBI veteran, Jackie Rohr (Bacon). Together, they take on a family of armored car robbers from Charlestown in a case that grows to involve, and ultimately subvert, the entire criminal justice system of Boston.

With Tom Fontana (Homicide: Life on the Street) serving as showrunner and executive producer, City on a Hill, produced by Showtime, also stars Jonathan Tucker (Kingdom), Mark O’Brien (Halt and Catch Fire), Jill Hennessy (Crossing Jordan), Lauren E. Banks (Instinct), Amanda Clayton (Tyler Perry’s If Loving You Is Wrong), Kevin Chapman (Brotherhood) and Tony nominee Jere Shea (Passion), with Kevin Dunn (Veep) recurring and guest star Sarah Shahi (Fairly Legal).

Along with MacLean and Tom Fontana, City on a Hill is executive produced by Jennifer Todd, Ben Affleck, Matt Damon, Michael Cuesta, Barry Levinson and consulting producer James Mangold. Kevin Bacon and Jorge Zamacona serve as co-executive producers.

“City on a Hill is that addictive kind of meaty and messy show we love at Showtime,” said Levine. “With the inspired pairing of Kevin Bacon and Aldis Hodge and the inspired writing of Tom Fontana and Chuck MacLean, we believe there is a rich future for this compelling series.”

https://deadline.com/2019/08/city-on...me-1202659622/

* * * *

TV/Summer TCA 2019 Tour Notes (Cable)
‘Homeland’ Gets Premiere Date For Eighth & Final Season On Showtime
By Denise Petski, Deadline.com - Aug. 2, 2019

Showtime has set the return for the eighth and final season of Homeland. The Emmy and Golden Globe-winning hit drama series will premiere on Sunday, February 9 at 9 PM. Starring Claire Danes and Mandy Patinkin, the acclaimed series is currently in production on its final 12 episodes. The date was announced Friday during Showtime’s presentation at the TCA summer press tour.

The final season was originally scheduled to premiere in June, but because of the demands of filming internationally, it was moved to the end of the year, and now has been pushed into in 2020. Its seventh season also launched in February.

The final season of Homeland finds Carrie Mathison (Danes) recovering from months of brutal confinement in a Russian gulag. Her body is healing, but her memory remains fractured – which is a problem for Saul (Patinkin), now National Security Advisor to the newly ascendant President Warner (Beau Bridges). The top priority of Warner’s young administration is an end to the “forever war” in Afghanistan, and Saul has been dispatched to engage the Taliban in peace negotiations. But Kabul teems with warlords and mercenaries, zealots and spies – and Saul needs the relationships and expertise that only his protégé can provide. Against medical advice, Saul asks Carrie to walk with him into the lion’s den – one last time.

Along with Danes and Patinkin, the final season stars Maury Sterling, Linus Roache and Costa Ronin, with Nimrat Kaur and Numan Acar also returning from season four in series regular roles.

Showtime’s No. 1 drama series, Homeland originally premiered in the fall of 2011 and quickly became one of the most acclaimed dramas on television. With its opening episodes airing just weeks after the 10th anniversary of the 9/11 attacks, Homeland became a meditation on the human costs of the “war on terror.” Following its first season, Homeland was honored with six Emmy wins, including Outstanding Drama Series, Outstanding Writing for a Drama Series and Outstanding Lead Actress and Actor in a Drama Series. Additionally, the series was awarded Golden Globe, Peabody, Television Critics Association, AFI and Critics’ Choice Awards.

The Alex Gansa-Howard Gordon political thriller, based on an Israeli format, is produced by Fox 21 TV Studios. Along with Gansa and Gordon, executive producers for season eight include Chip Johannessen, Debora Cahn, Lesli Linka Glatter, Patrick Harbinson, Claire Danes, Michael Klick, Avi Nir, Ran Telem and Gideon Raff.

https://deadline.com/2019/08/homelan...me-1202659546/
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post #31207 of 33297 Old 08-02-2019, 01:15 PM - Thread Starter
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TV/Summer TCA 2019 Tour Notes (Cable)
‘The Chi’ to Kill Off Jason Mitchell’s Character in Season 3
By Joe Otterson, Variety.com - Aug. 2, 2019

There will not be any room for Jason Mitchell to return for “The Chi” in Season 3 of the Showtime drama.

Gary Levine, Showtime’s co-president of entertainment, said Friday that Mitchell’s character on the series will be killed off in the new season.

“There is a lot of great life in ‘The Chi’ and there’s also death in ‘The Chi’ and that’s how we’ll be dealing with it,” Levine said during the Television Critics Association summer press tour Friday.

It was revealed in May that Mitchell had been fired from the series due to allegations of harassment from showrunner Ayanna Floyd Davis and co-star Tiffany Boone. It was subsequently revealed that Mitchell had engaged in similar behavior on the set of the Netflix film “Desperados,” leading to his dimissal from that project as well.

Mitchell had been in high demand since his breakout role in the 2015 film “Straight Outta Compton,” in which he played NWA member Eazy-E. Since then, Mitchell has starred in films such as “Mudbound,” “Kong: Skull Island,” and “Detroit.” He plays a leading role on “The Chi,” which was created by Lena Waithe.

In an interview after Mitchell’s firing, Waithe said she first became aware of the allegations against Mitchell at the conclusion of “The Chi’s” first season. She said that there was sexual harassment training on set and that she called Mitchell directly to confront him. She then said that the involved parties handled the situation through HR and that all agreed to return for Season 2, but Mitchell’s behavior continued.

https://variety.com/2019/tv/news/the...ll-1203289671/

* * * *

TV/Summer TCA 2019 Tour Notes (Cable)
‘Halo’ Series at Showtime Casts Six, Including Natascha McElhone, Bokeem Woodbine

The “Halo” series at Showtime is rounding out its main cast.

The premium cabler announced Friday that Natascha McElhone, Bokeem Woodbine, Shabana Azmi, Bentley Kalu, Natasha Culzac, and Kate Kennedy have all joined the series adaptation of the megahit video game. They join previously announced series lead Pablo Schreiber, who will play the Master Chief, and Yerin Ha, who is playing a new character named Kwan Ha.

McElhone will star as two characters: Dr. Catherine Halsey, the creator of the Spartan supersoldiers, and Cortana, the most advanced AI in human history, and potentially the key to the survival of the human race.

In addition her role in the Showtime series “Californication,” McElhone has appeared on shows such as “The First” and “Designated Survivor” in addition to films like “The Truman Show,” “Ronin,” “Solaris,” and “City of Ghosts.”

Woodbine will play Soren-066, a privateer at the fringes of human civilization whose fate will bring him into conflict with his former military masters and his old friend, the Master Chief.

Woodbine received critical acclaim for his role in the second season of the FX series “Fargo,” earning an Emmy nomination for his work on the series in 2016. He will also appear in the upcoming Hulu series “Wu-Tang: An American Saga.” His other TV credits include “Unsolved: The Murders of Tupac and the Notorious B.I.G.,” “Underground,” and “Saving Grace.” His film credits include “Strapped,” “Jason’s Lyric,” “Ray,” and “Spider-Man: Homecoming.”

Azmi will play Admiral Margaret Parangosky, the head of the Office of Naval Intelligence.

In a career spanning 40 years, Azmi has acted in more than 140 films and has won the prestigious National Award for Best Actress five times, along with every other major acting award in India. She is also known for her roles in international films like “Madame Sousatzka,” “La Nuit Bengali,” “City of Joy,” and “Son of Pink Panther.”

Her TV roles include “Banglatown Banquet,” “Capital,” and “Next Of Kin,” a six-part series.

The series will also introduce three all-new characters to the “Halo” universe. Kalu will play Spartan Vannak-134, a cybernetically augmented supersoldier conscripted at childhood who serves as the defacto deputy to the Master Chief. Culzac will star in the role of Spartan Riz-028. a focused, professional and deadly, cybernetically enhanced killing machine. Kennedy stars as Spartan Kai-125, a courageous, curious, and deadly Spartan supersoldier.

Kalu’s latest film projects include “Avengers: Age of Ultron,” “Edge of Tomorrow,” “Vengeance 2,” “Stairs,” “Judy,” “Dead Ringer,” and “Black Site.” On television, he has appeared in roles including “Chimerica,” “Doctor Who,” and “Spooks.”

Culzac’s roles include the upcoming television series “The Witcher” starring Henry Cavill and “Cursed.” Other credits include “Men in Black International” and “The Strangers.”

Kennedy starred in the BBC adaptation of “A Midsummer Night’s Dream” as well as “Catastrophe” and the film “Damascene.”

“Halo” will begin production later this year in Budapest and is slated to air in the first quarter of 2021. It was announced back in June that Showtime had ordered a 10-episode series based on the megahit video game after it had been in development at the premium cabler for years, though its order has since been trimmed to nine episodes. Kyle Killen and Steve Kane will serve as co-showrunners and executive producers. Darryl Frank and Justin Falvey of Amblin Television will also executive produce along with series director Otto Bathurst and Toby Leslie for One Big Picture, Scott Pennington for Chapter Eleven, and Karen Richards.

The series is produced by Showtime in partnership with 343 Industries and Amblin Television. It will be distributed globally by CBS Studios International.

https://variety.com/2019/tv/news/hal...ne-1203289404/
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TV/Summer TCA 2019 Tour Notes (Cable)
‘L Word’ Sequel ‘Generation Q’ Gets Premiere Date at Showtime
By Jennifer Maas, TheWrap.com - Aug. 2, 2019

Showtime gave “The L Word” fans an early Christmas present Friday in the form of a premiere date for the groundbreaking series’ upcoming sequel, which the premium cable channel revealed will debut before the holidays.

Titled “The L Word: Generation Q,” the sequel series will premiere on Sunday, Dec. 8 at 10 p.m., Showtime Networks presidents of entertainment Gary Levine and Jana Winograde said during the Television Critics Association press tour Friday.

Per Showtime, the sequel to the original series — which aired on the pay-TV channel from 2004 to 2009 — continues to follow the intermingled lives of Bette Porter (Jennifer Beals), Alice Pieszecki (Leisha Hailey) and Shane McCutcheon (Katherine Moennig), along with new characters Dani Nùñez (Arienne Mandi), Micah Lee (Leo Sheng), Finley (Jacqueline Toboni), Sophie Suarez (Rosanny Zayas) and Gigi (Sepideh Moafi) as they experience love, heartbreak, sex, setbacks and success in L.A.

