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post #36151 of 36917 Old 05-25-2020, 06:19 AM - Thread Starter
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TV/Washington Notes

FCC Commissioners Blast Sinclair Settlement as ‘Abdication of Responsibility’
By Cynthia Littleton, Variety.com - May 22, 2020

Democratic FCC commissioners have blasted the agency’s Republican majority for approving a record $48 million fine against Sinclair Broadcast Group that opponents say allows the broadcast giant to avoid tougher scrutiny of its actions.

Earlier this month, the FCC disclosed an agreement with Sinclair that settles three ongoing investigations into its actions and calls for the company to abide by the terms of a 17-page consent decree that was released Friday.

Sinclair critics say that even with the high fine, the settlement lets Sinclair off the hook easy. The company had been in danger of facing challenges to its right to own broadcast licenses, in light of the conduct that prompted the FCC probes. The FCC vote on whether to approve the fine and settlement with Sinclair was 3-2 down party lines.

The FCC’s formal order goes so far as to assert that Sinclair used a “good faith interpretation” of FCC rules in question in the investigation involving Sinclair’s effort to acquire Tribune Media. That finding was a surprise to Sinclair watchers given FCC chairman Ajit Pai’s remarks on May 6 when news of the settlement was first released.

“Sinclair’s conduct during its attempt to merge with Tribune was completely unacceptable,” Pai said in a statement on May 6. A representative for Pai did not immediately respond to a request for comment.

The formal order released Friday states that Sinclair disclosed additional information during the long probe that demonstrated its effort to comply with FCC rules. The controversy over Sinclair’s handling of its station divestiture plan following the Tribune acquisition spurred the FCC to refer the matter to legal hearing, which forced Sinclair to drop its bid for Tribune.

“Following review of this subsequent information, we find that Sinclair structured its transaction based upon a good faith interpretation of the Commission’s rules and precedent regarding sharing agreements and the requirements for disclosure on the application form,” the FCC stated in the order accompanying the consent decree that was issued Friday.

The order further shields Sinclair from the threat of advocates mounting a challenge to the company’s right to control broadcast licenses on the public airwaves because of overall character concerns.

“We find that there is no substantial and material question of fact as to whether a character qualifying issue arises from the applications designated in the (hearing),” the order stated.

Democratic commissioners Geoffrey Starks and Jessica Rosenworcel blasted their commission colleagues for what they described as a closed-door process that did not subject Sinclair to the kind of public scrutiny warranted by its behavior.

Sinclair was under investigation for failing to adequately identify paid programming on its air. It also faced a probe over claims that it violated FCC rules in negotiations of retransmission consent deals with MVPDs and for significant misrepresentations to the commission as Sinclair was trying to secure approval for its $3.9 billion acquisition of Tribune Media. That deal was eventually scuttled by FCC opposition and outrage spurred by Sinclair’s proposal that it would divest some Tribune stations at below market prices to entities with strong ties to the company.

“Sunlight is the best disinfectant,” Starks said in a statement issued Friday. “The majority’s conclusion that there is no substantial and material question of fact as to whether a character qualifying issue arises from the Sinclair conduct is not warranted, and the decision to allow Sinclair to pay a penalty in lieu of fully accounting for its admitted lack of candor in the Sinclair-Tribune transaction is an abdication of our responsibility to enforce our rules and to require that broadcast licensees act in the public interest, not in furtherance of their own interests.”

Rosenworcel echoed Starks’ concerns.

“In this consent decree the Federal Communications Commission ignores its rules and bends the facts in order to assist Sinclair Broadcast Group with sweeping its past digressions under the rug,” she said. Sinclair Broadcast Group has a history of difficulty complying with FCC rules, as demonstrated by multiple forfeiture orders, notices of apparent liability, and admonishment from this agency. I respect the desire of the company to remedy past behavior but find suspect this agency’s willingness to contort the law and its rules to allow them to do so.”

The consent decree requires Sinclair to establish a compliance officer who is obligated to report to Sinclair’s board of directors annually on the company’s progress in meeting the terms of the consent decree.

Republican commissioner Michael O’Rielly disputed the suggestion that the settlement was merely a slap on the wrist. And he asserted there is no cause for reviewing Sinclair’s broadcast licenses.

“To be clear, the text is precise that Sinclair acted in good faith in its interpretation of Commission rules and precedent and that there is no character qualification issue arising from the underlying applications,” O’Rielly said. “Agreeing to a record financial settlement and extensive compliance requirements — far from the slap on the wrist that critics bemoan — will allow Sinclair to focus on broadcasting and serving the many Americans who rely on its stations for up to date health and safety information and local news, especially during this time.”

O’Rielly urged his dissenting colleagues to “move on.” Commissioner Brendan Carr said the opposition has political overtones because of Sinclair’s history of supporting conservative viewpoints on its air.

“To be sure, there are some political actors, including in Congress, that have long and repeatedly called for the FCC to go after Sinclair based on those politicians’ disagreement with the viewpoints expressed in Sinclair’s broadcasts,” Carr said. ” We don’t do that at the FCC — or at least a majority of us do not do that. We reach our decisions based on the facts and the law.”

https://variety.com/2020/tv/news/sin...ee-1234614529/
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post #36152 of 36917 Old 05-25-2020, 06:24 AM - Thread Starter
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TV Review (Streaming)
How “Normal People” Makes Us Fall in Love
By Anna Russell, Variety.com

Recently, a woman named Mary called into the popular Irish radio show “Liveline” with a complaint about “Normal People,” the television adaptation of Sally Rooney’s 2018 novel by the same name, now airing on Hulu and BBC 3. “I imagine it was like something you’d expect to see in a porno movie, certainly not for family viewing,” Mary told the host. “But anyways, that’s my opinion.” Soon after, the tabloid newspaper the Sun claimed, somewhat breathlessly, that “Normal People” included forty-one minutes of sex scenes, making it “the BBC’s raunchiest drama ever.” In Ireland’s parliament, the tourism minister explained that a promotional video made to encourage fans to visit County Sligo, where much of the show’s filming took place, was “selective” in its use of clips from the episodes. It’s true: the video features majestic shots of Ben Bulben, a flat-topped rock formation which dominates the landscape, but no nakedness.

None of this has bothered fans of the show, which follows the on-again, off-again love story of two teen-agers in the small fictional town of Carricklea, in the west of Ireland. Paul Mescal, a twenty-four-year-old Irish actor, plays the handsome and insecure Connell Waldron, a popular sports star with budding anxiety issues. Connell falls for Marianne Sheridan, played with painful sensitivity by the twenty-one-year-old English actress Daisy Edgar-Jones. Marianne is an intelligent loner from a wealthy family, who lives in the mansion that Connell’s mother cleans, and this difference in their social stations creates a hum of tension beneath their daily interactions. Their similarities—they’re both bookish (they discuss “The Communist Manifesto” and “The Golden Notebook” in the novel), curious about the wider world, and intensely private—are undermined by an inability to communicate at critical moments, leading to heartbreaking misunderstandings.

At school, Connell won’t acknowledge Marianne, though they are sleeping together nearly every night, for fear of losing his friends. He’s sick with guilt over the situation, clamming up when confronted by his friends or his mother, played by the stellar Sarah Greene. Marianne, whose own family is guarding a dark secret, vows not to tell anyone about their arrangement (“Like I’d talk to anyone at school,” she says). Things implode when Connell asks someone else to the school dance, crushing Marianne, who withdraws from school, showing up only to ace her exams. Later, when they both move to Dublin to attend Trinity College, it is Marianne who is suddenly popular, surrounded by artsy, cosmopolitan admirers, and Connell who finds himself lonely. They are drawn together again by an unbeatable first-love chemistry (“It’s not like this with other people,” Marianne says), replicated onscreen with startling emotional intensity. Over twelve half-hour episodes—any longer, and the viewer would surely combust—Marianne and Connell come together, and fall apart, and come together again.

