Hot Off The Press: The Latest TV News and Information - Page 140 - AVS Forum | Home Theater Discussions And Reviews
Forum Jump: 
 15299Likes
Reply
 
Thread Tools
post #4171 of 34527 Old 09-08-2015, 02:04 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV/Business Notes (Broadcast)
The World's Highest-Paid TV Actresses 2015: Kaley Cuoco-Sweeting And Sofia Vergara Lead With $28.5 Million
By Madeline Berg, Forbes.com - Sep. 8, 2015

Our relationships with TV characters may be some of the most intimate we have with people who are just, well, characters. With unfaltering regularity, characters enter our homes and demand our attention. Once immersed in the small screen, it can be easy to forget about the actresses behind the characters: Sofia becomes Gloria, Robin becomes Claire, and Julianna, who for so long was Nurse Carol, slowly shifts to become Alicia.

But while we are busy being mesmerized by their on-screen personas, these women are busy making money: Sofia Vergara and Kaley Cuoco-Sweeting more than any others, banking $28.5 million apiece pretax between June 1, 2014, and June 1, 2015, to rank as the world’s highest-paid TV actresses.

As in previous years, impressive sit-com contracts buoy the women leading the list. Sofia Vergara and Kaley Cuoco-Sweeting’s super-sized deals with Modern Family and The Big Bang Theory, respectively, are largely responsible for their big paydays. Vergara, who is enjoying her fourth consecutive year as the highest-paid TV actress, padded her television income with lucrative endorsement deals—including one with CoverGirl and one with Head and Shoulders—while continuing to run the talent management and entertainment-marketing firm Latin World Entertainment that she cofounded in 1994.

Cuoco-Sweeting, along with her Big Bang co-stars Jim Parsons and Johnny Galecki, scored big when she negotiated a reported $1 million per episode salary last year. Between the successful show and a top-dollar endorsement contract with Priceline.com, Cuoco-Sweeting made her way up to the top of the list, joining Vergara for the first time.

Cuoco-Sweeting and Vergara may have been the only TV actresses to make the $28.5 million cut off for this year’s Celebrity 100, the annual list of top-paid entertainers, but plenty of small screen stars cleaned up. A total of 15 TV actresses made over $5 million in our scoring period, with, New Girl star Zooey Deschanel rounding out the list with $5 million in earnings.

Vergara’s Modern Family co-star Julie Bowen is one of four newcomers, landing in third place with $12 million in earnings thanks to her fruitful contract and an endorsement deal with Bridgestone . New faces also include Emily Deschanel, who is making an estimated $6.5 million from the Fox crime drama Bones and Pauley Perrette who banked $6 million starring in CBS’ 12 season hit NCIS. Finally, Robin Wright, who made $5.5 million from Netflix favorite House of Cards, made the list for the first time; her earnings finally caught up to the critical acclaim she has received during her tenure as Mrs. Underwood.

Veterans on the list include high-earners Ellen Pompeo of Grey’s Anatomy, Mariska Hargitay of Law & Order: SVU and Julianna Margulies of The Good Wife, who made an estimated $11.5 million, $11 million and $10.5 million, respectively, thanks to top dollar contracts and syndication deals.

The funny women of television should not be forgotten, as laughs have proven a lucrative form of entertainment. Amy Poehler banked $10.5 million from her role as Leslie in the final season of Parks and Recreation, a star part on Netflix’s Wet Hot American Summer and best-selling book Yes Please. Mindy Kaling also has a book—the much-anticipated Why Not Me?, which will be released Sept. 15—to thank for her successful year. Between the collection of essays, her show The Mindy Project and endorsement deals with American Express and Nationwide, Kaling earned $9 million.

Patricia Heaton and Tina Fey may be best known for Everybody Loves Raymond and 30 Rock, respectively, but are back on the list thanks to new shows. Heaton, who earned $7 million, now stars on the ABC comedy The Middle, while Fey, who made $6.5 million, wrote and produced the new Netflix hit Unbreakable Kimmy Schmidt.

Still, the lack of racial diversity on the list reflects a depressing onscreen reality. Vergara, Kaling, and Scandal star Kerry Washington, who made $7 million, are the only minority actresses to make the ranking. UCLA’s annual report on diversity in film and TV found that among broadcast comedy and drama leads, minorities were underrepresented by a factor of 7 to 1, while cable shows underrepresented minorities by more than 2 to 1.

Hopefully as America begins to welcome more television shows featuring primarily Hispanic or African American characters—Fox’s Empire, ABC’s blask-ish, Lifetime’s Devious Maids or the CW’s Jane the Virgin, for example—the paychecks of these actresses will catch up, and we will see a list including Taraji Henson, Tracee Ellis Ross or Gina Rodriguez in the years to come.

While the salaries of the actresses on this list are undeniably substantial, TV stars still experience a significant pay gap when compared to their male counterparts. The cut-off to be on this year’s list of top-paid TV actors was $9.5 million—$4.5 million more than that for TV actresses—as we continue to see actors out-earning actresses and landing the lead role more often. As with racial diversity, this underrepresentation of females is found across the entertainment industry and in all aspects of development. According to the aforementioned study, women are underrepresented among cable comedy and drama leads, broadcast reality leads and cable reality leads. Among creators of both broadcast and cable comedies and dramas, women are underrepresented by a factor of at least 2 to 1.

Another pay-gap occurs between movie and television stars. Film actresses make more than those who are primarily featured on the small screen, despite many cultural outlets hailing the current entertainment landscape as the golden age of television. As the Celebrity 100 list proves, the increased prestige and quality of TV does not translate into increased paychecks: Jennifer Lawrence, this year’s top-paid film actress, made $52 million, almost double that of Vergara and Cuoco-Sweeting. But if TV continues to heat up and networks and studios begin to address the issue of women’s gross underrepresentation in television, then it may not be long until both of these pay-gaps grow small and hopefully, one day, non-existent.

See the complete list here.

Methodology: The list measures earnings before subtracting management fees and taxes. Figures are based on data from Nielsen, IMDB and other sources, as well as on interviews with agents, managers, lawyers, industry insiders and the stars themselves. Our list of the world’s highest-paid TV actors was published last month, while the lists of the highest-paid film actors and actresses have already been published.

Additional reporting by Kate Pierce.


http://www.forbes.com/sites/maddiebe...28-5-million//
dad1153 is offline  
Sponsored Links
Advertisement
 
post #4172 of 34527 Old 09-08-2015, 02:09 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Notes (Cable)
‘Millionaire Matchmaker’ Patti Stanger Lands New Show at WE Tv
By Reid Nakamura, TheWrap.com - Sep. 8, 2015

“The Millionaire Matchmaker” Patti Stanger has landed two new shows at WE tv.

The former Bravo reality star will executive produce an upcoming WE tv series that will be announced at a later date. She will also executive produce another project that the network will pilot later this year.

“Patti has built her brand and reputation on bringing people together and that’s exactly in line with the brand we’ve cultivated at WE tv,” said Marc Juris, WE tv’s president in a statement. “She is the perfect personality to help us continue to solidify our place in the relationship and dating space, and it couldn’t come at a more exciting time as more viewers are engaging with our shows and personalities across platforms. We are huge fans of Patti’s and we’re thrilled to welcome her into the WE tv family.”

“I am a HUGE fan of WE tv and of Marc Juris and Lauren Gellert and so excited to join a new home that fits with me creatively and personally,” said Stanger. “WE tv is on the cutting edge of reality TV, and we’re about to blow the roof off of relationship programming!”

As the founder and CEO of Millionaire’s Club International, Inc., a matchmaking service for millionaires, Stanger starred in eight seasons of Bravo’s “Millionaire Matchmaker,” since its premiere in January 2008.

She announced her departure from Bravo via Twitter in July, writing, “After 8 seasons I’ve decided to leave @bravo tv Thank u 4 the great ride. Stay tuned for exciting news as I move to a wonderful new network!”

http://www.thewrap.com/millionaire-m...show-at-we-tv/

Last edited by dad1153; 09-08-2015 at 04:40 PM.
dad1153 is offline  
post #4173 of 34527 Old 09-08-2015, 04:38 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
Nielsen Overnights (Broadcast)
Labor Day losses for broadcast Monday
Season finales of 'Bachelor in Paradise' and 'Running Wild' fall
By Toni Fitzgerald, Media Life Magazine - Sep. 8, 2015

Labor Day, like most holidays, draws lower than usual television viewership in primetime, as people are busy spending the day with friends and family instead of tuning into the tube.

So it was Monday night, when the top shows on broadcast, including NBC’s “American Ninja Warrior” and “Running Wild with Bear Grylls” and ABC’s “Bachelor in Paradise,” all suffered week-to-week losses.

In fact, the finale of “Paradise” was down a tenth from last week to a 1.4 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, though ABC notes that the season still wrapped up 6 percent over last year in the demo.

“Ninja,” the night’s top show, plummeted 24 percent from last week to a season-low 1.6 in the same slot.

Lead-out “Wild” drew a 1.0 for its season finale featuring NFL quarterback Drew Brees, falling 17 percent from last week.

Fox’s “So You Think You Can Dance” also dropped a tenth from last week to a 0.7 from 8 to 10.

ABC’s “After Paradise” was the lone broadcast original to buck the down trend on Labor Day, drawing a 1.1 at 10 p.m., up a tenth from last week and topping “Wild” in their shared slot.

* * * *

Top show of the night in 18-49s

NBC’s “American Ninja Warrior,” 8-10 p.m., 1.6 rating.

Top show of the night in 25-54s
NBC’s “American Ninja Warrior,” 8-10 p.m., 2.1 rating.

Top show of the night in total viewers
CBS’s “The Big Bang Theory,” 8-8:30 p.m., 6.40 million.


[CLICK LINK BELOW TO SEE MONDAY NIGHT'S COMPLETE RATINGS]

http://www.medialifemagazine.com/lab...adcast-monday/

* * * *

Nielsen Notes (DVR)
CBS’s ‘Dome’ surges with DVR playback
By Media Life Magazine Staff - Sep. 8, 2015

With CBS’s "Under the Dome" about to end its run, the drama remains one of summer’s top programs among DVR viewers.

The Aug. 20 episode of "Dome" posted a 1.5 rating among viewers 18-49 with seven-day DVR playback added in, according to Nielsen, up 88 percent or 0.7 ratings points from its original 0.8 live-plus-same-day DVR playback rating.

