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post #9181 of 30890 Old 05-16-2016, 02:00 PM
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Originally Posted by VisionOn View Post
The upcoming season schedule announcements are really making my viewing timetable a lot easier. Since I'm instantly ruling out any TV version of a classic movie, or a remake of some other TV show I can just stick with what I already watch.
Usually I would agree, but can't as two of my favorites right now are '12 Monkeys' and 'Limitless'

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post #9182 of 30890 Old 05-16-2016, 03:12 PM - Thread Starter
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - May 16, 2016

THE VOICE
NBC, 8:00 p.m. ET

It’s down to the Top 8, as we head into what the show is calling its semifinal round. With so many more episodes to go before the finale, that count seems to be off a bit.

GOTHAM
Fox, 8:00 p.m. ET

The penultimate episode of the season has mad scientist Hugo Strange reanimating a character who died, or appeared to, in the finale episode for last season: Fish Mooney, played by Jada Pinkett Smith.

MIKE & MOLLY
CBS, 9:00 p.m. ET
SERIES FINALE:
This CBS series says goodbye with a two-part series finale – so if you enjoyed this particular CBS comedy, show up to say farewell.

BATES MOTEL
A&E, 10:00 p.m. ET
SEASON FINALE:
The way the tension has been ratcheting up this season, it’s a good bet to expect a corpse in the mix before tonight’s season finale is over. But it won’t be Norman, and probably won’t be Norma. Not yet, anyway… though the writers could kill her at any time, and keep her “alive” from Norman’s point of view. I’m just saying…

CASTLE
ABC, 10:00 p.m. ET
SERIES FINALE:
When this season finale was written, the writers knew that Stana Katic’s Kate Beckett was leaving the series – but didn’t know the series itself would be leaving ABC as well. So if you’re longing for a sense of finality with tonight’s episode, lower your expectations.


http://www.tvworthwatching.com/

* * * *

Critic's Notes (Broadcast)
Why ‘The Americans’ Continues to Be One of TV’s Most Relevant Dramas
By Alex Strachan, TVWorthWatching.com's 'TV That Matters' - May 16, 2016

"Our response to this piece of nuclear-freeze propaganda must be swift and convincing. President Reagan has presented this country with the only option to nuclear disaster: the construction of a strategic defense system that can protect the free world from aggression without the use of the threat of annihilation as a deterrent.”
— Lewis Lehman, Citizens for America, in reaction to the airing of the 1983 TV-movie The Day After.

The Americans has always had a keen sense of the past, but perhaps never more so than this season. The serialized drama about Russian agents living a double life in the suburbs of Washington, DC in Reagan-era America has become darker, more resonant and more thoughtful in its third season. Elizabeth and Philip Jennings, the seeming all-American couple with two seemingly well-adjusted teenage children, have stolen their share of state secrets and passed them on to their Soviet minders, but they’re starting to worry about the future — their own personal future, and that of the world around them.

One of the signature touches of today’s new golden age of TV drama is the way the small screen is suddenly aware of its past, in the same way movies in the early 1970s began to reference other, earlier movies — Charlton Heston, for example, unspooling Woodstock in an empty movie theatre in the opening scenes of The Omega Man, and ruminating about how, “Nope, they sure don’t make pictures like that anymore.”

Mad Men based an entire series on the popular tastes, culture and social mores of a period in recent American history, including TV and the movies. In one 2013 episode, Don Draper takes his older son Bobby to see Planet of the Apes without permission, and is later castigated by his estranged wife for giving their son nightmares. (In a sign of the times, bloggers at Slate, Huffington Post and other sites accused Mad Men of giving away a significant spoiler, ruining Planet of the Apes for future generations — talk about irony.)

Even so, last week’s episode of The Americans, titled — double-meaning intended — “The Day After” might have marked a watershed moment in what is already one of present-day TV’s most thoughtful, and thought-provoking dramas.

At that precise moment when Elizabeth and Philip Jennings, consummately played by Keri Russell and Matthew Rhys, are beginning to question the dangerous forces they’re helping let loose into the world — nuclear-missile secrets, weaponized hemorrhagic fevers, germ-warfare samples, etc. — they find themselves watching a made-for-TV movie called The Day After (top and right) along with 100 million other people.

The Day After, directed by Nicholas Meyer and featuring a cast of then big-screen luminaries like Jason Robards, JoBeth Williams and a young Amy Madigan, was a cautionary tale about the morning after a nuclear attack on the continental U.S. Meyer and writer Edward Hume sought realism in every detail, and the result was both disquieting and profoundly depressing. The Day After aired without commercial interruption on Nov. 20, 1983, on ABC. And, yes, more than 100 million people watched during the program’s initial broadcast.

Reviews were mixed, from TV critics and scientists alike. That wasn’t the point, though. The Day After marked a moment in time when a mass audience — 100 million people — could sit down and watch a scripted TV drama as a shared experience, from the intimacy of one’s own home.

It seems unlikely, impossible even, that experience can be repeated now, in the age of DVRs, web streams and on-demand viewing. Live events — the Super Bowl, NBA playoffs, the Oscars — are different. Scripted drama, though, has to follow a new script.

So-called live +7 ratings — cumulative viewing over seven days — are now more important than the overnight ratings, and some scripted programs, especially those that target a younger, hard-to-reach audience, draw more viewers after their initial air date than they do the night of broadcast.

The Day After didn’t change TV habits overnight, just as it didn’t affect nuclear-disarmament talks at the time in any measurable, meaningful way. It did cause a mass audience to stop and think, though, if only for a moment. The moments-after reaction at the time is hard to remember today, but it was fascinating to see. ABC aired a live after-show, hosted by Ted Koppel and featuring Carl Sagan, Henry Kissinger, Elie Wiesel, former defense secretary Robert McNamara and conservative commentator William F Buckley, Jr. (Take that, Chris Hardwick, with your Talking Dead after-shows and nerdist panelists.)

November 20, 1983 was not the day the world changed, and neither was May 11, 2016.

Even so, it’s remarkable how The Americans remains relevant today, even though it’s firmly rooted in the early 1980s. News reports last week noted that while American and allied officials celebrated the opening of a long-awaited missile defense system in Europe — with a ribbon-cutting ceremony and a marching band, no less — the reaction in Russia was less enthusiastic. As reported in the New York Times, one conservative Russian commentator remarked darkly on the Russian news portal Lenta.ru that the new antimissile sites in Eastern Europe might accelerate the slippery slope to nuclear war in the event of a crisis, with the result that any subsequent stand-down will likely be negotiated “over the smoking ruins” of countries like Romania that host the antimissile sites.

The Day After, in other words, may not be as dated as it might appear today.

Last week’s episode of The Americans may have marked a turning point for the series. It’s impossible to know without knowing how long The Americans will last and what, if any, end game series-creator Joe Weisberg and showrunner Joel Fields have plotted in advance.

The remaining four episodes of the season, beginning with this week’s “Munchkins” (Wednesday 5/18 on FX at 10 p.m. ET) and ending with the season finale “Persona Non Grata” on June 8 will go a long way toward signaling whether the episode “The Day After” telescoped The Americans’ ending, or whether, like the original TV movie itself, it was a one-off.

Either way, one thing is clear: The Americans, after just 48 episodes, is emblematic of the new golden age of TV drama — timely, intense, tightly wound and, at times, truly profound.

http://www.tvworthwatching.com/BlogP...x?postId=12022
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post #9183 of 30890 Old 05-16-2016, 03:17 PM - Thread Starter
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TV Notes (Broadcast)
CBS renews 'Code Black,' 'Odd Couple, 'Minds' spinoff
By Bill Keveney, USA Today - May 16, 2016

The prognosis is good for CBS emergency-room drama Code Black, which will be back for a second season.

The top-rated network Monday also renewed three other series for the 2016-17 season: drama spinoff Criminal Minds: Beyond Borders; comedy remake The Odd Couple; and reality series Undercover Boss.

The news is not good for first-year action comedy Rush Hour, which won't be back, and the chance of a second season for another freshman show, drama Limitless, appears dim.

Code Black, which stars Oscar winner Marcia Gay Harden and Bonnie Somerville, follows a team of doctors trying to handle a tidal wave of patients at the busiest ER in the country.

Borders, which features Gary Sinise, will return for a second season and Odd Couple, which stars Matthew Perry and Thomas Lennon, will get a third season; and long-running Boss will be back for Season 8.

CBS will present its 2016-17 programming schedule to advertisers Wednesday in New York.

http://www.usatoday.com/story/life/t...ders/84449428/
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post #9184 of 30890 Old 05-16-2016, 03:22 PM - Thread Starter
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Quote:
Originally Posted by VisionOn View Post
How is that Rush Hour remake doing?
TV Notes (Broadcast)
‘Rush Hour’ Canceled By CBS After One Season
By Nellie Andreeva, Deadline.com - May 16, 2016

No surprise here — seven ho-hum weeks into the midseason run of CBS’ series remake of the hit action-comedy movie franchise Rush Hour, the network has decided not to renew the show for a second season. The series will stay on the air until its first-season run ends. Meanwhile, still no official word on Limitless. Anticipating cancellation, CBS TV Studios already had been quietly shopping the series to other networks, so the delay in CBS’ decision is interesting.

Airing in the Thursday 10 PM slot, Rush Hour never got traction. It launched to an underwhelming 5.1 million viewers and 1.1 in 18-49 (Live+same day) and most recently logged 4.5 million viewers and a 0.9 in 18-49. The show starred Justin Hires and Jon Foo in the respective roles made famous by Chris Tucker and Jackie Chan.

Rush Hour was the first of several series based on big Warner Bros. movies that WBTV unspooled during the past two seasons. This season, it already has a Lethal Weapon series picked up by Fox, Training Day at CBS and Frequency at the CW.

http://deadline.com/2016/05/rush-hou...on-1201754467/

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post #9185 of 30890 Old 05-16-2016, 03:31 PM - Thread Starter
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TV Notes (Broadcast)
Don Francisco is back, and there'll be more Super Series: Telemundo announces plans for next season
By Yvonne Villareal, Los Angeles Times - May 16, 2016

Mario “Don Francisco” Kreutzberger made Saturdays gigantic on Univision, and now he’ll soon see what he can do with Sundays on Telemundo.

