Hot Off The Press: The Latest TV News and Information - Page 1209 - AVS Forum | Home Theater Discussions And Reviews
Forum Jump: 
 16582Likes
Reply
 
Thread Tools
post #36241 of 37008 Old 05-30-2020, 08:48 AM
AVS Forum Special Member
 
Mark12547's Avatar
 
Join Date: Nov 2013
Location: Salem, Oregon, United States, Earth
Posts: 2,358
Mentioned: 2 Post(s)
Tagged: 0 Thread(s)
Quoted: 857 Post(s)
Liked: 730
Quote:
Originally Posted by dcowboy7 View Post
Launch today 3:22p............................................. .................................................. ...........................................maybe.

Last I read, there was a 50% chance the launch will be cancelled due to weather.



Story dated today posted on KATU TV: SpaceX presses ahead in historic 1st launch of astronauts

Bed-roomVizio E500i-A1 "Smart TV" (50-in 1080p), Xfinity XG1v4-A (HD DVR), Xfinity cable (Digital Preferred), Sony BDP-S185 Blu-ray player.
PC roomLG 32LV3400-UA TV (32-in 768p), Sony BDP-S3100 Blu-ray player, Xfinity Internet, Roku Ultra with Netflix & Xfinity Beta Streaming channels.
Mark12547 is offline  
Sponsored Links
Advertisement
 
post #36242 of 37008 Old 05-30-2020, 10:19 AM
AVS Forum Club Gold
 
mrvideo's Avatar
 
Join Date: Jun 2003
Location: Madison, WI
Posts: 8,799
Mentioned: 2 Post(s)
Tagged: 0 Thread(s)
Quoted: 1448 Post(s)
Liked: 1105
I swung my 12ft dish over to G19. The hatch door is now closed, ahead of schedule. Still iffy for launch. It is raining,

The 4K stream is NOT currently covering the launch. There is a program about a moon landing. The two main streams are 720p

"VCR was in the closet. Still works. Can't get the clock to stop blinking, though."
Angela - Animal Kingdom - 7/16/19
My 2017 Total Solar Eclipse Photos
My Nov 2019 Northern Ireland Game of Thrones Tour
mrvideo is online now  
post #36243 of 37008 Old 05-30-2020, 11:35 AM
AVS Forum Club Gold
 
mrvideo's Avatar
 
Join Date: Jun 2003
Location: Madison, WI
Posts: 8,799
Mentioned: 2 Post(s)
Tagged: 0 Thread(s)
Quoted: 1448 Post(s)
Liked: 1105
Go for weather.

"VCR was in the closet. Still works. Can't get the clock to stop blinking, though."
Angela - Animal Kingdom - 7/16/19
My 2017 Total Solar Eclipse Photos
My Nov 2019 Northern Ireland Game of Thrones Tour
mrvideo is online now  
Sponsored Links
Advertisement
 
post #36244 of 37008 Old 05-30-2020, 01:08 PM
AVS Forum Club Gold
 
mrvideo's Avatar
 
Join Date: Jun 2003
Location: Madison, WI
Posts: 8,799
Mentioned: 2 Post(s)
Tagged: 0 Thread(s)
Quoted: 1448 Post(s)
Liked: 1105
Great launch. It is amazing to see the difference between the shuttle mission control rooms and the current control rooms. All those metal cabinets with switches and tube monitors to desks with 2-3 LCD monitors and a keyboard. Oh, and a laptop as well.

"VCR was in the closet. Still works. Can't get the clock to stop blinking, though."
Angela - Animal Kingdom - 7/16/19
My 2017 Total Solar Eclipse Photos
My Nov 2019 Northern Ireland Game of Thrones Tour
mrvideo is online now  
post #36245 of 37008 Old 05-30-2020, 03:37 PM
AVS Forum Special Member
 
grittree's Avatar
 
Join Date: Mar 2001
Location: Austin TX
Posts: 2,778
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 489 Post(s)
Liked: 317
Engineers working on the Apollo program usually did their work with slide rules. There were some desktop calculating machines, which were slow and noisy. The IBM computers, running on punch cards, were for tough stuff, like trajectories. Things have changed in 50+ years.
aaronwt and rcman2 like this.
grittree is online now  
post #36246 of 37008 Old 05-30-2020, 03:51 PM
AVS Forum Special Member
 
Ken.F's Avatar
 
Join Date: Jul 2010
Location: West Rockhill, PA
Posts: 5,679
Mentioned: 13 Post(s)
Tagged: 0 Thread(s)
Quoted: 2393 Post(s)
Liked: 2790
Quote:
Originally Posted by mrvideo View Post
Great launch.
I missed watching the launch live by about 15minutes.

Every time they call them "Bob and Doug" I think of the McKenzie brothers.

Spoiler!
aaronwt, DrDon, rcman2 and 3 others like this.
Ken.F is online now  
post #36247 of 37008 Old 05-30-2020, 09:15 PM
AVS Forum Addicted Member
 
NetworkTV's Avatar
 
Join Date: Oct 2002
Location: CT
Posts: 17,459
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 1280 Post(s)
Liked: 2268
Quote:
Originally Posted by TheRatPatrol View Post
Poor babies. I’d be happy with any of those amounts.
I sort of agree, but in fairness, you have to consider the following:

1) You might work at your job or at least your career for 20 years or more. Many of these athletes end up needing to retire in less than 10. Many of them deal with back pain, arthritis, concussions and other health issues after taxing their bodies for so long. The average catcher retires with permanent knee issues. Pitchers have shoulder issues.

2) How much impact does your individual effort at your job have on the success of your company or organization? Many of these people getting those really high salaries have a major impact on winning games. Most people are essentially disposable cogs at the jobs they work at. I depend on my mail carrier and UPS guys to deliver stuff, but if they left the jobs and someone else took over, it's likely I wouldn't notice unless they either did a really good or really bad job in comparison.

3) These guys making the biggest salaries are also big draws to get people to go to games or watch them at home. That translates out to billions for the teams. If you had a job where you brought in millions of paying customers every year, you might make a bit more too. Maybe you have thousands of people buying jersey's with your name on them, but I sure don't.

Just some perspective.

I will say, I'll forgive athlete salaries far more than some of the salaries of so-called "celebrities" who can't relate a coherent thought if it isn't scripted. That goes for singers that can't sing a note without auto-tune. Of course, Hanks, De Niro and even wierdo's like Tom Cruise can have whatever they can get because they'll bring the money in every time.

However, I never understood how people like Shia Labeouf or Rob Schneider ever found employment as actors. Where I work, that sort of ineptitude among people in my department is considered "layoff insurance". Those people protect the rest of us by providing cannon fodder.
rcman2 likes this.

Last edited by NetworkTV; 05-30-2020 at 09:30 PM.
NetworkTV is offline  
post #36248 of 37008 Old 05-31-2020, 03:12 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Nielsen Overnights (Broadcast)
Friday Ratings: ‘Shark Tank’ Keeps Swimming To The Top, As ABC And Fox Tie For Network Crown
By Bruce Haring, Deadline.com - May 30, 2020

A rerun-heavy night saw an encore of ABC’s reality show Shark Tank tie for the win in the demo wars and also take home the crown for the largest audience of the night.

Shark Tank scored an 0.6, tied with a new Fox WWE Friday Night SmackDown for top honors in demos, but edging wrestling in total audience. Fox and ABC tied for the overall network honors on the evening. Newsmag 20/20 also had a rerun, topping its NBC Dateline rival with an 0.5.

CBS had the special Haircut Night in America, featuring some of the country’s best hairstylists guiding frontline healthcare workers and celebrities through the process of self-maintaining their hair. It came in at an 0.4 as the lead-in to reruns of Magnum P.I. and Blue Bloods.

NBC had an encore telecast of Tuesday’s premiere of World of Dance (0.4 rating in 18-49, 2.3 million viewers overall from 8-9 p.m. ET. Combined with the episode’s original telecast on Tuesday (5.000 million viewers) it had a total viewership of 7.323 million persons. A rebroadcast of game show The Wall was also part of the NBC package, topped with a Dateline rerun.

The CW saw a new Masters of Illusion come in at an 0.1, followed by reruns of Masters of Illusion and Whose Line Is It Anyway?

https://deadline.com/2020/05/friday-...wn-1202947246/
dad1153 is online now  
post #36249 of 37008 Old 05-31-2020, 03:17 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
No political comments, please.

Technology/Critic's Notes (Social Media)

You would think Twitter is the most visited website, but it's not. By a long shot.
By Jefferson Graham, USA Today - May 30, 2020

To read, watch or listen to the news this week, you might have thought that with all the talk about Twitter, it is the most visited website in the world.

It's far from it. It ranks at No. 20 on the ComScore ranking of the top 50 most visited websites. It averages 166 million daily active users, compared to 229 million for Snapchat, 500 million for Instagram or 1.66 billion for the most popular social network, Facebook.

Verizon Media (which includes TechCrunch, the Huffington Post and AOL), Amazon, Apple, the Weather Channel and even PayPal get way more traffic than Twitter.

So why are we all talking about Twitter? You can thank President Donald Trump for putting Jack Dorsey's social platform on the front page, due to his heated war of words and deeds with the internet company.

It has an outsize influence that resonates far beyond the people who visit. "Twitter has a small user base of a few hundred million, but its reach is to billions, as the content is shared and embedded in global media," says Jeremiah Owyang, an analyst with Kaleido Insights.

To recap, Twitter put a "Get the Facts," warning label on a tweet by the president, which claimed mail-in ballots would produce election fraud. Trump responded the next day by signing an executive order which, by his own admission,will get tested by the courts. It directs the federal government to review its authority to strip internet companies of their legal protection from liability for content posted on their platforms.

On Friday, Twitter escalated it further, by blocking a Trump tweet that called Minneapolis rioters "thugs," and threatened to have them shot, saying it glorified violence. He responded by tweeting it again from the official Twitter White House account, where it also got blocked. (However, users are free to click through to get to the message after the initial block.)

Which brings us back again to Twitter. Trump wrote the exact same comment on Facebook, which let it stand without comment.

Facebook's size dwarfs Twitter, but because the social network is built around a circle of friends, it has an algorithm that limits your entire network from seeing a post. Instead it goes to just the people who comment and interact with you. On Twitter, North notes, the tweet is seen by the world, with no restrictions on audience size or registration.

Twitter was launched in 2007 at the South by Southwest conference in Austin as a way to bring text messages into the mainstream, offering users the ability to share their thoughts in 140 characters – which got increased to 280 characters in 2018.

"People see the website or hear about it, and their immediate reaction is, 'That's the stupidest idea I ever heard,' " Jack Dorsey, who co-founded the company with Ev Williams and Biz Stone, told USA TODAY in 2008. "I do not want to know that my brother is eating a hot dog."

Because at the time, many people were sharing what they ate for lunch, breakfast and dinner, and other mundane things. "It's really to stay in touch with those you care about," explained Dorsey. "And to make your world a little smaller."

Williams and Stone have moved on, but Dorsey (@jack) remains as CEO of Twitter, splitting his duties with another business, the Square financial services company, where he's also CEO.

