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post #31531 of 32072 Old 08-24-2019, 05:30 AM - Thread Starter
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TV/Technology Notes (Streaming)
Disney+ will give subscribers four simultaneous streams and free 4K
By Nick Statt, TheVerge.com - Aug. 23, 2019

Disney’s upcoming Disney+ streaming service is shaping up to be quite the deal. According to CNET, the service will launch on November 12th with support for four simultaneous streams and 4K included, all for the base price of $6.99 a month. Subscribers will also be able to create and manage up to seven profiles on a single account.

That will make it highly competitive with Netflix, which raised its prices earlier this year and has in place stricter limitations on simultaneous streams. Netflix now costs $9 a month for a standard definition plan with only one available stream. If you want HD streaming, you need to pay $13 a month, and that gets you two simultaneous streams. For 4K and four simultaneous streams, it’s $16 a month. (The company also recently bumped prices in the UK.)

Netflix’s price changes have been so dramatic, in fact, that CEO Reed Hastings blamed the hike for its dip in US subscribers last quarter, the first drop in domestic Netflix users since 2011. The setback slowed Netflix’s overall growth and caused its stock to tumble, too.

Notably, Disney’s ESPN and Hulu bundle for Disney+ won’t have the same simultaneous streaming benefits. With the bundle, which will cost $12.99, subscribers will only get two simultaneous ESPN+ streams and one basic, ad-supported Hulu stream.

Of course, Netflix has much more robust library than Disney+ right now, but Disney is filling out its upcoming platform with a number of original shows. The streaming limitation and 4K news, which was disclosed during interviews at Disney’s D23 Expo, joins a flurry of new announcements regarding shows and films coming to Disney+ later this year. CNET also reports that Disney will be releasing new episodes of original series on Disney+ weekly, as opposed to all at once like Netflix, a strategy that will likely help it extend the lifespan of its earlier slate of programming while it plays catch up to competitors.

The company is bringing a Ms. Marvel series to its platform, as well as one centered on She Hulk and one on Moon Knight. Disney also today announced a live-action Lady in the Tramp adaptation that will be exclusive to Disney+ and confirmed the much-anticipated Obi-Wan Kenobi original series starring Ewan McGregor.

Prior to D23, Disney has promised a number of other enticing Disney+ benefits, including numerous other Star Wars series like The Mandalorian and a seventh season of The Clone Wars; shows focused on popular Marvel characters Hawkeye, Falcon / the Winter Solider, and Loki; and streaming exclusivity for a number of upcoming high-profile films like Frozen 2 and the live-action The Little Mermaid.

https://www.theverge.com/2019/8/23/2...tures-benefits
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post #31532 of 32072 Old 08-24-2019, 05:45 AM - Thread Starter
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TV/Production Notes
Anthony Bourdain left behind a documentary series about Detroit. But will it be seen?
By Julie Hinds, Detroit Free Press - Aug. 23, 2019

Anthony Bourdain spoke about Detroit as a place with an authenticity and attitude that impressed even a globe-trotting food star.

"I'd love to be able to say that I came from Detroit," he told the Detroit Free Press in 2016 while in town for a speaking tour. "That would be like the coolest thing I could ever say."

Bourdain, who died of suicide last year, left a legacy of affection and goodwill toward Detroit — and one last gift to a city he loved. A four-part documentary series on the Motor City that he executive produced is all but finished, and now it's in search of a network or streaming home.

Bourdain's longtime producer Lydia Tenaglia has been working since January to find a buyer to bring the four hours of programming to viewers.

Tenaglia describes the show as a "passion project" for Bourdain, the chef-turned-TV personality who brought remarkable depth of thought to culinary-themed programming. The rough-cut version, which blends new interviews and archival footage, is a vivid exploration of events that shaped Detroit. There's an urgency and inevitability to the city's journey that speaks volumes on where we are now, for better or worse, as a nation.

This limited series, in some ways, represents a final chapter of Bourdain's creative vision. It also hints at how his career might have expanded if he'd kept pursuing his other interests, which included American history.

"My determination to get a home for this project has not waned in the slightest. I'm really focused on getting it out there," says Tenaglia. "It's a really beautifully executed piece of television."

It began with 'Once in a Great City'
The journey of the documentary stretches back to "Once in a Great City: A Detroit Story," the acclaimed 2015 book by Pulitzer winner David Maraniss. A gripping saga of the political, racial, economic and cultural tapestry of the city, it focused on the crucial years of 1962 to 1964 and chronicled the rise of icons ranging from Lee Iacocca to Berry Gordy Jr.

Critics praised Maraniss for his illuminating look at an era of industrial might and creative promise that rested precariously on a corrosive foundation of systemic racial inequality.

"Using overlapping portraits of Detroiters (from politicians to musicians to auto execs), he creates a mosaiclike picture of the city that has the sort of intimacy and tactile emotion that Larry McMurtry brought to his depictions of the Old West, and the gritty sweep of David Simon’s HBO series 'The Wire.' " wrote Michiko Kakutani in her review for the New York Times.

Bourdain was captivated by what he read in "Once In a Great City."

"He brought the book here to Zero Point Zero and said, 'This is an amazing book,' " says Tenaglia, co-founder of the New York-based production company and a collaborator with Bourdain on three shows: "A Cook's Tour" (Food Network), "Anthony Bourdain: No Reservations" (Travel Channel), and "Anthony Bourdain: Parts Unknown," which launched in 2013 on CNN and ran until his death.

Bourdain already had helped produce a Zero Point Zero documentary, "Jeremiah Tower: The Last Magnificent," about an overlooked legend among chefs. It premiered in 2016 at the Tribeca Film Festival and aired in 2017 on CNN.

Tenaglia says she wasn't surprised that Bourdain wanted to shift gears and transform an immense, complex historical narrative like Maraniss' into something visual.
"First of all, Tony was an enormously deep reader of history. He had an encyclopedic knowledge of American history. When he became fascinated with a place, he would then do deep dives and begin reading about them," she says.

Bourdain also was an epic fan of Detroit. He covered the city — and Buffalo and Baltimore — in a 2009 episode of "No Reservations." It featured stops at Polonia and the Family Donut Shop in Hamtramck, Al-Ameer in Dearborn and Detroit's Cadieux Cafe.

But it was 2013's "Parts Unknown" episode about Detroit that really sparked his interest, according to Tenaglia.

"From his perspective, you can't help but cover some of the challenges that the city faced, but he also deeply felt the renaissance — and the potential for enormous renaissance — that was constantly percolating on the streets there," she says.

That episode, like most of Bourdain's work, was both unvarnished and loving. In her review, the late Free Press restaurant critic Sylvia Rector wrote that he "proves himself to be a romantic, unabashed admirer of Detroit’s history, spirit and resiliency — even as he declares it “utterly screwed” and compares it to Chernobyl..."

Two years later, when "Once In A Great City" was published, the sparks Bourdain felt for Detroit turned into a blaze of enthusiasm for adapting the book.

Bourdain spoke twice in person with Maraniss, once at a meeting at Zero Point Zero in New York and again in Washington, D.C., when he was there for a speaking tour.
"In both conversations, I was impressed by his understanding of Detroit beyond the stereotypes, his affection for the city, and his hope to present a documentary series that could accurately capture the sensibility of my book," says Maraniss via email.

The author and Washington Post editor wound up serving as a consultant on the Bourdain project and provided ideas and documents, along with contact information. Maraniss also traveled to Detroit for a day of filming.

"Beyond that, I trusted ZPZ and director Toby Oppenheimer (of "Parts Unknown") to get it right," he says.

From JFK's visit to the Mustang's debut
The four-part documentary (which could be end up being titled "Once in a Great City: Detroit" or perhaps "Detroit: Once in a Great City," according to Tenaglia) begins in the first episode with President John F. Kennedy's 1962 speech in downtown Detroit, then the powerful automotive capital of America.

It concludes in episode four with JFK's assassination in late 1963, the debut of the Mustang in spring 1964 and the signs of unrest and upheaval that would lead to the turbulent rebellion of the summer of 1967 (which is covered briefly in a flash-forward, as is contemporary Detroit).

The project first was conceived and pitched as a 90-minute documentary. But given the extent of characters and events that needed to be covered, Tenaglia pushed hard to make it a multi-part show. Each of the four episodes are aimed for a one-hour time slot.

Interviews were filmed with numerous subjects, including Detroit writer and historian Marsha Music, former police chief Isaiah McKinnon, original Four Tops member Duke Fakir, Harvard Kennedy School professor Khalil Gibran Muhammad, Contours lead singer Joe Billingslea, author Herb Boyd, music producer Don Was, author Heather Anne Thompson and songwriter Allee Willis.

One of the treasures of the series is an interview with Aretha Franklin done a few months before her death. Looking regal but fatigued, the Queen of Soul marshaled her strength to talk about her influential father, the Rev. C.L. Franklin, a religious and political leader of Detroit who formed an alliance with another reverend, Martin Luther King Jr., to help spread the civil rights movement in the North.

Describing how her father grew up in Mississippi and worked the cotton fields, Franklin says, "He knew there was a better life ahead somewhere."

Although Bourdain was definitely involved in the project, it was in off-camera ways. He doesn't appear in the series, nor does he narrate it (and there is no narrator). Instead, he served as a behind-the-scenes force as an executive producer while maintaining his usual "Parts Unknown" schedule.

"He was hands-on to the extent that we sent him all the outlines for the proposed episodes," says Tenaglia. Bourdain continued to be in the loop when the outlines were refined into detailed treatments. He watched and commented on rough cuts. And Bourdain liked Tenaglia's idea of targeting other cities for the same approach — an option that still could turn the Detroit installments into part of a continuing series.

In 2017, CNN announced that Bourdain would be producing a four-part historical documentary series for the cable news channel about Detroit. Bourdain had hinted at the project in an interview with the Free Press the previous year, saying then that he was working on "a fairly sizable project that would encompass more than an hour of television."

The whole project took about a year's worth of work, from pre-production to the massive job of archival research for photos and videos to the filming of interviews to the editing process.

Tenaglia says there were four editors working simultaneously at one point, a process that sometimes involved them figuring out what elements worked best in which episodes. "It was a constant work in motion, where none of the four editors were siloed off. It was as if we were working on one big piece simultaneously," she says.

The documentary's team was immersed in the finishing details. Then Bourdain died.

"The world got turned upside down, certainly in terms of projects we were doing with him and he was associated with. ... He was really the executive producer of the project and the one who was championing it and and the one who was going to put his marketing muscle behind it," says Tenaglia.

At the time of Bourdain's death, filming had been completed, the rough cuts were done and the documentary's team was "very, very deep into the fine-cutting of four episodes," explains Tenaglia. An unresolved element remained — the licensing of Motown music for use in the final product.

"We included Motown music very sparingly and very pointedly," says Tenaglia, estimating that about 3 minutes are used across four one-hour episodes.

Tenaglia said her team hit impediments to the licensing, and that "there were other projects, I think, in the works that made it rather challenging for us," she adds, declining to go into specifics. One prominent Motown-centric project, Showtime's "Hitsville: The Making of Motown" documentary, premieres on Saturday.

CNN was looking to air the Detroit project before the end of 2018. But given the licensing issue, several more months would be needed to finish the process.

With work needing to stretch into 2019 and the devastating loss of Bourdain, the project’s champion, CNN felt the timing wouldn't be right for the series.

