Hot Off The Press: The Latest TV News and Information - Page 267 - AVS Forum | Home Theater Discussions And Reviews
Forum Jump: 
 14598Likes
Reply
 
Thread Tools
post #7981 of 33067 Old 03-02-2016, 01:01 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Nielsen Overnights (Broadcast)
NBC surges ahead Tuesday with ‘Voice’
Returning reality show averages a 3.0 in 18-49s, way ahead
By Toni Fitzgerald, Media Life Magazine - Mar. 2, 2016

NBC’s “The Voice” remained well ahead of the broadcast competition in its Tuesday night premiere.

The reality show notched a 3.0 adults 18-49 rating from 8 to 10 p.m., according to Nielsen overnights, down 0.4 from Monday night’s season premiere but a tenth better than last fall’s finale.

“Voice” was easily the night’s top show and actually doubled the rating of the No. 2 show in the 9 p.m. hour, CBS’s “NCIS: New Orleans,” which averaged a 1.6.

The big lead-in from “Voice” lifted NBC’s 10 p.m. Super Tuesday coverage ahead of the other networks, which also aired coverage of the political showdown.

NBC News averaged a 1.5 in 18-49s and 5.7 million total viewers in the hour.

Earlier in the night, CBS’s “NCIS” was the No. 2 show of the night with a 2.0 at 8 p.m., down from a 2.0 last week, when it didn’t face “Voice.”

ABC aired the season, or more likely series, finales for “The Muppets” and “Marvel’s Agent Carter” last night.

“Muppets” averaged a 0.9 in 18-49s for back-to-back episodes at 8 p.m., up a tenth from last week but down 2 points from its series premiere last fall.

“Carter” averaged a 0.7 at 9 p.m. Both shows are in danger of cancellation due to low ratings.

Fox’s comedy lineup continue to struggle Tuesday as well. Its highest-rated show, “New Girl,” mustered a mere 1.1.

* * * *

Top show of the night in 18-49s

NBC’s “The Voice,” 8-10 p.m., 3.0 rating.

Top show of the night in 25-54s
NBC’s “The Voice,” 8-10 p.m., 4.2 rating.

Top show of the night in total viewers
CBS’s “NCIS,” 8-9p.m., 15.18 million.


[CLICK LINK BELOW TO SEE COMPLETE OVERNIGHT RATINGS FOR TUESDAY]

http://www.medialifemagazine.com/for...in-particular/

* * * *

TV/Nielsen Notes (Broadcast)
For ‘Mysteries,’ one big one in particular
And that mystery is, will the drama return for a third season?
By Louisa Ada Seltzer, Media Life Magazine - Mar. 2, 2016

“The Mysteries of Laura” was a surprise renewal last year. The show drew low ratings in its first year and practically no buzz, despite the star status of lead actress Debra Messing.

In its second season, “Mysteries” did even less to distinguish itself. And so, with the show’s season finale airing tonight at 8 p.m., the big question once again is whether “Mysteries” will be renewed.

The smart money is on no.

NBC has a slew of solid dramas, and it’s already renewed more than half a dozen of them for next season, including “Mysteries’” two companions on Wednesday night, “Law & Order: Special Victims Unit” and “Chicago P.D.”

It’s never a good sign to be the lone show in the lineup that’s not renewed, even if you haven’t been canceled.

“Mysteries” has averaged a 1.1 adults 18-49 rating this season, according to Nielsen, off a tenth from last year. It’s averaging just shy of 7 million total viewers, off 7 percent but ranking sixth among NBC’s shows.

Ultimately “Mysteries’” fate may come down to what NBC has in development. If it has a strong slate of dramas, then it will likely drop the drama, in which Messing plays a cop with a dysfunctional home life.

But if development is weak, it will stick with “Mysteries.” While it’s far from a sure thing, at least the network knows its limitations ahead of time.

http://www.medialifemagazine.com/for...in-particular/
dad1153 is offline  
Sponsored Links
Advertisement
 
post #7982 of 33067 Old 03-02-2016, 01:04 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV (Broadcast)
AMC Greenlights Scott Free Anthology Series ‘The Terror’
By Tony Maglio, TheWrap.com - Mar. 2, 2016

AMC has greenlighted the new 10-part anthology drama series “The Terror,” an adaptation of Dan Simmons’ best-selling novel.

Scott Free, Emjag Productions and Entertainment 360 will produce the hour-long drama, in association with AMC Studios. “The Terror” plans to premiere in 2017.

Written by David Kajganich, who will also serve as co-showrunner with Soo Hugh, the series is set in 1847, when a Royal Naval expedition crew searching for the Northwest Passage is attacked by a mysterious predator that stalks the ships and their crew in a suspenseful and desperate game of survival.

Executive producers are Ridley Scott, David W. Zucker, Alexandra Milchan, Scott Lambert and Guymon Casady.

“We’ve been focused on developing this incredible story for television with these great partners for a couple of years, and we think it provides rich dramatic material but also an opportunity to explore the anthology format, which is something we’re extremely interested in and offers some unique possibilities,” said Joel Stillerman, president of original programming and development for AMC and SundanceTV. “Originality is still something that gets our attention every day, and the very unique mixing of historical nonfiction with a gripping and imaginative science fiction overlay in Dan’s novel is something that we hadn’t seen before.”

“Dan’s novel is that rare combination of fascinating actual history, groundbreaking genre storytelling, and the complex character work of literature,” Kajganich said. “The chance to launch a series that will incorporate all of these elements going forward, and with a team of this caliber, is extraordinary.”

“As a long-time fan of Dan Simmons, the opportunity to join this project is a dream come true,” Hugh said. “We look forward to bringing this story to life for the passionate AMC audience.”

http://www.thewrap.com/amc-greenligh...es-the-terror/
dad1153 is offline  
post #7983 of 33067 Old 03-02-2016, 01:09 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Mar. 2, 2016

THE DICK CAVETT SHOW: POLITICIANS
Shout Factory TV, 12:00 a.m. ET

New to the Shout! Factory website this month is a new collection of old Dick Cavett videos – this time curated around politics. The Dick Cavett Show vintage interviews, and others, include Ralph Nader in 1969, John Kerry in 1971, Ronald Reagan also in 1971, Rudy Guiliani in 1972, Ted Kennedy also in 1972, and Sen. Paul Simon in 1992.

A YEAR IN SPACE
PBS, 8:00 p.m. ET

Tonight’s PBS lineup is devoting all its space to outer space. First up, at 8 pm. ET, is A Year in Space, about astronaut Scott Kelly, who is just completing a year in space – as compared to his twin brother, Mark, also an astronaut, who has stayed home on Earth. And scientists do plan to compare the twins once Scott gets back on terra firma, because that’s the entire point of this year-long experiment. It also sounds like the first act of a ready-made science-fiction thriller, if you ask me. If Scott starts acting strange, and takes Mark’s place and begins to influence the behavior of others, you read it here first. Then, after that one-hour special, PBS at 9 p.m. ET repeats First Man on the Moon, 2014’s Nova profile of Neil Armstrong. And at 10 p.m. ET, there’s a brand-new American Experience installment called Space Men – but it goes back earlier in time than you’d expect. It’s about balloonists, the first to actually venture into the lip of “outer space.” Check local listings.

SPARTACUS
TCM, 8:00 p.m. ET

Director Stanley Kubrick oversaw this 1960 movie by Kirk Douglas, and turned it into a classic both visually and metaphorically. It’s a durable cry of solidarity that has lasted more than 50 years: “I am Spartacus!”

MODERN FAMILY
ABC, 8:00 p.m. ET

Tonight’s episode is titled “I Don’t Know How She Does It,” and has Claire (Julie Bowen) as super mom, running her dad’s business while getting everything done at home. But we viewers get to see how she does it – by secretly hiring a personal assistant. Speaking of personal: Cam and Mitchell take it personally when they’re relegated to mere onlookers at a friend’s wedding, and decide to take out their frustrations on the dance floor.

AMERICAN CRIME
ABC, 10:00 p.m. ET

The violence in this case continues to escalate – and Taylor (Connor Jessup) is more at the center of things than ever.


http://www.tvworthwatching.com/
dad1153 is offline  
Sponsored Links
Advertisement
 
post #7984 of 33067 Old 03-02-2016, 03:32 PM
AVS Forum Special Member
 
dcowboy7's Avatar
 
Join Date: Nov 2007
Location: Pequannock, NJ
Posts: 6,162
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 385 Post(s)
Liked: 503
Game of Thrones lockdown: HBO won't send press any season 6 episodes
Media will not receive screeners of hit series for first time in secrecy move
BY JAMES HIBBERD

Game of Thrones secrecy is going to a whole new level.

HBO has decided to not give the media any advance episodes of the Emmy-winning series for season 6. The upcoming season is on such a content lock-down that the press and Hollywood insiders will not receive any episodes in advance – either on DVD or via online screening – circumventing industry convention. “We’re not sending out press copies this year, anywhere in the world,” HBO programming president Michael Lombardo told EW. “There will be no copies for review.”

The move could be a first for a major series, though isn’t entirely surprising in the case of Thrones. This is the first season where the show has largely surpassed the narrative published in author George R.R. Martin’s A Song of Ice and Fire saga, so for the first time even hardcore fans of the books have no idea what’s coming next. Also, last year HBO sent the first four hours of season 5 to its usual media distribution list, and the content leaked onto ********** before the show’s premiere – spoiling nearly half the season for some viewers as plot points gained coverage online. While HBO has since switched to a more secure online screening system for critics, the company has nonetheless opted against taking any chances with the intensely anticipated new season of its highest-rated series of all time. Thrones showrunners David Benioff and Dan Weiss advocated the no-screener strategy to protect season 6 content and, after some discussion, network executives agreed.

“It’s painful for Dan and David [when leaks happen],” Lombardo said. “When you have press copies, inevitably friends ask, ‘Can I see your copy?’ There are things that happen. We talked about the upsides and downsides. Some of the press are fans who might be disappointed, but they’ll understand.”

The move comes amid considerable suspense and speculation about the storyline of one character in particular – Jon Snow (Kit Harington), who was killed off in the season 5 finale.

While movie studios often refuse to let critics see films in advance if a title is expected to get poor reviews, it’s extremely rare on the television side to not provide review copies – particularly for a critically acclaimed series. The decision is all the more impactful since Game of Thrones shattered Emmy records, winning 12 awards including best drama, and is one of the world’s most popular shows (in the U.S. alone, Thrones season 5 averaged 20.2 million viewers per episode when all forms of viewing were counted). Yet if there’s any title that can potentially air without any premiere reviews and remain unscathed, it’s Thrones. And one wonders if the move will only serve to heighten fan and media anticipation for the new season, which already seems poised to break the show’s previous premiere ratings records.

