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post #32491 of 32992 Old 10-15-2019, 12:20 PM - Thread Starter
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Nielsen Overnights (Broadcast)
Ratings: Batwoman Slips in Week 2, CBS Sunday Dramas All Rise
By Matt Webb Mitovich, TVLine.com - Oct. 14, 2019

The CW’s Batwoman in Week 2 drew 1.46 million total viewers and a 0.3 rating, down 21 and 40 percent from its premiere and matching the lowest demo number Supergirl did all of last season in the Sunday leadoff spot.

Supergirl herself (974K/0.3) slipped 23 and 25 percent, hitting and tying series lows.

Elsewhere on Sunday…

NBC | Sunday Night Football (12.5 mil/3.9) is down sharply from last week’s fast nationals.

CBS | God Friended Me (7 mil/0.9) was up two tenths, while NCIS: LA (6.4 mil/0.8) and Madam Secretary (4.6 mil/0.5) both ticked up one tenth.

ABC | AFV (5.1 mil/0.7) ticked up, Kids Say the Darnedest Things (4.8 mil/0.7) slipped two tenths from its premiere and Shark Tank (3.6 mil/0.7) held steady. The Rookie (3.5 mil/0.6) dipped to a new audience low yet stabilized in the demo.

FOX | The Simpsons (2.1 mil/0.8), Bless the Harts (1.5 mil/0.6), Bob’s Burgers (1.7 mil/0.7) and Family Guy (1.8 mil/0.7) were all on par with their previous non-NFL boosted outings.

https://tvline.com/2019/10/14/batwom...n-1-episode-2/

* * * *

Nielsen Overnights (Broadcast)
Ratings: Bluff City Law Dips Again
By Matt Webb Mitovich, TVLine.com - Oct. 15, 2019

NBC’s Bluff City Law this week drew 3.6 million total viewers and a 0.5 demo rating, ticking down for a second straight episode to mark Monday’s lowest-rated Big 4 program.

Perhaps of note (?), Manifest last fall posted a 1.5 rating in Week 4 — or, 79 percent retention out of The Voice, whereas Bluff City Law is delivering just 36 percent.

Opening NBC’s Monday, The Voice (7.9 mil/1.4) was down a tick week-to-week yet tied 9-1-1 for the nightly demo win.

Elsewhere…

FOX | 9-1-1 (6.4 mil/1.4) slipped 12 and 18 percent to its lowest numbers of the young season, while Prodigal Son (3.6 mil/0.8) dipped for a second straight week.

THE CW | All American (730K/0.2) and Black Lightning (634K/0.2) each dipped from their season openers.

ABC | Pending adjustment due to any NFL bumps, Dancing With the Stars (7.3 mil/1.1) is currently up three tenths and The Good Doctor (6.6 mil/1.0) is up one tenth.

CBS | The Neighborhood (5.3 mil/0.8), Bob Hearts Abishola (4.9 mil/0.7), All Rise (5 mil/0.6) and Bull (5.7 mil/0.6) all dropped a few eyeballs while steady in the demo.

https://tvline.com/2019/10/15/bluff-...n-1-episode-4/
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post #32492 of 32992 Old 10-15-2019, 12:28 PM - Thread Starter
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TV/Syndication Notes (Streaming)
'The West Wing' Headed to HBO Max as WarnerMedia's Bob Greenblatt Outlines Streaming Strategy
By Scott Roxborough, The Hollywood Reporter - Oct. 15, 2019

HBO Max is doing the walk and talk.

Aaron Sorkin's iconic political drama The West Wing will leave Netflix — where it has been streaming — and move to WarnerMedia's forthcoming streaming service.

Bob Greenblatt, chairman of WarnerMedia Entertainment and direct-to-consumer, indicated that the Warner Bros. TV-produced political drama, which ran for seven seasons on NBC from 1999-2006, will be part of the HBO Max offering when the service launches in the U.S. in April. The West Wing currently streams on Netflix in the U.S..

Greenblatt put the show alongside the “treasure trove of great shows” from Warners' library that would be migrating to HBO Max. These include previously announced deals for The Big Bang Theory and Friends, which WarnerMedia recently secured in deals worth a reported $600 million and $425 million, respectively.

Greenblatt, speaking Tuesday at a keynote at the Mipcom market in Cannes, said he would be mining the “thousands of titles” in the Warner Bros. library to help stock HBO Max.

“We are looking at acquiring shows but we are also mining the library we have. Warner Bros. has the best movie library in the world and the best TV library in the world. We'll be curating that for HBO Max.”

WarnerMedia and HBO Max are not alone in mining the past for treasure. NBCUniversal paid $500 million to pull its hit comedy The Office off Netflix and secure it for Peacock, its new SVOD service. Netflix, in turn, ponied up $500 million for global rights to Seinfeld. (Financial terms of The West Wing deal were not revealed; reps for HBO Max were also unclear if the deal covers global or domestic only rights.)

At the Mipcom market in Cannes this week, there was talk of a similar, big money SVOD deal for Mad Man in the works.

Greenblatt did highlight a few new shows that will be coming to HBO Max, announcing Grease: Rydell High, a series spinoff of the hit 1978 musical, as well as “several shows in the DC universe” to be produced by Greg Berlanti (Arrow, The Flash). He also said HBO Max would be open to acquiring international and foreign-language shows. “We’ve seen on Netflix and Amazon extraordinary shows from Israel and Russia, and we’d love to have some of those as well,” he said.

But Greenblatt downplayed fears that the new streaming service, and its rapacious demand for more content, could lead to HBO sacrificing the quality of its shows in exchange for increased volume. He said that HBO would sit “unchanged” on the new platform, with all additional content — including library series and film and newly commissioned shows — in the “Max” portion of the offering.

“To build the new platform, we’re adding new programming. We’re not taxing HBO to do anything other than what they do,” Greenblatt said. “HBO is the great brand of all time in our opinion. People know it for its excellence. This year alone has been another extraordinary year, so there’s no plans to do anything but to keep that intact. The shows are made very carefully. There’s a certain number that is comfortable and we’re increasing slightly, but nothing to be alarmed about. It’s not going to be significant.”

When it comes to the programming of HBO Max, Greenblatt said he will not be leaving everything up to the robots but will do “real scheduling” to roll out shows in a manner akin to a traditional, linear broadcaster, at least initially.

“Eventually the tech will catch up but we want to have a balance between the computer and the human being,” he said. “We are trying to build an algorithm that is a little more personal.”

Greenblatt noted a statistic that it took the average viewer on a streaming service around 9 minutes to find something they wanted to watch. “We want to shorten that.”

https://www.hollywoodreporter.com/li...bo-max-1247744
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TV Notes/Cover Story (Broadcast)
Norah O’Donnell and Susan Zirinsky Ready ‘CBS Evening News’ for Streaming Wars
By Brian Steinberg, Variety.com - Oct. 15, 2019

One of Norah O’Donnell’s highest-profile moments since taking over as anchor at “CBS Evening News” in July didn’t occur behind the desk of the venerable program.

In late September, O’Donnell snared a much-coveted interview with Saudi Crown Prince Mohammed bin Salman, and immediately pressed him about the assassination of journalist Jamal Khash*ogghi, which the CIA concluded the crown prince ordered. O’Donnell says she had spent the past year trying to secure a conversation with the Saudi leader, and had to jet to the Middle East for a midnight interview with him, then jump on an early-morning plane to get the piece edited and fact-checked just a few days before broadcast on “60 Minutes.”

She agonized over her first question: “Did you order the murder of Jamal Kashoggi?” Would the query stop the conversation before it began? In the end, “we started with the question the world wanted to know the answer to,” she recounts. The Saudi leader responded with a contradictory answer — that he was responsible (the first time he had acknowledged even that) but denied ordering the execution. The anchor made several follow-up efforts.

“I will leave it to others about how forthcoming his answers were,” O’Donnell says, “but I think any time you can see someone’s face when those questions are answered — when you can hear their responses to specific questions that we asked — that can be illuminating.”

After years of questions about the relevance of the late-day format, the hope is that O’Donnell can inject “CBS Evening News,” which has long languished in third place among the broadcast evening newscasts, with more of these big moments. The challenge is steep. Since O’Donnell came aboard, no ratings bump has materialized. For the week of Sept. 23, “The CBS Evening News” was down 10% in total viewers from the same week a year ago, and off 21% among adults 25-54, according to Nielsen data. Rivals “World News Tonight” at ABC and “NBC Nightly News” captured bigger audiences and endured slighter losses over the course of last season.

Next month, CBS will try to shake things up, moving its evening news broadcast — a decades-old program that has ties to Walter Cronkite, the ne plus ultra of TV news anchors — to Washington, D.C., and retool the program for an era of digital consumption. “There’s the opportunity of putting the anchor on the steps of Capitol Hill, or going out and about,” says CBS News president Susan Zirinsky. “Most important is the access to people for stories that might be breaking late, to have someone sitting at the desk with Norah that you would have on a screen if you were sitting in New York.”

The move represents one of Zirinsky’s biggest bets. Since being named to the top role at the news division in January, the executive has shuffled anchors and top producers at both “Evening News” and “CBS This Morning,” and appointed just the third top executive at “60 Minutes” in the show’s half century on air. She inherited a news division with tenuous morale, due to allegations made about the behavior of “CBS This Morning” anchor Charlie Rose and “60 Minutes” chief Jeff Fager. Rose was accused of sexual misconduct; Fager faced claims of allowing an unhealthy culture to exist in the workplace under his watch. Both men issued denials but were pushed out from their jobs. (Fager left after responding harshly to a CBS News reporter covering his circumstances.) Zirinsky has also had to rework a series of talent changes at top programs made before her arrival that simply haven’t captivated audiences. “Changing the culture is critical to me,” she says. “I think we are making strides.”

O’Donnell gets a new spotlight — and plenty of new burdens. She becomes a primary face not only of CBS but also of the larger conglomerate slated to form when the media outlet merges in a few weeks with Viacom. She will be the person giving millions of Americans unsettling headlines about tragedy and politics, and the one trying to inspire them with tales of heroes and small-town Americana. She will be the subject of whisper campaigns from rivals seeking to point out that their evening news broadcasts fare better in the ratings. And like her time-slot competitors, ABC’s David Muir and NBC’s Lester Holt, O’Donnell will become a proxy for all things TV news — what it does right and what it does wrong.

