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post #33301 of 33983 Old 12-08-2019, 08:55 AM
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post #33302 of 33983 Old 12-08-2019, 09:41 AM - Thread Starter
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TV/Production Notes (Streaming)
'Aladdin' Spinoff Featuring Prince Anders in the Works at Disney+
By Borys Kit, The Hollywood Reporter's 'Heat Vision' Column - Dec. 6, 2019

EXCLUSIVE: In what marks a whole new world for Disney, the studio is developing its first spinoff from one of its live-action remakes.

Disney has hired Jordan Dunn and Michael Kvamme to pen a script for an Aladdin offshoot centered on Prince Anders, the scene-stealing character played by Billy Magnussen in the live-action film released earlier this year, The Hollywood Reporter has learned.

Magnussen would reprise the part in a feature, which is in early development for Disney+, the company’s newly launched streaming service. The project is not a sequel to Aladdin, which is also in the planning stages at the studio.

Dan Lin and Jonathan Eirich, who produced the billion dollar-grossing Aladdin, are back in the producers' seat via Rideback, their banner. Rideback’s Ryan Halprin will executive produce.

Overdressed and on the dim side, Anders was royalty from a fictional kingdom named Skanland and a suitor for the hand of Princess Jasmine. While only in less than a handful of scenes, as played by Magnussen with a mix of goofiness and haughty idiocy, the character, who was an original creation for the live-action remake, made a fun impression on audiences.

Magnussen had a hand in the project’s inception. He came to the producers with an idea for a story and was involved, along with the studio and Rideback, in meeting with potential writers.

Disney has been pursuing a strategy of remaking its animated classics into live-action versions, a strategy that has, for the most part, paid off handsomely, with Aladdin and The Lion King, both released this summer, the most recent hits. While some have generated sequels, Aladdin is the first live-action remake to spark a spinoff.

Dunn and Kvamme are rising writers who have several comedy projects set up around town including Operation Prince of Freedom, centered on an un-PC celebrity, the Taliban and an alien invitation, set up at Fox. They also wrote the esports project set up at Legendary that has Will Ferrell attached to star. The duo is repped by Verve, Mosaic and Hansen Jacobson.

Magnussen, repped by WME and Anonymous Content, has made a habit of stealing scenes from his stars, with turns in movies such as Game Night, The Big Short and Into the Woods. He will next be seen in next year's James Bond movie, No Time to Die.

Rideback currently has Oscar contender The Two Popes, starring Anthony Hopkins and Jonathan Pryce, in theaters.

https://www.hollywoodreporter.com/he...disney-1260300
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post #33303 of 33983 Old 12-08-2019, 09:46 AM - Thread Starter
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Nielsen Overnights (Broadcast)
Friday Ratings: ABC’s College Football Pac-12 Championship Dominates The Demo Wars
By Bruce Haring, Deadline.com - Dec. 7, 2019

It’s time for the NCAA college football league championships, the battles which will help determine the teams that will play for the national championship and select bowl games.

Not surprisingly, the fervant interest in those outcomes dominated the Friday night TV ratings, as ABC’s Pac-12 match between Oregon and Utah topped the night, doing a 1.3 in 18-49 demographics and an overall 5.2 million audience.

The strong showing by college football didn’t stop wrestling fans, who gave Fox’s WWE Friday Night SmackDown a strong 0.7 in demos while drawing a 2.45 million audience, a total approximating last week. The demo number also held steady from last week, when the show was edged by the rerun of the annual Frosty the Snowman cartoon at CBS.

Over at CBS, Hawaii Five-0 was down to 0.6, a drop of two ticks, but still drew a healthy 6.5 million in total audience. That had a ripple effect on its follow-ups, as Magnum P.I. was down a tenth, with Blue Bloods also down a tick. But Blue Bloods still topped the night in total audience with 7.33 million viewers.

For NBC, The Blacklist clocked in at 0.5, as the peacock network touted that the show is up 17% percent over the 8 PM time slot’s average from last season in total viewers. Dateline was also up in total viewers, rising 27% week-to-week since its high water mark on Oct. 11. Its 0.5 held steady with last week.

The CW saw Charmed holding steady at a 0.2, while Dynasty also held its demo numbers at 0.1.

https://deadline.com/2019/12/friday-...rs-1202803194/
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post #33304 of 33983 Old 12-08-2019, 09:50 AM - Thread Starter
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Nielsen/Viewership Notes (Streaming)
Netflix’s ‘Irishman’ Tallies 17.1 U.S. Viewers in 1st 5 Days
By Daniel Frankel, Multichannel News - Dec. 6, 2019

Martin Scorsese’s latest gangster film, The Irishman, was watched by 17.1 million unique viewers in the U.S. during its first five days on Netflix, according to figures released by Nielsen.

The performance ranks behind Sandra Bullock horror film Bird Box, which was seen by 26 million U.S. viewers over its first seven days when it debuted on the No. 1 U.S. streaming platform almost a year ago.

For its part, however, The Irishman arrived with a cumbersome runtime of three hours and 29 minutes. The film, which debuted on Netflix Nov. 27, also had a previous limited theatrical run.

So the question remains, is 17.1 million U.S. viewers in five days a good performance for a Scorsese movie that stars Robert DeNiro, Al Pacino and Joe Pesci, and scored a 97% “fresh” rating on Rotten Tomatoes?

It’s still difficult to say, given the lack of apples-to-apples comparisons, as well as a diffuse Netflix business model that monetizes shows based on their ability to maintain and build a subscriber base across the globe.

But a year after Nielsen began delivering some insight into Netflix viewership, we are able to draw some conclusions.

On its first day, Nov. 27, The Irishman was seen by 751,000 U.S. viewers, or about 18% of the total Netflix audience. This matched Bird Box (also 18%) and exceeded Vince Gilligan’s latest Breaking Bad installment, El Camino, which captured 11% of the Netflix audience when it debuted back in October.

One thing’s for sure, The Irishman—which stars DeNiro as mob man Frank Sheeran and Pesci as union boss Jimmy Hoffa—skewed older and male. About 15% of the audience was men 50-64.

https://www.multichannel.com/news/ne...irst-five-days
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Technology/Critic's Notes
These tech gifts will work for those non-techie types on your shopping list
By Marc Saltzman, USA Today - Dec. 7, 2019

While walking down the aisles of your local big box retailer you spot something awesome for a loved one. But then you remember that family member, friend or co-worker is more tech-shy than tech-savvy.

“Will they appreciate this gift?” you ask yourself. “Or worse, will it become a source of frustration?”

To err on the side of caution, you put it back and move on.

It’s true many of today’s tech toys come with a steep learning curve, perhaps due to a complicated setup or a not-so-intuitive interface.

But if you’re looking to pick up something for those intimidated by the latest gadgets – yes, you too could fit that description – here's five suggestions that are super simple to use or low-tech enough to be undaunting.

Facebook's friendly Portal
Keep in touch with kids, grandkids and friends, with Portal from Facebook ($179), a 10-inch high-definition display, with camera, that lets you make free video calls over Facebook Messenger (and group calls, too) or via WhatsApp.

Simply join Portal to your Wi-Fi, log into your Facebook account, and then place a video call by tapping a Facebook friend’s icon on the screen or say “Hey Portal, call (contact).” Not only does the screen adapt to any room’s lighting condition automatically, but its Smart Camera pans and zooms to follow your movements, so you’ll always be in frame. Smart Sound, on the other hand, enhances the voice of whomever is talking, while minimizing background noise.

Portal can display Facebook and Instagram photos, as well as images on your smartphone (you cannot an optional Portal app). Plus there’s a built-in Alexa smart assistant to answer questions, a privacy switch to turn off the camera and mic (when desired), and fun augmented reality effects to spice up calls.

A lean, capable laptop
Someone on your list need a simple-to-use computer that won’t break the bank? On sale for $329.99 at Amazon, the ASUS Chromebook C425 is a 14-inch clamshell laptop (squeezed into a 13-inch body) and features an Intel Core m3 processor, 8 Gigabytes of system memory (RAM), and 64 GB of storage (but includes an additional 100 GB of free Google cloud storage for a year).

Running the lean and secure Chrome OS operating system, this laptop has popular Google apps already preinstalled, including Gmail and Google Maps, plus there’s access to the Google Play store to download additional apps and games.

Other features include a Full HD nano-edge display (with very little bezel), backlit keyboard, USB Type-C and Type-A ports, and free Amazon tech support included with purchase.

Manage your memories
One of the smartest tech products of 2019 centralizes all your digital photos and videos, and keeps them all in one place.

Whether you capture and save photos on a smartphone, iPad, or computer, SanDisk’s ibi ($109) is a small, white and cylindrical gadget that joins your Wi-Fi network, and automatically aggregates and organizes your photos and videos – wherever they’re stored – and houses them on its 1 Terabyte hard drive. It also pulls images from many cloud storage and social media accounts.

An app for your smartphone, tablet, laptop or desktop lets you easily find what you're looking for and, if you like, lets you privately share individual images and entire albums.

You can also stream photos and videos from your ibi to your television through popular devices like Amazon Fire TV, Roku, and Google Chromecast.

A cache of video game classics
What man cave would be complete without a big screen TV, loud sound system, and beer fridge? But there’s one more item missing: a retro arcade cabinet with hundreds of built-in games.

The just-launched Legends Ultimate from AtGames ($599 at Walmart.com) is a full-sized, 66-inch tall cabinet with 350 built-in and licensed arcade classics such as Centipede and Asteroids, all playable on the 24-inch Full HD screen.

But that’s just the beginning. You can add more games (“ROMs”) via USB for a virtually unlimited number of single and multiplayer games, or connect an AtGames Blast!, Boom! or Flashback micro console to play additional games on the cabinet (sold separately).

This Wi-Fi and Bluetooth-enabled Legends Ultimate cabinet also supports the ArcadeNet cloud gaming service (currently free) that lets you download games and compete for top spot on leaderboards, plus there’s regular updates delivered over the Internet, and support for local streaming from your PC, for digital services like Steam, Origin, Epic, and GOG.

Integrated into Legends Ultimate is two sets of joysticks and six action buttons, two spinners/paddles, a trackball, and customizable button mapping. And unlike the original versions, now you can even pause games.

Social networking is in these cards
Maybe it’s not tech you need, after all? Perhaps you’re looking to keep devices out of the family’s hands for a while?

The top purchase on Cyber Monday at Amazon’s Toys & Games section, Not Parent Approved ($24.99) is a hilarious word game of fill-in-the blanks, that encourages a screen-obsessed generation to unplug and socialize. Designed for players 8 and older, it lets tweens and teens (and parents) be silly – and a tad inappropriate – but nowhere as risqué as Cards Against Humanity (which inspired this game).

The core Not Parent Approved pack includes 455 cards (105 questions and 350 answers) with topics ranging from pop culture references (Fortnite dance battles to forgetting your parent’s iTunes password) to the challenge of burping a whole sentence. Optional expansion packs are $9.99 apiece.

https://www.usatoday.com/story/tech/...vy/2617607001/
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TV/Legal Notes (Broadcast)
Simon Cowell Lawyers Up From Abroad as ‘America’s Got Talent’ Investigation Begins
By Matt Donnelly, Variety.con - Dec. 7, 2019

EXCLUSIVE: “America’s Got Talent” executive producer Simon Cowell has set his legal representation for an investigation into the NBC competition series, which was announced by the network this week after a lengthy meeting with ousted judge Gabrielle Union.

Cowell has hired Larry Stein, a longtime litigator in Hollywood and media spaces, multiple individuals familiar with the matter told Variety. Stein is expected to advise Cowell and participate in a probe regarding complaints of a toxic culture at the show, raised by staffers including Union. The complaints included numerous accusations of racial insensitivity and excessive critiques of the female cast.

Cowell’s banner Syco, production company Fremantle and NBC all expressed a desire to learn more about Union’s issues a week ago, which resulted in a five-hour meeting on Tuesday — though sources said Cowell was notably absent for this exploratory meeting, as was any representative from Syco. The meeting included an NBC staffer who took notes, Fremantle’s North American COO, Suzanne Lopez, and a third party counselor hired by the network.

Cowell is currently shooting “The X Factor” in London, and felt that Fremantle was sufficient to represent the company in the room, another insider said. Yet another individual with knowledge of the matter said that the third party was representing all three companies, and was primarily interested in hearing Union. The investigation will result in many more such meetings across the production, the insider added.

Representatives for Cowell and NBC had no immediate comment. Stein did not return Variety‘s request for comment. Fremantle did not immediately comment on Lopez’s involvement.

“The initial conversation was candid and productive. While there will be a further investigation to get a deeper understanding of the facts, we are working with Gabrielle to come to a positive resolution,” an NBC spokesperson said in a statement on Wednesday.