Game of Thrones returns to HBO on April 24.

http://www.ew.com/article/2016/03/02...view-screeners
Nayan likes this.

dcowboy7 is offline  
post #7985 of 33067 Old 03-02-2016, 04:15 PM
Super Moderator
 
DrDon's Avatar
 
Join Date: Mar 2002
Location: Metro Detroit, Tampa Bay
Posts: 17,161
Mentioned: 39 Post(s)
Tagged: 0 Thread(s)
Quoted: 2325 Post(s)
Liked: 4417
I think this is HBO's way of getting even with the critics who have trashed their other shows over the years. "Guess what? Your family along with your friends and your kids' friends will now just have to wait like everybody else."
Nayan likes this.

Walking the fine line between jaw-dropping and a plain ol' yawn.
DrDon is online now  
post #7986 of 33067 Old 03-02-2016, 04:26 PM
AVS Forum Addicted Member
 
VisionOn's Avatar
 
Join Date: Sep 2004
Location: Carrboro, NC
Posts: 14,547
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 2 Post(s)
Liked: 2398
I wouldn't be surprised if Weiss and Benioff are still sitting at Martin's keyboard waiting until the very last second to actual wrap the episodes, so they can quickly do reshoots if Martin writes a major plot development.


VisionOn is offline  
post #7987 of 33067 Old 03-02-2016, 10:11 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV Notes (Cable)
‘American Gods’: Ian McShane To Play Mr. Wednesday In Starz Series
By Nellie Andreeva, Deadline.com - Mar. 2, 2016

“Yesterday was Super Tuesday. Today is Wonderful Wednesday,” Neil Gaiman said today in response to the casting of Ian McShane as Mr. Wednesday in Starz’s series adaptation of Gaiman’s acclaimed contemporary fantasy novel American Gods.

Deadwood and Lovejoy alum McShane will star opposite Ricky Whittle in the straight-to-series drama, set to begin filming in April, with Bryan Fuller and Michael Green as writers/showrunners. McShane previously voiced Mr. Bobinsky in Coraline, the animated feature adaptation of Gaiman’s novel.

“When you write a beloved character (beloved with, or despite, or because of all his faults) like Mr. Wednesday, you get to watch the internet trying to cast the role,” Gaiman added. “I’ve seen a hundred names suggested, but few make me grin like Ian McShane does. I’ve already been lucky enough to have him in one film (he was bright blue in it, animated, and probably Polish). Now I count myself even luckier: he’s made the journey from Lovejoy to American Gods.”

In American Gods, a war is brewing between old and new deities: the traditional gods of mythological roots from around the world steadily losing believers to an upstart pantheon of gods reflecting society’s modern love of money, technology, media, celebrity and drugs. The show centers on Mr. Wednesday (McShane), a crafty and endlessly charismatic con man, full of perverse wisdom, curious magic, and grand plans. He hires ex-con Shadow Moon (Whittle) to be his bodyguard as he journeys across America, using his charms to recruit others like him as he prepares for the ultimate battle for power.

“Actor. Icon. And now god,” said Fuller and Green. “It is a goddamn delight to be collaborating with the incomparable Ian McShane — again and for the first time — on a story about faith and belief, with the utmost faith and belief in Mr. McShane as our Mr. Wednesday. A wonderful Wednesday indeed.”

This marks McShane’s return to Starz where he starred in The Pillars of the Earth, for which he received a Golden Globe nomination. His series credits also include Ray Donovan and American Horror Story. He will next be seen in Game of Thrones and Dr. Thorne as well as features John Wick: Chapter 2, The Hollow Point and Bolden. McShane is repped by ICM Partners, Gallant Management, Independent Talent Group and Sloane, Offer, Weber & Dern.

American Gods is produced by FremantleMedia North America. David Slade is directing the pilot and additional episodes. FMNA’s Craig Cegielski and Stefanie Berk are executive producing the series along with Fuller, Green, Slade and Neil Gaiman.

http://deadline.com/2016/03/american...rz-1201713313/

Last edited by dad1153; 03-02-2016 at 11:04 PM.
dad1153 is offline  
post #7988 of 33067 Old 03-02-2016, 10:14 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV/Business Notes (Digital)
PlayStation Vue gets price cut plus ABC, ESPN
By Mike Snider, USA Today - Mar. 2, 2016

Sony's PlayStation Vue online video service is getting a price cut and a content upgrade, gaining ABC, ESPN and channels from Disney.

But you still need to reside in the streaming TV service's limited list of cities in which it is available so far: Chicago, Dallas, Miami, L.A., New York, Philadelphia and San Francisco.

PlayStation Vue, which Sony launched 11 months ago for PlayStation 4 and PS3, has a new basic monthly rate of $39.99, a $10 price cut. That package includes more than 60 channels. Packages with more than 75 channels ($44.99) and 100 channels ($54.99) also have a $10 lower monthly subscription cost.

Local ABC stations will be added today to Vue's current live broadcasts from local affiliates for CBS, Fox, NBC and Telemundo for subscribers in New York, L.A., Chicago, Philadelphia and San Francisco. On-demand ABC programming expected to be announced at a later date for the other two cities (Dallas and Miami) in which PlayStation Vue is currently available.

Also added to the $39.99 package today are ESPN and ESPN 2, as well as Disney Channel, Disney Junior, Disney XD and Freeform. New on the $44.99 package: ESPNU, ESPNEWS and SEC Network. New on the $54.99 package: Fusion.

The service's robust pay-TV offering currently includes channels such as Comedy Central, CNBC, Discovery Channel, FX, Fox Business and Fox News Channel, USA Network, Food Network, Nickelodeon, TBS and USA. Higher-priced tiers add channels such as IFC, Palladia, Sundance and regional sports networks.

Amazon devices can be used to subscribe to PlayStation Vue and users can stream content inside and outside the home across multiple devices including Amazon Fire TV, Google Chromecast, iPhones and iPads.

http://www.usatoday.com/story/tech/n...espn/81201964/
dad1153 is offline  
post #7989 of 33067 Old 03-02-2016, 10:20 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV/Critic's Notes (Broadcast)
'Black-ish' and 'American Crime' Are the Best Shows on Broadcast TV
By Daniel Fienberg, The Hollywood Reporter - Mar. 2, 2016

As the controversy about the film world's whiteness rages on, ABC has very quietly assembled an implicit corrective: a pair of shows, Black-ish and American Crime (airing back-to-back on Wednesdays at 9:30 and 10 p.m., respectively), that grapple with issues of race, are models of diversity both behind and in front of the camera, and, in the process, have become the very best series on network television. Hollywood would be wise to pay attention.

Their approaches couldn't be more different: American Crime is an hourlong drama with enough heart to earn viewers' tears; Black-ish is a half-hour comedy whose razor-sharp humor generates laughs aplenty. What they have in common is their fearlessness in tackling American demons that have proven stubbornly difficult to tame and their willingness to allow their fiction to creep uncomfortably close to the realm of reality.

When it premiered in September 2014, Black-ish largely explored African-American identity via traditional sitcom plots: Rainbow's (Tracee Ellis Ross) struggles to relate to her mother-in-law, Ruby (Jenifer Lewis); Dre's (Anthony Anderson) inability to get the family to join him in Halloween pranks; and various other broadly relatable, light-hearted scenarios.

But gradually, steered by showrunner Kenya Barris, Black-ish has become fiercer and more focused in its commentary. It has woven the debate over gun control, the use of the N-word, the role of the church and the barber shop in African-American communities, and much more into its storylines. It has alternated smartly between debunking stereotypes and playing with them for comic effect (see Dre's recent refusal to let his neighbor believe he couldn't swim, only to nearly drown in her pool). And as it's grown braver, the series has flaunted increasingly superb acting by Anderson, Ross, Laurence Fishburne, Lewis and a juvenile ensemble that's second to none on TV (Marcus Scribner's nerdy Dre Jr., Yara Shahidi's popularity-hungry Zoey, Marsai Martin's wicked Diane and Miles Brown's dim-but-upbeat Jack).

The kids were front and center in the powerful and much-discussed episode (entitled "Hope") that aired Feb. 24, in which a pending verdict in a fictionalized case of police brutality led to a 22-minute discussion on the fraught relationship between people of color and the police.

Black-ish has always kept the focus on laughs, even when dealing with painful subjects. But in this episode, the balance tipped. There may have been jokes about Peabo Bryson and O.J. Simpson, but the episode was a sobering and clear-eyed consideration of a stinging reality: that the Johnson family's pleasant, upper-middle-class enclave can't shelter them, emotionally and psychologically, from certain injustices.

Directed by Beth McCarthy-Miller, "Hope" felt more didactic than usual, but intentionally so, full of "teachable moments" and, at times, real emotion. That said, it was still Black-ish; the kids all reacted to the case in character-specific ways, proving that this is a show that can get serious, even earnest, without losing itself in all the good intentions.

I wouldn't be surprised if some viewers were upset that Black-ish dared to go there without the more comforting cushion of comedy, or perhaps that Black-ish dared to go there at all. And while I don't think the series should put out a "very special episode" every week, or even every month, "Hope" was an example of how the show has used race to challenge and push itself — to flex its muscles.

American Crime's boldness also is paying off in a big way. Creator John Ridley looks at television-making the way a savvy tourist looks at a Las Vegas buffet, filling his plate with the richest offerings and rarely worrying about the downside of excess. In the anthology series' first season, Ridley took on the black-and-white divide in the legal system, as well as our growing religious schism, and the results sometimes slid into off-putting melodrama. In the far superior second season, Ridley has been even more aggressive in reaching for big issues, but his grasp has grown firmer and more confident. He kicks off the season with a scholarship student at an Indiana prep school accusing a player on the basketball team of rape, then expands it, fascinatingly, to explore the way economic disparities impact education and become intertwined with racial frictions.

Ridley likes dealing in ironies and reversals, so in season two of American Crime, it's the attractive blond cheerleader who's a drug dealer, the African-American family that's affluent and Regina King's character (the mother of one of the implicated students) who has the chummy relationship with the police. Meanwhile, the white characters played by Lili Taylor and the remarkable Connor Jessup (as a single mother and her maybe-victimized son) discover how easily their community dismisses its less wealthy members. The accuser finds himself ejected from a world in which money seems to erase racial divisions and plunked down in a public school where black, white and Latino students are pitted against one another.

If the first season sought to show how scorchingly close to the surface issues of race remain when it comes to matters of justice in America, the second season has plunged deeper, suggesting how those same issues are a bit more insidiously buried — but still ever present — in our education system.

Like Black-ish, American Crime seeks to instigate tough conversations, taking the rawest ripped-from-the-headlines stories, demanding we examine our own assumptions, and not always giving us the comforting comedic or dramatic beats we crave. It also comes closer than most series out there to all-encompassing demographic representation — though, to the show's great credit, nobody is a token, and nobody speaks for everybody.

Excellence aside, are these shows the game-changers they deserve to be? Thanks in no small part to its Modern Family lead-in, Black-ish is a success, but doesn't get the ratings of a Big Bang Theory or the Emmy attention of its cable and streaming brethren. And while American Crime netted a supporting actress Emmy for Regina King, that attention and strong reviews haven't helped it generate much of an audience.