Twitter went public in 2013, and has struggled to make much of a financial splash since, as its earnings ($3 billion in 2019) are dwarfed by other social networks, from Facebook ($70 billion in 2019) or Google's YouTube ($15 billion in revenue.)

Michael Pachter, an analyst with Wedbush Securities, says Twitter should have been able to ride Trump's fascination and daily usage of the platform to greater heights over the last few years.

"They had this amazing opportunity to grow, but haven't exploited it," he says. "The stock is doing okay, but nowhere near where it should be, with all the free publicity they've gotten from Trump."

https://www.usatoday.com/story/tech/...ok/5283490002/
dad1153 is online now  
post #36250 of 37008 Old 05-31-2020, 03:21 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV Review (Cable)
'Laurel Canyon: A Place in Time' (Epix)
By Sheri Linden, The Hollywood Reporter - May 30, 2020

With Laurel Canyon, Alison Ellwood goes to the source: Her stirring composite portrait of a vibrant, groundbreaking music scene is built almost entirely from archival stills and footage, much of the material rare and some of it never before viewed publicly. The voices we hear belong to people who were there, and they have stories to tell — some that will be familiar to aficionados, and some that illuminate whole new corners of a well-traveled pop-culture history.

If Laurel Canyon of the late '60s and '70s was a "place in time," as the Epix two-parter's subtitle puts it, the current moment would appear to be the time and place for documentaries that look back at the era's defining music.

Over the past year or so, a number of docs have profiled the musicians whose work shaped a generation, from poetic heavyweights Leonard Cohen and Bob Dylan to such genre-busting pioneers as The Band. Two recent entries focused on key figures in the Laurel Canyon scene, Linda Ronstadt and David Crosby, and one, Echo in the Canyon, delved into the Canyon crowd's musical influences through terrific new interviews that were, unfortunately, framed by awkward Jakob Dylan & Friends sequences that never lost the whiff of self-promotion.

Like that film, Ellwood's is interested in the creative lineage and cross-pollination of the Canyon's much-mythologized artists. But Laurel Canyon: A Place in Time is immersive rather than analytical. The director has a sure feel for the essence of the period and its players, and for the social and emotional impact of their songs. Thanks to a superbly curated wealth of material and the ace editing of Anoosh Tertzakian, a world comes alive within the doc's relatively brief running time (the two episodes each clock in under 90 minutes).

Fittingly, a conversational flow propels Laurel Canyon's thoughtful and spirited nostalgia trip. Sometimes, though (in the second installment especially), the leaps from one rich topic to the next can feel rushed or disjointed, as when a discussion of political awakening segues to an exploration of the Mamas and the Papas' psychosexual soap opera. In a show that's mostly in perfect tune with its subject, another episode or two would have offered the time and space to unwind some of the abruptly dropped narrative threads.

It's a touch of brilliance that the only new interviewees who appear on camera are photographers Henry Diltz and Nurit Wilde. Many of the film's intimate images of musicians at work and play, whether rehearsing in Stephen Stills' backyard or barbecuing at Cass Elliot's, were captured by Wilde and Diltz, indispensable chroniclers of the scene and part of it too. Wilde was working at talent-showcase hotspots the Troubadour and the Whisky when she began taking pictures of the performers. And it might be news to many viewers that Diltz, legendary for his snapshots, came to Los Angeles as a member of the Modern Folk Quartet — seen in archival footage that looks like outtakes from the Spinal Tap backstory.

Rather than interrupting the visual rhythm with talking-head segments, the musicians' comments play in voiceover while their beautiful young selves fill the screen. A wise creative choice that heightens the you-are-there immediacy, it also allows Ellwood to use both new and existing interviews. In some cases it's obvious that the audio was recorded years earlier: The speaker is long deceased, or there's a telltale youthful pitch to the voice (hello, Neil Young). But it isn't clear for everyone, and it would have been helpful to indicate dates along with names in the identifying onscreen text — not simply for historical reference but to signal the personal vantage point: When did Joni Mitchell, for example, recall that soul-shaking acid trip? How many years after the breakup telegram (!) she sent Graham Nash did he describe it, striking a balance between wistful and philosophical?

The sense of place comes through potently: the geography and semirural beauty of the neighborhood, with its dirt roads, hilltop views and easy access to the clubs on the Sunset Strip. Rentals were cheap, real estate affordable. "It wasn't a scene yet," says Crosby, who with his Byrds bandmates was among the first musicians to move there in the '60s. "It was just a better place to live." Soon enough the Canyon was a scene, home to dozens of young, productive and increasingly influential artists who hung out together and inspired one another, visiting house to unlocked house — "Not even knocking," Micky Dolenz says.

The first episode wraps on the peace-and-love high of Woodstock, but not without alluding to the end-of-innocence undertow of the Manson murders — antithetical events that took place within days of each other in August 1969. The idea that the killings by Charles Manson's followers marked the crushing conclusion of an openhearted era has been expressed countless times, but the doc lends personal dimension to the premise with firsthand memories of an overnight seismic shift: Diltz recalls his newfound reluctance to pick up hitchhikers; Crosby describes buying his first gun.

Though it gathers the usual suspects — among them Buffalo Springfield, The Doors, CSNY — Laurel Canyon does so in often striking fashion, offering fresh angles on rock lore. But it also paints a wider view, one that takes into account the guiding influence of Little Richard on the band Love (whose Johnny Echols reveals a chilling brush with Manson disciples). Ellwood reminds us of Steve Martin's connection to the scene as well as that of the Monkees. She traces lesser-known connections between Frank Zappa, a sort of elder statesman of the Canyon, and such disparate acts as Alice Cooper and Little Feat, and suggests, not incidentally, that for fans of the SoCal sound, a game of Six Degrees of Bernie Leadon could prove rewarding.

Episode two finds a second wave of singer-songwriters, led by a very young Jackson Browne, moving into the Canyon and established artists moving out: Regarding her and John Phillips' Bel-Air lifestyle, Michelle Phillips says: "We were hippies. But we were rich hippies." Among the early-'70s Canyon set, the Eagles get their due, along with Ronstadt and Bonnie Raitt, and Ellwood rightly spotlights the crucial, country-rock vanguard role of Gram Parsons and the Flying Burrito Brothers.

The model for California-style rock success having been established, this newer crop of performers was naturally more self-conscious about commercial prospects. Ellwood draws eloquent commentary on the bridging of art and commerce from Elliot Roberts, longtime manager of Young, onetime partner of David Geffen and a vital figure in any history of the period. In what was likely his final extensive interview before his death in June 2019 (the show is dedicated to his memory), Roberts recalls the musical community's vision and camaraderie as well as the matter of making a living. His take on Altamont, the disastrous Rolling Stones-headlined mega-concert, is particularly sharp and insightful.

It may often feel enveloped in suffocating myth, and it might be dismissed by boomer bashers, but there's no question that something unprecedented and transformative was taking place in the musical precincts of Los Angeles in the '60s and '70s. A reaction against the conformist '50s no less than anything that was going on in the culture at the time, it was an alchemy of youth, vision, talent and ambition, and the invention of new styles of music. For those who grew up on that music and for those who made it, the planets were realigning, and Laurel Canyon is a bracing reminder of how that looked and felt and why it mattered.

'Laurel Canyon: A Place in Time'
Premieres Sunday, May 31, 9 p.m. (Epix)
The Bottom Line: A moveable feast of California dreamin'.


https://www.hollywoodreporter.com/re...canyon-1295568
dad1153 is online now  
post #36251 of 37008 Old 05-31-2020, 03:26 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Media/Business Notes
Former AT&T Programming Czar York Named CEO of Cox Media
By Mike Farrell, Multichannel News - May 29, 2020

Cox Media Group said it has named former AT&T chief content officer Dan York as CEO of the station group, effective immediately.

York left AT&T on March 1 after nearly a decade at DirecTV. He had been DirecTV’s chief programming executive since 2012, and continued in that role when AT&T purchased the company in 2015. York had been a key figure in AT&T’s programming negotiations and has a long history in the television distribution business, beginning in 1987 as a VP and general manager at HBO/Time Warner Sports.

Cox Media Group took its current shape in February 2019 after private equity fund Apollo Global Management purchased 14 TV properties from Cox Enterprises’ Cox Media Group for an estimated $3 billion. Since then the company, which retained the Cox Media name, has done several deals, bulking up to 33 TV stations in 20 markets, 54 radio stations in 10 markets and several multi-platform streaming video and digital properties.

The company has been involved in a handful of high-profile retransmission consent disputes over the past few months, included a four-day blackout of Verizon Fios TV customers at the beginning of the year. In March it reached a truce with Dish Network customers to resume carriage of several stations during the COVID-19 pandemic that were blacked out in mid-January.

York joins Cox Media just a few weeks after former CEO Kim Guthrie stepped down after 22 years with the company.

“I’m excited to welcome Dan as the President and CEO of Cox Media Group,” said Apollo co-lead partner of private equity David Sambur in a press release. “He has an outstanding record of leadership in this industry, and of operating efficiently, creating strategic vision, and inspiring organizations to innovate and grow.”

Steve Pruett, who serves as Cox Media Group executive chairman will remain in that role.

“The past few months have underscored that there is no substitute for the most important and valuable content in the ecosystem, market-leading local news and entertainment,” York said in a press release. “I look forward to working with the Board and the CMG team as we continue to enhance our partnerships with our advertisers, content providers and distribution outlets to best serve our communities and millions of viewers and listeners.”

York was AT&T’s point man in programming negotiations and helped start The Audience Network, the DirecTV original content vehicle that was expected to be transitioned into a marketing vehicle for AT&T’s HBO Max streaming service.

Prior to being named York had been president of content and advertising sales at AT&T from 2004 to 2012 when he moved to DirecTV. Prior to that stint, he was senior VP of programming and development at InDemand from 2000 to 2004.

https://www.multichannel.com/news/fo...o-of-cox-media
dad1153 is online now  
post #36252 of 37008 Old 05-31-2020, 03:30 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV Review (Cable)
USA's ‘Dirty John: The Betty Broderick Story’ Falls Into a True-Crime Trap
By Daniel D'Addario, Variety.com - May 30, 2020

“Dirty John,” the 2018 Bravo limited series, was set up to shock its audience, but it had more on its mind, too. Connie Britton, playing a woman systematically alienated from the world around her by a vexingly charming lover (Eric Bana), effectively depicted the process by which a person loses themself, and loses grip on reality. It was, yes, ripped from the headlines — based upon a narrative podcast of the same name — but there was something overarching and elemental there, too.

Which is why its follow-up series on USA, about a woman who was convicted of killing her ex-husband and his new wife, is so surprising. The puzzlingly titled “Dirty John: The Betty Broderick Story,” launching June 2, retains its predecessor’s commitment to depicting female vulnerability and strength under pressure through a compelling lead performance. But it puts the star at its center, Amanda Peet, through a spin cycle of reversals, depicting Betty Broderick first as monomaniacally obsessed with her ex-husband, then as having been pushed to this seeming madness by his mistreatment of her, then overdoing it again, then revealed to have been right all along, and so forth. This show borrows certain real facts — like Broderick’s having supported her husband through a medical degree and a law degree before he spurned her — and imagines others in what is perpetually the least flattering, most broadly emote-worthy light, with Jeff Perry of “Scandal” explaining in court why women snap after each of her worst offenses. Peet is done up in exaggerated 1980s drag, less to situate us in time than to make this story feel more outlandish than its facts, already startling, merit. If you ever wanted to see Amanda Peet weeping while erratically driving a car in an Easter Bunny costume, your time has come.

