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post #36091 of 36884 Old 05-20-2020, 09:38 PM
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Originally Posted by dcowboy7 View Post
Tiger/Manning -225 fav.
Bradys been too busy throwing with his new bucs teammates.
Clarice was even on the sidelines watching - with that red polkadot bow - shes HOT - but i digress.
+ since Mick won the 1st match Tiger should win this to setup the trilogy rematch.
Just wait till Tiger and Charlie enter a Father-son event. Golf channel will play it up like it's a Major.
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post #36092 of 36884 Old 05-21-2020, 03:14 AM - Thread Starter
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TV Notes (Cable)
BET to Move Ahead with ‘BET Awards’
By R. Thomas Umstead, Multichannel News - May 20, 2020

BET is going ahead with plans to produce its annual BET Awards event this June featuring live and taped segments.

The BET Awards, which celebrates the brightest stars across music television, film sports and philanthropy, will feature a mixture of live and taped segments to showcase musical performances and awards presentations amid the COVID-19 pandemic, BET executive VP specials, music programming & music strategy Connie Orlando told Multichannel News. The BET Awards is perennially one of the network’s highest-rated events.

“The heart of the BET Awards will still be there and it will still be a big show with big names and performances,” Orlando said. “People may miss being in the audience for the show, but viewers will still enjoy the same big event experience.”

The network will not move ahead with its three-day BET Experience event that typically leads into the BET Awards, according to Orlando.

https://www.multichannel.com/news/be...ead-bet-awards
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post #36093 of 36884 Old 05-21-2020, 03:16 AM - Thread Starter
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TV Notes (Broadcast)
The Bold and the Beautiful's Two-Season Renewal Official at CBS
By Kimberly Roots, TVLine.com - May 20, 2020

CBS is now confirming what we told you in January: The Bold and the Beautiful has been renewed for two more years, meaning it will be on the air through the 2021-2022 television season.

The Eye network announced the show’s big news Wednesday.

“For over three decades, The Bold and the Beautiful has been a cornerstone of the CBS Daytime lineup,” Amy Reisenbach, executive vice president, current programs, CBS Entertainment said via statement. “The show has been a creative and ratings success due to the supremely talented cast, writers and producers that Brad Bell has assembled. Of course, none of this would have been possible without B&B‘s dedicated fans, whose passion for these characters and stories is unsurpassed. We are delighted to be able to continue to offer them a daily look into the romances and rivalries between the Forrester, Logan and Spencer families.”

Bell added, also via statement: “I am thrilled to dive into years 34 and 35 of The Bold and the Beautiful. We are grateful to Amy Reisenbach and everyone at CBS for their incredible commitment to the series. Of course, many thanks to our loyal fans who motivate us every day with their unending passion and enthusiasm.”

Near the start of 2020, CBS extended the life of B&B‘s sister soap, The Young and the Restless, through the 2023-24 TV season. That renewal took place around the same time that rival network NBC renewed its sole remaining sudser, Days of Our Lives, for Season 56.

Thanks to the COVID-19 production shutdown, both B&B and Y&R ran out of new episodes in April. CBS is filling the void with theme weeks of reruns from both shows.

https://tvline.com/2020/05/20/the-bo...son-34-35-cbs/
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post #36094 of 36884 Old 05-21-2020, 03:22 AM - Thread Starter
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Media/Production Notes (Streaming)
"It Will Be an Entirely New Thing": Zack Snyder's $20M-Plus 'Justice League' Cut Plans Revealed
By Borys Kit, The Hollywood Reporter's 'Heat Vision' Blog - May 20, 2020

It was very early on a Monday morning in November when director Zack Snyder and his wife and producing partner, Deborah Snyder, received a call from their agent. Let’s be a bit more precise: It was 7 a.m. But more importantly, it was the day after the second anniversary of the release of Justice League, the DC superhero movie that Snyder was forced to exit due to a family emergency, which was then substantially reshot and retooled by replacement director Joss Whedon.

In the time since its release, something unusual happened: A growing movement of fans, rallied by the hashtag #ReleasetheSnyderCut , had called, agitated, petitioned — even bought a Times Square billboard and chartered a plane to fly a banner over Comic-Con — for Snyder’s version to be released. And on the film's second anniversary, the hashtag had its biggest day ever — with even the movie's stars Gal Gadot and Ben Affleck adding their voices on Twitter.

So here, the morning after, was their agent saying that Toby Emmerich, chairman of Warner Bros. Pictures, was acknowledging the movement, and more importantly, was willing to accede. "This is real. People out there want it. Would you guys ever consider doing something?" was what Emmerich was asking, Zack Snyder recalls.

The answer to Emmerich's question, a whispered-about secret for months, was revealed Wednesday when Snyder confirmed, at the end of an online screening of his 2013 movie, Man of Steel, that his version of Justice League was indeed real. And that it will be coming to HBO Max, the WarnerMedia digital streaming service launching May 27, and is expected to debut in 2021.

It is currently unclear what form Snyder’s Justice League will take. Whether it will be released as an almost four-hour director’s cut or split into six "chapters" has yet to be decided, but the Snyders are now in the midst of reassembling much of their original postproduction crew to score, cut, add new and finish old visual effects, and, yes, maybe bring back many of the actors to record additional dialogue.

Also unclear is the cost of the endeavor. One source has pegged the effort in the $20 million range, although another source says that figure could be closer to $30 million. The parties involved had no comment.

"It will be an entirely new thing, and, especially talking to those who have seen the released movie, a new experience apart from that movie," Snyder tells The Hollywood Reporter, noting that, to this day, he has not watched the version released in theaters.

"You probably saw one-fourth of what I did," the director notes, basing his judgment on what has been shared with him of Whedon's version.

Before Emmerich came calling, says Snyder, "I always thought it was a thing that in 20 years, maybe somebody would do a documentary and I could lend them the footage, little snippets of a cut no one has ever seen."

But, adds Deborah, "With the new platform and streaming services, you can have something like this. You can’t release something like this theatrically, but you could with a streaming service. It’s an opportunity that wasn’t there two years ago, to be honest."

It is a very unlikely development, and the latest twist for a movie that has, like the Man of Steel himself, seen death and rebirth.

Snyder was in a unique position when he shot Justice League in 2016. Warner Bros. had entrusted its universe of DC characters to one filmmaker — him — and he had been building toward a great onscreen team-up, though not without some bumps in the road. He began with Man of Steel, which grossed $668 million worldwide, then followed up with Batman v Superman: Dawn of Justice, the 2016 blockbuster that polarized fans with its dark take on the iconic titular heroes and took in $873 million globally.

In January 2017, Snyder had what he considered his optimal version of Justice League, almost four hours long, although he knew it was something the studio would not release. Warners wanted a cut in the two-hour range, and he delivered a rough version with an approximate two-hour, 20-minute running time. That was the first cut the studio saw. Both sides agreed that there was much work still to be done before the November release, but tragedy struck the Snyders when their daughter, Autumn, died by suicide. A month and a half later, Snyder officially stepped away and Whedon was brought in.

League opened Nov. 17 to weak reviews and sluggish box office, eventually taking in $658 million worldwide. However, almost immediately a movement was born. Fans unhappy with the film created the now-infamous hashtag. A Change.org petition for Warners to release Snyder’s version had already garnered over 100,000 signatures less than five days after the movie’s release.

Forget that the version that fans wanted technically didn’t exist. What did exist was a semi-unfinished work, with no visual effects, no postproduction. One person who had seen that version described it like a car with no panels, just a drivetrain and some seats. And it sat on a hard drive in the Snyders' house. "When we left the movie, I just took the drive of the cut on it," says Snyder. "I honestly never thought it would be anything."

In the year following their daughter's death, the Snyders closed circles around their family as they tried to heal from the tragedy. "The first year was about the milestones and the holidays," recalls Deborah. "Now, it’s not those but other moments, like songs that trigger memories, that hit me unexpectedly."

Adds the director: "As a family, as a couple, I think we have grown in a way that has made us stronger. We’re doing our best. You really can’t hope for more."

The duo also became involved in suicide-prevention charity work and plotted a return to movies with Army of the Dead. Meanwhile, #ReleasetheSnyderCut became more organized and visible, gaining mainstream media attention. Snyder fed into the movement by occasionally teasing images from his movie or storyboards on social media, in some ways only stoking the hot embers. And he saw some of the seeds he planted in his movies, especially in his castings of Gadot as Wonder Woman and Momoa as Aquaman, grow into gardens as the spinoffs became pop culture phenomenons and billion-dollar hits.

It was on the two-year anniversary, however, that the zenith was reached and the hashtag became a top worldwide trend. "#ReleasetheSnyderCut is the most-tweeted hashtag about a movie that WB has ever made, but it’s a movie they’ve never released," says Snyder. "It’s a weird stat but it’s cool."

After the Saturday morning phone call, the Snyders began to move puzzle pieces into place. "We had to figure out what it meant to finish it, and how do you pull it off?" recalls Deborah.

The couple put together a presentation and, in early February, invited a select group of executives from Warner Bros., HBO Max and DC to their house in Pasadena to screen Snyder's little-seen version that was shown in black and white. The number of execs in the room — there were more than a dozen in attendance, ranging from Warners' Emmerich, Carolyn Blackwood and Walter Hamada to HBO Max's Kevin Reilly, Sarah Aubrey and Sandra Dewey to DC's Jim Lee — showed the importance of the potentially extensive undertaking. Heads of physical production and business affairs were there to assess what needed to be done and how much it would cost. At his presentation after the screening, Snyder outlined ideas for not just releasing the cut but the concept of episodes and cliffhangers.

The executives left the meeting pumped. The Snyder Cut was real. Except then it almost wasn’t.

The novel coronavirus struck, and Hollywood all but shut down in mid-March. Says Deborah, "People thought, 'It won’t be possible to ramp up, and that maybe this should go on the back burner.' But we said, 'No, this is the right time' because our visual effects houses that rely on so much are running out of work, so now is the time to be doing this." It also helped that many of those post facilities had held on to the original assets.

Snyder also spent April and this month reaching out to the sizable cast, giving a heads-up on the new development and letting them know their services may be needed. (The first person called: Ray Fisher, who played Cyborg. "He was like, 'You’re kidding me, right?'" recalls the director.)

There is no schedule going forward at this stage for the project as talks are now beginning with postproduction houses, which also gives HBO Max plenty of time to find the best way to present this version of Justice League. Snyder is at the same time in postproduciton on Army of the Dead, his zombie thriller for Netflix that is also to debut in 2021.

For the Snyders, the chance to revisit the movie also brings the prospect for closure on a project they were forced to let go. "This movie was the culmination of a hero’s journey that all these characters went on," says Deborah. "And the idea was always to build them up to be the heroes people expected them to be."

And while the cut will contain the many elements Snyder has teased over time (yes, expect Darkseid), the duo also relish adding a fair amount of character development: "What’s so lovely about this is that we get to explore these characters in ways that you’re not able to in a shorter theatrical version."