Too bad. Not only are these shows the best broadcast television has to offer right now — they're also exactly the right shows at exactly the right time.

http://www.hollywoodreporter.com/fie...merican-871604
dad1153 is offline  
post #7990 of 33067 Old 03-02-2016, 10:25 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
No political comments, please!

TV/Critic's Notes
There’s truth behind the fiction of ‘West Wing,’ ‘Veep’
By Matthew Gilbert, Boston Globe

As I’ve been watching this campaign season — strike that — campaign year unfold, and seeing the gaffes turn to GIFs in the 24-hour news cycle, and noticing all the ferocious strategizing, the obsession with optics, and the war for spin, such as when Hillary Clinton dramatically made an exit stage left to Flint, Mich., before her certain New Hampshire primary loss, or when Donald Trump stole the show by not showing up at Fox News’ January debate, I think about “The West Wing.”

I think about “The West Wing” and even more about “Veep,” and it brings me inside the meetings, gives me visuals of the cynical machinations and desperate damage control that occur behind the news items that reach our breakfast tables and tablets. Lately, as our political universe has undergone its own kind of climate change, as the vying between candidates has moved from chill civility to overheated grammar school squabbling, and as the campaigns attack one another like drone pilots in a media sky, I’ve been having a renewed appreciation of what a good political TV series can do.

Sure, we can watch documentaries that go inside our national game of thrones, that show us political operatives in full peacock display. They can certainly help us envision the real time between photo ops. The best of them include the in-depth view of Bill Clinton’s 1992 presidential campaign, “The War Room,” and the 1960 film “Primary,” a primitive close-up of John F. Kennedy and Hubert Humphrey during the Wisconsin primary.

But, as so much art has shown, there are truths that can be revealed and unpacked most effectively through fiction, when the creators are unhindered by facts and access. For example, “Veep” takes us into the rooms where some White House staffers have been sent to lobby against their boss President Meyer’s unpopular Families First bill, to keep her in the running for reelection. It’s the kind of absurdly twisted activity — being sent by your boss to undermine your boss — that we’d probably never get to watch unfold in a documentary, and yet we know it, or something close to it, has probably happened.

And yes, there are scripted films that provide us with graphic looks at political game-playing — “The Candidate,” “Bob Roberts,” and “Wag the Dog” are among the best. Like political TV shows, they help our imaginations color in between the familiar lines of the news. They use humor and irony to tease out unseemly realities.

But TV shows such as “Veep” have the benefit of time; the movies can’t quite as effectively capture the ordinariness of so many of the players and the endlessness of some of their ploys. Television shows have the length, with the passage of seasons and years, to drive home the pure banality of political work and workers, the hours and days between events, the layers of bureaucracy that mire the system, and the long-term patterns that afflict the participants. On the news, we see selected high-profile moments in the lives of real political players, while on “Veep” we get long-form looks at invented people to the point where they seem more dimensional, more human, more real.

Conveniently, as the presidential campaign drags on, “Veep,” is on its way back, with the fifth season premiering on HBO on April 24. The show is a fearless realization of backstage D.C., from the candidates to their chiefs of staff to their press spokesmen to their personal aides. Obviously, it’s a rabid satire, as the writers lift the curtain on how self-interest drives decision-making. But it’s loaded with harsh realities, as any good satire is. There is nothing Donald Trump could do or say right now that wouldn’t fit in effortlessly in an episode of “Veep.” And “Veep” doesn’t just go after D.C.’s windbags and shrewd engineers; the ridicule on “Veep” extends to voters, who seem as fickle as any of the other participants in our political realm.

Netflix’s “House of Cards” returns, too, on March 4, but it’s not a sharp look at political process so much as an overheated jumble.

“The West Wing” lands on the opposite end of the sincerity spectrum from “Veep,” but it nonetheless has given us an indelible portrait of what goes on behind closed doors. The show, which ran from 1999-2006, gave us a glimpse at a government shutdown over budget issues. The show also gave us a view onto the intense chess game that ensues in naming a new Supreme Court justice, a game that has just begun in the wake of Justice Antonin Scalia’s death. Of course, series creator Aaron Sorkin infused his story lines with optimism, and his characters — particularly President Bartlet, but also most of Bartlet’s staffers — were fairly heroic. But we nonetheless get to watch them continually work through the ongoing tensions between political gain and morality. Like “Veep,” “The West Wing” gives us that general, colorful sense of having been there and seen that.

http://www.bostonglobe.com/arts/tele...aAM/story.html
dad1153 is offline  
post #7991 of 33067 Old 03-02-2016, 10:32 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV Review (Broadcast)
ABC's ‘The Family’
By Brian Lowry, Variety.com - Mar. 1, 2016

Representing every parent’s nightmare, abducted, murdered or missing children have become a potent if emotionally manipulative catalyst for TV drama — from “The Killing” and “Broadchurch” to “Secrets and Lies” and “The Missing.” Most closely resembling that last Starz premise, ABC’s “The Family” involves a child’s disappearance throwing a family into chaos, as does his mysterious return a decade later, exposing plenty of secrets and more than a few lies. Distinguished by a top-flight cast, including Joan Allen and Andrew McCarthy, this soap is a slow but reasonably compelling burn, with abundant possibilities wrapped in its opening hours.

ABC is hoping to plant the hook quickly, not just by promoting the premiere during the Oscars but also by introducing the show in “Scandal’s” time slot, followed days later by the second episode in its regular Sunday berth. By then, viewers should have a pretty fair idea of how drawn in they are, or not, by the story of Adam (Liam James), who suddenly vanished, leaving a lot of unanswered questions and suspicions when he unexpectedly turns up.

Like “The Missing,” “The Family” oscillates between two time frames, in the present day finding Claire Warren (Allen) as a politically ambitious mayor looking to run for governor. Her brood includes Claire’s husband (Rupert Graves), who wrote a book about the family’s ordeal; and two kids, an eager-to-please daughter (Allison Pill) and party-boy son (“Friday Night Lights’” Zach Gilford), clearly bearing emotional scars from what transpired.

The web of collateral damage extends beyond the family, too, among them the neighbor (McCarthy) who went to prison for the child’s murder despite the absence of a body — now seemingly exonerated, but still carrying the anger and stigma — and the young detective (“Boardwalk Empire’s” Margot Bingham) who caught the case originally and must now try to decipher what actually happened. (Bingham is fine, but this is another one of those bits of casting that, given her age, makes you think she must have been about 12 when she earned her badge.)

While a certain level of overlap is inevitable, the recent pileup of these shows is such that, as in “Broadchurch,” an unprincipled young female reporter (Floriana Lima) figures in the plot, willing to do pretty much anything to get the story. There’s also an element of the movie “Changeling,” inasmuch as there are subtle differences and lapses in this now-teenage boy, causing his brother, at least, to question whether Adam is who he professes to be.

From a broader perspective, “The Family” comes at an interesting juncture for ABC, which has raised the bar creatively speaking with “American Crime,” while some of its frothier serials are showing signs of wear and tear, both creatively and commercially. At first blush, this effort — created by Jenna Bans, a graduate of ABC’s Shonda Rhimes drama academy, including “Scandal” — would appear to fall somewhere between the two, displaying admirably surprising character beats (or in the eyes of the network’s promo department, “’OMG’ moments”) without as yet demonstrating how it will hold those threads together as the narrative progresses and disgorges more of its central mystery.

Two hours in, “The Family” is thus off to a reasonably good start, without having completely separated itself from Adam’s situation. Because while the show looks the part of a quality drama, it’s too early to say if it’s really the genuine article or just another in a long line of imposters.

'The Family'
ABC, Thur. March 3, 9 p.m.


http://variety.com/2016/tv/reviews/t...bc-1201713738/
dad1153 is offline  
post #7992 of 33067 Old 03-02-2016, 10:36 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV Review (Broadcast)
Fuller House Renewed for Season 2
By Michael Ausiello, TVLine.com - Mar. 1, 2016

That was fast: Fuller House has already been renewed for a second season.

Netflix made the announcement Wednesday morning on Twitter (see below). The pickup comes less than a week after the release of the much-hyped reboot’s 13-episode first season.

Fuller House ✔ ‎@fullerhouse
Your list will get even fuller.

Season 2. Coming soon to @net flix. #FullerHouse 👍❤️🏠
9:00 AM - 2 Mar 2016


The Fuller House premiere picks up more than two decades after the events of Full House‘s series finale, on the occasion of a Tanner family reunion. The get-together — which includes everyone but Michelle, whose absence is explained via a fourth wall-breaking joke — inspires DJ (Candace Cameron Buré), now a widowed mother of three, and Stephanie (Jodie Sweetin), a jet-setting deejay with no children or roots whatsoever, to move back into their childhood house. Kimmy Gibbler (Andrea Barber), now a professional party planner, also makes herself at home.

TVLine readers gave Season 1 an average “B” grade.

http://tvline.com/2016/03/02/fuller-...son-2-netflix/
dad1153 is offline  
post #7993 of 33067 Old 03-02-2016, 10:48 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
No politcal comments, please!

TV Review (Cable)
‘The Circus’ Is Reality TV for a Reality-TV Presidential Race
By James Poniewozik, The New York Times - Mar. 3, 2016

The 2016 election already has a reality-host front-runner and reality-TV trash-talking. It’s only fitting that it should also have its own reality show.

Showtime prefers to call “The Circus: Inside the Greatest Political Show on Earth,” which airs Sunday nights, a “documentary series.” You could argue that “reality TV” applies to programs whose producers put people in a contrived environment and impose a narrative on the results.

Then again, what else is politics? As the series’ own subtitle suggests, the campaign is all about performance, artifice and storytelling. Cheerfully cynical yet with a sincere appetite for the game, “The Circus” is both a document and an example of the superficiality of today’s elections. It may not be a three-dimensional picture, but it’s a vivid one.

Our guides on this weekly travelogue are Mark Halperin and John Heilemann, hosts of Bloomberg Television and MSNBC’s “With All Due Respect.” With the cowboy-hatted former George W. Bush adviser Mark McKinnon — and in the Feb. 28 episode, Alex Wagner of MSNBC — they’ve trailed the campaigns from Iowa to South Carolina and beyond, digesting the week’s events along with the local fried chicken.

Mr. Halperin and Mr. Heilemann co-wrote “Game Change” and “Double Down,” the best-selling post-mortems of the 2008 and 2012 elections. (Each episode of “The Circus” is organized by a theme — “Fear and Loathing,” “Confidence Game” — that suggests they’re road-testing titles for a sequel.) Like those books, “The Circus” is interested more in tactics than ideology.

So it will show you who is squabbling with whom, but not explain their differences on the issues. It will show you candidates accusing each other of lying, but not adjudicate who’s right or whose lies are more consequential. It’s micro-focused on the messaging battle to win the day, the hour, the minute. (When Hillary Clinton imitates a dog in a campaign speech, Mr. Halperin’s ears perk up: “That dog bark — that’s going to get a lot of attention!”)

Still, if “The Circus” is horse-race journalism, it’s a far better-produced racing form than most others at the track.