“Generation Q” is currently in Los Angeles, with guest stars for the limited series to include Brian Michael, Stephanie Allyne, Olivia Thirlby, Fortune Feimster and Latarsha Rose.

“The L Word” sequel is executive produced by showrunner Marja-Lewis Ryan (“The Four-Faced Liar,” “6 Balloons”), along with series creator Ilene Chaiken, Kristen Campo, Steph Green (pilot only), and original series stars Beals, Moennig and Hailey.

https://www.thewrap.com/l-word-seque...on-q-showtime/

* * * *

TV/Summer TCA 2019 Tour Notes (Cable)
Daveed Diggs to Play Frederick Douglass in Ethan Hawke’s Showtime Limited Series ‘The Good Lord Bird’
By Margeaux Sippell, TheWrap.com - Aug. 2, 2019

Daveed Diggs and Wyatt Russell have joined “The Good Lord Bird,” Ethan Hawke’s Showtime drama.

Diggs will play Frederick Douglass, the historical figure, orator and leader of the abolitionist movement. “Lodge 49” star Wyatt Russell will star in several episodes as U.S. Army Officer Jeb Stuart. Hawke executive produces and stars as John Brown.

The eight-part limited event series comes from Blumhouse Television and is based on the novel of the same name by James McBride. It is set to premiere in February.

According to Showtime, “The Good Lord Bird” is told from the point of view of Onion (Joshua Johnson-Lionel), a fictional enslaved boy, who is part of Brown’s motley crew of abolitionist soldiers during the time of Bleeding Kansas, eventually participating in the famous 1859 raid on the Army depot at Harpers Ferry. Brown’s raid failed to initiate the slave revolt he intended, but was the instigating event that started the Civil War.

Mark Richard serves as showrunner, and executive produces alongside Hawke, with whom he wrote the first episode of the series. James McBride and Albert Hughes also executive produce, and Hughes directs multiple episodes. Jason Blum, Brian Taylor, Ryan Hawke, David Schiff, Jeremy Gold, Marci Wiseman and Marshall Persinger also executive produce. Other directors include Kevin Hooks, Darnell Martin and Haifaa Al Mansour.

Diggs’ Douglass is described as working with Brown and encouraging the raid on Harpers Ferry — but finds Brown’s planning and leadership style questionable and his approach dangerous, bordering on suicidal.

Russell’s Jeb Stuart is described as a no-nonsense federal army officer with orders to apprehend John Brown in Kansas. He is promoted in rank several times during his failed attempts to negotiate Brown’s surrender. Despite having some sympathy for Brown’s cause of freedom, he disagrees with his tactics of murder and coercion and is later tasked with leading the federal response to Brown’s takeover of Harpers Ferry.

Other cast members include David Morse (“Escape at Dannemora”) as Dutch Henry Sherman, Steve Zahn (“War of the Planet of the Apes”) as Chase, Orlando Jones (“American Gods”) as The Rail Man and Ellar Coltrane (“Boyhood”) as Salmon Brown. Mo Brings Plenty (“Yellowstone”), Jack Alcott (“Champagne ILL”), Nick Eversman (“The Duff”), Hubert Point-Du Jour (“Madame Secretary”) and Beau Knapp (“Shots Fired”) will also star.

Known for “Hamilton,” Diggs also co-wrote, produced and starred in the 2018 film “Blindspotting,” and has been seen on television on “The Unbreakable Kimmy Schmidt,” “The Get Down,” “Black-ish” and “Snowpiercer.”

Russell is known for “Lodge 49” and will star in the upcoming film “The Woman in the Window” opposite Amy Adams. He was previously seen in “Black Mirror.”

“The Good Lord Bird” premieres Feb. 16, 2020 at 10/9c on Showtime.

https://www.thewrap.com/daveed-diggs...ood-lord-bird/
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TV/Summer TCA 2019 Tour Notes (Cable)
Showtime Execs Aim to Balance Expansion With “Boutique” Mentality
By Michael O'Connell, The Hollywood Reporter - Aug. 2, 2019

In a play to distinguish his network from its competitors, Showtime president of entertainment Gary Levine began his Friday session at the Television Critics Association's summer press tour with a subtle jab at them — appearing on stage at the Beverly Hilton before sign that read “Showtime Maxi+ Plus.”

No, there won’t be a big tent OTT platform with Showtime’s name — at least not yet — but there will be more programming. Levine and fellow entertainment president Jana Winograde touted plans for a 30 percent increase in original programming. That will include a boost in both scripted and unscripted programming.

“It’s hard to say when too much is too much,” said Levine. “As long as we can continue to engage our audience, we believe in our ability to compete … but we’re still a small boutique operation. We’ll never change that.”

Showtime, with such heavy-hitters as Homeland (now returning in 2020), Billions and Shameless, doesn’t scream “boutique” — but, by today’s ever-shifting standards in the content race, perhaps it is. New projects being touted Friday include the revival of The L Word, the second season of Jim Carrey vehicle Kidding and the upcoming Kirsten Dunst vehicle On Becoming a God in Central Florida. The latter, a surprise acquisition after it failed to move forward at YouTube Red, lands Aug. 25.

Buying projects that don’t go forward at other outlets, like On Becoming a God, is not off the table at Showtime. But Winograde and Levine were quick to clarifying that they’re not in the business of show-saving. Other outlet’s canceled series have no place on the network. “We like our original series,” said Levine. “We just don’t have an ego about whether or not they come out of our offices.”

Much was said of Showtime’s efforts to highlight new voices, which naturally led to mentions of SMILF’s cancelation after allegations of misconduct against star and creator Frankie Shaw and the handling of allegations of misconduct against former The Chi star Jason Mitchell.

“There is a learning curve,” offered Levine. “One could play it safe, but then you’re never going to get the new voices and we’re so proud of cultivating. We’re all trying to figure this out as an industry and put the right support systems in place. … Bottom line, that series [SMILF] is no longer on our air and Jason is no longer part of our show [The Chi].”

And, because there was never a chance of the Q&A ending without some mention of Shameless star William H. Macy’s ties to the College Admissions Scandal, Levine offered a quick update on Felicity Huffman’s husband.

“Bill was just really happy to come back to work,” he said. “That’s what we’ve focused on.”

https://www.hollywoodreporter.com/li...tality-1228960

* * * *

TV/Summer TCA 2019 Tour Notes (Cable)
Bryan Cranston-Led Showtime Thriller Adds 'Looming Tower,' 'The Mick' Actors
By Rick Porter, The Hollywood Reporter - Aug. 2, 2019

Showtime's limited series Your Honor, starring Bryan Cranston, has added Michael Stuhlbarg and Sofia Black-D'Elia to its cast.

The legal thriller from writer/showrunner Peter Moffat (the BBC's Criminal Justice, the basis for HBO's The Night Of) and The Good Fight and Evil creators Michelle and Robert King stars Cranston as a New Orleans judge whose son, Adam (Hunter Doohan), is involved in a hit-and-run. The incident leads to a high-stakes game of lies, deceit and impossible choices.

Emmy nominee and SAG Award winner Stuhlbarg (The Looming Tower, Boardwalk Empire, Call Me By Your Name) will play Tommy, the much-feared head of a crime family. Black-D'Elia (The Night Of, The Mick) plays Frannie, Adam's girlfriend.

Showtime gave a series commitment to Your Honor back in 2017; it's set to begin production in the fall in New Orleans. Emmy nominee Edward Berger (Patrick Melrose) will direct the first three episodes.

Based on Israeli series Kvodo, Your Honor comes from CBS TV Studios, where the Kings have an overall deal via their King Size Productions. Robert and Michelle King executive produce with Moffat, Cranston, Berger, King Size president Liz Glotzer, Scripted World's Alon Aranya and Rob Golenberg and Cranston's producing partner James Degus of Moonshot Entertainment.

https://www.hollywoodreporter.com/li...-delia-1228840
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 2, 2019

MARVEL'S AGENTS OF S.H.I.E.L.D.
ABC, 8:00 p.m. ET
SEASON FINALE:
This year’s adventures on S.H.I.E.L.D. have been all over the place – and all over space and time as well. For this season finale, the world once again hangs in the balance, but this time the world in question is Earth – and the villain is a body-borrowing intergalactic villainess named Izel, played by Karolina Wydra (pictured), who plans to absorb and destroy the planet’s energy as part of an even greater and more menacing plan. But whatever happens tonight, Marvel’s Agents of S.H.I.E.L.D. has been renewed for one final season, so don’t expect the end of the world, much less the galaxy or universe, just yet.

THE DESCENDANTS 3
Disney Channel, 8:00 p.m. ET
MOVIE PREMIERE:
The previous two films in this Disney franchise, from 2015 and 2017, both ended the same way, setting up a sequel by having a character look to the camera and ask, “You didn’t think this was the end of the story, did you?” Not when the previous Disney movie franchise, High School Musical, was so mega-popular among its tween viewers. So here we have the third iteration of The Descendants, which follows the respective, but not necessarily respectful, teen children of Disney villains Maleficent, Cruella de Vil, Jafar, and the Evil Queen. Sadly, this will be the last appearance of Cameron Boyce, one of the stars of The Descendants movies. Cameron passed away last month at the young age of 20.

JETT
Cinemax, 10:00 p.m. ET

This is the penultimate episode of Jett, which you can expect will put her in even more peril than usual – and increasingly uncertain about where her own loyalties should lie.

REAL TIME WITH BILL MAHER
HBO, 10:00 p.m. ET

Hooray. He’s back. Now tell us, Bill, what you thought of the debates thus far, and the Mueller testimony, and the latest Trump rallies, and everything else you didn’t get to talk about during your summer vacation from TV.

A BLACK LADY SKETCH SHOW
HBO, 11:00 p.m. ET
SERIES PREMIERE:
This newest HBO sketch series carves out some interesting territory, and finds some unexpected (as well as some very expected) targets for humor. But tonight’s opener, specifically, scores more in terms of premise than in actual laughs. It’s worth keeping an eye on, though, to see how, and if, it develops.


http://www.tvworthwatching.com/

* * * *

TV/Summer TCA 2019 Tour Notes (Broadcast)
At TCA, CBS Addresses Controversies Amid Programming Announcements
By Mike Hughes, TVWorthWatching.com's 'Open Mike' - Aug. 1, 2019

LOS ANGELES – Just as CBS is renewing Love Island, its other summer reality show faces fresh scrutiny.

