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post #34411 of 34445 Old 02-14-2020, 08:26 AM
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Originally Posted by danlshane View Post
Well, I hope it finds the same quality of humor in Season 2 that it displayed in the first two episodes. Those were great and showed a lot of promise for the series. But starting with episode three the writers began to rely more heavily on potty humor and less on genuinely inventive funny stuff, and I think I only laughed aloud once per show.
If you got 3 laughs out of that turkey ['Avenue 5'] in 4 eps, that's 3 more than I got. Gave it plenty of chances and was impressed by the money they spent on it, but finally deleted the season pass. Not my cuppa' comedy joe. But that's why they're making 500 scripted series a year now! Something for everyone...
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post #34412 of 34445 Old 02-14-2020, 08:36 AM
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Well, some good news for Ray Donovan fans:

‘Ray Donovan’ will get a proper ending after sudden cancellation

https://pagesix.com/2020/02/13/ray-d...-cancellation/
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post #34413 of 34445 Old 02-14-2020, 12:28 PM
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TV Notes (Streaming)
Lucifer Twist: Netflix Wants to Keep the Show Going Beyond 'Final' Season 5
By Michael Ausiello, TVLine.com - Feb. 13, 2020

EXCLUSIVE: How’s this for a devil of a twist: Netflix is not ready to part ways with Lucifer.



https://tvline.com/2020/02/13/lucife...newed-netflix/
This is not all that surprising given the strong performance "Lucifer" has shown in the weekly streaming ratings. The 4th season released back in May of '19 and the show is still in the top 10 or just out it and has been since its May release.
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post #34414 of 34445 Old 02-14-2020, 08:19 PM - Thread Starter
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TV Notes (Streaming)
'Insatiable' Canceled After Two Seasons on Netflix
By Rick Porter, The Hollywood Reporter - Feb. 14, 2020

Netflix has canceled its dark revenge comedy Insatiable after two seasons.

The streamer confirmed the show's end following a tweet from castmember Alyssa Milano, who responded to a question about the show's future with, "We will not be coming back, sadly."

The series stirred up controversy in its first season over its portrayal of a formerly overweight girl (Debby Ryan) who loses 70 pounds and becomes a pageant queen who exacts vengeance on people who have wronged her. The second season, which debuted in October 2019, arrived much more quietly. Even Milano's tweet about the cancellation slipped under the radar for more than a week before Netflix confirmed the show's end.

Insatiable was originally developed at The CW, which passed on a series order. Netflix then picked it up for an August 2018 premiere. Even before the series debuted, it drew criticism for its perpetuation of the "toxicity of diet culture" and objectification of women's bodies, according to a Change.org petition that drew some 288,000 signatures. In the show, Ryan's character loses 70 pounds over a summer after being forced to go on an all-liquid diet when her jaw is wired shut.

Creator Lauren Gussis told The Hollywood Reporter that she based the series in part on her own experience and used the radical weight loss for Ryan's character to comment on the trope of thin equaling popular.

"I wanted to tell in theory a story where the characters' desires are deeply rooted in real human emotion, but the things that happen are so crazy that it's less scary to have a conversation when you know you're in a world that isn't quite reality," she said.

Insatiable joins a list of shows on Netflix that have lasted just one or two seasons. In the past few months, the streamer has ended ice-skating drama Spinning Out (one season), musical drama Soundtrack (one season), post-apocalyptic teen comedy Daybreak (one season), The OA (two seasons), animated comedy Tuca & Bertie (one season) and its revival of Mystery Science Theater 3000 (two seasons).

Like other streaming platforms, Netflix doesn't release traditional viewing data. It makes renewal decisions based on internal metrics (including the number of users who complete a season), weighed against the cost of production to determine whether that money would be better used by reinvesting in a current series or mounting a new one.

https://www.hollywoodreporter.com/li...etflix-1279416
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post #34415 of 34445 Old 02-14-2020, 08:21 PM - Thread Starter
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TV Notes (Broadcast)
Hawaii Five-0 Adds MacGyver Alum Lance Gross as Potential Series Regular
By Matt Webb Mitovich, TVLine.com - Feb. 14, 2020

MacGyver alum Lance Gross is returning to the Lenkoverse with a potential series regular role on Hawaii Five-0.

Per our sister site Deadline, Gross will appear in back-to-back April episodes of the CBS drama as Lincoln Cole, a decorated former Marine Gunnery Sergeant with the Fleet Anti-terrorism Security Team (which I really hope goes by the cool acronym F.A.S.T.). When Cole finds himself potentially in harm’s way, Five-0 is brought in to protect him.

Should Five-0 get picked up for Season 11, Gross could continue on as a series regular, joining Alex O’Loughlin, Scott Caan, Meaghan Rath, Chi McBride, Beulah Koale, Ian Anthony Dale, Katrina Law and others.

In addition to his arc as MacGyver bounty hunter Billy Clayton, Gross’ previous TV credits include the role of House of Payne‘s Calvin, the heroic lead in NBC’s Crisis, Sleepy Hollow and, most recently, Star, where he has played Maurice Jetter.

Five-0 airs Fridays at 9/8c, on CBS.

https://tvline.com/2020/02/14/hawaii...oss-season-10/

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post #34416 of 34445 Old 02-14-2020, 08:28 PM - Thread Starter
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TV Review (Broadcast)
NBC's musical 'Zoey's Extraordinary Playlist' will make you wanna dance with somebody
By Kelly Lawler, USA Today - Feb. 14, 2020

NBC wants to give you something to sing about.

"Zoey's Extraordinary Playlist" (Sundays, 9 EST/PST, ★★★ out of four), centers on Zoey (Jane Levy, "Suburgatory"), a woman who, after an MRI mishap, hears other people's thoughts through elaborate song and dance numbers.

When a stranger needs help? He or she sings "Help" by the Beatles. Someone with a crush might sing "Sucker" by the Jonas Brothers. A colleague working through grief sings "Mad World" by Gary Jules. All the while, only Zoey can hear the songs and see the accompanying dance moves.

Strange and ambitious concept? Absolutely. But when it comes to executing what is essentially "X-Men" telepath Professor X trapped in the "Glee" classroom, "Zoey" hits most of the right notes. Created by Austin Winsberg ("Gossip Girl," "The Sound of Music Live!"), the series happily embraces its musical numbers with gusto and builds a strong stable of characters – and talented voices such as Peter Gallagher, Skylar Astin, Mary Steenburgen and Lauren Graham – to sing them. There is certainly room for improvement, but the cast is so charming and the tone so joyful that "Zoey" carries itself through a few early hiccups.

Zoey is a quiet, less-than-confident computer programmer living in San Francisco when she goes through her life-changing MRI. At work, she's having a tough time interviewing for a promotion, while in her personal life, she and her family struggle with her father Mitch's (Peter Gallagher) degenerative neurological disorder, which renders him mostly paralyzed and unable to communicate.

The power of mind-reading through song helps Zoey realize which of her co-workers really has her back (not many) and that her best friend, Max (Astin), is in love with her. In the first episode's best scene, she's able to communicate with her father after so much silence between them. Zoey confides her secret power only to her gender-fluid neighbor, Mo (Alex Newell), a DJ who offers advice both musical and spiritual.

In the first four episodes, there isn't a lot of depth to the stories or the way the songs are used, other than Mitch's scenes. Mostly, the lyrics of the songs serve as a bridge to the emotions of Zoey's friends, family and acquaintances. You almost wish the series made the audience work for it a little more. Maybe there was a subtler choice to be made than when Zoey's boss Joan (Graham) is unsatisfied in her crumbling marriage and sings "(I Can't Get No) Satisfaction" by the Rolling Stones?

"Zoey" does, occasionally, make more nuanced musical choices. After Max sleeps with his new girlfriend, he doesn't bust out "The Lonely Island" song "I Just Had Sex," but instead belts out a jubilant opera tune. The moment is all the funnier for the implication rather than an explanation.

The series ventures a bit into "Joan of Arcadia" territory, the 2003-05 CBS series that also starred Steenburgen, when the songs follow Zoey around until she starts helping the singers. That raises questions about the mechanics of her power (and the basic plot of the show) that the writers have yet to answer. Is Zoey an angel? A superhero? Is there more magic in the world? Or is it really all just science?

"Zoey" has a magnetic cast and – most importantly – an incredible flair for staging its musical numbers. The songs are visually interesting even if there aren't coordinated background dancers. Putting together a TV musical is no small feat. The live musical event trend has had more than its share of duds, from "Rent" to "The Little Mermaid" and "Peter Pan," in part because the people behind them didn't quite grasp what makes a musical tick.

If nothing else, "Zoey" is a celebration of the unabashedly joyful, big and loud musical number. After sing-song wonders "Crazy Ex-Girlfriend" and "Glee" left the air, that's enough to win the hearts of theater nerds.

Beyond its music, the series needs a little "Help" to become great. But all signs, musical or not, indicate it will eventually get there.

https://www.usatoday.com/story/enter...es/2807427001/
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post #34417 of 34445 Old 02-14-2020, 08:33 PM - Thread Starter
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Nielsen Overnights (Broadcast)
Primetime Ratings: ABC Wins With ‘Grey’s’
By Michael Malone, Broadcasting & Cable - Feb. 14, 2020

ABC had the top rating in Thursday primetime, with Grey’s Anatomy leading the Alphabets to a 0.9 in viewers 18-49, per the Nielsen overnights, and a 5 share. That topped the 0.7/4 that CBS rated.

Station 19 got a flat 0.9 on ABC and Grey’s was down 9% at 1.0. A Million Little Things fell 14% to 0.6.

CBS had Young Sheldon at a flat 1.0 and The Unicorn up 14% to 0.8. Mom got a 0.8 and Carol’s Second Act a 0.6, both up a tenth from last week, then drama Tommy was level at 0.4.

Fox got a 0.6/3 and NBC a 0.5/3. Fox had Last Man Standing down 25% to 0.6. Outmatched and drama Deputy both lost a tenth to weigh in at 0.5.

NBC had Superstore at 0.6 and Brooklyn Nine-Nine at 0.5. Will & Grace got a 0.4 and Indebted a 0.3. Law & Order: SVU posted a 0.7. Everything on NBC lost a tenth of a point last night.

Univision scored a 0.5/3 and Telemundo a 0.3/2. Univision had Ringo, Amor Eterno and Rubi all at a flat 0.5.

Telemundo had Exatlon Estados Unidos at 0.4 and La Dona at 0.3, then Operacion Pacifico at 0.3. All three series were flat.

