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post #31861 of 31997 Old 09-11-2019, 10:54 AM - Thread Starter
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TV/Production Notes (Cable)
John C. Reilly Joins HBO’s 1980s Lakers Pilot, Replacing Michael Shannon
By Joe Otterson, Variety.com - Sep. 10, 2019

John C. Reilly has joined the HBO pilot about the 1980s Showtime Lakers in a recasting.

Reilly will play the role of former Lakers owner Jerry Buss, replacing Michael Shannon, who exited the project over creative differences. The character is described as a self-made millionaire whose success has only amplified his proclivity for risk, Buss redefines American sports, celebrity, and wealth by transforming the Lakers into a dynasty. But his house of cards threatens to collapse on him and the people he loves most.

Should the project go to series, it would mark one of few TV projects Reilly has starred in throughout his career. He was nominated for the Oscar and Golden Globe for best supporting actor for his work in the 2002 film “Chicago.” He is also known for his roles in big screen comedies like “Walk Hard: The Dewey Cox Story,” “Step Brothers,” “Talladega Nights: The Ballad of Ricky Bobby,” and the “Wreck-It Ralph” films.

He is repped by WME, Framework Entertainment, and Gendler & Kelly.

Jason Clarke is the only other currently announced cast member for the untitled pilot, playing the role of Jerry West.

Max Borenstein is writing and executive producing the pilot, which is set to begin production in September. Adam McKay will direct the pilot and executive produce through his yet to be named new production company. Kevin Messick of McKay’s company will also executive produce along with Jason Shuman. Jim Hecht co-wrote the story and will also executive produce. Scott Stephens will also executive produce with Rodney Barnes co-executive producing.

The pilot is based on Jeff Pearlman’s non-fiction book “Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s.”

https://variety.com/2019/tv/news/hbo...ly-1203331399/
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post #31862 of 31997 Old 09-11-2019, 10:58 AM - Thread Starter
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Remember the glowing hockey puck trail (FoxTrack) that Fox Sports tried to push on NHL viewers in the late 1990's? It's back!

TV Sports/Technology Notes (Cable)
Colorful overlays will track athletes’ speed during the 2020 Tokyo Olympics
By Jacob Kastrenakes, TheVerge.com - Sep. 11, 2019

The track and field events at next year’s Summer Olympic Games in Tokyo will feature new augmented overlays to help viewers keep track of what’s going on during a race. In a new video , Intel previews footage that includes overlays that identify the top runners’ names and speeds. A color trail appears behind them, too, seemingly showing their speeds at different points along the track. You can see in the GIF how the colors seem to phase in and out as their speeds change.

The technology is called 3DAT, or 3D Athlete Tracking. Intel says it works in “near real time,” relying on AI and computer vision, allowing broadcasters to add it live.

It sounds like the tech will be able to do more than what’s shown here. Yiannis Exarchos, executive director of Olympic Channel Services, says it’ll be used to help viewers understand different phases of sprinting events during the track and field competition. The tech is also capable of understanding the “form and motion of athletes,” and Exarchos says this will all result in new “insights” into the Olympic competitions for viewers.

Intel has an expansive partnership to provide tech for the Olympic games beyond the overlay features. Its processors are also powering a facial recognition system meant to identify more than 300,000 people at the games, and, as it did in 2018, it’s also promising more virtual reality broadcasts, including of the opening and closing ceremonies and track and field events.

https://www.theverge.com/2019/9/11/2...hlete-tracking

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post #31863 of 31997 Old 09-11-2019, 11:09 AM - Thread Starter
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Nielsen Overnights (Broadcast)
NBC Wins Tuesday With ‘America’s Got Talent’ And ‘Bring The Funny’; ‘First Responders Live’ Wraps Run
By Dino-Ray Ramos, Deadline.com - Sep. 11, 2019

All was fairly calm on the TV ratings front Tuesday, with NBC dominating primetime despite America’s Got Talent slipping a tenth from last week with a 1.4 rating in the 18-49 adults demographic and a night-leading 9.39 million viewers. Comedy competition Bring the Funny in its cfollowed and held steady with a 0.7 rating and 3.81 million viewers.

Meanwhile, ABC’s summer fling relationship series Bachelor in Paradise (1.1, 4.11M) maintained its ratings from last week.

Fox aired repeats on the night with the exception of the season finale of First Responders Live (0.4, 1.72M), which saw a slight boost in viewership and was even in the demo. On the CW, there was good news for Pandora (0.2, 650,000), with the sci-fi series ticking up. Mysteries Decoded (0.1, 540K) matched last week.

CBS stepped back Tuesday with a slate of repeats.

https://deadline.com/2019/09/america...le-1202731368/
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post #31864 of 31997 Old 09-11-2019, 11:19 AM - Thread Starter
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Obituary
Rocci Chatfield, Writer on 'My Three Sons' and 'Days of Our Lives,' Dies at 93
By Mike Barnes, The Hollywood Reporter - Sep. 11, 2019

Rocci Chatfield, a two-time Daytime Emmy nominee who wrote for such shows as My Three Sons, Little House on the Prairie and Days of Our Lives, has died. She was 93.

Chatfield died Aug. 24 of natural causes at West Hills Hospital & Medical Center, a family spokeswoman said.

Chatfield served six terms as a governor on the Television Academy's Writers Peer Group and two terms on its Executive Committee. She wrote and produced the academy's 60th anniversary gala, served on numerous committees and produced dozens of events, including an "Inside" panel series, an annual Family Day celebration and special evenings with such stars as Tony Bennett and Liza Minnelli.

Chatfield also was a member of the WGA's negotiating committee during the 1988 writers strike and received the guild's service award for her contributions to the organization.

A native of Boulder, Colorado, Chatfield attended Endicott College in Beverly, Massachusetts, before beginning her career as a TV writer in the early 1960s.

She received her Daytime Emmy nominations in 1978 and '79 for her work on Days of Our Lives and also wrote for Family Affair, Falcon Crest, Knots Landing and Generations during her career.

https://www.hollywoodreporter.com/ne...was-93-1238632
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post #31865 of 31997 Old 09-11-2019, 11:26 AM - Thread Starter
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TV Review (Streaming)
Undone, From the Team Behind BoJack Horseman, Is the Perfect Sci-Fi Series for 2019
By Judy Berman, TIME.com - Sep. 9, 2019

Rotoscoping is a film technique in which animation is layered over live-action footage. The manual process dates back about a century, making early appearances in Disney classics like Cinderella. But in the past few decades, technological advances have elevated it to an aesthetic, most notably in a pair of Richard Linklater films—Waking Life, a sort of philosophical fantasia, and Philip K. Dick adaptation A Scanner Darkly—made with the proprietary program Rotoshop. Both movies interpolate familiar actors’ evocatively animated faces into stylized worlds; the effect is gorgeous but unsettling, less like watching a movie in a new medium than like watching it in a dream. The barrier between your consciousness and what’s happening on the screen seems to dissolve.

The same team that created the look of those Linklater films is behind the rotoscoping for Undone, a wildly ambitious animated series from BoJack Horseman executive producers Kate Purdy and Raphael Bob-Waksberg that comes to Amazon Prime on Sept. 13. In its first few minutes, I found almost everything about the show grating: another millennial protagonist, Alma (Alita: Battle Angel star Rosa Salazar), who battles depression, professional aimlessness, stagnating relationships. At the supermarket, she can’t get it together to decide between two brands of canned beans. Pretty as the painted backdrops looked, the decision to draw over the expressive faces of a cast featuring producer Bob Odenkirk and Daveed Diggs seemed to be a misguided attempt at adding visual interest to a story I’d heard before.