That was tied for the most growth during the week ended Aug. 23 with CBS’s "Big Brother," which went from a 2.0 rating to a 2.7 in the demo.

Further, only two shows that week had higher growth rates: ABC’s "The Whispers," up 120 percent to a 1.1 L+7 rating, and NBC’s "Aquarius," up 100 percent to a 0.4.

"Dome" was also No. 1 for the week in terms of total viewer growth, adding 2.57 million for an L+7 total of 6.63 million.

The series finale of "Dome" airs on Thursday at 10 p.m.

http://www.medialifemagazine.com/cbs...-dvr-playback/
dad1153 is offline  
Sponsored Links
Advertisement
 
post #4174 of 34527 Old 09-08-2015, 04:45 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Notes (Broadcast)
Vanessa Williams to Return to Miss America for First Time in 32 Years
By Billboard.com Staff - Sep. 8, 2015

Vanessa Williams is returning to the Miss America stage this weekend.

For the first time since she was crowned Miss America, Williams will return as head judge of the Miss America pageant. She joins host Chris Harrison, co-host Brooke Burke-Charvet, music curator Nick Jonas and celebrity judges Brett Eldredge, Taya Kyle, Danica McKellar, Kevin O’Leary, Amy Purdy and Zendaya.

Williams made history as the first African-American woman to win the crown back in 1984. She was famously forced to resign 10 months into her reign after nude photos from her past appeared in Penthouse. Since then, Williams has become a celebrated entertainer, with TV roles, albums, and acclaimed Broadway appearances.

“We recognize that Vanessa’s return to Miss America on Sunday, September 13th is a special cultural and television moment,” said Mike Mahan, President of dick clark productions, in a release. “We are both honored and excited that she will take center stage for the 95th anniversary of the competition.”

The 2016 Miss America Competition airs Sunday Sept. 13 on ABC.

http://www.billboard.com/articles/ne...a-return-judge
dad1153 is offline  
post #4175 of 34527 Old 09-08-2015, 04:49 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
Technology/Legal Notes
TiVo Sues Samsung
Asserts Four Patents in Complaint as TiVo Releases Q2 Results
By Jeff Baumgartner, Multichannel News - Sep. 8, 2015

TiVo rekindled its litigation strategy Tuesday by filing a patent infringement suit against Samsung in the Eastern District of Texas.

TiVo, which announced the suit as it announced fiscal second quarter results, said the complaint centers on four patents, including two that have been litigated previously (its ‘389 Time Warner patent and ‘195 Trick Play patent), as well as two patents that are related to the '389 patent “but have expiration dates further into the future.”

“Today's action should help address one of the questions regarding the value, breadth, and applicability of TiVo's IP portfolio post the 2018 expiration of the '389 patent,” TiVo president and CEO Tom Rogers said, in a statement.

Update: In an interview, Rogers said the two latter patents, which have not been litigated, have a patent license that extends to 2023. He said TiVo’s core patent portfolio, of which there are hundreds, have an average duration of 13 years.

TiVo’s legal assault on Samsung, a provider of set-tops to U.S. operators such as Time Warner Cable and Cablevision Systems and a top maker of video-capable tablets and smartphones, comes after TiVo had successfully settled several other lawsuits. In June 2013, TiVo announced it would get an upfront lump-sum payment of $490 million to settle pending patent litigation with Motorola Mobility (then part of Google) and Cisco Systems, while also settling its suit against Time Warner Cable. TiVo had previously raked in more than $1 billion from past settlements with Dish Network, AT&T and Verizon Communications.

“People know that we have quite a track record when it comes to our litigation and they also know that we don’t pursue these things unless we believe there is significant damage opportunity," Rogers said.

On the subscriber front, TiVo improved its retail stance while continuing to build its base through MSO partnerships.

TiVo added 37,000 TiVo-owned gross adds in the quarter, up 37% year-on-year, while net additions dropped 3,000, narrowed from a year-ago loss of 2,000 net additions. TiVo also added 284,000 subs through MVPD/MSO partnerships, about what it added in the quarter in the year-ago period.

TiVo ended its fiscal Q2 with 6.03 million total subs (941,000 TiVo-owned, and 5.09 million through MSO partners).

Rogers chalked up TiVo’s latest retail momentum on its whole-home platform, which includes the TiVo Mini. Also playing a part is the growth of streaming services that enable some consumers to build their own bundles in a way they hadn’t necessarily had before, he said.

Rogers wouldn't shed much light on Bolt, the brand for TiVo's next-gen platform, but acknowledged that there's something new in the works. “I won’t deny that we're going to be introducing a new retail product over the course of the quarter at some point," he said.

On the financial side, TiVo pulled in service and software and technology revenues of $99.1 million, above it’s guided range of $94 million to $97 million, and improving on $86.6 million in the year-ago quarter. Revenues at Digitalsmiths, TiVo's video search and recommendation unit acquired in 2014, grew 65%.

Net income was $8.3 million, compared to guidance of $7 million to $10 million, but down from $9.3 million in the same quarter last year, which did not include $3.5 million consisting of $1.7 million of non-cash amortization and transfer tax expenses from TiVo’s recent acquisition of Cubiware and tax adjusted interest of $1.8 million from its 2% convertible notes issued in September 2014. Excluding those items, Non-GAAP net income grew 28% to $11.9 million compared to the year ago quarter, TiVo said.

http://www.multichannel.com/news/con...samsung/393571
dad1153 is offline  
post #4176 of 34527 Old 09-08-2015, 04:55 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV/Business Notes (Broadcast)
The CW In Talks With Tribune As Network Faces Affiliate & Streaming Renewals
By Nellie Andreeva, Deadline.com - Sep. 8, 2015

The CW is heading into its 10th anniversary next year. But before the network can start planning a fall 2016 celebration, it has to close three deals key to the network’s livelihood for the next decade. Coming up later this year is the CW’s pact with Netflix, followed next year by the agreements with Tribune and Hulu. Because the current Netflix deal covers this coming broadcast season, work on the two streaming output deals — and possibly the crucial part of the Tribune renewal — is not expected to start in earnest until January, exactly 10 years after CBS and Warner Bros. surprised the industry with their January 2006 announcement that they were discontinuing the WB and UPN and launching a new network with Tribune and CBS TV Stations as core station groups.

After talks between the CW and Tribune had stalled earlier this year (some sources had described the situation as a standoff), I hear the two sides have resumed conversations at the highest level. There are no signs of concern at the moment but sources indicate that there also isn’t “a sense of urgency,” so observers expect that negotiations may stretch into 2016. (Tribune’s affiliate deal does not expire until fall 2016.) There is a desire on both sides to keep the partnership going, though I hear both companies also have contingency plans in the works in case a new deal does not work out.

The CW is unique as it is the only broadcast network with dual ownership (CBS and Warner Bros.) that does not own its stations in the top three markets — New York, Los Angeles and Chicago — which all are owned by Tribune, the largest CW affiliate group by reach, 28%. While Tribune had a stake in the CW predecessor the WB, the company has no ownership in the CW, thus making the companies’ relationship a standard affiliate agreement.

The key locations of its stations gives Tribune leverage — “the network can’t move forward without us,” Tribune Media CEO Peter Liguori said in his famous May 2014 remarks. The CW found some leverage of its own last month when the network re-upped its affiliation deal with Sinclair in conjunction with sibling CBS also renewing its agreements with the station group. Sinclair is the largest CW affiliate group in number of stations, 23, and second in coverage, 17%, behind Tribune and ahead of No. 3 CBS Stations. The Sinclair deal, combined with last December’s new long-term affiliation agreement with Media General in 16 markets and having CBS station group as a sibling gives the CW room to maneuver. I hear a number of small affiliate deals have either been renewed or are on the verge of being renewed, and some pacts are not set to expire until a couple of years from now. Observers estimate that soon the CW will have affiliate stations locked for years in virtually all markets except those controlled by Tribune.

While the desire and intention is to work out a new affiliate agreement with Tribune, I hear the CW has alternative options in the Tribune markets. CBS has duopoly stations in а number of them, including Los Angeles. There are other potential scenarios (I hear that MyNetwork TV may be relying on year-to-year renewals, which could put a number of stations, including in the top three markets, in play potentially).

For Tribune, it would be a financial decision as the company has to pay a fee to carry CW programming. The company, which has been going through earnings up and downs as it is trying to rebuild the TV operation following the split from publishing, also is eyeing alternatives market-by-market. It had been looking to have more programming from its own Tribune Studios on its stations (as well as on cable channel WGN America). Since 2011, talker The Bill Cunningham Show, co-produced by Tribune, has been airing on the CW during daytime.

The CW and Tribune have had a rocky relationship, with top executives of the Chicago-based company publicly criticizing the CW over the years for skewing too young, thus bringing fewer eyeballs to the stations’ primetime and making the network’s programming a not-so-suitable lead-in for the station’s newscasts.

In his May 2014 remarks on the day of the CW’s upfront presentation, Liguori said he was “not pleased with where the CW is,” adding that it “should not program to [young] people who don’t watch television.” Liguori added that it may be time for him to “get a seat at the table” for programming, adding “maybe I can put some of my content on there.” He asked for a larger role in the CW’s management, calling the network “a sideshow for its owners.”

There was some more rhetoric earlier this year but overall, Tribune seems to have softened its stance since the harsh 2014 remarks. I hear Liguori gets to read the CW pilot scripts and screen the completed pilots before the upfronts, which is not unusual for a big affiliate body of a broadcast network. Liguori, who held top positions at FX and Fox, is said to be providing input though it’s the CW’s brass that make the pickup decisions with the approval of the network board, led by CBS Corp CEO Leslie Moonves and Warner Bros. Entertainment CEO Kevin Tsujihara.

The CW is in a better position now than it was a couple of years ago. Under president Mark Pedowitz, the network has broadened its programming to increase viewership and add more male and older viewers. It increased its median age from 32 to 40, which fits better local stations’ focus on adults 25-54, and shifted its gender skew from 70% female-30% male to 60-40. It moved away from shows about high-school girls to more adult, contemporary fare and has launched popular, tentpole series like Arrow and The Flash. While talks between the CW and Tribune continue, Tribune stations are doing their part in promoting the network’s fall lineup, including a push for the new Monday comedy block of Jane The Virgin and Crazy Ex-Girlfriend.