"We have heard things about (Big Brother) that we are not comfortable with," Kelly Kahl, President of CBS Entertainment, confirmed during the network's session at the Television Critics Association (TCA) Summer Press Tour.

One of the show's producers has been chastised for prompting a contestant to give outspoken soundbites, he said, and will be talked to after the season. The producer, as well as producers on all CBS shows, received unconscious-bias training.

That's a charge that has followed reality shows – the tendency to have contestants fit racial stereotypes. In his 2012 book Race-Baiter, Eric Deggans (a veteran TV critic on NPR and in newspapers) had a chapter on reality shows, with Big Brother and Survivor contestants discussing being stereotyped. Thom Sherman, Sr. Executive VP of Programming, partly defended the Big Brother record: "Half of our (current) cast is diverse, and the last three winners have been diverse." But he and Kahl granted there's work to be done.

CBS has been trying for a new image after long-time leader Les Moonves was fired for sexual abuse. Complicating things, actress Eliza Dushku (top) made allegations of sexual harassment by Michael Weatherly on the set of Bull; producer Glenn Gordon Caron then fired her from what could have been a long-running show. Eventually, the New York Times reported, she received a $9.5 million settlement.

Kahl agreed that there was a settlement; he said Weatherly was "remorseful" and that both he and Caron are undergoing leadership training.

Other headlines from the session revolved around the names David E. Kelley and Kaley Cuoco.

Writer/Producer Kelley, who, since the early 1990s, has been a creator, writer, or producer – sometimes all three – on successful shows from L.A. Law to Big Little Lies, is returning to CBS. He'll write and produce (for the 2020-2021 season) The Lincoln Lawyer, based on a series of Michael Connelly's novels about a lawyer working out of his car.

Kaley Cuoco will come back to CBS as a producer this time. The Big Bang star has a comedy, Pretty, in which a young woman (Santina Muha) moves to Los Angeles, hoping to find love and be the new Oprah.

http://www.tvworthwatching.com/BlogP...x?postId=18592
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I've had a Sundance-TV "Law & Order" marathon running in the background for hours while updating "HOTP." DirecTV Now app on a Roku TV. Every few commercial breaks a handful of ads appear that are clearly not coming from Sundance. They have a counter (Ad 1 of 2, etc.) similar to ad breaks on Tubi and other OTT streamers. I assume AT&T are inserting these ads? If so, do other OTT providers (Hulu Live, etc.) also engage in this practice? Since it's an ad break pre-empting an existing ad break I really don't mind, just curious.
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post #31212 of 33297 Old 08-02-2019, 02:42 PM - Thread Starter
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TV Notes
On The Air Tonight
FRIDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Jul. 12, 2019

ABC:
8PM - Marvel's Agents of S.H.I.E.L.D. (Season Finale, 120 min.)
10PM - 20/20: Unfriended
(R)
* * * *
11:35PM - Jimmy Kimmel Live! (Brad Pitt, Leonardo DiCaprio, Margot Robbie and Quentin Tarantino ("Once Upon a Time in Hollywood"); Keith L. Williams; Tal Wilkenfeld performs)
(R)
12:37AM - Nightline

CBS:
8PM - Love Island
9PM - Hawaii Five-0
(R)
10PM - Blue Bloods
(R)
* * * *
11:35PM - The Late Show With Stephen Colbert (Singer Tim McGraw; historian Jon Meacham; Tessa Thompson; Jessie Reyez and 6lack perform)
(R)
12:37AM - The Late Late Show With James Corden (Charlize Theron and Seth Rogen)
(R)

NBC:
8PM - American Ninja Warrior: Oklahoma City City Finals (120 min.)
(R)
10PM - Dateline NBC: Unraveled
(R)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Musician Chance the Rapper; Jennifer Lopez; David Crosby talks and performs; director Cameron Crowe)
(R)
12:37AM - Late Night With Seth Meyers (John Leguizamo; Rep. Hakeem Jeffries (D-N.Y.); Jonas Brothers perform; Raghav Mehrotra sits in with the 8G Band)
(R)
1:38AM - Last Call With Carson Daly (Pablo Schreiber; Robert DeLong performs; Madeline Brewer)
(R)

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

THE CW:
8PM - Masters of Illusion
8:30PM - The Big Stage
9PM - The Outpost
(R)

PBS:
8PM - Washington Week
8:30PM - Firing Line With Margaret Hoover
9PM - American Masters: Worlds of Ursula K. Le Guin
10PM - Great Performances - Harold Prince: The Director's Life
(R)

UNIVISION:
8PM - La Reina Soy Yo
9PM - La Reina de Guadalupe
10PM - Sin Miedo a la Verdad

TELEMUNDO:
8PM - Un Poquito Tuyo
9PM - Betty en NY
10PM - Preso No. 1

CBSSN:
7PM - World TeamTennis (Teams TBA, 2 1/2 hrs., LIVE)
10PM - World TeamTennis (Teams TBA, 2 1/2 hrs., LIVE)

ESPN:
7PM - The Basketball Tournament: Loyalty is Love vs. Overseas Elite (LIVE)
9PM - X Games: Minneapolis (3 hrs., LIVE)

ESPN NEWS:
7PM - NWSL Soccer: Seattle Reign FC at Houston Dash (LIVE)

DISCOVERY (SHARK WEEK):
8PM - Isle of Jaws: Blood Brothers
9PM - Andrew Mayne: Ghost Diver
10PM - I Was Prey: Shark Week

DISNEY:
8PM - Movie: Descendants 3 (2019)
9:55PM - Movie: Descendants 3 (2019)

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

LIFETIME MOVIE NETWORK:
8PM - Movie: A Lover Scorned (2019)

MTV:
8PM - Ridiculousness: Lil Skies

NBCSN:
8PM - Swimming, Day 3: Phillips 66 U.S. Nationals (LIVE)
9PM - FIVB Tokyo Women's Volleyball Qualification 2019: United States vs. Kazakhstan (120 min.)

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

CMT:
9PM - Dallas Cowboys Cheerleaders: Making the Team (Season Premiere)
10PM - Racing Wives (Series Premiere)*
*
(Simulcast on VH1)

SHOWTIME:
9PM - Shangri-La (Finale, Part 4 of 4)

ESPN 2:
9:30PM - The Basketball Tournament: Team Hines vs. Team Brotherly Love (LIVE)

CINEMAX:
10PM - Jett (55 min.)

HBO:
10PM - Real Time with Bill Maher (LIVE: Rep. Hakeem Jeffries (D-N.Y.); candidate for the 2020 Democratic nomination for president Marianne Williamson; columnist and radio show host Josh Barro; Jennifer Granholm, professor and former governor of Michigan; radio host Buck Sexton)
* * * *
11PM - A Black Lady Sketch Show (Series Premiere)

STARZ:
10PM - MotherFatherSon

SYFY:
10PM - Killjoys

COMEDY CENTRAL:
11PM - This Week at the Comedy Cellar

TBS:
11PM - ELEAGUE: Gears 5 Episode 6


https://tvlistings.zap2it.com/?aid=gapzap
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Nielsen Overnights (Broadcast)
TV Ratings: NFL Preseason Opens With Lows for Hall of Fame Game
By Rick Porter, The Hollywood Reporter - Aug. 2, 2019

The other networks are largely steady Thursday, with CBS' 'Big Brother' and Fox's 'Masterchef' leading the non-sports slate.

Ratings for the NFL's preseason opener look to be at an all-time low for the second year in a row.

NBC's broadcast of the Hall of Fame Game from Canton, Ohio, drew a 4.1 household rating in metered markets Thursday night. That's down about 15 percent from a 4.8 last year — which ended up translating to 6.77 million viewers in the finals, a low for the game that marks the beginning of the league's preseason slate.

6.77 million people watching a meaningless game is still pretty good. I'm sure the MLB would love to have those numbers for games that count. But I'd say the numbers are down because fans are not as interested in preseason games like they used to be and people can't get used to the Hall of Fame Game being on a Thursday night.
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TV/Summer TCA 2019 Tour Notes (Cable)
Jim Carrey’s Not Kidding: Boasts Creative Fulfillment, Teases Lighter Stories in “Kidding” Season 2
By Diane Haithman, Deadline.com - Aug. 2, 2019

Is Jim Carrey finally in a “good place?” We’re not sure after today’s TCA Showtime panel on Kidding. The quirky actor acknowledged his lifelong quest for “meaningful and interesting and satisfying” experiences has reached a peak in recent days. “I couldn’t be in a better place,” he said.

But later, he mildly scolded a questioner in the audience who asked him to confirm that he was in a “good place” right now. “I didn’t say I was in a good place. I said the work was satisfying,” he said. “I have all the sh*t you have going on as well.”

Good, better, whatever, Carrey’s current creative confluence has him starring as kiddie TV host Jeff Pickles in the dark comedy series, as well as showcasing his political cartoons on Twitter, many lampooning the Trump administration; 50 of those cartoons are on exhibition in an art center in Montreal. He added that he is also launching new projects “that I can’t speak about that are extraordinary” and that he “can’t wait” to announce a few months from now. “(I have) literally an embarrassment of riches creatively right now,” he said onstage.

Lest he come across as overly happy, Carrey acknowledged that he’d rather be home in Hawaii than in Los Angeles, but this is where he needs to be to do Kidding. “I came back from Hawaii to do this,” he said. “I’m here because it’s the right thing to do. But f*ck no, I don’t want to be here. (I live in) a constant state of f*ck no, I don’t want to be here.” However, “It is the role of a lifetime, no other place that’s better for me to be, except Hawaii,” Carrey added later.

Carrey appeared on today’s panel with Dave Holstein (EP, showrunner and writer) and co-stars Catherine Keener and Judy Greer. Mirroring Carrey’s personal blend of euphoria and dissatisfaction, the creative team said the show would continue to reflect the human reality of good and bad, pleasure and pain.

However, Carrey and Holstein said Season 2 would show a little more of the light at the end of the tunnel for the characters. “I think more and more, in this plot as we go along [we will] see that these terrible forces and these wonderful forces all work together,” Carrey said.

Holstein said the new season would have feature more puppets, more songs (seven, including singing appearances by Ariana Grande), and more hopefulness. He and confirmed that Tara Lipinski would return in Season 2.