Peet gives her all to a role that doesn’t respond in kind. The problem, here, may be that the Betty Broderick story — previously brought to TV in “A Woman Scorned: The Betty Broderick Story,” which got Meredith Baxter an Emmy nomination in 1992 — is both outsized and small. It gives ample opportunity for Peet to decry the ways in which Christian Slater’s character mistreats her, but it also kind of begins and ends there. The larger point, perhaps, is that marriage makes monsters of us all, but the manner of Peet’s coming into her rage — especially that it happens onscreen before we see the flashbacks explaining, at exhaustive length, why — is so grand as to exclude us. Britton’s gradual slip away was something we could follow, and see ourselves in; Peet’s dialed-up intensity exists simply to document that something beyond belief once really happened to a woman named Betty Broderick.

The current boom in true-crime stories — both documentary and scripted adaptations — too often falls prey to this tendency to prioritize emphasis over empathy. Consider, say, “Tiger King,” Netflix’s documentary series in which the odd circumstances and preoccupations of the subjects turns them into characters, and two-dimensional ones at that. HBO’s “McMillions,” earlier this year, was not content to dwell in the world of the real, and so staged purposefully phony re-enactments, as if to make a point, that its players were comically inept losers, that the story actually didn’t bear out. Exceptions to this tendency towards exaggerated goofs on the subject matter — last year’s “When They See Us,” for instance, or, covering a story of less significance, the first “Dirty John” — extend outwards beyond their stories’ immediate specifics with a broad idea of the world. So much true crime, though, seeks not to reach out but draw viewers in; it’s a narrow, hollow victory for work that draws its charge simply from the fact that things really happened, that the world is a crazy place.

Which is the strangest thing of all about “Dirty John: The Betty Broderick Story” — that what happened to her is not strange, at all, really. A person trapped by their own insecurity, or misused by a romantic partner, or lost in the labyrinth of their own rage is grindingly, painfully the stuff of life, and would seem to provide endless opportunities to connect with us, to say — well, anything, but something. Simply pointing out that it happened and tossing some goofy costuming on top isn’t enough. Indeed, it erodes the possibility of seeing Betty Broderick or Carole Baskin or whomever as real, not merely true. Broderick is still in prison; she was most recently denied parole in 2017. Learning this after I watched the full limited series was startling; it had been easy to assume, throughout, that her existence and mine ran parallel, that I could spend a series reacting to her with shock but never recognition.

https://variety.com/2020/tv/reviews/...ty-1234618779/
dad1153 is online now  
post #36253 of 37008 Old 05-31-2020, 03:37 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV Notes (Broadcast)
CBS to rerun Bob Barker's homage to Happy Gilmore on The Bold and the Beautiful
By Lynette Rice, EW.com - May 28, 2020

One can never get enough of Bob Barker smacking a wise guy.

In Friday's special encore episode of The Bold and the Beautiful on CBS, Barker plays himself in an homage to his cameo from the 1996 movie Happy Gilmore. Barker throws several punches (with sound effects!) after an argument with actor Darin Brooks (Wyatt Spencer). [CLICK LINK AT BOTTOM TO SEE "TBATB" CLIP]

"I thought it was a wonderful idea because Happy Gilmore is still playing on television frequently and everybody loved that fight scene," Barker told PEOPLE in 2014 when the episode first aired. "For Bold and Beautiful to be so bold as to copy, more or less, is wonderful!"

Barker said his cameo didn't require much training. "I'm a natural fighter," he told PEOPLE at the time. "I work out regularly. I think that the two most important things to be healthy are nutrition and exercise. My diet is good and I work out every day."

He also added how fans — young men in particular — always want to chat with him about his memorable moment opposite Adam Sandler. "I never taped a Price Is Right after the movie release that the audience didn't want to, during commercials, talk about Happy Gilmore. They loved it. They asked me all sorts of things. The young men would ask me, 'In real life, could you really whip Adam Sandler?' I would tell them, 'Are you kidding? Adam Sandler couldn't whip Regis Philbin.' I'm in fighting frame, fit to fight. Adam has been abusing his body."

Barker, now 96, stepped down from The Price is Right in 2007.

The Bold and the Beautiful airs weekdays on CBS.

https://ew.com/tv/bob-barker-bold-an...happy-gilmore/
dad1153 is online now  
post #36254 of 37008 Old 05-31-2020, 03:41 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Media/Business Notes
Netflix buys Hollywood’s famed Egyptian Theatre
By Alexandra Steigrad, New York Post - May 29, 2020

Netflix has finalized a deal to buy Hollywood’s historic Egyptian Theatre for an undisclosed price, capping a transaction that was in the works for over a year.

The deal marks a major milestone in Netflix’s effort to become accepted by the Hollywood filmmaking community. Major movie theater chains like AMC and Regal have avoided playing original films from the streaming giant because Netflix wouldn’t adhere to the same exclusive 90-day theatrical windows that movie studios abide by.

With the purchase of the Tinseltown landmark built by Sid Grauman in 1922, and its acquisition of New York’s The Paris Theater last fall, Netflix has a place to showcase its own movies.

As part of the deal, Netflix said the Egyptian will remain the home of the American Cinematheque, a nonprofit organization that was established in 1984. Netflix said it would continue to expand the cinema’s movie and event programming, as well as invest in the Egyptian’s renovation, so that it can host special events, screenings and premieres in the space.

Located on Hollywood Boulevard, the Egyptian was the site of the first-ever Hollywood movie premiere of “Robin Hood” (1922) starring Douglas Fairbanks. Other notable silent-era premieres held at the Egyptian include Cecil B. DeMille’s “The Ten Commandments” (1923), Charlie Chaplin’s “The Gold Rush” (1925) and “Don Juan” (1926) starring John Barrymore and Mary Astor.

https://nypost.com/2020/05/29/netfli...ptian-theatre/
dad1153 is online now  
post #36255 of 37008 Old 05-31-2020, 04:09 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV Notes
On The Air
SUNDAY MAY 31, 2020 Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid

ABC:
7PM - America's Funniest Home Videos
8PM - Celebrity Family Feud - Queer Eye: OG vs. Queer Eye: The New Class (Season Premiere)
9PM - Press Your Luck (Season Premiere)
10PM - Match Game (Season Premiere: Mario Cantone, Jennifer Esposito, Adam Rodriguez, Angie Harmon, Michael Chiklis and Melissa Fumero)
(R)

CBS:
7PM - 60 Minutes
8PM - Movie: Indiana Jones and the Last Crusade (1989)

NBC:
7PM - The Titan Games (120 min.)
(R)
9PM - America's Got Talent (120 min.)
(R)

FOX:
7PM - Last Man Standing
(R)
7:30PM - Duncanville
(R)
8PM - The Simpsons
(R)
8:30PM - Bless the Harts
(R)
9PM - Bob's Burgers
(R)
9:30PM - Family Guy
(R)

THE CW:
8PM - DC's Stargirl
(R)
9PM - Supergirl
(R)

PBS:
8PM - The Tunnel: Vengeance - Episode 1
(R)
9PM - The Tunnel: Vengeance - Episode 2
(R)
10PM - The Tunnel: Vengeance - Episode 3
(R)

UNIVISION:
7PM - Aquí y Ahora
8PM - Movie: The Last Witch Hunter (2015)
10PM - Sal y Pimienta

TELEMUNDO:
7PM - Movie: Red 2 (2013)
9PM - Movie: The Expendables 2 (2012)

NBCSN:
4PM - Trackside Live! (4 hrs., LIVE)

ESPN NEWS:
6PM - Johnsonville ACL Cornhole Championships: 2020 ACL Pro Invitational Qualifier (120 min.)
8PM - Johnsonville ACL Cornhole Championships - 2020 ACL Pro Invitational Qualifier: Las Vegas (120 min.)

CNN:
8PM - I Can't Breathe: Black Men Living and Dying in America (Special, 120 min.)

LIFETIME:
8PM - Movie: My Husband's Deadly Past (2020)

SHOWTIME:
8PM - VICE
8:30PM - Black Monday
(R)
9PM - Billions (62 min,)
10:02PM - Penny Dreadful: City of Angels (58 min.)

STARZ:
8PM - Hightown
9PM - Vida (Series Finale, 56 min.)

AMC/BBC AMERICA:
9PM - Killing Eve (Season Finale, 63 min.)

ESPN/ESPN 2:
9PM - 30 for 30: Lance (Part 2, 120 min.)*
*
(ESPN airing uncensored version; ESPN 2 showing censored version)

HALLMARK:
9PM - Good Witch

HBO:
9PM - I Know This Much Is True: Episode 4
10:01PM - Insecure (34 min.)
10:35PM - Insecure (32 min.)
(R)
* * * *
11:07PM - Last Week Tonight with John Oliver (33 min.)

ID:
9PM - Who Killed Jeffrey Epstein: Billionaire Predator (Premiere)
10PM - Who Killed Jeffrey Epstein: The Inner Circle
* * * *
11PM - Who Killed Jeffrey Epstein: Suicide or Murder?

MSNBC:
9PM - American Crisis: Poverty and the Pandemic (Special, 60 min.)

SCIENCE:
9PM - Unearthed: Lost World of Atlantis
10PM - Forbidden History: Mysteries of the Bermuda Triangle

TNT:
9PM - Snowpiercer
9:59PM - Snowpiercer
(R)

ADULT SWIM:
11:30PM - Rick and Morty: Star Mort Rickturn of the Jerri
Midnight - The Shivering Truth: Beast of Both Worlds (Season Premiere)
12:15AM - JJ Villard's Fairy Tales: Pinocchio


https://tvlistings.zap2it.com/?aid=gapzap
dad1153 is online now  
post #36256 of 37008 Old 05-31-2020, 09:20 AM
AVS Forum Special Member
 
dcowboy7's Avatar
 
Join Date: Nov 2007
Location: Pequannock, NJ
Posts: 6,260
Mentioned: 1 Post(s)
Tagged: 0 Thread(s)
Quoted: 438 Post(s)
Liked: 605
Quote:
Originally Posted by dad1153 View Post
TV Notes
On The Air
SUNDAY MAY 31, 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

NBCSN:
4PM - Trackside Live! (4 hrs., LIVE)
Good race from santa anita.
$200,000 santa maria stakes - post 6:42p.
Ce Ce 3-5 fav the #5 horse in the top 10 poll (well shes actually a 4yo filly) vs Hard Not To Love 9-5.
DrDon likes this.

dcowboy7 is offline  
post #36257 of 37008 Old 05-31-2020, 05:18 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV/Business Notes (OTT)
AT&T Grandfathered Plans with HBO See a $10 Price Hike with HBO Max Launch
By Jess Barnes, CordCuttersNow.com - May 29, 2020

Many of those with grandfathered AT&T TV Now plans that carried over from the DirecTV Now days are finding that their bills are a bit higher this month.