She has spent the past seven years landing interviews with the likes of the Dalai Lama and New England Patriots quarterback Tom Brady, all without the responsibility she will now have to carry. Why make the change? “Journalism is under attack. It’s under fire,” O’Donnell says during a recent interview at CBS News’ Manhattan headquarters. “And I think there is no more important time to have a trusted source of news.”

In a moment when the occupant of the White House likes to tell Americans about “fake news” and biased reporters, CBS is making a bid to take what is arguably its best-known asset and update it for a different era. O’Donnell’s “Evening News” is expected to serve up a must-need view for anyone who wants to know what’s going on, whether they see it on a traditional TV set or in short-run chunks on a mobile screen. “CBS Evening News” may not get the format’s biggest TV ratings, so the thinking goes, but it can make for an important part of the parent company’s overall business, particularly as younger audiences clamor for information via streaming video.

Washington is where David Brinkley held forth for NBC’s “Huntley-Brinkley Report.” But it has not been a home recently for any of the three broadcast news programs, and CBS is counting on O’Donnell to gain an access edge on rivals staying in New York. That hardly sounds like the gimmick to bring millions back to the 6:30 p.m. evening news, but this is a sector where an on-screen distinction — think of NBC’s “Today” taking its anchors out to meet people wandering around outside its studio, as it did in 1994 — can get people talking and set a precedent that others are forced to follow.

CBS News has tried everything in its power to juice its flagship program, including tapping Katie Couric, who came in to revamp the format in 2006. Over the long haul, viewers have been leaving the evening news for years, though ABC’s “World News Tonight” has added viewers since Muir took over the desk in 2014, and NBC’s “Nightly News” with Holt maintains a lead in the all-important sliver of audience — people between 25 and 54 — most desired by advertisers.

But “CBS Evening News” continues to lag. One of the chief factors: The network’s station lineup was weakened after some affiliates moved to Fox when that network yanked NFL rights away from CBS for a time starting in 1993. A series of anchor changes under prior management — Scott Pelley, Anthony Mason and Jeff Glor were behind the desk before O’Donnell — hasn’t helped matters.

One news veteran thinks CBS needs to play the role of the upstart. “When you’re in first or second, you don’t want to jeopardize your position. When you’re in third place, it’s time to try something new and different and go for something that separates you from the other two,” says Tom Bettag, a University of Maryland professor and broadcast news veteran who was founding producer of ABC’s “Nightline.” “It may win. It may lose,” he adds, but it may also lend CBS News a more distinct image of “chasing the high road” in journalism, which could have benefits.

Much of that will hinge on O’Donnell. Executives believe her years of experience covering the Pentagon, the White House and Capitol Hill will serve the broadcast well as it holds forth from the center of national action.

“I am not naive to the challenges,” O’Donnell says. “An audience has to find you over a period of time. My friends who have done well with the morning or the evening [news] did so after many years of getting people to find them.” Her early focus must be on making the show a can’t-miss affair, she says, full of scoops and details her competitors don’t have, which in turn will drive new interest in the evening broadcast, its 10 p.m. repeat on CBSN, the CBS News video-streaming service, or the individual segments themselves as they spread out over CBS News digital properties. If ABC News and NBC News have any feeling about CBS’ Washington maneuver, they aren’t saying so publicly. Both organizations declined to make executives available for comment.

O’Donnell has more than just the task of snaring exclusives ahead of her. The evening news “is so much bigger than a 30-minute broadcast, especially in the digital age,” CBS Corp. CEO Joe Ianniello tells Variety. “We are there to grow. We are there to compete. We are there to win.”

On a night when O’Donnell is telling the na*tion about the latest in Trump and a recent contretemps involving a controversial cast hire at “Saturday Night Live,” Zirinsky is enmeshed in the nitty-gritty of the broadcast. She points to a detail that others might not notice: O’Donnell has moved faster out of the intro to her show than the anchors at NBC and ABC.

The CBS broadcast “gets out of the heds before anyone else,” says Zirinsky, watching the behind-the-scenes action from a busy control room. It seems like a small thing, but it’s big for Zirinsky, who points a visitor’s gaze at screens showing that, at least on this night, viewers can see O’Donnell at the desk delivering her first story while NBC and ABC are still in the midst of their openings. Before O’Donnell’s arrival at “CBS Evening News,” the intro consisted of a montage of clips, with someone else’s voice talking over them, that lasted 90 seconds — an eternity in the high-pressure world of a newscast that is, without commercial breaks, just 20 or so minutes long.

Such tricks and switches are part of the Zirinsky mystique. She is a legendary producer who has been with CBS News since 1972, starting as a part-time desk assistant in the outlet’s Washington bureau just days after the Watergate scandal broke. She wants to keep her hands on the basics. When she took the reins of the news organization last spring, she kept a producer title. It has become trite to repeat the well-worn tidbit that Zirinsky is the inspiration for Holly Hunter’s hard-driving character in the 1987 film “Broadcast News.” Yet it’s part of the executive’s myth: In her office is a prop from the movie — a “Jane Craig” nameplate given to her by Hunter after her promotion.

Given the quick moves of TV viewers to other kinds of video, Zirinsky could have simply thrown up her hands at the idea of reworking “Evening News” and focused on something else. Jeff Glor had been in the anchor’s seat for several months, put in place by Zirinsky’s predecessor, David Rhodes. Colleagues have high praise for Glor’s work, including a report on the erosion of the Bonneville Salt Flats in Utah, or a recent dispatch from the Grand Canyon. But internally, there was a sense the show needed more edge. “I felt that a changing of the guard on the evening news was necessary to really take the show in a harder direction,” says Zirinsky. “Jeff Glor is brilliant at storytelling, and I felt he was working his butt off. He was well liked and liked going in the field. But I felt a sea change was necessary to change the dynamics.”

She consulted with one of the few remaining links to a different era of TV news — Bob Schieffer, the longtime CBS News anchor who held forth at “CBS Evening News” and “Face the Nation.” Some within the organization suggest the Washington idea was hatched by Schieffer. “This was Susan’s idea. Susan gets 100% of the credit, but we did talk about it,” he says. “There’s just no better strategy than getting your best people as close as you can to the story.” CBS is spending “a few million” on the move, says a person familiar with the matter. Zirinsky declined to comment on the costs of taking the show to D.C.

The news executive is banking that the show’s long ties to TV news history will help extend its future. “In this evolution of linear television and digital, the historic placeholders still matter. The evening news remains a legacy broadcast. It has within its soul the very tenets that give this entire organization its mantra. It’s really about straightforward journalism. It’s about investigations. It’s about breaking stories,” she says. “But that does not mean we are living in a tower holding on to memories of the past. It means we want to take this iconic broadcast and make it a broadcast for the future.”

That has meant following an O’Donnell initiative: Never stop adding new details to stories. The anchor’s “Evening News” broadcast is peppered with phrases like “CBS News has learned,” and she has pressed the staff to find fresh elements they can unveil during the program. “Each of us gets the headlines on our phones, so how do we go beyond the headlines?” asks O’Donnell. “One of the things that has informed my own reporting is ‘Tell me something I don’t know.’ I’ve been sharing that same kind of value with everybody.” The broadcast should ramp up with “more breaking news and more urgency,” she says, adding that news junkies will hear the information and seek it out.

Getting the news is something that has fascinated O’Donnell from a young age. Her father served in the military for 30 years, and newspapers and magazines held information that could affect the circumstances of his deployment. Her mother would routinely hold on to various publications as diverse as National Geographic, Stars and Stripes and the Journal of the American Medical Assn. and wait until she had time to read them, then highlight important passages. As a teenager, O’Donnell would tell her mom when it was time to get rid of the piles. Her parents grew up in New York City, where “newspapers and television news were important parts of our families’ lives,” says Francis O’Donnell, her father. “In turn, Norah’s childhood was also influenced by a household in which newspapers and media were ever present.”

With the impeachment inquiry cranking up, the Washington move will essentially put O’Donnell in the field every day, giving the show a sort of you-are-there feel, Zirinsky suggests — and no matter who is president in the days ahead, there will always be a compelling story to explain to viewers. “The ability to bring in high-level people in, like, 20 minutes if something were to break?” asks Zirinsky. “That’s possible.”

CBS News is already well aware of the ratings race for its evening flagship, but going forward, O’Donnell and Zirinsky will also have to deal with the industry’s streaming wars.

“U.S. news travels very well, ” says CBS Corp. CEO Ianniello, who will remain as overseer of the news division after the expected merger with Viacom. He hopes O’Donnell can capture more than just the evening-news regulars who draw millions of dollars in ads from Liberty Mutual and Prevagen. The business behind news content, he says, is increasingly becoming global in addition to digital.

Others see a similar opportunity. Comcast’s NBCUniversal is expected to launch an international news outlet that makes use of its recent acquisition of European broadcaster Sky as well as other news operations NBC has in Europe. AT&T’s CNN has long operated a thriving international business that delivers domestic info and other programming to U.S. travelers and the world.

CBSN, the CBS News streaming-video outlet, is packaged inside versions of the company’s on-demand video service “CBS All Access,” says Ianniello, and news content is a key driver of subscriptions in places like Australia and Canada. The company expects to launch CBSN in Europe and Latin America in the months to come. “We are seeing the usage is really high, and it’s because of the U.S. news,” Ianniello says.

That’s part of the reason Zirinsky is contemplating other ways to use the content of O’Donnell’s broadcast. Some stories that are cut down for the 20-minute newscast can run longer on CBSN, she says, where viewers are looking for more than short-form content. Can she envision a day when O’Donnell signs off her TV broadcast and then delivers a portion of “CBS Evening News” that’s online only? “Everything is possible,” she replies.

Lots of people like to talk about the evening news as if it’s an artifact from a different era, a moment when people didn’t toil beyond the confines of a 9-to-5 workday and needed to gather together at a particular time to glean the latest headlines. But even cutting-edge Silicon Valley types are trying to replicate some of the broadcast format. What will a short-form report from Quibi bring to the table that evening news does not? Hasn’t ABC made its “World News” available on Hulu?