The Snyders know that fan power is what led to the Snyder Cut becoming a reality. "Clearly this wouldn’t be happening without them," says the director. He also credits Warners for living up to its old reputation as the filmmaker’s studio.

Adds Snyder, "This return to that pedigree and to let my singular vision of my movie be realized, in this format, in this length, is unprecedented and a brave move."

https://www.hollywoodreporter.com/he...-thing-1295102
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post #36095 of 36884 Old 05-21-2020, 03:25 AM - Thread Starter
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Technology/Streaming Notes
Hulu is bringing back a simpler, more familiar home screen
By Chris Welch, TheVerge.com - May 20, 2020

Hulu’s grand experiment to reinvent the user experience of a streaming app is coming to an end. Today, starting on Apple TV and Roku, the company is rolling out a revamped home screen that’s much closer in line with Netflix, Amazon Prime Video, and other streaming services. The new look will make its way to other platforms by the end of July.

Hulu underwent a huge redesign in 2017, replacing the traditional horizontal trays of content with a vertically scrolling landing page that featured enveloping, full-screen artwork for each show or movie. But customers were frustrated by a lack of efficiency — Hulu’s “Lineup” only showed three or four selections on-screen at a time (or even just one on a phone) — and confused by its navigation. To some, it felt like the company had gone all in on a radically different, sleek design at the cost of accessibility and ease of use. Hulu continued to iterate on the redesign and bring back missing features in the years since. More recently, it made menus easier to read.

Now, under VP of product management Jim Denney, Hulu is moving to a user experience that will feel more familiar to people coming from another streaming app — including Disney’s other apps Disney Plus and ESPN Plus. It sounds obvious, but consistency in a world where everyone subscribes to multiple services is important. Hulu going so far off the beaten path was jarring for some subscribers.

“Viewers can now navigate through collections vertically and explore within a collection by moving horizontally,” Denney said in a blog post co-written with Jason Wong, Hulu’s director of product management.

https://www.theverge.com/2020/5/20/2...amiliar-simple
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post #36096 of 36884 Old 05-21-2020, 03:29 AM - Thread Starter
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Nielsen Overnights (Broadcast)
‘The Voice’ Finale Tops Quiet Tuesday; ‘DC’s Stargirl’ Debut Ratings Solid
By Dino-Ray Ramos, Deadline.com - May 20, 2020

The Voice ended its season Tuesday with a virtual finale that delivered a 0.9 in the adults 18-49 demographic and 7.43 million viewers who tuned in as Kelly Clarkson, John Legend, Blake Shelton and Nick Jonas crowned the winner (no spoilers here) virtually for the reality singing competition’s 18th cycle.

The finale, which aired from 9-11 PM, dipped a tenth from Monday’s part one to match a season low. It also was down two tenths from last spring’s finale. Still, NBC swept the night in the demo and viewers.

The CW meanwhile introduced a new hero into its comic book universe with DC’s Stargirl (0.3, 1.21M), down and tenth from The Flash finale a week ago in the time slot but beating it in viewers. The freshman series was followed by DC’s Legends of Tomorrow (0.2, 803,000), which held steady.

ABC aired the special After the Dance (0.4, 2.63M) with ESPN host and NBA commentator Stephen A. Smith. The one-hour primetime special featured NBA legends as they discussed ESPN’s hit Michael Jordan docuseries The Last Dance. The network followed it with another special, the two-hour The Story of Soaps (0.3, 2.03M), which put the spotlight on the impact of soap operas.

Elsewhere it was fairly quiet, with CBS airing reruns of NCIS, FBI and FBI: Most Wanted and Fox a recap of The Masked Singer (0.9, 4.17M) and a repeat of 24 Hours to Hell and Back.

https://deadline.com/2020/05/the-voi...ut-1202939430/
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post #36097 of 36884 Old 05-21-2020, 03:34 AM - Thread Starter
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TV Notes (Broadcast)
Pandemic Brings Daytime Emmys Back to Broadcast
By Paige Albiniak, Broadcasting & Cable - May 20, 2020

CBS will air the 47th Annual Daytime Emmy Awards on Friday, June 26, CBS and the National Academy of Television Arts & Sciences (NATAS) said Wednesday.

The show will be produced with hosts, announcers, recipients and other guests all appearing from home. Some categories will be announced on air, while others will be announced simultaneously on Twitter at the Daytime Emmys’ handle @DAYTIME Emmys. Creative arts categories will be presented in a separate ceremony in July.

“As a leader in daytime, we are thrilled to welcome back the Daytime Emmy Awards,” said Jack Sussman, executive vice president, specials, music and live events, in a statement. “Daytime television has been keeping viewers engaged and entertained for many years, so it is with great pride that we look forward to celebrating the best of the genre here on CBS.”

NATAS had planned to hold a three-night gala event in Pasadena, Calif., in June but that was canceled, along with everything else, due to stay-at-home orders in Los Angeles.

For the past five years, the Daytime Emmys have been unable to secure a broadcast or cable partner due to being unable to gather a large enough audience to make the show economically viable. The Daytime Emmys haven’t aired on a broadcast network since 2011, when it last ran on CBS. In 2012 and 2013, it aired on HLN and the show moved to Pop TV in 2015.

Since then, the show had moved to online streams on such platforms as YouTube, Facebook and KNEKT-TV. But with the quarantine causing the stoppage of all live-action production, broadcast networks need content, which opened the door to the Daytime Emmys’ return to broadcast television.

“The Daytime Emmys are coming home,” said Adam Sharp, president & CEO of NATAS, also in a statement. “For generations, daytime television has been a source of comfort and continuity that’s never been more important. We’re delighted to join with CBS in celebrating the programs and professionals who never cease to brighten our days.”

Nominations for the Daytime Emmys for years have been announced exclusively on CBS’ The Talk, and that continues this year with nominations released Thursday, May 21. That will be followed by an online release at ETonline.com.

The Daytime Emmys honor both network and syndicated shows that air in daytime and other dayparts, including access. It also honors some streaming programs, such as streaming soap operas and children's programs.

CBS remains strongly in the daytime business, programming soap operas The Young and the Restless and The Bold and the Beautiful and game shows Price is Right and Let’s Make A Deal as well as The Talk.

https://www.nexttv.com/news/pandemic...k-to-broadcast
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post #36098 of 36884 Old 05-21-2020, 03:43 AM - Thread Starter
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TV Notes (Cable)
Saturday Night Live episodes hosted by sports legends to re-air on NBC Sports Network
By Scott Gleason, USA Today - May 20, 2020

NBC Sports Network will air a marathon of the best athlete-hosted Saturday Night Live episodes starting May 25, highlighted by a Michael Jordan's 1991 appearance and Tom Brady's 2005 debut.

Other host appearances spanning over the entire week include LeBron James, Peyton Manning, Michael Phelps and Derek Jeter. There will be 20 athlete-hosted episodes airing altogether from Monday through Friday.

Monday's SNL hour-long episodes are NBA-focused, with Jordan's 1991 hosting appearance starting at 8 p.m. – a move that follows the highly-watched ESPN docuseries on Jordan's Chicago Bulls, "The Last Dance." The Jordan SNL episode came just three months after he won his first of six NBA championships. A 2007 LeBron James-hosted SNL will air after Jordan's at 9 p.m., and then the night will be capped off with a 2010 Charles Barkley-hosted SNL at 10 p.m. Barkley also has 2012 and 2018 hosting appearances airing Friday.

Tuesday's SNL coverage will be NFL-themed with Brady starting at 7 p.m., Peyton Manning's 2007 episode at 8 p.m., his brother Eli's 2012 episode at 9 p.m. and then J.J. Watt's recently hosted 2020 episode at 10 p.m.

Even though he's more of a movie star, former WWE wrestler and Miami (Fla.) football player Dwayne "The Rock" Johnson – a five-time SNL host – will have his episodes air later in the week with three on Wednesday and two on Thursday.

"Athletes serving as hosts have combined to win 35 MVP awards, 29 Olympic Gold medals, 10 Super Bowls, nine NBA titles and five World Series," NBC Sports touts.

Twenty-three of those Gold Medals are from Phelps, who will lead off Friday's SNL athlete episodes.

The episodes will also stream on the NBCSports app and at NBCSports.com. Here's the full week schedule:

Monday, May 25
--Michael Jordan:
Sept. 28, 1991, 8 p.m.
--LeBron James: Sept. 29, 2007, 9 p.m.
--Charles Barkley: Jan. 9, 2010, 10 p.m.

Tuesday, May 26
--Tom Brady:
April 16, 2005, 7 p.m.
--Peyton Manning: March 24, 2007, 8 p.m.
--Eli Manning: May 5, 2012, 9 p.m.
--J.J. Watt: Feb. 1, 2020, 10 p.m.

Wednesday, May 27
--Dwayne Johnson:
March 18, 2000, 7 p.m.
--Dwayne Johnson: April 13, 2002, 8 p.m.
--Dwayne Johnson: March 7, 2009, 9 p.m.
--Andy Roddick: Nov. 8, 2003, 10 p.m.

Thursday, May 28
--Dwayne Johnson:
March 28, 2015, 7 p.m.
--John Cena: Dec. 10, 2016, 8 p.m.
--Dwayne Johnson: May 20, 2017, 9 p.m.
--Ronda Rousey: Jan. 23, 2016, 10 p.m.

Friday, May 29
--Michael Phelps:
Sept. 13, 2008, 7 p.m.
--Derek Jeter: Dec. 1, 2001, 8 p.m.
--Charles Barkley: Jan. 7, 2012, 9 p.m.
--Charles Barkley: March 3, 2018, 10 p.m.
--Michael Jordan: Sept. 28, 1991, 11 p.m.


https://www.usatoday.com/story/sport...an/5227876002/
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post #36099 of 36884 Old 05-21-2020, 03:48 AM - Thread Starter
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TV/Production Notes (Streaming)
Disney+ will get Muppetational with new Muppets Now series in July
By Devan Coggan, EW.com - May 20, 2020

Disney+ has decided it's finally time to play the music and light the lights on its new Muppets original series.

The streaming service announced Wednesday that everyone's favorite felt frog, wisecracking bear, and karate-chopping pig are getting their own limited streaming series Muppets Now, launching July 31. Disney first teased the show last year during its D23 Expo, but now we have a few more details about what the series will actually look like: six unscripted episodes, following Scooter as he rushes to round up the Muppets and ready them to upload their first streaming show. As is the Muppet way, there will be plenty of celebrity guest stars, as well as many obstacles and distractions standing in their way (presumably including explosions, wayward chickens, and boomerang fish).

Muppets Now is Disney's first new use of Jim Henson's iconic characters since the short-lived ABC mockumentary The Muppets was canceled in 2016. There were rumored plans for a scripted comedy on Disney+, co-created by Josh Gad, but that project was scrapped last year.