The other day, Mescal and Edgar-Jones came together, virtually, for tea, on Zoom. Edgar-Jones was calling from a patch of sunlight in her North London apartment, where she’s been living with her boyfriend and two roommates. Mescal, who moved to the city two days before the lockdown began, was in Hackney, in East London, alone, “which is weird,” he said. (His roommates were making noises about coming back, he added.) They were both wearing T-shirts—black for Mescal, white with an embroidered daisy for Edgar-Jones, who wore chunky gold earrings and had her hair up in a bun—and seemed delighted to see each other.

“Where did you get that T-shirt? It’s lovely,” Mescal said, peering into the screen.

“Thank you!” Edgar-Jones replied, beaming. “It says ‘Daisy’ on it.”

In the show, Marianne and Connell are constantly making tea for each other when they can’t find the right words—which happens often. When Connell shows up at Marianne’s dinner party with a bloody nose: tea. When Marianne suddenly starts crying while they are watching a film in bed: tea. “They have this way of communicating with each other that’s really honest and raw, which I think is so beautiful,” Edgar-Jones said. “They’re obviously both highly intelligent, and they can speak about big, big subjects,” she added, but, “on the simplest, simplest things they just seem to miss each other.”

One miscommunication halfway through the season, in which Connell, who has lost his summer job, can’t work up the courage to ask Marianne if he can live with her, was so painful that I had to watch it through my fingers. In the novel, Rooney often describes an incident first from Connell’s perspective, and then from Marianne’s, or vice versa. The show occasionally attempts this dual narrative as well, and in Episode 7, we first see Connell’s devastated face as Marianne appears cold and refuses to ask him to stay. Then we get the scene again from Marianne’s perspective, in which she believes Connell is breaking up with her. It was at this point in the series that I had to make myself tea.

“I totally agree with what Daisy’s saying,” Mescal said. “I think a lot of the time you see relationships onscreen, it’s just taken for granted that they’re good communicators, whereas in this show, the opposite has been done.” Connell says “I love you” to Marianne often, Mescal pointed out, but he does it in a “really panicked way,” out of a fear he’s not saying enough. While filming, Mescal said he would ask himself, “Why, at certain points, do they find it difficult to say things to the other person?” “I think that’s where a lot of the drama comes out,” he said.

The series was directed by Lenny Abrahamson and Hettie Macdonald, and adapted by Alice Birch, Mark O’Rowe, and Rooney herself, which might explain why it hews so faithfully to the novel. Rooney has sometimes likened writing sex scenes to writing dialogue, in the sense that every beat counts. The same care is evident onscreen, where every fumbling and tentative caress seems heavy with meaning. These scenes were achieved with the help of Ita O’Brien, an intimacy coördinator who also worked on Netflix’s “Sex Education.” O’Brien helped the actors to discuss things frankly, and to avoid euphemisms. “She would say, ‘We’ll just discuss exactly what the emotional beats are here,’ ” Edgar-Jones said. “The whole point of those scenes is never to have just a moment for the sake of it. They’re always carrying on some form of narrative.”

O’Brien also helped with the physical logistics, Mescal added. Sometimes, to get a scene right, Mescal would need to hold himself in a kind of plank above Edgar-Jones for minutes on end, his arms locked out, sweat dripping from his nose. (“That was really great,” Edgar-Jones joked.) “There was this wonderful thing where she would use her hands,” Mescal said, of O’Brien, holding up his hands to demonstrate. “She’d be like, ‘So, Paul, I need you to give more thrust!’ ” Edgar-Jones made the same motion with her hands, and they both burst into laughter.

Some of the show’s most intimate moments, however, involve no physical contact. In one episode, Connell struggles with depression and Marianne tries to help him from a distance. (She’s been studying abroad in Sweden.) In one scene, she watches him fall asleep through her laptop, and is there for him when he wakes up in the morning. It’s a moment that resonates with the loneliness brought on by the pandemic, as many of us stare at our loved ones through screens. “Think of the poor people who’ve fallen in love just before lockdown started,” Mescal said. “As much as that’s trivial, that would actually drive me nuts. It’s a really sad thing not to be allowed to express the things we want to express, in terms of physical touch, or even just being in physical proximity to other people.”

It’s a situation Marianne and Connell find themselves facing at the end of the series, when—and there are spoilers ahead—Connell, a talented writer, gets into an M.F.A. program in New York. Marianne wants him to go, but he has reservations. (“I’d miss you too much,” he tells her.) The ending is ambiguous: Will they be able to make it work? “There’s an optimism in that you know that they have this real connection, and therefore you feel that they will come back to each other,” Edgar-Jones said.

Mescal’s laptop was about to die, and he plugged it back in. “I’ve said it loads of times, Connell and Marianne don’t feel fictional to me,” he said. “And I was kind of thinking, if Connell and Marianne were my friends, and I’d watched their relationship, and then I heard Connell was going to New York, and Marianne’s gonna stay, in my head I’d be like, as much as they love each other, they’re kind of ****ed.” Edgar-Jones looked aghast. Mescal went on, “But the romantic part of my head would like to believe that they won’t keep missing each other, they can’t keep missing each other for the rest of the time. It’s either they’re going to explode and disappear from each other’s lives, or they will finally find a way to make it all work.”

Mescal was sitting on a plain gray sofa against an empty white wall, which had become his standard Zoom background. The show had taken off during lockdown. A fan had made an Instagram account for the thin silver chain that Connell wears in the series (@connellschain); it was nearing a hundred thousand followers. People were giving themselves bangs like Marianne’s, and posting pictures on Twitter. Mescal and Edgar-Jones had recently filmed an appearance for “The Graham Norton Show” from their homes, and in a few hours they would appear together on “The Late, Late Show with James Corden,” also from their homes, also on Zoom. “Me and Daisy have said it feels weird promoting the show when all this is going on,” Mescal said.

On my laptop screen, he and Edgar-Jones were separated into little boxes, and they tried to position themselves so that they were looking at each other.

“I might look over to you in reference to something,” Edgar-Jones said, preparing for “The Late, Late Show.” She turned her head this way and that, trying to find him.

“Where am I in your screen?” Mescal asked. “I’m looking at you now.”

“I’m looking at you as well now,” she said.

“Aren’t they very social?” Mescal joked.

https://www.newyorker.com/culture/on...s-fall-in-love
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post #36153 of 36917 Old 05-25-2020, 06:29 AM - Thread Starter
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TV Notes
Ric Flair re-signs with WWE after coronavirus holdup
By Paula Froelich, New York Post - May 23, 2020

It took some time, but Ric Flair is staying with WWE and doesn’t plan on leaving.

The Star had reported that he was done with Vince McMahon’s company after his previous contract expired, but Flair said it isn’t true and blamed the delay on the coronavirus pandemic. The WWE Hall of Famer told WrestlingInc he re-signed with WWE last week.

“I just think the coronavirus slowed down the actual, official signing,” Flair told WrestlingInc. “Everybody went to work on figuring out on their end what to do as it’s a lot to deal with especially in wrestling as it’s not a seasonal sport and is year-round. Just figuring your way around that has been an act of genius in itself.”

On Thursday Flair tweeted a picture of a signed contract noting: “Limousine riding, jet flying, styling and Profiling… then, now, forever with @WWE! WOOOO!”

A week earlier, Flair, 71, tweeted a video of himself on a treadmill wearing a facemask saying: “Why am I working out so hard? Because I’m reaching out for that brass ring, to put me back on RAW, to put me back on SmackDown with all the Superstars!”

His previous WWE contract ended at the end of 2019 but the legend is being honored by the company on June 7 with a documentary called: “Ric Flair: The Final Farewell.” Flair didn’t specify the length of his new deal.

Flair said he wouldn’t have gone elsewhere had WWE not renewed him. He added that during his time between WWE contracts, he didn’t receive an offer from All Elite Wrestling president Tony Khan “because he knows how tight I am with [WWE].”