With those things in mind, one can see why O’Donnell wanted the new role — even if the business model may quickly be changing. For now, there’s always another deadline.

https://variety.com/2019/tv/features...rs-1203369820/
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Nielsen Notes
Syndication Ratings: 'Kelly,' 'Tamron' Both Climb in Week Four
By Paige Albiniak, Broadcasting & Cable - Oct. 15, 2019

NBCUniversal’s Kelly Clarkson and Disney’s Tamron Hall both improved in the week ended Oct. 6, the fourth full week on the air for both rookie talkers.

Kelly Clarkson, the top rated of this season’s new shows, added 8% to a 1.3 live plus same day national household rating, according to Nielsen Media Research.

That ranked Kelly fourth among the talkers, behind only CBS Television Distribution’s Dr. Phil, Disney’s Live with Kelly and Ryan and Warner Bros.’ Ellen DeGeneres. Among daytime’s key demographic of women 25-54, Kelly rose 17% to a 0.7.

Tamron Hall moved ahead 11% to a 1.0 and grew 33% among women 25-54 to a 0.4.

SPT’s Mel Robbins remained at a 0.3 in its third full week on the air, and returned to a 0.2 (from a 0.1) in the key demographic.

NBCU’s Judge Jerry, the highest rated of the three new court shows, held its ground at a 1.0.

MGM/Orion’s Personal Injury Court slipped and fell 20% to a 0.4 in its third appearance on the national Nielsen chart, while Trifecta’s Protection Court was flat at a 0.3 in week three.

Fox’s new game show, 25 Words or Less starring and executive produced by Meredith Vieira, added 13% to a 0.9 in its third go-round, while SPT’s off-GSN America Says stayed at a 0.6 in week three.

The court shows returned to action after being impeded by impeachment in the prior week. CTD’s Judge Judy, still going strong in season 24, spiked 7% to a 6.4 to lead all syndicated shows for the 10th straight week.

CTD’s Hot Bench banked an 11% increase to a 2.0. Warner Bros.’ People’s Court stayed at a 1.3, while Warner Bros.’ Judge Mathis moved up 13% to a 0.9. CTD’s Divorce Court remained at a 0.6 and Debmar-Mercury’s Caught in Providence held at a 0.5.

Dr. Phil was on par with the prior week’s 2.3 to lead the category for the 161st straight week with five ties. Among women 25-54, Phil tied Live for first at a 0.9.
Live also held steady in households at a 2.0 to take second place among the talk shows for the 32nd straight week with one tie.

Ellen, Debmar-Mercury’s Wendy Williams and NBCU’s Maury all were stable at a 1.7, 1.2 and 1.1, respectively.

CTD’s Rachael Ray recovered 11% to a 1.0. NBCU’s Steve Wilkos remained at a 0.9 for the third straight week. SPT’s Dr. Oz stayed at a series-low 0.8 for the third straight session. Warner Bros.’ The Real was flat at a 0.6. CTD’s The Doctors was resuscitated 20% to a 0.5. NBCU’s out-of-production syndicated run of Jerry Springer remained at a 0.3.

In access, magazines were led by CTD’s Entertainment Tonight and Inside Edition, both of which climbed 4% to a 2.7. NBCU’s Access Hollywood, Warner Bros.’ TMZ and Extra, and CTD’s DailyMailTV all held steady at a 1.4, 1.1, 0.9 and 0.8, respectively.

Trifecta’s Celebrity Page stayed consistent at a 0.2 for the 14th straight week.

Debmar-Mercury’s Family Feud forged ahead 9% to a 6.0 and returned to first place among the games after a two-week absence. CTD’s Jeopardy! buzzed in at a flat 5.9. CTD’s Wheel of Fortune inched up 2% to a 5.7. Further back, Entertainment Studios’ Funny You Should Ask was unchanged at a 0.5.

Disney’s internet video show RightThisMinute, which is airing in mostly late-night slots in big ABC markets to make room for Tamron Hall, held at its series low 0.8 for a fourth straight week.

NBCU’s Dateline led the law-and-order shows with a 9% gain to a 1.2. SPT’s off-A&E Live PD Police Patrol pulled back 10% to a 0.9. NBCU’s scripted procedural Chicago PD skidded 13% to a new series-low 0.7.

Warner Bros.’ The Big Bang Theory, now without a barter run on TBS, led the off-net sitcoms at a flat 2.9. Disney’s Last Man Standing sprinted ahead 18% to a 2.0. Disney’s Modern Family stayed at a 1.6. Warner Bros.’ Two and a Half Men moved up 8% to a 1.3, tying Disney’s Family Guy, which grew 18%. SPT’s The Goldbergs remained at a 1.2. SPT’s Seinfeld, Warner Bros.’ Mike & Molly and Disney’s Black-ish all added 13% to a 0.9, while Warner Bros.’ 2 Broke Girls and Mom both were flat at a 0.8.

https://www.broadcastingcable.com/ne...b-in-week-four
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TV Sports
2019 MLB Postseason Schedule
By Dayn Perry, CBSSports.com

WEDNESDAY, OCT. 16:

TEAMS : / TIME (Eastern): / NETWORK(S):


--NLCS Game 5: Cardinals at Nationals* / 4:00 p.m. / TBS
--ALCS Game 4: Astros at Yankees / 8:00 p.m. / FS1

* (if necessary)
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Oct. 15, 2019

2019 MAJOR LEAGUE BASEBALL PLAYOFFS
Various Networks, 4:00 p.m. ET

In the American League, the Houston Astros outlasted the New York Yankees in an 11th-inning duel Sunday night, tying the AL Championship Series at a game apiece. Today, in an afternoon game televised at 4 p.m. ET on Fox Sports 1, they play Game 3. Then, at 8 p.m. ET on TBS, it’s Game 4 of another best-of-seven postseason series, with the National League’s Washington Nationals hosting the St. Louis Cardinals. The Nationals have won the first three games – and if they win tonight, with home-field advantage, the Nationals, which got into the postseason by winning the NL Wild-Card Game, will become the first team to qualify for this year’s World Series.

CNN DEMOCRATIC PRESIDENTIAL DEBATE
CNN, 8:00 p.m. ET

The storylines for tonight’s Democratic debate among presidential hopefuls are plentiful. First, it’s making room for a dozen competitors, making it the largest debate field ever mounted in a TV debate in one program. Second, because of qualifying rules for this debate, there are some new faces, even as the field narrows. Taking the debate stage for the first time: Hawaii Rep. Tulsi Gabbard and businessman Tom Steyer. Third, this is the first debate since Democrats have officially begun impeachment investigations and hearings – something Steyer has advocated for years. Fourth, it’s the first debate since President Donald Trump has mounted a barrage of tweets attacking Joe Biden and his son Hunter, giving the elder Biden an official platform with which to respond. Fifth, the ongoing testimony regarding Trump, Rudy Giuliani and Ukraine, and the current military crisis sparked by Trump’s sudden shift in policy regarding support of the Kurds, must be one of the night’s first, and most dominant, topics.

THIS IS US
NBC, 9:00 p.m. ET

She’s already played one of the most famous moms in TV history. Tonight, Phylicia Rashad, formerly the matriarch of The Cosby Show, reprises her role as Carol, Beth’s mom, on This Is Us.

FRONTLINE: "SUPREME REVENGE"
PBS, 10:00 p.m. ET

More often than not, history is more clear, as well as more interesting, when it takes the long view. Tonight, Frontline looks at the Supreme Court – but with a perspective of decades, telling the story of the Court’s judges, decisions, politics, aspirants, and external factors, from Robert Bork to Brett Kavanaugh. Check local listings.


http://www.tvworthwatching.com/

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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 - Oct. 16, 2019

ABC:
8PM - The Goldbergs
8:30PM - Schooled
9PM - Modern Family
9:31PM - Single Parents
10PM - Stumptown
* * * *
11:35PM - Jimmy Kimmel Live! (Jennifer Aniston; singer-songwriter Dave Matthews; Blanco Brown performs)
12:37AM - Nightline

CBS:
8PM - Survivor
9PM - SEAL Team
10PM - S.W.A.T.
* * *
11:35PM - The Late Show With Stephen Colbert (Talk show host Whoopi Goldberg; author Ta-Nehisi Coates)
(R)
12:37AM - The Late Late Show With James Corden (Ed Helms; June Diane Raphael; 5 Seconds of Summer performs)
(R)

NBC:
8PM - Chicago Med
9PM - Chicago Fire
10PM - Chicago PD
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Lupita Nyong'o; comic Dane Cook; video game players Jay "Sinatraa" Won and Matthew "Super" DeLisi; The Avett Brothers perform)
(R)
12:37AM - Late Night With Seth Meyers (John Goodman; Michael C. Hall; Midland performs; Yesod Williams sits in with the 8G Band)
(R)
1:38AM - A Little Late With Lilly Singh (Singer-songwriter Meghan Trainor)
(R)

FOX:
8PM - The Masked Singer
9PM - Almost Family

THE CW:
8PM - Riverdale
9PM - Nancy Drew

PBS:
8PM - Nature: Undercover in the Jungle
9PM - NOVA: Why Bridges Collapse
10PM - Wild Metropolis: Survivors (Finale)

UNIVISION:
8PM - La Rosa de Guadalupe
9PM - La Usurpadora
10PM - El Dragón

TELEMUNDO:
7PM - Exatlón Estados Unidos (120 min.)
9PM - El Final del Paraíso
10PM - El Señor de Los Cielos

ESPN U:
7PM - Women's College Volleyball: Kentucky at Tennessee (LIVE)
9PM - Women's College Volleyball: Purdue at Nebraska (LIVE)

NBCSN:
7PM - NHL Hockey: Colorado Avalanche at Pittsburgh Penguins (LIVE)
9:30PM - NHL Hockey: Philadelphia Flyers at Edmonton Oilers (LIVE)

BET:
8PM - BET Her Fights: Breast Cancer 2019 (Special)

CMT:
8PM - CMT Artists of the Year 2019 (Special, 100 min., LIVE)
9:40PM - CMT Artists of the Year 2019 (100 min.)
(R)

ESPN:
8PM - NBA Basketball: Atlanta Hawks at New York Knicks (LIVE)
10:30PM - NBA Basketball: Golden State Warriors at Los Angeles Lakers (LIVE)

ESPN 2:
8PM - College Football: South Alabama at Troy (LIVE)

TBS:
8PM - The Misery Index: Sneak Peek
* * * *
11PM - Conan: Scraps (A collection of never-before-seen show segments from the series)
(R)

USA:
8PM - WWE NXT (128 min.)