In retrospect, this was a foolish presumption to make about the team behind a cartoon horse who renders the realities of human psychological suffering more elegantly than just about any other character in the history of television. Once Alma has humiliated her judgmental mom Camila (Constance Marie), sabotaged the engagement of her snobby sister Becca (Angelique Cabral) and forced her live-in boyfriend Sam (Siddharth Dhananjay) to move out, Purdy and Bob-Waksberg articulate why she undermines her every relationship: “If you know you have a broken brain,” she asks Sam, “then why would you put someone else through that?” By the end of episode one, Alma has been critically injured in a car crash. In the hospital, moving in and out of consciousness, she reconnects with her father, Jacob (Odenkirk). Who happens to be dead.

From there, Undone unfolds into a sci-fi mystery set largely within Alma’s allegedly broken but inarguably unique brain. Before his sudden, accidental death, Jacob was a maverick researcher whose work connected neuroscience with shamanism. Now, his ghost—or whatever the dad-shaped being who keeps coming to her in visions should be called—tells Alma that he was murdered and that she has the ability to go back in time and save him. As she explores her past, the present and the celestial landscape of her own inner space, the animation mediates between these settings. Backgrounds shatter and fragment; the hospital room briefly transforms into a speeding train car. Yet the magic of Rotoshop, along with plunging viewers into the uncanny valley, keeps actors’ emotions legible to an extent that would be impossible with pure animation.

This combination feels especially crucial for a sci-fi epic that’s so grounded in the emotional realities of its characters and the familiar world they occupy. Alma’s time travel can recall the shifting perceptual planes of Inception. But her journeys are reflections of her everyday life as a young Latinx-Jewish woman living with mental illness, a cochlear implant, a dead parent, a job at a daycare center and a partner who just doesn’t get it. Unlike so many recent shows that clumsily grasp at both relevance and entertainment value (see: Amazon’s Carnival Row), Undone fully integrates its genre elements and its hot topics—science vs. religion, biracial identity, contemporary sociopolitical malaise—into the story’s structure. Alma’s quest to help her dad becomes inseparable from the question of whether she can find a way to be present in her own life.

Though it shares BoJack’s rich psychological insights and dark, dry sense of humor, fans of that series might find the cosmic aspects of this show pretentious or woo-woo. (Purdy’s official bio describes her as a student of Ayurveda and “healing modalities.”) Yet I appreciated the creators’ divergence from the more popular, futuristic space-and-dystopia strain of science fiction that imagines where millennia of human progress and folly could lead us. A stab at diagnosing the various psychic maladies that come with life in 2019, Undone embraces a form of speculative storytelling that’s closer to mythology. Its rotoscoped world might be merely a fun-house mirror of reality, but if you’re brave enough to gaze into it, a mind-expanding adventure awaits.

https://time.com/5672110/undone-amazon-review/
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post #31866 of 31997 Old 09-11-2019, 11:37 AM - Thread Starter
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 11, 2019

JAWS
AMC, 7:00 p.m. ET

I’ve recommended telecasts of this 1975 Steven Spielberg film many times this summer, but now that school is back in session and summer is over, there’s still a chance to enjoy this movie classic one more time this season. And now that I’ve just recently discovered that one of my closest friends has never seen this movie, because of a fear of sharks and swimming in dangerous waters. I’m hoping he’ll read this, decide to watch at least the opening scene, and finally take the plunge. So to speak.

12 ANGRY MEN
TCM, 8:00 p.m. ET

Earlier this week, I showed one of my TV History classes at Rowan University the 1954 live TV Westinghouse Studio One presentation of Reginald Rose’s 12 Angry Men, followed by the opening minutes of this 1957 film, in which Henry Fonda played the role of the persuasive juror played in the TV drama by Robert Cummings. Rose also adapted a Broadway play version of 12 Angry Men, which is revived often in New York and in local theaters – but this particular drama began on, and was written for, television in a version I believe is even better than this subsequent movie version. But the movie was directed by Sidney Lumet, a director of live TV shows (Mama, Danger) who went on to make such brilliant films as The Pawnbroker, Fail-Safe, Serpico, Dog Day Afternoon, Network, and The Verdict.

IN THE SHADOW OF THE TOWERS: STUYVESANT HIGH ON 9/11
HBO, 9:00 p.m. ET

Filmmaker Amy Schatz has carved a specialized documentary career out of seeing dramatic, newsworthy, historical events through the eyes of young people, in such emotional, informative and inspiring programs as Song of Parkland andThe Number on Great-Grandpa’s Arm. Tonight, on the 18thanniversary of the 9/11 tragedy, she directs and produces a new documentary, focusing on students at Stuyvesant, the specialized high school located only blocks from the World Trade Center. Students are interviewed about what they saw, felt and lived through – as well as their emotions almost two decades later.


http://www.tvworthwatching.com/

* * * *

TV Review (Cable)
''In the Shadow of the Towers: Stuyvesant High on 9/11' on HBO
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Sep. 11, 2019

Because September 11 led us to many of the places we find ourselves today, there's value in pretty much all the reminders that come around on the anniversary each year.

In the Shadow of the Towers: Stuyvesant High on 9/11, which premieres Wednesday at 9 p.m. ET on HBO, is a small production.

It's a half-hour documentary in which a half dozen 30-somethings who were students at New York's Stuyvesant High School on September 11, 2001, talk about their experience that day, reflecting on both the moment and the sometimes troubling parts of the response they encountered.

In several ways, In the Shadow is a local New York story. The high school was and is located a short distance from the site of the Twin Towers, so the students saw the planes hit as they looked up from their classroom windows.

At first, the school had classes continue. A few minutes later, when the second plane hit, the students were returned to their homerooms while administrators debated whether they would be safer indoors or outside.

They were eventually released and advised to head home, which was trickier than it sounds because by then the subways had been shut down and the students, who came from all over the sprawling city, had no alternative way of covering what was often many miles. This was also a time before everyone had a cell phone, so there were blocks-long lines to use public payphones and even call home to say everything was okay.

Upon leaving Stuyvesant, the students almost immediately faced a more pressing priority, however, which was to escape the massive sky-blackening dust cloud kicked up when the towers fell.

It's a story common to all New Yorkers who were downtown that morning, and nothing in this documentary suggests Stuyvesant students had a unique experience.

As they tell it, they eventually regrouped and made their ways home, often on foot as they worked to absorb the enormity of what had just happened.

It's not a redundant story just because it's been told before. What also becomes no less resonant with the passage of time are the almost incidental reflections on little things with larger ongoing ramifications.

Stuyvesant, an academically elite school, is known for the diversity of its student body, so the students leaving the area that day came in a wide range of skin tones.

Himanshu Suri recalls walking along the West Side with a fellow student in a hijab and having a random passerby call her a female dog. Across the street, he said, they heard a group of men call out that the students should "go back where you came from."

Suri says he told them that's what they were doing. "We were trying to get to Queens," he said. "That's where we came from."

The essence of that exchange is being repeated across America today, a fact In the Shadow notes.

In the Shadow isn't framed as a political documentary, however, but more as a retrospective video diary. That makes it more striking when one student, Liz O'Callahan, recalls that when Stuyvesant held its graduation at the end of that school year, the class song was designed as a patriotic anthem that included the line "a love that asks no questions."

"A love that asks no questions?" says O'Callahan, who is currently a medical resident. "That's b-s."