The same day, Union tweeted that “we had a lengthy 5-hour, and what I thought to be, productive meeting yesterday. I was able to, again, express my unfiltered truth. I led with transparency and my desire and hope for real change.” Union and her fellow judge Julianne Hough were not invited back to the show, despite each having one-year contract options to return.

A portion of “America’s Got Talent” is shot on the NBC lot in North Hollywood and was the site of specific grievances including an inappropriate joke from guest judge Jay Leno and, according to another report, frequent indoor smoking from executive producer Cowell. Union is allergic to cigarette smoke, the report said, and developed an ongoing bronchial infection as a result.

A series of high profile celebrities including Will Smith, Ellen Pompeo, Ariana Grande, Patricia Arquette and Kerry Washington came forward in support of Union in the days following the report. Union’s husband Dwyane Wade praised her outspokenness and ask for an answer to why his wife was fired from the show. Womens’ advocacy group Time’s Up issued a scathing statement accusing NBC of protecting powerful men at the expense of women who speak out.

Upon the first report from Variety, all three production entities behind “America’s Got Talent” said the show has “a long history of inclusivity and diversity in both our talent and the acts championed by the show. The judging and host line-up has been regularly refreshed over the years and that is one of the reasons for AGT’s enduring popularity. NBC and the producers take any issues on set seriously.”

https://variety.com/2019/tv/news/sim...on-1203428490/
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TV Sports/Production Notes (Cable)
HBO Orders ‘80s Lakers Drama
By Michael Malone, Broadcasting & Cable - Dec. 6, 2019

HBO has ordered a series about the 1980s Los Angeles Lakers, which the network called “one of sports’ most revered and dominant dynasties—a team that defined its era, both on and off the court.” Adam McKay directed the pilot and executive produces the series.

“Alongside Adam McKay and Max Borenstein, HBO couldn't be more thrilled to examine one of professional sports' most beloved empires,” said Francesca Orsi, executive VP, HBO Programming. “Across 1980s Los Angeles, we’ll experience the exhilarating ride of a team that dominated a decade of basketball and watch them not only achieve iconic status but transform the sport in every way.”

Other executive producers are Kevin Messick for Hyperobject Industries, Max Borenstein, Jim Hecht, Jason Shuman, Scott Stephens and Rodney Barnes.

Star players on that team, which was coached by Pat Riley, were Magic Johnson, Kareem Abdul-Jabbar and James Worthy.

The drama project is based on Jeff Pearlman’s book Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s.

https://www.broadcastingcable.com/ne...s-lakers-drama
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Obituary
Ron Leibman, Who Played Rachel's Dad on Friends, Dead at 82
By Dave Nemetz, TVLine.com - Dec. 6, 2019

Emmy and Tony-winning actor Ron Leibman, who played Rachel’s father Dr. Leonard Green on Friends, has died at the age of 82. News of his passing was first reported by our sister site Deadline.

Leibman won an Emmy for Outstanding Lead Actor in a Drama Series for playing the title role in the CBS crime drama Kaz, which he co-created as well. He also originated the role of lawyer Roy Cohn in Tony Kushner’s Broadway play Angels in America, winning a Tony in 1993.

But he may be best known to TV audiences as Rachel’s dad Dr. Green on Friends, a role he played in a total of four episodes. Dr. Green was a wealthy, surly man who divorced Rachel’s mother (played by Marlo Thomas) in Season 2 and delighted in antagonizing his daughter’s boyfriend Ross. His last appearance on the series was in 2004’s “The One Where Joey Speaks French,” during the tenth and final season.

Leibman went on to play physician Dr. Plepler on HBO’s The Sopranos in a pair of Season 6 episodes. He also lent his voice to the character of Ron Cadillac on FX’s Archer, playing the husband of his real-life wife Jessica Walter. His other TV credits include Law & Order: SVU and Murder, She Wrote.

https://tvline.com/2019/12/06/ron-le...dr-green-dies/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Dec. 8, 2019

SUPERGIRL
CW, 8:00 p.m. ET

All the Greg Berlanti DC Comics superhero shows for the CW mount a cross-series narrative of some type each season, imitating the common practice, in both DC and Marvel Comics, to encourage sampling of the less popular titles by spreading a continuing plot among several of them. The same technique works on TV, or makes the attempt, as tonight’s Supergirl launches a new mini-miniseries story line, called “Crisis on Infinite Earths,” that eventually will envelop such sister CW series as Batwoman and The Flash, and include, before it’s over, not only those title characters, but Green Arrow, White Canary, the Atom, and even Superman.

RAY DONOVAN
Showtime, 8:00 p.m. ET

There’s a lot of change washing over Ray Donovan this season. Jon Voight, as Ray’s father, has been killed, resurrected and exiled out of the country – and those are only the events of three successive, respective episodes. Also in the third episode of this season last week: one of the show’s best supporting players, Katherine Moennig as Lisa, Ray’s private eye assistant, said goodbye and was last seen at the airport heading west – presumably, in real life, so that Moennig could free herself up for another Showtime series, reprising her role as the sultry Shane in the new incarnation of The L Word. And in tonight’s episode, Ray begins seeing a woman from his past… with typical complications.

WATCHMEN
HBO, 9:00 p.m. ET

By sheer dint of its storytelling and directorial flair, Watchmen has become Sunday’s best TV show – and the closest thing to brilliantly told graphic novel television since FX’s Legion left the air. Once Angela (Regina King) followed the IV line patched into her arm and discovered that the other end was hooked to an… elephant, while Jeremy Irons’ Smartest Man in the World was convicted in court by a jury of his… pigs, I gave up trying to predict what was happening in this zoo. But I do believe it, I do believe it’s true. Or, at least, fascinating.

THE L WORD: GENERATION Q
Showtime, 10:00 p.m. ET
SERIES PREMIERE:
This sequel to The L Word, which ran from 2006-09 on Showtime, returns with some of the same characters – but, a decade later, also introduces and follows a new generation of characters, expanding its universe in other ways as well. Jennifer Beals, Leisha Hailey and the aforementioned Katherine Moennig reprise their original roles.

SILICON VALLEY
HBO, 10:05 p.m. ET
SERIES FINALE:
This long-running HBO comedy, Mike Judge’s caustic and prescient satire of Silicon Valley, ends tonight. And given Judge’s sense of humor, and perspective, don’t be surprised if the ending to this take on Internet profiteers is more than a little apocalyptic.

MRS. FLETCHER
HBO, 10:55 p.m. ET
SEASON FINALE:
HBO has promoted this dramatization of the Tom Perrotta novel as a “limited series,” which should mean a miniseries with a definite end, which, in turn, should mean that tonight’s season finale is indeed the show’s final episode, period. But Big Little Lies was promoted and described by HBO the same way, and its popularity prompted an initially unplanned Season 2. So we’ll see. And, as long as HBO keeps making Mrs. Fletcher, I’ll be watching.

VAMPIRE'S KISS
MGM HD, 12:00 a.m. ET

Jennifer Beals returns to TV tonight in The L Word: Generation Q, which premieres 10 years after the original L Word ended in 2009. But a full 20 years before that, in 1989, Beals starred opposite Nicolas Cage in this wildly original, criminally underappreciated black comedy film, about a lowly book editor (Cage) who becomes convinced the girl he met at a party actually was a vampiress who bewitched him and turned him into one of the walking undead. Having a knowledge of the silent vampire film Nosferatu will make Cage’s oversize performance more understandable – and given how Beals still looks and carries herself, 30 years later, lends some credence to the eternal vampire theory as well.


http://www.tvworthwatching.com/

* * * *

TV/Critic's Notes (Cable)
The Story Behind a 'Work in Progress'
By Mike Hughes, TVWorthWatching.com's 'Open Mike' - Dec. 8, 2019

When it's time to make a series pilot, TV people open up the bank vault.

The Game of Thrones pilot has been reported at $5-to-10 million. Lost was said to be $10-to-14 million, including buying an old plane.

Now meet Work in Progress, which debuts at 11 p.m. ET Sunday on Showtime.

"We spent a little under $30,000 on the pilot," director-writer-producer Tim Mason told the Television Critics Association in August.

That version, he said, is what will debut. It has no dazzle and no airplane, but it does have the humor and drama of Abby McEnany, a Chicago comedian and actress.

The series finds a fictional Abby at 45, a lesbian who feels she's attractive to no one. She's planning to kill herself in 180 days.

It's fiction, but not by a lot. "I've had ... times of massive depression," McEnany said.

Then come the plot twists – at her therapist's office and during lunch with her sister. Progress is propelled in surprising directions.

One of the surprised people was Gary Levine, Showtime's entertainment president. "Before the Sundance Film Festival," he said, "we had never heard of Abby McEnany and Tim Mason... As soon as we saw (the pilot), we loved it."

McEnany grew up in a time when Saturday Night Live had It's Pat skits, with Julia Sweeney playing a person of indeterminate gender.

"I've been called Pat a lot," said McEnany, who has a storytelling bit called "Julia Sweeney ruined my life." The pilot includes one example. "It wasn't just like those frat-y guys that we see in the pilot. I was called Pat by lesbians in lesbian bars, (in) what I thought would be a safe place."

The no-gender look has complicated even basic things, she said. "I'm 51, and I get scared to use a public bathroom because I don't want to be yelled at or confronted."

That shows up in the fourth episode. The pilot, however, brought a surprise: "Tim and I were writing...and he was like, 'Well, we could just write (Sweeney) in. I was like, 'What?' He was like, 'Well, she lives in the North Shore (of Chicago). Let's write her in.'"

They met her and put her in more episodes. "She's lovely," McEnany said. "We've talked about Pat...She does have misgivings."

Then another key Chicagoan joined the project.

The Wachowski brothers found fame writing and directing the Matrix movies and other films. Lana Wachowski transitioned to female about a decade ago and has continued to work in sci-fi; Lilly Wachowski transitioned in 2016.

"I took some time off, and I enrolled in the paint department at the (Chicago School of Art)," Lilly said. "My agent kept sending me stuff, a lot of science fiction."

Then he sent her the McEnany pilot. "Abby is just this magical human being," Wachowski said. "She's been working in the improv industry for 30 years, honing her craft."

So Lilly Wachowski co-wrote the first season's other seven episodes with Mason and McEnany and joined them as a producer. Here was someone whose Matrix movies have totaled $1.6 billion at the box office...joining a $30,000 project.

For Wachowski and McEnany, a new era was beginning.

http://www.tvworthwatching.com/BlogP...x?postId=19242
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TV Review (Cable)
The L Word Returns As the More Inclusive, Less Radical Generation Q
By Kathryn VanArendonk, Vulture.com (New York Magazine) - Dec. 6, 2019

In some ways it’s probably a good thing that Showtime’s revival of The L Word, now called The L Word: Generation Q, doesn’t feel as radical as the original series. The L Word always had blind spots; its depiction of queer women in Los Angeles was always soapy and overblown. But in its original outing, the soapy over-the-topness was its own form of radicalism. It was a way to assert that every person has the right to sexual dramas so baroque that they require careful graph-keeping, that people from all sexual orientations should have the same chance to participate in arcane and tragic murder coverups, and that hilarious interruptions and horrible betrayals can happen during graphic sexual acts between same-sex couples too. While that representation was far from enough when the show first premiered in 2004, it was still something.

Maybe the fact that Generation Q, which premieres at 10 p.m. on Sunday, feels drained of that soapy radicalism says something counterintuitively good about the world. It is no longer daring in itself to tell a story about a group of queer characters, even with a cast like Generation Q’s, which includes more trans people and more people of color than the original L Word ever did. TV still hasn’t grown enough, of course, but in 2004, Generation Q’s opening scene would’ve come with a frisson of surprise at its directness. Two women (Rosanny Zayas as Sophie and Arienne Mandi as Dani, two new characters to the series) engage in joyful morning sex that ends with one of them groaning as she pulls her hand out from under the covers and finds her fingers covered with period blood. In the original series, a scene like this would’ve been a statement, something like, “We are unafraid to show these people loving each other while also both happening to have uteruses.” The scene makes the same statement now, but I suspect Generation Q’s audience will greet it with more of a shrug than a gasp.

Generation Q features the return of three of the original series’ main characters — Jennifer Beals as Bette, Leisha Hailey as Alice, and Katherine Moennig as Shane — and the first three episodes feel a little stretched as they work to pick up the pieces of what’s happened to them in the last ten years while also introducing the show’s new group of characters. But it’s more organic than it could be: Dani and Sophie are both integrated effectively into the daily work lives of Alice (now the host of a popular queer talk show) and Bette (running a long-shot campaign for mayor of Los Angeles). Finley (Jacqueline Toboni), another new character, moves in to one of Shane’s spare bedrooms. The world is designed to be fluid and cohesive.