VH1:
8PM - Basketball Wives
9:01PM - Black Ink Crew
10:02PM - Black Ink Crew: Compton (Season Finale)

GSN:
9PM - America Says: Zumba Girls vs. MMA Fighters

ID:
9PM - Homicide Hunter: Lt. Joe Kenda
10PM - Shattered (Season Premiere)

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

OWN:
9PM - David Makes Man (Season Finale)

SCIENCE:
9PM - Engineering Catastrophes: Curse of the Devil's Dam
10PM - Deadly Engineering: NASA's Challenger Disaster

WGN:
9PM - Dog's Most Wanted

CNBC:
10PM - Jay Leno's Garage (Season Finale)

COMEDY CENTRAL:
10PM - South Park
10:30PM - Crank Yankers
* * * *
11PM - The Daily Show with Trevor Noah (Cyntoia Brown and Ali Wong, 35 min.)
11:35PM - Lights Out With David Spade (Thomas Lennon, Diplo & Whitney Cummings)

FX:
10PM - American Horror Story: 1984

FXX:
10PM - It's Always Sunny in Philadelphia (32 min.)
10:32PM - Cake (34 min.)

HBO:
10PM - 24/7 College Football: Florida Gators (Episode 3)

BRAVO:
11PM - Watch What Happens Live With Andy Cohen (Lorraine Bracco; TV personality Dr. Oz)
11:30PM - Cash Cab

TV ONE:
11PM - The DL Hughley Show (Henry Simmons)


http://tvlistings.zap2it.com/?aid=gapzap
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Media/Business Notes
AMC Is Jumping Into the Streaming Business
By Chris Morris, Fortune.com - Oct. 15, 2019

Add yet another name onto the growing list of film streaming services.

AMC Theaters plans to launch a streaming service to allow people to watch films at home, according to a report in The New York Times. The online store is set to launch next week.

The service, called AMC Theaters on Demand, will initially forego a fight with Netflix, Hulu, Disney+ and other all-you-can-eat modeled companies and instead square off against iTunes and Vudu, selling and renting films on an on-demand individual basis.

The company has struck deals with the five largest movie studios—Disney, Warner Bros., Universal, Sony and Paramount*—to offer catalog and new releases. Theaters on Demand will not offer films that are in theaters at the time.

Prices will be about the same as the competition. Renting a film will run between $3 and $6, while purchasing one will cost between $10 and $20. Films will be available only to U.S. audiences.

This isn’t the first time AMC has decided to both join ’em and fight ’em. Last year, it launched its own version of MoviePass, allowing customers to see multiple films per month for a fixed price. As of February, that service had 700,000 subscribers.

https://fortune.com/2019/10/15/amc-s...service-films/
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TV Notes (Broadcast)
‘Sunnyside’ Pulled From NBC Schedule, Will Finish Season as Digital-Only Series
By Reid Nakamura, TheWrap.com - Oct. 15, 2019

NBC is pulling “Sunnyside” from its linear schedule, moving the Kal Penn-led comedy to its digital platforms exclusively.

The broadcast network has commissioned an additional episode of episode of the comedy, extending its order from 10 to 11 episodes, but the show’s remaining seven episodes will be shunned to the NBC app and NBC.com and other digital platforms.

In its place, NBC will premiere the 11th and final season of “Will & Grace” starting next Thursday, Oct. 24.

Starring Kal Penn as a former New York City Councilman who finds his calling in assisting immigrants in need of his help, “Sunnyside” debuted last month as the lowest-rated new show among the four major broadcast networks.

Touting the premiere episode’s growth in delayed viewing and its performance on social media, the network is hoping the show will continue to perform as a digital exclusive. Production on all 11 episodes is expected to continue.

In addition to Penn, the cast also includes Diana Maria Riva, Joel Kim Booster, Kiran Deol, Poppy Liu, Moses Storm and Samba Schutte. Executive producers include Penn and Matt Murray, along with “The Good Place” creator Michael Schur, David Miner and Dan Spilo.

https://www.thewrap.com/sunnyside-pu...l-only-series/
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Nielsen Notes (Cable)
‘Walking Dead’ Ratings Stumble To New Series Low; ‘Succession’ Nears Series Best With Season 2 Finale
By Dominic Patten, Deadline.com - Oct. 15, 2019

It was blood sport all round on Sunday and not just that Pittsburgh Steelers win over the L.A. Chargers and the cable topping New York Yankees and Houston Astros game on Fox Sports 1. No, The Walking Dead and Succession both had sacrifices, new messy alliances and some telling ratings.

For the AMC zombie apocalypse series, the second episode of the 10th season pulled back the mask on the bloodless origins of the Whisperers.

The Greg Nicotero-directed “We Are the End of the World” was also a new series low for TWD. Slipping 7% from the previous low of last week’s Season 10 opener to a 1.3 rating among adults 18-49, TWD was in a rare second place on cable with its viewership of 3.47 million. That total set of linear eyeballs was down 13% from the October 6 “Lines We Cross” episode.

Compared to the then series low of the second episode of Season 9, TWD viewership fell 30% and 35% in the key demo.

Hard truths and low numbers for the show based on Robert Kirkman’s now-defunct comic, but also mitigated realities. For one thing, starting with the Samantha Morton-led “End of the World,” all episodes of TWD are now available 48 hours before they air on AMC on the subscription AMC Premiere service, which we hear is doing quite nicely. Secondly, in Live + 3 ratings, the Season 10 debut rose 50% in the 18-49 demo and 45% in overall viewers – and that was an episode that was on AMC Premiere a full week before its October 6 linear launch.

Over on HBO, media mogul Logan Roy and his often less than spectacular offspring had a near banner night. With someone in the family set up to take the fall for the scandal in their cruise ship business. Not to give too much away if you haven’t seen the Jesse Armstrong penned This Is Not for Tears episode but the Jeremy Strong portrayed Kendell Roy certainly redeems himself after that horrific hip hop malfeasant of a few weeks back.

Though the 660,000 who watched the Succession Season 2 finale on Sunday on its first run on HBO was up 9% from the season premiere of August 11, it was down from both last week and the Season 1 ender of August 5 last year.

That’s in linear viewers for the burgeoning prestige series for the premium cabler. However, light a real-world digital match, and the Murdoch-inspired Succession is on fire like Sean Hannity at a Vermont Socialists League meeting.

In that burning context, the Brian Cox-led show snagged 1.1 million viewers when you add up first runs, encores and digital platforms. While just a tad below the 1.2 million multi-platform audience that the all-time series high of Season 2 premiere of the now addictively fueled Succession had, the Season 2 ender was a good bow for the show, for now. HBO don’t play the demo game cause they don’t have ads, but among adults 18-49 the end of Succession’s second season stayed even with its penultimate episode with a 0.2 in the key broadcast demo.

Can I just say, it’ll never happen, but man, a Walking Dead and Succession crossover would sure leave some blood on the walls, wouldn’t it? Although the Roys might scare off the Whisperers and the undead …

https://deadline.com/2019/10/walking...bo-1202760498/
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Technology Notes
Sony is launching its 360-degree audio format this fall
By Sam Byford, TheVerge.com - Oct. 15, 2019

Sony has announced that its new 360 Reality Audio technology will launch in late fall with several partners. The format involves object-based spatial audio that places various elements of a music track around the listener in a virtual spherical environment. The experience is designed to replicate live music, with instruments and vocals coming from different directions.

At launch, there will be around 1,000 songs available in 360 Reality Audio, including tracks from artists like Pharrell Williams, Bob Dylan, and Billy Joel. Sony has also captured live performances from artists such as Charlie XCX and Kodaline and converted them to the new format. Sony will of course be able to leverage music from its own record label, but the company says it’s also working with Universal, Warner, and Live Nation to add more content.

“360 Reality Audio is a proof point that innovation never stops,” Sony Electronics (North America) president and COO Mike Fasulo said in a press release. “The confluence of deep technical roots, tireless artists and forward-thinking hardware and semiconductor partners illustrates the tremendous draw of this radical new way to make music even more moving. Together with valued industry partners, Sony has architected the most powerful, realistic music experience for listeners and a new medium for artists to create.”

As for how you’ll actually get to listen to 360 Reality Audio, Sony has partnered with Amazon Music HD, Deezer, Tidal, and nugs.net. That’s bad news for Spotify or Apple Music users, then, but Sony does call out Amazon’s promising new Echo Studio as a way to play back this music natively. Other speakers will require Sony’s 360 Reality Audio decoder along with “multiple speaker units and signal processing technology,” so it’s unlikely that this’ll work for many existing setups.

However, at launch the only mobile app support will come through “headphones from most manufacturers” when used with the Tidal, Deezer, and nugs.net iOS and Android apps. Certain recent Sony headphones will also be able to produce a “custom immersive musical field” through the Headphones Connect app, although it’s not clear how exactly that’ll work with external content.

This will clearly be something that needs to be experienced in person to judge. Sony does appear to be making its best effort to make this a thing, but the same could have been said of various Sony-backed formats in recent decades. The news that it’ll work on Amazon’s new high-end Echo gives it a pretty good use case right out of the gates, though, and we’re looking forward to hearing more.

https://www.theverge.com/2019/10/15/...mazon-partners
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TV Review (Streaming)
Netflix's Zany Paul Rudd Vehicle Living With Yourself Never Lives Up to Its Binge-Worthy Premise
By Judy Berman, TIME.com - Oct. 15, 2019

There’s something about the angst of white-collar men that lends itself to magic realism. From Kafka’s The Metamorphosis and It’s a Wonderful Life to Midnight in Paris and disgruntled dad Lester Burnham recounting his own demise from beyond the grave in American Beauty, such quotidian dissatisfaction has catalyzed at least a century’s worth of fantastical odysseys. Whether it’s because so many of us identify with the urge to escape the grind through supernatural means or because those who do are overrepresented in Hollywood and book publishing, we can’t seem to get enough of these stories. On Oct. 18, Netflix unveils another one: the intermittently entertaining but ultimately hollow Paul Rudd vehicle Living With Yourself.