The Spanish-language network is looking to Kreutzberger to help the network claim the coveted TV night as part of a multiyear deal with the veteran host. “Don Francisco Te Invita” (Don Francisco Invites You), a mix of interviews and celebrity guests, will close out a new block of programming on Sunday nights that includes “Siempre Niño,” which features children with extraordinary talents,” and “Zoomundo,” an animal show with wildlife expert Ron Magill.

Launching in prime time on Sunday will be “Los Reporteros,” an hourlong news magazine.

The announcements came during NBCUniversal’s presentation to advertisers Monday at New York's Radio City Music Hall, where Telemundo and NBCUniverso made their pitches alongside NBC, USA and Syfy.

It seems Telemundo is continuing its efforts to court the younger, bilingual generation with its 2016-17 programming announcements, which include unscripted series that mix English and Spanish as well as a deeper investment in serialized and darker dramas.

The network announced two additions to its popular Super Series franchise, which unlike traditional one-and-done telenovelas, run over multiple seasons and have fewer episodes. In addition to “El Chema,” a spinoff of “El Señor de los Cielos,” there's “Hugo Chávez, El Comandante,” which is inspired by the life of the former president of Venezuela.

Telemundo also announced that “El Señor de los Cielos” ("Lord of the Skies") will be back for Season 5, and that “Señora Acero 3, La Coyote” will head into its third season.

After taking a page from the success of “Empire” last year by adding some musical dramas based on the lives of popular Latin America singers Celia Cruz and Juan Gabriel, Telemundo is taking another swing in the musical-drama genre with “Guerra de Idolos” ("War of Idols"), which details the lives of figures who control the Latin music business.

On the serialized-drama front, the network is bringing back “La Querida del Centauro” ("The Mistress of Centauro") for another season, and adding “La Doña,” ("The Mrs".) and “Sin Senos Si Hay Paraíso" ("Without Breasts, There is Paradise"), the sequel to “Sin Senos No Hay Paraíso.” Its comedies will include “La Fan” ("The Fan"), about a diehard fan of a telenovela actor, and “Silvana Sin Lana,” which stars Carlos Ponce in an opposites-attract romantic comedy.

Telemundo also plans a pair of miniseries: “El César,” about the boxing star Julio César Chávez,” and “Cortés, Conquistador de México,” about the Spanish conquistador Hernán Cortés.

Additionally, Telemundo announced a deal with the estate of late singer Jenni Rivera to produce series and specials inspired by her life story.

Meanwhile, cable network NBC Universo, announced the return of the off-net hit “The Walking Dead” for Season 3, along with the reality series “Zapata Justice” and “The Riveras,” the latter about the late singer’s family.

http://www.latimes.com/entertainment...nap-story.html
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post #9186 of 30890 Old 05-16-2016, 03:39 PM - Thread Starter
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Critic's Notes (Cable)
Big Gulp
Drinking and drama on “Vanderpump Rules.”
By Emily Nussbaum, NewYorker.com - May 23, 2016 Issue

Beyoncé’s sumptuous adultery opera “Lemonade” came out the week that I began watching the Bravo reality series “Vanderpump Rules,” and it turned out to be an oddly appropriate soundtrack for the show. “What’s worse? Looking jealous or crazy?” Beyoncé croons in the video, swinging a baseball bat labelled “Hot Sauce.” “I really don’t want to cry off all this makeup I just put on,” a waitress named Scheana says on the show, struggling to compose herself for a photo shoot. “Something’s telling me I may or may not have a fake friend,” Ariana, another waitress, seethes, glaring over at Scheana.

I’d downloaded “Vanderpump Rules” onto my phone, so that I could watch the show’s four seasons more efficiently: on the F train, in line at the supermarket, and while drifting off to sleep, an approach that felt less like binge-watching than like inserting an I.V. of sangria. A humble spinoff of the sprawling “Real Housewives” multiverse, “Vanderpump Rules” revolves around the employees of SUR (an acronym for Sexy Unique Restaurant), a West Hollywood venue owned by Lisa Vanderpump, a longtime cast member of “The Real Housewives of Beverly Hills,” which ended its sixth season last week. I’d fallen so far behind on that show, I’d never catch up. Rather than approach the intimidating portal of the original franchise, with its decade-long cross-series feuds, jail sentences, life-style brands, divorces, and handbag lines, I would sneak in through the servants’ entrance.

When the “Real Housewives” franchise débuted, in 2006, set in Orange County, I was a deep devotee of the reality genre. I was an O.G. “Big Brother” Web-watcher and a “Real World” completist, and caught up on shows from “The Amazing Race” to “Wife Swap.” Yet “The Real Housewives” left me cold. It rankled me in a way that earlier shows—even schlock like “Joe Millionaire”—had not. The few episodes I saw felt like misogynist vaudeville, with cast members monetizing the world’s ugliest portrayals of women, a type of auto-drag, humiliating rather than quasi-celebratory. Over the years, I developed a private theory about the franchise’s appeal: when the New York version became an enormous hit, around 2008, it felt like a cultural conspiracy to distract the world from the almost universally male villains of the financial crash. Rather than satirize rich men in suits, the show put the bull’s-eyes on their trophy wives, painting them as vain parasites, symbols of greed—consumerist gargoyles who might absorb the fury that was more logically directed at Wall Street itself.

That seemed plausible, and maybe it was a little bit true. But, then again, I’d never really watched the “Housewives.” For one thing, the women weren’t married to any hedge-fund quants. It’s always easier to condescend to a reality show before you start watching it—and watching it, and watching it. This is true of almost all reality soaps: the pleasure is less in the show than in the bubbly, cathartic, alternately cruel and tender talk that surrounds it, with its Wikipedian rabbit-holes and weirdly therapeutic reunions and after-shows, the fizzy in-jokes of a largely queer and female audience. Watching “Vanderpump” felt less like watching TV than like becoming a sports fan. One minute, the show was a grim slog, a repetitive ritual that threatened to drag on forever, like baseball. The next minute, it was aggressively fun—the kind of thing that makes your heart leap whenever a fight breaks out, like hockey! To enjoy it, you just have to ignore the potential brain damage for the players once the game ends, as with football.

The premise of “Vanderpump Rules” is simple enough: a group of hot people work at a restaurant, which is run by a wealthy woman with a taste for neon pink and small dogs. Early on, the employees are mostly dull couples, but invariably they cheat, break up, and re-form new friendships and romantic pairings, absorbing once excluded newcomers and icing out former B.F.F.s. Lisa Vanderpump comes off as the Aaron Burr of “The Real Housewives,” elegant and inscrutable; as Lin-Manuel Miranda might put it, she sexts less, smiles more—you wouldn’t want to face her in a duel. The members of her waitstaff, in contrast, are weepy and easily enraged, and despite the show’s contrivances the milieu is not unrealistic. Maybe they wouldn’t crash quite so many engagement parties, but the characters—part-time models with vague plans to be ultra-famous—aren’t that different from other L.A. waiters. It’s a reality show about the people most likely to agree to appear on a reality show.

* * * *

One of my favorite current series is Rachel Bloom’s musical comedy, “Crazy Ex-Girlfriend,” on the CW, which does a wonderfully empathetic job exploring what it feels like to be a female chaos magnet, self-destructive and longing for love. And yet I’ve never entirely understood one of the main relationships on the show, the toxic romance between the surfer-bro Josh and his fiancée, the hot yoga instructor Valencia, who nags and bullies him nonstop. “Vanderpump Rules” helped me get it, because that show is pretty much a Neapolitan dessert made up entirely of Joshes and Valencias. The same conflict recurs over and over, the sympathies shifting, in a drama you might call “the betrayed princess”: A sexy, bossy girl dates a man who barely has a job. Then things blow up when—take your pick—he cheats in Las Vegas, reveals a pill addiction, or steals sunglasses in Hawaii. These betrayals are both real and imaginary: it’s hard for a viewer to be disturbed when it’s unclear which emotions are genuine and which have been scripted, an ambiguity that protects you from destabilizing empathy. And yet there’s something legitimately poignant about the show’s “Lemonade”-flavored blend of grandiosity and fragility. There may not be any potential Beyoncés at SUR, but there are many girls who think of themselves, not unreasonably, as vulnerable public brands. When you believe you’re the show’s romantic lead, it’s extra-hideous to realize that you’re the dupe in a low-rent sex comedy, breaking into some guy’s iPhone to find shady Uber receipts. Or, as Beyoncé sings, on “Hold Up,” “I’m not too perfect to ever feel this worthless.”

At times, the SUR universe can seem as creepily misogynist (and as thrillingly stylized) as the ballet world in “Black Swan”—put on those painful shoes and, lady, someone’s going to bleed. Slutty girls call other girls “skanks.” Skanky girls call other girls “pathetic.” All of them pretend to be chill babes who don’t mind their boyfriends taking a guys-only trip to Vegas—but, eventually, most end up nagging for a ring. As it went on, “Vanderpump Rules” began to remind me of an old saying: that, after straight couples break up, all ex-girlfriends are “crazy,” while all ex-boyfriends are either “confused” or “*******s.” Meanwhile, the men engage in a conspiracy of “bro-code,” which is broken so often that it’s more of a bro guideline. Perversely, the worst thing that you can accuse someone of is being “judgmental.”

The cast members themselves are somehow both memorable and interchangeable. There’s Stassi, a grownup version of the nasty little girl in the “Free to Be . . . You and Me” fable “Ladies First,” the one who gets eaten by tigers. Stassi’s ex-boyfriend, Jax, is pretty much a sociopath: he’s an admitted thief who cheats and lies. (“He’s had three noses in one year,” Lisa Vanderpump observes. “He doesn’t understand the word ‘commitment.’ ”) There’s a selection of sulky brunettes, including Katie, “the Shakespeare of rage-texting.” Black waitresses get sidelined, treated as sexless confidants or silent extras. (There’s a lot of weird racial stuff in the mix, as the nearly all-white cast gossips about who qualifies as a “ghetto bitch” or a “ratchet whorebag.”) There’s also a nudist trickster named Lala, and Ariana, a hipster comic, who startled me when she complained—during yet another fight over whether a boyfriend should go to Vegas—that she hated “heteronormative ****ing bull****.” The nice men are hard to tell apart, since half of them seem to be named Tom.