The CW scored a 0.2/1. Katy Keene dropped a tenth to 0.1 and Legacies a level 0.2.

https://www.broadcastingcable.com/ne...ins-with-greys
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post #34418 of 34445 Old 02-14-2020, 08:37 PM - Thread Starter
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TV/Production Notes (Cable)
Jude Law, Taika Waititi Team on Showtime Limited Series ‘The Auteur’
By Justin Kroll, Variety.com - Feb. 14, 2020

With the second season of “The New Pope” about to premiere on HBO, Jude Law has zeroed in on his next TV project, teaming up with one of Hollywood’s most sought-after directors.

Sources tell Variety that Law is in talks to star in Showtime’s limited series “The Auteur,” with “Jojo Rabbit” director Taika Waititi on board to exec produce, as well as direct some of the episodes. Since the show is still in development, it’s unknown how many episodes Waititi would direct. Taika will also co-write the show with Peter Warren.

Law is exec producing the series as well. Showtime had no comment on the project. Eric Gitter of Closed on Mondays is also and EP on the project. The show is from endeavor content and legendary entertainment and is based on the graphic novel The Auteur’ is by James Callahan and rick spears.

Sources say the series, told from the point of view of an eccentric “auteur” played by Law, is a satire on Hollywood. It’s unknown when the show will go into production as Law is about to start shooting the third installment in the “Fantastic Beasts” franchise, while Waititi will commence production on “Thor: Love and Thunder” later this year.

Law has already had a strong beginning to 2020, starting with the second season of his HBO show “The New Pope,” which also stars John Malkovich. On the film side, he was recently seen in the Paramount thriller “Rhythm Section,” opposite Blake Lively, and also had “The Nest” bow at the Sundance Film Festival. In 2019, he appeared in his first Marvel movie, “Captain Marvel.”

Waititi is coming off an Oscar win for best adapted screenplay for “Jojo Rabbit” and also just finished production on the Searchlight Pictures dramedy “Next Goal Wins,” which stars Michael Fassbender. He is currently writing “Thor: Love and Thunder,” with Chris Hemsworth reprising his role as the God of Thunder. The movie is expected to go into production later this year.

Law is repped by WME and Julian Belfrage Associates. Waitit is repped by CAA and Manage-ment.

https://variety.com/2020/tv/news/jud...ur-1203452596/
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post #34419 of 34445 Old 02-15-2020, 05:03 AM - Thread Starter
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Technology/Business Notes (OTT)
Redbox launches an ad-supported streaming TV service
By Taylor Lyles, TheVerge.com - Feb. 14, 2020

This week, DVD kiosk company Redbox quietly launched an ad-supported online video streaming service. It’s still in a limited release, but you can check it out right now in your web browser or through the Redbox Android and iOS mobile apps.

Free Live TV’s layout is similar to other ad-supported live TV services like Xumo. It offers specific channels like Film Rise and The Pet Collective as well as general categories like Comedy, Epic Viral Videos, and Celebrity & Entertainment News. These include curated movies and TV shows like Forensic Files and The Accidental Husband.

I took a look at Free Live TV and noticed that the offerings are basic. Sure, you can watch compilations of Steve Harvey’s best moments on Family Feud and listen to the latest gossip from TMZ. But the service certainly doesn’t have a lot of the content you’d find in a traditional TV package, and you can find more channels on Xumo on your mobile device, smart TV, or a media player like Roku, although you need to create an account to access Xumo’s offerings.

Before Free Live TV, Redbox experimented with streaming with On Demand, an on-demand video service launched by the company in late 2017. It allowed users to make a one-time payment to rent or purchase movies and stream them instantly.

https://www.theverge.com/2020/2/14/2...launch-rollout

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Technology/Critic's Notes (Mobile)
Samsung Galaxy S20 Ultra hands-on: Great camera, but hype misleading
By Jefferson Graham, USA Today - Feb. 14, 2020

SAN FRANCISCO, Calif. – Beware, smartphone buyers of the marketing hype from Samsung for its new Galaxy S20 Ultra phone, introduced Tuesday. The specs – "100X Space Zoom" – make it sound actually superior to a top-of-the-line pro-level DSLR.

Based on the pre-production model I checked out at a press preview, it seems like a nice camera in a really expensive phone, even pricier at $1,400 than Apple's top-of-the-line $1,100 iPhone 11 Pro Max.

But when Samsung says: "This is the phone that will change photography," sorry, but it's "emperor has no clothes" time. At least, so it seemed to me in my limited time checking it out. The final version will be released March 6.

Try some of the touted advanced features of the S20 Ultra, as I did in a 30-minute hands-on at the Samsung Unpacked event, and you could be very disappointed. I predict you'll try them once, and never go back to them again.

"Zoom in 100x to find shots you never knew existed."

That's what Samsung says.

Like, say, a wide shot of a baseball field, and then zoom in for a close-up of a ball player's face.

Do so, and you'll be sorry, because the image will probably be pixilated and not sharp. You'll be able to tell that there's a ball player in there, but it won't look good.

The previous model, the S10, has a "2X" zoom, which means it brings you just a little closer to the action. The advancement – and Samsung gets kudos for this – is that it added "10x Hybrid Optic Zoom," which did indeed seem great when I checked out the S20 Ultra.

Samsung should have quit while it was ahead and just featured this. The 10X zoom feature is really cool, and something you won't find on an iPhone or previous Galaxy model.

In other words, you can zoom in a little bit, at 10x, and it will look pretty good. Zoom in all the way at 100x, and you won't end up with an award-winning Sports Illustrated cover. Far from it.

There are 3 models of the S20, the plain S20, S20 + and S20 Ultra, with each model slightly larger than the other. Like on the S10, all three have ultra-wide, wide angle and telephoto focal lengths, but at higher resolution than before.

For the S20 Ultra, I tested the zoom by taking portraits of a Samsung exec. At the small range of 2x and 10x and even 30x, all looked good. But when I got to 100x, first, the camera was so shaky at the closeup range that it was hard to identify his features. And when I got to his eyes at the 100x level, they were dark and the image was very grainy.

Forget the hype for "100x zoom." It's not a zoom but in fact, software trickery that just crops the living daylights out of the image. It's not zooming in at all, just blowing up a spec of the image.

Caveats

Samsung held its event at the swanky Palace of Fine Arts here and invited media to go hands-on with the phones for 30 minutes tops. But we weren’t allowed to leave the facility to take photos outside – where the Golden Gate Bridge and a beautiful February afternoon was just begging us to be out there showing the phone camera to its utmost potential. Instead, we had to shoot in a dreary room. Nor were we allowed to send the images taken on the phone to ourselves for publication here. Instead, we had to photograph the images on the phones.

Thus, the images you're looking at here clearly look better than they do, and I reserve final judgment for seeing them on the computer screen, 15 inches high on my laptop.

Samsung sells more phones worldwide than any other company, but the premium Galaxy line is No. 2 to the Apple iPhone, which is the most popular individual phone. Samsung has for several years been trying to catch up to Apple, usually by introducing new features the iPhone doesn't have. They usually get copied by Apple, like in 2019 when three camera lenses were offered on premium iPhones, like on the S10 earlier in the year.

Let's get geeky and talk megapixels for a moment. Basically, the number of pixels in a camera means sharper resolution, especially when compared with a great sensor. Most DSLRs in the $2,000 and up range have about 25 megapixels. Most premium smartphones have 12.

The new Galaxy S20 Ultra has 108 megapixels, and because it has so many, Samsung says it can crop so much of the image to blow up little portions. But as I said, that sure didn't work for me in my brief time with the phone.

Video

Samsung has a new feature that lets you shoot video in 8K resolution, which is basically twice that of 4K, 7680x4320 versus 3480x2160. Great. But for watching it, you're pretty much stuck to on your screen, unless you happen to have an 8K TV at home. As always, the S20 has a beautiful screen. You can also share the video to YouTube, which will play it in 8K, but if you have an older phone that doesn't support 8K – which is most phones, you'll be watching in 4K, probably.

The three new Galaxy phones are all pricey, starting at $999, $1,199 and $1,399.

The line “Only the Ultra has the 10x optical zoom, while the other two have 3X optical zoom.”

Galaxy Z Flip

I also got some brief time with the Z Flip, which at $1,380, is an incredibly cute, but oh so pricey new entry from Samsung.

I found two photography bonus points on the Flip. First, after you unfold it, you can adjust to have the images on one side of the screen and use the other as a scrolling mechanism, which made it a nice way to view photos.

More importantly, for the time-lapse fan in your home, you can fold the phone in two, and have the camera portion sitting upright, which would enable you to make a time-lapse without having to use a tripod.

https://www.usatoday.com/story/tech/...on/4731354002/
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post #34421 of 34445 Old 02-15-2020, 05:17 AM - Thread Starter
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Feb. 15, 2020

CASABLANCA
TCM, 8:00 p.m. ET

This 1942 film classic is what movies are all about. A love story told in its time, of its time – it was made and released as WWII was being fought – Casablanca has become a romance movie for the ages. Several generations have embraced it anew, but if that’s going to keep happening, places like TCM will have to keep showcasing this Humphrey Bogart-Ingrid Bergman drama, and reminding people just how special it is. And so will critics like me. And tonight, we’re all doing our part. So if you still haven’t seen Casablanca, now’s the time to do your part. Many of my college students, this means you…

SEVEN WORLDS, ONE PLANET
BBC AMERICA, 9:00 p.m. ET

You know, by now, how superb this nature series is. And it continues tonight, with an episode devoted to Europe. And you don’t need the Internet to check out these lynx…


http://www.tvworthwatching.com/
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TV Review (Streaming)
'Visible: Out on Television' (Apple TV+)
By Inkoo Kang, The Hollywood Reporter - Feb. 14, 2020

By most measures, the LGBTQ movement has achieved a staggering rate of progress in a relatively brief period of time. Though change is still too slow for some, it's worth taking stock of how we went from, say, psychiatric manuals decreeing homosexuality a mental illness to gay marriage becoming the law of the land within half a century. How did such rapid headway happen? One possible answer: television.

That's the premise of Visible: Out on Television, a five-part Apple TV+ documentary that serves as a companion piece to 1995's film-focused The Celluloid Closet. Directed by Ryan White (Ask Dr. Ruth, The Case Against 8, Netflix's The Keepers), Visible is exactly what it should be: a cultural history of queer representation on the small screen that contextualizes that progress within the larger fight for LGBTQ rights and developments within TV itself. Spanning seven decades, Visible is comprehensive and fast-paced without sacrificing analytical depth. Even those well-versed in the subject should encounter surprises — in the personal accounts of TV personalities like Tim Gunn and executive producer Wilson Cruz, the impressive range of television programming covered here or the careful attention to the intersectional differences between, say, gay men and lesbians, or cis queers and trans or nonbinary folks. It's what this richly variegated, sometimes painful, often stirring history deserves.