In the Shadow of the Towers raises questions, subtly and effectively. It's a good way to remember the day, and some of the things it meant, for those who aren't ready for total reimmersion.

http://www.tvworthwatching.com/BlogP...x?postId=18768
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post #31867 of 31997 Old 09-11-2019, 12:05 PM - Thread Starter
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TV Notes
On The Air Tonight
WEDNESDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Sep. 11, 2019

ABC:
8PM - The Goldbergs
(R)
8:30PM - Schooled
(R)
9PM - Modern Family
(R)
9:31PM - Single Parents
(R)
10PM - Celebrity Family Feud: Brooklyn Decker & Andy Roddick vs. Bobby Bones; Tara Lipinski vs. Johnny Weir
(R)
* * * *
11:35PM - Jimmy Kimmel Live! (Talk show host Sharon Osbourne; comic Bill Burr; Fall Out Boy performs)
12:37AM - Nightline

CBS:
8PM - Big Brother
9PM - SEAL Team
(R)
10PM - S.W.A.T.
(R)
* * *
11:35PM - The Late Show With Stephen Colbert (James McAvoy; author Stephen King; Vampire Weekend performs)
12:37AM - The Late Late Show With James Corden (Jay Duplass; Alexandra Daddario; comic Noah Gardenswartz)

NBC:
8PM - America's Got Talent: Live Results 5 (LIVE)
9:01PM - Songland (Season Finale)
10PM - Hollywood Game Night
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (TV personality Kim Kardashian West; model Winnie Harlow; Iggy Pop performs)
12:37AM - Late Night With Seth Meyers (Jennifer Lopez; Michael Sheen; Mika performs; Terri Lyne Carrington sits in with the 8G Band)
1:38AM - Last Call With Carson Daly (Daniel Radcliffe; Snail Mail performs; Michael Zegen)
(R)

FOX:
8PM - MasterChef
9PM - BH90210 (Finale)

THE CW:
8PM - Bulletproof (Finale)
9PM - Hypnotize Me

PBS:
8PM - Animal Babies: First Year on Earth - New Frontiers (Season Finale)
9PM - NOVA - Treasures of the Earth: Gems
(R)
10PM - Magical Land of Oz: Human (Season Finale)

UNIVISION:
8PM - La Rosa de Guadalupe
9PM - La Rosa de Guadalupe
10PM - Sin Miedo A La Verdad

TELEMUNDO:
7PM - Exatlón Estados Unidos (120 min.)
9PM - El Final del Paraíso
10PM - Preso No. 1

ESPN:
7PM - MLB Baseball: Atlanta Braves at Philadelphia Phillies (LIVE)
10PM - MLB Baseball: Chicago Cubs at San Diego Padres (LIVE)

ESPN NEWS:
7PM - NWSL Soccer: Chicago Red Stars at Orlando Pride (LIVE)

ESPN 2:
8PM - WNBA Basketball: Phoenix Mercury at Chicago Sky (LIVE)
10PM - WNBA Basketball: Minnesota Lynx at Seattle Storm (LIVE)

ESPN U:
8PM - Women's College Volleyball: Oregon at Pittsburgh (LIVE)

VH1:
8PM - Basketball Wives
9:01PM - Black Ink Crew
10:02PM - Black Ink Crew: Compton

LIFETIME:
8:30PM - Married at First Sight (Season Finale, 90 min.)
10PM - Marrying Millions (Season Finale, 63 min.)

A&E:
9PM - Ghost Hunters
10:01PM - Psychic Kids (63 min.)

GSN:
9PM - America Says: Handbell Choir vs. Season Passers

HBO:
9PM - In the Shadow of the Towers: Stuyvesant High on 9/11 (Documentary Premiere, 35 min.)

HISTORY:
9PM - 9/11: Inside Air Force One (Special, 123 min.)

MTV:
9PM - The Challenge (91 min.)

NBCSN:
9PM - World Long Drive Championship: Men's Round of 16, Women's Quarterfinals and Masters Finals (3 hrs.)
* * * *
Midnight - World Long Drive Championship: Men's and Women's Finals (3 hrs.)

OWN:
9PM - Queen Sugar
10PM - David Makes Man

USA:
9PM - Suits
10:01PM - Pearson

WGN:
9PM - Dog's Most Wanted

FX:
10PM - Snowfall (Season Finale, 63 min.)

IFC:
10PM - Sherman's Showcase (Season Finale)

COMEDY CENTRAL:
10:30PM - South Side
* * * *
11PM - The Daily Show with Trevor Noah (Climate Activist Greta Thunberg, 35 min.)
11:35PM - Lights Out With David Spade (Jay Leno, Natasha Leggero, Norm Macdonald)

TBS:
10:30PM - Full Frontal with Samantha Bee
* * * *
11:01PM - Conan (Ron Burgundy)
(R)

BRAVO:
11PM - Watch What Happens Live With Andy Cohen (Singer Sheryl Crow; comic Jim Gaffigan)

TV ONE:
11PM - The DL Hughley Show (Singer Smokey Robinson)


http://tvlistings.zap2it.com/?aid=gapzap
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post #31868 of 31997 Old 09-11-2019, 03:07 PM
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What I've never been able to figure out is if Mike Brady was such a great architect, why did he only have one bathroom in that house for all those people?
I see 1 on 1st flr & 2 on 2nd.

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post #31869 of 31997 Old 09-11-2019, 03:29 PM
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Hot Off The Press: The Latest TV News and Information

Quote:
Originally Posted by dcowboy7 View Post


I think Alice had her own and the rest shared upstairs.
Nowadays it would be larger and called a ground floor master even houses older than that had them think Hazel on leave it to beaver.

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Last edited by gomo657; 09-11-2019 at 03:33 PM.
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post #31870 of 31997 Old 09-11-2019, 05:40 PM
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I think Alice had her own and the rest shared upstairs.
Nowadays it would be larger and called a ground floor master even houses older than that had them think Hazel on leave it to beaver.

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They never showed more than that one bathroom on the show. Not even a powder room. Not a master bath. Just that one that everybody always seemed to use.

Alice evidently didn't need a bathroom. She was obviously a cyborg.
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post #31871 of 31997 Old 09-11-2019, 06:16 PM
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...think Hazel on leave it to beaver.
"Gee, gomo, Hazel wasn't on Leave It to Beaver, isn't that right Beav."

"That's right Wally."

"Boys. Time to go to sleep."

"Okay, Mom."

"Good night Wally."

"Good night Beav."
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post #31872 of 31997 Old 09-11-2019, 07:13 PM
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Mr. Brady made sure there were enough "closets."
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post #31873 of 31997 Old 09-11-2019, 08:50 PM
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Quote:
Originally Posted by archiguy View Post
What I've never been able to figure out is if Mike Brady was such a great architect, why did he only have one bathroom in that house for all those people?
Apparently all the rumors were TWUE!


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post #31874 of 31997 Old 09-12-2019, 09:18 AM
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Originally Posted by Aliens View Post
"Gee, gomo, Hazel wasn't on Leave It to Beaver, isn't that right Beav."

"That's right Wally."

"Boys. Time to go to sleep."

"Okay, Mom."

"Good night Wally."

"Good night Beav."


Ok I’m old memory isn’t what it used to be


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post #31875 of 31997 Old 09-12-2019, 09:30 AM
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Ok I’m old memory isn’t what it used to be
Don't feel bad, mine isn't either.
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post #31876 of 31997 Old 09-12-2019, 10:09 AM
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Quote:
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"Gee, gomo, Hazel wasn't on Leave It to Beaver, isn't that right Beav."

"That's right Wally."

"Boys. Time to go to sleep."

"Okay, Mom."

"Good night Wally."

"Good night Beav."
Ward, I am getting tired of all the kitchen work and Eddie Haskell is driving me crazy. Do you think we can get Hazel to quit her job and come work here.

Now June, you know George Baxter is one of my best friends. I can't ask him to keep his own house!

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post #31877 of 31997 Old 09-12-2019, 10:56 AM - Thread Starter
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TV Notes (Cable)
‘South Park’ Renewed for 3 More Years by Comedy Central Through Season 26
By Tim Baysinger, TheWrap.com - Sep. 12, 2019

“South Park” is sticking around for a few more years. Ahead of its 23rd season, Comedy Central has agreed to a new deal with Matt Stone and Trey Parker to keep the longrunning cartoon for an additional three seasons.

That will take “South Park” through Season 26 and 327 episodes. Stone and Parker, as they have since it debuted in 1997, will continue to write, direct and edit every episode.

“South Park” is the longest running primetime scripted series on cable and will surpass its 300th episode this season — though that still leaves it some 300 episodes shy (and counting) of that other long-running animated series in “The Simpsons.” Among young adults, “South park” has been the highest-rated cable comedy in primetime for the last six years.