The October 2011 four-year streaming deal between the CW and Netflix, estimated to be worth as much as $1 billion, was considered a major lifeline for the then-fledgling broadcast network that had been plagued by rumors of an imminent demise or move to cable. The Netflix deal, which covers prior seasons of CW shows, was followed immediately by a four-year deal with Hulu for the current seasons of the CW series. Hulu large logoThe Netflix pact was made by the CW sister studios Warner Bros. TV and CBS TV Studios, which produce all of the network’s shows and are the ones getting the revenue from the pact. The Hulu deal was made by and directly benefits the CW.

I hear Netflix is interested in extending the streaming agreement though it is way too early to speculate on the outcome. Things are very different for both companies four years after their first pact.

When the original streaming agreements were made, the CW’s top offerings were The Vampire Diaries, Gossip Girl, One Tree Hill, Supernatural and Nikita. Since then, the network has added several comic book-based dramas, Arrow, The Flash and the upcoming Legends Of Tomorrow. That is a genre that does well digitally, as evidenced by the big four-series deal Netflix inked with Marvel.

As the CW has moved into a stronger position with bigger assets, the digital marketplace has grown too, with more buyers vying for content. Additionally, there are over-the-top service options. I hear there are no current plans for the CW shows to be part of the recently launched CBS OTT service or a stand-alone CW OTT service but all options will likely be on the table when the time comes. One scenario that does not appear likely is merging the two streaming deals, with one digital platform offering both current and former seasons of the CW shows, as I hear the package is now considered too rich for one buyer.

For Netflix’s part, the service, a content aggregator back in 2011 when the CW deal was made, has evolved into a major original series player that has been moving away from output deals to bet on its own exclusive TV and feature content.

http://deadline.com/2015/09/cw-tribu...lu-1201505947/
dad1153 is offline  
post #4177 of 34527 Old 09-08-2015, 07:08 PM
AVS Forum Special Member
 
veedon's Avatar
 
Join Date: Nov 2010
Location: Raleigh,NC
Posts: 2,035
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 979 Post(s)
Liked: 614
Quote:
Originally Posted by dad1153 View Post
TV Notes (Fall 2015)
Save this: Fall’s TV premiere dates
The rundown on when all the new and old shows return
By Toni Fitzgerald, Media Life Magazine

...
Thursday, Sept. 10
8:30 p.m.

“Sunday Night Football” (NBC)
When is a Sunday really a Thursday (or is it the other way around?)?

If you drink some cheap red wine while you watch the game, then September 10 could be just another tannic Thunday. (Cue the Bangles music.)
Nayan likes this.
veedon is offline  
post #4178 of 34527 Old 09-08-2015, 09:53 PM
AVS Forum Special Member
 
dcowboy7's Avatar
 
Join Date: Nov 2007
Location: Pequannock, NJ
Posts: 6,182
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 390 Post(s)
Liked: 525
Quote:
Originally Posted by veedon View Post
(Cue the Bangles music.)
"BBC 1, BBC 2, BBC 3, BBC 4, BBC 5, BBC 6, BBC 7, BBC Heaven"

dcowboy7 is offline  
post #4179 of 34527 Old 09-08-2015, 10:37 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV/Legal Notes
'Knight Rider' Producer Glen Larson Allowed to Pursue Universal for Fraud
By Erig Gardner, The Hollywood Reporter's 'THR, ESQ.' Blog - Sep. 8, 2015

Glen Larson, the famed producer behind such TV hits as Knight Rider, Six Million Dollar Man, Magnum P.I., Battlestar Galactica and other shows, didn't live long enough to see a new ruling from the LA Superior Court. But the heirs of Larson, who died last November at the age of 77, are now on the brink of a trial against Universal City Studios Productions over claims of being cheated out of millions in profits from his shows.

Judge Yvette Palazuelos has denied summary judgment to Universal that Larson's accounting claims came too late. Further, she's allowing Larson's heirs to pursue claims for fraud and negligent misrepresentation at a trial that's scheduled for January.

The lawsuit asserting this is "Hollywood’s version of being a sharecropper" is now more than four years old with a nasty discovery process that has examined Larson's core claim that Universal deducted distribution fees from gross receipts in a manner that made it virtually impossible to realize meaningful profit participation.

To have the case retired before trial, Universal argued that statute of limitations and laches (prejudice from delay) meant that Larson was barred from pursuing his claims. In support, the defendant cited six statements between 1983 and 1994 reporting the TV series were in deficits and that Larson was owed no backend monies. That should have put him on notice, Universal argued.

Palazuelos won't accept this argument at this stage.

Larson "had no duty to 'verify' the representations of the Statements issued for the Series," she writes in her ruling. "A defendant cannot expect relief from its own alleged deceit and punish the plaintiff for not discovering the lie earlier. A failure to discovery falsity is excusable as reasonable when the falsity is not clear on the face of the representations made to the plaintiff."

To be clear, Larson hasn't hurdled past a defense premised on the asserted untimeliness of the lawsuit. The judge instead rules it's an issue for trial whether the accounting statements would have alerted a reasonable person in Larson's circumstance to a potential claim or prompted an investigation. Further, the judge says there are triable issues related to what Larson may have acknowledged about potential claims against Universal in his 2006 marital divorce.

The case also gets into the issue of whether Larson was essentially promised the "most favorable definition of net profits" as a top producer. In 1978, one of Larson's reps asked a Universal executive to confirm this. That prompted a response from the executive that Larson was getting a "standard form" given to profit participants in a television series and that "we will negotiate in good faith with respect to changes in the form but in so negotiating will will not be required to grant more than the normal changes... granted in term agreements with other television producers of comparable stature to Mr. Larson, who we, of course, acknowledge s a top level television producer."

Palazuelos rejects Universal's argument that the executive's reply is hearsay and says it will have to be determined later at trial whether Universal "fulfilled its alleged promise to continue negotiations and modifications" and whether such changes "would include giving him the most favorable definition of net profits." The judge cautions that the executive's letter alone doesn't offer proof, but says Larson's side can frame it as "an admission by silence" of what the Knight Rider creator was to get in his profit sharing deal.

She further decides that there is a viable dispute over whether Universal "affirmatively made such representation" to Larson.

The trial is scheduled to begin on January 11. Neville Johnson is repping the plaintiff while Scott Edelman is handling the defense.

http://www.hollywoodreporter.com/thr...-larson-821105
dad1153 is offline  
post #4180 of 34527 Old 09-08-2015, 10:41 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Sports/Business Notes (Digital)
Here’s Why People Will Pay $99 for Old NFL Games
By Daniel Roberts, TIME.com - Sep. 8, 2015

The NFL thinks you want to watch football games that already ended. And it thinks you’ll pay $99 for the privilege.

That may sound strange, but all evidence suggests that, in fact, hardcore football fans will leap at the opportunity.

NFL Game Pass, announced Tuesday, “consolidates” various football-streaming services from last season into what the league calls in a press release a “single-purchase premium video experience.” For $99, fans can re-play any regular season game just after the final whistle blows. They can also watch any game — regular or postseason — from 2009 onwards.

Note carefully the term “re-play.” This package is solely for replays of games that are old the second they’re available on the service. Using Game Pass might require diligently avoiding spoilers, staying off social media during games, and staying away from your phone, too. It would take a lot of work.

It doesn’t matter; people will pay. In fact, at $99 for the whole season, many would say it’s a steal.

The explosion of fantasy football has made fans hungry for more video of every game, every snap, every touchdown. The two leading daily fantasy sites, DraftKings and FanDuel, both of them no more than six years old, are each already billion-dollar “unicorns.” ESPN cut a major partnership deal this year with DraftKings; Yahoo, meanwhile, built and launched its own daily-fantasy platform. The rush to monitor stats and update lineups has made every sports viewer an armchair scout-slash-general manager. Thus, watching a game live, when it’s on the television, is no longer enough. Fantasy players demand video content, analytics, replays and expert analysis. Paying for these features, for many fantasy nuts, can lead to real winnings.

Despite controversies over deflated balls, concussions and other issues, the NFL continues to mint money. Its 32 teams divided up $7.2 billion in revenue last year, and the revenue growth shows no signs of slowing. If the NFL were a corporation tracked on the Fortune 500 it would land at No. 380.

Football fans have shown, time and again, that they want more football content, and they want it now. That’s the ethos behind NFL Now, an ambitious new mobile platform the league launched before the start of last season. It was a success. By the time of the AFC and NFC Championship games, 22 million devices had connected to the product. The popularity of NFL Now has attracted big brand advertisers to the platform, including Geico, KFC, Lexus, and Coors Light. All that led the NFL to bulk up the product for this season, turning it into a “virtual network of digital programming that runs 24/7,” in the NFL’s own words. It’s a lot of content, and it suggests there’s no limit to the amount of football-related video fans will spend money on.

Indeed, NFL digital chief Brian Rolapp, who brokers these digital deals and spearheads the creation of platforms like NFL Now, said as much in an extensive interview with Fortune last winter. “The reality is, on television right now, there’s NFL football, and then there’s everything else,” he said. “As far as I can tell, football is the only sure bet on television.”

He’s probably right, and the NFL is going to demonstrate it again by getting fans to pony up $99 for access to games that are already over. Don’t forget, this is a sports and media powerhouse that got Yahoo to pay a reported $20 million just for the rights to live-stream a single game this October — and not a particularly exciting one at that.

Rolapp did say, in his talk with Fortune last season, that in its first year, “the value proposition of NFL Now was hard to understand” for some fans. “It’s hard to represent with a pithy marketing message,” he said. Here’s an idea: Football, football, football, eat it up, yum.

http://time.com/4025512/nfl-streamin.../?xid=homepage
dad1153 is offline  
post #4181 of 34527 Old 09-08-2015, 10:45 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Review (Cable)
‘You’re the Worst,’ Season 2
By Brian Lowry, Variety.com - Sep. 7, 2015

“You’re the Worst” might not be the best series on TV about self-absorbed Millennials, but it’s far from the worst. Stripped of that context, the show – which returns for its second season, now on the comedy-oriented FXX – is mildly likable, with Chris Geere and Aya Cash as the grudgingly involved central couple, who chafe at any suggestion they might settle down or become boring like, well, other people. The central joke, however, has a repetitive quality, and if series creator Stephen Falk brings a singular voice to the proceedings, it’s partially dulled by the fact that every character essentially speaks with it.