A cynical way of looking at Visible might be as a celebration of TV by TV — a party thrown for a set of pictures while actual people are suffering and dying. But the documentary quickly dispels such skepticism by reminding viewers that a potential "weapon" like television — a nonstop stream of stories and spectacle (with their attendant points of view) with little to no barrier to access — can easily be repurposed into an empathy machine. Oprah Winfrey, one of the dozens of celebrities interviewed (along with writers and activists), says of the importance of representation, "When you see images that are reflective of your own life, it's a reminder to you that your life matters." And for queer people and possible allies who had few other LGBTQ reference points, especially before the Internet era, TV could be a lifeline.

It's probably not a coincidence that Visible is arguably most fascinating in its earliest installments, which cover an era when television had fewer competitors for eyeballs, and thus enjoyed a corresponding level of influence. Anti-queer tropes, like the homicidal lesbian or the "bury your gay" formula (in which LGBTQ characters ended up dead by suicide or murder by the end of the story), are traceable back to this era, when government policies prohibited any positive portrayals of homosexuality. White gives Norman Lear his due for the sympathetic queer characters on All in the Family and The Jeffersons while grappling with the compromises often necessary in pioneering instances of representation. (In the case of All in the Family, a drag performer charms Edith, and the hate crime that leads to her death a few days before Christmas leads to the end of Mrs. Bunker's religious faith. It was a genuine landmark of compassionate queer representation then, but in 2020, we'd probably call that storyline a form of queer fridging.)

Visible also painstakingly unearths long-forgotten TV movies like A Question of Love and An Early Frost — a lesbian romance and an AIDS drama, respectively, that prove queer programming existed long before Ellen and Will and Grace. (An actress on A Question of Love recalls that the network dictated no more than three instances of touching and absolutely no kissing — and so a search for a distinctly Sapphic tenderness led to the lovers brushing each other's hair.)

But the documentary also argues persuasively that, perhaps even more than characters designed to pull on heartstrings, it was necessary to see real-life LGBTQ people — on the news, clamoring for more government action to fight AIDS, on reality shows like The Real World and Survivor and on reputable talk shows like Winfrey's. Meanwhile, sports stardom gave trans women Christine Jorgensen, Renee Richards and Caitlyn Jenner the opportunity to introduce transgender people to their respective generations — and in Jenner's case, illustrated the breadth of privilege and politics that can exist within queer circles.

Visible is similarly attuned to the sheer variety of ways queer audiences have been betrayed by the shows they love. The road toward authentic representation is paved with accommodations and trade-offs, like gay male characters in the 1980s getting into romances with women and the overwhelming whiteness of LGBTQ characters on screen even today. White also covers the queer-baiting of the '90s, when same-sex kisses were dangled in front of audiences during sweeps.

But the worst of that decade had to be the tabloid-flavored, gawk-at-the-freaks talk shows like Jerry Springer's, where trans women would be paraded out alongside a cis one so the studio audience could "guess which one is the real girl." And if you, like me, had only the haziest memory of the homophobic murder that arose from a segment on The Jenny Jones Show, well, prepare yourself.

Television has always been the product of a marriage between art and commerce, and so Visible might have been stronger if it gave more consideration to the money side of the boundary-pushing equation. The 1985 AIDS-themed TV movie An Early Frost, starring Aidan Quinn and Gena Rowlands, for example, was a groundbreaking work nominated for 14 Emmys, awarded three and viewed by 34 million people, but it could only scrounge up one advertiser — for the Bible. Did CBS execs falter? How did the giant audience affect their decision-making before and after? Visible leaves us in the dark.

Likewise, one of the many deeply affecting personal interviews in the doc is with Ellen DeGeneres, who recalls "begging" ABC suits to let her come out of the closet. It would've been illuminating to hear how a network president juggled ratings pressure with social advancement, or how long it might have taken him or her to view that debate in those terms.

Inevitably, Visible's final chapter, titled "The New Guard," is its weakest, as it's chronicling an era we're still living in. The usual suspects, like Glee and Pose and RuPaul's Drag Race, are name-checked, but the episode is also honest about the ways queer representation continues to disappoint many LGBTQ viewers and prompt backlash in the world at large. And as exhaustive as the documentary is, there's a good chance that your favorite queer show or character doesn't make it on screen. Mine — Euphoria, Work in Progress and The Other Two — sure didn't. But that absence is probably the best unseen epilogue that can be affixed to Visible — there's too much to cover in even five hours. White has created a fantastic and fair-minded account of the first several decades of LGBTQ representation. But in another half-century, I hope it's ancient history.

'Visible: Out on Television'
Premieres Friday, Feb. 14 on Apple TV+
The Bottom Line: An essential and inclusive history.


https://www.hollywoodreporter.com/re...review-1279375

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TV Notes (Cable)
‘Live PD: Wanted’ Renewed By A&E For Season 2 Of Tracking Down The Bad Guys
By Bruce Haring, Deadline.com - Feb. 14, 2020

The original documentary series Live PD: Wanted has been greenlit for season two. Produced by MGM’s Big Fish Entertainment, the new season premieres on Thursday, February 27 at 9pm ET/PT.

Hosted by Tom Morris Jr. with analysis from crime journalist Michelle Sigona and Sheriff Mark Lamb of the Pinal County Sheriff’s Office (AZ), Live PD: Wanted” enlists the Live PD Nation and the public for tips and leads to track down suspects on the run from the law.

Each week, camera crews ride along with America’s police departments, sheriff’s offices, and federal task forces on their hunt for fugitives. Morris Jr., Lamb and Sigona break down the cases and activate the Live PD Nation to solve them.

The show was officially renewed the day after a big success story: the arrest of Melody Bannister by the US Marshals Office and the Hendricks County (IN) Sheriff’s Office, thanks to tips received on Dec. 12 via the show.

“Tips…drove the investigation into the direction which ultimately led investigators to Melody Bannister and her children’s location,” said Senior Inspector William “Hank” Martin, U.S. Marshal.

Bannister, who was featured on the Dec. 12 episode, abducted her four children and had been on the run since June 14, 2019. She was apprehended in Hendricks County, IN, and the children were found safe. Bannister was wanted on one count of a violation of a court order, four counts of abduction, and one count of filing a false police report.

Live PD®: Wanted is inspired by Morris Jr.’s signature “Wanted” segment that airs on Live PD. Viewer tips have led to the apprehension of over two dozen dangerous fugitives across the country.

The show is produced for A&E by Big Fish Entertainment, an MGM Company. Executive producers for Big Fish Entertainment are Dan Cesareo, Lucilla D’Agostino, John Zito, Philip Alongi and Joe Venafro. Executive producers for A&E Network are Elaine Frontain Bryant, Shelly Tatro, Sean Gottlieb, and Brad Abramson.

https://deadline.com/2020/02/live-pd...ae-1202860744/
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TV Notes
On The Air
SATURDAY FEB. 15, 2020 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 Rookie
(R)
9PM - The Rookie
(R)
10PM - The Rookie
(R)

CBS:
8PM - God Friended Me
(R)
9PM - NCIS: New Orleans
(R)
10PM - 48 Hours: The Plot to Kill Dr. Sievers

NBC:
8PM - NHL Hockey: Los Angeles Kings vs. Colorado Avalanche (3 hrs., LIVE)
* * * *
11:29PM - Saturday Night Live (93 min.)
(R)

FOX:
8PM - Boxing: Caleb Plant vs. Vincent Feigenbutz (LIVE)
* * * *
11PM - Inside PBC Boxing (60 min.)
(R)

PBS:
8PM - Austin City Limits: Brandi Carlile
(R)

UNIVISION:
7:55PM - Fútbol Mexicano Primera División: América vs. Atlas (LIVE)
10PM - Nosotros Los Guapos
10:30PM - Nosotros Los Guapos

TELEMUNDO:
7PM - Movie: Romeo Must Die (2000)
9PM - Movie: Man on a Ledge (2012)

NBCSN:
7PM - Motocross Racing, Monster Energy Supercross: Tampa (3 hrs., LIVE)
* * * *
11PM - FIS Alpine Skiing, World Cup: Women's Giant Slalom
Midnight - FIS Freestyle Skiing, World Cup: Slopestyle
1AM - FIS Snowboarding, World Cup: Halfpipe (90 min.)
2:30AM - Biathlon, IBU World Championships: Men's 10km Sprint (60 min.)

CBSSN:
8PM - College Basketball: Seton Hall at Providence (LIVE)
10PM - College Basketball: BYU at San Diego (LIVE)

ESPN:
8PM - College Basketball: Virginia at North Carolina (LIVE)
10PM - College Basketball: Gonzaga at Pepperdine (LIVE)

ESPN 2:
8PM - College Basketball: Northern Iowa at Loyola-Chicago (LIVE)
10PM - College Basketball: Washington at UCLA (LIVE)

ESPN U:
8PM - College Softball, St. Pete Clearwater Elite Invitational: South Carolina vs. Washington (LIVE)
10PM - College Basketball: Utah State at Fresno State (LIVE)

FREEFORM:
8PM - Movie: The Thing About Harry (2020)

LIFETIME:
8PM - Movie: You Can't Take My Daughter (2020)

NICKELODEON:
8PM - Henry Danger
8:30PM - All That
9PM - The Substitute

OXYGEN:
8PM - Up and Vanished (Series Premiere)

TNT:
8PM - 2020 NBA All-Star Saturday Night (LIVE)
10:30PM - Inside the NBA All-Star Roast (60 min., LIVE)

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

BBC AMERICA:
9PM - Seven Worlds, One Planet: Europe (89 min.)*
*
(simulcast on AMC, IFC and Sundance Channel)

GOLF:
9PM - LPGA Tour Golf: ISPS Handa Australian Open, Final Round (5 hrs., LIVE)

HALLMARK:
9PM - Movie: The Secret Ingredient (2020)

OWN:
9PM - Family or Fiancé
10PM - Iyanla, Fix My Life

ADULT SWIM:
11PM - My Hero Academia
11:30PM - Dr. Stone
Midnight - Sword Art Online: Alicization - War of Underworld
12:30AM - Demon Slayer: Kimetsu no Yaiba
1AM - Food Wars!
1:30AM - Black Clover
2AM - JoJo's Bizarre Adventure: Golden Wind
2:30AM - Naruto: Shippuden
(R)
3AM - The Promised Neverland
(R)
3:30AM - Attack on Titan
(R)


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

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TV Review (Cable)
'Slow Burn' (Epix)
By Daniel Fienberg, The Hollywood Reporter - Feb. 14, 2020

After the rhetorical wheel-spinning and constitutional inevitability of the past few months, are you still suffering from impeachment fever? First off: It's probably time to seek more advanced medical treatment. Second off: Epix's Slow Burn may offer a salve.