“‘South Park’ is the greatest comedy in the history of television, unmatched in its satirical strength and cultural relevancy and it shows no signs of slowing down,” said Kent Alterman, president of Comedy Central, Paramount Network and TV Land. “If humanity is still intact in 1000 years, historians will see the most transcendent artists of our era as The Beatles, Muhammed Ali, and Matt and Trey. We’ll do as many seasons as they would like.”

Last season, “South Park” touched on everything from Brett Kavanaugh’s Supreme Court nomination hearings, Amazon’s encroaching global dominance to even, yes, making fun of “The Simpsons” over the controversy surrounding the character of Apu. Even Al Gore came back in an episode that touched on global warming (offering an apology of sorts to the former Vice President).

“Apparently, our efforts to get our own show cancelled have fallen short,” said Parker and Stone. “Luckily, we love Comedy Central and Kent and our staff so we are looking forward to new cancellation opportunities in the next few years.”

Parker, Stone, Anne Garefino and Frank C. Agnone II are the executive producers. Eric Stough, Adrien Beard, Bruce Howell and Vernon Chatman are producers. Chris Brion is the creative director of South Park Digital Studios.

“South Park” returns for Season 23 on Wednesday, Sept. 25 at 10 p.m. on Comedy Central.

https://www.thewrap.com/south-park-r...ugh-season-26/
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TV Notes (Broadcast)
SNL Adds 3 New Featured Players, Including First Asian Cast Member
By Ryan Schwartz, TVLine.com - Sep. 12, 2019

Saturday Night Live on Thursday announced three new hires ahead of Season 45, including the show’s first ever Asian cast member.

Bowen Yang, who joined the late-night sketch comedy series as a staff writer last season, will become a featured player this fall. He made his unofficial debut back in March when he appeared as North Korean dictator Kim Jong-un opposite host Sandra Oh.

In addition to Yang, SNL has recruited Groundlings performer Chloe Fineman and fellow comedian Shane Gillis. Both will serve as featured players as well. All three performers join the show in the wake of a significant exit: three-time Emmy nominee Leslie Jones recently announced that she would depart the series after five seasons.

Yang, Fineman and Ellis join returning cast members Beck Bennett, Aidy Bryant, Michael Che, Pete Davidson, Colin Jost, Kyle Mooney, Cecily Strong, Kenan Thompson, Mikey Day, Heidi Gardner, Alex Moffat, Chris Redd, Melissa Villaseñor, Ego Nwodim and Kate McKinnon (who recently inked a new one-year deal).

SNL Season 45 launches Saturday, Sept. 28 (NBC, 11:30/10:30c) with host Woody Harrelson and musical guest Billie Eilish. Also on tap this fall are Phoebe Waller-Bridge and Taylor Swift (on Oct. 5), David Harbour and Camila Cabello (on Oct. 12), Kristen Stewart (on Nov. 2) and Eddie Murphy (on Dec. 21).

https://tvline.com/2019/09/12/snl-bo...ast-season-45/
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post #31879 of 31997 Old 09-12-2019, 11:03 AM - Thread Starter
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TV/Critic's Notes
Why Netflix is canceling good shows
By Julia Alexander, TheVerge.com - Sep. 12, 2019

Canceling shows that aren’t doing well is a normal part of being a TV network — then again, Netflix was never considered a normal TV network.

Netflix has started canceling shows faster than ever before.

Netflix made its name in originals with prestige shows like House of Cards, Unbreakable Kimmy Schmidt, and Orange Is the New Black, each of which got five or six seasons before its run finished. But lately, that’s changed, with beloved newcomers like The OA and Tuca & Bertie getting pushed out the door as soon as they fail to perform. The move wouldn’t be surprising coming from a network like ABC or CBS, but Netflix has positioned itself as different than traditional TV — and that includes taking risks on weirder, more niche shows. Suddenly, it’s a risk the company seems less willing to take.

When Netflix was the only major player in the game, playing the long game made more sense. Netflix could rely on licensed series like Friends and The Office to keep subscribers happy while building buzz with original titles. But that’s changing — fast. Competitors like Disney, AT&T’s WarnerMedia, Comcast’s NBCUniversal, and Apple are quickly arriving on the streaming front. Other competitors like Hulu and Amazon are continuing to invest in their own platforms. Netflix is losing key licensing deals for shows that once kept people around. As a result, it needs to invest in originals like Stranger Things that people want to watch.

But the more original shows Netflix orders, the more likely it is to cancel those that don’t perform well. The company relies on an “efficiency metric” to decide what shows should be kept and which should go. If a series is able to retain subscribers with a risk of leaving or bring in new subscribers (like Stranger Things), it gets renewed. If it can’t, it’s probably going to be canceled. This explains why Tuca & Bertie and The OA got chopped.

Still, it’s not like Netflix isn’t investing in original content. Netflix’s content budget is around $15 billion this year, and the company is aggressively pursuing development in international regions. Major showrunners, directors, and producers like David Benioff and D.B. Weiss, Ryan Murphy, and Shonda Rhimes have signed massive contracts with Netflix to produce exclusive series. Netflix is all in on original series — even more so if they’re niche interests. But if those shows don’t bring in viewers, it’s going to start acting like a traditional cable network and cancel more, too.

https://www.theverge.com/2019/9/12/2...ermedia-amazon
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Technology/Critic's Notes (Mobile)
$21 says you don’t have to buy a new iPhone from your carrier
By Rob Perogaro, USA Today - Sep. 12, 2019

The home pages of the big four wireless carriers look suspiciously alike this week, and it’s mostly Apple’s fault.

Tuesday’s announcement of the iPhone 11, iPhone 11 Pro and iPhone 11 Pro Max has led AT&T, Sprint, T-Mobile and Verizon Wireless to give over their online front doors to Apple’s marketing materials – all in the hope that you’ll buy your next iOS smartphone through them instead of directly from the Cupertino, California, tech giant.

But just as in earlier times when the four nationwide carriers have latched onto the debut of a new lineup of iPhones, you don’t need to take up that quartet on their offers when online presales begin Friday and in-store purchases start Sept. 20.

The longstanding reason to look past the carriers boils down to one word: unlocked.

Both Apple and the carriers will let you make interest-free, installment-plan payments on a new iPhone, but Apple will sell you an iPhone that will work on any carrier in the U.S. or abroad out of the box. That’s true whether you select a carrier at Apple’s site or purchase a SIM-free iPhone.

AT&T and T-Mobile, however, lock phones on installment-payment plans until you pay them off, leaving you unable to switch carriers or use cheap prepaid SIMs if you travel internationally. Sprint’s leasing deals carry the same restriction. Verizon Wireless locks new phones for 60 days, a lesser hindrance.

Since last year, Apple has added a new reason that runs a whole two words: Apple Card.

The no-fee credit card it introduced last month with Goldman Sachs provides 3% off on Apple purchases. That’s $20.97 on an iPhone 11 or $43.47 on an iPhone 11 Pro Max maxed out with 512 GB of storage.

That cash-back rebate also applies to installment-plan payments on carrier-specific phones.

The carriers do, however, beat Apple’s pricing in certain cases. AT&T says it will offer a buy-one-get-one-free deal on the iPhone 11, while Verizon is offering an iPhone 11 for free – meaning $500 in service credits paid out over 24 months, plus a $200 gift card – to people who switch to that carrier.

Sprint and T-Mobile have yet to announce their own deals, but the wireless price-shopping site WhistleOut noted Tuesday that the last time around, all four offered either a free iPhone to switchers or a second iPhone free to anybody.

Or you could choose to keep your existing iPhone and find some other use for the $700 and up you just saved. That’s the financially sound move, and it no longer appears to represent a lonely stance.

Ting, a reseller of Sprint and T-Mobile’s networks (with T-Mobile set to be replaced by Verizon in December), surveyed 3,640 people in July and found that 47% had kept their last phone for three to five years. With Apple supporting phones as old as the 2015-vintage iPhone 6s with the upcoming iOS 13 update, you can’t say all the iPhone owners among them are wrong.