DirecTV Now customers were moved to AT&T TV Now when the company launched the new streaming service. Those customers were put on a grandfathered plan with promotional pricing. As part of that promotional pricing, those with HBO as part of their plan were receiving the premium channel for just $5 per month.

With the launch of HBO Max, current HBO subscribers were told they would automatically have instant access to HBO Max. Now, those with the grandfathered plans are finding that they’re being charged $15 for HBO Max, rather than the $5 they’ve been paying.

According to customers, AT&T made the change without any prior notice via email.

In addition to Cord Cutters News readers writing in to share information about the price increase on their plans, customers have gone to Reddit to share their experiences.

One user shared an email from AT&T saying: “Welcome to HBO Max, a new streaming app that gives you a new way to stream everything on HBO® together with even more movies and shows, plus new Max Originals. And the best part is, you can start watching HBO Max right now at no While some have reached out to AT&T support and have been told that the price increase is a glitch that will be resolved, others are saying they haven’t had any luck in getting a customer service rep to take the price back down to $5 per month.

If your grandfathered AT&T TV Now plan is charging you $15 for HBO Max rather than the $5 you’ve been paying for HBO, you can try reaching out to customer support through an online chat on the AT&T support page. We’ll be back with an update if AT&T announces an official price hike for grandfathered users or makes a statement about resolving the billing issue.

UPDATE: Update: AT&T sent this message to subscribers who saw the increase on their bill

Thank you for subscribing to AT&T TV NOW and HBO.

Unfortunattely, there was a billing error on your HBO subscription, and we want to let you know we are fixing it.

Your $5.00 monthly HBP rate was inadvertently changed to $14.99 due o a system error. To make this right as soon as possible, we will be applying a temporary $9.99/month credit to your account, which will adjust the charge back to $5.00.

You will coninue to see his credit on your accoun until the error has been resolved and your $5.00 monthly rate resumes within 1 to 3 billing cycles.

We apologize for any inconvenience this may have caused.


https://www.cordcuttersnews.com/att-...bo-max-launch/
dad1153 is online now  
post #36258 of 37008 Old 05-31-2020, 05:25 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
^^^ I'm on that boat. Managed to contact an AT&T agent online and she assured me my bill would remain at $5 for regular HBO, but as of a few minutes ago the account still says $14.99. Apparently because of my cellphone plan I qualify for free (temporary?) access to HBO Max. Too bad there's no Roku or Amazon support for the HBO Max app, and the Android app only works on my back-up ZTE and not my Samsung Galaxy Fold. Too bad, because apparently there are some gems among the HBO Max offerings...

Streaming/Critic's Notes (OTT)
Why is HBO Max Hiding Its Criterion Movie Selection?
By Adi Tantimedh, BleedingCool.com - May 31, 2020

It's Day 4 of HBO Max' so-so official launch as a new streaming service. It has a brand name problem – most people are confused about how it's supposed to be different from HBO Now or HBO Go. If you have an HBO subscription, you already have access to HBO Max. And having HBO Max means you have access to more than enough World Cinema to learn about the history of Movies, not just Hollywood blockbusters of the past few years. And not many people even know this. And why did they not tell us that a massive chunk of movies from the Criterion Collection is on it? This is the cream of the crop of World Cinema. And a lot of it is on HBO Max.

Everyone is going on about the Harry Potter movies being on the service; the Snyder Cut coming to the service, the essential documentary about #MeToo , On the Record, being on the service. The curated channels featuring titles from. Most of these channels have a dozen or more titles from those networks.

Yet zero mention of the Criterion Collection at all. Not a peep. I only stumbled on it when I went into the Browse section and opened up "International." I was shocked – there are nearly 300 movies from Criterion in that section! The other listed dedicated channels – Adult Swim, Cartoon Network, TCM (Turner Classic Movies), DC, Studio Ghibli, Crunchyroll, Sesame Workshop – have a dozen or a few dozen titles at best. This makes the Criterion or International movie section one of the most prominent sections on HBO Max.

Yet nobody ever mentioned it. Why is HBO Max hiding it?

The Criterion Collection is Like Going to Film School
A lot of the critical movies of World Cinema are here. Eisenstein's Battleship Potemkin and Ivan the Terrible Parts 1 and 2 are here. Carl Dreyer's Vampyr and Major titles in the French New Wave like François Truffaut's The 400 Blows, Godard's Breathless, Two or Three Things I Know About Her, the films of Eric Rohmer, the significant films of Fassbinder, Fellini, Antonioni are here. Several Kurosawa movies are here, including Seven Samurai and Hidden Fortress, which directly inspired Star Wars. Mizoguchi's The 47 Ronin is here. Fritz Lang's M is here and The Testament of Dr. Mabuse, which would influence the James Bond movies later. Many of Ingmar Bergman's films are here. It has Jean-Pierre Melville's Le Samourai, without which there would be no John Woo movies, there would be no John Wick movies. It has all original six Lone Wolf and Cub movies, the two Lady Snowblood movies. The Sixties Godzilla movies are here.

This is just a small selection of what's on HBO Max. To go through what's here would give you a significant education in Film, give you a fuller picture of the sheer scope of Cinema. It's like Martin Scorsese's head exploded, and the contents fell into this section in HBO Max. All the titles barely scratch the surface of the Criterion titles on HBO Max.

The actual Criterion collection is hundreds more movies than what's been picked for HBO Max. They're on Criterion's own streaming service, The Criterion Channel, which carries a subscription price of $10.99 a month. To have HBO Max means you have access to a decent fraction of their movies.

Seriously, Why Didn't They Tell Us They had Criterion Movies?
HBO and AT&T have been hyping the launch of HBO Max since 2018, and right up to now, they never, ever said they would have Criterion movies on it. This is like declaring the opening of a storefront and hyping up the hamburgers and barbeque menu but not once mentioning that they also happen to have a huge collection of diamonds and priceless gems in the backroom.

There are loads of op-eds out there declaring the launch is a bit of a mess. Articles are complaining about The Dark Knight not being on the service at launch as initially announced. Why is that a big issue? The Criterion movies being on the service is surely bigger news. Am I the only correspondent who actually looked at the International section? Why has nobody else written about this? First, it feels like HBO Max is either embarrassed to mention that they have a large chunk of the greatest movies ever made. Second, it feels like the news outlets that are supposed to report on this sort of thing just don't care – they'd rather write about how messy the launch has been.

This feels like a symptom of how Hollywood has taken over the perception of movies in the last decade. Foreign movies are talked about less. Old movies from before 1970 are talked about less as if the history of film is being quietly swept aside in favor of column inches devoted to the latest shiny new blockbuster movie. Film culture used to feel more diverse and vibrant with a discussion about how classic movies from Hollywood and beyond informed current movies. The rise of streaming has made classic movies from all over the world easier to see, yet people in the US mainly talk about recent Hollywood movies and ignore movies from Europe and Asia.

You can complain about HBO Max all you want while one of the finest collections of movies is on it waiting for you to discover.

https://bleedingcool.com/movies/why-...vie-selection/
RobKnapp likes this.
dad1153 is online now  
post #36259 of 37008 Old 05-31-2020, 05:32 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Obituary
Herb Stempel, Whistleblower in the 1950s Quiz Show Scandals, Dies at 93
By Mike Barnes, The Hollywood Reporter - May 31, 2020

Herb Stempel, the contestant on NBC's Twenty-One who helped expose the rigged television quiz shows of the 1950s after he was "defeated" by Charles Van Doren, has died. He was 93.

Stempel, portrayed by John Turturro in the 1994 docudrama Quiz Show, directed by Robert Redford, died April 7, The New York Times reported. His death was confirmed by a former stepdaughter, Bobra Fyne.

As a bespectacled Bronx native with an IQ of 170, Stempel appeared on Twenty-One, hosted by Jack Barry, for six weeks in 1956, winning $49,500. He later said that he was given all the questions and answers in advance by Dan Enright, a producer and co-creator of the show, and knew the eventual outcome of every game he participated in — including the one in which he would lose to the photogenic Van Doren.

Stempel said he was particularly embarrassed in his matchup with Van Doren when, after being asked to name the winner of the 1955 Oscar for best picture, he followed orders and replied On the Waterfront when he knew the correct answer was Marty, which he had already seen three times.

What he did on Twenty-One "was not illegal," Stempel said in a July 2004 interview for the Archive of American Television, "but it wasn't quite kosher."

Stempel said he considered pulling a double cross but "took a dive" to Van Doren because Enright had promised him a job as a question consultant for $250 a week on Twenty-One as well as a gig as a permanent panelist on another game show, High Low.

When it became clear that Enright would not honor his end of the bargain, Stempel contacted several newspaper reporters and then the Manhattan district attorney, and soon the infamous quiz show scandal was off and running, with Congress getting involved.

"From the time you stepped into the isolation booth, you knew what you had to do, you knew exactly what you had to say," Stempel said. "It was like an actor going on stage. In the final analysis, I wasn't even really a game show contestant. I was an actor performing a role, as my other opponents were."

Van Doren — who won $128,000 on Twenty-One and parlayed that success into jobs at NBC as a White House correspondent and as a cultural reporter on the Today show — insisted for months that everything had been on the up and up, at least for him. Eventually, though, he did admit to lying, and his TV career was ruined.

Herbert Milton Stempel was born on Dec. 19, 1926, in the Bronx. His father, Solomon, was a postal carrier and his mother, Mary, a housewife.

When Stempel was 7, his father died and his mother needed public assistance to make ends meet. She received $50 a month, and $28 of that went to pay the rent. "I always felt a little bad that I didn't have a dad, because all my friends did," he said.

Stempel skipped second grade, loved history and geography and enjoyed hanging out at the library. By the time he was 8 or 9, he was "an omnivorous reader," he said. "I began to realize I had a very exceptional memory. … I could read a page, and six months later I could give you the gist of what I had read."

While in elementary school, Stempel represented P.S. 6 on Americana Quiz, a radio show. He remained undefeated for weeks, winning several Eversharp fountain pens in the process.

He graduated from the Bronx High School of Science in 1944 and enrolled at City College with the goal of becoming a teacher. But first, he enlisted in the U.S. Army and spent seven years in the service, the last few as a counter-intelligence agent.

Back at City College as a senior, Stempel watched Twenty-One and wrote a letter to its producers, saying he had "thousands of facts and figures at my fingertips" and wanted to be a contestant.

At an office on Madison Avenue, Stempel took a 3 1/2-hour, 363-question trivia test (questions included "Who was the first American soldier killed in World War I in France?" and "What is the width of a goalpost on a football field?") and came up with a record-setting 251 correct answers, he said.

"I never was an expert in one particular subject," he noted. "But I had across-the-board knowledge, and in-depth knowledge too."