Despite its grand subtitle, it’s best at using its insider entree to make the campaign intimate. As Jeb Bush’s once-imposing campaign wobbled to an end, the crowds and media coverage dwindling, there was a poignant moment: Mr. McKinnon met his old boss, the former president, pulling up to a campaign stop for his brother. Mr. Bush said he’d been listening to “Centerfield” by John Fogerty — “Put me in coach, I’m ready to play” — even as we knew he would be pitching in Jeb’s final inning.

Watching “The Circus” feels like getting sneaked into a private club. On Bernie Sanders’s campaign plane, Mr. Heilemann initiated us into a ritual: rolling an orange with a question written on it up the aisle toward the candidate’s seat, in hopes he’ll scrawl an answer and roll it back. (What should Donald J. Trump’s tax rate be? “Very high,” replied the orange.)

Unfolding in real time, “The Circus” documents the campaign as a living, evolving process. As Super Tuesday approached, you could feel the shift from romantic retail politics to a national blitz. The episodes are structured chronologically, and they can feel rushed to cram in breaking events. Assuming the next episode covers Super Tuesday and its aftermath this week, it will have a lot to fit in.

But it’s an impressive production for one thrown together quickly. The shot composition is striking; at a Trump event in Nevada, the camera framed the candidate, tucked in a corner of the screen, against a roaring sea of supporters. We’d already seen this rally in news clips — it’s the one where Mr. Trump said he’d like to punch a protester in the face — but here the scene looked raging, primal.

Mr. Trump is a presence even when offscreen, confounding campaign hands and analysts alike. There’s a paradox to “The Circus.” On the one hand, its makers have had incredible luck and timing: After Super Tuesday, Republican insiders were seriously discussing, and even hoping for, a modern brokered convention, something that had been relegated to speculative novels and political reporters’ wistful dreams. On the other hand, the premise of the show is that these seasoned pros will explain to you the way things always work, yet they’re covering a black-swan election in which old rules no longer apply.

Maybe for that reason, “The Circus” is a kind of reassuring sanity break for politics nerds. There may be treacherous currents roiling this election, unknowable changes to come. But for one sharp half-hour every week, it’s all just a show.

http://www.nytimes.com/2016/03/03/ar...elevision&_r=0
dad1153 is offline  
post #7994 of 33067 Old 03-02-2016, 11:03 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Media/Business Notes
Iconic film studio Miramax sells to Doha-based beIN Media Group
By Nigel M. Smith, TheGuardian.com - Mar. 2, 2016

Miramax, the company founded by Harvey and Bob Weinstein that released Oscar-winning classics like Pulp Fiction, Shakespeare in Love and The English Patient, has sold to Doha-based beIN Media Group for an undisclosed sum.

beIN Media Group is a global media company best known for the beIN Sports network, which provides exclusive access to prime sport competitions.

The sale, officially announced today, doesn’t come as a huge surprise: in November, Bloomberg News reported it being in the works, with the broadcaster reportedly eager to expand from a sports-focused brand to general entertainment programming.

Founded by the Weinstein brothers in 1979, Miramax defined the independent film scene in the ‘80s and early ‘90s thanks to the success of cross-over hits like sex, lies, and videotape and Reservoir Dogs. It sold to Disney in 1993 – Pulp Fiction was one of the first films released by studio following its sale. Miramax also successfully brought large numbers of overseas art films to US cinemas, including Cinema Paradiso, The Double Life of Veronique and Farewell My Concubine.

In 2005, the brothers left to form The Weinstein Company, after Disney refused the company permission to distribute Michael Moore’s anti-George Bush documentary Fahrenheit 9/11. Under The Weinstein Company, the pair produced Oscar winners like The King’s Speech and The Artist.

Disney offloaded the business to a consortium of investors in 2010, including Qatar Investment Authority and Colony Capital, for $660m.

Miramax still owns the rights to its library of 700 titles, which collectively boast 278 Academy Award nominations and 68 Oscars. Shortly before its move from Disney, the studio prioritized monetizing its catalog of films over backing new productions – but in recent years, the company has re-entered the arena, most recently releasing Mr Holmes and The Wedding Ringer. Titles slated to open this year include Bad Santa 2, Bridget Jones’s Baby and the Sundance acquisition, Southside With You, that documents the first date between Barack and Michelle Obama. Miramax’s television show From Dusk Till Dawn: The Series, is meanwhile heading into its third season.

In a statement, Steve Schoch, CEO of Miramax, said: “Miramax’s growing 2016 slate is a testament to the incredible work of the team thus far to build on the proud Miramax legacy. In concert with beIN leadership, we look forward to further expanding our film and television output, broadening our distribution capabilities and fortifying our position as the premiere independent studio brand.”

Commenting on the transaction, Nasser Al-Khelaïfi, Chairman and Chief Executive Officer of beIN Media Group, added: “We are extremely excited to have achieved this key milestone within our strategy. Miramax is a successful film and television company, providing a strong and recognizable brand, a unique library and industry expertise that complement beIN Media Group’s plans to grow across the entertainment industry and develop new content production. As part of beIN Media Group, we will support Miramax in continuing to build this exciting platform.”

According to Variety, Miramax layoffs are not expected as part of the sale and the management team will remain in place.

http://www.theguardian.com/film/2016...io-acquisition
dad1153 is offline  
post #7995 of 33067 Old 03-02-2016, 11:17 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV Notes
On The Air Tonight
THURSDAY 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 - Grey's Anatomy
9PM - The Family (Series Premiere)
10PM - How To Get Away With Murder
* * * *
11:35PM - Jimmy Kimmel Live! (Jason Bateman; Aja Naomi King; CeeLo Green performs)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
(R - Nov. 12)
8:31PM - Life in Pieces
9:01PM - Mom
9:30PM - 2 Broke Girls
10PM - Elementary
* * *
11:35PM - The Late Show With Stephen Colbert (Christopher Meloni; Mary Elizabeth Winstead; Medal of Honor recipient Edward Byers; Ray Lamontagne performs)
12:37AM - The Late Late Show With James Corden (Gerard Butler; Will Forte; M. Ward performs)

NBC:
8PM - You, Me and the Apocalypse
9PM - Blindspot
(R - Feb. 29)
10PM - Shades of Blue
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Musician Pharrell Williams; Priyanka Chopra; Loretta Lynn performs)
12:37AM - Late Night With Seth Meyers (Tina Fey; John Stamos and Jay Pharoah; Patrick Carney sits in with the 8G Band)
1:37AM - Last Call With Carson Daly (Mary Elizabeth Winstead; Day Wave performs; Mike Luciano and Phil Matarese)

FOX:
8PM - American Idol (120 min., LIVE)

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour (R - Feb. 4)
9PM - A Year in Space
(R - Mar. 2)
10PM - Antiques Roadshow: Charleston
(R - Feb. 29)

UNIVISION:
8:02PM - Antes Muerta que Lichita
9:03PM - Pasión y poder
10:04PM - El Hotel de los Secretos

THE CW:
8PM - DC's Legends of Tomorrow
9PM - The 100

TELEMUNDO:
8PM - ¿Quién es quién?
9PM - Eva la Trailera
10PM - La Querida del Centauro

COMEDY CENTRAL:
11PM - The Daily Show with Trevor Noah (Mayor of New York City, Bill de Blasio)
11:31PM - The Nightly Show with Larry Wilmore (Michael Kenneth Williams)
12:01AM - At Midnight with Chris Hardwick (Guests TBA)
12:31AM - Adam Devine's House Party: Wedding in Paradise

TBS:
11PM - Conan (UFC star Conor McGregor; comedian Dave Attell; musician BJ the Chicago Kid performs)
dad1153 is offline  
post #7996 of 33067 Old 03-02-2016, 11:24 PM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Media/Business Notes (Digital)
Verizon, Hearst team for millennial video venture
By Mike Snider, USA Today - Mar. 2, 2016

Wireless giant Verizon is teaming up with Hearst to make mobile videos that appeal to millennials.

The new venture, Verizon Hearst Media Partners, will develop video channels for Verizon's go90 mobile video service and other outlets including Verizon-owned AOL. The joint venture will be a 50/50 partnership, with each company having a 50% stake and making its resources available to the venture.

"Verizon Hearst Media Partners represents the next step in the development of our media strategy, which is focused on disruption that is occurring in digital media, content distribution and ad tech, and involves building a video platform for digitization, formatting, delivery and commerce," said Brian Angiolet, Verizon’s senior vice president of consumer product and marketing, in a statement.

The first two channels, expected to launch this spring, are RatedRed.com, a middle America-focused news and entertainment source, and Seriously.TV, a comedy news channel.

Verizon launched its free, ad-supported go90 mobile service for Verizon Wireless customers in October 2015. Programming includes episodes of The Daily Show with Trevor Noah, news from HuffPost Live, Univision, Vice and Nerdist News.

http://www.usatoday.com/story/tech/n...ture/81222412/
dad1153 is offline  
post #7997 of 33067 Old 03-03-2016, 10:03 PM
DTN
Senior Member
 
DTN's Avatar
 
Join Date: May 2007
Posts: 213
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 11 Post(s)
Liked: 22
Nielsen Ratings
CBS Wins February Sweep In All Measures
By DuMont - March 3, 2016

After 28 nights of the 2016 February Sweep, the Eye has swept to victory in all measures, with ABC second in the demo, and FOX edging out NBC for third place in A18-49s by a mere teensy weensy basis point. CBS also easily won the race for household dominance and most watched in P2+ viewership.