It’s easy to make fun of these characters—the show is designed to encourage it—but, to judge from the after-show, they’re often in on the joke. And it’s not as if anyone who has been through a bad breakup hasn’t been there, pathetic/judgmental/skank-wise. But there are hints of darker themes, especially when it comes to sex. A couple gets engaged, then never, ever gets laid. After a breakup, each partner denounces the other for carnal acts committed on a cursed IKEA-ish sofa—or, alarmingly often, while they’re so drunk that they have a debate about whether anything even happened. Ugly details like this surface, then get abandoned, or treated as a joke, because the show is contractually obligated to party on. The true climax of Season 4 was a tiny moment when a minor character, a waitress who’d just hooked up with a busboy/d.j., yelled for her jealous ex to remove his microphone. It was the rare indication that anyone knew that they were on TV, a titillating exposure that felt sexier than pixelated D-cups could ever be.

Many years ago, I wrote a profile of a new bar in Los Angeles, which was run by Mike (Boogie) Malin, one of the villains of an early season of “Big Brother.” Back then, he was still licking his wounds, confused by his ruinous experience on the show; a few years later, he won one of the All-Star competitions and was back on top. But he was just one of many former reality stars floating around Hollywood, disrupting the ecosystem of fame. They were thirsty, to use the modern term; they wanted it too much. The truth is, the most nuanced perspective on reality may be found not in the shows themselves but in parodies of them, like the champagne-bubbly satire “The Hotwives of Orlando,” on Hulu, and the smart, dark, meditative behind-the-scenes drama “UnREAL,” on Lifetime, which returns for its second season in June. These shows capture the genre from the inside, exploring the vulnerability of those who keep trying to beat a system that, like a casino, rarely lets any player win for long. I still sometimes have the urge to critique the reality machine; it’s certainly asking for it. But it’s also true that reality is where the action is. It’s an easily mocked mass artistic medium that’s corrupted by half-hidden deals, but it also provides a magnetizing mirror for the culture, dirty and mesmerizing. It’s television’s television.

http://www.newyorker.com/magazine/20...nderpump-rules

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Nielsen Overnights (Broadcast)
Small lift for the much-hyped live ‘Simpsons’
Fox animated show grows tenth from last week, posting a 1.2 in 18-49s
By Toni Fitzgerald, Media Life Magazine - May 17, 2016

Fox has been talking up the “live” episode of “The Simpsons” for months, and last night Homer Simpson appeared at the end of the show in real time, answering viewer questions and touching on topical issues such as Drake hosting “Saturday Night Live” and of course Donald Trump.

The stunt gave a small lift to ratings for “Simpsons,” which finished tied for the night’s No. 2 show with “Once Upon a Time,” as both programs trailed Fox’s “Family Guy.”

“Simpsons” averaged a 1.2 adults 18-49 rating, according to Nielsen, up a tenth from last week. It also matched the show’s best rating in the demo since March 13, though it was also the third-lowest rating ever for the program, which has been on the air more than two decades.

The stunt did generate a lot of social media reaction, and “Simpsons” trended on Twitter all night.

“Guy” posted a 1.3 at 9 p.m.

Meanwhile, elsewhere on the third Sunday of the May sweeps, ABC won a low-rated night with a 1.1 for its evening of season/series finales.

“Time’s” two-hour finale from 7 to 9 p.m. drew a 1.2, up a tenth from last week, when it aired just an hour.

At 9 p.m., the series finale of “The Family” managed a 0.8, up a tenth from last week, while lead-out “Quantico,” which has been renewed for next season, posted a 1.0, also up a tenth.

On NBC, the recently renewed “The Carmichael Show” grew week to week despite having a repeat as a lead-in last night. “Carmichael” drew a 0.8, up a tenth.

* * * *

Top show of the night in 18-49s

Fox’s “Family Guy,” 9-9:30 p.m., 1.3 rating.

Top show of the night in 25-54s
CBS’s “60 Minutes,” 7-9 p.m., 1.7 rating.

Top show of the night in total viewers
CBS’s “60 Minutes,” 7-9 p.m., 10.11 million.


http://www.medialifemagazine.com/sma...live-simpsons/

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post #9188 of 30890 Old 05-16-2016, 04:14 PM
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Originally Posted by VisionOn View Post
Since I'm instantly ruling out any TV version of a classic movie, or a remake of some other TV show I can just stick with what I already watch. Plus since at least 50% of those remakes and TV versions are just going to be cancelled anyway due to lack of imagination then I know I won't have missed anything.
Sometimes a good show comes out of a reboot or a movie. It happens often enough that I, for one, will not rule out a show just because it may have been a relaunch of an older series or because it was born from a movie.

These are a number of successes, at least as far as my tastes in TV go:

Doctor Who
: liked the show; love the 2005 relaunch.

Battlestar Galactica: loved the original; loved the reimagined version until it seemed to have lost its focus in the last season.

V: The original miniseries was quite good. The 2009 remake was a bit better, in my opinion.

Alien Nation: The movie was great, the TV show was good.

Highlander: I enjoyed the movie, and I also enjoyed the TV series.

The Librarian: I loved the three movies, and I loved The Librarians (TV series).

Robocop: While there were a couple great movies followed by a so-so third movie (before the 2014 remake), there was also a great 1994 TV series.

Stargate: The movie was an epic, but some scenes could have been shortened or eliminated to improve pacing. But it spawned a very enjoyable sci-fi/action series named Stargate SG-1 based on the movie, and an additional great series Stargate Atlantis and a good series Stargate Universe.

The Terminator: taking place in the same universe, we got Terminator: the Sarah Connors Chronicles.

Voyage to the Bottom of the Sea: as a kid I really enjoyed the movie, and three years later I really enjoyed most episodes of the TV show. As an adult, I greatly enjoyed catching the series on MeTV over the past few years and I am planning on catching the movie on FXM next week.

Timecop: I really enjoyed the movie and enjoyed the miniseries.
There were also a bunch of stinkers, which I won't deny.

So I, for one, am willing to watch an episode or three of new shows, even if they are based on a movie or based on an earlier series.

My very humble setup:
Spoiler!

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post #9189 of 30890 Old 05-16-2016, 05:17 PM
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I think I watched all of those and enjoyed each and every one. I'm always willing to give a remake a peek because you never know .
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TV Notes (Broadcast)
‘Rush Hour’ Canceled By CBS After One Season
By Bill Keveney, USA Today - May 16, 2016

No surprise here — seven ho-hum weeks into the midseason run of CBS’ series remake of the hit action-comedy movie franchise Rush Hour, the network has decided not to renew the show for a second season. The series will stay on the air until its first-season run ends. Meanwhile, still no official word on Limitless. Anticipating cancellation, CBS TV Studios already had been quietly shopping the series to other networks, so the delay in CBS’ decision is interesting.

Airing in the Thursday 10 PM slot, Rush Hour never got traction. It launched to an underwhelming 5.1 million viewers and 1.1 in 18-49 (Live+same day) and most recently logged 4.5 million viewers and a 0.9 in 18-49. The show starred Justin Hires and Jon Foo in the respective roles made famous by Chris Tucker and Jackie Chan.

Rush Hour was the first of several series based on big Warner Bros. movies that WBTV unspooled during the past two seasons. This season, it already has a Lethal Weapon series picked up by Fox, Training Day at CBS and Frequency at the CW.

http://deadline.com/2016/05/rush-hou...on-1201754467/
Well, I guess that makes me and the other 4,499,999 viewers who enjoyed the show sad to see it go. It certainly wasn't Emmy worthy, but it was fun to watch.
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Sometimes a good show comes out of a reboot or a movie. It happens often enough that I, for one, will not rule out a show just because it may have been a relaunch of an older series or because it was born from a movie.

These are a number of successes, at least as far as my tastes in TV go:

Doctor Who
: liked the show; love the 2005 relaunch.

Battlestar Galactica: loved the original; loved the reimagined version until it seemed to have lost its focus in the last season.

V: The original miniseries was quite good. The 2009 remake was a bit better, in my opinion.

Alien Nation: The movie was great, the TV show was good.

Highlander: I enjoyed the movie, and I also enjoyed the TV series.

The Librarian: I loved the three movies, and I loved The Librarians (TV series).

Robocop: While there were a couple great movies followed by a so-so third movie (before the 2014 remake), there was also a great 1994 TV series.

Stargate: The movie was an epic, but some scenes could have been shortened or eliminated to improve pacing. But it spawned a very enjoyable sci-fi/action series named Stargate SG-1 based on the movie, and an additional great series Stargate Atlantis and a good series Stargate Universe.

The Terminator: taking place in the same universe, we got Terminator: the Sarah Connors Chronicles.

Voyage to the Bottom of the Sea: as a kid I really enjoyed the movie, and three years later I really enjoyed most episodes of the TV show. As an adult, I greatly enjoyed catching the series on MeTV over the past few years and I am planning on catching the movie on FXM next week.

Timecop: I really enjoyed the movie and enjoyed the miniseries.
There were also a bunch of stinkers, which I won't deny.

So I, for one, am willing to watch an episode or three of new shows, even if they are based on a movie or based on an earlier series.
Look at how old those are! I'm not talking about the occasional TV version or movie follow up that used to happen. The current landscape of television is absolutely full of remakes and TV versions that nobody asked for. The list of failed and generally bad movie-based shows over the past few years is so long you don't even realize how many there have been. This year so far besides Lethal Weapon and Exorcist there is MacGyver, Uncle Buck, Training Day, Dirty Dancing, The Notebook, Taken, Roots ... and those are just the ones I can remember being announced.