Enright visited Stempel at his apartment in Forest Hills in Queens and "started to ask me questions. I knew the answers to most of the questions. Some other questions I didn't know the answers to, and he filled me in," Stempel recalled. "Then he leaned back on the couch and said, 'How would you like to make $25,000, just like that?'

"I immediately understood what he was saying, obviously, because he wasn't about to give me $25,000 for appearing on the program when I could have been easily defeated and gone off with nothing. Once I said, 'Who wouldn't?' I became part of the game show hoax."

He was told he would be on Twenty-One the following night. The producer then picked through Stempel's closet and selected his father-in-law's baggy old suit, a frayed blue shirt, a "terrible-looking tie" and an old Timex that "ticked like an alarm clock" (the watch would be near a microphone and "build up the suspense") for Stempel to wear on the show. He also was told to get a "Marine-type haircut."

"The whole aim was to make me into a nerd, a square, a human computer," Stempel said.

The next afternoon, Enright ran Stempel through a series of questions and answers and was told how many points he would earn on the program. (On Twenty-One, two players, each in a soundproof booth, attempted to amass a winning 21 points by answering questions assigned a number value up to 11. The higher-numbered questions were tougher.)

Stempel said Enright showed him how to nervously bite his lip and take deep breaths before answering as a way to create suspense. He indicated he received an advance payment of $18,500, "knowing I was going to be winning more than that."

Sponsored by Geritol, Twenty-One aired on Wednesdays from 10:30-11 p.m., live in front of a studio audience at NBC Studios in Rockefeller Center. Stempel said every show he was on was choreographed, right down to his banter with Barry. (He departed from the script just once when he made a spontaneous joke about the fate of Henry VIII's six wives.)

The air conditioning was periodically turned off in his booth so viewers would see him sweat.

When he learned that he was going to face Van Doren — a clean-cut Columbia University professor and member of a prominent New York literary family — Stempel knew his "goose was cooked." He was correct. Enright informed him that Twenty-One's ratings were "going south, and we feel it's time for somebody else to take your place."

With an estimated 50 million people tuning in, Stempel and Van Doren met on Nov. 28, 1956, and, after a couple of tie games, Stempel was dethroned the following week. Van Doren kept winning until March 11, 1957, and would make the cover of Time magazine.

Meanwhile, Enright was dismissing Stempel at every turn. And not only did he not get what he was promised, Stempel saw Van Doren's brother, John, appear as a contestant on High Low and walk away with $80,000.

For many months, Stempel stood by his story that Twenty-One was rigged while Enright called him bitter and nuts. In summer 1958, Albert Freedman, a Twenty-One producer who had coached Van Doren, was indicted for perjury. A photograph of Freedman in handcuffs at a police station led producers on other game shows to admit that their programs were rigged.

In 1959, Van Doren pleaded guilty to second-degree perjury and lost his job at NBC. Others involved with game shows like The $64,000 Question and Dotto were disgraced as well.

Though vindicated, the whole thing had an impact on Stempel. "I was really down in the dumps, it affected me for many years," he said. "When I was recognized, I wasn't Herb Stempel, I was the guy who destroyed Charles Van Doren. My answer was no, he destroyed himself. He insisted for three years that he was telling the truth and I was lying."

Stempel said he quickly lost most of his prize money to a con artist through a bad investment.

Stempel, who went on to work as a legal researcher for the New York City Department of Transportation, agreed to participate in the 1992 PBS documentary The Quiz Show Scandal. It "attempted to show how America lost its innocence," he said. "People believed everything they saw on television. After the scandals, they didn't."

On Redford's Quiz Show, Stempel was paid a reported $30,000 to serve as a consultant, but he said he visited the set just twice and had only one conversation with Turturro. He thought the movie was "about 40 percent true." (Ralph Fiennes portrayed Van Doren, while David Paymer was Enright, Hank Azaria was Freedman and Christopher McDonald was Barry.)

Stempel said he was miffed that Turturro portrayed him as "a nerd, a square, a hyper sort of a guy," and at the Quiz Show premiere, the actor said to the real-life game show contestant, "If you punch me in the nose, I would understand why."

Stempel realized that Turturro was only doing his job, but his wife, Ethel, wasn't as generous. "She said, 'Step aside, Herb,' " he recalled. " 'I want to take a crack at him.' "

https://www.hollywoodreporter.com/ne...was-93-1099370
dad1153 is online now  
post #36260 of 37008 Old 05-31-2020, 05:37 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Media Notes
ViacomCBS Brands To Go Dark As Tribute To George Floyd
By Dino-Ray Ramos, Deadline.com - May 31, 2020

In an internal memo, ViacomCBS President of Entertainment and Youth Brands Chris McCarthy announced that all entertainment and youth brands and platforms will be going dark for 8 minutes and 46 seconds, which marks the time in which George Floyd was killed. The time will not only serve as a tribute to Floyd but as a tribute to all those who have been victims of racism including Ahmaud Arbery, Breonna Taylor and countless others.

ViacomCBS also went dark in 2018 for 17 minutes in solidarity with the National School Walkout to honor the 17 students of Marjory Stoneman Douglas High School in Parkland, Florida who killed.

In addition to the killings, McCarthy addresses the everyday inequality in the community and how the pandemic disproportionately impacts communities of color. He went on to talk about what ViacomCBS is doing as a call to action to help support the communities including Black Out Tuesday where they will not hold any meeting or conduct any business in order to stand in solidarity with their Black colleagues.

Read the full memo below.

Team,

The last few weeks have brought to the surface long standing racism, videos of unspeakable behavior and the harsh reality of inequality many in our community deal with on a regular and daily basis. In Minneapolis, the horrifying murder of George Floyd, in Georgia the senseless killing of Ahmaud Arbery, and in Kentucky, the deplorable shooting of Breonna Taylor, to name just a few recent examples.

This is on top of a pandemic which has emphasized the tragic inequalities that disproportionately impact communities of color, especially African American and Latinx communities, in addition to the unjust targeting of Asian Americans.

While I am not a person of color and can never fully understand this experience, I am offended by the systemic racism and want to stand together with our communities of color in the hurt and pain. We must all do our part – discrimination against one of us is discrimination against all of us.

Therefore, as President of our Group, I commit that we will do the following:

1.- Use our platforms to shine a light on the realities of racial injustice and call for equality.
This morning, we made the following statements across our brands and platforms.

Black Lives Matter

We stand with the #BlackLivesMatter movement and call for the end of systemic racism. These racist and brutal attacks must end. We call for justice.

2.-Amplify the voices of the communities we serve and provide a call to action for change.
Tomorrow, for 8 minutes and 46 seconds, we will go dark across our brands and platforms to mark the time in which George Floyd was brutally killed as a tribute to Mr. Floyd and other victims of racism. We will provide a call to action encouraging our audiences to get involved and help be part of the solution with our partner Color of Change.

3.-Foster a culture that deeply values and respects diversity and inclusion.
On Tuesday, we are joining Black Out Tuesday, to focus our attention away from work and towards our community. We will not hold any meetings nor conduct any business – rather we will stand in solidarity with our African American colleagues and loved ones across the country.

This is just the beginning and I acknowledge that we don’t have all the answers. Over the next few weeks, you will be invited to join us for discussions on ways we can use our brands and platforms to inspire and enact change.

Thank you,

Chris


https://deadline.com/2020/05/viacomc...er-1202947772/
longhorn23 likes this.
dad1153 is online now  
post #36261 of 37008 Old 05-31-2020, 05:42 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV Review (Cable)
AMC Offers 'Quiz,' the Complicated Story of the 'Millionaire' Cheating Scandal
By Mike Hughes, TVWorthWatching.com's 'Open Mike' - May 31, 2020

Back in 1998, all of England seemed obsessed with Who Wants To Be a Millionaire?

Older people watched it; they always seem to like quiz shows. But so, surprisingly, did others.

“I was 18 years when it launched,” writer James Graham, whose delightful miniseries, Quiz, starts Sunday on AMC (10:03 p.m. ET), told the Television Critics Association in January.

He first saw it on a Saturday, he said. “I was a hugely geeky child. I should have been out with my friends, but I was at home with my grandparents watching.”

Sian Clifford (top), one of the Quiz stars, knows the feeling. “It was an event in our family…. We would all gather around to watch.”

Then came a news story people found more compelling: In 2001, Charles Ingram – a major in the British army – and his wife were accused of cheating to win the show’s top prize, a million pounds.

After watching the trial and the subsequent documentary, Graham recalled, he was “utterly convinced that, of course, they did it. It was so obvious and so audacious.”

But when the book Bad Show came out in 2015, he said, it “raised new doubts that the story is quite what people think.”

So he wrote a play and then the miniseries, walking a delicate line between guilt and innocence, and between drama and humor.

The humor was boosted immensely by the director of the miniseries. “Stephen Frears is a very mischievous, subversive, twinkly director,” Graham said. Making this story fun was “a challenge that he relished.”

In The Queen, Frears had Michael Sheen (top) play Tony Blair, the former prime minister. This time, he had Sheen play another person familiar in England, Millionaire host, Chris Tarrant.

“The (blonde) wig does all the heavy lifting,” in the performance, Sheen said. “It’s always the hair that does all the work.”

Clifford plays Ingram’s wife, who (with her brother) was obsessed with Millionaire. Both were on the show, before convincing her husband (superbly played by Matthew Macfadyen, top), to try.

“These are rural people who just really, really liked quizzes and games,” Graham said. “They were like all of us. They would play board games as a family. They would go to the local pub quiz.”

Then Millionaire stirred new ideas. Some people developed schemes to be selected; some found a way to use a call room for their phone-a-friend.

“They tried really, really hard to get on a game show,” Graham said. “And, allegedly, they, maybe, tried too hard.”

http://www.tvworthwatching.com/BlogP...x?postId=20143
dad1153 is online now  
post #36262 of 37008 Old 06-01-2020, 02:39 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Obituary
Christo, who made monumental art around the world, has died at 84
By Jacqui Palumbo, CNN.com - May 31, 2020

Christo Vladimirov Javacheff, who was known for his monumental environmental artworks with his late wife, Jeanne-Claude Denat de Guillebon, has died. He was 84 years old.

Together, known simply as Christo and Jeanne-Claude, they wrapped iconic landmarks in fabric, such as the Pont Neuf in Paris in 1985 and the Reichstag in Berlin in 1995; and mounted thousands of orange gates in Central Park, redolent of Japan's sacred torii gates, in 2005.

Christo passed away Sunday 31 May at his home in New York, according to a statement made on the artist's official twitter account.

He is survived by his son, Cyril Christo, a photographer, filmmaker and animal rights activist. Jeanne-Claude passed away following a brain aneurysm in 2009.

After her death, Christo dedicated himself to completing their concepts. In 2016, he realized their work "The Floating Piers" on Italy's Lake Iseo, a project they imagined in 1970. For 16 days, golden pathways appeared on the lake, supported by 220,000 polyethylene cubes. Like many of their works, it was a popular success. Some 270,000 people turned up to walk on water during the first five days.