2016 February Sweep - L+SD Nightly Averages

Code:
A18-49	net-	A18-49	A18-49	%	nts won	nts won	Alltime
Rank	work	2016	2015	chg	2016	2015	Record
1	CBS	3.22	1.74	85%	8.33	4	
2	ABC	1.67	2.00	-17%	10.16	11.5	
3	FOX	1.17	1.50	-22%	6.16	5	LOW
4	NBC	1.16	3.09	-62%	3.33	7.5	
5	UNI	0.70	1.10	-36%			LOW since 2005
6	CW	0.60	0.63	-5%			
7	Tele	0.42	0.50	-17%			
8	ION	0.32	0.27	21%			
9	Boun	0.11	0.07	41%			HIGH
10	MeTV	0.08	0.07	2%			HIGH
11	Cozi	0.03	0.02	54%			HIGH
T	total	9.47	11.00	-14%	28	28	

HUT	net-	HUT	HUT	%	nts won	nts won	Alltime
rank	work	2016	2015	chg	2016	2015	Record
1	CBS	7.3	5.9	23%	20	16	
2	ABC	4.0	4.4	-10%	3	3	
3	NBC	3.3	5.4	-40%	4	6	
4	FOX	2.4	2.8	-13%	1	3	LOW
5	UNI	1.1	1.5	-31%			LOW since 2005
6	CW	1.0	1.0	-2%			
7	ION	0.9	0.8	8%			HIGH (tie)
8	Tele	0.6	0.6	1%			
9	MeTV	0.4	0.4	0%			
10	Boun	0.2	0.2	33%			
11	Cozi	0.1	0.1	0%			
T	total	21.3	23.3	-9%	28	28	

P2+	net-	P2+	P2+	%	nts won	nts won	Alltime
rank	work	2016	2015	chg	2016	2015	Record
1	CBS	12.864	9.544	35%	19	17	
2	ABC	6.483	7.147	-9%	2	2	
3	NBC	5.139	10.508	-51%	4	5	
4	FOX	3.987	4.661	-14%	3	4	LOW
5	UNI	1.854	2.887	-36%			LOW since 2005
6	CW	1.588	1.640	-3%			
7	ION	1.291	1.165	11%			HIGH
8	Tele	1.118	1.159	-4%			
9	MeTV	0.589	0.555	6%			HIGH
10	Boun	0.299	0.246	22%			HIGH
11	Cozi	0.164	0.141	16%			HIGH
T	total	35.37	39.65	-11%	28	28


Gold cufflinks at Black Rock for the victors in the 2016 February Sweep!
dad1153 and Nayan like this.
DTN is offline  
post #7998 of 33067 Old 03-04-2016, 05:45 AM
AVS Forum Club Gold
 
mrvideo's Avatar
 
Join Date: Jun 2003
Location: Madison, WI
Posts: 8,352
Mentioned: 2 Post(s)
Tagged: 0 Thread(s)
Quoted: 1250 Post(s)
Liked: 930
Quote:
Originally Posted by dad1153 View Post
TV/Nielsen Notes (Broadcast)
For ‘Mysteries,’ one big one in particular
And that mystery is, will the drama return for a third season?
By Louisa Ada Seltzer, Media Life Magazine - Mar. 2, 2016

But if development is weak, it will stick with “Mysteries.” While it’s far from a sure thing, at least the network knows its limitations ahead of time.
I really hope that NBC keeps this show, as I really love it. Sucked that it was only 16 episodes.
DoubleDAZ and kjpjr like this.

"VCR was in the closet. Still works. Can't get the clock to stop blinking, though."
Angela - Animal Kingdom - 7/16/19
My 2017 Total Solar Eclipse Photos
mrvideo is offline  
post #7999 of 33067 Old 03-04-2016, 05:50 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV Notes (Broadcast)
ABC Gives Early Renewals To 15 Series, Leaves ‘Castle’ & ‘Nashville’ On the Bubble
By Nellie Andreeva, Deadline.com - Mar. 3, 2016

In one of her first programming moves since becoming president of ABC Entertainment, Channing Dungey has given early renewals to the bulk of the network’s established series. The list includes 15 series, including one freshman, breakout drama Quantico. It is joined by Shondaland dramas Grey’s Anatomy, Scandal and How To Get Away with Murder; dramas Once Upon a Time and Marvel’s Agents of S.H.I.E.L.D.; comedies Fresh off the Boat and the entire Wednesday lineup of The Goldbergs, Modern Family, Black-ish and The Middle and reality stalwarts Dancing with the Stars, The Bachelor, Shark Tank and America’s Funniest Home Videos.

Not on the list are veteran procedural Castle, whose renewal is contingent on making a new deal with star Nathan Fillion. There had been preliminary conversations, but I hear talks paused when the changeover at the top of ABC happened and are expected to resume with new entertainment president Dungy.

Nashville season 3 key artAlso not making the early renewal cut are several bubble shows, drama Nashville, now in its fourth season, freshman comedy The Muppets and sophomore “bridge shows” Agent Carter, whose star Hayley Atwell already was recruited for an ABC pilot, Conviction, and Galavant.

Also MIA are Friday multi-camera comedies Last Man Standing and Dr. Ken, both of which have performed solidly on the night. The renewal of veteran Last Man Standing, which comes from 20th TV, has traditionally come down to the wire as the two companies wrangle over financial terms.

The 15 early orders are in stark contrast to the MO employed by Dungey’s predecessor Paul Lee, who would hold off on all renewals — even of the network’s biggest shows — until the Thursday or Friday before upfront week. Early renewals are welcomed by showrunners and studios as they provide security, allowing them to lock in key writers for next season and spend more time planning the show’s creative direction.

“We’re very proud of our strong roster of performers, and we’re excited about what they will bring us creatively next season,” said Channing Dungey, President, ABC Entertainment.

Quantico, starring Priyanka Chopra, has been breaking DVR records with triple-digit lifts.

Despite year-to-year declines, ABC’s Shondaland Thursday remains arguably the most potent all-drama lineup on broadcast TV.

Once Upon a Time, which is marking its 100th episode this spring, has been slipping in the ratings but remains a solid DVR gainer. It also is among the shows with strongest synergy ties to the Disney brand, featuring many of the popular Disney fairytale characters.

The Goldbergs, coming off its well-rated Dirty Dancing-themed episode last night, has been a success story for ABC. The Sony TV comedy had a rough start on Tuesday, paired with Marvel’s Agents of S.H.I.E.L.D. in its first season, but has excelled since relocating to the Wednesday comedy block at the beginning of Season 2.

Ditto for Fresh Off the Boat, another sophomore comedy success for the network.

Here are descriptions of all newly renewed ABC series: [CLICK LINK BELOW TO READ INDIVIDUAL PROGRAM DESCRIPTIONS]

http://deadline.com/2016/03/quantico...bc-1201713926/
dad1153 is offline  
post #8000 of 33067 Old 03-04-2016, 05:54 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Interesting article worth reading AND for the pictures included.

Technolgy Notes (HDTV)
What Causes OLED Burn-in and How Do I Fix It?
By Lee Neikirk, Reviewed.com

[CLICK LINK BELOW]

http://televisions.reviewed.com/feat...ampaign=collab
Nayan likes this.
dad1153 is offline  
post #8001 of 33067 Old 03-04-2016, 06:05 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Nielsen Overnights (Broadcast)
Solid bow for double shot of ‘The Real O’Neals’
New sitcom draws a 1.9 in 18-49s for first episode and a 1.8 for second
By Toni Fitzgerald, Media Life Magazine - Mar. 3, 2016

You can’t ask for a better start than airing two episodes behind a network’s top two comedies, and that’s what “The Real O’Neals” got on Wednesday night.

With sneak previews airing at 8:30 behind “The Goldbergs” and at 9:30 behind “Modern Family,” ABC’s new “O’Neals” posted decent numbers.

The challenge will be continuing to draw good ratings when it moves into its much less favorable regular timeslot, Tuesdays at 8:30.

The first episode of “O’Neals” drew a 1.8 adults 18-49 rating, according to Nielsen, retaining 90 percent of “Goldbergs’” 2.0 lead-in.

At 9:30, “O’Neals” grew to a 1.9, thanks to an even bigger lead-in from “Family,” the night’s top show with a 2.6, up a tenth from last week.

“O’Neals,” about a Catholic family dealing with some big issues, will air regularly behind “Fresh Off the Boat” on Tuesday. “Boat” is averaging a 1.4 this season.

Elsewhere on Wednesday night, Fox’s “Rosewood” returned from a three-month layoff to a series low. The show posted a 0.9 rating, down half a point from its most recent episode in December.

It was hurt, of course, by the fact that its usual lead-out, top-rated Fox show “Empire,” is on hiatus.

CBS’s “Survivor” grew to a season-high 2.2 at 8 p.m., winning the hour. That lifted lead-out “Criminal Minds” to a 1.9, up a tenth from last week.

At 10 p.m., “CSI: Cyber” took over the slot vacated last week by “Code Black” and delivered a 1.2, up 35 percent from its most recent episode in its usual timeslot, Sundays at 10 p.m.

NBC’s “The Mysteries of Laura” drew a 1.2 for its season finale, matching a season high and equaling its best rating in a year.

Lead-out “Law & Order: Special Victims Unit” grew a tenth from last week, to a 1.6.

* * * *

Top show of the night in 18-49s

ABC’s “Modern Family,” 9-9:30 p.m., 2.6 rating.

Top show of the night in 25-54s
ABC’s “Modern Family,” 9-9:30 p.m., 3.3 rating.

Top show of the night in total viewers
CBS’s “Criminal Minds,” 9-10 p.m., 9.22 million.


[CLICK LINK BELOW TO SEE COMPLETE OVERNIGHT RATINGS FOR WEDNESDAY]

http://www.medialifemagazine.com/sol...e-real-oneals/

* * * *

TV Notes
Best Bets: The Underwoods return
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Mar. 4, 2016

FRIDAY

Best bet on broadcast
: Netflix, “House of Cards,” 3 a.m. Season premiere.
The drama’s fourth season becomes available.

Best bet online: Food Network, “Guy and Hunter’s European Vacation,” 10 p.m. Season finale. Guy and Hunter try dishes in both London and Spain.

Top sporting event: Azteca, “Liga MX Soccer,” 10:30 p.m. Match between Tijuana and León should help the network easily surpass its usual nightly viewer average.

SATURDAY

Best bet on broadcast
: NBC, “Saturday Night Live,” 11:30 p.m.
Actor Jonah Hill serves as host, with musical guest Future.

Best bet on cable: Discovery Channel, “MythBusters,” 8 p.m. Series finale. The guys bust myths for a final time before an hour-long reunion episode.

Top sporting event: ESPN, “College Basketball,” 6:30 p.m. A huge rivalry game between No. 8 North Carolina and No. 17 Duke, with UNC’s top seed in the ACC tournament on the line.

SUNDAY

Best bet on broadcast
: PBS, “Downton Abbey,” 9 p.m. Series finale.
Thomas finds a job, Henry and Tom go into business together, and Carson deals with health issues.

Best bet on cable: E!, “I Am Cait,” 9 p.m. Season premiere. Cait takes a road trip with her friends, during which they grill her on a number of topics.

Top sporting event: CBS, “College Basketball,” 4:30 p.m. A key Big Ten battle between No. 14 Maryland and No. 12 Indiana.


http://www.medialifemagazine.com/wee...rwoods-return/
dad1153 is offline  
post #8002 of 33067 Old 03-04-2016, 06:11 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV/Business Notes (Digital)
Media firms make a big push into video streaming
By Meg James, Los Angeles Times' 'Company Town' Blog - Mar. 3, 2016

Scrambling to keep pace with consumer trends, established media companies are accelerating their push into the Internet video streaming business.

The trend was highlighted this week by a flurry of deals announced by major media companies, including Sony, Disney, Time Warner's HBO and AT&T.

Entertainment companies are eager to hold on to consumers considering cutting the cable cord. They also hope to appeal to consumers who live in an estimated 10 million to 15 million homes in the U.S. that have high-speed Internet access but do not subscribe to a pay-TV subscription. And they also would like to beat Internet streaming pioneers Netflix and Hulu at their own game by fashioning more robust services.

"The methods that consumers are engaging with content is changing rapidly," Tony Goncalves, AT&T Entertainment Group senior vice president for strategy and business development, said in an interview Wednesday. "And we need to make sure that we are adapting to those changes."

The Dallas phone giant this week said it will begin offering DirecTV service without a satellite dish later this year. AT&T — which last year became the nation's largest television provider with its acquisition of DirecTV — plans to offer Internet streaming services, including one service tailored for mobile phone users.