One of the greatest wrestlers of all time, Flair’s last major appearance for the WWE was during the July 2019 “Raw Reunion” show with Hulk Hogan and Stone Cold Steve Austin. His daughter, Charlotte, is a 10-time women’s wrestling champion for the WWE.

https://nypost.com/2020/05/23/is-leg...-with-the-wwe/
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post #36154 of 36917 Old 05-25-2020, 06:52 AM - Thread Starter
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TV Notes
On The Air
MONDAY MAY 25, 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 - Celebrity Family Feud: The Kardashian Family vs. The West Family
(R)
9PM - Celebrity Family Feud: Brooklyn Decker & Andy Roddick vs. Bobby Bones; Tara Lipinski vs. Johnny Weir
(R)
10PM - The Baker and the Beauty
* * * *
11:35PM - Jimmy Kimmel Live! (Bill Murray)
(R)
12:06AM - Nightline
12:36AM - Jimmy Kimmel Live! (NBA player Stephen Curry)
(R)

CBS:
8PM - The Neighborhood
(R)
8:30PM - Bob Hearts Abishola
(R)
9PM - All Rise
(R)
10PM - Bull
(R)
* * *
11:35PM - The Late Show with Stephen Colbert (Dr. Jonathan LaPook; Cate Blanchett)
(R)
12:37AM - The Late Late Show With James Corden (Carpool Karaoke with Billie Eilish; Mariah Carey Christmas takeover; Taylor Swift, Jennifer Hudson, Rebel Wilson, Jason Derulo and Francesca Hayward; composer Andrew Lloyd Webber; director Tom Hooper)
(R)

NBC:
8PM - The Titan Games (Season Premiere, 120 min.)
10:01PM - Songland
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Singer Ariana Grande; singer-songwriter Paul McCartney; country music singer Blake Shelton)
12:37AM - Late Night With Seth Meyers (TV personality Andy Cohen; comic Retta; journalist Ta-Nehisi Coates; Darren King sits in with the 8G Band)
(R)
1:38AM - A Little Late With Lilly Singh (Aisha Tyler; Rob Huebel)
(R)

FOX:
8PM - 9-1-1
(R)
9PM - 9-1-1: Lone Star
(R)

THE CW:
8PM - Howie Mandel's 5th Annual All-Star Comedy Gala (90 min.)
(R)
9:30PM - Whose Line Is It Anyway? (Guest comic Jeff Davis)
(R)

PBS:
8PM - Antiques Roadshow: Charleston
(R)
9PM - Antiques Roadshow: Charleston
(R)
10PM - Independent Lens: Eating Up Easter

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

LIFETIME:
8PM - Movie: I Was Lorena Bobbitt (2020, 129 min.)

SCIENCE:
8PM - Hubble: Thirty Years of Discovery (Special)
9PM - NASA & SpaceX: Journey to the Future (Special, 120 min.)

TRAVEL:
8PM - Beyond the Unknown: Wild West UFO, Crystal Skull and Grand Central Secret (120 min.)
10PM - Mysteries Of The Unknown: Taking Down the Mob, Creepy Cabin and Massive Meteorite (Series Premiere, 120 min.)

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

VH1:
8PM - Love & Hip Hop Atlanta
9PM - To Catch A Beautician (Series Premiere)
9:30PM - To Catch A Beautician

BRAVO:
9PM - Below Deck Sailing Yacht (Season Finale)
10PM - Camp Getaway

FOOD NETWORK:
9PM - Bakeaway Camp With Martha Stewart
10PM - Amy Schumer Learns to Cook

HISTORY:
9PM - Grant: Unlikely Hero (Premiere, 123 min.)

NAT GEO:
9PM - Barkskins (Series Premiere, 65 min.)
10:05PM - Barkskins

TLC:
9PM - 90 Day Fiancé: Self-Quarantined
10PM - 90 Day Fiancé: What Now? (Season Finale)

TV ONE:
9PM - Fatal Attraction

AMC:
10PM - Creepshow

CBSSN:
10PM - World Poker Tour: Rockstar Energy Cash Game, Part 1
* * * *
11PM - World Poker Tour: Rockstar Energy Cash Game, Part 2

WGN:
10PM - Almost Paradise

HBO:
11PM - Axios

SHOWTIME:
11PM - Desus & Mero (Singer RMR)

TBS:
11PM - Conan (Keegan-Michael Key)
(R)


https://tvlistings.zap2it.com/?aid=gapzap
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post #36155 of 36917 Old 05-25-2020, 06:59 AM - Thread Starter
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TV Sports/Critic's Notes (Soccer)
German Bundesliga broadcast uses fake crowd noise, and it's actually great
By Nate Scott, USA Today - May 25, 2020

RB Leipzig took on Mainz in Bundesliga action on Sunday morning at Opel Arena in Mainz, Germany. Due to coronavirus concerns, the match was played in an empty stadium, as all Bundesliga matches have been played since the return of the league.

What was different about the match on Sunday morning was that the broadcast has experimented with adding in fake crowd noise to make the game feel more natural.

(Note: The players in the stadium, according to FS1's Alexi Lalas, cannot hear the noise. It's being added in the broadcast feed.)

It's a practice that's been discussed as a possibility for teams playing in empty stadiums, but has so far been avoided due to concerns that the pumped-in noise would feel artificial and silly.

After having watched most of the first half, in which RB Leipzig is just trouncing Mainz, I have to say: It's much better.

Yes, it can feel a bit uncanny to hear crowd noise and then look up and see empty seats. But soccer is a game that relies on atmosphere as much as anything. Your eyes are on the field for the most part, so you don't notice the disparity much. With the chants, it feels like a soccer game.

I'll admit: I thought this wasn't going to work. And I'll admit that I was totally wrong. It does work, it makes the game feel more special and real.

A lot of people felt similarly, but not all: [CLICK LINK TO READ TWEETS]

https://www.usatoday.com/story/sport...eat/111859288/
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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 (& those eyelashes) - shes HOT - but i digress.
+ since Mick won the 1st match Tiger should win this to setup the trilogy rematch.
WINNER !!
Never thought peyton still be making me $$ even after he retired.
Thx for the free netflix for the rest of the yr peyton.
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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. .....
Has anyone gotten the update on their Roku? My Hulu version is 6.30 Build 2 and the home screen hasn't changed.
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post #36158 of 36917 Old 05-26-2020, 07:44 AM - Thread Starter
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TV Review (Streaming)
Space Force: Steve Carell's New Netflix Series Is Just Vast Emptiness
By Tim Surette, TVGuide.com - May 26, 2020

Hoo boy. Let's not sugarcoat anything: Netflix's new comedy Space Force is a massive disappointment. When you look at who's involved in Space Force — Steve Carell reuniting with The Office creator Greg Daniels! — it should be The Right Stuff of space comedies. But despite its pedigree and the pile of money Netflix threw behind it, it's more of a sleek, high-powered, expensive rocket that tips over and explodes on a school bus full of children before it can even launch.

Carell plays another bad boss as Mark Naird, a newly minted four-star general who is handed the keys to the newest branch of the Armed Forces: Space Force! Like our own real-life bozo president, Space Force's POTUS (who is never named, but from the mentions of his social media use and ego, it's clear who he's modeled after) wants a whole army to be in charge of protecting our satellites so that Twitter never goes down and glory is brought back to the U.S. space program by getting boots on the moon by 2024.

Throughout the season, Naird's efforts lead him to compete against the Air Force, deal with potential spies, cope with incompetence that's both in and out of his control, and find capable bodies to colonize the moon, while also parenting a rebellious daughter (Diana Silvers) and coping with difficulties with his wife (Lisa Kudrow). That set-up has potential, right? We've all been making fun of Space Force ever since it drooled out of the mouth of our real-life Commander in Chief as his stupefying pet project. But Space Force the show has so much trouble making any of its jokes land that it will just make you feel sad about the missed opportunity.