Seemingly premised on Rudd’s contradictory persona—often cast as a “regular guy,” he is in fact a handsome, charming 50-year-old who doesn’t look a day over 30—the eight-episode series introduces his protagonist Miles as a man in a miserable rut. His marriage has grown tense and distant. After years of saving for fertility treatments, he disappoints his wife Kate (Aisling Bea) by repeatedly canceling sperm-analysis appointments that would revive their efforts to conceive. Meanwhile, Miles is so burned out at his advertising job that when it’s time for him to present a pitch, he simply saunters to the head of the conference table and announces, “I don’t have anything.” That sums up the way he feels about his life as a whole, despite its many suburban comforts. He can’t even sneak into his house after a night at the bar without smashing into a credenza.

Too exhausted, lazy or perhaps clinically depressed (the show is mostly uninterested in brain chemistry) to make tough changes, he seizes the first easy, if expensive, option that presents itself. Over drinks, a formerly unimpressive colleague (You’re the Worst standout Desmin Borges) who’s suddenly dominating the boardroom lets Miles in on his secret— a “highly exclusive” spa treatment that radically rejuvenates clients, inside and out. Without consulting Kate, Miles drains the fertility savings, hands over $50,000 in cash in the basement of a strip mall and, most disconcertingly, dons an adult diaper in preparation for the procedure. Little does he know that the spa’s proprietors are preparing to clone him, kill—er, “deactivate”—the schlumpy original Miles, bury him and release his hot, cheerful, freshly baked double into Miles’ old life. The plan goes awry when a barely breathing Miles 1.0 wakes up underground and claws his way out of the grave. Now, there are two of him.

The internal logic of this sci-fi scenario isn’t perfect. (A bit of muddled commentary on American prejudices, via a pair of Asian-American spa proprietors who affect broken, accented English for their customers’ benefit, just plain backfires.) In order for Miles 2.0 to seamlessly integrate into Miles 1.0’s life—where he is, inevitably, a superior husband, half-brother (to a kooky artist played by Alia Shawkat) and employee—he must possess all of the latter’s knowledge, memories and emotional ties. Yet wouldn’t a clone who feels as though he’s experienced everything Miles 1.0 has experienced also feel just as bitter and beaten down as his predecessor, even if his body was brand new? This catch-22 would be easy to overlook if it at least led the show to some interesting philosophical questions: Is the self a single consciousness confined to one discrete body, for example, or are both versions of Miles essentially the same person?

Creator Timothy Greenberg, a former Daily Show executive producer, would rather track the chaos that ensues as two men attempt to occupy the same life. There are slapstick elements to this; the Mileses fight like brothers, and 1.0’s discomfort in his own skin manifests itself in lots of tripping and falling. The power balance shifts, with 2.0 serving alternately as a threat to 1.0 and a stand-in who enables 1.0 to stay home from work and pound out that screenplay he’s always wanted to write. Since 2.0 is programmed to love Kate, just like the prototype, an uncanny love triangle ensues.

The show is almost never unpleasant to watch, thanks to fast-paced storytelling as well as appealing performances from Rudd and Bea (an Irish actor and comedian who broke through to American audiences this year as the writer and star of Hulu’s well-received British import This Way Up). It just seems like a waste of a premise that could have gone so much deeper and evolved into something so much stranger. Instead, Greenberg teases depth and ingenuity that he never quite delivers. Like the authors of so many other surreal-male-midlife-crisis narratives, he overestimates how compelling its protagonist’s predicament is, then resolves it into a lesson in appreciating what one has. (He also oversimplifies the needs and desires of the woman in his life, even after devoting a full episode to her perspective.) And, as in so many other high-profile Netflix projects—Dead to Me, Maniac, The Politician—just about every episode ends on a cliffhanger. Sadly, in the case of Living With Yourself, a show designed for binge viewing never proves binge-worthy.

https://time.com/5700808/living-with...etflix-review/
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TV Sports/Business Notes (Research)
Sports Rights Now Make Up 26 Percent of Global Content Spend
By Scott Roxborough, The Hollywood Reporter - Oct. 15, 2019

Whether's its basketball, baseball, hockey or either kind of football — domestic or international versions — sports is big business. Globally, television broadcasters, and to a lesser degree, online streamers, fork out fully 26 percent of their total content spend on sports rights, according to a report published Wednesday by Ampere Analysis.

The market for sports rights has nearly doubled in the last six years, from $20 billion in 2012 to $38 billion last year and, Ampere believes, there is still plenty of room to grow.

The U.S. remains the largest single market for sports rights, with a $19 billion annual spend, a figure likely to jump as new rights cycles kick in for the NFL, the MLB and later the NBA. Ampere forecasts the top U.S. leagues generating a further $4 billion per year in rights revenues by the end of the next six years.

But Europe is no spendthrift either, with broadcasters and online players in Europe's big five markets (U.K., France, Germany, Italy and Spain) shelling out €10 billion ($11 billion) for sports rights in 2018, double the amount from six years ago. European broadcasters and pay-TV operators in the big five spend a third of their content budget, on average, on sports, compared to 26 percent in the U.S.

Traditional broadcasters, particularly pay-TV operators such as Sky and Telefonica, are the biggest spenders, accounting for 60 percent of total sports rights spend in Europe. Online platforms have begun to enter the market but are still very minor players.

Commercial broadcasters such as Germany's RTL, ITV in Britain and TF1 in France invest an average of 25 percent of their budget on sports, while European public broadcasters spend an average of just 10 percent, in part due to being priced out of the race for the most valuable events.

The impending launch of new streaming services — Apple TV + and Disney+ will launch next month, WarnerMedia's HBO Max and NBCUniversal's SVOD service Peacock in early 2020 — is expected to further fragment TV audiences and will likely put pressure on cash-strapped traditional broadcasters. But Alexios Dimitropoulos, a senior analyst at Ampere, believes the new SVOD wave will not drive down sports rights.

He explains, "Although there are significant competitive pressures on TV revenues due to the rise of new online competitors, the impending direct-to-consumer fragmentation of the market may also open up opportunities for sports rights bodies — who will increasingly hold some of the few premium rights that money can still buy."

https://www.hollywoodreporter.com/ne...-spend-1247865
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Oct. 16, 2019

2019 MAJOR LEAGUE BASEBALL PLAYOFFS
Fox Sports 1, 8:00 p.m. ET

The only postseason baseball game played tonight is Game 4 in the ALCS. The New York Yankees host, but they’re behind, 2-1, in this best-of-seven series against the Houston Astros. Last night, on the National League side, the Washington Nationals won the pennant by sweeping the St. Louis Cardinals. So while the Yankees and Astros are battling to advance, the Nationals are watching… and resting.

NOVA: "WHY BRIDGES COLLAPSE"
PBS, 9:00 p.m. ET

One of the first nursery rhymes we’re taught as children has to do with the dangers of insufficient infrastructure when it comes to public pathways over bodies of water. And while this new Nova isn’t completely devoted to London Bridge falling down, it does look at more recent examples, nationally as well as internationally. Warning: Watch my video blog yesterday about today’s Best TV Tomorrow (I know, it’s as confusing as a John Oliver program title), at our TV Worth Watching YouTube Channel and elsewhere, and you’ll hear my groaningly bad alternate title for this recommended Nova installment. Thanks to my director, Larry Siegel, for adding the rim shot! Check local listings.


http://www.tvworthwatching.com/
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TV/Production Notes (Streaming)
‘Rogue One’ Writer Tony Gilroy Joins Cassian Andor ‘Star Wars’ Series at Disney Plus
By Joe Otterson, Variety.com - Oct. 15, 2019

EXCLUSIVE: The planned Disney Plus series centered on “Rogue One” character Cassian Andor is bringing in the film’s co-writer, Tony Gilroy, Variety has learned exclusively.

Gilroy is set to write the pilot for the series in addition to directing multiple episodes. He will work alongside Stephen Schiff, who remains onboard as showrunner. No official premiere date has been set, but Disney had previously indicated the show would debut in 2021.

The untitled show focuses on Rebel agent Andor prior to the events of “Rogue One” in the early days of the Rebellion against the Empire. The show has been described as a “spy thriller” when plans for it were first revealed last year. It was also previously announced that Diego Luna would return as Andor, while Alan Tudyk is set to reprise his role as K-2SO, Andor’s droid sidekick.

In addition to his work on “Rogue One,” Gilroy’s other screenwriting credits include the Jason Bourne film franchise as well as films like “Michael Clayton,” “The Devil’s Advocate,” and “Dolores Claiborne.” He also directed “Michael Clayton,” for which he earned Oscar nominations for both best original screenplay and best director. Gilroy also directed 2012’s “The Bourne Legacy.” He was originally an uncredited writer on “Rogue One,” but earned a screenwriting credit when he was brought on to handle extensive reshoots on the film. He is also said to have worked closely with director Gareth Edwards to supervise the edit once reshoots were completed.

“Rogue One” was the first live-action standalone “Star Wars” film outside of the three existing trilogies. The film followed the team of Rebel spies who stole the plans for the Death Star, leading into the events of “Star Wars: A New Hope.” It was released in 2016 and went on to gross over $1 billion worldwide.

Disney Plus is set to launch on Nov. 12. Among the titles that will be available at launch is “The Mandalorian,” a live-action “Star Wars” series that hails from Jon Favreau starring Pedro Pascal in the title role. Ewan McGregor also recently confirmed that he will reprise the role of Obi-Wan Kenobi in a limited series that is scheduled to shoot next year. Other big-ticket shows in the works at Disney Plus include multiple limited series based on characters from the Marvel Cinematic Universe like Loki, Hawkeye, and Scarlet Witch and Vision.