You can feel the ridges between one generation and the next, though. In some ways, Generation Q embraces those separations. Bette, beleaguered by some political scandal, has been oddly incapable of seeing her own hypocrisy on a campaign issue, and her younger campaign managers roll their eyes in frustration. Micah (Leo Sheng), a young trans man, is much more thoughtfully integrated into the show than trans characters ever were in the original, but the original three are also an inheritance the revival can’t shake (and it doesn’t really want to). They are all wealthy women, and like it or not, the central narrative tension is pulled toward them and takes place against the backdrop of their relative economic comfort. The show’s world is more inclusive now, but in ways that can feel more about art direction (add some people of color!) than about a dramatically different worldview.

Nonetheless, the first three episodes of Generation Q are enjoyable and set several promising arcs in motion, and by promising I mostly mean, “There’s definitely going to be some drama coming up.” Generation Q’s main first impression, though, is that it feels like fun, soapy, twisty, regular TV. It’s a privilege that a show about queer characters can feel that way, that this show that started as a small revolution can now be just “regular TV.” It means the world has changed, that audiences have changed. But I suspect it also means that audiences will now be more aware of all the new visions of radicalism that Generation Q is not built to take on. The world has changed in ways that this group of sleek, well-heeled women may end up dodging, or worse, exemplifying. Or maybe not. Maybe not everything has to be a revolution. Maybe it’s enough to let these characters enjoy some time on a regular soapy TV show.

https://www.vulture.com/2019/12/the-...-q-review.html
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TV Review (Cable)
‘Work in Progress’: The hilarious hardship of being smart, funny and queer in Chicago
By Richard Roeper, Chicago Sun-Times

“I haven’t been out for a drink with an attractive woman in a really long time.”

“Actually, I’m a trans man.”


“Well I haven’t been out with an attractive trans man in ever…” – Conversation between the lead character and a prospective romantic partner in “Work in Progress.”

In the series premiere of the whip-smart and provocative and hilarious new Showtime comedy “Work in Progress,” 45-year-old Abby is on a first date in a Chicago restaurant when she spots author-actress-comedian Julia Sweeney (as Julia Sweeney) at the bar.

“I think that’s Julia Sweeney from ‘Saturday Night Live,’ ” Abby explains to her much younger date, who has never heard of the great Julia Sweeney.

“She played [the androgynous character] ‘Pat’. … That woman over there ruined my life. That was the only joke of the whole premise, ‘Is that a man or a woman?’ And for years after that, people would say I looked like Pat.”

A confrontation ensues — but I’ll give away no more than that, other than to say it’s handled with intelligence and grace and humor, and it launches a myriad of funny, authentic and instantly involving storylines in what should be one of the breakout new TV series of 2019-2020.

Set and shot in Chicago and premiering at 10 p.m. Sunday on Showtime, “Work in Progress” is the brainchild of local improv stalwarts Tim Mason and Abby McEnany (who stars as the actual work in progress) and features a major marquee name as co-executive producer and co-writer: the locally headquartered filmmaker Lily Wachowski of “Matrix” and “Sense8” fame. (Full disclosure: My sister was the show’s property master.)

I’ve seen the first four episodes of “Work in Progress,” and suffice to say we’re off to a roaring start.

This is a dark and frank and wickedly funny profile of a likable, lightning-quick, middle-aged queer woman who can own a room when she’s feeling confident but is still struggling to make her mark on the world and is prone to deep depression.

Episode One is titled “180 Almonds” because Abby has laid out 180, well, almonds, and will throw out one per day as a morbid countdown to suicide.

“I’m going to kill myself in 180 days if things don’t get better,” says Abby. “I’m 45, I’m fat, I’m this queer dyke who has done s--- in her life and THAT is my identity?”

Spoiler alert: We’re rooting against the almonds, because that would pretty much end “Work in Progress” when it’s still a most promising work in progress.

McEnany has that intangible but immediately recognizable star quality, not unlike when we first saw Ellen DeGeneres or Roseanne killing it in comedic alter ego roles.

Of course, these are different times, and Showtime ain’t ABC.

Thanks in no small part to the pioneering strides made by Ellen and others that followed, Abby is here and queer and wonderfully so from the get-go.

Not that some of Abby’s issues and misadventures are all that different from the dilemmas faced by all manner of comedic leads through the decades. She has a feisty but loving grown-sibling dynamic with her suburban-based sister Alison (Karin Anglin), and she’s just starting to date someone who’s half her age — which can make for some ridiculous, laugh-out-loud scenarios.

Abby is in the throes of a deep funk. Her therapist has just died. She’s stuck in a nowhere daytime job as a temp. When she rejoins a weight-loss program and steps on the scales, she learns she’s gained 17 pounds. since her last visit.

“I’m surrounded by people who are like full selves, and I’m like this building that’s been delayed,” says Abby, as we cut to a shot of one of the many, many downtown Chicago buildings in progress.

“Work in Progress” is filled with such strong writing and nifty visual references, as Abby navigates that precarious tightrope between comedy and tragedy.

Downstate Illinois native Theo Germaine is having quite the breakthrough year (and deservedly so), first with a prominent role in the Netflix series “The Politician” and here as the romantic interest Chris.

Even though Abby is acutely aware of the vast chronological and lifestyle chasm between them (as evidenced when Chris takes Abby to a “Queer Wonderland” nightclub experience and Abby tells Chris she looks like “Mitt Romney Junior” compared to all the sexually expressive millennials doing their thing), the budding romance just might blossom.

Chris seems sincere and appears to be genuinely interested in Abby.

If not, we’re going to despise Chris, because by that point we’re already deeply committed to Team Abby.

'Work in Progress'
10 p.m. CT (11 p.m. ET) on Showtime
★★★ 1/2 Stars (Out of Four)


https://chicago.suntimes.com/2019/12...cenany-chicago
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TV Notes
On The Air
SUNDAY DEC. 8, 2019 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

ABC:
7PM - America's Funniest Home Videos
8PM - AFV: America, This Is You! (Special)
9PM - Kids Say the Darndest Things
10PM - The Rookie

CBS:
7PM - NFL Football: Regional Coverage (Continued from 4:25PM, LIVE)
7:30PM - 60 Minutes
8:30PM - God Friended Me
9:30PM - NCIS: Los Angeles
10:30PM - Madam Secretary (Series Finale)

NBC:
7PM - Football Night in America (75 min., LIVE)
8:15PM - NFL Football: Seattle Seahawks at Los Angeles Rams (LIVE)

FOX:
7PM - 2019 Miss Universe (3 hrs., LIVE)

THE CW:
8PM - Supergirl
9PM - Crisis Aftermath (Special)

PBS:
8PM - The Crimson Field
(R)
9PM - The Crimson Field
(R)
10PM - The Crimson Field
(R)

UNIVISION:
7PM - Aquí y Ahora
8PM - Enamorándonos: Conquistando el Amor (Special, 120 min.)
10PM - Crónicas: Historias Que Hacen Historia

TELEMUNDO:
7PM - Miss Universo 2019 (3 hrs., LIVE)
10PM - Celebrando La Corona (Special)

ION:
7PM - Movie: Christmas Matchmakers (2019)

ESPN U:
6:30PM - College Basketball: Liberty vs. Grand Canyon (LIVE)
8:30PM - Women's College Soccer, NCAA Tournament Championship: North Carolina vs. Stanford (LIVE)

ESPN:
7PM - SportsCenter (90 min., LIVE)
8:30PM - Championship Drive: Who's In (Special, 2.5 hrs., LIVE)

ESPN 2:
7PM - College Basketball: Gonzaga at Washington (LIVE)
9PM - College Basketball: Seton Hall at Iowa State (LIVE)
* * * *
11PM - 2019 Classic Tetris World Championship (60 min.)

NBCSN:
7PM - FIS Cross-Country Skiing, World Cup: Women's 4x5km Relay (60 min.)

TV ONE:
7PM - Movie: Dear Santa, I Need a Date (2019)

BRAVO:
8PM - The Real Housewives of Atlanta
9PM - Married to Medicine
10PM - Watch What Happens Live With Andy Cohen (Singer Ashanti; Eva Marcille)
10:30PM - The Real Housewives of Atlanta
(R)
* * * *
11:30PM - Blind Date

CNN:
8PM - CNN Heroes: An All-Star Tribute (Special, 120 min., LIVE)

DISNEY:
8PM - A Disney Channel Music Event: Holidays Unwrapped (Special, 30 min.)

HALLMARK:
8PM - Movie: Christmas at Dollywood (2019)

LIFETIME:
8PM - Movie: Grounded for Christmas (2019)

MTV:
8PM - Ridiculousness: Anderson .Paak

SHOWTIME:
8PM - Ray Donovan
9PM - Shameless
10PM - The L Word: Generation Q (Series Premiere, 55 min.)
10:55PM - Work in Progress (Series Premiere, 35 min.)

E!:
9PM - Keeping Up With the Kardashians
10PM - Dating: No Filter
10:30PM - Dating: No Filter
* * * *
11PM - Nightly Pop

HBO:
9PM - Watchmen (66 min.)
10:06PM - Silicon Valley (Series Finale, 49 min.)
10:55PM - Mrs. Fletcher (Season Finale, 35 min.)

USA:
10PM - Mr. Robot (62 min.)

ADULT SWIM:
11:30PM - Rick and Morty - Claw and Hoarder: Special Ricktim's Morty
Midnight - Momma Named Me Sheriff: Sunday Man
12:15AM - Momma Named Me Sheriff: TV


https://tvlistings.zap2it.com/?aid=gapzap
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Obituary
Caroll Spinney, Big Bird Muppeteer for Nearly 50 Years, Dies at 85
By Lisa de los Reyes, The Hollywood Reporter - Dec. 8, 2019

Caroll Spinney, the big-hearted Muppeteer who climbed inside a claustrophobic feathered costume to play the beloved Sesame Street character Big Bird for almost a half-century, died Sunday, Sesame Workshop announced. He was 85.

Spinney, who also operated and voiced Oscar, Big Bird's grumpy trash can-dwelling neighbor, before retiring from the iconic kids program in October 2018, died at his home in Connecticut after "living with dystonia for some time."

Spinney collected five Daytime Emmy Awards for his contributions to Sesame Street and received a lifetime achievement award from the National Academy of Television Arts & Sciences in 2006, entrancing hundreds of millions of kids along the way.

"He managed to learn to speak directly to the hearts of probably anything from 2-year-olds to 5-, 6-, 7-year-olds — and to grown-ups, as a matter of fact," fellow Sesame Street veteran Bob McGrath said in the 2015 documentary I Am Big Bird: The Caroll Spinney Story. "It was most apparent to us the first time we got out and really performed for kids. Anytime you mentioned Big Bird, the place erupted. It was like a mini Woodstock."

Performing as the 8-foot-tall Big Bird, it turns out, requires quite a bit of physical ingenuity. Spinney would hold up the costume's five-pound head by hoisting it straight above his own head with his right arm. That arm operated the mouth, while his right pinkie worked a lever to raise and lower Big Bird's eyebrows. Spinney's left arm went directly inside the left wing, which had a fishing wire connecting it to the right one as a counterbalance. Spinney taped his script to the inside of his costume.

"Inside, it is completely disorienting because everything inside glows yellow," said Matt Vogel, the longtime Big Bird apprentice who has taken over for Spinney. "But you have a monitor on your chest that shows you what people see at home." (Spinney referred to that monitor as an "electronic bra.")

Caroll Edwin Spinney was born on Dec. 26, 1933, in Waltham, Massachusetts. He had an early obsession with puppets, and that made him a target of bullies, he said. A contentious relationship with his father pushed him to join the Air Force at age 19.

After four years in the service, Spinney made his way to Bozo's Big Top, where he portrayed a number of characters and drew animation for the TV show as well. "He just has a knack for creating characters and making them come alive," Frank Avruch, aka Bozo the Clown, said in I Am Big Bird. "He is very creative, a wonderful artist."

Spinney eventually left the show — "I had such a grand time," he said, "but on the other hand I realized I had to do something more important in puppeteering" — and created a multimedia act for a puppet festival in Salt Lake City. As he prepared to go onstage, he heard that Muppets creator Jim Henson was in the audience.

During the act, technical glitches caused by the lighting made it impossible for Spinney to complete his performance. Frustrated, he went behind a screen and pantomimed pulling his hair out before calling the whole thing off.

Henson visited him backstage and, despite the mishap, told Spinney, "I liked what you were trying to do." Henson invited Spinney to meet with him about working together, and Spinney landed a job on the new Sesame Street, which bowed on PBS on Nov. 10, 1969.

Spinney struggled during his first year on the kids program and was walking to Henson's office to resign when he was stopped by Kermit Love, the puppetmaker who had built Big Bird. Love convinced him to hold out for another month in hopes the situation would improve.