The first thing you'll notice is that Carell and Daniels are trying hard to push Naird as far from Michael Scott, the role that made Carell immortal in comedy, as he can get, while also cramming him into the same mold. Naird, like Scott, is an idiot in way over his head — for example, in one episode he defies the advice of his science advisor (John Malkovich) and attempts to teach a chimp to spacewalk to fix a broken satellite — but he's so rigid that it's hard to find a relatable human being in him. Michael Scott was a buffoon, but he was a lovable buffoon because underneath all that idiocy was a man with a sensitive heart who genuinely cared for the people who worked with him (except Toby, eff that guy). And the voice, oh the voice! Naird sounds like Michael Scott in the middle of a full-body clench, the words shooting out from the back of his throat as though his vocabulary doesn't have clearance to his top-secret diaphragm. It is not comfortable to listen to.

But it might be easier to listen to than most of the jokes. Space Force is inexplicably unfunny, a black hole for laughter, with stretches of bombs lasting minutes, not just because the gags rarely work, but because there aren't that many jokes in the first place. It feels like the first draft of a comedy before the jokes were put in. In several instances, a character singing — usually Naird — is the joke, and not just a joke, THE joke, including an interminable performance of The Beach Boys' "Kokomo" in the first episode. It's not just the jokes that are the problem, either. Everything seems hurried, like the show was knocked out in a weekend. Following a one-year time jump in the first episode, a character close to Naird is put on a completely new arc, with no explanation. It's a mind-boggling oversight.

There are a few bright spots: Ben Schwartz is his usual wonderful self as the head of Space Force's PR; some of the zanier episodic plots approach being funny (the chimp's spacewalk, which is fully CGI'd above the normal budget of a comedy, was so cruel that I laughed); and the recruited "astronauts" at the end of the season — Chris Gethard and Corporate's Aparna Nancherla — add some life to the crew. But in the vast emptiness of Space Force, these moments barely shine.

In the third episode, Naird sits before a congressional budget hearing and defends Space Force's existence to an Alexandria Ocasio-Cortez stand-in named Annabelle Ysidro-Campos (Ginger Gonzaga). His testimony is complete and utter hogwash, but it's played as sentimental, patriotic, and triumphant, with a soundtrack of swelling strings and horns.

It's a blatant cover-up of the fact that Naird can't actually make a compelling case for why the Space Force branch of the military should exist at all. But the scene also reads as a flailing (and failing) attempt to justify the existence of Space Force the show.

Space Force premieres Friday, May 29 on Netflix.
TV Guide Rating: 1/5


https://www.tvguide.com/news/space-f...-greg-daniels/
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post #36159 of 36917 Old 05-26-2020, 07:52 AM - Thread Starter
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TV Review (Cable)
'Grant' Relates the Story of a Successful General and Reluctant President
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - May 25, 2020

Restoring the reputation of Ulysses S. Grant may not sit high on your history priority list.

Even if it doesn’t, the three-night miniseries Grant, which premiered Monday at 9 p.m. ET on History, makes for a compelling watch and a surprisingly interesting story.

The producers, to be clear, have an agenda. They feel Grant’s reputation has been unjustly tarnished, or ignored, in the century and a half since he was president. Grant, therefore, joins several recent counterthrusts that aim to restore him to the esteem in which he was held for much of his lifetime.

The real-life Grant made his reputation as the general who finally won the Civil War for the North. He was a superb military strategist blessed with an ability to remain uncannily calm while a battle could be exploding all around him.

After the war, popular demand coerced him into running for president, which he really didn’t want to do. He served two terms, from 1869 to 1877, during which he pushed for what is known as Reconstruction. He hoped to put the United States back together by embracing former secessionist Southerners while paving the road to equal opportunity and treatment for the black members of society that many of those secessionists formerly held as slaves.

It was a noble effort probably doomed to failure. As the experts in Grant point out, it took almost another hundred years for some of the fundamental promises of freedom and equality to finally become law and policy.

As decades passed, Grant came to be blamed by both sides – by Southern whites for not respecting “states’ rights” and by progressives for not laying down a strong enough foundation for Reconstruction to continue after he left office. Which it did not.

Grant was accused, at various times and to different degrees, of being weak, corrupt, and drunk.

Grant counters by arguing that the anti-Reconstruction forces were too powerful to be stopped by one man, including the president, and that Grant did the best he could.

The series addresses the corruption charge by allowing that he was not always politically astute and, for most of his second term, unhappy to be there at all. This may have made him occasionally inattentive, it argues, but there is no evidence he took any actions for personal gain.

As told here, Grant is closer to a real-life Horatio Alger story, a kid from humble beginnings who worked his way to the top by being honest and competent.

After graduating from West Point, he acquitted himself well in the Mexican War before he got bored with military life and left to take a bunch of civilian jobs at which he wasn’t very successful.

He was lured back to the Army by the Civil War and got the attention of President Abraham Lincoln by turning a potentially catastrophic defeat at the battle of Shiloh into a victory in the summer of 1862.

He became one of Lincoln’s favorites, which, among other things, put him under pressure to help Lincoln get re-elected in 1864 by showing a war-weary public that the North was rolling to victory.

He did this with an aggressive strategy that left paths of destruction across the South – scars that historians recount here as triggering some of the sullying of his reputation after his death.

Grant acknowledges contradictions in Grant’s life. He came from an anti-slavery family and married into a family that held slaves. He did have the drinking problem with which his name is often associated, though it was more sporadic than chronic, and did not impair his focus on important decisions.

Whatever anyone thinks of Grant, or doesn’t, he remains a significant president and an even more significant military commander. That makes his reputation more important than that of other forgotten or disrespected presidents.

Accordingly, Grant sees its restoration mission as valuable, because how we feel about U.S. Grant ties into racial and social attitudes that remain determinants of American policy and action today.

Purely as television drama, Grant uses History’s standard tactic of employing relatively unknown actors to dramatize the lives of its subjects. For whatever reason, that works better here than it has in some other cases, and the narrative moves forward at a pace that will keep viewers’ attention.

One series is unlikely to create any sea change in something as cumulative as Grant’s reputation. Taken alongside other similar efforts, it could eventually help move the needle back.

http://www.tvworthwatching.com/BlogP...x?postId=20107
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post #36160 of 36917 Old 05-26-2020, 07:55 AM - Thread Starter
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TV/Business Notes
AT&T, Fox Strike STELAR-Related Carriage Deal
By John Eggerton, Multichannel News - May 26, 2020

AT&T has struck a multi-year deal with Fox to continue to deliver its TV stations via DirecTV after the sunset of the blanket license.

AT&T said it has been negotiating with all the networks to continue to deliver signals to truckers, RVs and others after Congress passed a bill, the Satellite Television Extension and Localism Act Reauthorization (STELAR) Act, that ended the blanket license June 1, requiring AT&T to negotiate individual deals if it wanted to continue to import distant network TV signals to markets and subs who lacked a local version.

Fox is the first deal to get done.

“It is critical for our customers to be able to access network TV programming, especially during this global pandemic,” said AT&T EVP Federal Relations Tim McKone. “With this agreement, essential workers, like those on oil rigs and long-haul truckers, can stay connected with news and information. We appreciate FOX for putting the interests of consumers first and we hope the other networks follow suit.”

AT&T has been asking for an extension of that deadline until Jan. 1, 2021, rather than having to cut off the signals during the pandemic.

AT&T could also have preserved the blanket license by agreeing to deliver local signals to a dozen small markets.

Unlike cable operators, satellite operators have no must-carry requirement, though if they carry any local stations they must carry them all. AT&T has chosen not to deliver stations in a dozen of the smallest markets via DirecTV, instead importing distant network signals and offering an over-the-air option for local stations alongside its satellite service.

Late last year, STELAR, which allowed satellite operators to import distant network TV station signals to viewers who lacked them, including truckers, RV users and tailgaters on the go, short markets lacking one or more affiliate, and viewers whose market had an affiliate but who could not get a viewable signal. It got those signals at a blanket license rate, and did not have to negotiate with TV stations for them, which it now must do, and has been trying to do.

The legislation extended the compulsory license for truckers, RV users and tailgaters and those in short markets, until May 31, 2020.