(Disclosure: I also write for Yahoo Finance, one of Verizon’s media properties.)

https://www.usatoday.com/story/tech/...es/2296311001/
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Media/Business Notes
JJ Abrams’ Bad Robot Closes WarnerMedia Megadeal For Film & Television
By Nellie Andreeva, Deadline.com - Sep. 12, 2019

It’s done! JJ Abrams and his Bad Robot have closed a five-year deal for him to keep his TV business and move his film business under the WarnerMedia umbrella. The wide-ranging pact, which runs through 2024, also includes games and digital content.

The JJ Abrams Sweepstakes started last fall, with a number of media congloms vying for his services in an all-encompassing deal expected to reach as much as $500 million. By June, WarnerMedia emerged as the frontrunner thanks largely to the shorthand Abrams had developed with the Warner Bros TV team over the past 13 years, and a massive financial commitment by parent WarnerMedia. It took a couple of more months to seal the deal, largely over intricacies involving ending Abrams’ Paramount Pictures movie pact. Under his exit agreement, Bad Robot will honor its existing Paramount obligations.

In addition to WarnerMedia, Abrams and his team had engaged with Apple, which emerged as a formidable contender, Comcast/NBCUniversal and Sony, with talks slowing down after Abrams, along with 7,000 other WGA members, in April fired his agents at CAA in all areas except directing.

Abrams has long history at WarnerMedia as Bad Robot had been based at Warner Bros. TV since 2006, delivering a string of series. Of the company’s current shows, three are at WarnerMedia’s HBO, Westworld, Lovecraft and Demimonde, the first series Abrams has solely created since Alias, with the premium network also developing Bad Robot’s They Both Die At the End. The company also has three series at Apple TV+ via Warner Bros. TV, which also pursued aggressively the multi-hyphenated: the Stephen King adaptation Lisey’s Story, starring Julianne Moore; Sara Bareilles’ Little Voice; and My Glory Was I Had Such Friends, toplined by Jennifer Garner.

Abrams’ talks with Apple eventually evolved, focusing on continuing to work together not through an overall deal as the expectation was that the new WarnerMedia pact would keep allowing Bad Robot to produce for outside networks.

Indeed, under the new WarnerMedia overall deal, Bad Robot will continue to develop and produce new TV projects — including dramas and comedies, longform/event series, digital content and more — for all platforms, including premium/pay and basic cable networks, on-demand/streaming services, and the broadcast networks. These include WarnerMedia-affiliated networks and platforms such as HBO, HBO Max and more, as well as external outlets. Bad Robot’s series will continue to be produced in association with Warner Bros. Television, Warner Horizon Scripted Television or WBTVG’s digital studio Blue Ribbon Content, with Warner Bros. International Television Distribution distributing the shows around the globe.

On the feature side, Abrams and Bad Robot will develop original theatrical films for the divisions of the Warner Bros. Pictures Group, including Warner Bros. Pictures and New Line Cinema.

In 2018, Bad Robot, run by Chairman & CEO J.J. Abrams and co-CEO Katie McGrath, formed a video game development division Bad Robot Games, in association with Tencent and Warner Bros. Interactive Entertainment, and the companies will continue to work together on the creation of new large and indie consumer games for mobile, PC and console.

“WarnerMedia and AT&T are delighted to launch a long-term collaboration with our world-class partners and colleagues J.J. Abrams and Katie McGrath,” said John Stankey CEO of WarnerMedia and President and COO of parent AT&T. “We are extremely excited about the potential to deliver remarkable and memorable stories and characters across multiple platforms to audiences around the world.”

Stankey acknowledged Warner Bros. TV Group President and Chief Content Officer Peter Roth for developing “a longstanding, mutually beneficial partnership” with Abrams and McGrath.

In the era of giant TV overall deals, it is easier for incumbent studios to come up with competitive offers for prolific creators/producers as they often have the advantage of being able to sweeten their overall deal proposals with advances toward the producers’ backend.

In addition to Bad Robot’s current portfolio, which also includes Castle Rock on Hulu, the company’s 13-year collaboration with WBTVG to date yielded such series as Fringe (co-created by Abrams) for Fox and Person of Interest for CBS, both of which reached the 100-episode milestone, and event series 11.22.63 for Hulu.
This marks the second mega overall deal renewal for Warner Bros. TV, following the $400 million re-up for Greg Berlanti last year.

On the film side, Abrams is coming from an expensive overall deal at Paramount that paid off with the launch of the franchise Cloverfield, and the revival of Mission: Impossible and Star Trek. But it proved hard for that studio to have his allegiance as a filmmaker, the place Abrams has turned in some of his best results, which not unusual for A-list filmmakers. He has directed two Star Wars films for Disney while under the Paramount deal, the latest of which, Star Wars: The Rise of Skywalker, debuts December 20 to cap of what indisputably will be a record year for the studio.

Abrams’ has become more a re-fashioner of franchises than a world creator, and this deal is expected to serve as an opportunity for him to become the latter. While WarnerMedia doesn’t have the theme parks that Disney and Comcast have, Abrams will have full access to strong WarnerMedia platforms that include a fledgling streaming service, and he clearly has the potential to leave a strong mark on the studio in this deal.

“It is a thrill for Katie, Brian (Weinstein) and me and the rest of our team at Bad Robot to call WarnerMedia our company’s new home,” Abrams said. “John Stankey has a powerful vision for the future of WarnerMedia and is committed to storytelling that connects people around the world. We are excited and gratified to be a part of this new chapter under his and Ann Sarnoff’s thoughtful leadership. I could go on for hours, and probably will, about the extraordinary Peter Roth and the entire Warner’s television group, with whom we’ve worked for over a decade, and I’ve wanted to collaborate with Toby Emmerich and his team for as long as I can remember. I am grateful for the chance to write, produce and direct work for this incredible company, and to help create films and series with a diverse and vast collection of inspiring storytellers. We can’t wait to get started.”

Mike Fleming Jr. contributed to this report.

https://deadline.com/2019/09/jj-abra...on-1202732674/
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TV/Production Notes (Streaming)
HBO Max Orders First Unscripted Series From 'Queer Eye,' 'Amazing Race' Producers
By Rick Porter, The Hollywood Reporter - Sep. 12, 2019

HBO Max has ordered its first two unscripted series, picking up competition shows from the producers of Queer Eye and The Amazing Race.

The two shows, voguing competition Legendary and design contest The Greatest Space, join 10 scripted series already ordered for the WarnerMedia streaming platform, set to launch in spring 2020. HBO Max also has several pilots and feature films in development, in addition to library shows including Friends and Game of Thrones.

"Unscripted programming will be an incredibly important component of our HBO Max originals, and this is just the beginning of our venture into this space," said Sarah Aubrey, head of original content at HBO Max. "These two initial shows will transport audiences to underground worlds and take them on visually stunning, exotic adventures, equaled only by the compelling stories of each contestant. We couldn't have more accomplished teams behind both of these shows. From the innovative and award-winning storytellers at both Scout and Bertram van Munster’s New Media Collective, we are reimagining the unscripted competition genre."

Legendary, from Scout Productions (Queer Eye), will feature 10 voguing houses (a la the ball culture in FX's Pose) competing for a cash prize, with each episode showcasing a themed ball from start to finish. Each house will have five young performers and a house "parent," and they'll compete in a round-robin format over 10 episodes.

Scout's David Collins, Michael Williams and Rob Eric executive produce with Renata Lombardo and Shant Tutunjian.

The Greatest Space, also set for 10 episodes, will feature two-person design teams traveling around the world to transform empty rooms — be they bedrooms, ballrooms or tree houses — into spectacular spaces. They'll face challenges along the way that will force them to lift directly from some of the most audacious and ambitious rooms all over the globe.