Season one charted the hookup-turned-relationship between struggling writer Jimmy (Chris Geere) and music publicist Gretchen (Aya Cash) as well as the quirky characters that surround them. In season two, they’re both so aghast and agitated about circumstances dictating that they live together that, in the premiere, the two engage in an escalating game of drug taking and sexual derring-do, ashamed to admit that cocaine and “butt stuff” might begin to grow tedious in its own way.

Another episode finds Gretchen deciding its time she purchase a few items for the house, as opposed to just being a vagabond toting replacement underwear around. (There’s an echo of the movie “About Last Night” in this, when Demi Moore discusses the huge commitment Rob Lowe’s character is making by granting her an entire drawer.)

Meanwhile, Gretchen’s friend Lindsay (Kether Donohue) is adjusting to having split with her husband, while Jimmy’s roommate Edgar (Desmin Borges) dutifully waits in the wings, hoping for his opportunity. Naturally, she doesn’t see him as anything more than a tool to advance her objectives, among them serving as a “wing man” when she decides it’s time to go out and meet guys.

“I’m perfectly fine having you as a girlfriend,” Jimmy tells Gretchen at one point, which, in a show where the principals are horrified at the thought of putting someone else’s interests before their own, amounts to professing true love.

Cash and Geere convincingly sell their shared panic, and however dark the writing, there’s something universal – and ripe for comedy – about being at the cusp of taking on a mortgage and actually having to function professionally if you wake up with a hangover. Practically speaking, “Worst’s” cultish following also seems well suited to the narrower platform (that is, FXX) in which FX returns it, paired with “The League.”

The main issue is that the show joins what amounts to a parade of anti-sitcoms featuring narcissists with antisocial tendencies, some funny (see Hulu’s “Difficult People”) and most not, usually set in New York or, in this case, L.A. From that perspective, when Jimmy and Gretchen fret about becoming like “the sweater people” – that is, those boring, sedate, middle-class types living lives of quiet desperation – it doesn’t feel all that edgy. Because thanks to the hunger to speak to this demographic, in TV terms, they pretty much already are.

'You're the Worst,' Season 2
FXX, Wed. Sept. 9, 10:30 p.m.


http://variety.com/2015/tv/reviews/y...es-1201579875/
dad1153 is offline  
post #4182 of 34527 Old 09-08-2015, 10:48 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Review (Cable)
‘Suddenly Royal,’ scoot away, quickly
An American lays claim to a throne in this TLC reality series
By Tom Conroy, Media Life Magazine - Sep. 8, 2015

One definition of the word “pretender” is “a person who pretends.” Another is “a claimant to a throne.”

David “Drew” Howe, the star of TLC’s new reality show “Suddenly Royal,” is a claimant to the throne of the Isle of Mann, located in the Irish Sea and a part of the United Kingdom. So that makes him a pretender in the second sense.

On the show, he’s a pretender in the first sense.

He pretends to believe that his claim isn’t silly and that he’s going to the island not because he’s being paid to by the TV show but because he’s trying to press his claim.

He and his wife, Pam, and their 12-year-old daughter, Grace, pretend that the things they do and the things that happen to them aren’t set up for the cameras.

Soon TLC will probably have to pretend the show has an audience.

Premiering this Wednesday, Sept. 9, at 10 p.m., “Suddenly Royal” is less funny than it has any right to be, considering that the producers aren’t bound by reality.

In the first episode, Drew, an auto-service manager living in Frederick, Md., tells us that he’s descended from the last lord of the island and that his claim to the throne was uncontested and thus legally binding. He and his family plan to spend six weeks in his kingdom.

Even though Drew and Pam match the sitcom cliché of the portly blowhard husband and the pretty, sensible wife, they try too hard to be funny. She says he’s been keeping her laughing for 20 years, but most viewers will be tired of him by the end of the hour.

Suggesting that perhaps the producers don’t have much interesting footage, the premiere episode spends a lot of time getting the family on the plane.

Oddly, the episode takes an emotional turn when Pam says goodbye to her father and stepmother. Grace is equally overwrought.

“It’s really hitting me,” she says “that I’m not going to see them for a while.” A while is six weeks.

Although they realize that the people on the island who are supposedly threatening to chop off Drew’s head when he arrives are probably just joking, Drew tears up and says, “I don’t take anything lightly when it comes to you and Grace.”

Via video conference, Drew discusses his trip to the island with his “royal secretary,” Lord Kevin Couling, who sounds British. Drew says Kevin “works with a lot of royal families.”

After discussing Kevin’s plans to rent lodgings for the family, Drew says, “A couple days ago, the local paper on the Isle of Man came out attacking me.” On screen, we see a story about Drew’s claim to the thone that was published in the Telegraph, a national paper, back in 2007.

On the trip there, we see Pam’s getting scared by the small plane taking them from Scotland to the island. Again, this would be edited out if the producers had anything relevant and interesting to show.

Sure enough, when they finally land on the island, we see the usual reality nonsense. They can’t get a cab at the airport. No one in the production crew foresaw this.

When a cabbie finally pulls up, he takes them to a beautiful, castle-like country home. Viewers, naturally, will expect the other shoe to drop. It does, with a clunk.

At the end of the episode, footage from future episodes shows Drew acting like a fool with the locals.

This may all seem harmless, but that same Telegraph story alleges that Drew was involved with a company that was selling supposed noble titles for as much as 90,000 British pounds. This isn’t mentioned in the premiere.

The true story behind “Suddenly Royal” might be funny, or dramatic, or tawdry, but the creators of the show seem to have neither the talent nor the intention to tell it.

http://www.medialifemagazine.com/sud...-away-quickly/
dad1153 is offline  
post #4183 of 34527 Old 09-08-2015, 10:52 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Notes (Streaming)
'Longmire' finds new life online
By Rob Owen, Pittsburgh Post-Gazette - Sep. 9, 2015

BEVERLY HILLS, Calif. — With the advent of more platforms for original content, canceled TV shows rise from the dead more frequently than in the past.

“Community” jumped from NBC to Yahoo. On Tuesday “The Mindy Project” debuts its fourth season on Hulu after getting canceled by Fox. And this week Netflix premieres the fourth season of “Longmire” after it was dumped by A&E.

“Longmire,” a contemporary Western set in Wyoming and based on a series of Craig Johnson mystery novels, had robust overall ratings on A&E, drawing the most viewers of any show on the network when it was put down. Viewers expressed their disappointment instantly on social media platforms.

“Twitter and all of social media has really closed the gap between our audience and ourselves,” said “Longmire” co-star Lou Diamond Phillips. “That was never more obvious than when we were canceled and there was a huge outcry. … It’s not difficult to understand: [viewers] invited us into their homes and feel like they know these characters. These are the kind of characters people want to hang out with and have a beer with.”

So why did A&E cancel “Longmire”? The series skewed old and advertisers prefer younger viewers.

“You had a very hungry audience that was not going to get to watch that show because they were the wrong age for an advertising demographic,” said Netflix chief content officer Ted Sarandos in late July. “We wanted to give the creators a chance to keep doing what they were doing.”

For ad-free Netflix, money is money; the age of its subscribers is of no consequence.

“Longmire” ended its third season last year with the sound of a gunshot. Season four picks up moments later, revealing a gruesome outcome that leaves Absaroka County Sheriff Walt Longmire (Robert Taylor) racked with guilt.

Executive producer Greer Shephard said the “second chances” theme of season four reflects the stories of the characters and of the show itself.

“Who you are as a person is defined by how you handle the second chance,” she said during a press conference at the Television Critics Association summer press tour in late July. “One of the things that we love so much about Netflix is how they have incorporated that in the [show’s promotional] campaign. But there are a lot of ways in which people can rebuild themselves after devastating experiences, and we explore that theme through each of our characters.”

How does Vic (Katie Sackhoff) re-establish herself after her divorce? Now that Walt thinks he knows who murdered his wife, how does he go on? How does Henry (Mr. Phillips), out of prison, validate his second chance?

“Obviously, we threw a lot of knives in the air at the end of Season 3, and a big part of the story we’re telling in Season 4 is what happens when those knives fall,” said executive producer Hunt Baldwin. “What are the immediate consequences of that? How do people rebuild? How do people go on after all that? But as we’ve always done, we’re always trying to introduce new both short term and longer term stories and problems into the lives of these characters.”

Ms. Shephard said tonally “Longmire” won’t change in its move to a new home.

“Just because there may be more permissiveness on Netflix, there’s no more vulgarity or there's no more graphicness [on our show],” she said, “because we did not want to alienate the incredible fan base that we actually consider is responsible for our survival.”

Mr. Baldwin said the show is no longer subject to commercial break expectations and episodes will run longer than they did on A&E.

“In the first three seasons, we would often come in with episodes that were excellent and 52, 53 minutes long, and we had to find big cuts in those shows,” he said. Episodes on A&E could run no more than 42 minutes. “Sometimes entire storylines would go out, sometimes really interesting character pieces.”

Now fans will have to sweat it out to see if “Longmire” gets picked up for a fifth season on Netflix after its fourth season ends with what sounds like another cliffhanger.

“It could be extremely serious,” Mr. Taylor said of the fourth season’s final scene. “It looks like something is about to happen.”

Mr. Phillips sounded cautiously confident about prospects for a fifth season.

“Our audience has shown they have stood by us and they’ve been very vocal about it,” he said. “So I hope this is all pointing in the right direction and everyone can stay the course.”

Mr. Taylor sounds more certain: “We’ll be back.”