It did. "Big Bird, at first he was a very goofy guy, kind of a country yokel," Spinney recalled. "I said, 'You know what, maybe he should be a kid. He just happens to be a big kid.' The producers agreed. The scripts suddenly were all Big Bird and Oscar, and they were terrific. I couldn't even imagine how I could have thought about leaving such an opportunity, and I really got into it. The second year, I began to sail."

Spinney appeared on thousands of episodes — more than any other castmember — during his 49 years on the show. (He was making a reported $300,000 when he retired.) He also starred on the 1983 NBC special Big Bird in China, which was shot on location shortly after the country opened up to the West, and Follow That Bird (1985), the last Muppets feature released before Henson's death in May 1990.

"Caroll Spinney's contributions to Sesame Street are countless," Sesame Street co-founder Joan Ganz Cooney said in a statement. "He not only gave us Big Bird and Oscar the Grouch, he gave so much of himself as well."

Follow That Bird director Ken Kwapis could appreciate Big Bird's star power.

Kwapis' 2009 romantic comedy He's Just Not That Into You "had many famous actors in it [Scarlett Johansson, Jennifer Aniston and Ben Affleck among them], but to be honest," he told The Hollywood Reporter in a 2015 interview, "I'm not sure any of them is as well-known to the world as Big Bird is."

Spinney was invited to travel on the Space Shuttle Challenger in 1986 to promote interest in science among children, only to stay behind when it was determined there was not enough room for his costume. Spinney, along with millions of others, was watching on TV when the shuttle exploded 73 seconds into its flight, killing all seven crewmembers aboard.

Spinney stopped getting inside Big Bird in 2015 when it had become too physically demanding for him to work the costume, but he continued to provide the voice for that character and Oscar until his retirement.

"Big Bird has always had the biggest heart on Sesame Street, and that's Caroll's gift to us," Jeffrey Dunn, president and CEO of Sesame Workshop, told The New York Times in October 2018. "I think it's fair to say that Caroll's view of the world and how we should treat each other has shaped and defined our organization."

Survivors include his wife, Debra — they met in 1972 when she was working for Children's Television Workshop — and his children Jessica, Benjamin and Melissa.

https://www.hollywoodreporter.com/ne...was-85-1171833
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Nielsen Overnights (Broadcast)
‘Saturday Night Live’ Ratings Slip With Host Jennifer Lopez, Remain Strong In Households
By Nellie Andreeva, Deadline.com - Dec. 8, 2019

The Dec. 7 edition of Saturday Night Live, with host Jennifer Lopez and musical guest DaBaby, delivered a 4.2 Live+Same Day household rating in the 44 local metered markets and a 1.7 adults 18-49 rating in the 25 markets with local people meters. That was off from the last SNL original on Nov. 23, hosted by Will Ferrell (4.3, 2.0).

Since Nielsen changed its methodology starting with Week 2 of SNL this season, this is the show’s highest-rated episode in households, a 0.1 behind the Ferrell-fronted telecast.

Versus primetime programming on the Big 4 networks last night, SNL is the #2 show of the night in metered-market households and in 18-49 in the local people meters, behind only Fox’s Ohio State-Wisconsin Big 10 Championship college football.

SNL gets very strong online viewing of its individual segments. The Nov. 23 Saturday Night Live amassed 75 million views for the full week following its live telecast to rank as the #1 most-viewed entertainment program on YouTube during that time-frame, according ListenFirst (Excludes children’s programs and WWE). That marks SNL’ best full week of YouTube viewing ever.

Of last night’s show, besides the NATO Cafeteria cold open, which had crossed the 1 million views by Sunday morning, the most watched video so far is the opening segment of Weekend Update. [CLICK LINK BELOW]

https://deadline.com/2019/12/saturda...ds-1202803880/
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TV/Legal Notes (Broadcast)
Simon Cowell Lawyers Up From Abroad as ‘America’s Got Talent’ Investigation Begins
By Matt Donnelly, Variety.con - Dec. 7, 2019

A portion of “America’s Got Talent” is shot on the NBC lot in North Hollywood and was the site of specific grievances including an inappropriate joke from guest judge Jay Leno and, according to another report, frequent indoor smoking from executive producer Cowell. Union is allergic to cigarette smoke, the report said, and developed an ongoing bronchial infection as a result.
This begs the question... why haven't the police been called in to issue Simon a citation each and every time he smokes on set? Why have no smoking laws if they go unenforced?

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This begs the question... why haven't the police been called in to issue Simon a citation each and every time he smokes on set? Why have no smoking laws if they go unenforced?


I can’t speak for other jurisdictions but in my “smoke free” condo building DCPD will not get involved unless it’s an illegal substance they leave it to the property condo board to resolve the dispute.


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Why have no smoking laws if they go unenforced?

Because most people obey the law, with or without enforcement.
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Because most people obey the law, with or without enforcement.


Except for the speed limit


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Except for the speed limit
Great reply. Made me laugh.
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Actor René Auberjonois, known for 'Benson' and 'Star Trek,' has died at 79

By Dakin Andone, CNN

Updated 8:24 PM ET, Sun December 8, 2019

(CNN)Actor René Auberjonois died on Sunday, his son, Remy Auberjonois told CNN. He was 79.

The cause of death was metastatic lung cancer, his son said.

Auberjonois was known for his myriad television roles on shows like "Benson," "Star Trek: Deep Space Nine" and "Boston Legal." But he acted in theater and film, notably as Army chaplain Father John Mulcahy in Robert Altman's 1970 "MASH."

Born in New York on June 1, 1940, Auberjonois won a Tony Award in 1970 for his role in "Coco," a Broadway musical about Coco Chanel designer that starred Katharine Hepburn. He was nominated in 1975, 1985 and 1990 for his roles in "The Good Doctor," "Big River" and "City of Angels," respectively.

He was nominated for an Emmy twice. The first nomination was in 1984 as outstanding supporting actor in a comedy series for his role as Clayton Endicott III, the hardworking yet pompous governor's chief of staff he portrayed for seven seasons on "Benson."

He was nominated again in 2001 as outstanding guest actor in a drama series for an appearance as a judge in "The Practice." He appeared in "Boston Legal," a spinoff of "The Practice," for five seasons between 2004 and 2008.

In a statement, Remy Auberjonois called his father a "proud progressive and consummate professional and craftsman." He praised the work his father did for Doctors Without Borders.

"He was married to my mother for 56 years," Remy said. "He was a dedicated father and grandfather and he had a fantastic sense of humor."

Auberjonois portrayed Odo on "Star Trek: Deep Space Nine," for its seven-season run in the 1990s. Fellow Star Trek actors William Shatner and George Takei reacted to news of his death on Twitter, with Takei calling him "a wonderful, caring, and intelligent man."

"He shall be missed," Takei wrote. "When I look out to the stars, I shall think of you, friend."

George Takei

@georget akei
This is a terrible loss. Star Trek fans knew him as Odo from Deep Space Nine. We knew him as René. He was a wonderful, caring, and intelligent man. He shall be missed. When I look out to the stars, I shall think of you, friend. https://www.pix11.com/news/national-...8vG54r5GamsPxU

CNN's Amir Vera contributed to this report.

https://www.cnn.com/2019/12/08/enter...bit/index.html
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TV Sports (College Foiotball)
2019-20 bowl schedule, college football games, dates, kickoff times, TV channels
By CBSSports.com Staff - Dec. 8, 2019

With a few minor details still to be finalized, this is how the 39 bowl games will line up over the month of December and into January, culminating with the College Football Playoff National Championship in New Orleans on Jan. 13, 2020. There are some date changes among the smaller bowls, but the bigger story comes later in bowl season. The College Football Playoff semifinal games -- this year, the Fiesta Bowl and Chick-fil-A Bowl -- will be played on Dec. 28.

There are already some terrific matchups set, including a rematch of the 2016 Fiesta Bowl semifinal in the 2019 Fiesta Bowl semifinal between No. 2 Ohio State and No. 3 Clemson. No. 1 LSU will play the first game of the playoff when it takes on No. 4 Oklahoma.

The New Year's Six features a number of intriguing matchups, but what could take the cake on New Year's Day is a heavyweight showdown in the Citrus Bowl between Alabama and Michigan, a pair of huge programs meeting for just the fifth time and first in a bowl game since 2000.

Below is the list of the 2019-20 college football bowl schedule. All times Eastern.

College Football Playoff

Date / Bowl / Time (TV) / Matchup


Jan. 13 / National Championship, New Orleans, La. / TBA (ESPN) / Semifinal winners
Dec. 28 / Fiesta, Glendale, Ariz. / 8 p.m. (ESPN) / (2) Ohio State vs. (3) Clemson
Dec. 28 / Peach, Atlanta, Ga. / 4 p.m. (ESPN) / (1) LSU vs. (4) Oklahoma

Selection committee bowl games

Jan. 1 / Sugar, New Orleans, La. / 8:45 p.m. (ESPN) / Baylor vs. Georgia
Jan. 1 / Rose, Pasadena, Calif. / 5 p.m. (ESPN) / Wisconsin vs. Oregon
Dec. 30 / Orange, Miami Gardens, Fla. / 8 p.m. (ESPN) / Virginia vs. Florida
Dec. 28 / Cotton, Arlington, Texas / Noon (ESPN) / Penn State vs. Memphis

Other bowl games

Jan. 6 / LendingTree, Mobile, Ala. / 7:30 p.m. (ESPN) / Louisiana vs. Miami (Ohio)
Jan. 4 / Armed Forces, Fort Worth, Texas / 11:30 a.m. (ESPN) / Tulane vs. Southern Miss
Jan. 3 / Idaho Potato, Boise, Idaho / 3:30 p.m. (ESPN) / Nevada vs. Ohio
Jan. 2 / Gator, Jacksonville, Fla. / 7 p.m. (ESPN) / Tennessee vs. Indiana
Jan. 2 / Birmingham, Birmingham, Ala. / 3 p.m. (ESPN) / Boston College vs. Cincinnati
Jan. 1 / Outback, Tampa, Fla. / 1 p.m. (ESPN) / Minnesota vs. Auburn
Jan. 1 / Citrus, Orlando, Fla. / 1 p.m. (ABC) / Michigan vs. Alabama
Dec. 31 / Arizona, Tucson, Ariz. / 4:30 p.m. (CBSSN) / Wyoming vs. Georgia State
Dec. 31 / Liberty, Memphis, Tenn. / 3:45 p.m. (ESPN) / Kansas State vs. Navy
Dec. 31 / Sun, El Paso, Texas / 2 p.m. (CBS) / Arizona State vs. Florida State
Dec. 31 / Belk, Charlotte, N.C. / Noon (ESPN) / Kentucky vs. Va. Tech
Dec. 31 / Alamo, San Antonio, Texas / 7:30 p.m. (ESPN) / Texas vs. Utah
Dec. 30 / Redbox, Santa Clara, Calif. / 4 p.m. (FOX) / IIllinois vs. Cal
Dec. 30 / Music City, Nashville, Tenn. / 4 p.m. (ESPN) / Louisvile vs. Southern Miss
Dec. 30 / First Responder, Dallas, Texas / 12:30 p.m. (ESPN) / W. Michigan vs. W. Kentucky
Dec. 28 / Camping World, Orlando, Fla. / Noon (ABC) / Iowa State vs. Notre Dame
Dec. 27 / Cheez-It, Phoenix, Ariz. / 10:15 p.m. (ESPN) / Wash. State vs. Air Force
Dec. 27 / Holiday, San Diego, Calif. / 8 p.m. (FS1) / Iowa vs. USC
Dec. 27 / Texas / Houston, Texas / 6:45 p.m. (ESPN) / Texas A&M vs. Oklahoma State
Dec. 27 / Pinstripe, Bronx, N.Y. / 3:20 p.m. (ESPN) / Michigan State vs. Wake Forest
Dec. 27 / Military, Annapolis, Md. / Noon (ESPN) / UNC vs. Temple
Dec. 26 / Quick Lane, Detroit, Mich. / 8 p.m. (ESPN) / Pitt vs. E. Michigan
Dec. 26 / Independence, Shreveport, La. / 4 p.m. (ESPN) / La. Tech vs. Miami (Fla.)
Dec. 24 / Hawaii, Honolulu, Hawaii / 8 p.m. (ESPN) / BYU vs. Hawaii
Dec. 23 / Gasparilla, Tampa, Fla. / 2:30 p.m. (ESPN) / Marshall vs. UCF
Dec. 21 / New Orleans, New Orleans, La. / 9 p.m. (ESPN) / UAB vs. Appalachian State
Dec. 21 / Las Vegas, Las Vegas, Nev. / 7:30 p.m. (ABC) / Boise State vs. Washington
Dec. 21 / Camellia, Montgomery, Ala. / 5:30 p.m. (ESPN) / FIU vs. Arkansas State
Dec. 21 / Boca Raton, Boca Raton, Fla. / 3:30 p.m. (ABC) / FAU vs. SMU
Dec. 21 / Cure, Orlando, Fla. / 2:30 p.m. (CBSSN) / Georgia Southern vs. Liberty
Dec. 21 / New Mexico / Albuquerque, N.M. / 2 p.m. (ESPN) / C. Michigan vs. San Diego State
Dec. 20 / Frisco, Frisco, Texas / 7:30 p.m. (ESPN2) / Utah State vs. Fresno State
Dec. 20 / Bahamas, Nassau, Bahamas / 2 p.m. (ESPN) / Charlotte (7-5) vs. Buffalo (7-5)


https://www.cbssports.com/college-fo...s-tv-channels/
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TV/Production Notes
This (Jewish) Couple Has Written 30 Christmas Movies — and They're Not Alone
For a growing group of writers, producers and stars, the escalating war among Hallmark, Lifetime and now Netflix means plenty of good (and lucrative) tidings — if you can master the formula and stomach all the yuletide cheer: "There’s a whole list of boxes you have to check off."
By Seth Abramovich, The Hollywood Reporter - Dec. 6, 2019

It's a scene straight out of one of those TV Christmas movies: Tippi and Neal Dobrofsky met 30 years ago standing in line for frozen yogurt — Tippi was in a loveless marriage, Neal was on a bad date — and fell instantly in love. They've been writing Christmas movies together ever since, more than 30 of them.