But even amongst those you list the Robocop series was an atrocious family show with cute kids and deservedly cancelled, Doctor Who wasn't a remake just a continuation of an existing series and Librarians was based on a TV movie on the same network so that was basically a spin-off.


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Obituary
Dave Bell, Veteran TV Producer, Dies at 84
By Lamarco McClendon, Variety.com - May 16, 2016

Veteran TV producer Dave Bell, whose credits include “A Killer Among Us” and “Do You Remember Love” died on Friday after a battle with cancer. He was 84.

The Ohio native began his television career as a documentary filmmaker, producing medical, police and social issue films for broadcast and cable networks. His documentary “Missing…Have You Seen This Person?” became the basis for the NBC series “Unsolved Mysteries.” He was considered a reality show pioneer who opened the door for many series today.

“Anyone over 50 who has worked in reality TV, at some point, worked for or with Dave Bell,” said Cynthia Shapiro, former CEO of Dave Bell Associates. “Dave gave hundreds of directors, producers, writers, editors, and production crew the opportunity to prove themselves in the reality TV business and effectively launched their careers.”

Bell’s other reality series credits include “LAPD: Life on the Boat”; “Missing/Reward,” hosted by Stacy Keach; and “Alive and Well,” a two-hour daily magazine series for the then-named “The USA Cable Network.”

He also used his work to explore women’s issues, producing such documentaries as “Gangs: Not My Kids” (a mom dealing with her kids joining a gang) and “Dying for Love” (women with AIDS) for then-Lifetime Network executive Bonnie Hammer. He also executive produced “Innocence on Trial” for Hammer, which explored child abuse.

“Dave was ahead of his time as a social documentarian who walked the talk on women’s issues, equally passionate on and off screen,” said Hammer, now chairman of NBCUniversal Cable. “He was the best kind of mentor, providing the space to learn and grow but always there with support and advice when you needed it.”

In addition to his non-scripted programming, Bell executive produced TV movies and features such as “Do You Remember Love” with Joanne Woodard and Richard Kiley; “The Long Walk Home” with Sissy Spacek and Whoopi Goldberg; and “Nadia,” about gymnast Nadia Comaneci.

Bell is an Emmy, Peabody, C.I.N.E Golden Eagle and ACE winner. He also won awards at San Francisco, Houston and New York film festivals.

He is survived by his wife, Alice, four children, four grandchildren and three great-grandchildren.

http://variety.com/2016/tv/obituarie...ve-1201776152/
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TV Notes (Broadcast)
NBC’s Prime-Time Schedule Works Better Than It Has in Years
By Josef Adalian, Vulture.com (New York Magazine) - May 16, 2016

It’s impossible in 2016 to describe any broadcast network as “thriving,” but if any comes close to matching that description right now, it’s NBC. This might strike some as a remarkable-bordering-on-ridiculous statement, given just how bad things were at the Peacock only a few years ago — and how many issues it still faces. NBC doesn’t have a major comedy hit, its shows have little critical or pop-culture buzz and, using the (increasingly irrelevant) metric of Nielsen ratings, it will cede the adults-under-50 ratings crown this season to a Super Bowl–boosted CBS. But what NBC does have is a prime-time schedule that works better than it has in years, and which — thanks to Dick Wolf’s ever-expanding franchise of Chicago-based dramas — has the potential to produce substantial long-term profits for the company. This explains why the new lineup the network announced Sunday boasts so few changes, and why we actually believe NBC Entertainment boss Bob Greenblatt when says he “couldn’t be happier” about where things stand now.

For anyone who grew up during the Must-See TV era — that roughly two-decade stretch that began in the early 1980s with Hill Street Blues and Cheers, and then drew its last breath when Friends exited in 2004— the way in which NBC has clawed its way back from the brink has been somewhat painful to observe. Rather than trying to recapture past glories with a new commitment to programming The Best Shows on TV, the Peacock’s path to recovery these past few years has largely been paved by pragmatism. Eschewing the pursuit of Emmys or year-end top-ten lists, Greenblatt has basically been trying to out-CBS CBS with a steady diet of proudly middle-of-the-road programming. That’s meant doubling, tripling, and, next season, quadrupling down on the Chicago shows. It’s why Greenblatt replaced the upscale comedies and dramas NBC was once known for on Thursdays with The Blacklist, and why there will soon be a Blacklist spinoff. And it explains the existence of the very CBS-y thrillers Blindspot and the upcoming Timeless. While none of these moves have resulted in a massive ratings surge for NBC, they have allowed the network to construct a schedule that can now reliably be counted upon to attract a decent-sized audience almost every night of the week. It’s the sort of stability advertisers love, and which is more difficult than ever to attain at a time when viewers have so many non-linear options.

Having solidified NBC’s foundation, it’s not surprising that Greenblatt opted against making any radical changes or introducing a ton of new shows in the fourth quarter. Instead, his new schedule — overseen by veteran program planning chief Jeff Bader, whom Greenblatt brilliantly poached from ABC a few years ago — is all about shoring up weak spots and further bolstering key nights in a bid for incremental gains. As it did last year, NBC will use top-ten hit The Voice to get viewers to sample what the network believes are its best new shows. And so, on Mondays, the singing competition will lead in to the Shawn Ryan–produced time-travel thriller Timeless, which seems to have some of the same DNA that allowed both Blacklist and last fall’s Blindspot to click in the hour. Meanwhile, The Voice’s Tuesday results show will be used to get audiences to This Is Us, a relationship-driven hour starring Mandy Moore and Milo Ventimiglia seemingly designed to appeal to folks still mourning Parenthood. Sight unseen, it’s impossible to say whether either of these shows will work. Broadcast networks have a horrible track record of late-launching warm-and-fuzzy character dramas, which immediately makes Us a long shot. But if either of these shows is going to succeed, it’s hard to imagine any better time slots than the ones NBC has given them. (And given the emphasis on procedural dramas throughout most of the week, it’s refreshing to see This Is Us given such a plum spot.)

Much riskier — though heartening — is NBC’s return to Thursday-night comedies, with sophomore Superstore opening the night at eight p.m., paired with The Good Place, created by Mike Schur and starring Kristen Bell, at 8:30 p.m. Superstore was something of a surprise when it aired Mondays at eight this winter, consistently drawing a decent-sized audience without the benefit of any lead-in. It also drew solid reviews and seemed to mark a return to NBC’s single-camera-comedy glory days. All of this likely convinced NBC execs to give the show a shot on a night with such historic importance to the network’s comedy brand; the fact that The Big Bang Theory has started to cool down in the ratings just a tad, and doesn’t air on Thursdays until late October, also probably helped. But long-term, Big Bang remains the big-box store of sitcoms, killing all who get in its way. At the very least, a fall run on Thursdays — coming right after the Olympics — could help Superstore build on its first-year momentum. Pairing it with Good Place, which features Ted Danson’s return to network comedy, will also help build buzz and sampling. (Also smart: NBC’s decision to air a special episode of Superstore during the Olympics, further raising its profile.) Given all the teeth-gnashing that followed the network’s abandonment of Thursday comedy, it would be wrong not to applaud the network for finally returning. On the other hand: NBC’s ambivalence about The Carmichael Show — barely renewed, left off the fall schedule — is incredibly depressing. Smart, upscale comedy doesn’t have to be single camera, and it doesn’t have to be populated by mostly white casts.

Elsewhere, the network’s decision to cancel The Mysteries of Laura wasn’t a complete shocker given the show’s older skew and the fact that NBC doesn’t have an ownership stake in the program. (Networks make more money on shows they produce themselves.) And now that we know what NBC will replace it with Wednesdays at eight p.m. — season two of Blindspot — the cancellation makes all the sense in the world, even if it’s irksome that a show with 8.6 million weekly viewers is considered a “failure” because most of those viewers are over 50. Still, Blindspot will almost certainly attract a younger audience to the hour, and it figures to draw far more viewers away from CBS and ABC than did Laura. Likewise, shifting Chicago Med to nine p.m. on Thursday and pairing it with Blacklist gives NBC a shot at competing for No. 1 from nine to 11 p.m. Thursdays, even if its new comedy hour tanks. ABC’s once-red-hot Shonda Rhimes dramas are still huge with younger women, but they suffered serious erosion among broader audiences this season. CBS, meanwhile, will hardly be a ratings juggernaut after Big Bang ends and is open to challenge. NBC is still a far ways away from its past Thursday dominance, but it’s also far from an also-ran anymore.

As genuinely impressive as NBC’s recovery has been, there are some reasons to worry about the foundation on which it’s been built. While the network has constructed this much-improved lineup brick by brick over the course of years, rather than relying on a singular hit, NBC is still putting a whole lot of faith — probably too much — in one producer, Dick Wolf. Consider: Of the ten hours of scripted series on the network’s fourth quarter lineup, a stunning 40 percent will come from the Law & Order creator. And that’s before mid-season newcomer Chicago Justice arrives, or the network makes room for the planned documentary anthology series Law & Order: True Crime. (There’s even been talk of rebooting the original Law & Order.) Shonda Rhimes may own an entire night over at ABC, but, increasingly, Dick Wolf owns an entire network. Wolf’s shows are all working well right now, and, more importantly, his company is part of the larger NBC corporate empire. Whenever all the Chicago shows hit syndication, the Peacock will reap a financial windfall, so if NBC can ride the Windy City express to long-term profits — well, the logic speaks for itself. During a conference call with reporters Sunday, Greenblatt argued that each of the four of the Chicago shows is, despite a common lineage, a distinctive series with its own creative structure. Maybe, but they’re also all still coming from the same factory. This leaves less room for NBC to explore other kinds of shows and other creative voices, and possibly discover the next Dick Wolf. But then, maybe experimentation is overrated, particularly when Wolf’s comfort food seems to be doing the trick.

http://www.vulture.com/2016/05/nbc-f...-in-years.html
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Technology Notes
Twitter to Stop Counting Photos and Links in 140-Character Limit
By Sarah Frier, Bloomberg.com - May 16, 2016

Twitter Inc. is making a major shift in how it counts characters in Tweets, giving users more freedom to compose longer messages.