‘Longmire’
When: All 10 episodes of season four available at 12:01 a.m. Thursday via Netflix streaming.


http://www.post-gazette.com/ae/tv-ra...s/201509090017

Last edited by dad1153; 09-08-2015 at 11:08 PM.
dad1153 is offline  
post #4184 of 34527 Old 09-08-2015, 11:07 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Notes
On The Air Tonight
WEDNESDAY 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)

ABC:
8PM - Shark Tank
(R - Oct. 31)
9PM - Modern Family
(R - May 13)
9:31PM - Blackish
(R - May 13)
10PM - Nashville
(R - May 6)
* * * *
11:35PM - Jimmy Kimmel Live! (Josh Brolin; Susan Sarandon; Darius Rucker performs)
12:37AM - Nightline

CBS:
8PM - Big Brother
9PM - Extant (Season Finale, 120 min.)
* * * *
11:35PM - The Late Show with Stephen Colbert (Scarlett Johansson; SpaceX and Tesla Motors CEO Elon Musk; Kendrick Lamar performs)
12:37AM - The Late Late Show with James Corden (Jason Sudeikis; NBA player Chris Bosh)

NBC:
8PM - America's Got Talent (LIVE)
9PM - The Carmichael Show
9:30PM - The Carmichael Show (Season Finale)
10PM - Last Comic Standing
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Justin Timberlake; Ellen DeGeneres; Macklemore & Ryan Lewis perform)
12:37AM - Late Night with Seth Myers (Craig Ferguson; Gabourey Sidibe; "Last Comic Standing" winner; Abe Laboriel Jr. sits in with the 8G Band)
1:38AM - Last Call with Carson Daly (Ed Skrein; Goldroom performs; Stephanie Sigman)

FOX:
8PM - MasterChef
9:01PM - Home Free (Season Finale)

PBS:
(check your local listing for starting time/programming)
8PM - Nature - Wolverine: Chasing the Phantom (R - Nov. 14, 2010)
9PM - The Civil War: Simply Murder -- 1863; The Universe of Battle --1863 (3 hrs.)
(R - Sep. 25, 1990)

UNIVISION:
8PM - Amores con Trampa
9PM - Lo Imperdonable
10:05PM - Yo No Creo en los Hombres

THE CW:
8PM - America's Next Top Model
9PM - A Wicked Offer

TELEMUNDO:
8PM - Avenida Brasil
9PM - Bajo el Mismo Cielo
10PM - El Señor de los Cielos

COMEDY CENTRAL:
11PM - At Midnight With Chris Hardwick (Hari Kondabolu; Kyle Dunnigan; Matt Braunger)
11:31PM - The Nightly Show With Larry Wilmore

TBS:
11PM - Conan (The stars of "Game of Thrones'' and "The Walking Dead")
(R - Jul. 10)
dad1153 is offline  
post #4185 of 34527 Old 09-08-2015, 11:15 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Notes (Q&A)
Jessica Raine, a Star of ‘Call the Midwife,’ on Returning to the ’50s With Agatha Christie
By Kathryn Shattuck, The New York Times - Sep. 6, 2015

In her final year at the Royal Academy of Dramatic Art in London, Jessica Raine was told by a teacher that she had a modern face and should expect to be cast in modern roles. And sure enough, after graduation Ms. Raine portrayed a defiant goth and a drugged-out politician’s daughter in quick succession at the National Theater.

Then came Cleo Singer, the dental secretary who makes men woozy in Clifford Odets’s “Rocket to the Moon.” “The play was not a success, but it was a real turning point for me,” she said of the part, set in 1938, which required a leap in maturity and a New York accent.

But it was “Call the Midwife” — the BBC series (on PBS in the United States) centered on Jenny Lee, a nurse captivated by nuns and babies in 1950s London — that crystallized the midcentury allure of her rosebud lips and retroussé nose. These days Ms. Raine, 33, is mining the decade again as the accidental sleuth Tuppence Beresford, lobbing lovingly acerbic asides at David Walliams as her husband, Tommy, in “Agatha Christie’s Partners in Crime.” Christie introduced the couple in 1922, but the BBC series, available on Acorn TV in the United States, opens 30 years later on a London-bound train from Paris as the Cold War dawns.

Poirot and Marple they are not, with his beekeeping and her bumbling. Still, “I thought Tuppence leapt off the page,” she said in phone interview from London. “She felt like the driving force of the couple, which you don’t see very often. I enjoyed being in charge.” These are excerpts from the conversation.

Q. First, congratulations: You’re getting married to Tom Goodman-Hill, who Americans know as the synth-sexing father in AMC’s “Humans.”
A.
Thank you. It’s soon, and I’m scurrying around on last-minute errands.

The Beresfords are lesser Christie sleuths. What about Tuppence appealed to you?
The way she speaks made me laugh. She’s quite bossy, quite impulsive and clearly aching for excitement in her life. I liked that she was very confident and didn’t have an ounce of sadness.

And yet, another 1950s role.
I was initially a little hesitant about taking on the part, but then I had a word with myself. Besides, there’s something attractive about going back in time because of the social aspects, the manners and whether people obey the rules.

Are you someone who obeys the rules?
Hmm. I think what’s really important is trying to keep an integrity for yourself rather than looking at the social rights and wrongs of the day.

You recently ventured back to the 16th century as that bitter pill Jane Rochford in “Wolf Hall.” A Guardian critic called you “brilliant” in your charmlessness.
That’s my favorite review. [Laughs] I know Jane is really evil, but I loved her. I’m hoping that Hilary Mantel hurries up and writes another book with Jane in it, because I’m desperate to play her again.

Did anything about your childhood prepare you for these roles?
I grew up on a farm in Herefordshire, and it was the most extraordinary upbringing. I’m really influenced by nature and the cycle of it — harvest time and lambing time, seeing a lot of life and death.

You were rejected when you first auditioned for the Royal Academy. How did you nurse your ego?
I went to Thailand completely alone, and I taught English in Nong Khai, on the Mekong River. You could see Laos on the other side. I figured things out.

What are you doing while you wait to see whether “Partners in Crime” gets picked up for a second season?
I’m filming “Jericho,” about an 1870s shantytown in the north of England. My character gets kicked out of her house and has to drag her belongings and her two children across the moor. So when I’m not hauling things around, I’m commuting home on weekends and trying to plan this wedding.

http://www.nytimes.com/2015/09/06/ar...ref=television
dad1153 is offline  
post #4186 of 34527 Old 09-09-2015, 12:09 AM
AVS Forum Special Member
 
humdinger70's Avatar
 
Join Date: Apr 2004
Location: San Diego, CA
Posts: 4,491
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 476 Post(s)
Liked: 342
Quote:
Originally Posted by veedon View Post
When is a Sunday really a Thursday (or is it the other way around?)?

If you drink some cheap red wine while you watch the game, then September 10 could be just another tannic Thunday. (Cue the Bangles music.)
It's the season premiere of the league's 2015 season. It's not really a full SNF show, because Carrie Underwood won't be singing the theme music and there's no real Football Night in America show as lead-in. Both those will happen on Sunday night.

But it is a big game - featuring Super Bowl XLIX champion Patriots. With Tom Brady at QB, thanks to Judge Berman.

Versus the Pittsburgh Steelers.
humdinger70 is offline  
post #4187 of 34527 Old 09-09-2015, 12:11 AM
AVS Forum Special Member
 
humdinger70's Avatar
 
Join Date: Apr 2004
Location: San Diego, CA
Posts: 4,491
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 476 Post(s)
Liked: 342
Quote:
Originally Posted by dad1153 View Post
TV Notes (Broadcast)
Vanessa Williams to Return to Miss America for First Time in 32 Years
By Billboard.com Staff - Sep. 8, 2015

Vanessa Williams is returning to the Miss America stage this weekend.

For the first time since she was crowned Miss America, Williams will return as head judge of the Miss America pageant. She joins host Chris Harrison, co-host Brooke Burke-Charvet, music curator Nick Jonas and celebrity judges Brett Eldredge, Taya Kyle, Danica McKellar, Kevin O’Leary, Amy Purdy and Zendaya.

Williams made history as the first African-American woman to win the crown back in 1984. She was famously forced to resign 10 months into her reign after nude photos from her past appeared in Penthouse. Since then, Williams has become a celebrated entertainer, with TV roles, albums, and acclaimed Broadway appearances.

“We recognize that Vanessa’s return to Miss America on Sunday, September 13th is a special cultural and television moment,” said Mike Mahan, President of dick clark productions, in a release. “We are both honored and excited that she will take center stage for the 95th anniversary of the competition.”

The 2016 Miss America Competition airs Sunday Sept. 13 on ABC.

http://www.billboard.com/articles/ne...a-return-judge
Bunch of DWTS alum on the show, including the co-host and several of the judges.
humdinger70 is offline  
post #4188 of 34527 Old 09-09-2015, 07:53 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Review (Broadcast)
Tim Goodman's First Take: Colbert's 'Late Show' Offers "Weird, Creative Zing"
By Tim Goodman, The Hollywood Reporter's 'Bastard Machine' Blog - Sep. 8, 2015

There was a time when I thought noting up front that you can’t “review” — nor should you — the first night of anyone’s talk show, was being too obvious. I mean, these things are beasts of a different kind, and they will most likely be entirely different in a few months or a few weeks even, and then something completely different from that in six months and definitely in a year.

So many current shows are evident of exactly that.

But early Twitter reaction to Stephen Colbert's first night as host of The Late Show on CBS, which ran from loyalist praise to mixed worriedness down to “this is terrible,” proved to me that it’s an absolute necessity to remind people that this will be a quick take — a first impression — and not a review.

And that’s all it will be — you can’t judge what might end up being a 10-year run or more by the first night. That’s both stupid and amateur hour. In Colbert’s case, this debut was just a little more than an hour of what might or might not be duplicated tomorrow. In many ways, that’s the beauty of late night shows — they evolve with ferocious consistency.

As for his first impression, the thing that shot through with clarity is that Colbert is very likely not what you think he will be — he’s as ambitiously creative as anyone and not afraid to see if something will kill or die quietly. Meaning, if you thought Colbert would take over for David Letterman (whom he honored with great praise) and turn into Jay Leno, you were way off the mark. And maybe more important, if you thought Colbert was going to be 180 degrees different from what he was on The Colbert Report, that too is a mistaken assumption. So much of himself was in that caricature that anyone who couldn’t figure that out should be watching someone different.

Not surprisingly, this first night seemed like an amalgamation of every piece of Colbert — from pre-Daily Show TV stuff all the way through post-Colbert Report weirdness that he exhibited online while touting his new CBS series over the summer. There were some nerves — how could there not be? — and there were plenty of flashes of the wickedly smart and super-fast comedic intellect he’s honed over the years. Did it all work? Of course not. But what I liked most was the feeling that Colbert was going to reveal a side of himself that he didn’t get to show much on the Colbert Report or even The Daily Show — a side that was much more reflective of his days on Strangers With Candy or even the Dana Carvey Show.

This guy has a lot of range, and he came out on this first night not afraid to essentially say, "Hey America, I’m a little weirder than you might have heard." Hell, he didn’t even have his first guest on — George Clooney — until 30 minutes in.