Holstein said his cell phone became a casualty of Grande’s work because she tagged him in an Instagram post. Millions of “likes” on the post all popped up on Holstein’s phone and it stopped working for a period. “She literally broke my phone,” Holstein said.

Carrey refused to exit his zone of creative satisfaction when asked about the delay of the animated movie Sonic the Hedgehog, in which he plays a role. The movie has been moved from November 2019 to February 2020 for the animators to “fix” the look of the Sonic character.

“I don’t know what’s going to happen, I don’t really concern myself with things once I did my thing,” Carrey said. In the digital world, he added, “the ownership of anything is going out the window for all of us.”

https://deadline.com/2019/08/jim-car...ca-1202659953/

* * * *

TV/Summer TCA 2019 Tour Notes (Cable)
‘Back To Life’: Showtime Sets Premiere Date & Launches Trailer As Creator Daisy Haggard Eyes Second Season
By Peter White, Deadline.com - Aug. 2, 2019

Daisy Haggard was changing a diaper when she found out that Showtime had picked up her six-part British comedy Back To Life. “I could not have been happier,” she said.

The show was originally produced by Fleabag producer Two Brothers Pictures for the BBC with the U.S. premium broadcaster acquiring it after its British run. It will air on Sunday October 6 and you can watch the trailer below.

Back To Life was created by, written by and stars Haggard, who previously starred in Showtime’s Episodes. She plays Miri Matteson, who, after 18 years behind bars, returns home and stumbles back into adult life in the coastal town she once knew, while the mystery of her past looms large.

It follows Miri’s first few weeks out of prison navigating her way in a new world, trying, and frequently failing, to lead a normal life in her picturesque but claustrophobic seaside hometown. Miri attempts to rekindle old relationships, make new ones, look for work and readjust to life outside, while desperately waiting for the world to forget about what happened that fateful night. Guiding Miri as she tries to adapt are a cast of offbeat and intriguing characters with secrets of their own, including her sexually frustrated mother Caroline (Geraldine James), her obsessive environmentalist father Oscar (Richard Durden) and her parole officer with no filter, Janice (Jo Martin). Viewers will also meet her first love Dom (Jamie Michie), ex-best friend Mandy (Christine Bottomley), next-door neighbor Billy (Adeel Akhtar) and fish-and-chips shop owner and new boss Nathan (Liam Williams).

Haggard, speaking at the TCA summer press tour, and her production partners, are also hopeful of a second season for the comedy. “There’s definitely more story to tell,” she told Deadline.

The show aired on BBC Three in the UK, produced by Debs Pisani and directed by Chris Sweeney. The executive producers are Harry and Jack Williams, Solon, Haggard, Sarah Hammond and Chris Sweeney. All3Media International is distributor.

https://deadline.com/2019/08/back-to...er-1202660180/
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Saturday a COLOSSAL hour of horse racing:

CBSSN & TVG from Meadowlands NJ
4:40p $500,000 Hambletonian Oaks (for fillies the Kentucky Oaks of harness racing) - Millies Possesion 9-5 & a perfect 8 for 8.
5:14p $1,000,000 Hambletonian (the Kentucky Derby of harness racing) - Greenshoe the fav (-150 odds he breaks the all time stakes record).

NBCSN & TVG from Saratoga NY
5:06p $500,000 Test - Bellafina 2-1 but some other nice 3yo fillies too.
5:46p $1,000,000 Whitney - McKinzie 7-5 (#3 ranked) vs Thunder Snow 3-1 career earnings $16.5 million.

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Nielsen Overnights (Broadcast)
TV Ratings: NFL Preseason Opens With Lows for Hall of Fame Game
By Rick Porter, The Hollywood Reporter - Aug. 2, 2019

Ratings for the NFL's preseason opener look to be at an all-time low for the second year in a row.
I almost forgot this game was on, I don’t remember seeing it advertised much.
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^^^ Unless you're watching NBC during the summer ("America's Got Talent," "Jimmy Fallon," etc.) you wouldn't be exposed to network promos telling you to tune in to watch the game. I didn't even know this Hall of Fame game was on until I saw the TV listings.
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post #31218 of 33297 Old 08-03-2019, 12:38 PM - Thread Starter
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Technology/Business Notes (Gaming)
Ninja’s 80,000 Mixer viewers show that he’s bigger than just Twitch
By Bijan Stephen, TheVerge.com - Aug. 2, 2019

Tyler “Ninja” Blevins — the Fortnite livestreamer and all-around entertainer — had his first exclusive broadcast on Microsoft’s Mixer platform; in the moments before his broadcast officially began, the number of people watching his stream crossed 50,000 and 60,000 people to land, in its first moments, somewhere around 76,000 sets of eyes. (It grew to 80,000 just after Blevins’s first victory.)

Mixer competes with Twitch, YouTube, and Facebook for a relatively narrow share of the livestreaming market. Yesterday, Blevins announced his move to the service, in a tweet that blew up gaming’s corner of the internet; he was leaving behind 14.7 million followers on Twitch, and striking out for a service that, comparatively, nobody knew much about. Blevins is probably the most famous streamer in the world; the fact of his leaving Twitch, which dominates livestreaming, was a very big deal.

So far, the move looks like it has been a success. Today, Blevins streamed from the Red Bull tent at Lollapalooza, the Chicago music festival. While the number of viewers was lower today than the thousands of viewers he pulled in last year, it’s almost double what he’s been finding there for the last several weeks, as Polygon’s Austen Goslin first noted. Even before Blevin’s first stream on Mixer, his channel had found 370,000 paying subscribers, an impressive number for any streamer and one that was not lost on Blevins himself. That said, Mixer is offering two months of free subscriptions to Blevins’ channel to everyone who signs up.

During the stream, the crowd’s energy was infectious; it seemed impossible for anyone watching in person to stop yelling. Blevins was his usual hyperactive self — slamming cans of Red Bull, one of the day’s sponsors — and the crowd cheered for every elimination he earned. He was in high spirits, hunting down every player he could find and exploding them into showers of multicolored items. While he lost his first two games relatively early, Blevins managed to find back to back victories against the 99 other opponents on the map. (“It’s easy. It’s easy. GGs,” he said, after his second win of the day.) At its best, Fortnite is a twitchy, fluid game of reflexes and resource management that rewards inventiveness just as much as it rewards good aim; at his best, Blevins has both, though he’s not a professional.

Shortly into his matches, Blevins found a partner: the musician Mitchell Brown, who records under the name Kid Quill. “I was literally more nervous to play this than to perform my set,” Brown said, after he’d been knocked out. Which seems true: Blevins, a former professional Halo player, is the most popular video game player on the planet.

The day at Lollapalooza was leading up to Fortnite Friday, a weekly Fortnite tournament for celebrity players, streamers, and professionals. In the games before the tournament — where he was to play with Kyle “Bugha” Giersdorf, the 16-year-old who’s the game’s newest world champion — Blevins was performing: calling his shots, showing off for the crowd. “I freakin’ love you guys,” he said. “Let’s go!”

Playing the game still seems fun for him. “I can’t tell you the last time I planned a session to game until Fortnite came out,” Blevins told Brown. He was still excited to get up in the mornings and run squads with his boys, is what he meant.

https://www.theverge.com/2019/8/2/20...witch-fortnite
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post #31219 of 33297 Old 08-03-2019, 12:44 PM - Thread Starter
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TV Notes (Syndication)
Nancy O’Dell Exits as Co-Host of ‘Entertainment Tonight’
By Margeaux Sippell, TheWrap.com - Aug. 2, 2019

Nancy O’Dell is leaving her post at “Entertainment Tonight” after nine years of co-hosting the show.

“Tonight, I’m excited to tell you about the start of a new chapter in my life,” O’Dell said on Friday night’s broadcast. “It means leaving this position, but it does not mean I am leaving the genre. I’ll be back and it won’t be long.”

The longtime TV personality said she plans to “enjoy some time off with the most wonderful gal in my life, my daughter” before she starts her “new project.”

She also took a moment to honor the late William Morris talent rep John Ferriter.

“My manager, agent and dear friend of 20 years, John Ferriter, helped me get this job at ET. He passed away just a week ago. Shortly before his passing, he told me life is too short, do what makes you happy, you’re creating your own best life,” O’Dell said. “I’m proud to have this show as part of my story. This last sign off is for you, John, and for all the viewers whom I have an unbreakable bond with from our daily chance to talk all things entertainment. That bond will never change. So, it’s not goodbye, but rather just turning the page to the next chapter.”

“For almost nine years, Nancy has welcomed viewers to ET every night with her signature southern charm,” “Entertainment Tonight” producer Erin Johnson said in a statement. “From anchoring both royal weddings, gracing every major award show red carpet and interviewing the likes of Garth Brooks, JLo and Oprah, her expertise behind the microphone is undeniable. We can’t thank Nancy enough for her dedication to keeping ET the gold standard in entertainment news and we have no doubt she will continue to succeed in all future endeavors.”

O’Dell also took a moment to thank the viewers who have been watching her for nearly a decade.

“I never take for granted how you have welcomed me into your home and your busy lives,” she said. “Not long ago, a dear friend told me to make a life list, writing down on one side career milestones, and on the other side, what I still want to accomplish. The first list contains a near embarrassment of riches for me; like being chosen as the host to step into the shoes of the legendary Mary Hart, what an honor, then the people, all the celebrities who have let me into their private worlds, many becoming good friends, and getting to work with so many wonderful and talented people here. I wish I had the time to list names because so many will forever be in my heart.”

https://www.thewrap.com/nancy-odell-...nment-tonight/
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Nielsen Overnights (Broadcast)
Friday Ratings: Ninjas, Newsmags And Secret Agents Rule The August Night
By Bruce Haring, Deadline.com - Aug. 3, 2019

Secret agents and ninjas topped the Friday demo wars, with an encore of NBC’s American Ninja Warrior (0.5/3) tying the two-hour finale of Marvel’s Agents of S.H.I.E.L.D. (0.5/3).

Overall, NBC once again took the night, as Dateline also tied for the topline in demos at 0.5/3, keeping the peacock network’s Friday night winning streak alive.

Elsewhere, CBS reality show Love Island continued to pine for an audience, coming in at 0.3/3, with reruns of Hawaii Five-0 and Blue Bloods ending the eye network’s night.