Muppets Now is only a half-dozen episodes, but hopefully that opens the door for more original Muppet stories — or at least convinces Disney to finally make the original '70s Muppet Show available to stream. (Please?)

https://ew.com/tv/muppets-now-disney-plus-release-date/
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post #36100 of 36884 Old 05-21-2020, 03:59 AM - Thread Starter
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Media/Health Notes (Research)
Study Shows 70% of Consumers Would Rather Watch New Movies at Home
By Adam B. Vary, Variety.com - May 20, 2020

EXCLUSIVE: For weeks now, as COVID-19 restrictions across the country begin to ease (or, in some cases, even where they haven’t), national and local news outlets have relentlessly reported on a seeming torrent of people streaming into public spaces. The coverage points to a common sense understanding: Spending two months sheltering in place with little-to-no human contact has produced an overpowering need for people to gather together outside their homes.

According to an exclusive new study, however, that media coverage belies a deeper truth: Anxiety over health and safety in public spaces still greatly outweighs the desire to leave home, and that disparity has only gotten larger as the pandemic has unfolded. The results — from a survey of roughly 1,000 people in mid-May by sports and events analytics firm Performance Research, in partnership with Full Circle Research Co. — point to just how steep a climb the entertainment industry has in front of it to win back public perception that it’s safe to attend, and spend money on, public events again.

Take this answer to the question of whether respondents would rather see a first-run feature as a digital rental at home or in a movie theater, if both were available today: A whopping 70% say they are more likely to watch from their couch, while just 13% say they are more likely to watch at a local cinema (with 17% not sure). [CLICK LINK AT BOTTOM TO SEE GRAPHS/CHARTS]

“Just as the country begins to open up there has been a swing toward increasing caution, with a majority of Americans clearly saying ‘not yet’ when it comes to attending large public events,” says Jed Pearsall, president of Performance Research.

The top-line findings — especially in comparison with a similar Performance Research study conducted in mid-March — are equally stark. Even after the CDC and local governments say it’s safe to do so, 52% of respondents say they will attend fewer large public events, up from 44% in March, just days after the CDC declared the COVID-19 outbreak a global pandemic. Even more striking: This month, 60% of respondents say the idea of attending a big public event “will scare me for a long time,” up from 47% in March.

Across just about every major industry sector, respondents have grown more fearful about stepping into public spaces: 39% say they’ll attend major indoor concerts less often, up from 33% in March; 36% say they’ll attend theme parks less often, up from 26%; and 33% say they’ll attend theater and performing arts venues less often, up from 29%.

For Broadway productions, a new line of inquiry in the May study, the news is especially worrying: 51% of respondents say it will take a few months before they will attend a Broadway show in New York even after it’s deemed safe to do so, and 16% say they may never go again.

The news for movie theaters is scarcely any better: 37% of respondents say they plan to attend less often, up from 28% in March, and 10% say they may never go again, up from 6%.

But for those who are considering returning to a movie theater, what may draw them there appears to be shifting. When asked which movie genres would most likely get them to buy a movie ticket, 43% of respondents, by far the highest percentage, say comedy — a near 180 in public sentiment after years of moribund box office returns by big screen comedies. The next most popular genre — drama, with 35% of respondents — has also all but disappeared from theaters. Meanwhile, the genre that has dominated the past decade, superhero action movies, came in third, with 33% of respondents selecting it — a startling number given the massive audiences comic book movies generally require to recoup. And horror, a dependable and inexpensive box office draw for years, drew interest from only 19% of respondents.

Of course, these responses were given for abstract genres and not specific titles, but they do suggest that, after two decades dominated by spectacle and escapism, spending so much concentrated time with other people could be leading public tastes closer to human-scaled storytelling.

Far more clear is what will most convince audiences to return to any public venue: Cleanliness and social distancing. Since March, already strong sentiment about the need for clean and sanitized food service areas and restrooms has only grown, from 64% to 74% and 66% to 73%, respectively. And despite some anecdotal evidence that mask requirements are unpopular, just 16% say mandatory face coverings at live events would decrease their likelihood of attending, as opposed to 61% who say it would increase it.

The number of people allowed to attend events is also a key factor, with broad majorities expressing comfort with just 60% capacity for every public venue surveyed.

Even with those precautions, people who do decide to attend public venues are likely to do only that: Just 47% of respondents say they’re comfortable with buying food and drinks from concession stands, and 46% say they’ll use the venue’s restrooms. (As for meet-and-greets, forget it: Just 19% say they’d participate, and 16% say they’ll line up for an autograph session.)

“Event organizers should take notice,” says Pearsall. “Fans of all types of events can identify significant milestones and new safety precautions that will get them back. Simply opening the doors will not be enough.”

Some other notable findings from the Performance Research study weren’t related to consumers’ feelings about public venues:

ONLINE PRICING: Asked how much a “reasonable” price would be to stream top-quality productions in their home, consumers have a surprising range of answers.

For a first-run movie, the most popular price is easily $10, with 47% respondents; 20% of respondents say they’d pay $20; and 19% of respondents say they’d only watch if the film was free (though some respondents could mean on a subscription streaming service). Just 6% of respondents say they’d pay $30; 3% say they’d pay $40; and 1% say they’d pay $50, $60, and (somewhat inexplicably) $80.

For a live musical production, the most popular price was, sadly, free, with 26% of respondents saying they’d watch if they could pay nothing. Another 25% say they’d pay $10; 20% say they’d pay $20; 11% say they’d pay $30; 5% say they’d pay $40; 5% say they’d pay $50; 2% say they’d pay $60 or $70; and 1% say they’d pay from $80 to over $100. (A live play had a similar pricing spread, with the $10 price slightly more popular than the free one.)

And for a live concert by a major artist, 21% of respondents say they’d only watch if it was free. Another 21% say they’d pay $10; 20% say they’d pay $20; 11% say they’d pay $30; 8% say they’d pay $40; 9% say they’d pay $50; and anywhere between 1% and 2% say they’d pay from $60 to over $100.

MUSIC: Speaking of live music, with concerts cancelled or postponed nationwide, the most popular outlet to watch live music virtually is easily YouTube: 57% of respondents say they’ve used the platform for live music, more than double the number for Facebook Watch (22%), Instagram Live (22%) or Zoom (17%). Perhaps not surprisingly, over 60% of respondents say price and sound and video quality are by far the most important factors in whether consumers decide to watch live music online.

SPORTS: There is some (mild) good news for the sports world in the study: 67% of respondents say they will watch the sports they follow on TV even when there are no crowds in attendance, and 59% say that even without fans in the stands, they want to see sports competitions come back as soon as possible. And there was a slight uptick in respondents who said they would attend indoor sports venues more often once they’re deemed safe, from 9% in March to 17% in May.

FINALLY: The ultimate arbiter for what will bring the most people back to public venues is the one that the entertainment industry has no control over: 90% say the most important factor is a cure for COVID-19.

https://variety.com/2020/film/news/n...ch-1234611208/
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post #36101 of 36884 Old 05-21-2020, 04:04 AM - Thread Starter
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TV Review (Streaming)
A Murder Mystery, 'Penance,' on Sundance Now
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - May 21, 2020

Rosalie Douglas’s world has been shattered to pieces. So imagine how happy she is when a stranger unexpectedly arrives with a glue gun.

Unless, of course, it’s really a mallet.

Rosalie Douglas (Julie Graham) is the betrayed wife and grieving mother in Penance, a dark murder mystery and psychodrama premiering Thursday on Sundance’s streaming service, Sundance Now.

Penance only runs three episodes, each an hour-long, meaning it’s really more like a three-part movie. Accordingly, it sticks to a fairly narrow story without a lot of subplots. That’s a smart decision.

We meet Rosalie on Christmas Eve, bantering lightly in the kitchen with her daughter Maddie (Tallulah Greive), who seems to be perhaps in her late teens.

There’s a bit of tension when her husband, Luke (Neil Morrissey), enters, but things perk up when they get to a potential visit from their 19-year-old son Rob.

Instead, they get an unexpected visit from the police, who notify them that Rob won’t be coming home. Ever. His body was found in the ocean near the place where he had been staying with friends.

The official verdict: an accident. Rosalie doesn’t buy it, and when she speaks with Rob’s friend who was there the night Rob died, the friend doesn’t provide much clarity. “We were all pretty wasted,” she says, looking uncomfortable.

Speaking of wasted, Maddie has also fallen apart in the wake of her brother’s death. Rosalie finally talks her into going to a grief counseling group at their church, and there they meet a young fellow named Jed Cousins (Nico Mirallegro).

Jed shares with the group that his parents were killed in an auto accident when he was 4-years-old and that he spent most of his adolescence acting out. This eventually distanced him from the Nana who raised him, and when she died, he suddenly felt great remorse and the need to straighten himself out.

Maddie is touched by the story and drawn to Jed, marking the first time in months that she has smiled. Rosalie encourages them and begins inviting Jed over for meals and general company.

It sounds like a potential healing development, except that their priest, Father Tom Hayes (Art Malik), warns Rosalie that Jed might not be what he seems.

Rosalie doesn’t need this complication since there’s also an ongoing problem with Luke. But as sometimes happens when a stranger becomes a big part of a family’s life at a vulnerable moment, a bad decision has serious consequences that make everything potentially troubled.

While Rob’s death looms in the background, the more immediate drama in Penance concerns our living characters, and we viewers don’t know much more than the screen characters about what has really gone on, or likely lies ahead.

Penance turns into a solid psychological thriller as it gradually becomes clear that something bad will either happen or perhaps, at best, simply be revealed.

We may dread the answer, but we don’t have to wait a terribly long time to get it.

http://www.tvworthwatching.com/BlogP...x?postId=20077
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TV/Nielsen Notes (Analysis)
Broadcast TV's Ratings Winners and Losers of 2019-20
By Rick Porter, The Hollywood Reporter - May 20, 2020

The traditional 2019-20 TV season ends Wednesday, and like most every other aspect of life, it was a strange one.

Two dozen scripted series, for one thing, ended their seasons in March or April after being forced to shut down due to the coronavirus pandemic. That's almost as many as managed to make it to May (32), either by virtue of having completed enough filming ahead of the shutdown or adding in a few more repeats than usual prior to their finales.

The early days of stay-at-home orders spiked ratings across the board, just at the time when they would normally have begun the annual post-daylight saving slide. After a late March peak, though, overall TV usage has slowly but steadily declined each week since then, bringing ratings for recent weeks back down to expected levels.

And, as usual, the shows that sit at the top of the ratings charts for the full season haven't aired in months: NBC's and Fox's primetime NFL broadcasts once again eclipsed everything else on the schedule.

Below are the network ratings and high- and lowlights for individual shows in the season.

The Network Race

Fox will lead the season among adults 18-49 for the first time in eight years with a 1.7 rating in the key ad-sales demographic. Thanks in no small part to having the Super Bowl, a primetime NFC Championship game and a full season of The Masked Singer, the network is the only broadcaster up in both the demo and total viewers compared to last season.