Based on the popular podcast, the six-hour TV incarnation of Slow Burn is a resonant dive into Watergate and its inexorable contribution to the fall of Richard Nixon, told in a way that will be borderline revelatory to those who only know All the President's Men and offering just enough new material and visual embellishment to reward those who have already listened to this story.

Still hosted by Slate's Leon Neyfakh, the Epix Slow Burn ostensibly begins with the same conceit as the podcast: You think you know the story of Watergate, but here are the stories that you don't necessarily know as well, the on-the-ground catalysts that were crucial in the moment but maybe have been lost in the swirl of time. Here again, those featured figures include Martha Mitchell, popular enough at the time to have been a guest on Laugh-In; crusading and long-serving congressman Wright Patman; and radio conspiracy theorist Mae Brussell. The series takes a fittingly slow-burn approach that doesn't get us to the Saturday Night Massacre and nascent impeachment process until the sixth hour-long episode.

Epix and series producer Left/Right (The Circus) may have less faith in their respective audiences than Slate did its listeners; the TV series feels like it has to fill in more rudimentary gaps than the podcast, creating occasionally whiplash-y pivots between "the story behind the story" and "the story you already know, just in case you don't remember it." Thankfully, it never feels insulting, just a wee bit pandering.

The talking heads, some of whom previously did the podcast, run a wide gamut, with the show making the most of the subjects still available nearly 50 years after the historic events. You've probably seen John Dean and perhaps Alex Butterfield talking Watergate before, ditto ubiquitous period historian Rick Perlstein (Nixonland), but there are captivating major players crucially captured on film while they're still around. Watergate burglar Eugenio Martinez is a key anchor of the third episode and Lowell Weicker, the last living Senator from the Watergate committee, is essential to later episodes. Simply by virtue of their youth at the time, many of the best interview subjects are the low-level researchers and assistants from various investigations — like married couple Mark and Mary, who had their first date on the night of the Watergate break-in and whose entire couple origin story plays like the best When Harry Met Sally romantic cutaway possible.

Also standing out are reporters like Lesley Stahl and Connie Chung, both in the earliest stages of their careers during the Nixon Administration. You may think you know what to expect from these two savvy veterans, but you truly haven't lived until you've heard Chung's very, very similar Richard Nixon, Walter Cronkite and Barbara Jordan impressions. Chung is one of the few subjects who directly connects the events of Watergate to what's happening in Washington today, though it's hard to imagine any viewer not making a few leaps when watching Nixon stooges rant about the media and looking to evade subpoenas. The series' exploration of what "bipartisanship" meant in 1973 and the complicated role it played in the release of the Nixon tapes may fuel nostalgia even from those who weren't alive at the time.

Visually, the opening up of the Slow Burn world includes trips to Miami for Martinez and to Mitchell's hometown in Arkansas, but mostly it's limited to archival footage. When it's forced to rely on audio, the series indulges visual expansions like uncommitted snippets of animation and pensive noodling around on a set designed to look like a kitschy '70s living room, forcing viewers to wonder if this minimalistic approach is better or worse than a generic re-enactment. The high drama of Watergate is, fortunately, gripping enough that Slow Burn is satisfying and timely without the additional flourishes.

'Slow Burn'
Premieres Sunday, Feb. 16, at 10 p.m. ET/PT on Epix.
The Bottom Line: Enough new topics and interviews to stand on its own.


https://www.hollywoodreporter.com/re...review-1278413
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No political comments, please.

Technology/Washington Notes

Amazon pauses Microsoft’s $10 billion Pentagon contract as trial proceeds
By Kim Lyons, TheVerge.com

A judge has issued a temporary injunction against the Pentagon’s Joint Enterprise Defense Infrastructure (JEDI) cloud contract, preventing the contract from moving forward until a lawsuit from Amazon is resolved.

Amazon has claimed that it lost out on the $10 billion contract because of President Donald Trump’s personal animosity toward Amazon CEO Jeff Bezos and The Washington Post, which Bezos owns. Amazon argued that the process of granting the contract had “clear deficiencies, errors and unmistakable bias.”

The judge’s decision is sealed, so we don’t know the reasoning behind it. A redacted version of the decision is set to be made public in two weeks after both parties have reviewed the document for competition-sensitive information.

Pentagon spokesman Lt. Col. Robert Carver said in a statement that the DoD was “disappointed” with the ruling and that “the actions taken in this litigation have unnecessarily delayed implementing DoD’s modernization strategy and deprived our warfighters of a set of capabilities they urgently need.” He added that the agency was “confident” in its awarding of the JEDI cloud contract to Microsoft.

Trump has been feuding with Bezos since early in his term, at one point threatening to upend Amazon’s relationship with the US Postal Service. Some of the hostility may stem from Bezos’ ownership of The Washington Post, which has vigorously reported on the excesses of the Trump administration. Earlier this month, Bezos traded barbs with White House adviser Peter Navarro over an unrelated conversation about counterfeit products on Amazon.

Trump said in July that he was looking into the contract following complaints about the bidding process, giving rise to widespread concerns about political influence in the procurement decision. The contract was awarded to Microsoft in October.

In a deposition filed yesterday, a Pentagon official said any delay in implementing the new system would be immensely expensive for the government, estimating “financial harm of between $5 and $7 million dollars every month that performance of the JEDI contract is delayed.”

Amazon may end up on the hook for that money if the company loses its case. As part of the order, the company is “directed to provide security in the amount of $42 million for the payment of such costs and damages as may be incurred or suffered in the event that future proceedings prove that this injunction was issued wrongfully.”

Amazon is hoping to force Trump to weigh in on the trial directly, seeking to compel the president, former Defense Secretary James Mattis, and current Defense Secretary Mark Esper to testify in the case. The judge has not ruled on the motion to depose, and it remains unclear whether that will happen.

https://www.theverge.com/2020/2/13/2...billion-paused
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TV Notes (Cable)
Netflix's dating show 'Love is Blind' will capture your attention, if not your heart
By Erin Jensen, TheVerge.com - Feb. 14, 2020

Bananas. Nuts. Holy guacamole!

"Love is Blind" is one of those shows you describe using food, and it will likely make you wonder, 'What am I watching?' I took in the entirety of the show – nearly 10 hours – in two sittings, often with mouth agape.

Netflix's new dating show puts its contestants through the emotional wringer tofind lasting love with a partner before meeting them.

As hosts Vanessa and Nick Lachey explain, the 30 participants spend 10 days in Atlanta, separated by gender as men and women get to know each other only byconversing, sight unseen, in individual "pods." Couples are revealed to each other once they are engaged. (While you might not be able to see someone before pledging to spend the rest of your life with them, it should be noted that all of the contestants are relatively good looking.)

For the next phase, which kicks off in Episode 3, couples are shipped off to Cancun for a week to hang out with their partners in the flesh before moving in together. And weddings are set four weeks later. At the altar, the couples either follow through with the nuptials or reveal to their partners that they don't wish to wed.

The show is like "The Dating Game," if the stakes were raised to the stratosphere. In the first episode, connections are quickly made and strong feelings develop.

Admittedly, my shock could be explained by my lack of interest in dating shows. It's hard for me to invest time and emotion into something like "The Bachelor" when the splits far outnumber the success stories.

I'm also torn over the emotional distress people are put through for the purpose of entertainment, even if they sign up for it. The claims about ABC's long-running dating franchise in Los Angeles Times writer Amy Kaufman's 2018 bombshell book, "Bachelor Nation: Inside the World of America's Favorite Guilty Pleasure," are enough to make one queasy.

"Five days in, and I know who I want to be my future husband. I can't believe it," Lauren, a content creator, raves about scientist Cameron. "I've had meals in my refrigerator for longer than that. That's crazy." You said it, Lauren.

Before the credits roll in the premiere, we see our first proposal. With Cameron on one knee and Lauren's hand on the blue door that separates them, he pops the question in a heartbreakingly awkward moment, and she accepts.

"Yes, Cameron. I will marry you. I will be your wife!" she says with a smile. But the two are kept apart, unable to celebrate the joyous moment in each other's arms. They finally meet the next day.

By Episode 3, six couples are engaged and have set their sights on a walk down the aisle as they get to know each other in Mexico. But not every couple leaves the vacation intact.

Carlton and Diamond prove you can't always know if you want to marry someone in a few days. Their relationship begins to crumble when he reveals that he previously dated men.

In a poolside conversation, Diamond tells Carlton "you left out who you really are," and things go downhill from there. She removes her ring as the fighting escalates. Carlton eventually chucks the piece of jewelry, and before exiting Diamond throws her drink in Carlton's face.

While Netflix is being tight-lipped about which couples from the show, taped in fall 2018, remain together, we can't say we aren't curious. And we certainly hope for the best.

https://www.usatoday.com/story/enter...hy/4750724002/
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TV Sports/Nielsen Notes (Basketball)
Silver Says NBA Looking To Fix Lower TV Ratings
By Jon Lafayette, Multichannel News - Feb. 16, 2020

The National Basketball Association is looking at ways to address the lower ratings its games have been drawing this season.

Adam Silver at All Star Saturday Night.

At a press conference during All-Star Game weekend in Chicago, Commissioner Adam Silver also said he thought the league could play a role in breaking the stalemate that has left the Ascent regional sports network in Denver blacked out on Comcast since September.

.Asked about this season’s double-digit drop in ratings for NBA games on TNT and ESPN, Silver pointed to short-terms issues and structural issues.

Short-term, the league has been hurt by injuries to key players on teams that were scheduled to appear frequently on national telecasts. Steph Curry and Klay Thompson of the Golden State Warriors have been out and prized rookie Zion Williamson of the New Orleans Pelicans has only just started to play.

“There's very little flexibility when we set our schedule now,” Silver said.

At the same time, the league’s ratings are hurt by the cord cutting that’s hurting cable TV, where most NBA games are telecast.

“I's well-known that on one hand we're celebrated by some because we have such a young fan base, but that young fan base is disconnecting from pay television in record numbers” Silver said.