On Fox, First Responders Live arrived at 0.3/2 and a 1.66 million audience, followed by a rerun of MasterChef.

The CW saw its Masters of Illusion come in at 0.2/1 and 0.82 million, with The Big Stage clocking in at 0.1/1 and 0.65 million. A rerun of The Outpost ended its night.

ABC also saw 20/20 score an 0.4/2.

https://deadline.com/2019/08/friday-...ht-1202660567/
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TV/Production Notes (Cable)
Gal Gadot Is Officially Headed to TV to Play Another Powerful Woman
By Rachel Paige, TVGuide.com - Aug. 2, 2019

From one Wonder Woman to the next, Gal Gadot is set to star in and executive-produce Showtime's upcoming limited series about Hedy Lamarr, an actress and inventor during the Golden Age of Hollywood and World War II, who was dubbed "The Most Beautiful Woman in the World."

The series will be written by The Affair showrunner Sarah Treem who will executive-produce with Warren Littlefield, Katie Robbins, and Jaron Varsano.

"The life of Hedy Lamarr was a truly fascinating one. She stood at the forefront of many issues that challenge women and our society today," said Jana Winograde, president of entertainment for Showtime Networks, in a statement. "In Gal Gadot, we have found the transcendent actress to portray the deeply complex Lamarr. And with the award-winning talents of Sarah Treem and Warren Littlefield, this is going to be a special series."

Gadot has been circling the series for some time, with news of her potential involvement going back as far as 2018. Now it's official, and for those unfamiliar with Lamarr, Showtime explained that "she formed her own production company at a time such a thing was unheard of, for a woman. And in her spare time, she worked as an avid inventor, eventually patenting a frequency-hopping technology in 1941 that our modern-day Wi-Fi is predicated upon." However, during her later years in life, she became a recluse and hid away from the world. She died in 2000.

The limited series aims to "explore the rise and fall of feminism in the American landscape... aiming to find, in Lamarr's life and legacy, clues for who we are now." No production or release date has been set yet, as Gadot has a very busy schedule to juggle, what with being Wonder Woman and all.

(Disclosure: TV Guide is owned by CBS Interactive, a division of CBS Corporation.)

https://www.tvguide.com/news/gal-gad...marr-showtime/
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post #31222 of 33297 Old 08-03-2019, 12:59 PM - Thread Starter
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Technology/Critic's Notes (Mobile)
Dear Apple and Samsung, $1,000 is way too much for a smartphone, consumers say
By Jefferson Graham, USA Today - Aug. 3, 2019

For Bill Wilson, it's simple. He won't pay $1,000 for a smartphone. Period.

"I'll be hanging onto my iPhone 6 Plus until grim death," says the radio production manager from Gainesville, Georgia. One grand "is just too much money for what you get."

Wilson is in ample company. This week's earnings reports for Apple and Samsung both showed a clear trend: consumer resistance to the ever-growing high prices of premium smartphones.

The iPhone line now starts at $449, versus $350 in 2018, and topped at $1,100, while Samsung's premium Galaxy phones are near the $1,000 mark as well. A new model, the Fold, will break all pricing records when it's released in September at close to $2,000.

In quarterly earnings announced this week, Apple's iPhone revenue declined 12% to $26 billion from $29 billion in the year-ago quarter, while Samsung blamed "weak sales momentum" for the Galaxy S10. Angelo Zino, an analyst with CFRA Research, says Apple iPhone sales will tumble 15% in the current fiscal year.

On Wednesday, Samsung is set to unveil its latest smartphone, a new edition of the Note, which currently sells for between $799 and $999.

So good luck with that, Samsung.

Apple got additional bad news this week when President Donald Trump announced new tariffs on China imports that would include the iPhone since it's assembled in China with mostly Chinese parts. This would add $75 to $100 to the price of an iPhone, predicts Daniel Ives, an analyst with Wedbush Securities.

Ouch.

So why have premium smartphones stumbled? Consider a variety of factors:

—$1,000 is a massive stop sign.

—The new features introduced over the last few years haven't been game-changing. Consumers really don't care about facial recognition, augmented reality, faster processor enough to pony up the big bucks.

—The older phones work great and don't fall apart. Sure, the batteries deteriorate, but you can get a new one for under $50 to $70. And if you crack a screen, which is likely, the cost is $150 to $200 for an older iPhone or Galaxy. So if you have, say, an older iPhone 7, and you replace those items, you're looking at around $200 or so to upgrade. That's a lot less than $1,000 for a new phone.

—We like the new and improved cameras, but for the majority of the world, selfies and food shots taken on an iPhone 6 won't look that much different from those snapped on an iPhone XS. The software update tools Apple releases every year make the cameras and photo management in general better, and the update is free. Apple is expected to release the latest update, iOS 13, in September.

Wilson will find himself in ample company, then as when the iOS 13 update is released, as it will only work with phones from the 6S (first introduced in 2015) and up. Sure, the 6 Plus phone will still function, but it won't get software updates or the new features Apple will be introducing for iPhone users, like Dark Mode, an all-new look to Maps and improved photo management.

Apple hopes Wilson will be so inspired by the new features, he'll run out and buy a new edition iPhone. Apple is expected to release three new models in September, all at the same price points as the 2018 editions, $749, $999 and $1,099, according to analysts.

The best deals, however, are for used (or, as Amazon now calls the category, "Renewed") editions. An Apple iPhone 8, first released in 2017, sells in the $250 to $300 range on various websites. Add the new battery, and you can get a fast phone, with a great camera and the latest software, for a steal.

The Galaxy phones from just a few months ago have already seen a big price drop, at $549 (down $200) for the S10e. Better yet, pick up the S8, also from 2017, also in the $300 range, and you get a fast phone with an expandable memory slot, which also negates one of the reasons people ditch their phones. They ran out of room. Pick up a hefty 32 GB memory card for $20, and you're set.

Of course, more consumers than not were happy to pay the big bucks and get the latest and greatest. Ross Kestin of Manhattan Beach, California recently forked over a grand for a Samsung Note 9 "and so far I think I'm getting my moneys worth. This Galaxy Note 9 is phenomenal."

https://www.usatoday.com/story/tech/...es/1900716001/
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post #31223 of 33297 Old 08-03-2019, 01:06 PM - Thread Starter
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TV/Critic's Notes (Streaming)
‘The Handmaid’s Tale’ arc across three seasons, from ‘praise be’ to ‘please end’
By Matthew Gilbert, Boston Globe's 'Buzzsaw' Column - Aug. 1, 2019

One of the most dynamic elements of a dystopian movie or TV show is the revelation of its particular view of the future. It’s future shock.

As we first see each piece of the writer’s vision of what the world has become, as we initially witness the twisted technological developments and planetary shifts that have left us in apocalyptic jeopardy, a bleak spell is cast. We compare this brave new world to our own, drawing connecting lines from our current situation to the ugliness onscreen. We stare at the spectacle of where we might be heading, each evolutionary element — look what happened to democracy, look what happened to the family, look what happened to the economy — a new jolt.

The power of reveals gave the first season of Hulu’s “The Handmaid’s Tale” a lot of ballast. As each aspect of Gilead appeared, from the enslaved women being forced to wear red dresses and white coifs to the grim wall where LGBT people, freedom seekers, and abortion workers are hanged, it was fascinating and upsetting. We saw exactly how “The Ceremony” worked, with Elisabeth Moss’s June, Joseph Fiennes’ Fred, and Yvonne Strahovski’s Serena together on the bed, a sanctioned rape featuring a chilling complicity between husband and wife. Even if you’d read Margaret Atwood’s novel, there was still the blow of seeing it all visually realized. These human behaviors, an integral part of the new world of Gilead and yet recognizable, provoked all kinds of intellectual commotion and dread.

But as “The Handmaid’s Tale” heads into the end of its third season, with the finale available on Aug. 14, all of those revelations have become old news. We’ve been in Gilead for a long time — and it feels especially long since each hour of the expertly drawn nightmare feels like two. We understand too well that this patriarchy, with its Old Testament rationales and militarized dictatorship, is toxic and cruel. We see with abundant clarity how environmental crises can lead to unexpectedly profound problems such as infertility and a dying population.

Now, alas, the story is about keeping June alive for yet another season (the show has already been renewed for a fourth round). It’s about dodging the fact that she would have been hung up on that wall a very long time ago for her many, many infractions; some around her, including the Martha named Frances who was executed recently for directing June to her daughter’s school, have died for less. “The Handmaid’s Tale” is now about maintaining momentum and conveniently ignoring some of the rules of the corrupted country that creator Bruce Miller and Atwood before him crafted so perfectly. The award-winning, popular show must go on, even if the storyline suggests otherwise.

I can’t say “The Handmaid’s Tale” has gone down the tubes, because it’s still compelling TV. The episodes are objects of dark beauty, as the cinematography speaks its own language of unsettling colors and provocative framings. In combination with the costumes and the décor, both of which harken back to early periods of sexist torment, the cinematography is among the finest I’ve ever seen on TV. If you asked me which show I would watch even with the sound off, it would be “The Handmaid’s Tale.” From the facial expressions — or, worse, when a handmaid’s expressions are blocked by a mouth guard — to the fearful symmetry of the camera shots, the show is a premier visual statement.

It is also an embarrassment of rich acting. I’ve gone on many times about Moss, who continues to make each moment in June’s life painfully real. And I find other cast members equally unsettling, including Strahovski and Ann Dowd, whose Aunt Lydia has become a symbol of religious malice. As the addled wife Eleanor Lawrence, Julie Dretzin has been remarkable this season. These acting turns maintain my attention, and often wow me, even when, as with the character of Serena, their motivations don’t always make sense.