CBS, meanwhile, will claim its 12th consecutive total-viewer crown on the back of its regular series. The network's overall numbers are down year to year, due partly to not having the Super Bowl this season as it did last year. CBS also missed out on the NCAA men's basketball tournament, which wasn't played this year.

Here are the network numbers for the season, along with changes from 2018-19. Figures below are "most current" — a combination of seven-day ratings and same-day numbers for the most recent two weeks — through May 17.

Adults 18-49: ABC / CBS / Fox / NBC / The CW / Telemundo / Univision
2019-20 average:
1.1 / 1.0 / 1.7 / 1.3 / 0.3 / 0.4 / 0.5
vs. 2018-19: even / -0.3 (-29%) / +0.3 (21%) / -0.1 (-7%) / -0.1 (-25%) / even / +0.1 (25%)

Viewers (millions): ABC / CBS / Fox / NBC / The CW / Telemundo / Univision
2019-20 average:
5.48 / 7.67 / 6.32 / 6.54 / 1.06 / 1.1 / 1.46
vs. 2018-19: -0.14 (-3%) / -1.27 (-14%) / +0.95 (18%) / -0.67 (-9%) / -0.28 (-21%) / -0.08 (-7%) +0.1 (7%)


Fox and CBS can stand on their overall leads, while ABC and NBC are both touting their relative strength without sports or news programming. Taking away those two categories — which get a far greater percentage of their viewers via same-day ratings — the networks are more tightly bunched.

ABC, Fox and NBC all average a 1.1 rating among adults 18-49 with entertainment programming, with CBS back a little at 1.0. ABC holds the slimmest of leads in the number of viewers in the key demo, with 1.46 million to 1.45 million for Fox and 1.37 million for NBC. CBS is at 1.23 million. Slicing the pie even thinner, NBC claims the No. 1 spot in scripted programs only.
There is, however, a reason networks pay hundreds of millions of dollars for sports rights. Their ratings points count, too, as do those for news programs.

As for the individual shows…

WINNERS

Dick Wolf:
The mega-producer has six series on two networks, and four of them — CBS' FBI and all three of NBC's Chicago dramas — rank in the top 10 in total viewers for the season. (All figures for individual shows are seven-day ratings through May 10, and rankings exclude sports pre- and post-game shows.) Chicago Fire (11.7 million viewers) and Chicago PD (11.23 million) grew slightly compared to last year, and FBI (12.55 million) and Chicago Med (11.22 million) are within 150,000 viewers of their 2018-19 averages. All four are within 0.2 of their year-ago averages in adults 18-49, as well. CBS' FBI: Most Wanted is the most-watched new series of the season with 10.22 million viewers. Only Law & Order: SVU (6.46 million viewers, 1.4 in adults 18-49) suffered significant losses.

The Bachelor: The veteran ABC reality show put up ratings in 2020 that were virtually identical to its 2019 run: It averaged a 2.4 in the 18-49 demo in both seasons and managed to finish just ahead of last year in total viewers (7.93 million vs. 7.92 million). With overall broadcast ratings down.

The Masked Singer: Though the two cycles this season were both down from last year's breakout first season, the Fox competition show will end the season as the only non-sports program to break a 3.0 rating among adults 18-49 (there were three last year). It has a 3.2 rating for the season, and its 10.78 million viewers rank 12th overall.

The NFL: For the second straight year, regular-season games were up in the ratings: They averaged 16.5 million viewers across all broadcast windows, a 5 percent improvement over 2018 and the highest mark for the league since 2016. The first two rounds of the playoffs and the Super Bowl were also up, although the conference championship games fell to an 11-year low. NBC's Sunday Night Football (20.09 million viewers) was the most-watched primetime show in same-day viewing for the ninth straight year.

911 and Station 19: The two first-responder shows (like Chicago Fire and PD) both improved in viewers, with Fox's 911 adding about 350,000 people and ABC's Station 19 growing by almost 900,000. Both are within 0.1 of their 18-49 ratings from a season ago.

Jeopardy: The Greatest of All Time: Were it a regular series, the four-night ABC event — in which all-time Jeopardy winners Ken Jennings, Brad Rutter and James Holzhauer played a first-to-three-wins tournament — would have been the most-watched show of the season with 16.39 million viewers.

All American: The second-year drama was the only CW series to increase its audience this season, averaging about 120,000 more viewers than it did in 2018-19.

LOSERS

This Is Us and Young Sheldon:
These two come with a caveat, as the two shows were the top drama and comedy of the season. However, both also suffered significant ratings erosion in 2019-20. NBC's This Is Us fell by 24 percent in adults 18-49 (3.8 to 2.9) and 16 percent in viewers (13.8 million to 11.55 million), while CBS' Young Sheldon had second-year drops of 38 percent in the demo (2.6 to 1.6) and 22 percent in viewers (14.72 million to 11.45 million).

NBA Saturday Primetime: Mirroring ratings declines league-wide, ABC's weekly NBA showcase was having a rough season before the league shut down in mid-March. Its audience slipped by more than 30 percent year to year to 2.39 million viewers.

Last Man Standing: The sitcom's second year on Fox still brought in decent numbers, averaging 6.4 million viewers and a 1.2 among adults 18-49. It was also down quite a bit, falling by 1.9 million viewers (23 percent) and half a point in the demo (29 percent).

The Oscars and Emmys: After stopping four years of ratings declines in 2019, the 2020 Oscars fell to all-time lows in both total viewers (23.64 million) and adults 18-49 (5.3) for ABC. The Emmys also had all-time lows in September on Fox, falling below 7 million viewers and managing just a 1.7 in the demo. The Golden Globes and Grammys were also down compared to 2019, but their declines were not nearly as steep.

Remotely filmed versions of live network shows: Series including American Idol, The Voice and Saturday Night Live pivoted to remote production to close out their seasons, and the broadcast nets aired a host of at-home specials. The first wave of such shows, including the first Disney Family Singalong and the first SNL at Home, pulled in strong ratings. But subsequent SNL episodes and the final episodes of Idol and The Voice drew below-average numbers, owing in part to bad timing — they aired as TV usage levels were falling — and maybe partly to audience fatigue with the remote format.

https://www.hollywoodreporter.com/li...019-20-1295395

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TV Notes
On The Air
THURSDAY MAY 21, 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 - Who Wants to Be a Millionaire: Dr. Phil, Kaitlin Olson and Lauren Lapkus
9PM - Holey Moley (Season Premiere)
10PM - To Tell The Truth (Season Premiere)
* * * *
11:35PM - Jimmy Kimmel Live! (Kevin Hart)
12:06AM - Nightline
12:36AM0 - Jimmy Kimmel Live! (Kevin Hart)
(R)

CBS:
8PM - Young Sheldon
(R)
8:31PM - Man With A Plan
9:01PM - Mom
(R)
9:30PM - Broke
10PM - S.W.A.T.
(R)
* * * *
11:35PM - The Late Show With Stephen Colbert (Democratic presidential hopeful Joe Biden; Milky Chance and Jack Johnson perform)
12:37AM - The Late Late Show With James Corden (NFL player Rob Gronkowski; tennis player Venus Williams; HAIM performs)

NBC:
8PM - Celebrity Escape Room
9PM - The Red Nose Day Special (120 min.)
* * * *
11:34M - The Tonight Show Starring Jimmy Fallon (At Home Edition: Sofia Vergara; Steve Coogan and Rob Brydon; Courtney Barnett performs)
12:37AM - Late Night With Seth Meyers (Singer Janelle Monáe; comic Patton Oswalt)
1:38AM - A Little Late With Lilly Singh (Ilana Glazer)
(R)

FOX:
8PM - Celebrity Watch Party
9PM - Labor of Love (Series Premiere)

THE CW:
8PM - Burden of Truth (Season Premiere)
9PM - In the Dark

PBS:
8PM - The This Old House Hour
9PM - Last Tango in Halifax
(R)
10PM - College Behind Bars
(R)

UNIVISION:
8PM - Te Doy La Vida
9PM - Amor Eterno
10PM - Como Tú No Hay Dos

TELEMUNDO:
8PM - Cennet
9PM - 100 Días Para Enamorarnos
10PM - La Reina Del Sur 2: Edición Especial

CNN:
8PM - Coronavirus: Facts and Fears - A CNN Global Town Hall (120 min., LIVE)

MTV:
8PM - Jersey Shore: Family Vacation
(R)
* * * *
10PM - Ridiculousness: JoJo

BRAVO:
9PM - The Real Housewives of New York City
10PM - Top Chef
* * * *
11PM - Watch What Happens Live With Andy Cohen (Ramona Singer; Pamela Anderson)

E!:
9PM - Total Bellas
* * * *
11PM - Nightly Pop

HBO:
9PM - We're Here: Ruston, Louisiana

SCIENCE CHANNEL:
9PM - Mysteries of the Abandoned: Anarchy on Ireland's Alcatraz (66 min.)
10:06PM - Mysteries of the Abandoned: Skeletons of the Hell Maze (114 min.)

TVONE:
9PM - For My Man

WETV:
9PM - Growing up Hip Hop (71 min.)

A&E:
10PM - The First 48: The Case That Haunts Me

FREEFORM:
10PM - Siren

TBS:
10:30PM - The Misery Index
* * * *
11PM - Conan (Stephen Colbert)
(R)

COMEDY CENTRAL:
11PM - The Daily Show With Trevor Noah: The Daily Social Distancing Show - May 21, 2020 (45 min.)

SHOWTIME:
11PM - Desus and Mero ("Station 19's" Jesse Williams)

SYFY:
11PM - Vagrant Queen

SUNDANCE:
Midnight - The Split: Episode 1 (Premiere)


http://tvlistings.zap2it.com/?aid=gapzap
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Nielsen Overnights (Broadcast)
‘The Voice’ Finale Tops Quiet Tuesday; ‘DC’s Stargirl’ Debut Ratings Solid
By Dino-Ray Ramos, Deadline.com - May 20, 2020

The CW meanwhile introduced a new hero into its comic book universe with DC’s Stargirl (0.3, 1.21M), down and tenth from The Flash finale a week ago in the time slot but beating it in viewers. The freshman series was followed by DC’s Legends of Tomorrow (0.2, 803,000), which held steady.
Gracenote changing Stargirl's series ID and title at the last minute probably didn't help the ratings any. I found out about it about an hour after my DVR failed to record it. If anyone else missed the premiere The CW will be airing that episode again on Sunday, and it's available to stream on the CW app or their website at https://www.cwtv.com/shows/stargirl/ .
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post #36105 of 36884 Old 05-21-2020, 07:49 AM
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Hagen Mills, 'Baskets' actor, dead at 29
By Lisa Respers France, CNN

Hagen Mills, an actor who appeared in the television series "Baskets," died Tuesday after allegedly shooting the mother of his young daughter, according to police in Mayfield, KY.

Mills was 29.