That is, his flair for the dramatic and the funny and the fearless was readily evident in that first night, sometimes spilling into bits (the taped opening with the National Anthem or the Sabra product placement thing) that either didn’t achieve lift-off or just outright crashed. But that’s what you want to see with Colbert — you want to see him unshackled from the faux character he played on the Report and the faux reporter he played on The Daily Show. You want him, over the course of every night of the week and all the weeks in a month, to unfold into something at once familiar but also startlingly fresh.

And he’s got the chops and the acting/comedy history to infuse the show with that x-factor that might have been unexpected. It will be thrilling to see it get honed, though I imagine that some of the early negative tweeting from fans had a lot to do with them seeing that heretofore largely untapped part of his personality. I think what will serve the show in its longevity will be that weird, creative zing that he brings to the show — though for some, that might not be their favorite surprise element to his personality.

But at least he didn’t hide it until the second month.

Beyond some amped-up nerves, Colbert did a couple of things that were interesting and bear monitoring for the future: He wasn’t afraid to have a politician on the first night (Jeb Bush), which by all rights was the kind of divisive idea that maybe CBS flinched at (as anyone probably should have) — but it ended up being a strong part of the first show, despite the readily evident edits that had to be made. It was probably a win for Bush to go on there knowing it could have gone sideways in a real hurry. And for Colbert, who riffed on Donald Trump to mixed effect prior to Bush’s arrival on set (drowning himself in Oreos was the best part), having a political candidate on your first show when this country is so incredibly divided was daring (and again, a good sign that he wasn’t going to be tame). Both men acquitted themselves well there, as opposed to Clooney basically saving Colbert’s ass during the first awkward interview he did (it’s hard to go wrong with a Clooney or a Tom Hanks, for example; they’ve saved a lot of hosts from jittery missteps).

The second element that was interesting was not that he gave his wonderful band leader Jon Batiste (and the Stay Human band) plenty of love and space to play around — including a closing star-studded and eclectic jam that featured Mavis Staples, Alabama Shakes leader Brittany Howard and others — but that he joined in and sang as well.

Now, you could say this was maybe too much Colbert. After all, he’s got his picture everywhere in the theater (something that Bush riffed on successfully), and Colbert already does his own announcing and introductions, but the very act of getting out there and singing and dancing didn’t seem like ego overkill to me — it seemed like a statement that Colbert was going to have fun regardless of what anyone thought. And that’s the absolute best element to any late night talk show — a fearless, eff-it, let’s have fun approach.

Because as this very first show indicates — with its insta-pundit reactions and immediately vociferous Twitter takes — there is no lack of judgment out there, and you can't please all the people so you might as well please yourself and make the kind of show that best represents your whole personality, whether people embrace it immediately or not.

I liked the set, the desk, the knowing crowd and mostly Batiste. But you can bet that there will be so much that’s different in the coming weeks — the implementation of skits, recurring bits, special elements that Colbert feels comfortable with (or uncomfortable, as the case may be). Change will come because it always comes, no matter what you think of the first night. Hell, I’d vote right now to immediately change the unfortunate and dubious Twitter hashtag — #LSSC — to the far better and simpler #LateShow . Can that happen?

Beyond minor first-night quibbles, I have little doubt that Colbert will be absolutely essential viewing on a nightly basis and his show will be a success no matter what way he eventually settles in the chair. The key for him is to make it original, not imitative of what we’ve seen from the past or too safe and comfy — and I think he’s only just beginning on that original route.

http://www.hollywoodreporter.com/bas...olberts-821207
dad1153 is offline  
post #4189 of 34527 Old 09-09-2015, 08:01 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Notes (Cable)
The League follows a familar playbook in its final season
By David Kallison, AVClub.com - Sep. 9, 2015

The League is unapologetically anarchic, a ribald exploration of male-centered friendships. In its seventh and final season, the show maintains that rebellious spirit, which feels surprisingly refreshing even after 70-plus episodes. The League continues to show off the considerable talents of its core cast to hilarious, profane effect. Old characters and jokes come back in force, but don’t feel like pandering. Masterminds Jeff and Jackie Schaffer have created a deep, if insane, world where it feels natural for, say, Pete’s ex-wife, Meegan (Leslie Bibb), to appear after a prolonged absence or for Taco (Jonathan Lajoie) to bust out the McGibblet suit. The deft handling of the show’s nostalgia bodes well for the rest of the season.

Every season of The League has a built-in structure: The draft and playoffs bookend the season, letting auxiliary storylines exist without slowing down any narrative propulsion. The main plot of the season seven’s first two episodes, revealed quickly and campily, is that Andre (Paul Scheer) is in a relationship with Meegan. “Plot” is a loose term here—it’s more like a story beat, because all semblance of narrative is used to serve the comedy. This unabashed devotion to being funny continues to work for The League well after seven seasons.

The decision not to succumb to deeper arcs—or really any emotional territory at all—is perhaps the show’s biggest achievement. Andre sleeping with Pete’s ex-wife is played purely as chaos, another idea ball selected by a manatee, with no emotional strings attached. Mark Duplass and company thrive off the wackiness, a veritable font of gross insults and comebacks. The locker-room humor hits as hard as it ever has in the seventh season: The first couple of episodes alone feature “Drenal penetration,” garlic roll butt shoves, and a description of oysters as “little salty ******* on a shell.” FXX should expect hate mail from the oyster lobby shortly. Unfortunately, football continues to be the weakest portion of this show about fantasy football. Multiple players appear in the first two episodes, but even Marshawn Lynch sending up the worst decision ever feels like a long walk (or a short run?) for little payoff.

The drafts are always a fun bit for The League and this season’s draft is no exception. Since Andre took home the Shiva last year, he gets to run the draft. Andre being Andre, the draft is 1890s themed (shout out to the Gilded Age) and titled The Draft Of Innocence: The Quest For The Dre. Instead of the typical man-cave marathon, Andre gussies things up with a seated dinner and full period dress. This setting and the fact that this year is an auction draft (participants have a certain amount of money and players are “auctioned off”) leads to one of the show’s best extended jokes, courtesy of Rafi (Jason Mantzoukas).

Each character gets a bit of story to play with, Taco’s being the weakest. Thanks to some divine intervention, Taco was saddled with the Sacko last season, which comes with a set of punishments. Unfortunately, another man’s punishment is Taco’s treasure. “I love being hazed!” he shouts, but this bit doesn’t work nearly as well as it could. In the past, Taco was played as a clueless wild card, thrown in to add chaos and misunderstandings into the mix. This role, in the first two episodes, goes instead to Rafi, who has lengthy scenes and choice jokes. In a show of anarchy, Rafi is the raised fist, a cyclone of one-liners and depravity, punctuated by Mantzoukas’ indelible delivery.

After seven seasons, the cast makes a tight team capable of bouncing between insults and absurdist physical humor with ease. The League is pure fun, nothing more, a distillation of the “no hugging, no learning” philosophy Jeff Schaffer picked up during his time on the Seinfeld writing staff. The television landscape will be worse off without its inhumanity.

'The League'
Wednesday, September 9, at 10 p.m. Eastern on FXX

(Two episodes watched for review)

http://www.avclub.com/review/league-...-season-225025
dad1153 is offline  
post #4190 of 34527 Old 09-09-2015, 08:08 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
TV Sports/Business Notes (Q&A)
NBC Sports Chief Mark Lazarus on Why the NFL Doesn’t Need an LA Team, Josh Elliott’s Future
By Tony Maglio, TheWrap.com - Sep. 9, 2015

Mark Lazarus has the No. 1 show on television — NBC’s “Sunday Night Football,” which confusing debuts on Thursday with a match-up between Pittsburgh Steelers and the New England Patriots — but that doesn’t make him a satisfied executive.

“We were the first sports show to be No. 1, and we’d like to keep that crown,” the NBC Sports chairman told TheWrap. “We take nothing for granted. Every other show on television is trying to beat us and knock us off.
Lazarus started his career at an ad agency before an 18-year run at Turner Broadcasting, where he ended up as head of Turner Entertainment. He joined NBC Sports in 2011 and was soon named to succeed the legendary Dick Ebersol as the division’s head.

Under Lazarus, NBC Sports has committed upwards of $40 billion for programming. “We’ve made some big bets, [but] we’ve been strategic in what we’ve done,” he said. “We believe in the power of sports. We believe in what it does — not for only our just straight sports businesses, but our portfolio of businesses.”

In his interview with TheWrap, Lazarus addresses pro football controversies, the prospect of an NFL team in L.A. and the future of former “Good Morning America” anchor Josh Elliott at NBC Sports.

When do you expect an NFL team to come to L.A.? Do you have discussions with the league about it?
It is the second-biggest market, but the league has done pretty well without having a team there. I’ve actually never engaged with the NFL specifically about a team being in L.A. Do I think it would be good for the league? Yes, but I’m also not a big proponent of team’s leaving cities and fan bases that exist.

When the “Sunday Night Football” contract is up, will the existence or nonexistence of a team in L.A. impact those negotiations or make the package pricier?
I actually think that it doesn’t really impact the negotiations, where the teams are. If you look at the teams that have national popularity, some of them are from very small markets — look at the Green Bay Packers. The [Pittsburgh] Steelers have broad appeal — their fans travel well. Football [itself] is very valuable, it will have its price and value, but where the teams are, I think the way they’ve created the league and the scarcity of games and the popularity of the league — I don’t believe [L.A.] will be part of the calculus as it goes into negotiation.

The NFL had a rough season last year — from the Ray Rice controversy to Deflategate and everything in between. Will there be any long-term impact on the game?
Most people just want their football. There are factions of people who get bothered by some of these — I mean, listen, everyone was bothered by the Ray Rice video and what took place. Society should be bothered by that taking place. Its long-term effect on the game of football I don’t think exists. If it brings more awareness to a problem … that’s hopefully something that’s good that come come from sports — even if it starts from an awful place.

If it can bring awareness and hopefully maybe help curtail some more of these issues in the broader society — and that’s a lofty goal and I don’t pretend to believe it’s sports’ responsibility — it is part of the what comes with the territory of being in the public eye.

Did you foresee how important and valuable live sports would be as event programming?
I definitely believed that sports was increasing in value. I am surprised by the pace and the rate of change and how consumer behavior is changing so fast.