According to Tenaglia, CNN agreed to let her search for a new home for it. "We came to a verbal agreement that we would be allowed, Zero Point Zero would be allowed, to go ahead and try to find another home for the series," she says, calling the network's decision a generous one.

The Free Press was unable to reach the CNN executive who could speak about the project.

Tenaglia says her quest is driven by the quality of the work, and the sense of finality of it. "This is one of the last things we were working on together aside from the 'Parts Unknown' episodes which we completed and got on air," she says.

"This was the last project we were working on, physically, tangibly, that the world can see."

Looking for a home
Tenaglia doesn't want to reveal the names of companies she has approached regarding the project. There are likely a handful of appropriate places in the broadcast and streaming landscape for a thoughtful, yet vivid historical overview like this.

On paper, she and her her team have put together a series concept that would carry the idea forward to other cities. "That's the way I'm also hoping potentially to broach it with a buyer."

She says there currently is "very strong interest" from a party that she doesn't identify.

Although the licensing matter with Motown isn't yet resolved, she says that she has reached the right person to "bridge the gap" to licensing the music. Once there is a committed buyer, she doesn't foresee any problems with moving ahead quickly.

The budget, characterized as manageable for the scope of the project, was in the seven-figure range, according to Tenaglia. But it's clear that there is more at stake here than monetary concerns.

Tenaglia is convinced Bourdain would have wanted to do more documentaries on themes outside the culinary world. "This Detroit piece was definitely moving more in a direction, and a reflection of, his wide-ranging interest. ... We, in fact, were working on ideas that moved beyond just the food world."

She praises the crew, from show runner Oppenheimer on down, for doing an amazing job on a difficult undertaking. "When it started to take shape between rough cut and fine cut, and you're like, 'Holy crap, we have an amazingly beautiful piece here that is deeply inspired by Maraniss' book, but even pushed beyond that, it was really exciting. I think Tony thought, too, 'This is fantastic and better than I could have imagined.'"

Maraniss also likes what he's seen. "I saw the film a few times as it was being made, and the basically finished product, and felt great about it. I think it did justice to my book and, more important to the city of Detroit. I hope it somehow sees the light of day."

So, doubtless, do Bourdain's army of fans. And for Detroiters, it could be meaningful in ways that could match Bourdain's feelings for the city.

Speaking to the Free Press in 2016 about Detroit, Bourdain waxed poetic. "Beautiful. Magnificent. The boundless hope and dreams and optimism of its builders is reflected in the architecture."

Continued Bourdain, "I feel anger seeing the extent to which it has been allowed to crumble. I feel hopeful. And I feel a tremendous appreciation that people have stuck it out and are proud of their city."

https://www.usatoday.com/story/enter...nn/2096797001/

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TV/Production Notes (Streaming)
‘Ms. Marvel,’ ‘Moon Knight’ and ‘She-Hulk’ Shows Set at Disney+
By Tim Baysinger, TheWrap.com - Aug. 23, 2019

The MCU is expanding on Disney+ with three more series, “Ms. Marvel,” “Moon Knight” and “She-Hulk,” set for the upcoming streaming service.

Marvel Studios chief Kevin Feige made the announcements Friday at the D23 Expo in Anaheim, California, during the Disney+ showcase.

In the comics, Ms. Marvel is the name used by two different superheroes — first by Carol Danvers, now known as Captain Marvel, and then Kamala Khan, a teenager with the power to enlarge or shrink any part of herself she wants, who adopts the name in tribute to Danvers. The “Ms. Marvel” series will feature Kamela Khan, who is notable as the first Muslim character in Marvel’s 80-year history to headline her own comic. Feige said the character would also appear in future films.

Moon Knight, aka Marc Spector, is a former CIA agent who was almost killed by a terrorist named Bushman, before his life was saved by the Moon God Khonshu. Four different personalities all fight for control over his body. She-Hulk is based on Jennifer Walters, who develops her own unique Hulk powers after getting a blood transfusion from her cousin, Bruce Banner (Mark Ruffalo in the MCU) .

With the three new shows, that makes eight total series from Marvel Studios for Disney+, joining “The Falcon and the Winter Soldier,” “WandaVision,” “Loki,” “Hawkeye” and the animated “What If…” “Falcon and the Winter Soldier,” which also brings back Daniel Bruhl as Helmut Zemo from “Captain America: Civil War,” will premiere in Fall 2020. “WandaVision” and “Loki” will stream Spring 2021, with “What If…” in Summer 2021 and “Hawkeye,” which will see Kate Bishop introduced, will premiere in Fall 2021.

“WandaVision” will also introduce the adult version of Monica Rambeau aka Photon, played by Teyonah Parris. The character was first introduced as a child in the 1990s-set “Captain Marvel.” Feige also announced that both Randall Park and Kat Dennings would be reprising their MCU roles for the series, along with Katherine Hahn joining the series.

For “Falcon and The Winter Soldier,” Feige confirmed that Emily Van Camp would be returning as Sharon Carter, which TheWrap previously reported. Wyatt Russell is also joining the series as John Walker, better known as U.S. Agent in the comics.

Disney+ is set to launch on Nov. 12 and will cost $6.99 a month or $69.99 for the whole year.

https://www.thewrap.com/ms-marvel-mo...mela-khan-mcu/

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TV/Nielsen Notes (Analysis)
TV Long View: Fall 2019 Wednesday Network Ratings Forecast
By Rick Porter, The Hollywood Reporter - Aug. 24, 2019

With the 2019-20 TV season looming, The Hollywood Reporter is handicapping the broadcast networks' chances for success on each night of the week. Which new series are best set up to succeed? Which veterans are fading, and which ones are holding fast? Can anything on a traditional network break out?

Like Tuesday nights, Wednesdays are relatively stable, with just three new series debuting in the fall and only a couple of veterans moving around. The night features last season's biggest breakout in The Masked Singer and at least one strong performer on every network.

New Shows, New Time Slots
The trio of newcomers are all dramas: Fox's Almost Family and The CW's Nancy Drew both air at 9 p.m., and ABC's Stumptown follows the network's comedy block at 10.

The Masked Singer, which aired at 9 p.m. ET Fox last season, moves to 8 to lead off the network's night. CBS' SWAT moves to 10 p.m. Wednesday after two seasons on Thursday nights.

Top-Rated Returning Series (All numbers are Live +7 for 2018-19)
Adults 18-49:
The Masked Singer (3.8 rating), Modern Family (2.4), Survivor (2.2)

Total viewers: Chicago Fire (11.66 million), The Masked Singer (11.57 million), Chicago Med (11.14 million)

Cable Heavyweights
Though its total viewership is small compared to its broadcast counterparts, FX's American Horror Story remains competitive in adults 18-49. The fall also brings two new pro-wrestling shows to cable on Wednesdays in USA's WWE NXT and TNT's All Elite Wrestling, which could siphon some additional viewers away from the networks.

Vote of Confidence: 'Almost Family'
Aside from late-afternoon NFL games on Sundays, Fox currently has no better lead-in than The Masked Singer. So it's notable that Almost Family gets that boost, since the drama about a woman (Brittany Snow) discovery she has a whole lot of siblings thanks to her fertility-doctor dad (Timothy Hutton) having used his own genetic material to conceive children for his patients doesn't exactly lend itself to an easy description. (See the preceding sentence.) If a decent number of Masked Singer viewers stick around, it will be a boon for the first-year series.

Tough Spot: 'Stumptown'
ABC's private-eye drama starring Cobie Smulders will probably be saddled with the smallest lead-in of any of the 10 p.m. network dramas (second-year comedy Single Parents was a middling performer last season). There has been some positive early buzz around the show, but it may end up relying on delayed viewing for a sizable chunk of its audience.

Forecast
The Masked Singer was, by a sizable margin, the top-rated new series of 2018-19 in the key ad demographic of adults 18-49. If it can keep even some of that momentum rolling into its second run, Fox should come away as the demo leader on Wednesdays.

NBC's stacking of its Chicago dramas paid off last season as well, with all three averaging at least 11 million viewers (including a week of delayed viewing) and ranking in the top 25 among adults 18-49. Some declines may be inevitable this year, but the network is still poised to claim the most-watched crown.

Survivor keeps chugging along as the show nears its 20-year anniversary on CBS. SEAL Team and SWAT are decent utility players with steady audiences, but not much more at this point.

ABC comedy veterans The Goldbergs and Modern Family both declined by double digits last season, and with the latter set to end its run in 2020, a younger heir apparent hasn't really presented itself yet. Schooled and Single Parents just need to avoid huge sophomore slumps to be considered successes, and Stumptown will likely have to fend for itself somewhat.

The CW is high on its Nancy Drew adaptation, whose eerie vibe could make it a decent fit with lead-in Riverdale. The network puts less stock in traditional ratings than its fellow broadcasters, so any kind of pulse for Nancy Drew should keep it in safe territory.

https://www.hollywoodreporter.com/li...recast-1234248
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TV/Production Notes (Cable)
Spiderman is Swinging Over to Disney Jr. In New Marvel Series
By Jon Lafayette, Broadcasting & Cable - Aug. 23, 2019

Marvel Animation & Family Entertainment is producing a new original Spiderman series for Disney Junior that is title Marvel’s Spidey and His Amazing Friends.

The series, the first produced by Marvel for Disney Junior, is set to debut in 20201 and will feature Peter Parker (aka Spidey) and his friends Miles Morales and Ghost-Spider Gwen. Hulk, Black Panther and Ms. Marvel will make guest appearances.

“Preschool kids already love Spidey, so they’ll be delighted to have Peter Parker thwipping across their screens in this new series” said Cort Lane, senior VP, Marvel Animation & Family Entertainment. He added, “Everyone at Marvel is thrilled to launch our first preschool series on Disney Junior, the gold standard platform for the audience. We believe parents and kids will be excited about these stories filled with themes of friendship, cooperation, solving problems and using your abilities to help others.”

The new show was announced during the D23 Expo conference for Disney fans.

"We're thrilled to be working with Marvel on this new series showcasing the exciting adventures of Spidey and his friends as they model the importance of teamwork and helping others in their community. This is the perfect series to introduce preschoolers to the super hero powers of friendship and working together to help others in need,” said Jo D’Ambrosia, senior VP, original programming and general manager of Disney Junior.

Marvel’s Spidey and His Amazing Friends is executive produced by Alan Fine, Joe Quesada, Dan Buckley, Cort Lane and Eric Radomski. It is co-executive produced by Marsha Griffin and supervising producer Harrison Wilcox. Alfred Gimeno serves as supervising animation producer, and Ashley Mendoza as story editor.

https://www.broadcastingcable.com/ne...-marvel-series
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TV/Critic's Notes (Cable)
Is HBO's Succession a Comedy?
By Kathryn VanArendonk, Vulture.com (New York Magazine) - Aug. 23, 2019

It’s no surprise that Succession got an Emmy nomination this year. Based on its appearance alone, it looks and feels like an Emmy contender in the Best Drama category: It’s an hour-long HBO show, telling a dark story about bad people, filled with the prestige markers that suggest Very Serious Television. Its costumes and settings are full of earth tones, but the kind of earth tones you can tell are extremely expensive and have names like “whitestone” and “nori.” Its central idea — members of a family destroying each other to gain power — is classic tragic material. What could be more dramatic than King Lear?