The intent is to reach new customers, including legions of young adults who have little interest in paying for a traditional TV bundle.

"We expect the number of "skinny" bundles to increase meaningfully over the coming year from new and existing distributors," media analyst Richard Greenfield said in a recent report.

Major entertainment companies also are making lucrative bets that millions of TV viewers who live outside the U.S. will want to subscribe to a branded streaming product to feed their large appetite for Hollywood shows and movies.

For example, HBO on Wednesday announced it was expanding its stand-alone Internet streaming service, HBO Now, farther into Latin America by launching services in Brazil and Argentina.

The Time Warner Inc. division already has made its streaming service available in nine markets, including Mexico, Colombia, Hong Kong, Denmark, Sweden, Norway and Finland.

"When we looked at Brazil, we saw huge opportunity there, and same with Argentina," HBO Chief Executive Richard Plepler said at an investor conference. "This is a case-by-case, follow-the-money, and think-long-term growth" strategy, he said.

Not to be left out, Disney said Wednesday that its popular ESPN and ABC networks were now available on Sony's streaming service, PlayStation Vue.

The PlayStation Vue service, launched about a year ago, is available through the tech company's gaming consoles, as well as other devices, including iPhones and iPads.

It was designed to provide its users wide access to traditional TV programming without requiring them to subscribe to a pay-TV package.

Sony hopes the addition of Disney's programming, first announced in November, will make its offering more attractive to consumers, especially those who want access to sports content.

PlayStation Vue, which is available in seven cities, including Los Angeles, said it would be cutting the monthly cost of its lowest price service to $39.99 from $49.99.

Media companies have been more aggressive about expanding into the streaming space since last summer. Since then, major entertainment companies' stock has been under pressure as investors worry about the ramifications of cord-cutting and so-called cord shaving, which is when customers trim their pay-TV offerings to save money.

During the last two years, the number of pay-TV subscribers in the U.S. has slipped nearly 3%, according to data presented this week at a Morgan Stanley investor conference in San Francisco.

"Consumers are making choices and trade-offs," said Todd Supplee, a partner in PwC's entertainment and media practice. "Consumers are dictating what they want, and they are looking for a better experience and more on-demand programming. And these companies are trying to hold their position."

AT&T has not released details about its planned new offerings, in large part because the company must hammer out agreements with its traditional programming partners.

But the company said it would introduce three streaming options during the fourth quarter of this year, including DirecTV Now, which will include many of the channels that a traditional DirecTV subscription offers today. The second option will be DirecTV Mobile to enable phone users to watch premium video on their smartphones even if they have a carrier other than AT&T Wireless.

"This is an attempt for us to bring premium video entertainment to folks who have cut the cord, are considering cutting the cord or have never even been in the pay-TV ecosystem," Goncalves said. "This is another essential step in our company's plan to redefine what the bundle means."

For AT&T, offering digital services was one of the main motivators for the company's $49 billion purchase last year for DirecTV, based in El Segundo.

Consider that AT&T now has 26 million subscribers to its TV services and an additional 130 million mobile phone subscribers.

Goncalves said AT&T believes that consumers see the value in TV channel services, particularly if they offer convenient access programming on different devices.

"Programmers, cable networks, continue to lose subscribers well in excess of overall industry cord-cutting, implying that cord-shaving is the industry's primary challenge," said Greenfield, the media analyst.

Times staff writer Ryan Faughnder contributed to this report.

http://www.latimes.com/entertainment...303-story.html
dad1153 is offline  
post #8003 of 33067 Old 03-04-2016, 06:17 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Oh, no!

Critic's Notes
What Are the Best Batches of TV Episodes? Your Pressing TV Questions, Answered
By Margaret Lyons, Vulture.com (New York Magazine) - Mar. 2, 2016

Big news, Stay Tuned readers: It's been a delightful run, but this is the final Stay Tuned column. Today is my last day at Vulture. It has been an incredible five years, and while I'm of course sad to be leaving, every Vulture has to fly away from the nest at some point. I could not be more indebted to all the wonderful people I've worked with or more grateful for all of your letters — please know I read every single one, and I have been so lucky that so many of you wanted to share your TV ideas (a.k.a. lives) with me and your fellow Vulture readers. If you've had half as much reading Stay Tuned as I've had writing it ... then we've both had a lot of fun.

Spring is just around the corner, and the rain has already started, but the great thing about spring rain as opposed to brutal winter is that it's intermittent. There'll be these four-to-eight-hour stretches where it's horrible outside, but then suddenly it's not! So what are some of the best runs of TV to watch in windows of time like this, when a whole season is too much to bite off, but you want to digest a complete story? My go-to is usually The West Wing's "17 People" through "Two Cathedrals," but I'd love to add some other streaks of great TV, too. — Zach
Oh, I love this, and that's usually the exact West Wing batch I do, too. If you have eight hours, you're in a position to delve into something new. I think the three-to-six-hour range is more fitting for a "fire up the sure things" afternoon. These recommended blocks are for rewatching purposes, not first-timers.

Sports Night: "Sally" through "Special Powers"

That's season one, episode 16, through season two, episode one — nine total episodes, but only about three and a half hours of viewing. It all starts with Casey's not-favorite shirt, the white J. Press, and goes up through the big Dana/Casey kiss. If you go further into season two, you wind up with the infuriating dating-plan nonsense, so if you wanted to pad out your viewing I'd start earlier in season one rather than go later in season two. But this really is a golden chunk right here.

Roseanne: "Thanksgiving '91" through "This Old House"

You could probably pick any nine-episode run of Roseanne from its earlier seasons and do fine, but I like this batch from season four. If Roseanne were airing today, there would be mountains of coverage about the show's radicalism: Did you know that working-class people are people? Did you know that people of all shapes and sizes have sexual identities? Did you know that teenage girls can have serious ideas? Well, contemporary TV comedies are very unlikely to depict these truths, so delve into the vault. Another important part of Roseanne's DNA is that Roseanne and Jackie are abuse survivors, and this arc revisits some of that trauma, starting with their mother revealing that their father has been cheating on her for 20 years, and ending with a visit to their now-vacant childhood home. (This resurfaces most poignantly in season five's "Wait Till Your Father Gets Home.")

Veronica Mars: "Weapons of Class Destruction" through "Leave It to Beaver"

I honestly am more likely just to watch "Class Destruction" five times, but that's my cross to bear. This is the endgame for season one, and it's really stunning how much work these episodes accomplish: We find out who killed Lilly; there's a procedural mystery being solved; Logan and Veronica get together; Veronica figures out what happened the night she was raped; and the episodes are still snappy and funny and legit. Ugh, this show is so good it sort of ruins other shows.

Homicide: Life on the Streets: "Fits Like a Glove" through "Crosetti"

These season-three episodes aired out of order, so for clarity's sake I'm talking about "Fits Like a Glove," "Extreme Unction," "A Model Citizen," "Happy to Be Here," and "Crosetti." These are some of the best hours of TV, period, and taken as a piece, you really get the depth and patience that made Homicide one of the all-time greats. There is zero jazziness to the police work — no fancy computer models, no pseudoscience, none of the ostensibly erotic intrigue that keeps contemporary cop procedurals afloat.

Lost: "Pilot (Part 1)" through "House of the Rising Sun"

These are six near-perfect episodes. It's time to rid yourself of whatever Lost baggage you might still be carrying around and find the fun of the show again. It's been long enough.

BoJack Horseman: "Horse Majeure" through "Chickens"

I don't know why nine episodes keeps feeling like the right number for comedies, but here we are. This loops the final four episodes of season one with the first five of season two, so you get both that jolting, gasping sadness of "Downer Ending" and some of the recovery from that bottoming out.

What shows should engaged parents introduce their child to growing up that would really make for a cultural education? —Lindsay
Little kids have horrible garbage taste in TV, which I can only assume is the Lord punishing parents for their sexual wickedness. But if you can get them into Adventure Time, you are both in for a real treat. It's smart and gentle and has important messages about creativity, self-acceptance, and determination.

Ten and up, if you're trying to raise a kid who's curious about art and society, you could do a lot worse than watching The Simpsons with them. They will get some of the jokes — there are still burp jokes, it's not all wry social commentary — and the ones they don't get is where you come in. "You know, there's a movie called Citizen Kane. A lot of people think it's the best movie ever made. This is a parody of that movie." Even the hardened, modern children of tomorrow can get onboard with "Marge vs. the Monorail," can't they? "Have you ever heard of The Music Man?" you ask them. Maybe they have! But maybe not, and then you go to the library and check out a crusty old DVD and maybe a piano score? Your child will be a lonely nerd singing "76 Trombones" quietly to herself for a while, but trust me: She will grow up to be a really happy adult who gets to write a really fun TV column.

http://www.vulture.com/2016/03/stay-...tv-chunks.html
dad1153 is offline  
post #8004 of 33067 Old 03-04-2016, 06:22 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV/Business Notes (Digital)
‘CBS This Morning’ Adds Viewers but Still Trails ‘GMA,’ ‘Today’ in Ratings
By Brian Flood, TheWrap.com - Mar. 3, 2016

“CBS This Morning” finished behind rivals “Good Morning America” and “Today” during the week of February 22, but it was the only network morning news broadcast to add viewers from the same period last year.

Charlie Rose, Gayle King and Norah O’Donnell’s program grew 6 percent in viewers and 11 percent in the key demographic of adults age 25-54.

ABC’s “GMA,” meanwhile, is down 17 percent in viewers and off 26 percent in the demo. NBC’s “Today” is down 7 percent in viewers and dropped 6 percent in the demo.

“GMA” averaged 5.05 million total viewers to finish first despite the year-over-year decline. “Today” won the key demo with 1.89 million viewers age 25-54, edging “GMA” (1.72 million).

“CBS This Morning” finished third in both categories even while it showed the most growth, so it seems all three networks have something to celebrate.

http://www.thewrap.com/cbs-this-morn...ay-in-ratings/
dad1153 is offline  
post #8005 of 33067 Old 03-04-2016, 06:27 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Technology Notes (Gaming)
Microsoft is turning the PC into a walled garden and 'we must fight it,' says Tim Sweeney
By Vlad Savov, TheVerge.com - Mar. 4, 2016

In an op-ed for The Guardian this morning, Epic Games co-founder Tim Sweeney has launched a withering attack on Microsoft and its Universal Windows Platform (UWP) initiative in Windows 10. "Microsoft has built a closed platform-within-a-platform into Windows 10," says Sweeney, "as the first apparent step towards locking down the consumer PC ecosystem and monopolising app distribution and commerce."

UWP is part of Microsoft's effort to create universal apps that run across all sizes and types of devices, and is closely tied to the Windows Store. Sweeney's displeasure stems from the fact that Microsoft has launched new Windows features exclusively in UWP, incentivizing developers to get on board if they want access to those features. He sees that move as forcing developers to cede control over their app distribution — which would be done through the Windows Store — and to lose their direct relationship with customers, while also "curtailing users’ freedom to install full-featured PC software."