The social media company will soon stop counting photos and links as part of its 140-character limit for messages, according to a person familiar with the matter. The change could happen in the next two weeks, said the person who asked not to be named because the decision isn’t yet public. Links currently take up 23 characters, even after Twitter automatically shortens them. The company declined to comment.

It’s a step in a larger plan to give users more flexibility on the site. Chief Executive Officer Jack Dorsey said in January that the company was looking for new ways to display text on Twitter, and would experiment based on how people use the service. For example, some people tweet screenshots of longer text in articles, or send many tweets one after the other to tell a story.

Twitter’s 140-character limit was originally adopted because it was a way to send Tweets while fitting all the information within a mobile text message -- a common way for sending Tweets when the service debuted in 2006, before the proliferation of smartphones.

The company earlier this year considered raising the limit to as many as 10,000 characters. But the quick, concise nature of Tweets has helped set the site apart from the competition. Executives have spent the last few months emphasizing how Twitter is a destination for live events and discussion. Removing the character requirement for links and photos may encourage users to add more media to their posts.

Twitter has been making video a priority as part of its push for live events. Earlier this year, the company agreed to pay $10 million to the National Football League for the rights to stream 10 Thursday night games during the 2016 season, people familiar with the matter have said. Twitter is working on more content deals for streaming sports, political events and entertainment.

http://www.bloomberg.com/news/articl...haracter-limit
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TV/Critic's Notes
Los Angeles weather reporter being told to cover up on live TV showcases everything that’s wrong with America
By Gersh Kuntzman, New York Daily News - May 16, 2016

[CLICK LINK AT BOTTOM OF STORY TO SEE CLIP]

It’s the trolls’ America — and Liberte Chan is living in it.

Chan, of course, is the Los Angeles TV weather presenter who was body shamed into putting on a sweater to cover up her bare shoulders during a live broadcast on Saturday.

“We’re getting a lot of emails,” a male voice off screen said as a disembodied hand reached into camera view to hand Chan the gray coverup.

“I look like a librarian now,” Chan said once fully covered.

L.A. meteorologist offered sweater to cover dress on live TV
“That works!” said the voice offscreen.

And … scene. And in just 10 seconds of TV, we can see everything that is wrong with America.

Wrong thing 1: “We’re getting a lot of emails.”

The off-screen anchor man, later identified as Chris Burrous decided to let the viewing public — no, check that, the minuscule number of people who wrote in, which is already a tiny percentage of viewers tuned in that moment, itself a small portion of the already tiny population that watches KTLA — overrule on-set producers. One or two viewers wrote that the dress was “inappropriate” for morning TV. Typically, that’s a sign that you’re doing something right, not wrong.

Wrong thing 2: Your co-worker is not your boss

Even if KTLA was getting 1,000 emails a minute and was threatening to crash Google’s secret servers, who is Chris Burrous to undermine his colleague? Imagine how you’d feel at the office if a co-worker mocked your work in front of everyone (my reaction is always the same: “Isn’t that a job for the boss, not you?”). Until your co-workers can fire you, their job is to say, “Great job today,” and move on.

Wrong thing 3: That off-screen hand

Whoever handed Chan the sweater is either a prude or a patriarch. He’s definitely a coward, not wanting to appear on screen as he hands down his ruling that the sexist mob is correct and Chan is inappropriately dressed. Worse, he gives the sweater a little shake, as if Chan is a cat who will only be attracted to something moving in a jittery fashion.

Wrong thing 4: KTLA hired Chan for a reason

The greatest hypocrisy, of course, is not that Burrous decided to side with the internet trolls in the self-styled Fashion Police, but that Chan was in that position in the first place. Look, we all know why television hires people: Because they look good on camera. It’s no sin: It’s a visual medium. And it’s not Chan’s fault that many people think she looks like the wildfires she often covers in her broadcasts. She’s worked for the network since 2003 after getting her journalism degree from the University of Massachusetts Amherst. She did not receive a certificate in meteorology until 2015, which suggests that she was not hired for her ability to predict the weather in LA (which doesn’t ever change anyway). She’s probably qualified. But from KTLA’s perspective, she looks like she’s qualified, which, on TV, is even more important.

Wrong thing number 5: KTLA isn’t afraid to showcase its talent when it suits the suits

When KTLA wanted to do a “report” on a beach in the Bahamas called “Serenity,” it sent Chan down there in not one, but two bikinis. “Are you going to be my massage therapist?” she giddily asks in one part of the segment (which, not surprisingly, has been viewed tens of thousands of times on YouTube). A lot more people have watched that video than emailed Chris Burrous to tell Liberte Chan to cover up. There's a reason why “Top 10 hottest weather girls” gets far more Google hits than “Old men in suits reading the weather” — and KTLA knows it. Now the network has to own it or disown it.

Wrong thing 6: Why does Chan feel like she needs designer clothes in the first place?

The dress, identified by Chan as made by designer Aidan Mattox is, of course, made for parties, not prime time. Liberte Chan can, and should, wear whatever she likes. But if you want to know why she felt it appropriate to get a designer to loan her a sparkly dress for her morning broadcast, see “Wrong thing 4” above. The dress was fine — Aidan Mattox also dresses Kathie Lee Gifford. Is anyone going to say she dresses inappropriately on “Today?” — but the motivation was flawed. And she made it worse by explaining, oh so professionally, on her blog, "What girl doesn’t like something that sparkles?!" She later added that it was never her intention to offend anyone.

Wrong thing 7: "It was never our intention to offend anyone."

Why is everyone in this country so offended by giving offense? A tiny bit of discomfort is the only way to shake people out of their complacency anyway. It's working for Donald Trump, isn't it? He seems to be the only guy in the country who is not afraid to offend anyone — and, in fact, seems to take great joy in offending everyone. And he's one heartbeat — a very flat one beating inside the chest of Hillary "I'm Sorry if I Offended Anyone" Clinton — away from the presidency. If I was KTLA's producer, I'd be offended that my newscasters worry about offending people. The only thing that matters is the truth.

Wrong thing 8: “I look like a librarian”

Why, in her moment of outrage, did Chan feel the need to attack the looks of librarians? She could have said, “What is this? Saudi Arabia? You want me to wear a burqa? I'm an American woman and will do what I want.” Instead, she went after librarians. By the way, “hottest librarians” is a Google thing, too, you know.

http://www.nydailynews.com/news/nati...icle-1.2638232
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TV/Nielsen Notes (Broadcast)
Finally, Megyn Kelly and Donald Trump talk
The presidential candidate has been lobbing barbs at her for months
By Louisa Ada Seltzer, Media Life Magazine - May 17, 2016

Fox really couldn’t have scripted a better May sweep special.

Tonight Megyn Kelly, the popular Fox News Channel host, anchors her first-ever special on FNC’s sister broadcast network.

That’s notable in and of itself, because it’s rare for a cable host to cross over like that. But what makes this show especially noteworthy is that Kelly will be interviewing presumptive Republican presidential nominee Donald Trump, who has been getting mileage out of a “feud” with Kelly since August.

It’s the first time since the spat began that Kelly and Trump have met one on one. Trump, who skipped an FNC debate rather than face her, has hurled some nasty insults at Kelly via Twitter and through other media.

“I’m not a fan of Megyn Kelly. I think she’s a third-rate reporter,” Trump has said. “I think she, frankly, is not good at what she does.”

Most of what Trump says is along those lines—few specifics, just enough to fire people up and make them pay attention. Undoubtedly he’ll make nice with her during the interview and then go back to trashing her on social media as soon as it’s done, as has been his pattern.

But Trump’s mere presence should be enough to fuel the special, airing at 8 p.m., to strong numbers. Kelly’s FNC show, “The Kelly File,” is regularly among the most-watched programs on cable, and Trump has drawn record audiences to cable over the past nine months for the presidential debates.

[CLICK LINK BELOW AND SCROLL DOWN TO SEE THE WEEK AHEAD'S TOP DRAWS ON NETWORK AND CABLE TV, WRITTEN FOR MEDIA LIFE MAGAZINE BY "HOTP'S" OWN DAD1153! ]

http://www.medialifemagazine.com/fin...ld-trump-talk/
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TV Notes (Production)
Kevin Smith is developing a Buckaroo Banzai TV series
By Oliver Gettell, EW.com - May 16, 2016

Kevin Smith is looking to bring the eighth dimension to the small screen.

EW can confirm that the Yoga Hosers and Clerks director is developing a TV series based on The Adventures of Buckaroo Banzai Across the 8th Dimension, the offbeat 1984 sci-fi film that starred Peter Weller as a genius scientist, experimental race car driver, and rock star who saves the world from reptilian aliens.

During the latest episode of his Hollywood Babble-On podcast, Smith said the project came about as a result of his recent gig directing an episode of The Flash, which has “has opened up weird doors” for him. One of those doors, he said, led to a potential Buckaroo Banzai series with MGM, which owns the rights to the property. (A spokesperson for the studio declined to comment.)

Smith is a longtime fan of Buckaroo Banzai, describing it as “one of my favorite movies in the world and largely responsible for the weird s‑‑‑ that I make, because that movie was supposed to be one thing but it did it in another way. It just did it very off-center.”

Written by Earl Mac Rauch and directed by W.D. Richter, the original film is indeed a genre-bending romp, lacing its sci-fi antics with campy comedy delivered in a deadpan tone. The cast also included John Lithgow, Ellen Barkin, Jeff Goldblum, and Christopher Lloyd.

As for how he’d approach the adaptation, Smith said, “Basically, you just do the entire movie for season 1, and then season 2 you finally do the sequel we’ve all dreamed about, Buckaroo Banzai Versus the World Crime League.” The latter story was teased in the end credits of the original film but never realized.

Listen to Smith’s comments below [CLICK LINK]. He discusses Buckaroo Banzai about 11 minutes in.

http://www.ew.com/article/2016/05/16...nzai-tv-series
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TV Notes (Production)
Kevin Smith is developing a Buckaroo Banzai TV series
By Oliver Gettell, EW.com - May 16, 2016

Kevin Smith is looking to bring the eighth dimension to the small screen.