But story is the prime mover on scripted TV, and on “The Handmaid’s Tale” it’s broken. Now June is taking on a new task, beyond saving herself and her older daughter. She wants to save many children, her version of the Kindertransport rescue efforts during the Holocaust. The writers appear to be moving her into a traditional kind of resistance heroism. But the thrill of the show is gone, and to me, it has all felt like narrative strain since the middle of the second season. I’ll still watch, and enjoy and admire the quality work as the seasons continue, but with an eyebrow firmly raised throughout.

https://www.bostonglobe.com/arts/tel...RSM/story.html
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post #31224 of 33297 Old 08-03-2019, 01:12 PM - Thread Starter
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TV-on-DVD/Critic's Notes
A Nineteen-Fifties TV Series That Let Directors Run Free
By Richard Brody, New Yorker's 'The Front Row' Column - Jun. 30, 2019 Issue

I binge-watched a bunch of TV this weekend, catching up with a series that was previously issued one episode at a time and now is on home video to consume in one gulp, if so desired. “Screen Directors Playhouse,” newly available in a three-DVD set from Mill Creek, was made and broadcast in 1955 and 1956—an era that, like the present day, found the movie industry losing viewers to television. The series has a hook that served to display to home audiences the distinctive merits of movies, and should serve the same purpose today: its episodes, each running about twenty-five minutes, were all made by movie directors, who, according to a voice-over at the start of every episode, chose their own screenplays (in some cases, they wrote them). The roster includes such superb directors as John Ford, Ida Lupino, Allan Dwan, Frank Borzage, and Leo McCarey. It also features some remarkable work by filmmakers of lesser originality who nonetheless possess a knack that their chosen screenplays and casts give room to flourish.

It’s a misleading misconception that classic-era studio directors merely filled in the performances and images for preëxisting scripts that were set in stone. In fact, the best Hollywood directors were also integrally involved in the creation of their scripts, reworking them in the course of the shoot and even on the set (in part because, especially from the nineteen-forties onward, they were often also their own producers). In “Screen Directors Playhouse,” the bold artistic results of the freedom with which the notables worked is a reproach, decades in advance, to the practice of the writers’ room, to the primacy of the showrunner, and to the absurd mix-and-matching of directors that make modern TV series bureaucratic jumbles, the equivalent of novels ghostwritten for book packagers.

Ida Lupino’s film “No. 5 Checked Out” (which she also wrote) tells the story of Mary, a deaf woman (played by one of the most subtle and complex Hollywood actresses, Teresa Wright), who is alone for a few days during the off-season at a colony of cabins, in deeply wooded country, that she runs with her father. A car drives up and dispenses a heartily courteous, vigorously young-middle-aged man named Barney (William Talman), who asks for a cabin for himself and a “friend,” and, though the cabins aren’t yet open for business, she charitably lets them in. But the two men turn out to be robbers and killers looking for a hideout, and their presence at the resort puts Mary in danger—even as she seems to be falling for Barney. (Notably, the other criminal is played by the cunningly inventive Peter Lorre, who gives the devil his full measure of sleazy fascination.)

Lupino—who directed six feature films from 1949 to 1953, for her own independent production company—is, simply, one of the great filmmakers, whose stories about women’s lives are matched by a fervently expressive style, in image and performance alike. The themes and dramas of “No. 5 Checked Out” seem to be assembled from elements of her prior movies—a woman’s disability and its devastating emotional consequences (“Never Fear,” a.k.a. “The Young Lovers”), and a man with an agonizing secret (“The Bigamist”)—but with a more sharply focussed purpose. Her sixth film, “The Hitch-Hiker,” which is also a story of two male criminals on the run, is the least artistically significant of her films and the least distinctive in theme and tone—and this brief TV show serves as a virtual do-over, turning it into the classic, personal movie that it could, and should, have been.

Allan Dwan, one of Hollywood’s less heralded directorial heroes, started his filmmaking career in 1911 and was nearing the end of it, in 1956, when he made the final work in the series, “High Air.” To do so, he came up with an ingenious solution to a practical artistic challenge. His film is centered on the world of “sandhogs,” men who dug tunnels and bridge foundations beneath rivers and endured the rigors of high air pressure, facing the risk of the bends. It’s a keen cinematic subject, as seen in such films as Raoul Walsh’s “Under Pressure” (1935) and Mitchell Leisen’s “No Time for Love” (1943). In “High Air,” Dwan (who was himself trained as an engineer) blends the physical drama of dangerous labor with the emotional drama of an estranged father and son’s reunion. The father, a sandhog, is played by William Bendix, one of Hollywood’s great vulnerable hulks (as in “The Blue Dahlia,” from 1946), and the son, an aspiring engineer in the grips of emotional torment, is played by a fervent and intense actor, nearly or barely twenty, who was just launching his career: Dennis Hopper.

Dwan was one of the great action directors—he brought a virtually mathematical dynamism to violent confrontations and daring stunts—and, in “High Air,” working with a low budget and limited sets, he makes the most of the physical perils of the labor at hand. Nonetheless, the film’s most intense action and gravest danger is emotional; its melodrama suggests a much larger span of action, including flashbacks. But Dwan, with ferociously pressurized minimalism, compresses the bulk of the drama into an extended dual closeup of the glowing-hot Bendix and the inflammable Hopper, squeezed together at a disturbingly cocked angle, which lets the two great actors verbally thrash out years of stifled turmoil in one shockingly intense moment of joint confinement.

It’s no coincidence that most of the great movie acting is found in movies by the best directors—and also that great directors are frequently responsible for the discovery of stars. That’s the story of “The Silent Partner,” by George Marshall, a filmmaker of scant originality but notable sensitivity to performance (he worked with Laurel and Hardy, Lucille Ball, and Jerry Lewis, and directed “The Blue Dahlia,” which is a feast of pugnacious melodrama). Marshall was a movie veteran who started directing in 1916 and made dozens of silent films, which are the inspiration for “The Silent Partner,” about a broken connection between a famous veteran director (Joe E. Brown) and a former, now forgotten silent-comedy star whom he had discovered, played by none other than Buster Keaton. (It also features a host of high-wattage character actors, including Jack Kruschen, Jack Elam, Percy Helton, and, most notably, the former silent-era star Zasu Pitts.) Keaton gives a profoundly moving double-edged performance as a tersely melancholy has-been and, in flashbacks to the freewheeling days of slapstick silent short films, as the blank-faced, mercurially acrobatic master of uproar.

There are other treasures in the three-disk set. Another film by Dwan, “It’s Always Sunday,” is a teeming comedy about a liberal and principled minister (Dennis O’Keefe) and a grifting hobo (Sheldon Leonard), along with the huge and hurtling cast of family members, friends, neighbors, and officials who get involved in an unexpected but high-stakes tangle (like many of Dwan’s features, it parses sociological turmoil). In “Rookie of the Year,” starring John Wayne as a swaggering sportswriter, John Ford tries out the theme of “Print the legend,” which he would raise to historic proportions in “The Man Who Shot Liberty Valance.” Leo McCarey, who joins sanctified sentimentality toa spritzy sense of physical comedy, offers the whimsical romance “Tom and Jerry,” a brassily urbane yet tenderly melancholy comedy of remarriage—the story of a New York lawyer (Peter Lawford) who cheats on his wife (Nancy Gates) with a gold-digger (Marie Windsor) and gets a little unsolicited help from a concupiscent minister (Frank Fay) in repairing the damage. With a sudsy sidebar involving fatherhood and Santa Claus, as well as some erotic winks and some swift and sour notes of deeper marital discord, it plays like a nineteen-thirties screwball comedy condensed and updated for the television audience.

The rapturously romantic Frank Borzage (who started as a director in 1913) made three films for the series, all three of which, in their ways, are war films. The idiosyncratic philosophical tale “The Day I Met Caruso,” set during the First World War, stars Lotfi Mansouri as a celebrated singer and Sandy Descher as a Quaker girl who meets him during a train trip from Boston to New York—and has her principles of austerity, and perhaps her pacifism, too, shaken in the process. The Korean War drama “Day Is Done,” an anguished tale of the bond between a raw recruit and a crusty officer, is unstinting in its vision of the terror of war—and the various, often ugly responses that it provokes from those who are forced into battle. Borzage also made “A Ticket for Thaddeus,” a story of a Polish refugee (Edmond O’Brien)—and, as it turns out, a Holocaust survivor—who is left traumatized by Nazi terror, and now displays a desperate fear of law enforcement. Borzage offers a proudly democratic vision of the American way of life and of the even-handed fairness of the police and the judicial system alike, albeit one that was as idealistic then as it would be now.

https://www.newyorker.com/culture/th...ctors-run-free
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post #31225 of 33297 Old 08-03-2019, 01:16 PM - Thread Starter
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Media/Business Notes
CBS, Viacom Reach Tentative Management Structure for Combined Company
By Brian Steinberg, Variety.com - Aug. 2, 2019

CBS and Viacom moved one step closer to a highly anticipated reunification after the companies agreed upon an executive structure, the latest signal that the two media conglomerates, controlled by the Redstone family, were heading toward a new merger.

The agreement remains fluid, according to people familiar with the situation, but calls for Viacom CEO Bob Bakish to take the reins of a combined Viacom and CBS, with Joe Ianniello, acting CEO of CBS Corp. being offered a position overseeing all of the CBS-branded assets at a newly merged concern. Christina Spade, CBS’ chief financial officer, could become the CFO of the new company, these people said.

The two companies have been grappling with these details for weeks, trying to determine a final structure that would keep several top executives in place. Wade Davis, the CFO of Viacom who holds larger responsibilities is likely to depart as the companies are contemplating not having a chief operating officer role.

A CBS representative declined to comment and a Viacom spokesman could not be reached for immediate comment.

The Wall Street Journal previously reported that the two companies had reached consensus on top management.

Combining CBS and Viacom has been a longtime goal of Shari Redstone, who serves on both companies’ boards and guides National Amusements, the movie-exhibition company that is the controlling investor in both Viacom and CBS. In an era when big technology companies have been scooping up content outlets, and in the wake of the recent acquisition by Walt Disney of a good chunk of the former 21st Century Fox, CBS and Viacom are smaller entities. Combining the two would create a broader conglomerate that would likely enjoy more leverage with cable and satellite distributors as well as advertisers, and could also boost recent efforts by each company to move more aggressively into streaming video and content production.

Bakish, a longtime Viacom executive who has more experience dealing with the company’s international operations, is seen as a favorite of Redstone. Since he took the reins at Viacom in December of 2016, he has worked to focus the company on turning around its listing Paramount movie business, refining the programming strategy of a large number of cable outlets, and ramping up content production for other concerns. Since Bakish took over, Viacom has begun producing a “Jack Ryan” series for Amazon Prime and a short-form video series based on “The Real World” for Facebook.

Ianniello, however, is seen as an expert in managing relations with distributors as well as in the financial operations of CBS. During his time as acting CEO, Ianniello has helped overhaul CBS News and moved the company to examine its relations with Nielsen and other partners. CBS is in the midst of a carriage battle with AT&T that has resulted in a blackout of its programming on DirecTV and U-Verse.