Officers responded to a 911 call Tuesday evening to a residence where a woman had been shot. The woman, Erica Price, suffered gunshot wounds to her arm and chest and told officers the gunman was Mills, according to a statement from Mayfield police.

Mills was found in the home and pronounced dead on the scene.

Price, 34, was transported to the hospital where she was listed in stable condition, police said.

Price and Mills share a young daughter who was not physically injured in the incident, according to police.

Mills also appeared in the comedic series "Swedish Dicks" and the 2020 horror film "Star Light."

https://www.cnn.com/2020/05/21/enter...ide/index.html

I really ought to act more like a woman of my advancing years, but I’m growing old disgracefully.
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Technology/Streaming Notes
Hulu is bringing back a simpler, more familiar home screen
By Chris Welch, TheVerge.com - May 20, 2020

Hulu’s grand experiment to reinvent the user experience of a streaming app is coming to an end. Today, starting on Apple TV and Roku, the company is rolling out a revamped home screen that’s much closer in line with Netflix, Amazon Prime Video, and other streaming services. The new look will make its way to other platforms by the end of July.
https://www.theverge.com/2020/5/20/2...amiliar-simple
Good. Now they need to show if you are getting 4K and at what bitrate for a show (usually their "Originals" but there may be others including some acquisitions). I won't hold my breathe though because they may have taken the marking off the shows when they expanded 4K support even as a beta because they don't have the support staff to answer "why am I not getting 4K?"


Though the 2017 interface has worked mostly well for me on Roku it did have some bugs. I was doing a search on Tubi the other day for horror films and they have a LOT of them but their interface to display rows worked great and if you clicked on a title in a row when you exited the title info you were on the row where it was. Sometime Hulu would frustratingly return you to the top. Now that isn't particularly difficult to get right programming wise.
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TV Review (Cable)

'AKA Jane Roe' (FX)
By Inkoo Kang, The Hollywood Reporter - May 21, 2020

The first time I saw Norma McCorvey — better known as Jane Roe of Roe v. Wade, the Supreme Court case that legalized abortion nationwide in 1973 — was on a Christian network that I stumbled on while flipping channels.

This was in the late 1990s or early 2000s, some years after McCorvey had transformed from a symbol of pro-choice righteousness to one of pro-life repentance. It was disheartening to learn that someone who'd played such a key role in the long and toilsome fight for women's rights now regretted her contribution, and I quickly changed the channel. Still, the revelation chipped away, albeit briefly, at my still-forming feminist convictions: If Jane Roe rued her abortion, couldn't other women, too?

McCorvey, it turns out, never had an abortion. As explained in the surprise-filled new biographical documentary AKA Jane Roe on FX, the landmark case was premised on the right for all women to have practicable access to abortive services. Recent law-school grads Sarah Weddington and Linda Coffee sought as their plaintiff a poor woman who would have had difficulty traveling to a state with less restrictive abortion laws than Texas, where the suit was filed, and McCorvey fit the bill. The real-life "Jane Roe" had so little to do with the case, apparently, that McCorvey found out that her side had prevailed from the newspaper. When one of her lawyers phoned her to relay their victory, McCorvey disagreed that she'd "won." "You won," she recalls telling the attorney.

Directed by Nick Sweeney (The Sex Robots Are Coming), AKA Jane Roe is both a must-see film as well as a deeply frustrating one. The marketing for the personality-driven doc boasts a "startling deathbed confession," but the impact of the disclosure is undermined by the previous hour's establishing of McCorvey as a mild to moderate unreliable narrator of her life, as well as by Sweeney's failure to confront his subject about how that revelation squares with the rest of her actions. (In the filmmaker's partial defense, McCorvey already seemed to be in ill health by the time of their interviews, though she was no less an eager raconteur for it. McCorvey died a year after filming, in 2017, of heart failure.)

Early in the documentary, McCorvey claims that she signed on to become the anonymous plaintiff in Roe v. Wade out of altruism, so that no other woman would have to feel "cheap, dirty and no good," i.e., the way she did seeking (but not going through with) an abortion in the late '60s. The biggest reveal of AKA Jane Roe is that her anti-abortion activism from the mid-'90s on was a mercenary affair — that she chose to betray her convictions, as well as her former allies in the feminist establishment, who were afraid of a politically inconvenient loose cannon like her, for money.

Sweeney builds effectively toward this twist, while arguing persuasively that being used and manipulated for others' gain was a throughline in McCorvey's often tragic life, which may be why she bristled so forcefully against the perceived lack of appreciation within liberal circles. (Fortunately, AKA Jane Roe doesn't dismiss both sides of the abortion debate as equally deplorable.) Sweeney also emphasizes the personal cost to McCorvey's born-again careerism, which included church-mandated celibacy within her decades-long relationship with a woman.

Woven through the chronology of McCorvey's life are interviews with anti-abortion activist Flip Benham and his former comrade-in-arms Rob Schenck. (The subject of Abigail Disney's documentary profile The Armor of Light, Schenck is McCorvey's foil in AKA Jane Roe — an evangelical minister who crusaded against abortion in a previous life and has since converted into a Roe v. Wade booster.) Benham, meanwhile, is crucial to McCorvey's metamorphosis, in his words, from the "spawn of Satan" to a "child of God."

McCorvey was most useful to the right as "Jane Roe," as my teenage experience of watching her speak on TV attests, but she also clearly knew how to provide a soundbite. "The pro-lifers have shown me what it's like to be a human being for the very first time in my whole life," McCorvey tells one reporter after her baptism. "I've never felt so good about being a woman."
But if AKA Jane Roe is a fascinatingly humanizing tale of the life behind the lawsuit, it also suffers greatly from Sweeney's narrow focus on his subject's theatrical bent and "deathbed confession." McCorvey's decision to join Roe v. Wade is strangely glossed over, as is her 180-degree turn from pro-abortion activist to anti-choice spokeswoman. (Even if her sole motivation was money, which it very well may not have been, I would've loved to know what went into the calculus for that extreme pivot.)

It also would've been illuminating to have some cultural context of the tactics within the religious right that McCorvey was best suited to carry out, such as the spectacles of public contrition that we see McCorvey perform in archival footage. Most disappointingly, Sweeney never gets his subject to account for her contributions in curtailing the reproductive rights for so many disadvantaged women like herself.

And yet, as limited in scope as AKA Jane Roe is, it does illustrate an urgent point that its filmmaker likely didn't intend to make: McCorvey's life demonstrates one pitfall after another of using emotional arguments for a policy debate that affects tens of millions of women in every walk of life. As understandably emotionally charged as it is, the debate over reproductive rights has to take the highly variable circumstances of real-life women into account, rather than using poster children like McCorvey, who are always much more complicated figures than either the left or the right wants them to be. AKA Jane Roe delights in those complications, but is content enough to present them without reconciling them with each other.

"I am a good actress," McCorvey brags in the documentary. "Of course, I'm not acting now." I'm not sure what's more tempting to believe: McCorvey's words, or her love of self-mythologization.

'AKA Jane Roe'
Premieres: Friday, 9 p.m. ET/PT (FX)
The Bottom Line: A must-see, yet deeply frustrating, doc.


https://www.hollywoodreporter.com/re...review-1295425

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TV/Business Notes (Streaming)
John Krasinski’s adorable YouTube series ‘Some Good News’ is moving to CBS All Access
By Julia Alexander, TheVerge.com - May 21, 2020

ViacomCBS is licensing John Krasinski’s heartwarming weekly YouTube series Some Good News, making a once totally free and accessible show now locked behind a streaming paywall.

New episodes of Some Good News will stream exclusively on ViacomCBS’s streaming service, CBS All Access, according to The Hollywood Reporter. Krasinski, however, will no longer host the show. Instead, he’ll step into a producing role, with a new host to be announced at a later date. After the episodes stream on All Access, they’ll “move to a number of the company’s linear networks,” according to the Reporter. It’s unclear which networks will get the show (ViacomCBS owns MTV, Nickelodeon, CBS, Comedy Central, and more), or how long new episodes will stream exclusively in All Access.

Calls reportedly started coming in from networks to acquire Krasinski’s show following the first episode, which premiered at the end of March. Since then, the channel has garnered more than 2 million subscribers and netted around 70 million views. The actor was hesitant to take a deal with any of the companies because he intended the show to remain free and accessible to as many people as possible. He started the series to bring a little good news to people — a welcome distraction from what’s happening in the world. Now, that’s only possible if you pay for a ViacomCBS product.

CBS All Access costs $5.99 a month with ads and $9.99 a month without ads. The streaming service, which is undergoing major changes this summer, is also only available in the United States, although the company has struck deals with other networks and streamers to carry All Access originals (like Star Trek: Discovery and Star Trek: Picard) in international territories. ViacomCBS does have international streaming services it could use to distribute the show, including Paramount Plus, but it’s unclear if the company will use those avenues.

The net result is that Some Good News will no longer be as accessible to people around the world as Krasinski first intended. Even with ViacomCBS networks carrying second runs of the episodes, it hardly compares to YouTube’s 2 billion active monthly users around the world. Krasinski’s official statement claims that the CBS paywall will cause the opposite effect, though.

“Could not be more excited and proud to be partnering with CBS/Viacom to be able to bring Some Good News to so many more people!” Krasinski said, according to the Reporter. “From the first episode, our goal was to create a news show dedicated entirely to good news. Never did I expect to be joining the ranks of such a historic news organization as CBS.”

Whether a version of Some Good News produced by one of the largest media and entertainment conglomerates in the world can retain the authenticity of Krasinski’s show will be the biggest concern. Krasinski’s show works because it’s one man sitting behind his desk at home, looking into a web camera, and reacting to viral videos. It’s quintessentially a YouTube series. There are no network executive notes or concerns about proper lighting. Under ViacomCBS, that might change. Production values might increase, the new host might not be as immediately likable and charming, and the corporatization of the entire show might act as a turnoff. Genuineness isn’t something that people can fake very well or very easily.

https://www.theverge.com/2020/5/21/2...sing-streaming
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Technology Notes (Mobile)
AT&T says it will drop '5G Evolution' branding after backlash
By Jon Fingas, Endgadget.com - May 20, 2020

AT&T has insisted on labeling its upgraded LTE network as “5G Evolution” despite criticism (including from Engadget parent company Verizon), but it’s changing its tune now that it’s facing greater industry pressure. The carrier told Engadget that it “will comply” with a recommendation to discontinue the 5G Evolution branding from the National Advertising Review Board, a BBB-run body that serves as an ad industry self-regulator. NARB rejected an AT&T appeal against a determination that the 5GE badge and a “5G Evolution, the First Step to 5G” slogan were misleading customers.

While no one disputed that 5GE wasn’t real 5G, the board found that “Evolution” likely wasn’t enough to tell people the truth. The term might even suggest that AT&T’s network had evolved into 5G, NARB said. The “first step” message, meanwhile, might have given some the false impression this was early 5G technology.