Broadcasters, when they were pushing for a STELAR sunset, did express their their willingness to provide a glide path for the sunset. But they also said that AT&T could solve the issue and get a permanent blanket license by serving the last dozen or so markets with local signals as Dish does.

https://www.multichannel.com/news/at...-carriage-deal
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post #36161 of 36917 Old 05-26-2020, 07:58 AM - Thread Starter
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Obituary
Bill Small, Former Top News Executive at CBS and NBC, Dies at 93
By Mike Barnes, The Hollywood Reporter - May 25, 2020

Bill Small, the former Washington bureau chief for CBS News and president of NBC News, died Sunday in a New York hospital after a brief illness unrelated to the coronavirus, the National Academy of Television Arts & Sciences announced. He was 93.

Small led CBS' news operations in the nation's capital from 1962-74. He recruited Eric Sevareid, Marvin Kalb, Daniel Schorr, Harry Reasoner and Dan Rather from within the division and gave many producers and reporters their first commercial network news positions; those included Bob Schieffer, Ed Bradley, Bernard Shaw, Bill Moyers, Bernard Kalb and Tom Bettag.

Meanwhile, Diane Sawyer, Lesley Stahl, Susan Zirinsky, Connie Chung, Martha Teichner and Rita Braver were among the women brought into the profession during his tenure.

"Bill Small was a hero to journalism," CBS News president Susan Zirinsky said Monday in a statement. "He hired me as a 20-year-old college student to work the weekend desk in the Washington bureau two weeks after the Watergate break-in. He was tough as nails when it came to defending freedom of the press. He was strict, strong and full of conviction. But the man had a heart of gold — which he only revealed one-third of the time."

From D.C., Small oversaw coverage of the assassination and funeral of John F. Kennedy; the civil rights movement, including the March on Washington and the Senate filibuster of the 1964 Civil Rights Act; the escalation of the war in Vietnam; President Richard Nixon's trip to China in 1972; and Watergate.

After a stint in New York with CBS News, Small in 1979 was named president of NBC News. There, he facilitated the transition of Tom Brokaw from host of the Today show to co-anchor of the NBC Nightly News with Mudd, who had followed him from CBS, and presided over coverage of the Iran hostage crisis.

Months after he resigned in 1982, he was hired as president of United Press International, then the nation's second-largest news agency, and stayed through 1984.

From 1986-99, Small was the Felix E. Larkin Professor of Communications at Fordham University, where he developed an MBA program in media management. He also was dean of its graduate business school from 1992-94.

Small served as chairman of the News & Documentary Emmy Awards from 2000-10. In 2014, he received a lifetime achievement award from the organization.

"Bill Small was one of the 'greats' of our television news industry," NATAS chairman Terry O'Reilly said in a statement. "In his time as a news executive at both NBC and CBS, he had an uncanny eye for talent and unwavering dedication to journalism."

A native of Chicago, Small wrote the books To Kill a Messenger: Television and the Real World and Political Power and the Press, published in 1970 and 1972, respectively.

Survivors include his daughters, Tamar and Willa, and six grandchildren.

https://www.hollywoodreporter.com/ne...was-93-1295838
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Technology Notes (Mobile)
A new Motorola Razr could launch this year with 5G
By Jay Peters, TheVerge.com - May 25, 2020

A new version of the Motorola Razr foldable could launch this year, and it might have 5G, a bigger battery, and improved cameras (via 9to5Google). Those could address some of the many criticisms of the original model, which came out in February.

Surprisingly, this apparent new version of the Razr may have been revealed by an executive from Lenovo, which is owned by Motorola, reports Android Authority. Lenovo’s South Africa general manager Thibault Dousson appeared on the Reframed Tech podcast and said a new Razr could be coming around September.

“There’s a new iteration [of the Razr] coming out. From what I understand, there’s one in September, I think, coming out,” he said shortly after the 18-minute mark on the podcast. “A whole new Razr,” he continued.

That new Razr may be powered by Qualcomm’s 5G-capabale Snapdragon 765 processor, and it might have an 2,845mAh battery, up from the 2,510mAh battery in the first-generation Razr, according to specs posted by XDA Developers. And the new version’s outer camera is rumored to be 48 megapixels, which could be a significant jump from the current version’s 16-megapixel camera, with a 20-megapixel inner camera, up from 5 megapixels. The phone may also have 8GB of RAM, up from 6GB, and 256GB of internal storage, up from 128GB.

While these are all welcome improvements in the specs department, it’s unclear if this rumored new Razr will feature any changes to its signature folding mechanism — like a less creaky hinge, changes to prevent bumps and lumps from appearing on the screen, or improvements to stop the screen from peeling away from the laminate layer.

https://www.theverge.com/2020/5/25/2...amera-foldable
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post #36163 of 36917 Old 05-26-2020, 08:05 AM - Thread Starter
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TV/Production Notes (Cable)
New season of It's Always Sunny in Philadelphia will tackle coronavirus
By Rosy Cordero, EW.com - May 24, 2020

FX's It's Always Sunny in Philadelphia will address the coronavirus pandemic during its 15th season. Series creator and star Rob McElhenney said the gang will tackle the topic on the comedy, which he's been writing during the quarantine.

“Well, we actually do have an episode called ‘The Gang Gets Quarantined’ where we quarantine ourselves in the bar," McElhenney says about the seventh episode of season 9 to NME. "I think there’s a big flu going around Philadelphia or something like that. When we come back, don’t worry, we will address all this in the way only Sunny can!”

Although the show's 15th season is still in negotiations, McElhenney would be happy if it went on forever. With its previous season, It's Always Sunny in Philadelphia tied The Adventures of Ozzie and Harriet for longest-running live-action TV comedy in history.

“How many years do I have on this planet? I’ll do it forever," McElhenney says about Sunny. "If people keep watching it and we keep having fun, why would we ever stop? It’s my dream job. I never understand why people leave shows. I don’t. I never understand that. The show is what I dreamed of doing my entire life. I don’t take it for granted. And if they keep paying me and the audience keeps watching it and I still love it… why would I ever stop?”

https://ew.com/tv/its-always-sunny-i...virus-episode/
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post #36164 of 36917 Old 05-26-2020, 08:09 AM - Thread Starter
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Nielsen Overnights (Broadcast)
Fox’s NASCAR Race Tops Sunday Ratings; ‘Little Big Shots’ Season Finale Dips
By Dino-Ray Ramos, Deadline.com - May 25, 2020

The majority of the Sunday before Memorial Day was filled with reruns across networks, with the exception of NBC and Fox, the later of which won the night in the adults 18-49 demographic with its second primetime NASCAR race in two weekends.

At NBC, there was a double helping of Little Big Shots, which included the season finale. Both episodes were down a tenth from last week in the demo in Nielsen fast affiliates, with the first part (0.2, 2.01M) followed by the finale (0.2, 1.69M). The youth-driven talent showcase hosted by Melissa McCarthy was followed by two servings of The Wall, which averaged a 0.3 in the demo and maintained a little over 2 million viewers for each episode.

Fox’s coverage of the NASCAR Cup Series from Charlotte, NC, delivered a 0.6 in the demo and 3.73 million viewers to win the fairly quiet night. That compared with last week’s 1.1 in the demo in the early numbers, though per live events those may adjust in the finals.

CBS’ latest “Sunday Night at the Movies” featured the classic Leonardo DiCaprio-Kate Winslet epic Titanic (0.4, 3.66M), which matched last week’s numbers for Mission: Impossible.

Elsewhere, ABC aired repeats of America’s Funniest Home Videos, Celebrity Family Feud, Press Your Luck and Match Game, while The CW played an encore of their new superhero series Stargirl and a rerun of Supergirl.

https://deadline.com/2020/05/nascar-...ay-1202942770/
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post #36165 of 36917 Old 05-26-2020, 08:12 AM - Thread Starter
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TV Sports/Nielsen Notes (Golf)
Blockbuster numbers for “The Match”
By Paulsen, SportsMediaWatch.com - May 25, 2020

Four stars and four networks combined to deliver golf’s largest cable television audience on record.