You may be familiar with their work and not even know it: Holiday in the Wild on Netflix, the one where Rob Lowe and Kristin Davis find love on the African savanna? That was the Dobrofskys. Or Write Before Christmas on Hallmark Channel, which features a reunion of One Tree Hill stars Chad Michael Murray and Torrey DeVitto? Theirs too.

The Dobrofskys hadn't set out to become Christmas movie specialists (they actually got their start writing about serial killers), but like so many working screenwriters, the couple gravitated to what was selling and found they had a knack for screwball dialogue and clever spins on Christmas-movie conventions. Never mind that they don't celebrate Christmas themselves.

"We're liberal Jews writing Christmas movies," says Tippi, acknowledging the irony that their bread and butter is calibrated to appeal to decidedly goyishe red-state values. "They probably think we burn pictures of Donald Trump in our backyard. But it's a lot of Jews writing this stuff."

This year, the battle for holiday eyeballs has never been more intense, with two cable entities — Hallmark and Lifetime — airing an unending stream of brain cocoa since well before Halloween while fending off a new wave of invaders like Netflix. Lifetime will debut 30 original Christmas features this year, up from 18 in 2018. Hallmark, which has dominated the space, is premiering 40 new titles by season's end. Christmas programming now accounts for 30 percent of the network's annual budget and in return produces 30 percent of its annual total revenue, which S&P Global Market Intelligence places around $400 million. It's little wonder Netflix has gotten aggressive, too, rolling out six original live-action Christmas movies (including the third entry in its popular A Christmas Prince franchise). Figure in projects from Disney+, Freeform, OWN and others, and the total number of holiday movies premiering on various nontheatrical platforms this year is well over 100.

For buyers, the proof is in the Christmas pudding: December was Lifetime's most watched month of 2018 and even outperformed January 2019, which included the network's buzzy R. Kelly docuseries. This holiday season has already seen a 40 percent viewership increase over those numbers. "I don't think it's a coincidence that the world is in a chaotic, crazy place right now and that these movies are thriving," says Meghan Hooper White, senior vp original movies at Lifetime. "I think people really like the escape."

The seemingly insatiable appetite for feel-good Christmas fare has become a year-round bonanza for people like the Dobrofskys whose job it is to make the movies. But keeping up with demand is becoming overwhelming. "We're kind of farmers. They tell us which crop to grow and we do it," says Tim Johnson, a Vancouver-based producer of nearly 40 Christmas features for Hallmark and Lifetime. A majority of the movies film in the Great White North — Vancouver, mainly, but also Toronto, Ottawa and Winnipeg, where local crews have things down to a science and tax incentives are plentiful. "The production value you get in Canada goes a long way," says Hooper White. "The snow lasts longer up there. It's just more Christmassy up there."

The genre's tropes are well defined. The central plot typically revolves around a big-city girl finding yuletide love in small-town America. ("Lauren leaves everything behind in Boston to embark on a new chapter in her life and career," goes one typical Hallmark logline.) Other recurring motifs include military service ("Audrey and First Sergeant Matt have been writing each other since last Christmas …"); baking competitions ("Loretta will give her bakery away to whoever can re-create her famous '12 Days of Christmas' recipe") and the ubiquitous "skeptical writer" (as in, "a skeptical writer arrives in Evergreen to get the story on the town's 'too-good-to-be-true' Christmas fever").

But unlike just a few years ago, a simple meet-cute under the mistletoe will no longer do. Says Jeff Schenck, producer of more than 40 yuletide flicks with titles like A Husband for Christmas and The Dog Who Saved Christmas: "There's a whole list of boxes you have to check off. They've got to do a snow activity, like a snowball toss or a sledding contest. You have to have the cookie-baking scene. You have to bring all the conventions of Christmas."

The two biggest players have distinct takes on the genre. "Hallmark has done an amazing job of nailing down their brand — the idyllic small-town life," Johnson says. "Lifetime goes a little more urban." By that he means geographically — Lifetime stars don't flee the big city quite as often as Hallmark stars do — and demographically, as Lifetime openly courts African American viewers, who make up a sizable slice of its audience. (Keshia Knight Pulliam, Kim Fields, Kelly Rowland and Tatyana Ali all topline Lifetime releases this year.)

By contrast, Hallmark casts whites overwhelmingly as its leads — but the network did make a gesture toward inclusiveness this year by producing four movies featuring African American leads and two Hanukkah-themed movies, Holiday Date and Double Holiday. "We're looking for the best stories that will resonate in the best way," Bill Abbott, president and CEO of Hallmark parent Crown Media, told THR's TV's Top 5 podcast. "Broadening out the demographic is something we're always thinking about and considering."

Lifetime has even embraced same-sex romance. "Viewers want to see themselves! [We] want to see ourselves!" says Hooper White. "Almost all [our holiday films] feature people of color in leading or supporting roles, and four movies this year feature stories with LGBTQ relationships, including a same-sex kiss." Netflix's YA book adaptation Let It Snow features a lesbian kiss, among other decidedly un-Hallmark moments (a character accidentally cuts his nipple while shaving his chest).

"There was never any discussion with Netflix regarding how family-friendly the movie needed to be," explains Let It Snow director Luke Snellin, who says everyone was on the same page, "striving to capture this specific feeling, the sweetness and melancholy of the holiday." Despite its racier material, Snow is meant for the whole family to enjoy, says Snellin, who studied examples of Hallmark and Lifetime Christmas movies before embarking on his own. "There's a level of comfort in them," says Snellin. "And that's a good thing."

There are no million-dollar windfalls to be had, but screenwriters can make a decent living churning out Christmas flicks. Hallmark pays around $50,000 to $60,000 per script (plus residuals) on movies generally budgeted around $2 million to $2.5 million. In-demand writers like the Dobrofskys can earn a little more. "They pay on time," says Neal. "And because the audience is so loyal, we get steady residuals." Adds Tippi: "It's hard as a writer — you have to get used to wild ups and downs. But [the Christmas movie boom] has changed everything. It's allowed us to make a great, steady living. Plus it's nice that things actually get made. Our scripts are on the air in three months." Lifetime is also open to spec script submissions — which worked out nicely for Cassie Doyle, 27. Appalled at the caliber of screenplays she was reading while working as an assistant to Hooper White at the network's Manhattan headquarters, Doyle tried her hand at writing them herself. Her first two attempts were greenlit by Lifetime and aired during Christmas 2018. "There's a formula to them," says Doyle. "But the creativity comes in finding a way to make it stand out within the guidelines. I love riddles and puzzles, so it's up my alley."

The Christmas Movie Wars have raged on for a decade now. Before that, holiday-themed movies of the week existed, but it was Abbott who saw the potential in creating an all-day Christmas programming block. "Countdown to Christmas" kicked off quaintly with 12 Christmas movies airing between Thanksgiving and Christmas 2009. A decade later, the first of this year's Hallmark Christmas films premiered Oct. 25 and continues through Jan. 1. Along the way, Hallmark has given thriving second acts to TV stars like Candace Cameron Bure and Lacey Chabert (who have each starred in eight, a record).

"When you are on your eighth Christmas movie it becomes more challenging in the sense that there is very specific criteria to adhere to but you don't want them to feel the same," says Cameron Bure, dubbed the "Christmas Queen" by Hallmark. Finding new locations and star combinations — the network tends to use the same group of actors, like a repertory — gets increasingly tricky. While writers and producers tend to move between buyers, networks tend to be more proprietary about their stars. "Once you're in, you're in," says Cameron Bure of Hallmark's star stable, which she likens to "a family … and because I've done so many of these, I get to choose the newbies." As for the familiarity and repetition baked into the genre, Cameron Bure speculates it has everything to do with "why it has grown every year. Fans love the expectation of it. People can roll their eyes — but the success is for that reason."

As for Lifetime, which trended away from holiday movies several decades ago in favor of true crime and thrillers, it has been playing Christmas catch-up and is doing an impressive job of it, greenlighting a full month of originals from a stack of more than 600 submissions — everything from spec scripts to outlines to book adaptations.

Netflix distances itself from the cable rivals by referring to its Christmas offerings as "independent features" — never TV movies — and has leaned in this year with releases like The Knight Before Christmas and A Christmas Prince: The Royal Baby. (The streamer withholds viewing statistics, but did let it slip in a 2017 tweet that 53 people watched A Christmas Prince every day for 18 days. The Christmas Chronicles, a Santa Claus movie from Netflix starring Kurt Russell, streamed 20 million times in its first week, Ted Sarandos boasted in 2018 — what he likened to a $200 million theatrical opening.)

If there is a downside to the Christmas movie gold rush, it's raised expectations — year after year, the buyers expect more bang for their buck. "There's money to be made," says Schenck. "But you could almost argue the opposite. If you look at the movies made before 2012, there wasn't a whole lot of snow in them. Now they want real snow. They want the biggest casts. Every frame needs to be filled with Christmas cheer. The wardrobe people, set decorators, props department — everyone demands more money to deliver on that."

Monika Mitchell, director of five Christmas movies including Netflix's The Knight Before Christmas, stresses the arduousness of the Christmas moviemaking process: "You have to consider how physically difficult it will be to create the eye candy, to conjure winter where there is no winter, then to decorate it all for Christmas."

If Hallmark is demanding it, that's because it's clearly working: Last year, 85 million viewers tuned in to its holiday programming; three weeks into this cycle, Countdown to Christmas already has exceeded 40 million and will all but certainly surpass 2018's numbers. In the meantime, the Christmas movie gold rush is showing no signs of slowing. "There will never be too many of these things," says Schenck. "The consumers are rabid. The space is infinite."

[CLICK LINK BELOW TO SEE CHARTS/GRAPHS]

https://deadline.com/2019/12/saturda...ds-1202803880/
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TV Notes (Broadcast)
Miss Universe 2019: The Winner Is...
By Andy Swift, TVLine.com - Dec. 8, 2019

Ninety women from across the far corners of the known universe assembled on Sunday for the crowning of a new intergalactic queen. All hail.

Held at Tyler Perry Studios in Atlanta, Ga., the 68th annual Miss Universe competition was once again hosted by mustache icon Steve Harvey, with Olivia Culpo (Paradise City) and Vanessa Lachey (BH90210) serving as backstage correspondents throughout the night.

The initial 90 contestants were narrowed down to 20 semifinalists during a closed-door competition prior to Sunday’s three-hour live TV event. And following a series of traditional pageant-style events — including the ever-popular swimsuit and evening gown rounds — this year’s Top 10 was revealed: Colombia, France, Iceland, Indonesia, Mexico, Peru, Puerto Rico, South Africa, Thailand and the United States. (Click here to browse some behind-the-scenes photos of this year’s contestants.)

But only one of those lucky ladies would inherit the crown from last year’s winner, Catriona Gray, who took the stage towards the end of the night to announce her successor. Here’s how the final results shook out: Third place went to Sofia Aragon (Mexico), while Madison Anderson (Puerto Rico) was announced as this year’s runner-up, leaving Zozibini Tunzi (South Africa) as the official Miss Universe 2019. Watch her formal crowning below: [CLICK LINK AT BOTTOM]

Prior to announcing this year’s winner, Harvey told the audience, “This is always a tough moment for me,” referring back to the time he accidentally announced the wrong Miss Universe in 2015. That ceremony’s rightful winner was Pia Alonzo Wurtzbach of the Philippines, but Harvey mistakenly bestowed victory upon the actual runner-up, Ariadna Gutierrez of Colombia. Apologies were made, and time eventually healed all wounds, but the legendary on-air flub will never be forgotten.