But it’s weird to see Succession nominated as a drama, because, in so many ways, Succession is a comedy. While the Television Academy now categorizes shows by format rather than genre — meaning that, as far as the Emmys are concerned, there’s no such thing as an hour-long comedy — Succession’s drama nomination points to something fascinating, subtle, and productively uneasy at the center of the show. Trying to define its genre gets at questions not just about its fundamental identity, but also at the way viewers see it, something that’s particularly thorny for a show that teases us about whether we should love or loathe its characters, whether we should root for them or hope that they fail, whether we should find their fears and anxieties sympathetic or pitiful. The answer is that while we can feel for the Roys, while their lives are tragic and their anxieties are real, Succession’s core identity comes from satirizing them and their hyper-privileged world.

The baseline comedic feature of Succession is the simplest one. It is funny. It is peppered with jokes and absurdities, everything from the Vaulter headlines, to the Roy family insults, to the conceit of Cousin Greg’s presence in the show at all. Succession is often funny in the way slapstick can be funny, a humor that relies on the primal Schadenfreude of watching someone else get hurt, even if the pain in this case is nearly always psychic rather than physical. But it’s also funny in the way of satire, a more puncturing, slicing kind of humor. This is the humor of Cousin Greg asking, with concern, whether a news network should maybe not lie, and then being told to “man the **** up” because this is not “****ing Charles Dickens world.” It’s the humor of Kendall announcing that Vaulter’s only profitable sections are “food and weed,” which is why they’ve each been assigned an editor and five interns. It stings, but it also earns a snorting laugh.

The key to the show’s brutal sense of humor is right in the opening credits, which are full of self-serious clips from a privileged family’s past and present: Kennedy-esque vacation homes, dour children in formal wear, glassy skyscrapers and newspapers shuffling through printing machines. But in both seasons, the credits also feature brief shots from the cable-news channel owned by Waystar Royco. In season one, the most prominent chyron read, “Why Are So Many of Our Older Celebrities Dying?” In season two, it has been replaced with “Gender Fluid Illegals May Be Entering the Country ‘Twice.’” Underneath, there’s a scrolling report: “Senator Wants to Create ‘Supremer’ Court.”

If Succession’s credits were only family portraits and corporate cityscapes, if satire was an occasional sidebar for the series rather than its bedrock anchor, its identity would tilt toward drama. Like Mad Men, or The Sopranos, or many other great dramas, it would be dark in a way that also happened to be funny. But satire is as much a part of Succession as sadness; its opening credits would make no sense without the sly punch line of those jokes to undercut the rest. Even Nicholas Britell’s opening theme supports that sense of ridiculous calamity: It is filled with melodic riffs that hesitantly step higher and higher, only to immediately slide downward and then crash in deep, disastrous, dissonant chords; an initially delicate piano becomes a shrieking violin. Where Mad Men’s credits featured Don Draper falling from a Madison Avenue building only to land coolly on a sofa, the Succession theme reminds us of someone falling and getting up and then falling again, a sad clown slipping on a relentless sequence of banana peels.

More often than not, Succession is also directed and edited as a comedy. Frequently, it relies on a reaction-shot move that’s familiar from The Office and Veep: It’s a visual language that replicates a joke’s setup and punch-line structure, where the reaction shot makes clear that the previous line was a joke, especially when the reaction shows the recipient getting the emotional hit, the punch of the punch line. Sometimes the camera even zooms in on a character’s reaction, creating just enough visual structure around the moment that it feels as though a narrator has stepped in to mediate between what’s on the screen and how the audience receives it. It’s a pause that makes the joke land more sharply, but it’s also a chance for the show to say, “See? See how unreasonable and foolish this all is?”

These comedic elements — the show’s visual language, its joke density, its hyper-specific satire of media and wealth — are comedy operating on a micro scale. They are small details, often more to do with setting and tone than with a deeper genre identity. Succession as a comedy on this scale is like a thousand tiny needle jabs, humor that is designed to constantly rub against the drama and tragedy of the Roys’ lives. Because although Succession is comedic on a micro scale, it is unquestionably tragic on a human scale, on the level of the day-to-day experience of these characters’ lives. They are a family who cannot love one another, whose entire understanding of the world is built on distrust and fear, and whose immense privilege has become a prison of their own design. On a human scale, Succession is a story about unhappiness.

If that were the series’ whole identity, if it were a show that’s funny about tiny stuff and sad about big stuff, then Succession absolutely would be a drama. Like King Lear or other Shakespearean tragedies, which its characters reference almost compulsively, it might have moments of lightness and wry self-reflection, but it would ultimately be a story about a serious world that destroys everyone who lives in it.

But there’s an additional layer to Succession that makes the show twist back around to comedy, even while its human-scale tragedies chug along with increasing levels of despair and pain. It is funny in its tiny things, it is brutally dramatic on a human scale, and then, from the 10,000-foot view, Succession once again becomes ticklishly silly, ludicrous and sly on the proportion of a fantastic cosmic joke. From that faraway vantage point, these people and their world are a joke. Their helicopters and apartments are obscene. Their supposedly luxurious parties seem like uncomfortable nightmares. The prestige trappings and mannerisms meant to make them seem like Extremely Important Grown-Ups — the clothing, the hobbies, the servants, the slicing insults, the political games — only make the Roys look like irresponsible children living spoiled, consequence-free lives. On the uppermost level, Succession is a comedy of manners, a satire on the absurdity of wealth. The Roys’ lives might be tragic, but their whole world is laughable.

Ultimately, Succession is a comedy because it never forgets that the tragedy of these people’s lives is an elaborate joke they have played on themselves, a game they’ve chosen to play that they can only ever lose. The show perpetually references Shakespearean tragedy, but Tom Wambsgams is not Hamlet’s Polonius, the ludicrous, ineffectual schemer in a once-grand kingdom. He’s Malvolio in Twelfth Night, the melancholic jester in an ill-fitting suit who just wants to be loved, but who’s caught in a world with rules he doesn’t ever fully understand — and the rules make no sense anyhow because all the usual consequences have been suspended. No matter how sad it is, Succession’s foremost idea is that its world is preposterous. Preposterous things are also real, and that doesn’t make them any less absurd or less heartbreaking. But it does mean that Succession gives us permission to laugh at them.

https://www.vulture.com/2019/08/is-s...-a-comedy.html
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TV/Production Notes (Broadcast)
‘Serendipity’: NBC Developing Series Inspired by Kate Beckinsale, John Cusack Movie
By Will Thorne, Variety.com - Aug. 23, 2019

NBC has given a script commitment to a prospective series inspired by the 2001 Kate Beckinsale and John Cusack movie “Serendipity.”

The project hails from Miramax Television, whose film division produced the original film, and writer Jonny Umansky. The idea for the show seems like a romantic one, here’s the logline: Harry and Claire fall in love one fateful night, are separated by circumstance and then spend years trying to find one another again…with a little help from the universe.

“I’ve been madly in love with this movie for more than half my life,” said Umansky. “Never has the world needed a show like ‘Serendipity’ more, and the love stories we have in store are big, bold and filled to the brim with whimsy and wonder.”

Umansky, who wrote the 2016 “Legends of the Hidden Temple” TV movie based on the video game for Nickelodeon, is also in place as an executive producer. This marks the second Umansky project set up at NBC, as the Peacock is still in development on a detective series called “Conway.” That project has been in the works since December 2018 and has Vin Diesel on board as an executive producer.

“Conway” centers around St. Louis detective Cal Conway who finds his world turned upside down when he wakes up from a coma with exceptional cognitive abilities, was inspired by a rare condition which has been exhibited in around 50 people across the globe due to traumatic brain injury.

Miramax TV’s output has been limited in recent years, with the most notable project being the Netflix animated series “Spy Kids: Mission Critical.” Miramax CEO Bill Block and Caitlin Foito will serve as executive producers on the “Serendipity” project.

“We are privileged to be working alongside Jonny, who has invented a relentlessly optimistic romantic comedy cinematic universe,” said Foito in a statement. “His creative take and adaptation of Serendipity will be a sure-fire win for everyone involved in this unique project.”

https://variety.com/2019/tv/news/ser...nt-1203311506/
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TV Sports/Business Notes
Sinclair Completes RSN Buy
By Mike Farrell, Multichannel News - Aug. 23, 2019

About three months after announcing the deal, Sinclair Broadcast Group said it has completed its $9.6 billion purchase of 21 former Fox regional sports networks from The Walt Disney Co.

Sinclair first announced the purchase in May, which ended a seven-month long auction for the properties. The networks were purchased through a separate subsidiary of Sinclair -- Diamond Sports Group -- and included Byron Allen, founder and CEO of Los Angeles-based media company Entertainment Studios, as a partner. According to Sinclair, Allen is an equity and content partner in a newly formed indirect subsidiary of Sinclair and an indirect parent of Diamond called RSN Holding Company.

Disney agreed to divest the RSNs as part of the federal approval of its $71.3 billion purchase of certain assets of 21st Century Fox. As part of the Disney deal, Sinclair also agreed to purchase Fox College Sports.

“We are very excited about the transformational aspects the RSN acquisition will have on Sinclair and are eager to bring those opportunities to life,” Sinclair CEO Chris Ripley said in a press release. “We welcome Jeff Krolik, president of the RSNs, and the rest of the RSN management team and staff to the Sinclair family. We have an exciting future ahead of us.”

Sinclair has been an aggressive purchaser of sports properties -- it bought The Tennis Channel in 2016 and earlier this year entered into a partnership with the Chicago Cubs Major League Baseball team to form a regional RSN, Marquee Sports Network.

The RSN brands acquired by Sinclair are: Fox Sports Arizona, Fox Sports Detroit, Fox Sports Florida, Fox Sports Sun, Fox Sports North, Fox Sports Wisconsin, Fox Sports Ohio, SportsTime Ohio, Fox Sports South, Fox Sports Carolina, Fox Sports Tennessee, Fox Sports Southeast, Fox Sports Southwest, Fox Sports Oklahoma, Fox Sports New Orleans, Fox Sports Midwest, Fox Sports Kansas City, Fox Sports Indiana, Fox Sports San Diego, Fox Sports West, and Prime Ticket.

https://www.multichannel.com/news/si...pletes-rsn-buy
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Aug. 24, 2019

SUMMER UNDER THE STARS: SHIRLEY MACLAINE
TCM, 8:00 p.m. ET

Shirley MacLaine is the artist honored today by TCM’s “Summer Under the Stars,” and the roster of movies presented today and tonight includes several ones worth recording, revisiting or just plain enjoying and encountering. Today at 9:30 a.m. ET, TCM presents 1967’s Woman Times Seven, in which MacLaine plays seven different roles in a comedy anthology film. When it was shown originally on TV in the U.S., one of the seven segments was cut as being too risqué, so it actually was Woman Times Six. On TCM, the math and the movie both add up. Plenty of other fine films show up, including 1966’s Gambit at 6 p.m. ET, but the evening hours bring the real gold. Terms of Endearment, from 1983, starts things off at 8 p.m. ET, followed at 10:30 by 1989’s Steel Magnolias (sadly, another of her late-career triumphs, Being There, will not be here), and at 12:45 a.m. ET by 1969’s Sweet Charity.

ATTENBOROUGH AND THE GIANT ELEPHANT
BBC America, 9:00 p.m. ET

The title of this nature documentary may sound like a children’s book, but I guarantee you, anything David Attenborough does is terrific television for the entire family. And whenever he’s not just narrating, but also on camera, it’s a can’t-miss treat. And this time, it’s about Jumbo the elephant, said to have inspired Walt Disney’s Dumbo.