In 2018, Christo unveiled "The London Mastaba," a floating installation on the Serpentine Lake in London made of more than 7,000 oil barrels. It was the artist's first major public, outdoor work in the United Kingdom. His next work was to appear in Paris, in September 2021 -- the long-awaited wrapping of one of the world's most famous war memorials, the Arc de Triomphe. In May 2020, Christo told CNN he couldn't believe it was actually happening. "I never believed that we'd get permission -- "I was flabbergasted."

The statement announcing his death also indicated the Paris project would go ahead: "Christo and Jeanne-Claude have always made clear that their artworks in progress be continued after their deaths. L'Arc de Triomphe, Wrapped (Project for Paris) is still on track for Sept. 18--Oct. 3, 2021."

Christo and Jeanne-Claude were born on the same day on June 13, 1935 -- Christo in Bulgaria and Jeanne-Claude in Morocco. In 1957, Christo attended one semester at Academy of Fine Arts in Vienna before eventually landing in Paris, where he met Jeanne-Claude in 1958. He had already begun wrapping objects, such as furniture and oil drums, and they began working together in 1961. For decades, the couple only used Christo's name, until 1994 when Jeanne-Claude was added retroactively to many works as his collaborator.

The artists insisted that their ambitious projects were about "joy and beauty," as Jeanne-Claude once said in 2002. However, they did not create their works in a political vacuum, and for one of their earliest collaborations they stacked oil barrels to barricade a street in Paris in protest of the Berlin Wall.

Encountering Christo and Jeanne-Claude's temporarily altered land and cityscapes could be an ebullient, perception-altering experience, and they required years -- and sometimes decades -- to pull off. Outfitting the Reichstag took 24 years from concept to completion; the artists considered the preliminary work part of their art too, naming it the "software" period while the "hardware" period encompassed the time when the physical work was materialized.

In 1980, the pair began to plan "Surrounded Islands," renting 11 islands in Miami's Biscayne Bay from the city for nearly $13,000 in order to surround their perimeters in vivid pink polypropylene fabric.

For three years, they tirelessly worked with their staff -- which included attorneys, civil engineers and a marine engineer, a marine biologist and a manatee specialist -- to bring their vision to life, facing a number of barriers to obtain permits and a federal lawsuit initiated by a wildlife paramedic. "Surrounded Islands," was finally unveiled in 1983, and it has been considered crucial to Miami's rejuvenation in the 1980s as a cultural destination. The couple countered any criticism over environmental concerns for their works, insisting they restored each site to their original condition -- and in the case of "Surrounding Islands," cleaning the land of nearly 40 tons of garbage.

Christo once described himself as an "educated Bulgarian Marxist who has learned to use capitalism for his art." They were firmly independent, eschewing a reliance on the art world to financially support their work. They funded it themselves, often selling preparatory drawings to do.

"We pay with our money! No grants, no money from the industry," he said at the opening of "The London Mastaba" in 2018. "All these projects get initiated by us. Nobody asked us to do it. Nobody asked us to wrap the Reichstag. Nobody asked us to install floating piers. We decided that we do exactly what we like to do."

https://www.cnn.com/style/article/ch...ead/index.html
dad1153 is online now  
post #36263 of 37008 Old 06-01-2020, 02:42 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Technology/Business Notes
Microsoft lays off journalists to replace them with AI
By Tom Warren, TheVerge.com - May 30, 2020

Microsoft is laying off dozens of journalists and editorial workers at its Microsoft News and MSN organizations. The layoffs are part of a bigger push by Microsoft to rely on artificial intelligence to pick news and content that’s presented on MSN.com, inside Microsoft’s Edge browser, and in the company’s various Microsoft News apps. Many of the affected workers are part of Microsoft’s SANE (search, ads, News, Edge) division, and are contracted as human editors to help pick stories.

“Like all companies, we evaluate our business on a regular basis,” says a Microsoft spokesperson in a statement. “This can result in increased investment in some places and, from time to time, re-deployment in others. These decisions are not the result of the current pandemic.”

While Microsoft says the layoffs aren’t directly related to the ongoing coronavirus pandemic, media businesses across the world have been hit hard by advertising revenues plummeting across TV, newspapers, online, and more.

Business Insider first reported the layoffs on Friday, and says that around 50 jobs are affected in the US. The Microsoft News job losses are also affecting international teams, and The Guardian reports that around 27 are being let go in the UK after Microsoft decided to stop employing humans to curate articles on its homepages.

Microsoft has been in the news business for more than 25 years, after launching MSN all the way back in 1995. At the launch of Microsoft News nearly two years ago, Microsoft revealed it had “more than 800 editors working from 50 locations around the world.”

Microsoft has gradually been moving towards AI for its Microsoft News work in recent months, and has been encouraging publishers and journalists to make use of AI, too. Microsoft has been using AI to scan for content and then process and filter it and even suggest photos for human editors to pair it with. Microsoft had been using human editors to curate top stories from a variety of sources to display on Microsoft News, MSN, and Microsoft Edge.

https://www.theverge.com/2020/5/30/2...i-replacements
dad1153 is online now  
post #36264 of 37008 Old 06-01-2020, 02:47 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV/Health Notes (International)
U.K. to Resume Film, High-End TV Production Under New COVID-19 Guidelines
By Alex Ritman and Georg Szalai, The Hollywood Reporter - May 30, 2020

The British government and health bodies have formerly endorsed a comprehensive set of guidelines that will allow shoots to restart in one of the world's film and high-end production capitals after they were shut down due to the novel coronavirus pandemic.

Drawn up by the British Film Commission alongside the British Film Institute, The Working Safely During COVID-19 in Film and High-end TV Drama Production guidance was developed to help protect crew and cast from COVID-19 related risks, and while it isn't mandatory, is expected to provide producers with necessary and scalable safe practice guidelines to help get the wheels moving on an industry hit hard by the crisis.

Among the major productions to have postponed due to the coronavirus crisis were The Batman, and Jurassic World: Dominion, alongside TV shows like Sex Education, The Witcher and The Crown. Meanwhile, the shutdown dramatically impacted tens of thousands of freelancers from across film and TV, many of whom found they didn't qualify for the government financial support schemes that were put in place.

Spearheaded by the British Film Commission, the Inward Investment Recovery Group initially compiled a 27-page list of best practice protocols for film and high-end TV in early May. What followed was an extensive three-week consultation period involving the full gamut of production, from large international franchises to independent production; studios; streamers; unions; and U.K.-wide industry bodies.

"We believe this to be the most comprehensive, extensively-consulted on COVID-19 recovery production guidance in the world," said British Film Commission CEO Adrian Wootton. "It reflects a phenomenal collective effort, for which we must thank the British Film Commission Recovery Group and BFC staff team, alongside the BFI, Department for Culture, Media and Sport and the whole range of organizations, public and private, who contributed."

Added Wootton: "The industry is extremely keen to restart production as soon as possible, but not without a comprehensive road map for how to do it safely while the threat of COVID-19 still looms large. Today’s guidance provides that reassurance, reflecting the latest government, technical and medical advice available. We will also update it on a regular basis, giving clarity on the latest measures recommended to ensure a safe shoot for cast, crew and the wider public.

The guidelines include measures such as COVID-19 health and safety training for all crew members; dedicated on site supervision; testing and health checks; social distancing, PPE, hygiene, and mental heath; transport (including only using airlines where distancing practices are deployed); quarantining inbound cast/crew; accommodation; on-set practices to reduce number of people together at one time; catering and craft; cleanliness of equipment; limiting face-to-face meetings; crowd shoots; construction, workshops and off-set services; and costume.

"This guidance represents the most comprehensive assessment of methodologies that industry will need to apply," said Iain Smith, chair of the British Film Commission Advisory Board, and a producer with credits including Mad Max: Fury Road, The Killing Fields, Children of Men and The Fifth Element. "It’s been an ambitious and large-scale operation to gather, synthesise and publish the range of views from across our industry. I believe this guidance will be a helpful, practical framework as we prepare our risk assessments and schedules to restart suspended production."

As with most of the world, almost all production in Britain was shuttered in mid March amid the virus outbreak. The news that they are set to return should come a welcome relief to an industry that is of growing importance to the U.K. economy, where film and high-end TV spend hit a record $4.7 billion in 2019.

"Our film and TV industry has been growing faster than other any other sector, generating over £7.9 billion ($9.74 billion) a year in GVA (Gross Value Added) to the UK economy and employing 166,200 people – so creating scaleable guidance to help restart film and high-end TV production as safely and as quickly as possible has been paramount," said BFI chief executive Ben Roberts.

"There is still work to done to address the cost of recovery and business insurance as a result of COVID-19, but Government support has been crucial in getting us to this point."

Free training on how to apply the new guidance is set to be rolled out online next month by Screenskills.

Alongside the news of the film and high-end TV post-lockdown guidelines, VFX and post-production body UK Screen Alliance has also published its own COVID019 Guidance. As the industry has largely remained open for business during the pandemic, the guidance is aimed a providing a framework for companies transitioning back to on-premises working.

https://www.hollywoodreporter.com/ne...elines-1293062
aaronwt likes this.
dad1153 is online now  
post #36265 of 37008 Old 06-01-2020, 03:00 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
No political comments, please.

TV Notes

Journalists blinded, injured, arrested covering George Floyd protests nationwide
By Lorenzo Reyes, USA Today - Jun. 1, 2020

[CLICK LINK AT BOTTOM TO SEE NEWS CLIPS AND SOCIAL MEDIA POSTS]

As protests across the USA raged over police brutality and the killing of George Floyd, police forces aimed to disperse demonstrators.

In some incidents, members of the news media appeared to be targeted, by police and protesters alike.

“Targeted attacks on journalists, media crews and news organizations covering the demonstrations show a complete disregard for their critical role in documenting issues of public interest and are an unacceptable attempt to intimidate them,” said Carlos Martínez de la Serna, program director of the Committee to Protect Journalists. “Authorities in cities across the U.S. need to instruct police not to target journalists and ensure they can report safely on the protests without fear of injury or retaliation.”

The CPJ said it is investigating reports of attacks and arrests in Louisville, Kentucky, Las Vegas, Atlanta and Washington.

President Donald Trump has verbally attacked the media throughout his term. Saturday afternoon, he tweeted a message that "Fake News is the Enemy of the People." Sunday, he accused the media of "doing everything within their power to foment hatred and anarchy."

USA TODAY Network journalists

Late Sunday, Des Moines police arrested reporter Andrea Sahouri, of the Des Moines Register, part of the USA TODAY Network, for failure to disperse while she was covering the George Floyd demonstration at a local mall that turned violent.

In a video apparently recorded in a police transport vehicle while still at the Merle Hay Mall and then posted on Twitter, Sahouri said police sprayed her in the face with pepper spray after she identified herself as a member of the media. "I'm press. I'm press. I'm press," she said she told police.

KCCI earlier showed Sahouri sitting on a curb with her hands zip tied behind her back. It appeared she was wailing in pain from the pepper spray.

Another reporter who was with her at the event was not arrested but shared the same account with editors before Sahouri posted her video on Twitter.

Sahouri was released hours later and charged with failure to disperse and interference with official acts.