Can you walk us through how and when NFL flex-scheduling changes get made?
Roughly two weeks prior to a game, after we get to the ninth week — there are some modifications to the contract where we could do it earlier — but really, we look at the game and if the game is not of the ilk that is was intended to be when it was originally scheduled, we can make a request of the NFL of another game.

Now, the other networks — Fox and CBS — have the ability to protect a game each week. Then there’s also — we can’t request a game that’s on another primetime platform [“Monday Night Football” and “Thursday Night Football”] because there’s only one game. So we can make a request and the league makes a decision of whether they want to alter the schedule. Last year, we didn’t make a single request, and that was the first time ever in the history of flex.

Does that ultimately come down to you personally making the decision?
Yeah. Really it’s [producer] Fred [Gaudelli] and I who think and strategize about it.

What’s going on with Josh Elliott, who seems underutilized since joining NBC Sports in April 2014?
We’re working on schedules now. Josh is still at this point a part of the company and we’re working to see what kind of schedules can work.

Does that mean there’s a good chance he won’t be part of the company in the near future?
Don’t know. While the future is still being determined, the relationship that he has and had with the Sports division was very positive for both sides, I believe.

What sport do you not have the rights to but you wish you did?
The NBA is a great property… We do have relationships with six NBA teams with our regional sports networks. So we are involved, we just don’t have a national contract.

If I had to tell you that there’s one thing I wish we still had in the portfolio, I wish Wimbledon was still part of our portfolio. That was a disappointing loss early in my tenure here. But we bounced back and won a lot of other things. We have a discipline about what we’re willing to do on any individual property based on our analysis.

What is the one sport that you have that doesn’t get enough coverage or eyeballs?
There’s nothing more exciting to me than playoff hockey. The intensity, the passion, the fans in the crowd, the noise.

http://www.thewrap.com/nbc-sports-ch...e-with-a-view/
dad1153 is offline  
post #4191 of 34527 Old 09-09-2015, 08:14 AM
AVS Forum Addicted Member
 
archiguy's Avatar
 
Join Date: Mar 2001
Location: Charlotte, NC
Posts: 25,963
Mentioned: 24 Post(s)
Tagged: 0 Thread(s)
Quoted: 6565 Post(s)
Liked: 7305
Quote:
Originally Posted by dad1153 View Post
TV Sports/Business Notes (Q&A)
NBC Sports Chief Mark Lazarus on Why the NFL Doesn’t Need an LA Team, Josh Elliott’s Future
By Tony Maglio, TheWrap.com - Sep. 9, 2015

Mark Lazarus has the No. 1 show on television — NBC’s “Sunday Night Football,” which confusing debuts on Thursday with a match-up between Pittsburgh Steelers and the New England Patriots — but that doesn’t make him a satisfied executive.

“We were the first sports show to be No. 1, and we’d like to keep that crown,” the NBC Sports chairman told TheWrap. “We take nothing for granted. Every other show on television is trying to beat us and knock us off.
That's sort of the equivalent of starting on third base and thinking you hit a home run, isn't it? The CW could carry SNF and it would still be the #1 show on television.
Nayan likes this.
archiguy is offline  
post #4192 of 34527 Old 09-09-2015, 09:35 AM
AVS Forum Special Member
 
dcowboy7's Avatar
 
Join Date: Nov 2007
Location: Pequannock, NJ
Posts: 6,182
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 390 Post(s)
Liked: 525
He said "Fox and CBS have the ability to protect a game each week."

Actually its only 5 games during that 6 week window so 1 wk has to be left unprotected.

dcowboy7 is offline  
post #4193 of 34527 Old 09-09-2015, 11:50 AM
AVS Forum Special Member
 
dcowboy7's Avatar
 
Join Date: Nov 2007
Location: Pequannock, NJ
Posts: 6,182
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 390 Post(s)
Liked: 525
The people have spoken....

Weather Channel Cuts Shows, Personnel, In Stormy Operating Climate

Brian Steinberg
Senior TV Editor

The Weather Channel, operating under financial pressure, will lay off approximately 50 employees and pull back star Sam Champion from morning duties as it seeks to hone in on weather coverage and pull back from some of the other programming that had begun to fill its airwaves.

“Viewers turn to The Weather Channel and our experts for the most locally relevant and precise forecast, and for the best live coverage of severe weather events available anywhere on television,” the company said in a prepared statement. “In a fragmented world where it’s no longer about scale but about a passionate core following, we recognize the need to be hyper-focused on providing our viewers exactly what they come to us for – weather.”

The moves were reported previously by CNNMoney.

As part of the restructuring, the network has canceled Al Roker’s “Wake Up With Al” early-morning program, and is moving Sam Champion to develop and lead expanded weather coverage during primetime. In Champion’s new role, he will “create editorial content and host on-screen segments as we launch our new “Local Now” product for OTT providers. His deep understanding of local television will be crucial in helping us build our network of local content with the major broadcast station groups,” the network said. The Roker program’s last episode will air October 2.

The maneuvers take place as Weather Channel has encountered a story climate of its own. More of its viewers are able to get weather news from digital sources – some of them offered by Weather Channel’s parent, Weather Company. With that in mind, the network is placing more effort behind content that attracts its core customer, and is likely to drop some of the emphasis it has recently developed on reality programming and documentary series.

http://variety.com/2015/tv/news/weat...on-1201588748/

dcowboy7 is offline  
post #4194 of 34527 Old 09-09-2015, 11:52 AM
AVS Forum Special Member
 
Nayan's Avatar
 
Join Date: Jan 2009
Location: Melbourne, FL
Posts: 5,161
Mentioned: 15 Post(s)
Tagged: 0 Thread(s)
Quoted: 1498 Post(s)
Liked: 2612
^^^^NOOOO!!! My favorite show on there is Fat Guys in the Woods and I enjoyed waking up with Sam and my crush Jim Cantore . Argh!
dad1153 likes this.

I really ought to act more like a woman of my advancing years, but I’m growing old disgracefully.
Nayan is offline  
post #4195 of 34527 Old 09-09-2015, 01:08 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
Nielsen Notes (Broadcast)
Stephen Colbert’s ‘Late Show’ Debut Attracts 6.6 Million Viewers
By Joe Flint, Wall Street Journal's 'CMO Today' Blog - Sep. 9, 2015

The debut of “The Late Show with Stephen Colbert” on CBS was watched by 6.6 million viewers, easily outpacing its late-night competition, according to Nielsen figures cited by the network.

CBS said the “Late Show” was up 131% compared to last year’s season premiere when David Letterman was hosting the program.

Its viewership total was more than double the audience of 2.9 million that watched NBC’s “Tonight Show with Jimmy Fallon.” ABC’s “Jimmy Kimmel” averaged 1.8 million viewers. Prior to Mr. Colbert’s arrival, “Tonight Show” had averaged 3.3 million viewers this summer while “Jimmy Kimmel” was drawing 2.2 million viewers.

A big audience for Mr. Colbert’s CBS premiere was to be expected. He had a very loyal audience from his previous show, “The Colbert Report” on Comedy Central, and CBS Corp. also heavily promoted the launch.

Once the buzz around the show’s launch fades, the competitive landscape in late-night TV will come into sharper focus. Some media buyers expect that NBC’s Mr. Fallon will ultimately retain his top position in the ratings. Mr. Fallon’s premiere in early 2014 attracted 11.3 million viewers, with a boost from an Olympics lead-in.

However, NBC, a unit of Comcast Corp., is taking nothing for granted. Mr. Fallon has booked Democratic presidential candidate Hillary Clinton and Republican candidate Donald Trump for upcoming episodes.

The first guests for Mr. Colbert’s show were movie star George Clooney and Republican presidential candidate Jeb Bush. He has Vice President Joe Biden scheduled for later in the week.

One measure of Mr. Colbert’s success will be if he is able to attract younger viewers. The median age of Mr. Letterman’s audience was over 60. Mr. Fallon’s typical viewer is 54.6 while Mr. Kimmel’s is 56.9.

In his debut, Mr. Colbert finished first among viewers in the key demographic of adults 18 to 49, which advertisers pay a premium to reach. Mr. Fallon held onto virtually all his viewers in that category. Mr. Kimmel’s ratings in that demographic took a dip. Overall, the number of 18- to 49-year-old viewers coming to late-night TV on the broadcast networks was up.

Since Mr. Colbert’s show ran an additional six minutes, his numbers were lowered because the first quarter hour of “The Late Late Show with James Corden” was averaged into “The Late Show” audience in Nielsen’s data.

In the first episode of the “Late Show,” CBS Corp. Chief Executive Leslie Moonves made a cameo in which he threatened jokingly to switch the CBS transmission to air reruns of the drama “The Mentalist,” which had been in the 11:35 p.m. slot since Mr. Letterman stepped down last May.

Also featured prominently was Sabra’s hummus. Mr. Colbert did a bit acknowledging that on-air product placement will be part of the show. Another bit featured Mr. Colbert downing Oreos while mocking Donald Trump, who said he would stop eating the cookies because parent company Mondelez International Inc. is shifting some production to Mexico.

Benefiting from Mr. Colbert’s debut was James Corden, who hosts “The Late Late Show” for CBS. His audience hit almost two million last night, easily beating NBC’s “Later with Seth Meyer,” which averaged 1.3 million viewers.

The next big change in late night takes place later this month when Trevor Noah assumes the mantle of “The Daily Show” on Comedy Central, which had been hosted by Jon Stewart.

Viewers may have been taken aback by the end credits for “The Late Show” which listed Mr. Stewart as an executive producer. It was not a joke nor salute to Mr. Stewart, who also appeared in the taped opening for Mr. Colbert’s new show. Mr. Stewart was also an executive producer of “The Colbert Report.”

http://blogs.wsj.com/cmo/2015/09/09/...te-show-debut/
dad1153 is offline  
post #4196 of 34527 Old 09-09-2015, 01:13 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
Technology Notes (Digital)
Apple Unveils Rebooted TV Set-Top Box
By George Winslow, Broadcasting & Cable - Sep. 9, 2015

During its sweeping annual presentation of new products Wednesday, Apple introduced a new version of its Apple TV set-top box that offers an app-focused experience with a new user interface, remote and box.

"The television experience has been virtually standing still," said Tim Cook, Apple's CEO. "Today, we are going to do something about that. It starts with a vision. Our vision for TV is simple and perhaps a little provocative. We believe the future of TV is apps….. When you experience TV through an app, you realize just how much better it can be."