HITSVILLE: THE MAKING OF MOTOWN
Showtime, 9:00 p.m. ET

Showtime has carved out a strong niche for itself, presenting all manner of deep-dive documentaries on music and musicians. (Its recent two-part study of David Bowie was particularly impressive.) Tonight, it presents a new documentary about the birth and growth of Motown – a Supreme subject indeed.


http://www.tvworthwatching.com/

* * * *

TV Review (Cable)
Two Hours of Great Music on Showtime with 'Hitsville: The Making of Motown'
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Aug. 24, 2019

Showtime’s new documentary on the legendary Motown record label sometimes plays as if the Wayans brothers should be standing in for the lead characters.

A striking percentage of Hitsville: The Making of Motown, which premieres Saturday at 9 p.m. ET, consists of Motown pillars Berry Gordy and Smokey Robinson batting compliment back and forth like a ping-pong ball.

“You da man!” “No, you da man!” “No, you da man!” “No, you definitely da man!” And so on.

It’s not that they’re wrong. Berry Gordy Jr., who founded the label, and Smokey Robinson, one of its central creative beacons, became and remain towering presences in modern American popular music.

Motown at its peak, with songs like “My Girl,” “Tracks of My Tears,” “I Can’t Help Myself,” “I Heard It Through the Grapevine” and “Dancing In the Streets,” was to the 1960s what Irving Berlin and Cole Porter were to the ‘30s. It takes nothing from the British bands of the ‘60s to say Motown was their match, blending powerhouse R&B, gospel, pop, and even the occasional odd country riff.

Motown didn’t agonize over pristine technical sound perfection. Motown went for music that sounded great when you blasted it from the speakers of one of those beautiful cars that were rolling off the assembly line in other corners of Detroit.

While Hitsville is hardly the first documentary on Motown, it’s being sold as the first made with Gordy’s cooperation and participation. Much of the two hours jumps off from his reminiscences on how it all began.

He’d always had an entrepreneurial spirit, he says, and since he loved music, he opened a record shop. It failed, he says in retrospect, because he was trying to persuade customers to buy high-quality jazz albums – his personal favorites – when they wanted Muddy Waters.

Serving the listener was his takeaway from that bust, he says. Then he worked on an auto assembly line, and his takeaway there was that you could run a record company on assembly line principles. A department for finding talent. For polishing talent. For writing songs. For training artists in stage presence. For recruiting backup musicians. No detail too small.

He was told an enterprise involving artists could never be that regimented, that it would lose its spark. He proved them wrong.

Partly because Motown was first seen as a tiny black label that could never be a major player, Gordy kept control of everything. He hired people like Robinson, Norman Whitfield, Mickey Stevenson and the writing team of Holland-Dozier-Holland. His scouts found artists and gave them time – in the case of the Supremes, years – to develop.

Gordy also personally had great ears. Hitsville digs out the original concept for Marvin Gaye’s “Stubborn Kind of Fellow” and traces how Gordy turned it from a minor jazz riff into a great pop record. He did the same for the Miracles’ “Shop Around.”

Hitsville takes Motown through its best years, from its founding in the early 1960s through the early 1970s, when Gordy moved it to Los Angeles to get a foothold in the movie business.

A lot of artists and fans think he left much of the magic behind in Detroit, and there’s a strong case to be made for that.

Hitsville wouldn’t say that. What it does acknowledge is Gordy’s gradual and reluctant acceptance of the idea that Motown songs could reference the troubled world around them.

That was a big shift since Gordy for years only wanted music people could sing along with or dance to. He also wanted it color-neutral. Not by accident did he call Motown “the sound of young America,” as inclusive and exhilarating a slogan as the music business has ever put forward.

An extended segment here recounts how Gaye had to browbeat Gordy into releasing Gaye’s socially conscious “What’s Going On,” today widely considered a record that belongs on popular music’s Mount Rushmore.

No doubt because of Gordy’s involvement, Hitsville doesn’t address many elements that are part of the broader Motown story. A number of artists claimed in later years that they didn’t receive fair royalties. There were questions about why Motown didn’t report its sales to the recording industry’s trade group. Some artists left or never joined Motown because they felt the Gordy system would stifle their voices.

Historically, it’s a serious omission that Hitsville ignores the rich music tradition Detroit built before Motown. Figures like Joe Von Battle need to be acknowledged, and anyone who likes Smokey Robinson’s singing needs to hear the voice he inherited it from, the great Nolan Strong of the Diablos from Detroit’s Fortune Records.
All that is and needs to be part of the full Motown story.

Hitsville, though, sticks to the hits, and while that doesn’t make it definitive, that’s okay. It celebrates the part of the story that fans remember and cherish the most.

We meet Maxine Powell, who was hired to teach stage etiquette to singers who didn’t look joyful enough when they sang. We hear how Stevie Wonder knocked everyone out on his first visit at the age of 11. We hear how the Supremes were matched up with “Where Did Our Love Go” because the Marvelettes wouldn’t sing it.

In the end, it’s an upbeat two hours, filled with great songs and making a good case that the Motown story is the American dream set to music.

http://http://www.tvworthwatching.co...x?postId=18692
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TV Sports (Football)
NFL Mulls Cutting Preseason, Expanding Playoffs
By Chris Morris, Fortune.com

Big changes could be coming to the NFL.

The league, players and owners are discussing cutting the preseason to just three games and expanding the number of teams in the playoffs from 12 to 14, according to NFL.com. And players and owners appear open to the idea.

The talks are part of the a bargaining session that began today in Chicago. No formal proposals have been made yet and it’s unlikely a deal will be set by the league’s season opener on Sept. 5.

The NFL would also like to expand the regular season to 17 or 18 games from the current 16, but players haven’t warmed to that idea.

While issues like these will impact fans the most, the parties still are reportedly not close on the issue that’s most central to them—how to split league revenue as part of the next collective bargaining agreement. So it could be a while before any changes to the pre- or post-season are finalized.

The NFL has been mired in controversy for the past several years, first with Colin Kaepernick‘s collusion grievances (which were settled in February), then a growing number of players protesting by kneeling during the National [hotlink ignore=true]Anthem[/hotlink]. Television ratings for games, meanwhile, have dwindled.

Some competitors, like WWE’s Vince McMahon, see this as weakness as an opportunity, which was a catalyst in his decision to bring back the XFL nearly two decades after it faded away. That league will begin games next year.

https://fortune.com/2019/08/19/nfl-m...yoffs-changes/
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TV/Production Notes (Streaming)
‘The Mandalorian’ Trailer: First Live-Action ‘Star Wars’ TV Series Hits Hyperdrive
By Patrick Hipes, Geoff Boucher, Anthony D'Alessandro, Deadline.com - Aug. 23, 2019

Disney on Friday at D23 unveiled the first official trailer for The Mandalorian, the Star Wars galaxy’s first live-action TV series and one of the marquee titles for Disney+, the streaming service that launches in November.

The footage confirms the concept of the series — from creative duo Jon Favreau and Dave Filoni, who are already working on Season 2 — as a gunslinger odyssey that evokes Old West tones with sci-fi trappings. Pedro Pascal stars as the bounty hunter and gunfighter and native of Mandalore, known in the Star Wars universe as the home planet of bounty hunter Boba Fett and Jango Fett.

The events depicted in the series are set after the events of 1983’s Return of the Jedi, which concluded with the death of Darth Vader on Endor. Gina Carano, Carl Weathers, Giancarlo Esposito, Emily Swallow, Omid Abtahi, Werner Herzog and Nick Nolte also star.

Favreau wrote and is executive producer, while Star Wars universe regular Filoni directed the first episode executive produces alongside Kathleen Kennedy and Colin Wilson. Taika Waititi, Bryce Dallas Howard, Deborah Chow and Rick Famuyiwa have also directed episodes.

Check out the trailer below [CLICK LINK] that premiered in the room at D23, Disney’s annual fan confab that is going on all weekend in Anaheim.

https://deadline.com/video/the-manda...u-disney-plus/

* * * *

TV/Production Notes (Streaming)
‘Obi-Wan Kenobi’ Ewan McGregor Disney+ Series Shooting Next Year, All Scripts Ready – D23
By Anthony D'Alessandro, Deadline.com - Aug. 23, 2019

Lucusfilm boss Kathleen Kennedy made it official to fans today that an Obi-Wan series is coming to Disney+. She brought Ewan McGregor on stage, who begged the question to the room: “Ask me if I’m going to play Obi-Wan,” a question he has received backstage at awards shows and from reporter phone calls.

“We have all the scripts written, and we’re ready to go next year, we can’t wait to start production,” said Kennedy.

McGregor was the surprise (not-so?) appearance at the end of Disney+’s D23 Star Wars streaming presentation today.

Prior to Solo: A Star Wars Story bombing at the box office, the first of what was going to be a number of classic Star Wars character spin-off movies, there was buzz of an Obi-Wan movie, with three-time Oscar-nominated filmmaker Stephen Daldry attached. No word if he’s still involved here. There was news that broke when Solo released that Disney was reviving a Boba Fett movie, with James Mangold helming, but those plans were sidelined when Jon Favreau’s streaming series Mandalorian came into fruition.

https://deadline.com/2019/08/obi-wan...23-1202703228/
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TV Review (Streaming)
Amazon's Carnival Row is a big-budget nerd fantasy
By Kristen Baldwin, EW.com

If a group of hardcore genre fans got together and wrote a TV show, and then somebody’s rich Uncle Jeff (Bezos) Venmo’d them several million dollars to produce it, the result might be something like Carnival Row. Amazon’s fantasy-thriller mash-up — starring Orlando Bloom and Cara Delevingne as unlikely, Victorian-era lovers — is a knotty, nerdy, and endearingly sincere parable about immigration and xenophobia, with plenty of interspecies sex to satisfy viewers.

As we learn from the text-on-screen preamble, the “fae” (a.k.a. fairy people) spent years defending their homeland from “the many empires of man,” who sought to control it. Now with the war over, fae refugees — fleeing the brutal persecution of a shadowy group called the Pact — are pouring into the Burgue, a sooty, crowded city that looks a lot like Victorian London, but with more goat-people. An increasingly vocal political movement decries the influx of refugees to the city, and tensions are raised further by a series of attacks on “critch” (a derogatory term for all non-human folk). It’s up to Inspector Rycroft “Philo” Philostrate (Bloom) to find the hammer-wielding creep before he strikes again.

This is well-trodden genre territory, presenting fantastical creatures as persecuted outcasts (see: all things X-Men, for example), and Carnival Row — created by René Echevarria (The 4400) and Travis Beacham (Pacific Rim) — generally sticks to the usual plot devices. Philo is a brooding hero with a Big Secret, one that involves his former fae lover Vignette (Delevingne). She, meanwhile, is shocked and more than a little irked to discover that Philo didn’t die in the war.

Amidst the pastiche and the sometimes-banal writing (“You can’t save them all!” “Damn it, I can save one!”) are some playful touches and charming stories. My favorite is the snooty, insolvent Imogen Spurnrose (Tazmin Merchant), who reluctantly falls for the wealthy “puck” (a goat-man hybrid) next door; it’s like Pride and Prejudice and Satyrs. And Game of Thrones’ Indira Varma has a grand old time as Piety Breakspear (gah, these character names are sublime!), the conniving wife to a critch-friendly politician (Jared Harris).

At times, the mythology can feel needlessly complex, but there is something truly endearing about Carnival’s earnest, irony-free storytelling. Oddly, this splashy streamer production built around a movie star and a former model feels like an underdog — a Cones of Dunshire-style labor of love on a Jack Ryan budget.