Shares of both companies have risen on anticipation a merger would proceed. Redstone has pressed the companies to consider a tie-up in the recent past, but to not much avail. CBS and Viacom were separated by Sumner Redstone in 2006 in the belief both would grow more quickly as smaller entities. In hindsight, however, the companies lost heft while much of the sector consolidated. “We have long believed that the initial separation of these companies made zero sense,” said Michael Nathanson, an independent media analyst, in a July research note.

https://variety.com/2019/tv/news/cbs...lo-1203289764/
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During a recent visit to my sister to help with last minute wedding preparations, my nine-year-old niece sat me down in front of the family's new 55" Series 6 TCL Smart TV (the groom's wedding gift to himself... shame, because if he had waited I was going to surprise them with the 65" version of the same TV! ) and forced me to watch her hand-picked favorite episodes of "She-Ra." And you know what? It ain't bad at all. I was actually howling and laughing along with the show, not at it (like I used to laugh at the Filmation original in the 80's). It's a kid's show, but of the smarter-than-it-appears variety, ala "Gravity Falls" or (to a lesser degree) the new "My Little Pony" cartoon.

TV/Critic's Notes (Streaming)
In ‘She-Ra and the Princesses of Power,’ the villains are as beloved as the heroes
By Tracy Brown, Los Angeles Times - Aug. 2, 2019


Catra, left, and Scorpia get close in an episode of "She-Ra and the Princesses of Power." (DreamWorks/Netflix)

“She-Ra and the Princesses of Power” is about a young woman who wields a special sword to transform into a mythical warrior princess. But the show’s real magic is in the characters and their relationships.

At the core of the DreamWorks/Netflix animated series is Adora and Catra — two former friends whose relationship was forever changed when Adora defected from the Evil Horde after learning she is the new She-Ra. Despite growing up together, the two now find themselves on opposite sides of a war over the fate of the planet Etheria.

As much as “She-Ra” is about Adora and her struggles to figure out what it means to be a hero and a leader, the show is just as invested in Catra’s journey now that she doesn’t have Adora at her side. The tensions between the pair continue to simmer as the stakes of their choices are magnified in the show’s six-episode Season 3, which was released Friday.

“Catra and Adora and this connection between them is one of the most central parts of the show,” showrunner and executive producer Noelle Stevenson told t The Times. “I think that Catra and Adora have their work cut out for them if they could ever hope to start to repair the things that have been broken. It’s so broken right now and there’s a long road ahead of them.”

Despite being one of the show’s villains, Catra remains a fan-favorite character because her struggles are relatable. Most people know what it’s like to feel hurt or angry because of the actions of someone they care about.

“I think in a lot of ways, she’s one of the most relatable characters on the show,” said Stevenson. “Seeing [Catra] explore what it means to be a villain and to try and take back through force what she feels she’s lost, there’s something about it that feels just so human.”

Through Catra, “we see the consequences of what it means when you are hurt and you try to put that hurt on everyone else,” she added.

AJ Michalka, who voices Catra, explained that, initially, the character’s mission was definitely about trying to get her friend back.

“But that’s starting to disappear,” said Michalka. “It’s more becoming a matter of winning or losing, and losing for Catra is just absolutely not an option.”

She believes fans have taken to Catra despite her “falling short a little bit in terms of kindness” because there is a very poignant and specific vulnerability in her bravado. The fact that she has grown up in the shadow of Adora’s greatness is also something that resonates with people.

“I think there’s a love for her because she is kind of the underdog,” said Michalka. “She’s this kind of precious, sweet underdog kitten who can also scratch your face off and not think twice about it.”

Michalka credits Catra’s nuance to Stevenson’s nurturing and the writing on the show. And Stevenson admits she’s always had a thing for villains.

“I think I’ve always gravitated to villains,” said Stevenson. “They usually had a very pure want. That didn’t make it the right want, but sometimes it was easier to grasp than what the heroes wanted.”

This was because villains’ motivations were often much smaller and more personal and therefore more relatable.

“They might want to conquer the world, but it’s not really about conquering the world,” said Stevenson. “It’s about proving your worth, or getting back at someone who wronged you, or making sure that you are so strong that no one can hurt you. Things that speaks to some part of all of us.”

Catra is far from the only villain who has captured the hearts of viewers, as well as the show’s cast and crew. Scorpia, a powerful Horde Force Captain who enthusiastically loves her friends, has her own share of fans.

“Scorpia is probably the most loyal individual that has ever existed,” said Lauren Ash, who voices the character. “She is definitely someone who’s driven by wanting the best for the people around her and caring so deeply about her friends.”

Scorpia is a princess whose family ended up on the side of the Horde because its leader, Hordak, just happened to take over her homeland as his base of operations. She’s driven by friendship and personal relationships and doesn’t really have much of an interest in the bigger picture of what the Horde is doing or how it’s affecting Etheria.

“I think she’s actually a really good person who just happened to be doing some bad things,” said Ash. “Her intentions, I think, are not all horrible, which is what makes her really fun and interesting. And I think that’s why people respond to her so much.”

Scorpia’s main motivation is to support Catra, regardless of Catra’s attitude toward their relationship. This dynamic is both funny and heartbreaking and it continues to be explored in “She-Ra” Season 3.

Ash believes most people have experienced a similar relationship, “whether it be romantic, friendships, family, whatever,” with someone they just idolize.

“You just want them to feel the same way about you so bad that you kind of miss that maybe this person isn’t super healthy for you,” said Ash. “I think that the Scorpia-Catra relationship, the way it stands right now, is something that’s so relatable, especially for young people. I think it’s a really cool thing to have on the show.”

Michalka, who describes Scorpia as one of her favorite characters on the show, agrees.

“I think their relationship is precious,” said Michalka. “And I think we’re going to see a blossom into something really sweet.”

Scorpia is not the only princess who has found herself siding with the Horde. There is also Entrapta, whose affinity for science separates her from most of the other characters on the show.

Christine Woods, who voices Entrapta, describes the tech specialist as an insatiable workaholic with “more than genius level intelligence,” but “I wouldn’t say that she’s particularly socially savvy.”

“[Entrapta] also has a very deep need to be loved and accepted just like all the characters do,” said Stevenson. “But she wants people to love her for who she is. She wants to share her interests with people and and have people appreciate them.”

And this is why she has forged a bond with Hordak, whom she sees as a kindred spirit. Entrapta remains with the Horde because they’re the ones who accepted and nurtured her scientific drive. Though she doesn’t harbor any ill will toward the Princess Alliance, it just makes sense for Entrapta that she remains working with the Horde. Like Scorpia, she’s not as concerned about the bigger picture regarding the conflict over Etheria.

“I don’t think she sees the Horde and the Rebellion as being on opposite sides,” said Stevenson. “She doesn’t see the factions.”

Of course, “She-Ra” does not let you ignore the fact that choosing to remain aligned with the Evil Horde does make all of these characters villains, no matter how beloved they may be. And the repercussions of their actions are especially great in Season 3.

But because their motivations are so personal and universal , it’s hard to not cheer for them.

“I think we always hope that they will make the right decision,” said Stevenson. “It’s not like you root for them to win — you root for the characters to do the right thing.”

https://www.latimes.com/entertainmen...orpia-entrapta

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Nielsen Notes (Cable)
'Lights Out With David Spade' Starts Softly on Comedy Central
By Rick Porter, The Hollywood Reporter - Aug. 2, 2019

Comedy Central viewers appear to be taking the title of the cabler's new late-night show, Lights Out With David Spade, a bit too literally.

The show has gotten off to a somewhat sluggish start in linear ratings, averaging just 270,000 same-day viewers (along with a 0.1 rating among adults 18-49) in its first week. That's off a good amount from the two previous two occupants of the 11:30 p.m. slot, The Nightly Show With Larry Wilmore in 2015 and The Opposition With Jordan Klepper in 2017.

Spade's show began at a relative disadvantage to those two in that it premiered in the middle of summer, when ratings are generally down. Lights Out's predecessors both launched in higher-usage times of the year (January for The Nightly Show and September for The Opposition). Comedy Central is also touting the show's social numbers, with a cumulative 4.5 million views of videos from the show across Instagram, Twitter, Facebook and YouTube as of Friday afternoon.

Comedy Central's stated goal with Lights Out is to move viewers from the politics-heavy Daily Show to lighter topics in pop culture before they turn in for the night.

The network also notes that Lights Out posted time-period improvements, growing the audience for the half-hour by 18 percent over the previous four weeks and by 21 percent vs. a year ago. It also improved in adults 18-49 and 25-54 vs. the prior four weeks and last year.

Those gains, however, are largely against reruns following The Daily Show rather than original programming (The Opposition ended in June 2018).

Lights Out retained less than half the same-day audience for The Daily Show, which averaged 604,000 viewers for the week. The 270,000 viewer average for Spade's show compares to 481,000 for The Opposition's premiere week in 2017. The first month of The Nightly Show in 2015 averaged 885,000 viewers, airing after the Jon Stewart-led Daily Show and in a relatively healthier time for ad-supported cable as a whole.

https://www.hollywoodreporter.com/li...atings-1228374
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 3, 2019

SUMMER UNDER THE STARS: MARLON BRANDO
TCM, 6:00 a.m. ET

Today is all about Marlon Brando, with 11 of his films televised today and tonight. That generous bounty includes 1962’s Mutiny on the Bounty (2:30 p.m. ET), followed by the three films that made and cemented Brando’s legend as a groundbreaking, approach-changing movie star. At 5:45 p.m. ET, TCM shows 1951’s A Streetcar Named Desire, followed at 8 by 1954’s On the Waterfront, then at 10 by 1953’s The Wild Ones. Set your DVRs, too, for a late-night, early-morning treat from Brando’s later career: 1990’s The Freshman, a wild, dry comedy co-starring Matthew Broderick, showing at 4:15 a.m. ET.

CASINO ROYALE
Cinemax, 8:00 p.m. ET

This 1967 spoof is one of the most overlooked parts of the James Bond canon – but because the rights to this early Ian Fleming novel were sold to television in the days of live TV, in 1954 (long before Sean Connery played 007 on film in 1962), Casino Royale could be sold again, and made as a movie, outside the “official” Bond umbrella. And it was. In this uproarious, sexy and very musical spy movie (Burt Bacharach wrote the score), David Niven plays James Bond. But so, before it’s over, does Peter Sellers. And, as Jimmy Bond, Woody Allen. Co-stars include Joanna Pettet, who plays a dazzling Bond girl – Mata Bond, to be precise.