Those young viewers are engaged with the NBA in social media he said. “but we haven't found a way to connect those young fans to our broadcast through whatever platform they're going to be delivered.”

Silver said the league was working with its media partners to fix the issue.

“I think it's a very solvable problem. Our two primary media partners, Disney and AT&T, are both very engaged in these issues,” he said, noting last both companies are looking to grow their direct-to-consumer streaming businesses.

“I'm super confident over time we'll work through it because there remains enormous interest our players and our game,” the Commissioner added.

Silver was also asked about the blackout of Altitude to Comcast subscribers. Altitude carries Denver Nugget basketball games and Colorado Avalanche hockey games in 10 states.

“I think it's a bad situation for everyone, and I'm incredibly sympathetic to those fans that live in Colorado and are unable to get those games,” Silver said.

“There's a lot happening right now transformationally in the media market, and I think that the RSNs are sort of resetting in terms of their business models. I think the teams are rethinking what the best ways are to distribute our games to reach the most number of fans,” he said.

“Coming out of All-Star, certainly [NBA Media head] Bill Koenig and others in the League Office will be redoubling their efforts to try to find a path forward here,” he said.

Silver also said he was hopeful NBA games would soon return to CCTV, the Chinese broadcaster. The games were pulled after Houston Rockets executive Darryl Morey in October tweeted in support of protesters in Hong Kong.

He noted that the Chinese government is understandable pre-occupied with the Coronavirus crisis, making it hard to identify who to negotiate with. But he said “my sense is that there will be a return to normalcy fairly soon, but I can't say exactly when, when it comes to CCTV.”

Silver also said that reports that the China situation was costing the league billions were exaggerated. He put the figure at about $400 million, maybe less.

“I don't have any sense that there's any permanent damage to our business there, and as I've said before, we accept the consequences of our system and our values,” he said.
The NBA also announced that it was naming the Kia All-Star Game MVP award for the late Kobe Bryant, who was killed in a helicopter crash with his daughter and seven others,

“This trophy will be presented at the conclusion of tomorrow night's All-Star Game, and I know it will be especially meaningful to that player that wins the first Kobe Bryant MVP,” Silver said.

“So I'm sure there will be other honors as well, and as I mentioned, there are other things that we will be discussing with our board, the NBA board, when they meet in April to honor David. But this one seems so appropriate here at All-Star because nobody embodied All-Star more than Kobe Bryant,” he said.

https://www.broadcastingcable.com/ne...wer-tv-ratings
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Obituary
Sex and the City's Lynn Cohen, Who Played Magda, Dead at 86
By Nick Caruso, TVLine.com - Feb. 16, 2020

Lynn Cohen, best known for her role as Magda on Sex and the City, died on Friday at the age of 86.

The news was originally reported by Broadway World. A cause of death has not been disclosed.

In addition to her 13 episodes of Sex and the City, Cohen — whose character served as both a nanny and a maternal figure to Cynthia Nixon’s Miranda — appeared in both the 2008 feature film follow-up, as well as the 2010 sequel.

Cohen also had a significant presence on Law & Order. She guest-starred on 12 episodes of the original series as Judge Elizabeth Mizener, and in myriad roles on Criminal Intent and Special Victims Unit.

Her career started in 1983 with a small part in the TV-movie Without a Trace. Additional TV credits included a recurring role on Showtime’s The Affair, on which she played Joan, grandmother to Ruth Wilson’s Alison Bailey. She also guest-starred on Blue Bloods, Chicago Med, Damages, Getting On, The Marvelous Mrs. Maisel, Master of None, Nurse Jackie and NYPD Blue. She most recently appeared on the Jan. 5 episode of God Friended Me as Rose, the long-lost sister of an elderly Holocaust survivor.

On the big screen, Cohen played Mags in The Hunger Games: Catching Fire. She also had supporting roles in The Cobbler, Eagle Eye, Munich and They Came Together.

Cohen is survived by her husband, Ronald Theodore Cohen; the two had been married since 1964.

https://tvline.com/2020/02/15/sex-an...da-nanny-dead/
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TV Review (Cable)
Outlander Season 5: The Starz Drama Returns to Its Roots
By Megan Vick, TVGuide.com - Feb. 14, 2020

[Warning: The following contains light spoilers for Season 5 of Outlander. Read at your own risk!]

Outlander has officially returned, as Starz dropped the Season 5 premiere a few days early in honor of Valentine's Day. The series is returning to its roots this season; a common theme of the four episodes screened in advance for critics is that even when Outlander ventures into darkness, it still remembers its joyous spirit and finds new ways to make even small moments feel sweeping.

The show picks up with the Frasers a few months after the Season 4 finale, with Bree (Sophie Skelton) and Roger's (Richard Rankin) wedding at Fraser's Ridge. It's a joyous gathering that brings all the settlers from the ridge to the big house that Jamie (Sam Heughan) has built for his family on the land granted by Governor Tryon. The wedding not only induces feelings of nostalgia (weddings have traditionally been very fun events for Outlander fans) but also starts the season off on a lighthearted note after three seasons of tragic or stressful beginnings. Even though Stephen Bonnet (Ed Speleers) is revealed to be alive and well during the festivities, the wedding still brings people together and bonds the Frasers as they prepare for the impending revolution.

After the wedding, Jamie and Claire (Caitriona Balfe) head off to form a militia for Tryon in order to stamp out the Regulator rebellion that threatens the livelihood of the crown. It feels very reminiscent of Jamie and Claire traveling through the Highlands to collect rents in Season 1, but that's not the only way this season feels like a return to form.

The overarching threat is the impending Revolution, with Jamie and Claire trying to figure out the best time to switch their allegiance to the Colonies without jeopardizing their land — much like in the early seasons with the impending threat of Culloden. Meanwhile, Bonnet is the first villain of the series to feel like a true follow-up to the terrifying Black Jack Randall (Tobias Menzies). The intense emotional grip he has on the entire Fraser family means the hairs on your neck stand up whenever he is mentioned, unlike the more metaphysical threats (time travel, sacrificial witches, Native American spirits) the family has faced recently.

As the Frasers tour North Carolina gathering soldiers (while keeping their eyes peeled for Bonnet), each episode feels like a different kind of adventure. The premiere features the big party, and the second episode finds Claire playing with the boundaries of time travel once again. Meanwhile, Episode 3 feels like a straight-up horror movie. Although it is definitely the same story, the slight changes in tone and style bring a refreshed feeling to Outlander, which is no easy feat for a show five seasons in.

However, while returning to the show's roots feels like a good change of pace from the constant upheaval the narrative has put fans through over the past couple of seasons (moving to America, getting settled on the ridge, Brianna and Roger coming back in time), Outlander should be wary of getting too comfortable or it will start to feel like we've seen this all before. For instance, we've seen Jamie and Claire survive a rebellion before, so how will this time be different? And how will it bring them closer together? These are the questions we anxiously await the answers to as Season 5 progresses.

The Outlander Season 5 premiere is now available on the Starz app, and will officially premiere on Sunday, Feb. 16 at 8/7c on Starz.
TV Guide Rating: 3.5/5


https://www.tvguide.com/news/outland...-review-starz/
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TV Review (Broadcast)
'Duncanville' (Fox)
By Robyn Bahr, The Hollywood Reporter - Feb. 16, 2020

I'm afraid "average" just doesn't cut it anymore. Animated sitcom Duncanville, from creators Amy Poehler and Mike and Jackie Scully, centers on the ho-hum travails of a gangly redheaded teen with no discernible personality traits other than "confused." Duncanville is proud of this, purposefully billing itself as a comedy about "a spectacularly average 15-year-old boy," according to the Fox press release. In 2019, 532 original scripted television series aired across network, cable and streaming platforms. With this much content zooming at our faces, I'm surprised to see Fox get excited about a show that's boastfully ordinary. Duncan Harris is not just average. He's non-descript. Dull. I'm not quite sure if there is room for Duncans on television anymore when anyone could choose from hundreds of other more compelling protagonists.

Duncanville contains some smart joke-telling, some of-the-moment references. (The latter of which will, of course, spoil rapidly in years to come.) The show is pleasant, manic and stale all at once, yet neither sophisticated nor weird enough to engender immediate viewer loyalty. Judging from the two episodes available to critics, I see potential for it to grow and eventually find its voice. But it also appears to be stuck on the wrong premise.

Why should we care about Duncan, a kid so intent on floating through life that his father has to beg to teach him to drive, when we could instead follow his ferocious, purple-hair tween sister? While Duncan whines about how Kimberly bested him at his own MMORPG because she decided to slaughter a peaceful race of elves instead of befriending them, the girl heaves with righteous anger. "You stay out of my [online] bullying or I swear I will doxx you, swat you, and catfish you so hard you'll believe you're in love." As she reminds him earlier in the episode, "I'm something you'll never be. A middle-school girl. There's no name I haven't been called, no taunt I haven't endured, no body part that hasn't been shamed. I show no mercy and must kill to survive." This girl shouldn't be a side dish, but the whole damn meal.

Duncanville, like a glut of other Fox animated comedies, zeroes in on a stereotypical white nuclear TV family that includes a bumbling patriarch, a harridan matriarch, two warring kids and an adorable baby. (Simpsons legend Mike Scully later left his legacy on Parks and Recreation, where he helped give Pawnee its deranged, Springfield-esque cultural life.) Gulf War veteran and plumber Jack (Ty Burrell, playing another desperate-to-be-liked dad) sees himself as the "fun" parent compared to anxiety-prone squawker Annie (Amy Poehler). Annie, unfortunately, is a flawless nagwife, constantly haranguing her husband and children to get in line.

Duncan (also voiced by Poehler) is their gawkward carrot-top son, another adolescent slacker protagonist who's the least interesting thing on screen. The show supposes his "vast imagination" is his selling point, but it’s merely the show's opportunity to mimic the choppy cutaway style of Family Guy. (Complete with swiftly-expiring pop culture references, like a fantasy sequence featuring Alex Honnold of Free Solo or a wink-wink joke about character actor Kyle Bornheimer. Who's the audience for this show, exactly?) His little sisters are far more engrossing: Brutal middle schooler Kimberly challenges him and doofy-cute 6-year-old Jing (Joy Osmanski) wants to marry him. I once saw Mike Scully confess on a panel that Simpsons writers have jokingly proposed storylines in which Bart and Lisa fall in love with each other, so I'm not at all surprised to see a couple of weirdo incest jokes in these two episodes.