A Detroit police officer maces Detroit Free Press reporter JC Reindl while he shoots photos of protests that turned contentious late on Saturday, May 31, 2020.
On Saturday night, Branden Hunter, a reporter for the Detroit Free Press, went to an emergency room in Detroit after police administered tear gas during a protest. A cellphone, which was livestreaming the event, was knocked from a Free Press photographer's hand.

Free Press reporter JC Reindl was taken to an emergency room after he was pepper sprayed, though he showed a badge identifying himself as a member of the media.

Molly Beck and Lawrence Andrea, USA TODAY Network reporters for the Milwaukee Journal Sentinel, were tear-gassed and pepper-sprayed early Sunday morning in Madison, Wisconsin.

Late Saturday night, Paul Woolverton, a reporter for the Fayetteville Observer, also part of the USA TODAY Network, was attacked while shooting video at a looting of a J.C. Penney in the area and was treated for a concussion at a hospital.

Tyler J. Davis, a Des Moines Register reporter, was in Minneapolis Thursday, detailing the night of demonstrations when he observed police using chemical irritants to subdue protesters.

"I pulled out my camera to record the incident while being sure not to walk toward officers or have any other items in my hand," Davis wrote in an essay for USA TODAY. "The officer redirected his chemical spray from the fleeing duo toward me."

Davis said the officer "laid on the trigger for a few seconds" as Davis told him he was a journalist.


"My eyes refused to open, and my face and arm felt as if they were dipped in a deep-fryer," he wrote.

According to USA TODAY reporter Natalie Neysa Alund, Louisville police shoved Memphis Commercial Appeal photographer Max Gersh twice with their batons.

National reporter arrested, broadcasts interrupted

Protesters pummeled and chased Fox News journalist Leland Vittert outside the White House early Saturday.

Vittert said the attack clearly targeted his news organization. "We took a good thumping," he told The Associated Press.

His live shot was interrupted by protesters at Lafayette Park in Washington, who shouted obscenities directed at Fox. Flanked by two security guards, he and photographer Christian Galdabini walked away, trailed by an angry group before riot police dispersed them.

"The protesters stopped protesting whatever it was they were protesting and turned on us, and that was a very different feeling," Vittert said.

Friday in Minneapolis, CNN reporter Omar Jimenez was arrested while covering protests.

Jimenez and his crew were arrested on air by members of the Minnesota State Patrol after identifying themselves and showing their press credentials.

"We are live on the air at the moment. ... Just put us back where you want us, just let us know. Wherever you want us, just let us know," Jimenez told police officers before one came behind him with handcuffs. “Do you mind telling me why I’m under arrest, sir?"

After getting identification information from himself and his crew, he said, "they eventually came back with our belongings … unclipped our handcuffs" and led the crew out.

Minnesota Gov. Tim Walz apologized at a news conference and said he takes "full responsibility" for the incident.

"There is absolutely no reason something like this should happen," he told journalists. "This is a very public apology to that team."

CNN's headquarters in Atlanta was damaged Friday by a group of protesters who fought with police and set cars afire. While police tried to keep them away from the CNN Center, demonstrators broke windows and scrawled obscene graffiti on the network's logo.

Saturday night, MSNBC journalist Ali Velshi wrote on Twitter that he was "hit in the leg by a rubber bullet" in Minneapolis but was fine. "State Police supported by National guard fired unprovoked into an entirely peaceful rally," he said.

'Fired tear gas ... at point blank range'

Los Angeles Times journalist Molly Hennessy-Fiske said Saturday evening that she was at the 5th Precinct in Minneapolis with "at least a dozen" journalists when members of the Minnesota State Patrol advanced toward the group. She said the journalists identified themselves, but officers "fired tear gas canisters on us at point-blank range."

Hennessy-Fiske said they asked officers where they should go to avoid dispersal tactics. "They did not tell us where to go," she said. "They did not direct us. They just fired on us."

She said she "got hit with a rubber bullet ... maybe two."

Reuters producer Julio César Chávez said early Sunday morning he "was shot in the arm and the back of my neck with rubber bullets" and his security adviser "was shot in the face," though a gas mask protected him.

Another Reuters photographer, Lucas Jackson, said that late Saturday night in Minneapolis, a man disguised as a medic attacked him with a crowbar, breaking the camera he was using to document the protests. He was "a white man with a Red Cross on his chest who came out of nowhere," Jackson said.

Vice News correspondent and producer Michael Anthony Adams shared video of Minneapolis troopers approaching him and several other journalists Sunday morning at a gas station where they had taken shelter. Though he shouted "press" multiple times, one officer ordered him on the ground before another came and pepper sprayed him.

Photographer permanently blinded

Freelance photographer Linda Tirado wrote on Twitter early Saturday morning that she was struck by a rubber bullet on her left eye in Minneapolis and went to a hospital to have emergency surgery. In an update a few hours later, she reported that she became "permanently blind" in her left eye but that she would continue to work.

The Denver Post said photographer Hyoung Chang was covering a protest Thursday night in downtown Denver when police fired two pepper balls directly at him.

The Las Vegas Review-Journal reported that Saturday, photographer Ellen Schmidt and freelance photographer and former Review-Journal employee Bridget Bennett were arrested while covering protests on the Strip.

In Louisville early Saturday morning, protesters vandalized a car with the logo of news station WLKY on the driver side door. According to one of the station's reporters, Deni Kamper, chief photographer Paul Ahmann was attacked by a mob of protesters and thrown to the ground. Kamper posted on Twitter that Ahmann was "being treated but is also ok."

The previous day in Louisville, WAVE 3 News reporter Kaitlin Rust and photojournalist James Dobson were struck by pepper balls fired at them by a Louisville Metro Police Department officer. WAVE 3 news issued a statement to "strongly condemn the actions of the LMPD officer."

In Phoenix, a protester charged and made contact with CBS 5 and 3TV reporter Briana Whitney Saturday night outside Police Department headquarters.

The Pittsburgh Public Safety Department said Sunday that three journalists were injured by protesters. KDKA photojournalist Ian Smith tweeted Saturday evening that he “was attacked by protestors downtown” and that he was “bruised and bloody but alive.” He said his camera was destroyed, but “another group of protesters” pulled him to safety.

Contributing: Katie Akin, Des Moines Register, Kim Willis and Sara M. Moniuszko, USA TODAY; The Associated Press

https://www.usatoday.com/story/news/...ts/5299374002/
dad1153 is online now  
post #36266 of 37008 Old 06-01-2020, 03:08 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Media Notes
Netflix, Hulu, Amazon, HBO and Other Hollywood Players Take a Stand in Support of Black Lives Matter Movement Amid George Floyd Protests
By Elaine Low and Audrey Cleo Yap, Variety.com - May 30, 2020

In an unusual move, Netflix, Amazon, Hulu, HBO, Starz and other major Hollywood players used their corporate social media accounts to take a stand on Saturday and support the Black Lives Matter movement amid the ongoing nationwide protests decrying the death of George Floyd at the hands of police officers. A day later, much of the rest of the town also took to Twitter and Instagram to post similar statements.

Netflix tweeted on Saturday afternoon: “To be silent is to be complicit. Black lives matter. We have a platform, and we have a duty to our Black members, employees, creators and talent to speak up.”

The move drew accolades on the platform, including from director Ava DuVernay and “Orange Is the New Black” and “Mrs. America” star Uzo Aduba.

And Alphabet-owned YouTube on Friday posted that “We stand in solidarity against racism and violence. When members of our community hurt, we all hurt. We’re pledging $1M in support of efforts to address social injustice.”

A number of other entertainment brands have followed suit on Saturday night, as protests gained momentum throughout the nation. HBO, HBO Max, TBS, TNT all changed their Twitter handles to #blacklivesmatter and posted statements of support.

Amazon Studios posted on Twitter and Instagram that “Together we stand with the Black community — colleagues, artists, writers, storytellers, producers, our viewers — and all allies in the fight against racism and injustice.” Quibi changed its Twitter bio to read, “We stand together against injustice. #blacklivesmatter .”

Starz also lent its corporate voice to the cause. “We cannot stand silent while our Black communities under the weight of violence, discrimination and injustice,” wrote Starz on Twitter and Instagram. “Color of Change and the NAACP are among the organizations taking the lead in the fight for racial justice in America. We support them in their mission and you can too.”

Notably, Disney-owned Hulu tweeted and posted on Instagram on Saturday the message that “We support Black lives. Today, and every day. You are seen. You are heard. And we are with you.” No other Disney corporate brands did the same until Sunday morning; Disney executive chairman Bob Iger shared a link to a statement from CEO Bob Chapek, which said, in part, that “We intend to focus our efforts and resources to compassionately and constructively talk about these matters openly and honestly as we seek solutions.”

Disney-owned Marvel Entertainment tweeted that they “stand against racism” and with their fellow black employees and storytellers on Sunday evening. FX Networks tweeted Sunday morning that it “stands with our many African American colleagues, artists and friends, and we support all who stand for a just legal system—one that does not tolerate senseless violence against anyone.

The Academy of Motion Picture Arts and Sciences also expressed its support, saying “The Academy adds its voice to the call for justice.”

In a statement obtained by Variety on Sunday, entertainment company Lionsgate said, “Lionsgate stands with all people of color in the fight against racial injustice and inequality. The recent killing of George Floyd is the latest in a series of deplorable events that highlight the need for real change in how we address our diversity as a society. Our company has a proud 20-year history of serving our audiences with films and television programming that celebrate this diversity and speak to a wide range of cultural experiences. On behalf of our entire organization and all of our businesses, we are committed to a society that is diverse, inclusive, tolerant and respectful.”

ViacomCBS’ Pop TV tweeted Sunday that “We stand with the #blacklivesmatter movement and call for the end of systemic racism. These racist and brutal attacks must end.”

Disney-owned FX Networks tweeted Sunday morning that it “stands with our many African American colleagues, artists and friends, and we support all who stand for a just legal system—one that does not tolerate senseless violence against anyone.

Social media platforms have also taken time over the weekend to echo that support for the movement, with Twitter changing its bio to simply read “#blacklivesmatter ” and TikTok issuing the following statement:

“At TikTok we deeply value the diverse voices among our users, creators, artists, partners, and employees. We stand with the Black community and are proud to provide a platform where #blacklivesmatter and #georgefloyd generate powerful and important content with over 1 billion views. We are committed to fostering a space where everyone is seen and heard.”

Twitch similarly posted a statement:

“Black people have been suffering under the oppressive weight of racism in America for far too long. We cannot delight in the creative contributions of the Black community on Twitch and remain silent while they are in pain. We’re asking you to come together to and stand up for Black lives whether it’s through your time, treasure, or talent. Don’t let today’s injustice stop us from creating a better tomorrow for our community.”

While these major entertainment brands have been focusing their social media efforts on publicly supporting the Black community, several of their executives have taken the time to write memos to their employees, expressing similar support.

CEO of ViacomCBS-owned Paramount Jim Gianopulos sent an internal memo to employees, expressing that “Too many members of the Black community have had their breath stolen from them through racial injustice.” New WarnerMedia CEO Jason Kilar asked staffers to read four works to better inform their understanding and “increase our collective empathy for the Black community.”