The Siri-driven device boasts enhanced search and discovery features, driven by a glass-coated remote that enables smoother swipe-searching.

Apple said the new box would be available for $149 for 32GB, and $199 for 64GB sometime in late October. For users unwilling to pay those prices, the company said older models will continue to be available.

The new Apple TV, which offers some intriguing updates but falls short of the game-change that could result from the company's still-rumored skinny-bundle distribution offering, will include a new user interface, the new tvOS operating system and a new remote with a touch screen for easier navigation.

The company said it had been working with developers for new apps that would soon be available. During the presentation, it shows apps from Netflix, HBO, Hulu, MLB.com and others in the TV arena.

As expected, gaming, particularly for multiplayers, were highlighted, with a video showing one player using the new remote and another an iPhone.

Apple’s voice controller Siri is moving to the Apple TV for the first time. During the presentation, Apple executives showed off its capabilities, which included some intelligent searching that allowed the user to search when they didn’t know the show name by describing it.

The upgradse to Apple TV were the first in three years and in some ways marked Apple playing catch-up. Roku, for example, already offers universal search and has had casual gaming features for some time.

Pricing was also much higher than other devices on the market, with Roku, Google and Amazon all offering streaming devices for under $50.

Dade Hayes contributed to this report.

http://www.broadcastingcable.com/new...top-box/144025
dad1153 is offline  
post #4197 of 34527 Old 09-09-2015, 01:15 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
Nielsen Notes (Daytime)
‘The View’ Ratings Down In Season 19 Premiere With Revamped Panel
By Nellie Andreeva, Deadline.com - Sep. 9, 2015

The View yesterday introduced a revamped panel featuring four new hosts and the return of popular original panelist Joy Behar. The preliminary ratings are in, and they are down from last fall’s introduction of another revamped View panel featuring the return of Rosie O’Donnell.

Following a tumultuous 18th season marked by behind-the-scene drama and an exodus of in-front and behind-the-camera talent, The View‘s 19th season premiere yesterday drew a 2.5 household rating and a 1.0 rating among women 25-54. That was down -22% in households and -47% in W25-54 from last September’s debut of Season 18, the first without co-creator/star Barbara Walters. ABC sources note that last fall’s opener was unusually highly rated — the show posted double-digit year-to-year gains and its largest premiere audience in eight years — driven by curiosity over O’Donnell’s return. Ratings dropped quickly after that and never came close to the premiere heights. “We are off and running, this is a solid start, and there is a great excitement about the show,” an ABC rep told Deadline of The View premiere, which built by +14% onto its lead-in.

The Season 19 opener of the long-running talk show, which also has a new executive producer, featured all six hosts — Whoopi Goldberg, the only Season 18 panelist to return — Behar, back after a two-year break, as well as new full-timers Paula Faris, Michelle Collins, Raven-Symoné and Candace Cameron Bure. Guests included U.S. Senator Elizabeth Warren, whom Behar encouraged to run for vice president alongside Joe Biden, should he make a run for the White House, Jason Sudeikis and Alison Brie.

ABC’s other daytime talk show, The Chew (2.2 HH, 0.9 W25-54) was up +10% in households and down =10% in the demo.

http://deadline.com/2015/09/the-view...ar-1201519419/
dad1153 is offline  
post #4198 of 34527 Old 09-09-2015, 01:24 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
Technology Notes (Tablets)
Apple Just Announced the Biggest iPad Ever
By Victor Luckerson, TIME.com - Sep. 9, 2015

Apple announced a new big-screen iPad at an event in San Francisco, Calif. Wednesday. The new iPad, the iPad Pro, will have a 12.9-inch screen with a 2732 X 2048 resolution.

The long-rumored tablet will be the most powerful iOS device ever released, Apple marketing exec Phil Schiller said at the event. The iPad Pro’s A9X chip will be 1.8 times faster than the A8X in the iPad Air 2. The device will also have a 10-hour battery life and a four-speaker audio system for improved sound performance. The iPad Pro is 6.9 mm thick, just a bit thicker than the iPad Air’s 6.1 mm, and also features an 8 megapixel camera.

The cheapest model the iPad Pro will cost $799 and have 32 GB of storage. A 128GB version will cost $949, and a 128GB version with LTE capability will cost $1,079. The device launches in November.

The company is also building a set of iPad Pro-specific accessories, including a keyboard that will allow for faster typing than pecking at the device’s touch screen (costing $169) and a stylus called Apple Pencil (costing $99). The new tablet will be able to make use of many of the new features in iOS 9, such as split-screen view and multi-tasking, which allow people to use multiple apps at once. Apple is positioning the product as a tool aimed at professionals. Companies such as Adobe and 3D4Medical provided demos of iPad Pro apps that will be useful for art designers and doctors.

With the new announcement, Apple will now be juggling three different iPad models—the 7.9-inch iPad Mini line, the 9.7-inch iPad Air line and the 12.9-inch iPad Pro. The larger iPad could help boost the product line’s lagging sales, which have been on a steady decline amidst increased competition from companies like Microsoft and a broader slowdown in the tablet market.

http://time.com/4026915/ipad-pro-apple/?xid=homepage
dad1153 is offline  
post #4199 of 34527 Old 09-09-2015, 01:32 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 61,186
Mentioned: 4 Post(s)
Tagged: 0 Thread(s)
Quoted: 3302 Post(s)
Liked: 2953
Send a message via Yahoo to dad1153
Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 9, 2015

2015 U.S. OPEN TENNIS TOURNAMENT
ESPN, 11:00 a.m. ET

The afternoon games today include two women’s matches, including one that will decide the next opponent for Serena Williams, who defeated her sister Venus last night in an impressive skills display by both players. On the men’s side, No. 2 seed Roger Federer (pictured) faces No. 12 seed Richard Gasquet of France, while No. 5 seed Stan Wawrinka faces Kevin Anderson, who defeated Andy Murray in a brutally tough match. Evening games not covered by ESPN are available on ESPN2.

THE CIVIL WAR
PBS, 9:00 p.m. ET
Parts 4 and 5.
Among tonight’s highlights is one of the most well-known speeches in American history: Abraham Lincoln’s Gettysburg Address, read, as are all of Lincoln’s quotations and writings in Ken Burns’ The Civil War, by Sam Waterston. Check local listings.

KEY & PEELE
Comedy Central, 10:00 p.m. ET
SERIES FINALE:
Comedy Central is doubling down on Key & Peele tonight, showing two new episodes in the final hour of prime time. The second of those episodes is the series finale for this clever, significant comedy sketch series, the latest programming and comedic triumph by Comedy Central.

YOU'RE THE WORST
FXX, 10:30 p.m. ET
SEASON PREMIERE:
You have to find FXX to watch this series, but it’s worth the trouble. Chris Geer and Aya Cash, portraying self-obsessed non-romantics Jimmy and Gretchen, are a lot funnier, and more appealing, than the other overly abrasive couples making the sitcom rounds these days. And this season, since Jimmy and Gretchen have moved in together, they’re an actual couple, so they’re playing on the same rom-com field. Only they’re scoring more…

LATE SHOW WITH STEPHEN COLBERT
CBS, 11:35 p.m. ET

For his second show, Stephen Colbert is going ultra-eclectic: His scheduled guests are actress Scarlett Johannson, Tesla Motors CEO Elon Musk and rapper Kendrick Lamar.


http://www.tvworthwatching.com/

* * * *

Critic's/Emmy Notes
'Game of Thrones' Poised to Run the Table at Creative Arts Emmys but Still a Long Shot for Prestigious Drama Series Award
By Alex Strachan, TVWorthWatching.com's 'TV That Matters' - Sep. 9, 2015

Even though TV is a visual medium, the men and women behind the visuals are often shunted aside in the annual rush to anoint TV’s best.

The Creative Arts Emmys always take a back seat to the main event, even though in a year like this — when Game of Thrones (top) landed a field-leading 24 nominations and American Horror Story: Freak Show followed with 19 — it’s clear the technical categories count for more than mere window-dressing. Game of Thrones’ cinematography, casting, production design, costuming, visual effects, picture editing, sound mixing, stunt coordination, and makeup — all nominated for Emmys — helped make what many are calling Game of Thrones’ finest, most dramatic and emotionally trenchant season yet.

Game of Thrones is still a long shot to take the coveted Outstanding Drama Series Emmy on Sept. 20 — the smart money is on Mad Men, a fitting send-off for a series that changed the face of television the same way Breaking Bad did a year earlier — but that doesn’t take anything away from what a singular achievement it has become: a flight of imagination that, thanks its artistry, social relevance, boundless creativity, and adult themes, has made the leap from fantasy to reality, made the impossible seem plausible — dragons? ancient prophesies? skeleton creatures rising from the dead to slay the living in an ice storm? — and engaged our emotions while doing it. Game of Thrones stirs the soul, without being soft or squishy.

As a drama series, Game of Thrones may overcome Emmy voters’ bias against so-called “genre shows” and win best drama one day — the same way Lost managed to confound Emmy doubters in 2005 — but perhaps not this time, not in a year when the other contenders include House of Cards, Downton Abbey, Orange is the New Black, first-timer Better Call Saul, and past drama winners Homeland and Mad Men.

What does seem clear, though, is that it may run the table this weekend (Saturday Sept. 12) when the Creative Arts Emmys are handed out. American Horror Story: Freak Show, nominated in other categories — limited series, as opposed to ongoing, single-camera series — will also do well, from a numerical standpoint, and justifiably so.

In this case, quantity can and does equate with quality.

http://www.tvworthwatching.com/BlogP...x?postId=10250
dad1153 is offline  
post #4200 of 34527 Old 09-09-2015, 01:33 PM
AVS Forum Special Member
 
tomhunter8's Avatar
 
Join Date: May 2008
Posts: 1,161
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 252 Post(s)
Liked: 426
Quote:
Originally Posted by dad1153 View Post
Nielsen Notes (Broadcast)
Stephen Colbert’s ‘Late Show’ Debut Attracts 6.6 Million Viewers
The head-to-head 10:30 PM CST talk show circuit has suddenly gone from two hosts I didn't care for (Leno and Letterman) to two hosts I do like (Fallon and Colbert). In my opinion this is the strongest late night roster in a long, long time.
Nayan likes this.
tomhunter8 is offline  
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