Duncan's flanked by his fellow outsider buddies Bex (Betsy Sodaro), Yangzi (Yassir Lester) and Wolf (Zach Cherry). Bex, who's drawn to look just like Sodaro, including the comedienne's signature wild ponytail, is a delightful chaos agent who's out-and-proud about her love of nakedness. (Not shown on screen, however.) Yangzi is a future tech bro and Wolf is a classic monotone dirt bag. Duncan also has a sometimes-crush on Manic Pixie Dream Activist Mia, voiced by Rashida Jones. (She's cute AND she cares!) The kids crash cars, feud with stay-at-home dads and generally scheme for attention.

The show's aesthetics don't naturally invite your attention. Each episode feels like a jumbled attic full of too many plots and ideas and settings and hyper-specific pop culture references — you can barely keep up with the emotional arcs when you're constantly jumping from scene to scene. The design is fairly pedestrian, looking like a cousin of Family Guy, and the talents of the voice actors vary. (I'd also like to know why its Asian-heritage characters are literally yellow? Yikes.)

Cast stand outs include Poehler in dual and dichotomous roles, Sodaro as buoyant Bex, and Cherry, who plays Wolf with desert-dry wit. Lindhome's performance, on the other hand, seems forced, as Kimberly's exasperated intonations sound too modern-day Valley Girl. I can't help but imagine how my ambivalence about this show would shift if, for once, a cartoon about kids actually included kids' voices.

Duncanville is another family-friendly comedy that seems about as connected to today's youth as its Groupon jokes seem relevant to 2020. There's something particularly 90s about this sitcom that might be intended to feel nostalgic, but really comes off as retrograde. (Do cafeterias even serve salisbury steak anymore or is that just a long-ago memory of middle-aged writing staff?)

I get that kids do bad things. If that's the gist, though, I'd at least like to be led by an actual bully.

'Duncanville'
Premieres: Sunday, February 16th at 8:30 p.m. (Fox)
The Bottom Line: Manic and stale, but there's potential for growth.


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DVR ALERT! After back-to-back Super Bowl and Oscar weekends that forced other channels to schedule repeats, first-run programming returns in force!

TV Notes

On The Air
SUNDAY FEB. 16, 2020 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 - American Idol (Season Premiere, 120 min., LIVE)
10PM - For Life
(R)

CBS:
7PM - 60 Minutes
8PM - God Friended Me
9PM - NCIS: Los Angeles
10PM - NCIS: New Orleans

NBC:
7PM - Ellen's Game of Games
(R)
8PM - Zoey's Extraordinary Playlist: Pilot
(R)
9PM - Zoey's Extraordinary Playlist (Time Slot Premiere)
10PM - Good Girls (Season Premiere)

FOX:
7PM - The Simpsons
(R)
7:30PM - Bob's Burgers
(R)
8PM - The Simpsons
8:30PM - Duncanville (Series Premiere)
9PM - Bob's Burgers
9:30PM - Family Guy

THE CW:
8PM - Batwoman
9PM - Supergir

PBS:
8PM - A Very British Romance With Lucy Worsley
9PM - Sanditon on Masterpiece
10PM - Vienna Blood: The Lost Child, Part 1

UNIVISION:
7PM - Aquí y Ahora
8PM - Mira Quién Baila All Stars (120 min.)
10PM - Crónicas: Historias Que Hacen Historia

TELEMUNDO:
7PM - Exatlón Estados Unidos (120 min.)
9PM - La Voz (120 min.)

CBSSN:
6PM - Major League Rugby: Rugby United New York at NOLA Gold (LIVE)
8PM - Inside the PBR Majors
8:30PM - PBR Bull Riding: WinStar World Casino and Resort PBR Global Cup USA (120 min.)

ESPN U:
6PM - College Basketball: Arizona State at California (LIVE)
8PM - Women's College Gymnastics: Kentucky at LSU (90 min.)

NBCSN:
6PM - NHL Hockey: St. Louis Blues at Nashville Predators (LIVE)
8:45PM - NHL Overtime (LIVE)
9:30PM - FIS Alpine Skiing, World Cup: Women's Slalom
10:30PM - Luge: FIL World Championships (120 min.)
* * * *
12:30AM - Biathlon, IBU World Championships: Men's 12.5km Pursuit
1:30AM - Bobsledding and Skeleton, IBSF World Cup: Two-Man Bobsled (60 min.)

ESPN 2:
7PM - College Softball, St. Pete Clearwater Elite Invitational: UCLA vs. Florida State (120 min., LIVE)

MSNBC:
7PM - Kasie DC (120 min., LIVE)
9PM - What's Eating America With Andrew Zimmern (Series Premiere, 120 min.)

AMC:
8PM - El Camino: A Breaking Bad Movie (Cable Premiere, 2019, 2 hrs. 50 min.)
10:50PM - El Camino: A Breaking Bad Movie (2019, 2 hrs. 50 min.)
(R)

BBC AMERICA:
8PM - Doctor Who (70 min.)

BRAVO:
8PM - The Real Housewives of Atlanta
9PM - Shahs of Sunset (Season Premiere)
10PM - Watch What Happens Live With Andy Cohen (Kenya Moore and Mercedes Javid)

HALLMARK:
8PM - 2020 American Rescue Dog Show: Part 1 (120 min.)

HGTV:
8PM - Home Town
9PM - Extreme Makeover: Home Edition (Series Premiere, 66 min.)
10:06PM - 100 Day Dream House

HISTORY:
8PM - Washington: Loyal Subject (Limited Series Premiere, Part 1, 120 min.)

LIFETIME:
8PM - Movie: Her Secret Family Killer (2020)

SCIENCE:
8PM - Shipwreck Secrets: Hunt for the Cotopaxi (Series Premiere)
10PM - Curse of the Bermuda Triangle: Vanishing of Flight 19 (Premiere, 60 min.)

SHOWTIME:
8PM - The Circus: Inside the Craziest Political Campaign on Earth
8:30PM - Our Cartoon President
9PM - Homeland
10PM - Kidding
10:30PM - Kidding

STARZ:
8PM - Outlander (Season Premiere, 67 min.)
9:07PM - Wrong Man (58 min.)

TBS/TNT:
8PM - 2020 NBA All-Star Game: Team LeBron vs. Team Giannis (3 hrs., LIVE)

CNN:
9PM - Race for the White House: Obama v. McCain (Season Premiere)
10PM - The Windsors: Inside the Royal Dynasty - Succession (Series Premiere)

HBO:
9PM - The Outsider
10PM - Avenue 5
10:30PM - Curb Your Enthusiasm (40 min.)
* * * *
11:10PM - Last Week Tonight with John Oliver (Season Premiere)

USA:
10PM - Dare Me

ADULT SWIM:
Midnight - Mike Tyson Mysteries: Clam Bam Thank You Ma'am
12:15AM - Mike Tyson Mysteries: You Can't Go Home Again


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

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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Feb. 16, 2020

ZOEY'S EXTRAORDINARY PLAYLIST
NBC, 8:00 p.m. ET
SERIES PREMIERE:
Technically, this is the show’s re-premiere, because the first episode was previewed on NBC in a prime-time “sneak preview” last month, then available since then as a streaming offering. But tonight, NBC repeats the premiere, then unveils a new episode, which furthers the story, and deepens the characters around Zoey – especially hereafter, played touchingly by Peter Gallagher.

EL CAMINO: A BREAKING BAD MOVIE
AMC, 8:00 p.m. ET

Here’s another re-premiere of sorts. This movie sequel to Breaking Bad, following Aaron Paul’s Jesse from the moment he sped away from the compound where he had been imprisoned, premiered as a Netflix movie. Tonight, it shows up on AMC, capping a weeks-long repeat run of all of AMC’s Breaking Bad episodes. And tune in to AMC a few hours before this movie to see the final episodes of Breaking Bad, some of the best episodic TV drama hours ever presented. The penultimate episode guest stars Robert Forster, who reprised his role of the vacuum cleaner repairman (among other things) in the El Camino film. It’s a wonderful reprise – so watch for it. Then wait for next Sunday’s return of the Breaking Bad prequel/sequel Better Call Saul, which is what all this Breaking Bad and El Camino fuss on AMC is about.

THE CIRCUS: INSIDE THE CRAZIEST POLITICAL SHOW ON EARTH
Showtime, 8:00 p.m. ET

This Friday, it’s the Nevada caucus – and so far this political season, the word caucus, for Democrats, hasn’t exactly been a synonym for competency. Has this week been any better in the buildup to the third state providing delegates for the 2020 presidential race? Follow the Circus correspondents, and see… And meanwhile, on the home front in Washington, D.C., the controversy over the Roger Stone sentencing continues to escalate.

DUNCANVILLE
Fox, 8:30 p.m. ET
SERIES PREMIERE:
Another new Sunday night Fox cartoon series premieres tonight – and if the animated faces aren’t familiar, the voices, and the show’s creators, should be. Duncanville is co-created by Amy Poehler (who also provides the voices of Annie and the show’s protagonist, 15-year-old Duncan), Mike Scully (writer-producer on The Simpsons and Parks and Recreation), and Julie Thacker (also of The Simpsons). And its vocal stars include not only Poehler, but Ty Burrell, Rashida Jones, Wiz Klahifa, and Riki Lindhome.

THE OUTSIDER
HBO, 9:00 p.m. ET

Last week, Holly (Cynthia Erivo) came face to face with the evil she’s been pursuing – or, at least, found him in the passenger seat of her car. Meanwhile, Julianne Nicholson stole the episode as the widow Glory, reacting with angry disbelief when finally learning of Holly’s theory that a legendary spirit was victimizing local kids. And Ben Mendelson, the cop caught in the middle, doesn’t know what to think. What I think is that this adaptation of Stephen King’s story has me totally hooked.

WHAT’S EATING AMERICA WITH ANDREW ZIMMERN
MSNBC, 9:00 p.m. ET
SERIES PREMIERE:
Each week in this new series, Andrew Zimmern looks at food through a different lens – environmental, political, etc. For this series opener, he looks at immigrant labor and the harvesting of U.S. crops. And that’s of particularly timely interest, not only because of President Trump’s ubiquitous “border well” issue, but because 2020 is the 60th anniversary of Edward R. Murrow’s famous CBS Reports documentary Harvest of Shame, which explored the identical issue in 1960. And which I just showed to one of my Rowan University classes last week.

HOMELAND
Showtime, 9:00 p.m. ET

This eighth and final season of Homeland, based on its first four episodes, is going to end magnificently. Watch tonight’s second installment of 2020 and see why: It’s getting us deeply into the head of Claire Danes’ Carrie – and, these days, that’s a very emotional and unsettling place to be.