The show comes from New Media Collective and Scout Productions, with NMC's Bertram van Munster, Elise Doganieri and Mark Dziak (The Amazing Race) executive producing with Scout's Collins, Williams and Eric.

https://www.hollywoodreporter.com/li...ducers-1239170
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TV/Critic's Notes (Streaming)
An Ode to Speckle, a (Bird)Man for Our Times
By Josh Gondelman, Vulture.com (New York Magazine) - Sep. 12, 2019

When asked, the way one sometimes is, I’ll admit that I’m a kind of a Ringo. It isn’t an entirely accurate comparison, but it’s as close as I can get within the rubric of the Beatles. I’m probably a Charlotte too, but that’s not quite right either. I’m less judgy than she is, for sure, and I’m more squeamish than prudish. I’m a Capricorn, technically, but the thicket of flourishing astrology memes leaves me feeling confused rather than seen. When I was younger, I thought of myself as kind of a Woody Allen type, but you can’t really say that anymore. (Or rather, you can, but it means something different now.) I’m also easily pegged as a Hufflepuff, but I’m also also an adult, so that’s not always a dignified point of reference.

This year I learned that what I really am is a Speckle.

If you don’t know the reference, “Speckle” is a character from the animated series Tuca & Bertie (canceled too soon by Netflix, but hopefully still to live on elsewhere). If you haven’t seen the show — which is great and only ten episodes long — it follows the lives of best friends Tuca, an anthropomorphic toucan voiced by Tiffany Haddish, and Bertie, an anthropomorphic songbird voiced by Ali Wong. The show tenderly and hilariously explores issues centered on women’s friendships, female ambition, sexual harassment, and mental illness.

And then there’s Speckle. Speckle is Bertie’s boyfriend. He’s a robin, also anthropomorphic. He’s an architect. But, most prominently, Speckle is very nice.

As a person who is also often described, above all other traits, as “nice,” I feel a deep kinship with this sweet birdman. Lots of TV characters are presented as “nice,” but many of them are also annoying and selfish and rarely learn from their behavior. Ross Geller from Friends. Ted Mosby from How I Met Your Mother. Zachary Scrubbs from Scrubs (I think that was his name). They’re all kind of blandly nice without having any specific nice quality that I relate to or try to embody. And, more importantly, they aren’t messed up in ways that feel familiar, either.

Voiced by an exceptionally earnest-sounding Steven Yeun, Speckle models niceness in ways that I recognize and aspire to, but also in ways that frustrate me about myself. He is excited by the domestic elements of his monogamous romantic relationship. He legitimately enjoys and takes an interest in his partner’s important but complicated friendships. He has tried sexual things outside of his comfort zone for the sake of his partner (now-ex, in my situation) and then attempted to stay calm when she starts crying even though it was her idea. Is that too much information? I won’t go any further except to say: When Speckle showed Bertie the porn he watches, and it prominently features performers cooing gentle affirmations to one another (“I love you. I’m so glad we moved in together,” and, “I love that you can be honest with me”), I knew it was a joke, but I still thought, It would be nice if that kind of porn existed.

But just as importantly, Speckle had a set of nice-person flaws that you don’t often see depicted onscreen. The problems attributed to “nice guys” tend to be things like neuroses or shyness, which have not been my problems and aren’t Speckle’s. Speckle has almost too easy a time getting by. He thrives at work, getting out of his job as much, if not more, than he puts into it. Simply for having the idea to reinforce a window with the kind of wooden frame a child would draw, he is dubbed the Bad Boy of Architecture. (“I get to be called that because I’m such a good boy,” he tells Bertie later.) He receives an award for drawing a plume of smoke escaping a chimney.

Bertie is also advancing professionally, but through an arduous gauntlet of sexism, and while Speckle collects accolade after accolade, blissfully unconcerned that he didn’t have his phone with him, Bertie is in the throes of a panic attack in a supermarket, her boyfriend unreachable. Speckle’s ease of professional navigation stops him from empathizing with Bertie when her path to advancement is thornier, and her fulfillment is scarcer. When I saw that I cringed, as moments of my own blithe dude privilege hit me right in the beak, a series of brief instances of me assuring girlfriends past (and wife present/future) that things would be okay because … I don’t know … things seem okay to me.

Speckle’s problem isn’t getting in his own head, it’s his difficulty getting into someone else’s. Bertie has so much she’s up against, between the sexism she faces at work, her mental illness, and her desire for creative fulfillment through baking. When things get bad, she withdraws, fearful of sharing her anxieties with her partner. And Speckle isn’t always the best at drawing things out of Bertie. He blithely tries to plan for the future with her, but has trouble understanding why she isn’t fully onboard with his vision. Speckle tries to respect and support Bertie’s ambition and autonomy while struggling to assert his own needs, including his need to know what his partner is going through.

It’s rare to see a (bird)man on TV navigate the delicate straits between saying “you’ll be fine” and contorting himself into an emotional support structure, twisting and cramping in an effort to accommodate a partner’s opaque needs. It’s a very modern problem. How do you show support to an independent (bird)woman while respecting her space and making sure you aren’t just pushing your own feelings aside, mortgaging present happiness for a blissful future that may never come? How do you ask for concessions from someone the world already drains of so much?

In the season (and hopefully not series) finale, when Speckle tells Bertie that he can’t chase her anymore and she needs to let him in on what’s upsetting her, I felt weirdly proud of the way he outlined boundaries and foregrounded his own needs. And I felt a pang of memory, thinking back to relationships I’ve been in where I couldn’t do the same, situations where I kept accommodating a partner, prioritizing their happiness ahead of mine, and feeling like an idiot when we eventually broke up.

But a proud as I was to see Speckle put Speckle first, I was vastly more relieved when he and Bertie got back together. It validated my need to believe that you can be gentle but also firm, that you can grow and evolve into both a sensitive partner and an advocate for yourself. You don’t — as I used to fear — have to be an ******* to create space for yourself in a relationship.

So here’s to Speckle, for proving that sometimes the best way to be a bad boy is to be a good boy.

Josh Gondelman’s new book, Nice Try: Stories of Best Intentions and Mixed Results, will be available on September 17.

https://www.vulture.com/2019/09/spec...gondelman.html
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Nielsen Overnights (Broadcast)
Primetime Ratings: Fox, NBC Share Wednesday Win
By Michael Malone, Broadcasting & Cable - Sep. 12, 2019

Fox and NBC split the Wednesday prime title, both scoring a 0.8 in viewers 18-49, per the Nielsen overnights, and a 4 share.

Fox had MasterChef at a level 0.8 and the finale of BH90210 up 17% at 0.7.

NBC had America’s Got Talent results at a flat 1.2 and the Songland finale also flat at 0.8, then Hollywood Game Night went up 25% to 0.5.
CBS did a 0.6/3 and ABC a 0.5/3.

CBS had Big Brother at a flat 1.1 and repeats of SEAL Team and SWAT.

On ABC, it was reruns of comedies and Celebrity Family Feud.

Telemundo got a 0.4/2 and Univision a 0.3/2. Telemundo had Exatlon Estados Unidos and El Final Del Paraiso at 0.4 and Preso No. 1 at 0.3. All three were level with last week.

On Univision, two hours of La Rosa de Guadalupe got a flat 0.4 and Sin Miedo a la Verdad lost a tenth for a 0.3.

The CW did a 0.1/1. The Bulletproof finale rated a 0.1 and Hypnotize Me a 0.2. Bulletproof was down a tenth and Hypnotize was up a tenth.

https://www.broadcastingcable.com/ne...-wednesday-win
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TV Notes (Cable)
‘Queen Sugar’ Renewed for Season 5 at OWN
By Michael Malone, Broadcasting & Cable - Sep. 12, 2019

“Queen Sugar” is coming back for more drama in the Deep South.

OWN has renewed the series for a fifth season to air in 2020, Variety has confirmed. Series co-executive producer Anthony Sparks will continue as showrunner and executive producer on Season 5.

The show is produced for OWN by Warner Horizon Scripted Television. Ava DuVernay created the series and executive produces along with Oprah Winfrey, and Paul Garnes. “Queen Sugar” is based on the book by Natalie Baszile.