Sunday’s broadcast also featured a special musical performance by Ally Brooke, one of several former Fifth Harmony members currently pursuing a solo career. The MTV Video Music Awards recently gave us another two-fifths of the group, with Camila Cabello and Normani Kordei both taking the stage to perform their respective smash hits. And with Brooke also placing third in the latest season of Dancing With the Stars, we’d say it’s been a pretty good year for the former bandmates.

Your thoughts on the new Miss Universe?

https://tvline.com/2019/12/08/miss-u...i-wins-photos/
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TV/Awards Notes
Golden Globes 2020: The Complete Nominations List
By Variety.com Staff - Dec. 9, 2019

Nominations for the 77th Golden Globe Awards were announced early Monday morning by Tim Allen, Dakota Fanning and Susan Kelechi.

The best of the year in both TV and film will be recognized at the Globes, with categories in drama and musical or comedy for each medium.

Top contenders for best drama are “The Irishman,” “Marriage Story,” “1917,” “Joker” and “Little Women.” For best musical or comedy, “Once Upon a Time in Hollywood,” “Jojo Rabbit,” “Knives Out,” “Rocketman” and “Dolemite Is My Name” will likely be considered.

TV drama candidates include “Succession,” “The Crown,” “Game of Thrones” and “Big Little Lies,” while possible TV musical or comedy nominees include “Fleabag,” “Barry,” “The Marvelous Mrs. Maisel” and “The Kominsky Method.”

2020 Golden Globe ambassadors Dylan and Paris Brosnan, Hollywood Foreign Press Association president Lorenzo Soria and Dick Clark Productions executive VP Barry Adelman were also on hand.

Ricky Gervais will host the 77th Golden Globe Awards ceremony on Jan. 5 live from the Beverly Hilton.

Check out the full list of nominations for the 2020 Golden Globe Awards below:

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television
Christopher Abbott (“Catch-22”)
Sacha Baron Cohen (“The Spy”)
Russell Crowe (“The Loudest Voice”)
Jared Harris (“Chernobyl”)
Sam Rockwell (“Fosse/Verdon”)

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television
Kaitlyn Dever (“Unbelievable”)
Joey King (“The Act”)
Helen Mirren (“Catherine the Great”)
Merritt Wever (“Unbelievable”)
Michelle Williams (“Fosse/Verdon”)

Best Television Limited Series or Motion Picture Made for Television
“Catch-22″ (Hulu)
“Chernobyl” (HBO)
“Fosse/Verdon” (FX)
The Loudest Voice (Showtime)
“Unbelievable” (Netflix)

Best Motion Picture – Foreign Language
“The Farewell” (A24)
“Pain and Glory” (Sony)
“Portrait of a Lady on Fire” (Pyramide Films)
“Parasite” (CJ Entertainment)
“Les Misérables” (BAC Films, Amazon)

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television
Alan Arkin
Kieran Culkin (“Succession”)
Andrew Scott (“Fleabag”)
Stellan Skarsgård (“Chernobyl”)
Henry Winkler (“Barry”)

Best Television Series – Musical or Comedy
“Barry” (HBO)
“Fleabag” (Amazon)
“The Kominsky Method” (Netflix)
“The Marvelous Mrs. Maisel” (Amazon)
“The Politician” (Netflix)

Best Original Score – Motion Picture
Daniel Pemberton (“Motherless Brooklyn”)
Alexandre Desplat (“Little Women”)
Hildur Guðnadóttir (“Joker”)
Thomas Newman (“1917”)
Randy Newman (“Marriage Story”)

Best Screenplay – Motion Picture
Noah Baumbach (“Marriage Story”)
Bong Joon-ho and Han Jin-won (“Parasite”)
Anthony McCarten (“The Two Popes”)
Quentin Tarantino (“Once Upon a Time in Hollywood”)
Steven Zaillian (“The Irishman”)

Best Original Song – Motion Picture
“Beautiful Ghosts” (“Cats”)
“(I’m Gonna) Love Me Again” (“Rocketman”)
“Into the Unknown” (“Frozen II”)
“Spirit” (“The Lion King”)
“Stand Up” (“Harriet”)

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television
Patricia Arquette (“The Act”)
Helena Bonham Carter (“The Crown”)
Toni Collette
Meryl Streep (“Big Little Lies”)
Emily Watson (“Chernobyl”)

Best Performance by an Actor in a Television Series – Musical or Comedy
Michael Douglas (“The Kominsky Method”)
Bill Hader (“Barry”)
Ben Platt (“The Politician”)
Paul Rudd (“Living with Yourself”)
Ramy Youssef (“Ramy”)

Best Performance by an Actress in a Television Series – Musical or Comedy
Christina Applegate (“Dead to Me”)
Rachel Brosnahan (“The Marvelous Mrs. Maisel”)
Kirsten Dunst (“On Becoming a God in Central Florida”)
Natasha Lyonne (“Russian Doll”)
Phoebe Waller-Bridge (“Fleabag”)

Best Performance by an Actor in a Television Series – Drama
Brian Cox (“Succession”)
Kit Harington (“Game of Thrones”)
Rami Malek (“Mr. Robot”)
Tobias Menzies (“The Crown”)
Billy Porter (“Pose”)

Best Screenplay – Motion Picture
Noah Baumbach (“Marriage Story”)
Bong Joon-ho and Han Jin-won (“Parasite”)
Anthony McCarten (“The Two Popes”)
Quentin Tarantino (“Once Upon a Time in Hollywood”)
Steven Zaillian (“The Irishman”)

Best Performance by an Actress in a Television Series – Drama
Jennifer Aniston (“The Morning Show”)
Olivia Colman (“The Crown”)
Jodie Comer (“Killing Eve”)
Nicole Kidman (“Big Little Lies”)
Reese Witherspoon (“Big Little Lies”)

Best Actor in a Supporting Role in Any Motion Picture
Tom Hanks (“A Beautiful Day in the Neighborhood”)
Anthony Hopkins (“The Two Popes”)
Al Pacino (“The Irishman”)
Joe Pesci (“The Irishman”)
Brad Pitt (“Once Upon a Time in Hollywood”)

Best Actress in a Supporting Role in Any Motion Picture
Kathy Bates (“Richard Jewell”)
Annette Bening (“The Report”)
Laura Dern (“Marriage Story”)
Jennifer Lopez (“Hustlers”)
Margot Robbie (“Bombshell”)

Best Actor in a Motion Picture – Musical or Comedy
Daniel Craig (“Knives Out”)
Roman Griffin Davis (“Jojo Rabbit”)
Leonardo DiCaprio (“Once Upon a Time in Hollywood”)
Taron Egerton (“Rocketman”)
Eddie Murphy (“Dolemite Is My Name”)

Best Motion Picture – Animated
“Frozen II” (Disney)
“How to Train Your Dragon: The Hidden World” (Universal)
“Missing Link” (United Artists Releasing)
“Toy Story 4” (Disney)
“The Lion King” (Disney)

Best Director – Motion Picture
Bong Joon-ho (“Parasite”)
Sam Mendes (“1917”)
Todd Phillips (“Joker”)
Martin Scorsese (“The Irishman”)
Quentin Tarantino (“Once Upon a Time in Hollywood”)

Best Actor in a Motion Picture – Drama
Christian Bale (“Ford v Ferrari”)
Antonio Banderas (“Pain and Glory”)
Adam Driver (“Marriage Story”)
Joaquin Phoenix (“Joker”)
Jonathan Pryce (“The Two Popes”)

Best Actress in a Motion Picture – Musical or Comedy
Awkwafina (“The Farewell”)
Ana de Armas (“Knives Out”)
Cate Blanchett (“Where’d You Go, Bernadette”)
Beanie Feldstein (“Booksmart”)
Emma Thompson (“Late Night”)

Best Television Series – Drama
“Big Little Lies” (HBO)
“The Crown” (Netflix)
“Killing Eve” (BBC America)
“The Morning Show” (Apple TV Plus)
“Succession” (HBO)

Best Actress in a Motion Picture – Drama
Cynthia Erivo (“Harriet”)
Scarlett Johansson (“Marriage Story”)
Saoirse Ronan (“Little Women”)
Charlize Theron (“Bombshell”)
Renée Zellweger (“Judy”)

Best Motion Picture – Musical or Comedy
“Once Upon a Time in Hollywood” (Sony)
“Jojo Rabbit” (Fox Searchlight)
“Knives Out” (Lionsgate)
“Rocketman” (Paramount)
“Dolemite Is My Name” (Netflix)

Best Motion Picture – Drama
“The Irishman” (Netflix)
“Marriage Story” (Netflix)
“1917” (Universal)
“Joker” (Warner Bros.)
“The Two Popes” (Netflix)


https://variety.com/2019/film/news/2...es-1203426905/
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TV/Business Notes (Broadcast)
One year after Moonves’ exit, CBS TV stations also face harassment and misogyny claims
By Meg James, Los Angeles Times - Dec. 8, 2019

Jill Arrington was a star in TV sports. Then, four years ago, the former NFL sideline reporter traded national exposure for what she thought would be a more stable job at CBS’ television stations in Los Angeles.

Arrington loved chronicling the Rams and other pro teams, and eventually took on additional duties as the weekend sports anchor for KCBS-TV Channel 2 and KCAL-TV Channel 9. But one thing about her job galled her: She was earning nearly $60,000 less a year than the male anchor she replaced.

When her contract came up for renewal, Arrington told the station’s top managers that it was unacceptable to pay a woman so much less than a man.

“Oooh, isn’t she tough,” Arrington recalls the former general manager of CBS’ L.A. stations, Steve Mauldin, saying during a March 2018 meeting. She said Mauldin turned to his lieutenant and said: “This one talks more than my wife.”

The meeting ended with no assurance of a raise. But as Arrington started to leave, she said her boss told her: “Put on a tennis dress and meet me at the golf club. We’ll put you on tape, and you can make some extra money.”

Arrington had experienced come-ons in her years covering sports, but nothing like this. She confided in a colleague, who recalled that Arrington was “frantic and scared” after the exchange. In an interview last week, Mauldin denied making the remarks. “That didn’t happen,” he said. “That’s the most absurd thing. I would not talk to women that way.”

Six months after that meeting, a bombshell detonated at the highest level of the company: CBS’ larger-than-life chief executive, Leslie Moonves, was ousted over claims he harassed and assaulted multiple women decades ago.

After a high-profile probe into Moonves’ conduct and the company’s workplace culture, independent law firms hired by CBS concluded that “harassment and retaliation are not pervasive at CBS.” But a Times investigation has uncovered claims of discrimination, retaliation and other forms of mistreatment in an overlooked but significant corner of the company: the chain of CBS-owned television stations.

More than two dozen current and former employees of KCBS and KCAL described a toxic environment where, they said, employees encountered age discrimination, misogyny, and sexual harassment — and retaliation if they complained.

Discrimination complaints have also surfaced at CBS-owned stations in Chicago, Dallas and Miami. The U.S. Equal Employment Opportunity Commission filed a lawsuit against CBS after investigating allegations that station managers in Dallas denied a full-time position to a 42-year-old traffic reporter and instead hired a 24-year-old former NFL cheerleader who didn’t meet the job’s requirements. CBS denied that it engaged in discrimination.

In late November, shortly before a scheduled trial, CBS reached a tentative agreement to resolve an age discrimination and retaliation lawsuit brought by award-winning Miami-based journalist Michele Gillen, who sued CBS last year. The company admitted no liability in the agreement. In her court filings, Gillen called CBS a “good ole boys club” that “protects men despite bad behavior.”

Managing a nationwide television station group with thousands of employees is challenging, CBS Television Stations President Peter Dunn said in a statement. But, he added, “the vast majority enjoy where they work every day and take great pride in serving their local community. At the same time, I am very mindful that in a large company we have people who are unhappy at times. We respect all voices who express workplace concerns to us.”

The job has become even more challenging due to profound shifts in media. TV stations are no longer the profit centers they used to be. At some stations, including KCBS and KCAL, anchors have seen their salaries shaved to save money. Highly paid employees are booted, and station managers increasingly rely on part-time workers to deliver the news. But networks still haven’t attracted younger audiences.

“Like all local stations, we are competing for viewers in an evolving media world,” Dunn said. “This evolution has created natural tension with some employees and external constituents.”

Transforming the TV station business, which remains rooted in old-school economics and attitudes, is a key challenge for the newly created ViacomCBS Inc. media company. In many ways, TV stations are stuck in a bygone era where women are judged by their appearance, and subjected to overt and subtle discrimination. Skin-tight dresses remain the norm. Older workers watch as coveted assignments go to younger reporters as stations try to appeal to younger viewers.

CBS is not the only broadcaster struggling with business shifts and complaints of ageism. L.A. station KTLA-TV Channel 5, formerly owned by Tribune Media, as well as the cable giant Charter Communications and the Sinclair Broadcast Group have all faced discrimination claims.