EW can confirm that the Yoga Hosers and Clerks director is developing a TV series based on The Adventures of Buckaroo Banzai Across the 8th Dimension, the offbeat 1984 sci-fi film that starred Peter Weller as a genius scientist, experimental race car driver, and rock star who saves the world from reptilian aliens.
No matter where you go, there you are. Been waiting for the World Crime League to battle Buckaroo and the Hong Kong Cavaliers for over 30 years now. Leave it to Kevin Smith to salvage that missing piece of my... early adult-hood.
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post #9199 of 30890 Old 05-17-2016, 01:08 PM
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TV/Critic's Notes
Los Angeles weather reporter being told to cover up on live TV showcases everything that’s wrong with America
By Gersh Kuntzman, New York Daily News - May 16, 2016

http://www.nydailynews.com/news/nati...icle-1.2638232
I was pretty much in agreement with this assessment until the writer added Wrong Thing 8.

See Wrong Thing 7.
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post #9200 of 30890 Old 05-17-2016, 01:19 PM
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Usually I would agree, but can't as two of my favorites right now are '12 Monkeys' and 'Limitless'

xnappo
What happened to a Limitless renewal? I didn't see anything mentioned about it.

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What happened to a Limitless renewal? I didn't see anything mentioned about it.
Should be announced any day now.
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post #9202 of 30890 Old 05-17-2016, 02:16 PM
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What happened to a Limitless renewal? I didn't see anything mentioned about it.
I can't figure out the holdup - I thought it was a shoo-in. I lost interest in it a while back, but it was light years better than the already-renewed Criminal Minds Beyond Borders crapfest...
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post #9203 of 30890 Old 05-17-2016, 02:39 PM
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Should be announced any day now.
I thought the article posted 2nd after your post said renewal was doubtful. Bummer is it turns out that way.

"the chance of a second season for another freshman show, drama Limitless, appears dim."
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post #9204 of 30890 Old 05-17-2016, 02:45 PM
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I thought the article posted 2nd after your post said renewal was doubtful. Bummer is it turns out that way.

"the chance of a second season for another freshman show, drama Limitless, appears dim."
Yeah, I meant one way or the other. Official announcement will be this week.

I guess that does open up for the return of Dexter - though I am not really sure I want that at this point.
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TV Notes (Cable)
‘House Of Lies’ Canceled By Showtime After Five Seasons
By Denise Petski, Deadline.com - May 17, 2016

There will not be a sixth season of Showtime’s House Of Lies. The Season 5 finale on June 12 will also serve as the series finale, the network said today.

There had been questions about a renewal, with star Kristen Bell signed on for another series, NBC comedy The Good Place. She was expected, however, to continue to do both if House Of Lies had gone on to another season. Don Cheadle, Ben Schwartz, Josh Lawson, Donis Leonard Jr. and Glynn Turmam also star.

The final episode of the fifth season, shot entirely on location in Cuba, was directed by series creator and executive producer Matthew Carnahan.

“House Of Lies is a comedy that has frequently been ahead of the curve,” says David Nevins, President and CEO, Showtime Networks Inc. “Over the course of its five seasons, it has tackled such hot-button topics as gender identity, wealth inequality, white privilege, police brutality, interracial relationships, and code-switching with honesty and a biting sense of humor. Matthew Carnahan and Don Cheadle have been dream partners and impeccable leaders. The core cast of Don, Kristen, Ben and Josh are one of the best comedy teams on television. They have brought the series to an incredibly satisfying conclusion with this historic final episode shot in Cuba.”

Based on the book by Martin House, House Of Lies stars Cheadle as manipulative management consultant Marty Kaan, a role which earned Cheadle a Golden Globe award, four Emmy noms and three other Golden Globe noms.

Produced by Showtime, House Of Lies is executive produced by Carnahan, Jessika Borsiczky, Cheadle and David Walpert.

http://deadline.com/2016/05/house-of...ll-1201758326/
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TV Notes (Broadcast)
ABC's New Schedule: Shonda Rhimes Block (Sorta) Breaks Up, With 'Scandal' Benched
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - May 17, 2016

ABC will likely still be thanking god it's Thursday, come fall, but Shonda Rhimes will not be the only TV deity the network is praising.

After two seasons, ABC has pulled back on its all-Shondaland-produced drama block on the night — with Scandal, a shorter 16-episode order this season thanks to star Kerry Washington's pregnancy, sitting out until midseason. In Scandal's coveted slot, between enduring flagship Grey's Anatomy and the third year of How to Get Away With Murder, is the Sony and ABC Studios co-production Notorious. Thematically familiar to the Scandal set, it follows the "sexy and dangerous interplay" between criminal law and the media.

ABC Entertainment president Channing Dungey and boss Ben Sherwood clearly aren't playing it entirely safe with their first collaboration on a schedule. In addition to playing with the Thursday block, the 2016-17 lineup sees another hour of comedy added to Tuesday night and a few moves for some longtime network players.

With Castle out of the way, the week will now start with drama Conviction following on Dancing With the Stars' heels. The real changes are Tuesday, where no half-hour remains the same from last year. The Middle, moving from Wednesday, now opens the night before freshman American Housewife and a shifted Fresh Off the Boat (9 p.m.) and The Real O'Neals (9:30 p.m.) launching a new hour of comedy for the network. At 10 p.m., the long-troubled hour will go to a shifting Agents of SHIELD. Though the Marvel effort is a soft linear performer, it will almost guarantee some consistency in the time slot — a cancellation target for the last several seasons.

Wednesday's moves are comparatively minor. The Goldbergs now opens the night, leading into freshman half-hour Speechless. Keeping with the family comedies, Modern Family and Black-ish remain unmoved. ABC has a real opportunity to breath some life into the 10 o'clock hour now that Nashville is dead and gone. The network's most-hyped fall addition, Kiefer Sutherland starrer Designated Survivor, moves into the time slot. ABC is clearly looking to make Wednesday more of an anchor, as aging Modern Family remains its highest-rated show.

Friday is unchanged, while Sunday night skirts any freshman drama addition with the delayed sophomore run of Secrets and Lies returning to the night. It will be sandwiched between Once Upon a Time and Quantico.

With much on the bench, the network certainly has some wiggle room and a crowded midseason ahead. In addition to Sandal, and fellow Rhimes production The Catch, there's also returning anthology American Crime, event series When We Rise, movie Dirty Dancing and several new series: Downward Dog, Imaginary Mary, Still Star-Crossed and Time After Time.

ABC's Complete 2016-17 Fall Schedule

Monday
8 p.m. — Dancing With the Stars
10 p.m. — Conviction

Tuesday
8 p.m. — The Middle
8:30 p.m. — American Housewife
9 p.m. — Fresh Off the Boat
9:30 p.m. — The Real O'Neals
10 p.m. — Marvel's Agents of SHIELD

Wednesday
8 p.m. — The Goldbergs
8:30 p.m. — Speechless
9 p.m. — Modern Family
9:30 p.m. — Black-ish
10 p.m. — Designated Survivor

Thursday
8 p.m. — Grey's Anatomy
9 p.m. — Notorious
10 p.m. — How to Get Away With Murder

Friday
8 p.m. — Last Man Standing
8:30 p.m. — Dr. Ken
9 p.m. — Shark Tank
10 p.m. — 20/20

Saturday
7:30 p.m. — Saturday Night Football

Sunday
7 p.m. — America's Funniest Home Videos
8 p.m. — Once Upon a Time
9 p.m. — Secrets and Lies
10 p.m. — Quantico


http://www.hollywoodreporter.com/liv...-rhimes-894793

* * * *

TV Notes (Broadcast)
ABC Sets New Three-Year Deal With Jimmy Kimmel
By Kate Stanhope, The Hollywood Reporter's 'Live Feed' Blog - May 17, 2016

Jimmy Kimmel is staying put at ABC.

The late-night host has signed a new three-year deal with the network, network president Channing Dungey announced Tuesday at the network's upfront presentation.

Kimmel, like recent years, was on hand for the presentation Tuesday to skewer the network he has called home for more than a decade. His time roasting ABC came one day after he served as Kelly Ripa's first substitute co-host on Live With Kelly! -- also produced by ABC -- after the exit of Michael Strahan.

In addition to serving as host and executive producer of Jimmy Kimmel Live!, which continues to gain ground opposite Jimmy Fallon on NBC and Stephen Colbert on CBS, Kimmel will host the Emmys for ABC this coming September.

Kimmel, who has been at the network since 2003, most recently signed a two-year contract extension in 2014. This latest deal will keep him on ABC through the fall of 2019 and make him the longest-running host in late night.

In addition to signature sketches such as "Mean Tweets" and "Lie Witness News," Kimmel has been able to use other success stories at ABC and parent company Disney to his ratings advantage. Kimmel has regularly welcomed stars like Kerry Washington and even prolific producer Shonda Rhimes for Scandal-themed Thursdays tied to the hit drama.

Kimmel has also regularly hosted post-Oscars specials to take advantage of the eyeballs tuning into the network for film's biggest night. Last year, he hosted a special Star Wars broadcast that included director J.J. Abrams and stars of the franchise past and present ahead of The Force Awaken's blockbuster December debut.

Now in its 14th season, Jimmy Kimmel Live has been able to tout stability as CBS and NBC have both changed late-night hosts in the past several years, with Fallon and Seth Meyers taking over at NBC and Colbert, along with James Corden, grabbing the reigns at CBS.

Broadcast from Los Angeles, Jimmy Kimmel Live! is also exec produced by Jill Leiderman, with Jason Schrift, Douglas DeLuca, Erin Irwin and David Craig serving as co-executive producers. Jackhole Industries produces the show in association with ABC Studios.

http://www.hollywoodreporter.com/liv...ee-year-895073
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post #9207 of 30890 Old 05-17-2016, 03:03 PM - Thread Starter
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TV Notes (Broadcast)
Netflix’s ‘Narcos’ Season 1 to Air on Univision in Historic Agreement
By Joe Otterson, TheWrap.com - May 17, 2016

Netflix and Univision are teaming up for an unprecedented agreement in which the Spanish language network will air Season 1 of the Netflix original series “Narcos,” the first time that Netflix has allowed a U.S. broadcaster to run one of its original shows.