The latest edition of “The Match” — pitting Tiger Woods and Peyton Manning against Phil Mickelson and Tom Brady — averaged 5.8 million viewers across TBS, TNT, TruTV and HLN Sunday afternoon, the largest golf audience ever on cable.

The telecast, which peaked with 6.3 million viewers from 5:45-6 PM ET, topped the previous record of 4.9 million for the first round of the 2010 Masters on ESPN — Woods’ first tournament after a tabloid scandal.

Based on overnight ratings, “The Match” was television’s top program of the day, evidently topping the NASCAR Coca-Cola 600 on FOX.

Since the majority of sporting events were called off on March 11-12, it ranks at best seventh among sportscasts — behind the first two nights of the NFL Draft, at least three episodes of the ESPN docuseries “The Last Dance” and the previous weekend’s NASCAR race at Darlington (6.32M).

Viewership more-than-doubled the previous weekend’s “Driving Relief” charity event on the NBC family of networks, which saw Rory McIlroy compete against Dustin Johnson, Rickie Fowler and Matthew Wolff (2.35M).

“The Match” ranks as easily the most-watched golf telecast on any network this year, with the caveat that the season’s first two majors — the Masters and PGA Championship — were postponed. Notably, it averaged more viewers than the final rounds of last year’s PGA Championship (5.0M) and British Open (3.7M).

The previous edition of “The Match” in November 2018, in which Woods and Mickelson squared off in a one-on-one for $9 million, aired on pay-per-view.

https://www.sportsmediawatch.com/202...watched-cable/
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post #36166 of 36917 Old 05-26-2020, 08:20 AM - Thread Starter
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TV/Production Notes (Cable)
‘American Horror Story’ Spinoff ‘American Horror Stories’ Officially a Go at FX
By Will Thorne, Variety.com - May 26, 2020

An “American Horror Story” spinoff series is officially a go at FX.

Just over two weeks after creator Ryan Murphy announced the project, FX has given the greenlight to “American Horror Stories,” a weekly anthology series that will feature a different horror story each episode.

Murphy discussed the new show on a zoom call with some core “AHS” cast members, and while more details on the series are still sparse, it’s clear that it will likely feature familiar players from the main show.

The original “American Horror Story” is the longest running hour-long series in FX history and was renewed through season 13 earlier this year, however, due to coronavirus production complications, season 10 of “AHS” has been pushed to 2021. Like “AHS,” “American Horror Stories” will be produced by Twentieth Century Fox Television.

FX recently renewed three comedies (“Dave” and “Breeders” for second seasons and “What We Do in the Shadows” for a third) and appears to have picked up “Always Sunny in Philadelphia” for a record fifteenth season.

The network is clearly confident that, despite coronavirus uncertainty, the vast majority of its new and returning slate will be ready in 2021.

“We couldn’t be more excited about our roster of new and returning shows slated through next year,” said FX entertainment president Eric Schrier. “It has been an extraordinary time for FX over these past three months with the launch of FX on Hulu, which has transformed our business. We believe the continued strength of our original series coupled with the growing awareness of FX on Hulu as our streaming platform will make the FX brand stronger and more relevant and accessible than ever before.”

Here’s a list of new series coming to FX:

--American Horror Stories: A weekly hour-long anthology spin-off of American Horror Story from Ryan Murphy

--A Teacher: The 10-episode, half-hour limited series stars Kata Mara and Nick Robinson, and hails from Hannah Fidell, Michael Costigan, Jason Bateman, Danny Brocklehurst and Kate Mara

--The Old Man: Drama series starring Jeff Bridges, John Lithgow and Amy Brenneman from John Steinberg & Robert Levine, Warren Littlefield, Dan Shotz, Jeff Bridges, David Schiff and Jon Watts.

--Y: The Last Man: Drama based on Brian K. Vaughn’s acclaimed comic book series, starring Diane Lane from showrunner Eliza Clark and producers Nina Jacobson and Brad Simpson, and Vaughn.

--Untitled B.J. Novak Series: A half-hour anthology, which uses the boldest issues of our times as a jumping off point to tell singular, character-driven stories about the world we live in today.

--Hip Hop Untold: A docuseries about the power brokers who operate from the shadows of hip hop, from producers Malcolm Spellman, Jonathan Chinn and Simon Chinn (Lightbox), Eugene “Big U” Henley, Jimmy Chriss, Douglas Banker and Rashidi Natara Harper.

--Hysterical: A feature-length documentary examining the changing landscape for women in stand-up comedy, from Ross Dinerstein, Jim Serpico and Andrea Nevins.

--Pride: A docuseries about the LGBTQ fight for civil rights from Christine Vachon, Sydney Foos, Refinery29/Amy Emmerich, Stone Roberts and Alex Stapleton.

--A Wilderness of Error: A docuseries about Army Surgeon Jeffrey MacDonald, who was sent to prison for killing his family, from award-winning producer Marc Smerling and Jason Blum, Marci Wiseman, Jeremy Gold, Mary Lisio, Dawn Olmstead, Jessica Grimshaw, Rachel Horovitz and Michael Jackson.


https://variety.com/2020/tv/news/ame...fx-1234616097/
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post #36167 of 36917 Old 05-26-2020, 08:35 AM
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Has anyone gotten the update on their Roku? My Hulu version is 6.30 Build 2 and the home screen hasn't changed.
Same HULU version build as you on two Roku TV's and no update to the Home Screen UI.

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post #36168 of 36917 Old 05-26-2020, 08:37 AM
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TV Review (Streaming)
Space Force: Steve Carell's New Netflix Series Is Just Vast Emptiness
By Tim Surette, TVGuide.com - May 26, 2020

Hoo boy. Let's not sugarcoat anything: Netflix's new comedy Space Force is a massive disappointment.
Wow! I guess I won't be watching this show.
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TV Notes
On The Air
TUESDAY MAY 26, 2020 Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid

ABC:
8PM - The Conners
(R)
8:30PM - The Conners
(R)
9PM - Our New Reality: A Diane Sawyer Special (Special)
10PM - The Genetic Detective (Series Premiere)
* * * *
11:35PM - Jimmy Kimmel Live! (Lisa Kudrow; Jacob Collier, Ty Dolla $ign and Mahalia perform)
12:06AM - Nightline
12:37AM - Jimmy Kimmel Live! (Lisa Kudrow; Jacob Collier, Ty Dolla $ign and Mahalia perform)
(R)

CBS:
8PM - NCIS
(R)
9PM - FBI
(R)
10PM - FBI: Most Wanted
(R)
* * *
11:35PM - The Late Show With Stephen Colbert (Gov. Andrew Cuomo (D-N.Y.); Christine and the Queens perform)
(R)
12:37AM - The Late Late Show With James Corden (Constance Wu; actor Neil Patrick Harris; Sheryl Crow performs)
(R)

NBC:
8PM - America's Got Talent (Season Premiere, 121 min.)
10:01PM - World of Dance (Season Premiere, 59 min.)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Jennifer Lopez; former first lady Michelle Obama; Brad Pitt)
12:37AM - Late Night With Seth Meyers (Rachel Maddow; Dylan McDermott; Rita Ora performs; Nikki Glaspie sits in with the 8G Band)
(R)
1:38AM - A Little Late With Lilly Singh (Former figure skater Adam Rippon; Anna Camp)
(R)

FOX:
8PM - Hell's Kitchen (Season Premiere)
9PM - Gordon Ramsay's 24 Hours to Hell and Back

THE CW:
8PM - DC's Stargirl
9PM - DC's Legends of Tomorrow

PBS:
8PM - Finding Your Roots With Henry Louis Gates, Jr.: Beyond the Pale
(R)
9PM - Viral: Anti-Semitism in Four Mutations (2020, 90 min.)
10:30PM - Frontline: The Last Survivors
(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

ESPN:
7PM - NBA2K League: Week 4 (4 hrs., LIVE)

HISTORY:
7PM - Grant: Part 1 (120 min.)
(R)
9PM - Grant: Part 2 (125 min.)