The carrier isn’t happy, to no one’s surprise. It “respecfully disagrees” with the board’s recommendation, according to a statement, and said it was complying to support the “self-regulatory process.” You can read the full statement below. It didn’t say whether or not the 5GE icon would disappear from customers’ devices (i.e. the area where the misleading claims matter most), but it isn’t using 5G Evolution as part of its current advertising.

The decision came following a T-Mobile complaint, and more than a year after AT&T settled with Sprint (now part of T-Mobile) in a lawsuit over the 5GE label.

The planned change comes somewhat late when AT&T is already in the midst of rolling out its true 5G network. It may provide a more accurate representation of AT&T’s true coverage, though, and it might discourage providers from embellishing their network capabilities going forward.

“AT&T respectfully disagrees with the reasoning and result reached by the Panel majority. AT&T’s customers nationwide continue to benefit from dramatically superior speeds and performance that its current network provides. As a supporter of the self-regulatory process, however, AT&T will comply with the NARB’s decision.”

https://www.engadget.com/att-to-drop...211436504.html
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TV/Awards Notes
Daytime Emmy Nominations: ‘General Hospital’, ‘Sesame Street’, ‘The View’ Top List; CBS, Amazon Prime Lead Networks
By Patrick Hipes, Deadline.com - May 21, 2020

ABC’s venerable soap General Hospital leads all shows and CBS and Amazon Prime Video top all networks in nominations for the 47th annual Daytime Emmy Awards, which were unveiled Thursday. Winners will be revealed June 26 during a live virtual ceremony on CBS, returning the awards show to broadcast primetime for the first time since 2011.

General Hospital scored a total of 23 noms, edging rivals NBC’s Days of Our Lives (22 noms) and CBS’ Young and the Restless (21) and The Bold and the Beautiful (13). The digital soaps followed, led by Netflix’s Eastsiders and Amazon Prime’s Studio City both with eight noms apiece.

All four broadcast soaps are up for the top drama series honor, while Eastsiders and Studio City are joined by Amazon Prime’s After Forever, The Bay The Series and Dark/Web in the top digital drama race.

CBS led all networks with 57 nominations, followed by Amazon with 55. Among newcomers, Apple TV+ scored 17 noms for its programming including for its Ghostwriters, Helpsters, and Snoopy in Space; while Facebook Watch took four noms overall including two for Red Table Talk in the Outstanding Informative Talk Show and Host categories.

Among the talk shows, ABC’s The View topped nominees with eight, followed by The Kelly Clarkson Show (7), The Talk (6) and The Ellen DeGeneres Show (5).

HBO’s Sesame Street and Apple TV+’s Ghostwriter scored the most kids noms, with Sesame Street gaining an additional seven for Sesame Street’s 50th Anniversary Celebration. The latter’s noms included for Joseph Gordon-Levitt’s hosting.

Among the notable noms for the awards, which honor the outstanding achievements in daytime television programming and is put on by the National Academy of Television Arts & Sciences: Jeopardy! led all game shows with six noms including for host Alex Trebek, who is battling cancer.

Here’s the top nominees by network and show, followed by the full list of noms:

NOMINATION BY NETWORK (2 or more)
CBS – 57
Amazon Prime Video – 55
SYNDICATED – 52
NBC – 43
Netflix – 40
ABC – 38
PBS – 28
Disney Junior – 25
Disney Channel – 23
Apple TV+ – 17
HBO – 14
YouTube.com – 12
Food Network – 11
Nickelodeon – 11
Hulu – 7
Univision – 6
YouTube Originals – 5
Cartoon Network – 4
Facebook Watch – 4
UMC / Amazon Prime Video – 4
CNN en Español – 3
funnyordie.com – 3
Universal Kids – 3
OWN – 2
Popstar TV – 2
Recipe TV 2
rehearsalseries.com – 2
Travel Channel – 2
vimeo.com – 2

NOMINATIONS BY PROGRAM (2 or more)
General Hospital – 23
Days of Our Lives – 22
The Young and the Restless – 21
The Bold and the Beautiful – 13
Eastsiders – 8
Ghostwriter – 8
Sesame Street – 8
Studio City – 8
The View – 8
The Bay The Series – 7
DARK/WEB – 7
Elena of Avalor – 7
The Kelly Clarkson Show – 7
Rapunzel’s Tangled Adventure – 7
Sesame Street’s 50th Anniversary Celebration – 7
After Forever – 6
Jeopardy! – 6
Light as a Feather – 6
The Talk – 6
The Ellen DeGeneres Show – 5
El Gordo y la Flaca – 5
Helpsters – 5
A Holiday Reunion – 5
The Rocketeer – 5
Ask the StoryBots – 4
Carmen Sandiego – 4
Dino Dana – 4
Duck Tales – 4
Family Feud – 4
Issa Rae Presents King Ester – 4
Live with Kelly and Ryan – 4
93rd Annual Macy’s Thanksgiving Day Parade – 4
Odd Squad – 4
The Price Is Right – 4
This Old House: 40th Anniversary Special – 4
Trinkets – 4
Tumble Leaf – 4
Big City Greens – 3
Bronx SIU – 3
El Corazon de Sergio Ramos – 3
The Feels – 3
GMA3 Strahan, Sara & Keke – 3
Green Eggs and Ham – 3
The Henry Ford’s Innovation Nation – 3
Milk Street – 3
Muppet Babies – 3
Peanuts in Space: Secrets of Apollo 10 – 3
Puppy Dog Pals – 3
The Real – 3
Rock the Park – 3
Tamron Hall – 3
Today Show with Hoda & Jenna – 3
The Adventures of Rocky and Bullwinkle – 2
Archibald’s Next Big Thing – 2
Articulate with Jim Cotter – 2
Barefoot Contessa: Cook Like a Pro – 2
Batman: Hush – 2
Big Hero 6: The Series – 2
Blue’s Clues & You! – 2
Brainwashed By Toons – 2
CBS Sunday Morning – 2
CBS This Morning – 2
Disney Mickey Mouse – 2
The Dragon Prince – 2
Dragons Rescue Riders – 2
George to the Rescue – 2
Giada Entertains – 2
Good Morning America – 2
Hate Among Us – 2
Just Add Magic – 2
Let’s Make a Deal – 2
LOL: Last One Laughing – 2
Mao Mao: Heroes of Pure Heart – 2
Mission Unstoppable – 2
Norman Picklestripes – 2
Ocean Treks with Jeff Corwin – 2
Red Table Talk – 2
The Rehearsal – 2
Reign of the Supermen -2
Returning the Favor – 2
SpongeBob SquarePants – 2
30 Minute Meals – 2
Valerie’s Home Cooking – 2
Vampirina – 2
The Zimmern List – 2


The full list of nominees: [CLICK LINK AT BOTTOM TO READ ENORMOUS LIST OF NOMINEES]

https://deadline.com/2020/05/daytime...ks-1202940564/
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post #36111 of 36884 Old 05-21-2020, 02:13 PM - Thread Starter
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TV/Legal Notes
Lori Loughlin to Plead Guilty in College Admissions Scandal
By Ryan Schwartz, TVLine.com - May 21, 2020

Lori Loughlin and husband Mossimo Giannulli have agreed to plead guilty to conspiracy charges tied to their involvement in the infamous college admissions scandal.

Loughlin will plead guilty to one count of conspiracy to commit wire and mail fraud, according to the official court document. Subject to the court’s approval, the Full House alum has agreed to two months in prison and a $150,000 fine, and two years of supervised release with 100 hours of community service.

Her husband, fashion designer Giannulli, will plead guilty to one count of conspiracy to commit wire and mail fraud and honest services wire and mail fraud. He has agreed to five months in prison, a $250,000 fine, and two years of supervised release with 250 hours of community service.

The couple will plead guilty before U.S. District Court Judge Nathaniel M. Gorton at an as-yet-specified date.

Loughlin and Desperate Housewives vet Felicity Huffman were among a number of parents accused of paying bribes to get their kids into elite colleges, which involved faking test scores and extracurricular activities. Both actresses were charged in March 2019 in connection with the investigation, dubbed “Operation Varsity Blues” by the FBI. Huffman pled guilty the following month and ultimately served 11 days in prison (of a two-week sentence), but Loughlin had entered a not-guilty plea and maintained her innocence — until now. She was ultimately fired from her role on Hallmark’s When Calls the Heart after news of the scandal broke, and was not invited back to reprise her role as Aunt Becky in Fuller House‘s fifth and final season.

https://tvline.com/2020/05/21/lori-l...l-prison-time/
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post #36112 of 36884 Old 05-21-2020, 02:16 PM - Thread Starter
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Nielsen Overnights (Broadcast)
Primetime Ratings: ‘Masked Singer’ Finale Elevates Fox
By Michael Malone, Broadcasting & Cable - May 21, 2020

Fox was the big winner in Wednesday prime, with the finale of The Masked Singer pacing the net to a lofty 1.8 in viewers 18-49, per the Nielsen overnights, and a 10 share. That easily beat ABC’s 0.6/4.

The Masked Singer did a 2.3, a 64% gain. Kandi Burruss was the winner. The premiere of competition series Ultimate Tag followed and got a 1.3.

ABC had the movie Moana, then a Holey Moley repeat before the season two premiere May 21.

CBS and Univision both got a 0.5/3. CBS had reruns before a new SWAT at 0.6.

Univision had Te Doy La Vida, Amor Eterno and Como Tu No Hay 2 all at a level 0.5.

NBC did a 0.4/2 with Chicago repeats.

Telemundo rated a 0.3/2. Cennet and 100 Dias Para Enamorarnos both got a 0.3, Cennet down a tenth and 100 Dias flat. La Reina del Sur 2 fell 33% to 0.2.

The CW got a 0.1/1. The premiere of The 100 got a 0.2 and a Bulletproof rerun followed.

https://www.nexttv.com/news/primetim...e-elevates-fox
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Technology/Business Notes (OTT)
Netflix Reaching Out to Inactive Subscribers, Automatically Cancelling Dormant Accounts
By Daniel Frankel, Multichannel News - May 21, 2020

Netflix said it is reaching out to its “few hundred thousand” inactive account holders and proactively asking them if they want to cancel their account. And it’s going even further, cancelling accounts for those who don’t respond.

“So we’re asking everyone who has not watched anything on Netflix for a year since they joined to confirm they want to keep their membership,” said Netflix product innovation chief Eddy Wu, in a company blog post.

“And we’ll do the same for anyone who has stopped watching for more than two years,’ Wu added. “Members will start seeing these emails or in app notifications this week. If they don’t confirm that they want to keep subscribing, we’ll automatically cancel their subscription. If anyone changes their mind later, it’s really easy to restart Netflix. These inactive accounts represent less than half of one percent of our overall member base, only a few hundred thousand, and are already factored into our financial guidance.”

Netflix maintains profile data for cancelled accounts for 10 months, so any customer signing back up within that time frame won’t lose it.