ViacomCBS’ entertainment and youth brands head Chris McCarthy offered similar remarks to his staff, and said the division will use its platforms to call for equality. Its brands and platforms will also go dark for 8 minutes and 46 seconds on Monday “to mark the time in which George Floyd was brutally killed.”

The full internal memo from Gianopulos to Paramount employees can be read below: [CLICK LINK]

https://variety.com/2020/tv/news/net...ts-1234621292/
joblo and longhorn23 like this.
dad1153 is online now  
post #36267 of 37008 Old 06-01-2020, 03:27 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Technology/Business Notes (Mobile)
Phone sales plummet amid the coronavirus lockdown
By Aaron Pressman, Fortune.com - Jun. 1, 2020

Smartphone sales plunged 20% in the first quarter from a year earlier, the sharpest decline on record, according to market tracker Gartner, as the global pandemic forced wireless carriers to shutter stores worldwide.

“The coronavirus pandemic caused the global smartphone market to experience its worst decline ever,” Anshul Gupta, senior research analyst at Gartner, said in a statement. “Most of the leading Chinese manufacturers and Apple were severely impacted by the temporary closures of their factories in China and reduced consumer spending due to the global shelter-in-place.”

The report is consistent with data from other sources, all of which showed a huge drop in phone sales during the COVID-19 outbreak. IDC said first-quarter phone shipments from manufacturers to retailers dropped 12%, and Apple reported its revenue from iPhone sales fell 7% last quarter. Some other hardware categories, like laptops, have held up better during the pandemic as more people needed to buy gear to work from home.

Among the three largest smartphone sellers, Samsung saw the number of phones it sold shrink 23% to 55 million, Huawei’s sales fell 27% to 42 million, and Apple’s sales dropped 8% to 41 million, according to Gartner. Industrywide, phone sales dropped 20% to 299 million devices.

Chinese phonemaker Huawei, which suffered the largest drop, is also being hurt by U.S. efforts to cut off its access to American hardware and software suppliers, particularly Google.

“Huawei will have a challenging year,” Gupta says. “It has developed the Huawei Mobile Service ecosystem, but with the lack of popular Google apps and Google Play store, Huawei is unlikely to attract new smartphone buyers in international markets.”

Samsung’s decline was also significant as its new line of Galaxy S20 phones debuted in February and went on sale in March.

https://fortune.com/2020/06/01/phone...0-coronavirus/
dad1153 is online now  
post #36268 of 37008 Old 06-01-2020, 03:30 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
Obituary
Michael Angelis Dies: Voice Of ‘Thomas The Tank Engine’ Was 76
By Bruce Haring, Deadline.com - May 31, 2020

British actor Michael Angelis, whose soothing voice graced more than two decades of the children’s series Thomas the Tank Engine, has died. He was 76 and passed at home with his wife present.

The Liverpool native took over the voicing duties from Ringo Starr as the narrator of the UK version of Thomas the Tank Engine And Friends in 1991. He narrated 13 series of the popular children’s TV show in Britain from 1991 to 2012. The program’s name was later shortened to Thomas and Friends.

Angelis also narrated two episodes of Season 6 and four episodes of Season 7 of the American version of the TV show. He also did voice duty on the films Hero of the Rails, Misty Island Rescue and Days of the Diesels.

In addition to his voice work, Angelis played “Arnie” in television drama September Song and appeared as “Martin Niarchos” in the mini-series GBH.

He was married to actress Helen Worth from 1991 to 2001 and later married Jennifer Khalastchi.

https://deadline.com/2020/05/michael...ne-1202947847/
dad1153 is online now  
post #36269 of 37008 Old 06-01-2020, 03:35 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV Review (Cable)
'Laurel Canyon' is a Wonderful Remembrance of Remarkable Music
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - May 31, 2020

Laurel Canyon, a documentary on the music from that fondly remembered Los Angeles outpost of yesteryear, hits the right chords.

The two-part documentary, which airs this Sunday and next 9 p.m. ET on Epix, has the same mellow tone and feeling as much of the music that was associated with The Canyon from the mid-1960s through the mid-1970s.

Director Alison Ellwood tells the story without a running narrator – or rather, with dozens of narrators. She uses the voices of musicians, from David Crosby and Don Henley to Linda Ronstadt and Jackson Browne, to recall the scene and the music behind a continuous backdrop of vintage still photos and film clips.

Some of the commentaries were recorded for this documentary, and some are archival. It all fits.

The closest thing to a narrative voice is Henry Diltz, the folk musician turned famous music photographer. He was there for the whole scene and photographed everyone in it, so he gets to rhapsodize about the magic. As does another photographer, Nurit Wilde, who wryly recalls that she was considered just a groupie until she landed a paying job at a club.

Laurel Canyon doesn’t aspire to be the definitive documentary on that whole piece of popular music history about which we have extensive writings. It often feels more like thumbing through a musical scrapbook.

This occasionally leads to some romanticizing, like when David Crosby compares the Laurel Canyon scene to the Italian Renaissance. “Light My Fire” was a great pop radio record in the summer of ’67, but it falls a little short of the Sistine Chapel ceiling.

Ellwood organizes the story in chronological order, and she starts with The Byrds.

Like most of the musicians who would eventually be involved in the Laurel Canyon scene, they came out of folk music. Then they electrified it, moving it to a whole different musical world.

Yet some of the folk flavor and influence never left. Artists like Browne, Ronstadt, and the Eagles never abandoned the quieter side of songwriting, and Ronstadt wasn’t the only one who eventually explored music that went way beyond “folk-rock.”

Ellwood notes that artists didn’t move to Laurel Canyon because it was a musical mecca. They moved there because it was a cheap place to live, with easy access to L.A. and clubs like the Troubadour and Whisky A-Go-Go that would give new artists a shot.

As usually happens, the creative peak came early, when most of the artists were still unknown and following their musical muse wherever it took them. The success of The Byrds placed a light on the far end of the tunnel, and other artists moved toward it, but all in their own ways. Arthur Lee and Love didn’t sound like the Turtles, who didn’t sound like Crosby, Stills, Nash & Young, who didn’t sound like the Doors, who didn’t sound like the Mamas and the Papas.

There was mass intermingling in those early days, the musicians recall, and some of Laurel Canyon’s best moments come in the snapshots from those moments.

Crosby recalls inviting his protégé, an unknown Joni Mitchell (top), to a party arranged by Cass Elliott to welcome Eric Clapton on his first visit to America. Clapton sat mesmerized, Crosby recalls, by Mitchell’s unique guitar-fingering style.

The first part of Laurel Canyon takes the music on its upswing and culminates with an event far from Laurel Canyon: the 1969 Woodstock festival, where Crosby, Stills, Nash & Young (CSNY) made their big-time debut.

Woodstock may seem like an odd place for a Laurel Canyon documentary to go, but the point seems to be that CSNY’s success there was validation. The Laurel Canyon sound had planted its flag in the center of American popular music.

The second part of the documentary, while full of interesting music, tracks more of a declining trajectory toward the scene’s eventual dissolution.

The culprit was the usual suspect: success. As artists became more popular, they spent less time in Laurel Canyon and less time with each other. They had relocated into the music industry, whose siren call doesn’t always have the proper warnings.

Laurel Canyon, the documentary, doesn’t dwell on the more sordid details, like the drugs and feuds, but they’re clearly part of the picture. The exhilaration of the early days has blown away into the Hollywood Hills.

Happily, thanks to the magic of recorded sound, that doesn’t negate or diminish the good times and the good things that the scene produced.

The L.A. sound of the Laurel Canyon era stayed with Bruce Springsteen long enough for him to recently record a whole album in its spirit. The rest of us don’t have to go that far. We can just sit back and enjoy the scrapbook.

http://www.tvworthwatching.com/BlogP...x?postId=20144
dad1153 is online now  
post #36270 of 37008 Old 06-01-2020, 03:56 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 63,074
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3454 Post(s)
Liked: 3243
Send a message via Yahoo to dad1153
TV Notes
On The Air
MONDAY JUN. 1, 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: Victoria's Secret Angels vs. Bachelor Men; Gaten Matarazzo vs. Maddie & Mackenzie Ziegler
(R)
9PM - The Baker and the Beauty (Season Finale, 120 min.)
* * * *
11:35PM - Jimmy Kimmel Live! (Guest TBA)
12:06AM - Nightline
12:36AM - Jimmy Kimmel Live! (NBA legend Shaquille O'Neal)

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 (Journalist Chris Hayes; Brian Wilson performs)
12:37AM - The Late Late Show With James Corden (TV host Keegan-Michael Key; singer Todrick Hall; Doja Cat performs)

NBC:
8PM - The Titan Games
9PM - The Wall
10:01PM - Songland
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Singer Lady Gaga; Little Big Town performs)
12:37AM - Late Night With Seth Meyers (Anna Kendrick; rapper Action Bronson)
1:38AM - A Little Late With Lilly Singh (Musicians Tegan and Sara; Alexandra Shipp)
(R)

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

THE CW:
8PM - Iconic: TLC (Special)
9:30PM - Roswell, New Mexico

PBS:
8PM - Antiques Roadshow: Charleston
(R)
9PM - Antiques Roadshow: Houston
(R)
10PM - Independent Lens: Shadow World (90 min.)
(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

BRAVO:
8PM - Below Deck Sailing Yacht: Reunion
9PM - Below Deck Mediterranean (Season Premiere)
10PM - Camp Getaway
* * * *
11PM - Watch What Happens Live With Andy Cohen: Below Deck Sailing Yacht Reunion (60 min.)

SCIENCE:
8PM - How the Universe Works: Attack of the Asteroids (3 hrs.)

TRAVEL:
8PM - Beyond the Unknown: Physic Spies, Niagara Haunting and Lost Civilizations (Season Finale, 120 min.)
10PM - Beyond the Unknown: Area 51 Crash, Airplane Abduction and Real-Life Sea Monster (Season Premiere, 60 min.)

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

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

E!:
9PM - Botched
10PM - Nightly Pop

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

NAT GEO:
9PM - Barkskins: Episode 3 (63 min.)
10:03PM - Barkskins: Episode 4

OWN:
9PM - The Real Story With María Elena Salinas

TLC:
9PM - 90 Day Fiancé: Self-Quarantined (Season Finale)
10PM - 90 Day Fiancé: What Now? Loren & Alexei's Baby Special

TV ONE:
9PM - Fatal Attraction

AMC:
10PM - Creepshow

CBSSN:
10PM - World Poker Tour: Rockstar Energy Cash Game, Part 3
* * * *
11PM - World Poker Tour: Rockstar Energy Cash Game, Part 4

WGN:
10PM - Almost Paradise (Finale)

TBS:
11PM - Conan (Guest TBA)


https://tvlistings.zap2it.com/?aid=gapzap
dad1153 is online now  
Sponsored Links
Advertisement
 
Reply HDTV Programming

Thread Tools
Show Printable Version Show Printable Version
Email this Page Email this Page


Forum Jump: 

Posting Rules  
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off
Trackbacks are Off
Pingbacks are Off
Refbacks are Off