DISCOVERY:
8PM - Deadliest Catch (120 min.)
10PM - NASA & SpaceX: Countdown to Launch (Special, 120 min.)

ID:
8PM - 48 Hours on ID
9PM - Brittany Murphy: An ID Mystery
10PM - Raw Terror (Season Finale)

LIFETIME:
8PM - Movie - I Was Lorena Bobbitt: Enhanced Edition (2020, 124 min.)

MTV:
8PM - Teen Mom OG

SCIENCE:
8PM - Unearthed: Alien Relics of the Ancients (120 min.)
10PM - Egypt's Unexplained Files: Last Days of the Pharaohs (120 min.)

VH1:
8PM - Nick Cannon Presents: Wild 'n Out (La La Anthony; Lil Keed)

A&E:
9PM - The First 48: Catching a Killer
10PM - Accused: Guilty or Innocent?

BRAVO:
9PM - Vanderpump Rules: Secrets Revealed
10PM - Below Deck Mediterranean: Captain Sandy's Yachtrageous Moments 2020

NAT GEO:
9PM - Drain: Pirate Ships of the Caribbean (63 min.)
10:03PM - Kingdom of the Mummies: The Broken Seal

HBO:
10PM - REAL Sports With Bryant Gumbel (COVID-19 Special)

OWN:
10PM - If Loving You Is Wrong

TRUTV:
10PM - Tirdy Works

TBS:
10:30PM - The Last O.G.
* * * *
11PM - Conan (Russell Brand)
(R)

CBSSN:
11PM - The Challenge
Midnight - The Challenge: Champs vs. Pros


http://tvlistings.zap2it.com/?aid=gapzap
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post #36170 of 36917 Old 05-26-2020, 09:06 AM
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Wow! I guess I won't be watching this show.
I was looking forward to it, but after reading reviews I'm gonna skip it.
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post #36171 of 36917 Old 05-26-2020, 09:20 AM
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I was looking forward to it, but after reading reviews I'm gonna skip it.
Steve Carell's last series, 'The Morning Show' on Apple+, was a big disappointment as well. We watched the premiere and flushed it. He's not doing too well in his post-Office career, at least not in front of the camera.
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post #36172 of 36917 Old 05-26-2020, 09:41 AM
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Steve Carell's last series, 'The Morning Show' on Apple+, was a big disappointment as well. We watched the premiere and flushed it. He's not doing too well in his post-Office career, at least not in front of the camera.
If you only watched the premiere you missed out on a pretty good show. There was some great acting to be seen.
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post #36173 of 36917 Old 05-26-2020, 10:03 AM
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If you only watched the premiere you missed out on a pretty good show. There was some great acting to be seen.
Oh, I don't doubt that. They signed some A-level talent. Now that I think back, I believe we watched at least 2, maybe 3 before giving up on it. Didn't seem like the writing or plot line was up to the performer's talents, and there's just too much other good stuff on these days to waste on a show that's not hitting on all cylinders. Just my 2¢.

We did quite enjoy ATV's 'For All Mankind' though, and are looking forward to S-2. Not much else we found compelling on that service, however. Good thing we got a free year.
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post #36174 of 36917 Old 05-26-2020, 11:10 AM
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Wow! I guess I won't be watching this show.
I did watch the trailer for this about a week ago and I must admit that the reviewer's comments seem on point. Did not seem that funny, but they sure were trying really hard. Made me think about Avenue 5 on HBO. Another one that tried way too hard, but mostly fell flat for my tastes.

If the reviewer is correct the funniest thing out of it might be the first paragraph of the review.

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Space Force: Steve Carell's New Netflix Series Is Just Vast Emptiness
By Tim Surette, TVGuide.com - May 26, 2020

Hoo boy. Let's not sugarcoat anything: Netflix's new comedy Space Force is a massive disappointment. When you look at who's involved in Space Force — Steve Carell reuniting with The Office creator Greg Daniels! — it should be The Right Stuff of space comedies. But despite its pedigree and the pile of money Netflix threw behind it, it's more of a sleek, high-powered, expensive rocket that tips over and explodes on a school bus full of children before it can even launch.

At least we will have a second season of Greg Daniels UPLOAD on Prime Video to look forward to. He seemed to get that one right. A good balance of silly humor that also points out the silliness of what we place value on in our society.
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post #36175 of 36917 Old 05-26-2020, 11:19 AM
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I did watch the trailer for this about a week ago and I must admit that the reviewer's comments seem on point. Did not seem that funny, but they sure were trying really hard. Made me think about Avenue 5 on HBO. Another one that tried way too hard, but mostly fell flat for my tastes.
Agree with that. 'Avenue 5' was terrible. Not a single laugh to be found, for me anyway. Completely wasted Hugh Laurie, who can absolutely do comedy if you give him something to work with.
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post #36176 of 36917 Old 05-26-2020, 01:04 PM - Thread Starter
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TV/Legal Notes (Broadcast)
Disney & CBS Hit With ‘Criminal Minds’ Sexual Harassment Suit By California; Damning Silence From Studios About Charges
By Dominic Patten, Deadline.com - May 26, 2020

Criminal Minds may be off the air now, but The Walt Disney Company, CBS and a Pretorian guard of executives from the long-running series are now looking down the barrel of a sexual harassment and discrimination lawsuit from the California Department of Fair Employment and Housing.

Over 14 years, Gregory St. Johns, the director of photography for Disney’s and ABC-CBS’ joint production of Criminal Minds, “engaged in sexual harassment, discrimination and retaliation against persons working on the set of the show, including without limitation, production crew members,” proclaims the filing from the state agency in Los Angeles Superior Court against the long-accused DP. “St. Johns’ conduct was rampant, frequent, and in the open,” the wide-spread damages and relief-seeking document adds (read it here).

“With the aid of defendants, St. Johns created an unchecked intimidating, hostile, and offensive work environment on the set of Criminal Minds,” the dense 23-page complaint put in the court docket last week also notes.

“Protected by the executive production team––including showrunner Erica Messer, executive producer Harry Bring, executive producer John Breen Frazier, director Glenn Kershaw, and unit production manager Stacey Beneville––St. Johns continued his unlawful conduct for years,” the filing damningly notes. “Defendants’ executive team not only had actual and constructive knowledge of St. Johns’ abusive conduct, they condoned it. No necessary steps to prevent sex-based harassment and discrimination were taken over the years, nor were appropriate corrective actions. Instead, the executives fired anyone who resisted or who tacitly evaded St. Johns’ advances or abuse.”

Neither CBS nor Disney and its ABC Studio unit responded to request for comment on the lawsuit from the DFEH.

With St. Johns no longer a member of the production team, Criminal Minds wrapped up its 15th and final season in February on the now ViacomCBS-owned network.

That’s six months after former 2nd assistant camera operator Todd Durboraw sued ABC Studios and CBS Corp in LASC in a 10-claim complaint over St. Johns’ indulged misconduct on the series. Further actions from ex-crew members Anthony Matulic and Dauv McNeely prompted the DFEH to make their move against the powerful studios. In particular, with the duo named as real parties in interest in this lawsuit legal action, the fact from the former that he was axed from the show after reporting St. Johns to his supervisors seemed to light a fire under the state agency. In fact, after DFEH director Kevin Kish filed a Director’s Complaint about the matter, the parties all engaged in an effort to “resolve this matter with litigation,” according to the new-ish filing.

Clearly that was a bust.

https://deadline.com/2020/05/disney-...ds-1202943379/
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post #36177 of 36917 Old 05-26-2020, 01:07 PM - Thread Starter
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Nielsen Overnights (Broadcast)
Primetime Ratings: NBC Wins With ‘Titan Games’
By Michael Malone, Broadcasting & Cable - May 26, 2020

NBC had the top rating in Monday prime, the premiere of The Titan Games leading the way. NBC got a 0.6 in viewers 18-49, per the Nielsen overnights, and a 4 share. That got by the 0.5/3s that ABC and Univision rated.

The two-hour Titan Games premiere got a 0.7 and Songland lost 29% for a 0.5. Hosted by Dwayne Johnson, competition series Titan Games opened to a 1.8 last year.