On the film side, “Star Wars: The The Rise of Skywalker” is due to hit theaters in December. “Game of Thrones” creators David Benioff and D.B. Weiss are currently working on a new “Star Wars” film trilogy, as is “The Last Jedi” director Rian Johnson. Marvel Cinematic Universe mastermind Kevin Feige is also developing a “Star Wars” film alongside Lucasfilm president Kathleen Kennedy.

https://variety.com/2019/tv/news/cas...us-1203370479/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Oct. 16, 2019

[size=3]2019 MAJOR LEAGUE BASEBALL PLAYOFFS
Fox Sports 1, 8:00 p.m. ET

The only postseason baseball game played tonight is Game 4 in the ALCS. The New York Yankees host, but they’re behind, 2-1, in this best-of-seven series against the Houston Astros. Last night, on the National League side, the Washington Nationals won the pennant by sweeping the St. Louis Cardinals. So while the Yankees and Astros are battling to advance, the Nationals are watching… and resting.
...

http://www.tvworthwatching.com/
Note that the ALCS game today has already been postponed.
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post #32507 of 32992 Old 10-16-2019, 12:59 PM
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NEW YORK – Game 4 of the American League Championship Series between the Astros and Yankees has been postponed due to continued projections of inclement weather in the New York City area, Major League Baseball announced on Wednesday.

ALCS Game 4, originally scheduled to be played at Yankee Stadium on Wednesday at 8:08 p.m. ET, will be played instead on Thursday at 8:08 p.m. ET.

The postponement moves Game 5 to 7:08 p.m. ET on Friday

Gm 1 Oct. 12 NYY 7, HOU 0
Gm 2 Oct. 13 HOU 3, NYY 2 (11)
Gm 3 Oct. 15 HOU 4, NYY 1
Gm 4 Oct. 17 8 p.m. HOU vs. NYY FS1
Gm 5 Oct. 18 7 p.m. HOU vs. NYY FS1
*Gm 6 Oct. 19 8 p.m. NYY vs. HOU FS1
*Gm 7 Oct. 20 7:30 p.m. NYY vs. HOU FS1
*- If necessary | All times ET

https://www.mlb.com/news/oct-16-alcs-game-4-postponed
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TV/Syndication Notes (Streaming)
‘Community’ To Be Taken Out To Streamers As Sony Pictures TV Hopes To Cash In On Hot Comedy Market
By Peter White, Deadline.com - Oct. 15, 2019

EXCLUSIVE: Community is set to be the next long-running comedy to hit the SVOD marketplace with Sony Pictures Television taking out the Dan Harmon-created show following mega streaming deals for shows such as Seinfeld, which is distributed by Sony TV, The Big Bang Theory, Friends and The Office.

Deadline understands that Community, which starred Alison Brie, Donald Glover, John Oliver, Joel McHale, Ken Jeong, Jonathan Banks, as well as Gillian Jacobs and Chevy Chase, is being taken out by the studio in the coming weeks.

Exclusive global rights to all six seasons, which initially ran on NBC from 2009, before moving to Yahoo! Screen, are available from May 2021 with both streaming and linear rights available. The show, which is based on Harmon’s own experience at community college, currently airs on SVOD on Hulu in the U.S. and via Amazon in Canada, Australia and the UK and Netflix in Ireland and New Zealand as well as on a number of SVOD services such as C4-backed All4 and Australia’s Stan.

Sony likely will be hoping that the show, which consists of 110 episodes, can attract attention at a time when the rights to classic scripted comedies from the past couple of decades is at an all-time high. HBO Max recently won the rights to stream The Big Bang Theory from next spring, while the WarnerMedia service is thought to have paid around $425M for Friends and NBCUniversal paid north of $500M for The Office. Last month, Netflix bought the global streaming rights to Seinfeld from Sony Pictures Television, which will be looking a similarly off-the-wall comedy like Community could land a big streaming payday.

Warner Bros. and HBO Max originally discussed the acquisition of both Chuck Lorre comedy series The Big Bang Theory and Two and a Half Men before focusing on the former. A 2.5 Men SVOD pact also could be in the cards in the near future.

https://deadline.com/2019/10/communi...et-1202759400/
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Nielsen Overnights (Cable)
TV Ratings: Fourth Democratic Debate Falls on CNN
By Rick Porter, The Hollywood Reporter - Oct. 15, 2019

CNN drew another sizable audience for the fourth Democratic presidential debate — but not as big as the news network's previous debate telecast.

Tuesday's debate averaged 8.34 million TV viewers, below CNN's last debate coverage on July 30-31 and the smallest audience of the four Democratic debates thus far. Live streams of the coverage on digital properties for CNN and co-sponsor The New York Times averaged an additional 449,000.

In the key news demographic of adults 25-54, the debate averaged 2.38 million viewers. CNN also notes that the debate had 9.2 million live-stream starts on digital properties (including Facebook), a record for a CNN debate telecast. The debate also had a larger audience than all but two shows in primetime Tuesday, CBS' NCIS (10.61 million) and FBI (8.71 million).

The three-hour telecast featured 12 candidates, with current polling leaders Joe Biden, Elizabeth Warren and Bernie Sanders at the center of the stage.

CNN's first debate of this election cycle, in late July, averaged about 9.7 million on-air viewers over two nights (8.69 million for the first night and 10.72 million for the second). Live streams of the two nights averaged 546,000 viewers.

The first set of debates — which aired on NBC, MSNBC and Telemundo — remain the biggest of this election cycle so far. The two-night affair averaged 16.68 million viewers in June, with night two's audience of 18.1 million setting a record for a Democratic primary. The third debate on ABC and Univision drew a little over 14 million viewers.

This year's Democratic debates are averaging better than 12 million viewers and drawing significantly larger audiences than those of the 2016 cycle, which averaged just under 8 million. The record viewership for a primary-season debate remains with Fox News, which drew 24 million people for the a Republican debate in August 2015.

https://www.hollywoodreporter.com/li...c-face-1248171
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Nielsen Overnights (Broadcast)
Primetime Ratings: NBC Wins With Still Strong ‘This Is Us’
By Michael Malone, Broadcasting & Cable - Oct. 16, 2019

NBC got the top score in Tuesday ratings, This Is Us leading the Peacock to a 1.2 in viewers 18-49, per the Nielsen overnights, and a 6 share. That beat the 0.9/4 that CBS posted.

The Voice lost 13% for a 1.3 on NBC and This Is Us dropped 6% for a 1.5. New Amsterdam rated a flat 0.8.

On CBS, NCIS got a level 1.1 and FBI went up 13% to 0.9. NCIS: New Orleans scored a flat 0.7.

Fox had a 0.8/3 and ABC a 0.7/3. Fox had The Resident at 0.7 and Empire at 0.8, both flat.

On ABC, The Conners did a flat 1.1 and Bless This Mess dropped 13% for a 0.7. Mixed-ish got a level 0.7 and Black-ish slid 14% to 0.6. Emergence rated a flat 0.5.

Telemundo and Univision both scored a 0.5/2. On Telemundo, Exatlon Estados Unidos did a flat 0.4 and El Final Del Paraiso shot up 25% to 0.5. El Senor de los Cielos scored a 0.7, level with its premiere.

On Univision it was La Rosa de Guadalupe and La Usurpadora at 0.5, La Rosa flat and La Usurpadora down a tenth. El Dragon was down 20% to 0.4.

The CW scored a 0.4/2. The Flash fell 17% from its premiere to 0.5 and the season premiere of Arrow posted a 0.3.

https://www.broadcastingcable.com/ne...ong-this-is-us
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TV/Production Notes
Uber's Bumpy Origin Story Eyed as Showtime Limited Series
By Michael Ausiello, TVLine.com - Oct. 16, 2019

This should be a trip: Showtime is developing a limited series about the early days of Uber, with Billions showrunners Brian Koppelman and David Levien on board to write and exec-produce.

Based on Mike Isaac’s bestselling book Super Pumped: The Battle for Uber, the project “will depict the roller-coaster ride of the upstart transportation company, embodying the highs and lows of Silicon Valley. Even amid the radical upheaval generated within the global tech capital, Uber stands out as both a marvel and a cautionary tale, featuring internal and external battles that ripple with unpredictable consequences.” Much of the action will be centered on Travis Kalanick, Uber’s “hard-charging CEO” who was ultimately ousted in a boardroom coup.

“The story of Uber is rich in plot twists, one-of-a-kind personalities and important implications for corporate America,” said Jana Winograde, Showtime’s co-president of entertainment. “It is a case study of ingenuity and insanity, and there are no writers better suited than Brian and David to explore this business and the people who drive it, literally and metaphorically.”

https://tvline.com/2019/10/16/uber-s...r-pumped-book/
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TV Review (Social Media)
Another Podcast Comes to Video: 'Limetown' on Facebook Watch
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Oct. 16, 2019

Podcasts have had problems in the transition to TV productions, and Limetown, whose 10-episode first season premieres Wednesday on Facebook Watch, doesn’t totally dodge that bullet.

Limetown does have a weapon others did not, which is Jessica Biel, starring as Lia Haddock, a public radio journalist trying to figure out why 326 people vanished from a research community in Tennessee 15 years ago.

That community would be Limetown, and while the story was all-consuming in 2004, most of the country and the media have since moved on.

Lia has not, not completely anyway. Her beloved Uncle Emile (Stanley Tucci) was among the vanished, and her sense of obligation to him nestles among the many ghosts and demons that haunt her.

For someone who looks at first to be a regular old reporter, Lia turns out to be almost as tormented as Biel‘s last character in USA’s The Sinner.

Nor does the larger arc of Limetown, which was developed as a podcast by Zack Akers and Skip Bronkie, lack for weird twists and dark undercurrents. Even beyond 326 people creating the biggest mass disappearance since Thanos.

To sell her editor on revisiting the story, Lia has to find fresh information. She starts with Mark Green (Omar Elba), the only journalist who covered the opening ceremonies of the Limetown community in 2004.

He seems as puzzled as the rest of the world by what happened. He explains to Lia that the leader of Limetown, Oskar Totem, was a charismatic professor who promoted the community as a place where the country’s most brilliant minds could work together toward creating a better world through a project that no one seems able to explain fully.

It all came to a sudden stop one night, the only clue a brief distress call. When the cops arrived 17 minutes later, the only evidence was a single violent and grisly death.

Green seems fine with sharing his fragments, right up until maybe he isn’t.