As the developer of the massively successful Gears of War and Unreal Tournament franchises along with the Unreal Engine for game development, Epic Games is a big and influential name in the games industry. Like Valve's Gabe Newell, Tim Sweeney's name is instantly recognizable to gamers, and he will have thought long and hard before expressing such strident criticism of Microsoft's actions. "In my view, if Microsoft does not commit to opening PC UWP up ... then PC UWP can, should, must and will, die as a result of industry backlash," says the Epic Games chief.

Sweeney's editorial makes a number of strong suggestions on how UWP can be modified so that it can be embraced by developers, with the core of his argument being that third-party companies must be able to retain the right to distribute their content independently. Instead of trying to supplant Steam as the main destination for Windows games via "a series of sneaky manoeuvre," Microsoft should remember the PC's proud history of having an open ecosystem and abandon its plans to lock everything down.

Microsoft's steps toward implementing a locked-down "walled garden" approach — as made famous by Apple's iPhone software ecosystem — on the PC are meeting with stiff resistance from the people who helped make the PC, and PC gaming in particular, as popular as it is today. Microsoft's official response claims that "the Universal Windows Platform is a fully open ecosystem, available to every developer, that can be supported by any store," but Sweeney is no longer convinced by the company's words. "Microsoft’s intentions must be judged by Microsoft’s actions, not Microsoft’s words. Their actions speak plainly enough: they are working to turn today’s open PC ecosystem into a closed, Microsoft-controlled distribution and commerce monopoly."

http://www.theverge.com/2016/3/4/111...rden-criticism
dad1153 is offline  
post #8006 of 33067 Old 03-04-2016, 06:30 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Technology Notes (Study)
Google Fiber TV Subs ‘Astonishingly Low’: Analyst
By Brian Flood, TheWrap.com - Mar. 3, 2016

Google Fiber’s ambitions have drawn both bearish and bullish views from analysts, but new data from the U.S. Copyright Office shows that the initiative is not yet setting the world on fire, at least with respect to the number of video customers who have signed on so far.

Google Fiber ended 2015 with just north of 53,000 video subs, according to a blog post from MoffettNathanson analyst Craig Moffett that pointed to fresh data from the U.S. Copyright Office.

The number's a bit of a mixed bag. In Moffett's view, Google Fiber’s rate of video growth is strong, but should be stronger.

“The number of subscribers to Google's fiber service remains astonishingly low,” Moffett noted. “To be sure, the percentage growth rate for Google Fiber is still high – their video subscriber base has grown by 79% over the last twelve months – but if there is a surprise here, it is perhaps that the growth rate isn’t higher. After all, there has been a steady stream of new cities announced, and they’ve now been at it for a long time in at least a handful of markets (more on that in a moment).”

According to Moffett’s analysis, Google Fiber ended Q4 2015 with 53,390 video subs, up from 12,659 a year earlier. Among individual service areas, it ended the year with about 12,189 video subs in Kansas City, Kan., on a base of 53,925 homes in the city (22.6% penetration), a 16.8% penetration in Kansas City, Mo. (37,338 subs on a base of 221,860 homes in the city); and 8.2% penetration in Provo, Utah (2,718 subs on 33.212 homes). Google Fiber, he found, also has 941 video subs in Austin, Texas.

The addition of fewer than 12,000 subs over a six month span “for a service that has generated this kind of fanfare isn’t terribly impressive,” he said, noting that Google Fiber now represents about 5/100ths of 1% of the U.S. pay TV market. “As a stand-alone entity, Google Fiber would be approximately 1/7th the size of the smallest distribution company in our firm’s coverage, Cable One. They are 1/15th the size of Mediacom, and just over 1/70th the size of the new U.S. Altice (assuming Altice’s deal for Cablevision successfully closes).”

Of course, Google Fiber’s video numbers don’t provide the full picture of its true progress. After all, Google Fiber tends to lead with a standalone 1 Gbps service that costs $70 per month. It also offers a double-play (1 Gig and pay TV), and also offers a free basic Internet service (5 Mbps down by 1 Mbps up) to customers who spring for the $300 construction fee.

Moffett said his findings are not a suggestion that Google isn’t “doing well,” and did note that the numbers don’t factor in broadband.

“[W]e presume that Google has many more broadband subscribers than video ones. Still, this latest data is a useful barometer of just how slowly all this happens, and just how tiny Google Fiber remains in the grand scheme of things," he said.

And he is puzzled at Google Fiber’s apparent lack of progress and low penetration in Provo, where it acquired iProvo, then the area’s municipal fiber service provider, for $1, plus a pledge to complete and expand on the buildout there.

“Over the past six months, they have added exactly 65 subscribers in Provo. Yes, you read that correctly. There are no decimal places missing," Moffett wrote, while later pointing out that Google Fiber represents a large piece of Alphabet’s “other bets.”

Those other bets, which include Google Fiber and moonshot project like self-driving cars, lost $3.56 billion in 2015, alongside revenues of $448 million.

But others who watch Google Fiber closely believe that the initiative is poised to make a serious dent in the market and become a profitable enterprise.

Incumbents, Bernstein Research analyst Carlos Kirjner warned in a recent research note, should not get “too complacent” in the face of Google’s slow and limited progress so far.

In a note issued today, Kirjner noted that Alphabet and Google CFO Ruth Porat made comments at an investor conference this week reiterating that the company is taking a long-term view with Google Fiber, expecting it to morph into a sustainable, stand-alone business.

Google Fiber has also been mixing up its game plan a bit, and has begun to complementing its expanding reach by tapping into existing infrastructure (in San Francisco and Atlanta, for example), or to ride on top of municipally-owned fiber networks (as it’s set to do in Huntsville, Ala.) to accelerate its ability to offer services.

And that’s on top of Google Fiber’s commitments to deploy in Salt Lake City, Utah; Atlanta; Austin and San Antonio, Texas; Nashville, Tenn.; and Charlotte and Raleigh-Durham, N.C. It’s also mulling expansions in Chicago; Portland, Ore.; Los Angeles, San Jose, Irvine and San Diego, Calif.; Phoenix; Oklahoma City; Louisville, Ky.; and Jacksonville and Tampa, Fla.

But that’s still not enough to sway Moffett. “Over the past week, Google has made a number of splashy announcements,” he wrote. “Taken together, they have a rather provisional feel, as if the company is still experimenting. Or perhaps their goal is simply to showcase as many different models as they can think of, creating a menu of choices that they hope more and more municipalities will emulate (ideally without Google’s help).”

http://www.multichannel.com/news/nex...analyst/403032
dad1153 is offline  
post #8007 of 33067 Old 03-04-2016, 06:36 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Critic's Notes (Cable)
Letter of Recommendation: ‘Vanderpump Rules’
By Naomi Fry, The New York Times Sunday Magazine - Mar. 3, 2016

American reality television has a near-pathological focus on success. It makes no difference whether a show documents an actual competition (‘‘Survivor’’) or a milestone refigured as a competition (‘‘The Bachelor’’), or offers some version, however far-fetched, of everyday life (‘‘Keeping Up With the Kardashians’’). The trajectory is the same: relentlessly upward.

Over the last couple of years, however, I’ve found an exception to this tendency in the Bravo series ‘‘Vanderpump Rules.’’ Watching it, especially after a long day at my own job, feels like a tonic for all that ails me. But this isn’t only because the show helps me relax and forget. The experience of life that the show exemplifies — a miasmic forever-present where not a whole lot happens and the pressures of achievement appear mostly absent — parallels a utopian, even resistant, impulse in me.

The show is set in the West Hollywood dining establishment SUR (an acronym that stands, amazingly, for ‘‘Sexy Unique Restaurant’’) and is a spinoff of another Bravo offering, ‘‘The Real Housewives of Beverly Hills,’’ in that a star of that series, Lisa Vanderpump, is one of SUR’s owners. Though Vanderpump’s role as a kind but no-nonsense boss is central to the show, she isn’t the protagonist. Instead, the series centers on SUR’s hard-bodied wait staff, few of whom seem keen on climbing the rungs of the management ladder.

Early on in the show’s run, its cast members all dreamed big of a life beyond SUR’s walls. Among these conventionally attractive aspirants was Jax, a leathery bartender-model who wanted to become a ‘‘sweater designer’’; his fellow bartender Tom Sandoval, an actor and musician; Kristen, Tom’s erratic waitress girlfriend, a model and actress; Stassi, another waitress and aspiring stylist; and Scheana, a hostess and performer of club music who has ‘‘It’s all happening’’ tattooed on her forearm. As Kristen explained in the first season, Vanderpump ‘‘doesn’t want us to be lifelong waitresses or bartenders but to kind of use it as a steppingstone to get into whatever it is that we aspire to be.’’

I really began to think of ‘‘Vanderpump Rules’’ as a true outlier in the reality-show world, though, when it abandoned the conceit that there should be any trajectory — upward or even downward — to the plot of its characters’ lives. Four seasons in, while some strong personalities have been added to the mix (among them James, a cunning busboy and D.J., and Lala, a flirty hostess and lingerie model), most of the original cast is still working at SUR. The plot centers almost exclusively on the staff’s love lives, the twists of which are mostly carried out, near incestuously, among a closed loop of SUR regulars. Matters of the heart are cyclically worried and fought over during breaks in the alley behind the restaurant, not far from the Dumpsters.

The familiar reality-show arc of development has been traded for a ‘‘Simpsons’’-like freezing of time, in which the characters never change or even seem to naturally age. Of course, stasis was a given on television for decades, but in the personal-growth-obsessed universe of reality TV, ‘‘Vanderpump’’ stands apart. The SUR staff members, with their stardom-primed appear*ances — their snugly sheathed gym-toned bodies and smooth Botox-injected brows — have been locked in a state of readiness that hasn’t yet led to ascent.

You would be correct to point out that the characters’ lives have, in fact, developed, and that they’re most likely ambitious and success-oriented in a manner that lies outside the show’s plotted purview, being that they are now reality-show celebrities who make nightclub appearances and hawk protein supplements and teeth-whitening devices on social media. But this has left no mark where it really counts for the viewer. The series remains a near-pure portrait of motionlessness, a still point in the turning world. Watching it is like having my brain stroked to a very low-grade, consequence-free orgasm — a pleasurable sort of noninvolvement. And I never once have to compare myself unfavorably with the people onscreen.

I moved to America more than a decade ago from Israel and found myself half-seduced and half-flummoxed by the very American fixation on growth and improvement. Seduced because it seemed the law of the land to side with the winners, no matter the circumstances or cost; flummoxed because there appeared something unsustainable, and maybe even slightly fascistic, in this unswerving focus on worldly achievement. Over the years, as I’ve nervously jumped my way through a succession of professional and personal hoops, with varying degrees of effort, I’ve thought a lot of a moment in Tama Janowitz’s 1985 short story ‘‘Spells,’’ in which the protagonist, Eleanor, is forced to listen to her boyfriend go on glowingly about his overachieving ex-girlfriend. When he pauses, Eleanor responds: ‘‘I like to rest, myself.’’ Reading it, I remember thinking: Exactly.