ABC had two Celebrity Family Feud repeats and The Baker and the Beauty at a flat 0.4.

On Univision it was 0.5s for Te Doy La Vida, Amor Eterno and Como Tu No Hay 2. Te Doy and Amor lost a tenth and Como was flat.

Fox got a 0.4/2 with reruns of 9-1-1 and 9-1-1: Lone Star.

CBS and Telemundo rated 0.3/2s. CBS had reruns.

On Telemundo it was Cennet and 100 Dias Para Enamorarnos at 0.3, Cennet down a tenth and 100 Dias flat. La Reina del Sur 2 got a flat 0.2.

The CW did a 0.1/1. Howie Mandel’s Fifth Annual All-Star Comedy Gala took up prime.

https://www.nexttv.com/news/primetim...th-titan-games
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post #36178 of 36917 Old 05-26-2020, 01:09 PM - Thread Starter
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TV Notes (Cable)
It's Always Sunny in Philadelphia and Better Things Renewed at FXX and FX
By Kimberly Roots, TVLine.com - May 26, 2020

Looks like the weather in Pennsylvania will continue to be quite enjoyable, because FXX’s It’s Always Sunny in Philadelphia will be back for Season 15.

The network renewed the ensemble comedy Tuesday, our sister site Deadline reports. In addition, FX’s Better Things landed a Season 5 renewal, and the news journal The Weekly nabbed a Season 2 renewal.

FX’s What We Do in the Shadows and Breeders, as well as FXX’s Dave, had been renewed previously.

Before Better Things‘ Season 4 finale on April 30, series creator and star Pamela Adlon told TVLine that she didn’t “give a f–k about Season 5 until we finish corona, because I don’t know what’s going to happen. I can’t imagine writing a whole season for Better Things and then never producing it. That would be heartbreaking.”

In addition, FX announced an official series order for American Horror Stories, weekly, hour-long anthology spinoff of Ryan Murphy’s long-running American Horror Story. Though Murphy has not said who will star in the new series, it’s likely that some actors from his American Horror Story stable — which includes Sarah Paulson, Evan Peters, Lily Rabe, Jessica Lange, Emma Roberts, Finn Wittrock, Dylan McDermott and Leslie Grossman — will be involved.

https://tvline.com/2020/05/26/its-al...son-15-fxx-fx/
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post #36179 of 36917 Old 05-26-2020, 01:13 PM - Thread Starter
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Obituary
Richard Herd, ‘Seinfeld’ and ‘Star Trek’ actor, dies at age 87
By Lauren Sarner, New York Post - May 26, 2020

“Seinfeld” actor Richard Herd has died at age 87.

A rep for Herd told The Wrap that the veteran character actor died of cancer-related causes, surrounded by his family at home in Los Angeles.

Herd appeared in 11 episodes of the hit series as Mr. Wilhelm — George Costanza’s (Jason Alexander) boss in recurring seasons, while George worked for the Yankees. He acted opposite the show’s caricature of George Steinbrenner, the former Yankees owner voiced by the show’s co-creator Larry David.

According to the Hollywood Reporter, the Boston-born Herd said about his “Seinfeld” audition, “It was easy. It was fun. It was very inviting. And as I left, I turned around and said, ‘Look, I have to tell you this. I hope it doesn’t make a difference, but I’m a Red Sox fan.’ And they all threw their scripts at me. The next day they said, ‘Come on out and play with us.’ ”

In addition to “Seinfeld,” Herd was known for “All the President’s Men” (he played James W. McCord Jr.), Jordan Peele’s “Get Out,” the original 1983 “V” miniseries as well as its 1984 sequel, and playing Captain Sheridan (William Shatner’s boss) on cop drama “T.J. Hooker.”

He also appeared on several different “Star Trek” series, including “Star Trek: The Next Generation,” “Star Trek: Voyager” and “Star Trek: Renegades,” and he made his imprint on TV with one-off appearances on a wide range of classic shows, including “Buffy the Vampire Slayer,” “The O.C.” and “NYPD Blue.”

He’s survived by his wife of 40 years, Patricia Crowder Herd, and his son, daughter and stepdaughter.

https://nypost.com/2020/05/26/richar...ies-at-age-87/
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post #36180 of 36917 Old 05-26-2020, 01:18 PM - Thread Starter
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TV Review (Streaming)
'Hannah Gadsby: Douglas' (Netflix)
By Inkoo Kang, The Hollywood Reporter - May 26, 2020

Hannah Gadsby begins her new Netflix special, Douglas, with a proclamation seldom heard in stand-up sets. It isn't as radical as her vow to "quit comedy" in Nanette, the Australian comic's Emmy- and Peabody-winning 2018 meta-comedy special that deconstructed joke structures to explain how humor can prop up power imbalances. Nonetheless, it jars when Gadsby rattles off a kind of table of contents for the next 70 or so minutes. On the agenda are observational humor, some "needling of the patriarchy," a dog-park story, a discussion of her relatively recent autism diagnosis and "one Louis C.K. joke."

In other words, Gadsby is still Gadsby, breaking down the conventions of comedy to remake it into something that she (still) wants to be a part of. But with the cultural phenomenon of Nanette casting such a long shadow, Douglas finds the hyper-self-conscious comedian in defensive mode. Midway through, Gadsby explicitly addresses the critics who dismissed the earlier special as "not comedy," but the entirety of Douglas seems intended to prove that the seriousness in Nanette wasn't some cover-up of a lack of great jokes. This new special is Gadsby's version of a crowd-pleaser, and it's consistently, even boastfully, hilarious.

Thankfully, the comic's subjects haven't changed much. Named after Gadsby's dog, Douglas is full of grievances both petty and legitimate, from her dislike of the word "sweater" ("Yeah, this is the top I wear to soak up the wet of my body") to her bristling at men's dismissals of women's anger. A through line about how men have had the privilege of naming things based on their priorities starts out as Feminism 101 and grows increasingly funnier, with more preposterous examples. And to Gadsby's credit, she shuts down at least one instance of eager "clapter," claiming she's just "hate-baiting" her detractors.

But the best parts of Douglas concern art history and the obvious horniness of many Renaissance painters in bits that recall both the engrossing erudition of Nanette and the nerdy ebullience of the sadly defunct website The Toast. Get ready for some very strange, very damp visits from the Virgin Mary.

Since Nanette, Gadsby has given a handful of interviews about her autism diagnosis just four years ago. For viewers craving a greater understanding of the female experience of being on the spectrum (and the general overlooking of girls and women with autism), the comic doesn't quite deliver, though she does couch the topic in an amusing story about "going from the teacher's pet to being the teacher's nemesis" in a single class. (This time, Gadsby embraces the "clapter" for a brief detour ranting against anti-vaxxers.)

The comedian wraps up the segment with an impassioned endorsement of neurodiversity — nothing you haven't heard before if you pay even the smallest bit of attention to online discussions of autism, but, given the entertainment industry's lagging interest in disabilities of all kinds, still a novelty for pop culture.

If Nanette demonstrated Gadsby's mastery of tone and command of the audience, Douglas is an even richer showcase for the comic's technical prowess. Gadsby robs herself of the element of surprise by exhaustively listing at the beginning of the special everything she'll talk about, then manages to startle us anyway with her crackerjack comic timing and cascade of clever callbacks.

There's probably no matching Nanette in its intensity or revelations — "If it's more trauma [you expect], I'm fresh out," Gadsby half-jokes. But she's clearly determined to satisfy with this lighter, broader hour, partly by managing expectations, partly by outlining in great detail her many dissatisfactions with the Ninja Turtles. In lieu of the self-deprecation she publicly eschewed in Nanette is a more overt swagger about her comedic talents. It's wholly justified.

'Hannah Gadsby: Douglas'
Premiere: Tuesday, May 26 (Netflix)
The Bottom Line: A consistently hilarious crowd-pleaser.


https://www.hollywoodreporter.com/re...review-1295777
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