SLOW BURN
Epic, 10:00 p.m. ET
DOCUMENTARY SERIES PREMIERE:
This new nonfiction series, based on the Slate podcast of the same name, has the same focus as that podcast’s first season: the Watergate scandal. It also has the same host, Leon Neyfakh, but some elements are new to this Epix TV version, in addition to all the visuals. Among the new interviews here: Roger Stone, who also is featured in other nonfiction programming tonight, in a much more modern context.

CURB YOUR ENTHUSIASM
HBO, 10:30 p.m. ET

I’m loving, absolutely adoring, this season of Curb. I love the new batches of exasperations, and especially love the running subplot about Larry David’s decision to open a “spite store” – a rival coffee shop located next to one operated by a new nemesis. Larry has specific ideas he wants to include – quality scones, for example, and tables with firm bases. And tonight, as Latte Larry’s gets closer to reality, he trains his eye for detail on the coffee shop’s bathrooms. By the way, HBO's merchandise store doesn't yet offer any personalized mugs from Latte Larry's -- but if and when they become available, I'm ordering a dozen.

LAST WEEK TONIGHT WITH JOHN OLIVER
HBO, 11:10 p.m. ET
SEASON PREMIERE:
Oh, I’ve missed you, John Oliver. The comedian returns for Season 7 with a recap of whatever it was that happened this week. And I believe Oliver is the best person on TV to explain what’s been going on this week in the Justice Department, Barr none.


http://www.tvworthwatching.com/

* * * *

TV Review (Cable)
'War of the Worlds' or How to Survive an Alien Attack
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Feb. 16, 2020

The good news is that when most of the human race drops dead in the latest War of the Worlds, they don't haul themselves back to their feet a few minutes later as zombies.

No, they're just dead, which come to think of it isn't really very good news at all.

This new made-for-TV War of the Worlds, the third time TV has crafted some version of the H.G. Wells sci-fi classic, premieres Sunday at 9 p.m. ET on Epix.

The premise arrives swiftly. French scientist Catherine Durand (Léa Drucker), working at a space observatory station high in the Alps, hears sounds that seem to prove the existence of extraterrestrial life.

The confirmation of her discovery electrifies the scientific community and the world, though their excitement is tempered when these noisy extraterrestrials crash large impenetrable metal objects to the ground all over the Earth.

Further killing the buzz, scientist Bill Ward (Gabriel Byrne) realizes that the sounds emitted from these large metal objects operate on the same frequency that Earth doctors use to stimulate neurons in human brains.

And the space sounds are becoming so intense they are about to fry all those brains.

All this gives the population of Earth a short time to be united in panic before the waves become so intense that most people topple over dead in their tracks.

This is not your father's ET.

A handful of earthlings manage to survive, either because they sought places sheltered from the sound waves or by sheer luck. A man who had been catapulted into the river survives because he was underwater. A thief who ducked into an insulated truck to avoid being busted by the cops was protected.

Bill Ward survives because he's smart enough to hop into an elevator. Who knew? He also saves the life of Helen Brown (Elizabeth McGovern), which is a nice touch because she had a restraining order against him.

The survivors all seem to have interesting backstories. Durand saves her estranged daughter, Sophia (Emilie de Pressac), thanks to an impressive burst of reckless driving.

The survivors also seem like pretty easy targets after that first wave of waves. The aliens don't quickly follow with a second round, however, giving the survivors time to start finding each other, slowly, and saying, "Huh?"

They don't have the hardware or training to hop into Earth's highest-tech weapons and fight back that way. But that's okay because a quick shootout isn't what this War of the Worlds is going for.

Since a number of the key survivors are pointy-headed intellectuals, they start trying to outthink the aliens. Specifically, they start wondering why the aliens wanted to wipe out all the people on Earth in a way that didn't poison the air, water, or other resources.

Running over eight episodes, this WOTW takes a slightly different approach than other incarnations of the Wells story. It doesn't abandon action. It just makes action share more of the spotlight.

Byrne is terrific, as always, and Drucker conveys nicely the bewilderment of a science geek who suddenly has to help salvage the world.

It's a good sign that we viewers never find ourselves wishing that all those dead people in their cars on gridlocked roads would turn into zombies.

And in the end, it's even educational. If you ever find yourself at the flashpoint of an alien invasion, get into an elevator.

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TV Review (Cable)
'Washington': Levelheaded, clearly told miniseries
By Verne Gay, Newsday - Feb. 14, 2020

THE SERIES "Washington"

WHEN | WHERE Sunday, Monday and Tuesday at 8 p.m. on History

WHAT IT’S ABOUT For her first TV production, renowned presidential historian — and Rockville Centre-raised — Doris Kearns Goodwin, who is executive producer on this, has assembled several top historians (Joseph J. Ellis, Annette Gordon-Reed, Jon Meacham, Alan Taylor, to name a few) and political figures (Bill Clinton, former Secretary of State Colin Powell) to provide on-screen commentary about George Washington's life and times. This three-night, six-hour production stars Scottish actor Nicholas Rowe ("Young Sherlock Holmes") as Washington.

Sunday covers the formative years, beginning in 1754 when the young officer is sent to battle the French in the Pennsylvania wilderness, ultimately emerging a hero who's poised for superstardom. (This review is based on Sunday's episode.)

MY SAY Mount Vernon's website has a generous sampling of Washington portraiture through the years, from his swashbuckling youth (Charles Willson Peale) to austere late middle-age (Gilbert Stuart). All these images have endured through time and space, on stamps and coins, and more. We may not know him, but we know what he looked like. The image is unshakable.

Which brings us to "Washington." Rowe may be a fine veteran actor, but as Washington? Sherlock Holmes (who he's played a few times)? Sure, no sweat. His Cardinal Orsini, patron to Galileo, from the excellent "DaVinci's Demons?" Absolutely. But George?

Hence the peril of the dramatization — an otherwise intelligent, handsome, and reasonably well-directed one. Rowe simply does not look like Washingtone, and for a miniseries that seeks to render him in fully human form, that is a drawback. A fatal one? Hardly, but a distracting one. (Says executive producer Matt Ginsberg: "While Rowe shares the same height as Washington, and we believe some similar facial features, it was his ability to capture and convey the essence of Washington’s character that made him perfect for the role.")

Meanwhile, Kearns Goodwin is missing entirely. The network says she was deeply involved in the production process — notably in securing many of the other A-list historians who appear here — but does not provide on-screen commentary. That's regrettable too, because she is someone who knows from decades of experience how to work the camera.

Yet get past this and her "Washington '' works well, as levelheaded, cleanly-told history, absent hagiography or unnecessary clutter. Washington, if not quite Rowe's Washington, also comes into focus, as someone who was (initially) vain, preening and ambitious but who learned from his mistakes. He suffered disappointments, overcame them, then positioned himself for opportunity, and finally history. He owned slaves and sold them, but "Washington" doesn't censure but instead seeks context and understanding.

On his upcoming birthday — the 288th — he could do a whole lot worse.

BOTTOM LINE Good dramatizations, insightful commentary, even if "Washington's" George looks nothing like George.

RATING: ★★1/2 (out of four)


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TV Review (Streaming)
Narcos: Mexico is a show for people who want the drug war to last forever
By Joshua Rivera, TheVerge.com

Narcos started as a show about Pablo Escobar, a real-life gangster who outdid even the most outrageous fictional ones. The show built a compelling two-season crime thriller around his astonishing life and death. But while Escobar died, Narcos — a hit that premiered in 2015, when Netflix was rapidly building its streaming empire — needed to go on. A third season followed another Colombian cartel. Then a spinoff, Narcos: Mexico, tracked a parallel cartel in Central America. The first season detailed its rise; the second chronicles its fall. If there was any point to all this, it’s become hard to keep track of. The show is too busy following the cocaine.

Narcos: Mexico is the story of Mexico’s first drug kingpin, Miguel Ángel Félix Gallardo (Diego Luna). The 10 episodes that premiere this week detail the dramatic implosion of Gallardo’s empire, a collapse that makes for extremely bingeable television. Yet, despite the thrilling spectacle, exhaustion seeps in. Even though it aims at being something more, Narcos: Mexico doesn’t seem to have ambitions far beyond those of the criminals it follows, pushing more product.

The second season of Narcos: Mexico wants to make a point about consequences, at least on a surface level. The collapse of Gallardo’s empire stems directly from brash actions taken during his ascent — most directly, the murder of DEA agent Kiki Camarena (Michael Peña), which sends agent Walt Breslin on a reckless mission of retribution. There are also bridges burned along the way, friendships set ablaze to use as fuel for ambition that leave many eager to see Gallardo out of power.

Throughout, Narcos occasionally makes overtures at the grander significance of the story it’s telling. Across 10 episodes, Gallardo’s desperate maneuvers to retain control of his business and stick it to those who have slighted him have consequences that reverberate beyond the criminal underworld, ultimately resulting in a rigged presidential election. “Sound familiar?” the show’s narrator winks.

There is a long series of assumptions in this, ideas that have been present in Narcos from the start, even as it occasionally paid lip service to their subversion: that Central and South American nations are lawless playgrounds for the corrupt, where prosperity can only be seized by crooks and violence reigns. Every now and then Narcos does its diligence to complicate this picture, almost entirely via narration: a tossed off line that notes the Mexican and Colombian drug trades exist wholly to serve the appetites of the wealthy in the US and Europe, or another about the fundamentally destabilizing influence of the United States’ foreign policy that created problems in exchange for the glow up of “solving” them.

The actual moral universe of the show is far simpler: dope dealers deserve whatever’s coming to them, the bad guys often win, and the good guys should be able to do whatever it takes to stop them.

Narcos can’t truly complicate itself any further because doing so would acknowledge that all these stories are the same story, and in telling them, the show becomes complicit. Midway through the first season of Narcos: Mexico, Gallardo (Diego Luna) leaves his native country for a secret meeting in South America. In a moment that’s designed to be a big surprise for longtime Narcos fans, Pablo Escobar (Wagner Moura) is waiting for him.

“I’ve always sort of seen this as of the Marvel superhero universe of connecting narcotraffickers, and that they all coexist,” showrunner Eric Newman told The Hollywood Reporter not long after the season premiered in 2018. It’s a crass way of describing the dynamics at play in these stories of cartels and corruption, but also a very American one. The gringos, as the Mexicans doing the dirty work for the cartel bosses say, always want more. And what better expression of “more” is there than the excesses of the modern cinematic universe?