Carnival Row premieres August 30 on Amazon.
Grade: B-


https://ew.com/tv-reviews/2019/08/15...amazon-review/
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TV Sports (Football)
NFL Mulls Cutting Preseason, Expanding Playoffs
By Chris Morris, Fortune.com

Television ratings for games, meanwhile, have dwindled.

https://fortune.com/2019/08/19/nfl-m...yoffs-changes/
Sorry, Chris, they haven't. NFL Television Ratings Rose 5% in 2018
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TV Review (Cable)
‘On Becoming a God in Central Florida’ Starring Kirsten Dunst
By Caroline Framke, Variety.com

There’s something uniquely satisfying about watching Kirsten Dunst snarl. Dunst and her on-screen personae appear to relish the opportunity to take advantage of people’s tendency to underestimate them; when a Dunst character taps into her latent anger, the actor brings it to the boiling surface with startling ferocity. Her otherwise cherubic face breaks into a downright ugly fury that’s as shocking to witness as it is vicariously cathartic. It’s a powerful weapon when deployed right — and Dunst has hardly had a firmer grasp on it than she does in “On Becoming a God in Central Florida” (for which she also serves as executive producer).

As Orlando, Fla. single mom Krystal Stubbs, Dunst breathes incandescent life into Robert Funke and Matt Lusky’s tragicomedy — now on Showtime but originally developed for AMC and then the network formerly known as YouTube Red — about poverty, frustration and the American Dream circa 1992. After Krystal finds out just how deep her husband Travis (a disarmingly goofy Alexander Skarsgård) got into a cultish pyramid scheme before suddenly exiting her life, she has to navigate debt and despair without sinking underneath. She’s stubborn, smart and unafraid to piss people off, and yet quickly discovers that disentangling from FAM (the show’s barely veiled facsimile of Amway) is far more difficult than she ever could’ve imagined.

Watching Krystal navigate the myriad dead ends of FAM’s supposedly infallible methodology is so viscerally frustrating that it can be painful. What helps is that the series makes a point of digging into the inherent inequity of the situation, never once losing sight of the fact that Krystal and everyone else trying to stay afloat are doing so from within a fundamentally unfair system, despite FAM’s insistence otherwise. And even while portraying the heartbreaking realities of how such companies prey on the poor and desperate, the series hinges on a pitch-black comedic tone that keeps it off-kilter; the visual style weaves in a creeping strangeness to emphasize the wild hopelessness taking over every character from the inside out. The days are blanched; the nights are overwhelming; the intensity with which people stare at each other, at their futures, and even literally in and out of the camera is as jarring as their inevitable failures. The music, an unequivocal highlight, matches this unsettling vibe with a tense, sparse score and occasional era-appropriate needle drops that never feel gratuitous, which at this point in TV is a genuine feat.

Dunst’s performance is so magnetic that the show could’ve focused on her alone, but it wouldn’t have been half as effective. While Krystal is its undeniable hellion heroine, the series is as much about egocentric scam artists and the widespread devastation they can wreak as it is about Krystal’s struggle to overcome it all. Resistant to Travis’ FAM fanatic in arms, Cody (standout Théodore Pellerin), but in serious need of cash, Krystal at first tries to make the scheme work for her. She even brings her kindly boss Ernie (Mel Rodriguez) into it, promising him and the water park they both work for that their investments will pay off if they believe in themselves hard enough. It’s a line that her husband used on her over and over again, but unlike Travis and Cody, Krystal never was so insecure as to fall for the empty promises that FAM and its blustery luminary Obie Garbeau II (Ted Levine) leverage into business. But Ernie, despite his hesitation and wary wife Bets (Beth Ditto), finds himself depressed enough to give in, starting a disastrous chain of events that no one, except perhaps FAM, could have seen coming. Just as Dunst makes Krystal’s fierce willpower a living, breathing thing, the trio of Pellerin, Rodriguez and Levine dig into their characters’ twin demons of insecurity and longing with admirable nuance. (It’s also no coincidence that the men do everything they can to indulge their dreams of being bigger and better, while the women have to clean up after them, a fraught and familiar dynamic that the series interrogates as Krystal works hard to subvert it.)

As Krystal and Cody fall farther into the rabbit hole of FAM, the season loses some of its initial sharpness. Levine’s electric Obie becomes a villain of ridiculous proportions, leading to a bombastic finale that leaves some of the show’s best attributes by the wayside. It feels as though it isn’t quite sure how to get out of the story in one piece — but to be fair, that inability to break through is what drives “On Becoming a God in Central Florida.” Its characters are stuck and flailing, depressed and determined, raw nerves with so much potential lurking just out of reach. Harnessing the sheer power of their frustration to get ahead isn’t pretty, and it’s often very messy, but it’s also all they’ve got — at least, they hope, for now.

On Becoming a God in Central Florida
Series Premiere Sunday at 10 p.m. (back-to-back episodes) on Showtime.


https://variety.com/2019/tv/reviews/...st-1203304212/
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TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Aug. 24, 2019

ABC:
8PM - A Million Little Things
(R)
9PM - A Million Little Things
(R)
10PM - A Million Little Things
(R)

CBS:
8PM - NCIS
(R)
9PM - FBI
(R)
10PM - 48 Hours: Death After Midnight
(R)

NBC:
8PM - America's Got Talent (120 min.)
(R)
10PM - Dateline NBC: The Summer of Manson
(R)
* * * *
11:29PM - Saturday Night Live: Seth Meyers hosts; Paul Simon performs (93 min.)
(R)

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

PBS:
8PM - Austin City Limits: Puerto Rican Rapper Residente
(R)

UNIVISION:
7:55PM - Fútbol Mexicano Primera División: Cruz Azul vs. Puebla (LIVE)
9:55PM - Fútbol Mexicano Primera División: Tigres UANL vs. América (LIVE)

TELEMUNDO:
7PM - Movie: Jackie Chan's First Strike (1996)
9PM - Movie: The Expendables 3 (2014)

ESPN:
7PM - College Football: Miami vs. Florida (LIVE)
10PM - College Football 150 - Football Is US: The College Game (Special, 90 min.)

ESPN 2:
7PM - MLS Soccer: New York Red Bulls at New York City FC (LIVE)
9PM - High School Football: Dematha (Md.) at St. John Bosco (Calif.) (LIVE)

ESPN U:
7PM - 2019 Little League World Series: Japan vs. Curacao (LIVE)
9PM - 2019 Little League World Series: Wailuku (Hawaii) vs. River Ridge (La.) (LIVE)

CBSSN:
8PM - PBR Bull Riding: Jack Daniels Music City Knockout (2 1/2 hrs., LIVE)
10:30PM - College Football: Arizona at Hawaii (LIVE)

LIFETIME:
8PM - Movie: V.C. Andrews' Web of Dreams (2019)

MTV:
8PM - Ridiculousness: Chanel and Sterling CXXI

NBCSN:
8PM - IndyCar Series Pre Race (LIVE)
8:30PM - IndyCar Racing: Bommarito Automotive Group 500 (120 min., LIVE)
10:30PM - IndyCar Series Post Race (LIVE)
* * * *
11PM - Motocross Racing, Lucas Oil Series: Ironman National (120 min.)
1AM - 2019 Vuelta a Espana: Stage 1 (120 min.)

ANIMAL PLANET:
9PM - Live PD (Season Finale, 3 hrs., LIVE)

BBC AMERICA:
9PM - Attenborough and the Giant Elephant (75 min.)

HALLMARK:
9PM - Movie: All Summer Long (2019)

OWN:
9PM - Black Love
10PM - Black Women OWN the Conversation: Beauty (Series Premiere)

PARAMOUNT:
9PM - Bellator MMA Live (3 hrs. 15 min., LIVE)

SHOWTIME:
9PM - Hitsville: The Making of Motown (Documentary Premiere, 2019, 120 min.)

ID:
10PM - The Case That Haunts Me (Season Premiere)

ADULT SWIM:
11PM - Dragon Ball Super
11:30PM - Gen: Lock
Midnight - Dr. Stone (Series Premiere)
12:30AM - Fire Force (Time Slot Premiere)
1AM - Food Wars!
1:30AM - Black Cover
2AM - Boruto: Naruto Next Generations
2:30AM - Naruto: Shippuden
(R)
3AM - Mobile Suit Gundam the Origin: Advent of the Red Comet
3:30AM - Lupin the 3rd Part 5 (Time Slot Premiere)
4AM - My Hero Academia
(R)


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

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TV Sports
College Football Saturday Schedule
By lsufootball.net Staff

SATURDAY, AUG. 24:

TEAMS : / TIME (Central Time): / NETWORK(S):


--Villanova at Colgate / 11:00 am / CBSSN, CBSSN Video
--Samford vs. Youngstown State (Montgomery) / 2:00 pm / ESPN, ESPN Video
--Florida vs. Miami (Orlando) / 6:00 pm / ESPN, ACCN, SECN, Video: ESPN & Skycam
--Arizona at Hawaii / 9:30 pm / CBSSN, CBSSN Video
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Yay! Best day of the year, CFB is back!
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post #31548 of 32072 Old 08-24-2019, 06:42 PM
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Originally Posted by rdclark View Post
Anyone who's ever depended on income from their IP to put food on the table for their kids does not find it funny at all. The right to access content is not equivalent in any way to the right to control your own creative output.
But she wouldn't have control because of some deal she signed at some point. That gave the rights to someone else.

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post #31549 of 32072 Old 08-25-2019, 12:34 AM
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Yes, she gave the rights to THOSE RECORDINGS to someone else, if she rerecords the content the "new" recordings are all hers - at least that's the way I read it.
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Originally Posted by aaronwt View Post
But she wouldn't have control because of some deal she signed at some point. That gave the rights to someone else.
Swift is no dummy, so I do not know how she didn't notice that clause. Or at least why her lawyers didn't. I know, she was a lot younger, but her lawyers should have known better.

So now, we may, or may not, get re-recorded versions of her greatest hits.

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Originally Posted by mrvideo View Post
Swift is no dummy, so I do not know how she didn't notice that clause. Or at least why her lawyers didn't. I know, she was a lot younger, but her lawyers should have known better.



So now, we may, or may not, get re-recorded versions of her greatest hits.


This situation is not a new one here’s another example
A Brief History of the Ownership of the Beatles Catalog

https://www.billboard.com/articles/c...tory-ownership


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TV Sports (Football)
Andrew Luck retires: Colts quarterback stuns the NFL with shocking retirement decision at age 29
By Jared Dubin, CBSSports.com - Aug. 25, 2019

In the most shocking development of the NFL offseason, Indianapolis Colts star quarterback Andrew Luck will retire from the NFL.

Luck was seen on the sidelines of the Colts' preseason game Saturday night, where he was booed by Colts fans. He then confirmed the burbling news reports during a postgame press conference. The injuries he battled throughout the past few seasons had simply taken too big a toll on his psyche, he said.

"I felt stuck and the only way out of it is to no longer play football," Luck said. "It's taken my joy away from the game."

Luck appeared overcome with emotion as he read prepared remarks, visibly bearing the weight of both his words and his decision, which he called the hardest of his life. He singled out former teammates such as Robert Mathis, who he noted was the best teammate he ever had, and Jacoby Brissett, who he called an awesome dude with a bright future. Luck also said that he was jealous of how happy and content Brissett appeared at the facility when they returned for the offseason program. He later apologized to his mother for wearing a ratty t-shirt during the press conference, and noted that he at times had to pinch himself last season due to how much fun it was to play for Colts coach Frank Reich.