In addition, UniMás will air the popular Spanish-language Netflix original series “Club de Cuervos.” Both Netflix series will air on these networks leading up to the exclusive global debut of their second seasons on Netflix.

“No other media company understands Hispanic American audiences like Univision and this promotional partnership speaks to our ability to reach and engage our growth consumer with unmatched scale and depth,” said Randy Falco, president and CEO, Univision Communications Inc. “We are pleased to work with Netflix and leverage Univision’s unique reach and deep connection with our audience to introduce millions of our viewers to their ground-breaking series.”

“‘Narcos’ is a huge global success on Netflix and sampling the series to every single Spanish-speaking living room in the U.S. will give additional viewers the opportunity to fall in love with its unique storytelling,” Netflix chief content officer Ted Sarandos said. “Promoting these original shows on Univision is a great way to further reach Hispanic audiences and help them discover Netflix.”

The second seasons of both “Narcos” and “Club de Cuervos” will be available exclusively on Netflix later this year, along with the shows’ first seasons.

The Golden Globe-nominated series “Narcos” chronicles the real-life story of drug kingpin Pablo Escobar and the efforts of law enforcement to take him down.

The series re-partners creator and executive producer José Padilha with Brazilian actor Wagner Moura, who earned a Golden Globe nomination for his portrayal of Escobar. The series also stars Boyd Holbrook and Pedro Pascal as real-life DEA agents Steve Murphy and Javier Peña, respectively. “Narcos” is produced by Gaumont Television for Netflix.

“Club de Cuervos,” which debuted in all Netflix territories last August, is an original Spanish-language series from Mexican filmmaker Gaz Alazraki. The show brings viewers into the middle of a battle between members of a wealthy family to determine who will gain control of their beloved professional soccer team, the Cuervos of Nuevo Toledo.

The series stars Luis Gerardo Mendez and Mariana Treviño, and features Stephanie Cayo, Daniel Giménez Cacho, Ianis Guerrero and Antonio de la Vega.

http://www.thewrap.com/netflixs-narc...ric-agreement/

* * * *

TV Notes (Broadcast/Streaming)
‘El Chapo’ Series in the Works at Netflix, Univision
By Linda Ge, TheWrap.com - May 17, 2016

Netflix and Univision are getting in on the El Chapo business and will jointly develop a drama series based on the life of the famous drug lord.

“We are thrilled to partner with the award-winning Univision Story House on the timely and globally relevant drama series based on the life story of El Chapo,” Ted Sarandos, Netflix chief content officer, said in a statement.

Joaquín “El Chapo” Guzman made a media splash after a high-profile prison escape, interview with Sean Penn and subsequent recapture last year.

The announcement comes on the heels of Netflix’s unprecedented deal with Univision to air Season 1 of its original series “Narcos” on the Spanish-language network, the first time it has let a broadcaster run one of its shows.

This is also the second series based on El Chapo to be announced this month. History Channel unveiled its plan to develop “#Cartel” with “Narcos” creator Chris Brancato two weeks ago.

The untitled Netflix/Univision series will debut in 2017.

http://www.thewrap.com/el-chapo-seri...lix-univision/
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post #9208 of 30890 Old 05-17-2016, 03:08 PM - Thread Starter
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TV Notes (Broadcast)
ABC’s Channing Dungey on Juggling Shondaland Shows, Setting Her First Schedule
By Cynthia Littleton, Variety.com - May 17, 2016

With Shondaland fielding five shows on ABC’s lineup for the 2016-17 season, ABC has no choice but to open up real estate beyond Thursday for Shonda Rhimes’ prolific production banner.

That’s the word from Channing Dungey, ABC’s newly appointed entertainment president, on the decision to break up the block of Shondaland series on Thursday this fall with the addition of new drama “Notorious” in the hammock slot between “Grey’s Anatomy” and “How to Get Away with Murder.” The opening was created by the delay in production on “Scandal,” the usual occupant of 9 p.m. Thursday, necessitated by star Kerry Washington’s pregnancy.

Shondaland has two other series on deck, newcomer “Still Star-Crossed” and returning midseason entry “The Catch” which might have moved into 9 p.m. But in fact ABC has to be able to use established assets like “Grey’s” to launch new shows, even those beyond the Shondaland realm. Dungey was previously ABC’s head of drama development and has worked closely with Rhimes’ shop for years.

“The notion of using some of our strongest assets to launch new shows, with ‘Scandal’ being off in the fall — it seemed to make sense to give a new show a trial run there,” said Dungey. “If you’re playing along at home, Shonda’s going to have five shows on the broadcast schedule by the spring, so we’re going to have to expand beyond Thursday or we’re not going to be able to accommodate them all.”

Dungey indicated that “Still Star-Crossed” is bound for a different night, probably Sunday in tandem with the fantasy drama “Once Upon a Time.” “Star-Crossed” is a costumer that picks up the story of the Montagues and Capulets from the ending of “Romeo and Juliet.” It would not likely be a tonal fit with the serialized “TGIT” block (though Dungey said she had not yet decided if that branding would continue in the fall, given that Rhimes’ series will no longer own the night). And “The Catch” had a rocky run in its abbreviated first season, from creative changes behind the scenes to weak numbers after its March 24 debut. But Dungey said the plan is to return “Catch” again midseason after “HTGAWM” wraps its run.

“Star-Crossed” was always intended to be a midseason launch, Dungey said. “That was always a conversation we had with Shonda from the very beginning,” she said. “It’s a big, epic, sweeping period saga. We wanted to make sure we had enough time to produce it in the way that it needed to be produced.”

During the call, Dungey touched on strategy shifts from the previous regime lead by Paul Lee, who exited in March, including a desire to keep the fall to winter to spring breaks of its dramas shorter than they had been in the past. “That’s the evolution of a new strategy of how we launch the shows,” she said.

The abrupt change at the top of ABC meant that Dungey dove in to her new job after pilot orders were mostly completed. As the head of drama, she had a hand in developing the drama slate but not the comedies. But she praised the menu of projects that she had to work with in assembling the new schedule.

“We are extremely proud of our ‘ABC funny’ brand,” she said. “We think that we have a very distinctive brand of family comedies. The development we had this year came in very strong.” Dungey also asserted that while she’s new in the job, she was able to put her stamp on the 2016-17 decisions. After Lee exited the post he’d held for more than five years, Dungey’s boss, Disney/ABC Television Group president Ben Sherwood, is known to have become more involved than in the past few years in decisions on series orders and scheduling — as would be expected after a management turnover.

“The schedule very much reflects my sensibility about where I think the network is, and where we want to be going,” she said.

http://variety.com/2016/tv/news/scan...my-1201776951/

* * * *

TV Notes (Broadcast)
Jimmy Kimmel’s Best Lines From the ABC Upfront

Jimmy Kimmel took aim at competitors and colleagues alike in his annual appearance at ABC’s upfront presentation Tuesday in New York.

Here are some of his best lines:

--On the exec shakeup that saw Channing Dungey replace Paul Lee as ABC Entertainment head in March: “This is kind of our family reunion every year. Where’s Uncle Paul? Oh that’s right, I forgot…. I hate to see anyone especially a British person lose his dental plan.”

--“Channing Dungey is too humble to mention that she’s the first female African-American network president ever to pick up a show about a talking dog.”

--On Fox’s decision to no longer release live-same-day ratings: “Their arguments would carry more weight if they were not in last place. It’s like the Knicks announcing they are no longer using the final score — it doesn’t reflect the reality of the modern basketball game.”

--“CBS objects to the term ‘live’ because so many of their viewers aren’t.”

--On the TV industry’s obsession with reaching millennials: “Are we really going to let the vaping, SnapChatting, music-stealing little f—–s determine how we do business?”

--“18-49 isn’t our target demo — it’s the number of people who watched ‘Wicked City’ last season.”

--“2016 is still an exciting time in broadcast television. In the same way 1937 was an exciting time to be on the Hindenburg.”

--“Viewers love streaming content. I’m proud to announce our new show “Porn.” It’s a little slow at the start but stick with — it gets good at the end.”

--On the group of movie remakes landing on the fall schedule: “All your favorite VHS tapes are coming to TV.”

--On Fox’s inspiration to redo “The Exorcist”: “Gary and Dana looked at their ratings and started projectile vomiting.”

--“Fox has ‘Lucifer,’ which you know is based on the life of their founder, Rupert Murdoch.”

--“CBS canceled ‘CSI: Cyber,’ the last of the ‘CSI’ franchise. It’s amazing CBS is able to pickup anything considering the osteoperosis.”

--On NBC’s “The New Celebrity Apprentice” with Arnold Schwarzenegger: “Donald Trump is right — immigrants are taking our jobs, starting with him. … But should a guy who knocked up his maid really be put in charge of an apprenticeship program?”

--To the crowd of media buyers: “Don’t think of as us an old-fashioned TV networks. Think of us as an enormous paper shredder for you to pour $8 billion into.”

http://variety.com/2016/tv/news/jimm...nt-1201777124/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - May 17, 2016

THE VOICE
NBC, 8:00 p.m. ET

So this is Bloody Tuesday for The Voice fans, or at least for its remaining contestants: Half of the Top 8 will be eliminated tonight. My apologies, then, for questioning the term “semifinal” in regards to last night’s show. When you’re cutting down that many entrants at once, you indeed are in semifinal land.

NCIS
CBS, 8:00 p.m. ET
SEASON FINALE:
In addition to being the Season 13 finale, tonight’s episode marks the last appearance of Michael Weatherly as Tony DiNozzo. How will he exit? With some drama, some pathos, some comedy – and, I’m certain, a head slap or two.