This is how Narcos has carried on, and how it will carry on if it continues its run. Just as Narcos: Mexico harkened back to Narcos with a well-deployed Escobar cameo depicting a meeting that likely never happened in the real world, the show continues to hint at the ways it will sprawl outward and continue telling these kinds of stories now that it has exhausted the drama of Gallardo’s Federation. It’s not subtle about it either, making sure in its first season that you know Gallardo’s driver Joaquín Guzmán goes by “Chapo” and spending a considerable amount of time this season laying the groundwork for rivalries that he will carry into the future, for what will be one of the most prolonged conflicts in the history of Mexico’s drug war.

You could tell this story indefinitely, because it is still being told today, with every story of a white person enraged at the sound of Spanish being spoken, with every ICE raid, with every chant for the wall. Cartel dramas like Narcos are fairy tales for a nation in decline, flattening diverse and complicated countries for the benefit of a nation that refuses to acknowledge the havoc it has wreaked on the world.

https://www.theverge.com/2020/2/14/2...lix-season-two
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Technology/Legal Notes
Motorola Wins $765 Million Over Theft by Chinese Radio Rival
By Janan Hanna and Susan Decker, Bloomberg.com

Motorola Solutions Inc. won a $764.6 million verdict after a federal jury in Chicago said Chinese rival Hytera Communications Corp. stole the company’s critical trade secrets for two-way radio technology. Hytera pledged to appeal.

The jury awarded $345.8 million in compensatory damages and $418.8 million in punitive damages -- the full amount sought by Motorola. Jurors reached their decision after deliberating 2 1/2 hours following a trial that sprawled over three months. Motorola lawyers said they would seek an order blocking the sale of Hytera’s radios in the U.S., to stop further use of its trade secrets and copyrighted source code.

The case is the latest example of an American company accusing a Chinese firm of luring away employees and using pilfered know-how to develop new products. The overarching goal, American officials contend, is to help China’s efforts to transform from the world’s factory to an economic superpower.

The verdict is “a tremendous victory for Motorola Solutions,” Chief Executive Greg Brown said in a statement. “Hytera was simply profiting off of the hard work and innovation of our world-class engineers.”

Hytera had denied stealing technology and said it developed its radios on its own.

“Hytera is disappointed by the jury verdict,” Dylan Liu, a Hytera spokesman, said. “Hytera respectfully disagrees with the jury and is currently considering pursuit of all appeal options.”

The verdict came a day after U.S. prosecutors in New York filed racketeering charges accusing another Chinese company, telecommunications giant Huawei Technologies Co., of a decades-long plot to steal American technology to build its business.

The digital-radio technology for walkie-talkies at the heart of the Motorola fight is critical for utility workers, construction crews and school officials who need to maintain contact even in dire situations. The jury found that Hytera had stolen trade secrets and infringed Motorola’s copyrights.

Motorola said it spent decades developing the next generation of two-way communication only to have Hytera come along with a similar product soon after U.S. regulators mandated a move to digital technology.

Hytera’s advantage came from hiring Motorola engineers and tapping into thousands of proprietary Motorola documents, the Chicago-based company argued.

Hytera, a former distributor of Motorola radios, acknowledged that hiring the engineers was a mistake, but said it developed its radios on its own. The company has accused Motorola of using the lawsuit, its patents and its market power to drive out competitors. An antitrust case against Motorola is pending in Chicago before a different judge.

The secrets Motorola said were stolen include hands-free communications, location functionality, emergency alarms for workers in distress and a means to connect a phone user to a group of radio users.

The case is Motorola Solutions Inc. v. Hytera Communications Corp., 17-1973, U.S. District Court, Northern District of Illinois (Chicago).

https://www.bloomberg.com/news/artic...against-hytera
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TV Notes/Obituary
Country singer Daniel Lee Martin found dead amid child sex abuse charges
By Vincent Barone, New York Post - Feb. 16, 2020

Country singer Daniel Lee Martin committed suicide in his Florida home as he faced child sex abuse charges back in Tennessee, according to authorities.

Deputies at the Pasco County Sheriff’s Office found Martin, 54, with an apparent self-inflicted gunshot wound on Friday as they attempted to serve him multiple warrants stemming from the charges, a spokesperson at the sheriff’s office told People.

“Martin did not respond to attempts to make contact with him,” the sheriff’s office said. “The [SWAT team] was called in to assist as Martin previously made threats of harm against himself and others. When deputies made entry to the residence, they discovered Martin deceased from an apparent self-inflicted gunshot wound.”

Martin was arrested last month after a female minor told police Martin masturbated in front of her and showed her pornographic images on several occasions when she slept over at his house, the Tampa Bay Times reported.

Deputies were attempting to serve warrants that included three counts of sexual exploitation of a minor, three counts of aggravated sexual battery, two counts of committing an aggravated sexual battery and one count of solicitation of a minor to commit rape of a child, according to the spokesperson.

The singer had been accused of similar acts before: He was indicted back in Williamson County, Tenn., in 2018 on charges that he sexually assaulted three children under the age of 13 from 2014 through January 2018, the Tennessean reported. His trial was scheduled for next month.

The singer began his career back in 1997, opening for stars like Willie Nelson and Vince Gill. He released the album “All That I Am” in 2004 and followed it up with “On My Way to You” in 2007. He also appeared as a host on the Sportsman Channel for the shows “Brotherhood Outdoors” and “Backstage and Backroads.”

https://nypost.com/2020/02/16/countr...abuse-charges/
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TV Sports (Hockey)
All-Female Crew To Broadcast, Produce NHL Game On International Women’s Day, A First
By Bruce Haring, Deadline.com - Feb. 16, 2020

International Women’s Day arrives on March 8, and NBC Sports Network will celebrate by using an all-female crew to broadcast and produce game coverage of the St. Louis Blues vs. Chicago Blackhawks National Hockey League matchup.

The game will mark the first NHL contest broadcast and produced solely by women in the US.

Kate Scott (play-by-play) will call the action alongside US Olympic gold medalists Kendall Coyne-Schofield (Inside-the-Glass analyst) and AJ Mleczko (analyst) from United Center in Chicago, Ill.

Kathryn Tappen will anchor studio coverage with three-time Canadian Olympic gold medalist Jen Botterill. Game production will be led by producer Rene Hatlelid and director Lisa Seltzer.

International Women’s Day dates back over 100 years. Throughout the broadcast there will be nods to those who have made their mark on women’s hockey and sports in general, with the goal of inspiring future generations of women to excel on the ice and behind the scenes.

In addition to the game elements, NBC Sports’ female-empowerment brand On Her Turf will surround coverage with content featuring women in hockey in various ways, including the Hockey is for Her digital video franchise and behind-the-scenes content through @OnHerTurf on Instagram.

“I’ve been broadcasting for 17 years, and yet, the very first broadcast I did with a female producer was just two years ago,” said host Kathryn Tappen. “The fact that we are celebrating International Women’s Day with an all-female broadcast and production team tells me how far we have come in a very short time. We hope our broadcast will help inspire young women watching to follow their dreams, because we’ve proven that anything is possible, and I’m proud to be a part of it.”

Producer Rene Hatlelid added, “These strong, accomplished women do this work day in and day out, and I’m honored to be a part of this historic broadcast.

Producer Kaitlin Urka initially pitched the idea.“We aren’t just bringing women together for the sake of bringing women together,” Urka said. “These are professionals who are some of the best at what they do and do these jobs on a regular basis. International Women’s Day just gives us a unique platform to celebrate their great work.”

Studio coverage will start at 7 p.m. ET on NHL Live and will continue immediately following the game with NHL Overtime.

https://deadline.com/2020/02/all-fem...ay-1202861193/
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Obituary
Jason Davis, Voice Actor on Disney Channel’s ‘Recess,’ Dies at 35
By Jordan Moreau, Variety.com - Feb. 16, 2020

Jason Davis, a voice actor on the Disney Channel show “Recess,” died in Los Angeles on Sunday. He was 35.

“I am so heartbroken to share the saddest news of my life that my son Jason Davis passed away this morning in Los Angeles. Jason had a true heart of gold with such a zest for life. He was such a caring soul to everybody who ever knew him. He loved his friends and his family above all else. We ask for privacy as we take time to grieve this most devastating loss,” his mother, Nancy Davis, said in a statement to Variety.

Davis appeared in a few movies as a kid, including “Rush Hour,” “Beverly Hills Ninja” and “Mafia!” He voiced the character Mikey Blumberg on Disney Channel’s animated series “Recess” through its six seasons on air from 1997-2001. He also lent his voice to the character in several spinoff movies.

Before his death, he had been working on a TV show called “The Two Jasons.”

Davis was the co-founder of Cure Addiction Now and for the past one-and-a-half years, he dedicated himself to the organization, which helps fund research for people suffering from substance abuse.

Davis is one of five children and a grandson to Barbara and Marvin Davis, a former industrialist and owner of 20th Century Fox.

https://variety.com/2020/tv/news/jas...es-1203505519/
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Technology/Legal Notes
Check your subscription! YouTube TV says bye-bye to Apple App Store billing
By Dalvin Brown, USA Today - Feb. 16, 2020

First Netflix. Then Spotify. Now YouTube TV.

YouTube TV subscribers will no longer be able to pay for the live channel streaming service via Apple's App Store, starting March 13. Other entertainment apps have pulled away from splitting subscription revenue with Apple.

A YouTube spokesperson confirmed the news with CNET on Friday, adding that Apple is an "important partner for YouTube." The move allows YouTube TV to keep all proceeds from new paying iPhone and iPad customers.

Apple device users can still watch YouTube TV's content on iPhones and iPads, but they have to pay Google for it directly. Customers who check out in the App Store will have their subscription automatically canceled, the Verge reported.

Without Apple playing the middleman, YouTube TV's monthly service charge is cheaper – $49.99 vs. $54.99. YouTube TV hasn't specified why it's ditching the App Store; however, it's not the first tech giant to do so.

The music streaming app Spotify discontinued the Apple payment functionality for new premium customers, and it accused the iPhone maker of unfairly collecting fees.

In 2019, Spotify lodged a complaint with antitrust regulators claiming that Apple uses its App Store power to unfairly penalize a "targeted" group of rivals. The company alleged that select digital services have to pay a 30% tax on purchases made through Apple’s system.

Apple disputed some of the claims and added perspective to the situation. Apple said Spotify wouldn't survive without its app store.

In 2018, Netflix distanced itself from what was then iTunes, so new customers couldn't pay for service via Apple.

https://www.usatoday.com/story/tech/...ts/4780075002/
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