The No. 1 overall pick in the 2012 NFL Draft, Luck has battled injuries throughout his seven NFL seasons, most recently a lingering calf issue that held him out for much of the offseason. Luck led the Colts to the playoffs in each of his first three seasons before the injury issues began in earnest. He battled rib and shoulder issues for much of 2015 and 2016, then sat out the entire 2017 season after undergoing offseason shoulder surgery. Luck returned in 2018 and, after a slow start, looked very much like his former self for much of the year.

The calf issue cropped up earlier this offseason, but the Colts had been insisting that Luck would get back on the field at some point. It instead appears that he will not play another game for the team.

Luck at times lived up to his billing as a star quarterback, and at others came up short of that status. At his best, he was an electric talent who could make any throw on the field, and also use his legs to create plays outside the pocket and down the field. But he took a lot of punishment throughout his career, playing behind one of the league's most porous offensive lines early in his tenure.

He battled through a lot of hits early on and seemed indestructible at times due to his size and strength, but he eventually wore down both physically, and apparently, mentally.

In the wake of Luck's retirement, the Colts' starting quarterback will presumably be Jacoby Brissett, who was acquired from the New England Patriots in a trade prior to the 2017 season. Brissett started 15 of Indianapolis' 16 games in 2017, completing 59 percent of his passes at an average of 6.6 yards per attempt, while throwing for 13 touchdowns and 7 interceptions. The Colts went 4-11 in those games, eventually landing the No. 3 overall pick in the draft.

Outlooks on the Colts obviously dim considerably without Luck in the picture. Most sports books had the Colts expected to win the AFC South, with a win total over-under set at 9.5 at Westgate Superbook. However, while many books closed betting for the night on the Colts because of the news, FanDuel released an updated win total number of 6.5.

SportsLine data scientist Stephen Oh expects the team to drop off, and to thus shake up the AFC South race. Here's a look at how Oh projected the AFC South race on Sunday morning, compared to his projections on Saturday, prior to the news of Luck's retirement and Lamar Miller's torn ACL: [CLICK LINK BELOW]

Meanwhile, CBS Sports fantasy analyst Chris Towers offered analysis of the injury's impact on fantasy football teams:

The last time the Colts played without Andrew Luck, things fell apart. It won't be that bad this time around, with Jacoby Brissett having spent a few more years in the system and by all accounts developing into a solid option. Still, you have to downgrade the likes of T.Y. Hilton and Marlon Mack, who fall into the No. 2 range at their respective positions. Eric Ebron, already a regression candidate, joins the crew of touchdown-or-bust options at the end of the No. 1 tier at tight end, with a quarterback who isn't going to get the team into the end zone nearly as much. As for the rest of the supporting cast? There probably isn't much reason to worry about Devin Funchess, Parris Campbell, or Jack Doyle outside of deeper leagues.

As for Luck, he ends his career with 23,671 passing yards, 171 touchdowns, and 83 interceptions, as well as a 53-33 record as a starter and four Pro Bowl appearances, including last year. The 2018 season was perhaps Luck's best yet, as he completed 67 percent of his passes while setting career highs in passing yards, quarterback rating, and QBR. His 39 touchdown passes were also one off the career high he set in 2014.

Despite that performance, his decision to retire was not entirely unpredictable. Outlook on the calf injury had been muddled by seemingly contradictory comments from team officials in recent weeks, and Saturday night reports indicate the Colts were not stunned by the turn.

Once billed as the best quarterback prospect since Peyton Manning, Luck eventually was the reason the Colts franchise moved on from the legendary passer. After Manning missed the entire 2011 season due to injury, the Colts landed the No. 1 pick and elected to take Luck and waive Manning, who went on to star and win a Super Bowl for the Denver Broncos.

https://www.cbssports.com/nfl/news/a...ion-at-age-29/

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TV/Production Notes (Streaming)
Disney+'s Unscripted Slate Includes Kristen Bell's Encore!, Jeff Goldblum Docuseries and More — Watch Trailers
By Ryan Schwartz, TVLine.com - Aug. 24, 2019

In addition to The Mandalorian trailer, myriad Marvel castings and a Lizzie McGuire sequel, Disney+ has revealed its inaugural slate of unscripted series, headlined by Kristen Bell, Jeff Goldblum and Kermit the Frog. [CLICK LINK AT BOTTOM TO SEE TRAILERS]

First up is Encore!, hosted by Bell. The series, which started as an ABC special back in December 2017, “brings together former castmates of high school musicals, tasking them with re-creating their original performance years after they last performed it, in a high school reunion like no other,” according to the official logline. It premieres in tandem with the streaming service’s launch on Tuesday, Nov. 12.

Next up is The World According to Jeff Goldblum, a 12-episode docuseries from National Geographic, which also debuts on Nov. 12. In each episode, viewers will get to see the world through Goldblum’s eyes — whatever that means.

Then, on Tuesday, Dec. 3, Disney+ will launch the One Day at Disney, a 52-episode, short-form series that will kick off with a feature-length documentary. Each installment promises to “shine a dazzling light on the creative forces in front of the cameras and behind the scenes at The Walt Disney Company.”

Last, but certainly not least, is Muppets Now, a short-form “unscripted” series coming in 2020. You can read Kermit the Frog’s heavily redacted announcement below: [CLICK LINK]

https://tvline.com/2019/08/24/disney...oldblum-video/

* * * *
TV/Critic's Notes Notes (Streaming)
Disney+ to Release Episodes Weekly: A Welcome Break From Stress-Bingeing?
By Matt Webb Mitovich, TVLine.com - Aug. 24, 2019

Amid the flurry of Disney+ announcements made Friday at D23, a none-to-small detail emerged about the new streaming service: Sources confirm for TVLine that Disney+ episodes will be released on a weekly basis, versus the all-at-once “binge” model often employed by rivals.

Is this a welcome respite for those who have felt a need to “stress-binge” full seasons ASAP upon release (lest they, for one reason, get spoiled by those who watch faster)? Or is it, as some see it, a “cash grab” by the House of Mouse? A way to force month-to-month subscriptions and foil those scheming to sign up, binge, and bail?

Is giving each episode time to “breathe” a way to foster better conversation and real-time evaluation of a series as it evolves? Or does returning to a weekly schedule run contrary to how consumers have grown accustomed to enjoying their TV?

Launching Tuesday, Nov. 12 Stateside and rolling out globally over the next two years, a Disney+ subscription will run just $6.99 per month (or $69.99 for an annual pass; pricing varies outside the U.S.). The content will be ad-free.

Disney+ will offer unlimited downloads of shows (and movies) via its app, to watch offline later on up to 10 mobile or tablet devices. The service will allow subscribers to concurrently stream video content on up to four registered devices, with no up-charges.

Quality-wise, Disney+ will offer “4K Ultra HD video playback in Dolby Vision ultra-vivid imaging, HDR10, and Dolby Atmos immersive audio on supported devices for available programming.” (I don’t remember which droid HDR10 is, but I reckon he’s a hoot!)

Upon launch, the live-action Star Wars series The Mandalorian as well as High School Musical: The Musical: The Series: Too Many Colons will make their premieres, to be followed by the animated Star Wars: The Clone Wars (in February 2020), Marvel’s The Falcon and the Winter Soldier (Fall 2020) and Pixar’s Monsters at Work and Diary of a Female President (sometime in 2020). At least another 11 series — including seven more Marvel projects, an Obi-Wan Kenobi series, a Lizzie McGuire revival and a Muppets show — have been announced, with premiere dates TBA or set for sometime in 2021.

The TV series are, of course, on top of all the library and original film content, new Pixar shorts (such as Forky Asks a Question), and a vast library of TV episodes (including every Simpsons episode ever, as well as Disney Channel, DCOM and NatGeo content).

Where do you stand on Disney+’s idea to “bring back” the weekly release model? If it’s, cynically, a “cash grab,” can they be forgiven given the low-to-begin with price point? Especially if warding off binge-and-bails is what makes that sweet price feasible for them?

Personally, I am glad to see one of the new streaming services “change things up” and go weekly. Too often with binge shows, the opportunity for extended discourse is diminished. The conversation around any given show quite famously and demonstrably ends within weeks of the initial drop. And whatever discussion you do find runs the risk of spoiling anyone who isn’t quite on the same page. “Hey, Vern, have you seen GLOW Season 3?” “Sure did, Chantal! Crazy about how in the finale–” “Shhh! I’m only on Episode 7, you wanker!”

Doesn’t a live-action Star Wars series deserve to be savored, and not frantically speed-watched out of fear that someone will spoil that Jabba is revealed to be a Kree in the season finale?

https://tvline.com/2019/08/24/disney...isodes-weekly/
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Media/Health Notes
Musician Eddie Money Diagnosed With Stage 4 Esophageal Cancer
By Trey Williams, TheWrap.com - Aug. 24, 2019

Musician Eddie Money revealed during his AXS TV series “Real Money” that he is battling Stage 4 esophageal cancer.

The “Take Me Home Tonight” artist on Saturday tweeted a link to a RollingStone article featuring a clip of Money and his wife Laurie Money discussing his diagnosis.

“I thought I was going in for a check-up and [the doctor] told me I have cancer,” Money said in the clip. “When we found out that I had cancer and that it was Stage 4 and that it was in my liver and my lymph nodes and a little bit in my stomach… it hit me really, really hard.”

The 70-year-old singer-songwriter, whose real name is Edward Mahoney, burst on the music stage in the late ’70s when he charted with singles “Baby Hold On” and “Two Tickets to Paradise.” He was one of the early artist to take advantage of the MTV music video era in the early ’80s with his video for “Shakin’,” which featured future “Purple Rain” star Apollonia.

Money, who suffered from drug addiction, joined a 12-step program in 2001. He received his cancer diagnosis last fall while filming the second season of “Real Money.”
The episode in which Money talks about his cancer diagnosis will air Sept. 12 on AXS TV.

“What I don’t want to do is, I don’t want to keep the fact that I have cancer from everybody,” Money said. “I want to be honest with everybody. I want people to know that cancer has come a long way and not everybody dies from cancer like they did in the ’50s and the ’60s. Am I going to live a long time? Who knows? It’s in God’s hands. But you know what? I’ll take every day I can get. Every day above ground is a good day.”

In July Money postponed a tour after developing pneumonia while recovering from a recent heart valve surgery.

https://www.thewrap.com/eddie-money-...hageal-cancer/
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TV/Production Notes (Cable)
Texas County Boots A&E’s ‘Live PD’; Network Says New Locations Already Lined Up For Hit Law Enforcement Reality Show
By Greg Evans, Deadline.com - Aug. 23, 2019

The Texas county sheriff isn’t happy that county leaders have given A&E’s Live PD a ticket outta town, saying Commissioners “did not support my decision to maintain a relationship to grant access” to the docuseries.

News came this week that Williamson County, Texas, would no longer cooperate with Big Fish Entertainment, producer of the law enforcement reality series that airs on A&E. Various local media reports suggest that the County Commissioners sided with District Attorney Shawn Dick over concern that Big Fish does not retain or share footage with the DA of the county’s law enforcement activities.

The DA says such footage could be used for investigations and as evidence, but an attorney for the sheriff’s office counters that the TV producers are under no legal obligation to hang on to or share the footage.

Earlier this week, the locals made their choice, with Williamson County tweeting, on its official government account, “The Commissioners Court voted unanimously to terminate the contractual agreement between Williamson County and Big Fish Entertainment, the producer of the show Live PD.”