Lia’s big break comes with the sudden and somewhat unlikely appearance of a possible survivor, a woman named Winona (Kelly Jenrette). Whatever light she sheds turns out to be dappled at best.

Akers and Bronkie are old-school thriller writers in the sense that they leave much of the looming menace unseen, letting viewers share the characters’ disorientation and apprehension.

That technique, which harks back to radio dramas of a century past, helped make Limetown a popular podcast. As a streaming series, it plays at times like radio drama, which isn’t a bad thing. It just doesn’t always make for great TV.

Thankfully, it still has Jessica Biel.

http://www.tvworthwatching.com/BlogP...x?postId=18968
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TV Notes (Streaming)
‘Why Women Kill’ Renewed for Season 2 at CBS All Access
By Danielle Turchiano, Variety.com - Oct. 16, 2019

“Why Women Kill” has been renewed for a second season, CBS All Access announced Wednesday.

“‘Why Women Kill’ has had a phenomenal first season,” said Julie McNamara, executive vice president of original content, CBS All Access. “Under the creative direction of Marc Cherry and the incredible performances of the cast, the series has become one of our most streamed original series. We look forward to bringing fans even more of this wonderfully soapy dramedy in its second season and can’t wait to see what themes Marc explores next.”

The dark comedy from Marc Cherry examines how the roles of women have changed over the decades, but how their reaction to betrayal has not. The first season of the show, which premiered in August of this year, followed the lives of three women living in three different decades: a housewife in the 1960s (played by Ginnifer Goodwin), a socialite in the 1980s (played by Lucy Liu) and a modern-day lawyer in a polyamorous marriage (played by Kirby Howell-Baptiste).

The first season of “Why Women Kill” also featured Jack Davenport, Sam Jaeger, Reid Scott, Alexandra Daddario, Sadie Calvano, Leo Howard, Alicia Coppola and Katie Finneran. Season 2 will follow a new set of characters who are also dealing with acts of betrayal.

The series is produced by Imagine Television Studios and CBS Television Studios. Cherry created the show and serves as executive producer alongside Imagine’s Brian Grazer, Acme Productions’ Michael Hanel and Mindy Schultheis, as well as Francie Calfo and Marc Webb.

This renewal comes a day ahead of the first season finale of “Why Women Kill,” which will stream on CBS All Access Oct. 17.

https://variety.com/2019/tv/news/why...ss-1203372322/
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TV/Business Notes (Streaming)
With Weeks to Go Until Launch, Apple TV+ Plots Its Future With ‘World’s Greatest Storytellers’
By Isaac Feldberg, Fortune.com - Oct. 16, 2019

Apple TV+ may be weeks away from launching, but the tech giant's streaming neophyte is already thinking years ahead in its ambitious plot to dominate film and TV spaces with a slate of buzz-building prestige programming.

As Apple competes for eyeballs in an increasingly crowded streaming landscape, it will face off against similarly deep-pocketed entrants like Disney+ (launching Nov. 8) and established forces like Netflix, Hulu, and Amazon Prime Video, all of which boast a deep back catalog of programming that Apple lacks.

But the tech giant's initial plans for Apple TV+ suggest that it's not aiming to replace Netflix so much as rival HBO, carving out a non-dominant but still formidable space in the streaming space and earning its keep with trophies to line the walls in Cupertino, through collaborations with Hollywood's best and brightest.

With The Morning Show guaranteed a second season as part of its initial order, Apple has reportedly handed down renewals to additional members of its freshman class, including space-race drama For All Mankind, dystopian thriller See, YA-aimed Dickinson, immigrant-centered anthology Little America, and mystery drama Home Before Dark. The Hollywood Reporter reported all but For All Mankind, on which Deadline had the scoop earlier this week.

All those series will be available at launch on Nov. 1, with buzzy entrants like M. Night Shyamalan's mystery box Servant (Nov. 28) and Octavia Spencer's true-crime thriller Truth Be Told (Dec. 6) padding out Apple TV+'s first month. By renewing its original series early, the service is said to be amortizing costs and getting ahead of any gap in its plan to steadily roll out original series across its first few years. As it seeks to attract the attention of awards bodies, that kind of brand consistency—which worked wonders for Netflix and HBO in past years—will matter.

In a similar vein, Apple's working to secure its partnership with A24, a thought leader among boutique movie studios whose social-media savvy and innovative rollout strategies stand to teach the tech giant much about making a splash in Hollywood. Deadline reported Wednesday that Apple and A24 will team for The Sky Is Everywhere, a drama that Madeline's Madeline filmmaker Josephine Decker will direct, from a script by Jandy Nelson (author of the bestselling source material, a young-adult novel).

It's Apple's second project with A24 since formalizing a partnership with the studio late last year. The first, from Lost in Translation director Sofia Coppola, is a father-daughter drama titled On the Rocks, starring Rashida Jones and Bill Murray. Even before those titles, Apple will launch The Elephant Queen, a potentially awards-tipped documentary about a mother elephant seeking to protect her young, with help from A24. The studio's better known for indie narrative fare, but its first documentary effort, Amy, won the Oscar in 2016.

Though collaborating with outside studios is one tried-and-true approach to entering the streaming space, Apple is also launching its own in-house studio, working with Steven Spielberg and Tom Hanks to produce Masters of the Air, a follow-up to their WWII epics Band of Brothers and The Pacific.

Spielberg's been a pivotal supporter of Apple TV+, bringing the tech company much-needed Hollywood credibility as it's sought to avoid sharing Netflix's reputation as a brash, arrogant "disruptor" of the entertainment industry. His interest in revisiting Band of Brothers territory with Apple is seen as something as a coup for the service, especially given the awards success of Spielberg's previous WWII efforts and the fact that the series was previously (per Masters of the Air author Donald L. Miller) in the works at HBO as a nine-hour series.

Spielberg's Amblin Television, behind the series, was also working with Apple on Amazing Stories, reviving Spielberg's own anthology series from the '80s. That series, reports THR, ran into the old creative differences during its early development process, with originally tapped showrunners Bryan Fuller and Hart Hanson parting ways after pushing for an edgier version of the project. Apple saw the series as more aspirational in tone, eventually bringing in Once Upon a Time's Edward Kitsis and Adam Horowitz to replace them and bumping the series off its previously planned launch-date debut slate.

Such stumbles were always inevitable as Apple TV+ enters a programming space in which creating original content is both all important and unfamiliar to corporate executives.

Awareness of that knowledge gap is surely one reason Apple's worked so diligently to get star creators in the door.

In addition to Spielberg, deals have been struck with Oprah Winfrey, Roma filmmaker Alfonso Cuarón, Fast & Furious filmmaker Justin Lin, and Friday Night Lights creator Jason Katims. Overall deals have been reached as well with Graham Yost (Justified) and X-Men producer Simon Kinberg. And Josh Schwartz and Stephanie Savage—creators of teen hits The O.C. and Gossip Girl —have Looking for Alaska arriving Friday on Hulu but will then commit to a first-look deal at Apple. There's also Lisey's Story, a Stephen King adaptation starring Julianne Moore and Clive Owen, coming down the pipeline from J.J. Abrams' Bad Robot Entertainment.

But initially, Apple TV+ will bank on the star power of Reese Witherspoon and Jennifer Aniston to give it a critical hit out of the gate. The Morning Show, its much-teased look inside a fictional newsroom in crisis, has already been handed a two-season order; it's been the centerpiece of Apple TV+ in this early offing, with Aniston and Witherspoon covering Entertainment Weekly's Fall TV Preview and the series' trailers grounding a special event at Apple's headquarters earlier this year.

A big showing on the awards trail in the ramp-up to next year's Emmys feels probable, especially given the timely, #MeToo dimensions of the story, which finds Aniston's character mulling the absence of a friend and co-anchor (Steve Carell) fired for apparent misconduct. If The Morning Show doesn't land, it won't just be a public embarrassment for Apple; it'll be a pricey one, given that the show reportedly cost $300 million, with Aniston and Witherspoon each securing a $2 million fee per episode.

That said, with Apple's $1 trillion market cap, the tech giant can divert however significant an amount to its original TV+ programming it so chooses without feeling a pinch. See, starring Jason Momoa in a dystopian vision of a future in which the world's gone blind, will reportedly cost Apple an estimated $240 million across two seasons. And estimates for Masters of the Air, a massive undertaking for Apple to produce, go above $200 million, which is likely one reason it never got made at HBO.

With a $4.99 entry point (which drops down to free for a year if you buy an Apple gadget), Apple's gearing up to be a more accessible premium cable network, one with deceptively little overhead and a stated commitment to high-quality programming from (as per its newly launched press site) "the world's greatest storytellers." If it continues to put up the money for such a venture, viewers will reap some significant benefits in the short-term. The bigger test for Apple TV+ will come around its one-year mark, as it either makes a grand entrance at the Emmys or remains, despite its best efforts, alienated from such accolades within a sometimes exclusive industry it's undeniably new to.

https://fortune.com/2019/10/16/apple...vember-launch/
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Technology/Washington Notes (Mobile)
The FCC has voted to approve the T-Mobile-Sprint merger
By Makena Kelly, TheVerge.com - Oct. 16, 2019

On Wednesday, the Federal Communications Commission formally approved the merger between T-Mobile and Sprint, an FCC official told The Verge. The vote comes months after the Justice Department greenlit the deal.

In May, FCC Chairman Ajit Pai first signaled that he would vote to approve the merger after the commission and the companies struck a deal that Republicans believed would help foster a faster 5G rollout. The other Republican commissioners, Brendan Carr and Michael O’Rielly, also voiced support for the merger at the time. The merger was pushed through on a party-line vote with Democrats dissenting, an FCC official told The Verge.

Democratic Commissioner Jessica Rosenworcel announced her disapproval in an op-ed for The Atlantic Wednesday morning. In it, she argues that a merged T-Mobile-Sprint would only hurt consumers, driving up prices and staving off competition.

“These state officials understand something fundamental: With less competition, rates rise and innovation falls. All the evidence demonstrates that this holds true in the mobile-phone industry too,” Rosenworcel said. “If this merger succeeds, consumers will pay the price.”