“I’m thrilled to further explore the beauty, pain and triumph of this African-American family, with hopes that their story will continue to resonate with audiences who see themselves in the Bordelons,” said DuVernay in a statement. “It’s a real honor to create this work with Warner Horizon and OWN as their support is rock-solid and wonderful.”

The series stars Kofi Siriboe, Dawn-Lyen Gardner, Tina Lifford, Omar J. Dorsey, Nicholas Ashe, Dondré T. Whitfield, Bianca Lawson, and Henry G. Sanders.

Following a creative initiative established at the series’ outset, DuVernay assembled an all-female directing team that will continue in the new season. Throught its storylines, the show explores themes such as police brutality, addiction and recovery, and systemic racism.

“Every character feels like family. Our own. I am excited to see what Ava has unfolding next for the Bordelons,” said Oprah Winfrey.

OWN’s slate currently also includes the Tarell Alvin McCraney show “David Makes Man,” and DuVernay has another project in development at the network in the form of anthology series “Cherish the Day.”

“Ava’s vision for ‘Queen Sugar’ is one of inspired storytelling, and her execution of that vision has given us a remarkable series that makes us so proud,” added OWN president Tina Perry. “Her leadership and creative spirit – including the commitment to exclusively hire female directors and establish an inclusive crew – is unprecedented and evident throughout each episode of this beautiful series. We are grateful to Ava and her entire team of talented writers, producers, cast and crew and look forward to another season.”

https://variety.com/2019/tv/news/que...wn-1203333686/
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TV/Business Notes
Dish, Meredith End Retrans Dispute
By Mike Farrell, Multichannel News - Sep. 12, 2019

Broadcaster Meredith Corp. said it has reached a retransmission consent agreement with Dish Network, a multi-year deal that will return a dozen stations to the satellite giant after a two-month blackout.

The Meredith stations went dark to Dish customers on July 16, after the two companies could not reach an agreement.

“We are pleased that Dish customers once again will be able to watch the award-winning news and popular sports and entertainment programming that are a hallmark of Meredith’s television group,” Meredith Local Media Group president Patrick McCreery said in a press release. “We thank our viewers for their patience as we worked with Dish to reach this new agreement.”

The affected stations were: WGCL, Atlanta (CBS); KPHO (CBS) and KTVK (IND) Phoenix; KMOV (CBS) St. Louis; KPTV (Fox) and KPDX (MYNetworkTV) Portland, Oregon; WSMV (NBC) Nashville; KCTV (CBS) and KSMO (IND) Kansas City; WFSB (CBS) Hartford-New Haven, Connecticut; WHNS (Fox) Greenville-Spartanburg, South Carolina; KVVU (Fox) Las Vegas; WALA (Fox) Mobile, Alabama-Pensacola, Florida; WNEM (CBS) Flint-Saginaw, Michigan’ WSHM (CBS), WGGB-DT (Fox) and WGGB (ABC) Springfield-Holyoke, Massachusetts.

https://www.multichannel.com/news/di...etrans-dispute
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TV Notes (Cable)
Impact Wrestling Is Moving Its Weekly Show From Pursuit Channel to AXS TV
By Tony Maglio, TheWrap.com - Sep. 12, 2019

Following its Oct. 20 pay-per-view event, “Bound for Glory,” Impact Wrestling is moving its weekly pro-wrestling show “Impact!” to AXS TV. The move was widely expected after Mark Cuban sold his majority stake in AXS to Impact owner Anthem Sports & Entertainment earlier this week.

We do not yet have a day and time for “Impact!” on AXS, which is also the home to New Japan Pro Wrestling and WOW – Women of Wrestling. The two-hour “Impact!” will continue to simulcast globally on Impact Wrestling’s official Twitch channel.

That time slot announcement is coming soon, we’re told.

In January, “Impact!” left Pop for the Pursuit Channel, an outdoor-focused network that was never the best fit — nor did it have the best distribution. Pursuit was technically available to 35 million homes; AXS distribution tops 50 million.

“Impact Wrestling is a perfect fit for AXS TV’s slate of live sporting events and combat sports content,” Ed Nordholm, chief corporate officer of Anthem Sports & Entertainment and president of Impact Wrestling, said in Thursday’s news announcement. “The newest addition to our growing portfolio of media assets, AXS TV’s audience perfectly aligns with our passionate Impact Wrestling fan base, and this move increases the reach for our weekly program with distribution in over 50 million homes.”

“We could not ask for a better home and are excited by the opportunities to work with Mark Cuban and Anschutz Entertainment Group, our partners in AXS TV, to bolster Impact Wrestling’s presence in the market, as we continue to deliver action-packed and innovative weekly programming featuring some of the most athletic and gifted stars in the professional wrestling industry,” Nordholm continued.

Brian Cage is the current Impact World Champion. Other key members of the pro-wrestling promotion’s locker rooms include Rob Van Dam, Rhino, Moose, Eddie Edwards, Sami Callihan, Rich Swann, Michael Elgin, Gail Kim, Tessa Blanchard, Taya Valkyrie, Tenille Dashwood, Rosemary, Madison Rayne and Su Yung.

Impact used to be known as TNA, or Total Nonstop Action.

https://www.thewrap.com/impact-wrest...how-to-axs-tv/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 12, 2019

THE I-LAND
Netflix, 3:00 a.m. ET
SERIES PREMIERE:
This new Netflix limited series has a clever title – taking Apple’s ubiquitous iprefix, which already has given us such resonant TV series names as iZombie, and using it for a high-tech, computer-generated artificial environment equivalent of a deserted island. Or i-Land, get it? Sure, okay. But this story, which introduces us to 10 people who wake up on the same deserted isle with no memories, and have to work their way though a threatening, mysterious island while remembering and confronting their pasts. Yes, it owes an embarrassing debt to Lost, but The I-Land isn’t nearly as engaging. Or, once its central conceit is revealed, as dramatic. But no – their arrival on the island has nothing to do with a three-hour cruise. Natalie Martinez, Kate Bosworth and Bruce McGill star.

TCM SPECIAL THEME: JAMES BOND
TCM, 8:00 p.m. ET

The second week of TCM’s Thursday night salute to the James Bond movies begins at 8 p.m. ET with the one film starring Sean Connery’s temporary 007 replacement, George Lazenby. He takes up the role of British secret agent James Bond in 1969’s On Her Majesty’s Secret Service, which is much more noteworthy for featuring the classiest “Bond girl” in the canon’s history: Diana Rigg. Other films shown tonight are 1971’s Diamonds Are Forever(10:30 p.m. ET), with Connery reprising his Bond role; 1973’s Live and Let Die (12:45 a.m. ET), the first Roger Moore Bond movie, as well as the film with a great theme song by Paul McCartney and Wings; and 1974’s The Man with the Golden Gun (3 a.m. ET), the second Moore 007 film, and the one that proved beyond a doubt that Moore is less.

ABC NEWS DEMOCRATIC PRESIDENTIAL CANDIDATES DEBATE
ABC, 9:00 p.m. ET

There are two immediate differences between tonight’s ABC debate among Democratic aspirants for the 2020 presidential nomination and the debates televised previously. For one thing, the field of qualifying debaters has shrunken to 10, a number manageable enough to be contained on a single stage, as well as a single night. For another thing, it’s the first debate in which the leading candidate, Joe Biden, will be facing his closest challenger, Elizabeth Warren, on the same debate stage. And facing the eight other top qualifiers as well…


http://www.tvworthwatching.com/
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TV/Production Notes
How TV’s Music Supervisors Make Your Favorite Moments Pop Through Song
By Hugh Hart, Fortune.com - Sep. 12, 2019

Songs used to be the unsung heroes responsible for deepening some of television’s most moving moments, such as when creator David Chase melded Journey anthem “Don’t Stop Believin’ ” to his now-iconic Sopranos finale.