MEGYN KELLY PRESENTS
Fox, 8:00 p.m. ET
SPECIAL:
On an early presidential debate, moderator Megyn Kelly asks candidate Donald Trump about his misogynist remarks about women. Ratings for the debate are “huuuge,” Trump starts a Twitter war and talk-show attack against Kelly, Trump rises in the polls, Kelly’s profile rises in the media – and now this. It’s a one-hour special presented not on Fox News, but on the big-boy network itself, with Fox salivating about the prospect of a prime-time rematch interview between Kelly and Trump. But it’s on his home turf at Trump Tower, and each, by now, is aware of the other’s relative value.

MARVEL'S AGENTS OF S.H.I.E.L.D.
ABC, 9:00 p.m. ET
SEASON FINALE:
This two-hour season finale concludes the story of The Hive, with a confrontation that is sure to claim lives on both sides of the battleground. Daisy is back as one of the good guys, and Hive, based on last week’s episode, seemed to be down, but maybe not out. You know how pesky these alien parasites can be…

THE NIGHT MANAGER
AMC, 10:00 p.m. ET
Part 5.
Talk about being in too deep. Tom Hiddleston’s “hotel manager,” now posing as a mercenary in the inner circle of Hugh Laurie’s international arms smuggler, has been caught in a potential dalliance with the arms dealer’s mistress. The spy’s handlers called him off the mission, but instead, he dove in headfirst, defied orders and accompanied the bad guys on their latest scheme.


http://www.tvworthwatching.com/

* * * *

No political comments, please!

TV Review (Broadcast)
PBS’ ‘Frontline’ Doc on Isis Shows Value of Real Journalism in the Age of the Kardashians
By Alex Strachan, TVWorthWatching.com's 'All Along the Watchtower' - May 17, 2016

This is what was trending on Google News the other day:

“Blac Chyna is Pregnant: 6 Reasons Why Rob Kardashian Is Going to Be a Great Dad.”

There are six reasons — at least — not to care, but that is where the media culture is today. “Tell us what we want to hear” has replaced “Tell us what we need to know” in an industry increasingly driven by the profit motive and the need to keep Time Warner ahead of Viacom and 21st Century Fox in quarterly earnings reports.

It doesn’t have to be that way, of course, at least not for the discerning viewer.

Michael Kirk’s exhaustive, self-explanatory PBS’ Frontline film The Secret History of ISIS won’t trend on Google News, or anywhere else for that matter, when it airs Tues. May 17 (10 p.m. ET, check local listings).

Perhaps it should, though. Secret History doesn’t go over familiar ground. No mention of the Brussels terror attacks or San Bernardino, Calif. here, except at the very end.

Instead, the program shows how ISIS took root in the chaos of post-war Iraq, and how Washington-based foreign-policy analysts and the U.S. security agencies missed the signs or, in the case of the Obama administration, willfully looked the other way as the problem took root.

The Secret History of ISIS is both history lesson and a harrowing reminder of how easily the big picture can be overlooked in policy wonks’ tendency to obsess over small details, especially when those small details mean lives are at stake in the here-and-now, not in the abstract of a future big- picture scenario that might or might not come to pass.

The problem with focusing on hostage takings and public beheadings to the exclusion of all else is that it’s easy to miss the fact that ISIS — the idea and the ideal — has metastasized to the point where it has become a state within a state, with its own capital, its own flag, its own army and a form of government based on murder, mayhem and a seventh-century religious mindset rooted in ignorance and intolerance.

Kirk, a veteran Frontline producer and correspondent who’s made a career of digging in dark corners from the past, opens his exposé with Colin Powell’s testimony before the United Nations in 2003 and the early days of the Iraq war, and then dovetails into a detailed, painstaking chronology of the rise of militant Islamist and avowed murderer Abu Musab al-Zarqawi.

The ISIS story didn’t start yesterday, in other words. The Secret History of ISIS doesn’t just repeat the old saw about those who cannot remember the past being doomed to repeat it. It tries to do something more. It lays out, patiently and point-by-point, what the signals were, how they were missed, and — most importantly — how to possibly prevent them from happening in future. Yesterday’s Iraq begat Syria today, and may well beget Lebanon, Libya, Jordan, Turkey, Saudi Arabia, the Gulf states and possibly even Israel in future.

Kirk is not a traditional, full-time war correspondent in the mold of a Marie Colvin (below left), Dexter Filkins or Michael Ware. His work for Frontline, — the NFL concussion drama League of Denial, the self-explanatory exposés Breaking the Bank, Power and Wall Street, Gunned Down: The Power of the NRA and others — leans more toward the investigative than straight reportage. His interview technique is tough but fair, aggressive but not confrontational — more Stephen Sackur on BBC’s HARDtalk than Don Lemon on CNN.

One imagines Kirk spending much of his time at the office following the money, poring over public records, tracking down whistle blowers and convincing them to talk on-camera — in short, exactly the kind of TV guaranteed to drive many viewers to other distractions.

It’s the kind of TV we need, though — now more than ever, in a media age where the bottom line counts for everything and not even respected, long-standing institutions like Guardian Media Group and The New York Times Company are immune from downsizing and job cuts. The war against ISIS is fought as much in office cubicles and darkened rooms as it is on the battlefield.

There’s nothing inherently sexy about Kirk, in the Kardashian sense of the word; David Schwimmer is not going to play him in the TV miniseries. Spotlight may have won this year’s Oscar for Best Picture, but that hasn’t stopped layoffs at the Boston Globe — home to the very same investigative unit that broke the original story Spotlight was based on, about systemic child abuse and cover-up within the Catholic Church in Boston.

Frontline has always preached to the converted. It’s unlikely that PBS will cadge viewers away from The Voice or Chicago Fire to watch the TV equivalent of eating spinach, and the Fox News crowd is unlikely to ever give credence to anything that airs on a public broadcaster.

Still, it’s important that Frontline be there, as an alternative for those who want it and, more importantly, need it.

Marie Colvin, James Foley, James Nachtwey, Tim Hetherington, Ruqia Hassan aka Nissan Ibrahim, Steven Sotloff, Danilo López — which one of these is not like the others?

Jim Nachtwey. He’s still alive.

That must count for something.

Hardly a day goes by that ISIS isn’t mentioned on the news. War and bloodletting are tailor-made for 15-second sound bites and fast, snappy flash-video. Perspective takes more time, though, and makes more demands of the viewer. The Secret History of ISIS is the very best kind of documentary journalism: It tells us something we didn’t know — not in this kind of detail, anyway — what we need to know now, and how to apply that knowledge in the future.

Secret History may not be as sexy as Keeping Up with the Kardashians, but it shows what TV can do when it aims for something higher.

http://www.tvworthwatching.com/BlogP...x?postId=12007
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Nielsen Overnights (Broadcast)
Series finales grow on ABC and CBS Monday
'Castle's' final episode averages a season-high 1.3 in 18-49s
By Toni Fitzgerald, Media Life Magazine - May 17, 2016

Two series finales on Monday night — one unexpected, the other long-planned — hit season highs.

ABC’s “Castle,” a surprise cancellation last week, and CBS’s “Mike & Molly,” which was axed several months ago, were both up from last week.

“Castle” averaged a 1.3 adults 18-49 rating at 10 p.m., according to Nielsen overnights, its best rating of the season and tying NBC’s competing “Blindspot” for No. 1 in the hour for the first time ever. If “Castle” had been able to do that a few weeks back, perhaps it wouldn’t have been yanked.

Capping an eight-year run, “Castle” was up 18 percent from last week.

CBS’s “Mike & Molly” aired back-to-back episodes on its final night, with its 8:30 show serving as its sendoff. “Molly” averaged a season-high 8.3 million total viewers in the half-hour, up from 7.74 million at 8 p.m.

The comedy, which aired for six seasons, also tied its second-best rating of the season in 18-49s with a 1.6 at 8:30 p.m.

Meanwhile, NBC won the night with the usual combo of “The Voice,” the night’s highest-rated show with a 2.0, and “Blindspot,” which was even with last week. Fox’s “Gotham” drew a 1.3 at 8 p.m., up a tenth from last week.

And the season finale of the CW’s “Jane the Virgin” averaged a 0.4 at 9 p.m., matching its second-best rating. It drew just under a million total viewers, up 5 percent from last week.

* * * *

Top show of the night in 18-49s

NBC’s “The Voice,” 8-10 p.m., 2.0 rating.

Top show of the night in 25-54s
NBC’s “The Voice,” 8-10 p.m., 2.9 rating.

Top show of the night in total viewers
ABC’s “Dancing with the Stars,” 8-10 p.m., 11.53 million.


http://www.medialifemagazine.com/ser...nd-cbs-monday/

* * * *

TV/Nielsen Notes (Broadcast)
Come fall, ‘The Goldbergs’ gets a promotion
The comedy, which has thrived since moving to Wednesday, bumps to 8
By Louisa Ada Seltzer, Media Life Magazine - May 18, 2016

“The Goldbergs” has become one of ABC’s steadiest shows, and the network will reward it this fall, when the comedy moves into the 8 p.m. anchor spot on Wednesday nights.

The show, which airs its third-season season finale tonight at 8:30 p.m., will be used to help launch “Speechless,” one of two new comedies on the network’s schedule this fall.

“Goldbergs” has averaged a 2.0 adults 18-49 rating this season, down slightly from last season but ranking fourth overall among the network’s scripted shows.

ABC has had difficulty launching strong new shows in recent seasons, but “Goldbergs” has been the exception. It posted okay numbers in its first season, airing behind “Marvel’s Agents of S.H.I.E.L.D.” on Tuesdays, but it proved a much better fit on Wednesday, where it has aired behind “The Middle” the past two seasons.

It often posts better numbers than its lead-in, and it should provide a good launching pad for “Speechless,” if that program is any good.

[CLICK LINK BELOW AND SCROLL DOWN TO SEE THE WEEK AHEAD'S TOP DRAWS ON NETWORK AND CABLE TV, WRITTEN FOR MEDIA LIFE MAGAZINE BY "HOTP'S" OWN DAD1153! ]

http://www.medialifemagazine.com/com...s-a-promotion/

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