SHARK WEEK IMMERSION
Discovery, 8:00 p.m. ET

Shark Week returns! Be aware. Be very aware…


http://www.tvworthwatching.com/

* * * *

TV/Summer TCA 2019 Tour Notes (Broadcast)
A New Doc on Woodstock at TCA
By Mike Hughes, TVWorthWatching.com's 'Open Mike' - Aug. 3, 2019

LOS ANGELES – As the reports rolled in, one thing was clear: Woodstock was a disaster, a swirl of mud and hunger, chaos and confusion.

"The New York Daily News headline (said), 'Hippies Mired in Sea of Mud,' " recalled Joel Makower during the Television Critics Association Press Tour session for the PBS documentary "Woodstock: Three Days That Defined a Generation" that airs Tuesday, August 6 at 9 p.m. (check local listings); Makower's book is the basis for the documentary.

Other headlines echoed that: "Rock Crisis" and "Traffic Uptight at Hippiefest" and more. They set a grim tone, as festival founders had their post-Woodstock meeting with bitter bankers. "The last headline we had read was 'Nightmare in the Catskills,' " Joel Rosenman (co-creator of the event) recalled.

Then things rebounded, he said. The bankers compromised. "And the next headline we saw, which we thought was going to be worse, was, 'Miracle at Bethel.' "

Maybe it wasn't miraculous, but at least the festival was a happy surprise. "You people have proven something to the world," landowner Max Yasgur told the masses. "A half-million young people can get together and ... have nothing but fun and music."

It might have been fewer than that – 400,000 or so – but it was way more than the first prediction of 20,000. That was when two young guys planned a celebration in Woodstock, NY.

John Roberts was a trust-funder, working on Wall Street; Rosenman was fresh from law school. Neither wanted a suit-and-tie life. They created a successful sound studio in Miami, and then were asked to do the same in Woodstock; the idea also called for a music celebration.

But the celebration site (10 acres) was too small. They moved to a sprawling spot in Wallkill. As the summer neared, they began building facilities and hiring the bands.

"The Who and Jefferson Airplane came aboard early," Rosenman said. "Before that booking, we couldn't get (anyone). We were nobody."

Soon, they had almost everyone. Stories and ads were in alternative papers. And then, five weeks before the festival, Wallkill banned the event. Promoters said they had to abandon $500,000 in work and start over – somewhere. They found Yasgur's dairy farm, near Bethel.

Three days before the festival, they were told there wasn't time to build both a stage and fences; they chose the stage. "Experts" had their solutions, Rosenman said.

The sheriff told him to "tell the cars to turn around, go back to...wherever they came from."

Bill Graham, a concert promoter, had an alternative to fences: "Make a perimeter of trenches. You fill the trenches with oil. You patrol it with German Shepherds, and if it goes sideways, you light the oil."

He followed neither plan. People poured in, many of them without buying tickets; traffic stagnated.

"Were we going to get the musicians in? Yes, helicopters finally solved that," Rosenman said.

But that would take a while. On opening night, they couldn't get anyone in to perform. Suddenly, Richie Havens showed up early and was thrust onstage. He did everything he knew, he says in the film, then concocted a song. " 'Freedom' was created right there on the stage. I made it up."

Over three days, the music continued, often at odd times. Jefferson Airplane started at 6:30 a.m., with some of its fans asleep; Jimi Hendrix's classic riffs came as many people were leaving.

The food ran out, but people improvised, Makower said. The Hog Farm, a hippie collective, started a free kitchen. Neighbors pitched in. "Local churches and schools and PTAs came together to make sandwiches (and) hard-boiled eggs...People come together to take care of these people in need."

The aftermath has brought a movie, books, albums, even a museum in Bethel.

People "remember fondly the music," said Barak Goodman, who directed the PBS film. "But it wasn't really the music" that made this. It was "the experience of being with each other. It was the way it crystalized something real about the counterculture."

http://www.tvworthwatching.com/BlogP...x?postId=18601
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TV/Critic's Notes (Cable)
What Euphoria Owes to Degrassi, the Godfather of Taboo Teen Dramas
By Rick Porter, The Hollywood Reporter - Aug. 2, 2019

In Euphoria’s fourth episode, Maddy Perez (Alexa Demie) shows up to a carnival in a racy two-piece outfit that looks more like it belongs at a club in Atlantic City than it does at a high-school event. (Truthfully, we’ve all been there.) Upon seeing her outfit, her hotheaded, on-again, off-again boyfriend Nate Jacobs (Jacob Elordi) tells her she looks “like a hooker” in her crop top and matching spandex pants. But as I watched, I couldn’t look away from those purple pants, which were fashioned with three string cutouts, like a triple thong. The thong wings plagued at me.

That’s when I remembered another major moment in teen TV history: the iconic thong episode of Degrassi: The Next Generation. The 2003 episode, titled “U Got the Look,” centered its plot on Manny Santos’s (Cassie Steele) desire to go from “adorable” to “hot.” So, naturally, she does what any teen would do: She shows up to school clad in a crop top, a pair of low-rise jeans, and a blue-studded thong (more than) peeking out of her jeans. And, like Maddy, she gets shamed for it, but the outfit eventually marks an empowering turning point when she starts to find her confidence and own her sexuality — a through line shared by Maddy and the young women of Euphoria throughout its inaugural season.

Years before Euphoria, Degrassi was the boundary-pushing teen drama of its era. The Canadian franchise, which has aired in various iterations for the past 30 years, became famous for its realistic, and often scandalous, plotlines featuring sexuality, drugs, abortion, abuse, and school shootings. Euphoria, which features provocative narratives ranging from a trans girl being raped by her classmate’s dad to a character finding confidence by being a cam girl, owes its ability to tackle such taboo teen story arcs to Degrassi. Manny’s thong, alongside countless other Degrassi moments, paved the way for teen dramas to get bolder, racier, and more complex.

“I feel like we were pioneering … that’s why shows like [Euphoria] can be extreme as they are,” says Yan Moore, a longtime Degrassi writer and producer. “We showed it could be okay to explore fairly extreme situations.”

Since its inception, Degrassi’s plotlines were less conventional than what network shows often featured; it created story lines that teens actually encountered in reality. The show’s tagline was “it goes there,” and it really did go there. Degrassi put its own spin on dozens of issues that other shows were too afraid to talk about: internet predators, teen pregnancy, self-harm, school shootings, and, infamously, abortion, in an episode that was shelved by its U.S. distributor, making it one of the most controversial of its time.

Taking cues from Degrassi, later teen dramas like Skins, Gossip Girl, The O.C., Pretty Little Liars, The Fosters, and 13 Reasons Why captured unsettling — and, at times, divisive — depictions of rape and suicide, while shows like Sex Education featured plotlines about homophobic violence and a true-to-life look at getting an abortion.

Based on an Israeli series of the same name, Euphoria is executive-produced by Drake, who famously (and coincidentally) starred on Degrassi: The Next Generation, however, it’s mined from the experiences of showrunner and former drug addict Sam Levinson. But while Degrassi sometimes seemed corny and overwrought, Euphoria approaches serious and taboo topics with self-deprecating dark humor — the irony-tinged lingua franca of modern teen culture. All that explicit language and NSFW imagery likely wouldn’t have been possible if Degrassi didn’t pave the way for teen soaps, and Euphoria pushes what Degrassi started into the 2019 realm: a world where teens are immersed in a digital age that’s blurred the lines of porn, sex, and consent.

It’s something that encompasses the majority of the characters’ lives on Euphoria. While Degrassi touched on a variety of rape scenarios, Euphoria instead explores the gray areas of consent in the #MeToo era. In episode one, without her consent, Cassie Howard (Sydney Sweeney) is choked by her partner Chris McKay (Algee Smith) while they have sex; Chris is mimicking a sex tape he and the other guys saw of her — one that she doesn’t know exists. On Degrassi, it was scandalous when Manny’s topless photo was leaked to the whole school, but on Euphoria, the idea is taken to an extreme that aligns with the digital age: a critique on dick pics (solicited and unsolicited), revenge porn, and sex tapes of teen girls being filmed without their consent. On Euphoria, Kat (Barbie Ferreira) is filmed on tape having sex and it’s leaked to the entire school; earlier in the season, Jules (Hunter Schafer) is also filmed without her consent during a disturbing, sexually aggressive encounter with a Grindr guy named “Dominant Daddy,” who treats her like a sex doll and pushes her face into the bed. (Dominant Daddy ends up being Nate’s dad, played by Eric Dane.) Euphoria’s sex, sexual assault, and porn-related plotlines are jarring, but they’re aimed as pushing boundaries and sparking debate much in the same way that Degrassi did.

“It’s good for kids to make shows about teenagers in each era, in each time, to have kids see themselves depicted onscreen because it’s quite empowering in a way,” says Moore.

While catfishing — via email and online gaming — was a recurring story line on Degrassi, Euphoria brings the subject into the modern era, exploring the complexities of finding intimacy on dating apps and in the cam-girl world. That means a lot of dick pics and a lot of incessant texting, but the characters also find intimacy in different places — some more unconventional than others. Kat may feel invisible at school, but she tries to shed her insecurity by becoming a cam girl online, where she puts down guys who jerk off to her (and buy her things). It’s a wry role reversal: She’s a teen girl catfishing grown men. At the same time, Jules routinely meets and hooks up with men off Grindr like Dominant Daddy, but she also finds what she thinks is love with a guy she’s never met named Tyler. That turns out to be another case of catfishing, though, when she learns “Tyler” is actually Nate.

The boundary-pushing narratives in Euphoria go miles beyond Degrassi’s story lines, showing how far teen dramas have come in terms of addressing realistic and often uncomfortable social topics. Euphoria’s ability to be more explicit and tackle topics that are even more controversial than Degrassi’s speaks to how Degrassi created a framework for all of today’s provocative teen dramas. If Degrassi was still airing in 2019, it would almost certainly touch on difficult subjects like dating apps, intimate violence, and consent. Euphoria goes there — it’s just a little different now.

https://www.vulture.com/2019/08/euph...een-drama.html
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The iPhone 6 won’t support iOS 13. Looks like death is just around the corner.
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