The other Democrat, Geoffrey Starks, was the last to vote on the deal. In September, Starks put out a statement calling on the FCC to delay any votes on the merger until Sprint could be fully investigated for allegedly misappropriating Lifeline subsidy funds for around 885,000 ineligible accounts. “There is no credible way that the merger before us can proceed until this Lifeline investigation is resolved and responsible parties are held accountable,” Starks said at the time.

Now, the T-Mobile-Sprint merger faces one more battle before they plan to close the deal. The FCC and DOJ are the only two federal agencies required to approve telecom deals before they can close, and the DOJ already gave the companies the thumbs-up in July. However, a bipartisan coalition of state attorneys general are still trying to block the deal through a multistate lawsuit, and representatives from the two companies said that they won’t close the merger until that is resolved.

https://www.theverge.com/2019/10/16/...ica-rosenworel
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TV Sports
2019 MLB Postseason Schedule
By Dayn Perry, CBSSports.com

THURSDAY, OCT. 17:

TEAMS : / TIME (Eastern): / NETWORK(S):


--ALCS Game 4: Astros at Yankees* / 8:00 p.m. / FS1

* (postponed from Wednesday)
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TV Notes
On The Air Tonight
THURSDAY 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 - Oct. 17, 2019

ABC:
8PM - Grey's Anatomy
9:01PM - A Million Little Things
10:01PM - How To Get Away With Murder
* * * *
11:35M - Jimmy Kimmel Live! (Paul Rudd; Lizzy Caplan; Tyler Childers performs)
12:37AM - Nightline

CBS:
8PM - Young Sheldon
8:31PM - The Unicorn
9:01PM - Mom
9:30PM - Carol's Second Act
10PM - Evil
* * * *
11:35PM - The Late Show With Stephen Colbert (Democratic presidential hopeful Joe Biden; Pixies perform)
(R)
12:37AM - The Late Late Show With James Corden (Dominic Cooper; Jonathan Groff; Red Hearse performs)
(R)

NBC:
8PM - Superstore
8:30PM - Perfect Harmony
9PM - The Good Place
9:30PM - Sunnyside
10:01PM - Law & Order: Special Victims Unit
* * * *
11:34M - The Tonight Show Starring Jimmy Fallon (TV personality Kim Kardashian West; model Winnie Harlow; Iggy Pop performs)
(R)
12:37AM - Late Night With Seth Meyers (Singer Gwen Stefani; Bradley Whitford; writer Emily Spivey)
(R)
1:38AM - A Little Late With Lilly Singh (Natalie Portman)
(R)

FOX:
8PM - Thursday Night Football: Kansas City Chiefs at Denver Broncos (LIVE)

THE CW:
8PM - Supernatural
9PM - Legacies

PBS:
8PM - The This Old House Hour (Season Premiere)
9PM - Soundbreaking: Going Electric
(R)
10PM - Antiques Roadshow: Junk in the Trunk 9
(R)

UNIVISION:
8PM - La Rosa de Guadalupe
9PM - La Usurpadora
10PM - El Dragón

TELEMUNDO:
8PM - Latin American Music Awards 2019 (Special, 3 hrs.)

ESPN U:
7:30PM - College Football: Louisiana at Arkansas State (LIVE)

NBCSN:
7:30PM - NHL Hockey: New York Rangers at New Jersey Devils (LIVE)
9:45PM - NHL Overtime (45 min., LIVE)

A&E:
8PM - Live PD (3 hrs.)

ESPN 2:
8PM - Professional Fighters League, PFL Playoffs: Featherweight & Lightweight (2.5 hrs., LIVE)

LIFETIME MOVIE NETWORK:
8PM - Movie: Psycho BFF (2019)

MTV:
8PM - Jersey Shore: Family Vacation (62 min.)
9:02PM - Ex on the Beach

ESPN:
9PM - College Football: UCLA at Stanford (LIVE)

GSN:
9PM - America Says: The Grahams vs. Dog Parents

HBO:
9PM - Liberty: Mother of Exiles (Documentary Premiere, 2019, 90 min.)

ID:
9PM - Deadly Women
10PM - Home Sweet Homicide (Series Premiere)

SCIENCE:
9PM - Mysteries of the Abandoned
10PM - Underground Marvels (Premiere)

TBS/TNT:
9PM - Chasing the Cure: Episode 10 (Finale, LIVE)

USA:
9PM - Chrisley Knows Best
9:31PM - Chrisley Knows Best
10:01PM - Temptation Island

WeTV:
9PM - Growing Up Hip Hop: New York
10PM - Untold Stories of Hip Hop: A$AP Rocky; Nelly

FX:
10PM - Mr Inbetween (32 min.)

TRU TV:
10PM - Impractical Jokers
10:30PM - The Misery Index: Sneak Peek

BRAVO:
11PM - Watch What Happens Live With Andy Cohen (Angela Kinsey and Jenna Fischer)
11:30PM - Cash Cab

COMEDY CENTRAL:
11PM - The Daily Show With Trevor Noah (Actor-director Taika Waititi, 35 min.)
11:35PM - Lights Out With David Spade (Dusty Slay, Vanessa Bayer & Guy Branum)

E!:
11PM - Nightly Pop

SHOWTIME:
11PM - Desus & Mero (Taraji P. Henson)

TBS:
11PM - Conan (D'Arcy Carden)
(R)

TVONE:
11PM - The DL Hughley Show (Guest TBA)


http://tvlistings.zap2it.com/?aid=gapzap
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TV Sports
College Football Thursday Schedule
By lsufootball.net Staff

THURSDAY, OCT. 17:

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


--ETSU at Chattanooga / 6:00 pm / $espn+ Video
--Louisiana Lafayette at Arkansas State / 6:30 pm / ESPNU, ESPN Video
--UCLA at Stanford / 8:00 pm / ESPN, ESPN Video
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post #32519 of 32992 Old 10-17-2019, 06:56 AM - Thread Starter
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TV/Business Notes (Cable)
Comcast Could Drop Starz As It Expands Epix Deal
By R. Thomas Umstead, Multichannel News - Oct. 16, 2019

Lionsgate-owned Starz Wednesday warned of a potential its 17 channels could be dropped by Comcast next month after the MVPD announced an expansion of its deal with Epix.

The expanded deal calls for Comcast to add MGM-owned Epix to to select Comcast Xfinity TV premium packages on Dec. 10 and a newly launched suite of ScreenPix channels on Dec. 12, featuring uncut and commercial free movies channels from the Epix library, including ScreenPix; ScreenPix: Action; ScreenPix: Westerns; and ScreenPix: Voices, a channel dedicated to diverse voices.

To make room for the Epix channels, Starz says Comcast is considering dropping the premium service and related channels from its lineup as of Dec. 11.

Starz Wednesday released a statement saying that it had been diligently working with Comcast to reach a “fair market distribution agreement with Comcast Xfinity” but the MVPD has ignored “industry precedent and has demonstrated a total disregard for its customers, communities, suppliers and other stakeholders.”

The Starz statement added: “In response, we must now alert our millions of Comcast subscribers that they will soon lose all 17 Starz channels, including Starz and Starz Encore along with our on-demand and online services without receiving any refund from Comcast for the loss of an irreplaceable premium programming lineup.”

Comcast responded that it is “continuing to negotiate to reach a deal with Starz that makes sense for us and our customers before our current deal expires, but we have been unable to do so at this time. Over the last decade, the video marketplace has evolved dramatically, with more and more streaming and direct-to-consumer offerings marketing themselves as an alternative to traditional cable. We have seen the streaming marketplace grow from essentially two services to dozens of significant OTT platforms, with more launching all the time. Starz has chosen to change its business model in response to these trends by making its content available a-la-carte on Amazon Prime and Roku and selling its service direct to the consumer through the Starz app. All we are asking for is the same treatment for our customers.”

Comcast has complained about Starz's distribution strategies before. In 2016 the MVPD objected to the $8.99 per month Starz app, which also doubles as the premium service’s authenticated “TV-everywhere” extension. Comcast has declined to authenticate the Starz app for its subscribers.

Starz also battled with Suddenlink and Optimum parent Altice USA over the app's pricing, leading Altice in 2018 to drop Starz services for five weeks before finally reaching an agreement.

If dropped, Comcast subscribers would lose access to Starz original series such as Power, currently in its final series run, and Outlander, as well as thousands of movies. Finding a way to resolve the dispute will be a key objective for Starz CEO Jeffrey Hirsch, the former Time Warner Cable executive who was promoted from chief operating officer last month. Lionsgate also has reportedly been exploring a possible spinoff of Starz.

For Epix, the deal offers more distribution for its premium services. “I’m thrilled to welcome this new chapter in Epix’s relationship with Comcast,” Epix president Michael Wright said in a statement. “We have a shared commitment to providing viewers an unmatched experience and are excited for Xfinity TV customers to experience Epix’s lineup of new original series.”

https://www.multichannel.com/news/co...ands-epix-deal
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post #32520 of 32992 Old 10-17-2019, 07:00 AM - Thread Starter
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TV/Viewership Notes (Streaming)
Stranger Things Season 3 Is the Most-Watched Original Series Ever, According to Netflix
By Mekeisha Madden Toby, TVGuide.com - Oct. 16, 2019

There's nothing upside down about the record number of viewers who tuned in to the third and most recent season of Stranger Things.

According to Netflix's quarterly earnings report, Season 3 of the sci-fi hit is the streaming service's most-watched original series of all time, with an estimated 64 million views. Netflix is citing views recorded four weeks after the show's July 4 premiere. In order to be counted as a "view," a member of a household has to watch 70 percent of an episode or feature film.

The impressive number tracks with the ratings results Netflix previously released on Stranger Things Season 3. The show apparently attracted 40.7 million member accounts all over the world immediately after its summer debut. And another 18 million member households binged all eight episodes in a matter of days.

Nielsen also confirmed the success of Season 3, trumpeting a 21-percent increase in viewership in the first four days when compared to Season 2. But Netflix doesn't use Nielsen numbers because the ratings service doesn't count viewers outside of the U.S. and does not measure viewing on certain devices.

Stranger Things Seasons 1-3 are available on Netflix.

https://www.tvguide.com/news/strange...cords-netflix/
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