I’d rather poke out my own eye with a stick than participate in a so-called opting out. But thinking of stasis as one possibility among others — even if just for limited periods of time, even if just in the sense of loosening the hectoring voice in your own head that urges you to always keep marching forward — seems a culturally viable, emotionally necessary option. ‘‘Vanderpump Rules’’ is like that burnout friend who always urges you to take that smoke break, to have another drink, to call in sick to work. And see, now: Don’t you feel better already?

Naomi Fry is the copy chief of T: The New York Times Style Magazine. This is her first article for this magazine.

http://www.nytimes.com/2016/03/06/ma...ref=media&_r=0
dad1153 is offline  
post #8008 of 33067 Old 03-04-2016, 06:48 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
TV Notes
On The Air Tonight
FRIDAY 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 - Last Man Standing
(R - Nov. 13)
8:30PM - Dr. Ken
9PM - Shark Tank
(R - Dec. 11)
10:01PM - 20/20: Mystery in Apartment 411
* * * *
11:35PM - Jimmy Kimmel Live! After the Oscars (Ben Affleck, Tracy Morgan, J.K. Simmons, Mike Tyson, Nathan Lane, Matthew Broderick, Henry Cavill and Jesse Eisenberg)
(R - Feb. 28)
12:37AM - Nightline

CBS:
8PM - The Amazing Race
9PM - Hawaii Five-0
(R - Oct. 2)
10PM - Blue Bloods
(R - Oct. 9)
* * * *
11:35PM - Late Show with Stephen Colbert (Téa Leoni; Amanda Peet; Triumph, the Insult Comic Dog)
(R - Feb. 18)
12:37AM - The Late Late Show with James Corden (Rashida Jones; Lily James; Sean Hayes; Børns perform)
(R - Jan. 21)

NBC:
8PM - Caught on Camera with Nick Canon
(R - Jan. 22)
9PM - Grimm
10PM - Dateline NBC: The Deed
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Gwyneth Paltrow; YouTube personality Tyler Oakley; The Who performs)
12:37AM - Late Night with Seth Myers (Casey Affleck; Zachary Levi; Dr. David Agus)
(R - Feb. 24)
1:38AM - Last Call with Carson Daly (Producer Chris Carter; Wavves performs; Alden Ehrenreich)
(R - Feb. 8)

FOX:
8PM - Sleepy Hollow
9:01PM - Second Chance

PBS:
(check your local listing for starting time/programming)
8PM - Washington Week with Gwen Ifill
8:30PM - Charlie Rose -- This Week
9PM - American Masters: Loretta Lynn (120 min.)

UNIVISION:
8:02PM - Antes Muerta que Lichita
9:03PM - Pasión y poder
10:04PM - El Hotel de los Secretos

THE CW:
8PM - The Vampire Diaries
9PM - The Originals

TELEMUNDO:
8PM - ¿Quién es quién?
9PM - Eva La Trailera
10PM - La Querida del Centauro

SPIKE:
9PM - Bellator MMA Live: Warren vs. Caldwell (2 hrs. 15 min., LIVE)

HBO:
10PM - Real Time with Bill Maher (LIVE: Journalist Raheel Raza; comic Sarah Silverman; Rep. Donna Edwards (D-Md.); writer Matt Lewis; radio host Ari Shapiro)
11PM - VICE
11:30PM - Animals
dad1153 is offline  
post #8009 of 33067 Old 03-04-2016, 06:54 AM - Thread Starter
AVS Forum Addicted Member
 
dad1153's Avatar
 
Join Date: Apr 2006
Posts: 60,023
Mentioned: 3 Post(s)
Tagged: 0 Thread(s)
Quoted: 3206 Post(s)
Liked: 2792
Send a message via Yahoo to dad1153
Business/Critic's Notes (Popular Culture)
Strategies: Who has the best small business on TV?
By Rhonda Abrams, USA Today - Mar. 3, 2016

Small business is the second-most admired institution in America, yet it’s rare to see small business owners on television. Cops? Sure. Dysfunctional families? Plenty. Even aliens. Small business owners? Not so many.

But if you look hard enough, you’ll find a few fun entrepreneurs when you kick back with some popcorn and turn on the tube.

Through social media, I asked small business owners to share their favorite TV small business characters. Many responded with sentiments along the lines of, “Who has time for TV when you own a business?”

But others suggested some admirable, or at least entertaining, small business characters on TV:

Panelists, Shark Tank. This show, in which aspiring entrepreneurs pitch products to a panel of investors, was by far the most popular. I’ve met two entrepreneurs who’ve succeeded on Shark Tank, and they’ve told me that the pitching process actually takes many hours of being grilled by the panel, who ask probing and constructive questions.

The Simpsons. If you’ve ever wanted to see a “niche” business in action, then Suzanne Robertson suggests checking out “The Leftorium” on The Simpsons. Like many small businesses, Ned Flanders' specialty store faces stiff competition from a big-box retailer. In this case, Southpaw Superstore.

Chip and Joanna Gaines, Fixer Upper. Debra Weaver loves the show, partially because it actually drives traffic and sales to her shop, Vintage Now Modern in Greenville, S.C. Weaver stocks items to mimic the look fans see on the HGTV show.

Phil Dunphy, Modern Family. Phil’s my personal favorite. A real estate agent, Phil’s always hustling. He tries all kinds of marketing: signs on bus stops, free seminars, an ad on the side of his van. He holds lots of open houses and courts divorced women who could become his customers. Go, Phil.

Jay Pritchett, Modern Family. Jay is a tough, old-school entrepreneur, who built a successful closet company, fighting off tough competitors. He’s had to deal with a new generation of customers wanting innovations. And now Jay’s facing a situation facing many real-life entrepreneurs: how to transition his company, Pritchett's Closets & Blinds, to the next generation.

Stuart Bloom, The Big Bang Theory. Daniel Henn feels bad for Stuart, The Comic Center comic book store owner, and he hopes someone will come up with a better marketing plan for him.

Michael Kyle, My Wife and Kids. One viewer said he misses the truck driving company owner on this family comedy. He was funny and taught his kids some important life lessons.

Alicia Florrick and colleagues, The Good Wife. It’s rare to see a TV law firm treated like a small business, but this show does. They deal with retaining clients, bankruptcies, leases, employee revolts, partnership fights. And the firm’s top lawyer, Diane Lockhart, is one tough cookie and a good businesswoman.

Nick Miller and Schmidt, The New Girl. Nick had worked in a bar and knew the business. But as in real life, the people who know how to run a business often don’t have money to buy it. That’s where Schmidt comes in, bringing in cash as a silent partner. But, as in real life, silent partners often aren’t silent.

Mrs. Patmore, Downton Abbey. Who knew that long-suffering cook Mrs. Patmore had an entrepreneurial streak? She’s opening her own bed-and-breakfast, foreshadowing the rise of small business and the middle class in the 20th century. Soon, there will be many more Mrs. Patmores in England and America.

Sherlock Holmes, Sherlock. Yes, detectives can be small business people too. The classic mystery tale has a modern twist in this PBS version. Reader “P2B Investor” points out that business picked up for Holmes after his sidekick, Dr. John Watson started a blog.

Tom Haverford, Parks and Recreation. Tom tries one business after another while still keeping his day job at the Pawnee Department of Parks and Recreation. He has failure, success, failure, success. Just like many entrepreneurs.

Carrie and Samantha, Sex and the City. Public relations hotshot Samantha Jones was tough, clever and hard-working. It was believable that she was so successful. But Carrie Bradshaw? A newspaper columnist who could afford a closet full of Jimmy Choo, Manolo Blahnik and Christian Laboutin shoes? Never!

Who’s your favorite small business character on TV? Share with me on Facebook. [CLICK LINK BELOW]

http://www.usatoday.com/story/money/...s-tv/81237888/
dad1153 is offline  
post #8010 of 33067 Old 03-04-2016, 12:19 PM
AVS Forum Special Member
 
MRM4's Avatar
 
Join Date: Oct 2004
Location: Powell, TN
Posts: 2,554
Mentioned: 0 Post(s)
Tagged: 0 Thread(s)
Quoted: 498 Post(s)
Liked: 449
Quote:
Originally Posted by dad1153 View Post
TV/Critic's Notes (Broadcast)
'Black-ish' and 'American Crime' Are the Best Shows on Broadcast TV
By Daniel Fienberg, The Hollywood Reporter - Mar. 2, 2016

When it premiered in September 2014, Black-ish largely explored African-American identity via traditional sitcom plots: Rainbow's (Tracee Ellis Ross) struggles to relate to her mother-in-law, Ruby (Jenifer Lewis); Dre's (Anthony Anderson) inability to get the family to join him in Halloween pranks; and various other broadly relatable, light-hearted scenarios.

But gradually, steered by showrunner Kenya Barris, Black-ish has become fiercer and more focused in its commentary. It has woven the debate over gun control, the use of the N-word, the role of the church and the barber shop in African-American communities, and much more into its storylines. It has alternated smartly between debunking stereotypes and playing with them for comic effect (see Dre's recent refusal to let his neighbor believe he couldn't swim, only to nearly drown in her pool). And as it's grown braver, the series has flaunted increasingly superb acting by Anderson, Ross, Laurence Fishburne, Lewis and a juvenile ensemble that's second to none on TV (Marcus Scribner's nerdy Dre Jr., Yara Shahidi's popularity-hungry Zoey, Marsai Martin's wicked Diane and Miles Brown's dim-but-upbeat Jack).

The kids were front and center in the powerful and much-discussed episode (entitled "Hope") that aired Feb. 24, in which a pending verdict in a fictionalized case of police brutality led to a 22-minute discussion on the fraught relationship between people of color and the police.

Black-ish has always kept the focus on laughs, even when dealing with painful subjects. But in this episode, the balance tipped. There may have been jokes about Peabo Bryson and O.J. Simpson, but the episode was a sobering and clear-eyed consideration of a stinging reality: that the Johnson family's pleasant, upper-middle-class enclave can't shelter them, emotionally and psychologically, from certain injustices.

Directed by Beth McCarthy-Miller, "Hope" felt more didactic than usual, but intentionally so, full of "teachable moments" and, at times, real emotion. That said, it was still Black-ish; the kids all reacted to the case in character-specific ways, proving that this is a show that can get serious, even earnest, without losing itself in all the good intentions.

I wouldn't be surprised if some viewers were upset that Black-ish dared to go there without the more comforting cushion of comedy, or perhaps that Black-ish dared to go there at all. And while I don't think the series should put out a "very special episode" every week, or even every month, "Hope" was an example of how the show has used race to challenge and push itself — to flex its muscles.

My wife and I really enjoy this show. But I am like many people that I hate seeing sitcoms go dramatic with current events issues. I watch dramas for that. I watch comedies for a good laugh and to get away from the stress. I hated it when MASH did some of those and have hated it when any comedy does that ever since.
MRM4 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