But CBS has a history of complaints, particularly in its treatment of women. In 2000, the company paid $8 million to settle a lawsuit brought by the EEOC, the government agency that polices workplace law compliance. The agency found that women at seven CBS TV stations, including KCBS, endured a hostile work environment that included sexual harassment and retaliation for complaining. About 200 female technicians at CBS stations — camera operators and engineers — were paid less than men and passed over for promotions, the EEOC found.

Today, the two CBS stations in Los Angeles produce 78 hours of newscasts each week, making it one of the city’s busiest local TV news operations. More than 120 people work at the two stations’ newsroom, which is wedged into CBS Studio Center, a busy TV production hub in Studio City where TV shows such as “Brooklyn Nine-Nine” and “Why Women Kill” are shot. Moonves maintained a stately office on the lot, a short distance from the stations’ broadcast center, which sits a few yards from the site of the lagoon in “Gilligan’s Island.”

Known as “CBS L.A.,” the stations share management and a ground-floor newsroom. They are part of the chain of 28 stations owned by CBS.

In each market, a general manager handles day-to-day operations but oversight of the group rests in New York. For the last decade, Dunn and David Friend, two executives in New York, have managed the group.

“CBS-owned stations get very little leeway in anything — it’s just the corporate mind-set,” said one veteran producer who was not authorized to comment.

The L.A. stations were managed by Mauldin until last June, when he retired at age 70 after 40 years in the TV station business. He was friendly with Moonves, according to two people with the matter. Mauldin had previously been GM of CBS’ stations in Dallas and Miami.

During the last seven years, multiple women at the Los Angeles stations complained that they were subject to harassment by their bosses or colleagues.

Early in 2018, prominent KCAL anchor Leyna Nguyen complained to KCBS management about inappropriate comments and unwanted touching by a male colleague, according to several people familiar with the matter. CBS spent months investigating the allegations but concluded there was insufficient evidence of wrongdoing, according to a person familiar with the situation who was not authorized to comment publicly and requested anonymity.

CBS reached a settlement with Nguyen in July 2018 — just days before the allegations about Moonves became big news. Nguyen, a 20-year employee who left KCBS following the incident, declined to comment on the matter. CBS also struck a separation agreement with the person who was accused of the misconduct, and he also left. CBS did not admit liability in the matter. The employee denied wrongdoing and did not respond to a request for comment placed through his attorney.

The station’s then-head of makeup, Gwendolyn Gatti, backed Nguyen’s allegations. Gatti said the same employee harassed her, too, and that he “propositioned her for sex, asked about her sex life,” “slapped her on the buttocks,” and used the N-word when referring to her, according to a lawsuit in a separate case. CBS settled the matter with Gatti on July 27, 2018, according to court records. In a court filing, a CBS attorney labeled Gatti’s sexual harassment allegations “frivolous.” CBS denied any liability, according to a partially redacted copy of Gatti’s settlement agreement.

A former KCBS employee told The Times that he recalled a separate episode several years ago when Gatti was near tears and shaking with anger after a different colleague, a cameraman, forcefully slapped her on the buttocks. A second person confirmed that CBS investigated the slapping incident and the cameraman was disciplined.

Gatti was fired in September 2018, two months after her settlement. The 64-year-old makeup artist sued CBS in Los Angeles Superior Court in February, alleging wrongful termination, discrimination and retaliation. CBS, in court documents, said Gatti was fired “after she brought illegal drugs onto CBS property, in violation of company policy.”

In her lawsuit, Gatti said she realized her wallet was missing on Sept. 18, 2018, and called CBS’ security office to see if it had been turned it in. Later that day, she said she was called to the security office and presented with what she said were two empty plastic bags that a security guard claimed were found in her wallet. Gatti denied the bags were hers and “stated that she does not use any illegal drugs,” according to the lawsuit. She was fired the next day.

Nguyen and Gatti complained to management about sexual harassment in March 2018, according to court records. This was the same month that Arrington, the weekend sports anchor, began inquiring about her contract renewal. A single mom, she had been at the station more than two years, her duties had increased, and she wanted a raise.

The Times independently confirmed that CBS was paying Arrington about $60,000 a year less than her male predecessor. Arrington said her goal simply was to extend her contract, which expired in April 2018, and get a bump in pay to an anchor’s salary because she was putting in long hours serving as both a reporter and an anchor — appearing in as many as seven telecasts on a weekend shift.

Arrington was far from the highest-paid employee at the station, according to a person familiar with KCBS’ finances. Her salary put her among the middle of the pack. She was told to discuss the situation with Mauldin, which led to the awkward exchange.

Arrington’s colleague, Elsa Ramon, a former KCBS and KCAL anchor, confirmed that Arrington shared details about the incident with her shortly after it occurred in early 2018.
“She was uncomfortable,” Ramon said. “Mauldin made a suggestion that she engage in some activity,” adding that she viewed it as a quid pro quo situation.

A second CBS executive who attended the meeting said he didn’t recall Mauldin making inappropriate comments. Arrington claims that executive left the meeting just before she did. The second executive and Mauldin said they felt that Arrington was out of line in asking for a substantial raise over her $135,000 annual salary at a time when the station was struggling to control costs. (Arrington said she made no specific salary demands, and merely asked to be paid what other anchors in L.A. were making.)

“I thought she was making a good salary,” Mauldin said. “She thought she was worth more.”

Arrington initially was reluctant to talk to The Times.

Before joining KCBS, the 47-year-old Georgia native worked at Fox Sports, ESPN and CBS Sports, where she was seen by millions of viewers on the sidelines of NFL games and hosting shows about college football and NASCAR. Playboy readers in a 2000 online poll voted her America’s “sexiest sportscaster.” She declined the $1-million offer to pose for the magazine.

She arrived at KCBS and KCAL in 2015 after being recruited by Bill Dallman, a popular station news director who was also a Fox Sports alum. Arrington said she accepted the CBS stations job even though it meant lower pay and less exposure than a position at a national network. She was then in her 40s and working in on-air roles, a corner of the industry that can be unforgiving to women as they age.

Arrington nonetheless said she “felt it could be a whole new career for me, and a place where I could work for the next 10 years.”

Dallman, who now is news director for an ABC affiliate in Seattle, told The Times: “Jill and I both worked diligently to improve the quality of the on-air product and the culture in the building.”

Arrington enjoyed her experience early on, particularly co-anchoring KCAL’s weekend “Sports Central” with Gary Miller, an ESPN veteran. Miller, who now works at a Cincinnati station owned by Sinclair, said in an interview that Arrington was capable and a team player. Another KCBS reporter said: “She was one of the best we’ve ever had.”

Miller said Arrington confided in him that she was uncomfortable with Mauldin’s comments. Miller said he encouraged Arrington to complain to the human relations department, but she felt her best option was to avoid Mauldin. “He would start talking about her appearance or ask about her private life,” Miller said. “It was so inappropriate.” Mauldin denied the claims, saying “there was never a time when I put her in an uncomfortable position.”

Miller was let go in January 2017 due to budget cuts, and Arrington’s workload increased.

There were other tensions, too, according to seven current and former station employees interviewed by The Times. Jim Hill, a former NFL player and a fixture in L.A. broadcasting, was the station’s main sports personality and its sports director. He seemed uninterested in sharing the limelight, these people said.

“Jim wanted to handle the big stuff,” Mauldin said, adding that Hill was one of his favorites. “He wanted to do the big interviews, and I think Jill had a problem with that. ... I don’t think people down there [in sports] were comfortable being around her because of where her head was at.”

Arrington’s feature stories rarely appeared in Hill’s shows, she and others familiar with the situation said. Even a powerful report on an NFL lineman battling depression didn’t make the cut. Instead, the station ran preseason baseball clips.

“She wasn’t allowed to do stories that she wanted to do,” Miller said.

Hill did not respond to a request for comment.

Arrington said she tried to persevere: “I was just hoping the quality of my work would speak for itself.”

In early August 2018, the high-profile investigation into CBS’ culture began. Arrington’s attorney, Bobby Hacker, said he reached out to lawyers conducting the review because of concerns about Arrington’s treatment. But Arrington didn’t get a chance to talk to the investigators.

She was blindsided a week later on Aug. 22, 2018. It was her first day back at work after spending the weekend covering a Rams-Oakland Raiders preseason game. She was summoned to a conference room, where Tara Finestone, the news director who had replaced Dallman in January 2018, told her it was her last day.

Arrington demanded an explanation. She recalls Finestone saying: “We’re not firing you. We are happy with the quality of your work.” Instead, Arrington was told her position was no longer being staffed.

“I thanked her for her contributions and we talked about budgetary reasons,” Finestone told The Times. “Hers was the position that we decided to eliminate.”

More than a year later, Arrington still hasn’t landed a new job and she fears for her future.

“My takeaway from my experience at KCBS is that they were more concerned with protecting political alignments rather than the quality of their on-air broadcasts,” she said.

Colleagues and others also were confused by her abrupt departure. “My dealings with Jill were always first rate,” said Steve Brener, Dodgers spokesman. “She was professional and easy to work with. Then one day, she wasn’t here any more.”

Other station staffers say management decisions can be capricious and punitive. In 2013, Emmy Award-winning KCBS reporter Joy Benedict, who had just become the union shop steward at the station, posted a photo on Facebook of herself playfully posing on a giant chess board while on vacation in Miami with the caption, “Who wants to play with me???” Executives in New York became upset when a TV industry blog reposted the picture. They ordered KCBS managers to fire Benedict over the picture, according to three people with knowledge of the incident. KCBS executives felt that was too harsh of a punishment but they nonetheless assigned Benedict to primarily work less desirable weekend shifts. CBS representatives pointed out that she has since been given additional on-air opportunities at KCBS and CBS News.

Nancy London, who worked at CBS for 34 years, found herself on the outs after years of favorable performance reviews.

Nearly a decade ago, London, who worked at KCBS in technical services, received a new assignment and a new boss. He “harassed and ridiculed” her, she claimed in a lawsuit, alleging age, race and sex discrimination. London is African American. When she complained to HR, she said the situation grew worse. In July 2011, she was confronted by her boss and three other men who “railed upon” her in a group setting, London alleged in court filings. She fainted, requiring medical attention, according to the lawsuit.

A week later, London was fired.

London sued CBS in 2012, alleging wrongful termination. CBS dismissed London’s account as baseless. CBS settled the case in 2013 and did not admit liability. London declined to comment.

Several older CBS workers in L.A. also have alleged that they have been subject to age discrimination. The company also has come under criticism for its use of so-called per diem reporters, some of whom have worked for CBS for decades. These employees refer to themselves as freelancers, but some have been there so long that they jokingly call themselves “perma-lancers.”

Los Angeles relies heavily on per diem talent, according to executives and agents. The system causes resentment because it results in two classes of staff members working side by side. Using more per diem, part-time workers allows the stations to save money on personnel costs.

“People want to work in L.A., so there is a bigger pool of talent,” said one veteran CBS executive. “It comes down to market conditions.”

In the last 18 months, the station hired several new part-time reporters in their 20s. Younger reporters tend to get marquee weekday slots, which has caused resentment among some veterans, according to interviews and a review of KCBS staffing schedules.

In the just-completed November sweeps, KCBS and KCAL tied for sixth place in Los Angeles in viewership to late local newscasts. Market leaders are Walt Disney Co.’s KABC-TV Channel 7 and Univision’s KMEX-TV Channel 34.

“They are trying to cut, cut, cut and it’s taking a toll,” said Ramon, the former anchor who left the station in spring 2018. Ramon, 48, left rather than return to the weekend shift after spending two years filling in on prominent weekday newscasts because she cherished that time with her kids. She said she did not experience sexual harassment, but she didn’t see any opportunity for advancement, particularly because the station was investing in younger workers. “I felt that I was just spinning my wheels,” she said.

Numerous people said the atmosphere at KCBS and KCAL deteriorated after Dallman left.

Six employees told the Times that what they perceived as a hostile atmosphere at the station contributed to their decision to leave it in recent years.

Earlier this year, KCBS employees brought their concerns about stagnant wages and reliance on long-term freelancers to their union, SAG-AFTRA. Nearly two dozen reporters and anchors signed a petition in May. A union representative declined to comment on pending negotiations.

Mauldin denied that women were treated poorly or underpaid and said that the highest-paid talent was 30-year anchor Pat Harvey, a woman.

“We didn’t pay women less than men because they were women,” he said. “We respect everyone. But when you cut back in business, it’s difficult on people.”

CBS has faced workplace complaints in other divisions. Scott Pelley, 62, the respected former anchor of the “CBS Evening News,” told CNN that he lost his job as chief anchor “because I wouldn’t stop complaining ... about the hostile work environment.” CBS also ousted two big names — morning news anchor Charlie Rose and former “60 Minutes” executive producer Jeff Fager — over allegations of inappropriate conduct.