But two years ago, music supervisors—the people who pick and “clear” songs for use in TV shows—finally started getting their due when the National Academy of Television Arts & Sciences created an Emmy category for Outstanding Music Supervision. In 2017, Big Little Lies’ Sue Jacobs took home the category’s first trophy after unearthing the HBO series’s indelible opening credits number—Michael Kiwanuka’s “Cold Little Heart.”

Music supervisor Brienne Rose, nominated this year for her contributions to Netflix dark comedy Russian Doll, outlines the job requirements: a good ear, strong negotiating skills, and a keen sense of story.

“There are so many levels to each decision on a show like Russian Doll,” she tells Fortune. “It’s never just, ‘Oh, we like this song so let’s use it for that scene.’ You want to find a piece of music that feels authentic to the world of your characters, whether it’s through vocal quality, the instrumentation, the overall feel.

Sometimes, when you put the right song to a scene, there’s this glue that happens.”

For Better Call Saul nominee Thomas Golubić, a former DJ at Los Angeles radio station KCRW, character arcs usually dictate song choices. Better Call Saul season 4 opens with a bleak trip to the hospital for Jimmy McGill, a.k.a. Saul Goodman, a.k.a. Gene Kerkovich (Bob Odenkirk), accompanied by the Ink Spots’ eerie harmonies from their 1940 hit “We Three (My Echo, My Shadow and Me).” Golubić says, “Jimmy can’t escape his past, so these three characters are kind of tacked together with a lovely song that has a kind of ghostly quality hovering above the scene.”

Sometimes Golubić uses a tune as a sly counterpoint to the on-screen drama. Midway through the season’s seventh episode, German engineers construct a methamphetamine lab in an underground cave to the tune of Burl Ives’s jolly 1949 folk-pop ditty “Big Rock Candy Mountain.” Golubić says, “I always viewed these engineers as being a little bit like the Seven Dwarfs going into the mines—‘Heigh-ho, heigh-ho, off to work we go.’ Once that came to us, it led us to this playful child’s song.”

In his biggest season 4 challenge, Golubić and his SuperMusicVision colleagues completely retooled “Something Stupid,” originally recorded in 1967 by Frank Sinatra and his daughter Nancy. Written into the script, the lyrics were perfect, but the track was problematic because of its brevity and expensive licensing rights.
So Golubić solicited versions of the song from indie artists, ultimately hiring Israeli duo Lola Marsh to deliver an arrangement of “Something Stupid” tailored precisely to the visuals that depicted Jimmy drifting apart from girlfriend Kim (Rhea Seehorn).

“For the stereo mix, we moved the female vocal to the left side, where Kim was, and right side for Jimmy.”

Russian Doll’s Rose, working closely with star-producer-writer Natasha Lyonne, drew upon six decades of pop music to reinforce the show’s time-loop premise. Rose says, “Because Natasha’s character, Nadia, is constantly dying and coming back, there’s this sort of suspension of time. We played around with that time element by pulling songs from all different eras.”

Russian Doll’s de facto theme song, “Gotta Get Up,” comes courtesy of Harry Nilsson, who recorded the perky track in 1971. Each time Nadia “resets” her life after dying, “Gotta Get Up” accompanies the glum antihero’s reentry into waking life. “The song has this happy, bounding quality of the piano at the beginning, but then when you actually listen to the lyrics, they’re pretty devastating,” says Rose. “And also, as Natasha likes to point out, Harry Nilsson was a tragic character.” The hard-drinking singer-songwriter died of heart failure at age 52.

“Nadia in our show is painted as kind of a tragic character too, so there were some nice parallels there.”

For Nadia’s foil Alan (Charlie Barnett), who also suffers from death-rebirth syndrome, Russian Doll features Beethoven’s Piano Concerto No. 4 in G Major as his signature theme. Rose says classical music seemed to suit the character’s “uptight” and “methodical” ways.

Rose, who runs music supervision company Noise/Racket, visits blogs, watches live bands, and forages for vinyl obscurities at used-record stores. She then organizes her favorite tunes into an ever-morphing set of playlists.

“I’m scared to say how many folders I have on my computer—hundreds if not thousands with names like ‘Quirky French,’ ‘Sixties Soul Deep Cuts,’ ‘Breakup Music,’ ‘Texas Music,’ ” she says. “I have one folder called ‘Old Joy,’ and I don’t know what that means except that every song in that folder brings me joy. I’ve fallen in love with hundreds of bands. You just have to table them until the right show comes along.”

Along with their song-hunting prowess, music supervisors need considerable business acumen to cut deals with record companies (for the master recording) and publishers (for the song’s melody and lyrics).

Golubić struggled mightily when he wrangled permission from ABBA to use the Swedish band’s power ballad “Winner Takes It All” in a Better Call Saul karaoke sequence. “It was so nerve-racking because they wanted approvals for everything, and we had no plan B,” he recalls. “I honestly never felt as much like I wanted to stop being a music supervisor than when we were trying to clear ABBA.” Rose, who studied music and business at USC, notes, “You have to be comfortable negotiating, working with budgets, licensing, dealing with all the language and terms. There’s a lot of business to music supervision.”

Meanwhile, Fosse/Verdon music supervisor Steven Gizicki had a relatively easy time clearing the classic show tunes performed by cast members in the FX series about choreographer Bob Fosse (Sam Rockwell) and dancer Gwen Verdon (Michelle Williams). “This is the Great American Songbook we’re talking about,” he explains. “We didn’t get turned down by anybody, because it’s a fantastic premise, and music publishers want their catalog pieces to be reexposed to a new audience.”

Gizicki, a former record-label marketing executive, earned his stripes supervising the songs on La La Land and recently wrapped production on the film adaptation of Lin-Manuel Miranda’s Broadway musical In the Heights. “For me, music supervision is really about putting on a show,” he says. “I’m on set every day, and my job is to make sure the talent knows what to do musically at each spot in the story.”

In the case of the Kander and Ebb ballad “Nowadays,” from Chicago, Michelle Williams was outfitted with a hidden lavalier mic so she could perform live alongside a piano player as cameras rolled. He recalls, “My jaw hit the floor watching Michelle sing it so expertly. As Gwen, she opens up the sheet music and performs the song as if she’s never seen it before, take after take after take.”

By contrast, big song-and-dance numbers, like series opener “Hey, Big Spender,” from Sweet Charity, required Fosse/Verdon music director Alex Lacamoire to produce “pre-records” in the studio. Actors later mimicked the vocals on a soundstage.

When they perform, Gizicki says, “I’m like the sync police, looking at the monitors very closely to make sure everyone mouths things properly. I remember being on the soundstage when we rehearsed ‘Mein Herr,’ from Cabaret. The dancers in the background tried to lip-synch these German lyrics, but I looked over at Alex, like, ‘They don’t know what they’re singing. Help!’

“We pulled these lovely dancers into a little storage room, sat on the floor, and gave them German phonetic lessons until they understood the words. So part of my job is to prepare everything. Then, on the day of the shoot, I spot the weird things that happen to come up and fix them.”

https://fortune.com/2019/09/12/music...-fosse-verdon/
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TV/Critic's Notes
Why Netflix is canceling good shows
By Julia Alexander, TheVerge.com - Sep. 12, 2019

Canceling shows that aren’t doing well is a normal part of being a TV network — then again, Netflix was never considered a normal TV network.

Netflix has started canceling shows faster than ever before.
https://www.theverge.com/2019/9/12/2...ermedia-amazon
If you read around threads on this board you'll find many just don't have time to watch all the new shows or the second seasons of previous series. Netflix was successful as a disc rental company but not so much at running a streaming TV service. They were more of a tech company than an entertainment studio. I think Hollywood figured they were novice but had access to a lot capital that might help Hollywood execs out of the mess they created with their bad decisions. That plus shifts in the demographics is resulting from even members here "cutting Netflix" and resubscribing briefly to catch up on anything they want to watch. Then there is the 4K tax that no one else has.
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