The show must stop filming on county property within 30 days, and the county says the existing contract calls for the destruction of footage – apparently unused footage – within the same time frame.

That didn’t quite sit well with Williamson County Sheriff Robert Chody, who supported Big Fish. In a tweet that included a “Thank You” gif, Chody writes, “Disappointed that the Commissioners court did not support my decision to maintain a relationship to grant access to #Livepd . [The Williamson County Sheriff’s Office] benefitted on recruitment, community engagement, transparency & so much more. Thank you all 4 your continued support.”

Big Fish Entertainment intends to continue the show in another location. In a statement, the production company said, “We thank the Williamson County Sheriff’s Office and the community for their participation and wish everyone of Williamson County the best, as we shift our attention to the many other agencies around the country asking to work with Live PD.”

A spokesman for A&E tells Deadline that the Williamson County access agreement was set to expire shortly anyway, was only one of 38 departments chronicled since the series’ 2016 launch, and that the production has multiple other law enforcement departments in place for the new season starting Sept. 20.

Currently coming to a close of its third season, Live PD, which airs Friday and Saturday nights on A&E, often leads cable TV ratings for those nights. In all, A&E airs six hours of new episodes each week, not including numerous reruns and related programming.

Last night, the production offered a sly hint that might come as reassurance to fans. On its official Twitter account, “Live PD on A&E,” posted a clip of law enforcement footage, along with the message, “Sir, where are we going?”

Some places the show will not be going include Bridgeport, Connecticut; Tulsa, Oklahoma; and Streetsboro, Ohio, each having chosen not to renew their Live PD contracts, according to the Associated Press, after government leaders complained that the crime-focused series depicted their cities in a negative light.

Here is the trail of tweets: [CLICK LINK BELOW]

https://deadline.com/2019/08/ae-live...me-1202702489/
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Media/Cultural Notes
“Me love you long time” Sticks Around For A Really Long Time
By Thuc Nguyen, Flaunt.com - Aug. 24, 2019

Vietnam War movies are all the rage, again. With this, there still isn't any evidence that they show Vietnamese people or specifically Vietnamese women as whole humans. Apocalypse Now just had its 40th anniversary and a has a full theatrical run for “Final Cut” all over America. Spike Lee just wrapped Da 5 Bloods and Peter Farrelly is making The Greatest Beer Run Ever. All of these projects are made by men and focus on soldiers, just like their predecessors Apocalypse Now (Cuts 1 & 2), Platoon and Full Metal Jacket.

You may think the phrase “Me love you long time” started in 1989 with a 2 Live Crew track where female vocals ooze “Me so horny. Me love you long time”. These words predate the rap act in popular culture, as they were said by actress Papillon Soo Soo, who portrays a Vietnamese prostitute soliciting American GI-s, in the Stanley Kubrick film Full Metal Jacket that came out in 1987. [CLICK LINK AT BOTTOM TO SEE CLIPS]

Over time, the phrase has entered various areas of pop culture, school yards and the music and apparel industries, often called out by people who know that it's racist and sexist. It's used to reduce Asian and Asian-American women to sex objects. It's our turn to make sure its use of turning Asian and Asian-American women into jokes stops with us. Etta Devine, a writer in LA, puts it well, “Me love you long time was viral before there was viral”.

In Season One of Hulu’s hit Emmy nominated show PEN15, “me love you long time” is said by a white boy who bullies the half-Japanese lead created and portrayed by Maya Erskine. Maya says boys would hurl “me love you long time” at her in middle school, in Los Angeles. The show which has deftly tackled racism has been renewed for a new season.

As for the accuracy of Kubrick’s screenwriting, I spoke with Pulitzer winning author Robert Olen Butler, who was in his twenties when he served in the American War in Vietnam as a translator. Bob tells me, “My sense of the phrase is its inextricable relationship to a comparable phrase: The “short-timer.” A short-timer was a young woman who was willing to sell temporary time and access to her body. I had a strong sense that very few, if any, of the “short-timers” were hardened prostitutes”. He says that “long time” means the women's availability over the duration of the soldier's tour or beyond. In the context of Kubrick’s scene it seemed to imply the duration of a sexual encounter.

Through the years, “Me love you long time” isn’t just something related to a Vietnamese prostitute. It’s become, for some, a way to label or put down any Asian looking woman-- “casual racism”. A story from Chicago went viral in July 2019 where Connie Cheung, a twenty-seven year old Chinese-American job applicant, got an email that she was accidentally copied on. The email was about her from one male interviewer to another male recruiter referencing Cheung merely with the line “me love you long time”, mocking her application by calling her this. The man who did this said he wrote that because an Asian woman said it in a movie and he presumed Cheung is Asian too, again reducing “Asians” to a monolith and seeing no difference between Vietnamese and Chinese. The man also didn't seem to see Cheung as a whole human, likening her to a prostitute because of her race.

“Me love you long time” has made it into mainstream entertainment after the 1980s. I've been told it's in the cartoons South Park and Family Guy, and in the movies 40 Year Old Virgin and Tommy Boy, with instances characters coyly offering sex for payment of goods or services.

Non-Asian women have appropriated the phrase in the music world. Fergie’s used it in a track, as well as singers like Nelly Furtado and Mariah Carey. Non-Asian female vocalists in a 2008 MTV article by Jennifer Vineyard liken it to reclaiming the word “bitch”. I beg to differ. It's not the same and Asian diaspora women should be the ones reclaiming it.

Stereotypes of Asian women have been rampant through-out entertainment history, as either being a demure flower or dragon lady. From Madame Butterfly (1904) to Miss Saigon (1989), Full Metal Jacket is just part of a line of Asian female identifying characters to be classified as self sacrificial for white male domination and consumption, sexual and otherwise-- Children don't go around quoting the latter two, but they sure do love saying “me love you long time”. In 2002, The Quiet American starring Michael Caine was no different – it perpetuated the idea that Asian women are compliant demure sexual creatures put on earth to please men. This is the same from The Karate Kid to The Last Samurai, Asian female characters have no agency and serve as “exotic” partners making tea for and/or bathing white men.

The trend of othering hasn't ended. The Australians just released a Vietnam War movie called Danger Close and the front page of its IMDB is 100% white people. The only two Vietnamese women are credited as “Female Viet Cong” and “VC Female”, not terribly humanizing.

Many Asian-American women have found “me love you long time” completely de-humanizing and traumatic. Naomi Ko, a Korean-American woman who created and stars in NICE, the series, tells me about hearing those words. “The first time it happened to me I was in high school, visiting a nursing home in Minnesota. An elderly white man said it. It was horrifying. The second time I was in college at a house party and then the guy added, “love me MORE long time because you’re ugly”. Both times white women made excuses or said nothing”.

Phung Huynh, a Vietnamese-American boat person refugee painter and educator, recalls that she was a ten year old visiting her teenaged male Vietnamese-American cousins in Miami, who were laughing and pointing at the Full Metal Jacket scene on tv. I remembered being confused and upset”.

Kate Marley, a twenty-nine year old American actress adopted from South Korea by white parents, heard it on the playground in a Catholic elementary school in Tacoma, Washington. She felt uncomfortable and couldn't figure out why boys were directing this broken English at her and not at any other kids. She's also seen “me love you long time” in porn.

Viet Thanh Nguyen, decorated writer (Pulitzer, Guggenheim, MacArthur) and public intellectual, denounced the musical Miss Saigon in The New York Times on August 3, 2019. When I spoke with Professor Nguyen recently about “me love you long time”, he succinctly stated, “It's a terrible phrase that became a racist/sexist way for people to provoke Asian/Asian-American women. It was sampled by 2 Live Crew, which probably helped to account for its popularity, which shows that orientalism is both black and white.”

Today, “me love you long time” is still uttered in disparate situations- from playgrounds to when guys talk about “scoring” with Asian women. I spoke with people in the Facebook group “Murderinos of Color”. Group member Seraiah Apelian, twenty-two, says she remembers hearing it as a toddler and recently from teenagers where she lives in New Mexico.

Gabriel Nivera, a thirty-four year old photographer, who grew up in The Philippines who I also met in “The New Yorker Movie Club” online group would hear men try to use “me love you long time” as a pick up line! He also says he hears it from white men to Asian women on the street and in bars still in North America, and from guy friends in the present day who talk about their hook-ups with Asian women. For him “As an Asian guy, it's pretty ****ing offensive”.

People of varying cultural backgrounds think it’s possible to alter “me love you long time”’s place in history from here on out. Lauren Bradley, a tv writer, thinks that “transforming it will be hard. At it's core, it's about reducing Vietnamese women to an accent and sex work. But I think the more blowback white people get for saying it, the better. I also think it's the duty of people in control of culture -- entertainment, fashion, etc.-- to not use it as a joke. Eventually the phrase will work its way out of common lexicon if future generations don't see it as effective.” James Bryson Hyatt, a screenwriter, says “Start shaming people who use it. To hell with trying to transform it”.

Bing Chen, Chinese-American, is a founder of Gold House Collective, which has been a booster for films with Asian-American leads. Most recently his group gave a hand up to Lulu Wang's The Farewell at the box office, which features Nora Lum as Billi, a Chinese-American lead who is completely not sexualized. Bing's advice is: “Stereotypical mockery seeks ownership: phrasing like this compartmentalizes how communities are spoken to, how they're (mis)treated, and therefore what they are capable of achieving within the "owner's" system. But to paraphrase Toni Morrison, definitions do not belong to the defined-- they belong to the definers. Halting the persistence of racist sentiments isn't just incumbent on the perpetrators--it's up to us.”

Full Metal Jacket’s official tagline is “Vietnam can kill me, but it can’t make me care”...

https://www.flaunt.com/content/me-love-you-long-time
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Technology/Legal Notes
Major book publishers sue Amazon’s Audible over new speech-to-text feature
By Nick Statt, TheVerge.com - Aug. 23, 2019

Some of the world’s largest book publishers have jointly filed a lawsuit against Amazon-owned audiobook company Audible today over a new, controversial speech-to-text feature the literary industry claims is a violation of copyright law.

The lawsuit, filed in the Southern District Court of New York, includes the Big Five: Hachette, HarperCollins, Macmillan, Penguin Random House, and Simon & Schuster. It also includes San Francisco-based publisher Chronicle Books and Scholastic, the major children’s publisher that owns publishing rights to Harry Potter and The Hunger Games. All seven plaintiffs are members of the Association of American Publishers.

“Audible’s actions are the kind of quintessential infringement that the Copyright Act directly forbids.”

Publishers are taking issue with Audible’s new Captions feature, first unveiled last month and set to go live in September through partnerships with US public schools. The feature uses machine learning to transcribe spoken words into written ones, so users can read along while they listen to an audiobook. The issue, however, is that Audible is doing this based on audiobook recordings, which have separate licenses to physical books and ebooks. The company is not apparently obtaining the necessary licenses to reproduce the written versions of these works.

Because Audible is relying on artificial intelligence, it appears the company is trying to claim a distinction between a newly created piece of text composed using AI, based on an audio recording, and the potentially near-identical text version of the book the audiobook was created from. (As evidence that the text is generated on the fly, Amazon says its transcriptions may contain errors and are not intended to be complete recereations of the text version of a book.) At the time of its launch, Audible CEO Don Katz positioned Captions as an educational feature designed for schools, telling USA Today, “We know from years and years of work, that parents and educators, in particular, understand that an audio experience of well-composed words is really important in developing learners.”