With Netflix adding 16 million users in a first quarter that culminated with record streaming usage amid the pandemic, exposing itself to what appears to be a limited amount of churn might be chocked up by some as a PR stunt.

But the policy does go against a subscription industry norm that suggests to services that they don’t disturb dormant customers.

Speaking at a Parks Associates streaming video conference in Los Angeles in December, Marty Roberts, co-founder CEO of consultancy Wicket Labs, said he advises clients to tread quietly around users who might have forgot they’re paying a monthly bill for video service.

“There’s causal relationship between inactive customers and churn after six months,” Roberts said. “The worst thing you can do is talk to those customers.”

https://www.multichannel.com/news/ne...ctive-accounts
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TV Notes (Broadcast)
‘Prodigal Son’ Renewed for Season 2 at Fox
By Will Thorne, Variety.com - May 21, 2020

“Prodigal Son” is returning to the Fox fold.

The network hare renewed the Michael Sheen and Tom Payne serial killer drama for a second season. Precisely where “Prodigal Son” will fit into Fox’s 2020-2021 slate remains to be seen, as the network already set a fall schedule anchored by acquisitions like “LA’s Finest,” returning unscripted series like “The Masked Singer,” and scripted series which had been held back from last season like “Next” and “Filthy Rich.”

Given the coronavirus production shutdown, sources say season 2 of “Prodigal Son” will most likely appear sometime in midseason.

“From the moment ‘Prodigal Son’ premiered, fans have been captivated by the astounding performances turned in by Tom Payne and Michael Sheen, as they go head-to-head in one of most unique family relationships on television,” said Fox president of entertainment Michael Thorn. “Adding to these searing dynamics are the equally compelling portrayals from Bellamy Young, Lou Diamond Phillips, Halston Sage and the entire cast in a brilliant premiere season as told by Chris Fedak and Sam Sklaver. We’d like to thank our friends Greg Berlanti and Sarah Schechter, and everyone at Warner Bros. Television for helping make a series that left everyone wanting more, and we’re thrilled to have ‘Prodigal Son’ return for our 2020-21 slate.”

“Prodigal Son” follows Malcolm Bright (Payne), a psychologist who has a gift for understanding how serial killers think, because his father, Dr. Martin Whitly (Sheen) was one of the worst, a notorious serial killer called “The Surgeon.” Bright is the best criminal psychologist around and murder is the family business. He uses his twisted genius to help the NYPD solve crimes for his longtime mentor, NYPD Detective Gil Arroyo (Diamond Phillips), all while dealing with his manipulative mother, Jessica Whitly (Young), his seemingly normal sister, Ainsley Whitly (Sage) and a homicidal father still looking to bond with his prodigal son.

The series also stars Perrineau, Frank Harts and Keiko Agena.

“Prodigal Son” is produced by Berlanti Productions in association with Warner Bros. Television and Fox Entertainment. Chris Fedak and Sam Sklaver created the show and serve as executive producers, showrunners and writers. Greg Berlanti, Sarah Schechter and Adam Kane also serve as executive producers. Lee Toland Krieger directed and executive-produced the pilot.

https://www.multichannel.com/news/ne...ctive-accounts
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TV Notes (Broadcast)
ABC renews 19 shows, cancels five, as next season's lineup announced
By James Hibberd, EW.com - May 21, 2020

ABC is announcing a slew of decisions about its programming lineup. The network has renewed 19 shows for next season, plus ordered two original new series and canceled five current shows.

First the renewals: American Housewife, The Bachelor, black-ish, The Conners, Dancing with the Stars, The Goldbergs, A Million Little Things, mixed-ish, The Rookie, Shark Tank, Stumptown, 20/20 and Who Wants To Be A Millionaire are all coming back. The renewals join America’s Funniest Home Videos, American Idol, The Bachelorette, The Good Doctor, Grey’s Anatomy, and Station 19, which were already announced as coming back.

Now here are the shows that won't be coming back: Schooled, Emergence, Single Parents, Bless this Mess and the reboot of Kids Say the Darndest Things. (While the fates of Baker and the Beauty and For Life have yet to be decided).

There are also a couple of new series orders.

First, Big Sky, from veteran TV showrunner David E. Kelley (The Practice), a private detective series based on the series of books by C.J. Box starring Katheryn Winnick, Kylie Bunbury and Ryan Phillippe. "Two sisters who have been kidnapped by a truck driver on a remote highway in Montana. But when they discover that these are not the only girls who have disappeared in the area, they must race against the clock to stop the killer before another woman is taken."

There's also Call Your Mother from showrunner Kari Lizer (The New Adventures of Old Christine) starring Kyra Sedgwick (The Closer) in a comedy that "follows an empty-nester mom who wonders how she ended up alone while her children live their best lives thousands of miles away. She decides her place is with her family and as she reinserts herself into their lives, her kids realize they might actually need her more than they thought."

The network also as previously announced the reality series Supermarket Sweep starring Leslie Jones.

The shows are being announced for the 2020-21 season without premiere dates due to the industry-wide production shutdown from the coronavirus pandemic.

“At a time when we are physically apart and shared experiences matter more than ever, these shows will build on the strategy that has made us No. 1 this season – bringing people together, creating cultural moments, and making content that entertains and inspires across generations and demographics,” said Karey Burke, president, ABC Entertainment. “Our top priority now is to work with our studio partners to ensure a safe return to production so that we can build on the strong momentum of a winning lineup with measured bets on new series that will invigorate our air and continue to deliver the quality programming that our viewers have come to expect and love.”

https://ew.com/tv/abc-schedule-2021/
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TV Sports/Notes
Fake crowd noise for NFL broadcasts? NBC's Al Michaels bracing for 'a year of trial and error'
By Jarrett Bell, USA Today - May 22, 2020

Al Michaels is hardly a fan of using artificial sound for "Sunday Night Football" broadcasts that may be destined to originate from empty stadiums. Yet Michaels, arguably the most revered play-by-play voice on the sports landscape, can envision the perfect situation to make an exception.

“I think the one time we probably could use a laugh track is if we see another butt-fumble like the Mark Sanchez play,” Michaels told USA TODAY Sports, reminiscing about the infamous play he called on Thanksgiving in 2012 that involved the then-Jets quarterback. “We’ll throw in a laugh track for you.”

At this point, not even Michaels’ tongue-in-cheek suggestion can be completely ruled out as NBC’s signature show – No. 1 in prime time for a TV-record nine consecutive seasons – sorts through the options of how to best present the weekly showcase game against a different type of backdrop for at least part of the would-be NFL season.

Like all of the networks preparing for broadcasts of NFL games and other sports as the nation begins to reopen amid a still-threatening coronavirus pandemic, the "SNF" brain trust is considering possibilities that include piped-in crowd noise, faux fans and maybe more eavesdropping and natural sound from field level than has ever been available to viewers.

“We know it can’t be exactly the way it was,” Michaels said. “I see this as a year of trial and error.

“As we go along, we’re going to learn on the fly. And I think the audience is going to understand there are going to be mistakes and it won’t look as sharp and clean as a regular game will, but I think the audience understands now it’s a different template. So, we’ll see where we go with this.”

One thing seems certain: Michaels, analyst Cris Collinsworth and the production crew won’t be working the games from a far-away studio. They will be on site as usual, social distancing etiquette in tow, unless pandemic conditions dictate otherwise.

“That would be the last resort, to have Al and Cris in the studio,” Fred Gaudelli, the executive producer for "SNF," told USA TODAY Sports. “I don’t think anybody wants that. You would lose an awful lot if that were to happen. Obviously, you’d be in a pretty tough situation in the country if that’s the way everything was going to proceed for something like the NFL.”

Although Joe Buck, the lead play-by-play voice for Fox Sports, has maintained it’s “pretty much a given” that his network will use fake crowd noise to supplement its game broadcasts, Gaudelli won’t declare that as inevitable for "SNF."

“As a live producer, artificial anything doesn’t really sound or feel right to me,” Gaudelli said. “But at this point, we have the luxury of keeping everything on the table.”

Gaudelli’s track record for innovation (bolstered by 23 Emmy Awards) bodes well for "SNF" amid its challenges. In 2017, he teamed with director Drew Esocoff to present the first NFL game using a SkyCam for its primary coverage, which was inspired by the emergency use of dual SkyCam coverage due to fog at Gillette Stadium for a Super Bowl LI rematch earlier that season. He also introduced the yellow first-down marker superimposed on the screen, the GoalPost Cam and real-time polling data for instant replay challenges. During his ESPN days, he was the first to track the speed of pitches during the 1988 College World Series.

Now what?

“I’d be shocked if something really good doesn’t come out of this for broadcasting in general,” Gaudelli said. “Just like the NFL draft, something great came out of it. I think you’re going to see that because everybody now has an opportunity to change the template a little bit – it’s forced, obviously, but now we have that opportunity, with technology and the advances made every day and a lot of creative people now are putting thought into this.”

Gaudelli was impressed by the multi-network simulcast of the NFL’s stay-at-home draft, agreeing with the widespread sentiment that decision-makers were humanized by the cameras stationed in their homes.

“We saw coaches and general managers as everyday people with their kids running around while they were trying to do their work,” said Gaudelli, who beginning in 1990 produced 12 consecutive drafts for ESPN. “There was a relation there between the fans and those people that never existed before because we’re all doing the same thing right now, trying to get our work done while kids are running around making noise, distracting you and all those things.”

Perhaps "SNF," which averaged 20.5 million viewers in 2019, can provide some at-home perspective, too, to supplement the game. Imagine Russell Wilson’s wife, Ciara, high-fiving the kids in the den after the Seahawks quarterback makes some amazing touchdown throw. Or Tom Brady’s dad, Tom, Sr., sipping on a cool beverage in his recliner while wearing a Bucs cap.

Gaudelli mentioned the possibility of working with a tech company to develop an app that would allow fans to cheer from their phones. That prospect seems similar to the show of fans on the screen mounted behind Commissioner Roger Goodell in his basement as he hosted the draft, a feature that incorporated virtual reality effects provided by the Los Angeles-based operation, The Famous Group.

As Gaudelli pondered, “Make an artificial application more authentic. You kind of look at all of it. We’re evaluating all of it.”

It seems like a good bet that the wide-angle stadium shots that are a staple from packed houses will go by the wayside with no fans in the building. Fan reaction shots after a sack? Hardly. And we’ll see whether cheerleaders are still an essential part of the game-day experience if the stadium is empty.

Gaudelli, who began preparing for the altered broadcasts six weeks ago, expects the production crew, typically consisting of roughly 175 people, will be somewhat scaled back because of pandemic restrictions. It’s a given, though, that "SNF" will have the 25 cameras — about twice as many compared a regional telecast — it uses for games. With no fans in the stands, the networks will suddenly have the flexibility to shoot from different angles.