CBS’ board a year ago acknowledged shortcomings. “Historical policies [and] practices ... have not reflected a high institutional priority on preventing harassment and retaliation,” the board said of the investigators’ findings.

At KCBS and KCAL, a new general manager, Jay Howell, arrived in July, after spending the previous year running CBS stations in Pittsburgh.

Some staff members said they doubt reforms will filter down to the local stations.

“I don’t think they care about us,” said one insider, who did not want to be identified out of fear of being punished.

Times staff writer Stacy Perman and staff researcher Scott Wilson contributed to this report.

https://www.latimes.com/entertainmen...ry/2019-12-08/
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TV Sports
Russia banned from international sport for 4 years
By Ali Walker, Politico.com - Dec. 9, 2019

The World Anti-Doping Agency slapped Russia with a four-year ban from participating in international sports, including the Olympics, Monday.

The decision came after Moscow was accused of manipulating athletes’ doping records and falsifying drug laboratory data that was turned over to WADA in January.

While Russia as a nation will be banned from the coming two Olympics, some individual Russian athletes may be permitted to compete, if they can prove in advance that they are clean — as happened at the Pyeongchang 2018 Winter Olympics.

WADA’s executive committee voted unanimously to ban Russia during a meeting in Lausanne, Switzerland. During the meeting, Linda Helleland, the organization's outgoing vice president, accused Russia of “extreme” cheating and “complete denial of the fraud” it perpetrated.

Russia has repeatedly denied wrongdoing in a litany of doping scandals that have blighted high-level international sports this decade. It is expected to appeal the decision to the Court of Arbitration for Sport.

The next summer Olympics will be held in Tokyo in July/August 2020, and the next winter Games will take place in Beijing in February 2022.

https://www.politico.eu/article/russ...pics-ban-wada/
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TV/Awards Notes (Broadcast)
Sesame Street earns TV's first Kennedy Center honor as cast remembers puppeteer Caroll Spinney
By Rachel Yang, EW.com - Dec. 8, 2019

Sesame Street turned 50 years old this year, and what better way to celebrate the milestone than with a Kennedy Center honor?

On Sunday, the iconic children’s show became the first television program to receive the prestigious honor. The annual celebration recognizes artists who have made lasting cultural impacts on society. This year the Kennedy Center also recognized Earth, Wind & Fire; Sally Field; Linda Ronstadt, and Michael Tilson Thomas.

The co-founders of Sesame Street, Joan Ganz Cooney and psychologist Lloyd Morrisett, accepted the honor on behalf of the show, Henson, Muppets artists Caroll Spinney and Frank Oz, and all the artists who helped expand the show.

On the red carpet, the cast wore pinned yellow feathers in remembrance of Spinney, who died earlier today and was the puppeteer behind Big Bird and Oscar the Grouch.

Premiering November 1969 on PBS, Sesame Street featured Jim Henson’s Muppets teaching children the ABCs of life — from the literal ABCs, to physical and mental health, to lessons about hope and overcoming adversity. Kids have grown up alongside famous characters like Big Bird, Elmo, Oscar the Grouch, Bert, Ernie, Rosita, and more.

From its inception, Sesame Street has been praised by parents and critics alike for its progressive and inclusive content, and some of its most poignant episodes touched on topical cultural subjects.

In 2010, Segi, an African-American Muppet, made her first appearance singing about loving her natural hair; Julia, a Muppet with autism, debuted in 2017. Additionally, homelessness, incarceration, Hurricane Katrina, and HIV are all topics that Sesame Street has tackled over its tenure.

The Kennedy Center Honors will broadcast the ceremony on Dec. 15 at 8 p.m. ET on CBS and CBS All Access.

https://ew.com/awards/2019/12/08/ses...aroll-spinney/
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Technology Notes (Mobile)
Apple Is Accused of Kowtowing to Russia and Violating User Privacy
By Don Reisinger, Fortune.com - Dec. 7, 2019

Apple doesn't usually make a lot of news the week after Thanksgiving. But this year is different — and not necessarily in a good way.

The week started off with Apple's responding to criticism about revising its digital map to show that Crimea, recognized by most of the world as in Ukraine, is now part of Russia. Many industry observers said Russian President Vladimir Putin, whose army invaded Crimea five years ago, had "played" Apple and that the company had bowed to political pressure. Apple said it would take a "deeper look" at the matter.

But that wasn't the only controversy. A security researcher this week found that Apple tracks an iPhone's location, even when the user had turned the device off. The company said it would add a new feature that gives users more control over that tracking, but privacy advocates were unsure whether that's enough to safeguard user privacy.

Meanwhile, several news reports purported to lay out Apple's product plans, including for 2020. Another detailed how Samsung is plotting to take the fight to the iPhone next year.

Read on for more about what happen this week:

Where is Crimea?
Apple last week decided to redraw the Apple Maps that users in Russia to see to include Crimea. For users outside of Russia, the map shows that Crimea is still part of Ukraine. After criticism that it had bowed to Russian government pressure, Apple this week said that it's committed to "taking a deeper look" at how it will address border disputes in its maps. Apple added that it made the change in response to a Russian law requiring that Crimea be shown as being part of Russia.

Apple's location-tracking efforts
Apple has touted the control users have over how apps track their locations in iOS. But this week, security researcher KrebsOnSecurity found that Apple's mobile operating system still periodically collects user location information, even after users have turned off location tracking. Apple said in a statement to news site TechCrunch this week that it tracks location because of regulatory requirements that ban the use of certain technologies in unidentified government-chosen locations. Apple needs to know where a phone is to determine whether to turn off those technologies. In the future, however, Apple promised to add a toggle in a future iOS update that would allow users to turn off all location tracking.

Plenty of new iPhones in the works
Apple will release four new iPhones next year, TF International Securities analyst Ming-Chi Kuo wrote in a research note this week. He said that all four models will have the same organic light-emitting diode (OLED) screen technology that Apple already uses in the iPhone 11 Pro and iPhone 11 Pro Max. OLED screens offer brighter colors and more accurate levels of black. They're also thinner than liquid crystal display alternatives, allowing Apple to make slimmer devices. Perhaps most surprisingly, Kuo, who has one of the better track records predicting Apple's plans, said that Apple would eliminate all ports in at least one iPhone model planned for 2021—making it the first iPhone without a port. If so, users would need to go wireless— from charging to connecting headphones to the device.

What's that popping sound?
Some 16-inch MacBook Pro owners are reporting a strange popping sound coming from the notebook's speakers, according to a report from AppleInsider. The Apple-tracking site found a growing number of people in Apple Support forums saying that MacBook Pro speakers sporadically make a "popping" noise during use. Some of those users brought their devices to Apple Store for repairs, but staff didn't know how to do it. Apple has yet to comment about the popping sound, and it's unclear how widespread the problem is. Apple's 16-inch MacBook Pro went on sale last month.

The best Apple apps of the year
Apple released its list of the year's best apps across its many operating systems, including iOS, macOS, and tvOS. Apple chose Spectre Camera, an app that uses artificial intelligence to automatically improve images, as the year's best iPhone app. The top iPad app honors went to sketch design program Moleskine, while the best Mac app was book-publishing tool Affinity Publisher. The Explorers, an app that aims to capture photos and videos of the natural world, was selected as the best Apple TV app. Apple's list was decided by its App Store editors and is not based on the number of downloads, though popularity does factor into the final decision.

Apple Music Awards honor Billie Eilish
This week, Apple announced its first Apple Music Awards, which honors artists in five categories, including artist of the year, breakout artist of the year, and album of the year. The 17-year-old singer-songwriter Billie Eilish dominated this year's awards, earning artist of the year honors, as well as album of the year. Singer, songwriter, and rapper Lizzo was named the breakout artist of the year. For a full list of winners, click here.

One more thing...
Samsung wants to take the camera fight to Apple next year, Bloomberg reported this week. Samsung plans a Galaxy S11 smartphone for early 2020 that uses four rear cameras, including one with a 108-megapixel sensor. The report says Samsung believes it's trailing Apple's iPhones in camera quality and wants to address that in 2020.

https://fortune.com/2019/12/07/apple...rimea-privacy/
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Technology Notes (Gaming)
2K launches new studio focused on the next BioShock
By Andrew Webster, TheVerge.com - Dec. 9, 2019

BioShock is coming back. Today, publisher 2K announced the formation of a new studio called Cloud Chamber, which is already working on “the next iteration” of BioShock. It’ll be the first new entry in the series since BioShock Infinite in 2013 — though it sounds like it’ll be a while before we see the new game. 2K says the title “will be in development for the next several years,” making it a prime candidate for next-generation consoles like the PlayStation 5 and Xbox’s Project Scarlett.

Cloud Chamber will consist of two teams — one on San Francisco, the other in Montreal — and is being led by industry veteran Kelley Gilmore. “We founded Cloud Chamber to create yet-to-be-discovered worlds — and their stories within — that push the boundaries of what is possible in the video game medium,” Gilmore said in a statement. “Our team believes in the beauty and strength of diversity, in both the makeup of the studio and the nature of its thinking. We are a deeply experienced group of game makers, including many responsible for BioShock’s principal creation, advancement and longstanding notoriety, and honored to be part of the 2K family as stewards of this iconic franchise.”

Back in 2014, Irrational Games — the studio responsible for the BioShock franchise — abruptly closed down, while co-founder Ken Levine relaunched the studio in a smaller form under the name Ghost Story. The new studio has yet to release or announce a title.

https://www.theverge.com/2019/12/9/2...-cloud-chamber
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TV Notes
On The Air
MONDAY DEC. 9, 2019 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

ABC:
8PM - The Great Christmas Light Fight (120 min.)
10PM - The Good Doctor
(R)
* * * *
11:35AM - Jimmy Kimmel Live! (Jack Black; comic Michelle Wolf; Allen Stone performs)
12:37AM - Nightline

CBS:
8PM - The Neighborhood
8:30PM - Bob Hearts Abishola
9PM - All Rise
10PM - Bull
(R)
* * *
11:35PM - The Late Show with Stephen Colbert (Saoirse Ronan; journalist Tom Brokaw)
12:37AM - The Late Late Show With James Corden (Alicia Keys guest hosts; singer-songwriter Billie Eilish; Ali Wong)

NBC:
8PM - The Voice (120 min., LIVE)
10PM - Making It
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Timothée Chalamet; model Ashley Graham; film director Bong Joon Ho; Summer Walker performs)
12:37AM - Late Night With Seth Meyers (Filmmaker Quentin Tarantino; Aisling Bea; author Michael Lewis; Coady Willis sits in with the 8G Band)
1:38AM - A Little Late With Lilly Singh (Tony Shaloub; singer-songwriter Ne-Yo)

FOX:
8PM - 9-1-1
9PM - Prodigal Son

THE CW:
8PM - Batwoman - Crisis on Infinite Earths: Part Two
9PM - Black Lightning - The Book of Resistance: Chapter Four: Earth Crisis

PBS:
8PM - Antiques Roadshow: New Orleans
(R)
9PM - Antiques Roadshow: New Orleans
(R)
10PM - Independent Lens: The Witness (90 min.)
(R)

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

TELEMUNDO:
8PM - El Sultán
9PM - El Final del Paraíso
10PM - El Señor de Los Cielos

DISCOVERY:
8PM - Diesel Brothers (Season Premiere, 133 min.)
10:13PM - Twin Turbos (Season Premiere, 62 min.)

DISNEY XD:
8PM - Player Select

ESPN:
8PM - Monday Night Football: New York Giants at Philadelphia Eagles (LIVE)

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

VH1:
8PM - Love & Hip Hop: The Reunion Part 1
9:01PM - Cartel Crew (Season Finale, 120 min.)
* * * *
12:08AM - Black Ink Crew: Chicago (Season Premiere, 57 min.)
1:05AM - Black Ink Crew: Chicago

A&E:
9PM - Live Rescue (120 min.)

FREEFORM:
9PM - Wrap Battle
10PM - Wrap Battle (Season Finale)

GSN:
9PM - America Says: Grammar Girls vs. Family Partiers

HBO:
9PM - His Dark Materials Episode 6

TVONE:
9PM - Fatal Attraction

E!:
10PM - Botched
* * * *
11PM - Nightly Pop

TRU TV:
10PM - Impractical Jokers: Inside Jokes

BRAVO:
11PM - Watch What Happens Live With Andy Cohen (Elizabeth Hurley; Stephen Dorff)
11:30PM - Blind Date

COMEDY CENTRAL:
11PM - The Daily Show With Trevor Noah (Guest TBA; 35 min.)
11:35PM - Lights Out With David Spade (Rick Ingraham, Brendan Schaub & Megan Gailey)

TBS:
11PM - Conan (Laurence Fishburne)


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