“Audible’s actions — taking copyrighted works and repurposing them for its own benefit without permission — are the kind of quintessential infringement that the Copyright Act directly forbids,” the complaint reads. “If Audible is not enjoined, Audible will take for itself a format of digital distribution it is not authorized to provide, devalue the market for cross-format products, and harm Publishers, authors, and the consumers who enjoy and rely on books.”

In a statement given to The Verge, Audible defended the development of Captions as an educational feature designed to help young kids and improve literacy, saying “it is not and was never intended to be a book.” An Audible spokesperson also pointed to an explanation of the Captions feature and an attached FAQ penned by Katz in late July, which details the differences between Captions and a proper ebook and the limitations posed on listeners. One key difference, Audible says, is not being able to flip through pages, as users must wait for each line of text to be progressively generated as they’re listening. Here is Audible’s statement in full:

We are surprised and disappointed by this action and any implication that we have not been speaking and working with publishers about this feature, which has not yet launched. Captions was developed because we, like so many leading educators and parents, want to help kids who are not reading engage more through listening. This feature would allow such listeners to follow along with a few lines of machine-generated text as they listen to the audio performance. It is not and was never intended to be a book. We disagree with the claims that this violates any rights and look forward to working with publishers and members of the professional creative community to help them better understand the educational and accessibility benefits of this innovation.”

At the heart of the case will be a determination on the transformative nature of an AI-created audio transcription, and whether that constitutes a violation of the copyrights held on a written work.

“This is one of many lawsuits that will help define the future of intellectual property rights in the digital age. It raises major questions over what impact artificial intelligence, when it interacts with copyrighted material, will have on intellectual property rights,” Sam P. Israel, a copyright attorney and founder of Sam P. Israel P.C., told The Verge over email. “Ultimately, unauthorized reproductions of copyrighted material, even when done unwittingly through the assistance of AI, will likely not pass muster in the courts.”

The case happens to have a strong analog to a former Amazon publishing controversy a decade ago, when the company tried to launch a text-to-speech feature for its Kindle platform that would effectively do what Amazon Captions does today, but in reverse.

Publishers at the time were enraged, accusing Amazon of trying to trample on the nascent audiobook market and the licensing rights that publishers believed would help it become a thriving business. Amazon eventually caved in that regard, allowing publishers to disable the Kindle text-to-speech feature after a massive outcry from the US Authors Guild.

“There is a simple English word to describe this: and that is theft.”

Publishers and the Authors Guild have been putting up a similar fight for the last month. After the feature was announced, the Authors Guild released a statement saying “existing ACX and Audible agreements do not grant Audible the right to create text versions of audio books.” The group said the feature “appears to be outright, willful copyright infringement, and it will inevitably lead to fewer ebook sales and lower royalties for authors for both their traditionally published and self-published books.”

Audible has been mostly quiet about the matter, telling The Verge last month that it did “not agree with this interpretation” from the Authors Guild, but the company formally declined to comment further. Audible also refused to comment about whether it would work with publishers on establishing some form of licensing that would allow the Audible Captions feature to exist while also fairly compensating rights holders.

In a new statement, the Authors Guild expressed support for the lawsuit. “Without authorization and in violation of its contracts with publishers, Audible added a text feature to its audiobooks. Text and audio are different book markets, and Audible is licensed only for audio,” writes Mary Rasenberger, the executive director of the Authors Guild.” It has chosen to use its market power to force publishers’ hands by proceeding without permission in clear violation of copyright in the titles.”

In an interesting twist, some of the books for which Audible has added Captions support are written by Authors Guild President Doug Preston, who was not pleased. “My contract is crystal clear that the only rights conveyed to Audible are for voice recording and playback. The rights to reproduce text in any way are specifically withheld,” Preston said in a statement. “I can’t believe that Audible has so little respect for authors, contractual promises, and copyright that it thinks it can just help itself to rights it doesn’t have, by fiat. There is a simple English word to describe this: and that is theft.”

https://www.theverge.com/2019/8/23/2...ook-publishers
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TV Sports/Legal Notes (Baseball)
Judge Upholds $100M TV Money Win for Washington Nationals
By Eriq Gardner, The Hollywood Reporter - Aug. 23, 2019

A New York judge has delivered a $100 million victory for the Washington Nationals against the Baltimore Orioles in a long-running legal feud over TV money.

The two MLB clubs have been in and out of both arbitration and court in a dispute that dates back to the way the Nationals were relocated from Montreal in 2005. To address the Orioles' concern over another club moving into its home territory, a deal was worked out whereby both teams' games would be telecast on the Mid-Atlantic Sports Network. The Orioles would have a supermajority profit interest in that regional sports network and would be obligated to pay the Nationals "fair market value."

Dissatisfaction with the initial result led the clubs to fight in open court, and in July 2017, an appellate court vacated the arbitration award because the law firm representing the Nationals was also representing the MLB widely in other matters.

However, the Orioles failed in getting the dispute beyond an MLB arbitration panel, and when a re-do produced a similarly unsatisfying result, the arbitration award again went to an outside court. The case provides an inside look at the economics of televising live baseball games with the parties arguing for different standards — the Orioles looking to a methodology factoring revenue and expenses (one that would lock in a comfortable profit margin); the Nationals putting weight on what other teams throughout professional baseball were getting in their own TV contracts.

In a ruling on Thursday, New York Supreme Court Judge Joel Cohen notes the narrow grounds to vacate under the Federal Arbitration Act and concludes that the Orioles can't demonstrate "evident partiality," not from the way that MLB once extended a $25 million advance to the Nationals in its television dispute nor from public statements made by MLB about this case.

Cohen also rules that the Orioles weren't denied adequate opportunity to present its case. The judge notes the "voluminous record" over seven years and how the arbitration panel considered various discovery requests and rejected them in a reasoned order.

Here's the full decision

This outcome wasn't terribly unexpected by the parties. The Orioles have already signaled their intention to take the dispute to an appeals court in New York that was divided during the earlier round. MLB's alleged bias, its capacity for adjudicating internal disputes and the dictates of the Federal Arbitration Act will very likely continue there. In the meantime, with the expiration of the Orioles' lease at Camden Yards in 2021, there's been persistent local talk how the team could be for sale and that a move to Nashville or some other city could be in the cards.

https://www.hollywoodreporter.com/th...ionals-1234060
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TV Notes
On The Air Tonight
SUNDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Aug. 25, 2019

ABC:
7PM - America's Funniest Home Videos
(R)
8PM - Celebrity Family Feud: Ninja vs. Juju; Jerry Springer vs. Doug Flutie
9PM - The $100,000 Pyramid: Rachel Dratch vs. Kevin Nealon; Sherri Shepherd vs. Adam Pally
10PM - Match Game: Ana Gasteyer, Jalen Rose, Joshua Malina and Wanda Sykes

CBS:
7PM - 60 Minutes
8PM - Big Brother
9PM - Instinct (Series Finale)
10PM - NCIS: Los Angeles
(R)

NBC:
7PM - America's Got Talent: Quarter Finals 1 (!20 min.)
(R)
8PM - NFL Football: Pittsburgh Steelers at Tennessee Titans (LIVE)

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

THE CW:
8PM - Penn & Teller: Fool Us
(R)
9PM - Masters of Illusion
(R)
9:30PM - Masters of Illusion
(R)

PBS:
8PM - The Manners of Downton Abbey: A Masterpiece Special
(R)
9PM - Downton Abbey Live! (Special, 90 min., LIVE)
10:30PM - The Manners of Downton Abbey: A Masterpiece Special
(R)

UNIVISION:
7PM - Aquí y Ahora
8PM - Movie: No Se Aceptan Devoluciones (2013)
10:30PM - Crónicas: Historias Que Hacen Historia (30 min.)

TELEMUNDO:
7PM - Exatlón Estados Unidos (3 hrs.)
10PM - El Secreto de Selena (Special)

ESPN:
7PM - MLB Baseball: New York Yankees at Los Angeles Dodgers (LIVE)
10PM - SportsCenter (2 1/2 hrs., LIVE)

OXYGEN:
7PM - Killer Motive (Series Premiere)
8PM - A Lie to Die For

VH1:
7PM - Nick Cannon Presents: Wild 'n Out (Akon; Buddy; Sarunas J. Jackson)
7:30PM - Nick Cannon Presents: Wild 'n Out (Jimmy O. Yang; Michael Rainey Jr)

BET:
8PM - Sunday Best (Season Finale)
9PM - Murder in the Thirst

CBSSN:
8PM - Baseball: Perfect Game 13U All American Game (3 hrs.)

HALLMARK:
8PM - Chesapeake Shores (Season Premiere)

LIFETIME:
8PM - Movie: Deadly Influencer (2019)

MTV:
8PM - Ridiculousness: Elle King

STARZ:
8PM - Power (Season Premiere, 58 min.)
8:58PM - Power Confidential (Series Premiere, 28 min.)

AMC:
9PM - Fear the Walking Dead (64min.)
10:04PM - Preacher (67 min.)

CNN:
7PM - Bill de Blasio: CNN Town Hall (LIVE)
8PM - CNN Newsroom With Ana Cabrera (LIVE)
9PM - Halston (Documentary Premiere, 2019, 120 min.)

E!:
9PM - Flip It Like Disick
10:01PM - Revenge Body With Khloé Kardashian (Season Finale)
* * * *
11:01PM - Nightly Pop

HBO:
9PM - Succession
10:01PM - The Righteous Gemstones (34 min.)
10:35PM - Ballers (Season Premiere)

ID:
9PM - Evil Lives Here
10PM - Impact of Murder (Season Finale)

SHOWTIME:
9PM - The Affair (Season Premiere)
10PM - On Becoming a God in Central Florida (Series Premiere, 45 min.)
10:45PM - On Becoming a God in Central Florida (50 min.)

ESPN 2:
10PM - World Axe Throwing League: U.S. Open Tournament (120 min.)

ADULT SWIM:
Midnight - Squidbillies: The Reenactment of the Repulsion of the Siege of Cuyler Mountain
12:15AM - Squidbillies: Rich Dan, Poor Dan


https://tvlistings.zap2it.com/?aid=gapzap
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TV/Nielsen Notes (Broadcast)
Friday Ratings: NFL Football Sets The Victory Table On A Rerun Heavy Night
By Bruce Haring, Deadline.com - Aug. 24, 2019

Are you ready for some football? Apparently, the answer is a resounding “Yes!” as sports fans propelled the CBS broadcast of the Buffalo Bills/Detroit Lions game to the top of Friday night’s ratings. The National Football League pre-season game scored an 0.7/5 and 3.53 million viewing audience to lead a rerun heavy night.

The NFL ended the winning streak of NBC’s American Ninja Warrior, which slid to third with an 0.5/3 and 2.29 million audience, topped by ABC’s American Housewife repeat, which had an 0.5/4 and 2.87 million total. But NBC’s Dateline rallied in its 10 PM time slot, scoring an 0.6/4 and 2.99 million audience.

The strong lead-in from American Housewife boosted ABC, as its new episode of What Would You Do? had an 0.5/3 and 3.07 million audience.

The CW aired a new episode of its Masters of Illusion, scoring an 0.2/1 and 0.87 million, a holding steady from its prior new broadcast. Also holding steady was a new episode of The Big Stage variety show, which had an 0.1/1 and 0.63 audience.

The rest of the evening’s fare was in reruns.

https://deadline.com/2019/08/friday-...ht-1202703550/
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