“I don’t know that it’s going to look much different,” Gaudelli said. “Now you can put cameras in a more ideal spot because you’re not going to be blocking anyone. It might be a little more intimately done, but I don’t think it’s going to be anything where anybody at home is going to say, ‘Wow, this is completely different!’"

Besides, it won’t be the first time Michaels calls games from nearly empty stadiums. During the mid-1970s, he called San Francisco Giants baseball games.

“Terrible teams playing in a terrible ballpark, Candlestick Park,” Michaels said. “We were always 25 games out of first by August. We played San Diego on a Thursday night in August of ’75 or so. Somebody would always come in (the booth) in the seventh inning and hand a slip of paper with the attendance.

“I said on the air, ‘Tonight’s attendance … well, why don’t I just tell you whose here: Arnie Saluski has come down from Mill Valley. The Delpart family has driven down from Saratoga…’ So, we can have a little fun with that, maybe, during the course of the season. But, trust me, I know how to do games without fans.”

Nothing will change, Michaels insists, with the philosophy that a broadcaster’s job is basically to get out of the game the story of the game.

“We never go into this – Cris, Michele (Tafoya, sideline reporter) and I – saying, ‘Hey, we’re the show,’ “ Michaels said. “We’re an adjunct. We’re there to inform, to entertain, to elucidate, to analyze. The game is the show. Maybe when we come on the air, we’ll obviously make reference to the fact that it’s different, maybe pull the curtain back a little and show how it’s different. But once the game starts, that’s why people tune in.”

Michaels realizes that in the big picture, the adjustment for the TV networks and the viewers will pale when compared to the NFL teams and players likely trying to roll in a pandemic.

“Let’s just hope that No. 1, they can play football,” Michaels said, “and No. 2, this doesn’t last a long time.”

https://www.usatoday.com/story/sport...ls/5239051002/
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TV/Production Notes (Streaming)
Little Mermaid Comedy Sequel Series in the Works at Peacock: 15 Years Later, She's a Miserable 'Basic Bitch'?!
By Dave Nemetz, TVLine.com - May 21, 2020

The Little Mermaid isn’t so little anymore in a new Peacock series… and she’s not so happy, either.

The forthcoming streaming service is developing Washed Up, a sequel series that puts a comedic spin on the classic fairy tale-turned-Disney film, our sister site Deadline reports. Picking up 15 years after the original story, the single-camera comedy finds the former mermaid “now miserable, unmotivated and in a loveless marriage. In other words, just a basic bitch human,” according to the official description. “But when her father suddenly dies, she suspects foul play and embarks on an epic adventure to save not only her underwater kingdom but all of humankind!”

The series hails from Jane the Virgin writer Gracie Glassmeyer, who will serve as creator and executive producer. Jane creator Jennie Snyder Urman will be an EP on the project as well. Glassmeyer is also developing Here She Lies, a dark comedy for HBO Max starring Jane alum Yael Grobglas as a pathological liar with a tragic past.

First published in 1837 by Hans Christian Andersen, The Little Mermaid became a Disney animated film in 1989 which kicked off a resurgence in the studio’s animation department. It spawned several direct-to-video spinoffs and a Broadway musical. Last year, ABC aired The Little Mermaid Live!, a presentation of the film with live musical performances, starring Auli’i Cravalho as the title character.

https://tvline.com/2020/05/21/the-li...eries-peacock/
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post #36118 of 36884 Old 05-22-2020, 08:32 AM - Thread Starter
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TV Review (Streaming)
‘Homecoming’ Season 2 (Amazon Prime)
By Daniel D'Addario, Variety.com

It’s been a particular frustration of this era of TV to watch shows that demanded no amplification — self-contained limited series that ended elegantly — contort themselves into new and unnatural shapes to keep the applause going. The key example of this so far has been “Big Little Lies,” a show that made a crystalline one-season-long case for the power of collaboration and friendship, then fractured its central group in season 2 simply for conflict’s sake.

But the second outing of “Big Little Lies,” at least, retained key talent in front of and behind the camera, ensuring some familiar pleasures remained. Not so with Amazon’s “Homecoming,” whose superlative first season was fueled both by the chemistry between Julia Roberts and Stephan James and by Sam Esmail’s direction, with its self-conscious debts to Hitchcock. (The something-more-than-homage was forgivable in part because of the sheer panache with which Esmail carried it off.) With Roberts and Esmail gone and James appearing in a more limited capacity, the show doesn’t come up with a credible way forward, instead stumbling through familiar story beats with less gusto. It resembles, perhaps, one of its own characters after undergoing the amnesia-inducing treatment at the show’s center — certain of where it is but unclear on why, familiar in appearance but emptied out of spark.

This is not the fault of Janelle Monáe, who plays lead this time; following Roberts at the peak of her powers is a hard ask, made more complicated by the fact that the scenario is so similar. Monáe, like Roberts, plays a person whose eroded memory conceals an involvement at the goings-on of the cryptic Geist corporation. To say more would, perhaps, give away twists and turns, but those plot movements are of more purely academic interest than emotional involvement. The genius of the Roberts performance came in the way she supplied familiar warm gestures to cover over all she didn’t know. Monáe, whose character wakes up in a rowboat with no idea how she got there, is all action by contrast, and is given little time to let moments breathe. (She is at her best playing against Hong Chau, a performer who’s a happy carryover from season 1 and whose natural, unaffected charm makes up for the fact that the enigma of her character, a chief selling-point last time around, has been whittled away.) Matching a somewhat emptied-out narrative — one that adds busyness, in the form of big performances by Chris Cooper and Joan Cusack, among others — the direction, by Kyle Patrick Alvarez, feels more cautious, less striking. Smaller.

Fundamentally, for all that new details about the intrigue at Geist get larded on, there’s not that much in the way of true story here — the first season, for all that it embroidered strangeness on its margins, was elemental. It was, in the end, a somewhat briefly told tale about two people working together to overcome the tragic fact that they were stuck in a system they couldn’t overcome. There was a charge there that dwarfed the show’s visual excesses; all the directorial vim existed in service to its story. Having run through that story and now pivoting to expanding its universe, “Homecoming” is making clear that certain of its florid devices can’t replace the power of human connection, something that feels sorely lacking on a show whose mythology is expanding but whose characters feel, in the end, forgettable.

'Homecoming' Season 2
Now streaming on Amazon Prime Video. Seven episodes
(all screened for review).


https://ew.com/tv/abc-schedule-2021/
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Technology Notes (Gaming)
Microsoft Solitaire turns 30 years old today and still has 35 million monthly players
By Tom Warren, TheVerge.com - May 22, 2020

Microsoft’s Solitaire game is turning 30 years old today. Microsoft is celebrating the occasion with a world record attempt of the most games of Microsoft Solitaire completed in one day. 35 million people still play Solitaire monthly, according to Microsoft, with more than 100 million hands played daily around the world.

Microsoft Solitaire was originally included as part of Windows 3.0 back in 1990, designed specifically to teach users how to use a mouse. Grabbing virtual cards and dropping them in place taught the basics of drag-and-drop in Windows, which we still use today in many parts of the operating system.

Microsoft Solitaire, originally known as Windows Solitaire, is one of the most played games in the world as it shipped in every version of Windows for more than two decades. That means it has shipped on more than a billion PCs, and it only stopped being a dedicated part of Windows with the release of Windows 8 in 2012.

Microsoft intern Wes Cherry initially programmed the game, and pixel art and Mac GUI pioneer Susan Kare designed the original card deck. Cherry initially programmed a “boss mode” into Windows Solitaire, with a fake spreadsheet designed to fool bosses and coworkers. Microsoft made Cherry remove the boss mode from the game before its release. If it had remained, it could have saved one man from being fired by former New York City mayor Michael Bloomberg.

Solitaire is still actively played across the world by millions today, thanks to its broad appeal. It was even inducted into the World Video Game Hall of Fame last year. Microsoft has localized the game into 65 languages, and it’s played in more than 200 markets. Microsoft Solitaire only got its first major update back in 2012, coinciding with its removal from Windows 8 into a standalone app. The new app included five new game modes, daily challenges, competitive events, Xbox Live integration, and even the ability to choose a difficulty.

This standalone app also led to Solitaire returning as part of Windows 10 back in 2015. It’s also now available across every major OS platform. If you want to help Microsoft reach its record attempt, Microsoft Solitaire is now available across Windows, iOS, Android, and even on the web.

https://www.theverge.com/2020/5/22/2...record-attempt
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TV Sports/Production Notes (Cable)
‘Last Dance’ For The Gridiron? ESPN Sets Deal With Tom Brady For 9-Episode Series On QB’s Remarkable Career
By Mike Fleming Jr., Deadline.com - May 21, 2020

EXCLUSIVE: After a towering rating success on the Michael Jordan 10-part documentary The Last Dance, ESPN is working with Tom Brady and Religion of Sports on Man In the Arena, a nine-episode multi-platform series coming in 2021. The focus will be on another GOAT for his sport: Brady himself.

The series will be Brady’s firsthand account of the most iconic moments of his NFL career, including each of his nine Super Bowl appearances as quarterback of the New England Patriots. Also in there will be smaller, seemingly insignificant instances that became pivotal events and paved the path of the future Hall of Famer’s journey, which takes a new chapter after his move to the Tampa Bay Buccaneers.

Here's the trailer: [CLICK LINK AT BOTTOM]

The series is being co-produced by ESPN along with Brady’s new company 199 Productions and Gotham Chopra for Religion of Sports. The series will be shepherded by the original content team under Connor Schell, the Executive VP, Content for ESPN who is a veteran of the network’s superb 30 for 30 series, and executive producer of The Last Dance as well as the upcoming Bruce Lee docu Be Water.

“Nine Super Bowl appearances over the course of 20 years is an achievement on an unmatched level,” Schell said. “We are thrilled to have the opportunity to work with Tom Brady as he reflects on each of those nine, season-long journeys and the pivotal moments that defined them. Gotham Chopra is a highly skilled filmmaker who I am confident will bring to life this story of an icon in a new and revealing way.”

Back in March when the entire sports world was focused on whether Brady would return to New England after he became a free agent, Brady launched 199 Productions to be a global content company generating inspirational content. Deadline revealed the new company and that Brady was huddling with Avengers: Endgame directors Joe and Anthony Russo and their AGBO studio’s non-fiction group Wonderburst to produce the giant screen 3D adventure Unseen Football, a documentary designed to take viewers into the invisible realms of the sport, with Brady as the tour guide. Chopra is directing.

“I’m excited to have my company 199 Productions be in business with ESPN and Disney along with our Religion of Sports partners to launch this new series that gives an inside look into the championship moments I’ve been blessed to experience,” Brady said. “Through the series, we’re defining the key moments and challenges that were seemingly insurmountable, but through hard work and perseverance, became career-defining triumphs, in both victory and defeat. ” Brady adds, “This compelling and powerful show will entertain, inspire and have you on the edge of your seat. We can’t wait to share it with the world.”

https://deadline.com/2020/05/tom-bra...an-1202940636/
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